For those of you who are interested, here are the Grammy nominations in the two categories reserved for blues music. If you’re interested in the other 92 Grammy categories, you can check this complete list of all the nominations.
Category 47. Best Traditional Blues Album
For albums containing greater than 75% playing time of new vocal or instrumental traditional blues recordings.
Ridin’ Eric Bibb
The Soul Side Of Sipp Mr. Sipp
Life Don’t Miss Nobody Tracy Nelson
Teardrops For Magic Slim Live At Rosa’s Lounge John Primer
All My Love For You Bobby Rush
Category 48. Best Contemporary Blues Album
For albums containing greater than 75% playing time of new vocal or instrumental contemporary blues recordings.
Great soul music isn’t hard to find if you want to visit the old masters, mostly long gone, but whose music still burns brightly — Johnny Adams, Bobby “Blue” Bland, Al Green, Solomon Burke, and many more.
It’s much harder to find someone making contemporary soul music magic that ranks with the classics, and when you find it, it needs to be recognized and appreciated.
That’s why “From My Soul,” a magnificent new album by Marcel Smith, a relative youngster and newcomer to the style, needs to get that recognition and appreciation.
Like many great soul artists, Smith has musical roots deep in the gospel tradition. When he was just 15, quartet gospel veteran Willie Washington heard Smith solo in his church. Washington offered him a spot in his new quartet, the WD Gospel Singers. Smith’s history in gospel music since then has given him the professional polish and the vocal chops that fill his secular music with soulful power.
For this album, Smith has returned to Christopher “Kid” Andersen’s Greaseland Studios and the Little Village label for his follow-up to 2018’s “Everybody Needs Love.” Andersen is effusively supportive: “It is that elusive quality of making you believe what he sings, making you care about the story, and care for him as a person, that puts Marcel right up there with the legendary greats of the idiom,” he says.
The musicians who back him here are all notable because of their sharp support of Smith’s vocals. They his include Derrick “D’Mar” Martin on drums; Endre Tarczy on bass; Jim Pugh on organ and piano; Kid Andersen, producer, guitar, and miscellaneous instruments; Rick Estrin on harmonica; Jon Otis on percussion; Jerry Jemmott on bass on track 8; Mike Rinta on trombone and horn arrangements on tracks 6, 8, and 11; Aaron Lington on saxophone, horn arrangements on t racks 1, 9, and 10, and string arrangement on track 3; John Worley on trumpet; Don Dally on strings; Tony Lufrano on organ on track 8; and Eric Spaulding on the sax solo on track 2. Backing vocals are provided by Lisa Leuschner Andersen and Sons of the Soul Revivers.
The album features five songs co-written by Smith, plus eight others that pull from some unlikely sources, but they all come together in a perfect union of sweet soul music.
The album kicks off with the horn-laced, R&B-flavored “I’m Coming Home To You,” with the glorious backing vocals of the Soul Revivers. The carefree lyric and upbeat music set just the right mood for all that follows. “If You Miss Me” follows, a slow, smooth ballad tastefully delivered with a classic small-combo feeling, with Smith’s vocals and lovely falsetto sliding gracefully alongside a sensuous Spaulding sax solo.
“What Can We Do” asks that question about an anxious world, with the Soul Revivers soaring in the background. “Freedom Blues” roars to life with a similar theme, riding on a strong Rick Estrin harmonica line.
A soothing cover of Willie Nelson’s “Wake Me When It’s Over” softens the mood as Smith does a great job of making this song his own. Another cover, this time an audacious take on Jimmy Liggins’ “Drunk” cranks up for the dance floor.
“To Be True” softens the mood again, a lilting love song so smoothly delivered that you know he’ll get the second chance he’s asking for. “Nothing Left To Burn” explores a more rhythmic pulse behind an exciting vocal take.
The great soul man Johnny Rawls joins Smith for two gorgeous songs: “There Goes My Used To Be” and “Turn Back The Hands Of Time,” the first a soaring ballad, the second a Stax-like anthem filled with crackling horns.
