Charlie Musselwhite – Look Out Highway

Forty Below Records

www.charliemusselwhite.com

11 Tracks – 40 minutes

Charlie Musselwhite has been ingrained in the minds of blues lovers for decades as one of the leaders in the genre. In fact, he has been performing the blues for almost six decades now. Recognized as one of the masters of the blues harp and delivering consistently excellent albums with his easily recognizable voice and capable guitar playing, Charlie has received many accolades over the years including 13 Grammy nominations including one for his last release, Mississippi Son. His 2014 collaboration with Ben Harper, Get Up, won the Grammy for Best Blues Album. He further has won 33 Blues Music Awards among numerous other awards including the Blues Blast Music Awards. He was inducted into the Blues Hall of Fame in 2010.

Born in Kosciusko, Mississippi, his career kicked off in the 1960’s, when he relocated to Chicago as the blues revival surfaced alongside the likes of Muddy Waters, Howlin’ Wolf and The Paul Butterfield Blues Band. His debut album in 1967, Stand Back! Here Comes Charley Musselwhite’s South Side Band, quickly established his reputation and was further anchored by recognition by San Francisco’s then blossoming counterculture including his performances at the famed Fillmore West. And yes, the first album spelled his first name with a “y”. Now 58 years later and over twenty albums since released, Charlie continues to flourish with his passion for the blues and his constantly on the road lifestyle.

This new album was recorded at Kid Andersen’s Greaseland Studio in San Jose, California. It is marked as the first time that Chalie has recorded with his long-time touring band consisting of guitarist Matt Stubbs (GA-20), drummer June Core (Robert Lockwood Jr.) and bassist Randy Burmudes (James Cotton), along with Kid Andersen who has been in and out of the band over the years playing piano and organ and adding guitar on a few tracks. Kid also co-produced the album alongside Charlie’s wife and constant companion, Henrietta “Henri” Musselwhite, and Gary Vincent.

The title song opens the album. Charlie states in the liner notes “The beat came from an old gospel tune, and I just had it rolling around in my head until I caught the scent and found the trail that led to the melody and lyrics.” As would certainly be expected, it starts with a powerful riff from his harp, and he sings he is going “right on back to where the blues come from” in a statement about his constant travels. The soulful “Sad Eyes” speaks of a woman who “sure looks so lonely…it ain’t love baby, but it sure ain’t bad”.  Matt’s guitar is a standout on the song with June’s drums establishing a driving beat. He warns that there is a “Storm Warning” as “my baby is blowing back into town, I see clouds on the horizon and the rain will soon be pouring down”. ” I hear the thunder when she is coming, lightning when she walks.” Charlie’s harp accents the coming storm.

On “Baby Won’t You Please Help Me”, he wonders “come this time next year, I wonder where I will be”. He notes “I was born in Mississippi; I was raised In Tennessee. Looks like everywhere I’ve been, the blues have been tailing me.” A rocking “Hip Shakin’ Mama” finds him asking her “Won’t you do it twice” and notes “I love it when you wear that dress and the sun shines through”. He slows things down on “Highway 61” noting “I am just drifting through your town, just because I’m a stranger, don’t put me down.” and states “Highway 61 is the longest road I know, running from Chicago to the Gulf of Mexico”.

The sole cover on the album, “Ready for Times to Get Better”, was written by Allen Reynolds and originally recorded by Crystal Gayle. Vocalist Edna Luckett provides guest vocals alongside Charlie on the song. He says, “I have a dream I have been trying to live; it’s been burning holes in my mind”. “I gotta tell you I’ve been racking my brain, I gotta find a way out.” “Ramblin’ Is My Game” gets things jumping again in another tale of being on the road as he proclaims, “On the road to Tennessee, my baby took my car and the blues took me”. “I am a natural born rambler; my bags are always packed.” Kid takes the lead guitar duties on the song. Charlie picks up the slide guitar on “Blue Lounge” with Kid’s piano and June’s drum adding a sorrowful tone to a surprising instrumental perhaps invoking visions of a lonely night in a bar, sipping a glass of bourbon.

Charlie’s friend, rap artist Al Kapone performs on “Ghosts in Memphis”, a recollection of “When I’m in Memphis, it’s filled with ghosts, all my life I’ve been a drifter from pillar to post. While I have been diagnosed, I am not crazy, my friends”. “Ghosts live in the music”. The album concludes with “Open Road”, noting “Well, my baby she loves to ramble, she loves this old open road” “Well, my baby I know she loves me, she loves this old highway too.” “Well someday we hope we’ll find that road to take us on home. We’ll all be happy, no more need to roam”.

