Review - "I Like It When They Call Me..."
CHARLES BIG DADDY STALLINGS (I LIKE IT WHEN THEY ) CALL ME BIG
DADDYCharles Stallings, Sr. Columbia, South Carolina, groeit op met zijn
10 broers op een boerderij in Hobbsville, North Carolina. Voor Charles is
de blues muziek iedere dag weer een ontsnappen aan de dagdagelijkse sleur.
Hij doet zijn legerdienst en er is interesse om muzikant te worden. Het
eerste blues nummer dat hij leert spelen, voor zijn verhuis naar de grote
stad Baltimore aan de Oostkust in Maryland, is Big Boss Man van Jimmy
Reed. In 2004 brengt hij zijn eerste album One Night Lover uit. Big
Daddy heeft ondertussen al samen gewerkt met Michael Burks, Pinetop
Perkins, Hubert Sumlin, Bernard Allison, Magic Slim, The Holmes
Brothers, Mark Hummel Zijn opzet is om op ieder optreden met zijn Bluez
Evolution Band de ultieme blues party te doen plaats vinden.
Het vierde album van Big Daddy (I Like When They ) Call Me Big Daddy
telt niet minder dan twintig tracks, Intro & Outro inbegrepen. Charles
Stalling Sr. doet het met stijl en klasse en, vooral met heel veel liefde
voor zijn muziek. In de line up veel namen en opvallend veel dames (en
zingen kunnen ze ook!) De vaste muzikanten rond Big Daddy op dit album
zijn LeRoy Hit Man Flowers, Jr. (bass, rhythm guitar), Michael Devilson
(drums) en Anthony Swamp Dog Clark (harp). Zoals vermeld de dames. Dit
zijn Nadine Rae (vocals), Nova Peele (backing vocals, vocals), Deborah
(Debbie) Brown (backing vocals, vocals) en Deletta Gillespie (backing
vocals). De afwerkers in de show zijn de blazers Joe E Flat Thomas (alto
sax) en Clarence Ward III (trumpet, tenor sax, Flugelhorn bugel). Laat
ons aan het feest beginnen, want Big Daddy is back and this is number
Na de intro, onmiddellijk de titelsong als opener. Joe Thomas alto sax
bromt gezellig, Nova Peele gniffelt mee en de trompet van Clarence Ward
III is duidelijk ingeblazen. Ik ben er blijkbaar niet alleen gelukkig mee
Met een bariton stem, kaliber van de Southern blues man Big Georges
Jackson, gaat het onmiddellijk in dezelfde mood verder met 3Lost And
Found. Het is soul en Motown tijd met het eerste spoed je naar de
dansvloer duoBoody Pop And Lock # I & #2. Beide nummers lopen
geruisloos in elkaar over. De blazers zijn funky en het duo Nova Peele en
Debbie Brown doen geweldige backings: pop-pop-boody-pop!! Naast dit duo is
er ook een trio, met de nummers Hobbsville #3 Part 1, 2 & 3. Deel 1 van
deze trilogie is een rustige country slow blues. Daddy doet het verhaal
van zijn jeugd en van zijn vrienden, die duidelijk al wat meer
ervaring(en) hebben. Naarmate het verhaal vordert, stijgt het tempo. In
deel 2 stijgt de spanning met O.C.Hoffer en op het einde in deel 3, is de
kogel door de kerk, want er is een party bij Bonny Lee. Big Daddy laat
ook graag zijn invloeden en voorkeuren blijken. Er is eerst James #2.
Dit is funk zoals deze voorgeschreven staat in het boekje van Sexmachine
James Brown. Of, zoals Daddy het zelf zegt: we steel Mr. James. Get up,
get up man, I feel like being a En dan flirt Stallings ook nog met een
andere legende in 10Young Boy, Young Man. Het nummer is een slow
harmonica blues en de Muddy Waters Hoochie Coochie Man alike. Anthony
Clark swampt hier buiten categorie en met grote klasse! Met Big Daddy is
het ook herhaaldelijk danstijd. Slow time is het in6Million Dollars, een
slow blues of in 15Dont Cry, een ballade met heel veel soul, verdriet
en emoties. Big Daddy, beleeft als hij is, vraagt ook de nodige aandacht
voor zijn gasten. 7Levines Boogie is een harp boogie met gast en
mondharmonicaspeler Steve Levine als kopman, in zijn duel met de andere
harpist Anthony Swamp Dog Clark. Met 11Bunny Hop 2012 is het dan weer
anders met funk, R&B en hip hop. Voor de liefhebbers van wat meer jazz en
grooves is er 17City Life. We krijgen een knap jazzy intermezzo op piano
met Dawoud Said. 18E. Groove is ook heel jazzy en groovy door de gitaar
en de doobie-doobie-doo-bas van het koortje Nova Peele & Deletta
Gillespie. Dames, daar draait het in dit album wel ergens om. 8Beaulah
Mae is uptempo blues, maar let op je tellen voor dame Mae, want zij zet
de lijnen uit! En dan is er ook nog 16My New Chevy Van, een slow rock en
erg grappig, door de dialogen van Big Daddy met Nova Peel en het
koortje. En toen, toen was Charles Big Daddy Stallings G-O-N-E, Gone
Mijn hoed af voor Charles Big Daddy Stallings Sr. en voor zijn Call Me
Big Daddy, want dit is een album om alles eens van je af te zetten.
Stallings kent zijn vak en is de man die je ongewild en volledig in de
mood brengt. Het is goed te weten, dat er dit soort muzikanten nog zijn.
