On the morning of October 6, 2020, The Reverend John Wilkins passed
away at the age of 76. A talented guitarist and performer, Wilkins
was enjoying some late in life success thanks to his recently released
albums YOU CAN’T HURRY GOD and TROUBLE. He was a popular performer at
Blues festivals and because of his unique Country/Blues guitar playing
style, many considered Wilkins to be one of the last living links to a
musical period long gone. He is survived by a loving family (some of
whom performed with him at his concerts) and will always be
remembered by members of the church where he was a pastor in Como,
Born in Memphis in 1943 into a musical family Wilkins began playing
guitar at a young age thanks to his father, pre-war Blues guitarist
Robert Wilkins. Best known for his song “Prodigal Son” (which was
covered by The Rolling Stones in 1968), Robert Wilkins had a career
that started in the late 1920’s but didn’t enjoy mass success until
his “rediscovery” in 1964 as part of the Blues revival. From about
1936 until his rediscovery in ’64 Robert temporarily gave up playing
Blues and began focusing on Gospel music. It was during these years
that young John came into this world and began performing alongside
his father at church. While his father was probably his biggest
influence on his playing directly, John also soaked up the musical
sounds of Memphis during the 50’s and 60’s. He would go on to do
studio sessions and play in various groups around the city before
eventually settling down and becoming a pastor of the Hunter Chapel in
Como, Mississippi in 1985.
Even though Hunter Chapel had its fair share of blues musicians as
part of their congregation over the years once Wilkins took over as
pastor he gave up playing guitar entirely. He finally picked it up
again in 2003 after he attended a funeral for his friend, musician
Otha Turner. Inspired to pick up playing music again he got back into
performing and in 2010 he released his debut album YOU CAN’T HURRY GOD
(Big Legal Mess Records). The record was well received by many and
soon Wilkins found himself bringing the sound of the Mississippi Hill
Country (or as Wilkins called it “Hand-clappin’ foot-stompin” music)
to places like London and Paris. He became a major fixture at Blues
festivals all over the world and in 2019 recorded a follow up album.
All seemed to be going well for Wilkins and his family until April
2019 when he contracted COVID. Like many who have contracted the
disease Wilkins first found himself having trouble breathing and
feeling like he had the flu. He phoned his daughter and was quickly
admitted to a local hospital where he was hooked up on a respirator.
He stayed in the ICU for 5 weeks before his health slowly started to
improve. Then in mid June, Wilkins got the good news he was all clear
and returned home! Not long after his release from the Hospital he
released the album TROUBLE (Goner Records) that he recorded in 2019.
Recorded in Memphis at the legendary Royal Studios, TROUBLE was
finally released September 18th, 2020 and received rave reviews upon
its release . Formally the recording home of Willie Mitchell’s
Hi-Records (Al Green, Syl Johnson, Ann Peebles) Royal Studios has been
one of the prominent spots to record in the south since 1957. The
recording session was sort of a homecoming for Wilkins as he performed
on sessions here in his earlier years. The studio is also known for
taking Soul music to the next level in the 60’s and 70. So, it seems
only fitting that the album Wilkins recorded here would be musically
diverse. Featuring a little something for everyone, TROUBLE is truly a
Memphis record. Here we find Wilkins and his band mixing Country and
Soul along with their normal mix of Blues and Gospel thus giving the
album more of a “Southern Soul” feel then his previous record. It also
must be said that one of highlights on this record is hearing Wilkins’
own daughters perform alongside him. Tangela Longstreet, Joyce Jones, Tawana Cunningham are all very talented in their own right and give the band sort of a Staple Singers sound on tunes like “Wade In The Water”, “Walk With Me”, and “Darkest Hour”.
If there’s any part of TROUBLE that is a bummer it’s that Wilkins
wasn’t alive long enough to see it enjoyed by his fans. As previously
mentioned he passed away October 6, 2020 from unknown causes. While he
will be missed by many all over the world we are fortunate he left us
two wonderful albums of music along with a lifetime of memories.
Hopefully his music will live on and find new listeners in the years
to come. After all, who doesn’t love some good Hand-clappin, foot-stompin’ music!
REV. JOHN WILKINS albums are currently available for streaming on Spotify and for purchase through most on-line retailers.