Almost sixty years on the road and as well documented in this album, it is a life he and his wife, Henri, loves. The album also is an expression of that love and a continuance of the effort and excellence that Charlie has brought to every album release in his career and is certainly no letdown with this newest release. Keep on rambling Charlie, we enjoy every minute of it.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

 Blues Blast Music Awards Submissions 

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Fees increase on May 1st so please get your music submitted NOW!

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Fabrizio Poggi – Healing Blues

Appaloosa Records

www.fabriziopoggi.com

10 tracks

Fabrizio Poggi is following up his Basement Blues release with another dip into his archives of material and has added some exceptional songs with his band and singer Shar White on vocals. Poggi has been nominated for a Grammy, Blues Music Awards and a host of other things in his storied career in Italy, here in America and beyond. With 26 albums under his belt, 4 books and countless live and television appearances, he is an accomplished harp player, performer and songwriter. He’s appeared with dozen of great performers and is blues royalty since becoming a Knight of Merit of the Italian Republic. Artists joing him on this album are noted in each track.

“I Want Jesus To Walk With Me” is a traditional spiritual piece with Shar White delivering some powerful vocals. Poggi is on harp, Francesco Marcheselli delivers some haunting oboe, Enrico Polverari plays restained guitar and Stefano Spina is on organ. Thoughtful and impressive work here by all involved. “Pilgrim” is an archival piece with the same players as above and with Stefano Resca on drums and percussion and Tino Cappelletti on bass. Poggi handles vocals on this mid-tempo cut with a driving groove and lots of Poggi’s slick harp.

The next cut was recorded at Poggi’s homes for his wife’s birthday. “Song For Angelina” is a duet with Guy Davis who sings and plays guitar while Poggi blows harp. It’s a pretty piece, a sweet ballad with acoustic guitar and lilting harmonica. “You Gotta Move Take 2” is another duet from his archives with Poggi being helped out by Polveri on guitar. This is a cool shuffle with Poggi singing and blowing with feeling along with some nice acoustic guitar work.

Guy Davis and Poggi deliver “Sonny and Brownie’s Last Train” live on television from 2018. Davis tells a story and sings about the Last Train as Poggi offers up some cool harp to accompany Davis’guitar and vocals. The spiritual hymn “Amazing Grace” features White again on vocals with the same ensemble as the first cut. Poggi opens with some passionate harp and then White delivers a somber and sacred version of this famed hymn.

Guy and Fabrizio team up again for “Walk On” and deliver another cool performance, this time from a live performance in America.”Mr. Slowhand” comes from Hubert Dorigatti’s Mephisto and features him on vocals and guitar. In addition to Poggi’s harp we have Max Castlunger on percussion and Laura Willeit on backing vocals. It’s a cool and restrained acoustic number.

“The Blues Is Alright” features Poggi, Polverari and Spina with Claudio Noseda on organ. Another acoustic cut, this one is an outtake  from Poggi’s 2014 Spaghetti Juke Joint. It’s a romping and jumping number. Poggi concludes with “Every Life Matters,” another new cut with Shar White. Polverari is on guitar and Spina plays bass, drums and organ. Another pretty ballad, this one features the crew adding some nice backing vocals. Poggi’s harp is sublime, White sings with deep emotion and the players are restrained and offer their music that adds to the feeling. The guitar solo is especially nice and Poggi follows it with equally slick harp.

I enjoyed this album. All the songs were quite good, but I especially loved the new ones with Shar White. His work with Guy Davis is also great. They seem to have a simpatico symbiotic relationship in making music together.  This is a fun set of tunes and I think blues lovers will enjoy them!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Kid Ramos – Strange Things Happen

Nola Blue Records

https://www.nola-blue.com

12 tracks

We all know Kid Ramos for his fantastic West Coast blues and his exceptional guitar playing. Here we have Kid reuniting with Pastor James Rasmussen, AKA Biker James, after many years. James had started his own church and reached out to Ramos to make this album. Ramos approached his friend of six years Brian Templeton. He then reached out to Stephen Hodges who  he played with in the James Harman Nand and them the Fabulous Thunderbirds. Next it was bassist Mike Turturro who Kid asked to join him; he was on two albums with Mike with The 44s. Kid’s son Johnny answered his Dad’s call and the players were set with Dave Limina’s addition (Berkelee School of Music and Ronnie earl’s band}. Horns were provided by Takazo and Kaizo Hall and Jesse Cuevas added accordion. An impressive cast of characters played on this project.