Twijfel niet als je de kans krijgt om dit album te kopen of om van een
geweldige show te kunnen genieten!
www.rootstime.be Line up:
Charlie Stallings, Sr.: vocals, guitar
LeRoy Hit Man Flowers, Jr.: bass, rhythm guitar
Michael Devilson: drums
Anthony Swamp Dog Clark: harp (3,10,13,14,20)Nadine Rae: vocals (6)
Nova Peele: backing vocals, vocals (16)
Deborah (Debbie) Brown: backing vocals, vocals (11,15,17)
Deletta Gillespie: backing vocalsJoe E Flat Thomas: alto sax
Clarence Ward III: trumpet, tenor sax, FlugelhornSteve Levine: harp (7)
FooMan Bill Pratt: strings, Rhodes, keyboards
Dawoud Said: piano (17)
Gall Parrish: bass (8)Discography:
2004: One Night Lover
2007: Blues Evolution
2010: Blues Party
2012: (I Like It When They ) Call Me Big DaddyArtiest infoWebsite CD
BabyLabel: Tai Jeria Record Companyvideo - Live @ The Surf Club
"Good Time Bluez With A Twist!!!": Press
Blues Underground Network Submit Your CD
Charles "Big Daddy" Stallings "I Love It When They Call Me 'Big Daddy'" (USA)
There are a few artists for whom I really get excited when I find their newest CD in my mailbox, perhaps no more so than for Charles "Big Daddy" Stallings, whoms music over the last few years, has become some of my absolute favorite. Charles "Big Daddy" Stallings newest release, "I Love It When They Call Me 'Big Daddy'", is described as a "Bluesical Journey" from Tobacco Road to the Fast Lane of the Urban/Boogie Boulevard" and marks the 3rd of his 4 releases, I have received, and I couldn't be happier to slip this "Good Time Bluez With A Twist!!!", CD into my player.
"Hello world... I'm back with CD Number 4", is how Charles "Big Daddy" Stallings, starts off this killer 20 Track album, that will keep you hopping for 78 minutes, which is twice as long as a fair number of new albums out there nowadays, and believe me when I say you will get your moneys worth with every second of "I Love It When They Call Me 'Big Daddy'".
As always Charles "Big Daddy" Stallings, shows off not only his immense talent as a Guitarist, but also his immense talent as a Songwriter, as all 20 of the Tracks were written, arranged, and produced by Stallings. Of his songwriting, Blues Blast Magazine wrote, "Nobody writes lyrics and songs that generate more fun than "Big Daddy" Stalling", a statement which could not be more true.
A tradition of Charles "Big Daddy" Stallings, since he started recording in 2004, has been to always include, local and regional artists and guests, and for "I Love It When They Call Me 'Big Daddy'", he once again chose a magnificent lineup, which included, Anthony "Swamp Dog" Clark (Harp), Leroy "Hit Man" Flowers, Jr. (Bass Guitar), Michael Devilson (Drums), Joe "E Flat" Thomas (Alto Sax), Steve Levine (Harp), Clarence Ward III (Trumpet), Dawoud Said (Piano), "Fooman" Bill Pratt (Strings/Rhodes/Keyboards), Nova Peele & Deletta Gillespie (Background Vocals), Nadine Rae (Lead Vocals on Track 6 "Million Dollars), and Debbie Brown (Vocals). Throughout the album Stallings acts as Ring Master, as he makes a point to introduce the great Artists and Guests.
Picking favorites off of "I Love It When They Call Me 'Big Daddy'", was not an easy task, as each song came wrapped in it's own little special package of sounds and experiences, never the less, here are 3, Track 3 "Lost And Found", Track 7 "Levine Boogie", and Track 9 "James #2".
For my first favorite, I almost chose Track 2 "Call Me Big Daddy", which essentially had a similar sound to "Lost And Found", but the selling point for me was the Harp playing of Anthony "Swamp Dog" Clark that kicked in around the 1:00 mark and brilliantly accentuated the remainder of this gem of a song.
Since I really love listening to great Harp work, Track 7 "Levine Boogie", was a shoe in as my next favorite, as it not only featured Anthony "Swamp Dog" Clark, but also Steve Levine on Harp, with both these masters joining in together at the end to just kill it. Man was this one a great one. A Harp lovers dream come true.
Whenever you have the word James in a song title, more often than not, it refers to the Godfather of Soul, James Brown, and sure enough that is whom, "James #2", a little treasure of a tribute is dedicated to. "James #2", starts off with a great Funky James Brown beat, as Stallings introduces the performers on this track, and then takes us on a trip to James Ville. Lots of great work on this one from Clarence Ward III and backing Vocals from Leroy "Hit Man" Flowers, Jr. A great Track that I'm sure James Brown would of been very flattered to have heard.
Throughout the 3 Albums I have heard from Charles "Big Daddy" Stallings, one thing has remained a constant, and that is the inability to say one was better than the other, because they are so consistantly well written and performed, but another thing is a certainty when it comes to Charles "Big Daddy" Stallings and the albums he releases, and that is that they are, without a doubt, absolutely great, with "I Love It When They Call Me 'Big Daddy'", being the latest proof of that.
Review by John Vermilyea (Blues Underground Network)
Listen To Samples... http://www.bigdaddystallings.com/music.html
Additional Artist Info... http://www.bigdaddystallings.com/
Review -"Blues Party"
Charles 'BIG DADDY' Stallings gee what a name! 'Blues Party' his third CD, hits the mark with some fine songs and mighty fine singing. This man's tonsils are the voice of experience, rough edged yet curiously wholesome and coupled with some gorgeous slices of deep blues guitar makes an impressive combination
Blues glues this together but it's also got a strong soul vibe to it. Such as 'I Wanna Dance' which grooves along merrily in Al Greene-esque fashion with a phat horn section that reminds of happy days coming out of 'Muscle Shoals'. There's definitely nothing wrong with this guy's mojo, Stallings is in a strident mood and you can't help raise a smile when his earthy lyrics and blistering guitar kick in. Tell it as it is Big Daddy! A stonking band adorn this radio friendly album too, and I for one hope he comes to the UK real soon.
