THE ROLLING STONES: BLUE AND LONESOME

THE ROLLING STOMES BLUE AND LONESOME (Universal Records)

For fans of Muddy Waters, B.B. King,

Of all the blues influenced rock bands to come out of England during the 1960’s, few perform American Blues music with the same authenticity as The Rolling Stones. Ever since the band’s early days when singer Mick Jagger and guitarist Keith Richards bonded over their love for Blues artists like Muddy Waters and Bo Diddley, the Blues have been a big part of the band’s sound. On their first visit to the states in 1964 they included a trip to Chess Records in Chicago to record where their Blues heroes had recorded. They’ve introduced Blues artists to a whole new audience by taking them on tour and donated to Blues museums. They’ve even picked up the tab for the funeral expenses of Blues musicians when the musician’s family couldn’t afford it. Now for their most recent release the band has decided to release a whole album paying tribute to their Blues heroes. Entitled Blue and Lonesome, this record shows that even after decades of sold out tours and millions of records sold they really are just a bunch of guys that want to play the Blues.

The recent formula of an artist recording a “Blues Tribute album” when they’re unable to come up with new original material is a tired one, but here The Stones actually deliver! The band performs the songs on BLUE AND LONESOME (universal records) with a swagger that has long separated them from other Blues-based rock bands. The record kicks off with a cover of Little Walter’s “Just A Fool”. For those that are unaware Little Walter Jacobs was THE harmonica player on the Chicago Blues scene during the 1950’s and has even been called “The Jimi Hendrix of Harmonica”. While trying to match the exact sound and power of Little Walter’s playing is impossible, Mick Jagger gets a lot closer then you’d think. His own harp playing isn’t as flashy as Walter’s but it more than gets the point across.

Another stand-out track is the slow Blues “Little Rain”. Again The Stones come up big with their rendition of this lesser known Jimmy Reed tune. Playing slower tunes like this without losing the plot is usually tough on drummers. Fortunately for the Stones they have Charlie Watts behind the drums to keep them in-check. His laid-back drumming style perfectly fits this style of music by allowing the songs room to breath but without letting the bottom fallout.  Such is the same with the rest of the Stones on this record. “Less is more” is the name of the game with this band and even when Eric Clapton joins the party on “I Can’t Quit You Baby” and “Everybody Knows About My Good Thing” the focus is always on playing what’s best for the song.

Bottom line is BLUE AND LONESOME is an excellent record that shows us the Stones are still just a bunch of music fans trying to turn people on to the Blues.

FANTASTIC NEGRITO: THE LAST DAYS OF OAKLAND

LastDaysofOakland

 

FANTASTIC NEGRITO: THE LAST DAYS OF OAKLAND 

LABEL: Blackball Universe

For fans of Fishbone, Tom Waits, Funkadelic, Junior Kimbrough

For those of you who believe there is no more good new music being released these days, I invite you to listen to the new album, THE LAST DAYS OF OAKLAND, from multi-instrumentalist Fantastic Negrito. Born Xavier Dphrepaulezz, and raised in a strict and religious household, the man now known as Fantastic Negrito is one of the most exciting artists to emerge from the Bay Area music scene in a long time. He moved to Oakland when he was 12 years old and immediately immersed himself in the wide variety of music styles that make up the Bay Area music scene. This explains to us why Dphrepaulezz’s own musical style really can’t be described as one genre. Elements of Funk, Soul, Gospel, Folk, and Blues make up the songs on THE LAST DAYS OF OAKLAND, and much like the city the album is named after, the music on the album is wonderful blend of styles and culture.

While this might be the first release for “Fantastic Negrito” it’s not the first release for Xavier Dphrepaulezz. In the early 90’s Dphrepaulezz was living in Los Angeles and briefly signed to Interscope Records and released one album. The album failed to satisfy the powers that be at Interscope and he was released from the label. Frustrated he actually gave up music. He then was involved in a terrible car accident which left him bedridden for several months. He returned to Oakland and several years later after the birth of his son the creative juices started to flow again and “Fantastic Negrito” was born. Then last year after many gigs around the Bay Area, Fantastic Negrito finally drew some well-deserved national attention last year when he won NPR’s Tiny Desk contest. Now hopefully the publicity he got from NPR will translate into record and ticket sales for Fantastic Negrito, as he is a musician that deserves to be heard by the masses.

