We start 2003 with a visit to the recent past. In June of 2000 I had the pleasure, nay, thrill of a lifetime, to interview Michael Smith. It’s a pleasure to now present this feature on Michael Smith and a review of Michael Margaret Pat & Kate, a milestone in the art of the concept album.MMReview 16!
Features:
Interview: Michael Smith—Michael Smith is one of the finest songwriters to ever pen a tune. There are many who only know him for “The Dutchman” or as the guy who provided music for the Broadway production of The Grapes of Wrath. Find out more about this perennially under-recognized American treasure.
Review: Michael Margaret Pat & Kate—An autobiographical album in the fullest sense of the word, it is as moving and beautiful as any album ever reviewed in Music Matters!
Slipcrackers!—Quick reviews of albums that almost slipped through the cracks, but are way to good to let pass without comment.
Reviews: (Click titles to jump to reviews)
Norton Buffalo and Roy Rogers—Roots of Our Nature
Solomon Burke—Soul Alive!
Shemekia Copeland—Talking To Strangers
Dana Cunningham—Dancing at the Gate
DaVinci’s Notebook—Brontosaurus
Bruce Molsky/Michael Doucet/Darol Anger/Rushad Eggleston—Fiddlers 4
Vance Gilbert—One Thru Fourteen
Corey Harris—Downhome Sophisticate
Holmes Brothers—Righteous!
Little Ed and the Blues Imperials—Heads Up
Mahalia Jackson
—Sunday Morning Prayer Meeting With Mahalia Jackson
—Recorded Live In Europe During Her Latest Concert Tour
—Mahalia Jackson In Concert Easter Sunday
Chris Thomas King—A Young Man’s Blues
David Massengill —My Home Must Be a Special Place
Jonathan Richman—Action Packed: The Best Of Jonathan Richman
Neal and Leandra—Bridge Rail
Two of a Kind—Patchwork Planet
Various—Round Midnight—The Original Motion Soundtrack
Little Toby Walker—Back In the Groove
Reviews:
Norton Buffalo and Roy Rogers—Roots of Our Nature
2002, Blind Pig
The roots of this disk lie in the abilities of two monster musicians. Norton Buffalo, besides playing harmonica on over 25 years of Steve Miller’s hits is a fine, smooth vocalist in a Sugar Ray Norcia vein. His harmonica is a rapid fire, slow burn tool that creates Western vistas, soaring mountains and fog shrouded coastlines. Roy is the maestro of the guitar. He picks and slides with the aplomb of a deity. He moves fast, strums slow and is surely the master of wood and nylon or wound steel! His vocals are edgy and succinct, expressing the depth of the words. Roots of Our Nature is a disk of songs—not necessarily blues but, certainly in the blues/roots arena—many blue feels are felt. The tone is mellow, melodic and relaxed. Buffalo’s harp fills the air and Rogers fills the ground with artistry upon which smooth vocals are displayed. Norton’s latinesque jazz lines fill “Ritmo de las Almas” while Rogers’ flamenco tinged guitar mastery summates into a soul breaking tour de force that eclipses all attempts at categorization. Another outstanding cut is “Seven Hearts.” Django’s ghost strums the guitar with gypsy rhythms that propel and Norton’s harp is a generator of blue miasmas and foggy half seens in a tale of demons, despair and redemption. “Happy Go Lucky” is a fine bopping, good timing, jazz number that closes it down. Much of the disk has the flavor of a cowboy’s lonely lament, out on the range with his guitar or harmonica. Not in style, but the predominant feel is “folky.” It has immediacy, intimate feel and wide open spaces. The jazz side cranks wide open for much of the second half and the disk is a tasty listen that has chugging moments, introspection and chops. —Mark Gresser
Solomon Burke—Soul Alive!