Smith pours his heart and considerable into the sweetness of “My Heart Told A Lie,” then sustains the tender mood on “I Don’t Want To Take A Chance.”
The closer is an emotional tribute to the memory of Smith’s mother, delivered with a spoken intro — a powerful nine-minute live version of the Bee Gees “How Can You Mend A Broken Heart.” It’s a soul-powered masterpiece and a fitting finale to this stirring album.
“From My Soul” is simply a great album, rich with the irresistible emotional power of sweet soul music.
Here’s “Turn Back the Hands of Time” with Johnny Rawls:
The short answer to that intriguing question is: Most likely.
Her groundbreaking and influential music — a heavy dose of hard-driving electric guitar backing both spiritual and secular performances with her powerful vocals — has too often been lost in the musical wilderness preceding the 1950’s explosion of the music that came to be called rock ‘n’ roll.
Born in Cotton Plant, Ark., in 1915, as Rosetta Nubin, she was playing guitar at age 6, and attended church conventions with her mother, Katie Bell Nubin. They moved to Chicago, where her mother preached, and Rosetta married another preacher, Thomas Tharpe. By 1938, they moved to New York City, where Tharpe got a spot at The Cotton Club.
She worked with Lucky Millender’s Orchestra, performing and recording both gospel and secular songs such as “Four Or Five Times.” A few years later, Tharpe and pianist Sammy Price recorded her biggest hit, “Strange Things Happening Every Day.”
Tharpe recorded her first four sides in 1938 during a session that included her first hit, “Rock Me,” along with “That’s All.” Four years later, Billboard magazine praised her for “the rock-and-roll spiritual singing” in her re-recording of “Rock Me” with the Lucky Millender Orchestra. Tharpe also recorded with the great boogie-woogie pianist Albert Ammons. And boogie-woogie piano itself laid claim to forming the early underpinnings of rock ‘n’ roll.
After that auspicious beginning, Tharpe’s career lasted well into the 1950s, influencing countless early guitar rockers and many others.
Chuck Berry once said his entire career was “one long Sister Rosetta Tharpe impersonation.” On stage, she did an early version of Berry’s duckwalk. Little Richard called her his greatest influence and Tharpe was the first to put him on stage. Little Walter Jacobs, the legendary blues harp player, credited his music to one of Tharpe’s biggest hits, “This Train.”
Tharpe finally made it into the Rock And Roll Hall of Fame in 2018, but despite that honor, and despite her massive body of work, her talent and influence are not well known today.
I’d like to help remedy that with the Tharpe documentary that follows. It’s about an hour long, but it’s worth it to sample her long and influential career and help to restore her place in music history. Below that are two early recordings that illustrate her style. Enjoy.
And yes, I do know that my previous review was also a Christmas album, and that “Monster Mash” is still echoing in your ears.
But it’s that time of year. Time to think about how to get through Halloween and Thanksgiving without running out of festive holiday spirit before Santa comes down your chimney to snack on the milk and cookies you’ve left out (in my house it’s bourbon and fudge, which I enjoy myself. Santa can find his own. Plus I don’t have a chimney).
What better way to get through the season than with music that suits the occasion? Especially if it’s music that’s merry, bright, and freshly created by Blue Heart Records, offering its own version of a blue Christmas with its debut holiday album, a compilation by the artists at Blue Heart and Nola Blue Records.
The Texas Horns tear open this sparkling package with a sharp set of horns and a cheerful vocal chorus, updating the traditionally more solemn “Silver Bells.” Benny Turner makes the soulful plea in the very bluesy “I Want Some Christmas Cheer,” as he struggles for a visit with the one he loves: “Gotta see my baby, she’s in Chicago….”
