Sweet soul music – It’s that magical music whose classic sounds made history with legendary artists like Ray Charles, Sam Cooke, Aretha Franklin, Al Green, Solomon Burke and many more. Those greats have disappeared, leaving only the echoes of their soulful essence.
But there’s one soul stirrer whose voice still caresses a lyric like a lover should – Chicago’s Gerald McClendon. He’s a shamefully unheralded classic R&B stylist with a voice so smooth and a feeling so deep that he’s known as the soul keeper. And best of all, he’s got a new album to showcase his rich vocal style. Plus, it’s got very cool cover art.
McClendon’s latest, “Down at the Juke Joint,” on Delta Roots Records, overflows with throbbing old-school soul, songs created by songwriter, drummer and producer Twist Turner, and brought to life by the soul keeper’s passionate pipes. The dozen songs here offer a heartfelt selection of lover’s laments and smooth ballads meant for late nights filled with languorous glances and slow dancing.
The opener, “Back Where You Belong,” sets the mood with a sensual sax wrapped around remorsefully smooth vocals: “She didn’t leave a card or a letter, not even a see you later / Come on home, back where you belong.”
The regrets flow on with the tearful “It’s Too Late, She’s Gone” – “I tried to apologize, teardrops in my eyes / But it’s too late, too late, she’s gone”
The mood shifts with the upbeat “Down at the Juke Joint,” a rhythmic ode to good times: “You can come as you are, check your attitude at the bar / sit down and have a taste, don’t let the whiskey go to waste.” Then the mournful “House Ain’t a Home” opens the door to more love lost: “You see a house ain’t a home / When your baby pack up and gone.”
On the melodic “So Long,” McClendon smoothly turns the tables on a lover as he’s the one to say it’s over – “I can’t take it no more, think I’ll walk out the door / I said so long, baby I’m gone, so goodbye.” There’s a funky feeling to open “Talkin Smack,” with another strong vocal turn – “Tryin to play me, for a fool, you see / But your only foolin’ yourself, it don’t matter to me.”
“Only Time Will Tell” is a gorgeous love song, built atop a towering vocal effort and subtle sax work: “Our love grows stronger, every day / deeper and deeper, in every way.” The whimsical “She’s Tryin’ to Drive Me Crazy” takes a lighthearted approach to an over-eager suitor: “Well she’s tryin’ to drive me crazy, but I just won’t give her the key.”
In the melancholy of “Cryin’ Time Again,” McClendon weaves a tapestry of despair: “Darkness is all around me, I wonder will I ever see the light.” Somehow the unspoken joy in his voice suggests that he will. As if to answer “Cryin’ Time,” the lilting lyricism of “You Make Me Happy” promises a love-filled life: “More precious than diamonds, shine just like gold / Our love grows stronger, it never grows old.”
The promise of undying love sparks “I’ll Be In Your Corner” with the vow that “I’m the one who’ll treat you right.” All of which leads into the closer, “You’re So Fine,” where he makes a poignant request: “if you’d only give me a chance, to make you smile to make you laugh.”
“Down at the Juke Joint” is a soulful journey of deeply rich vocals and luxurious musical arrangements, all elegantly wrapped around the many shades of love by the soul keeper – Gerald McClendon. Sweet soul music, indeed.
“Down at the Juke Joint” trailer video:
Tracklist: 1. Back Where You Belong (3:36) 2. It’s Too Late, She’s Gone (4:49) 3. Down At The Juke Joint (3:38) 4. House Ain’t A Home (4:41) 5. So Long (3:40) 6. Talkin’ Smack (3:20) 7. Only Time Will Tell (3:22) 8. She’s Tryin’ To Drive Me Crazy (3:08) 9. Cryin’ Time Again (3:57) 10. You Make Me Happy (4:30) 11. I’ll Be In Your Corner (5:24) 12. Your So Fine (3:16)
Toronzo Cannon is making a lot of noise with his music these days.
He’s combining his powerful, traditional fiery Chicago blues licks with smart contemporary lyrical themes that pack their own punch. That combination makes for a passionate package of modern blues firmly planted in its primal roots.
The 12-song session, co-produced by Cannon and Alligator president Bruce Iglauer, features a crackling crew of Cannon on guitars, vocals, and percussion; Brian Quinn on electric and upright bass; Cole DeGenova on keyboards and clavinet; Jason Edwards on drums; Phillip “Dante” Burgess, Jr. on drums on “Him” and “Had To Go Through It” and Matthew Skoller on harmonica on “My Woman Loves Me Too Much.”
