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 CD
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Book Review
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Page 1 of
2 of Reviews
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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)
|
 Robert
Ward: New Role Soul (Delmark)
When soul veteran Robert
Ward reemerged on he scene in 1990 with his brilliant Fear No Evil
he blew more than a few people away including myself. In the ensuing
years he put out three more good if inconsistent records. Now back
after a five year absence, New Role Soul is his best since his
his debut and that's saying plenty.
Robert Ward's story is one of the great comeback tales of the
blues. The story begins as leader of The Ohio Untouchables (later to
evolve into the Ohio Players) during the early 60's. Ward's trademark
vibrato-soaked guitar sound was forged during this period the direct
result of acquiring a Magnatone amplifier and a sound which would
become his trademark. The Untouchables achieved immortality when they
backed The Falcons led by Wilson Pickett on 1962's soaring "I
Found a Love." During the early '70s, Ward worked as a session
guitarist at Motown, playing behind the Temptations and the Undisputed
Truth. After his first wife died in 1977 Ward hit hard times and it
wasn't until 1990 that he was rediscovered.
New Role Soul is filled with everything that makes
Ward's music so special- filled with shimmering, twisted guitar lines
and a deep soulful vocal style reminiscent of the great Southern soul
singers. Ward's guitar is immediately recognizable and above all else
the music exudes a mystical almost religious feel with the lyrics
undeniably positive and upbeat. The message is simple and direct-
above all else do the right thing. The message is strong on the loping
title track, the gospel soaked "Ark of Safety" with the
wonderful singing of Ward's wife and especially the ten minute
"Whatever I Receive" which features some absolutely
remarkable guitar work. Ward burns on a soulful reading of Eddie
Floyd's "Never Found a Girl" and remakes "I Ain't
Drunk" into one of the best versions I've ever heard. Throughout
Ward is aided by a first rate band including excellent organ work by
Kevin McKendree and a solid horn section on four of the thirteen cuts.
Contemporary
blues and soul doesn't get any better than this as Robert Ward
continues his remarkable comeback. Without a doubt one of the year's
best.
(Jeff Harris)
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|
 Paul
Oscher & Steve Guyger: Living
Legends (Deep In The Blues) (Blues
Leaf)
Living
Legends may be a bit of a stretch, but Deep in the Blues
is as accurate a statement that can be made about this
release. Paul Oscher a former harp player of Muddy Water’s
band in the late 60’s and Steve Guyger a former harp
player of Jimmy Rodger’s road band have combined
their talents to release on of the best blues releases
I have heard this year.
Upon receiving this CD I thought to myself “wow two of my favorite
harp player (albeit unknown to the masses) jammin’ on the same
CD”. Much to my surprise Steve Guyger performs almost all the harp
work. Paul Oscher adds his talents to guitar and piano along with some
harp work. Finally there is only a bass player (Mike Lampe). An usual
line up, in the sense there is no drummer!
Paul played with Muddy when Otis Spann and Muddy where still doing
deep Chicago blues. The influences of these two blues giants are
reflected on this release. Paul’s slide guitar work and piano
playing seem to be channeling the riffs straight from blues heaven.
Steve, who has had several outstanding regional releases, steps up to
the plate up and delivers some full-bodied harp work through-out
“Deep in the Blues”.
The selection of songs is a good mix of originals and covers. The
covers include Freddie King’s “Hideaway”, Don Covay’s “Have
Mercy” and one of the standards of the blues scene Guitar Slim’s
“The Things I Used To Do”. Although I’ve heard Guitar Slim’s
tune done by a ton of people, Paul Oscher’s reflective reading of
that tune on the baritone harp is one of the deepest I have ever
heard. Just incredible!
Living Legends (Deep In The Blues) is one of those pieces of
musical works that needs to discovered by the blues lover for these
reasons: first it is a great record and secondly, both these musicians
deserve way more recognition than they currently get today.
(Dave
Moskal)
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Magic
Slim: 44 Blues (Wolf)
Magic
Slim: Snakebite (Blind
Pig)
Magic
Slim: Grand Slam (Rooster)
Magic
Slim (Morris Holt) is a throw back to the old school bluesman. Born,
in the south (Grenada, Mississippi) and raised in Chicago in the
50’s during the hey-day of Chicago blues. A genuine living proponent
of the Mississippi to Chicago blues sound.
