Roadhouse Album Review: Demetria Taylor does it just right on “Doin’ What I’m Supposed to Do”

Demetria Taylor — “Doin’ What I’m Supposed to Do” — Delmark

After a tough and slinky guitar intro from Billy Flynn, Demetria Taylor’s voice slides into the bluesy “83 Highway,” written by her father, Eddie Taylor Sr.

It’s just the right opening for this album of covers and originals from Taylor, who moves effortlessly through some blues, funk and R&B styles.

That’s followed by a pair of funkified tunes — “Baby Be Good” and “Bad Girl Day” — by the songwriting duo of guitarist Mike Wheeler and bassist Larry Williams, who created six of the crackling good tracks here.

“Blues Early This Morning” is a swinging duet with multi-talented soulstress Deitra Farr, written by Demetria’s mother, Vera Taylor, who was also a singer/songwriter. “Welfare Blues,” written by Eddie Taylor Jr., drives along in an uptempo blues, followed by the title track, a musical roadmap of her journey into blues with her family heritage. Most of the songs have a rhythmic R&B flavor, and Taylor’s vocals swing joyously along. And she gives tough credit to Magic Sam’s rocking “You Belong to Me” (with a tasty organ solo midway).

Taylor herself contributes two originals, the whimsically delicious romp of “Nursing My Kitty Cat,” and the autobiographical album closer, “Young Gun Taylor,” — “kicking out the rhythm and blues . . . the torch been passed down to me. . . .”

Indeed the musical torch has been passed. Taylor is not only keeping the family blues flame burning, she’s doing it with considerable style, lyrical and musical sensibility. You owe yourself a listen.


Taylor recently received the KoKo Taylor (no relation) “Queen of the Blues” Award in 2022 given by the Jus’ Blues Foundation.


Here’s the title track:

Tracklist
1 “83 Highway” 5:25, Eddie Taylor Sr.
2 “Baby Be Good” 4:23, Mike Wheeler/Larry Williams
3 “Bad Girl Day” 4:01, Mike Wheeler/Larry Williams
4 “Blues Early This Morning” 3:08, Vera Taylor
5 “Welfare Blues” 4:49, Eddie Taylor Jr.
6 “Doin’ What I’m Supposed To Do” 3:40, Mike Wheeler/Larry Williams
7 “Done” 5:49, Mike Wheeler/Larry Williams
8 “I’m Gonna Tell It” 4:27, Mike Wheeler/Larry Williams
9 Nursing My Kitty Cat 4:45, Demetria Taylor
10 “Stay Gone” 3:59, Mike Wheeler/Larry Williams
1 1 “You Belong To Me” 3:11, Samuel Maghett (“Magic Sam”)
12 “Young Gun Taylor” 3:26, Demetria Taylor

Credits
Demetria Taylor vocals
Deitra Farr vocals (4)
Mike Wheeler guitar
Billy Flynn guitar (1, 4)
Carlos Showers guitar (all except 1, 4)
Larry Williams bass
Brian James keyboards
Melvin Carlisle “Pookie Styx” drums

Roadhouse Music Note: Mississippi MacDonald and Vaneese Thomas join souls in new(ish) single, “Blind Leading the Blind”

I don’t usually write about singles. They are often quite good, and sometimes illustrate the best tracks to come on a new album.

But there are just too many. I can barely keep up with new albums.

But every once in a while, something comes along that demands my attention. This, as if you couldn’t tell, is one of those times.

Last December I wrote about “Do Right, Say Right,” an album I enjoyed by the English blues player Mississippi MacDonald that I was hearing for the first time, and whose authentic way with the blues really caught my attention.

Then, last March, I wrote about the stunning and soulful album, “Fight the Good Fight,” by the incredibly voiced Vaneese Thomas.

And about a month ago (I warned you that I can’t keep up), the two of them put their combined blues talents into a soaring single, “Blind Leading the Blind,” that showcases the best of both. Their powerful shared vocals are wrapped around MacDonald’s sinuous guitar, each driving the other in a splendidly soulful session.

One can only hope there’s more to come.

