Show Me the Way Home
It is quite obvious to anyone with functioning ears that Mick Jagger and Keith Richards had heard the late ’20s song entitled “That’s No Way to Get Along” by the Reverend , because the Rolling Stones album track “Prodigal Son” is a direct copy, at least to the point in the road where the imitation of Wilkins’ guitar style hits a technical roadblock. According to the Stones, the mistake was inadvertent and happened because the original artwork for the Beggars Banquet album had to be redone. Because a publisher connected with the original Vocalion label had nabbed the actual collecting rights to the song, this unfortunately did not result in a financial windfall for Wilkins. And although he took great advantage of the ’60s roots music revival and performed both concerts and new recordings in the absolute prime of his musical power, there is no way that every pimply high school kid who sat around listening to the Stones’ “Prodigal Son” actually was lucky enough to get a taste of the real thing.
A mix of Afro American and Cherokee Indian, Wilkins hailed from De Soto County, MS, famous stomping grounds for Delta blues. His later fight with the powerful Rolling Stones probably didn’t seem like much of a hassle compared to what he went through growing up. His father was kicked out of the state due to bootlegging activities. His mother made a better choice with her second husband, the fine guitarist Tim Oliver, who taught his new stepson plenty. Other country blues musicians would come by the house to jam, the source of further musical knowledge hanging in the air. By the time he was 15, Wilkins was performing and making money at dances and parties. He relocated to Memphis with his mother when he was in his early twenties, this simple geographical movement north having the expected effect of an equal mix of the Delta blues and Memphis styles. He has stayed in Memphis ever since, mingling with many of the great blues talents who passed through, including and Furry Lewis. He taught a good deal of her guitar style. Wilkins’ early performing life included touring with small vaudeville and minstrel shows. In 1928, he met Ralph Peer of the Victor label and was invited to cut four songs. One result of these releases was Wilkins being invited to perform on a one hour radio program, making him apparently the first black artist to make a live radio appearance in Memphis. Vocalion, a main rival in the “race” records business, dispatched a microphone toting field unit about a nike air max thea year later, doing the competition better by recording eight new Wilkins songs as the Roaring Twenties roared out. These sessions produced the aforementioned “That’s No Way to Get Along,” which he himself had no qualms about re titling “Prodigal Son” on his own new versions of the song recorded in the ’60s. The song’s status as a hit gave him particular license as its creator to push it heavily during his later career revival and a ten minute version recorded for the Piedmont album Memphis Gospel Singer is one of the rare masterpieces of extended blues. His first batch of recording activity continued in 1935, when he recorded five more blues songs, backed this time by a second guitarist and a wonderful spoons player. During this year, his philosophy of life went through a radical switch, the catalyst being the casual violence and sleazy atmosphere of one of the typical house party gigs that he played. Apparently, it was enough to make him believe this music really was an instrument of Satan. He joined the Church of God in Christ and became a minister with a speciality in healing and herbal remedies, his wares ranging from gospel to gingko.
Although it seemed like a radical change in lifestyle, the actual musical effects were almost nil. He went on playing guitar exactly the same way, but just stuck to a repertoire of gospel numbers. Often the meat of an old guitar arrangement would be re cooked with a different broth. The sexy “My Baby” was changed into the devout “My Lord,” for example. His efforts in this style hold up well in comparison to the monsters of gospel blues such as Blind Willie Johnson or Blind Joe Taggart, and Wilkins also has the light fingered steel string charm of Reverend Gary Davis or Mississippi John Hurt. The continuing guitar workout as a minister meant his chops were in plenty fine shape when he was “rediscovered” in the ’60s. A better description would be to say he was lured from the churches back out into the secular concert world. Of all the blues musicians unearthed during this period some of whom looked like they had literally been pulled out of the ground Wilkins was one of the easiest to find. Based on a rumor that Wilkins had been corresponding with an elderly British blues collector, which he actually hadn’t, another blues enthusiast checked the Memphis phone book and found Wilkins’ name right there. Hmm, if only finding Blind Joe Death could be so easy. Wilkins performed recorded plenty of gospel material along with the blues, including cutting a full album devoted to sacred songs. The grandson of this great bluesman wrote a biography of Wilkins, entitled To Profit a Man, which was published in Memphis by Museum Publishing in 1995. Biography by Eugene Chadbourne
Terry was born 1961 in Pontotoc, Mississippi. Besides the Burnsides and Kimbrogh Family he is the only musician left who plays the Hill Country Blues. Also there are just a few harp players left in Mississippi and he is the only one who plays harp guitar together. The North of Mississippi got many famous names like Howling Wolf, Bukka White and Big Joe Williams, no nike air max thea w there are just a few left. Terry plays traditional Country Blues with his personal touch! He played in Europe and on all important Blues Festivals in the US like the Chicago Blues Festival!
