Monthly Archives: August 2014

Fresh Biscuits! Friday Fast Five CD Reviews – August 29, 2014

Welcome back folks. The Friday Fast Five is back after a week off. I hope you found the Two For Tuesday CD reviews we put up on Tuesday. This week we have a wide variety of styles from excellent musicians out there keeping the blues vibrant, potent, and relevant.

 

JayWillieRumblinSlidinJay Willie Blues Band

Rumblin’ And Slidin’

ZOHO Music

Released August 12, 2014

If I see a Firebird and a slide on an album cover, I’m in, and thus Jay Willie Blues Band had me interested before I ever heard a note of the new Rumblin’ And Slidin’ CD. I was not disappointed. This is fresh sounding music, even when it’s old. Jay Willie’s vocals have a bemused innocence that obfuscates the seasoned professional within. Rumblin’ And Slidin’ starts with a spacey version of Link Wray’s “Rumble.” Harpmeister Jason Ricci completely disguises his harmonica with effects until it sounds like Funkadelic playing the blues. “Key To The Highway” is a stomping dirge with more howling harp from Ricci. The relentless pounding beat takes this tune in a new direction and makes it a standout track on the album and among the myriad versions of this all-time classic.

“Fly Away” is a spirit-lifting take on the Edgar Winter tune. Guest Suzanne Vick sings it convincingly; urging us all to believe anything is possible. Jason Ricci blows his harp for all he’s worth in “It Hurts Me Too” which is given a stripped down arrangement. It sounds like it was recorded live in crystal cavern 60 feet underground. The resonant slide riffs entwine with the harmonica to create a demonic howl born in the depths of Hell. The covers are interesting but the originals are damned good too. On “Dirty 2:30” Willie’s slithery slide lubricates the proceedings and bassist Steve Clarke takes a funky solo as the tune closes. “Bad News” is rambunctious fun and “Rotten Person” is the best Johnny Winter song I’ve heard in a while. That’s a compliment. The Firebird and slide, Bobby Torello’s raspy vocal delivery, and the amusing subject wrap it all up in classic blues rock style. I love it.

The album closes with four bonus live tracks that make me long for more. The Jay Willie Blues band absolutely cooks on these tracks. “Hold Me Tight Talk Dirty” and “Tore Down” are raucous and Buffalo Springfield’s “For What It’s Worth” is turned into a funky hard rock jam. These four tunes make a great case for catching the band live wherever they’re Rumblin’ And Slidin’. Until then, this disc will more than tide you over.

 

DavinaVagabondsSunshineDavina & The Vagabonds

Sunshine

Roustabout Records

Released July 15, 2014

The blues genre is like a forest. There are many types of trees, all part of the larger landscape twisted together at root level and bound by the earth that surrounds them. Blues and jazz roots mingle below the soil and new hybrids occasionally emerge. Springing from this fertile ground comes Davina And The Vagabonds. Somehow they avoid convention while embracing tradition. There are no guitars; no harmonicas. No sax man. Instead they use trombones, trumpets, and tubas. Davina’s piano is, of course, prominent. The tone is earthy, dreamy and nostalgic. The musicians have changed a bit since their last disc, but the new disc Sunshine is brighter than a gleaming sousaphone.

The title track opens the disc with what sounds like Davina singing through an old wind-up Victrola and morphs into an upbeat anthem for rejuvenation. “Flow” is a bouncy track built on Davina’s piano figure, and chiming horns. It is New Orleans Jazz stripped to its core. “Fizzle Out” sounds impossibly contemporary, “Red Shoes” it a delightful romp that makes you want to stay home with Davina every night, and “I’d Rather Drink Muddy Water” is a defiantly strutting cover of the Eddie Miller track.

The music on Sunshine has camp, sass and coy sexuality. It could be played at 2 a.m. in a smoky jazz club or when throwing open the curtains at dawn. It will make you dance, writhe, and relax. The instrumentation is deceptively primitive, and the band conjures creative arrangements which prevent your ears from recognizing the con. The piano deftly connects the odd instrumentation and captures your attention in a web of delightful music you’d never expect to enjoy this much. It also helps that Davina writes clever songs and delivers them with panache. Davina And The Vagabonds are a throwback to the days before blues, when minstrels roamed the country side bringing entertainment and music to masses. Their ability to capture this spirit on tape is an accomplishment in itself. Do yourself a favor and enjoy it.

 

RipLeePryorNobodyButMeRip Lee Pryor

Nobody But Me

Electro-Fi Records

Released April 15, 2014

Rip Lee Pryor is the son of Blues legend Snooky Pryor. His new disc is his second foray into the music business. His first time around was spent touring and playing guitar with his dad. He put out an independent CD in 1999 and promptly left the music scene in 2000 to focus on carpentry. All the while, Rip wanted to play again. Some personal issues including a bout with cancer stopped him from returning. Today, Rip Lee’s cancer has been in remission since 2011 and he’s not wasting any more time. He’s been touring the world, taking his blues to South America, Europe, and across the USA. In 2013 he spent two days recording his re-entry disc, Nobody But Me. It mixes a handful of originals with tunes by his dad, Sonny Boy Williamson II, and Elmore James. The result is an intimate, foot-tapping record that brings Rip Lee Pryor right into your living room.

Nobody But Me starts off rocking with “Shake Your Boogie.” She’s out there shaking her boogie, if you know what I mean. The title track is a one of three Rip Lee Pryor originals. It’s pure Rip Lee, just the man and his guitar, harp and voice doing what he does best. His rudimentary guitar strumming is propulsive as his thumb keeps the beat on the bottom strings and he puffs away on the harmonica into a handmade mic. His voice has a personal quality that draws you in even when the words are sparse as they are on “Nobody But Me.” “You Got To Move” is gentle and earthy yet emphatic. He’s not happy about it but still you got to go. Sorry. Here’s your hat. “Stuck On Stupid” is another of his originals and displays a keen wit. Rip Lee’s originals fit perfectly with the covers and it’s a shame he didn’t write more for the record.

My personal tastes lean more toward his songs with drums and bass, but I found myself draw into the solo performances in a way that doesn’t usually happen. Rip Lee Pryor may be the son of a famous blues man but, Rip Lee is his own man and it comes through in his music. Nobody But Me is appropriately titled. As you listen you get a clear portrait of the man and his music. With his quiet rasp, sparse guitar, and lonesome harmonica, Rip Lee Pryor strips away any pretense, shine, or clutter and gets to the heart of each song he performs.

