Quick takes: The Holmes Brothers, The Mannish Boys, and the ‘Burgh’s bluesiest

As the month begins to wind to a close, here are a few more March releases worth checking out:

The Holmes Brothers Feed My Soul (Alligator Records)
holmes_bros_feed_my_soulYou can always count on the Holmes Brothers for some interesting lyrics and music, and this latest release is no exception. From the quiet title track and other slow but steady tunes like “I Saw Your Face,” the Beatles’ “I’ll Be Back,” and “Pledging My Love,” to the more uptempo, foot tapping “You’re the Kind of Trouble” and “Rounding Third,” and the slightly reggae sound of “Something is Missing,” the brothers have compiled another solid album to showcase their unique R&B gospel sound. “I Believe You I Think” sounds like something Alligator labelmate Tommy Castro might have done (or should do at some point), in addition to offering some memorable lyrics (“You say you’ll change your ways, you’ll never do it again/the new man you had, he’s just a has-been/although your record stinks, I believe you I think”) along with others such as “Put My Foot Down” (“I finally made up my mind, gonna’ be different this time/take what’s your’s, I’ll take what’s mine/finally decided I’m gonna change my own luck/I’ve got to put my foot down so I can hold my head up”).

The Mannish Boys Shake for Me (Delta Groove)
mannish_boys_shake_for_meFrom the opening beats of “Too Tired” and into the “Mona/Willie and the Hand Jive” medley that follows, it’s clear that Shake for Me is another worthwhile release from this consistently entertaining supergroup with a traditional blues sound. From there, they slow things down briefly with the Lowell Fulson classic “Reconsider Baby” and then roll on to offer plenty of other highlights that include “Last Night,” covers of Ray Charles’ “Hey Now” and Muddy Waters’ “Champagne and Reefer,” instrumental “The Bullet,” “You’ve Got Bad Intentions,” “Those Worries,” and a guest appearance from the great Arthur Adams on “Raunchy” before the album comes to a close what seems all too soon with “Way Down South.” It’s likely that you’re going to want to listen to these guys all night once you get started with Shake for Me, so you may want to either set your player to “repeat” or have one or two of the band’s previous releases –Lowdown Feelin’, Big Plans, Live and In Demand, or That Represent Man, any of which will certainly do – handy to throw on next.

Various Artists Blues from the Burgh 2 (Blues Society of Western Pennsylvania)
burgh2A few weeks ago, we wrote about the Blues Society of Western Pennsylvania’s (BSWPA)
CD release party celebrating the group’s second CD compilation of Pittsburgh’s local blues artists, including Wil E. Tri and the Bluescasters, Jill West and Blues Attack, Jimmy Adler, Ernie Hawkins, Gary Belloma and the Blue Bombers, Angel Blue and the Prophets, Mahajibee Blues Band, Eugene Morgan, and Ron Yarosz and the Vehicle, several of whom were also featured on the Society’s first Blues from the Burgh CD. Although we weren’t able to join the party, the BSWPA did provide us a copy of the CD, which includes particularly impressive performances from Miss Freddye and Blue Faze on the opening “These are My Blues,” Billy the Kid and the Regulators’ “Say You Wanna Woman,” an Eric Burdon-sounding offering from the Mahajibee Blues Band in “Little Man,” and perhaps the album’s best track, the slow blues of Bubs McKeg and Dr. Blue’s “How in the World.” While this second installment from the Society isn’t quite as impressive as the first, Blues from the Burgh 2 does make a nice companion piece to the original. And, after too long an absence of recordings spotlighting the region’s blues talent, you have to hand it to the BSWPA for helping to fill the void by putting out two nice samplings in relatively short order.

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Blues Lyrics of the Week: Office Move Edition

Having spent the past few weeks preparing for and unpacking from a rather large office move, I’ve recently come to understand more clearly the appeal of traveling light. This concept is perhaps no better illustrated in the blues than in the lyrics to the classic tune “Matchbox Blues,” variations of which have been recorded through the years by such greats as Blind Lemon Jefferson, Albert King and Stevie Ray Vaughan, Leadbelly, Robert Johnson, Duane Allman, Carl Perkins, Magic Slim, and even the Beatles, although the gist is always the same:

“I’m sittin’ here wonderin’
Will a matchbox hold my clothes,
I’m sittin’ here wonderin’
Will a matchbox hold my clothes.
I ain’t got so many matches,
but I got so far to go.”