Words Emrys Baird
Review -"Blues Party"
Charles ‘Big Daddy’ Stallings “Blues Party”. Tai Jeria Music 2009. Estamos frente a un auténtico bombazo. Big Daddy es un bluesman de la vieja escuela, pero con la pulsación y la chispa de los creadores contemporáneos. Cantante vistoso, elegante pero a la vez duro, áspero, eficiente y muy efectivo, nuestro hombre tiene todo lo que se debe pedir a a un auténtico exponente del blues sureño. Stallings despide feeling y energía por todos los poros de su piel, para mi ha sido toda una sorpresa encontrar a un tipo de este calibre, sobre todo en estos tiempos que corren, donde la música es en su mayoría prefabricada. De cualquier forma nuestro hombre no es un novato pues, si no estoy equivocado, este es su tercer disco editado en el mercado Sin duda alguna debemos referirnos a él como uno de los grandes baluartes que todavía conservan la esencia del blues primigenio. Un gran disco donde el blues se expande contagiando al oyente en todas y cada una de las notas musicales que van sonando a lo largo de los diecinueve temas que se incluyen. Blues de arriba abajo, contundente y sin concesiones, a cargo de un cantante y unos músicos que responden perfectamente entregando lo mejor de sí mismos. MUY BUENO. This cd is a real hit. Big Daddy is an old school bluesman with the beat and wittiness of contemporary artists. Colorful, elegant but at the same time hard rough singer with an efficient effective displaying, our man has all what should be asked to a genuine Southern blues artist. Stallings oozes energy and feeling by every skin pore and it has been a surprise for me to find a musician like him, especially in these days where music is largely manufactured. Anyway, our man is not a new comer, because if I'm not wrong, this is his third album already published. We should certainly consider him as one of the greatest strongholds that still keep the genuine blues essence. A great album where blues expands to catch listeners with every single note of the nineteen songs included. You will only find true powerful effective blues, performed by a singer and a bunch of musicians who give the best of themselves. GREAT.
Review -"Blues Party"
"Big Daddy" Stallings is back on the bandstand with another set of good time tunes with his latest release "Blues Party." Charles Stallings is the real deal blues man brought up on a farm in Hobbsville, North Carolina with 10 brothers and sisters before moving to Baltimore, Maryland. Charles Stallings has remade himself as "Big Daddy" singer, guitarist and bandleader, releasing the CDs "One Night Lover" in 2004 and the "Blues Evolution" in 2007. The national spotlight came his way at the International Blues Challenge in Memphis, Tennessee, where he's represented both he Baltimore and the D.C. Blues Societies.
Now living in Baltimore, Maryland, "Big Daddy" has brought us another party platter of 19 tunes he's written and produced with the small band of Gail Parrish or LeRoy Flowers on bass, Russell HaywardII or Bill Pratt beating the drums, and occasionally Steve Levine blowing harp. As the party cranks up, a big band of horn joins the ruckus. Joe "E Flat" Thomas plays alto sax and writes the arrangements with "Big Daddy", Clarence Ward and Kelvin O'Neal blows trumpets and Jacky Harriston or Bill Pratt play keyboards.
You don't need an invitation for this "Blues Party"; just hit "play." Big Daddy introduces himself, backed up by Mark Wenner from the Nighthawks on harp, as the big band jumps in for the title tune with Steve Levine's harp blowing along with the horns. The horns take a breather as we go "Down on the Farm" with Mark Wenner's harp and Big Daddy's guitar telling this tale. The salacious "Horny Bee" spreads his honey around till all the young girls are "Knocked Up!" - sadly true in many communities. It's a "Doggone Shame" features Steve Levine's harp.
The horns come back for the remainder of the party to play "I Wanna Dance" with some "Latin Girls" put some "Blues in Your Funk" and play a "James" Brown tribute. Even the "Old Folks" are feeling frisky and Grandma is after "The Lucky Number." Those "Fine Lady"are dancing doing the "Swing 2010" till the sun comes up and then "She's Gone"and the "Old Dog" is left sitting on the porch. This "Big Daddy" isn't just about a good time. When he wakes up in the morning, gets the kids off to school, goes to work everyday to pay the bill, but he may end up being "In Love By Yourself." Stalling is a gentleman to the end, finishing this recording with a "Thank You" to all the players that made this possible.
Charles "Big Daddy" Stallings is a rare find in these times, a man who's comes up from the cotton field to the big city and his "Blues Party" qualifies as the real thing. Some people can wear a fancy hat and talk the talk but Charles "Big Daddy" Stallings has the blues to back it up. -
Review - "Blues Party"
Charles "Big Daddy" Stallings, sure knows how to have a good time....and produce a CD while doing so. He just gathers a bunch of the DC area's best musicians and gets them to carry on with.....I mean perform with him on his humorous, raucous, racy, sometimes heartfelt and always interestingly written songs. Ultimately, it ends up being a party - a "Blues Party".
On "Blues Party", his third release, Charles "Big Daddy" Stallings - on guitars, vocals and backup vocals - is joined by a crowd he calls The Blues Evolution Band. They are: Mark Wenner and Steve Levine on harp; Gail Parish and Ronald Bland on bass; Joe "E Flat" Thomas and Carlos Johnson on sax; Clarence Ward III and Kelvin O'Neal on trumpet; Russell Hayward II on drums; Bill Pratt on drums & Keyboards; LeRoy Flowers Jr on lead guitar & bass; Jacky Harriston on organ; Wayne Johns on guitar; and Milvia Hernandez on screams & Latin girls sounds.
The disc opens with an intro featuring Mark doing a slow, soft harp solo while Big Daddy emphatically, and proudly, announces "I'm Charles "Big Daddy" Stallings and I approve these blues. Right back atcha with CD # 3, enough music for 2 CDs. Join me now as we go down Hobbsville, North Carolina and get ready for a blues party....c'mon".
