Blues Roadhouse

Elly Wininger – “The Blues Never End” (Earwig, Sept. 17)

Elly Wininger is two wonderful things: A throwback to the golden age of folk and blues artists of the 1960s and ’70s, and a contemporary singer/songwriter whose music is just as vital and engaging now as it was a half-century ago.

And it was almost a half-century ago when a very young Elly Wininger performed on opening night of the historic CBGB (for Country, BlueGrass & Blues) club in New York City’s East Village in 1973. The club soon became a punk rock and new wave hotspot, but Elly stuck with the music that had caught her ear when she listened to old blues on her parents’ 78rpm records. (Some of you might actually remember those!) She also stuck with the Village folk and blues scene, and we are still getting the benefit of those years.

She has continued to write, sing, produce, host workshops and make albums — this one is her fifth since the late ’90s. And she is a member of New York Blues Hall Of Fame.

This latest album, filled with some great older material and four originals, turns the melancholy title song into a positive statement about music that still has a lot of life left. Some of it is timeless material from some of the greats. Elly’s four originals do their best in the same tradition, including the title track. She has an effortless, fluid guitar style, with vocals to match.

Here’s the track list from the album, with Elly’s notes about each song (shamelessly copied from the album cover). There’s not a false musical or emotional note to be heard.

➊ LET THAT LIAR ALONE 3:11 (Traditional) More relevant than ever unfortunately! Although A.P. Carter has a version of this song, I was inspired by Sister Rosetta Tharpe’s version.
➋ SKINNY LEGS BLUES 3:39 (Geeshie Wiley) I left out the verse about her slitting the guy’s throat.
➌ RIGHT KIND OF TROUBLE 4:21 (Elly Wininger) I envision Jessica Rabbit singing this…
➍ SPECIAL RIDER BLUES 4:04 (Skip James) The isolation of life in certain areas of the south, like James’ home town Bentonia Mississippi, echoes throughout his songs. This one sounds so West African to me.
➎ ALABAMA BLUES 3:14 (Elly Wininger) Another sadly relevant song. I was really angry when I wrote this.
Still am.
➏ THE BLUES NEVER END 5:14 (Elly Wininger) How many blues songs can you find referenced in this song? I was listening to a lot of Mickey Newberry when I wrote this.
➐ (I WANNA BE LIKE) ROSIE 4:00 (Elly Wininger) This is my paean to Zydeco accordion player and songwriter Rosie Ledet, tipping my hat to some of her songs.
➑ AS THE CROW FLIES 4:05 (Tony Joe White) I stripped this down to what I heard as the rural roots of this song, and added a little gris gris.
➒ BLACK SNAKE MOAN 3:20 (Blind Lemon Jefferson, Huddie Ledbetter) A Dixieland band brought this to life for me!
➓ GOD MOVES ON THE WATER 3:01 (Blind Willie Johnson) Gospel? Blues? Blind Willie Johnson has got to be one of the spookiest and most unique artists ever. No wonder he’s in a space capsule.
⓫ RANGE IN MY KITCHEN 3:03 (Texas Alexander, Lonnie Johnson) Seemed like a woman should be singing this.
⓬ LEAVIN’ BLUES 4:23 (Huddie Ledbetter, Alan Lomax) Slowed it down a bit. Added slide.
⓭ OLD RILEY 4:00 (Huddie Ledbetter) I didn’t understand this song when I heard it as a kid. Now I get
why it’s up tempo. Riley’s running for his life from Rattler, the dog.

In another shameless copy and paste, here are a few of Elly’s thoughts about how this album was created. When it’s possible, I like to let the artist to speak. There’s a reason that they’re making the music, and I’m not.

What I was thinking while putting this album together: Traditions endure and remain vital when artists interpret rather than just copy. This set of 13 songs, including 4 original compositions, brings a contemporary set of aesthetics, rooted in tradition, to a variety of blues and gospel styles. You’ll hear influences of Cajun, ragtime, old timey, jazz and country, affirming the proximity and cross pollination of all these styles, and their commonality in actual practice, both today and historically. We Americans grew up together with an incredible richness and variety of musics. I hope this album encourages an appreciation and enjoyment of that living diversity.

