Blues Power Photo’s First Annual Blues Awards for 2018:

Written by Ray Proetto

I was unable to attend the Blues Foundation’s Blues Music Awards this year in Memphis. Therefore, I decided to begin the first annual Blues Power Photo Blues Awards!The purpose is to promote those artists whose 2018 music impressed and inspired me to listen over and over and over again. 

Disclaimer:  Everyone has opinions! The opinions expressed in this article are simply my opinions. I listened to hundreds of hours of music to form these opinions. 

We don’t have to agree. You may love my favorites from 2018 or dislike every one of them. You may prefer other choices I have not considered. Any feedback and suggestions are welcome. After all, the purpose of writing this is to share great music with each other. 

The Categories:  I don’t have as many categories as the Blues Foundation’s Blues Music Awards. This is because I don’t feel qualified to make picks in all of their categories. I’ve borrowed many of their categories and created some of my own such as dividing some categories between male and female artists. 

Here are the Categories:
Album of the Year
Song of the Year
Entertainer of the Year
Band of the Year
Best Emerging Male Artist
Best Emerging Female Artist
Acoustic Album of the Year
Soul Blues Album Male 
Soul Blues Album Female
Blues Rock Album of the Year
Best Traditional Blues Album
Best Contemporary Blues Album

And now for the results…

ALBUM OF THE YEAR: Fantastic Negrito, “Please Don’t be Dead.”
I’m not really sure how to categorize this music. Is it Blues? Soul? Rock? Funk? Roots? I don’t know. I just know it is Fantastic!  

Xavier Amin Dphrepaulezz known by his stage name, Fantastic Negrito, won a Grammy Award for best Contemporary Blues Album for his 2016, “Last Days of Oakland.” I’ve listened to all three of his recent CDs and although “Last Days of Oakland” is impressive, his third effort is the charm. “Please Don’t be Dead” transcends his previous work. Once again, the Grammy Awards honored him with the 2018 Contemporary Blues Album of the Year award for “Please Don’t Be Dead.” 

Mr. Fantastic’s sound combines rock power chords, field work song beats, elements of gospel, blues, funk, and his deep voiced singing with intermittent falsetto (think Prince with more power). His guitarist plays creative, tasty guitar solos you feel in your gut. To all this his band adds a dose of organ and hooks so funky they knock you over in your seat! Call it what you want, this is a very unique, imaginative sound you can’t resist. 

If that is not enough, Fantastic’s songs are intelligent, satirical and at times sarcastic commentaries. Their subjects include modern life, politics, and racism with a few traditional blues themes running through them. His lyrics define him as one of the authentic modern voices of the blues.

The CD opens with “Plastic Hamburgers,” a hard rocking commentary about the addiction of consumerism. The guitar repeats a killer signature riff a few times before the band kicks in on top of it. In the chorus, Fantastic yells, “Break out these chains let’s burn it down!” with one of those funky hooks that grabs you hard. The break in the middle has moody screeching guitar and an excellent bass run. Next up is “Bad Guy Necessity” which he sings from the perspective of a narrow-minded immigrant-phobic man looking for someone to blame for his problems. This song opens with Fantastic speaking the line, “Here’s the story of Benny Walker, the greatest hater of all time.” Once again there’s a heavy, plodding but funky beat that shakes your body hard. The chorus lyrics, “Everybody needs a bad guy, so they can feel ok,” is pure genius and is sung with falsetto and female backup singers. Later in the song the lyrics continue with “they keep holding me back all the time, I point the finger, I point the finger at you!” Now a Jack White-ish guitar solo comes in to round out this truly fantastic song. The third song, “A Letter to Fear,” has an even heavier beat and a guitar riff akin to early Led Zeppelin. He sings of overcoming fear because, “whatever you do to me, whatever you say to me, I will carry on.” The song mentions a mass shooting and then he implores the listener to “hold on, hold on, hold on, hold on, to love.”

All of the songs on this CD are different, compelling, and creatively produced. They sound like nothing you have ever heard before. A real standout is “Transgender Biscuits.” Fantastic once again takes a beat that belongs on a work song but somehow funks it up so hard it’s impossible to listen and remain still. The song opens with that heavy beat and Fantastic chanting “change” repeatedly with a woman screaming “Hey Hey Yeah!” gospel style in the background. Underneath it all you can hear Fantastic speaking: “For all the people with love in your heart, get unified, get organized, unity, unity.” The song then takes a surprising turn (as do all of his songs). Within seconds the song speeds up as if on a spinning wheel and explodes right back to the original funky beat with Fantastic shouting, “I got fired because I’m a woman, I got fired because I’m black, I got fired because I’m a white man, I got fired because I’m fat…  I got fired because I’m an ass hole, I got fired being gay, I got fired for being a Muslim, I got fired for being late. The song seems to imply that change is inevitable despite all the discrimination and blaming still going around. The song has a number of style changes and an unusual squealing guitar that adds to the beat’s intensity. Each time it circles back around to the “change” chant, it hits the beat harder and harder until you think your funkified head will explode! 

