The liner notes of the new Boo Boo Davis album Name Of The Game say that the sound of his new album came from "a crazy idea" to lose the bass player and tour as a trio of drums, guitar and BooBoo on vocals and harp. If that's a crazy idea then here's to goin' full ape nuts.
"Unlike many modern blues bands, Boo Boo and his band focus on the groove, the feel, and the basic truths found in the blues. "
Proof: Do what you are supposed to do and ya wind up kickin' ass. I gotta admit, though, i'm over the trend of basslessness. Bass brings the sexy. Bass moves the bottom. Granted finding a bass player that isn't a frustrated guitarist and that won't play twelve notes when one note is all that is needed is difficult. But I digress. Boo Boo does indeed get down. Some folks are gonna be cranky at the harder vibe here and claim it to be rockish. What evs. That just means some folks ain't listenin' right. Boo Boo has scored a vibe that stomps and hollers between T-Model, Jimi, and Booba Barnes and other dirtier heavy weights to craft a blues at once fresh and trad. Damn fine work for a man outta Drew Mississippi who started out whompin' on empty lard cans for the family band. Carry on. The Name of The Game is Boo Boo Davis. Listen' up and learn how it's played.
Boo Boo Davis - Name Of The Game - Dirty Dog MP3 Boo Boo Davis - Name Of The Game - Tryin' to get ahead MP3 Boo Boo Davis - Name Of The Game - It's a shame MP3
Because most recordings today are so weak and glossed over we wanted to make the rawest, hardest rocking record we could. -Rupert Orton of The Jim Jones Revue
From the entrails of badass british bands you poor yanks have sadly never heard of comes THE JiM JONES REVUE. Brangin' the sick root of th'dirty boogie, the blues infested low-slung mojo baggie of crippy dope, profane beats, four to six string head cuttin' and utter key bangin' abandon to make sex, drugs, and rock and roll good and dirty again.THE JiM JONES REVUE throws down a thick hard hot wet & salty blast of deeply secular super rock to your face then slips it's sexy unwashed fingers in your ear holes. Recorded deepdeep into the red, totally live and straight to epic four-track in one forty-eight hour session with the charisma, chops and balls of Elvis, Carl, Jerry Lee, Johnny, Lux, Nick and ig. This is the jillion dollar quintet with the volume set to 40. Set to stun.
THE JiM JONES REVUE @ MySpace THE JiM JONES REVUE ONLiNE LiSTEN to more of THE JiM JONES REVUE on LASTFM
"The blues is a religion. You can hear it and feel just like you feel in church. Your head will bow, your eyes will close, hair will stand up on your arm. I can play it. I can make you feel it. I can. I was born in the country and raised up in town. I'm natural born able to shake'em on down." - Mark Porkchop Holder
Mark Porkshop Holder has just released his second album and it's a wicked simple sample of the big man's skills. Holder, former guitarist for the Black Diamond Heavies, has flown under the blues radar for too long and that's a damn shame because he's one of the finest guitarists out there. But hell a brother has to work for a living, right? Maybe the thing I dig most about Porkchop is he brings the sound of menace back to the blues. Case in point his super creepy evol cover of Robt. Johnson's Me & The Devil (thoughtfully chosen as track 13). Hell, i'd pay ten bucks just to hear Porkchop's guitar solo on this track! I've always dug Charlie Patton over Johnson but this may have me digging that Johnson box out again (he covers Johnson's Possession too). Speaking of Patton, Porchop drives the mans Stone Pony right back to Natchez where it belongs. Porkchop lays his slide down slow, loose and heavy on Johnny Cash's Delia and makes it even more mournful. But this album ain't all about covers. Holder's own works shine bright as well. Captain Captain is a work gang song that shows not only Holder's slide skills but his formidable harp chops as well. Dissappearing is an end of life heartbreaker. The guitar solo at the ends juxtaposes the traditional with a moving almost sitar-like sound. The short instrumental jam Wisconsin Johnson is a thrill ride homage to Deep Blues Festival bossman Chris Johnson. The set ends beautifully with his working of Mr.Blind Willie Johnson's Jesus Gonna Make Up My Dying Bed. Brother Holder I do not doubt that He will. Mark Porkchop Holder knows these songs and he embodies them. This is a simple well made recording of a man playing blues slide guitar, harp, and tambourine stomp box yet it has an emotional content and power that most full band blues recordings fail to realize. Each of the tracks here, be they slow, short or long, contain an undercurrent of urgency and drive and dark soulfullness that connects us, that we crave to make us more alive. Hell of a job by a hell of a man.
