CLICK ON TITLE BELOW TO GO TO PURCHASE!!!! CD submissions accepted! Guest writers always welcome!!

I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!

Please email me at
Showing posts with label Delbert McClinton. Show all posts
Showing posts with label Delbert McClinton. Show all posts

Thursday, May 2, 2013

Alligator Records artist: JAMES COTTON - COTTON MOUTH MAN - New release Review - Ellis James guest contributer

Blues harmonica legend, James Cotton releases his new CD “Cotton Mouth Man” which will be available at local and online record stores beginning May 07, 2013. May is also a time in which Cotton’s 77 year old face fills the cover of the current issue of Living Blues magazine. Writer and walking Blues almanac, David White provides a 10-page look at a career spanning nearly 60 years. This CD was premiered at a live performance, Saturday, May 25, 2013 at the Tupelo Music Hall in Londonerry, New Hampshire.

Cotton Mouth Man follows the trend of collaboration and featuring key players to round out the disk filled with 13 no-nonsense blues tunes. This by no means is a compromise but in this case is a certain gift to the listener. Guests as they appear in order are Joe Bonamassa, Gregg Allman, Keb’ Mo, Warren Haynes, Ruthie Foster, Delbert McClinton and vocalist Darrell Nulisch, long time veteran of Cotton's road band. The backbone of Cotton's band on this CD are the great Tom Hambridge on drums, Rob McNelley on guitar, Chuck Leavell  on keys, and Glenn Worf  on bass.The title track, Cotton Mouth Man,  features Joe Bonamassa on  guitar played with the fervor and sound of  Ten Years After at Woodstock. Next up is Midnight Train  featuring Gregg Allman. Subtle harmonica intro that kicks into a full band punch. A healthy and strong sounding Gregg Allman delivers the vocals and organ amongst great doses of Cotton’s distinctive harmonica and tasty guitar licks from beginning to end. Mississippi Mud featuring Keb Mo is next as acoustic juke joint piano lays down the solid foundation for Cotton’s harp, tasty electric guitar with Mo’s distinctive and cool vocals covering the top. This is one cut wherein there is an extra nice harmonica bridge solo that is quite cool. A none too subtle homage is given to Muddy Waters in both name dropping tip of the hat and song title inference. Something For Me wakes things up with the Warren Haynes' slip and slide which seems to fit hand and glove to the harmonica work. Touches of the ZZ Top like ‘buzzin’ and processed vocals add to an over all effect. Heartfelt female vocals from Rutie Foster gives a great change up in style in the Wrapped Around My Heart torch song.  A more complex harmonica arrangement meshes perfectly with the blistering guitar riffs and passionate lyrics.  
Saint on Sunday gives a two-for-one “Devil on Saturday and Saint on Sunday” view of two women rolled into one. This is a straight ahead driving song with prominent harp and bass line with the organ taking a more subtle back seat. Delbert McClinton lends his distinctive vocal delivery and guitar to a definite dance tune. Hard Sometimes reminds us the of difficulties of getting someone out of your mind with a funky double entendre to boot.  Drums and Bass are featured more than other cuts in the respect lent to Young Bold Women. Three words that work well together in describing what makes everything alright. Beginning with an almost a Calypso skip beat morphs into a straight up basic 4/4 blues beat only to bounce back and forth between the timing changes resulting in a song that would be easy to believe as a fun romp for the players to perform. Story telling is  key to the lucky find of a Bird Nest On the Ground. Once again a good Cotton bridge solo which stands out as my favorite example of James’ notable talent on this recording. I have to admit that Keb’ Mo is one of my favorites for vocal style and his ability to tell a story. Wasn’t My Time To Go draws in the listener with more round house piano and subtle harp with what sounds like a tasty arch-top
Blues is Good For You is a pleasant bass-driven walking blues with a simple story filled with references to Southern style and a strong platform for Cotton to blow his blues away. This is sure to bring a tap of the toe and a smile to your face. Bonnie Blue features Cotton on vocals and harmonica laid over a basic resonator guitar.  It’s great to hear Cottons voice both because of the texture that he gives to the song and as a testament to his right to call himself a bluesman. 

