Chicago Kings – Return To 50’s
Self-Release – 2022
14 tracks; 56 minutes
Demonstrating once again the spread and influence of the blues, here we have a band from Mexico City playing authentic Chicago electric blues taken from the masters of the style. Formed in 2019, the Chicago Kings made their debut album the old-fashioned way, with vintage equipment, and it shows as they recreate the music of the late 50’s and early 60’s. The band is harmonica player Ricardo Peralta who also sings on four tracks, vocalist Joel Zepeta who leads on six, guitarist Moises Mendez, double bassist Angel Miranda and drummer Anna Ibarra.
There is just one original instrumental here, alongside material from Little Walter, Jimmy Rogers and Muddy Waters, amongst others.
Ricardo shows where his inspiration comes from with three Little Walter tunes: opener “Off The Wall” sounds great and is soon followed by “Blue Light”, an extended slow blues feature for Ricardo’s harp; the third Walter tune is “Nobody But You” which Ricardo sings. Ricardo’s other vocals are on two Jimmy Rogers tunes, “What Have I Done” and “Act Like You Love Me”; he also leads on George ‘Harmonica’ Smith’s “Telephone Blues”, a slow blues which closes the album. Ricardo has quite a strong Spanish accent but carries the songs OK and he is clearly a good harp player.
Joel Zepeta sings on a third Jimmy Rogers tune, “You’re The One”, allowing Ricardo to play his harp behind the vocals. Joel’s vocals are less accented and a little stronger than Ricardo’s and this one bounces along well, notably through the sterling work of the rhythm section who sound solid throughout. Joel sings “Can’t Get No Grindin’” (correctly credited to Memphis Minnie, though Muddy’s version is the one everyone recognizes) and a pair of Muddy’s own songs, “Long Distance Call” and “Blow Wind Blow”, the latter one of the best cuts on the album with a driving but loose rhythm. He also tackles Sonny Boy II (Rice Miller) with a spirited take on “Don’t Start Me To Talkin’” and Walter ‘Shakey’ Horton’s “Hard Hearted Woman” which also features some tough sounding harp from Ricardo.
The album is completed with a leisurely stroll through Pee Wee Crayton’s “Blues After Hours” that puts the spotlight on guitarist Moises, the only track without Ricardo’s harp. The sole original is “Mojo Boogie” which does what the title suggests on a short, sharp, harp-led boogie tune, another winner.
As they say in their PR information, so much of what is dubbed blues today is “loud, high intensity and rock-influenced” but on this album the Chicago Kings remind us of the Chicago legacy and take us back to an earlier period of electric blues.