The music on THE LAST DAYS OF OAKLAND takes the listener on a journey through the history of American roots music. The haunting Blues-Gospel tune “In The Pines” is a song that dates back to the late 1800’s and has been covered by everyone from Leadbelly to Nirvana. Here the song is given new life by Fantastic Negrito who recently released an accompanying video to the song that talks about the impact of gun violence in America today. Another one of my favorite tunes on the record is “Lost In The Crowd”. Originally released on his Deluxe LP in 2015 Fantastic Negrito commands your attention while he screams and shouts through this bluesy-rocker. A word also must be mentioned about the album’s cover art. The cover art features a character sitting a top a street sign that marks the location of Saint Andrews Plaza in West Oakland. Behind them is a beautiful drawing of the City of Oakland and a sunset. It might not be as important as the music on the record but the cover art truly makes this album a complete work of art. For fans who like something a little different or are fans of artists like Tom Waits, Fishbone, and Funkadelic, THE LAST DAYS OF OAKLAND is a must have.

xavier-1

ROBERT BELFOUR 1940-2015

Robert BelfourSimilar Artists: Junior Kimbrough, R.L. Burnside, Lightnin’ Hopkins

 

The Beginning: Fat Possum Records and Hill Country Blues

In 1992 a small indie label called Fat Possum Records gave the American Blues scene a much needed kick-in-the-ass when they released the debut album from 62 year-old Bluesman Junior Kimbrough. Entitled ALL NIGHT LONG, the record was met with rave reviews from both critics and Blues fans and gave Kimbrough some well deserved national attention.  Shortly after the success of the Kimbrough record Fat Possum also started having success with another one of their artists, R.L. Burnside. Like Junior Kimbrough, R.L. Burnside was in his 60’s and a resident of the area surrounding Holly Springs, Mississippi known as the Mississippi Hill Country.  Also like Kimbrough, R.L. Burnside was a master of a style of music called “Hill Country Blues”. Different then the well known Delta Blues style, Hill Country Blues focuses more on creating a groove and sometimes features other instruments such as Drums.  With both the Kimbrough and Burnside records receiving some good press, Fat Possum began recording other Hill Country Blues musicians. Unfortunately the label quickly ran into the problem that many of the musicians they recorded were usually older and in very poor health.  Sadly, many of them died before or shortly after their album got released. Down but not out Fat Possum Records kept plugging along and in 2000 they released a record by a 59 year-old construction worker named Robert Belfour.

BelfourFat Possum and Mr. Robert Belfour

Robert Belfour was born in 1940 in Red Banks, Mississippi. Growing up in the Hill Country, he was surrounded by music and learned to play the guitar by watching his father play.  As his interest in the guitar grew he began performing for friends and family at picnics. He continued his musical education by watching local legends like Othar Turner and Junior Kimbrough who both lived in the area and regularly performed at parties and in local Juke-Joints.  Unfortunately when Robert was just 13 years old his father passed away and he was forced to get a job in order support the family.  Then in 1959 Robert got married and moved to Memphis, Tennessee. He worked in construction for the next 35 years and only played music when he had time. In fact, it was until the late 80’s when he really began to take music seriously again. His first real break came in 1994 he was featured on the compilation album THE SPIRIT LIVES ON, DEEP SOUTH COUNTRY BLUES & SPIRITUALS. The recordings he contributed to the record got the attention of Fat Possum Records and in the year 2000 the label issued his debut album WHAT’S WRONG WITH YOU.  A dark-acoustic record, WHAT’S WRONG WITH YOU showcased Roberts percussive guitar work and rich deep voice. The album featured a mixture of  originals and covers, many of which had been made popular by other Hill Country Blues musicians. The album was a success with many Blues enthusiasts and introduced Robert to an international audience.

