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In This Issue
A. J. Wachtel has our feature interview with John Németh this week.
We have six CD reviews for you this week! Greg “Bluesdog” Szalony reviews a new CD from Hope Waits. Gary Weeks reviews a new CD from Chris Duarte. John Mitchell reviews a new CD from Andreas Arlt. Steve Jones reviews a new CD from Wes Lee. Ian McKenzie reviews a new CD from D’Mar & Gill and Rainey Wetnight reviews a new CD from The Chicago Kingsnakes. All this and MORE! SCROLL DOWN!!!
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Featured Blues Interview - John Németh
There is so much energy in John Németh and his band it's hard to explain why they haven't exploded yet. And after seeing and experiencing their live performance it just defies logic that these musicians don't end their set by spontaneously combusting into volcanic ash onstage. Pure and simple: John Nemeth's voice and harp playing is as hot and furious as any furnace and his music as captivating and enjoyable as anything burning up the national Blues scene today. Read on and learn how Nemeth feeds the fire:
Blues Blast: Your style draws as much from classic soul and r & b as it does from the blues. Who were your biggest influences growing up and who do you listen to now ?
John Németh: My first influences were Junior Wells, Freddie King, Magic Sam, B.B.King, T.Bone Walker and Little Walter. After a while I got into Otis Redding, Percy Sledge, James Carr, Big Joe Turner, Nat King Cole and Fats Domino. A few country artists got me too. George Jones, Hank Williams, Waylon Jennings and Willie Nelson. Then I started getting into some other cats like Kim Wilson, Rick Estrin, Paul deLay, Bill Clarke, Robert Cray, Junior Watson, Anson Funderburgh and Elvin Bishop.
BB: When you write a song do you hear all the instrumental arrangements, the harp parts, the lyrics and music in one inspiration or do you start smaller and build to completion ?
JN: I start small and personal. ll my songs start with a vocal hook. The melody and the hook happen pretty much simultaneously. Then I work up the chorus. Once the chorus is finished I tell the story in the verses and maybe include a bridge. The groove and the style may change a few times till I get the right chemistry with the the melody and phrasing. A song may start as a ballad and wind up an uptempo or the other way around. I change keys and feels. It's a very cool process. Then the instrumentation and production follows. In the end the song must have an energy and flow.
BB: You've been called "the best white blues singer in history". What do you feel is your true place in music history ?
JN: I am honored by all the fantastic press I've received. I work hard to be the best I can be. This music is my life and without it I don't know what would have ever become of me. But I do believe the best is still out there somewhere waiting to be discovered. Being a blues singer is a special thing. My place in music history. Wow. It's something I've never thought about. I may be grouped with many artists who never gave up on the coolest music style in the world. Or maybe just one of the many revivalists that the music has seen over the centuries to come.
BB: Your harp playing has been compared to Sonny Boy Williamson and Little Walter. Is this an accurate statement ?
JN: I play blues harp. In the beginning I tried to sound like Little Walter and Sonny Boy. Now I try and sound like myself. My style has changed quite a bit. Especially with the real funky blues and soul that I've been doing as of late.
BB: What is the relationship between your vocals and your harp playing in your songs ?
JN: The harmonica is an extension of the song. First comes the song then the vocal and then the harp if the song could use the harp.All the blues I play has harp. Only half the soul numbers have harp.
BB: Tell me about those two great guitarists you play with Junior Watson and Bob Welch. Will both be on your next CD ?
JN: I have had the great fortune of working with some fantastic guitar players. Junior Watson gave me my first big tour opportunity. I opened a show for Junior in my hometown of Boise, ID. After that he asked me to go on tour with him. He has helped me out tremendously in my career. He appears on two of my recordings "Come and Get It" and "Magic Touch". Junior is simply one of the best and most creative guitarists out there in the blues genre. His legions of emulators are a testament to his talent. Bob Welch. I first heard Bob playing in RJ Mischo's band. I heard him performing Earl Hooker's "Universal Rock". He had "it". That was in 2008. I needed a great guitarist that would slog it out doing 250 days on the road. He performed remarkably and we recorded twice together. On "Love me Tonight" and "Name The Day". Bob and I really have wonderful chemistry together. By far, the most underrated blues guitarist in my mind. Most guitarists don't fully understand how great Bob is until they try to learn his parts. He is unique. As to who will be the next guitarist I record with well I will surprise you !!!!
