KVMR 89.5 FM’s Steve Cagle, whose show, Blues Spectrum, airs every other Sunday from 1 pm to 3 pm put Muddy Gurdy in his best albums of 2018 list, according to Nevada County, California, newspaper The Union.
French magazine Soul Bag Mag released its “Best of 2018” lists.
In the list curated by Stéphane Colin, Muddy Gurdy is represented in three categories! In the Albums of the year, in the Songs of the year with “Glory”, and in the Revelations.
Eric Doidy also put Muddy Gurdy, Hypnotic Wheels’ second album, in two lists: Albums of the year and Concerts of the year, for Hypnotic Wheels’ show at the Blues Rules Festival in Switzerland.
Three is supposed to be a charm. That is what Jacques Perin does by adding Muddy Gurdy in his Revelations of the year, for both the album and the live shows!
Find all the lists in the news (Actu) section of Soul Bag.
When the hurdy-gurdy meets the North Mississippi Hill Country blues…
The movie made by Yannick Demaison / Biscuit Production chronicles the amazing journey of a dedicated trio of French musicians (hurdy-gurdy player Gilles Chabenat, guitarist and vocalist Tia Gouttebel, percussionnist Marc Glomeau) and French sound engineer Pierre Bianchi. Their dream was to marry the haunting sound of the French hurdy-gurdy with the Hill Country blues of North Mississippi, which they did with guitarists and singers Cedric Burnside, Cameron Kimbrough, and Pat Thomas and fife player and singer Shardé Thomas, yielding the brilliant album “Muddy Gurdy,”
Released internationally through the VizzTone Label Group, Muddy Gurdy received critical acclaim and won the coveted Academie Charles Cros “Cri De Coeur” award.
Muddy Gurdy is one of the most exciting blues sounds today. Tia Gouttebel, Gilles Chabenat, and Marco Glomeau embrace and celebrate Mississippi Hill Country blues with special skill. Tia’s impressive guitar and vocals are complimented with Marco’s percussion and Gilles’s hurdy gurdy to deliver a powerful sound. Tia’s version of Jessie Mae Hemphill’s “She Wolf” is especially moving.
By William Ferris, American author and scholar, former chairman of the National Endowment for the Humanities, cofounder with Judy Peiser of the Center for Southern Folklore in Memphis, Tennessee.
NB: In 2019 William Ferris won two Grammy Awards for his Voices from Mississippi album: Best Historical Album and Best Album Notes.
How could anyone have imagined 50 years ago, when I made the first field recordings of R.L. Burnside and Otha Turner, that I would now be writing about some blues artists who traveled from FRANCE to make some field recordings of —and WITH— R.L.’s and Otha’s GRANDCHILDREN! The resulting album, Murdy Gurdy (titled after one of their instruments, a traditional French one called a hurdy gurdy), is so beautifully innovative that I have enjoyed listening to it repeatedly. Cedric Burnside and Sharde Thomas (and Cameron Kimbrough) were obviously inspired by this fresh approach to Hill Country Blues, and they sound great in these one-take, highly spontaneous recordings done on location (with rather more sophisticated equipment than I used in 1967). Since two other Hill Country artists I recorded back then, Fred McDowell and Jessie Mae Hemphill, had no grandchildren carrying on their music, the French trio, Hypnotic Wheels, recorded their own highly energetic and unique versions of “Shake ‘Em on Down” and “She Wolf.” Tia Gouttebel is the singer and guitarist, and may be the most innovative blues musician solidly grounded in tradition performing today.
By record producer and music historian George Mitchell.
George Mitchell has written several books, the latest being Mississippi Hill Country Blues 1967 which includes a collection of a hundred black and white photographs, released in 2013 by the University of Mississippi Press. Before, he published Blow My Blues Away (Louisiana State University Press, 1971), I’m Somebody Important: Young Black Voices from Rural Georgia (University of Illinois Press, 1973), Yessir, I’ve Been Here a Long Time: The Faces and Words of Americans Who Have Lived a Century (E.P. Dutton, 1975).
He also recorded numerous albums, which were released by Fat Possum, Arhoolie, Rounder, Testament, Hightone, Flyright, Southland and Swingmaster. Fat Possum has issued 26 CDs of field recordings known as The George Mitchell Collection.
‘Muddy Gurdy’ is een waar genot om naar te luisteren omdat het zo puur is en omdat het echt live is. Dit is de oer-blues. Het is ook mooi en boeiend om te ontdekken waar de latere Engelse blues zijn oorsprong vond. Je ‘hoort’ Rory Gallagher, John Mayall, Alexis Korner, The Stones, The Yardbirds, enz. enz.
Voor de echte blues liefhebber, die ook wat dieper wil gaan, is dit album een cadeau!
– By Bennuman, on Blues Magazine, from The Netherlands.
Which gives, in English: “Muddy Gurdy is a true pleasure to listen to because it is so pure and because it is really live. This is the original blues. It is also beautiful and fascinating to discover where the later English blues came from. You ‘hear’ Rory Gallagher, John Mayall, Alexis Korner, The Stones, The Yardbirds, etc. For the true blues lover, who also wants to go a little deeper, this album is a gift!
