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Muddy Waters:
Hard Again (Epic/Legacy)
Muddy Waters:
I'm Ready (Epic/Legacy)
Muddy Waters: King Bee (Epic/Legacy)
After
an unchallenged reign as King of the Chicago Blues
it was in the late 60's when his powers seem to falter.
Waters was still a powerful live performer but his
studio recordings were mostly forgettable particularly
the awful attempts at psychedelia that were "Electric
Mud" and the equally poor follow up "After
the Rain." 1970's "They Call Me Muddy Waters"
and 1973's "Can't Get No Grindin'" were
better but still far from the lofty standards one
would expect from Muddy. He had been with Chess records
since the late 40's, when it was known as Aristocrat,
and perhaps it was a just the jolt he needed when
Chess Records was sold off in 1976. Enter Johnny Winter
who rose to fame in the 60's playing high octane blues-rock
and just happened to be a huge fan of Muddy's. Winter
quickly signed Muddy to the Blue Sky label, a subsidiary
of Columbia, (ironic because Muddy's first commercial
recordings were for Columbia in 1946). Backed by an
incredible band including Winter himself and with
Winter's sympathetic old school, back-to-basics production,
Muddy went out roaring like a lion on these final
records before passing on in 1983. Following on the
heels of last year's "Muddy "Mississippi"
Waters Live" reissue we now get remastered and
expanded versions of Muddy's final studio albums:
"Hard Again" (1977), "I'm Ready"
(1978) and "King Bee" (1980).
1977's
"Hard Again" emphatically served notice
that Muddy was still at the top of his game. As always
Muddy attracted a legion of talented and loyal bandmates
and this band was no exception: the twin guitars of
Johnny Winters and Bob Margolin, James Cotton on harp,
Pinetop Perkins on piano, Willie "Big Eyes"
Smith on drums and Charles Calmese on bass. Waters
never picked up a guitar during this session but he
roared the blues with crackling intensity and the
twin guitars of Winters and Margolin made a potent
force. From the opener "Mannish Boy", when
it's just Muddy's burnished voice backed just by a
distant guitar, you know Muddy means business and
when the band kicks in with a tough delta-by-way-of-Chicago
groove you know Muddy is indeed hard again. Muddy
and cohorts storm through an unflinchingly tough set
of blues, burning through a swaggering "I Want
To Be Loved", "I Can't Be Satisfied"
with Winter playing killer, pure Delta blues on his
National steel and the anthemic "The Blues Had
a Baby and They Named It Rock and Roll." A stomping
remake of "Walking Through the Park" is
the lone bonus cut and easily as good as anything
issued on the original album.
Following
the huge success of "Hard Again" was 1978's
"I'm Ready" featuring the same core band
but with some notable guest appearances. On the previous
record James Cotton reunited with his old boss who
he had played with back in the 50's and 60's. Cotton
is absent here but on board are Jimmy Rogers who had
been in Muddy's original band in the late 40's to
mid-50's and hadn't played with his old boss in 20
years plus harmonica genius Big Walter Horton who
had played with both men. Also featured is harp blower
Jerry Portnoy who was now a member of Muddy's road
band brought in just in case Horton's erratic behavior
surfaced to cause problems- it didn't. As you would
expect this is lean mean golden age Chicago blues
as Muddy digs into vintage numbers like the strutting
title cut featuring both Portnoy and Horton playing
harmonica, "I'm Your Hoochie Coochie Man"
and "Rock Me." Best of all Muddy picks up
the guitar to lay down some vicious slide on "33
Years" and goes way back with a magnificent "Screamin'
and Cryin'" a song he first cut back in the late
40's. Closing things out are three stellar unreleased
numbers: the tough "No Escape from the Blues",
the blistering "Lonely Man Blues" and the
glorious "That's Alright" a low key gem
featuring both Rogers and Muddy tacking the vocals.
"King
Bee" was the last album Muddy Waters cut and
it's not quite up to the high standards of the two
previous records. Bob Margolin tells the strange and
sad story of this recording eloquently in the liners
notes. A conflict arose due to Waters' health being
on the wane and him playing less. The band members
wanted more money for the fewer gigs they did play
in order to make ends meet. Ultimately the entire
band quit en masse. Because of the tensions in the
studio preceding the split, Winter felt the sessions
were not very good and he filled out "King Bee"
with outtakes from the "Hard Again" sessions.
