Mojo Risin’: Lewis Hamilton

Today, we’re pleased to help bring a little more mojo into your life with the launch of Mojo Risin’, an occasional series that will focus on recognizing and helping to spread the word about some of the rising stars and lesser known names of the genre that come across our radar. Some of those acts may be quite well known in their own regions but not all that familiar to others around the world, such as is apparently the case with our inaugural featured artist, 22-year-old blues-rocker Lewis Hamilton, who has already been nominated for multiple British Blues Awards since forming his band in 2010 and has just released his fourth album, Shipwrecked.


Lewis_Hamilton_Shipwrecked (280x265)Here’s one of the bluesiest tracks from that album, a cover of the classic “John the Revelator” that features some stinging guitar from Hamilton, although we have to confess to also really digging a few of the other tunes here, including the breezy, rootsy Trigger Hippy-ish closer “Water’s Edge” that’s guaranteed to lure you in with its harmonious vocals and uplifting acoustic guitar strains that together give this song just as refreshing a sound as its lyrics, and the catchy, Oli Brown-like “Sticks and Stones”. The latter is just one of several simmering rockers you’ll hear on the album, along with, for example, the opening “Old Faces” and easy-on-the-ears ballad “Head for the Hills”, with other tracks ranging from the quiet, acoustic “Blame” and slow drifting blues of “Stormy Seas” to the harmonica- and effects-laced grooves of “Iceberg Blues” and alt-rocker “Long Way Home”.

Filled with Hamilton’s smooth vocals and captivating grooves, this is a strong, balanced outing that’s plenty energetic but never too heavy or otherwise over-the-top, allowing Hamilton to show a maturity beyond his years. Fans of acts such as Davy Knowles/Back Door Slam, King King, John Mayer, Bad Company, and Oli Brown especially will want to check this one out, although we’d have to think that Shipwrecked is one that just about anybody wouldn’t mind being stranded on a desert island with.

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Blues Blues Lovin’

We haven’t done quite as good a job of keeping up with our BluesPowR Radio Hour as we would have liked in recent months, but the upside is that we’ve got a slew of great music to send your way! Hopefully we can start making up for our hiatus by offering a little something extra this time around, as we present this talk-free, nearly two-hour edition of our show, featuring music from both a son and a daughter of the blues in Bernard Allison and Shemekia Copeland, respectively; a double-shot tribute to the recently departed Grove City, PA native Smokin’ Joe Kubek; and a track from rising contemporary blues star Fantastic Negrito. And all that’s just in the show’s first 30 minutes!

You’ll also hear new and recent music from the likes of Ronnie Earl, Sugaray Rayford, Samantha Fish, Ironing Board Sam, Ian Siegal, and The Nighthawks, as well as classic tracks from John Mayall’s Bluesbreakers and Lead Belly, plus a whole lot more.

Until next time (which we hope won’t be quite so long in coming), enjoy!

Playlist
Brandon Santini – No Matter What I Do (Live & Extended!)
Bernard Allison Group – Move from the Hood (In the Mix)
Shemekia Copeland (w/ Alvin Youngblood Hart) – Cardboard Box (Outskirts Of Love)
Smokin’ Joe Kubek & Bnois King – Lone Star Tap Dance (Fat Man’s Shine Parlor)
Smokin’ Joe Kubek & Bnois King – Done Got Caught Blues (Fat Man’s Shine Parlor)
Clarence “The Blues Man” Turner – C.C. Rider (The Caster Blaster)
Fantastic Negrito – It’s a Long Long Road (Deluxe EP)
Samantha Fish – Jim Lee Blues, Pt. 1 (Wild Heart)
Sugaray Rayford – Texas Bluesman (Southside)
Ronnie Earl & the Broadcasters – Right Place Wrong Time (Father’s Day)
Texas Horns (w/ W.C. Clark) – Cold Blooded Lover (Blues Gotta Holda Me)
Angela Lewis Brown – Blues Blues Lovin’ (Set Me Free)
TBelly – Respectable Man (Dead Men Don’t Pray)
Lead Belly – DeKalb Blues (Lead Belly: The Smithsonian Folkways Collection)
Billy Price & Otis Clay – All Because of Your Love (This Time for Real)
Lara & the Bluz Dawgz – Uh Huh (Howlin’)
Markus James – Woke Me (Head For The Hills)
The Nighthawks – Matchbox (Back Porch Party)
Corte’ – That’s What Love Will Make You Do (Seasoned Soul)
James Day & The Fish Fry – Time & Money (Southland)
Joe Stanley – Ode to Billy Joe (Legend)
D’Mar & Gill – Dancin’ Girl (Take It Like That)
John Mayall’s Bluesbreakers – So Many Roads (Live in 1967)
Deb Ryder – Can’t Go Back Again (Let It Rain)
Ironing Board Sam – I’m Gone (Super Spirit)
Cheryl Lescom & the Tucson Choir Boys – Dime Store Lover (1953)
Urban Hill – Saturday Night (The Real Deal)
Ian Siegal – How Come You’re Still Here (The Picnic Sessions)

