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Dr. "Feelgood"
Potts: Make It Talk (Ecko)
Sheba Potts-Wright:
I Need A Cowboy To Ride My Pony (Ecko)
Mel Waiters: Nite Out (Waldoxy)
It's
odd when you think about it that blues has gone from
a music made and listened to by blacks to an audience
now primarily made of white listeners. Blues is still
popular among black audiences although it's not the
type of blues most white listeners go for. Artists like
Feelgood Potts, Sheba Potts-Wright and Mel Waiters ply
a smooth brand of good time blues with a heavy accent
on soul and R&B. Artists like these remain very
popular particularly in the south and their latest singles
are played heavily in jukeboxes in black clubs across
the country. There's still a number of record companies
who cater to this audience most notably Malaco (Waldoxy
is a Malaco subsidiary) which has been around for over
30 years and Memphis based Ecko Records which launched
in 1995 and has built an impressive roster of veterans
and newcomers.
"Make
It Talk" by veteran Dr. "Feelgood" Potts
is his third full length record after issuing several
singles through the 70's and 80's and is an excellent
follow-up to last year's self-titled "Dr. Feelgood
Potts", his Ecko debut. Potts is a deeply soulful
crooner with a sound that evokes earlier Memphis labels
like Stax and Hi. This one has all the elements to be
a winner with simple, stripped down, but effective backing
and a mix of very strong songs. The chugging groove
of "Make It Talk" is a sure fire jukebox hit
as Potts mentions previous love advice by Bobby Rush
and Clarence Carter before offering up a bit of his
own: "If you really want to please a woman/ You
got to make it talk." Other highlights include
the rousing "Mixed Up In Your Love" featuring
some fine background vocals and the good time party
anthem "All Blues Saturday." Potts serves
up some tasty harmonica playing on the instrumentals
"Blusin' And Cruisin" and "Red Onions."
Sheba
Potts-Wright is a promising newcomer and the daughter
of Robert Dr. "Feelgood" Potts. "I Need
A Cowboy To Ride My Pony" is her third for the
label. She worked with her dad sharing the stage with
Wille Clayton, Shirley Brown, Marvin Sease and the recently
passed Ecko artist Quinn Golden. Sheba is now traveling
and performing with Denise LaSalle. Sheba has a yearning,
sexy voice as she sings risque songs that leave little
to the imagination. The album is a bit of a mixed bag
although the bouncy "I Need A Cowboy To Ride My
Pony" certainly sounds like a jukebox favorite
as she looks for a "real pony rider." Other
highlights include the sultry "I Can Give It Like
A Woman", the slinky cheating song "The Other
Woman Has Got Your Man" and "We're Gonna Miss
You" a heartfelt tribute to the late Quinn Golden
featuring Feelgood Potts on harmonica.
The
silky, seductive vocals of Mel Waiters have been a jukebox
staple for years, notching "Hit It and Quit It"
in 1995 and 1999's hugely popular "Hole in the
Wall." Mel Waiters was born and raised in San Antonio,
TX, where in 1974 he began his performing career at
local teen clubs. He made his debut in 1995 and most
recently has been on the Waldoxy roster. "Nite
Out" is his fourth for the label and another excellent
batch of late night R&B and party music. Waiters
has a great voice that's particularly effective on late
night ballads like the catchy "Your Kitchen Was
Closed" ("Betty Crocker and Sarah Lee/Can't
come close to what you cooking on me") and "Whiskey
& Blues" a magnificent after hours blues as
he tells the bartender to play some Bobby Bland, Johnny
Taylor and Z.Z. Hill to heal his broken heart. Other
standouts include the infectious "Girls Night Out"
and the funky party blues of "Smaller The Club"
an instant jukebox hit that's sure to get them on the
floor.
Many
of these artists seem to get overlooked in the blues
magazines and on many blues radio stations but they're
all putting out vital music that still attracts many
fans and shouldn't be overlooked. It may not fit your
definition of blues but all those jukeboxes and crowded
dance floors can't be wrong.
-Check
out these related links:
Ecko
Records Website
(Jeff Harris)
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Carey &
Lurrie Bell: Second Nature (Alligator)
Alligator
Records isn't known for their acoustic records,
usually taking a more hard rocking approach,
but "Second Nature" is the second
acoustic record the label has issued this
year. Like the first one, "Double Take"
by Billy Branch & Kenny Neal, this one
was originally recorded overseas and is something
of a lost gem that thankfully has been rescued
from obscurity. "Second Nature"
is a loose, easygoing affair with the talented
father and son duo playing marvelously on
a set of classic and original blues.
Carey
Bell has long ago cemented his reputation
as one of Chicago's top harp blowers learning
his trade directly from Little Walter, Big
Walter and Sonny Boy Williamson II.
Bell really came into his own in the 90's
as a bandleader with first rate discs for
Alligator and Blind Pig. Lurrie has been working
with his father since he was a youngster.
