The Blues Blog (10) A regular round-up of new releases The sight of our mutual friend The Postman gambolling off down the drive might be taken as a sure sign that Spring is finally upon us, while in truth it’s the uplifting effects of having downloaded “Who Will Save The World – The Mighty Groundhogs” onto his brand new iPod. We don’t begrudge him his simple pleasures, but today the Blog has other fish to fry, this morning’s catch having thrown up some of the most promising stars presently emerging in the Blues, and we’re keen to get on and listen to them. This column has paid fulsome tribute to the importance of small independent labels in supporting and sustaining the genre, and Germany’s Ruf Records is peerless among them in its promotion of new talent. Scandinavian Erja Lyytinen stands as a prime example of their stable of emerging artists and featured on this year’s “Blues Caravan”, the label’s annual European showcase tour which regrettably avoids the UK. Grip of the Blues is her first for five years and marks a significant step up in class from previous efforts (“Attention” and “Wildflower”). Recorded with her exemplary road band it offers a close account of what they aim for live, with Erja’s smooth voice and versatile guitar playing to the fore. Opening with confident instrumental “Broadcast” the set is fluid, accessible and stylish, with standards “Steamy Windows” and “Rollin and Tumblin” given a good freshen up. She keeps mainly on the lighter side, (“Wanna Get Closer” – “I wanna get closer to you/Push my body right next to you/Take my clothes off with you” – strays dangerously close to disco), but avoids blandness, and when she rocks a little harder on “Let it Shine” and “Dissatisfaction” there’s no harm done. Also travelling on this year’s Caravan was the very impressive Joanne Shaw Taylor, who along with Oli Brown and Danni Wilde (similarly signed to Ruf) makes up a trilogy of unnervingly young British artists who are all boxing well above their weight. The key to their success lies partly in a maturity not seen in white Blues musicians of their age since the early sixties and who are, as White Sugar ably demonstrates, the real deal. To be fair Ms. Taylor has had plenty of encouragement and support; she was touring the continent at 17 with a band featuring Jimmy Cliff, Candy Dulpher and Dave Stewart (who has been particularly forthright about her potential), and this debut album has been overseen by Grammy Award winner Jim Gaines. Nonetheless, it matches the highest expectations courtesy of a voice which invokes Bonnie Raitt, Rory Block, and Dusty Springfield and can moan or roar with the best of ‘em, and an intuitive mastery of her instrument which is up there with Stevie Ray Vaughan. Songs range from slow burners such as “Time Has Come” and “Heavy Heart” to blistering slick rockers including “Blackest Day” and “Watch ‘em Burn”, while the instrumental title track is simply stunning. Blogs past have pointed to the catalogue of very fine releases being made available through Randy Chortkoff’s Delta Groove label. Although Delta Groove generally specialise more in experience than innovation they branch out a little here with 2 Man Wrecking Crew, a pairing of R.L. offspring and drummer Cedric Burnside and guitarist Steve ‘Lightnin’ Malcolm. A duo of this kind invites inevitable comparisons with the White Stripes or the Black Keys, but the fusion of subtle soul, hip hop and funk influences with the stomping and swaying characteristic of their North Mississippi roots adds up to something more distinctive. Chock full of short, tense and hypnotic songs which hit the spot then move rapidly on, they often invoke Hendrix, the Delta and African rhythms all in the space of under three minutes. Helped out in places by harmonica wizz-kid and long-time friend Jason Ricci and on vocals by Bekka Bramlett and Etta Britt, they hit their high points on “That’s My Girl”, “She’s Got Something on Me”, “Fightin’” and “Mad Man Blues”, while maintaining the highest standards of the Burnside/Kimborough dynasty throughout. Dave Arcari has attracted growing press and word of mouth attention on the UK and international circuits for several years, and new release “Got Me Electric”, his fifth for Buzz Records collects together nine originals and four covers largely featuring his bottleneck and National Steel guitar playing. His gruff voice and occasionally irreverent stylings hint at rockabilly and even punk influences, and it is these plus his affiliation with the likes of Seasick Steve, Jon Spencer and Son of Dave which has endeared him to the ‘alternative’ audience. This one will please long-term admirers, but he may need more material of the calibre of the lively Frankie Miller tune “One More Heartbreak” to make a real impression on a wider audience. Despite his relative youth it seems these days that Aynsley Lister has been with us forever, with the growing album count and fan base to go with it. It is arguable, however, that each step in his growing popularity takes him further from any blues roots he may have had. Lister always had way more potential than many of his contemporaries (I’m thinking particularly of the Ians Parker and Segal) to cross over into mainstream acceptance, and Equilibrium (Manhattan Records) seems to have been made specifically with this aim in mind, geared as it is to the Radio 2 ear. Taken on that level alone it would be a shame if it didn’t sell by the bucket-load as there’s no denying the pop sensitivity that’s gone into upbeat number “Times Up”, smoocher “Forever” and high gloss productions such as “Big Sleep”, while “Running on Empty” has distinct hit single potential given the right break. There’s no mistaking the craftsmanship either, with industry pro’s such as Robbie McIntosh being drafted in to ensure that the project stays squeaky-clean and airwave-friendly. Classic Rock magazine’s recent endorsement of him as the U.K.’s brightest blues prospect may well turn into an astute commercial prediction, but for many (not all died-in-the-wool purists) there will be a suspicion that, artistically at least, cozying up this close to the calculated crowd-pleasing of Bryan Adams comes at a price. Of this Blog’s entire crop Joe Louis Walker will be least in need of an introduction. As both recording artist and live performer he has already proven his point and some. Witness to the Blues (Dixiefrog) however should be enough to see his status progress from serious contender to major artist. Produced by near-legend Duke Robillard and featuring a stirring duet with Shemekia Copeland on r&b standard “Lover’s Holiday” the eleven tracks here triumphantly illustrate Walker’s mastery of the full range blues spectrum including gospel, soul and rockabilly. He sings with all the conviction of a world class bluesman for the modern age and his playing is fluid, scintillating and dynamic. Delivery throughout combines assurance and energy, while his sidemen, especially the horn section of Doug James and Scott Aruda, provide powerful but carefully managed support. Walker dedicated his album to (among others) the recently departed Sean Costello, Jeff Healey, Buddy Miles and Ike Turner, a reminder of how relentlessly time is ravaging the ranks of our finest. It may be some consolation that younger artists including those featured here are picking up the torch and positioning themselves to carry it on into the 21st century. Neil B. www.rufrecords.de www.deltagrooveproductions.com www.thebuzzgroup.co.uk www.aynsleylister.co.uk www.bluesweb.com Next