Texas Blues Legend Long John Hunter 1931 - 2016

TEXAS BLUES LEGEND LONG JOHN HUNTER

JULY 13, 1931 - JANUARY 4, 2016

Internationally known Texas guitar legend Long John Hunter, 84, died in his sleep at his home in Phoenix, Arizona on Monday, January 4. His signature Texas blues were fueled by his single-note solos and melodic, drawling vocals. The Los Angeles Times called him "a top notch singer, guitarist and unbridled wildman performer...a raw, feral talent bursting with energy." During a 60-year career, he recorded seven solo albums and a number of 45s.

Long before Hunter became a world-renowned recording artist, he was already a major draw in the Beaumont/Port Arthur, Texas region, where he cut his first 45. In 1957 he headed to Juarez, Mexico where he led the house band at the rough and tumble Lobby Bar for the next 13 years. There he played for locals, cowboys, soldiers, tourists and touring musicians, including Buddy Holly, Clarence "Gatemouth" Brown, Lightnin' Hopkins, Etta James, Albert Collins and many others. He became a mentor to a young Bobby Fuller (I Fought The Law). Twice James Brown brought his band to witness Hunter in action. The second time Brown surprisingly took the stage during a set break. Unfazed, the audience screamed for Brown and company to move on and clear the way for the return of their hero, Long John Hunter.

Hunter became regionally famous not only for his musicianship, but for his showmanship. One of his favorite tricks was to hold his guitar by the neck in one hand while continuing to play. With his free hand, he'd reach up, grab a rafter above the stage and start to swing, never missing a beat. The Lobby Bar crowd delighted in Long John's antics, and they inspired the title of his 1997 album, Swingin' From The Rafters.

John T. Hunter, Jr. was born in Ringgold, Louisiana on July 13, 1931 and grew up in Arkansas and Texas. He had no interest in being a professional musician until, when he was 22, co-workers at the Beaumont, Texas box factory where he worked took him to see B.B. King perform at the Raven Club. Hunter later said he was amazed at the reception King got from the crowd, especially the frenzy of the women in the audience. The next day Hunter went out and bought a guitar. That very week he put a band together and before long developed his own style, mixing swinging blues and razor sharp guitar playing reminiscent of fellow Texans Albert Collins and Gatemouth Brown, with a definite nod towards B.B. King. Less than a year later, Hunter was headlining at the Raven Club, the very same place he first saw B.B.

Hunter's growing reputation spread to Houston, where Don Robey of Duke Records (home of Gatemouth Brown, Bobby Bland and Junior Parker) released Hunter's first single, Crazy Baby b/w She Used To Be My Woman, in 1954. The record didn't win Hunter a national audience, but it did generate enough interest to keep him working full time as a musician. Hunter headed for Houston in 1955 to try and capitalize on his Duke single. He played shows with Little Milton, Johnny Copeland and many others. Two years later, he moved west to El Paso. The very night Hunter arrived, he crossed the border into Juarez, Mexico and found work at the Lobby Bar where he stayed for the next 13 years. "If it didn't happen at the Lobby Bar," Long John often said, "it just didn't happen in life."

Releasing only a small number of 45s, Hunter didn't record a full album until 1993's Ride With Me (Spindletop, reissued by Alligator). He signed with Alligator in 1996. His label debut, Border Town Legend, brought his music and his story to the masses. With his 1997 follow-up Swingin' From The Rafters, Hunter went from being a locally revered Texas bluesman to being an internationally touring festival headliner. In 1999 he joined his old Beaumont friends Lonnie Brooks and Phillip Walker for the Texas rave-up CD, Lone Star Shootout. The Chicago Tribune said, "Hunter embodies Texas blues in all its varied, roustabout glory like no one on the scene today."

As his stature grew, so did his tour calendar. He played numerous high-profile concerts including The Chicago Blues Festival, South By Southwest, San Antonio Cultural Festival, Long Beach Blues Festival, as well as multiple tours of the U.S and Europe. Hunter continued to perform and record, releasing independent CDs in 2003 and 2009.

Hunter is survived by his wife Gayle and brother Tom.

Funeral information is pending.

