I’ve been a fan of Jackson Browne since I first saw him on the BBC’s Old Grey Whistle Test in May 1972, performing Jamaica Say You Will at the piano. I still have, and play, the old vinyl albums from the 70s – The Pretender, Late for the Sky and Running on Empty. I’ve seen him perform live on a number of occasions – the Royal Albert Hall concert in November in 2017 was particularly memorable, and I’d say it ranked with the best of the Bruce Springsteen gigs I’ve been to.
So I’m always pleased to see a new Jackson Browne album appear. In Downhill From Everywhere, the music is reliably good, with fine musicianship and song arrangements, featuring superb, less-is-more guitar work by Greg Leisz and Val McCullum, the excellent Bob Glaub on bass, and Mauricio Lewak and Russ Kunkel on drums.
The lyrical content, as always, is superbly crafted by a master songwriter. There’s often a nice synthesis of the personal and the political, where Browne manages to get you focused on some important issues without ever sounding preachy.
So it is with the ten tracks on Downhill from Everywhere, Browne’s first album since 2014’s Standing in the Breach (which I found a fine piece of work). He tackles the problems of immigrants to the US in The Dreamer and poverty in Haiti in the beautiful Love is Love. And there’s a thoughtful rumination on the idea of the American Dream in Until Justice is Real. It’s a song perhaps only someone in their 70s could write, with more of the road behind them than ahead. (I’m beginning to know the feeling, Jackson.)
“Time rolling away Time like a river, time like a train Time like a fuse burning shorter every day.”
It begs the inevitable question: “What is my purpose, what can I do?” I guess of we’re honest, particularly as the clock of life ticks on, that’s what we all want to know. Browne wants us to “put our shoulder to the wheel,” but wonders, “what would it look like?”
Perhaps something of the answer comes in A Human Touch, written and performed by Jackson Browne and Leslie Mendelson. The song appeared on the 2018 documentary film 5B, about the care given by doctors and nurses to people living with AIDS.
Singer-songwriter Leslie Mendelson and Steve McEwan came up with the song originally, and Browne says he only” added a few lines,” but nevertheless, “we really got into every line and nearly every word in depth to make sure it was what we wanted to say and convey in the song.”
The song addresses suffering, pain and loneliness, of which there is still far too much in the world:
“Everybody gets lonely Feel like it’s all too much Reaching out for some connections”
And sometimes:
“all anybody needs Is a human touch.”
Leslie Mendelson said of the song, “One of the most important things in life is human contact. To feel empathy or to experience a connection with someone is why we’re here. Without that we have nothing. At the end of the day, people want to connect and feel and be loved.”
My mother lived for many years after my dad had passed away, and, although she was a determined woman who just got on with things, she did find being on her own a challenge. She used to love it when I would give her a shoulder rub when I visited, and I know she appreciated that even when she eventually succumbed to Alzheimer’s near the end of her life. “Sometimes all anybody needs is a human touch.”
Which brings us back to “what’s my purpose, what can I do?” Although in Europe and America we live in a culture where the individual is king, and you’re meant to make it on your own, that’s not the way humans are made.
Other non-Western cultures have something to teach us in this regard. In South Africa, the word Ubuntu describes a way of life where our dependence upon each other is recognized – “I am because we are.” We are all connected and can only achieve for ourselves as we seek the growth and progress of others. Archbishop Desmond Tutu said that Ubuntu was about being generous, hospitable, friendly, caring and compassionate. “You share what you have. It is to say, ‘My humanity is inextricably bound up in yours.’ We belong in a bundle of life.”
Our fast-paced, acquisitive, self-absorbed culture has largely forgotten this. But if we want to find our purpose, Unbuntu, the human touch is exactly where we find it – and ourselves. In giving the generosity, care and compassion that Tutu talked about.
2020 gave us a fine new collection of Americana/roots music. Bob Dylan at 79 showed his genius once more and Bruce Springsteen and the E-Street Band came through with a classic-sounding album. Other notable releases came from Jason Isbell, Lucinda Williams and Welch & Rawlings. Here are our picks in two batches, 22 in all, each shown in alphabetical order rather than ranking.
Our Top 10
American Aquarium, Lamentations
This is simply a terrific album. Serious themes, sophisticated songwriting, good tunes, with a dollop of hope and optimism creeping through. The title track is inspired by the Old Testament’s Book of Lamentations, where PJ Barham he relates Jeremiah’s sufferings to someone who has “woke up from the American dream.” “He’s watching his entire country fall apart before his eyes, calling up to ask God for help, and nobody’s answering,” says Barham. “I thought that was a really great parallel [to] 2020 America.”
The Avett Brothers, The Third Gleam
In the third of their Gleam series, Scott and Seth Avett with long-time bass player Bob Crawford give us eight pared-back songs focusing on family, romantic love and spirituality. The harmonies are lovely, the songs are strong and the sparse acoustic arrangements work wonderfully well.,
Bob Dylan, Rough and Rowdy Ways
Songs like I Contain Multitudes and I’ve Made up My Mind to Give Myself to You are, like the rest of the album, quite brilliant, With its apocalyptic overtones and searching questions like, “Is there light at the end of the tunnel?” Rough and Rowdy Ways is a majestic piece of work from the 79 year-old, something of a masterpiece.
Jason Isbell and the 400 Unit, Reunions
Another really fine album from Jason Isbell, the seventh album from the former Drive By Truckers artist, Backed by the excellent 400 Unit, this is a great set of intelligent songs, which, though personal, sound universal. The band play effortlessly together with terrific energy throughout, beautifully accompanying Isbell’s and Amanda Shires’s spine-tingling harmonizing. Outstanding.
The Jayhawks, Xoxo
Hard to believe the Jayhawks have been on the go for 35 years. This, their 11th studio album, is classic Jayhawks, and features songwriting and vocals from all four members of the band. There’s a nice bit of musical diversity in this album which will appeal to long-time fans and newcomers alike.
Diana Jones, Song to a Refugee
Song to a Refugee is a quite remarkable piece of work by singer-songwriter, Diana Jones – an album entirely given to highlighting the global refugee problem. It’s a serious listen – you’ll enjoy Jones’ acoustic, guitar-driven, folky Americana, but feel downright uncomfortable as she tells story after story about desperate people escaping war and violence and seeking refuge and safety.
Marcus King, El Dorado
First rate set of bluesy, soulful Americana from a man whose guitar chops and richly textured vocals are making a lot of people sit up and take notice. The band graced Eric Clapton’s Crossroads festival last year and this album is sure to enhance its reputation even more. Produced and co-written with the Black Keys’ Dan Auerbach, there’s a fine balance of approaches here, from powerful blues rock here in The Well to the late-night blues of Wildflowers and Wine to the 70s Southern rock of Sweet Mariona.
Bruce Springsteen, Letter to You
Classic E-Street rock from the Boss, who seems to have more energy than ever. With more road behind him than ahead, Springsteen waxes philosophical on the subjects of loss and frailty of the human condition. But Springsteen, in the way only he can, gives us hope and celebration as well, and the album is surely his best of recent years.
