Johnny Rawls I Miss Otis Clay

Johnny Rawls
I Miss Otis Clay
Third Street Cigar Records

Soul-Blues singer and guitarist Johnny Rawls has a new release whose title track is a salute to his friend, the late Otis Clay. "I Miss Otis Clay" is Rawls' first album for Third Street Cigar Records after a long association with Catfood Records. He had a long association with Clay that included an album they did together in 2015, "Soul Brothers" on Catfood. The musicians backing Rawls are Larry 'Mr. Entertainment' Gold on guitar, Johnny 'Hi-Fi' Newmark on bass, Cadillac Dan Magers on keyboards, Scott Kretzer on drums, Ric Wolkins on trumpet, and Mark Lemle on sax.

The album opens with the insistent groove of "California Shaking Again," as he sings about part tying all night along. Rawls wrote all the songs here and sings with the same low-key, but the subtly urgent approach that has made him so popular. These are well-crafted original soul-blues numbers handsomely backed and performed. Then there is "Give a Toast to the Blues," where he notes that the blues make you feel good and then salutes blues greats like B.B. King, Bobby Bland, Albert King Etta James, Ronnie Baker Brooks, Junior Wells, and others. The horns add a nice punch to this number. The title track is a marvelous tribute where Rawls first talks about Otis Clay's background and then how good a singer he was as well as being Rawls' good friend. Magers is outstanding on keyboards (both piano and organ) here.

On "I Can't Let Nobody," and "Can't Read Your Mind," Rawls captures the groove and feel of the classic Hi Recordings by Clay and O.V. Wright in whose band he played. His vocal on the latter number stands out as he pleads for his woman to give a sign of what she wants from him. Then there is the dance floor pleaser, "Slow Roll It," where he tells his lady to squeeze and hold him close as she had all the movements. This CD closes with a beautiful performance of a poignant ballad, "The Wind."

Johnny Rawls produced this recording (Third Street Cigar's John Henry was executive producer). It reflects Rawls' considerable recording experience and his attention to getting the sound right. Rawls' recordings and performances have reached both the blues and southern soul audiences. The superb "I Miss Otis Clay" is another outstanding Johnny Raws recording that will also have this wide appeal.

I received a review copy from Third Street Guitar Records. Here is Johny singing "I Miss Otis Clay."

Lady A Is Doin' Fine

Lady A
Doin' Fine
Self-produced

Seattle's Blues Diva, Lady A (Anita White), has a new soul-blues recording that should appeal to a broad spectrum of blues fans. Produced by guitarist and bassist Dexter Allen (of the Bobby Rush Band) and pianist Joey Robinson (who plays some drums here), this recording is mostly comprised of originals that evoke some of the classic Malaco and Elko Records.

This is solidly played and she is a very solid vocalist who suggests Denise LaSalle on the opening title track. Here  she sings about waking up and being ready for the weekend, loving life and doing fine as Mississippi is like her second home and also  tells of singing her heart out at B.B. King's. The band shines with tight backing with Allen providing a nifty repeated figure. It is followed by a walking tempo funky blues, "The Ride," with its hook line "Life is like a ride," but one must keep the faith in everything you do but the road can turn on you. An adaptation of Junior Parker's "Next Time You See Me" is presented as "Next Time U C Me" and credited to Lady A (it does appear she may have contributed some new lyrics), and is a nice shuffle performance with Allen taking a solid solo while Richardson plays organ as well as piano.

"Tryin' To Get Over," is a soulful number with an outstanding vocal, where Allen's use of wah-wah along with the groove evokes some of Johnny 'Guitar' Watson's later recordings. "That Man" is a tough soul-blues number that againsuggests classic Denise LaSalle with a bass line that evokes Johnny Taylor's hit, "Last Two Dollars." "Throw Down" is a funky party blues where she instructs partying folks on the dance floor to throw hands in the air or clap in a soulful fashion.

Lady A distinguishes herself with her heartfelt vocals, while the backing led by Allen and Richardson supports and enhances the first-rate soul-blues here.

I received from my review copy from Lady A. Here is her performing The Beatles' "Come Together," as she says in her own way.

