Kim Wilson That’s Life

Kim Wilson
That’s Life
Antone’s

Kim Wilson’s second Antone’s album showcases his considerable talent as a singer, harmonica player and songwriter. It is comprised of Wilson’s originals and some covers of tunes that haven’t been done to tedium.

Opening with a rocking jump blues, Baby Please Don’t Lie To Me, Wilson confidently delivers his vocal on a lyric suggestive of Percy Mayfield. In contrast Don’t Bite the Hand That Feeds You sounds like a cover of an unissued Sonny Boy Williamson Checker recording , although Wilson’s harp echoes Little Walter on his fine treatment of Jimmy Rogers’ Blues Leave Me Alone (with tasty harp fills and a solid solo from guitarist Rusty Zinn) and on the harp features, Humpin’ to Please, and Lowdown, both exhibiting his relaxed and fluid phrasing and full tone. Wilson salutes the second Sonny Boy Williamson on She’s My Baby, and his harp also echoes Williamson on a rocking rendition of Junior Parker’s Pretty Baby.

In addition to Zinn, Duke Robillard, Derek O’Brien and Clarence Holliman are also heard on guitar, and Gene Taylor adds piano. The only tune that perhaps comes off flat is Wilson’s straight reworking of Irma Thomas’ classic soul hit, Time is on My Side. Otherwise, Wilson’s songs, vocals and harp recapture the feeling of the classic blues from the fifties and sixties on a set that is much more than simply nostalgia.

I likely received a review copy of this from the label or a publicist. This review originally appeared in the November 1994 Jazz & Blues Report (Issue 194). Here is Kim from a somewhat recent performance.

Omar Dykes Runnin’ With The Wolf

Omar Dykes has been pretty busy with new releases lately and with his band, The Howlers, he has another new release Runnin’ With The Wolf (Provogue Records). As the title suggests, this is a tribute to Howlin’ Wolf. Given Omar’s gravelly, gruff vocals, an album of Wolf songs would seem a natural and Dykes approaches the material not to copy Wolf’s recordings, “but to stay close to the spirit. … I tried to modernize the songs … Why copy something not for note … when it’s already available in the original form. … I wanted to have fun with songs that I’ve loved ever since I was a kid.” 

Those backing Omar on his journey through the Wolf’s music include Derek O’Brien, Casper Rawls, or Eve Monsees on guitar, Ronnie James or Bruce Jones on bass, Wes Starr or Mike Buck on drums, Ted Roddy on harmonica, Nick Connolly on keyboards and Kaz Kazanoff and Lex Ismore on saxophones. Settings range from a trio (as on the tough renditions of Killing Floor, and Little Red Rooster, as well as the rollicking interpretation of Riding in the Moonlight) to a larger band with horns (as on the latin groove of Who’s Been Talkin’, the uptown urban funk groove of Do The Do (admittedly a pretty trite Willie Dixon lyric) and the all night party vibe of Wang Dang Doodle). Even on these sides with a larger band, the backing is supple, never heavy handed.

There are plenty of delights to be savored here including the title track that Omar penned with his imaginative incorporation of titles and phrases from Wolf’s recordings in his lyrics. A particular highlight for these ears is the rendition of Worried All The Time, which comes across as if Hank Williams had recorded a Wolf number. Its hard to find fault with the take on Spoonful, which is structured similarly to Wolf’s original recording and includes some short Sumlin-like guitar accents. In contrast, there is a country boogie guitar line used in the backing for Back Door Man, which is imaginatively reinvented here.

Marvelously played and sung, Runnin’ With the Wolf is a tribute to one of the greatest of all blues artists and another fine release from Omar Dykes.

I received my copy from a publicist for the record label.

Omar and the Howlers Too Much Is Not Enough

Jimmy Reed’s music is deceptively simple to play. With its lazy rhythm, simple boogie bass and mush mouth vocals it would seem so easy to cover and interpret. However, for every Jimmy Witherspoon, with his behind the beat vocals gave a personalized uptown approach, or Swamp blues masters like Lazy Lester, Jimmy Anderson, and Slim Harpo, others (such as Etta James) might handle the songs a bit too heavily. 

