MySpace.com/RobsBluesBlog (June 16, 2008)

78-year old Tomcat Courtney was born in Marlin, Texas in 1929, but he spent most of his youth in Downsville, a small town not all that far from Waco. Influenced by the likes of Lightnin’ Hopkins, Mance Lipscomb, and B.B. King, Courtney honed his craft at roadhouses and jukes throughout Texas and the southwest. He left Texas for San Diego in the early ‘70s and a few of his tracks appeared on the old Advent Records album, San Diego Blues Jam. Courtney self-produced a few releases over the years, but these were never distributed and are now long unavailable. Thank goodness for Blue Witch Records and Bob Corritore’s Rhythm Room house band (the appropriately named Rhythm Room All-Stars) for getting Courtney into the studio and putting out this terrific and long overdue CD release. Downsville Blues is packed with nine killer originals and three covers including the traditional Delta favorite “Bottle Up and Go”, Tampa Red’s great “Cryin’ Won’t Help You”, with some amazing slide guitar along with a spirited cover of Mance Lipscomb’s classic “Meet Me in the Bottom” which Courtney makes his own. But it’s the original compositions that grab you and won’t let go. Great songs like set opener “Cook My Breakfast”, “Four Wheel Drive”, and “I’m So Glad” display Courtney’s provocative lyrics and his wry sense of humor in short order. There isn’t a bad track here, and with fine support from the All-Stars: Corritore on harp, Chris James on guitar, Patrick Rynn on bass, and Brian Fahey or special guest Willie "Big Eyes" Smith on drums, Courtney has assembled one of the finest backing bands you can get. Top this off with Courtney’s own fine guitar work and his down and dirty vocals, and you have one exceptionally engaging performer who commands your attention throughout this invigorating and thoroughly satisfying CD.

-Rob Lehrian

AustinSound.net (June 4, 2008)

You don’t have to be in the Lone Star State to hear some good Texas blues. In his 1990 book Time Passages, George Lipsitz talks about Delta blues musicians and their trek on the Illinois Central north to burgeoning blues scenes in St. Louis, Memphis, and Chicago. Those living in the Southeast traveled to Baltimore, Philadelphia, and the Big Apple. But Texas guitar slingers like Johnny “Guitar” Watson, T-Bone Walker, and Lowell Fulson cut out West, where they were instrumental in carving a space for the blues in Los Angeles and the San Francisco Bay Area. Contemporary players like Rod Piazza, William Clarke, Mark Hummel, and countless others owe their musical careers to the work those Texas pioneers did in California. Texas native Tomcat Courtney, who transplanted to San Diego in the early 1970s, is part of that tradition, and his first national release, Downsville Blues, on the Phoenix, Arizona-based Blue Witch Records label is a fine display of down-home West Coast blues shot through with Texas style.

The 78-year old blues sage was born in Marlin, Texas in 1929, but grew up in the appropriately-named Downsville, a small community nestled southeast of Waco along FM 434. Courtney’s father ran a juke joint there, where he played ragtime piano. The young up-and-coming bluesman had a penchant for dancing and singing, and honed his craft with a traveling circus outfit in his teens. Courtney later moved to Lubbock, and made his home in San Diego in 1971. His first recording came in 1974 with an appearance on the compilation San Diego Blues Jam on Advent Records, but it would be some 37 years before Courtney debuted a record with national distribution.

Downsville Blues is chock full of unpretentious, gimmick-free, real deal blues. Joined by harmonica player Bob Corritore and legendary Chicago drummer Willie “Big Eyes” Smith, who is best known for his long tenure in Muddy Waters’ band, the twelve song program features nine originals and three well-chosen covers. The album opens with “Cook My Breakfast”, a mid-tempo number where Corritore’s sparse harp work bolsters a bit of masculine pomp and sexual boasting with lines like “I want a jelly roll, you know I want it sweet and brown/I want a jelly roll this morning, make it sweet and brown/Don’t you burn my jelly roll baby, you better turn my jelly roll around”.

