Watermelon Slim Church of the Blues

Watermelon Slim
Church of the Blues
NorthernBlues Music

This is the 13th album by William P. Homans, better known as Watermelon Slim, dating back to 1973 when his "Merry Airbrakes" recording was celebrated as one of the first anti-Vietnam War albums done by a military veteran. It took him 29 years for his second album, "Big Shoes To Fill," which established his acclaimed career. Mississippi Fred McDowell is perhaps his biggest influence, and he developed his slide style as well as his gritty, raspy vocals. He co-produced this album with Chris Hardwick as well as plays harmonica and electric slide guitar. He is backed by his band of John Allouise on bass and Brian Wells on drums. He has guests including guitarists Bob Margolin, Nick Schnebelen, and Joe Louis Walker; vocalists Sherman Holmes and John Nemeth; and keyboardist Red Young. While the guests may add interest to this recording, it is Slim with his strong playing, vocals, and personality that makes this album so enjoyable.

The recording opens with "St. Peter's Ledger,' as he authoritatively delivers Ron Meadow's lyrics about where he might end up in the after-life and displays his strong slide guitar style. He follows up with one of several topical songs, Tom McFarland's 'Tax Man Blues," a strongly performed working man's complaint of having too much taken out of his pay stub. The strong backing enhances his strong singing and slide guitar solo. Muddy Waters' "Gypsy Woman" (with Slim on harp and Bob Margolin adding playing slide) is one of several covers of classic Chicago blues that he avoids copying the original while placing his stamp on the performance. Other similarly strong performances include Howlin' Wolf's "Smokestack Lightning" and J. B. Hutto's "Too Much Alcohol.' He makes minor changes in the arrangement (no trace of broom dusting on the Hutto number) so that these songs receive a fresh feel along with his powerful singing and playing.

Slim's "Post-Modern Blues," with the strutting horns, has him singing about trying to deal with the rapid changes of the 21st Century, while "Hollar #4" is a moving vocal moan about blues and his own life. His rendition of Allen Toussaint's "Get Out of My Life Woman" with his slide driven accompaniment evokes the early Paul Butterfield cover while a similar funky feel is present on a cover of Gene Barge's "Me and My Woman," the latter tune sporting more fine harmonica. Among other high points include the high-stepping topical blues about protests and the increasing visibility of overt racism "Charlottesville (Blues for My Nation)," with his hope for better days for all. An amusing bonus song, 'Halloween Mama" closes another excellent Watermelon Slim recording.

A received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383).  I have previously reviewed some Watermelon Slim albums including "Escape From the Chicken Coop," the eponymously titled "Watermelon Slim and the Workers," and "No Paid Holidays." Here is Watermelon Slim performing.

The Sherman Holmes Project The Richmond Sessions

The Sherman Holmes Project
The Richmond Sessions
M.C. Records

The origins of this album by the surviving member of The Holmes Brothers goes back to 2014, the year they were honored with a National Heritage Fellowship, the highest award given in the US for traditional arts. That same year they participated as master artists in the Virginia Folklife Apprenticeship Program where they mentored several young musicians. While they enjoyed the performances of those they mentored along with other traditional musicians, not long after in January 2015, Popsy Dixon passed away from cancer and then Sherman's brother Wendell died a few months later of multiple health problems. Sherman in that year continued to participate in the Apprenticeship Program mentoring 11 year old Whitney Nelson, and after backing her at the Apprenticeship Showcase, he was asked to sing a number in honor of Wendell and Popsy, and sat down at the keyboards to sing a traditional gospel number, "I Want Jesus." It was after that performance that Jon Lohman suggested they record this album.

Lohman suggests that in the spirit of The Holmes Brothers, this recording draws on a variety of genres and styles. While true, this recording has a strong bluegrass-Americana feel, with the blues and soul aspects somewhat less prominent. Lohman, besides producing this adds harmonica behind Holmes' vocals, bass and keyboards. Other notable musicians on this include Rob Ickes on dobro; Jared Pool on mandolin and telecaster guitar; Sammy Shelor on banjo; Jacob Eller on upright bass; and David Van Deventer on fiddle. Joan Osborne, long-time friend of The Holmes Brothers, adds her vocal on one track, while the Ingramettes add backing vocals to others selections.

Gospel songs are in fair abundance here ranging from the living bluegrass rendition of "Rock of Ages," with strong dobro and fiddle along with a terrific supporting vocal from one of the Ingramettes, the austere "I Want Jesus," with simple accompaniment (again with dobro prominent) and gospel chorus backing); the traditional African-American gospel rendered "Wide River," and a stunning bluegrass-rooted rendition of Carter Stanley's sentimental ballad "White Dove." There are strong heartfelt performances, renditions of Vince Gill's "Liza Jane" (not the similarly titled New Orleans number) and Jim Lauderdale's "Lonesome Pines." Toss in intriguing versions of The Band's "Don't Do It," and Creedence Clearwater Revivals' "Green River," with vocals that would likely have impressed Levon Helm.

There are two deep soul numbers, renditions of "Breaking Up Somebody's Home" (with a intriguing employment of traditional country instruments in the backing), and the James Carr classic, "The Dark End of the Street," with Joan Osborne guesting in support here. The Carr number has also been been one that a number of country performers recorded back in the sixties. The album closes with the Ben Harper composition "Homeless Child," with a powerful lyric, fervent backing chorus and focused backing. It is another heartfelt performance on this strongly performed and moving recording that may transcend classification but one that will enthrall those who simply love good music.

I received my review copy from M.C. Records. This review originally appeared in the July-August Jazz & Blues Report (Issue 374). Here Sherman Holmes performs "Green River."

The Holmes Brothers Brotherhood

The Holmes Brothers, Wendell, bassist/songwriter/vocalist, Sherman Holmes and drummer/vocalist and brother-in-spirit Popsy Dixon, have a new Alligator album Brotherhood. It is the 5th for the label and 11th overall since they had their first Rounder album in 1991. Since the days at Dan Lynch’s in New York City, the trio have been spinning a mix of blues, soul and gospel for thirty-five years with an ever increasing fan base.

Brotherhood opens with Wendell’s original Stayed At The Party, a secular gospel number with Wendell’s lyrics very telling about he would not have done some wild things when younger if he knew he would live so long. It bookends the performances on this CD with the Brothers fervent rendition of Amazing Grace that closes this CD. There are many performances to savor including the wonderful harmonies on Ted Hawkins’ I Gave Up All I Had, and the cover of a Earl Hooker recording of Ike Turner’s You Got To Loose, with Glenn Patscha on Wurlitzer piano echoing Big Moose Walker’s piano on Hooker’s late sixties recording. There is a terrific sax solo (from John Ellis) on this and nice use of backing vocals.

The soulful country-tinged lament, Loving You From Afar, is a marvelous duet between Wendell and daughter Felicia. The jaunty shuffle My Word Is My Bond has a terrific vocal from Wendell and nice guitar, while Sherman is featured on Drivin' In The Drivin' Rain, where he wants get back to his woman’s arms. Popsy provides the soulful rendition of William Bell’s My Kind of Girl. There is much more to enjoy about this.

One must acknowledge producers, Glenn Patscha, Chris Bruce, and Hector Castillo who helped produce another excellent blues and roots stew by The Holmes Brothers. Alligator Records, on its web page devoted to the trio, correctly state that “The Holmes Brothers …are true treasures of American roots music.” Brotherhood is yet another treasure by them.

I received my review copy from Alligator Records. Here is a video of The Holmes Brothers in performance.