By 1977, he was recording with his dad and
playing behind a variety of established stars,
and pegged by many as a blues star on the
rise. Unfortunately personal problems have
dogged him and his recorded output and live
performances have been inconsistent. No such
problems on "Second Nature" as both
men are in top form and remind me of how good
1982's "Son Of A Gun" was, their
first album together that unfortunatley remains
out of print at this writing.
This
recording was cut back in 1991 in Helsinki
of all places. Both
Carey and Lurrie were playing a blues festival
together in Finland
and so impressed the producer that he booked
them into a studio to capture the magic. There
were no overdubs, no rehearsal and everything
was recorded in one take and the results are
really something special. Father and son are
totally in synch as they roll through these
blues with an easygoing feel as if playing
on a front porch for some old friends. Vocals
are split down the middle with only percussion
on two tracks. Highlights include Lurrie taking
the vocals on a moving version of the traditional
gospel number "Trouble In My Way",
his killer solo take on "Rock Me"
with some great fret work and "Got To
Leave Chi-Town" (originally cut on "Son
Of A Gun") as Lurrie sings
impassionedly ("this old town
keeps knocking me down/just like a whirlwind
of unhappiness keeping me on the ground")
as Carey weaves in and out with some inspired
harp. Carey takes the vocals most impressively
on the driving shuffle "Short Haired
Woman" blowing some stunningly inventive
harp and a slinky, low-down "Five Long
Years" done as he says "by a good
friend of mine, Eddie Boyd."
"Second
Nature" is one of those magical recordings
that almost never was if not for the foresight
of a producer who knew he had to capture it
for posterity. Both men have been absent from
the studio for a few years now and this one
makes one hope that the wait won't be much
longer.
-Check
out these related reviews:
Kenny
Neal & Billy Branch: Double Take
(Jeff
Harris)
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John Lee Hooker
Jr.: Blues With A Vengeance (Kent)
Yes
this is John Lee Hooker's son but thankfully he's
not trying to be his old man. As he says: "If
I tried to fill my father's shoes, I'd get cramps
just trying to take one step." No this John
Hooker has got his own sound and "Blues With
A Vengeance" proves he's a major talent in
his own right.
Hooker
started young, performing on WJBK radio in detroit
at the age of 8 and by 16 he was performing in
venues such as the Fox Theatre in Detroit with
acclaimed musicians such as Jimmy Reed. At 18
years old ABC Records released his first recording,
"Live at Soledad Prison", a collaborative
effort with his father. He has performed with
artists such as Bo Diddley, Charlie Musslewhite,
Luther Tucker, Elvin Bishop, and, of course, his
father John Lee Hooker. John Lee Hooker Jr. also
toured nationwide with his fathers's Coast to
Coast Blues band as the feature attraction. Somewhere
along the line he took a wrong turn resulting
in drugs, alcohol, and prison time. Whatever demons
plagued him he seems to have got his act together
on "Blues With A Vengeance", one of
the year's better blues debuts.
Hooker
Jr. wisely doesn't try to sound like his dad and
instead mines a more contemporary urban blues
style that he describes as "2 parts R&B,
1 part jazz and down home blues" plus some
exceptionally well written and often humorous
tales of sour love, hard times and street life.
Hooker's prime weapon is a deeply soulful, supple
voice at home with low-down blues as it is with
more contemporary R&B. The second part of
his arsenal is a fantastic band that includes
Herbie Hancock protégé, keyboardist
Will "Roc" Griffin, bassist Frank Thibeaux,
drummer John Handy, lead guitarist John Garcia,
who also accompanied Hooker Sr. and Jeff Horan
on rhythm guitar. The spoken intro to the opener,
"Suspicious", sets the mood: "I
don't want you to get burnt by none of the hot
grease ladies and gentleman because you are about
to cook with the hook." "Suspicious"
is a steamy, back alley tale of betrayal, while
"Blues Ain't Nothin' But a Pimp" marries
old school funk with blues in a humorous tale
of bad luck, "She Wasn't Nothin' But a Devil"
is funky blues shuffle filled with clever wordplay
and "Goin' Down to Baghdad" is a tough
old school blues with topical lyrics. Hooker covers
three of his father's most celebrated tunes turning
in solid versions of "Dimples" and "Boom
Boom." He really puts his own stamp on the
nearly eight minute "One Bourbon, One Scotch,
One Beer" as the band locks into a rock solid
groove and he adds his own autobiographical lyrics
about his own problems with alcohol, still managing
to find plenty of humor in the situation. He finds
redemption in the song's final chorus: "My
baby she's home/Home every night/We make love
and we never fight/I don't get drunk/I'm in my
right mind/One Coke, one Sprite and root beer."
When
you have a famous like John lee Hooker it's almost
impossible to get out of his shadow. John Lee
Hooker Jr. has solved the problem by carving out
a unique and vibrant sound of his own while still
paying homage to his father's legacy.
