Sue Foley’s latest, “One Guitar Woman,” is a magical expression of traditional songwriting, compelling guitar work and vocal prowess by — one guitar woman.
Foley has shifted from her usual potent electric blues work to just a single acoustic nylon-strung guitar for this ambitious project, allowing her to transform it into a platform for these vital songs honoring women folk and blues artists.
The album’s twelve cuts (eleven thoughtful covers and one original) range from the pure folk of Elizabeth Cotton’s “Oh Babe It Ain’t No Lie” through the sensual blues of Memphis Minnie’s “In My Girlish Days” to the authentic rendering of the classic Spanish instrumental, “La Malaguena.”
Foley’s finger-picking guitar technique sparkles throughout, and her vocals provide the perfect complement to the variety of musical styles. She’s accomplished the difficult task of remaining faithful to the originals while seasoning them with her own voice.
“Girlish Days” and “Nothing in Rambling” are Foley’s two stellar tributes to the incomparable Memphis Minnie, born Lizzie Douglas. Minnie’s husband, Ernest Lawler, adapted the traditional “Days” for her and Foley’s grit evokes the spirit of that classic version. “Rambling” is another classic Minnie blues, faithfully executed.
Foley honors Maybelle Carter, the most influential female country music artist of the 20th century, with two songs — Carter’s “Lonesome Homesick Blues” and Foley’s own “Maybelle’s Guitar” — the latter written about Carter, whose unique guitar playing was called the “Carter scratch” and turned that rhythm instrument into a lead guitar.
Foley displays the virtuosity and elegance of her guitar work on “Romance In A Minor,” an instrumental classical composition by Niccolo Paganini originally written for the violin, but later adapted for the guitar. It’s a delicately beautiful, lyrical interpretation.
Equally faithful to their classic sources are Foley’s renditions of “My Journey to the Sky,” “Freight Train,” “Last Kind Words Blues,” “Mal Hombre” and “Motherless Child Blues,” songs that round out this
“One Guitar Woman” is an excellent album that puts Sue Foley’s wide-ranging talent and skills on full display, with a smart collection of musical styles. Of her inspiration here, Foley says:
“From the time I decided to be a professional guitar player, I’ve always looked for female role models. These are the women who were expressing themselves through the instrument as far back as the 1920’s, at the inception of radio and recorded music. They are the trailblazers and visionaries whose footsteps I walk in.”
With this fine album, Sue Foley shows that she is absolutely worthy of those footsteps.
Here’s the video for “Nothing in Rambling”
Tracklist & credits: 1. Oh Babe It Ain’t No Lie (4:15) (Elizabeth Cotten, Vestopol Music, BMI) 2: In My Girlish Days (3:55) (Ernest Lawler, Songs of Universal Inc, Wabash Music Company, BMI) 3: Lonesome Homesick Blues (3:53) (Maybelle Carter, APRS, BMI) 4: Mal Hombre (4:27) Lydia Mendoza / Sue Foley, San Antonio Music Publishers Inc, BMI, Mechanicsville Music, SOCAN, ASCAP) 5: Motherless Child Blues (4:33) (Elvie Thomas, Boathouse of Tunes, BMI) 6: Romance In A Minor (4:24) (Niccolo Paganini, Arranged by Sue Foley, Mechanicsville Music ASCAP SOCAN) 7: My Journey To the Sky (2:50) (Rosetta Tharpe, PW 3 ASCAP SONGS, ASCAP) 8: Nothing In Rambling (3:05) (Minnie Lawlers, Memphis Minnie Music Company ASCAP) 9: Maybelle’s Guitar (3:05) (Written by Sue Foley, Mechanicsville Music, SOCAN, ASCAP, Wildwood Flower, AP Carter, APRS, BMI) 10: Freight Train (3:37) (Elizabeth Cotten, Figs D Music, BMI) 11: Last Kind Words Blues (4:04) (Geeshie Wiley, BMG RIGHTS MANAGEMENT (UK) LIMITED, PRS, BMG PLATINUM SONGS US, BMI) 12: La Malagueña (4:35) (Ernesto Lecuona, Arranged by Sue Foley, Mechanicsville Music SOCAN, ASCAP)
If you’re a true-blues fan, there’s nothing quite like a dose of old-school blues to satisfy your soul.
“Crawlin’ Kingsnake,” the fourth and latest collaboration between harp-master and album-producer extraordinaire Bob Corritore and veteran guitar-slinger/singer John Primer, is so old school that you can smell the eraser dust in the 12 vintage tracks on this outstanding collection of Chicago-style blues.
Primer and Corritore get stellar help from sidemen Bob Stroger on bass, Jimi “Primetime” Smith on second guitar, Anthony Geraci on piano, and Wes Starr on drums. It’s a tight and tasty aggregation that cuts right to the blues bone.
It all begins when “Take a Message” shuffles out and rocks hard to break things open, with Corritore’s tough harp riffs and Primer’s still-potent 79-year-old chops sounding appropriately down and dirty. The title track is next — it’s a wicked take on the classic “Kingsnake” blues, with a fierce guitar break that only serves to highlight Primer’s surrounding vocals.
“Down In the Bottom” and “Hiding Place” (a Primer original) roll out next, both hard-driving romps teeming with the vitality of the blues. Like all the cuts here, everybody steps into the music, and the results are definitely blues with a feeling. “Chains and Things” slows the pace with a mournful blues lament about a ” cold-hearted wrong-doin’ woman,” teased with a sensuous Geraci piano solo.
“Stuff You Gotta Watch” is the first of three Muddy Waters songs — this one updated with a quicker pace and Corritore’s blazing harp work. Next up, Waters’ “Rosalee Blues” is a lesser-known tune, but filled to the brim with Muddy’s spirit by Primer’s soulful vocals and stinging slide guitar. Geraci’s piano work adds a vital classic element.
