If there’s any type of blues that makes me sit up and listen these days, it’s the classic sound of real-deal electric blues.
And that’s just what Bob Corritore has conjured up with his latest “From the Vaults” compilation, the magnificently curated “Early Blues Sessions.” Corritore has been recording tracks such as these for years, and his thoughtful productions are keeping the essence of this great music alive and breathing hard.
The 16 songs here, remixed and previously unreleased, span the years 1984 to 2007, and feature artists who’ve helped fire the molten core of the blues. including Lowell Fulson, Little Milton, Jimmy Rogers, Robert Lockwood Jr., Sam Lay, Henry Gray, Pinetop Perkins, Bob Margolin and others. Corritore’s harp work weaves righteously throughout, ??? each song???
The first searing track is Corritore’s previously unreleased 2002 collaboration with the legendary Little Milton, “I Wanna Be the One,” written just for that session. It kicks off the album with appropriate down-home juice, with Henry Gray blending his gusty blues piano seamlessly into the effort, while Corritore takes a fierce solo.
Blues drummer Sam Lay contributes the slow-drag, down-home “So Glad I’m Living,” with its belt-buckle polishing invitation. On a side note, in an example of musical cross-pollination, Lay was the drummer Bob Dylan chose when he introduced his electric self at the 1965 Newport Folk Festival.
Dave Riley offers a shuffling “On My Way,” then Jimmy Rogers creates a jazz-like “She Loves Another Man” that highlights one of the blues’ many facets. Chico Chism digs deep into the classic deep-blue “Five Long Years.” Robert Lockwood Jr. puts his snappy guitar work front and center on the intrumental “The Naptown Blues,” with some elegant organ work midway. Lil Ed brings his nasty slide guitar to “Hip Shakin’,” and Henry Gray returns with the hard-driving “Showers Of Rain.”
The magic of this fine blues journey continues through a lineup that include Lockwood’s memorable “Ramblin’ On My Mind,” Tomcat Courtney, Clarence Edwards, King Karl, Jimmy Dotson and Lowell Fulson, whose closer, “West Texas Blues,” leaves you ready for Volume 2.
“Early Blues Sessions” is a remarkable collection of musicians and their music that highlights the electric essence of classic American blues. Its historical value is exceeded only by the pure joy of the music. Let’s hope that Bob Corritore has more of the same.
Here’s the unreleased 2002 studio track “I Want To Be The One” with Little Milton.
Tracklist: 01. I Want To Be The One (feat. Little Milton) 02. So Glad I’m Living (feat. Sam Lay) 03. On My Way (feat. Dave Riley) 04. She Loves Another Man (feat. Jimmy Rogers) 05. Five Long Years (feat. Chico Chism) 06. Naptown Blues (feat Robert Lockwood Jr.) 07. Hip Shakin’ (feat. Lil Ed) 08. Showers Of Rain (feat. Henry Gray) 09. I Wonder (feat. Tomcat Courtney) 10. Coal Black Mare (feat. Clarence Edwards) 11. Hear That Rumblin; (feat. Clarence Edwards) 12. Cool, Calm, Collected (feat. King Karl) 13. My Fault (feat. Sam Lay) 14. Ramblin’ On My Mind (feat. Robert Lockwood Jr.) 15. Tired Of Being Alone (feat. Jimmy Dotson) 16. West Texas Blues (feat. Lowell Fulson)
About 58 years and 55 musicians ago, in 1967, guitarist Duke Robillard and pianist Al Copley got together in Rhode Island and formed the band Roomful of Blues to re-create the grit of Chicago-style blues.
By 1970, they were exploring the sounds of R&B and jump blues from the 1940s and ’50s. Then they added a horn section, including saxman Rich Lataille, who’s still swinging with today’s Roomful.
While band members have come and gone, their joyous music rolls on, still swinging hard and wringing every last drop of musical pleasure from their little band that sounds so very big.
In addition to their band recordings, Roomful provided backing for notable albums with legends of the blues such as Jimmy Witherspoon, Jimmy McCracklin, Roy Brown, Big Joe Turner, Eddie “Cleanhead” Vinson and Earl King.
“Steppin’ Out” is Roomful’s 20th album, and its glorious 14 tracks do exactly that behind the sassy vocals of D.D. Bastos, the first female singer to record with the band. Roomful’s current lineup includes guitarist and bandleader Chris Vachon, who first joined in 1990, keyboardist Jeff Ceasrine, bassist John Turner, drummer Mike Coffey, baritone and tenor sax player Craig Thomas and trumpeter Christopher Pratt, plus Vachon, Lataille, and Bastos.
The album opens with sassy horns and rhythmic percussion kicking out a cover of Billy “The Kid” Emerson’s “Satisfied” behind Bastos’ swaggering vocal, and continues swinging its way through a choice assortment of little-known songs from well-known blues legends: Big Mama Thornton (“You Don’t Move Me No More”), Big Maybelle (“I’ve Got A Feeling” and “Tell Me Who”), Etta James (“Good Rocking Daddy”), Buddy & Ella Johnson (“Why Don’t Cha Stop It”), Jimmy McCracklin (“Steppin’ Up In Class”), Tiny Bradshaw (“Well Oh Well”), Z.Z. Hill (“You Were Wrong”), Smiley Lewis (“Dirty People”), and a supremely soulful rendition of James Wayne’s “Tend To Your Business,” with a gorgeous trumpet solo. (Complete track list and credits at end of post.)
“Steppin’ Out” is a sumptuous feast of timeless swinging blues by the equally timeless Roomful of Blues. Bastos’ passionate vocals, drenched in old-school R&B, carry the music to new heights. Enjoy this music soon and often.
Here’s “Steppin’ Up In Class” from the album:
Tracklist:
1. Satisfied 3:36 (William R. Emerson, Riverline Music, BMI) 2. You Were Wrong 2:50 (Z. Z. Hill, Bira Music, BMI) 3. Steppin’ Up In Class 3:27 (Don Robey, Jimmy McCracklin, EMI Unart Catalog, Inc., BMI) 4. Slippin’ And Slidin’ 2:52 (Edwin J. Bocage, Albert Collins, Richard W. Pennimen & James Smith, Bess Music Company & Sony/ATV Songs, LLC, BMI) 5. Please Don’t Leave 3:43 (Wilbert Smith, M. Jones Publishing Co., BMI) 6. Tell Me Who 2:34 (Billy Myles, Screen Gems-EMI Music, Inc., BMI) 7. You Don’t Move Me No More 2:43 (Willie Mae Thornton, Universal Music Publishing Group, BMI) 8. Good Rockin’ Daddy 3:18 (Richard Berry & Joe Josea, Universal Music Careers, BMI) 9. Tend To Your Business 3:00 (Dave Bartholomew, EMI Unart Catalog, Inc., BMI) 10. Well Oh Well 2:44 (Henry Bernard, Sydney Nathan, & Myron C. Bradshaw, Ft. Knox Music, Inc.,/Trio Music Company, BMI/Quartet Music, ASCAP) 11. Why Don’t Cha Stop It 3:16 (Woodrow Buddy Johnson, Sophisticate Music Inc., BMI) 12. I’ve Got A Feelin’ 3:34 (Sidney J. Wyche, Primary Wave 3 Songs, BMI) 13. Dirty People 3:28 (Smiley Lewis, EMI Unart Catalog, Inc., BMI) 14. Boogie’s The Thing 2:50 (Writer and Publisher unknown)
Musicians:
DD Bastos Lead Vocals, Claves (7), Maracas (12) Chris Vachon Guitar, Background Vocals (8, 14) Jeff Ceasrine Keyboards, Background Vocals (8, 14) John Turner Upright Bass Mike Coffey Drums Rich Lataille Tenor and Alto Sax Craig Thomas Tenor and Baritone Sax Christopher Pratt Trumpet
The Mississippi Hill Country blues is an intriguing variation on the music that came out of the Mississippi Delta region and eventually moved to the urban north.
The Hill Country is part of northern Mississippi, bordering Tennessee, and the music that developed there emphasizes rhythm and percussion, often resulting in a trancelike, hypnotic musical groove. One of the first musicians to become widely known for performing in this style was Mississippi Fred McDowell, who influenced later artists like R. L. Burnside and Junior Kimbrough.
