Texas Cannonball Freddie King shoots into Rock Hall of Fame

freddieking-160x200The Rock and Roll Hall of Fame announced its 2012 inductees on Wednesday, including one pretty terrific bluesman in Texas guitarist Freddie King. Nicknamed the “Texas Cannonball,” King is this year’s sole inductee in the Hall’s Early Influence category, which recognizes “artists whose music predated rock and roll but had an impact on the evolution of rock and roll and inspired rock’s leading artists.”

And did he ever. Here’s what the Hall says about King in his profile:

Guitarists ranging from Eric Clapton and Mike Bloomfield, to Peter Green, Jeff Beck and Carlos Santana have all acknowledged their debt to Freddie King (1934-1976), the “Texas Cannonball.”  His ’60s classics, “Have You Ever Loved A Woman,” “Hide Away,” “You’ve Got To Love Her With A Feeling” and “The Stumble” are part of the DNA of modern electric blues. Born in Texas, a young King arrived in Chicago with his family in 1950, a perfect moment to start learning from Muddy Waters, Little Walter, Jimmie Rogers and all of the legendary post-war bluesmen. Over the next 10 years, as the First Great blues revival took shape, King developed a style all his own.  In 1961, he miraculously charted six R&B Top 30 hits on the King/Federal label that were heard from coast-to-coast and were profoundly influential on both sides of the Atlantic.

Three covers are indelibly etched: “Hideaway” featuring Clapton (on John Mayall’s Bluesbreakers, the ‘Beano’ LP of 1966), “The Stumble” and “Someday, After Awhile (You’ll Be Sorry)” (both featuring Green, on Mayall’s A Hard Road, ’67) and “Have You Ever Loved A Woman” (a staple for Clapton ever since the first Derek & the Dominos album). King thrived on rock, jazz and blues scenes and at festivals starting in the late ’60s and ’70s, even getting name-checked by Grand Funk Railroad on “We’re An American Band” (“Up all night with Freddie King/ I got to tell you, poker’s his thing”). Right up through his death, all too soon at age 42, Freddie influenced Stevie Ray and Jimmie Vaughan, and the next generation of disciples who would take electric blues into the ’80s, ’90s and beyond.

Other 2012 inductees include The Small Faces/The Faces, Donovan, the Red Hot Chili Peppers, Guns N’ Roses, the Beastie Boys, and Laura Nyro.

Also being inducted this year in The Award for Musical Excellence category is record engineer and producer Tom Dowd, whose name you might recall from his decades of work, largely for Atlantic Records, with such artists as Big Joe Turner, Ruth Brown, LaVern Baker, Rufus Thomas, Ray Charles, John Coltrane, Aretha Franklin, Solomon Burke, Wilson Pickett, Otis Redding, Thelonious Monk, the Coasters, Derek and the Dominos, King Curtis, the Allman Brothers Band, Cream, and Eric Clapton, to name just a few. In addition to engineering Atlantic’s first national hit in 1949’s “Drinkin’ Wine Spo-dee-O-Dee” by Stick McGhee, Dowd also worked with such blues acts as Booker T and the MG’s, Popa Chubby, Tinsley Ellis, Colin James, Joe Bonamassa, and Susan Tedeschi during his distinguished career.

The 27th annual Rock and Roll Hall of Fame Induction Ceremony will take place in April, and is open to the public. For those who can’t make it to Cleveland, look for the ceremony on HBO in early May.

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Nick Moss makes another bold statement on Here I Am

Anyone who didn’t much care for the direction Chicago blues-rocker Nick Moss took on his previous album Privileged – a bit heavier on the rocking side, sans his band the Flip Tops – can probably stop reading here. For the rest of us though, the past year and a half has been one of great anticipation, as we awaited Moss’ latest gem, unleashed last week under the title of Here I Am (Blue Bella Records).

mosshere (180x180)Any question there may have been as to whether this outing would follow a similar path as the free spirited sounds of Privileged is quickly answered with the blistering guitar and piano boogie of the opening “Why You So Mean?,” followed by a gritty and powerful “Blood Runs” featuring some especially tough background vocals, and the hard shuffling title track, which has Moss boldly declaring – through both his words and guitar – that he won’t be boxed in.

