BLUES REVIEWS usual spectacular self. No the South on a recording “Moanin’ and Groanin’ the latest in a ton of the good genre jumping, no fusionist jag to uncover country- Blues” (plus two others). reverend’s albums, comes promiscuity. Not even brass blues geniuses in the raw. In this golden age we live, across as a glorious blast or keys. Just his stinging This time was Columbus where vinyl-only labels like of Sunday-go-to-meeting guitar and molasses voice, Guffin’s shot at beating Sutro Park and Mississippi romp, of gutbucket gospel a bruising three-man silent anonymity. To show Records lovingly reclaim groove. Over the span of backstop, and one broad- the world how he could sure lost blues treasures like Lum its 10 solo affirmations and shouldered groove after the make that guitar of his ring Guffin, it just doesn’t seem revelations, the clapboard next. “Bring Your Pretty out. Here lies stellar proof right unlocking the woozy church merges with the Self Home” hustles out of that the legit Tennessee bottlenecked secrets of “Old pressboard juke joint into one the gates first, its lover-man bluesman ever existed at Time Piece” or the stately inseparable space: The wolf KING EDWARD persuasiveness delivered all. Sure, Lum (1902-1993) slide eulogy for “Johnny indeed dwells with the lamb. 50 Years of Blues with crosscut motion. busked on the streets of Wilson” as a sterile stream That bond snugs tighter yet HIT THE ROAD But King’s sweet spot Depression-era Memphis of binary code. Dropping in from all these conversations ometimes, radar just flat really lies in mid-paced and later built quite the a stylus is the cherished way between a man and his Sout fails. Or else Edward steamrolling, excelling at local reputation as a human to ride their groove. maker getting stripped down Memphis Antoine— philosophizing about loss jukebox. But recognition DENNIS ROZANSKI to barest bones. It’s only crowned King Edward— and lust with an ease that outside of Shelby County Williams, his guitar (an Oscar surely would oversee a far lets the plaintive catch in his proved unjustly elusive— Schmidt acoustic, beefed more expansive domain throat match the daggered except to crate diggers with a DeArmond pickup, by now, had his bluesman treble notes peeling off his lucky enough to score the or a Harmony Stratocaster powers been better detected. Gibson ES knockoff. B.B.’s LP memento from Olsson’s copy), an amplifier that begs (Same goes for brother pinpoint etiquette is fully in visit. Because 1973’s rare mercy, and a separately- Nolan Struck.) Rightfully play here—just tougher and Walking Victrola, a reference miked box beneath his meriting fanfare, yet more downhome. Beneath, to Guffin’s songster capacity, perpetually pumping foot. woefully underappreciated: Doug Lancio’s rhythm was his one and only full- The message—“You Set That’s what 50 Years of Blues guitar stays ever colorful, length. And a standout one Me Free,” a slide-sheared gets you. even squishing a wah-wah at that. Newly retitled as “I’m Going Home on the Over those past five pedal to great elastic effect Lum Guffin, the wondrous Morning Train,” “Lord, decades, King has been on “You Don’t Love Me.” contents of that old Flyright REVEREND K.M. I Thank You,” even the spotted in any number of New originals, select covers, record are now no longer WILLIAMS heaven-bound “Hoboin’ On hard-luck joints: Zydeco and crowd pleasers long impossible to find. New Spirituals My Way Home”—is divine. clubs scattered between embedded in King’s onstage Once again we’re CDBABY.COM The delivery, however, Louisiana (his 1937 repertoire intermingle. back inside 6208 Old aw power is what couldn’t lurch any more birthplace) and Texas That’s how the fabulously Brownsville Road, there Renables faith to shake wickedly. first fledged a teenaged bummed-out “Today I in the room as Guffin the rafters, to unhinge chapel DENNIS ROZANSKI guitarist learning to sizzle Started Loving You Again” cleanly picks apart “St. doors. It’s also what turns behind cousin Clifton gets to commiserate with Louis Blues” not long after Reverend K.M. Williams, ALBERT COLLINS & Chenier. Throughout the “My Nerve’s Gone Bad” having chugged “Railroad a Holiness preacher who THE ICEBREAKERS ’60s, Chicago’s toughest and the anthem of remorse, Blues” on the sharpest of founded the Sound Gospel Live at Rockpalast— blues lounges—from “The Things I Used to Do.” razored bottleneck slurs. Bible Ministries, into God’s Dortmund, 1980 the Checkerboard to Heavily thumping, “Darling, He’s a natural, bypassing any cyclone. Blessed with MVD (DVD + 2CDS) Theresa’s—served as I Love You” and “King of need to consistently rhyme the triumphant force of s time machines go, proving grounds for his lead the Castle” reign as the couplets on “Key to the his hardened voice and a AAlbert Collins’ Live attack. By ’75, the storied resident stompers, genuine Highway,” while letting that guitar with