“Blind Leading the Blind”

Roadhouse Album Review: Silent Partners celebrate a different era with excellent “Changing Times”

Silent Partners — “Changing Times” — Little Village

The three soulful veterans who make up the Silent Partners are the renowned Tony Coleman (drums and vocals), Russell Jackson (bass and vocals) and Jonathan Ellison (guitar and vocals). They’ve all got decades of musical experience with some of the biggest names in blues — including B.B. King, Albert King, Bobby “Blue” Bland, Johnnie Taylor, Otis Clay, Denise LaSalle, Matt “Guitar” Murphy — and it all shines brightly throughout.

The group itself isn’t exactly brand new. Coleman and Jackson recorded the Silent Partners’ first album, “If It’s All Night, It’s All Right” on the Antone’s Label in 1989. They had gotten together to back up swamp boogie piano queen Katie Webster, but broke up in 1990.

Then, almost 35 years later, Jim Pugh, who runs the Little Village Foundation persuaded the original Silent Partners Coleman and Jackson to get together again to record, and they added Ellison as the third man to their Silent Partner theme.

They’re joined here by Little Village musical team – producer and keyboardist Pugh, guitarist Kid Andersen, backing vocalist Lisa Lueschner Andersen, percussionist Vicki Randle, and adding violinist Don Dally, with string arrangements by Aaron Lington. The album was produced at Andersen’s Greaseland studio.

The result of all this veteran professionalism from sidemen who were silent partners to much great music is a finely tuned album of nine originals and one cover of B.B. King and The Crusaders’ “Never Make Your Move Too Soon,” written by Stix Hooper, the drummer in The Crusaders, and lyricist Will Jennings.

The originals run a soulful spectrum from the opening track, the slow and bluesy “Ain’t No Right Way To Do Wrong,” to the shuffling rhythms and stinging guitar of the wry social comment of “Post Traumatic Blues Syndrome,” to the extremely torchy and soulful “Road to Love,” and the group’s sorta-biographical take on the spirited version of “Never Make Your Move Too Soon.”

There’s a lot of great music after that, concluding with the tough “Beale Street Shuffle,” a romping sideways glance at the anthem-like “Sweet Home Chicago.”

This is an excellent album from these polished blues veterans, who, along with this crackling studio band, sound like they haven’t missed a beat since their 1989 effort. Let’s hope we don’t have to wait that long for the next one.

If you’re a Legendary Rhythm & Blues cruiser in January 2023, you’ll get to see them up close and personal. And where I’ll be in the audience with you.


Here’s a fascinating, lengthy interview with Tony Coleman


A live performance from Silent Partners (with Stanton Moore of New Orleans funk masters Galactic on drums) at the Waterfront Blues Festival in Portland, July 1, 2022.

Track Listing

  1. Ain’t No Right Way To Do Wrong
  2. Post Traumatic Blues Syndrome
  3. Road To Love
  4. Never Make Your Move Too Soon
  5. Dancin’ Shoes
  6. Love Affair With The Blues
  7. Proving Ground
  8. Teasing Woman
  9. Good To Myself
  10. Beale Street Shuffle

    Tony Coleman – drums, vocals (1, 2, 4, 9) all originals written by Tony Coleman, except 9 the lyrics are rewritten, original but music is written by Joe Sample & The Crusaders. Russell Jackson – bass, vocals (5, 6, 7) all originals written by Russell Jackson. Jonathan Ellison –guitar, vocals (3, 8, 10) all originals written by Jonathan Ellison. 

Roadhouse Album Review: “Stripped Down in Memphis” is classic blues from Big Jack Johnson

Big Jack Johnson — “Stripped Down In Memphis” — M.C. Records

If you’re a blues fan, every once in a while, some older music comes along that reminds you of just how good traditional blues can be.

This thoroughly enjoyable album, released in May (11 years after Johnson’s death), does just that.

Johnson was a big-voiced singer who played guitar and mandolin, wrote some of his own songs, and was generally an impressive force in the traditional blues world that seems to be rapidly fading.

The tracks on this album are taken from outtakes on two earlier releases — 1998’s “Lickin’ Gravy,” with harp-player Wild Child Butler, and “The Memphis Barbecue Sessions,” recorded in 2000 with Kim Wilson on harp and released in 2002. It won a W.C. Handy Award (now the Blues Music Awards) for Acoustic Album of the Year.

