Shirley Johnson Blues Attack

Shirley Johnson

Blues Attack

Delmark Records

Vocalist Shirley Johnson has been a mainstay of Chicago’s North Loop bistro Blue Chicago for the past seventeen years, and that’s where you will likely find her unless she’s touring overseas. A Virginia native, she had roots in the church so many blues & R&B performers. A fellow Norfolk alumna, Ruth Brown was a role model, but she was influenced by such acts as Etta James, Johnnie Taylor, Bobby ‘Blue’ Bland, and B.B. King. 

Johsnon worked pop as well as gospel gigs until a friend told her to go to Chicago where she relocated to in April 1983. Working first with Buster Benton and then with singer Johnny Christian, she got herself part of the Chicago scene. Then keyboard wizard Professor Eddie Lusk heard her, hired her to a Canadian tour and later brought her Blue Chicago as his regular vocalist, and after he died in 1992, she continued on at the club. In 1994 she recorded “Looking For Love” for Appaloosa which was followed by a 2002 Delmark album “Killer Diller.” She returns to Delmark for her new release, “Blues Attack.”

For “Blues Attack,” she has brought on board a band of guitarist Luke Pytel, keyboardist Roosevelt Purifoy, bassist Lovely “JR” Fuller, Jr. and drummer Cordell Teague with a horn section of Lawrence Fields, Kenny Anderson, Hank Ford, and Willie Henderson added to several tracks. The fourteen selections on “Blues Attack” include several written by Maurice John Vaughan, several by her band members and several that she contributed to, along with covers of R&B classics. 

This is just a solid set of Chicago blues sung and played strongly. Purifoy is first-rate on keyboards, while Pytel plays a solid blues guitar with just the right tone and bite as Johnson delivers the goods with her straight attack that eschews histrionics for a simple, soulful delivery. The songs range from her cautionary warning to her lover, “You’re Reckless,” and need to change his ways to keep whatever glimmer of a flame is in their love. The title track has a funky groove enhanced by a full dose of brass, as she sings about having a blues fever which moved through her body and mesmerized her, left her tired and soaking wet but nothing wrong with that, and Pytel shines more here). 

There is a nice rendition of the great Wilson Pickett classic “634-5789,” followed by an easy tempoed shuffle “Just Like That,” as she explains her relationship is over and moving on. “You Shouldn’t Have Been There,” is a fine atmospheric slow blues where she tells an ex to move on. “I’m Going To Find Me a Lover,” turns the tempo hotter as were she declares if it takes a long time its all right as she isn’t gonna take less than she deserves. It continues the lyrical center of many of the songs here emphasizing relationships that cool down or break down due to abuse or cheating. The performances have a variety of tempos and accompaniments that add to their enjoyability. 

Delmark should be thanked for bringing a healthy slice of blues from a marvelous singer who merits the attention “Blues Attack” should bring.

I received my review copy from Delmark Records. This review originally appeared in the April 2009  Jazz & Blues Report (Issue 315) although I have made some minor changes.  Here is Shirley Johnson performing "Blues Attack."

Little Freddie King Still Chasing the Blues

A icon of the New Orleans music scene, Little Freddie King has a new CD on the MadeWright Records label, Chasing the Blues. There is nothing fancy about his blues. There is a bit the swamp blues of such folks as Lightnin’ Slim, Lonesome Sundown, Lazy Lester, Clarence Edwards, with some of the North Mississippi Hill Country blues of R.L. Burnside and Junior Kimbrough. His vocals and guitar as supported by drummer “Wacko” Wade Wright, bass guitarist Anthony “Sheets” Anderson, the harmonica of Lewis diTullio, Jr. and an uncredited pianist. They provide simple, direct backing which suits King well.

The influence of the swamp blues opening Born Dead, with its stark lyrics about hard times growing up in Mississippi, while the feel of Crackho Flo, with its simple lyrics, is more in the vein of some of the somber slow drag recordings of Junior Kimbrough. An uncredited pianist is added to Louisiana Train Wreck, with a simple Hill Country styled groove with King rapping the blues here. Got Tha Blues On My Back is another swamp blues with King’s guitar bursts complemented by as he sings about having the blues in a great big cotton sack.

Better is Pocket Full of Money, which adapts the melody of Slim Harpo’s I’m a King Bee, as he tells his women he has plenty of money and let him come inside. Back To New Orleans takes us back down in the alley.” An easy going instrumental, Little Freddie’s Shuffle has the harmonica more prominent. Better is the slow moody instrumental, Night Time in Treme. In contrast, another instrumental “Bywater Crawl” leaves little impression on the listener.

Little Freddie King is a wonderful entertaining performer who perhaps is limited as a guitarist and songwriter. He still has a way of delivering a performance. Chasing The Blues is not an essential blues recording but it has atmospheric and entertaining music.

I purchased this. Here is Little Freddie King helping the Louisiana Music Factory celebrate its 20th Anniversary. That is poet, activist and music historian John Sinclair introducing him.