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JAMES HARMAN Mo' Na Kins, Please! Cannonball Records, CBD29112 Mo' Na Kins, Please! #2, Annalee, Too Much Family, Icepick's Pawnshop Blues, Icepick Boogie,Messin' Up, (Feel Like), Chumpman Blues, Shim Sham Shimmy, Don't You Lie To Me, Falcon's Nest The, Dirty Work At The Crossroads, Goat The, Jake-Head Boogie, Mo' Na Kins, Please! #1 This compilation of fourteen tracks represents James Harman blowing harp and singing in recording sessions of 1984-87. This music is previously unissued,and includes seven originals by Harman and his versions of songs written by artists he admired. There is a variety of band members, many of whom have since become well-known names. Eight of the band members played in Harman`s band at different times. Many of the other five instrumentalists and six backing vocalists have all been a part of Harman`s life at some time. Harman's strong, dynamic harmonica playing is his greatest asset,but he only blows harp in five tracks. The best examples of this are in his upbeat, jump blues, Mo'Na'kins, Please! #2 with a full band, and his Chumpman Blues. In Sonny Boy Williamson's The Goat, Harman assimilates Sonny Boy's style. He blows a mighty acoustic harp in the simpler, Memphis 50s version of Mo'Na'kins, Please! #1. He even makes his kazoo playing in Don't You Lie To Me sound like a harp, which is no easy feat. His vocals are clear and straight forward, with a slight country flavor. He sings on all the tracks except one in the album. He demonstrates his vocal versatility by singing upbeat, jump blues, boogies, somber blues with a full band and even an acoustic duo with guitarist, "Kid" Ramos in a Lightnin' Hopkins' tune, Jake-Head Boogie, which captures the Houston, Texas 78 sound. The variety of talented band musicians add diimensions to the album. The only instrumental, The Falcon's Nest, is a hot, cookin' acoustic version, with "Piano Gene" Tayor on piano and Stephen T. Hodges on drums. Both of these musicians were with the James Harman Band at one time. These two also accompany Harman's singing on the sobering Icepick's Pawnshop Blues. David "Kid" Ramos, also a member of Harman's band at one time, plays electric guitar ,lead guitar, electric rhythm guitar, electric slide guitar, or electrified acoustic guitar on about half of the tunes. Other guitarists include Michael "Junior" Watson and the late Michael "Hollywood Fats" Mann. Other pianists include Fred Kaplan and Tom Mahon. Three saxophonists, and two bassists and drummers are also on the CD. The diversity of jump blues, boogies, and blues tunes plus the myriad of talented musicians add interest to this CD. Harpist, vocalist, and songwriter, James Harman plays a strong role in making this a solid album. The music sounds as fresh as it did fifteen years when it was recorded. This could be an enjoyable addition to your CD collection. ¶ By Maria Bainer ARBESS WILLIAMS Penance Have Mercy Records HMCD-12 There is always a regality to the blues singers that come from or are into gospel backgrounds or formats. The rich, full-bodied harmony intrinsic to the religious genre always seems to reveal itself in its secular reflection. Arbess Williams, though, cuts across the genre lines to give us some toe-tappin', thigh slappin' blues, R & B inflections, and numerous gospel tunes. Strongly in charge fronting the band, Arbess steps up to deliver some big voice, especially on her self-penned numbers. Her opening title tune "Penance" stops into the religious diatribe, but still jumps with a blue spirit. There's Maroel Smith's"Lord Remember Me" and Tommy Dorsey's "Precious Lord, Take My Hand" which seem enough to exorcise any demons. But look out for the rest. Stone blues like "Walking The Backstreets And Crying" will turn you out! With the consistent help of Ron Hull on guitar, Chris Fraire on bass, and Steve Stizzo on the keyboards and acoordian, Williams is able to cook with class. A host of other musicians, too numerous to mention, also help out. Peppermint Harris is listed as lyricst and inspiration. With the help of her friends, these blues are the full-house variety; richly layered with floating keys, ultra-synced vocals, and reserved but fluid guitar. Williams' knockout vocals are even more than icing on the cake. Find out why this record company was formed "for one purpose, to record Arbess Williams". ¶Mark A. Cole Have Mercy Records; P.O. Box 660245; Sacramento, CA 95866:or, www.havemercy.com JAMES GOVAN & THE BOOGIE BLUES BAND: A NIGHT ON BEALE Sweet Soul Music/ Hound Dog/ Every Time I Roll The Dice/ Ain´t No Sunshine/ Something To Talk About/ Dock Of The Bay/ Green Onions/ Just a Little Bit/ You Can Have My Husband/ These Arms of Mine/ Shotgun/ Hideaway This album was recorded live at the Rum Boogie Cafe on Beale Street in Memphis, Tennessee. Even without a label name and