Ghetto Wc

For many people, the word "Florida" conjures up images of sunshine, white-hot sands, and white-hot nightlife. That's not the Florida JJ Grey inhabits. Sounding forth from his ancestral home 40 miles outside of Jacksonville, Grey's Florida is inhabited by water moccasins, gators, and characters whose murky, besotted Southern Gothic pasts match the dreary, desolate landscape. On Country Ghetto, his third album and debut for Alligator Records (of course), Grey and his bandmates revisit the hallowed but largely forsaken musical environs of swamp rock. Taking their cues from early Creedence Clearwater Revival and Tony Joe White, Mofro play a slinky, sinuous brand of Louisiana soul-funk-blues, while Grey himself alternates between the good ol' boy debauchery of Ronnie Van Zant and Lynyrd Skynyrd and the classic soul entreaties of Otis Redding and Clarence Carter.

On last November's Record Store Day Black Friday event, Rhino revisited WAR's 1972 classic The World Is a Ghetto for its 50th anniversary on five newly-remastered 140-gram LPs; a four-channel surround Quadio release followed on Blu-ray. The hard-hitting, socially-conscious soul-jazz-funk-blues-rock-psychedelia best-seller was the California band's fifth album and third following the departure of vocalist Eric Burdon of The Animals. On July 19, the landmark 5LP box featuring previously unreleased session tracks and "making of" montages will be released on 4 CDs and digitally.

Willie James Lyons plays just a few bars and if you dig the blues you immediately realize that he is one of the greatest blues-guitarists. Yet, this album is the first he has recorded! He is a very personal musician, an exceptional creator with inventive ideas, with phrases full of lyrism and feelings. His very beautiful, warm and pure tone allows one to identify him from the very first notes. Along with Willie Kent the singer of the band, you'll get a taste of an every night bluessession on Chicago's West Side. Hot, pure, intence and full of deep emotion of the blues.

If you're talking about packaging, the flaws of this disc are considerable. Comprised of 14 songs from 1960-1990 (most from 1960-71), the unifying theme is that all of them are taking from Houston recording sessions. But while recording dates and some personnel are noted, the original labels and dates of release are not. Furthermore, although the liner notes give a reasonable overview of Copeland's career, the tracks on this specific compilation are not discussed. And, putting the boot in, the cuts are not sequenced chronologically, but arranged almost as if someone had pressed the random button on a CD remote. Now, having aired all those complaints, the music is very good. These are fiery, committed performances in which the songs and arrangements often veer as much toward soul as toward blues. That's something that works to Copeland's advantage, both because he was versatile enough to combine styles well, and because it made him stand out from legions of other journeymen bluesmen.