Now it's officially party time. The rhythm section kicks in, the harp's switched hands and Steve's taken it from slow and soft to hard and rough, the horns starts wailing, Milvia's screaming away and Big Daddy's shouting out to everyone. Yes siree, this "Blues Party" is underway.
It takes a "Fine Lady" to get Big Daddy to quit fooling around.....well at least a little bit. This somewhat traditional track features him singing his heart out and getting down on the lead guitar. Hot rhythm from Gail & Russell and equally hot wind from Joe & Clarence fuel this one.
"Swing 2010" is a jammin' instrumental. With Gail & Russell again setting the pace, the three piece horn section lights this one up. Several lead solos bouncing back and forth between Clarence's trumpet and Carlos' sax, along with another from Jacky on the organ, make this one of the discs best.
Now that "She's Gone", Big Daddy's got the blues.... man has he got the blues. This one's all him. As he begs for mercy, it's obvious his emotions are coming from his heart... vocally and musically. Pure, unadulterated blues - just the way I like it.
Big Daddy's feeling soulful and the band's feeling funky on "James" - a tribute to the late, very soulful, and very funky James Brown. Of course, where there's funk, there's rhythm and horns and this one's loaded with both. Great trumpet and sax leads from Clarence and Joe.
As the intro stated, this disc does have enough music for two discs - nineteen tracks to be exact. They include: "Horny Bee", "Down On The Farm", "Knocked Up", "Old Folks", "Doggone Shame", "In Love With Yourself", "Icon Introduction", "The Lucky Numbers", "I Wanna Dance", "Latin Girls", "Old Dog", "Blues In Your Funk", and "Thank You".
Having written about all three of Big Daddy's discs, I'm beginning to feel like part of the band. I hoping disc four has a spot for a foot tapping knee slapper... I can do that. Maybe while you're at www.bigdaddystallings.com looking to pick up a disc, you'll let the big guy know the Blewzman's available.
Peter "Blewzzman" Lauro, © November 2010
Peter 'Blewzzman" Lauro
Blues Editor @ www.Mary4Music.com
Review - "Blues Party"
Review -"Blues Party"
I usually don't get too excited when I receive a CD for review, but OMG, this one blew me away. This was my first introduction to Charles "Big Daddy" Stallings and I had no idea what to expect. The CD, "Blues Party", loaded with nineteen cuts, including a few band intros. Besides the true blues cuts, this thing is loaded with funk, groove, soul, Latin rhythm, swing, R&B, and even a beach music cut, all with a blues overtone. From the time the CD opens where he announces in his opening intro, "I'm "Big Daddy" Stallings and I approve these blues," it never lets up.
Born in Columbia, S.C and raised on a farm in Hobbsville, N.C, music became his life. He eventually moved to Baltimore, MD and performed in local R&B and jazz bands while recording his own blues CDs. This one is his third release. His horn section is one of the tightest I've heard in ages and his harp player is top-notch.
Some of my top picks are the title track "Blue Party," the swinging number "Swing 2010" which really shows of the horn section, the really runny "Old Folks," the super funky tribute to James Brown "James," and another funky tune "Blues In Your Funk." This is just one good time CD, folks. I give it Five Stars Plus! Go out and pick this one up. After track one or two, if you're not grinning ear-to-ear and tappin' your toes, there's just somethin' wrong with you.
Review- "Blues Party"
The wonderfully named 'Charles 'Big Daddy' Stallings has appeared on these pages in the past. He has three albums to his name, which appeared in 2004, 2007, and now this release on the independent Tai Jeria Record Company label. Although a lot of folks out there knock the Internet, with it's pastuerisation and homogenisation of the musical genre, one great string to it's technological bow, is it does bring folks together. The label is based in Baltimore in Maryland, and would have, probably, never made it to the U.K. shores had it been released 30 years ago. Thesedays, although in my books vinyl is still king. I have just about been won over by CD, and the PR folks at Tai Jeria Music kindly sent me over this album, which has some liner notes, which all go to help the listener get to know the artist a little more. It's here where mp3 is left wanting, although that format has it's place I guess. Big Daddy's albums don't always appear to be what is on sale to the customer. A shelf stacker in the music department at your local store, would put this album (just by looking at it) on the same shelf alongside Muddy Waters and the real Blues guys. In many ways, this album has more in common with the likes of the late Bill Coday and Johnnie Taylor. Going straight for the jugular, the song 'I Wanna Dance' is an absolute Southern Soul classic. If the aforementioned Bill Coday's tune 'I'm In A Midnight Mood, In The Middle Of The Day' did it for you, then so will this cracker of a song. Almost distracted me from a very fine album, and an improvement on the last Big Daddy release. Charles' delivery is best described as 'charming'. There is an almost innocence about his music, which is completely unpretentious. It is what it is. The man delivers 18 slices of Southern Soul at it's finest. 'James' brought a real smile to my face, as this is the man paying homage to the Soul Brother No.1. Charles dips into Jazz and the real Blues genres throughout an album which really was a refreshing set, juxtaposing the larger label converyor belted-out output. Check 'I Wanna Dance' at Amazon. It won't disappoint. With reference to Peter Young at Jazz FM's excellent Soul Cellar, this is Cellar with modern Soul sensibilities. Nice album Charles.
Review -"Blues Party"
Charles "Big Daddy" Stallings describes his music as "Good Times Blues With A Twist." This South Carolina - born singer/ songwriter/ guitarist was raised in North Carolina and settled in Baltimore, Maryland. His music is highlighted by ultra catchy rhythms and a magnificent guitar tone. Exuberant horns are a staple of his urbane band and provide the pulse for the songs. This CD, his third, was recorded with the six core members of his Bluez Evolution Band.
The 80-minute all -original disc plays like a radio program, with spoken introductions and smooth transitions connecting songs, just as you'd expect to hear from an experienced disc jockey. On the lead-off title song, Stallings enthusiastically declares, "there is gonna be a thrill on the hill," and you know this is going to be a serious electric blues bash.
