When he wasn't busy siring progeny (the Neal household produced ten kids, most of them seemingly now playing the blues), Raful Neal was staking his claim as one of the top harpists on the Baton Rouge blues front. Unfortunately, until recently, his discography didn't reflect that status -- but albums for Alligator and Ichiban have righted that... [+] Read More

When he wasn't busy siring progeny (the Neal household produced ten kids, most of them seemingly now playing the blues), Raful Neal was staking his claim as one of the top harpists on the Baton Rouge blues front. Unfortunately, until recently, his discography didn't reflect that status -- but albums for Alligator and Ichiban have righted that injustice.

Born in Baton Rouge in 1936, Neal took up the harp at age 14, tutored by a local player named Ike Brown and influenced by Chicago mainstay Little Walter. Neal's first band, the Clouds, also included guitarist Buddy Guy. This was the band Little Walter heard while in Baton Rouge and invited them to move up to Chicago and fill in at the gigs Walter couldn't make. Guy jumped at the chance but Neal decided to stay in Louisiana and raise his family. The harpist debuted on vinyl in 1958 with a 45 for Don Robey's Houston-headquartered Peacock Records. But "Sunny Side of Love," fine though it was, didn't lead to an encore for Peacock or anywhere else until much later, when Neal turned up with 45s on Whit, La Louisiane, and Fantastic.

Neal's debut album, the aptly titled Louisiana Legend, first emerged on Bob Greenlee's King Snake Records and was picked up by Alligator in 1990. I Been Mistreated, Neal's equally swampy follow-up, was released on Ichiban the following year; sons Noel (on bass) and Raful Jr. (on guitar) pitched in to help their old man out. Neal toured around the world and in 1997 he contributed harp to a couple of tracks on Tab Benoit's Live: Swampland Jam record. The understated but solid Old Friends appeared in 1998. After a long bout with cancer, Raful Neal died on September 1, 2004, after a long bout with cancer. ~ Bill Dahl, All Music Guide [-] Hide

Pianist and singer/songwriter Marcia Ball is a living example of how East Texas blues meets southwest Louisiana swamp rock. Ball was born March 20, 1949, in Orange, TX, but grew up across the border in Vinton, LA. That town is squarely in the heart of "the Texas triangle," an area that includes portions of both states and that has produced some... [+] Read More

Pianist and singer/songwriter Marcia Ball is a living example of how East Texas blues meets southwest Louisiana swamp rock. Ball was born March 20, 1949, in Orange, TX, but grew up across the border in Vinton, LA. That town is squarely in the heart of "the Texas triangle," an area that includes portions of both states and that has produced some of the country's greatest blues talents: Janis Joplin, Johnny and Edgar Winter, Queen Ida Guillory, Lonnie Brooks, Zachary Richard, Clifton Chenier, and Kenny Neal, to name a few. Ball's earliest awareness of blues came over the radio, where she heard people like Irma Thomas, Professor Longhair, and Etta James, all of whom she now credits as influences. She began playing piano at age five, learning from her grandmother and aunt and also taking formal lessons from a teacher.

Ball entered Louisiana State University in the late '60s as an English major. In college, she played in the psychedelic rock & roll band Gum. In 1970, Ball and her first husband were headed West in their car to San Francisco, but the car needed repairs in Austin, where they had stopped off to visit one of their former bandmates. After hearing, seeing, and tasting some of the music, sights, and food in Austin, the two decided to stay there. Ball has been based in Austin ever since.

Her piano style, which mixes equal parts boogie woogie with zydeco and Louisiana swamp rock, is best-exemplified on her series of excellent recordings for the Rounder label. They include Soulful Dress (1983), Hot Tamale Baby (1985), Gatorhythms (1989), and Blue House (1994). Also worthy of checking out is her collaboration with Angela Strehli and Lou Ann Barton on Antone's Dreams Come True (1990). Ball, like her peer Strehli, is an educated business woman fully aware of all the realities of the record business. Ball never records until she feels she's got a batch of top-notch, quality songs. Most of the songs on her albums are her own creations, so songwriting is a big part of her job description.

Although Ball is a splendid piano player and a more than adequate vocalist, "the songwriting process is the most fulfilling part of the whole deal for me," she said in a 1994 interview, "so I always keep my ears and eyes open for things I might hear or see....I like my songs to go back to blues in some fashion." As much a student of the music as she is a player, some of Ball's albums include covers of material by O.V. Wright, Dr. John, Joe Ely, Clifton Chenier, and Shirley & Lee.

