EAMONN McCORMACK
Kindred Spirits
True Talent Records TTR 009

www.eamonnmccormack.net        www.truetalent.ie

Remember Irish blues-rock guitarist Samuel Eddy who set Europe alight in the late eighties and through the nineties? Here he is back, now under his own name – but the music is just as incendiary. The title of the CD refers to the fact that Eamonn (Eddy is the English equivalent of his first name) has here several friends – most notably the legendary Rory Gallagher on his last recording, a raucous, churning slab of blues-rock that is a worthy way to both remember Rory and to appreciate Eamonn. Also present is Dutch rock legend Herman Brood on piano on one track, and a virtuoso duet with Jan Akkerman on the soaring instrumental rock of ‘Mystica’.

There is plenty of blues on offer though, from heavy, crunching riff-rockers to reasonably straight performances such as the cover of ‘Next Time You See Me’, and even a slightly jazzy style on ‘Got Me A Harley’. The closing ‘She Done Me Wrong’ runs to seven and a half minutes and is a very impressive slow blues number on which Eamonn shows off both his technique and his restraint. A truly talented individual, he will be resuming touring and on this evidence, he be raising the temperature, no sweat!

----- Norman Darwen

JUKE JOINT JUMP
A BOOGIE WOOGIE CELEBRATION
SPV/ Blue 42502 CD

www.spv.de

Boogie woogie is a piano music, powerful and driving as the likes of the Boogie Woogie trio (Albert Ammons, Pete Johnson, and Meade ‘Lux’ Lewis) amply demonstrate. It has close links to – and is generally regarded as part of - the blues, as witnessed by the recordings here of Memphis Slim, Champion Jack Dupree. It has its antecedents in earlier styles – take a listen to Charlie Spand, or to Jimmy Yancey’s sometimes misleadingly labelled ‘primitive’ style, and went on to influence later styles of blues (Willie ‘Long Time’ Smith), appealed to the jazzers (Art Tatum and trumpeter Harry James, who recorded with the Boogie Woogie Trio), and crossed over the ‘colour line’ (James again and Freddie Slack). This set deserves extra kudos though for including guitar boogies from Detroit’s Calvin Frazier and Curly Weaver, an organ boogie (Sir Charles Thompson), a big band boogie from Chicago’s Red Saunders (the most recent recording here, dating from 1953) and a vibes feature from Adrian Rollini.

Also from Columbia’s famed ‘Roots ‘N’ Blues’ series, this is again extremely worthwhile listening.

----- Norman Darwen

THE SLIDE GUITAR
BOTTLES, KNIVES & STEEL
SPV/ Blue 42492 CD

www.spv.de
Another reissue from Columbia’s famed ‘Roots ‘N’ Blues’ series, this presents 21 tracks of vintage slide guitar, ranging in time from 1927 to 1965. Although slide guitar tends to be associated with Mississippi, this set includes contributions by the great blues guitar pioneer Sylvester Weaver (many have recorded his ‘Guitar Rag’ in one form or another), examines the East Coast tradition via the inclusion of Blind Boy Fuller and the Atlanta styles of Blind Willie McTell and Barbecue Bob, and moves on to Mississippi, of course, with the likes of Charley Patton, Son House, Bukka White and Robert Johnson  The urban styles of Tampa Red and Casey Bill Weldon, and the lap playing of Oscar ‘Buddy’ Woods add more than a hint of sophistication, and whilst Leadbelly is not usually thought of as a slide player; he was certainly accomplished enough, as his two sides here prove. Nor is the sacred tradition overlooked, with a couple of numbers from Blind Willie Johnson and a wonderful ‘Swing Low, Chariot’, recorded in Nashville n 1953 by Sister O. M. Terrell.

An excellent round-up then, well worth your attention.

