Roadhouse Album Review: New and veteran label artists shine on “The Blind Raccoon and Nola Blue Collection Vol. 6”

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:

  1. 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)
  2. 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)
  3. 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)
  4. 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)
  5. 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)
  6. 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)
  7. 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)

  1. 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)
  2. 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)
  3. 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)
  4. 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)
  5. 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)
  6. 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)
  7. 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)
  8. 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)

Roadhouse Album Review: Jennifer Porter creates a musical masterpiece of bluesy Americana in “”Yes, I Do”

Jennifer Porter — “Yes, I Do — Cougar Moon Music

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)

Roadhouse Blues News: Here are the blues Grammy winners for 2024

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
  • Healing Time by Ruthie Foster
  • Live In London by Christone “Kingfish” Ingram
  • Blood Harmony by Larkin Poe
  • LaVette! By Bettye LaVette

49. Best Folk Album