Friday Blues Picks (Looking Back)

A lot of music lovers may not be familiar with the name Lowell Fulson, but the Oklahoma native was one of the most important artists on the post-war blues scene.  He was a masterful songwriter, a warm, engaging vocalist, and a powerful guitarist.  He made his mark on the West Coast blues scene after ending up in Oakland after serving in the Navy during World War II.  He had played as a youth in Oklahoma with Texas Alexander before moving to Texas, where he worked as a cook and played weekend dances.  When he went to the West Coast he, like many other guitarists, fell under the spell of T-Bone Walker.

His first hit, for Swing Time Records, was 1948's "Three O'Clock in the Morning Blues," later reworked by B.B. King as "Three O'Clock Blues."   He also wrote a few more tunes that are recognized as blues standards, such as "Everyday I Have The Blues," "Blue Shadows," Lonesome Christmas," and "Sinner's Prayer," which Ray Charles made a hit.  He also recorded for the Chess Records subsidiary Checker Records, with several more hits, including "Reconsider Baby," which became a #1 pop hit for Elvis Presley in 1960.  Other tunes for Checker included "Hung Down Head," "Loving You," "Low Society," and "That's All Right."

In the mid 60's, Fulson recorded for Kent Records, as Lowell Fulsom.  While at Kent, he recorded some of his biggest hits, including "Black Nights" and "Tramp," which was later covered by Otis Redding and Carla Thomas (both versions were big hits).  These tunes enabled Fulson, or Fulsom, to move over to the soul circuit.  In 1970, he signed with Jewel and recorded a blues-rock album with the Muscle Shoals Rhythm Section.

Fulson continued to recorded sporadically through the 70's and 80's for various labels, now reverting back to his real last name of Fulson.  He recorded a solid set for Rounder in 1988, It's a Good Day, and continued to write some great songs, including "Room With a View (of the Blues)," which he co-wrote with Billy Vera.  It was recorded several times in the late 80's, my favorite version being Johnny Adams' from his album of the same title.  

However, it's Fulson's later release on Rounder's Bullseye Blues imprint that I wanted to discuss this week, Hold On.  While I enjoyed his previous release for Rounder, I have to admit that this album really hit me pretty hard.

First, a bit about the Bullseye Blues label.....it was founded in 1991 as a partnership with Rounder Records and Ron Levy, who served as producer and played keyboards on most of the albums released.  The first releases that I saw for the label were from Charles Brown, Champion Jack Dupree, Luther "Guitar Junior" Johnson and I snatched them all up, and many more to follow.  

Mr. Levy certainly knew his way around the  blues, having played for many years in B.B. King's band (Mr. Levy sat down with us for Ten Questions many years ago, check it out here) and, thanks in no small part to his efforts, the label's output was first-rate from its beginnings until the label shut down in the late 90's.

Jimmy McCracklin

Fulson wrote eight of the eleven tracks on Hold On, and they are all winners.  He's joined on these tracks by another blues legend, his longtime friend Jimmy McCracklin.  McCracklin enjoyed success on the pop and R&B charts in the 50's with his single "The Walk," which earned him an appearance on American Bandstand in 1957.  He also wrote "Just Got To Know," and co-wrote "Tramp" with Fulson.  He continued to record over the years and has a couple of Bullseye Blues releases of his own.  

McCracklin contributes a pair of songs to Hold On and plays piano throughout, while Levy plays organ and produced.  The horn section and rhythm section work is really what grabbed me on a lot of these tracks.  Dubbed the Bullseye Blues Horns, they are led by trumpeter Joe Campbell who did the arranging and Bobby Forte provides tenor sax solos.  South Central Rhythm does a wonderful job, adding a bit of tasty funk to the proceedings.

Fulson does a marvelous job on vocals, just as strong as they were during his peak period of the 50's and 60's, and his guitar work is, as always, tasteful and concise.  He always seems to know what to play where and it's never at the expense of the song.  I think that's another thing I like about Lowell Fulson.  His songwriting and musical arrangements don't stick to blues traditions either.  You might find yourself singing along with many of these after just a couple of listens.

Hold On won the BMA for Traditional Album of the Year in 1993.  Fulson recorded one more album with Bullseye Blues in 1995, Them Update Blues, which was nominated for a Grammy Award.  In the late 90's, he began battling health issues, among them diabetes, kidney disease, and congestive heart failure, and he passed away on March 7, 1999, at the age of 77.  McCracklin remained active well into the 2000's before passing away at the age of 91 in 2012.

If you're not familiar with Lowell Fulson, you can pretty much start at any period of his career and find quality releases.  His Chess recordings are standout and his 60's soul/R&B-oriented work is equally strong.  However, Hold On is an excellent, often-overlooked set in his catalog that will reward blues fans with some wonderful moments.

Friday Blues Picks (6/26/26)

Here are a few recent releases that are well worth any blues fan's time, so be sure to check them out.  If you're able, try to buy a physical copy of these artists' music whenever possible.  Most of them receive very little from the whole streaming process and if you're like me, you like the liner notes that come with the physical albums and it's just good to hold it in your hands.  I know some people like the streaming process and that's fine, too, so support these musicians any way that you can.

A couple of months ago, Dan Penn released his latest album, Smoke Filled Room (The Last Music Company).  It's a set of demos that Penn has recorded over the past few years, some of which were later recorded by other artists that you may recognize from their versions.....Irma Thomas, Joe Louis Walker, Dalton Reed, T. Graham Brown.... but truthfully nobody really sings a Dan Penn song as well as the man himself and he certainly delivers on these tunes.

The physical album also includes Penn's comments about each song, how they came about, etc....  Penn's collaborators on these tracks include Bucky Lindsey, Carson Whitsett, Gary Nicholson, Charlie Taylor, Swain Schaefer, and Bobby Emmons, most of whom provided musical support on these tracks as well.  There are also a couple of gospel tracks and a Christmas song that closes out the disc, but the rest of the tunes fit snugly in the blues, soul, and country genres, as many of Penn's works are apt to do.