“You’re the One” lays down a funky feel before the music shifts into the gospel strains of “Bow Down On Your Knees,” a brief departure from the “devil’s music” that pays tribute to some of the spiritual headwaters of the blues.
The medium-tempo “This Little Voice” returns to full-throated blues rich with Primer’s vocals wrapped in Corritore’s passionate harp and swampy guitar riffs. The sturdy shuffle of the gritty “Gravel Road” is a tribute to the infectious music of the great Magic Slim, whose guitar work delivered the blues with powerful simplicity.
The closer is the third Waters’ cover, “Feel Like Going Home,” a masterful 6 1/2-minute finale to this effervescent set that gives everyone a chance to demonstrate the vitality of this classic music.
“Crawlin’ Kingsnake” is simply an excellent album; that rare studio session that captures the attitude of a smoky blues club filled with half-century-old music that remains as vital as ever.
Here’s “Crawlin’ Kingsnake” from the album:
Tracklist: 1. Take A Message (4:24) 2. Crawlin’ Kingsnake (3:27) 3. Down In The Bottom (4:28) 4. Hiding Place (4:16) 5. Chains and Things (5:18) 6. Stuff You Gotta Watch (3:31) 7. Rosalee Blues (4:50) 8. You’re the One (4:36) 9. Bow Down On Your Knees (1:39) 10. This Little Voice (4:54) 11. Gravel Road (3:42) 12. Feel Like Going Home (6:48)
Various Nola Blue artists — “Breakin’ News – 10 Years of Blues” — Nola Blue Records
Blues music has been around for a long time — it’s been nourishing souls for well over a century.
Nola Blue Records has been around for just ten years by comparison, but founder/president Sallie Bengston has already found plenty of great blues to keep that nourishment flowing from her Pennsylvania headquarters.
In celebration of those first ten years, Nola Blue has released a compilation of some of the label’s finest tracks, designed to provide, in Bengston’s words, a “soulful selection of milestones from the past ten years.”
It’s very fitting, then, that this retrospective feature Benny Turner, whose album “Journey” was the first Nola Blue release in 2014. Not only was “Journey” an auspicious beginning for Nola Blue, it sparked a change for Turner from a sideman who began his career with his brother, Freddie king, into a powerful performer on his own. And Turner immediately kicks the session into high gear with the first of his three contributions here, “Breakin’ News,” a high-powered shuffle that rocks hard behind tough vocals.
Turner follows in a soulful pairing with the deep blue pipes of the late Cash McCall on the Elmore James classic, “It Hurts Me Too,” featuring a wickedly sharp harp intro by Billy Branch’s. The track comes from their 2018 joint album, “Going Back Home.”
Frank Bey, the Southern Gentleman of the Blues, is featured on the funky soul of “All My Dues Are Paid,” a song he co-wrote and won BMA nominations for with the 2021 album of the same name, a year after his death. Another McCall track follows, the easy-rocking “One Who’s Got a Lot,” powered by a rich vocal turn.
Clarence Spady checks in with a plaintiff request, “If Only We Could,” know what the next person knows. Trudy Lynn follows with “Golden Girl Blues,” the sassy title track from her 2022 Nola Blue album, sparked by slick guitar work from Anson Funderburgh and Yates McKendree.
Harp wizard and vocal chameleon John Németh turns up on the next two tracks, first, in his incarnation as a smooth big-band singer crooning “After All,” in front of the sparkling Love Light Orchestra. That’s followed by a rousing sanctified version of the traditional “The Last Time,” recorded while facing surgery to rebuild his jaw that could have (but fortunately did not) end his fine musical career. It’s a poignant reminder of just how fragile everything in life can be.
Lil’ Jimmy Reed (Leon Atkins) is next with “They Call Me Lil’ Jimmy” from his 2023 album “Back to Baton Rouge,” featuring that classic Jimmy Reed vibe in the hands of his long-time namesake, with piano by Ben Levin. Turner comes back for the closer, a bluesy paean to some of the music’s originators, “Who Sang It First,” a plea to remember the blues’ origins.
“Breakin’ News” is a fine, fun album on its own, filled with emotionally powerful music from rich blues voices. It’s also a testament to how a dedicated record label can still find and produce excellent music that represents some of the best of this timeless musical genre.
Tracklist: 01 Benny Turner – Breakin’ News (4:13) 02 Benny Turner & Cash McCall – It Hurts Me Too (4:01) 03 Frank Bey – All My Dues Are Paid (4:11) 04 Cash McCall – One Who’s Got A Lot (4:13) 05 Clarence Spady – If Only We Could (3:07) 06 Trudy Lynn – Golden Girl Blues (5:07) 07 The Love Light Orchestra – After All (3:36) 08 John Nemeth – The Last Time (3:35) 09 Jimmy Reed With Ben Levin – The Call Me Lil’ Jimmy (4:04) 10 Benny Turner – Who Sang It First (4:00)
This album is a soulful selection of milestones from the past ten years, but is only a portion of the many sounds of Nola Blue Records. I hope you will also explore our catalog at www.nola-blue.com/nolabluerecords and enjoy highlights from each album at bit.ly/NolaDecade.
This album is dedicated to our “Nola Blue Angels” ~ Cash McCall (Morris Dollison, Jr.), Frank Bey, and James George ~ with endless gratitude for the musical gifts they shared and their legacy of music which will nurture and soothe our souls for eternity.