The multipurpose band performs more than electric blues. The infectious "Swing 2010" is an R&B instrumental featuring Clarence Ward III blasting his trumpet into the stratosphere along side Carlos Johnson's killer sax solo which is also classy and sexy while Jacky Harriston's organ whirls on "The Lucky Number." These brass-touting artists give the famed New Orleans brass bands a run for the money.
Sexual innuendo arises more than once, as in "Horny Bee" where a gun shoots honey. Here Leroy Flowers Jr.'s sweet lead guitar stings with penetrating notes that permeate the main melody. The lyrics are graphic enough on "Old Dogs" to convey that Grandpa needs Viagra.
Stallings' vocals are the most expressive on the rockin' "She's Gone". It's good to hear them being stretched and challenged because overall they do not receive the same workout as his guitar receives. Russell Hayward has better sounding and better played drums, with Bill Pratt's drum cymbal crashes suffering from a tinny sound.
Stallings and his band of revelers know how to play off each other while improvising. They all prove themselves to be professional and experienced musicians. Whether by intent or accident, the variations in the songs seem natural. Yes, the blues songs are basic, and their melodies are repeated too many times, but the CD is what good independent music should be. Stallings will cause you to open your ears, sit up, and take notice. Many bands claim to combine soul, blues and funk; Stallings prefers to perform them separately. Best of all, he performs all styles equally well.
Review - "Blues Party"
Featured Blues Review 1 of 7
Charles “Big Daddy” Stallings - Blues Party
Tai Jeria Record Company
19 tracks; 79:57 minutes; Suggested
Styles: Traditional Blues, Contemporary Blues, Soul-blues, Funk, Swing, Latin
If you want a shot of Whiskey, you gotta go to the still.
If you want a drink of water, you go to the well.
If you want to hear it from the horse’s mouth, you gotta go to the horse.
If you want a “Blues Party,” you gotta go to the source!
.....And, the source is Charles “Big Daddy” Stallings.
I have been reviewing CDs for twelve years, and trust me, nobody writes lyrics, generates more fun, and creates songs like Charles “Big Daddy” Stallings! His witty and devilish sense of humor is a big part of the party. For example, sample these lines from his first two albums:
* “She’s 4 feet tall, 4 feet wide, and she weighs 400 pounds!” “She keep your refrigerator full of food/ in case she get in a snacking mood.” from “4x4 Woman” 2004
* “Her skirt was so short I could see all the way upstairs to what was on her mind” from “I Got the Blu-Hoos” 2004
* “[sung rap style]Wake up in the morning - with the fog; feed the chickens and slop the hogs. I got corn to plant and fields to plow, but right now, I gotta milk this cow...” from “Funky Farm” 2004
* “... I think your wife is cheating on us!” from “Strange Things” 2007
* “Sorry, but a lot of you little girls need to be spanked,” from “Booty Slappin’” 2007
* “Tuesday I couldn’t go to work [because] lightning struck my outhouse, and I got stuff all over my shirt.” from “Hard Times/Good Times” 2007
Now, Stallings continues the good times by releasing his third album, “Blues Party” with salacious sounding titles like, “Horny Bee” and “Knocked Up.” I won’t spoil the lyrical surprises that await.
Although this is a studio production, Big Daddy presents it as though it is live. Before the full band tears into the pumping title track, “Blues Party,” the first words heard are, “Ladies and gentlemen, I am Charles “Big Daddy” Stallings, and I approve these Blues. ...enough music [79:57] for two CDs. Join me now as we...get ready for a Blues Party. C’mon!”
The CD is loaded with Stalling’s patented rhythm and sounds utilizing a mix of horns, bass-drums-percussion, guitar, piano and harp. There is plenty of the variety that has made Big Daddy famous:
For Traditional Blues: try “Down on the Farm” with Stallings on lead guitar and his rich, baritone vocals plus co-lead harp (Mark Wenner) backed by only bass (Gail Parrish) and drums (Russell Hayward II). Hell, who even writes AAB rhyme scheme in a 12 bar Blues anymore? It demonstrates that, among his various styles, Stallings’ rural upbringing in North Carolina deeply embedded his Blues.
Swing: Juxtaposed 180 degrees is the next track, “Swing 2010,” opening with several trumpet blasts followed by full horns arranged by side-man sax player Joe “E Flat” Thomas.
Jacky Harriston takes a tasty organ solo midway through this dance inducer. Another great instrumental is “The Lucky Number.”
Slow Blues: “She’s Gone” is a slow Blues that caused one WKCC listener to call for a re-play. Another is the humorous “Old Folks” about the sex drive living on into old age.
Chicago Blues: “Doggone Shame” is a jumping number about curbing cursing. “Don’t start cursing and all that jive – count to five!” For some Soul: “In Love By Yourself” finds Stallings channeling his finest Barry White.
Funk: “James” is a terrific nod to the late James Brown while “Old Dog” is a lament to younger days of chasing tail. “Blues in your Funk” gives bassist Ronald Bland the chance to shine as he funks it up.
All musicians are equally unique. It is just that Charles “Big Daddy” Stallings is more unique that most. That is a good thing! Pop this album in the player, and it’s 80 minutes of Blues Party! C’mon.
Reviewer James "Skyy Dobro" Walker is a noted Blues writer, DJ, Master of Ceremonies, and longtime Blues Blast Magazine contributor. His weekly radio show "Friends of the Blues" can be heard Saturdays 8 pm - Midnight on WKCC 91.1 FM and at www.wkccradio.org in Kankakee, IL.
Review - "Blues Party"
Review - "Big Daddy" Stallings at The 219 Restaurant, Alexandria, VA.