number, this CD has some great goldie oldies, sixties - style Stax soul music. Vocalist, James Govan is right up there with the likes of Otis Redding and Roscoe Gordon. Govan´s vocals are deep, rich, and full of emotional enthusiasm. He and his tight,talented band polish old classics to a classier level than they were originally. Govan and the band instill some high energy into their fast version of Sweet Soul Music.Their danceable, highly charged versions of Hound Dog and Just A Little Bit give new meaning to these songs. Govan´s vocals are every bit as soulful as Otis Redding, and more dramatic, in his emotional versions of Dock of the Bay and especially in These Arms of Mine. Govan´s heartfelt, gospel version of this gem is awesome! Govan´s singing is impressive in all the songs he sings, including the very expressive blues, Ain´t No Sunshine. The talented, six-piece band plays together as a great team. They perform the incessant, instrumental boogie, Green Onions. Guitarist, Bill Darby, saxist, Richie Hale, and keyboardist, Don Chandler play some fine solos within the CD. Judith â¤"J.J.â¤* Hutton plays percussion and also sings two numbers, You Can Have My Husband,and Something To Talk About.Darby plays a pretty, melodic guitar on this tune. James Govan and The Boogie Blues Band add fine new dimensions to twelve classic soul, R&B, and boogie tunes of the sixties. The exceptionally talented Govan is wonderful to hear. Evidently this group is the house band at the RumBoogie Cafe in Memphis. This is definitely a group that needs to be known on a broader level. Hopefully this CD will be the vehicle to start the bigger ball rolling for them. This group is too good just to play in just one club. Try to get a copy of this CD from the Rum Boogie Cafe, Third and Beale St., Memphis, Tn.381"". You´ll be glad you did. ¶ Maria Bainer HENRY COOPER Slide Man Burnside Records BCD-00362 The Pacific Northwest has produced its share of contemporary bluesmen. Henry Cooper is another to join those ranks in gaining national attention and celebrity. Originally among an elite group of West Coast harpists, Cooper found new expression in the lap steel slide guitar sound. His ability to transform the open tunings of the lap steel and other guitars into a congenial form akin to his harp work made Cooper's style of playing innovative. Cooper's guitar whines and winds his way through fourteen originals and one cover. He has a convincingly mature vocal style, and he displays his harmonica skills with a professional candor, as well. The wonderful keyboard action heard throughout is laid down by Andrew Larsen. The basement action comes from bassist Eric Bryson and drummer/percussionist Andrew Cloutier. Cooper calls his axe style somewhere "between picking and sliding", but its lofty tonality is individually his. Cooper comes down between a country twang and that Hawaiian slide tone. His picking is often excited by the slide finger work at any given time, too. With swampy, spooky, eerie, and exquisite guitar sounds, Cooper will make you a fan. Clever writing and musical compositions work to accentuate the tremendous axe work supporting it all. These are good upbeat West Coast, party blues. Contemporary Chicago harp stylings stand out, but this is Cooper's party, and he's got the groove goin'. ¶ Mark A. Cole Burnside Records; 3158 E. Burnside; Portland, OR 97214:or, www.henrycooper.com JOHN MOONEY GONE TO HELL Blind Pig BPCD5063 Gone to Hell / No / That´s What Lovers Do / Dry Spell Blues / Made Up My Mind / Funky Arkansas / Indian Lea / I Wonder Blues / Glass House / Cypress Grove / How Long Blues / Grab A Hold / Down South Blues John Mooney has an unusual style of mixing Delta acoustic blues and New Orleans funk on the same album. He is reflecting two of his strongest influences, Delta bluesman, Son House, and New Orleans piano legend, Professor Longhair. He plays guitar and sings these tunes and wrote nine of the thirteen tracks. He is accompanied on four tracks by Dr. John. Mooney gives his National steel guitar and vocals a workout on five of the tracks, which he does solo. Two of these songs are by Son House. The songs have the Delta sound, but the rhythm patterns are often slightly syncopated and funky, which adds a unique twist. Dr. John plays some imaginative piano while Mooney plays a melodic slide guitar and sings in Leroy Carr´s How Long Blues. The upbeat, funky New Orleans tunes, Grab a Hold and That´s What Lovers Do , really cook with Dr.John´s creative piano playing, Mooney´s guitar work and vocals, and danceable band arrangements. Dr. John also plays on No, which is one of several tunes on the album where the funky sound has almost an abstract rhythm pattern. The other band members play congas and percussion, drums and shakers, and bass which adds to the unusual rhythm patterns. John Mooney has created his own unique