I would only add that Elly Wininger is doing her best to share her enjoyment of that living and historic musical diversity. It’s hard to hear this music and not agree.

Here’s the opening song rom the album:

One of the song credits caught my eye — “Skinny Legs Blues” by Geeshie Wiley. I had never heard of her. She recorded only six songs on three records in 1930. There are no known photos of her, and the audio of those recordings. Her singing is stark and haunting, often with lyrics to match.

Here’s her version of “Skinny Legs Blues.”

Mara Kaye is a Brooklyn-born singer of jazz and blues, who I wrote about back in August. She is channeling old-time jazz and blues through her own considerable talents, and making some of this great old music fresh again.

That’s her at right, with gifted pianist Carl Sonny Leyland, on the cover of an upcoming album, featuring a remake of the classic “It Had To Be You” as its title song.

Mara has been kind enough to send along two more singles from that album for our listening pleasure.

The first is “Black Sheep Blues” originally recorded in 1935 by a piano player and singer known as Pigmeat Terry, whose real name may have been Terrio. I found some discussion online about whether Terrio was a man or a woman, but most accounts seem to agree that she was a woman. She was one of those artists who recrded very little, and about whom very little is known. Except that she created the haunting sound of this song. Mara Kaye is accompanied by Leyland on piano, ‘Big’ Jon Atkinson on guitar, and Randy Ball on upright bass, all recorded live and straight-to-tape at Bigtone Records.

Play it here:

The other track, “Dystopian Blues,” due for release Oct. 8, is an original written by Alfred Howard, Tim McNalley and Mara Kaye. The backers here are Leyland on the piano, Tim McNalley on guitar, ‘Big’ Jon Atkinson on upright bass.  
Play it here:

S, in addition to breathing new life into old music, Ms Kaye is creating new music in the same spirit. Simply great stuff.

Here’s an audio recording of “Black Sheep Blues” by Pigmeat Terry:

And just for more fun, here’s Mara Kaye with some old-timey acoustic accompaniment from 2019:

Teresa James & The Rhythm Tramps – “Rose-Colored Glasses Vol. 1” (Blue Heart Records, Sept. 17)

Teresa James’ latest album, “Rose-Colored Glasses,” is a joyful, sensual, love-laced ode to the optimism of its title.

It’s also full of honey-smooth vocals from James, whose voice just seems to keep getting better — born into Texas swing and nurtured by the easy rhythms of West Coast blues and soul.

“This new album is kind of veering a little bit more into soul,” James says. “But to me, blues is more of a state of mind. It’s where you’re coming from. It’s the attitude and the heart that you bring to it.”

And this album does have plenty of attitude and heart, mixed with just the right amount of sass.

The sensuously ripe opener, “Show Me How You Do It,” with sinuously intertwined vocals and guitar, is an invitation to the delights to come. “Takes One To Know One” swings gently behind James’ soulful vocal turn. The title track focuses on finding love … “you are the rose-colored glasses I’ve been looking for… ” “I Got A Love I Wanna Hold On To” takes a little bluesy turn, adding a sexy sax, but it keeps up the album’s reliance on James to deliver just the right vocal touch.

Spoiler Alert: Of course, there are more songs here than I just mentioned. There are twelve. They are all excellent. James delivers her soulful touch eloquently and elegantly on each one. You can be sure, though, that no matter what the style or substance, James makes it sound like a very personal delivery. Her vocals are layered with subtlety and nuance, and the appropriate suggestion of sensuous smoke.

James and her husband/bassist Terry Wilson, who produced the album, wrote or co-wrote all the songs, coaxing the lyrics from their personal sensibilities.

The musical backers frame the vocals perfectly. In addition to the usual Tramps — Billy Watts with Wilson on bass and alternating drummers, Jay Bellerose and Herman Matthews, Texas guitar slingers Yates McKendree, Anson Funderburgh, Johnny Lee Schell, Lee Roy Parnell, and Snuffy Walden add their chops. Paulie Cerra and Darrell Leonard add horns, with vocalists Richard Millsap and Nicki Bluhm, and Michael Starr on strings. Kevin McKendree assists on keys.