Nola Blue artist: Benny Turner - When She's Gone - New Release Review

I just received the newest release (February 14, 2016), from Benny Turner and it's smooth! Now on his 4th release, Turner, brother to Freddie King (yes, that Freddie King) really has it going. His last release, Trouble

was really nice and this one is even better! Opening with I Can't Love, a cool swinging blues with a nice heavy bottom compliments of Alonzo Johnson, and sparkling keys courtesy of Samuel "The Bishop" Berfect gives the track traction and Turner's solid lead vocals and backing vocals by Diane Lotny and Yvonne Washington give it a James Brown twist. Very nice! On Pity On This Lovesick Fool, The Bishop on piano, Davell Crawford on Rhodes and organ and Marc Adams set an almost Billy Preston presence and Turner, joined by Marva Wright on lead vocals gets in the groove. Smooth ballad, Because Of You, features Turner right up front and with such a soulful melody, should hit the radio hard. Backing vocal by Tanya Jarvis, The Bishop on keys, Dr John on guitar, Alonzo Johnson on bass and Herman Ernest III keep this really tight. Solid! On Bill Withers' super track, Ain't No Sunshine, Turner hits with some of his best vocals ,Bob Margolin adds key ethereal slide work to a really nice arrangement of a really cool track. Complimented by Derwin Perkins on rhythm guitar, Turner on bass, Keiko Komaki on keys and Jeffrey Jellybean Alexander on drums this may be the best redo of this track I've heard. So Deep is a really interesting track with lead bass lines by Turner. A gospel feel with full backing vocal ensemble including Davell Crawford, Craig Adams, Carla Davis, Yvette Whittler and Charles Chucky C Elam, over just Charles Brown on piano, The Bishop on organ and Larry Williams on drums makes this one of my personal favorites on the release. Excellent! If I Can't Have You has a cool bass line by Johnson and a really nice walking groove. Turner's vocals, backed by Lotny and Washington, is point on and keys by the Bishop, harp by Sean Lewis and drums by Alexander a really nice track. Have You Ever Been Lonesome, again finds Turner supplementing his lead vocals with some really tasty bass lead. A slower soul style blues track is really smoking fanned by the Bishop on keys, Johnson on bass and Alexander on drums. Excellent! Lowell Fulson's Reconsider Baby gets a slight swing and excellent guitar punctuation by Bob Margolin. John Paxton and Keiko Komaki roll the keys and Marglolin lays in some of the tastiest guitar riffs you'd love to hear. Very nice! Jimmy Rogers' That's Alright is laid back with cool harp riffs. Turner takes his place at lead guitar and vocal and his guitar style isn't flashy but soulful and nicely matches his vocals. Very nice! Wrapping the release is Jessie Mae Robinson's Black Night and Turner takes the bull by the horns. With an aggressive vocal style, clever guitar work by Marc Stone and key piano and organ work by Brown and the Bishop, punctuated by Jason Mingledorff on sax and Barney Floyd on trumpet makes this an excellent closer to a super release.

 

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ELROB Records artists: Pinetop Perkins & Jimmy Rogers with Little Mike and the Tornadoes - Genuine Blues Legends - New Release Review

