Mavis Staples

Best Blues Albums 2022

Posted by gwburn1 on January 1, 2023

Posted in: Best Blues Albums 2022, Bonnie Raitt, Buddy Guy, Joe Bonamassa, Keb Mo, Mavis Staples, Review, Shemekia Copeland, Son House, Walter trout, Women. Tagged: acoustic blues, Best Blues Albums 2022, Blues rock, Bonnie Raitt, Buddy Guy, Catfish Keith, Dom Martin, Eric Gales, Fabrizio Poggi, Jujubes, The Blues. Leave a comment

So much good music during this past year, that it’s hard to choose. You’ll have your own favourites, but here are ours – which include one or two I suspect you’ll not be familiar with, but will repay investigation. Blues from women, from men, from the US, the UK, Europe, Asia – the blues really is a world-wide phenomenon. (We’ve not ranked them – they’re all great).

Elles Bailey, Shining in the Half Light

UK Blues Award winner’s Bailey’s third studio album of soulful and passionate blues. She’s a remarkable talent, and here delivers ten songs that highlight just how good her powerful, but beautifully controlled voice is. If you’re not familiar with Ms. Bailey, put that right, right now with this album.

Rory Block, Ain’t Nobody Worried

Seven times Blues Award winner and acoustic blues maestro Rory Block delivers the third in her series of albums, Power Women of the Blues, celebrating great women of the genre. [check out Prove it on Me and A Woman’s Soul]. It’s not really a blues album and is a departure from her usual offering of just Rory and acoustic guitar. The songs feature some vocal and instrumental accompaniment which gives her the opportunity to focus on the vocal performance on a set of songs from the 1960s to 80s by people like Bonnies Raitt, Carole King and Tracy Chapman.

Catfish Keith, Still I Long to Roam

Catfish Keith, guitarist and exponent of the blues extraordinaire, continues to delight and entertain us in his new album, his 21^st, Still I Long to Roam. It’s another fine collection of reinterpreted classic blues songs and originals, the latter sounding every bit as classic and authentic as the others. If you love blues music, if you love superb guitar playing, if you love hearing old songs brought to life through fresh interpretations, then this is an album you must hear. And all this infused with the usual infectious Catfish Keith sense of fun and joy. [Full review here]

Shemekia Copeland, Done Come Too Far

Daughter of Texas guitar-slinger, Johnny Copeland, continues where she left off with 2020’s Uncivil War with a top-notch, hard-hitting blues album that addresses contemporary issues like racism, child abuse, and guns and the historic legacy of slavery. A powerful set of songs and performances from Ms. Copeland and featuring guests Sonny Landreth and Cedric Burnside on guitar, and Charles Hodges on keyboards, amongst others.

Eric Gales, Crown

This is a remarkable piece of work from the talented Eric Gales, stretching the boundaries of blues rock and setting a new standard for the genre. The musicianship and arrangements serve the strength of the song-writing perfectly, Gales’s singing is versatile and powerful and, of course, as you’d expect, his guitar work is all you’d want from one of the world’s great electric guitar players. [Full review here]

Buddy Guy, The Blues Don’t Lie

At 86, Guy still has what it takes, his blistering guitar work, vocal power and…just his attitude, all undimmed. Just check out the opening track, I Let My Guitar Do the Talking, traditional, modern, gut-wrenching blues. You’re sucked in from the get go. With guest appearances by Mavis Staples, James Taylor, Bobby Rush, Jason Isbell, Wendy Moten and Elvis Costello, this is a stormer of a blues album. And with 16 tracks and over an hour’s worth of music, it’s value for money!

Katie Henry, On My Way

Stylish album of bluesy Americana from the very talented New Jersey native Katie Henry. There’s nice variety in the songs, from the blues of the opening song to more jazzy or country-tinged numbers. Ms. Henry is a terrific and versatile vocalist and a talented pianist and guitarist to boot.

Son House, Forever On My Mind

Dan Auerbach’s Easy Eye Sound label is restoring and releasing Dick Waterman’s archived tape collection of Delta blues artists, and this collection of Son House songs, Forever on My Mind is the first instalment. The sound quality on the album is great and it contains eight classic House songs, including Preachin’ Blues, Death Letter, Pony Blues and Levee Camp Moan. [Full review here]

The Jujubes

Raging Moon has all the ingredients of a top-notch blues record – killer slide guitar, echoes of Robert Johnson, tasty acoustic blue guitar licks and the rasping, world-weary vocals of Nikki Brooks. If cool, traditional sounding blues, with a modern edge is your thing – which I’m guessing if you’re reading this, it is, then you gotta check out the Jujubes. [Full review here]

Larkin Poe, Blood Harmony

The Georgia-born multi-instrumentalist sisters, Rebecca and Megan Lovell, deliver another sterling blues rock/roots album, featuring what is becoming a very recognizable sound, and yet one that is fresh and vibrant. Their soulful vocals are exceptional, their guitar chops formidable, and the song-writing strong. One not to miss.

Taj Mahal & Ry Cooder, Get On Board

Mahal and Cooder’s set of Terry and McGhee songs tries to recreate something of the rawness of the blues recordings of yesteryear, and it has the feeling of two old friends thoroughly enjoying themselves. Taj Mahal said, “There are basic things in our culture that connect us, that allow us to be able to reach back and connect to a history of people, the things that nourish us as a people, and music, this music is one of those things.” In Get on Board, Mahal and Cooder reach back and connect to a part of blues history, helping to make sure it is not forgotten. [Full review here]

Dom Martin, A Savage Life

Dom Martin’s new album, A Savage Life, sees him fulfil the potential that his acclaimed 2019 album, Spain to Italy, pointed to. Martin is a multiple UK and European Blues Award winner who seems equally at home playing the acoustic blues of Blind Blake and the blues-rock of Rory Gallagher. Add to that his expressive vocals, and you have in Dom Martin the real deal. His guitar work and vocals throughout are stellar and the arrangements and musicianship from the rest of the band, are excellent. [Full review here]

Keb’ Mo’, Good to be Home

Another fine and hugely enjoyable album from Keb’ Mo’. It’s not exactly the blues, but – hey, it’s Keb’ Mo’! It’s feel-good stuff all the way, Sunny and Warm, the third song, describing things perfectly. Mr Mo’ is joined for good measure by Darius Rucker, the Old Crow Medicine Show and Kristin Chenoweth. Good Strong Woman continues Keb’ Mo’s recent affirmation of women, as opposed to the sexist lyrics often heard in the blues.

Miko Marks and the Resurrectors, Feel Like Going Home

A glorious mix of gospel and blues. They are all strong songs, both lyrically and musically, with arrangements that make you want to listen to them again and again. Ms. Marks’ vocal performance excels – controlled power, bluesy, with hint of a rasp here and there. [Full review here]

John Mayall, The Sun is Shining Down

You expect a John Mayall album to be good and this one doesn’t disappoint. 89-year-old Mayall is joined by a number of guests, including Marcus King, Buddy Miller, Scarlett Rivera in eight covers and two originals. It’s top-notch, modern blues rock, and you’ve got to hand it to John Mayall – for 60 years he’s been leading the charge with the blues and The Sun is Shining Down shows no sign of waning performance

Charlie Musselwhite, Mississippi Son

Fourteen mostly original songs from the 78-year-old veteran bluesman, Musselwhite, who plays guitar and harmonica and handles the vocals throughout. Songs like In Your Darkest Hour and Rank Strangers are perfect front-porch blues, with Musselwhite’s searching harp and raw vocals. Mississippi Son puts you right back in the heat and sweat of Musselwhite’s home state and bears testimony to the man’s lifetime in the blues. [Full review here]

Fabrizio Poggi, Basement Blues

Italian blues harp master, Fabrizio Poggi, delivers an outstanding set of covers of classic blues songs and some originals. There’s a dash of gospel too, with Precious Lord, John the Revelator and Up Above My Head. It’s all delivered with great sensitivity to the tradition and superb musicianship by Fabrizio and his collaborators which include Guy Davis, Ronnie Earl, Garth Hudson (who played with The Band) and guitarist Enrico Polverari.

