12 songs; 48 minutes Styles: Chicago Blues, Modern Electric Blues, Gospel-Influenced Blues
Webster's Ninth New Collegiate Dictionary defines a mosaic as a surface decoration made by inlaying small pieces of variously colored material to form pictures or patterns. That's a mouthful to say, but a sight to behold! The Chicago Kingsnakes, for the cover art of their tenth release on Music King records, have aptly chosen a mosaic. It depicts a man playing guitar, and one can easily guess its most prominent color. Blue Mosaic is an intricately-crafted work, offering a predominance of Chicago blues, but also containing colorful sparks of gospel-influenced and acoustic numbers. One of the defining characteristics of mosaics, the quality that causes many art fans to revere them, is this: Each stone is absolutely unique, yet contributes smoothly to the overall image. Such is the case with the twelve original, inlaid songs here. Some brilliant highlights:
Track 4: Tell the Truth--Hearing the Kingsnakes' choir-like call to honesty, one might imagine strolling into church. However, if the baby mentioned in this song doesn't come clean, she'll be strolling out the door! The band's leader, James Ang Anderson, states, The new lineup has very strong vocal harmonies, and we wanted to capture that sound on this disc. Here, with the help of long-time cohort Ron Berry on bass and backing vocals, they have done so with sweet, smooth artistry.
Track 6: So Cold in Chicago--For anyone familiar with the Windy City, this swinging selection is a real treat! Winning this CD's award for funniest lyrics, it features a frustrated James Ang Anderson bemoaning the temperature: Wind shot me like a .45I'm stranded on Lake Shore Drive. Lake Michigan's frozen. All the schools are closin'! As listeners chuckle (and shiver), they'll quickly warm up to Nelson Keaton's breezy harp and Andersons tasty guitar runs anchored expertly by Gus Gotsis on drums and Mike Bailey on bass. The only thing it lacks is a decisive closer: perhaps the sound of icicles shattering, or that of a car that won't start, followed by a choice word!
Track 9: Lefty--Despite its unassuming title, this is Chicago blues at its finest. The Kingsnakes go all out on this rip-roaring stomp, with each instrument red-hot in the middle of their Blue Mosaic. Anderson proudly reminisces about his early days: Blue Monday at the [original] Checkerboard [Lounge]it's my time to jam. All of these Monday nights made me who I am! Purists will delight, and everyone will dance, once they hear the opening notes of this number! The title refers to Chicago legend Lefty Dizz, who graciously allowed Ang to play his guitar.
The band chose the title Blue Mosaic for their latest album because the music reflects their origins in Chicago blues as well as R & B influences. Ang Anderson explains, We all came up playing the blues, but were listening to artists like Curtis Mayfield, Al Green, Booker T. and the MG's and James Brown on the jukeboxes at the clubs. One thing's for sure: out of varied and seemingly-unconnected fragments comes a cohesive whole, a mosaic made of notes and chords instead of stones. The Chicago Kingsnakes realize this, finding joy in their creation!
Reviewer Rainey Wetnight - Blues Blast Magazine
The Kingsnakes have been playing and touring for over 20 years. The musicians in the band come with a laundry list of credentials, from touring across the world with Little Milton and Junior Wells to Byther Smith and Jimmy Witherspoon. Their latest release, Blue Mosiac, is filled with twelve original tracks in their most comfortable setting; Chicago blues. The band is tight, with a top notch rhythm section and Nelson Keaton playing blues harmonica that dances in between the original lyrics sung by James “Ang” Anderson. Mike Bailey holds down the bass.
“Lefty” is a fun, upbeat song with a danceable and familiar groove. The last two tracks are two different takes of the same song, “Mary Jane” — one a haunting, hypnotic style acoustic jam with a finger picking guitar and harmonica as Anderson sings in veiled references. The electric version kicks up the pace with stinging electric and heavy snare drums, courtesy of Gus Gotsis, for a danceable rhythm.