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Walter Trout prize pack winners

Congratulations to Anne Foster of Clear Lake, Iowa, and John McClain of Fort Worth, Texas, who each pick up a Walter Trout prize pack featuring a copy of both Walter’s biography Rescued from Reality: the Life and Times of Walter Trout and Walter’s new CD Battle Scars (read our recent review here)!

Anne told us her favorite song from Trout is “Blues for My Baby”, while John’s is “The Reason I’m Gone”. Check them out today if you’re not familiar with them – or just to get your Walter fix.

Thanks to all who entered our contest as well as to our friends at the Mascot Label Group for supplying the great prizes. Anne and John, your packs are on the way! Everyone else, you can preview and get Walter’s new album here – this is one you definitely don’t want to miss.

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Walter Trout shows off Battle Scars on first recording since successful transplant

If calling his return to the road the “I’m Back” tour wasn’t enough of a statement of his improving health after more than a year-and-a-half of a break from performing, blues/rock guitarist Walter Trout is back in a big way with Battle Scars, his first album since his life-saving liver transplant in the spring of 2014 (while his previous album, The Blues Came Callin’, was released just a few weeks after his transplant, the project was actually recorded in 2013, just before Walter became too weak to even play. You can read more about Trout’s sickness, recovery, and thoughts on the future of the blues, among other topics, in our Q&A with him that appeared earlier this year, which also happens to be one of the most-read and -shared posts in the history of our blog).

walter_trout_battle_scars (280x253)Like The Blues Came Callin’, many of the dozen original songs on Battle Scars (Provogue/Mascot Label Group) – his 42nd album overall – relate to the sickness that brought Walter to within 10 days of death, as evidenced by such songs as “Almost Gone”, “Omaha” (where Trout spent weeks awaiting a new liver and witnessed firsthand the grief of the families of other patients who weren’t as fortunate), and “Gonna Live Again”. But the big difference here is that any of the frailty or tiredness heard on Walter’s previous album as a result of his circumstances at the time are long behind him, with Walter playing and singing with a renewed energy and vigor that match how he claims to feel nowadays: “like I’m 17 again”.

One of the best examples of that comes on the album’s opening “Almost Gone”, with Trout’s fiery guitar; gritty, powerful harmonica; and strong vocals combining for a sound that, to borrow from the song’s lyrics, “reminds me of the way (Trout) used to be”. But that, it turns out, is really just the tip of the iceberg, followed by other blues/rock-solid numbers like the shuffling, harmonica- and groove-laced “Tomorrow Seems So Far Away”; the ZZ Top-style rock of “Playin’ Hideaway”; the uplifting (at least musically and vocally) “My Ship Came In” featuring some particularly stinging guitar (along with a bit more harmonica) from Trout; the breezy, open-road anthem “Fly Away”; and the hard, slow blues of “Cold, Cold Ground”.

While those account for the best of the bunch, the other songs here are also nothing to sneeze at, including simmering rockers like “Omaha” and “Move On”; the tender, swaying ballad “Please Take Me Home” that sounds like it could just as easily have been a hit from an ’80s rock group, complete with impassioned solos; and the, well, haunting creeper “Haunted By the Night”, along with the heartfelt acoustic number that closes the album in “Gonna Live Again”.