Dan Penn is a musical treasure and it's great that he has been able to release several albums over the past few years after focusing on songwriting and production for so many years.  Back in May, Penn fell in his shop and broke his hip.  He was incapacitated on the floor for about 12 hours before he was found.  They performed successful surgery and he was released from rehab last weekend.  He's planning to play his August 1 show in Vernon, AL with Spooner Oldham and I plan to be there to see him.

Several years ago, I really enjoyed an album released by Chicago blues man Russ Green.  That album, City Soul, was one of the best blues albums of 2018.  Coming to the blues after working in the film industry, Green was influenced as a harmonica player by Sugar Blue and Billy Branch, and has played and toured with John Primer and Lurrie Bell.  He's also produced an album by Big Llou Johnson that won a Blues Music Award for Best New Artist, and has appeared on two albums from the  Chicago Blues Harmonica Project. 

Stone Cold (Overton Music) is Green's latest release and it includes ten original tunes that showcase his nimble harp playing and his soulful vocals.  I have to say that it's even better than his debut release.  It's chock full of Green's "Hendrixian" harp playing and his songwriting is even stronger this time around.  This is a powerful and energetic set of contemporary blues that mixes soul, rock, and even a bit of jazz on a few tracks with his harp playing.

Backed by guitarists Giles Corey and Vince Agwada and keyboardist Joe Munroe with a rock-solid rhythm section of Vic Jackson (bass) and Felix "D-Kat" Pollard (drums), Stone Cold is the second winner in a row for Russ Green, who is hopefully on his way to making some noise on the blues scene.

At first glance, Seth James looks more like a country music artist with the cowboy hat, but there's much more to the picture.   The Texas native, who also works as a cowboy, encompasses blues, soul, southern rock, R&B, and Americana with his musical attack.  A couple of years ago, he released a marvelous tribute album to Delbert McClinton, covering 11 of the legend's songs backed by producer, keyboardist, guitarist, and songwriter Kevin McKendree, who worked with McClinton for over a quarter century.  

Motormouth (Qualified Records) finds James teaming up with McKendree once again on 13 wonderful tracks, a mix of originals from James, McKendree,  Gary Nicholson, and others, along with terrific covers of tunes by Colin Linden, Leon Russell, Don Bryant, Doc Pomus, and even Delbert McClinton, who also contributes vocals to one of his contributions.  

This album is a treat from beginning to end, taking the best elements of Texas blues and swing, Memphis and Muscle Shoals soul, and even a dash of funky Louisiana flavoring.  There's something for just about any music fan on Motormouth.  Seth James is a talented singer and guitarist and if you enjoy the music of Delbert McClinton, James fits that style to a tee and then some, so check him out.

Our "Blast From The Past" selection this time doesn't venture too far into the past....it actually came out late last summer.  Leonard "Lowdown" Brown was born in Arkansas and raised in Indiana and was part of a musical family....all of his brothers and sisters played and his father gave him his first guitar at the age of six.  He moved to Houston in 1980 for work, but soon got into the city's blues scene, where he has been a mainstay ever since.  

Brown didn't release an album until he was 70, 2023's Blues Is Calling Me, but he followed that fine release two years later with Lowdown Street Party (Music Maker Foundation).  This one is produced by Jimbo Mathus, but according to Mathus there wasn't much for him to do.  When he reached out to Brown about the album, Brown sent him 10 well-crafted demos, and the album was subsequently recorded in three days, keeping nearly every first take with few overdubs.

This is a seriously funky set of blues that has a biographical feel....Brown wrote all ten tracks.  He's backed by Mathus on rhythm guitarist,  Mathus' band - the Creatures of the Southern Wild, and backing vocalists The Crimestoppers.  Though the songs are all newly written, the production has a nice, retro feel and the funkiness of it all just seeps into your backbone.  I saw Lowdown Street Party on Amazon and bought it on impulse, having never heard Leonard "Lowdown" Brown.  After hearing it, I went back and purchased his first album.  Blues fans are advised to do the same.  This is good stuff!!

“I do not play no Rock 'n' Roll.”

 

When Mississippi Fred McDowell was finally recorded by Alan Lomax in 1959, he was in his mid-fifties. That fact was pretty amazing considering how many Mississippi blues artists were recorded in the 1920's and 1930's and somehow, he was overlooked. Born in 1904, he was a few years younger than other Delta blues artists like Charley Patton (1891), Skip James (l902), Son House (1902), and Tommy Johnson (1896) and a few years older than Robert Johnson (1911), Howlin' Wolf (1910), Muddy Waters (1913), and John Lee Hooker (1917).

Like those listed above, he began playing the blues as a youth, around the age of 14 playing for tips at dances and fish fries around town (his parents died when he was young). Unlike those others, he got his start in Rossville, Tennessee, where he was born, not Mississippi.

He got tired of working on the farm and moved to Memphis around the age of 21 in 1926. He worked building railroad cars, working in a cotton oil mill, stacking logs. McDowell had learned guitar in Rossville from a Mississippi native named Raymond Payne and an uncle who played guitar with a slide made from a dried steak bone. McDowell eventually began using a pocketknife for a slide, developing his own unique style and technique.

In 1928, he moved to Mississippi, where he picked cotton and traveled around, learning to play some of Charley Patton's songs directly from Patton. He settled in Como, Mississippi around 1940, where he worked as a farmer during the week and continued to play music on weekends at parties, dances, and picnics in the Como area.

Alan Lomax had already recorded several blues men in the late 30's and early 40's, including Muddy Waters, Big Bill Broonzy, Lead Belly, and Josh White. He had moved to England during the Red Scare, but returned to the states in 1959. He and English folk singer Shirley Collins began traveling through the Southern U.S., hoping to re-record some of their previous artists with better equipment.

