We’re locked down, confined to our homes, doing our best not to panic in the face of the barrage of news about coronavirus. It’s easy to get to blues just now, but remember – the blues are about joy and hope, as well as hard times. So, at Down at the Crossroads, we thought we’d post a few songs over the next few weeks to help keep our spirits up, in a series we’re calling Blues in the Time of Corona, borrowing a bit from (and mangling!) the title of Gabriel García Márquez’s famous novel.
Today’s song is that famous old standard, Trouble in Mind, which laments the trouble and problems the singer faces, which are enough to make him throw himself into the river, but then he realizes, “sun gonna shine in my back door some day.” As the old Persian adage has it, “This too will pass.”
Here’s a fine version by Brooks Williams and Guy Davis:
“He’s a lovely player, a lovely singer, and a great writer – the real thing.” Martin Simpson.
(Photo: Arlene Avery)
Hailing from Statesboro, Georgia, Brooks Williams is a singer-songwriter, jaw-droppingly good guitar player, and consummate performer, whose music melds blues, Americana and folk into a heady soulful mix. If you’re one of the lucky ones to have seen Brooks Williams playing live, you’ll have come away feeling good, with a huge smile on your face. If, by any chance, you don’t already know Brooks Williams, you’ve sold yourself short – start delving into his excellent back catalogue of around 30 albums immediately.
He’s graced stages along the way with Taj Mahal, John Hammond, Maria Muldaur, Shawn Colvin, Paul Jones, David Bromberg, and more recently toured with Guy Davis and Hans Theessink. His guitar and bottleneck slide playing is legendary; he’s got a sweet, but versatile voice, and is a great song-writer with a ready wit. Watch out too for those covers he does from the blues and jazz back-catalogue as well as more recent stuff, where his reinterpretation of the songs breathes new life into them.
He tours the UK and the US relentlessly and is just about to embark on a tour promoting his album, Work My Claim, which celebrates Brooks’s 30 years as a performing and recording artist.
Gary:So, Brooks, the new album: Work My Claim, is a celebration of 30 years recording and performing. You’ve chosen 12 songs from throughout your career, (plus 4 bonus songs when you buy the CD). You’ve recorded something like 23 solo albums to date, aside from collaborative work – so a lot of songs written and recorded over the years – how did you choose just 12 songs?
Brooks; It was a difficult process. I actually spent a whole year going through the old material. You know, once I finished Lucky Star, I immediately turned my attention to this project because I knew I needed to reacquaint myself with the old songs. So, I spent about a year going through the various albums, listening and then trying to play the songs, seeing which ones felt like they were still relevant. And which ones I was interested in. Because a lot changed over 30 years. But it really was a labour of love to go through those songs.
It was great to reconnect with things and so interesting to find those true moments. Like there’s a track on the record, You Don’t Know My Mind, which is an old Leadbelly track. But when I originally learned it, of course, I didn’t know it was a Leadbelly track because we didn’t have the Internet and there was no book at the library that would help you. People at the local record shop were a good resource, but they didn’t always have all the information. I learned this track from someone on the road, just picked it up while I was travelling around and I re-created it from memory. And of course, I got it wrong. But I like it. And it shows how robust a blues song can be.
Anyway I went through all these songs and I felt like, well, if a song doesn’t want to speak to me now, maybe it’s just one that will continue to exist as it was done 20 or 25 years ago. And those are songs that I’ll still happily play in the gigs. If someone says to me, oh, I’d love to hear this old track from 1993, I’m happy to do it. I just didn’t feel it needed a place on a recording because it’s already got one.
Gary:Yeah, that’s very interesting. But isn’t it a wonderful thing, Brooks, to feel that what you’re doing as an artist has developed and there continues to be great value, and increased value, as time goes on?
Brooks: I feel like the same person who is, you know, sitting in the studio 30 years ago thinking the best was yet to come. And I still feel that now. So, I’m sitting here speaking to you and I’m actually holding a copy of the CD in my hand and thinking it really looks good. I’m so proud of the songs – but I’m still thinking, oh, Gary, I can’t wait for you to hear the songs I’m writing now! And so to always have that sense that there’s the next bit coming. And I really feel that what I’m doing is part of something that’s alive. And I don’t mean that as a reflection just on me. I just mean that music is a very alive thing. And I found a way to sort of swim with it or grab on to it or…jump on board that train.
Gary: You know, I was talking to Rory Block a couple of months ago and she’s just turned 70, I think. And she was fantastic. She said, oh, you know, I feel like I’m just getting started. And I thought that was wonderful. Having turned 60 a couple of years ago myself -which, incidentally, I still can’t believe. And hearing that was very refreshing. And hearing what you’re saying is very refreshing as well, because I know you’ve passed that landmark!
Brooks: Yes! I passed that landmark a year ago now. And I can’t believe it either!
Gary: But that’s a very positive thing to say for sure. Now you’ve got a couple of covers on the album. You’ve mentioned the Leadbelly one. And there’s Dave Alvin’s King of California and Duke Ellington’s I Got It Bad – all great songs. So why did you include them and not other originals?
Brooks: Well, as part of the process I just sent out the call through email, through social media, to people who listen to my music. And I said, this is the project that I’m working on and I would love to hear what your top five songs are. And number one for every single person who sent a response back was King of California. And so I knew without a doubt that that was going to be on there.
And I knew the Leadbelly song would be on there because I felt as though that was such an important milestone for me. To take an old blues song, but to not do it in in the style that people are familiar with and yet stay true to the song. So I kind of figured that had to be there.
And then I Got it Bad. That came about because I went in the studio to make this record and I probably recorded near on 30 tracks digitally. I recorded way more than I needed and it was very apparent straight away that, you know, some of them just didn’t have any extra life in them. They sounded fine but just didn’t have any extra life. But likewise, when I did, I Got It Bad, that one was a real standout performance. I was in the studio with the engineer, Mark Freegard, along with the studio owner, and both of them said, wow, that was really something. And I was already shifting to the next tune. But they said, hang on a second – can we go back to that? We’d like to hear that again, because you kind of went somewhere we’ve not heard you go before. And so it really was their calling it to my attention that made it be on the record.