Trout’s playing is again impressive, and vocally, he sounds as healthy as we can ever remember, backed here by a terrific band of Sammy Avila on Hammond B3, Michael Leasure on drums and percussion, and Johnny Griparic on bass, with Skip Edwards making occasional appearances on piano/organ (“Please Take Me Home”, “Haunted By the Night”) and producer Eric Corne assisting on background vocals (“Playin’ Hideaway”, “Fly Away”, “Move On”) and shaker (“Please Take Me Home”). Not only is Trout back, but some – including Walter himself – might also say he’s better than ever.

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Just two more days to enter our Walter Trout book/album giveaway contest

We’ve already received entries from all across the United States for our Walter Trout biography/album contest, from the East to the West to throughout the Gulf coasts and lots of other places in between. But the nice thing about contests like this is that the winners will be chosen completely at random, which means that it doesn’t matter when you enter, just so long as you do it sometime before the deadline of midnight on Friday, Oct. 30!

All you need to do to be eligible is send us (either through our Contact Us form or by direct email to mike@bluespowr.com) your name along with both a valid mailing (sorry, this one’s open to U.S. residents only) and email address AND the title of your favorite Trout song. Two winners will each receive a Walter Trout prize pack featuring a copy of both Walter’s recent biography Rescued from Reality: the Life and Times of Walter Trout and his brand new album Battle Scars, which is one any Trout or blues-rock fan will want to have.

Be sure to submit your entry today (or yes, tomorrow for the real procrastinators among you) before it’s too late!

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Announcing our Walter Trout book/album giveaway!

Trout giveaway pack (274x280)With blues-rocker Walter Trout‘s new album Battle Scars hitting the stores tomorrow, we’re teaming with the Mascot Label Group to give away not one, but two, Walter Trout prize packs featuring a copy of both Walter’s recent biography Rescued from Reality: the Life and Times of Walter Trout and the brand new album (BluesPowR Blog review coming soon!).

All you need to do to enter is send us (either through our Contact Us form or by direct email to mike@bluespowr.com) your name along with both a valid mailing (sorry, this one’s open to U.S. residents only) and email address AND the title of your favorite Trout song by the contest’s deadline of Friday, Oct. 30 at midnight Eastern. We’ll pick two random winners to receive the book/CD prize pack and notify the winners by email before announcing their names (and favorite Trout song) here on the blog the following week.

And, in the meantime, be sure to check out Walter’s Battle Scars on iTunes!

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Having a blast with Clarence “The Blues Man” Turner on The Caster Blaster

Clarence_Turner_The_Caster_BlasterWe have to admit we weren’t at all familiar with Clarence “The Blues Man” Turner when we popped this latest CD of his into the player, so we may have been a bit skeptical upon hearing the album’s opening lines of “Seems like everywhere I go, everybody knows my name”, even when followed by the much bluesier and down-to-earth sentiment of “ain’t a thing wrong with bein’ famous/ but I could use a ‘lil fortune to go with my fame”. But one listen through The Caster Blaster (Uniqek Sound Records) and you’ll soon realize that the D.C.-based blues singer and multi-instrumentalist has every bit the talent to back such bold statements, moving from the funky grooves of songs like the opening “Fame & Fortune” and Albert King-like “Happily Married Man” filled with lively keys from Charles Pearson, to the swinging, Chuck Berry-styled rocker “Nadine” and soft, sentimental “Hey Lady”, to the greasy “Mojo Hand” with its steamy horns.

Along the way, you’ll also hear two terrific instrumentals in “Sabrena”, a simmering jazz number driven by grungy, Gary Clark Jr.-ish guitar riffs, and the shuffling “Fender Bender?”, as well as impressive covers of a few classics, including an uptempo, New Orleans-flavored treatment of “C.C. Rider” in the vein of Louis Jordan’s “Ain’t Nobody Here But Us Chickens”, a horn-laden, slightly accelerated take on Willie Dixon’s “I’m Ready”, and a “Tin Pan Alley”-like version of Ray Charles’ “Black Jack” that features some stinging guitar from Turner and finds him attacking with an energy comparable to that of younger players like Jarekus Singleton, Omar Coleman, or one of the genre’s other rising stars, but with all the bite of a seasoned blues player.

The Caster Blaster may or may not lead to the fortune Turner’s hoping for, but there’s a good chance it will result in a bit more fame for the bluesman if word gets out just how good this album is!