Benny Turner – bass, lead and background vocals; Deanna Bernard and Ellen Smith – background vocals; Charles Moore – rhythm guitar; Marc Stone – steel guitar; Keiko Komaki – keyboard; Jason Mingledorff – saxophone; Barney Floyd – trumpet; Jeffery “Jellybean” Alexander – drums
Produced by Benny Turner; Engineered and Recorded at Sound Services Recording, Slidell, LA by Marc Hewitt; Mixed by Benny Turner and Marc Hewitt. Mastered by Bruce Barielle, New Orleans, LA
Cash McCall – vocals; Benny Turner – bass and background vocals; Billy Branch – harmonica; Butch Mudbone – slide guitar; Raishene Webb – keyboards; Terry Saffold – drums
Produced by Benny Turner; Engineered/Recorded at Ecko Studios, Memphis, TN by Till Palmer and Joyride Studios, Chicago, IL by Blaise Barton; Mixed and Mastered at Music Shed Studios, New Orleans, LA by Jack Miele
Frank Bey – lead vocals; Loralee Christensen and Lisa Leuschner Andersen – vocals; Kid Andersen – guitar, organ; Paul Olguin – lead bass guitar; Jerry Jemmott – bass; Derrick “D’Mar” Martin- drums; Vicki Randle – congas; Jack Sanford – tenor and baritone sax; John Halbleib – trumpet; Ric Feliciano – trombone
Produced, engineered, recorded, mixed and mastered at Greaseland, San Jose, CA by Kid Andersen w/ assistants Robby and Rome Yamilov
4. One Who’s Got A Lot – Cash McCall (Single – 2020) Written by Jim Koeppel (SESAC)
Cash McCall – vocals; Jim Koeppel – guitar; Tennyson Stephens – piano; Welton Gite – bass; James Gadson – drums
Produced by Jim Koeppel; Engineered at Pacifica Studios, Los Angeles, CA by Glen Nishida with additional engineering by Myles West; Additional engineering at Studio 2424, Chicago, IL by Danny Christy; Additional engineering at Carriage House, Stamford, CT by Mikhail Pivovarov; Mixed and Mastered by John Christy at Studio 2424, Chicago, IL
Clarence Spady – guitar, vocals; Andy Galore – bass; Dave Archer – keyboard and B3; Barry Harrison – drums
Produced by Bobby Gentilo; Engineered, recorded and mixed at Right Coast Recording, Columbia, PA; Mastered at Mike Tarsia Recording, Philadelphia, PA by Mike Tarsia
Trudy Lynn – vocals; Teresa James – background vocals; Yates McKendree – guitar; Terry Wilson –bass & background vocals; Kevin McKendree – keyboards; Brannen Temple – drums and percussion
Produced and arranged by Terry Wilson; Horn arrangements by Darrell Leonard; Engineered and recorded in Houston, TX by Steve Christensen; Overdubs engineered and recorded at JesiLu Studios, Los Angeles, CA by Terry Wilson; Mixed and Mastered at The Old Brewery House, Malmesbury, UK by John Porter
John Németh – vocals; Joe Restivo – guitar; Al Gamble – piano; Tim Goodwin – upright bass; Marc Franklin – trumpet, horn arrangements; Scott Thompson – trumpet; Jason Yasinsky – trombone; Art Edmaiston – tenor saxophone; Kirk Smothers – baritone saxophone; Earl Lowe – drums
Produced by Marc Franklin, John Németh and Joe Restivo; Engineered at Memphis Magnetic Studios, Memphis, TN by Adam Hill and Scott McEwen; Mixed at Sam Phillips Recording Studio, Memphis, TN by Matt Ross-Spang; Mastered at Golden Mastering, Ventura, CA by John Golden
8. The Last Time – John Németh (+May Be The Last Time – 2022) Traditional (Arr. Németh/Bishop/Andersen)
John Németh – vocals and harp; Elvin Bishop – guitar; Bob Welsh – guitar; Kid Andersen – upright bass; Willy Jordan – cajon, drum kit, percussion; Alabama Mike, Willy Jordan, Kid Andersen, Bob Welsh – group vocals
Engineered, recorded, mixed and mastered at Greaseland, San Jose, CA by Kid Andersen
Benny Turner – bass and vocals; Will McFarlane – guitar; Jack Miele – 2nd guitar; Clayton Ivey -Wurlitzer; Joe Krown – organ; Justin Holder – drums; Tiffany Pollack and Kassie Netherland Miele – background vocals
Produced by Benny Turner; Engineered and recorded at FAME Studios, Muscle Shoals, AL, by John Gifford III; Additional engineering, Mixed and Mastered at Music Shed Studios, New Orleans, LA by Jack Miele
+ Under exclusive license to Nola Blue Records
Tracklist: 01 Benny Turner – Breakin’ News (4:13) 02 Benny Turner & Cash McCall – It Hurts Me Too (4:01) 03 Frank Bey – All My Dues Are Paid (4:11) 04 Cash McCall – One Who’s Got A Lot (4:13) 05 Clarence Spady – If Only We Could (3:07) 06 Trudy Lynn – Golden Girl Blues (5:07) 07 The Love Light Orchestra – After All (3:36) 08 John Nemeth – The Last Time (3:35) 09 Jimmy Reed With Ben Levin – The Call Me Lil’ Jimmy (4:04) 10 Benny Turner – Who Sang It First (4:00)
On his latest album – “Cadillac Man” – Rick Vito includes a song titled “You Can’t Stop a Guitar (From Playing the Blues).” That could easily be the motto of Vito’s long and successful musical career, and it’s certainly the welcome theme of the Grammy-nominated guitarist’s first album in five years.
Vito is probably best known for his role in the legendary supergroup Fleetwood Mac from 1987-1991, when he revived the rootsy blues feeling of the band’s early years. In 2008 he partnered with Mick Fleetwood to form the Mick Fleetwood Blues Band, and was nominated for a 2010 Grammy in the Best Traditional Blues category as both artist and producer for the album “Blue Again.”