BelfourIn 2003 Robert released his second album on Fat Possum, the humorously titled, PUSHIN’ MY LUCK.  Like it’s predecessor, the album was primarily acoustic and pleased both fans and critics. Internationally, Robert’s popularity grew and he started to play a number of European Blues festivals. Back in the states, Robert kept his home in Memphis and continued to be a regular performer on the Juke-Joint scene in Clarksdale, Mississippi.  A dynamic performer into his 70’s, Robert’s shows would usually last late into the the night and sometimes be as long as three hours!  Unfortunately, all good things must come to an end. Robert Balfour passed away at his home in Memphis on February 25, 2015. Fortunately for us (and thanks to the good folks at Fat Possum Records) his recordings are still readily available and can be found on iTunes, Amazon, and at your local record store.

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LEO “BUD” WELCH: I Don’t Prefer No Blues!

Leo Welch

LEO “BUD” WELCH:  I DON’T PREFER NO BLUES

Big Legal Mess Records/Fat Possum Records

For Fans of Junior Kimbrough, R.L. Burnside, and The White Stripes

Sadly, the future of the Blues looks pretty bleak. While there are still a few living legends left in the world they rarely perform or record. Or if they do still record their record label or producer tries to place them with Classic Rockers who may not have even heard of the them.  This is why the new album from 82 year-old guitarist Leo “Bud” Welch is a such welcome release! Recorded for Big Legal Mess records in Mississippi, I Don’t Prefer No Blues is full of no-nonsense stripped-down gritty Blues. If you ever wondered what a Juke-Joint in Clarksdale, Mississippi sounds like on a Saturday night, well, here you go.

In 2014 Leo Welch gave the Blues scene a much needed shot of life when he released his first album Sabougla Voices (also on Big Legal Mess Records). Like it’s predecessor, I Don’t Prefer No Blues was produced by Big Legal Mess label owner Bruce Watson. For this album Watson enlisted the help of fellow Mississippi roots musician Jimbo Mathus (of Squirrel Nut Zippers fame) and together the pair pushed Leo record a much more Juke-Joint Blues sounding record.  Featuring a number of Blues standards like “I Woke Up This Morning” and “Poor Boy”, this album might the best REAL Blues album of the year.

The album opens with the acoustic standard “Poor Boy”.  Backed by an upright bass and featuring some beautiful backing vocals courtesy of Sharde Thomas (Othar Turner’s granddaughter) this track is excellent rendition of a tune that’s been performed by delta musicians since the 1920’s.  Leo and Sharde add their own stamp to the tune that leaves us hoping they’ll work together again soon. Up next is dark funky blues tune “Girl In The Holler”. Powered by a firm back-beat the song slowly builds to a boiling point before simmering down and fading out. Dynamics are key here and the musicians backing Leo on this record are true masters of capturing the authentic electric-delta sound.

Other fine moments on the album are the boogie-shuffle “Cadillac Baby” and fuzzy slow blues “Going Down Slow”.  Both tunes should quickly become crowd favorites when they’re performed live as they feature Leo at his very best. Even though I Don’t Prefer No Blues focuses on the Blues-side of Leo’s repertoire he doesn’t totally abandon his love for Gospel music. Possibly the album’s strongest track, “Pray On” is a combination of all the things that make this album great.  Fuzzy-guitar, boogie blues, and a slammin’ band!  Llike the album, this song shows us that at 82 years young, Leo isn’t slowing down. He’s just getting started.

Blues and Soul Civil Rights Songs

Blues and Soul music has always contained some of the most moving socially-minded songs. Here are a few of my favorites…

 

Syl-JohnsonSYL JOHNSON “Is it Because I’m Black?”

This moody number might be one of the saddest songs about racial inequality ever written. Released in 1970 on the album IS IT BECAUSE I’M BLACK it’s sung from the point of view of a African American man living in an inner-city ghetto. Guitarist Syl Johnson wrote many songs about “real life” but this might be his finest moment.

 

 

Otis SpannOTIS SPANN “Tribute To Martin Luther King” 

A very somber but moving song about the assignation of Dr. Martin Luther King.  Written in 1968 shortly after King’s death and recorded at a tribute concert for Dr. King. Muddy Waters plays guitar on the tack. Available on the album LIVE THE LIFE (Testament Records).

 

 

LeniorJ.B Lenoir “Down In Mississippi” (Album & Song)

An under-rated member of the Chicago Blues scene during the 50’s, Lenior was “rediscovered” by Willie Dixon in the mid 1960’s. He returned to recording in 1965 during the height of the civil rights movement to record two of the most powerful folk blues albums of all time, ALABAMA BLUES and DOWN IN MISSISSIPPI. Produced by Dixion, both albums feature Lenior in strip-down acoustic setting tackling subjects such as Vietnam, James Meredith, and the march to Selma, Alabama.  While these records are hard to find today on vinyl they are available together on a CD called VIETNAM BLUES.