Willie Smith provides a sturdy shuffle backbeat on the metaphor-heavy “Four Wheel Drive” and the traditional “Bottle Up and Go”, and slows things down for the solemn post-Katrina “Disaster Blues”. Courtney’s vocal and stripped-down guitar shine on the funky “I Wonder” and the sorrowful ode to his hometown on the title track. Jimmy Reed fans will dig the steady mid-tempo groove of “I’m So Glad”, and Courtney borrows one from the Tampa Red playbook with the defiant slow blues “Cryin’ Won’t Help You”. Two of the most interesting compositions on Downsville Blues, “Wolf That Howls” and the closing “Railroad Avenue”, open with provocative guitar intros that seem to draw from Middle Eastern influences.

It’s a shame that an artist of Courtney’s stature has had to wait so long to see the release of a high-quality recording like this one, and Blue Witch Records, which has been consistently producing solid blues since opening shop in 2001, deserves praise for bringing his music to a national audience. Courtney definitely has the goods, and Downsville Blues will stand out as one of the most honest blues recordings of 2008.

- Roger Gatchet

I was stopped at the window of a local taco stand the other day and the nice man helping get my order together quickly called his coworkers over and said, "listen to the music!" I looked up to see what was going on and realized he was pointing at me. Suddenly, the window was filled with four friendly and excited faces as they begged for me to turn up whatever it was I had playing. "Is that Muddy Waters?" one young man asked. "No, it's Tomcat Courtney", I replied. "Oh, wow! This is some great s*#%! Too bad we can't go see this guy." When I informed them that he lives in San Diego, you'd have thought I'd just handed over a winning lottery ticket. What can I say? Good blues are contagious.

Downsville Blues is full of music you'll want to hear again and again. And you'll find yourself having to wrest the CD out of the hands of curious blues lovers who want to borrow it. Don't let them. Make them buy their own copy.

This is Courtney's first national release, and it's a shame it's taken so long for the rest of the world to hear what a treasure enlightened San Diegans have been enjoying for a few decades. There's nothing super flashy or loud about Tomcat, and that's fine by me. That other stuff is a dime a dozen, but this? You can't buy this sort of genuine, down-to-earth goodness, and he shares his experiences with humility and humor. Every note is authentic and rich. Forget the smooth production (and it is), you still get a full, gritty sound and feeling from every tune. Years of urban living haven't erased or dulled those Texas roots a bit.

Joined by locals Chris James (guitar) and Patrick Rynn (bass), as well as by producer Bob Corritore (harp), and Brian Fahey and Willie "Big Eyes" Smith take turns on drums, Tomcat Courtney strums and sings his way into your world with instant classics like "Cook My Breakfast" and "Railroad Avenue". The title track is a bittersweet journey back home, something most of us can relate to. While many things can and do change in our lives -- losing our childhood homes, parks paved over, shops torn down, family and old friends moving on -- the blues helps us through those times and it sure is comforting to have Tomcat by one's side.

Perfect any time of the year, there's a certain pleasure having this CD playing all summer. Pop it in your car's CD player or have a seat on your back porch and sip yourself some lemonade. Let the heat and sweat roll off you while you listen to the coolest 'Cat in town.

-Joan Hunt

Emule de Lightnin’ Hopkins et de Lil’ Son Jackson, la discographie de Tomcat Courtney est malheureusement réduite, elle se résume à une poignée d’excellents cd auto-produits qui méritent d’être activement recherchés, plus une apparition sur le 33t intitulé « San Diego Blues Jam » qui avait vu le jour sur le label Advent. Installé en Californie depuis le début des années 70, si ses enregistrements sont peu nombreux, il n’en reste pas moins l’un des piliers du blues de la ville de San Diego et a toujours un agenda chargé toutes les fins de semaine. Ici, sur le Vieux Continent, on avait eu la chance de l’applaudir lors de sa venue en Hollande au Blues Estafette in 1999. Il aura fallu attendre finalement ce printemps 2008 pour qu’un label s’intéresse enfin à cet artiste de premier plan, natif de la bourgade de Marlin au Texas. C’est à Bob Corritore (qui a produit la session) ainsi qu’à la jeune et efficace compagnie Blue Witch Records, que nous devons ce compact réussi de bout en bout. Si, bien sûr, l’ombre de ses illustres aînés plane au-dessus des compositions de Courtney, ses textes interprétés sur des tempos hypnotiques dédiés à nos soucis quotidiens – à l’opposé des sempiternels « my baby left me this morning » - sont la marque de fabrique de cet authentique bluesman. Nous retrouvons également sur ce compact celui qui, tout jeune adolescent, fit ses premières armes dans la formation du maître, à savoir le guitariste Chris James, suivi comme son ombre par le bassiste Patrick Rynn. Willie Big Eyes Smith est présent à la batterie sur trois titres et naturellement, à l’harmonica, on retrouve le toujours excellent Bob Corritore. Il va de soi que ce superbe compact est difficilement contournable et nous laisse une nouvelle fois plus que perplexe sur les choix artistiques hasardeux faits à la « va vite » par les divers labels de blues aux Etats-Unis qui, au cours de ces dernières décennies, ont superbement ignoré ce musicien au talent unique.