Burnside, Kimbrough and other Hill Country musicians (who deserve a much wider audience), such as Othar Turner, and Jessie Mae Hemphill appeared in the 1991 British documentary “Deep Blues,” created by music critic and author Robert Palmer and film maker Robert Mugge, leading to wider knowledge and popularity of the style. Recordings of Hill Country artists followed on the Fat Possum Records label, created just to feature that music.
Fast forward through about 30 years of Hill Country artists to the present, as Garry Burnside, R.L. Burnside’s youngest son, and Kent Burnside, R.L.’s grandson, step out with their own albums of original music after years of honing their musical and songwriting skills and developing their own performing styles. Garry’s brother is Duwayne Burnside, who has played with the North Mississippi Allstars, and his nephew and Kent’s cousin is the Grammy-winning Cedric Burnside.
Garry and Kent both released their albums on Aug. 15 (yes, I’m late to the party) and on the same label, and together they’ve created a more contemporary Hill Country sound, but one that’s still deeply infused with their musical heritage.
Garry played for years with Hill Country legend Junior Kimbrough and following Kimbrough’s death in 1998, began playing and recording regularly with the North Mississippi Allstars, the Hill Country Revue, brother Duwayne Burnside (for whom he ghostwrote most of the album, Under Pressure), and Grammy-award-winning nephew Cedric Burnside (with whom Garry received a Grammy nomination for their collaboration, Descendents of Hill Country). Garry has also recorded with blues greats Jesse Mae Hemphill and Bobby Rush, and many others.
Garry describes his music as “Hill Country with a lil bit of funk” and, about the album, says “I spent most of my career playing bass or guitar with other bands, so it feels amazing to say this will be my first album being released with all of my own music on it. Coming up under my pops [R.L. Burnside] and Junior Kimbrough, I learned so much. This album really is a testament to them, what they taught me, and my growth as a musician. I hope it makes them proud.”
“It’s My Time Now” features nine original songs, one co-write with Kimbrough, “Ramblin’,” and one classic R.L. Burnside cover, “Bad Luck City.” Garry’s very personal take on the Hill Country sound features fascinating rhythms and a unison vocal/guitar style that creates a mesmerizing rich and cohesive sound. Three instrumental tracks — “High,” “AGF Out” and “Bad Luck City” add to the musical intensity.
Kent Burnside has also spent a couple of decades building his own style and career, starting as a guitarist in Jimbo Mathus’ post-Squirrel Nut Zippers band in 2005-2006. After leaving Mathus’ band, Kent has fronted his own band at blues clubs and festivals.
Kent’s album, “Hill Country Blood,” includes eight original tracks, with splendid covers of John Lee Hooker’s “Crawling King Snake” and Kimbrough’s “You Better Run.” Kent plays guitar and Garry plays bass. Kent says, “Hill Country Blood is a high-energy, deeply authentic blues experience that honors the past while charging into the future.”
“Daddy Told Me” opens this session with a traditional, hypnotic Hill Country vibe that honors his forebears, while “Hill Country Blood” opens a new vein with a tougher, rocking style, adding a standout guitar solo. “Crawling King Snake” is another fiercely drawn cut. The closer features Garry’s acoustic guitar on Kent’s winsome ballad, “I Miss You,” with sentiments that could have just easily closed Garry’s album.
Taken together, these two excellent albums revisit the origins and traditions of Mississippi Hill Country blues and bring fresh vitality to its storied past. If you’ve never heard this powerful blues style, you owe yourself a musical treat by enjoying both sessions. If you have, you owe yourself the musical treat of this fresh approach, or as Kent says, “charging into the future.”
Here’s a track from each album:
Tracklist for “It’s My Time Now”: High Young Country Boy It’s My Time Now Hanging In There Bad Luck City Ramblin’ Hold My Woman I Been Looking She’s Gone AGF Out Garry’s Night Out (Bonus Track) *CD and Digital Only All songs written by Garry Burnside except Bad Luck City written by RL Burnside and Ramblin’ written by Garry Burnside and Junior Kimbrough
Tracklist for “Hill Country Blood”: Daddy Told Me Hill Country Blood
Crawling King Snake Kent Burnside – vocals, electric guitar Garry Burnside – bass Jake Best – drums Damian Pearson – harmonica I Heard Kent Burnside – vocals, electric guitar Garry Burnside – bass Jake Best – drums I Go Crazy Kent Burnside – vocals, electric guitar Garry Burnside – bass Jake Best – drums Damian Pearson – harmonica One More Chance Kent Burnside – vocals, electric guitar Garry Burnside – bass Jake Best – drums Damian Pearson – harmonica Rob and Steal Kent Burnside – vocals, electric guitar Garry Burnside – bass Jake Best – drums I Can Feel It Kent Burnside – vocals, electric guitar Garry Burnside – bass Jake Best – drums
You Better Run Kent Burnside – vocals, electric guitar Garry Burnside – bass Jake Best – drums I Miss You Kent Burnside -vocals, electric guitar Garry Burnside- acoustic guitar Damian Pearson-harmonica
All songs written by Kent Burnside Kent Burnside Music / Strolling Bones Independent Music Publishing (ASCAP) Except You Better Run by Junior Kimbrough – Music River Publishing Company (BMI) and Crawling King Snake by John Lee Hooker – Universal Music Careers (BMI)
The album “Deep Mud” roars to life with the Chicago blues toughness of “Bring Me My Whiskey” — and its vocal echoes of the legendary Muddy Waters, courtesy of his son, Larry “Mud” Morganfield.I
It’s hard to think of Mud, who just turned 71 on Sept. 27, as a young man helping to cap off his father’s magnificent career as a bluesman. Instead, he’s a polished performer of his own, devoted to the music that is his heritage, whose vocal tone and phrasing just happen to sound a lot like his father’s.
Still, Mud didn’t consider becoming a professional musician until after his father’s death in 1983. And he didn’t really come into his own until the 2000s, when he began to perform more widely and recorded several albums. The old-time classic Chicago blues singer Mary Lane gave Mud some of his earliest opportunities to perform on the West Side. “Deep Mud” is his recording debut on the Nola Blue label.
This album captures the essence of his blues roots, produced by Chicago blues traditionalist Studebaker John, who also plays harp on ten tracks. His regular backers appear here: Guitarists Rick Kreher and Mike Wheeler, drummer Melvin Carlisle, bassist E. G. McDaniel, and keyboardists Sumito Ariyo Ariyoshi and Roosevelt Purifoy. Trumpeter Phil Perkins adds the horn arrangements. Twelve of the fourteen tracks are originals; two come from his father’s considerable body of work.
The music here is pure, unadulterated Chicago blues: “Listen, man” Mud says, “it is Chicago blues. No rock-blues here for Mud. I talk and I sing about real things, real live people, real situations…So, it’s Chicago blues at its best. They ain’t trying to do that no more, but that’s what it is.”
Maybe “they” aren’t trying to do that, but Mud certainly is, and these results breathe new life into this classic music.
The rollicking “Bring Me My Whiskey” and “Big Frame Woman” get the music started in high spirits, followed by the scorching slow blues of “Strange Woman,” written by Muddy the Elder, on which Mud plays bass. Mud’s vocals here are a haunting memory of his dad’s, but that’s no to say that they don’t stand completely on their own. Mud is a powerful singer with a deep, rich voice.
“Don’t Leave Me” flows in behind John’s supple harp, and the upbeat “She’s Getting Her Groove On” adds Perkins’ trumpet and a danceable R&B flavor. “Ernestine” features a rousing, shouted vocal and “Strike Like Lightning” is another slow-dragging gem. “Cosigner Man” brings the horn section back for more R&B with a gospel-like choral backup, and “Lover Man” rides a frisky harp.
“In and Out of My Life” strikes a funkier note, with softer vocals and a backup refrain. “The Man That You’re With” brings back the Chicago sound with a steamy guitar solo and deep blue harp. “Carolina” shuffles in with an ode to “sweet Carolina,” followed by a tough cover of Muddy’s “Country Boy.”