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Blues Lyrics of the Week: Train to Memphis

KABBcoverOur latest B.L.O.W. (Blues Lyrics of the Week) is about as current as you can get, coming off of the Kilborn Alley Blues Band‘s latest CD Better Off Now (Blue Bella Records), out today. Produced by Nick Moss, this one is chock full of Chicago-style blues and soul, including a title track and one or two others (“Tonight” jumps to mind) that sound like tunes Sam Cooke himself could have recorded, a catchy opener in the recession-themed “Nothin’ Left to Stimulate,” the Moss-penned “Watch It,” the slow, deep groove of “Keep Me Hangin'” and some thoughtful lyrics in songs like “You Can Have the Tail” (Say man, is that whiskey that you’re drinkin’/ you know that stuff’s gonna’ stop you from thinkin’/ say man, is that gin that you’re sippin’/ you know that’s gonna’ start you trippin’/ think it through, you might wanna’ quit/ you can have the tail but you gotta’ take what comes with it”) and “Train to Memphis,” which also offers some pretty impressive harp from Joe Asselin.

“Rode into Chicago, we didn’t tear down,
I ain’t got too much to bitch about –
I got a good woman, she’s still around.
Just sittin’ ’round town, just tryin’ to catch a break,
Don’t wanna’ go to work,
Wanna’ spend all my time at the lake.

Never took the train to Memphis,
Might hafta’ do that some time.
Whoa, but I do believe,
I do believe I’m doin’ fine.”
-“Train to Memphis,” Kilborn Alley Blues Band

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On Privileged, a rolling Moss gathers some rock

It’s not difficult to figure out how Chicago bluesman Nick Moss found his way to the cover of the April/May issue of Blues Revue magazine. Between the publication’s recent naming of Moss’ Play It ‘Til Tomorrow double album as one of the 25 best blues albums of the decade, the success of a series of live CDs recorded at Rhode Island’s famous Chan’s (the most recent of which – Combo Platter No. 2 – also featured fellow Chicago superstar Lurrie Bell), and his new album Privileged (Blue Bella Records, March 16), Moss has easily earned the honor.

mossWith sounds that range from Deep Purple to Eric Gales, Privileged takes a harder-edged approach than Moss’ seven previous albums, even on more traditional blues songs such as Howlin’ Wolf’s “Louise,” Sonny Boy Williamson’s “She’s So Fine (Born Blind),” and Moss’ own “Georgia Redsnake”. In addition to monster guitar riffs on tracks like the opening “Born Leader,” “Tear ‘Em Down,” and the closing instrumental “Bolognious Funk,” the album offers covers of Cream’s “Politician” and a funked-up version of the Stephen Stills classic “For What It’s Worth” as well as other gems in “Privileged at Birth” (from which the album draws its title) and “Why Should I Care.” There’s no doubt that Moss gives listeners their money’s worth on this one: along with the new direction in music, only three of the songs on the album clock in under the four minute mark, with the others all falling between five and eight minutes in length.

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Blues Lyrics of the Week: How Blue Can You Get

This week we spotlight a true blues classic from none other than the King of the Blues, who, on his Live at the Regal album, asks the audience to pay particular attention to the lyrics and “not so much the singing and the band” before leading everyone “way down in the alley” on this one. Bearing in mind that ten dollars used to go a bit further than it does now, these lyrics are even better when accompanied by B.B.’s soulful vocals and playing.

“I gave you a brand new Ford,
You said ‘I want a Cadillac,’
I bought you a ten dollar dinner,
You said ‘Thanks for the snack,’
I let you live in my penthouse,
You said it was just a shack,
I gave you seven children,
and now you wanna’ give ’em back!

Yes, I’ve been downhearted, baby,
ever since the day we met,
Our love is nothing but the blues,
baby, how blue can you get?”
– “How Blue Can You Get,” B.B. King

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More Blues from the ‘Burgh

If you’re looking for some good live blues around the ‘Burgh this weekend, you might consider checking out the Blues Society of Western Pennsylvania‘s Sunday party at the Palisades in McKeesport, where the organization and some of its closest musician friends will be celebrating the release of the BSWPA’s second CD showcasing local blues artists, Blues from the Burgh 2. The party starts at 2 p.m. and will include such special guests as Eugene Morgan, Gary Belloma, Angel Blue, Jimmy Adler, Bubs McKeg, Jill West, and Wil E. Tri, among others.

The first Blues from the Burgh compilation offered an impressive sampling of some of the region’s top blues talent, with highlights including Chizmo Charles’ opening “Bed Bug Boogie,” a soul-wrenching “You Don’t Know Nothing About Love” from Annie Sutton, “Flat Broke and Busted” country blues from Izzy & Chris, Zach Tyler and the Blu Razor Band’s hypnotic “Push Down and Turn,” rocking blues from Glenn Pavone and the Cyclones (“Shake that Thing”) and the Pawnbrokers (“Money Back Guarantee”), and some nice guitar work from the Dave Iglar Band on “Raggedy Pants Blues.” If this second volume is anything like the Society’s first, then this will be another good CD to put your hands on, and there’s no better time and place to do that than the Palisades this Sunday.

