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."

Ursula Ricks My Street

A presence on the Baltimore and Washington blues scenes for a couple decades, Ursula Ricks certainly sounds poised to break out on the National music scene with her new recording My Street (Severn Records) with blues, soul and more. Ricks brings her powerful, nuanced singing and her strong original songs here backed by Severn’s house rhythm section of Johnny Moeller (from The Fabulous Thunderbirds) on guitar; Kevin Anker on keyboards; Steve Gomes on bass and Robb Stupka on drums. A number of selections feature horns and/or strings arranged and conducted by the legendary Willie Henderson with DC jazz stalwarts Kenny Rittenhouse, Reginald Cyntje and Leigh Pilzer among those heard. There are also guest appearances from Kim Wilson and Mike Welch. Someone commented to me, with the Severn house band even he or I would sound good. Well I don't think anything would make me sound good, but his point about the quality of the backing is well spoken.

As for Ursula Ricks, her smoky and husky vocals are outstanding. Her controlled, unforced delivery stands out in a manner akin to Nina Simone. She never bellows, screams or sounds constipated. Rather she evokes classic sixties soul recordings by the like of Carol Fran or Betty Everett. Not only does she she deliver the goods vocally, but she wrote some wonderful new blues and soul songs starting with Tobacco Road. This is not the John D. Loudermilk song, but an original about traveling from West Virginia to New Orleans with the chitlin' circuit working her heart. It is set against a swampy, smoldering backing and also Kim Wilson takes a tough harmonica solo. This same, tough yet understated backing also provides a foundation for her funky rendition of a lesser known Bobby Rush number Mary Jane, with its anti-drug message. Sweet Tenderness, with its strings in the backing evokes Barry White's recordings while another number with strings, her Due, is an excellent soul-blues in the manner of classic Hi Records. 

The title track, My Street provides a gritty description of contemporary urban life as Ms. Ricks moans that all she knows is she has to move away. The level of the rest of My Street is of a similar level. The songs and her vocals ring with conviction and the backing is excellent on a superb recording that will hopefully enable Ms. Ricks to receive the recognition and rewards her talent and music deserves. 

I received my review copy from a publicist. Here is Ursula in performance. 

Bryan Lee Play One For Me

I remember discovering Bryan Lee in the late 1980s at the Old Absinthe Bar during my first visit to New Orleans. With the sideshow that marked (and still marks) Bourbon Street, discovering Lee's straight, no chaser blues was a real joy. I picked up his self-produced vinyl lp at the time and it was a solid souvenir of the music I heard that evening.Since discovering Lee, I have been pleased to see him again on several later visits to New Orleans and at some music festivals as well as his body of recordings, mostly for a Canadian label. 

David Earl's Severn label has just issued a new CD by the Blind Giant of the Blues, Play One For Me. On it Lee is supported by, amongst others, Fabulous Thunderbirds guitarist Johnny Moeller on rhythm guitar; Kevin Anker on keyboards; Steve Gomes on bass; Robb Stupka on drums with Kim Wilson adding harmonica to a few tracks. Also the great Willie Henderson has arranged and conducted strings and horns on several tracks with some of the Washington, DC area's finest players including trumpeter Kenny Rittenhouse, baritone saxophonist Leigh Pilzer and trombonist Reginald Cyntje. 

As expected with Severn, the production and recording are first-rate, and the result is a fresh take on Bryan lee and his music. There is plenty of his guitar to be heard here, but it is with his vocals that he really shines as he sings so soulfully. The album opens with his take on Aretha (Sing One For Me), a hit for George Jackson and includes wonderful renditions of Freddie King's It's Too Bad (Things Are Going So Tough), Little Sonny's When Love Begins (Friendship Ends), that was a hot for Bobby Womack, and Lee's soulful original Let Me Love You Tonight.

Lee's take on the Womack recording undoubtedly will be a surprise for some of Lee's family with his fine soulful singing and Albert King-laced guitar backed by Henderon's uptown strings and horns that musically is on par with some of today's best soul-blues recordings. Lee's "Let Me Love You Tonight is a terrific soul-blues performance that has an infectious groove that should get dancers up and on the floor. For a bit of more of a down-home feel there is a nice rendition of Howling Wolf's recording, Evil Is Going On, and the down home flavored original Poison. Kim Wilson adds his harmonica to both selections.

