Blues Roadhouse

The nominations have been announced for the 2023 Blues Music Awards. Ceremonies to announce the winners will be held May 11 Memphis, presented by The Blues Foundation.

Topping the list of BMA nominees is John Németh, with five nominations, Song of the Year, Traditional Blues Album, Band of the Year, Instrumentalist – Harmonica, and Instrumentalist – Vocals, which he won in 2022.
 
44th Blues Music Award Nominees

B.B. King Entertainer of the Year
Sugaray Rayford
Tommy Castro
Eric Gales
Bobby Rush
Mr. Sipp (Castro Coleman)

Band of the Year
Anthony Geraci & The Boton Blues Allstars
John Németh and the Blue Dreamers
Rick Estrin and the Nightcats
Southern Avenue
Tedeschi Trucks Band

Song of the Year
Altered Five Blues Band “Great Minds Drink Alike” (Jeff Schroedl)
Buddy Guy “The Blues Don’t Lie” (Tom Hambridge)
Eric Gales “I Want My Crown” (Eric Gales, Joe Bonamassa)
John Németh “The Last Time” (John Németh)
Shemekia Copeland “Too Far to Be Gone” (John Hahn/Will Kimbrough)

Best Emerging Artist Album
Blue Moon Marquee / Scream, Holler & Howl
DaShawn Hickman / Drums, Roots & Steel
Dylan Triplett / Who Is He?
Jose Ramirez / Major League Blues
Yates McKendree / Buchanan Lane

Acoustic Blues Album
Charlie Musselwhite / Mississippi Son
Corey Harris / The Insurrection Blues
Duwayne Burnside / Acoustic Burnside
Harrison Kennedy / Thanks for Tomorrow
Rory Block / Ain’t Nobody Worried

Blues Rock Album
Albert Castiglia / I Got Love
Bernard Allison / Highs & Lows
Colin James / Open Road
Eric Gales / Crown
Tinsley Ellis / Devil May Care

Contemporary Blues Album
Buddy Guy / The Blues Don’t Lie
Diunna Greenleaf / I Ain’t Playin’
Janiva Magness / Hard to Kill
Larry McCray / Blues Without You
Shemekia Copeland / Done Come too Far

Soul Blues Album
Kat Riggins / Progeny
Kirk Fletcher / Heartache by the Pound
Sugaray Rayford / In Too Deep
The Love Light Orchestra / Leave the Light On
Trudy Lynn / Golden Girl

Traditional Blues Album
Kenny Neal / Straight From the Heart
Bob Corritore / Bob Borritore & Friends: You Shocked Me
Duke Robillard / They Called it Rhythm & Blues
John Németh / May Be the Last Time
John Primer / Hard Times

Acoustic Blues Artist
Doug MacLeod
Guy Davis
Harrison Kennedy
Rhiannon Giddens
Rory Block

Blues Rock Artist
Walter Trout
Albert Castiglia
Tommy Castro
Joanne Shaw Taylor
Tinsley Ellis

Contemporary Blues Female Artist
Ruthie Foster
Beth Hart
Janiva Magness
Teresa James
Vanessa Collier

Contemporary Blues Male Artist
Selwyn Birchwood
Chris Cain
Christone “Kingfish” Ingram
Ronnie Baker Brooks
Mr. Sipp (Castro Coleman)

Soul Blues Female Artist
Annika Chambers
Trudy Lynn
Thornetta Davis
Kat Riggins
Vaneese Thomas

Soul Blues Male Artist
John Németh
Johnny Rawls
Curtis Salgado
Don Bryant
Billy Price

Traditional Blues Female Artist (Koko Taylor Award)
Dietra Farr
Diunna Greenleaf
Rhiannon Giddens
Rory Block
Sue Foley

Traditional Blues Male Artist
Billy Branch
Duke Robillard
John Primer
Johnny Burgin
Sugar Ray Norcia

Instrumentalist – Bass
Bob Stronger
Danielle Nicole
Larry Fulcher
Michael “Mudcat” Ward
Willie J. Campbell

