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 CD Review  Book Review
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Page 1 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)
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 Living
Country Blues: An Anthology (Evidence)
In 1980
two young German blues enthusiasts came to America with the idea to
document the remaining country blues tradition. With their station
wagon and portable recording equipment that hit the dusty road
spending 2-1/2 months documenting blues, gospel, field hollers and
work songs throughout the South. Hundreds of hours of tape was used
and the resulting project came out as 14 LP's on the German
L&R label. Evidence Records has now distilled the project down to
this 3 CD "greatest hits" package featuring 25 artists and the results are
astonishing.
These recordings represent one of the last great
recordings trips to come out of the South and follows in the tradition
of Alan Lomax's legendary Library of Congress recordings. Country
blues may have waned in popularity but as these recordings prove the
tradition still lived on and this collection reveals it's full power
and beauty. For many of the artists these were their first recordings and
many never recorded again. The set also contains the debut of such
artists as Cephas and Wiggins and Lonnie Pitchford who went on to
greater fame. Some like Hammie Nixon and Sam Chatmon had been pre-war
recording stars with Nixon cutting his first sides in 1929 and
Chatmon as a member of the famous Mississippi Sheiks. Others had
learned directly from the blues masters such as Cedell Davis who
played with Robert Nighthawk and Arzo Youngblood and Boogie Bill Webb
who learned from the legendary Tommy Johnson.
The three CD's are divided by regional style: disc 1 focuses on
Mississippi, disc 2 on the East Coast and disc 3 contains all the
rest. Perhaps it's no surprise that some of the strongest performances
are found on the first disc. Highlights include Son Thomas'
raunchy, hypnotic version of "Catfish Blues" and his moving
"Bull Cow Blues." Boogie Bill Webb lays down two Tommy
Johnson classics including the beautiful "Maggie Campbell
Blues." One of the real finds is Boyd Rivers whose first and
only recordings can be found here. Rivers sings strictly gospel
and the intensity and sheer power of his vocals is something to behold
on his four tracks. Also to be found on disc 1 are Lonnie Pitchford's
excellent debut recordings.
Disc
2 focuses on East Coast Blues and is beautifully represented by the
moving, gently rolling blues of Archie Edwards. Edwards owned a barber
shop in Washington D.C. and the jam sessions there were legendary with
players like Skip James and Mississippi John Hurt often sitting
in. Edward's "Do Lord Remember Me" is one of the disc's most
moving moments and apparently the last song he listened to before he
died in 1998. Flora Molton was a street singer singing the
praises of the lord for forty years on the streets of Washington D.C.
Her "Vacation in Heaven" is a beautifully sung gospel number
with excellent harmonica by a young Phil Wiggins.
Disc
three is a grab bag of styles including more wonderful music by
Son Thomas, Boyd Rivers and Flora Molton. Memphis Piano Red is the
only full time piano player featured and his "Mr. Freddie
Blues" is in the classic barrelhouse style. Hammie Nixon was
already a blues legend when he made these recordings which feature his
powerful gruff voice as well as his multi-instrumental talents playing
harmonica, kazoo and jug on his three selections. Also worth
mentioning are the rough and tumble blues of Cedell Davis whose sound
is straight out of the juke joints and does a great version of Tampa
Red's "Let Me Play With Your Poodle."
Living
Country Blues is about as close to the heart of what the blues is
really about as many of us are likely to hear. Rough, soulful, moving
and utterly direct this music hits home because the men and women who
made this music truly lived the blues. For blues fans who are looking
for the real deal this collection is absolutely essential.
(Jeff Harris)
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George Stancell: Gorgeous George (JSP)
You've
got to hand it to the British JSP label who more than anyone else
continues to put out fresh new blues talent. Gorgeous George is
George Stancell's soul drenched debut and makes a late bid for one of
the best records of the year.
Credit goes to soul man Johnny Rawls for not only making this
project happen but doing a wonderful job producing this debut. Rawls
was a regular at Stancell's Milwaukee blues club when he offered him a
chance to record. Not exactly and overnight sensation considering that
Stancell had be playing close to 40 years and is now 60 years old!
Still, at least in the blues world, it seems your never to old to make
a fresh start.