Still this is a very fine outing featuring the core
band form the previous records plus the addition of
Calvin Jones on bass and Luther "Guitar"
Jr. Johnson on guitar. Muddy still sounds commanding
and the ensemble work stellar on Slim Harpo's swampy
title cut, a wonderful acoustic version of "I
Feel Like Going Home" with just Muddy and the
twin guitars of Margolin and Winters, "Sad Sad
Day" featuring Muddy's stinging slide work and
the lean macho swagger of "Champagne & Reefer."
Bonus tracks include two songs from the "King
Bee" sessions that Winter didn't see fit to release
the first time: "I Won't Go Down" and "Clouds
in My Heart" are remakes of 50's nuggets and
the seven minute plus version of the latter number
is a deep, intense blues ranking as one of his finest
late period performances.
Muddy
Waters went out like a champ right to the end as these
final recordings prove. Even if you have the original
records now's the time to update as they all boast
superior sound, stellar unreleased material and fantastic
notes by Bob Margolin who provides a wonderful fly-on-the-wall
perspective on Muddy's final years.
-Check
out these related reviews:
Muddy
"Mississippi" Waters Live
Muddy
Waters Biography
(Jeff Harris)
|
Ronnie Earl:
Now My Soul (Stony Plain)
Duke Robillard: Blue
Mood (Stony Plain)
Ronnie
Earl and Duke Robillard continue to remain two of
the most innovative and adventurous blues guitarists
on the scene. While both men have their own unique
style they share a number of similarities; Duke Robillard
founded the legendary Roomful of Blues and it was
Ronnie Earl who was invited to replace him when Robillard
left the band in 1979. Both men share an affinity
and feel for jazz and swing material evidenced on
Robillard records like "Conversations in Swing
Guitar" and "After Hours Swing Session"
and Earl's "Grateful Heart: Blues and Ballads"
which featured David "Fathead" Newman and
"Healing Time" with legendary soul-jazz
organist Jimmy McGriff. Above all both men continue
to stretch out, redefine themselves and issue consistently
satisfying records. Both men now share the same label
and Earl's "Now My Soul" and Robillard's
"Blue Mood" are as good as we've come to
expect from these always engaging guitarists.
"Now
My Soul" is a marvelous follow up to last year's
acclaimed "I Feel Like Goin' On." As a non-singing
guitarist Earl has always relied on the vocals of
others but by the early 90's he took the bold step
of going mainly instrumental and was one of the few
who could pull it off. On "Now My Soul"
Earl takes the middle ground with half instrumentals
and the rest featuring vocals by Kim Wilson plus Greg
Piccolo on one cut. The results are typically impressive
particularly the instrumentals: Earl and the band
stretch out on meaty instrumentals like Jimmy Smith's
"Blues For J" capturing the easy, in-the-pocket
groove Smith was known for with fine organ from Dave
Limina and strong tenor from Piccolo, the easy shuffling
"Maxwell, Mudcat and Per" which owes a debt
to T-Bone Walker, "Walter Through Kim" a
romping showcase for Wilson's dazzling harp work and
"The Magic of Sam" a sizzling tribute to
Magic Sam. Kim Wilson's vocals and harp work are a
highlight particularly on a tortured ten minute plus
version of Otis Rush's "Double Trouble"
and the ominous minor key original "Abandoned."
"Walking On The Sea" is a particular delight
featuring the soaring, uplifting vocals of the Silver
Leaf Gospel Singers with Earl ripping off some tasteful,
pungent guitar licks.
Like
Earl, Robillard is also following up an excellent
album, last year's retro-blues flavored "Exalted
Lover." On "Blue Mood" Robillard pays
tribute to one of his main inspirations: "I always
knew that someday I would record a tribute to my mentor,
the father of electric blues guitar...T-Bone walker.
