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Shout, Sister, Shout!:
The Untold Story of Rock-and-Roll Trailblazer Sister
Rosetta Tharpe
By Gayle F. Wald (Beacon Press) 
While
Jazz and blues have been well documented both in
literature and in the reissue market gospel music
has gotten the short end of the stick. So it goes
without saying that countless greats have been overlooked
yet it's still surprising that a larger then life,
genre crossing, and flat out influential performer
such as Sister Rosetta Tharpe has been so neglected.
In fact up until just a few years ago there wasn't
even a domestic reissue of her classic sides although
she's been well served on the European market who
always seem to value our great musicians more then
we do. Finally Sister Rosetta's fascinating story
has been told, warts and all, in Gayle Wald's engaging,
thoroughly researched "Shout, Sister, Shout!:
The Untold Story of Rock-And-Roll Trailblazer Sister
Rosetta Tharpe."
Rock-And-Roll
Trailblazer is perhaps a bit of hyperbole, after
all the same such case has been made for numerous
artists, yet there's more than a nugget of truth
in that statement, all the more fascinating for
it to be applied to a gospel artist which goes to
the heart of what makes Sister Rosetta such an intriguing
musical figure. As Wald notes Rosetta "attempted
to inhabit an in-between place where the worlds
of religious and popular music intersected and overlapped.
She performed church hymns on secular stages. She
breached standards of holiness and respectability
by singing blues and jazz songs about worldly desires.
Even when limiting herself to a church repertoire,
she stuck out as a loud woman: loud in her playing,
loud in her personality. In concert, she combined
the spontaneous fervor of religious revivals with
the practical production values of Broadway variety
shows." And of course there was her extraordinary
guitar playing, practically unheard of for a woman
in any musical genre, with perhaps Memphis Minnie
being the most notable exception. In fact like Minnie
she was said to play the guitar like a man, sexist
for sure, but high compliment in that era. Wald
discusses and provides countless examples of Tharpe's
guitar prowess but as to who exactly were Tharpe's
influences, Ward gives no indication. The term rock-and-roll
crops up often and Wald I think strains a bit too
much in making Tharpe out as a rock innovator- influencing
everyone form Elvis to Jerry Lee Lewis to Johnny
Cash among numerous others cited. As to those British
rockers who came out to see her in Europe they were
undoubtedly awed by Tharpe as Wald makes clear but
as for influence it was the bluesman that clearly
were the prime influence. Wald proclaims that "...directly
or indirectly, her spirit infused everything from
the rock and roll of Chuck Berry to the rockabilly
sounds of Elvis to the groovy, tripped-out summer
of Woodstock..." On this point she fails to
persuasively make her case.
Wald
weaves a brisk, readable, exceedingly well sourced
account of Tharpe's life based on hundreds of interviews
and sifting through stacks of books and periodicals.
Tharpe and her mother Katie rose from the Pentecostal
church; from traveling evangelist on the revival
circuit to star attraction at the Cotton Club, recording
star of the 1940s to an idol of the European blues
revival in the 1960s. Wald provides important background
on Tharpe's Pentecostal upbringing and notes that
it is "the only indigenous U.S. music in which
woman performers, especially soloists, predominate.
Rock and roll, a form Rosetta Tharpe would help
invent, has long been associated with masculine
prowess and male musicians. But rock's gospel roots
betray its feminine heritage-a heritage largely
located in the Pentecostal church." In addition
the church has a liberal take on music letting members
"shout" their faith with everything from
tambourines, trumpets to guitars.
Tharpe
was guitar playing prodigy from the start moving
with her mother from Cotton Plant Arkansas to Chicago
before mother and daughter hit the "gospel
highway" as traveling evangelists. In the late
30's the two were based in a Miami church which
began broadcasting on the air with Rosetta as the
star. It's a bit hazy how Rosetta made the leap,
but by the Fall of 1938 she was playing the Cotton
Club in New York where she quickly became a sensation
and began her recording career for Decca, an association
that would last until the mid-50's. The morality
of "swinging the spirituals" was a debate
that raged among various denominations and Wald
does a good job explaining Tharpe's own struggles
with this contradiction, a struggle she wrestled
with her entire career. On the one hand was her
deeply held faith but yet she was also keenly aware
of the show business aspect; she worked the night
clubs, dressed with glamour (wigs, furs, jewelry,
etc.), sang blues, flirted, drank and even turned
her third wedding into a spectacular outdoor concert,
purportedly attended by some 20,000 well wishers.
