Here's a re-post as a reminder that a very special afternoon/evening of blues music is fast approaching. I guarantee that you'll not find a better blues show than this one--anywhere...plus it contributes to an very worthy cause. Formatting's still a little screwy, but the message it here.
Please join us for our 20th annual BLUES FOR FOOD FEST 2010, Houston's
oldest grass roots music festival and charity. Originated by the late blues
singer and KPFT blues deejay, Big Roger Collins back in 1991 when he held
several a year, BLUES FOR FOOD has donated over 160 thousand lbs of food and over 100 thousand dollars to the HOUSTON FOOD BANK. Still going strong and by any estimation BLUES FOR FOOD is now officially a genuine living
historical Houston event held just before each holiday season at Shakespeare Pub. That's right, each year, forty or more blues musicians, Shakespeare Pub, a hundred or so eager volunteers and thousands of donors join forces to keep a tradition alive making a difference in our city.
As the legend of BLUES FOR FOOD grows, to celebrate 20 years AND COUNTING, we felt we needed to up the ante and get bluesier while doing something special for 2010. So TO GO WITH AN ENTIRE DAY OF REAL DEAL HOUSTON BLUES, we asked the incredible Little Joe Washington to perform and co-headline along with blues powerhouse vocalist Diunna Greenleaf and her band BLUES MERCY W/Jonn Richardson on guitar. But that is just the beginning of a fantastic day of blues and goodwill. Yes, Shakespeare Pub is a juke joint in Memorial,but BLUES FOR FOOD is set up like a real all day blues fest taking up just about a whole block. And all the bands come to play like they mean it, bring their A bands and always in showcase fashion. So if you want to have some fun with a heavy dose of the real blues, bring non perishable food items,cash, checks, memorabilia and auction items. Plus we feed you SOME VERY GOOD BBQ too!
The entire day's events are listed below.
BLUES FOR FOOD FEST 2010 - OUR 20 ANNUAL BLUES FOR FOOD. SUNDAY, NOVEMBER
14TH, 2010 SHAKESPEARE PUB, 14129 MEMORIAL DRIVE @ KIRKWOOD, HOUSTON, TX
HOSTED BY SONNY BOY TERRY. MUSIC BEGINS AT 1PM AND GOES TILL 2AM. ALL
PROCEEDS BENEFIT THE HOUSTON FOOD BANK. ADMISSION IS ANY NON=PERISHABLE FOOD ITEMS AND/OR CASH. A FREE PLATE OF AUTHENTIC TEXAS BBQ PROVIDED TO THOSE WHO DONATE. MASTER OR CEREMONIES, JAMES BLUESHOUND NAGEL, MR AND MRS V, AND NURI NURI. RAFFLES, DOOR PRIZES, SILENT AUCTION. MAKE ANY TAX DEDUCTABLE BUSINESS/PERSONAL CHECK DONATIONS OUT TO THE HOUSTON FOOD BANK. PLEASE SHARE ON YOUR SOCIAL NETWORKING SITES TO HELP MAKE BLUES FOR FOOD FEST 2010 ONE OF OUR MOST MEMORABLE.
SPECIAL THANKS TO THE HOUSTON BLUES SOCIETY, BILL WAX AT BB KING'S
BLUESVILLE SIRIUS/XM RADIO, HOUSTON PRESS, HOUSTON CHRONICLE, MUSIC NEWS
MAGAZINE, KPFT 90.1, KACC RADIO/THE GULF COAST ROCKER, MARTIN MIGLIARETTI,
KTRH NEWS RADIO 740, THE BLUES FOUNDATION.
1PM Bourbon Street
2PM Don Kesee and the Blues masters (Bellville, TX)
3PM - Erin James and her Bad Habits(Austin)
4:30PM Texas Johnny Brown and his Quality Blues Band
5:15PM HEADLINER: DIUNNA GREENLEAF AND BLUE MERCY
6PM HEADLINER LITTLE JOE WASHINGTON
6:45PM - Sonny Boy Terry Band
7:30PM John McVey and the Stumble
8:15PM Snit's Dog and Pony Show
9PM - Spare Time Murray and the Honeydrippers WORLD FAMOUS BLUES JAM All
blues musicians welcome on this special night.
http://www.sonnyboyterry.com/ www/kpft.org CALL SONNY BOY TERRY AT 713.869.7746 or
email at firstname.lastname@example.org CALL SHAKESPEARE PUB AT 281.497.4625 Details
about volunteer participation forthcoming.
Thanks in advance for everybody's support as we continue this great HOUSTON
Wednesday, October 20, 2010
Just a short note to say that I'm excited to see my first ever author interview posted at http://writerswhokill.blogspot.com/ I appreciate the folks over there allowing me to share the tale of a rookie writer. Starting to feel a bit more like an actual author now. I've just finished wading through the third edits for River Bottom Blues and it's taking shape as an actual book. The publisher's senior board will give it a run through and get it back to me at some point for more read throughs and cover design ideas will be tossed around and..and...some day it'll be published with my name on it. Yahoo!
Thursday, October 7, 2010
As my next birthday rapidly approaches I'm reminded that I never did discuss Kid Andersen's music as promised. Well, not promised, but I said I would after witnessing just what he could do with a guitar in Rick Estrin's Nightcats just about a year ago--and after downloading his albums The Dreamer and Greaseland to my iPod. Now, I could claim that I've been too caught up with writing fiction, reading fiction and reading about writing fiction, and that would be sorta true. BUT, I think the real reason is that I've never really been able to get my arms around what it is that Kid Andersen exactly does with the music. Description eludes the man and his music, but he is a novelist. He just tells his American tale in his songs--even though he was born and raised in Norway.