In the late '90s, Ball released her final discs to be released under the Rounder banner, Let Me Play With Your Poodle (1997) and Sing It! (1998). The latter featured Ball with Irma Thomas and Tracy Nelson utilizing both solo and combined energy that generated much exposure for all three women as it was nominated for both a Grammy and a W.C. Handy Blues Award as Best Contemporary Blues Album. Ironically, while both of Ball's final Rounder releases were critically acclaimed, she signed with Alligator Records in 2000 and released her first album for the label, Presumed Innocent, in 2001. Ball, who's established herself as an important player in the club scenes in both New Orleans and Austin, continues to work at festivals and clubs throughout the U.S., Canada, and Europe. She followed up her debut recording for Alligator with the similarly fine So Many Rivers in 2003 and a live album, Down the Road, in 2005.. ~ Richard Skelly & Al Campbell, All Music Guide [-] Hide

In the large stable of blues talent that Crowley, LA, producer Jay Miller recorded for the Nashville-based Excello label, no one enjoyed more mainstream success than Slim Harpo. Just a shade behind Lightnin' Slim in local popularity, Harpo played both guitar and neck-rack harmonica in a more down-home approximation of Jimmy Reed, with a few... [+] Read More

In the large stable of blues talent that Crowley, LA, producer Jay Miller recorded for the Nashville-based Excello label, no one enjoyed more mainstream success than Slim Harpo. Just a shade behind Lightnin' Slim in local popularity, Harpo played both guitar and neck-rack harmonica in a more down-home approximation of Jimmy Reed, with a few discernible, and distinctive, differences. Harpo's music was certainly more laid-back than Reed's, if such a notion was possible. But the rhythm was insistent and, overall, Harpo was more adaptable than Reed or most other bluesmen. His material not only made the national charts, but also proved to be quite adaptable for white artists on both sides of the Atlantic, including the Rolling Stones, Yardbirds, Kinks, Dave Edmunds with Love Sculpture, Van Morrison with Them, Sun rockabilly singer Warren Smith, Hank Williams, Jr., and the Fabulous Thunderbirds.

A people-pleasing club entertainer, he certainly wasn't above working rock & roll rhythms into his music, along with hard-stressed, country & western vocal inflections. Several of his best tunes were co-written with his wife Lovelle and show a fine hand for song construction, appearing to have arrived at the studio pretty well formed. His harmonica playing was driving and straightforward, full of surprising melody, while his vocals were perhaps best described by writer Peter Guralnick as "if a black country & western singer or a white rhythm & blues singer were attempting to impersonate a member of the opposite genre." And here perhaps was Harpo's true genius, and what has allowed his music to have a wider currency. By the time his first single became a Southern jukebox favorite, his songs were being adapted and played by white musicians left and right. Here was good-time Saturday-night blues that could be sung by elements of the Caucasian persuasion with a straight face. Nothing resembling the emotional investment of a Howlin' Wolf or a Muddy Waters was required; it all came natural and easy, and its influence has stood the test of time.

He was born James Moore just outside of Baton Rouge, LA. After his parents died, he dropped out of school to work every juke joint, street corner, picnic, and house rent party that came his way. By this time he had acquired the alias of Harmonica Slim, which he used until his first record was released. It was fellow bluesman Lightnin' Slim who first steered him to local recordman J.D. Miller. The producer used him as an accompanist to Hopkins on a half-dozen sides before recording him on his own. When it came time to release his first single ("I'm a King Bee"), Miller informed him that there was another Harmonica Slim recording on the West Coast, and a new name was needed before the record could come out. Moore's wife took the slang word for harmonica, added an "o" to the end of it, and a new stage name was the result, one that would stay with Slim Harpo the rest of his career.