a very voluble at Rockpalast—Dortmund, Subway Lounge, the Queen dance music for juke-joint slide intermittently grab nasty streak, the 59-year- 1980—an MVD exclusive of Hearts and other jukes Saturday nights. After all, the reins from his mudslide old Texan’s release—is a around Jackson, Miss., had you don’t rule as King voice to sing lines of “Jack presentation dream come true: become home. Nowadays, without being regally blue. O Diamonds” on its own. is judiciously Not only do we the King is still easily DENNIS ROZANSKI Ten fingers do the work unbridled and get to hear a encountered around those of 20 on those strings— supremely complete 13-song parts, regularly holding LUM GUFFIN except when visitor Bill rhythmic. Sort of set scorched across court on bandstands along Lum Guffin Barth actually does entwine like a holy John two CDs, but the the path he beats between SUTRO PARK/MISSISSIPPI a second guitar around Lee Hooker or accompanying there and Vicksburg, a (LP) a sanctified R.L. DVD also lets 45-minute ride on I-20 ust as was done for Burnside, foot us gape at all 95 West. So, although 1999’s Jcrotchety Lattie Murrell, stomp and all. (In in-color minutes History of King Edward was spine-tingler Bishop Perry title alone, “Jump from the front row. the last time he and a studio Tillis and all the other great Up For Jesus Boogie” is So, back to a particularly jaw- made magic, Antoine has unknowns he uncovered, an obvious tipoff.) That dropping November night in not been idly rusting away. Bengt Olsson arrived particular denomination of Germany we go. Frostbite had Far from it. That much with his mobile “studio” six-string fundamentalism just hit the record bins, and we know from this stellar on yet another household makes entire meals out of Collins was on the road with plow through unmuddled, doorstep. It was 1973, and one chord, unfurled in a a stripped, fancy-free version everyman blues. In other the Swedish folklorist was nonstop, unbroken churn. of his Icebreakers—no horns, words: King is up to his again sweeping through Accordingly, New Spirituals, no keys, no frills. Rhythm

16 | BLUESRAG | FEBRUARY-MARCH 2016 | MOJOWORKIN.COM guitarist Marvin Jackson, things, including playing ray offers 118 minutes of STEFAN GROSSMAN bassist Johnny B. Gayden, on Muddy Waters’ London visually sparkling benefits. Jug Band Music for drummer Casey Jones and Sessions and Albert King’s The turquoise waters Fingerstyle Guitar esteemed saxophonist A.C. Live; being nearly poached lapping against the sands of STEFAN GROSSMAN’S Reed fearlessly hold down by the Rolling Stones as St. Barts and Grand Turk are GUITAR WORKSHOP (DVD) the fort until ‘star time,’ Mick Taylor’s replacement; just as vivid as the Les Paul nlike the hard, rotgut pounding “Sweet Home and, of course, building an getting an inspired beating Ustuff, jug band music is Chicago” and Reed’s own illustrious solo career, right at the hands of Michael the champagne of the blues “She’s Fine” with South Side up to his premature passing Burks over “As the Years Go world: typically effervescent, brawn. in 1995, at age 47.) But, By.” So crisp is the view, you festive and fun—making it Then, the Iceman from the initial three-way can even now distinguish all the more intoxicating. cometh. And with Collins late summer’s day in 1970. battle for What’s Going On’s individual sequins shaking During the formative arrives that blistering Ireland’s superscrappy title track until the final in Lil’ Ed’s scarlet fez period of the 1920s and Texas heat for which the blues-rock trio had already clash over their third encore, during an outrageous ’30s is when kingpins like acknowledged Master of the released a pair of records by “Blister on the Moon,” Taste bottlenecking of “Icicle Will Shade’s Memphis Jug Telecaster was universally then, including their 1969 left quite the tombstone: in My Meatloaf.” All this Band and Gus Cannon’s Jug known. The temperature debut. However, the gig Rise and demise packed into heightened vibrancy just Stompers began uncorking inside the German hall couldn’t get any grander, one meteoric set. about makes for a wholly the genre. Then the blues spikes higher yet whenever the audience (seemingly) DENNIS ROZANSKI new film. revival of the 1960s sparked he steps back from growling any larger, exposure any But what does make a popular resurgence of into the mike and just more ideal than onstage at VARIOUS Deep Sea Blues twice as great both the songs and the wrings out hot clusters of the Isle of Wight Festival— Deep Sea Blues is squeezing in Mugge’s band format. “Stealin’ burnt Tele treble for a while, the then heavyweight MVD (BLU-RAY) All Jams on Deck as a mega Stealin’” re-lived as a staple descending into “Cold, Cold world champion of rock ust about everyone you’d bonus. The sequel film of primordial Grateful Dead Feeling” before rising up to concerts. That’s a 22-year- Jhope for is onboard: Taj from 2010’s voyage charts a sets, circa ’66. The Rooftop shake out “If You Love Me old Rory Gallagher pulling Mahal, Bobby Rush, Otis vastly different course from Singers renovated “Walk Like You Say.” The newly mile after brittle mile of Clay, Ronnie Baker Brooks, its predecessor. Instead of Right In” for their one-hit- unveiled love/hate song barbed wire from out of Buckwheat Zydeco and on the grand tour, its central wonder smash of ’63. That’s “Brick” lodges its masonry his beautifully battered, and on. Even Watermelon thesis focuses on the art of also when the Even Dozen threat amid a series of high- wood-bare Stratocaster. Slim stowed away. Packed the jam session. Discussions Jug Band sprung forth. tension breaks, whereas the Thrashing around him are stem-to-stern with Tommy Having been a member most lyrical Fender work bassist Richard McCracken with blues power, Castro, Larry (along with David Grisman, gets saved for pleading his and drummer John Wilson. no wonder McCray, Coco John Sebastian and Maria case through “The Things Together, Taste upgraded Roger Naber’s Montoya and Muldaur), Stefan Grossman I Used to Do.” “Skatin’/ blues for the longhair rock- Legendary other headliners knows the inside scoop about Ice Pick” brings the first and-roar generation. Jimi Rhythm & Blues offer an insider’s the bubbly business, sharing funk, woven around back- Hendrix and John Lennon Cruise has been vantage to the two hours of his firsthand and-forth riffing between counted themselves as fans. duly noted as ins-and-outs of insight by arranging Jug Collins’ capo-choked Tons more immediately the “Woodstock jamming. But Band Music for Fingerstyle strings and Reed’s muscle- signed on after this possessed of the Waves.” even just one of Guitar. Here, you’ll conquer bound horn. Deeper yet are live exhibition. Acclaimed music- the cruise’s late- the “unfriendly” Rev. the open waters of “Cold The strident march of filmmaker Robert Mugge, night Pro Jams is worth a Gary Davis/Merle Travis Cuts”: a plunge of nearly 15 “Sinner Boy” rings with slide who swung open the doors million words: On stages C7 chord; the fanciness minutes into fatback funk, outbursts, only to have that into Mississippi’s hardcore crammed with hungry of diminished chords; the authenticated right down to bottlenecked guitar boldly juke joints with 1991’s Deep soloists, spontaneous string-pinched loveliness of its slap-and-pop bass. So how take over as Gallagher’s Blues, beautifully documents alchemy bubbles over from “Mississippi River Waltz,” as can all this spirited thrashing sole accompaniment that floating nirvana from unpredicted combinations. well as five other singalong get topped for a finale? By when crying “Gambling atop the ocean-breezed, No longer do you have stomps. “K.C. Moan,” a snowballing “Frosty” out Blues.” “Sugar Mama” and guitar-strewn, horn-heated to imagine the nuclear chugging railroad piece, among the audience, of “I Feel So Good” trudge lido deck—as well as inside reaction from Kim Wilson, receives the Lonnie Johnson course. Compared to its and boogie, respectively, the performance lounges, at Lee Oskar, John treatment, miniature studio version, into eight-plus-minute the piano bar, the autograph Nemeth and right down to the signature instrumental explorations. “Catfish Blues” parties, Mardi Gras Night, Rick Estrin all extracting honey grows to thrice its typical is the jammed culmination, Taj’s culinary demos. En harping on “Take from its D chords. length from Collins snaking a quarter-hour’s worth of route to the Caribbean a Little Walk With “Shine on Harvest through the howling crowd, sinew distinctively seared in 2007, Deep Sea Blues Me.” Or what a Moon” uses the hyper-extending his solo quite unlike any other blues- quickly piles up vicarious mash-up of Elvin same rustic recipe and blowing minds in the rocked preparations of the thrills capped between the Bishop with as when Texas process, without ever missing old Delta anthem. Fabulous Thunderbirds Johnny and Edgar bluesman Mance one single scalding note. Oh, Like Blind Faith and melting down “Painted Winter might Lipscomb cooked what a night. Cream (for whom they On” and seductive soul roar like. What it, unjugged. DENNIS ROZANSKI both opened), Taste likewise man Mel Waiters chilling about Rev. Billy C. Wirtz Historic audio recordings succumbed quickly to out “Smooth Sailing.” But and the Lost Planet Airman dating as far back as 1909, TASTE mounting inner strife that more than sampling from himself, Commander Cody, along with 1950s footage What’s Going On: Live even bubbled over on the 70some shows, Mugge’s jointly carving up a piano? of Will Shade and Charlie at the Isle of Wight that magnificent August lens also manages to capture Onboard the Legendary Burse in ragged-but-right EAGLE afternoon. Total implosion the intangible magic which Rhythm & Blues Cruise, action, are among the DVD’s ix hundred thousand was only a few calamitous bonds blues cruisers with dreams do come true. hidden surprises. Sfolks got their first— weeks away. (Gallagher musicians into family. DENNIS ROZANSKI DENNIS ROZANSKI and/or last—Taste on a would go on to other great Upgrading to Blu-