Everything I play...has some T-Bone in it." Good
tributes are a hard thing to pull off but Robillard
does it with class and style on this beautifully played
set of blues, swing and big band numbers. Robillard
drew his band from a talented cast, many former or
current Roomful members, including Sax Beadle on tenor,
Billy Novick on alto, Al Basile on cornet, Doug James
on baritone, Mark Teixeira on drums and Jesse Williams
on acoustic bass. Robillard's guitar is ever tasteful
as he cleanly and fluidly pays loving homage to T-Bone's
style, one that influenced nearly every guitarist
that came after him. These guys really know how to
swing just check out rousing numbers like the bouncy
"Lonesome Woman Blues", the rousing "Alimony
Blues" featuring the wailing baritone of James
and the propulsive "Pony Tail" where Robillard
really cuts loose. Slower fare is equally good like
the after hours vibe of "Love Is A Gamble"
and the silky "Born To Be No Good." Robillard
isn't a great singer but he makes the best with what
he has and knows how to but across a song with an
insinuating charm.
Both
Ronnie Earl and Duke Robillard continue to evolve,
showing a restless creative spirit that makes everything
they touch something special. "Now My Soul"
and "Blue Mood" come highly recommended
as does just about everything from these fine artists.
-Check
out these related reviews:
Duke
Robillard: Exhalted Lover
(Jeff Harris)
|
Moanin' At Midnight:
The Life And Times of Howlin' Wolf
By James Segrest & Mark Hoffman (Pantheon)
<---REVIEW
TO BE POSTED BY 7/7/04--->
|
James Cotton: Baby,
Don't You Tear My Clothes
(Telarc)
Hot
on the heels of 2002's hot all-star laden "35th
Anniversary Jam", Cotton stills sounds mighty
fine on another album loaded with guest artists.
While the flame doesn't burn quite as bright as
on the prior record, which earned a Handy Award
for Traditional Album of the Year, Cotton and cohorts
deliver more hits than misses and fans won't be
disappointed.
"Baby,
Don't You Tear My Clothes" is Cotton's third
for Telarc since signing with them back in 2000
and the results have been consistently fine. Cotton's
voice has been ravaged due to throat ailments which
has forced him to rely on others for the vocals,
a shame since Cotton once possessed a soulful, powerful
roar every bit as exuberant his harp playing.
Cotton's harp playing is still a joy to hear and
he remains one of the best in the business. Cotton
has cut some great hard blowing records, particularly
in the 70's and 80's with classic records such as
"100% Cotton" and "High Compression"
and while he doesn't blow quite as hard these days
he more than makes up for that by playing with rare
subtlety and innovation. "Baby,
Don't You Tear My Clothes" is certainly proof
of that.
Cotton
retains the excellent core band form his previous
record including the rippling piano work of David
Maxwell, the impeccable guitar work of Derek O'Brien
and the steady bass of Noel Neal. Guests this time
are a bit more eclectic including Bobby Rush who
was featured on one track on Cotton's previous release,
Marcia Ball, Dave Alvin, Odetta, C.J. Chenier, Jim
Lauderdale, Peter Rowan, Doc and Merle Watson and
Rory Block.
If you want proof Cotton's harp skills remain intact
then just give a listen to stellar instrumentals
like the blazing, lyrical opener "Coach's Better
Days", a soulful rendition of the Ivory Joe
Hunter classic "I Almost Lost My Mind",
the shuffling "Blues For Jacklyn" and
the gorgeous closer "Friends" backed just
by acoustic guitar. Vocally the standouts include
the insinuating vocals
of Bobby Rush on "Baby, Don't You Tear My Clothes",
Marcia Ball taking over on vocals and piano on a
gently shuffling take of Robert Johnson's "When
You Got A Good Friend" and the low-down delta
blues vibe of "Mississippi Blues" evocatively
sung by Rory Block who also plays guitar. More in
a roots vein are fine collaborations with Dave Alvin
on the traditional "Stealin', Stealin'",
and "How Long Blues" sung and played wonderfully
by Doc
and Merle Watson.
All-star
laden albums rarely work as well as they should
but this one comes off very well. A more laid back
feel overall than many of his releases there's still
much to savor not the least of which is Cotton's
spectacular harp work which sounds absolutely timeless.
-Check
out these related links:
35th
Anniversary Jam
(Jeff
Harris)
|
Byther
Smith: Hold That Train (Delmark)
Byther
Smith has put out many a hard hitting
Chicago blues record over the past couple
of decades but perhaps none quite as tough
as this. "Hold That Train" is
a reissue of Byther's first album cut
for the tiny Grits label in 1981 as "Tell
Me How You Like It" and may be his
finest moment.
