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 CD Review  Book Review
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Page 2
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. If you happen to disagree, fine, drop
us an e-mail and we'll file it appropriately. 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)
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 Vance
Kelly: What Three Old ladies Can Do (Wolf)
Vance Kelly
& His Backstreet Blues Band are an institution on Chicago's Southside
and have cut three excellent records for Wolf Records. Despite this Kelly is still not well known among blues fans which is a shame since
he's one of the best of the younger generation of Chicago bluesmen melding
soul and funk into his Chicago blues to create a potent contemporary blues
sound.
What Three Old ladies Can Do is another
solid effort that can only bolster his reputation.
Kelly cut his teeth in the late 80's playing with A.C. Reed's Sparkplugs.
Despite making waves with his own band he didn't cut his first record
until 1994 which won the Living Blues Award for best contemporary blues
album. What Three Old ladies Can Do
is his fourth for Wolf and he continues to impress.
Make no doubt about it this is contemporary blues with Kelly seasoning his
traditional Chicago blues with elements of funk, soul and pop. In fact that's what
so surprising about Kelly's lack of renown is more than most modern
bluesman he's got the perfect sound to cross over in a big way. Perfect
examples would be the funky title track with some great lyrics and the
R&B/Pop ballads "Just Because" and "Foxy" that would be
prime crossover candidates.
Still there's no doubt Kelly's a stellar bluesman with his soulful vocals
and stinging guitar licks. For proof check out the slinky cover of Eddie
Boyd's "Twenty Four Hours", the romping "Ain't Doing Too
Bad" which slips effortlessly into "Sweet Home Chicago" and
the smoldering "Highway Here I Come" featuring some great axe
work.
With four very good records under his belt and a distinctive modern blues
style Vance Kelly has all the ingredients to make the big time. In Kelly's
hands modern blues is alive and well.
(Jeff Harris)
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 Lonnie Johnson: The Unsung
Blues Legend (Blues Magnet)
For
over 40 years Lonnie Johnson played blues, jazz and ballads in his own
original style influencing scores of musicians along the way. Despite
his amazing versatility or perhaps because of it he seems to have been
under
appreciated in both jazz and blues camps. The Unsung
Blues Legend, recorded in 1965 in a friend's living room, finds
Johnson in remarkable form and showcases an artist of the highest
order.
The recordings on The Unsung
Blues Legend were taped on a reel to reel by Bernie Strassberg a
fan who befriended Johnson in the early 60's. Considering the source
of these recordings the sound quality is surprisingly good. The
intimate nature of the recording, with just Johnson on guitar,
captures an hour's worth of timeless magic that we're lucky to have
survived the 35 years since they were made.
Johnson's bittersweet voice and fluid guitar playing are simply
glorious and he hadn't lost a thing in these later years. Johnson's repertoire
was wide ranging encompassing blues, jazz and ballads all well
represented on this collection. There's few who sing ballads with so
much conviction with "Solitude", "Don't Cry Baby"
and "I Can't Give You Anything But Love" being a few prime
examples. Equally adept at blues Johnson shines on "New Orleans
Blues" with some tremendous guitar, "Back Water Blues"
and a stunning seven minute "St. Louis Blues." In addition
to the music the packaging is first rate with the CD housed in a fold
out jacket with some vintage photos of Johnson and insightful liner
notes by Bernie Strassberg who made the original recordings.
It's always amazing how music like this turns up
seemingly out of the blue. No matter the circumstances Blues Magnet
has done an important job releasing this marvelous music of a true
unsung legend.
(Jeff
Harris)
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|
 Joe
Weaver: Baby I love You So (Black
Magic)
It seems like the Motor City is in the midst of
a burgeoning blues boom thanks in no small part to the early 90's
success of Johnnie Basset. In addition to lending a boost to the
career of Alberta Adams, Basset has now helped revive the
fortunes of his old band mate Joe Weaver who he also backs on this
wonderful comeback record.
Weaver
and Bassett first hooked up back in the 40's in Detroit forming
a formidable R&B group called Joe Weaver and His Blue Note
Orchestra. The group cut some sides for the DeLuxe label and later for
Fortune records. Basset was called up to the armed forces and Weaver
moved on to Berry Gordy's fledgling Hitsville USA outfit where he
recorded with future stars like Smokey Robinson & The Miracle,
Martha & The Vandellas and Stevie Wonder. Weaver also toured with
the Four Tops but eventually moved out of music into more steady work.
Now after a far too long drought Weaver is back in the spotlight and
despite the years is still in fine form.
Backed
impeccably by Johnnie Basset and his Blues Insurgents Weaver mostly
reworks a number of his old originals. Weaver has a gritty, soulful
voice and what he lacks in power he more than makes up for in sheer
style and class. With the sparkling piano of Bill Heid, crystal clear
guitar runs from Basset and honking tenor from Keith Kaminiski the
sound is firmly rooted in the type of 50's R&B, soul and Doo Wop
pioneered by bands like the 5 Royales and The Falcons. Check out
the storming "Do You Wanna Work Now", the
shuffling "Soft Pillow", the soulful "I'm On My Merry
Way" and a beautiful, intimate take on "I Found A
Love."
