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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)
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 Eugene
"Hideaway" Bridges: Man
Without A Home (Armadillo)
With his sophomore release
Eugene "Hideaway" Bridges proves himself to be a major talent
and hands down one of the best of the younger crop of blues slingers. Bridges'
arsenal is that rare triple threat- an outstanding vocalist, guitar
player and a fine songwriter.
Bridges debut CD, Born To Be Blue, was released on the
short lived UK label Blueside in 1998 and left no doubt that this was a
bluesman who's chops were firmly in place. Man Without A Home is a
tremendous follow up delivering his unique blend of soul and blues. Why a
musician of this caliber had to go to Europe to get recognized is beyond
me. Bridges now plays all over the world and if this release doesn't
garner him some attention stateside then there's something seriously
wrong.
Bridges' vocal ability is what immediately grabs your
attention with an uncanny ability to sound like his idol Sam Cooke. Check
out the two wonderful Cooke covers in the aptly titled "Movin' And
Groovin'" plus the lovely ballad "I'm Falling In Love" and
you'd swear your listening to Sam himself. Bridges' tackles
more straight ahead blues material on the tough "I Used To Sing Love
Songs", the driving "You Gonna Miss Me" featuring some fine
piano work and "Bluesman" with some smoldering fluid guitar
work. For more proof that Bridges' can flat out play take a listen to the
instrumental "Hideaway Slim" a song named after his father.
Perhaps the album' highpoint is the title cut, "Man Without A
Country, Man Without A Home" a soaring ballad that describes his own
situation eloquently. In addition to Bridges' many talents he's
backed by a great band and including some spot on horns on four tracks by
The Little Big Horns.
At
this point there's no US distribution for Man
Without A Home (see Armadillo's
website for ordering details) but if Bridges' can gain some attention
in his own country he's a sure bet to join the blues elite. One of the
freshest most distinctive voices to come around in a long time.
[Check out a
review of Eugene
"Hideaway" Bridges' prior CD.]
(Jeff Harris)
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|
Mosley
& Johnson: Juke
Joint (Malaco)
Mosley & Johnson
may not be household names but with Juke Joint
they may have put together the year's best soul/blues
record. Considering Malaco's focus on a more urban sound,
Juke Joint is the most satisfying down home record
from this southern label in a long time.
Sam Mosley and Robert A. Johnson are songwriters for Malaco who have
written songs for the likes of Bobby Bland, Latimore, Johnnie Taylor
and many other heavy hitters. The duo also has a pair of records out
under their own names. The combination of the duo's fine songwriting
and musical talent plus stellar support from the Malaco house band
make this a winner from top to bottom.
Malaco has built their sound on a foundation of urban southern soul
and blues and you'd have to look back to the days of Z.Z. Hill to find
such a fine down home record as this. Mosley and Johnson wrote and
arranged all eleven tracks with Mosley singing lead and playing guitar
while Johnson handles the keyboard chores. Add a veteran backing band
with some great punchy horns and you've got yourself a winner. Check
out the lilting horns on the bluesy slow burner "You Hit The Nail
On The Head" with some low down and dirty guitar work or the
mid-tempo "Movin' My Outside Woman In" and you'll know what
I mean. There's more where that came from- check out the swinging
opener "Going To Mississippi" the brassy R&B of
"Call Me" and the straight blues of "Hurts So Bad"
with sympathetic horns and outstanding axe work. There's a musical
phrase that's fits this record perfectly- "In the pocket."
On a somber note the record has a moving dedication by Sam Mosley to
his partner Robert Johnson who passed away before the album was
finished. Juke Joint will stand the test of time as a fine
testament to a very talented partnership.
(Jeff
Harris)
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|
 Larry
Johnson: Blues For Harlem (Armadillo)
Larry Johnson is a brilliant musician who is almost single handily
keeping the East Coast ragtime blues style alive. Blues For Harlem
is an amazing journey with a musician who has total mastery of his
material made all the more important considering most who played the
style have long since passed.
Johnson was born in Atlanta in 1938 and after a stint in the Navy
moved North to settle in Harlem. He had the good fortune to meet Rev.
Gary Davis who just happened to be one of the most renowned
practitioners of the East Coast school of ragtime guitar. Taken under
his wing, Johnson learned quickly also playing with such Harlem
residents as Brownie McGhee, Sonny Terry and Alec Seward. Blues
For Harlem is a remarkable tribute to his mentors and also proves
that Johnson was able to distill the styles of the past and remains
very much his own man.
On Blues For Harlem
Johnson displays his remarkable finger picking skills and rich
expressive vocals on a set of traditional tunes and originals. Rev.
Gary Davis looms large on Johnson's mind particularly on the
moving twelve and a half minute "The Reverend And Me- A
Tribute" where he reminisces about his mentor while playing a medley
of songs associated with the Reverend: "Swing Low sweet
Chariot", "Give Me Back To Glory" and "Death Don't
Have No Mercy." He also talks movingly about the Reverend and
himself in a candid ten minute interview segment. Johnson's shows off
his own style particularly on the supremely confident, swinging
"Mr. Johnson Sound." Also included are some surprising
covers including a pair of Arthur Crudup tunes and a very personal
version of Guitar Slim's "The Things I Used To Do."