-Check
out these related links:
John
Lee Hooker Jr. Website
(Jeff
Harris)
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Paul Geremia: Love,
Murder & Mosquitoes
(Red House)
Country
blues is a tricky thing, it sounds so simple to play
but the fact is that very few so-called country blues
players can pull it off convincingly. Paul Geremia has
been pulling it off for a long, long time and with nearly
40 years of experience "Love, Murder & Mosquitoes"
might be his best recording yet.
Geremia
started playing professionally during the "folk
boom" of the 60's when he quit college and hit
the road permanently playing gigs in coffee houses and
colleges throughout the country. He worked as opening
act for numerous rediscovered blues legends learning
the blues first hand from people like Yank Rachel, Son
House, Skip James, Howlin' Wolf, and especially Pink
Anderson whose career he helped revitalize. It's obvious
he's learned his lessons on "Love, Murder &
Mosquitoes", a beautiful and timeless collection
of country blues.
Geremia
plays it the way he always has, strictly acoustic, showcasing
an agile, effortless sounding fingerpicking technique
either on six and twelve-string guitars. He's equally
adept on his other tools including some impressive rack
harmonica playing, a husky soulful voice and the knack
for writing some marvelous songs. Geremia is joined
on some tracks by Rory McLeod on string bass, Martin
Grosswendt on fiddle and banjo and Jim Bennet on mandolin.
Geremia's inspiration seems to be drawn from the ragtimey
fingerpicking style of East Coast bluesman like Blind
Willie McTell, Blind Blake and Reverend Gary Davis.
Unlike many acoustic players who mine similar territory,
Geremia's interpretations are gloriously alive and vibrant
where others treat the same material as museum pieces.
For proof just check out his vivacious readings of the
loose, good timey feel of "Meet Me in the Bottom"
a song learned directly from Pink Anderson, a very different
spin on Charlie patton's "Pony Blues" featuring
some soulful fiddle, a gorgeous version of the obscure
George Carter's "Rising River Blues" and the
fine Blind Lemon Jefferson gem "Mosquito Moan."
A couple of songs have a political message such as the
"New Bully of the Town" cut by the Skillet
Lickers in the 20's and as relevant today as ever and
"Evil World Blues" with some bluesy fiddle
as he tackles contemporary issues: "Homelessness
is a nightmare in the veil of corporate greed/It will
chew you up and spew you out to fertilize the American
dream." Potent stuff but never preachy. Other songs
find Geremia putting his spin on the songs of Mississippi
John hurt, Blind Blake, Tampa Red and others that have
clearly inspired him.
"Love,
Murder & Mosquitoes" is a beautiful and timeless
blues record as Geremia breathes fresh life into a rich,
timeless genre helping to spread the gospel to a whole
new generation.
-Check
out these related links:
Paul
Geremia Website
(Jeff Harris)
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Sam Myers: Coming
From The Old School (Electro-Fi)
Sam
Myers is best known to blues fans for his nearly two
decade collaboration with Anson Funderburgh & The
Rockets. Myers had been playing the blues for quite
a bit longer and after nearly fifty years in the business
we have "Coming from the Old School" his belated
debut as a leader.
Born
and mostly raised in Mississippi, Myers came up to Chicago
as early as 1949 where he was inspired by hearing Little
Walter and James Cotton. In 1957 Myers made his debut
with the Royal Rockers backing him for Johnny Vincent's
Ace logo cutting "Sleeping in the Ground"/"My
Love Is Here to Stay." Myers played drums with
Elmore on a fairly steady basis from 1952 until Elmore’s
death in 1963 and can be found on dozens of Elmore sides
between 1957 and 1963. From the early 1960’s until 1980's,
Myers worked the clubs in and around Jackson, Mississippi
as well as across the South in the Chitlin’ Circuit
before hooking up with Anson Funderburgh in the mid-80's.
Not surprisingly "Coming from the Old School"
is a well seasoned and satisfying set of old school
blues.
There's
nothing fancy on "Coming from the Old School"
just a strong collection of vintage sounding blues featuring
Myers' gritty, barrel chested vocals and lively harp
work. Backing Myers is ever tasteful guitarist Mel Brown
who first worked with Myers when they were both teenagers
back in Jackson, MS. Myers shows a knack for writing
good songs having penned the bulk of these numbers plus
tackling some choice covers by Otis Spann, Sonny Boy
Williamson and Robert Lockwood. Among the originals,
nods got to the bouncy "I'm Tired Of Your Jive"
that opens with a passionate harp solo and features
some wailing sax from Pat Carey, "Coming from the
Old School" a slow burning instrumental with Myers
blowing some melodic and lyrical harp with tasty guitar
from Brown, the chugging "Money Is My Downfall"
and the languid blues of "After Hours When The
Joint Is Closed." Of the covers it's Otis Spann's
"Burning Fire" that's the highlight as Myers
delivers one of his best vocal performances on this
moody slow blues.
You
couldn't really ask for a better debut than "Coming
from the Old School" and while it doesn't break
any new ground, is nonetheless a satisfying blast of
decidedly old school blues from a man who knows them
well.
-Check
out these related links:
Electro-Fi
Website
Sam
Myers Website
(Jeff Harris)
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