The holiday chestnut “Santa Baby” gets a sultry update from Lil Red & the Rooster, and the equally classic “I Saw Mommy Kissing Santa Claus” romps with a New Orleans vibe by Teresa James & The Rhythm Tramps. Rick Vito launches a rocking guitar-driven “I Was A Bad Boy This Year,” since “all that rockin’ put a hole in his stockin’.”
Jim Koeppel offers whimsical advice in “Slim Down Santa,” suggesting he “lose a little wait or you’ll need another reindeer Christmas night” and hinting at what a naughty Mrs. Claus has in mind. Clarence Spady offers some funkified spirit for the season in “Christmas.”
Bobby Gentilo struts his way through James Brown’s “Santa Claus Go Straight to the Ghetto,” and Croatian bluesman Tomislav Goluban creates a dazzling harp-laced instrumental version of “Amazing Grace.” Mark Cameron turns in a clever spoken-word “Nick’s Place,” with a distinctive view of all the hard work at “a place they call the pole…”
No bluesy holiday album should be without a version of the Johnny Moore classic “Merry Christmas Baby,” and Laura Tate doesn’t disappoint, with a rousing, sax-spiced R&B version. Vaneese Thomas follows with her own full-throated plea for “Peace and Goodwill.” Peter Veteska and solo piano backing offer the wistful and poignant “I’ll Be Home For Christmas.” Tiffany Pollack revives the lyrically and melodically gorgeous “River,” in a delightful reading of the too-seldom heard Joni Mitchell song.
The closer finds Teresa James backed by the Texas Horns in a gently swinging, socially conscious, “Even Santa Gets the Blues,” where “Hard times are everywhere you go, even Santa’s got the blues….”
So, since Santa knows if you’ve been bad or good, it’s better to be good and listen to this special collection of holiday music.
That’s the best way to have a merry Christmas, baby. Start early with this spirited album.
Here’s a version of “Santa Baby” by Lil Red & the Rooster:
Track Listing:
Texas Horns – Silver Bells Benny Turner – I Want Some Christmas Cheer Lil Red & the Rooster – Santa Baby Teresa James – I Saw Mommy Kissing Santa Claus Rick Vito – Bad Boy This Year Jim Koeppel – Slim Down Santa Clarence Spady – Christmas Bobby Gentilo – Santa Claus Go Straight to the Ghetto Tomislav Goluban – Amazing Grace Mark Cameron – Nick’s Place Laura Tate – Merry Christmas Baby Vaneese Thomas – Peace and Good Will Peter Veteska – I’ll Be Home For Christmas Tiffany Pollack & Eric Johanson – River Teaxs Horns featuring Teresa James – Even Santa Gets the Blues
Big Harp George doesn’t know if you’ve been naughty or nice – but he’s got a special Christmas gift ready for you either way.
It’s an album of unconventional Christmas music that reflects his unconventional songwriting mind. It’s music that’s lyrically sharp and clever, with lots of Big (chromatic) Harp, but still very Christmassy – in an irreverent Big Harp George kind of way. It makes you think that if Mad Magazine ever released a Christmas album, this would be it.
Big Harp George (George Bisharat) is a San Francisco Bay Area blues singer, songwriter, and chromatic harmonica wizard. The chromatic has a jazzy, sophisticated voice, and combined with Bisharat’s smart songwriting, makes for a distinctive musical package.
It was music that captured Bisharat’s imagination in his early teens, but he set that aside for a successful career as a criminal defense lawyer, an award-winning professor of law at UC Hastings College of the Law, and expert commentator on law and politics in the Middle East.
But the music was hard to resist, and about 12 years ago, Bisharat tuned in again. He recorded his first album, “Chromaticism,” in 2014, which earned him “Best New Artist” award nominations from the Blues Foundation and Blues Blast Magazine, as well as high praise from music critics for his blues-laced chromatic style. Four more successful albums followed, with his most recent being “Cut My Spirit Loose.”
