It features a chat about Journeys to the Heart of the Blues, from Joe Louis Walker, Bruce Katz and Giles Robson between Gary Burnett and podcast producer, Gemma Burnett, followed by an interview with Joe Louis Walker.
“The blues is consistent, it’s constant, you know? It constantly speaks to the harder side of life.”
Photo: Marilyn Stringer
Born in California in 1949, Joe has had a lifetime in the blues, collaborating along the way with a diverse group of first-rate artists including James Cotton, Bonnie Raitt, Buddy Guy, Taj Mahal, and Clarence “Gatemouth” Brown.
With 26 albums to his name, his 2018 release, Journeys to the Heart of the Blues (Alligator Records) is something of a departure from his other records, which typically feature his blistering electric guitar, in a stirring mix of soul, rock, jazz, and gospel. Journeys to the Heart of the Blues is a stripped back collection of old blues songs, some by better known artists like Big Maceo Merriweather, Sunnyland Slim and Blind Willie McTell, others which revive songs from lesser known artists like Washboard Sam and Son Bonds. It’s been nominated for a Blues Music Award 2019 for Best Acoustic Album.
The songs were recorded by Joe along with US keyboard maestro, Bruce Katz and top-notch blues-harp player from the UK, Giles Robson. Along with Katz’s delightful boogie-woogie piano and Robson’s heart-rending harmonica, Walker’s vocal performance throughout is masterful, doing full justice to the gritty blues stories of the album’s songs.
Down at the Crossroads talked to Joe about the album:
DATC: Congratulations on the new album, Joe. It’s really excellent and had a lot of good reviews. It’s a very stripped-down approach to the blues – tell us about why you wanted to make an album like this.
Joe: Thank you. Well, the whole idea was – the harmonica player, Giles Robson, sat in with me one night – we were doing the same show in Amsterdam. And we had a good time, playing together. So he had an idea to do an acoustic thing with acoustic guitar and harmonica. And then we said, why don’t we add a piano to it, give a bit more percussive feel, and so I thought of Bruce Katz. So it turned our really good, because Giles came over from England and we rehearsed for a couple of days, and we recorded the whole thing in, I think, 3 or 4 days – record and mix and all that stuff – the whole record took maybe 6, 7 days to complete it. We did most everything live right there in the studio.
DATC: That seems pretty fast!
Joe: Yeah! In today’s world!
DATC: But then, you had three superb musicians working on it!
Joe: Yeah. Everybody communicated really good, when it came to the recording, when someone wanted to try something one way or a different way. Everybody communicated really well, which was really important.
DATC: Yes, and that comes across very much when you’re listening to the album. You’ve got that real good sense of understanding from the three of you playing together.
Now, these are pretty much all classic blues songs – you obviously still sense an appetite for this sort of material? What is the enduring power of the blues, and this more raw, stripped down blues that we get on this album?
Joe: Well I think that the tunes that this record presents are sort of…it goes back to a lot of topical blues where one particular song would be about one topic. And so here you have in detail about one topic like in Murderer’s Home, Murderer’s Home is basically murderer’s row when you go to prison, so this is describing murderer’s row. You have Hell Ain’t but a Mile and Quarter, obviously a mile and a quarter none of us want to go. So the song has gotta sound like that, gotta feel like that, you’ve gotta make that visual come across in your mind. When Giles brought some of these songs and we picked these songs, they seemed a little bit more obscure than a lot of other songs that have been done, and the artists who did them. People like Son Bonds, and others – a lot of people don’t know about them.
DATC: Yeah, it’s good to bring these artists to people’s attention. The sort of blues you’re talking about there – rooted in real life, in the nitty gritty of the difficulties of real people’s real lives – is that something in the blues that has an appeal, as opposed to the more ephemeral approach of a lot of modern music?
Joe: I think that is the one thing that differentiates blues for a lot of other genres of music. The blues is consistent, it’s constant, you know? It constantly speaks to the harder side of life, the things that we all go through, that might be uncomfortable to talk about, that we all think about, and then you find out that somebody else thinks about it the same way. Somebody else can put it in the form of a song, a poem, a book or whatever, then its cathartic. It’s a great purpose when it does that.
DATC: And is that why you gravitated towards the blues in your early days and why it’s continued to have such a strong pull for you over the years, Joe?
Photo: Joe Del Tufo
Joe: Well, I was like anybody else. I was a kid when I started playing music and you know, I just gravitated towards the music, period! Whether it was T-Bone Walker playing the guitar, or later on, whether it was the Animals – you know, I didn’t care, I just liked the music. And so, later on, when bands would put ads in papers for musicians, or in music stores or in different shops, I would answer some of those ads for a lead guitar player, when I was a teenager, and that helped me become a more well rounded guitar player. I played all kinds of stuff, you know, and the blues I played, it was blues, but it was also bluesy type of material. I just played all kind of stuff.