YOU CAN’T HURRY GOD (Big Legal Mess Records) 2010
TROUBLE (Goner Records) 2020
CAN’T TURN ME AROUND Bible & Tire Records
For fans of Sharon Jones and The Dap Kings, The Blind Boys of Alabama, and The Staple Singers
The new record from the Dedicated Men of Zion reminds us that the lines between traditional gospel and R&B are blurry at best. Filled with foot-stomping rockers and swinging soulful ballads, CAN’T TURN ME AROUND, is just as appropriate for Saturday Night as it is for Sunday morning. Hailing from rural North Carolina the group has gone through a number of lineup changes since it’s incarnation in 2014. In 2018 the group’s current lineup, consisting of Anthony Daniels, Antoine Daniels, Dexter Weaver, and Marcus Sugg caught the attention of The Music Maker Relief Fund. The Music Maker Relief Fund is a non-profit organization that helps musicians in the rural south meet their day-to-day needs and promote their music. Even though the band was already popular regionally, working with the Music Maker Relief fund helped the group reach a larger audience and eventually find the ears of Bruce Watson’s Bible & Tire Record label.
The bottom line is that The Dedicated Men of Zion’s new record CAN’T TURN ME AROUND is a record that is desperately needed today. It’s inspiring, hopeful, and most of all reminds us that yes, things have been bad before but if we work together we can survive this and make it to the promised land.. whatever you deem that to be.
Born in Arkansas in 1915 Sister Rosetta Tharpe influenced Rock and Popular music more then most people know. A young Little Richard got his start by opening for her before anybody knew who he was. Elvis, Johnny Cash, and Bob Dylan all cite Sister Rosetta as a major influence, and during her heyday she performed for stadium sized crowds all over the world. In short, Sister Rosetta was a rockstar before Rock n’ Roll even existed.
Soul Jazz Records
For fans of James Brown, Irma Thomas, Tina Turner, and The Meters
When you think of the greatest Soul singers of all time you probably don’t think of the name Betty Harris. Despite being as talented as superstars like Tina Turner and Etta James, Ms. Harris isn’t a household name. During the 1960’s she only released a handful of singles and only a few of those became hits. She then retired in 1970 to focus on her family. While her music has become very popular among Soul record collectors and aficionados over the years, it has never reached a mass audience. Fortunately the good folks at Soul Jazz Records are trying to change that with their recent release, BETTY HARRIS: THE LOST QUEEN OF NEW ORLEANS SOUL!
Born in Orlando FL, in 1941 (or possibly 1939) Ms. Harris started out singing gospel music when she was very young. Part of a very religious family, Harris wasn’t allowed to sing secular music while under her parent’s roof. She left home in her late teens to perform Blues and Soul music in California. After several years on the West Coast she moved to New York City where she hooked up with songwriter/producer Bert Berns. In 1963 she recorded her first hit, “Cry To Me”, a slow rendition of a tune singer Solomon Burke had recorded a year earlier. The song became a big hit for Harris and actually surpassed Burke’s original recording on the national charts! The success of “Cry To Me” inspired a few more releases from the Berns/Harris team including a fiery number called “Mo Jo Hannah”. Unfortunately none of these other recordings because hits and Burns and Harris went their separate ways.
WORKING WITH ALLEN TOUSSAINT
Shortly after her relationship with Burt Berns ended Harris met master Musican/Songwriter Allen Toussaint and began recording for his New Orleans based record label Sansu. Even though only one of the singles she recorded for Sansu charted nationally, the recordings she made while at the label are classic and make up the material on BETTY HARRIS: THE LOST QUEEN OF NEW ORLEANS SOUL. The music on this compilation is all killer-no-filler and ranges from classic R&B to hard funk! While it’s Harris’ larger-then-life vocals that commands the most attention on these songs we must also note that the backing band is made up of some of New Orleans’ finest musicians, including members of the legendary Funk group, The Meters. Like the Funk Brothers at Motown or Booker T. & The MG’s at STAX, The Meters are as important to the recording as the artist they are supporting. Finally, we must also acknowledge that none of these recordings would’ve been possible without master musician/producer Allen Toussiant behind the board. Not only do his talents as a producer take these recordings to another level, he also wrote almost all of these songs!
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.
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 stand-out track 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.