style of acoustic blues and New Orleans funk. His vigorous vocals and guitar playing, and his song writing talents attest to his enthusiasm with this music. This album offers traditional blues and danceable funk with a new flair. ¶Maria Bainer CARLOS ZIALCITA TRAIN THROUGH OAKLAND J&T Records JT105 Wondering and Waiting / So Fine/ Moon Over Cliffland / The Hunt Is On / But On The Otherhand / Fanny Mae / It Should Have Been Me/ Chance For Love / I`m Runnin`/ We Don`t See Eye to Eye / Baby, Scratch My Back / Now I`ve Got to Pay The Price / I Ain`t Gonna Do That No More / Train Through Oakland / I`ll Take Care Of You / Jive n`Rhumba Carlos Zialcita now calls the Bay Area his home, even though he spent the first ten years of his life in Manila in the Philippine Islands. He is lovingly referred to as "The Thrilla From Manila" He has been thrilling audiences for three decades with his harmonica playing, which is his forte.He also sings lead and background vocals. In this album, Carlos teams up with the Johnny Otis Band to produce a winning, hour-long CD with sixteen tracks. Carlos blows a melodic, versatile harp on all the R&B and blues tunes. He plays perky, danceable music on some of the tracks. The highlight here is his great, uplifting "Chance For Love, "where the message is take a chance on life and love. His harp sings the beautiful melody line in other songs, such as the tender "I`ll Take Care Of You."He transforms his harp playing into a great, trippy train in the imaginative "Train Through Oakland." Carlos sings all the lead vocals on the album, and does background vocals with others. He is fine form when he tells stories through song, and sings all the lyrics clearly. Sometimes his vocals are rough-edged with a country twang, and lack that soulful feeling. In addition, Carlos wrote five of the songs on the CD, including his autobiographical tune, "Moon Over Cliffland," which is about his move to the East Bay. The innovative Johnny Otis Band adds great dimensions to the album, and have just the right blend of music to enrich the CD. Carlos flows with them with his vocals and harp playing. The gentle blues, "Now I`ve Got To Pay The Price" is a fine example of their arrangement where everyone blends together to create a special, beautiful mood. Johnny Otis, known as the "Godfather" of Rhythm and Blues, plays some great piano and magical vibes on this album. His two sons are with the band. Nick plays drums and percussion and Lucky plays bass. The four-unit horn section adds a classy, tasteful sound. Brad Pie takes charge of the lead and rhythm guitars and organ. Johnny wrote fourof the tunes, including "Now I`ve Got To Pay The Price." This exciting CD has some varied R&B and blues tunes that are pleasant to hear. Carlos Zialcita blows a soulful harp and the Johnny Otis Band adds some imaginative arrangements and talent. It all results in a tasteful package of tunes that one could enjoy hearing many times. Check it out! ¶ By Maria Bainer KOKO TAYLOR ROYAL BLUE Alligator ALCD 4873 Save Your Breath / Hittin´ On Me / Bring Me Some Water / But On The Other Hand / Don´t Let Me Catch You / With Your Drawers Down / Blues Hotel / Fuel To Burn / The Man Next Door / Old Woman / Ernestine / Keep Your Booty Out Of My Bed / Keep Your Mouth Shut And Your Eyes Open oko Taylor has been singing the blues for forty years, and has been with Alligator Records for twenty-six years, longer than any other artist. This is her first album in seven years since her busy tour schedule has made it difficult to fit in recording sessions. Her vocals in this album testify that she can still deliver her powerful, deep, Chicago blues to keep her title of Queen Of The Blues, and to merit her many W.C. Handy awards for best Female Artist of the Year in Traditional Blues. The CD is enhanced by the party she throws and invites such luminaries as B.B. King, Johnnie Johnson, Keb´ Mo´, Kenny Wayne Shepherd, Mark Colby, Ken Saydak, and Matthew Skoller to join her on some of the tracks. Koko puts her heart and soul into everything she sings and the result is a lot of powerful, emphatic punches and total involvement with her songs. She maintains a genuine, down home quality to her singing, as she works her way through blues, r&b, rock blues, and occasional funk tunes. She wrote four of the twelve tracks, including an acoustic blues, "The Man Next Door," the great blues, "Ernestine" where she tells this woman off, a catchy, funky, autobiographical tune, "Old Woman," and a tongue-in-cheek warning, "Don´t Let Me Catch You (With Your Drawers Down)." It is a treat to have some prominent blues artists performing with Koko. Her vocals are predominant throughout their variety of styles. The guest artists all add great dimensions to the tunes, and their solos are most enjoyable. Koko and B.B.King party at the "Blues Hotel," and pianest, Ken Saydak adds