This album was originally reviewed by Howard Rye in B&R 2000,when it was described as being on the Memphis Gold label and without a number. The 'current release' was recieved in the B&R offices with a label on the back of the jewel case indicating that Jim O`neal's Stackhouse label(See Bluesosterica.com) has taken over promotion of it with the label number Stackhouse SRC-1911. I certainly hope that the album now gets the distribution and promotion it deserves, because this is simply one heck of an album. A very strong vocalist and guitarist, Memphis Gold(alias Chester 'Chet Chandler) has a varied backing crew to assist him, including saxes, organ, harmonica, bass, drums-and another guitar. He calls his music "Sanctified Beale Street Urban Gutbucket Blues' and performed on Beale Street as a child, learning from the legendary blues and gospel guitarist Reverend Robert Wilkins (hence the inclusion of Prodigal Son). His influences are understated, in that there are no blatant comparisons to be made, but this album has a varied mixture of many 'blues' and bluesy' sounds. The main thing though is that the whole album, at the same time, sounds both traditional and modern. This is really fine blues, and if there is such styling that allows blues to go forward and remain (within reason of course) popular then surely this could - perhaps should - be it. Quite why nothing has been heard of Memphis Gold since the original'issue' of this album I don`t know, this guy certainly has the credentials to be a real blues star, mixing straight blues, gospel, funk, r&b and most anything else that is artistically good.As far as I know 'Gold' hasn`t appeared at any 'major' Euro-festival, or very often on blues festivals in his homeland, again, why I don`t know. Howard described him as a major talent, I can`t disagree with that. He also advised readers to buy the album on the basis that it would soon become a 'tomorrow`s classic'. again I can`t disagree- in other words get it while you can.

Video Great Performance!

If you could build the ideal blues festival, you woul d find a picturesque setting, book real blues bands, get blues enthusiasts to show up and cap things off with perfect weather. This is just what Michael Cloeren did for the 13th Annual Pocono Blues Festival. His festival isn’t for those who ‘think’ they like the blues. Those folks would be better off going to their nearest House of Blues. This festival is organized by a paid staff of 150 which ensures everything runs professionally. Over 20,000 attendees came from 25 states plus four countries. New, this year, was a cultural tent which made it even harder to see everything that the festival offers with its three stages and multiple vendors. The cultural tent provided a chance to meet/greet artists and watch highlights from past festivals and past W.C. Handy Award shows. For the second year in a row, there was a pre-party on Friday evening. This intimate event provides blues advocates with a hot buffet prior to entertainment in the tent stage. This year’s hearty meal included chicken, pork, amazing Cajun mayonnaise, coleslaw, rice, beans, chocolate cake and non-alcoholic beverages. For those who didn’t like all the carbohydrates, there was plenty of Michelob Ultra beer to wash it down. The pre-party is supposed to give festival early birds the chance to meet and greet some artists. Although no artists were seen, there was a pleasant overall atmosphere in the lodge. It was just like going out to your local roadhouse. First up, on Friday, was the masterful harp player, Wallace Coleman, from Ohio. The purist crowd reacted warmly and gave him a standing ovation. Next, Byther Smith said he wasn’t feeling well. This didn’t stop him from twiddling his strings to glory especially on the harsh rendition of "The Thrill Is Gone." Smith didn’t introduce his band and barely interacted with the audience. His distinctive guitar picking cut straight through to the soul and soothed like only the best of Chicago’s most-established guitarists can do. Eddie Shaw’s energetic set began with his son, Vaan, performing guitar gymnastics. Many covers were played like "Everyday I Have The Blues", "Little Red Rooster", "Howlin’ For My Darlin’", and "I’ll Play The Blues For You." Most were arranged as 1950s-styled, Chicago house-rockin’ boogies. At the center of the party was Shaw’s expressive sax. The highlight was Kenny Neal jamming with the band on "Sweet Home Chicago." A less covered song would have been better but Neal’s finely calibrated harp made the song remarkable. The sound quality isn’t always great in the tent but if you have an insatiable thirst for the blues, get to the Pocono Blues Festival for the pre-party. Although the weather forecast wasn’t good, Saturday turned out to be a glorious day. This meant the crowd could easily race back and forth between the two main stages and one tented stage. Kansas City’s King Alex Littlejohn kicked things off. His backing band, The Untouchables, were truly spectacular. They featured dual guitarists. Doug Hemphill was quite older than Lester "Wizard" King but when Hemphill played his Flying-V guitar with his teeth, he came across as lively as a teenager. Arkansas-born Alex wasn’t as energetic as his rocking band who looked sharp, in color-coordinated stage clothes. They played all original songs including the signature tune, "Hot As A Coffee Pot." Since he rarely gets to these parts, anticipation ran high for Chicago blues veteran Eddie C. Campbell. Unfortunately, his performance fell short of expectation. Nora Jean Bruso, arrived on stage, with a