Blues CD Reviews 107
Big Shoes
King Size
Qualified Records
Publicity: Blind Raccoon
Peter "Blewzzman" Lauro © August 2025
Big Shoes is a virtual who's who of top notch musicians on the Nashville Scene. The band's seven members are both A-list studio and A-list touring musicians. When asked by fans who they've played with, their answer is "The list of who we haven't is actually shorter". On past trips to Nashville I've had the pleasure of seeing this supergroup several times and, with the release of King Size, their third - and second on Qualified Records - I've also had the pleasure of reviewing all three.
The maestros that make up Big Shoes are: Lynn Williams on drums; Will McFarlane on guitar & vocals; Bryan Brock on percussion; Mark T. Jordan on keyboards & vocals; Rick Huckaby on lead vocals & guitar; Kenne Kramer on guitar; and Tom Szell on bass guitar. Guests appearing on King Size, who are collectively known as The Muscle Shoals Horns, include: Steve Herrman on trumpet; Jimmy Boland on tenor & baritone saxes; and Charles Rose on trombone and horn arrangements. Of the album's thirteen tracks, eleven are band originals or compilations. Describing their sound, Big Shoes claim they are "Centered on the blues and R'nB with a strong rhythmic emphasis". Now let me tell you about some of it.....
The opening track features three words that countless thousands of musicians have either said, done, want to do, and probably will do one day, and that's be "Halfway To Memphis" (K. Wright/P. McLaughlin/J. Hall). This particular situation is similar to so many others - it's about a musician heading to the music city and hoping to come home with a new electric guitar with his name right on the strap. Musically, the rhythm and the guitars provide somewhat of a traveling vibe; the horns provide a lot of drive; and the vocals exude lots of confidence.
This one is titled "Can I Take You With Me" (W. McFarlane/D.G. MacKay), and the full question being asked is "Can I take you with me when I go? Can I take you with me when I go? Can I take you to the place where the sun shines all of the day? Can I take you with me when I go?" As flattering as that may sound, if it's asked of me the answer will be a big fat NO! Starting off with a Canned Heat feel, this one turns into an all out smoker with hefty rhythm and, as you'd expect with three masters of the instrument involved, a hell of a lot of ass kickin' guitar runs.
"King Size" (R. Huckaby/L. Williams/M. Joyce/M.T. Jordan) is a funny story about a kid whose mother smoked king size Chesterfields down to the nub. With the quarter his mother gave him to go get her a pack of cigarettes in his hand, he's strutting down the street with his chest out and his head held high as if he was the rich Monopoly guy. Being a kid, along the way a king size ice cream cone comes into play and I'll leave it up to you to figure out if he ever made it home with the Chesterfield Kings. It's a funky number that kind of features a toe to toe battle between the guitarist laying down the funk and the guitarist laying down the scorching blues. Real good stuff.
"I Don't Need Nobody" (K. Cramer) features lyrics that pretty much everyone would like to live by, but for many, it just doesn't happen that way. This case relates to being in a controlling relationship and the full verse...
"I don't need nobody, trying to run my life.
I don't need nobody trying to run my life.
I got to walk down my own path baby, play my own drum and fife.
I don't need nobody telling me this is that.
I don't need nobody telling me this is that.
I got to go my own way sugar, wear my own hat......." and so on and so forth. With deep bass lines and vibrant horns, this rhythm driven shuffle also features killer blues piano and guitar leads.
If you're going to do a song by Buckwheat Zydeco, you'd better get your funk on big time, and that's exactly what the guys did on "Make It Easy On Yourself". As a matter of fact they stepped it up to the point of making getting downright funky easy on themselves.
Musically, and most certainly lyrically, "Yvette" (K. Cramer) has all the ingredients to be a country hit. With the pickup truck being replaced by a sports car the song starts off with....."Yvette, Yvette, let's go riding in my new Corvette. We'll take a ride up to lover's leap, park the car and hop in the backseat, and fool around awhile, Yvette".....Really? Good luck with that! As unrealistic as that may sound I can certainly see the country cuties having a good ol' time singing along to that verse. The band's experience with having played with some top country stars is quite evident right here.
"Too Many Bees" (K. Wright/R. Huckaby/K. Cramer), is a clever song that gave me flashbacks of my single days hanging out in meet markets. As the story goes, while some hopeful sits down to charm a pretty little thing, he notices a line forming. Awaiting his failure, there were just too many bees hanging around this honey. This is another countrified track highlighted by great vocals, excellent piano leads and twangy slide guitar riffs.
Other tracks on yet another excellent product from Big Shoes include: "Right About Now" (M.T. Jordan); "Hurry Up Slowly" (M.T. Jordan/R. Long); "Every Song I Sing" (K. Wright/Brett & Brad Warren/T. Hambridge); "'Til He's A Memory" (K. Wright/R. Huckaby); and "She's A Pain" (J.E. Davis).
As I mentioned earlier, having seen Big Shoes several times, and now having reviewed all three of their dynamite releases, I now need to wonder aloud. With the star power and talent of this band, why have I never seen them listed on any of the many festivals that take place on land and on sea? Wake up promoters, it's time to put on your Big Shoes.
