The North Mississippi Allstars (NMA) are a Southern blues/rock group from (where else?) North Mississippi. Formed in 1996 and consisting of brothers Luther (guitar, vocals) and Cody Dickinson (drums, vocals) along with an array of other members over the years (including Dwayne Burnside, Lightnin' Malcolm, and Chris Chew), they have helped to bring the blues into the 21st century with their blend of North Mississippi hill country blues (a la Junior Kimbrough, R.L. Burnside, and Mississippi Fred McDowell), rock 'n' roll, and other more contemporary styles of music.
In 2003, the NMA released their third album, Polaris. Although it was critically acclaimed by some upon release, with Sean Westergaard of AllMusic noting its ambitiousness, many listeners were put off by the combination of the NMA's trademark blues/roots sound with elements of sunshine pop and even hip-hop/rap in parts. I imagine some fans may have been concerned about the band possibly selling out. Subsequent NMA albums returned to more of the roosty sound that they developed on their first two albums, and their live set since 2003-2004 has rarely included tracks from Polaris, making it something of an anomaly in their catalogue. Though they blended blues with more contemporary music in subsequent releases, they never did so as overtly as on Polaris.
So, is Polaris deservedly the black sheep of the NMA discography? Not exactly. While the pop elements certainly are striking, there are enough helpings of the NMA's signature sound that it still sounds like the same band that delivered updated classics like "Shake 'Em On Down" only a few years earlier. The album opens with a killer riff on "Eyes", which couples Mississippi John Hurt-esque fingerpicking in the verses with bright, sunny backing vocals on the choruses. It's a catchy number that kind of reminds me of The Wallflowers, but there's enough soulful grit to make you not feel guilty for enjoying it. "Conan" is similar in its combination of fingerstyle blues and modern sounds, but overall it's a little closer to the NMA's jam rock style. They cover Junior Kimbrough's "Meet Me In The City" in a laid-back, swinging shuffle, with an overall sound almost reminiscent of the Allman Brothers. There's also an Earl King cover with "Time For The Sun To Rise", although the thin, reedy lead vocals (it is not clear who is singing this one) are somewhat of a mismatch for this gritty New Orleans tune. There are solid blues riffs in "All Along" (a dark sounding, semi-acoustic piece), "Never In All My Days", "Be So Glad" (which also incorporates bits of rap, although in a creative and tastefully unobtrusive way), and the hidden instrumental "Goin' Home" (rerecorded 10 years later as a bonus track on their World Boogie is Coming album), which is probably the one track on this platter that is most reminiscent of the sound of their debut album, Shake Hands With Shorty.
What about the rest of the album? That's where the pop music elements come through most prominently. The tracks "Kids These Daze", "One To Grow On", and "Polaris" are well-crafted catchy pop tunes that are almost devoid of the North Missisippi hill country blues sound and sound reminiscent of the pop/emo-style music that was in vogue during that era (especially with the occasionally thin lead vocals). At times, the lyrics are generic and insipid. That being said, these pop offerings are still fairly enjoyable, even if they are unlike anything the NMA recorded before or since. "Kids These Daze" is a particular favourite for me, with a pump-it-up type of chorus that seems to capture and celebrate the vibe at live concerts, and "One To Grow On" has a quasi-gospel feel along with a string section. Another highlight for me is "Bad Bad Pain", which pairs a solid blues song with a drum machine, creating an overall sound that is reminiscent of Michael Jackson's "Thriller" (in a good way). My only gripe with this track is that it's too short; as soon as you start enjoying the groove, it packs up. Interestingly, Noel Gallagher supposedly guests on the album, but his contribution does not stand out (unless the liner notes were referring to a different Noel Gallagher and not the former Oasis songwriter/guitarist).
All in all, Polaris might not have been the most promising new direction for the NMA to pursue in their quest to continue the North Mississippi blues tradition in the 21st century, but it's not an effort to be ashamed of either. While I would not recommend it as an introduction to what this band is all about, it's still a solid record that is well worth hearing.