Gillian Welch, David Rawlings, All the Good Times
Wonderful album of covers from the talented duo, sparse and beautiful renditions of traditional and songs from other artists. Rawlings’ take on Bob Dylan’s Seǹor is masterful while Welch’s Hello In There is a lovely tribute to John Prine whom we sadly lost this past year. Together they breathe new life into this beautifully chosen set of songs, and somehow hit the right note for the year that is past.
Lucinda Williams, Good Souls, Better Angels
Williams’ raspy, edgy growl adorns a bluesy, gnarly set of apocalyptic songs which explore a world coming apart. Full of punk-rock energy, as Jesse Malin said of it, “It’s like Muddy Waters meets the Stooges. It’s a badass record.” It’s real and it’s raw and Williams takes no prisoners – certainly not Trump who is firmly in her sights in Man Without A Soul. “Help me stay fearless,” she sings towards the end of the album, “Help me stay strong.” Her prayer’s been answered in this album.
And the next 12
Dave Alvin, From An Old Guitar: Rare and Unreleased Recordings
“There are two types of folk music: quiet folk music and loud folk music. I play both,” says Alvin, and that’s what you get here. It’s mostly covers in this generous 16 song set, and Alvin’s crusty, attention-grabbing vocals take centre stage. Alvin said the album was recorded for “the sheer kicks of going into a recording studio to make some joyous noise with musicians and singers that I love and admire.” Sums it up nicely.
Mary Chapin Carpenter, The Dirt and the Stars
Mary Chapin Carpenter is in the sharpest form of her 30 year career with incisive songwriting in a beautiful, intimate album. But watch out for the stinging American Stooge, which takes aim at hypocritical politicians.
The Chicks, Gaslighter
Having dropped the “Dixie” from their name, the three Chicks have released their first album in 14 years. Punchy country pop and defiant take on relationship-gone-bad and politics.
Brandy Clark, Your Life is a Record
Heart-break album, which never descends into melancholy. That’s a feat in itself. Clark proves herself to be, once again, a top-notch song-writer and singer.
Sarah Jarosz, World on the Ground
In this, her 5th album, Jarosz’s songs draw inspiration from her home in Texas, after her world tours and sojourn in New York City. Fine album of folk-pop, featuring Jarosz’s finger-picked guitars and banjo and her meditative vocals.
Brian Fallon, Local Honey
Short, at just over 30 minutes, but it’s fine stuff on this 3rd solo release from Brian Fallon. Local Honey sees the former Gaslight Anthem man move into country folk territory in these fine acoustic-led ballads.
Lori McKenna, The Balladeer
Peerless songwriter McKenna draws inspiration from her family to create an upbeat album of the hugely enjoyable songs we’ve come to expect from her.
Two voices, two guitars, gorgeous harmonies and eleven classic songs reimagined in a rootsy, fresh manner.
Chris Smither, More From the Levee
From a master song-writer come 10 more songs from his 2014 New Orleans Still On the Levee sessions. His wry wit, rhythmic finger picking an authentic, world-weary singing make any Chris Smither album worth listening to.
Chris Stapleton, Starting Over
It’s more of the same from the current king of country, despite the album’s title. Solid country rock with some nice bluesy moment. And two Guy Clark covers can’t be bad, right?
Watkins Family Hour, Brother Sister
Siblings Sean and Sara are excellent songwriters, singers and musicians, all on display in this lovely album, bluegrass based, but with tinges of Americana, jazz and ragtime.
Waxahatchee, Saint Cloud
Apparently inspired by Lucinda Williams’s Car Wheels On A Gravel Road, Katie Crutchfield veers away from melancholy indie-rock back to her country roots – very successfully. Excellent stuff.
Christmas is coming, and if you’re a music fan, you’ll want to drop a few hints to Santa. Here are seven books you’ll definitely want in your stocking:
Michael Corcoran, Ghost Notes: Pioneering Spirits of Texas Music
What a sumptuous feast of a book this is. Coffee table sized, lavishly illustrated, and utterly engaging, it oozes quality from the standard of the writing to the beautiful quality of paper. With Corcoran’s engaging stories highlighting the careers and contributions of a wide variety of pioneering Texas musicians, you begin to realize how important and formative Texas is for American music. Top of your Christmas list. Read our review. Buy it here.
Annye C. Anderson, Brother Robert: Growing Up with Robert Johnson
Memories of Robert Johnson from Annye Anderson, Johnson’s almost sister, which introduce us to the Robert Johnson we never knew. A wonderful evocation of a time and place. For any music fan, and particularly if you’re a blues fan, this book is a must-read.
Adam Gussow, Whose Blues? Facing Up to Race and the Future of Music
Blues harp master and professor of the blues, Gussow, asks an important question of every blues fan – who do the blues belong to? Expertly and sensitively written by a man who has spent his musical career learning from and playing with black musicians.
Ian Zack’s biography of Odetta is masterful, as he charts the life of this seminal cultural figure who helped spark the folk revival and became a vital part of the protest movements of the 1950s and 60s. She was on the front line of the struggle for equality in America, combatting racism through her music and actions. An important book and a great read. Full review to come.
Check out also Ian Zack’s excellent biography of Rev. Gary Davis, Say No to the Devil. Here’s our review.
Freeman Vines, Hanging Tree Guitars
Freeman Vines, born in 1942 in Greene County in North Carolina is the focus of a quite remarkable book, written by Zoe Van Buren and featuring a stunning set of photographs of Vines, his guitars and his environment by Timothy Duffy. The focus of the book is on one particular aspect of Vines’s life – his crafting of guitars from a tree near where he lived that had been used for lynching. Don’t miss the companion music album. Read our interview with Freeman Vines. Buy it here.
Gary Golio & E.B. Lewis, Dark Was the Night: Blind Willie Johnson’s Journey to the Stars
Another beautifully illustrated book (by E.B. Lewis), and cleverly written by Golio, guaranteed to engage the interest of small children. That’s no small feat, given the harshness of Willie Johnson’s life, a man blinded as a child, who lived in poverty and died penniless in the ruins of his burnt-down home. For parents who’d like their children to encounter something of America’s musical heritage, this, really is a must-buy. Highly recommended. Read our review. Buy it here.
Gary W Burnett, The Gospel According to the Blues
It’s been out for a while, but no matter – it’s mine and I’m gonna recommend it! “The Gospel According to the Blues is at once a primer in American music, culture, and race and religious history. Gary Burnett moves deftly from lyrics to theory and back again, from Blind Lemon Jefferson to the insights of contemporary scholarship. Highly readable, thoroughly researched, and with deep respect for the art form on every page. For best results, read with scratchy vinyl recordings of the masters as accompaniment.” An interview with the author and more details here.
Vika and Linda Bull are two roots artists that may not have come across your radar. You ought to remedy that straight away! They are two sisters, based in Melbourne, who have been singing, harmonizing and rocking for many years, delighting audiences in their Australian homeland. Along the way, they’ve supported the likes of Billy Joel and have performed with Iggy Pop. The sisters are members of Paul Kelly’s band – Kelly is a hugely successful Australian rock music singer-songwriter and guitarist, whom a Rolling Stone writer claimed to be “one of the finest songwriters I have ever heard.”
Vika and Linda released a new album this year, called Sunday (The Gospel According to Iso, a fabulous album of rootsy, bluesy gospel songs and we got chatting to Linda about it.