Stancell's sound is firmly
rooted in that 60's soul groove but there's nothing dated about the
music on this record. Rawls, who knows something about soul music
himself, has done an impeccable job producing this one backed by the
excellent Nutmeg Horns. Nine of the eleven tracks were written by
Rawls and tenor player Bruce Feiner who make a formidable writing
team.
Of
course when you get right down to it it's Stancell's wonderful,
quivering voice that's the showpiece and sounds uncannily like the
great Little Johnny Taylor. If you don't believe me ask Johnny Rawls
who played with Little Johnny and says the same thing right on the
cover! Just listen to the conviction in Stancell's voice on the
chugging opener "Stop Your Cryin'" or the joyous horn blast
that opens "Gonna Keep On" and you'll realize your listening
to the real deal. Stancell's guitar playing is uncluttered and
soulful with not the least amount of excess.
Forty
years may be a long time to wait for a debut but all those years of
playing the blues, all the heartaches and joy come through on every
track. Some things get better with age and this one is aged just
right.
(Jeff
Harris)
|
 Big
Al Dupree: Positive Thinking
(Fedora)
There's something about Texas that seems to grow bluesmen. For
every well known Texas bluesman there's dozens more who never attain
fame outside of the state. Pianist and Sax player Big Al Dupree is one
of the latter, a local legend who finally seems to be getting his due.
Positive Thinking is Big Al's second record and if there's any
justice should get him the recognition he deserves.
Dupree did stints with Texas masters T-Bone Walker and Pee Wee
Crayton and those two gentleman certainly left there mark on Dupree's
music. Larger success eluded Dupree but he became a fixture in the
Dallas lounges. From 1967 until the mid-80's he held court at a supper
spot called the Southern Kitchen. It wasn't until 1995 that he cut his
first record with the help of the Dallas Blues Society. The record was
critically acclaimed and this new record will only enhance his
standing.
Big Al plays a
classy brand of blues rooted in the sophisticated, uptown blues sound
of the 40's. His music is classy and timeless in much the same way as the great Charles Brown. Dupree plays beautifully whether
tinkling the ivories or blowing the tenor sax. His smokey, laid back
vocals are a perfect compliment to the generally mellow feel
throughout. Texas guitarist Hash Brown backs Dupree impeccably with
his elegant T-Bone Walker influenced playing. Dupree mixes some fine
originals with vintage material like "Piney Brown" and a
jumping version of Eddie "Cleanhead" Vinson's "Kidney
Stew Blues." Originals like the title track and "Bold
Woman" showcase Dupree's hip delivery and witty lyrics.
It may sound like a cliché
but they really don't make records like this anymore. Big Al Dupree
deserves a wider audience and hopefully this record will bring
his classy brand of Texas blues to a wider audience.
(Jeff Harris)
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Joe Louis Walker: Silvertone Blues (Blue Thumb)
For his tenth album, the West
Coast blues guitarist with powerful roots in gospel and R&B, digs
way back. Back beyond the horns, the high-profile guest guitarists,
and the Muscle Shoals Rhythm Section all of whom Walker has worked so
successfully with in the past. Back beyond complex song structures,
raging electric guitar solos and crowd pleasing stage shows with his
full band. Not that any of those aspects of Joe Louis Walker's stellar
past weren't brilliant examples of his enormous talent. But there's
something even more thrilling about the stripped-down arrangements of
Silvertone Blues that brings out the best in this passionate artist.
His yearning, church style vocals have never seemed
more striking, his guitar work, especially on slide, has never sounded
so cutting, and his enthusiasm throughout these twelve tracks, all but
two written or co-written by the bluesman, shimmers and twinkles like
a man who has truly found his religion. With James Cotton on harp,
Alvin Youngblood Hart on second guitar, and Kenny "Blue
Boss" Wayne on piano, Walker sticks to an unplugged solo or duo format on the majority of this dazzling disc. That's all he needs
to provide a thrilling album of hard-edged Delta blues that cuts as
deep as his soul. The man's on fire as he howls, wails and cries the
blues, with just the barest of accompaniment. Even when the
rudimentary stand-up bass and simple drums join in, this is Walker's
most nakedly honest album ever.
Like so many of the blues greats before him who
plugged in but always left room in their sets for the down-home
acoustic tunes on which they were raised, Joe Louis Walker goes back
to his own roots on Silvertone Blues and pares down to the very basics
of the genre. It won't appeal to everyone, but it's impossible not to
be moved by Walker's fervor and obvious feeling for this music. By
remaining unplugged, Joe Louis Walker turns in his most electrifying
album yet.