Instrumentalist – Drums
Chris Layton
Cody Dickinson
Derric D’Mar Martin
Kenny “Beedy Eyes” Smith
Tony Braunagel

Instrumentalist – Guitar
Chris Cain
Christoffer “Kid” Andersen
Joanna Connor
Kirk Fletcher
Laura Chavez

Instrumentalist – Harmonica
Billy Branch
Bob Corritore
Jason Ricci
John Németh
Dennis Gruenling

Instrumentalist – Horn
Deanna Bogart
Gregg Piccolo
Jimmy Carpenter
Mark Kaz Kazanoff
Sax Gordon Beadle

Instrumentalist – Piano (Pinetop Perkins Piano Player Award)
Anthony Geraci
Ben Levin
Dave Keyes
Jim Pugh
Kenny “Blues Boss” Wayne

Instrumentalist – Vocals
Curtis Salgado
Danielle Nicole
Diunna Greenleaf
John Németh
Shemekia Copeland

Vote here for the 44th Blues Music Awards. You must be a member of The Blues Foundation to vote.
Join here or login to your membership account

It’s time once again to stop and wish everyone a Merry Christmas or Happy Holidays or a good day of your choice, whatever it may be.

That means I get to share my favorite Christmas song, a YouTube version, which features special animation just for this occasion.

And I also get to offer some holiday libation advice.

I always recommend leaving a little something out for Santa. I find that milk and cookies do little to lift the holiday spirits, so I heartily recommend some bourbon and brownies. And I also recommend not leaving much of them for Santa, if he ever does show up. I’m still waiting.

But maybe you’re a beer person. In that case, I recommend one of the many beers produced specifically with the Christmas season in mind. And since I’m kind of a beer snob, that means a Belgian ale, where they take some of the world’s best beers and offer special holiday versions.

Since one of my favorite Belgians is the darkly delicious St. Bernardus Abt 12, and once again this year I’ve made the brewery’s Christmas Ale my holiday choice. It’s slightly more sprightly than the Abt 12, but still with enough warmth and cheer to accompany some fine seasonal blues.

None of this, of course, means that you are somehow obligated to celebrate the actual Christmas. Enjoy whatever holiday, or day, that you like — enjoy being the key word.

So, a very merry, happy, peaceful version of whatever you want to celebrate.

And here is my favorite Christmas song, “White Christmas,” by the great Clyde McPhatter and the Drifters, with special animation.

Janis Joplin & Jorma Kaukonen — “The Legendary Typewriter Tape” — Omnivore Recordings

The complete title, which wouldn’t fit in that line above, because my design standards, is more explanatory: “The Legendary Typewriter Tape: 6/25/64 Jorma’s House.”

It’s a very personal look at two artists in the making. Joplin would soon join Big Brother & the Holding Company and go on to be — Janis Joplin.

Kaukonen would go on to join the Jefferson Airplane and then Hot Tuna bands.

This all-too-brief album was the result of the taping by Kaukonen of a rehearsal session between himself and Joplin at his house on Fremont Street in Santa Clara, Calif. — more than half a century ago.

They were both young: Joplin 21; Kaukonen 23. They were in process of becoming the stars they would become in just a few years.

Janis was fascinated by the early women blues singers, and that’s what comes through in the raw, honest simplicity of this music. Even though she didn’t really perform this kind of music later, you can feel how she had already absorbed the blues into her persona.

The songs are a handful of classic, traditional blues: “Trouble in Mind,” “Long Black Train,” “Kansas City Blues,” “Hesitation Blues,” “Nobody Knows You When You’re Down and Out,” and “Daddy, Daddy, Daddy.” There’s a little bit of chatter here and there as they discuss what to play. And the tapping heard occasionally in the background — Kaukonen’s wife Margareta typing a letter — is what gives this session its name, the typewriter tape.

Despite its lack of polish and production, this is the best kind of music. It’s two young performers exploring their possibilities. It’s plain and simple acoustic music, but filled with the complexities of the songs, and you can hear Janis testing her ability to convey their passion. You can hear the formative notes of her later, powerful style.

