Smilin' Bobby & the Hidden Charms Big Legged Woman

Smilin' Bobby & the Hidden Charms
Big Legged Woman
Wolf Records

Blues fans have to be grateful that labels like Delmark and Wolf exist to record and issue recordings of lesser-known blues artists which other labels, for whatever reason, lack the means or interest to record. A new release on Wolf, part of its Chicago Blues Session series, is by Smilin' Bobby & the Hidden Charms, "Big Legged Woman." Smilin' Bobby, whose real name is Bobby G. Smith, has been playing blues throughout Chicago for decades. Arkansas born, he moved to Chicago when he was 15.

Smilin' Bobby's music has a number of influences including Magic Sam and Albert King. In his liner notes, Scott Dirks describes Bobby's playing as a cross between Magic Slim's stinging leads with Magic Sam's cool little rhythm fills when he is singing.  His voice does not sound like anyone else. Magic Sam's influence is most evident on the fine rendition of Willie Cobb's "You Don't Love Me," which is based on Sam's rendition. But the solid guitar work and the vocals bring Magic Sam clearly to mind. The vocals are very soulful in a fashion similar to those of Sam as well.

In addition to the Cobbs’ number, there are four other covers that are done in a manner that don't slavishly copy other versions and five originals that certainly have much to recommend them. The opening “I Play For Keeps,” is an original instrumental with an insistent beat and driving guitar and followed by a reworking of Howlin’ Wolf’s “I Didn’t Know” and then a stinging, brooding rendition of a T-Bone Walker classic “Cold, Cold Feeling.” His “I’ve Got To Leave This Woman” is a funky original about a woman that treats him in a low down fashion while the closing original “You Are The One,” has him telling how he keeps his woman satisfied.

The Hidden Charms second guitarist Brian Reed, bass guitarist Warren Lethan and drummer Myron Katz provide steady backing through the ten performances presented on this very enjoyable release. The music on “Big Legged Woman” certainly supports the notion that Smilin’ Bobby is a modern Chicago blues performer of note for who it has taken too many years to get a CD issued. He most definitely merits our attention. 

This review was written in 2011, and I likely purchased it. I do not know if it was published at the time. Here is a video of Smilin' Bobby with Lurrie Bell from 2013.

Eddie C. Campbell That’s When I Know

Eddie C. Campbell
That’s When I Know
Blind Pig

This writer had the pleasure to see Eddie C. Campbell when he was part of Willie Dixon’s Chicago Blues All Stars in the late seventies, after his critically acclaimed LP King of the Jungle. Campbell’s distinctive playing and singing was a highlight. He moved overseas in 1984 and produced some of the best blues albums ever recorded in Europe. He has returned to the US in time for his wife to deliver a son, and produced this fine new album available on Blind Pig.

Comprised completely of Campbell originals, what sets apart both this album and Eddie’s music is how nicely paced it is. There’s no frenzy in his playing or mannerisms in his vocals. Both his slightly twangy guitar and his laconic singing are marked by a clean articulation of songs and notes, and his backing is tight, but never intrusive or overbearing. His songs hit a variety of moods, though usually marked by considerable humor. The echoes of his old friend, Magic Sam, might be evident, but he certainly is his own man.

About the only complaint one might raise is that this is over in a little over 40 minutes, but, another way to look at it is that it is all good stuff - it is a recording which possesses little filler. A very enjoyable listen.

I likely received a copy of this from Blind Pig. This review originally appeared in the December/ January 1994/1995 Jazz & Blues Report (issue 197). It is currently available used or as a download. Here is Eddie C. Campbell performing.

Syl Johnson Back In The Game

Syl Johnson
Back In The Game
Delmark

The Memphis Hi Records label is best known for Al Green’s recordings along with deep soul recordings by O.V. Wright and Syl Johnson. Syl, brother of Chicago bluesmen Mac Thompson and Jimmy Johnson, grew up next to bluesman Magic Sam. He had hits on Twinight and Hi Records, and surfaced on various small labels in the intervening years.
 
Delmark has reunited Johnson with the famed Hi Rhythm Section (brothers Teenie, Leroy and Charles Hodges and drummer Howard Grimes), and a crack horn section for Back in the Game, a mix of soul and blues with a gospel track added (a fervent duet with daughter, Syleena Thompson, Dipped in the Water).

