He was only 16 years old at the time of release, but you wouldn't know it from the way he plays guitar – this kid has the chops some seasoned professionals dream of, and has gained a lot of respect for them. The big problem comes when he opens his mouth to sing – he does a credible job of trying to nail down that rough blues vocal tone, but he more often than not sounds just like a kid trying to get to a grown-up voice. Meanwhile, his band is well-worn and the songwriting is definitely up to par.–by Steven McDonald
Kirkland's newest album has it all! He speaks, he croons, he wails! His guitar grooves are tight, funky, and soulful!
Bluesy, edgy songs as only Kirkland can master. Includes an acoustic tribute to longtime Detroit Blues Brother, John Lee Hooker……
On this 2006 release, Tab Benoit, the blues guitarist who throughout his career has embraced virtually every shade of American roots music, reconnects to his earliest and most profound influences with the help of some old friends. The thirteen-track set features Benoit's solid guitar and vocal attack supported by the popular Louisiana band, LeRoux, with the addition of special guest appearances by some of the most seasoned country and Cajun songwriters and musicians of the past three decades: Jim Lauderdale, Billy Joe Shaver and fiddler Waylon Thibodeaux.
Features 24 bit remastering and comes with a mini-description. A sweet Atlantic soul groover from Brother Jack McDuff – and a set that has him tightening up his Hammond sound from his earlier years at Prestige Records! The tunes here are short and punched-up – almost instrumental soul numbers in their construction, but still filled with plenty of jazz – thanks to Jack's mad solos on organ, and some killer drums from Joe Dukes and Bernard Purdie! Other players include George Coleman on tenor, Cornell Dupree on guitar, and Buddy Lucas on baritone sax – and arrangements are by JJ Jackson and Jack himself.
It isn't exactly difficult to scoff at the Blues Brothers – beginning your musical career as a sketch on Saturday Night Live is not the best way to develop artistic credibility, and while Elwood Blues wasn't too shabby a harp player, his brother, Joliet Jake, sang only marginally better than that guy who used to impersonate Joe Cocker on late-night television. But no one ever bought a Blues Brothers album expecting a life-changing musical experience – these guys were there to put on a show, and putting on a great show is just what they did. It helped that Dan Aykroyd and John Belushi obviously loved the music, and they knew how to put together a killer band (any fan with the vision to hire Steve Cropper, Donald "Duck" Dunn, Steve Jordan, and Matt "Guitar" Murphy" to cover classic blues and R&B deserves credit for good taste, if nothing else)…
It's not as if Albert King hadn't tasted success in his first decade and a half as a performer, but his late-'60s/early-'70s recordings for Stax did win him a substantially larger audience. During those years, the label began earning significant clout amongst rock fans through events like Otis Redding's appearance at the Monterey International Pop Festival and a seemingly endless string of classic singles. When King signed to the label in 1966, he was immediately paired with the Stax session team Booker T. & the MG's. The results were impressive: "Crosscut Saw," "Laundromat Blues," and the singles collection Born Under a Bad Sign were all hits. Though 1972's I'll Play the Blues for You followed a slightly different formula, the combination of King, members of the legendary Bar-Kays, the Isaac Hayes Movement, and the sparkling Memphis Horns was hardly a risky endeavor. The result was a trim, funk-infused blues sound that provided ample space for King's oft-imitated guitar playing.