The project began with Rasmussen losing faith in funding his missionary work, so he decided to fund and Gospel and Spiritual album with musicians instead.to help spread the word of God and salvation. It worked. This is an amazing and great album.

Sister Rosetta Tharpe’s “Strange Things Happen Every Day” starts of this Gospel album as Templeton shows us his vocal prowess and Ramos lay out some pretty lick on the guitar. The organ helps take us to church as we take off on a great adventure giving praise to the Lord. Clara Ward’s “How I Got Over” that she sold over a million copies of beginning in the early 1950’s. It is a classic done by and made even more famous by greats like Mahalia Jacksin and Aretha Frankin. Here we have Templeton letting it all hang out as he sings with passion and grit. It’s a marvelous performance. Nice piano and organ work help make this even more special.

“I’m Working On A Building” is an old spiritual recorded many, many times by greats like The Carter Family, Bill Munroe, B.B. King, Elvis Presley, and many more. It’s a jumping cut and Ramos and Templeton give it their all. It’s a great rendition and the band supports the effort in tight fashion. Organ and guitar solos are nicely done here. “Oh What A Meeting” feature Johnny Ramos on lead vocals who delivers a super performance. He displays his faith and talents here with the band continuing their excellent work on this Soul Stirrers classic.

Next is “Jesus Dropped The Charges” where Templeton sings of being forgiven by Jesus’ grace. Done originally by The O’Neal Twins. Templeton’ own “An Answer for Isaac” is next. Ramos plays some mean guitar as Templeton sings with gritty fury and blows some nice harp, too. A little distortion and a driving beat make this one cool.

The hymn “God Walks The Dark Hills” has Johnny Ramos deliver the lead vocals passionately with his beautiful high tenor and head voice. The piano is featured as is Kid’s guitar on this pretty tune. Then it’s “Satan’s Jeweled Crown.” This one features Ramos on the 12 stringed bajo sexto and a cool Tejano vibe with accordion, piano and trumpets. All the guys share the vocals and it’s a great cover of this old Louvin Brothers song from 1959.

Templeton’s “Nobody but the Lord” is next. His vocals, the guitar and organ all get it done together on this cool original Gospel number. Dylan’s “Every Grain of Sand” gets a very spiritual cover by Templeton as he sings with deep feeling. Organ and guitar give us some impassioned performances here, too.

“More Love More Power” features Kid and son Johnny helping out on vocals. This is a modern Praise song that the Ramos’ rock out to. Solid electric guitar my Kid and a driving drumbeat make this one slick. The old hymn “I’m a Pilgrim” concludes the set. The song was first recorded by the Norfolk Jubilee Quartet in 1924. Other great musicians like Bill Monroe, The Byrds, Johnny Cash, Merle Travis and The Soul Stirrers have recorded this tune. Templeton delivers a final superb performance and Ramos lays out more great licks on his guitar. Piano and organ also play prominent roles in the performance, a fine conclusion to this album.

Gospel, Spirituals, Hymns and Praise music might not be for everyone but I am convinced that blues loves can find a lot here to enjoy, The music is fantastic. The intent is surely religious but the effort my Ramos, Templeton and the others is truly memorable and cool. Brian is a superb singer and adds some nice harp. Johnny Ramos sings like a male angel. Kid Ramos is an outstanding guitarist. Everyone on the album is a pro.

If you need some spiritual uplifting then look no further. West Coast Blues injected into Gospel makes for an amazing marriage of genres and styles. I’ve never heard Gospel done quite like this and I loved it. I most highly recommend this album!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Ian Siegal Meets Johnny Mastro – Easy Tiger

Continental Blue Heaven Records

www.iansiegal.com

www.johnnymaestro.com

13 Tracks – 48 minutes

Guitarist and vocalist Ian Siegal was born in Portsmouth, England and has been at the top of the blues scene in England for the past twenty years. After spending some time busking in Germany and touring around Europe, he released his first album, Meat and Potatoes in 2005. Mojo Magazine selected his album Broadside as blues album of the year. His band was selected in 2010 as Best Band at the British Blues Awards. He has subsequently received the awards for Best Solo Artist, Male Vocalist, Best Album, and Best Song and became one of the first inductees into the British Blues Awards Hall of Fame. In 2012, he recorded Candy Store Kids with the Mississippi Mudbloods, which was produced by Luther Dickinson and included Garry Burnside, Alvin Youngblood Hart, and Lightnin’ Malcolm among others. In 2016, he recorded Wayward Sons with Jimbo Mathis.