Sometimes I was using songs I knew well just to stay warmed up in the studio. So even if I wasn’t going to use them, I thought, well, if I sing a couple of takes of this one and I know it well – and I do know the Duke Ellington song really well – I thought this will just be a bridge for me to get to the next song. But in this case, this one stuck. On probably more than two occasions I said to the various people working with me on the record, oh, well, I’m not going to put that one on. And every single time I did, everybody came back to me and said, please put that on!
There were some other songs that didn’t make the record. For example, I have a really enjoyable version of Gambling Man that I did with Hans Theessink. But I thought, well, there’s nothing I would do on this recording that’s going to be better than that. And there were some tracks from my Shreveport Sessions, which I really loved. And even though I recorded them again, it just didn’t feel like they needed to be there. You know, it was one of those gut feelings. And the other thing is that over the course of 30 years, one’s point of view changes. And so there are certain things that I wrote about in earlier years that didn’t seem quite as relevant now or maybe if I were to think about them now, I would think about them differently. I didn’t try to work with those songs.
So in the end, if there was going to be too much deconstruction, I thought, well, I’m so far away from the original, there is no sense in going with this. So, that played a big role in which songs made it.
Gary: You completely reworked Whatever It Takes from Lucky Star, didn’t you?
Brooks: Well, interestingly enough, when I write songs, I write two or three completely different versions of the same song. And I mean completely different tunes. So, the version that you hear on Work My Claim, that’s how I originally wrote the song. And somehow when I was recording Lucky Star, it didn’t seem like it had a place there. I was really kind of struggling with it. So I ended up with a completely alternate version, which is what you hear on Lucky Star. And that’s pretty much how all my original songs work. It’s a bit of a rod to my own back because it makes double the work for everything. But sometimes I don’t know what feel I’m going for until I actually go there and sort of sit in it for a while. Kind of live in that groove and those chord changes. And the basis of all this is, I start with lyrics first. And I write almost the complete lyrics without any music. By the time I get to the music, the lyrics are pretty well set. And then I have room to move.
Gary: Now, looking at this group of songs Brooks, are there one or two that mark particular points in the Brooks William story? Pivotal points maybe?
Brooks: I actually think that’s true for every song there. As I look at the list of songs, every song was important in its time. And it did something that helped take me to where I am now. So every song has a place.
Inland Sailor was the first song that I ever recorded that actually got a fair bit of radio play. I don’t really understand why it did. But that one really propelled me and actually it’s the song that took me to Ireland for the first time. It was getting played and somebody rang me up from Belfast and said, you know, we would like you to come here and play. What’s it going to take to get you here? And it opened up all kinds of doors all over the UK and Ireland. And then also in Canada. That was a real important song for me.
And the song Mercy, Illinois was the first song that I wrote that was a straight-ahead narrative song. And that was a real important turning point, because I was very young and I was looking for a kind of a local idiom, I was trying to capture that Midwestern feel. And that song ended up being one that people focused on. Acoustic Guitar magazine interviewed me about it and I ended up doing the tab and the music and the chords. And it was such a big deal because no one had ever heard of me at that point. So, every song kind of has a place in there. Each song just turned the game around at that point.
Gary: Very Interesting. And of course, a song like Frank Delandry has got its own story.
Brooks: Yeah. Well that song has been very important to me because not only is it a narrative song but it also it tells a story about a guitar player, Frank Delandry from New Orleans, who one day just mysteriously disappeared and was never heard from again. And so, his memory lives on in legend, not that dissimilar from the legend of Robert Johnson. And so that’s a great story in itself. But one of the things that was so interesting about that song is that it’s probably the first of my songs that when people would hear me play it, they would want to play it too. That had never happened before. People would actually be sending me recordings of them playing at their local acoustic club! I never had that happen before.
And then the thing I love about it is that it’s firmly set in that sort of sub-delta region of New Orleans. It’s so set in place and time. Which is a place and a time musically that has had the biggest influence on what I do. And so, I felt like I was paying homage to my elders, so to speak. I think it’s important for us to do that.
Gary: Yeah that’s true. And it’s a very appealing song, Brooks. People warm to it very readily. Now, you had some fine musicians who worked on the album with you?
Brooks: Yeah. I was so lucky. Gary, I was making the record and I put out the call to loads of people – to all my friends. And unfortunately, there were so many that were on the road, who were busy and couldn’t come and be part of it. But what I’m so pleased about is a friend of mine called John McCusker, a lovely Scottish fiddler, was able to join me. He had been on tour with Mark Knopfler all last year, and was only home in Scotland for two days. And he spent one of those days recording my album! I’m absolutely blown away by that because, you know… Mark Knopfler, Brooks Williams…come on! But I was so honoured that he prioritized me. And the same for Christine Collister – I’ve been a big fan of her singing for years. And I’ve always thought that her voice and mine would sit really well together. And she just was so generous and did a beautiful job.
And I was so delighted that I got to work with a couple of young players as well, a fiddle player from Bristol called Aaron Catlow. I met Aaron on tour in Europe last year, and I just loved his playing. And I thought, wow, this is fiddle that’s kind of folky on the one hand, but it’s kind of bluesy – that Papa John Creach kind of kind of thing that used to happen with Jorma back in the day. And yet kind of jazzy and had a Stephane Grappelli feel as well. So I was so delighted that he was able to play. He’s a very big part of this record.
And then I called on my favourite piano player, a young fella from up in Newcastle, called Phil Richardson. He’s a wonderful piano player. And when I was on tour in Germany, I met a wonderful blues harmonica player called Ralf Grottian. It was tricky to meet up with Ralf, but it was good to get him on one or two tracks anyway. And then my old friend from the USA by the name of Jim Henry, whom I made a record with back in the 90s, was able to remotely add some mandolin and some vocals.
