The loved and familiar: R.L. Burnside’s “Georgia Woman” (1997, a 7″ single on SFTRI, also appears on Mr. Wizard, Fat Possum Records), another Fat Possum artist, Frank Roach with “Alabama,” Soledad Brothers “Shakey Puddin’” (2001, appears on Sympathetic Sounds of Detroit which was compiled by Jack White, who also sings backup on this track along with Dirtbombs drummer Ben Blackwell), and the two Jon Spencer collaborations: Spencer with Jeffrey Evans on Gibson Bros’ “Memphis Chicken” (1993) and Workdogs’ “Our Good Man” (1994).

New to me that I’m digging: “Sun Sinking Low” by Mr. Airplane Man, a female two-piece from Boston described as “a mishmash of deep love for Mississppi hill country blues, Memphis weirdo rocknroll, drony VU and Stooges, and Boston garage beat.” While I do know who Billy Childish is (he’s on this comp multiple times), this is my first time hearing, I think, The Blackhands’ “Black Girl” which is an accordion-soaked rendition of the Lead Belly classic, better known to our generation as “Where Did You Sleep Last Night” famously done by Nirvana on MTV Unplugged. Lo-fi high-speed blues punk w/harmonica “Harpoon Man” by Big Foot Chester is a burner.

Not a fan: Kirby Grips’ “Needless” (corny country), “Blackish Man” by Speedball Baby (corny blues) and Interstate Leisure Kings’ “Best Liquor Store” (formulaic country rock – the liner notes state it comes from the 1998 Shine On Sweet Starlet movie soundtrack – I can’t find any info about the film – and it’s the band’s only song but it seems to be a Jeff Smith (Hickoids) project).

And while it’s neither among my top picks nor particularly disliked, Beck’s “Leave Me on the Moon” is worth a mention. Part of the Kill The Moonlight soundtrack released in ’97 by SFTRI “captured before [Beck] sold millions of records and won the adoration of the world…at the time of this recording he was still living in a rat-infested tool shed in an alley in downtown Los Angeles and, as bands were setting up in clubs, he’d boldly jump on stage with his thrashed guitar to play his brand of infectious punk, blues and country songs.” (Root Damage liner notes)

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I really love Mink Rat or Rabbit, their debut album, and it’s been on rotation here since its release. My favorite tracks are the opener “Cha Cha Twist,” “Out of This World,” the jungle-beat mostly instrumental “Chumbawa,” the frenetic “Breakaway” and I absolutely love “Putty (in Your Hands).” Retro garagey dance music with a 60’s girl group vibe, always with a killer beat, topped by Nagy’s rich, bluesy voice: always a delight.

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We saw The Detroit Cobras play at Burnhearts’ Pabst Blue Ribbon Street Party in the summer of 2008. Since it was almost 10 years ago, I have no idea what songs they played but I do remember swigging a PBR and dancing in the street, kind of amazed that a band the caliber of the Cobras was playing a free street fest in our Milwaukee neighborhood of Bay View.

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The White Stripes “The White Stripes” 1999. Sympathy For the Record Industry. Yesterday, July 9th, was Jack White’s birthday (b. 1975) and today I’m actually not listening to this on vinyl because while we have two copies (this one and another on the Third Man Records label from 2009), they are both sealed and I’m not allowed to unwrap them so I’m settling for a digital recreation.

The White Stripes is stripped-down garage blues at its finest. Though there were certainly two-piece bands playing similar genres before (i.e. Flat Duo Jets) and definitely since (The Black Keys), the White Stripes were the first to cut through and make minimalism BIG in the new millennium. The White Stripes mix excellent originals (like the sinister stomping of “Cannon,” the slow subtle riffing on “Do” and the raucously gritty “When I Hear My Name”) and some covers (Robert Johnson’s “Stop Breaking Down,” Bob Dylan’s “One More Cup of Coffee” and the traditional “St. James Infirmary Blues”).

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“Lord, Send Me an Angel” is a cover of the 1933 song by Blind Willie McTell, though Jack White altered the lyrics somewhat by changing McTell’s name to his own and replacing Detroit for the original Georgia references. Beyond that, the song retains its historic blues flavor with acoustic guitar and Meg adding in a respectfully sparse rhythmic stomp. “You’re Pretty Good Looking” is a great White Stripes track but I really do not care for the Trendy American Remix, which employs the always-irritating autotune. Third Man Records reissued the 45 in 2011.

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Holly is modern British but Painted On is steeped in American roots music. The blues comes through on the lo-fi acoustic cover of “I Let My Daddy Do That” where she channels the early 20th century Memphis sound. “Painted On” is very Velvet Underground-ish, droning lazily along with a vaguely psychedelic swirl. “A Length of Pipe” has a hard-driving Southern blues beat, complete with harmonica.  Americana weepy country & western gets a nod on “One More Fact.” “Snake Eyed” is a dark surfy little number that would feel right at home on a Cramps record.

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