One of the artists he re-recorded on this trip (dubbed the Southern Journey) was Blind Sid Hemphill, who lived in Panola County, MS, part of the North Mississippi hill country. Hemphill recommended McDowell, who was still playing parties throughout the area, and Lomax was able to record 14 tracks by McDowell, who played his guitar on his neighbor Lonnie Young's front porch.

These stunning, intimate tracks included solo tracks by McDowell and others with guitarist Miles Pratcher, Fanny Davis (who played tissue paper and comb!), his wife Annie Mae, James Shorty, Sidney Carter, and Rose Hemphill all singing background vocals. Some of the cuts were featured on a four-volume set of those recordings called Sounds of the South in 1960 and later all 14 tracks were compiled by Rounder Records (see below), among others.

After the field recordings, McDowell simply returned to farming and playing for tips outside a Stuckey's store at Como, but those recordings did catch the attention of Chris Strachwitz, who came to Como to record him. There were two volumes released by Arhoolie, now collected as Mississippi Delta Blues in one volume, and they really caught the attention of the 60's blues and folk communities.

Here was a guy who completely missed the 20's and 30's recordings and managed to avoid any attention at all, just working as a farmer and playing music on the side. He was so modest and unassuming as well, just seeming to take all the attention in stride.

McDowell made subsequent recordings for Testament and Atlantic Records in the mid 60's, and numerous other recordings have surfaced over the years as well, a couple of which we'll discuss below.. His albums were a mix of blues standards and originals and spirituals, some of which featured vocals from his wife Annie Mae and the Hunter's Chapel Singers of Como.

In 1969, he went to Malaco Studios in Jackson, MS, armed with an electric guitar. This drove the blues purists nuts, but as gripping and compelling as McDowell's acoustic guitar playing was, his “plugged-in” brand of blues (complete with a rhythm section) was equally compelling. It was a perfect fit for electricity and I Do Not Play No Rock 'n' Roll is an album that should be must-listening for any fan of Mississippi blues.

McDowell played multiple blues festivals, including the Newport Folk Festival and the American Folk Blues Festival in Europe. He appeared in several documentary films, and soon was influencing many of the up-and-coming blues-rock artists, such as Bonnie Raitt, who recorded several of his songs, and the Rolling Stones, whose version of “You Got To Move” on their Sticky Fingers album is one of their most memorable tracks.

McDowell with Bonnie Raitt

Sadly, Mississippi Fred McDowell's career was cut short because he was diagnosed with cancer in 1971. He subsequently passed away on July 3, 1972 at the age of 68. He was buried at Hammond Hill Baptist Church, between Como and Senatobia, MS. The Mount Zion Memorial Fund placed a memorial on his grave in 1993, replacing the old damaged one, which had McDowell's name misspelled and is now on display at the Delta Blues Museum in Clarksdale). There's also a Mississippi Blues Trail marker for McDowell in downtown Como.

If you hear any North Mississippi hill country blues recordings, from R.L. Burnside and his family to the North Mississippi Allstars, it will all make sense as to how important Mississippi Fred McDowell was to Delta blues and continues to be to contemporary Mississippi blues.  Their albums have often included covers of McDowell tunes and new recordings that owe much to his style.

There are a stack of Mississippi Fred McDowell albums available, LP, CD, or digital.  You can't really go wrong with any of them, but I'm going to list a few that would be a nice start for newcomers.  The above-mentioned Alan Lomax recordings (First Recordings:  The Alan Lomax Portrait Series on Rounder Records) are, as the title indicates, the very first one done by McDowell.  They are very good, among his best, and have great sound, like you're listening from the front yard.  He performs solo and with the other artists mentioned above.  The Arhoolie set Mississippi Delta Blues, also mentioned above, should definitely be on your list as well.  There are a couple of tracks recorded by his friend Eli Green included, but McDowell's songs include many of his originals and a few of his renditions of traditional Delta blues tunes.

In addition, the 2003 Shout Factory! compilation set Heroes of the Blues:  The Very Best of Mississippi Fred McDowell catches what those first two collections missed, plus a few other, mixing blues with spirituals.  It's a very fine set and certainly covers his career pretty well.  Just about every McDowell tune that you've heard about over the years is included here and, even though he redid many of these over and over again, the versions collected here are all first-rate, so this might be the best starting point for newcomers.

A couple of others worth mentioning are the Capitol Records electric set, I Do Not Play No Rock 'n' Roll, for which I'm so glad McDowell decided to "plug in."  These are truly remarkable and shed a whole new light on his brand of blues.  The Rounder set, Mississippi Fred McDowell, was recorded at his home in 1962, with no intention of being released.  The set is pretty intimate, he was just playing for himself more or less, and there's a powerful, raw energy to the songs. 

Speaking of powerful, raw energy, be sure to check out Mama Says I'm Crazy on Fat Possum Records.  This set was recorded by George Mitchell in 1967 and reunited McDowell and harmonica player Johnny Woods.  They had not played together in eight years, but you would never know from their performances.  If you happened to visit a Como, MS house party in the mid 60's, this is probably close to what you would have heard and if you're a Delta blues fan, it's just wonderful.  

Mississippi Fred McDowell may be a blues artists that more recent blues fans might have missed, but if they've listened to some of the newer blues artists, especially the North Mississippi hill country artists, they've gotten a taste of his sound.  However, new listeners should know that no one played this sound better than Fred McDowell and he has a lot of material out there to be sampled, so please check him out.

Friday Blues Picks (6/12/26)

Here are a couple more new releases for blues fans to check out.  You'll be glad that you did.....there have been a lot of outstanding releases this year and the list of great new albums seems to be picking up with the hot weather approaching.

Last month, John Primer received a marker on the Mississippi Blues Trail near his birthplace in Camden, MS.  I was hoping to go and hopefully get a chance to meet him, but things didn't work out.  Primer has always released quality music over his years as a solo act and he's really been on a roll in recent years, with several fine albums on Blues House Records and a couple of collaborations with Bob Corritore.  I've been a fan since I first heard him with Magic Slim and the Teardrops.

