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Long John Hunter
Hey
Baby
Mark Lemhouse
Tappin'
That Thing
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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: |
 Bobby
"Blue" Bland: Blues At Midnight (Malaco) 
At 73
years old Bobby "Blue" Bland has attained blues
superstardom long ago and while his hit making days are
long past he endures as the embodiment of what a blues singer
should be. "Blues At Midnight" is a classy, dignified
outing of Bland's steamy blend of soul and blues.
You
have to look at B.B. King for a bluesman of the same stature
as the indomitable Bobby
"Blue" Bland who started his amazing recording
career back in 1951. Bland's scorching, powerhouse vocals
served him well particularly in the 50's and 60's racking
up such immortal hits as "I Smell Trouble", "Little
Boy Blue", "Farther Up the Road", "I
Pity The Fool", "Two Steps From the Blues",
"Turn on Your Love Light" and many others. In
1985 Bland joined with the Malaco label which has become
a haven for veteran blues and soul stars. Bland's last album
for the label, 1998's "Memphis Monday Morning",
was one of his best in years and "Blues At Midnight"
is a marvelous follow-up.
Bland's
magnificent gospelly voice has weathered over the years
and he's favored a mellower musical approach in recent years.
Still Bland remains a convincing blues singer who's gritty,
soulful vocals has an aching vulnerability as he sings his
lowdown tales of love and heartache. Love it or hate it,
Bland's trademark snort is still there but so to is the
intimate way he puts across a song that remains absolutely
compelling. Malaco's classy production is a real plus with
plenty of brassy horns and moody organ and a batch of better
than average songs. As the title suggests this set has a
lowdown after hours feel as Bland's patented delivery stands
at the intersection where blues meets soul. Among the numerous
highlights include gems like the gently surging "I
Caught The Blues From Someone Else", the late night
feel of "You Hit The Nail On The Head" and "I've
Got The Blues At Midnight." The disc closes with a
pair of autobiographical numbers with the strutting "I'm
A Bluesman", a stripped down number featuring harmonica
and acoustic guitar where Bland brings up the ghosts of
past bluesmen such as Jimmy Reed, ZZ Hill and Muddy Waters
and the evocative "Ghetto Nights."
"Blues
At Midnight" is a potent blues outing from one of the
premier blues singers of the latter part of the 20th century.
His heyday may be well past but there's still something
undeniably moving when Bobby "Blue" Bland sings
the blues.
-Check out
past reviews of Bobby "Blue" Bland:
Memphis
Monday Morning
The
Anthology
Two
Steps From The Blues
Little
Boy Blue: The Bobby "Blue" Bland Story
(Jeff Harris)
|
 Modern
Master: The Best Of Rod Piazza 1968-2003
(Tone-Cool)
After twenty years fronting
the the formidable blues unit the Mighty Flyers, and 15
years before that, Rod Piazza has rightly earned the status
as a modern master of the blues harmonica. "The
Best Of Rod Piazza 1968-2003" collects 28 prime cuts
spanning two discs and 35 years to present a portrait of
world class bluesman who has only gotten better with age.
"Harmonica
Rod", as he was known in the late 60's, paid his dues
in small California clubs, listened intently to records,
especially Little Walter, and eventually came under the
tutelage of the legendary George "Harmonica"
Smith. "Modern Master" traces Piazza's arc from
his days when he was still finding his voice with the Dirty
Blues Band (two albums in 1967 and 1969), more assured outings
with Bacon Fat (two albums in 1970 and 1971) and finally
as front man for The Mighty Flyers where he really came
into his own. Tone-Cool has done a fine job stitching this
career retrospective together particularly the early sides
which have not appeared on CD before. As a special bonus
there's also nearly 12 minutes of live video footage from
the Red Bank Blues & Jazz Festival shot in 2002. Unfortunately,
due to licensing restrictions, material from his two fine
early 90's outings for Black Top could not be included.
Those
who've been following Piazza's career for a while should
be in for some surprises on the first disc which contains
a number of early hard to find tracks. The opener "Spoonful",
harks back to his very first recording effort with the Dirty
Blues Band and while not earth shattering, his big toned
harmonica is easily recognizable. Better yet is the blazing
instrumental "Juicy Harmonica" and the shuffling
"Up The Line" both from 1970 with the latter featuring
his mentor George "Harmonica" Smith. "The
Bounce" is another instrumental gem from 1979 with
other highlights going to the low-down "Blues for Honey"
featuring the sparkling 88's of Honey Piazza, the rocking
"Do The Boogie With You" and the harmonica tour-de-force
"Harpburn" from 1985's album of the same name.