2002, Rounder
Soul Alive! is a double CD set of two concerts from the club, Phoenix 1 in Washington, DC. This is serious soul ecstasy. The crowd shouts and testifies like a tent revival as “Bishop” Burke brings church home to songs of love, loss and life. His compelling message moves with the power of the soul. His intensity and delivery shone like a super nova. Arguably, Solomon was the hottest soulman ever. In the company of contemporaries like Sam Cooke, Ray Charles, James Brown, Joe Tex, Ben E. King, Otis Redding and Wilson Pickett, that is a large claim but, Solomon Burke was large. His vocal delivery contained every nuance from a whisper to an operatic crescendo. His voice wailed, testified and captured rapture like none else. Largeness isn’t the 300 pounds or the kingly raiments but the power of expression. Burke held forth, expressing, educating, expostulating, exhorting and excitating. If you’ve ever seen a Springsteen show, you have experienced how it’s done and apparently, Bruce learned it from the Bishop! Medleys, singles, spoken word each received a frenzied outpouring of love from his audience who really understood the concept of audience participation. Rarely does a disk transmit the power of a live performance but this one does that and more. This is why there is music in the world.—Mark Gresser
Shemekia Copeland—Talking To Strangers
2002, Alligator
Shemekia is a goddess of Mama Blues. She’s funky, sassy, attitudinal, horny and hurting. She breathes, sweats and works the blues and is fully in control of her man, her desires and her talent. Johnny’s little girl is a woman now and there’s absolutely no question that Shemekia’s come to rock. This go ’round, Madame C. is joined by a crack New Orleans back band produced by Dr. John. Mac contributes piano and vocals throughout. Herman Ernest is the man of percussive propulsion. Ivories are the realm of Dr. John or Jason Ladayne, six-strings are Art Neilson and Hugh McCracken’s purview and the whole band rests on Dave Barard and Jason Langley’s bottom. This platter of emancipation, infatuation, dog down desire and revenge is filled with hot boogie, phat funk and low down. Crisp production, new feel and sharp attitude fill tales of love, lust, trouble, regret and humorous views of other adult topics. Opening with full tilt funk, “Livin’ On Love,” we find several contributions by frequent Shemekia writers Jon Tiven and Cindy/John Hahn. Some of their best is “Should Have Come Home” or the hilarious “Sholanda’s.” It’s all about a house of bu-tay, filled with all the gossip that’s fit to print. If you’ve been a bad boy, you better hide your plastic, ‘cause Shemekia loves the sound of over working cash registers. “Ka-ching” describes the sweet sound of revenge through the pocket! Dr. John’s writing is present on several including a duet where Mac and Mekia do a fine New Orleans flavored love rhapsody called “The Push I Need.” Mac’s piano is ever-present and refreshing. Shemekia can get sweet, blue night-clubby as the tears flow through “Happy Valentine’s Day.” Closing on Johnny “Clyde’s” “Pie In the Sky,” the disk spools out on a total rocking up. Word up guys…don’t do Shemekia Copeland wrong because you’ll hear it right back, dude! Johnny’s girl is a full talented woman the equal of any in the blues. —Mark Gresser
Dana Cunningham—Dancing at the Gate
2002
The cover of the album indicates that this is “Contemplative Piano” music. This description is dead-on in all the right ways. The music is gentle and relaxing without being boring. The melodies seem to grow from deep clear musing, taking paths that are neither simple nor cluttered. Cunningham’s playing tends to articulate each note yet her velvet touch gives each piece fluidity. Even though the album maintains a thoughtful pace from beginning to end, it leaves one wanting more. The depth of Cunningham’s inspiration is referred to in the liner notes. “It is my prayer and hope that this music invites you to a stillness that awakens you to that larger place within.” A serenely passionate and beautiful experience. —Michael Devlin