Like just about every musician in Chicago between 1955 and 1985, John Primer got his start and played a lot of gigs at the fabled Theresa's Lounge, which was owned and operated by Theresa Needham.  Primer has assembled ten of his fellow Theresa veterans - harmonica masters Billy Branch and Harmonica Hinds, vocalists Mary Lane and Willie Buck, bass players Bob Stroger and Jeff Brinkman, drummers Twist Turner and Tony Mangiullo, and fellow guitarists Carlos Johnson and John Watkins for Tribute to Theresa's Lounge (Blue House Productions).

The thirteen songs on the album consist of four Primer originals written for the occasion paying tribute to Ms. Needham and reflecting on his time there and the importance of keeping the blues alive for future generations.  The remainder of the songs are tunes that would be easily recognized by those who were a part of the audience on a given night at Theresa's and these tunes will be recognized by most blues fans, too.  The performances are all great (all of the musicians are in their 70's, 80's and 90's and are still making vital contributions to the music) and it's a wonderful throwback to the way things used to be in Chicago and the blues world in general.  It's hard to imagine a blues fan not wanting to hear this disc.  Add this one to your must-hear list.

I used to regularly attend the New Orleans Jazz & Heritage Festival in the late 80's and early 90's, but have only attended once since Katrina, in 2015.  One of the thrills of going each year was discovering not only the new music being played, but the classic tunes that were part of the city's musical history.  Well, folks......The Joe Krown Trio + 1 have recaptured that feeling for me with their latest release, Qualified (Sledgehammer Blues).  

I first encountered keyboardist extraordinaire Krown as part of Luther "Guitar Junior" Johnson's band on a couple of albums, then several of Clarence "Gatemouth" Brown's albums, plus three collaborative efforts with guitarist Walter "Wolfman" Washington and drummer Russell Batiste, Jr. that mixed blues, jazz, and soul in equal measures.  For this release, Krown and his trio (Casandra Faulconer - bass, Eric Boliver - drums) are joined by singer/guitarist Papa Mali, hence the "Trio + 1" tag.

Qualified includes eleven tracks, two originals by Papa Mali and one by Krown, plus covers of eight classic Crescent City tunes associated with Allen Toussaint, Professor Longhair, James Booker, and Dr. John that will have fingers snapping, toes tapping, and booties shaking.  There's also a special appearance by Cyril Neville who delivers a masterful vocal on a fresh take of Toussaint's "Fortune Teller."  Papa Mali does a fine job on vocals throughout and delivers the guitar goods on a couple of other tracks, while Krown and the Trio have a lot of fun playing these tunes.  Joe Krown's albums are always a lot of fun, paying tribute to the past while continuing to create new music that carries the traditions onward, and this one is no exception.

Looking back quite a few years for our "Blast from the Past" pick, I highly recommend Alligator Records' second-ever release in 1973, Big Walter Horton with Carey Bell.  We previously looked at the life of Big Walter Horton on the blog a little over ten years ago after a tribute album was released.  Horton was one of the legends of the harmonica and he made it on our Blues Mount Rushmore list of harmonica players.  He was not that well known and never really fronted his own band because he was very shy and quiet, but he backed a host of blues artists like Robert Johnson, Johnny Shines, Homesick James, Jimmy Rogers, Eddie Taylor, Honeyboy Edwards, Otis Rush, and later was a part of Willie Dixon's Blues All Stars, and made an appearance in the first Blues Brothers film during the Maxwell Street scene.

Horton made recordings of his own for Chess Records and Sun Records (leased to Modern/RPM Records) in the late 40's and became one of Chess Records' go-to harp players for various sessions.  He also recorded the classic instrumental for Sun Records known as "Easy," and also recorded for Cobra, Jewel, and States Records.  His harp can be heard on many Chicago blues classics like Jimmy Rogers' "Walking By Myself," Otis Rush's "I Can't Quit You Baby," and Johnny Shines' "Evening Sun."  He also appeared on the Chicago/The Blues/Today series on Vanguard Records before recording this wonderful album with his protege Carey Bell.

By the time, this session was recorded, Bell was not really a protege.....he had already recorded a few times himself.  There are eleven tracks here and the two harp masters are backed by the legendary Eddie Taylor on guitar, Joe Harper (who played bass on Bell's albums), and Chicago South Side drummer Frank Swan.  Horton and Bell work so well together and to me, it feels like Horton was really inspired on these tracks, both instrumentally and vocally.  The interplay with Bell really seems to bring out the best in his performance.  In Bruce Iglauer’s book, he tells about Walter’s reluctance to play and how Bell would gently encourage him to play, which really brought him out. Big Walter Horton has always been one of my favorite harmonica players and this album is my favorite of his releases.  Thankfully, he was able to record a few more before he passed away in 1981.

Friday Blues Picks (6/5/26)

Looking at few new ones that are well worth any blues fan's time, plus a great one you might have missed from a few years back.  Here we go......

Two of my favorite blues and soul vocalists are Johnny Rawls and Dave Keller.  I've been a big fan of Rawls since his Rawls & Luckett release on Rooster Blues in the early 90's (Can't Sleep at Night) and Keller since his appearance as a guest vocalist on Ronnie Earl's Living in the Light release on Stony Plain in 2009.  Both men have recorded prolifically over the past 15 - 20 years and they've shared the stage many times over the years.

Thank goodness they finally decided to make an album together, and what an album it is!  Tribute to Soul (Third Street Cigar Records) is an album any blues or soul music fan should have in their collection.  Rawls and Keller have been friends for over 15 years and have toured together several times across the U.S,, but this is their first collaborative effort.