In the opening title track, Johnson makes it clear that he is “back in the game,” with a revived music career. The material includes reprising his Hi recording of Take Me to the River (with Johnson on harp) while his blues roots are displayed with a fine Driving Wheel and the impassioned version of Magic Sam’s All Your Love (dedicated to Sam and his brother Mac). Most of the other songs are deep soul, such as Anyway the Wind Blows and the pleading I Can’t Stop.

Johnson’s singing has lost none of its conviction and this is the best album in this vein since Otis Clay’s live Japanese recording.

I likely received a review copy from Delmark Records. This review originally appeared in the February 1995 Jazz & Blues Report (Issue 198). This is still in print. Here is Syl Johnson in performance.

 

Magic Sam - Black Magic

While usually overshadowed by many writers in comparison to the earlier studio album, "West Side Soul," Magic Sam's "Black Magic" is in the opinion of some, including this writer, a better recording. Recorded in Fall 1968, with a superb band including Mighty Joe Young rhythm guitar, Lafayette Leake on piano, Eddie Shaw on tenor sax, Mac Thompson (brother of Jimmy and Syl Johnson) and Odie Payne, Jr. on drums, "Black Magic" is full of Sam's soulful vocals and wonderful guitar playing without any harried frenzied moments (for example the rendition of "Mama Talk to Your Daughter") or sometimes shrill, overwrought vocals ("My Love Will Never Die") that marred the earlier recording.

It is a pleasure to listen again to "Black Magic," in Delmark's new deluxe reissue with new, previously unissued alternate takes included. This release contains the ten selections that were on the original vinyl LP and 1994 CD reissue, six selections that were included on "The Magic Sam Legacy" and two previously unissued alternates. The additional eight tracks include three songs not on the original and alternate takes of four songs ("What Have I Done Wrong" is heard in two alternates).

There are so many pleasures listening to the flow of the music, the relaxed soulful intensity of Sam's vocals and the terrific backing with some solo space for Shaw and Young. Leake was a superb band pianist and Thompson and Payne made a superb rhythm foundation. The album opens with a marvelous take on "Just a Little Bit," the classic Little Willie John number that became a blues standard. He takes us back to his Cobra recordings, reworking "Easy Baby" as well as a take on Lowell Fulson's "It's All Your Fault," that he adapted for many recordings Then there is his wonderful rendition of Willie Cobb's "You Don't Love Me, Baby," followed by a terrific rendition of Freddie King's classic instrumental, "San-Ho-Zay," that is so wonderfully paced as well as played. The standout track remains for this listener Andrew Brown's "You Better Stop," where he tells Leake to "play those ticklish blues for me."

Of the songs not issued on the original album, Sam's reworking of his Cobra single "Everything's Gonna Be All Right, a musical sibling to the Fulson number, stands out along with a slow instrumental "Blues For Odie Payne." The alternate takes are pretty solid in their own respect, although with minor differences in the groove, Sam's vocal or perhaps a sudden end. The accompanying booklet reproduces Jim O'Neal's liner notes from the original release and the 1994 CD reissue, along with liner notes from The Magic Sam legacy" and updated with Bob Koester's own recollections of Sam and the music. This is a most welcome new Deluxe Edition of Delmark's classic blues albums, of which it is one of the finest.

I received my review copy from Delmark. Here is "Just a Little Bit," from Black Magic.

THE JIMMY DAWKINS BAND - BLISTERSTRING - DELMARK DS 641

Here is another of my reviews from the 1970s from the Buffalo Jazz Report.  The following review appeared in the December 1976 issue and I likely received a review copy from Delmark. It is currently available on CD. Above is the LP cover.

Jimmy Dawkins is one of the most original and important blues artists to emerge in the past few years. His first album Fast Fingers (Delmark DS-623) won the Grand Prix du Disque de Jazz awarded by the Hot Club of France, sort of like winning a Grammy, and his second album All For Business (DS-634) with Otis Rush, among the musicians, has to be one of the best blues albums of the 1970s. Jimmy's third Delmark alhum is good, of not up to the level of the first two, and a much better modem blues album than the Albert King album reviewed elsewhere. 