 

NinaNINA SIMONE “Backlash Blues”

Ms. Simone has recorded many songs about the struggle for civil rights but few of them are as soulful as “Backlash Blues”. Recorded for her 1967 album NINA SIMONE SINGS THE BLUES (RCA Records) this song talks about how some public officials used different forms of intimidation to keep African Americans from exercising their civil rights. Lyrics for the tune were penned by Jazz poet Langston Hughes.

 

 

Big BillBIG BILL BROONZY “When Will I Get To Be Called A Man?” & “Black, Brown, & White”

Both of these tunes were written by Broonzy and recorded by Alan Lomax for the Library of Congress. They can both be found on the CD TROUBLE IN MIND (Smithsonian Folkways Recordings).

Broonzy said he wrote “Black, Brown, and White” in 1939 while he was working as a molder. After he put in many long hours on the job he was told to train an new co-worker (who happened to be white).  Broonzy did as he was told and took the new hire under his wing, teaching him all he knew about molding. Shortly after his training was complete the man he trained was promoted and became Broonzy’s boss!  Weather or not this actually happened to Broonzy is inconsequential. Situations like these did (and unfortunately still sometimes do) happen in our society.

Staple SingersTHE STAPLE SINGERS “Why Am I Treated So Bad?”

Written by Roebuck “Pops” Staples in 1965, “Why Am I Treated So Bad” is one of the most popular Civil Rights songs ever written.  It’s said that Pops wrote the tune after watching what is sometimes referred to as  “Little Rock Nine” on TV.  The Little Rock Nine was a group of nine children who were refused entry to a public school in Little Rock Arkansas because they were African American. Tensions were so high in Little Rock that eventually President Eisenhower had to intervene and sent the National Guard to Little Rock to escort the children into the school.  Outraged by this event Pops wrote this powerful song which he regularly performed at rallies with his group The Staple Singers.  According to Pops’ daughter Mavis, the song was a favorite of Dr. Martin Luther King. You can find this song on the Staple Singers “best of” collection FREEDOM HIGHWAY: The Epic Years (Epic Recordings).

 

JLHJOHN LEE HOOKER “I Don’t Wanna Go To Vietnam”

While this might not be John Lee Hooker’s best know song it’s definitely one of his most powerful.  From the underrated 1969 album SIMPLY THE TRUTH, this song finds Hooker calling out to his missing friends fighting overseas. Frustrated with the government he sings about the problems going on domestically and asks why they got involved with Vietnam when there were so many troubles at home? This is a beautiful song about a difficult time in U.S. history.

 

Other civil rights songs I recommend…

JAMES BROWN “Say it LOUD, I’m Black and I’m Proud”

THE TEMPTATIONS “Ball of Confusion (That’s What The World Is Today)”

WILLIE HIGHTOWER “Walk A Mile In My Shoes”

THE STAPLE SINGERS Long Walk To D.C.”

BIG JOE WILLIAMS “The Death of Martin Luther King”

STEVIE WONDER “Living For The City”

MANCE LIPSCOMEB Mean Boss Man”

SLY & THE FAMILY STONE “Everyday People”

NO MORE DOGGIN’ The RPM Records Story: Vol 1 1950-1953

 

RPM RecordsFull of Jump Blues, early R&B, and down-home Country Blues, the double-disc collection No More Doggin’ The RPM Records Story Vol. 1 might be one of the best introductions to early 50’s blues ever.  Compiled by the good folks at ACE Records, this collection covers the early years of RPM Records and features well know artists like B.B. King, Howlin’ Wolf, and Lightnin’ Hopkins.