Tharpe wanted to have it both ways which often caused
friction between her and her religious audience:
"Rosetta represented a crack in the dam many
black people had erected to preserve the church
as a space apart. ...Dinah washington (the former
gospel singer Ruth Jones) could sing in clubs about
being "A Slick Chick (On The Mellow side)",
and Mahalia could proclaim her principled refusal
to sing at the Apollo in church halls across the
nation, but Rosetta was a threat because she dared
to bring Mahalia's repertoire into Dinah's territory."
By
the 1950's Tharpe's star had faded, the hit records
dried up and she was playing smaller and smaller
venues. By this period R&B was on the rise and
Rosetta's dabbling in the field wasn't successful,
further alienating her gospel audience. By the mid-50's
she recommitted herself to gospel and saw her fame
soar with her first European tour in 1957. Wald
is particularly insightful on on Rosetta's European
popularity where she was idolized and where she
found a degree of freedom from the still pervasive
Jim Crow. On the other hand Europeans views of African
Americans were, as Wald notes, seen as "an
index of black suffering" as well as viewed
in moralistic and romantic terms that were well
meaning but naive. Her overseas popularity also
raised her profile in the States and caught the
attention of the burgeoning U.S. blues revival.
She returned overseas several times, notably in
1964 as part of the American Folk Blues Festival,
and resumed her recording career cutting several
LP's for the Savoy label. She made her final public
appearance in 1972 after a series of arduous health
problems, passing in 1973.
Since
Rosetta's death some thirty years ago her enormous
legacy has been largely neglected. In "Shout,
Sister, Shout!" Wald has resurrected Tharpe's
dynamic contributions to American music, putting
her complicated and often contradictory life onto
the pages of this thoroughly engaging biography.
-Check
out these related links:
Shout,
Sister, Shout Website
(Jeff
Harris)
|
Lee Shot Williams:
Meat Man (Ecko) 
Like
label mates Denise Lasalle and Barbara Carr, Lee
Shot Williams is a veteran soul/blues singer who’s
found a comfortable home on the Memphis based
Ecko label singing contemporary southern soul.
Much that passes for southern soul is formulaic,
relying on labored double entendres and slick
production and while Lee Shot is not immune to
that style, his records usually display enough
charisma to rise above the pack. "Meat Man"
isn’t one of his best, but like most of his records,
has some merits.
Although
it may not be apparent on his recent records,
Lee Shot’s roots are firmly rooted in hard blues
and soul. Williams’ made his way to Chicago by
the late 50’s where he fell in with Smokey Smothers,
Magic Sam and Earl Hooker among others. In 1962,
Williams waxed his first singles for Chicago's
Foxy label followed by 45’s for King/Federal,
Palos, Gamma, Shama and Tchula. His 1964 recording
"Welcome to the Club" was a hit in Chicago
and later covered Little Milton for Checker Records
in 1965. Another regional hit, "I Like Your
Style," came out in 1969 and was later covered
by Junior Parker. Williams recorded sporadically
in the 70’s and 80’s before landing at Ecko in
1996.
"Meat
Man" pales in comparison to last year’s "Starts
With A "P"" which was one of his
better, bluesier efforts in some time. It’s a
sad fact that, for the most part, to score a big
hit on the southern soul market you usually need
a suitability dirty song. The mold was set with
Lee Shot’s first big Ecko hit "She's Made
A Freak Out Of Me" and every record since
has sought a similar follow-up. So we get the
not too subtle title cut with lyrics that leave
little to the imagination. Still Lee Shot retains
a soulful voice that easily slips from silky smooth
to a grittier style and really knows how to put
across a song. Just check out "I’ve Got A
Problem a gritty soul/blues number in the best
tradition of Little Milton and Bobby Bland built
on an irresistible pulsing organ groove. Lee Shot
also delivers the goods on "Make Me Yours"
a prime slab of old school R&B and a nice
revival of Wilson Pickett’s classic "I Found
A Love." On a more contemporary side, Lee
Shot is in good form on the upbeat "I Got
What What I Wanted But I Lost What I Had"
and the sultry, humorous "I Ate Too Much
Over The Holidays."
Give
credit to Lee Shot for hanging in there all these
years and still being able to carve out a successful
career on the southern soul scene. Lee Shot remains
an impressive soul/blues singer who still puts
it across with plenty of conviction even when
he’s working with material that’s not up to his
talents.
-Check
out these links:
Ecko
Records Website
(Jeff
Harris)
|
Rockin' Robin
and A Bucket of Blues (Here and Gone)
For
most blues fans Rochester New York's main claim
to fame is that the legendary Son House resided
in the city and was rediscovered here in 1964.
