Friday, March 7, 2025

Living Chicago Blues (Volume 2)


Well, it's not exactly in the "near" future as promised (I actually started working on this post in mid-November), but this week, Friday Blues Fix will look at Volume 2 of the Living Chicago Blues series.  Our look at Volume 1 can be found here.

As previously mentioned, this was originally a six-volume series when released on LP in the 70's.  Volume 1 of the LP series featured Jimmy Johnson, Eddie Shaw, and Left Hand Frank and Volume 2 included Carey Bell, Magic Slim, and Big Moose Walker.  When shifting to the CD format, Bell's set was added to Volume 1 and two artists from the Volume 3 LP (Lonnie Brooks and Pinetop Perkins) were added to the Volume 2 CD, so only one group from the first three volumes didn't make it onto the first two CD volumes - nothing like "not making the cut" or anything like that....they would get their chance in the next CD volume, which was released at the same time.  There was no two-year gap, like the LP's....three in 1978 and three in 1980. 

So, Volume 2's artists were The Lonnie Brooks Band, Johnny "Big Moose" Walker, Magic Slim and the Teardrops, and Pinetop Perkins featuring Sammy Lawhorn (Lawhorn was billed on the LP, for some reason, but not on the cassette or CD format issued in the early 90's).  Each act got four songs to show their talents, and each act took full advantage and made an impression.

Louisiana native Lonnie Brooks (born Lee Baker, Jr.) got his start in the 50's, where he was billed as "Guitar Jr." and recorded for Eddie Shuler's Goldband label, focusing mostly on R&B rockers and ballads.   His first single. "Family Rules," was a regional hit in 1957 and earned him some appearances on tours throughout the southeastern US, mostly in Texas and Louisiana.  His later Goldband recordings were less successful, so after a 1959 tour in Atlanta, he decided to follow Sam Cooke, who was on the same tour, up to Chicago to try his luck in the Windy City.

Growing up in Louisiana and Texas, Brooks got to hear many of the great blues bands at the time, including T-Bone Walker, Gatemouth Brown, B.B. King, and others, but he got his first job as a guitarist with Clifton Chenier, the King of Zydeco, and he really loved the New Orleans R&B of Fats Domino and Little Richard.  Once he got to Chicago, he began to add more blues to his repertoire and managed to combine aspects of all the music he loved into his brand of blues, giving him a unique sound.  

Brooks recorded a couple more sides as Guitar Jr., but changed his stage name to Lonnie Brooks since there was already a Guitar Jr. in Chicago (Luther Johnson, Jr., who we'll hear from later in the series), and formed his own band, playing regularly on the South and West sides of the city and into Indiana, cutting sides for various labels, and eventually an album that's now a collector's item.

Brooks' band for the Alligator session included Bob Levis (second guitar), Rob Waters (keyboards), Harlan Terson (bass), and Casey Jones (drums).  The opening track is a pretty faithful cover of "Don't Answer The Door," originally recorded by Jimmy Johnson in 1964 on Magnum Records, and later covered by B.B. King, Phil Guy, and Melvin Taylor, among others.  The remainder of his tracks are all originals, a couple of which remained part of his act for most of his life, "Two Headed Man," "Cold, Lonely Nights."  The closer, "Move Over Little Dog," was reminiscent of his earlier recordings - a mix of blues, R&B, and rock n' roll.  

Brooks would go on to work for Alligator for the rest of his career, recording eight albums for the label, beginning with 1979's Bayou Lightning and wrapping up with 1999's Lone Star Shootout, a collaboration with Long John Hunter and Phillip Walker.  He passed away in 2017 at 83, but his sons, Ronnie Baker Brooks and Wayne Baker Brooks are fine blues guitarists in their own right, with Ronnie recently releasing his own album on Alligator, the excellent Blues In My DNA.

Johnny "Big Moose" Walker was born at Stoneville, MS in 1927 near Leland.  He learned to play several instruments as a youth.....organ, guitar, vibraphone, bass, tuba, and piano.  He got his stage name as a child from his long, flowing hair.  He got his start as a piano player backing such luminaries as Ike Turner, Sonny Boy Williamson II, Elmore James, Lowell Fulson, and others.  

