THE BEBOPS COWBOYS WESTERN SWING ORCHESTRA:
CANADIAN DANCE HALL
--by Gary Tate
The Bebop Cowboys, replenished by notables from Canada's Roots, Jazz, Country, and Blues communities, has transformed itself into a Western Swing Orchestra on Canadian Dance Hall CDH harkens to a bygone era, when dancehalls echoed the music heard on Canadian radio: Grand Ole Opry, Louisiana Hayride, National Barn Dance, and similarly inclined Canadian programs.
Perfectly capturing the flavour of those wide-open musical times when swing was the thing, CDH re-awaken memories of legion halls, community ballrooms, and dance pavilions where fun seekers danced their cares away. The understanding of this unique music is deeply imbedded in the DNA of all involved, and this natural inclination meant very special performances were realized. Lead guitarist and Bebop Cowboys co-founder has an amazing set of ears, and has brilliantly navigated the completion of this project. His song-writing skills continue to astound.
Now get a load of the talent assembled here. It starts with Prairie Oyster vocalist Russell deCarle, with whom Steve co-wrote the horn-saturated "tex-mex meets mariachi" Shooting Star. What a hoot! DeCarle further sparkles on the Chris Whiteley composition Like It Was Just The Other Day, and then pulls off the haunting Misery in grand style. It's a stunning reminder of the timelessness of Bob Wills' creations.
Everything is down-home and gently swings throughout, and those virtues are especially engrained in Bebop singer/harpist Howard Willett. Three originals, Dancing On Saturday, Let's Give It A Shot-Let's Give It A Whirl, and Swinging With Grace hold their own with the genre's best. Willett revs up the speedometer on Jump For Joy (the Joe Turner tune). It kicks like mad, while showcasing the talents of the stellar horn section of Drew Jurecka, Chris Whiteley, and Sean O'Connor.
The gals' contributions will motivate you to paint the town. Terra Hazelton deserves a standing ovation for her earthy take on Bob Wills' Brain Cloudy Blues-and check out those` mesmerizing fills by pedal steel guru Burke Carroll. Jazz chanteuse Alex Pangman delights on another Wills classic I Laugh When I Think (How I Cried Over You), while Sarah Harmer's sublime interpretation of Hoagy Carmichael's Stardust is nothing short of inspirational. Chuck Jackson of Downchild Blues really shines on the Steve & Kristin Briggs-penned, That's Why I Ain't Been Home In Years. It's got a melody I can't stop humming. There are high-spirited instrumentals that are joyful to listen to. Yearning, Duke Ellngton's Caravan, and Honkin' Tonkin' Cowboy Blues (aka the Bebop Cowboys theme) are guaranteed to tickle your fancy. The addition of Drew Jurecka on violin adds that necessary ingredient to take things to the highest possible level (classically-trained Jurecka also adorns Jeff Healey's internationally-recognized Jazz Wizards).
If you care about Roots music, then Canadian Dance Hall is required listening.
ORDERING DETAILS:
www.bebopcowboys.com
Western Swing With A Canadian Twist
--by Gary Tate
The Bebop Cowboys and friends honour Western Swing & the Canadian Dancehall Era!
This 6-piece Western Swing outfit based in Toronto is best summarized by the Roger Miller song: "They swing like a pendulum do." Authentic to the core, thoroughly versed in the tradition, it's would be easy to think the Bebop Cowboys originate from Tulsa, Austin, Santa Fe, or Bakersfield. Guitarist extraordinaire and music historian Steve Briggs co-founder along with harmonica wiz Howard Willett, came together after a fortuitous meeting at the school their young children attended. Five years ago they launched the Bebop Cowboys along with pedal steel guru Burke Carroll who is considered a veritable touchstone on the Canadian Roots music scene, and a rhythm section consisting of Dennis Pendrith and John Adames. These 'Boys have also backed up a truckload of Canadian and international artists on stages and in studios, such as Gordon Lightfoot, Raffi, Ramblin' Jack Elliott, Prairie Oyster, the Good Brothers, Shania Twain, George Fox, Carroll Baker, David Wilcox, Diana Reeves, Shirley Horn, and many others.
The standard Swing lexicon is spiced with their own imaginative ear-catching selections that stack up with the enduring classics of Bob Wills & The Texas Playboys, Spade Cooley, Hank Penny, Hank Thompson, Little Jimmy Dickens' Country Boys, and Ernest Tubb's Texas Troubadours. Western Swing's heyday was the years immediately following WWII, but the embers have been fanned since then by dedicated purveyors such as the Bebop Cowboys and Ray Benton's Asleep At The Wheel. Neatly updating Western Swing while still remaining true to the faithful has been their calling, and the Bebops are proud to have played a role in the resurgence---via recordings, performances at clubs and festivals, and on television and radio appearances.
Once in-demand session players were brought in to complete the band, the Bebops polished their repertoire in residency at Toronto's Cadillac Lounge and promptly recorded their first CD, Début: an offering-up of 10 traditional favorites. Since those early days, the Cowboys have become mainstays on the Roots/Rockabilly/Folk/Blues festival circuits, widening their reputation and renown in venues near and far, while regaling audiences in the Western Swing heartland of western Canada. In a relatively short period, the Bebop Cowboys have quickly become known as "Canada's premier Western Swing outfit".