The closer is the eloquently soulful “A Dream Walking,” roused to life with a glorious Purifoy organ intro, and a gospel-drenched lyric that pays tribute to Mud’s late mother, Mildred Williams.
“Deep Mud” is a powerful reminder of the strength and vitality of the classic Chicago blues sound, which was driven to a large extent by the music of Muddy Waters. His eldest son, Mud Morganfield, lets us revisit that era and those blues with his own magnificent musical statement.
Here’s “She’s Getting Her Groove On,” from the album:
Mud Morganfield Deep Mud Track Listing and Credits
More than 6,000 Blues Blast Magazine readers and blues fans voted in the 2025 Blues Blast Music Awards. The nominees and winners are listed below, the winners, of course, in bold.
Tommy Castro won for the best contemporary blues album.
The magazine asks a group of music critics, journalists, festival promoters, music venue managers, musicians and other blues music industry professionals to nominate the best in blues over 23 categories. Then readers get to vote.
Blues Blast is a free online magazine, founded in 2007 and headquartered in the U.S. with 45,000 subscribers worldwide.
2025 Blues Blast Music Award Winners
Contemporary Blues Album Andrew Duncanson – California Trap (feat. Michael Peloquin) Chris Cain – Good Intentions Gone Bad Ronnie Baker Brooks – Blues In My DNA Kid Ramos feat. Brian Templeton and Johnny Ramos – Strange Things Happening Tony Holiday – Keep Your Head Up Tommy Castro & The Painkillers – Closer To The Bone
Traditional Blues Album John Primer – Grown in Mississippi Bobby Rush & Kenny Wayne Shepherd – Young Fashioned Ways Bob Corritore & Friends – Doin’ The Shout Eden Brent – Getaway Blues Frank Catalano and Lurrie Bell – Set Me Free Bob Stroger & The Headcutters – Bob Is Back
Soul Blues Album Curtis Salgado – Fine By Me Billy Price – Person Of Interest Tad Robinson – Soul In Blue Sugaray Rayford – Human Decency The Anthony Paule Soul Orchestra – What Are You Waiting For? Johnny Rawls – Make Them Dance
Rock Blues Album Albert Castiglia – Righteous Souls Tab Benoit – I Hear Thunder Mike Farris – The Sound of Muscle Shoals Brody Buster – Redemption Matt “The Rattlesnake” Lesch – Blues Cut Like Glass Ian Siegal Meets Johnny Mastro – Easy Tiger
Acoustic Blues Album Giles Robson & John Primer – Ten Chicago Blues Classics Johnny Iguana – At Delmark Eva Rose & David Pippin – Black Water Blues Catfish Keith – Shake Me Up Guy Davis – The Legend of Sugarbelly Lee Kanehira – The Chicago Blues Piano Trio!! Prakash Slim – 8000 Miles To The Crossroads
Live Blues Album Bruce Katz Band – Back In Boston Live The Blues Giants – Live at Groove Now Eric Johanson – Live In Mississippi Tas Cru – Tas Cru Band LIVE Sean Chambers – Live Featuring The Savoy Brown Rhythm Section Willie Buck – Live at Buddy Guy’s Legends
Historical Or Vintage Recording Frank Bey – Peace Jim Brewer and Dan Smith – Take It Easy Greasy Terry Blade – Chicago Kinfolk: The Juke Joint Blues Bernard Allison – Chills & Thrills Duke Robillard – Roll With Me
New Artist Debut Album Jad Tariq – Jad Tariq Sings Jovin Webb – Drifter Jubu Smith – JUBU Fran Drew and the Lucky Strikes – Trial by Fire Jantso Jokelin – Spark of Luck Christopher Wyze & the Tellers – Stuck in the Mud
Blues Band Of The Year The Anthony Paule Soul Orchestra Tommy Castro & The Painkillers Southern Avenue The Blood Brothers Tab Benoit Band
Male Blues Artist John Primer Chris Cain D.K. Harrell Curtis Salgado Tab Benoit Andrew Duncanson
Female Blues Artist Carolyn Wonderland Eden Brent Ruthie Foster Shemekia Copeland Sue Foley Tierinii Jackson
Sean Costello Rising Star Award Jad Tariq Jovin Webb Stephen Hull Matt “The Rattlesnake” Lesch Harrell “Young Rell” Davenport Tony Holiday
Producer Of The Year Kid Andersen Tony Braunagel Tom Hambridge Mike Zito Bob Corritore Jim Gaines
Electric Guitarist Of The Year Chris Cain Kid Andersen Tab Benoit Laura Chavez Duke Robillard Kid Ramos
Acoustic Guitarist Of The Year Catfish Keith Guy Davis Doug MacLeod Keb’ Mo’ Kevin Burt
Slide Guitarist Of The Year Sean Chambers Derek Trucks John Primer Joanna Connor Robert Randolph Sonny Landreth
Bass Guitarist Of The Year Bob Stroger Rodrigo Mantovani Benny Turner Jerry Jemmott Scot Sutherland Danielle Nicole
Keyboard Player Of The Year Bruce Katz Ben Levin Eden Brent Kenny “Blues Boss” Wayne Johnny Iguana Jim Pugh
Percussionist Of The Year Derrick D’mar Martin Kenny “Beedy Eyes” Smith Tony Braunagel June Core Terrence Higgins Tom Hambridge
Harmonica Player Of The Year Jason Ricci Bob Corritore Dennis Gruenling Kim Wilson Rick Estrin Charlie Musselwhite
Horn Player Of The Year Jimmy Carpenter Vanessa Collier Terry Hanck Sax Gordon Beadle Deanna Bogart Doug Woolverton
Vocalist Of The Year Curtis Salgado Oscar Wilson Andrew Duncanson Tad Robinson Billy Price Bobby Rush
“New Southern Vintage,” the title of Candice Ivory’s magnificently ambitious new album, is the perfect description of its contents — and its soul.
Ivory, dubbed the Queen of Avant Soul, has pulled together a band of splendid musicians to explore new and traditional blues themes, adding her own vocal passion to this heady blend.
“Today, blues is a global music, known and cherished by people all over the world,” Ivory writes in the album’s liner notes. “But its roots are in the American South – in places like Memphis and Mississippi, where I first met the blues, and in nearby outposts like St. Louis, where I now live. ‘New Southern Vintage’ pays homage to this iconic Southern folk form as well as the heroines and heroes who created it, including my greatest inspirations: blueswoman Memphis Minnie (“World of Trouble,” “Shout the Boogie”) and my own great-uncle Will Roy Sanders (“I’m in Trouble”), who fronted the Fieldstones, the best Memphis blues band of the 1970s and 1980s.”
Ivory is accompanied here by her band, the Blue Bloods: Robert Allen Parker on guitar, Adam Hill on guitar, Khari Wynn on bass and Donnon R. Johnson on drums. She’s added a variety of other artists for the session. In her words:
The album also features several living legends, from Jimmy “Duck” Holmes (caretaker of the Bentonia, Mississippi school of blues guitar) to folk-blues éminences grises David Evans and Andrew Cohen. And because blues is an ancient-to-the-future music – vintage and new – I invited a number of brilliant younger artists to join me on “New Southern Vintage.” My longtime collaborator Robert Allen Parker, Public Enemy’s Khari Wynn, and the other members of my Memphis-based band the Blue Bloods appear on several tracks, as do Ben Levin, Damian “Yella P” Pearson, and Chris Stephenson. There are also some special international guests – Jan Hartmann, Antonio Vergara, Takuto Asano, and Yubu Kazungu – who hail from around the globe and nonetheless fit right into the Southern sounds of “New Southern Vintage,” showing that no matter how far we travel down the blues highway, we can always go back home to the land where the blues began.”
The “new” part of the album — its first eight original songs — focuses on an eclectic mix of electric blues styles featuring the Blue Bloods plus guests. While the new material is often drawn from deep blue roots, Ivory and her mates add freshness and vitality to their spirit. The last five tracks shift the energy more to the “vintage” roots of the blues, with an emphasis on acoustic material, primarily featuring guest artists behind Ivory’s always stunning vocals — the musical glue for the entire album. (You can find the entire musical cast list at the end of this post.)