----- Norman Darwen

JO’ BUDDY & DOWN HOME KING III
Whole Lotta Things To Do
Ram-Bam RAM0005

www.jobuddy.com

Finnish singer and guitarist Jussi Raulamo a.k.a. Jo’Buddy and his drummer Down Home King III set the blues world alight a couple of years ago with his raw, storming CD ‘Grits & Rattles’, and this follow-up has been eagerly awaited. Buddy does not disappoint; again this is churning, rough-hewn blues, straight from some mythical juke-joint where the patrons still want to listen and dance to the hypnotic sounds of Doctor Ross, John Lee Hooker, R.L. Burnside, Fred McDowell, early Elmore James, vintage Muddy Waters and James ‘Son’ Thomas playing Jimmy Reed; or at least that is the impression conjured up by the wonderful music on this album, all done live in the studio and played through Jo’Buddy’s customised tuberadio amp.
A couple of numbers lean towards a ragtime guitar approach, but with the addition of electricity and over-amplification, they come across as a plugged-in Frank Stokes or Memphis Jug Band, and there is even a nod to classic rock & roll with ‘Do My Number’.
Jo’Buddy may have a whole lotta things to do but if they are like this, they will all be well worth hearing

----- Norman Darwen

BARB JUNGR
Just Like A Woman (Hymn To Nina)
Linn AKD 309

www.linnrecords.com

Barb Jungr is a UK based singer of Czech and German parentage who is renowned in the UK for her treatment of songs as songs, sometimes with jazz or blues inflections, sometimes not. What more natural then that she should dedicate a set to songs associated with another unclassifiable but highly talented and respected singer, Nina Simone? So, Barb tackles the likes of folk songs, Bob Dylan numbers, the Bee Gees’ beautiful ‘To Love Somebody’ (also recorded by James Carr), ‘Don’t Let Me Be Misunderstood’ – known to many from the Yardbirds, I would hazard a guess – and the sublime reworking of  ‘Angel Of The Morning’, and she makes each her own whilst maintaining the homage. Backing is courtesy of a stellar group drawn from the UK jazz scene, rounding off what is indeed a very classy package – and by no stretch of the imagination is this a jazz album, or a blues recording come to that. Having written that though, ‘Feeling Good’ does have all the enthusiasm and excitement of a sixties beat group performance. But try the reggae-inflected rendition of Dylan’s ‘Just Like A Woman’ for something different – or just try any of the eleven tracks.

Too often tributes are over-respectful and over–reverent, but Barb certainly sounds as though she is enjoying herself and I doubt Ms. Simone would have been too impressed with a straight copy of any of her numbers. As a result, Nina’s fans will be delighted with this joyous set, as no doubt will be Barb’s too.

----- Norman Darwen

BUGS HENDERSON & THE SHUFFLE KINGS
Blue Music
Taxim TX 1065-2TA

www.taxim.com

Bugs is a ‘cult’ guitarist; that usually means someone a little off-the-wall, but in Bugs’ case it indicates a strongly individual musician, an original, a little outside the blues mainstream though with a style firmly rooted in the soil of his adopted Texas home, where he has been playing the blues for forty years or so, inspired and encouraged by many of the greats – Link Wray, BB King, James Burton, but none more so than the inestimable Freddy King. Try the funky blues of ‘Straight To Hell’ for a good example of how Henderson has developed Freddy’s style.

Not for nothing are his band known as the Shuffle Kings – Bugs is an energetic player and his accompanists (rhythm guitarist Dave Milsap, keyboards player Tommy Young, bassist Sean Frankhouser and drummer Linda Waring) match his level. The storming ‘Town Pump’ is a good illustration of their skill, as is the more laid-back instrumental ‘Blah Blah’ or the heavy, seven minutes plus tour-de-force ‘John Henry’ with its fine gospel piano introduction.

All the songs are originals. Bugs is not afraid to tackle difficult subjects head on: It is a little bit of a shock to see a blues album with a ‘parental advisory’ sticker, though the subject matter of ‘I Want The Mother******’ might well justify the use of the expletive. ‘The Man Who Killed My Daddy’ is a quite extraordinary song; it is a personal statement, a keen observation with a wonderful lack of bitterness. Check out the closing 22 minutes of ‘Audio Liner Notes’ for further details on this and all the tracks, provided by Bugs himself.