Indeed, Moss is all that much deeper into his journey on Here I Am, with plenty more guitar solos and nary a track clocking in under four and a half minutes, with several in the eight to ten minute range. Backed by Travis Reed on keys, “Stumpy” Hutchkins and Nik Skilnik on bass, and Patrick Seals on drums, the disc’s ten original songs offer a rich array of sounds that span from Cream and Jimi Hendrix to the Allman Brothers Band and Delaney & Bonnie.

“Candy Nation” is a funky blues number with a few very sweet guitar licks, no puns intended, as the candy being referred to here is clearly of the medicinal variety. The first single off the album is the quieter and soulful “It’ll Turn Around,” offered both in its standard eight-minute version and as a five-minute radio edit, and one of two songs nicely accented by both male and female backing vocals.

That moves into the Cream-meets-Jimi Hendrix sound of “Long Haul Jockey,” followed soon after by the the disc’s longest cut, clocking in at nearly ten minutes, the funky “Caught by Surprise.” The slow rocking blues and psychedelic sounds of “Katie Ann (Slight Return)” and the brisk-moving “Here Comes Moses” give Moss ample time to show off more of his skill on the strings before the album closes on the fun, laughter-filled instrumental “Sunday Get Together.”

With any luck, Moss will also play well into Sunday when he visits Moondog’s in Blawnox next Saturday, December 10. It’s a show – and Here I Am, an album – well worth checking out. And now, as Moss himself points out in that title track, it’s your own damn fault if you pass him over…

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Louisiana Red gets Memphis Mojo working on latest CD

We’ve talked here before about the Pittsburgh roots of the bluesman called Louisiana Red, who’s logged countless miles since leaving the Steel City for Chicago many decades ago. Having spent 20 years living in Germany, Red’s latest project actually finds him in yet another famous U.S. blues town, reunited with an outfit called Little Victor’s Juke Joint (Back to the Black Bayou) for Memphis Mojo (Ruf Records).

memphis-mojoRecorded in Memphis just two days after Red (whose real name is Iverson Minter) took home honors for acoustic artist and acoustic album (You Got to Move with keyboardist David Maxwell) at 2010’s Blues Music Awards, Memphis Mojo is precisely what you’d hope for and expect from Red and this line-up, which includes Little Victor and The Hawk sharing guitar duties with Red, Bob Corritore on harmonica, David Maxwell on piano, and Mookie Brill on bass, in addition to a few others. Even if the listener comes in having no idea of Red’s rich blues history, which has included jamming with the likes of Muddy Waters, John Lee Hooker, B.B. King, and nearly every other major bluesman, it doesn’t take long to figure out that Red is the genuine article, between the album’s title and the swampy blues and plaintive vocals of the opening “Goodbye Blues” (only an experienced bluesman such as Red could even think about starting an album with a song about goodbyes).

That’s followed by a Robert Johnson-like “I Had Troubles All My Life,” with its Delta sound, lyrics about picking cotton in Mississippi, and Red’s crackling vocals making it easy to believe he knows just what it means to be troubled. A dark and gritty take on Blind Lemon Jefferson’s “See That My Grave is Kept Clean” would fit quite nicely in a True Blood episode, complete with creaking coffin and tolling church bell effects to accompany its lyrics, while the hoarse-vocalled “No More Whiskey” is a shuffling romp through the Hill country a la Junior Kimbrough.

“Just Take Your Time” is a tune more in the Windy City style, with some fine piano from Maxwell in addition to the two guitars of The Hawk and Little Victor. From there, they move to the slow shuffle of “Your Lovin’ Man” featuring Red on slide guitar and vocals accompanied by the soulful harp of Corritore, as well as a bit of boogie in “Boogie Woogie Boogie” and a shaking “I’m Gettin’ Tired” that shows Red’s only really tired in attitude.

Two slow blues numbers help to close the album, “So Long, So Long” and “Grandmother’s Death,” along with another guitar-driven shuffler in which Red pleads “why don’t you come back,” which is likely what Blues Music Awards voters will be asking Red upon hearing Memphis Mojo.