Prakash Slim, Country Blues

Acoustic country blues – from Nepal? Really, you say? Yes, really. And fine stuff it is too. Prakash Slim is a fine guitarist, adept at finger-picking and slide techniques and an accomplished singer. The blues are alive and well in the shadow of the Himalayas. [Full review here]

Bonnie Raitt, Just Like That…

Her first album in six years, it’s all you’d want from a Bonnie Raitt album. Cool songs, Raitt’s characteristic slide guitar and her ever soulful vocals. The ten songs are strong, narrative-based, and well-arranged, and Raitt, now in her eighth decade delivers a classy performance throughout. The title track is a wonderful treat, pretty much just Raitt picking her acoustic guitar and singing plaintively.

Mavis Staples & Levon Helm, Carry Me Home

Carry Me Home is something of a masterpiece, it would not be too bold to suggest, a celebration of friendship, mutual admiration and faith. You can’t help but be moved by both the poignancy of the selection of songs and the pair’s performances, now knowing that Helm was to pass shortly after and that Staples is now in her 83^rd year. It’s simply a great set of songs, a wonderful collection of blues, gospel and Americana. [Full review here]

The 219, Revelator

Revelator is just a rare treat of a blues album. New Irish band The 219 delves deep into the blues tradition, with thirteen original songs, and echoes of biblical apocalypse in songs like Abandon Hope, All Kinds of Evil and the title track. Revelator. The musicianship is top-notch, the songs are all strong, and the arrangements just work. [Full review here]

Walter Trout, Ride

Blues rock at its finest. That’s what you always get with Walter Trout. Add to that his exquisite and emotive guitar soloing and any new album from this guitar maestro is to be savoured. The music is joyous – take the solos from the title track, for example – fast and furious as you might expect, but gloriously upbeat. And the lyrics are thoughtful, addressing issues in the wider world as well as facing Trout’s own past and present. This really is one of the best blues albums of the year. [Full review here]

Cristina Vane, Make Myself Again

Cristine Vane is a quite wonderful talent – a skilful guitar picker and slide player, a fine songwriter and a beautiful singer. It’s the sign of a talented songwriter and musician to give a traditional feel to a song, and yet have it feel bang up to date. Vane says she’s “essentially a rock kid who is obsessed with old music.” And that’s a winning combination. This is a top class album of 13 well-crafted songs, blessed by Vane’s silky vocals and guitar chops.

Edgar Winter, Brother Johnny

Several years in the making, Brother Johnny is a labour of love, a warm tribute by Edgar Winter to his brother, who passed away aged 70 in 2014. Brother Johnny features a star-studded cast of musicians, including Keb’ Mo’, Ringo Starr, Joe Bonamassa, Robben Ford, Warren Hayes, Billy Gibson, and Kenny Wayne Shepherd. With 17 tracks and clocking in at 76 minutes, it’s a huge treat of an album and a fine tribute to one of the giants of blues rock. [Full review here]

Best Blues Albums 2022 – So Far

Posted by gwburn1 on June 27, 2022

Posted in: Best Blues Albums 2022, Bonnie Raitt, Charlie Patton, Keb Mo, Luther Dickinson, Mavis Staples, Music Maker Relief Foundation, Review, Ry Cooder, Son House. Tagged: Americana, Best Blues Albums 2022, Bonnie Raitt, Eric Gales, Taj Mahal, The Blues. 6 Comments

No shortage of terrific blues albums this year thus far. We’ve chosen 15 of the best, including albums of traditional blues, blues rock, and bluesy Americana. We’ve maybe been a bit light on acoustic blues albums so far, but let’s see what the rest of the year brings. In the meantime, go check out each of these outstanding albums

Elles Bailey, Shining in the Half Light

Dana Fuchs, Borrowed Time

Dana Fuchs has a wonderful, nuanced, blues-tinged voice with just the right amount of huskiness. This album of rock songs has heaps of blues feeling and soul, along with some delicious guitar work. [Check out our interview with Ms. Fuchs here]

Eric Gales, Crown

Katie Henry, On My Way

Son House, Forever On My Mind

Taj Mahal & Ry Cooder, Get On Board

Dom Martin, A Savage Life

Keb’ Mo’, Good to be Home

John Mayall, The Sun is Shining Down

North Mississippi Allstars, Set Sail

An album from these Mississippi hill country guys is always welcome and Set Sail doesn’t disappoint. It’s a bit different from previous albums, not so much blues rock as funky R&B with a hint of gospel. Luther Dickinson’s unmistakable, laid back vocals are augmented in a few songs by Stax legend William Bell and the Allman Brothers’ Lamar Williams. It’s fine, upbeat stuff pointing us to brighter days.

Charlie Musselwhite, Mississippi Son

Fourteen mostly original songs from the 78-year-old veteran bluesman, Musselwhite, who plays guitar and harmonica and handles the vocals throughout. Songs like In Your Darkest Hour and Rank Strangers are perfect front-porch blues, with Musselwhite’s searching harp and raw vocals. Mississippi Son puts you right back in the heat and sweat of Musselwhite’s home state and bears testimony to the man’s lifetime in the blues. (And what about that album cover? Very cool).

Bonnie Raitt, Just Like That

Mavis Staples & Levon Helm, Carry Me Home

Cristina Vane, Make Myself Again

Edgar Winter, Brother Johnny

Mavis Staples’ and Levon Helm’s celebration of life and friendship

Posted by gwburn1 on June 8, 2022

Posted in: Buddy Miller, Concerts, Faith, Gospel, Mavis Staples. Tagged: Amy Helm, Anti Records, Carry Me Home, Gospel, Gospel Blues, Levon Helm, Mavis Staples, The Weight, women. Leave a comment

Mavis Staples & Levon Helm, Carry Me Home, ANTI-Records

Mavis Staples and the late Levon Helm recorded the songs on Carry Me Home at Helm Studios in Woodstock in the summer of 2011. It was to be one of the final recording sessions for Helm before he died the next year.

The pair are icons of Americana and roots music, Levon Helm, the drummer and one of the lead vocalists of the Band, and Mavis Staples, celebrated gospel and blues singer and civil rights activist. Both performed their music for more than 50 years, from the early sixties on through the heydays of rock’n’roll and rhythm and blues.

“It never crossed my mind that it might be the last time we’d see each other,” says Staples. “He was so full of life and so happy that week. He was the same old Levon I’d always known, just a beautiful spirit inside and out…

“…we hugged and hugged and hugged. I just held on to him. I didn’t know it’d be the last time, but in my heart and in my mind, Levon will always be with me because I take him everywhere I go.”

But even aside from that, this is simply a great set of songs, a wonderful collection of blues, gospel and Americana. The music, powered by Helm’s and Staples’s combined bands, is compelling, with everyone sounding like they are having a fine old time of it.

The album kicks of with a Curtis Mayfield’s This is My Country, a protest song from 1968, deeply embedded in the Civil Rights movement:

I’ve paid three hundred years or more
Of slave driving, sweat, and welts on my back
This is my country

Staples sings it with considerable gusto and passion, several years in to the Obama presidency with the right beginning to flex its muscles. More than ten years on, the song still sounds relevant for America – more’s the pity. Musically, as the album’s opener, you know you’re in for a treat, with horns, organ and ooh-ooh-oohs from the backing singers ushering you into things.

Trouble in (My) Mind is a rockin’ version of the old blues standard, Staples’s raw vocals and the bluesy piano driving things along. After This is My Country, this feels like another defiant assertion that no matter how bad things are and might be in America, there are surely better times ahead – “sun’s gonna shine in my back door some day.”

Staples performs Farther Along, an old gospel song, unaccompanied, apart from some gorgeous harmonizing by Amy Helm and Teresa Williams and others. It’s another poignant one, with the lyric “When death has come and taken our loved ones” coming with slow-tempoed clarity.

