THE BLIND BOYS OF ALABAMA: ALMOST HOME

THE BLIND BOYS OF ALABAMA: ALMOST HOME single lock records
For fans of Mavis Staples, Aretha Franklin, Al Green, Southern Soul
The Blind Boys of Alabama are a true American treasure. The band is about to enter their eighth decade as a group and the guys have done just about everything you could hope to do in the music business. They’ve performed in front of tens of thousands of people, won countless awards, and have even performed at the White House for three different presidents. Quite an achievement for a group of African American musicians that grew up in the segregated south where they couldn’t even perform in most venues. The group’s founding members originally met when they were very young at the Alabama Institute for the Blind in 1939. Not able to perform “black gospel” music at their own school (which was run by whites) the group took to the road. Needless to say, touring came with it’s own challenges thanks to the south’s Jim Crow Laws. Regardless, the band stuck it out and after many years of bad contracts and line-up changes the band started to enjoy some success.
In the early to mid 1950’s the band really began to take off and was an in-demand live act. They toured tirelessly throughout the American South and played to packed halls, churches, and auditoriums. Unfortunately for the group as the 50’s drew to a close gospel music’s popularity began to fade. Even gospel giants such as Sam Cooke started to crossover and begin recording secular music. Not interested in changing their sound the band continued to record and perform religious music. As the 60’s began the band was still a household name on the gospel music circuit and became very involved in the Civil Rights movement. Along with gospel contemporaries like Mahalia Jackson and the Staple Singers the band regularly performed benefit shows for Dr. Martin Luther King. Sadly the decade ended andso would the band’s popularity. The next several decades were tough on the band. Members of the groups came and went and their audience dwindled, radio airplay for the group was non-existent.
 Down but never out, the band pressed on and in 1983 thanks to their part in the musical “The Gospel at Colonus” they enjoyed a second wave of success that they still ride today. More popular than ever these days the group is not only still a dynamite live act but  they’re also a force in the recording studio. A large part of this new success can be attributed to their willingness to try new things and expand their musical palette. A perfect example of this occurred in 2001 when the group released the albums SPIRIT OF THE CENTURY and HIGHER GROUND for Real World Records.  These albums found the group not only covering contemporary artists such as Prince and Tom Waits but also recording fresh new versions of gospel standards. Both albums were very successful and introduced the group to a whole new younger audience.
 In the years since the release of the albums for Real World Records the group has continued to regularly release albums. While most of the albums have been pretty strong, their best moment on record is the group’s recent album ALMOST HOME.  Originally recorded 2017 as an Amazon exclusive the album is now available on all streaming mediums courtesy of Single Lock Records. Featuring songs “Stay on the Gospel Side” and “Almost Home”, the album tells the story of the band’s amazing career.  It also should be noted that a portion of this album was recorded at the legendary FAME studios in Muscle Shoals, Alabama. Like the Blind Boys themselves, FAME studios has been a fixture in the music industry for decades and is still going strong today.
ALMOST HOME opens with the country soul flavored “Stay on The Gospel Side”. A wonderfully uplifting story of staying true to yourself, this tune is exactly what we need right now. The song was co-written by singer songwriters Marc Cohen and John Leventhal with input by former Blind Boys frontman the late Clarence Fountain. Mr. Carter’s gruff vocals give the song it’s authenticity and sets the tone for the rest of the album. Another stand out track on the album is “Let My Mother Live”. Opening with a bluesy Allman Brothers-esq guitar riff, this song finds the band starting to open up vocally and is reminiscent of Clarence Carter’s country-soul hit “Patches” (also recorded at FAME studios). Like “Patches” the song has been well received by those in the industry and was nominated for a grammy.
 For the songs on ALMOST HOME the band collaborated with the team of Cohen/Leventhal for the majority of the album but also worked with several other songwriters such as Valerie June, Phil Cook, and Cris Jacobs. They also tackled a number of covers including “Live Forever” by Billy Joe Shaver and “I Shall Be Released” by Bob Dylan. All that said, the album’s strongest track might be the gospel ballad “God Knows Everything”. Regardless of whether you’re religious or not, this is a beautiful song. Again, this tune is penned by the songwriting team of John Leventhal and Marc Cohen. For those unsure of what sacred soul music should sound like, start here.
It goes without saying that ALMOST HOME is the strongest and most cohesive recorded that the Blind Boys have ever released. Unfortunately as it was initially released as an Amazon exclusive not everyone got the chance to hear it when it first came out. But, such is the way things are now in the music industry. Thankfully Single Lock Records is giving the record second chance and has made it more widely available. Now that all can enjoy this historic group’s finest hour, do yourself a favor and check out, ALMOST HOME today.