In its mix of straight blues with southern soul-blues, this recording provides a change from Lee's prior recordings that perhaps focused more him as a solid singer and guitar slinger. While there is plenty of fine guitar here, this particular recording displays just how exceptional a singer Bryan Lee is. He is that good here and Play One For Me is that good a recording.

I received my review copy from Severn Records. Here is a clip of Bryan Lee performing.

Tad Robinson's Soulful New Point of View

A New Point of View is Tad Robinson’s stunning new soulful disc on Severn Records. With his old pal Alex Schultz on guitar and Willie Henderson bringing horn and string arrangements, this album evokes some of the classic Chicago and Philly soul recordings by the likes of Tyrone Davis and the Chi-Lites.

There are two covers and nine originals as Robinson opens with the soulful lament, Long Way Home, because Tad is in no rush to get home because “At my house there is no one waiting for me.”What is amazing is how much Robinson has developed as a vocalist and really is terrific here, and his remake of the Johnnie Taylor hit ballad, Ain’t That Loving you (For More Reasons Than One), is almost as impressive with the string and horn arrangements caressing Robinson’s delivery of the songs.

I believe Bobby Bland had the original of Up and Down World, which perhaps does not reach the same level (it’s one of two numbers that Henderson did not arrange), as I am more partial to the late Johnny Adam’s interpretation. It’s one of several tracks with some nice harp by Robinson and piano from Kevin Anker. Another original, You Get the Keep the Love, hits a groove akin to Tyrone Davis’ classic recordings, while He’s Moving In, is a strong bluesy lament. Two of a Kind Blues is more of a straight blues theme with having one woman at home and one with who he cheats, but Henderson’s arrangements take it do a different level.

This is a really surprising disc from Severn because it is a soul recording with blues tinges, even though its being marketed as blues. This is not to diminish the fact that it is simply a marvelous recording that showcases just how superb a performer Tad Robinson has become.

Highly recommended.

This review originally appeared in the June 2007 Jazz & Blues Report (Issue 294). I believe I was sent a review copy from the record label.

Lou Pride Keeps On Believing

Lou Pride is a class gentleman. I first became acquainted with him from an album issued on Ichiban. I was quite pleased when in 2002 David Earl issued Words of Caution on his Severn label, a strong soul-blues effort. After following up with a reissue of Pride’s earliest recordings, The Memphis/El Paso Sessions, in 2005 Severn issued the outstanding Keep On Believing. It has been over five years and we are perhaps due a new Lou Pride recording. The man’s talent merits it. My review below originally appeared in the December 2005-January 2006 DC Blues Calendar (then the DC Blues Society’s newsletter) and the March-April 2006 Jazz & Blues Report (Issue 280). Severn Records sent me my review copy.


Severn Records latest new disc is by the terrific soul-blues belter, Lou Pride, Keep on Believing. Mostly comprised of Pride’s originals, Pride’s performances benefit from a strong studio band that includes the fabulous Texas guitarist Jon Moeller, Benjie Porecki on keyboards, Steve Gomes on bass and Robb Stupka on drums, Backing vocalists on the disc include Lady Mary and Margie Clarke, two of the D.C. area’s finest female singers along with Eddie Jones, the leader of the old school group, The Young Bucks. Also on this session is a full horn section punching out their riffs using Willie Henderson’s arrangements.


After the strong groove of Midnight Call, Pride handles his one cover on this disc, Bob Marley’s Waiting in Vain, with his vocal complemented by his vocal that does not overuse his falsetto towards the end. A quote notes a touch of Bobby Bland in his approach, but to these ears Al Green and Otis Clay are more apt touchstones for his singing. The relentless groove on I Can’t Hold It, suggests the classic Hi Rhythm section with a strong, concise guitar solo from Moeller. The topical plea of Love Will Make It Alright, with its hope to change this world of hate and strife is followed by a terrific soul ballad with a great vocal and lyric, I Want to Hold Your Hand, and the medium tempo-ed lament Another Broken Heart.

The remainder of this disc keeps up this high level with some exquisite playing and Pride’s strong singing for a terrific, soulful session. Another really fine release from David Earl’s label.