4/01/2011
April Fools! Señor Blues Goes Bananas...
Sting singing the blues? A blues cover of "Purple Rain"? Crazy. But that's what will be happening on Señor Blues this Saturday (April 2). Tune in to CJSR to hear these and other wild variations on the blues, on the Señor Blues April Fools' show. Cheers!
3/12/2011
No Electricity, but Power Aplenty: The All-Acoustic Edition of Señor Blues
To commemorate Earth Hour 2011, the next edition of Señor Blues (on March 19) will be all acoustic. Join me as we uncover the roots of blues and rock 'n' roll (before electricity became widespread) and explore today's acoustic blues music. Even without electric instruments, you'll see how the blues retains all of its power and energy. Really!
Tune in to CJSR on March 19 for the all-acoustic edition of Señor Blues.
(Disclaimer: some electricity was used in the recording of this music, particularly to power the recording equipment. :) )
Tune in to CJSR on March 19 for the all-acoustic edition of Señor Blues.
(Disclaimer: some electricity was used in the recording of this music, particularly to power the recording equipment. :) )
2/18/2011
"Señor Blues" Late Winter/Early Spring schedule
Greetings, blues lovers!
Here is the schedule for "Señor Blues" for the next couple of months or so.
February 19 (Family Day special!)
March 5
March 19
April 2
April 9
April 23
Stay tuned to CJSR FM88.5 or follow the "Señor Blues" blog for updates on the program schedule.
Remember: "Señor Blues" alternates with "The Toast Marketing Board" every Saturday morning, from 7-9am.
Here is the schedule for "Señor Blues" for the next couple of months or so.
February 19 (Family Day special!)
March 5
March 19
April 2
April 9
April 23
Stay tuned to CJSR FM88.5 or follow the "Señor Blues" blog for updates on the program schedule.
Remember: "Señor Blues" alternates with "The Toast Marketing Board" every Saturday morning, from 7-9am.
1/15/2011
"Señor Blues" early 2011 schedule
Happy New Year, everyone! Here's to another year of nothin' but the blues. "Señor Blues" will be broadcast on CJSR airwaves from 7-9am on the following dates:
January 15
January 29
February 12
Stay tuned for more schedule updates, as well as album reviews and show features/highlights!
January 15
January 29
February 12
Stay tuned for more schedule updates, as well as album reviews and show features/highlights!
9/15/2010
Ronnie Earl & The Broadcasters "Spread The Love"
A lot of people I know have questioned how anyone could enjoy listening to the blues because they consider it to be “sad music”. While the argument can be made that a lot of blues songs deal with not-so-happy content, the name blues is a bit of a misnomer. At the base of it, blues is really a type of music that allows you to confront your demons and grow from experience; in this sense, playing and listening to the blues can be a spiritual experience. Ronnie Earl has exemplified the latter approach in his last few albums for Edmonton’s Stony Plain Records.
Though he has had a turbulent career and personal life, Earl has used the blues as a way to transcend his troubles and use his spiritual awareness to create wonderful music that touches people of all ages. With touches of jazz, soul, and gospel and possibly the best clean Strat tone since Mark Knopfler, Earl’s blues are unique in a world of SRV-clones and pop-blues crossovers.
Ronnie Earl and his band, The Broadcasters (named after the first solidbody guitar produced by Fender), are back with their latest all-instrumental album, Spread The Love, on Stony Plain Records. The album is stylistically diverse, with a little something for everyone; there are up-tempo workouts like the shuffling “Ethan’s Song” and the soulful organ-laden “Happy”, ballads like “Blues for Dr. Donna” (an ode to his wife) and the powerful “Miracle”, and even heartfelt tributes to some of Earl’s influences and blues greats like Albert Collins, Guitar Slim, and Otis Spann. There’s even a great acoustic blues at the end of the album, “Blues for Bill”, which almost transports listeners back to a back porch in the Mississippi Delta. The sound indicates that the band is playing in one room all together, with minimal overdubbing of instruments, which makes for an authentic and enjoyable experience; at times, I forget that this is not a live recording! Earl’s playing just keeps getting better year after year, with incredible licks seemingly being channeled through him from the heavens but without overplaying or assaulting your ears. Listeners who tire quickly of noodling instrumentalists have nothing to fear with Mr. Earl and his “less-is-more” approach!