Johnny Mastro was born in Geneva, New York but now is based in New Orleans where his harmonica playing is well recognized. Johnny’s band has toured Europe many times over the past twenty years.

The two were signed to the Nugene record label many years ago, which is where they first met. The teaming of Ian Siegal and Johnny Mastro delivers a powerful, muscular driving blues rock. The album was recorded live in New Orleans in a studio that uses all retro equipment from the 40’s and 50’s to provide an old-school vibe recording all-analog, straight to tape. In addition to the two leads Josh Kerin joins on bass, Chris Davis on drums, and Smoke on guitar. This combined album is the fifteenth album release for both of the performers.

The album kicks off with a driving beat as Ian declares “Rosey came down to my door, said she wanted just a little bit more, Billie went out make a score, and now we are hitting it “Four on the Floor”. Next up, “Balling the Jack” is a song deeply grooved out of the Mississippi Delta with Ian’s wailing guitar and Johnny’s harmonica with Ian declaring he is “hungry for love”. He tells her “I’m Coming Home”, “Baby’ You Can get Your Gun”, “I’ve been out doing wrong”.

On “No Mercy” Johnny will get your head bobbing in a slow blues with Ian sailing along on the slide guitar noting “She threw me out like I was one of her old toys”. “Now I live my life in misery”.  Next, he advises my “Dog Don’t Hunt” and “My cat don’t scratch, darling you know you met your match”. They slow things down somewhat as he describes his girl as a “Skinny ass girl in tight ass jeans…she’s “Tall and Tight”. “The girl’s all right.”

They jump back to another rock ‘n’ roll number with “Miss Your Cadillac” in a shouting, slightly distorted vocal. Slowing things down again, it is questioned what is wrong in the world today noting everyone is “Quick to Gun”. In a slightly laidback song Ian says, “The stars align on a stage, I see it all in a blinding light / notes flurry in a rage, something don’t sit right…see the blues ain’t in its dying throes and it has always had its friends and foes… everybody always chose the man in the “Emperor’s New Clothes”.

Ian pulls out his slide guitar again as he talks about his “Wineheaded” baby who “used to be so fine”.  Next he states, “now goddammit I am in trouble, don’t know which way to go…and I’m sweating like a “Who’re in Church”. He tells her “I Won’t Cry No More” and “you ain’t gonna wreck my life no more”. “Oedipuss” is listed as a bonus track as he explains “She’s got no angles on the curves. Don’t try to wrangle, you’re gonna get stirred” with a touch of double entendre with the title.

The selected recording method certainly gives the intended raw edge to the music, stripped down to the essential guitar and harmonica with some excellent rhythmic backing and growling vocals. Well -written lyrics sometimes with tongue firmly planted in the cheek makes for a fun listen particularly if you are a fan of an old-school approach to the blues. Notes for the album says it “is like a 5 AM wake-up call in a sleazy motel – jarring, but ultimately necessary” and “feels like a sweaty musical hug”. Ian’s guitar is described as having ” stank that evokes distorted late night AM radio” and Johnny’s harp “which sometimes feels so dirty your ears might need a shower”. I can offer no better clarity than that.

Writer John Sacksteder is a retired civil engineer in Louisville, Kentucky who has a lifelong love of music, particularly the blues. He is currently the Editor of the Kentuckiana Blues Society’s monthly newsletter.

Have you ever met people whose warmth, power and presence were so charismatic you could feel it even through a Zoom call?  That’s what occurred when Blues Blast Magazine had the opportunity recently to interview living legend Bobby Rush and superstar guitarist Kenny Wayne Shepherd.

