1. "Homemade"
Cephas & Wiggins
REVIEW
belong together--their musical partnership has endured so
long that it's hard to imagine either one solo. "Homemade"
is a typically strong effort, firmly rooted in the Piedmont
tradition while exploring avenues as varied as Delta and
gospel. This music is both evocative and relaxing, a
testament to the power of acoustic music.
2. "Silvertone Blues"
Joe Louis Walker
REVIEW
To call Joe Louis Walker a contemporary bluesman is
accurate, but it doesn't quite relay the whole story. Walker
has a habit of reinventing himself with every album; on
"Silvertone Blues," he heads down Memory Lane stylistically
while remaining thoroughly modern in his approach. It makes
for some interesting moments, particularly as Walker changes
gears from performing solo to jamming with a full band.
Guests on this recording include James Cotton and Alvin
Youngblood Hart, both innovators in their own right.
3. "Hold Me to It"
Bob Margolin
REVIEW
The Blind Pig Records debut from one of Muddy Waters's
former sidemen is chock full of all of the good stuff one
would expect from the Steady Rollin' man--rawer than
Margolin's previous solo albums, it's also more powerful.
The title track is by turns humorous and sensual, while
songs like "Slam 'Em Down" and "Stick Out Your Can" belong
on the ultimate party soundtrack. Then there's the deep-down
darkness of "No Consolation" and the wail of "Mean Old
Chicago." However, the cover of Dylan's "Not Dark Yet"
stands out as a highlight, full of all of the bittersweet
feeling of the original.
4. "Can You Live Without"
Guy Forsyth
REVIEW
This album is insidious--no other word for it. Listen to it
one day, and the following week you'll find yourself humming
one of the songs under your breath. Austin-based
singer-songwriter Guy Forsyth blends blues, folk, rock, and
a variety of other influences into a mix that is beyond
appealing--it's addictive. "Calico Girl" and "Tattle Tale"
have busy, foot-stomping guitar work, but Forsyth's equally
adept at the thought-provoking ballad, as "Leave Me Alone"
and the title track prove. This is the ideal road-trip
album; it's even got a road-trip song, "Children of Jack."
5. "Moving to the Country"
Paul Rishell & Annie Raines
REVIEW
Great country blues with a Piedmont stomp: that's the
hallmark of Paul Rishell and Annie Raines, who share
instrumental and vocal duties on "Moving to the Country,"
their latest collaboration. With Rishell on guitar and
Raines on harmonica, plus an ultratight set of backing
musicians, classics like "Sweet Jivin' Mama" and "Keep Your
Hands off Her" never sounded so good. The duo has been
nominated for several blues awards, and it's no wonder.
6. "Live in Japan"
B.B. King
REVIEW
Initially recorded in 1971, this live album is finally
seeing the light of day in the U.S. It went previously
unreleased because at the time, the seminal album "Live in
Cook County Jail" had just charted. That means it's been
close to 30 years since these songs went to tape, but it's
been worth the wait. "Live in Japan" might even be the
better of the two live albums. Either way, it's got some
unique things on it, including the only live take of King
performing "Hummingbird," plus some great jams not to be
heard anywhere else. There are, of course, classic songs as
well, including "The Thrill is Gone," "Every Day I Have the
Blues," and "Sweet Sixteen."
7. "Shine Eyed Mister Zen"
Kelly Joe Phelps
REVIEW
The guitar playing of Kelly Joe Phelps is like a great,
flowing river--sometimes rough, sometimes serene, but always
headed determinedly somewhere. In fact, the album as a whole
evokes an afternoon by a riverside, with its appealing,
contemplative blend of country blues and folk. Phelps, who
has mastered the difficult trick of making the complex sound
simple, does a wonderful job here, whether playing his own
songs or others' (check out his cover of Leadbelly's
"Goodnight Irene").
8. "Bitter Sweet Blues"
Gaye Adegbalola
REVIEW
There's attitude to spare on "Bitter Sweet Blues," as befits
the solo debut from one of the self-described uppity women
of Saffire. In addition to attitude, Gaye Adegbalola's got
wit, wisdom, talent, and skill to spare--and it shows.
