Cadillac Baby's Bea & Baby Records; The Definitive Collection

Various Artists
Cadillac Baby's Bea & Baby Records; The Definitive Collection
Earwig Records

This deluxe box set, which contains the recording legacy of Narvel Eatmon (better known as Cadillac Baby), is a labor of love that Michael Frank of Earwig Records spent years producing. The box set contains 4 CDs of blues, doo-wop, gospel, comedy, and even rap along with substantial interview segments with Cadillac Baby with Steve Cushing from a 1983 Blues Before Sunrise radio program. The 4 CDs are housed in a hardback book which reproduces Jim O'Neal's interview with Cadillac Baby from an early issue of "Living Blues" and has O'Neal's update that corrects and updates the information there. Bill Dahl provides biographies, and concise analysis of the blues and other secular music Robert M. Marovich does the same for the gospel recordings. Michael Frank provides an overview of how this box set came about.

There are nearly 5 hours of music and interviews to provide anything other than an overview of some highlights. The interview segments and the printed interview in the book will give you an idea of Cadillac Baby's personality. He was a character. One of the interview segments discusses how he got into music and how he started presenting shows in the south, including one with the Mississippi Sheiks before he came to Chicago and opened a club. He began making records to hopefully make some money from musicians who owed him money and hopefully make some money as well.

A sense of Cadillac Baby's personality can be heard on the opening track, "Welcome to Cadillac Baby's Show Lounge." It originally was on a vinyl LP "Colossal Blues" that reissued some of his 45s on the Bea & Baby and associated labels. Set against the piano of Sunnyland Slim's piano and Willie Williams drums, Cadillac Baby introduces us to a who's who of Chicago radio and blues personalities. There is overdubbed audience noise and clapping. It is followed by two excellent songs by Eddie Boyd with a band that included Robert Lockwood's distinctive guitar. There are ten tracks by Boyd, eight with Lockwood, and two with another group. Boyd is superb as he sings, "The Blues Are Here To Stay." Two songs are remastered with an overdubbed vocal chorus. There are also two songs by L.C. McKinley, whose guitar style is indebted to T-Bone Walker. His band included tenor saxophonist Red Holloway and also backed a vocal group on two selections.

Arguably the biggest record that Cadillac Baby produced was Bobby Saxton's "Try To Make A Living" that was backed by an Earl Hooker instrumental, "Dynamite." These sides also were leased to Chess, who issued them on a Checker Records single. Mac Simmons, as Little Mac and St. Louis Mac, is heard on the most selections. These include "Times Are Getting Tougher," reminiscent of some of Little Milton's recordings of the time, and on fine covers of songs from Junior Parker, Sonny Boy Williamson and Muddy Waters. Backing Mac Simmons are such players as pianist Detroit Junior and guitarist Eddie King Milton. Detroit Junior's first recording is present, along with an interview segment where Cadillac Baby tells how he gave the pianist-singer his name.

Detroit Junior was not the only artist whose first recording is heard. Hound Dog Taylor was very much under the influence of Elmore James when he recorded "My Baby Is Coming Home." Sunnyland Slim was another artist who recorded for Bea & Baby, while James Cotton waxed a couple of blues. Lee Jackson's "Juanita" is a powerful modern blues, and he is also heard on a Christmas blues. Other significant Chicago blues artists heard include Homesick James, Andre 'Blueblood' McMahon, Arlean Brown, and Willie Williams. Eddie Taylor and Hubert Sumlin are among the sidemen on these sessions. Also, a tape was found with previously unissued selections by the legendary Sleepy John Estes and Hammie Nixon, four of which are reproduced here. Clyde Lasley, best known as a comedian, talks-sings "Santa Came Home Drunk" backed by Lee Jackson and band. He possibly may be on three comedy selections that sound like Amos'n'Andy outtakes. There are some more teen singers, and a rap single produced by Cadillac Baby and Michael Frank before the box set closes with stirring gospel music.