some playful, upbeat playing to this happy song. Johnnie Johnson plays some strong, melodic piano on three of the tracks. Keb´ Mo´ plays a National Steel Guitar, harmonica, and sings a duet with just Koko on "The Man Next Door." Kenny Wayne Shepherd plays an imaginative, fiery guitar in the dramatic "Bring Me Some Water." Mark Colby blows some great tenor sax in "Old Woman." Matthew Skoller makes his harmonica sing sweetly in "Ernestine." Even Koko´s guitarist, Criss Johnson, gets a workout on most of the tracks with his excellent, scorching lead and rhythm guitar playing. The packaging for this album is a pleasant change from the usual jewel box variety. It is a one-unit, cardboard type that folds neatly together, and is like some European albums. It is pleasant to touch and view. Let´s hope that this will be a continuing trend with Alligator. This album is well-done with excellent performances by Koko Taylor and guest artists, and the variety of songs are well-chosen. It is delightful to hear some of the royalty of the blues world performing together. This album has a five-star recommendation! ¶ Maria Bainer JOHN "BROADWAY" TUCKER IMPROMPTU BLUE BlueMovie Records The Woman I Love / As The Years Go Passing By / I´m a Jealous Man / Straighten It Out / Help Me / (If Loving You Is Wrong) I Don´t Want To Be Right/ Lonesome Whistle Blues / Tin Pan Alley/ Sometimey Woman John "Broadway" Tucker has been singing blues, r&b, and soul music since he was a child in the Mississippi Delta. Now he´s in his mid-years, and this music has become a part of him. This recording session was both a realized dream and an impromtu recording. The musicians that perform here are, for the most part, ones that John has known and worked with off and on for a long time, plus there are some members of his band. Bill Heid, who adds a great dimension with his piano and organ playing on this CD, was known and respected by John for a long time. In fact, a major reason for this recording session was because Bill was in town. The songs are all first takes, without dubbing, so it´s like being there in the studio with them. Broadway´s vocals have a solid maturity to them. They vary from rough-edged to pleading, to melodic, depending on the song he´s singing. There´s a depth of soul in all of his songs. Bill is a seasoned piano and organ virtuoso who has recorded with prominent blues artists, as well as on his own. His easy-flowing, elegant style, especially on the piano, is a pleasure to hear. Lead guitarist, Dave Workman, plays some fine guitar solos. Bassist, David Price, and also the producer of the album, drummer, Bill Turner, and The Broadway Horns all add their special input to the album. Some of the album highlights include the straight-ahead blues, "Lonesome Whistle Blues," which has a great "train whistle" in it. The band plays a tender version of "As The Years Go Passing By," while Broadway melodically stretches out the words to emphasize the meaning. Many of the nine tunes are R&B songs. There is particularly good energy and rhythm patterns in "I´m A Jealous Man." The songs on this album sound like the band has played together a long time, but they only were together three and a half hours. The results were an enjoyable selection of R&B and blues songs. John "Broadway" Tucker puts a lot of energy and heart into the tunes he sings and knows how to be a great entertainer. Thanks to Bill Heid for stopping by and adding his special piano and organ touches to the album. This productive recording session is worth listening to often.¶ Maria Bainer CHRIS THOMAS KING ME, MY GUITAR & THE BLUES Blind Pig Records, BPCD5064 Why Blues / Like Father, Like Son / Superstitious Blues / Cain/ Stay Just As You Are / Born Under A Bad Sign / Gambling Woman / Me, My Guitar And The Blues/ Bourbon Street Blues / Stones In My Passway / You Are My Heaven This is Chris Thomas King´s sixth album, and his first one on the Blind Pig label. This album portrays just how talented and versatile Chris Thomas King is. Chris was born into a musical family in Baton Rouge, Louisiana in 1964. His father, Tabby Thomas, is a recording legend as well as the owner of Tabby´s Blues Box, a blues club in Baton Rouge. But back to the talents and versatility of Chris. First, Chris is truly solo on this album and plays all the instruments, including Martin steel string, Regal dobro, Fender Classical nylon string acoustic guitars and Fender Stratocaster electric guitars. He sings, including background vocals, on all of the tunes. He wrote all but two of the eleven tracks. He integrates country acoustic songs as well as rap and hip hop, sixties soul, light rock love songs, and gospel-tinged melodies into his repertoire. There are varied music contrasts in the album, and it is sometimes difficult to remember Chris is doing this album by himself. Chris includes four county acoustic