 

SelwynBirchwoodDontCallNoAmbulanceSelwyn Birchwood

Don’t Call No Ambulance

Alligator Records

Released June 10, 2014

In 2013, Selwyn Birchwood won the International Blues Challenge and the Albert King Guitarist Of The Year Award which caught the eyes and ears of Alligator Records’ president Bruce Iglauer. The Florida native has been touring steadily since winning the IBC, building a fan base the old fashioned way. The Alligator debut Don’t Call No Ambulance should have no problem adding to that fan base especially in light of its presence near the top of the blues charts for weeks and weeks.

Selwyn’s appearance and youth belies his deep voice and mature musical sound. He’s been touring since the age of nineteen when he was a member of Sonny Rhodes’ band. He displays a command of several blues styles and delivers a diverse album. “Addicted” is the opener and pumps hard in the fashion of many tunes in the Alligator catalog. It is especially reminiscent of Albert Collins’ work. Selwyn rips it up over a funky bass line that recalls Johnny B. Gayden. This tune mixes Collins with Freddie King and pulls together two and a half minutes of effervescence that perfectly opens this tour de force album. From there, the band lances into the Hill Country stomp of the title track. This one rocks and rolls at a frenetic pace that feels like it very well may require an ambulance.

Drummer Curtis Nutall spent five years in Joe Louis Walker’s band and his former boss turns up to play slide on the scorching “The River Turned Red.” “Love Me Again” is a gentle plea for forgiveness; “Brown Paper Bag” is a nine minute showcase explaining why he won the Albert King Guitarist Of The Year Award. “Queen Of Hearts” has a funky groove and shows off the talent of band saxophonist Regi Oliver. The bass is positively pulsating while Oliver plays a fat solo, then Selwyn jumps in with a solo on the edge of restraint. He has the opportunity to overplay but never does. “Overworked And Underpaid” is a quiet lonesome lament with guest RJ Harman on harmonica. Birchwood plays the blues lowdown and gritty on lap steel, glistening like the sweat on his brow. The disc closes back-porch boogie style with “Hoodoo Stew.” It’s a jumping slide guitar jam that will make your crawfish boil without ever lighting a fire. It closes the album on a high note for sure, and leaves you wanting more. Selwyn Birchwood is the total package. He has an identifiable, satisfying voice, finely honed songwriting skills, and outstanding guitar chops. He should be leading the vanguard of young blues players for years to come.

 

MannishBoysWrappedUpAndReadyMannish Boys

Wrapped Up And Ready

Delta Groove Records

Released June 17, 2014

The Mannish Boys are a loose collective of west coast blues all-stars spearheaded by Randy Chortkoff. Though the lineup may change, the quality of the music remains high and the dynamic membership keeps the it fresh. This time around, for Wrapped Up And Ready, coordinator-in-chief Randy Chortkoff is joined by Sugar Ray Rayford on vocals and harmonica, Kirk Fletcher and Frank Goldwasser on guitars, Willie J. Campbell on bass, and Jimi Bott on drums. Rotating in and out of the lineup on this disc are special guests including Candye Kane, Bob Corritore, Laura Chavez, Kim Wilson, Kid Ramos, Steve Freund, Monster Mike Welch, and Fred Kaplan among others.

“I Ain’t Sayin’” is a strutting opener with Monster Mike Welch sitting in on lead guitar. Mike plays on eight tracks and may as well join the band; he fits in seamlessly with the ensemble. Speaking of the ensemble, you need a score card to keep up with the personnel on this disc but the amazing feat is the cohesive sound and tone of the album. Everyone contributes their talents to the greater good, which turned out great. For instance, Steve Freund sits in as lead guitarist on “It Was Fun” and plays tasty licks that elevate the song and keep it interesting. Fred Kaplan plays piano on eleven tunes and his accents and fills add significant textures all over the album. His fills in the Candye Kane sung “I Idolize You” sparkle like Candye’s delivery. With Wrapped Up And Ready Chortkoff has created a blueprint for making a perfect blues album. You might expect such a contrivance to seem forced and lack personality, but therein lays his genius. While Chortkoff plays and sings occasionally, his real talent seems to lie in matching musicians to material for the best possible result.

Sugar Ray Rayford puts a lot of personality into his delivery and his harp playing is top notch throughout Wrapped Up And Ready. “You Better Watch Yourself” gives Rayford and guitarist Kirk Fletcher plenty of sparring room. Steve Freund returns to blaze a path through a tune he wrote and sang called “The Blues Has Made Me Whole.” While highlights abound on Wrapped Up And Ready, Kirk Fletcher’s closer “Blues For Michael Bloomfield” is a scorcher. Monster Mike Welch joins Fletcher and takes the second solo but truly the whole song is full of guitar soloing so listen close for the guitar tones to change. Clocking in over eight minutes, it serves up a stunning testament to Fletcher and Welch. They channel Bloomfield, filter it through their own styles and deliver an incredibly moving and scalding finale. This is a breathtaking way to end a superb record. I highly recommend picking this one up and I dare you to find all the personnel changes without looking!

A Tribute To Stevie Ray Vaughan

Stevie RayHendrixGuitarMagMy introduction to Stevie Ray Vaughan began with Jimi Hendrix. “Voodoo Child (Slight Return)” was and is my favorite Hendrix tune of all time. By the time I was aware of Stevie Ray Vaughan, sometime in 1986, I had collected all the versions of “Voodoo Child (Slight Return)” I could find. Being 15, unable to drive and living in Podunk, PA, with a paper route and crappy job at the local grocery store did not give me a lot of access to the music I craved so the number was few and I studied them closely.

I did have access to music magazines and if you remember the 80’s you know there was a surplus of them, from Creem to Hit Parader, Rolling Stone and Spin, to my favorite, Guitar For The Practicing Musician. I was and am an LP liner notes nut and Guitar… went even further in depth, analyzing the music and players, sharing influences, writing habits, and of course, instruments. I had yet to get into playing guitar past the noodler stage but serious interest was right around the corner. Mostly I was reading Guitar… for the interviews. I knew little of blues and as a 15 year old listener I had no idea I was already hearing blues from my favorite bands like Led Zeppelin and Jimi Hendrix Experience. Even Tom Keifer from Cinderella was playing blues for me, and mentioned Johnny Winter in a Guitar… interview – a name I tucked away for much later.

