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Duluth Scottish Heritage Association Thistles and Shamrocks concert at Weber Music Hall. Photos by Jill Fisher.

Another week, another blues performance. On Wednesday, March 4, the Curmudgeon and I made it back to the West Theatre to hear Lil’ Ed and The Blues Imperials.

As Lil’ Ed Williams announced upon taking the stage, “Are you ready for some blues?!”
Well, ready or not we got our ears full.

This band has been playing together for nearly 40 years and actually dates back to 1975 when Williams and his half-brother, James “Pookie” Young, first got into music.

This was under the tutelage of their famous uncle, the blues slide guitarist J.B. Hutto of Chicago. But someone in the crowd, who evidently has followed the group, called out “where’s Pookie?” The response was that he’s OK but was taking a break. Michael Sharf was with them filling in on bass guitar. The other two long-time band members, besides Lil’ Ed, are Michael Garrett (electric guitar) and Kelly Littleton (drums). 

The Blues Imperials band is based in Chicago; so as you’d expect they played Chicago-style blues.
They were at the beginning of a tour to promote the band’s most recent album Slideways, released on Feb. 27. And while one would expect they would play all the songs from that album, it wasn’t the case.
Instead, they mixed it up quite a bit, plucking numbers from some of their earlier nine albums. These dated back to 1986 and provided a taste of their older original songs. They ranged from slow and sexy to rowdy and raucous.

Early on “Have a Good Time” set the tone for this evening.

It wasn’t long before Williams asked whether we, the audience, was ready for something “nasty.” Not hearing much of response to this, the band gave us “Check My Baby’s Oil” from their 2008 Full Tilt album. That was pretty much X-rated with lyrics comprised of obvious euphemisms for sexual intercourse (hardly unusual for the blues).

Lil’ Ed and The Blues Imperials

In introducing songs from Slideways, Williams was almost apologetic, saying they would “try” these numbers and “see how it goes.” Then they blasted into one of their new ones, including “One Foot On The Brake One Foot On The Gas” and “Bad All By Myself.”

After that came a real bump and grind number called “Wayward Women.” This was followed up by two more of their newest: “More Time” and “The Flirt In The Car Wash Skirt.”

This latter title was explained as Lil’ Ed having witnessed a young lady dancing in a skirt made of chamois leather, the polishing rags used at car washes.

After an intermission – during which Williams personally sold his newest album (on red vinyl and CDs) – the band played “Homeless Blues” from Slideways and later “Midnight Rider” from their 1986 Roughhousin’ album.

Lil’ Ed is indeed a short fella, ameliorated somewhat by his sequined toque, but you wouldn’t guess that by his big, powerful, bluesy voice. Paired with his rippin’ slide guitar riffs, he provided one hell of a show.

When the concert wound down, Williams came down from the stage to wander through the audience, shaking hands, but not coming back on stage. The rest of the band carried on until the house lights came up and it was clear the concert was over.

The folks turning out for this performance was less than what it might have been, surprising since they played Bayfront Blues in 2011 and 2021.  But it was a full on show that left the audience quite satisfied.
While still on the topic of what’s been playing at the West, I should mention that the C and I took in the documentary film EPiC—an acronym for Elvis Presley in Concert.

I was never a big Elvis fan, probably because I got into music via the Beatles at age 11. Neither of my older brothers were into him and I never saw the top half of Elvis (nor the Beatles!) on the Ed Sullivan Show. So seeing this film was visceral remedial education as to why he came to be known as the King of Rock and Roll.

I had read the book, Last Train to Memphis—the Rise of Elvis by Peter Guralnick (recommended to me by Misisipi Mike Wolf), but that gave more of an intellectual understanding.

Seeing clips of him practicing with his backup band and singers, then cutting to actual performances, his passion for both music and showmanship came across in spades. I’m glad I saw it.

After one night’s respite, we made it out to Wussow’s on Friday, March 6, to see Between Howls (Ren and Nick Howl – formerly Ren Cooper and Nick Muska) with Boss Mama and Elsa Krantz opening for them.

What a fantastic surprise to see these latter two light up the stage with new original songs and some older favorites. Krantz is fairly new on Duluth’s music scene, last time I saw her in action was on Nov. 18 at Zeitgeist with the trio Cigarette Picnic (with Madi Phyle and Erica “Francie” Francois). She was playing the bass and singing originals then too.

Elsa Krantz and Boss Mama

What a difference a few months make. She was more confident, more polished and introduced some brand new songs with intriguing lyrics.

The first song the two women played together was Krantz’s original, “Exit Sign,” which asserted “I’m staying here!”

Boss Mama, who we all adore, followed with her “Harvey’s Gamblin’ Problem.”