Tune in to CJSR's Señor Blues every other Saturday to hear tracks from albums like Polaris and other similarly underrated, rare, and/or lesser known blues gems as part of the semi-regular "Blues That Got Away" feature.
4/03/2015
April Fools 2015!
Have you ever wondered what a blues cover of a Bob Marley song would sound like? How about Sammy Hagar singing the blues? Are you curious about how the blues would sound on a banjo?
If you answered 'yes' to any of the above, tune into the annual April Fools' edition of Señor Blues this upcoming Saturday (April 4) from 7-9am MT on CJSR 88.5FM or online at cjsr.com. You'll hear all of the above and more wacky laboratory experiments in the wonderful world of the blues!
Good blues to you!
If you answered 'yes' to any of the above, tune into the annual April Fools' edition of Señor Blues this upcoming Saturday (April 4) from 7-9am MT on CJSR 88.5FM or online at cjsr.com. You'll hear all of the above and more wacky laboratory experiments in the wonderful world of the blues!
Good blues to you!
3/15/2015
Juno Awards 2015
Greetings, Señor Blues listeners!
On the last edition of Señor Blues, we listened to the five nominees for the Blues Album of the Year for the Juno Awards of 2015 (JW-Jones, Steve Hill, Steve Strongman, The 24th Street Wailers, and The Harpoonist and The Axe Murderer), as well as blues-related nominees from the Vocal Jazz (Molly Johnson) and Roots & Traditional (Matt Andersen) categories.
The winner of the 2015 Juno Award for Blues Album of the Year went to Steve Hill for his incredible one-man-band effort Solo Recordings, Vol. 2.
Congratulations to Steve Hill and to all of the other nominees for their awesome music, keeping the blues alive well into the 21st century! It was a close competition this year, that's for sure.
See you on March 28 with some more Señor Blues on CJSR 88.5FM.
On the last edition of Señor Blues, we listened to the five nominees for the Blues Album of the Year for the Juno Awards of 2015 (JW-Jones, Steve Hill, Steve Strongman, The 24th Street Wailers, and The Harpoonist and The Axe Murderer), as well as blues-related nominees from the Vocal Jazz (Molly Johnson) and Roots & Traditional (Matt Andersen) categories.
The winner of the 2015 Juno Award for Blues Album of the Year went to Steve Hill for his incredible one-man-band effort Solo Recordings, Vol. 2.
Congratulations to Steve Hill and to all of the other nominees for their awesome music, keeping the blues alive well into the 21st century! It was a close competition this year, that's for sure.
See you on March 28 with some more Señor Blues on CJSR 88.5FM.
6/07/2014
Summer Señor Blues Schedule
Hey there radio listeners!
Here is the up-to-date Summer 2014 schedule for Señor Blues, the biweekly Saturday morning blues program on CJSR 88.5FM:
June 21
July 5
July 19
August 2
August 16
Remember, Señor Blues airs from 7-9am MST on the Saturdays indicated above. Listen live on 88.5FM or online at cjsrfm88.blogspot.ca.
Cheers!
Here is the up-to-date Summer 2014 schedule for Señor Blues, the biweekly Saturday morning blues program on CJSR 88.5FM:
June 21
July 5
July 19
August 2
August 16
Remember, Señor Blues airs from 7-9am MST on the Saturdays indicated above. Listen live on 88.5FM or online at cjsrfm88.blogspot.ca.
Cheers!
5/23/2014
Señor Blues' Beatles Special - May 24, 2014
It was 50 years ago today... (actually, it was more like February 9, 1964) The Beatles made their first US television appearance on the Ed Sullivan Show, which helped to kickstart the British Invasion and a musical revolution that forever changed the face of popular music.