After a stint in the army during the Korean War, he recorded several sides that didn't sell, but still worked a lot over the next 20 years behind Earl Hooker, Elmore James, Otis Rush, Sunnyland Slim, Muddy Waters (playing bass), Ricky Allen, Howlin' Wolf, Eddie Shaw, and Junior Wells, backing him on "Messin' With The Kid."  He played on memorable tracks with Muddy Waters ("You Shook Me") and Elmore James ("Shake Your Moneymaker") in the 60's.  He also recorded with Earl Hooker, Son Seals, and Rush and, in the 70's, he backed Jimmy Dawkins, Mighty Joe Young, and Louis Myers, and released his own album on ABC Records in 1970.

On his Alligator sessions, Walker was backed by Myers on guitar, Bob Stroger on bass, and Chris Moss on drums.  Walker was a master on the keyboards and his vocal style was warm and relaxed.  His set list included a Willie Dixon track (the rollicking "Would You, Baby"), one from Joe Josea and Jules Taub (the driving "Sunnyland Blues") and two Walker originals (the slow blues "Worry, Worry" and "Cry, Cry Darling").  The latter two feature some nice fretwork from Myers as well as Walker's stellar piano.

Walker continued to record and perform, his second album was released in the mid 80's, but he suffered a stroke in 1991 and subsequent strokes left him unable to perform.  He died in a Chicago nursing home in 1999 at age 72.  Despite his lack of recordings, the ones he did release are all worth hearing and it's sad that he wasn't better known than he was, but his appearance here did increase his standing in the blues world for sure.


Believe it or not, there was once a time when Magic Slim and the Teardrops had not recorded very much at all.  At the time of these sessions for Alligator, Slim had only released a few 45's and one album for the French MCM label.  He had only been a full-time bluesman for a couple of years, having quit his construction job in 1976.  

Slim was born Morris Holt in Torrence, MS in 1937, where he first picked up the guitar at age 11.  His family later moved to nearby Grenada, where he learned more guitar from a schoolmate named Sam Maghett.  Later, he followed Sam, now known as Magic Sam, to Chicago and became his bass player.  Sam gave Holt (who was tall and skinny at the time) his nickname of Magic Slim, but Slim soon became frustrated with his lack of opportunity...he wanted to play guitar and lead his own band and just wasn't good enough at the time.

Slim moved back to Grenada, where he drove a truck and worked on his music, teaching his brothers Nick and Douglas to play.  They formed a band and played throughout the Grenada area.  In the mid 60's, he returned to Chicago and reformed the Teardrops, the band he had been playing with before he moved back to Mississippi and began working a number of clubs in the Windy City, becoming one of the tightest bands in town.

The 1978 edition of the Teardrops included Slim's brother, Nick Holt, on bass, Coleman "Daddy Rabbit" Pettis on second guitar, and  Joel Poston on drums.  Their four-song setlist included several songs that became regular selections on Slim's future albums, "Stranded On The Highway," "Dirty Mother For You," and "Spider In My Stew."  The last tune was Jimmy Reed's "Don't Say That No More," which was as good as those tunes that preceded it.  

Slim went on to become one of Chicago's most prolific blues recording artists, with albums on Rooster Blues and Blind Pig Records in the U.S., Wolf Records and Black and Blue in Europe, and even a collection of French recordings that ended up on the Alligator album Raw Magic not long after these sessions.  I probably have more Magic Slim recordings that any other blues artist and they are always top notch...his musical repertoire was amazing and his live sets are always entertaining.

Slim moved to Lincoln, Nebraska in the mid-90's, home of the Zoo Bar, which was the source for five excellent live releases for the band, and continued to record and perform until his death in 2013 at age 75.  

The final act for Volume 2 was the piano legend Pinetop Perkins.  Born in 1913 in Belzoni, MS, Joe Willie Perkins had been performing since the 1920's, getting his start as a guitarist.  However, a knife fight with a chorus girl in Helena, AR in the mid-40's left him with severed tendons in his left arm and prompted his move to the piano.

In Helena, Perkins eventually joined Robert Nighthawk's radio program on KFFA before switching to Sonny Boy Williamson's King Biscuit Time radio show, where he stayed for a while.  He did continue to play with Nighthawk and backed the slide master on his 1950 Chess side, "Jackson Town Gal."  He soon joined Earl Hooker and toured with him, recording Clarence "Pinetop" Smith's "Pinetop's Boogie Woogie" for Sam Phillips' Sun Records in 1953).  Perkins learned to play piano by listening to Smith's old records, and his association with "Pinetop's Boogie Woogie" earned him his nickname.