Vito’s unique slide and lead guitar work has enhanced hundreds of recordings and performances by such legendary artists as Bob Seger, Bonnie Raitt, John Mayall, Albert Collins, John Prine and many, many more. Seger called his slide guitar solo on the song “Like a Rock,” ”the single most spectacular solo I’d ever heard.” That’s the solo that got massive exposure as the guitar voice on a Chevrolet truck commercial that ran from 1991 to 2004.
Vito has been cranking out solo albums since 1992, and “Cadillac Man” is his first since 2019’s “Soulshaker.” This release of a dozen tracks shows off his haunting slide technique, his songwriting skills with some fresh new material, a welcome dip back into his musical past and one magical cover.
The album slides open with a gorgeous minute of tasty guitar on the sturdy shuffle of “Love Crazy Baby,” featuring another sparkling solo midway, offering a solid sample of what’s coming down the tracks.
Next up is “It’s 2 A.M.,” Vito’s W.C. Handy Award-winning Song of the Year from 2001, sung then by Shemekia Copeland – “Yeah, I looked at the clock, I saw the time / I heard a voice ring out from the back of my mind / It’s 2 a.m., do you know where your baby is?”
The title track chugs along next with Chuck Berry-esque guitar licks, auto-matically conjuring a sweet little road trip: “Take a ride with me baby / A steady rollin’ plan / I got the keys to the highway / ’m a Cadillac Man.”
The exotic “Little Sheba” hints at a woman of many mysteries: “She walks like an angel with a devil within / Tryin’ make you a present of a mortal sin.” The flowing instrumental “Bo in Paradise” follows with its own haunting melody.
Another Cadillac drives up in the romping tale, “Gone Like a Cool Breeze” – “We were out in my Ford just cruisin’ by / When a guy in a Cadillac winked his eye / And she was gone.” The solemn ballad “Crying at Midnight” slows things down with a soulful vocal turn: “I “I was a fool, and I can never make it right / I lost my love forever, and now I’m / Crying at midnight.”
The easy-rocking “Barbeque’n Baby” cooks up a bite of slide and adds some lyrical spice: “Well she brought me to her kitchen and she rattled her pots and pans / Well that BB Baby knew just how to serve a hungry man.”
The only cover on the album is Vito’s simply gorgeous instrumental interpretation of the gospel song, “Just Another Day,” by Sam Cooke and the Soul Stirrers.
“River’s Calling” flows along gently with Vito’s vocals forming a duet with himself in a poignant lament as his guitar gently weeps: “I went down to the river / And I stood there on the shore / I heard the river calling / He said The world don’t need you no more.” Vito’s sinewy guitar highlights “You Can’t Stop a Guitar (From Playing the Blues)” — “You know that guitar ain’t lyin’.” His extended muscular solos aptly demonstrate the truth of the title.
The serene instrumental closer, “Sliding Into Blues,” is a masterwork in slide, pouring all the purity of Vito’s magical guitar into one final sublime emotional statement.
“Cadillac Man” is delightful testimony that, after all, you can’t stop a guitar from playing the blues.
Roadhouse note: You may have noticed a lack of new posts here over the past few months. I’ve been having some health issues that have interfered with my writing, but I hope to be back on track soon. Thanks for continuing to read. — Jim White
Various Artists — “The Blind Raccoon and Nola Blue Collection Vol. 6” — Blue Heart Records
For the past several years, the music-loving folks at Blind Raccoon and Blue Heart / Nola Blue record labels have been releasing annual collections of music from some of the excellent new and veteran artists they represent. These collections have all been filled with exciting music from a talented array of performers.
Now it’s time for another smartly curated compilation of 15 performances from this constantly expanding talent base of independent and label artists – “The Blind Raccoon and Nola Blue Collection Vol. 6” – and it’s just as impressive as the previous five. It’s filled with an eclectic variety of soulful, bluesy and roots music that offers a tantalizing preview of the full-color spectrum of sounds from this innovative musical team.
This sparkling set, like the earlier ones, is the brainchild of Betsie Brown, who heads the artist management organization Blind Raccoon, and Sallie Bengston, who, with Brown, operates the Blue Heart and Nola Blue record labels. They are responsible for the impressive selection of talent represented here, with original songs taken from existing and upcoming albums, as well as previously unreleased material.
This latest sampler opens with the “Ballad of Pat Hare,” written by and featuring the deep, soulful blues of London’s Oliver “Mississippi” McDonald, a guitarist whose vocals and guitar seem to have been dredged from the muddy waters of blues origins. O’Hare himself was an original, a 1950s bluesman whose power chord guitar helped father heavy metal bands. The Reverend Shawn Amos adds vocals and harp work.
Rolling on, “Tidal Wave” is a gorgeous instrumental from Anthony Geraci on piano and Hammond organ. “My Baby Loves Me Like a Hurricane” storms into view next, a memorable hard-rocking track from the late Kip London.
Harpman Douglas Avery offers his original “Survival,” featuring Franck L. Goldwasser on guitar, in a dirge-like track reminiscent of the Doors, of which he is an honory member. The joyous vocals of Teresa James spark “I Do My Drinkin’ on the Weekend,” a rocking country song that’s rolling with her honky-tonk piano.
The Texas Horns combine with vocalist Ange Kogutz and guitarist Anson Funderburgh on the R&B-laced “Never Buy My Soul” by Horns’ saxman John Mills. Benny Turner offers his “Smoke My Peace Pipe (Smoke It Right) aka A Tribute to Big Chief Bo Dollis,” the leader of the Wild Magnolias, who took part in Indian masking traditions and performed New Orleans Mardi Gras music.