And it was just so great that that I was able to put all these pieces together. So, I knew from the beginning, Gary, this was gonna be an acoustic album and I knew it was going to be an acoustic guitar album. I certainly had my resonator guitar and my cigar box guitar there. I had the mandolin there. But I knew once I got started that something was happening. And whenever I recorded anything with those other instruments, it just didn’t feel right. It felt very reminiscent of when I started. We only could afford, all of us in my peer group, one nice guitar. And I remember going into a guitar shop and looking at a National and thinking, oh, one of these days I’m gonna buy a National. It took me years! But I remember all the music that I created in those early days was on one acoustic guitar. So I almost felt like I was going back to my roots in that way as well.
Gary: Brooks, you’re going to go on tour to the U.S. again in March. Then you’re back in the UK and touring for months. I’m looking at your schedule, it just looks – I mean, I’m tired just looking at it! How do you have the energy to do this, Brooks? [Find Brooks’ tour schedule here]
Brooks: I have loads of energy when it comes to playing and singing! And I look after myself as well. But I know that come the end of the year, I’ll be ready for a nice, long holiday.
Acoustic guitar blues goes back a long way to the early Delta pioneers like Charley Patton, Son House, Willie Brown – and, of course, Robert Johnson, who followed them around and eventually outstripped his mentors. Blues musicians like Blind Blake and Blind Boy Fuller, Willie Mctell and Willie Johnson were all skilled exponents of the art before, eventually, the blues would go electric. People like Josh White and Big Bill Broonzy kept the acoustic tradition which was revitalized in the folk revival of the late ‘50s and early ‘60s with the rediscovery of artists like Skip James, Mississippi John Hurt, Mississippi Fred McDowell, Elizabeth Cotton and Rev. Gary Davis.
The legacy was taken on by those who learned from these artists, like Rory Block, John Sebastian, Jorma Kaukonen and others, and acoustic guitar blues has continued to flourish in the capable hands of artists like Taj Mahal, Eric Bibb, Keb’ Mo’, Hans Theessink, Chris Smither, Mary Flower, Guy Davis and many others. And, of course, Rory Block is still going strong. We have to mention, too, Eric Clapton, whose massive selling 1992 Unplugged album put acoustic blues back on show and paved the way for an increase in popularity of the genre ever since.
We’ve chosen a selection of 20 of the best acoustic guitar blues albums from the last 10 years. Check them out and enjoy!
Billy Boy Arnold: Sings Big Bill Broonzy
Veteran blues harp player Arnold, turns in a very fine acoustic guitar driven tribute album to the great Bill Broonzy.
Lurrie Bell: The Devil Ain’t Got No Music
Sparse, stirring 2012 album of gospel blues from Chicagoan Bell, with help from Joe Louis Walker and Billy Branch.
Eric Bibb: Blues, Ballads and Work Songs
We could easily have plumped for any one of Bibb’s recent albums – Blues People (2014), Lead Belly’s Gold (2015) and Booker’s Guitar (2011) all come to mind – but have gone for this 2011 album of traditional blues songs all featuring Bibb’s expert picking and dulcet singing tones. Check out our recent interview with Eric here.
Rory Block A Woman’s Soul
Again, we could easily have chosen one of Block’s fine tribute albums of the last ten years – to Mississippi John Hurt or Rev. Gary Davis, amongst others – but have plumped for her 2018 album of Bessie Smith songs for the clever way in which she has translated the big band arrangements into guitar accompaniment and her fine vocal performance. Check out our interview with Rory here.
Michael Jerome Brown: Can’t Keep a Good Man Down
Canadian Brown is an incredible musician and guitarist, with an encyclopaedic knowledge of the blues. This 2015 album of forgotten largely pre-war blues songs is quite wondrous.
Paul Cowley: Just What I Know
I guess most people reading this will not be aware of Paul Cowley, an English musician living in France. This 2018 album of 7 classic blues songs mixed with 5 originals ought to out him on the map. Very fine album. Check out our review of the album here.
Guy Davis & Fabrizio Poggi: Sonnie and Brownie’s Last Train
This 2017 album ought to have earned the artists a Grammy. Two top modern-day artists at the top of their game channelling two of history’s greatest acoustic bluesmen. See our album review here.
Luther Dickinson: Blues and Ballads
Brilliant album of timeless-sounding, original songs from the North Mississippi Allstars front man and top-notch album producer, Luther Dickinson. Lovely gospel vibe throughout and a welcome contribution from Mavis Staples. You’ll find our interview with Luther here.
Mary Flower: Misery Loves Company
Fingerstyle guitarist and music educator, Flower is a master of intricate syncopated Piedmont style finger picking. This 2011 album produced by Colin Linden with half of the 12 songs originals features Flower’s outstanding guitar work.
Mark Harrison The Panoramic View
A hugely enjoyable treat of modern acoustic blues from 2018, full of wondrous finger-picking and slide playing, and giving full vent to Harrison’s compelling story-telling and wry humour. You can find our review here.
Bottleneck John: All Around Man
Again, you may not know of Johan Eliasson aka Bottleneck John, but this 2013 album is an absolute treat. Eliasson has an amazing collection of vintage guitars and resonators and can play them to great effect. Our review can be found here.
Ernie Hawkins: Whinin’ Boy
Hawkins is a masterful guitarist in the blues and ragtime vein pioneered by the legendary Rev Gary Davis. This is a fine album of early jazz and blues songs, with Hawkin’s guitar work augmented by a little clarinet, trombone and trumpet.
Harrison Kennedy with Colin Linden: This is From Here
Canadian singer-songwriter and bluesman, Kennedy’s 2015 album of soulful and authentic blues won a Juno award.
Taj Mahal & Keb Mo: TajMo
Fabulous collaboration album from blues masters Taj Mahal and Keb’ Mo’ in 2017. This is an adventurous, joyous take on traditional blues from two musicians oozing class and mutual respect. It won a Grammy in 2018. Check out our review of the two in concert here.