voice as powerful as a freight train’s engine. She unveiled many tunes from her new Severn release called "Going Back To Mississippi." Its aptly titled since she was born and raised in Greenwood, Mississippi. To the delight of the audience and those in the photo pit, Bruso practically performed her steamy and stomping set on the runway. This baby-faced, heavy-chested woman was dressed attractively as she sang up a hurricane on tunes about her home state and her first love. The latter, entitled "Broken Heart," could have been a hit during soul’s heyday. It featured her most diverse vocals that ranged from supple to fervent. All the time, the intensity built until she exploded into a thunderous roar. Her colossal voice was as hefty as her girth and has been influenced by the great women of Chicago that have preceded her. It is as deep as Karen Carroll’s and growls like Bonnie Lee. This former Jimmy Dawkins Band vocalist is the new, dominant force on the Windy City’s blues scene. It was not surprising to see Chicago musicians with her including Bob Stroger on bass, Jimmie Jacobs and Brian Lupo on guitar along with James Carter drums. If Nora continues to seismically shift her audience with performances like this, she’ll be winning vocalist of the year awards before she knows what happened to her. About Bruso, Cloeren has said, "she has what it takes to be the next Queen of the Blues." Indiana’s Mighty Mo Rodgers delivered the most eclectic mix of the festival. At one point, he did an African drum tune which told how the blues evolved. "They took our drum from us," explained Rodgers while standing behind his organ/keyboard. He also said there are three things in the world that are true. They are death, taxes, and the blues. Mo exclaimed, he could only help us with the blues. His band featured a consummate guitarist with the ability to tear things up. Their best tune was about the ultimate drive-by. Many people came back to stage one before Bobby Rush began. The attraction was seeing/hearing him and his large band perform their sound-check. Those that arrived early will never forget it. When the check was completed, Rush came down into the photo pit and mingled with the fans. He signed autographs and had many pictures taken. His road manager had to practically drag him away so the show could continue. Artists such as Eddie Shaw, Eddie C. Campbell and DC Bellamy, were spotted, in the audience, during Rush’s risqué, chitlin’ circuit, show. The charismatic Rush was visually entertaining and musically satisfying. He included the giant panties gag and his girls did plenty of bootie shaking. His animation put the greatest number of smiles on the greatest number of faces. Being a natural performer allowed him to command the audience. They followed his every move and hung to each word. Mid-way through, he changed from his more reserved attire to the bright blue outfit as seen in the recent Scorsese film. Heavy beats and funky rhythms were present on regular repertoire songs like: "Hoochie Man" and "Hen Pecked." Each song told a story which gave Rush a chance to use his clever oratory skills. We arrived at the tent stage just as Nora Jean Bruso was concluding her second set. She had her audience worked into such a frenzy, they almost brought the tent down. Billy Branch and Kenny Neal then played solo and acoustically as on their CD, "Double Take." They performed many tunes from that album which proved very popular with the subdued crowd who were there to listen. Both sang but Kenny had a more deep and commanding voice. Together, they proved acoustic blues doesn’t mean songs that are slow, sad and boring. On Sunday, intense spiritual energy was in the air for the entire day which focused heavily on groups with a gospel element to their music. Throughout the day, it was common to see people in tears, with goose bumps, and being taken over by the Holy Spirit. Even the most devout of cynics walked away contemplating where that energy could have come from. For some, it was a baptism by music and surely the music resulted in a few conversions. First, it was the Sacred Steel guitar of the Campbell Brothers. The sounds of their lap and pedal steel guitars burned with as much intensity as the mid-day sun. This just made you feel good. Their jubilant act was a raucous celebration of the Lord and his wonders with songs such as "What’s His Name? … Jesus!" and "God Is A Good God." Somehow, Phillip Campbell made his electric six string guitar sound like an organ and Chuck Campbell made his pedal steel sound like a train. Their House of God Church music makes you want to stand up, jump, dance, shout, and celebrate life. That’s just what Chuck Campbell did. It was a unique, and authentically American, experience to see and hear them. They left the spellbound audience feeling high and happy and set the tone for the day. Sunday’s spiritual performances had the most meaning, were the most moving and were the most heartfelt. Jimmy Burns could well be the last artist who knows how to combine country blues with a more urban feel. He was playful and jokingly told his listeners, since there were children present and it was a day show, he couldn’t describe a certain song the way he’d like to. Many of his songs featured repetitive rhythms that either hypnotized or contained too much monotony. Also in the tent where the Kansas City Blues All-Star Revue featuring DC Bellamy, Linda Shell and Milliage Gilbert. Some of them didn’t share Burn’s opinions and performed a song about a two dollar whore with lyrics: "don’t need class / long as you shake your