Dave Keyes works special keyboard magic on his own “Pookie Po Po,” a track that swings hard with delicious New Orleans rhythms. “Man Goes Blind” is tough bluesy rocker with a social conscience from guitarist Trevor Power. “Forever Blue” is an emotion-stirred ballad from Terry Wilson-Slesser and Mark Taylor, with Wilson-Slesser on the soulful vocals.
The lovelorn barroom blues of “Struck Out Again” by chromatic harp wizard Big Harp George (George Bisharat) is an unreleased bonus track from his 2018 album “Uptown Cool.” Fingerstyle guitarist Steve Howell and the Mighty Men preview the Betty James and Clarence Edward Johnson R&B chestnut “I’m a Little Mixed Up” from Howell’s upcoming album, “99½ Won’t Do.”
“She Might Meet Me” is a jazzy, upbeat track flowing from Kenny Parker’s languorous guitar, featuring Fred Foley on vocals. Blind Lemon Pledge (James Byfield) polishes up the vintage classic “House of the Rising Sun,” a preview from his forthcoming album, “Oh So Good.”
The inimitable Reverend Freakchild brings the session to a stirring acoustic finale with his haunting “Don’t Miss Nothing ‘til It’s Gone,” which adds The Reverend Shawn Amos on harp and vocals in its final bars.
All of the samples from these talented artists highlight the elegant eclecticism and remarkable originality of the Blue Heart and Nola Blue labels. And best of all, it makes damn good listening all by itself.
Here’s the “Ballad of Pat Hare” from the album:
Track list and credits:
Ballad of Pat Hare (feat. The Reverend Shawn Amos) – MISSISSIPPI MacDONALD (2023 Another Planet Music Limited) Written by Oliver MacDonald (Glovebox Songs/Kassner Assoc. Pub.) Mississippi MacDonald (guitar, lead vocals), The Reverend Shawn Amos (harmonica, lead vocals), Phil Dearing (piano, percussion), Lucy Randall (backing vocals), Jim Kimberly (drums)
Tidal Wave – ANTHONY GERACI (2023 Anthony Geraci) Written by Anthony Geraci (Jatome Music/ASCAP) Anthony Geraci (piano/Hammond Organ), Barrett Anderson (guitar), Paul Loranger (bass), Kurt Kalker (drums), Drew Davies (saxophone)
My Baby Loves Me Like a Hurricane – KIP LONDON (2023 Kip London) Written by Kip London Kip London (vocals, steel body guitar, slide guitar), Norman Nardini (guitar), Brice Foster (drums)
Survival (feat. Franck L. Goldwasser) – DOUGLAS AVERY (2023 Greenwave Music) Written by Douglas Avery Douglas Avery (vocals and harmonica), Franck L. Goldwasser (guitar), Ralph Carter (organ and bass), Johnny Morgan (drums and bongos)
I Do My Drinkin’ on the Weekend – TERESA JAMES & THE RHYTHM TRAMPS (The Bottom Line – 2007 Jesi-Lu Records) Written by A. Anderson and S. Bruton (Windswept Pacic/BMI – Brutunes/Bug Music / BMI) Teresa James (vocals, piano), Billy Watts (lead guitar), Terry Wilson (bass, rhythm guitar), Red Young (organ), Terry Townson and Jerry Peterson (horns), Debra Dobkin (percussion), Herman Matthews (drums)
Never Buy My Soul (feat. Ange Kogutz and Anson Funderburgh) – THE TEXAS HORNS (2023 The Texas Horns) Written and arranged by John Mills (Stutter-Step Music/BMI) The Texas Horns: Mark ‘Kaz’ Kazano (tenor sax), John Mills (baritone sax), Al Gomez (trumpet); Ange Kogutz (vocals), Anson Funderburgh (guitar), Johnny Moeller (guitar), Stefano Intellisano (keyboards), Chris Maresh (electric bass), Brannen Temple (drums and percussion)
Smoke My Peace Pipe (Smoke It Right) aka A Tribute to Big Chief Bo Dollis – BENNY TURNER (2023 Nola Blue Records) Written by Wilson John Turbinton (Gopam Enterprises, Inc. obo Turbine Music) – arranged by Benny Turner Benny Turner (vocals, bass) with special guests Warner Williams (vocals), Marva Wright (vocals), June Yamagishi (lead guitar); Bobby Gentilo (rhythm guitar, percussion); Jack Miele (rhythm guitar); Keiko Komaki (piano and organ), Norwood “Geechie” Johnson (bass drum), “Jellybean“ Alexander (drums)
Pookie Po Po – DAVE KEYES (Covered In Blue – 2001 Keyesland Records) Written by Dave Keyes (Keyesland Music/ASCAP) Dave Keyes (lead vocals and all keys), Frank Pagano (drums, percussion and background vocals), Keith Lambeth (bass), Jon Spector (all guitars), Ken Fradley (trumpet), Roy Agee (trombone), Chris Eminizer (saxophones and sax solo), Stan Bronstein (additional saxophone)
Man Goes Blind – TREVOR B. POWER (2023) Written by Trevor B. Power Trevor B. Power (guitar, vocals), Charlie Macarone (guitar), Dave Fields (bass, vocals, organ), Tom DiCianni (drums)
Forever Blue – TERRY WILSON-SLESSER (2023 Terry Wilson-Slesser and Mark Taylor) Written by Terry Wilson-Slesser and Mark Taylor Terry Wilson-Slesser (vocals), Mark Taylor (keyboards), Terry Wilson (bass, guitars, percussion), Tony Braunagel (drums)
Struck Out Again – BIG HARP GEORGE (Uptown Cool unreleased bonus track – 2018 Blues Mountain Records) Written by George Bisharat Big Harp George (vocals and harmonica), Kid Andersen (guitar), Joe Kyle Jr. (bass), Michael Peloquin (tenor and baritone saxophones), Mike Rinta (trombone), Chris Burns (keyboards), Alexander Pettersen (drums)
I’m a Little Mixed Up – STEVE HOWELL AND THE MIGHTY MEN (99 ½ Won’t Do – 2024 Out of the Past Music) Written by Betty James and Clarence Edward Johnson (Sunower, Garnet/ASCAP) Steve Howell (vocals, electric guitar), Chris Michaels (electric guitar), Jason Weinheimer (bass and keys), Dave Hopauir (drums)
She Might Meet Me (Live in the 313) (feat. Fred Foley) – KENNY PARKER (Single – 1999 Rock-A-While Records) Written by Kenny Parker (House of Parker Music/BMI) Kenny Parker -(guitar), Fred “Slye” Foley (vocals), Frank Greenhalgh (bass), Andy Szmansky (keyboards), Dave Fair (drums)
House of the Rising Sun – BLIND LEMON PLEDGE (Oh So Good – 2024 James Byeld) Traditional, arrangement by James Byeld Blind Lemon Pledge (vocals, guitar), Peter Grenell (bass), Juli Moscovitz (drums)
Don’t Miss Nothing ‘til It’s Gone – REVEREND FREAKCHILD (Songs of Beauty for Ashes of Realization – 2023 Reverend Freakchild) Written by Reverend Freakchild Reverend Freakchild (vocals and guitar), The Reverend Shawn Amos (harmonica and outro vocals)
Jennifer Porter is a superb songstress with a uniquely seductive voice. Her lyrical and musical creativity has allowed her to shape a wide variety of styles, from opera to blues, into her own elegant personal vision.