Blues For Harlem is a
wonderful document not only of a brilliant musician
at the peak of his powers but it's also a portrait of an articulate,
intelligent man with with a deep respect for the blues
tradition. (see Armadillo's
website for ordering details)
(Jeff Harris) |
|
 Barbara
Carr: Stroke It (Ecko)
Barbara
Carr, Ecko’s main star, has delivered another solid effort of chitlin’
style blues. Stroke It her fourth effort for Ecko is her most solid
effort since “Bone Me Like You Own Me”. Songs like “Good with Your
Hips”, “Make Me Feel It Like You Feel It” and “Love Call”
deliver the prototypical bawdy blues that has become the staple of
Ecko’s stable of singers. The thing that puts Barbara above many is her
voice. Ms. Carr who recorded the minor soul hit “Don’t Knock Love”
for Chess records in 1966, has the vocal grit to carry this release off.
Beside the title track Stroke It she answers Billy Ray Charles hit
“I Can Dish It Out, But I Can’t Take It” with “A Woman Can Take It
And She Can Dish It Out”.
Unfortunately, one must make mention of the repetitiveness of the song
selection. Every song has a sexual connotation or double-entendre meaning.
A page needs to be ripped out of the Malaco songbook and some songs with a
little more gritiness should be included in her future releases.
Overlooking this one flaw of Stroke It, Barbara Carr is one soulful
singer that deserves more recognition on the national blues/soul scene.
(Dave Moskal)
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|
 Latimore:
You're Welcome To Ride (Malaco)
Latimore's
blend of sultry soul has been gracing records since the mid 60's
before finding a home on the Malaco label in the early 80's. Previous
records have been somewhat hit or miss but You're Welcome To Ride
hits the mark with a simmering mix of soul and blues.
Billed as Benny Latimore he began recording for the Glades in 1965.
Latimore broke out in the 70's with his number one smash "Let's
Straighten It Out" and continued his streak with the hit
"Keep the Home Fires Burnin'" the following year. In 1982 he
moved to the Malaco stable laying down some good if inconsistent
music. You're Welcome To Ride, his ninth for the label, finds
the veteran soul singer at the top of his game.
Latimore's deep
soulful voice has rarely sounded better aided by some fine arrangements
from the Malaco crew. Malaco has been in the soul business for thirty
years and their house band knows how to provide the perfect backdrop
for Latimore's tales of love and deception. For a soul singer it's the
songs that are important and this record contains a number of great
tunes. Latimore tackles a pair of fine covers including John Ellison's
moving "You Can Count On Me" and a knock out version of Dan
Penn and Spooner Oldham's "Take Me As I Am." Also on deck
are fine originals like "Country Woman" a tale of redemptive
love, the chugging "Pretty Woman" and the romping swagger of
"I'm An Old Dog" with the payoff line: "I may be old
but I ain't cold, I still know how to bury the bone!."
Latimore may indeed be an "old dog"
but he's still got a few tricks up his sleeve. Latimore and the Malaco
crew deliver on all counts- one of the year's best soul/blues records.
(Jeff Harris)
| |
 Robert
Lockwood Jr.: Delta Crossroads (Telarc)
A quick listen to Robert
Lockwood's Telarc debut reveals a musician who's honed his craft to
near perfection. While Robert Johnson's influence looms large it's
clear on this immaculately crafted set of covers and originals that
Lockwood has always remained his own man.
At 85 Lockwood remains one the few
tangible links to the legendary Robert Johnson. When Lockwood's mother
became romantically involved with the Johnson, Lockwood gained a
musical mentor and a close friend — so close that Lockwood
considered himself Johnson's stepson. After Johnson's death Lockwood
began a lengthy career cutting fine sides under his own name as well
as becoming a first rate session man recording with legends such as
Otis Spann, Sunnyland Slim, Little Walter and numerous others. While
Lockwood always retained Johnson's influence he developed his own
swinging jazzy style and a remarkable talent for playing the 12 string
guitar.
Delta Crossroads finds Lockwood alone in a completely acoustic
setting where his wonderful guitar playing and rich voice have rarely
been captured better. Lockwood pays homage to his mentor on six Robert
Johnson classics including fine renditions of "I Believe I'll
Dust My Broom", "Ramblin' On My Mind" and "Mr.
Downchild" a song Johnson never recorded but one that Lockwood
recalls him playing. We are also treated to some fine originals
including the dramatic "My Woman Came Walking Down",
"We're Gonna Ball Tonight" and the lovely "Run Your
Mama." Throughout the over 60 minute program Lockwood exhibits
total mastery of the material with hardly a stray note out of place
and none of the excess of many modern blues recordings.
At 85 Lockwood has nothing left to prove yet the quiet power he
exhibits on Delta Crossroads commands your attention and shows
a master musician still evolving and perfecting his craft.
(Jeff Harris) |
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