Peter Hurley has our feature interview with John Watkins. We have ten Blues reviews for you this week including new music from Denise La Grassa, Sauce Boss, Joe Krown Trio + 1, Robert Thurman, Marc Broussard, Bobby Parker, Earl “Guitar” Williams, Dave Haynes, Carmen Ratti Band featuring Jill Dineen, and Sherri Harding. Scroll down and check it out!
Denise La Grassa life has been a series of challenges that she has set for herself. As a five -year-old, she went door to door singing and selling poems and songs. As an eighth grader, she set the record for the most muscle grinds on a trapeze on a challenge issued by the Circus World Museum in Baraboo, Wisconsin. She toured nationally with The Second City Comedy group. She relocated to Chicago at age 20 to take on her desire to pursue a career in the blues world. Her willingness to tackle challenges shows up in her music. All lyrics on the album were written by her, and she shares the music credits with guitarist John Kregor on all eight original tracks with one cover song.
Denise’s deep-voiced singing stands out as uniquely different. She also plays the organ on all tracks with bassist Stephen C. Mansn and drummer Timothy Walker backing her on all songs with guitarists Alvin Santner and John Kegor. Stephen Ryan plays slide guitar on tracks 1,2,3 and 7 and special guest Pierre Lacoque plays harmonica on tracks 4 and 6. Denise describes her band’s sound as ” a blend of swamp heat, Chicago muscle, and spiritual mystique”. Describing this album “she says ” My faith is always with me. The internal blues you hear on this album is a prayer of trust that God hears me and others who long for a more just and empathetic world.” The album was supported by the Illinois Arts Council.
The album opens with “Big Bad Dream” in which she says she is “Hiding out on my basement couch far away from the madrigal play unfolding every day on the big-bad citizen stage.” “A heartbreak angel breaking her promise. Is there anyone honest?” “Living in the big bad dream”. A fast rhythmic vocal delivery gives a modern spin to hill country music. On “These Vain Games” she establishes that today “There is no place for modesty and honesty is respectfully ignored”. She then chastises “grandstanding every pocket sitting on a Sunday waiting for a record profit. Good reverend telling me about the best I can be living.” and further tackles “Shame names from politician stars. They never sound like Roosevelt or Rosa Parks. They make the news with whatever they say – I can make the world a better place with the truth I just erased.” “No world will stop these vain games”.
In a reflective, gospel-tinged songs, she asks, “Who Will Mourn You?” when you are gone, forgotten all the good you’ve done, sacrifices, no one praised you. Soothing souls through tears you made new. Every minute, every day, healing strangers love you gave away.” and she explodes toward the end of the song advising “I will mourn you when you are gone.” She then cries, “Boy the Blues Have Been Blue to Me” “robbing me of my dignity, drowning dreams in my sacred seas where I’m sailing away”. Pierre’s harmonica swings into a solo mid-song. “The Jesus Reel” is an open prayer. “Jesus, the whole world is turning dark, raging and roaring day in, day out. Preaching your teachings turned upside down, when are you coming. “Angels of mercy open the gates, run down from heaven and change their ways. Lead us from darkness, wake up our conscience.”
“I’ll Play the Blues for You” is the sole cover song, written by Jerry Beach and first recorded by Albert King in 1972. She captures the Chicago blues feel as she croons “If you’re down and out, and you feel real hurt, come on over to the place where we live and all your loneliness we’ll try to soothe, “I’ll Play the blues for you.” Steve Mann joins her for a duet on the song with Pierre’s harmonica again a central portion of the music. She goes back to her social issues in a rapid-fire almost rap delivery on “Go Down Laughing Good”. She cites “Read the news this morning, shook my soul awake. How millions of people could get so evil giving my heart an ache, put me in a panic for sixty days and after tons of tears, wine and beers, my Lord appeared and this is what he said. Let go of all the turmoil on my sunshine heaven day, don’t fret your heart, make a fresh start because fools disobey.” “If they’re coming round and if you’re going down, go down laughing good. Folks living in a hateful haze aren’t living life like they should.” The song ends in a cacophony of sound reflecting the turmoil suggested.
“Joyride” continues her examination of social issues noting “One day of glory, next day the story is destroying my sisters and brothers. What happened to the best of you? Who are you turning onto? Not the person I knew. Got to get a remedy for you.” The album concludes with “Go Bad Mouth Yourself” which asks you to step back and take a look at yourself before attacking others. She states, “girl said she done had about enough of you, she’s sick and tired of you trashing her name, look in the mirror fool, cause you’re the one causing her pain. Spending all her money on mighty fine things, driving her car, boat, living at her pad like a king…now she’s telling everybody what you’re all about, go bad mouth yourself, guilty as charged, you better get some help.”
The cover song shows Denise understands the classic take on the blues. But as she states in her bio, “I have my own voice and journey, and the songs coming out of me lately have been true to the blues that howls within me.” The songs on this album reflect the consternation that many feel today with many world issues and she gives those issues a modern spin to the blues. Social commentary has always been a cornerstone of many blues songs, and she captures that concern in her own take on the blues.
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.
Bill “Sauce Boss” Wharton, aside from being a singer-songwriter-guitarist, is known for cooking a pot of gumbo during his shows and his Liquid Summer Hot Sauce. The Florida based performer returns for more of his blues-based music with Neal Goree on guitar, Kendrick Jacobs on bass, Brett Crook on drums and a string section on two songs. He provides slide guitar and rough-hewn vocals. Eight of the ten songs are from his pen.
Sauce Boss compliments the rhythm of the short “Burn It Up” with his three-string frying pan guitar. An energized introduction to the recording. Neal Gore’s wah-wah guitar sputters nicely all around “I Wouldn’t Mind It”. “Ce Soir C’est Bon” is a rather lame attempt at a Cajun song. A string quartet is a good touch, but sometimes it is better to stick to what you know. The strings actually save it from mediocrity. The traditional “Mama Don’t Allow” features Sauce Boss on National Steel Guitar. The upright bass plunks along, adding authenticity along with Mr. Goree’s rockabilly inflected guitar.