Overall, the songs are original and the music is easy to listen to. Fans of Chicago blues will enjoy the album and it’s numerous references that will be instantly recognized by Chicagoans. There’s nothing particularly ground breaking in the album; it’s got a traditional sound that’s well known and often played to blues fans. It is, however, simply good, easy to digest music. There are mixed influences in the album, from soul to R&B, but on Blue Mosiac, the Kingsnakes are largely doing what they’ve done best for over two decades: Chicago Blues.
The Chicago Kingsnakes – Blue Mosaic MusicKing Records MK60659
The Chicago Kingsnakes were formed in 1983 by guitarist / vocalist James Anderson and since then have become a fixture on the Chicago blues scene releasing seven of their own recordings and accompanying Byther Smith on his Bullseye release “I’m A Mad Man”.
The experience of playing with the likes of Smith, Buddy Guy, Albert King, Lefty Dizz, Son Seals, James Cotton, Junior Wells, Koko Taylor and Little Milton has given Anderson’s playing the authority and authenticity required to replicate the true essence of Chicago blues, a trait that is echoed by the talents of harp maestro Nelson Keaton whose playing is steeped in the traditions of all of Chi-Town’s great harp players. To this potent mix you can add the tight but swinging rhythm section of Gus Gotsis (drums) and Mike Bailey (bass), ensuring the band have that wonderful ensemble sound that permeates all of the classic Chicago blues records, and makes you realise why they are so popular on the Chicago blues scene and why they have lasted for so long..
The band open with the “lowdown and greasy” grooves of “Take Your Time” with it’s snakey guitar, mellifluous harp and harmony vocals, before dipping into Jimmy Rogers’ influenced territory with the brooding “Come Back Home” where the harp mines a menacing Big Walter Horton feel whilst Anderson’s guitar is permeated with shades of Magic Sam and Willie Johnston.
“Blues Gone Uptown” is a swinging jazz inflected blues that brings to mind the Aces in their Junior Wells period – “Stop Drop And Roll” is pure Little Walter reminiscent of “My Babe” – whilst “You Don’t Want My Lovin” gives a strong nod towards Otis Rush’s “All My Lovin’”. But if two tracks can sum up the talents of this band, it has to be “Mary Jane” which is delivered in both acoustic and electric formats. The acoustic version has a brooding Sonny Boy II feel accentuated by a laidback underlying menace, whilst the electric version is permeated with a rawer Cyril Davies feel.
Chi-Town blues as it should be played! Rating 9
Mick Rainsford - Blues in Britain Magazine
REVIEW: The Chicago Kingsnakes - Blue Mosaic (MusicKing Records)
Their first proper album since 2003’s “Grass Roots”, though they’ve busied themselves over the intervening years touring the world with Byther Smith and playing shows with Junior Wells, Jimmy Witherspoon, Cash McCall, etc. When added to the fact that Kingsnakes leader, guitarist-vocalist James Anderson, has played with everyone from Buddy Guy and Albert King to Son Seals, James Cotton and Koko Taylor, It’s probably safe to assume that The Chicago Kingsnakes are some of the best and most respected blues players around.
That’s certainly the impression I get from listening to “Blue Mosaic”. Their style, unsurprisingly, is Chicago blues, and they play it slow and heavy, and tight and upbeat, and whatever way they play it, they play it well. Opening number “Take Your Time” is measured and intense, and highlights all their strengths, primarily great musicianship. When they’re aiming to get feet moving on tracks like “Blues Gone Uptown” and the Sonny Boy Williamson(esque) “Lefty” – the latter with harmonica courtesy of Nelson Keaton – they sound like the ultimate blues bar band. It’s another track, “So Cold in Chicago”, that I find myself returning to. Another upbeat number, it’s what they used to call a toe-tapper, but it’s a bit more than that, and seems to be stuck on repeat.