To sum up, this is another winner from Bugs Henderson. The man is a long-time favourite of our esteemed editor and this set shows just why.

----- Norman Darwen

ERIC BIBB
Get Onboard
Telarc Blues CD-83675

www.ericbibb.com

“….The place where blues meets gospel and soul” is how Eric describes his latest CD and it is very apt indeed. The singer and guitarist has been criticised in the past for “not being bluesy enough” but no-one should be disappointed with this set – if Eric isn’t singing the blues, then he’s singing gospel (try the lovely Civil Rights song “Stayed On Freedom”) and a spiritual approach is evident throughout much of the material on this relaxed set. So too is the exquisite soul tinge in his singing. This album was recorded in Nashville, with the likes of Bonnie Raitt and (the phenomenal) Ruthie Foster guesting, and then producer Glen Scott finished it off in Stockholm. All the songs feature Eric’s individual touch, and many include his excellent folk and blues acoustic picking, whilst others have a relatively laid-back electric band.
The songs are unfailingly interesting and overall this set is a pleasure to listen to – over and over.

----- Norman Darwen

SEAN COSTELLO
"WE CAN GET TOGETHER"
DELTA GROOVE MUSIC

Ask most kids entering their teens what they want to be when they grow up, and I'm sure the choices would be similar to that of when I was a kid. C'mon, doesn't every kid that age want to be a cop, a fireman or an astronaut? How about a baseball, basketball or football player?  Maybe even a rock or movie star? Of course they do!  And of all the kids that may have picked anything besides what's on that list, I'm sure there wouldn't be any picking "blues legend".  Unless of course that kids name was SEAN COSTELLO.

Before he was fourteen, SEAN decided he was ready for a career in a business where success rarely comes any sooner than the age of 60 - and that's even rushing it.  Yet, still shy of 30, he has positioned himself very nicely in the line of work he's chosen.  Considering the company he's kept by having shared the stage with the likes of B. B. KING, BUDDY GUY, JAMES COTTON & PINETOP PERKINS - all blues legends themselves, SEAN seems to have made the right decision.

SEAN COSTELLO'S latest CD, his first for DELTA GROOVE MUSIC, is "WE CAN GET TOGETHER".  The disc containing ten originals and one cover features: SEAN on lead guitar, vocals and background vocals; AARON TUBIC on bass, percussion and background vocals; PAUL CAMPANELLA, JR on drums, percussion and background vocals; RICH IANNUCCI on organ and accordion; OLIVER WOOD on rhythm guitar, lead guitar and background vocals; NEAL WACHOUPE on keyboards; ADAM MEWHERTER on sousaphone; DONNIE MC CORMICK on chicken coupe* and background vocals; JOHN LIEBERMAN on harmonica; RAY HANGEN on drums; CHRIS UHLER on congas; DAVE ROTH on background vocals.

Wasting absolutely no time, SEAN gets right down to the nitty gritty on (we can get together) "ANYTIME YOU WANT", the opening - and as the lyrics indicate - the title track.  With AARON, PAUL & RICH providing him with strong rhythm backup, SEAN gets rough and tough on vocals and guitar.  Great start!

Right from the start, SEAN, AARON & PAUL lock into a great groove and never leave it on "SAME OLD GAME".  This one features absolutely great guitar work and it's one of those three and a half minute tracks that should have been at least three times as long.

"HOW IN THE DEVIL" might have you thinking SEAN made a deal with one - sure sounds like it.  This smoker only features the three of them, but SEAN, AARON and RAY nail it.  Hot stuff!

"HAVE YOU NO SHAME" is a ballad highlighted by SEAN'S gruff and gutsy vocals and phenomenal blues guitar licks.  Outstanding rhythm from AARON, RAY & RICH, and harmonic background vocals by DONNIE, make this one of the discs best.