DaVinci’s Notebook—Brontosaurus
2002
DC area’s a cappella (mostly) pranksters take the Bobs to the next level. Using clever body sounds, judicious instrumental fills and accents and scathing societal commentary, no shibboleth is sacred. Strange love, simulosex and desensate stalking are all a part of the auditory palette, put to warm harmonies, anthemic melodies and bizarre rhythmic pulsations. Songs flow from the reality that relationships come and go, to the furniture that still needs moving, to Bill Gates needing to be hurt. There is personal “sucking” as well as disgusting tales of medical procedures. Ethnic stories of alcoholism and death are done to a rousing Riverdance melody. Penile pride oozes enormously as a method of self happiness while a psychotic suite of silliness juxtaposes severe mental imbalance as DaVinci’s Notebook explores additional aspects of dating, hillbilly hygiene and kitchen utensilry. Bobbing cartoon Adam’s Apples unite to cap a brilliant medley of the preceding subjects in an outstanding display of courage and auditory stupidity. This CD rocks in a dementedly funny but seriously time impaired 37-minute fashion. Too much fun, over too soon. —Mark Gresser
Bruce Molsky/Michael Doucet/Darol Anger/Rushad Eggleston—Fiddlers 4
2002, Compass Records
Fiddler's 4 brings together some of the most celebrated fiddlers on the contemporary music scene. Darol Anger, a member of the famed David Grisman Quartet, and more recently, the Turtle Island String Quartet, adds his jazz-flavored fiddle to the mix. Michael Doucet is the well-known face of Cajun music’s Beausoleil. Bruce Molsky is an internationally known traditional fiddler. And last, but not least, cellist Rushad Eggleston is the up and coming new talent in this well-rounded quartet. These outstanding musicians manage to blend their distinctive individual sounds into a mix that takes us from the Seychelles Islands to the Louisiana bayou, to the great American Jazz Age, to West Africa, and to the heart of American Appalachia.
This album is a collaboration in the truest sense, in that each of the musicians adds his own individual sound and talent to create a cohesive whole. For example, in the period tunes “Just a closer walk with thee/I know,” Michael Doucet and Bruce Molsky share vocals while the quartet of musicians is collectively responsible for the arrangement. On one of the recording’s best cuts, Duke Ellington’s “E. St. Louis Todalo,” Bruce Molsky brings out his guitar, Rushad Eggleston takes the lead on cello, and Anger and Doucet contribute fiddles to create an unforgettable arrangement of this classic. While Darol Anger composed the West African tune “African Solstice,” the entire quartet weaves complex rhythms and patterns in and out of the original melody.
Fiddler's 4 is not only for Cajun music or jazz lovers, it’s for all of us who enjoy good music. The only thing that is left out of this musical feast is hearing it live so that we can experience the joy and laughter of the musicians who made it. But all of that comes across in the wonderfully written liner notes to which all of the fiddlers contributed. This is good, great fun and one of the best instrumental recordings I have heard in a long while. Evidently the people who nominate musicians for the Grammy Awards agree as the Fiddler's 4 CD has been nominated for a 2002 Grammy Award. This is a must for any music lover’s collection. —Roberta B. Schwartz
Vance Gilbert—One Thru Fourteen
2002, Louisiana Red Hot Records