Started in 1950 by the Bihari Brothers, RPM was meant to be a subsidiary of the Bihari’s very popular label Modern Records.  After initially having lots of success with Modern, the Bihari’s began having trouble getting their records played on the radio due to stations not wanting to play too many sides from any one label. So in order to get their product on the airwaves the Bihari’s started a number of subsidiary labels. Probably the most popular of Modern’s subsidiary labels, RPM introduced the world to a Memphis radio DJ by the name of Riley B. King. Eventually known as “B.B. King”, Riley came to the attention of the Bihari Brothers thanks to their working relationship with Memphis talent scout/producer Sam Phillips. Phillips at the time was recording local artists with his Memphis Recording Service then sending the masters to labels like Modern and Chess. Trough their relationship with Phillips, the Bihari’s got hooked up with some of the best talent in Memphis. Unfortunately their relationship ended when Phillips and the Bihari’s had a disagreement over a B.B. King session and went their separate ways. Fed up with feeding product he recorded to other labels, Phillips then decided to start his own label, Sun Records. As for Modern/RPM, even without the help of Phillips the label still went on to produce many more hits, including B.B. King’s breakthrough hit record Three O’Clock Blues.

No More Doggin’ The RPM Records Story Vol. 1 starts off with the Dixieland-style track “Alabama Bound”. Sung by Adele Francis, this tune was RPM’s first release in 1950.  Other stand out tracks are Sonny Blair’s down-and-out blues ballad “Glad To Be Back Home”, B.B. King’s “Other Night Blues, and Howlin’ Wolf’s “Riding In The Moonlight”. My personal favorite recordings on this collection are the Lightnin’ Hopkins tracks. Excellent versions of “Bad Luck and Trouble” and “Another Fool In Town” showcase Hopkins at his bluesy best, while “Jake Head Boogie” shows that he also could ROCK when he wanted to.  Another nice surprise on this collection is the tune “It’s Time For Lovin’ To Be Done”. Performed by Detroit Bluesman Little Eddie Kirkland, the song features uncredited backing vocals by the great John Lee Hooker!

As usual the folks at ACE left no stone unturned when putting this collection together. Included in this collection is a nice history of RMP records as well as a few words on all the performers. All of the albums 52 tracks sound crisp and clear thanks to the extra care shown by the folks who did the remastering. If you want to hear where Rock N’ Roll really began this collection is for you.

bihari bb king

SONNY KNIGHT & THE LAKERS “I’m Still Here”

SONNY-KNIGHT SONNY KNIGHT AND THE LAKERS: I’M STILL HERE Secret Stash Records

For fans of: James Brown, Otis Clay, Lee Fields, and Dyke & The Blazers

Sonny Knight has been part of the Minnesota music scene for over 50 years. Originally from Jackson, Mississippi, Sonny moved to St. Paul, Minnesota with his family when he was only 7 years old.  In his early teens he became involved with the local doo-wop scene and sang with a number of groups before eventually cutting his first single, “Tears On My Pillow” in 1965.  Unfortunately his musical career had to be put on hold when he got drafted in to the Army and was sent to fight in Vietnam. When Sonny returned home from overseas he was unable to find consistent work as a musician. He ended up taking a full-time job as a truck driver while continuing to sing off and on with different groups during the 70’s and 80’s. Then in 2012 the Minnesota indie-label, Secret Stash Records, released the compilation album Twin Cities Funk & Soul 1964-1979.  To help promote the release, Secret Stash co-founder Eric Foss put together a show featuring some of the artists that appeared on the album. One of these groups was 60’s R&B group The Valdons. As he was currently performing with members of The Valdons, Sonny was asked to participate with the band in their reunion show.  While working to prepare for the show Foss became so impressed with Sonny’s talent that he signed him to Secret Stash and put together a band to back him on a solo record.  Now known as Sonny Knight and The Lakers, the guys have decided to share their sound with the world by releasing what might just be the best album of 2014.

The name of the album is I‘m Still Here and the music on it is hard hitting funk!  This album was recorded the way an album should be recorded, LIVE and with everybody playing together. You can hear the band feeding off each others energy on tracks like “Sonny’s Boogaloo” and “Get Up and Dance”. These guys might not have been on the scene as long as their 66 year-old front man has but they’re still seasoned pros. Label owner Foss handles the drumming duties on the record. A rock solid drummer, he keeps things steady and makes it easy for the band to fall in behind him. Songs like “Through With You” and the James Brown-esq “Juicy Lucy”, groove hard and are full of soul. The album’s strongest track might be the Stax-flavored “Hey Girl”.  Sure to please dance floors everywhere, this tune makes you wonder what Wilson Pickett would have sounded like if he had been backed by the 70’s funk band Black Heat.  Still, even with all these great players in the room, the star of the show is Sonny Knight. After only a few minutes of listening to him you can tell that this guy’s the REAL DEAL. Hopefully with the release of I’m Still Here he’ll get the attention he so rightly deserves.