tunes in the album, which have a lot of repetition and sound fairly traditional. His slide guitar playing adds melodic interest to his own "Superstitious Blues," and to Robert Johnson´s "Stones In My Passway." Then he almost seems to change faces and become a twenty-first century bluesman. He effectively gets the message across in his heavy duty blues, "Cain," which is about the devasting effects of cocaine. His title track, "Me, My Guitar and the Blues," shows his gospel-tinged commitment to the blues where he sings that even though he has noone to care for him, he´s not alone, because he has the blues.In his "Gambling Woman," he has a country acoustic sound, but it is softer and more melodic and flowing. In "Bourbon Street Blues," he evolves a Hound Dog shuffle sound into a gentle, sexy rhythm pattern that is most contemporary. In "Born Under a Bad Sign," by Booker T. Jones and William Bell, he has a catchy, upbeat, electric rhythm pattern, which even tastefully brings in a bit of occasional rap. He sounds as if he has an entire band, including background vocals, with him, when he is really doing all the work. He does beautiful soulful versions of his tender love songs, "Stay Just As You Are," and "You Are My Heaven." "Blues Revue" magazine refers to Chris as "the top of the short list of most innovative bluesmen." He is featured as the cover story in the June,2000 issue. Furthermore, Chris plays a principal role as the bluesman, Tommy Johnson, in a major motion picture, "O Brother, Where Art Thou""which will be his acting debut. This movie was premiered at the Cannes Film Festival in May, and will be released in the States this summer. Check out his website: www.christhomasking.com for more information on this fascinating performer. Chris Thomas King is a highly talented, imaginative bluesman. Very few musicians can move with the ease that he does from his own creations of acoustic blues, to gospel-tinged and electric blues, to very soulful love songs. This well-done album tastefully presents all these musical styles where Chris plays all the leading roles. This man is well on his way to becoming a blues star. ¶ Maria Bainer Deborah Coleman Soft Place To Fall Blind Pig Records BPCD 5061 Native Virginian Deborah Coleman came from a military family that saw postings around the U.S.. Her family was also deeply into music counting numerous members as musicians. Deborah's influence came early, starting guitar at age eight, and progressing through her classically influential rock stage. Maturing further she has landed upon the blues scene with a solid rock based guitar and vocal sound. While rockin', her music is instantly urbanized; a variety bred with rock but structured as blues. These more strongly-experienced vocals and continued guitar mastery keep Deborah on the cutting edge of modem blues. With a mix of her own originals and some well-chosen new numbers, Coleman comes from the gate like a chargin' thoroughbred on the opener, "See What You Do To Me". Working hard through blistering lines and fragrant vocal passages, Deborah pushes strong material like the titletune "Soft Place To Fall", the shufflin' "So Damn Easy", and the prophetic "What Goes Around". Contemporary Iyrics and punchy rh,vthms make it all exciting! Hold on tight throughout as she plows into clever compositions and tight arrangements. Deborah's lead and slide guitar action along with those luxurious vocals are supported by guitarists Jack Holden or Billy Crawford. Dave Smith is found on bass, and Ernest Williamson Jr. hands down the key action. Steve Potts and Marty Binder share the drum chores on differing cuts. Billy Gibson guest spots on harmonica for one cut and William Brown, Jackie Johnson, and Reba Russell provide background vocals on three songs. A wonderfully produced effort by Jim Gaines and a magnificent effort by Deborah Coleman and band. Sparked by tirading guitar and heavy rhythms, Coleman should have this all in pocket. Thumbs up to Deborah Coleman on the power blues, rockin' rhythms, and the hoochiesoo with mojo too! Mark A. Cole Gregor Hilden I'll Play The Blues For You Acoustic Music 319.1206.2 German guitarist and songwriter Gregor Hilden is back with yet another masterpiece blending his uncompromising mix of blues and jazz inclina-tions. Playing with his 1959 Les Paul, Hilden brings to fore jazz-laden phrasing, concise and economical noting, and a need for classical renderings within the blues. One of the most beautifully sounding guitarists around, Hilden also has dynamite support from a high quality team of German and American musicians. Hilden's exemplary axe is backed by Tommy Harris (Bessemer, Alabama) on the drums and Johnny Rodgers (Wilmington, NC) taking care of all the vocal work. Harris' timing and soft touch are the percussion required, and Rodgers' sultry, soul-packed vocals throw down a mighty