If you've not yet received a copy of King Size for airplay, please contact Betsie Brown at - www.blindraccoon.com - and if you'd like to know more about this supergroup, just go to the band's website at - www.bigshoesband.com. Remember, whomever you speak to, please tell them their friend the Blewzzman sent you.
Mike Henderson was a Grammy winner, a two-time CMA award winner, a four-time Grammy nominee, an IBMA award winner, a two-time ACM nominee and a multi-platinum #1 hit songwriter and musician. With all that to his credit, Mike's favorite performing venue was the unassuming little cafe we know as The Bluebird, in Nashville, TN, where for over twenty-five years - he, and a stellar ensemble, owned Monday nights.
The band on this recording: Mike Henderson on vocals and guitar; Kevin McKendree on piano; Steve Mackey on bass guitar; and Pat O'Connor on drums; is the final lineup that was in place at the time of Mike's passing in 2023.
It is with great pleasure that I'm able to tell you that I've been part of the Monday night audience on several of my trips to Nashville. That said, in a city where choosing what to do while visiting can be extremely overwhelming, do not leave Nashville having not seen this show. The show indeed goes on with Yates McKendree now fronting the band.
The opening track is one of Mike's originals and it's titled "Weepin' & Moanin'". It opens with over a ninety-second guitar solo that will certainly be some of the best blues licks you may have ever heard, and it continues as Mike starts belting out the blues with his gritty vocals. Shortly after the rest of the band gets going, Mike turns the song into an explanation as to what's about to unfold. Starting out with "This is Blue Monday, so if any you came here to listen to the sensitive songwriters, like they have the rest of the time, I'm sorry, this is their night off". Then he proceeds to talk about how during songwriter sessions, making noise or talking will get you thrown out. By saying "This is party music, it's not to sit there and analyze, it's for feeling" further giving the audience permission to make all hell break loose.....and if they don't, he threatens to "play instrumental versions of terrible pop songs that they hated when hearing them on the radio". Classic!
With the crowd now hootin' and hollerin', the band breaks out into the most rockin' version of "Matchbox" (Jefferson) that I can ever remember hearing. With Kevin being Kevin and wailin' away on the piano and Steve and Pat causing a ruckus on the rhythm, Mike's frantically wondering if a matchbox will fit his clothes.
Channeling his inner Elmore James - and some of Rory Gallagher's gusto as well, Mike gives what just might be his best guitar performance of the disc on "Too Much Alcohol" (Williamson/Hutto). When working with an album on which four world class musicians repeatedly give you their best effort on each and every track, it's pretty much impossible to avoid being redundant, and I feel that happening right about now.
Too bad there was a song in between the one above and this one - "When I Get Drunk" (Burns), it would have created the ideal segue. The easiest way to describe what's going on is to say that right here, Mike, Kevin, Steve and Pat, are playing like their lives depended on it.
Kicking it back a bit, the guys settle into a very nice shuffle on this one. Its title "Have A Good Time" (Horton), and that's exactly what I'm in the middle of doing. It features Mike showcasing his quite impressive harmonica skills.
I have actually been in The Bluebird when The Mike Henderson Band played this one. Before the song started that night, Mike explained to the audience about how, over a decade, Bo Diddley was ripped off for nearly half a million dollars by his manager. It was the perfect intro to a song called "Pay Bo Diddley" (McDaniel, Nicholson, Wilson) that featured the audience participating in a call and response type banter with Mike on the song's chorus line of "Pay Bo Diddley".
Other tracks on this fabulous release that brought me many pleasant flashbacks are: "One Room Country Shack" (Dee); a "Band Introduction" on which Mike offers well deserved praise to his bandmates; and a wild and crazy rendition of "Gimme Back My Wig (Taylor, Hopkins, Josea).
If you've not yet received a copy of Last Nite at the Bluebird Live! for airplay, please contact Betsie Brown at - www.blindraccoon.com - and if you're not familiar with the maestro that was Mike Henderson, just go to his website - www.mikehenderson.com.
Need To Know is the second release from Yates McKendree - the 23 year old with a resume and experience that many veterans of any genre might envy. As always, I've attached a link to his website at the bottom of this review, and I highly recommend a read of his very impressive bio.
On this project, Yates - on vocals, lead guitar, drums, bass, organ, upright bass, and washer & dryer...hmmm - is joined by: the album's producer, Kevin McKendree - a.k.a. dad - on piano, electric piano, Hammond organ, bass guitar, and guitar; Robert Frahm on rhythm and lead guitar; Griffin Photoglou on drums; George Sluppick and Kenneth Blevins on drums and percussion: Steve Mackey on bass guitar; Jim Hoke on tenor & baritone saxes and horn arrangements; Steve Herrman on trumpet; John Hinchey on trombone; and Sean "Mack" McDonald on vocals and drums. Of the album's thirteen tracks, Yates had a pen in five and the other eight are covers.