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It Ain’t Right to miss this one from Jimmy Burns

A few weeks ago, we told you about Chicago bluesman Omar Coleman’s debut recording on Delmark Records, Born & Raised. Jimmy Burns’ latest CD marks the singer/guitarist’s fifth project on that same label – with one additional on Velrone Records – since he started recording albums back in 1996, some three decades after cutting his first singles, but hearing It Ain’t Right, it’s easy to see where guys like Coleman have found some of their inspiration.

jimmy_burns_it_aint_right (260x260)The younger brother of the late Detroit bluesman Eddie Burns (who played with John Lee Hooker as well as on his own), Jimmy is part Albert King, part Otis Clay or Johnny Rawls, bringing an impressive and entertaining mix of blues and soul originals and covers, from the funky, shuffling opener “Big Money Problem” and uptempo grooves of “Long as You’re Mine”, to the B.B. King-like guitar of a gritty “Hard Hearted Woman” and the slow, bluesy “I Know You Hear Me Calling”, to the swaying soul of “Will I Ever Find Somebody?”, old-time horn- and backing vocals-accompanied “Crazy Crazy Crazy”, and boogie-woogie “Rock Awhile”.

Along with that you’ll find some terrific – and often unique – takes on songs like “Stand By Me”, “Messin’ With the Kid”, the traditional gospel classic “Wade in the Water”, and of course, “It Ain’t Right”, with Burns backed by a crack group of musicians that include Greg McDaniel on bass and Sumito “Ariyo” Ariyoshi (Billy Branch & the Sons of Blues) on piano, along with Roosevelt Purifoy on organ for a handful of songs.

Indeed, the only thing that ain’t right here is that Burns isn’t already a whole lot more widely known and respected outside of Chicago, but hopefully that will change once a few more people hear this latest offering from the Delta-born musician.

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Guy Davis plays it “like Sonny did” on new CD Kokomo Kidd

Guy_Davis_Kokomo_Kidd (2) (260x234)The closest you’ll find to a modern-day troubadour, acoustic bluesman Guy Davis is back with another terrific collection of tunes on his second release for M.C. Records, Kokomo Kidd. From the plucky, tuba-accented title track about a country bootlegger-turned-political fixer on which Davis raps about a life working for Washington insiders – what Davis describes as “sort of a demented celebration of corruption” – with such lyrics as “you’ve got to know the ropes and who to go to, who did you favors and who do you owe to/ now office to office, I can hack your email, find out if you like male or female” and “I got a meeting at 3, I gotta’ bring coke to the GOP”, to other uptempo, breezy songs such as “Like Sonny Did” (dedicated to the late harmonica player Sonny Terry, about whom Davis says “It took me 20 years to steal from him what I know so far”) and several old-time blues numbers, to soft, tender ballads like “Maybe I’ll Go”, “Taking Just a Little Bit of Time”, and the lovely, Pete Seeger-inspired “Wish I Hadn’t Stayed Away So Long”, Kokomo Kidd has pretty much everything you can ask for, all accented by Davis’ sandpapery voice and an impressive range of sounds.

Carnegie Lecture Hall, Pittsburgh, 2014

Carnegie Lecture Hall, Pittsburgh, 2014

You’d have to be missing a pulse for your spirits not to be lifted by Davis, whether through the lively music he creates – on instruments that here include the acoustic six- and twelve-string guitar, banjo, harmonica, keyboards, and percussion – or the lyrics he delivers, ranging from the humorous (“yes, I tried to keep them separate, but that didn’t work at all/ one lives around the corner, the other one just across the hall” on “Have You Ever Loved Two Women (But Couldn’t Make Up Your Mind?)” and “you can besame mucho, when I’m standin’ at your window/ you can kiss me like a gaucho, when I’m layin’ on your coucho/ come on, honey, well, there’s all night long/ kiss me, mama, well, there’s all night long” on “Blackberry Kisses”) to the sensitive (“My mother died when I was on the road/ bell rang on the midnight train, carrying the hobos home… I got home too late to say goodbye” on “Wish I Hadn’t Stayed Away So Long” and “I like to go by the river, and sit on the banks all day/ with a pole & line and nothing on my mind, I can hear what the catfish say” on “Taking Just a Little Bit of Time”). A brilliant storyteller, Davis is full of surprises, including the addition of some, well, stinging guitar on the otherwise rather simple country blues of “Bumblebee Blues” (Bumble Bee Slim), a reggaeish twist on Donovan’s “Wear Your Love Like Heaven” that far surpasses the original, and a fine cover of Bob Dylan’s “Lay Lady Lay”, to mention just a few.