They went on to pen their own original western swing tunes brought together with Briggs' formidable arranging skills, and released their critically-celebrated follow-up, Some Kind of Fantasy in 2003. Tours in western and central Canada followed, and they played the role of presenter with their successful HOMETOWN COUNTRY JUBILEE showcase. In comparing the Bebops to such legendary Western Swing groups as Jimmy Dickens and his Country Boys, and Ernest Tubb's Texas Troubadors. One of Canada's Western Swing Music Society reviewers summed their second release: "Ordinarily such comparisons would be a bit of a reach; believe me, these guys really are this good. Some Kind of Fantasy (their second release) is easily the best contemporary Western Swing recording heard in quite awhile."
The other captivating aspect of the Bebops is their wide ranging versatility, and this ability has allowed for a remarkably seamless incorporation of genres invested with similar rhythmic sensibilities (Jazz, Jump Blues, C&W, Rock 'n' Roll). Perhaps, the only ingredient missing from their talent pool was the lack of a permanent fiddle player, but that omission was rectified recently with the addition of classically-trained violinst Drew Jerecka to the official roster.
Which leads us to their latest release, and as band leader Steve Briggs says Canadian Dance Hall "…is by far the best work the Bebops have ever done." I totally concur. It also confirms their esteemed profile in the Blues, Roots, and Jazz communities, graced as it is by guests like Chuck Jackson (Downchild Blues Band), Alex Pangman, Sarah Harmer, Russell de Carle (Prairie Oyster), Terra Hazelton, Chris Whiteley, Dennis Keldie, and lots of others.
Steve is rightfully pumped up about it, and with 15 tracks including 7 originals, it's guaranteed to be one of the most anticipated releases of the year. It's cheering how that basic configuration of pedal steel, electric guitar, fiddle, harmonica, and keyboards has worked wonders in bringing people together all ages in old-fashioned, stress-relieving celebrations of good times. And nobody accomplishes that objective better than the Bebop Cowboys!
ROLLING OUT THE RED CARPET FOR THE ULTIMATE DOOWOP SHOW
--by Gary Tate
I felt honoured to have witnessed Ultimate Doo Wop Show, a touring show that recently landed at Buffalo's majestic Sheas Performing Arts Center. Here's a taste of some of the highlights of that wonderful evening:
Pittsburgh natives the Skyliners are best remembered for 1959's Since I Don't Have You, written by lead vocalist Jimmy Beaumont and long-time manager Joe Rock. This plaintive serenade closed out the first half of the program in dramatic fashion. It's a joy to hear Beaumont whose voice retains its "fountain of youth" allure. The group's professionalism has been honed by nearly 50 years of performing. Pennies From Heaven, This I Swear, and How Much showcased those soaring harmonies. The Skyliners' sound owes much to the group's unusual incorporation of a female harmony singer into the blend. When Donna Groom--the youngest and most recent addition to the group-hit that stunning C-note at the tag end of Since I Don't Have You, the decades gloriously evaporated into an instant nostalgic haze of American Bandstand, Happy Days and American Graffiti.
Another aggregation of Pittsburgh native sons was the Marcels, who transported us on a magical trip down memory lane. They opened with Heartaches, and closed with their biggest hit Blue Moon. That one sent chills down the old spine! Book-ended between these classics, the Marcels weaved an enchanting medley of standards from the Golden Age Of Rock And Roll (Earth Angel, Sincerely, Sea Of Love, The Still Of The Night), causing those proverbial sands of time to shift into reverse. The Marcels' mastery of the established repertoire appeared effortless. Such authority exercised over sublime and often intricate harmonic patterns is genuine art, and that must never be taken for granted.
The Shades Of Blue, a foursome from Michigan, brought a message of blue-eyed soul to the assembled; and everyone heeded the invitation. Dedicated troopers with countless Doo Wop reunions under their belt, their set was replete with a wonderful commingling of the old and new: 50's ballads, Motown, Beach Music, Pop Standards. Each member displayed formidable vocal prowess on lead vocals, and their cool aplomb shone through the colourful stage lights. Their joy in what they were doing was palpable, and the crowd responded in kind, especially upon hearing that glorious summery anthem, Oh How Happy.
They hailed from Gary Indiana, their genesis dates back to the early 50's, and their gracefully distinctive blend of Gospel and R&B made their songs so achingly beautiful. The term "Doo Wop" was derived from the very intro to Goodnight Sweetheart as uttered by bass Gerald Gregory, but Pookie Hudson was the patriarch of the Spaniels. He commands a level of respect that puts him in a very special category. Before performing, Pookie announced that the cancer diagnosed a couple years ago is now in complete remission, and warmly thanked his fans for their prayers, e-mails, letters, and wishes for recovery. What a thankful occasion! This man is one of my all-time musical heroes! Goodnight Sweetheart, Stormy Weather, You Gave Me Peace Of Mind, a stunning a capella version of Danny Boy, were all inspirational feasts for our collective ears, and acted as a reminder why the Spaniels are probably the most beloved and enduring group to emerge from the halcyon days of Doo Wop.
The Contours from Motown climaxed the show in a frenzied ball of energy, backed by their call-and-response style of hard-edged Soul. The highlight of their set was a stylish tribute to label mates the Temptations. Ain't Too Proud To Beg, The Way You Do The Things, and Get Ready accelerated things toward a funky direction. These guys displayed more moves than the June Taylor dancers! Those dance crazes of the 60's were an important feature of teen culture, and this set emphasized how that aspect enhanced our enjoyment of the music. As the curtain fell, and the pulsating strains of Do You Love Me reverberated in the air, one pondered the emotional bonds linking this group and so many other majestic ones with their legions of fans over the decades.