There's no chaff on "Bitter Sweet Blues," just plenty of
good music sprinkled liberally with humor ("Big Ovaries,
Baby," "The Dog Was Here First") and rage ("Nothing's
Changed," "Jail House Blues"). Lest anyone get the wrong
idea in listening to Adegbalola tackle the weighty subjects
of racism, domestic violence, incest, and sexism, let it be
said that she never lapses into polemic, nor does she fail
to balance this with optimism and strength: "Only One Truth"
is the voice of experience and "Let Go, Let God" is
uplifting no matter what your faith. "Bitter Sweet Blues" is
the strongest blues debut of the year.
9. "Rising Son"
Big Bill Morganfield
REVIEW
It's easy to guess the source of this album's title;
Morganfield is the son of Muddy Waters, who certainly needs
no introduction. Morganfield, who picked up a guitar and
started playing old-style Chicago blues as a way of
reconnecting with his late father, occasionally sounds so
much like Waters, it's eerie. But Morganfield has his own
style, with an earth-rumbling voice and the technique to
breathe new life into some of Waters's lesser-known songs,
as well as presenting his own. "Rising Son" is a strong
debut that indicates much potential.
10. "Live at Airport Grocery"
Willie Foster
REVIEW
Harmonica player Willie Foster is one of those bluesmen who
by rights should be better known. This album, recorded live
at the sort of out-of-the-way place outsiders rarely stumble
upon, contains Delta blues in its purest form. Foster
explores the possibilities of the harmonica as an expressive
instrument and leaves no stone unturned. The result is a
marvel, one that every blues fan should hear.
"Reaching to the Converted"
Billy Bragg
REVIEW
As much as any artist of his generation, Billy Bragg has
picked up the flag once shouldered by the legendary Woody
Guthrie. The new B-sides and bonus-track collection
"Reaching to the Converted" testifies to Bragg's overflowing
creativity through the '80s and '90s.
"The Righteous Ones"
Toshi Reagon
REVIEW
On "The Righteous Ones," Toshi Reagon's fusion of folk,
gospel, funk, soul, and rock makes for an exhilarating
listening experience that lies somewhere between Tracy
Chapman and Ben Harper. Fans of Sweet Honey in the Rock will
be in for a surprise when they first hear the daughter of
the group's Bernice Johnson Reagon, but they'll soon find a
righteous connection.
"Come on Now Social"
Indigo Girls
REVIEW
Emily Saliers and Amy Ray bring a bunch of friends and
collaborators aboard for their first album in two years, the
uncommonly gutsy "Come on Now Social." This time out the
Indigo Girls are joined by singers Me'Shell Ndegeocello,
Sheryl Crow, and Joan Osborne, as well as Kate Schellenbach
of Luscious Jackson and the Band's Garth Hudson.
"No Regrets: The Very Best of Tom Rush"
Tom Rush
REVIEW
In his prime, Tom Rush was celebrated for his rich voice and
uncommon knack for discovering great songwriters. Jackson
Browne and Joni Mitchell were among the tunesmiths he
uncovered. "No Regrets: The Very Best of Tom Rush" presents
his greatest recordings from the '60s and '70s, topping them
off with a new track featuring Shawn Colvin.
"Weatherhole"
Michael Hurley
REVIEW
Michael Hurley's albums are rare treats and this
much-anticipated (by his small but vocal cult) collection
demonstrates why Hurley's brand of acid folk is so
absorbing.
"Story of a Life"
Harry Chapin
REVIEW
Three discs chronicling the "Cat's in the Cradle"
singer-songwriter who died in a 1981 auto accident.
"Claddagh Years Box Set"
Chieftains
REVIEW
A well-timed box showcasing the sounds of the group that has
come to embody the music of the Emerald Isle.
"Cold Dog Soup"
Guy Clark
REVIEW
The return of a songwriter's songwriter and one of the men
who, along with Townes Van Zandt, established Texas as an
outpost for literate, dark-hearted folk music.