But first of all, because a lot of people in the US and Europe may not be familiar with Vika and Linda, despite their success in Australia, I asked Linda how she would characterize their music?
“Well,” she said, “we’re very hard to pigeonhole. We love harmonizing together and singing together and we cover a lot of different genres. We don’t like being pigeonholed. But I think it’s basically roots music is where our heart is – and harmony. Vika and I have got very different tastes, Vika is more rock and I’m a bit more country. And in between we can cover blues, soul, R&B and gospel. And we love to do that. We love to just sing together – regardless of the genre, we just love singing together.”
Turning to the new album, I wondered what “iso” means. Turns out it’s Australian slang for “isolation.” Linda told me:
“Because we made the album in isolation in the first phase of lock-down in Melbourne, not knowing then that we would have two. The background of the record is that we’ve been singing gospel music for probably about 35 years now.” She and Vika have made a few gospel-tinged recordings along the way, but “this one in its entirety is kind of the next step. We had restrictions with lock-down, so we made it minimally. And I think gospel music actually works really well like that. It works really well when you have very few instruments.”
The album is something of a gem, really pared back, largely featuring the wonderful harmonizing of the two sisters, and backed mostly by piano with those lovely sort of gospel chords that you get with the piano.
“We have piano all over it, in every track, and our musical director, Cameron Bruce, is a beautiful piano player. We’ve worked with him in Paul Kelly’s band, and he took charge of everything with us, helped to select the songs with a lot of zoom meetings. Cameron arranged the songs and then sent them back to us as files and we sang over the top.”
The Gospel According to Iso has 13 gospel songs (with a bit of latitude, we’ll count Simon & Garfunkel’s Bridge Over Troubled Water and Chuck Berry’s Downbound Train as gospel!), mostly old traditional songs or spirituals like Sinnerman, Walk With Me Lord and Jesus on the Mainline. The album kicks off with a rockin’ version of Claude Ely’s Ain’t No Grave Gonna Hold My Body Down, and once you hear these two sisters harmonizing, and the bluesy vocals, you know this is an album you want to hear. The high quality is sustained throughout, and even though the arrangements are relatively sparse, there’s a nice variety to the way each of the songs is handled.
The album, Linda told me, all sprang from a weekly Sunday sing-song that she and Vika started to do when everything stopped in Australia early in the year. “I went out on Facebook and Instagram live every Sunday morning at 11:00am and we did one gospel song. That grew in popularity to the point where we thought we could make a record. We’d just ring a friend, they played guitar, we’d sing over the top, and we thought we could make a record like that.”
Why, I wondered, did they choose this particular selection of songs?
“We had lots of gospel songs in our back catalogue that we’ve been singing over the years, but we wanted to do something new. So I dug into the gospel collection that I had amassed over the years and we had about 70 songs from all different sources. Then we whittled it down and the focus was mainly just to do something that meant something to us and bring a bit of joy because it was pretty sort of sad over here – and everywhere.
“But we wanted also songs that people knew. So we have Bridge Over Troubled Water and Amazing Grace. But then there are other songs that we thought, we’ll just throw those into the pot because we love singing them – songs by Mahalia Jackson and so on. That’s how it came together.”
It’s a great selection of songs, but I particularly like Rosetta Tharpe’s Strange Things Happening Every Day. It’s got a very distinctive Rosetta Tharpe feel about it, with both the piano and guitar work echoing her original version. Linda said she liked Rosetta’s “rock and roll attitude. That’s kind of right up our alley.”
The other song I asked about was Elder Curry’s Memphis Flu. Curry was a singing preacher and guitar player who preached fiery sermons through his songs, backed by the barrelhouse piano of Elder Beck, and featured the stomping feet and clapped hands of his congregation. Recorded in 1930 for Okeh Records, Memphis Flu refers to the flu’ season of 1929 which was the worst since the 1919 pandemic. Death rates were very high, particularly in the Memphis region. The song is often thought of as the first rock’n’roll record and the original is a toe-tapping rocker all right. But Curry’s lyrics are pretty harsh. For Curry influenza was a manifestation of God’s wrath at sinners and there was little compassion for the large numbers of people who’d died as a result of the flu’.
Linda said that when she stumbled across the song, she thought how perfect it was for the current situation – but “the lyrics were very direct. So we tweaked them a bit in the choruses. It’s a gospel song of course, but you’re not going to die if you don’t go to church! But we thought the song was perfect for record. We weren’t sure whether people would love it or hate it!”
Actually, you can’t help but love Vika and Linda’s version, driven by a rollicking barrelhouse piano. The amended version of the song is well-chosen, actually, so timely, and with a great message talking about the epidemic getting the rich and the poor alike, and saying that it’s going to get a whole more if you don’t listen up and behave. Wear your masks people!
I asked Linda if there’d been any sort of pushback against science and wearing masks in Australia?
“There was a bit of a pushback. Yes, there were marches and demonstrations and anti-mask-wearing demonstrations, but all in all, you know, in the middle of all this, there was a black lives matter movement, and people were very observant of wearing a mask and they still went out and protested, so people in general were pretty good. No one loves wearing a mask or being told what to do – I get it, you know, but the result was good.”
Talking about black lives matter, the spectre of racism is something that we’re all increasingly aware of these days. What, I asked Linda, has been her experience in Australia, with her Tongan background?
“Well, yes, we have dark skin. So obviously we look different. So we have experienced a certain amount of racism, but nothing like our mother experienced.” The sisters’ mother came to Australia during the White Australia Policy, which from 1901 basically sought to forbid or restrict people of non-European ethnic origin, especially Asians and Pacific Islanders, from immigrating to Australia. It was only legally disbanded in the mid-1970s.
The racism encountered by Linda and her sister has been “nowhere near as much as the previous generation. So it’s getting easier in some ways, but we feel very strongly about being treated equally, and why shouldn’t we? We are respectful, but we are direct, so I always say we stand up for ourselves.”
The sisters are half Tongan – Tonga is a Polynesian neighbour of Australia, and it’s a heritage they feel proud of.
“Polynesian culture is very strong in our family. And the way they sing – when they sing in church, time pretty much time stops, it’s so beautiful. That’s how we were raised. We were raised listening to the Tongans sing in church, and that’s where we get our voices from. Because they taught us, our mother taught us.”
From listening to Linda and Vika, I’d sure love to visit one of those Tongan churches.
“Everyone we take cries when they see the Tongans fire up…as soon as you walk into the church and they start singing and they get into it, how can you help but not be moved?”
The album finishes with a beautiful, unaccompanied Amazing Grace. The slow tempo and the pure quality of the voices make it an appropriately emotional end to the album. There’s something about this song that seems to appeal to almost everybody, so I asked Linda what she thought it is about gospel music that has such a wide appeal even to people of no faith?
“I think that it’s uplifting and it’s one of those sort of genres that you can lean on when feeling a bit down, or when you could do with an uplift. It lends itself naturally to that sort of universal feeling. You know, we all want to live a little bit better sometimes. Although we grew up in a church and had a very religious upbringing, we think this music is for everybody. And I think that we love singing it because for us, it’s a release. I think it’s ultimately our aim with a gospel record to make people feel better, whether they believe or not.”