-Jean-Luc Vabres

Nobody except a Blues musician should call themselves “Tomcat”. If you do, be prepared to back it up! Tomcat Courtney can definitely back it up. This cat has been unrecognized for years outside of San Diego, CA, where he has been living and playing the Blues since 1966, having traveled around the Southeast. He married the sister of Smokey & John Hogg and learned by listening to Lightnin’ Hopkins and T-Bone Walker.

Sitting in on the CD are Chris James, Bob Corritore, Patrick Rynn, Brian Fahey and Willie “Big Eyes” Smith. Quite a lineup for a debut CD, but Bob Corritore knows how to display the talents of this fine Bluesman. I’ve been listening to this CD & playing it for a few people who really loved it. It has a truthful, down-home flavor that is “back in the day” I predict this to be a frontrunner for Debut Act of the year.

With all that fine backup, Tomcat Courtney digs through his repertoire of influences like Lightnin’ Hopkins, Mance Lipscomb, Tampa Red, Howlin’ Wolf and others so influential in the Blues. His style is easy and infectious, especially for fans of straight-out Blues. You won’t be disappointed by this effort. It just keeps working on you. Be sure and add this to your library, and go “cattin’” with Tomcat Courtney.

(C) 2008, Gary W. Miller, BluesSource.com

We wkładce do najnowszego, a pierwszego oficjalnego wydawnictwa Tomcata Courtney’a, jedno zdanie doskonale oddaje zaskoczenie jakiemu zostaniemy poddani po usłyszeniu pierwszch dźwieków z „Downsville Blues”: Jak to możliwe, że tak długo nie słyszeliśmy jego twórczości?

„Downsville Blues” jest pierwszym oficjalnym wydawnictwem tego teksańskiego muzka. Niemniej nie jest to jego pierwsza płyta w ogóle. Artysta ma w swoim dorobku wiele wydanych własnym sumptem i sprzedawanych na koncertach albumów.

W nagraniu tego „debiutu” uczestniczyli tak znani muzycy, jak chociażby Willie „Big Eyes” Smith. Na album złożyło się dwanaście kompozycji utrzymanych zarówno w konwencji akustycznego, jak i elektrycznego bluesa. Znalazło się tam również kilka utworów w stylu Johna Lee Hookera, którego to płyta „Boogie Chillen”, jak wspomina sam Tomcat, stała się przyczną tego, iż chwycił za gitarę.

Wcześniej Tomcat miał do czynienia z muzyką pod inną postacią: w jej takt stepował w objazdowym cyrku. Gdy zaczęła się wojna, co przetrzebiło męską część cyrkowej trupy, awansował do roli wokalisty. Śpiewał do zakończenia wojny, a następnie pracował jako kucharz i pomywacz. W czasie wolnym grywał po różnych klubach i z różnymi składami, wydając płyty własnym nakładem.

Tyle o samym Tomcacie. Co do muzyki, to jest to album pełen niezmiernie ciekawych kompozycji. Zarówno gra, jak i śpiew niemalże osiemdziesięcioletniego muzyka są na najwyższym poziomie. Kompozycje zawarte na „Downsville Blues” dostarczają nam tego, co najlepsze w bluesie. A więc mamy utwory, w których słyszmy tylko głos i gitarę. W innych natomiast gra już pełen skład z harmonijką. Zrestą harmonijkarz i producent Bob Corritore doskonale wpisał się w konwencję albumu i jego gra dostarcza wiele przjemności. Całej płyty słucha się doskonale. Dawno nie słyszałem tak świeżo brzmiącej muzyki, granej z takim luzem i przjemnością, dla samej radości grania.