The song list pays tribute to many of Rawls' mentors, so there are tunes associated with Joe Tex, James Carr, Otis Clay, Eddie Floyd, Z.Z. Hill, Tommy Tate, O.V. Wright, Benny Lattimore, Little Johnny Taylor, Willie Hightower, and Jimmy Hughes.  Some of the songs will be familiar to blues and soul fans, but there are several seldom-heard treasures that will become new favorite songs to many listeners.  Rawls and Keller are both wonderful and Keller's band provides stellar support, with Keller on lead guitar throughout.  I can't tell you how excited I was to get this CD.  This is a long overdue collaboration and, hopefully, one that might reoccur from time to time in the future.

Sadly, there's no videos of the songs yet available on YouTube, but here's a Rawls/Keller combo from Keller's 2020 duet album What You Give - Duets (another great release) that will give you an idea of what to expect.

Friday Blues Fix interviewed Zac Harmon way back in 2012 and that Ten Questions With....can be seen here.  He got his start in Jackson, MS on Farish Street, playing with local legends like Dorothy Moore, Sam Myers, and Z.Z. Hill before moving to Los Angeles in the 80's, where he worked as a musician, writer, and producer for the O'Jays, the Whispers, Karyn White, Alexander O'Neal, and Black Uhuru.

Despite his success, he longed to return to his roots, so he started recording the blues in the early 2000's.  His band won the I.B.C.'s Best Unsigned Band award and I first caught up with him with his subsequent release, The Blues According to Zachariah, which won the 2006 Blues Music Award for Best New Artist Debut.  He's been pretty prolific since that time, cutting albums for a host of labels including Blind Pig and Catfood Records.

His most recent release is Zac Harmon & The Drive Live, which was recorded at various shows in the U.S. and Europe and effectively captures Harmon and the band's energetic stage presence.  Most of the songs are taken from Harmon's earlier releases, but several of them are from his earlier releases that blues fans might have missed the first time around.  There are also a couple of crowd pleasers from his most recent releases as well.  Harmon is in good voice and the band provides excellent support throughout the set.  If you haven't experienced the superb blues and soul artistry of Zac Harmon, this is a fantastic place to get on board.

It always puts a hop in my step when I get a new album from the Sauce Boss.  Also known as Bill Wharton, the Sauce Boss is a most interesting character.  He's a master guitarist and his original tunes are always entertaining.  His website EPK describes him as "a musician, a chef, a raconteur, and purveyor of gourmet hot sauce (Liquid Summer Datil Pepper Hot Sauce), a songwriter, and a standup comedian.”

During his shows, he makes a pot of gumbo on stage during his performance (the recipe is on his website) and serves gumbo to the audience at the end of his gig.  He's also the subject of the Jimmy Buffett song "I Will Play For Gumbo" and he's appeared in Living Blues, GQ, and Gourmet magazines, more than likely the only person ever to appear in all three.

The Sauce Boss' latest release is With Extra Sauce.  The "extra sauce" consists of guitarist Neal Goree, bassist Kendrick Jacobs, and drummer Brett Cook, along with string arrangements that accompany a couple of the songs, eight of which are Sauce Boss originals.  He plays marvelous slide guitar throughout (on one track, he plays a three-string cigar box guitar in a 9" cast iron frying pan), and his own songs are always a lot of fun.  The two cover tunes are classics, but the Sauce Boss and friends put a fresh coat of paint on both.  What a fun album!  You can also hear more about the Sauce Boss via his memoir The Live and Times of Blind Boy Billy, which includes his story, along with songs and recipes.

Let's look back at a great release that you might have missed first time around....Johnny Heartsman's The Touch.  Apparently, a lot of folks may have missed it.  For some reason, I missed it as well.  Heartsman played guitar, keyboards, and flute and played on many recordings in the San Francisco Bay area in the 50's and 60's while playing with Jimmy McCracklin, Sugar Pie DeSanto, Big Mama Thornton, Al King (check out his guitar on King's Atlantic single "Reconsider Baby"), Jimmy Wilson, Joe Simon, and Johnny Fuller.  He had a hit of his own in 1957 with "Johnny's House Party (Parts 1 and 2)," on Music City Records which made it to #13 on the Billboard R&B chart.

Heartsman moved between blues and R&B in the 60's and 70's before settling into the blues groove in the late 80', when he released a solo album, Sacramento, that was well-received.  In 1991, he recorded The Touch for Alligator with Dick Shurman serving as producer.  When I interviewed Shurman years ago, he cited Heartsman as his favorite all-time blues musician.  The album is a seamless mix of blues, soul, and jazz, probably not as much "Genuine Houserockin' Music" as normally associated with Alligator and that might have been some of the problem with it's popularity, or lack thereof.  

It is a highly entertaining album that finds Heartsman on guitar, keyboards, and flute while providing solid vocals.  There are some tracks that swing really well and I really like his work on the keys, which have a B3 flavor to them.  While I've never really associated the flute with the blues, the tracks on which he plays flute work really well.  I can remember Alligator head man Bruce Iglauer expressing his disappointment at the sales of The Touch in one of his Living Blues letters and I have to agree....it really deserved better.  I wish I had picked it up back in the early 90's, but I'm glad to have it now and most blues fans will certainly enjoy it.

Friday Blues Picks (5/29/26)

Several years ago, I got a Facebook friend request from a young guy in Central Mississippi named Harrell Davenport.  Now I wasn't sure who he was at the time, so I checked his profile and saw that he was 15 years old and a big blues fans, which is a rarity in this day and time, at least around here.  I accepted his friend request and soon, we began corresponding.  He was already pretty proficient on guitar and harmonica and would share videos of him playing and singing on Facebook.

The coolest thing about this young man was that his musical tastes went beyond blues.  While we discussed various blues artists like Sonny Boy Williamson I and Elmore James, he also knew quite a bit about other artists in jazz and even reggae.  He was pretty well-read and willing to dig deeper into the music all the way back to the roots, which is pretty remarkable for any blues fan, much less a 15 year old blues fan.

