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blues

Billy Bratcher

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Billy Bratcher – In the lobby

Cow Island Music – CIM 021
Big Time Woman – Who’s Sorry Now – TB BLues – My Walking Stick – The Sweeper and the debutante – Why – He calls That Religion – Sweet Sue, Just You – Any Old Time – My Melancholy Baby – Maybe It’s the Blues – Someday Sweetheart – Champagne Charlie – Diamonds Don’t Mean A Thing – This Hotel Room – Going Back To Tampa – She Ain’t Rose – If We Should Never Meet Again (This Side of Heaven)

Billy Bratcher

Billy Bratcher is well known for being the slappin’ drivin’ rhythmic force behind the rockabilly/honky tonk band the Starline Rhythm Boys. He also toured with Wayne “The Train” Hancock.

His debut solo album is a joyful collection of music from the 20s and the 30s (or at least played in that style for three of them), drawing upon the same source as Leon Redbone. Redbone’s influence can be heard throughout the album, and Billy Bratcher acknowledges it, but this collection of songs is very much his own. His arrangements are perfect, and the band, featuring saxophones, clarinet, trombone, cornet, piano, dobro, jug, bones, and a Venuti-esque violin, is simply perfect. Bratcher is a solid ragtime guitar player, but his voice wins the game most of all. If we had heard him sing harmonies and backing vocals with the Starline Rhythm Boys, little would we have known that he had such a beautiful and warm voice.

With In the Lobby, you have the perfect album to relax and chill. So sit in your favorite armchair, pour yourself a drink, close your eyes, and enjoy. Hey, look! There’s Dorothy Parker passing by. Won’t you buy her one, too?

Fred “Virgil” Turgis

Bill Hurley

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Bill Hurley and The Enforcers – Live In London

Cat Records – CAT047
Sweet Little Rock’n’ Roller – Mess of Blues – Need your Love – Lawdy Miss Clawdy – Nadine – The Hunter – Brown Sugar – If you Need Me – Blues Deluxe – Promised Land

Bill Hurley

After a live album (On the Road With…) and an unpublished 45 rpm from Inmates, the solo album from Peter Gunn, and an unreleased album from Bill Hurley (The Untold Story), the small label Cat Records continues its excellent work dedicated to the Rock cause with this time “Live In London” recorded in 1998 by Bill Hurley and the Enforcers.
A little step back, to re-contextualize, is necessary. By the end of the 1990s, the Inmates were playing much less, and each member, except Bill, took a day job to pay the bills. For his part, the latter set up a parallel group to tour pubs and other concert halls. The Enforcers were born. The lineup was never really steady, and different musicians played in the formation.
In August 1998, Bill and the Enforcers were hired to perform a series of concerts in Sardinia. The band then included Simon Mulvey on bass, Eddie Edwards (Vibrators, Inmates) on drums, and Eddie Angel (Planet Rockers) on guitar. It was decided to quickly record ten tracks (one day for the whole recording and mixing process) in order to have a cassette to sell at concerts. It is this recording that Cat Records, with the help of Eddie Edwards and Pat Collier (bassist of the Vibrators, but also producer of Inmates, Frenzy, Little Bob Story…) for the mastering, releases.

You won’t find a perfectly produced record with a polished sound here, much less any musical revolution. On the other hand, if you put the disc in your player expecting to hear a talented group expressing their love for Blues and Rock’n’Roll in its purest expression, there is no doubt that you have come to the right place.
The repertoire comprises only covers, most of which are quite well-known. But Bill Hurley’s powerful and inimitable voice is more than enough to infuse them with personality. The main focus is therefore on Rock’n’Roll with a superb Lawdy Miss Clawdy and no less than three tunes by Chuck Berry (Sweet Little Rock’n’Roller, Nadine, Promised Land) which, supported by a relentless rhythm section, rush forward without taking any prisoners. It’s also the opportunity to hear Bill confront the Rolling Stones directly with a dazzling and wild Brown Sugar, on which the singer is completely unleashed. The Blues is also very well represented by Mess Of Blues (which Bill has already covered in his album Angel to Memphis) and Blues Deluxe by Jeff Beck. Finding this track is unsurprising because Bill Hurley has often said that Truth was one of his favorite albums. On this one, Hurley achieves perfect synergy with Eddie Angel to take this cover to the album’s heights. Lovers of expressive guitar solos, this track is made for you. The set is completed by some Boogie-blues with Albert King’s The Hunter and a poignant Rhythm’n’Blues ballad with Need Your Love by Little Willie John (to whom we owe Fever and I’m Shaking). Even more moving is If You Need Me (by Solomon Burke but also performed by Wilson Pickett), a song full of soul that allows Bill Hurley to show the full range of his vocal talent.
Live in London is a short record—only 10 tracks—but it is a concentrated collection of raw energy and emotions.