StevieRayLiveAliveLPOne day whilst perusing Guitar… I saw an advertisement for an album called Live Alive by a flamboyant looking dude named Stevie Ray Vaughan. A few things piqued my interest. It was a live album and from Iron Butterfly Live, to The Who Live At Leeds to The Jimi Hendrix Concerts and Frampton Comes Alive, I was a live album guy. This Stevie Ray was dressed in a flashy gold coat that matched the ring on his hat and the color of the guitar. He looked like a cowboy who joined Sha-Na-Na. Awesome. But perhaps most intriguing was the inclusion “Voodoo Child (Slight Return).” Now I was really interested. I filed this away too.

ColumbiaHouseAdA short time later I saw this album in an ad for Columbia House Music Club. Get 12 LPs for a penny! A penny? Damn. I had a penny. I decided this Ray Vaughan guy would be worth the hassle of taping a penny to the card, so I picked 11 LPs since Live Alive was a double and counted as two selections, and mailed in my card – ever hopeful the penny would stay affixed. I still wonder how many they got without that penny. Anyway, I would deal with the purchase requirement later, once Mom realized I signed her up for Columbia House. Six to eight weeks later my box of records arrived and I excitedly opened my cache of music.

I found “Voodoo Child (Slight Return)” and cued it up on the turntable. Holy shit. This is amazing. A little different in the opening but he nailed the feel of it. It sounded like Hendrix to me. People haven’t always covered Hendrix tunes like they do now. For a while they were like sacred texts, plus no one really wanted to be judged in comparison Jimi. Stevie didn’t care. He loved Hendrix and was going to play the music. He inhabited the music. I was stunned. This was incredible. After my “Voodoo Child” induction to Stevie Ray, I went back to the side one of the LP and digested the whole thing through, all the while checking out the photos on the inside cover of this marauding, mariachi pirate kicking his guitar, wearing Native American headdresses, and hamming it up with his band. Who is this guy?

StevieRayLiveAliveInsideCover

At this point I wasn’t completely sold on Stevie Ray. I loved the Hendrix, and the fast tunes like “Pride And Joy” and “Love Struck Baby” but still, I was regretting my exclusion of his other albums in my 12 for a penny deal. Over the next year I eventually picked up “Texas Flood,” and “Couldn’t Stand The Weather” which I enjoyed quite a bit. I was in shock when I heard “Scuttle Buttin’.” That was the fastest thing I’d ever heard and I was, at this point, quite a metal head. Still, SRV was just one more guitar player I liked. Sometime over the course of the year, I turned sixteen, won $50 in a school poetry contest and ventured into the world of bootlegs with the winnings. I’ve been trapped there ever since. I found a cassette bootleg of Stevie Ray Vaughan live at Loreley. It had no track list, no label, and no specific date but it was marked as a soundboard recording. My young ears had heard some really crappy Led Zeppelin audience boots, so soundboard drew me in. I paid eight 1987 dollars for the tape and it transformed me from casual SRV fan to apeshit wingnut in just under 90 minutes. He actually pulled off “Scuttle Buttin’” live and it was better! Plus “Voodoo Child (Slight Return)” and sick versions of “Little Wing” and “Third Stone From The Sun.” Third. Stone. From. The. Sun. What?

StevieRayLiveInJapanWithPipeCloseUpThat was it. All bets were off and my SRV bootleg collecting skyrocketed. I bought them all. Eventually I moved into the realm of VHS bootlegs and came home with Live In Japan January 1985. Out comes Stevie Ray puffing a pipe and casually ripping his way through “Scuttle Buttin’” – it just wasn’t fair. He was too good. My close friend and musical conspirator digested all this along with me and we spent hours watching Stevie Ray’s hands and poring over live recordings. The day “In Step” came out I bought it and took it over to his house so we could hear it together. All the while, I was reading every interview I could find with Stevie Ray Vaughan. I learned a few of his tunes and some of his licks from magazines like Guitar For The Practicing Musician. I even started using GHS guitar strings because of Stevie Ray. Within all this Stevie Ray Vaughan material, I discovered blues. I slowly realized it had been around me all the while.

StevieRayGHSAdStevie Ray Vaughan, even at his most drug-addled and intoxicated, was always talking about his heroes. People like Jimi Hendrix, Albert King, Freddie King, B.B. King, Lonnie Mack, Buddy Guy, Hubert Sumlin, and his big brother Jimmie Vaughan. I checked out all these guys and discovered a world of music that slowly redirected my attention away from metal. Naturally it was at this point I seriously regretted buying a Charvel guitar. The Jackson-cut headstock and fire-engine red finish weren’t very bluesy. Anyway, I tied this information together with what I learned from reading about the blues adored by Led Zeppelin and Jimi Hendrix. I also recalled that name Tom Keifer dropped in an interview a few years earlier: Johnny Winter. Johnny Winter and Stevie’s work with Lonnie Mack led me to Alligator Records. My listening has never been the same.

I will always remember where I was when I heard Stevie Ray Vaughan was dead. Keep in mind this was 1990. I had no internet. No texting; no tweeting. The 24 hour news cycle hadn’t even been born yet. That came later with the first Gulf War. I was in my room, waiting for a friend and listening to Neil Young & Crazy Horse. My friend arrived and asked if I heard. Heard what? Stevie Ray Vaughan is dead.

What? How? Where? I teared up. I felt like I had been sucker punched. I felt like I knew him from listening to him pour out his soul in his music. I read all the interviews. He was clean and sober and helping others get their lives together. He was playing great, touring a hot new record and had just made a record with his brother. How could he be gone? I must admit that when I heard the circumstances of his death my first reaction was why wasn’t it Clapton? Callous I know. Sue me. I took his death hard. Only my grandmother’s death has affected me more. I felt empty and hurt. A huge black hole now existed in my musical universe.