The disc opens with "Burnin' Tears" - a track Yates co-wrote with Gary Nicholson - and if first impressions mean anything, it's apparent that this is going to be one hell of a next forty-five minutes for me. An interesting point made by Kevin in the liner notes is that "Yates has a direct line from his soul to whatever instrument he holds". As far as this listener is concerned, that direct line from his soul also connects to his voice. Between his upbringing and his youth, it's hard to imagine Yates having to endure many hardships as of yet - then you listen to him put his heart and soul into a song and you'd swear differently.
The extended title track - "Need To Know You Better" - another from the minds of Yates and Gary, finds Yates throwing caution to the wind. Regretfully, having given his heart too quickly and too easily in the past, his new approach is telling new acquaintances "I need to know you better if I'm gonna be your man". As will be the case with pretty much all of these tracks, being led by Kevin's mastery on the Hammond organ, the rhythm is outstanding; and if you're familiar with Yates, it goes without say that he's killing in the lead guitar.
Another one penned by Yates and Gary, is a rocker titled "Run It In The Ground". It features the rhythm section of Kevin on piano, Robert Frahm on guitar, Griffin Photoglou on drums and Steve Mackey on bass all in a fast and furious jam mode, while Yates rocks out on scorching guitar leads.
"I Don't Care" (J. Brown) is the only track that features the horn section and flat out, Jim Hoke, Steve Herrman and John Hinchey absolutely highlight this one. Additionally, on top of emotionally singing his heart out, Yates adds some interesting piano notes throughout the track.
Showcasing some seriously old school style of singing - howls included - Yates absolutely shines on his rendition of Willie Dixon's "I Can't Stop". Then there's his killer blues guitar licks. Had he been around back then - and sometimes he sounds like he was - I'm sure Yates would be on that list of fabulous guitarist Willie worked with.
Creating the music of a six piece band, the father and son duet are raising all kinds of hell on "Good As Gone" (K. McKendree, D. Duncan). This smoker features Yates on the vocals, lead guitar, drums and bass, while Kevin wails away on the organ and plays second guitar as well. Wow!
Sounding like they were sitting around someone's living room just relaxing and fooling around with their instruments - and for all I know this is exactly how it may have happened - Yates (vocals & upright bass), Kevin (piano), and Sean McDonald (vocals & drums) do justice to the Charles Brown classic "I Wanna Go Home".
The disc closes with an original of Yates' titled "Tide", and fittingly so, this is the track that features him on the washer and dryer - as well as guitars, bass and Hammond organ. On this instrumental he is joined by George on percussion and between them, they oddly enough create quite a bunch of well organized noise. Just to give you some kind of a clue, you know that sound the dryer makes when you put your wet sneakers in it? Well it's kind of happening here with drum sticks in it as well, and yet, it's all quite enjoyable. This may just be that fine line between genius and insanity I've heard about. LOL
Other tracks on Need To Know - which could get Yates a few more Blues Music Award nods as his debut release did - include: "Trick Bag" (E. King); "Something You Got" (C. Kenner); "See See Rider" (Trad, arranged by Yates); "Give Me Time" (S. Maghett); and "Ode To Billy Joe" (B. Gentry).
If you've not yet received a copy of Need To Know for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Yates McKendree, just go to his website - www.yatesmckendree.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
When Buddy Guy sings, people listen. As a matter of fact, so does the lord. It is close to seven years to the day when Buddy asked him for "A Few More Years", in a song of that name on his 2018 release titled The Blues is Alive And Well. Buddy's exact words were:
"A few good years Is all I need right now.
Please, please lord send a few good years on down".
That said, in conjunction with what I believe is his 52nd release - Ain't Done With The Blues - Buddy just kicked off what looks to be like another world tour. Just as the Bible says, "Ask and you shall receive", right Buddy?
Ain't Done With The Blues features Buddy Guy on vocals, and black & white polka dot relic Fender Strat, 1972 Tele Deluxe, 2015 blue & white polka dot relic Fender Strat, 1988 blonde Fender Strat, 1958 sunburst Fender Strat, and Martin BG acoustic guitars. Joining him are: the disc's producer, Tom Hambridge on drums, bongos, percussion, background vocals and handclaps; Tal Wilkenfeld on electric bass; Chuck Leavell on B3 organ and Wurlitzer; Rob McNelley on electric, slide and acoustic guitars; Kevin McKendree on piano, B3 organ and Wurlitzer; Glenn Worf on acoustic, electric and upright bass; Christone "Kingfish" Ingram on vocals and electric guitar; Joe Walsh on vocals and slide guitar; Joe Bonamassa on electric guitar; Peter Frampton on vocals and electric guitar; Blind Boys of Alabama on vocals; Mike Rojas on B3 organ, Wurlitzer and keyboards; Max Abrams on saxophone; Steve Patrick on trumpet and Flugelhorn; Emil Justian and Tommy McDonald on hand claps; and Michael Hicks on background vocals. The album contains eighteen tracks totaling well over an hour of the blues.
Now before I tell you about some of the songs, here are a few words from Buddy: "This album is about where I've been, it's about where I'm going, and the people I learned everything from.....Muddy, Wolf, Walter, Sonny Boy, B.B., I could go on and on. Before they passed they used to say 'Man, if you outlive me, just keep the blues alive,' and I'm trying to keep that promise. Now, I can't kick my leg up high as I used to or jump off the stage like I did in my youth but I'm going to give you everything I got as long as I got it." Buddy Guy.