Buy it here.

Fred “Virgil” Turgis

George Thorogood and the Destroyers

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George Thorogood and The Destroyers – Nadine

MCA Records – MCAD 20350
(previously released as Better Than The Rest)
Nadine – My Way – You’re Gonna Miss Me – Worried About My Baby – Night-Time – I’m Ready – My Weakness – Goodbye Baby – Huckle up Baby – Howlin’ for My Darlin’

Thorogood Nadine

The worst thing that can happen to a musician is slowly falling into a routine and losing the excitement of the beginning. It’s been quite a while since I’ve flipped over a George Thorogood album. I don’t mean they’re bad, they’re just a little exciting as they used to be.
“Nadine,” first published on vinyl as “Better Than The Rest,” reminds us how exciting George once was. This compilation is a collection of demos recorded in 1974 for MCA when the band was still looking for a contract. The band never got the contract, but these recordings were published by MCA by the time the Delaware Destroyers began to draw attention with their second Rounder release, “Move It On Mover.” Though it’s close to the first album, the sound is even rawer. Thorogood’s music has always been synonymous with sweat and beer, and it’s never been so true. The vocal is raspy (a good example is his version of Howlin’ Wolf’s “Howlin’ For My Darlin’,” the band is tight and nervous, and you can feel they definitely have something to prove. Of course, it’s not flawless, but it’s lively, and this is what this music should always be, right? As usual with George Thorogood (and the Delaware Destroyers), the program comprises Chuck Berry / Elmore James / Hound Dog Taylor Dog-influenced brands of boogie blues and some good rockers to make you bop and stomp your feet. Two acoustic songs bring some rest to the listeners after this flood of electricity: “Gonna Miss Me,” a variation around Muddy Waters’ “Can’t Be Satisfied,” and John Lee Hooker’s “Huckle Up Baby.” Some of the songs will resurface on later recordings in newer versions, but for the most part, you can find George’s versions of these covers only in this selection.There’s no musical revolution here, but who cares? This is just music to please your heart and drink a cold beer with. Fans of heavy-produced blues will disdain it, but true fans of authentic electric blues and early Thorogood’s album will like this one.

George Thorogood and the Destroyers – s/t

Rounder Records – 3013 [1977]
You Got To Lose – Madison Blues – One Bourbon, One Scotch, One Beer – Kind Hearted Woman – Can’t Stop Lovin’ – Ride On Josephine – Homesick Boy – John Hardy – I’ll Change My Style – Delaware Slide

George thorogood

Thorogood’s debut album, simply called “George Thorogood & The Destroyers” and released on the more bluegrass-oriented label Rounder, sets the (winning) recipe that’ll stay unchanged for many years. Thorogood is backed by the solid rhythm section of Jeff Simon, Billy Blough, and Ron Smith on “some tracks.” I remember reading somewhere that this album was first recorded with only Thorogood and Simon, but the label didn’t want to release it without a proper bass, so Bill Blough overdubbed his parts. It’s a deluge of slide guitar with Elmore James tunes (Madison Blues, Can’t Stop Loving), nods to Hound Dog Taylor, John Lee Hooker’s boogie (One Bourbon, One Scotch, One Beer) and Diddley beat (Ride On Josephine) and two Thorogood’s originals: Homesick Boy and Delaware Slide (that almost hits the 8’ mark). The whole thing is played with a youthful exuberance and a rock’n’roll attitude that are very refreshing and contribute to the success of this release. Add some acoustic numbers to calm the pace (a convincing Robert Johnson’s Kindhearted Woman and the traditional John Hardy), and you’ll get the perfect album to party and drink with your buddies.