This brings us to a new release by Omar and the Howlers on Big Guitar Music, Too Much Is Not Enough. This recording of Reed’s music features the late Gary Primich on harmonica for what was Primich’s last recordings. This recording was recorded prior to Omar’s collaboration with Jimmy Vaughan On the Jimmy Reed Highway. Like that album, this includes a number of special guests including guitarists Derek O’Brien, Gary Clark, Jr., as well as Jay Moeller and Ronnie James. Not having heard the Jimmy Reed Highway, I cannot vouch for the statement that this recording takes a different approach. I can attest that this is a very fine recording of Jimmy Reed songs.

Omar Dykes' hoarse, gravelly vocals would seem more appropriate for the music of Howlin’ Wolf or Captain Beefheart. Importantly, his relaxed delivery simply nails the renditions of Too Much, Honest I Do, I Ain’t Got You, and Shame, Shame, Shame. The backing stands out with Primich shining. There is one non-Reed song included, Dykes’ I Gotta Let You Go. This is a swamp blues that evokes Slim Harpo’s Tee-Nah-Nee, with Gary Clark, Jr. adding slide guitar in the backing. On two selections Clark doubles on harmonica and guitar and if not as accomplished on harmonica as Primich, still acquits himself well.

Fans of Jimmy Reed, as well as of Omar Dykes, will certainly enjoy Too Much Is Not Enough. These are wonderfully paced performances and many ‘blues players’ would do well to see how one can take familiar material and make it sound fresh and vital. This is so good that I will be checking out the Jimmy Reed Highway, and looking forward to Omar Dykes promised future releases that will center on the music of Howlin’ Wolf and Bo Diddley.

I received this from either the label or publicist.  Here is Omar performing at the CD release party for this CD.

Omar and The Howlers Never Gone

Having recently had the pleasure to consider the excellent overview of the past two decades of Omar and the Howlers Essential Collection on Ruf, I received recently the latest Omar and the Howlers recording I’m Gone (Big Guitar Music). Its a session that has him joined by guitarists Casper Rawls and Derek O’Brien; bassists Ronnie James and Bruce Jones; and drummers Mike Buck and Wes Starr for a rocking collection opf rockabilly and blues.

It starts with the title track, a hot rockabilly stomp that evokes the classic Sun sound and with a forceful, gravelly vocal. All About the Money, is a lazy blues shuffle with a relaxed vocal, some nicely articulated guitar and a nice relaxed pace. Drunkard’s Paradise is a country number about drinking in the darkness with some chicken scratching guitar and steel guitar. Bo Diddley was an inspiration for Omar and Wild and Free, which uses the “Bo Diddley beat” and he employs judicious use of tremolo on it, followed by the driving Dust My Broom groove of Down At The Station.

Lone Star Blues is an atmospheric , straight-ahead blues instrumental which like this recording benefits from the economical backing and playing that benefits as much by what is not played as what is played. The ensuing track, Omar’s Boogie is a solid country-rockabilly instrumental with plenty of twang and followed by the slow Goin’ Back to Texas, which has a swamp blues flavor; a nice, gritty vocal and Casper Rawls’ guitar solo which takes some unexpected twists. Let Me Hold You is a swamp-pop styled ballad followed by a easy rocker, Move Up To Memphis, and then a solid cover of John Lee Hooker’s brooding I’m Mad Again. The booklet misidentifies the track penned by Hooker and it is I’m Mad Again, the 11th track, not the 10th track as stated there.

The closing track is another rockabilly groover, Take Me Back which uses Scotty Moore’s guitar riff from Elvis Presley’s rendition of Mystery Train. Its a lively track, solidly sung by Omar with his gravelly approach. It caps another solid and recommended recording from Omar Dykes.

My review copy was provided by a publicist. Here is some Omar and the Howlers to enjoy.