Junior Watson Nothing To It But To Do It

Junior Watson
Nothing To It But To Do It
Little Village Foundation

Junior Watson is among the most respected blues guitarists on the West Coast who has played with and recording with such acts as Big Mama Thornton, George Harmonica Smith, Jimmy Rogers, Shakey Jake, Kim Wilson, Charlie Musselwhite, William Clarke and more. He was the original guitarist in The Mighty Flyers with whom he stayed ten years. He has not recorded often as a leader which is rectified on this new CD from the Little Village Foundation. This recording was co-produced by Kid Andersen with Watson and recorded at Andersen's Greaseland Studios. Andersen himself says, "There is no guitarist on earth I value higher than Junior Watson." Making this record with him is one of the greatest honors in my life."

There is a mix of instrumentals and vocals. Watson sings on several tunes, and there are vocals by guests Alabama Mike and Lisa Leuschner Andersen. Others in the studio band are Sax Gordon on saxophone; Jim Pugh on keyboards, Kedar Roy on bass, and Andrew Guterman on drums with Gary Smith on harmonica on one song.

The mood is set with the opening instrumental, "Up and Out," displaying Watson's crisp, twisting attack that evokes to this listener the shattering Memphis attack of Willie Johnson mixed with a touch of Albert Collins and Jimmy Nolen. Gordon is outstanding while Pugh's skating rink organ adds to the atmosphere. Other instrumentals include "Ska-Ra-Van" a ska version of Juan Tizol-Duke Ellington's Caravan." Gordon takes an imaginative tenor sax solo while Pugh' organ adds to the flavor of the performance. There is a Mexican flavored instrumental "Summer of Love" with scintillating guitar, and a raucous shuffle "Space Flight, with Pugh's organ, followed by some blistering guitar." "Pee Wee Classic," a tribute to Pee Wee Crayton, is an exciting spinoff of "Texas Hop."

The five vocals by Lisa Andersen, Kid's wife, are a revelation as she sings with a forcefulness and nuance that suggests such sixties female singers as Carol Fran, Carla Thomas, and Barbara Lewis. Certainly the hard-rocking "Don't Freeze Me Out" is a gripping performance, while "One Way Street" is a further showcase of how good a singer she is while Gordon is excellent on the baritone sax. Another vocal is the James Brown penned "I Found You," a variant of "I Got You." Alabama Mike co-wrote with Watson, an intense slow blues "A Shot in the Dark," on a performance in the vein of Buddy Guy's Chess recordings. Watson himself is an understated, appealing vocal on a shuffle "Louella," as well as a revival of Chicago blues harpist Dusty Brown's "Well, You Know," with Gary Smith adding his harmonica.

Junior Watson, a brilliant guitarist and with the terrific backing band, is showcased on a marvelous recording that displays his considerable talents.

I received my review copy from a publicist. Here is a clip of Junior Watson performing in 2017.

Lindsay Beaver Tough As Love

Lindsay Beaver
Tough As Love
Alligator Records

Bruce Iglauer writes, in the liner notes to "Tough As Love," "I never expected to choose a female singing drummer from Halifax, Nova Scotia in easternmost Canada to be the newest member of the Alligator Records family. … Lindsay delivers blues, R&B and old school rock ‘n’ roll in a voice brimming with attitude and soulfulness. She’s described her music as “punk blues,” but that’s too narrow a term. She comes at every song with urgent intensity, soul-baring emotion, a distinct swagger and a take-no-prisoners confidence."

Beaver currently lives in Austin, Texas, after spending time in Toronto where she went to music school to hone her skills on a drum kit and where she led a band, the 24th Street Wailers. With them, she recorded five albums and while performing caught the ear of Jimmy Vaughan who encouraged her to check out the Austin scene and after a few visits, settled there in 2018, making new musical friends including her touring band of guitarist Brad Stivers and bassist Josh Williams. Musical influences include Billie Holiday, Nick Curran, The Ramones, Amy Winehouse, Sam Cooke, and Earl Palmer (her only influence on drums). She has guests on this recording that include Marcia Ball, Laura Chavez, Matt Farrell, Sax Gordon, Dennis Gruenling, and Eve Monsees.