It’s a song of faith, however, and despite the song musing on loved ones passing while “others prosper, living so wicked year after year,” it asserts “we’ll understand it all by and by.” Staple’s faith led her to comment about Helm, “Some sweet day, we’ll be together again.”

Faith shines out of this album. Nothing frothy or glib; but faith that has been tested and tried and remains defiant. That’s been Mavis Staples’s experience – remember, she was once arrested at gunpoint by the police after a racially charged incident at a gas-station in Memphis and has lived the recent history of black America from the Civil Rights movement on.

The songs, even when packing a punch like Nina Simone’s I Wish I Knew How It Would Feel to be Free, have a positive, upbeat feel, as if the very force of Staples’s faith and positivity would make all the changes she longs for. The horns, harmonies and Mavis’s vocals, combined with the gospel chords, make for a thoroughly uplifting listening experience.

There are a couple of songs regularly performed by Levon Helm, When I Go Away and Buddy and Julie Miller’s Wide River to Cross have a thoroughly traditional feel about them and fit right in to the set. In the latter, the lyrics seem to have a dual meaning, referring to both the individual journey of life and the struggle for equality that Staples has been engaged in for so long –

I’m only halfway home, I’ve gotta journey on…
I’ve come a long, long road but still I’ve got some miles to go
I’ve got a wide, a wide river to cross.

There’s a great version of You’ve Got to Move. The harmonizing vocals and Larry Campbell’s guitar work is superb and once again the two-sided nature of the lyrics becomes apparent. As a traditional gospel blues song, it’s about the Christian hope of resurrection – “when the Lord get ready, you gotta move,” in, as another song has it, “that great gettin’ up morning.” But whether you’re “high or low”, there’s a hope for the present as well that the Lord might move things in the right direction.

The penultimate song is Bob Dylan’s gospel classic, Gotta Serve Somebody. It’s fitting of course, to include a Dylan song, given Staples’s history with him (she has said Dylan was “the love that I lost”). Staples adds her own faith assertion to the song – he’s (God is) my doctor, he’s my lawyer, he’s my friend.” “Whether you got faith or you got unbelief,” as Dylan might have put it, the song has always been a powerful one, and Staples does it more than justice, making it her own, as she sings convincingly, “I got a royal telephone and the line is never busy.”

Mavis Staples pretty much handles the vocals throughout, with Levon Helm adding colour here and there with harmonies. His drumming, however, is stamped all over things. Helm does weigh in on the final song – fittingly The Weight. Mavis Staples, of course, had shared the vocals with Levon Helm when the Staples Singers accompanied the Band for the song in the Last Waltz in 1968. Staples’s voice is a little deeper and raspier, but it’s still powerful and more than capable of sending shivers down your spine. There’s a quirky, but rather wonderful what sounds to me like a tuba solo in the middle of the song.

This is simply a glorious album of songs to challenge, encourage and inspire. It’s a fine tribute to Levon Helm, and another reminder of the immense talent and force that is Mavis Staples. I saw her perform in London just before the pandemic and it was an evening that left me with a smile on my face for a week afterwards. At 83 she’s on tour again, along with Amy Helm, Levon’s daughter, and if they are anywhere near you, don’t hesitate. And get yourself a copy of Carry Me Home – you won’t regret it.

Election Blues

Posted by gwburn1 on November 1, 2020

Posted in: Mavis Staples, Peace, Walter trout. Tagged: Election 2020, John Lee Hooker, Lyle Lovett, Mavis Staples, Rory Gallagher, Steve Goodwin, Sunnyland Slim, Walter Trout. 4 Comments

It’s being billed as the most important US presidential election in history, a “battle for the soul of America.” Judging by the number of votes case two days before election day – 92m, about two thirds of the total votes cast in the 2016 election – Americans clearly agree with that. We in Europe, along with others around the world, also see this election as incredibly important, given the enormous influence that America has on the world.

Despite the way in which the present administration has disengaged from various world bodies and engaged in trade protectionism, Donald Trump has cast a huge shadow over the rest of the world. As well as giving encouragement to strong-arm leaders like North Korea’s Kim Yong-un, India’s Narendra Modi or Brazil’s Jair Bolsonaro, his utter disregard for the truth has had a dreadful effect of normalizing lying in the public square around the world.

So, yes, we’re all watching keenly America’s election. And, of course, many of us have American friends and there is so much of America we’ve loved. Not least the music. So, on the eve of this momentous election, here are a few election songs for you to enjoy and consider:

First up is Sunnyland Slim’s 1983 Be Careful How You Vote. It’s a cautionary tale, warning that politicians inevitably let us down:

Be careful how you vote
On every election day
‘Cause the one that you vote for
He just might let you down.

When the time comes for him or her to take their seat, all those election promises have somehow flown out the window. That politician you voted for was going to lower prices, create employment and “help the poor and the senior citizens”. Funny how these get left behind as corporate interests are rewarded, tax breaks favour the rich and, as inequality continues to rise, the poor don’t get a look in. Drain the swamp, I remember someone saying. The swamp just got bigger and messier.

Here’s Sunnyland Slim version, followed by Walter Trout live, playing his version from his 2019 Survivor Blues album:

Next up is Rory Gallagher’s Smear Campaign from 1987. The Irish blues-rock guitarist puts the spotlight here on all the dirty tricks that political campaigns get up to when so much is at stake.

The dirty tricks department is working overtime
Trying to stop the candidate from getting this time
The wheels are now in motion all the traps are set
Under this commotion will he walk into this mess.

Smear campaigns are probably as old as politics. If you read Cicero, it’s quite clear that deliberate campaigns to spread false rumours were well-practiced in ancient Rome. In the US, the first smear campaign in presidential politics was against Andrew Jackson in 1824. And here we are in 2020, with Rudy Giuliani and his allies using a mix of unsubstantiated assertions about the former vice president, and innuendo and salacious material about his son, while the President just outright lies about what his opponent has said on a number of policy items.

Our next song is Peace Blaze Foley’s Election Day, this one sung by Lyle Lovett. The singer seems to be a homeless person who is being harassed by the police and pleads for leniency:

Hey Mr. Policeman, please don’t take my stuff
It cost me too much money, and it probably ain’t enough
To get me through Election Day
Didn’t I hear you say
That it’s alright, it’s alright, it’s alright?

The song is a stark reminder that no matter whether there’s a Democrat or a Republican in the White House, it isn’t likely to change things much for the poor in America. The American Dream has passed millions of Americans by – particularly people of color, many of whom are trapped by systemic racism in education, housing, and economic policies and practices over generations. 35m people in the United States in 2019 suffered from hunger. For a wealthy country, that’s appalling. There’s likely one of the two candidates who cares more about this than the other, but it’ll take much more than the current election to make the sort of change that’s needed.

In 1964, John Lee Hooker certainly felt that one of the two parties was better for those who were poorer off. In Democrat Man he sings:

I ain’t got no shoes, no shoes, no shoes don’t fit
But I ain’t goin’ to that welfare store
You know why? It won’t be long ‘fore election time
Democrats be in.

Lyndon B Johnson, a Democrat who won the election of 1964 in a landslide, instigated a “War on Poverty” which rescued millions of Americans from poverty during his presidency.

Cindy Berryhill’s 2007 When did Jesus Become a Republican hits an important note, particularly for people of faith:

When did Jesus become a politician,
And whisper to the preacher man
To tell the congregation exactly who to vote for?

From a distance of 5,000 miles, it’s very difficult to understand the support of so-called evangelicals in America for Donald Trump. We just shake our heads in disbelief, quite frankly, when we see people who claim to be Christians supporting a man who lies incessantly, who treats women the way he does, whose business dealings are under such question, whose public discourse is so coarse and divisive, who gives succour to far-right racists and who demeans and belittles at every opportunity, In an essay published in the last week, conservative theologian, John Piper bemoaned the fact that “flagrant boastfulness, vulgarity, immorality, and factiousness are self-incriminating, but also . . . they are nation-corrupting. They move out from centers of influence to infect whole cultures. The last five years bear vivid witness to this infection at almost every level of society.”