THE DEDICATED MEN OF ZION: Can’t Turn Me Around

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.

Bible & Tire Records was started by Bruce Watson in 2018 as a vehicle for him to record and release “sacred soul” music. A music industry veteren, Watson has made a career out of recording and producing different forms of roots music, most notably albums by Hill Country Blues artists for Fat Possum records. Now with his attention focused squarely on sacred soul artists, Watson’s hit it outta the park again with CAN’T TURN ME AROUND by the Dedicated Men of Zion. Although this might technically be a gospel record, Watson and the Dedicated Men of Zion show us you don’t need to be religious to enjoy religious music, all you need is a pulse.
 The album opens with the hard-driving blues shuffle of “Father, Guide Me, Teach Me”.  One thing that’s immediately noticeable here is that even though the Men of Zion obviously have some incredible vocal abilities they also know how to leave space for each other. As with other gospel groups like The Dixie Hummingbirds or Blind Boys of Alabama everyone gets a chance to showcase their talent but it’s their harmonies that make this group special. While it’s obvious the Men of Zion have a special chemistry with each other, that isn’t the only reason they work so well together. All the guys have spent years performing not only in churches but also performing as hired guns backing up some of music’s biggest acts. Having that type of talent along with the musical maturity to know that “less is sometimes more”, is why these guys are well seasoned performers of the highest caliber.
The album’s second track is the haunting “A Leak in This Old Building”. Here the guys successfully bring down the tempo (but not the energy) as they vocally sway back and forth over a sweltering organ part. This is where gospel and soul music intersect. Sounding a little like a mix of Ray Charles’ “Hard Times” and Isaac Hayes “Walk On” this song makes you understand that while the guys have experienced real pain in their lives, they still press on. Fortunately the somber mood doesn’t last long as guys bring the mood back up on the next two tracks “Down Here Lord” and “I Feel Alright”.
Another stand out track on the album is “It’s a Shame”.  A statement about the current troubled state of today’s society is more inspiring than sad. Thanks to a danceable groove this song might not make you want to dance but instead get up and march. It’s also the most traditional “soul” song on the album and is reminiscent of music recorded in the late 60’s at Stax Records. Speaking of Stax, a big part of the record’s vintage sound is the amazing back-up band.  Mark Stuart (bass), George Sluppick (Drums), Calvin Barnes (Hammond Organ) and Will Sexton (guitar) are all in-demand studio musicians from Memphis, and play with a style reminiscent of Stax studio legends Booker T. & The MG’s. Like many famous studio bands, they provide a solid foundation for each song that allows the vocalists the space to do great things. In short, you might not necessarily notice them when listening to this record but if they weren’t there you’d miss them.

 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.