full sound. In addition, Horst Bergmeier and Thomas Hufschmidt churn in on the keyboards. Oliver Geselbracht isthe other half of the rhythm section and the horns are tenor saxist Tommy Schneller and Volker Winck on the soprano saxophone. Sounding like seasoned accomplices, Hilden and crew lay out some tight ass music on this biscuit. Don't get me wrong on this: Gregor Hilden is not your run of the mill white boy fanning the flames with the hot licks off his guitar. Instead, you'll discover in Hilden, a seemingly classically trained guitarist in love with jazz and doing the blues. Pure and powerful with every note wrung for its own weighty and artistic worth. Instrumentals like his rendition of Bobby Gentry's "Ode To Billy Joe" and the closing "Illusionary Dreams" illustrate his musical desire and profile. Sure ... there are covers like the title tune "I'll Play The Blues For You", "Someone Else Is Steppin' In", and even James Brown's 'This Is A Man's World', but wait until you hear Hilden redo them before casting hasty judgments. With super backing, wonderful jazz inflections, and a brooding blues fever, Gregor Hilden puts out a strong set of jazed-fused blues to wet your appetite. When it's done, I'll bet you shake your head and play it over! Mark A. Cole Acoustic Music Records; Acoustic Music; Posffach 1945; 49009 Onasbruck; Germany: or, www.acoustic-music.de Charles Walker Leavin' This Old Town Cannonball Records CB 29115 It has been over forty years since Walker cut his first recording on the Champion label. He worked then as Charles Walker & The Daffodils. He soon after left his native Nashville for the New York City club scene where he cut more wax on the Fury label. After '64 he formed The Sidewinders and recorded for Chess and Decca. Without a bt of commercial success Walker ended up in Europe during the eighties whers he pressed material on the British Charley label and his own P.R.G. Iabel. After his return to Tennessee in 1993, Walker found much more attention being paid to the soul-filled R & B that was the crux of his repertoire. Since rehitting the club action intensely he has gigged with Al Garner & his Roadrunners, Johnny Neal (Allman Brothers keyboardist), and Nashville guitarist Johnny Jones. Nashville was alive again, and Walker found new audiences waiting for his music! Walkers vocals are grounded in Memphis/ Nashville soul tradition. His singing is soul-fully rooted and his writing was even employed by Motown after its heyday. With the fabulous assemblage of anists on this biscuit, Walker is in fine shape layering his vocals over magnificent R & B-based blues. Behind those Walker vocals, producer Fred James is all over with his role extended to lead and rhythm guitar, and also the electric piano. Rusty Russell piles on the bass, and Herb Shucher does the drumming. Phil Rugh is on the organ and Dennis Taylor turns in the tenor and baritone sax lines. Margaret Walker and MaryAnn Brandon are the back-ground vocal spice heard here.Righteous soul blues ala that Memphis/ Nashville corridor begin from the start with the opener "Homewrecker Legs" and continuing with cuts throughout like James' "Need Somebody". The blues get no better than the Russell tune "Make It Rain". Add a touch of N'Orleans funk and horn and you get cuts like "Nothing A Young Girl Can Do". With some choice covers and a few originals, Walker has a hypnotic, sensual and blue set of tunes. With a few special guests, consistent guitar to be proud of, and a well-arranged batch of songs, Walker is back! Look to hear a lot about this releasel Mark A. Cole Super ChiKan Blues Come Home To Roost Rooster Blues Records R2634 There is a Delta sense of reality that permeates to the core of James 'Super ChiKan' Johnson's music. The Clarksdale, Mississippi resident is indeed at home with the chickens that roost at his home. Even his road band, the Mighty Cocks, are chickenrelated friends, cocks of the same walk, so to speak! Johnson, has blues in the genes, with his uncle Big Jack Johnson remaining one of his earliest mentors. Rooster Records (how appropriate) brought Super ChiKan and his own selfpenned material into the studio and put him touch with Johnny Rawls and L.C. Luckett, who both play major roles on these recordings. Luckett and Rawls each turn in, respectively, with solid dnums and bass rhythms. Both also share responsibilities on second guitar and keyboards, the latter being handled primarily by Rawls. The tenor saxophone sounds come from Jerry Williams. Johnson handles all the vocals and lead guitar on ten of fourteen tracks. It's his harmonica that is found on four cuts and his piano on two numbers. ChiKan started out playing bass with Big Jack and has played with the other two Jelly Roll Kings, Sam Carr and Frank Frost. The area fostered associations with Jackie Brenston, Shine Turner, and others. It all shows here