George Thorogood and the Destroyers – More

Rounder Records – RR 3045 [1980]
I’m Wanted – Kids From Philly – One Way Ticket – Bottom Of The Sea – Night Time – Tip On In – Goodbye Baby – House Of Blue Lights – Just Can’t Make It – Restless

more George thorogood

Released in 1980, “More George Thorogood and The Destroyers,” the band’s 3rd album, finds George Thorogood at the dawn of breaking into the charts with the multi-platinum “Bad To The Bone.” And the sound reflects this slight evolution. It’s not yet the production you’ll find on Bad to The Bone, but since his first album and Move It On Over, the sound has polished a bit, and a sax player, Hank Carter, has joined the Destroyers. This exception made, the program is not very different from the previous albums, a good and solid mix of boogie blues inspired by John Lee Hooker (One Way Ticket), Elmore James (Goodbye Baby), Muddy Waters (an excellent rendition of Bottom Of The Sea where the rhythm section shines) and Hound Dog Taylor (Just Can Make It) with some detour by rockabilly (Carl Perkins’ Restless), a cover of Freddie Slack’s House of Blue Light and a powerful rendition of The Strangeloves’ Night Time. And, as usual, plenty of slide guitar. Before playing in front of thousands in giant arenas, the Destroyers proved with their first three albums that they were one of the best bar bands on the planet, able to make the audience laugh, cry, dance, and sweat.

George Thorogood and the Destroyers – Boogie People

EMI USA – CDP 7 92514 2 [1991]
If you don’t Start Drinking (I’m going to leave) – Long Distance Lover – Mad Man Blues – Boogie People – Can’t Be Satisfied – No Place To Go – Six Days On The Road – Born In Chicago – Oklahoma Sweetheart – Hello Little Girl

Boogie People

Released three years after “Born To Be Bad” and with the same line-up, “Boogie People” is in a similar vein but with a fuller production that serves Thorogood’s brand of blues better. As usual, he pays tribute to his heroes with covers of Chuck Berry, Howlin’ Wolf, John Lee Hooker (a mean version of Mad Man Blues), and Muddy Waters (an acoustic rendition of Can’t Be Satisfied).Lonesome George also has a couple of excellent self-penned numbers. The opener, the humorous and not politically correct “If You Don’t Start Drinkin’ (I’m Gonna Leave)” on which he complains about his sober girlfriend (Don’t give me no lectures / ‘Bout stress and strife / So-ber-i-ety / Just ain’t my way of life / You better change / Yes, I’m begging you please / Cuz if you don’t start drinkin’ / I’m gonna leave.) is a solid rocker; “Long Distance Lover” carries on the Elmore James/Hound Dog Taylor torch, “Boogie People” is a strong boogie-blues and “Oklahoma Sweetheart” a compelling country ballad. Talking about country music, they also cover Dave Dudley’s Six Days On The Road and turn it into a slide guitar festival. Boogie People is an excellent album, as good as any of his Rounder albums.

George Thorogood on Facebook.
Official website.

Unkool Hillbillies (the)

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The Unkool Hillbillies – The Corona Sessions vol. 2

Wham Bam Baloony / Rock My Blues Away [2021]

unkool hillbillies

Here are two more tracks recorded by The Unkool Hillbillies during the pandemic.
Wham Bam Baloony is a relaxed piano-driven number with a bluesy feel and a laidback shuffle. Otto Gryting returns and delivers a brief but excellent sax part.
Rock My Blues Away is not that original, but nonetheless, it is efficient. It’s a Rock’n’roll number with a slight Neo-Rockabilly feel.

The Unkool Hillbillies – The Corona Sessions vol. 1

Flat Top Boogie / So Long Mole [2021]

unkool hillbillies

The Unkool Hillbillies (Anders Umegård on piano/vocals, Fredric Bergström double bass, Mats Brobäck on drums, and Jonas Säfsten on electric guitar/backup vocals) recently went to the studio to record a couple of songs. To help us wait until their forthcoming album, two of them have been released as digital singles. Flat Top Boogie is a traditional piano-led rocker yet modern at the same time. It also features some tasty guitar licks. By listening to the intro of So Long Mole, you’d think (and be slightly afraid) that you’ll hear a Twist. Fortunately for us, it evolves into a solid rocker enhanced by the presence of guest saxman Otto Gryting.