Maybe the best thing about this album? It’s labeled volume one — so there must be a volume two in the works.

Video of “Takes One to Know One”:

Track Listing:
01 Show Me How You Do It
02 Takes One To Know One
03 Rose-Colored Glasses
04 I Got A Love I Wanna Hold On To
05 All You Ever Bring Me Is The Blues
06 Wish It Into The Cornfield
07 Once The World Stops Ending
08 Everybody Everybody
09 Things Ain’t Like That
10 When My Baby Comes Home
11 Rise Together
12 Gimme Some Skin

Tommy Castro and the Painkillers – “A Bluesman Came To Town” (Alligator Records, Sept. 17)

From the raw and throbbing opening track, “Somewhere,” where Tommy Castro lays down a primal blues, to its reprise and resolution on the final cut, Castro’s latest album overflows with tough, funky, rocking, soulful blues and rootsy music. The album tells the passionate tale of a young man drawn to the blues and its long and harrowing road, and his awakening to what the music teaches him.

It’s filled with evocative story-telling; feral guitar solos, risp backing from the Painkillers, and smartly themed original songs. Of course, it helps that the package was produced by ace blues and roots producer, Tom Hambridge.

“I like to keep things fresh and interesting,” Castro says, “Tom and I have talked about making a record together for a long time. Collaborating with him was even better than I imagined. I had an outline for the story and then Tom and I talked it out and the songs just started to organically grow out of each other.” Castro says.

“A Bluesman Came To Town” isn’t a story about me. It’s pulled from some of my friends’ and my experiences though. I’ve seen first-hand for a lot of years what it’s like out there on the road.”

That story tells of a young bluesman who needs to get away from the farm to make his mark, then finds that what he needs in life can be found back where he began.

Each track is carefully crafted as part of that journey, but each song also stands solidly on its own. The songs were written mainly by Castro and Hambridge, with help from Richard Fleming, Terry Wilson and Ron Alan Cohen.

“Somewhere” sets the opening mood of a blues journey about to begin, followed by the title track, where he “heard about a roadhouse a mile outside of town,” and hears the music beckon. The song titles that follow outline the bluesman’s odyssey and almost tell the story: “Child Don’t Go” (with a vocal boost from the powerful pipes of Terri Odabi), “You To Hold On To,” “Hustle,” “I Got Burned,” “Blues Prisoner,” “I Caught A Break,” “Women, Drugs and Alcohol,” “Draw The Line,” “I Want To Go Back Home” (a sensuously soulful, sax-fueled turning point in the journey), “Bring It Back,” and a starkly acoustic version of “Somewhere” that redefines what “somewhere” means.

Castro has always been a thoughtful creator of his music, preferring not to repeat himself, and flex his musical muscles in different directions. “Bluesman” is a perfect example of that philosophy, and shows considerable creativity within a unique concept. It’s a great album.

“Somewhere” (opening track) from “A Bluesman Came To Town”:

JUST FOR FUN: Found while looking up other stuff. Tommy Castro and Deanna Bogart stepping back in time to the 1970ish “Soul Shake” in a post-lockdown show:

JUST FOR FUN, Pt. 2: Soul Shake, as recorded by its creators, Peggy Scott and JoJo Benson, in 1969:

“Bluesman” track list and album information:

1. SOMEWHERE (3:30)
(Castro & Hambridge, Tommy Castro Music admin. by Eyeball Music, BMI/Tom Hambridge Tunes, ASCAP)
2. A BLUES MAN CAME TO TOWN (3:58)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI) Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
3. CHILD DON’T GO (2:50)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI/Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
4. YOU TO HOLD ON TO (3:54)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI) Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
5. HUSTLE (3:37)
(Castro, Wilson & Hambridge, Tommy Castro Music admin. by Eyeball Music, BMI/Jesilu Music, BMI/Tom Hambridge Tunes, ASCAP)
6. I GOT BURNED (3:37)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI) Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
7. BLUES PRISONER (5:15)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI) Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
8. I CAUGHT A BREAK (2:39)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI) Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
9. WOMEN, DRUGS AND ALCOHOL (4:20)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI) Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
10. DRAW THE LINE (4:15)
(Castro & Cohen, Tommy Castro Music admin. by Eyeball Music, BMI/Ron Alan Music, ASCAP)
11. I WANT TO GO BACK HOME (3:42)
(Castro, Hambridge & Fleming, Tommy Castro Music admin. by Eyeball Music, BMI) Tom Hambridge Tunes, ASCAP/Richard Fleming Music, BMI)
12. BRING IT BACK (3:43)
(Castro & Cohen, Tommy Castro Music admin. by Eyeball Music, BMI/Ron Alan Music, ASCAP)
13. SOMEWHERE (REPRISE) (2:41)
(Castro & Hambridge, Tommy Castro Music admin. by Eyeball Music, BMI/Tom Hambridge Tunes, ASCAP)

