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| Every month Bad Dog Blues reviews
the best new blues releases. 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: |
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 Louisiana
Red: Driftin' (Earwig) 
Driftin' is is a worthy follow
up to Louisiana Red's excellent Millennium Blues which
came out in 1999. Red is joined by the same all-star band
as before and sounds positively electrified as he plows through
a deeply personal set of original songs filled with slashing
guitar and declamatory vocals.
Louisiana
Red made his recording debut for Chess way back in 1949 and
despite cutting some exceptionally tough records he's never
truly gotten his due. At his best Red is a frighteningly powerful
bluesman who uses the blues to work through a life filled
with sorrow. Though he's recorded with numerous labels his
association with Earwig Records has been one of his most fruitful.
Driftin' is his third for the
label and all three rank as high points in his long career.
Red doesn't just sing
the blues, he's lived the blues and it's what gives his music
such harrowing conviction. His music is rooted deeply in the
delta blues tradition but there's also a strong Chicago blues
influence as well. As on his previous Earwig record this one
is equally divided between band recordings and solo efforts.
Red's band features some of Chicago's best including Allen
Batts on piano, Willie Kent and Brian Bisesi on guitars and
Willie "Big Eyes" Smith on harmonica.
Things kick off with the full band
on the ominous sounding "Driftin'" a dark meditation
on Red's rootless life from growing up in an orphanage to
living in "a lonesome foreign land." Other full
band standouts include the rocking "The Day I Met B.B.
King", the smoldering "Powder Room Blues" and
the equally tough "Train Station Blues." The solo
cuts are just as powerful including slide drenched numbers
like "Hard Hard Time" and "Baby, You Gonna
Miss Me", the distorted John Lee Hooker boogie of "Leaving
Grandma" and wrapping up with the moving traditional
gospel of "He Will See You Through."
Louisiana Red plays the blues as they
were meant to be played pouring his whole life into his music.
Red doesn't pull any punches and Driftin' is another
intensely convincing and powerfully played effort from a man
who's lived the life he sings about.
(Jeff Harris) |
 Rico
McFarland: Tired Of Being Alone
(Evidence)
If you're a fan of
contemporary blues there's a good chance you either recognize
Rico McFarland by name or have heard his
tasteful guitar playing, probably without even realizing
it. Such is the life of a session player. With Tired
of Being Alone McFarland finally steps out on his own
and the result is a smoldering, funky contemporary blues
album that is certain to turn a few heads.
Like Lucky Peterson, McFarland was something of a
child prodigy playing bass lines to Booker T & The MG's
"Green Onions" when he was five. Not long after
that he was hanging out in the Chicago clubs with his dad
soaking in the blues first hand. Over the years McFarland
has developed into a major league session player doing stints
with James Cotton, Little Milton, Kinsey Report, Otis Clay,
Syl Johnson and a host of others. It may sound like a cliché
but McFarland has really paid his dues and
Tired of Being Alone is a phenomenal debut.
While McFarland is the star of this set maybe a subtitle
should read "Rico McFarland and Friends" as he
gets some help form some of the best in the business. Along
for the ride are the Evidence All-Stars who comprise of
Chico Banks, Melvin Taylor, Carl Weathersby and Dan Bellini
from Howard & the White Boys. As if that wasn't enough
add in harp masters Sugar Blue and Billy Branch plus two
of the best soul/blues singers around namely Otis Clay and
Syl Johnson. Despite all the talent on display this is no
battle of the egos and instead we get some flat out great
ensemble playing.
McFarland takes the vocals on six of the twelve cuts
proving to be a fine soulful singer. His guitar playing
cuts like a knife with a hard edge blues/rock bent but always
very tastefully done. Highlights abound especially when
Syl Johnson rips into a gritty cover of Al Green's "It
Ain't No Fun To Me" and Otis Clay tackles the uplifting
gospel tinged "What If God Was One Of Us" both
of which benefit from blasting brass by The Chicago Horns.
The super funky "Bad Attitude" opens things up
with McFarland on vocals featuring blistering tenor work
from Hank Ford, while "Tired Of Being Alone" is
a driving R&B number featuring some sizzling guitar
and "Rockin' Chair" is a gentle R&B cut with
a great hook. Also worth mentioning is the chugging Chicago
blues of "Made Up My Mind" with Billy Branch handling
vocal and harp chores.