Sadly, with the restrictions still in place because of the pandemic, the Bull sisters haven’t been able to go out and play on the road. But, Linda told me, they can’t wait to sing these songs to a live audience. Hearing these two sing these songs live is going to be some experience. I just hope I get the opportunity to hear them.
We’re at the half year mark and it’s been a pretty strange year so far. The coronavirus pandemic has stopped live music in its tracks – aside from the online variety – and there haven’t been as many album releases as usual. But what we’ve had has been top notch and we’ve chosen 12 of the best.
Dion, Blues with Friends
With liner notes by Bob Dylan and a stellar cast of blues musicians – Van Morrison, Paul Simon, Patti Scialfa and Bruce Springsteen, Joe Bonamassa and Jeff Beck…the list goes on – Dion’s new album is pretty special. His energy and passion for the blues has clearly not diminished even in his 81st year. Every track is a highlight and it’s an album you’ll want to return to again and again. As Dion says, “The blues is a beautiful form of music that God gave to us.” Full review here.
Larkin Poe, Self Made Man
The Lovell sisters’ latest album takes over from 2018’s terrific Venom and Faith. If anything, the rockin’ blues on offer is even more raw and arresting. This is modern blues at its best and you gotta love the fabulous vocals of Rebecca, the glorious harmonies of the two of them and Megan’s sensational lap steel work. We loved God Moves on the Water, which you’d swear was a cover of an old blues song, but this original testifies to Larkin Poe’s authentic feeling for the blues. Exhilarating, invigorating stuff. Check out our interview with Rebecca and Megan here.
Rory Block, Prove it on Me
Acoustic blues master, Rory Block gives us another terrific album celebrating the blues artists of yesteryear. This time she’s focused on women blues artists, and exploring some of the more obscure material. This 10-song set that features Block’s intricate guitar work, and her nicely phrased and bluesy vocals. Full review here.
Sonny Landreth, Blacktop Run
It only takes you to hear a few notes before you recognize that it’s Sonny Landreth. His sixteenth album is exhilarating stuff, with slide playing that is jaw-droppingly good, deadly accurate, sometimes amazingly quick and always with that characteristic Landreth tone. This is a richly textured album from the hugely talented Landreth and his band, which is impressive the first time you hear but repays repeated listens in spades. Full review here.
Lucinda Williams, Good Souls Better Souls
Williams’ raspy, edgy growl adorns a bluesy, gnarly set of apocalyptic songs which explore a world coming apart. Full of punk-rock energy, as Jesse Malin said of it, “It’s like Muddy Waters meets the Stooges. It’s a badass record.” It’s real and it’s raw and Williams takes no prisoners – certainly not Trump who is firmly in her sights in Man Without A Soul. “Help me stay fearless,” she sings towards the end of the album, “Help me stay strong.” Her prayer’s been answered in this album.
Marcus King, El Dorado
First rate set of bluesy, soulful Americana from a man whose guitar chops and richly textured vocals are making a lot of people sit up and take notice. The band graced Eric Clapton’s Crossroads festival last year and this album is sure to enhance its reputation even more. Produced and co-written with the Black Keys’ Dan Auerbach, there’s a fine balance of approaches here, from powerful blues rock here in The Well to the late-night blues of Wildflowers and Wine to the 70s Southern rock of Sweet Mariona.
Robert Cray Band, That’s What I Heard
Another excellent offering of blues, R&B and soul from the ever-consistent Robert Cray and his band. A 12 track set of both originals and covers of songs you may not know, all delivered with Cray’s sweet vocals and his clean as a whistle guitar tone. There’s a nice dash of gospel as well with Burying Ground.
Eliza Neals, Black Crow Moan
Honest-to-goodness blues rock from the talented Ms Neals, choc full of attitude, sass, top-notch musicianship, and downright good fun. One of the best blues rock albums you’ll hear all year, with Eliza Neals and her group of musicians playing straight out of their hearts and souls. Read our review here.
Albert Cummings, Believe
An album to savour from blues rock guitarist and singer, Albert Cummings. Recorded in Muscle Shoals, with the legendary Jim Gaines producing, we get six originals and five covers, including the delightful cover of Van Morrison’s Crazy Love, delivered with a laid-back bluesy vocal performance backed up with some lovely gospel vocals. There’s also a terrific version of Wolf’s Red Rooster with some muscular guitar work and vocals to match.
Watermelon Slim, Traveling Man
Bill Homans’ rugged, gritty blues in a generous 18 song package of live performances from 2016 in Oklahoma. It’s just Homan and his twangy resonator on a set of originals and old blues covers, including Muddy Waters and Howlin’ Wolf. It’s raw, sittin’-on-the-porch blues, all slide guitar and rasping vocals – old school blues.
Victor Wainwright & The Train, Memphis Loud
Raucous boogie-woogie and horns-driven soulish blues from blues award winner and Grammy nominated Wainwright and his band. It’s toe-tapping stuff, never a dull moment, as Wainwright and the Train barrel down through the tracks. Wainwright is a terrific pianist and singer and the band are quite masterful.
A Special Mention to:
Bob Dylan, Rough and Rowdy Ways
I thought long and hard whether to include this in the main list. It’s not a blues album per se – songs like I Contain Multitudes and I’ve Made up My Mind to Give Myself to You are, like the rest of the album, quite brilliant, but definitely not blues songs. On the other hand Black Rider and GoodBye Jimmy Reed are for sure. And then there’s the gothic 17 minute Murder Most Foul which may not be blues in form but in lyrical content pretty much is. As is the rest of the album, really, with its apocalyptic overtones and searching questions like, “Is there light at the end of the tunnel?” In any case, it’s a majestic piece of work from the 79 year-old, something of a masterpiece.
And a couple of live albums worth mentioning, both from Irishmen, both sadly no longer with us. But both albums capture the dazzling talent of each man.
Gary Moore, Live from London
The guitar legend at the top of his game in a small club performance at London’s Islington Academy on December 2nd, 2009, with beloved Moore favourites like Still Got the Blues and Parisienne Walkways.
Rory Gallagher, Check Shirt Wizard
Previously unreleased, this blistering 20-song set is from four shows in England during an early 1977 tour across the UK in support of Rory’s then latest album Calling Card.
Jimmy Carter is the oldest member of the Blind Boys of Alabama, five-time Grammy winners and Grammy Lifetime Achievement Award winners. He sang with the original group, including Clarence Fountain back in the 1940s when they were at the Alabama Institute for the Negro Blind, but was too young to go touring with them at the beginning. After singing with the Dixieland Blind Boys and the Five Blind Boys of Mississippi, he eventually officially joined The Blind Boys of Alabama and has been singing with them for forty years.
From the 1980s on, The Blind Boys were able to widen their audience beyond just the black community and have enjoyed tremendous success. After their 2000 Spirit of the Century album which mixed traditional church material with songs by Tom Waits and the Rolling Stones, and which won the first of their Grammy Awards, the group has gone on to stellar success, becoming living legends in the world of gospel and roots music. In many ways, they have defined 21st century gospel.
Over the past 20 years, the Blind Boys of Alabama have worked with the likes of Ben Harper, Robert Randolph, Mavis Staples, Taj Mahal, Ruthie Foster, Bon Iver, Paul Thorn and Marc Cohn. The list goes on. Everybody, it seems, wants to perform and record with them.