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Blues Lyrics of the Week: Life by the Drop

“Up and down that road in our worn out shoes,
talkin’ ’bout good things, singin’ the blues.
You went your way, I stayed behind –
We both knew it was just a matter of time.

You’re livin’ a dream, wo, you on top,
My mind is achin’, Lord it won’t stop.
That’s what happens, livin’ life by the drop.”
– Life by the Drop, Doyle Bramhall

The meaning of this song’s lyrics has been much debated since recorded by the legendary Stevie Ray Vaughan, with most believing the song concerns an addiction of some type. Whether you interpret the lyrics – written by Stevie friend and accomplished Texas musician Doyle Bramhall, who also penned Stevie’s hit “Change It” – to be about an addiction to alcohol, drugs, or something else (the blues perhaps?), or more representative of the icicles melting from your gutter on days like today, I think most will at least agree that this is a truly great tune.

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Clapton plays the blues

In the days before my mp3 player was devoted almost exclusively to blues songs and artists, I spent much of my time listening to (and countless hours playing, on my campus radio station) what was already back then and is still referred to as “classic rock.” Like so many others, much of my initial exposure to the blues came through the music of several groups of British rockers, including one whose 2-disc The Blues album I can pretty much point to as being the crossroads of my musical interests, with me of course choosing the path of the blues, leading me deeper and deeper into the Delta and its music over the years.

So I had a feeling that Thursday night’s Eric Clapton show featuring Roger Daltrey at Pittsburgh’s Mellon Arena would be equally pleasing to both the young and old(er) me. And I’m glad to report these masters didn’t disappoint. Although neither of the bands played a particularly lengthy set (Daltrey clocked in at 45 minutes, while Clapton played an hour and a half), they did manage to pack in plenty of good stuff. Since this is a blues blog, I’ll focus mostly on the blues parts of the show in this posting, although it would be nearly impossible to not mention a few other highlights of the evening.

After opening to “I Can See for Miles,” Daltrey and his band went through only a few other songs before getting to the first blues of the night, Taj Mahal’s “Freedom Ride,” and then coming back to the blues a short time later with a nifty “I’m a Man/My Generation” medley. I’m not sure if it’s Daltrey’s younger band that helps to keep him on his toes or the other way around, but these guys put on a tight and energetic show, with the band doing a fine job of filling in where Daltrey’s vocals and playing may not be the same as say 40 years ago.

You knew it was going to be a good night for the blues when Clapton started his set (and indeed his North American tour) with two blues songs: “Going Down Slow,” followed by “Key to the Highway.” This blues-first approach seems to suit Eric well, as he did the same on his acoustic set, kicking off with “Driftin’ Blues” and “Nobody Knows You (When You’re Down and Out)” before moving into the unplugged version of “Running on Faith,” which will always hold a special meaning for me as one of the first songs to which my wife and I danced at our wedding. A few songs later, Clapton plugged back in for “Badge,” hitting “Little Queen of Spades” and “Before You Accuse Me” before wrapping up his set. Along the way, he played a nice variety of some of his other hits, from “Cocaine” and a slightly different (dare I say even more reggae?) version of  “I Shot the Sheriff” to “Bad Love” and “Rock N’ Roll Heart.”

It was a little disappointing to not see Clapton and Daltrey share the stage for at least one song, but I guess that’s one of the disadvantages of catching the first night of a tour. Clapton did come back out on stage for a one-song encore, a little hit you may have heard called “Crossroads.”

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In his Prime

Nice cover story on Chicago bluesman John Primer in the February edition of Living Blues magazine. Primer, who earned his chops playing with Muddy Waters, Junior Wells, and Magic Slim, has been busy in recent years, with his 2008 release All Original and teaming with Lurrie Bell, Billy Branch, and Billy Boy Arnold on last year’s acclaimed Chicago Blues: A Living History project.

By the way, as part of the magazine’s 40th anniversary celebration this year, Living Blues is taking a look back at one decade per issue (starting with the 1970s in the current issue), including photo layouts of covers and stories, as well as a few other nice features such as “Thirty of the very best blues albums” from the period. If you don’t already have one and you’re a fan of blues history, 2010 might be a good time to start a subscription to this publication.

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Blues Lyrics of the Week: Don’t Care How Great You Are…

“Don’t care how great you are,
Don’t care what you worth.
When it all ends up,
You got to go back to Mother Earth.”
– Mother Earth, Memphis Slim

Here’s an old Memphis Slim tune that’s also been done by Johnny Winter and others over the years, and received an even bluesier treatment by British jazz-blues guitarist Matt Schofield on his latest CD Heads, Tails & Aces.

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