Vance Gilbert is a visual artist working in the acoustic milieu. He paints colors of emotion and spreads frequencies like an implication. His songs weep bittersweet remorse, drip deep soul and shout emotional depth. Vance has an operatic range, a palette of styles and the cogliones to use every ounce of his strengths. Visual images clash across the canvas of the mind and One Thru Fourteen is a sketch book of hurt, love, joy, loss, pain and profundity. Spirits soar and loop as Gilbert roars and rails. His travails become aural mystery in an eclectic blend of textures, vanities and approaches. “I want you to hold me like I’m going off to war...” Can any other way of saying something express the power? That’s the power of Vance Gilbert. The material of Gilbert is reflected in his most open and diverse, yet peculiarly Vance CD ever. The opening cut, “Waiting For Gilligan” is a restrained pop vigil that expresses yearning like Einstein expresses cosmic concepts. “Juliana Walks” is, well, heavy metal folk. She’s gone dude, so, realize it quick. “Why Are We So Cruel” features a light flamenco touch in a tale of ultra-refined internecine rivalry. Ellis Paul’s accents fill the song even further. Soulful blue is the “Hard To Love” signature accentuated by Vance’s soaring vocals and a tight horn accompaniment. If that’s not enough, Billie Holiday lives in the dredded head of Mr. Gilbert. “I’ll Cry Too” is about an “it’s over” heartache submerged in a swanky jazz gouache willed with classic vocal styling. From there “Don’t Leave A Trace” is funk heartbreak—so run until the tank’s empty! Into this eclectic mix, Gregorian chants announce the pained remembrance of “If You See James” (a sequel to the buoyant “When Jimmie Falls In Love”) and “Let Me Know” allows for gospel tinged vocal athleticism that asks the eternal for a little bit of guidance. Vance Gilbert describes this disk as something he heard in his head and claims it sounds “like a cross between Tommy James and the Shondells, Booker T & the MG’s, Nick Drake, Bootsy Collins and the Gypsy Kings!” To me, it sounds like magic. The magic of soul and heart and expression and feeling strewn across a canvas of colors, styles and Vance Gilbert. There is no one like him. —Mark Gresser
Corey Harris—Downhome Sophisticate
2002, Rounder
Corey Harris has never been satisfied. Never satisfied within rigid walls, never satisfied in the common knowledge and never satisfied in the biz as usual head game. He has mixed and blended and has been a voice for growth and change and respect for the origins. He’s fresh and hot and cool. Downhome Sophisticate just about says it all. Urbanized funk, acoustic progressive, multilayer single-track sample, played-live rhumba, Delta and mother Africa tunes flow in a torrent. Corey and his 5 X 5s take the Greens out of the country, bro. They add the dude and the hipcat and the deep blues of Ougadougou to a tangy gumbo. Showing the North Mississippi Allstars what to do, steeping himself in wassup, Harris gives a mindful wallop to the status quo. His electric choogling and acoustic slide have blended inner city, sub-sahel and outer bayou in a raunchy, ragged electromanifesto. Funk, rock, hophouse, hot slide drop down and dance groove master driven jammin’ are the result and the vectors are summating. Hip hop, pidgin patois, English of the Queen, the words of Mali mystics and medicine men all roil roll in the dred head of one Corey Harris. Get a taste of the unreal reality, rock out homeruns and feel wider, bigger and off and out. —Mark Gresser
Holmes Brothers—Righteous!
2002, Rounder Heritage
The Holmes Brother hold a unique place in modern blues. They consistently break out of what purists call blues. They also cross the boundaries of gospel, funk, rockabilly, soul and whatever other roots music they incorporate into their totally original sound. The heart of the Holmes Brothers are two brothers, Sherman and Wendell and the other worldly vocals of Popsy Dixon. Together, they provide vocals, guitars, drum and bass. Joined at different times in their Rounder recording career by Gib Wharton’s pedal steel and Anders Gaarmand’s horns, they continue to push and strive and soar. They “were” the core of much of New York City’s blues history from the early 60s and finally joined together around 1979. The result was a uniqueness of spirit and purpose, fusing the disparate and diverse influences of their childhood South