The disc opens with "Hooker Thing" (J.L. Hooker & B. Besman), a real quick sixty-eight second number that features Buddy singing and playing acoustic guitar and laying the 'Hooker thing' down pat. After the short riffs from "Boogie Chillen", he explains that it was "One of the first things I ever learned".
Later on (track 13) he does a similar number called "One From Lightnin'" (P. Foster). This one is seventy seconds short and while singing about the good advice he's getting from a "Gypsy Woman", Buddy gives us his best Lightnin' Hopkins.
The disc's second track is a smoker titled "Been There Done That" (T. Hambridge & G. Nicholson). It features Buddy following up on his opening statement about where he's been and where he's going. From talking about pickin' a lot of cotton before pickin a guitar; to playing for kings, queens and presidents; there are a lot of stories he can tell. Musically, the smokin' rhythm - led by fiery B3 organ leads from Chuck, and blazing tandem guitar shredding from Buddy and Rob make this one rock.
Remember all those times someone asked you "How can you listen to the blues, isn't it sad music"? Well the next time that happens just play this one and let Buddy talk to them. Just one of his many answers will be:
"The 'Blues Chase The Blues Away', the blues chase the blues away;
Every time I hear a Jimmy Reed song, I forget about all the things that have gone wrong; The blues chase the blues away". This Tom Hambridge & Gary Nicholson penned Chicago Blues shuffle showcases a couple of Nashville cats leading the way on rhythm - Kevin McKendree on piano and Rob McNelley on rhythm guitar.
"Where U At?" (T. Hambridge). With Buddy and Kingfish desperately looking for someone, this funky number takes us along on the search as they go in and out of some of the French Quarter's hot spots. As you might expect, Buddy and Kingfish sharing the vocals and guitar work are masterful together. Equally masterful is the rhythm that Tom (drums & percussion), Tal (bass), and Chuck (piano & B3) are laying down.
If you want to know "How Blues Is That", the answer is VERY! With Buddy and Joe Walsh taking turns belting out gritty vocals and going toe to toe on the lead and slide guitars, this one is loaded with downright raunchy blues.
So when I saw that this one featured Joe Bonamassa, I'd had bet my last two dollars that "Dry Stick" (B. Guy, T. Hambridge, G Nicholson) was going to rock out. Although it didn't, I was happily surprised. With a very soothing rhythm going on behind them, this inspirational ballad showcases the softer side of Buddy as he offers encouraging suggestions, and Joe playing some of the softest, smoothest blues I've ever heard him play. Very well done number.
Besides 'the blues chasing the blues away', on this Tom Hambridge & Richard Flemming composition, Buddy - and Peter Frampton, as well - like playing them because it keeps them young. As Buddy says: 'Chicago Blues, I like it loud; I turn it up and never turn it down; "It Keeps Me Young", man I'm having fun; It makes me feel like when I was twenty-one.' With Peter sharing similar thoughts, as you listen to their tandem vocal and guitar work, you certainly can't argue with their logic.
This Gospel style track", Jesus Loves The Sinner" (T. Hambridge & R. Fleming), features the Blind Boys of Alabama joining Buddy while they lead us straight to the pews. As you get caught up singing the chorus line of "Jesus loves the sinner but he hates the sin" (and you will), you'll feel, and maybe even sound like you're part of the choir.
Telling it like it is on "Upside Down" (T. Hambridge & R. Fleming), like the rest of us, Buddy is pissed. He's had it with: "Paying two dollars for a nickel candy bar; gas in the tank costing more than the car; taxes going up higher all the time, with working folks standing in the welfare line'.......and there's a whole lot of other things eating at him - this bunch were just in the tracks first thirty seconds. Musically, with the addition of Max and Steve blowin' the hell out of their horns; Kevin setting the B3 on fire; and Tom and Glenn pounding out the bottom; this one's a total smoker. And then there's Buddy being Buddy, belting the hell out of the blues and kickin' ass on guitar. Definitely one of the disc's best.
Other tracks on Ain't Done With The Blues, which features well over an hour of outstanding music, include: "Blues On Top" (T. Hambridge & R. Fleming); "I Got Sumpin' For You" (E. Taylor); "Love On A Budget" (T. Hambridge, R. Fleming & J. Tennant); "I Don't Forget" (T. Hambridge & R. Fleming) "Trick Bag" (E. King); "Send me Some Loving" (J. Marascalco & L. Price); and "Talk To Your Daughter" (J.B. Lenoir & A. Adams).
Before I close I'd like to respectfully say "Good luck beating this one", to any bands hoping to win awards in any of the categories that Ain't Done With The Blues is a part of.
If you've not yet received a copy of Ain't Done With The Blues for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should any of you actually need to find out more about Buddy Guy, just go to - www.buddyguy.net. Remember, wherever you go and whomever you talk to, please tell them their friend the Blewzzman sent you.