Harpo's first record became a double-sided R&B hit, spawning numerous follow-ups on the "King Bee" theme, but even bigger was "Rainin' in My Heart," which made the Billboard Top 40 pop charts in the summer of 1961. It was another perfect distillation of Harpo's across-the-board appeal, and was immediately adapted by country, Cajun, and rock & roll musicians; anybody could play it and sound good doing it. In the wake of the Rolling Stones covering "I'm a King Bee" on their first album, Slim had the biggest hit of his career in 1966 with "Baby, Scratch My Back." Harpo described it "as an attempt at rock & roll for me," and its appearance in Billboard's Top 20 pop charts prompted the dance-oriented follow-ups "Tip on In" and "Tee-Ni-Nee-Ni-Nu," both R&B charters. For the first time in his career, Harpo appeared in such far-flung locales as Los Angeles and New York City. Flush with success, he contacted Lightnin' Slim, who was now residing outside of Detroit, MI. The two reunited and formed a band, touring together as a sort of blues mini-package to appreciative white rock audiences until the end of the decade. The new year beckoned with a tour of Europe (his first ever) all firmed up, and a recording session scheduled when he arrived in London. Unexplainably, Harpo -- who had never been plagued with any ailments stronger than a common cold -- suddenly succumbed to a heart attack on January 31, 1970. ~ Cub Koda, All Music Guide [-] Hide

A piano-pounding institution on the southern Louisiana swamp blues scene during the late '50s and early '60s, Katie Webster later grabbed a long-deserved share of national recognition with a series of well-received Alligator albums.

Poor Kathryn Thorne had to deal with deeply religious parents who did everything in their power to... [+] Read More

A piano-pounding institution on the southern Louisiana swamp blues scene during the late '50s and early '60s, Katie Webster later grabbed a long-deserved share of national recognition with a series of well-received Alligator albums.

Poor Kathryn Thorne had to deal with deeply religious parents who did everything in their power to stop their daughter from playing R&B. But the rocking sounds of Fats Domino and Little Richard were simply too persuasive. Local guitarist Ashton Savoy took her under his wing, sharing her 1958 debut 45 for the Kry logo ("Baby Baby").

Webster rapidly became an invaluable studio sessioneer for Louisiana producers J.D. Miller in Crowley and Eddie Shuler in Lake Charles. She played on sides by Guitar Junior (Lonnie Brooks), Clarence Garlow, Jimmy Wilson, Lazy Lester, and Phil Phillips (her gently rolling 88s powered his hit "Sea of Love").

The young pianist also waxed some terrific sides of her own for Miller from 1959 to 1961 for his Rocko, Action, and Spot labels (where she introduced a dance called "The Katie Lee"). Webster led her own band, the Uptighters, at the same time she was spending her days in the studio. In 1964, she guested with Otis Redding's band at the Bamboo Club in Lake Charles and so impressed the charismatic Redding that he absconded with her. For the next three years, Webster served as his opening act!

The 1970s were pretty much a lost decade for Katie Webster as she took care of her ailing parents in Oakland, CA. But in 1982 a European tour beckoned, and she journeyed overseas for the first of many such jaunts. The Alligator connection commenced in 1988 with some high-profile help: Bonnie Raitt, Robert Cray, and Kim Wilson all made guest appearances on The Swamp Boogie Queen. The lovably extroverted boogie pianist encored with Two-Fisted Mama! and No Foolin' before suffering the stroke. She died on September 5, 1999 at the age of 63. ~ Bill Dahl, All Music Guide [-] Hide

The acknowledged kingpin of the Louisiana school of blues, Lightnin' Slim's style was built on his grainy but expressive vocals and rudimentary guitar work, with usually nothing more than a harmonica and a drummer in support. It was down-home country blues edged two steps further into the mainstream; first by virtue of Lightnin's electric... [+] Read More

The acknowledged kingpin of the Louisiana school of blues, Lightnin' Slim's style was built on his grainy but expressive vocals and rudimentary guitar work, with usually nothing more than a harmonica and a drummer in support. It was down-home country blues edged two steps further into the mainstream; first by virtue of Lightnin's electric guitar, and secondly by the sound of the local Crowley musicians who backed him being bathed in simmering, pulsating tape echo. As the first great star of producer J.D. Miller's blues talent stable, the formula was a successful one, scoring him regional hits that were issued on the Nashville-based Excello label for over a decade, with one of them, "Rooster Blues," making the national R&B charts in 1959. Combining the country ambience of a Lightnin' Hopkins with the plodding insistence of a Muddy Waters, Slim's music remained uniquely his own, the perfect blues raconteur, even when reshaping other's material to his dark, somber style. He also possessed one of the truly great voices of the blues; unadorned and unaffected, making the world-weariness of a Sonny Boy Williamson sound like the second coming of Good Time Charlie by comparison. His exhortation to "blow your harmonica, son" has become one of the great, mournful catchphrases of the blues, and even on his most rockin' numbers, there's a sense that you are listening less to an uptempo offering than a slow blues just being played faster. Lightnin' always sounded like bad luck just moved into his home approximately an hour after his mother-in-law did.