Muddy Gurdy was born when the French trio Hypnotic Wheels traveled to Mississippi to record a Hill Country blues album that included collaborations with the descendants of several North Mississippi legends. Muddy Gurdy wasn’t recorded in a studio. Instead, the band engaged in modern-day field recording using microphones and a laptop. The result is an album that sounds far more intimate than anything produced in a recording studio. On a quality sound system, Muddy Gurdy brings a back porch jam session into the listener’s living room. The performances are natural and spontaneous, with the various musicians playing off one another beautifully. Because Hypnotic Wheels includes a traditional French hurdy gurdy (hence the album name), along with guitar, percussion and vocals, they bring a unique twist to their take on Hill Country blues.
Cedric Burnside joins the band for a series of tracks recorded at Sherman Cooper’s farm in Como. On a cover of R.L. Burnside’s Goin’ Down South, Tia Gouttebel and Burnside trade vocals with ease. The droning sound of Gilles Chabenat’s hurdy gurdy adds a haunting ambience. A reading of Cedric Burnside’s own That Girl Is Bad kicks up the energy level. Guitars, percussion and hurdy gurdy all blend to create a sound that’s discordant but still grounded in North Mississippi’s trademark hypnotic groove. Sharde Thomas joins the band for a series of tracks recorded at Moon Hollow Farm. Her fife playing breathes life into a spirited rendition of Otha Turner’s Station Blues. While at Moon Hollow Farm, the band also recorded an intense performance of Junior Kimbrough’s Leave Her Alone. Cameron Kimbrough’s vocals drip with menace and paranoia, and his guitar licks add a dose of juke joint grit.
A pair of performances that feature Hypnotic Wheels unaccompanied by guest musicians demonstrates the band’s respect and devotion to Hill Country blues. The French musicians do justice to Jessie Mae Hemphill’s She Wolf and Fred McDowell’s Shake ’Em On Down. Tia Gouttebel is a standout —her voice has a natural depth and her guitar riffs seem to flow effortlessly. It’s great to hear a young group of European musicians exhibit such love and appreciation for traditional American music —Muddy Gurdy makes the sounds of North Mississippi fresh and exhilarating once again.
By Jon Kleinman. Read the review in the June-July, 2018, issue of Living Blues magazine.
Oh, boy. Just when you start thinking you’ve heard everything, somebody comes out of left field —or in this case la rive gauche— with a new angle on an old and familiar format. French trio Hypnotic Wheels […] uses a hurdy-gurdy as a second guitar that’s linked their traditional French music to north Mississippi hill country blues.
What’s a hurdy-gurdy, you ask? Good question. The band’s PR describes it thusly: “a classic hand-cranked, stringed instrument which is a kind of string section in a box.”
For Muddy Gurdy, the band went to Mississippi and hooked up with some descendants of hill country blues legends. Cedric Burnside, R.L. Burnside’s grandson, delivers a rousing version of his elder’s “See My Jumper Hanging on the Line” and the Muddy Waters classic “Rollin’ and Tumblin’.” Shardé Thomas sings and invokes the shade of her grandfather, Otha Turner, by playing fife on “Glory Glory Hallelujah” that’s made especially haunting by the hurdy-gurdy, which is the perfect instrument for these hypnotic, one-chord blues.
This CD is a real treasure of whose riches I can only mention a few.
By Miles Jordan. Read the full text on News Review.
French trio Hypnotic Wheels received the Charles Cros Academy Coup de Coeur award, on Wednesday, March 1, 2018, in the World Music Creations category, for Muddy Gurdy, their second album, released on February 2, 2018, by American label VizzTone. The ceremony was held during the Aah! Les Déferlantes! festival, in Portes-Lès-Valence, in the Drôme department in France.
Tia Gouttebel (guitar, vocals), Gilles Chabenat (hurdy gurdy), Marc Glomeau (percussion, background vocals) went to record the album in North Mississippi Hill Country and in the Delta during the Spring of 2017, accompanied by Pierre Bianchi (sound engineer). They invited prestigious musicians to discover the hurdy gurdy and play with them: Cedric Bunside, grandson of R.L. Burnside, Shardé Thomas, granddaughter of Otha Turner, Cameron Kimbrough, grandson of Junior Kimbrough, and Pat Thomas, son of James ‘Son’ Thomas.
The full palmares is on charlescros.org.
The Academy was created in 1947 in honor of Charles Cros (1842-1888), a self-taught inventor who was part of the pioneers in the world of the recording, who was also a poet, friend of Arthur Rimbaud and Paul Verlaine.
The specialists at the Academy listen, all year long, to the new releases as soon as they come out. Once a year, sometimes twice, they select discs which, according to themn “particularly deserve to be brought to the attention of the public.” With this precision: “Excellence of interpretation, innovative works, forgotten repertoires, new interpreting talents, audacity or editorial courage… are all taken into account” for the Coups de Coeur. These Coups de Coeur are automatically entered in the preselection of the discs submitted to the yearly Grands Prix (Grand Prize) Charles Cros, which have been presented since 1948.