Perkins moved to Illinois and left the music business for a number of years before he rejoined Hooker, backing the guitarist on an Arhoolie Records album in 1968.  Near the end of the decade, he joined Muddy Waters' band after Otis Spann left in 1969.  He backed Waters for ten years before forming the Legendary Blues Band with Waters drummer Willie "Big Eyes" Smith in the late 70's, and they played together through the early 90's, recording several albums for Rounder Records.

Prior to Perkins' association with the Legendary Blues Band, the piano man had released an album for the French Black & Blue label in 1976 and these superb four tracks for Living Chicago Blues in 1978...a terrific cover of Willie Love's "Take It Easy, Baby," Avery Parrish's slow burning "Blues After Hours," Memphis Slim's "Little Angel Child," and J.B. Lenoir's boisterous "How Much More Long."  

Perkins' amiable vocals and nimble keyboards are backed by a fine band of Waters alumni - Sammy Lawhorn and Luther "Guitar Junior" Johnson on guitars, Calvin Jones on bass, and Willie "Big Eyes" Smith on drums.  

In 1980, Perkins, Smith, Jones, and Johnson (with guitarist Bob Margolin and harmonica player Jerry Portnoy) quit Waters' band over a salary dispute and all except Margolin and Johnson formed The Legendary Blues Band.  Perkins eventually became a solo artist and recorded multiple albums over the next 25 years, remaining active until his death in March of 2011 at the age of 97.

So there you have Volume 2 of Living Chicago Blues.  Three of the four artists featured on this set went on to have lucrative recording and performing careers....sadly Walker's subsequent health issues rendered him unable to capitalize like the others.  Looking back, it's hard to imagine that prior to this volume's release, Lonnie Brooks, Magic Slim, and Pinetop Perkins would have had to have been considered underrecorded.  Thanks to this release, their fortunes changed.  Stay tuned for a future post looking at the third volume of this indispensible series.



Friday, January 3, 2025

2024 - In Review

As we move on to the new year, it's only fitting that we take a look back at 2024.  It was an interesting year for blues fans, and although we didn't post that much here about the blues, that doesn't mean that we weren't thinking about them, reading about them, or listening to them.  Here's a few of the high points of the music for the year.


For starters, here's my Top 20 releases of the year (in alphabetical order).  In a few weeks, if you're interested, you can see which of these 20 albums make up my 2024 Top 10 in the January issue of Blues Bytes.

Blues People - The Skin I'm In (PWI Entertainment)

Eden Brent - Getaway Blues (Yellow Dog Records)

Ronnie Baker Brooks - Blues In My DNA (Alligator Records)

Johnny Burgin - Ramblin' From Coast To Coast (Straight Shooter Records)

Willie Buck and the Delmark All-Stars - Live at Buddy Guy's Legends (Delmark Records)

Kevin Burt & Big Medicine - Thank You Brother Bill, A Tribute to Bill Withers (Gulf Coast Records)

Toronzo Cannon - Shut Up & Play! (Alligator Records)

Eddie Cotton - The Mirror (Malaco Records)

Tinsley Ellis - Naked Truth (Alligator Records)

Sue Foley - One Guitar Woman (Stony Plain Records)

Zac Harmon - Floreada's Boy (Catfood Records)

Steve Howell & the Mighty Men - 99 1/2 Won't Do (Out of the Past Music)

Gerald McClendon - Down At The Juke Joint (Delta Roots Records)

The Anthony Paule Soul Orchestra (featuring Willy Jordan) - What Are You Waiting For? (Blue Dot Records)

Jerron Paxton - Times Done Changed (Smithsonian Folkways Recordings)

Piper & The Hard Times - Revelation (self-released)

Pontchartrain Shakers - Pontchartrain Shakers (Southland Records)

John Primer & Bob Corritore - Crawlin' Kingsnake (VizzTone Music Group)

Kat Riggins & Her Blues Revival - Revival (House of Berry Productions)

Jovin Webb - Drifter (Blind Pig Records)

I got to see a couple of great acts this year, two of my favorites.  I got to see Super Chikan in May at the Mississippi Arts + Entertainment Experience, called The MAX for short.  This place, located in Meridian, MS just off I-20, is a must-stop for any fan of arts and entertainment, especially those that have origins in Mississippi.  There are numerous exhibitions, performances, events, and learning experiences.  It's well worth your time.