But now it’s time for Christmas giving. Bisharat has been writing and recording holiday songs occasionally since 2018, when he cut “Where’ll I Be for Christmas?” with the late “Little Charlie” Baty on guitar. He’s added a few more here and there to round out this holiday album of what he calls “decidedly nonstandard tunes.”
The hard-rocking “nonstandard” opener is “Bad Santa,” in which naughty triumphs over nice, and this salacious Santa’s gifts are best left undelivered: “Bad Santa, you ain’t welcome in my home….”
“Carioca Christmas” has a Latin vibe, with a strong chromatic solo. “Reindeer On Strike” jingles in with “this reindeer standin’ up for what’s right…” and notes “little scab elves” on its way to listing reindeer grievances that speak impishly of their plight. “War on Christmas!” attacks that politically delicate topic armed with explosively sarcastic ammunition.
“Snow Shuffle” is bluesy instrumental that could easily drift into a Christmas dance tune. “Coquito Girl” is another Latinesque number flavored with a “rum and coconut” yuletide libation. “Where I’ll Be For Christmas?” features Baty with a spirited guitar solo on a gently swinging, bluesy track around the lament that “my family’s turned its back on me and I don’t have no place to go…”
“Fireside Waltz” is exactly that; an instrumental perfect for a old-fashioned dance on any occasion. “These Three Kings” wisely forgoes that traditional theme and focuses instead on Freddie, Albert and B.B. as the three blues kings in a tribute to those masters, with guitar lines that evoke their eternal presence. In a spoken final verse, George takes a serious minute to wish everyone a “most joyous holiday season.”
“That Grinch is Me” offers a slow and easy blues with a contrarian lyrical counterpoint: “You see pretty presents wrapped in in ribbons and bows, I see recycling and the landfill where it goes.. “
The closer, “It’s New Year’s Eve,” is a swinging finale with a heady harp solo that speaks optimistically of what might be coming next, even though “the world is in an uproar.”
Big Harp George has indeed unwrapped a collection of “decidedly nonstandard” songs for this delightful holiday album. The tunes are filled with sharp-edged lyrical delights and decorated with solid musical trimmings. And George’s harp works a special Christmas chromatic magic.
His goal, Bisharat says, “was to make good music that people would be tempted to listen to all year round.” He’s right, of course. And wouldn’t that make every day Christmas?
Here’s “Where’ll I Be for Christmas?”:
Track List:
1. Bad Santa (3:57) 2. Carioca Christmas (4:04) 3. Reindeer On Strike (4:03) 4. War On Christmas! (3:59) 5. Snow Shuffle (4:34) 6. Coquito Girl (3:37) 7. Where’ll I Be For Christmas? (5:15) 8. Fireside Waltz (4:30) 9. Thee Three Kings (4:21) 10. That Grinch Is Me (4:43) 11. It’s New Year’s Eve (5:16)
“Full Tilt” is the title of Peter Veteska & Blues Train’s seventh release in eight years, but it might just as easily be the musical motto for this hard-charging band of East Coast rock ‘n’ blues guys. They’ve been playing full tilt for enthusiastic fans up and down the coast since they hooked up in 2013.
They’ve done well. The band’s 2021 release, “Grass Ain’t Greener On The Other Side,” was chosen by Jersey Shore Jazz and Blues Foundation as their entry in the best self-produced record competition at the 2022 International Blues Challenge.
Now, as a followup to last year’s highly touted “So Far So Good.” the Jersey guys are back on track and headed for a stop near you with “Full Tilt” – loaded with eight crisp new tunes from Veteska and four smartly chosen covers.
In addition to the power Train trio of Veteska on vocals and guitar, Alex D’Agnese on drums, and Coo Moe Jhee on bass, they get plenty of help here from Jeff Levine on B3 and piano, Chuck Hearne and Rick Prince on bass, Mike Scott on sax, Tony Perruso on trumpet, Jen Barnes with vocals, and Mikey Jr., adding harp and vocals. It’s all tightly packaged by producers Veteska and Joseph DeMaio, of New Jersey’s Shorefire Recording Studios.