PRODUCED BY TOM HAMBRIDGE

Tommy Castro: Guitar and Vocals
Tom Hambridge: Drums, Percussion and Background Vocals
Rob McNelley: Guitar
Tommy MacDonald: Bass
Kevin McKendree: Keyboards
Randy Mc Donald: Bass on “Somewhere (Reprise)”
Bowen Brown: Drums on “Somewhere (Reprise)”
Mike Emerson: Keyboards on “Child Don’t Go” and “Draw The Line”
Keith Crossan: Saxes and horn arrangement on “Hustle”
Deanna Bogart: Saxes and horn arrangement on “I Want To Go Back Home”
Terri Odabi: Vocals on “Child Don’t Go”
Jimmy Hall: Harmonica on “Somewhere,” Background Vocals on “A Bluesman Came To Town”

Tony Holiday — Porch Sessions Volume 2 (Blue Heart Records, Sept. 17)

It’s a pretty simple idea, really — get a bunch of good musicians together in informal settings — even front porches — record them, and turn that spontaneous music into a naturally fine album of blues.

So after the first splendid “Porch Sessions” appeared in 2019 and was nominated for a
Blues Blast Music Award in the Live Album category, Volume 2 was an easy choice.

“I’ve just been traveling around the country the last five years or so, recording bluesmen and women on their porches. It didn’t end with the first volume. It just had more life in it,” says harpman Holiday.

That “life” of 16 more songs recorded live means even more of this enthusiastic effort for our listening pleasure.

The guest artists on this recording are listed on the album cover, pictured here for your edification, and at no extra cost.

They run through a set of some old blues chestnuts and some lesser-known but still rewarding material, and they sound like they’re having a great time doing it.

Piano-pounding wizard Victor Wainwright opens the show with a tasty tribute to the classic rocking blues, “She’s Tuff,” written and first recorded in 1960 by Jerry McCain, but given new life about 20 years later by the Fabulous Thunderbirds as their signature song. It’s more than “tough enough.”

Some highlights: Willie Buck does a deep blue turn on “Honey Bee,” Bobby Rush reaches way back for the succulent “Recipe for Love” with Vasti Jackson’s understated guitar the perfect side dish. Watermelon Slim lends his unique chops to the classic “Smokestack Lightnin’.” In one of his last performances, James Hartman aces “Going to Court” with strong help from Kid Ramos and London Stone. Mark Hummel and Lurrie Bell bring some down-home flavor to “Everyday I Have the Blues,” and Rae Gordon sounds tough enough herself on the crackling “Find Me When The Sun Goes Down” with Holiday on harp.

Those are just a few of my preferences, but there’s not a false note here. Everyone is captured in a relaxed and natural setting, and they make great music to match. To make it an even better experience, add the first “Porch Sessions” into the mix and spend an evening with some of the best blues music and musicians.

And for some added enhancement, a libation of your choice. Mine was Jim Beam Black. Neat. I find bourbon and blues to always help with the hole in the soul.