The MAX often has entertainment at night.......there's an outdoor listening area for a couple of hundred listeners and my brother and I attended the night that Super Chikan entertained and, brother, did he entertain.  One of the most genial and entertaining performers I've had the opportunity to see and he gave his listeners over two hours of music, playing a variety of his homemade guitars as he sang a mix of original songs and tunes familiar to most of the blues fans there, but given a Super Chikan interpretation.

I even got to talk to him for a few minutes during a break, telling him a story about my then-2-year-old daughter, who was a fan of his Blues Come Home To Roost album, which got frequent play in our household in the late 90's.  As I said, a very nice performer, and individual, that I would go definitely see again.

The second act I got to see was Dan Penn with Spooner Oldham in Penn's hometown of Vernon, AL.  It took place in Penn's old high school building, which now serves as City Hall, in the old school auditorium.  My family and I attended the 2023 show, which Penn played solo, and we got the opportunity to see him work with his longtime collaborator as they went through a bunch of their classic tunes.

It was the first show of a several months-long tour, so they were working the kinks out during the show, but no one really cared because they told stories between songs, and it was really cool to see them work out the glitches that were going on.... just a couple at the beginning of the show while trying to get on the same page.  You could actually picture them doing this while working in the studio, which was really cool to me.  

By the third or fourth song, they were running like a well-oiled machine, and we've already made plans to go see them again next year.  Although I would have loved to have talked to them, a lot of hometown folks were really glad to reunite with Penn, who lives in Nashville these days, so it would have been a long wait, then a long drive back home.

One more blues trip took place last weekend as my brother and I drove up to Tunica to check out their Visitor Center, which houses the Gateway To The Blues Museum.  I went there with my wife a couple of years ago and it was so cool that I wanted to revisit it.  

The museum has some very interesting displays about the history of the music with lots of blues memorabilia, and a nice room paying tribute to several of Mississippi's blues legends - Son House, Charlie Patton, Robert Johnson, Jimmy Reed, Sonny Boy Williamson, Howlin' Wolf, and B.B. King.  There were also a lot of guitars and harmonicas belonging to past and present blues and rock legends, including guitars autographed by Waters, B.B. and Albert King, Clarence "Gatemouth" Brown, Bob Dylan, Charlie Musselwhite, and many others.  

It's a great place to stop if you're in the neighborhood and the staff at the Visitor Center are extremely friendly and helpful, steering us to The Hollywood Cafe to enjoy a great lunch.
 
Autographed by Johnny Shines

   

   

   




After that, we drove down to Clarksdale and checked out Cat Head Delta Blues and Folk Art, which is THE store that EVERY blues fan needs to visit if they're in the vicinity.  They have everything that a blues fan could possibly be looking for.  We've interviewed owner Roger Stolle a couple of times here at the blog and it was great to see him again and talk about the blues for a little bit, while I was tracking down some great CDs (Willie Farmer's The Man From The Hill and Anthony "Big A" Sherrod and the Cornlickers' elusive Right On Time, both excellent modern Mississippi blues albums) and other items (Bill Stout's two fantastic Legends of the Blues card sets) for the trip home.

I also finished the Robert Gordon biography on Muddy Waters that I discussed at the first of the year, a very good read, and also picked up Bob Margolin's Steady Rollin', which includes some great stories and reminiscences from the legendary blues guitarist, as well as David Whiteis' Blues Legacy, which includes short features on members of the recent Chicago Blues scene....I'm reading it right now and it's very good, too.

As far as listening to the blues, I picked up a pile of new and old recordings over the year, spending a few bucks at my favorite used record store, The Little Big Store, and my go-to online service, Discogs, picking up older releases from Johnny Littlejohn (see FBF post a few months back), Magic Slim, Albert King, Magic Slim, Otis Rush, Kingfish, Frank Frost, The Fieldstones, Carl Weathersby, and I managed to complete the Living Chicago Blues series (which I will continue to cover here over the next few months, Volume 2 coming soon).

