Aaron Williams and the Hoodoo

Prepare for the next wave of dizzying rattle of drums and intoxicating hum of blues guitars.

A mystical hoodoo spell drifts among Midwest bars and clubs; one of funk, blues and rock and roll. AARON WILLIAMS AND THE HOODOO, born of the Madison blues scene, plan to keep it that way with shows around Wisconsin (including a stop at Maximum Ink’s 13th anniversary party March 20) and the rest of the Midwest.

“We like to say that we lack subtleness,” says Williams, of the band’s blues-rock music.  “I think it’s the idea of just going balls to the wall. A lot of bands out there are a little more laid back, especially in our field of music, and we really go at it from start to end of our shows and we keep up that high energy.”

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Baghdad Scuba Review

Political revolution through music and a spelling error are just some of the inspiration behind Baghdad Scuba Review.

The six man group got its start when guitarist, vocalist and former member of One Fluid Ounce John Schneider moved to Madison from California and began performing at weekly open mic nights at Pizzaria Uno, 222 W. Gorham St. The band said Schneider developed “comfortableness” with inviting guests and soon guitarist Chad Thompson, drummer Justin Gerstner and bassist Erik Riedasch began sitting in at the shows. Slowly, Riedasch said jam sessions and unrehearsed shows ripened at Mr. Roberts, 2116 Atwood Ave.

“Having no direction or goal we performed under such names as ‘John Schneider and Friends’ or ‘The John Schneider Project’,” Riedasch said.

The members of Baghdad Scuba Review all came from well-known Madison bands. Riedasch and percussionist Rob Bloch came from the band Groovulous Glove, Thompson from Green Situation, Gerstner from The Northern Pines Band and keyboardist Jason Krueger from Runga Kutta. “Since then, we all started taking ourselves a little more seriously, originating with the birth name of BSR, but we’ve never let it go to our heads,” Riedasch said. “I think we all agree that isn’t the objective of this band.  We’ve always had this underlining respect and closeness with each other which is simply not describable.”

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Bernard Allison

“My dad told me to never be a copy cat,” emphasized guitarist/vocalist/songwriter Bernard Allison in a recent telephone interview. “He told me, ‘you’ll have influences and idols, but you’ll need to put yourself into what you play.’” Allison, son of late titan Luther Allison, has taken his father’s message to heart in a career that reaches back more than 15 years. “I’m doing what I’ve always done – mix a 12-bar blues tune with a couple of rock tunes, and a couple of funk tunes.”

Contrary to many perceptions, the senior Allison was not the foremost musical teacher in Bernard’s early career. “There wasn’t that much teaching at the musical level,” Allison said. “I taught myself how to play guitar and sing pretty much on my own, although he showed me how to play a few things. But Our relation was more like brothers than father/son.” Bernard did note that his father gave him sage advice on other aspects of the business, however. “He did teach me about the road – but I also learned a lot from my 3 years with Koko Taylor.” That apprenticeship with Taylor, and later with Willie Dixon’s Blues All-Stars, saw the teenage Allison emerge with more of his own voice, further developed through tutoring by Johnny Winter and Stevie Ray Vaughan. So zealots who expect – or hope – that Bernard will develop into a clone of his father will be disappointed. “A lot of our music is naturally the same,” Allison said.  “Early on, there was a lot more stuff where I sounded like him. But now, you can hear a song and tell if it’s Bernard or Luther.”

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Big Sandy And His Fly-Rite Boys

Robert Williams, AKA Big Sandy, seemed to pick the right time to take a sabbatical from touring. Last year, at the height of the neo-swing movement, he was relishing in a solo west-coast doo-wop album, while his Fly-Rite Boys bandmates were soaring through a guitar pickin’ jamboree heavy on instrumentals. So instead of trying to lose the albatross that “swing” has become to some, Sandy and his band have picked right up where they left off - if not a few steps ahead for the rest. “I’ve been trying to be careful to not align myself too closely to any one scene,” he said in a recent telephone interview. “When I first started, I didn’t want to be part of any scene, but rather to create my own scene. Trends come and go, but we’ve continued to go along. I’m glad we’ve done it that way.”

That way has covered more than a decade as the Southern California-based group has criss-crossed the United States and Europe, building a following for up-tempo western swing and smooth hillbilly jump tunes. But while he edges away from typecasting in the retro mode, Sandy has built a growing group of followers in that camp – while also building awareness of the fruitful legacy of artists such as the Maddox Brothers, Boyd Bennett, and Merle Travis. “In general, the Europeans were ahead of Americans in knowledge of the music when I first started,” he said. “But having some of these trends has helped increase awareness in America of the traditional styles of music.”

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The Black Diamond Heavies

It was one of those humid June evenings where it would be just as easy to go naked as to put anything on, I did the next best thing. Wife beater, no bra, wafer thin cotton Capri’s, commando as the boys like to say, and flats. My roommate Cupcake was severely strapped in, I don’t know what the hell she was thinking. On the advice of Big and Polish we are taking in a band called The Black Diamond Heavies, cool name huh? I had very little prior knowledge of the Heavies, the aforementioned large one turned me on to their debut disc “Every Damn Time” on Alive Records and I was down. I like keyboards and gravelly vocals so it wasn’t a stretch for me but I wasn’t expecting anything spectacular.

And that’s how it started in the lair of the trashy trio at 222 on the Sirloin strip, the conversation is easy, cocktails are cold, the leaf is sweet and we are in a…yeah, this should be ok, different anyway, kind of mood. We have invited a couple of friends to meet us at the show who live in Green Bay, which is where we are headed, downtown. Say what you will about downtown Titletown, it’s easy to park. We do, right across from the venue and saunter in fashionably late. Two opening acts were cute young local boys. Caught two songs from the first band, whole set of the second. Sorry guys, don’t remember names. Didn’t hate either of them, I will say this about both, they had balls, it wasn’t shit.  Bass player for the second band with no socks was ooolala and I see the drummer for the first band walking in downtown Appleton on occasion. I think his name is Amos or something like that anyway, well worth supporting. It was cool that the members of the opening acts hung out, it was stupid that the 15 or so friends who came out to support them left, maybe they just couldn’t handle the filth

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Black Frog

Guitarist/vocalist Eroc explained to me how they came up with the name BLACK FROG. He had four carnivorous albino aquatic frogs in a fish tank. One day he noticed a frog was missing. The next day another one was gone. Mystified, he put weights on the cover of the tank but he came home and the other two frogs had vanished.

Months passed and the frogs were never found as Eroc concentrated his energies on building a recording studio in his basement and launching a new band. One fateful day, the furnace in the studio needed repair and as the technician opened the furnace, Eroc heard him scream. When Eroc entered the room he found the repairman holding four fist sized frogs as flat as pancakes and blackened from oxidation. They had made their escape through the heating ducts to an entire new floor of the house. In honor of these four brave souls, Eroc decided to name the band BLACK FROG. He still has their corpses today and hopes to shellac them into a guitar.

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Blind Boys of Alabama

Ricky McKinnie of the Blind Boys of Alabama interview

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