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LIGHTNIN’ WILLIE & THE POORBOYS
Lightning’ willie and the poorboys
145 records (ENGLAND)
SOUTHLAND BLUES – MAY 2002
WHEN A FRIEND WHO HAS A LIGHTWEIGHT DIET FOR BLUES
SENT THIS CD WITH HIGH RECOMMENDATIONS, IT WAS ACCEPTED ON A "JUST
BEING A NICE GESTURE." AFTER REPEATED LISTENINGS, THE REACTION
CHANGED TO "WHY HASN’T LIGHTNIN’ WILLIE’S NAME BECOME
KNOWN IN THIS TOWN?"
IT’S A TRAVESTY THAT HIS NAME HAS NEVER BEEN
BROUGHT UP ON THE LOCAL CLUB SCENE, CONSIDERING WILLIE RESIDES IN PASADENA.
SOMEHOW, HE FINDS IT EASIER TO GIG ELSEWHERE, ESPECIALLY IN ENGLAND
WHERE HE CAUGHT THE ATTENTION OF THE 145 RECORDS LABEL. IN LISTENING
TO ALL OF WILLIE’S SELF-SCRIBED SONGS, ONE CAN’T BUT HELP
BUT WONDER IF THE OBJECT OF HIS, WHETHER DECLARING HIS LOVE OR FEELING
DOWNTRODDEN OVER A BREAKUP, IS ONE LADY. THE DUDE LOOKS LIKE GREASE
BROWED AUTO MECHANIC—BUT BOY CAN HE PLAYS SOME NIFTY GUITAR. HIS
VOICE IS FULL-TO-THE-BRIM, WITH A SENSE OF BEING HONEST TO GOODNESS,
AND DEEP IN HIS GUT. WILLIE TELLS IT LIKE IT IS. THIS CD WAS SO WELL
LIKED, IT BEGS THE QUESTION, "WHEN WILL LIGHTNIN’ WILLIE AND
THE POORBOYS PLAY HERE IN TOWN?"
CHAR HAM
Blueprint Live Blues (England)
Lightnin’ Willie and The Poorboys
Warrington R&B Club July 1, '01
Lightnin’ Willie Hermes was born in Dallas,
Texas, but is now based in Los Angeles. His appearance at the Warrington
Club was the third gig of his UK tour.
A guitar player and singer, Lightnin’ Willie is a brilliant performer
who has the rare ability to work an audience and generate a massive
level of enjoyment. He opened the first set with Stevie Ray Vaughans
'‘Live Another Day'’ an upbeat rocking blues. He followed
that with the first of his surprises, a bluesy version of Eddie Cochran’s
@Twelve Flight Rock’. The performance continues with a remarkable
variety of blues-based styles, including Jimmy Reed’s ‘Oh
Baby’, the slow and funky ‘Crazy’, ‘I’m Walkin’(
a country swing blues ) and ‘Don’t Worry, Baby’, in the
style of Otis Rush.
The first bout of audience participation supplemented the band’s
rendition of ‘Can’t Get No Grindin’, which boasts that
marvellous two-part refrain-"What’s the matter with the mill?
– It done broke down". The capacity audience was assigned
the response element of the refrain and gave it everything – eat
your heart out Memphis Minnie!
Lucky As The Devil featured the magnificent harp playing of Giles King,
who proudly and publicly proclaimed that he is from Ipswich, in Suffolk.
On the evidence of this performance, he has to be one of the best harp
players in the country. It would be a gross understatement to say ‘The
Tractor Boy done good’ – he was fabulous. The engine room
of the Poorboys deserves special praise. Silvio Gallaso on bass and
Franck Rouleau on drums. Both admirably complimented the showmanship
and talent of the two front men.
The second set was equally varied and entertaining with swing and rocking
blues and the splendid mellow ballad ‘Thinking Of You’, which
was penned by Lightnin’ Willie himself. Willie switched to a steel
guitar for the final number of the set – Sweet Marie, which he
adorned with some beautiful slide playing. The band ended the proceedings
with a loudly demanded encore. The acclaim showered on them by the wildly
enthusiastic audience was richly deserved.
Blues News – Germany / August 2001
Lucky As The Devil – Lightnin’ Willie and The Poorboys - Bluetrack
BRCD005
This man obviously has an ace up his sleeve. Lucky
As The Devil by William Hermes and his band maintains the universal
high standard of the opening number and remains upbeat for an all round
successful release.
