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Delta Snake Review Digest: January 1994 Ezine
This will be the first of upcoming digests that collect the album reviews from each Ezine back issue. These are the ones that ran in the very first Ezine issue in January 1994.
I've also left in my Editor/Publisher remarks for historical context. All reviews were written by me unless otherwise noted
Al Handa
Aug. 24, 2026
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DELTA SNAKE BLUES NEWS
“Putting the thrill back into ASCII"
January 1994 Issue
Vol I, No. 1
EDITOR'S CORNER:
Welcome New Readers!
Welcome to the first online issue of the Delta Snake Blues News. The Snake was first published in the early 80's as a Blues newsletter, and prior to it's demise in the latter part of that decade, grew to a 20-plus page magazine.
I won't bore readers with a detailed history, or emotional eulogy to the thing (I often referred to it as a "rag" in my columns anyway). However, a little background will be useful to the new reader, as I intend to run the thing pretty much along the same lines.
The Delta Snake was a newsletter that was based in the South Bay (North Bay being San Francisco, etc). The covers almost always featured local artists like Mitch Woods, Mark Naftalin, Roy Rogers, Mark Hummel, Troyce Keys, and others. The record reviews always focused on local artists if at all possible. Also; I'm not really a purist.
Every issue had at least one major feature. Unlike many of the blues publications at the time, I rarely printed interviews. It was basically a case of trying to not duplicate the efforts of others, and my own preferences. The articles tended to be historical or informative. The subjects included such topics as a history of the blues banjo and slide guitar, women in the blues, the Delta Blues avante-garde, and so forth. Some of these articles I intend to update and reprint.
The Snake wasn't a one-person operation. The Contributing Editor was Tom Mazzolini, who is the organizer of the San Francisco Blues Festival. His contributions were probably the most significant. Tom's support gave me credibility in the early days, and the regular plugs on his KPFA Blues by the Bay Show brought in a steady stream of new subscribers.
A key contributor was Troyce Keys, who passed away this year. Troyce was the owner of the famous "Eli's Mile High Club" in Oakland. He was one of the first to respond to Mazzolini's radio announcements, and bought a subscription without ever seeing a copy. He bought a year's worth of full page ads after receiving the first issue, and renewed every year for the life of the newsletter.
Troyce was one of the finest human beings I ever knew. Whenever I visited Eli's, he made it a point to introduce me around as the publisher of the Delta Snake. He did it with such respect that many would think that I put out a major glossy magazine. The first time I thought he was just being gracious (which he was), but it became obvious that the respect was sincere. I really thought the world of the guy, and he's not very far from my thoughts as I write this.
The Delta Snake also put on concerts in downtown San Jose and San Francisco. It's really another separate story, but I will mention that those shows featured such artists as Lowell Fulsom (I still carry his business card in my wallet), Roy Rogers, Mark Hummel, Mississippi Johnny Waters, Mitch Woods, and others. These shows were pretty much the last thing the Delta Snake did.
That, in a rambling nutshell, is the background. I never could let the thing go, and decided to revive it in the online form you see. It will be mainly distributed on the Internet, so for now, will be done in plain text. Also, like the first year, it'll be free for the asking. In this case, it'll be free as long as the Internet stays that way (hopefully, forever). The original Snake had readers from places as diverse as France, Poland, Ireland, and even Hungary. The initial response hasn't been as wide, but Australia has checked in with a few new readers (and England, Ireland, and Canada).
Al Handa
Editor Delta Snake
12/93
NEW RECORD REVIEWS
Editor's Note: Reviews in the old Snake were done in two separate sections. A section of new releases, and a section covering classics. We defined "classic" as an older record with an advocate fanatic enough to write a review and mail it in.
Reissues were OK. Basically, back then (and to an extent now), lots of blues fans were also collectors. You generally HAD to be. The Chess recordings, for example, weren't available in the midline price format back then. A mint condition vinyl Chess record could easily fetch $50.00. I must admit, however, that I was willing to accept one with it's value seriously degraded by scratches.
In the Snake, you read the new reviews to see the latest. The classic section is reserved for those that have stood the test of time and have earned the ultimate respect the Western World can bestow on any object....a pricetag way above its original retail value.
SMOKEY WILSON: "Smoke n' Fire" (Bullseye Blues CD BB 9534)
This is yet another production from that incredibly prolific producer, Ron Levy. The session also features guest performances by Jimmy McCracklin, Larry Davis, and Ron Levy. Smokey is a straight-ahead modern Chicago-style blue artist. His guitar style has a very sharp, trebly attack that often seems to jump out at the listener. Fans of Jimmy Dawkins will like this stuff, although the backing band plays it much tighter than Dawkin's would. Some might find that a plus (not me though, I prefer it sloppier, personally).