BB: What's in the future for John Nemeth ?
JN: Lord only really knows. I will continue beating up the road and recording. I feel fortunate just to have the opportunity to perform so often. I thank the fans, the road band (AC Myles, Nick Fishman, and Tommy Folen), Blind Pig Records and Intrepid Artist for that.
BB: You've just added your first child to the family last Fall. How has this changed your career ? Have you written any songs about your latest inspiration yet ?
JN: I am so blessed with a wonderful wife Jaki and my baby Grace. Well the first few months had my wife and me pretty wore out. I have written some very enlightening tunes with my daughter in mind. It sure changes your perspective. My career is still much the same. I wish I could be home more but I have to hit the road to pay the bills so mama can stay home. Day care in the San Francisco Bay area is high like the rent and worth it. Now I have great little responsibilities when I am at home and let's just say I have become much more efficient with my music time.
BB: For the past four years you've been a powerhouse at the Blues Blast Music Awards winning Best New Artist and Rising Star awards in 2004 and being nominated for at least an award in every year since. Why does your sound go over so well in Chicago the birthplace of the blues ?
JN: I just try to write and perform some cool music. Fortunately for me, the readers and nominators at Blues Blast think it's cool too. It may be the fact that I approach my music as a blues singer. Most of my music is rooted in blues delivery and attitude.
BB: You've opened for Robert Cray, Keb Mo' and Earl Thomas. Any good stories you'd care to share ?
JN: All those guys are tremendous talents. It was a pleasure to meet them and open for them. Unfortunately, at the time it was all business. Two bands on the road trying to keep it together, you know what I'm saying. I have gotten to know Earl since then and consider him a real good friend.
BB: You've gigged all over the U.S., Europe, Canada and Asia. How are the blues audiences all over the world different ? Any good stories you want to share ?
JN: Lot's of good stories but one of my favorites took place in Thailand. Walking into a bar and a Thai band was playing some great pop. I got up with them and called a blues and they knew exactly what to play. The blues is such a powerful thing and without it the modern world would not have pop music as they know it.
BB: You are from Boise, ID and grew up singing in a Catholic Church. What kind of music scene is there out there in Boise and where did you hear the blues growing up ?
JN: I went to St. Mary's elementary. Catholic schools could barely keep the doors open. We had classes of ten to fifteen students. Only devout Catholics and troubled students went there. We had some great teachers. Sister Colletta had us sing every morning. Two patriotic songs and two religious ones. She would teach us harmony. That's when I knew I could sing. Boise had a great music scene. From 1993 to 2000 I was playing blues five to seven nights a week in town. Oh. The good old days! There were at least eight clubs to perform at. We had house gigs Monday thru Thursday and would alternate weekends on the circuit. Boise had a blues society and a couple of bands that worked the circuit. Jason Ricci played in a band called Streetwise. Boise really grew and changed. Now the Catholic Schools have waiting lists.
BB: Where can everyone keep up with your career and gigs ?
JN: Check me out at www.johnnemethblues.com and my Facebook Band Page.
Interviewer A. J. Wachtel is a long-time entertainment journalist in New England and the East Coast who currently writes for The Boston Blues Society and The Noise Magazine. He is well known in the Boston and N.Y.C areas for his work in the Blues for the last two decades.
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Featured Blues Review 1 of 6
Hope Waits - Introducing Hope Waits
Emerging from a troubled up-bringing and buttressed by her singing in Southern Baptist choirs, this Louisiana native comes to the singer-songwriter world steeped in roots. Her music is tempered by blues, gospel, torchy and New Orleans jazz, folk, soul and whatever else she sees fit to create the moods found here. She draws from the same wellspring as Billie Holiday and other tortured chanteuses. The closest modern-day comparison would be to Madeline Peyroux with a smattering of Norah Jones. Hope’s voice ranges from a seductive purr to a loud whisper. The interpretations of interesting covers fare just as well as the four band originals. Guitars of all sorts, horns, accordions and keyboards drift in-and-out of the mix. The arrangements of producer Peter Malick complement and enhance the tunes.