The Los Angeles band play 12 tracks with drums, bass,
harps and guitars and the occasional organ thrown in, its roots in Rock
and Roll, Rockabilly, funky grooves and of course regular blues, all
arranged with great intensity.
The third CD from Lightnin’ Willie and The Poorboys, who are spending
the summer this year in Europe, is for people who liked the last CD
from Coco Montoya. It will appeal to fans of guitar licks, but overall,
it’s cool feel gets across a great, but never too smooth, sound
change.
Guitar ace, Lightnin’ Willie, brilliantly works
his electric guitar throughout the album also producing contrasting
sounds with his Dobro on a couple of numbers. The vocal personality
he radiates, provides proof that there is no doubt about his class as
a band leader / frontman.
With 11 of the tracks are written by him with only
one cover- Willie Dixon’s ‘Close to You’, this is a successful
CD through and through and an agreeable release in the Blues-Rock sector.
4 aces
BluesBorder (France) July 2001
Bluetrack Records BRCD005 "Lucky as the Devil"
Lightnin’ Willie and The Poorboys
What’s happening with this group? If this
carries on we’re going to finish up taking their title literally:
for the second time (as with every album!). . . this ‘devil of
a man’ has not only succeeded in surrounding himself with new excellent
musicians (here all Europeans), but especially keeping the specific
sound and colour of his two earlier recordings.
The young harmonica player Giles King takes
over the place left vacant by ‘Hurricane’Jake Fitzgerald,
a certain Silvio looks after the bass and Franck Rouleau the drums .
.If their togetherness and the quality of their individual playing contributes
largely to the success of this disc, it’s just as much the voice,
the six strings and, above all, the compositions of Willie which assure
the staying power of the sound of this group. "Eyes In The Back
Of My Head" is from the outset a winner; this Texas-shuffle contains
a refrain which sticks on the brain and (as so often with Willie) the
words are an anthology ("Your sweet lips taste like cigarette,
and you don’t even smoke"!); in addition, the first appearances
of Giles surpass all expectations. "Cryin" hammers this home
..lazy character like J J Cale . .25 years ago. Although of the same
name as one of his compositions it is still an original Hermes signature!
Giles’ solo drives the fire, while the virile and disenchanted
stamp of Willie and his chorus bring a restrained support. Wow, another
classic!
The title track is an irresistable instrumental
by J Geils Band, on which the harp of King gives it’s full measure,
and the Poor Boys affirm their faultless rhythmic mastery. "It’s
Her I Know" is practically a ska: if it wasn’t the voice of
Willie’s beaten dog on could almost attibute this title to Dr Feelgood
in a Gypie Mayo phase. "Seven Steps" reintroduces the organ
and the funky rhythms which are a mark of this group (whatever arrangement
they are working with). This time it is Tony Jezzard who sticks to the
keys, while Willie (on the slide) and Giles play together in unison
on a bridge furtively evoking "One Way Out" by the Allman
Brothers. Willie holds on to some airy tracks on each of his albums,
here "Why Are You So Blue?" and "Devil On The Run"
fulfil this function (the second bringing a feeling of country, as well
as again the shadow of J.J. Cale). But Willie is well and truly Texan
and he loves to recall this in "Sun In Her Eyes" or "Calling
Out To Muddy" with troubled shuffles and solos sent pre-paid. He
also knows how to revive a classic now and again: here "Close To
You" from Willie Dixon, is interpreted in unrestrained boogie.
His solo on the six strings is risky!! As to that of Giles, it’s
a model of culture and mastery."Sweet Marie" is a stompin’
blues typical of Willie and "I Got Troubles", a rocker on
a bubbling slide which should be packaged ‘live’, the harmonica
solo is soaked in paraffin, and the words are catchy "The more
one works the less one is paid. I have problems, don’t you?"
And the final result? A very good album of Texan rockin’ blues
( but entirely recorded in Oxford UK!) which confirms, if it were needed,
an outstanding artist. Pleasure and quality guaranteed!
Concerto – (Austria) June 2001-10-02
Bluetrack Records BRCD005 ‘Lucky As The Devil’
A Texan-English pairing here with West Coast
influences. Singer-guitarist-composer Lightnin’ Willie originates
from Texas but Los Angeles is his home. That’s why the connnection
between two worlds. On the one hand; hard, driving and stomping blues
of great quality. On the other hand; traces of typical West Coast swing.