"Grass is Blue"
Dolly Parton
REVIEW
No longer a staple of country radio, one of Nashville's
great talents continues her '90s artistic renaissance with a
bluegrass outing.
"Hold Me to It"
Steady Rollin' Bob Margolin
REVIEW
The Blind Pig Records debut from one of Chicago's finest,
"Hold Me to It" showcases some of Margolin's greatest
strengths: his tightly wound guitar style and rich
vocals. The CD includes concert favorites such as the title
track and "Slam 'Em Down," as well as some forays outside of
Chicago in the form of "No Consolation" and a cover of
Dylan's "Not Dark Yet."
"It's Harder Now"
Wilson Pickett
REVIEW
The first record in over a decade from the man who brought
us "In the Midnight Hour" and "Mustang Sally" still puts a
raw edge on his soul. "It's Harder Now" hearkens to the
1960s, Pickett's own heyday and in some ways sounds like a
blast from the past. Pickett knows what year it is, though;
one listen to the track "Soul Survivor" is proof of that.
"Brooklyn Basement Blues"
Popa Chubby
REVIEW
A notice on the back of New York guitarist Popa Chubby's
latest release reads: "This compact disc will sound best at
loud volumes!" Rare sort of advertisement for a blues
record, but for Chubby, who would be equally at home in a
punk band, it's entirely appropriate. Not that he hasn't got
a solid blues base; he even mixes it with a bit of R&B and
rock & roll for flavor, and it all sounds good.
"Blues on My Back"
Troy Turner
REVIEW
Hailing from Louisiana, Troy Turner will draw comparisons to
Kenny Neal, and no wonder--the two have toured together, and
Turner has close musical connections to the rest of the Neal
family. Still, Turner's no copycat; his own style's got a
rawer edge to it, with influences of rock and funk creeping
in all over the place. This is a very strong debut from a
promising young guitarist.
"Whole Lotta Blues: Songs of Led Zeppelin"
Various Artists
REVIEW
This is an odd one, no doubt about it; then again, Led
Zeppelin were frequently quite odd themselves, so that makes
this record a fitting tribute. (Never mind that the record
cover clearly states, "This ain't no tribute.") Magic Slim
highlights Led Zep's bluesier origins with a Delta-style
"When the Levee Breaks," while Clarence "Gatemouth" Brown
does some totally unexpected things to "Rock 'n' Roll." Not
a tribute, indeed.
"Sleepless"
Kate Rusby
REVIEW
The young but uncommonly poised purveyor of traditional
British Isles folk has been riding a wave since the release
of her 1998 debut. On the heels of the release of an album
by her Poozies side project and the reissue of a 1995
collaboration with Kathryn Roberts comes her sophomore solo
release, which fulfills the promise made by her exceptional
debut. Rusby is a gem.
"Crash Course in Roses"
Catie Curtis
REVIEW
It's been a decade since Catie Curtis emerged from the
Boston scene and she's continued to grow as an artist
through the '90s. "Crash Course" is a sure-footed,
straightforward collection that's bound to please her
growing legions of fans.
"Meet on the Ledge: The Classic Years (1967-1975)"
Fairport Convention
REVIEW
Richard Thompson remains a vital force today, but he took a
backseat to the late Sandy Denny in this pivotal British
folk-rock ensemble. This two-disc retrospective ranges from
the band's pre-Denny 1967 recordings into the mid-'70s,
after Thompson moved on, providing a window into this vastly
accomplished and influential outfit.
"The Asch Recordings, Vol. 1-4"
Woody Guthrie
REVIEW
All four of the CDs included in this box set are available
individually. If you don't have "This Land is Your Land,"
"Muleskinner Blues," "Hard Travelin,'" and "Buffalo
Skinners" in your collection, get them all in one handsome,
thoroughly annotated package. The legendary Guthrie's Asch
recordings stand as true touchstones of American folk music.