The seduction begins with her rendition of Jackie Wilson’s “I’ll Be Satisfied” taken at a slow teasing pace. Her phrases are dragged out for maximum effect. Torch song territory is visited again in “Yesterdays”, which features the extra attraction of a New Orleans jazz horn section. A lazy dream-like stroll through the streets of The Big Easy is portrayed in the original “Fortune Teller”. Organ splashes and accordions underscore her musing: “Your soul is like a river, it just don’t know how to flow”. “You Crossed The Line” has a guitar-powered rhythm that could have been taken from a Bonnie Raitt song. The vocal here is super-charged with female authority. The hurt is tangible in her voice as she mourns the loss of her mother who was tragically murdered in “The Ballad Of Judith Anne”. A mysterious atmospheric musical approach suits her longing to know more about her mother’s life. The distorted blues guitar of Peter Malick and Jeff Turmes chug along with Phil Parlapiano’s accordion fills on Don Robey’s “Mother In Law Blues”. The old chestnut “Come Rain Or Shine” is taken at a snail’s pace as Hope’s voice soars to the top of her register. Tom Wait’s (no relation) rhythm-driven “Get Behind The Mule” is given a pretty straight reading and her voice fits it like a glove. The listener is bid adieu with a lilting stroll through the ether, floating on the cloud that is Peter Malick’s chiming guitar, the sole accompaniment of “Ignatius”. You are never quite sure if the singer is pondering on a lover or a deity.
A heady infusion of emotion, be it lighthearted or introspective, make for one intriguing effort. The music benefits from Hope’s ability to absorb many musical genres to enhance her own sound. Bits and pieces of R&B, soul, jazz, blues and the traditional pop singer lend themselves to this very moving singer-songwriter’s muse.
Reviewer Greg “Bluesdog” Szalony hails from the New Jersey Delta.
Featured Blues Review 2 of 6
Chris Duarte – Blues In The Afterburner
As he has done on his previous outings, Chris Duarte continues to derive from his Stevie Ray/Hendrix influences to turn out a piece of work with a solid foothold in rock colored by blues flourishes.
Always employing rotating personnel for his rhythm section is a challenge for Duarte. He has no problems in doing it and certainly drummer Aaron Haggerty and bassist Robert Watson lock in tightly with Duarte’s guitar wizardry. Watson in particular is turned up loud in the mix so his bass rumblings run parallel to Cream’s Jack Bruce and Got Mule’s Allen Woody.
One gets the impression Duarte likes to work quickly and not mar his material with over-production. The songs have a live feel and by cranking his amps to 11, Chris gets the opportunity to go all out with guns a blazing.
If you’re going to do a shuffle, it’s best to bring your best game face and Duarte does just that in “Another Man” with him whipping out his best Stevie licks. A formula that continues in “Make Me Feel So Right” with the rhythm section charging at full gallop behind Duarte’s guitar acrobatics that slather themselves in Lone Star badness.
More often than not, it seems Vaughan’s influence exerts a stronger hold than the Hendrix one. The six string swaths Duarte unleashes in “Bottle Blues” harken back to Vaughan’s explosive debut Texas Flood. Duarte just fans the flames as he shreds blues licks putting him in the leagues with the Walter Trout’s and the Gary Moore’s of the world.
Though gaining FM radio airplay seems to have been the furthest thing from his mind, Chris does seem to be hankering for that in “Milwaukee Blues” letting his rhythm work come to the forefront to set up a dancing groove to cut through the testosterone.
If you own any of Chris’ previous releases this is the kind of format he follows. The credo of “If It Ain’t Broke, Don’t Fix It,” seems the philosophy he follows. It’s worked pretty well in his career thus far. And he probably sees no reason to change it.
It’s not still the six track “Summer Child” that Duarte transcends the Hendrix spirit as it takes on an ethereal air with Chris crafting uncluttered solos amidst the subtle sturdy background of his rhythm section.
Just when you think the arrow can’t go any further right on the meter, Chris seems poised on the brink with making his Marshall amps explode as he rocks his way through sonic blaster “Searching For You.” Though the following cut “Black Clouds Rolling” slows things down a tad, it’s a blues that rocks with enough venom to coat a pair of rattlesnake boots. Duarte just reaches into his trick bag to unleash a torrential downpour of notes with the obvious nods that can make him the next guitar hero.