“Try This” is funky as a monkey, with electric slide guitar and Family Stone thumping bass. It features a bit of an old man’s rap. A string section frames solo acoustic guitar and the Sauce Boss’s dramatic vocalization on the poignant “Smile In A Basket”. The traditional gospel blues “Don’t Let The Devil Ride” has The Boss on his ’33 vintage National Steel sparring with Neal’s electric guitar.
“Snugglin With My Baby” mentions Christmas, but it is hardly a Christmas song. It comes off more as filler. A good solo by Neal saves it from uselessness. Aside from the slide guitar, we’ve heard better odes to “BBQ”. Kendrick Jacobs quotes “We Got A Groovy Thing Going Baby” on his bass, a nice touch. They close out as they begun with a brief song in “Next Time You Leave”, vocal and acoustic guitar.
A few flaws, but all in all a good effort of blues and Americana inflected music. A very competent band supports Sauce Boss and his musical vision.
Reviewer Greg “Bluesdog” Szalony hails from the New Jersey Delta.
Featured Blues Review – 3 of 10
Joe Krown Trio + 1 featuring Papa Mali – Qualified
Louisiana musician Joe Krown has long demonstrated his mastery on the piano and organ. A mainstay in the New Orleans night clubs and music festivals, he also has an international reputation touring in Europe after making his European debut in 2001 at the Ingolstadt Jazztage in Germany. He performs regularly with many of the New Orleans artists but also expands to a wide range of other artists expanding from Mavis Staples to North Mississippi Allstars and Kenny Wayne Shepherd. He was a regular player with Clarence “Gatemouth” Brown and teamed with Jason Ricci for the Ricci Krown trio for a 2021 album, City Country City. Joe has nine albums released under his own name to date.
Joining Joe on keyboards in the Trio is Casandra Falconer on bass and backing vocals and Eric Bolivar on drums and backing vocals. The “+1” cited in the group name is featured guitarist and vocalist Papa Mali. Malcolm “Papa Mali” Welbourne was born in Vicksburg, Mississippi, was raised in Shreveport, Louisiana and now lives in New Orleans. he started playing guitar at age 4. At age 12, he saw The Meters play at the Madis Gras, which influenced his turn to the blues. By age 17, he was hitchhiking around the south joining various short-lived bands and busking in the streets. At age 20, he went to Jamaica and was exposed to reggae music. He performed as a member of The Killer Bees which became the first American band to play in The Reggae Sunsplash in Jamaica. They toured with Burning Spear where he was given his nickname, Papa Mali. Following a concert with Grateful Dead Drummer Bill Kreutzmann, the twosome joined together in a new band, 7 Walkers, which released a self-titled album in 2010. The songs were co-written by Papa Mali and the Dead’s composer, Robert Hunter and featured a song, “King Cotton Blues” featuring a duet with Willie Nelson. He has released albums under his own name and has produced albums by Ruthie Foster and Omar and The Howlers, among others.
The album features eight covers and three original songs. The title song was written by Mac “Dr. John” Rebennack and Jessie Hill in 1973. Joe provides a funky roll on the piano as Papa Mali declares “Your Cadillac ain’t no hipper than my bus stop”. “You might find me in the project slums, hanging out with all the skid row bums. I may seem sick and I may seem dumb. That don’t mean you know where I’m coming from.” ” I tell you now, I’m qualified”. “Juncopartner” was written by Robert Shad in 1951 and later covered by Professor Longhair. The song lets Joe have a lengthy piano solo with Papa Mali noting “the poor mans knocked out loaded, and he’s wobbling down the street”. Joe gets his boogie-woogie jumping on the classic dance song “Mess Around” first recorded by Ray Charles in 1953 and written by Ahmet Ertugan.
Cyril Neville guests on vocals on “Fortune Teller”, which was written by Allen Toussaint using the pseudonym, Naomi Neville, and first recorded by Benny Spellman in 1962. She read from her crystal ball that he “Had the fever. You are in love.” “I left there in a hurry, looking for my big surprise. But the next day, I found she had told me a lie”. He returned to the fortune teller “where I found I was in love with the fortune teller. Now I get my fortunes told for free”. Allen Toussaint’s soulful 1972 song “Going Down” features Joe’s organ with Papa Mali who tells stories of individuals “Losing his freedom and losing his soul. Now all he can is wait for the others.” “Mardi Gras in New Orleans” and alternately known as “Go to the Mardi Gras” was first recorded by Professor Longhair in 1949 but became more famous following Fats Domino’s recording of it in 1953. Krown drives the song with his piano with lyrics advising” If you go to New Orleans, you ought to go see the Mardi Gras. When you see the Mardi Gras, somebody’ll tell you what’s carnival for.”
Papa Mali provides the first original song, “Neckbone”, again featuring Joe’s organ in an instrumental also allowing Papa Mali to show some jazzy guitar solos. “Cry To Me” was a 1962 hit song for Solomon Burke written by Bert Russell. Papa Mali asks, When Your baby leaves you all alone, and nobody calls you on the phone, don’t you feel like crying?” A second Mali original, “Honey Bee” is next with Mark Mullins guesting on trombone in a slow stroll as he tells her, “You are always in my mind” ” People will come and people will go, but everything will pass. “
Joe provides the original instrumental “Under the Influence” highlighting his keyboard work with Jason MIngledorff guesting on sax. The album concludes with a cover of Allen Toussaint’s 1975 “Last Train” noting “This world is getting so much faster. It’s too sad – poor train are rolling down slow.” but in a more personal side he says, “You got me huffing and puffing and chugging like a choo choo train.”
Joe again proves he is certainly a master of the piano and organ and a sound representative of the sounds of New Orleans, although a few songs step away from that locale and shift into the soul and funk realms. Papa Mali blends into the band easily with his soulful vocals and easy guitar work.
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.