Po kilkukrotnym przesłuchaniu płyty przeszło mi przez myśl, że istotnie szkoda, że nie słyszałem wcześniej o twórczości Tomcata Courtney’a. Ale teraz wpisuję go na listę muzyków, na których kolejną płytę czekam z niecierpliwością. A na koncert jeszcze bardziej.

-Paweł Yoda Jodko

Tomcat Courtney, voilà un nom qui ne dit sans doute rien à beaucoup d’entre vous, même à certains spécialistes. On a pourtant à faire à un véritable artiste majeur, de toute évidence l’un des secrets les mieux gardés de l’histoire de blues. Le véritable mystère est de savoir comment un tel artiste a pu rester aussi méconnu aussi longtemps ?

Une des raisons est sans doute que ce bluesman installé depuis plus de 35 ans à San Diego a très peu voyagé, se contentant de chanter et jouer sur San Diego où il se produit régulièrement, suffisamment pour vivre.

Là bas, c’est un musicien emblématique que l’on qualifie de “San Diego blues legend”. C’est vrai que la vie à San Diego est plutôt agréable, ne donnant pas forcément envie d’aller voir ailleurs. L’autre raison est qu’il n’avait jusqu’ici que très peu enregistré, quelques titres pour la compilation “San Diego blues jam” (testament) en 1974 puis plusieurs auto-productions, généralement enregistrées “live” de bonne qualité malgré un manque de moyens évident. Ce n’est évidemment pas la peine de les chercher chez votre disquaire favori ni même sur internet, vous ne les trouverez pas, le seul moyen de se les procurer étant d’aller le voir à San Diego où il les vendait à la fin de ses concerts. C’est ce que j’ai fait mais j’écris cela à l’imparfait car c’était avant la sortie de ce nouveau CD et je suppose que maintenant c’est le nouveau qu’il propose.

Qui est donc Tomcat Courtney ?

Il et né en janvier 1929 au Texas et a grandi dans une petite ville à 8 miles au sud est de Waco, Downsville (ville qui donne son nom à ce CD). Son père était pianiste de ragtime et tenait un juke joint. En 1951, il a épousé une nièce du bluesman Smokey Hogg, jouant également dans son groupe. Il a ensuite pas mal bougé, à Albuquerque NM (c’est à cette époque qu’on lui a donné ce surnom de Tomcat), à Denver CO, à Flagstaff AZ, à Los Angeles CA avant de se fixer à San Diego en 1971. En 1980, il intègre dans son groupe un gamin de 13 ans, un certain Chris James qui est aujourd’hui à l’origine de ce CD, presque 30 ans plus tard ! En 1999, il fut programmé à la blues estafette à Utrecht et c’est là que je l’ai découvert. Sa prestation fut superbe mais malheureusement sans lendemain. 9 ans après, il n’est toujours pas revenu en Europe. Aujourd’hui, Tomcat Courtney est âgé de 79 ans, et même s’il est encore en bonne forme pour un homme de cet âge là, le temps presse pour le découvrir pour le faire venir en Europe. J’ai eu la chance lors d’un voyage à San Diego en octobre 2007 d’aller le voir à 3 reprises dans trois configurations différentes, en groupe, en solo et en duo. A chaque fois, ce fut magnifique et j’en garde un souvenir émerveillé. Quitte à me répéter, Tomcat Courtney est tout sauf un second couteau, c’est véritablement un bluesman majeur, un des derniers survivants de sa génération. C’est à la fois un songwriter prolifique, un chanteur exceptionnel et un excellent guitariste. Son style rappelle inévitablement un autre musicien emblématique du Texas blues, Lightning Hopkins.