Although this reviewer does not mind the absence of vocalists on this record (as it gives Earl more space to stretch out in his solos), listeners who enjoy lyrics with their blues may want to sample this album first before purchasing; however, unlike 2007's Hope Radio and 2009’s Living In The Light, the songs are for the most part shorter this time around, so the instrumentals shouldn’t get too long or boring.
It’s great to see Ronnie and the Broadcasters still releasing high quality music and Spread The Love is a welcome addition to their discography. Highly recommended for Ronnie Earl and blues fans, as well as anyone who wants to see how the blues is not necessarily “sad music”.
Though he has had a turbulent career and personal life, Earl has used the blues as a way to transcend his troubles and use his spiritual awareness to create wonderful music that touches people of all ages. With touches of jazz, soul, and gospel and possibly the best clean Strat tone since Mark Knopfler, Earl’s blues are unique in a world of SRV-clones and pop-blues crossovers.
Ronnie Earl and his band, The Broadcasters (named after the first solidbody guitar produced by Fender), are back with their latest all-instrumental album, Spread The Love, on Stony Plain Records. The album is stylistically diverse, with a little something for everyone; there are up-tempo workouts like the shuffling “Ethan’s Song” and the soulful organ-laden “Happy”, ballads like “Blues for Dr. Donna” (an ode to his wife) and the powerful “Miracle”, and even heartfelt tributes to some of Earl’s influences and blues greats like Albert Collins, Guitar Slim, and Otis Spann. There’s even a great acoustic blues at the end of the album, “Blues for Bill”, which almost transports listeners back to a back porch in the Mississippi Delta. The sound indicates that the band is playing in one room all together, with minimal overdubbing of instruments, which makes for an authentic and enjoyable experience; at times, I forget that this is not a live recording! Earl’s playing just keeps getting better year after year, with incredible licks seemingly being channeled through him from the heavens but without overplaying or assaulting your ears. Listeners who tire quickly of noodling instrumentalists have nothing to fear with Mr. Earl and his “less-is-more” approach!
Although this reviewer does not mind the absence of vocalists on this record (as it gives Earl more space to stretch out in his solos), listeners who enjoy lyrics with their blues may want to sample this album first before purchasing; however, unlike 2007's Hope Radio and 2009’s Living In The Light, the songs are for the most part shorter this time around, so the instrumentals shouldn’t get too long or boring.
It’s great to see Ronnie and the Broadcasters still releasing high quality music and Spread The Love is a welcome addition to their discography. Highly recommended for Ronnie Earl and blues fans, as well as anyone who wants to see how the blues is not necessarily “sad music”.
9/10/2010
"Señor Blues" Fall Schedule
Señor Blues will be on on the following days this Fall (7-9am MT, as always):
September 18 (the 3rd Anniversary show!)
October 2
October 16
Future shows will be announced later this season. Stay tuned and check here for any updates or changes to the schedule!
September 18 (the 3rd Anniversary show!)
October 2
October 16
Future shows will be announced later this season. Stay tuned and check here for any updates or changes to the schedule!
8/30/2010
Señor Blues 1980s Blues Retrospective
Legwarmers...MTV...Who's The Boss?...Stevie Ray Vaughan...Robert Cray... What do all of these things have in common? They're all associated with the 1980s!
Tune in to Señor Blues this upcoming Saturday from 7-9am for a 1980s blues retrospective to commemorate the 80th edition of Señor Blues. Join me as we discuss the major artists, trends, and recordings from one of the most important decades in blues history.
Legwarmers and Flock of Seagulls hair-do's not included! :)
Tune in to Señor Blues this upcoming Saturday from 7-9am for a 1980s blues retrospective to commemorate the 80th edition of Señor Blues. Join me as we discuss the major artists, trends, and recordings from one of the most important decades in blues history.
Legwarmers and Flock of Seagulls hair-do's not included! :)
8/09/2010
Blast From the Past: Nina Simone Sings The Blues
I tend to be a bit skeptical about albums titled [Insert Artist Name] Sings The Blues, especially when the titular artist is not really known for singing the blues in the first place; more often than not, I find such albums to be curios and interesting experiments in marketing, rather than successful musical or artistic statements. There are exceptions, of course, and although Nina Simone is not often labeled as a ‘blues singer’, the blues has always been an important component of her music, whether it’s apparent or more understated. Nina Simone Sings The Blues, her first release on the RCA Victor label, was released in 1967, shortly after the blues revival influenced by the British Invasion and before the late-60s blues-rock boom.