Since June of 2020, I have had the extreme pleasure of reviewing three of Gerald McClendon's previous releases. As it turns out, during those five years I was totally unaware that there was a prequel of sorts, kind of like a blast from the past. Now, as it celebrates its twentieth anniversary, I'm here to tell you about the re-release of Sleeping While The River Runs, by Mother Blues with Gerald McClendon.
The album features seventeen tracks, of which most are compositions/collaborations of Steve Bramer, that offer nearly an hour of powerful music. Making that music are: Gerald McClendon on vocals; Steve Bramer on guitars, bass, keys and percussion; Gordon Patriarcha on bass; Gikas Marks on drums; Jerry Soto on keyboards; Hurtin' Burt on harp; Baabe Irving on additional horns; and Carole Baskin, Lara Jenkins & LaShann McNicholas on background vocals.
On the liner notes relating to the opening track, "Pass You By", Steve Bramer boasts that the song's opening line - "Someone's been stealing all your time. Right before my eyes, I'm watching dollars turn to dimes." - is "one of the favorite lines I've ever written". That may very well be, but hearing Gerald slowly, soulfully and powerfully belt those lyrics out has to have him liking it even more.
One of the disc's most touching tracks is "Keep You From Harm". Although it is technically a cover song, Gerald does his best to own it. It's a heartwarming 'Luvaby' (a cross between a lullaby and a love song) that Gerald is lovingly singing to his child. The idea behind the song is that when he was younger, he was told he could barely just keep track of himself, and now he finds he gets his peace of mind from watching over someone else. As Gerald says, "........While you're here in my arms, let daddy keep you from harm". That's the power of fatherhood. Musically, the ever so slightly stinging guitar lead; the relaxed rhythm; and the soft tickling of the ivories; are all the perfect escort for the song. Had this one been written more currently, I'd be saying it's got "Song of the Year" written all over it.
Although the title track, "Sleeping While The River Runs" paints a picture of hopelessness and hints at giving up, it also attempts to convey a message of hope. That hope can't be more evident than in the song's performance. Regardless of the song's lyrics, the lead and backing vocals, and the energetic beat of this Gospel style song sound nothing but uplifting to me.
The disc's two instrumentals are as different as they are excellent. The first is titled "Me & Ian" and its smooth jazz vibe is highlighted by masterfully smooth guitar work by Steve. The second is "Where's The Fire" and with that sounding like a question, I'll say the answer is 'right here!' This one' is a smoker led by rousing rhythm and percussion, and a fiery harp performance by Hurtin' Burt.
"Glory Train" takes preparedness to the highest level. As the lyrics - "And when my time has come, I'm gonna hop that train and ride" - indicate, it addresses being ready for the ultimate journey. Are you?
Of all the things you could think of that you'd never want around your body, a "Chalk Line" should surely be on the top of everyone's list. This one tells the story of someone who wasn't lucky enough to avoid one. On a song he wrote, the dark tale starts off with Gerald singing "They put a chalk line around him; Now he's no longer sleeping with my wife." Talk about sending a message! Musically, with its intense rhythm, stinging guitar licks and killer horns, this is easily one of my favorites.
The disc closes with a short but sensational minute-and-a-half reprise of "Sleeping While the River Runs" that's performed by The Halsted Street National Choir. The combination of the heavenly lead vocals, the joyful back up harmonies, and the glorious sounds of the organ, all take this one to a hymnic level.
Being known as the "Soul Keeper" and being one of the most powerful singers these ears have heard are no doubt just a few of the reasons Gerald McClendon will be honored with the "Bobby Blue Bland Award" for the "Outstanding Blues Vocal Stylist and performer in the Blues arena", at the 2025 Jus' Blues Awards taking place at the end of this month in Biloxi, MS.
On a personal note, as I understand it, Gerald will be heading my way this fall and I'm looking very forward to meeting and seeing him perform.
If you've not yet received your copy of Sleeping While The River Runs for airplay, just contact Betsie Brown at www.blindraccoon.com - and should you like to find out more about Gerald McClendon just go to his website - www.geraldMcClendon.com. Remember, wherever you go and whomever you talk to, please tell them that the Blewzzman sent you.
On these types of historical tribute releases, more often than not the recording artist never even knew the artist being honored. With Maria and Victoria, that is not the case. Having said that, I'm going to let Maria tell you about their relationship..... "When I was a young aspiring singer in the 1960's, one of the great Classic Blues Queens of the 1920's & 30's, Victoria Spivey, took me under her wing and mentored me. Although of course I appreciated it at the time, over the years I've come to realize just how important her encouragement & support was to me and so many other musicians. To my surprise, a music writer reportedly dubbed her ' The Madonna of the Blues', but thinking about it, I know exactly what he meant! Victoria was ambitious, tenacious, sassy, spunky, boldly & unabashedly her sexuality, versatile & multitalented, singing & writing not just the Blues, but pop & novelty songs of the day, dancing, playing piano & other instruments, acting in movies & stage shows, & entrepreneurial - publishing her own Blues newsletter & starting her own record label, Spivey Records, to give recording opportunities to both old Blues veterans & young hopefuls just starting out (like myself & Bob Dylan to name a few). I was so pleased to find & collaborate with so many fine young musicians who are embracing & carrying forward the rich legacy of this vintage music. This album is a loving tribute to Victoria Spivey for all she brought to the Blues& for the great influence she was on my musical journey. Enjoy!" Maria Muldaur
Before I get into my actual review, I've just got to say that I can't even begin to imagine what it was like for a woman - and a black woman at that - to start her own record label and publishing company back in those days. Interestingly, and quite fitting as well, it was another female label owner who brought this project to life - Sallie Bengtson of Nola Blue Records. Two women making a difference in their respective eras of music!