There was a time when all an artist would need to make a good recording was their instrument, a microphone, and a tape recorder. In fact, some of the greatest and most influential recordings of our time were made in rural areas in the back of small country stores or small cabins on equipment that was powered a car battery. Known as “field recordings”, these recordings were usually done by folklorists determined on documenting maters of American Roots music in a natural setting.
Personally, some of my favorite field recordings where done by music historian George Mitchell. Born in Coral Gables, Florida and raised in Athens, Georgia, Mr. Mitchell has recorded hundreds of hours of music, mostly by musicians who would’ve never been heard outside of their living room if it weren’t for him. He was the first to record Hill-Country Blues guitarist R.L. Burnside in 1967 in Mississippi, a recording session that yielded some the most heart-felt acoustic Blues ever recorded. He also was responsible for some excellent late-in-career recordings of Blues legends Fred McDowell and Furry Lewis.
In 2008 Fat Possum records complied a large number of George Mitchell’s recordings for a massive 7-disc box-set simply titled “The George Mitchell Recordings Vol. 1-45”. While the amount of music in this collection may have been perfect for the Blues connoisseur wanting to get completely stuffed on Mitchell’s field recordings, the collection lacked a certain intimacy you get when you focus on just one single artist’s session. Thankfully, the good people at Fat Possum/Big Legal Mess Records realize this and over the years have released entire sessions from individual artists recorded by George Mitchell. Below are some of my very favorites… No studio tricks, no auto-tune, just a musician and their music.
R.L. Burnside First Recordings Recorded in 1967
A popular style of Blues played by musicians from Northern Mississippi, “Hill Country Blues” focuses more on creating a hypnotic rhythm and less on following a specific chord progression. While musicians such as Otha Turner, Jesse Mae Hemphill and Mississippi Fred McDowell (actually from Tennessee) are masters of this style, the two best known Hill Country Blues musicians are Junior Kimbrough and R.L. Burnside. Both Kimbrough and Burnside made their first recordings in the 1960’s with the latter recording for George Mitchell in 1967.
George Mitchell first caught wind of R.L. Burnside while recording another Hill Country Blues master, Otha Turner. It was Turner who suggested to Mitchell that if he wanted to hear someone who could REALLY PLAY, he should check out his neighbor R.L. Burnside. Although both Turner and Burnside where unknown to the outside world at the time they were very popular in their respective communities and masters of the their instrument.
During his session for Mitchell, Burnside performed excellent versions of Hill Country standards, “Poor Black Mattie”, “Goin’ Down South” and “Rollin’ and Tumblin”. He also played a slow eerie-blues entitled “Just Like A Bird Without A Feather”, which is the best track on this wonderful album.
JOE CALLICOT Ain’t Gonna Lie To You Recorded in 1967
Recorded in 1967 and reminiscent of recordings by fellow guitarist Mississippi John Hurt, AIN’T GONNA LIE TO YOU is a mix of Blues standards and Gospel numbers. Also like Hurt, Joe’s voice isn’t the strongest in the world but yet it wonderfully complements his soft finger-picking guitar style. A perfect example of this is Joe’s beautiful rendition of the Folk standard “Frankie and Albert”. While Joe’s career actually began in the 1920’s and included recording sessions and performances outside of Mississippi he was never a household name and even gave up music in the 1940’s. Fortunately for us he returned to recording after meeting George Mitchell in 1967.
J.W. WARREN Life Ain’t Worth Livin’ Recorded in 1981 & 1982
J.W. Warren was born in 1921 in Enterprise, Alabama. Like many of the musicians recorded by George Mitchell, Warren was a farmer who mostly performed just for friends at parties and in local juke joints. The recordings on LIFE AIN’T WORTH LIVIN’ were done in Warren’s own home in Alabama by Mitchell on September 15th, 1981 and in March 27th, 1982. Musically, Warren stuck mostly to traditional-sounding Country Blues. His powerful voice is best displayed on the tune “Hoboing Into Hollywood” and at times bares resemblance to the voice of Country Blues legend Bukka White. Also like White, J.W. Warren was a slide guitar player who’s raw playing style helped him obtain local notoriety. He would scrap his jack-knife against the strings of his guitar to create the sound of a slide (documented here on the recording “My Mind Gets To Wandering”). Mostly a homebody, Warren never toured and rarely travelled out of his hometown. He lived out his final years at home in Ariton, AL, passing away on August 15th, 2003. Fortunately for us we can remember him through these excellent recordings.