It is no secret that Aleck “Rice” Miller’s “Real Folk Blues” was a big influence on a 16-year-old Mikey Junior when he started playing harmonica. Sonny Boy Williamson II, as he was called to differentiate him from Sonny Boy Williamson, a contemporary of his growing up, became one of the most noted harp players of the early days of the blues, influencing many blues musicians, including Howlin’ Wolf and later, Paul Butterfield. The songs he wrote and played over his career, rival any of the best blues artists of the period.
For this project Mikey worked with long time band mate, Matt Daniels on guitar, along with Greg Gumpel and co-producer Dave Gross. Bill Heid accompanies them on piano, and the rhythm section consists of Matt Raymond on upright bass and Michael Bram on drums. All songs were written by Sonny Boy Williamson II.
The opening track, “Eyesight to the Blind,” became familiar to me from The Who’s rock opera “Tommy.” It wasn’t until later, when I went back to the original that my appreciation of Sonny Boy began. Here Mikey gives it a powerful feel, both on the vocals and harp. “Don’t Start Me Talkin’” really swings with this band, and for two and a half minutes you can feel the juke joint vibe they are laying down. Things slow down for “She Got Next to Me,” with the rhythm section building a great foundation, the guitar (not sure who as they are not credited on individual tracks), and Bill’s piano stand out here with Mikey leading the way.
“Little Village” is about an encounter with a woman that Sonny Boy finds attractive, in a small place. Mikey and the band do a great version of it here, with crisp playing and vocals. Mikey did a terrific job of sequencing the tracks, slowing things down next, with “Like Wolf,” which features some fine harp soloing and piano fills. The 1956 tune “Don’t Lose Your Eye,” is given the classic blues ballad treatment, but with a positive social message. These are words to follow, “always treat your neighbors right, and be fair to your friends, likewise.”
“Keep it to Yourself” reverts to the cheating side of the blues, and the band hammers it home with some fine ensemble work here, with Mikey laying down the law on vocals. “Sad to be Alone,” is a faithful recreation of this tune, and Mikey really channels the spirit of Sonny Boy here, with the band creating the ideal backdrop.
On “Shuckin’ Mama,” the band captures that swinging blues feel with some sharp-edged guitar trading licks with Mikey’s harmonica, over a lively beat. “One Way Out,” is another song that most folks from my generation were introduced to by The Allman Brothers. This version sticks close to the original, but has great energy and drive. The final tune is the blues ballad “Keep Your Hand Out of my Pocket,” and Mikey’s harp is the highlight here, with some fine vocals, and playing by the group that shows the love all of these musicians have for the man and his music.
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