Mickey Baker, Wildest Guitar (originally released 1959; reissued by Sepia Tone, 2003)
Don Covay & the Jefferson Lemon Blues Band, The House of Blue Lights (originally released 1969; reissued by Sepia Tone, 2002)
James Luther Dickinson, Dixie Fried (originally released 1972; reissued by Sepia Tone, 2002)
Josh White, Empty Bed Blues (originally released 1962; reissued by Sepia Tone, 2003)
Tony Joe White, Tony Joe White (originally released 1971; reissued by Sepia Tone, 2002)
This is a collection of albums which will serve to introduce one of the new breed of labels, Sepia Tone. A label which seeks to find obscure yet desirable recordings from the past and reissue them on CD for today's audience. A brief glance at the albums which they have done so far is like a walk through the history books. A listen to this superlative collection of 60s and 70s music is to breathe the rarified air of the past. This is some heavy stuff!
The weakest album and, for this reviewer, the only disappointment, was the Josh White album, Empty Bed Blues. I've searched for this one for many years. Here it was, mine for the asking. I placed it in the CD tray with anticipation. White's credits are listed on the back: "Broadway shows, motion pictures, innumerable radio, television, concert hall and nightclub appearances." Early in his career a fairly authentic perpetrator of the Piedmont school of blues, in later years Josh became enamoured by the more commercial aspects of the music, and playing with Pete Seeger and Burl Ives took off whatever edge he might have originally possessed. This collection is a pristine, delicate selection of real blues classics (the title cut, "Bottle Up and Go," "Backwater Blues," and the gospel chestnut "His Eye Is On the Sparrow") played in such a clean and light style that they could almost float away. White was a fine guitar picker, and his voice is strong and true... but he has no guts, no joie de vivre. His enunciation is too crisp, his production too clean. Interesting, but certainly not compelling. A real let down.
Fortunately, the rest of the albums more than make up for Mr. White.
Mickey Baker was half of the duet Mickey and Sylvia, whose big hit, "Love Is Strange" inspired Sir Paul McCartney to sing duets with his wife Linda. He also wrote a couple of guitar instruction books, which many people of my generation used to improve our picking skills. Wildest Guitar was released in 1959, and the sounds contained in those tracks of vinyl must have sent some parents running for ear plugs! This guy was amazing. A look at the titles is a bit nerve-wracking. Some of these songs were oldies and goldies in '59. Schmaltzy and sentimental. But Baker didn't play 'em that way. This is an album of guitar instrumentals, and wild ones to boot. Investing even the corniest of melodies with an R&B feel and sparing no emotion in his attack, Baker (ably supported by a rhythm section) shows off just what an imaginative player he is. This album cooks, and deserves to be played LOUD!
Don Covay wrote some of the all-time great R&B and soul compositions. Recorded by the Rolling Stones, Jimi Hendrix, Gladys Knight, and Wilson Pickett, Covay's tunes include "Sookie Sookie" and ""Chain of Fools." In 1969 he recorded this classic album, The House of Blue Lights, fronting a group of musicians he called the Jefferson Lemon Blues Band. Who says he doesn't have a sense of humour! Mick Jagger once stated that Covay was his favourite singer; my first reaction on hearing his voice was "sounds like Mick Jagger!" No wonder Mick liked him! But sounding like Mick Jagger is not a bad thing. He's a controlled Jagger, and the band is an amalgam of talented players raw and potent, but not as ragged as the Stones. The album kicks off with a strong "Key to the Highway," which leads into eight Covay originals, and a couple more obscure covers. Covay's tunes are possessed of memorable melodies and great rhythms. There are twangy loose guitars, and rock solid bass and drums, and at times Covay's voice sounds called in from a phone booth... but it's a nifty effect. House of Blue Lights really kicks!
Tony Joe White had a major hit in 1969 with the swampy bluesy "Polk Salad Annie," which showcased his deep gruff voice and a wah-wah pedal guitar style he called "whomper-stomper." He toured North America that year and played my high school, fronting a local blues band which he led by hand signals and foot stomps. He was cool. Tony Joe White is his third album, which was released by Warner Brothers in 1971 and produced by Peter Asher. Peter Asher!?! One-half of the original British Invasion's Peter & Gordon. Producer of James Taylor and Linda Ronstadt! But he acquits himself beautifully here, rendering White's soul-drenched swamp-blues-rock in a relaxed and sympathetic style that allows White plenty of breathing room. The backing band is comprised of Robert McGuiffe on bass, Sammy Creason on drums, and piano and organ are provided by Mike Utley. The Memphis Horns are the horn section. What more could you ask for? This is swamper-whomper-stomper music, funky as all get-out. Tony Joe White's voice is deep blue, and the spoken bits (remember "Polk Salad Annie"?... "chompity-chomp-chomp-chomp") remind one of the denizens of a James Lee Burke novel! The songs are all written by Tony Joe White, except for the two closing numbers. "Copper Kettle" (which appeared on Bob Dylan's controversial Self Portrait album) is given a beautiful workout. The melody is much more delicate than any of White's original tunes, and Tony Joe's voice and acoustic guitar serve it well. The album closes with Lee Ann White's "Voodoo Village," a soul song which ends the album on a funky high note. Makes one yearn for more Tony Joe White.
The final album is another one I've longed for over many years. James Luther Dickinson is a Memphis musician whose legacy reaches back to the early 60s. He's played on stacks of classic records by artists as varied as Aretha Franklin, Sam and Dave, Lulu, Bob Dylan and Delaney and Bonnie. He was part of Sam Phillips studio band at Sun and led the Dixie Flyers (the Atlantic session band) for producer Jerry Wexler. He played piano on "Wild Horses" for the Rolling Stones, and worked with Ry Cooder on albums and soundtracks. Green Man Review looked at his most recent release in December (of 2003). Dixie Fried kicks off with a Little Richard inspired raver called "Wine." Whew! Then a gospel ballad entitled "The Strength of Love." Dickinson doesn't have a great voice, but the music supplied by a small army of marvelous session men is outstanding. Sammy Creason and Mike Utley from Tony Joe White's album appear, along with Dr. John, Charlie Freeman, and a slew of others. Legend has it that Eric Clapton also plays a solo... could be! But this isn't an album designed around solos, it's band music. Rock'n'roll, blues'n'soul played by a group of professionals who love what they do! And if you like good music, funky and well-played, don't miss this amazing re-issue.
The liner notes from Dixie Fried, although written specifically about Dickinson, can be extended to sum up all of these albums. "Over forty years and more, [these artists have] created a remarkable body of work... [their albums are] reincarnated and ready to warp the minds of a new generation. Things could be worse. At least, unlike many of our friends, we're still here." Many thanks to the efforts of labels like Sepia Tone (and others) who are putting this historic stuff out there and allowing it to find new fans, and breathe again. Rock on.