CD Cover For Blisterstring

This is Jimmy's first album with his working band and where he can control over production along with Delmari's Steve Thomashefsky. One main problem is that a few sides drag a little long, and Jimmy's playing, hard and driving as ever gets repetitious at points. I found it difficult sitting through this whole album, a problem I didn't have with the earlier two. Still there is some great music here, my favorite track being the closer Welfare Line with great lyrics and Jimmy making good use of both rhythmical and tonal effects in his playing. Also outstanding is a cooking version of Kenny Burrell's Chitlins Con Carne, and Blue Monday, an old New Orleans R'n'B tune associated with Fats Domino and Smiley Lewis which is partially a tribute to them. 

One other problem with the album is a somewhat distant quality to the recording. I don't like how the drummer was recorded. Still Jimmy Dawkins deserves your attention as a serious artist who the Downbeat Critics voted in 1974 Talent Deserving Wider Recognition.

Magic Sam's Live at the Avant Garde

The blues world was abuzz when word got out that a previously unknown live recording of the legendary Magic Sam was coming out on Delmark. Live at the Avant Garde makes available a June 22, 1968 performance at a Milwaukee coffee house” is a revelation among the live recordings of Magic Sam by the clarity of the location recording. Jim Charne, who made the recordings, describes how it all came about in the liner notes as well as background on the coffeehouse which would close several months after this performance. The sound of Sam’s vocals and guitar as well as that of his backing musicians, bassist Big Mojo Elem and drummer Bob Richey, sounds almost like they were in a recording studio. 

In addition to the clean, crisp sound, the music is exceptional. I am not claiming that Sam is better than the prior live recordings, which I have not listened to recently. Just that Sam’s playing is terrific and his vocals are right on, from the first notes of his cover of Freddie King’s San-Ho-Zay to the closing B.B. King instrumental, Hully Gully Twist. There are strong renditions of I Don’t Want No Woman, I Need Your Love So Bad, Feeling Good, That’s All I Need and Looking Good, all from the West Side Soul album that had been issued a few months previously. There are also his rendition of Lowell Fulson’s Its All My Fault (a source of Sam’s All Your Love), his own Bad Luck Blues and “You Belong to Me, Muddy Waters’ Still a Fool, Junior Wells Come On In This House, Jimmy McCracklin’s Every Day, Every Night,” Jimmy Rogers’ That’s All Right, and Otis Rush’s All Your Love (I Miss Loving). 

One thing that is worth noting is the range of artists and songs Magic Sam covered this June 1968 evening. Yet whether singing a Muddy Waters classic or Otis Rush, Sam brought his own voice and distinctive guitar while supported by the marvelous duo of Elem and Richey. The songs are performed at a nice tempo and lack the frenzy or overwrought vocals that mar a couple of performances on West Side Soul (Mama Talk To Your Daughter and My Love Will Never Die on that classic album). With this wonderful sound and superb music, Live at the Avant Garde is more than the best sounding live Magic Sam recording. It is another terrific Magic Sam album.

I received my review copy from Delmark.

Otis Rush's Classic Cobra Recordings.

A new reissue of Otis Rush s classic Cobra recordings has been released by Fuel 2000 who  licensed the material fromJewel/Paula. The Essential Otis Rush, The Classic Cobra Recordings 1956-1958 includes all eight singles that Rush recorded  (and all produced  Willie Dixon) along with eight alternate takes. Not every Cobra recording was memorable and little that even Rush’s fervent singing could salvage such as Violent Love, but on smoldering slow blues like I Can’t Quit You Baby, My Love Will Never Die, Groaning the Blues and Double Trouble, as well as uptempo numbers Three Times a Fool and All My Loving (I Miss Loving) (the Mayall version with Clapton on guitar pales in comparison). 

Rush sang here with an intensity matched by few in blues history and complemented that with some stinging guitar (although Ike Turner may be the lead guitarist on Double Trouble). In addition to Willie Dixon, others on the original sessions included guitarists Turner, Wayne Bennett and Louis Myers, Little Walter and Walter Horton on harp; saxophonists Harold Ashby, Red Holloway and Jackie Brenston, pianists Lafayette Leake and Little Brother Montgomery, and drummers Odie Payne and Al Duncan.