Harmonica ace Charlie Musselwhite joins Davis for a creeping version of “Little Red Rooster”, which also features some terrific guitar and tinkling of the ivories, with the creeping continuing – this time accompanied by some delightful mandolin from Chris James – on “Cool Drink of Water” (Tommy Johnson), making for a nice contrast to songs like the light, airy “Blackberry Kisses”.

Truth be told, there just aren’t many who can deliver Americana in as interesting and entertaining a manner – or give acoustic traditional blues such a contemporary sound – as Davis, and it sure is a lot of fun hearing him explore the different sides of the genre here on Kokomo Kidd.

Related posts:
Corey Harris, Guy Davis, and Alvin Youngblood Hart bring True Blues to Pittsburgh

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Robert Cray Band celebrates 4 Nights of 40 Years Live on latest CD/DVD offering

Robert_Cray_4_Nights (260x234)Bluesman Robert Cray has been “groovin’ 4 decades” now, so this isn’t of course the first live recording we’ve heard from him, nor is it likely to be the last. But the double CD/DVD set 4 Nights of 40 Years Live (Provogue Records/Mascot Label Group) may be his most complete so far, featuring songs and performances that span the guitarist and singer’s entire 20-album career, including live versions of tracks off the five-time Grammy Award winner’s very first and latest albums as well as some early festival and TV appearances.

Disc 1 of the set captures Cray and his band – longtime bassist and friend Richard Cousins, keyboardist Dover Weinberg, and drummer Les Falconer – deep in the groove during four recent shows (hence, the 4 nights in the set’s title) at different venues around Los Angeles, starting on the warm, diverse vocals of a horn-accented “I Shiver” before those horns really kick in for a jazzy, “lowdown and funky” version of “I’ll Always Remember You”.

Cray at Carnegie Library Music Hall, Pittsburgh, July 2014

Cray at Carnegie Library Music Hall, Pittsburgh, July 2014

Things only heat up more as the band rolls through such gems as the grooving “Won’t Be Coming Home”, a soulful “Your Good Thing is About to End”, and the swaying “Poor Johnny”, while guest appearances from harmonica player Lee Oskar and vocalist Kim Wilson help to further lift songs like the creeping “Sittin’ on Top of the World” and uptempo soul classic “Wrap It Up” (Sam & Dave, later covered by Wilson’s The Fabulous Thunderbirds), respectively. Perhaps the pinnacle of the first disc, however, is the greasy, deep-grooved “These Things”, a track off Cray’s 1990 Midnight Stroll, which also happens to feature one of this live album’s best guitar solos.

Cap that off with a few more of Cray’s strongest numbers in “Bad Influence”, the higher-pitched “Right Next Door (Because of Me)”, and the bluesy, keyboards- and horns-infused “The Forecast (Calls for Pain)”, among others, and what you have is a superb and entertaining collection that even the most casual of Cray fans will appreciate, thanks not only to Cray’s magnificent guitar work and vocals but also to the tight, talented band that backs him.

Truth be told, we only got to hear the first disc of this two-CD set, but that one alone is probably well worth the price of the collection. We’re guessing that the second CD is at least every bit as good, capturing Cray at a much different point in his career through performances from the 1982 edition of the now-defunct San Francisco Blues Festival and a 1987 Dutch TV show, including then-favorites such as “Smoking Gun” and “Too Many Cooks” (Willie Dixon) – the latter of which appeared on Cray’s 1980 debut Who’s Been Talkin’ – as well as “T-Bone Shuffle”, “I Guess I Showed Her”, and “Still Around”, while the accompanying DVD shows video from both those early performances as well as the four concerts at which the first CD was recorded, along with interviews with Cray and his band and commentary from the likes of Eric Clapton, Buddy Guy, Keith Richards, Bonnie Raitt, and Jimmie Vaughan.

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