Finally, we said goodbye to several blues artists this year, too, including W.C. Clark, Donald and Ralph Kinsey, Phil Wiggins, Jewel Brown, John Mayall, Nick Daniels III, Sam Mosley, Carl Weathersby, and Johnny Neel, plus producer Jim Gaines, writer/photographer/manager Dick Waterman, P-Vine Records founder Yasufumi Higurashi, and Big City Blues magazine founder Robert Whitall, Jr., to name just a few.  R.I.P. to all of these contributors and the others.

Friday Blues Fix wishes all you blues fans a happy and safe 2025!!

Friday, December 6, 2024

Five Discs You Might Have Missed (Volume 17)

Most of you blues lovers probably didn't miss these five albums the first time around, but most of these releases came out during a time when I really didn't have the budget to buy everything I wanted to buy.  Over the past couple of months I've made a stop or two at the Little Big Store in Raymond, MS, where I seem to always find something that I've always wanted to hear, and I also have visited Discogs a few times, which had just about every album or CD that you could possibly want.  I still love to be able to plug a new disc into a CD player and I found a portable player this summer that would fit in my new (to me) car.  That said, here are a few "new" finds that I've been playing quite a bit.

The Smokin' Joe Kubek Band featuring Bnois King - Best of....Served Up Texas Style (Bullseye Blues):  Bullseye Blues was one of my favorite labels during the 90's, but for some reason, I never did pick up any of this band's work.  By the time I came around, it was the early 2010's and they were recording for Delta Groove Records, who sent me review copies of their two releases.  This set captures their finest sides on Bullseye Blues and makes me sad that I missed it the first time, but glad that I wised up.  Kubek is a monster guitarist and can lay down some great Texas Roadhouse guitar as well as anyone, but I really like King's vocals as well.  It's hard to believe that he didn't start singing until later in his career because he has a wonderful voice and is nearly as formidable a guitarist as Kubek.  These sides are good enough to encourage me to check out their recordings for Alligator and Blind Pig Records.


Paul "Wine" Jones - Mule (Fat Possum Records):  Jones was never a professional musician...he was a professional welder.  His brother, Casey Jones, was one of the go-to drummers on the Chicago scene for many years, but Paul Jones only played music as a side gig, working on farms and eventually welding around Belzoni, MS.  Discovered by Robert Palmer (Deep Blues), Jones cut a couple of albums for Fat Possum and Mule was his debut.  Backed by drummer Sam Carr and guitarists Kenny Brown and Big Jack Johnson, he probably was responsible for one of the rawest, grittiest, greasiest blues releases of the mid 90's.  This is the real deal Delta blues and, thankfully, there's none of the bells and whistles that Fat Possum began adding to their traditional blues albums shortly after this release.


Rocky Hill - Texas Shuffle (Tomato Record):  I really enjoy listening to WNCU's Blues Time show on Saturday nights out of Durham, NC.  The host, Bruce Friedman, joined up at our Black Top Records Facebook page and he invited me to listen to this show and a jazz show he hosts on Monday nights.  In the meantime, he has introduced me to some really cool blues and jazz recordings (stay tuned for another one shortly).  I had heard of Rocky Hill for years....that he was an amazing talent who could play just about anything on guitar, but he was his own worst enemy and made some bad choices over the years before passing away in 2009 in his early 60's.  He was the brother of bassist Dusty Hill and they played in a trio with drummer Frank Beard before the latter two left to join Billy Gibbons as ZZ Top.  Rocky Hill finally got to record an album in 1982 with Johnny Winter, Dr. John, the Leon Russell singers, and the Muscle Shoals Horns and it's a jaw dropper for blues rock fans.  Sadly, he wasn't able to follow through.  This one probably would have caught fire if it had been released about five years later.


Eddie Shaw - In the Land of the Crossroads (Rooster Blues):  Okay, I had this one on cassette back in the early 90's and it was a favorite.  It took me until about two months ago to find it on CD at an affordable price, but let me tell you it was great to finally hear it again.  I absolutely love everything I've heard by Shaw, especially that wonky saxophone and his big, brassy vocals.  However, I especially enjoy the guitar playing from his son, Eddie "Vaan" Shaw, who manages to mix the traditional sounds of the blues with some feisty rock-edge fret work.  The elder Shaw is also a great songwriter with a humorous streak that is really effective, and he has great taste in cover material as well.  I liked the way Rooster Blues recorded their albums...it was like Jim O'Neal just stuck microphones in the studio and let the band just wail away, giving it a live on-stage quality.  If you can track down any of Rooster Blues Records' catalog, you will be glad you did, and this is one of their best.


