Winner of the 2013 International Blues Challenge for solo/duo, Little G Weevil obviously impressed Richard Rosenblatt of VizzTone, not simply winning but also the fact that he bested the duo of Erin Harpe and Rosenblatt on his way to winning. The result is his Apic/VizzTone release, Moving. Weevil is an impressive, traditionally rooted blues artist who was born overseas, but has immersed himself in playing the blues in Memphis and Atlanta. He impressed many with his prior recordings where he displayed his mastery of older blues traditions including marvelous originals that evoked early John Lee Hooker. The present release will certainly cause additional fans of blues to take notice of his talents. This is apparent on the original Shook It and Broke It, that opens this. His slide guitar accompaniment suggests Fred McDowell and Bukka White on a song that sounds like it was from the thirties. He adroit use of repetition and riffs is exhibited on On My Way To Memphis, with some nifty guitar lines set against a repeated riff, while a small group provides him with an insistent pulse on Mean and Dirty. Within these three songs we get quite a varied look at Lil G Weevil's approach that is manifested throughout this collection. Other selections include the North Mississippi Hills groove on Deep Bow and the title track with hints of swamp pop with a lazy walking groove and some Slim Harpo styled harmonica. Another highpoint is his deliberative, reflective interpretation of Walter Davis' classic Let's Talk It Over (Come Back Baby). Moving is another substantial recording by Lil G Weevil who demonstrates an uncanny ability to cast original down-home blues styled in the manner played decades ago by blues legends and perform with authority and soul. He is a most impressive talent.
I received my review copy from VizzTone. Here is a video of Little G Weevil.
Based currently in Georgia, Little G Weevil released at the end of 2011 his second album as a leader, The Teaser, although the release only recently started receiving promotion. He has been leading bands since he was 21, established himself in Europe, as well as shared stages with numerous major blues names. Born in 1977, his press biography notes that he started playing drums at 7 and guitar at 17, and “was introduced and captivated by the music scene through listening to legendary musicians such as John Lee Hooker, Lightnin' Hopkins, Albert Collins, B.B. King and Chuck Berry. Hooker particular had a deep influence on him as he states, “John Lee Hooker and his blues was for me, like my grandfather and the tales he use to tell. When I first heard the songs Hobo Blues and Never Get Out of These Blues Alive, I thought to myself, God, I am part of this, I feel it, I belong to this.”
The years of playing show up on this terrific recording which launches with a hot rocking boogie Real Men Don’t Dance, which in addition to the leader’s gritty singing (“let me see you shake, shake, shake”) and stinging guitar sports some tough harmonica from Maurice Nazzaro and piano from Bob Page. After Page's piano solo, Weevil comes back in singing just backed by John V. McKnight on drums, before the rest of the band joins him for the coda. It is just one example of the terrific interplay between Little G Weevil and his band. The title track slows down just a bit as he delivers the lyric “don’t try to tease the big teaser,” again with a tight groove before Weevil launches some tough slide guitar.
Highway 78 is a John Lee Hooker styled boogie with a half-spoken vocal against a vamping bass figure that captures Hooker’s classic style while avoiding being an ‘endless boogie’ in the manner of so many Hooker imitators while Back Porch is another Hooker-influenced styled performance, here modeled after some of the slow stomps and dirges that Hooker recorded in the late 40s and early 50’s. Another Hooker styled blues is the solo Losing Cool. These are not simply impressive in Weevil’s evocation of Hooker’s style, but are first-rate originals.
Other audible influence on Weevil is Albert King and Otis Rush, Apple Picker is one of several tunes that he conjures up these influential guitar players. The lyric itself is a fresh one employing a double entendre as he has “everything that a woman needs,” with an explosive guitar solo. Dad’s Story is a nice low-key down home solo blues, while 8.47 is a strutting number with some searing fretwork. She Used To Call Me, is a post-war Texas Blues in the manner of Lightnin’ Hopkins. The closing, Which Way Shall I Go, is a solo hills country styled blues with exhilarating slide guitar.
As mentioned the band (which also includes Bill Burke on bass) plays wonderfully throughout supporting Little G Weevil. Weevil plays in crisp, imaginative, and idiomatic fashion while his vocals are unforced, slightly raspy, and thoroughly convincing in his performances of fresh originals. The Teaser is a terrific album of compelling blues.
A publicist provided my review copy. Little G Weevil was just announced as the winner of the solo-duo competition of The Blues Foundation's 2013 International Blues Competition in Memphis. Here he is performing at a release party for the CD.
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