On the surface, Bill Homans – better known as Watermelon Slim – would seem to be an unlikely bluesman. A truck driver with endless miles under his belt, Slim also holds a Master's Degree in History, and a Bachelor's in Journalism. A Viet Nam vet who has dabbled in music since the 1970s, a life-threatening heart attack prompted Slim to pursue his muse full-time and, since the early 2000s, he has managed to successfully mix a humble blue collar perspective with a scholar's intelligence, creating some great music in the process.
Slim has worked with his award-winning band the Workers since 2006, beginning a string of three critically-acclaimed near-masterpieces of blues and roots-rock that have propelled the artist to the top of the heap in the blues world. On May 12, 2007 Watermelon Slim & the Workers descended upon The Ground Zero Blues Club in historic Clarksdale, Mississippi for a live show in the wake of the release of their acclaimed album The Wheel Man, which would earn them Blues Music Awards for "Album of the Year" and "Band of the Year" from The Blues Foundation.
Watermelon Slim's Live At The Ground Zero Blues Club
Live At The Ground Zero Blues Club opens up with "Hard Times," Slim nattily dressed in a sharp white-striped suit jacket and matching hat. Standing at his Dobro, played horizontally like a lap steel guitar, the band builds a fluid groove as Slim spits out his soulful vocals. Guitarist Ronnie McMullen, Jr. picks out a joyous noise, notes falling like rain and hitting the ground like broken glass.
Slim's "Hard Labor" is the opposite side of the coin flipped by "Hard Times." A true example of working class blues, Slim sings that "hard labor will be the death of me," a sentiment no doubt familiar to many in the audience, as well as any working man or woman. Singing above a shuffling rhythm, Slim punctuates the song with crying notes from his slide Dobro, adding melodious emotion to accompany the lyrics.
Devil's Cadillac
Slim introduces "Devil's Cadillac" as "an old tale told in a new way," the song's dark ambiance bolstered by Slim's serpentine slide work and a sparse bass/drums rhythm broken only by the singer's mournful vocals and McMullen's jazzy licks. Slim's slide Dobro solo is simply mesmerizing, setting the mood for the rest of the song as the rhythm instrumentation builds to an uncertain climax.
Guitarist Jimbo Mathus, most recently of the South Memphis String Band, joins the Workers for a few songs, most notably adding his spicy slide-guitar to "Who's Gonna Pay?" and "My Babe." Mississippi Blues Legend Big George Brock also joins the band for these two songs, adding his spirited harp play. "Who's Gonna Pay?" is a hard luck tearjerker, a smoldering blues dirge with Slim's pleading vocals and Brock's powerful harp blasts. Brock's solo halfway through the song stuns the crowd with its simple emotion and colorful harmonics. Mathus's slide slips in sideways to expand the song's sonic palette, offering a vibrant counterpoint to Brock's harmonica.
Willie Dixon's My Babe
The band's cover of Willie Dixon's spry "My Babe" is a raucous affair, the band stomping and stammerin' behind Brock's deep, playful vocals. Slim's harp is juxtaposed against Brock's solos as Mathus dots the shuffling rhythms with shards of guitar. A harp duel breaks out, taking the song into what could be considered blues jam turf.
Mississippi Fred McDowell's "61 Highway" is delivered as a staggering, slightly funky, and musically-powerful acoustic blues stomp, Slim paying homage to the Hill Country blues legend. Slim sits and puts his National Steel into his lap for a rowdy version of McDowell's "You Ain't Gonna Worry My Life No More," capturing the country-blues energy of the original as Slim bangs out the song solo with an undeniable presence.
Buick Fifty-Nine With Charlie Musselwhite
Blues legend Charlie Musselwhite guests on a cover of early R&B artist Vernon Green's classic "Buick Fifty-Nine," bringing along his trusty harmonica. Musselwhite takes the lead, laying down a dirty intro to the song as the band choogles along nicely in his wake. Slim kicks in some stray vocals that ride naturally alongside Musselwhite's train-whistle melody. The song evolves into an extended blues jam as people dance in front of the stage, Musselwhite's mighty harp blasts displaying 40+ years of blood, sweat, and tears.
Slim mimics a cell phone call from Muddy Waters as the band closes out with the Chicago blues giant's "Long Distance Call," a little taste of the Delta done up Chicago-style. Above a slow-to-mid-tempo beat, the vocals aren't so much sung as they slowly slip out, Slim's drawl accompanied by his fiery slidework and McMullen's occasional stabbing guitar licks. Slim's spoken word interlude during the song has the audience mesmerized by the tale of betrayal as the band hits a big finish.
The Reverend's Bottom Line
Live At The Ground Zero Blues Club includes several bonus features, including a brief conversation between Watermelon Slim and John Mayall that includes some fine Dobro picking and singing in front of the Cat Head Delta Blues store as Slim channels his inner Bukka White. Another bonus feature, "Front Porch Blues," features Slim hammering out another tasty acoustic blues song, his performance intercut with an interview with Workers' drummer and songwriter Michael Newberry.
As stated at the beginning of the piece, Watermelon Slim is an unlikely bluesman, a guy that would seemingly be more at home as a Professor or novelist. Instead he's chosen to follow his blues muse. Slim is a unique and effective vocalist, his Okie twang tempered by a lifetime of living into a soulful, expressive instrument. A master storyteller that connects with his audience, Slim's intelligence and humility has made him a blues star. Live At The Ground Zero Blues Club displays Slim's talents and charisma in a live environment, his skilled band the Workers fitting his original brand of the blues like a glove. (Northern Blues Music, released September 21, 2010)
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