HERE’S LITTLE RICHARD!: A Tribute

While the question of who started Rock N’ Roll will never be answered definitively, Little Richard was by far one of its main architects. His early recordings for Specialty Records inspired musical giants like The Beatles and The Rolling Stones, his live performances inspired the likes of James Brown and Otis Redding, and at one point he even employed a young guitarist named Jimi Hendrix in his band. He’s been in movies, on TV shows, and is a member of both the Rock N’ Roll Hall of Fame and Songwriters Hall of Fame. That said, even with all of the success he enjoyed in his career he had a complicated life.  Once, while on tour with his band in Australia in 1957, he had a religious “awakening”. He immediately cancelled a concert, decided he was going to do gospel music, then suddenly started disposing of all his jewelry. While this story has taken many forms over the years (some versions have him on a boat throwing the jewelry overboard), one thing is certain, he did leave pop music for a while and strictly recorded gospel. When he retuned to pop music several years later he found other musicians had taken his share of the spotlight. He continued to record and had some limited success with songs here and there but nothing like he’d experienced in the 50’s. 
     In the studio, Richard was never better than he was on the recordings he made for Specialty Records in the 1950’s. Produced by the legendary the producer Bumps Blackwell and recorded by some of New Orleans finest players, these recordings inspired generations of musicians.  It was during one of these early Specialty sessions that Richard’s legendary hit “Tutti Frutti” was recorded. Originally a playful song about homosexual sex, Blackwell felt the lyrics were too much for general audiences so he asked songwriter Dorothy LaBostrie to help clean up the lyrics so the song could be on the radio.  Richard himself plays piano on the track. As the song was a late addition to the session, the groups main piano player Huey Smith didn’t have time to learn the part. The song was a hit and eventually reached #17 on the pop Billboard charts. It also inspired several cover version some of which actually charted higher than Richard’s original version. Regardless, this was the beginning of a successful run for Richard and Specialty. 
       While the Specialty years were Richard’s most successful years in the recording studio, one of my personal favorite Little Richard recordings is his version of Don Covay’s “I Don’t Know What You Got But It’s Got Me” recorded for VeeJay Records in 1965. The song is a bit of a change stylistically for Richard who was trying to adapt to the new sound of Soul music that was becoming popular thanks to artists like The Temptations and Otis Redding. Here, Richard gives an outstanding performance that finds him shouting like a Baptist preacher and to make things a little more interesting, features a relatively unknown guitarist at the time named Jimi Hendrix.  
Another time that Richard hit pay dirt in the studio was at FAME studios in Muscle Shoals AL. The year was 1970 and Richard was in town recording what was supposed to be his comeback album, “The Rill Thing”.  While the album didn’t hit the charts like the Richard would’ve hoped, he did record a song called “Greenwood, Mississippi”.  Written by guitarist Junior Lowe and Travis Wammack, the tune is a straight-ahead Country Rocker with a little bit of Soul-flare. Easily the strongest tune on the album, Richard’s vocal take reminds folks where John Fogerty got his vocal sound from. 
      Even though Richard was pretty absent on the Billboard charts for most of his career he was always an in-demand live performer. In his early years on the road Richard’s act was so popular he sometimes would get double booked. As he couldn’t be in two places at once, an impersonator would be hired to play the show the real Little Richard couldn’t perform at. This seem to work for a while until TV became more popular in households across the country. While it might sound like a shady act to fool an audience in this way, things could’ve been worse. A few times Richard’s management hired a young man by the name of James Brown to be “Little Richard” for an evening. Otis Redding was another popular choice. All that said, most folks who were in the audiences said they knew they weren’t getting the REAL Little Richard but were still entertained. 
    There’s no question that Little Richard is one of the most influential musicians of all time. But did he invent Rock N’ Roll? No. It’s hard to say there was ONE person who is responsible for one of music’s most popular genres, but he is one of Rock’s main architects. It’s unfortunate he didn’t get more recognition while he was alive but to be fair part of that was because of Richard himself. He was a talented but complicated guy. Nevertheless, he is Rock n’ Roll royalty and we all owe him a big debt of gratitude. 

BETTY HARRIS: THE LOST QUEEN OF NEW ORLEANS SOUL

 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!

THE BEGINNING

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 ! Songs like “There’s A Break In Every Road” and “12 Red Roses” are so funky you can smell ’em and the balled “Lonely Hearts” is greasier then a plate of food from a Louisiana Bayou Fish Fry! While it’s Harris’ larger-then-life vocals that command 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 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 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 all of these songs!

THE BOTTOM LINE

BETTY HARRIS: THE LOST QUEEN OF NEW ORLEANS SOUL is an excellent compilation of Harris’ Sansu recordings. Even though there are other compilations that go a bit deeper into her career this one hits all the main points and is a must have for FUNK loving fans.