Everything kicks off with screaming guitar and tough vocals lamenting the sentiment of “Can’t Fix the World.” The scorching “I Hate Love” adds more ferocious guitar solos behind a painful lyric. “Him” shuffles funkily into view, dipping into relationship issues by a former rival.
“Had to Go Through It to Get to It” describes racial barricades to success in a rousing bit of hand-clapping gospel. “Something to Do Man” rocks hard to describe a late-night call from a woman who knows him as her “something to do man” with something on her mind. “Message to My Daughter,” turns lyrically gentle with a promise to sstick with his daughter despite a broken home. “Unlovable” opens with high-quality blues licks acknowledged by Cannon, who uses the shuffling rhythms and gutty vocals to support his woman though hard times.
“Guilty” is a lilting statement about the role of responsibility in life — “everybody knows they’re guilty; guilty for what they say and do.” The slyly salacious “Got Me by the Short Hairs” documents the perils of a one-night stand with a surprise twist at the end. Nothing says deep blues like a down-home, back-porch acoustic gem. With Cannon’s guitar, Quinn’s upright bass and Skoller’s elegant harp licks, “My Woman Loves Me Too Much” grins with sexy humor. Tasty keyboards lead into “If I’m Always Wrong,” with Cannon admonishing, “If I’m always wrong, then leave me alone.”
The musically psychedelic aura of the title track brings the album full circle from the philosophic opener, with Cannon’s biting response to the idea that he should forego activism and just “Shut Up and Play.”
This is how Cannon explains the personal nature of songs: “I write what I know, what I feel,” he says, “I like to put myself in the shoes of the subjects of my songs. This record is about the things going on in my life since 2019—it’s a document of what I’ve seen and been through, but the stories are universal. And it’s my way to get past negative things and keep my own sanity. Listen to the lyrics. I am a black man in America. These are NOT protest songs. I try to create honest, common-sense understanding with my songs.”
And the music that accompanies that honest, common-sense understanding is pretty darn good, too.
“Can’t Fix the World”
1. Can’t Fix The World 4:15 2. I Hate Love 4:27 3. Him 4:44 4. Had To Go Through It To Get To It 3:54 5. Something To Do Man 4:08 6. Message To My Daughter 5:47 7. Unlovable 3:28 8. Guilty 4:07 9. Got Me By The Short Hairs 3:44 10. My Woman Loves Me Too Much 3:48 11. If I’m Always Wrong 3:55 12. Shut Up And Play! 5:58
Toronzo Cannon: Guitars, Vocals, Percussion and Handclaps Brian Quinn: Electric and Upright Bass Cole DeGenova: Piano, Organ, Nord and Clavinet Jason “Jroc” Edwards: Drums Phillip “Dante” Burgess, Jr.: Drums on “Him” and “Had To Go Through It” Matthew Skoller: Harmonica on “My Woman Loves Me Too Much”
Billy Price is indeed a person of interest to me. Being a native Pittsburgher myself (it was New Jersey native Price’s adopted hometown), I’ve had the good fortune to know him and listen to his soulful music for much of the half-century-plus that he’s been a Pittsburgh institution.
I’ve seen him perform with the Keystone Rhythm Band, the Billy Price Band, and in small groups with just a keyboard or combo behind him. I’ve seen how he packed venues around Pittsburgh with appreciative fans. I’ve watched him perform tough, rocking shows with the Nighthawks. I’ve enjoyed seeing him joyously paired with his greatest musical influence, legendary soul man Otis Clay. I remember when he had hair!
In addition to his performing, Price is a knowledgeable fan and articulate advocate for the music he loves, with its deep, wide roots in American music. He has always paid tribute to those roots by performing and recording covers of songs by his favorite — always soulful — artists.
What makes “Person of Interest” more interesting, besides all the great music, is that: “This is the first time I tried to do an album with exclusively my own material, and I think it holds up very well.” Very well, indeed. This West Coast session with a group of crackling bandmates shows off Price’s still vigorous pipes that have ripened with age (he’s 74), displaying a smooth depth and richness.
The album opens in a funky vein with “Inside the Box” punctuated by a horn section that stomps relentlessly through the session. “Song I Never Heard Before” has an upbeat R&B flair with a lyric that pleads for music that does more than revisit its own past. “She Checks All the Boxes” is full-throated praise for a woman who, yes, checks all the boxes for a meaningful relationship.