I just received the newest release, Genuine Blues Legends from Little Mike (Markowitz) and the Tornadoes featuring Pinetop Perkins and Jimmy Rogers and it's terrific! Recorded live at the Grand Auditorium in Ellsworth Maine on May 21, 1988, this is a real gem! Opening with Cleanhead Vinson's Kidney Stew, Pinetop is rocking the keys and lead vocals and Little Mike is on harp backed by Tony O Melio on guitar, Brad Vickers on bass and Michael Anderson on drums. A cool shuffle track, Mike really takes the harp for a ride and Pinetop is in his prime. Excellent opener! Tommy Tucker's High Heeled Sneakers is up and Chicago style. Melio rips off some real nice blues riffs on guitar on this track and in addition to solid work by Pinetop on vocal and piano, Little Mike rides high on harp. Very nice! St Louis Jimmy Odem's Had My Fun is up next cranking in at over 10 minutes and Pinetop's vocals and piano work on this track are terrific. Melio digs deep on this track putting together some really tight guitar phrases. There is not a wasted not on this track. Excellent! Joe Willie Perkin's track, For You My Love is a real blues shuffle with Pinetop literally taking control. If you aren't familiar with Pinetop's work from this time period, you owe it to yourself to hear this release. This is Pinetop at his best! Little Mike really cranks it up on this track pushed along nicely by Anderson. Jimmy Rogers joins on this track and lays down some cool riffs of his own. Excellent! On Jimmy Reed's Big Boss Man, Reed takes the mic backed by Pinetop and the Tornadoes. Little Mike keeps his riffs tame giving plenty of room for Pinetop to solo. Very nice. Another Rogers original, All In My Sleep slows things down a bit and Melio and Mike take an early instrumental intro reminding me quite a bit of Bloomfield/Butterfield. Roger's vocals are more pronounced on this track and Pinetop really digs in on piano. Melio takes a later solo again putting me in mind of Bloomfield. At 9 minutes plus this track is very nice! Shuffle track, The Last Time, again led by Rogers captures the classic Rogers style. The blend and clarity of soloing on this release by Perkins and Little Mike is terrific. On Perkins penned, When I Lost My Baby, similar to a Ivory Joe Hunter song of similar name, features Pinetop back on lead vocal and piano. Pinetop's keyboad work is sensational and tight and Little Mike's harp work stimulating. Very cool! On Pinetop's Boogie Woogie, Pinetop really lets it go with Melio, Mike and Rogers each adding nicely to what really is Pinetop's track. Excellent! Wrapping the release is Pine and Jimmy's Jump, a tight instrumental jam. Each man gets his chance up front and takes it deep. This is a great conclusion to what had to be a terrific show. Excellent!

 

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Unfortunately I couldnt find any footage of these guys together but Here's Little Mike!

Blues Music Award-Winner Johnny Rawls Is Like a "Tiger In a Cage" on New Catfood Records CD Coming February 19

Blues Music Award-Winner Johnny Rawls Is Like a Tiger In a Cage on New Catfood Records CD Coming February 19

EL PASO, TX – Catfood Records announces a February 19 release date for Tiger In a Cage, the new CD from Blues Music Award-winning singer/guitarist Johnny Rawls. Produced by multi-Grammy-winning producer Jim Gaines, Tiger In a Cage was recorded at the Sonic Ranch in Tornillo, Texas. It features backing by The Rays: Johnny McGhee – guitar; Bob Trenchard – bass; Richy Puga – drums; Dan Ferguson – keyboards and accordion; Andy Roman – alto/tenor sax; Mike Middleton – trumpet; Robert Claiborne – trombone; Nick Flood – baritone sax; Jon Olazabal – percussion; with vocal backing by The Iveys. Joining as special guest is Eden Brent, who duets with Rawls on the sexy, soulful tune, “Southern Honey.” 

Johnny Rawls was recently nominated once again by the Blues Foundation in the “Soul Blues Male Artist” category for the upcoming Blues Music Awards to be held in Memphis in May. 

The even-dozen tracks on Tiger In a Cage include nine original songs, plus Johnny’s scintillating takes on Sam Cooke’s “Having a Party,” Jackie Wilson’s “Your Love Is Lifting Me (Higher and Higher),” and The Rolling Stones’ “Beast of Burden.” Rawls also does a funky re-working of “Red Cadillac,” a Rawls composition that first appeared as the title track on the album of the same name released in 2009 and has since become a fan-favorite at Johnny’s live shows. While known for his irresistible “old school” soul party tunes, which are well-represented on his new CD, the album’s title song is a serious track about a 19 year-old black man being sent to prison; a life thrown away, being over before it has begun. (Note: there are three times as many people in prison in the U.S. today as there were when the failed “War on Drugs” was begun.)  

Johnny Rawls’ last album for Catfood Records, Soul Brothers, released in 2014, teamed him up with Blues Hall of Fame singer Otis Clay for what became one of the musical highlights of the year and generated both critical acclaim and strong radio airplay. Soul Brothers was also one of the two highest-rated blues albums on the Downbeat magazine “Best of the Year” list. His 2013 release, Remembering O.V., showcased Rawls in a moving tribute to his late friend and mentor, O.V. Wright, which also featured singer Otis Clay as a special guest on three tracks of the album, and included nine songs associated with Wright and an original cut, “Blaze of Glory,” that closed the album in rousing fashion.