From the first line of the opening track, “Do I Move You?”, it’s obvious that this record was not made for commercial reasons. This is raw blues, sounding more like some of Chess’s grittier sides of the ‘60s than the smoother blues of B.B. King and Little Milton; the arrangements are relatively sparse, allowing lots of room for Simone’s singing and piano and the playing of the small ensemble (two guitars, bass, drums, harmonica/sax) behind her. It definitely sounds like the entire band was playing in the room with Simone as they laid down the tracks. The album contains a mix of up-tempo blues and R&B tunes and slower ballads, which makes for a balanced and enjoyable program of music. Interestingly, although she covers some standards, Simone also adds some self-written blues tunes to the mix, which shows that she is not only an effective interpreter of other blues works but a skilled writer of her own blues songs too.
On the up-tempo side, “Day and Night” is a fun song, with Simone’s double-tracked harmonizing vocals singing over a jaunty soul-blues riff. Her rendition of the classic “House of the Rising Sun” has a gospel flavor to it, with some haunting minor chords cleverly hidden in the arrangement. Similarly, on the slower side, songs like “My Man’s Gone Now”, “Since I Fell For You”, and “Blues For Mama” have a haunting quality, mixing Simone’s plaintive and almost androgynous-sounding vocals with dark piano chords; they really are distinctive as her own unique interpretations of these songs. “Backlash Blues” is also notable for its poignant lyrics (written by Langston Hughes), which are about the then-current Civil Rights Movement. “In the Dark” also has an addictive smoky after-hours club feel.
My only gripe about Nina Simone Sings The Blues is that some of the songs are just too short; just as they seem to be getting going and finding their groove, they’re finished! Still, in the pre-CD/mp3 era, the time constraints were common to a lot of singles and albums, and it doesn’t detract from the experience of listening to the album…it just makes you want to repeat the album all over again from the start. If records titled [Insert Name] Sings The Blues make you skeptical too, don’t be fooled by this title…Nina Simone Sings The Blues is the real deal.
From the first line of the opening track, “Do I Move You?”, it’s obvious that this record was not made for commercial reasons. This is raw blues, sounding more like some of Chess’s grittier sides of the ‘60s than the smoother blues of B.B. King and Little Milton; the arrangements are relatively sparse, allowing lots of room for Simone’s singing and piano and the playing of the small ensemble (two guitars, bass, drums, harmonica/sax) behind her. It definitely sounds like the entire band was playing in the room with Simone as they laid down the tracks. The album contains a mix of up-tempo blues and R&B tunes and slower ballads, which makes for a balanced and enjoyable program of music. Interestingly, although she covers some standards, Simone also adds some self-written blues tunes to the mix, which shows that she is not only an effective interpreter of other blues works but a skilled writer of her own blues songs too.
On the up-tempo side, “Day and Night” is a fun song, with Simone’s double-tracked harmonizing vocals singing over a jaunty soul-blues riff. Her rendition of the classic “House of the Rising Sun” has a gospel flavor to it, with some haunting minor chords cleverly hidden in the arrangement. Similarly, on the slower side, songs like “My Man’s Gone Now”, “Since I Fell For You”, and “Blues For Mama” have a haunting quality, mixing Simone’s plaintive and almost androgynous-sounding vocals with dark piano chords; they really are distinctive as her own unique interpretations of these songs. “Backlash Blues” is also notable for its poignant lyrics (written by Langston Hughes), which are about the then-current Civil Rights Movement. “In the Dark” also has an addictive smoky after-hours club feel.
My only gripe about Nina Simone Sings The Blues is that some of the songs are just too short; just as they seem to be getting going and finding their groove, they’re finished! Still, in the pre-CD/mp3 era, the time constraints were common to a lot of singles and albums, and it doesn’t detract from the experience of listening to the album…it just makes you want to repeat the album all over again from the start. If records titled [Insert Name] Sings The Blues make you skeptical too, don’t be fooled by this title…Nina Simone Sings The Blues is the real deal.