The “Suit That Won’t Come Off” is the perfect modern black man’s blues lament. It’s got that heavy plodding beat alternating with a lighter rhythm. It opens with deep gloomy moaning in the background. Then Fantastic sings, “Do you know how it feels to be standing on the outside?” He sings with a direct intensity that channels every person who has ever experienced discrimination. This one also contains two powerful guitar solos that are heavy on emotion and string bending. A surprising changeup on the album is the song “Dark Windows.” It’s a sensitive song about the emotional neglect suffered by a friend at the hands of a strong but cold father. This song defies categorization but is beautifully sung in Fantastic’s high falsetto and played with piano flourishes and sweet guitar work. 

Just when you thought the CD couldn’t get any funkier, Fantastic hits us with a 70s style funk dance number called “B******t Anthem.” He repeats the line, “Take that bullshit and turn it into good shit.” One style shift in the song involves gospel hand clapping and lyrics about getting knocked down but to keep on fighting. This feel good dance anthem should be played at every house party from here to Seattle. 

But wait, there’s more! After twelve incredible songs, Fantastic gives us five of them repeated as acoustic versions. Broken down to their basics and played on guitar; these alternate versions have their own special charm. 

With his innovative sound, Fantastic combined elements of field work songs, gospel, blues, rock, and heavy funk. Fantastic Negrito’s “Please Don’t Be Dead” is the Album of the year! 

SONG OF THE YEAR:  Fantastic Negrito, “Bad Guy Necessity.” 
Quite a few of Fantastic’s songs could have been chosen for this award. All of his songs contain distinctive lyrics and his remarkable style. In the end, “Bad Guy Necessity” had the best hook, lyrics and sweet guitar work. 

Honorable Mention:  JJ Appleton and Jason Ricci, “Hurt Myself,”album-“Beautiful Slop.” First, JJ Appleton plays acoustic guitar as well as most musicians play electric. His playing throughout this album and on this song is magical. Second, the lyrics are another example of Jason Ricci writing an emotionally graphic song that may or may not represent his personal struggles. Regardless, he sings it with his typical anguish making you believe every word. Jason concludes the song delivering yet another beautiful harmonica run.

Honorable Mention:  Gary Allegretto, “No Place Like Home,” album-“Blues on the Trail.” One of many excellent songs from this album; I love the line in the song, “there ain’t no place like home, that’s why I love the road.” The guitar and harmonica work on this song are simply outstanding. 

ENTERTAINER OF THE YEAR: Michael Ledbetter of The Welch-Ledbetter Connection.
This is a hard category to choose. First, because there is no way I could have seen all the performers who are deserving of this award. I picked Mike Ledbetter because of the sheer joy he displayed onstage. Mike channeled his inspiration Otis Rush with his own unique style. The Welch-Ledbetter Connection concerts were a celebration of the blues unmatched in 2018. It was long after I chose Mike for this award that I learned of his tragic death. What a tragedy for his family and the blues community who shared in his joy. 

 BAND OF THE YEAR: The Welch-Ledbetter Connection
Once again, this band brought the joy and brought the goods to their concerts. Mike Ledbetter’s singing and charisma lead the charge as Mike Welch’s guitar work brought the heat. When they both picked up guitars, the fans went nuts! Nuff said. 

BEST EMERGING MALE ARTIST:  “Mississippi” Marshal (Hopper)
“Mississippi” Marshal Hopper is slowly creating an impressive catalog of original blues played with the skill of a blues veteran. His self-produced albums contain some of the most authentic stripped down blues being recorded today. His low volume, sweet guitar sound is a nice alternative to all the blues-rock being called blues these days. His album, “The Delta’s Son” is a tour de force of various blues styles including one of the most authentic acoustic delta blues songs I’ve heard in years. It’s an instrumental played on a resonator entitled “Me and My Sweet Brown.” The album also contains the beautiful and deeply personal “Country Blues Man.” Another inspirational song, “The Delta’s Son,” is a tale about meeting the ghost of Son House who passes the blues torch to a young “Mississippi” Marshal. Yet another standout is Marshal’s “Hill Country Tribute.” A song which should be a standard played by every Mississippi blues musician. The lyrics are a tribute to the Hill Country Blues and the musicians who created this wonderful dance music. Marshal’s latest album is entitled “Jesus Tone,” after the Walter Parks song he covers on it. The album contains harmonica playing from Stan Street and some sax solos courtesy of Tom Sturdivant. These additions to Marshal’s sound give this album a fuller sound but still leave plenty of room for Marshal’s innovative guitar to enjoy. The instrumental, “Boogie for Sam,” recently earned “Mississippi” Marshal a Mississippi Music Foundation award for Best Instrumental!

