Phillip Walker Live at Biscuits & Blues

It has been a little over two years since Phillip Walker passed away. The Texas-born, West Coast based blues singer and guitarist came a long way from his days playing with Clifton Chenier, and then later Bruce Bromberg produced an album for Playboy Records. The following review appeared in the September 2002 DC Blues Calendar to which I have made a few minor stylistic edits.

Its been several years since Phillip Walker had an album under his name (even the Lone Star Shootout album he made with Long John Hunter and Lonnie Brooks is at least three years old). Walker has a new disc with his big band on MC Records, Live at Biscuits & Blues. This recording features his longtime working band augmented by a full horn section along with guest appearances by Charlie Musselwhite, Angela Strehli and Rick Estrin. 

Its a solid set, if not quite as good as Walker’s best studio recordings, Walker performs his own Hello My Darling, as well as Jimmy McCracklin’s Think, Harold Burrage’s Crying For My Baby, the classic Breaking up Somebody’s Home and Dennis Walkers Don’t Be Afraid of the Dark on which Walker performs a bit more grittier version than Cray’s original. 

Its nice to have a new album by Walker whose grainy voice and raspy guitar playing is a distinctive blues voice. Some of his best stuff is out of print or hard to find so even if this is not quite his best stuff, it will make due for his fans or others not familiar with this grossly underrated blues veteran. 

Here is Phillip in performance.

The Blues Broads Heard And Seen Live!!!

The Blues Broads is a musical revue that brings together four strong voices together with a tight backing band that began as a collaboration between Tracy Nelson who would join Angela Strehli on West Coast gigs. Later they added various vocalists for an annual BBQ event, "The Blues Broads" before Dorothy Morrison (best known for "Oh Happy Day" as part of the Edwin Hawkins Singers) and Annie Sampson (of a Bay area band Stoneground) became part of what was now a regular group that took the name of the BBQ Event.
               
Delta Groove has just issued a eponymously titled CD/DVD package of The Blues Broads, recorded and filmed live at the 142 Throckmorton Theatre in Mill Valley California. They are backed by a band that includes Steve Ehrmann on bass, Paul Revelli on drums, Gary Vogensen on drums and Mike Emerson on keyboards. Deanna Bogart is a special guest on keyboards, saxophone and vocals. The CD has ten songs which are all on the DVD along with Annie Sampson singing Bob Dylan's It's All Over Now/ Baby Blue. The sequencing of the songs differs on the DVD from the CD.

There are some singing marvelous singing to be heard and seen here. Several songs allow the ladies to share verses such as the Tracy Nelson and Gary Nicholson penned Livin' The Blues,' which opens both the performances up. The material mixes blues, classic R&B, and some contemporary blues-rooted roots. Tracy Nelson's vocal on Oliver Sain's Walk Away, is simply a great performance full of both with subtlety and power. Annie Sampson certainly has people take notice of her on Bring Me Your Love, but even more so on her fervent re-imagination of Dylan's It's All Over Now/ Baby Blue.

Strehli's Two Bit Texas Town, is a tough performance that has remember how she used to listen to Jimmy Reed, Muddy Waters and more growing up in her two-bit Texas town. Deanna Bogart gets showcased on It Won't Be Long, which is a centerpiece of her live shows. Its brave of Dorothy Morrison to cover Tina Turner on River Deep, Mountain High, and its an enjoyable performance but doesn't really grab the listener or viewer as does the closing gospel numbers Jesus, I'll Never Forget, and Oh Happy Day, with her taking everyone to the Church on this closing performance.

This must have been quite an event for those who attended the performance where this was recorded/filmed. The filming is pretty straight-forward with little if any of distracting gimmicks some others might have inserted. While there perhaps only are a few exceptional performances, the level of the performances still is quite high and certainly this will rightfully appeal to a wide range of listeners who simply enjoy good music.

I received a review copy from the record label.  One can see a clip of The Blues Broads in performance at http://thebluesbroads.com.

Pinetop Perkins Was A Ladies Man

This was a review I wrote back in 2004 that likely appeared in the DC Blues Society’s newsletter.

While Pinetop Perkins has recorded a number of albums, one limitation has been the fact that he has a small core of songs that he repeatedly records. While his performances are solid, one does wish to get some fresh material. M.C. Records has just issued a new Pinetop Perkins, Ladies Man which avoids some of these problems by having Pinetop record accompanying some blues women including Deborah Coleman, Susan Tedeschi, Madiline Peyroux, Ruth Brown, Marcia Ball, Angela Strehli, Ann Rabson and Odetta. I believe this was recorded around the time of the 2003 Handy Award shows which enabled these recordings to take place. Pinetop's renditions of Leroy Carr's How Long Blues and Wilbert Harrison's hit Kansas City, don't break new ground but are typically pleasant performances amiably sung. It certainly nice to hear Susan Tedeschi sing Ivory Joe Hunter's ballad Since I Met You Baby with nice accompaniment, while Odetta gives us a strong rendition of Trouble in Mind with Ruth Brown's revival of her old friend, Big Joe Turner's Chains of Love, to which she embellishes with her own sassy self.

Pinetop Perkins at
2005 North Atlantic Blues Festival
Photo © Ron Weinstock

I was not familiar with Madeleine Peyroux who sings the delightful vaudeville-styled He's Got Me Goin'. Deborah Coleman sings Meanest Woman, credited to Muddy Waters but really Tommy Johnson's classic Maggie Campbell Blues. Marcia Ball duets on piano with Pinetop on Pinetop's New Boogie Woogie while I believe Ann Rabson shares the piano on a lovely Careless Love. Angela Strehli salutes the pianist with Hey Mr. Pinetop Perkins, a song that takes at its premise Pinetop's tall story of having written Pinetop's Boogie Woogie, which was recorded by the legendary Clarence 'Pinetop' Smith in the twenties when Joe Willie Perkins was a wee boy. It may have been a signature number for him, leading him to be identified for the song, but it was not his song. However, the nonsensical lyrics did prevent me from enjoying her performance.

This was a varied and enjoyable release that is distinguished from much of Pinetop’s recordings.

Here is Pinetop performing Miss Ida B.