Everything gets rolling on this energetic session with “Go Find Another Man,” a bluesy track filled with tough love advice featuring Mikey Jr.’s blistering harp throughout, bouncing off Levine’s punchy B3 work. “I Wasn’t Wrong” follows with Jersey’s Jen Barnes taking a fiery vocal turn, once again wrapped in B3 and Veteska’s tight riffs.
“Sad and Blue” sounds exactly like what it says, with a torchy Veteska vocal over still more eloquent B3. The first cover turns up as the band soars through Albert King’s “I Get Evil” with Scott’s sax and Perruso’s trumpet laying down strong horn lines. “Pack of Lies” is Veteska fronting a lover’s lament about how “those sweet kind words were all just pack of lies.” Next, “2:00 in the Morning” is a hard-driving duet with Barnes while a wicked guitar solo highlights two lovers passing unseen in the night.
The Beatles’ “One After 909” gets the rocking Train treatment, with Veteska and Mikey Jr. sharing vocals and Mikey adding some train-coming-down-line harp. Barnes returns for another scintillating duet as Jen and Peter swap scorching vocals on “Take Back What You Own.” Levine’s gorgeously understated piano leads Veteska into a sensitive reading of “Nobody Knows You (When You’re Down and Out)” the classic written by pianist James Cox in 1923 and turned into a blues anthem by Bessie Smith.
“Slow Down You” is a searing slow blues that gives Veteska a splendid showcase for his powerful vocals and razor-sharp guitar, adding yet another bluesy B3 solo midway. “Man About Town” is a blazing instrumental that features Scott’s sexy sax trading blows with Levine’s rocking B3 in a romping album highlight.
The closer is an early holiday (or anytime) treat as Veteska croons the R&B classic “Merry Christmas Baby,” written by Johnny Moore, featuring Levine’s gift-wrapped piano stylings.
This is a great sounding album, no doubt due in large part to session production values as well as the all the talented musicians. As Veteska notes on the album cover, it was “recorded live with minimal overdubs. The goal was to produce a finely tuned studio album without sacrificing the vitality and spontaneity of our live performances. Seeking that balance opened a pathway to honing the Blues Train sound and distinguishing “Full Tilt” from my previous releases.”
If that’s not enough, he adds: “No guitar pedals were used.”
That should be more than enough to keep this hard rocking blues band running at full tilt until the next Train leaves the station.
As if it’s not enough to create a magnificent album of live blues, Christone “Kingfish” Ingram doubles your pleasure here with, what else, a double album overflowing with passionate music from this exciting young guitar slinger.
It’s just been four years since the young Kingfish (he’s now 24) exploded on the blues scene from his hometown of Clarksdale, Miss., with his 2019 debut album, “Kingfish,” and then his second 2021 effort, “662.” That album won the GRAMMY Award for Best Contemporary Blues Album, won the Blues Music Award for Best Blues Album, and topped both the DownBeat Critics’ Poll and the Living Blues Critics’ Poll. Since his debut, Kingfish has been nominated for and won 10 Blues Music Awards. He’s also won 11 Living Blues Awards.
Since then, he’s been appearing at concerts and festivals worldwide. I saw him on one of his blues cruise appearances (that’s the Legendary Rhythm & Blues Cruise, a floating festival not to be missed), and he’s even more impressive in person. This live session, recorded for an SRO crowd at The Garage in London, gets you as close as possible to that exhilarating experience where artist and crowd join in a musical celebration.
On one hand, there’s a lot of great music on these 17 tracks that I could describe. On the other hand (that other hand can be so annoying!), it’s very easy to reduce my workload and say that they are uniformly full of dazzling guitar, sharp lyrics, and the enthusiasm of a live concert. So here’s a sample.
The session begins what has become a signature tune, “She Calls Me Kingfish.” It opens with a haunting keyboard overture, then turns into a fiery guitar exercise that suddenly eases into a slow-burning interlude before resuming its wicked pace.