7/25/2010
Señor Blues Review: Jimmie Vaughan Plays Blues, Ballads & Favorites
From founding the Fabulous Thunderbirds in the 1970s to playing on festival stages alongside fellow legends like Hubert Sumlin, Jimi Hendrix, & Eric Clapton all over the world, Jimmie Vaughan has had an illustrious career. Highly regarded by blues pioneers and contemporaries alike, he is probably one of the most influential Texas blues musicians around today. And he also happens to be the older brother of Stevie Ray Vaughan, another blues legend you may be familiar with!
Though he has been actively touring and recording with other musicians in the last few years, Jimmie Vaughan Plays Blues, Ballads, & Favorites is his first solo album since 2001’s Do You Get the Blues?. Was it worth the wait? I think so!
It’s quite obvious that this is a record of Jimmie Vaughan doing what he does best and loves doing: playing killer blues, early rock ‘n’ roll, and other Texas-influenced music, adding tasty and understated guitar licks to these classics, and playing with friends like Lou Ann Barton and Bill Willis. The excitement and joy of this ‘labor of love’ is apparent in this record, and for the listener, it simply is a joy to listen to from start to finish.
Known for his ‘less-is-more’ approach to guitar playing, Vaughan applies the same principles to the production work on this new record; he leaves spaces in the arrangements, rather than smothering them in a ‘wall of sound’. Even when a small horn section is added, the music retains the feel and sound of a smaller band playing in a local blues club. This results in a refreshing and consistently enjoyable listening experience, where the music can “breathe”. This album was recorded completely on analog equipment and it shows. Listeners who are more accustomed to modern recording technology may be slightly taken aback by the occasionally rough sound, but it doesn’t distract from the performances at all; in fact, the rough sound adds a unique element to this record that you don’t hear too often these days.
The opening track, “The Pleasure’s All Mine”, sets the tone for the album, with lean, mean guitar licks and a hypnotic, swaggering groove. Another highlight is the instrumental “Comin’ and Goin”, a showcase for Vaughan’s guitar playing and showing the influence of the late, great Clarence “Gatemouth” Brown (to whom the album is dedicated). Johnny Ace’s “How Can You Be So Mean?” is also a real jazzy gem. Elsewhere on the album, the vintage sound is reflected in some of the performances. For instance, the tasty cover of Little Richard’s “Send Me Some Lovin’” duplicates the drumming style of Little Richard’s 1950s classics, in the process creating an effective and touching tribute to the music of this era. The vocals are strong on almost every vocal track, especially the harmonies between Vaughan and Barton on “I’m Leaving It Up To You” and “Come Love”. The final track, a cover of Willie Nelson’s “Funny How Time Slips Away”, is an anti-climatic end to the album, and the playing seems to meander. Still, with the rest of the album being so strong, you can simply repeat the album from the top and revisit the excitement and energy that the other songs create.
Overall, Jimmie Vaughan Plays Blues, Ballads, & Favorites was well worth the wait. It is definitely a contender for my favorite new blues release of 2010.
Though he has been actively touring and recording with other musicians in the last few years, Jimmie Vaughan Plays Blues, Ballads, & Favorites is his first solo album since 2001’s Do You Get the Blues?. Was it worth the wait? I think so!
It’s quite obvious that this is a record of Jimmie Vaughan doing what he does best and loves doing: playing killer blues, early rock ‘n’ roll, and other Texas-influenced music, adding tasty and understated guitar licks to these classics, and playing with friends like Lou Ann Barton and Bill Willis. The excitement and joy of this ‘labor of love’ is apparent in this record, and for the listener, it simply is a joy to listen to from start to finish.
Known for his ‘less-is-more’ approach to guitar playing, Vaughan applies the same principles to the production work on this new record; he leaves spaces in the arrangements, rather than smothering them in a ‘wall of sound’. Even when a small horn section is added, the music retains the feel and sound of a smaller band playing in a local blues club. This results in a refreshing and consistently enjoyable listening experience, where the music can “breathe”. This album was recorded completely on analog equipment and it shows. Listeners who are more accustomed to modern recording technology may be slightly taken aback by the occasionally rough sound, but it doesn’t distract from the performances at all; in fact, the rough sound adds a unique element to this record that you don’t hear too often these days.