Rush's Cobra recordings produced some of the most intense examples of the West Side Chicago Blues style that developed in the fifties and remain classic almost 60 years later.

This review was written in late 2000 and this review likely originally appeared in the DC Blues Calendar around that time, although I have made some stylistic changes from what I originally wrote for clarity purposes. This particular reissue is out-of-print but might be found used. There are other CDs that also reissue Rush's Cobra recordings if not all of the alternate takes. 

Eddie C Campbell Looking Out For The Spider Eating Preacher

Eddie C. Campbell is among the last of the West Side Chicago bluesmen still standing. A disciple and colleague of Magic am, he still lays down similar reverb soaked guitar runs and riffs while singing his soulfully delivered laments. Not as direct or extroverted a player as Magic Sam, Otis Rush and others, his laconic style with a restrained attack has its own charms.

Delmark has just issued his latest recording Spider Eating Preacher that displays his distinctive blues style. He is joined by Daryl Coutts on keyboards; Vuyani Wakaba and his wife Barbara Mayson share bass duties; and Robert Pasenko on drums. Lurrie Bell is on three selections and a full horn section is on four. The release is mostly comprised of Campbell’s quirky originals although there are three covers which thankfully are not overly familiar blues warhorses.

Thinks get off to a good start with I Do, which displays one consistent strength of his wonderfully paced style with an understated vocal, and horns that go beyond simple riffing that helps frame Campbell’s reverb-laced guitar standout. He never comes across as hurried and this is further illustrated on the title track as he sings about the devil awaiting under his rocking chair, but when one is in the darkness, one will see the light. Lurrie Bell makes one of his guest appearances on guitar on Call My Mama on which Campbell plays harmonica while the band grooves on the Smokestack Lightning melody, with Coutts being particularly outstanding on piano here.

An understated reworking of Ricky Allen’s Cut You A-Loose is followed by Soup Bone (Reheated), which revives and rearranges on of his early 45s as he sings about having a soup bone but is hungry and will be putting the soup bone down and try some collard greens. The lazy shuffle lament, I Don’t Understand This Woman, is followed by the jaunty Boomerang, with is hook line, “Sling me like a boomerang, I’ll come right back to you,” with some nice greasy organ from Coutts followed first a searing guitar solo by Alexander Mejia before Campbell himself takes a measured solo.

There is a solid remake of the Ohio Players’ funky Skintight as well as the superb, down-in-the-alley slow blues All My Life originally done by the late Jimmy Lee Robinson. Set to a Bo Diddley groove, My Friend (For Jim O’Neal) is a tribute to former Living Blues editor Jim O’Neal who helped step up and gave Eddie breaks and publicity decades ago. Brownout is an instrumental set to a funk groove with surprising twists in how Campbell constructs his solo.

The recording closes with Eddie on acoustic guitar and Lurrie on harmonica as having some fun, Playing Around These Blues. Its a relaxed, enjoyable conclusion to Eddie C. Campbell’s latest album. One would be hard-pressed to name a poor recording by him and while it may not be his best (King of the Jungle that Jim O’Neal reissued on Rooster Blues is worth looking for), will be welcomed by his existing fans and hopefully we get him many more new ones.

I received my review copy from Delmark Records. Here is Eddie from the 2008 Pocono Blues Festival. I was at this show.

Luther "Guitar Jr" Johnson Is Talkin' About Soul

Before joining Muddy Waters band, Luther “Guitar Jr.” Johnson had been a veteran of the West Side Chicago blues scene, playing for a period with Magic Sam and developed a strong style that blended in a strong dose of rhythm and blues flavoring in his music. That element has stayed with Johnson since he pursued a solo career. His new Telarc album, Talkin‘ About Soul, probably gives a stronger emphasis to this aspect of his music.

He is joined by a excellent studio band that includes David Maxwell‘s splendid piano, former Johnny Copeland sideman, Randy Lippincott‘s solid bass and fellow Waters‘ alumni Jerry Portnoy on harmonica. Opening with the title tune, a funky original by Johnson, he does an entertaining, but hardly overwhelming reading of Ray Charles‘ I‘ve Got a Woman which is followed by a solid rendition of Sam Cooke‘s Somebody Have Mercy, which may pale next to Cooke‘s original but is superior to Otis Rush‘s tepid rendition of a few years ago.

