The Essential Magic Slim reviewed by Mark Thompson

The Essential Magic Slim

Magic Slim & the Teardrops

Blind Pig Records

http://www.blindpigrecords.com/

15 tracks/61:28

Magic Slim & the Teardrops have been one of my favorite blues bands for over 25 years. For me, they have always represented everything that I like best about modern electric blues music. Their live performances set a standard that few other bands could live up to as they would settle into a deep groove and stay there all night long.

This collection is taken from the six recordings Magic Slim has done for the Blind Pig label, with every track having been previously released. There is a variety of backing musicians throughout the disc with the primary backing coming from brother Nick Holt on bass, Michael Dotson on second guitar and Allen Kirk on drums. All three men contribute backing vocals.
One listen to this disc will quickly demonstrate that it really doesn't matter who the band is - Slim has his own distinct sound that varies little based on the band members. The driving rhythms and tough vocals that come straight from the West side of Chicago have changed little over the years. On one highlight, "Goin' to Mississippi," Slim starts with the declaration "I'm ain't drunk but I'm drinking," before the band settles into a pile-driving beat with Slim's guitar spitting out wicked licks at every turn.

Other highlights include the a stark emotional performance on "Crazy Woman," a slow blues that brother Nick composed that highlights Slim's deep, booming vocal and a rollicking take on the Jimmy Reed classic "Down in Virginia" that features a vocal duet with the two brothers. The longest cut on the disc is "Please Don't Dog Me," another slower paced song that features plenty of biting guitar from Slim that punctuates this tale of betrayal.

This set contains many prime examples of why this hardworking band is a favorite of blues fans around the world. If you don't have much of Magic Slim in your cd collection, make sure you get a copy of this one. Better yet, buy it and then catch Slim & the Teardrops live while you still can.

Radio Blues reviewed by Mark Thompson

Radio Blues

Steve Guyger

Severn Records

http://www.severnrecords.com/

14 tracks/53:05

Anyone who was at the Dennis Gruenling Tribute to Little Walter show at Big Cities last month got to experience Steve Guyger up close and personal. His tasty harp playing captured that old school sound of the best Chicago blues bands. But the real revelation were his outstanding vocals. Guyger has a deep, gritty tone that can convey every emotion from heartbreak to the ecstasy of love. His latest release serves up further proof that he is a masterful blues performer.

Guyger gets excellent support from a topnotch band that includes Johnny Moeller on guitar, Steve Gomes on bass, Robb Stupka on drums and Bill Heid on keyboards. These veterans bring plenty of life to the ten Guyger original tunes and the four covers selected for this release. Some of the performances sound so authentic that you will be checking the credits, convinced that the song is some little-known blues gem rescued from obscurity and not a recent Guyger composition. "Blues Won't Let Me Be" is one example of how deep into the tradition this band can get. Guyger wails away on the chromatic harp when he isn't belting out the tale of pain and misery. Equally fine is rhumba tinged beat on "School is Over," which finds Guyger caressing the lyrics with an appropriately subdued vocal. Then he lets out several loud, long blasts on his harp as if to signal just who is in charge.

"Afghan Rumble" is a harp instrumental dedicated to Steve's brother, who did a tour of duty in that Middle East country. Stupka lays down a jaunty beat while Guyger lets loose some train-like harp phrases before he blows tight phrases that dance around the rhythm. The opening track, "Lookie Here," is another song with that tough, classic sound that will never go out of style. It's followed by a track that could be Guyger's own personal tribute to Little Walter, "You're So Fine." Once again, the band cooks away with Moeller getting the chance to show his skill on guitar.

The Rudy Toombs song, " I'M Shakin'," receives an ominous-sounding vocal from Guyger that equals the Blasters version of this classic. Guyger captures the spirit of all of the fine swamp blues on the Excello label on "I Can See By Your Eyes," with Heid on organ to flesh out the arrangement. "Hey Little Baby" employs a hand-jive groove by Stupka, which is the only accompaniment Guyger needs to fashion another impressive mix of his quality singing and fine harp work. When the band finally tackles one of those lesser-known tracks from the pen of Muddy Waters, Guyger goes deep into the lyrics, his voice bending and breaking as he pleads for attention from the object of his affections. That the rest of the disc sounds as tight and in the pocket as this track is proof of the high standards Guyger was able to achieve.

