From his beginning as one-half of the legendary Texas rap group P.K.O., Kottonmouth has been a consistent figure on the Texas rap scene. Now he returns with a new album Dallas Hardhitters, featuring appearances from Tum Tum, Lil Keke, Trae and Mr. Pookie, which will hit stores on February 21. This is not an album to be missed.
Emerging from C-Loc’s Concentration Camp, Max Minelli is a veteran of the Baton Rouge rap scene, and is consistently popular with fans in Louisiana’s capital city. With Heart of a King, Max Minelli elevates his game to a new level with 14 tracks produced by some of Louisiana’s finest producers, including Gussmakemybeats and C-Loc veteran Nathan “Happy” Perez. As always, Max Minelli gives his fans a street edge, but one with an intelligent difference, as Max is first and foremost a lyricist. Songs like “Can I Help You” and “Heart Of A King” deliver the crunkness, but there are also sunny, windows-down anthems like “City Is Mine”, and Minelli’s advice to youth to “Be Respected” is far more positive than the average street rapper making records today. Several of the songs feature Max’s new Dead Game Records labelmates, the rapper Kevin Gates and singer Malachi X. Altogether a release of consistent quality from one of Baton Rouge’s finest.
The pre-Beatles South was an interesting place where a number of regional musical genres were spawned by the intersection of African-American rhythm and blues and white teenagers. The music that British musicologists ultimately dubbed “Swamp Pop” resulted from Cajun kids discovering Fats Domino and Little Richard, much like Beach Music elsewhere in the South sprang from R & B groups like the Tams and the Drifters. But swamp pop had little of the gaiety and joie-de-vivre of Beach Music. Indeed, there was something far darker, primal, even heart-breaking about it, for swamp pop was rooted as much in Cajun country music as rhythm-and-blues. With the release of Pure Swamp Pop Gold Vol. 10, Van Broussard’s CSP label gives old fans and newbies alike a 21-song journey through the world of contemporary swamp pop, which, like Beach Music, is a world where the 1950’s largely never ended. The heartbreak is there, of course, in songs like “Lord, I Need Somebody Bad Tonight”, but there are also love songs like Wayne Foret’s “That’s What I’ll Do”, covers of swamp pop standards, like Kenny Cornett’s take on Johnnie Allan’s “Promised Land”, and the odd oldie, like Van Broussard’s “Hold My Hand”. Of course the best place to check out swamp pop music is in a Louisiana dance hall, but for those unable to make the trip, Pure Swamp Pop Gold 10Â will serve as a swamp pop fix until you can get down there.Â
In some ways, Charles “Packy” Axton was the forgotten man in the Stax Records saga. The son of one of the partners, Estelle Axton, he was a saxophone player in the original Stax band, the Mar-Keys, along with Don Nix and others. Exiled from Stax by his uncle, Jim Stewart (by some accounts due to drugs and/or alcohol), he recorded only a handful of sides before dying tragically in 1974, only in his thirties. But the really hip Light in the Attic Records label out of Seattle has assembled all the material they could find into one cool CD called “Late Late Party”, and the album release party at the Stax Museum was something of an all-star gala, despite the odd time of 4 PM on a Tuesday afternoon. Scott Bomar of the Bo-Keys was there, as well as Andrea Lisle, local Memphis music writer, Robert Gordon, the author of It Came From Memphis, legendary bluesman/photographer Don Nix, who had been Packy’s bandmate in the Mar-Keys, and L. H. White, who was the “L.H.” in L. H. and the Memphis Sounds, who cut four sides under Packy’s direction that would ultimately come out on the Nashville-based Hollywood label. Altogether, it was a good time with good music, and the only sad thing being that Charles “Packy” Axton never saw such acclaim during his lifetime.Â
The marriage of rap and country is not as contrived as one might first imagine. For one thing, if hip-hop was born in New York, that doesn’t change the fact that many of its originators were the children of African-Americans who had recently migrated from the South. Furthermore, there is a fairly long tradition of “talking records” in country, a tradition that might have been influenced by “talking blues” from Black rural communities. So what Colt Ford is doing with his sophomore album Chicken and Biscuits is not a divorce from the grand tradition of country music, but a contribution to it. Songs like “Cricket on a Line”, “Nothing in Particular” and “We Like to Hunt” celebrate the classic pastimes of the traditional South, but from a younger perspective. The title track portrays the ideal woman, comparing her to the goodness of a plate of chicken and biscuits. “Ride On, Ride Out” is a collaboration with DMC of Run-DMC, and “Hip-Hop in a Honky Tonk” deals with some of the ambiguities of country’s attitude toward rap. “Convoy” is a remake of the classic 70’s trucker anthem, which was itself a sort of rap. Ultimately, while Chicken and Biscuits may not be every country fan’s cup of tea, it is great fun, and masterfully conceived.Â
Mississippi Fred McDowell, of course, is a legend. He was one of the first country bluesmen to be rediscovered and recorded by scholars, and toward the end of his life toured across the country and overseas. Although he would claim “I don’t play no rock-and-roll music”, songs he performed like “Get Right Church” were covered by the Rolling Stones, and he guest appeared on an album with Don Nix. So for the fan of Mississippi traditional blues, the first commercial issue of these field recordings made by the eminent blues scholar Bill Ferris is a welcome discovery. McDowell’s home community of Como is stuck just where the hill country meets the Delta, and likewise, McDowell’s blues style seems to cross-breed the hill country and Delta styles. There are familiar standards here, of course, like “John Henry” and “Little Red Rooster”, but also unusual original compositions like “Dream I Went to the U.N.” where the lyrics say he went to “set the nation right.” There are also gospel tunes, including “Get Right Church”, “I Got Religion”, “You Gonna Meet King Jesus” and McDowell’s take on “Where Could I Go?” a tune that springs from the white country gospel tradition. On various tunes, McDowell is joined by his wife Annie Mae, and his friend Napoleon Strickland on harmonica. On the final track is an excerpt of an interview with Bill Ferris regarding these recordings. Extensive liner notes and photos increase the value of this lovingly-conceived issue of recordings that resurrect a voice from the grave. To listen to “Come and Found You Gone” is almost like spending an afternoon with Mississippi Fred McDowell on his front porch.
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