It was really great to see blues musicians commenting on his Facebook videos, offering praise, advice, and encouragement.  That's one of the great things about the blues world......all of the musicians that I've encountered have always been a pleasure to deal with.  They are very nice and giving to their fans and to their fellow musicians, and it made my heart feel good to see how they worked with Harrell Davenport.

Over the past couple of years, Davenport has been playing some of the blues festivals around the country, winning acclaim for his performances and, really, he sounds like he's been doing this a whole lot longer than he's actually been around.  He performs with an understated confidence, energy, and enthusiasm and the fans really respond to his music.

Over the past year, he's released several fine singles (one of which we reviewed here back in November) and they  have also been well-received.  June 5th will mark the release of his first full-length album, Young Rell, on Little Village Records.  I will be reviewing it in depth in the June issue of Blues Bytes, but here's a capsule summary.....

The young man has learned his lessons well.  The twelve tracks include ten originals that range from Chicago blues and Delta blues to southern soul.  His songwriting is quite impressive, drawing from experiences in his own life and he digs deep into his own soul for some of these numbers.  His harmonica playing and guitar work (he plays lead on seven tracks,  Andersen on four) are also first rate and his vocals are also strong.  This is a powerful debut release from a young blues artist who offers further proof that the blues are alive and well and should be for a long time.

My other review this week is a book review.  Many blues fans are familiar with Robert Mugge, the filmmaker who's responsible for some of the best documentaries on blues, jazz, Louisiana music, gospel and soul in the past five decades.  Among those works are Deep Blues, Last of the Mississippi Juke, Pride and Joy:  The Story of Alligator Records, Hellhounds on My Trail:  The Afterlife of Robert Johnson, Blues Breaks, Blues Divas, A Night at Club Ebony, Deep Sea Blues, All Jams on Deck, Big Shoes:  Walking and Talking the Blues, Deep Roots, The Art and Music of Bill Steber and Friends, and Elvin Bishop's Raisin' Hell Revue.  Mugge has also done films on Sun Ra, Sonny Rollins, and the formidable Creole and Zydeco music scenes in Louisiana, plus the moving New Orleans Music in Exile, about the city's musicians and music scene recovering from the double whammy of Hurricane Katrina and Rita in 2005.

Mugge's latest book is Quotes from the Road:  The Wit and Wisdom of American Musicians (The Sager Group), which features excerpts from 150 of the interviews that he conducted during the making of his films.  Many of the discussions are items that were not heard in the films, so there's lots of new info if you've seen the films already.  The book is divided into 25 chapters, each addressing a different theme, such as beginnings, family traditions, struggles with recording and touring, musical styles and techniques, favorite performances and venues, and songwriting.  Other topics discussed include racism, politics, and dealing with adversity in daily life and with their careers.

All of the subjects are worth reading about, but blues fans will enjoy the interviews with Lonnie Brooks and his son Ronnie, Lil' Ed Williams, Koko Taylor, Katie Webster, Marcia Ball, Robert Lockwood Jr., Roy Rogers, Willie Coffee (friend of Robert Johnson), Vasti Jackson, Chris Thomas King, Bobby Rush, Little Milton, Willie King, Deborah Coleman, Denise LaSalle, Odetta, Ann Peebles, Irma Thomas, Mavis Staples, Otis Clay, Tommy Castro, Kim Wilson, Buckwheat Zydeco, Elvin Bishop, Ted Drozdowski, R.L. Hulsman, Larry McCray, Coco Montoya, Lee Oskar, Jimmy Thackery, Rev. Billy C. Wirtz, and other contributors.  The interviews with Al Green, Willie Mitchell, Sun Ra and Sonny Rollins are also fascinating, along with artists like Boozoo Chavis, John Delafose, Beau Jocque, Nathan Williams Sr. and Jr., Corey Ledet, Rosie Ledet, Lawrence "Black" and Sean Ardoin, and Major Handy, and the entire chapter on recovering from Katrina is recommended reading.

Mugge always brings the best out of his interview subjects.  They always feel so comfortable talking to him and it actually feels like these artists are talking directly to you.  I have to admit that I read this book in only a few sittings.  It was that interesting and compelling.  If you are a fan of these styles of music, then you will probably find yourself enthralled with its contents as well.

For this week's oldie but goodie, let's check out U.P. Wilson.  Many years ago on this blog, I devoted a post to the life and music of the Texas Tornado way back in 2011.  However, I had not delved very deeply into his non-JSP Records catalog.  I recently began listening to some of those recordings and the first one I picked up was On My Way (Fedora Records).  

Fedora released some pretty good recordings over ten year-plus period from 1997 to around 2008, and this release from Wilson was issued around 1999 and was taken from an LP Wilson released on the European label Red Lightnin' Records in 1988.  The first ten tracks are from the original album with the last two tracks coming from a live appearance, also from 1988.  

When I first heard U.P. Wilson, I was not prepared for his intensity and his energy.  I ended up picking up all of his JSP recordings....he was well represented by them with five albums, a "best of", and appearances on a few compilation discs.  He passed away in 2004, but the label also released a DVD of  one of his performances in the UK, which showed that he was a master showman on stage just like he was on his recordings.

On My Way is a few years before his JSP recordings and it is raw and ragged, with a mix of covers (done in the distinctive U.P. Wilson style) and lots of his fierce and fiery fretwork.  I remember the cover of his first JSP release had a blurb stating that he was one of Stevie Ray Vaughan's favorite guitarists and listening to On My Way, it's easy to understand why.  Any of Wilson's releases are worth a listen, but this is a good one to start with if you can find it.

Bottleneck Blues You Can Use

Your humble correspondent is traveling the next few days, so this post will be a quick one.  Please come back next week for more blues that you can use.  In the meantime, here's a neat little album that slide guitar fans might dig that you might have missed some thirty years ago, like I did.  

