Chuck Eddy

Recorded originally for Clearwater's own Cleartone label and later leased to Ron Bartolucci's Baron imprint, these late-'70s sides were potent indicators of his maturing blues style. These weren't homemade sessions; all-star sidemen include drummer Casey Jones, guitarist Jimmy Johnson, and saxist Abb Locke. The title cut is a blistering Chuck Berry-styled rocker, "Came Up the Hard Way" displays a firm grasp of the West Side sound, and "A Little Bit of Blues, A Little Bit of Rock & Roll" utilizes a funky groove to foot-stomping advantage.

On this CD are 2 Chicago Blues legends presented: Eddie "Chief" Clearwater and Carey Bell.
Once dismissed by purists as a Chuck Berry imitator (and an accurate one at that), tall, lean, and lanky Chicago southpaw Eddy Clearwater became recognized as a prime progenitor of West Side-style blues guitar. That's not to say he wouldn't liven up a gig with a little duck-walking or a frat party rendition of "Shout"; after all, Clearwater brought a wide array of influences to the party. Gospel, country, '50s rock, and deep-down blues were all incorporated into his slashing guitar attack. But when he put his mind to it, "The Chief" (a nickname accrued from his penchant for donning Native American headdresses on-stage) was one of the Windy City's finest bluesmen…

Eddy Clearwater has had a tough time shaking his "Chuck Berry imitator" label, and he includes Berry-tinged numbers at the halfway point and end of this nice, if thoroughly derivative, urban blues set recorded in 1989 for Black and Blue with the familiar country boogie shuffle and tinkling licks. Clearwater could not do a set without the signature "Lay My Guitar Down," and this rendition is surging and enjoyable although inferior to the definitive one. Otherwise, it is a pile-driving and urgently performed date; Clearwater and Will Crosby swap slashing lines, crackling phrases, and answering fills. Clearwater's session contains several robust, entertaining passages, even if there is absolutely nothing you have not heard before.

Here you'll find great studio recordings - "Chicago Daily Blues" and "Came up the hard Way". Special bonus tracks on this CD were recorded in the Kingston Mines nightclub in Chicago on a trip in 1977.
Once dismissed by purists as a Chuck Berry imitator (and an accurate one at that), tall, lean, and lanky Chicago southpaw Eddy Clearwater became recognized as a prime progenitor of West Side-style blues guitar. That's not to say he wouldn't liven up a gig with a little duck-walking or a frat party rendition of "Shout"; after all, Clearwater brought a wide array of influences to the party. Gospel, country, '50s rock, and deep-down blues were all incorporated into his slashing guitar attack. But when he put his mind to it, "The Chief" (a nickname accrued from his penchant for donning Native American headdresses on-stage) was one of the Windy City's finest bluesmen.

After years of being incorrectly described as a reggae artist, Eddy Grant responded in 1988 by calling this album File Under Rock. Many assumed that the British singer was a reggae-oriented artist because he wore his hair in dreadlocks, but the truth is that he's essentially a pop-rocker who sometimes incorporates reggae elements. While a few tunes on File Under Rock contain slight reggae touches (including "Harmless Piece of Fun"), this is indeed a pop-rock CD first and foremost. Grant favors lighthearted escapism much of the time, although he brings a more sociopolitical agenda to "Another Riot," "Hostile Country" and the questionable "Say Hello to Fidel," which seems to endorse Cuban communist dictator Fidel Castro. Even at his most political, however, Grant avoids sounding preachy. File Under Rock didn't contain a monster hit like "Electric Avenue" or "Walking On Sunshine," but it's a decent effort that Grant's followers will want.

This was the charismatic southpaw's debut album back in 1980, and remains his best to date. He rocks like Chuck Berry used to (but no longer can) on "I Wouldn't Lay My Guitar Down," and tears up the West Side-based "Bad Dream" and "Blues for a Living," imparts a hard-driving Chi-town shuffle to "Find You a Job" and "I'm Tore Up," and gives "Lazy Woman" a decidedly un-lazy Latin tempo. One of the best Chicago blues LPs of the 1980s.

After years of being incorrectly described as a reggae artist, Eddy Grant responded in 1988 by calling this album File Under Rock. Many assumed that the British singer was a reggae-oriented artist because he wore his hair in dreadlocks, but the truth is that he's essentially a pop-rocker who sometimes incorporates reggae elements. While a few tunes on File Under Rock contain slight reggae touches (including "Harmless Piece of Fun"), this is indeed a pop-rock CD first and foremost. Grant favors lighthearted escapism much of the time, although he brings a more sociopolitical agenda to "Another Riot," "Hostile Country" and the questionable "Say Hello to Fidel," which seems to endorse Cuban communist dictator Fidel Castro. Even at his most political, however, Grant avoids sounding preachy. File Under Rock didn't contain a monster hit like "Electric Avenue" or "Walking On Sunshine," but it's a decent effort that Grant's followers will want.

Veteran producer Ralph Bass produced this collection back in 1977 for a blues album series that never materialized; Delmark finally brought it to domestic light recently. Solid, unpretentious package that shows both Clearwater's West Side-styled southpaw guitar sound and his Chuck Berry-oriented capacity for rocking the house.

Eddy Mitchell has always been a big fan of Chuck Berry. The great adaptations of the songs he made, always remain faithful to the spirit and the pen of the great Chuck, some have even become Eddy's classics. Content edition: The 16 covers of Chuck Berry by Eddy Mitchell (including Eddy is good with the Black Socks); the 16 original versions by Chuck Berry.

The Chief Eddy Clearwater's West Side Strut is his first release for the Alligator label, and while nothing here is a surprise, Clearwater's Chicago blues/Chuck Berry hybrid remains evident as he works his way through a mix of rock & roll, country, soul, and gospel. Along with Clearwater is a stellar group of fellow Windy City musicians led by second guitarist (and producer) Ronnie Baker Brooks and his band, a horn section, and appearances by Billy Branch on harp, guitarist Lonnie Brooks, and backup vocals by Otis Clay and Jimmy Johnson. Spirited cover versions of Muddy Waters' "Walking Through the Park" and Lowell Fulson's "Trouble, Trouble" are highlights, as are the gutbucket blues "A Good Leavin' Alone," "Blue Over You," and the autobiographical "They Call Me the Chief." West Side Strut is another solid effort for the Chief and Alligator, as well.