While Todd Snider is best known as a witty and insightful songwriter, in 2013 he gathered together a handful of friends who are also gifted musicians and let some of his favorite songwriters do the talking for a change. Hard Working Americans is a new band that features Snider on vocals and guitar, along with guitarist Neal Casal (of the Chris Robinson Brotherhood), bassist Dave Schools (from Widespread Panic), keyboardist Chad Staehly (Great American Taxi), and drummer Duane Trucks (King Lincoln).
Old School is Koko Taylor's first new album in seven years, and after a series of health issues that sidelined her for a while, it could be viewed as a comeback of sorts, but if so, there aren't any signs of rust here. She still belts out her trademark Chicago blues like she always has, sidestepping any 21st century recording tricks for a straightforward set that wouldn't sound out of place next to her classic Chess sides from the early '60s. It's also encouraging that she wrote nearly half the tunes here, while turning in solid covers of a pair of Willie Dixon songs ("Don't Go No Further" and "Young Fashioned Ways"), one by Magic Sam ("All Your Love") and a scorching performance of Lizzie Lawler's classic "Black Rat" that rivals Big Mama Thornton's version.
An attempt to document "the next generation of Chicago blues," this is generally a very exciting and successful collection, including The Kinsey Report, Lil' Ed and the Blues Imperials, Valerie Wellington, and several more.
An attempt to document "the next generation of Chicago blues," this is generally a very exciting and successful collection, including The Kinsey Report, Lil' Ed and the Blues Imperials, Valerie Wellington, and several more.
As a child prodigy, keyboardist and organist Lucky Peterson's exploits were legendary. The stories grew even more widespread as he became a teen and stints with Little Milton and Bobby "Blue" Bland only added to his fame. But Peterson's records have not always justified or reaffirmed his reputation. That is not the case with the cuts on this 1984 set, recently reissued by Evidence. The spiraling solos, excellent bridges, turnbacks, pedal maneuvers, and soulful accompaniment are executed with a relaxed edge and confident precision. If you have wondered whether Lucky Peterson deserves the hype and major label bonanza, these songs are the real deal.
Here Lucky goes to Memphis. Several years into a solo career, the former blues whiz kid plays good keyboards and guitar, and sings stirringly on originals and covers from all over the black music map (Stevie Wonder, Jimi Hendrix, Les McCann & Eddie Harris, blues piano master Roosevelt Sykes, etc.) His modern soul-cum-blues is hot, sweaty, and aggressive, and he gets the job done in busy arrangements shared with the Memphis Horns, honey-throated back-up singers, and muscular hired guns like bassist Willie Weeks and drummer Crusher Green. Peterson had the good sense to collaborate with New Yorker Jim Payne when writing five songs for the album, including the killer slow blues instrumental that doubles as the album title.