East Virginia musical experiences with any other stream of aural artistry that flowed through their souls. They testify to the glory of the Lord or the fineness of their lady or the pain of fighting addiction. Popsy soars on falsetto wings of joy and sorrow unmatched anywhere (and only approached by Aaron Neville). The Holmes do rockabilly “Fannie Mae”, funk “Got Myself Together” and teardown roadhouse with “Dashboard Bar.” “I’ve Been A Loser” cooks with R&B grooviness. “There Goes My Everything” is swing low country blues while Lennon/McCartney’s “And I Love Her” is given a sweet soul makeover. No music, no influence, no realness is avoided and all are embraced, molded and imbued into the creativity of the Holmes Brothers. The cream of groove and hustling New York City blues reeks of reality and every cut is essential, articulate and genuine. Sherman’s gruff exhortations, Popsy’s angel’s pipes and Wendell’s mids, plus emotionally accurate instrumentation, guests from Jon King Cleary to Alison Krauss and open stylistic interpretations make the Holmes Brothers a natural wonder. Get yourself salvation, soul and heavy smoking vinyl. —Mark Gresser
Mahalia Jackson
—Sunday Morning Prayer Meeting With Mahalia Jackson
—Recorded Live In Europe During Her Latest Concert Tour
—Mahalia Jackson In Concert Easter Sunday
2001, Columbia/Legacy
These three albums of mostly live Mahalia Jackson material offer proof—as if any proof is really necessary—of what a unique singer she truly was. The stereotype of black gospel music for many involves foot-stomping beats and histrionic vocal gymnastics. Such a description also works for a black preacher on a sweaty Sunday morning. But Jackson is closer to a Bible teacher, singing her words thoughtfully, just as a professor carefully chooses exactly the right phrase, right along with the perfectly precise intonation.
Sure, her concert in Europe includes roof-raisers like “Didn’t It Rain” and “When The Saints Go Marching In,” but with “In My Home Over There,” from the Easter Sunday set, her vocal is delivered at such a measured pace, that it’s as if she wants to make absolutely sure everyone in the house knows exactly where this heavenly saint is bound. It’s been said that Jackson could have easily become a jazz great, had that been her preference. These recordings show off her naturally beautiful singing voice. Her accompaniment is sparse most of the time, which lets the listener cling to her every note. Mahalia Jackson was also a bit of an apologist, and you know beyond the shadow of a doubt that she fully believed in what she was singing. These three Columbia/Legacy releases are beautiful reminders of what Mahalia Jackson’s music was all about. More than just the gospel truth, Jackson embodied gospel beauty. —Dan MacIntosh
Chris Thomas King—A Young Man’s Blues
2002, Hightone
Chris Thomas King has taken the blues back and forward. His Red Mud release took it in a visceral, psychedelic forward movement away from tradition but, always into the spirit. His portrayal of Tommy Johnson in the film “O Brother, Where Art Thou?” took it back but infused a modern attitude to the classic Delta licks. A Young Man’s Blues does much the same. It is primarily a retrospective into Chris’ early career from 1989 to 1991. The disk opens with a folky number called “The Game.” It is clear from the first song that King is no ordinary musician. His lyrics are deeply personal, highly expressive and powerful. Many of the songs are straight rocking blues or R&B, but they have depth and a useful darkness. King sings about love and hurt, social disintegration and personal redemption. He is honest, brutally straight-forward and pulls no punches. The best cuts of his rocking numbers include the pain filled “Wanna Die With A Smile Upon My Face,” “Itch” and “Sad Sad World.” These have a Living Colour intensity and Chris’s unique worldview. Acoustic numbers like “The Devil’s Daughter” and “Plaquemine Blues” highlight depth of expression on a palette of emotion. As a snapshot of a man’s music in its early phases, this is a fine recording, but it transcends that as a work of power and feeling. —Mark Gresser