The Magic Man has delivered three outstanding pieces of work, two
studio releases and one live effort, that reflect all that is best of
his work.. “Grand
Slam” was one Magic’s very first full-length efforts, recorded in
1982 it contains some of Magic’s rawest material (that’s saying a
mouthful since almost all of Magic’s Slim can be described as raw!).
If you’re not sure by what I mean by raw just check out Magic’s
version of Rufus Thomas’s “Walking the Dog” complete with barks
and howls. As an extra bonus the CD includes some early (1975) 45’s
sides with the late great Junior Pettis on guitar.
Magic Slim’s latest studio effort “Snakebite”, his fourth
release on Blind Pig Records, continues to captures Magic’s fierce
attack on the blues. With a nod to some of his mentors, Hound Dog
Taylor, Chuck Berry and Muddy Waters, Magic delivers a CD high in
energy and toughness. Besides a good dose of originals he also covers
Little Milton’s “Lump On Your Stump” and Muddy Water’s
“Country Boy”. Michael Dotson, who replaced John Primer as the
second guitar player in the Teardrops penned, sings and plays lead
guitar on the tune “Lonesome Trouble”.
Finally, there is Magic’s live release on Wolf Records “44
Blues”. Magic Slim (who is paradoxically is a long ways from being
slim) is best known for his live, incendiary performances, delivers
another outstanding set of music. Recorded in 1992 in Vienna, Austria,
Slim known as a human juke box, delves into a set of great covers and
originals on this date. Included are Willie Dixon’s “I’m
Ready”, Little Walter’s “Blues with a Feeling”, Howlin’
Wolf’s “Highway is my Home” and Ike Turner’s “I’m Tore
Up”. Special guest Bonnie Lee adds her vocals to “I’m Good”.
In 1992 it was still John Primer holding down the chair in the
Teardrops and he adds his vocals to “Big Fat Woman”. Magic Slim is
best to be seen live, so I have a preference to his recent “Live at
the Zoo Bar” series releases on Wolf. This release “44 Blues”
stands right next to these as a perfect snapshot of one of Magic
Slim’s live shows.
The one consistent throughout these three releases, besides Morris, is
his bass-playing brother Nick Holt. Nick, whose soulful vocals are
omitted on the live release, continually adds an in the pocket bass
line that is essential for any modern day blues release.
It is impossible to pick one these releases over any other, as all
three of these are highly recommended.
(Dave Moskal) |
|
 James
Cotton: Fire Down Under The Hill (Telarc)
Veteran harp slinger James Cotton
keeps rolling with the punches. Despite a recent battle with throat cancer
that robbed him of his once powerful vocal attack he's still a masterful
harp player as this latest effort capably proves.
It's hard to believe it but
Cotton's been at it for nearly fifty years. Cotton had some mighty big
shoes to fill when he replaced Little Walter in Muddy's band way back in
1954. He started recording as a leader in the mid 60's (he had already
waxed some legendary sides for Sun Records in the 50's) recording for
Vanguard, Prestige and others. In the 70's he cut solid records for Buddah,
Alligator and most recently Verve. Despite the vocal problems his debut
for the Telarc label shows he's still deserves the title harp
legend.
Fire Down Under The Hill
is filled with terrific blowing from Cotton backed by his touring band who
really cook. As usual Dave Maxwell sparkles on the 88's and Rico McFarland
lays down some tasty guitar. Perhaps the smartest move was adding vocalist
Darrell Nullisch to the mix who's honey soaked singing sounds wonderful.
Nullisch tackles the vocals on on a wonderful version of "That's
Alright" with sympathetic blowing from Cotton and the jumping
"Boot Knockin' Boogie." Unfortunately Cotton takes the vocals on
the rest which makes for tough listening because the fact is his voice is
ravaged. The exception is a haunting version of "Something to
Remember Me By" which Cotton sings in a whisper and is a very
effective closer. The record also contains three instrumentals which contain
some of the disc's best moments. "Cotton Jump Boogie" simply
rocks as does the remake of "Lightning" he originally cut with
Otis Spann and the ten minute title cut which allows him to really stretch
out.
Fire Down Under The Hill is
loaded with great music so don't let a few vocal miscues deter you from
this fine record. More than than just a living legend, Cotton remains a
dynamic performer.
(Jeff Harris)
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|
 Big
Mama Thornton: The Complete Vanguard Recordings (Vanguard)
Big
Mama Thornton's name will forever be linked to "Hound Dog"
that legendary cut she waxed back in 1953. She was certainly more than
a one hit wonder and was an excellent blues belter in the great
tradition of singers like Ma Rainey and Bessie Smith. The Complete
Vanguard Recordings comes from the mid 70's, the twilight of Big
Mama's career, and finds her vocal chops still in fine form. These
sessions have been unjustly overlooked and are a powerful addition to
her legacy.