With her tenth album, “Yes I Do,” Porter highlights her ability to create a lyrical masterpiece of bluesy Americana and deliver it in a silky smooth vocal style that underscores the eloquence of her music.
“Yes I Do” follows Porter’s success with her 2021 release, “Sun Come and Shine,” for which the title track received a We Are the Music Makers award for Best Roots/Americana/Blues song. This latest release brings back the talents of Grammy winner Cindy Cashdollar and Grammy nominee C.J. Chenier.
Porter created six of the eight delightful songs here, and blended her own sparkling style into two traditional blues covers. She handles the vocals in her inimitable honeyed style, and plays piano or Wurlitzer or Hammond B3, sometimes all three, on each cut.
A rollicking “Before we Call It A Day” opens the session, upbeat in mood and lyrics, as Porter blends lead and backup vocals with honky-tonk piano into a vibrant message: “I wanna race the clock, kiss the moon / Kick up my heels, and work the room / And have a hell of a night / Before we call it a day.”
The title track, “Yes I Do,” follows, mellowing the mood with Porter again singing her own backup in front of her Wurlitzer and B3 lines. Her gentle vocals accentuate the romantic offering: “I’ll spend my time just making rhymes into these / Hopeful little lines / And leave this lonely broken heartache behind. / Cause I love you, I love you, yes I do.”
“Over You,” a softly romantic ballad follows, enhanced by vocals in the upper register that build a haunting love song into an ethereal presence. “All I Needed Was You” sparks a lovely sentiment behind Chenier’s New Orleans fire and Porter’s rousing piano: “For all my dreams to come true / All I needed was you.”
“Don’t Worry No More” opens with a flourish of horns that leads to Porter’s bluesy tale fueled by her piano and B3. Once again, her vocal charms provide a soft counterpoint to the ttoughness of the lyrical message: “Baby, don’t worry no more / See me walkin’ out the door.”
The Leroy Carr classic 1928 blues “How Long” gets Porter’s subtle vocal treatment with her classy piano and a sweet flugelhorn solo adding unique flavor. “Lucky Dust” opens with a Dixieland swagger with Porter and her piano leading the way through a joyous take that ends with another crackling, jazzy flourish.
The sprightly closer feels just right as a finale for this adventurous set; a lighthearted, innovative cover of the 1925 Stuart Balcom and Bessie Smith chestnut, “Good Ol’ Wagon,” with just Porter caressing the piano and Randy Andos’ easy-thumping tuba.
You wouldn’t guess it from listening, but among Porter’s generous list of accomplishments (actor, screenwriter, composer) is her interest in martial arts. She holds a second-degree black belt in Tai Jujitsu, and has advanced training in Kali and Jeet Kun Do. What do they add to this thoroughly enjoyable music? As the legendary lyricist Sammy Cahn once put it: “Ain’t That a Kick in the Head?”
Here’s the title track, “Yes, I Do”:
Tracklist: 1. Before We Call It A Day (3:46) 2. Yes, I Do (4:19) 3. Over You (4:24) 4. All I Needed Was You (3:57) 5. Don’t Worry No More (Funk / Rock Version) (3:37) 6. How Long (4:09) 7. Lucky Dust (Shining Through) (3:29) 8. Good Ol’ Wagon (3:16)
If you’re interested in how the Grammys deal with blues music, here are this year’s winners in the two categories (out of 94) that Grammy gives to America’s classical music. It’s the music that Willie Dixon would describe by saying, “The blues is the roots, everything else is the fruits.”
I like that Bobby Rush won in the traditional category; he deserves the award for both his impressively long career and this fine album. Larkin Poe is a winner for their stylish approach to a classic genre.
And just FYI, these winners are available before the awards show begins tonight, because they couldn’t possibly broadcast all 94 winners. Or include the roots of it all in the broadcast.
I’m done griping. Here are the nominees and winners (in bold) for the blues categories. Congratulations to all.
47. Best Traditional Blues Album
Ridin’ by Eric Bibb
The Soul Side Of Sipp by Mr. Sipp
Life Don’t Miss Nobody by Tracy Nelson
Teardrops For Magic Slim Live At Rosa’s Lounge by John Primer
All My Love For You by Bobby Rush
48. Best Contemporary Blues Album
Death Wish Blues by Samantha Fish And Jesse Dayton
The 45th Blues Music Awards will be announced May 9, 2024, at the Renasant Convention Center in Memphis. And the nominees are ….