Vocally and instrumentally, SEAN is at discs best on "GOING HOME".  The spirituality of the track is accented by great organ work by RICH and a strong support performance by the NORTHSIDE MEN'S CHOIR (the collective name for all the background singers).  As I tend to do with great tracks, this one was replayed many times.

Other tracks on "WE CAN GET TOGETHER" are" "CANT LET GO", "TOLD ME A LIE", "HARD LUCK WOMEN", "ALL THIS TIME", "FEEL LIKE I AIN'T GOT A HOME" and "LITTLE BIRDS".

Check SEAN out at www.seancostello.com and check out more great music from DELTA GROOVE at www.deltagrooveproductions.com.  Be sure to tell them Pete the Blewzzman sent ya.

----- Peter "Blewzzman" Lauro

* Don't go searching musical products websites trying to figure out what a chicken coop is.  It's really a chicken coop.  Search DONNIE MC CORMICK at You Tube, as I had to, to see for yourself.

Artist: David “Honeyboy” Edwards
Title: Roamin’ and Rambilin’
Label: Earwig CD4953

For more information go to www.earwigmusic.com
www.davidhoneyboyedwards.com

At the age of ninety three most people are either enjoying the fruits of their retirement or a soft fruit in a retirement home; but not Honeyboy who is still giving so much of his talent to the blues world today and we the listeners are all benefiting still from his endeavours. He evidently thrives on recording, touring and spreading the word; for with this, his sixth release for Earwig records he presents an album that includes harmonica contributions from such great talents as; Bobby Rush, Billy Branch, Sugar Blue, Walter Horton, Michael Frank and Johnny “Yard Dog” Jones. Who are supported on guitar by Bobby Rush and Paul Kaye.

On three numbers Kenny “Beedy Eyes “Smith supply’s drums, also, Rick Sherry; plays superb washboard; “Honeyboy” provides vocals and guitar throughout the album.

The nineteen numbers here encompass the years between nineteen-forty two and the present day; three of them are short but highly informative conversations; two are between “Honeyboy” and Bobby Rush, whilst the third is “honeyboy” and Alan Lomax. Eleven of the remaining sixteen numbers are new recordings.

The whole tone of the album focuses on the unique sound “honeyboy” created early in his career when he played alongside the great legendary bluesmen of the Mississippi Delta; A pre war touchstone period, when the simple clean, crisp clarity of the music was paramount; emotions displayed in the most heartfelt manner without any embellishments or studio enhancements. Jaded musical palates will be re-invigorated by its freshness and foot tapping honesty, coupled with the wealth of knowledge and experience that is demonstrated by the musicians that “Honeyboy” has surrounded himself with.

Although this album is not compulsory listening it is most certainly becomes compulsive when heard. You will play it again and again!

----- Brian Harman

Artist: Mike Sponza & Central Europe Blues Convention
Title: Kakanic Blues 2.0
Label: HCB69RECORDS HCB69-010

For more information go to: www.mikesponza.com
www.cornucopiapublishing.com

Not only, is Mike Sponza  an Italian contemporary blues singer and guitarist, but, he is also a composer, arranger and producer; who, over the years has had an enduring passion to create  a pan – European blues collective. One that can be flexible in its ideas and approach, to fully embrace the wide and varied flavours and influences that are to be found in the various countries that are members of the European Union.

The Kakanic Project vol. One emphatically displays the fluidity of ideas that can be generated and created by musicians who are as imaginative as they are skilled; whether it is playing Jazz tinged soul forays or hard bitten guitar / keyboard driven blues.

On this, Vol.2 the core ensemble of musicians playing together on this album, represent at least five different countries and they are, in no particular order; Mike Sponza; vocals, guitar, Bosko Petrovic; (Croatia) vibraphone, Primoz Grasic; (Slovenia) guitar, Dieter Themel;(Austria) vocals, Matyas Pribojszki; (Hungary) Harmonica, Moreno Buttinar;(Italy) drums and Michele Bonivento;(Italy) combined together with another twenty musicians from fifteen other countries.