The opener “Ain’t So Blind” lifts John Lee Hooker’s classic “Boom, Boom, Boom” rhythm into the future, adding furious harp by Hartmann. “Blue Blood” conjures similar magic with a hypnotic Mississippi Hill Country vibe. The Fieldstones song, “I’m in Trouble,” is a more traditional blues that crackles with electric intensity, ridden hard by Ivory’s powerful voice. The eloquent “Foolish Pleasure” adds Kazungu on vocals, Stephenson’s moody Wurlitzer and Hartmann’s elegant harp behind another splendid Ivory vocal.
The fiercely upbeat “Lookin’ for My Baby” pulsates with Levin’s roadhouse piano in a joyous mood shift. Ivory’s “Strong Black Mattie” revives an R.L. Burnside theme with a throbbing rhythm and a lyrical update: “Can’t a girl have some fun?” The ethereal ballad, “Let Your Love Shine On” was recorded in Ecuador, with Vergara on lap steel, electric guitar, and background vocals behind Ivory’s sensitive lyrical reading. The final “new” track is the steamy blues of “Look Away” with Ivory’s vocal soaring, and a razor-sharp Parker guitar solo.
The transition to the “vintage” tracks is a narration by blues musician and preservationist Andrew Cohen titled “Folk Traditions,” a brief explanation of musical traditions, specifically the roots of the blues.
Opening this segment is “Catfish Blues” by the somewhat mysterious Robert Petway, who recorded only 16 songs, but was considered a substantial influence on subsequent blues and rock performers. Holmes plays acoustic guitar and sings with Ivory, while Levin adds a rolling piano background. It’s splendid version, with Holmes highlighting the track.
Ivory offers a gorgeous rendition of “Corrina” (not the 1920s classic “Corrine, Corrina”), a blues standard credited to Clyde Maxwell and famously recorded by Alan Lomax at Maxwell’s farm in 1978. Spare accompaniment from Levin and Evans make this an instant classic of its own. “Crown Royal Bag Blues” is an original Ivory song that captures the spirit of a vintage blues, with guitars from Pearson and Asano, with more sassy piano from Levin.
Ivory closes with interpretations of two songs from one of her blues inspirations, Memphis Minnie: “World of Trouble” and “Shout the Boogie.” Her vocals ache with the despair of “Trouble,” and proclaim the joy of “Shout.” Levin adds piano to both, with his boogie-woogie touch driving hard on the latter with Andy Cohen, who provided the “Folk Traditions” narration introducing this segment, on guitar.
“New Southern Vintage” is an excellent album from Candice Ivory. As its prime mover vocally, and as its producer, she dives deep into the history of the blues while urging it into the future, all while emphasizing the worldwide appeal of this classic American music. It demands the attention, and the enjoyment, of deep blues lovers everywhere.
Produced by Candice Ivory Tracks 1-8 recorded by Adam Hill at Electraphonic Recording, Memphis Additional recording for track 7 by Claudia Correa at AVA Recording Studios, Guayaquil, Ecuador Tracks 9-14 recorded by Till Palmer at Ecko Records, Memphis
The Blue Bloods: Robert Allen Parker: guitar Adam Hill: guitar (except Ain’t So Blind) Khari Wynn: bass Donnon R. Johnson: drums
The mystical origins of rock ‘n’ roll music are likely buried deep in the blues and R&B of the 1930s, ’40s and ’50s.
You can point to the influences of the raucous boogie-woogie piano of Pete Johnson, the guitar work of Tampa Red or Sister Rosetta Tharpe, the flashy R&B of Louis Jordan or the imposing vocal wizardry of blues shouters Wynonie Harris and Big Joe Turner.
You could also point to Chuck Berry’s giant legacy opening the doorway to what would become bigtime rock ‘n’ roll. But then you would also need to point to the too-often unheralded piano player who gave Berry his start and partnered in creating his early, groundbreaking music — Rock and Roll Hall of Famer Johnnie Johnson.
Johnson, from Fairmont, W.Va. (where they still hold an annual Johnnie Johnson Festival every July), was a keyboard prodigy, teaching himself to play piano when he was 5, copying piano songs he heard on the radio. He’s said to have developed his sense of rhythm listening to trains that ran past the family home.
Johnson began making appearances on local radio stations when he was 9 and started a band, the Blue Rhythm Swingers, at 13. By age 17, at the start of U.S. entry in World War II, he worked for the Ford Motor Co. in Detroit. Johnson enlisted in the Marines, becoming one of the first African Americans in that branch, and later played in the Special Service Band for USO shows.
After his discharge in 1946, he moved to Chicago to work in an auto factory, and became part of the Chicago blues scene, working with the likes of Muddy Waters and Little Walter. He moved to St. Louis in 1952 and with a day job in a steel mill, formed the Sir John Trio. On New Year’s Eve 1952, Johnson needed an emergency replacement for his sax player and called on an inexperienced (and therefore not working on New Year’s Eve) guitar player named Chuck Berry. Berry’s vocals and flair for performing earned him a permanent spot, and his newfound popularity led to the Sir John Trio being renamed the Chuck Berry Trio.
The rest — to recoin a trite phrase — turned out to be rock ‘n’ roll history.
Berry’s “Maybelline,” a reworking of Bob Wills’ western swing classic “Ida Red,” landed him a deal with Chess Records in 1955. The B-side of that debut single was “Wee Wee Hours,” an instrumental that Johnson had played for years, adding lyrics by Berry.
Johnson’s bold, percussive piano continued to add inventive rhythmic heft to many more Berry classics, including “Roll Over Beethoven,” “Brown-Eyed Handsome Man,” “School Days,” “Almost Grown,” “Back in the USA,” “Carol,” and “Too Much Monkey Business.”
In 1998, Johnson told Doug Donnelly of Monroenews.com that “Johnny B. Goode” was a tribute to Johnson himself. “I played no part in nothing of ‘Johnny B. Goode,'” Johnson said. “On other songs, Chuck and I worked together, but not that one. We were playing one night, I think it was Chicago, and he played it. Afterward, he told me it was a tribute to me. He did it on his own. I didn’t know nothing about it. It was never discussed.”
In 2000, Johnson sued Berry for co-composer credits and royalties for dozens of songs which credit Berry alone. The case was eventually dismissed because of the length of time since the songs were written. But Johnson’s piano work was clearly a vital, integral part of Berry’s early recordings.
Johnson left the group in 1973 and returned to become a fixture on the St. Louis blues scene. In the early and mid-1980s he was a member of The Sounds of The City, with vocalist Larry Thurston, bassist Gus Thornton, and guitarist Tom Maloney. Johnson performed all over St. Louis with Tommy Bankhead, Oliver Sain, and many significant blues artists throughout their lives. The 1987 Chuck Berry documentary, “Hail! Hail! Rock ‘n’ Roll” renewed interest in Johnson’s music and formed a musical bond between him and documentary participants Keith Richards, Eric Clapton, and Steve Jordan. Johnson emerged from those years with his first solo album, “Blue Hand Johnnie,” in 1987.
A return to performing worldwide followed, both as a solo artist and working with, among others, the Kentucky Headhunters, Clapton and Richards. He released albums produced by Richards, Jimmy Vivino, and Al Kooper. He later performed with Richards, Clapton, Buddy Guy, John Lee Hooker, Bo Diddley, George Thorogood and Bob Weir. Johnson was also the leader of Albert King’s rhythm section. For some years, Johnson was known to have a serious drinking problem. He quit drinking in 1991, after nearly suffering a stroke on stage with Clapton.
Johnson continued to perform, and his final album, “Johnnie Be Eighty. And Still Bad!,” was recorded in St. Louis in late 2004. It was released the same week he died in April 2005, at the age of 80.
A Los Angeles Times obituary quoted the prominent blues-rock keyboardist Barry Goldberg on Johnson’s death: “When I heard he’d died, I put on the record of ‘Sweet Little Sixteen,’ and when I listened to his solo, I just began to weep,” Goldberg said. “What he did was so mind-blowing for that time.”