 

WILLIAM BELL: THIS IS WHERE I LIVE

William bell

WILLIAM BELL: THIS IS WHERE I LIVE Stax Records/Concord Music Group

Singer William Bell is a national treasure. Besides being one of the few artists still performing today that was with STAX Records in the early 60’s, he also is one of the few artists still performing classic Southern Soul.  His new album THIS IS WHERE I LIVE (Stax/Conord) finds the singer in fine form performing simple but well-crafted songs that draw from a variety of influences. The up-beat “Poison In The Well” could easily be a gospel song if the lyrics were slightly different and the slow-funky groove of “The Three Of Me” calls to mind the sound of urban-funksters The Impressions. The Blues are here too. While the decision to do a updated rendition of his Blues classic “Born Under A Bad Sign” could’ve been a mistake Bell and the band actually deliver! The song is given a complete make-over and is a bit darker sounding then the original. This is a real treat considering that most of the time when artists decide to cover their own music or “update” one of their classics it usually ends up being a step backwards for the song and the artist. Without a doubt, THIS IS WHERE I LIVE is a very welcome addition to William Bell’s already impressive catalog.

A LITTLE HISTORY ON WILLIAM BELL

The Soul Of A Bell

William Bell started out performing in the late 50’s as part of the vocal group The Del-Rios. After a releasing a few singles with the group that failed to catch any major attention, Bell decided to go solo and signed STAX Records in the fall of 1961. His first single for STAX was the gospel-flavored balled “You Don’t Miss Your Water (Until Your Well Runs Dry)”. Released in 1961 the song turned out to be a hit and his career at STAX was off and running. He released various singles for STAX through out the 60’s finding major success again in 1967 when he co-wrote the Blues classic “Born Under A Bad Sigh” for label-mate Albert King. The song was not only a hit for King but it also became a crossover hit when it was recorded by the rock band Cream in 1968. Also in 1967 Bell released his first full-legenth album for STAX, THE SOUL OF A BELL. The album was very successful and yielded the hits “Everybody Loves A Winer” and “Never Like This Before”. Bell’s success continued in 1968 when he released the very popular single “I Forgot To Be Your Lover”.

Bell stayed with STAX until 1975 when the label officially closed it’s doors. STAX Records still exists today but as a brand only. After STAX, Bell went to Mercury Records and scored another hit “Trying To Love You Two”. He continued to release music and perform throughout the 80’s and 90’s but never regained the success he had with STAX durning the 1960’s and 70’s. Still all that being said, his voice has never left him and along with Booker T., Steve Cropper, and Mavis Staples he continues to introduce new audiences to the sound of sweet southern soul music.

 

LEON BRIDGES: Coming Home

leon-bridges-coming-home1LEON BRIDGES COMING HOME  Columbia Records

www.leonbridges.com

For fans of: Sam Cooke, Otis Redding, The Temptations

Sounding like it was written and recorded in 1960, Leon Bridges’ debut album COMING HOME might be one of 2015’s best releases. Sometimes referred to as “Sam Cooke reincarnated”, Leon Bridges didn’t actually start listening to Sam Cooke’s music until fairly recently. A fan of modern soul artists like Usher and Ginuwine it wasn’t until someone compared one of his songs to the music of Cooke that Leon decided he needed to go back and listen to the classics. Inspired by the legendary soul artists he was discovering, Leon moved away from the electronic beats he was using to create songs and took a more organic approach to songwriting.  After working up some new material Leon hit the Fort Worth music scene hard. Performing for anyone that would listen, his first real break in 2014 when he was approached by White Denim guitarist Austin Jenkins. Jenkins was so impressed with Leon’s performance that he insisted the two of them make a record together.  A few weeks later the the duo of Jenkins and Bridges were hard at work in the studio writing songs for what would become Leon’s debut album. Now with a record to promote Leon will hit the road this summer playing shows on both sides of the Atlantic. Not bad for a kid from Fort Worth, Texas who just over a year ago was washing dishes and playing to a crowd of five people in a Texas dive bar.