Venons en maintenant au CD lui même, le véritable premier cd de Tomcat Courtney (même si cela paraît incroyable) qui comporte 12 titres dont 9 compositions de Tomcat. Une partie du matériel n’a rien de nouveau, ce sont souvent des titres que Tomcat chante depuis très longtemps. On retrouve ainsi les titres “Wolf that howls” et “Shake it up baby” qui figuraient déjà sur le cd auto-produit “Little John” enregistrée en 1991 et 1992, “Four wheel drive” qui était sur “12 o’clock midnight” autre cd auto-produit de 1996. “Meet me at the bottom” comme “Shake it up baby” (encore) figuraient aussi sur l’excellente démo “One man show” enregistrée comme son nom l’indique en solo. Mais, comme la diffusion de ces cd “faits à la maison” fut pour le moins confidentielle, on peut difficilement parler de doublons. D’autant que ces nouvelles versions sont vraiment incomparables, bénéficiant cette fois d’un enregistrement et d’une production impeccables, et Tomcat Courtney y est accompagné par des musiciens dignes de son talent, à savoir Chris James (guitare) Patrick Rynn (basse), Bob Corritore (harmonica), Brian Fahey ou Willie “big eyes” Smith à la batterie suivant les morceaux. Bref, mis à part Willie “big eyes” Smith, il s’agit ni plus ni moins que du Rhythm Room All Star, le house band du célèbre club de Phoenix (dont le propriétaire n’est autre que Bob Corritore), le groupe qui accompagne souvent Big Pete Pearson.

Parmi les véritables nouveautés que j’ai découvertes avec ce cd, il y a le titre “Cook my breakfast”, qui nous fait entrer dans le quotidien de Tomcat à l’heure du petit déjeuner, c’est une petite tranche de vie, un texte simple, anecdotique et rafraîchissant, loin des habituels clichés. Idem pour les titres “I’m so glad” et “Crying won’t help you”, j’aime beaucoup la slide guitare sur ce dernier morceau . On trouve aussi un titre plus grave, lié à l’actualité “Disaster blues” dans lequel Tomcat décrit les ravages suite au passage de l’ouragan Katrina en Louisiane en 2005. Un récit descriptif et prenant qui dans son traitement me rappelle le “11th september blues” de Louisiana Red. La voix chaude et claire de Tomcat Courtney domine ces 12 titres avec une aisance remarquable, son timbre et ses intonations sont immédiatement reconnaissables. Cette voix gorgée de feeling semble couler toute seule, elle est caressante comme le velour. Côté musical, n’attendez pas ici de grandes démonstrations pyrotechniques, c’est du véritable blues rustique, terrien, c’est une musique au service des chansons, une musique qui va à l’essentiel, les solos sont brefs et efficaces. Néanmoins, tous les musiciens sont remarquables au service de Tomcat Courtney.

Ce CD est incontournable, c’est une formidable réussite, il restera quoi qu’il arrive, l’un des meilleurs cd blues de l’année 2008, un CD comme on n’en fait plus, un CD rare que tout amateur de blues se doit de posséder. Et puis, si je devais faire un vœu, j’espère que les programmateurs des festivals de blues auront la bonne idée de nous l’amener en France mais, s’il vous plait, faites vite, il a déjà 79 ans…

Coup de chapeau au jeune label de Phoenix AZ “Blue Witch records” dont le catalogue ne compte que 5 CD, tous aussi excellents les uns que les autres. Bravo à Dale Baich, le patron du label et à Bob Corritore le producteur du CD. Rappelons que le label est né en 2001 pour enregistrer une autre pépite trop méconnue, “Arizona king of the blues” Big Pete Pearson.

Pour acheter le CD, le simple est sans doute d’aller le commander sur le site de Blue Witch records. Il est disponible au prix de 15 dollars, http://www.bluewitchrecords.com/index.cfm

Vous pouvez aller écouter quelques titres du CD sur le blog MySpace de Tomcat Courtney: http://www.myspace.com/tomcatcourtney

-Jocelyn Richez

Emotion and Conviction

Of the four major compendia of Blues music that I consult regularly, two mention Tomcat Courtney in passing and two omit him entirely. On the strength of this album, expect such lack of recognition to be a thing of the past.

Born in Texas, Courtney cites as his major influences Lightnin' Hopkins, T-Bone Walker, Smokey Hogg, and John Lee Hooker. Flying under the radar of national notice, he has been a mainstay of the San Diego Blues scene for over 35 years. Harmonica ace and Blue Witch Records producer Bob Corritore appreciated Courtney's chops and has chauffeured this album into being, and his taste has been vindicated as Downsville Blues absolutely smokes!