She produced this recording, her Alligator debut and first under her name, She wrote 7 of the twelve songs and handled the vocals and drums. One is impressed with the opening tough blues "You're Evil," with Dennis Gruenling's harmonica adding to the energy of this performance and she scores a knockout with her husky, robust singing. She certainly can belt it out while Stivers blasts off on his guitar solo, if a bit frenetic. Her singing might be likened to Etta James with a rockabilly spirit, while she keeps a crisp shuffle groove throughout.

One of the highlights of this album is "Too Cold To Cry," a Louisiana blues styled number evoking Earl King's "Those Lonely Lonely Nights," with Marcia Ball on piano evoking Huey 'Piano' Smith, while Stivers channels Johnny 'Guitar' Watson. With Sax Gordon taking a blistering baritone sax solo, "What a Fool You've Been" sounds like vintage 50's West Coast rock'n'roll, while the rendition of Little Willie John's "You Hurt Me," is a terrific slow blues with Stivers channeling Ike Turner crossed with Otis Rush. Stivers shares the vocal on a tight original rock and roll performance with rollicking piano and a crisp guitar solo.

She does tone down her strong vocals on her cover of Slim Harpo's "Got Love If You Want It," which is wonderfully played. Stivers is excellent here as is Gruenling, while Beaver's crisp drumming is right on. "Oh Yeah" is another solid piece of rock and roll as she tells everybody to get wild, followed by another superb slow blues, Angela Strelhi's "Lost Cause." Another choice cover is a lesser known Art Neville song, "Let's Rock," with a fine vocal and strong backing including Matt Farrell's piano.

"Mean To Me" is another bluesy piece of rock'n'roll, crisply played with Stivers and Laura Chavez both soloing and then trading fours. It is a spirited close to an excellent recording. Lindsay Beaver is an excellent singer who brings plenty of passion to her vocals. Her original songs possess the spirit of classic rock'n'roll and blues. She is also a solid drummer who, along with Josh Williams, anchors a superb rhythm section on these wonderfully played and paced performances. Putting all this together and one has an exceptional release.

I received my review copy from Alligator. This review appeared in the January-February 2019 Jazz & Blues Report (Issue 382), although I have made corrections and minor changes. Here is a video Lindsay playing "Mean To Me."

Doug Deming and the Jewel Tones Complicated Mess

Doug Deming and the Jewel Tones
Complicated Mess
EllerSoul Records

A new recording by Doug Deming and the Jewel Tones is quite welcome for fans of traditional Chicago blues as well as Texas and West Coast swing with a dose of honky tonk country mixed in. Deming is a very good, honest singer and a deft, fleet guitarist who primary inspirations include Charlie Christian, T--Bone Walker and Robert Lockwood Junior. He has quite a nice group of musicians backing him on ten originals and three covers. Andy Gohman handles the bass, while Marty Dodson handles the drums except for one track where Sam Farmer occupies the drum chair. Little Charlie Baty adds guitar to three tracks, while Harmonica players Kim Wilson and Madison Slim each play on two tracks. Sax Gordon and Tino Barker play (where heard) tenor and baritone saxophones respectively, while Bob Welsh is on piano and Chris Codish handles the organ. Except for one track, this was recorded by Big Jon Atkinson at his Big Tone Records studio, and this recording has a marvelous sound.

It sounds like Deming incorporates, into his playing, a Buddy Guy riff from Junior Wells' "Snatch it Back and Hold It" on the title track where he sings about trying to do his best, but he and his woman are though. There is robust Kim Wilson chromatic harp present on the moody "Sweet Poison," about this seductive lady with a forceful vocal. Little Charlie Baty joins Deming on an imaginative country-tinged rendition of "You Rascal You," with some jazzy, swinging guitar from both along with a straightforward vocal. Codish's organ helps lend a Memphis soul cast to the soulful "Hold On" Madison Slim adds harp behind the lazy Jimmy Reed shuffle groove on "Need My Baby," with Slim evokes Reed in his playing here. There is a country tinge to a rocking rendition of Lazy Lester's "Blues Stop Knockin'," with Welsh playing rollicking piano and Wilson adding some complimentary harmonica.

It sounds like Deming is channeling sixties Buddy Guy with his strong playing on a fine slow blues "Deep Blue Sea," with Welsh again outstanding behind a strong vocal. "Someday Pretty Baby," with the two saxophones present (Gordon plays a husky tenor sax solo) suggests Chicago artists like Ricky Allen and Harold Burrage. "Captain's Quarters" is a very appetizing instrumental with Baty and Deming each showcasing their fleet, swinging fretwork. "Just A Moment Of Your Time," is a swamp pop original with a booting baritone sax solo from Barker followed by Deming evoking Guitar Slim and Earl King with his gritty guitar here.