MOJOWORKIN.COM | FEBRUARY-MARCH 2016 | BLUESRAG | 17 BLUES REVIEWS of Elikeh’s homebrewed steady pump of your foot? guitar’s amplifier. Around such CONTINUED fusion of all the great and Yes. But no slide, this time. crunch extraordinaire, only groovy things about the Here, life gets stripped down the whiplash of Dave Folley’s modern sound of Africa. to the utmost basics of an drums deems worthy of riding (And quite the teaser for elastic chord (or two) and an shotgun. Counterbalancing their upcoming full-length.) almighty riff that gets ridden their sonic tonnage are sinister Inevitably, you’ll end up for all it’s worth. “Dough plots yielded from Russell’s letting the disc’s three Roller Blues” is Burnette’s keen eye for detailing the densely layered tracks loop snaky hybrid of “Roll and underbelly of society, a over again and again, anyway. Tumble,” just as McDowell’s landscape inhabited by noir- Because “The Conversation,” “That’s Alright” is John Lee worthy femme fatales (“Snub “Heaven,” and the sung “Learn How to Love” sifts Hooker’s “Hobo Blues.” As a Nose .38”) and slithering “Adja” are addictive, round- through the rubble of a twist, “Count the Days Until serpents (“Cottonmouth”) ELIKEH and-round juggernaut jams crumbled relationship at I’m Gone” delivers its gut far, far more sexual that John Kondona that need to be heard a few the bottom of an ocean of punch in crossnote tuning. Lee Hooker’s tame “Crawling ROPEADOPE (EP) hundred times in a row. Yet reverb. The subtle detail of a And for your dancing pleasure, Kingsnake.” Down here, f Afrobeat or highlife or listen once, and immediately lolloping Hammond organ R.L. Burnside’s “Jumper where darkness is the default, Ieven juju means anything you’re a lifelong Elikeh fan. is indispensable to kinking Hanging Out on the Line” life is shadowy at its utmost remotely exhilarating to you, DENNIS ROZANSKI the Canadian reggae chop and the incredibly percussive brightest: “Drive All Night” then Elikeh is joyful reason on which “Love Attack” “Poor Black Mattie” share catches that last glimpse of light for palpitation. Yet should MONKEYJUNK soapboxes its rescue plan for long histories of quaking before “Ain’t Got No Family heroes like Fela, E.T. Mensah Moon Turn Red the world. So by the time juke joint floorboards around Tomb” goes pitch. Yet Russell and King Sunny Ade fail to STONY PLAIN their forceful boost of David Marshall County, just as the remains the perennially cool ring any bells—or accelerate onkeyjunk isn’t quite Wilcox’s “Hot Hot Papa,” the sloshing motion of “Meet Me customer, his deeply-smoked the heartbeat—then all you Mthe same MonkeyJunk lone cover, arrives, that line in the City” did its share of voice perfectly suited to dish need know is that extreme of yore. The three Ottowa- bragging about sipping hot moving bodies inside Junior out “Cry Yourself to Death” Afrogroove is spoken here. based blues-rockers have lead and spitting out rivets Kimbrough’s joint. Prepare to just as unflinchingly as the Compulsively danceable, grown even more daring as sounds perfectly feasible shake the shack. doomful tale of “Blackwater.” it’s a jumper cable for heart they have wise and muscular coming from this wrecking DENNIS ROZANSKI For being an army of two, and feet. The incredibly since 2009’s bust-out debut. crew. Chicken Walk cements up convenient part is that you The band that nicked their DENNIS ROZANSKI CHRIS RUSSELL’S quite the wall of sound. Don’t needn’t trek to the western say-what name from an old CHICKEN WALK even try to overpower Drive: coast of Africa for the Deltaism once sputtered by TOM FELDMANN These grooves can handle all experience. Luckily, leader/ Son House—“I’m talking Mississippi Hill Country the dirty decibels you can feed vocalist/guitarist Massama about the blues; I ain’t talking Blues Guitar them. Dogo made the long trip so ‘bout monkey junk”— STEFAN GROSSMAN’S DENNIS ROZANSKI you don’t have to. He and continues to rely on hot GUITAR WORKSHOP (DVD) his homeland’s abadja beat guitar licks, nasty slide riffs, ississippi Hill Country THE GOOD ONES emigrated from a village in smashmouth harp, and tales M Blues Guitar is actually Rwanda is My Home Togo, arriving on U.S. shores often drawn from life’s dark codename for Groove 101, IRL in 2000—and Washington, corners. Even the Mississippi Tom Feldmann’s crash course orrifically dark blues D.C., has been rhythmically sloganeering of shake ’em on on the highly potent strain Hlurk just beneath—yet all the better for it ever since. down invades the shout-along of drone-and-moan grown you’d never know. Never do Plus, the bright, bold energy chorus bolting through amongst