Robert Thurman is an artist, musician and poet from East Tennessee. Are We There Yet? follows the blueprint of his 2025 release, Burning Daylight, with Thurman accompanying himself on acoustic guitar on 13 self-penned folk-blues tracks together with covers of Son House’s “John The Revelator” and Bukka White’s “Fixin’ To Die Blues”.
The CD liner notes state that Are We There Yet? attempts “to express the intangible through tangible means. These are songs stripped down to their bare bones with just a voice and a heavily weathered Washburn guitar. As the southern gothic writer Harry Crews puts it ‘getting naked’.” The notes do not however provide any information about where or how the album was recorded, although the quality of the recording is good throughout. Thurman also has a evocative way with words, for example on “Unmarked Grave” where he sings “Spider webs and tripwires, glistenin’ with dew. Times change and rearrange, ain’t nothin’ you can. Hear the cicadas screamin’ and doves’ lonely coo. A hoot owl whispers destiny then calls out to you.” On the folky “Whose Appalachia”, his striking line that “the rain falls like twilight” is a beautifully evocative simile, capturing a poetic, transitional moment where the world softens, dims, and hushes. The spoken word closing track, “The Old House”, is quietly haunting.
Thurman’s guitar accompaniment is primarily based around simple strumming patterns on the likes of “Borrowed Time”, “Outer Darkness” and “Shagri-la” with the occasional picked single note lines, such as on “I Got Mine”.
There is a raw intimacy to Thurman’s performances and I have no doubt that he would be thrilling to hear live. The issue with Are We There Yet? is that the commitment of his renditions is unfortunately not always matched by his musicality. His voice often fails to hit the notes he is aiming for, which can give a weathered, intimate depth to a song, but can also be discordant and distracting, particularly when it recurs so frequently. Likewise, his guitar playing would sound better if the guitar were in tune.
No doubt there is a potential market for releases like Are We There Yet? but I suspect most casual listeners will need to proceed with caution.
Reviewer Rhys “Lightnin'” Williams plays guitar in a blues band based in Cambridge, England. He also has a day gig as a lawyer.
Marc Broussard got an early start playing music. His father is in the Louisiana Hall of Fame as the guitarist for The Boogie Kings. As a result, Marc was involved in the Louisiana music scene at a very young age. His home in Lafayette, Louisiana was a hotbed of music and encouraged Marc’s involvement in the local scene consistently through his adult life. He recorded his first EP at age 20 and many albums have followed. Several of his recent albums have been independently recorded in support of charities. Most recently he has recorded five albums to support the Save Our Soul Foundation, a charity that provides needy poor children help “to achieve their potentials in a safe, positive and nurturing environment. The S.O.S. albums are albums that feature song covers. S.O.S. V: Songs of the 50’s was recently released and noted that a portion of the funds for that album are to go to the Love of People, a Lafayette organization that Marc and his wife support and do volunteer work.
This new release was produced by Joe Bonamassa, Josh Smith, and Calvin Turner. All songs were written by Marc and Calvin with two exceptions. Joe Bonamassa and Josh Smith are also credited as co-writers on “You’ll Be Sorry” and “Let Me Take You Out Tonight”. Marc provides all vocals with Joe Bonamssa playing guitar on all but two tracks, Josh Smith also adds guitars and is the lead guitarist with solos on four tracks, Reese Wynans on keyboards Calvin Turner plays bass with Lemar Carter playing drums, percussion and drum programming. Steve Patrick and Tyler Jagger play trumpet with Barry Green on trombone, and Mark Douthit and Jimmy Bowland on sax. Marc’s earlier albums were referenced as “bayou soul”, but here he plunges into solid blues.
The opening track is pure Chicago style blues with Joe’s slide guitar burning and Reese’s piano throwing in on Marc telling her, “You’ll Be Sorry” when I’m gone”. “Trying To Do Right” is a softer, more mellow soulful song with Reese’s organ humming along as Marc says, “I keep, doing wrong” and asks “What is this lonely heart to do?” “Wish I could be a better man.” The horns kick in on “I’m Going Home”, with Marc declaring “I can’t be without you girl with you by my side. I would rather die”.
On “No More”, a quiet, lost love ballad with orchestral style strings, he begs her to “stay just one more night” and asks “Why don’t you love me no more?” Josh Smith takes the guitar lead on “Fever” with the energy taking a huge leap. Marc notes “You’ve never steered me wrong” and says ” I got a fever and the only prescription is you”. The strings return on “Chance Worth Taking” and shifts Marc back to his soul roots. He explains “I know that your hearts broken before. “Too many times left for something more. Feel like there is nothing more to do.” and asks her to “give me a chance, it’s one worth taking.”
“Let Me Take You Out Tonight” lets Josh take the guitar lead again and Reese’s organ swinging as Marc gets things rocking as he begs “Come on baby, give this old man a try”. He moves to a slow soulful, string-propelled “Sweet Love” where he tells “Everyone can tell you have a hold on me”. On “These Walls”, he cries “It feels so wrong. I could never say every bite, but I cannot go back and I don’t want to move along. Why should I walk away from the faith when there is no escape from the pain of moving on”.
On “Satisfaction Guaranteed he says, “You got something that no one could ever explain. Soon as you walked in, I just had to know your name”. “One way or another I am going to make you my wife”. Josh Smith’s lead guitar is featured on the next two cuts. Marc says, “I can’t explain what you do to me. It’s driving me insane. Everyone knows I am the only one at fault, no one but me to “Blame”. He hears her “Whispers” “in your dreams, but I push out the sound because it puts me through hell.” The album concludes with Marc paying tribute to his home state with Trombone Shorty performing on “Laissez Street Parade Intro” leading into “Laissez Les Bons Temps Rouler” which translates to “Let the Good Times Roll” with Marc declaring “tell you what I’m gonna do; gonna throw away my blues”.
Marc delivers a top- notch soul and blues rock album under the careful production and instrumental work from Joe Bonamassa and Josh Smith and the rest of the instrumentalists on the album. Marc’s remarkable vocals are always very soulful, but here he seems to extend his range further into the blues.
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.