He was born with the unglamorous handle of Otis Hicks in St. Louis, Missouri on March 13, 1913. After 13 years of living on a farm outside of the city, the Hicks family moved to Louisiana, first settling in St. Francisville. Young Otis took to the guitar early, first shown the rudiments by his father, then later by his older brother, Layfield. Given his recorded output, it's highly doubtful that either his father or brother knew how to play in any key other than E natural, as Lightnin' used the same patterns over and over on his recordings, only changing keys when he used a capo or had his guitar de-tuned a full step.

But the rudiments were all he needed, and by the late '30s/early '40s he was a mainstay of the local picnic/country supper circuit around St. Francisville. In 1946, he moved to Baton Rouge, playing on weekends in local ghetto bars, and started to make a name for himself on the local circuit, first working as a member of Big Poppa's band, then on his own.

The '50s dawned with harmonica player Schoolboy Cleve in tow, working club dates and broadcasting over the radio together. It was local disc jockey Ray "Diggy Do" Meaders who then persuaded Miller to record him. He recorded for 12 years as an Excello artist, starting out originally on Miller's Feature label. As the late '60s found Lightnin' Slim working and living in Detroit, a second career blossomed as European blues audiences brought him over to tour, and he also started working the American festival and hippie ballroom circuit with Slim Harpo as a double act. When Harpo died unexpectedly in 1970, Lightnin' went on alone, recording sporadically, while performing as part of the American Blues Legends tour until his death in 1974. Lazy, rolling and insistent, Lightnin' Slim is Louisiana blues at its finest. ~ Cub Koda, All Music Guide [-] Hide

Katie Webster plays barrelhouse boogie-woogie, New Orleans R&B, Gulf Coast swamp pop, deep bayou blues and Southern gospel-flavored soul like nobody's business; her 35 years of professional piano work has appeared on at least 500 singles, including the original version of "Sea of Love," and countless albums. Music critics and fans around the... [+] Read More

Katie Webster plays barrelhouse boogie-woogie, New Orleans R&B, Gulf Coast swamp pop, deep bayou blues and Southern gospel-flavored soul like nobody's business; her 35 years of professional piano work has appeared on at least 500 singles, including the original version of "Sea of Love," and countless albums. Music critics and fans around the world acknowledge her as the premier female blues piano player anywhere. Alligator Records' Deluxe Edition collects 15 of her very best tracks from her three albums since 1988, and there isn't a filler track to be found. Webster never once failed to deliver on her sassy and sensuous blend of barrelhouse boogie-woogie. Some of the high points of Deluxe Edition include several duets -- "Love Deluxe" with Vasti Jackson and the classic "Who's Making Love," which finds Kim Wilson (the Fabulous Thunderbirds) and bluesman Robert Cray jamming with the Boogie Queen. Wilson also accompanies Bonnie Raitt and Webster to wail "On the Run." Other standout tracks include her remake of "Sea of Love" and the non-vegetarian "A Little Meat on the Side." "The Love You Save" and "Two Fisted Mama" are sure to go down in the music history books as prime examples of Webster's swamp boogie styles. But perhaps the best cuts of the 15 are the blues-rich vocals and sax of "Try a Little Tenderness," a sure winner, and "Never Let Me Go," a torch-bearing ballad. Alligator's Deluxe Editions are just that -- the best songs by the best artists in their catalog. And Katie Webster ranks right there at the top of that rich list. ~ Michael B. Smith, All Music Guide [-] Hide

When people talk about Louisiana swamp blues, this is what they're talking about. Excello Records' first foray into albums came with this wonderful collection of singles by Lightnin' Slim largely issued around the success of the title track, an R&B hit in 1960. "Long Leanie Mama," "My Starter Won't Work," "It's Mighty Crazy," "Hoo-Doo... [+] Read More