Byther
followed the well trod path from Mississippi
to Chicago landing in the windy city in
the mid-'50s. He picked up pointers from
guys like J.B. Lenoir (his first cousin),
Robert Jr. Lockwood, and Hubert Sumlin
and by the early '60s was working the
clubs. He backed Junior Wells at Theresa's
Lounge for a number of years also playing
with heavyweights like Big Mama Thornton,
George "Harmonica" Smith, and
Otis Rush. He cut a handful of early singles
for the C.J. imprint before cutting his
first full lenghthers for Grits in 1981
and 1985 (the latter reissued on Bullseye
in 1991 as "Housefire"). Subsequent
dates found Byther cutting some typically
tough outings for labels like Bullseye
Blues, Delmark, JSP and most recently
for Black & Tan. There's no denying
the quality of many of those records but
"Hold That Train" is something
special as Byther reaches deep down, delivering
the kind of emotionally wracked intensity
that can send shivers down your spine
On the lean, no frills "Hold
That Train", Byther gives a clinic
on modern electric Chicago blues over
the course of 15 songs clocking in at
just over 60 minutes. Byther's slashing
guitar and emotionally intense vocals
cut right to the bone bringing to mind
Luther Allison, Son Seals and Otis Rush
at their best. Outside of three originals
the material here is mostly covers, a
mix of well known numbers and a few lesser
known gems but all invested with such
burning intensity that they sound absolutely
fresh. Among the covers check out the
smoldering "Hold That Train Conducter"
originally cut by Doctor Clayton and covered
notably by Clayton admirer B.B. King which
is likely where Byther draws his source,
the yearning "Come On In This House"
featuring Byther's pleading falsetto and
Magic Sam styled riffs, the ominous "Walked
All Night Long" with an air of lingering
violence and the vicious, insistent shuffle
of "What My Mama Told Me." The
originals are equally potent particularly
the rocking "Mississippi Kid"
and the simmering "I Don't Like To
Travel."
"Hold
That Train" is a most welcome resissue
and a big thanks goes to Delmark for rescuing
this classic from obscurity. If you had
to pick up just one Byther Smith record
this would be the one.
(Jeff
Harris)
|
Bobby Rush:
FolkFunk (Deep Rush)
While
many of his contemporaries are slowing down
or easing into retirement, 50-year blues veteran
Bobby Rush seems to be just hitting his stride.
With the launch of his own label in 2003 Rush
has cut some of his best records. His latest,
"FolkFunk", is no exception, as Rush
tries his hand at a more traditional blues sound
with resounding success.
Until
recently Bobby Rush was primarily a star on
the chitlin' circuit, renowned for his electrifying
live shows complete with costume changes, comedy
routines and of course those mesmerizing stage
dancers. Over the years Rush has cut a series
of solid, if not spectacular albums, for LeJam,
Ichiban, Waldoxy and Ronn. 2003 was a pivotal
year for Rush as he was prominently featured
in Richard Pearce's documentary film "The
Road To Memphis," broadcast on PBS as part
of Martin Scorsese's film series "The Blues"
and also saw the launch of his Deep Rush record
label. In 2003 Deep Rush released a red hot
live DVD/CD of Rush captured at the club Ground
Zero in Clarksdale, Mississippi and the studio
album "Undercover Lover", one of his
finest efforts. "FolkFunk" is yet
another excellent outing as Rush tackles his
most straight ahead blues effort to date
This
is a stripped down affair featuring one of the
blues brightest young talents in guitarist Alvin
Youngblood Hart plus Stax session drummer Charlie
Jenkins and Steve Johnson on bass from Rush's
regular band. Rush tackles the vocals in his
typically soulful fashion, blows a considerable
amount of harmonica and also shows off some
impressive guitar skills, something he hasn't
done before. The idea for this one was for Rush
to recreate the traditional blues he heard as
a boy growing up in Louisiana and Arkansas back
in the 40's. That he does but along the way
he throws in a a good dose of funk, soul, no
nonsense blues and plenty of chitlin' circuit
grease. "Feeling Good - Part One"
sets the vibe with a relentless old school boogie
with such an irresistible groove it had to be
continued in the closer "Feeling Good -
Part Two." In a similar groove is the fast
shuffle of "Ninety-Nine" featuring
the jazzy riffs of guitarist Jesse Robinson
who led Rush's band in the 80's, the loping
"Ride In My Automobile" with Rush
begging to be dropped off because his woman
has too many drivers at her wheel and some very
traditional minded blues in the low-down "Everybody
Wants To Know" clearly inspired by Muddy's
"My Home Is In The Delta" and "Voodooo
Man" a close kin to "Mojo Hand."