StevieRayOneOfTheLastEventually I started trying to fill that hole and find someone else with that sound. No one else at that time sounded like Stevie Ray Vaughan. I looked. I dug up Tinsley Ellis, Smokin’ Joe Kubek, anybody who played blues with a Strat – I tried them out. I found a lot of great music and my journey deeper into the blues began in earnest. Without Stevie Ray’s death I may have never discovered Ronnie Earl or Roy Buchanan, Jimmy Thackery, Walter Trout, or even more recent guys like Chris Duarte and Mato Nanji. I also discovered I loved most styles of blues and went back to the masters like Muddy Waters, Howlin’ Wolf, Robert Johnson, and Son House. My musical universe expanded greatly but the black hole has never been filled. I’ve just learned to accept it. I did not know Stevie Ray Vaughan and never met him in person, but I loved him and I miss him to this day. I miss the music that could have been and the powerful force for good he represented by helping people and always humbly directing others to those who came before him to whom he felt indebted. He was a class act, amazing musician, and a respectful, unpretentious human being. Stevie Ray Vaughan continues to inspire me and his music lifts me up whenever I hear it or play it. Not a day goes by without thinking of something or hearing something Stevie Ray Vaughan related and in many ways that makes me very happy. Fly on little wing, fly on…

Fresh Biscuits! Two For Tuesday CD Reviews

Well Biscuiteers, we were very busy last week and it was capped by a trip to Rochester to see Dan Baird & Homemade Sin so I didn’t get to the Friday Fast Five Reviews. So, today we’re going with a favorite American radio cliche and do Two For Tuesday. Fast Five should be back this week but we have some other things lined up too so we’ll see what happens. Until then…

BillyThompsonFriendCDCoverBilly Thompson

Friend

Soul Stew Records

Released September 2013

Friend is a fitting title for the new album from Billy Thompson. He is joined by many musicians he calls friend, and many of the songs address relationships in society that would benefit from amicable, friendly relations. In opener “Soldier of Misfortune” Thompson sings about the effect of the military industrial complex on our society and the lives it affects, including soldiers returning injured, both mentally and physically. They need a lot of things, not least of which is a friend. Thompson’s stinging guitar punctuates his points and he pours out his distress at the situation through his playing. “Many Faces” addresses racial and cultural divides that could be eliminated if we focused on our commonalities – a friendly notion indeed. Billy’s friend Ron Holloway sits in on sax, contributing a spirited solo and tasty fills.

Billy Thompson’s style reminds me of Little Feat so I wasn’t surprised to learn Kenny Gradney and Bill Payne sat in on Friend. “Garden” features Bill Payne on keys and has a churning beat and greasy slide. Thompson’s voice is a perfect blend of Lowell George and Paul Barrere and makes this sound like long lost 70’s Feat. That’s a good thing. “Satisfied” features both Gradney and Payne, and drummer Eric Selby lays down a driving, marching beat. Thompson’s guitar work is slippery, slick, and slithering. This is a fast paced rocker and will definitely get you moving. “Got To Be Did” has a Little Feat feel too and features no one from Little Feat at all. Four songs on Friend feature the keyboard talents of Mike Finnigan. You may have seen Finnigan’s name in the credits for Jimi Hendrix’ Electric Ladyland or from The Phantom Blues Band. Finnigan’s chops are in fine form on Friend. All the keyboard players on Friend, including Mike Peed and Wes Lanich, add depth and intrigue to the music. They keyboards serve as a great counterpoint to Thompson’s guitar and in other places provide layers of sound.

Friend is a highly satisfying album and covers a lot of bases. The stellar musicianship and the friendly attitude between the bandleader Billy Thompson, his guests, and his road band allowed the best possible music to be made. Friend came out in 2013, and if you missed it, here’s your chance to catch up with this tremendous music.

 

JBlakeWhenYouComingHome300x300J. Blake

When You Coming Home?

Independent release

Released August 2014

When Are You Coming Home? is the debut disc from New York City’s J. Blake. The title track is a slow burning blues tour de force. At five and a half minutes it’s the longest tune of the set and he leaves it all hanging out. Impassioned vocals, searing solos, and a broken relationship spin into a perfect storm. “When You Coming Home?” is one of three tunes written or co-written by Blake on the disc including opener “Ain’t No Good (At Lovin’ You)”. This swampy blues showcases J. Blake’s gritty vocals, and the lyrics are a twist on the classic tale of woe. Instead of the woman complaining about his running around and drinking, he’s laying it out for her instead, without apology and without remorse. There are several twists on the record and they make for an enjoyable listen, especially given his choice of covers.

J. Blake has a knack for making covers interesting. Sometimes I hate covers, especially when a million and one people have done the song, like “Spoonful.” A lot of people know the Howlin’ Wolf version and maybe even more know the Cream version and somewhere in between you get the style of most covers. Blake deconstructs “Spoonful” and rebuilds it as a smoky jazz club tune to be played around 2 am when booze soaked patrons are looking around at their final options to stave off loneliness yet again. Keyboardist Stephen Hastings owns this version and his cascading runs make you forget about the guitar heavy versions of “Spoonful” you’ve heard all your life. The rhythm section of Mike Berman on bass and Scott Hamilton on drums work magic on this track too, as does J. Blake, who avoids the guitar histrionics and overwrought vocals in exchange for a gentler delivery all around. This is a great re-imaging of a classic tune.

Blake twists another classic around in knots too with Led Zeppelin’s “Rock And Roll.” He puts it to a Bo Diddley beat and his almost whispered vocals are the antithesis of the wailing Robert Plant. It’s a fitting tribute to a band notorious for keeping lyrics and eschewing the original music in exchange for the more dynamic Page riffery. Blake makes great use of the Diddley beat and you’ll be scratching your head wondering what other Led Zeppelin tunes could be turned on their heads this way. Blake may have only a few original compositions on the disc, but his rearrangements of others are inventive and certainly original. This is an auspicious first step and I look forward to the future.

Hump Day! Risque Tunes For Your Midweek Blues 8/20/14

It’s Hump Day and that means blues. Low down, dirty, grinding blues. I’ve read that the bigger the cushion, the sweeter the pushin’ and apparently a lot of blues musicians have heard the same thing. For decades, bluesmen have been chubby-chasing and lusting after big-legged women. Even Leadbelly sang about loving a big fat woman.

ChickWillisStoopDownChick Willis was famous for his risque song “Stoop Down Baby” and his ribald lyrics have permeated his work all throughout his career. The one we picked for Hump Day is “I Want A Big Fat Woman.” There’s no double-entendre there. It’s quite clear. Bring on the heavy weights and get it on!

 

bobcorritore_1According to his website, Bob Corritore is “considered among the top traditional blues harmonica players on the scene today. Additionally he is the owner of the Rhythm Room, the radio show host of “Those Lowdown Blues” on KJZZ, the founder of Southwest Musical Arts Foundation, the editor and main writer of the Bob Corritore Blues Newsletter, an official endorser of Hohner harmonicas, a Keeping The Blues Alive award recipient, a grammy nominated harmonica player and producer, an honorary member of Collectif Des Radios Blues, and a great fan of, and active participant in blues music in general.” And he also wants a big fat mama. 