When people talk about Louisiana swamp blues, this is what they're talking about. Excello Records' first foray into albums came with this wonderful collection of singles by Lightnin' Slim largely issued around the success of the title track, an R&B hit in 1960. "Long Leanie Mama," "My Starter Won't Work," "It's Mighty Crazy," "Hoo-Doo Blues," "Tom Cat Blues," "Lightnin' Troubles," "G.I. Slim" and "Feelin' Awful Blues" are all certified swamp blues classics and about as lowdown as the genre can get possibly get. With Lazy Lester on harmonica for the majority of the tracks here, the stripped-down approach to Slim's brand of blues casts these sides in a decidedly front-porch ambience with the added pulsating tape echo and oddball percussive effects just making everything on here sound even more doom-laden. "Lightnin's Blues," the John Lee Hooker-inspired "Just Made Twenty One" and "Sugar Plum," the A-side and both sides of his first and third singles for Excello, are the three bonus CD tracks appended to the original track lineup on this 1998 CD reissue. An essential blues purchase. ~ All Music Guide, All Music Guide [-] Hide

Baton Rouge harmonica wizard Raful Neal, influenced by fellow Louisiana harp man Little Walter and the laconic swamp blues sound of Slim Harpo, might have enjoyed more mass recognition had he left the region for Chicago and other points north like many of the area's other postwar blues players did, but he chose to stay in Louisiana and raise a... [+] Read More

Baton Rouge harmonica wizard Raful Neal, influenced by fellow Louisiana harp man Little Walter and the laconic swamp blues sound of Slim Harpo, might have enjoyed more mass recognition had he left the region for Chicago and other points north like many of the area's other postwar blues players did, but he chose to stay in Louisiana and raise a family (several of his children ended up musicians, including his oldest son, Kenny Neal), and he recorded rather sparingly. This set, from 1998, is typical of his output, featuring slow burning ballads like his impressive version of Ted Taylor's "Someday" and stomping shuffles like his own "Pride & Joy." A masterful, if sometimes understated, harmonica player (his take on Little Walter's "Crazy About You Baby," included here, shows him in full flight), Neal was also a fine singer, and if his songs lyrically often wandered into cliché territory, his subtle, emotional, and completely believable vocal phrasing yanked them right back out again. Seldom flashy, and working without a stable of gimmicks, Neal doesn't hit you over the head with what he does (which is probably part of the reason he isn't better known), but his steady, solid approach to his own brand of swamp blues makes this a comfortable outing that quickly grows on you. ~ Steve Leggett, All Music Guide [-] Hide

This was Excello's first album on Slim Harpo and still the one to beat. Besides the title track in all of its original mono and heavily echoed glory, we're treated to the double whammy of "I'm a King Bee" and its original single flip side, "I Got Love If You Want It," along with certified swamp-blues killers like "Buzz Me Babe," "My Home Is a... [+] Read More

This was Excello's first album on Slim Harpo and still the one to beat. Besides the title track in all of its original mono and heavily echoed glory, we're treated to the double whammy of "I'm a King Bee" and its original single flip side, "I Got Love If You Want It," along with certified swamp-blues killers like "Buzz Me Babe," "My Home Is a Prison," "Blues Hangover," "Don't Start Crying Now" and "Dream Girl." "My Little Queen Bee (Got a Brand New King)," "Late Last Night" and "Tip On In, Part 2" are the three bonus CD tracks appended to the original track lineup, making this an excellent first purchase and a darn good backup even if you already have a Slim Harpo best-of in the pile.~ All Music Guide, All Music Guide [-] Hide

This album of snaky swamp rock is one of Ball's best recordings. Great choice of songs (she wrote 5 of the 13) that let her show all her talents, both vocally and instrumentally. Slow-tempo songs display the force of her voice, as in "I Still Love You," and another of the many gems, "For the Love of a Man." Meanwhile, the playfulness of the... [+] Read More

This album of snaky swamp rock is one of Ball's best recordings. Great choice of songs (she wrote 5 of the 13) that let her show all her talents, both vocally and instrumentally. Slow-tempo songs display the force of her voice, as in "I Still Love You," and another of the many gems, "For the Love of a Man." Meanwhile, the playfulness of the title cut and "The Right Tool for the Job" allow her to have fun and let the band air it out. Then there is the perfect song to end the disc and an absolute tour de force, Randy Newman's "Louisiana 1927."

Ball has again assembled another top-notch cast of characters who more than hold up their end of the bargain. A few of the many who shine are George Rains on drums, Mark Kazanoff, who does double duty as a co-producer and excels on various saxes, and Derek O'Brien, who also co-produced and shares much of the guitar work with Steve Williams. If you don't know Marcia Ball, this is a fantastic introduction, and if you liked her past work this is a gem you won't want to miss. ~ Bob Gottlieb, All Music Guide [-] Hide