It’s also the kind of music you should hear even if it comes 58 years too late.

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Jorma Kaukonen 2016 interview on the “Typewriter Tape” from KQED.

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“Hesitation Blues” from the album:

Track list:

1. “ARE WE TAPING NOW?” (dialog)
2. TROUBLE IN MIND
3. LONG BLACK TRAIN
4. KANSAS CITY BLUES
5. HESITATION BLUES
6. NOBODY KNOWS YOU WHEN YOU’RE DOWN AND OUT
7. “HOW ‘BOUT THIS?” (dialog)
8. DADDY, DADDY, DADDY

The Hungry Williams — “Let’s Go” — Rochelle Records

This swinging little album has been around since September, and every time I’ve played the music, I’ve reminded myself that I needed to write about it.

Obviously, I did not.

But now I am.

Charles “Hungry” Williams was a great New Orleans drummer, and John Carr is a fine Milwaukee drummer. Their two worlds collided in 1995 when Carr heard some old ’50s R&B and got an itch to make some of that music himself.

And when he finally scratched that itch, somewhere around 2015, he had the name ready — The Hungry Williams.

They put together their first album, “Brand New Thing,” in 2019, but Carr still wasn’t satisfied — he still wasn’t hearing that sound on record that he had in his head.

Until he heard a song by the California Honeydrops, with just the right sense of warmth and presence that he wanted. Carr lured the engineer of that sound, Jacob LaCally, to help create what would become the relaxed, swinging and spontaneous vibe of the music on “Let’s Go.”

For the session, Carr assembled a cast of veteran players designed to produce that sound: bassist Mike Sieger, lead vocalist Kelli Gonzalez, former bandmates guitarist/vocalist Joe Vent and keyboardist Jack Stewart. For this album, Carr added Jason Goldsmith on tenor and Casimir Riley on baritone sax.

All of that led to this sprightly album of New Orleans-tinged music that slings around some R&B, a little Latin feel, and best of all, a lot of fun.

It all kicks off with “Mardi Gras Day,” an original by Carr and Gonzalez (released earlier this year in time for that celebration), with a joyous romp featuring a Gonzalez vocal and a terrific second-line trumpet solo by Lech Wierzynski of the Honeydrops.

Stewart wrote the next cut, “Movin’ On,” as tribute to Fats Domino and Dave Bartholomew. And most of the band joins Gonzalez on LaVern Baker’s “You’d Better Find Yourself Another Fool.” Then something that harks back to Big Maybelle, “One Monkey Don’t Stop No Show.” “Gee Baby” is a New Orleans chestnut originally recorded by the duo Joe & Ann.

“Boss Man” is another NOLA rhythmic Carr/Gonzalez original, horn-laced, with a nod to the other big boss man Jimmy Reed, followed by “Big Mouth Betty,” a Gonzalez original with a light R&B flavor. Then it’s “Oooh Wow” another NOLA classic by Domino’s guitarist, Roy Montrell. Guitarist Joe Vent gives the vocals his touch with some more great horns (they’re actually everywhere on the album – one of its brightest spots).

Gonzalez follows with “Then I’ll Believe” a rousing gospel-flavored song from Martha Carter. Then a strong secular finale from Carr and Gonzalez again, “669 (Across the Street from the Beast),” with the appropriate shoutout to Old Scratch himself, who may well be the man on the sax.

One of the best things I can say about this fine album is that it’s just a hell of a lot of fun. The band snaps, the vocals crackle, and the whole thing just joyously pops. Everything just fits, which is a tribute to Carr’s vision of gathering the cast together in a room and making great for you to enjoy. Which you definitely should.

“Movin’ On,” from the album:

About the songs:

“Mardi Gras Day” A Carr/Gonzalez original
that was originally was released in February,
2022, for the holiday. At the session, Carr
realized the track really needed a trumpet
solo. LaCally knew Lech Wierzynski from the
California Honeydrops. And again, thanks to
the internet, Lech added just the right flavor
of a second line marching down the street.

