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Mighty Sam McClain
Sweet
Honey Bee 
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| Every month Bad Dog Blues reviews
the best new blues releases. 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: |
Roomful Of Blues: That's Right
(Alligator) 
Roomful Of Blues: The First Album (Hyena)
The relentlessly
swinging, horn driven Roomful of Blues band keeps rolling
along 35 years after they first formed. After some personnel
changes and an end to their long association with the Rounder
the band has jumped to the Alligator label and the band
sounds absolutely fresh and invigorated. In addition to
the brand new record Hyena Records has seen fit to reissue
the band's very first outing from 1977 which makes it a
good time assess the legacy of this mighty blues unit.
Roomful
of Blues coalesced in 1967 with guitarist Duke Robillard
and Al Copley putting together a band that focused on Chicago
blues. The vision expanded to incorporate R&B and jump
blues and in 1970 Roomful's trademark horns were added to
the mix. Like Muddy Waters legendary band, Roomful of Blues
has been a jumping off point for a myriad of talented musicians
like Duke Robillard,
Ronnie Earl, Ron Levy, Lou Ann Barton and Sugar Ray Norcia
among others. The band's self titled debut came out on Island
in 1977 and with "That's Right" the band has racked
up 17 records plus recording with legends like Big Joe Turner,
Eddie "Cleanhead" Vinson and Earl King. While
these two records were recorded 25 years apart the fire
still burns and amply demonstrate why Roomful remains one
of the blues most exciting acts.
After
an association that stretched back to the early 80's with
the Rounder family of labels Roomful has jumped ship to
Alligator which has done a stellar job capturing the band
at it's rocking best. This edition of Roomful is a mix of
veterans like Rich Lataille
on alto and tenor who's been in the band since the beginning,
guitarist Chris Vachon (1990), trumpeter Bob Enos (early
80's) and newcomers Jason Corbier on drums, Mark Stevens
on piano/organ, bassist Brad Hallen, Mark Earley on tenor/baritone
and singer/harpist Mark Dufresne. The big news here is new
frontman Mark Dufresne who is a tremendous big voiced singer
with amazing range. As usual there's plenty of swinging
numbers like the frantically jumping "That's Right!",
"Shame, Shame, Shame" featuring blasts of wailing
tenor and bleating trumpet and a rocking version of Big
Joe Turner's "Lipstick, Powder and Paint." It's
not just jump blues that the band's adept at just check
out songs like "We Can't Make It" very much in
a vintage B.B. King mode right down to Chris Vachon's guitar
which is a dead ringer for King's, the low-down blues of
"How Long Will It Last?", "I'll Keep On Trying"
a great R&B ballad with Dufrense really selling it and
the 50's styled rumba beat of "Tennessee Woman."
14 cuts on the disc and not one throwaway to be found.
With
Hyena's reissue of "The First Album" we travel
back in time to 1977. This
is the classic Roomful lineup including frontman Duke Robillard
on guitar and vocals, Al Copley on piano, Richard Lataille
on alto, Doug James on baritone and Greg Piccolo on tenor.
Listening to this record for the first time in years convinces
me that enough time has passed to label this a classic.
All the elements are in place for Roomful's vintage jazzy,
jumping sound on songs like the romping swinger "That's
My Life", the instrumental jump number "Give It
Up" propelled by those soulful, wailing horns and "Take
It Like A Man" another jivey swing piece. Equally good
are slower cuts like "Love Struck" featuring some
sensitive piano from Copley, "Texas Flood" featuring
Duke's big toned, chunky guitar and a lowdown take on "Stormy
Monday" with Duke laying down his best T-Bone Walker
inspired licks.
Roomful's mighty horn
propelled swing hasn't changed all that much over the years
and the shifting lineup of talented players has been a source
of invigoration that keeps the sound youthful and fun. If
your new to the band you couldn't do any better than picking
up both of these fine discs which will give you a nice primer
on what makes Roomful so special. And by all means make
sure to catch these guys live. Go to our Special
Features section to read a review of a recent
Roomful of Blues gig.
(Jeff Harris)
|
 Little
Hatch: Rock With Me Baby (APO)
Provine
Hatch aka Little Hatch died January 15th just prior to the
release of "Rock With Me Baby", his second album
on the APO label. Hatch has been based
in Kansas City since the 40's and while not all that well
known outside that city he's put out a handful of solid
blues records. "Rock
With Me Baby" is a fine testament to wonderful
down-home bluesman and among the last of a dying breed.