The band plays well together; Lightnin’ Willie’s guitar suits
the concept, his vocals sometimes used to great effect. Lastly, don’t
forget the European element. Namely, Giles King on harmonica who sounds
so beautifully dirty, and happily the instrument is often at the centre
of the music, delivering more than a passing accent . Outstanding cuts
are ‘Eyes In The Back Of My Head’, Why Are You So Blue’
and Willie Dixon’s ‘Close To You’
American Music Magazine ( Sweden) September ’01
English label Bluetrack Records, continues to
give us good modern blues, here with a white Texan guy who lives in
Los Angeles. William ‘Lightnin’ Willie’ Hermes plays
guitar and is accompanied by bass, drums and the English harmonica player,
Giles King as well as the occasional Hammond organ.All the tunes except
Willie Dixon’s Close To You are Lightnin’ Willies own. He
writes in a variety of styles and at least one earlier album, ‘Buy
American’ exists.
The new album is varied in both style and tempo. Sometimes a little
towards funk as in Seven Steps and Cryin’ and among more upbeat
productions , I Got Troubles and the ryhthmical instrumental Lucky As
The Devil are notable. The soulful Devil On The Run with it’s Dobro
guitar in probably the albums greatest asset .
Blues Connection
London
This is hard blues at its very best. Schooled
in the Texas style of guitar playing, Willie packs an incredible punch
and up-frontness to a band of LA musicians who can only be described
as consummate performers. This is Blues/Rock'n' Roll/Rockabilly at its
very, very best. When these guys slip into cruise mode, they play some
of the coolest blues around. If you are going to have a party, just
slip their CD on and dance the night away. Nice one boys!
Richard Atherton
Edinburgh International Blues Festival
Steppin' Out
Edinburgh, Scotland
Edinburgh's once a year blues bash kicked off on the
Friday night with a capacity audience, most of whom were there to see
headliner ex-Rolling Stone, Mick Taylor, and he delivered the goods
with some tough slide guitar and vocals. But the most exciting set of
the evening came from California outfit, Lightnin' Willie and the Poor
Boys, whose set of swinging R&B, straight ahead blues and hint of rockabilly
delighted the crowd. Full marks to front man William Hermes for his
vocal and guitar work.
Phil Wight
Los Angeles Times
Calendar
Lightnin' Willie and the Poor Boys are by no means
destitute. In Fact, the bluesy rock vein they mine is rich indeed. Some
may argue that this Los Angeles band might be lightweight compared to,
say, the Allman Brothers Band, but listening to the group may change
people's opinion. The band's sound has been described as "rumblin' freight
train blues," with Lightnin' Willie on guitar and vocals, Hurricane
Jake Fitzgerald on harmonica and vocals, Charlie Diaz on bass, and Thom
Mooney on drums. They are currently making a name for themselves with
their high-energy performances of rockabilly tinged blues.
Blue Print Magazine,
May 1999
United Kingdom
Tommy Castro
Right As Rain
Blind Pig Records BPCD 5051
Lightnin' Willie and the Poorboys
Buy American
145 Records LWPB3
Tommy Castro? Isn't he the one that Jack Woolley keeps
booking into play at Grey Gables? Oh no that's the Tommy Croker Quartet.
This Tommy C. is a ballsy rocker, hugely popular in the Bay Area, where
he can sell out the Fillmore and records for Blind Pig Records, previous
home of the redoubtable Preacher Boy. Preacher Boy has inexplicably
ended up on a UK label, as has Pasadena busker Lightnin' Willie.
So how do these two West Coast vocalists/guitarists Castro and Willie
compare and contrast with one another?
Castro's effort wallows in a deep, luxuriant Jim Gaines
production. No wonder the press blurb compares Castro to Billy Gibbons
of ZZ Top and talks of an imminent breakthrough into the mainstream.
Bryan Adams springs to mind. This is polished, well-played funky riff-bases
blues rock which is good but not terribly exciting and certainly not
innovative in any way. One is indeed surprised to find Doctor John guesting
on a couple of tracks, and even more surprised to find there's a sleeve
credit for "grooming." Not exactly rootsy, is it? (Rating: 6)
Considerably more fun and more authentic is the
offering from Lightnin' Willie Hermes and his gang. This has left
me gagging to see them live. Maybe the CD doesn't have the expensive
rock production values of the Tommy Castro album, but it drips with
clever ideas and the excitement of hearing master musicians at work.