For a mid-sized city Rochester actually boasts
a surprisingly vibrant blues scene best known
for nationally known artists like John Mooney,
who left town long ago, and Joe Beard who's
never left and plays around town every week.
There's also terrific lesser know veteran outfits
like The John Cole Blues Band, Steve Grills
& The Roadmasters and Rockin' Robin (Hutcherson).
A long time fixture on the Rochester scene,
Rockin' Robin and a Bucket of Blues finally
make their self titled recorded debut laying
down a great mix of blues, soul and R&B.
Rockin'
Robin and a Bucket of Blues serve up an equal
mix of blues, soul and R&B; the kind of
music more suited to a corner juke joint then
you're average white blues bar.The focal point
is Rockin' Robin's gritty, soulful vocals well
suited to both soul ballads and hard hitting
Chicago Blues. Bucket of Blues lays down a tight
groove filling out the sound some fine Hammond
Organ, horns and backing vocals by a four piece
group called Promise. The band puts down some
hard hitting blues with the tough, swaggering
shuffle of Albert Collins' "If You Love
Me Like You Say", the oft kilter groove
of B.B.'s classic "Woke Up This Morning"
featuring Paul De Loria's wailing alto, a gritty
cover of the Buddy Guy anthem "Damn Right
I Got The Blues" and a smoldering cover
of "Tin Pan Alley" featuring some
of Robin's most impassioned singing backed by
some moody, gospel inflected backup from Promise.
Robin and the band slip into soul territory
with fine readings of Jimmy Hughs' "Steal
Away", "Something You Got" featuring
the sexy vocals of Stacey Smoot Holderer plus
some juke joint favorites including "Bump
And Grind" and Joe Tex's "Ain't Gonna
Bump No More."
In
a crowded and talented blues town Rockin' Robin
and a Bucket of Blues have made a name for themselves
with their brand of earthy blues and soul, well
represented on their long overdue debut. All
in all a well produced outing that really shows
what the band is all about on a dozen well chosen
numbers.
-Check
out these links:
Rockin'
Robin on CDMojo
(Jeff
Harris)
|
John Németh:
Magic Touch (Blind Pig)
No
John Németh is not well known in blues
circles but pick up his latest record and you
can brag to everyone you that heard him before
he was famous. Németh’s big label debut,
"Magic Touch", showcases a knockout
blues vocalist and a supremely talented harmonica
player – in other words a major talent.
Németh
didn’t come out of nowhere, and in fact was
a featured artist with The Junior Watson Band
in 2002 and with Anson Funderburgh and the Rockets
in 2005 and 2006. Németh has also cut
a couple of independent records, first with
"The Jack of Harps" and 2004’s "Come
And Get It" with The Junior Watson Band.
He’s now inked a multi-record recording deal
with Blind Pig Records. As label head Jerry
Del Giudice noted: "In our nearly 30 years
in the business we have never before offered
a new artist a recording contract on the strength
of one performance." "Magic Touch"
is the rare record that actually lives up to
the hype, a thoroughly impressive outing from
start to finish.
The
first thing that jumps out upon listening is
that Németh is a naturally gifted singer,
with a sweet, soulful voice that has a distinct
50’s era sensibility. He’s also a gifted harp
blower although in this regard he’s rather under
utilized. Németh’s traditional vocal
style finds the perfect foil in his talented
band featuring The Texas Horns with Mark Kazinoff,
a guest shot from Anson Funderburgh (who's also
the producer) and the big toned guitar of Junior
Watson who nearly steals the show on a few numbers.
Backed by the gently riffing Texas Horns, Németh
soars on the vintage R&B of the infectious
"Blues Broadway", the plaintive 50’s
styled "You’re An Angel" and "Let
Me Hold You" the latter two with some meaty
Johnny "Guitar" Watson licks from
Junior and the storming "Magic Touch"
featuring stomping piano from John Calhoun Street
who sparkles throughout. Németh really
should have showed more of his harp skills as
he simply cooks when he gets the chance as on
a romping cover of Jr. Well's "Blues Hit
Big Town" with some powerhouse blowing
and "She did Not Show" evoking the
late Sonny Boy Williamson II. Németh
draws inspiration from all over the map – a
little 60's soul, 50's blues ballads, a bit
of New Orleans, West Coast style and of course
some Chicago blues.
Németh's
sensational vocals are suitable for just about
any blues style he attempts and he cuts a wide
stylistic swath on his hugely entertaining big
label breakout. Expertly produced by Anson Funderburgh,
and backed by a flawless band, "Magic Touch"
heralds a fully formed major talent.