The seventh
of nine sons who all played harmonica, he was seven when
he owned his first harp. The family moved to Helena, Arkansas,
in 1935 where Hatch first encountered Howlin' Wolf, Johnny
Shines, Robert Lockwood and his biggest influence, Sonny
Boy Williamson II. He moved to Kansas City in 1946 where
he ran his own business and played in the KC clubs. His
first album, as "The Little Hatchet Band", was
recorded live by a German student in 1970 and issued on
the German M&M label. After a ten year retirement he
started playing again in the late
80's and made up for lost time cutting "Well, Allright"
in 1993 for the Modern Blues label and "Goin' Back"
in 1998 for the Kansas based APO label. "Rock
With Me Baby" was recorded over
three days in March, 1999
While you won't find
anything groundbreaking on "Rock
With Me Baby" this is a refreshingly low key set of
back porch acoustic blues that is rarely heard anymore.
Hatch's spare but effective harp and soulful vocals find
perfect support in the acoustic guitars of Jimmy D. Lane
(son of blues legend Jimmy Rogers) and the sensitive slide
guitar of Ron Edwards who has accompanied
Henry Townsend for the past 15 years and also appears on
Townsend's 2000 APO album. Hatch's material is almost exclusively
covers but there's a stripped down charm that make even
the most familiar tunes sound fresh. Hatch and the band
breathe new life into the gently rocking "Rock With
Me Baby" with outstanding slide from Edwards, Elmore
James' "I Believe I'll Go Back Home" sounds surprisingly
good as an acoustic number, a fine cover of Junior Parker's
"Next Time You See Me", a jumping version of Willie
Dixon's "Mellow Down Easy" and wrapping up with
the easygoing instrumental "Country Blues." These
tunes may be overly familiar but there's something so warm
and engaging about them that you can't help but be won over.
Little Hatch seemed
to be on the verge of getting some well overdo recognition
before his passing but fate had other ideas. Still Hatch
has made his mark with some wonderful recordings including
this final one which
is a marvelous down-home gem and the type of blues that
is fading as fast as the older generation of bluesman is
passing away.
(Jeff Harris)
|
Roy
"C": Slippin' & Slidin' (Three Gems)
Frank-O Johnson: This Must Be A Cheating Town (Phat Sounds)
Dr. "Feelgood" Potts: Dr. "Feelgood"
Potts (Ecko)
While blues
music continues to thrive, the black audience that once
made up the blues main listenership has been replaced
almost exclusively by a white audience. Southern soul,
however, continues to thrive mostly down south and mostly
marketed to black audiences through small radio stations
and a small labels who specialize in the music. Roy "C",
Frank-O Johnson and Dr. "Feelgood" Potts are
all veteran southern soul singers with new releases that
are keeping the tradition alive.
Roy Hammond,
known as Roy "C", has been active since the
50's getting his start in the vocal group The Genies who
he sang with between 1958 and 1963. After his vocal group
days Roy went solo cutting sides for a variety of labels
including Smash, Black Hawk, Shout, Alaga, Mercury, and
now the Three Gems imprint. He's also racked up 13 full
length albums. Roy "C" specializes in deep soul
songs about heartaches, cheating and love all sung in
a supple soul voice delivered with plenty of grit and
passion. Backed by an easygoing band and some nice horns
Roy "C" delivers his tales with conviction like
the irresistible "Slipping & Sliding" shining
a light on back door antics in the church, schools and
even the government (go figure!), the slinky "Slow
Roll It", the stomping "He Walked Away"
and the funky "Everybody Iis Cheating." A tasteful,
well crafted set of southern soul by a master.
Frank-O
Johnson mines similar territory as Roy "C" and
has about a dozen records under his belt. He also produces
"The Frank-O Johnson Smooth Soul Show" which
airs on over a dozen mostly southern radio stations. Johnson
has a smooth, soulful voice perfect for setting the right
romantic mood. Johnson mixes touches of contemporary soul
with a more vintage soul sound backed by a rock solid
groove provided by some nice horns and first rate background
vocals by singer Cynthie Parquet. Johnson puts across
fine tales of illicit affairs and making love on songs
like the relentlessly catchy "This Must Be a Cheating
Town" where he reels off a list of "cheating
towns" like Atlanta, Washington DC and Jackson, Mississippi,
the sultry "Anna Mae", slinky ballads like "Love
Don't Love Nobody" and "Night Time Love"
and a wonderful old school cover of Joe Tex's "Hold
On" featuring Lee Fields adding some fine vocals.