My generation grew up along with them, and they provided an outlet to express our inner emotions, in ways that can't be expressed satisfactorily in words. So when the Ultimate Doo Wop Show hits your town, circle the date on your calendar, and then get ready for three solid hours of enduring nostalgia and first-class entertainment.
TED HAWKINS: SONGS FROM VENICE BEACH (EVIDENCE)
TED HAWKINS: THE NEXT HUNDRED YEARS (GEFFEN RECORDS)
TED HAWKINS: THE FINAL TOUR (EVIDENCE)
--by Gary Tate
Grizzled busker Ted Hawkins was a mainstay at Venice Beach, California for years, along with his ever-present guitar and milk crate for a stool. Enchanting locals and vacationers with wonderful renditions of Sam Cooke, Brook Benton, and Curtis Mayfield songs, the attentive also discovered sensitive compositions that reflected the man's inner soul. That weathered, yet uplifting voice, stopped listeners dead in their tracks.
Although Hawkins was "discovered" by Bruce Bromberg of Hitone Records, it would take another 20 years before he went "legit" and cut back on his sidewalk serenading. Those decades spent as a soul-drenched Folk artist singing along boardwalks added a "one-of-a-kind" dimension to your typical singer/songwriter profile.
Songs from Venice Beach from 1986 was his introduction, but The Next Hundred Years, released in 1994, put him firmly on the wider audience map.
Hawkin's life is evidence that timeless music is often the product of the most dire circumstances, given he surmounted grinding poverty, jail, maternal abandonment, and years of aimlessly drifting across the United States. Thankfully before passing on New Year's Day 1995 he experienced the joys of success, performing in clubs like the Bottom Line and CBGB's in New York, The Fillmore in San Francisco, and overseas in places like Dublin, Amsterdam, and Hamburg.
Ted Hawkins made our lives much richer.
ORDERING DETAILS:
www.amazon.com
BABY WASHINGTON: THAT'S HOW HEARTACHES ARE MADE (COLLECTABLES)
BABY WASHINGTON: SUE SINGLES (KENT U.K.)
BABY WASHINGTON: I'VE GOT A FEELING…THE BEST OF (EMI/STATESIDE)
BABY WASHINGTON: FOR COLLECTORS ONLY (COLLECTABLES)
--by Gary Tate
Fate has often denied fame and recognition to countless artists in proportion to their artistry. But the gods were really working overtime in the case of R&B vocalist Baby Washington, who never made any significant crossover impression whatsoever----despite a succession of quality releases. Her delectable, sultry, and gorgeous vocals were the perfect blend of Gospel, Soul, and Pop, and she deserves a place in the same rarified company as Aretha Franklin, Etta James, and Gladys Knight.
Illustrious British Soul legend Dusty Springfield cited Baby Washington as her all-time favourite singer and number one influence. The resemblance is so remarkable it's uncanny. To the uninitiated, it's easy to assume that longingly earthy voice belongs to Springfield. At least Dusty had the grace to acknowledge the source of her underlying her style, but the list doesn't end there. Shirley Alston of the top 60's girl group The Shirelles internalized the husky vocal approach of Baby Washington.
Born 1940 in South Carolina, Justine "Baby" Washington was raised in Harlem. In 1957, she spent some time with the Hearts of Lonely Nights. She also recorded one song early in her career with a group called the Jaynetts, and, of course, they later scored a massive national hit (#2) with Sally Go Round The Roses in 1964. Her earliest solo efforts often showed her billed as Jeanette or Jeanette "Baby", before becoming exclusively known as Baby Washington. Her breakout record was The Time in 1959, and it's becomes a definitive R&B/Soul standard. A classic for all time! In 1959, Baby also registered solidly with The Bells (U.S. R&B Top 20)
Washington garnered 16 R&B chart entries from 1959 through 1973. Another charting item from 1961 is Nobody Cares. A slice of pure heartrending Soul, it solidified her reputation as one of the classiest Soul songbirds of the period. In 1962, she switched to Sue Records and delivered a US National Top 40 charting entry with the sublime That's How Heartaches Are Made. It's been covered by everyone from the Marvelettes to Bette Midler. 1964's It'll Never Be Over For Me was later covered by Los Lobos. In 1965, Baby entered the R&B Top 10 with Only Those In Love.
There were so many other high points, including the majestic The Clock, the uplifting and sophisticated You And The Night And The Music, and especially Leave Me Alone, an impeccable mid-tempo Soul burner. Leave Me Alone had every imaginable ingredient for massive crossover impact. But it didn't happen. Never has the chasm between artistic achievement and commercial impact seemed wider.
After leaving Sue Records, Washington's recording output diminished, although her discography shows a few releases under the Chess banner. It was her second go-round with the Chess Brothers, as she had recorded about a dozen sides for their Checker subsidiary in the late 50's.
By the early 70's she experienced a modest career revival, charting as a solo with I've Got To Break Away, and she also teamed up with Don Gardner (of I Need Your Lovin' fame along with Dee Dee Ford) charting R&B (# 30) on a revival of the Marvelettes' Forever.
Like so many artists, her career couldn't withstand the onslaught of Disco, leading to her retirement from the music business in the mid-70's. Still, let's take comfort in the opportunity afforded of soaking up pleasurable hours from those wonderful tracks. New generations of collectors are seeking out her catalogue, many drawn to Baby Washington's attention through readings on Dusty Springfield.