BEST EMERGING FEMALE ARTIST: Eryn
If you have never heard of Eryn Shewell, who now uses the stage name Eryn, you will be thrilled you just did. I wrote a review of her last album, entitled “Eryn Shewell” in Blues Music Magazine. I described her singing as follows: “an impressive vocal range, the talent to express emotional nuance, and the power to belt it out with authority!” Interested yet

I first heard Eryn on YouTube singing the well-known song “Hallelujah.” It is an amazing performance. A number of people asked her if she would be recording it on a CD? Well, her new album, actually an EP of six songs does contain a song with the word “Hallelujah.” But it’s not the Leonard Cohen song. With tongue in cheek humor she recorded a song entitled, “Hallelujah You’re Gone.” An upbeat celebration of leaving a man who cramped her style; Eryn’s “Hallelujah” gives more than a small nod to sixties girl group pop. Yet Eryn sings it with the authority of a young Aretha Franklin. Yes, I just mentioned them in the same sentence! The EP is actually entitled “Lady E – EP.” Next up on the EP is “The You Missing From Me.” It’s a pure ballad that demonstrates the subtle nuances and power of Eryn’s voice. The song “Just Jump” continues the bluesy pop sound with Eryn starting out with her best smoky voice. As the song continues she shifts into power soul of the best kind. “Stranger in My House” veers away from the bluesy side of things with a beautiful song about discovering your lover is a stranger. The style approaches a Broadway musical with mournful violins. Quickly switching back to soulful pop, Eryn sings “Our Love Won’t Die.” It’s a lighthearted song about how nothing can kill “our love.” As usual, Eryn sings it with soul and hits some amazingly powerful notes. The last song sounds like it was actually recorded in the late sixties. “Running Red Lights” is about recognizing you’re in love and “running red lights” to let him know. There’s a repetitive break in her voice during the chorus demonstrating the consistent control she has over her vocal instrument.

Overall, Eryn’s new “Lady E – EP” hits mostly on songs you might expect Nikki Hill to perform with the exception of the power ballad and Broadway style tune. Although this certainly isn’t blues, as long as she continues to sing bluesy pop and soul, I’m completely on board. I have not heard a voice like this in a very long time. 

ACOUSTIC ALBUM OF THE YEAR: Gary Allegretto, “Blues on the Trail.”
Gary Allegretto has created a country blues masterpiece. This album contains a large number of well-written songs. His guitar playing covers a wide range of styles with expert precision. Gary’s remarkable harmonica playing is smooth as silk and rarely leaves the campfire.

The Album begins with the bluesy title song, the story of the Sundance Kid’s fall from grace. “Black Diamond” is an up tempo jaunt about breaking a wild horse. It contains some of the most impressive and aggressive harmonica playing on the album. Next up is an instant classic, “Cowboys Gotta Be Free.” It’s a light bouncy song about a woman getting a cowboy to settle down. The catchy chorus line is, “when she smiles at me, this cowboy’s finally free.” “No Place Like Home” is pure blues and is one of my runner-ups for song of the year. “Whittling Dynamite” is a clever song about a man’s attraction to dangerous women. “Another Mule” (Kicking in Your Stall) is another well-written song about a cheating woman. This album is superb combination of accomplished songwriting and musicianship.   

Honorable Mention:  JJ Appleton and Jason Ricci, “Beautiful Slop.” 
The virtuosity of these two artists is impressive throughout this album. And it contains one of my runner-ups for Song of the Year. My only point of contention is much of JJ Appleton’s singing. It’s a little too similar to Joe Walsh for my taste.  

SOUL BLUES ALBUM MALE:  Kevin Burt, “Heart and Soul.”
The Blues Foundation nominated Kevin Burt for a Blues Music Award. The award is in the category of “Best Emerging Artist Album.” There is nothing emerging about Kevin Burt. He is a finished product of fine soul singing, impressive harmonica playing and guitar skills to match!