"I'm Walkin'" is a credible, high stepping cover with a booting Gordon solo. It is followed by the delightful "Cookin' at the Kitchen," a variation on Amos Milburn's "Chicken Shack Boogie," with new spoken lyrics about some of the folks at this session with Madison Slim's harp adding sax-like lines. An ebullient instrumental, Rat Killin'," allows Deming, the horns and rhythm section to all solo. It provides a close to this splendid recording.

I received my review copy from a publicist. This review appeared in the November-December 2018 Jazz & Blues Report (Issue 381), although I have made minor changes. Here Doug Deming performs "Blues Stop Knocking."

Anthony Geraci Why Did You Have To Go

Anthony Geraci
Why Did You Have To Go
Shining Stone Records

Pianist and organist Anthony Geraci brings his four decades plus experience with Sugar Ray and the BlueTones to a second album under his own name. He has brought together quite a group of folks including vocalists Sugar Ray Norcia, Sugaray Rayford, Michelle “Evil Gal” Willson, Willie J. Laws, Dennis Brennan and Brian Templeton; guitarists Ronnie Earl, Monster Mike Welch, Kid Ramos, and Troy Gonyea; bassists Willie J. Campbell and Michael 'Mudcat' Ward; drummers Jimi Bott; Marty Richards, and Neil Gouvin; and horn players Sax Gordon and Doug Woolverton.

Geraci wrote all thirteen of the songs and they cover a variety of tempos and styles starting with the opening "Why Did You Have To Go" wonderfully sung by Norcia with some terrific Texas to West Coast slashing guitar from Welch. It is followed by a hot shuffle, "Don't the Grass Look Greener," with some shattering guitar from Kid Ramos along with a hot Rayford vocal. Ramos takes the lead on the Chicago blues shuffle groove of "Fly on the Wall." Willie J. Laws handles the vocal on a song that sounds like an unissued Johnny Young number while Ramos plays more in a traditional Chicago vein and Geraci superbly channels Otis Spann This number contrasts with the late night feel of "Angelina, Angelina," where Rayford pleads vocal about his woman leaving him stranded at the Courthouse door. "Long Way Home" has a New Orleans groove with horns adding punch  (Woolverton soars on his trumpet solo), while Geraci plays solid Crescent City styled piano.

"Two Steps Away From The Blues" sounds like a classic 50s Texas urban blues wonderfully sung by Michelle Wilson, while more Chicago styled blues can be heard in "Time's Running Out," with Norcia singing wonderfully and Ronnie Earl taking the lead guitar solo. "Baptized in the River Yazoo," is a delightful down-home Willie Laws vocal backed solely by Geraci's superb backing. Dennis Brennan, while not bad, is perhaps the less striking singer on this recording, although the backing he receives on "Too Many Bad Decisions" is excellent. "What About Me" is a nicely done vocal duet between Michelle Wilson and Brian Templeton.

After Geraci channels Spann again behind a first-rate Norcia vocal on "My Last Goodbye," (with more sterling Ronnie Earl guitar), this album closes with his jazzy instrumental "A Minor Affair," a swinging cool number with Woolverton plays with a nice middle-range tone, followed by a driving solo from Gordon. There is so much to enjoy on this recording from the fresh, varied material from Geraci, his own consistently strong playing, a solid studio band and terrific singing and playing. "Why Did You Have To Go" is superb.

I received my review copy from a publicist. Here is Anthony Geraci live.

Peter Ward Blues on My Shoulder

Peter Ward
Blues on My Shoulder
Gandy Dancer Records

New England guitarist Peter Ward has not forgotten his blues roots growing up in Maine. " I grew up wearing out the vinyl records trying to understand how Robert Jr. Lockwood, Tiny Grimes, Louis Meyers and Jimmy Rogers made songs sound so good. It's what I wanted to do." The chords, fills and bass runs still delight him today and he treasures when Otis Rush told him decades ago that he (Peter) played chords like "an old man." He also had a stint touring as part of the Legendary Blues Band, "The way they played blues was everything I believed in, then and now."