BnoisKingSingsSmokin’ Joe Kubek & Bnois King have made our Hump Day list before with “My Space Or Yours.” Bnois has an eye for the ladies and he likes a healthy, healthy mama. Not surprisingly it comes from an album called “Roadhouse Research.” I’m betting Bnois wasn’t just sampling the menus and beer on tap.

 

 

 

Happy Hump Day Biscuiteers! Get movin’!

Chick Willis I Want A Big Fat Woman

Bob Corritore Big Fat Mama

Smokin’ Joe Kubek & Bnois King Healthy Mama

Fresh Biscuits! New Releases For August 19, 2014

It’s fresh biscuit time again. There’s a movement afoot to change the release day to a worldwide Friday schedule. What’s with the Tuesday release schedule in the United States? Why not Monday? It’s the first day of the business week. But retailers don’t want to have to set up new displays on a Sunday night after a busy weekend sales day. So there’s a buffer zone of a day. But Friday works too for new releases because Thursday is traditionally a slower day in retail and gives everyone plenty of time to get the new stuff out. In the height of the CD era, having time for displays was a big concern. There were tons of releases every week, sale signs to set up, and promotional materials to display. Recently the labels don’t send out much promotional material. CDs don’t move like they used to, and in the digital age, titles released abroad on Friday are on the internet by Friday night slowing sales when Tuesday comes around here in the USA. I think Friday is a good idea. What do you think? If you want to read the article on Billboard click here or the link above.

Release day is still Tuesday for now, and today we have a slew of interesting new releases from a varied array of blues and roots music artists. Elvin Bishop is back on Alligator Records with a houserockin’ new disc, Mud Morganfield and Kim Wilson have their tribute to Mud’s dad McKinley – read our review here – and one of my favorite modern Chicago bluesmen Linsey Alexander has a new disc out on Delmark. I can’t wait to hear that one.

 

Ruthie Foster

Ruthie Foster Promise Of A Brand New Day

Mud & Kim

Mud Morganfield and Kim Wilson For Pops (A Tribute To Muddy Waters)

Elvin Bishop

Elvin Bishop Can’t Even Do Wrong Right

Sugar Ray

Sugar Ray & The Bluetones Living Tear To Tear

Linsey Alexander

Linsey Alexander Come Back Baby

J. Blake

J. Blake When You Coming Home?

Silvertones

The Silvertones Silvertone Avenue

Professor Longhair

Professor Longhair Let’s Go to New Orleans: The Sansu Sessions

Fresh Biscuits! Friday Fast Five CD Reviews – August 15, 2014

Welcome to the second installment of the Friday Fast Five! There seems to be a roadhouse theme that appeared as I was writing these reviews. Each artist featured would satisfy even the rowdiest of Hank Jr’s friends. They can all play sweet, soothing blues but it’s the barnburners that really set them free. If you’re looking for some good time, rough and tumble blues this weekend maybe one or all of these albums will kick it up a notch. As always, feel free to comment, argue, and tell me I’m way off base. Comment here, Facebook or Twitter.

JohnMayallASpecialLifeJohn Mayall

A Special Life

Forty Below Records

Released on May 13, 2014

Another John Mayall record? Is there really such a thing as just another Mayall record? Let’s find out. John Mayall has spent his life playing and singing the blues and it has certainly been A Special Life indeed. The Godfather of the British Blues has become a legend just for introducing the world to legends like Eric Clapton, Peter Green, Jack Bruce, Mick Taylor, Walter Trout, and several others. However, along the way he has amassed a catalog of roots and blues music almost unparalleled by other blues musicians. Mayall is a consummate musician and bandleader and seems to never begrudge his students when they outshine the teacher. He is a gentleman of the blues.

A Special Life is the gentleman’s new album and it bristles with excitement and energy. “Why Did You Go Last Night” kicks off the album in New Orleans style as CJ Chenier sits in for a rollicking romp through his father Clifton’s tune. “Speak Of The Devil” revisits Sonny Landreth’s tunes with tough lead guitars and Mayall’s robust but plaintive tenor. “That’s All Right” takes us to Chicago via London and “Big Town Playboy” is a strutting Texas roadhouse shuffle. Too my ears, “Floodin’ In California” is Mayall’s shining moment on A Special Life. On this Albert King tune, Mayall’s levee breaks and the tune is flooded with waves of agonized organ artistry. It’s beautiful and immensely moving. Mayall also plays some lead guitar on the tune and leaves the King Albert licks to Rocky Athas.

A Special Life is well-produced, crisp, effervescing record from an 80 year old musician. Let that sink in for a moment. He’s singing great, playing well, and still writing excellent tunes about his passions. Whether he’s singing, blowing harp, or rocking out on the guitar, he’s putting younger men to shame. There will be a time someday when there will be no more new music from John Mayall, so to answer my own question, no. There is no such thing as just another Mayall record and this one proves it. Enjoy it.

 

LeeDelray570-BluesLee Delray

570-Blues

Available at CDBaby

Released Spring 2013

570-Blues came across my desk last year and unfortunately I wasn’t able to place a review of it anywhere. We’re going to fix that right now. 570-Blues is a solid collection of modern electric blues. What does that mean? Is it generic blues? Far from it. Lee Delray mixes styles of his influences. You can’t really tell if he’s playing a B.B. King lick or an Albert Collins lick. Maybe it’s Luther Allison. Maybe you shouldn’t analyze it so much and just enjoy it. He’s a New York City white boy and he knows his way around the blues. He’s even been sanctified by the Chubb Fatha himself, Popa Chubby. “Don’t Tell me I Can’t Get The Blues” tells Lee’s tale of blues living and street-side schooling and displays a lot of the guitar chops he’s picked up along the way.

Lee Delray’s guitar playing is good; maybe too good. I hear him play and I just want to hear him cut loose and roughen the edges a little. Some of 570-Blues feels like Lee is holding back in his guitar playing. Maybe it’s the recording studio environment. To paraphrase John Lee Hooker, Lee you’ve got it in you and you gotta let it come out! Let that boy boogie! I had this feeling most of the way through 570-Blues and then came “No Time Blues” This was it. Lee’s playing on this one is incandescent and worth the wait. Lee rips it wide open and lets loose in a way the rest of the albums suggests he could but never did. How’s that for a convoluted sentence? My head was still spinning I guess. 570-Blues is a great jumping off point and promises a tremendous future for Lee Delray who has musical chops, good songs, and an expressive singing voice. Now let’s get out there and see him live!

 

RBStoneLoosenUpRB Stone

Loosen Up!