John "Juke" Logan - The Chill (Razor & Tie):  Okay, you might not have heard of Juke Logan, but you have probably heard Juke Logan at some time during your life.  Logan's harmonica playing was featured on a couple of popular TV shows in the 90's (Roseanne and Home Improvement) and he was also prominent on a couple of movie soundtracks (Crossroads and La Bamba), appeared on dozens of albums, backed Dobie Gray, Leon Russell, and Dave Alvin, and wrote songs for Poco, John Mayall, and Gary Primich.  In 1995, he released The Chill and the people that heard it loved it.  I never got to hear it because I couldn't find it in 1995.  The aforementioned Blues Time radio show has played several of the tracks on this album as well as other Logan albums, which are also on my radar.  This set is all blues, but he mixes in rock, jazz, funk, zydeco, and Latin music and it's still the blues.  Some of the guest stars on this album include David Hidalgo and Conrad Lozano of Los Lobos, and guitarists Junior Watson, Brenda Burns, and Denny Freeman.  This disc is great from start to finish and you can't help but feel good after listening.....just a lot of fun!  Logan passed away from cancer in 2013, but he left some fine recordings that fans of any kind of music would enjoy.



  

Friday, October 18, 2024

Chicago Blues Master - Remembering Carl Weathersby


Chicago blues guitarist Carl Weathersby passed away about two months ago.  He had been battling diabetes-related health issues for some time but managed to still perform live and in the studio on occasion.  He played occasionally at Kingston Mines and also appeared at Rosa's Lounge.  In total, Weathersby played on more than 33 albums, according to the Chicago Sun-Times, either as a solo artist, band member, or guest artist.  His fierce guitar playing was easily recognizable and he also possessed a vocal style that was a snug fit in the blues and R&B genres, which he put to good use on his own recordings.

When I started listening to the blues in the mid-80's, I caught some of his recordings with the Sons of Blues, the group formed by harmonica ace Billy Branch in the 70's, along with guitarist Lurrie Bell and bassist Freddie Dixon (sons of Carey Bell and Willie Dixon, respectively, hence the Sons of Blues moniker).  Weathersby joined he band in the early 80's, filling in initially for their regular guitarist, Carlos Johnson, but eventually he was asked to join full-time, playing guitar and sharing lead vocals for the next 15 years.

I didn't really get into his talent in depth until the mid-90's, when I picked up a copy of Branch's The Blues Keep Following Me Around recording on Verve Records' Gitanes Blues Productions subsidiary.  It was originally set to be released as a Sons of Blues recording, but the label opted to credit it to Branch alone.  Truthfully, the recording only included Branch and Weathersby among the band, the rhythm section being from the Louisiana area where the album was recorded, but Weathersby took lead vocals on four of the album's eleven tracks and wrote three of the songs, including the title track.  I remember thinking, "This guy could go out on his own pretty easily"....and pretty soon, Carl Weathersby did just that.

Carl Weathersby was born in Jackson, MS in 1953 on February 24th.  In the fall of that year, his family moved to Meadville in the southwestern part of the state, where they stayed until Weathersby was 13, when they moved to East Chicago, Indiana.  He spent a lot of time in both places, going to school in East Chicago but going back to Mississippi in the summers.  Of the two, Weathersby preferred living in the south because he remembered "havin' more fun down there."

Growing up, he listened to a variety of music in the blues, R&B, and soul genres.  Motown was extremely hot, but his family listened to a lot of blues, such as Albert King and Little Milton, plus on the radio, there was the O'Jays, Johnnie Taylor, Tyrone Davis, Sam Cooke.  Armed with this information, Weathersby's musical diversity on his albums and live shows probably make a lot more sense to his listeners.  

Weathersby started playing the guitar as a teenager, playing along to records in the house.  The story goes that he was practicing "Cross Cut Saw" over and over and decided to show his father and one of his father's friends, a diesel mechanic.  As Weathersby played over the record, the mechanic said, "Man that ain't the way that song goes, that ain't the way I played it."  The mechanic knew the song very well because he was Albert King.