The Kingfish uses this concert format to show off his considerable guitar wizardry, with lengthy tracks that give him the freedom to showcase several styles within one extended song, just like “She Calls Me Kingfish.” With the crisp support of his road band — keyboardist Deshawn Alexander, bassist Paul Rogers, and drummer Christopher Black — Kingfish can offer a concert within a concert. It’s a powerhouse of a live set.
There are a multitude of guitar highlights, and one of the finest comes about a third of the way in — the slow-burning fire of Kingfish’s newly written instrumental, “Mississippi Night,” ten minutes of scorching blues that leaves no note unburned.
There are two masterful acoustic tracks that dip into the deep blues of “Been Here Before” and the autobiographical “Something in the Dirt” about growing up in Clarksdale. The emphasis on vocals, here and throughout, demonstrate further maturity from this young bluesman.
Pacing is everything in a concert, and not every song is designed to light your fire. “You’re Already Gone” is a remorseful ballad with a tasty B3 solo and a dramatic pause midway, that eventually fades gently into the night. “Outside of This Town” is another long-play tough burner with guitar solos filled with electricity.
The closer is “Long Distance Woman,” an astonishing 12-minute, two-part concerto that gives the first part to an elegant piano solo from Alexander that morphs into a funky B3 ride that gives way in the second part to furious Kingfish guitar and sharp lyrics. (Spoiler alert: The first part is not included on the LP version of the release.)
That’s just a sample of the fine music here. It’s all equally worth your while, and as close to a concert experience as you’re likely to get until you see Kingfish in person. You should do both as soon as you can.
Kingfish has been called the future of the blues, probably because he’s just getting under way, and expected to keep up the good work. But the good news is that the future is now, as this impressive performance demonstrates, so you don’t have to wait.
Even more good news: The blues is here to stay.
Here’s a short version of “Long Distance Woman”:
RACK LIST
DISC 1 1. She Calls Me Kingfish 2. Fresh Out 3. Another Life Goes By 4. Empty Promises 5. Hard Times 6. Mississippi Night (Instrumental) 7. Been Here Before 8. Something In The Dirt
DISC 2 1. You’re Already Gone 2. Listen 3. Rock & Roll 4. Not Gonna Lie 5. Midnight Heat 6. Outside Of This Town 7. 662 8. Long Distance Woman (not included on LP) 9. Long Distance Woman
I thought it might be appropriate for Friday the 13th to offer a blues song in that tradition.
I had a number of fine choices … the blues are full of the imagery of mystery and superstition, of bad luck and broken dreams.
I passed on some of the more obvious — Screamin’ Jay Hawkins’ “I Put a Spell on You,” Jimi Hendrix’ “Voodoo Chile,” Albert King’s “Born Under a Bad Sign,” and bunch more.
I’ve always been especially fond of the black cat symbolism — reportedly stemming from the Middle Ages, when black cats became associated with devils (you know, the devil’s music) witches, and witchcraft. Some people apparently believed that black cats were witches who had taken on another form.
With that in mind, here’s my 13th choice. It follows some beliefs as explained in Wikipedia: “A black cat bone is a type of lucky charm used in the magical tradition of hoodoo. It is thought to ensure a variety of positive effects, such as invisibility, good luck, protection from malevolent magic, rebirth after death, and romantic success.”
So here’s “My Woman Has a Black Cat Bone,” as performed by its composer, Harding “Hop” Wilson:
Chris Yakopcic — “Live at the Hidden Gem” — Yako Records
I’m a big fan of acoustic guitar blues.
It’s a guitar style that’s buried deep in the primeval origins of the blues and carries with it the mystique of those beginnings.
The guitar was no mystery to those who used it to make their music and accompany their lyrics. But to the outside world, it was a little different.