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Samantha Fish casts a wide net on Runaway debut

fish (180x179)We’ve talked here before of the vocal and guitar prowess of Kansas City blueswoman Samantha Fish, who you may recall as one-third of Ruf Records’ Girls with Guitars Blues Caravan along with U.K. blues/soul singer and guitarist Dani Wilde and multi-instrumentalist Cassie Taylor. But today, the spotlight focuses (mostly) on Fish as a solo artist, following the recent release of her own album Runaway on the Ruf label.

SONY DSCThat’s not to say Fish is entirely removed from her Girls with Guitars colleagues on this outing: Cassie Taylor and Jamie Little join Fish on bass and drums, respectively, with GWG producer Mike Zito also returning, both behind the board and on guitar and vocals. Together, they help to create a dynamite debut from the blonde performer Taylor playfully referred to as “Guitar Barbie” during the Caravan’s appearance at this summer’s Pittsburgh Blues Festival, where we had a chance to snap these photos.

Kicking off on an edgy “Down in the Swamp” that nicely illustrates the grittiness of both the 22-year-old’s voice and guitar, Fish moves to the boogie of the album’s title track as well as the slow, sweet blues of the often-humorous “Today’s My Day.” The slow shuffle of “Money to Burn” and quiet, jazzy, Eva Cassidy-like closer “Feelin’ Alright” do particularly well in showcasing the smoky side of Fish’s voice, while the vocally-rich “Soft and Slow” and a rocking duet with Mike Zito in “Push Comes to Shove” both help to bring out the country blues in the midwestern girl.????????

Also included here are a tender take on Tom Petty’s “Louisiana Rain,” a funky, riff-heavy “Leavin’ Kind,” and the superb shuffle of “Otherside of the Bottle,” making for a fine offering from this rising young talent.

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Johnny Winter recalls blues roots on latest CD

There’s an old Willie Dixon adage you might have heard that “The blues is the roots, and the rest is the fruits.”

One timely example of that sentiment is Texas guitar slinger Freddie King‘s inclusion among this year’s nominees for the Rock & Roll Hall of Fame (announced this week), with King’s Rock Hall bio noting his influence on such other artists as Eric Clapton, Peter Green, Carlos Santana, and Jeff Beck.

Johnny_Winter_RootsAnother case in point: fellow Texas guitarist Johnny Winter‘s latest CD Roots – out this week on Megaforce Records – which press materials describe as “return(ing) Johnny to his roots by paying homage to the iconic blues heroes whose pioneering music influenced Winter’s own signature sound and style.” Indeed, Roots finds Winter taking on (in a surprisingly energetic way, considering his recent health problems) nearly a dozen blues classics from such masters as Muddy Waters, Robert Johnson, Chuck Berry, Bobby Blue Bland, T-Bone Walker, and Jimmy Reed, among others, joined in his effort by special guests that include Warren Haynes, Derek Trucks, Sonny Landreth, Susan Tedeschi, John Popper, and brother Edgar Winter.

The album kicks off on the natural ball of a Sonny Landreth-accompanied “T-Bone Shuffle,” followed by a strong “Further On Up the Road” with guitarist/Conan bandleader Jimmy Vivino, and an Allman Brothers-sounding “Done Somebody Wrong” that includes Warren Haynes on slide.

Fellow ABB bandmate Derek Trucks joins Winter a bit later for Robert Johnson’s “Dust My Broom,” while Trucks’ wife Susan Tedeschi contributes lead guitar and vocals on a bright duet of Jimmy Reed’s “Bright Lights, Big City.”

A straight-ahead take on Muddy Waters’ “Got My Mojo Workin'” features some terrific harmonica from Frank Latorre, and Blues Traveler John Popper keeps the harp workin’ on the slow blues of Little Walter’s “Last Night,” before Vince Gill joins the party with a country blues run at the Chuck Berry hit “Maybellene.”