This gorgeous session, “I’m Just Johnnie,” turns back the clock to 2003 and the sessions that Johnson recorded for what would be his final project. Producer Gene Ackmann describes how it came about:
“Johnnie Johnson and I had been friends since 1979, when I saw him playing in a small blues club in St. Louis,” Ackmann says. “We struck up a friendship and over the years he would come out and play with my band often. That was always a big thrill for all of us in the band. He recorded on some of our band CDs and played on my St. Louis sports team’s songs that I wrote for the Cardinals, Blues, and Rams when they were in St. Louis.
“Johnnie loved his St. Louis sports,” Ackmann says. “My band always played for the Cardinals home opener and Johnnie would come down and play with us there too. He came down one last time and played at the opener with us in front of thousands at Busch Stadium on April 8, 2005, and got a huge ovation from the crowd. Just five days later, he died and that was his last public performance – at a Cardinals game.
“The other thing Johnnie was really fond of was fishing. He knew I had a lake at my house in the country, and it was pretty much a Friday routine for us to fish together . . . He would tell fantastic stories about the old days, and it was like getting to spend the day with my grandpa one more time.
“One day we were fishing and it was nice and quiet and birds were singing. The sun was shining and Johnnie said, ‘This is almost as good as playing blues in the key of G.’ I loved that! Everyone knows Johnnie could tear it up in G – check out Johnnie and Eric Clapton and Chuck Berry on ‘Wee Wee Hours’ in the key of G from the “Hail! Hail! Rock and Roll” movie when Eric gives Johnnie that piano solo.
“On our drive home that day, Johnnie said to me, ‘You are one of the most creative people I know. I want to do a new CD but don’t know how to go about it or have the money to do it. Would you help me?’ I said, ‘sure I would love to,’ and that was how it came about. I told him I’d help him write some songs for it and we began our project in 2003. The first person to come to St. Louis to record was Johnny Rivers. Bruce Hornsby, Bonnie Raitt and John Sebastian also played on it. This music was all recorded in St. Louis when Johnnie was 80 years old and the last stuff he recorded. Johnnie and I would sit in my music room overlooking the lake and work out our music for the project.”
There’s one CD of that great music in this set, and a second disc of interviews with Radio Hall of Fame and SiriusXM DJ Pat St. John discussing Johnson’s career in one of his last interviews before his death. Raitt is also featured on the interview disc.
Other musicians on the album include former Mama’s Pride band members Max Baker (guitar), Dickie Steltenpohl (bass), Paul Willett (Hammond B3 organ) and Pat Liston (backing vocals); plus Henry Lawrence, former Oakland Raiders All-Pro offensive tackle, who does lead vocals on two songs with Johnnie – “Lo Down” and “Stagger Lee;” and Charles Glenn, best-known as the St. Louis Hockey Blues anthem singer of 19 years, who sings lead vocals on two songs with Johnnie – “I Get Weary” and “Heebie Jeebies.” Kenny Rice (drums) and Gus Thornton (bass), long-time members of Johnnie’s band, also play on the album. Rice and Thornton were both in Albert King’s band with Johnson. Rice also does the lead vocals on “Let the Good Times Roll.” (The full list of credits by song is included after the videos below.)
But what about this music? It’s simply wonderful.
Johnson’s still vital piano rolls effortlessly across all twelve tracks. Two are instrumentals, including the classic “Blues in G.” Johnson’s svelte vocals on five songs are full of life, soulfully seasoned with age and the wisdom of his musical life.
The title track, “I’m Just Johnnie,” is Johnson singing a sprightly reminder of his presence. “I Get Weary” is a delicious slow blues with Johnson backing Charles Glenn’s soulful vocal, including a gorgeous piano solo. “Every Day I Have the Blues” features Bruce Hornsby sharing piano and vocals in their rollicking version of this blues chestnut.
“Lo Down” is a Johnny Rivers song featuring Rivers on guitar with Henry Lawrence on vocals, while Johnson rolls merrily behind it all. “Let the Good Times Roll” is another classic with Kenny Rice shouting the blues while Johnson’s piano illuminates the high-rolling proceedings. “Three Handed Woman” gets Johnson’s two-fisted treatment on vocals and the keys, bemoaning the lady’s underhanded ways.
“Broke the Bank” adds John Sebastian on harmonica behind another Johnson vocal turn, with an upbeat big band sound and furiously melodic piano solo that sticks the landing. “Blues in G” reprises this classic, with Johnson leading a quartet in this elegant blues instrumental. “Stagger Lee” brings back Lawrence for a rocking vocal turn and Johnson returns with a world-weary vocal on “Johnnie Johnson Blues,” another Rivers tune that neatly sums up Johnson’s life work: “They call me Johnnie J, and I sure like to play.”
“Heebie Jeebies” returns Glenn to handle the vocals on this bright New Orleans-flavored romp. The closer is the instrumental “Long Gone,” as Johnson stretches out with a glorious run on his magical keyboard in a fitting farewell.
“I’m Just Johnnie” is an unnecessarily modest title for this tribute to Johnnie Johnson and the music that he played and helped to create as part of the rock ‘n’ roll juggernaut of the 1950s. His piano playing is infused with the blues, a little R&B, and a whole lotta rock. He was a helluva lot more than “just Johnnie.”
Enjoy this piece of musical history that also just happens to be great music.
I”m Just Johnnie” from the album:
Here’s “Sweet Little Sixteen” and that piano solo mentioned above:
Tracklist and credits
1. I’M JUST JOHNNIE (J. Johnson-G. Ackmann) Lead Vocal: Johnnie Johnson, Piano: Johnnie Johnson, Guitar: Tony T, Bass: Gus Thornton, Drums: Kenny Rice, Trumpet: Jim Manley, Sax: Ray Vollmar, Backing Vocals: Liz Henderson Produced by: Gene Ackmann
2. I GET WEARY (J. Johnson-D.Steltenpohl-G. Ackmann) Lead Vocal: Charles Glenn, Piano: Johnnie Johnson, B3 Organ: Paul Willett. Guitar: Max Baker, Bass: Dickie Steltenpohl, Drums: Andy O’Connor Produced By: Gene Ackmann & Dickie Steltenpohl
3. EVERY DAY I HAVE THE BLUES (J. Chatman) Lead Vocal: Johnnie Johnson, Lead Vocal 2: Bruce Hornsby, Piano: Johnnie Johnson, Piano 2: Bruce Hornsby, Slide Guitar: Bonnie Raitt, Guitar: Bob Hammett, Organ: Greg Trampe, Bass: Gus Thornton, Drums: Kenny Rice Backing Vocals: Bonnie Raitt, Bruce Hornsby, Pat Liston Produced By: Gene Ackmann
4. LO DOWN (J. Rivers) Lead Vocal: Henry Lawrence, Piano: Johnnie Johnson, Guitar: Johnny Rivers, Bass: Gus Thornton, Drums: Mark Kersten, Bari Sax: Larry Smith Produced By: Gene Ackmann