Weathersby later served in the Army during the Vietnam War, serving from 1971 until 1977.  He also worked a number of jobs including prison guard and security guard at a steel mill in Indiana until it shut down.  From that point, he decided to devote himself to the blues, playing rhythm guitar with none other than Albert King for several years on short road trips.  He actually quit and rejoined King three times while his children were younger to stay off the road for extended periods to be with his young family.

"Albert would stay on the road for five, six months at a time.  I couldn't do that.  But if you were a guitar player with a good work reputation with him, and I did, he'd always take you back."

In 1982, Weathersby joined the Sons of Blues, graduating to a full-time spot and appearing on a couple of albums with the band over the next few years.  He also backed other artists on their albums, including Buster Benton, Robert Covington, and Carey Bell.  He occasionally shared lead vocal duties with Branch on the Sons of Blues albums, and it encouraged him to try to step out on his own, as he was building a big reputation in the Windy City.



In 1996, he released his first solo album, Don't Lay Your Blues On Me, on the Evidence label.  It was a hearty mix of Chicago blues, soul, and R&B.  He subsequently released three more albums (1997's Looking Out My Window, 1998's Restless Feeling, and 2000's Come To Papa) plus a "Best of" collection for Evidence.  Weathersby's soulful vocals and King-influenced fretwork were a potent combination on all four releases.  With each album, Weathersby moved more toward the soul side of the blues, which worked very well and really demonstrated his versatility.



Not long after his last Evidence release, Weathersby began developing health issues, most notably diabetes, which left him too weak to perform, much less record, and he soon was released from Evidence.  After a nearly five year absence from the studio, he was able to regain his strength enough to record and release Hold On on Woodcutter Records.  It was as strong as any of his Evidence releases with that powerful guitar work and several soul tracks to highlight his vocals.


In late 2005, Weathersby teamed with fellow guitarists Bernard Allison and Larry McCray (with Lucky Peterson on keyboards) for Triple Fret, an all-star release that also included Johnny B. Gayden on bass, Steve McCray on drums, John Colby on keyboards, and The Nutmeg Horns.  As might be expected, there was some great guitar work on this release (from JSP Records) though the songwriting is not that memorable.  In 2004, CrossCut Records released a live set, In The House:  Live at Lucerne Vol. 5 that captured his live performance and energy, and Magnolia Records (Larry McCray's label) released Weathersby's final studio effort, 2009' I'm Still Standing Here, which was more R&B-based, but he still had plenty to say, both instrumentally and vocally.  His final effort was a live LP-only release, Live at Rosa's Lounge (NOTE - this is available on CD…I bought a copy at Antones Record Store…it’s definitely worth a listen!  Also on Spotify), in 2019, but there's another release I've seen on Discogs, Alone In The Darkness, that I know nothing about...if anyone does, please share what they know.


Weathersby also appeared on multiple albums as a sideman over the next 20 years for Branch, Mississippi Heat, Rico McFarland, Trudy Lynn, Charles Wilson, Nora Jean Bruso, Biscuit Miller, Little Milton, and Toronzo Cannon (his broken-string solo on "Hard Luck" is most intense).


Weathersby at Rosa's - June, 2021

In 2019, he had surgery to amputate his right toe and this quickly led to amputation of his right leg up to his knee.  The diabetes also led his kidneys to start failing.  He kept right on playing guitar during rehab and Rosa's Lounge began putting together a benefit to help him with his expense, with several musicians detouring their ongoing tours to appear at the show.  Although he was unable to attend, Weathersby insisted that the show would be at Rosa's....he had played there for over 30 years, including the first night it opened, and continued to play after the benefit.

Carl Weathersby was induced into the Chicago Blues Hall of Fame in 2017 and even though he moved to Texas around 2016, he continued to travel back to Chicago to play and also played in clubs around Austin until his health failed him.  He died on Friday, August 9.  He was 71 years old.

To these ears, Carl Weathersby was one of the most formidable of his generation of blues artists.  He was a positively fierce guitar player and his vocals were just as impressive.  His songwriting was also top notch and any of his albums are worth hearing from start to finish.....all killer, no filler.  If you missed out on his talents, your blues collection is incomplete.