Little Ed and the Blues Imperials—Heads Up
2002, Alligator
Little Ed is a colossus. He strides through crowded bars, soars over festival grounds and fills mere CDs with excellence. Deeply rooted in the blues of his Chicago home, Ed Williams is large. He loves boogie and blues and plays it honest, loud and proud. Lil Ed and the Blues Imperials keep the flame of Hound Dog, Elmore James and JB Hutto burning brightly. Keeping the Hutto legacy is a family business, too. Both Ed and James ‘Pookie’ Young called him “Uncle.” The Imperials keep the boogie pumping and the blues deep and dark, as well as playing as if they were all common consciousnesses. That does happen when brothers play with guys who’ve stayed together for 14 years. You could say they’re tight! The newest guy, Paul Buschbacker has given Ed’s band a three-guitar front line, although he only appears on three of the disk’s cuts. Ed’s slide and in your face vocals bring the heyday of Elmore and Hound Dog back like last night. The slide is hot and bothered and the vocals are testifying to sex, love passion and downhome rocking. The cuts are mostly (all but two) Ed originals. There are occasional shadows of Albert King and other familiar melodies blended-in to some, which brings the astute blueshead joy when they are recognized. From the West side of Shytown, instrumental octane bouncers like “Ed Head’s Boogie” compete with the slow and deep of “I Still Love You” to the Hound Dog non-stop of “Woman In the Castle” or “The Sky Is Crying” inspired “The Creeper.” Ed may be short in physical stature but he sure ain’t small when it comes to real gut hammering, live in the studio, no holds barred blues!—Mark Gresser
David Massengill —My Home Must Be a Special Place
2002, Gadfly Records
Expert song-crafter David Massengill has composed an entire album of story-songs based upon his childhood. No, these are not songs of angst and parental impropriety—these are vignettes written by the 50-year-old Massengill as he reminisces about his family and friends. Set to a whimsical acoustic background, he writes and sings about his first crush, teachers, the beloved neighborhood simpleton, his best friend—an aural scrapbook of his formative years. Included in the liner notes are photographs of the people about whom he sings, taken from that time period. This is a personal and enjoyable romp through another era—Massengill's home was indeed a special place. —Paula E. Kirman
Neal and Leandra—Bridge Rail
2002, Uncle Gus Records
Over the years I have come to view Neal and Leandra as the ideal married couple. Unabashed love songs have long been a staple in their reparatory. On their recommendation, I have read all of the Wendell Berry books that I could find, imagining at times what they might sound like in Leandra’s voice, reading to Neal in the car on the way to distant gigs. It is surprising to hear that their road has had some bumps, but it is also the source of Bridge Rail, a realistic and deeply satisfying exploration into what it takes to be a couple.
For those unfamiliar with their work, Neal does most of the writing while Leandra handles much of the singing. Their songs are often autobiographic, but the high level of the writing gives them universal appeal. Leandra’s strong alto is stunning and expressive, one of the truly distinctive voices in contemporary music.
This album is a challenging listen, as Neal and Leandra dive head first into the rollercoaster emotions of a stressed relationship. The first seven songs culminate in “Bridge Rail” with Neal standing in George Bailey’s shoes, not to be saved by an angel, but, oddly enough, by the primal release of yodeling. This is followed by Leandra’s rendition of “Somewhere Over the Rainbow.” Leandra reveals the depth of yearning that can be found in the song by someone with more life experience than a teenage actress.