Featured Interview – John Watkins
To say that bluesman John Watkins is back is to suggest he conjured a vanishing act. In a way, he did. After all, Watkins did hang up his guitar for a stretch; from the early ‘90s to 2015 when he left his active Chicago-based musical road-life for a more stable non-musical lifestyle in Detroit.
However, an invitation from the 2015 Chicago Blues Festival to reunite with his former Willie Dixon’s Chicago Blues All-Stars band mates, bassist Freddie Dixon and drummer Jimmy Tillman, provided a catalyst for a career reboot. The fest tribute to the senior Dixon’s life re-ignited a flame all three had shared on stage before Willie’s death in 1992.
“I’m glad I got the call,” said Watkins from his Motor City home. “Those songs Willie Dixon wrote never leave you, so we fell right back into them; after all, they are the backbone of the Chicago Blues canon.” The reunion was so successful, the trio re-formed and coined themselves the Original Chicago Blues All Stars and took up residency at Motor Row Brewery for a weekly Thursday night jam. The club was located on S. Michigan Avenue, just down the street from Chess Records studio, now a museum, where Willie Dixon had been such a vital part of Blues history.
“It was like coming home,” said John.” Since then, John has appeared continually on recordings and in one ensemble or another. “So, yeah, you could say I’m ‘back’,” he declared. “But maybe ‘resuming a chapter’ might be more correct. I’ve picked it back up.”
Watkins is related by marriage to the late greats Jimmy Johnson and Jimmy’s younger brother Syl Johnson who were an inspiration to the younger man coming up.
“Jimmy and Syl were my uncles,” he stated with family pride. “Jimmy was married to my Aunt Mildred Gulledge.”
The fact that he grew up directly across the street where his attic bedroom looked down upon the fabled Theresa’s Lounge in Chicago’s Bronzeville neighborhood adds to John’s Blues bona fides.
John took up guitar in about 7th or 8th grade but things truly kicked into gear when he attended Du Sable High School where instructor Captain Walter Dyett had established a renowned classical, jazz, and military music program. The Robert Taylor Youth Foundation across the street from Du Sable located in a church on 49th and State St. was even more instrumental in his development.
“I was in that band. I didn’t really know much about the guitar until then,” admitted Watkins. “In fact, I was playing it on my lap until a guy named Willie Earl Blackman straightened me out,” he laughed.
But learn he did. By age 16 he was sitting in at Theresa’s at night.
“I was a tall 16 so I could pass for older. I was going to school, working and playing too. That’s how my parents steered me away from the gangs that were so prevalent at that time.” Though the timeline is sketchy, “I can’t remember all the dates that far back, you know,”
He joined Theresa’s house band in his early 20s playing alongside the likes of Junior Wells, James Cotton, Buddy Guy and Uncle Jimmy Johnson.
“That was really where the deep Blues began for me. The players that came through there were the cream of the crop and legendary.”
John stayed until Willie Dixon hand-picked him from the bunch to join him on a tour. Watkins’ friend, fellow guitar & vocal great John Primer, tells the story about this transition.
“Well, I knew John and he wanted me to replace him so he could join Willie’s band,” recounted Primer. “I walked in one Sunday afternoon to meet Theresa and see what it was all about. She was known to keep a gun inside a doll, you know; the neighborhood could be rough. I saw Watkins over where the band played and he was riffing on a thing that was very big on the radio at time, ‘Play That Funky Music, White Boy.’ As I turned to walk over to him, the next thing I knew, I felt a beer whizz by my head that Theresa had tossed at John. ‘Don’t play that stuff in here,’ she shouted. “You know better; this is a Blues club. Blues only!”
“I was from the Southside and Primer was from the West side,” Watkins added. “We were supposed to be rivals because of the gangs at that time, but music bridged that gap between us. Theresa’s was like that; many people came together. It might have been rough on the outside, but it was welcoming on the inside. Theresa was tough but she didn’t turn anyone away who loved the Blues as long as they didn’t cause trouble.”
Watkins went on to join Dixon. On one of the first gigs, he experienced his first bout with stage fright.
“We were in Montreal at the Place des Arts, a big, grand venue. On the concert film (accessible on YouTube) you can’t tell, but I was scared, man. I had never played before that many people in my life! When we had gone out for a sound check, the theater was completely empty, so I didn’t think much of it. But when I stepped back onto the stage at starting time it was a full house and I was shaking, man. Willie noticed and knew at once what I was going through. He steadied me down; told me he had my back. I’ll never forget that, but I learned over time. There’s always something to learn in a long career and plenty of people to learn from whether it be a master musician or whoever. And it can be about what to do or what not to do.”
John’s vulnerability in Montreal made him an easy target for the humor of band mates, seasoned road vets and Willie’s sons, Freddie and Arthur “Butch” Dixon.
I remember we were on the way to play in New Orleans,” John related to author Linda Walker in her new book on the current Freddie Dixon Blues Band appropriately titled Blues Is In The Heir.
“I did a lot of the driving and, thinking I was now a bigshot, I decided to take us by Cruger, Mississippi and stop by my grandmother Idela Gulledge’s house to introduce her to Willie and my band. We pulled up in the driveway, and I’m thinking I’m doing something big. But, wouldn’t you know it? They all knew who my grandma was! She and Willie had a great big hug; ‘Idela!’ ‘Willie!’ They were well-acquainted from her time in Chicago and were close friends. Of course, no one let on until we got there. They had a big laugh over that.”
“That was a great tour,” John continued. “We played on the S.S. President, a riverboat. Stevie Ray Vaughn opened for us. Then I started to really pay attention because big stars like that were supporting bands for us. That’s when I woke up; ‘Alright, my boss must be famous.’ One day I went over to Willie’s house for dinner and the Rolling Stones stopped by.”
The list of luminaries that John shared bills with during the Willie Dixon years includes Blues giants B. B. King, Muddy Waters and Big Mama Thornton.
“Oh yeah, Big Mama hired me to put a band together for her to play at The Rising Son in Montreal. We had toured there, and she had heard the band. She sent word to Willie to let me stay, because she’s coming in the week right behind us, right? So, they left me behind and I put a Canadian band together, the best I could from the ones that I knew. Because I had been traveling back and forth, I got a chance to meet people. We played behind her for a week.”
