Kid Ramos' last record, West Coast House Party, was hands down one one of the finest records in 2000 and one that seemed almost impossible to top. With Greasy Kid Stuff Kid has done it again laying down an in the pocket classic blues groove aided by a slew of phenomenal guest artists.

 Last year's West Coast House Party found Kid helped out by a huge cast of supporting stars and this time around he decided to "get it basic and lowdown." The sound he had in mind was Memphis in the 50's and early Chicago blues which gives you a good idea where Kid is coming from musically. While he may have had a lowdown aesthetic in mind his guests had something rather different in mind and the record's strength really lies in the diverse style everyone brought to the table. Anyway who's going to argue with bluesman of such caliber as Charlie Musselwhite, Paul DeLay, Rod Piazza, James Harman, Johnny Dyer, Rick Estrin and Lynwood Slim?

 While Greasy Kid Stuff is stylistically diverse the one musical constant is a vintage sound firmly rooted somewhere in the 50's. Unlike his previous record Kid Ramos is the sole guitar player and delivers a stunning mastery of different styles from West Coast blues to Chicago and everything in between always played with impeccable taste. If you listen closely to Kid's fluid playing with that slightly distorted tone you'll here echoes of great players like West Coast giants T-Bone Walker and Pee Wee Crayton as well as Memphis cats like Pat Hare and Howlin' Wolf's early guitar player Willie Johnson.

 Just about all the songs are originals supplied by Kid's friends and they take turns singing on all the cuts except two that Kid sings. There's plenty of that lowdown vibe Kid was looking for especially on the two Charlie Musselwhite songs "Charlie's Old Highway Blues" and "Rich Man's Woman" with Musselwhite's powerful harp blowing and world weary singing making these some of the best songs I've heard from him in some time. In the same vein are "Gratitude Is Riches" wonderfully song by James Harman with Kid playing some vicious Elmore James inspired guitar, "Ain't Gonna Holler" sung by Paul Delay and the shuffling "Mean Ol' Lonesome Train " sung by Johnny Dyer. Things get more diverse on the straight up R&B of "Say What You Mean, Baby" sung by Paul Delay, the instrumental "Greasy Kid Stuff" where Kid really cuts loose backed by some swinging horns and the jump blues of "It's Hot In Here."

 Greasy Kid Stuff has that wonderful, loose one take feel of great players getting together and having themselves a ball. I'm not sure how the Kid's going to top this one but hey that's what I said about his last one. Easily one of the year's best.

(Jeff Harris)

 On May 5 of this year the world lost Boozoo Chavis, one of the greatest and most influential zydeco musicians of all time. Boozoo died a month after recording Down Home On Dog Hill which is surprising considering how vital, energetic and utterly soulful this record is. In other words Boozoo went out at the top of his game.

 Boozoo was one of the founding fathers of contemporary zydeco and his influence on the genre is enormous. He scored zydeco's first hit with "Paper In My Shoe" back in 1954 and after a lengthy retirement returned with a vengeance in the 80's. With his band the Magic sounds he began to tear up the Louisiana and East Texas dance halls. He also embarked on a prolific recording career cutting records for Maison de Soul before landing at Rounder, a label well known for their strong support of Louisiana artists. Down Home On Dog Hill is a great way to make a final curtain call as Boozoo tears it up for one last time.

 Down Home On Dog Hill is a boisterous, high energy blast of down-home zydeco with a very bluesy feel. Boozoo's band the Magic Sounds are augmented by the fantastic slide playing of Sonny Landreth, who seems to be popping up everywhere these days, and the outstanding fiddle playing of David Greely. Boozoo may have passed within a month of these recordings but he sounds positively energized as he joyously blasts through an eclectic set list. Among the pleasant surprises are bluesy numbers like the catchy "Sugar Bee", Arthur Crudup's "Rock Me Mama", Hop Wilson's "Broke & Hungry" and even a cover of Hank Ballard's "The Twist." There's plenty of more traditional zydeco on cuts like "Tell Me What You Want", the rocking "Johnnie Billy Goat" and "La poule pend p'us (The Hen Won't Lay)" featuring great slide and fiddle interplay.

 Boozoo was a true original and these final recordings make the perfect epitaph for a true musical giant. His loss is perhaps best reflected in an image from this year's New Orleans Jazz Festival as the Magic Sounds played a moving set, without their leader, led by his son Pancho with tears streaming down his face. The next day Boozoo was gone.

