This writer had the pleasure to see Eddie C. Campbell when he was part of Willie Dixon’s Chicago Blues All Stars in the late seventies, after his critically acclaimed LP King of the Jungle. Campbell’s distinctive playing and singing was a highlight. He moved overseas in 1984 and produced some of the best blues albums ever recorded in Europe. He has returned to the US in time for his wife to deliver a son, and produced this fine new album available on Blind Pig.
Comprised completely of Campbell originals, what sets apart both this album and Eddie’s music is how nicely paced it is. There’s no frenzy in his playing or mannerisms in his vocals. Both his slightly twangy guitar and his laconic singing are marked by a clean articulation of songs and notes, and his backing is tight, but never intrusive or overbearing. His songs hit a variety of moods, though usually marked by considerable humor. The echoes of his old friend, Magic Sam, might be evident, but he certainly is his own man.
About the only complaint one might raise is that this is over in a little over 40 minutes, but, another way to look at it is that it is all good stuff - it is a recording which possesses little filler. A very enjoyable listen.
I likely received a copy of this from Blind Pig. This review originally appeared in the December/ January 1994/1995 Jazz & Blues Report (issue 197). It is currently available used or as a download. Here is Eddie C. Campbell performing.
Delmark 60 Years of Blues is one of two compilations in which Delmark Records celebrates its 60 years. Blues has been a strong part of Delmark’s catalog including recordings by Speckled Red and Big Joe Williams that were part of what the label originally called “Roots of Jazz.” In fact, when the historic Junior Wells Hoodoo Man Blues was issued it was part of this series (I still have my monaural vinyl LP of Hoodoo Man Blues). Such a compilation provides a glimpse of the label’s history as well as a sampler of some of its more current (and upcoming releases). Additionally, Delmark provides us with some unissued tracks from earlier albums and selections from forthcoming releases.
There are plenty of delights here ranging from Studebaker John’s opening lament When They Played the Real Blues, to Giles Corey psychedelic funk blues from a forthcoming new release. Recent releases by Linsey Alexander and Quintus McCormick are spotlighted along with selections from Eddie C. Campbell, Lurrie Bell (Channeling Otis Rush), Sharon Lewis and Tail Dragger. Among the delights is a previously unissued Rock Me Baby from Junior Wells from the sessions that produced Southside Blues Jam, an alternate take of the Little Walter Trio (with Muddy Waters and Baby Face Leroy Foster) doing I Just Keep Loving Her, Big Joe Williams on a 7-string guitar doing a strong 44 Blues, a previously unissued “Key to the Highway” by Detroit Jr., and Sleepy John Estes (with Hammie Nixon) performing Stop That Thing from the forthcoming Live in Japan CD. There is a fabulous track by Magic Sam from the recent Live at the Avant Garde album” and this compilation closes with Toronzo Cannon’s fervent Hendrix-inspired (but no Hendrix copy) John The Conquer Root. Over an hour of solid blues to be heard here.
I received from Delmark and last Monday I covered a similar compilation devoted to jazz. Here is Eddie C, Campbell performing.
Eddie C. Campbell is among the last of the West Side Chicago bluesmen still standing. A disciple and colleague of Magic am, he still lays down similar reverb soaked guitar runs and riffs while singing his soulfully delivered laments. Not as direct or extroverted a player as Magic Sam, Otis Rush and others, his laconic style with a restrained attack has its own charms.
Delmark has just issued his latest recording Spider Eating Preacher that displays his distinctive blues style. He is joined by Daryl Coutts on keyboards; Vuyani Wakaba and his wife Barbara Mayson share bass duties; and Robert Pasenko on drums. Lurrie Bell is on three selections and a full horn section is on four. The release is mostly comprised of Campbell’s quirky originals although there are three covers which thankfully are not overly familiar blues warhorses.
Thinks get off to a good start with I Do, which displays one consistent strength of his wonderfully paced style with an understated vocal, and horns that go beyond simple riffing that helps frame Campbell’s reverb-laced guitar standout. He never comes across as hurried and this is further illustrated on the title track as he sings about the devil awaiting under his rocking chair, but when one is in the darkness, one will see the light. Lurrie Bell makes one of his guest appearances on guitar on Call My Mama on which Campbell plays harmonica while the band grooves on the Smokestack Lightning melody, with Coutts being particularly outstanding on piano here.