Doug MacLeod: There’s a Time
An album of original songs which sound like well-worn acoustic blues classics. Bass and drums accompany MacLeod’s ever tasteful guitar work and excellent vocals. MacLeod is known as the “storytelling bluesman,” and these songs draw you in to their engaging narrative. Superb.
Chris Smither – Still on the Levee
A two-CD retrospective featuring Smither’s own new recordings of a selection of songs from his vast back catalogue to celebrate his 50th year of making music. Witty, intelligent songs, driven by Smither’s metronomic guitar picking. Catch our interview with Chris here.
Hans Theessink & Terry Evans: Delta Time
Hugely enjoyable 2012 acoustic blues album from two of the finest blues singers you’ll hear (sadly Terry Evans passed away in 2018). Great chemistry from the combination of these two contrasting voices with a wonderful gospel sound and lovely harmonies throughout. Also check out their 2008 Visions. You can find our interview with Hans here.
Brooks Williams: Blues
The album is a gem, featuring just Brooks’ voice and guitar – acoustic, resonator and cigar box, and was recorded live in the studio. The result is a very fine album of traditional and classic blues. Worth checking out, too is Brooks’ Baby O! from 2010. Take a look at our interview with Brooks here.
Jontavious Willis: Spectacular Class
Spectacular Class is an album of timeless acoustic blues, released in 2019 by a young man hailed by Taj Mahal as a “great new voice of the 21st century in the acoustic blues.” It’s an album that sounds at once traditional but at the same time entirely fresh, with an outstanding set of songs driven by his top-notch guitar picking and his hugely entertaining vocals. You can find our interview with Jontavious here.
Various Artists: Things About Comin’ My Way – A Tribute to the music of the Mississippi Sheiks
Terrific tribute album from a variety of artists, including Bill Frisell, John Hammond and Bruce Cockburn.
What a year it’s been for roots music. So much wonderful, high quality work by a host of artists in a diversity of styles – variously with country, blues or folk to the fore. That being the case, it’s hard to suggest a best of list. But here goes. We’ve grouped them into two sets of ten and then a group of six. Each set is in alphabetical order.
Here’s our Top 10
Amy Helm This Too Shall Light
In an album produced by Joe Henry, Amy Helm, daughter of late Band drummer Levon gives us ten songs tinged with soul and gospel, featuring uplifting lyrics and beautiful nuanced singing. A wonderful set of interesting, sometimes obscure covers and lovely originals.
Birds of Chicago: Love in Wartime
This is simply an outstanding album of classic Americana. JT Nero and Allison Russell’s vocals and rich harmonies, as usual, meld wondrously, and the song arrangements are innovative and imaginative while, at the same time, warm and inviting.
Eric Bibb: Global Griot
Double album of wonderful songs, brilliantly presented by the blues troubadour. As much world-music as Americana or blues, this is surely one of Bibb’s best accomplishments. There’s joy, love and hope inhabiting these songs, as well as a dose of righteous protest – whether it’s at the materialism of the age or the frightful tweeting of number 45.
Jayhawks: Back Roads and Abandoned Hotels
Reworking of some of the songs Gary Louris, has co-written with other artists, including the Dixie Chicks and two new songs. It’s a great Jayhawks album, with the band in great form over the course of 11 songs of magnificent alt-country.
John Hiatt: The Eclipse Sessions
In his first album in four years, Hiatt is in fine form, his crusty vocals accompanying a largely pared back band. This is an album that draws you in and enchants you the more you listen to it.
Larkin Poe: Venom and Faith
Quite simply this is an extraordinary album from the very talented Lovell sisters in their 4th studio album. The two sisters play every instrument, aside from some wonderful slide guitar in one song by Tyler Bryant, creating a wonderful variety of sounds and textures. Classic but innovative, with traditional, primal sounds mixed with electronic beats.
Lori McKenna: The Tree
Lori McKenna is a brilliant song writer. Here she gives us 10 songs about family life and the tensions of everyday existence in a fabulous, understated record, produced by Dave Cobb. Outstanding.
Parker Millsap: Other Arrangements
Melodic and bluesy, rock and roll-ish outing from Oklahoma born singer, songwriter and bandleader, Parker Millsap. The depth and range in Millsaps vocals are terrific, across twelve rollicking, pulsating songs.
Paul Thorn: Don’t Let the Devil Ride
Unabashed album of gospel music, with Paul and his band, and a group of top notch collaborators including the Blind Boys of Alabama, the McCrary Sisters, Bonnie Bishop and New Orleans’ Preservation Hall Jazz Horns, all in scintillating form. Check out our interview with Paul Thorn here.
Ry Cooder: The Prodigal Son
An album of wonderfully reinterpreted old gospel songs and hymns, from the guitar virtuoso. Cooder’s first album for six years has been hailed as “destined to become an instant classic” the produce of a “musical mastermind” and “completely fresh and contemporary.” These are songs that will speak to anyone, believer or unbeliever. There’s humanity, decency, inspiration, hope in these songs, that anyone can feel. You can find more comment on this album here:
Here are our picks for 11-20, again in alphabetical order:
2018 has seen so many fabulous blues albums released – whether it’s acoustic blues, blues rock, gospel blues, funky blues, Chicago-style blues, Memphis-style blues…whatever, it’s been a remarkable year for the blues. Down at the Crossroads has chosen 30 albums that we’ve enjoyed listening to and that we consider exceptional. (Click on the links as you go through to find full reviews or interviews).
Here’s our Top 10
Ry Cooder: Prodigal Son An album of wonderfully reinterpreted old gospel songs and hymns, from the guitar virtuoso. Cooder’s first album for six years has been hailed as “destined to become an instant classic” the produce of a “musical mastermind” and “completely fresh and contemporary.” These are songs that will speak to anyone, believer or unbeliever. There’s humanity, decency, inspiration, hope in these songs, that anyone can feel. If you are a person of faith, however, you’ll find an extra dimension of faith, encouragement and challenge here too. Further comment on the album here.