Johnny’s 2012 CD, Soul Survivor, garnered him two more Blues Music Award nominations and followed Memphis Still Got Soul (2011), which received three. He’s been nominated numerous times in both the Soul Blues Male Artist and Soul Blues Album categories by The Blues Foundation, and his Ace of Spades CD won the BMA in 2010 as “Soul Blues Album of the Year. In 2014, he was voted Living Blues magazine’s “Male Blues Artist of the Year” and three of his albums have won the Living Blues “Critics' Choice Southern Soul Album of the Year.”  

Born in the southern Mississippi town of Columbia, and raised in Purvis and Gulfport, Johnny Rawls - while still in high school - was already backing such stars as Z.Z. Hill, Little Johnny Taylor, Joe Tex and The Sweet Inspirations when they toured in his area. In his early 20s, Rawls was hired by the legendary deep soul singer, O.V. Wright, as his band director. After Wright died in 1979, Rawls kept the band together and toured for several years with Little Johnny Taylor and others.

By 1985, Johnny Rawls was touring as a solo artist and had made his first solo recording. In 1994, he recorded the widely acclaimed album, Down to Earth, with L.C. Luckett on the Rooster Blues label. After a second Rooster Blues album with Luckett, Rawls recorded a number of albums for JSP before starting his own label. Rawls first met Catfood Records president Bob Trenchard in 1997 and the two have worked on a number of projects together since then, culminating when he released his first album for the label, No Boundaries, in 2005    

He’s also garnered previous nominations for his albums Heart and Soul in 2007; and Red Cadillac in 2009. Both Red Cadillac and Ace of Spades were nominated for Album of the Year by Living Blues and his last five albums have all charted top ten on blues charts with Red Cadillac reaching #1 on the Living Blues Radio Play Chart. Ace of Spades hit the #4 spot, remaining in the top 20 for three months. Rawls continues to tour consistently, performing 150 dates a year, both in the U.S. and overseas.

For more information, visit www.catfoodrecords.com and www.johnnyrawlsblues.com.

Sandy Carroll Takes a Musical Journey on New CD, "Last Southern Belle," Coming February 19 on Catfood Records

Sandy Carroll Takes a Musical Journey on New CD, Last Southern Belle, Coming February 19 on Catfood Records

Produced by Multi-Grammy-Winner Jim Gaines and Recorded in Tennessee & Muscle Shoals, Alabama, Songs Reflect Carroll’s Experiences as a Southern Woman

EL PASO, TX – Catfood Records announces a February 19, 2016, release date for Last Southern Belle, the new album from celebrated singer/songwriting Sandy Carroll. Produced by Sandy’s husband, multi-Grammy-winner Jim Gaines, Last Southern Belle was recorded primarily at Bessie Blue Studio in West Tennessee, with additional recording done at Nutthouse Studio in Muscle Shoals, Alabama. The CD includes backing from a host of all-star musicians, including legendary bassist David Hood, guitarist Will McFarlane and drummer Steve Potts.  Several songs on the new CD were co-written with Mark Narmore who is in the Alabama Music Hall of Fame and has penned several big hits (“That’s What I Love About Sunday,” “Moon Over Georgia,” “Like There Ain’t No Yesterday”). 

Sandy Carroll will support the release of Last Southern Belle with a series of shows, including Sunday, February 21, at Huey's Midtown in Memphis (4-7PM) to kick-off the album’s release, with other dates expected to be announced in Nashville, Muscle Shoals and the Midwest. 

“This is the music of a journey: from universal pain and loss (‘Headin’ Out on Empty,’ ‘The Nothing in Your Eyes’) to hope (‘Driving Toward the Sun’) and laughter (‘Tattoo That I Can’t Undo’), but mostly this music is about the South,” Carroll says about the new album’s songs.

“I was a ‘Southern Belle’ in training,” she recalls about her upbringing. “I didn’t know it at the time, of course. I could only see through the eyes of a child. I never graduated to full Southern Belle-hood, but those who did were the women of the ‘50s and early ‘60s - before eyes were opened … before civil rights … before equal rights for women.  It was unhip to be a Southern Belle after that.  There were more important things than matching pearls and beauty pageants. We were on the front lines.

