The Blues Blog (7) A regular round-up of new releases The Postman is over his sulk following last month’s Blog, which concentrated largely on female blues shouters, and we’re finally talking again. “You have to understand” he berates me, “that the blues is nothing without guitar heroes. And blokes do this thing best.” I don’t necessarily agree with him here, and you probably don’t either (so there’s no need to write in), but in the interests of balance and for Gary Moore fans everywhere, this edition will feature the boys and their toys. I’m pretty sure that Ian Parker will meet with their approval. Whilst no wanton shredder Parker’s formidable live reputation is a largely a product of his undeniable virtuosity as a guitarist, something this low key Official Bootleg captures more successfully than previous CD efforts. There’s a clarity and an energy about this performance which brings out the best in songs such as “Waste My Days” and “Love So Cold” and gives life to both his fluid and dextrous playing and his solid soulful singing. Sadly there’s no room for his celebrated cover versions of “Almost Cut My Hair” and “This is a Man’s World”, and while “Little Wing” gives some sense of his skill in reinterpreting rock standards, a less thrilling “With or Without You” could be a bridge too far for some. This approach has opened up new audiences in the past for Jason and the Scorchers, the Blues Band and namesake Graham Parker, and might just work for this UK blues circuit favourite. Ice Storm, the latest Earwig release from Tulsa-born and Memphis influenced Scott Ellison also showcases some fluid guitar work as the driving force behind an impressive range of all-original songs. “Stealing” swaggers confidently, while horns and backing vocals inject a little more funk into “Big Blue Car” and “Pride”. Alternatively, “4th July” holds its own as a heavy rocker, “I’m in Trouble” and “Where You Stand With Me” smoulder, “Keys to My Heart” oozes sleaze (a la Keith Richards) and “Why’d You Lie to Me” takes on the task of updating Howlin’ Wolf. The former Clarence “Gatemouth” Brown sideman has opened for the likes of Buddy Guy and BB King, and although he’s bound to draw comparisons with the usual suspects from Robert Cray to Stevie Ray there’s a genuine sense of both experience and ambition underlying the set. This month’s second from Earwig also features its fair share of guitar work. Chris James and Patrick Ryan have played together for eighteen years on guitar and bass respectively, boasting a stage interplay of “ESP-like levels”. As representatives of the “new” generation of Chicago bluesmen their genuine commitment to and affection for post-war stylings resonates throughout the twelve-song Stop and Think About It. They hit the ground running with Muddy Waters-esque opener “You’re Gone”, and thereafter the merging of five of their own with respectful revivals of classics from Elmore James (four, including “Got to Move”), Bo Diddley, and James “Snooky” Prior suggests them as worthy successors to their illustrious forebears. Daylight at Midnight will neither surprise nor disappoint admirers of veteran bluesman Travis Haddix. This tenth release in the twenty years since his debut at the age of fifty is once again delivered courtesy of the Wann-Sonn label. The artiste’s rich baritone voice and skilful guitar work are featured against the smoothest of band sounds including a four piece brass section. Standouts include opener “Word a Lie”, “Who Could I Be?” and the slow-burning “Backward Baby”, but in all there’s little to disturb the tranquil mood implied by the title, making it particularly suitable for the wee small hours. From the opening moments of Testament, a 62 second instrumental “Freight Train”, it’s clear that in Peter Lang we’re dealing with a very different type of axe-slinger, and one from whom many an aspiring young buck could learn a lesson or two. Peter likes to call his twelfth album “a piece of American history”, and I suspect that this is less an arrogant claim on its own behalf than a reflection on his choice of material, which reaches way back into the annals of American folk blues. His renditions of songs originally written or performed by Pete Seeger, Bessie Smith, Blind Willie McTell, Leadbelly and others are gentle but carefully crafted. African folk songs, turn of the century instrumentals and a rendition of Hambone Willie Newbern’s 1929 “Brownsville Road” (which could pass as an outtake from Dylan’s “Modern Times”) all form part of this delightful and illuminating project which, skilfully enhanced by careful picking, makes a refreshing change from hearing the instrument turned up to eleven. Last seen out with The Mannish Boys, former Fabulous Thunderbird Kid Ramos is something of a minor guitar legend. Featuring on this eponymous debut (Delta Groove Productions) from Los Fabulocos alongside Cali-Mex veterans Jesus Cuevas (vocals and squeezebox), James Barrios (bass) and drummer Mike Molina, he plays his part without threatening to exceed his brief, and delivers another important lesson in restraint. In a spicy set of Spanish and Mexican influenced blues, R&B and rockabilly you’ll hear not only the obvious echoes of Los Lobos, Doug Sahm and the Hacienda Brothers, but also brief and tantalising snatches of Elvis, the Coasters, the Drifter and more in a riotous collage of tunes which are both danceable and listenable. Whilst billed as the star of the show Ramos’ muscular playing remains significant but never dominant, allowing a fine collection of tunes by Clifton Chenier, Rockin’ Dopsie, Lloyd Price, Johnny Burnette and cancionero Mexicano Cornello Reyna to reach their full potential. Neil B. www.ianparkermusic.com www.earwigmusic.com www.travishaddix.net http://peterlang.org http://deltagrooveproductions.com Next