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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)
|
 I
Blueskvarter: Chicago 1964, Vol. 2 (SBA)
I Blueskvarter,
Swedish for for "In Blues Quarters", is the second volume of
remarkable recordings laid down in 1964 for the Swedish Broadcasting
Corporation. These
recordings were made by Olle Helander, a radio host for the Swedish
Broadcasting Corporation who traveled to Chicago in 1964 for the
purpose of introducing the blues in his homeland. In addition there
were trips to New Orleans and Memphis all of which were the raw
material for the 21 part documentary radio series I Bluekvarter
which first aired on Swedish Radio in the Autumn of 1964.
On the first volume we were treated to marvelous performances
by Walter Horton w/ Robert Nighthawk, Willie Mabon, Johnny Young
and several others. Among the better known on this collection are
sides by the Paul Butterfield Band, Little Brother Montgomery,
Washboard Sam and St. Louis Jimmy. The set is rounded out by fine
sides by lesser lights such as John Lee Granderson, Avery Brady and
Arvella Gray. Together the 68 selections on these two collections
provide a wide and varied snapshot of Chicago blues in the early
60's.
The proceedings open with six solid sides by Paul Butterfield's
Blues band and appear to be the band's earliest recordings. This is
very good Chicago blues and as the liner note point out that unlike
the British blues bands "the original Butterfield band was
solidly rooted in the Chicago blues scene." In addition to
Butterfield the band consisted of guitarist Little "Smokey"
Smothers, in whose band Butterfield himself got his start, plus
bassist Jerome Arnold and Sam Lay formerly of Howlin' Wolf's
band.
Next up
is Washboard Sam who's career at this point was practically over ( he
died 2 years later) but during the 30's and 40's he was one of the
blues most popular artists. Sam's powers seem undiminished and he's in
fine voice on Big Bill Broonzy's classic "All By Myself" and
"Booker T Blues" a song he cut back in 1939. Laying down
some first rate piano work is Blind John Davis whose long career found
him backing such luminaries as Tampa Red, Sonny Boy Williamson and Big
Bill Broonzy among many others.
Little
Brother Montgomery was well known among
fans of blues and jazz and his reputation was well known even in
Europe. Montgomery debuted in 1930
and was never out of work always able to adapt to the times. In
addition to recording fine sides on his own he played with everyone
from Kid Ory to Buddy Guy. Little Brother's is in wonderful form
particularly on the poignant "West Texas Blues" which he
dedicates to "all the Swedish listeners", the moving
"Up The Country Blues" and the jaunty "Cow Cow
Blues."
St.
Louis Jimmy will be forever linked to his immortal composition "Goin'
Down Slow" but he was also a fine singer and songwriter as his
four sides amply demonstrate. Backed by Sunnyland Slim on piano, Mike
Bloomfield on guitar and Washboard Sam this is a wonderfully relaxed
session featuring on one new song along with a pair he originally cut
for Bluebird in 1942.
Of the
lesser known artists are John Lee Granderson who was featured as as a
sideman on the first volume and puts across a set some of nice mellow
blues. Granderson kept a low profile but did play with such legends as
Robert Nighthawk, Johnny Young and Big Joe Williams. Avery Brady also
toiled in relative obscurity but his four sides show him to be a fine
bluesman and expressive singer. Arvella Gray was a fixture on
Chicago's Maxwell Street and his sides are a mix of old ballads like
"John Henry", "Corrine, Corrina" played with some
distinctive slide and the straight country blues of "Captain's A
Hollering." Wrapping up the collection are fascinating if too brief
interviews of each of the artists.
The
second volume of I Blueskvarter wraps up the remaining titles
Olle Helander cut in Chicago in 1964. In addition to the great music
is an informative booklet and some good period photos. It's amazing to
think that blues of this quality has remained a secret for so long.
Know that the cat's out of the bag serious blues will want to snap
these up before they disappear. If the first two volumes only whetted
your appetite don't fret as there are more volumes in the works.
(If your
looking for a place to buy these check out Triangle
Music which should have them in stock.)
(Jeff Harris)
|
|
 Son
House: Live
At The Gaslight Cafe, NYC, 1965 (Document)
Son
House's place in the history of blues music cannot be overstated. Playing
partner to Charlie Patton and Willie Brown, inspiration of Robert
Johnson and Muddy Waters, he is a key figure in the story of Delta
blues. In this context it's safe to say that any unreleased recordings
by House are sure to garner plenty of excitement. Live
At The Gaslight Cafe is a major find spotlighting House at peak
form during his "rediscovery" phase with much better sound
quality than
would be expected.