the kudzu, up north Drive the simple, sunburst songs of his well-oiled big band is “Light It Up.” But with of the Delta. Riff riders from CHRISRUSSELLSCHICKEN weep. More remarkably, readily encountered, live: the MonkeyJunk, it’s always been the Black Stripes to the WALK.COM never does the tone of those Rock & Roll Hotel, in D.C., about how those elements North Mississippi Allstars hris Russell’s Chicken heavenly harmonized voices hosted the album’s release get distinctively applied for were spawned from this CWalk, firmly rooted in snitch on unthinkable horrors party; the Baltimore Rhythm a hardnosed attack that’s heavily rhythmic stock. Yet the riff-and-rhythm of north survived. Adrien (their lead Festival headlined them this wholly their own, a sound six of the original architects Mississippi’s Robert Belfour man), Janvier, Stani, and Javon past fall; and they’ve lit up that refuses being confined to for the region’s guitar trances and especially R.L. Burnside, (the newcomer) are dirt-poor Gypsy Sally’s, another D.C. any one box. Along with a fair are the honored role models grinds its blues. Except Rwandan farmers who keep hang, as recently as January. share of sonic fury, creativity here. Heroes who shook cranked to wake-the-dead a sideline going as an angel Kondona manages to through songwriting reaches ’em on down at backwoods levels of energy, wattage, and band. bottle that funky lightning. all-time highs with Moon Turn house parties, like Fred pulverization. Drive, their third Meet the Good Ones, Cut and mixed in Lomé, Red, now their McDowell and his such blast, is a real hill-country who come by their name Togo, as well as in Beltsville, fourth on Stony local competitor, monster, wrapped thick with honestly. (Who could also Md., Elikeh’s fourth disc may Plain. Entering Ranie Burnette. kudzu around its juke-joint come by the Lucky Ones be incredibly brief, but it’s “Live Another And Jessie Mae esthetic—yet spawned in just the same for having lived incredibly mighty, too. With Day” through a Hemphill, Queen the sludge of Melbourne to tell about their central electric guitars flickering spectral “Chest of the Hill rather than of Holly Springs. African nation’s bloodred (Nigerian guitarist Frank Fever”-like Country, who, Never does its grip loosen, its bouts of genocide.) Rwanda Martins is their second prelude, before with aunt Rosa ferocity wane, its roar relent. ace) and horns punching the chorus begins Lee Hill, was part Voracious, immersive and away atop Kweku Owusu’s channeling its of the Hemphill overwhelming, this is the percolating Ghanaian central guitar spiral clan, Mississippi kind of nasty good-time that percussion, 16 ecstatically from the finest 1970s rock, is fife-and-drum royalty. Of the forces you to holler along, kinetic minutes are nowhere brave. Then there’s that cool, nine grooves that Feldmann right into the maw. Because near long enough. Not for little interstellar interlude works out, none rely on use Russell knows full well how something this special. No from the massive vibratory of a slide for their hypnosis. to blow the fuses in your head matter: Consider this EP an hook that gives “Show Me A thwack-happy thumb, an by coming so unsparingly extremely intense distillation Yours” its quake. The ballad unwound third string, the close to popping those in his 18 | BLUESRAG | FEBRUARY-MARCH 2016 | MOJOWORKIN.COM CHRIS ARDOIN & HARMONICA SHAH readies for battle. And by NUSTEP ZYDEKO If You Live to Get Old, continuing to show a healthy Zydeko Fever You Will Understand disregard for decorum, If MAISON DE SOUL ELECTRO-FI You Live to Get Old, You Will ou say you want a ace it: Having the blues Understand elevates Shah to Yrevolution? Look—and Fcan be absolute hell. new lowdown heights. listen—no further. Because Luckily, Harmonica Shah is DENNIS ROZANSKI spearheading southwest always there to harden the Louisiana history from blow. His slop-jar Detroit MAGIC SAM BLUES behind an accordion has BAND been the Ardoin family Black Magic: Deluxe is My Home is already their business ever since Amédé, Edition gnashing: It’s sublime. second batch of spellbinding the absolute root of the root, DELMARK Turns out that not performances since Ian first drew up the blueprints 969’s Black Magic was only was this Magic Brennan’s seen-it-all, to Creole music in the 1the latest and greatest Sam’s second full-length record-it-all wanderlust first 1920s and became the ill- revision of “Magic Sam” masterwork—adding upon transported adventurers to fated Robert Johnson of Maghett’s blueprint for 1967’s inaugural West Side yet another of the world’s the bluesy two-step in the innovating Chicago blues: a Soul. But, released mere remotest corners so that process. Then came Bois proprietary blend of sweat, days before his 32-year-old we may be graced by yet Sec and, later, Lawrence: soul and saturated tremolo. heart gave out in December another magical