Trudy Lynn Blues Come Knockin'

Trudy Lynn
Blues Come Knockin'
Connor Ray Music

A new release from the Houston Blues Queen, has her performing some classic songs along with the title track, which she wrote. On this Rock Romano production, she is supported by Backing Trudy’s vocals on the new disc are musicians Steve Krase – harmonica; David Carter – guitar; Randy Wall, keyboards; Terry Dry – bass; Matt Johnson – drums; Jim Brady – trumpet; and Dan Carpenter – sax; with special guests Bob Lanza and Carolyn Wonderland on guitar.

Lynn is in good voice and the veteran realizes that subtle shifts in timbre or volume make up for forced bellowing and solidly backed throughout she does nice personal renditions of a couple of Big Maybelle recordings, "One Monkey Don't Stop No Show," and "Pitiful." The latter is an especially strong performance and benefits from Bob Lanza's hot guitar and Steve Krase's harmonica embellishments. Lanza is also present on the rollicking rock and roll of the opening track "Blues Ain't Nothin'," which is led off by Krase's harmonica with Wall taking a honky tonk solo while Lanza's guitar is a mix of blues runs and Chuck Berry licks. 

A surprising cover here is of the Three Dog Night here "Never Been To Spain," that displays again how good a singer she is and her mastery of vocal dynamics, with Krase's harmonica also welcome. Horns are present on a strong rendition of Big Bill Broonzy's "When I Been Drinkin'," sung with humor and vitality along with growing trumpet from Jim Brady and Dan Carpenter's booting tenor sax. After a fine cover of Deanna Bogart's "Won't Be Long" (with Wall's boogie inflected piano and Krase's harmonica), this album closes with a heartfelt rendition of Etta James' soulful lament "Would It Make Any Difference To You," with especially fine guitar contributed by Carolyn Wonderland. 

Trudy Lynn sings superbly on this album on a variety of classic songs that have done been done to death. Backed by some fine players, she has produced another notable blues recording.

I received my review copy from a publicist.  Here is a recent performance by Trudy Lynn.

John Nemeth Feelin' Freaky

John Nemeth
Feelin' Freaky
Memphis Grease Records

The veteran blue-eyed blues and rhythm singer and harmonica player has a new release featuring his band, The Blue Dreamers, along with some crack Memphis musicians on eleven Nemeth originals. The Blue Dreamers are Danny Banks on drums, Matthew Wilson on bass and guitar, and Johnny Rhodes on guitar and they are joined by the organ of the legendary Charles Hodges, horns and strings for a recording that often evokes the classic Hi Records sound behind Nemeth who sings soulfully as those already familiar with him would expect.

The high-points often are those selections that are in the Hi Records style including the opening "Under the Gun," with its lyric directed against gun violence and the pressure living where there is gun violence; "Rainy Day," as Nemeth sings about the rainy day and he has nothing saved including not having saved his love; and the closing "Long Black Cadillac" about a young love and how he lost his love and the long black Cadillac took his baby away with some pithy harmonica adding to the performance. There are a couple of solid tracks not in mould such as "S.T.O.N.E.D." The title track is a dance number with Nemeth playing upper register harmonica along with his high pitched vocal. It is an entertaining performance perhaps, if not a memorable one, as is the similar "Get Offa Dat Butt," which evokes people to get up and boogie.

As indicated there are some exceptional performances here, along with solid ones and a a few that are entertaining, if less compelling. As a result, John Nemeth's latest recording one that should appeal to soul as well as blues enthusiasts.

I received my review copy from a publicist. Here he performs "Long Black Cadillac."

 

Billy Price Alive and Strange

Billy Price
Alive and Strange
Nola Blues/Vizztone

Veteran blue-eyed soul singer Billy Price follows his acclaimed collaboration with the late Otis Clay that won a Blues Music Award. It has been some three decades since the late Jerry 'The Bama' Washington who play Price's covers of O.V. Wright and others over WPFW in Washington, DC. Price is still at it with a mix of southern soul and city blues covers and idiomatic originals that he recently documented on this live recording with the Billy Price Band. The members of the Billy Price Band are Steve Delach (guitar), Tom Valentine (bass), Dave Dodd (drums), Jimmy Britton (keyboards), and Eric DeFade (tenor sax). There are guest horn players and background vocalists on this.