On this recording of 12 originals and a cover of Robert Nighthawk's recording of "Kansas City Blues," he has an all star cast of players on various tracks, including guitar legend Ronnie Earl, Sax Gordon Beadle on sax and the members of Sugar Ray and the Bluetones: Sugar Ray Norcia (vocals and harmonica), “Monster” Mike Welch (guitar), Anthony Geraci (piano), Michael “Mudcat” Ward (Peter’s brother – bass) and Neil Gouvin (drums).

Ward is a Chicago blues traditionalist as evident on the opening "She Took It All," a song about his ex taking his Cds and mp3s set to a Jimmy Rogers styled shuffle groove with Norcia adding  nice harmonica along with a fine guitar solo and it has one Ward's better vocals here. "Witch Hazel" is a tribute to Chuck Berry with simple bass and drum support and an effective Berry inspired guitar solo. The title track is a modern Chicago blues with a driving groove and more fine harp from Norcia. It is followed by "Collaborate," a song where Norcia takes the vocal (and has a harp solo) with Ward displaying Robert Lockwood Jr.'s influence and Sax Beadle adding musical accents.

Instrumentals like "Shiprock," show his deft touch and a relaxed attack, while "Southpaw," is an tough organ-guitar number with Rusty Scott adding grease while Ward is in a jazzy vein here. His playing on "On the Ropes," has a bit of country twang mixed in. Geraci and Norcia also sound fine here. Geraci's rollicking piano is present on "What Can I Do To You?" with fair singing along with the backing. Ronnie Earl and Sax Beadle are on a couple tracks, an easy rocking shuffle, "It's On Me," and a tough West Side Chicago styled blues, "A Little More." Earl is terrific behind Ward's singing, and really explodes on the latter number. "Colletta" has a country blues feel with Eric Kilburn adding mandolin, and followed a cover of Robert Nighthawk's recording of "Kansas City Blues," a song first recorded by Jim Jackson in the twenties.

The closing "Drummin' Willie," is a tribute to Willie 'Big Eyes' Smith, who had "that deep blues sound," and his remembrance of Willie and the Legendary Blues Band as he lists some of those he has played with. It is set to a Muddy Waters styled backing by Sugar Ray and associates. It is a straight-forward, solid close to this recording. Ward is an effective, if not great, vocalist, and a fluent guitarist rooted in the classic Chicago blues tradition and produced a very appealing release.

I received my review copy from a publicist. I have made a few clarifying edits to the review that appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is Peter performing "Kansas City Blues."

 

Monster Mike Welch and Mike Ledbetter Right Place, Right Time

Monster Mike Welch and Mike Ledbetter
Right Place, Right Time
Delta Groove Music

Having been part of the Chicago Blues Festival Tribute to Otis Rush, it was natural that Mike Welch and Mike Ledbetter collaborate on a recording and the spirit of the legendary Rush is evident on this new recording by the two, from the title that evokes a legendary Rush album, to the performances by vocalist Ledbetter and guitarist Welch that both show the deep impact of Rush' soul-searing music on both.

They are backed by Welch's associate in Sugar Ray & the Blue Tones, Anthony Geraci on keyboards, Ronnie James Weber on bass and Marty Richards on drums along with appearances from Laura Chavez on guitar; and Sax Gordon and Doug James on saxophones and they play wonderfully starting with a cover of an Elmore James recording "Cry For Me Baby," with Welch echoing Eddie Taylor's original guitar part, and closing with a nice instrumental shuffle feature for Welch's Rush-influenced styling, "Brewster Avenue Bump."

The only overt Rush cover is a fine rendition of "I Can't Stop Baby," Willie Dixon's reworking of "I Can't Quit You Baby," Rush waxed for Chess. But the spirit of Rush is also present in reworking of Jimmy Robins' bluesy Northern Soul groove, "I Can't Please You"; the reworking of Junior Parker's "How Long Can This Go On," into a West Side Chicago shuffle; as well as playing the Tampa Red-Robert Nighthawk's gem "Crying Won't Help You Baby," as if Rush recorded it. This here is also a nice reworking of the Jerry Leiber-Artie Butler funk, "Down Home Girl," along with the Rush inspired originals, Welch's deep slow blues, "I'm Gonna Move To Another Country," and the Ledbetter penned medium tempoed shuffle "Can't Sit Down."

The only possible quibble that might be leveled is that Ledbetter might have slightly tempered a couple of the vocals such as the opening "Cry For Me Baby." That might be in part a result of Ledbetter's 'operatic training' which I was not aware of before reading Dick Shurman's liner notes, but one can find no other fault in his strongly projected singing. This is a minor, and a subjective, criticism of what is an excellent recording.