Its been way too long since I had the pleasure of seeing Charles 'Big Daddy' Stallings and his band live, so when I got the word that he would be appearing in Old Town Alexandria, Virginia at the 219 Restaurant's Bayou Room, I made plans to attend and after fighting the brutal traffic on King Street I made it there just as they started playing. Stallings has a fine band led by saxophonist Joe Thomas and includes Steve Levine, a harmonica player who has really developed over the years. I apologize for not having the names of the other players. Opening up with the Hugh Maskela classic 'Grazing in the Grass," the band opened with several soul instrumentals with the horn line of sax, trumpet and harmonica being very effective. Then a couple instrumentals featured Levine who channeled his inner Walter Horton, "Easy" and the Duke Ellington standard, "Don't Get Around No More." The it was time for Big Daddy to get out of his chair and take the vocal mike opening with a pair of Louis Jordan numbers "Choo Choo Ch' Boogie," and "Caldonia," before tackling his own originals. Stallings has a down home vocal approach, yet is as much as home with a Jimmy Reed groove as when his band gets into a funk groove. His down home style helps invest such songs as his "4 X 4 Woman," with quite a bit of their charm as well as his lively "I've Got the Blues," set to a "Hootchie Kootchie Man" groove. Enlivening songs with his solos as well as some of Thomas, Levine and the excellent trumpet player, when they closed the set to Archie Bell's "Tighten Up," with the band getting introduced, it was quite an enjoyable set and well worth the drive.
Review- "Blues Evolution" (Espanol /Inglesia)
Charles ‘Big Daddy’ Stallings “Blues Evolution”. Tai Jeria 2008. Este es un disco donde el blues brota del espíritu, es decir, desde lo mas profundo del alma. En este caso emana de un cantante y guitarrista llamado Charles ‘Big Daddy’ Stallings que demuestra que tiene el blues y porque lo transmite de la forma en que lo hace. Charles lo presenta fácil, lo interpreta fácil y lo comunica fácil. Este “Blues Evolution” incluye quince estupendos temas realizados con gran feeling y mucho sentido del humor, porque Charles Stallings es asimismo un verdadero storyteller con una enorme capacidad de bromear, además de un tipo noble, creativo e ingenioso y de una solidez vocal excepcional. Un excelente álbum de ‘rollicking blues’ y ‘danceable blues grooves’ con una cuidada e imponente mezcla de armónica down home a cargo del gran Mark Wenner (The Nighthawks) y una sección de vientos con Joe Thomas saxo y Kelvin O’Neal trompeta que suenan frescos, compactos y acertados en sus intervenciones. Sería injusto no mencionar el buen hacer de los otros músicos que han intervenido en el cd, como Glenn Workman piano, Bill Pratt organo, Gail Parrish bajo, Ron Jenkins bateria, Steve Levine armónica junto a algunos otros invitados, más el debut vocal de las dos hijas mayores de Charles, Aleshya y Quesse Stallings. Sin duda, un soberbio y magistral trabajo. MUY BUENO. A record where blues emerges from the spirit, that is to say, from the deepest soul. Blues comes together with singer and guitar player Charles ‘Big Daddy’ Stallings who proves he has really got the blues and he knows how to spread them. Charles does it on an easy way which immediately communicates with the audience. “Blues Evolution” gathers fifteen excellent songs performed with an extreme feeling and a great sense of humour, because Charles Stallings is also a real storyteller who loves to joke, but also a creative witty fine man gifted with an exceptional solid voice. An splendid album with a great dose of ‘rollicking blues’ and danceable blues grooves including an impressive tasteful mixture of down home harmonica, performed by amazing Mark Wenner (The Nighthawks) and a horn section with Joe Thomas on saxo and Kelvin O’Neal on trumpet, performed on a cool, compact acute way. It will be unfair not to mention the good work of the other musicians who play on the cd, such as Glenn Workman on piano, Bill Pratt on organ, Gail Parrish on bass, Ron Jenkins on drums, and Steve Levine on harp, together with some other guest musicians, and introducing the two Charles elder daughters, Aleshya and Wuesse Stallings. Undoubtely, a superb mastery album. GREAT.
Review- "Blues Evolution"
Forget the press release that tells how Charles "Big Daddy" Stallings grew up on a farm with 10 brothers and sisters, or the assertion in "Going Down South" that he's going "where the rabbit tastes like chicken," or even the tale of lighting striking his outhouse in "Hard Times/Good Times." As befits a man whose entry into the blues came via Jimmy Reed's "Big Boss Man," this Baltimore guitarist's metier is wholly urban, and there's a lot of funk, boogie-woogie, and horn-driven R&B on his second CD, "Blues Evolution", to prove it. That said, there's not a whole lot of evolution going on here- Stallings' main stake to uniqueness is combining harp with a classic West Coast big-band sound. But as a bandleader and party maestro a la Big Joe Turner, he can't beat. These 15 originals run the gamut of urban blues and have a hell of a time doing so: You can tell these guys are doing more than cashing a paycheck by the chances they take, whether it be the dark chords bubbling up from the center of the "Night Train" tribute "Blues Train Express"; "Cha Cha 3000, " a self-explanatory instrumental that sometimes veers towards lounge music; or the flat out funk of "Booty Slappin';" on which Stallings declares, "I'm sorry, but some of you little girls need to be spanked." The Reed-inspired groove of "2999" envisions the year aliens make contact with the blues. On the 10-minute "Hobbsville#2," Stallings gets loose enough to deliver what is essentially his resume over a slow grind, but when he finally makes it to his favorite club, the band erupts into a hot Chicago-style shuffle, which speeds up as the crowd starts dancing. He's like the Ghost of Blues Past leading us to happier times...except that "Big Daddy" is interested in your party, right here and now.
Review- "Blues Evolution"
Stallings, adequate on vocals and guitar, is a veteran entertainer in the Baltimore/Washington, D.C., area who cuts a surprising groove on his second album. He boogies like hell, leavens straight blues with ironic humor, cha-chas while leering at senoritas, funks in George Clinton's orbit and even gets sci-fi futuristic wacky on "2929." With saxophonist Joe "E-Flat" Thomas and Nighthawk harmonica man Mark Wenner sparking his ace band, Stallings demonstrates there's more to the blues than you thought.
Review- "Blues Evolution"
Fans of Blues Brothers styled offerings will lap this up as it befits that genre with every Memphis and Chicago soundbite present and correct. Charles "Big Daddy" Stallings has a nick-name that befits the genre. With harp, keyboards andtrumpets running throughout, this album has that big band sound that we may associate with the likes of '80s B.B. King. Stallings has a capable voice, yet not with the gravitas of King, nor with the guitar virtuosity. With the album topped and tailed by "Intro Boogie/Let's Boogie' and 'Thank-You Boogie' you can see what you're going to get. 'Blues Train Express' includes plenty of rolling harp providing railroad metaphor, 'Blues Line Dance' includes repeats of blasting trumpet phrasing to toe-tap to, and 'Blues Cowboy' has that undercurrent of 'Sweet Home Chicago'- successfully infectious. 'Booty Slappin' has that Albert Collins tongue-in-cheek innuendo vibe, while 'Hand Dancin' appears to go into Barry White territory. With 'Hola Senorita' and 'Cha Cha 3000' also doing exactly what their titles suggest, there is only the track entitled '2929' that attempts something different, except it doesn't! Beginning with an alien-invasion radio message requesting some "mo" Blues in the year 2999" the parody is complete and I surrender- I give in! Perhaps the irony is that "Blues Evolution" is actually stalling the Blues.
Review- "Blues Evolution"
Vocalist/guitarist Charles Stallings has wittily structured this disc to evoke a live performance: on "Intro Boogie" he plays the part of an emcee ("Ladies and gentlemen....(thank you for patronizing my CD!") befores his ensemble-a muscular crew that features trumpet, sax, harmonica, and keyboards as well as the usual guitarist/bass/drums nucleus-kicks into a rough-edged but ebullient uptown boogie shuffle. Stallings' impish creativity shines throughout. "Blues Train Express" kicks off with a horn riff that sound like a train whistle: "2929", set in a futuristic outer-space juke, sets the scene with a humorous sci-fi vignette, complete with synthesized squeaks and burbles and a multi-tracked, cyberized spoken vocal from an unnamed woman guest (maybe either Aleyshia or Quesse, Stakkubgs' "two oldest granddaughters." who are acknowledge on the inner sleeve but not included in the song credits). But it's not all gimmickry: "Cha Cha 3000" buoyed by a gently wafting string arrangement, is a mediative and affirming instrumental workout on which Glenn Workman's piano shimmers and cascades with elegance and Steve Levin's harp summons a comples meld of sophisticated romanticism and rootsy grit. Stallings' spoken intro to "Booty Slappin" (Time when a lot of you little girls need to be spanked!") might give some listeners pause, but it soon becomes clear that this is a fully consensual, if somewhat kinky, slap-and-tickle session meant to titillate rather that opress. At the disc's conclusion, Stallings signs off with "Thank-You Boogie", on which he introduces his band and then departs with the graceful panache of a well-seasoned showman. This is one of the most unabashedly good-timey, rollicking blues sets to come down the pike in some time. Let's hope Stallings holds his music and his show together and begins to make himself more of a presence on the contemporary club circuit, as well as on CD.
Review -"Blues Evolution"
Review -"Blues Evolution"
Review- "Blues Evolution"
In the first thirty seconds of "Blues Evolution", guitarist and vocalist Charles "Big Daddy" Stallings declares "We're gonna do somethin' good for ya. We're gonna do something good for ya. We're gonna be bumpin' some blues at ya. We're goin' on a blues ride. Fasten your seatbelt." He's not kidding around. For the next 70 minutes he delivers on the promise with a wild and varied set of blues and blues-influnced music designed to make you feel good, and get you movin' and groovin'. Stallings comes at you head on right out the gate, with a Tower of Power/Roomful of Blues influenced "Let's Boogie," a rollicking instrumental romp that immediately kicks the CD into hight gear. Fueled by a driving horn section, it's a high energy blast of rockin' blues that wastes no time establishing Stallings and his players as one smokin-hot unit. With a guest stint from Mark Wenner of The Nighthawks giving his usual stellar performance on harmonica, it's a tune that's almost impossible not to move to. "Blues Train Express" pays homage to James Brown and his classic tune Night Train, while "2929" gives you a nod to Parliament, with its helium voiced intro that warns "do not attempt to adjust your radio, we control the treble, and we control the bass, do not try to seitch stations. In the year 2929 we made space contact for the first time". It's the Mothership meets the blues in a funky shuffle about spreading the blues news throughout the galaxy. Hobbsville#2 is a ten-minute blues narrative that starts out over a slow Muddy Waters-inspired melody, and then midway through turns into a John Lee Hooker boogie. It's an entertaining autobiographical journey as Stallings recounts pivotal people and moments in his life, giving a little insight into how he became who he is. "Booty Slappin'" is pure dance floor funk. Extolling the virtues of smacking the backside, its slightly salacious lyrics proclaim "sorry, but a lt of you little girls need to be spanked". "Hand Dancin' " is a slice of 70s Philly old school soul, while "Strange Things" borrows a bit from Buddy Guy's guitar style. "Cha Cha 3000" comes with strings, and runs to the smooth side. Some very funky harmonica from Steve Levine keeps the schmaltz factor at vay, and gives it the feel of bluesy lounge music. "Hard Times/Good Times" is a timeless sounding "woke up this morning" blues. This particular morning Stallings moans about, among other things, "Lightning struck my outhouse". It's the epitome of the blues, and something that Stallings does very well. "Blue Line Dance" is a Stax/Volt flavored call to the dance floor. With a definite Memphis Horns sound, Stallings also once again pays tribute to James Brown when he gets to the bridge and shouts out "Here comes James". With that, the band turns on a dime and breaks into a Sex Machine type groove that's more than worthy of the Godfather. "Blues Evolution" certainly lives up to its name. While there are "traditional" sounding blues songs on the disc, Stallings does make a few stops and detours along the evolutionary chain of popular music derived from the blues, most notably into the territory of soul and funk. Over the course of 15 original songs, Stallings and company deliver an entertaining "Blues Evolution" that's full of loud and definitely recommended as a party disc. With a foot firmly in the past and an eye towards the future, Stallings furthers the "Blues Evolution" by presenting songs that are real, honest, and pay due respect to the traditions that brought us to this particular place in music history. His vision of the blues for the future is the same vision that's been shared ny blues musicaians throughout the years, which is keep the blues alive, and evolve with the times. It's all part of the evolutionary process, into which Charles "Big Daddy" Stallings and "Blues Evolution" fits perfectly.