Considering the fact, that the album has been recorded in eight different locations throughout the world with so many musicians taking part the possibilities for shall we say ‘over egging the cake’ are certainly in ones mind but I can assure you that this presumption can be emphatically discounted; for the twelve numbers here are some of the most sublime grooving tunes I have heard in a long time, flavours, nuances and intangible references are all over the place and more importantly in the right place! Jazzy cool, cool vocal harmonies surround you in a gentle audio cocoon; backed with rich mellow fat guitar sounds accompanying gossamer light keyboard flurries and nestling in the spaces in between is a gorgeously comforting vibraphone cloud. When the music becomes a little more edgy the guitar and organ dance together in a harsher union.

Simply wonderful! Roll on vol.3

----- Brian Harman

Artist: Little Arthur Duncan
Title: Live at Rosa’s Blues Lounge
Label: Delmark DVD 1739
www.delmark.com 

Little Arthur was born in Indianola, Mississippi in 1934; his family, like, so many other black American families in the thirties was forced by economic and social pressures to live and work on a plantation.  The name of that particular plantation was Woodburn, yes, the very same plantation that one Riley (soon to be B.B.) King also lived and worked upon.

In later years, as many other young men in their situation did, they left the plantation as soon as they could, in search of a more prosperous life. Little Arthur himself travelled in the first instance, not to the wind driven cold climate of Chicago as many others did, but to the warming sunshine of that soon to be popular holiday destination Key West, Florida. Although this city may in the first instance seem to be a strange choice for an aspiring young bluesman, it was in fact a rather inspired choice, for a young guitarist by the name of Earl Hooker also chose to try his luck in that sunny city.

After a striking up a firm friendship the two of them decided to move on to Chicago, where all the action was and once there, they found themselves work and forged their own careers.

In 1954 Little Arthur was living in a basement flat on the West side; also at that time Little Walter was living in a flat upstairs, in the very same building.

Over a period of time Arthur and Walter became friends; it was at this point that Arthur took his harp playing more seriously and under the guidance of Little Walter, his playing had improved to such an extent that it was good enough to play professionally.

During the course of his career Little Arthur has befriended and played with many of the great harp- players such as; Jimmy Reed, Billy Boy Arnold, Carey Bell and Good Rockin’ Charles.

As the sixties drew closer so, the blues scene drew to a close and Little Arthur was forced to return to his day job in the construction industry, until the 1980’s when he opened his own blues clubs’ The Artesia Lounge and later The Backscratchers’ Lounge; unfortunately in 1989 a dispute with the landlord ended that venture. This unfortunate situation has over time led to Little Arthur’s resurgence on to the club scene and after a number of years playing and entertaining we are now witnessing, stunning live blues in the raw with one of Chicago’s longest serving blues old guard.

The audience are comfortably seated, and the band is ready on the small stage at the end of the bar. Not just any old bar but one of Chicago’s most famous, Rosa’s Blues Lounge; a venue that has been presenting live unadulterated blues for almost twenty five years.

A small elderly man is sitting on what seems to be a kitchen chair holding a harmonica, in between two solemn looking men who are cradling guitars. The drumsticks click and the man on the chair blows his harp like an eighteen year old.

Little Arthur Duncan begins a seventeen number set with an enthusiasm that belies his seventy three years, at the same time  the two blank faced men who are in fact Illinois Slim and Rick Kreher begin to play tight, almost telepathically solid blues. Supplying an irresistible bass and backbeat, are Michael Azzi; on bass and Twist Turner on drums. Meanwhile some of the audience are clapping along while others are dancing in any available space. All the while Little Arthur is blowing  his harp in between verses reminding us what blues in Chicago is all about, a hard, atmospheric, sweaty, urban sound that is highly infectious to one and all.

Throughout the set when he is not sitting down blowing his harp for the benefit of all in the room Little Arthur is joining the audience dancing round the bar; at one point he particularly enjoys the audience participation for when during a rendition of “Scratch My Back,” a very kind lady enthusiastically scratches his back for him.

This Dvd  runs for over sixty minutes and wonderfully displays what Chicago blues is all about;
rough’n’ready and highly accessible, not some polished commercial offering for MTV or some such channel. This is real life!