Track Listing:
01 She’s Tuff Featuring Victor Wainwright
02 Honey Bee Featuring Willie Buck
03 Change Is Inevitable Featuring AJ Fullerton
04 Recipe For Love Featuring Bobby Rush
05 Smokestack Lightnin’ Featuring Watermelon Slim
06 Going To Court 2 Featuring James Harman
07 Go Featuring Jon Lawton
08 Every Day I Have The Blues Featuring Lurrie Bell
09 Brazilian Brothel Featuring Richard ‘Rip Lee’ Pryor
10 Bad Bad Girl Featuring Johnny Burgin
11 Find Me When The Sun Goes Down Featuring Rae Gordon
12 That’s How I Learned Featuring Ben Rice
13 Cake Walk Featuring Mark Hummel & Dennis Gruenling
14 Family Tree Featuring JD Taylor
15 Peace Will Come Featuring Southern Avenue
16 Get Outta Here (Dog Named Bo) Featuring Bobby Rush

Altered Five Blues Band – “Holler If You Hear Me” (Blind Pig Records, Sept. 3)

“Holler If You Hear Me” is the sixth and latest album from this gritty Milwaukee band, whose bluesy, soulful sound is wrapped around the big, rich pipes of its vocalist, Jeff Taylor.

Then there’s the band itself, with a driving, old-school feel. Then there’s the songwriting — 13 finely crafted odes to life and love, each one with guitarist Jeff Schroedl’s name on it as writer or co-writer. Finally, there’s the classy, classic Tom Hambridge blues production.

It all kicks off with the title song, a romping invitation to the blues party that follows — “come join the party, let’s ramble and roll….” Jason Ricci adds wicked harp here and on four other cuts.

Next, Taylor switches gears into the slow-burning, churning funk of “Guilty of a Good Time,” with a lyric that hits me where I live — “”hand-rolled cigars, rhythm and blues….” It’s the first of a glorious handful of torchy blues that show the power of Taylor’s voice, driven by Schroedl’s fierce guitar and the tightness of the band: bassist Mark Solveson, drummer Alan Arber, and Raymond Tevich on keyboards.

“If You Go Away (She Might Come Back)” is another good-rockin’ blues, again with Ricci weaving in and out (and probably jumping up and down — yes, I’ve seen him!).

My flat-out favorite cut is the passionate “Holding On With One Hand,” with Schroedl’s stinging guitar intro and solo, plus Ricci’s harp, making this an achingly strong showpiece for Taylor. “Leave Before I Let You Down” is another piece of soulful magic, deftly lyrical and powerfully sung. “All Suit, No Soul” is a funky little putdown whose title says it all. Another favorite is the chunky “Clear Conscience, Bad Memory,” about how easy it is to slip through those bad memories.

Ricci returns to help kick in the closer, “Big Shout Out,” a rousing tribute to those who “built the blues.”

There’s lots more great stuff here. These guys know how to write, play and sing. They do it with great enthusiasm and tremendous talent. It’s hard to overstate the strength that a tough vocalist like Jeff Taylor brings to the blues — and when you add the rest of this excellent band, the result is … well, it’s what you’ll hear when you give this a listen.

Here’s a video of the scorching “Guilty of a Good Time’:

Track list

1. Holler If You Hear Me (3:33)
2. Guilty of a Good Time (3:26)
3. If You Go Away (She Might Come Back) (3:32)
4. Holding on with One Hand (3:56)
5. Full Moon, Half Crazy (3:22)
6. Where’s My Money? (3:14)
7. All Suit, No Soul (2:57)
8. I Got All I Need (5:38)
9. Clear Conscience, Bad Memory (5:29)
10. In the Name of No Good (3:30)
11. Leave Before I Let You Down (4:21)
12. Fifteen Minutes of Blame (4:09)
13. Big Shout Out (3:12)

In my last post, I wrote about a new album series from BMG Records and the Montreux Jazz Festival, and I described the upcoming release (Sept. 17) of “Muddy Waters – Live at Montreux.” It’s an excellent look at the live music of one of the greatest blues performers.

But there are two of these magnificent sets already out there to gratify your ears and satisfy your soul, from Montreux performances by Etta James and Nina Simone. Today I’ll take a look at the James concerts.

Etta James – “Etta James: The Montreux Years” (BMG Records, June 2021)

“As you know, I am a blues singer,” Etta James told a Montreux Jazz Festival audience at the beginning of one of her songs, vibrantly captured on this journey through her festival years, covering six concert performances from 1975-1993. The ’75 festival was her first European performance, and is included in its entirety on one of the two-disc set.