Harmonica fans will be listening to this disc many times over. Guyger definitely has the tone, technique and skill that make him an equal to most of the best harp players you can think of. But if you listen closely, you will also discover Guyger is an awesome blues vocalist, singing with power and conviction throughout this recording. He may not be as well-known as some of his contemporaries. But after you spend some time with Radio Blues, you will be telling your friends and family about the talented Mr. Guyger. This one is highly recommended !!!

Deliveries After Dark reviewed by Mark Thomspon

Deliveries After Dark
Popa Chubby

Blind Pig Records

http://www.blindpigrecords.com/

13 tracks/67:51

The latest one from Popa Chubby is his ninth release for Blind Pig. Popa handles all of the and guitar parts as well as writing twelve of the songs on the disc. He is backed by Chris Reddan on bass, A.J. Pappas on bass and Dave Keyes on various keyboards. The focus throughout is on the leader with Keyes' contributions serving to fill out the arrangements.

The disc starts out in a rock & roll vein on the first four tracks. The opener, "Let the Music Set You Free," sports an engaging guitar line and Popa's intense vocal. His deep, powerful voice displays a surprising range and plenty of spirit. The next track updates the Mustang Sally tradition, recasting the soul anthem into a driving rocker. The title track describes the activities and illegal deals of some of the denizens of the night over a sledgehammer drumbeat. The lone cover finds Chubby turning "The Theme From the Godfather" into a modern-day surf instrumental classic. At this point, the disc makes an abrupt shift in emphasis to the blues. "Grown Man Crying Blues" is a stunning performance with Chubby lamenting about the pool-boy hanging around his house that doesn't have a pool. His guitar matches the emotional weight of his vocal, crying the blues with anger and despair. The intensity level gets dialed down on "You Can't Stop Love," which sports some nice slide guitar work. "2nd Avenue Shuffle" is a guitar showcase with Chubby serving up plenty of proof of his talent as a string-bender.

Then we get a look at the anger that exists in Popa's world. "I'll Piss on Your Grave" serves as a warning to a musical rival. Chubby leaves no doubt as to who will come out on top over a grinding rhythm punctuated by searing guitar lines. The upbeat arrangement on "Money Isn't Everything [It's the Only Thing]" serves as a stark contrast to the cynical message found in the song lyrics. And "You Never Loved Me" promises to exact vengeance without pity or remorse on a former lover. Chubby is able to create a chilling level of realism on this performance as his vocal spews out his hatred. The closing track finds Popa on acoustic guitar, lamenting the price of a musical career on "Oh Rock And Roll You Heartless Bitch."
One track that missed the mark was the reggae dub take on "Woman in My Bed." The track's style is a dramatic departure from the rest of the disc. It is not a bad performance but the cut doesn't have the emotional weight found in the rest of the disc.

Much of Chubby's past work has been a bit too over-the-top for my tastes. His new release finds him much more focused with a strong batch of tunes and solid support from his band. Some listeners might be put off by the aggressive nature of some of the lyrics. But Popa Chubby tells it like it is in his world without any apologies. His tales reflect some of the dark realities of life - and his guitar work serves as a musical counterpoint to emotions laid bare for all to see. Not for the faint-hearted but definitely worth a close listen.

Stronger Every Day reviewed by Mark Thompson

Stronger Every Day
Mike Morgan and The Crawl
Severn Records

http://www.severnrecords.com14/

tracks/67:34

It's been four years since Mike Morgan's last release on Severn. His latest finds him utilizing a number of musicians and vocalists on a batch of original tunes and one cover, a surprisingly brief version of "Okie Dokie Stomp" that comes to end just as things are heating up. Morgan's guests include Randy McAllister and former bandmate Lee McBee on lead vocals.