Essential!

----- Brian Harman

STONEY AND THE HOUSE ROCKERS
"CRUISIN' FOR A BLUESIN"
BLUES FEVER PRODUCTIONS

Just like a chameleon, a hard working bar band often needs to make changes in order to adapt to it's environment.  In both situations, survival is the goal.  Unfortunately, more often than not, the bands I am referring to are blues bands and the bars they play in are usually full of patrons who are there to shoot pool, play darts, get lucky and get very drunk - not necessarily in that order.  Most of the joint's patrons would be there whether the band played rock, country, blues or a DJ was hosting karaoke.  These are the same patrons who loudly and boisterously scream out "FREE BIRD" or "MUSTANG SALLY" whether the band is a rock band, a country band, a blues band or it's a DJ hosting karaoke.

STONEY AND THE HOUSE ROCKERS know exactly what I'm talking about, they've been there and done that - on a very regular basis - and I've been in the audience enough times to be qualified to make these statements.  This is why I had no clue what to expect when the band sent me this disc.  Would I once again have to listen to another local band doing their versions of the overdone requests they get from the fans of "FREE BIRD" & "MUSTANG SALLY"?  Happily not!

On "CRUISIN' FOR A BLUESIN", STONEY AND THE HOUSE ROCKERS debut CD, the band not only steps it up a few notches, but they seem to shine while doing it.  The fourteen very well done originals highlight the talent that STONEY on lead vocals and harmonica, TONY FLOWE on guitars and vocals, MARK DOCHERTY on keyboards and vocals, ANDRE FOLLOT on bass and vocals and TOMMY JOHNSON on drums, percussion and vocals, all possess.

The title track describes something that I'm constantly doin' and that's "CRUZIN' FOR A BLUESIN".  This one features the band in a soft but very tight groove backing up STONEY'S smooth vocals and sharp harpin'.  TONY & MARK get in some nice guitar and piano highlights as well.

"TWO TIMIN' WOMAN" is a smoker that will even get the wallflowers movin' & grovin', and ANDRE & TOMMY would be the reasons for that.  This one features some of the discs best rhythm, making  it impossible to be still.  Of course STONEY gets his share of hot harp blowin' in there as well.

We all know that compared to listening to the blues, "TV DON'T CUT IT".  Well, that's not STONEY'S reasoning for the title, but I like my analogy.  This one features excellent vocals and good blues harp by STONEY, yet the band is in a very smooth and jazzy jam behind them.  What a nice blend on this very well done track.

"ONE STEP AT A TIME" will have you thinking you're listening to STONEY MARLEY AND THE JAMAICAN JUKES.  The band gets big kudos for the great Reggae sound they've perfected on this one.  The guitar work and percussion by TONY, ANDRE and TOMMY highlight this one.  The magic these guys are working extends right into the next track, a superb instrumental titled "TRIBUTE TO TOOTS".  Unquestionably, musically two of the discs best.

Pardon the pun, but "ICEMAN" is such a cool track.  Once again, the band locks into a soft and way smooth groove, this time highlighted by the ever so lightly touching of the piano keys by MARK, while STONEY sings his heart out on the vocals.  Add to that some of STONEY'S best harp work and this one's the real deal.

There is no questioning STONEY'S sincerity as he says "THANK YOU" to the Lord.  This is obviously the Gospel according to STONEY.  In spite of the guys sounding great behind him, this one's all about him and his Savior.  The feeling he's putting out and the spirituality of his lyrics sent chills through this sinners body.

STONEY, thank you for this song and this whole disc.

Alluding back to how I opened this review, allow me to now say that although I've seen this band perform 30 - 40 times before, I'll now look at them with a whole new found respect.  And the next time some very drunken, dart throwing, pool shooting, hoping to get lucky patron at one of their live gigs scream out for "FREEBIRD", I'll smile and think about "CRUISIN' FOR A BLUESIN".  Good job guys.