Larkin Poe: Venom and Faith Quite simply this is an extraordinary album from the very talented Lovell sisters in their 4th studio album. The two sisters play every instrument, aside from some wonderful slide guitar in one song by Tyler Bryant, creating a wonderful variety of sounds and textures. Is it Americana or blues, or pop even? We’ll plump for a modern interpretation of traditional blues. Classic but innovative, with traditional, primal sounds mixed with electronic beats. It all works wonderfully well – not least in what is possibly the best version I’ve ever heard of Skip James’s Hard Time Killing Floor blues. More comment on the song here.
Joe Bonamassa/Beth Hart: Black Coffee You really can’t go wrong with an album of music from guitar genius Joe Bonamassa and vocal tour de force Beth Hart. Individually brilliant. Together, they make magic.
Ana Popovic: Like it on Top Ana Popovic, top-notch guitarist, singer and song-writer with her 11th studio album. Recorded in Nashville, and produced by four-time Grammy winner Keb’ Mo’, it features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb’ Mo’. It’s a terrific piece of work, featuring some beautiful and truly exceptional guitar work, and funky, bluesy arrangements. It’s an important piece of work about the empowerment of women. Our interview with Ana is here.
Buddy Guy: The Blues is Alive and Well 15 tracks from the veteran bluesman, with Guy’s still formidable vocals and blistering guitar work aided and abetted by the McCrary sisters, Mick Jagger, James Bay, Jeff Beck and Keith Richards.
Paul Thorn: Don’t Let the Devil Ride Unabashed album of gospel music, with Paul and his band, and a group of top notch collaborators including the Blind Boys of Alabama, the McCrary Sisters, Bonnie Bishop and New Orleans’ Preservation Hall Jazz Horns, all in scintillating form. Our interview with Paul is here.
Paul Cowley: Just What I Know The Mississippi Delta via Birmingham, England and Morbihan in Brittany. They’re all in the mix in Paul Cowley’s wonderful album of classic-sounding acoustic blues, Just What I Know. Deft and delightful acoustic guitar work, including lovely, tasteful slide playing, along with Cowley’s nicely phrased vocals, make up a hugely satisfying selection of acoustic blues. See our full review here.
Ben Harper & Charlie Musselwhite: No Mercy in this Land Vibrant collaboration of no-nonsense blues which delivers all you want from the blues – lament, joy, emotion – but never sounds dated. Musselwhite’s harmonica playing is exceptional throughout, complementing Harper’s versatile vocals and cool guitar work.
Various: Strange Angels: In Flight with Elmore James
Top notch tribute album to Elmore James featuring Bettye LaVette, Keb’ Mo’, Warren Haynes, Shelby Lynne/Allison Moorer and others.
Dana Fuchs: Love Lives On Fine album of bluesy American from the talented singer-songwriter, which features her utterly engaging, raspy vocals and a wonderful set of 13 songs, including a blues-soaked, stripped back version of Johnny Cash’s Ring of Fire. “Love Lives On is about hope and perseverance…I hope in some way this album can give some of that back to you,” said Fuchs. See our interview with Dana here.
And here’s the next 10:
Shemekia Copeland: America’s Child Shemekia Copeland has a stack of blues music awards to her name and several Grammy nominations. Her new album, America’s Child, produced by Nashville’s Will Kimbrough, is a compelling piece of work that sees Ms. Copeland branch out beyond the blues in which she’s made her name. To be sure there are great blues numbers here, but there’s rock and country too – overall it’s a great piece of Americana. Our interview with Shemekia is here.
Luke Winslow-King: Blue Mesa Wonderfully upbeat, positive album of rocking blues. Luke Winslow-King is one very fine guitarist, singer, composer and songwriter. Formally trained in musical composition and an accomplished jazz guitarist, he is able to fuse blues, gospel, R&B, folk and jazz into a hugely entertaining and quite original rootsy style. Our interview with Luke is here.
Van Morrison The Prophet Speaks Van the Man is in a rich vein of form with his 40th release, giving us six new tracks of his own and blues classics from the likes of Willie Dixon and John Lee Hooker in a 14 song set. He continues his collaboration with multi-instrumentalist Joey DeFrancesco in some quite wonderful, jazzy blues, all with a classic, big band feel. “Change your thought and it will change your mind,” sings Van. The prophet speaks.
Chris Smither: Call Me Lucky Double album of terrific acoustic songs from the gravel voiced and rhythmic guitar picker. As you’d expect on a Chris Smither album, the lyrics are sharp and laced with wry humour, without ever being cynical, the new songs demonstrating once again the importance of Chris Smither as a songwriter and artist. Our interview with Chris is here.
Janiva Magness: Love is an Army Twelve hugely enjoyable songs which tap into a deep well of bluesy Americana and Memphis soul. Magness is joined by a number of guest luminaries, such as Charlie Musselwhite, Delbert McClinton, Texas singer-songwriter Bryan Stephens, Poco frontman Rusty Young, Mississippi hill-country blues artist Cedric Burnside, and bluegrass guitar and banjo virtuoso Courtney Hartman. These are stirring songs of protest, empowerment and hope which will capture your soul and move your feet. Our interview with Janiva is here.
Mark Harrison: The Panoramic View Mark Harrison’s new album, The Panoramic View is an entertaining treat of modern acoustic blues, full of wondrous finger-picking and slide playing, and giving full vent to Harrison’s compelling story-telling and wry humour. Mark Harrison is a supremely accomplished song writer, guitarist and performer and The Panoramic View a satisfying feast of modern acoustic blues. Our full review is here.
Rory Block: A Woman’s Soul: A Tribute to Bessie Smith Block turns her attention to the Empress of the Blues, after her set of 6 tribute albums to the founding fathers of the blues. Everything on the album is played by Rory Block, and as ever, the guitar picking and slide work are masterful. The songs, clearly, are very differently treated to the originals, but make for a fine and hugely enjoyable tribute to Bessie Smith.