The album’s sole instrumental – Clarence “Gatemouth” Brown’s “Honky Tonk” – incorporates some soulful sax from Johnny’s brother Edgar, with Winter band guitarist Paul Nelson (who also produced the album) featured on the fun country boogie of “Short Fat Fannie.” John Medeski accompanies on organ for Walter Davis’ always-delightful “Come Back Baby,” complete with a particularly stinging solo from Winter to help close the album.

While it may not be entirely accurate to herald this as a return to Winter’s roots in that he’s never really strayed too far from the blues during his accomplished career, it is nonetheless a triumphant return – both on guitar and vocals – for the bluesman following his last studio album, 2004’s I’m a Bluesman. It’s always enjoyable when Winter comes at the genre with full force, and this time, it’s with the help of a few friends, who together make Roots one of the most exciting blues albums of the year.

PowR cuts: “Got My Mojo Workin’;” “Last Night;” “Bright Lights, Big City;” “Honky Tonk;” “Dust My Broom;” “Come Back Baby”

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A soulful explanation from Beth Hart, Joe Bonamassa on Don’t Explain

There’s no denying Joe Bonamassa has done some pretty interesting stuff in recent years, between his own best-selling albums such as Dust Bowl, Black Rock, and Live from the Royal Albert Hall, among others, and being a part of the hard-hitting British-American supergroup Black Country Communion. Among this week’s new releases, we find Bonamassa involved in a slightly different kind of collaboration, paired with the deeply talented and soulful Los Angeles singer-songwriter Beth Hart on an album of soul covers that stretches from Billie Holiday and Etta James to Bonnie & Delaney, Tom Waits, and Bill Withers.

Available today on Bonamassa’s own J&R Adventures label, Don’t Explain combines Hart’s dynamic, always expressive voice with Bonamassa’s scorching guitar, backed by the same band that supported Bonamassa on his 2009 The Ballad of John Henry, for a result even more satisfying to the soul than the chocolate Jesus about which Hart sings on one of the album’s hippest tracks.

JB_BH_dont_explain (250x250)Produced by Kevin Shirley (who you might say brings a little familiarity with Bonamassa, having produced his last five albums), the CD kicks off with the Ray Charles classic “Sinner’s Prayer,” which practically drips the blues treated with Hart’s gravelly, Janis Joplin-like vocals. A soulful take on Tom Waits’ “Chocolate Jesus” – described by Hart as “less of the chicken coop blues that (Waits) did, and more of a sassy, French cafe style” – follows, also offering the first glimpse of the Etta James-ish qualities to Hart’s voice to be heard on such later tunes as James’ “I’d Rather Go Blind” (to which Hart again adds a Joplin-like touch to complement Bonamassa’s guitar licks and some fine keyboard accents) and “Something’s Got A Hold On Me,” a la fellow blues-rocker Dana Fuchs.

Next up is the slow, dark jazz sounds of the Nina Simone-like “Your Heart is as Black as Night,” before they break into the hard-hitting blues-rock of Bill Withers’ “For My Friends” and the quiet title track from Billie Holiday that helps showcase the pure and vulnerable sides of Hart’s vocals.

The slow, bluesy start of “I’ll Take Care of You” soon transforms into a passionate power ballad, while Bonamassa joins in on vocals to make the breezy country-soul of Delaney & Bonnie’s “Well, Well” one of the album’s best numbers.

The tenth and closing track, Aretha Franklin’s soul-drenched “Ain’t No Way,” pairs Bonamassa’s tender guitar strains with the full range of Hart’s voice, from low growl to heartfelt, piercing wail, rounding out a project there ain’t no way soul-blues fans will want to miss.

There’s a whole lot more we probably could say about this album, but – as its title implies – there’s little need for explaining: this is one where the music truly does speak for itself.

Top picks: “I’d Rather Go Blind,” “Well, Well”

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In fond memory of Willie Big Eyes Smith

Late last week, the blues world lost another of its legends with the passing of drummer and harmonica player Willie “Big Eyes” Smith, who in death is reunited with such former bandmates as the great Muddy Waters and keyboardist Pinetop Perkins, with whom the 75 year-old Smith shared a Grammy win earlier this year for their 2010 Joined at the Hip album.