You can visit Stoney and the House Rockers on the Web at:
www.myspace.com/stoneyandthehouserockers

----- Peter "Blewzzman" Lauro

B. B. AND THE BLUES SHACKS
Unique Taste
Crosscut ccd 11096

www.crosscut.de

BB and the Blues Shacks are one of Germany’s top bands, thanks at least in part to the excellent recordings they have made for the Crosscut label. This album, the band’s fourth, represents something of a departure from the norm: it is still a blues set of course – how could this talented five piece do otherwise? – but there is a marked soul influence, no more so than on the lilting and attractive title track.
Of course, the swing-blues and Chicago type numbers are still well in evidence, and my only criticism is that vocalist Michael Arlt does not provide the listener with enough of his fine harmonica playing, and the little that there is in fact leaves us wanting more! All the tracks are originals, and the packaging is rather tasty too. BB and The Blues Shacks do it again! Another success.

----- Norman Darwen

SMOKIN’ JOE KUBEK & BNOIS KING
Blood Brothers
Alligator ALCD 4920

www.smokinjoekubek.com
www.alligator.com

The notes to this set – the duo’s twelfth or thirteenth counting a ‘Best of…’ – state that these two Texan heavyweight guitarists are very pleased to be on Alligator. There should be no surprise at all about that, as it is the spiritual home for their kind of high energy guitar laden Texas blues, shuffles and rockers.
Bnois has a slightly more sophisticated voice than some and this helps them to stand out from the pack – try the autobiographical ‘Colman Avenue’ for a good example – and they tend not to copy anyone else, with the exception here of ‘Freezer Burn’, a storming and entirely appropriate tribute to Albert Collins of course. This is the kind of music that is perhaps most often associated with Alligator and sets like this show just why that is – Smokin’ Joe, Bnois, the band and Bruce Iglauer all know just what is expected and provide it to a ‘t’.

----- Norman Darwen

EDDY “THE CHIEF” CLEARWATER
West Side Strut
Alligator ALCD 4921

www.alligator.com

It is strange to think of Eddy as a Chicago blues veteran, as he has always been a bundle of energy and often regarded as a Chuck Berry imitator – which he can do very well of course, as he proves once again with a couple of tracks on this CD. There has always been much more to him however; his albums over the years – especially the best ones, for Rooster Blues, Bullseye – have revealed him to be firmly rooted in the classic West side Chicago tradition, and with the CD title, the presence of guest artists such as Lonnie Brooks, Otis Clay and Jimmy Johnson, and remakes of several songs from earlier in Eddy’s career, it seemed as though this latest release would be more of the same.

Impressions can be wrong though, and this set is a little different, largely due to the production of Eddy’s nephew, up-and-coming young bluesman Ronnie Baker Brooks, the son of Lonnie. There is a much thicker sound than we are perhaps accustomed to – this is not the stripped down West-side style for the most part but a denser, more contemporary friendly approach. Call me a philistine, but I do feel that whilst it would certainly suit a young blues act, Eddy’s style does not need gospel flavoured ballads, contemporary rock values, or dub-inflected backings. This set is by no means a disaster, it is just that Eddy has made better blues recordings elsewhere. No doubt this will now sell a bundle – let’s hope it does as Eddy deserves the rewards – and prove me wrong in fine style.

----- Norman Darwen

MESSED UP IN LOVE AND OTHER TALES OF WOE
Various Artists
SPV/ Blue 42462 CD

www.spv.de

Thematic compilations are often grouped around lyrical content, but don’t the majority of blues deal with love and tales of woe? No matter, this is an excellent introduction to the early blues, covering the years 1921 to 1944, and ranging from the vaudeville blues of Mamie Smith and Bessie Smith through to the urban sound of Bill Gaither and Peter Cleighton (aka Dr. Clayton). Along the way there are diversions to Mississippi, the Piedmont, Atlanta and Texas, taking in the likes of Blind Willie McTell and Barbecue Bob, Robert Johnson and Bo Carter, Curtis Jones and Memphis Minnie. There is even an excursion into the roots of country music with Emmett Miller’s ‘Lovesick Blues’ – jazz legends Eddie Lang and Tommy Dorsey as part of backing band The Georgia Crackers, becoming hillbillies for the session!