Rolling Stone Magazine has called the Blind Boys of Alabama “gospel titans” and The New Yorker simply said they were “legendary.” Few would disagree.
I got the opportunity to chat to Jimmy Carter aka The Jimster for Down at the Crossroads. It was an incredible privilege to talk to a man who has gone through as much as he has, has achieved so much and is one of the most positive, cheerful people you could meet.
I asked him first of all about the Blind Boys’ 2017 album Almost Home, which was originally released by Amazon, but is now being made available to all digital music platforms for the first time in a couple of months’ time. It’s a wonderful album of mostly original songs which chronicle the lives of Clarence Fountain and Jimmy Carter. The song-writing (by the likes of the North Mississippi Allstars, Phil Cook, John Leventhal, Marc Cohn, and Ruthie Foster) is superb, the arrangements terrific and the Blind Boys’ singing characteristically wonderful. It’s an album I return to again and again.
Jimmy told me that the album is about the life he and Clarence had growing up. “Yes,” he said, “it talks about the early times of the Blind Boys. It talks about how we went to school and all that. It’s kinda like a little scene of history, you know.”
Jimmy went on to talk about Let My Mother Live, an incredibly moving and very personal song.
“Yeah, that’s a song that came straight from me. When I went to school, I was only seven years old, and I was blind. So, you can picture a seven-year old boy put in a school where he’d never been before; he knows nobody there. And I used to pray every night, oh God, let my mother live till I get through this. And he let her live until she got a hundred and three years old!
He did that for me and that’s why I love God. Everybody got their own opinion about him, but for me, I’m gonna serve him till I die.”
I asked Jimmy to tell me a bit about what he remembered about growing up as a boy in Alabama. He told me,
“When I went to school, it wasn’t a school that you’d come home every day from. We had to stay there for nine months at a time. We went to school in September and only came home in May, apart from the Christmas holidays.” It was here Jimmy first started singing in choirs.
“Yeah, I went up there and I met all the rest of the Blind Boys, and we started singing together. We had a choir, and a male chorus and we had a quartet. And the rest of it is history, my friend!”
I wondered about his visual impairment and how that has affected him and his music over the years. Jimmy was more concerned to talk about his calling to sing for the Lord.
“Well, you know,” he said, “when we started out, we didn’t sing because we wanted to be well known or famous. We weren’t thinking about that; all we wanted to do was to get out there and sing and tell the world about Jesus Christ. We weren’t thinking about no accolades or nothing like that. Because that’s what God wanted us to do.
“So, we have been blessed, we won five Grammys, we won a national Achievement Award, and God’s been good to us.”
The first song on Almost Home is the joyous Stay On the Gospel Side – “I started singing for the Lord and I ain’t finished yet.” Despite many offers to cross over and record secular songs, The Blind Boys have remained true all these years to their original calling.
“That’s right! There were a lot of them that did not stay on the gospel side. But we did. Because when we started out, we promised the Lord that we would stay on the gospel side, no matter what. And we did that. Although it gets hard sometimes, but, you know, God takes care of his own. We’re alright.”
I said to Jimmy, “Well, tell me this, when you talk about gospel music, some people think gospel music is just all about the music, but in your gospel music, it’s about the message as well, isn’t it?”
Jimmy agreed. “We have a message. Gospel is not just music, it also has a message. Somebody might say, tell me, what is gospel? When they ask me that, I say that gospel is the good news of God. That’s what gospel is.”
Jimmy Carter comes across as an incredibly positive person. My chat with him was punctuated with frequent chuckles and smiles I could hear over the phone. He told me:
“Yeah, well, you know, I’ve had my difficulties, I’ve had my setbacks, I’ve been taken advantage of at times, But it takes all of that for us to go through what we need to go through. People say, you aren’t doing anything but singing, but they just don’t know what we have to go through. We love what we do, that’s what keeps us going so much, because when you love what you do, it keeps you motivated. But it’s not easy, we have to go through a lot of difficulties.
“But by the grace of God, we’ve gone through that, and we’re still going through that, and we’re gonna stick it out until the end!”
What a fantastic attitude. I then wondered about what keeps Jimmy going, what it is about performing that has enabled him to keep on well past the time that a lot of artists might have stopped.
“I just love to go out on that stage and hear the audience respond to the Blind Boys. We go out there and say, well here we are, the Blind Boys of Alabama, and I say, I hope that we can say something or sing something that will lift you up and make you feel good. When you come to a concert of the Blind Boys, we don’t like for you to go the same way you came. We want to give you a message. When you leave us, we want you to feel differently about life.”
Despite his age and his visual impairment, Jimmy Carter frequently comes off the stage during concerts and delights audience by coming to sing right down amongst them. “Oh, I love to do that!” he said laughing.
I asked him about the Blind Boys being invited on several occasions to the White House. “Three times!” Jimmy said proudly. And what was it like singing for President Obama?
“Well, it was kinda special because he was a black president and I thought I would never see that in my lifetime. But I’ve seen it, and I’m grateful for that. We’ve sung for President Obama, for President Clinton and President Bush, and all three of them were extremely nice to us.”
The band played Free At Last at the White House on February 9, 2010.
That made me ask about his experience of the many changes in race relations in America. The Blind Boys of Alabama toured throughout the South during the Jim Crow era of the 1940s and 1950s and were a part of the soundtrack to the Civil Rights movement. And on Almost Home, they cover the North Mississippi Allstars’ Pray for Peace, which laments the changes which still need to come in the United States: “I think our grandmother would be heartbroken / To see their children’s children right back where we started.”
Jimmy said, “You know, when we started out, the South was segregated and we weren’t allowed to sing for nobody but our people. We did not know that the white people wanted the Blind Boys before we got over there. We just wasn’t allowed to give it to them. But they loved our music, and as time went on, and we got a chance to give it to them, they accepted it, they’re still accepting it, and everywhere we go we have people who come up and tell us how they have enjoyed our performances. And that’s what we like to hear!”
I just had to ask him about Amazing Grace, which the Blind Boys sign to the tune of House of the Rising Sun. I’d heard it was his favourite song.
“Yes it is. We sing that song every night. The reason why it’s my favourite song is, if it wasn’t for His amazing grace, I wouldn’t be doing what I’m doing now.”
So how much longer does Jimmy Carter intend to keep on singing for the Lord?
“Oh, well, it won’t be too much longer, because I’m no spring chicken [laughs]. I’m gonna have to think about retiring pretty soon! But there are two or three things I wanna do before I step down!”
He then proceeded to tell me how he intended to come back to Ireland to sing for us. Sing on Jimmy Carter, we’ve loved everything the Blind Boys of Alabama have done, and we never want you to stop.
“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.
Beth Hart Live at the Ulster Hall: Six Things We Learned
Grammy and Blues Music Award nominee Beth Hart has had a roller-coaster of a life. After a chaotic childhood in LA, she began playing clubs in Hollywood aged 15 and recorded her first album six years later. She’s gone through the loss of a beloved sister and suffered from bipolar disorder and drug addiction. But she’s battled through and her career has flourished, with last year’s War In My Mind her ninth solo studio album. Hart has said that discovering her faith was instrumental in her recovery.