Simon M. http://www.leicesterbangs.co.uk/
2011's Top Ten Regional Albums
Blues Magazine number 63 (France)
créativité et inventivité certaines. Les Chicago Kingsnakes se sont
formés il y a un peu plus de 20 ans et ont déjà plusieurs albums à
leur actif. La formation actuelle compte en son sein Nelson Keaton
(hca), James Ang Anderson (voc, gtr), Mike Bailey (bs) et Gus
Gotsis (bat). Parmi les douze originaux proposés ici, la majorité se
réfère à leur influence principale, le Blues de Chicago. Mais, comme
le titre le souligne, il s’agit d’une mosaïque, et on trouve aussi
des traces de Soul et de Rhythm’n Blues. Il y a aussi une certaine
progression dans la construction de l’album, puisque les trois titres
marquants, le Rhythm’n Blues néo-orléanais guilleret Stop Drop
and Roll, et les Rockin’ Blues carrés Lefty et Mary Jane (version
électrique, celle acoustique se traînant un peu) se trouvent en fin
de parcours. Encore un groupe à ajouter à la liste, déjà longue, des
représentants qui font honneur au Blues chicagoen.
By: Bernard Boyat
Rootstime Magazine - Belgium
Wij noteerden bij beluistering van de aanvang van het album “Easy Listening Blues”. Het soort blues dat aangenaam is om naar te luisteren maar waarbij je tegelijk bijvoorbeeld een boek kan lezen. Het schijnt wat traag en vrolijk, rustig voort te kabbelen. Herkenbare riffs en af en toe wat fijn snarenwerk en dito harmonicalijnen eronder. Soms dan weer wat achtergrondzang en naar de jazz knipogend zoals in “Blues Gone Uptown”. Het album lijkt op een lichte ontgoocheling voor onze oren af te stevenen wegens toch wat meer van verwacht. En plots is daar dan “Tell The Truth”, het vierde nummer op deze uitgave. Het nummer lijkt een gospel te gaan worden met die fijne vocale harmonieën, met dank aan gast Ron Berry, terwijl er een countryachtig sfeertje wordt aan toegevoegd door het subtiele mondharmonicaspel van Nelson Keaton. Verrassend nummer maar de aandacht is getrokken. Het niveau wordt nog opgetrokken met “Sick And Tired”, de trage van dienst met schitterende gitaarsolo en jammerende harmonicaspel.
Het volgende nummer waarvoor we weer wat verder op onze stoel gaan zitten is “So Cold In Chicago” met ongelooflijke grappige tekst, de ritmesectie met Gus Gotsis op drums en Mike Baily op bas laat je als het ware de koude aan de lijve ondervinden, strak , sober, toepasselijk gedaan. Het instrumentale “Hip The Gip” maakt dan weer dat we terug wat bladzijden in ons boek kunnen verder lezen. Het is eigenlijk wachten op de vette knipoog naar Sonny Boy Williamson die “Lefty” wel is voor we weer op het puntje van onze stoel gaan zitten, hier zijn ze wat ons betreft op hun best met die aanstekelijke, dansbare groove.
De laatste twee track zijn twee verschillende benaderingen van hetzelfde nummer. “Mary Jane” krijgt een akoestische en een elektrische versie. De akoestische is ronduit schitterend te noemen: een hypnotiserende, verhalende stem, de fingerpicking en klagende harmonica. Met voorsprong toch wel het beste nummer op dit album. De elektrische versie is ook al boeiend, beukend, stampend, scheurend. Knap werk! Als The Chicago Kings op ene dag erin slagen een album uit te brengen waarop alle songs het niveau halen van de aangehaalde nummers hebben ze een vijfsterrenplaat op hun naam staan. Iets in mij zegt dat dit ooit zal gebeuren.
By: Bluesyluc
http://www.rootstime.be/CD%20REVIEUW/2011/DEC1/CD19.html
Kuningaskäärmeille
kymppi täyteen
The Chicago Kingsnakesin kymmenes levy "Blue Mosaic" ei ole aivan napakymppi, mutta melko lähelle taulun keskustaa Tuulisen kaupungin harmoniset matelijat tähtäävät.