The CD opens with a shuffle with a topical bent, "Don't Burn Down L.A." Very solid, well sung, good horn parts. Let's call it a B+ opening. It goes right down into a hard-edged slow one, "You took Everything From Me." It's pretty much like that the rest of the way. Any Ron Levy production will have more funk and tight shuffles than most, and the sound is dense with excellent horn and keyboard colorings. On a good sound system, the effect is impressive. I do get the impression, however, that Smokey's sound would benefit from a bit more sweat and grease mixed in.
Strong points are Smokey's excellent voice, and very aggressive guitar playing. The backing is more than servicable, and is pretty much in line with those who like Robert Cray or other modern Bluesmen. I'd have to rate the recent Jimmy Dawkins higher, for this type of Blues record. Dawkins made sure the backing was as wild and driving as his voice and guitar. However, I would have to say that anyone who buts Smokey's CD shouldn't be disappointed. The guy clearly deserves to be recorded.
OMAR AND THE HOWLERS: "Courts of Lulu" (Bullseye Blues CD BB 9541)
This CD shows yet another side of this solid bluesman, who combines a very aggressive guitar attack with a voice somewhere to the left of Howling Wolf (or John Fogerty, for that matter). His last two releases were an above average live record, and an acoustic blues-based work. This release is ostensibly a tribute to some old Juke Joint, and shows a very obvious rock'n'roll and rockabilly sensibility. Which, from this particular artist, tends to make for a pretty fun bar-band style set. It's perfect car music, which says a lot, really.
The first cut, "Rose Tattoo" opens the set. It's a uptempo Creedence-style blues rocker, that leads to the Bo-Diddley beat "Do It For Daddy." Not too bad for such an overdone rhythm cliche. It benefits a lot from what is one of Omar's greatest strengths; an excellent sense of set dynamics. I've never heard a Howlers record that wasn't varied in its colors and rhythms. He may be playing time-honored (and perhaps a bit overplayed) forms, but the way the cuts flow does impress me.
One nice thing about the record are the little production ideas. The third cut, "False Faces" is an energetic, but rather standard medium blues stomper. However, the choruses are augmented with a little Zydeco coloring, and it's just perfect. The CD continues along like that; rockers mixed with nice slow songs and each with different tempos and colorings (fiddles, horns, etc). I can-
not say it's as good as any Muddy Waters record ever made, but it's definitely the Omar record to get if you only get one. It's his best work to date.
ANGELA STREHLI: "Blonde&Blue" (Rounder CD 3127)
Strehli is a highly regarded vocalist out of that often overhyped Antone records group. She is a powerful vocalist, and has an excellent background (if the "Angela Strehli Scrapbook" included in promo packs is any indication.
One could say her voice reminds one at times of Bonnie Raitt, or Irma Thomas. Given that, it'd be tough for her to make a bad record. Her first work had a harder blues approach, mixed in with an old
Delany and Bonnie sound at times. It showed a strong vocalist looking around for a definitive personal style. I say that about any vocalist who is clearly very good, but is covering Blues songs clearly unsuited to her voice. She simply isn't your classic Blues vocalist.
This new CD comes closer to the mark. She branches out in a wider range of styles, loosens up a bit on the straight Blues (although the cover version of "Sun Is Shining" simply does not work). Her best blues work is on songs like "Say It's Not So," which is more like a Steve Ray type slow one. I think she'd do very well on a cover of "Tin Pan Alley."
Rock critic Robert Christgau once said that one great song can make one like a whole side, and Angela does have one perfectly realized production. Her cover of "Never Like This Before," rocks along in as perfect an updated Stax groove as I've ever heard. It would have been a big hit in the 60's, no doubt about it. Her duet with Don Covay is very close to perfect also. In fact, when she does a slicker soul groove the effect can be electrifying. "Gotta Find Me A Lover," and "Go On" are just excellent.
Recommended to those who like Bonnie Raitt or Stevie Ray Vaughn. This is an artist who does fairly good Blues, although her affectations sound a bit forced. When put into a looser groove, the effect is startling. I think we might see an excellent third record from this one. She just needs to take a few more steps to the left of the Mississippi.