DATC: At one stage in your career, I understand you changed direction and spent a long time in a gospel group. Can you tell us about why you did that and then about moving back towards the blues again?
Joe: I started back to playing gospel music because that was basically where I started when I was a kid anyway. I’m a sort of a restless soul. There was a great group I was a part of, the Spiritual Corinthians, and so that was a great thing. But when I left the gospel group, I didn’t look at it as going back to playing blues. I looked at it as going forward, to playing something different. I get tired of playing the same thing! It just that musically I’m a restless person. So I wanted to do something different. I went back to trying to make my own stamp on a blues style music.
DATC: And you’ve done that to great effect over the year, Joe, fusing in various influences into your playing and your albums, but gospel has continued to be a theme in your music. I’m thinking of albums like Hellfire – the title track and Soldier for Jesus and the real gospel sound of Keep the Faith on Hornet’s Nest, for example.
Joe: Sure, yeah, and it gives me an excuse to sing with a lot of people who were heroes of mine, who do gospel stuff. I hired the Gospel Hummingbirds, The Spiritual Corinthians, I had The Jordanaires – God bless ‘em – I had the McCrary Sisters on a couple of things. A lot of different gospel people have sung on these records I’ve done. The new record I’m doing – it’s not the acoustic stuff, it’s my own record. I’m having a lot of people on that, I’m having several female singers, and one is Carla Cooke, that’s Sam Cooke’s daughter. And that’ll be out this coming year, with a lot of different ladies singing with me.
DATC: We’ll look forward to that. Just on this subject, On your website, you say talk about “my belief that the spiritual will carry you through when the physical can’t.” What do you mean by that?
Joe: Well, to put it into context, I think somebody asked me the question what was the difference between playing in church, playing gospel and playing in other styles. And I just said that the spiritual usually carry you through when other things won’t, you know. And there’s a lot of people that feel that way, there’s other people that don’t. So It think that when people have faith in whatever it is, it gives them another sort of strength in other areas of life.
DATC: Sure, sure. Now, you’ve kept a very fresh approach to the blues over the years, melding in other influences. As you look around today, are you encouraged by what you see in the blues? What younger players do you see that encourage you?
Joe: Yes, there are a lot of great young musicians that are doing a lot of great things. A lot of young people, like Selwyn Birchwood and Shemekia Copeland, a whole lot of people doing great things. Matt Schofield…everybody’s doing different kinds of things in their own way – more power to ‘em! Some are doing it a bit more jazzy, some are doing it a bit more country bluesier. But I see a lot of young people when I’m out touring at festivals and what have you. So I think music is in a good space.
DATC: Fantastic. Thank you, Joe. Much appreciated.
Joe Louis Walker has given us another cracking album, after 2012’s much-acclaimed Hellfire. In Hornet’s Nest Walker and his band are in fine, fine form with a hugely entertaining album of nine originals and three covers. Musically we get a set of highly enjoyable blues-rock, which punches you right in the face from the first note of the first track, with a nice sprinkle of gospel here and there. Right at the end of the album, after all the strutting and bombast (in the nicest possible way, of course!) from Walker and the band, we get the pure gospel of “Keep the Faith.” Introduced by unmistakable big gospel piano chords, Walker launches into his sermon, helped by Hammond organ and beautiful close harmony backing vocals. The music reaches right inside your chest and twists your innards – like all good gospel should.
Keep the faith, Walker says. Keep loving those around you is his message here – “love is the strength of our lives.” Think of a mother’s love, he says – “a job that’s never, never done.” That’s the sort of love that sustains us. Of course, “Everyone gonna lose their way some time;” but there’s always the hope of redemption, of home-coming, if love remains to light our way back. “They said you can’t you can’t go back home again,” says Walker, “But I say they are wrong.”
You can’t help starting to think about the lost son story that Jesus told. You know, the one who tells his father that he wishes he were dead and could he have his inheritance now please? After which he heads off to party until things go horribly wrong and he ends up at the bottom of the heap. But, as Walker says, “the light that shows the way back home always shines,” and the prodigal returned to a warm welcome from his dad. So warm in fact that the village head-man, who normally just walked around rather sedately, left all diginity behind and, quite shockingly to the other on-looking villagers, hoicked up his robes so he could run to meet the returning son.
Love – the light that shows the way home. As St. Paul said – “love bears all things, believes all things, hopes all things, endures all things. Love never ends.” I guess every prodigal who’s found their way back home would agree – someone believed in them, loved them, welcomed them back. “Love is the strength of our lives.”
Joe Louis Walker in his song Soldier for Jesus on his ablum Hellfire continues a biues tradition of fighting with the devil.