Nine of the 12 songs on the album are Courtney compositions and they are all memorable. "Cook My Breakfast" displays sexual innuendo by way of food metaphor and "Four Wheel Drive" does the same with an automobile conceit, both tactics long in use in the Blues idiom. "Shake It Up Baby" and the traditional "Bottle It Up and Go" continue the raunchy theme. Courtney does a great job singing the Mance Lipscomb classic "Meet Me in the Bottom." His own song about the Hurricane Katrina disaster in New Orleans, "Disaster Blues," is poignant, angry, and bitter, a worthy reminder of the cataclysm. There is not one mediocre song in the dozen here. Throughout, a spirit of infectious high energy prevails; it just feels like Courtney is having a great time singing and playing.

Courtney's guitar stylings are admirable, recalling the playing of both Hopkins and Hooker, but it's his vocal prowess that deserves raves. What a voice! Tomcat can growl and moan with the best of contemporary Country Blues artists. On "I'm So Glad" he even sounds like the great Chicago urban Bluesmen Magic Slim and Howlin' Wolf (high praise intended!). On his tunes of erotic desire he channels Hopkins, but trades Lightnin's almost-spoken suggestive drawl for a boisterous, assertive invitation to boogie. Every vocal is dripping with emotion and conviction.

Tomcat Courtney is backed by adept musical colleagues: Corritore on harp, Chris James on guitar, Patrick Rynn on bass, and Brian Fahey and Muddy Waters' sideman Willie "Big Eyes" Smith on drums. Appropriately, each song showcases Courtney's talent with the stellar but subordinate support of the band.

If this album isn't nominated for a Blues Music Award there ain't no justice in the world. It's definitely destined to be one of the best Blues albums of the year: urbanized Texas Country Blues at its finest!

-Steve Daniels

It’s Never Too Late

The folks at Blues Witch Records have brought us a new blues artist. At 79 years old, its hard to be called “new,” but Tomcat Courtney is really new to most blues fans. Originally from Texas, Tomcat moved around and then settled on playing the blues in San Diego in the early 70’s. Playing as much as four nights a week for 35 years will help hone the skill of any blues musician. Tomcat also married into the blues. He married the niece of prolific bluesman Smokey Hogg in 1951. Courtney played with both Smokey and his cousin, guitarist John Hogg. Tomcat credits John Hogg with showing him how to play like T-Bone.

Tomcat Courtney’s new release is entitled Downsville Blues (Blue Witch Records). From its opening track, “Cook My Breakfast” to its closer “Railroad Avenue” I was immediately hooked into the serious blues sounds of vocalist/guitarist Tomcat Courtney. This is real Texas blues that make me think of Lightnin’ Hopkins with smoother voice. The album gets its title from the town where Tomcat originally grew up (Downsville, Texas). Courtney recently paid a visit to Downsville and didn’t exactly like what had become of his former playground. Many great originals are contained in Downsville Blues including the title track and “Disaster Blues,” a song inspired by the aftermath of Hurricane Katrina. Tomcat penned an impressive 9 of 14 tracks on Downsville Blues. The Tampa Red classic “Cryin’ Won’t Help You” helps round out one of my most favorite discs of the year. Tomcat breathes new life into the well covered “Bottle Up and Go” and lays down a nice version of the Mance Lipscomb classic, “Meet Me In The Bottom.”

Producer Bob Corritore who also takes on the harmonica duties on the disc, assembled a great cast of players to give Tomcat’s first national release the right sound. Former Muddy Waters’ skin beater and fantastic solo artist Willie “Big Eyes” Smith played drums on three tracks, Brian Fahey picked up the sticks on the rest. Long time Tomcat sidemen Chris James joined Courtney on guitar, while Patrick Rynn lays down some solid bass work.

Its amazing what 79 years of living will inspire.

-Greg “Doc” Lefebre

12 tracks, highly recommended

A most welcome release. I had the privilege of recording Thomas "Tomcat" Courtney back in the 70s when I ran my own Advent label. Since then, he's been pretty much under the radar, performing regularly in clubs in San Diego and issuing a couple of self produced albums, but finally gets national distribution with this new album recorded when he was almost 80 years old. Tomcat sounds pretty much as he did over 30 years ago, with a truly powerful voice which is also capable of great subtlety, and plays solid down home guitar. He was born and grew up in Texas, and his blues is strongly rooted in the music he heard when he was growing up, but without sounding archaic. He is accompanied here by a solid band, including his long time guitarist Chris James, harmonica player Bob Corritore, and sturdy bass and drums. His material is a mix of old favorites (“Meet Me In The Bottom”/”Cryin' Won't Help”/”Bottle It Up And Go”), original songs based on traditional themes (“Cook My Breakfast”/”Wolf That Howls”, etc) and a couple of semi-autobiographical and topical pieces (“Downsville Blues”/”Disaster Blues” and “Railroad Avenue”). A number of the tracks feature Tomcat just by James and his own guitar, and these are among the highlights here. Fine unpretentious music.