Baby Washington's fan eagerly sought out her excellent albums especially 1963's That's How Heartaches Are Made. It's indicative of her allure to such a wide range of audiophiles: Jazz devotees, Soul junkies, R&B aficionados, Blues enthusiasts, and those who are partial to Pop music packed with minerals, vitamins, and high fibre content. I'll conclude with a quote from punk rock and New Wave pioneer Genya Ravan (Goldie & Gingerbreads/Ten Wheel Drive) whose career dates back to 1962:
"She has one of my favourite female voices in the world, her and Ray Charles. If you put me away in a jail cell and tell me you're going to give me life, just give me Ray Charles and Baby Washington, and I'll be happy!"
ORDERING DETAILS:
www.amazon.com
RICHARD BERRY: HAVE "LOUIE" WILL TRAVEL (ACE U.K.)
RICHARD BERRY: GET OUT OF THE CAR (ACE U.K.)
RICHARD BERRY: YAMA YAMA!--THE MODERN RECORDINGS 1954-56 (ACE U.K.)
--by Gary Tate
Famous for writing Louie Louie, Berry was an important protagonist on the Southern California R&B/Doo-Wop scenes of the 50's and early 60's. His contemporaries included Cornel Gunter, Arthur Lee Maye, Jessie Belvin, and Young Jessie.
Berry sang with a profusion of groups: Flairs (I Had A Love), Crowns (Set My Heart Free), Rams (Rock Bottom), Robins (Riot In Cell Block #9), Dreamers (At Last), and Pharoahs (Have Love Will Travel), and recorded on labels like Modern, Flair, and Flip. Berry's stylistic influence on Barry White was profound. That deep-voiced male response on Etta James' Roll With Me Henry belonged to Berry. Interestingly, Richard recorded At Last in 1954---ten years before Etta's definitive version. Louis Prima & Sam Butera would record Berry's There'll Be No Next Time, while Big Sandy & His Fly-Rite Boys would reprise Berry's Yama, Yama, Pretty Mama some 50 years later.
Louie Louie was released in 1957, and experienced modest success around L.A., before assuming a life of its own. Covered by countless Northwest bar and garage bands, it exploded internationally with 1963's version by Seattle's Kingsmen. Louie Louie's influence has become so pervasive that it's been the subject of a book and numerous articles. Over a thousand versions would be recorded, but it took nearly 30 years (and many lawsuits) before Berry began to reap his deserved financial dividends. Richard Berry passed away in 1997 at age 61.
DUKE ROBILLARD: GUITAR GROOVE-A-RAMA (STONY PLAIN)
--by Gary Tate
The title says essentially all you need to know, especially if you've been bedazzled by Duke's playing over the past 30 plus years. Legions of fans had been urging an ultra guitar-drenched release. If that's you, get this ticket to Guitar Nirvana!
Ironically, despite his guitar guru status, Groove-A-Rama is somewhat of an anomaly. Duke usually relies on the full-bodied approach, i.e. horn section, keyboards, vocals, and it's paid off handsomely, with a formidable streak of quality releases in the Blues, Blues Rock, Jump Blues, Country, and most recently Jazz veins. Now, with Guitar Groove-A-Rama, Robillard has shed virtually all excess baggage except bass and drums, save infrequent contributions from sax/keyboard.
Even Duke's vocals are de-emphasized on the 14 generous tracks, as the master dug deep into his virtuosity "bag-of-tricks". His memory bank of roots music, abetted by a guitar armada (Stratocasters, Telecasters, Epiphones, Fenders, many others) helped him meet the challenge. There's not a dull second over the nearly 80 minute duration (that's no typo!).
Relying on the vastness of his imagination and library, Duke sets sail on a kaleidoscopic journey where genres seamlessly piggy-back atop each other. There's glowing nods to his Blues mentors (Sonny Boy 2's No Way Out; Li'l Son Jackson's The Sky's The Limit), and there's a spell-binding 16 minute tribute via Blues-A-Rama: a toast to his Blues guitar mentors, including Johnny "Guitar" Watson, Buddy Guy, and The Three Kings. Comprehensively compelling!
Check out Robillard's bold re-shaping of Bob Dylan's Down Along The Cove into a Johnny Cash/Rockabilly amalgam, or thrill to Danny Boy bedecked in a funky groove while retaining its melodic grandeur. Several helpings of exotica add soothing pleasures, such as Dawn with its lush aural images of waving palm trees, or the wonderful acoustic arrangement of Dark Eyes, a Mexicali treasure done proud. Ole! This Dream actually was introduced on Duke's Temptation album, but it gets retrofitted with a distinctly eastern flavor. Bravo!
There's a wide array of many other styles: Stax (Do The Memphis Grind); Ray Charles/Nat King Cole-oriented R&B (I'll Do Anything But Work); Blues guitar fireworks (Cookin'); Gospel-flavored Jazz (Sunday Mornin'). It's all so convincing, and it makes Guitar Groove-A-Rama a colourful and engrossing tapestry of versatility, while providing conclusive proof that age hasn't dulled Duke Robillard's insatiable curiosity. And his grateful fans wouldn't have it any other way!
ORDERING DETAIL:
www.stonyplainrecords.com
JW-JONES BLUES BAND: KISSING IN 29 DAYS (NORTHERNBLUES)
--by Gary Tate
One listen to JW-Jones new one, Kissing In 29 Days could lead one to think "JW" stands for "Jive Wildly" as it evokes the rambunctious sounds that spilled out of Kansas City speakeasies during the 1940's. The vocals, guitars, horns, and full-blooded arrangements take their cues from this mythical time. The result is a non-stop party cruise. One listen should raise your blood alcohol content by 50 percent!