It took the bandleader W.C. Handy to help popularize, or maybe commercialize is a better word, the unique sounds he first heard at a train station in Tutwiler, Miss., about 1903. He heard a man playing slide guitar with a knife and singing a refrain he called “Goin’ Where the Southern Cross the Dog.” Much later, in his autobiography, Handy would call it “the weirdest music I had ever heard.” Handy published an adaptation of this song as “Yellow Dog Blues,” and he would become known as the “father of the blues” after he based many of his popular compositions on that primitive guitar music he heard in Tutwiler.
So to me, acoustic guitar blues evokes that kind of imagery, along with the music that followed from players like Charlie Patton, Furry Lewis, Tampa Red, Memphis Minnie, Son House, Robert Johnson — and many, many more.
All of that brief history was just my long-winded way of saying how much I enjoy this new (third) album of finely crafted originals and intelligent covers and by acoustic guitarist, singer and songwriter Chris Yakopcic from Dayton, Ohio.
Yakopcic isn’t a newcomer. He’s been playing his music for years now, and has accumulated his share of honors and awards. Last year he was a winner in the Blues Society of Northeast Ohio Blues Challenge; in 2018 he won the Jim Weber Memorial Award for the Best Guitarist from the Blues Society of Western Pa., and also won their Blues Challenge; he was then a semi-finalist in the 2018 International Blues Challenge in Memphis. To list just a few.
But mostly his magic is in his music. His fingerstyle playing and crisp vocals make for a sparkling contemporary take on this classic blues style.
He gives a solid introduction to all his talents with this live-session opener, his original “Gotta Get Goodbye Somehow,” an upbeat foot-tapper with crackling guitar work highlighting the lyrics. Next is a cover of another of those great old-timers, Blind Blake, whose ragtime picking gets an update on Yakopcic’s subtly infectious “Chumpman Blues.”
“When It All Goes Wrong At Once” is a cleverly penned original whose philosophy is its title, played in a righteously snappy groove. “Traveling Riverside Blues” is a formidable take on the Robert Johnson classic, building from a slow and bluesy start to a wickedly frenetic midpoint before easing back into the drama of the final bars.
“The Hangover” offers another original, gently crafted to avoid headaches on the morning after. Next, Yakopcic reshapes Leonard Cohen’s tale of songwriting, “Tower Of Song,” into a track that he’s absorbed and reintroduced in his own rhythmic structure.
“Kind Hearted Woman” is another Robert Johnson song, elegantly repicked and vocalized in Yakopcic’s very personal style. This is probably a good time to point out just how well Chris’s vocals work here, on every song, whether he’s ripping off in a raucous tempo or eloquently shaping the lyrics to his needs.
The original “Sounds Of The Highway,” is a poignant tale of the wandering life, with still more picturesque picking. Next, Chris switches Tom Waits’ train song”2:19″ onto his own track. His own “Sweet Time Blues” is a sweet blues with down-home flavor and a touch of “St. Louis Blues” midway.
In his final original, “My Last Three Strings,” Chris sings gently of times past. His originals are all precisely crafted to speak in the voice of the blues masters, framed by his own special sensibilities. The rousing closer is the high drama of Robert Johnson’s “Preachin’ Blues,” combining lead and rhythm guitar into one winning hand, as Yakopcic wields wicked chops on the devil’s music.
If you haven’t already guessed, I think this is an excellent album. It’s filled with fine blues interpretations of great musicians, and originals that reflect the impressive talents of their creator. Chris Yakopcic makes this music his own, and owns the music he makes.
Do yourself a favor and give it a listen.
Here’s the opening track from the album, “Gotta Get Goodbye Somehow” (Live at the Hidden Gem):
Tracklist: 1. Gotta Get Goodbye Somehow (3:52) 2. Chump Man Blues (3:07) 3. When It All Goes Wrong At Once (2:37) 4. Traveling Riverside Blues (4:57) 5. The Hangover (4:26) 6. Tower Of Song (3:09) 7. Kind Hearted Woman (4:35) 8. Sounds Of The Highway (3:55) 9. 2:19 (3:45) 10. Sweet Time Blues (4:49) 11. My Last Three Strings (4:01) 12. Preachin’ Blues (3:59)
If you, like me, really enjoy great blues music that sounds just like — well, great blues music — then Bob Corritore’s latest release will be great blues music to your ears.