"Touring Troubadours"
Various Artists
REVIEW
If you're looking for a primer to contemporary folk music as
represented by the likes of Cheryl Wheeler, Bill Morrissey,
Lynn Miles, David Olney, and the Kennedys (among others),
this is it. Bargain priced and packed with 18 selections,
it's a handy guide to the current scene.
In the early 1960s, Richie Havens was one of a slew of urban troubadours developing their skills on stages in Greenwich Village. There he crossed paths with such burgeoning talents as Bob Dylan, Tim Hardin, and Peter, Paul & Mary. In this excerpt from his autobiography, "They Can't Hide Us Anymore," Havens (whose best work can be heard on "Resume: The Best of Richie Havens") recalls those heady times as part of the Village's teeming folk scene.
You can find "Resume" at
REVIEW
"In Spite of Ourselves"
John Prine
REVIEW
Prine duets with Iris DeMent, Emmylou Harris, Lucinda
Williams, and others on his first studio album in five
years.
"The Long Ride"
Ramblin' Jack Ellott
REVIEW
The much-anticipated sequel to "Friends of Mine," which
introduced Woody Guthrie's old ramblin' companion to a new
school of fans.
"By the Sweat of My Brow"
Hazel Dickens
REVIEW
A 1984 reissue from one of our most distinctive mountain
music vocalists.
"Good Old Boys"
John Hartford
REVIEW
Pickin' and singin' from a man who tasted fame in the
'60s--and opted for a less hurried lifestyle.
"Moving to the Country"
Paul Rishell and Annie Raines
REVIEW
First-rate acoustic blues from the duo that has won several
awards and been nominated for several more. Rishell's guitar
and Raines's harmonica blend perfectly, and they acquit
themselves very well indeed on works by Memphis Minnie,
Leadbelly, and Blind Blake. Their own songs are equally
good--and that's saying something.
"Live at Airport Grocery"
Willie Foster
REVIEW
This live album from obscure harmonica player Willie Foster
has rapidly become a customer favorite. It's nothing but the
purest Delta blues, with all of the expressiveness and
subtlety that the humble harmonica is capable of. That he's
remained almost completely unknown up to this point is a
tragedy.
"In Session"
Albert King and Stevie Ray Vaughan
REVIEW
Recorded for a Canadian television program in 1983, this
session is a rare gem--not only because we get to hear
Vaughan play with the guitarist most directly responsible
for his musical style, but because the mature restraint of
Vaughan's performance here gives a tantalizing hint of how
he might have developed as a musician had he lived. There
are also several snippets of conversation between King and
Vaughan, discussing everything from the songs they're about
to play (mostly King concert staples) to their mutual past,
when Vaughan was known as "Little Stevie."
"Live in Chicago"
Luther Allison
REVIEW
Recorded two years before his death in 1997, this two-CD set
of music captured at the 1995 Chicago Blues Festival and at
Buddy Guy's Legends shows guitarist Luther Allison at the
height of his powers. Allison was just beginning to attain
long-overdue mainstream popularity when he died, and one
spin of these discs indicates that it was about time.
"Payin' for My Sins"
Grady Champion
REVIEW
There just aren't enough young harp players out there these
days--which makes Grady Champion's second album an
especially welcome treat. Strong songwriting skills, a
versatile musical style, and solid vocals to complement
Champion's considerable harmonica skills point him out as an
artist to watch.
"It's Harder Now"
Wilson Pickett
REVIEW
One of the brightest stars of 1960s soul returns with a new
selection.
"Meet Me in the City"
Junior Kimbrough
REVIEW
A postmortem release from an obscure Mississippi bluesman.
"Hold Me to It"
Bob Margolin
REVIEW
The guitar slinger from Muddy Waters's band takes the lead for
his solo debut.
"Shine Eyed Mister Zen"
Kelly Joe Phelps
REVIEW
Guitarist Phelps's latest is surprising in its intensity--
especially since it seems so low-key on the surface. With a
deft touch on the guitar and great strengths in songwriting
and arranging, Phelps gets better and more distinctive with
every album. "Shine Eyed Mister Zen" is like fine wine; the
first sip is only the beginning of a complex experience.