The Unkool Hillbillies – Evil Times

Strawberry Records GET004 [2009]
Dangling On A String – Another Day Another Lie – Sarah – Wake Up – I Aint Mad At You – Just Your Fool – I’ll Do My Best – Jump Start My Heart – Linda Lee – Rock This Joint – Evil Times – It Hurts Me Too – Your The One – Dirty – Tore Up – Blisters – Stampen Boogie – Tell Me

unkool hillbillies

Don’t let the band’s name mislead you: this band is anything but uncool, and their music belongs more to New Orleans and Chicago than to the Grand Ole Opry.Featuring the pounding piano of Anders Umegarg and the fantastic blues harp of Richard Andersson (and both sing), a mean guitar, and a solid rhythm section, this 18-song (13 originals) album is a killer from start to finish.It’s a mix of Chicago Blues (Little Walter’s Just Your Fool), jumpin’ blues with an early rock’n’roll edge (Rock This Joint), Jerry Lee Lewis piano (Dangling On A String), New Orleans rhythm’n’blues featuring juicy saxes (Sarah), good old boogie woogie (Stampen Boogie) and some Blasters influences (Wake Up, Evil Time). They add diversity with three songs recorded live (Tore Up, Blisters, and Stampen Boogie), and guest singer Karin Johansson is featured on three tunes, including It Hurts Me Too (done initially by Tampa Red, although their version owes more to Elmore James). After all this, I’m not sure you’ll continue to call them unkool!

Fred “Virgil” Turgis

website: http://www.unkool.se/index2.html

Trixie Smith

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trixie smith

Trixie Smith – Vol 2 1925 – 1939

DOCD-5333
Everybody loves my baby (take 6) – How come you do me like you do? (take 6) – You’ve got to beat me to keep me – Mining camp blues (take 1) – Mining camp blues (take 2) – The worlds jazz crazy and so am I (take 1) – The worlds jazz crazy and so am I (take 2) – Railroad blues (take 1) – Railroad blues (take 2) – Everybodys doing that Charleston now (take 1) – He likes it slow (take 2) – Black bottom hop – Love me like you used to do – Messinaround (take 1) – Messin around (take 2) – Freight train blues – Trixie blues – My daddy rocks me – My daddy rocks me no. 2 – He may be your man (but he comes to see me sometime) – Jack I`m mellow – My unusual man – No good man

Trixie Smith

The first two tracks, recorded in January 1925, feature Phil Napoleon on trumpet, Miff Mole on trombone, Jimmy Lytell on clarinet, Frank Signorelli on piano, and Jack Roth on drums. The result is two lively versions of “Everybody Loves My Baby” and “How Come You Do Me Like You Do.”
The following month she recorded the next session with a new lineup of her Down Home Syncopators, which included Charlie Dixon on banjo, Fletcher Henderson on piano, Buster Bailey on clarinet, Charlie Green on trombone, and Louis Armstrong on cornet.
This session and the next one (March 1925) with the same backing band are more in a blues vein. Next to Mining Camp Blues, Railroad Blues, and The World’s Jazz Crazy And So Am I, you’ll find the unsettling and masochistic “You’ve Got To Beat Me To Keep Me.” Written by Porter Grainger, composer of the blues standard “T’ain’t Nobody’s Business If I Do” it features disturbing lyrics like “You’ve got to beat me to keep me, ’cause Mama loves a hard-boiled man / So don’t you let no man cheat me if he’s got a good right hand. / Beat me up for breakfast, knock me down for tea, / Black my eye for supper, then you’re pleasing me. / You’ve got to beat me to keep me cause Mama loves a hard-boiled man. / Mama don’t want no diamond rings, and she don’t want no swell clothes / Wail me daddy til it stings across my mouth and nose. / I don’t want no hug and kiss, / I don’t want no love and smile, / Beat me with your hand or fist, Papa like I was your child.” As you can see, it’s not your average “I woke up this morning, and you left me” kind of blues.
At the end of the year, she collaborated with Fletcher Henderson’s Orchestra to record four songs. These includes the lively “Everybody’s Doing That Charleston Now” and the excellent “He Likes It Slow.” Other tracks from the session were “Black Bottom Hop” and “Love Me Like You Used To Do,” which is quite similar to “Baby Won’t You Please Come Home.”