Then Elsa introduced another of her originals by saying that most people would think it was about one thing but was actually about something else entirely. This may have puzzled some in the full house but I guessed it pretty quickly — it was about and titled a “Song About Cigarettes.” However, the lyrics were suggestive of something more romantic.

Boss Mama’s “Charlotte’s Cafe” was also played; it’s a great tune to sing along with on the chorus — ”Bebabaloo!”

Then Elsa shared one she wrote some time ago when she was fresh back from her time in Nicaragua. It was called “What Are We Falling For?” with some pointed questions and observations.

“Falling Hard”  and “Any Day Is Fine” by Boss Mama were great too. The Boss even channeled Tom Waits at the end of the latter.

What was so wonderful about this intergenerational pairing was the nice intertwining of their voices on each other’s songs. Both have broad vocal ranges that provided flexibility in how they harmonized.
On some tunes, Elsa provided high harmony, on others low alto. And the Boss did the same, singing high on some, low on others. And their vocal qualities were completely complementary. So sweet!

Then we found out that these two are going on tour as a duo, first around these parts — the North Country leg — then south with stops in places like Wichita, Kansas, on the way down to Texas in April.
Ren Howl joined the two women to accompany them with her violin on a final number, “Horseshoe Island.”

It was a lovely transition to the second half of that evening with Ren and Nick as headliners. I’ve now seen, heard and written about this pair in the past couple months so I will only reiterate that they display tremendous talent. He’s got just enough of that country twang in his voice to really sell their original songs. Together with her singing and fiddling, they keep the place jumping. Ren has studied with Erin Aldridge (who was in the audience this evening) and it shows.

Between Howls

What was different this time around was Nick playing pedal steel guitar on several of the numbers, including “I Want Love (For Me and You).” Ren switched out her violin for an octave mandolin on that one.

Two “socially conscious songs” of theirs were performed: “Hurt People” and the ballsy “Letter To Mr. Johnson.”

Nick told us that they have enough original material for another two albums, one of which is in the works. Though time was up for the Howl’s set, the crowd called for another tune and they delivered: a foot-stomping rendition of “Midnight Rider.”

This gig was the kick-off to Between Howls’ “Buds” (as in Spring) tour that will have them traveling south to Iowa, west to Montana and east to Milwaukee plus to gigs in Nashville and Chicago.

On May 7 they will play the Icehouse in south Minneapolis before getting back to our neck of the woods with a show at Bent Paddle Brewing Co. on May 8. 

My last musical outing this past week was to Weber Music Hall on the UMD campus on Saturday, March 7. It was the “Thistles & Shamrocks” show produced by the Duluth Scottish Heritage Association.
I only heard of it because I had attended the welcome home party for Olympian curlers and Silver Medalists Cory Thiesse and Korey Dropkin at the DECC. It featured the DSHA Pipes & Drums group for the ceremonial opening of the festivities. Tyler Kimber, a snare drummer with the group, informed me of this upcoming annual event.

Now, I am particularly fond of bagpipe music (though some might not call it music), so I made sure to get up there to get my dose of the Scottish fare on offer.

What a delightful show it was with Steve Reyelts providing an introduction to the historic contributions of Scots to the world as we know it today.

Then came the DSHA Pipes & Drums performing a medley of Scottish songs, followed by “Scottish Lilt” with the DSHA Highland Dancers adding to the entertainment.

The group Eira was also a part of the show. This trio is a subset of the group Willowgreen consisting of Jim Ofsthun (bodhran – drum, octave mandolin, wood flute, lead vocals), Sue Spencer (acoustic guitar, vocals) and Liesel Wilson (fiddle, vocals).

Eira

Erianna Perrin, a soprano sang a number of tunes, with Eira’s backing. One was about being conquered with the title “Leave Us (Our Glens);” not meaning geographical features but Scotch whiskeys like Glenfiddich and Glenlivet!

The music presented included Irish tunes plus dancers performing an Irish Jig. All in all it was a delightful show that quenched for now my desire for some different sounds and music.

I wonder whether a bit more promotion wouldn’t lure a greater audience for future DSHA programs.

UPCOMING: Peat Boggs will be performing at Bent Paddle on Friday the 13th of March from 7 to 9 pm. Then later that same evening you can catch an acoustic show by Boxcar at Sir Ben’s from 9 to 11 pm.
With St. Patrick’s Day on Tuesday, March 17, I’m sure there’ll be plenty of celebrations around the Twin Ports, including the annual party at Dubh Linn Pub. There will be live Irish music, Ceili dancing lessons and a Celtic bagpipe and drum band. Performers will include: The Irish Trio, Terrance Smith Band, John Agacki (AKA John O’Gacki) and Teague Alexy and the Paddy Wagon

See you out there!