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 CD Review  Book Review
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Page 1 of
2 of Reviews
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Every month Bad Dog Blues takes a look at the best new
blues releases and offers our opinions, criticism and general ramblings. We'll also take a
look at noteworthy reissues and blues related books. In addition you'll find
a real audio clip from each record we review located on the bottom left. Now on to this months reviews:
"And we played it on the sofa, and we
played it side the wall
And we played it on the sofa, and we played it side the wall
But boys, my needles have got rusty, and it
will not play at all"
(Robert Johnson, Phonograph
Blues)
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 Albert
King with Stevie Ray Vaughn: In Session (Fantasy/Stax)
This is the music
that creates blues fans. Even if you've never been exposed to the
genre before, one spin of this incendiary session with two of the most
vicious guitar players ever to burn through "Stormy Monday"
will put the bug in you. It is, quite simply, everything a blues album
should be.
Recorded back in 1983, and oddly never released on album before
now, this summit meeting originally existed only as a Canadian TV
show. Bootleg copies have been floating around for years, but this is
the first time the incredible gig has been officially released, and
although nothing is worth that kind of 16 year wait, it's impossible
not to be blown away by the raging intensity of this performance.
Although Vaughn is the guest, not the star, and the set list as
well as band, is Albert King's, the young, skinny, hungry 30 year old
Texan with only one album and a stellar guest appearance on David
Bowie's Let's Dance disc in his recorded resume, came to the date with
a through knowledge of King's extraordinary work. In fact it's safe to
say that without Albert King's meaty fingering technique, Vaughn's own
style would be radically different. The
older guitarist doesn't seem to know who Vaughn is as the show begins,
but after hearing him burn through a brain sizzling solo on a 15
minute version of the King staple "Blues at Sunrise," Albert
is vocal in his praise of Vaughn's astonishing talent.
The hour-long disc features seven songs, only one of which is
Vaughn's, but gives both guitarists ample room to show off their
stuff. King, who had been playing for 30 years, and was occasionally
prone to lackluster shows later in his career, is absolutely riveting
here as he tears out solos with the fiery passion and reckless
enthusiasm of his youth. And Vaughn, who had already established
himself on the Austin scene, plays as if he's been waiting for this
gig for his entire life.which he probably was.
So often, when two giants finally unite and sparks are expected
to fly, the results are uneven and disappointing. But this show is a
rare exception, where both guitarists are invigorated by each other's
presence and deliver performances that are well above the caliber of
even their usually fierce shows. More importantly though, the
album serves as a testament to the joyous quality of great blues, and
its ability to electrify when it's played with the passion and
heartfelt emotional resolve of musicians who have lived and loved the
music for their entire lives. Which makes this album the perfect first
purchase for the neophyte blues fan. Not only do you get two
great guitarists for the price of one, but you'll find the essence of
the blues in every minute of these scorching grooves.
(Hal Horowitz)
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Syl Johnson: Talkin' Bout
Chicago (Delmark)
Jimmy Burns: Night Time
Again (Delmark)
Delmark
Records continues it's commitment to recording the best Chicago Blues
with another pair of top drawer releases. Jimmy Burns returns with his
follow up to his 1996 record Leave Here Walking which was one
of the best of
the year. Syl Johnson made his comeback with Delmark back in 1994 with
his excellent Back In The Game and the new one continues his
winning streak.
Syl Johnson's music blends the best of soul, R&B and blues ignited
by his wonderful soulful voice which sounds as good as when he was
topping the R&B charts back in the 60's and 70's. Just listening
to him sing on "Different Kind of Man" and
"Cheryl" brings back memories of the golden age of soul
music.
His vocal prowess isn't the only trick up his sleeve and he's also a
gifted harmonica player as evidenced on the title track and an
excellent sweet toned guitarist. The title track is one of
the many fine originals and provides the listener a vivid image of his
adopted hometown.
Like Johnson the music of Jimmy Burns incorporates elements of blues,
soul and R&B and even a hint of Doo-Wop. Burns guitar chops
owe more to to the Chicago sound best showcased on the powerful,
gritty "No Consideration" and the menacing "Why You
Wanna Start a Fight." On the soul side of things Burns draws
inspiration from The 5 Royals covering their "Baby Don't Do
It" and "Too Much Loving." His early roots shine
through on the nostalgic acappella of "1959: A tribute"
harking back to his days in The Medallionaires a vocal group he sang
with in the 50's. It's a testament to his vocal chops that he can
still pull it off.
Chalk
up another pair of winners for Delmark who continue to demonstrate
that there's plenty of variety and excitement in those old Chicago
Blues .
(Jeff
Harris)
|
 Luther
Allison: Live in Chicago
(Alligator)
Live in Chicago showcases a bluesman at the absolute
peak of his powers. These recordings were recorded in 1995 and 1997 at
three separate locations. Disc one comes from the 1995 Chicago Blues
Festival and the rest from club appearances at Buddy Guy's Legends and
the Zoo Bar.
It's hard to believe that Luther Allison was relatively little
known besides hardcore blues fans until the 90's. Since 1980 Allison
had made his home in France and while extremely popular in Europe he
was a virtual stranger in his homeland. The turnaround came with his
signing to Alligator Records and all of a sudden he seemed to explode
on the U.S. blues scene. Allison was intent on proving himself and not
only cut a number of excellent records but burned up every stage he
walked on with the searing intensity of his guitar playing and his
emotion drenched vocals.
