The boastful title is no exaggeration; this is a welcome return for the classic Chicago blues sideman, who, primarily because of the misfortune of his music being exploited by other musicians, took a self-imposed retirement for nearly 30 years. It's especially rewarding since Williams – whose work you hear on early Howlin' Wolf, Otis Spann, Bo Diddley, Billy Boy Arnold (who guests here) sides – hadn't played a lick during that time, keeping his guitar stashed under his bed. He sounds like he never put the instrument away on this album, the first cohesive disc under his own name ever. Aided by comparative youngsters Tinsley Ellis, Ronnie Baker Brooks, and Rusty Zinn, along with a 21-year-old Sean Costello, Williams holds the spotlight like the pro his is. Though well into his sixties when this was recorded in 2001, he sounds remarkably vibrant, completely confident, and totally in his element.
anned in London, busted in Milwaukee, the legendary Wendy O. Williams and the Plasmatics caused a seismic cultural shock still felt today. They pioneered the mohawk, the fusing of punk and metal and did shows including the blowing up of cars yet to be matched. Labeled 'the greatest punk band in the world' by Tom Snyder on his 1981 TV show, by 1982 their next album was hailed by the LA Times as the best heavy metal since AC/DC…
Proving that 2002's appropriately titled Return of a Legend was no one-off fluke, semi-legendary Chicago guitarist Jody Williams cements his comeback with this invigorating follow-up. Producer Dick Shurman, who worked on the previous disc, frames Williams' expressive voice and clean, jazzy guitar in a subtle, frills-free environment that brings out his best. The album's 13 originals (and one Sam Cooke cover) showcase Williams' talents as a fluid, understated, yet soulful guitarist; witty songwriter; and, more importantly, a singer of surprising passion. Esteemed horn arranger Willie Henderson also returns from the last album to add his arrangements to four tracks, highlighted by the simmering, staccato touches on a remake of Williams' "Hideout," originally recorded in 1962. Part Freddie King's "Hideaway," part Earl King's "Come On," it's an accurate, updated example of Williams' six-string prowess. Although the majority of the tracks are straightforward Chicago shuffles and slow blues, the guitarist infuses his upbeat personality to the proceedings, which makes the album so consistently refreshing.
Venerable jazz bassist and session musician of choice, Buster Williams steers this thoroughly swinging quartet through a set of vibrant standards and original compositions along with an ace front line consisting of pianist Mulgrew Miller and vibist Steve Nelson. Recorded live in 1999 at the Montreux Jazz Festival, the bassist once again exhibits his seasoned musical persona via fluent lines, limber soloing, and a comprehensive sense of swing. Meanwhile, Nelson and Miller share most of the soloing opportunities as they consistently demonstrate a keen harmonic relationship atop drummer Carl Allen's masterstrokes and the leader's sinewy walking bass patterns.
Set the time machine for early morning on KSIB, Creston, Iowa. February, 1950. Hot on the heels of the collectable 10' vinyl Record Store Day EP Omnivore Recordings is proud to present The Garden Spot Programs, 1950, featuring 24 performances, unheard for 64 years, from the one and only Hank Williams! Rescued from obscurity, these shows originally aired over 6 decades ago, and The Garden Spot Programs, 1950 collects material from the four of them now known to exist. From hits to standards to songs rarely (if ever) performed, this is pure Hank Williams, including playful, between song banter. Fully restored to incredible quality, The Garden Spot Programs, 1950 is more like being in the studio when they were recorded than actually listening to them on the radio!