Swinging releases are his forte, yet JW's fourth one on NorthernBlues seems the most high-spirited one yet, chock full of boogie woogie piano, big R&B horns, and especially boppin' T-Bone indebted guitar. The title track opener sets the mood with its bodacious lyrics, joyful groove, and intoxicating gaiety. Another dance instigator is All My Money, although it incorporates a big band sound similar to Beale St. in the early fifties. A sure bet!
There are other geographical influences, such as those high flying Johnny Otis shows hugely popular on the mid-50's Los Angeles scene as captured on Parsimonia, which also features saxophonist legend David "Fathead" Newman who also guests on Hallelujah I Love Her So (he played behind Ray Charles on the original) and Here She Comes. That burnished West Coast lounge sound was the sophisticated deal back then, and this Jazz/Blues hybrid gets done proper on Standing In Line.
Chicago Blues gets solid, down-and-dirty treatment on Got Me Chasin', while Texas roadhouse meets Ike Turner's whammy bar on the torrid No Love. Enough said! Little Milton passed away one month before scheduled to record together with JW, but Jones gets to honour this Soul giant on Hey Girl!
Forget locations: Kissing In 29 Days should make JW-Jones the toast of any town.
ORDERING DETAILS:
www.northernblues.com
DAN TREANOR & AFRICAN WIND: MERCY (PLAN-IT PRODUCTIONS)
--by Gary Tate
Those seeking to broaden their appreciation of Blues will embrace Mercy. It's another fascinating audio journey from African Wind, a 5-piece band that commemorates the African origins of the Blues. African Wind vividly pinpoints the various twists, turns, and permutations Blues has experienced, as it traces its convoluted path from the Mississippi Delta to places such as New Orleans, Kansas City, Memphis, until morphing into such modern, universal forms as Rhythm & Blues and electric Blues. The result makes for a consistently engaging safari of sounds: modern, traditional, and exotic.
Dan Treanor is a handyman/musician who has fashioned a plethora of African instruments (khalam, ngoni, cane flute) and demonstrated their adaptability in complementing various 20th century Blues forms. Vocals are handled by underappreciated veteran Rex Peoples. Frankly, I can't imagine a better choice. The 15 listed tracks---plus a superb 16th unlisted bonus track-qualify as a thrilling expedition, a veritable Blues kaleidoscope, and an unparalleled learning experience. Thus, when one hears Field Hollar #1 it teaches that the field holler was the earliest Blues form.
There's deep Mississippi Blues too, such as Mississippi Fred's Dream, although within this context, "Afrossippi" is a better descriptor. New Orleans is honoured on What You Gonna Do, while Standing InThe Shadows is a gentle Blues ballad, complete with DooWop backup singers. Unexpected but welcome! The glorious title track is African-tinged Gospel, a reminder that all classic Blues shouters did it first in church.
Queen Of The Dance Hall Girls is a particular standout, a wonderful blend of the Cajun, Country, Blues, and Minstrel traditions Those little African twists allow for inviting renditions of songs often associated with the likes of B.B. King, Muddy Waters, and John Lee Hooker, such as Rock Me Baby and Tumblin' Blues. You Shot The Gun is a pounding slice of Barrelhouse Blues, and would fit perfectly on a release by the late Johnnie Johnson.
The eclecticism just never ends; on the intensely dramatic The 13th Amendment we even get to hear the voice of a chain gang prisoner recorded 70 years ago by Alan Lomax, while another spoken delight African Tale is based upon an African folk tale. Mercy truly deserves to be as successful as any Blues CD released this year. It's that good!
ORDERING DETAILS:
www.dantreanor.com
PERCY SLEDGE: IT TEARS ME UP-THE BEST OF PERCY SLEDGE (RHINO)
PERCY SLEDGE: SHINING THROUGH THE RAIN (VARESE RECORDS)
PERCY SLEDGE: BLUE NIGHT (VIRGIN RECORDS)
--by Gary Tate
One of the deepest Soul singers ever remains Percy Sledge, who gave the world When A Man Loves A Woman in 1966. Its staggering popularity since its introduction continues to touch universal emotions with its declaration of unconditional love, propelled by a performance so natural in its earnestness. Millions regard it as a stirring anthem to an eternal truth, and the song still receives significant exposure on the radio, while also being featured in numerous commercials and movies. Countless couples have exchanged vows to a background featuring Percy Sledge's devotional words enveloped in his warm expressive delivery, encapsulating the perfect musical expression for their mutual commitment.
Sledge would never regain the commercial heights associated with this standard, but his repertoire abounds with thrilling contributions to the lexicon of Gospel-inflected soulful offerings. Aficionados regard Sledge's output as shining jewels of the Southern Soul genre. After 1966, Sledge continued making the Soul Top 10 with enduring ballads like these: It Tears Me Up, Warm And Tender Love, and Take Time To Know Her. Other releases were less successful, albeit only in a commercial sense. This soft-spoken artist could be counted upon to pull at the heartstrings with nuggets like Cover Me, Out Of Left Field, True Love Travels On A Gravel Road, Push Mr. Pride Aside, and Love Me Tender.
Born in Alabama, Sledge was blessed by a distinctive, and some would say very unusual Southern Gospel voice. It's straight from the church, and it's a sound that hasn't been captured, before or since, by any other artist. Starting out as a member of the Esquires Combo, Sledge would go solo on the advice of disk jockey Quin Ivy who was instrumental in shaping When A Woman Loves A Woman into a full-fledged single. The hiring of the legendary Spooner Oldham provided another essential ingredient, as Oldham's introductory organ phrasings set the table exquisitely for the main course of Sledge's rich country-tinged vocals.
