Memphian Andrew Booker makes his debut on the Southern Soul scene with his new EP “I Miss My Mom N Dad”, featuring eight first-rate shots of soul and blues. From the opening “Bingo Lover”, where he complains that his woman loves bingo more than him, to the title track which will move anyone who has lost their parents, “I Miss My Mom and Dad” walks the line between blues and soul. There are traditional blues like “I’m About to Get Old” and “Don’t Tell Me”, and uptempo romps like “20 Hard Days” and “Policeman Coming ‘n You Going to Jail.” While there’s little here that would be unexpected, this is a well-done debut from a new voice in Memphis blues and soul.
blues
Memphian Andrew Booker makes his debut on the Southern Soul scene with his new EP “I Miss My Mom N Dad”, featuring eight first-rate shots of soul and blues. From the opening “Bingo Lover”, where he complains that his woman loves bingo more than him, to the title track which will move anyone who has lost their parents, “I Miss My Mom and Dad” walks the line between blues and soul. There are traditional blues like “I’m About to Get Old” and “Don’t Tell Me”, and uptempo romps like “20 Hard Days” and “Policeman Coming ‘n You Going to Jail.” While there’s little here that would be unexpected, this is a well-done debut from a new voice in Memphis blues and soul.
James Kinds was one of the rising blues stars of Chicago in the 1970’s, but his soul-influenced style that made him popular on the city’s West Side was a throwback to an earlier era, and while other artists modernized their styles, Kinds stuck to the route he had chosen. Ultimately, he decided that a change of venue might be the answer, and he relocated to Dubuque, Iowa. If Iowa doesn’t immediately come to mind when one thinks of blues, the state has been good to James Kinds, and he was inducted into the Iowa Blues Hall of Fame in 2008. His Delmark release “Love You From The Top” highlights his typical Chicago blues stylings, tinged with soul. There’s nothing particularly unusual here. Most of the songs deal with love and relationships ( “Love You From The Top”, “Peggy Sue”, “Katie” and “Johnny Mae”), but the updated “Crack Headed Woman” take on the older “Wine Head Woman” is a sad commentary on how things haven’t changed for the better. James Kinds may not be a household name of the blues, but his album “Love You From The Top” satisfies.
James Kinds was one of the rising blues stars of Chicago in the 1970’s, but his soul-influenced style that made him popular on the city’s West Side was a throwback to an earlier era, and while other artists modernized their styles, Kinds stuck to the route he had chosen. Ultimately, he decided that a change of venue might be the answer, and he relocated to Dubuque, Iowa. If Iowa doesn’t immediately come to mind when one thinks of blues, the state has been good to James Kinds, and he was inducted into the Iowa Blues Hall of Fame in 2008. His Delmark release “Love You From The Top” highlights his typical Chicago blues stylings, tinged with soul. There’s nothing particularly unusual here. Most of the songs deal with love and relationships ( “Love You From The Top”, “Peggy Sue”, “Katie” and “Johnny Mae”), but the updated “Crack Headed Woman” take on the older “Wine Head Woman” is a sad commentary on how things haven’t changed for the better. James Kinds may not be a household name of the blues, but his album “Love You From The Top” satisfies.
James Kinds was one of the rising blues stars of Chicago in the 1970’s, but his soul-influenced style that made him popular on the city’s West Side was a throwback to an earlier era, and while other artists modernized their styles, Kinds stuck to the route he had chosen. Ultimately, he decided that a change of venue might be the answer, and he relocated to Dubuque, Iowa. If Iowa doesn’t immediately come to mind when one thinks of blues, the state has been good to James Kinds, and he was inducted into the Iowa Blues Hall of Fame in 2008. His Delmark release “Love You From The Top” highlights his typical Chicago blues stylings, tinged with soul. There’s nothing particularly unusual here. Most of the songs deal with love and relationships ( “Love You From The Top”, “Peggy Sue”, “Katie” and “Johnny Mae”), but the updated “Crack Headed Woman” take on the older “Wine Head Woman” is a sad commentary on how things haven’t changed for the better. James Kinds may not be a household name of the blues, but his album “Love You From The Top” satisfies.
The Kentucky Headhunters have made a name for themselves combining various indigenous popular music styles of North America in a unique way that somehow remains country, and their new album Dixie Lullabies continues the seamless blend of rock, country, pop, blues and soul for which they are known. Of course there are country songs, but even they have a fairly agressive edge. And there are soul songs like “Tumblin’ Roses”, teenage rock songs like “Les Paul Standard” and even contemporary Christian songs like “Just Believe.” The final tune, “Recollection Blues”, has a 1930’s jazz mood about it, complete with brushes on the drums. Dixie Lullabies is certainly not a record for country purists, but for those who are interested in the ways that country, bluegrass, blues, soul, jazz, gospel and rock are related, it is fourteen tracks of Americana heaven. Dig in!
The Kentucky Headhunters have made a name for themselves combining various indigenous popular music styles of North America in a unique way that somehow remains country, and their new album Dixie Lullabies continues the seamless blend of rock, country, pop, blues and soul for which they are known. Of course there are country songs, but even they have a fairly agressive edge. And there are soul songs like “Tumblin’ Roses”, teenage rock songs like “Les Paul Standard” and even contemporary Christian songs like “Just Believe.” The final tune, “Recollection Blues”, has a 1930’s jazz mood about it, complete with brushes on the drums. Dixie Lullabies is certainly not a record for country purists, but for those who are interested in the ways that country, bluegrass, blues, soul, jazz, gospel and rock are related, it is fourteen tracks of Americana heaven. Dig in!
The Kentucky Headhunters have made a name for themselves combining various indigenous popular music styles of North America in a unique way that somehow remains country, and their new album Dixie Lullabies continues the seamless blend of rock, country, pop, blues and soul for which they are known. Of course there are country songs, but even they have a fairly agressive edge. And there are soul songs like “Tumblin’ Roses”, teenage rock songs like “Les Paul Standard” and even contemporary Christian songs like “Just Believe.” The final tune, “Recollection Blues”, has a 1930’s jazz mood about it, complete with brushes on the drums. Dixie Lullabies is certainly not a record for country purists, but for those who are interested in the ways that country, bluegrass, blues, soul, jazz, gospel and rock are related, it is fourteen tracks of Americana heaven. Dig in!
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.
Junior Wells was born in West Memphis, Arkansas, but will forever be associated with the Chicago blues style for which he is known. A cousin of Junior Parker, his career began in the late 1940’s, but he came to prominence playing with Muddy Waters. When he formed his own band, the Aces, consisting of brother Louis and Dave Myers and drummer Fred Below, his style became more modern, infused with soul. By the time this live gig was recorded in Boston in 1966, Wells was one of the foremost Chicago blues performers, and the recording shows both his good-natured banter and the crowd’s enthusiasm. The set list reads like a list of blues’ best-known songs, but Wells approaches each of them with a master’s sense of craftsmanship. “Feelin’ Good”, “Man Downstairs”, “That’s All Right”, “Got My Mojo Workin” and “Look On Yonder’s Wall” are all there, as well as Wells’ signature hit “Messin’ With The Kid” and several Wells originals, including “Junior’s Whoop”, “If You’re Gonna Leave Me” and “I Don’t Know.” Between the tracks are Wells’ jokes, stories and friendly give-and-take with his audience. It is surprising that Live in Boston didn’t see release at the time, but its appearance now gives us the opportunity to hear Junior Wells at possibly the highest peak of his lengthy career.