Though the Beatles had many diverse musical influences that they incorporated into their unique sound, some of their roots were in the blues. Liverpool, the Beatles' hometown, was a major port city, so this facilitated their access to imported music from the United States, including blues, R&B, and rock 'n' roll. The Beatles were also influenced by early rock 'n' roll performers, particularly Chuck Berry, Fats Domino, Little Richard, and Elvis Presley, all of whom had their roots in the blues. As they developed, the Beatles incorporated blues into their music by way of rock 'n' roll on their early records and later as they returned to a more roots-oriented sound in the late 1960s. After their breakup, the Beatles individually maintained ties to the blues to varying degrees; for instance, John Lennon's "It's So Hard" and "Well, Well, Well" are very blues-oriented performances and Ringo Starr played drums with Howlin' Wolf, B.B. King, and most recently, on Kenny Wayne Shepherd's latest album, Goin' Home.
In honour of the Beatles' first US television appearance and their subsequent impact on popular music, the May 24 edition of Señor Blues will be mostly focused on the Beatles and their unique connection to the blues. Tune in from 7-9am on May 24 to hear blues/R&B/rock 'n' roll artists performing Beatles classics, the blues/rock 'n' roll roots of the Beatles, and, of course, the Beatles themselves playing some blues, both as a group and as solo artists. "A splendid time is guaranteed for all!"
Though the Beatles had many diverse musical influences that they incorporated into their unique sound, some of their roots were in the blues. Liverpool, the Beatles' hometown, was a major port city, so this facilitated their access to imported music from the United States, including blues, R&B, and rock 'n' roll. The Beatles were also influenced by early rock 'n' roll performers, particularly Chuck Berry, Fats Domino, Little Richard, and Elvis Presley, all of whom had their roots in the blues. As they developed, the Beatles incorporated blues into their music by way of rock 'n' roll on their early records and later as they returned to a more roots-oriented sound in the late 1960s. After their breakup, the Beatles individually maintained ties to the blues to varying degrees; for instance, John Lennon's "It's So Hard" and "Well, Well, Well" are very blues-oriented performances and Ringo Starr played drums with Howlin' Wolf, B.B. King, and most recently, on Kenny Wayne Shepherd's latest album, Goin' Home.
In honour of the Beatles' first US television appearance and their subsequent impact on popular music, the May 24 edition of Señor Blues will be mostly focused on the Beatles and their unique connection to the blues. Tune in from 7-9am on May 24 to hear blues/R&B/rock 'n' roll artists performing Beatles classics, the blues/rock 'n' roll roots of the Beatles, and, of course, the Beatles themselves playing some blues, both as a group and as solo artists. "A splendid time is guaranteed for all!"
5/09/2014
The Robert Cray Band: In My Soul
The Robert Cray Band’s new album, In My
Soul, is, in a word,
soulful; the feel of the music contained
within is actually very much rooted in soul music and R&B (as well as the
blues, of course), which Robert Cray has specialized in since he
first burst onto the blues/pop scene in the early 1980s. This, along with the strong
songwriting and covers, impeccable musicianship (with several new members of the Robert
Cray Band in tow), and crisp production work by drummer/producer extraordinaire
Steve Jordan, makes In My Soul
my favourite Robert Cray album. Period.
The Robert Cray Band kicks things off with
“You Move Me”, an uptempo soul/R&B workout in the vein of classic Stax
recordings from the 60s (with a catchy bass-line somewhat reminiscent of the
Rolling Stones’ “Under My Thumb”). Right off the bat, Cray’s vocals convey a
yearning quality that works well with the song’s subject line. His guitar work
is nimble as ever, but on this album, his Strat tone rocks with a bit more dirt
than usual (although the EPK shows Cray occasionally wielding a hollowbody electric guitar – not an instrument I had previously associated with his
sound!). It’s different from his cleaner work from the 80’s and 90’s for sure,
but it adds more blues grit to the sound.