The opening track, “The Pleasure’s All Mine”, sets the tone for the album, with lean, mean guitar licks and a hypnotic, swaggering groove. Another highlight is the instrumental “Comin’ and Goin”, a showcase for Vaughan’s guitar playing and showing the influence of the late, great Clarence “Gatemouth” Brown (to whom the album is dedicated). Johnny Ace’s “How Can You Be So Mean?” is also a real jazzy gem. Elsewhere on the album, the vintage sound is reflected in some of the performances. For instance, the tasty cover of Little Richard’s “Send Me Some Lovin’” duplicates the drumming style of Little Richard’s 1950s classics, in the process creating an effective and touching tribute to the music of this era. The vocals are strong on almost every vocal track, especially the harmonies between Vaughan and Barton on “I’m Leaving It Up To You” and “Come Love”. The final track, a cover of Willie Nelson’s “Funny How Time Slips Away”, is an anti-climatic end to the album, and the playing seems to meander. Still, with the rest of the album being so strong, you can simply repeat the album from the top and revisit the excitement and energy that the other songs create.
Overall, Jimmie Vaughan Plays Blues, Ballads, & Favorites was well worth the wait. It is definitely a contender for my favorite new blues release of 2010.
7/03/2010
Musician Spotlight: "Professor" Eddie Lusk
A relatively unknown and underrated figure in Chicago Blues, “Professor” Eddie Lusk was a session piano and keyboard player who was particularly active in the late 1970s and 1980s. His playing can be heard on records by Buddy Guy, Phil Guy, Koko Taylor, Jimmy Dawkins, and many others. Like many blues and R&B piano players, Lusk started out playing piano and organ in the church tradition; growing up in Chicago, however, he could not resist the influence of the blues music that was played all around him. The ‘professor’ epithet was in fact given to him by none other than Professor Longhair, a piano player and blues artist you may have already heard (of)!
Lusk’s roots in gospel music are clearly audible in his playing; a good example of this is in the dramatic intro to “Ice Around My Heart” from Buddy Guy’s 1980 album Breaking Out. He made extensive use of the full range of the keyboard, as well as chords and rhythm in his playing, making his sound driving, dynamic, and recognizable. Unusual for a blues pianist, Lusk also embraced keyboard and synthesizer sounds in the 1980s; while this has dated some of his session work and polarized blues listeners, it does add a unique flavor to his performances. Besides working as a sideman, Lusk also led his own band, the Professor’s Revue, which recorded one album with Karen Carroll on the Delmark record label in the late 1980s.
Sadly, due to the deterioration of his health, Lusk took his own life on August 26, 1992.
On the July 3rd edition of Señor Blues, we listened to three tracks that feature “Professor” Eddie Lusk’s formidable talents as a pianist. These are:
- “Professor’s Boogie” by Phil Guy (co-written by Lusk and featuring Lusk on both piano and organ)
- “I Don’t Care No More” by Koko Taylor
- “Beetin Knockin Ringin” by Jimmy Dawkins
Lusk’s roots in gospel music are clearly audible in his playing; a good example of this is in the dramatic intro to “Ice Around My Heart” from Buddy Guy’s 1980 album Breaking Out. He made extensive use of the full range of the keyboard, as well as chords and rhythm in his playing, making his sound driving, dynamic, and recognizable. Unusual for a blues pianist, Lusk also embraced keyboard and synthesizer sounds in the 1980s; while this has dated some of his session work and polarized blues listeners, it does add a unique flavor to his performances. Besides working as a sideman, Lusk also led his own band, the Professor’s Revue, which recorded one album with Karen Carroll on the Delmark record label in the late 1980s.
Sadly, due to the deterioration of his health, Lusk took his own life on August 26, 1992.
On the July 3rd edition of Señor Blues, we listened to three tracks that feature “Professor” Eddie Lusk’s formidable talents as a pianist. These are:
- “Professor’s Boogie” by Phil Guy (co-written by Lusk and featuring Lusk on both piano and organ)
- “I Don’t Care No More” by Koko Taylor
- “Beetin Knockin Ringin” by Jimmy Dawkins
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