Mark Carpentieri president of M.C. Records and producer of the album says:

“I was so happy to discover these recordings. You get to see all of Big Jack in these recordings, his amazing playing, his humor, and can get as deep down as any bluesman. Wild Child Butler was truly underrated during his time and these recordings prove that. As for Kim Wilson, he was able to create the tone and dynamics without the use of amplification and that’s why he’s regarded as a master of the instrument.”

This is one of those albums that offers echoes of blues past, but it isn’t just dry history — it’s a testament to some traditional blues by a few players who have helped define the music. And it’s pretty much all acoustic, adding to its flavor.

The album kicks off with a fine cover of the Jimmy Reed chestnut, “Baby What You Want Me To Do,” as Wilson’s harp floats around Johnson’s guitar to introduce his deep, rich vocals. The interplay of music and vocals here is a treat, and foreshadows the excellence of the remaining eight tracks.

“Run Blues Run” introduces Butler’s subtly insistent harp on a Johnson original, again leaving the focus on his sturdy vocals. Wilson then shines on a lucid instrumental, “The Hucklebuck,” followed by “Aching All Over,” with a little intro chat between Johnson and Butler before a gentle harp and guitar opening leading into another tough vocal cut that gives Butler a few verses. Another instrumental gives Wilson a workout on the closer, “The Hully Gully Twist.” The album alternates between the sides with Wilson and Butler (check the track list below), each with its own flavor, but all musically compelling.

There are more, of course, all opening a similar vein of smoothly flowing acoustic blues. If you enjoy this traditional approach to the blues, you’ll love this gem of an album that sounds incredibly fresh and honest.

And if you’re any kind of blues fan, you owe it to yourself to sample this classic music.


Big Jack Johnson recorded live at the Curry Ranch in Venice, Fla., in summer of 1999:

Tracklist:
01 – Baby What You Want Me To Do (feat. Kim Wilson)
02 – Run Blues Run (feat. Wild Child Butler)
03 – The Hucklebuck (feat. Kim Wilson)
04 – Aching All Over (feat. Wild Child Butler)
05 – Part Time Love (feat. Kim Wilson)
06 – Alcohol (feat. Kim Wilson)
07 – See Me Coming (feat. Wild Child Butler)
08 – Going To Norway (feat. Wild Child Butler)
09 – The Hully Gully Twist (feat. Kim Wilson)

Roadhouse Album Review: “The Strongman Blues Remedy” is a musical cure for your ills

Steve Strongman — “The Strongman Blues Remedy, Volume 1” — Stony Plain Records

Mostly, the blues have moved north from their origins in the American South.

Now (and for some time), they occasionally move south from north of the border and our Canadian blues players.

One quite recent and quite excellent example is this eighth album from veteran Canadian award-winning guitarist, singer, songwriter, and now producer, Steve Strongman.

Strongman is well-known in Canada, having won, among other awards, a Juno, the Mel Brown Blues Award, the International Blues Challenge’s Best Guitarist award, and four Maple Blues Awards.

In this set of 10 songs that he has either written or co-written, Strongman shares his own sturdy vocal style with four other Canadian singers, who skillfully join to make thoroughly enjoyable bluesy, soulful and Americana music together. His guitar work is just as tasty — and he skillfully adds bass and harp work, too. Added to his backers here are longtime musical pals Jesse O’Brien on keys and Dave King on drums.

The album kicks off with Strongman on “Hard Luck,” a rocking ode to the kind of luck that’s his “best friend,” and maybe better than no luck at all. That’s followed with guest Steve Marriner handling the vocals on “Swansong,” driven hard by King on drums.

Next up is the sultry voice of Dawn Tyler Watson on the soulful “Fine Young Man,” and title is the only description you need to pick up on the obvious message, sparked with a sensuous guitar solo.

The next two tracks feature the well-polished voice of veteran soul-blues singer Harrison Kennedy. “I Don’t Miss You” is a rhythmic plea of lost love; “I Like to Ride” is bluesy shuffle driven with a tough note of auto-erotic sentiment, fueled by backup singers and some high-octane piano. Kennedy’s and Watson’s vocal turns alone are worth vocals are worth the price of admission.