“Movin’ On” This is a Stewart original that
features the classic strolling Fats Domino
rhythm of countless rock ’n’ roll singles.
Stewart says, “‘Movin’ On’ is my tribute to Fats
and Dave Bartholomew. The band and Jacob
capture that spirit.”

“You’d Better Find Yourself Another Fool”
The Hungries love to sing, and you’ll hear that
in this Lavern Baker number.

“One Monkey Don’t Stop No Show” Who
doesn’t love Big Maybelle? The Hungry
Williams REALLY do. This is one of three songs
of hers in the repertoire.

“Gee Baby” A classic NOLA single, it’s been in
the Hungries’ library since the beginning.

“Boss Man” A Carr/Gonzalez original. Carr
says, “This song came to me in a matter of
minutes. Half an hour later I had a demo to
share with everyone. That never happened to
me before.”

“Big Mouth Betty” A Gonzalez original, she
says, “It isn’t really about any person and
it’s not autobiographical, despite popular
opinion. I just thought it would be fun to tell
a little story.”

“Oooh Wow” A NOLA R&B classic by Fats’s
guitarist, Roy Montrell. This features lead
vocals by Vent.

“Then I’ll Believe” Gospel tinged song from
classic NOLA label Ron Records, this has been
in the book from the very beginning.

“669 (Across the Street from the Beast)”
This was a joint effort from Carr, Gonzalez, and
Vent. At the studio, the plan was to record
long enough for a fade, but once the band got
going, it was too much fun to stop. So, what’s
it like having Satan for a neighbor? You’ll have
to listen to find out

Yates McKendree — “Buchanan Lane — Qualified Records

It’s always a pleasure to find new talent to write about and recommend for your listening pleasure.

The trouble with describing 21-year-old Yates McKendree as new talent, however, is that he has more than 10 years of professional experience under his belt (or wherever one keeps such experience).

While still in high school, Yates worked as both a player and engineer on projects that included Delbert McClinton and John Hiatt. In January 2020, Yates earned a Grammy for his role as an engineer and a musician on McClinton’s “Tall Dark & Handsome” album.

And before that, he was something of a child prodigy, picking out melodies on piano and organ at home with his father, the very notable, award-winning producer, engineer, and piano man, Kevin McKendree. Eventually, he grew into the piano, organ, drums, guitar and bass. Not to mention singing and songwriting.

We didn’t get to hear most of those musical growth spurts when they happened, but with this fine debut album, we get to discover the range of his talents in one sparkling session.

The session kicks off with the lighthearted, jazzy “Out Crowd,” a Kevin and Yates original instrumental keyboard duet tribute to the Ramsey Lewis hit, “The In Crowd.”

That’s followed by a quickstep toward the blues, with Yates on a sprightly cover of an old B.B. King cut, the Latinesque “Ruby Lee,” with Yates’ stinging guitar. Next, a pair of originals written with Nashville Songwriters Hall of Famer Gary Nicholson: “Wise” and “No Justice,” a pair of slow and torchy blues that explore various sides of lost love, especially when it involves fiery guitar solos.

The next batch of songs are classy covers of some classic blues and R&B material: “Brand New Neighborhood” (Fletcher Smith), “Always a First Time” (Earl King), “Papa Ain’t Salty” (T-Bone Walker), “No Reason” (Carmen Davis), “Qualified” (Dr. John), “It Hurts to Love Someone,” with more feisty guitar (Guitar Slim), then back with some elegant keyboard for “Wine, Wine, Wine” (Jimmy Binkley), and “Please Mr. Doctor” (Tampa Red). A swinging original instrumental, the B3-haunted “Voodoo,” tormented by an evil guitar, is the closer.

The excellent musical cast assembled here allows the entire project to float along effortlessly behind Yates’s accomplished vocals, swinging or stinging as needed. That includes Steve Mackey, upright bass; Big Joe Maher, drums; Jim Hoke, sax; Andrew Carney, trumpet; Roland Barber, trombone. Those horns, by the way, add just the right punch, and the appropriate B3 summons up deep, rolling emotions. The McCrary Sisters provide background vocals. Kevin McKendree doubles as engineer and keyboard maestro.

