Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime -

Wee Willie Walker & The Anthony Paule Soul Orchestra - Not In My Lifetime - Blue Dot Records

Listening to a recording as good as "Not in My Lifetime" is bittersweet, knowing that there will be no more music from this marvelous soul and blues singer. Wee Willie Walker, who recorded for Goldwax Records decades ago, passed away three days after finishing recording this album. As a brief snippet of an interview with Willie that opens this album indicates, Willie went home feeling joyful after the music before dying in his sleep. It is a follow-up to "After A While," also with Anthony Paule leading the backing. I wrote about that album that it was "an imaginatively programmed and arranged recording, that showcases one of the last original soul singers. We should be thankful he is with us and still sings with all his vocal talent intact on a terrific recording." 

Paule on lead guitar and electric sitar leads a backing band consisting of Tony Lufrano on keyboards, Endre Tarczy on bass, Kevin Hayes. On drums, Derek James on trombone, Bill Ortiz on trumpet, Charles McNeal on tenor saxophone, and Rob Sudduth on baritone saxophone. Background vocals are provided by Larry Batiste, Sandy Griffith, and Omega Rae, with The Sons of the Soul Revivers doing the background on one track. Jon Otis adds percussion to four selections, and Curt Ingram adds french horn to one track. There are ten originals, one an instrumental by Tarczy, and nine songs are by Christine Vitale, mostly in collaboration with Paul and Batiste. One of the covers revives one of his Goldwax recordings, and the other two are songs that go back to Little Willie John.

The music here is consistently top-flight soul and blues with a strong dose of Memphis with a touch of the Philly Sound. The Soul orchestra is tight and pushes a strong groove behind Walker's soul-drenched singing, starting with Walker exhorting his women to "Don't Let Me Get In Your Way," as she tells her friends Willie is not satisfying. The Memphis feel of that opening track shifts to the soul ballad, "Over and Over," with the vocal chorus evoking the Philly sound. Then there is a Latin groove for "Real Good Lie," which punchy horns from Tony Lufrano's horn arrangement while Paule musically dancing with his guitar solo.

"Darling Mine" conjures the classic era of deep Memphis soul with a vocal that has some of the power of the legendary Johnny Taylor. The Sons of the Soul Providers provides a gospel feel for the positive message that we are in this together on "I'm Just Like You," and we should try to find common ground. "Make Your Own Good News" has the feel of a classic Curtis Mayfield recording if it had been recorded at Memphis or Muscle Shoals. I am not familiar with the Goldwax original "Warm To Cool To Cold," but Walker was still preaching his soul at these sessions. It is great to hear the covers of Little Willie John's recordings "Heartbreak" and "Suffering With the Blues," sung with such conviction and backed so wonderfully.

Tarczy's "Almost Memphis" is a funky instrumental that allows the band members to stretch out, followed by "'Til You've Walked In My Shoes," a jazzy-flavored and sophisticated performance with Paule's carefully crafted guitar solo along with Walker's outstanding singing. "Not In My Lifetime" is a recording that will stay in the hearts of soul and blues lovers for many, many years. Wee Willie Walker left us with a stellar recording that is sure to be on many Best of 2021 lists.

I received my review copy from a publicist. Here is a performance by Wee Willie Walker & The Anthony Paule Soul Orchestra.

The Lucky Losers Godless Land

The Lucky Losers
Godless Land
Vizztone

"Godless Land" is the latest recording from The Lucky Losers. Leading the band are by singer Cathy Lemons and singer-harmonica player Phil Berkowitz. The other members of the group are Ian Lamson on lead & rhythm guitars; Chris Burns on keyboards; Endre Tarczy on bass; and Derrick "D'Mar" Martin on drums. This album was recorded at Kid Andersen's Greaseland Studios and Kid Andersen guests on (lead & rhythm guitars, lap steel, organ, piano, Mellotron, sitar, and percussion. Michael Peloquin plays saxophones and adds the horn arrangements for one selection on which Mike Rose plays trumpet.

