Blues Reviews 2

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CD Review Book Review

Page 2 of 2 of Reviews Section

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)

Etta James: The Chess Box (MCA)

Etta James remains one of the towering figures of the R&B vocal scene in the latter part of the 20th century. A phenomenal singer who could invest even the most trite material with passion and soul this three-CD set does a tremendous job presenting Etta's legacy. The set captures her at her artistic peak spanning her entire Chess career from 1960 to 1976. Over the course of these 72 tracks Etta tackles blues, R&B, Pop, soul and country injecting grit and passion into everything she wrapped her vocals around.

Disc one spans the years 1960-62 and finds Etta's vocal prowess fully formed. The majority of this early material is filled with lush ballads including all time classics like "All I Could Was Cry" , "A Sunday Kind Of Love" and the immortal "At Last." There's also some grittier blues material like "I Don't Want It" the previously unreleased "You Got Me Where You Want Me" and the tough as nails "Something's Got A Hold On Me."

Disc two is a bit more eclectic from the wonderful country feel of "Look Who's Blue" to the sizzling live version of "Baby What You Want Me To Do" recorded live in 1963 at Nashville's New Era Club and even a credible, bluesy cover of The Doors' "Light My Fire" from 1969. Other gems include the tough R&B of "I Don't need Nobody To Tell Me How To Treat My Man" which was previously unreleased, a pair of gritty R&B duets with Sugar Pie DeSanto on "In The Basement" and the no nonsense "Do I Make Myself Clear." Also on board are classics like "Tell Mama' and "I'd Rather Go Blind."

Disc three covers the years 1969-74 and provides a valuable look into Etta's later period with Chess which has not be well documented on compact disc. There's a number of fine soul sides including previously unreleased gems like "Slow And Easy", the stunning '"The Soul Of A Man" and a tremendous cover of the Falcon's "I Found A Love." There's a real mix of styles during this period with Etta tackling material like the gospel drenched "God's Song" and "Feelin' Uneasy" to a wonderful reading of the classic "St. Louis Blues."

In addition to the phenomenal music (nearly 4 hours worth) the packaging is first rate with a 40-page book filled with rare pictures and informative notes. There's a number of other compilations on the market but this one beats the others hands down.

(Jeff Harris)

R.L. Burnside: Wish I Was In Heaven Sitting Down
(Fat Possum)

You'll either love it or hate it but you have to give Fat Possum credit for originality when it comes to adapting R.L. Burnside's deep blues with the sounds of the 21st century. Like previous records, Fat Possum has melded R.L's sound with the electronics and DJ scratches found in contemporary hip-hop and techno music. This time around they've taken a lighter hand with those tricks and the result is a powerful, modern sounding Mississippi blues record.

Wish I Was In Heaven Sitting Down is Burnside's fifth for the label and despite the modern enhancements he remains one of the last genuine performers of the raw Mississippi hill country sound. The experimentation with Burnside's sound started with his collaboration with indie-rock band The John Spencer Blues Explosion and while blues purists cringed Burnside became an unlikely indie star. Next up was Come On which may have been the first delta blues record to include sampling and looping techniques. While that record had it's moments there was definitely too much techno and not enough blues. With Wish I Was In Heaven Sitting Down it looks like Fat Possum has gotten the balance just right.

This time around the electronics and scratching are subtle adding an an eerie, unsettling subtext to Burnside's brooding delta blues. For the most part this is a dark record giving off the feeling of being caught in rural Mississippi after dark. Burnside tackles some bleak themes on the ominous sounding "Got Messed Up", more traditional sounding cuts like the title track with first rate guitar playing by longtime partner Kenny Brown and the tough as nails "See What My Buddy Done" featuring hard edged guitar work by Rick Holmstrom and Smokey Hormel. "R.L.'s Story" is the clincher with Burnside reciting a harrowing account of the troubles he's seen. There are a few upbeat moments like the humorous "Nowhere Man" and the raucous "Miss Maybelle" with DJ Swamp, of Beck fame, scratching up a storm.

Blues purists may still cringe at what they likely see as a bastardization of the pure delta blues but I think Fat Possum has finally struck the perfect balance between the old and the new. If there's any such thing this is delta blues for the 21st century. Now I just wonder what R.L. thinks about all this?

(Jeff Harris)

William Clarke: Tip Of The Top
(KingAce)

Like too many blues greats before him, William Clarke left us far too early. His legacy as one of the most inventive harmonica players to emerge in years lives on in many fine recordings including this outing originally released in 1987 and now rounded out with four previously unreleased tracks.