HEY! YOU! Porkchop can use your help. Currently in hospital for the next several weeks recovering from major surgery on his leg, though he has some insurance, he will need a major cash infusion to pay his share of the bill. If you can spare a measley ten bucks (hell you probably spend close to that on lunch!) Please Buy His CD! Better yet buy two and give one to a friend. You can Buy His CD from his secure MySpace page HERE! Thank You!
"See, I have a different type of music from other peoples. They playing the other kind of blues, and I'm playing cotton-patch blues.... Ain't nobody now can play the blues that I play."- Junior Kimbrough
Ten or fifteen years ago my father-in-law was clearing out some cds and knowing my interest in blues handed me a sampler calledAdventures In Music #28 sampler - Cotton Patch Blues. That odd sampler turned into something of a holy grail for a couple friends and I. Reason being that this sampler had three songs on it by Junior Kimbrough that none of us had heard of let alone heard before. The liner notes also suggested that there was an album somewhere out there recorded for the Goldwax record label.
And now you'll know, as the man said, the rest of the story.
In 1966 Junior Kimbrough traveled to Memphis from his home in North Mississippi and recorded for noted R&B/Gospel producer and owner of the Goldwaxrecord label, Quinton Claunch. Claunch was a founder of HiRecords (whose entire catalog will be reissued by Fat Possum Records) and is known as the man that gave JamesCarr and O.V.Wright their start. Junior Kimbrough recorded one session in one afternoon at American Studios. Claunch declined to release the recordings, deeming them too country. Forty some years later, Bruce Watson of Big Legal Mess Records approached Claunch to buy the original master tapes and the rights to release the recordings made that day. BTW the three tracks that appeared previously on the Cotton Patch Blues sampler were mastered differently than the Big Legal Mess release. These new found recordings by the late Mississippi hill country master are completely essential for any music fan.
"My songs, they have just the one chord, there's none of that fancy stuff you hear now, with lots of chords in one song. If I find another chord I leave it for another song." -Junior Kimbrough
Tons o' Thanks to my friend Jay Martin for his research and help and to Bruce Watson from Big Legal Mess Records for answering some of my questions and for taking the time to edit the orginal tapes into these fantastic six tracks. Salute!
"Junior Kimbrough is the beginning and the end of all music". -Charlie Feathers
"...and what makes it so good is that everybody is original, everybody has their own taste of the blues. Their own feeling of the blues. Their own form of the blues. Told in that way, that's what makes it historical - it will never die."
We're actually up to about 1200 friends on FB, which is really cool. Thx y'all!
Watch This Space!
The Cure for The Purist.
WATCH iT!
Bad Luck & Trouble as Travelogue Webcast! W/ yr hosts Jeff Konkel & Roger Stolle, and an array of Who's Who in hard blues!
Truth.
"...authenticity without evolution isn't authenticity, but mimicry. And not terribly authentic or interesting at all." -Ted Drozdowski
Via Folio Weekly Magazine
My 15 Minutes..14...13...
And, of course, that is what all of this is -- all of this: the one song, ever changing, ever reincarnated, that speaks somehow from and to and for that which is ineffable within us and without us, that is both prayer and deliverance, folly and wisdom, that inspires us to dance or smile or simply to go on, senselessly, incomprehensibly, beatifically, in the face of mortality and the truth that our lives are more ill-writ, ill-rhymed and fleeting than any song, except perhaps those songs -- that song, endlesly reincarnated -- born of that truth, be it the moon and June of that truth, or the wordless blue moan, or the rotgut or the elegant poetry of it. That nameless black-hulled ship of Ulysses, that long black train, that Terraplane, that mystery train, that Rocket '88', that Buick 6 -- same journey, same miracle, same end and endlessness." -- Nick Tosches, Where Dead Voices Gather
"My songs, they have just the one chord, there's none of that fancy stuff you hear now, with lots of chords in one song. If I find another chord I leave it for another song." -Junior Kimbrough
Got this yet? You need two.
Broke & Hungry Records 5 year Retrospective! Must Own.
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