She has played and recorded, to great acclaim, with guitarist Joe Bonamassa, releasing one live and three studio albums so far. She has collaborated with Slash, Jeff Beck and Buddy Guy, and performed for President Obama and his wife. Channelling rock, blues, gospel and soul, she is a dynamic performer, an incredible singer and a great song-writer.
Her album, War in My Mind (one of our Best Blues Albums 2019) sees Hart open up herself to her audience in new ways. “More than any record I’ve ever made, I’m more open to being myself on these songs,” she explains. “I’ve come a long way with healing, and I’m comfortable with my darknesses, weirdnesses and things that I’m ashamed of – as well as all the things that make me feel good.”
Beth played the Ulster Hall in Belfast, an iconic venue with excellent acoustics, and which dates back to 1862 and along the way has hosted Led Zeppelin, Rory Gallagher, Dire Straits, Jackson Browne and a host of top classical orchestras. With a top-class band of three – Jon Nichols on guitar, Tom Lilly, on bass and Bill Ransom on drums, Beth Hart came on stage to a rapturous reception from 2,000 fans. Here’s what we learned:
1. Beth Hart is an incredible singer. She’s not only powerful, but she’s got great range, dynamics and versatility. She gave an awesome blues performance of Lloyd C. Glenn and Lowell Fulson’s Sinner’s Prayer (made famous, of course by Ray Charles), had us rocking in the aisles with Spirit of God, and then did full justice to a number of ballads and jazzy numbers.
2. Her energy and stage presence is full-on. There’s nothing half-hearted about a Beth Hart performance. The woman gives it all she’s got and then some. When she arrived on stage, she immediately stamped her personality all over it in a swirling, foot stomping, gyrating, sinuous maelstrom of movement. Much to the delight of the audience.
3. Beth Hart doesn’t just give you an incredible music performance – she puts herself out there, with a display of vulnerability I’ve never encountered in an artist before. As she gave the background and the stories to the songs from War In My Mind, you came face to face with the battles she’s fought, of a broken home, addiction, lack of self-esteem and mental illness. Her performance of Tell Her You Belong To Me (from Better Than Home), with its background of her father leaving the family home, was stunning but heart-breaking. This wasn’t just entertainment, it was an artist really opening herself up to her audience – that, I’m sure, must take its toll on the artist; it wasn’t always easy on the audience either.
4. Beth Hart’s story is one of redemption. That comes through loud and clear, in her confidence, in her delight in the music and in the gratitude she exudes. It came through the joyous Spirit of God, inspired, she said from an experience of a Baptist Revival Church which exposed her to a different kind of Christian worship from the rather formal sort she’d been brought up with. And through her faith which she referred to briefly on several occasions. Previously she’s said “When I’m really doubtful of myself, I gravitate to God. Because if my faith can’t be in me, then it can be in him.” And her redemption has come in large part through her husband Scott Guetzkow who has helped her through the dark times and is always there for her. As she emotionally sang I Need A Hero, she dedicated it to Scott, and it was a touching moment when he crept on stage to give her a hug at the song’s conclusion.
5. Turning your rockin’ electric band into a tight acoustic group for a set of jazz- and latin-tinged numbers is a neat trick, and demonstrated the versatility of Hart’s three collaborators. Baby Shot Me Down worked exceptionally well here.
6. If you’re going to sling your guitar as low as Jon Nichols, you better have long arms. I’ve seen guitarist sporting as many guitars as Jon did in a gig, but never one who played it somewhere around his knees. Quite something.
Simply put, this was a performance from Beth Hart and her band that will live long in the memory.
“A national treasure in your own back yard.” Jorma Kaukonen
Mary Flower is an amazing acoustic guitarist who specializes in Piedmont-style finger picking with dashes of Delta, ragtime and jazz. A finalist in the National Finger Picking Guitar Championship, she is also a three-time nominee for a Blues Music Award and many times a Cascade Blues Association Muddy Award winner. Living Blues magazine said that she “Marries acoustic blues with touches of ragtime, folk, and jazz…the interplay is always interesting, often provocative, and sometimes breath-taking.”
She has eleven recordings and performs regularly in the United States and abroad, including appearances at the King Biscuit Blues festival, the Vancouver Folk Festival and Prairie Home Companion.
As well as her recording and song-writing, Mary Flower is a renowned guitar instructor, teaching at festivals and guitar camps, and hosts her own guitar camp, Blues in the Gorge, each year near Portland, Oregon. In addition, she has developed five instructional DVDs and been part of the Blues in Schools program.
With a great deal of care and creativity, she brings to life older blues and roots music, and composes songs that sound like they firmly belong in America’s great roots music tradition. She recently released her eleventh album, Livin’ With the Blues Again, a 12-song set that comprises instrumentals which showcase Mary’s guitar chops, blues and gospel songs and some Mary Flower originals. Down at the Crossroads got to chat to Mary about the album and her music.
Gary: I’ve been listening to your new album quite a lot over the last the last week or so. And I’ve really enjoyed it. I mean, it’s the blues, but it’s kind of uplifting as well. So I wondered if maybe you could tell us a little bit about it, how you decided what songs would go on it and maybe a bit about the recording process.
Mary Flower: Well, I have to tell you that this was a fairly quickly recorded CD and also I didn’t have a lot of time to plan. I know people who have spent a year to record an album and I found out maybe a month and a half, I’d say, before recording times that I was going to do it.
I was approached by the Little Village Foundation, which is…I call them angels. They find people that they want to record for them. And then they record the whole thing and do the artwork and pay for everything, and then give you CDs. I was extremely lucky to be chosen for this project. They recorded five albums about the same time and the release date for all five was the same. So we did a five act concert down at the Freight and Salvage in Berkeley, California.
Jim Pugh is a Hammond B3 player, who has played with a lot of groups, including with Robert Cray. And he decided to do something that would get him off the road and do something good for people. So he started the Little Village Foundation which is based somewhere in California. Anyway. So I had very little time compared to what a lot of people have when they do a project. I just kind of chose songs that I thought that I knew well enough to be able to pull off in the studio fairly well without having to think too hard – songs that I’ve been playing that I knew fairly well. I wrote a couple of extras before I went in and I did a couple of repeats from older albums.
For the recording process we had an engineer who’s a great guitar player. And mostly the other people on the recording are Little Village artists, except for Susie Thompson, who’s a friend of mine. And so it was people I’d never met or played with before. And they just kind of brought ’em in and the Sons of the Soul Revivers were phenomenal to work with. Three guys. And they didn’t have to even think about the parts. They knew exactly what to do and they sounded really, really good. They’re incredible. Anyway, it kind of all worked out.
Gary: I wanted to ask you about your singing, because I thought your singing on the album was very good. Clearly you’re known for your finger picking prowess – and the album is bookended by two lovely instrumentals. But do you have a preference between just playing guitar or playing and singing?
Mary Flower: Yes, I do. I would prefer…well, let’s put it in terms of songwriting. Would I rather write an instrumental or lyrics? l’d certainly rather be more guitar centric than being called the singer songwriter. Writing songs is a really difficult process for me lyrically. And, you know, I can sing or not sing, but I’m happy to not be singing if that’s an option. And I love writing instrumentals. I’m passionate about that. Particularly writing instrumentals that sound like an old song. Piedmont style blues or something.