The album title, Buchanan Lane, is the street on which the McKendrees live and learn their art.

Buchanan Lane is also a first-rate first album, filled with the fresh music of an outstanding new talent (if you don’t count his last 15 years or so).

Here’s “No Justice’:

Tracklist:

1. Out Crowd (2:45)
2. Ruby Lee (3:45)
3. Wise (3:29)
4. No Justice (4:27)
5. Brand New Neighborhood (2:28)
6. Always A First Time (3:58)
7. Papa Ain’t Salty (2:52)
8. No Reason (2:46)
9. Qualified (4:46)
10. It Hurts To Love Someone Else (3:18)
11. Wine, Wine, Wine (2:49)
12. Please Mr. Doctor (3:56)
13. Voodoo (3:11)

Angela Strehli — “Ace of Blues” — Antone’s Records

It only took Angela Strehli about 17 years to follow up her last album (“Blue Highway” from 2005), but thankfully she decided that at 76, she was too young to retire from the world of music.

The result is this fine, bluesy album of songs by artists who inspired her long and impressive musical career.

Why now? Here’s how Strehli explained it in an interview with the “Texas Standard”:

My dear husband, Bob Brown, looked at me and said, shortly after my last birthday, “Look, don’t you think it is time for you to make a record? I think your fans would like to hear from you after 16 years,” or whatever it was at the time. So I didn’t have a comeback for that. And I started thinking, and I said, “Well, I don’t have any original material.” But that’s when Bob came up with the concept of tipping my hat to the people who had inspired me by doing one of their songs that was not well-known by people so that they would be hearing something fresh.”

And it’s exactly that. Fresh. Sparkling. All thoroughly enjoyable. Strehli’s vocals still work magic with the lyrics, backed by musicians who know just how to highlight those vocals.

The songs may not all be exactly well known, but they are mother’s milk to blues fans. And an excellent remembrance of the Lubbock, Texas, native’s ability to turn any song into her own.

The session opens with the fine Bobby “Blue” Bland song, “Two Steps from the Blues,” a wistful ballad, beautifully rendered. That’s followed by a swinging reading of the old R&B-type number, “Person to Person,” recorded by many, but first, I believe, by Mildred Anderson.

“Ace of Spades” follows, a crackling classic by O.V. Wright tune, with some verses added to provide a little personal history of how Strehli came to be known as “Ace” in her years at Austin’s Antone’s, the blues club that she co-founded. And whose record label has been revived for this album, and one hopes, similarly fine future efforts.

“I Love The Life I Live” is tough little philosophic blues by the great and prolific Willie Dixon, as slyly recorded by Mose Allison. “You Never Can Tell” is the festive rocker with joyous piano by Chuck Berry about a teen-age wedding (featuring one of my all-time favorite lyrics, “…the coolerator was crammed with TV dinners and Ginger Ale…”).

“Gambler’s Blues” is a stinging guitar-first take on B.B. King’s version, with a fine guitar lead-in and solo midway. Another great blues is Strehli’s version of Howlin’ Wolf’s “Howlin’ For My Darling.” Then there’s her soulful take on Otis Clay’s “Trying To Live My Life Without You,” followed by a deep-throated version of Jimmy Reed’s “Take Out Some Insurance.” The final covers are Little Milton’s punchy “More and More,” and the rousing gospel of Dorothy Love Coates’ “I Wouldn’t Mind Dying.”

The set concludes with Strehli’s original “SRV,” a tearful tribute to the great Stevie Ray Vaughan, whose friend she became in her Austin years.

The entire album is also a fitting tribute to Angela Strehli’s contributions to and influence on the Texas blues scene during her years reigning as the queen of the scene at Antone’s. But it’s more than just memories. It’s damn good music. Like fine wine or good whiskey, it just gets better (I prefer the whiskey, neat please!).