Hermes himself has a voice which can display a range of emotions and
a neat, clipped guitar style which can leap into fluid overdrive when
required but doesn't feel the need to bash you over the head all the
time. Hurricane Jake on harp is a revelation, gelling expertly with
Skip Edwards' Hammond. Tracks like "Crazy" and John Campbell's fantastic
"Couldn't Do Nothin" are object lessons in how to demonstrate that,
with imagination and flair, the blues format still has the capacity
to surprise and entrance. (Rating: 8)
Gary Revilo
Blues and Rhythm/The Gospel Truth
Europe's Specialist Blues and R&B Magazine
The Library
Salt Lake City, Utah U.S.
A charismatic character, resplendent in full western
with one of the largest Stetsons I've ever seen, Willie demonstrated
his virtuosity by playing a National Steel, Dobro, and a more conventional
axe throughout the three spot four hour long set. Long standing number
two in the band, "Hurricane Jake" Fitzgerald was a hard blowing harp
master in the style of James Harmon, Rod Piazza etc. with obvious influences
of George Smith and Little Walter phrasing. He also complimented Willie's
soulful lead vocal with his own brand of tough blues-shouting. The band
is rounded out by Thom Mooney on drums and Charlie Diaz on bass -- both
of whom added excellent and essential ingredients to the band. Willie's
choice of material is sometimes surprising, besides versions of such
Rock &Roll classics as Cochran's "Twenty Flight Rock," Holly's "Not
Fade Away," and Presley's "Little Sister," he gave us a superb version
of Roy Hamilton's "Don't Let Go" (how many blues bands do you know that
do Roy Hamilton numbers?). Excellent versions of Muddy's "Can't Get
No Grindin' and "Long Distance Call" were complimented by lesser known
numbers such as "Cryin' Won't Help You," and "Its A Man Down There,"
a tribute to Bob Wills, the self penned "I'm Walkin," whilst the ballad
"Thinking Of You" got the smoochers on the floor. As Willie announced
-- "this is American music."
Another point in the band's favor is that numbers
were rarely more than 3-4 minutes long (are you listening all you guitar
thrashers out there? 3-4 minutes is all it takes!.) With a couple of
albums and several Euro tours under his belt, Lightnin' Willie and the
Poor Boys are not new to the scene, but are well overdue for greater
recognition. Willie told me they love playing the U.K. and at present
are looking for a new record deal. So c'mon all you promoters and label
owners, what are you waiting for!
Tony Watson
Pasadena Weekly Thursday
March 11, 1999
Lightnin Strikes
Willie Hermes sparks up his new album, 'Buy American' with a gig
at Borders
If you haven't seen Lightnin' Willie Hermes' name
on local marquees lately, it doesn't mean he's gone back to busking
in Old Pasadena, and it's not because he can't get work. His book's
too crammed with out -of-town gigs for him to play close to home very
often.
But this weekend he and his band, the Poorboys, showcase
their good-time blues at Borders, focusing on tunes from their new album
'Buy American' (145 Records) Produced by the ubiquitous-for-a-reason
Ed Tree (not many producers are as renowned for their ability to spark
the frets with a slide as they are for good listening), 'Buy American'
starts pumping the internal rhythm machine within the first bar of the
opening track, 'Woke Up This Morning.' With all but one of the tunes
penned by the affable Hermes, the emphasis is on yanking sorry butts
onto dance floors with catchy rhythms and solid grooves.
About-my-baby lyrics wrap neatly around the beat,
but those seeking enlightened introspection are advised to search elsewhere.
The fun factor rules throughout this engaging effort. ThereÍs a lot
of rockabilly and even a little country in Herme' brand of happy blues,
but this ain't country blues by a long shot.
'Treat Her Right,' for instance, flat-out rocks.
The good-natured 'I'm Walkin'' bounces with a little country swing.
'Losin' My Baby's Love' is a hip'shaking standout, spotlighting the
nasty beauty of Hurricane Jake Fitzgerald's harmonica. The sometime
Mojo Monkey draws fat, deep tones out of his harp while fellow Poorboys
Thom Mooney (drums, spoons) and Charlie Diaz (bass) lock in with solid
support.
Lightnin' Willie's one of the local artists who'll
hopefully benefit from Borders' new blues showcases. How the bookstore
will restrain the exuberance that fairly bursts out of this album's
grooves remains to be seen, but don't be surprised if, somewhere between
'Current Events' and 'Self-Help,' you spot folks dancing down the aisles.
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