Next up is a nice medley of the Isley Brothers‘ It‘s Your Thing with Bobby Rush‘s adaptation of the Isley’s melody, I‘ll Pay You Back, which was a single by Magic Sam that was issued around the time of Sam‘s death. Some down home harp lends a bluesy flavor to the interpretation of Bobby Charles‘ soul ballad of back-stabbing folk, Why Are People Like That, while Johnson does a nice job with Freddie King‘s Lonesome Whistle Blues.

Ramblin‘ Blues is an attractive acoustic flavored number while a medley of You‘ve Got Bad Intentions with Crying Won‘t Help You is a solid blues performance. Suffer So Hard With The Blues is a terrific performance that is fervently sung and played, and suggestive of some of Buddy Guy‘s Chess recordings.

Overall, this is a nice mix of well played material that is sung with heart.

I have made minor revisions in the original review that appeared in the July-August 2001 Jazz & Blues Report.   Here is a video of Luther in performance.

Freddie King Was Electrifying Live Performer

Freddie King was one of the greatest of the post-war Chicago bluesmen. A formidable singer and a highly important guitarist, he had a number of records on the charts and was a major influence on many blues and rock guitarists including Luther Allison (who took over King’s Chicago band and gigs when King toured), Eric Clapton and Stevie Ray Vaughan. While Bear Family has issued all of King’s commercial recordings on two box sets containing twelve CDs of music, King also had some significant live recordings. The following review appeared originally in the March 2006 DC Blues Calendar and the March-April 2006 Jazz & Blues Report (issue (280). I made minor stylistic changes in this review.


Its been three decades since the great Freddie King passed away, and the late blues guitar’s reputation has perhaps been lessened with the passing of time, which is unfortunate because few of the guitarists today play with his mix of passion and imagination.


Shout Factory has just issued Live at the Electric Ballroom, 1974, part of the label’s reconstruction of the Black Top label catalog. Recorded two years before his death, King rips through Women Across the River, which he recorded with Leon Russell; as well as blues chestnuts like Key to the Highway, Earl King’s Let the Good Times Roll, Ain’t Nobody’s Business, which he cut for Atlantic’s Cotillion subsidiary, Sweet Home Chicago and Dust My , before ending this set with Hide Away Medley.


This disc also includes an interview with him and two acoustic performances, perhaps his only acoustic recordings. King probably had the most immediate impact on rock guitar (Eric Clapton among others was heavily influenced by King’s muscular playing), and he was also a first rate singer who brought plenty of soul to his music. This is so nice to have available again.

I likely received this from a publicist for Shout Factory’s releases. This is still in print and should be readily available.

Byther Smith and Blues On The Moon

Yesterday I posted an older Byther Smith review. The following review is of what I believe was his last release, a live performance issued on CD and DVD by Delmark.

Chicago blues guitarist-vocalist Byther Smith has not had an easy life, but he certainly has overcome a lot and produced plenty of solid West Side Chicago blues. This writer first became aware of him from some tough 45 rpm singles, including a strong, insistent rendition of Detroit Junior’s Money Tree. He had albums for small labels like Grits and Razor, and the latter was picked up by Bullseye Blues, with whom he also recorded a new disc. In more recent years he has recorded for Delmark and the European Black and Tan and his music has remained pretty constant. Impassioned vocals, stinging, driving guitar and tight bands that kick the groove along.


Delmark’s latest live recording is Smith’s Blues on the Moon: Live at the Natural Rhythm Social Club. It is available on CD and DVD, with the DVD including one track not on the CD. Over a hour of straight blues with no filler. Smith’s propulsive attack and soulful vocals is ably supported by the band of Anthony Palmer, guitar; Daryl Coutts, keyboards; Greg McDaniel, bass; and James Carter on drums. Coutts piano is especially noteworthy backing Smith who tackles a variety of material including the driving title track, Your Mama’s Crazy, inspired by Mama Talk To Your Daughter, by his cousin, J.B. Lenoir, with a different lyrical cast and some stinging guitar instead of Lenoir’s boogie riffing.