The devil makes an appearance relatively frequently in the blues. Tommy Johnson famously reported that he’d sold his soul to the devil at the crossroads in exchange for guitar-playing chops. The same myth, of course, was ascribed to Robert Johnson. One of Johnson’s songs features the devil as a major character. In Me and the Devil Blues, Johnson answers the devil’s knock on his door and goes off with him – “me and the devil, ooh, was walking side by side”. The result of this walk with the devil was – “I’m going to beat my woman until I get satisfied”. It’s an appalling lyric, but clearly Johnson knows that such action belongs to the darker side of life, exemplified by his walking companion.
The first appearance of the devil seems to have been in Clara Smith’s 1924 song, Done Sold My Soul to the Devil. Not long after we have Charlie Patton’s Devil Sent the Rain, where he says in a song about berievement, “Good Lord sent the sunshine, devil he sent the rain”. A straightforward idea here about the source of good and evil.
In 1927, Sam Collins recorded Devil in the Lion’s Den – “yon’ comes the devil, we gonna set this town on fire”. The song is about the unfaithful, ramblin’ gambler and it seems clear to Collins that, although he’s boasting in such behaviour, it nevertheless is to be associated with the devil.
Skip James
In Skip James’ famous Devil Got My Woman, he moans about losing his woman and claims it was the devil who stole her away from him. He feels so bad about this state of affairs that now he’d rather actually be the devil than “that woman’s man”. James is not the only one to implicate the devil in a failed relationship – Piedmont bluesman Brownie McGhee sings about a lover who wants to poison him, shoot him and hit him with a blackjack. The song is called Dealing with the Devil.
What’s going on here in these early blues songs? There’s clearly something of seeking a certain noteriety by some of these artists, mixing a reputation for rambin’ and drinking and womanizing with talk about the devil. But beyond that, in a genre that focuses on life’s injustices, hardships and disappointments, is the recognition that there exists in the world good and evil, and that human beings at times are at the mercy of forces greater than themselves, be they inner impulses and addictions, unjust structures in society or ill-treatment by others.
Moving on a few decades, Rev. Gary Davis gives us I Heard the Angels Singing, where the singer goes down to the valley to pray to get to the place where the angels are singing. On the way he meets the devil who tries to prevent him from praying. In the end however, the “Holy Ghost” gives him the power to resist and he gets to hear the angels singing. Eric Bibb has recently done a terrific version of this song.
Bang up to date we have Joe Louis Walker in his recent release, Hellfire – terrific album, by the way – with Soldier for Jesus, which takes a similar theme where the singer is opposed by the devil in his attempt to be a follower of Jesus. Walker’s fight as a soldier for Jesus is against the devil. He recognises this is a fight “all the time” and alludes to the temptations of Jesus where the devil offered him all the kingdoms of the world if he would fall down and worship him – “And I was staring him eye to eye, He said, “I’ll give you anything”. Like Jesus, Walker tells the devil “I say what you selling, You know I ain’t buying”. Victory in the battle, according to Walker, comes by falling “down on my knees to pray, I have my Bible in both hands”. Result? – “you know the devil done took off and ran”.
The problem of evil in the world, whether we want to personify it as the “devil” or not, is obvious to us all. It was obvious too, to the various writers of the Biblical literature, where we see God’s good creation corrupted and human beings held culpable for the evil which becomes part of the world. The New Testament, essentially, tells the story of how God finally deals with the problem of evil in his world through the death and resurrection of Jesus. Although many Christians recently have become very focused on certain theories of atonement, the idea that seems to have been most important to early Christians was that of Christus Victor – Jesus as the one who brings victory over evil. In Jesus’ death and resurrection, God was dealing once and for all with the problem of evil in God’s world. The odd thing here for a world used to the power of violence and sheer brutal force is that this victory was won by suffering, humility and love. It was this that God vindicated, by raising Jesus from the dead.
The call for Jesus followers is to seek to implement this victory of God over evil in the same way – by suffering love. In the end, it is this that has more power than any tyrant or totalizing empire. And it is this power that in the end will see God finally put the world to rights and deal finally with the problem of evil.
Rev Gary David – heard the angels singin’
In the meantime, we all face the devil day after day – whether it’s in the injustices we suffer or see around us, or in our our personal struggles with doing the right thing or with our own desires and addictions. The good news is that it’s possible to be personally free – to hear the angels singing, as Rev. Gary Davis put it – through God’s power. Paul in his letter to the Romans in chapter 6 gives us a inspiring vision of what’s possible for us. But it’s also possible to see real change in God’s world here and now – through the power of forgiveness and love. And once we orientate our lives around forgiveness and love, we’ll find, as Joe Walker says, “you know the devil done took off and ran”.
Joe Louis Walker with “Soldier for Jesus”
downatthecrossroads 