Acoustic Album Wild Ox Moan, Catfish Keith Raw Blues 1, Doug MacLeod Sticks & Strings, EG Kight Ridin’ the Blinds, Hudspeth & Taylor Ghost Hymns, William Lee Ellis
Acoustic Artist Catfish Keith Doug MacLeod Eric Bibb Keb’ Mo’ Kevin Burt
Album of the Year TEARDROPS FROM MAGIC SLIM, John Primer Live In London, Christone “Kingfish” Ingram SoulFunkn’BLUES, Blackburn Brothers Soul Side of Sipp, Mr. Sipp (Castro Coleman) Get Your Back Into It!, Nick Moss Band Featuring Dennis Gruenling
B.B. King Entertainer Beth Hart Bobby Rush Lil’ Ed Williams Mr. Sipp (Castro Coleman) Vanessa Collier
Band of the Year Larkin Poe Nick Moss Band Selwyn Birchwood Band Southern Avenue Tedeschi Trucks Band
Best Emerging Artist Album When the Levee Breaks: The Music of Memphis Minnie, Candice Ivory The Right Man, D.K. Harrell Up Next, Mathias Lattin Everybody’s Buddy, Nic Clark Tony Holiday, Tony Holiday
Blues Rock Album POWER, Anna Popovic Writing On The Wall, Coco Montoya Blues Deluxe Vol. 2, Joe Bonamassa Blood Brothers, Mike Zito/ Albert Castiglia What Key Is Trouble In?, Nick Schnebelen
Blues Rock Artist Anna Popovic Joe Bonamassa Kenny Wayne Shepard Mike Zito Warren Haynes
Contemporary Blues Album Live In London, Christone “Kingfish” Ingram Ridin’, Eric Bibb Behind The Veil, Jason Ricci and the Bad Kind Healing Time, Ruthie Foster Exorcist, Selwyn Birchwood
Contemporary Blues Female Artist Carolyn Wonderland Danielle Nicole Janiva Magness Teresa James Vanessa Collier
Contemporary Blues Male Artist Chris Cain Christone “Kingfish” Ingram Marquise Knox Mr. Sipp (Castro Coleman) Selwyn Birchwood
Instrumentalist – Bass Bob Stroger Larry Fulcher Michael “Mudcat” Ward Rodrigo Mantovani Willie Weeks
Instrumentalist – Drums Derrick D’Mar Martin June Core Kenny “Beedy Eyes” Smith Tom Hambridge Tony Braunagel
Instrumentalist – Guitar Christoffer “Kid” Andersen Christone “Kingfish” Ingram Derek Trucks Laura Chavez Sue Foley
Instrumentalist – Harmonica Billy Branch Bob Corritore Dennis Gruenling Jason Ricci Kim Wilson
Instrumentalist – Horn Deanna Bogart Jimmy Carpenter Mark Kaz Kazanoff Trombone Shorty Vanessa Collier
Instrumentalist – Pinetop Perkins Piano Player Ben Levin Dave Keyes Jim Pugh Kenny “Blues Boss” Wayne Mitch Woods
Instrumentalist – Vocals Billy Price Diunna Greenleaf John Nemeth Ruthie Foster Shemekia Copeland
Song of the Year “Bobby’s Blues” performed by the Blackburn Brothers, written by Brooke Blackburn “Horns Below Her Halo” performed by Selwyn Birchwood, written by Selwyn Birchwood “Midnight Heat” performed by Christone “Kingfish” Ingram, written by Tom Hambridge & Richard Fleming “The Bait In the Snare” performed by Nick Moss Band featuring Dennis Gruenling, written by Nick Moss “What Kind Of Fool” performed by Ruthie Foster, written by Ruthie Foster, Hadden Sayers & Scottie Miller
Soul Blues Album Stuff I’ve Been Through, Alabama Mike SoulFunkin’ BLUES, Blackburn Brothers All My Love For You, Bobby Rush Walking Heart Attack, Johnny Rawls Soul Side of Sipp, Mr. Sipp (Castro Coleman)
Soul Blues Female Artist Annika Chambers Kat Riggins Terri Odabi Thornetta Davis Trudy Lynn
Soul Blues Male Artist Alabama Mike Billy Price John Nemeth Johnny Rawls William Bell
Traditional Blues Album TEARDROPS FOR MAGIC SLIM: John Primer Nothing But Time, Monster Mike Welch Get Your Back Into It!, Nick Moss Band Featuring Dennis Gruenling Savoy, Taj Mahal Oscar’s Motel, The Cash Box Kings
Koko Taylor Award (Traditional Blues Female Artist) Diunna Greenleaf Rhiannon Giddens Shaun Murphy Sue Foley Teeny Tucker
Traditional Blues Male Artist Billy Branch Cedric Burnside John Primer Jontavious Willis Nick Moss
As the year ends, and I look back at what I’ve written for 2023, it occurs to me that there were albums or artists I did not write about. So here are a few thoughts about some of that music that I missed, or overlooked, or ran out of time to accomplish in the past year, but still enjoyed. So, in no particular order, which may or may not be attributed to the off-center windmills of my mind, here they are.
Apologies to those I might have overlooked. It’s hard to find good help, especially when you work alone.
Also, happy new year. Peace, love and blues in 2024.