with the deep dose of soul on top of strong Delta blues sounds. The Memphis soul element is further cemented in with the Rawls and Luckett angle. Though sometimes comical in its Iyrics and approach, you will find hot soul like "The Real You" and north Mississippi hard blues in tunes like the opening "Down In The Delta". Theress really no cluckin' around here. These are densely, and intensely, everyday blues through the eyes of Super ChiKan, I mean imagine a astrange White Rock Rooster" in your barnyard.. His ranting vocals, clearly picked guitar, and harmony-filling, background keyboards make a great amalgam. Clearly something new to crow about! Mark A. Cole Homesick James Got To Move 32 Blues 32175 The reissue of Homesick James' (John A. Williamson's) Got To Move LP follows the property damage and havoc wreaked by Hurricane Floyd. In reevaluating some of its choices musical holdings after some untimely warehouse flooding, 32 Records decided to reissue a couple of treasures. This Homesick recording (Trix 3320) apparently was the logical first choice. The original sessions date to early 1994 and were done in Fresno, close to Homesick's California home. Homesick James follows in a long line of fine bottleneck players. He is his cousin Elmore James' last bandmember; a real Broomduster. Having worked the Delta and Chicago blues scenes, during boths' formative years, places James on an illustrious list of blues veterans. He's played with the best and has recorded on over twenty different labels. His solo pressings and subsequent performing, made Homesick an everyday name to blues fans and genre history buffs. Homesick's guitar and voice are supported on eleven of fourteen tunes by Jeff Levine on piano, Joe Rosato on the bass, and Ron Thompson on the second guitar. No drummer is credited although they are obviously used. The remainder of the cuts have been completed as solo numbers, with Homesick showing remarkably full sound. Just listen to the opening "Can't Afford To Do It', followed by his classic 'Tin Pan Alley", to get my drift. You hear the standards like "That's Alright", "Dust My Broom", "Got To Move", and "Highway 51", beside lesser known tunes like 'Welfare Girl" and "Homesick's Woman". Like many of the old Delta legends, Homesick has his own particular sound; honed through innumerable and countless performances. His deeper associations with and within the blues have taken him from his native Tennessee to Chicago eventually landing in California. His musical techniques spans from the Delta influence of Robert Johnson, through his contemporary pursuits with Steve Arvey, and beyond! You'll find nothing but the real thing listening to Homesick! Mark A. Cole www.32Records.com Magic Slim Grand Slam Rooster Blues Records R2618 The most prolific bluesman in the business, in more ways than one, has a bonafide killer reissue in Grand Slam . The musicianship results in some of the hottest blues ever laid down. Rooster's decision to redo this one seems a no-brainer as then 1982 sessions won a Handy the following year.They are, however still no-holdsbarred, the best of the move 'em and groove 'em Chicago blues bands. The disc captured the essential working fommat of the Teardrops, even though the ever changing personnel was difficult to keep up with. Behind Slim's poundin' slide and muscular guitar vibrato is the second guitar of Pete Allen on eleven tunes. The late Coleman Pettis Jr. contributed the two guitar on three closing cuts. Brother Nick Holt, the perrenial bassman, puts down his end on his own. Nate Applewhite gave us the drums on the first eleven and Steve Cushing was on drums for the remainder. Slim (Morris Holt) slips and slides his snake winding guitar from his opening aEarly Every Morning through more of his own like "Slammin"', "Scuffling", "1823 South Michigan Avenue", and the closing "Teardrop". He resurrects Rufus Thomas' "Walhn' The Dog" and Hound Dog Taylor's 'Give Me Back My Wig". Coleman Pettis' "If You Need Me" is fabulous material for Slim, as is Elmore James' "Make My Dreams Come True". With a couple other covers, Magic Slim and his Teardrops put the blues on the listener, just like he was sitting front center at the bar or club show. Working man, party time, gutbucket blues from the baddest crew in Chi-Town. Let Slim blow this Windy City chill up your spine ... then you can shimmy and shake! Mark A. Cole James Solberg The Hand You're Dealt Ruf Records RUF 1043 Like the mythological phoenix who dies to rise from the flames in a finer metamorphosized form, James Solberg is a new animal born of adversity and resurrected for the betterment of the blues. The Wisconsin native has released this biscuit, his second on this label and his fourth solo CD. Partnered in the studio with producer extraordinaire Jim Gaines, Solberg flowers in some of his best music to date! Romp from the gate