Singer and harmonica player, Bobby Rush, is long known for his unique blend of old-school blues and soul, and for his energetic performances, which often feature female dancers including the now well-known “Mizz Lowe”.  At age 91, Bobby is not slowing down one bit.  In fact, he appears to be speeding up.  This multiple Grammy Award and multiple Blues Music Award winner (and inductee into both the Blues Hall of Fame and the Mississippi Musicians’ Hall of Fame) has been involved in numerous projects in the last five years.  In 2019, he was featured in a cameo role in the film Dolemite is My Name, which starred Eddie Murphy. And in 2021, he published his memoirs in a book called Í Ain’t Studdin’ You. In 2024, Rush released the album All My Love for You, which won a Grammy for Best Traditional Blues Album, and he joined Bob Corritore to record a re-interpretation of his classic song, “I’ve Got Three Problems” on Corritore’s Doin’ the Shout! Album.  The current year finds Bobby joining forces with guitar master Kenny Wayne Shepherd for both an exciting new album called Young Fashioned Ways, and a 17-date tour.

Kenny Wayne Shepherd seemed destined for glory since appearing on the blues-rock scene at the age of only thirteen.  Within two years he had formed his own band, pairing his undeniable guitar talent with the hauntingly beautiful vocals of Noah Hunt.  Through the years, Kenny has clarified his musical vision, and has made some powerful additions to his band, such as Joe Krown on keyboards, Doug Woolverton (from Roomful of Blues and the Victor Wainwright Band) on Trumpet, and Charlie DiPuma on saxophone to form a bigger band sound.  He also participated in a project with Stephen Stills and Barry Goldberg, forming a supergroup known as “The Rides”.  Kenny, a five-time Grammy Award nominee, has released 17 albums and was quickly considered an icon in the blues rock world for his impressive, yet restrained guitar style. Like Bobby Rush, these past few years have also been a very busy time for Kenny.  He recently released the second volume of his Dirt on My Diamonds album and, in addition to touring with his own band, he has appeared in the Experience Hendrix Tour. The Experience Hendrix tour features a star-studded combination of guitar virtuosos honoring the memory of the great Jimi Hendrix.  Hendrix was one of Kenny’s main early influences and he was invited to join the tour.

“Yes, Hendrix was one of my biggest musical influences when it comes to playing guitar.  The Hendrix Estate puts on this concert with a lot of really great guitar players paying tribute.  So, I’ll be out for a couple of weeks doing that.  I do have such a great time doing that tour, but most importantly, it is a way of getting my hands warmed up for the tour with Mr. Rush.  You know–so, I’ll be nimble and can keep up with him on stage when we hit the road.”

In his book, Bobby has written about growing up initially working in the cotton fields, during the era of segregation and racial prejudices.  He was hired for one show where he was required to perform behind a curtain because the white audience did not want to see the color of his skin. He has also endured numerous tragedies, including the deaths of his first wife and three children due to sickle cell anemia.  Kenny is 47 years of age and grew up with a father who worked as a musical promoter.  That led to Kenny attending his first concert (Muddy Waters and John Lee Hooker) at age three and having the opportunity to meet artists like Stevie Ray Vaughan while he was still a child.  Due to their obvious differences in age and life experiences, a joint collaboration might not seem to be an obvious choice.  However, Bobby explained that he and Kenny actually had much in common.

“We’re both from Louisiana, and we both started young.  I started at fifteen years of age and had to paint a moustache on my face to get into the venues.  I was hanging around with guys who were around 25, and Kenny started even younger than fifteen, and he was hanging out with older guys as well.”  Kenny added, “when I put my band together at age fifteen, we had to get the law changed.  At that time, in Louisiana, they wouldn’t let anyone under the age of eighteen perform in clubs.  So, we had to get that done just to play.”

Additionally, Kenny has consistently noted the importance of showing respect for the pioneers of the blues, making it less surprising to think of him joining forces with Rush. Both Bobby and Kenny seemed equally excited about this collaboration, which was an idea that came to the two of them nearly simultaneously when they had the chance to briefly be onstage together at Kenny’s festival, The Backroads Blues Festival.  Kenny explained how it occurred.

“We both had the same idea at the same time.  I brought it up to Bobby as soon as we got off stage.  I said that I thought we should make an album together, and he said that he was thinking the same thing.  I think it was just the chemistry that we had onstage that made us realize that.  He just got up and took over and was doing his thing. and I felt like his thing complimented my thing.  There was just this chemistry between us and the audience was eating it up–they were loving it!  So, I thought there might be something here, and that one conversation was really all it took.  The plans started moving forward with us figuring out how to get in the studio.”