I received my review copy from Delta Groove. Here Monster Mike Welch and Mike Ledbetter perform Otis Rush's "Right Place, Wrong Time," at the 2016 Chicago Blues Festival.

Raphael Wressnig & Igor Prado The Soul Connection

Raphael Wressnig & Igor Prado
The Soul Connection
Chico Blues Records

I became aware of the Austrian organist Raphael Wressnig from a social media posting of a selection by him and this led me to purchase as a download an album of his with guitarist Alex Schultz, "Soul." A few weeks later I was pleasantly surprised to receive in the mail a new recording by Wressnig with the wonderful Brazilian guitarist, Igor Prado, "The Soul Connection," that was recorded in San Paolo. Joining the two are Yuri Prado on drums, Rodrigo Mantovani on bass, horns led by Sax Gordon Beadle on several tracks and vocalists Wee Willie Walker, David Hudson, and Leon Beal. Mixed between soulful vocal tracks and tight combo instrumentals, "The Soul Connection" is  terrific.
 
Willie Walker was brought along for the project. Based in Memphis in the 1970s, Walker was originally supposed to record "Trying To Live My Life Without You," but it was done first by the great Otis Clay who was interested in doing it again, but Clay passed away before they could recofrd it with him. Walker opens this CD with a fabulous vocal on this that conjures up Clay's original. There are tough horns riffing on this while Wressnig greases the backing. Walker is also present for four terrific renditions of songs associated with Little Willie John starting with a terrific "Suffering With the Blues," backed by just the organ combo. There is a terrific organ solo on this while Prado plays in a Billy Butler-Sonny Forriest groove. "Home at Last" brings back horns on a number some Junior Wells fans may recognize as "Country Girl," with Prado channeling T-Bone Walker. "My Love Is" has finger snapping and a very low-key backing with acoustic bass along with organ, while the shuffle "Heartbreak," has Sax Gordon riffing like the sax on the original while Wressnig provides a greasy foundation with more jazzy playing from Prado.

David Hudson sings solidly on his cover of Tyrone Davis' classic "Turning Point," while Leon Beal does a fervent rendition of the Bobby Bland hit "Don't Cry No More," with Prado coming across as B.B. King meets Clarence Holliman in his solo. The instrumentals include a organ combo rendition of Little Willie John's recording "Young Girl," with some stinging guitar from Prado after the organ lead. "No-La-Fun-Ky," from Prado and Mantovani evokes the classic Meters sound, while the Wressnig-penned "Turnip Greens," conjures up Booker T and MGs. "The Face Slap Thing No. 05" is taken at warp speed and features some blistering playing from Wressnig and Prado and followed by a nice relaxed rendition of "Grazing In The Grass," with the leader making use of the full range of sound textures from his organ. It is terrific, but that is true of all the performances here.

This superb recording is available as a CD, download and vinyl. There is also a deluxe recording which is a 2-CD Digipack that also includes "Captured Live," a nine-song CD by the Soul Gift Band with a guest appearance by Deitra Farr. I have not heard that, but based on what I have heard by Wressnig, I suspect it is a gas.

I received from the artist. Here are Raphael Wressnig & Igor Prado performing "Young Girl" live.

 

Jimmy "T-99" Nelson Was Indeed A Legend

Jimmy “T-99” Nelson is among the last of the shouters that arose during the swing era and who flourished in the early years after World War II when jump blues was a major part of the rhythm and blues market and before rock and roll adversely affected the careers of more adult oriented performers. Nelson, heavily influenced by Big Joe Turner, established himself on the West Coast and had some recordings make the rhythm and blues charts including the seductive slow blues, Meet Me With Your Black Dress On (not the Black Drawers tune made famous by the Cheathams) and T-99 Blues, a song named after the famous Texas highway and at least partially derived from Honeydripper Blues, first recorded by St. Louis singer Edith Johnson (I believe) and later a signature tune for that great blues and barrelhouse pianist, Roosevelt Sykes (The popular rhythm and blues hit, The Honeydripper, by Joe Liggins is a completely different song).