The disc opens with a tough, Texas-style groove on "All Night Long" that loses some impact because of Morgan's vocal. His thin voice lacks the heft and range needed to handle a tune like this. The next track, "Where's the Love," features a pleading vocal from McAllister that quickly show that his skills far exceed Morgan's ability. Stefano Intelisano provides some fine accompaniment on the organ.

McAllister's gritty voice is featured on four other tracks that travel down the soulful side of the street. The title track steadily builds the intensity level with Morgan providing an outstanding guitar part. Even better are the performances on "When I Get Back Home," a superb ballad featuring a simmering vocal from McAllister with help from Benita Burns. Morgan has always been a solid guitarist, seldom straying into the land of excess. He may not have awe-inspiring technique or speed but his guitar work gets to the emotional center of most tracks, as he does on this cut.

McBee was around for the classic recordings Morgan made on the defunct Blacktop label. It's great to hear the two of them working together once again. Lee has a higher pitched voice that always seemed to be the perfect fit with Morgan's guitar. Mike certainly sounds inspired on "Sweet Angel," his guitar spitting out hot licks in contrast to McBee's laid-back vocal. "I Cried for My Baby" is nothing special as a song but McBee takes a tougher tone, Morgan once again lays down some sparkling guitar parts and Intelisano's organ work creates a great foundation, creating another highlight performance. "Time" closes the disc with McBee wailing away over a boogie guitar riff from Morgan.

After hearing these two singers, it was hard to get excited about Morgan's vocals on three other tracks. "The Birthday Song" rates as throwaway filler material. The best of the three is "How Much More Time," a lighter tune that is a better fit for Morgan's limited vocal range. If McAllister and McBee had handled all of the vocals, this would have been a stronger package. Still, there is plenty to like here with several standout cuts that are worth repeated listening. Welcome back. Mike Morgan !!

Blood Brothers reviewed by Steve Jones

Blood Brothers
Smokin’ Joe Kubek and Bnois King
Alligator Records
www.smokinjoekubek.com
14 tracks

Smokin” Joe Kubek’s nickname becomes more and more apt as time passes. This new CD is a smoking’ set of tunes, with 13 originals and one cover song. Joe and Bnois King have moved to Alligator Records after their highly successful “My Heart’s in Texas” CD and DVD on Blind Pig and have another big hit with “Blood Brothers.”

I have come around to Smokin’ Joe’s and Bnois’ stuff more and more over the years. While I’ve always liked their music, they really have gotten it together over the last two CDs. The new material that Joe and Bnois are penning and playing is super.

The one cover on this CD is an outstanding rendition of Lightnin’ Hopkins’ “Stop Drinkin’”. Bnois guts out some true grit in his vocals and the guitar licks are seminal stuff. It is so get-down-and-funky with Bnois and Joe trading licks back and forth in this 8+ minute cover. Not guts, no glory and this track has some guts!

The CD opens with “”My Dog’s Still Walkin’”where Bnois laments aging with some witty lyrics and smooth guitar work. “Midlife Crisis, Midnight Flight” is a later track also addressing the continuing theme here.

Two ideas run through this CD’s numbers: getting old and losing love. “Cold Folks Boogie,””That Ring Don’t Mean and Thing and “Don’t Lose Number” are examples of the latter thoughts. In that last track, the second on the CD, Bnois tells his girl to not to lose his number because she might need him someday and he just might be available. Really good, bluesy stuff with some nice slide mixed in here.

Bruce Iglauer helped the boys pen the instrumental track “Freezer Burn.” There is nothing cold in this track and it burns like a freezer at 50 below. Wicked, wicked stuff. They slow it down on the next track so the listener can catch their breath on a tune called “Coleman Avenue.” Joe proves he can mix it up well in both the fast and slow numbers, and Bnois' play and vocals are equally superb.

If you are looking for a new CD to sit down and relax with, this is not for you. Pretty much 10 of the songs get the heart pumping good and, while the other 4 give you a bit of respite, Smokin’ Joe and Bnois are blazing their way to new heights so there is no time to relax. I really enjoyed this CD and think that the guitar lovers out there will, too.