The Chicago Kingsnakes on orkesteri, joka vannoo kotikaupungilleen ominaisen bluesin nimeen. Bändi, jonka aikajana venyy pian 30 vuoteen, pullautti ulos omalla Music King Records -levymerkillään kiekon "Blue Mosaic" viime syksynä. Pitkäsoitto on Kuningaskäärmeiden kymmenes.
Mies The Chicago Kingsnakesin takana on James Anderson. Anderson (tunnetaan lempinimillä "Jim" ja "Ang") muistaa lämmöllä pienen Suomenkin. Hän soitti Järvenpäässä Byther Smithin joukoissa kesällä 1992. "Esiintyminen Puistobluesissa on yksi musiikkiurani kohokohdista", Anderson kertoo
Blues-Finland.comille.
Andersonilla on vahva blues-miehen tausta, onhan hän Chicagon rajuna tunnetun South Siden kasvatti. Kotinurkillaan hän oli tekemisissä Chicagon isojen nimien kanssa ja päätyi ennen pitkää legendaarisen Little Miltonin bändiin. The Chicago Kingsnakes ja Byther Smith löysivät toisensa 90-luvun alussa; heidän yhteislevytyksistään merkittävin on "I'm a Mad Man" (1993). Monet pitävät albumia Smithin uran parhaana.
Kukaan on tuskin puulla päähän lyöty, kun selviää, että The Chicago Kingsnakesin "Blue Mosaic" -levyllä pääosassa on perustavanlaatuinen Chicago-blues. Mukaan on toki haettu monipuolisuuttakin. "Musiikki kuvastaa paitsi bluesin juuria myös vaikutteita rhythm 'n bluesista. Koko nykykokoonpano on kasvanut bluesin tahdissa, mutta olemme aina kuunnelleet myös Curtis Mayfieldin ja James Brownin kaltaisia artisteja", Anderson huomauttaa.
Mies puhuu asiaa. Kahdentoista kappaleen levy olisikin ollut hölmö rakentaa pelkästään perusbluesin varaan. Soul-ainesta on tarjolla "Tell the Truth"
-kappaleella. "Blues Gone Uptown" puolestaan edustaa bluesin jump-osastoa. Ero jazziin on yhtä olematon kuin merkityksetönkin. Anderson laulaa: "Well, they call it jazz, sure as you're born"! "Hip the Gip" -instrumentaali vastaa levyn funkaavimmasta menosta.
Laulutyöskentely erottaa The Chicago Kingsnakesin useimmista muista saman tyylin bändeistä. Kaikki levyllä esiintyvät viisi muusikkoa ovat äänessä. Solistina toimii Anderson, ja muu nelikko hoitaa harmoniat. Parhaimmillaan kokonaisuus on raikkaalla avausbiisillä "Take Your Time" ja hölkällä "Stop, Drop and Roll".
Perusblueseista parhaiten toimivat "Take Your Time", tukevasti polkeva "Sick and Tired" ja hienon, tremolosoundilla äänitetyn kitaran komistama "Come Back Home".
"Lefty" on levyn 'pakollinen' Elmore James -tyylin ränttätänttä. "You Don't Want My Lovin'" taas on ties-kuinka-mones kopio Otis Rushin kuolemattomasta
kappaleesta "All Your Love (I Miss Loving)".
"Blue Mosaic" -levylle on keksitty jännittävä lopetus. Kuullaan kappale "Mary Jane" ensin akustisena pohdiskeluna ja heti perään sähköisenä revittelynä. Biisipari toimii oivasti, varsinkin kun Andersonin laulusoundi on purkitettu sähköversiolle albumin muita kappaleita raaempana.
Yhtyeen koko nelikko (entinen vakiobasisti Ron Berry on nyt vierailevassa roolissa) esittäytyy vankkana. Komppiosasto – basisti Mike Bailey ja rumpali Gus Gotsis – ei jätä mitään sattuman varaan. Nelson Keatonin huuliharppu on alati läsnä, mutta osaa ottaa tarpeen mukaan myös sivuroolin. Andersonin kitara soi verevästi, ilman hienouksia. Laulajana hän ei valloita maailmaa.
