Billy Branch Blues Shock

It has been years since Billy Branch’s last recording, a Japanese CD shared with guitarist Carlos Johnson, a decade ago. Thankfully Blind Pig has issued a new release by Branch and the Sons of the Blues, “Blues Shock,” that is a thoroughly entertaining, wonderfully played recording that showcases Branch’s heartfelt singing and songwriting on an imaginative, varied program. He is joined by Dan Carelli on guitar, Sumito ‘Ariyo’ Ariyoshi on keyboards, Nick Charles on bass and Moses Rutles Jr. on drums (and one vocal). Ronnie Baker Brooks guests on one track on guitar and vocal and the Chicago Horns led by Bill McFarland add punch to three tracks.

There is plenty of funk, down home groves and stellar musicianship. The CD opens with “Sons of the Blues” penned by Branch and poet Sterling Plumpp, on which Branch sings “some people don’t know my name because all they got is a very weak game, I am the son of the blues (2x).” Set against a strutting funk groove Branch lets us know he “is the man who makes the news” before blasting off a fiery harp solo set against the punchy horns. It’s followed by Branch picking up the chromatic for a terrific cover of “Crazy Mixed Up World,” which would make up Little Walter smile, especially his solo and special note should be made of the contributions Carelli and Ariyoshi provide with their fills in supporting the lead.

The title track is a punchy number built over Carelli’s slide guitar riff with the horns with Branch singing about a feeling coming over, it ain’t pneumonia or the flu, but its a crazy, funky feeling one can’t shake, the “Blues Shock.” It’s followed by the amusing “Dog House” as Branch and Brooks sing sleeping on the couch and the spouse leaving kibbles and bits for dinner. After this wonderfully paced performance, there is a straight cover of Shorty Long’s early Motown groover, “Function at the Junction” followed by the disc’s most remarkable performance, “Going to See Miss Gerri One More Time,” about Gerri Olivier who owned the legendary Palm Tavern in Chicago’s Bronzeville neighborhood for about 50 years. The Palm was a legendary place near the Regal Theatre and Branch recounts her coming from Jackson, Mississippi as part of the Great Migration and celebrates the Palm and the many legends who performed there before the Palm was torn down a few years back. There is a definite country-soul flavor to this remarkable performance that serves as a tribute to a remarkable lady.

Ariyoshi contributed the instrumental “Back Alley Cat” which allows Branch to showcase his harp set against Ariyoshi’s rolling piano. A rousing boogie rendition of John Lee Hooker’s “Boom Boom” is followed by Moses Rutles Jr.’s amusing vocal on”Slow Moe” highlighted by Rutles almost stuttering vocal and effective use of stop time by the band. Branch’s lyric about Slow Moe taking his time, as well as being built to last is supported by some superb harp in his backing. “Baby Let Me Butter Your Corn” is a burning shuttle with an amusing lyric (I’ll keep on churning till that butter comes”) and rollicking piano and harmonica solos.

An instrumental “Song For My Mother” closes this recording exhibiting his marvelous tone as well as his construction of his solo. It concludes one of the most stimulating recent blues recordings. “Blues Shock” mixes a variety of material and moods and will make one laugh as well as listen to Branch’s storytelling here along with some stunning musicianship.

I received my review copy from Blind Pig Records. Here is a video of "Blues Shock.

Linsey Alexander - Come Back Baby

I found Linsey Alexander’s first Delmark album, “Been There Done That” to be “the most impressive blues recording which is one of the finer blues albums I have heard this year (2012).” Now Delmark has issued his follow-up “Come Back Baby!” which has the singer and guitarist joined by a band that includes guitarist Breezy Rodio; keyboards from Roosevelt Purifoy, bassist Greg McDaniel and drummer Pooky Styx with Bill McFarland leading a horn section and Billy Branch contributing harmonica to three selections.

The album opens with “Little Bit of Soap,” one of two songs Alexander did not write. This is a terrific performance as he sings about washing this women out of his life with a great vocal and guitar that brings to mind seventies B.B. King. The album is at its best with his soulful vocals and clever lyrics. The playing behind him is strong and the one criticism I have on several selections would be the buzzsaw guitar tone on several selections including that heard on the intense original “I Got A Woman.” Perhaps the tone is supposed to match the intensity of his vocal her as he tears into the lyric of his woman being more woman than he will every need. The tone detracts from fully enjoying the fiery solo here. This tone is also employed on the reworking of “I Can’t Quit You Baby,” that provides a new arrangement for the Otis Rush classic recording. An excellent slow blues “Too Old To Be A New Fool” showcases some searing guitar with a cleaner tone along with superb chromatic harmonica from Branch.

Alexander’s wit is displayed on the shuffle “Call My Wife,” on which he wants his wife to open the door for poor Linsey, who is so drunk he lost he car and car keys. Billy Branch channels Rice Miller mixed with Walter Horton with some exquisite harmonica on this. Alexander is also known as “The Hootchie Man” as reflected in his funky dance number “Booty Call.” “Things Done Changed” has a serious lyric as Alexander as recalls Jim Crow days, segregated bus stations and buses and the like, set against horn riffs and a solid electric piano solo by the remarkable Purifoy (he also played a strong solo on “Booze and Blues’), followed by strong, stinging guitar.

Despite this writer's reservations on the guitar tone on several tracks (and others will disagree), “Come Back Baby" is a strongly performed recording that exhibits plenty of fire from Alexander with his fervent singing and searing guitar.

I received my review copy copy from Delmark Records. Here is the opening “Little Bit of Soap.”