Clarke was born in California and honed his chops playing in ghetto blues joints in South Central Los Angeles. While there was numerous fine players on the scene it was legendary harp man George "Harmonica" Smith who became Clarke's greatest influence. It wasn't long before they became friends and gigged together until Smith's death in 1983. Tip Of The Top can be seen as a loose tribute to his mentor and friend which includes a few of Smith's staple songs including Smith himself singing and playing on "Hard Times" and the nearly eight minute workout on "Tribute To George Smith."

Tip Of The Top captures the early sound of William Clarke developing his distinctive style one that would fully blossom in the 90's with some great records for the Alligator label. The music is no nonsense straight ahead blues and Clarke is a true master of the chromatic harp and was a fine gravely voiced singer as well. The band couldn't be better with West Coast stalwarts like Hollywood Fats and Junior Watson on guitar, Fred Kaplan on piano and guests Ronnie Earl who smokes on the romping "Hot Dog And Beer" and Charlie Musselwhite on the solid "Charlie's Blues." This is one of those records that cook from start to finish with highlights going to the jumping "Drinkin' Beer" with some greasy guitar from Junior Watson, a powerhouse cover of Jerry McCain's "Goin' Steady", the driving instrumental "Blowin' The Family Jewels" and and the pure jump blues of the previously unreleased "Party Party."

While many harp players simply copied licks from old Little Walter records William Clarke was that rare musician who was a true original. Tip Of The Top captures this great harp blower in prime form and comes highly recommenced.

(Jeff Harris)

Henry Thomas: Complete Recorded Works 1927-1929 (Document)

The origins of the blues have been hotly debated and has produced much speculation and theory. Born in 1874 the music of Henry Thomas gives us a fascinating glimpse at what black music was like before it developed into the blues as we know it today.

Thomas was a true songster incorporating religious songs, ballads and blues into his music providing the listener with a window into black music at the turn of the century. Not much is know about his life except for his birth date and the fact he was born in Upshur County, Texas. Thomas was likely an itinerant musician riding the rails around Texas and possibly further abroad. The 23 songs he cut for Vocalion between 1927 and 1929 are all collected here and constitute a remarkable, timeless body of work..

   Like his repertoire, Thomas' sound is unique. He plays his guitar in a complex finger picking style no doubt perfect for dance music. On many songs he also plays the quills, a seldom recorded instrument that harks back to older times sounding like a high pitched flute. The combination of the two instruments and his strong expressive voice is pure joy to listen to. There's something undeniably joyous and exhuberant in the simple haunting music of Henry Thomas.

Collecting an artist's complete recordings in chronological order often times makes for monotonous listening but not so in Thomas' case and this record is a pleasure to listen to from start to finish. Highlights for me go to the propulsive "Arkansas" with some harsh sentiments about the farming life, a superb take on the classic "Red River Blues", "Bull-Doze Blues" who's intro Canned Heat appropriated for their 60's hit "Going Up the Country" and the moving "Lovin' Babe." This is true American roots music and the longing and tough times Thomas sings about are tempered with a feeling of keeping your head up despite the odds which strikes me as utterly American.

Document has done a fine job providing informative notes and excellent sound. Country blues fans will certainly want this timeless music in their collection.

(Jeff Harris)

DC Bellamy: Water To Wine (Rooster)

DC Bellamy has been involved with music since he's been a youngster but if his name doesn't ring a bell it's because he's spent most of the time in the shadows as a musician for hire. Water To Wine is a tremendous debut and proves it's time for Bellamy to step out into the big time.

Bellamy comes from a musical family including half-brother Curtis Mayfield who held Impressions practices right in the family living room. During Bellamy's musical travels he was involved with artists like Betty Everett, Jerry Reed, Artie "Blues Boy" White and the Chi-Lites. For the most part he stayed in the background as a bandleader or arranger and it wasn't until much later that he got his own band together. Water To Wine proves that Bellamy is a seasoned performer combining a Chicago blues foundation with soulful bent that marks this as one of the year's best debuts.

Most debuts naturally sound a bit derivative but not this one which showcases Bellamy's unique blend of straight blues, R&B and soul into a totally original voice. Bellamy also proves to an excellent songwriter which not surprisingly he credits to Mayfield's influence. Among the first rate songs are the wonderful gospel tinged "Water To Wine", the soulful "Out Of The Safety Zone" with some clever wordplay and "Give Me What I'm Gettin'" which should be self explanatory. Backing Bellamy is a tight band with special mention going to Harrison Irons who lays down some tasty piano and organ work. Bellamy himself is no slouch on guitar playing clean, economical lead on almost every track.

The reemergence of Rooster Records after some down times has been good news for fans of real deal blues and DC Bellamy certainly falls into that category. Water To Wine proves that it's never too late to step into the spotlight and I suspect you'll be hearing a lot more from DC Bellamy- the man's got talent to burn.

(Jeff Harris)

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