with the rockin' "Build You A Castle" just to warm upl "Al~ Me" follows with a hard and tight pocket, deep organ line, and Solberg's dead-eye guitar action. The title tune is Solberg's pointed reminder of life's ups and downs. Get a tasty sample of his gospel "I'm Goin' Home" and understand a bit more of Solberg's musical penchants. The disc is a treasure in its revival factor for Solberg. There are power blues like 'When's The Last Time", a tune with Luther Allison, "Still Called The Blues" (a 1994 take included as bonus), the closing "Perfect Strangers", and Bobby Blue Bland's "Members Only". Solberg's dazzling guitar work and his heartfelt vocal profile are backed by Dave Smith on bass; Ernest Williamson on the keyboards; and Lloyd Anderson pounding the drums. Background singers William Brown, Bertram Brown, Jacquelyn Reddick, and Jacqueline Johnson stack in their voices also. Rob Stupka drums, Charlie Bingham adds his guitar, and Mike Vlahakis takes the keys on two songs, one of which features the late Luther Allison on the guitar. There's good reason to rant and rave about this release by James Solberg. Taking it on the cheek is perhaps always the best medicine, especially in the business that is the blues. When the blues come full circle only the strong are left standing. Well, Solberg is still standing tall and this is quite possibly his 'epiphany moment'. Mark A. Cole Troy Turner Blues On My Back Telarc CD-344 Despite Troy Turner's Baton Rouge upbringing that included romping with the Neal family, the Thomases,Henry Gray and others, he has developed an eclectic style that bounces from hard rock to deep funk in the tum of an eye. Turner has long been influenced by his mentors Albert Collins and Stevie Ray Vaughan, but he has the musical camouflage of a chameleon. This release reflects his varying stylistic avenues and allows you to sit back and listen to how much Louisiana is left in his work. Backdroppin' all of Troy's work on the guitar and lead vocals is a squeakin' ensemble of musicians. On the acoustic guitar is Denny Breau, and Travis Colby is dancing on the ivories. The solid and punchy rhythms of bassist James Thacker and drummer Darren Thiboutot are the foundation. There are a couple new cuts by Troy on the release along with cookin' covers from Freddie King, Duke Robillard, Jon and Sally Tiven, and others. With mixed pop, R & B, and blues revisited, Turner opens with the smooth and easy World Without Fear". The jump and early rock driven "Baby Let's Play House" melds into the twisting and dynamic guitar work on his titlecut "Blues On My Back" . Blues and funk-strong cuts mixed with Turner's incendiary axe excite this entire set. Rock hard when needed, Troy also cuts up on peeled back tunes like "Lonely Cafe". Lovers of great guitar and contemporary musical exercises should not lose track of Troy Turner. This upstart has some feverishly wicked guitar and driven vox as well. A beautiful mix of differing flavors in contemporary sound. Mark A. Cole Pinetop Perkins Back On Top Telarc CD-83489 The venerable Pinetop Perkins is eighty-six years old and still boogying like there's no tomorrow. His resume goes back to work with Sonny Boy Williamson and Robert Lockwood Jr. on the King Biscuit Flower Hour, through his Muddy Waters band era, and on to decades of accompanist and solo blues work. Today he remains one of the blues most prolific recording artists. Pinetop's sessions for this release find him pounding out his piano in a somewhat mixed, acoustic and electric, format. Pinetop is supported on the keys ry the rhythm makers: Denny Breau on acoustic and electric guitars, Per Hanson on the skins, and Michael 'Mudcat' Ward on the acoustic bass. Special guests include Corey Harris with his acoustic, steel and electric guitars. He also is heard with the wood block percussion. Sugar Ray Norcia, also guests, piping in on his harmonica. Vocals are handled by the pianoman, Pinetop Perkins! You will hear some of Pinetop's favorites like "Pinetop's Boogie Woogie", "HiHeeled Sneakers", "Kansas Cit/', and "Down In Mississippi", but they have a new flair and shining accompaniment. Harris' acoustic and steel guitars are splendid, as is his electric contribution. The acoustic bass is tempered thunder as is the drumming of Hanson. It leaves room for boogie, ragged, and swingin' lead lines from Pinetop that are answered with counter strokes by Norcia and Harris, on harp and axe respectively. Perkins is in fine form and with game on all this material. His throaty vocal character accentuates his blues, along with his tappin' foot and dancing fingers. The reactive playing he lays down takes you home to the barrelhouse tavems, speakeasies, and piano joints of the thirties. Now without compromise it is easy to say that Pinetop is "on top" of it. Mark A. Cole |
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