You
really couldn't ask for a better debut than this with McFarland
incorporating years of experience with a versatile mix of
soul, R&B, rock and blues rolled into a great package.
This one comes highly recommended.
(Jeff
Harris) |
 Johnny
Drummer: Unleaded Blues (Earwig)
Johnny Drummer
has been singing and fronting his own band on the Chicago
blues scene for some time now but it wasn't until two years
ago that this talented bluesman made his debut. Unleaded
Blues is an exceptional follow up expertly delivering
a deep Chicago blues and R&B groove.
I actually had the pleasure
to hear the demo of this new record last year when I visited
Chicago. I managed to hook up with Earwig Records president
Michael Frank and as he took me on a tour of Chicago's Southside
he slipped on Johnny's new record. I also got to see him
live at a friendly, cozy Southside club called Lee's Unleaded
where Johnny has held court on weekends for the past 5 years.
All this has made a definite fan of Johnny Drummer and hopefully
this new record will get his name known outside of Chicago.
Johhny's first record
was more in a contemporary soul vein while Unleaded
Blues leans heavily towards blues and contemporary R&B.
Drummer is is a first class blues singer and a very talented
songwriter having written all but two of the tracks. The
band is rock solid featuring the always reliable Alan Batts
on piano and some serious guitar playing from Luther "Slim"
Adams" and Anthony Palmer. Filled with catchy hooks
and an undeniable groove this one simmers from beginning
to end. Highlights go to the loping opener "I'm Gonna
Sell My Cadillac, Buy Myself a Mule", the autobiographical
"Born In The Delta" and the shuffling "You
Got Trouble." Fans of R&B won't disappointed with
the funky "I'm Missing You", "Stop Cheating"
a nice duet with Liz Mandville Greeson, the lilting, catchy
"Put Your Suitcase Down" with nice female backing
vocals and the storming soul of "Take Care of Your
Homework."
Fans of straight ahead
blues and R&B will find much to like on Drummer's sophomore
outing. And if you happen to be in Chicago by all means
check out Johnny and his band at Lee's Unleaded you'll have
a blast.
(Jeff
Harris) |
 Gatemouth
Brown: Back To Bogalusa (Blue Thumb)
Gatemouth
Brown has always followed his own muse and his music reflects
a musician interested in all facets of American music. Incorporating
country, Cajun and blues into his music and equally comfortable
on fiddle as well as guitar, Gatemouth is an American original.
That diversity is wonderfully showcased on the aptly titled
Back To Bogolusa.
Gate's
previous record American Music, Texas Style really
emphasized his love of jazz backed by a big band filled
with hard boppers like Nicholas Payton and Wes Anderson.
Back To Bogolusa is a more stripped down affair with
Gate digging deep into roots music territory with a strong
Louisiana flavor. At 77 Gate still sounds great and continues
to experiment and try new things. Back To Bogolusa
has a wonderfully down-home, rootsy feel with stellar playing
from Gate and his fine band.
As you would
expect Gate's band is top flight featuring core members
Harold Floyd on bass, Joe Krown on piano and David Peters
on drums. Added to the mix are a fine horn section plus
guest stars Sonny Landreth on slide guitar and Zachary Richard
on accordion. Gate's fluid single string guitar work sounds
as good as ever and he's no slouch on the fiddle. "Folks
Back Home"' kicks things off with a laid back groove
with nice interplay between Landreth's slide and Gatemouth
supple guitar runs. The whole record has a decidedly laid
back, country porch feel like the gentle "It all Comes
Back" while "Breuax Bridge Rag" and "Louisian'"
are rootsy numbers with fine fiddle by Gate that sound like
they could have come off a Dave Alvin record. More in a
straight blues vein are "Going Back To Louisiana",
a shuffling cover of Bobby Charles' "Why Are People
Like That" and the funky, humorous "Dangerous
Critter." Vocally Gate is in fine form but one of the
record's strengths is that Gate gets plenty of opportunity
to stretch out on guitar and his playing is a sheer joy.
If anything
Gatemouth Brown seems to be getting better with age and
his wide musical palette makes for consistently interesting
listening. This would should not only appeal to blues fans
but all fans of authentic roots music.