The album climbs from the depths of despair to finish on a note of tempered affirmation. One had to see at least a reasonably happy ending coming…after all, how bad could things be with Neal writing lyrics for Leandra to sing about how she feels. If he didn’t get it right, the album probably would never have been made! —Michael Devlin
Jonathan Richman—Action Packed: The Best Of Jonathan Richman
2002, Rounder Heritage Series
For the sake of truth in advertising, a Jonathan Richman “best of” that does not also include “Roadrunner,” “Pablo Picasso,” and “Astral Plane,” is NOT a true “best of” album. These 22 tracks are instead, some of Richman’s best work with Rounder Records, which represents the period following his groundbreaking stint fronting The Modern Lovers. When Richman is funny—in his nerdy sort of way, as on “Reno”—he is indeed at his best. He also rocks out in a stripped-down mode (“Fender Stratocaster”) and even does a little country (“Since She Started To Ride”). This may not be his very best—“Action Packed” is more than a bit of an exaggeration. Still, there’s a whole lot of quirky and fun music included here. —Dan MacIntosh
Two of a Kind—Patchwork Planet
2002, Magillacutty Music
Sometimes it is hard to evaluate children’s music, because after all, I’ve been out of the age-group for a few years. Luckily I was able to test market this one with a musically inclined five year-old who immediately got into this album’s music and lyrics. Two of a Kind generates a perky pop sound to go along with their bright, politically correct songs. Themes of brotherhood, life not always being fare, playing by the rules, patriotism, dinosaurs, amphibians and family values are sung by a combination of Jenny and Dave Heitler-Klevans and various children. “Animal Dads” focused on male penguins that keep the eggs warm and male seahorses that bear the young, rather than the love’em-and-leave’em parenting examples that abound in nature. This set off my cynical meter, but it is well under the radar of the younger set. Because this is an enhanced CD, sign language video clips, sing-along versions without vocals and other extras can be accessed by computer. Get this album for the kids—just because they seem to have a bottomless appetite for sock’em video games and rude cartoons doesn’t mean that they won’t like this sparkling and positive music. —Michael Devlin
Various—Round Midnight—The Original Motion Soundtrack
2002, Columbia/Legacy
Round Midnight is a fictitious film about a jazz musician, so it naturally has a jazz soundtrack. But rather than create a soundtrack separately from the film, these musical pieces were filmed and recorded live. This may be the main reason why so much of this music has an undeniable spontaneity to it. And since spontaneity is an essential ingredient to any improvised music, this album is nearly a complete artistic success. Director Bertrand Tavernier hired pianist Herbie Hancock as its musical director, and he did an excellent job assembling its instrumental participants. From the eerie vocals Bobby McFerrin brings to the table for “Round Midnight,” to the enthusiastically blasting trumpeting from Freddie Hubbard on “Rhythm-A-Ning,” Hancock proves himself to be the musical equivalent of a master film caster. There are almost too many highlights to name in just one review, but it would be sinful to neglect mentioning Chet Baker’s tortured singing on “Fair Weather,” or the way Hancock and vibe player Bobby Hutcherson duet on “Minuit Aux Champs-Elysees.” Round Midnight is a soundtrack album that is also truly cinematic.—Dan MacIntosh
Little Toby Walker—Back In the Groove
2002
How appropriate. Phoenix-like, Little Toby Walker has risen from the ashes of his self imposed exile as a brilliantly plumaged blues bird of prey. His guitar is talon sharp and his observations are as cuttingly true as any eagle’s beak. After a win at the International Blues Competition the future has the peculiar look of stardom. If we rewind a decade and half, we would find a struggling young artist with the sweetest picking, road tar vocals and a sense of humor that carried him through countless library, coffeehouse and bar gigs. He persevered and played and lived with the heart of a bulldog. Life’s spark has been burnished but that sparkle has never dulled. In that setting, the timing for this re-release is prime. Filled with crisp guitar rags, soulful blue moods and witty double entendres, Back In The Groove is what was and yet, still is. Toby today is a product of Toby yesterday. It’s a continuum of development, of life and love and loss and love again. These are songs of life lived, gigs played in blizzards or blowing rain or tobacco fumed environs replete with flying beer bottles. They are also filled with brilliant sunshine and the heart and soul of a bluesman. The shimmering steel slides and fluent picking are highlighted by rough pipes and a harmonica rack worthy of John Hammond. The covers found on this disk are authentic, lovingly recreated and spiritually linked to but not slavishly copied from the originals. Toby distilled their essence through the filter of his own style, experience and unique approach. The songs are about soul and the man who has it. The originals are old friends. Early iterations of “Oops” and “It’s Tough” were made by a young ”bluesman” in the true sense of the word. The atmosphere is so Delta that you hear the weevils munching, the ancient rocking chair tipping back, the throat scalded whiskey burn and the magic of 10 fingers on 6 strings! That’s Little Toby Walker. —Mark Gresser