As stated, there is quite a variety of solid blues and other music here. The interview segments with Cadillac Baby are fascinating to listen to, although one suspects some listeners will skip them after hearing them once or a few times. The packaging is superb, and the accompanying book wonderfully illustrated. Michale Frank sought to honor the memory of Cadillac Baby, and this box set certainly accomplishes that. It will also undoubtedly make a wonderful holiday gift for a Blues Lover.

I received my review copy from a publicist. This review appeared in the November-December 2019 Jazz & Blues Report (Issue 367). Here is Bobby Saxton's "Trying to Make a Living."

A Blues Time Machine From August 1976

The Jazz & Blues Report is celebrating its 40th Anniversary with the March-April 2014 issue. I started writing for it in 1976 and here is my first column Blues that I wrote for it. before I started writing reviews. I wish I was still so pithy instead of long-winded. :) It was originally the Buffalo Jazz Report and the first 58 issues have been digitized and can be downloaded from the University of Buffalo Library system. The website for these archived issues is: http://digital.lib.buffalo.edu/cdm/landingpage/collection/BuffJazz. I believe the only recordings mentioned in the column that are still available is Otis Rush's Cold Day in Hell and Hound Dog Taylor's Beware of the Dog. 

 

This is the first of a series of columns which will include both live blues in the area, and recent recordings. WBFO-FM provides the Buffalo area with the only regular blues pro- gramming. Shades of Blue with Babe Barlow is heard Saturdays from 10 PM to Midnight. I do both Bon Ton Roulet as part of This is Radio on Wednesdays (3 PM) and Ramblin' with the Blues on Thursday evenings from 10 to 11. Other folk pro- grams on WBFO do have feature blues (though not exclusively). Listed in this column will be any regular blues programs in any city the BJR services.

The Belle Starr is the only place in the Buffalo area that isbringing in blues bands from out of town. The Buddy Guy-Junior Wells band appeared in May, and Muddy Waters was there in early July. Both groups played well and were well received. Hopefully some Buffalo bars may follow the Belle Starr and bring in some Chicago bands. Locally Shakin' Smith continues at the Buena Vista Wednesday and Saturday evenings. 

1976 has seen the release of a number of very fine albums. Robert Jr. Lockwood and the Aces, Blues Live in Japan (Advent 2807) is the finest of the three albums that Lockwood headIines. Formerly a guitarist with Sonny Boy Williamson and Little Walter, as well as being Robert Johnson's stepson, Lockwood is a brilliant blues guitarist, playing in a jazz-flavored style, and sings in a straight forward fashion that brings new life to such standards as 'Stormy Monday' and 'Worried Life Blues'. An added treat is Louis Myers vocals, slide guitar on Anna Lee and his harp playing on Little and Low behind Lockwood's vocal.

Mr. Johnson's Blues (Mamlish S-3807) is the only American release of Lonnie Johnson's recordings from the 20s and 30s. A well-programmed album, it provides variety in material and setting. Lonnie Johnson is featured both as a singer and accompanist and plays not only guitar,but piano and violin. Also heard are Eddie Lang, Texas Alexander, Clara Smith and Victoria Spivey. An extremely important release which should make many familiar with one of the pioneers in jazz and blues. 

Among other albums, Otis Rush's 1st album in 8 years Cold Day in Hell (Delmark DS-638) is one of the finest blues albums in recent years. Rush sings and plays with incredible intensity. Highly recommended to fans of B.B. King-styled blues. Hound Dog Taylor's posthumously released live album Beware of the Dog (Alligator 4707) captures the infectious quality of his rocking blues and boogie. He will be missed. The James Cotton Band's Live and on the Move(Buddah BDS 5661-2) also is an album of boogie which also should have wide appeal. I find the album a Iittle too frantic and the music too hurried though many of you will probably find it to your liking.

Congratulations For Alligator's 40 Years of HouseRockin' Music

Alligator Records is celebrating its 40th Anniversary this year and as it has in past years, compiled, 40th Anniversary Collection, a two-CD compilation of 38 recordings from the label since it released Genuine Houserockin’ Music by Hound Dog Taylor, which label founder Bruce Iglauer says is the mantra that still governs the label, although he notes the label no longer just records blues, even if the artists are deeply rooted in the blues tradition.