-Check out these past Boozoo Chavis reviews:
Who Stole My monkey?
Johnnie Billie Goat

(Jeff Harris)

 If you're a fan of contemporary blues there's a good chance you either recognize Rico McFarland by name or have heard his
tasteful guitar playing, probably without even realizing it. Such is the life of a session player. With Tired of Being Alone McFarland finally steps out on his own and the result is a smoldering, funky contemporary blues album that is certain to turn a few heads.

 Like Lucky Peterson, McFarland was something of a child prodigy playing bass lines to Booker T & The MG's "Green Onions" when he was five. Not long after that he was hanging out in the Chicago clubs with his dad soaking in the blues first hand. Over the years McFarland has developed into a major league session player doing stints with James Cotton, Little Milton, Kinsey Report, Otis Clay, Syl Johnson and a host of others. It may sound like a cliché but McFarland has really paid his dues and
Tired of Being Alone is a phenomenal debut.

 While McFarland is the star of this set maybe a subtitle should read "Rico McFarland and Friends" as he gets some help form some of the best in the business. Along for the ride are the Evidence All-Stars who comprise of Chico Banks, Melvin Taylor, Carl Weathersby and Dan Bellini from Howard & the White Boys. As if that wasn't enough add in harp masters Sugar Blue and Billy Branch plus two of the best soul/blues singers around namely Otis Clay and Syl Johnson. Despite all the talent on display this is no battle of the egos and instead we get some flat out great ensemble playing.

 McFarland takes the vocals on six of the twelve cuts proving to be a fine soulful singer. His guitar playing cuts like a knife with a hard edge blues/rock bent but always very tastefully done. Highlights abound especially when Syl Johnson rips into a gritty cover of Al Green's "It Ain't No Fun To Me" and Otis Clay tackles the uplifting gospel tinged "What If God Was One Of Us" both of which benefit from blasting brass by The Chicago Horns. The super funky "Bad Attitude" opens things up with McFarland on vocals featuring blistering tenor work from Hank Ford, while "Tired Of Being Alone" is a driving R&B number featuring some sizzling guitar and "Rockin' Chair" is a gentle R&B cut with a great hook. Also worth mentioning is the chugging Chicago blues of "Made Up My Mind" with Billy Branch handling vocal and harp chores.

 You really couldn't ask for a better debut than this with McFarland incorporating years of experience with a versatile mix of soul, R&B, rock and blues rolled into a great package. This one comes highly recommended.

(Jeff Harris)

 Finally! For reasons only known to the record company this classic Bluesville recording has remained out of print for far too long. Scrapper Blackwell was one of the blues most distinctive guitar players and this 1961 date, cut during his brief rediscovery period, is simply a stunning set of country blues.

 Scrapper Blackwell is best known from his partnership with pianist Leroy Carr which lasted from 1928-1935. The duo was one of the most popular blues acts of their era cutting classics like "How Long, How Long," "When the Sun Goes Down," and "Blues Before Sunrise" among many others. Blackwell also cut some exceptional material under his own name. Carr drunk himself to an early death in 1935 (he was 30 years old) and shortly afterwards Blackwell retired from the music business. It wasn't until the late 50's that he was rediscovered and coaxed back into resuming his career. Mr. Scrapper's Blues shows that his playing had lost little in the intervening years and this recording remains a true classic.

 Blackwell's guitar playing is dazzling with a lyrical, jazzy style free of any of the standard blues clichés. His vocals may have lost some of the authority of his early sides but he stills sings with plenty of feeling. The ten cuts are a mix of originals, standards plus a number of songs he performed with his old partner Leroy Carr. With Blackwell playing just solo there's a warm, personal feel to these sides aided by first class remastering. Of the originals highlights go to the moving "Goin' Where The Monon Crosses The Yellow Dog" and a pair of stunning, sophisticated instrumentals in "A Blues" and "E Blues." The set includes one standard in "Nobody Knows You When You're Down And Out" given a deeply poignant reading. "George Street Blues","Blues Before Sunrise" and "Shady Lane" are all tunes performed with Leroy Carr and given wonderful interpretations by Blackwell.

 Unfortunately Blackwell's comeback was short lived. The following year he was shot to death the victim of an apparent mugging. Mr. Scrapper's Blues stands as a testament to one of the blues greatest guitarists an innovator whose name should be mentioned in the same breadth as Lonnie Johnson, T-Bone Walker and the like.