The album, titled Young Fashioned Ways, features some songs co-written by them specifically for the album, and a few re-interpretations of classic Bobby Rush songs. At times Kenny came up with the melody first, but for other songs, he composed music to fit with lyrics written by Bobby   Kenny had not previously heard the classic Rush songs, so his vision for the songs was not contaminated by prior expectations.  Kenny explained how the album was recorded spontaneously and how, despite the fact that he has recently been singing lead vocals much more often in his shows, he did not wish to sing on this collaboration.

“We went into the studio without much of a plan, and we just let the whole thing happen organically.  I did know one thing for sure, though.  I was not going to sing a single song on this record, because when you put my voice up next to his voice, well, in my opinion there is just no comparison.  When it comes to singing the blues, I’m going to leave that to Bobby.  I’ll play it on guitar all day long, but I’m going to leave the storytelling and the singing of the blues to Bobby, because he is 100 percent the real deal. “

Bobby’s vocals, storytelling, and performance skills are universally loved. Not everyone could get away with the sometimes highly sexualized use of female dancers, but even those who strongly pride themselves on their feminist beliefs can’t help but love Rush’s engaging performances.  He recognizes and appreciates this fact.

“I’m glad people have accepted me for who I am.  I’m just a blues singer—that’s what I do.  I’m one of the few artists who crossed over and never crossed out.  When I started to reach the white audience, I didn’t leave the black audience behind. And since we’ve been doing this album, I must have had 12-15 calls from Black radio stations who haven’t called me in twenty years, so I know we’re making an important statement.”

One of the songs from the album, Make Love to You, incorporates foot stomps and hand claps which make the listener feel almost is if they had been invited to a very special intimate jam session.  Bobby noted that it was Kenny’s idea to record it that way.

“We were in the studio, and I was doing something I always do, and all of a sudden Kenny got people in the studio and myself clapping.  That was his idea, and it worked.  I had nothing to do with it.”

Another song from the album, Who Was That?, is being featured in the latest Mark Wahlberg film, “Flight Risk”.  Kenny explained how that came to be.

“My father-in-law (Mel Gibson) directed that movie.  He and I were talking about the songs on this album, and he was really interested in the concept of the album, and said he was considering some songs for the opening scene of the movie.  He asked me to send him some songs once it was recorded, so I did.  Then they sent me a video clip of the song in the background of the opening scene, and I thought it worked really well.  It was as simple as that.  Those people take the music for films very seriously.  They don’t just throw something in—they have to think that it fits the scene and helps make the scene what it should be.  We were just glad to have it in the movie.  Sometimes it is with the little things that you might subliminally be planting a seed.  Maybe some people might not have listened to the blues before, but they hear it in the movie and say, ‘What’s that song?’ and, before you know it, we may have just converted a new blues fan.”

Kenny’s musicianship has always been extremely impressive, but it is noticeable that he has recently connected much more personally with the audiences, allowing them to see some of his vulnerability.  This makes his shows even more rewarding.

“That occurred just as natural evolution.  There are some things in music and business that are calculated and there are some things you just let evolve.  I used to be really shy.  I had long hair, and I would let my hair hang down and I would hide behind my hair and not really look at the people because I was so shy.  Then as I got older and more comfortable, I started looking at people and holding my head up.  I gained confidence in myself based on what I’ve been doing.  But even once I was no longer shy on stage, I still wasn’t very conversational.  That has evolved over time too.  I believe that people like to hear those stories.  They like to hear what inspires the music. So, I’ve incorporated some of that into my show.  It gives you a different kind of connection with the artist.  You’re already connected with them through their music and then you get to hear them speak and you get to hear some of the stories of how some of y our favorite songs came to be. And there will definitely be some of that on this tour, because Bobby is such a great storyteller.”

Throughout the interview, it was clear how much mutual respect Bobby and Kenny had for each other.  This respect influenced Kenny’s approach to the recording.

“Bobby has been doing this longer than I have been alive, so there was no way I was going to try to change him into anything other than what he is, because that’s what people fall in love with.  I’ve seen it happen.  He got on stage with us (at the Backroads Blues Festival), and you could just see the audience fall in love with him.  Some of the people at the festival had never heard of him before, but within moments he had them in the palm of his hand.  He’s worked his whole life to cultivate who Bobby Rush is as an artist, and it’s not up to me to mess with that at all.  He was one of the originators, one of the guys who helped mold the music that I love so much.”