Greaseland has been tagged in the liner notes as being "a concept album describing the life of a broke, disillusioned drunkard musician who loves to have a good time, but is overcome with the blues". Okay, that's it, 'nuff said and it comes real close, but he displays so much more and it's just difficult to put into words. He puts it all into words very well, though, and when he not spinning his story lyrically, which bounces between dark depressive depths to a "party on dude" attitude, he's prancing it out with his guitar. His stories deal with the exciting highs and the resulting hangovers of life both lyrically and instrumentally. He embraces cliches with zesto, but wrings them out with plenty of originality. It's as if he and Kurt Vonnegut collaborated on his verses. Instrumentally, it would be he and EVERYbody who's ever plucked six strings--that's how wide his palette seems to be. Okay, I tried.
One minute "The Kid" wallows around with The Dirt People and it's most likely because he's feeling lower than dirt at the time. The next minute he's picking a million miles a minute on Mexican Kid!, which revs up the action that only a Dick Dale could only imagine--surf turf with a latin tinge. He'll go back down low and prove his blues guitar mettle on Peter Green's Jumping At Shadows (one of my favs from Fleetwood Mac) and then rip it with a Magic Sam style feeling alright groove on Greaseland Boogie, which basically recounts living the life of easeland at Greaseland where they party hardy without a care nowhere. Ex-employer Charlie Musselwhite even gets in on the preceeding with some of his signature harp licks bouncing around the studio. That's the story morning glory--he'll incite the partying with C'mon Johnny, Let's Hit That Town and then regret doing such on I'm Tired, deadtired, dogtired, too tired--but he'll still go get him a jug of wine to help face the day.
His vocal chops remind me a lot of Charlie Musselwhite's--not much range, but a ton of emotion. The slight gruffness in his voice, barely more than a speaking timbre, fits his songs very well. He sings plenty about women. Singing Jennifer, Jennifer, he warns the gal that "I smoke and I drink and do all the things you hate" and that he's a "bad motherf*&%$ who likes to stay out late". Jennifer just thinks that she knows what awaits her.No need in reminding what Skip James' Devil Got My Woman is all about, just that Kid nails the otherworldly vibe that only Skip James conjured up. Brandy! kicks off like a Freddy King instrumental, but is only declaring the sweetest thing that he ever did see, because when he was feeling low down and dirty, she came by and got him drunk. What a gal pal! He certainly squeezes the joy from his strings, along with some nice blues harp call and response by Richard Gjems.
Along the way, the Kid throws down other drinking tunes like The Bender and his ode to Whiskey!. He has those party tunes cranking with plenty of musical twists and turns--and plenty of times within the same song. Hard to predict where he's going when he gets going. I'd say that some of Junior Watson's idiosyncracies rubbed off on him while tooling around the West Coast. The Kid does issue a caution before all the partying gets rolling on the deep vibed, atmospheric It's Dark In Here. Nice blues harp helps provide an eery mood to the song along with Kid's echoing tones. My hope is that most of his Greaseland story is fictional.
The Dreamer and Greaseland would make perfect companions in a two disc set. Bookends if you will. The Dreamer is more about redemption and optimism. He looking for that better day, but wishing for old values at the same time. There are still songs about drinking Rocket Fuel, but he balances that out with tunes such as A Better Day and Take It Slow. The latter sounds as if he's melding Roy Orbison's Candy Man with Willie Cobbs Don't Love Me with Chuck Berry's Memphis thrown in for good measure and then some Earl Hooker style wah-wah slipped into the mix. The acoustic harp definitely gets the Candy Man thang going on. I love the former for the B.B. King licks that he jabs out and just the solid blues being laid out. I think his masterpiece, though, has to be Dig The Pain. No, maybe, The Dreamer is...no, I think that The Nightmare...Well, never-the-hell-mind. A bunch of his songs twist my mind. I'm not even going to try to describe the ten minute The Nightmare (No Where To Turn), but I love it and the deep harp licks he lets into the song. Dig The Pain starts out with a great slapped bass rhythm and then he slams it and jams it and fills it full of wicked word play. Some really nice blues harp helps set the tone again. I don't know who is blowing, because these are iPod tunes with no listings for who is who. There is too many tongue blocked notes and slaps for it to be Charlie Musselwhite and I did hear that Mark Hummel played on some it, but regardless, the harp tones are righteous-especially on the nasty solo within The Nightmare.
Serves Me Right To Suffer takes John Lee Hooker and throws down some Buddy Guy tonal slinging along with a bit of Sonny Boy Williamson II in the lyrical mix and match and it is so exquisite. Along the way, some fingerpicked acoustic seeps into the background, then takes the foreground, and then a back seat to some more electric bamm. Danged it, I can't write while this plays. Speaking of mashing styles, take that Buddy Guy style tone and mash it with some Sly Stone and stir in a pinch of Booker T & the MGs and you'll have Soul City.
Okay--that's it! I quit! This exhausted me. Just get Chrisoffer 'Kid' Andersen's stuff and forget you ever read this review. Decide for yourself where the Kid is coming from, but I do know this--the boy can play the guitar. 'Nuff for now.