Joe Bonamassa: Redemption Rock blues guitar icon Bonamassa’s 13th studio album delivers great song-writing, excellent vocal work and, of course, exceptional guitar work, accompanied by a hugely talented, veteran band. The title track, complete with heavenly choir and huge production, is an epic track to be savoured.
Keeshea Pratt Band: Believe One very fine album of soul-soaked blues, featuring an outstanding 7-piece band and the wondrous Ms. Keeshea Pratt, whose soaring and thrilling vocals sparkle on each of the twelve tracks. Our full review is here.
Brooks Williams: Lucky Star Brooks Williams, a jaw-droppingly good guitar player, has a sweet, but versatile voice, and is a great song-writer with a ready wit. Lucky Star is a terrific album of bluesy Americana, with twelve tracks and two additional bonus songs which feature Brooks along with blues maestro Hans Theessink. The combination of Williams’ tenor voice and Theessink’s gravelly bass works tremendously well. Our full review is here.
And our final set of 10:
Matty T Wall: Sidewinder Make no mistake – Matty Wall is an extraordinary talent and deserves a massive amount of recognition for this terrific album. It’s blues rock, but it shimmers with passion, originality and top-notch musicianship. The combination of Wall’s artistry, his excellent band and legendary Grammy-winning producer-engineer, Bob Clearmountain, has resulted in one of the best blues rock albums of the year. Our full review is here.
Ian Siegal: All the Rage
Ian Siegal rages against the poison in the veins of the world in a very fine album of blues rock. His trademark rasping vocals never felt so menacing and appropriate.
Joe Louis Walker & Bruce Katz & Giles Robson: Journeys To The Heart Of The Blues Traditional stripped down blues featuring some sparkling boogie-woogie piano, lovely guitar work and wailing harmonica from three blues masters. Great versions of some blues standards in a thoroughly satisfying set.
Paul Oscher: Cool Cat Oscher was member of Muddy Waters band, of whom Waters said “Paul Oscher plays the soul I feel,” This is an exceptional album of time-honoured, classic blues, from a man, whose life in the blues oozes from every musical phrase. According to Oscher, “The real gift of talent is not the ability to be able to play, it is the gift of the love you have for the music.” Our full review is here.
Billy F Gibbons: The Big Bad Blues No surprises in this one; every phrase is characteristic Billy Gibbons. But what’s not to like? Four classic blues covers and seven new songs to get your toes tapping and your engine revving.
Elvin Bishop’s Big Fun Trio: Something Smells Funky Round Here Worth it for the title track alone: “I’m not talkin’ ‘bout funky like a groove/Really funky…like pee-uuuuh!” The stench comes from the nation’s capital – “funky like some old politicians.” Great fun throughout, including the spoken “Lookin’ Good,” with its three stages to life: youth, middle age and “you’re looking good.”
Bryan Lee: Sanctuary BMA Award winner and Grammy Nominee, Bryan Lee has had a lifetime in the blues. In his mid-seventies, the bluesman, who lost his sight at the age of 8, is still playing consistently and this very fine collection of unabashed gospel blues shows his vocal and guitar playing powers are still very much in evidence. It’s a top-notch blues album, well produced, recorded and mastered. Our interview with Bryan is here.
Victor Wainwright and the Train Boogie woogie, as you might expect, but a lot more besides on this fine album, driven by Wainwright’s raw, powerful vocals and top notch piano playing. Watch out for the excellent BB King tribute, “Thank You Lucille.”
Danielle Nicole: Cry No More Guitar work from guests Sonny Landreth, Walter Trout, Luther Dickenson and Kenny Wayne Shepherd sets off Nicole’s stirring, emotion-laden vocals.
Mike Zito: First Class Life
Rocking, honest 15th album from Zito who sings about his “second chance at a first class life,” charting his journey from addiction to sobriety to a life in music.
Down at the Crossroads’ artist interviews: 6 things we learned
We interviewed 11 artists this past year. Here are some of the things they told us:
Hans Theessink
1. The blues legacy: A common theme in the artists we interviewed was the debt they owed to the blues legacy they have inherited. Veteran New Orleans bluesman Bryan Lee told us about how hearing Freddie King as a young man first hooked him on the blues. He went on to say that “the blues is a universal language…it goes to our make up in our soul.” Acoustic blues maestros Brooks Williams and Hans Theessink talked enthusiastically about playing the blues together, “combining some country blues, a little bit of Texas blues, some of the Delta, some really nice Broonzy-style finger picking.” Eric Bibb talked to us about “connecting the history and the situation in the American South and the blues tradition with what’s going on in the rest of the world,” and when we interviewed Mandy Brooks she spoke about the healing and connection that comes in the music of people like Blind Willie Johnson and Fred McDowell, and about the truth that we are able to connect with in these artists. Brooks Williams noted the way that the early blues artists were trying “to make some sort of living, to make a way in the world playing music, and that is powerful, considering what some of those players would have been up against, socially, economically. Those were some pretty huge mountains to cross, and just the fact that they did it and we’re still listening to it. And it’s still vibrant!”
2. We love what we do: All 11 of the artists we talked to this last year are hard-working musicians, touring constantly, giving their best, no matter what the size of audience is, night after night. Can’t be easy, especially as you get older, yet Eric Bibb said that “the joy of performing never goes away.” Blues guitar virtuoso, Ana Popovic, talked about playing with her great band and the wonderful fans that support her, while Chris Smither said that “as soon as I get on stage I realize, this is what I do, this is what makes me happy.”
3. The touring life:Eric Bibb told us he doesn’t “want to stop touring. It’s an essential part of what I’ve enjoyed and still enjoy doing” The physical side of it, however, “especially the hauling of your instruments around from place to place and so on – that can be a strain.” Chris Smither who still plays over 100 shows a year says he’s slowed down some, but admits in some ways it’s become easier – “I can afford nicer accommodation!” Luke Winslow-King, way younger than both these artists, confessed he’d “like to settle down and lead a more normal life, have a more stable relationship, have a home life as well. But I’ll never stop touring and taking this music around.” It’s the love of the music, the love of performance which keeps these fantastic people going – for which we are all grateful.