And for synthesizing a Stones and Beatles aura, look no further than “I’ve Been A Fool” where if you listen with a keen ear, you can catch some familiar licks if you know your songbooks well enough. The finest moment is saved for “Prairie Jelly” which guarantees itself as a concert favorite. Played with the ornery spirit of Cream, the recklessness of Govt Mule and no holds- barred abandon of the Jimi Hendrix Experience, the song screams power trio in more ways than one. Duarte’s John McLaughlin like leads just propel this tune along as it careens, crashes and speeds on a musical juggernaut with Watson and Haggerty attempting to play better than the masters they emulate.
If there is any musician worthy to play on the Jimi Hendrix Tribute Tour, then the honor belongs to Chris Duarte who is his own Voodoo Chile.
Reviewer Gary Weeks is a contributing writer. He resides in Marietta, GA.
Featured Blues Review 3 of 6
Andreas Arlt – All Time Favorites
15 tracks; 53.32 minutes
BB And The Blues Shacks is a German blues band that has been running for twenty years and has issued many CDs. The band was founded by brothers Andreas (guitar) and Michael Arlt (harmonica) and this CD is the first solo effort by Andreas. Andreas’ intention was to revisit some of his early influences, often selecting less familiar material and artists, with the intention of making a more traditional album than would be the case with the band and bringing some of those early influences to a wider audience. In selecting such ‘vintage’ material Andreas demonstrates how rock and roll developed, emerging from the big band sounds of the 40s and the smaller Rn’B combos of the 50s. In his own words “this album represents a cross-section of my inspirations, an appreciation of my personal heroes, freshly packaged.”
The quality of the recording is absolutely first rate and the players on the session, all German, are excellent. The recording was made in Vienna, Austria, with a full band of bass, drums, guitar, keys, sax, trumpet and trombone: the horn arrangements by sax player Tom Müller are outstanding. Chicago guitarist Dave Specter provides interesting sleeve notes and Andreas covers the background to each track selection in some detail, making the whole CD a brilliant introduction to these classic sounds. For guitar buffs the instrument used on each track is noted and, as befits a CD issued by a German label the sleevenotes appear in German as well as English.
So, what material has been chosen here? The more familiar tunes include “You’ve Got Bad Intentions”, a hit for Bobby Bland and “I Wonder Why”, a hit for BB King. Johnny Guitar Watson is included by a cover of Leroy Carr’s “In The Evening” and T-Bone Walker starts the CD off with “Street Walkin’ Woman”, both less familiar choices than is often the case. At the other end of the spectrum Texan Goree Carter was a new name to me, as was his tune “Hoy Hoy” from 1949 and “Let’s Start A Romance” is an obscure cut from Little Joe Hinton. Even when closing the CD with an Albert Collins instrumental, Andreas has opted for the lesser known “Snow Cone Pt. 2”, so although none of the material on the album is original it all sounds pretty fresh.
Within his chosen era Andreas gives us a fair range of styles. “She’s The One” is a Hank Ballard song covered by Freddie King and offers some tough Texas guitar; “High Low” could well be Roomful of Blues; “It Hurts To Love Someone” is a typical Guitar Slim ‘churner’; “Shooty Booty” is early rock and roll from Ivory Joe Hunter; “I Was Wrong! Played With Love” is a slow, dramatic Southern number, originally by Roscoe Shelton. Andreas sings well with barely a trace of accent and his guitar solos are all relatively short and to the point, no ‘showboating’ anywhere. Equally there are some excellent opportunities for the horn players to shine, notably the sax (both tenor and baritone) of Tom Müller.
If you enjoy well played, horn-driven rhythm and blues I am sure you will enjoy this CD which I can recommend most highly. Personally I’m now off to find out more about BB And The Blues Shacks!
Reviewer John Mitchell is a blues enthusiast based in the UK. He also travels to the States most years to see live blues music.
Featured Blues Review 4 of 6
Wes Lee - The Shack Sessions
Wes Lees Music
Shamefully, I must admit I had not heard of Wes Lee prior to listening to this CD. When I played it I went in cold- no prior knowledge, no research. When I heard it I could not believe that there was an old traditional Delta bluesman whom I had missed hearing about. Stripped down and authentic blues, recorded at Tush Hog Shack in Greenwood, Mississippi and (as I found out) played by a guy who is not even approaching middle age.