Other highlights for me include: “Hold
On”, a smooth R&B ballad with some interesting chord changes, a passionate
vocal, and a moody atmosphere that fits the song to a tee; “I Guess I’ll Never
Know”, a mid-tempo R&B groove with some tortured-sounding lead guitar and
reggae/dub-esque horns; “Pillow”, the bonus track (at least on the Deluxe
Edition of the album), which features some jazz-like chord progressions and a
sweet, soft vocal delivery by Cray; and “Deep In My Soul”, which is a Bobby
“Blue” Bland tune, and serves not only as the title of the album but also as Cray’s heartfelt tribute to the legendary blues singer, who passed away in
2013. The only song I did not care for as much was “What Would You Say”; it’s
not a bad song at all, but its acoustic alt country-esque vibe clashes with the
urban R&B sounds heard elsewhere on the record.
I could go on forever talking about how
much I love this album more and more with every spin. Instead, let me just
finish by saying that In My Soul
is a sure-fire contender for the Señor Blues Best Album of 2014… honour. Tune
into Señor Blues every other Saturday morning to hear more of this fine new
blues release as well as many other blues songs, both new and vintage!
4/11/2014
(Belated) April Fools!
Have you ever wondered what a version of "Like a Hurricane" by Jeff Healey would sound like? How about the Kinks circa 1968 riffing on the "Smokestack Lightnin'" riff? And did you know that Spin Doctors (responsible for classics such as "Two Princes" and "Little Miss Can't Be Wrong") recently recorded a blues album?
Tune in to CJSR 88.5FM (or cjsrfm88.blogspot.ca to listen online) tomorrow (April 12, 2014) for the (Belated) April Fools edition of Señor Blues, where you'll hear all of the above and more surprises!
3/12/2014
"Buddy Guy and Junior Wells Play The Blues: The Deluxe Edition" review
Wow! Long time no write. I suppose I better make up for the lost time with some new reviews of new and newly-released/refurbished blues. Who better to start off with than one of the most beloved blues duos of all time?
Listeners of Señor Blues have probably realized that I am a huge fan of Buddy Guy and Junior Wells, both solo and together; Hoodoo Man Blues, their first recorded collaboration from 1965, is in my Top 5 Favourite Blues Album list. That being said, their 1972 collaboration, Buddy Guy & Junior Wells Play The Blues, is not one of my favourites from their extensive catalogue. Despite its production by musical heavyweights Ahmet Ertegun and Eric Clapton (around the time of his "Layla" period and also, unfortunately, a debilitating drug addiction), and the presence of some fine supporting musicians on the disc including saxophonist A.C. Reed, pianist Dr. John, and even the J. Geils Band on two cuts, I have always felt that it is a fairly dull recording, with lifeless performances, weak song choices, and a thin, monochromatic tone overall. Though it has gained some favourable reviews over the years, Buddy Guy, Dr. John, and Eric Clapton have all gone on record stating their disappointment with the finished product. The highly imaginative (har har) album title speaks for itself!
If I wasn't particularly enamoured of the original recording, why on Earth would I want to purchase a deluxe 2-CD edition of it? Two words: bonus tracks.
Yes, in the digital age, it is almost routine that reissues of older albums are peppered with bonuses of varying quality -- you might get rare photographs, new liner notes, alternate mixes, mono mixes, radio mixes, perhaps even quadrophonic surround sound mixes. In the case of Buddy Guy & Junior Wells Play The Blues, you get three bonus tracks on Disc One (which contains the original ten-track album) as well as an entire second disc's worth of bonus material (well, maybe more like "album's worth", since it clocks in at around 60 minutes). And these are not your garden variety alternate mix bonus tracks either (not entirely, anyway) -- the majority of the bonus material consists of unheard tracks from the original 1970 sessions that spawned the original album.
I have read that the original recordings were actually shelved in 1970 because the record company did not feel that enough Grade A material was recorded the first time around. Listening to the bonus tracks on this Deluxe Edition, I am truly puzzled. If anything, the previously unreleased recordings are better than the officially released songs -- if these tracks had made up the album in the first place, I might have had a significantly different opinion of the album overall!