wonder Each did their active part to Equally essential, though, of that year, Black Magic secretly hidden away in a lost advance Old World rustic etiquette has a way with was the glowing quiver in also became the last album village. Honoring the raw, towards zydeco explosion. words that’s just as savage as that supertight vibrato of he ever actively made, real culture from where this Enter Chris Ardoin, now his Motor City mojo. Who his, as foolproof as any DNA his unexpected goodbye. music comes, his production 34. He’s the prolific trailblazer else is out there finessing for identifying the high- Newly remastered from the remains as transparent and for today’s generations, such traumatic poetry as flying voice as Sam’s. He, analog mother tapes, this hands-off as on their 2010 the bold envelope-pusher “Congratulations, That like fellow neighborhood Deluxe Edition adds eight debut: Simply, gather the four bringing a sea change of New Love You’ve Got is My contemporaries Otis Rush orphans with most of their around a microphone and modern relevancy to the Wife” or the no-less thorny and Buddy Guy, was busily pre-start banter left intact. listen to them soar, naturally. genre in the form of Nustep “She Used to Be Beautiful”? and brazenly inventing Rich with alternate takes Because rough-cut gems Zydeko. The freshest edition Displaying the same junkyard a whole new breed of (two never before heard) like the Good Ones are best of its grab-a-hold grooves is grace that once dredged up guitar-centric thrill over plus a pair of outtakes (a not polished. So, true to the Zydeko Fever. The title track, “All My Kids is Ugly” and on the city’s West Side. smoky “Blues for Odie band, their instrumentation along with “La Louisiane “Don’t You Feel like a Dog Crisp arrangements with Payne” instrumental; some stays humbly impoverished: Waltz,” is the stripped sound Covered in Fleas” for some a modern snap never “Keep On Doin’ What basically, a gently-plucked of throwback traditionalism. of his five prior Electro-Fi lumbered like those Old You’re Doin’” grinding), acoustic guitar and the More often, his layered albums, gut punches never World blues from across the set now pushes to the most modest of improvised vocals dish streetwise poetics get sugarcoated. Good thing, town. His band helped with 68:19 mark. That makes for percussion. on adult concerns—the sexy since none of their meaty that by hoarding hometown a slew of sparkling Magic That way their singing pluses (“Steady Rock,” “Hit shuffles cater to mainstream aces: fellow guitarist Sam riffs: Those urgently can flood the air with the the Lottery”) and minuses manners either. Not even Mighty Joe Young, pianist unhurried hooks that snag kind of disarming honesty (“Drunken Promises”)— the rumba bopping behind Lafayette Leake, bassist ears, whether spraying that results from souls laid with an R&B undertow “She May Be Your Woman” Mac Thompson, and Odie sunshine (“Everything’s bare. Adrien Kazigira is designed to shrink the space can diffuse the gravity of the Payne, Jr. on drums. New Gonna Be All Right”) or the One geysering highest, between two bodies. Yet testosterone-fueled situation to the mix this time around acid (“It’s All Your Fault”). hanging his voice way true to the Ardoin bloodline, at hand. It’s yet another grand were saxophone punches DENNIS ROZANSKI atop everyone else—atop a gregarious button- case of Shah’s unvarnished thrown by Eddie Shaw, the all else—up there above accordion remains king of voice barking out crotchety heavyweight who battled the bright, little, magnetic this brave new world. And talk inevitably laced with beside Muddy before doing melodies making “Ibihemu” albeit reshaped, the familiar threats of impending so for Wolf. and the peaceful-easy unrelenting shove of zydeco violence. The ex-Ford Kicked off with a James “Angerique” dance about. creates an instant dancefloor Motors worker is one tough Brownian grunt that’s The real key to bridging wherever you are. s.o.b.—and that’s even before followed up with a wicked the communication But not only does Mr. he and his four accomplices three-minute shimmy chasm between us and, say, VIP set the future-forward dish their rowdy alley music. named “I Just Want a Little “Umukobwa Ninyampinga norm, he also performs (all Julian Fauth’s piano classes Bit,” the original record (A Woman Is a Blessing)” but an occasional instrument up the joint—a tad. Even cooks straight through until or “Ni Amayobera (How or two), writes, arranges, then, his chattering is no the climactic blast from ERIC BIBB & J.J. Strange Is This Earth)” is to publishes, produces, records, match for the dirty shiver of Otis’ “Keep On Loving MILTEAU speak directly soul-to-soul. mixes, and masters it, too. Jack De Keyzer’s slide guitar Me Baby” shuts it all down, Lead Belly’s Gold To try a little tenderness; Everything except for— or, of course, Shah’s own nine tracks later, at