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.
blues
Peggy Scott-Adams began her career in 1968, and has been a star of soul and blues for over 40 years, but she has never forgotten her gospel roots, as evidenced by her new album Back to the Roots on her own Nora Records label. This is not Ms. Adams’ first foray into gospel, as she had an earlier gospel album called God Can and He Will, and the gospel roots of her singing are evident even on her secular releases. But this new album consists of 10 classic gospel songs and new compositions, including “Hold to God’s Unchanging Hand” and Twila Paris’ “Lamb of God.” Back to the Roots may not be what fans of Peggy Scott-Adams were expecting, but, as the title says, it returns her not only to her Christian upbringing, but to the foundations on which soul and blues were built.
Peggy Scott-Adams began her career in 1968, and has been a star of soul and blues for over 40 years, but she has never forgotten her gospel roots, as evidenced by her new album Back to the Roots on her own Nora Records label. This is not Ms. Adams’ first foray into gospel, as she had an earlier gospel album called God Can and He Will, and the gospel roots of her singing are evident even on her secular releases. But this new album consists of 10 classic gospel songs and new compositions, including “Hold to God’s Unchanging Hand” and Twila Paris’ “Lamb of God.” Back to the Roots may not be what fans of Peggy Scott-Adams were expecting, but, as the title says, it returns her not only to her Christian upbringing, but to the foundations on which soul and blues were built.
Peggy Scott-Adams began her career in 1968, and has been a star of soul and blues for over 40 years, but she has never forgotten her gospel roots, as evidenced by her new album Back to the Roots on her own Nora Records label. This is not Ms. Adams’ first foray into gospel, as she had an earlier gospel album called God Can and He Will, and the gospel roots of her singing are evident even on her secular releases. But this new album consists of 10 classic gospel songs and new compositions, including “Hold to God’s Unchanging Hand” and Twila Paris’ “Lamb of God.” Back to the Roots may not be what fans of Peggy Scott-Adams were expecting, but, as the title says, it returns her not only to her Christian upbringing, but to the foundations on which soul and blues were built.
Louisiana-born Bobby Jones is a Chicago bluesman who has also recorded as “Bobby Jonez” and “Bobby Jonz”. Not to be confused with the gospel music star, Jones is a competent blues vocalist who has seen some popularity on the Georgia-Carolina Beach Music circuit. You Ain’t Got No Proof is seemingly Jones’ first album since 2006, and it is a return to the Southern Soul genre where his career began. The centerpiece of the album is the title track “You Ain’t Got No Proof”, which seems to build upon Jones’ 1997 hit “Innocent Until Proven Guilty”, reminding an accusing lover that there’s no proof of the charges. “Stepping is Cool” celebrates the Chicago Steppers dance craze, and “Wife and Sister” is another song about losing one’s spouse to a same-sex relationship. A few of the songs have a more contemporary R & B production, of which “You Be Loving Me” is the standout, but Jones seems at his best on blues-inflected tunes like “Stick A Fork In Me” or the title track. While You Ain’t Got No Proof doesn’t stray much beyond the familiar Southern Soul formula, it should be welcomed by fans of the genre.
Louisiana-born Bobby Jones is a Chicago bluesman who has also recorded as “Bobby Jonez” and “Bobby Jonz”. Not to be confused with the gospel music star, Jones is a competent blues vocalist who has seen some popularity on the Georgia-Carolina Beach Music circuit. You Ain’t Got No Proof is seemingly Jones’ first album since 2006, and it is a return to the Southern Soul genre where his career began. The centerpiece of the album is the title track “You Ain’t Got No Proof”, which seems to build upon Jones’ 1997 hit “Innocent Until Proven Guilty”, reminding an accusing lover that there’s no proof of the charges. “Stepping is Cool” celebrates the Chicago Steppers dance craze, and “Wife and Sister” is another song about losing one’s spouse to a same-sex relationship. A few of the songs have a more contemporary R & B production, of which “You Be Loving Me” is the standout, but Jones seems at his best on blues-inflected tunes like “Stick A Fork In Me” or the title track. While You Ain’t Got No Proof doesn’t stray much beyond the familiar Southern Soul formula, it should be welcomed by fans of the genre.
Louisiana-born Bobby Jones is a Chicago bluesman who has also recorded as “Bobby Jonez” and “Bobby Jonz”. Not to be confused with the gospel music star, Jones is a competent blues vocalist who has seen some popularity on the Georgia-Carolina Beach Music circuit. You Ain’t Got No Proof is seemingly Jones’ first album since 2006, and it is a return to the Southern Soul genre where his career began. The centerpiece of the album is the title track “You Ain’t Got No Proof”, which seems to build upon Jones’ 1997 hit “Innocent Until Proven Guilty”, reminding an accusing lover that there’s no proof of the charges. “Stepping is Cool” celebrates the Chicago Steppers dance craze, and “Wife and Sister” is another song about losing one’s spouse to a same-sex relationship. A few of the songs have a more contemporary R & B production, of which “You Be Loving Me” is the standout, but Jones seems at his best on blues-inflected tunes like “Stick A Fork In Me” or the title track. While You Ain’t Got No Proof doesn’t stray much beyond the familiar Southern Soul formula, it should be welcomed by fans of the genre.
Backstage with Gary and Duwayne Burnside at the Jim Dickinson Festival, Levitt Shell, Memphis
Gary and Duwayne Burnside helped me get backstage at the Jim Dickinson Festival Monday night, while Son of Mudboy was on stage. They were followed by Jimbo Mathus and the Tri-State Coalition.
I truthfully don’t know why this group is named the Plantation All-Stars, but they are well-known for performing on Beale Street and are a decent blues band, at least judging from yesterday’s performance at the Memphis Music and Heritage Festival.
I truthfully don’t know why this group is named the Plantation All-Stars, but they are well-known for performing on Beale Street and are a decent blues band, at least judging from yesterday’s performance at the Memphis Music and Heritage Festival.