[Blackwell recorded one other record for Bluesville titled My Heart Struck Sorrow with singer Brooks Berry so let's keep our fingers crossed that this one also sees the light of day soon]

Alligator Records 30th Anniversary Collection
(Alligator)

 Five more years have brought us to another star-studded, action-packed Alligator Anniversary Collection. The past Collections have been some of the finest blues collections put on disc. This collection is no different; and it is jammed with two facets of Alligator gems; cuts culled from the countless
studio takes and live performances that were chosen for your satisfaction. An
added bonus is the enhancement of the discs showing a live video performance
of Hound Dog Taylor, the first artist recorded by the fledgling Alligator Records back in the early seventies.

 The studio takes come from previous releases by Shemekia Copeland, Michael Burks, Marcia Ball (the newest ‘Gator’ artist), Junior Wells, Robert Cray & Albert Collins, Corey Harris & Henry Butler, William Clarke, Koko Taylor, Carey Bell, Rusty Zinn, Corey Harris (solo), The Kinsey Report, Cephas & Wiggins, Dave Hole, The Holmes Brothers, Johnny Winter, and Phillip Walker & Lonnie Brooks.

 The live sides include performances by Lonnie Brooks, Luther Allison, C.J. Chenier, Albert Collins, James Cotton, Elvin Bishop, Saffire, Little Charlie & The Nightcats, Delbert McClinton, Lil’ Ed & The Blues Imperials, Son Seals with Elvin Bishop, Lonnie Mack, and Hound Dog Taylor. The selections are widely diverse, but the common denominator is the superb excellence of each artist. Across the board, Alligator’s stable of recording artists remains strong and varied. Stretching from Louisiana, to Chicago, back to the Delta, and then into Texas; Alligator’s artists are the cream of
the crop.

 This disc goes the length as a sampler, but better than that it is something you can play over and over. Never tiring, an Alligator business reflection; this biscuit rocks, digs deep for blues, and rolls along with heavy Harmanies and distinctive melodies. Look for a long ride somewhere, so you can plop this in and kick back; by the time you finish the biscuit and/or arrive at your destination, you’ve treated and schooled yourself to some very fine blues and root music. Another fine collection from Alligator; Happy 30th to ‘em.

(Mark A. Cole)

Smokey Babe: Hottest Brand Goin' (Prestige/Bluesville)
Arbee Stidham: Tired Of Wandering (Prestige/Bluesville)
Reverend Gary Davis: Guitar & Banjo Of Reverend Gary Davis

 The Bluesville label, a subsidiary of Prestige Records, was formed at a time when the blues was seeing an increased interest by young white audiences. It was the beginning of the so called "blues boom" when musicians who hadn't recorded since the 20's and 30's were finding an all new audience for their music and many artists got the chance to record for the first time. During it's brief existence Bluesville put out some exceptional LP's which are now thankfully being reissued by the Fantasy label. The latest is a stylistically diverse batch including long out of print records by Arbee Stidham, Smoky Babe and Reverend Gary Davis.

 Robert Brown aka Smoky Babe is shadowy blues figure who recorded very little before drifting off into obscurity and purportedly dying in 1975. He was discovered by noted folklorist Harry Oster and went on to cut two records for the Folk-Lyric label (available as one CD on Arhoolie) and this outstanding date for Bluesville in 1961. Smoky Babe was never more than a semi-pro musician but the music on Hottest Brand Goin' is country blues of the highest order. In the liner notes Oster describes his playing as "rich, hot and highly complex" and this is coupled with his strong vocals and inventive songs. Highlights include "Now Your Man Done Gone" (a retitled version of "Baby Please Don't Go"), the autobiographical title cut talking about his job at he Conoco gas station and "Ocean Blues" featuring some fine bottleneck playing.

 Arbee Stidham goes here...

 In his prime the Reverend Gary Davis was one of the finest practitioners of the East Coast Piedmont school of ragtime guitar. Davis' early recordings (1935-1949) are absolutely staggering in their technique putting him in very select company. In 1937 he became an ordained minister focusing his talent on mainly gospel material. During the folk revival Davis became one of the era's most popular performers. The Guitar & Banjo of Reverend Gary Davis cut in 1964 was his third for the label and shows his remarkable technique virtually undiminished with age. This is an all instrumental outing with Davis showing his skill not only on guitar but also on banjo and Harmonica. The program is a mix of rags, blues and gospel including standouts like "Low Drag aka Cincinnati Flow Rag", the swinging "The Boy Was Kissing The Girl", "Devil's Dream" played on banjo and the self explanatory "Fast Fox Trot aka Buck Rag."

 The Bluesville label may have been short lived but they left us with a remarkably rich and varied catalog. The original Bluesville LP's have long been out of print and many are exceedingly rare which make Fantasy's reissue program all the more valuable as this material deserves much wider recognition than it originally received.

(Jeff Harris)