 

COMING HOME ALBUM REVIEW

Clocking in at just under 35 minutes COMING HOME is a breath of fresh air for today’s soul music scene. The songs are simple, but well-crafted and the musicianship is solid but not ridged.  If fact, part of the reason this album flows so well is because Leon and the band don’t try to do too much. A perfect example of this is the blues-boogie track “Flowers”. Here the band let’s the groove do the talking as they swing hard over Leon’s smooth vocals. In fact, Leon doesn’t really scream or shout throughout the entire album. A self-proclaimed “smooth cat”, he keeps things smooth and soulful, always serving the music and not over powering song. Another stand out track is the Motown-esq “Smooth Salin”. An upbeat dance number, “Smooth Sailin” is stuck somewhere between early Marvin Gaye and Wilson Pickett. Again, Leon’s vocals perfectly serve the song as they coast smoothly over the tune’s driving back-beat. Definitely the album’s most danceable number, this song is surely going to be a hit when performed live. Still, even though the music on COMING HOME is mostly upbeat, the album’s finest moments are the slower gospel-soul tracks. The soul-gospel ballad, “River” is by far the the best song on the album.  A beautiful song about life reflection and being honest with yourself, this song is a perfect way to close out the album. Reminiscent of Sam Cooke’s “A Change Gonna Come”, Leon Bridges’ “River” is his defining moment.

All this being said, if there’s one complaint I have about COMING HOME it’s that sometimes Leon sounds a little too much like his influences. Songs like “Brown-Skin Girl” and “Twistin’ and Groovin” sound almost like they could be Sam Cooke b-sides. While some might think that’s not a bad problem to have, I personally feel that Leon’s too talented to become a Sam Cooke cover act.  Also, some of the videos that he’s filmed for the album almost look like they could be part of a Sam Cooke or Otis Redding documentary. While I’m sure that his label has a lot to do with this, I think that Leon will really begin to shine when he finds his own sound. Think about it this way, artists like Ray Charles, Otis Redding, Aretha Franklin, and Sam Cooke all started out trying to copy their influences. It was when they found their own voice that they became legendary artists and had successful careers. I’m suspect that in time Leon will find his too.  It’s obvious that this young man is incredibly talented and has the drive to really make a run at stardom. He’s written an excellent album and released it at a time when soul music really needs someone like him. Here’s hoping he stays the course and we hear about him for years to come.

 

 

New Music from Soul duo SAUN & STARR!

Look Closer

SAUN & STARR LOOK CLOSER  Daptone Records

For Fans of: Sharon Jones & The Dap-Kings, The Supremes, and Tina Turner

Both originally from New York’s South Bronx, Saun and Starr have been part of the city’s music scene pretty much their entire lives. Saun started out singing in church and local clubs before fronting her own band “Saundra & The Force”. Starr also started out singing church before finding her way to performing on Broadway. While the ladies did cross paths at different times in their careers it wasn’t until fate planted them both in a hard-working local wedding band (featuring a then unknown Sharon Jones) that they seriously started performing together. The group performed all over New York for most of the 90’s but eventually each of the ladies left the group and went their own way.  It wasn’t until the release of Sharon Jones’ fourth LP I Learned The Hard Way in 2008 that the trio of Sharon, Saun, and Starr would work together again. Originally only hired for one show as back up singers for Sharon, the duo of Saun and Starr took the whole group’s performance to another level. Asked to join the band as “The Dapettes” the ladies quickly became an important part of the show. Now after seven years of performing behind Ms. Jones, the ladies are now stepping out on their own as “Saun & Starr” with their first full-length LP LOOK CLOSER.

Like many other Daptone releases the music on LOOK CLOSER was recorded in New York at Daptone’s own “House of Soul” studios and was written and produced by members of the Dap-Kings. Even though the music on LOOK CLOSER isn’t a huge leap from the music on a Sharon Jones album this record isn’t just “a record by the ladies that backup Sharon”. The performances here are really strong and the songs are well written.  “Your Face Before My Eyes” is an up-tempo hard-soul scorcher, while tracks “Hot Shot” and “Big Wheel” both swing like something off a late 60’s Motown record. Another stand-out track is the bouncy “Sunshine (You’re Blowin My Cool)”. Full of wonderful harmonies this song is definitely more soulful then anything you’ll hear on today’s Top 40 radio stations. A huge reason why the songs on LOOK CLOSER are so good is due to the vocal interplay between Saun & Starr.  After logging thousands of miles with Sharon Jones these ladies definitely know what works and what doesn’t. They switch effortlessly from sounding like one voice to taking turns leading the band. These ladies are true professionals and it’s obvious that they’re too talented to be confined to supporting roles.