Spooner Oldham and long-time collaborator Dan Penn also wrote It Tears Me Up and Out Of Left Field that Sledge recorded. Sledge's soulful pleas were also captured in wonderful creations from notables like Charlie Rich and Kris Kristofferson. Like many contemporary Southern Soul artists Otis Redding or Wilson Pickett, Sledge recorded in Memphis and Muscle Shoals, and was scooped up by Atlantic Records which had the distribution clout to achieve maximum sales.
The early 1970's saw his sales decline considerably, but not before he returned to the R&B Top 20 with I'll Be Your Everything and Sunshine on Capricorn Records. It could have been the last gasp, and certainly had Sledge never recorded another note, his legacy would be assured. The awarding of the Rhythm And Blues Career Achievement Award in 1990 and induction into the Rock And Roll Hall Of Fame in 2005 would still have been foregone conclusions. Sledge, like so many other sixties luminaries, kept busy by performing on the Golden Oldies circuit, delighting his legions of fans world-wide by playing over 100 concerts per year.
Then, just like the title of his song, Out Of Left Field, Sledge experienced an amazing comeback when 1994's Blue Night was released to unconditional acclaim. It garnered a Grammy nomination, and won the Blues Foundation W.C. Handy Award for best Soul/Blues Album Of The Year. Blue Night's material held it own with Sledge's classic contributions, and put Sledge at the forefront of the 1990's Soul resurgence.
Now, after a decade long recording hiatus, Sledge has recently re-united with the producers of Blue Night, Barry Goldberg and Saul Davis, who spent four years assembling material that could be tailored to Sledge's unique style. The resulting Shining Through The Rain---released September 2004---has the same feel as those great old Percy Sledge records, and raves have been pouring in, from publications such as Rolling Stone, USA Today, and SoulTracks.
It's inspirational to re-experience the magic, as 62-year old Percy Sledge continues to put his unique spin on a wide range of material written by artists as disparate as Tonio K, Steve Earle, Hollies, Bee Gees, Jackie Lomax, and Carla Olson, transforming them with his God-given abilities into traditional Soul standards that seem like they've been around forever.
ORDERING DETAILS:
www.amazon.com
WATERMELON SLIM & THE WORKERS (NORTHERNBLUES)
--by Gary Tate
Watermelon Slim (born Bill Homans) worked as full-time waste hauler in his native Oklahoma just a little while ago, while limiting extra-curricular activities to the occasional weekend gig. A near-fatal heart attack convinced Slim to chuck the trucking grind, and devote his all-and-all to his foremost love of Blues. Since then, non-stop touring with his band The Workers has introduced his demented persona to a widening audience.
One immediate enthusiast was Fred Litwin who saw Slim at the 2005 W.C. Handy Awards. That occasion, plus ensuing standing-ovation performances convinced Litwin (owner of NorthernBlues Records) that Slim was that rare find whose every pore was soaked in Blues realism. Their styles may be quite different, but like Otis Taylor--who also took the Blues world by storm after getting signed to NorthernBlues---Watermelon Slim's ascent to prominence was the culmination of 4 decades spent distilling life's hard lessons through a Blues filter.
On Check Writing Woman, that well-mined Blues motif of female profligacy is put under the microscope, and the result is mayhem and mirth. This is one check that won't bounce! Ash Tray is one of many semi-autobiographical tracks that provide fascinating peeks into the struggles, demons, and setbacks that have provided nutrients for Slim's fertile imagination. Bad Sinner is another standout, realizing the expectations of its title as Slim's tormented delivery and crying slide guitar team up on a potent confessional Blues. It's immersed in the self-reflection of a sinner seeking belated salvation.
Hard Labor has instant classic written over it, as Slim delivers a bone shaking performance that explains why he quit his day job. Juke Joint Woman features Slim wailing some dirty, low-down harp, and if you're searching for lyrics dripping in cynicism, this is the place to start. It just doesn't get better than this, folks! Eau De Boue is a bounteous tribute to many great Bluesmen. Sorting out the French versions of their names (Jean Le Crochet, B.B. Le Roi, Loup Hurlant) must have come to Slim in a dream.
Watermelon Slim does those mentors and Blues tradition proud, simply because he's the real deal, a Blues poet, and that howl in his voice is so haunting it'll keep you up nights under the spell of its twisted logic.
ORDERING DETAILS:
www.northernblues.com
LOWELL FULSON: 1946 - 1953 BOX SET (JSP RECORDS)
LOWELL FULSON: I'VE GOT THE BLUES (VARESE)
LOWELL FULSON: JUKE BOX SHUFFLE (PROPER INTRODUCTION)
LOWELL FULSON: I'VE GOT THE BLUES AND THEN SOME (WESTSIDE)
LOWELL FULSON: RECONSIDER BABY (BLUES ENCORE)
--by Gary Tate
Lowell Fulson and Reconsider Baby will forever be intertwined. Elvis Presley would cover it, and hundreds others would follow. His career, stretching from 1939 until a couple years prior to his death in 1999, reveals the relative ease with which Fulson adapted to evolving trends. Starting out with those urbane-sounding 40's combos, he would later catch the raw R&B bug of the 50's. By the 60's he was dealing in Soul, and later got around to Funk.
Packed with immense talent, blessed by a mesmerizing style, what first gained your attention however was that harsh desolate voice. Despair and loneliness were seldom configured with such utter believability. If his guitar voice was more understated, it was as achingly unforgettable. By 1958, Lowell Fulson was considered the equal of B.B.King: vocally, instrumentally, and compositionally. 1954's Reconsider Baby on Checker would set the general pattern: forlorn vocals, empathetic guitar, well-crafted songs, all backed up by understated sax work. Spot-on piano work often flowed from Lloyd Glenn.
