What I’ve Been Listening To: Lil’ Ed And The Blues Imperials/Full Tilt

Lil’ Ed And The Blues Imperialsgood golly, Miss Molly, sure like to ball, to borrow a famous line from Richard Wayne Penniman, the dynamite rock & roll artist known as Little Richard! I don’t believe I had heard from Chicago blues slide guitarist Lil’ Ed Williams and his backing band until this morning, when my music streaming provider served up their eighth studio album Full Tilt as a listening suggestion. Released in August 2008, this record is nothing short but an invitation to party, and I couldn’t help to start grooving behind the wheel of my car. Did I mention I’m a passionate dashboard drummer? 🙂

Here are some excerpts from the band’s official bio: In Chicago, a city overflowing with unrivaled blues talent, world-renowned Lil’ Ed & The Blues Imperials have been standing tall for over 30 years. The band’s big sound, fueled by Lil’ Ed’s gloriously rollicking slide work and deep blues string bending, along with his rough-edged, soulful vocals, is as real and hard-hitting as Chicago blues gets…

…Lil’ Ed Williams comes to the blues naturally. His uncle, Chicago slide guitar king and master songwriter J.B. Hutto, taught him how to feel, not just play the blues. Nine albums and thousands of performances later, Lil’ Ed is now universally hailed as a giant of the genre. Lil’ Ed and The Blues Imperials —bassist (and Ed’s half-brother) James “Pookie” Young, guitarist Mike Garrett and drummer Kelly Littleton— have remained together for over 30 years —an extraordinary feat for any group—, the band fueling Ed’s songs with their rock-solid, road-tested, telepathic musicianship…

Lil' Ed And The Blues Imperials
The band’s current lineup (from left): James “Pookie” Young (bass, backing vocals), Mike Garrett (guitar, backing vocals), Lil’ Ed Williams (guitar, lead vocals) and Kelly Littleton (drums)

…Born in Chicago on April 8, 1955, in the heart of Chicago’s tough West Side, Ed grew up surrounded by music. He was playing guitar, then drums and bass, by the time he was 12. Ed and Pookie received lessons and support from their famous uncle. “J.B. taught me everything I know,” says Ed. “I wouldn’t be where I am today without him.” Ed and Pookie spent their teen years making music together, and in 1975 formed the first incarnation of The Blues Imperials…

…Lil’ Ed & The Blues Imperials released eight Alligator albums between 1986 and 2012. With each one, the band’s national and international stature grew as their fan base —known internationally as “Ed Heads”— continued to expand. With 2006’s Rattleshake, Ed and company reached a whole new audience. Die-hard “Ed Head” Conan O’Brien brought the band before millions of television viewers on two separate occasions. Success and accolades never stop pouring in…The group took home the Living Blues Award for Best Live Performer in 2011, 2012 and 2013. They won the prestigious Blues Music Award for Band Of The Year in both 2007 and 2009…

‘Okay, enough of the hype,’ you might think, ‘show me the goods!’ Ask and you shall receive. Why don’t we just start with opener Hold That Train. Written by Williams, the tune got my immediate attention. If you’re into electric blues slide guitar, how can you not love it?

Are you ready for the next tune? Here’s Housekeeping Job, another fun track penned by Williams. Love that funky and soulful vibe. In addition to great electric slide guitar action, check out the tasty saxophone work by Eddie McKinley (tenor sax) and David Basinger (baritone sax). Damn, if this doesn’t make you move, I’m afraid you might be deaf or dead!

Okay, let’s slow things down to catch our breath with Check My Baby’s Oil. This track was co-written by Lil’ Ed and his wife Pam Williams. What I’m wondering is why would somebody want to hang out with a car. 🙂

First I Look At The Purse is speeding things back up. Co-written by Smokey Robinson and Bobby Rogers, the classic tune was first recorded by Motown act The Contours in 1965. Probably the best version I’ve heard of this tune is by The J. Geils Band and their fantastic “Live” Full House album from September 1972. But Lil’ Ed and his guys, whose dynamic playing style reminds me a bit of the ultimate party band, aren’t far behind.

Okay, all parties have to come to an end. Here’s one more, and yes, it’s sweet: Candy Sweet, another co-write by Lil’ Ed and his wife Pam.

After having listened to this album, boy, do I feel like seeing these guys live. And they are indeed on the road. The only problem is, none of the currently scheduled gigs is within reasonable distance from my house. The closest I can see is New Year’s Eve in Moon, Pa. While entering the 2020s with that kind of music sounds like a lot of fun, it would be a six-hour drive. Even for a music nut like me, that’s a dealbreaker. Perhaps instead, I’ll write a blues about it: Oh, Lil’ Ed, can’t you no see/Oh, Lil’ Ed, can’t you no see/Why can’t you play a lil’ closer to me

Sources: Wikipedia; Lil’ Ed & The Blues Imperials website; YouTube

What I’ve Been Listening To: The J. Geils Band/The J. Geils Band

Ultimate party band’s studio debut went largely unnoticed

At first sight it’s somewhat puzzling. When The J. Geils Band released their eponymous studio debut in November 1970, they already had established themselves as a dynamic live act opening shows all around the country for top-notch artists like B.B. King, Johnny Winter and The Allman Brothers Band. Yet this dynamite album went largely unnoticed, barely making the Billboard 200 at no. 195, and not charting at all in other countries.