Middle Mountain Music

Released on June 18, 2013

RB Stone’s voice sounds like Johnny Van Zant. You can say what you want about modern Lynyrd Skynyrd and I’d probably agree with most of it but Johnny has a hell of a voice and so does RB Stone. It’s got warmth even when singing lyrics that come with a wink and a nod. He sounds like he having fun, but he wants you to have fun right along with him. His singing style and intonation perfectly match his roadhouse ready tunes. His guitar playing ain’t to shabby either. His songs are adeptly constructed. He matches his bemused lyrics with just the right riffs.

The album also benefits from the sturdy production of “Producer of the Blues Stars” Tom Hambridge. Hambridge is also a fine musician and writer, and he pays drums on Loosen Up! The tunes range from the poignant “God Heals You When You Cry” to the hard driving “I Ain’t Buying That Bull Today.” “Texas Drunk Tank Blues” is exactly what it says and has an appropriately rollin’ and tumblin’ beat. Album opener “High Horse” sets the tone for the whole of Loosen Up! with its Telecaster shuffle and smirking lyrics about cutting loose and having a good time for once in your pontificating life. Loosen up indeed.

RB Stone’s guitar playing is impressive and he’s equally adept on slide, punctuating the title track “Loosen Up” with appropriately greasy licks. RB unleashes the slide on a cigar box guitar too, which appears on “Harley Heart,” the breakneck album closer. This is fun, booze-drinkin’, pool-shootin’, dust-kickin’, duck-walkin’, house-rockin’ boogie on a Saturday night and Sunday’s comin’ much too soon music. Loosen Up! has also been floating around my desk and made it into my car a few months ago and I’ve been enjoying the Hell out of it since. Send all your speeding tickets to RB. They’re his fault.

 

Nighthawks444The Nighthawks

444

EllerSoul Records

Released on June 17, 2014

I’ve always thought of the Nighthawks as a Rock & Roll band. Hell, their first album 40 years ago was called Rock ‘n’ Roll. It comes as no surprise that 40 years on The Nighthawks are still out there beating the drum for early Chuck Berry and Elvis-style Rock & Roll. Sure they play the blues and sure they’ve backed up every Blues legend who ever rode through the Washington, DC metropolitan area, and sure they’ve spawned a pair of legends themselves in Mark Wenner and Jimmy Thackery, but at their heart is a Rock & Roll band. This is a good thing. It keeps moneymakers moving and grooving way until the break of dawn. 444 is a throwback to the early days of Rock & Roll. Please note I’m not saying “Rock.” We’re talking Rock & Roll: boogie that swings, bounces, bops, and pops. It’s Chuck Berry’s sped up blues and the Nighthawks know it inside out.

Thankfully The Nighthawks aren’t as rhythmically repetitive as Chuck became, and they cover a lot of ground, from the acoustic roots of Muddy Waters’ “Louisiana Blues” to The Du Droppers’ vocal workout “Walk That Walk.” The title track “444” is one of those classic “had the girl out to late” tunes that were popular in the era before profanity. It chugs along with the urgency of a young man being chased by her angry daddy. “Got A Lot Of Livin’” absolutely pops. Mark Wenner’s howling harp is all over the record. He has a rich, thick tone that never gets to the fingernails-on-chalkboard screeches employed by lesser mortals. The band’s line-up has been somewhat unstable over the years but Wenner has held it all together and still puts out excellent Nighthawks music. If you’ve got the blues and need a pick-me-up, grab your girl and keep her out late cuttin’ the rug to 444.

 

ChrisOLearyLiveAtBluesNowChris O’Leary Band

Live At Blues Now!

VizzTone Label Group

Released on August 12, 2014

Chris O’Leary is the former front man of Levon Helm’s Barnburners. The Chris O’Leary band was formed in 2007 around a tight group of road warriors. Chris’ years spent with the Barnburners, backing up an eclectic mix of musicians at Levon Helm’s New Orleans club, and touring the country afterward, turned him into a musical medium. He channels a multitude of blues & soul styles authoritatively. It’s hard to believe he grew up closer to Albany, New York than New Albany, Mississippi. The blues pours out of his fuzz-drenched, raspy harp and his band is right there with him at every twist and turn. After two successful and acclaimed studio albums, this red hot combo has unleashed a sizzling live album.

Live At Blues Now! has tunes from both studio albums and a grooving, bouncing version of Billy Boy Arnold’s “Wish You Would.” Chris sings some of it through the harp mic and his vocals take on a Howlin’ Wolf snarl. I was really excited to have a live version of “Tchoupitoulas” (that’s “Chop-ih-too-liss” to you and me). If “Tchoupitoulas” doesn’t get you moving you may be dead. Have someone take your pulse immediately. Administer mouth to mouth as desired. It should have you singing and dancing like you’re down at Tipitina’s with the second-line hot on your heels. The whole album, from the opener “Give It” to the closer “History” has incredible drumming. The beats are almost tribal, churning and chopping, like waves of the sea surging and receding, thrusting the band forward, reeling rocking in rhythmic ecstasy.

On “Trouble,” special guest guitarist Alex Schultz rides the rhythmic waves like a man who’s conquered the Pipeline. Chris O’Leary’s harp cuts through like a thrusting oar and keeps the band on course. The shimmering guitars of “Louisiana Woman” and lonesome harp conjure a hoodoo mist across the bayou and “Water’s Risin’” swings, rocks and reels. This is rock & roll blues at its best, combining gospel vocals, Chuck Berry rhythms, and dueling guitars into a spicy gumbo of American music which pretty much encapsulates the Chris O’Leary Band. This band is the real deal. Bring the band into your living room, car, or bayou back porch with Live At Blues Now!

If you are interested in these or any other Fresh Biscuits! click on our link to buy from Amazon or visit the artists pages linked in the reviews. As always, please support the artists!

Hump Day! Risque Tunes For Your Midweek Blues 8/13/14

BuddyGuySlippinInHump day, hump day, hump day! Step right up folks, but keep quiet and low down. We’re waitin’ til your man is gone, sneaking around back, and making a special delivery. I’d say we’ll be your back door man but I wouldn’t want you to get the wrong idea, if you know what I mean.