A bevy of classics followed Reconsider Baby, including Lonely Hours, Trouble Trouble, It's A Long Time, Took A Long Time, and Rolling Blues, an instrumental in the Honky Tonk mold. Prior to Reconsider Baby, Fulson was already a well-established presence. Born in Oklahama, by 1939 at the age of 18 he had replaced Howlin' Wolf in Alger "Texas" Alexander's regional band. After WW2, as with many mid-West performers (T-Bone Walker, Jimmy McCracklin, and Pee Wee Crayton), Fulson gravitated toward California. He experienced the first of many tastes of success there in 1946 with the raw blues of 3 O'Clock Blues--later immortalized by B.B.King as 3 O'Clock In The Morning.
Lowell's version of Memphis Slim's Every Day I Have The Blues was emblematic of that era's electric Blues, and B.B. relied upon Fulson's version to inspire his signature cover. Another towering accomplishment was Blue Shadows, reprised on Checker in 1960 during a session that also included the spine-tingling I Want To Know. By 1964 Fulson's 10-year association with Checker was over, but what a magnificent epoch it had been.
Mr. Fulson reached the pinnacle of electrical Blues, typified by unforgettable compositions, deep-in-the-soul vocals, and impeccable guitar phrasing. Still there's a regrettable tendency for Fulson's accomplishments to get overlooked. Perhaps he didn't fit the stereotype of a Chess/Checker Blues artist, insofar as most of his sessions took place in L.A., and he was more in tune with that highly fertile scene. Much of what he was putting down had more in common with those urban-based stylings rooted more in Kansas City and Texas than in the Mississippi Delta.
By 1964 Fulson had switched to Jules Bihari's Kent label, but was immediately blindsided when they re-spelled his surname as Fulsom. Nevertheless, Black Nights from 1965 and written by Fats Washington, would give Fulson his first major hit in many years. The Kent sides were mellower than those Checker ones, more of Blues/Soul hybrid thing, but everything still was framed around those searing vocals and that biting, concise, blues-rooted guitar playing that was so prototypical of the West Coast style.
Among the exemplary early Kent songs--many penned by R&B super-writer Fats Washington (Pledging My Love, I'll Be Home, It's My Life Baby, many others)---are Just One More Time, Every Time It Rains, Key To My Heart, No More (pts. 1&2), and My Aching Back. The early Kent period showcased Fulson at his best, the only discordant note being the tendency of producer Maxwell Davis to occasionally overdub unwieldy horns into the mix, much to the chagrin of both Fulson and Blues aficionados.
The final makeover occurred in 1967 when Fulson recorded Tramp--co-written with Jimmy McCracklin. A funk-saturated anthem, it was quickly covered by Otis Redding and Carla Thomas, becoming one of the greatest hits of the 60's, and its popularity continues today. Fulson would perform and record right up until a few years prior to his death. The man was so smooth, yet had a rough edge reminiscent of Sonny Boy Williamson; he could chill you to the bone while also warming your heart; he was a traditionalist who could effortlessly assimilate contemporary sounds. He was the personification of the classic Bluesman.
GLAMOUR PUSS: BLUESMAN'S PRAYER (NORTHERNBLUES)
--by Gary Tate
Bluesman's Prayer is the follow-up to their highly-regarded Wire & Wood release. It was recorded in a small rural New Brunswick church: the province this 5-piece Blues/Rock/Zydeco band hails from. Dependably, Glamour Puss assimilate a wide range of Blues-related material, pulling it all off flawlessly, while drawing upon the distinctive and individual strengths of guitarist Travis Long, keyboardist Roger Cormier, and harp honcho Larry Maillet. Each contributed about 4 songs and vocals on this 13-track release.
The 13th track, Georgia On My Mind, pays heartfelt homage to the memory of Ray Charles. It's a treat how GP functions as a highly polished unit, while also providing plenty of leeway for several members to display their exceptional musicianship. Maillet dishes up two soulful tracks with Street Walker and Addiction, and his warm voice is washed in heartfelt emotion.
Furlong is another clever craftsman, and his sparkling guitar invests every track with wonderful touches. Furlong lets loose on a rockin' slice of Bluesabilly called Driving On The 401. It should make any trip along that endless highway more enjoyable---provided you're not speeding. Cormier delivers a delightful Cajun two-stepper avec Tu Peux Cogner, that's certain to keep the partying atmosphere alive wherever they perform.
There's lots of other solid stuff, including the Band-influenced Leaving On Sunday, and the straight-up Chicago-style Blues of As Blue As It Gets. Bluesman's Prayer is another feather in the cap of this world-class Blues and Roots band.
ORDERING DETAILS:
www.northernblues.com
DANNY BROOKS SHAKES HUGH'S ROOM TO THE RAFTERS
--by Gary Tate
Hugh's Room extended a well-attended welcome on Friday January 13th for yet another one of Danny Brooks' patented and exciting Soul and Gospel revivals shows. It was an eerie experience, like a flashback to another era when the likes of Joe Tex, Otis Redding, and James Brown would come to town, and spare no expense delivering shows crackling with passion, professionalism, and super energy. The fans would line up for blocks hoping to get in. With the departure of soul legends Lou Rawls and Wilson Pickett within mere days preceding and following the performance, it seemed even more appropriate that Danny---an apostle of all the great soul men--has shouldered the responsibility of carrying the torch forward. He did it in grand style too, shouting, urging, testifying, and saluting his predecessors, while also putting his personal stamp by heartily witnessing to his personal struggles and triumphs.