In short, the debut album from Saun & Starr is a solid buy front to back. Here’s hoping it brings them the attention they’ve worked so hard for and so rightly deserve.

 

saun-and-starr

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.

TAKE ME TO THE RIVER: The Story of The Memphis Music Scene

take-me-to-the-river

TAKE ME TO THE RIVER

Directed by Martin Shore

Social Capital Films (Soundtrack available from Concord Music/STAX)

Few cities have played a bigger role in the development of popular music then the city of Memphis, Tennessee. Artists like B.B. King, Otis Redding, Elivs Presley, and Al Green all came to Memphis looking for opportunities that couldn’t be found in their hometowns. Overtime, artists like these changed the sound of the Memphis scene as well as the sound popular music, but they didn’t do it alone. Just as important as the artists, if not more in some cases, are the produces, songwriters, and label owners who took chances with them. The story of the Memphis music scene can’t be told without including people like Sun Records founder Sam Phillips, STAX A&R man Al Bell, STAX Founders Jim Stewart and Estelle Axton, and producer Willie Mitchell. These people put up money for studio time, did the promotion, produced the sessions, and in some cases even risked their lives for the music they believed in!  It took many different people from different backgrounds to make the Memphis music scene happen. Now thanks to a new documentary from director Martin Shore, the story of the Memphis music scene is finally be told the way it should be told… by the people who lived it.

Part history lesson, part musical tribute, TAKE ME TO THE RIVER not only tells the story of record labels like STAX and Hi-Records but also shows the recording of the movie’s soundtrack. Recorded in Memphis, the album version of TAKE ME TO THE RIVER (Stax/Concord Music Group) showcases legendary Memphis musicians performing alongside younger players who’ve been inspired by the music of Memphis. While not all the duets might be the perfect match up of artists there’s still something very heart warming about music bringing people from different backgrounds together.  One of the album’s the best duets is the pairing of 72 year-old Soul-Shouter Otis Clay and 12 year-old rapper P-nut on the track “Trying To Live My Life Without You”. Originally a hit for Otis in 1972 the song still sounds fresh. Otis is still in great vocal form and the band is right on the money. While some may view the addition of the 12 year-old P-Nut as some sort of gimmick, it’s anything but. P-Nut nails his part and sounds great. Also, you get the sense while watching the film that Otis legitimately enjoys listening to P-nut rap over his tune.

Another standout duet on the album is the match up of Mavis Staples with The North Mississippi All-Stars on “Wish I Had Answered”. Originally recorded by the Staple Singers in 1963, the song was selected by the All-Star’s own Luther Dickinson. Many times for these type of star-studded duet projects you get bands that sound a little flat even though they’re made up of top-notch studio musicians. This is not the case here. The All-Stars are students of American music and along with an outstanding vocal performance by Ms. Staples, they perfectly capture the original spirit of the tune. Pops would be proud.

If the movie has any faults, it’s only that the short lived Goldwax label isn’t mentioned. Producing singers such as James Carr, Spencer Wiggins, and The Ovations, this little label was started by former Sun Records guitarist Quinton Claunch in 1964. Unfortunately due to money issues and to Carr’s mental instability (he was the label’s star performer) the Goldwax was out of business in 1969. Still, during it’s short lifespan it was responsible for some of the most soulful music to ever come out of Memphis. Still, even without the mention of Goldwax TAKE ME TO THE RIVER gives the viewer and excellent in-depth look at the musical history of Memphis, as told by the people that lived it. Here’s hoping both the film and soundtrack inspire a younger generation to discover this music and make music history of their own.

 

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.