Meeting and getting to know people were John’s forte. And learning from them; remaining open for knowledge.
“Right from the beginning I was a student, man. It was drilled in me because when you’re working that often, you know, everything becomes familiar. And everywhere I went, everybody I met taught me something as I went along.”
John’s time with the Dixon’s All Stars spanned many years but was peppered by time spent in other ensembles as well.
“I was in one band where everyone in it was named John,” he recalled with a smile. “Called it Johnny Dollar and a Few Dollars More. Johnny Drummer was in it, and I think John Primer was in it for a minute too.”
Dixon’s health had been waning from diabetes, and it took its toll. The band continued for a short spell after Willie quit the road but ultimately broke up. John joined Uncle Jimmy’s band. A tour of France was especially fruitful. John, who was sharing lead vocals and trading guitar leads with Johnson when performing live, was offered a chance to cut his first album under his own name with Johnson and the band backing him. Titled John “Mad Dog” Watkins, it is an especially tight and funky Blues affair featuring his most well-known song “Here I Am.” Today, the LP is a collector’s item and John hopes to re-release it himself when the opportunity presents itself.
“I’ll probably drop the ‘Mad Dog’ nickname from it,” John confessed. “You see, that was another joke played on me. It came from when I pretended to bite a guy by grabbing him on his lower leg when we were loading some equipment. I knew he was skittish about a stray dog that was snooping around so I took advantage of that by startling him. Turns out, he was the guy who designed the album cover and he slapped that tag on me without my even knowing about it to get back at me. What was a temporary inside joke became a thing that I’ve had to live down all these years,” he laughed.
Meanwhile, the song “Here I Am” found a continuing life as a cover by a handful of Blues artists including the late James Cotton and, most recently, Watkins himself on the newly released John Primer & Friends Tribute to Theresa’s Lounge. There’s also a version by a female singer recorded sometime in the last decade or so, forgotten with time.
“Try Googling ‘Here I Am’ and see what you get. Hundreds of different songs have that same title by dozens of singers, so I can’t remember her name,” he said regretfully.
Springboarding from Jimmy Johnson’s band, Watkins joined up with James Cotton for a spell where “Here I Am” became a staple of the master harpist’s repertoire and is the opening cut on James Cotton and his Big Band Live in Chicago on Alligator Records. Following this stint, Cotton’s management company grouped John together with Cotton’s horn section creating the John Watkins Blues Band which, fortunately for Blues lovers, has been immortalized in an hour and a half video, John Watkins Blues Band Live at Mississippi Blues Fest July 1990. (also on YouTube.) This high-powered Blues Funk band preserved on video features John at his guitar and vocal peak.
“That band was really something, man. Many of the musicians on it are still something.”
This group was together about 4 years and recorded an album called Living The Blues in Lake Geneva which John still hopes to release in the near future. From this point, certain lifestyle temptations caught up with the bluesman and a marriage was on the rocks; it was then that Watkins left Chi-town and followed his mother to Detroit to join her in a property buying and selling business where he contributed some home restoration skills.
“It was an important period for me,” he reflected. “I learned a lot about myself and created a less chaotic life.” After completing work with his mother, the car factories were still going strong, and he joined the auto line like many in Detroit. “It was steady and reliable. And hardly anyone knew I was a musician for a while.”
The return to the Windy City for the Willie Dixon Tribute kick-started a 10-year musical ride for Mr. Watkins. The stretch with the Original Chicago Blues All Stars triggered a release of a Willie Dixon’s Original Chicago Blues All Stars Inc—Gold, a deluxe CD package of live performances the group recorded in Oregon shortly after Willie passed. A few years later, Freddie Dixon, Watkins and Maurice John Vaughn released an acclaimed 2 CD set of standards mixed with a few originals called 3 x 3 and often tour together through Canada, parts of the U.S. and South America.
To bring it further full circle, Watkin’s most recent involvement in a recording and performance project is the aforementioned John Primer & Friends Tribute to Theresa’s Lounge recorded at Chicago’s JoyRide Studio and released on Primer’s own label, Blue House Productions. This re-assemblage of Theresa’s alumni was the brainchild of Lisa and John Primer to celebrate Primer’s roots. Watkins inclusion is fitting as it sheds a light on the long and illustrious careers of still thriving Blues musicians who cut their teeth in the environs of the fabled Blues club.
“So much came out of there,” said Watkins who leads the Tribute band through “Here I Am” on the album. “It’s a blessing that we’re still around – that I’m still around to do it. More than that, we’re viable working musicians with things left to say. The torch was passed directly to us by the Chicago Blues founders. Guys of that era like me, Primer, Billy Branch, Freddie Dixon – we owe it to the founders to keep it lit. And we’re proud to do it.”
In another full-circle instance, musicians, including Watkins, that John Primer had gathered for his Theresa’s Tribute CD opened the 2026 Chicago Blues festival at the Ramova Theater on June 4th. This much-anticipated reunion was a huge success and the reunion band went on to pack the house the next night at Rosa’s Lounge for the CD release party.
“It was great to be among old friends,” said Watkins.
What’s next for John Watkins in his resurgence? He gigs frequently as John Watkins Band and is invited to guest with other bands in Detroit.
“You got to pass it on, too.” He tours with Freddie and Maurice as ‘3 x 3’ whenever gigs arise. “Freddie’s also got his own band, ‘The Freddie Dixon Blues Band,’ and they have a CD coming out, so we’ll see.”
He’s slated to appear on July 16 at Willie Dixon’s Blues Heaven Garden next to the Chess Studio Museum to celebrate his birthday.
“We do that every summer as part of their Record Row Concert Series.” He’s booked to play in Brazil next Fall as a headliner. “We’ll put a band together for that,” he added.