(Jeff
Harris) |
 Rod
Piazza & The Mighty Flyers: Beyond The Source
(Tone-Cool)
If you've seen Rod Piazza
& the Mighty Flyers live you'll know why this band has
won two consecutive W.C. Handy awards for Blues Band of
the Year. They bring that same energy to their studio recordings
and Beyond The Source is one of their most inspired
efforts and simply cooks form start to finish.
Piazza started his journey
with the Dirty Blues Band in the 60's cutting a pair of
records for the Bluesway label. After leaving that band
he spent 15 years working alongside the legendary George
"Harmonica" Smith who was a major influence on
his style. Smith's health began failing in the early 80's
and that's when The Mighty Flyers where formed. Many bluesman
tour with thrown together bands but The Mighty Flyers are
a real hard working blues group who've built up a huge fan
base with nonstop touring and a reputation for knockout
shows. Beyond The Source captures everything that
makes this band so great.
The sound Rod Piazza &
The Mighty Flyers conjure up is good time, hard rocking
West Coast blues with a decidedly retro flavor. Piazza is
a fine soulful singer but it's his wailing, big sounding
harmonica blowing that will knock you out. Owing a large
debt to George "Harmonica" Smith and Little Walter,
Piazza can be rightly called a virtuoso harp player. The
band interplay is awesome featuring a rock solid rhythm
section, marvelous piano from Honey Piazza and incredible
distorted, retro flavored guitar from Rick Holmstrom who
brings to mind West Coast guitar masters like Pee Wee Crayton
and T-Bone Walker.
The band rocks hard
on numbers like the gritty "Who Knows What's Goin'
On" with Piazza sounding like he's singing through
his harp, "Shim Sham Shimmy" with Holmstrom sizzling
on guitar and the blasting "This Time, This Time"
with Piazza really cutting loose. Other gems include the
shuffling "Love To Spare" and the low down "Lovin'
Daddy Blues" with Honey sparkling on the 88's. The
band shows their versatility on some fine instrumentals
like the catchy "Easy Baby" and "Miss Bee-Havin'"
a showcase for Honey's rippling piano work.
Beyond The Source
captures the essence
of what makes Rod Piazza & the Mighty Flyers such an
outstanding unit. Showcasing some flat out killer playing
and unbridled creativity, this is a great modern blues record.
(Jeff
Harris) |
 Super
Chikan: Shoot That Thang! (Rooster)
Super
Chikan burst upon the blues scene like a breath of fresh
air with his 1997 debut, the unconventional and heartfelt,
Blues Come Home To Roost. Shoot That Thang!
is Chikan's third record and his skewed interpretation
of the Mississippi blues still sounds like no one else.
Super
Chikan was immersed in music at an early age. His grandfather
played fiddle with a local string band and his uncle
was none other than guitarist Big Jack Johnson. Chikan
began giging with Johnson at the local juke joints.
He started writing songs when he took a job as a truck
driver and recording them on a homemade cassettes. Eventually
his music came to the attention of Rooster Record's
Jim O'Neal who issued his first record. After laying
down one record for the Fat Possum label last year he's
now back on Rooster.
Chikan's
humorous, observational songwriting is still sharp and
he wrote all of the album's fifteen songs. With his
band The Fighting Cocks they put down a laid back, funky
Mississippi groove. While it's hard to mistake the music
for anyone but Super Chikan's the album is overall a
bit more conventional than the previous two and there's
nothing nearly as audacious as "Captain Love Juice"
from his debut or "Big Boy Now" from his second.
Still there's plenty to enjoy like the funky "Guilty
Man" ("you can't tell the truth on a guilty
man, he may try to kill you with his own bare hands"),
the lilting down-home feel of "Tin Top Shack"
basically part two of "Down In The Delta"
from his first record and "Mennonite Blues"
vividly recalling his days working with the Mennonites.
Others highlights are the funny, heartfelt "Marry
Me" with Chikan playing piano, "Wrong To Sing
The Blues" and the stomping "Shoot That Thang!"
the album's only genuine rocker.
Super
Chikan remains one of the few contemporary bluesman
who always have something interesting to say. Shoot
That Thang! is an enjoyable twist on the classic
Mississippi blues formula filled with wry observation
and down-home humor.
(Jeff Harris)
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