-Check
out these links:
Blind
Pig Website
(Jeff
Harris)
|
John Hammond:
Push Comes To Shove (Back Porch)
John
Hammond was there at the beginning of the blues
revival of the early 60’s and 40 years down
the road he’s still going strong, if anything,
sounding more inspired than ever. On "Push
Comes To Shove" Hammond is still mining
classic blues territory as well as throwing
in plenty of new twists and turns that keep
the music sounding fresh and vital.
The
blues revival hadn’t gathered full steam when
Hammond cut his self titled debut in 1962; still
waiting to be rediscovered, all within a couple
of years, were Skip James, Mississippi John
Hurt, Son House and Bukka White. Alas, Hammond’s
primary inspiration, Robert Johnson, had been
dead for a couple of decades by the time Hammond
hit the scene. Down through the years Hammond
has been one of the foremost interpreters of
vintage blues songs not only on album but also
as a tireless live performer whose shows are
not to be missed. Hammond has recorded prolifically
through the years not only as a solo blues troubadour
but also as a very capable bandleader and electric
guitarist. On "Push Comes To Shove"
Hammond sounds invigorated on a batch fine covers
and original material, mixing both traditional
blues with a bit of blues experimentation for
a fresh take on his signature sound.
Those
checking the credits may be put off seeing hip-hip/bluesman
G. Love listed as producer and collaborator.
Long time fans shouldn’t worry as G. Love is
respectful of Hammond’s sound and in most respects
the album captures Hammond at his best. Hammond
plays both acoustic and electric guitar backed
by a veteran band that includes Bruce Katz on
organ, Marty Ballou on bass and Stephen Hodges
on drums. In the last few years Hammond has
begun writing some original material and has
written five of the twelve cuts here. Hammond
comes out swinging with the lean, raunchy title
cut and bold electric cover of "I'm Tore
Down" with G. Love adding some subtle but
effective vocals for a very modern take of this
chestnut. Hammond always sounds passionate but
at heart he’s a traditionalist, sounding most
at home on classic covers like the slinky, brooding
vibe of Jr. Wells' "Come On In This House"
and a rumbling full band version of Little Walter's
"Everything Gonna Be Alright" both
sporting some terrific amplified harmonica.
Also in a traditional vein are the chugging
Lightnin’ Slim number "Mean Ol’ Lonesome
Train" and the masterful country blues
originals "Heartache Blues", backed
just by Katz' sensitive piano work, a number
that sounds straight out of the Robert Johnson
songbook, and the full band romp of "You
Know That's Cold" as Hammond plays some
blistering national steel.
At
this point Hammond could just coast on his reputation
but with each new release he finds something
new to say and remains unwavering in his passion
for the classic blues.
-Check
out these related links:
John
Hammond Website
(Jeff
Harris)
|
Phillip Walker:
Going Back Home (Delta Groove)
It’s
been a long time since Philip Walker’s formative
years, when he formed his style playing around
the Gulf Coast of Louisiana and Texas. The funny
thing about veteran bluesmen like Walker is
that they never really lose those roots and
they very much in evidence on his superb Delta
Groove debut, the aptly titled, "Going
Back Home."
The
Gulf Coast is a unique musical melting pot where
a young Walker heard Cajun and Creole as a youngster
and then the blues when he moved with his family
across the line to Port Arthur Texas. Walker
landed a stint with the King of Zydeco, Clifton
Chenier and by the end of the 50’s Walker moved
to Los Angeles. There he waxed scattershot 45's
for small outfits like Elko and Gilkey through
the 60's as well as cutting sides with George
"Harmonica" Smith, Johnny Shines and
others. His recording career got a huge boost
through the support of Bruce Bromberg resulting
in 1973’s classic "The Bottom of the Top"
followed by the potent "Someday You'll
Have These Blues." Walker really never
cut a bad record, following up with worthy records
for Rounder, HighTone, Black Top and JSP. It’s
been seven years since Walker’s last studio
effort (he cut a live one in 2002 for M.C.)
and he sounds as good as ever, revisiting his
roots in magnificent fashion.