Gary: But take Living with the Blues Again, which is a Mary Flower original. When you talk about, you know, struggling maybe with writing lyrics, I just thought the lyrics on that were very strong. And some were quite amusing. And then you have “this old country’s in a terrible mass, there’s lying and cheating, hitting and tweeting…No more kindness, my friend.” Which sounded to me awfully like a comment on your tweeter-in-chief.
Mary Flower: Oh, yeah, absolutely. I mean, what else could it be? It was definitely a political connotation. I’m not really a political performer or someone that talks a lot about politics. But I did find that that fit in well to that song. But my audience is not going to be insulted by that – they’re pretty much in agreement, I think. But yeah. That was exactly what that was all about. And I thought it was a very gentle way to say something. You know, as opposed to some people who are just…have more guts than I have!
Gary: I thought that was nicely done in the song and so, you know, I think your lyric writing on that one came through pretty well. It kind of reminded me of a Chris Smither, song in some ways, because he’s quite clever with his lyrics as well.
Mary Flower: Yeah. Well, he’s a real lyricist. But I just find it difficult to get inspiration. If I go to a retreat where I have nothing to do but write, I can write a song! But daily life – there’s so much to do. I get distracted. and I always have to be dragged away from my house, far away from civilization to write! But I can do it when forced to!
Gary: And there are some very cheerful spots on the album. There’s A Bright Side Somewhere, which is an old gospel song, which has been done by all sorts of people. I discovered recently another nice version of that by Ry Cooder.
Mary Flower: Oh I didn’t know he did it.
Gary: Yeah, but yours is a great version. And then River of Joy. Both seem to me to be quite hopeful or inspirational songs at a time when there’s a lot of pessimism around, you know, you say “the world’s all rough and tumble, There’s a great unrest” and so on. How important are those sort of songs, those kind of upbeat songs, in times like these?
Mary Flower: I think they’re critical. I have some hope because it’s gotta turn. It’s worse than it’s ever been, but it’s gonna turn around. And I think people like being hopeful. River of Joy is one of the two songs that I had previously recorded. I had written that after 9/11 – it was my response to that. So it kind of felt like it was time to do it one more time. I’m not a religious person, but gospel music is quite moving to me. I just feel like it lifts me up.
Gary: It’s such a big part of American roots music isn’t it?
Mary Flower: Yes, it’s huge. I’m a big fan of good gospel music. And that song Bright Side I thought was a Reverend Gary Davis song until I realized it’s an old Methodist hymn. And the guys that I sang with knew it quite differently. And they kind of had to relearn the structure of the song. Everybody’s got their version of it.
Gary: So, let me ask you a little bit about your guitar playing. Obviously, you’re very skilled. You’ve been a finalist in prestigious competitions and so on. And so how did you get so good, Mary? Were you self-taught? Did you have teachers? How did you get to the skill level you have?
Mary Flower: I am completely self-taught. I grew up in a small town where nobody played guitar. And, you know, it was during what we call the folk scene of the 60s, late 60s, and all I heard were the commercial renderings from people. I didn’t really understand the roots of the music until I went to school at Indiana University, which has probably the greatest ever ethno-musicology school in the country.
John Cephas
And a lot of musicians came there and, as I began to dig a little bit deeper, I realized that some of the Peter, Paul and Mary songs, were written by Reverend Gary Davis. I started hearing the roots. And as I got older, I began to delve into the people who played the early country blues and early Piedmont style blues. Then I met John Cephas, who is one of my heroes. And John Jackson, two Piedmont style players. I spent time with both of them, not really learning from them, but playing with them, you know? And as I went around to these guitar camps, which were really fun, I learned. I mean, I watched other people. I watched how they taught. I watched how they play. And that really helped me in the beginning. And then I kind of found my own way.
But I try to not copy. I mean, unless I decide I’m going to do a note for note version of somebody’s song. I try to kind of use their style in a way with my own playing, with my own writing. And I turn it around a little bit. I try to never steal. I mean, you won’t hear me sound too much like Robert Johnson, although I could if I wanted to. Plenty of people that do that. I try to make it my own, I guess.
Gary: So how do you do you do that? When you’ve identified a song that you think that might work for Mary Flower, how do you go about the rearranging, reinterpreting?
Mary Flower: I try to be true to the form and perhaps play it in a different key, make my own arrangement. But keep it recognizable. I don’t want to take it too far away from where a song was written. But probably the hardest thing for me is if I’m learning a song that was recorded by a man. Many times I can’t sing those lyrics or I can’t sing it in the key that they recorded. So, I’ve got to make some changes. All of that can be a bit of a struggle. It’s really hard to take a song and make it mine if it’s written by a guy. And so many times it is.
Gary: Do you ever change lyrics then so you can sing it?
Mary Flower: Yes, I have been known to do that! If I were doing a Robert Johnson song, I can’t sing, “I’ll beat my woman until I’m satisfied.” So yes. I’ve been known to change a bit here and there.
The other problem is understanding lyrics from the recording. That can be super hard and I get really frustrated. You’d think this song must have lyrics on the internet. Wrong! Because they couldn’t understand the lyrics either! So, yes, it can be really hard to find the correct interpretation of the song.
Gary: A good example of that is Blind Willie Johnson’s Latter Rain. Because if you go and look for the lyrics of that, you’ll find all sorts of strange things because Johnson was a Pentecostal and there’s a bit of Pentecostal theology that read a text in the Old Testament about the “latter rain” falling on the crops which they took to refer to the Spirit falling in the last days. So that’s what the song’s about, because Johnson’s Pentecostal movement felt that they were in the days of the latter rain of the Spirit coming down. But unless you understand that you would misinterpret what Johnson is singing, which sometimes can be difficult. So that’s a prime example of a prime example of what you’re saying.
Mary Flower: Yeah. And there are so many dialects as well. In the Southern States, it’s really hard to understand those guys so much of the time. Another positive point for writing my own!
Gary: So if someone was starting out on a journey wanting to play acoustic blues guitar, people who come to your to your workshops and so on – who would you advise them to listen to?
Mary Flower: Well, I would say Blind Blake, because he is the top of the heap as far as I’m concerned. I know maybe seven people who can imitate him well, who can play just where he’s playing. But if I want a gentler approach, I would start with Mississippi John Hurt, whom everybody loved because he was a sweetheart. Although his songs sound easy, they’re not really, but they’re a good place to learn. And I’d also say Elizabeth Cotton, who also had a gentler approach. And, you know, she wrote Freight Train, which is very cool.
These guys teach you pattern picking, and how to incorporate a melody. But when people try to learn syncopation, that’s what throws everybody. It’s so complex. And really the guys who play that are really imitating a piano, and it’s easier to play syncopation on a piano than it is to play it on a guitar. So that’s what tends to throw people.
That’s kind of what I spend a lot of time teaching in these workshops because a simple melody isn’t very interesting. People have to learn to vary it from measure to measure. But John Hurt, he is a great place to start.
Gary: Very good. Who then are the guitarists that you like to listen to these days?
Mary Flower: Well, I don’t do a lot of listening, and I’ll tell you why. I hear music all the time. I mean, I had a four-hour rehearsal yesterday with my little string band! But of course, Ry Cooder. And then some of my friends who are not maybe nationally known or internationally known. Pat Donahue is one of my favourite players of all time.
