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Charley Crockett – Lonesome as a Shadow

Growing up with a single mother in San Benito, Texas, the hometown of Tejano star Freddy Fender was not easy for blues singer Charley Crockett. Hitchhiking across the country exposed Crockett to the street life at a young age, following in the footsteps of his relative, American folk hero Davy Crockett, who lived a wild life on the American frontier. After train hopping across the country, Crockett set off to travel the world and lived on the streets of Paris for nearly a year before searching for home in Spain, Morocco, and Northern Africa.Charley returned home to Texas and released his debut solo album titled A Stolen Jewel in 2015, receiving critical acclaim and landing him a Dallas Observer Award that year for “Best Blues Act”. He released his sophomore record In The Night in 2016 and played over 125 shows that year. Crockett’s song “I Am Not Afraid” received international recognition from top tastemakers after being picked by NPR Music as one of the “Top 10 Songs Public Radio Can’t Stop Playing” and featured on World Cafe. Now in 2018, Crockett releases Lonesome As A Shadow, an album recorded in Memphis at the legendary Sam Phillip’s Recording Service with producer/engineer Matt Ross-Spang. Backed by the Blue Drifters, this album was recorded live to tape during a long year of touring. It’s a musical gumbo that showcases the various depths of Crockett’s sound.

Tony Joe White – Rain Crow

Tony Joe White is a genre unto himself. Sure, there are other artists who can approximate White‘s
rich gumbo of blues, rock, country, and bayou atmosphere, but almost 50
years after “Polk Salad Annie” made his name, you can still tell one of
his records from its first few moments. 2016’s Rain Crow confirms White hasn’t lost his step in the recording studio. Produced by his son Jody White, Rain Crow is lean, dark, and tough; the bass and drums (Steve Forrest and Bryan Owings) are implacable and just a bit ominous, like the sound of horses galloping in the distance, while the flinty report of White‘s guitar sketches out the framework of the melodies and lets the listener’s imagination do the rest. White‘s best music has always had more than one foot in the blues, and Rain Crow often recalls the hypnotic backwoods juke joint sounds of R.L. Burnside and Junior Kimbrough, built on a groove that travels as far and as deep as it needs to go. And White the storyteller is in great form on Rain Crow,
from the tricky family tale of “The Middle of Nowhere” and the spooky
happenings of “Conjure Child” to “Hoochie Woman”‘s celebration of a
woman who knows what to do with spice and shrimp. As for White‘s singing, that’s where evaluating Rain Crow gets a bit complicated. These days, White‘s
voice is a swampy croak that lacks the strength of his signature
recordings of the ’60s and ’70s, and occasionally he’s just hard to
hear. But if White
isn’t much of a singer at the age of 72, his half-sung, half-mumbled
vocals work unexpectedly well in context, suggesting some aging
swampland griot, and they suit the late-night vibe of the material
better than a stronger performance might. Rain Crow doesn’t blaze many new trails for Tony Joe White,
but it leaves no doubt that he’s still the king of his own swampy
sound, and he’s not getting older, he’s getting deeper.

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