LEO “BUD” WELCH: Sabougla Voices

BLM0288_LeoWelch_Cover-330x330

 

Leo “Bud” Welch: SABOUGLA VOICE Big Legal Mess/Fat Possum

For Fans of: Junior Kimbrough, R.L. Burnside, The White Stripes, Rev Louis Overstreet

Guitarist Leo “Bud” Welch was born in Sabougla, Mississippi in 1932.  A natural musician, Leo taught himself to play the guitar by learning songs off the radio.  As soon as he built up a small repertoire he began performing at parties and local juke-joints.  Unfortunately work as a musician was inconsistent and even though he was incredibility talented he was unable to make a living playing music.  In order to make ends-meet Leo ended up taking a job as a logger and had to resort to playing music only when he had free time.  Then in 1975 Leo switched from playing Blues to playing Gospel.  He started performing in churches all over Mississippi and even began hosting a local Gospel Television show. Even though he now considered himself a Gospel musician he still kept in touch with the local Blues scene.  As time went on he heard that Blues musicians like Junior Kimbrough were having late-in-life success working with Fat Possum Records.  Inspired by this he called up the label and requested an audition. Label owner Bruce Watson agreed to hear Leo play and ended up signing him on the spot. Now thanks to the good people at Fat Possum and Big Legal Mess Records the world finally gets to hear one of the treasures of Mississippi, guitarist Leo Welch.

The album is called  Sabougla Voices and the music on it is honest no-frills Mississippi Gospel.  Throughout the albums ten tracks Leo’s plays the guitar with the energy of someone half his age.  Songs like “Praise His Name” and “You Can’t Hurry God” are upbeat and show us the lines between Blues and Gospel are blurry at best. In fact, if you were to change a few lyrics, these songs could easily be for Saturday night instead of Sunday morning.  Another standout track on the record is the acoustic “Me and My Lord”.  Sounding a little like Pops Staples, Leo does call and response with his backup singers while playing acoustic guitar. This song is given an extra push by Leo’s backing band which shows it’s professionalism by settling into a nice groove and not over playing.

Even though all of the music on Sabougla Voices is solid, the album’s strongest track is easily the slow and eerie blues tune “A Long Journey”. Beautifully recorded, this song is about accepting the fact that death is part of life.  That being said, hopefully Leo will be still be around for a long time as he deserves to enjoy every minute of his new found success!  He’s got gigs booked across the U.S. this summer and is even scheduled to perform in Europe!  Not bad for someone that at one point had to turn down an audition with B.B. King because he couldn’t afford to travel to Memphis. This album is excellent and belongs in your collection.

leo-bud-welch

 

VISITING MEMPHIS!

Traveling to Memphis!

This past spring I had the privilege of getting to spend a few days in Memphis, Tennessee.   Let me start out by saying that I found Memphis to be a wonderful city with amazing history!  While Memphis has received a bad reputation for it’s level of crime and high homeless population at no time did I feel unsafe.  I had an excellent visit and found the locals of Memphis very friendly and helpful.   If you have any interest in American Roots music or the History of the Civil Rights movement you should start making plans to visit Memphis immediately.

 

MUST DO’s while in Memphis.

National Civil Rights Museum  450 Mulberry St  Memphis, TN 38103  http://www.civilrightsmuseum.org/

In my opinion to really understand the history of American roots music you need to learn about the struggle for Civil Rights in this country. Start your visit here! This beautiful museum will set the tone for the rest of your visit.  Located in the Lorraine Motel, where Dr. Martin Luther King was assassinated, the museum elegantly tells the story of the men and women that fought hard for equality in this country.  Learning about the struggle for Civil Rights will help you see why multiracial bands at Stax Records and Fame Studios were so historically significant.