Long Time Coming reviewed by Steve Jones

Long Time Coming
Nappy Brown
Blind Pig Records
www.blindpigrecords.com
12 tracks

Nappy Brown truly still has it. His popularity in the 50’s and 60’s, his resurgence in the 80’s and now again prove his music is still as vital as he is. He was 77 when he recorded this CD last year, and based on seeing him last summer at Mississippi Valley I’d have to say he’s a regular Energizer Bunny. He may be playing, dancing and jiving until he’s well over 100.

This album features Brown doing a number of cool and soulful numbers, including his 1954 classic “Don’t Be Angry.” His tongue still rolls out the L’s as he did 50-plus years ago.
The CD is full of stuff that hearkens back to simpler times. Nappy’s ballads are things of immense beauty. He and the CD both earned nominations for Blues Music Awards.

Every track showcases Mr. Brown’s still exceptional vocals. This is a fine CD that fans of gospel infused blues ballads will enjoy and will be happy to have added it to their collection

Peace, Love and Barbeque reviewed by Steve Jones

Peace, Love and Barbeque
Marcia Ball
Alligator Records
www.marciaball.com
13 tracks

I don’t think that anyone who has ever listened to Marcia Ball has not fallen in love with her and her music at some level. Her musical talents are utterly superb. And if one has the pleasure to see her live, any convincing needed as to her talents gets done just a few bars into her first song. Marcia’s sultry vocals and expressive piano still send chills down my spine when I listen to her. No wonder she has been honored as piano player of the year for the last 3 years at the Blues Music Awards!

This new CD on Alligator is another great set of songs that showcase Ball’s talents. She authored or co-authored 8 of the tracks on the new CD. From the opening measures of “Party Town,” a song about New Orleans, the listener knows they are in for treat. The title track is next on the album, where Marcia pleads to “Give me some peace, love and barbeque.” I can’t think of a more perfect way for life to be. Well, maybe a few beers with all that, but you get my drift.

“Her Tallness,” as her web site describes the lanky and leggy chanteuse, is the epitome of Texas and Louisiana roadhouse dancehall music scene. Whether she is singing of the joys of “Married Life” or riding out the troubles of bad weather in “Ride It Out,” this first studio album release in four years treats us to the joys and pains of life delivered in her expressive musical style.

I love this CD as I do the musician. It is an great set of tunes that adds to the wonderful library of music that this woman has given to the world. If you like your piano music in the red hot, pounding expressive outpouring of East Texas/West Louisiana roadhouse style and your vocals as sultry as can be, then this is a CD for you! No one can compete with Marcia Ball at the peak of her game, and she’s spot-on in this great new release!

Golden Hearts reviewed by David Stine

Golden Hearts
The Juvenators
Circle Records
www.thejuvenators.com
10 tracks

I received two Juvenators CDs to review and I was really torn--one was a studio CD, the other a live recording. After several listens, I decided on the studio CD because it was all original songs.

The Juvenators are four (sometimes augmented by keys and sax: see YouTube and band website) middle-aged guys from southern Mississippi. Virgil Brawley sings and plays guitar, as does Bob “Byrd” Lovell. Bass chores are accomplished by George Vance, who sings backup as well. Guy Wade plays drums. As I said, all the songs on the CD were written by Lovell and Brawley.

The Juvenators are like so many blues bands currently playing clubs, bars, weddings, small festivals: older guys who got together to have some fun and make a little money. What makes the Juvenators stand out is that they write, they play well, and their songs are memorable. Also, they don’t seem to have been affected by the Stevie-Ray- Vaughanizing of a lot of blues. No distortion pedals here; no over-the-top solos that are too long. Somewhere on the web, I read that their influences are “old, black, and mostly dead,” and it shows.