Walker
possesses a warm, expressive voice and alternates
between elegant and stinging guitar work. Delta
Groove has surrounded Walker with a terrific
band befitting his stature; on rhythm/lead guitar
is West Coast ace Rusty Zinn, Jeff Turmes on
bass, Richard Innes on drums, Rob Rio on piano
plus pianist Fred Kaplan and harmonica blower
Al Blake form the Hollywood Blue Flames. Walker
pays tribute to his Gulf Coast influences tackling
a pair by the late, great Lonesome Sundown (Walker
played guitar on his knockout 1977 comeback
"Been Gone Too Long") including the
shuffling "Leave My Money Alone" and
the steamy "If You See My Baby." Also
from the same territory are fine covers of Lightnin’
Hopkins' low-down "Don’t Think 'Cause You’re
Pretty" featuring atmospheric harp from
Blake and Frankie Lee Sims' infectious classic
"Walking with Frankie." Walker also
pays tribute to other influences including Percy
Mayfield's funky, hilarious "Lying Woman"
("When I first see you, say you’re name
was Mary Jane/But when I saw you in the police
lineup the heat was calling you another name")
and digs deep into a moody version the Ray Charles
classic "Blackjack." On board are
some fine originals including the bouncy Lightnin'
Hopkins styled "Honey Stew" and the
storming "Lay You Down" both prominently
featuring the sizzling fret work of Rusty Zinn
with the later showcasing the honking tenor
of David Woodford.
For
whatever reason Walker never received the high
profile of similar guitarists from his region
and era like his cousin Gatemouth Brown or contemporaries
like Albert Collins and Lonnie Brooks. Whatever
the reason there’s no doubting his passion and
talent as he proves on "Going Back Home",
the first truly great record of 2007.
-Check
out these related links:
Delta
Groove Website
Phillip
Walker Website
(Jeff
Harris)
|
Odell Harris:
Searching For Odell Harris
(Broke & Hungry)
There
are those blues labels, usually one man operations,
who have a singular mission, unerring good taste
and time after time deliver the goods; labels
like Dialtone out of Austin who put out great
unsung Texas blues records or The Sirens out of
Chicago who put out terrific piano blues records.
The fledgling Broke & Hungry looks to be in
that mold, first issuing a down-home gem with
Jimmy "Duck" Holmes' "Back to Bentonia"
and quickly following that up with Odell Harris
who delivers a fine blast of amped up country
blues on his debut, "Searching For Odell
Harris."
Broke
& Hungry’s blueprint really seems to come
from Fat Possum who have been delivering down-home
Mississippi blues for years, making household
names of Junior Kimbrough and R.L. Burnside, although
lately that seem to have put blues on the back
burner. 66-year-old singer/guitarist Odell Harris
hails from the hills of North Mississippi and
shares the thumping, hypnotic groove that Kimbrough
and Burnside made famous. As the title suggests,
Harris is a notoriously elusive character, rarely
performing in public and often disappearing for
long stretches of time. Jeff Konkel’s notes play
up the mystery much the way Fat Possum sought
to market their artists as dangerous or mysterious:
"I saw him once" Konkel writes – "on
the night the music on this disc was recorded.
I haven’t seen him since, and I’m not sure I will
again. …This disc may be the only way you ever
have a chance to hear Odell. But if you do happen
to see him, ask him to call me. We need to do
this again sometime." Judging from the results
they most certainly do.
As
unreliable and elusive as Harris is he was also,
not surprisingly, rather difficult and the recording
conditions didn’t help. Set up at a makeshift
studio at a local club that was supposed to close
early, the patrons never really left and were
anything but sympathetic. "Searching for
Odell Harris" was recorded during at an arduous
all-night recording session with Harris every
bit as difficult as the crowd. The 12 distilled
tracks are a raw but cohesive brand of North Mississippi
Hill music but often displaying a more delicate
touch then what Burnside and Kimbrough delivered.
Backing is lean with just Bill Abel on second
guitar and Lightnin’ Malcom on drums. The sound
is ragged but right as Malcom succinctly noted:
"Some of it wasn’t even in tune, but it was,
like, better than in tune." Harris can certainly
stomp it out as he proves on a thumping juke joint
version of Junior Parker’s "Train I Ride"
and instrumentals like "Daylight Romp"
and "Hill Funk" featuring a pulsing
groove and Harris’ sharp, jagged electric guitar
licks. He’s equally adept at more thoughtful tempos,
singing soulfully on "Before You Accuse Me",
Jimmy Reed’s "Can’t Stand To See You Go"
and the traditional "Someday Baby."
Harris delivers two gorgeous solo performances
in ".44 Blues" with a falsetto that
reminds me a bit of Skip James and the languid
"Laughing To Keep From Crying" which
brings to mind the underrated Joe Callicott who
used to sing this number.
Broke
& Hungry has hit the ground running with two
superb country blues records this year, and from
two virtual unknowns to boot. What are the odds?
Let’s hope both men get back into the studio soon
and if you see Odell Harris tell him we’d like
to hear more from him soon. In the meantime I
look forward to see what else this little label
turns up.
(Jeff
Harris)
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