If that last rings a few bells, it may be because when this set was originally released in Columbia’s ‘Roots ‘n’ Blues’ series, its presence caused a little controversy – though now it sounds fine, an indication perhaps of how tastes in blues appreciation have moved on. SPV is in the process of reissuing the whole (excellent and exemplary) series so there will be plenty more goodies to look out for!

----- Norman Darwen

WILD T & THE SPIRIT
Fender Bender
Jazz Haus JHR 013

www.wildt.ca
www.jazzhausrecords.com/

An apt title and name as this contains some heavy, high-energy blues-rock with guitar playing by Wild T that frequently does border on the wild. On this CD he works chiefly in a power trio format – there are some guest keyboards players but they are very much in supporting roles – and the overall sound is sometimes similar to Jimi Hendrix, sometimes to Led Zeppelin, and sometimes very original. The songs are indeed almost all Wild T or bass player Guenther Kapelle compositions or collaborations except for covers of ‘I’ll Play The Blues For You’ (most often associated with Albert King) and Little Charlie & The Nite Cats’ Rick Estrin’s pointed ‘My Next Ex-Wife’. It is also good to see a little humour creeping in: ‘The Pink Panther Theme’ crops up on the tour-de-force ‘Twilight Zone’.

Tony Springer a.k.a. Wild T is a dread-locked Trinidadian raised in Canada who was inspired to take up the guitar after hearing Steve Howe from progressive rock superstars Yes. Hardly the stereotypical background for a powerhouse blues-rocker but listen carefully and you will hear slight traces of jazz, funk and even reggae, giving this a little different twist from the norm. Very interesting indeed.

----- Norman Darwen    

John ‘Juke’ Logan
The Chill
Mocombo / Christine Vitale 2007

After a long time of silence, John Farrel Logan, a.k.a. John “Juke” Logan, has decided to reissue his first album (on digipack format plus two bonus tracks), recorded in 1992 for his own label Mocombo. John was born in California and soon he discovered blues thanks to Ray Charles, Jimmy Reed and Mose Allison. His passion for harmonica comes from Little Walter (in fact he had “Juke” nickname because he was always playing that song). Today he has become a well known musician among Californian blues lovers. He has also collaborated with Los Lobos, Ry Cooder, Etta James or Bo Diddley among others.
He has also done jingles for TV commercial ads and between 1992 to 2000 he was one of the two hosts of blues KPCC ‘Friday Night Blues Revue’ radio show. This is a superb priceless cd, a perfect combination of sounds and rhythms deeply rooted on blues that include a wide range of musical forms that make shine every song included on it.
A special mention to first class guest musicians like Junior Watson, Janiva Magness, Rick Holmstrom or Los Lobos’ members David Hidalgo and Conrad Lozado. If you did not buy the original copy, it’s time to get it now. ESSENTIAL.

----- Vicente P. Zumel, La Hora del Blues, Spain.

Betty Pride
Cold Hearted Woman
Self Production 2007

Betty Pride is a singer with traditional gospel influences who goes into any musical style with conviction, self confidence and honesty. For more than twenty years she has sung jazz, blues, rhythm & blues and even country & western music. During those years she received offers to record for Chess Records but personal reasons prevented her to do so.
On this cd Betty Pride shows us her most bluesy side along a custom made album. She shines in her own right on ten superb imaginative songs performed with great feeling. Her band, The BP Ride Blues Band have an impressive efficient sound with high quality horn and keyboards arrangements and a de luxe guest musician, singer on blues shouter tradition Nappy Brown who appears on Ben E. King’s and Leiber & Stoller’s song “Stand By Me”.
An excellent new work of the amazing Charlotte, North Carolina settled singer known as Ms. Betty Pride. GREAT.

----- Vicente P. Zumel, La Hora del Blues, Spain.