I read a few days ago about “patriot churches,” a group of non-denominational evangelical churches, which want to “take the nation back for God.” Their buildings typically sport large American flags and members pray for a Trump landslide. Sadly these people have missed the point of Christian faith, which is to give allegiance only to Jesus and his values of kindness, love for neighbour and the immigrant, truth, faithfulness and non-violence. Those values are unlikely to be focused on much by any political party, but Donald Trump? Come on.

Arcade Power’s 2017 I Give You Power features the wonderful Mavis Staples. It’s a nice reminder that in a democracy, the people have the power to install or remove politicians (although, come on America, can that archaic electoral college system of yours really be said to be properly democratic – fair and equal representation, where everybody’s vote counts? If you’re in any doubt, just watch this video: )

And to finish, on a lighter note, check out this Jimmy Durante’s comedy routine with Bing Cosby, featuring Election Campaign Song.

And finally, here’s Steve Goodwin with Election Year Rag, from 1971. Steve Goodwin’s lyrics are always clever, and he clearly remains just a tad cynical about elections!

You know the winner’s always somebody else
And the loser is always us.

Our best wishes and prayers for you America.

The Blues as Protest

Posted by gwburn1 on October 20, 2020

Posted in: Big Bill Broonzy, Eric Bibb, Gary Clark Jr., Leadbelly, Mavis Staples, Racism, Shemekia Copeland, Trance Blues. Tagged: Big Bill Broonzy, blues, Eric Bibb, Gary Clark Jr., injustice, J.B. Lenoir, Josh White, Leadbelly, Leyla McCalla, Mississippi, Muddy Waters, Racism, Shemekia Copeland, Strange Fruit, The Blues. 3 Comments

The blues emerged in the context of the oppression and suffering of Black communities in the southern US, and singing the blues was a means of responding to that oppression – of giving voice to great sorrow, lamenting the current state of affairs, but also of expressing dignity in the face of injustice. The blues also were a means of protest against this injustice.

That’s worth noting at this time when the United States is facing a reckoning for the racism that has dogged it for such a long time. The push-back against white supremacy, police brutality and a myriad of social barriers faced by Blacks and other people of colour can’t be simply ignored or written off.

There have been plenty of today’s artists protesting the current lamentable state of affairs and all that has led to it – Leyla McCalla’s recently released Vari-Colored Songs, an album’s whose centerpiece, Song for a Dark Girl, is a stark account of a lynching “way down south in Dixie,” a powerful reminder of the relatively recent history of terrorism against Black communities.

Gary Clark Jr.’s This Land is a howl of protest which rails against the suspicion he gets as a Black man in Trump’s America; Shemekia Copeland’s Would You Take My Blood on her America’s Child album gets to the heart of racism; Otis Taylor’s trance blues in Fantasizing About Being Black, a history of African-American life, from slavery onwards, has Jump Out of Line, an edgy piece about civil rights marchers’ fear of being attacked; and Eric Bibb’s last album had What’s He Gonna Say Today, protesting the “bully in the playground,” aimed directly at Trump.

But the history of the blues is littered with songs protesting inequality, discrimination and White violence against Blacks. Given the huge inequality that existed, and the whole structuring of society that existed under Jim Crow, it would have been impossible for blues artists to sing protest songs in the way that they were sung in the 1960s when the Civil Rights’ movement had gathered momentum. Often the protest was coded, although sometimes it broke through the surface quite clearly. Although the majority of blues songs are about the troubles of love, there is a steady stream of social protest from the early days right through to the present.

In 1930, Huddie Ledbetter – Lead Belly – recorded a song entitled simply Jim Crow, in which he bemoans the state of affairs facing him every day of his life, everywhere he goes:

I been traveling, I been traveling from shore to shore
Everywhere I have been I find some old Jim Crow.

He can’t get away from the racial discrimination he faces – it’s there even when he goes to the cinema to be entertained:

I want to tell you people something that you don’t know
It’s a lotta Jim Crow in a moving picture show.

And finally he pleads with his hearers, “Please get together, break up this old Jim Crow.”

In the early 1930s, nine Black teenagers from Scottsboro in Alabama were accused of raping two white women aboard a train. The case highlighted the racism of the Jim Crow system and the injustice of the entire Southern legal system. In a series of trials and re-trials, which were rushed, and adjudicated on by all-white juries and racially biased judges, the nine boys suffered incarceration in the brutally harsh Kilby Prison in Alabama, and attempted lynching and mob violence.

After three trials, during which one of the young white women who were alleged to be victims had confessed to fabricating her rape story, five of the nine were convicted and received sentences ranging from 75 years imprisonment to death. The one who received the death sentence subsequently escaped, went into hiding and was eventually pardoned by George Wallace in 1976. The case was a landmark one and led eventually to the end of all-white juries in the South.

Lead Belly recorded Scottsboro Boys in 1938, where he warns Black people not to go to Alabama lest they suffer the same fate as the Scottsboro nine:

I’m gonna tell all the colored people
Even the old n* here
Don’t ya ever go to Alabama
And try to live

Lead Belly was clearly not afraid to voice his protest against what he experienced. He also wrote Bourgeois Blues, perhaps the most famous example of 1930s blues protest songs. Leadbelly here sings about his experience of discrimination in the nation’s capital city:

Well, them white folks in Washington they know how
To call a colored man a n* just to see him bow
Lord, it’s a bourgeois town
I got the bourgeois blues
Gonna spread the news all around

Lead Belly talks about looking for accommodation and being turned away by the white landlord:

Well, me and my wife we were standing upstairs
We heard the white man say “I don’t want no n*s up there.

America, according to Lead Belly may have been hailed as “The home of the Brave, the land of the Free,” but it was just somewhere where he was “mistreated” by the “bourgeoisie.”

The Great Depression hit black communities in the South particularly hard. Skip James’s 1931 Hard Time Killing Floor Blues captures the grim reality of the time for many people, with James’s high eerie voice and his D-minor tuned guitar. “The people are drifting from door to door” and they “can’t find no heaven.”

Hard time’s is here
An ev’rywhere you go
Times are harder
Than th’ever been befo’.

One of the blues artists who was most articulate about civil rights during this period was Josh White, who was born in 1914 and recorded under the names “Pinewood Tom” and “Tippy Barton” in the 1930s. He became a well-known race records artist during the 1920s and 30s, moving to New York in 1931, and expanding his repertoire to include not only blues but jazz and folk songs. In addition, he became a successful actor on radio, the stage and film. White was outspoken about segregation and human rights and was suspected of being a communist in the McCarthyite era of the early 1950s.

In 1941 he released one of his most influential albums, Southern Exposure: An Album of Jim Crow Blues. The title track pulls no punches:

Well, I work all the week in the blazin’ sun,
Can’t buy my shoes, Lord, when my payday comes
I ain’t treated no better than a mountain goat,
Boss takes my crop and the poll takes my vote.

The album of mostly 12 bar blues songs, included Jim Crow Train, Bad Housing Blues, and Defense Factory Blues. White attacked wartime factory segregation in the latter with, “I’ll tell you one thing, that bossman ain’t my friend, If he was, he’d give me some democracy to defend.”

In Jim Crow Train, he addresses the segregation on the railways:

Stop Jim Crow so I can ride this train.
Black and White folks ridin side by side.
Damn that Jim Crow.

On White’s 1940 Trouble, he leaves no doubt about the cause of black people’s problems: “Well, I always been in trouble, ‘cause I’m a black-skinned man.” The rest of the song deals with the failed justice system of the time and the inhuman conditions which black inmates suffered when incarcerated:

Wearin’ cold iron shackles from my head down to my knee
And that mean old keeper, he’s all time kickin’ me.