Smith’s staccato single note playing has a drive to it and enhances his pleading vocals. And he has a few distinctive riffs that enliven his rendition of the well worn Rock Me Baby. A highlight is the autobiographical Monticello, set to the melody of Let’s Straighten It Out, and the performances closes with an marvelous original recasting Don’t Start Me Talkin.


Sound on the recording is excellent and the DVD continues Delmark’s straight-forward approach in its video production. Focus is on Byther and musicians with some crowd shots added, but not to any distraction. The performances, and Byther’s intense focus in his performances commands our attention. As a bonus, there is a fascinating interview and commentary by Steve Wagner and Byther Smith discussing his career and the performances, along with Wagner discussing the actual production of the CD/DVD.


This is another excellent addition to Delmark’s CD/DVD pairs and I would be hard-pressed to name another blues label that is producing such new live blues CDs at such a high level of artists that frankly should be documented. Jimmy Johnson next please Delmark.

I received my review copy from Delmark.

Byther Smith's Holding That West Side Blues Train

One of the frustrations of blues is discovering a terrific talent, yet being frustrated by the artist’s failure to be able to take a step to insure success as more than a fine recording artist. The one time I saw Byther Smith at the Poconos, he was with a pick-up band, which was a shame because it did not do justice to his strong West Side Blues guitar and vocals that are almost on the level of an Otis Rush. He has recorded other strong albums for Delmark, JSP and Black & Tan. This review appeared in the July-August 2004 Jazz & Blues Report (Issue 269). Tomorrow, I will run my review of his 2008 CD/DVD on Delmark, Man on the Moon.

With an efficient backing trio laying down steady, funk-tinged grooves, Byther Smith blasts out some stinging blues guitar and pleads his blues with plenty of heart on his third Delmark album Hold That Train. While he does cover some overdone songs like The Thrill is Gone, Willie Dixon’s 300 Pounds of Joy and Howlin’ Wolf’s Killing Floor, most of the material handled here is not nearly as familiar, as he opens with the late A.C. Reed’s This Little Voice, Dixon’s Close To You, Andrew Brown’s You Ought to Be Ashamed, Junior Wells’ Come On In This House, and Detroit Junior’s So Unhappy. Other tracks include Mississippi Kid, set to the melody of Junior Wells’ Messin’ With the Kid.


More so than his prior discs, Smith’s performances here suggest recent recordings by Magic Slim with the simple grooves, punched out stinging guitar lines and solid singing, although Smith’s vocals are a bit higher pitched than those of Magic Slim. So Unhappy is a stirring slow blues where Smith pours his soul in while he evokes Slim Harpo’s Scratch My Back melody for his adaptation of What My Momma Told Me. I Don’t Like to Travel is a strong performance suggestive of Otis Rush’s classic I Can’t Quit You Baby.


The only complaint would be that the tracks start to sound the same if one listens to this in one setting. Use of horns and/or keyboards on some songs would have provided more varied listening.

I likely received a review copy from Delmark.

Wonderful New Rerelease of Magic Sam's Classic "West Side Soul"

Magic Sam lived a relatively brief life, yet his influence on blues since can be heard in the music played today. Samuel Maghett had recorded for Cobra and other labels before Delmark got him in the studio to record his first album “West Side Soul.” That recording was one of the Top Ten Blues Desert Island Discs when I compiled the list in “Living Blues.” Delmark has rereleased this classic album, going back to the original analog mix from Stu Black, who engineered the original session. The present release is in a digipak case and reproduces the original liner notes as well as adds Don Wilcock’s appreciation and photographs of Sam from Bill Lindemann.

For this album, Sam was backed by a band that included Mighty Joe Young on rhythm guitar, Per Notini (Stockholm Slim) on piano, Earnest Johnson on bass and Odie Payne on drums (Mack Thompson and Odie Payne III appear on three of the selections). There are terrific renditions of Sam’s “All Your Love” and Jimmy McCracklin’s “Every Day and Every Night,” one of the songs that influenced Sam and some of his songs such as “All Your Love”; along with “Feeling Good,” a remake of the Junior Parker Sun classic and Sam’s instrumental “Lookin’ Good.” Both of these latter tunes demonstrate how it is possible to build a hot boogie blues with a rhythmically oriented attack without endless single note runs.

