Blues artist Jimmy Dawkins had his own record label in the 1980s, Leric Records, with 45s issued by Tail Dragger, Queen Sylvia Embry, Little Johnny Christian and Nora Jean Wallace. Delmark is re-issuing these recordings now on CD for the first time with the addition of unissued sides by Vance Kelly and Big Mojo Elem. 15 songs, 60 minutes with various sidemen including Jimmy Dawkins, Johnny B. Moore, Lafayette Leake, Willie Kent, Eddie "Jewtown" Burks, Michael Coleman and Chico Banks.

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During the 1980s, Chicago blues musician Jimmy Dawkins ran his own label, LERIC Records, producing original 45s by artists entrenched in the local club scene. Now these sides have been released for the first time on CD by Delmark Records as The LERIC Story, revealing the traditional and soul-influenced sounds of a dynamic group of vocal stylists and chronicling an under-appreciated era of Chicago blues.
Many of the artists represented on this collection fell into obscurity and despite being top-notch performers who were loved dearly on the Chicago scene, never attracted the recognition of mainstream blues fans. One such example is vocalist Little Johnny Christian, whose quick-tongue, soulful emoting is heard on four tracks, including the deep-groove, Elmore James-style shuffle of "New Life." Christian's slowed-down testifying on "Ain't Gonna Worry About Tomorrow" is augmented by the exemplary guitar playing of the late Vernon "Chico" Banks who after this session, his first, went on to perform with a who's who of blues artists before his untimely death in 2008 at the age of 47.

Two of the disc's most exciting tracks come from another relatively unknown artist, the late singer/bassist Queen Sylvia who delivers two Dawkins originals, "I Know I Ain't Number One" and "Too Bad Baby," with a raspy, powerful vibrato. Featured prominently on these cuts is Dawkins' biting guitar, spiced-up with effects and drenched in hot grease. Dawkins can also be heard on "Special Kind of Love," a rare, never before released track by Robert "Big Mojo" Elem, also a bassist/vocalist who worked for years with guitarist Freddie King.

Another never-released treasure unearthed from the LERIC vault is a three-song sampling of the popular Chicago guitarist/vocalist Vance Kelly who currently fronts the Back Street Blues Band. Tail Dragger, who comes right out of the Howlin' Wolf school of blues shouting, has recently gained an international reputation with his well received Delmark concert DVDs My Head is Bald: Live at Vern's Friendly Lounge (2007) and Live at Rooster's Lounge (2009). Found here are two of Dragger's first recordings, "So Ezee" and his signature piece "My Head is Bald," highlighted by exceptional backup musicians, including Johnny B. Moore on guitar and Lafayette Leake on piano.

The soulful, R&B voice of Nora Jean Bruso, with Dawkins on guitar, shines on the funky "Untrue Love" and the sultry ballad "Oh My Love." Closing out the disc is the gospel sound of Sister Margo, aka Lady Margo, who recorded a handful of soul sides for various small labels in the 1970s. Here, with an unknown cast of sidemen, Margo delivers an inspiring performance.

The LERIC Story is full of long lost gems, more than worthy of resurfacing for an audience hungry for authentic Chicago blues.

Track listing: New Life; Luv Somebody; So Ezee; My Head is Bald; I Know I Ain't Number One; Too Bad Baby; Use What You Got; The Jam; Why You Hurt Me So Bad; Untrue Love; Oh My Love; Special Kind of Love; Ain't Gonna Worry About Tomorrow; I Gotta Sad Feeling; My God is Real; Peace Be Still.

Personnel: Little Johnny Christian: vocals (1, 2, 13, 14); Tail Dragger: vocals (3, 4); Queen Sylvia: vocals, bass (5, 6); Vance Kelly: vocals, guitar (7-9); Nora Jean: vocals (10, 11); Big Mojo Elem: vocals, bass (12); Sister Margo: vocals (15, 16); Jimmy Dawkins: guitar (5, 6, 10-12); Eddie "Jewtown" Burks: harmonica (1, 3, 4); Michael Coleman: guitar (1); Bob Fender: guitar (1); Chicago Pete; bass (1); Willie Ward: drums (1, 13, 14); George Milton: tenor saxophone (1); Erskine Johnson: piano (2, 7-9); Fast Eddie: drums (2, 8); Dan Cullens: drums (7, 9); Lafayette Leake: piano (3, 4); Larry Taylor: drums (3, 4); Johnny B. Moore: guitar (3, 4); Jesse Lee Williams: guitar (3, 4); Willie Kent: bass (3, 4); Vernon "Chico" Banks: guitar (13, 14); Stan Banks: keyboards (13, 14).

By John Barron http://www.allaboutjazz.com/php/article.php?id=36891

...Think of Chicago Blues, and it's quite obvious who springs to mind. Howlin Wolf, Muddy Waters, Willie Dixon, take your pick from many. However, the mainstay of any blues scene are the bars and clubs featuring the many artists who never managed to break out of their local circuit, nor have attained the recognition they deserve.

So when I received this CD, it came as quite a shock to hear some wonderful singers and some fine musicians who I'd never heard of before. Credit must be given to Jimmy Dawkins who launched Leric records with the prime intention of recording these artists enabling them to attain some airplay, the possibility of getting reviewed in the music press and having some product to sell. Some 25-30 years later, these recordings are at last being made available again, but sadly any recognition will come to late to be of benefit to the artists.

The first two tracks are taken up by Little Johnny Christian. The first track, "New Life" is an up tempo blues number featuring some terrific soulful singing, but with guitar, saxophone, keyboards and harmonica all featuring, the instrumentation becomes very cluttered. In fact it could have done with less and allowed one or possibly two instruments to take the lead. Saying that, I would have liked to have seen this performed live. It was probably an awesome sight.