Lee moved to Hattiesburg about 6 years ago. Having toured with Mississippi based Mr. Tone & the Blues Funk Revival from 1997 to 2002 he then embarked to St Louis to follow music’s call and adding surf and rockabilly to his blues background. His return to Mississippi to reignite his true love in music and has released his third and with this his fourth albums. His prior album “Live and Alone” was a lot f original stuff and like this was solo. Lee released this CD on the cusp of the 100th anniversary of Robert Johnson’s birth and he delivers 9 traditional blues tracks and finishes up with an original entitled “Cryin’”. Top to bottom, the man and his guitar stand up well to the scrutiny of solo acoustic music.
Lee superbly handles the fingerings of Johnson standards like “Crossroads Blues”, “Kind Heated Woman”, “Malted Milk” and “From Four Til Late”. He is deft with Big Bill Broonzy classics like “Hey Hey”, and “Key to the Highway”. The acoustic guitar work is impeccable on these cuts. Elmore James’ “It Hurts Me Too” gets a great cover and excellent slide work on a resonator as does Muddy Water’s “Can’t Be Satisfied”. The traditional “John the Revelator” brought me to church- it was spiritual and very moving. His vocals are gritty, guttural and evoke the sounds of real original blues. His vocal work is exceptionally intriguing. The new cut fits in with the standards quite well. The sound and presentation are classic and traditional yet fresh and new. Good stuff!
I don’t have any criticism for or bad things to say about this CD. I liked it and it was fun. Yes, it is stuff we’ve all heard thousands of times, but the guy can play and sing and I really enjoyed it. He is well schooled in the blues traditions and is an outstanding musician, singer and songwriter. Well worth a listen, and I might have to track down a copy of his last CD, too; what I sampled sounded pretty darn good, too!
Reviewer Steve Jones is a Board Member of the Crossroads Blues Society and is a long standing blues lover. He is a retired Navy commander who served his entire career in nuclear submarines. In addition to working in his civilian career, he writes for and publishes the bi-monthly newsletter for Crossroads, chairs their music festival and works with their Blues In The Schools program.
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Grafton Blues Association - Grafton, WI
On Monday, December 5th the Grafton Blues Association (GBA) will be holding a holiday party for Members starting at 6 pm at the Bridge Inn in Grafton, WI. The holiday party will be followed by a performance/open jam hosted by Tweed Funk, who will be representing the GBA in Memphis at the International Blues Challenge. 1216 Bridge Street, Grafton, WI. For more info or to RSVP contact firstname.lastname@example.org
River City Blues Society - Pekin, IL
River City Blues Society presents: Bringing The Blues To You with the following shows - Victor Wainwright & The Wildroots - Saturday December 17th, Jan 11th at 7PM • Brandon Santini. Location Goodfellas 1414 S. 8th St, Pekin, Illinois 7:00 pm - 10:00 pm $5.00 non-members $3.00 members. For more info visit: www.rivercityblues.com
Illinois Central Blues Club - Springfield, IL
The Illinois Central Blues Club presents "Blue Monday" every Monday night for the last 25 years - BLUE MONDAY SHOWS - Held at the Alamo 115 N 5th St, Springfield, IL (217) 523-1455 every Monday 8:30pm $3 cover. 12/5 Kilborn Alley Blues Band, 12/12 Nick Moss and the Flip Tops, 12/19 Jason Elmore Blues Band, 12/26 Brooke Thomas and the Blue Suns. icbluesclub.org
Featured Blues Review 5 of 6
D’Mar & Gill - Real Good Friend
10 Tracks 40:05
Derrick Martin And Chris Gill have a history. Gill is the former leader of The Sole Shakers, and percussionist Derrick “D’Mar” Martin spent 15 years as drummer with Little Richard and has a mass of session credits to his name. The pair were Semi-Finalists in the 2011 International Blues Challenge. I’m not surprised.
This music is new, but at its roots, oh, so old. This is what acoustic blues is meant to sound like.
All the songs save one, are originals, the exception is a nice re-working of Little Walter’s, My Baby. Maybe Baby, is a terrific piece, with Martin providing a seriously African rhythm – with a fife added it would sound remarkably like the fife and drum music of Othar Turner and his family.
Harmony Street comes with some jazzy chording by Mr Gill whilst Tore Down is a smooth minor key blues, evocative of the sometimes called Bentonia, Mississippi, sound.
Chris Gill has a fine, smoky voice sounding at times like a mix between Eric Bibb and Jerry McCain. His acoustic work is excellent too. Without being intrusive he manages to provide a thoughtful backing to all the tracks, with some nice slide work here and there, no better than on the closer the instrumental International Blues Stomp. Some seriously African sounding drumming here too, with a nice little drum solo from D’Mar with Mr Gill vamping in the background.