Price is in good form although his the tone of voice seems to be a tad flat as if perhaps showing a bit of the years of performing. Still it doesn't detract from these straight-forward and heartfelt performances. The tone is set with a rendition of Carl Sims' "It Ain't A Juke Joint Without The Blues," with Delach's guitar complementing Price's vocal of a place full wall to wall and everyone having a ball, followed by a nice delivery of William Bell's lament as since she has been gone, Bill is living the "Lifestyles Of The Poor And Unknown."

Price's own "Something Strange" is a driving funky blues with punchy horns. Price does a solid cover of a lesser known Bobby Bland recording, "This Time I'm Gone For Good." It is followed by a nice version of Earl Thomas' soul ballad about holding on for "One More Day," with nice jazzy guitar and tenor sax solos. After a sober treatment of a Percy Mayfield gem, "Nothing Stays The Same Forever," Price and Band get into a James Brown cover "Never Get Enough," and then a brassy rendition of Magic Sam's "What Have I Done Wrong," which also showcases solos from Delach (particularly outstanding here) and DeFade.

One of Price's strength is his incorporation in his repertoire of lesser known gems such as George Torrence's 1968 recording "Lickin' Stick," before closing the live set from the Club Cafe in 2016 with a wonderfully paced Roy Milton classic, "R.M. Blues," with Joe Herndon blasting the trumpet solo. A bonus track, "Making Plans," was recorded at the Carnegie Mellon School of Music in 2012, that also showcases Price's ability at putting together a lyric. This bonus track adds a nice close to a real good recording by the veteran singer.

I received my review copy from VizzTone. This review appeared in the May-June 2017 Jazz & Blues Report (Issue 372).  Here is the Billy Price Band performing "It Ain't A Juke Joint Without The Blues."

Wee Willie Walker & The Greaseland All Stars Live! Notodden Blues Festival

Wee Willie Walker & The Greaseland All Stars
Live! Notodden Blues Festival
Little Village Foundation

Kim Wilson refers to Willie Walker as "one of the last, if not THE last, real soul singer on this planet." A career that goes back to recording for Goldwax Records decades ago, he perhaps is finally getting some recognition. With a fine band assembled by guitarist Kid Andersen (Jim Pugh on the B3 organ, Lorenzo Farrell on bass, and J Hansen on drums with horns), Walker performed in August 2016 at the Notodden Blues Festival in Norway and Andersen has made the performance available.

After band introductions, Walker opens with Clarence Reid's "(Can You) Read Between The Lines," where with his raspy, gospel-inflected vocals he establishes his authority as a singer with The Greaseland All Stars providing solid, idiomatic support. It is followed by a terrific original by Rick Estrin (who helped Walker get larger exposure, "Is That It!" with greasy organ and punchy horns. It is followed by a recasting of a Goldwax recording (that was also issued on Checker), "You Name It, I Had It," a terrific deep southern soul performance. It is one of several Goldwax recordings revived here that include the Beatles' "Ticket To Ride," that he covered four decades ago. The loping groove of "There Goes My Used to Be," "I Ain't Gonna Cheat On You No More" (co-written by Sam Cooke) and "A Lucky Loser ( a favorite of mine)" are other early recordings he performed at this Festival.

In addition there are strong renditions of Tyrone Davis' hit, "Can I Change My Mind," and Cooke's "A Change Is Gonna Come." Rick Estrin adds harmonica to "Funky Way," and Walker does a solid take on "Little Red Rooster," that has a jazzy feel that owes as much to Sam Cooke's rendition as that of the Howlin' Wolf. Another extended reworking of another Beatles' classic, "Help," closes this recording as Walker slows this rocker down. Andersen's playing here evokes the late Robert Ward and Lonnie Mack on this track, but he is outstanding whether playing soul guitar riffs or playing in a jazzier vein on other tracks. The backing, as indicated, is solid throughout. In any event, Wee Willie Walker certainly has it still and this live recording suggests just how moving and powerful a performer he remains.

I purchased this. Here is the performance of "Help" from the Festival.