Disc one comes from
the Chicago Blues Festival and shows a man on a mission. Stepping on
the stage in front of 150,00 fans Allison plays like a man possessed opening with a blistering guitar attack on "Soul Fixin' Man"
that's just a precursor of what's to come. "Cherry Red Wine"
and "It Hurts Me too" are emotion packed slow burners with
the latter featuring some tremendous slide work. Slide is also front
and center on a raucous version of Hound Dog Taylor's "Give Me
Back My Wig." The set ends on with a jam session between Allison,
Otis Rush and Eddie C. Campbell on a searing medley of
"Gambler's Blues and "Sweet Little Angel."
After the first disc
it's hard to imagine anything that could top it and the second disc
suffers a bit in comparison. Recorded at the Zoo Bar and Buddy Guy's
Legends Allison is still in typically fine form from the rocking blues
of "Party Time" to the powerhouse "Will it Ever
Change" a soul drenched protest song that really hits home.
Live in Chicago
is stellar testament to great bluesman cut down in his prime. This
disc should be sealed in a time capsule so future generations can find
out what the blues was all about. Essential listening!
(Jeff Harris)
|
 Wilson
Pickett: It's Harder Now (Bullseye Blues)
Of
all the major 60's soul stars Pickett cut some of the rawest and
hottest music of the decade. Songs like like "In the Midnight
Hour," "Land of 1000 Dances," "Mustang
Sally," and "Funky Broadway" could be heard everywhere
and lit up dance floors across the country. Unfortunately after the
60's the hits dried up with his last one charting in 1972. Now twelve
years after his last record the Wicked Pickett is back and I'm glad to
say he sounds great.
From the opener
"Outskirts of Town" and "What's Under That Dress"
it's obvious all the raw power and trademark shrieks are intact. While
he may not be able to hit that upper register like he used to it's
enough to transport you back to the golden age of soul. Most of the
record is up tempo and and makes the perfect party soundtrack. The
exception is "It's Harder Now" a nice bluesy slow
burner.
There's no doubt that Pickett is the last of a dying breed and
he's certainly aware of this. "Soul Survivor" is an
autobiographical number where Pickett gives credit to the likes of
Otis Redding, Solomon Burke, Joe Tex, Aretha Franklin, Don Covay and
his other labelmates at Atlantic Records. When he sings "...Back
in '65, when we were all alive..." it's sung by a man that's been
around and paid his dues and you can hear every emotion in that
fabulous voice.
In an era of pale
soul imitators and watered down R&B Pickett is one of the few
authentic voices we have left. A true Soul Survivor let's hope it's
not another decade before we here from him again.
(Jeff Harris) |
|
 Chicago-
The Blues Today! (Vanguard)
Every
once in a while a recording comes out at the right place and time that
makes a statement so powerful it changes our perceptions about what a
music is all about. When Chicago- The Blues Today! was
released in 1966 it provided a glimpse of blues that was very
different from the accepted stereotypes of the day. Blues at the time
was considered an acoustic music and also a music of the past. Chicago-
The Blues Today! blew the doors open on that perception showing
that the blues was indeed a living breathing force and had moved
to the city and evolved into a vital modern music. Samuel Charters,
who originally produced this set, managed to record some of Chicago's
best including Otis Rush, Walter Horton, Otis Spann, Johhny Shines and
Junior Wells among others.
Vanguard has done a beautiful job reissuing this set in a classy soft
covered package that unfolds to feature some great period photos.
Included are Sam Charters original liner plus a current essay reminiscing
about the set's creation. In addition all the recordings have been
remastered and the sound is remarkable.
The
first disc opens with the Junior Wells Band featuring Buddy Guy. Wells
is at the top of his game exuding his tough, cocky brand of blues with
and incredibly tight little band. Wells pays tribute to Sonny Boy
Williamson with a spoken introduction about the man before launching
into a tough version of "Help Me." "Vietcong
Blues" is a burning minor key blues with Junior at his soulful
best. Up next is the raw as an open wound blues of J.B. Hutto who's
slashing slide guitar was learned from Elmore James himself. Wrapping
things up is the magnificent rolling piano of Otis Spann backed by
just S.P. Leary on drums. Spann's five cuts feature three
instrumentals including the storming "Spann's Stomp"
provide further evidence that he was the best blues pianist of his
generation.
The James Cotton Quartet
opens disc two and finds Cotton blowing the roof off the place. Backed
by Muddy Waters band mates Otis Spann and James Madison the band lays
down a stomping version of "Rocket 88" and a great updating
of "Cotton Crop Blues" which Cotton first cut for Sun
records back in the 50's. Otis Rush is up next and finds him in spine
tingling form playing guitar and singing to heights he only rarely
reached after these sessions. His "I Can't Quit You Baby"
and "It's My Own Fault" are breathtaking. The rough and
tumble blues of Homesick James ends the disc playing some great raw
slide harking back to his days when he was a member of Elmore James
Broomdusters.
The star of disc three
has to be Walter Horton who's wonderful, inventive harmonica playing
can be heard in Johnny Young's band as well as the band of Johnny
Shines. In addition Horton performs on one track with his own
band featuring Memphis Charlie aka Charlie Musselwhite. Johnny Young
was brilliant mandolin player who had one foot in the older blues traditions
and one foot firmly in the modern blues camp. Similarly Johnny Shines
music is steeped in the Delta Blues but also displays the influence
of the modern Chicago blues sound. On "Dynaflow Blues"
Shines takes us back to the days he ran with Robert Johnson
laying down a powerful reworking of Johnson's "Terraplane
Blues." While on the rocking "Hey, Hey" sounding
utterly modern.
Thirty years after these
recordings the Chicago Blues are known worldwide but it was these
recordings that first showed the world that modern blues were alive
and well. More than just a timepiece these recordings retain all
the excitement and energy from when they were first released onto an
unsuspecting world.
(Jeff Harris)
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