A few years back, I started listening to some albums from the Testament Records catalog.  Testament was founded in 1963 by writer Pete Welding, who edited Down Beat magazine.  The label released a variety of roots music.....blues, gospel, country, and jazz until it was shut down in 1977.  Hightone Records acquired the catalog in the mid 90's and re-released nearly every album on CD, adding a few new compilations along the way.

There are a lot of fantastic recordings on Testament from artists like Big Joe Williams, Mississippi Fred McDowell, Johnny Shines, Otis Spann, J.B. Hutto, Robert Nighthawk, and several excellent compilations.  One that was intended for release before Testament closed up shop was Bottleneck Blues, which consists of 22 recordings, some of them field recordings made by Welding and blues scholar David Evans, who contributes the extensive liner notes for the CD.

The album showcases a variety of bottleneck guitar styles and features a few tracks from Big Joe Williams, Nighthawk, McDowell, Hutton, Shines, John Littlejohn, Napoleon Strickland (who played a one-string "jitterbug" mounted on a wall), and Honeyboy Edwards.  Some other standouts include Blind Connie Williams, and Mott Willis, who played slide with a knife, adding a bit of Hawaiian style to his slide playing.

If you want to dig deeper into traditional blues, especially slide guitar blues, Bottleneck Blues can still be easily found on Amazon or Discogs and it well worth your time.  I'm glad that Hightone made the decision to release it.  In fact, any of the Testament Records catalog is a pleasure to listen to and they're relatively easy to track down.

We will be back next week with more blues.  

Friday Blues Picks (Looking Back)

This week, I've been busy trying to finish up my reviews for the May issue of Blues Bytes, which should be out sometime next week, so in the meantime let's take a look at an older album that you might have missed the first time around.....

I've been a fan of Otis Rush almost as long as I've been listening to the blues.  He was born in Neshoba County, Mississippi, around 15 - 20 miles north of where I live, so that played a role, but it was his combination of guitar and vocals really grabbed me upon hearing his Hightone Records release, Right Place, Wrong Time back in the late 80's.  Later on, I picked up his live release from Blind Pig, Tops, and not long after that, I found his tracks on the Chicago!  The Blues!  Today! anthology from Vanguard Records and the Chess collection of early 60's Rush and Albert King recordings, Door To Door.

I also managed to round up a two volume set from Paula Records that collected Rush's early sides with Cobra Records, recorded in 1956 - 1958.  As allmusic.com puts it....."If Rush had never recorded another note, his legendary status would remain intact based solely on these recordings."  These tracks were later reissued as The Classic Cobra Recordings 1956 - 1958 by Varese Sarabande in 2000 and included the A- and B- sides of all of Rush's Cobra singles issued, plus alternate takes, all released with slightly improved sound from the Paula release, which was released in 1991.

Over time, I managed to fill in most of Rush's recordings that followed, including his two studio releases in 1994 and 1998, his Cotillion/Atlantic, Delmark and Evidence releases, and the controversial Alligator Records release originally released in Europe in the late 70's (Alligator overdubbed keyboards from Lucky Peterson in hopes of giving it a full, more modern sound).  There were also a few live releases during the 90's and early 00's, as well, including a pair of DVDs.

However, I had difficulty tracking down his two sides recorded for Duke Records in 1962.  Duke signed him and just sat on him, only recording one single for release at the time....I've always assumed that the label signed him, basically to sit on him where he wouldn't be able to cut any new records to compete with their other artists.

The A-side of that single, "Homework," appeared on a Duke Records compilation in the 90's, but that was it, until I discovered another winning CD from the UK label Jasmine a couple of years back.  I Won't Be Worried No More - Otis Rush's Chicago Blues 1956 - 1962 captures 27 tracks from Rush's Cobra, Chess, and Duke recordings, and it should be required listening for anyone who digs Chicago blues.

Rush really had buzzard luck as far as recording.  His sides for Cobra generated several tracks that charted on the R&B charts, and he was backed by some of the future legends of the blues, such as Willie Dixon, Lafayette Leake, Odie Payne, Jody Williams, Wayne Bennett, Little Walter, Little Brother Montgomery, Fred Below, and Ike Turner.  

However, this is where the bad luck kicked in.......Cobra Records, which released Rush, Buddy Guy, and Magic Sam's first recordings, folded in 1958 due to money woes.  Rush's Cobra output included several tunes that are considered blues standards today, including "Double Trouble," "My Love Will Never Die," "Three Times A Fool," "Keep On Loving Me Baby," and "All Your Love (I Miss Loving)."  That's about as good a run as you can ask for in the blues world.  All of those tracks are on this collection, along with most of his other Cobra output.....there are a couple missing, but they're hardly noticeable.

Rush signed with Chess Records in 1960, where that label recorded six sides, but only released two singles, one of which was a great one - "So Many Roads, So Many Trains."  This collection included all six of Rush's sides, the same ones collected on the Door To Door album from 1970, plus two additional tracks that had only appeared on an LP for Blue Light Records.  The Duke single, "Homework," is also included along with it's B-side, "I Have To Laugh."

Rush remained active until 2004, when he suffered a stroke.  I got to see him in 2009, when the state of Mississippi dedicated a blues marker for Rush in his hometown of Philadelphia, MS.  He was extremely moved by the honor as he sat with friends and family for the unveiling.  He passed away in 2018 on September 29.  His guitar work has inspired so many later guitarists and many of his songs have been recorded by other blues and rock artists.  

Any of Otis Rush's recordings are worth a listen, but I Won't Be Worried No More - Otis Rush's Chicago Blues 1956 - 1962 captures his first eight years as a recording artist in one sitting and those tracks serve as an excellent introduction to not just Chicago blues, but to one of the genre's masters.