Given the diversity of contents and the purpose of the CD it is not my intent to review the contents here. I suspect folks will find selections they don’t like and others they think are timeless. Besides celebrating Alligator Records, this compilation will hopefully introduce some of the artists and recordings that some may be unfamiliar with whether it is some vintage Koko Taylor and Albert Collins, or more contemporary acts like Michael Burks, Tommy Castro and Anders Osborne. There is a selection from the Grammy Award winning collaboration between Albert Collins, Johnny Copeland and Robert Cray as well as William Clarke’s reworking of Jimmy Witherspoon’s Daddy Pinnochio along with selections from current recordings by Roomful of Blues and Marcia Ball.

For each selection, Bruce includes comments on the artist and the particular recording, and at the booklet’s end he notes some of those performers he could not include which is a mini Blues Who Who in itself. I remember Bruce driving out to Buffalo in the mid-seventies in the middle of a snow storm trying to promote this young guitarist and singer by the name of Son Seals, and while he now has employees, he still is heavily involved at Alligator. The 40th Anniversary Collection is a vibrant celebration of the impressive (and still growing) body of Alligator Records and Bruce Iglauer

Alligator Records sent me my review copy.

Studebaker John's Maxwell Street Kings Deep Blues Grooves

Studebaker John Grimaldi has been playing straight, non-nonsense blues and roots music for years. The latest project by the vocalist, guitarist and harp player, is the Maxwell Street Kings, a homage to the times when the open air market on maxwell Street rang with the blues sounds of street musicians and when blues giants like Muddy waters, Howlin’ Wolf, Elmore James and others could be heard in the Chicago west and south side clubs. His fellow Kings include guitarist Rich Kreher whose credits include playing in Muddy Waters’ last band, and drummer Steve Cushing, best known for his “Blues Before Sunrise,” radio show, but who has played behind, among others, Big Smokey Smothers, Magic Slim and Billy Boy Arnold. Delmark has just issued, “That’s The Way You Do,” a 15 tune romp through traditional Chicago blues styles.

The disc opens with the title track, a tasty Jimmy Reed styled shuffle with lyrics that evoke some of Reed’s hits. Two slide numbers follow, with the a broom-dusting “Fine Cadillac,” conjuring up Hound Dog Taylor and the Houserockers. I would think Big john Wrencher is among those smiling on “Headin’ Down to Maxwell Street,” with John’s gritty singing about heading to Maxwell Street and jump[ing and shouting to the sounds over a droning accompaniment and forceful harp. “If You Would Love Me,” has a doomy bass line, conjuring up Muddy, Wolf and Eddie Taylor with John adding more potent slide, while “B-Line” is a simple Little Walter styled instrumental with Cushing pushing the shuffle groove along nicely (Fred Below must be smiling too) and nice use of echo in the recording. 

“So In Love With You,” is a simple shuffle with some grungy guitars before John rips off another Hound Taylor styled solo. “Son of the Seventh Son,” is a nice slow blues with an obvious allusion to the Willie Mabon recording but a lyric that references numerous Chicago blues song titles and phrases from these songs. ”Low Down Woman,” captures more Hound Dog Taylor flavor in the dirty guitar shuffle accompaniment that is based on the “Dust My Broom” riff with another tight slide break, followed by “When the Mule Won’t Ride,” with the spare backing sound like a Jay Miller backing to Slim Harpo, with a melody that suggests “Scratch My Back.” “Shake It” features more wild slide with a juggernaut groove. “Stepping Stone” is a nice Muddy Waters’ styled blues that mixes the grit and sandpaper in John’s voice with a passionate, yet relaxed, delivery for a vocal that rings true.

The rest of the album brings together similar elements from classic Chicago blues, but always in a fresh fashion that takes the inspirations as a launching point, and not something they try to imitate. Studebaker John may have been inspired by Hound Dog Taylor, and Hound Dog’s influence can be heard in his slide playing. However, Studebaker John brings his own approach to how the solos are put together and with the terrific support he receives from Kreher and Cushing has put together a marvelously entertaining CD with over an hour of foot stomping solid blues grooves.

The review copy was provided by Delmark Records.