Robert
Potts aka Dr. "Feelgood" Potts has apparently
been around for some time and has recorded one full length
album prior to this one. This is Potts' debut for Ecko
and he joins his daughter Sheba Potts-Wright (who sings
background vocals) who also records for the label. Based
in Memphis, Tennessee since 1995 Ecko has built up a stable
of fine southern soul singers including Denise LaSalle,
Lee "Shot" Williams, Barbara Carr and many others.
Potts is a fine addition to the label and an excellent
silky voiced soul singer who mines mostly risqué
material. Backed by a mix of programmed instruments, background
singers along with real instruments and horns that create
a solid, funky groove for Potts' sly stories. Highlights
include "Here's Your Drawers", the bouncy "Aphrodisiac"
and the funky "You Can't Keep Your Pants Up."
Fans
of southern soul and blues fans with a more soulful bent
will certainly enjoy these records which are fine examples
of contemporary soul music. While this music is not exactly
setting the charts on fire like it used to it's good to
see these labels keeping the music alive and well.
(Jeff Harris)
|
 The
Amazing Secert History Of Elmore James
By Steve Franz (BluesSource) 
In
the panthenon of blues greats Elmore James' place
is forever assured and since his untimley death he's
remained one of the most universally loved bluesman
of all time. Yet for someone so roundly acclaimed
and influential his life has remained frustratingly
hazy. Now after 15 years of research we have "The
Amazing Secret History of Elmore James" a scrupulous
labor of love that pieces the jigsaw puzzle together
for a fascinating and revealing portratit of a bluesman
we all love but never really knew until now.
Franz's
book is a considerably expanded version of his 1994
master thesis and also combines and updated version
of his 1994 publication "The Ultimate Guide To
The Master Of The Slide", a comprehensive discography
of Elmore's recordings.
The
problem facing Franz was a daunting one for at the
time of Elmore's death in 1963 practically nothing
had been written about him and key members of his
band passed on without ever being interviewed. The
early reasearchers of the 50's and 60's were simply
not interested in contemporary bluesman like Elmore
James, Muddy Water and Howlin' Wolf. Franz provides
a lucid overview of the history of Elmore James scholarship
in the introduction starting with the few items written
about Elmore when he was alive and continuing up to
the present time. Franz's reasearch is meticlous and
impressive combining prodigous personal research with
references to nearly 500 print sources and over 300
different blues recordings.
Franz's
writing is lively throughout and rarely comes across
as dry and academic as writing of this type sometimes
does. He weaves his tale skillfully, chronologically
tracing Elmore's story from his his birth in Richland,
Mississippi to his untimely death in Chicago 45 years
later. While Elmore's talent puts him on a rarefied
plane reserved for only the greatest bluesman his
story of rambling around the delta, gigging at rough
and tumble juke joints, gaining regional success and
eventually heading to Chicago is a tale told by countless
bluesman both famous and obscure. As in the best biographies
we not only learn a great deal about the central character
but much about the blues culture of the delta between
the 30' and 50's and learn valuable insights into
the heyday of Chicago blues during the 50's and 60's.
Of course James was no ordinary bluesman and his first
record on the Jackson, Mississippi based Trumpet label
was no ordinary song- "Dust My Broom" would
make Elmore a star and become one of the most influential
blues records of all time. The excitement the record
caused is vividly recalled by record shop owner Bobby
Robinson who was sampling new releases when he discovered
the record: "From the moment I started to play
the record, I forgot about the other samples. I played
it over and over on my loudspeaker. Suddenly the record
shop filled with people waiting to buy the record.
...That was my introduction to Elmore James and I
have never been so moved by any singer before or since
that memorable day."
"Dust
My Broom" was just the start of an incredibly
consistent body of work including some of his best
work in the 60's recorded by none other than Bobby
Robinson himself. Franz devotes the first 124 pages
as straight biography of Elmore covering all the bases
drawing from interviews, personal reminisces and previous
research (much relativley obscure) to give us the
most detailed and rounded portrait of Elmore James
to date. In addition to straight biography Franz gives
us an iin depth anyalsis of the significance and influence
of Elmore's immortal recording of "Dust My Broom",
looks at those like Hound Dog Taylor, J.B. Hutto and
Homesick James who have been torchbearers of the Elmore
James sound and discusses and dispells the various
myths that have developed over the years. The book
is rounded out with some wonderful photos, label shots,
vintage advertisments and other memorabilia. The discography
itself covers nearly 70 pages and while I'm not qualified
to assess it's completeness it certainly appears to
be an imppressive piece of work in it's own right.