An understated reworking of Ricky Allen’s Cut You A-Loose is followed by Soup Bone (Reheated), which revives and rearranges on of his early 45s as he sings about having a soup bone but is hungry and will be putting the soup bone down and try some collard greens. The lazy shuffle lament, I Don’t Understand This Woman, is followed by the jaunty Boomerang, with is hook line, “Sling me like a boomerang, I’ll come right back to you,” with some nice greasy organ from Coutts followed first a searing guitar solo by Alexander Mejia before Campbell himself takes a measured solo.
There is a solid remake of the Ohio Players’ funky Skintight as well as the superb, down-in-the-alley slow blues All My Life originally done by the late Jimmy Lee Robinson. Set to a Bo Diddley groove, My Friend (For Jim O’Neal) is a tribute to former Living Blues editor Jim O’Neal who helped step up and gave Eddie breaks and publicity decades ago. Brownout is an instrumental set to a funk groove with surprising twists in how Campbell constructs his solo.
The recording closes with Eddie on acoustic guitar and Lurrie on harmonica as having some fun, Playing Around These Blues. Its a relaxed, enjoyable conclusion to Eddie C. Campbell’s latest album. One would be hard-pressed to name a poor recording by him and while it may not be his best (King of the Jungle that Jim O’Neal reissued on Rooster Blues is worth looking for), will be welcomed by his existing fans and hopefully we get him many more new ones.
I received my review copy from Delmark Records. Here is Eddie from the 2008 Pocono Blues Festival. I was at this show.
Chicago bluesman Eddie C. Campbell has been spinning his brand of West Side Chicago blues for several decades. This review of Eddie’s 2009 Delmark album, Tear This World Up, originally appeared in the July 2009 Jazz & Blues Report (Issue 318). It was his first album since the 2000 Rooster Blues Cd Hopes & Dreams. Campbell has not recorded that frequently, but has produced some very distinctive recordings. The review copy of this was provided by Delmark Records.
Its been a few years since Eddie C. Campbell, one of the few remaining masters of the West Side Chicago blues style has had a new recording out. Not that he hasn’t merited it, but his understated guitar and laid-back and witty vocals lack the immediate appeal to those more rock-oriented listeners of the blues. His latest album “Tear This World Up,” on Delmark will be welcome to those of us that have been fans of him for decades as well as those that want the real deal blues.
Dick Shurman, who produced Campbell’s classic first album, “King of the Jungle” over three decades ago has assembled a solid studio band including Dairy Golliday on bass, Marty Binder on drums and Karl ‘Lil Daddy’ Outten on keyboards. Mojo Mark Cihlar plays harp on several tracks and several other tracks have a full horn section. One thing that stands out is how uncluttered this recording sounds compared with so many recordings in recent months.
It is refreshing to hear someone handle the blues in such an unfrenzied manner whether the light lyrics of his opening “Making Popcorn;” the rocking “Big World,” a story about meeting this fine lady who wants to show Eddie her big world; and his remake of “Easy Baby,” a tribute to his late friend Magic Sam. All are marked by Campbell’s restrained, yet soulful, vocals with his occasional effective employment of a falsetto, and his crisply played, snap and pop crackling guitar with just a bit of treble and echo.
His playing imparts a rockabilly tinge to Magic Sam’s “Love Me With a Feeling,” with some pretty impressive picking here. In contrast “Vibrations in the Air,” has a lazy Jimmy Reed styled shuffle that few today play with nice harp from Cihlar who also added his atmospheric playing to Campbell’s witty “Voodoo.” “Care,” has a bit of a funk groove and one several selections with a full horn section. Punching horns add to the flavor of the easy walking instrumental shuffle of “It’s So Easy” where Campbell’s snapping guitar playing is also complemented by the organ of Marty Sammon, Buddy Guy’s keyboard player.
Campbell turns Howlin’ Wolf’s “My Last Affair,” into a compelling blues ballad with his genially pleading singing, followed by the rocking rendition of “I’m Just Your Fool,” with horns and harp supporting his terrific rendition of the Buddy Johnson composition, although his performance is modeled after Little Walter’s recording. He evokes Link Wray and the Ventures before getting into another shuffle groove for his rendition of “Summertime,” adding jazzy fills, before closing the album with “Bluesman,”where backed just by his guitar, Eddie sings about being a real bluesman, and having played with everyone from A and Z. But as he sings, you can still hear them in his blues played so direct and honest which is why this recording is so appealing.
BTW, my review of Hope and Dreams can be found on Amazon.com.
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