Baby I love You So
is a classy return to form for Joe Weaver and ranks as one of the best
blues comeback stories in some time. With the reemergence of Johnnie
Basset , Alberta Adams and Joe weaver it seems that the Detroit blues
scene is in mighty good hands.
(Jeff Harris)
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|  Robert
Belfour: What's Wrong With You (Fat Possum)
On
first listen it's hard not to get drawn into the immediacy and raw
power of Robert Belfour's stark Mississippi blues. This is deep,
brooding blues rooted in the same territory as R.L. Burnside and the
late Junior Kimbrough.
Belfour's
complete musical command belies the fact that this is his first full
length recording. His music is especially astonishing
because he is completely self-taught. He soaked up the rich musical heritage
of his area which included artists such as Othar Turner, Syd Hemphill
and future label-mate Junior Kimbrough. Belfour was never a
professional musician working at a construction company for
thirty-five years until retiring in 1995. His retirement is our good
fortune as his debut outing is portrays a highly accomplished
musician. Unlike
his label mates Belfour plays solo acoustic guitar except for on track
with an understated drummer. His guitar playing is highly polished
with an intricate, driving quality that matches perfectly with his
deep commanding voice. Belfour easily conjures up all the dark,
emotional power of the best Mississippi bluesman. The record
really needs to be listened to as whole for the full effect but a few
standouts include: the propulsive "My Baby' Gone", the
languid mood of "What's Wrong With You" the hypnotic
"Done Got Old" and the world weary "Norene" named
for his wife.
Robert Belfour's music at once harks back to the power and beauty of
the first generation of country bluesman and at the same time manages
to sound truly timeless. This is powerful stuff indeed. (Jeff Harris) | |
Lee Dorsey: Ride
Your Pony (Sundazed)
Lee Dorsey: Holy
Cow (Sundazed)
If anyone defines the easygoing,
funky charm of the New Orleans sound it would surely be Lee Dorsey.
For those seeking proof just check out Sundazed's reissue of Dorsey's
first two mid-60's records jammed packed with 47 slices of prime New
Orleans R&B.
Ride Your Pony and The
New Lee Dorsey have long been out of print and come as real eye
openers especially if your only familiar with Dorsey's big hits. Of
course the hits are here including the propulsive "Ride Your
Pony", the bluesy "Get Out of my Life, Woman",
"Holy Cow" and of course the smash "Working in a Coal
Mine" who's popularity landed him on the Dick Clark show. What
really amazes is the consistency of the material fronted by Dorsey's
easy going, soulful vocals and benefiting from the production wizardry
of Allen Toussaint the music is absolutely infectious. Adding to the
fun are a total of 23 bonus tracks between the two records all culled
from rare 45's.
While there's too many highlights
to mention a few deserve to be singled out. From Ride
Your Pony check the updated take on "Shortin' Bread",
the wonderfully soulful "So Long" with great backing vocal,
the chugging ballad "Here Comes the Hurt Again" plus
some solid duets with soul singer Betty Harris. On The
New Lee Dorsey check out the soulful rocker "Don't You Ever
Leave Me", the jittery "Let's Have a Good Time"
(parts 1 & 2) plus a pair of Meter's backed tunes in
"Everything I Do Gotta Be Funky" and "Candy Yam."
Lee Dorsey embodied everything that made
New Orleans R&B so fun and these two records make a perfect
introduction to his music. As Lee Dorsey said "party long and
part strong." (Jeff Harris) | |  Rosie
Ledet: It's A Groove Thing! (Maison De Soul)
In the early 90’s Zydeco
music was moving into new territories, Beau Jocque, Keith
Frank and others were taking the sounds of the masters (Boozo,
Rockin’ Doopsie, Clifton, etc.) and modernizing (funkin’ it up) for the younger generation.
In a male dominated genre Rosie Ledet was a breath of fresh
air with her initial release on Maison de Soul Sweet
Brown Sugar. Now a well-established figure in the zydeco
circuit Rosie has released her fifth release on Maison
entitled It’s A Groove Thing!.
On It’s A Groove
Thing!
Rosie seems to finally settled into her own groove, with
Keith Frank on rhythm and lead guitar, Wilfred “Caveman”
Pierre on rubboard, and Rosie’s core band backing her up
she continues to create her own sound instead of just adding
a female voice to the existing zydeco raves. She continues
to use the modern zydeco heavy backbeat as her foundation
but has added a more R&B element to most of her tunes.
On “So Damn Bad” the sax playing of Pat Breaux adds
enough flavor to turn the sexual fueled tune into a minor
R&B dance hit. In fact it’s the sax playing of Pat
throughout It’s
A Groove Thing!
that adds the right sound to this CD, to make this release
one of the best zydeco releases of the year.
“String Beans At Rock ‘N’ Bowl” celebrates
one of New Orleans most famous live music clubs. For those
who thought Keith Frank was only a squeeze box player, check
out his lead guitar on “Try Again”, smokin’.
The tunes “Hold On” and “Don’t Let The Green
Grass Fool You” are the other two tracks that stand out on
this release. Both musically and vocally Rosie seems to be
at her most comfortable delivery level yet, making this her
best effort to date.
(Dave Moskal) |
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