I still hear people say to me, “You know what, you’re so good. Why have we never heard of you?” That’s why I get on tour. And Pat’s another one of those. Even though he was on Prairie Home companion for years and had millions of people listening to him every week. And then there’s Paul Geremiah whom I knew. Sadly, he’s had a stroke and I don’t think he can play anymore right now. But he was the best of the best when he was touring. These are some of the top, top guys. Oh, and John Cephas and John Jackson I guess I should put it in that category, as far as heroes of mine go.
Gary: So let me ask you a little bit about the blues. You’ve been nominated for Blues Music Awards, and a lot of your music revolves around the blues. What is it that attracts you to this music, Mary?
Mary Flower: Well, there’s so many different kinds of blues. The Chicago style was mostly electric, and I’m not really interested in that. I’m interested in the Piedmont style because it is complex and challenging. And oddly enough, it was played mostly by blind men. Go figure on that one! They were phenomenal. But I don’t know – it speaks to me, it’s got an edge to it. And I can write songs that work in that genre. I mean, I can write folk songs if I need to. But I really like the challenge of trying to make it sound like it’s an older song.
Gary: This is music that’s been around for a long time, that does seem to have an enduring appeal. Generation after generation discovers something fresh in it and it seems to have that continual attraction and pull.
John Jackson
Mary Flower: And I also think that the people who are really good at it have been working all their lives toward getting it right. That to me is worth a lot right there. Let’s put it this way – there are not a lot of jerks playing this kind of music! If they are, they don’t last. They are people who are putting their best foot forward and being true to the to the genre.
Take John Jackson, the Piedmont style player from Virginia, who is no longer around, and was probably the closest thing to John Hurt. He lived a fabulous life. And I think everybody was so touched by him. He just had a halo around his head! He played this music and spoke with an accent that nobody could quite understand. But he was such a great guy. And that really appeals to me and speaks for something.
Gary: Yes, that’s very interesting that you say that, because over the last two, three years I’ve talked to quite a lot of blues musicians…like Eric Bibb, Chris Smither, Rory Block,Hans Theessink, Luther Dickinson and quite a few others. And they’ve been generous with their time in talking to me and never critical of other people. So, yes, I think you’re right to say that. [when you’re finished here, check out the interviews by clicking the link]
Mary Flower: Oh, by the way, I’ve invited Eric to teach at my camp next year, and we’ve had Michael Jerome Brown in the past. He’s a wonderful player.
Gary: Yes, he’s a fantastic player. I saw him touring with Eric Bibb in the last year. And he has an encyclopedic knowledge of the blues and blues history.
Mary Flower: Yes, he taught at my camp and made a big impression a couple of years ago. So hopefully we’ll get Eric Bibb next year. And it look like we might have Jim Kweskin for the jug band-y stuff. Anyway, that would be quite a year if I can get who I want.
Gary: So tell us about your teaching, Mary, because I know that’s a big part of what you do.
Mary Flower: Well, I have my own guitar camp that happens here in early October. And it’s been hugely successful. We’re going on our seventh year, I think. And I bring in three nationally known people, and then get 50 students. So teaching is something I love to do. And it also balances me out. I don’t have to be on the road all the time. And I teach at other people’s guitar camps as well.
My camp is called Blues in the Gorge and it’s in the Columbia River Gorge at a place called Menucha. There’s something on my home page of my website about the dates for next year, which is early October. [check it out here] It’s 5 days – three intense days. And it’s a lot of fun. Everybody who comes is gracious. A lot of these camps turn into party camps, but that’s not what this is. People take it seriously and a lot of really great, great people show up for it.
Gary: That sounds fabulous and a lot of fun. Mary, it’s been lovely talking to you. Thanks so much for your time.
John Mayer and his band played a sold-out concert at the 3 Arena Dublin to 13,000 adoring fans, who sang along and cheered every song from Mayer’s extensive back catalogue. The band was made up of eight exceptionally talented musicians, including Isaiah Sharkey, Pino Paladino, Aaron Sterling and David Ryan Harris, and singers Tiffany Palmer and Carlos Ricketts. These are seriously fine musicians, who gelled together wondrously and, when given an opportunity to shine, did so with considerable aplomb.
Now emerged from “the lean years,” as he calls them, with the indiscretions and missteps of his earlier, tabloid-filling career recognized and put behind him, Mayer set the scene for the concert with Changing from his latest album, The Search for Everything – “I am not done changing.”
It was the man’s 42nd birthday, duly noted by the crowd which spontaneously burst into “Happy Birthday” after the first song, and then by the band, interrupting the next song and non-plussing Mayer completely. It was a nice moment.
Here’s what we learned:
1. John Mayer is seriously talented guitarist, coaxing that crystal clear, clean, characteristic John Mayer voice and tone from his PRS Silver Sky guitar. As Eric Clapton has said, “he’s a master guitarist,” and his consummate skill was on full display, effortlessly moving around the fretboard, playing jazzy fills, bending notes flawlessly, moving fast, moving slow, on the beat, syncopated – and all the time drawing you in, charging everything with emotion. Mayer alternated the PRS with his Martin acoustic, and demonstrated with the latter in the likes of Neon you scarcely need a band when you can exploit the full potential of the instrument.
2. He wasn’t the only seriously talented guitarist on stage – aside from the wonderful bassist, Pino Paladino, we had the prodigious Isaiah Sharkey and David Ryan Harris. Sharkey was a revelation, at 29 jaw-droppingly good. He and Mayer had one or two good old guitar duels to great effect, Sharkey giving as good as he got, and a few occasions when they harmonized effortlessly in perfect time. It was a great night for guitar aficionados.
3. John Mayer has great back catalogue. Over nearly three hours, he took us on a tour of his previous albums from the last 18 years and you realized afresh how good a songwriter he is. The songs are musically sophisticated, never same-y, usually with jazzy underpinnings, and yet there’s inevitably a great hook or a great melody. The Dublin crowd sang along to nearly everything, but of course the big hits like Neon, Gravity, Slow Dancing and Waiting On the World to Change went down a storm.
4. The man is a seriously good blues musician. We didn’t get too much opportunity to appreciate this last night, but his soloing during Helpless was sophisticated blues playing at its best. No mindless widdling here.
5. Mayer’s rhythm section is much more than a rhythm section. You don’t have to be called Aaron to be a great drummer, but clearly it helps – Aaron Draper and Aaron Sterling gave it all they had and then some, doing more than just underpinning the band. As did the wonderful Pino Paladino – it was only a pity we didn’t get the chance for some solo work from Mr. Paladino during the evening.
6 .Covers are usually a good idea, and we got two. Mayer took the stage after the break on his own and treated the crowd to Springsteen’s Tougher Than the Rest, including a little bit of Springsteen-esque harmonica playing. Then the talented David Ryan Harris tackled Prince’s none-too-straightforward Beautiful One, showing off his exquisite falsetto vocals.
7. Waxing philosophical can be dicey. But I think Mayer just about pulled it off, in his pre-song riff about battling anxiety. He then launched into The Age of Worry from the Born and Raised album, which was complemented by a video backdrop complete with lyrics. “Smile in the age of worry.” Good advice.
"It's all great, toe-tapping fun, both musically and lyrically, the sort of album that leaves you with a smile on y… twitter.com/i/web/status/1…1 day ago