Here’s “I Wouldn’t Mind Dying”:

Just for fun, here’s a look at Angela in her early years, with Stevie Ray and Jimmie Vaughan:

“Ace of Blues” Track list:

Two Steps From The Blues
Person To Person
Ace Of Spades
I Love The Life I Live
You Never Can Tell
Gambler’s Blues
Howlin’ For My Darling
Trying To Live My Life Without You
Take Out Some Insurance
More And More
I Wouldn’t Mind Dying
SRV

Dave Keyes — “Rhythm Blues & Boogie — Blue Heart Records

I’ve always been a fool for fine piano music — blues, boogie and otherwise.

Which why this tasty new album by veteran keyboard whiz Dave Keyes hits all the right notes. (And yes, Keyes is his name as well as his game.)

His bio will give you a few facts:

New York City native keyboardist, singer and songwriter Dave Keyes is a 30-year veteran of the blues, roots, and Americana music scene. The three-time Blues Music Award nominee, who has released six highly acclaimed albums under his own name, was named the “Best Unsigned Artist” by Keyboard magazine

His music will tell you much more.

Keyes adds world-weary vocals to tireless piano stylings that rock, romp, boogie and sometimes pianissimo their way through a set of mostly originals (plus one cover) with considerable feeling for music just keeps moving right along.

The album kicks off with “Shake Shake Shake,” a rollicking invitation to dance your way onto the floor where the music flows, highlighted by a spirited sax solo, followed by “That’s What The Blues Are For,” a bouncy blues with liquid guitar work. “Blues and Boogie” is next, a romp through some of each.

Next is a little gem with just Keyes and his keys on the plaintive Wille Nelson chestnut, “Funny How Time Slips Away,” filled with just the right amount of heartache and melancholy; a late-night ode to lost love.

Then he bounces back with “Ain’t Doing That No More,” soaring along with a rhythmic taste of New Orleans second-line flavor; followed by “Ain’t Going Down,” a tough, percussive anthem of survival.

Then it’s time for a bombastic boogie-woogie instrumental on “WBGO Boogie,” titled after a Newark jazz and blues radio station. He romps, he stomps, his left hand driving a right hand that knows exactly what it’s doing. “Not Fighting Anymore” carries Latin rhythms into and out of a relationship struggle.

“Invisible Man” is a loping lament about finding a woman — “your mind is taking orders that your body can’t fill” — aided by the incomparable Doug MacLeod on acoustic guitar with a little vocal advice.

It all wraps up nicely in the anthem-like “7 O’clock Somewhere,” a romping tribute to front-line workers driven hard by Keyes’ piano and stinging guitar.

This a fine, fun album full of Dave Keyes’ sparkling piano and sharp vocals. Plus great music from his bandmates. What more can a music lover ask?

Here’s a video of “That’s What The Blues Are For”:

Track List, Credits & Musicians:

The Grammy awards do not exactly cover the full spectrum of blues music, having just two specific categories, but the nominees give the music a certain mainstream perspective.

Best Traditional Blues Album

For albums containing greater than 50% playing time of new vocal or instrumental traditional blues recordings.

• Heavy Load Blues
  Gov’t Mule
• The Blues Don’t Lie
  Buddy Guy
• Get On Board
  Taj Mahal & Ry Cooder
• The Sun Is Shining Down
  John Mayall
• Mississippi Son
  Charlie Musselwhite

Best Contemporary Blues Album

For albums containing greater than 50% playing time of new vocal or instrumental contemporary blues recordings.

• Done Come Too Far
  Shemekia Copeland
• Crown
  Eric Gales
• Bloodline Maintenance
  Ben Harper
• Set Sail
  North Mississippi Allstars
• Brother Johnny
  Edgar Winter

Billy Price — 50+ Years of Soul — Get Hip Recordings

Billy Price may well be one of the best-kept secrets in soul music, unless you live in the Pittsburgh-Washington D.C. music axis or happen to be one of his many appreciative fans in Europe.

Since I’m from the Pittsburgh area, I’ve known Billy Price, and watched him perform, for many of the 50+ years in the title of this excellent career retrospective.

So it’s no surprise to me that this 3-CD set packed with 41 delicious songs that span his thankfully ongoing career is full of sweet, satisfying soul music.

