Anyone who thinks blues appreciation means reverence and solemnity needs a dose of Blues 101 — it’s the heart of rock & roll and the soul of country. Ask veteran Augie Meyers, whose first solo release in years, Blame It on Love (Texas World), is a potent reminder that Meyers helped define the Texas roots sound. Every other track is country-flavored, but Meyers’ tenures with Doug Sahm and John Hammond make his blues (“Gypsy Rider,” “Last Night I Cried,” “9 Million Pictures,” “I Cried a Tear”) compelling. Masters of the class include Lil Joe Washington, whose Houston Guitar Blues (Dialtone) was raised in Houston’s Third Ward and is steeped in El Paso’s raucous border scene. Listening to Washington is akin to being plunked into a Fifties juke joint with big, piano-pounding blues. Only Horace Silver’s sleek “Song for My Father” interrupts this all-original roll call of shuffles, ballads, and upbeat R&B (“5 Spot,” “Hard Way 6”). Fellow East Texans Long John Hunter & Tom “Blues Man” Hunter‘s One Foot in Texas (Doc Blues) teaches the art of persistence (“Hey Baby,” “Finale”) with stellar musicianship. One Foot includes a true bonus track of the Hunters picking and swapping stories (“Riffing and Reminiscing”). Bassist Erin Jaimes, freshman and lone female in this class, cut her teeth playing weekly gigs at Joe’s Generic Bar and presents You Had to Go as her first full-length release. A relative newcomer — she began playing in 1998 — her style is musically tight (“Checkin’ on My Baby”) and vocals passable if unconvincing (“Warm and Tender Love”). A little aging or bad habits might give them some edge. Still, Jaimes’ studied effort is worth encouraging in the same way that anything Walter Daniels does is worth a listen. From Austin notables Jack O’ Fire to Big Foot Chester, Daniels has bent the blues with nail-spitting vocals and tough harmonica, and with new band South Filthy, he matches talents with Mike Buck and Jeffrey Evans on You Can Name It Yo’ Mammy If You Wanna (Sympathy for the Record Industry). The band name says it all — blues is at its best when it’s down and dirty. Like Augie Meyers, they recognize country and rock as inextricable elements, and the result is outstanding (“Hot Dog,” “Grounded”). “Spell of the Big Tits (Is Over)” is one of Mammy‘s tracks, but tell that to the busty, eye-popping cover of Kim Wilson‘s Lookin’ for Trouble (M.C.). A new disc from Wilson is good news for anyone who equates great blues with belly-rubbing slow dances and parking lots. This world-class follow-up to Smokin’ Joint highlights Wilson’s blistering harp and vocals (“Down With It,” “Love My Baby,” “Tried to Ruin Me”). Schoooool’s out!
This article appears in May 30 • 2003.