Two expansive sets featured a combination of the secular and the sacred, a shotgun marriage of the best in Soul and Gospel. Danny officiated, and his throaty vocals and commanding presence dominated proceedings, but the stage also shook joyfully with another dozen wonderful musicians, such as the inimitable Rockin' Revelators augmented by the creamy vocals of John Mays. There was also a brassy horn section, plus a host of esteemed veterans included keyboard luminary Mike Fonfara, guitarist Papa John King, and veteran bassist Dennis Pinhorn. This was truly an event to remember, and a reminder that Danny Brooks always delivers a remarkable show. So if you can only attend one or two live shows during the year, take the opportunity of including this one in your curtailed schedule.
The opening set featured Chris Hart, along with two members of his London-based band, and it was a showcase of this rugged performer's remarkable facility for blending Country with equal measures of Folk and Rockabilly. Hugh's Room attracts the most astute and knowledgeable of clienteles to their tables: the antithesis of the typical social butterfly crowd.
They've been repeatedly exposed to every major Roots and Folk singer/songwriter across North America over the years, and their respect for Hart was immediate and complete, as he regaled them with one literate and highly melodic song after another. These cognoscenti, his existing fans, and hopefully a bushel load of new ones, will be welcoming this highly talented up-and-comer with open arms when he ultimately returns to Hugh's as the featured artist.
STAPLES SINGERS: THE BEST OF THE STAPLES SINGERS (FANTASY)
STAPLES SINGERS: LET'S DO IT AGAIN SOUNDTRACK (SPY)
--by Gary Tate
The Staples Singers are the most successful Gospel crossover group in the history of popular music. They had hit upon hit throughout the seventies, yet managed to accomplish it all without having the term "sell-out" ever foisted upon them. "Respect Yourself" from 1971 summarizes their entire approach to life: "If you don't respect yourself. Ain't nobody gonna give a cahoots. Respect yourself, respect yourself." Immortal words to live by! Roebuck "Pops" Staples, who also achieved considerable success as a solo artist before passing away on Dec 19, 2000, was the paternal wellspring of the Staples, and his progeny were being groomed for the gospel circuit as early as 1950. The heart of the group consisted of daughters Mavis, Yvonne, and Cleotha (son Pervis was also part of the Staples until 1971).
Pops had sturdy musical genes, and he passed them on to his next-of-kin with the dependability of a prophet. Born in 1915 in Winona, Ms, Pops quickly came under the guitar influence of such legendary Bluesmen as Robert Johnson, Bukka White, and "Big Bill" Broonzy. The Blues element has always been at the very core of the Staples sound, and Pops reverb-drenched cotton patch guitar riffs added ineffably subtle embellishments. In 1935, he and his wife moved to Chicago and eventually had four children. After singing in countless Gospel quartets, he became a well-respected music teacher, and started easing his growing brood into the performance arena by the early fifties.
Their earliest recordings were on Gospel albums for Chicago's Vee-Jay label from 1955 to 1960. Their breakthrough Gospel hit was 1956's "Uncloudy Day". It was a sound steeped in traditional Southern-based Gospel, but the call-and-response interplay between Mavis and Pops gave it an added intriguing quality. The next stage commenced in 1960 when they were signed to the Riverside label, at a time when the folk boom was capturing white audiences. The final step to prominence occurred with their signing to Stax in 1967, which provided them with a more-produced sound (essential for commercial airplay), including the addition of horns, fuller instrumentation, and even synthesizers.
The Staples were always amazing singers--especially the wonderfully gifted contralto Mavis--but the other piece to the puzzle was the expression of their unique lyrical voice. It managed to combine spiritually uplifting exhortations with affirmations of universal family values such as loyalty, steadfastness, and compassion, but the message of social justice also began to play a more prominent role, especially in the aftermath of their meeting with Martin Luther King in 1963. Pops was taken by the passion and commitment of this young pastor, saying: "Listen you all, I really like this man's message. And I think if he can preach it, we can sing it." The Staples, along with Curtis Mayfield, Sam Cooke, Stevie Wonder, and the Temptations would go on to become the musical embodiment of the Black yearning for equality and self-dignity.
A couple of releases on Epic earned them brief chart action including "Why Am I Treated So Bad". But their signing with Stax Records, however, would gradually catapult them to the highest rungs of success. Between 1967 and 1976, the Staples charted 15 hits on the Billboard Top 100, including "For What It's Worth (1967), "Heaven Makes You Happy (1971), "Respect Yourself" (1971), "I'll Take You There (#1 in 1972), and "Touch A Hand, Make A Friend" (1974). Their last mega-hit was "Let's Do It Again" (#1 in 1976) produced and written by Curtis Mayfield and also distributed on his Custom label. The Staples continued to make the R&B charts for most of the eighties. Their appearance on a rendition of the Band's "The Weight" on 1991's 'Rhythm, Country, and Blues' with Marty Stuart and introduced them to a new generation of appreciative listeners. Meanwhile Pops was winning accolades for his solo releases, such as 1991's 'Peace To The Neighborhood' and 1994's Grammy-winning 'Father Father'.
The Staples Singers are at the vanguard of a majestic caravan of artists, including Mahalia Jackson, Sam Cooke and the Soul Stirrers, Aretha Franklin, the Dixie Hummingbirds, the Five Blind Boys of Alabama, and many others, that have introduced generations of believers and non-believers to the timeless glories of Gospel music.
ORDERING DETAILS:
www.amazon.com