While of course saddened that we’ll never again be able to enjoy Smith’s talents on stage – as we did, for example, back in 2007 when he appeared with Perkins, David “Honeyboy” Edwards, and Calvin “Fuzz” Jones (each of whom have also died during the last year: Jones last August, Perkins this spring, and Edwards just in recent weeks), as well as George “Mojo” Buford, Michael Frank, and Bob Margolin at a legends of the blues show at Pittsburgh’s Carnegie Music Hall, we do take some comfort in knowing that Willie’s music and legacy will continue to live on, not only through his own recordings but also in the careers of others such as Willie’s son and fellow drummer, Kenny “Beedy Eyes” Smith.

Rest in peace, Big Eyes.

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Blues Lyrics of the Week: September 11th Blues

Ten years ago today, I had just boarded a morning flight in Baltimore when I heard the first report of a plane flying into the World Trade Center. Like so many others that day and in the days that followed, that flight never did take off, as air traffic was grounded – first on the East Coast and then throughout the entire U.S. – in the wake of the horrific attacks on our nation and liberty.

It’s surprising really that there haven’t been more blues songs written around the topic of 9/11 over the years, but here are the lyrics from one – an acoustic number from Louisiana Red – I thought worth sharing on the anniversary of this heinous act. Now, as much as then, may God bless America!

“Well, it was a gloomy day,
sun was shining bright in the sky.
Everybody doin’ their work and goin’ about their business,
then, by and by, hell came from up high.
Two airplanes hit the World Trade Center,
and the World Trade Center come tumblin’ down.

People runnin’ and cryin’ – I thought it was a movie film.
Looked down at the bottom of my TV set, it was CNN news then.
Lord, it was a terrible day
when the World Trade Centers start comin’ down.
Well, people was dyin’,
whoa, Lord, and people poured way from that town.

You know, two airplanes hit the building,
I thought it was a dream.
People runnin’ and cryin’ for their lives,
worse I ever seen.
September 11, when hell came right down from the sky.
Whoa, that’s when the – dreadful time in the U.S.A. –
World Trade Centers come tumblin’ down,
Lord, have mercy.”
– “September 11th Blues”, Iverson Minter (a.k.a. Louisiana Red)

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Farewell, Honeyboy Edwards

IMG_0705 (180x143)By now, you’ve likely heard about the death of one of the last true Mississippi Delta bluesmen, the talented David “Honeyboy” Edwards, who, as some of you may know, was managed for the past nearly three decades by Pittsburgh native, harmonica player, and Earwig Music founder Michael Frank. If you haven’t ever read it, Edwards’ biography, The World Don’t Owe Me Nothing, provides a nice overview of his career and experiences throughout much of his 96 years.

IMG_0706 (180x106)The last time we saw Honeyboy perform was at last summer’s Crossroads Guitar Festival, where he played such tunes as “Apron Strings,” “Crossroads,” and “Ride with Me Tonight,” and where we snapped these photos of Edwards and Frank.

R.I.P., Honeyboy, and know that, despite what you may have believed, the world does indeed owe you a great deal.

 

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The Bright Lights – and sounds – of Gary Clark Jr.

IMG_0661 (106x180)We may not have gotten to see singer-guitarist Gary Clark Jr. during his recent visit to Pittsburgh’s Hard Rock Cafe (that’s a picture of him from last year’s Crossroads Guitar Festival), but far be it for us to argue with Rolling Stone magazine that Clark’s new EP The Bright Lights (Warner Brothers Records) is one worth checking out.

gary_clark_jr_bright_lights_epIndeed, Clark covers a great deal of ground – and quite a few guitar frets – in the EP’s four songs, starting on the fiery title track, with its no doubt-prophetic lyrics of “you gonna’ know my name.” From there, he moves on to the John Lee Hooker-ish boogie of “Don’t Owe You a Thang” before presenting a pair of live solo acoustic numbers in the quiet R&B grooves of “Things are Changin'” and a slow bluesy “When My Train Pulls In” that includes some terrific picking and strumming from this rising star.

With a full-length album expected next year, we’re already looking forward to it, and will – like Clark – be ready when that train pulls in.

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