5. LET THE GOOD TIMES ROLL (F. Moore-S.Thread) Lead Vocal: Kenny Rice, Piano: Johnnie Johnson, Slide Guitar: Bonnie Raitt, Guitar: Tom Maloney, Bass: Gus Thornton, Drums: Kenny Rice, Trumpet: Elliot Doc Simpson, Tenor Sax: Tom O’Brien, Trombone: Ray McAnallen Backing Vocals: Bob Hammett, Bonnie Raitt, Cindy Ankelman, Elliot Doc Simpson, Gene Ackmann, Laura Hanson, Seth Hutcherson Produced By: Gene Ackmann
6. THREE HANDED WOMAN (B.Raleigh-I.Taylor) Lead Vocal: Johnnie Johnson, Piano: Johnnie Johnson, Guitar: Tony T, Bass: Gus Thornton, Drums: Richard Hunt Produced By: Gene Ackmann
7. BROKE THE BANK (J. Johnson-D. Hommes-G. Ackmann) Lead Vocal: Johnnie Johnson, Harmonica: John Sebastian, Guitar: Tom Maloney, Bass: Gus Thornton, Drums: Kenny Rice, Tenor Sax: Ray Vollmar, Trumpet: Bill Sextro Backing Vocals: Amy Thorn, Bob Hammett, Gene Ackmann Produced By: Gene Ackmann
8. BLUES IN G (Instrumental) Piano: Johnnie Johnson, Guitar: Tom Maloney, Bass: Gus Thornton, Drums: Kenny Rice Produced By: Gene Ackmann
9. STAGGER LEE (R. Hunter-J. Hurt) Lead Vocal: Henry Lawrence, Piano: Johnnie Johnson, Guitar: Bob Hammett, Bass: Gus Thornton, Drums: Kenny Rice, Tenor Sax: Ray Vollmar, Trumpet: Bill Sextro Backing Vocals: Bob Hammett, Gene Ackmann, Laura Hanson, Liz Henderson, Pat Liston Produced By: Gene Ackmann
10. JOHNNIE JOHNSON BLUES (J. Rivers) Lead Vocal: Johnnie Johnson, Piano: Johnnie Johnson, Guitar: Johnny Rivers, Bass: Gus Thornton, Drums: Kenny Rice Produced By: Gene Ackmann
11. HEEBIE JEEBIES (J. Johnson-D.Steltenpohl-G. Ackmann) Lead Vocal: Charles Glenn, Piano: Johnnie Johnson, Guitar: Max Baker, Bass: Dickie Steltenpohl, Drums: Andy O’Connor, Percussion: Charles Glenn, Trumpet: Elliot Doc Simpson, Tenor Sax: Tom O’Brien, Bari Sax: Larry Smith, Trombone: Ray McAnallen Backing Vocals: Laura Hanson Produced By: Gene Ackmann & Dickie Steltenpohl
12. LONG GONE (Instrumental S. Thompson-Simpkins) Piano: Johnnie Johnson, Guitar: Tom Maloney, Bass: Gus Thornton, Drums: Kenny Rice Produced By: Gene Ackmann
2nd Disc — Johnnie Johnson interviews
I’m Just Johnnie Track Listing and Credits
1. I’M JUST JOHNNIE
(J. Johnson-G. Ackmann)
Lead Vocal: Johnnie Johnson
Piano: Johnnie Johnson
Guitar: Tony T
Bass: Gus Thornton
Drums: Kenny Rice
Trumpet: Jim Manley
Sax: Ray Vollmar
Backing Vocals: Liz Henderson
Produced by: Gene Ackmann
Published by: Gene Ackmann Music, BMI
2. I GET WEARY
(J. Johnson-D.Steltenpohl-G. Ackmann)
Lead Vocal: Charles Glenn
Piano: Johnnie Johnson
B3 Organ: Paul Willett
Guitar: Max Baker
Bass: Dickie Steltenpohl
Drums: Andy O’Connor
Produced By: Gene Ackmann & Dickie Steltenpohl
Published By: Gene Ackmann Music, BMI
3. EVERY DAY I HAVE THE BLUES
(J.Chatman)
Lead Vocal: Johnnie Johnson
Lead Vocal 2: Bruce Hornsby
Piano: Johnnie Johnson
Piano 2: Bruce Hornsby
Slide Guitar: Bonnie Raitt
Guitar: Bob Hammett
Organ: Greg Trampe
Bass: Gus Thornton
Drums: Kenny Rice
Backing Vocals: Bonnie Raitt, Bruce Hornsby, Pat Liston
Produced By: Gene Ackmann
Published By: BMG Music, Inc
4. LO DOWN
(J. Rivers)
Lead Vocal: Henry Lawrence
Piano: Johnnie Johnson
Guitar: Johnny Rivers
Bass: Gus Thornton
Drums: Mark Kersten
Bari Sax: Larry Smith
Produced By: Gene Ackmann
Published By: Rivers Music, BMI
(Johnny Rivers appears courtesy of Soul City Records, Inc)
5. LET THE GOOD TIMES ROLL
(F. Moore-S.Thread)
Lead Vocal: Kenny Rice
Piano: Johnnie Johnson
Slide Guitar: Bonnie Raitt
Guitar: Tom Maloney
Bass: Gus Thornton
Drums: Kenny Rice
Trumpet: Elliot Doc Simpson
Tenor Sax: Tom O’Brien
Trombone: Ray McAnallen
Backing Vocals: Bob Hammett, Bonnie Raitt, Cindy Ankelman ,
Elliot Doc Simpson, Gene Ackmann,
Laura Hanson, Seth Hutcherson
Produced By: Gene Ackmann
Published By: RYTVOC Inc
6. THREE HANDED WOMAN
(B.Raleigh-I.Taylor)
Lead Vocal: Johnnie Johnson
Piano: Johnnie Johnson
Guitar: Tony T
Bass: Gus Thornton
Drums: Richard Hunt
Produced By: Gene Ackmann
Published By: Marks Music Corp
7. BROKE THE BANK
(J. Johnson-D. Hommes-G. Ackmann)
Lead Vocal: Johnnie Johnson
Harmonica: John Sebastian
Guitar: Tom Maloney
Bass: Gus Thornton
Drums: Kenny Rice
Tenor Sax: Ray Vollmar
Trumpet: Bill Sextro
Backing Vocals: Amy Thorn, Bob Hammett,
Gene Ackmann,
Produced By: Gene Ackmann
Published By: Gene Ackmann Music, BMI
8. BLUES IN G
(Instrumental)
Piano: Johnnie Johnson
Guitar: Tom Maloney
Bass: Gus Thornton
Drums: Kenny Rice
Produced By: Gene Ackmann
Published By: Gene Ackmann Music, BMI
9. STAGGER LEE
(R. Hunter-J. Hurt)
Lead Vocal: Henry Lawrence
Piano: Johnnie Johnson
Guitar: Bob Hammett
Bass: Gus Thornton
Drums: Kenny Rice
Tenor Sax: Ray Vollmar
Trumpet: Bill Sextro
Backing Vocals: Bob Hammett, Gene Ackmann,
Laura Hanson, Liz Henderson,
Pat Liston
Produced By: Gene Ackmann
Published By: Irving Music, Inc
10. JOHNNIE JOHNSON BLUES
(J. Rivers)
Lead Vocal: Johnnie Johnson
Piano: Johnnie Johnson
Guitar: Johnny Rivers
Bass: Gus Thornton
Drums: Kenny Rice
Produced By: Gene Ackmann
Published By: Rivers Music, BMI
(Johnny Rivers appears courtesy of Soul City Records, Inc)
I’m late coming to this thoroughly enjoyable album by Kip London, but I can’t ignore it, since he was a product of Western Pennsylvania, as was I. But I can’t ignore it mainly because he created the brilliant music that graces this posthumous release.
Since London was a regional artist, primarily in the Pittsburgh and Boston areas, it’s useful to have a bit of personal history from his website to detail London’s musical journey.
“Kip London chose his craft at the young age of 11, got his first guitar, and never looked back, carving out a career as a talented artist with a phenomenal range and a gift for rhythmic improvisation in addition to his prolific songwriting. His early life in Western Pennsylvania in Braddock, McKeesport and Greensburg was filled with his mother’s love and the sounds of big band and swing orchestras in the background from the restaurant and bars where his Ma worked. He would sit nights listening from their upstairs apartments, babysat by his dog Scout. He was orphaned at the young age of 12, and life remained tough, with music providing purpose and solace. Music was his world, and the blues his vocation.
“He began playing in various Pittsburgh Rock ‘N’ Roll bands throughout the 70’s and 80’s before moving to Boston and immersing himself in its active music scene. Inspired by the folk music of Bob Dylan, Kip created a unique blues style that was eclectic and authentic. From solo artist to frontman to over half a decade as lead vocalist for a 15-piece orchestra in Boston, Kip’s raw and real style was his own in every incarnation. The Boston Globe called his work “straight ahead cool.” In March 1998, one of Kip’s earlier CD’s, Jump City, took its spot among music greats when it was listed along with B.B.King’s, Deuces Wild, and Bob Dylan’s, Time out of Mind as “the top ten most often listened to recordings in Blues Revue’s offices.”
