Bill Rhoades & The Party Kings – Voodoo Lovin’ (White Owl Records).

Produced by Terry Robb – Four words that get my attention straight away. Terry’s reputation for good quality blues and roots ensure that what follows is bound to be top grade. Bill Rhoades opens up with Waiting And Worrying with wailing harmonica and a Howlin’ Wolf feel overall. This is followed up with She Walks Right In, a high-paced jump boogie with a rather contrived chorus but it does give the guitar of Michael Osborn, do you recognise the name, the chance to shine. The reason I ask is because Michael was John Lee Hookers guitarist for 13 years. I’m trying is a chugging blues with a clear vocal and Bill’s voice is strangely familiar. It’s a comfortable voice and he supplements it with excellent harp playing. JB Hutto’s Now She’s Gone is classic Chicago blues played in the classic style and you just can’t beat it. Distorted harp and growling guitar, give me more! I got my wish on Temperature 110 as Bill lifts the pace again and shows that he’s one of the best harmonica players plying his trade today. This is another highlight. Hurt Again is a slow, shuffling 50s style rock and roller and Voodoo Lovin’ slightly disappoints. Voodoo gets used a lot in song titles and tends to conjure up an image. For me, that image is Jimi Hendrix, Howlin’ Wolf and magic. Unfortunately, this song fails to take on any of these although guitarist Michael Osborn does give a good account of himself.

Cindy Ann is a classy instrumental where harmonica and guitar trade licks before going off on their own showcase. Rhoades again shows again just how good a harp player he is. Grungy slide guitar introduces She Moves Me, which moves off into a slow, thudding electric blues. I haven’t yet commented on Rhoades’ vocals and, although he has been good throughout there isn’t really any evidence of a good range. The harp is, as ever, excellent. Kidney Stew has another harmonica and guitar introduction and during the song he refers to his girlfriend as ‘not the caviar kind, just plain old kidney stew’ – she must be pleased!! Meanwhile, the song is a good, medium paced boogie. Early In The Morning is another ponderous blues with all the classic elements and refers back to Cindy Ann as his girl. It’s fine by 12 bar standards but Osborn does add that stinging guitar and that makes the difference. The penultimate track, the fast paced Don’t You Lie To Me would have been an ideal closing song but Clarence Lofton’s songs need a stronger singer. However, the track is strong and the harp and guitar are the stars again. Bill chooses to close with the two minute harmonica instrumental, Sixes And Sevens. On this, he manages to get the impression of bagpipes – no kidding, just listen. Whether you like this or not you will just be in awe on the amount of effort that the man puts in.

http://www.billrhoadesandthepartykings.com/

Copyright David Blue 2006.