As a black man under Jim Crow, all White could expect from life was “Trouble, trouble, makes me weep and moan, Trouble, trouble, ever since I was born.”

Big Bill Broonzy was one of the most popular and important of the pre-World War II blues singers, who recorded over 250 songs from 1925 to 1952, including Key to the Highway, Black, Brown, and White, Glory of Love and When Will I Get to Be Called a Man. He was a very talented musician, song writer and singer, who Eric Clapton said was a role model for him in playing the acoustic guitar.

Broonzy claims in his autobiography that he joined the army sometime after 1917, and fought in World War I in France, and on returning to the South, he found conditions there quite intolerable. A more recent biography of Broonzy doubts his story of joining up, but there can be no doubting the injustice which Broonzy encountered as a black man in the South. He refers to the way in which black men were referred to disparagingly as “boy” by whites in his 1951 song, I Wonder When I’ll Be Called a Man.

When I was born into this world, this is what happened to me
I was never called a man, and now I’m fifty-three
I wonder when…I wonder when will I get to be called a man
Do I have to wait till I get ninety-three?

Black, Brown and White, recorded in 1951, rails against the discrimination that Broonzy found everywhere, be it getting a drink at a bar, being paid less money for doing the same job, or even just getting a job:

They says if you was white, should be all right
If you was brown, stick around
But as you’s black, m-mm brother, git back git back git back.

Muddy Waters also highlighted the patriarchal attitudes of whites to blacks in his 1955 release Manish Boy, which on the surface is a rather sensual blues song declaring, “I’m a natural born lover’s man,” and “I’m a hoochie coochie man.” (The hoochie coochie was a sexually provocative dance that became wildly popular in Chicago in the late nineteenth century. The dance was performed by women, so a “hoochie coochie man” either watched them or ran the show). In the context of a black man never being recognized as anything other than a “boy,” however, the song asserts black manhood in the face of white suppression. “I’m a man, I’m a full grown man,” sings Muddy, “I spell M-A, child, N”

Another major and influential blues artist from Mississippi was John Lee Hooker, son of a sharecropper, who came to prominence in the late 1940s and 50s. His House Rent Boogie from 1956 protests the all too familiar tale for black American of losing a job and not being able to make the rent payment; “I said fellows, never go behind your rent, ‘cause if you did it, it will hard so it’s cold in the street.”

The wail of protest in the blues continued on into that decade most associated with protest songs, the 1960s. From 1961 we have the guitar – harmonica duo of Sonny Terry & Brownie McGhee singing Keep on Walkin’ which takes up again the theme of Blacks being worked hard for little pay:

The bossman was so mean, you know, I worked just like a slave
Sixteen long hours drive you in your grave
That’s why I’m walkin’, walkin’ my blues away.

And then we have Vietnam Blues by J.B. Lenoir, from 1966. Drawing an elegant parallel between the US’s presence in Southeast Asia and the Jim Crow South, Lenoir demanded of President Lyndon Johnson, “How can you tell the world we need peace, and you still mistreat and killin’ poor me?”

Lenoir came to Chicago via New Orleans and became an important part of the blues scene there in the 1950s, performing with Memphis Minnie and Muddy Waters. He was a fine singer and a great showman, sporting zebra striped costumes and nifty electric guitar licks.

But Lenoir composed a number of political blues songs bringing sharp social commentary to bear on events going on around him. Songs like Born Dead, which decries the fact that “Every black child born in Mississippi, you know the poor child is born dead,” referring to the lack of opportunity in his home state; or Eisenhower Blues, which complains that the government had “Taken all my money, to pay the tax.” Lenoir also composed the haunting “Down in Mississippi,” which he performed on his 1966 Alabama Blues. “Down in Mississippi where I was born, Down in Mississippi where I come from,” sings Lenoir,

They had a huntin’ season on a rabbit
If you shoot him you went to jail.
The season was always open on me:
Nobody needed no bail.

He concludes about the place of his birth, “I count myself a lucky man, Just to get away with my life.” The definitive version of the song, however, was to come some 40 years later, when Mavis Staples recorded it on her album We’ll Never Turn Back, Staples adding a little to the song about segregated water fountains and washeterias and how “Dr King saw that every one of those signs got taken down, down in Mississippi.”

Mavis Staples had already made her protest against three hundred years of injustice in 1970 with the no-punches-pulled When Will We Be Paid? The song demanded an answer to the exploitation of Black Americans in the construction of America’s roads and railroads, in the domestic chores their women have done and the wars in which their men have fought. Despite this contribution to the making of America over 300 years, all the remuneration Staples’s people got was being “beat up, called names, shot down and stoned.” “We have given our sweat and all our tears,” she sings, so, “When will we be paid for the work we’ve done?”

In a similar vein, complaining about the discrimination they faced, Sonny Terry, Brownie McGhee & Earl Hooker in Tell Me Why in 1969 sang,

Every war that’s been won, we helped to fight
Why in the world can’t we have some human rights?
Tell me why?

They give the cruel answer themselves – “It’s got to be my skin, that people don’t like.”

And one of the most hard hitting of songs in the blues genre is Mississippi Goddamn, written and sung by Nina Simone in 1964.

Hound dogs on my trail
School children sitting in jail
Black cat cross my path
I think every day’s gonna be my last.

The song was Simone’s response to the murder of Medgar Evers in Mississippi and the 16th Street Baptist Church bombing in Birmingham, Alabama, which killed four black children. She performed the song in front of 10,000 people at the end of the Selma to Montgomery marches.

The blues chart the history of the indignities face by African Americans over the decades. The blues allowed Black Americans to assert their humanity and dignity in the context of an oppressive system that declared they were less than human. Whether the songs expressed explicit protest at this or not (and most blues songs didn’t), the blues, nevertheless, was Black music and, whether they were complaining about unfaithful lovers or problems with the landlord, whether they were performed as dance music in the juke joint or sung on the street corner, they reflected the abuse and indignities suffered by blacks under Jim Crow and beyond. No wonder Black theologian and writer, James Cone, said, the blues are “the essential ingredients that define the essence of black experience.”

Willie Dixon gets it spot on when he says “The blues are the true facts of life expressed in words and song, inspiration, feeling, and understanding.” In telling the truth about the misery of black experience, but as well as that, a hope for change, the blues were a part of the endurance and resistance of the Black community.

For many white listeners to the blues, the blues are at heart a genre of music, a certain musical form, twelve bars, flattened notes, blue notes. But if we listen carefully, we can hear the history of people who have been sorely mistreated; we can, perhaps, get some understanding of what it means to be Black. But it does require careful listening. And that listening is as urgent as ever just now.

Finally, to help us stop and listen, here is the ultimate protest song written by Abel Meeropol and recorded by Billie Holiday in 1939. Strange Fruit.

Adapted from The Gospel According to the Blues by Gary W. Burnett

Another year, another superb collection of Americana/roots music to choose from. This year’s selection has a number which have addressed pressing social issues, as well as giving us great music.

Here’s Our Top 10

Our Native Daughters: Songs of Our Native Daughters

The thirteen-track album, featuring Rhiannon Giddens. Allison Russell, Amythyst Kiah and Leyla McCalla, explores the history of slavery and its legacy, especially from the point of view of black women. It’s a stunning piece of work, a tour de force, musically, lyrically and thematically. Rhiannon Giddens, the driving force behind the album, has said that she sees this album “as a part of a larger movement to reclaim the black female history of this country.”

Make sure and read our interview with Allison Russell about the making of the album here.

Keb’ Mo’: Oklahoma

Rich, typically Keb’ Mo’ style rootsy blues, featuring collaborations with Rosanne Cash, Taj Mahal, Jaci Velasquez, and his wife, Robby Brooks Moore. Producer Colin Linden and Robert Randolph pitch in too, to great effect in a potent and hugely enjoyable set of songs which will surely compete for a Grammy. Check out our longer piece on the album here.