Now, let's talk music and musicians. The twelve tracks on One Hour Mama - The Blues Of Victoria Spivey are broken down into three groups. One group features three songs with James Dapogny's Chicago Jazz Band, which include: band leader and arranger James on piano; Kim Cusack on clarinet & alto sax; Russ Whitman on clarinet, tenor sax & baritone sax; Jon-Erik Kellso on trumpet; Chris Smith on trombone & tuba; Rod McDonald on guitar and banjo; Kurt Krahnke on bass, and Pete Siers on drums. Another group of two songs features the Tuba Skinny Band who are: Craig Flory on clarinet; Greg Sherman on guitar; Max Bien-Kahn on guitar & banjo; Shaye Cohn on coronet & trumpet; Barnabus Jones on trombone; Todd Burdic on tuba; Robin Rapuzzi on washboard; and David Torkanowsky on piano. The third group of seven songs features: Johnny Bones on saxophone; Danny Caron on guitar; Steve Height on bass; Nel Fontano and David K. Matthews on piano; Beaumont Beaullieu on drums; and guest appearances by Elvin Bishop & Taj Mahal on vocals, and Chris Burns on piano. Of course, all twelve songs feature the fabulous Maria Muldaur on vocals.
The disc opens with a track that pretty much sets the tone for what will follow - songs with naughty, bawdy and lusty lyrics that are filled with sexy innuendos and metaphors. This one is titled "Handy Man" (Andy Razaf), and instead of stopping the drip in your sink, or the constant running of water in your toilet tank, this handy man specializes in tasks that usually happen in the bedroom - and I don't mean putting up a curtain rod. Musically, as the instrumentation of James Dapogny's Chicago Jazz Band indicates, this one will take you straight to the French Quarter in NOLA, and vocally, no one can sell a song of this type better than Maria.
This one features Elvin Bishop getting nowhere while habitually asking Maria "What Makes You Act Like That?" (Lonnie Johnson). The back-and-forth banter revolves around Elvin wanting something Maria's got, and Maria wanting Elvin to pay for it. Vocally, this is a perfect pairing, and musically, the track features excellent guitar pickin' and piano playin'.
Although "Don't Love No Married Man", is downright good advice, sometimes it's advice not taken. It's a troublesome situation that many a blues song has been written about. On this original of Victoria's, she apparently didn't follow her own advice. As her story goes, "A married man will swear he loves you more than he loves his life.....then he'll go on home and tell that same lie to his wife". As she always does, this slow bluesy number has Maria shining on the vocals while being backed by outstanding sax blowin' by Johnny Bones, and fabulous piano highlights by special guest Chris Burns.
So, if the title of this one - "Organ Grinder Blues" (Clarence Williams) - doesn't indicate the direction it's going in, go splash some water on your face and have a cup of coffee. In the meantime, when she's done, Maria might just splash some water on her face and have a cigarette...if you get my drift. This one has Maria being backed up by Tuba Skinny, a New Orleans-based ensemble that plays traditional jazz, blues, and ragtime music - and in this case, the emphasis is on ragtime.
The title track, "One Hour Mama", once again has Maria being joined by the James Dapogny Chicago Jazz Band and from what I'm hearing from these cats, they could very well be called the James Dapogny Chicago Dixieland Jazz Band; James' piano work, along with his killer horn section, once again take you on a musical stroll down Bourbon Street. As for Maria, she has no problem letting you know that being the one-hour mama that she is, she needs a slow and easy man, and one-minute pappas just aren't going to pop her.
Another humorous duet features Maria repeatedly telling Taj Mahal that when it comes to pleasing her, he's "Gotta Have What It Takes" (Victoria Spivey & Harold Grey), while Taj very creatively keeps on insisting he does. My favorite line is when being accused of needing a prescription to perk him up, Taj acts like he doesn't even know where the drug store is. Another perfect vocal pairing and another track with fabulous piano work.
Other tracks on One Hour Mama - The Blues Of Victoria Spivey -, a release I'm sure will get nods in the "Historical" category on any of the various awards lists, include: "Dreaming Of You", "No, Papa, No!", "Down Hill Pull", "T-B Blues" - all Victoria originals; "Funny Feathers" ( Reuben Ford & Victoria Spivey); and "Any-Kind-A-Man (Hattie McDaniel).
Before I close, I'd like to say that back in 2018 I had the pleasure of reviewing a very similar release from Maria which was titled Don't You Feel My Leg - The Naughty Bawdy Blues of Blue Lu Barker. That one had me thinking that only she could pull of a project like that. Now here I am seven years later, reaffirming that thought. Maria, you rock!
