album review: Hadden Sayers, 'Hard Dollar'

Artist: Hadden Sayers
Title: Hard Dollar

In the words of uber-rock band manager Derek Sutton (Styx, Robin Trower), “98% of people listen to music with their eyes.” When it comes to music today and slotting a new release, the targeted audience demographic trumps the music in the grooves. So while this album by Hadden Sayers’ may not be strictly “blues,” albeit using blues textures and instrumentation, the album is marketed, in part, to the blues-roots audience and THAT makes it a ‘blues record.’ Now, don’t get me wrong, there are blues tracks including a strong contender for any legitimate ‘blues duet of the year’ list; however, Sayers uses the breadth of styles found in Texas to fully explore his muse. I suppose a proactive music fans knows that there are two kinds of music; good music and bad music. ‘Hard Dollar’ is good music.

It’s a considerable accolade when the daily newspaper of Texas’ live music hub, The Austin Statesman’ refers to Hadden Sayers’ as, “Houston’s best all-round guitarist.” But it wasn’t always that way. After a stretch of good records culminating is the superb, ‘Supersonic ,’ Sayers’ career nose-dived amid a move to Ohio, the death of a family member, record deals gone awry and a dearth in the music industry. However when noted blues artist and fellow Texan Ruthie Foster called looking for a guitarist, it was the spark that Sayers’ career needed. Since that call he has been building momentum.

Sayers’ latest album, ‘Hard Dollar’ opens with a travelogue track ala’ the standard, “Route 66” or the Rolling Stones “Rip This Joint.” While there is more than six months left in the year, Sayers’ duet with Ruthie Foster is a solid contender for any critics “Blues Duet of the Year” lists. This song is brilliant.

This is an album ripe with radio friendly blues tracks including, “Lap of Luxury” which is an excursion into minimalism. “All I Want is You” will ‘sell’ to a more traditional blues listenership. Sayers’ YouTube video of the album’s focus track, “Sweet Texas Girl” can be seen at; http://www.youtube.com/watch?v=HIJNU_-VXmw . (It is so nice to see a video that features real women.) There is also a remake of the track, ‘Flat Black Automobile’ which debuted acoustically on the ‘Supersonic ‘album. “Ain’t Comin’ Round No More” has a Willie Dixon composition feel that will strike a chord between Chicago’s Chess Records and contemporary blues. This is a solid comeback album for one of the genre’s finest songwriters. This record will appeal to roots music fans and broadminded blues fans as well as trad-rock and Texas-Jimmie Vaughan fans.

Album Review: Etta James, 'Essential Modern Recordings'

Artist: Etta James
Title: Essential Modern Records Collection

Few would argue that Etta James is less than one of the most significant singers in the blues idiom. Her litany of hits include some of the blues best melody lines including; ‘At Last,’ ‘A Sunday Kind of Love’ and ‘Fool That I Am.’ Within the classic rock format legendary Beaumont belter Janis Joplin includes James’ hit, ‘Tell Mama’ in her repertoire. Born in 1938 in Los Angles to a 14 year old mother and a mix raced couple, Jamesetta Hawkins would begin her career when ‘race records’ or rhythm & blues was giving way to ‘rock n’ roll.’ In 1954 James, as a member of a female singing trio, would respond to the hit, ‘Work with Me Annie’ by Hank Ballard & the Midnighter’s with the track, and subsequent career launching hit, ‘Roll with Me, Henry’ (which was later re-titled, ‘The Wallflower’ in order to “tone down” an overt sexual connotation that “rock and roll” originally referred to.)

On this package, “The Essential Modern Records Collection” predates James Chess Records blues period. Instead, “Miss Peaches” is heard singing rhythm & blues; indicating a clear road map of a sound that would become rock n’ roll. Her embracement of strong melody lines would follow James throughout her career. In many ways this package is an insight that “today’s blues legends” were perhaps more interest in a viable career than the proliferation of the artform we revere today.

This is a wonderful historical package that may exist outside of the interest of most traditional blues fans; however, musicologists will derive great pleasure by hearing the sound that first brought Etta James to the attention of the music listening audience. The track, ‘Tough Lover’ includes the obligator “woooooo” made famous by then label-mate Richard Penniman a/k/a Little Richard. ‘Good Rockin’ Daddy’ is a classic track based upon a post-War jump-blues derivative sound that fellow L.A. based musicians such as Louis Jordan were recording. ‘The Pick Up’ is a track screaming out to be covered in a modern setting. Long known as an instrument that closely resembles the human voice, James interplays with the saxophone stands out as a short recording trend in the mid-50’s.

Programmers might want to use the song, ‘Market Place’ for airplay. Like Chuck Berry’s ‘Havana Moon, ‘ ‘Market Place’ experiments with a Cuban or Samba beat that evolves into a rock n’ roll song including a blistering guitar solo.

This is a fun, brilliant albeit archival album. It’s full fifteen tracks may not be for all listeners; however, this is a credible artist and offers an opportunity to better understand how some come to the blues. The album breaks-up textures, tempos and melody lines that will add to the depth of a wide-reaching radio program.