If you are a fan of harmonica blues then this is certainly a release that demands your spin time and attention. Less is more in this case. Production values are superior and a definite recommended collection!

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band! Here's James live in concert. Not a cut from his current release.

Wednesday, May 1, 2013

Delbert McClinton & Glen Clark reunite for album after 40 years, New West Records June 18

Delbert & Glen . . .
Blind, Crippled And Crazy, co-produced by Gary Nicholson,
due out June 18 on New West Records, blends masterful songwriting,
musical maturity and down-home humor
NASHVILLE, Tenn. — Three-time Grammy winner Delbert McClinton’s 28th album Blind, Crippled and Crazy, set for release on June 18 on New West Records, blends R&B, country, blues and rock ’n’ roll with humor, heart and roadhouse virtuosity. The disc also reunites McClinton with his longtime friend and musical running partner Glen Clark, making these 12 songs the first time the seminal roots music duo Delbert & Glen have recorded since 1973.
“We’ve always had an amazing rapport as musicians and friends, but we’ve been off living our own lives,” McClinton explains. “For the last decade Glen and me have been talking about doing another album, and everything fell into place last year here in Nashville with my songwriting partner Gary Nicholson.”
Besides co-writing several tracks, Nicholson co-produced the LP with McClinton and Clark and played guitar alongside drummer Tom Hambridge, fellow six-stringer Bob Britt, keyboardists Kevin McKendree and Bruce Katz, and other members of McClinton’s touring band as well as blues guitar hero Anson Funderburgh, who guests on “Oughta Know,” a hot-licks fest penned by McClinton’s son Clay.
Blind, Crippled And Crazy’s opening Texas shuffle “Been Around a Long Time” sets a reverberating tone of self-deprecating humor, as does the album’s title.
“We’re a couple guys who started playing together in ragtag bands around Fort Worth in the ’60s,” Clark relates, “so we like to poke some fun at ourselves for being older now.”
Clark picked up the tune’s tag line many years ago from a feisty 102-year-old woman in Arkansas, who told him, “Sonny, I ain’t old. I’ve just been around a long time,” and the song finally emerged during the disc’s 2011 writing sessions.
The loping and textured “More and More, Less and Less” resonates similarly as it dismisses the excesses of youth, although its acoustic guitar bedrock and the yearning timbre of McClinton’s vocal performance and his haunting harmonica solo add poignancy, too.
“The bottom line is that we’re still bulldogs on a pork chop, but our teeth are ground down, so it takes longer to chew that thing up,” Clark says, chuckling a bit. “But we still get it right down to the bone.”
That also explains the amount of sheer growl in Blind, Crippled And Crazy’s grooves. “World of Hurt” is a snarling six-string rocker about biting heartbreak, and “Good as I Feel Today” rings like a great lost Little Feat number — although McClinton and Clark come by its drawling melody, swaggering rhythm and buttery slide guitar via their own assimilation of R&B, blues, country and nascent rock in the 1950s and early ’60s.
They were schooled by the sounds of Ray Charles, Charles Brown, Little Richard, Bob Wills, Elvis Presley and Hank Williams courtesy of the radio and their siblings’ record collections. Then they graduated to playing the roadhouses of their native Texas.
Musical mutual admiration rapidly followed. “Delbert was the first great singer I ever saw in person, so he’s always been one of my biggest influences,” Clark relates. In turn, McClinton testifies that “Glen is one of the few people I can really duet with. Our phrasing just compliments each other, and our voices sound great together. I have more fun singing with Glen than anybody else.”
Clark left Texas in the early ’70s for the lure of Los Angeles’ big-time music business, and after a while McClinton followed. Soon the collaborators landed a record deal and cut two albums, 1972’s Delbert & Glen and the follow-up Subject to Change. Both of these now-hard-to-find classics plumbed the same turf as Blind, Crippled And Crazy, albeit in the sweeter vocal registers of younger men.
McClinton’s “B Movie Box Car Blues” from Delbert & Glen was re-cut six years later by the Blues Brothers for the double-platinum-selling Briefcase Full of Blues and has become a standard of the genre. In a twist of fate, Clark would later play keyboards with the Blues Brothers after becoming music director for Jim Belushi in 1997.
Delbert and Glen began their four-decade hiatus after both men moved back to Texas separately to follow romance and their solo careers. Clark returned to Los Angeles in 1977. He became a popular songwriter, authoring tunes for Rita Coolidge, Etta James, Loretta Lynn, Wynonna Judd, Kris Kristofferson and many others. He also hit the road with his keyboards, touring with Kristofferson, Bonnie Raitt and others before beginning his dozen years with Belushi, which included nine years as composer for the sitcom According to Jim.
Of course, McClinton became an international star in the realms of blues and traditional country music, cross-pollinating the genres into his own unique sound. Since 1980, when his sixth solo album The Jealous Kind sparked the top 10 hit “Givin’ It Up for Your Love,” he has remained one of the most respected figures in American roots music. In 1992 the man who gave John Lennon his first harmonica lesson — when McClinton toured England in the early ’60s as part of Bruce Channel’s band — won his first Grammy Award, for the duet “Good Man, Good Woman” with Bonnie Raitt. That was followed by a second win in 2003 for Nothing Personal in the Best Contemporary Blues Album Category. In 2006, he won a third Grammy for his Cost of Living album. McClinton’s songs have also been recorded by a who’s who of country music royalty including Vince Gill, Wynonna Judd, Garth Brooks, Emmylou Harris, Martina McBride and Trisha Yearwood.
Over the decades his blend of soaring blue-eyed soul singing sprinkled with red Texas dust, the emotional wealth of his songwriting and his command of virtuoso supporting ensembles has built McClinton a wildly avid fan base in the United States and Europe. They are nearly like Deadheads in their willingness to travel to repeated shows and their level of support. Each January they turn the Delbert McClinton & Friends Sandy Beaches Cruise, a weeklong music festival he hosts aboard luxury liners, into a sell-out.
“The bottom line is, at this point I don’t believe in doing anything that’s not fun,” McClinton says, “and recording Blind, Crippled And Crazy was a blast. Me and Gary, who I’ve known for 40 years starting back in Texas, handpicked every musician on the record and made sure every song was perfect. The title, from the old soul tune, is something I’ve wanted to use for years. And singing with Glen again — between the way our voices mix and his sense of humor — makes me excited about us taking this music out on the road together.
“I’ve got a good deal in life,” McClinton continues. “I’ve got a lot of good people for fans who support me — although I’ve won over each of them one-by-one on the road. I can pick and choose whatever I want to do. And I’ve never had to keep a job for long, thank God, because jobs stink. I know. I’ve had a lot of them, and I know why I got fired from every one. And believe me, making this album and singing these songs with Glen is nothing like a job.”
# # #