To find out more about Maria Muldaur, just visit her website at -
www.mariamuldaur.com - and should you have not yet received your copy of One Hour Mama - The Blues Of Victoria Spivey -, contact Michelle Castiglia at - macradiopromo@gmail.com. As usual, whomever you contact, please tell them their friend the Blewzzman sent you. Additionally, if like me, you were unfamiliar with Victoria Spivey, you can find out all about her by purchasing the CD and reading the very well done ten-page booklet that accompanies it.
Those whom The Bluesmasters have collaborated with is quite an impressive group of musicians. Just a partial list includes: Mickey Thomas, Aynsley Dunbar, Leon Russell, The Allman Brothers Band, Elvin Bishop, Eric Gales, Mick Fleetwood, Rusty Anderson, Abe Laboriel Jr, Jake E Lee, John Mayall, Pat Travers, Shemekia Copeland, Otis Taylor, Magic Slim, Pinetop Perkins, Hubert Sumlin; and once again, on their eighth studio release, Cassie Taylor.
Having taken time off to conquer personal issues, it's been about a decade since we've heard from Cassie, musically. That said, prior to her break, while touring internationally and sharing the stage with blues and rock legends as her father Otis Taylor's bass player, she accomplished more in her teenage years and early twenties than some seasoned veterans have yet to achieve.
On The Bluesmasters Featuring Cassie Taylor, Cassie - on vocals, bass and banjo - is joined by: Kassidy Kent on bass and background vocals; Christian Teele on drums; Eric Moon on Fender Rhodes, B3 and accordion; Tim Tucker on guitars and bass VI; Stella Ann on percussion and background vocals; Kylee Ribble, Larea Edwards and Chrissy Grant on background vocals; Sally Van Meter on lap steel; and Doug Lynn on harmonica. The disc contains ten covers of Gospel inspired music made famous by some legendary artists.
Within seconds of this one starting, I knew this was not the "Downward Road" (R. Staples) your mother listened to back in 1959. Sure, it may be the same song The Staple Singers did, but it is not the same song The Staple Singers did. Roughing it up with powerful lead and background vocals, slick harmonica leads, thunderous rhythm, and scorching guitar licks, The Bluesmasters certainly made this one their own.
With her angelic sounding falsetto, using the line 'If I die and my soul be lost, it's "Nobody's Fault But Mine" (Blind Willie Johnson), Cassie's clearly made peace with her own shortcomings. Her lead vocals, the heavenly sounding background harmonies, the divine organ vibe, and - oddly enough - even the soothing accordion and soft bluesy harmonica leads, all take this one to a hymnal level.
In the unlikely event someone should ever say to you "I know what Gospel music sounds like and I know what blues music sounds like, but I can't quite figure out what Gospel blues would sound like", just take out this CD and play "Sit Down Servant" (M. Bonds) for them. End of lesson.
As I'm mulling over what to say about "Wade In The Water" (R. Lewis), because of how perfect it was said, something I read on the one sheet came to mind. As Rick J. Bowen stated, "........The Bluesmasters add a hundred pounds of heft to the back beat and pumping bass to create a truly modern cover of the much-loved folk song". Folk song? Not this rendition!
Being one of my favorite blues ballads, I don't think I've ever heard a version of "You're Gonna Make Me Cry" (D. Robey) that I did not like. Of course, The Staple Singers and O. V. Wright were two of the best, but after hearing this rendition by Cassie and The Bluesmasters, I'm saying those are now three of the best. Anyone who's ever read my reviews knows that I'm a sucker for a female vocalist powerfully and emotionally belting out a ballad. While showcasing her superior range, Cassie did just that.
During her ten-year hiatus I've got to believe that although Cassie Taylor may have quit singing professionally, she did not quit singing personally. Besides being helpful in recovery, it was obviously helpful in keeping her on top of her game vocally, because this powerhouse didn't lose a thing throughout the layoff. Just one listen to her version of "Respect Yourself" (L. T. Ingram & M. Rice) will attest to that.
Realizing the common denominator of these songs, how fitting would it be to close out with Aretha's classic "Chain Of Fools" (D. Covey)? VERY! Vocally, Cassie is her usually flawless self, and musically - with a pounding performance from Christian on the drums - the track features some of the disc's best rhythm, and a stellar harmonica performance from Doug.
Other tracks on The Bluesmasters Featuring Cassie Taylor - a disc I'm predicting will have huge success - are: "If I Could Hear My Mother Pray Again" (R. Owen); "If You're Ready" (C. M. Hampton, H. Banks & R. Jackson).
Before I close I'd like to say "Welcome back Cassie" and tell The Bluemasters that I'm looking very forward to their other upcoming release, The Bluesmasters 20th Anniversary.
