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……
Taking inspiration from Charlie Christian and Lonnie Johnson, T-Bone Walker plays with an exceptionally elegant and relaxed style, the perfect foil for Charles Brown's piano. An innovator of this caliber could only spark emulation. T-Bone Walker's influence can be heard in B.B. King, Clarence "Gatemouth" Brown or Buddy Guy. Even Jimi Hendrix confessed his indebtedness. Today guitarists, like Duke Robillard, Pete Mayes or Otis Grand, still perpetuate his legacy. In 1962 he toured with the very first American Folk Blues Festival (with John Lee Hooker). T-Bone Walker subsequently performed in Europe on a regular basis, with a marked preference for France. In November 1968, Black & Blue took advantage of one of his tours to have him record the album "Feelin’ The Blues," rightly considered to be one of the best he made at the end of his career. We thought it appropriate to add a few titles from his sessions with Jay McShann and Eddie Vinson, recorded a few months later while T-Bone was doing a stint at the Trois Mailletz club in Paris. T-Bone Walker is surely the most jazzy blues musician, while McShann and Vinson are among the most bluesy jazz musicians! It was impossible for this confrontation to produce anything but success.
Now available on CD in Digipak format. Released for short time in 1993 on the indie HTD label and hard to find. Recorded at The Attic Bar in Stafford in September 1992, before an ecstatic home-town crowd. Only their second live album after 1974's iconic FM Live and of comparable quality. Features definitive Nineties line up of Colin Cooper, Lester Hunt, George Glover, Neil Simpson and Roy Adams. Contains long-time set opener Fool For The Bright Lights , their biggest hit single Couldn't Get It Right and classics Chasing Change and The Movie Queen . Band play on today with frontman Johnny Mars replacing the late Colin Cooper, and most of this repertoire survives in their set. Booklet with authoritative and extensive liner notes written by respected Record Collector journalist Michael Heatley. Expertly remastered superb sound - top quality reproduction. The best in the business!
On his Vanguard debut, guitarist Tab Benoit favors his usual workmanlike approach, serving up standard blues and Cajun riffs with ease. Though not technically flashy, Benoit is a solid songwriter with enough musicality to more than make up for the lack of fireworks. He can give his songs a restrained ("I'm Tired") or relaxed ("Raided That Joint") feel and he emotes as well as anybody on the title track. The rollicking "Crawfishin'" and "Jambalaya" recall Louisiana, and Benoit closes things off with the frenetically up-tempo "Bayou Boogie." The one possible misstep here is his take on the Willie Dixon classic "Twenty-Nine Ways (to My Baby's Door)"; anyone who remembers Koko Taylor's earthshaking version will find this one a little tame./quote]
Music was paramount in New Orleans, a town where they liked jazz with their blues. Regular blues musicians like Richard ‘Rabbit’ Brown got on disc when the record companies came to town. In general bluesmen and women came from out of town for their sessions, Texans like Lillian Glinn, Will Day, Oscar Woods and Blind Willie Johnson or Mississippians Bo Carter, the Mississippi Sheiks and Walter Jacobs, or out-of-towners like Little Brother Montgomery. New Orleans also saw the first recordings by fascinating Cajun musicians like Amédé Ardoin, Dewey Segura, Lawrence Walker and Cléoma Falcon, who put down their version of 12-bar blues.