The Juvenators are a solid blues band with fully active libidos: lots of references to girls in see-through clothing, cars with big back seats, and love that “hurts.” Besides the fun tunes like “See Through Dress“ (sic), “Wears Her Clothes, “ Love Me Til It Hurts,” “Huntin‘ For Fun,” and “’53 Buick,” there are a couple of slow blues tunes. “Sho Had A Good Thing,” sung by Lovell, is reminiscent of the Allman Brothers sans the organ. I like Lovell’s voice a lot. Brawley has a tendency to drop the note slightly at the end of his phrases, for effect, I believe, but to the casual listener, it might sound like he’s going a little flat. Lovell plays lead and slide guitar, while Brawley play rhythm. There are no Claptons here, but who cares--they do what they do. Nor are there any Otis Reddings here--but they do what they do. I did think that Guy Wade’s drumming is fairly “heavy handed.” The mix on the “Hearts” has the snare as loud as the vocal and lead guitar. Since Wade’s snare is just as prominent on the live disc, I assume he’s just a really “loud” drummer.

As I said, I found myself singing these songs to myself, and to me, that’s one of the marks of song worthiness--if it keeps coming back. These songs for me were “Sho Had A Good Thing,” “Love Me Til It Hurts,” and the title track, “Golden Hearts.”

You may not ever get a chance to see the Juvenators live, but you can dig them up on YouTube and their website (although I couldn’t make it load the several times I tried). We hear all the time about the future of the blues or the blues of the 20s or 50s or 60s, but these guys are the PRESENT of the blues. The Juvenators are a solid and enjoyable band that you may have never heard of; but you should check out.

West Side Strut reviewed by David Stine

West Side Strut
Eddy Clearwater
Alligator Records
www.alligator.com
12 tracks

Eddy Clearwater’s latest CD starts out strong but runs out of ideas at about its’ mid point. At that point, it starts relying on bass lines from 1998’s Cool Blues Walk and songs based heavily on the refrain. Fans of “The Chief” will probably find enough here for a purchase, but there are more consistent CDs out there--Cool Blues Walk, for one. Ronnie Baker Brooks produced the CD and he appears on guitar and vocal here and there. Dad Lonnie shows up for a “reunion” on a song entitled “Too Old To Get Married.” This song, like others that follow as I mentioned, rely on a clever refrain to carry the day. This is more of a rock n’ roll convention than a blues standard way of doing things; but considering Eddy’s last CD was recorded with Los Straightjackets, Eddy’s rocking version of the blues shouldn’t shock anyone.

It’s all here: the slow songs, the rocking tunes, an acoustic trade off with the younger Brooks, a gospel song, and my favorite: “Hypnotized” which uses an “Egyptian” bass line to underscore Eddy’s spell-casting woman. Bassists will be trying to learn the bass line for fun, I’m guessing. And I must note that the bass work of Carlton Armstrong is first rate and is a joy to listen to. Clearwater and Brooks both add great guitar work. And the senior Brooks and Clearwater play like men 40 years younger on “Too Old To Get Married.”

The CD is not without a bit of social commentary. “Do Unto Others” and the last song, “A Time For Peace” lament our poor treatment of each other and our unfortunate proclivity to always be at war.

Other guests on the CD are Otis Clay and Jimmy Johnson who help out vocally with “Do Unto Others.”

Where West Side Strut doesn’t strut for me are the acoustic “Came Up The Hard Way,” yet another unnecessary “blues credentials” song. Guys, we know who you are--you don’t have to prove you are blues worthy--and “They Call Me The Chief.” This is another song that relies WAY too much on the refrain because there aren’t really any lyrics to help it. “Rock-A-Blues Baby” new here sound like it might have been part of the Duke Robillard-produced Cool Blues Walk sessions. It has that “hey wait a minute--I’ve heard this song before” quality to it.

All in all, West Side Strut is OK. If you are a fan, it’s worth buying; if you are building and Eddy Clearwater library, check you internet music source for reviews of previous Eddy Clearwater CDs.