If you've not yet received a copy of The Bluesmasters Featuring Cassie Taylor for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about The Bluesmasters and Cassie Taylor, just go to their websites - www.thebluesmasters.com and www.cassietaylormusic.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
Having been at this since the late fifties, saying Rusty Ends has been around the block more than a few times would be grossly understated. Across the decades, Rusty has played more than his share of Roadhouses, Juke Joints and Honky-tonks, so there couldn't have been a more appropriate title for his latest release. For the project, Rusty Ends - on vocals and electric guitar - is joined by: Dave Zirnheld on vocals and electric bass; Gene Wickliffe on drums; Roosevelt Purifoy on piano and organ; and Wayne Young on second guitar.
As Rusty explains, the music on Roadhouses, Juke Joints and Honky-tonks, "Is a combination of our Kentucky roots and the hoodoo beat of New Orleans, and greasy kind of swamp stuff". Of the disc's fifteen tracks, twelve are originals.
Sometimes I listen to songs that make some of the strangest things go through my mind, and for me, that's a real fun part of doing these reviews. You've got to make them fun to write and fun to read. The title of this track made me think of those two school yard tough guys (okay, maybe I was one of them) staring each other down in the school yard with each of them saying "I'm bad", "Well I'm badder", back and forth and over and over to each other, with absolutely no outcome. Now I can't help but wonder what might have happened had one said "Well, I'm bad like Billy The Kid". That very well could have ended the standoff much sooner. Putting nonsense aside, in Rusty's case, it's cranking up the sound on his guitar that makes him feel "Bad Like Billy The Kid". Go for it, Rusty!
If you're going to do an album that refers to them you might as well do a song about them, right? With Roosevelt's piano romps giving the song the barrelhouse vibe it needs, Rusty and the guys put on a killer performance of "Honky Tonk Man" (Troy Seals & Max D. Barnes). Additionally, with Dave and Gene laying down a driving rhythm behind him, Rusty is sounding, and once again, feeling bad on that guitar.
Going old school on this wistful fifty style blues ballad, Rusty is absolutely masterful both vocally and instrumentally. Not knowing where he's going, or where he's been, Rusty appears to be "Lost In The Blues". From my point of view, the longer he stays there, the more I'm enjoying it. Adding in the sullen rhythm groove, led by fabulous organ work from Roosevelt, definitely makes this one reply worthy.
Although I've never done it by train, the opening line on this one reminded me of the times I went "Screaming out of Memphis like a bat out of hell". It's a track titled "Rockabilly Train" and being a rocker that's as fast as a locomotive, definitely makes it the disc's dance floor filler.
Just shy of twenty years ago I did a review of an album by the late Alvin Jett, of Alvin Jett and the Phat NoiZ Band, and my favorite song off of that release was titled "Angels Sing The Blues". With history repeating itself, Rusty has a different song with the same title on this disc, and it also happens to be my favorite of the lot. As Rusty believes, "We each have an angel to guide us through the night" yet so much of what we put those angels through even give them reasons to sing the blues. Just a few of those are:
"For the drunk out on the corner who wants a few dollars for some wine, says he’s drowning his sorrows but he’s really just marking time";
"For the young girl who sells her soul to feed the monster inside, jabs the needle in her arm but the beast won’t be satisfied";
"For the mother with four kids and she can’t pay her rent";
"For the man living on the street, has a blanket for a tent",
"For the old folks left alone, Lord they need a helping hand",
"For the soldier returning home to a place he no longer understands".
With the band in a perfectly edgeless groove behind him, Rusty - with a commanding presentation of the song's lyrics - absolutely shines. This one has "Song of the Year" written all over it.
"Midnight Screams" is another slow blues masterpiece. As the title indicates, this one is about someone going through some troubling and painful times - both of which will be quite evident from Rusty's emotional and sorrowful vocals and his guitar gently weeping.
One of the more whimsical tracks is "When A Geezer Plays The Blues", which is unquestionably an autobiographical composition. That said, I have this message for Rusty - Don't worry about a thing my friend, most of us listeners are geezers, as well.
The disc closes with a cover of a song by an artist who has probably played even more roadhouses, juke joints and honky-tonks than Rusty himself - the great Willie Nelson. The song is "Night Life" and Rusty and the guys are crushing it with an absolutely beautiful rendition: Rusty's vocals, as they have been throughout, are so attention commanding, and his guitar work is so clean and precise; Dave and Gene, who have been masterful together on the bass and drums, are once again being just that; and Roosevelt is demonstrating why listening to a B3 organ can be mesmerizing. I honestly think that you couldn't count the number of recording artists who have covered this song, and I also honestly think you might agree with me that this is one of the best.
Other tracks on Roadhouses, Juke Joints and Honky-tonks, an album I'm thinking may just get Rusty some well-deserved mainstream recognition, include: "The Same Thing"; "A Little Mixed Up" (Betty James & Edwards Johnson); "The Worm's Turned"; "Linda Lu" (Ray Sharpe); "Lie To Me"; "Thing Called Love"; and "Bourbon Moon".
If you've not yet received a copy of Roadhouses, Juke Joints and Honky-tonks for airplay, please contact Betsie Brown at - www.blindraccoon.com - and should like to find out more about Rusty Ends & Hillbilly HooDoo, just go to - www.rustyends.com. Remember, wherever you go and whomever you speak with, please tell them their friend the Blewzzman sent you.