4. The state of the world: There’s a lot to be discouraged about looking around the world – not least in the United States. Some of the artists were quite outspoken: Eric Bibb spoke about racism – the “tremendous prejudice against what is referred to in the news as people of colour…[an] orientation [that] is so ingrained, so institutional, that people don’t think about it.” Shemekia Copeland talked about the song she has recorded called Would You Take My Blood which directly addresses the problem of racism. “All I want is some respect,” sings Shemekia. How can the problem be addressed, we asked her: “An incredibly difficult question,” she replied. “A good start might be if people actually lived according to beliefs espoused by their religion. The golden rule would be a good place to start.”
Janiva Magness spoke about the need for more gun control – she said, “thoughts and prayers and all that – it’s the time for action and not simply platitudes,” while Chris Smither spoke about a song in his new album which references the “clown with a comb over, tweeting on his phone.” Eric Bibb drew attention to the fake news consumed by many people, saying, “with a diet of that and little else, it’s very possible to get a very distorted view of the world – where a guy like Donald Trump could be appealing.”
5. Women in the blues: The history of the blues is peppered with misogynistic lyrics and the abuse of women. Thankfully things are changing and two of our women interviewees made important points. Janiva Magness said that “there are certain disadvantages because I have different plumbing than you – that’s real. That’s not based on skill, or ability, it’s certainly not based on talent, so those prejudices are based on some very old distorted thinking and philosophy. And I have to raise my hand on the #metoo movement…I have absolutely dealt with sexual harassment my entire life. I’m a woman in the world. Anyone who is surprised by that is either not paying attention or is on some level some kind of perpetrator.” Ana Popovic told us the theme of her new album, Like It on Top is “female empowerment,” which leaves us in no doubt that women should have equal pay and equal benefits. “There’s nothing crazy about it. It’s just the new world.”
6. Faith, hope and spirituality: Dana Fuchs spoke about her song, Faithful Sinner, and said, “Ultimately, aren’t we all just flawed beings who are trying (I hope) to do the right thing?” Paul Thorn, who grew up the son of a Pentecostal minister, hit the same note: “Whoever you look up to the most in life, your hero, whoever that may be, you have to understand, that person is very flawed. We’re all flawed. Nobody is all good and nobody is all bad. That’s the thing I think this record also says – we’re all in it together.”
Photo: Mike White
Despite the difficulties we face inside ourselves or without, our artists expressed hope for the future. Eric Bibb said, “I see no choice but to hold out in my music and my songs a message of hope because otherwise, everything becomes pointless.” And when we asked Shemekia if, as she looks around at America today, she has cause to be hopeful, she replied, “Totally, it’s still the greatest country on earth. I love it and it will always be my home.”
Talking about the need for faith, Bryan Lee said that “we just need to go to that place of sanctuary, where it’s real still, it’s real quiet, where you can really touch the good Lord and find answers to your problems,” while Mandy Brooks insisted that “God gives us the strength to “press on” and “move on up”.”
Bringing it all down to the personal and practical, Janiva Magness said that love is an action – “it begins with us, it begins at home. Helping someone who is in need. It begins there. Do it. Do something every day to help someone else.”
Gospel blues has a long history reaching back to the likes of Blind Willie Johnson and Rev Robert Wilkins right through to recent work by Kelly Joe Phelps and Ry Cooder. It’s not surprising, given the close relationship between the spirituals and the blues. It’s a genre rich in musicality, spirituality and inspiration. Here are 16 gospel blues songs that are really worth listening to.
Blind Willie McTell: I’ve Got to Cross the River of Jordan
Nobody can sing the blues like Blind Willie McTell, sang Bob Dylan. True, but McTell also left us a fine collection of gospel blues songs, including River of Jordan, which focuses our attention on the inevitable journey we all must take across Jordan – on our own, facing the consequences of our lives. There’s some fine slide playing on the song and McTell’s vocal performance is strong and compelling. The song is essentially another version of Nobody’s Fault but Mine.
Arguably Willie Johnson’s masterpiece, it is making its way across the universe as part of the musical offering on the Voyager space craft. Recorded in 1927, it features Johnson’s inspired slide playing which creates an incredible other-worldly, eerie effect and his agonized moaning. You really cannot hear the words of this old spiritual which focuses on Christ’s trial in the Garden of Gethsemane, but Johnson’s vocals and slide work more than evoke this terrible hour. Click here for our more detailed look at this song.
Rev. Robert Wilkins: Prodigal Son
Wilkins’ compelling retelling of the gospel story of the prodigal son was recorded in 1935, six years after he had recorded the same song with secular lyrics. Now, having turned his back on the blues and an ordained minister, he re-recorded the song, and eventually performed it at the Newport Folk Festival in 1964. For more on the song, go to here.
Skip James: My God is Real
The music of Skip James, the most enigmatic of all the Delta blues figures, was ominous, bleak and mysterious, made primarily for his own emotional release. James was an exceptional guitarist, with a trademark E-minor tuning and an eerie falsetto vocal delivery. After making some seminal blues recordings, in 1931 he moved to Dallas, where he served as a minister and led a gospel group. His My God is Real, speaks of a deep, very personal experience of faith.
Josh White: My Soul is Gonna Live with God
White was a prolific blues artist and civil rights activist in the first half of the twentieth century. He took a clear anti-segregationist and international human rights political stance and recorded a number of political protest songs. He also recorded gospel songs under the moniker, The Singing Christian. His 1935 My Soul is Gonna Live with God puts his guitar playing chops and his fine singing on display and focuses on the Christian hope for after death.
