Rockabilly legend Dale Hawkins passes

Dale Hawkins, best known for his legendary rockabilly status and as the only white guy to have a hit record on Chess Records during the Fifties and as the original artist behind the song "Susie Q" has died from complications from colon cancer. He was 73.
Born in Gold Mine, Louisiana; Delmar Allen Hawkins began his musical career in the clubs of Shreveport, Louisiana. Blending the sounds of the African American blues with the guitar sounds of Scotty Moore behind Elvis Presley; Hawkins became the architect of what was called "swamp rock boogie." Hawkins led a long and storied career at Chess Records, where his infamous signature hit was recorded. During the late 50s, Hawkins was the lone caucasian musician identified with the primarily African American blues and soul label. Hawkins also gave a young guitarist by the name of Roy Buchanan an early job, writing songs with the young guitar virtuoso in the late 50s. Hawkins also mined new territory with covers of several of the blues classic catalog of his home label including "My Babe," "You Can't Judge A Book By Its Cover," and "Boogie Chillun" - adding his distinctive swamp boogie gumbo to the mix.
By the late 60s, Hawkins had played with or recorded with various artists across several roots genres including Roger Miller, Taj Mahal, Buggs Henderson, and Donald "Duck" Dunn. Hawkins also managed to host a teen dance show in Philadelphia. The last part of his career was spent as a record producer. He produced several well-known pop artists like Harry Nilsson, the Uniques, the Five Americans, and Michael Nesmith. In 1999, blues fans were re-introduced to Hawkins' talents as the producer of Kenny Brown's critically acclaimed album Goin' Back to Mississippi. In 2007, after introduction into the Louisiana Music Hall of Fame, he released his final studio recorded album "Back Down to Louisiana," which garnered Hawkins critical acclaim in both roots and mainstream publications.
Hawkins, who had been diagnosed with colon cancer in 2006, had been taking radiation and chemo therapy near at St. Vincent's Doctors Hospital in Little Rock, Arkansas when he succumbed on February 13.

Lil' Dave Thompson passes

Lil' Dave Thompson (born David Lonzo Thompson), a role model of the newest generation of electric blues guitarists whose hints of his Delta home blended with the tough, urban funk and soul of Albert King to make a style of rough hewn modern urban electric guitar-driven blues died amidst a fatal accident on his way home from South Carolina early Sunday morning February 14, 2010. He was 41.

Thompson had blues in the blood from the start. His father, Sam Thompson, played with many modern-era Delta blues luminaries. Born in Hinds County, Mississippi on May 21, 1969; Thompson spent many a night hanging out at the houses at some of the Delta's now-famous blues musicians. One of those musicians was James "Son" Thomas. At the age of 14, Lil' Dave put together his first blues band in the living room of Thomas' house, calling themselves the Delta Blues Band. Thompson would play the blues off and on throughout his teens, joining up with other local bands in various genres.

In 1990, at the age of 21, Booba Barnes would take Thompson under his wing and they would embark on the tough and often violent Delta juke joint circuit for the next few years. The circut often stopped in places like Holly Springs, Mississippi where Junior Kimbrough kept his famous club. Thompson would famously hook up with one of Kimbrough's family, David Malone. Malone tapped Thompson to appear on his first recording with the Fat Possum label. From there, Thompson would dive in feet first with the blues, putting together his band called Big Love. In 1995, Thompson rolled out the eponymous album with the band and garnered 2 WC Handy Award nominations for it.

It would be six years before the blues world would hear about Thompson again. The foreign label, JSP Records came calling once Dave got back into swing in 2002 and he recorded a highly praised comeback album called C'mon Down to the Delta. Thompson would take four more years before recording again. This time he scored a deal with the popular Electro-Fi Records company in 2006, recording the highly praised and well received Got To Get Over You. The album demonstrated a well-rounded and fully mature artist with a stinging guitar attack similar to the men who made electric blues popular back in the Sixties. Thompson drew comparisons to the greats Freddie and Albert King, as he, too, seemlessly intertwined funk and soul amongst tough urban-sounding blues. Thompson followed it up with an even larger well-received, critically acclaimed release again for Electro-Fi in 2008 called Deep In the Night. From 2006 until currently, Thompson's incessant touring and continued rise to the top tiers of the blues ranks were winning him fans nationwide. He was on the heels of wrapping up a festival gig in Sullivan Island, South Carolina heading for his home in Mississippi when his band's van overturned. Thompson is an example of under-recorded genius that demonstrates the roots of the blues in Mississippi are alive and well. His fine music over the last ten years has been a prime example and will be his lasting legacy.
Thompson is survived by his wife of fifteen years, Susan White and five children along with several brothers and sisters and nieces and nephews. Funeral arrangements have not been released and are pending.

Nick Curran & the Lowlifes - Reform School Girl

Nick Curran & the Lowlifes

Reform School Girl
Eclecto Groove
Run Time: 39:18



I first became familiar with Nick Curran from his amazing album Night Life Boogie when a friend gave it to me two years ago when he was cleaning out his CD collection. The CD blew my mind and kept my ears perked everytime I heard the name. He was a BMA winner way back when for Best New Artist Debut. Since then, he gigged regularly with his own bands and a few others and then for 3 years was a part of the reformed Fabulous Thunderbirds. When I heard Nick had an album coming out early this year, I waited anxiously. Nick is equal parts 50s Hot Rod rock n roll energy a la Little Richard with the image of a long time Stooges or Black Flag fan. In other words, he looks like a punk but plays Chuck Berry and Joe Liggins. Energy, full throttled, unbridled and wild is his signature; and this album is his primal signature.