The Avett Brothers: Closer than together

“At some point, [our] conversations grow melodies,” said Seth Avett of this terrific album which combines the Brothers’ commitment to Americana with some hard-hitting songs about gums, the threat of violence, injustice and the legacy of American racism. “I live in the country because I love peace and quiet / But all of my neighbors have closets full of machine guns.”

Paul Nelson: Over, Under Through

A terrifically fresh collection of Americana, featuring great arrangements of really fine songs. It’s a well-produced album, with a top notch set of musicians. It’s laid back and bluesy, yet with a gentle intensity. It’s still one the best albums we’ve heard this year. Highly recommended. You can find our full review combined with a chat with Paul here.

Luther Dickinson & the Sisters of the Strawberry Moon: Solstice

Dickinson, in the background for the most part, along with Amy Helm, Allison Russell (Birds of Chicago), Shardé Thomas, Amy LaVere, and the Como Mamas, have given us a wondrous, soulful album of both old and new songs, which live and breathe delight.

Drew Holcombe: Dragons

An upbeat, infectious affair, with songs co-written by Lori McKenna, Natalie Hemby, Zach Williams of The Lone Bellow, producer Cason Cooley, and Ellie Holcomb. You’ll find yourself humming along, tapping your toes and generally the better for having listened to it. It’s an assured slice of sunny Americana. Catch our interview with Drew here.

Dori Freeman: Every Single Star

Wonderful, melodic set of classic country songs from the ever consistent Dori Freeman, aided and abetted by producer Teddy Thompson. “A master of blurring the lines between Appalachian folk and Nashville country,” said one reviewer.

Marc Cohn & The Blind Boys of Alabama: Work to Do

These Grammy winners seem made for each other, Cohn’s gospel-tinged songs blending perfectly, and given new life by the Blind Boys. An album consisting of Cohn hits, gospel standards and two newly penned Cohn songs is mesmerizing stuff, guaranteed to bring a big smile onto your face.

Vince Gill: Okie

Intensely personal collection of songs, from a master songwriter which tackles sexual abuse, teenage pregnancy, and racial inequality. Gill’s fine singing voice is to the fore here, rather than his blazing Telecaster in a beautiful set of songs. A highlight is, of course, Forever Changed, a song he wrote some years ago that was inspired by a moment in middle school when a gym teacher touched him inappropriately. “There is so much shame,” says Gill. “If you speak out, you are persecuted. I wanted to speak out for innocence.”

North Mississippi Allstars: Up and Rolling

11^th album from the Dickinson brothers’ band, which is effectively a soundtrack to photographer Wyatt McSpadden’s shots of local musicians which sought to capture the musical heritage of North Mississippi. With guest appearances from Mavis Staples, Sharde Thomas, Jason Isbell and Duane Betts, this is a hugely enjoyable album, with its roots in the past but a distinctly modern feel.

And Our Next 10

Gidden & Anthony Turrisi: There is No Other

Rhiannon Giddens continues to give us albums of wonderful music which can’t quite be pinned down to one particular genre or region. There Is No Other is a collaboration with Italian pianist and percussionist, Francesco Turrisi, twelve songs effortlessly fusing influences from the Middle East, Africa, Europe and America. You can find our review of the album here.

Sean McConnell: Secondhand Smoke

Terrific album from the talented songwriter and performer McConnell. Thirteen songs choc full of great melodies, engaging stories and biblical imagery. “You could buy the world for the price of your soul,” he sings against the background of the McCrary sisters gospel harmonies. McConnell’s singing is consistently outstanding and the whole album is one you want to play again and again.

The Allman Betts Band: Down to the River

Recorded at the legendary Muscle Shoals Sound Studios, recorded live to 2-inch analogue tape and no digital editing. Allman (the son of Gregg Allman) and Duane (the son of Dickey Betts) and Berry Oakley Jr. (son of Berry Oakley) pay homage to a famous pedigree. A great set of songs, full of life and energy, is completed by a wonderful cover of Tom Petty’s Southern Accents, which features some delicious slide guitar.

The Highwomen: The Highwomen

The country supergroup, composed of Brandi Carlile, Amanda Shires, Maren Morris and Natalie Hamby, puts a feminist spin on country music, whilst sounding classic. Produced by Dave Cobb and backed by a top-notch band, this is fine stuff, great tunes, lovely harmonies. What’s not to like?

Pierce Pettis: Father’s Son

Ten years on from his last album, folk troubadour Pettis returns with this outstanding release. Sometimes hailed as the “songwriter’s songwriter,” Pettis gives us a 10-set of songs quietly introspective, spiritual, nostalgic, and humane, beautifully arranged and performed. Recommended for sure.

Various Artists: Come On Up to the House: Women Sing Waits

What’s not to like about an album of Tom Waits covers? Especially with a stellar cast of women artists which includes Iris Dement, Rosanne Cash, Shelby Lynne, Patty Griffen, Courtney Marie Andrews and others. Twelve songs, beautifully arranged and performed, which shine a light on Waits’s lyrical artistry in a new way.

Mavis Staples: We Get By

Remarkable vocal performance by the 80 year-old Staples, aided and abetted by producer Ben Harper. In songs of hope and determination, she sings, “things gotta change around here” and we’re “not too far down the wrong road to turn around.”

Jamestown Revival: San Isabel

Austin-based duo of Jonathan Clay and Zach Chance deliver their third album of nostaligic Americana, with beautiful harmonies and melodic storytelling. Watch out for the masterful cover of the Mama and Papas’ California Dreaming.

Ian Noe: Between the Country

Rich storyteller with a large cast of characters in this 10 song set from Kentucky songwriter, Noe, who brings them to life in a world-weary, plaintive kind of way. Produced by Dave Cobb, the sparse arrangements blend perfectly with Noe’s Dylan-esque vocals and the subject matter.

Hayes Carll: What It Is

This 6^th album from Texas troubadour, Carll, is choc full of snappy lines, great tunes and sharp wit. Twelve fine songs, most driven by Carll’s acoustic guitar, but backed by a fine band. “I just wanna do my labor, love my girl, and help my neighbour, while keeping all my joie de vivre.” (Times Like These)

And Our Final 5 Picks

Gottfried Gfrerer: Polychrome

(find our review of Polychrome here.)

Joe Henry: The Gospel According to Water

Grace Potter: Daylight

Miranda Lambert: Wildcard

Neil Young & Crazy Horse: Colorado

And check out our Best Blues of 2019 here.

Best Blues Albums 2019

Posted by gwburn1 on January 1, 2020

Posted in: Best Blues Albums 2019, Colin Linden, Gary Clark Jr., Hans Theessink, Joe Bonamassa, Keb Mo, Luther Dickinson, Mavis Staples, Review, Walter trout. Tagged: acoustic blues, Best Blues Albums 2019, Beth Hart, Blues rock, Keb Mo, Leadbelly, Luther Dickinson, Martin Harley, The Blues. 3 Comments

We’ve had some terrific blues albums during 2019. It’s always hard to compare blues-rock with acoustic blues or with Americana blues; or more traditional sounding blues with modern blues that stretch the boundaries of the genre. But, nevertheless, here’s a list of the 30 albums that we’ve enjoyed listening to and that we consider a cut above the rest. (Click on the links as you go through to find full reviews or interviews.)

Here’s our Top 10

Keb’ Mo’: Oklahoma
Rich, typically Keb’ Mo’ style rootsy blues, featuring collaborations with Rosanne Cash, Taj Mahal, Jaci Velasquez, and his wife, Robby Brooks Moore. Producer Colin Linden and Robert Randolph pitch in too, to great effect in a potent and hugely enjoyable set of songs which will surely compete for a Grammy. Here’s our comments on the album.

Martin Harley: Roll with the Punches
Top-notch slide guitarist, Martin Harley’s album is upbeat, it’s positive, the musicianship is superb, the songs and their arrangements are terrific. It’s everything a bluesy Americana album ought to be. It’s a little piece of “sunshine to keep in your pocket everywhere you go.” Check out our full review here.

