#520 : Memphissippi Sounds - Welcome to the Land

 

2021 – Little Village Foundation

By Phillip Smith; Oct. 3, 2021

 

Memphissippi Sounds, a duo comprised of Damion Pearson (vocals, harmonica, guitar) and Cam Kimbrough (vocals, drums, guitar), brings to the table, a unique spin on the North Mississippi Hill Country Blues.  In his youth, Pearson quickly latched onto the sounds of his father’s record collection which consisted of the likes of Parliament/Funkadelic and the Ohio Players.  He picked up the blues from listening to Memphis’s WDIA radio where B.B. King and Rufus Thomas both got their start in radio.  Kimbrough, the grandson of blues great Junior Kimbrough grew up surrounded by blues, but also had a taste for bands such as Metallica, System of a Down, Nirvana, and Incubus.  When Pearson and Kimbrough joined forces to play music together, they zeroed in on the hill-country blues which they quickly discovered fit them like a glove.  Welcome to the Land, the duo’s first album was recorded at the legendary Sun Studios in Memphis and produced by Aki Kumar, with Jim Pugh serving as executive producer.       

This fascinating nine-track album of all-originals begins with “Who’s Gonna Ride”, a social commentary which absolutely tears the roof off as it touches on subjects such as George Floyd, BLM, and the pandemic.  Fortified with a rolling swampy funk, Pearson lays down a smoking performance on harp.  A furious beat and infectious rhythm combine forces in “I’m Mad”, and it sounds great.  Pearson’s hypnotic guitar riff rides along a mesmerizing performance from Kimbrough to soulfully invoke the essence of the band War, in the “Crossroads”.  I love how their vocals play off each other in this one.  Sometimes one just can’t wait for an afternoon delight, and “Saturday Morning” is when things go down in the bedroom.  This hill-country groove is perfectly executed.  Immediately following, the relaxed propulsion of “High & Low” gently immerses me inside its muddy, tranquil musicscape, and it feels wonderful.  The album closes with “Look Out for the Wolf”, a song which seems to call back to the early days of Muddy Waters and Howlin’ Wolf.  It’s a spectacular blues song to say the least.  

Memphissippi Sounds’ Welcome to the Land is a record blues fans will damn sure want to hear.   It’s fantastic!        

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For more information about the artist, visit this website : https://www.memphissippisounds.com/

 

#321 : Rockin’ Johnny Burgin - Neoprene Fedora

2017 – West Tone Records

By Phillip Smith; Feb. 24, 2018

Rockin’ Johnny Burgin has been putting out righteous blues music for at least twenty years, and his latest release Neoprene Fedora is no exception.  On this sixteen track record, Burgin further explores the blues, taps into some California surf guitar, and steps into the world of zydeco for a few songs.  Again, recording at the Greaseland Studios in San Jose, California, Burgin enlists a super group of notable musicians to join him: Kid Andersen (guitar/bass/piano), Aki Kumar (harp/percussion/vocals), Bob Welsh (guitar/piano), Alabama Mike (vocals), Vance Ehlers (bass), June Core (drums/percussion), Stephen Dougherty (drums), Nancy Wright (sax.), Steve Willis (accordion), Billy Wilson (rub board), and Chris Matheos (bass).

Title track, Neoprene Fedora is one smokin’ cool tune.  This is California surf at its best.  With Nancy Wright on sax, and Kid Andersen joining in on guitar, the song pretty much soars skyward with its over seven minute instrumental jam.  I love how Burgin’s cover of “Give Me an Hour in Your Garden” drips with authenticity.  Originally recorded by Papa John Creech on his 1972 album Filthy, Burgin wails this one with heart and soul as Anderson joins in on piano.  Alabama Mike steps in on vocals and Aki Kumar on harp, as Burgin breaks the funk out on “Smoke and Mirrors”. This juicy track is soaked in the raw grit of the mid-Seventies, and I dig every bit of it.  Burgin connects right in to the essence of the average blue-collar worker in “I Ain’t Gonna Be a Working Man No More”.  Featuring a driving rhythm from Ehlers and Dougherty and the guitar prowess of the great Bob Welsh, the song buries in deep.  With a Smokestack Lightnin riff, Burgin bids a personal adieu to the Windy City in “Goodbye Chicago” and sets his scope on the Sunkist State, where he now resides.  It’s a wonderful homage.      

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