Steve Earle – 2015 blues album, ‘Terraplane’.

Another new discovery.

Now I’ve always liked Steve Earle. I loved the ‘Copperhead Road’ album (particularly ‘Johnny come lately’ with the Pogues). He seemed to be the rougher, grittier edge of what I understood as country music. Steve Earle also made a decent fist of trad Irish music by writing ‘Galway Girl’. Lots of people think it’s an old song but it was actually penned by Earle when he was living in Ireland and working with Irish musicians.

But this new ‘Blues’ album is a different thing altogether.

There is an obvious clue in the title ‘Terraplane’. Reference to the old Robert Johnson song ‘Terraplane Blues’, in fact “ol’ Bob Johnson” gets a name check on the album.

Earle is obviously a believer of the concept that to sing the blues you’ve got to know the blues. Wrapped into the lyrical content of the album it’s easy to discover regrets, hard times, relationships broken, which is a pretty close reflection of what Steve Earle has been through in these last few years.

There are some sparkling tracks on this album; the pace changes constantly; it’s not all gloom and doom and certainly not all traditional 12 bar. ‘The Tennessee Kid’ is a spooky hard hitting epic growl retelling the Crossroads legend using the language of an earlier age. ‘Go Go Boots Are Back’ is a foot tapping rocker with a meaty guitar solo. ‘Ain’t Nobody’s Daddy Now’ is a freedom anthem.

The album is also a showcase for his musicians, ‘The Dukes’, some really impressive stuff going on with this band.

Ian Siegal.

Sometimes listening to Tim Aves on Saint FM can yield some interesting stuff (thanks Tim). The Gary Clark Jnr. Live album he recommended has been a real treat. But my ears pricked up when I heard a track by Ian Siegal called ‘Only trying to survive’. I then stumbled upon the Siegal album ‘The Picnic Sessions’ on which the aforementioned track features.

Here is an interesting album, seemingly performed live and informally, almost campfire style, entirely acoustic, lots of banjo and excellent guitar playing from Siegal. His raspy raw singing style grows on you, but the songwriting skills and witty delivering are entrancing and engaging. But Siegal is a Brit, I wonder how that goes down across the pond? I intend to track down more work by Ian Siegal. I have one reservation in that I feel that he gravitates towards Country and what is often referred to as Americana; I have to struggle with my prejudices against country music, I groan when I hear twee overly sentimental Country crooning, one or two tracks on the ‘Picnic Sessions’ album lean dangerously close to these problem areas – ‘Gallo Del Cielo’ is one such track; Siegal didn’t write it, maybe American audiences like that brand of cowboy song?

There’s another track called ‘Talking Overseas Pirate Blues’, to me the addition of ‘Blues’ to the title is a tad misleading – every time I hear it I think of the title theme to that old American TV comedy series ‘The Beverly Hillbillies’, what was he thinking?

 I played my favourite track ‘Only trying to survive’ to a friend; I asked her what she thought? She dismissed it as sounding too much like Chas and Dave; a little unfair.

I don’t care what anyone say, I like it!

Ian Siegal.

‘Do the Hip Shake’.

Band members have been looking at this particular track. I really like it but it is a little more elusive than I originally thought it might have been.

The original is by Slim Harpo; it has all the Harpo trademark qualities, in that the lyrics are relatively simple, there are no hidden depths or profound messages in there, it’s pure hedonism, sheer indulgence.  In most versions and covers there’s a rattling, rapid fire drum intro and an equally fast harp riff. But it is the alternative versions and interpretations that make it elusive.

Th’ Shack Shakers Rockabilly version is a strong energetic piece. I found a live version on Youtube which I found great to listen to, but painful to watch. The front man’s antics were totally cringeworthy; stripping his shirt off and (I kid you not) ostentatiously picking fluff out of his navel and then shoving his hand down his pants! But I did like the song.

https://www.youtube.com/watch?v=vTBIWLvR8c8

Son of Dave version is also a winner.

https://www.youtube.com/watch?v=rrUyVE-iyzg

New Mic.

It was inevitable, I had to get a proper mic.

I have just bought a Superlux D112/C harmonica mic. I was struggling of the bog standard vocal mic and wanted something to give me ‘the sound’. The Superlux is not in the same price brand as the Shure or the Shaker mic but I have to say I am impressed.

As I mentioned before I have a soft spot for good design. For me the Superlux ticks many of the boxes. Before I get on to the functionality I must say the look and the feel of the mic is just right. One website reviewer commented that the all metal body made it heavy, I would disagree; it feels pleasingly substantial in the hands, like a real piece of kit. The finger grooves in the top suggest to me that the designers gave some thought to usability and it is the right size for cupping.