Friday, November 4, 2011

B-Movie Boxcar Blues - Delbert McClinton

Delbert McClinton (born November 4, 1940) is an American blues rock and electric blues singer-songwriter, guitarist, harmonica player, and pianist.

Active as a side-man since 1962 and as a band leader since 1972, he has recorded several major record label albums, and charted singles on the Billboard Hot 100, Mainstream Rock Tracks, and Hot Country Songs charts. His highest-peaking single was "Tell Me About It", a 1992 duet with Tanya Tucker which reached #4 on the Country chart. He has also had four albums that made it to #1 on the U.S. Blues chart, and another that reached #2.

He was inducted into the Texas Heritage Songwriters Hall of Fame, in March 2011, along with Lee Roy Parnell, Bruce Channel, Gary Nicholson and Cindy Walker.
Delbert McClinton was born in Lubbock, Texas, United States, but relocated with his family to Fort Worth, Texas when he was age 11.
He worked in a bar band, The Straitjackets, who played backing to Sonny Boy Williamson II, Howlin' Wolf, Lightnin' Hopkins, and Jimmy Reed. McClinton recorded several regional singles before hitting the national chart in 1962, playing harmonica on Bruce Channel's "Hey! Baby."
On a subsequent package tour to the United Kingdom, McClinton instructed John Lennon on the finer points of blues harmonica playing
“Like” Bman and get support for your favorite band or venue - click HERE