This week the tunes aren’t as naughty as usual but the characters involved certainly are. What we have are some tunes about sneaking around, covering multiple perspectives. Poor Albert Collins wondering who ate the steak attached to bones left on the dirty dishes, Buddy Guy letting his woman know that her sneaking around back fired, and Mr. Rick Estrin realizing he’s just another conquest of a woman sneaking around on her fiancee during the Blues Cruise. Oh, how wicked the women are in the world of blues. They’re as fickle as can be. The whole lot of them are immoral tarts and we love them. And so does everyone else apparently…

 
Albert Collins – Too Many Dirty Dishes (Montreux 1992)

Buddy Guy – Someone Else Is Steppin’ In (Slippin’ In)

Rick Estrin & The Nightcats – (I Met Her On The) Blues Cruise

 

Fresh Biscuits! New Releases For August 12, 2014

Last week was barren for new releases but there are several exciting new albums this week. Alexis P. Suter Band’s highly anticipated CD is out today. You can find our review of it here. There’s also a hot new live record from Chris O’Leary Band and an archival Louisiana Red release of a live show from Greece. This week boasts a bunch of releases from abroad, showing yet again the reach of pure honest music played by not-always-pure, mostly honest musicians! Blues truly is thriving outside the United States and you owe it to yourself to check out some International Blues.

PS: Paul Lamb’s website says his new CD came out June 16th. If that’s the case I’m sorry we missed it. It’s on the the list now and #thatsahotbiscuit !

Alexis P. Suter Band Love the Way You Roll

 

 

 

 

 

 


Chris O’Leary Band Live at Blues Now

ChrisOLearyLiveAtBluesNow

 

 

 

 

 

 

 

Arsen Shomakhov Dynamic

ArsenShomakhovDynamic

 

 

 

 

 

 

 

Innes Sibun Lost In The Wilderness

InnesSibunLostInTheWilderness

 

 

 

 

 

 

 

Jay Willie Rumblin’ & Slidin’

JayWillieRumblinSlidin

 

 

 

 

 

 

 

Louisiana Red The Sky Is Crying

LouisianaRedTheSkyIsCrying

 

 

 

 

 

 

 

Mick Abrahams Working in the Blues

MickAbrahamsWorkingInTheBluesKitchen

 

 

 

 

 

 

 

Paul Lamb & The Kingsnakes Hole in the Wall

PaulLambHoleInTheWall

 

 

 

 

 

 

 

Rob Tognoni Casino Placebo

RobTognoniCasinoPlacebo

 

 

 

 

 

 

 

Smoky Babe Way Back in the Country Blues

SmokyBabeWayBackInTheCountryBlues

 

 

 

 

 

 

 

Nick Woodland Beacon

NickWoodlandBeacon

 

 

 

 

 

 

Fresh Biscuits! Friday Fast Five CD Reviews August 8, 2014

Welcome to the first installment of Friday Fast Five CD Reviews. I hope to do this every week. There’s a lot of music out there to sort through and we’re here to help you find something appealing. The idea is to present five short and to-the-point reviews in 300 words or less. Yeah, I didn’t think I could do it either!

Maybe you’ll love something I don’t and maybe you won’t like something I love. Be sure to comment here, or on Facebook or Twitter. Alright, let’s get to it…

 

AndyTNickNixonBand-LivinItUpAndy T & Nick Nixon Band
Livin’ It Up
Delta Groove
Released June 17, 2014

Livin’ It Up is the follow up to Andy T & Nick Nixon’s 2013 breakout album Drink Drank Drunk. It’s big but uncluttered, crisp, clean Rhythm & Blues. Nick Nixon has a smooth voice and a heartfelt delivery. Andy T mixes classic guitar influences from T. Bone Walker to Jimmy Rogers into a personal style with rich tone that avoids being derivative. These guys know the importance of creating your own music beyond your influences and they do it well. They claim to play Chicago, Texas, and New Orleans Blues and R&B. Somehow they manage to wrap all those styles into a singular package without getting messy or losing the plot.

“Livin’ It Down” is ostensibly the title track. She undoes everything he has and while she’s out there livin’ it up, he’s trying to live it down. He had his “ducks in a row and she shot ’em.” That’s cold! The words are playful and fun even though Nixon gets continuously dumped on by his erstwhile love. Nick Nixon is a consummate vocalist and varies his intensity according to the song. He can be silky smooth or rasp saw rugged and Andy T plays exactly what’s needed to accompany his partner’s voice. Both men work for the song, making every track a keeper. The band falls in behind and consistently delivers big grooves and deep blues. Larry Van Loon is a master of Hammond B3 dynamics and Ron Jones and Dana Robbins shine on saxophone. Producer Anson Funderburgh puts it all in the blender and serves up fresh organic blues with the finest ingredients. If you want fun, good time blues with a vintage feel this is your band.

 

AnthonySherrodRedsJukeJointSessionsAnthony “Big A” Sherrod & The Cornlickers
Red’s Juke Joint Series Vol. 2
Independent
Unknown release date – Summer 2014

Anthony “Big A” Sherrod is around 30 years old, plays guitar like a man possessed, sings from his soul, and entertains a crowd like he was born for the stage. He’s the total blues package and very few people have heard of him outside Clarksdale, MS. Very little about him can be found on line and if not for his two stellar performances at Briggs Farm Blues Festival this past July I’d know even less about him. This CD was, as the title suggests, recorded at Red’s Lounge. Red’s is one of the last true jukes in Clarksdale and is featured heavily in the film We Juke Up In Here. Big A is also featured in the film and wrote the title song for the film. This disc captures the energy of Big A’s live show, backed by Big Jack Johnson’s former band, The Cornlickers. The Cornlickers are tight and know every blues lick ever played, every rhythm, every chord. The music in their collective soul and they get the house rockin’ every time.

Sherrod works the crowd like Buddy Guy, and even covers one of Guy’s latter day tunes “Midnight Train.” In his hands it becomes a raucous down home jam instead of the Jonny Lang-overwrought-singing, big-production crossover blues. Anthony plays it so funky you could smell it – something Buddy should have done. “Big A” personalizes “Have You Ever Been Mistreated,” bends the notes long and hard and heats things up by having Rita Engedalen join in for a vocal duet. At the center of the album is a nine minute excursion called “The Blues Is Serious.” Even though Big A has some fun with it and the crowd, you can tell this young man is a serious rising star. The set closes with a raucous “Got Something On My Shoulder,” with Anthony digging deep and playing from the gut. This is good time, Mississippi groove music and it translates well to disc. Keep an ear to the ground for Anthony “Big A” Sherrod. His train will be leaving the Delta shortly and hopefully coming to a stop near you.

Roger Stolle has informed us that Anthony’s CD is available to order from his store in Clarksdale, MS – the legendary Cat Head.