(Hal Horowitz) |
|
 Little
Mack Simmons: The PM/Simmons Collection (Electro-Fi)
While
harmonica player Little Mack Simmons may have first cut his teeth in
Chicago in the 50's it hasn't been until recently that he's gotten the
attention he so rightly deserves. After a long stint away from music
Little Mack emerged in the 90's to cut some excellent records
particularly his last two for the Canadian Electro-Fi label. With The
PM/Simmons Collection Electro-Fi has done a great service to blues
fans by collecting 18 fine sides Simmons cut on his own label in the
70's and 80's. What makes the feat all the more remarkable is the fact
that the original master tapes were destroyed in a fire so this
collection had to be assembled from the original 45's.
Mack's story reads like someone who was destined to play the
harmonica. Not only was his childhood friend James Cotton but his
second wife's first cousin was the great Little Walter. Like many
harmonica players Mack fell under Little Walter's spell and his
playing still bears Little Walter's stamp. Mack cut a number of sides
for local labels but it wasn't until the 70's that his career
blossomed. With money from drug dealing Mack formed his own label as
well as putting together a state of the art recording studio.
Through the 70' and early 80's he laid down some first rate
Chicago blues backed by a crack which included Lonnie Brooks on guitar and
Detroit Junior on piano. Unfortunately it was also that
same drug dealing that took him off the scene for so long in the 80's.
Mack's
sound is prime Chicago blues with a good dose of funk and
R&B thrown into the mix. Mack's songs reflect his influences with
three Little Walter covers including a storming "You're So
Fine" and a tough, lowdown version of his instrumental "Blue
Lite." Mack also tackles Jr. Wells' "Messing With The
Kid" which has to be the funkiest version I've ever heard with
some great harp playing. Among the originals are the excellent hard
times blues lyrics of "Inflation Blues" and three great
tunes backing wonderful singer Arelean Brown. "I'm a
Streaker Baby" is a raunchy blues with some truly inventive
lyrics. The song became a hit in Chicago with Brown mounting her
"Streaker's Revue" featuring shake dancers and of course
streakers. Another highlight is Brown's witty "Impeach
Me" a duet with Lee "Shot" Williams. The under
appreciated Fenton Robinson is represented with one side of a 45 he
cut for Mack's label, the down home "Cryin' The Blues", with
Simmons lending sympathetic support on harp.
For fans who thought
they knew all the great Chicago harmonica players The PM/Simmons Collection will come as something of a
revelation. Little Mack is definitely back!
(Jeff Harris)
|
|
 Beverly
Watkins: Back In Business (Cello/MusicMaker)
On
Beverly Watkins debut she sums up her intentions in the opening song:
"Well, it's my time now, gonna rock your blues away."
Watkins makes good on her promise playing a good time brand of blues
that harks back to her days playing with the great Piano Red.
Watkins grew up in a musical family taking an interest in music at an
early age. As a child she listened to the blues singers of the day and
remembers playing guitar while listening to the records of Rosetta
Tharpe. When she was a junior in high-school she was introduced to
Piano Red who hired her as his rhythm guitarist. From 1959-1966 she
played and recorded with Piano Red and can be heard on his
popular singles "Doctor Feelgood" and "Right String But
the Wrong Yo Yo." Most recently she plays regularly in Atlanta
and has been traveling with the Music Maker tour wowing crowds with
her guitar showmanship.
Back
in Business is an excellently produced good time blues and R&B
record that is a perfect showcase for her searing guitar playing and
her powerhouse vocals. Backing Watkins is Carl Sonny Leyland who lays
down some tremendous boogie woogie piano. Things open up with "Miz
Dr. Feelgood" a blistering rocker that pays homage to her former
boss and continues in the mood with the bouncy "I'm Gonna
Rock Some More." Things get funky on "Impeach Me" with
some topical lyrics referring to Clinton and a certain Ms. Lewinsky.
The disc wraps up with the autobiographical title track where she lays
down some wonderful fluid guitar runs.
Those who think the blues are
all doom and gloom should give a listen to this one which radiates
nothing but sheer joy. Beverly Watkins is back in business indeed!