“I saw this through the eyes of a young girl-woman - the shame of the South’s injustice toward an innocent race of people and a nation’s indifference toward gender equality.  Both were simply born that way and it was unfair.”

Sandy Carroll grew up in West Tennessee, and once she left her childhood home to pursue the dream of being a musician and songwriter, her perceptions changed. “For the rest of my life I saw the world through the eyes of a musician,” she remembers. “I saw no color, no sex, no lifestyle - what mattered is if you were GOOD … that is, if you could PLAY.  I have lived a lot of places, traveled and toured, learned and accepted the beautiful differences of human beings.  I was always a proud Southerner. I would defend the good things of the South, the creative, warm, funny traditions (as told in the songs ‘Southland Rules,’ ‘Family Reunion Day’) that are soulful and enlightened.  I had no defense for the bad things; there is none.”

After 30 years away from home, Sandy Carroll returned to her childhood rural area to live. “I was stunned to find some things were the same and I was delighted to find that some things were the same,” she says. “The voices of the gospel still ring loud and clear (‘Hallelujah Hill’) and the nearby Shiloh battlefield of the Civil War remains untouched and spiritually haunted (‘The Boys of Shiloh’). However, the dangers of the past lurk underneath the surface (‘Water Run Deep’).  The rest of the world sometime sees the South lumped together like one of those confederate trenches in Shiloh: ignorant, Bible-thumping, racist, illiterate people.  It is Unfair … Unfair.

“I have seen prejudice and dishonor all over this earth. It is not specific to a region south of the Mason-Dixon Line, but the stigma of our past and the myth of the South lives on … some truth but not all truth.

“The Last Southern Belle lived in a generation that was insular and circular. The new Southern Woman (‘Southern Woman’) stands firm in her own power and her own truth. When I was a little girl, I asked my mother ‘Am I pretty?’  She would say, ‘you are pretty enough.’  I hope my soul is pretty enough.  I am working on it.”

About Sandy Carroll

Last Southern Belle is Sandy Carroll’s third album for Catfood Records. Her prior releases, Unnaturally Blonde (2013) and Just as I Am (2011) received international critical acclaim and substantial radio airplay on blues and Americana/country radio stations. In 2012, the single “Romeo and Juliet,” off the Just as I Am CD, stayed on the New Country Indie Chart for three months and reached #5. Also, “Good to be Home” from Unnaturally Blonde made it to #3 on the Country Indie Chart and stayed on the chart for 14 weeks.

Sandy Carroll returned to her Memphis roots in 1983 and spent a year headlining at a local club on historic Beale Street, following several years of performing on the road. Writing and recording the singles, “If You Got It” and “Memphis in May” in 1984, Sandy partnered with Jim Dickinson, NARAS Memphis chapter’s seven-time producer of the year. “Memphis in May” became a regional hit and for several years, the unofficial theme song for the Memphis in May annual festivities.  Sandy performed at the Memphis in May Festival with the Memphis Horns (and special guest Rufus Thomas) and also at the first Beale Street Music Festival.  She sang the national anthem and “Memphis in May” in front of 30,000 people at the Memphis Showboats football game, as well.

A year later, Sandy left for San Francisco to write and record.  After three years on the West Coast and a short stay in the Midwest, Sandy returned to Memphis. In 1989, the legendary Albert King recorded Sandy’s, “If You Got It” which appeared on his final studio album, Red House. She then starting writing songs for her own full-length debut album, Southern Woman, released in 1993.  Following the release, Sandy was invited on a month long tour of the United Kingdom.

Back in the States, Sandy continued promoting Southern Woman by performing at various festivals in the South, including Arts in the Park, Eureka Springs Blues Festival and the Southern Heritage Festival.  She maintained a heavy performing schedule at all of Beale Street’s most prestigious clubs, and one of Sandy’s more unique gigs was writing the Memphis Mad Dog football team theme song, “Mad Dog Boogie,” recorded by Southern-fried soul and blues musician Preston Shannon.

