G Weevil - Live Acoustic Session 2021

LITTLE G WEEVIL - LIVE ACOUSTIC SESSION - ACOUSTIC BLUES
LABEL: HUNNIA RECORDS

The pure simplicity of hearing a world-class artist alone in a room with their instrument is a rare event not often witnessed by many, let alone caught on tape and recorded for posterity. Armed with only his acoustic guitar, a list of favorite songs and his wits, 2013 International Blues Challenge champion , Little G Weevil, sat alone in the vaunted “Stone Room” at Super Size Recording earlier this year in Hungary for a spontaneous recording, simply titled Live Acoustic Session.

His opening salvo, “Keep Going (4.49),” lures us in with its hypnotic pulse and Delta Blues chant, as we hear his stomping foot echoing off the walls. The Hill Country Blues “Real Men Don’t Dance (3.30),” follows with back-porch authenticity. Weevil then raises the tempo for the enigmatic Dylan-styled romp “When The King Was Told (4.22),” before the traditional twelve bar “Early In The Morning (4.24),” shows off his deep skills as a blues champion. He reels off the blues of desperation “Place A Dollar in My Hand, (6.39)” from his 2016 album Three Chords Too Many, like an old friend, before recanting the sordid tale of dealing with a wild woman “Sasha Said (4.16).” The loving tribute, “Dad’s Story (7.06),” is set to a jaunty Piedmont Blues pattern making effective use of Weevil’s fingerpicking and lyrical skills. 

The 

bump and grind blues “Apple Picker (5.38),” is a bawdy number full of flashy licks. He doesn’t miss a beat sliding into the reading of the old folk tale “Casey Jones (3.39),” and gives the R.L. Burnside classic “Poor Black Mattie (5.23),” a Jimi Hendrix Machine Gun redux. The thought-provoking “Fastest Man (4.07),” challenges our moral compass. He shares two songs from the years he spent in America, the rolling blues “Going Back South (4.32)” and the driving “On My Way To Memphis (6.36).” The colorful rag, “Back Porch (5.25),” may or may not be a true story with ahilarious intro, while the emotive “She Used To Call Me Sugar (5.05),” is an example of lowdown blues heartbreak that must be lived to be believed. He attacks the John Lee Hooker “Roll And Boogie (6.18),” a tune he recorded with The Cazanovas in 2015, like a runaway train ending the set with fury and bravado.

WEBLINKS
OS: www.gweevil.com
FB: www.facebook.com/littlegweevil

For More info: Betsie Brown, Blind Raccoon, betsie@blindraccoon.com