I will highlight a few of my favourite songs from this new and improved edition of Buddy Guy & Junior Wells Play The Blues:
First and foremost is the rousing rendition of Memphis Minnie's "Dirty Mother For You" that is featured on Disc One. For one thing, I have rarely heard Memphis Minnie's songs covered by Chicago Blues artists, so any recording that features a new sonic or musical spin on this iconic blueswoman's classics is worth at least a listen from me. That being said, "Dirty Mother For You" is a pretty risque song (if you don't believe me, sound out the title a couple of times and you'll understand what it actually means!), so I can see why it was not originally released on the album. Still and all, this track packs a punch that is missing from the original album tracks, featuring some highly spirited playing and the pair of Buddy Guy and Junior Wells trading off verses and even seemingly making up lyrics on the spot. Everyone is firing on all cylinders on this track and it is a worthy addition to this album.
Closing off Disc One is an extended funky blues called "Why Am I Treated So Bad (Playin' The Blues)". Though Clapton's rhythm playing is a bit too busy and the bass playing too trebly to my ears, it's a great workout that fuses Guy and Wells' blues roots with the soul, R&B, and funk sounds of the day. In a way, you could say that this sound was a forerunner to the modern funk-influenced sound that many modern blues bands play (for better or worse). As with "Dirty Mother For You", there is a joyful energy contained in this recording. I almost wonder if it was actually destined for inclusion on the original album, as a shorter mono mix (presumably for radio airplay) was created and is included on Disc Two of this reissue.
Another highlight for me is the instrumental "D Blues" on Disc Two (although, to be fair, it's actually in the key of B, not so much D). Here, you get a chance to hear Guy, Clapton, and Wells trading licks back and forth over a 12-bar blues structure. If you're not a big fan of longer blues jams, you might not enjoy sitting through this one, as it runs for almost 9 minutes, but if you enjoy instrumentals (especially those that include fiery guitar licks, as featured here), this is blues heaven!
There are some other fine songs included amongst the bonus material on this Deluxe Edition, and, don't get me wrong, there were highlights from the original record itself too. All in all, I am pleased that this reissue of Buddy Guy & Junior Wells Play The Blues has been released (and recently reissued after being out-of-print for some time), as it expands the original album and showcases some amazing additional recorded work from the apparently chaotic and supposedly less-than-productive sessions. For me, that can be one of the perks of the digital age for music -- we finally have a chance to hear some recorded material that was not originally intended for release.
Listeners of Señor Blues have probably realized that I am a huge fan of Buddy Guy and Junior Wells, both solo and together; Hoodoo Man Blues, their first recorded collaboration from 1965, is in my Top 5 Favourite Blues Album list. That being said, their 1972 collaboration, Buddy Guy & Junior Wells Play The Blues, is not one of my favourites from their extensive catalogue. Despite its production by musical heavyweights Ahmet Ertegun and Eric Clapton (around the time of his "Layla" period and also, unfortunately, a debilitating drug addiction), and the presence of some fine supporting musicians on the disc including saxophonist A.C. Reed, pianist Dr. John, and even the J. Geils Band on two cuts, I have always felt that it is a fairly dull recording, with lifeless performances, weak song choices, and a thin, monochromatic tone overall. Though it has gained some favourable reviews over the years, Buddy Guy, Dr. John, and Eric Clapton have all gone on record stating their disappointment with the finished product. The highly imaginative (har har) album title speaks for itself!
If I wasn't particularly enamoured of the original recording, why on Earth would I want to purchase a deluxe 2-CD edition of it? Two words: bonus tracks.
Yes, in the digital age, it is almost routine that reissues of older albums are peppered with bonuses of varying quality -- you might get rare photographs, new liner notes, alternate mixes, mono mixes, radio mixes, perhaps even quadrophonic surround sound mixes. In the case of Buddy Guy & Junior Wells Play The Blues, you get three bonus tracks on Disc One (which contains the original ten-track album) as well as an entire second disc's worth of bonus material (well, maybe more like "album's worth", since it clocks in at around 60 minutes). And these are not your garden variety alternate mix bonus tracks either (not entirely, anyway) -- the majority of the bonus material consists of unheard tracks from the original 1970 sessions that spawned the original album.