the STONY PLAIN to chase the dark with perhaps—manufacturing roughhouse harping. “Baby, 39:04 mark. In between ead Belly’s Gold is an luminous charm. That way, the actual discs onto which You Have Got to Change” is where Freddy King’s L acoustic evening of even on the worst of days, the revolution gets burned. sets the tone from the start. rubbery “San-Ho-Zay” idol worship that plays out these Good Ones (like their Chris Ardoin has a firm grip Its heavy, fibrillating guitar bounces a mile high and largely before an intimate IRL labelmates, the Malawi on doing what an Ardoin riff is on you in a flash, Sam’s Epiphone Riviera audience snugged inside the Mouse Boys) come to your was legendarily born to do: shocking the system as Shah spills a slow, steady stream of Sunset, a famed Parisian jazz emotional rescue with Bliss you out by dancing you lays down his ultimatum. Life teardrops over “You Better club. Headliner Eric Bibb failsafe remedy: Around up, without ever letting on only deteriorates from there: Stop.” Just don’t miss that finds the perfect partner their likeable, heart-warmed that the status quo has just “I Just Don’t Want You No 25-second fuse of skimmed in J.J. Milteau, France’s powers, the blues are toast. been majorly disturbed. More” gives the heave-ho; notes burning down before harmonicat of note, who DENNIS ROZANSKI DENNIS ROZANSKI “Two Legged Grey Mule” “Same Old Blues” begins ups the level of intimacy by MOJOWORKIN.COM | FEBRUARY-MARCH 2016 | BLUESRAG | 19 BLUES REVIEWS CONTINUED out at life while hunched rhythmic plummet to even a fedora. (Or is some of at the control required over his electrified guitar. lower depths. that wheezing also George of “Let’s Pitch One,” a sculpting lines as well as an A modest rhythm section But if the volume wasn’t “Wildchild” Butler’s harp? wordless, breathless swinger. array of reedy tones with flanked him. But misery already cranked to revel The researched liner notes “Screwdriver” pounces, too, subtle grace. Light drums invaded him, as diagnosed in the gutbucket glory of stoke the controversy.) but doesn’t give out until and intermittent bass add a when self-confessing “the Lightnin’s bass strings, those But they can whoop it nine minutes later. little push. So pristine are the blues is on Lightnin’s mind” skyward treble twists, or the up back in the alley, too. But alas, all these Clarity 11 live performances that, right before kickoff. So, all rip in his throat whenever You needn’t be bombed— sessions could’ve remained aside from warm applause that was needed was for exclamation points need or even tipsy—for the Third forever abandoned. the set rightfully earns, producer Roy Ames to flash be stabbed onto a lyric, Ward ghetto romps “Pine Heroically, Cicadelic they’re indistinguishable the roll-tape signal from then “Good as Old Time Gum Boogie” and “How Records was not about from the five overflow tracks across the glass for Hopkins Religion” will force your Dooz It” to work their to let perfectly great cut in a nearby studio. That’s to unleash his melancholy hand. The cut-loose jam is a rumpled brownbag magic. Lightnin’ recordings fall by just how effortless and majesty onto Shootin’ Fire. real dustup, a moral paradox By pulling out all the stops, the wayside just because natural Bibb is at caressing Hearing “Got a Letter wrestling a sanctified both wildly intoxicating previous mixes were guitar melodies as well as This Morning” and the title against its inherent instrumentals achieve a horrendous. Worse yet were the stories and emotions bloodthirsty “Born in the hellraising. So good is certain sonic violence, the gobs of excessive reverb. embedded within. In his Bottom” drop down into the emotional release an inherent sense of That’s likely why all past ever tasteful hands and soft- lowest gear, you’d think that, midway, Lightnin’ careening—Elmore Nixon’s issues got piecemealed, at speaking throat, Bibb calmly happiness was Lightnin’s spontaneously blurts out piano tumbling away; Bizor best, onto compilations. So, tames that telltale Lead own personal kryptonite. “Ooo-wee!” as the session huffing; Hopkins punishing it’s an all-out rescue mission Belly gruffness, whether Strategically creeping up runs hotter yet. How hot? that poor pickup wedged to save a vital chunk of Texas chugging aboard the railroad and down the frets, 57-year- At one point, he’s overheard into his axe—as if the band blues history. Devotedly rhythm of “Midnight old fingers drip notes of warning: “I’m shootin’ fire.” might actually topple off returning to the original Special” or levitating “The the deepest blue that pool Sure got that right. the tracks. three- and four-track House of the Rising Sun” into story-songs as classic That same blaze burns Wake Up the Dead!’s masters, the tainted veneer as a near-motionless weep. as “Shinin’ Moon” or as through Wake Up the Dead!, second disc is the biggest gets stripped away