“Returning to the “Burgh” in 2017 with his sweetheart and beloved bull terrier in tow, Kip brought his distinctive renditions and solos back to the rich legacy of his hometown music scene. He was the winner of the Blues Society of Western Pennsylvania’s annual Blues Challenge in the Solo/Duo category in 2021 and represented Western PA in the 37th Annual International Blues Challenge, held in May 2022 in Memphis. More than the accolades, though, it was always the music that satisfied his soul.“
“The Last Dance” grew from a series of sessions with veteran Pittsburgh rocker Norman Nardini at his East Side Sound Studio just before London’s death in 2022. Three-time Grammy winner Kirk Yano of Brooklyn, a recording engineer with well over 30 platinum and gold records among his credits, took those sessions and brought London’s final project to life.
Yano brought together a select group of musicians for the album. In addition to his own guitar and bass tracks, the musicians include 2021 Blues Music Award winner Solomon Hicks and Pittsburgh’s Cheryl Rinovato on guitar, Don Krueger and Tommy Rich on drums, Tony Paoletta on steel guitar, and six-time Blues Music Award winner John Németh on harp. The album was officially released at the 2025 Pittsburgh Blues and Roots Festival in July.
London’s music is filtered through the eclectic influences of artists like Dylan, blues, jump blues and swing bands. He combined that with sharp songwriting, expressive vocals somewhere between Dylan and Tom Waits, and impressive resonator guitar work to create a passionate musical voice.
These mostly original tracks open with the rocking “Hurricane,” driven hard by Németh on harp behind a fierce London vocal. It’s filled with the promise of the great music yet to come. “Drinking Tonight” is a thoughtful, folky tale of the false promises of “drinking tonight.”
“What’s the Matter Now” is a resonator-fueled, easy-swinging rhythmic delight: “One thing I like to know honey, why am I always to blame….” There’s more resonator on the delightfully sassy “Jitterbug Swing” with a sparkling guitar solo. The whimsical storytelling and style of “What Am I Doing Here” reminds me of Dylan’s “Leopard Skin Pillbox Hat,” and that’s a good thing.
“Time Goes On” is a gentle ballad that reflects on the passage of time: “Young and bolder, warm or colder, what’s the difference when you’re older.” “Up Jumps the Devil” and “he’s laughin’ at me” resonates with the authenticity of countless blues themes on yielding to temptation at the hands of the prince of darkness. “Useless” is a gently swinging ode to the futility of love with a delicate harp embroidery. “Roll Me Right” is an energetic bluesy shuffle that hits just like its title.
The closer is a powerfully raw version of the classic “Death Letter Blues” by the legendary Son House. London growls the lyrics behind wicked resonator licks and Németh’s unearthly harp moans. After a dramatic pause, London offers a hoarse whisper: “You can’t take it with you, you gotta face it on your own; I hope I get to see you when I finally get home.” It’s a finale that leaves you waiting for more.
Ron “Moondog” Esser, owner of Moondog’s house of blues music club in Blawnox, Pa, says, “I met Kip nearly four decades ago. I watched and admired his talents as he grew from a good singer/songwriter to one of the best I ever heard. He has written and performed dozens of songs ranging from folk to rock to swing. He is and will always be my best friend. See ya when I get there, Kip.”
“The Last Dance” is a marvelous tribute to an artist whose work should have been more widely known. There’s inspiration not just in his music, but in the life that led him through that music. Give Kip London a serious listen. You’ll be glad you did.
Here’s “Up Jumps the Devil” from the album:
Here’s London’s winning performance at the Blues Society of Western Pennsylvania’s annual Blues Challenge in the Solo/Duo category in 2021:
Tracklist: 1. Hurricane 2. Drinking Tonight 3. What’s the Matter Now 4. Jitterbug Swing 5. What Am I Doing Here 6. Time Goes On 7. Up Jumps the Devil 8. Useless 9. Roll Me Right 10. Death Letter Blues
“Rock and roll was in my head, the blues was in my heart.”
That line from the song “Willie Dixon’s Gone,” from his latest album, “Down the Hatch,” perfectly sums up the musical whirlwind that is Tom Hambridge.
Or, as he describes this rousing session:
“It is me being me. I love the blues, I love rock ‘n roll, I love Willie Dixon, I love Buddy Guy; this album is me doing what I love. It’s what I do; it’s in my blood.”
That helps explain Hambridge’s extensive career as a songwriter, singer and drummer, writing 1,000 songs, producing 100 albums, and working with everyone from Bo Diddley to Buddy Guy, including Guy’s most recent, “Ain’t Done With the Blues.” And just for a minute here, he’s enjoying the personal satisfaction of making music for himself.
Hambridge chose these songs because, “I wanted to do my version — the way I heard them in my head while writing them.” Some of the songs on this album were originally songs written or co-written by Hambridge for others, like “Every Time I Sing The Blues,” “Willie Dixon’s Gone” and “Believe These Blues.”
“Down the Hatch” follows Hambridge’s critically acclaimed 2023 album, “Blu Ja Vu.” His backers here include guitarists Rob McNelley, Bob Britt, and Tom Bukovac; keyboardists John Lancaster, Mike Rojas, Jimmy Wallace, Noah Forbes, and Kevin McKendree; bassists Tommy MacDonald, Anton Nesbitt, or Glenn Worf; Tim Lauer, accordion; and special guest Buddy Guy. (Full list of songs and credits at end of post.)
Hambridge opens by rocking out with “Willie Dixon’s Gone,” originally written with George Thorogood for an album that Hambridge produced. It’s a hard-driving ode to Dixon, the legendary singer, songwriter and producer who helped define Chicago blues and beyond. “Every Time I Sing The Blues” follows, a more traditional blues originally recorded by Eric Clapton and Buddy Guy. The lyrics reflect Hambridge’s philosophy: “I find my inspiration in tears and desperation. / Sad, sad stories we all know so well; / There’s always one more story to tell.”
“I Want You Bad” is a tough blues shuffle filled with descriptions of just how bad: “Doctor wants a patient, actor wants a line, judge wants a jury, the police want a crime.” The toughness continues relentlessly in “How Blues Is That”: “Went to Chicago tried to get a break, had lots of doors slammed in my face, sang on the corner, poured out my heart – how blues is that?”
“Hard Times” is more solemn, pounding out its mournful message: “Children of the future, better find a better way, doomsday’s ‘round the corner, gonna be some hell to pay.” Another straight-ahead rocker turns up on “What Does That Tell You,” with a deliciously rollicking piano: “I’d Like to call you sometime, but I’ve got my doubts. What does that tell you, baby? We both got things we need to figure out.”
“Believe These Blues” is a slow blues-rocker with a touch of blues philosophy: “I see bad things happening everyday … I see children going hungry, nothing on their plate, I believe these blues will always be around.” The explosive “Making Lemonade” squeezes the last drop out of his message: “I’m making lemonade, no money in the bank, no gas in my tank…I’m making lemonade, fifty cents a cup…I just laugh it up,”
“What Might Have Been” is a gently sung love song: “Thinkin’ ’bout what might have been, it hurts me seeing you with him, I’m deep into the blues again, thinkin’ ’bout what might have been.” It’s a nice changeup that lets you catch your breath before “You Gotta Go Through St. Louis,” a sparkling instrumental tribute to Chuck Berry (from St. Louis), with whom Hambridge played drums. Buddy Guy contributes furious guitar while Kevin McKendree rocks the keys like Johnnie Johnson did for Berry, all highlighting the road to the origins to rock ‘n’ roll.
“Start Drinking Early Day” is a whimsical lament on the quest to keep the whiskey river from running dry. The upbeat closer takes him on a more personal quest — “I Wanna Know About You”: “Are your stars aligned, is your head on straight, do you hide your dreams when you’re wide awake?”
Tom Hambridge’s says this is the music that comes from his heart (the blues) and his head (rock ‘n’ roll). That exhilarating musical blend creates the rousing soul of “Down the Hatch.” You’ll want more than one dose!