Jack Mack & The Heart Attack Horns Back to the Shack

Jack Mack & The Heart Attack Horns
Back to the Shack

Jack Mack & the Heart Attack Horns are veterans of the LA scene with a classic Memphis-Muscle Shoals soul sound. with New Orleans native Mark Campbell handling the vocals, on this new recording the backing includes Tony Braunagel on drums, Andrew Kastner on guitars, Bruce Atkinson on bass guitar, and Carlos Murguia on keyboards with an impressive horn section that includes Les Lovitt on trumpet, Bill Bergman on saxophones. Special guest Lee Thornburg arranges the horns and is on trumpet and trombone on 'Aint No Way" while Mike Finnigan adds his Hammond B-3 and vocal to “Somethin’ In The Water.” Nine of the ten tracks are originals with the exception being Carolyn Franklin's “Ain’t No Way,” that Aretha originally waxed for her "Lady Soul" album.

Andrew Kastner, an original Jack Mack member plays the hard-edged, screaming guitar on the opening track “Standin’ Before The King,” a tribute to the B.B. King with an impassioned vocal from Campbell with Melanie Taylor adding her voice. "Something in the Water" is a funky number with Finnigan adding his voice to enhance Campbell's lead. The medium tempo easy rocker "Don't Let Her Go," is some soulful advice with punchy horns and Bergman's strong booting sax solo. The driving groove of the bluesy "Never Too Late," is followed by a lovely bluesy ballad "Somebody To Trust," with Finnigan again guesting on Hammond B-3 while Campbell displays his range as his voice soars here.

"Serves Me Right" is a terrific number that evokes Muscles Shoals in the backing and horns, while the funky JB's feel of "Bad Habit," should get listeners up and dancing. The lilting ballad, "Change My Ways," which opens with Bergman's sax, like "Never Too Late," exhibits the warmth in which Campbell can put forth a lyric and then after this Memphis sounding gem, we get another gem with his heartfelt delivery of the Franklin song. The closing rocker, "Let Me In," is a bit frenzied perhaps, but the backing is tight and the breakneck tempo doesn't phase Campbell's singing.

Mark Campbell is a terrific singer that suggests Otis Redding, Joe Tex and Wilson Pickett but places his own stamp on the songs here. The backing is terrific and the recording is excellent. This is an impressive album full of soulful music.

I received my review copy from a publicist. Here is a video of Jack Mack & The Heart Attack Horns.
 

Eddie Cotton Here I Com

Eddie Cotton produced two exceptional albums over a decade ago, Extra and Live at the Alamo Theater, that did not receive the attention the music on them deserved. It was a welcome surprise to discover Cotton has a new release, Here I Come on the new DeChamp label associated with singer-harmonica player, Grady Champion. Cotton and Sam Brady produced this with Champion being Executive Producer. Others on this include Myron Bennett (bass), Samuel Scott, Jr. (drums) and guest artists Grady Champion (harmonica), Carlos Russell (harmonica) and co-producer Brady (organ).

Cotton has a university degree in music and spent time serving his father’s church. He brings some of the church to his soulful vocals and clean, crisp guitar work. An overly simple description of his sound might be Little Milton crossed with some Bobby Rush or Bobby Patterson in his vocals. Other musical influences include Latimore, Al Green and Curtis Mayfield as can be heard in his lyrics which treat relationships in a sophisticated manner.  The Little Milton influence is perhaps most obvious on the terrific slow blues A Woman’s Love that musically suggests Walking the Back Streets and Crying. 

Other songs here include a wonderful soul-laced ballad Friend to the End where Cotton sings about needing a friend who will understand, that he’s man who may mistakes but will never leave her alone with a chorus “Don’t look for me on Facebook; I’ve got a message I want to send; You can’t fool me with no jive picture; but I’m looking for a friend (yes I am) one who will go with me to the end.” No guitar solo, just a tight, understated backing. Get Your Own is a message song with a funky groove followed by the slow Bobby Rush styled Mr. Boo in his lead as he sings about having a sweet thing while channeling Albert King a bit in his stinging playing. Grady Champion adds some down-home flavored harp to Leave Love Alone as Cotton sings when love gets a hold of one, there is nothing one can do. The soulful No Love Back (suggestive of Curtis Mayfield and Marvin Gaye) has the memorable line that “love don’t come with no love back guarantee.”

While the playing time is somewhat short (38 minutes), the performances are crisply delivered. There are no overlong blues-rock guitar jams and Cotton’s own solos are focused with plenty of bite to complement his excellent vocals. Hopefully we won’t have to wait another decade for more from Eddie Cotton. Here I Come is a terrific blues gem.

I received this from a publicist. Here is Eddie in performance at the 2011 Chicago Blues Festival.