to reveal Also benefiting from that rare as “Baby Please Don’t surprise of all. The contents softened, warmhearted Do Me Wrong.” The slow belong fully to Bizor, whose touch is the universal drag of his drawl further scant work—especially solo singalong “Goodnight, ensures these as affirmations stuff—is a real hard-find. Irene” and its acid-tongued of grief rather than mere That makes this March counterbalance, “Chauffeur performances. Life at 1969 session the proverbial Blues.” “Bring a Little Water, its lowdown best was a needle in a haystack. Sylvie” gains the most, now a particular specialty. Its blend of unplugged real work of beauty. Milteau But no matter how harp/guitar demos and performs his own brand of fantastic the minor-key band blowouts builds an magic, as when drawing wallowing is, no fixed airtight case against his “Grey Goose” from his harp tempo rule exists. “Moving a double-disc set picking unjust obscurity, while newly balanced, in-your- with the kind of chordal On Out” hits the road up right where Shootin’ also doubling as a terrific face fidelity. That same love richness that’s virtually by hopping the boogie. Fire leaves off. For space collection of country blues and commitment continues symphonic. “When I Get to Between Hopkins’ runs purposes, a handful of with an invigorating urban into the booklets, packed Dallas,” an original venture on the strings and the outtake and mess-around tint. with exhumed session between Bibb and Milteau skip to Cedric Hayward’s tracks remaining from the Vocally, Bizor isn’t the mementos like photos, log that tells of their celebrated piano counterpoint, the April ’69 date live here; bawl-and-moaner that sheets, recording contracts, honoree’s early street-singer unfettered swingmatism “Mojo Hand,” however, Hopkins is, but more of a and even Lightnin’s well- days, doesn’t hail from the of “Mistrust My Baby and is a fully-formed rocket blaster. Denominationally, earned paycheck for $800’s Lead Belly canon. Nor She Mistrust Me” almost blast. But—fortunately— though, Billy is a groovist. worth of blues. does “Swimmin’ in a River reaches jazzy freedom. But Hopkins was no less Bass and the adamant drums Best of all is that every of Songs,” another more it’s the red-eyed onrush of scorching inside ACA, of Linda Waring lock onto a blue note and every uttered personalized tribute that libido which spurs “Shake roughly one year earlier. bonded pulse down in the syllable (sung or chattered brings the project to an That Thing” and “Feel Like Neither was he any happier basement; the ace guitar off-mike) committed to tape inspirational close. Ballin’ the Jack” to pick up nor any quieter on that June of Duke/Peacock session has been finally rounded DENNIS ROZANSKI the pace to a brisk trot. 17th. “Wake Up the Dead” man Clarence Hollimon up. Several even had been True to form, the country and “Lonesome Life” works right above. Bizor doomed to stay on the shelf, LIGHTNIN’ HOPKINS bluesman is uninhibited. offer fabulously miserable, commands everything unheard until now. Among Shootin’ Fire That allows his wellspring speaker-rumbling proof. else, blowing up a storm them are the instrumental CICADELIC of impromptu creativity “I’m Tired of Trouble” and by buzzing reeds with an mash-up “Moving on Out LIGHTNIN’ HOPKINS & to invent some “Stinking “You’re Gonna Miss Me” endless selection of wah- When the Saints March BILLY BIZOR Foot” shtick on the spot, are dredged from out of wah-wahs and loop-the- In” and “Old House Torn Wake Up the Dead! then spontaneously sew “Go that same bitter earth. loops. Workouts typically Down,” a crusher hand- CICADELIC (2 CDS) Ahead” onto a juke-joint However, Billy Bizor, hover around the six- delivered with sparkling pril 11, 1969. The version of “Battle Hymn Lightnin’s cousin, makes a minute mark, allowing string-dashes. Never before Aconditions were of the Republic.” Under significant addition to the ample time to go long and has this reunion happened. ideal—perfect, in fact— such haphazard conditions, mourning. They’re quite the wheezy. If you thought the Thanks to archeological for a Lightnin’ strike that Hopkins openly directs pair: Hopkins, behind dark lazy insistence of “I’ll Miss work of the highest order, Friday: Hopkins was loose, traffic during play, prodding shades, clanging his wired You So” giving way to Shootin’ Fire and Wake Up bummed out and amped up. his band to take another guitar against the rhythm; the accelerating insistence the Dead! now stand as Plus, the Texan was on home pass through a section here Bizor instead weaving his of “Tell Me Where You definitive versions of prized Houston turf, there inside or to lay out there. Even to backcountry harmonica Stayed Last Night” is a sessions. ACA Studios, when lashing follow him off the cliff on a through it, from beneath pulmonary test, then marvel DENNIS ROZANSKI 20 | BLUESRAG | FEBRUARY-MARCH 2016 | MOJOWORKIN.COM