ass." They were backed by The Untouchables who were not as impressive as the previous day with King Alex. Texas-born, and raised, Roy Gaines, took the stage sporting a white beard and immediately took charge by re-locating his microphone stand at the edge of the runway. This put him at the closest possible point to the audience and they were thrilled. His brilliant piano player’s hands jumped and danced all over the keys. Unlike Gaines, who did not carry out his usual jumps and twists as other festival-goers had remembered. When appropriate, Gaines made his big voice growl like a bear. He gave a solid set that landed somewhere in the middle of traditional and contemporary blues although he wasn’t pleased with the sound. Mavis Staples gave a performance that reduced many to a whimpering and trembling mess. She brought tears to the eyes of the crowd (including Bruce Iglauer) and herself on "God Is Not Sleeping." Staples proved herself to be a very convicted woman spiritually and musically. She still has her instantly recognizable, dynamic voice and still is a great entertainer. Her unheralded backing band, featured her sister, Yvonne, on background vocals, Will Crosby guitar, Stephen Fordham keyboards, Tony Grady bass, and Brian Parker drums. All had a chance to play extended solos on "I’ll Take You There." She told Staples Singers stories from the past and performed songs from days gone by such as "Respect Yourself." Her healing music was designed to help our hurting and deeply suffering world. Additionally, she used the gig to heavily promote her new Alligator CD, "Have A Little Faith." If that CD is anything like her overwhelming performance, she should start making room in her trophy case now. The Teardrops, Magic Slim’s longtime backing band, included: Chris Biedron on Bass; Vernal Taylor on drums; and Jonathan McDonald on guitar. After they warmed things up with a couple numbers, Slim took the stage via strolling into the photo pit to get as close to the fans as possible. He played his usual series of raw, basic, down-home, guitar blues. This particular set wasn’t as raucous as normal. Perhaps it was due to Slim’s stage amp which produced a sound that he wasn’t pleased with. Whatever the case, this didn’t sound like the same band that won a Handy Award in 2003 for Best Blues Band. Sunday night’s headliners, The Blind Boys Of Alabama, gave the best concert of the entire festival. Unlike rock concerts where brawny energy is wasted, the Blind Boys’ spiritual energy had purpose. It was like the Holy Spirit had descended over the entire crowd. All six members appeared dressed in gold suits while Jimmy Carter was the only member with a handkerchief. The bass player had the only suit that wasn’t identical to the rest of the band and he was the only member not wearing sunglasses. Everyone sang but Clarence Fountain and Carter continue to be the two prime vocalists. Their upbeat and life-changing set featured "Amazing Grace", "People Get Ready", and other songs from their two most recent releases. To experience their unrivaled vocal harmonies on "Shall Not Walk Alone" completed the musical journey. Towards the end of the show, Jimmy walked through the crowd and turned the place into a revival. Their words, and very being, are in inspiration to keep pressing on. From the moment they hit the stage to the moment they left, The Blind Boys constantly invited the mesmerized audience to embrace their powerful music. Other artists who appeared at the festival included: Chick Willis, Bobby Blue Bland, Big George Brock,"MEMPHIS GOLD" , Jackie Payne & Steve Edmonson. You may not recognize all of the artists who are booked at this festival so you are sure to leave with some new favorites. However, each and every year, Pocono features more authentic blues music than practically ever other blues festival in North America. If you haven’t attended this peerless festival, be sure to put it on your list.

Memphis Gold arguably put on the highlight set of 2006 DC Blues Festival held at the Carter Barron Amphitheatre in Washington DC, Saturday, September 2. The Festival started in the rain as the remnants of Tropical Depression Ernesto continued moving north, but during the set prior to Memphis Gold's, the sun came out. Because of the weather, attendance at this year's festival was lighter than in previous years although a healthy crowd did come out later in the afternoon Having seen Memphis Gold since the early 1990s, I have been struck just how good his music has elevated itself over the past couple years. His music was already good but with the release of his second album, the excellent "Prodigal Son", it seemed that Chester Chandler, aka KD, has elevated his music to another level. This was evident at his superb 2004 Pocono Blues Festival set, and even more so yesterday (as I write this). His set was made almost exclusively of original material and the band was so tight. His drummer, Warren Witherspoon, is someone I had not seen in several years (originally saw him backing Bobby Parker back in the early nineties), and harp wizard Charlie Sayles was back with Memphis Gold. Its been a good year for Memphis Gold as he received a justifiably rave review in the British publication Blues & Rhythm and the Sweddish publication, Jefferson, featured him on the cover. In fact he had just come back from Sweden and will be going out on another USO tour in the near future. Jim O'Neal picked up the self-produced Prodigal Son for his Stackhouse Productions to distribute. What can one say. It could not happen to a more talented and nicer gentleman.