Ride The Iron Road finds Franc Robert going back to the basicsman and guitar facing an audience, no back up, no second chances and no apologies. This is blues the way it was in the beginning and this is how Franc Robert has chosen to present himself nowraw, hardcore and real as the day is long. Robert is as good as any I’ve heard when it comes to slide guitar better than the vast majority. While I hate to draw comparisons I hear elements of John Hammond and more. This cat, great as he is, draws his strength from past experience and from the excitement of the moment. He is one of those guys who have honestly been around the block more than once. This is not some schoolboy “wannabe,” wanting to be the next . This is someone who had been through the school of hard knocks, has had his share of bad times and a few good ones as well. He is an exceptional storyteller, telling his stories as only a man who has been there and done that can he weaves his tales in music and word, painting a vivid picture that stays with the audience long after the performance is over. The compositions on the disc are all written by Franc Robert with the exception of three traditional tunes reworked to fit his style with care taken to do justice to the originals. Robert plays with power and passion, telling his stories in such a way that the listener takes part in the memories, both good and bad. He sings of sin, redemption and social issues that take their toll on each and every one of us. What I ultimately find most interesting is the sheer honesty as he opens his heart, exposing his most private thoughts and feelings to the entire world. This is a true bluesman, one who sings from the deepest regions of his heart and soul. Seldom does an artist open himself up to this point but it is this honesty that gives his work its power and the ability to cut straight to the heart of his audience. With nike air max thea that said, I urge all of you nike air max thea who like blues in its purest form to look into it, give the samples listed below a listen and judge for yourself. This is one recording I can recommend highly and without reservation. From “Honey What’s Wrong?” which has a sound not unlike the early “field hollers” which were rhythmic and sung in the field to make the work move more smoothly, to the closing number, “Sunday Morning” which is an instrumental piece that says so very much without the use of words. I grow more impressed with Franc Robert with each new release. Whether solo or with his band, The Boxcar Tourists, this is blues through and through. Bill Wilson
Dave Duncan found himself on a bench on 2nd street in Clarksdale, Mississippi one lazy late afternoon in May last year. Amusing himself by playing some lonesome blues on his open tuned dobro , his thoughts rambled as his bottleneck whined
Duncan was stirred from his trance by a fellow spirit calling out an invitation to him. as fate would have it, he had parked on a bench directly across the street from the Hambone Gallery. Folk artist and gallery owner Stan Street called over to invite the guitarist to that evening’s music eventsome downhome blues to be played right there at the Hambone Gallery.
Writing new songs playing gigs together in various locations throughout Mississippi, Alabama, and Florida thru the summer of 2013, the bluesy Duncan Street duo headed to Lafayette, Louisiana to record the best of their brand new original material. Duncan called on his old friend , multi Grammy award winning engineer, Tony Daigle, to direct the recordings. Three days later the album to be called Baptized By The Blues was in the can.
Stan Street plays wicked blues harmonica and is featured heavily on the recordings. Singing lead on the 2 songs he wrote on the record and sweet harmony on many others, Street further demonstrates his musical versatility with some very tasty , laidback tenor saxophone on The Blues Comes in All Colors.
Dave Duncan is a guitarist with a songwriting background.
Stan Street wrote the title song Baptized By The Blues and along with the Dave Duncan penned Watermelon BBQ Beer , these songs characterize the album in its steadily upbeat, rhythmic joyful feel. its occasionally humorous (in a twisted kind of way ) lyrics. Good New Music. Good Upbeat Blues.
John Moony’s first album release since 2006. This long awaited album is John’s Tribute to Son House, who mentored John and show him much of his music first hand. This album contains some of the most authentic, masterful acoustic slide guitar playing that exists, which goes back to the source, Son House.
Son House and John Mooney met in 1971, this friendship shaped their lives forever. Was it serendipity that brought Son and John together? I believe they were destined to meet.
Son and Moon, this recording is about heritage. It’s what shapes and defines who we are. As the torch gets passed on, some of the flavors, wisdom,and attitude are inherited by the next generation.
This tribute showcases the songs of Son House,and you will hear the indelible mark his musicality left on John. One might say that the Moon is out, but the Son never set. Peace Behind the Bridge 2:35