Son House first recorded in 1930 and these recordings rank as some of
the most intense blues ever committed to wax. Despite the poor
recording quality of these records the emotional power of his singing
and slide playing is undeniable. House wouldn't record again until
1941 when folklorist Alan Lomax knocked upon his door. Still in peak
form he laid down two dozen sides. After this session he disappeared
for over two decades before being rediscovered in 1964 in Rochester,
NY. It took a little work to shake the rust off but the old master was
soon back in fine form hitting the college and coffeehouse circuit.
Live
At The Gaslight Cafe comes from the very beginning of this
comeback, and in all likelihood his first NYC appearance.
If those in attendance were expecting a quaint evening of
"folk" blues it was easily dispelled with first notes
ringing from House's National steel. Falling just shy in intensity of his
early recordings, House manages to summon up plenty of emotional power
in his gritty singing and snapping guitar lines. The sheer intensity
of songs like "Pony Blues", "Preachin' The
Blues" and "Death Letter" are simply mesmerizing and
must have scared more than a few young audience members. It's not hard
to image that House was once a Baptist preacher especially when he
tackles songs like "This Little Light Of Mine" and
"Motherless Children" that are filled with fire and
brimstone. Overall the sound is very good and the recording retains a palpable
sense of excitement and electricity.
While it seems that most major musicians are destined to have every
scrap of their recorded legacy, good or bad, make it's way on to
record this recording can only enhance House's larger than life
legacy.
(Jeff
Harris)
|
|
 B.B.
King & Eric Clapton: Riding With The King (Warner
Brothers)
One of the most highly anticipated
blues collaborations EVER, the joining of these two legendary
guitarists/vocalists is a generally successful superstar summit. Sure,
it would have been easy to record a few jams between the two, sell a
million discs on name value alone, and call it a day. But thankfully
this meeting of the minds, co-produced by Clapton, is a tasteful and
often exuberant project, with little of the grandstanding you might
expect when two lifelong headliners convene head to head.
In an effort to reach out to a larger, ie:radio, audience, about a
third of the songs here are in the blues-rock mode, which is not
surprisingly where the album falters. The title track, a gem from the
voluminous John Hiatt songbook, is a perfect example of how even with
a moving, swampy workout featuring the two stars vigorously swapping
vocals and guitar leads, something doesn’t click. The tune,
originally written as a dark treatise on the downside of fame as seen
by Elvis at his most troubled, has nothing to do with B.B. King. But
that doesn’t stop him from boasting “you’re riding with me!,”
totally misconstruing and misrepresenting the lyrics. Elsewhere, a few
tracks penned by Doyle Bramhall ll, “Marry You” and “I Wanna
Be,” find King floundering, wallowing in sub-par material that the
duo does its best to deliver with grace and style, kind of like on
those crappy Clapton albums he tosses out too often. This project’s
nadir comes in a totally misguided, plodding version of Sam and
Dave’s classic “Hold On I’m Coming” that is so misguided, it
sounds like second rate Bad Company, and can’t even be rescued by a
rousing, closing guitar duel.
Fortunately the seven pure blues tracks sparkle. Both artists are not
only performing at the peak of their powers, but sympathetically
sharing the spotlight, vocally and instrumentally, like the pros they
are. King revisits five old, generally obscure tracks from his immense
back catalog, and the duo whip through loving acoustic versions of
covers like “Key to the Highway” and “Worried Life Blues” with
a delight belying how often they both must have performed these
warhorses. A closing, slow and sleek rendition of the standard “Come
Rain or Come Shine,” finds the crooning pair, dueting and trading
lead vocals with loving, heartfelt fervor. The album’s distinctive
mix and production clearly separates the musicians’ vocals and
guitars between the speakers, making it easy to distinguish each
player’s contributions. The pristine sound is so clear and defined
you can hear King’s rings hitting the frets.
Both musicians are obviously thrilled to be playing
together, and even on the less stellar blues-rock schlock that drags
the album down, there’s an exuberance and love evident, infusing
this pairing of blues greats with soul and intensity. Better than
either of their recent solo projects, B.B.King and Eric Clapton make a
convincing argument for the power of collaboration when artists are as
in sync with each other as these two classic and classy bluesmen.
(Hal Horowitz) |
|
 Willie
Cobbs: Jukin' (Bullseye Blues)
Willie Cobbs is a fine vocalist and harmonica player who's
be out of the spotlight for far to long. Cutting records only
sporadically, only his excellent 1994 release on Rooster is widely
available, Jukin' comes as a welcome high profile release.