The Chicago Kingsnakesin tuorein levy on mannaa niille, joille instrumenttiakrobatia ja pitkälle tuotetut teokset eivät maistu. Kappaleet (kaikki
Andersonin originaaleja, bravo!) on äänitetty autenttisen tuntuisella olohuonesoundilla. Soittajat eivät rehentele, vaan soittavat konstailematta omalla
tavallaan. Yllätyksettömyys vaivaa paikoittain, joten aivan nimen mukaista mosaiikkia albumi ei sentään ole. Kappaleissa on kuitenkin jokseenkin riittävästi kirjoa. Mukava kokonaisuus rehellisen Chicago-tyypin bluesin ystäville.
PASI TUOMINEN Blues-Finland.com
Blues On Stage - Review Date April 2004, by Craig Ruskey The Chicago Kingsnakes Grass Roots Music King (2003) 60654 Recommended. This has all the elements of a Southern afternoon front porch jam and party with everything but the sound of friends whooping it up while dancing around the yard. The Chicago Kingsnakes may not be known far outside of their territory, but their latest, Grass Roots, is a follow-up to Blues Island and another winner. Consisting of James Anderson's superb guitar work and potent vocals, Nelson Keaton's solid harp, and Ron Berry's bass along with Tom King's uncluttered drumming, this stripped-back. all-acoustic affair is without a blemish (unless you consider the short playing time). Anderson dishes out fine work, whether on his National, Gibson, or Supro, and vocally, he's got a relaxing style. The Delta feel of Wolf In Sheep's Clothes is stunning while the instrumental, Chili Con Queso, works off a romping Latin groove, and Berry's Morning Booze Flu is a stark reminder to the after effects of a bit too much of the night before. Whether the hand-clapping fun of Downtown Train or the backwoods dirt of Best Friend Blues, this unplugged gem has plenty for fans of acoustic blues and roots music.
Illinois Entertainer April 2004 - Kevin Toelle Grass Roots accurately describes the contents of the new all-acoustic CD by the Chicago Kingsnakes. Utilizing vintage guitars and bass, the band presents a program of all-original material that ranges from country blues to old-timey tunes with strong vocals and impressive instrumental work. For a change of pace, the group also includes a compelling harmonica-led instrumental entitled “Chili Con Queso,” which brings a Latin flavor to the proceedings. The whole affair is a fine downhome effort from a decidedly urban combo.
BLUES REVUE – Tom Hyslop April/May 2004 The Chicago Kingsnakes who last crawled in with the tough, Blues Island, are back with an all-acoustic Grass Roots (MusicKing 60654). Guitarist James Anderson turns in crisply rhythmic leads that work well in this setting. Ron Berry’s bass and Tom King’s percussion are just right, and Nelson Keaton draws excellent tone out of his harps. “Chili Con Queso” is a tasty, meatless variation on Kenny Burrell’s familiar con carne recipe; “Best Friend Blues” and “Wolf in Sheep’s Clothing” make serious slow blues impressions; “I Remember” hits a solid gospel groove. Too often a band unplugs without adapting, but the Kingsnakes sound like naturals at the acoustic-combo thing.