"In a Grand Style"
Charles Brown
REVIEW
If anyone needs reminding of what we lost with the recent
passing of blues-soul great Charles Brown, "In a Grand
Style" is it. This intimate collection (just voice and
piano) of previously unreleased material dating from the
early 1990s has that special quality you can only find in an
out-of-the-way club sometime between midnight and dawn. It's
a fitting memorial to one of the genre's greatest voices.
"Okie Dokie Stomp"
Clarence "Gatemouth" Brown
REVIEW
How many compilations can a single label make of an artist's
work for them? This is Rounder/Bullseye's second of the
Gate's early-'80s material, but there are a few items here
that weren't present on the earlier "Texas Swing": three
live takes. Two of those are from yet another Gate album,
"Real Life"; the third is from a 1992 compilation. If you've
already got all of those, there's nothing else to add here;
but if you don't, this is a great way to get a taste of one
of Texas's living legends.
"The Lost Tapes"
Muddy Waters
REVIEW
Dug up from some dusty vault or other is this live recording
from 1971--a period when, Muddy fans will recall, the
seminal bluesman was having a hard time in the studio. This
live recording shows that Muddy never lost his spark; here
it's fully charged. And yes, one does need another version
of "Hoochie Coochie Man."
"American Music, Texas Style"
Clarence "Gatemouth" Brown
REVIEW
This title is a perfect way to describe the Gate's music,
especially since he hates to be called a bluesman. Although
he's had a huge impact on the blues, he incorporates so many
other musical styles (jazz--and there's a Duke Ellington
cover on this album, in case there was any doubt--country,
folk, and more) that one might as well call it "American
Music, Texas Style" and leave it at that.
"Kulanjan"
Toumani Diabate, Taj Mahal
REVIEW
"Moving to the Country"
Paul Rishell, Annie Raines
REVIEW
"Talkin' Bout Chicago"
Syl Johnson
REVIEW
"Truckin' with Albert Collins"
Albert Collins
REVIEW
"Koko Taylor"
Koko Taylor
REVIEW
"One Way Out"
Sonny Boy Williamson
REVIEW
"Don't Turn Me from Your Door"
John Lee Hooker
REVIEW
"Too Much Fun"
Holy Modal Rounders
REVIEW
Peter Stampfel, Steve Weber, and Dave Reisch return after
an extended absence with a twisted collection of skewed
originals and hot-wired covers. Delightfully musical and
totally unpredictable, "Too Much Fun" will stand as one of
the best folk releases of the year.
"Blue River"
Eric Andersen
REVIEW
Long considered one of the touchstones of the singer-
songwriter movement of the early 1970s, Eric Andersen's
"Blue River" sadly disappeared from the shelves for an
extended period. It's finally back in all its revelatory
glory, complete with extra tracks.
"One Guitar, No Vocals"
Leo Kottke
REVIEW
Some of us rather enjoy Leo Kottke's admittedly earthbound
vocals, but we're probably in the minority. "One Guitar, No
Vocals" delivers just what its title promises--lots of
heavenly playing. No doubt this one will delight fans of
fancy picking the world 'round.
"Bleecker Street: Greenwich Village in the '60s
"Various Artists"
REVIEW
Loudon Wainwright III, Suzanne Vega, Chrissie Hynde, Iris
DeMent, John Gorka and other contemporary singer-songwriters
cover numbers penned more than three decades ago by the
likes of Tim Hardin, Leonard Cohen, Tim Buckley, and Bob
Dylan. On the surface, this sounds quite promising, but how
many times have these kind of tributes come out sounding
flat? Not this time as great songs ("Reason to Believe,"
"No Regrets," "Darlin' Be Home Soon") are lovingly revised.
"Mock Tudor"
Richard Thompson
REVIEW
"Sleepless"
Kate Rusby
REVIEW
"The Very Best of Nicolette Larson"
Nicolette Larson
REVIEW
"Spin Art"
Venice
REVIEW