Koko Taylor and Philip Walker Reviews

 

Koko Taylor - The Old School - Alligator Records

As the title suggests, the recording is directed to hard-hitting, old-school Chicago blues and includes interpretations along with some originals. Chicago's Blues Queen Koko Taylor handles them in her own hold-nothing back style. One track is by The Blues Machine, and the other eleven tracks have a studio band led by Criss Johnson and drummer Willie' The Touch' Sutton (featuring guest appearances from Bob Margolin, Billy Branch, and Kaz Kazanoff. 

Most of the new tunes are from Koko herself. Gonna Buy Me a Mule is a striking song as she tells her man she's gonna take the place of him. The jaunty warning, You Better Watch Your Step, with Billy Branch playing some Jimmy Reed inspired harp. Bob Margolin adds slide guitar to Memphis Minnie's "Black Rat, and Lefty Dizz's Bad Avenue. The arrangements of both tunes are a bit cluttered, though, and the performances come off as too hectic. If Criss Johnson's arrangements allowed more space in the backing, Old School would have sounded more like Koko's first Alligator album, and I Got What It Takes. 

I have no fault with Koko's performances as she sings really well here-sounding so at home with the material. It's also nicely programmed with very nice covers of a couple songs associated with Muddy Waters, Don't Go No Further, and Young Fashioned Ways. I just wish the attempt at being 'old school' by the band had a bit lighter, more swinging groove than they play with here.

Phillip Walker - Going Back Home - Delta Groove

Going Back Home finds the Gulf Coast native and longtime West Coast bluesman in solid form. The strength of the Delta Groove disc is Walker's characteristically strong vocals (with just a hint of sandpaper in his voice) and a rocking/swinging guitar. 

Producer Randy Chortkoff has selected a solid backing band, including guitarist Rusty Zinn, Jeff Turmes on bass (and sax for a few tracks), Richard Innes on drums. Chortkoff also provided Walker with a great pack of songs from mighty pens. Eddie Snow's Mean, Mean Woman features an accompaniment derived from Junior Parker's Mystery Train. An original Chortoff song, Honey Stew, evokes Lightnin' Hopkins. The band might have limbered up on some of the grooves of Lightnin' Hopkins' Jewel Recordings. 

The backing is a bit too upfront, and the music loses some of its regional flavor. One wishes the rhythm section was not right on the beat. If it were more like the laconic Excello groove, the sound would have been better. These are still very good recordings, with Walker first-rate throughout. His takes on "Blackjack", "Leave My Money Alone," "Bad Blood," and Walking With Frankie" are particularly outstanding, and if not a perfect date, there is still plenty to enjoy.

These reviews appeared in a 2007 DC Blues Society newsletter. I received my review copies from the record companies or a publicist.

The Lee Boys Live On The East Coast

The Lee Boys
Live On The East Coast
M.C. Records

It has been 22 years since Arhoolie Records issued "Sacred Steel," a collection of recordings by performers associated with the Church of the Living God. In this church, steel guitar, whether lap steel or pedal steel, played a substantial role in the intense religious music of the member churches. That initial release included performances from Sonny Treadway, Glenn Lee, Willie Eason, Harry Nelson, and Aubrey Ghent. That CD was produced by folklorist Robert Stone who wrote the liner notes for The Lee Brothers "Live on the East Coast." He notes that The Lee Boys were raised in the sacred steel tradition, and this tradition has expanded its reach since the pioneering releases on Arhoolie. They are playing at music clubs and festivals internationally. This music has become popular among roots music fans and jam music fans.

The Lee Brothers, Alvin, Derrick, and Keith started to present their music internationally at the time brother Glenn passed away from cancer. They have helped spread this music worldwide since, along with other artists like The Campbell Brothers and Robert Randolph. The present album was recorded at the Suwanee Roots Festival, the Thanksgathering Festival, and the Reeves Festival from October to December 2018. The members of the Lee Brothers at these shows were Alvin Lee, electric guitar and backing vocals; Derrick Lee, lead and backing vocals; Keith Lee, lead and backing vocals; Chris Johnson, pedal steel; Alvin Cordy, Jr., bass guitar, lead and backing vocals; Earl Walker, drums.

Starting with the opening selection, "In the Morning," the Lee Boys generate such an infectious, driving groove and deliver such spirited, passionate vocals that their appeal among a general music audience who may not be drawn by the religious message of most of their songs. They bring they joyful gospel with an infectious pulse that is similar to that of such North Mississippi blues legends as Mississippi Fred McDowell and R.L. Burnside. Some of the material is traditionally based, including a Brother Joe May hit from 50 years ago, "Don't Let the Devil Ride," along with originals in a similar manner like "Testify" and "Lord, Help Me To Hold Out." There are also stirring renditions of The Staple Singers' "I'll Take You There," and the Bobby Bland classic, "Turn on Your Love Light." Besides the impassioned vocals, there is the tight, heated backing with the vocalized, fiery steel guitar, and Alvin Lee adding his own guitar interjections.

Listening to this, one can imagine thousands of all types of religious persuasion standing and dancing to this album's riveting sacred music performances.

I received my review copy from MC Records. info@mc-records.com. Here are The Lee Boys performing "In the Morning."