"Luv Sumbody" leans very much to the soul side of the blues. In fact, Johnny's vocals shift fr.om blues to soul and back with the greatest of ease. The highlight of this track is the Sax solo from Kreen .

Tail dragger is next with two numbers. A man with a distinct and authentic Chicago blues voice, Tail Dragger was reputedly the natural successor to Howlin Wolf. So ezee is a standard Chicago blues work out. It features plenty of tasteful harmonica and piano. "My Head Is Bald" has a distinctive lyric over another standard blues number and although both tracks are basic they seem to be perfect for Tail Draggers excellent vocals.

Queen Sylvia Embry makes an appearance with two tracks. A bass player with a gospel influenced voice, Sylvia at least recorded for the Razor and Alligator labels, but sadly joins the ranks of those who didn't quite make it. "I Know I Ain't Number One" is a number which shows the power of her vocal range and again is a number which would have been sounded great live. "Too Bad Baby" is a 12 bar blues number which again would have been in it's element in a live setting.

Vance Kelly weighs in with three numbers. "Use What You Got" is very reminiscent of Hoochie Coochie Man. "The Jam" is a very funky instrumental which once again features some fine sax playing from Kreen. "Why You Hurt Me So Bad" is a mid tempo number underpinned once again by some fine sax and guitar playing. Vance's vocals are superb . All three numbers are previously unreleased and if there are any more Vance Kelly numbers in Leric's vaults we could be in for a fine album.

Nora Jean Bruso provides two tracks. "Untrue Love" is probably the best track on the album. A fabulous vocal with some fine piano, again this is number that would really stand out in a live environment. Unfortunately, "Oh My Love" really doesn't belong on this album. Whilst the vocals are superb, the track is a ballad probably more suited to the late night soul programme format.

Big Mojo Elem is next up with "Special Kind Of Love". The one time bassist with Freddie King with a voice similar to that of J B Lenoir shows why he was very popular on the Chicago blues scene. This track is previously unreleased and like Vance Kelly, it will be interesting to see how much material is still about.

Little Johnny Christian is back with another two numbers, "Ain't Gonna Worry About Tomorrow" starts with a lovely organ intro which blends very well with the brass section. Unlike the opening cut the soloing is better structured allowing the song to breathe. "I Gotta Sad Feeling" really swings with the brass instruments really prominent.

I know absolutely nothing about Sister Margo and Healing Center Choir, except to say that "My God Is Real" and "Peace Be Still" show what a fine gospel singer she is.

This has been a fascinating CD to review. A mini-documentary of a local music scene some 25-30 years ago and the possibility of more to come. For those bands who never got beyond the local club circuit, getting the chance to record an album must have been a fantastic opportunity. With advancements in digital technology, for many bands who perform at club level and don't get beyond the local circuit, recording an album has become a lot easier and a lot cheaper. Artists like these rarely got that chance. As Dave Whiteis succinctly wrote in the sleeve notes. It reminds us, yet again, that the best music is often found off the beaten track, away from the spotlights, on what the late Johnnie Taylor so memorably called "the soul side of town".

Review By Mike Lightfoot

Tracklist

1. New Life Little Johnny Christian 3:21
2. Luv Sumbody Little Johnny Christian 3:48
3. So Ezee Tail Dragger 3:47
4. My Head Is Bald Tail Dragger 4:16
5. I Know I Ain't Number One Queen Sylvia 3:24
6. Too Bad Baby Queen Sylvia 2:54
7. Use What You Got Vance Kelly 3:20
8. The Jam Vance Kelly 4:40
9. Why You Hurt Me So Bad Vance Kelly 3:36
10. Untrue Love Nora Jean 4:06
11. Oh My Love Nora Jean 4:05
12. Special Kind of Love Big Mojo Elem 3:19
13. Ain't Gonna Worry About Tomorrow Little Johnny Christian 5:55
14. I Gotta Sad Feeling Little Johnny Christian 3:31
15. My God Is Real Sister Margo and Healing Center Choir 4:44
16. Peace Be Still Sister Margo and Healing Center Choir 3:19

Listen To Samples Here

About Jimmy Dawkins

All Music Guide Biography by Bill Dahl

Chicago guitarist Jimmy Dawkins would just as soon leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashes and surges, but seldom burns with incendiary speed. Dawkins's blues are generally of the brooding, introspective variety -- he doesn't engage in flashy pyrotechnics or outrageous showmanship.

It took a long time for Dawkins to progress from West Side fixture to nationally known recording artist. He rode a Greyhound bus out of Mississippi in 1955, dressed warm to ward off the Windy City's infamous chill factor. Only trouble was, he arrived on a sweltering July day! Harpist Billy Boy Arnold offered the newcomer encouragement, and he eventually carved out a niche on the competitive West Side scene (his peers included Magic Sam and Luther Allison).

Sam introduced Dawkins to Delmark Records boss Bob Koester. Fast Fingers, Dawkins's 1969 debut LP for Delmark--still his best album to date--was a taut, uncompromising piece of work that won the Grand Prix du Disque de Jazz from the Hot Club of France in 1971 as the year's top album. Andrew "Big Voice" Odom shared the singing and Otis Rush the second guitar duties on Dawkins's 1971 encore All for Business. But after his Delmark LP Blisterstring, Dawkins's subsequent recordings lacked intensity until 1991's oddly titled Kant Sheck Dees Bluze for Chicago's Earwig Records. After that, Dawkins waxed discs for Ichiban and Fedora, and continues to tour extensively.

Jimmy Dawkins and Billy Flynn

http://www.myspace.com/jimmydawkins