"Hound Dog" may have made Thornton's career but it also was her
undoing. While she was able to ride the song's popularity for some time
she never managed to equal that success and the subsequent hits
never materialized. It wasn't until the late 60's that career began an
upswing in no small part to Janis Joplin who hit big with Thornton's
"Ball and Chain." Thornton went on to cut some fine records for
Arhoolie and finally these fine records for Vanguard in the 70's.
Vanguard has done an
excellent job in their reissue series and this 3 CD set is no
exception. The set includes both records Thornton cut for Vanguard: Jail
and Sassy Mama plus the previously unreleased Big Mama
Swings which was not even known to exist until this project was
started. Jail is a live recording cut at the Monroe State
Prison in Washington and finds Big Mama in scintillating form backed
by a funky band which includes the great George "Harmonica"
Smith on harp. Big Mama lays down some appropriate material including
"Jail", "Sheriff O.E. & Me" and of course
"Ball and Chain" which gets a wonderful lowdown treatment.
Sassy Mama and Big
Mama Swings are consistently fine records featuring Cornell Dupree
laying down some great axe work and Buddy Lucas adding some funky,
soulful tenor to the proceedings. Highlights on Sassy Mama
include "Lost City" a nice slow burner and the jaunty
"Sassy Mama." Why Big Mama Swings was never released
is anyone's guess as it's certainly as the equal of the other two.
Highlights include the funky "Mixed Up Feeling" with some
nice organ and the gently swinging "Big Mama Swings."
The Complete Vanguard
Recordings makes for great listening and shows an artist that's
much more than a one hit wonder. Perhaps not the first place to start
your Big Mama Thornton collection this one's still a very worthy
addition to her small discography.
(Jeff Harris)
| |
Dallas Alley Drag-
Piano Blues, Rags & Stomps (Yazoo)
Juke Joint Saturday
Night- Piano Blues, Rags & Stomps
Yazoo's excellent piano blues
series keeps rolling along with two more installments surveying
classic barrelhouse blues from the 20's and 30's. Dallas Alley Drag
focuses on the blues that emanated predominately from the area known
as Deep Ellum, the hub of Dallas' black community. Juke Joint
Saturday Night is broader in scope collecting some of the era's
greatest barrelhouse performances.
Juke Joint Saturday Night
is a boisterous collection of 23 marvelous tracks featuring well known
names such as Skip James, Roosevelt Sykes and Little Brother
Montgomery amongst a host of lesser knowns. The name Jabo Williams may
not be well recognized but his four sides from 1932 show him to be an
outstanding piano player particularly on the driving "Jab's
Blues." Louise Johnson may be better known due to her association
with Willie Brown and Son House both who give vocal encouragement on
her records. Her four tracks represent her entire recorded output and
show her to be a powerful, exciting piano player and an
equally strong singer. Other highlights go to heavy voiced singer
James "Boodle It" Wiggins with unknown pianist laying down a
rocking version of the bawdy "Shave 'Em Dry" and Rudy
Foster's "Black Gal Makes Thunder" with rollicking accompaniment
by another unidentified pianist.
In contrast Dallas Alley Drag
is a bit more subdued but has more than it's share of remarkable
performances. Vocalist Billiken Johnson was a pivotal figure among
Dallas musicians and all six of his sides are included. Johnson's repertoire
included a variety of vocal effects including train imitations as on
the haunting "Frisco Blues" with pianist Neal Roberts and
"Elm Street Blues" with Texas Bill Day. Whistlin' Alex Moore
is probably the most familiar name and his five sides show him to be a
smart, witty lyricist, a fine singer and a lively piano player. Other
highlights go to Hattie Hudson's fine singing on "Doggone My Good
Luck Soul" with sympathetic support from pianist Willie Tyson,
Jack Ranger's plaintive "T.P. Window Blues" with excellent
piano and guitar accompaniment and Bobby Cadillac's violent
"Carbolic Acid Blues" with an unidentified pianist.
With good sound quality, excellent notes
and a well chosen song selection these are important documents of a
music that's practically forgotten. With piano blues players in
serious decline these days these collections present a marvelous look
at the art form at it's pinnacle.
(Jeff Harris) |
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