I have read that the original recordings were actually shelved in 1970 because the record company did not feel that enough Grade A material was recorded the first time around. Listening to the bonus tracks on this Deluxe Edition, I am truly puzzled. If anything, the previously unreleased recordings are better than the officially released songs -- if these tracks had made up the album in the first place, I might have had a significantly different opinion of the album overall!
I will highlight a few of my favourite songs from this new and improved edition of Buddy Guy & Junior Wells Play The Blues:
First and foremost is the rousing rendition of Memphis Minnie's "Dirty Mother For You" that is featured on Disc One. For one thing, I have rarely heard Memphis Minnie's songs covered by Chicago Blues artists, so any recording that features a new sonic or musical spin on this iconic blueswoman's classics is worth at least a listen from me. That being said, "Dirty Mother For You" is a pretty risque song (if you don't believe me, sound out the title a couple of times and you'll understand what it actually means!), so I can see why it was not originally released on the album. Still and all, this track packs a punch that is missing from the original album tracks, featuring some highly spirited playing and the pair of Buddy Guy and Junior Wells trading off verses and even seemingly making up lyrics on the spot. Everyone is firing on all cylinders on this track and it is a worthy addition to this album.
Closing off Disc One is an extended funky blues called "Why Am I Treated So Bad (Playin' The Blues)". Though Clapton's rhythm playing is a bit too busy and the bass playing too trebly to my ears, it's a great workout that fuses Guy and Wells' blues roots with the soul, R&B, and funk sounds of the day. In a way, you could say that this sound was a forerunner to the modern funk-influenced sound that many modern blues bands play (for better or worse). As with "Dirty Mother For You", there is a joyful energy contained in this recording. I almost wonder if it was actually destined for inclusion on the original album, as a shorter mono mix (presumably for radio airplay) was created and is included on Disc Two of this reissue.
Another highlight for me is the instrumental "D Blues" on Disc Two (although, to be fair, it's actually in the key of B, not so much D). Here, you get a chance to hear Guy, Clapton, and Wells trading licks back and forth over a 12-bar blues structure. If you're not a big fan of longer blues jams, you might not enjoy sitting through this one, as it runs for almost 9 minutes, but if you enjoy instrumentals (especially those that include fiery guitar licks, as featured here), this is blues heaven!
There are some other fine songs included amongst the bonus material on this Deluxe Edition, and, don't get me wrong, there were highlights from the original record itself too. All in all, I am pleased that this reissue of Buddy Guy & Junior Wells Play The Blues has been released (and recently reissued after being out-of-print for some time), as it expands the original album and showcases some amazing additional recorded work from the apparently chaotic and supposedly less-than-productive sessions. For me, that can be one of the perks of the digital age for music -- we finally have a chance to hear some recorded material that was not originally intended for release.
3/30/2012
April Fools again!
Greetings, fellow blues lovers! Ever wonder what John Lee Hooker would sound like if remixed by a DJ? What about Dr. House crooning the blues to you? Or Etta James covering a Guns 'n' Roses tune? I can tell that you're curious now! In that case, tune in to CJSR (88.5FM in Edmonton or around the world at cjsr.com) from 7-9am (MT) on March 31, 2012, for the April Fools' edition of Señor Blues! Good blues to you!
7/08/2011
Señor Blues Summer 2011 Schedule
Howdy, blues lovers! Hope you're having a great summer so far! Here is the schedule for Señor Blues on CJSR for the summer of 2011:
July 9 and 23
August 6 and 20
September 3
Stay tuned for more updates as the summer progresses! Cheers for now!
July 9 and 23
August 6 and 20
September 3
Stay tuned for more updates as the summer progresses! Cheers for now!
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