Considering his nickname and near-anonymity at the time, it is surprising to realize that Wild Child Butler was already 55 when he made this CD. Although he had recorded very few released sessions before this album, Butler had been active most of the time since settling in Ontario, Canada…..
The music has the unforced feel of (Chicago's) blues of the late 30s and 40s without once sounding anachronistic. The five musicians (playing as a quintet) share the vocal duties, providing striking contrasts…All the material is original in the true sense, not just old blues with reshuffled lyrics and new titles, and the quintet interprets it with real conviction. Horton is featured on seven of the seventeen numbers. ~ Manchester, England Evening News
Brad Wilson is widely recognized as one of the best new bluesrock guitarists of our time! Power Blues Guitar LIVE is the follow up CD to the critically acclaimed 2015 studio release Blues Thunder by California guitar slinger Brad Wilson. Power Blues Guitar LIVE is a raw, unpolished live track CD featuring nine famous blues songs paying homage to some of the old blues greats like Willie Dixon, Robert Johnson and Muddy Waters. Brad takes each song and with loving care transforms them into his own with smokin' hot guitar licks and a superb rhythm section making this CD a complete tribute to the masters of the blues…
Since the early '90s Belfast guitar whiz Gary Moore has returned again and again to the blues, leaving his metal phase far behind. Old New Ballads Blues is exactly what the title says it is, a mix of old blues (covers of songs by Elmore James, Willie Dixon, and Otis Rush), new blues (five Moore originals), ballads (half the album) and, well, blues (by one definition or another, everything here passes for blues)…
And Still I Rise features mostly old blues material given a serious jolt of modernist energy, but without sacrificing any of the original character. The Heritage Blues Orchestra are like a more potent Carolina Chocolate Drops, their basic guitar, harmonica and handclap grooves given further colour and character by bustling drums and the inventive horn arrangements of French saxist Bruno Wilhelm. Their potent thump, twang and honk injects wallop into Son House's "Clarksdale Moan" and a fast, hard-rolling feel to Muddy Waters's "Catfish Blues". Elsewhere, railroad shuffles, swampy slide-guitar throbs, gospel call-and-response chants and a reggae-like take on Rosco Gordon's jump-blues slouch are applied.
Booker White (his name was misspelled on the label for Shake 'Em on Down when it was issued on Vocalion in 1937, and it stuck) turned his vigorous guitar style, heavy voice, and considerable songwriting abilities into 20 classic blues tracks between 1930 and 1940. Then, following a last session for Vocalion in 1940 when he recorded the striking and passionate group of songs on which his reputation rests (including the ultimately revelatory "Aberdeen Mississippi Blues"), White effectively dropped off the public radar. Until 1963, that is, when graduate students and blues fans John Fahey and Ed Denson sent a letter addressed to "Bukka White, Old Blues Singer, c/o General Delivery, Aberdeen, MS," in an effort to locate the man who had recorded a 78 rpm called "Aberdeen Mississippi Blues" some 20 years earlier. Amazingly, the letter actually reached White, who was still alive, although he had since moved from Mississippi to Memphis. The two budding blues scholars rushed to Memphis to meet him, recording the songs found on this collection one afternoon in the singer's room. These historic recordings. released as The Sonet Blues Story, reveal that White's robust guitar playing and his gruff, thundering voice had lost none of their vitality in the intervening years, and the bluesman delivers impassioned versions of some of his key tunes, including "Shake 'Em on Down," and the song that led to his rediscovery, "Aberdeen Mississippi Blues." White even takes a surprisingly nimble turn at the piano for "Drunk Man Blues." These sessions were originally released on Fahey's Takoma label, and although White went on to do other recording dates for small labels, he never sounded quite this intimate and impassioned again. The only minor complaint about this reissue is that the haunting version of "When Can I Change My Clothes" included here is mislabeled as "Parchman Farm Blues." Blues historian Samuel Charters eventually included these recordings in his Legacy of the Blues series, which in turn were released by a small Stockholm jazz and blues label founded in the '50s called Sonet Records. Listeners should start with White's stunning 1940 sides to get a real sense of this powerful musician, but these initial rediscovery tracks are only a notch or two less combustive, and are easily the best of White's later years. - Steve Leggett (AMG)
The Blues Overdrive, European Blues Awards 2015 Winners, for the years best blues album, "Clinch". “On this album we have tried to cut to the chase and get the sound as minimalistic as possible. It’s about getting into the core of the songs. We tease other genres and use fragments from tunes of old masters like Lightnin’ Hopkins and Robert Jr. Lockwood. That way we can keep within the blues tradition, but without it becoming a museum act or irrelevant in 2015.” “In blues circles too often there is too much focus on long solos and too little about the overall presentation of the songs! We are trying to avoid this the best we can!“ –Martin Olsen, Blues Overdrive