Strongman works in some scorching guitar on “White Lightnin’,” complementing a fierce vocal turn. Crystal Shawanda follows with a heady blues rocker, “Tell Me I’m Wrong,” with just a hint of country in the air.

“Gettin’ Stoned” is worth a mention for its jazzy old-timey feel, both in melody and lyrics. They made a very clever video to highlight this whimsical theme, which you’ll find below. And yes, it’s all perfectly legal in Canada (the second nation after Uruguay to legalize the stuff — and I don’t know if there’s a similar Uruguayan anthem).

Strongman wraps it up with two more cuts, the bluesy “True to Me” and chugs to a strong finish with “Love Comin’ Down.”

Steve Strongman and a few of his musical friends have put together a fine album. If you haven’t heard these outstanding Canadian musicians before, you need to give them a listen. If you have, you’ll already know what a good time you’ll have.

Harrison Kennedy on “I Like to Ride”:

The “Gettin’ Stoned” video:

Track Listing:

1 – HARD LUCK
2 – SWANSONG feat. Steve Marriner
3 – FINE YOUNG MAN feat. Dawn Tyler Watson
4 – I DON’T MISS YOU feat. Harrison Kennedy
5 – I LIKE TO RIDE feat. Harrison Kennedy
6 – WHITE LIGHTNIN’
7 – TELL ME I’M WRONG feat. Crystal Shawanda
8 – GETTIN’ STONED
9 – TRUE TO ME
10- LOVE COMIN’ DOWN

Roadhouse Album Review: Hear Miss Bix “Bring It” on this excellent outing

Miss Bix — “Bring It” — Blue Heart Records

Well. This is embarrassing.

Here’s an album from a few months ago that I failed to write about. I’m not sure just how I overlooked this little gem of a session, but I did, and now I’ll try to make it right.

Singer/songwriter Miss Bix, or Leslie Letven Bixler, has crafted 13 wonderfully bluesy, jazzy, intimately engaging songs that grace this album. She gets some help from a talented group of musicians and fellow singers to make this a thoroughly enjoyable outing — her second devoted to the blues, in its infinitely varied human forms. Her first effort was the 2017 Delta-influenced, “We Don’t Own The Blues.”

Just so you know, Bixler is not a novice. She has been writing, performing and recording for decades; her earliest efforts focused on smooth jazz, under the name Leslie Letven — the influences of which you can hear throughout this effort.

This set kicks of nicely with a gently chugging shuffle, “Ain’t No Such Thing,” and then shifts into a bluesy “You’ve Got the Nerve,” both enhanced by sinuous guitar.

They are followed by my very favorite track, the splendidly lyrical “Cocktail Hour,” a soft, jazzy exercise in the unbearable lightness of being musically enchanting. If I may be permitted a musical digression, the song and its luminous vocal touch evoked fond memories of Blossom Dearie (c’mon, someone of you must remember her!) with a touch of Ricky Lee Jones and a hint of that great little Michel Franks song, “Popsicle Toes.” I can’t easily explain all that, but it’s my blog and my digression, so. . . .

That is all very nicely followed with the countrified “Trail of Tears,” with some tasty slide work to accentuate the vocals.

Next is the winsome, lovelorn “The Girl You Adore,” which I would pair with “Cocktail Hour” as another late-night tonic for the blues, especially when fueled by the appropriate late-night beverage (I suggest bourbon, but if a cup of tea is your cup of tea. . . .)

A few other favorite highlights include the honky-tonk flavored “Daddy Why,” with co-author Tiffany Pollack sharing the vocals; “Cheer Up Sallie Mae,” with a lyrical acoustic guitar intro moving into a full band backing with a sharp electric solo midway; “You Better Believe It,” with a deep blues feeling; and the haunting closer, “Movin’ On,” a solo acoustic anthem. There’s a lot more to hear, and it’s all excellently done.

This is a very fine album from Miss Bix, filled with honest songwriting, gorgeous vocals and crisp musical backup, all of which deserves your undivided attention.

Here’s a video of “Cocktail Hour”

Track List: