Big Joe Shelton's Page

BLUES IN BRITAIN MAGAZINE (UK) CD REVIEW

Big Joe Shelton – The Older I Get The Better I Was – ALT 45 RECORDS

Harmonica player and singer Big Joe was born in north-east Mississippi and learned the blues as a youngster, befriending the legendary blues veteran Big Joe Williams; the famed Willie King (to whom this release is dedicated) appeared on Joe’s very well-received previous CD, “Black Prairie Blues”, released in 2008. There are ten original numbers on this follow-up set, making me wonder just what an artist has to do to get a recording contract these days. Big Joe Shelton has a big, gritty voice akin to Howling Wolf’s, and although his style is certainly tough, pounding, and unmistakably rooted in Mississippi, it is also quite varied. Much of the time Joe is in down-home mood, with a raw, functional, but nonetheless exciting harmonica style to match, but then again the closer ‘Hard To Get Along’ is subtly gospel-based, ‘Ashes To Ashes’ reminds me of a spooky Santana, and ‘Psychoanalyst Voodoo Queen’ flits between zydeco and N’Awlins R’n’B, with its accordion sound and big horns. ‘Thanks For The Love’ is a Little Willie John-inflected blues-ballad, and ‘What Else Can It Be’ has the martial beat and wild slide of the Hill Country blues. ‘They Can't Be Satisfied’ is an up-to-date anti-racism anthem. All in all, this is a CD certainly well worth investigating.

Rating: 9 - Norman Darwen

Blues Matters Magazine Review (UK)

Issue BM61

Big Joe Shelton was born in the Black Prairie region of Northeast Mississippi. ‘The Older I Get the Better I Was’ is his second album on the independent ALT 45 Records label, It was recorded at the B.B. King Recording Studio on the campus of Mississippi Valley State University in the summer of 2010 and includes ten original tracks. Shelton does harmonica and vocals on all tracks and does a fine job indeed. The album rocks along from the first offering, ‘Hole In Yo Soul’ to the last one ‘Hard To get Along’. All tracks offer fine harp blowing, gutsy guitar work from Ben Ferrell (especially on ‘What Else Can It Be’) and some tight rhythm work from Ed Swan on bass and Will Hunt on drums. Jimmy Lee Jr. contributes some good blues keyboards as well. Shelton’s real strength is his writing and all ten tracks are high quality, in particular ‘Psychoanalyst Voodoo Queen’ and played with clear passion. Shelton lists his heroes as Big Joe Williams, Furry Lewis, Junior Kimbrough, and R.L. Burnside. His gravelly voice and direct no nonsense approach to the Blues on this album pay energetic tribute to his heroes. The CD cover says that the album was funded in part by the Department of Education and University sponsored programs – it was money well spent!

Kevin Wharton