Lil Baby

Slide guitarist Lil' Ed Williams & the Blues Imperials bring the energy of live performance to their seventh Alligator release, Full Tilt. The highlights on this disc tend to reflect that of the album's title, especially the spirited cover versions of the Contours' "First I Look at the Purse" and Hound Dog Taylor's "Take Five," along with the originals "Hold That Train," "Candy Sweet," and "My Baby Moves Me." Lil' Ed's raucous guitar chops are at center stage on those tracks and the additional backing from horn players Eddie McKinley and David Basinger and pianist/organist Johnny Iguana add some extra kick. There are a few lukewarm tracks that are a bit too rote and, unfortunately, bring down the overall good-time party appeal of this disc. Still, fans of Lil' Ed & the Blues Imperials, or electric modern blues in general, will want to add this to their collections.

Slide guitarist Lil' Ed Williams & the Blues Imperials bring the energy of live performance to their seventh Alligator release, Full Tilt. The highlights on this disc tend to reflect that of the album's title, especially the spirited cover versions of the Contours' "First I Look at the Purse" and Hound Dog Taylor's "Take Five," along with the originals "Hold That Train," "Candy Sweet," and "My Baby Moves Me." Lil' Ed's raucous guitar chops are at center stage on those tracks and the additional backing from horn players Eddie McKinley and David Basinger and pianist/organist Johnny Iguana add some extra kick. There are a few lukewarm tracks that are a bit too rote and, unfortunately, bring down the overall good-time party appeal of this disc. Still, fans of Lil' Ed & the Blues Imperials, or electric modern blues in general, will want to add this to their collections.

This is the third and final volume in the complete recordings of Lil Green in chronological order as reissued by the Classics Blues & Rhythm Series. By 1947 Lil Green was beginning to sound more than a little like Ida Cox, even when handling songs from Tin Pan Alley rather than straight up out of the tried and true traditional blues repertoire. Comparisons could also be drawn between Lil Green and Nellie Lutcher or Julia Lee. While her "crossover" performances are worthwhile, there's nothing quite like hearing this woman savor the flavor of Bessie Smith hits like "Aggravatin' Papa," "Outside of That," and "You've Been a Good Old Wagon (But You Done Broke Down)." Green's own "Lonely Woman" has a powerful undercurrent running through it – there is even a remote possibility that Ornette Coleman was inspired by this record when conceiving his own composition of the same title in 1959. Even if the link is purely coincidental, these melodies have something wonderful in common. Green's final recordings for the Victor label are strengthened by the presence of tenor saxophonists Budd Johnson, Lem Johnson, and David Young.

Lil Ed Williams and Dave Weld have complementary styles. The pair of blues singer-guitarists learned slide guitar from J.B. Hutto (Williams' uncle) and they are equally skilled playing acoustic and electric blues. In fact, with the exception of the pop ballad "Too Late Baby" which is from 1944 and utilizes different personnel than the rest of the CD, this set mostly alternates acoustic and electric numbers by the Imperial Flames, a quintet. The co-leaders split the vocals and the guitar solos equally and are not only strong soloists but adept at backing each other. Due to impressive variety and high musicianship, the often-exuberant set is highly recommended to blues fans.

Lil Ed Williams and Dave Weld have complementary styles. The pair of blues singer-guitarists learned slide guitar from J.B. Hutto (Williams' uncle) and they are equally skilled playing acoustic and electric blues. In fact, with the exception of the pop ballad "Too Late Baby" which is from 1944 and utilizes different personnel than the rest of the CD, this set mostly alternates acoustic and electric numbers by the Imperial Flames, a quintet. The co-leaders split the vocals and the guitar solos equally and are not only strong soloists but adept at backing each other. Due to impressive variety and high musicianship, the often-exuberant set is highly recommended to blues fans.