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The Rum Boogie in Memphis is a venue I'm intimately familiar with and it was a pleasant treat to receive "The Billy Gibson Band" CD in the mail to review. The billy Gibson Band is the house band at The Rum Boogie, and you don't keep a gig like that for long on Beale Street unless you've polished your chops and eanred your keep. That said, this new release on Inside Sounds is one of the tightest records I've heard all year, a testament to Billy and his band mates.
The musicianship of The Billy Gibson Band can't be overstated. Their self-titled release is a tribute to their collective skills honed through many years of playing together as the house band at The Rum Boogie Cafe. Billy and his mates are some fo the Bluff City's finest musicians and you can hear their talents throughout this record. This isn't your daddy's blues, but it is ome fo the best contemporary blues that you can find in Memphis today. - Kyle Deibler
When Billy Gibson calls his Hohner chromatic harp a Mississippi saxophone, he’s not being flip: This Clinton, Miss., native learned his craft early, absorbing the blues legacies of the Magnolia State and later soaking up the Memphis scene. It was in Tennessee that he studied at the metaphorical feet of Jazz harpist Pete Pedersen, and it’s that mix of styles – blues in form, jazz in function – that has harmonica enthusiasts writhing over Gibson’s arrival! Though he’s recorded a disc of jazz standards, a set of blues instrumentals, and two albums as a member of the band junkyardmen, this is Gibson’s real coming-out party, and his first vocal release as the centerpiece of his own handpicked group. As you might imagine, his harp is the main focus. Smooth, West Coast-leaning blues boiling with a Memphis soul stew of guitar and organ, with a bit of blaxploitation funk thrown in! Gibson’s harmonica skill is remarkable: Resisting the urge to overplay, he wisely sits back and waits for the song to call for some wild burst of emotion, then unleashes it with a dexterity most guitarists couldn’t manage. - Robert Fontenot
If anyone thinks the blues is a dead genre, they’re badly mistaken. The Billy Gibson Band rocks from the first note of its new self-titled album. The first song, “Down Home,” sets the tone early, with the bandleader on harmonica and lead vocals, singing, “Let’s go down, down home, where I play the blues… on my Mississippi saxophone.” Sidemen David Bowen (guitar), James Jackson (bass), and Cedric Keel (drums) lay down an impressive background rhythm. While prominent in support without overpowering the leader, each musician adds his own personal touch to this recording. Of course, the star is Gibson. He puts the harmonica through some blazing riffs during the middle solo and fade. The blues, a product of sorrowful times in the Deep South, particularly the Mississippi Delta, is best when presented when artists aren't trying to be hip by injecting modern elements into their sound. Just play and sing from the heart. It’s the kind of music that gets heads to bobbin’, fingers to snappin’, and feet to tappin’ when it’s done right. Gibson and his supporting cast definitely do it right. Born near Jackson, Mississippi, and now a resident of Memphis, Gibson has twice received the Memphis Premiere Player Award for “Best Harmonica.” Six of the nine tracks were penned by Gibson and Bowen, including the opener, which they co-wrote. The group also included songs by Rudy Toombs, Mose Vinson, and a much-celebrated Mississippi Delta bluesman, the late Willie Foster. “Love Everybody” features Gibson in a sizzling harmonica solo that’s reminiscent of Foster’s style. Once upon a time, there was concern that old-fashioned blues was a dying art. However, Gibson and company are just another example that proves the art continues to thrive.
- Woodrow Wilkins, Jr.
The resurgent Memphis blues scene should be being led now by the junkyardmen, a four piece outfit fronted by ace harp player Billy Gibson. The junkyardmen released two excellent CDs in the late 90s before disappearing shortly afterwards just as major success beckoned. Around the same time Gibson released two CDs of jazz influenced harmonica but, apart from a few guest spots, has been largely unrecorded since. This CD is a welcome return to recording for one of the top harmonica players around today.
Gibson has now joined together with members of the King Beez, the house band for many years at BB Kings, and the result is an excellent debut album full of signature Memphis grooves. They effortlessly hit the sweet spot between blues and soul and, whilst this album breaks new ground, it is guaranteed to have you tapping your feet, moving your body, and putting a smile on your face. This is epitomised by the stand out track “Home at Last”. If anyone ever runs a course on how to develop a groove this should be mandatory coursework. Bass and keys start, add a few sparse guitar notes, bring in a gentle drum roll, then layer on some funky guitar as the drums start to groove, and a repeated harp riff leading into an effortless vocal ... heaven. And that’s not even counting the sax solo.