-Frank Scott

I'm moving to San Diego! San Diego has Tomcat Courtney and that's good enough reason for anyone to move to San Diego. Ok, well, it's at least good enough reason for anyone to visit San Diego.

This guy is 78 years old and his musical sensibilities prove it. From the first measure on the opening cut, “Cook My Breakfast”, I knew I was in for an exceptional treat. I heard that smokey, old-time, dungeon-dark sound I have always associated with the ultimate blues band sound.

Tomcat has built an incredibly sensitive band to back him on this project. Everyone works together to create a blues collection based on the fundamental emotions of the blues. No one ever forgets that this is blues with a feeling, this is Tomcat's blues.

There are 12 tunes on this collection. Nine were composed by Tomcat. And just like the other traditional aspects of this CD many of the tunes are derivative of traditional tunes with a Tomcat twist and Tomcat lyrics. One cover is Tampa Red's “Cryin' Won't Help You”. This is an unusual treatment of this tune but it's solid, it works and it great. The other non-original, “Bottle It Up And Go”, is credited as public domain. Tomcat's version has a great rock to it and is just as smooth as the satin lining in Tomcat's fedora.

A real treat is the cover of Mance Lipscomb's “Meet Me In The Bottom”. This is where Tomcat's Texas roots become clearest. Definitely removed from the way Lipscomb did it but not so far that he wouldn't recognize it and, I think, Mance Lipscomb would heartily approve of the way Tomcat delivers this great old song from one of the old Texas songsters. Considering their relative ages and birth places it is not out of the question that Tomcat got this tune straight from Lipscomb. At least they both were drawing water from the same regional well.

Tomcat's promo describes him as coming from the Texas country blues tradition. This is not what a lot of folks these days think of as Texas blues. This is blues with a feeling. This is not chord shredding, gonzo-harping, dueling guitar, head-cutting, one-step from rock-and-roll stuff. This is pure, real, unadulterated, bump-and-grind jook joint material performed by a solid group of musicians who understand not to use 4 notes when one will convey the emotion best. Because, folks, blues is about emotion and Tomcat Courtney is about the blues!!!

-David N. Pyles

San Diego's hidden treasure is the probably the last living link to the Texas Country Blues of Lightning Hopkins and T-bone Walker. Tomcat gives that country blues roar and delivers the axe smooth and clean. Joined by longtime partner Chris James and Bob Corritore's harp, Downsville Blues is real history that lives with today. Courtney sings like you'd expect with seething emotion, deep throaty howls, brilliant phrasing and flowing like a river rhythm. There is laidback accompaniment on some of the cuts but the spotlight stays firmly fixed on the old feline, as it should. Delivered with a spare style filled with feeling, topical songs cry out with power and glory. Titler "Downsville Blues" recounts a visit home to a place that no longer exists while "Disaster Blues" relates Katrina the way only blues can. Courtney picks and slides, roars and croons and the window to way back when is thrown wide open. If acoustic country blues is your thing! 10 snaves

-Doc Blues

For years, I’d go to San Diego and ask my friends there who were the blues players in town that I needed to hear. Two names came up all the time, Len Rainey, who I’ve yet to hear, and Tomcat Courtney. I finally caught up with Tomcat at the third floor bar of the Redfish in the Gaslamp district, bought a couple of his self-produced CDs from him at the show, and I’ve been a fan of his ever since. So, I was glad to see that Tomcat finally got the chance to put out a national recording, and thanks to the good folks at Blue Witch Records, we’ve been blessed with Tomcat’s new record, Downsville Blues.