The second disc, spotlighting the late 80's to the present,
show Piazza in full command of his instrument featuring
tremendous support from the Mighty Flyers. A bonus are two
excellent previously unreleased cuts, one from B.B. King's
Memphis blues club and the other from the 1998 W.C. Handy
Award Show where he won the award for "Blues Instrumetalist-Harmonica."
Other highlights include the heartfelt "Tribute To
George Smith" which brings out some of his most impassioned
playing, the romping "So Glad to Have the Blues",
the jumping "First Love" and the retro styled
burner "Who Knows What's Goin' On."
After 35 years of cutting
records and blowing away crowds wherever he stepped on stage
Rod Piazza continues to hone his craft and as this stellar
collection proves he simply gets stronger and stronger with
age. For those new
to Rod Piazza this retrospective makes the perfect introduction
but even old fans are sure to find something new in this
highly entertaining collection.
-Check out
past reviews of Rod Piazza:
Beyond
The Source
Here
And Now
(Jeff Harris)
|
 Eugene
"Hideaway" Bridges: Jump The Joint
(Armadillo)
With each
successive album Eugene "Hideaway" Bridges continues
to make his case as one of the best bluesman of his generation.
On "Jump This Joint" he proves he's a bonafide
blues star displaying a maturity and passion beyond his
years.
Bridges
was steeped in music at an early age singing with his
blues playing father, Hideaway Slim, from the age of five
and by seven sang gospel with his brothers under the name
of The Bridges Brothers. He eventually formed his own
band but found things tough going. He decided to try his
luck in Europe which has turned out to be much more receptive.
The results have been rave reviews for his live performances
and a pair of excellent records on overseas labels. Unfortunately
here in the states it seems you either have to be an old
veteran like B.B. King or a young rocked out blues slinger
ala Johnny Lang to get any serious attention. That's a
shame because Bridges has it all- outstanding vocals,
tremendous guitar chops and a knack for writing a good
tune- all of which are on display on "Jump This Joint."
Bridges
displays and old school blues ethic without a trace of
rock influences drawing inspiration instead from the likes
of B.B. King, Sam Cooke and from his own gospel background.
Bridges makes his case right off the bat with the tough
minded "I Got The Blues" which segues from a
minor key T-Bone Walker lick into a chugging blues stomper.
There's plenty more gritty straight blues like the growling
"Take Home Pay" and the moody down in the alley
feel on "Walk The Back Street." Bridges serves
up plenty of diversity including the retro party blues
of "Jump The Joint" featuring the rolling keyboards
of labelmate Daryl Davis, "She Wants To Dance With
Me" a tribute to Sam Cooke sounding uncannily like
his idol, the funky contemporary blues of "Living"
with some socially conscious lyrics and the soaring "Won't
Cry No More" a fervent gospel flavored number.
If there's
anyone who's ever a sure thing for blues stardom it has
to be Eugene "Hideaway" Bridges, who at 40 (young
in the blues world), is already one of the blues elite.
The UK based Armadillo has done a classy job with this
release but it's still ironic that a bluesman of his stature
has to leave his own country to make a living.
-Check out
past reviews of Eugene "Hideaway" Bridges:
Man
Without A Home
(Jeff Harris)
|
 Long
John Hunter: One Foot In Texas (Doc Blues)
Through
the late 50's and 60's Long John Hunter was a local
legend well known in the bordertown region between
El Paso, Texas and Juarez, Mexico. As the 90's dawned
Hunter reputation finally reached a larger audience
thanks to a series of fine records for the Alligator
label. Hunter seemingly dropped off the map again
by the end of the 90's but now, after a five year
absence, he's back and better than ever with "One
Foot In Texas."
Hunter
paid his dues playing thirteen years at Juarez's notorious
Lobby Bar starting in 1957 entertaining a rowdy crowd
of cowboys, frat boys, soldiers and brave tourists.
He also cut some raw and wild numbers for small local
labels like Yucca and El Paso (collected on Norton's
marvelous "Ooh Wee Pretty Baby!"). Unfortunately
Hunter had to wait to the 90's when he hooked up with
Alligator for his legend to finally reach outside
the Lone Star state. Hunter's last record under his
own name came out in 1997 and we last heard from him
on 1999's fine "Lone Star Shootout" (with
Lonnie Brooks and Phillip Walker). After a five year
departure Hunter is back in stellar form on "One
Foot In Texas" and this time around he's joined
by his brother Tom who, as it turns out, is one hell
of a bluesman himself.
