Jake Calypso Trio
Oh Yeah! EP
(Around the Shack)
The impact of this French-birthed beatdown Blues is immediate and visceral. Made plain for the joy of all is the real-world blowout possible when men with rudimentary instruments and guts on fire gather. As the harmonica wails and guitar stings, dust flies 'round the porch.
Recommended: "Oh Yeah!," "Heart Attack Blues," "Slammin' Door Blues," "Please Come Back Another Day"
Video: "Oh Yeah!"
Music King (Around the Shack)
Tupelo Highshots
s/t 7" vinyl EP
(Vintjarn Records)
Proudly twanged, America-spawned Country booted into rollicking jubilance has caused many dancefloor scrambles. That loose-limbed gladness knows no geographic restriction, as illustrated by these swaggering Swedes. Theirs is a duly rustic performance, one sporting Rockabilly finery.
Recommended: "Lonesome Drifter," "Fighting Chance," "I'll Keep On Loving You," . "," "Desperado Love"
Video: live (7:11)
Facebook (Vintjarn)
Cresta
El Navegante
(Discos del Viento)
In the tradition carved by safety-pinned pioneers, Cresta's members flip off indulgence and throw themselves into impassioned devastation. "El Navegante" flies past in just over two minutes, another indication that the band heeds precedent. A bellicose triad that surely leaves audiences gleefully abused, it warrants sustained regard.
Dave Del Monte & the Cross County Boys
"Rock This House" b/w "Yakety Axe"
(Gooba Records)
The A side offers plain-sailing rocking in esteemed fashion, its solid beat, double-bass underpinning, and trebly interjections complementing vocals both direct and folksy. Boots Randolph's 1963 novelty instrumental is reincarnated on the flip side. Impressively fleet guitar-picking assumes the original's saxophone spot. In 1965, Chet Atkins famously performed an identical instrument trade-off on the jocular tune. His rendition surely inspired this new bouyant jaunt.
The Feelgood McLouds
Dance With Broken Bones
(Uncle M)
At its finest and in whatever form it assumes, music provokes listeners to emotional rise. Such is the case with this Celtic-Punk. The Feelgood McLouds prompt considerate passions and drum up rousers to which admirers must hoist mugs and roar lusty assent.
Recommended: "Back In Life," "Dance With Broken Bones," "We Salute," "Back On the Streets," "Cold Old River," "No One"
Video: "We Salute"
Back In the Day, 1987
Roy Buchanan
Hot Wires
(Alligator)
In his 2003 Unfinished Business: The Life and Times Of Danny Gatton (Backbeat), Ralph Heibutzki recalled that storied guitar-slingers Danny and Roy were friendly rivals on the 1970s/1980s Washington, D.C. roots scene. Both wielded Telecasters, and with them carved out epic legends.
"They knew how good they were," area bass veteran John Prevetti (who had backed both) recalled in 2020 documentary Anacosta Delta: The Legacy Of D.C.'s Telemasters. "Danny and Roy never did just one thing and never liked being told what to do."
While Roy's breath-stealing solos incorporated diverse traditional idioms, he often hewed to Blues-based expression. Guitar Player in 2004 pronounced that his oeuvre featured one of "The 50 Greatest Tones Of All Time."
In the 1950s, 15 year-old Leroy "Roy" Buchanan was already so adept a six-stringer that he fit in Johnny Otis's Rhythm and Blues Revue. In ensuing years, he found sideman work with figures including Dale and Ronnie Hawkins, Merle Kilgore, and Freddy Cannon, among others.
Thereafter, he pursued solo recording. He issued numerous discs over decades that portrayed his exceptional adroitness and which are today prized by collectors. Word to the wise: Keep eyes open and wallet at the ready.
"Though many great electric guitarists might be said to combine technical virtuosity and emotive power, with Roy Buchanan there was always more," wrote Phil Carson in the August 1999 issue of Vintage Guitar. He added "After his 'discovery' by various media in 1971 -- 15 years after he began his professional career, a career that seemed permanently stalled -- and recording and tour offers poured in, Buchanan told an interviewer 'This star business scares the hell out of me.'" (Confrere Danny Gatton is said to have been similarly fame-averse.)
1977's Loading Zone (Atlantic) was his eighth LP. It went gold. Subsequent Alligator albums documented progress beyond his long-established prowess and further embellished Roy's global renown.
Hot Wires landed in store bins in 1987 and proved to be his final studio waxing. A Chicago Tribune reviewer proclaimed it to be the guitarist's "best album ever!"
The present writer must concede that words cannot adequately portray Hot Wire's multifarious wonders. Present in vivid relief are wonderfully familiar musical musings reflective of the American culture that birthed them.
Roy contributes characteristically understated vocals, with Johnny Sayles and Kanika Kress adding their own impressive singing talents. The titular star's spectacular Telecaster declarations, steeped in downhome sensibilities, imbue the endeavor with conspicuous personality.
The nature of his lamented 1988 passing remains unresolved. Roy's family disputed the official suicide ruling and insisted foul play was involved. The question may never be closed. (Danny Gatton would himself die by his own hand in 1994, another unexpected passing that stunned roots-music afficianados.)
That unpleasantness aside, though, this much cannot be argued against: Like those of his acclaimed colleague Danny, Roy Buchanan's toils were glorious ones that will forever astound.
Now, if you'll excuse me, I'm going to spin Hot Wires. Again.
Recommended: "High Wire," "That Did It," "Goose Grease," "Sunset Over Broadway," "Ain't No Business," "Flash Chordin'," "Country Boogie," "The Blues Lover"
Video: "High Wire"
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