Bobby expressed his appreciation for that respect, and for the freedom not to have to conform.

“I know how blessed I am that Kenny would look at me and invite me to his stage and his life, and accept me for who I am.  I want to let the world know that.  I thank Kenny so much for embracing me.  Muddy Waters didn’t get that when he came up, so it brings tears to my eyes.  Coming from where I had come from, as a Black man, it brought tears to my eyes that he would have the love for me and my music.”

In addition to respecting each other’s talent, they both were impressed with the work ethic of the other.  Bobby described Kenny’s skill at multi-tasking.

“You don’t know Kenny.  This guy gets up and has the phone in one hand and the guitar in the other hand.  He’s talking on the phone and rehearsing and watching the film from the latest video.  This guy has got nineteen things going on at one time.”

Kenny noted, “I’m just trying to keep up with Bobby.  He’s my hero now.  If I’m blessed enough to live as long and as full a life as Mr. Bobby Rush has, I just hope to have a fraction of the energy that he has.  I’ve never seen anybody work as hard as he does.  He’ll outrun people decades younger than him. With his work ethic and what he does, he’s been a real inspiration to me.  Look, my dad can’t keep up with him, and he’s much younger.  Bobby is blessed in many ways.”

When asked what audiences can expect from their joint tour, Kenny explained that not all of the details have yet been worked out, and the format might happen just as organically as the album recording did.

“We did some rehearsals, but everything is in flux until we get out there.  Right now, the plan is that Bobby and I will get together and open the show together in a very stripped-down type of format, just like on the record.  And we’ll play a bunch of songs from this record and give people that part of the experience.  Then, we’ll probably have an intermission, and I’ll come out with the Kenny Wayne Shepherd Band and do more of the big band production things.  Then we’ll bring Bobby back out and do a big encore.  At least that is the plan for the theater shows.  There’s going to be some festival dates where we can’t do an intermission, so that set will be different.  It will probably be sometime more similar to what we did at the Backroads Blues Festival, where Bobby comes up and joins my band.  But no matter what, it’s going to be a unique experience.  There’s going to be some Bobby Rush fans coming, and some Kenny Wayne Shepherd fans coming, and we want all of those fans to have a unique experience and see something that they’ve never seen before.”

Bobby agreed, noting, “I feel the same way.  I just want this to happen.  I don’t want there to be a separation on the stage.  I want there to be this lovey thing because I have love for Kenny, and he has love for me, and we have respect for each other.  He’s got this Texas sound and also has this Muddy Waters sound, and the Hendrix sound, and now he has the Bobby Rush sound.  That’s a wide range!  I want it to be like we’re one unit.  We may have to tweak it.  We don’t know where we’re going to—we’ll just have to find out.”

Many people say the blues is dying, but Kenny does not believe that to be true.  However, he does want to do his part to make sure the blues stays alive.

“People keep talking about trying to keep the blues alive.  We’re trying to keep it alive, but, in my opinion, the blues has never been on life support.  It’s already 100 years old and there are still new artists picking it up and breathing life into it.  We’re doing our part to continue the heritage and the history and also pushing the genre forward.  I think it’s important for young people to come in and experiment with it and try to come up with new sounds.  It’s important to maintain the traditional art form, but I believe it’s also important for artists to take the blues and try different sounds and push it in different directions.  That’s the way you will potentially reach new listeners.  The goal for me is to grab some of those people who maybe hadn’t heard of the blues and bring them into the blues community and turn them on to the people that inspired me.  The best possible thing for the genre is for people to hear artists like Bobby Rush.  He is still performing at an incredibly high level, but he is part of the generation that cultivated this music.  I know the talent I see in him, and I believe in the talent I see in myself, so the goal is just how to bring those two personalities together.”

Both Bobby and Kenny suggested that there is the strong possibility of a second album and tour, and both described their collaboration as “definitely one of the best things in my life.”  Blues fans should not miss the opportunity to experience this unique and power pairing.  You can find out more about Bobby Rush and Kenny Wayne Shepherd’s tour dates, as well as purchase albums and see the tour dates for the Kenny Wayne Shepherd Band at www.KennyWayneShepherd.net.  You can also learn more about Bobby Rush at www.BobbyRushbluesman.com.

Writer Anita Schlank lives in Virginia, and is on the Board of Directors for the River City Blues Society. She has been a fan of the blues since the 1980s. She and Tab Benoit co-authored the book “Blues Therapy,” with all proceeds from sales going to the HART Fund.