I was reminded how great this record is when Apple Music served it up to me as a listening suggestion. I also think this observation from their bio of the band is spot on: While their muscular sound and the hyper jive of frontman Peter Wolf packed arenas across America, it only rarely earned them hit singles. Seth Justman, the group’s main songwriter, could turn out catchy R&B-based rockers like “Give It To Me” and “Must Of Got Lost,” but these hits never led to stardom, primarily because the group had trouble capturing the energy of its live sound in the studio.

J. Geils Band 1970
The J. Geils Band (promotional photo from 1970)

The J. Geils Band started out as an acoustic blues trio in the mid-’60s, calling themselves Snoopy and the Sopwith Camels (clearly a ’60s name!) and consisting of J. Geils (guitar), Danny Klein (bass) and Richard Salwitz, known as “Magic Dick” (harmonica). In 1968, the band adopted an electric sound, hired Stephen Bladd (drums) and Peter Wolf (vocals), and became The J. Geils Blues Band. They completed their line-up when Seth Justman (keyboards) joined later that year. By the time they signed with Atlantic Records in 1970, the band had dropped “Blues” from their name and become The J. Geils Band.

Time for some music. Here’s the great opener Wait. One of the album’s five original tunes, it was co-written by Justman and Wolf.

Next up: Icebreaker (For The Big “M”), an excellent instrumental composed by Geils. Check out the cool guitar and harmonica harmony playing. This tune is cooking, even without Wolf’s vocals!

Hard Drivin’ Man is another terrific original track. It was co-written by Wolf and Geils.

I’d like to conclude this post with two covers by The J. Geils Band I’ve always liked. The first is called Homework, a tune co-written by Otis Rush, Al Perkins and Dave Clark. I believe the song was first recorded and released as a single in 1965 by Perkins and soul singer Betty Bibbs.

Last but not least, here’s First I Look At The Purse. Initially recorded by Motown act The Contours in 1965, the tune was co-written by Smokey Robinson and Bobby Rogers. It’s perhaps the example on the album, which best illustrates the above observation from the Apple Music bio. While it’s a great take, it feels a bit timid compared to the live version that can be found on the excellent Live Full House album from September 1972.

The J. Geils Band would go and record 10 additional studio albums and three live records, and release various compilations. Only one of their ’70s studio records, Bloodshot, charted in the top 10 on the Billboard 200 at no. 10. Ironically, shortly after the band finally hit commercial success with Freeze-Frame from October 1981, fueled by the singles Centerfold and the title track, The J. Geils Band started to fall apart.

Peter Wolf left in 1983. The band released one more album in October 1984, You’re Gettin’ Even While I’m Gettin’ Odd, and called it quits the following year. The J. Geils Band has since reunited for various tours. In 2012, J. Geils who after the 1985 breakup had gotten into auto racing and restoration, sewed the other band members, charging they had planned a tour without him. He quit permanently thereafter and sadly passed away in April 2017 at the age of 71.

Sources: Wikipedia, Apple Music, YouTube

When Live Performances Become the Ultimate Listening Experience

A list of great songs performed live

To me there is nothing that beats the experience of listening to music live. But there are only so many shows one can go to. Plus, at least in my case, some of my favorite artists are no longer around or bands have changed their line-ups to the point where they no longer have much to do with the act I initially came to like.

Fortunately, many music artists have recorded live albums. While a live record can never replace attending an actual show, if well produced, it can at least convey an idea of how it must have felt being there. Obviously, some live albums are better and more authentic than others. Following is a list of songs from some of my favorite live records.

Things We Said Today/The Beatles (The Beatles at the Hollywood Bowl, 1977/1964 & 1965)

Sunny Afternoon/The Kinks (Live at Kelvin Hall, 1967)

Jumpin’ Jack Flash/The Rolling Stones (Get Yer Ya-Ya’s Out!, 1970)

First I Look At the Purse/The J. Geils Band (“Live” Full House, 1972)

Rock And Roll All Nite/Kiss (Alive!, 1975)

Turn the Page/Bob Seger & The Silver Bullet Band (Live Bullet, 1976)

I Want You to Want Me/Cheap Trick (Cheap Trick At Budokan, 1978)

Rock You Like a Hurricane/Scorpions (World Wide Live, 1985)

Nutbush City Limits/Tina Turner (Tina Live In Europe, 1988)

Pride (In the Name of Love)/U2 (Rattle And Hum, 1988)

Sources: Wikipedia, YouTube