Nelson’s hit had him backed by the Peter Rabbit Trio, and they two recordings along with other wonderful blues from the early fifties waxed for Modern Records have been reissued by English Ace on Cry Hard Luck. He even recorded for Chess Records in the 1950s and later settled in Houston where he continues to reside. Rounder issued his first comeback album, Rockin’ And Shoutin’ The Blues, in 1999, followed by the marvelous Take Your Pick on Nettie Marie in 2002. Nettie Marie has just issued his latest disc, simply titled, The Legend, a disc where he is backed by mostly Roomful of Blues alumni including Duke Robillard (guitar), Sugar Ray Norcia (harp), Matt McCabe (piano), Marty Ballou (bass), Neil Gouvin (drums), Sax Gordon (tenor sax), Doug James (baritone sax) and Carl Querfurth (trombone).

Its a solid effort opening with an original, The Devil’s Sending Up a Blessing to You, which employs the It Hurts Me Too melody) and a nice personalized reworking of Sonny Boy Williamson’s Help Me, although Nelson and the band do not quite capture off the ebullience of Louis Jordan’s classic calypso number Run Joe. Most of the songs are Nelson’s originals and he is a witty writer and the band capably delivers I’m Sick and Tired of You, where he tells his woman “I can be bad by myself,“ One Step At a Time, with its nice walking groove, or Sunrise Blues, whose lyrics evoke some of Joe Turner’s classic sides with a strong tenor sax solo by Gordon.

While this is a very good album, it was not quite as strong as it could have been. The band plays a bit too tightly and a bit looser, limber feel would have made it a bit more swinging. I would love to hear Nelson backed with some of the musicians that made Deacon John’s Jump Blues, the standard for recent efforts in this vein. Otherwise, it is gratifying to hear that he remains in strong voice.

This review originally appeared in the August 2005 DC Blues Calendar. I do not remember whether I purchased this or received a review copy.  Here is a video of Jimmy doing one of the classics that his main influence, Big Joe Turner first sang.

Duke Robillard's "Low Down and Torn Up"

Duke Robillard's new Stony Plain CD, Low Down and Torn Up, presents the veteran singer and guitarist on a program of 14 interpretations of older jump blues and Chicago blues. It was recorded live with his regular band of Bruce Bears on piano, Brad Hallen on bass, Mark Teixeira on drums (and one vocal) with Sax Gordon playing tenor and baritone sax. Mark McCabe replaces Bears on 7 songs. Songs derive from recordings by Guitar Slim, Tampa Red, Sugar Boy Crawford, Pee Wee Crayton, Elmore James, Eddie Taylor, John Lee Hooker, Jimmy McCracklin, and Bobby 'Blues' Merrill. Most of these songs will be unfamiliar. Elmore James' Twelve Year Old Boy and Tampa Red's Let Me Play With Your Poodle, are perhaps the best known songs heard here.


The strengths of this record are the strong ensemble playing along with Sax Gordon's playing. On Eddie Taylor's Trainfare Home, Gordon sounds like a mix of J.T. Brown's nanny goat tone and Eddie Shaw's raspy overblowing attack. Robillard's vocals sound a bit muffled on this session especially on the opening interpretation of Guitar Slim's Quicksand. Tampa Red's Mercy, Mercy, Mercy, sounds better, with Matt McCabe on piano evoking Little Johnnie Jones as drummer Teixeira suggests Judge Riley who played on many late 40's Bluebird Record sessions. Let Me Play With Your Poodle also sports some fine piano with a capable vocal although, in my opinion, it is not as strong as the renditions of this by Lightnin' Hopkins, Marcia Ball and Chick Willis.


Teixeira handles the vocal on a frantic rendition of Sugar Boy Crawford's Overboard, with Gordon taking a nice tenor sax solo. Blues After Hour is a nice low-key remake of the Pee Wee Crayton instrumental classic that showcases how tasteful Duke can be, while the rendition of Crayton's recording, Do Unto Others, is a rocker with a Crescent City groove and blistering guitar. Robillard's cover of John Lee Hooker's Want Ad Blues is a boogie that conjures up Hooker's 50's Vee-Jay sides. Its interesting to hear a cover of Tool Bag Boogie, one of Elmore James instrumentals where he did not play slide. Gordon rips off some hot sax while Duke plays solidly in a T-Bone Walker-ish vein.


Covers of Jimmy McCracklin, Elmore and Sugar Boy Crawford strike me as more successful instrumentally as Duke's vocals here generally strike this listener as a bit mannered, although I would suspect some of you would disagree. There is much I like about this, but I can only recommend Low Down and Torn Up with reservations. 

My review copy was provided by a publicist for this release.