In 1997, the great Luther Allison recorded Sandy’s “Just as I Am” and “It’s a Blues Thing” on his final album, Reckless, which was nominated for a Grammy.  That same year, Sandy recorded and released her Memphis Rain CD, which was honored by the Memphis and Shelby County Film and Music Commission.  She went on to receive a nomination by NARAS’ Memphis chapter for Songwriter of the Year.

Beginning the new millennium with concerts, club and festival performances, Sandy appeared at Muscle Shoals Songwriters, Beale St. Caravan National Radio Show at B.B. Kings, W.C. Handy Festival and the (invitation only) International Songwriters Festival in Orange Beach, Alabama, where she opened for songwriting legends Dan Penn and Spooner Oldham. In 2001, Sandy was filmed by Memphis’ PBS station WKNO, along with great songwriters Keith Sykes, Teenie Hodges, Nancy Apple, Duane Jarvis and Delta Joe Sanders as part of the “In Their Own Voices” concert.  Premiered in 2001, the concert has been syndicated on PBS affiliates nationwide.

Inside Sounds released a CD entitled Memphis Belles: Past, Present & Future in 2002 that featured Sandy along with Ruby Wilson, Cybill Shepherd, Carla Thomas and other Memphis female artists.  In 2007, Sandy released an EP, Rhythm of the Rivers, with five previously-unpublished songs and a reprise of “Bound for Glory.” The localized release featured “The Pickwick Song” popularized in Sandy’s home community. Rhythm of the Rivers showed another side of Sandy’s music and writing, and the songs reflect her love for home – both her Memphis musical heritage and her childhood and present home by the Tennessee River at Pickwick. In 2008, Sandy was awarded her own brass note on Memphis’ historic Beale Street, and in 2010 the note was formally presented and enshrined in front of the Hard Rock Café.

Sandy Carroll also co-wrote cuts on Catfood Records labelmates Johnny Rawls’ Soul Survivor CD, Barbara Carr’s Keep the Fire Burning, James Armstrong’s Blues at the Border and Daunielle Hill’s self-titled album. Sandy was one of the first inductees into her hometown’s Music Hall of Fame along with famous Memphis DJ, Dewey Phillips in 2013. Sandy was also named a “Memphis Music Emissary” in 2015 in recognition of her contributions to Memphis music. 

For more information, visit www.catfoodrecords.com and www.sandycarroll.com

Full Force Music artist: Sterling Koch - Rock Slide - New Release Review

I just received the newest release, Rock Slide, from Sterling Koch and it's a sliding boogie master. Opening with Shake 'em On Down, Sterling Koch on vocal and lap steel is joined by Gene Babula on bass, Jon Goba on drums, Bret Alexander on rhythm guitar and Jack Kulp on harp for a great driving opening. On Sugar, Koch uses a walking line as well as slick lead lap steel to brighten an easy slung boogie. With Jennifer Dierwechter on backing vocals this is another cool track. Leading a bit more toward country rock and the two step, Good To Go, finds Koch putting out a rocking slide tone, kind of a blend between JJ Cale, Rod Price and Eric Clapton. Slow and soulful, Leavin' Me With The Blues, is my favorite track on the release with Koch's best vocals and joined by Bob Wagner on keys. This track to me shows a lot of early British blues influence and crisp slide riffs. Made popular by Stevie Ray, Crossfire doesn't get much of a rework but a sliding interpretation which is actually pretty slick. Another of my favorites on the release is I'm Packin' Up, with it's walking bass line and tight bluesy slide riffs. Very nice! Rocker, Comin' For Your Love has a great driving rhythm. I like it's cocky rock swagger and straight forward drive. Super! Wrapping the release is Last Call, is a lumbering blues along the lines of Key To The Highway. Koch pulls out the stops on slide riffs on this track with a monster guitar duel. Excellent closer to another fine release from Sterling.