"TOP 10 of 2003" LOCAL SCENE with Tom Lounges BY TOM LOUNGES Times Correspondent Chicago Kingsnakes, "Grassroots" (Music King) This is tasty acoustic blues by one of the Chicago area's best blues bands of the last decade. Full of original tunes written or co-written by band leader and guitarist James "Ang" Anderson, this is a salute to the music that first inspired the band members to pick up their instruments. Its best and darkest cut, "Tonti Train Wreck," sounds a bit like "Nebraska"-era Springsteen meets Johnny Cash, and features fiddle player Annie Kincaid. Go to www.chicagokingsnakes.com
The first strains of guitar on this CD put me right into my favorite blues haunt where my imagination added clinking glasses, cigarette smoke, and the muffled sound of people milling about Blues Island magnficently captures the live feel and heart of blues in a studio setting - a feat I rarely hear. Too much polish can sometimes kill the energy that is the essence of the blues to me. You won't find "predictable" here. Throughout this whole release, The Kingsnakes let their hair down without getting sloppy or self-indugent with the solo stuff. On "Abandoned in Hammond" I'd imagine Tom Waits if he's gone blues. On some cuts, I'd hear a bit of early ZZ Top, but I'm stretching. There's quite a wide range of influences, yet Blues Island is uniquely Kingsnakes throughout. Bonuses are special guest Byther Smith's guitar work, and some wonderful Hammond B-3 sound contributed by guest Jeff "Wally: Walroth. The guitar all over the CD is excellent - not overbearing or showy, but letting James Anderson's down home vocals shine through. A little sax, a little slide, great vocals, lots of soul - how can this miss? The whole CD is top notch...I could'nt find a boring spot or lull anywhere! I hardly ever hear non-live blues recordings that capture this Degree of Atmosphere. Blues Island should come with a guarantee - even non-blues listeners will love this without effort. Put this one at the top of your list this year, you won't be disappointed. (Rating:9) Betty Lenz - The BEAT Magazine - June 1998
Fan's of no-nonsense urban blues will want to check out Blues Island (MusicKing 60653), The new solo album from Byther Smith's sometime road and recording group The Chicago Kingsnakes. The set covers tough shuffles, funk, minor blues, Berry - and Billy Boy Arnold-esque rockers and a couple of acoustic numbers. Some of the most viciously strangled vibrato is on display here (this is a three- piece, so theres plenty of guitar). Smith guests. ESSENTIAL! Tom Hyslop - BLUES REVUE - October 1998
Take a voyage to "Blues Island," and you're in for a stormy ride. But in this case, that's mostly a good thing. Supplying straight-forward, gravel-rough Chicago blues with a bite, as the name implies, The Chicago Kingsnakes put a good spin on their original blues tunes. Though the group needs some polishing, there's enough gems on this CD to make it shine. James Anderson, guitar and lead vocals, Ron Berry bass and vocals, and Tim Mazzoni, drums, all are talented musicians, and it shows. Anderson's fretboard sizzles and wails, especially on "Mr. Telecaster," the opening track. Other standouts on this CD include "Black T Bird," an uptempo Motownish tune that pays tribute to man's best friends - his guitar, dog and vehcle; the title track, which is another great showcase for Anderson's guitar playing; and "All Pain No Gain," an unusual look at one man's persistent, yet vain, attempts to garner a date with a very unwilling woman. Though a few tracks - such as "Abandoned In Hammond," - lack bite, overall the group's got a solid sound and the skills needed to slither on up the ladder of success. Patrick O'Donnell - BLUES ON STAGE - July 1999
The Chicago Kingsnakes – ‘Blues Island’ (Music King Records MK 60653) Import http://chicagokingsnakes.com 10 tracks, 39 min 58 secs. **** The Chicago Kingsnakes originally formed in 1983 and are Byther Smith’s recording group and sometime road band. Check out Smith’s 1993 ‘I’m A Mad Man’ on Bullseye Blues. They have also recorded with Little Milton and The Memphis Horns. The band is James ‘Ang’ Anderson (guitar & lead vocals), Ron Berry (bass & vocals) and Tim Mazzoni (drums). These guys play Chicago style Blues with real bite. ‘Blues Island’ (their sixth release) was mastered at Performance Recording in Orland Hills, Illinois. Anderson and Berry produced it. All of the band members had a hand in writing the songs. Some are ‘Mr. Telecaster’, ‘Black T-Bird’, ‘Green Means Go’ and the semi-acoustic ‘One Turns Into Two’. Byther Smith dropped in on ‘Get Out Of Memphis’ and added some nice lead guitar. Harmonica Jack Keslin can be heard on ‘Ride On’. But the high light of this release is James Anderson’s sensational guitar playing. Brilliant. John Bates - Blues Association of South East Queensland (BASEQ) Austraila - May 2000