North Mississippi Allstars: Up and Rollin’
11^th album from the Dickinson brothers’ band, which is effectively a soundtrack to photographer Wyatt McSpadden’s shots of local musicians which sought to capture the musical heritage of North Mississippi. With guest appearances from Mavis Staples, Sharde Thomas, Jason Isbell and Duane Betts, this is a hugely enjoyable album, with its roots in the past but a distinctly modern feel.

Beth Hart : War in My Mind
Bluesy, at times hard-rockin’, Hart’s album gives full vent to her powerful and emotive vocals. Honest, revealing and passionate.

Gary Clark Jr.: This Land
Texas bluesman’s 3rd studio album and his best. Seventeen tracks where he cleverly and successfully fuses a number of styles from rock, R&B, hip-hop and soul, with a dash of reggae. Here’s our comment on the album.

Mary Flower : Livin’ With the Blues Again
Eleventh album from fingerstyle blues maestro, Mary Flower is a 12-song set that comprises instrumentals of blues, gospel songs and some Mary Flower originals which showcase her acoustic guitar chops. It’s the blues, but its uplifting as well. Check out our interview with Mary here.

Jontavious Willis: Spectacular Class
Wonderful Grammy-nominated album of acoustic blues, produced by Keb’ Mo’. Described as a “wonderboy” by Taj Mahal, no less, Willis matches his skilful country blues guitar with rich, soulful vocals. Find our interview with Jontavious here.

Rory Gallagher: Blues
New collection of blues recordings from the Irish artist released in what would have been his 50th year of recording. Gallagher was one of the great white blues guitarists of the rock’n’roll era. 36 tracks over 3 CDs – electric and acoustic and live – exude a raw energy, and include special guest sessions with legendary blues artists Muddy Waters and Albert King. A wonderful overview of Gallagher’s career.

Christone Ingram: Kingfish
Quite simple a terrifically enjoyable album, with twelve original songs that feature Ingram’s mellifluous vocals and stunning guitar work. The album is very definitely the blues, with familiar themes of lost and unrequited love but there’s a positivity throughout that is very tangible. Our full review is here.

Peter Frampton Band: All Blues
Ten classic blues tracks deliciously delivered by the vintage rocker and his top-notch band. With guest appearances from Sonny Landreth, Larry Carlton and Steve Morse, this is just terrific stuff.

And here’s the next 10

Kenny Wayne Shepherd: The Traveler
Eight originals and two covers from the ever-consistent Shepherd, accompanied by a group of talented musicians. Shepherd has become not only a not class blues rock guitarist, but a fine song-writer. Mind you, it’s the acoustic Tailwind, with its positive vibe, that stands out for me.

Elles Bailey: Road I Call Home
Superb sophomore album from English singer-songwriter. Blues-infused Americana, with eleven strong songs featuring Bailey’s impressive, soulful vocals.

Robert Randolph: Brighter Days
Pedal steel guitarist and his band are in fine form here with ten excellent songs, some true to their gospel roots, others full out rockers. It’s great fun, full of energy, groove and inspiration.

The Jorgensens: The Lexington Stretch
A completely captivating slice of timeless Americana, that is at once bluesy, jazzy, retro, modern and rocking. Seriously good music, to be enjoyed by anyone who loves blues or Americana. Find our full review here.

Southern Avenue: Keep On
Vintage blues and soul from Memphis-based band. Singers Tierinii and Tikyra Jackson are outstanding in these 12 tracks of fresh, soulful grooves. Outstanding new band, with refreshing new sound.

Walter Trout: Survivor Blues
Walter Trout’s 28^th album covers songs that have inspired him along his long musical journey, including numbers by Elmore James, John Mayall, Hound Dog Taylor, Fred McDowell and J.B. Lenoir, putting his own inimitable stamp upon them. Walter Trout is an exquisite guitarist, an accomplished singer and he’s given us another gem.

Jimmy “Duck” Holmes: Cypress Grove
Produced by Black Keys frontman, Dan Auerbach, and features musical support from Auerbach and members of his band. The result is a raw explosion of genuine Mississippi juke-joint blues, with 11 traditional Delta blues songs from Holmes’s extensive repertoire. It’s fabulous stuff, a treat for any blues fan. Check out this great interview with Jimmy here.

Matty T Wall: Transpacific Blues
This new eight-song features Matty T Wall and some of the finest guitarists on the international music scene, including Eric Gales, Walter Trout, Kirk Fletcher, Dave Hole and Kid Ramos. With traditional blues songs and new approaches to the genre with plenty of creative twists, this is some of the best guitar playing in one place you might hear all year. Find our full review here.

Mavis Staples: We Get By
Remarkable vocal performance by the 80 year-old Staples, aided and abetted by producer Ben Harper. In songs of hope and determination, she sings, “things gotta change around here” and we’re “not too far down the wrong road to turn around.”

Tulle Brae: Revelation
Ten original, well-crafted and hugely enjoyable songs, full of energy and emotion. Blues rock, delivered with a huge amount of soul and underpinned by Tullie’s gospel roots. Our full review is here.

3 Top Live Albums

Hans Theessink: 70^th Birthday Bash
Last year, for 4 nights in April, Hans celebrated his 70^th birthday in the Metropol in Vienna, with musical friends from all over Europe and North America, including The Blind Boys of Alabama. The result is a double album of delightful, top-notch roots music. Find our full review here.

Joe Bonamassa: Live at the Sydney Opera House
Another top drawer live album from blues-rock guitarist Joe Bonamassa and his band at this iconic venue in 2018. Some epic performances here from what was clearly a very special night.

Lee Boys: Live on the East Coast
High-energy, funky, bluesy, sacred steel ensemble delivers a set of songs pulsing with contagious energy and inspiration, fuelled by Chris Johnson’s pedal steel and the band’s tight musicianship. Our full review is here.

And our final set of 7

Tedeschi Trucks: Signs
4^th studio album from the impressive Tedeschi Trucks outfit, with its typical meld of classic rock, old soul and blues, into a full-bodied Americana. It’s a calmer than previous outings, however, with Tedeschi’s incredible vocals to the fore, supported, as always by Trucks’ exquisite slide guitar.

Colin Linden, Luther Dickinson & the Tennessee Valentines: Amour
Bluesy dose of Americana covers, including classics like Careless Love and Honest I Do. First time collaboration between Linden and Dickinson, two outstanding musicians, here on top form with 10 songs of bittersweet love.

Joanne Shaw Taylor: Reckless Heart
Blues rock, full of energy from Detroit-based British artist. It’s an upbeat album with some fiery, up-tempo tracks, driven by Taylor’s top-notch guitar work (with no guitar pedals) and her superb, raspy vocals.

Joanna Connor: Rise
Blues, jazz and rock from this incendiary slide guitarist. It’s an accomplished set of 12 original songs which show off Connor’s versatile guitar chops and her impressive song-writing skills.

Mindi Abair and the Boneshakers: No Good Deed
This is a fine album of joyous, upbeat, full-production blues rock, with a dollop of soul and funk here and there. The musicianship from the whole band is outstanding, the choice of songs interesting, the arrangements fabulous and the whole thing makes for a hugely enjoyable summery record. Our full review is here.

Ronnie Earl the Broadcasters: Beyond the Blue Door
15 traditional sounding and soulful blues delivered by Earl’s band with guests Kim Wilson, David Bromberg, and Greg Piccolo. We get a range of covers, including a heart-felt version of Howlin’ Wolf’s How Long, and a number of Earl originals. Look out for the duet between Earl’ Stratocaster and David Bromberg’s acoustic guitar on Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry.”

Samantha Fish: Kill or Be Kind
An album which pulls you in with strong melodies, top notch guitar work and Fish’s versatile vocals which can belt out rockers, go all sultry or give-it-some-soul, in turns sweet, passionate, and gritty. It’s an impressive vocal performance, actually, on a set of songs that encompass soul, blues, pop and melodic love songs. Find our full review here.