 

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Daniel DeVita - Southside Blues - New release Review

I just received the newest release, Southside Blues from Daniel DeVita and it's great! The feeling starts on the front of the cover with a blues player sitting in a dark wood trimmed room, surrounded by vintage guitars and amp equipment, holding a vintage mic and wearing blue and orange shoes. This screams old style Chicago! On yeah, and there is a mono stereo compatible note on the CD. Nice touch! This is the attention that DeVita has put into this really cool release. Opening with John Brim's, You Got Me Where You Want Me, DeVita leads on vocal and guitar, backed by Mariano D'Andrea on bass, Gabriel Cabiaglia on drums and featuring Nicolas Smoljan on harp. This track smells like Chicago! Excellent! On Little Walter's, One Of These Mornings, DeVita really lays out some tasty guitar riffs and this release is rolling. Muddy Waters' Standing Around Crying is up next and DeVita really nails it. The soulful vocals, the slinky slide and howlin' harp... excellent! Willie Dixon's Good Advice is a bit more stripped down with DeVita and Gabriel Gratzer on vocal and guitar. Simple and clean. Another John Brim track, Be Careful What You Do, really shuffles. Smoljian really digs in on harp pulling great tone and DeVita shows that he has been woodsheding his riffs because they are tight! Little Johnny Jones' Hoy Hoy has a great swing and with harp and guitar solos, this track nails it! Sonny Boy Williamson's, Cross My Heart is one of my favorite tracks on the release with excellent harp phrasing and warm guitar chords. Very nice! Robert Johnson's Walkin' Blues is kept simple and primitive with DeVita on vocal and acoustic slide guitar and Damian M Duflos on harp. This is a special track and nicely executed. Baby Face Leroy Foster's Red Headed Woman is another super showcase for Smoljan on harp and DeVita keeps it simple and tight. Very nice! Snooky Pryor's I'm Getting Tired has deep feeling and solid harp work. RL Burnside's Poor Black Mattie has an extremely rural feel. I really like the handling of this track and it's authentic feel! Sunnyland Slim's Farewell Little Girl is a cool choice giving another dimension with a more blended overall sense. Memphis Slim's Mother Earth has a really warm feel giving DeVita a super chance to dig in on guitar. This is another of my favorite tracks on the release with just that something extra special. Another Willie Dixon track, Violent Love, maintains a raw 40's style "Hot Club" sound which sets the stage nicely for a hot Sunnyland Slim Be Mine Alone wrapper. Smolian really steps up on this track joined by Mauro Diana on guitar and vocals. This is an excellent recreation of the Chicago blues sound and a record that I personally enjoy very much. Happy New Year!!

 

  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 favorites band! -  ”LIKE”

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New Hal Leonard instructional book - Chicago Blues Rhythm Guitar ...The Complete and Definitive Guide

I just received the newest instructional blues book, Chicago Blues Rhythm Guitar... The Complete and Definitive Guide by Steady Rollin' Bob Margolin and Dave Rubin and it has it all. This book starts at the beginning with simple tips on setup and history. Then as you start to get into the tablature, it's all written out there for you, beginning with a boogie shuffle on the bass strings.What's really cool is they go further and show it's application in a way that you know how to apply it. Sliding 9ths never sounded so easy. These give the track fullness say like on Stormy Monday. Comping gives your track a Freddie Green richness. And flat tire that odd note out used quite effectively by SRV on Pride and Joy. The box shuffle is a standard of Buddy Guy for example. Once you understand the root it makes it soo much easier to fill. Jimmy Reeds "two beat" style is also covered. Next E major and A Major keys are covered with basic runs. On this you can build the basic triple stop chord form. Tips on using a capo and tuning as well as a practical application is really helpful. The next section is devoted to accompanying a harmonica player. This is particularly important in the traditional effectiveness of harp/guitar call and response. Try it! Robert Lockwood Jr and Luther Tucker riffs are nicely touched upon. This is the gold standard here. Next there is a discussion of blending guitars and piano work. Substituting guitar for piano with a similar effect is also covered. Covering the change up rhythms is critical. Latin influence as well as funk, in blues is very prominent including Jr Walker and James Brown feel. A morphing into the blues rock style is also covered with slides and runs from Jimi. Yup, there are even base Beck and SRV runs here to get your feet wet. Also included is dialog about playing with strong players as well as a number of pages of cool lead riffs for two. This is a real cool book (and DVD) that brings you from the most basic to the more complex concepts but keeping it simple that any level guitarist can work through it. If you are into blues guitar and want to secure some riffs...this is a great place to start.

  

  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 favorites band! -  ”LIKE”

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