Something Old, Something New, Something Borrowed, Something Blue #24

 

It's time once again for another edition of Something Old, Something New, Something Borrowed, and Something Blue.  This makes our 24nd edition.  For a long time, this was one of our favorite themes and it dates back to FBF's early days as a weekly email sent to co-workers.  It serves as a great way to introduce new and old tunes to new and old blues fans.  

For those unfamiliar with the format, we offer a song from the early days of the blues (Something Old), a song from a recent blues artist (Something New), a blues artist covering a rock song or vice versa (Something Borrowed), and finally, someone who epitomizes the blues.....usually a legendary artist (Something Blue).  Here we go......

For Something Old, let's go way back to 1930 for "Everybody Oughta Make A Change," by Sleepy John Estes.  I first heard this tune recorded by Eric Clapton on his Money & Cigarettes album in the early 80's.  Born in Tennessee in 1899, he and his family moved to Brownsville when he was a teen.  He lost his right eye soon after when a friend hit him with a rock.  He started performing at 19 at parties and picnics while working in the fields during the day.  He was usually accompanied by harmonica player Hammie Nixon and James "Yank" Rachell, who played guitar and mandolin.  He played with both of these musicians for over 50 years.

His recording career, at least his first one began in 1929 and recorded tracks like "Drop Down Mama," "Milk Cow Blues" (a.k.a "Leaving Trunk"), and "Someday Baby Blues."  He recorded for Decca Records and Bluebird Records, and later returned to record in the early 50's for Sun Records unsuccessfully.  He was rediscovered by Bob Koester and Sam Charters in 1962, completely blind by then and destitute.  He appeared in Charters' move The Blues and later recorded for Koester's Delmark Records.

Although he was in his late 20's/early 30's when he recorded his first sides, he sounded like an older man when he sang.  A lot of the blues revivalists searching for artists in the early 60's sort of wrote him off because they figured he was dead, but he was very much alive and his later recordings were as powerful as his early recordings.  I guess he grew into his voice.  He passed away in 1977 from a stroke, but he was a big influence on artists like Robert Plant, Bob Dylan, and Taj Mahal.  His early recordings and later recordings are uniformly fine, so if you're not familiar with him, check him out.

For Something New, how about a track from one of the young lions of the blues scene, 27 year old D.K. Harrell from Ruston, Louisiana.  An amazing guitarist and singer, Harrell sang along to B.B. King when he first heard him at age two.  He sang in his church as a boy, but continued to follow the blues.  After he got his first guitar at age 12, he was writing songs by 16.  He was inspired by King and you can hear a lot of him in his music, the tone of his guitar and his vocals.  His first paying gig was at the B.B. King Symposium at Indianola, MS, where he got to play "The Thrill Is Gone," backed by King's band.

Harrell also is influenced by Albert King, Freddie King, Muddy Water and other and he has used a little bit of their style forging a distinctive style of his own.  He release the excellent album The Right Man on Little Village Records in 2023 and it won acclaim from blues fans all over.  Last year, he signed with Alligator and released Talkin' Heavy, which improved on his first release and made many Top Ten lists last year (including FBF's).  Blues fans should love D.K. Harrell's music, which is a mix of traditional and contemporary blues.  Here's "Grown Now," a single from Talkin' Heavy.

For Something Borrowed, let's stay close to the present time with a track from the B.B. King's Blues Summit 100 collection compiled by Joe Bonamassa.  If you haven't heard this set and you're a blues fan, you are missing out.  This is one of the best tribute albums I've heard because it honors its subject, is fairly reverential, and it seems like the participants are having a blast with the opportunity to acknowledge one of the true legends of the blues.

Our selected track is performed by jazz guitar legend George Benson, who actually doesn't play guitar on the track (Bonamassa and Josh Smith do a wonderful job in that capacity), but he turns in a marvelous vocal performance.  Benson was one of my first guitar heroes and the reason that I started my long journey to listening to the blues via his excellent guitar/vocal recordings throughout the 70's.  I got into jazz before I moved to the blues and his guitar work was a huge reason why.  

Benson, at 83, is still playing in the states, but stepped back from international touring in 2024, having released an album of standards in 2024 that he originally started recorded in the late 80's, but completed it with his record label's encouragement.  Joe Bonamassa continues to be incredibly prolific with his own recordings, but even more important is his work in bringing under-recorded blues artists back, such as Larry McCray, Eric Gales, Dion, and Jimmy Hall, with new releases on his Keeping The Blues Alive Records. 

For Something Blue, here's the harmonica legend James Cotton.  Cotton was born in Tunica, MS and was mentored on the harp by Sonny Boy Williamson (Rice Miller version) after losing his parents at a very young age.  When Williamson left Cotton to live with his wife in Milwaukee, he just gave his band to Cotton, still very young, and the band fell apart.  He started playing harmonica in Howlin' Wolf's band in the early 50's, also recording his own single for Sun Records, "Cotton Crop Blues," in 1952.

He began playing in Muddy Waters' band in the mid 50's, though Little Walter played harp on most of Waters' recordings.  By 1957, Walter and Cotton were alternating on the recording sessions.  He formed his own band in the mid 60's with Otis Spann on piano, and they performed both blues and R&B tunes, adding a horn section for some tunes.  Cotton was one of the few blues artists who really crossed over to the rock audience during this time, recording with Buddha Records and appearing at numerous festivals.

In the 80's, he recorded for Alligator Records, where this track comes from, a dynamite version of Bobby "Blue" Bland's "Ain't Doin' Too Bad."  The album this track comes from, High Compression, was a cool album that was part traditional and part contemporary.  Incidentally, Bland and Cotton found out that they were half-brothers shortly before Bland passed away.  There's a great documentary about Cotton, Bonnie Blue:  James Cotton's Life in the Blues, which can be seen on Tubi TV that you should check out if you're a fan of blues harp.  Cotton remained active, despite losing his voice due to throat cancer, until shortly before his death in 2017.  Even though he couldn't sing anymore, he could still blow the back off a harmonica.