Best Blues Albums 2019 – So Far

Posted by gwburn1 on July 1, 2019

Posted in: Gary Clark Jr., Keb Mo, Mavis Staples, Review, Walter trout, Women. Tagged: Best Blues Albums 2019, blues, Gary Clark Jr., Keb Mo, Kenny Wayne Shepherd, Mavis Staples, Rory Gallagher, Savoy Brown, Walter Trout. 3 Comments

Best Blues Albums 2019 – So Far

A Baker’s Dozen

We’ve had a tasty batch of blues albums during the first half of 2019. Here’s the ones that have risen to the top for us:

Elles Bailey, Road I Call Home

Superb sophomore album from English singer-songwriter. Blues-infused Americana, with eleven strong songs featuring Bailey’s impressive, soulful vocals.

Tulle Brae, Revelation

Ten original, well-crafted and hugely enjoyable songs, full of energy and emotion. Blues rock, delivered with a huge amount of soul and underpinned by Tullie’s gospel roots. Here’s our review.

Savoy Brown, City Night

Savoy Brown’s Taste and Try Before You Buy was one of the first blues songs I ever heard on Decca’s 1969 World of Blues Power. With many line-up changes along the way, the band has been powering through the blues for over five decades – this is their 40^th album. Now a 3-piece, headed by original band member Kim Simmonds, they’ve given us a thoroughly unreconstructed, but hugely enjoyable album of powerful blues rock

Gary Clark Jr., This Land

Texas bluesman’s 3rd studio album and his best. Seventeen tracks where he cleverly and successfully fuses a number of styles from rock, R&B, hip-hop and soul, with a dash of reggae. Check out our piece on this album.

Rory Gallagher, Blues

New collection of blues recordings from the Irish artist released in what would have been his 50th year of recording. Gallagher was one of the great white blues guitarists of the rock’n’roll era. 36 tracks over 3 CDs – electric and acoustic and live – exude a raw energy, and include special guest sessions with legendary blues artists Muddy Waters and Albert King. An wonderful overview of Gallagher’s career.

Christone Ingram, Kingfish

Quite simple a terrifically enjoyable album, with twelve original songs that feature Ingram’s mellifluous vocals and stunning guitar work. The album is very definitely the blues, with familiar themes of lost and unrequited love but there’s a positivity throughout that is very tangible. Full review.

Keb’ Mo’, Oklahoma

Rich, typically Keb’ Mo’ style rootsy blues, featuring collaborations with Rosanne Cash, Taj Mahal, Jaci Velasquez, and his wife, Robby Brooks Moore. Producer Colin Linden and Robert Randolph pitch in to, to great effect in a potent and hugely enjoyable set of songs which will surely compete for a Grammy.

Kenny Wayne Shepherd, The Traveler

Eight originals and two covers from the ever-consistent Shepherd, accompanied by a group of talented musicians. Shepherd has become not only a not class blues rock guitarist, but a fine song-writer. Mind you, it’s the acoustic Tailwind, with its positive vibe, that stands out for me.

Joanne Shaw Taylor, Reckless Heart

Blues rock, full of energy from Detroit-based British artist. It’s an upbeat album with some fiery, up-tempo tracks, driven by Taylor’s top notch guitar work (with no guitar pedals) and her superb, raspy vocals.

Mavis Staples, We Get By

Remarkable vocal performance by the 80 year old Staples, aided and abetted by producer Ben Harper. In songs of hope and determination, she sings, “things gotta change around here” and we’re “not too far down the wrong road to turn around.”

Walter Trout, Survivor Blues

Walter Trout’s 28^th album covers songs that have inspired him along his long musical journey, including numbers by Elmore James, John Mayall, Hound Dog Taylor, Fred McDowell and J.B. Lenoir, putting his own inimitable stamp upon them. Walter Trout is an exquisite guitarist, an accomplished singer and he’s given us another gem.

Tedeschi Trucks, Signs

4^th studio album from the impressive Tedeschi Trucks outfit, with its typical meld of classic rock, old soul and blues, into a full-bodied Americana. It’s a calmer than previous outings, however, with Tedeschi’s incredible vocals to the fore, supported, as always by Trucks’ exquisite slide guitar.

Jontavious Willis, Spectacular Class

Wonderful album of acoustic blues, produced by Keb’ Mo’. Described as a “wonderboy” by Taj Mahal, no less, Willis matches his skilful country blues guitar with rich, soulful vocals.

Mavis Staples at Union Chapel, London – 7 Things We Learned.

Posted by gwburn1 on July 12, 2018

Posted in: Best Blues Albums 2017, Concerts, Faith, Gospel, Mavis Staples, Peace, Racism, Review, Women. Tagged: faith, Gospel, Justice, Mavis Staples, Peace, The Blues, Union Chapel, women. Leave a comment

Rock and Roll Hall of Fame and Blues Hall of Fame inductee, Mavis Staples has had a remarkable career. She sang with her family band which moved from their church roots in the 50s to the vanguard of the Civil Rights movement in the 60s, before becoming a commercially successful R&B group in the 70s. Turning solo, Mavis recorded with Prince and in the last twelve years or so, has re-invented herself as a rootsy, bluesy, Americana artist, with a heavy dose of gospel. Her latest album, If All I Was Was Black addresses the broken heart of today’s America, suggesting that, despite the racism, violence and lying, redemption is possible. Mavis Staples wants to “Bring us all together as a people – that’s what I hope to do. You can’t stop me. You can’t break me. I’m too loving,” she says. “These songs are going to change the world.”

Down at the Crossroads caught her show in Union Chapel, London. Here’s what we learned:

Mavis Staples is a lovely person. That’s it. No qualifications. She loves her band, she loves performing and she loves her audience. And it showed from the moment she breezed onto the stage to warm applause and cheering at Union Chapel.

Union Chapel is a wonderful concert venue in north London. It’s a working church which hosts gigs by major artists and recording sessions, and has fantastic acoustics. Nobody is very far from the artist which gives the whole things a wonderful, intimate feeling. You can sign up for dinner before a gig and so get in early to nab your seat – and contribute to the church’s homeless ministry by so doing.

Mavis’s first song set the stage for the rest of her set – she sang about “love and peace,” and invited the audience to “take my hand.” “I got people who love me,” she sang, in that unmistakable voice which can rasp, croon, scat or belt it out, as the need may be. You begin to feel the love, forgetting for a while Trump, Brexit and all the other stuff that has been annoying you. We ended up, most of us strangers, holding each other’s hands and beaming like children.

Love and peace for sure – but also, she said, she was there to bring us some “joy, happiness, inspiration and positive vibrations.” And that she did for about 75 glorious minutes (too short, Mavis, but then you have just turned 79, sorry for bringing that up!).

And the joy and inspiration clearly comes from Mavis’s Christian faith – she unabashedly gave us the old blues song, Death Comes Creeping (covered by a host of artists, including Mance Lipscomb, Fred McDowell and Bob Dylan) – asking “whatcha gonna do when death comes creeping at your door?” Followed up by Far Celestial Shore, with its “jubilation, joy and exaltation when I see my lord.”

That faith is no other-worldly faith, but one that is driving for change here and now. She talked about working for justice in the 1960s, inspired by Rev Martin Luther King Jr., and about needing to continue that work, especially at the moment. “I’m thinking about going up to that White House,” she said, to the biggest cheer of the evening. Go for it Mavis!

Her five-piece band was everything you’d expect from long-time collaborators. Guitarist Rick Holmstrom treated us to a wonderful virtuosic display in a variety of styles, rewarded along the way by a fist bump from Mavis, and singers Donny Gerrard and Vicki Randel rounded out the sound, allowing Mavis to let her vocals soar with freedom.

A glorious, inspirational evening – keep going, Mavis, we love you!