“Hackney Diamonds” (Polydor) — Yes, the Rolling Stones (in their very senior citizen incarnation) released a new studio album of original material, their first in 18 years, not counting their very tasty blues cover album “Blue & Lonesome” from 2016 (Look it up. It’s quite good.) I thought “Diamonds” was a tough, strong Stones effort. There’s a reason that they’re still the best rock ‘n’ roll band on the planet. I especially enjoy the extended gospel-tinged cut, “Sweet Sounds of Heaven,” with Lady Gaga matching Mick Jagger’s ageless power and energy in a spirited duet. And by the way, isn’t it time that Lady Gaga used a real name? She’s talented enough to just be Stefani Germanotta.
“Songs Of Beauty For Ashes Of Realization” (Treated & Released Records) — An album by the always fascinating Reverend Freakchild that contains a reimagining of songs from his past solo projects. This album is filled with the Rev’s enigmatic Eastern mysticism, some psychedelia and a hint of tantric acid spiked with Buddhism. I’m not exactly sure what most of that means, but it’s thoroughly engaging, filled with the Rev’s engaging messages, and often quite inspiring.
“Friends Along the Way” (Club 88 Records) — Ubiquitous piano man Mitch Woods offers an expanded deluxe edition of this 2-CD album. The format is a delicious duo or trio setting with friends that includes a multitude of musical greats like Van Morrison, Taj Mahal, Ruthie Foster, Elvin Bishop, Maria Muldaur, Charlie Musselwhite, Marcia Ball, John Lee Hooker and many more. The very first track, “C.C. Rider,” with Morrison on vocals is an elegant reading that sets the tone for this expansive musical treat. And don’t miss, if you can, Woods’ regular appearances at the late-night piano bar on the Legendary Rhythm & Blues cruises. I’ve been there, and it’s not to be missed.
“Gallery Of Echoes” (Out Of The Past Music)– Fingerpicking guitar wizard Steve Howell shucks his band of Mighty Men for this eloquent solo outing that digs deep into the roots of great American blues music. He absorbs and tastefully recreates the music of masters such as Blind Lemon Jefferson, Reverend Gary Davis, and Blind Willie McTell. It’s a wonderful history lesson taught with this magical music.
“When the Levee Breaks: The Music of Memphis Minnie” (Little Village Foundation) — Candice Ivory, The Queen of Avant Soul, takes some time off from her usual jazz life, and honors one of the greatest blues talents, Memphis Minnie (born Lizzie Douglas). Minnie is regarded as one of the best blues singer / songwriters, and Ivory’s tribute session is remarkable both for her personalized interpretation of the songs, and her desire to honor this great musician.
“Best of Me” (Gulf Coast Records) — A heartfelt and hard-driving session from guitarist Joanna Connor, who says of this effort: “The album touches on my maturing as a woman, facing mortality with grace and thanks, celebrating love won, love lost, lust and passion, the pain and pleasure of having this human experience.” It would be hard to find a better description of the blues.
“Exorcist” (Alligator Records) — One of the most exciting and creative young blues musicians performing today is Selwyn Birchwood, whose contemporary blues are a sharp-edged mix of traditional blues, funk and soul pulled together with imaginative songwriting. For example, his wickedly satirical track “Florida Man” (which he is) tackles the humor found in the daily news of his home state.
“B’s Time,” — (Sweetspot Records) A retrospective from the creative musical mind of cornetist Al Basile, wo began that career in 1973 as a cornet player with the still kicking Roomful of Blues. Basile says of the songs here: “I have well over 200 songs to choose from, and these are not my only favorites, but these are the ones I feel closest to, for many different reasons.”
“Keep On!” (Blue Heart Records) — Lil’ Red & The Rooster (Jennifer Milligan and Pascal Fouquet) describe their music as “retro modern blues,” but that still makes it hard to categorize their sometimes whimsical, sometimes powerful, always swinging, bluesy sound. Ohio-born Red shares vocals with the French-native Rooster, and his guitar work is sharply sophisticated. Red’s approach to life and music: “Mix what’s pissing you off with some bounce and swing, sprinkle a pinch of blue notes, and bend it all together on six strings for guaranteed feel-good satisfaction.” Amen, Red.
“Like White on Rice” — The Reverend Richard John, a Brit living in Spain, offers a unique take on classic American country blues. He provides a back beat using a wooden stomp box, plays harp, and switches between electric and acoustic guitars, including a 12-string. His vocals blend toughness with soulful messaging wrapped in a rhythmic blues package. He’s definitely worth a listen. After all, if it hadn’t been for the British blues bands bringing the music home, we might not even know about the Howlin’ Wolf.
It’s time once again — just days past the winter solstice — for the Roadhouse gang (mostly me) to pause and wish everyone a Merry Christmas or Happy Holidays or a good day, or even week, of your choice, whatever that may be.
That means I get to share my favorite Christmas song, which features special animation just for this occasion.
And I also get to offer some holiday libation advice.
I always recommend leaving a little something out for Santa. I find that milk and cookies do little to lift the holiday spirits, so I heartily recommend some bourbon and brownies. And I also recommend not leaving much of them for Santa, if he ever does show up. I’m still waiting.
But maybe you’re a beer person. In that case, I recommend one of the many beers produced specifically with the Christmas season in mind. And since I’m a big fan, that means an ale from Belgium, where they make some of the world’s best beers and offer special holiday versions.
One of my favorite Belgians is the darkly delicious St. Bernardus Abt 12, and once again this year I’ve made the brewery’s Christmas Ale my holiday choice. It’s slightly more sprightly than the Abt 12, but still has enough warmth and cheer to accompany some fine seasonal blues.
None of this, of course, means that you are somehow obligated to celebrate the actual Christmas. Enjoy whatever holiday, or day, or season, that you like — enjoy being the key word.
So, a very merry, happy, peaceful version of whatever you want to celebrate.
To conclude, here is my favorite Christmas song, “White Christmas,” by the great Clyde McPhatter and the Drifters, with special animation.
Blues Roadhouse 