The slow-burning “Mercy” is an emotional highlight, a throwback to an ’80s Price song that never made it past live shows onto an album, with its testifying vocals and passionate tenor solo by Eric Spaulding, a member of Price’s regular band. The title track follows, a funky soul/blues take on that crime-show phrase turned into a watchful eye on a cheating lover.
“Can’t Get Enough” is another pulsating dance track with an obvious theme: “I can’t get enough of my woman, she’s a hungry man’s dream.” Guitarist Joe Bonamassa guests on “Change Your Mind,” a tribute to Roy Buchanan, with whom Price recorded in the 1970s. Bonamassa captures the flavor of Buchanan’s stinging guitar style on this dramatice rendering.
“They Knew” is a sturdy vintage Price song, reworked for this album, “A Certain Something” has an easy-going Latin feel. “The Gift” is a smoothly turned-out soul-blues ballad about a painful financial relationship, with a striking guitar solo by Shane Theriot: “I’m the gift that keeps on giving but all you ever do is take.”
“Crying at the Stoplight” romps through Price’s musings about why a woman in the car next to his at a stoplight appeared to be so unhappy. “I Lose It (When I’m In Love)”is a gentle, rhythmic ballad – sweet soul music at its best. The strong closer adds punchy horns to a funkified “Damage Control” with Price stepping out on vocals and another sensuous sax solo from Spaulding.
The entire session benefits greatly from the expert musical cast assembled by Little Village. Musicians include: bass – Larry Fulcher, James Fulch and Reggie McBride, guitar – Josh Sklair and Shane Theriot, lead guitar – Joe Bonamassa, keyboards – Jim Pugh, drums – Tony Braunagel (who also produced), tenor and baritone sax – Ron Dziubla, tenor solo – Eric Spaulding, trumpet – Mark Pender and percussion – Lenny Castro. Background vocals are by Maxayn Lewis, Fred White and Will Weaton (full credits for each song on the track list below).
“Person of Interest” is Billy Price at his soulful best, creating original heartfelt stories from his own life. If you’ve never experienced this Pittsburgh musical treasure and soul survivor, you owe it to yourself to give him a try. If you’re already a fan, you know what I’m talking about. Either way, enjoy it soon. And often.
Here’s another informative interview with music writer Scott Mervis at the Pittsburgh Post-Gazette.
Here’s “She Checks All the Boxes” from the album:
Tracklist and credits: Billy Price, Person of Interest Tracks recorded 10/17/23–10/20/23 at Ultratone Studios, Studio City, California Produced by Tony Braunagel Engineered and Mixed by Johnny Lee Schell
1. Inside That Box (4:32) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 2. Song I Never Heard Before (4:24) Writers: Billy Price (34%), Fred Chapellier (33%), Anthony Braunagel (33%) Publishers: Overpriced Music, BMI, 67%; Toe Knee Music, ASCAP, 33% Bass – James “Hutch” Hutchinson, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Percussion – Lenny Castro 3. She Checks All the Boxes (4:07) Writers: Billy Price (25%), Jim Britton (50%), Anthony Braunagel (25%) Publishers: Overpriced Music, BMI, 25%; Zella Ru Music, BMI, 50%; Toe Knee Music, ASCAP, 25% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding, Percussion – Lenny Castro 4. Mercy (5:38) Writers: Billy Price (50%), Mike Karr (50%) Publishers: Overpriced Music, BMI, 100% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding 5. Person of Interest (4:44) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 6. Can’t Get Enough (3:39) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Larry Fulcher, Guitar – Josh Sklair, Guitar Solo – Johnny Lee Schell, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 7. Change Your Mind (in memory of Roy Buchanan) (5:31) Billy Price featuring Joe Bonamassa Writers: Billy Price (50%), Jim Britton (50%), Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Lead Guitar – Joe Bonamassa 8. They Knew (4:34) Writers: Billy Price (34%), Jon Tiven (33%), Sally Young (33%) Publishers: Overpriced Music, BMI, 34%; Uncontrolled Compositions, BMI, 33%; Full Rate Music, ASCAP, 33% Bass – James “Hutch” Hutchinson, Guitar – Josh Sklair, Guitar Solo – Johnny Lee Schell, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro, Lead Guitar – Johnny Lee Schell 9. A Certain Something (3:41) Writers: Billy Price (25%), Jon Tiven (25%), Sally Young (25%) Anthony Braunagel (25%) Publishers: Overpriced Music, BMI, 25%; Uncontrolled Compositions, BMI, 25%; Full Rate Music, ASCAP, 25%; Toe Knee Music, ASCAP, 25% Bass – Larry Fulcher, Guitar – Josh Sklair, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Fred White, Tenor and Baritone Saxophone – Ron Dziubla, Percussion – Lenny Castro 10. The Gift (3:55) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 11. Crying at the Stoplight (4:48) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Tenor Saxophone – Ron Dziubla, Trumpet – Mark Pender, Percussion – Lenny Castro 12. I Lose It (4:07) Writers: Billy Price (50%), Jim Britton (50%) Publishers: Overpriced Music, BMI, 50%; Zella Ru Music, 50% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Percussion – Lenny Castro 13. Damage Control (4:31) Writers: Billy Price (25%), Jim Britton (50%), Anthony Braunagel (25%) Publishers: Overpriced Music, BMI, 25%; Zella Ru Music, BMI, 50%; Toe Knee Music, ASCAP, 25% Bass – Reggie McBride, Guitar – Shane Theriot, Keyboards – Jim Pugh, Drums – Tony Braunagel, Background Vocals – Maxayn Lewis, Fred White, Will Wheaton, Tenor and Baritone Saxophone – Ron Dziubla, Trumpet – Mark Pender, Tenor Solo – Eric Spaulding
Big Harp George — “Cooking With Gas” — Blues Mountain Records
George Bisharat, the chromatic harmonica wizard known to the music world as Big Harp George, has released his seventh album — “Cooking With Gas” — one which describes both BHG’s career trajectory as well as the joyous excitement of his latest exuberant session.
George didn’t begin his recording career until his first album in 2014, following distinctly unmusical careers as a criminal defense attorney, law professor at UC Hastings College of the Law, and commentator on law and politics in the Middle East.
Since then, his mastery of the chromatic harmonica has allowed him to expand on his musical themes in a way that traditional blues harp work does not — with a more elegant, jazzlike sound. He’s also one heckuva songwriter, casting an often-sardonic eye at the world around him and turning what he sees into lyrical delights.
On this session, George has hooked up with West Coast Kid Andersen’s Greaseland production studios and added some of Andersen’s backing band members. The core band of guitarist Andersen includes drummer Derrick D’Mar Martin, keyboardist Chris Burns, trombonist Mike Rinta, saxophonist Michael Peloquin, baritone saxophonist Doug Rowan, and bassist Joe Kyle Jr. The Sons of the Soul Revivers (James, Dwayne, and Walter Morgan) sing enthusiastic background on all but three tracks. That group, plus a handful of extras on selected tracks, make for a rousing album filled with both lyrical and musical delights.
The title track is the fast-paced opener, as “Cooking With Gas” burns brightly with Burns turning up the heat on piano. “Cellphone Hater 2.0” dials up a satirical lyric plus swinging jazz on the chromatic, all kicked along by crackling horns. “Doom Loop,” is filled with more horns and Latin rhythms.
“Wine Is My Friend” is sparkling fine old-fashioned R&B with a smooth doo-wop vintage. The funky instrumental “Maceosity” is a tribute to James Brown’s musical director Maceo Parker, with George flexing his harp in yet another style. “Awkward Me” features a smooth band sound with an elegant sax solo behind an amusing self-deprecating lyric. “What the Missus Misses” swings hard behind the Big Harp with more lyrical delights.
The instrumental “June’s Tune” is for drummer June Core, from Charlie Musselwhite’s West Coast bands. Andersen takes a notable retro turn on upright bass. “DIY Mama” is a slyly salacious take on a woman who prefers to take her satisfaction alone. “Paradise Is Burning” takes a more serious, slow-burning turn with an apocalyptic bent.
George takes some philosophical digs at his own self and others who are getting along in years on “The Older We Get” — “The older we get, the better we was” — with an easy big-band feel. Bluesy chromatic swing polishes off the session with the lovely instrumental ballad, “When I First Held Valerie.”
Big Harp George has stepped up his game in a swinging way on “Cooking With Gas.” It’s more than just an easy pun to say that he’s cooking better than ever here, with his clever lyrics, easy singing style, and the power of his big chromatic harp.
Here’s the official video of “Cooking With Gas”:
Tracklist: 01. Cooking with Gas (3:52) 02. Cellphone Hater 2.0 (3:34) 03. Doom Loop (4:35) 04. Wine Is My Friend (3:46) 05. Maceosity (5:28) 06. Awkward Me (3:43) 07. What the Missus Misses (3:46) 08. June’s Tune (3:55) 09. DIY Mama (4:10) 10. Paradise Is Burning (3:47) 11. The Older We Get (3:22) 12. When I First Held Valerie (3:42)
Blues Roadhouse 