Born to Be Wilder reviewed by Mark Thompson

Born to be Wilder

Webb Wilder & the Beatniks

Blind Pig Records

http://www.blindpigrecords.com/

15 tracks/56:21

This release comes blasting out of your speakers right from the start with "Tough it Out," a rocker with plenty of sizzling guitar riffs. Wilder handles the lead vocals and guitar. His band features two other guitar players, creating a musical buzzsaw that delivers one stellar performance after another.

Be advised that the lone blues track is a cover of "Baby Please Don't Go," with Wilder describing his in-person encounter with Big Joe Williams, who wrote this classic. The band's rendition owes more to the Amboy Dukes than anything Big Joe ever envisioned. Wilder turns in definitive performances of some of his own tunes, especially "Human Cannonball" and "How Long Can She Last." Both cuts feature Wilder's wacky sense of humor and plenty of rockin' guitar sounds.

On "If You're Looking for a Fool," the band shows it is equally adept at handling a country-styled weeper. The guitars get a workout on the instrumental "Sputnik," that revisits the surf music tradition. Another highlight is a rousing version of Ian Hunter's rocker, "Big Time."

Webb Wilder is not a household name but you will be a converted fan before you reach the end of this disc. Recorded at a club in Alabama, this is one of those shows that make you wish you could have been there. It may not be blues but it certainly is one smoking set - and truly a rockin' good time !!!!

Iron Man reviewed by Mark Thompson

Iron Man
Michael Burks
Alligator Records
http://www.alligator.com/
12 tracks/60:22

For his third Alligator recording, guitarist Michael Burks hit the studio with his road band for the first time. After hundred's of gigs, who better to record with than the musicians who back Burks night after night on stages across the country. It was the right decision as Burks and the band tear through each song with an energy level that has been rarely seen since the days of the late Luther Allison. Band members include Wayne Sharp on piano and organ, Don Garrett on bass and Chuck "Popcorn" Louden on drums.
I got to experience Burks live several times during the January, 2007 Legendary Rhythm & Blues Cruise. One afternoon he was playing in the lounge on the upper deck. I can still picture him with his Flying V guitar strapped on, his shirt drenched with sweat that also poured off his face in a steady stream. Burks put his heart and soul into that performance, creating a memorable show that was one of the highlights of the cruise.
That same passion and spirit is present on his latest release. Burks is equally at home with blues, rock or soul. At times he sounds remarkably like one of his main influences, Albert King. On the opening track, "Love Disease," there are moments where Burks vocal makes you think that Albert has risen from the grave and joined Burks in the studio. "Strange Feeling" sports a heavy rock beat and some nasty slide guitar. Then Burks slows the tempo way down and turns in a masterful vocal on "Empty Promises" that simmers in the emotional wake of a love turned cold. that contrasts with his guitar break, which screams out it's anger at the betrayal.

The band lays down a driving funk groove on "Salty Tears," with Sharp kicking the arrangement into high gear with his Hammond organ fills. Burks turns loose his expressive voice once again, the pain and suffering evident in every syllable. "No More Crying" is another track that ventures close to Albert King territory. The band is cooking and Burks fires off plenty of razor-sharp guitar licks.

Another highlight is "Ashes in my Ashtray," a slow blues that burns with the emotional intensity that Burks is able to convey with both his gritty vocal and his fiery guitar playing. "Quiet Little Town" is anything but, as the band rocks this track harder than anything else on the disc. Sharp expertly establishes the proper mood on "Icepick Through My Heart." He squeezes thick chords out of the Hammond organ in support of yet another impassioned vocal from Burks. As good as Michael can sing, his guitar playing overshadows everything else once he cuts loose. I had high expectations for the band's cover of the Free classic "Fire and Water" but this ended up being the only track that disappointed. It never really seems to catch fire like the rest of the disc.

Or maybe I was just worn out by that point. Michael Burks is a high energy performer with plenty to offer. Alligator has managed to recreate the magic that the band creates on stage in the studio environment. It is hard to do but, as this recording clearly shows, that is the best way to enjoy and appreciate the talent of Michael Burks. Don't let this one slip by - it's too good to miss !!!