The rest of the CD is made up mostly of originals written by Gibson and guitarist Dave Bowen, including major reworks of “Stingin’ Stang” and “What is Love?”, both recorded originally by the junkyardmen. The covers stay very much in a Memphis and Mississippi vein with selections from piano player Mose Vinson and harp player Willie Foster. The Billy Gibson Band have had a regular spot at the Rum Boogie on Beale for the last twelve months or so and, if you are lucky enough to get to Memphis, should be high on your list of bands to see. But don’t wait until then to buy this CD. Rating 9
- Chris Keslake - Syndicated UK Writer
Billy Gibson is a mutlitalented bluesman who brings some contemporary attitude and funk to traditional blues harmonica music. Born and raised in Mississippi, Gibson took upthe harmonica as a youngster. He cut his musical teeth with guitarist Johnnie Billington on the Clarksdale, Mississippi, blues scene and later traveled to Memphis to continue his education in the blues. Gibson's debut release for the Memphis-based label Inside Sounds showcases Gibson's bodacious harp blowing and smooth vocals backed by a stellar band of Beale Street's finest musicians: drummer Cedric Keel, bassist James Jackson, and guitarist David Bowen. The album kicks off with the song "Down Home." It's a high-energy tune featuring Gibson wailing on his "Mississippi saxophone" as his band lays down an infectiously danceable groove. Gibson croons in a hepcat style reminiscent of Mose Allison on several tunes like "Keep Doin' What Ya Doin." The Gibson-penned songs have a ribald sense of humor ("Stingin' Stang") that carry on the blues tradition of sly double entendres. The high-light of the album is the grooving "Home At Last," where Gibson and band are joined by Charlie Wood on the Wurlitzer organ and Charles Campbell on saxophone - Jeff Forlenza
Hohner chromatic harmonica whiz Gibson fires on all eight cylinders on his latest, Memphis recorded, project. Backed by the rhythm-contagious, King Beez Band excerpted trio of guitar phenom David Bowen (who also contributes the driving "Keep Don' What'ya Doin'" and a soulful "One More Time" to the set list), bassist james Jackson and pounding drummer Cedric Keep, producer Gibson pays dexterous homage to the Bluff City's long list of blues harp legends - from the long-gone Noah Lewis, Will Shade, and Big Walter Horton to the still-around James Cotton and Charlie Musselwhite on this totally unvarnished nine-tracker. Gibson gets right down to it with a rocking, note-crazy "Down Home" (he probably had his Southern Clinton, Mississippi Birthplace in mind when he wrote it) followed close by a knocked out, expressive version of rudy Toombs' "Country Girl" (originally waxed by Little Willie John), the chicken-scratch guitar, spectacularly full-toned harp fueled "Love Everybody" (great finger-pointing vocal as well) and the barrelhouse piano (by guest Charlie Wood) paced, advice-offering "Tell It Like It Is," that sounds so much like Musselwhite that I though it was Musselwhite. That leaves three solid Gibson originals, showcasing an abundance of his slyly assertive singing and feral, fibrous ree-work. "What Is Love?" is an easy rocking plea for understanding that, no doubt, get the audience chanting the question while the moody "Darlin Please Come Home" is an absorbing slice of late-night lamentation and "Stingin' Stang" is full of the uninhibited braggadocio its title implies. - Gary von Tersh
Discography
Slow Ride - Daddy Mack Blues Band with special guest Billy Gibson
The Billy Gibson Band Inside Sounds 2005
Live at Rum Boogie Café 2005
In a Memphis Tone Inside Sounds 2004
The Nearness of You Inside Sounds 2001
Fried Glass Onions: Memphis Meets The Beatles Inside Sounds 2005
The Art of The Motorcycle: Songs of the Open Road Inside Sounds 2005
Billy Gibson (Out of Print) North Magnolia Music Co. 1996
I Smell Smoke Michael Burks Alligator 2003
(Producers Jim Gaines, Bruce Iglauer, Michael Burks)
Soft Place to Fall Deborah Coleman Blind Pig 2000
Weekend In Memphis McCarty-Hite Project Inside Sounds 2001
(Produced by Richard Hite and Billy Gibson)
Where Theres A Will Theres A Way David Bowen Dalabow Records 2000
Keep On Workin Junkyardmen Inside Sounds 1999
(Producer Jim Gaines)
Scrapeheap full of Blues Junkyardmen Inside Sounds 1998
Goin Down South Blues Sampler Inside Sounds 2001
Problem Solver Bobby Little Highland Records 2003
(Produced by Billy Gibson and Bobby Little)
Goin Down South Blues Sampler Vol. 2 Inside Sounds 2004
Straight From The Cyndicate CYC Nu Hafi Music 1997
(Produced by Billy Gibson and Jeff Burch)
Robert Allen Parker Robert Allen Parker 2003
Up Until Now Kim Richardson 2001
Photos
Bio