It’s not like Price had to work very hard to fill this exemplary set. With the Keystone Rhythm Band, then the Billy Price Band, plus solo projects, he has released 20 albums, CDs, and DVDs. Not to mention the live shows he’s performed over the years.

To give you a brief overview of the man’s credentials: “This Time for Real”, an album with the late Chicago soul singer Otis Clay, received a 2016 Blues Music Award in the category of Best Soul Blues Album of 2015. His 2018 album “Reckoning,” produced by Kid Andersen at Greaseland Studios for Vizztone, was nominated for a 2019 Blues Music Award in the category of Best Soul Blues Album of 2018. His 2019 album “Dog Eat Dog,” also produced by Andersen, was nominated for a 2020 BMA for Best Soul Blues Album of 2019. He was also nominated for a 2020 BMA for Best Male Soul Blues Artist. Oh, and early in his career he recorded as a vocalist with the late and very great guitar wizard Roy Buchanan.

And at this writing, Price is preaching to European audiences while touring with Anthony Geraci the Boston Blues Allstars.

The nature of soul music is that so much great music has already been written and sung, and much of Price’s early works covered the greats — Al Green, O.V. Wright, Bobby “Blue” Bland and more. But that’s just fine. There’s nothing wrong with being an interpreter of great music (there are still hundreds of cover orchestras interpreting Mozart!). And Billy worked hard to fill his bands with crack musicians and arrangements that always honored their source.

The first of the three discs here highlight some of that work, with a sprinkling of original material. Discs two and three sort of reverse that, adding more originals with a sprinkling of covers.

Price’s music ranges from tender to tough, hitting all the nuance in between, matching soulful vocals and ever-sharp horns, a soul music feature that Price has absorbed, polished and makes shine in everything he does.

An excellent microcosm of just how all of this works can be found on track 14 of Disc One. It’s a medley of three great songs, starting off with the Bobby Bland classic, “Cry, Cry, Cry,” moving into a Price original, “BP’s Dream,” then the O.V. Wright chestnut “Eight Men & Four Women,” and finally wrapping it back into “Cry,” all filled with passionate vocals, complete with the soulful pleading and testifying that mark Price’s style.

I’m not gonna write about all of those 41 tracks, except to testify myself about their scope and quality. This an exciting set of music by Billy Price. His vocals preach and plead, his bands crackle with kickass horns and sharp guitar work (some of the sharpest from the late Pittsburgh guitar great Glenn Pavone). Old fans will find great music to revisit, newcomers will just find great music.

Make that great soul music.

If you want to see a complete list of all those song credits, including composers and musicians (they’re not in the excellent CD notes by Price on his musical history), you can enjoy yourself with this comprehensive list from Price’s web site.

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Here’s a great live performance of one of the cuts, “It Ain’t a Juke Joint Without the Blues”:

Track list:

Disc 1
1 I Know It’s Your Party (I Just Came Here to Dance) (Live Version)
2 Why Can’t We Be Lovers
3 Lifestyles of the Poor and Unknown
4 This Time I’m Gone for Good
5 When the Lights Came on
6 Absolute Love
7 Nothing Stays the Same Forever
8 This Magic Hour
9 It Ain’t a Juke Joint Without the Blues
10 No Matter How You Turn or Twist It
11 Soul Sailin’
12 You Don’t Exist No More
13 You’ve Got Bad Intentions
14 The Jury of Love: Cry Cry Cry – BP’s Dream – Eight Men & Four Women

Disc 2
1 Real Time
2 Let’s Get Married
3 Free
4 Under the Influence
5 Is It Over?
6 Power of Love – I Didn’t Know the Meaning of Pain (Live Version)
7 My Love Comes Tumbling Down
8 One and One
9 Slipped, Tripped, and Fell in Love
10 The Big Show
11 Since You’ve Gone Again
12 The Hard Hours
13 Something ‘Bout ‘Cha (Live Version) – That’s How It Is (Live Version) – Blind Man
14 39 Steps