There is a volume knob fitted into a recess in the body of the mic, this gives an additional control element, although it is quite easy to accidentally knock the settings, but I suppose that comes with practice.

The cable is fixed to the body; I can think of certain advantages, but the disadvantages are minimal.

The sound difference between this mic and the bog standard mic is considerable. There is a deeper tone and resonance, closer to the Little Walter sound (although the playing is nowhere near).

In all, a good purchase.

Book Review – ‘Harmonicas, Harps and Heavy Breathers; the Evolution of the People’s Instrument’. Kim Field.

A hefty and detailed piece of history, Kim Field’s book methodically and almost obsessively catalogues the genres and influences of all the famous harmonica players.

So many anecdotes, suppositions and conclusions, I found myself highlighting text and note writing all over this book. Field throws so many ideas and observations into the text that the book deserves more than one reading. 

To give one example; Field expands on the idea of how the slurred chordal deliberate ‘mistakes’ made by the blues harmonica players relates to west African music where such qualities are admired; the perfect smooth notes are thought of as too sterile, lacking in expression. It’s a good point – to me it ranks alongside something I read recently about Little Walter’s harmonica style being close to a kind of Deep South New Orleans Cajun, Zydeco accordion playing - interesting.

I’m afraid I just couldn't warm towards Larry Adler or any of the ‘popularisers’ of the harmonica, it doesn't get me reaching for a chromatic harmonica in any kind of hurry. The novelty acts and harmonica troupes of the 1940’s and 50’s also made me feel slightly queasy, something a touch too desperate about these acts, earnestly wanting to be accepted as serious musicians, forever the poor relation. 

I had a certain sympathy with the Jazz harmonica players.  Won’t say they were welcomed with open arms by the Jazz fraternity but they were allowed to make their mark.

In all a book worth reading (and re-reading).

The Red Devils – King King.

I am so grateful to Fritz for putting me on to the Red Devils. Just when I was beginning to give up on any hope of finding inspiring blues music post 1969 I was introduced to the Red Devils (active between 1988 and 1994). This very short six year lifespan only produced one album ‘King King’, a totally live album recorded over three nights at the King King club in LA. The Red Devils were the house band at King King and their reputation as live performers spread far and wide attracting the attention of the likes of Brian May and Mick Jagger. Also Bruce Willis (as a harp player) and members of the Red Hot Chili Peppers joined in jam sessions with the band. The release of the album in 1992 unleashed this modern take on the blues.

Photo of the last performance the Red Devils did at King King.

Front man Lester Butler produced a unique Chicago style harp sound and added a raw edge to some classics with a gutsy vocal style. Their origin compositions have great flair and give a hint of what may have been to come. However, the age-old story was played out and front man Butler imploded through drug abuse and the band split. Butler was to eventually die of an overdose at the age of 38. Interestingly Butler seems not to have administered the lethal cocktail of heroin and cocaine to himself; his family thus claim it was murder and not death by misadventure. But whatever it was the passing of Lester Butler was a huge loss to the world of music.

Lester Butler.

Here’s a neat Youtube vid of Lester Butler talking ever so briefly about Little Walter; https://www.youtube.com/watch?v=zpjZFgbqPPo

The Red Devils also cut tracks with Mick Jagger on vocals, here’s ‘Checkin’ up on my baby’. https://www.youtube.com/watch?v=s3skWNeNrXE

Howlin’ Wolf, the London Sessions.

Wolf did a session in London in the 1960’s. I have no doubt that he acted as a magnet for all those Brit musicians who were heavily influenced by the Chicago bluesmen. So here we have Eric Clapton, Steve Winwood, Charlie Watts, Bill Wyman, even Ringo Star having a go! Hubert Sumlin, regular Chess label guitarist was given special dispensation to fly over to help out; but really this was Wolf and the Brits together.

It comes out okay, but there is definitely something missing. Is it over-produced? Is there too much ‘cleverness’ going on? Particularly with Clapton – sometimes less is more.

Almost a side note to this album is 19 year old American harmonica prodigy Jeffery Carp. He was given the green light by the Chess production team to cross the pond to give some 'Chess style' harp playing. Jeffrey Carp is somewhat of a mystery, even his death remains a puzzle (he is said to have drowned jumping off a boat in the Gulf of Mexico and his body was never found).

The recording is well worth having. I particularly like the Wolf doing ‘Sittin’ on top of the world’, in fact more than the original 1958 single version. The ’58 version has Wolf on a ‘Bb’ harp, on the London version I believe it’s Carp on the harp playing on an ‘A’; it’s a little more elaborated in the key riffs; adding more bounce than the more doleful ’58 version.