GEORGE THOROGOOD: "Haircut" (EMI)
Well, I guess Thorogood did the only thing left to him. He finally turned the bass knob up on his amp and went heavy. Gone is the buzz-saw slide sound, and the final descent into the land of Foghat has been completed. Actually, I do like the record, although it's not going to be a favorite or anything. I still admire his first two records, which were quite electrifying to fans around here in the South Bay when first released. Also, could Rounder be putting out their five thousand zillion releases every month if George hadn't put them into the big leagues?
Like many of you, I'm sick of hearing "Bad To the Bone" by now, and have a hard time keeping my perspective on this guy. He still has excellent taste, as evidenced by "Want Ad Blues" (an old Hooker classic), and "Dead Gone Train." Also; his "Down In The Bottom," really does rock.
CLASSIC RECORD REVIEWS
"Vinyl Still Spoken Here…”
BEST OF CONWAY TWITTY: "Volume 1 - Rockin' Years" (Mercury)
Conway died this year, and was primarily mourned by his millions of Country fans. I remember seeing him on David Sanborne's "Night Music" show. He did an incredible rendition of "It's Only Make Believe" and as his second number, did a blues shuffle about cool sun shades. The choice of a straight blues shuffle would have seemed strange to many of his country fans, but not to this guy. Conway, to me, was a guy who covered "Got My Mojo Working" as a young rocker, and probably listened to more than one blues CD in his tour bus in his later years. This was a guy who did Chuck Willis numbers. Not your average Merle Haggard type by any means.
This CD collects his first releases. Some are truly immortal, like his "It's Only Make Believe." Add to that his incredible "Is A Blue Bird Blue," “Halfway to Heaven," and a cool, cool "What A Dream." Call this the perfect summer record for a Blues fan who's listened to his Elmore James once too often and needs a break.
ELMORE JAMES: "Let's Cut It" (Ace Records)
There's plenty of Elmore James out these days. The box set that came out last Christmas is a must-get. However, for the average Blues fan who prefers to get something that can fit in a glove compartment, this review is presented as a public service.
The music in this one comes from earlier sessions, and are rawer than those he did later for Bobby Robinson. One could get these cuts on the semi-legendary cheapie labels like United. This release adds alternate takes, and such. The usual collector stuff. It has just about every essential Elmore one could want. It opens with a very raw double punch, "Dust My Blues" and "Blues Before Sunrise." I couldn't think of a better opening for a Blues record if I thought about it all day, actually.
I love the Fabulous T-Birds, Stevie Ray, Robert Cray, and I really like Thorogood. But when these two cuts come on, one realizes that the road to becoming a legend is more than just playing louder or better. Elmore James played Blues that just jumped out of a speaker, and I can't prove it by any scientific test, but my van seems to run better with this tape playing at full volume.
One interesting alternate take, "Sho Nuff I do," is clearly better than the one that appeared on the United LP it came out on (and before that on other labels). Best of all; it SOUNDS better. The sound on this tape is superb. I still have the old United (the one I first bought), but this sounds better than
any tape I could have made from the LP. Hearing "I Was A Fool" with cleaner and sharper sound is a revelation. I never could make that song sound loud enough, now my problems are solved.
The Blues critic can risk losing a little credibility by raving so much over a release, especially an old one. Some modernists may sneer and dismiss it as the sign of a nostalgic showing his true colors. Frankly, I would wonder about any modernist that didn't have this Ace release in their collection. I would suspect that the person prefers their blues to be pretty or something.
MUDDY WATERS: "Trouble No More - Singles 1955-1959" (Chess)
One generally can't go very wrong buying any Muddy on Chess. In fact, one could say he rarely ever made a truly bad record (except for Electric Mud, of course). Also, his records generally remained amongst the most available.
The exception was a compilation of his singles, which included one of the most famous B-Sides ever written (Got My Mojo Working). Finding this collection was the highlight of a particular visit to a used-record store. It's available in stores, of course, but I tend to prefer to pay less if at all possible.
There's plenty of great stuff here. For me, the big surprise is his "I Love the Life I Live, I Live the Life I Love." I always loved the Mose Allison version. Hearing Muddy's version, one can see why Mose was moved to cover it. It's a cool, smoky masterpiece. Also, the listener will enjoy an excellent rendition of "Rock Me," which surprised me. I normally hate the song. Also, the studio version of "Mojo Working" is even better than the live version normally on records.
These songs were recorded for the purpose of getting a hit. So fans of his harder, darker sound might not be as impressed by this stuff. On the other hand, though, the songs are very listenable and most are considered classics. It's definitely one you could recommend to a friend who is interested in getting a Muddy recording. It would merely be the first step of a longer journey, of course.
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