All in all a nice little outing for this pair; their styles mix wonderfully well. I for one, look forward to their next outing, perhaps with a harp player – but no more instrumentation. Not needed!
Reviewer Ian McKenzie lives in England. He is the editor of Blues In The South (www.bluesinthesouth.com) a monthly flier providing news, reviews, a gig guide and all kinds of other good stuff, for people living and going to gigs along the south coast of England. Ian is also a blues performer (see www.myspace.com/ianmckenzieuk) and has two web-cast regular blues radio shows. One on www.phonic.FM in Exeter (Wednesdays: 1pm Eastern/ 12 noon Central), the second on KCOR – Kansas City Online Radio (on Fridays at 1pm Eastern/ 12 noon Central) www.kconlineradio.com.
Featured Blues Review 6 of 6
The Chicago Kingsnakes - Blue Mosaic
Music King Records
12 songs; 48 minutes
Styles: Chicago Blues, Modern Electric Blues, Gospel-Influenced Blues
Webster's Ninth New Collegiate Dictionary defines a “mosaic” as “a surface decoration made by inlaying small pieces of variously colored material to form pictures or patterns.” That's a mouthful to say, but a sight to behold! The Chicago Kingsnakes, for the cover art of their tenth release on Music King records, have aptly chosen a mosaic. It depicts a man playing guitar, and one can easily guess its most prominent color. “Blue Mosaic” is an intricately-crafted work, offering a predominance of Chicago blues, but also containing colorful sparks of gospel-influenced and acoustic numbers. One of the defining characteristics of mosaics, the quality that causes many art fans to revere them, is this: Each stone is absolutely unique, yet contributes smoothly to the overall image. Such is the case with the twelve original, “inlaid” songs here. Some brilliant highlights:
Track 4: “Tell the Truth”--Hearing the Kingsnakes' choir-like call to honesty, one might imagine strolling into church. However, if the “baby” mentioned in this song doesn't come clean, she'll be strolling out the door! The band's leader, James “Ang” Anderson, states, “The new lineup has very strong vocal harmonies, and we wanted to capture that sound on this disc.” Here, with the help of long-time cohort Ron Berry on bass and backing vocals, they have done so with sweet, smooth artistry.
Track 6: “So Cold in Chicago”--For anyone familiar with the Windy City, this swinging selection is a real treat! Winning this CD's award for funniest lyrics, it features a frustrated James “Ang” Anderson bemoaning the temperature: “Wind shot me like a .45—I'm stranded on Lake Shore Drive. Lake Michigan's frozen. All the schools are closin'!” As listeners chuckle (and shiver), they'll quickly warm up to Nelson Keaton's breezy harp and Anderson’s tasty guitar runs anchored expertly by Gus Gotsis on drums and Mike Bailey on bass. The only thing it lacks is a decisive closer: perhaps the sound of icicles shattering, or that of a car that won't start, followed by a choice word!
Track 9: “Lefty”--Despite its unassuming title, this is Chicago blues at its finest. The Kingsnakes go all out on this rip-roaring stomp, with each instrument red-hot in the middle of their “Blue Mosaic.” Anderson proudly reminisces about his early days: “Blue Monday at the [original] Checkerboard [Lounge]—it's my time to jam. All of these Monday nights made me who I am!” Purists will delight, and everyone will dance, once they hear the opening notes of this number! The title refers to Chicago legend “Lefty” Dizz, who graciously allowed “Ang” to play his guitar.
The band chose the title “Blue Mosaic” for their latest album because the music reflects their origins in Chicago blues as well as R & B influences. “Ang” Anderson explains, “We all came up playing the blues, but were listening to artists like Curtis Mayfield, Al Green, Booker T. and the MG's and James Brown on the jukeboxes at the clubs.” One thing's for sure: out of varied and seemingly-unconnected fragments comes a cohesive whole, a mosaic made of notes and chords instead of stones. The Chicago Kingsnakes realize this, finding joy in their creation!
Reviewer Rainey Wetnight is a 32 year old female Blues fan. She brings the perspective of a younger blues fan to reviews. A child of 1980s music, she was strongly influenced by her father’s blues music collection.
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