Like The Lucky Losers' previous two albums, this is a first-rate CD of blues, rhythm and blues, and roots rock. Nine of the twelve songs are originals by either Lemons or Berkowitz. Former Charles Brown bandleader Danny Caron co-wrote three of Berkowitz's songs. One wonders whether the fact the songs seem to linger in one's head after listening is because the songs are so well-crafted, or the performances are wonderful. The tight ensemble backing throughout is top-notch with subtle, intricate instrumental fills adding to one's enjoyment. I have been a Cathy Lemons fan since listening to her 2014 album "Black Crow," about which I commented about the "natural, relaxed and soulful quality" of her singing. She continues to impress me as an exceptional singer. If Phil Berkowitz is not quite as impressive a vocalist, he still is a real fine singer who complements her throughout.

Things start with Lemons' funky Memphis soul groover, "Half Of Nothing," with her forthright singing with Berkowitz displaying his harmonica talents. Kid Andersen and Lemons collaborated on the bouncy rhythms of the title track with lyrics set against trebly accompaniment. Berkowitz takes the appealing vocal lead on the crisply played "Mad Love Is Good Love" with Lemons adding a harmony vocal on a performance evoking late sixties and early seventies classic rock. Another choice pop-soul performance is Berkowitz's "Can't Keep Pretending" with a full-hearted singing.

The duet performances by the two are very much in the manner of Mickey and Sylvia as they trade playful banter between themselves. It is appropriate that they cover a lesser-known Mickey and Sylvia hot shuffle, "No Good Lover." They follow this song with an interpretation of Doc Pomus- Mac Rebennack's "Be Good" with Burns' piano evoking Rebennack and Andersen's use of sitar adding to the flavor of this performance. This performance most clearly displays the affection they have for each other. As good as these performances are, "Catch Desire By The Tail," maybe the standout track as the two exchange praises how they complement each other set against sterling backing. Then there is the delightful reworking of a 1930 Clara Smith and Lonnie Johnson duet, "What Makes You Act Like That," There is some neat acoustic guitar and Berkowitz's acoustic harmonica that enhance the duo's playful repartee.

A country-roots lament from Lemons closes this album. Like their previous recordings, there are first-rate songs, superb singing, and terrific playing. As I wrote reviewing their first album, there is not a bum note on this recording. They may call themselves the Lucky Losers, but listeners are big winners with their music.

I received my review copy from VizzTone. Here is a recent live performance by The Lucky Losers.

The Lucky Losers Blind Spot

The Lucky Losers
Blind Spot
Dirty Cat Records

This is the third recording by the San Francisco band fronted by singers Cathy Lemons and Phil Berkowitz (who also plays harmonica), backed by the core and of Ian Lamson on guitars, Chris Burns on keyboards, Endre Tarczy on bass and Robi Bean on drums. Kid Andersen, who produced this at his Greaseland Studios with Lemons and Berkowitz, adds his guitar to several tracks while other guests include guitarist Laura Chavez, saxophonist Nancy Wright, and violinist Annie Staninec. All the songs are originals by the two, mostly in conjunction with one-time Charles Brown guitarist Danny Caron.

Blues and classic soul are infused in these eleven rocking originals which display the strong vocals and ensemble playing of the prior recordings. There is plenty of solid, danceable grooves and plenty of treats in the backing whether the vocal duet on the opening "It's Never Too Early," with sound effects and solid harmonica. Laura Chavez adds her shattering guitar break behind Lemons' vocal on "Take the Long Road." There is a nifty lyric along with deep riffing horns on "Alligator Baptism" with a fine Berkowitz vocal against an insistent groove, a striking Kid Andersen solo, more solid harmonica. It is a performance that oddly suggests Sheryl Crow to this listener, perhaps because of the casualness that the vocal is delivered.

Lemons' "The River" has a swampy feel behind a pleading vocal with Lamson on slide guitar. "Supernatural Blues" has hints of Sonny Landreth's "Congo Square," and is an original twisting rocker with more shattering Chavez guitar and a nice harmonica solo, "Make a Right Turn" has a country-cajun feel with Staninec's violin standing out along with the strong singing here with Lemon being particularly robust.

The other songs all have their own charms and hooks with "Last Ride" standing out with Andersen's carefully employed sound effects adding to the atmosphere behind Lemons' vocal while "Love is Blind" has a swampy blues feel with Andersen adding a taut solo followed by Berkowitz's crying harp. "Blind Spot" is another fine recording from The Lucky Losers with fresh material, wonderful playing and first-rate vocals.

I received my review copy from a publicist. Here are the Lucky Losers in performance.