Tomcat starts out with “Cook My Breakfast”, and he wants it delivered in bed. Soulful notes emanate from Bob Corritore’s harmonica as Tomcat proceeds to lay down the facts, “Cook my breakfast…bring it on girl to my bed…when I eat this morning…you know your sweet daddy been fed.” The morning has to start with breakfast and Tomcat definitely knows how he likes it served. We move on to hear Tomcat tell us about his girl’s ride, “Four Wheel Drive”. “I can’t catch up with my baby….since that girl got that four wheel drive…I tried to flag her…but she just won’t let me ride!” Sounds like this relationship isn’t as tight as Tomcat thinks it is and his girl definitely has a mind of her own.

Intricate fretwork by Chris James leads us into the next tune, “Wolf That Howls”. “I’m the old wolf…everyone’s wondering…where I prowl…they don’t see me all day long…but every night they hear me when I howl!” True to his nickname, Tomcat still gets out and howls at night…still going strong at 79 years young. We should all be so lucky. “Shake It Up Baby” finds Tomcat still in the mood. “I say shake it to the left…shake it to the right…shake it up mama 'til you get it right…we’re going to shake it up, Mama…cause we’re going to have a ball tonight!” I’m not convinced Mama can hang with the Tomcat but I’m sure he wants her to try.

The tempo picks up as we hear Tomcat inquire as to where his woman might be in “I Wonder”. “Lord, I wonder…will I see her any more?” Soulful harp notes in the background underscore Tomcat’s desperation to have this woman come home. “When she left me…she must have left with someone else…and if she don’t come back to me soon…believe I’ll leave this house myself.” Up next is the title cut, “Downsville Blues”. “I was raised…in a shack…down by a railroad track…that old train came along…I boarded on…never looked back.” The house of Tomcat’s youth has since been torn down and he discovered that when he finally decided to make a trip back home to Lubbock, Texas. “I knocks on the door…old neighbor I used to know…he didn’t seem to recognize me no more…its been so long…since I’ve been back home.”

Our next tune, “I’m So Glad,” finds Tomcat in hot pursuit of the woman he loves. “I’m so glad, darling…girl, I had to run you down…I’m so glad, darling…I chase you all over town.” For the time they’re together all is good and Tomcat’s in love. “I’m so glad…glad you love me too.” All the chasing that Tomcat did was definitely worth the reward. “Disaster Blues” finds Tomcat bemoaning the fate of a stranger he’s just met. “I met a homeless man this morning….he was looking very sad…I lost everything in the world…everything in the world that I had.” A refugee from Louisiana, Tomcat’s friend’s fate was sealed during the onslaught of a hurricane. “You know the wind was blowing…the rain was coming down…you know the levee broke…and it flooded the low end of the town!” “Meet Me in the Bottom” finds Tomcat in a hurry to start looking for his woman who’s got a mind of her own. “I got a little bitty woman…you know the girl like to travel all the time….you know there ain’t no telling…what’s on my little girl’s mind…I’ve got to find my baby…I’ve got no time to lose!”

Slide guitar licks serve notice on our next cut, “Crying Won’t Help You”, that sometimes there’s just nothing that can be done to fix a broken situation. “Cryin won’t help you now, baby…cause you’ve been so mean to me…the way you’ve been treating me…you just reap what you sow!” This theme of mistreatment continues in “Bottle It Up and Go”. Sometimes it’s just better if things end and you move it on. “You and I sneak to the river…I grabbed an alligator and rode him like a hoss…bottle up and go. Man these high powered women, they got to bottle up and go!” Tomcat closes Downsville Blues with “Railroad Avenue”. Here again, a woman is causing ole Tomcat some pain. “They had a party the other night…they were drinking wine and smoking crack…when she get with her so called friends…you know it’s a shame….the way she acts.” This woman is just not going to meet up the standards of what Tomcat needs in his woman and its time to let her go.

Downsville Blues definitely captures the essence of the Tomcat Courtney I know. He’s still this old Texas gentleman, holding court in a room full of friends and taking great delight in sharing his 79 years of wisdom as only he can. Those in the know have been aware of Tomcat Courtney for a while now, the rest of us are lucky to get this rare glimpse into the soul of one of San Diego’s greatest blues treasures. An excellent supporting cast of Chris James, Bob Corritore, Patrick Rynn, Brian Fahey, and Willie “Big Eyes” Smith gives Tomcat the opportunity to do what he does best, which is to regale us with songs that share Tomcat’s world through his eyes. This wonderful record can be found at www.bluewithcrecords.com. You’ll be glad you’ve added it to your blues collection.

-Kyle Deibler