This
time around Hunter has resurfaced on the small Doc
Blues label but this one's every bit as good as his
highly regarded Alligator releases. Hunter oozes that
big, dusty Texas blues sound backed by an all-star
crew including the riffing horns of The Texas Horns,
ace sax man Mark "Kaz" Kazanoff, the Double
Trouble rhythm section of Tommy Shannon and Chris
Layton and guests Gary Primich and Dereck O'Brien.
For his part Hunter's burnished, drawling vocals and
stinging guitar attack sound as good as ever and brother
Tom "Blues Man" Hunter can more than hold
his own in both departments. "Hey Baby"
jump starts things with punchy horns and a lowdown,
gritty solo from Long John, "One Foot in Texas"
kicks off with a storming Elmore James laced guitar
attack featuring some rollicking piano from Nick Connolly,
while "Roll Over & Cover My Head" and
the swaying "Can I Depend On You" are a
pair of first rate blues ballads. A couple of the
best numbers are the autobiographical ones like the
low-down "Talkin Country" ("I was born
in the country/So far out In the sticks/Till' July
the 4th didn't come until July the 6th") and
the wonderful loose, improvised "Riffin' and
Reminiscin'" where the two brother humorously
talk about growing up together over a dual guitar
vamp.
"One
Foot In Texas" is a satisfying
dose of pure Texas blues and the addition of Tom Hunter
was an inspired choice giving this record an extra
dose of excitement.
-Check
out past reviews of Long John Hunter:
Lone
Star Shootout
Ooh
Wee Pretty Baby!
(Jeff
Harris)
|
 Mark
Lemhouse: Big Lonesome Radio (Yellow Dog)
Mark Lemhouse's debut
"Big Lonesome Radio" is the kind of record that
can reassure your faith that the blues is a still vital
and thriving music. Lemhouse and his like minded cohorts
blaze through a stunning set of traditional blues played
with utter authenticity, grit and passion.
Lemhouse hails from
Portland, Oregon but relocated to Memphis to get a closer
to the heart of the music he loved. Lemhouse wound up
playing with country bluesman Robert Belfour who became
his mentor and schooled in in the ways of the Mississippi
Hill blues popularized by folks like R.L. Burnside. It's
also obvious that he listened intently to those old blues
records by folks like Charlie Patton and Fred McDowell
among others. Around Memphis he honed his craft playing
in rootsy bands like the Handy Three and the Bluff City
Backsliders. Lemhouse has learned his lessons well and
crafted a unique traditional sound that incorporates everything
from Delta, Memphis and Chicago blues to Rockabilly and
jug band music.
As a guitarist Lemhouse
uses an arsenal that includes acoustic and electric guitars,
lap-steel and most impressively the ringing, big toned
sound of the National Resonator guitar. Lemhouse also
turns out to be an exceptional blues singer and the combination
gives these dozen tunes a real sense of authenticity.
Backing is provided by a tight little group consisting
at times of drums, upright bass, banjo, mandolin and violin.
The unmistakable sound of National resonator kicks off
Tampa Red's "You Can't Get That Stuff No More"
laying down some watery slide work, launches into tough
delta blues territory on a droning version of Fred McDowell's
"What's The Matter With Papa's Little Angel Child"
and some marvelous solo acoustic on Johnny Shines' "Baby
Sister Blues" which owes just as much in feel to
Shines' one time running partner Robert Johnson. Yank
Rachell's "Tappin' That Thing" is a real knockout,
a jumping jug band flavored number featuring wild guitar
as Lemhouse scats out the lyrics. Other highlights include
fine originals like "Electra" and "Mercy
Mia", a straight rockabilly cover of Charlie Feather's
"One Hand Loose" and the fuzzed out amplified
guitar on a solo version of "Driftin'" that
totally deconstructs the familiar Charles Brown classic.
Mark Lemhouse is the
real deal and "Big Lonesome Radio" is one hell
of a debut. Noted author Robert Gordon says it best in
his liner notes: "Mark Lemhouse came to Memphis and
Lord knows what he had in mind, but before he left, music
got a-holt of him." I'll second that!
(Jeff Harris)
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