Civil Rights MuseumIMG_0186

 

 

 

 

 

 

 

 

 

 

 

Stax Museum of American Soul Music 926 E. McLemore Ave. (901) 942-SOUL  www.staxmuseum.com

Possibly one of the best museums in the United States, the Stax Museum of American Soul Music tells the story of the little record label that could.  From field workers singing gospel music to the artists of today this museum leaves no stone unturned.  Also the museum doesn’t just stick to talking about Stax artists.  It covers artists from Motown, Atlantic, Chess, Duke, Goldwax (my personal favorite), and everything in-between!  You’ll see things like Issac Hayes’ car, Rufus Thomas Mater Tapes, and a recreation of the studio where Booker T. and The MG’s backed many amazing artists.  The museum has lots of interactive touch-screens and even a full on dance floor!  The staff are very knowledgeable and are dedicated to getting you the whole story of Soul music.  Keep in mind if you’re staying downtown you’ll have to take a cab, bus, or car to get here as it’s a little off the beaten path, but you’ll learn there’s a reason for that.  This museum is worth the short trip from downtown.  Only here will you’ll get the whole story of American Blues and Soul music.

IMG_0250 Stax Studio

 

 

 

 

 

 

 

 

 

BEALE STREET

Although it’s now pretty much a tourist trap, Beale Street should be a stop on your trip.   This is the street where so many musicians got their “start”.  W.C. Handy, B.B. King, Furry Lewis, Rosco Gordon, Rufus Thomas, Memphis Minnie, all have graced the stages of clubs here on Beale.  There is still plenty of live music here but it can be very hit or miss. Luckily, I had a chance to catch the great Dr. Feelgood Potts while I was here and he didn’t disappoint!  He and his put put on a great show and had the place jumpin’! Check him out if you get the chance!

EATING ON BEALE

Blues City Cafe 138 Beale St, Memphis TN  (901) 526-3637  http://www.bluescitycafe.com/

The one sure thing on Beale that’s around today is the restaurant Blues City Cafe.  Memphis has as many amazing restaurants as it does Blues legends and the Blues City Cafe is one of the best.  Late hours, great spices, amazing BBQ, what’s not to love?  I had some of the best Fried Catfish I’ve ever had in my life here!

 

Blues City Dr. Feelgood Potts

 

The Rock N’ Soul Museum

Located at Beale and Hwy 61 (across the street from the Gibson Guitar Factory)

This museum isn’t as essential as the Stax Museum but it’s still VERY good.  They have an amazing collection of stuff from Ike Turner’s Piano to part of a classic Southern style church.  They cover all the essentials from Gospel to today’s Soul and they have a really nice exhibit on Memphis’ own WDIA!  If you’re short on time and cant’s make it to the Stax Museum then make sure you hit this place up!  It also offers a FREE shuttle to Sun Records and is walking distance to lots of stuff in Downtown Memphis.

 

WDIA  Ike Turner's Piano

 

Another thing to do while in Memphis is vist The Memphis Cotton Exchange Museum.  Cotton was king in the American south and because the history of the Blues has so much to do with the life a sharecropper lived you really can’t pass up this museum.

There’s also Sun Records, the studio where Sam Phillips recorded Elvis, Cash, Jerry Lee, and many others.   Now don’t get me wrong, I like the Rockabilly stuff that was done at Sun Records but I’m personally more interested in the Blues that Sam Phillips recorded with his Memphis Recording Service.  Sadly there is little mention of the Blues at Sun Records today, but to be fair, most of their visitors don’t really seem to care about that.  Most of them probably aren’t even aware that Sam Phillips once called Howlin’ Wolf’s “Moanin’ at Midnight” the greatest recording he ever made.   So besides an original wax copy of Ike Turner’s “Rocket 88” there really isn’t much about the Blues here at Sun Records.  The studio is now very touristy and has a large gift shop and cafe in it.  During my visit I tried to imagine Johnny Cash taking a break from a session to shop for a Sun Records hoodie but it made me sad so I left.  However, if you’re into Rockabilly or Elvis Presley you should make this an essential part of your Memphis trip.