Other standouts include a funky reading of Percy
Mayfield' classic "River's Invitation"
and a knockout medley of "When The Saints
Go Marching In" and "You Got To Move"
titled "Saints Gotta Move." Along
the way Rush lets loose on the harmonica as
never before and above all sounds like he's
having a blast. As originally conceived Alvin
Youngblood Hart was on board to showcase his
amazing acoustic guitar abilities but as the
project evolved this never happened. I would
have loved to hear Rush backed by Hart's acoustic
guitar and hopefully we'll get to hear this
on an upcoming project.
Those
who first got turned on to Bobby Rush during
the Martin Scorsese series can't go wrong with
"FolkFunk" as Rush brings his unique
and exciting spin to these traditional blues
numbers. Also highly recommended is is last
year's exceptional "Undercover Lover."
Oh, and if Bobby Rush comes to your town, run
don't walk, it's an experience you won't forget.
-Check
out these related links:
Undercover
Lover
Bobby
Rush Website
(Jeff
Harris)
|
Ernest
Lane: The Blues Is Back! (Acoustic Music)
Here's
a question: what does Robert Nighthawk,
Earl Hooker, Canned Heat and the Monkees
have in common? The answer is pianist
Ernest Lane who's played with them
all in a long and varied music career.
Now over fifty years after playing
on his first record Lane has cut "The
Blues Is Back!", his first full
length record.
Growing
up in Clarksdale Lane had the right
background for a bluesman; his father
was a barrelhouse pianist, his boyhood
friend was Ike Turner and Pinetop
Perkins was a friend of the family
who showed the youngster a thing or
two. When he was just a teenager Lane
hooked up with legendary slide guitarist
Robert Nighthawk. Nighthawk eventually
took him to Chicago where his solid
piano work graced a number of sides
cut for the Chess label in 1948-49
including the blues classic "Sweet
Black Angel." After Nighthawk
he played with Earl Hooker, Houston
Stackhouse and others before heading
to the California in 1956. There he
worked with Jimmy Nolen, George "Harmonica"
Smith and was recruited by old buddy
Ike Turner to be a member of the Ike
& Tina Turner Revue. After leaving
Ike he joined a group called the Goodtimers
who eventually wound up backing the
Monkees for about a year on tour.
Through the late 60's/early 70's he
played and recorded for Canned Heat
before giving up music altogether.
Recently Lane has been featured on
a 2000 release by Eddie C. campbell,
played on Ike Turner's comeback record
and toured the US and Europe with
Ike's band. Not surprisingly "The
Blues Is Back!" shows a consummate,
seasoned bluesman and above all a
tremendous piano player.
There's
very few piano players who play the
old school boogie and blues as well
as Lane. Players of Lane's caliber
are a dying breed with only a handful
of guys like Pinetop Perkins, Henry
Gray and Ike Turner in the same league.
Lane has made the most of belated
debut on this well produced album
that features his rolling, melodic
piano right up front along with his
rich, expressive vocals which have
rarely been featured. The dozen songs
are mostly Lane originals with a mix
of low down blues, boogies and funkier
material. Lane hand picked a seasoned
backing band including drummer James
Gadsen a veteran of the Watts 103rd
Street Rhythm Band, trumpeter Mack
Johnson who played in the Goodtimers
after leaving James Brown, accomplished
guitarist Wali Ali, a couple of members
of Ike's current band and special
guest Big Jay
McNeely who blows tenor on one cut.
Lane sets the mood with Memphis Slim's
slinky stop-time shuffle "Blue
And Lonesome" before delving
into originals like the late night
groove of "The
Blues Is Back", the storming
jump of "What's Wrong, Baby"
(originally cut by him in 1952) as
Lane really rolls the ivories, taking
it down to a simmer
on
the insinuating "What I Saw"
and Percy Mayfield's "Baby Please"
as he croons the blues in fine fashion.