The Delta Sonics – Concrete Hotel

Self Released

www.deltasonics.net

10 tracks/44 minutes

This Colorado blues band mixes their brand of blues with a heavy dose of swing, NOLA, Delta and Rock and Roll music.  They are a solid band whom I’ve enjoyed in the past and here they have added Chicago to Colorado transplant Ken Saydak on piano to sweeten the mix.

It’s a hot group of players. Al Chesis fronts the band, plays harp and plays guitar on a couple of tracks. Bob Pelligrino play guitar, Alissa Chesis is on bass, and Willie Panker is on drums except for a pair of cuts featuring Andreas Schmid.

Lots of great guitar, harp and piano are featured on the opening track “Brand New Clown.” It’s a jumping cut about interesting relationships. The harp is dirty and cool, the piano and guitar are vibrant and it serves as a fine opener for the album. “Backtrackin Again” follows with more swinging and jumping blues. This one is an instrumental with a great run of greased up harp to enjoy.

Next us is “Raised By Wolves,” a great, slow Chicago blues with guitar and harp and done in a Howlin’ Wolf style. Al growls out the vocal lead and Saydak tinkles the keys with style. “Don’t Wanna Be Your Starter” is a slick cut where Al tells his woman he just wants to be her second stringer or pinch hitter, not wanting full time responsibility as a friend with benefits. The guitar work is solid and then we get some nice piano and later harp soloing– well done.

“Squeeze Mama” is a cool slower shuffle with nice picking throughout.  Saydak’s “Just Sayin’” follows, a ramping good time on piano. His barrelhouse style is super as he shows his mastery of the 88 keys.

“What’s Your Trip” is next, another cut above fading relationships. More cool guitar, piano and harp to savor here. “My Life’s an Open Book” is another slow blues shuffle with delightful guitar and another relationship gone wrong. Al adds another cool harp solo to round out the tune.

The title track features a little slide as Al wishes his baby well as she and he hit the highway, the concrete hotel. The guitar rings and slides sweetly as Chesis bemoans being broke. The final cut is Little Walter’s “Blue and Lonesome.” Slow and glorious Chicago blues done right is what this tune is all about. Chesis howls out the lyrics, the guitar emotes lonesome notes, the chromatic harp is full of woe as is the piano in this down and dirty conclusion to a fine album.

This is a really good set of tunes, 9 originals (8 penned by Chesis and 1 by Saydak) and a really nice cover song. Blues lovers will regale in this mix of jumping and swinging stuff along with some traditional tracks. There is nothing to dislike here, these guys are the real deal. I highly recommend this album!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.

Mike Dangeroux – Empty Chair

RD Records

www.mikedangeroux.com

6 tracks/24 minutes

Mike Dangeroux is a Berkelee School of Music graduate who resides in Chicago. This release highlights his story telling in each of the six original cuts.

Dangeroux handles the vocals, guitar and bass. On keysis Vincent Varco and on drums is Daron Casper Walker. Recorded locally, Dangeroux offers up some nice studio cuts.

“End Like This” opens the release. It’s a rollicking Chicago blues with nice guitar work by Dangeroux. The organ support is brisk and tight. Mike sings with passion, He continues with “Money Back.” Dangeroux sings of his economic woes with a deliberate and emphatic delivery. His guitar rings as he gets his groove on.

“Play My Cards Right” is next with more bright and cool guitar as he gets things rolling in this up tempo cut. The bass and drums set the pace as Dangeroux sings and plays with intensity. Next is “No Good For Me,” a thoughtful blues ballad with Mike singing with deep feeling. Dangeroux offers up another pair of short but intense guitar solos.

The cover track is next. Distorted vocals help set the mood in this song of lost love. Dangeroux picks out some nice riffs in this funky number. The final track “What’s Taking So Long” is a slow and pretty blues. The pacing is slow and cool as Mike growls out the lead vocals and picks out some cool notes on his axe. Lots of slick guitar solo work make this one special.

Dangeroux has shared the stage with Koko Taylor, Buddy Guy, Mississippi Heat and other blues greats. He plays regularly at Legends in Chicago. This is a nice little release and fans of Chicago blues will surely enjoy it!

Blues Blast Magazine Senior writer Steve Jones is president of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career since 1996, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program. He resides in Byron, IL.