There are moments such as during Little Milton’s “I Found a New Love” and Sam’s flawed cover of the Otis Rush recording (which Willie Dixon wrote), “My Love Will Never Die” where Sam singing employes a bit too much vibrato and sometimes comes off as too high-strung. There is plenty of strong guitar on these tracks, and the latter number is followed by the vigorous rendition of J.B. Lenoir’s “Mama Talk To You Daughter.” It is Sam’s rendition of “Sweet Home Chicago” from this album that likely led to this becoming a staple of the Chicago blues scene. Sam’s recording is one of the two or three indispensable contemporary renditions of this song.

I have been listening to this since purchasing the original vinyl album when it was originally released. I find this new release sounds better than I remember prior digital or analog versions. “West Side Soul” is among the classic contemporary Chicago blues albums, and this new release of it is most welcome.


My review copy was provided by Delmark Records.

Eddie Campbell Still Tearing Up The Blues World

Chicago bluesman Eddie C. Campbell has been spinning his brand of West Side Chicago blues for several decades. This review of Eddie’s 2009 Delmark album, Tear This World Up, originally appeared in the July 2009 Jazz & Blues Report (Issue 318). It was his first album since the 2000 Rooster Blues Cd Hopes & Dreams. Campbell has not recorded that frequently, but has produced some very distinctive recordings. The review copy of this was provided by Delmark Records.

Its been a few years since Eddie C. Campbell, one of the few remaining masters of the West Side Chicago blues style has had a new recording out. Not that he hasn’t merited it, but his understated guitar and laid-back and witty vocals lack the immediate appeal to those more rock-oriented listeners of the blues. His latest album “Tear This World Up,” on Delmark will be welcome to those of us that have been fans of him for decades as well as those that want the real deal blues.

Dick Shurman, who produced Campbell’s classic first album, “King of the Jungle” over three decades ago has assembled a solid studio band including Dairy Golliday on bass, Marty Binder on drums and Karl ‘Lil Daddy’ Outten on keyboards. Mojo Mark Cihlar plays harp on several tracks and several other tracks have a full horn section. One thing that stands out is how uncluttered this recording sounds compared with so many recordings in recent months.

It is refreshing to hear someone handle the blues in such an unfrenzied manner whether the light lyrics of his opening “Making Popcorn;” the rocking “Big World,” a story about meeting this fine lady who wants to show Eddie her big world; and his remake of “Easy Baby,” a tribute to his late friend Magic Sam. All are marked by Campbell’s restrained, yet soulful, vocals with his occasional effective employment of a falsetto, and his crisply played, snap and pop crackling guitar with just a bit of treble and echo.

His playing imparts a rockabilly tinge to Magic Sam’s “Love Me With a Feeling,” with some pretty impressive picking here. In contrast “Vibrations in the Air,” has a lazy Jimmy Reed styled shuffle that few today play with nice harp from Cihlar who also added his atmospheric playing to Campbell’s witty “Voodoo.” “Care,” has a bit of a funk groove and one several selections with a full horn section. Punching horns add to the flavor of the easy walking instrumental shuffle of “It’s So Easy” where Campbell’s snapping guitar playing is also complemented by the organ of Marty Sammon, Buddy Guy’s keyboard player.

Campbell turns Howlin’ Wolf’s “My Last Affair,” into a compelling blues ballad with his genially pleading singing, followed by the rocking rendition of “I’m Just Your Fool,” with horns and harp supporting his terrific rendition of the Buddy Johnson composition, although his performance is modeled after Little Walter’s recording. He evokes Link Wray and the Ventures before getting into another shuffle groove for his rendition of “Summertime,” adding jazzy fills, before closing the album with “Bluesman,”where backed just by his guitar, Eddie sings about being a real bluesman, and having played with everyone from A and Z. But as he sings, you can still hear them in his blues played so direct and honest which is why this recording is so appealing.


BTW, my review of Hope and Dreams can be found on Amazon.com.