Joe-Louis-WalkerStonyPlainJoe Louis Walker
The Best Of The Stony Plain Years
Stony Plain
Released June 17, 2014

Joe Louis Walker has been on his share of labels, which happens with a lot of blues artists. Stony Plain has released a selection of tunes from his tenure there. From 2008 to 2010, Joe Louis Walker made three records, 2008’s Witness To The Blues, 2009’s Between A Rock and The Blues, and Live On The Legendary Rhythm and Blues Cruise in 2010. I like it best when Joe rocks it up a little and there is plenty here to scratch that itch from “Eyes Like A Cat” and “I’m Tide” to “Slow Down GTO” but there’s something for everyone here. There’s the big band R&B of “Black Widow Spider,” the jazzy jam of “Highview,” the heart-wrenching soul of “You’re Gonna Make Me Cry” featuring Curtis Salgado, and acoustic back porch blues on “Send You Back.”

JLW’s plaintive vocals and outstanding guitar playing are mainstays of the collection no matter what direction Joe sends the music. Part of the fun of a Joe Louis Walker record is wondering where it’s going next. He’s a blues man by trade but he is a well-rounded musician who draws inspiration from a multitude of sources. He has become a master of compiling those sources on record and keeps them coherent. The Best Of The Stony Plain Years gives a glimpse of all Joe’s styles and because of his eclectic tendencies, this works well as a standalone album.

 

RickEstrinNightcatsLiveRick Estrin & The Nightcats
You Asked For It…Live!
Alligator Records
Released July 8, 2014

Rick Estrin & the Nightcats are the result of Little Charlie Baty retiring in 2009. The band Little Charlie & The Night Cats changed the name, added Chris “Kid” Anderson on guitar and took off with their new moniker. The sound has remained familiar as Estrin has always been the singer, harp player, and principal writer. His sly lyrics, self-deprecating humor, and astute word play make the songs interesting and the band can play anything. They can get deep in the pocket, funk it up, or dust up the boards with a rollicking shuffle. The new disc, by popular demand, is You Asked For It…Live!

There’s a lot of good humor here including “My Next Ex-Wife,” “New Old Lady,” ‘Dump That Chump,” and “That’s Big.” Estrin’s harp playing is in fine form all over this album and it no surprise that he is every bit as good live as he is on record. Kid Anderson has settled into his role whether comping behind the soloist or burning up the fret board. He’s a full-blown Nightcat by now and brings a lot of energy to the band. “Smart Like Einstein” gives everyone a chance to jam and keyboardist/bassist Lorenzo Farrell plays his ass off, and effortlessly covers the deep end even when working his magic on the keys.

Surprisingly, the disc has no tracks from the band’s two albums as Rick Estrin & the Nightcats, so I’m not sure how well it represents their live show, but it’s only one disc and maybe they didn’t want to repeat recent offerings. What we do get on You Asked For It…Live! is energetic and entertaining especially with Estrin’s stage banter and stories. Whatever the reason, if You Asked For It…Live!, you got it: 76 minutes of fun.

 

SuitTyThurrstyPeopleInTheStreetCDSuit Ty Thurrsty
People In The Street
FYI Music
Released December 16, 2013

Suit Ty Thurrsty play Blues, Rock, Funk, Soul, & Hip-Hop. I don’t know if it’s a new hybrid or not but they are convincing. The trio is named for its members Tom “The Suit” Forst, Tyree “TY” Pope, and Pedro “Bigg Thurrsty” Johnson. Their assorted backgrounds meet in R&B and Soul and their music weaves in and out of the modern R&B idiom. This isn’t James Brown’s R&B nor it is blues, but it’s not not-blues either. It’s a peculiar mix. Many songs have group vocals that maintain the R&B/Soul vibe, however, much like the real People In The Street, there is a lot of diversity here. “You Make Me Real” draws from ballads of sidewalk soul singers and “Drawers” rips everything wide open with its punky metal blues. There are nods to Jimi Hendrix all over this record, most obviously on “Diamonds” which has parallels with “Purple Haze,” especially during the verses. “Same Old Song” is the closest to straight blues but it also has a 70’s blues rock feel and squealing ZZ Top style guitar leads.

Suit Ty Thurrsty is trying to be a lot of things at once and while I can appreciate the desire to avoid being pigeon-holed, sometimes you need to establish a tone for your music and build from there. People In The Street has the feel of throwing everything at the wall to see what sticks. It’s messy and scattered and even includes a bonus track alternate version of “Same Old Song.” It’s like they’re saying “if you didn’t like the hard blues version here’s a funky urban version.” Their overall success might be better served if they pick one and stick with it. They do offer samples on their website so check it out.

Hump Day! Risque Tunes For Your Midweek Blues 8/6/14

TampaRedOnGuitarI don’t know how it happened but this week’s Hump Day theme turned into “tight.” Maybe it’s the tight schedule I’ve been on lately. Maybe by socks are too tight.

Tampa Red has been featured here before. I’ll give you a nickel if you remember what song. Hey, a nickel could buy you a lot of sin in 1928! You supply the Time Machine. This time Red is paired with Georgia Tom, aka Thomas Dorsey, the father of black gospel music. I didn’t realize there was white gospel music – I think it’s referred to as Christian Rock. Long before either though, Tampa Red & Georgia Tom teamed up for some bawdy blues. Can you picture St. Peter at the gates of Heaven humming “It’s Tight Like That” when he saw Georgia Tom in line? Mr. Dorsey was probably sweating that one.

GeorgiaTomNext up is Barrel House Annie with a song loosely related to our topic. “If It Don’t Fit, Don’t Force It” is good advice for any situation, especially a tight one. Hell it worked for OJ when everybody thought he was sincerely, irrevocably fu… Shut your mouth!

As a bonus we’ve got a modern version of the Sippie Wallace classic “Mighty Tight Woman” featuring young Bonnie Raitt performing on a Philadelphia radio show in 1972. She was touring to promote the Give It Up album. There’s a dirty joke in there somewhere. I’ll let you write it.

RAITT-Bonnie-1972-GIVE-IT-UP1That’s it for Hump Day this week. I hope you enjoy this feature. Please comment here or on Facebook or Twitter. Say hello or share some of your favorite dirty blues. On Twitter, search for #thatsoundsdirty and you’ll find some of our other risque blues tweets. Have fun everyone!

 

Tampa Red & Georgia Tom It’s Tight Like That

Barrel House Annie If It Don’t Fit (Don’t Force It)

Bonnie Raitt Mighty Tight Woman