Lane's rocking barrelhouse
technique is heard to good effect
on the driving "Just Like A Woman"
plus stellar instrumentals like the
romping "Boogiein' At Leon's
Place" and especially the bouncy
"Lane Shuffle" as Lane really
cuts loose throwing in everything
but the kitchen sink.
On
"The Blues Is Back!" Ernest
Lane finally gets his name on the
marquee and makes the most of the
opportunity with a rousing piano blues
record that sounds timeless and contemporary
at the same time. The only downside
is that Acoustic Music is on a German
label so it's unlikely it will raise
Lane's profile as much as if it got
a big push from a stateside label.
Still,
a fine debut and well worth searching
for.
-Check
out these related links:
Acoustic
Music Website (in
German)
(Jeff
Harris)
|
W.C. Clark:
Deep In The Heart (Alligator)
"The Godfather of Austin Blues", as
he's known, has been playing the blues on Austin
stages and around the world for over 40 years.
Clark didn't break out nationally until hooking
up with New Orleans-based BlackTop label for
a trio of outstanding records in the 90's. After
Black Top went under Clark eventually found
his way to Alligator releasing "From Austin
With Soul", my personal pick for best album
of 2002. His follow-up, "Deep in the Heart",
was eagerly anticipated and doesn't disappoint
with another steamy brew of Texas blues and
vintage soul.
Before
he began releasing albums in 1986 (his first
was self-released) Clark was often referred
to in the local press as Austin's Best-Kept
Secret. The word seems to have finally gotten
out about Clark although he's still not as well
know as he should be. Even before breaking out
nationally, Clark cast a huge shadow on the
fertile Austin blues scene. He mentored countless
young blues players including Stevie Ray and
Jimmie Vaughan, Angela Strehli, Lou Ann Barton
and Marcia Ball. Of course before the white
kids flocked to Clark he was a seasoned musician.
He got his start as a youngster in Texas blues
legend T.D. Bell's band and played in other
local Austin bands. He met R&B hitmaker
Joe Tex, who recruited W.C. to fill the vacant
guitar slot in his group. Clark toured the Southern
"chitlin' circuit," learning music
first-hand from Tex and countless soul and blues
stars along the way, including Tyrone Davis
and James Brown. "Deep in the Heart"
is the sum of that experience, a deeply soulful
affair with plenty of gritty Texas blues thrown
in for good measure.
Alligator
is known for their slogan "genuine house-rocking
music" but while Clark has some serious
guitar chops this Texas bluesman prefers to
mine the classic Memphis soul sound circa the
glory years of Hi Records. Clark's stunning
vocals owe a strong debt to Memphis soul legends
like O.V. Wright and especially Al Green when
he gets to really testifying. It's the kind
of voice that can stop you in your tracks and
in fact I witnessed Clark literally quite a
rowdy bar audience with a spine chilling vocal
that had the crowd in an uproar. Clark wisely
employs nearly the identical band as his last
record including the punchy Texas Horns led
by Kaz Kazanoff, Riley Osborne on keyboards,
rhythm guitars by Derek O'Brien and Pat Boyack
and once again Marcia Ball steps in for some
fine vocal duets and piano work. The opener,
"Stronger Than You Need To Be", sounds
like a lost vintage era soul nugget with a great
hook and it just gets better. The classic Dann
Penn number "You Left The Water Running"
and "Soul Kind Of Loving" are wonderful
soulful duets between Clark and Ball, "I
Want To Do Everything For You" is another
impeccable soul gem featuring great background
vocals and the languid "Tip Of The Tongue"
is a stunning ballad. In more of a Texas blues
vein is the jumping original "Cold Blooded
Lover" with some loping T-Bone styled guitar
work, "My Texas Home" a steamy blues
ballad as Clark cuts loose with some elegant
guitar work that builds to a powerful climax,
Delbert McClinton's "Ain't Lost Nothin'"
a fine blues shuffle featuring some strong harp
from Kaz Kazanoff and a swinging horn driven
version of Gatemouth Brown's "Okie Dokee
Stomp" as Clark unleashes blazing fret
work.
"From
Austin With Soul" was a tough one to follow
up but with "Deep In The Heart" Clark
has managed to pull it off on another deeply
satisfying blast of soul drenched blues. Like
the previous record this one will undoubtedly
be on many year end best-of lists.
-Check
out these related links:
From
Austin With Soul
W,C.
Clark Website
(Jeff
Harris)
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