Corritore is a master at pulling together vintage music on his finely executed series “From the Vaults,” which digs deep into the blues past from a diverse group of artists.
This time, however, the treats are freshly cooked. And do they ever cook. For his latest and fourth release of 2023, the joyously tough “Somebody Put Bad Luck On Me,” Corritore shifts his focus to the present with 16 newly recorded tracks from a sparkling lineup of current blues artists.
Guest artists who add their powerful voices in this diverse session include ageless wonder Bobby Rush, Thornetta Davis, John Primer, Carl Weathersby, Johnny Rawls, Francine Reed, Oscar Wilson, Eugene Hideaway Bridges, Tia Carroll, Diunna Greenleaf, Willie Buck, Jimi Primetime Smith, Sugaray Rayford, and Lurrie Bell.
The one artist who shines throughout is Corritore, whose solid harp work weaves knowingly on every song, creating sharp down-home solos, or floating eloquently in support of his bandmates and vocalists. That’s not to neglect the band here; the music, especially the guitar work. Every note is consistently razor sharp blues.
The album opens with the deep blues of John Primer on the gritty “This Little Voice,” with Corritore soaring on harp. This track alone is worth the price of admission; it’s a testimony to the heat and drive of traditional blues, complete with a razor-sharp guitar solo midway. Primer is a longtime Corritore partner and together they make real-deal blues more than just a memory.
That’s followed by the rough and tumble “I Need A Whole Lotta Lovin’,” featuring the big voice of Thornetta Davis proclaiming her lovin’ needs. Then Johnny Rawls turns the album soulward with his magical pipes on the searing “Midnight Love.”
Oscar Wilson follows on the title track, his vocals wrapped in Corritore harp for another tough outing. (I know I sometimes overuse words like rough and tough, but that’s how this music rolls. They’re the backbone of this enthusiastic blues. Just listen to Jimi Primetime Smith on the track “Tough Enough.”)
Bobby Rush talks his way into the next cut, “I’m As Good As Gone,” then creates Bobby Rush magic with his still-potent vocals amid Corritore’s passionate harp moans. Carl Weathersby shuffles along next with the hard-driving “Stranded.”
The album continues mining its deep blues vein for ten more delicious cuts. It’s hard to omit the fine remaining musical contributions, but I’ll leave them to you to listen and enjoy. They’re well worth your effort. This is as close to contemporary blues perfection as you would want. The session is immaculately produced, excitingly performed and thoroughly satisfying.
I don’t know who to credit for the clever cover art (and that of many previous albums), but it deserves to be mentioned. It’s a theme that Corritore has carried though many releases, and adds a distinctive touch that illustrates the musical attitude inside.
Yes, in case you haven’t noticed, I love this album. It’s pure blues joy.
If it wasn’t for this Bad Luck, we wouldn’t have no luck at all.
Corritore’s personal musical journey and his dedication to the blues are the stuff of history in the making. Here’s an excellent summary.
Here’s the title track, featuring Oscar Wilson:
Tracklist:
1. This Little Voice (feat. John Primer)
2. I Need A Whole Lotta Lovin (feat. Thornetta Davis)
3. Midnight Love (feat. Johnny Rawls)
4. Somebody Put Bad Luck On Me (feat. Oscar Wilson)
5. I’m Good As Gone (feat. Bobby Rush)
6. Stranded (feat. Carl Weathersby)
7. Remember Me (feat. Thornetta Davis)
8. I Want To Be Loved (feat. Tia Carroll)
9. If You Don’t Want To Love Me (feat. Eugene Hideaway Bridges)
Blues Roadhouse 