Review- "Blues Evolution"
B-Town (Baltimore) Bluesman, Charles "Big Daddy" Stallings, has just issued, "Blues Evolution", a follow-up to his praised debut "One Night Lover". Stallings is a highly likable performer who brings a bit of down-home flavor to his performances. The strength of his performances are in the vocals and the solid instrumental accompaniments behind him. The band's mix of horns and fine down-home harp (mostly contributed by Nighthawk Mark Wenner, but CBM Calendar contributor Steve Levine is also present on a track or two) is nicely done-and saxophonist E Flat, responsible for the arrangements, merits mention. Stallings is at his best on a nice Jimmy Reed groove like "Going Down South," "Hard Times-Good Times" and the fantastical "2929." "Hobbsville#2" is a slow down-home talking blues piece that follows up the talking blues on the first track. He talks about growing up, family and Friday Night "Fish Fries," with some telling harp from Wenner, slowly accelerates during this performance, tossing in a bit of Jimmy Reed's "Upside Your Head." Elsewhere on the record, there are plenty of good-time grooves and songs like "Blues Line Dance" and "Blues Cowboy" will certainly get the dance floor full. The only significant weakness on the album are lyrics which don't cohere, and others (like"2929") that are just too fantastical. Sometimes I'm left thinking of many overlooked songs that do merit revival, which Stallings performs during his live performances. I beleive he should consider adding some of them into the mix on his next recording project. Still, Stallings' band provides very danceable grooves (swing dancers will love "Blues Evolution") and "Big Daddy" delivers his songs with feeling, humor and a good-time sensibility that wins listeners over. "Blues Evolution" is available from www.cdbaby.com and can be downloaded from iTunes. "Blues Evolution" has also been nominated by the DC Blues Society for the Blues Foundation's "Best Self-Produced CD" Award for 2008.>/font>
Review -"Blues Evolution"
Review- "Blues Evolution"
The popular Baltimore singer/songwriter/guitarist returns with an all original set on this self-produced sophomore release recorded at The Bratt Studio in nearby Woodlawn. It is an improvement over his 2004 debut, "One Night Lover," particularly in the area of sound quality. Additionally, his performances are brimming with energy and affably boisterous vocals. The basic band of Ron Jenkins (drums), Gail Parrish (bass), Kelvin O'Neal (trumpet), Joe "E Flat" Thomas (sax), Glenn Workman (keyboards), is augmented by a number of guests, the most prominent being the Nighthawks Mark Wenner who wails and warbles with fervor on the five tunes he is featured. There is variety among the 15 tunes, but in terms of actual blues evolution, Stallings is not reinventing the wheel here. Nonetheless, his exuberance is infectious and except for a few question marks in the collection like the improbable blues science fiction of "2929," syrupy sanguine pop-soul with "Cha Cha 3000" and "Hand Dancin'," and mundane Tex-Mex pop, "Hola Senorita," this is one of the best party albums to come along in the last ten years as there is something for everyone. Although he handles the three slow blues (Strange Things," "Hobbsville#2," and "Hard Times/Good Times") with soulful aplomb, his upbeat tunes will command the most attention. Personal favorites include the rollicking instrumental "Let's Boogie" that's propelled by Workman"s rumbling left hand and the horn section's brass balls attack, the strident brain-burning soul-blues dance anthem, "Blues Line Dance," the feverish Jimmy Reed-like loper, "Going Down south," and the bluesy updating of James Brown's "night Train" with the autobiographical "Blues Train Express." As a guitarist, Stallings seems most influnced by B.B., Albert, and Freddie King. If you're looking for some blues to get the party started, get to gettin, with "Big Daddy" Stallings.
Review- "One Night Lover"
Charles "Big Daddy" Stallings represented the Baltimore Blues Society at this past winter's International Blues Challenge in Memphis. For over 40 years, Stallings has been a mainstay on that city's blues scene. Don't be put off by the synthesized horns on the opening cut, "one Night Lover"; the record gets much better. "I Got the Blu-Hoos" is a derivative of the Muddy Waters classic "Mannish Boy." The combination of the Nighthawks' Mark Wenner's Chicago harmonica with Stalling's guitar and contemporary lyrics will make you forget about the first song. Stallings and Wenner show more affinity for the blues of the Windy City on "4x4 Woman," a slow blues featuring guitar and acoustic harmonica. Stallings also calls in Deanna Bogart to add her piano to "Gettin' Old," a Chicago-styled shuffle. But Stallings isn't locked into just one style of the blues. "B-3" has Stallings and B-3 player Dennis Fisher putting the ban through its acid jazz paces. "Sophisticated" has Wenner's harmonica firmly planted into contemporary jazz with Fisher's B-3. On "Swing," Stallings calls on today's youth to learn to swing to his groove. I hope someone's turning down the subwoofers and listening. Then, Stallings and Wenner hammer home the blues on "Hobbsville," a tribute to the blues and the people Stallings grew up with in North Carolina. Finally, Stallings funks up the blues on cuts like "Funky Farm," and "Soul Rock and Roll." This debut comes with the promise that there will be more to be heard from "Big Daddy".