Disc 3
1 Let’s Go for a Ride
2 Beautiful Feeling
3 Part Time Love
4 Your Time to Cry
5 Can I Change My Mind (Live Version) – Is It Something You’ve Got
6 Don’t Leave Me Starving for Your Love
7 I Can’t Lose the Blues
8 Mine All Mine All Mine (Live Version)
9 Love Ballad
10 Who You’re Working for
11 I Betcha Didn’t Know That
12 Ain’t It Funky Now – Back from the Dead
13 Dangerous Highway

Duwayne Burnside — “Acoustic Burnside” — Dolceola Recordings

There is so much new music floating around these days that’s based on the blues, incorporates the blues or updates the blues, and there’s absolutely nothing wrong with that. Much of it is inspired, exciting music.

But sometimes, you just want to hear the blues. In this case, the North Mississippi Hill Country blues.

That’s why I love this new album by Duwayne Burnside, son of the late, legendary R.L. Burnside — it’s the blues in raw and primeval form, its roots nurtured in the fertile Mississippi blues soil that Burnside calls home.

It’s just the power of Burnside’s rich, rugged vocals, propelled by his acoustic guitar, exploring vital, classic blues material.

He’s been an exciting electric guitarist for decades, but this is his first new album in 17 years, recorded almost like field recordings in the area around Burnside’s home in Holly Springs, Miss., in 2018 and 2019.

“Although I’ve never stopped playing shows, this album is a rebirth for me,” Burnside says. “It puts me in the game again, but it’s perfect, too, because playing stripped down like this, you can hear this music come right out of my heart because that’s where my daddy put it.”

The album kicks off with the hypnotic messaging of “Going Down South,” “Jumper on the Line” and “Poor Black Mattie,” three of his father’s songs. “When I play them,” he says, “I’m doing my best to show respect and love for him and the music. When I play on acoustic guitar, especially, it goes back even further, because this music started without electricity. I think about all the musicians who came up from the early days, out of the Delta and the hills, and took their music to the big cities and all around the world. It makes me feel like I’m a part of all that history.”

Next, he shows his respect and creativity with his own “She Threw My Clothes Out,” followed by “Alice Mae,” written by R.L. Burnside for Duwayne’s mother. That’s followed by Burnside’s rhythmic version of the very traditional, very classic Robert Johnson song, “Dust My Broom.”

Those are followed by “Meet Me In the City,” “Stay All Night,” an alternative take of “She Threw My Clothes Out,” the Roosevelt Sykes chestnut “44 Blues,” “Bad Bad Pain,” and the album closer, “Lord Have Mercy On Me,” by Burnside’s neighbor Junior Kimbrough, one of the founding fathers of the hill country style.

They all combine to create a unique recording of earthy, gritty blues that’s filled with authentic, soulful music. And that feel requires a shoutout to Pinkie Pulliam on bass and Dan Torigoe on piano, who complete the sound on these sessions.

Torigoe, not incidentally, is the founder of this record label, Dolceola Recordings. He says that his label is “focused on analog field recording of American traditional music, with love and adoration for the great field recorders. I love R.L.’s first recordings made in 1968 by George Mitchell and wanted to make a sort of modern version of it with the current generation. So, while Duwayne is renowned for his solid electric guitar playing with influences from modern blues, the musical tradition of his father and his community is rooted very deep in his body and soul, and we wanted to capture that in a more primitive way.”

And they have done just that, recording the blues the way they were meant to be heard. If you watch the video at the end (I hope you do!), you’ll see Burnside on his front steps with some of that recording equipment, catching the music exactly as its created.

It may indeed be primitive by today’s digital standards, but so is the blues. If you’re a fan, don’t miss this album. If you haven’t been, listen to some of the origins of American popular music.

Here’s Duwayne Burnside with “Dust My Broom”:

Track list

1. Going Down South
2. See My Jumper Hanging on the Line
3. Poor Black Mattie
4. She Threw My Clothes Out
5. Alice Mae
6. Dust My Broom
7. Meet Me in the City
8. Stay All Night
9. She Threw My Clothes Out (Alternative Take)
10. 44 Pistol
11. Bad Bad Pain
12. Lord Have Mercy On Me