" If the red-brick cobblestone of Beale St. could speak it would tell of countless artists and their sound deposits and influences they have left. There is no question of the importance of Beale St. in the development of American music or the reverence in which the finest musicians hold it. To be a celebrated artist making a living playing on Beale St. is a mere dream! Billy Gibson is a headliner on Beale playing three nights a week on the fabled stage of Rum Boogie Café at the corner of Beale and Third...welcoming all noted musicians who come through Memphis to sit in and get a taste of the lore of Beale! Billy Gibson was born in the heart of the blues in Clinton, MS its in his blood! After, high school, Billy moved to Clarksdale where he played with blues guitarist Johnnie Billington and drummer Bobby Little in Billingtons group The Midnighters. From Clarksdale he moved to Memphis and thus began his tenure at what Billy refers to as Beale Street: The University of The Blues. It is hard to imagine that one artist could have played with and be influenced directly by so many a virtual whos who of legendary musicians. Junior Kimbrough, R.L. Burnside, Kenny Brown, Luther Allison, James Cotton, John Entwistle, Jim Dandy, Calvin Newborn, to name but a few. In fact, while interviewing Billy for this bio he asked if he could think about all those he has played with and email me at a latter time I think we get the idea! Billy Gibson may be considered a new-comer with the release of The Billy Gibson Band but that is hardly the case. It is better to know Billy instead of knowing about him. So, we asked some pertinent questions for him and these are Billys unedited answers
What Kind of harp do you use?
My favorite is the Hohner Golden Melody. Ive played other brands and models over the years but the Golden Melody has all of the qualities I need from a professional level instrument.
Who is your hero of the harp?
Pete Pedersen is a hero to me but not just because of his harp playing, which is as good as it gets, but because he was such a kind and giving man. He shared his masterful knowledge of music and the harmonica with anyone who was interested. There was no ego involved, only love and joy for the harmonica and a desire to pass it on to a younger generation. Pete was a true blessing to me and everyone that know him. Im not only a better harmonica player but a better man as well for my time with him.
Do you play any other instruments?
I play a little piano. I think its real important for harmonica players to play piano because with the piano they can hear and see different kinds of chords. The harp can play chords but you have to visualize them in your mind. With the piano its real easy to see everything.
Who gave you your first harmonica?
One day, when I was seven years old, I went up to my Mom and asked her to take me to the store and buy me a harmonica. So she took me to Wilsons Department store and I stood in front of a glass counter and told the saleslady which one I wanted. None of us knew anything about harmonicas, so I guess I picked the one that looked cool and had a cool-looking, red paper box that went with it My Mom saved it and showed it to me one day years later a Hohner Marine Band. Thanks Mom!
Who gave you your first lesson?
I was around 15 or 16 years old and I snuck into a club in Jackson, MS with some friends. Sam Myers and Fingers Taylor were playing together that night at the club. That was my first lesson in blues harmonica!...changed my life!!!
What is your favorite harp song?
My grandmother (who just turned 100 year old this year!) always wants to hear Amazing Grace, so I love playing those old gospel songs for her.
Do you have a name for your harp?
Some nights the harp just wont do right and I have been known to call it $#&&@*^((&&:@&!!!!! and then some nights it seems to play itself. Its those nights I squeeze it tight and whisper sweet things in its ear comb, Thank you, sweetie.
If your harmonica could talk what would it say?
Baby, what we do here stays here Please dont kiss and tell.
Tell us about your relationship with Beale Street and your steady gig at Rum Boogie Café.
Ive basically grown-up on Beale definitely in terms of music. The musicians there have always been supportive and helpful to me and the folks that work there are like family. Beale Street is a very unique place, kind of hard to describe really. With so many people coming from all over it turns my Rum Boogie Café gig from a local one into a world stage. I love it because people get a chance to hear some homegrown music and take it back around the world to share with others. As a performer/recording artist I cant ask for much more than that Beale is exciting too because you never know who might stop in to say hello or jam with the band. During the Prince tour his drummer, John Blackwell stopped by and turn
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