“You know, I take it as it comes. And I tell everybody ‘Don’t give up on your passion. Because if you do that, you’re going to lose a lot; lose your soul and all that.’ I’ve been through a lot. And a lot of times I said I was going to quit and just give it up. But I never did. And now look at me right now, still touring, still having fun, still making money. Know what I’m saying?”
John Watkins speaks loud and clear—on and off stage. His musical gifts were hard fought and hard won. And those are the ones most worth hearing.
Journalist Peter Hurley is a noted Chicago Blues writer and photographer. Mr. Hurley’s passion for Blues music and its accompanying photography was first inspired by the 1960s albums Chicago Blues Today Vol. 1, Jr. Wells’ It’s My Life, Baby and the Chess Records Little Walter compilation Hate To See You Go.
Featured Blues Review – 6 of 10
Bobby Parker – Funky Children; Unreleased Home Recordings (1978-1985)
Self Released
Available on Amazon, Apple Music and More
20 tracks/66 minutes
Bobby Parker is a man whose musical career spanned from the 1950’s through the 1980’s and continued in the 2010’s. Born in Lafayette, Louisiana, and raised in Los Angeles, California, Parker picked up the guitar early and embarked on his musical journey. He began with Otis Williams and the Charms. He played lead guitar with many a great, including Bo Diddley (which included an appearance on The Ed Sullivan Show), Paul Williams, Sam Cooke, Jackie Wilson, LaVern Baker, Clyde McPhatter, and the Everly Brothers. He released svceral singles in that time.
In the late 1950’s, Parker joined the house band at the Apollo Theater in Harlem, and also toured with Chuck Berry, Buddy Holly, and Little Richard. He landed in the Washington, D.C. area in the early 1960’s and toured a bit while continuing to release songs. He spent a couple of decades mostly hovering around the D.C. area and finally released two albums in the 1990’s.
While not a big household name, he had some notoriety in the worlds of blues, rock, R&B, soul and funk. Steven Charles Cecil, Bobby’s keyboardist for two decades, was helping Parker move in the early 1990’s and saved a bankers box of Bobby’s home recordings from going to the landfill. This set of songs was culled from about 39 reels of tape Parker recorded in his home studio. There is little to no attribution of who joined him on the recordings.
Included here are songs not appearing on Bobby’s Black Top recordings. Most of the drums are tracks Parker used o back himself. He lays out the electric guitar parts and some wickedly heavy bass grooves. He also likely did some if not all the keyboards here. Some of the vocal tracks have some distortion that could not be completely corrected but are offered for their historical value.
There is some fantastic instrumental stuff in this album. The opener “Communication Breakdown” is a funky and heavy piece that is just superb. “Money Is Not Everything” is a slow and cool instrumental that is followed by the more upbeat “Don’t Send No Doctor” to conclude the album.
Songs like “Still in Love” and “Together” feature Bobby with unknown female vocalists that are quite cool and heavy, funky stuff. Cut’s like “Take You To School” feature some killer keyboard work and great vocals. Songs like “Kiss It” feature some outstanding guitar licks in a slow soul blues that are just sublime.
Some of the early tracks on the CD are the ones that suffered from distortion or damage, but over all this is quite the interesting collection of later stuff from Bobby Parker that are predominantly soul and R&B songs that he laid down by himself and with friends in his home studio.
While Parker is not that well known, he was iconic to many musicians. Carlos Santana named him as one of his three favorite guitar players. He appeared with them at Montreaux; Parker, Buddy Guy and Gatemouth Brown were that trio and all of which were recorded and released in their set entirety. In the 1970’s, Jimmy Pager approached Parker to sign with Swan Song Records and advanced Bobby two thousand dollars, but Parker never took him up on this great opportunity.
Parker was obviously a major talent who never gained the fame he deserved. This collection of music was forgotten in an attic for over 30 years. Luckily, most of it survived intact and it offers us a glimpse of a man many did not get to appreciate as much as they could and should have.
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.
Featured Blues Review – 7 of 10
Earl “Guitar” Williams – The Soul King Of Bessemer, Al
Well, this is a treat. The Soul King Of Bessemer, Al is Earl “Guitar” Williams’ fourth solo album, and his first on the Music Maker label. It’s also a flat-out delight from first note to last. Williams is a long-time veteran of the soul blues circuit when not running his own hair salon in Bessemer, and his experience shows in both his tasty guitar playing and his gloriously weathered voice.
The album erupts out of the speakers with “Flashlight”, an upbeat shuffle with Williams’ guitar to the fore, and a protagonist who is looking for his absent baby in daytime with a flashlight. This is good old-fashioned blues, not blues-rock pretending to be blues. Williams has a clean, muscular guitar tone that cuts through the mix without the need for distortion or volume. “Flashlight” is followed by a striking cover of “California Dreamin'”, which places the emphasis squarely on his wonderful voice (although, to be fair, the guitar solo is also first rate). Williams receives excellent support from his band: Jimbo Mathus on drums, guitars and keys, Bronson Tew on bass, and backing vocals courtesy of The Crimestoppers. Mathus also produced the album, which was engineered and mastered by Tew.
Recorded at the Music Maker Foundation studio in Fountain, NC, The Soul King Of Bessemer, Al is a powerful and hugely enjoyable reflection of the types of songs that Williams plays at home in Bessemer. Indeed, there is a sense throughout the album as if someone managed to record for posterity a typical Williams performance in a smoky juke joint on a hot Saturday night.
There are some oft-covered crowd-pleasing classics, such as “The Sky Is Crying” and “Howling For My Darlin'”, one or two unusual choices that absolutely succeed (the aforementioned “California Dreamin'”) and Williams’ signature songs “Can Of Alligator” and “Hey Mr Gip”. Throughout, Williams demonstrates his mastery of and versatility across soul (“I Know You Love Me”), blues (“Can Of Alligator” – with a special shout-out to The Crimestoppers for their sublime backing vocals on this track – and “Woke Up This Morning”) and even a hint of country (“74 Blues”). “Hey, Mr Gip” sees Williams break out his slide for a song dedicated to the owner and operator of Gip’s Place, a Bessmer juke joint in Henry ‘Gip’ Gibson’s back yard, operated by Gibson until his 2019 passing at 99 years old.