Kicking off with Etta James' "Tough Lover," the cut tickles more of Little Richard's barrelhouse hits than any kind of cut from Ms. James. "Reel Rock Party" is a barroom rock and roll clap along that's wild and fancy free. The title cut sounds like one of Phil Spector's Ronette cuts. "Kill My Baby" is reminiscent of Pat Hare's ode to slice and dice because of a jilted lover. "Psycho" is just that with it's primal yell of a chorus. The list continues on and on. Nothing lets down. There's not cessation in the Red Bull giving you wings - only this time Nick is the patented energy drink you're indulging in. The album is rounded out by a deep AC/DC cover that sounds nothing like that band at all but more of a 50s big band rhythm and blues classic. The album also includes a great guest appearance by roots rock legend Phil Alvin on "Flyin' Blind," which is a great signature tune from Alvin's past sounds. Harmonica wizard and fellow punk stylist - Jason Ricci also adds some overdubbed harp on "Reel Rock Party."

Curran is an old school rock n roll kid. Think of The Blasters or The Sonics or any of those old 50s garage rock bands that brimmed over the seams with 93 octane when they hit the stage or hit the wax. Curran's image as a punker will undoubtedly win over fans. His fluid flow between genres also make him a peg for a new generation of fans for this old school sound. Recorded raw. Nick's backing band smokes and at the heart is his Tarzan scream of a voice and tough guitar licks. This album is infectious, catchy, and hasn't left my CD player since I got it. Blues fans don't come here if you want blues, though it has touches on its corners of influence from the blues. Nick's infectious and he'll weedle into your ears and spin you around at 180 mph with this trip to the days of rock n roll's glorious past of Little Richard, Jerry Lee Lewis, and Bill Haley.

Nick is currently battling tongue cancer at the moment. Shoot on over to his website and wish him warm regards, as this is one talent you have to experience. Hopefully he'll be well by year's end to bring this rauckus party to your town.

Marshall Ruffin - Morning Glory

Marshall Ruffin

Morning Glory
Jammates Records
Run Time: 39:54



Marshall Ruffin's last EP got me a little interested. His EP was one of the first newer CDs I reviewed on JJS. He was catching alot of airplay for this new release so I sought him out. Do you guys remember the days of good ol' fashioned album rock? The extended jams of Cream or the Allmans? If you do, then Ruffin has captured the old days on CD. You see, the CD killed the music industry's idea of putting together 7-10 great songs and releasing them on a disc. Instead, the extended lenghth gave the industry and the artist license to expand their pallettes, sometimes beyond the necessary for alot of filler. Ruffin's seemingly short for some album here is five tracks and runs just under 40 minutes. It captures the essence of power riffed based rock jamming at its core. Each song is simple in its setting and mood - opening minute sets up the mood, flow, and basis for the textures of Ruffin's extended guitar breaks to take shape. Like the days of the Doors and the Allmans, the formula is simple and open. For some, this "jam band" take on recording might be alot or too much to digest. To say that some might thinks that the flow of this record is loose and sometimes unguided may be an understatement. Ruffin gets lost in his own groove sometimes to success and others to wearing out the riff's welcome. Ruffin's voice, which might get lost in what some might call a garbled mess, is very interesting. Demonstrating hints of Gregg Allman's younger days, Ruffin can howl and sing his ass off. All in all, he's a great singer and has some great funky riffs that he expands on exponentially. He's got talent and if finds a way to channel his talent into more cohesive songs then, you'll see some more recognition for this young turk. The album also garnered Ruffin more national attention this year as it was nominated for Best Blues Album at the Independent Music Awards.

Luther Allison - Songs From the Road

Luther Allison

Songs From the Road
Ruf Records
Run Time: 71:52 (DVD also included in this package w/1 extra song)



The man touted as the "Bruce Springsteen of the blues," Luther Allison was an under the radar bluesman who had slipped into obscurity in the United States. Allison recorded a stellar debut for Delmark in the early 70s to no avail to critics or the market. Allison then became one of the only bluesmen to ever be signed by the pop/soul hitmaker Motown Records. Releasing some incredibly funky records for them, Allison went into poverty and eventually took up a day job. Allison picked up steam though in the 90s when a German record guy, Thomas Ruf found him and began to record him. Luther's European audience expanded and he became a huge hit. Bruce Iglauer of Alligator Records found out about him and gave Ruf a call and the two labels teamed to release Luther back to the U.S. again in 1994 on Soul Fixin' Man. For the next three years, Allison took the blues world by storm completing one of the most heroic comebacks in the history of the music business. Allison's live performances became legendary for their non-stop energy, stinging guitar solos that could go on for miles, and immensive positivity they exuded.

Allison's blues-rock fusion brought in many new fans to the blues and officially introduced Ruf Records to the U.S. blues market as one of the leaders of "where rock meets the blues." The label, on the shoulders of those Allison releases, has become one of the most heralded blues-rock labels in the world that continues it's mass appeal today. In 1997, Allison was in the midst of his endless touring out supporting and gaining steam for his upcoming record Reckless. Allison's comeback was taking him all over the world. This set of tunes finds Allison in Montreal, Canada on America's Independence Day for the Festival International de Jazz. The seven songs you get on the DVD are tilled from the over 80 minute, 11 track performance from that day. Allison's performance literally will jump out of the screen at you and take you through the emotional, physical, and spiritual drain and warmth that came with every Luther Allison show. The disc is a fine companion to Luther's Live In Chicago release from almost a decade ago. In fact, I would say this one has remained on the shelf too long. It's that good.

The album is also a bitter reminder of how quick and sad Allison's quick demise came. At the end of the month, Allison checked into a hospital and never checked out - gone from cancer at 58. However, its great musical testaments like this that are stirring reminders of Allison's presence at the top of his game. For those who need a fix from the soul fixin' man time and time again, this one will get worn out in your DVD player and CD player if you need to be on the go.