She was indeed a powerful singer of blues, but James was also one of the most exciting and enduring musical voices in the second half of the 20th century. She could, and did, sing R&B, blues, soul, pop, funk, or any combination that the occasion demanded. And she did it with ease. The music always seemed to just flow out of her.

James came to music early in a tumultuous life. She was born Jamesetta Hawkins to her 14-year-old mother, Dorothy, and believed that pool player Rudolf “Minnesota Fats” Wanderone, was her father.

She released her first record in 1955, when she was 17. It was “The Wallflower,” with the title changed from “Roll With Me, Henry,” apparently to protect innocent young teenage minds, or possibly, people named Henry. It was one of several “answer songs” to  Hank Ballard and the Midnighters’ raucously salacious 1954 hit, “Work with Me Annie.” Etta even got credit as a co-writer, with Johnny Otis, who helped to discover her, and Ballard.

By the way, these songs, plus the Midnighters’ songbook and Otis’s, were all great, enthusiastic music, honking and jiving its way into the early days of rock ‘n’ roll.

But Etta was on her way. Just five years later, her first album, “At Last,” debuted, along with a hint of the wide range of musical styles she would go on to master. There was also the title song, which would become her signature song, plus some blues, jazz and pop.

Sadly, her musical career was marred by drug and legal issues in the ’60s, ’70s and ’80s, but her music grew into an essential part of the American songbook.

The tracks on this Montreux album reflect that status with strong performances from 1975 to 1993. There are tough blues, painfully soulful moments, and striking pop ballads — all done live, with no chance to overdub, or fix any mistakes in the studio.

It’s all simply outstanding music, and should help Etta James find her place among the great women of American music.

Here’s the track list on the CD from multiple years:

Breakin’ Up Somebody’s Home (1990), I Got the Will (1989), A Lover Is Forever (1993), Damn Your Eyes (1989), Tell Mama (1977), Running and Hiding Blues (1990), Something’s Got a Hold On Me (1989), Beware (1993), Come to Mama (1990), Medley: At Last / Trust in Me / Sunday Kind of Love (1989), I Sing the Blues for You (1993), Baby What You Want Me to Do (1978 Encore)

Here’s the track list from the CD covering the 1975 show:

Respect Yourself, Drown in My Own Tears, W-O-M-A-N, Dust My Broom, I’d Rather Go Blind, All the Way Down, Baby What Do You Want Me to Do, Rock Me Baby, Stormy Monday

Here’s a video of Etta James at the 1975 Montreux festival, singing “I’d Rather Go Blind.” Great stuff!

Most people aren’t lucky enough to be in the audience whenever great artists have memorable shows. That’s partly why there is a recording industry. And that’s exactly why there is a new series of excellent live albums from BMG Records and the Montreux Jazz Festival — titled “The Montreux Years” for four artists so far, and presumably much more to come.

Already released this summer at two splendid sets by Nina Simone and Etta James: “Nina Simone – The Montreux Years” and “Etta James – The Montreux Years.” (If you’re a streamer, these can be found on Spotify.)

Coming up Sept. 17 are “Muddy Waters – The Montreux Years” and “Marianne Faithful – The Montreux Years.” (Both are already streaming on Amazon Prime Music and Spotify.)

I want to talk about Muddy’s session in this review, even though you can’t buy the CD or vinyl yet. I’ll get to the rest later.

These are not typical live albums, where a show is recorded and then replayed pretty much as is was performed. These sets consist of powerful performances from multiple festival appearances, arranged in a way that the producers hope will provide great listening.

And it works — splendidly.

What we get from all this is great blues from one of the greatest bluesmen, still powerful in his early 60s. Muddy’s bands, starting with the smaller ’72 combo, right through the nine-piece ’77 band, are razor-sharp on a group of classic Muddy blues.

The songs “Long Distance Call,” “Rollin’ And Tumblin’,” “Rosalie,” “County Jail” and “Rock Me Baby” are taken from the 1972 concert, his first at Montreux, with his basic band, the raw, stripped-down unit that represented the kind of tough, terse blues that was Muddy Waters. Just Waters and Louis Myers on guitar, David Myers on bass, Lafayette Leake on Piano, and Freddy Below on drum. Just enough to let the music say what you want, without saying too much.