Cotton Museum   Al Green's Church

 

Some other non-essential but fun spots to see Memphis 

Al Green’s Full Gospel Tabernacle Church,

The Blues Foundation office (when they finish building their Blues museum this will become an essential stop)

West Memphis, Arkansas (The clubs in West Memphis were where musicians from Memphis went to REALLY show their stuff)

Also make sure you check out the site www.msbluestrail.org.  Here you’ll find information about the Mississippi Blues Trail and Historical markers that are set up at spots along the trail where Blues history actually happened!  There are a number of these markers around Memphis and they provide a nice overview of the city’s Blues history.

LAST BUT NOT LEAST…

CLARKSDALE, MISSISSIPPI

If you’re in Memphis, Tennessee then you’re only about 90 short minutes from Clarksdale, Mississippi.  I HIGHLY recommend taking at least a day and travel down to Clarksdale.    If you’re into Blues, Soul, Gospel, or History you will LOVE Clarksdale.  Here you will get your fill of NO FRILLS BLUES HISTORY.   There is so much to see and do in Clarksdale that I can’t list it all here.  So if you’d like suggestions about visiting Clarksdale please contact me through this blog and I’ll be in touch with you.  Keep in mind that many of the amazing clubs, shops, and museums in Clarksdale are disappearing due to the recent influx of Casinos along the Mississippi river.  So see them while you can!

Happy travels!

 

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BUDDY GUY “WHEN I LEFT HOME”

 

A few years ago while I was doing a blues gig in San Francisco and I got into a conversation with another musician about great Blues guitar players.  “It’s a shame there aren’t any great blues players left” he said.  “That’s not true” I replied, “There are still some of the greats left. B.B. is still around and of course you have Buddy Guy”.  The musician gave me a strange look and said “What?! Why do you like Buddy Guy?  I saw him once and he just played a bunch of Hendrix riffs”.  All I could do at that point was chuckle and reply, “Yeah, well where do you think Hendrix, got some of those ideas from?   Jimi was a student of the Blues and listened to all the blues records he could get his hands on.  The guitar player on many of these records was Buddy Guy. ”

Buddy Guy’s guitar playing has inspired guitar players in every genre of music for over fifty years. Always an exciting live act Buddy,  has taken his exciting brand of electric blues all all over the world.  He’s shared the stage with blues legends like Muddy Waters and rockers like The Rolling Stones.  He’s headlined countless festivals, performed on television and even performed for Presidents and Royalty.  That being said his impressive career isn’t limited just to the stage.  During the 1960’s Buddy was  an in-demand studio musician for Chess records and played lead guitar on many hits by the likes of Muddy Waters, Howlin’ Wolf, and Koko Taylor.  In short, Buddy Guy has lived enough in his 76 years for three lifetimes, and lucky for us he’s decided to tell his story.

In “When I Left Home” Buddy (with help from David Ritz) takes us from the farm he grew up on in Louisiana to the streets of Chicago.   A master storyteller, Buddy doesn’t hold back when talking about the ups and downs of life as a blues man. With a mother in need of extra medical attention after suffering a stroke, he left Louisiana for Chicago in search work that would able him to not only support himself but also send money back home to Louisiana.  Already proficient on guitar from playing around clubs in Louisiana, Buddy worked himself into the Chicago scene with the help of some local blues fans and eventually with help from the great Muddy Waters.  One would think that this would be the ending of our story, but this is only the beginning.  Over the next several years Buddy works hard to establish himself as one of the premier Blues guitar players on the Chicago scene.  Working as a tow-truck driver in the day, playing clubs and doing recording sessions at night he found himself working night and day to make his dream happen and take care of his family.  “When I Left Home” is the no-nonsense story of George “Buddy” Guy, and like it’s author, this story is THE REAL DEAL.

 

Not familiar with the music of Buddy Guy? Here are some albums I think you might enjoy. There are also many single recordings featuring Buddy, more information on these recordings and the albums listed below can be found in the back of the book “When I Left Home”.

Artist/Album

BUDDY GUY ALBUMS

“Buddy’s Blues” (Best of his Chess recordings)

“A Man and The Blues”

“Buddy and The Junior’s” (Buddy Guy with Junior Wells and Junior Mance)

“Damn Right I Got The Blues”

“Sweet Tea”

“Blues Singer”

“Can’t Quit The Blues” (Box Set)

RECORDS FEATURING BUDDY GUY

JUNIOR WELLS “Hoodoo Man Blues”

MUDDY WATERS “Folk Singer”