The album ends with with the threatening, lumbering half-spoken shuffle of “Bring Me My Shotgun”, which one suspects could stretch out delightfully in a live setting.
The Soul King Of Bessemer, Al is a superb release from Earl “Guitar” Williams. Beautifully recorded, top class performances and highly recommended.
Reviewer Rhys “Lightnin'” Williams plays guitar in a blues band based in Cambridge, England. He also has a day gig as a lawyer.
On his latest release, blues rocker Dave Haynes manages a trick that is sometimes difficult to accomplish, he sounds like himself. Part of the reason is because his voice is unique and partly because it’s seriously DIY. Haynes wrote, produced, sang, and played all the instruments (except drums) on the record. He recently said in an interview that many of the songs were inspired by a recent trip to Ireland. Haynes is British by birth, but Los Angeles-based. You can tell that he’s a rocker at heart, but someone with a wide swath of other influences and experience, including blues, pop, and punk.
Haynes has played the SoCal bar scene in recent years with an outfit called Sixes & Sevens, which has Lisa Meegan singing lead. This solo effort has a different feel with the axeman stepping out front to sing and doing all the writing. It’s a nice step forward from the series of singles Haynes released in 2022. The album is full of hooks and riffs and the choruses are memorable. The leadoff track has a dark edge with a first line “just got out of jail today” and the chorus warns us to “stay away from Cutthroat Alley”.
The second tune “Blood Money” is a slower vehicle to showcase some guitar pyro. Some of the lyrics sound like they come from a writer that’s had a run-in or three with the wrong end of the music business, like the catchy juke joint guitar and tambourine-driven “Trash Talkin’ Man” and “Protection Racket”, which is reminiscent of the themes in Bruce Springsteen’s “Atlantic City”. Some of the songs sound like a bluesier version of the pop-metal that L.A. produced in the late 80s and early 90s (dare I say Danger Danger and Cinderella).
The whole record focuses somewhat on shysters, boogeymen, survival, and the wrong side of town. “Blue Lights” is a moody mid-tempo number. “Holiday” is a glossy road trip song that would have fit in well in one of the Chevy Chase Vacation movies and sounds a lot like Fountains of Wayne (a good thing). It has strong rhythm and lead guitar work and tight harmonies. It’s the perfect way to end the album on an upswing and is the catchiest tune of the bunch. For a low-profile side hustle, this one is pretty cool. It’s available on the major streaming services and at the artist’s website.
Writer Dave Popkin is a Music News Reporter for WBGO FM in Newark/New York. He is a regional judge for The Blues Foundation’s International Blues Challenge and is a singer in the NJ-based band, Porch Rockers.
Featured Blues Review – 9 of 10
Carmen Ratti Band featuring Jill Dineen – Come to Me
Carmen Ratti has been involved in all aspects of the Northern California music scene. As a teen, he started playing drums but shifted to the guitar at age 20. Since then, he has played with many of the best musicians in the Bay area as well as producing, writing, and recording. Carmen has played with Johnny Burgin, Lynwood Slim, and Lara Price among others. Jill Daneen fronted the Chicago band Nora Blue before landing in Charlotte, North Carolina where she formed the Jill Dineen Band and recorded two albums. She studied vocal performance with The San Francisco Girls Chorus and the California Jazz Conservatory. Her tremendous vocal abilities led her to perform with gospel’s Laura Davis, jazz performers Laura Antonioli and Theo Bleckman, and with opera singer Mary Beth Puton in Paris. But blues drew her back, leading her to share the stage with Bob Margolin, Marcus King, Bob Corritore, Albert Cummings and many other blues artists. The blues moved her to join Carmen Ratti in 2019 and led to their debut album release, The Road Back, in 2021.
Carmen and Jill share the lead vocals on this, their sophomore album. Carmen also leads on guitar. Tony “Macaroni” Lufrano on piano and organ has played with Taj Mahal, Bonnie Raitt, Robben Ford and Boz Scaggs, among others. Bassist Steve Hazelwood played with Elvin Bishop. Drummer Randy Hayes toured with Chris Cain, Charlie Musselwhite, Laura Chavez, Tommy Castro and Debbie Davies. Carmen and Jill wrote or co-wrote all the songs on the album. Christopher “Kid” Andersen produced both albums for them at his Greaseland Studio.
“No Delusion” is delivered with a deep growling vocal as Carmen establishes a smooth, supple guitar rhythm that dominates the song with a pulsating drumbeat and solid organ underneath the sound as he declares, “Look Left, look right, somebody’s changing the world tonight.” Jill takes the lead vocal on “Get in Line” as she declares, “I know you are leading me on. That is just fine. You got to get in line. Just one smile across the room and it will turn into a laugh and a hand on the back. Just one word out loud got me talking to strangers and changing my standards.” Lisa Leusschner Andersen guests on backing vocals on the slow burning title song. Jill invokes a smoldering touch with Tony’s organ floating with the pinched notes from Carmen’s guitar emphasizing the emotions of the song. Jill smoothly tells him, “When the best of your nature just is not enough, can’t find your rest, it all seems to be too much. When the world cuts too close, gotta lick your wounds I know.” “Let me take it for you.”
They get things jumping again on “I Can See” as Jill tells, “Open up my eyes, scroll through the news. Looks like you’re messing around with anyone with shoes. I can see plain as day about you. I got a half a mind to tell the world the whole damn truth.” “Riley” is an instrumental tribute to B.B. King flitting through some touches of “The Thrill is Gone” with some superb piano and organ slid within Carmen’s guitar. “Blessing in the Blues” moves into a gospel and soul mix as Jill says, “We’ve come so far and then got so lost. So separated, just look at us. But if we face each other, tell the truth. We will find blessings in the blues”.