The song “Messin’ Around” was recorded in July 1926 with Johnny Blythe and his Raggamuffins. This lively and joyful number showcased Trixie Smith’s vocals and featured a top-notch band including Freddie Keppard and Johnny Dodds.
After a twelve-year hiatus, Smith returned to the studio in 1938, backed by Sidney Bechet, Sammy Price, O’Neil Spencer, and Teddy Bunn, among others. Better recorded and preserved, this session allows listeners to clearly hear Smith’s fantastic voice (and elocution) and one can regret she stayed far from the studios for so long. The material contains new versions of songs she recorded decades earlier (see Volume 1) and ranges from blues (Freight Train Blues, Trixie Blues) to swing (Jack I’m Mellow) and featured high-class performances from the band (Teddy Bunn’s guitar chorus on “Trixie Blues” is worth mentioning). In 1939, she recorded “No Good Man” with Sid Catlett, Red Allen, and Barney Bigard before disappearing and passing away four years later.

Available here.

Fred “Virgil” Turgis

Hociel Thomas & Lillie Delk Christian

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Hociel Thomas & Lillie Delk Christian – 1925-1928

Document – DOCD-5448
Hociel Thomas (1925-1926) gamblers dream – Sunshine baby – Adam and Eve had the blues – Put it where I can get it – Wash woman blues – Ive stopped my man – Deep water blues – Gwan I told you – Listen to ma – Lonesome hours - Lillie Delk Christian (1926-1928) Lonesome and sorry – Baby o mine (take a) – Baby omine (take b) – It all depends on you – Aint she sweet – My blue heaven – Whos wonderful! Whos marvellous? Miss Annabelle Lee – Youre a real sweetheart – Too busy! – Was it a dream? (waltz) – Last night I dreamed you kissed me – I cant give you anything but love – Sweethearts on parade – Baby – I must have that man

Lillie Delk Christian Hociel Thomas

There’s a clear contrast in styles and quality between Thomas and Christian. Both tried (and sometimes succeeded) to create a hybrid of jazz-blues-pop, and both have benefited from the presence of Louis Armstrong’s cornet. The comparison ends here.
Hociel Thomas hailed from a family of musicians. Her father was a renowned pianist, and her aunt was none other than Sippie Wallace. Unfortunately, Thomas often sings in a key where she isn’t at ease, which results in her sounding tired and not very engaged and even top-notch musicians like Armstrong can’t transform more than average material into gold.
Lillie Delk Christian is more interesting vocally, and her material is far superior (I Can’t Give You Anything But Love, Ain’t She Sweet, I Must Have That Man). This probably explains why the band gives a better performance. Noone (clarinet) and St Cyr (guitar) enliven the December 12 session featuring My Blue Heaven and Miss Annabelle Lee with gutsy accompaniment and fine solos. Armstrong appears six months later for the June 26, 1928 session. This session features the best, Too Busy, a bouncing number with Armstrong scatting, and the worst of Christian, Was It A Dream, a waltz that doesn’t allow the Hot Four to express themselves.
The last recordings lack a bit of swing in the vocals but are saved by a good rendition of I Must Have That Man.
This selection is an excellent addition to anyone interested in Satchmo’s early years and work as a backup band. Despite some flaws and, Lillie Delk Christian’s sides have a certain charm and are appealing enough for a curious listener and anyone who digs Annette Hanshaw with whom she shares a common repertoire and style.

Find it here.

Note: two more Christian tunes (Sweet georgia Brown and Sweet Man) can be found on Vocal Blues & Jazz – Remaining Titles Vol. 3: (1921-1928)

Fred “Virgil” Turgis

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