“Willie Dixon’s Gone” from the album:
Tracks & credits:
01 WILLIE DIXON’S GONE Written By Tom Hambridge, George Thorogood, Richard Fleming. | Published By Tom Hambridge Tunes (ASCAP),Dell Sound Publishing (BMI), Richard Fleming Music (BMI) Drums, Vocals Tom Hambridge – Guitars, Rob McNelley – Bass, Tommy MacDonald. 02 EVERY TIME I SING THE BLUES Written By Tom Hambridge, Gary Nicholson. | Published By Tom Hambridge Tunes (ASCAP), Gary Nicholson Music Admin. by Sony/ATV Cross Keys Publishing) (ASCAP) Drums, Vocals Tom Hambridge | Guitars Rob McNelley | Bass Tommy MacDonald | Keys John Lancaster
03 I WANT YOU BAD Written By Tom Hambridge, Richard.Fleming | Published By Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, Vocals Tom Hambridge – Guitars, Rob McNelley – Bass, Tommy MacDonald – Keys, John Lancaster.
04 HOW BLUES IS THAT Written By Tom Hambridge and Richard Fleming. | Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, Vocals Tom Hambridge | Guitars Rob McNelley | Bass Tommy MacDonald 05 HARD TIMES Written By Tom Hambridge and Richard Fleming | Published By Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, Vocals Tom Hambridge – Guitars, Rob McNelley – Bass, Tommy MacDonald – Keys, John Lancaster. 06 WHAT DOES THAT TELL YOU Written By Tom Hambridge, Richard Fleming. | Published By Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, VocalsTom Hambridge – Guitars, Bob Britt – Bass, Anton Nesbitt – Keys, Mike Rojas – Keys. 07 BELIEVE THESE BLUES Written By Tom Hambridge, Richard Fleming. | Published By Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, Vocals Tom Hambridge | Guitars Rob McNelley | Bass Tommy MacDonald | Keys Jimmy Wallace 08 MAKING LEMONADE Written By Tom Hambridge | Published By Tom Hambridge Tunes (ASCAP) Drums, Vocals Tom Hambridge | Guitars Tom Bukovac | Accordion Tim Lauer | Bass Tommy MacDonald 09 WHAT MIGHT HAVE BEEN Written By Tom Hambridge, Richard Fleming. | Published By Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, Vocals, Triangle, Tambourine Tom Hambridge – Guitars, Bob Britt – Keys, Noah Forbes – Bass, Tommy MacDonald. 10 YOU GOTTA GO THROUGH ST. LOUIS Written By Tom Hambridge | Published By Tom Hambridge Tunes (ASCAP) Drums, Tom Hambridge – Guitar, Buddy Guy – Guitar, Rob McNelley – Piano, Kevin McKendree – Upright Bass, Glenn Worf 11 START DRINKING EARLY DAY Written ByTom Hambridge, Richard Fleming. | Published By Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, Vocals Tom Hambridge | Guitars Rob McNelley | Bass Tommy MacDonald 12 I WANNA KNOW ABOUT YOU Written By Tom Hambridge, Richard Fleming. | Published By Tom Hambridge Tunes (ASCAP), Richard Fleming Music (BMI) Drums, Vocals Tom Hambridge – Guitars, Bob Britt – Bass, Tommy MacDonald – Keys, Noah Forbes
Somewhere in time and space (the last couple of years, anyway), I picked up on the seriously delightful music of Lil’ Red and the Rooster — Jen Milligan (Lil’ Red) and Pascal Fouquet (Rooster). Now it’s time to share that experience, with the release of their latest album, “7.”
Lil’ Red and the Rooster are a happy international union of Milligan (Columbus, Ohio), and Fouquet (France), and a delicious blend of their considerable musical talents.
That blend combines blues, soul, jazz and gospel with smart, thematic songwriting — or as Milligan has described it: “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 and you’re guaranteed a feel-good satisfaction.”
And there’s a big bunch of satisfaction in the seven original songs here. The music swings easily, bending genres and strings behind Milligan’s sweet, sassy and sultry vocals, floating on her sharp and sensitive lyrics. Fouquet’s guitar work is a masterwork of nuance, never overpowering, making elegant statements, always saying more with less — a talent that seems sadly overlooked these days. Grammy-nominee Bobby Floyd’s finely tuned piano and B3 work complete this joyous ensemble.
The additional cast behind all this effervescent music includes what they describe as their “Parisian rhythm section” — Jean-Marc Despeignes on bass and Pascal Mucci on drums, plus Jeff Morrow (Empire) as Mr. Saboteur, The Governor on bongos, Colin John on lap steel guitar, Bobbi Townes on vocals & tambourine, with Quan Howell and Kara Brooks on vocals. One of the album’s strong points is its fresh, vital sound, having been recorded live in the studio. Everybody sounds like they’re enjoying themselves, and that openness shines through.
The opening track is the magnificently conceived, gospel-drenched optimism of “Wild’s Rising,“ with its rollicking spirituality driven hard by Milligan’s vocals and backup choral tapestry preaching personal freedom. Fouquet’s guitar solo is inspired and inspiring. “Stack ‘Em Up Baby” is a lilting jazz tune with Fouquet’s lyrical guitar and Floyd’s tasty piano filigrees embellishing Milligan’s satin-smooth vocals — all with a smoky late-night club vibe.
“Is This Heart Taken” is a sultry love song with a funky blues flair that allows the group to stretch out midway. The “Melancholy Mood” sounds just like its title; it’s introduced with a gorgeously extended Fouquet solo, punctuated by a rolling B3 solo that drives away with the blues.
The instrumental “Midnight On the Rocks” delivers another gently swinging melody as Fouquet and Floyd play off each other’s tasty grooves. Milligan delivers a delicate, jazzy “Between the Lines,” showing off her meticulous phrasing and delivery. “Mr. Saboteur (aka Do the Donut)” opens with layered Latin rhythm leading into a whimsical tale of swapping a donut addiction for other pleasures that might make your eyes glaze over.
The closer is a deep blue version of the Freddie King classic, “Same Old Blues,” with Milligan’s torchy vocal lamenting its pain and pleasure. Floyd’s piano solo is a highlight, followed by Fouquet’s mood-perfect guitar. It’s a heartfelt tribute that preserves the original while making it their own.
It’s fair to say that Lil’ Red and the Rooster are not exactly household names in today’s blues world, despite their worldwide travels and performances. But it’s very fair to say that they should be. Their consummate musicianship, coupled with their ability to bend new life and style into their music, should put them on everybody’s (I’m looking at you!) short list to hear and thoroughly enjoy.
“7” is simply a gorgeous album, filled with great music, created by these talented artists to deliver their eloquent message of freedom and self-empowerment. Milligan’s philosophy bears repeating: “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 and you’re guaranteed a feel-good satisfaction.”
I’m feeling very satisfied!
Some closing notes: The CD versions of the album are only available at their live shows. Check their website for ordering a digital version, and just possibly scoring a CD, plus it’s available on all streaming platforms. The title? Not Mickey Mantle’s Number 7, as George Costanza demanded for a newborn’s name. Fouquet initially suggested it, but Milligan relates it to the dominant seventh chords that give blues its distinctive sound.
Here’s “Stack ‘Em Up Baby” from the album;
Tracklist: 1. Wild’s Rising 05:48 2. Stack ‘Em Up Baby 04:42 3. Is This Heart Taken 03:27 4. Melancholy Mood 06:34 5. Midnight On the Rocks 03:18 6. Between the Lines 05:47 7. Mr. Saboteur (aka Do the Donut) 03.48 8. Same Old Blues (Bonus track) 05.28
Musicians: Jen “Lil’ Red” Milligan – vocals, washboard, claps Pascal Fouquet – guitars Bobby Floyd – B3 organ, piano, tambourine, claps Jean-Marc Despeignes – bass Pascal Mucci – drums The Governor – percussion – Tracks 3, 5, 7 Colin John – lap steel guitar – Track 3 Jeff Morrow – vocals – Track 3 Bobbi Townes – vocals, tambourine, claps, – Track 1 Quan Howell – vocals – Track 1 Kara Brooks – vocals – Track 1 Producer – Lil’ Red, Lil’ Red Records Vocal Arrangements – Bobby Floyd (Track 1), Jeff Morrow (Tracks 3 & Lil’ Red)
Blues Roadhouse 