The songs from the other years are no less formidable, but sound just a little different when guitar-slingers like Buddy Guy, Terry Taylor, Bob Margolin and Luther Johnson, plus harpmen Junior Wells and Jerry Portnoy are thrown into the mix.

This is an excellent selection of songs from the festival. You can probably hear most of them in other places, but the crackling Montreux vibe is clearly present, and everything sounds just right.

I’m sure Muddy and his bands gave great performances everywhere they went, but these live cuts have a joy and intensity kindled in this classic festival that’s hard to match. “I Can’t Be Satisfied” was an early Waters recording, and despite that sentiment, you can be with this outstanding recording.

Here’s the tracklist for Muddy’s album, showing the year of the performance:

Nobody Knows Chicago Like I Do (1977), Mannish Boy (1974), Long Distance Call (1972), Rollin’ and Tumblin’ (1972), County Jail (1972), Got My Mojo Working (1977), I’m Your Hoochie Coochie Man (1977), I’m Ready (1974), Still a Fool (1977), Trouble No More (1977), Rosalie (1972), Rock Me Baby (1972), Same Thing (1974), Howlin’ Wolf (1977), Can’t Get No Grindin’ (What’s the Matter With the Meal) (1977), Electric Man (1974)

You can check the impressive Montreux festival concerts database for the complete set list from the show, along with the band members. Here’s the lineup for Muddy’s bands:

1972 — Muddy Waters (g, vocal), Freddy Below (dr), David Myers (b), Louis Myers (g), Lafayette Leake (p)
1974 — Buddy Guy (g), Muddy Waters (g, voc), Junior Wells (hca), Terry Taylor (g), Bill Wyman (b), Dallas Taylor (dr), Pinetop Perkins (p)
1977 — Muddy Waters (g, voc), Bill Wyman (b), Dallas Taylor (dr), Pinetop Perkins (p), Luther Johnson (g, voc), Calvin Jones (b, voc), Robert Margolin (g), Jerry Portnoy (hca), Willie Smith (dr)

I thought I should pass along a great website for older blues videos and performances. A lot of you may be familiar with it already, but it’s worth promoting here because it’s such a great resource. With great music.

It’s called Really the Blues, and you can sign up to get some music every day to help fill that hole in your soul.

Here’s how they describe themselves:

“ReallytheBlues.com is an internet archive dedicated entirely to the blues and the men and women who create it.

“This site contains both video and audio performances by legendary figures of the genre, from it’s first appearance on record to the present.

“Inspired by jazz clarinetist Mezz Mezzro’s book of the same title, ReallytheBlues.com seemed the perfect name for this all inclusive blues site.

“As always our service is entirely free! Just subscribe and you will start to receive our daily e-mails containing film clips and vintage recordings featuring legendary blues artists.”

Enjoy!

Here’s a recent video they offer of Jesse Mae Hemphill, a guitarist in the Mississippi hill country tradition.

And here’s that video on YouTube:

Here are the winners of the 2021 Blues Blast Music Awards. It’s the 14th annual readers’ poll conducted by Blues Blast Magazine. They report that more than 10,000 readers voted in the 2021 awards.

14th Annual Blues Blast Music Award Winners

Contemporary Blues Album

Shemekia Copeland – Uncivil War

Traditional Blues Album

Elvin Bishop and Charlie Musselwhite – 100 Years Of Blues

Soul Blues Album

Curtis Salgado – Damage Control

Rock Blues Album

Walter Trout – Ordinary Madness

Acoustic Blues Album

Catfish Keith – Blues at Midnight

Live Blues Album

Kenny Wayne Shepherd – Straight To You: Live

Historical Or Vintage Recording

Little Richard – Southern Child

New Artist Debut Album

Veronica Lewis – You Ain’t Unlucky

Blues Band

Sugar Ray & the Bluetones

Male Blues Artist

Bobby Rush

Female Blues Artist

Shemekia Copeland

Sean Costello Rising Star Award

Veronica Lewis