If for nothing else, the name of
Willie Cobbs will always be remembered for his composition "You
Don't Love Me" covered by everyone from Junior Wells to the Allman
Brothers. Cobbs hung out on Maxwell St. in the 40's with Little Walter and
Eddie Boyd. Cobb's career is dotted with numerous obscure singles from a
variety of labels and a couple of low profile full length records. His
Bullseye Blues debut should certainly garner him the recognition he
deserves.
In addition to being on a bigger
label there's some high profile production with the legendary Willie
Mitchell taking the helm. Mitchell was of course the mastermind behind
such stars as Al Green, O.V. Wright and Ann Peebles. Mitchell works his
magic again aided by the Hodges brothers, Teenie on guitar, Fred on piano,
Leroy on bass and Charles on organ, who were the muscle behind the unmistakable
Hi Records sound. It's the melding between Mitchell's classic Memphis
sound and Cobb's funky Delta blues that gives Jukin' and
unmistakable good time groove. The infectious, funky title track is a good
example riding a sturdy groove it sounds like it's destined to be a juke
joint dance classic. Running through a set of familiar tunes the chemistry
is more than enough to invigorate such classics as: a super soulful
version of "Black Night", "Reconsider Baby" with some
fabulous horn section and an intimate take on "Please Send Me Someone
To Love." A super tight rhythm section, solid harmonica work and
soulful singing including some nice background vocals make this a winner.
Jukin' succeeds an all
counts delivering a wonderful soul blues record and recognition to a
bluesman who's too long toiled in the shadows.
(Jeff Harris)
|
|
 Alberta
Adams: Say Baby Say (Cannonball)
Known
as the "Queen of Detroit Blues" Alberta Adams has sung the
blues in the Motor City for something like fifty years. Adams' career
got a jump start with an explosive four song turn on Cannonball's Blues
Across America series and a fine full length outing last year. Her
sophomore release, Say Baby Say, finds this 70-something
singer still in marvelous form.
She started out as a dancer in the 1930s, but found singing more to
her liking. In short order, she became one of the big stars of the
Detroit music scene in the 1940s, when Paradise Valley and Hastings
Street were vibrant. She toured with Louis Jordan and, after having
heard her at the Flame Show Bar, Duke Ellington took her to Europe.
She also cut some fine records for Chess in the 50's. Detroit may be
going through a blues revival these days but Adams has never stopped
singing and her powers remain undiminished with age.
As on her first
Cannonball release she's backed by Johnnie Bassett who's
sympathetic jazzy blues licks are a prime ingredient to this record's
success. Bassett also duets with Adams on the smoky ballad
"Nothing More to Say" which closes the record on a fine
note. The rest of the band is filled out with Bassett's band The Blues
Insurgents who provide perfect support to Adams sassy style and
knowing lyrics. Adams is a seasoned performer whether on bouncy up
tempo numbers like "Say Baby Say", "Don't Worry
Me" with fine T-Bone Walker style guitar or ballads like "I
Cried My Last Tear" and the no nonsense "Everybody Got Their
Hand Out."
All in all some flat out impressive singing from Miss
Adams and great playing from all involved. Alberta Adams is a national
treasure and Cannonball is doing a fine job getting the word out.
(Jeff Harris)
| |
Louisiana
Red: Live In Montreux (Labor Records)
There's few current
bluesman who summon up the stark, troubled spirit of the blues like
Louisiana Red. Red's blues draw from the same deep well as Muddy
Waters and Elmore James two bluesman he compares favorably with. Live In Montreux
was recorded in 1975 at the legendary jazz festival and stands as a
stunning document of a bluesman at the peak of his powers.
If Louisiana Red's imagery sounds
deeply personal it's because his life has been rooted deeply in bad
luck. He lost his parents early in life through multiple tragedies;
his mother died of pneumonia a week after his birth, and his father
was lynched by the Klu Klux Klan when he was five. As a consequence he
passed through multiple orphanages.
Louisiana Red has been based in Europe for a while, somehow sadly
neglected in his own country. It's no wonder that on this recording,
in front of an adoring crowd, he delivers a highly charged, deeply
personal performance. It's just Red on guitar coaxing out some vicious
slide licks along with his commanding voice. What really adds depth to
this record is some first rate songs the majority being originals.
Standouts include the chugging "First Degree", "My
Heart's a Loser" and the tough as nails "Held Up In One
Town." The record's most surprising moment is a beautiful, moving
version of Sam Cooke's "Bring It On Home To Me" which is an
understated tour de force.
Louisiana Red's studio efforts have been somewhat inconsistent but
this live outing is unreservedly recommended. If you like blues that
cuts close to the bone than look no further than Louisiana Red's Live In Montreux-
you won't be disappointed.
(Jeff Harris) |
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