"The
Amazing Secret History of Elmore James" is an
important and impressive piece of blues scholarship
that will undoubtly remain the definitive statement
on Elmore James. Anyone
with an interest in one of the blues most transcendent
guitarists and those who want to expand their knowledge
of blues history will do well to read this fine book.
(Jeff
Harris)
|
 Mighty
Sam McClain: One More Bridge to Cross
(Mighty Music)
When Tina Turner was
with Ike, she use to open up "Proud Mary" with
the following statement, "Y' know, every now and
then I think you might like to hear something from us
nice and easy". That's exactly how Mighty Sam McClain
opens up his new offering, "One More Bridge to Cross" on
his new label 'Mighty Music'. Sam draws you in so nicely
and so easily on "Why Do We Have to Say Goodbye"
that before you know it, you're seduced into a religious
experience with the next two cuts, "Witness"
and "Open Up Heaven's Door" (dedicated to the
911 victims). Before you start feeling the pain in your
knees from praying, he hops you right up with a killer
version of "If It Wasn't 4 da Blues" that comes
equipped with blaring horns and killer guitar.
Bottom line, my friends,
is that Sam McClain has THE LOVE. There is no other way
to describe this man's beautiful approach to music. There
isn't a song he doesn't sing from the heart and arrange
to fill you up inside. Even when Sam's breaking your heart,
it feels so good. If I could sing like Sam I wouldn't
have a care in the world, I'd just fill up every room
in the world with THE LOVE.
In these days of the
disappearance of Soul, we are aching for a prophet with
a good message, and Sam is the Man when it comes to Soul
music. Haven't we all had enough hip hop, pop and rock
music and blues guitar pyrotechnics that's missing the
secret ingredient? Where's THE LOVE? It's with Sam McClain,
who deserves a WC Handy Award and a Grammy. Performer,
arranger, producer, record company man, Soulman, Gospelman,
Bluesman Sam deserves more than the world has given him.
And maybe, that's why he has all of these marvelous qualities
and songwriting talent. Nothing has ever been handed to
Sam, he's always been at the right place at almost the
right time, but not quite timed well enough to get that
big break. But ain't the Blues about hard luck and no
luck? Well, we're all lucky to have Sam on CD and recorded
darn well to boot! Excellent production, it appears Sam's
years with former producer Joe Harley have paid off.
"Are You Ready
For Love?" Well are you? You will be after Sam seduces
you with this excellent ballad. "Most of All"
is a wonderful tribute Sam makes to his wife about her
belief in him and God. "Been There, Done That"
is a slow walking blues that reeks of sadness and despair.
"What's Your Name?" a catchy, Santanaesque number
has a fine searing electric guitar throughout from Chris
Tofield (could your name be Carlos?) and wonderful background
vocals from Conchetta Prio.
The organ vamping by
Barry Seelen that opens "I Thought I Heard Your Voice"
pulls you right into a song about judgment day, equipped
with a devilish sax solo from either Pat Herlehy or Mark
Paquin (they're both credited with sax on the liner notes).
Trent Austin on trumpet rounds out the 'Mighty Horns',
an extremely powerful horn section that gives the 'Memphis
Horns' a run for the money, especially on this tune. Jim
Arnold's drumming throughout the record is very effective
and he does a good job of enforcing the dynamics needed
to compliment Sam's arrangements. Not to forget Dave Smith
on bass who handles each song with dexterity and timing
- most important to Sam's phrasing.
Sam masterfully features
different instruments on each of the songs on this record
and by doing this provides variety through the album.
"Sweet Honey Bee" has an Aretha bounce to it
and a great contrast to the killer, slow "The Other
Man in the Band" that precedes it. "Don't Leave
Me Behind" penned by lead guitarist Tofield combines
Gospel with Blues very successfully offering up a very
memorable chorus.
Sam doesn't quite finish
it "rough" like Ike & Tina did with "Proud
Mary", but he does get kind of dirty with the horns
on "One More Bridge to Cross". Can't imagine
this man has another bridge to cross as he appears to
have made it to the promised land. Make sure you cross
that 'Bridge' when you come see this title in the record
store. Catch a legend while he and you are still alive
to appreciate it.
(Dave Glynn)
[This review is copyright
© 2003 by Dave Glynn, and Blues On Stage at:
http://
www.mnblues.com, all rights reserved. Copy,
duplication or download prohibited without written permission]
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