“Coming Down” features Tony’s Hammond with Carmen closing the song with a rousing solo. Jill cites “Sun comes up, I’m coming down. Too many nights wasted in this town. Out of control, living in a daze.” Carmen takes the vocal lead on the funky “About You” declaring “when you decide to make it all about you, you gave so little. Little won’t do.” “I will talk but I’m the only one there. Late night selling you in my air’. “Uncle Joe” is a second instrumental teaming Carmen’s jazzy guitar with Tony’s Hammond and piano and a solid drum beat from Randy.
Jill jumps back in with a declaration that she is looking for a “Pretty Good Man” and states, “Lord, don’t give me a pretty man. I don’t need all that show. Give me touch. Give me trust. Give me something down to love. I don’t need no man trying to tell me how to live. Don’t need no man trying to make me his wife.” The album concludes with “Come to Me (Extended Version)” which extends the song by two minutes and provides the opportunity for the instrumentals to stretch. Tony’s guitar resonates with a sound reminiscent of Peter Green,
Jill proves she has the vocal pipes to croon in a deep soulful cry, finding the emotions in her blues but easily jumps to driving, powerful rock when the music pushes that way. Carmen clearly is of the school that a guitar is not meant to be an instrument that constantly is used to deliver notes at a rapid speed. His touch is slow allowing his guitar to find the notes and feel of the emotions being delivered. Tony’s organ and piano playing are ever present taking his cues from Jill and Carmen keeping his playing solidly in tune with their approach but providing a smooth background or a jump into the foreground when called out. Randy and Steve add a solid rhythm section in every song. The album in total is a comfortable and passionate slice of soul and blues.
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.
Sherri Harding is a Canadian singer with a soulful voice. She builds on here relationship with the folks from Muscle Shoals and utilizes their horn group to help deliver an excellent album of original songs. Each song is a story unto itself, and Harding uses her talents to deliver each in a way that makes the listener pay attention.
Sherri handles the lead vocals and flute. The cadre of backing vocalists are Brian Cooper, Jeff Rogers, DeeDeeButters, Mackenzie DeMillo, Roxy Swan, Robert Farrell, Rob Holtz and Harding herself. Kevin Holly and Robert Farrell handle the guitars and Darwin Demers adds his to the mix on a few cuts. Clayton Connell and Jeff Rogers are on keys. Brian Cooper is the bass player. Jamie Holmes and Rob Holtz are on the drums and percussion. The Muscle Shoals Horns are Charles Roes (trombone), Steve Herrman (trumpet), Jimmy Bowland (baritone sax), and Brad Guin (tenor sax). The string section are Anne Lindsay (violin), Nancy Kershaw (violin), Claudia Vena (viola) and Amahl Arulanadam (cello).
“All Around The World Tonight” opens up the album, a bouncy and swinging cut with nice horns and guitar solo. Harding sings with ease and has a really smooth delivery. “Down In The Shoals” is a bluesy cut paying homage to her experience and work at Muscle Shoals. Stinging guitar, a choir of backing vocals and some good organ add to this one as Sheri sings with passion.
Next up is “Money Man,” a cut about a rich investment planner who took her to the cleaners. It’s another bouncy and swinging track with slick horns and a great groove. “Through It All” opens with some sweet guitar and then the organ comes in support as Sheri and Jeff Rogers share the vocal duties in a very soulful and poignant slow blues duet. The guitar and organ solos are quite nice, too.
“Rainy Day” is a midtempo rocking number with a nice vibe as Harding bemoans the inability to save enough for a rainy day. The great guitar licks continue. “Dark-Eyed Junco” follows, a jumping cut with some really cool percussion, guitar and organ. “Bad Weather” is a somber and thoughtfully done cut with some nice guitar and keyboards long with Sherri’s impassioned vocals.
“What’s The Matter (With My Heart)” is a cool cut with horns in full support. The guitar and keys are super and Sherri gives it her all. She switches gears with a pretty ballad entitled “”Tell Me You’re Mine.” There are some strings that help set the mood and the sax and piano are also nicely done.
The horns return for “Don’t Push On An Open Door.” It’s another rousing cut with Harding in command. The album concludes with the title track. Sherri sings with passion, there are some well done guitar licks and it’s a fine finish to a really outstanding album of songs.
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.
Denise La Grassa – A Crossroads Communion
Sauce Boss – With Extra Sauce
Joe Krown Trio + 1 featuring Papa Mali – Qualified
Robert Thurman – Are We There Yet?
Marc Broussard – Chance Worth Taking
To say that bluesman John Watkins is back is to suggest he conjured a vanishing act. In a way, he did. After all, Watkins did hang up his guitar for a stretch; from the early ‘90s to 2015 when he left his active Chicago-based musical road-life for a more stable non-musical lifestyle in Detroit.
“Well, I knew John and he wanted me to replace him so he could join Willie’s band,” recounted Primer. “I walked in one Sunday afternoon to meet Theresa and see what it was all about. She was known to keep a gun inside a doll, you know; the neighborhood could be rough. I saw Watkins over where the band played and he was riffing on a thing that was very big on the radio at time, ‘Play That Funky Music, White Boy.’ As I turned to walk over to him, the next thing I knew, I felt a beer whizz by my head that Theresa had tossed at John. ‘Don’t play that stuff in here,’ she shouted. “You know better; this is a Blues club. Blues only!”
John’s time with the Dixon’s All Stars spanned many years but was peppered by time spent in other ensembles as well.
To bring it further full circle, Watkin’s most recent involvement in a recording and performance project is the aforementioned John Primer & Friends Tribute to Theresa’s Lounge recorded at Chicago’s JoyRide Studio and released on Primer’s own label, Blue House Productions. This re-assemblage of Theresa’s alumni was the brainchild of Lisa and John Primer to celebrate Primer’s roots. Watkins inclusion is fitting as it sheds a light on the long and illustrious careers of still thriving Blues musicians who cut their teeth in the environs of the fabled Blues club.
Bobby Parker – Funky Children; Unreleased Home Recordings (1978-1985)
Earl “Guitar” Williams – The Soul King Of Bessemer, Al
Dave Haynes – Six Cuts
Carmen Ratti Band featuring Jill Dineen – Come to Me
Sherri Harding – Storyland