His CD Heart and Soul achieves what very few soul singers have been able to do; that is to inspire me to listen over and over again. The first four songs on the album are all soul/R & B winners. Right out of the box Kevin’s “Day Day” immediately takes hold of you like a good Barry White song. It’s a fast paced tale of a love gone wrong with one of his wonderful harmonica solos. Next is another up-tempo number that begins with rhythm guitar and melodic harmonica reminiscent of Stevie Wonder! It’s his plea for a woman to “Come see about me.” Third is a beautiful slow paced tribute to his parents and grandparents who guided and encouraged him. Fourth is another 70s sounding song celebrating a “real love.” During a slow break, he really gets down on that harmonica. When it picks up the pace again his singing reaches passionate heights and so does his harmonica. If Stevie Wonder had released this song in the late seventies it would have been a number one hit.  

Kevin Burt sings with a deep half-talking, half-singing style similar to but not imitative of Barry White. Another album standout is “Never.” It’s a silky smooth love song during which he uses the full powers of his romantic voice as he sings, “Talk to me and make love to my mind.” His voice really soars on this one. I can hear women’s hearts stopping all over town. “Your Smile” is a beautiful mellow song that again brings you back to those 70s hits. Kevin attacks the blues straight on with his the final song. “Wake up, Baby” is a fast paced guitar and harmonica blues song played with skill and feeling. Any fan of Johnny Rawls or Barry White will flip over Kevin Burt. 

SOUL BLUES ALBUM FEMALE: Candi Staton, “Unstoppable.”
Born in 1940, yes that 1940! Candi Staton has made a thoroughly enjoyable album at age 78. I was not familiar with her until I heard this CD. I had no idea she has recorded music on and off since the late sixties. Check out her 1969 hit, “I’m Just a Prisoner,” (of Your Good Lovin’). 

“Unstoppable” is an uplifting positive album of songs calling for love and responsibility in our politically volatile times. Rather than sing about her complaints, she preaches love, honesty, responsibility, and personal power through confidence. The opening song, “Confidence” could be the next women’s power anthem. On “The Prize is Not Worth the Pain,” she shouts, “I am somebody all by myself.” The music is enhanced by horns throughout with that smooth R & B tone. Make no mistake; Ms. Staton can still put some power and passion into her soulful vocals. Too often, more mature singers continue long past their effectiveness. Not in this case. You feel and believe her convictions in this set of terrific songs. 

Honorable Mention:  The Knickerbocker Allstars, “Love Makes a Woman.”
If you’re a fan of sixties soul and pop, this is the album for you. It features two top-notch singers. Darcel Wilson handling the majority of the vocals with Thornetta Davis, the powerhouse from Detroit, singing just a few. All of the songs are covers. In addition to the outstanding vocals from both women, the horns are featured extensively. The horns are much more than simply backing instruments. They often stretch out with their own fantastic solos. It’s hard to pick the high points on this CD because they are almost all high points. 

BLUES ROCK ALBUM: Tinsley Ellis, “Winning Hand.”
This guy has been at it an awfully long time. He’s as good as anyone out there for those stinging, moaning guitar solos. His singing has improved over the years and he now comes across emotional and believable. His guitar work is often as beautiful as it is intense. For a fine example check out “Gamblin Man” for six minutes of his best slow-blues rock. 

BEST TRADITIONAL BLUES ALBUM:  Lurrie Bell & the Bell Dynasty, “Tribute to Carey Bell.”
With all due respect to Buddy Guy, who won this category at the Blues Music Awards, I’m giving this one to Lurrie Bell & the Bell Dynasty. If you are a fan of electric Chicago Blues, Lurrie Bell and crew pull it off seamlessly.

Lurrie Bell’s raspy vocals drip with the blues without ever feeling contrived or forced. Although his guitar playing won’t win any speed competitions, it had me really feeling it every step of the way. Harmonica duties fall mainly to Steve Bell who is impressive throughout the album. Drummer James Bell keeps it all together without a hiccup while Tyson Bell handles bass. James Bell also handles vocals on a few cuts. There are a few well-known guests including Charlie Musselwhite, guitarist Eddie Taylor Jr., Billy Branch, and pianist Sumito “Ariyo” Ariyoshi. They do not appear on very many cuts but compliment the band extremely well when they do. Just as the Welch-Ledbetter Connection channeled Otis Rush, this album effectively achieves that raw Chicago blues sound without sounding dated. 

BEST CONTEMPORARY BLUES ALBUM:  Fantastic Negrito, “Please Don’t Be Dead”
I searched high a low for a contemporary blues album that moved me as much as Fantastic Negrito’s. No one came close! So I’m double dipping the way Buddy Guy and others sometimes take home multiple awards from the Blues Foundation. As blues music heads in new directions, this is one thrilling achievement.

SUMMARY:
I hope you enjoyed my first annual Blues Power Photo Blues Awards. I certainly enjoyed putting them together. Any feedback and opinions are welcome. Check out these videos below of artists discussed in the article.

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