Sister Rosetta Tharpe: Rock Me
Rosetta Tharpe was a major star during the 1940s and 50s and was an inspiration to the early generation of rock’n’roll artists. She grew up immersed in the church and her faith was a constant inspiration to her music throughout her life. Rock Me, one of her most loved songs, was written by Tommy Dorsey and first recorded by her in 1938. An instant hit, the song contains various Biblical and hymn references. Isaiah 41 comes to mind: “For I, the Lord your God, hold your right hand; it is I who say to you, “Fear not, I am the one who helps you.” The song was also another of Blind Willie McTell’s gospel recordings, under its original title, Hide Me in Thy Bosom, in 1949.
And check out this fine recent version by Brooks Williams, accompanied by Hans Theessink:
Mississippi Fred McDowell: You Got to Move
Fred McDowell’s song was brought to prominence by the Rolling Stones on their Sticky Fingers album. It’s essentially a song about the Christian hope of resurrection – “when the Lord get ready, you got to move!”
For a great recent version, check out Paul Thorn’s take on his Don’t Let the Devil Ride album. Check out our conversation with Paul, including his comments on the song here
Sister Fleeta Mitchell & Rev. Willie Mae Eberhard: Satan Your Kingdom Must Come Down
Most people are more familiar with Robert Plant’s version of this old spiritual, but Fleeta Mitchell and Willie Mae Eberhard’s stripped down version which appears on Art Rosenbaum’s 2007 album of traditional field recordings is well worth checking out. The song is based on Jesus’s words in Luke’s gospel when he said, “I saw Satan fall from heaven like lightning.” For Christians, the power of evil personified by the “Adversary” is under judgement because of the coming of Christ and ultimately we are not to despair, because good will triumph under the Lordship of Jesus.
Mississippi John Hurt: Here Am I, Oh Lord, Send Me (Don’t You Hear My Saviour Calling?)
John Hurt is renown for his blues and his rhythmic, alternating bass guitar style, with fast syncopated melodies. Reputed to be a gentle soul, his music is quite transcendent, whether blues or gospel. Here Am I, Oh Lord Send Me is a fine example of his technique and is based on Jesus’s words in John’s gospel about the fields being ready for harvest. The song has a devotional feel about it, with the singer offering himself for God’s service.
Rev. Gary Davis: I Am the Light of this World
Born blind, black and in the American South, Davis had little going for him, and yet he became a master of the guitar, ending up in New York City where he was recognized for the musical genius he was. Davis stayed faithful to his calling as a minister of the gospel until he died and only in the last decade of his life was he persuaded to sing blues songs publicly. His ragtime, blues and gospel performances are all outstanding. I Am the Light of this World recalls the words of Jesus in St. John’s gospel.
Check out Ian Zack’s riveting biography of Gary Davis – reviewed here.
Larry Norman: Why Should the Devil Have All the Good Music?
Blues-based rock, rather than strictly blues, but this song from Only Visiting this Planet in 1972 puts to rights the misconception that the blues is the devil’s music. Norman, the father of Christian rock, takes up the line from Salvation Army founder William Booth almost a century earlier and then proclaims loudly, “there’s nothing wrong with playing blues licks.”
And in a similar vein, check out Lurrie Bell’s The Devil Ain’t Got No Music, from his 2012 album with the same title.
Eric Bibb: I Want Jesus to Walk With Me
Often played by Eric Bibb in his concerts, he captures completely the dual nature of this old spiritual – on the one hand mournful about the trials and tribulations of life, and yet hopeful about the reality of the presence of Jesus in the midst of those trials. As Jesus said, “In this world you will have trouble. But take heart! I have overcome the world.”
From the 2012 album, Blues for the Modern Daze, Walter Trout’s dazzling technique, intensity and emotion seizes you, along with the hard-hitting lyrics. The song recalls the story of Cain and Abel in Genesis 4 and calls for more neighbourliness in our relations. Trout reminds us that “Jesus said to feed the hungry, Jesus said to help the poor,” and finishes he song with a searing criticism of modern “so-called Christians” who “don’t believe in that no more.” For more on the song go to here.
Ry Cooder: Everybody Ought to Treat a Stranger Right
Ry Cooder has produced one of the best gospel albums ever in Prodigal Son, reviving and updating a number of old gospel songs as well as a couple of his own. We could have picked almost any song from the album for inclusion, but his excellent version of Everybody Ought to Treat a Stranger right is surely a song for our times, with xenophobia at an all time high. Strangers, sojourners and immigrants were all to be treated with care and welcome according to the Hebrew bible – “And if a stranger dwell with you in your land, you shall not mistreat him. The stranger who dwells among you shall be to you as one born among you, and you shall love him as yourself; for you were strangers in the land of Egypt: I am the Lord your God,” (Leviticus 19:33-34). And reflected in the words of Jesus in Matthew 25 – “I was a stranger and you took Me in; I was naked and you clothed Me … When did we see You a stranger and take You in, or naked and clothe You? … Assuredly, I say to you, inasmuch as you did it to one of the least of these My brethren, you did it to Me.”
Phelps’s 2012 album, Brother Sinner and the Whale, is arguably the best gospel roots album ever. Phelps’s guitar work and slide playing, as always, is immaculate, and the songs are a remarkable testament to Phelps’s rediscovered faith. They brim with creativity, inspiration and spirituality. His reworking of the old hymn, Guide Me O Thou Great Jehovah is masterful, but we’ve chosen his own Goodbye to Sorrow here, which is simply a wonderful song and packed with theology:
“My God came to earth a humble man
As part of a divine and master plan
When they crucified our Saviour He set the captives free
That death would lose dominion over you and over me
I have said goodbye to sorrow as I lay before the cross.”
Click here for Down at the Crossroads’ comments on this album here.
Blind Boys of Alabama: Nobody’s Fault But Mine
Singing together since 1944, the Blind Boys have been singing blues tinged gospel for an awfully long time and you’d be hard pressed to pick the best of. For a good list, check out Paste’s take here. We’ve gone with this sparse arrangement of another Blind Willie Johnson song, Nobody’s Fault but Mine, which is full of the personal regret and heartache. The plaintive harmonica, the slide guitar and the tight harmonies combine to make this an outstanding version of the song.