(Jeff Harris)
|
|
 Roy
Gaines: I Got The T-Bone Walker Blues (Groove Note)
It's
been almost fifty years since a fourteen year old prodigy named Roy
Gaines first shared a stage with his idol T-Bone Walker. Now
Gaines is finally getting the chance to pay personal tribute to the
man who so inspired him. I Got Those T-Bone Walker Blues is a
masterful tribute to the man who defined electric blues guitar.
Gaines grew up in Houston's Fifth Ward during the 40's and 50's a time
when T-Bone Walker's music was king. He also grew up in a family where
music was encouraged and took up the piano at an early age before switching
to guitar. The switch had more to do with his brother Grady who played
sax and used to walk the floor with girls following him all over the
club. Roy decided he also needed something to walk the floor with so
he could get those girls too! Gaines quickly learned a number of
T-Bone's songs and became known a first rate T-Bone imitator. T-Bone
had gotten wind of this and that's when their paths first crossed with
T-Bone coaxing him on stage one night. Afterwards Roy's reputation
soared and he became in high demand.
Over
the years Gaines has only cut a handful of things under his own name
but was an in demand session guitarist playing with the likes of Jimmy
Rushing, Chuck Willis, Ray Charles, Bobby Bland and countless others.
He continued to retain a close personal relationship with T-Bone until
his death in 1975. It should be no surprise that Gaines had always
wanted to do a T-Bone Walker tribute. Now fifty years after that first
fateful meeting Gaines has made the best of the chance he always
wanted.
Gaines is backed by a
tremendous horn section and the interplay between guitar and horns is
incredible. Gaines plays beautiful jazzy, fluid guitar lines
just like his mentor and if you close your eyes you just might think
it's T-Bone himself. From the languid guitar of "Stormy
Monday" to the sophisticated uptown swing of "The Hustle is
On" the band plays off itself wonderfully with Gaines guitar and
smokey vocals always upfront. "Honky Tonk Blues" is the only
non T-Bone tune but gets the same classy treatment as all the
rest plus some first rate violin and slapping bass that make
this one of the disc's highlights. Things wrap up with an acoustic
reprise of "Stormy Monday" that recalls Lightnin' Hopkins
who represented the other side of Texas blues. An appropriate ending
considering Lightnin' learned from the legendary Blind Lemon Jefferson
who coincidentally T-Bone had led around as a boy in the 20's.
Roy Gaines is a master musician
and after listening to I
Got Those T-Bone Walker Blues you couldn't imagine anyone doing it
better. Like T-Bone Walker the blues of Roy Gaines will live on
long after he's gone.
(Jeff Harris)
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|
 Weepin'
Willie: At Last On Time
(APO)
It's
a blues truism that your never too old to make your debut. Just ask 73
year old Weepin' Willie Robinson who's fulfilled his life long dream
with this release. At Last, On Time is the culmination of a
lifetime of paying his dues.
Willie has been singing the blues for the past forty years and has
become a fixture on the Boston scene. Unfortunately that local fame
has never propelled Willie to any greater fame or fortune. Willie's
dream was to "record a CD before I die" and that's when fate
seemed to step in. Within earshot was Mighty Sam McClain who
himself knew something about hard times. McClain took it as his
personal crusade to help Willie and not only got him a record deal but
also put together a top notch band which includes Susan Tedeschi and
guitarist Jimmy D. Lane. McClain also wrote six of the tracks and
helps out vocally.
What
makes this disc work is the wonderful chemistry between all involved.
Willie himself is in fine form and can really sing the blues whether
on up-tempo numbers like the opener "Love Call" or
"Weepin' Willie Boogie" to slow burners like "They Call
Me Weepin' Willie" with help from Mighty Sam. Other
highlights are "Can't Go Wrong Woman" with some sizzling
guitar from Jimmy D. Lane and the rousing "Glory Train" with
everyone taking turns vocally and Susan Tedeschi handling guitar
chores. There's also plenty of fun to be had on covers of
"Fever" and "Let the Good Times Roll." Special
credit goes to keyboard/organ player George PapaGeorge who really
fills things out.
At Last, On Time
is the culmination of a man who's lived and sung the blues all his
life and that emotion shines through on every track. Let's hope this
is the beginning and not the end of the Weepin' Willie story.
(Jeff Harris)
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