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Review - "I Like It When They Call Me "Big Daddy!!"

Charles ‘Big Daddy’ Stallings “Call Me Big Daddy”. Tai Jeria 2012. He aquí a un auténtico bluesman de los de siempre, un tipo divertido, con gran sentido del humor y un carisma muy especial. Charles ‘Big Daddy’ Stallings es un cantante, guitarrista y compositor de mucha talla y peso, un músico con una excelente capacidad de comunicar, gracias a su manera de entender la música y de entretener al público. Su puesta en escena se muestra cercana al estilo del gran Bobby Rush, a quien me recuerda, no sólo en los conceptos musicales, sino también en la forma de conectar con el público. Este es, si no estoy equivocado, el cuarto álbum que graba bajo su propio nombre y francamente es una verdadera descarga de adrenalina, una bomba de relojería. Stallings y sus músicos se muestran imparables, con una fuerza expresiva llena de vida y super contundente. Los arreglos de metal son una máquina de fabricar soul, blues, funk y rhythm and blues del bueno, del de verdad, desprovisto de artimañas y artificios, en pocas palabras, a la vieja usanza. Tanto la sección de ritmo como el resto de los músicos que intervienen dan la réplica acertada y eficaz para que la voz de Stallings sobresalga con ímpetu y holgadamente, sin olvidar tampoco las voces femeninas de Nova Peele, Deletta Gillespie, Nadine Rae y Deborah Brown que ponen la nota sexy en algunas de las canciones del cd. Big Daddy es un músico contundente, de los que todavía impresionan por su capacidad de comunicar, divirtiendo a la audiencia con un torbellino de sonoridades festivas y alegres, llenas de tal dinamismo, que seguro os van a cautivar de principio a fin, no lo dudéis. MUY BUENO. Here comes a true genuine bluesman, a funny guy, with a real sense of humor and a very special charisma. Charles 'Big Daddy' Stallings is a powerful singer, guitarist and songwriter, a musician with a remarkable skill to communicate, thanks to the way he understands the music to amuse and captivate the audience. His show on stage is close to the one of great Bobby Rush, he always  reminds me, not only for the musical concepts, but also for the way he connects with everyone who comes to see him. If I am not wrong, this is the fourth album recorded under his own name and I can only say the album is a real adrenaline shot, a terrific bombshell. Stallings and his musicians do a rolling show, with a vibrant strong expressive force. Metal arrangements are a machine of producing true good soul, blues, funk and rhythm and blues, with no tricks and other artificial devices, in short words, like it was done in the old times. Both the rhythm section and the rest of the musicians involved give s successful and effective work to make Stallings’s voice comfortable and stand out with an amazing power. Also mention the female voices of Nova Peele, Deletta Gillespie, Nadine Rae and Deborah Brown who put the sexy note into the cd songs. Big Daddy is a hard-hitting convincing musician, who always impresses for his ability to communicate and please the audience with a whirlwind of festive joyful sounds, full of such a dynamic atmosphere, I dare say, will totally captivate you. GREAT!!

Review - "I Like It When They Call Me "Big Daddy!!"

 Featured Blues Review 1 of 5
Charles “Big Daddy” Stallings - Call Me Big Daddy
Tai Jeria Record Company / B-Town Records
20 tracks; 78:55 minutes; Suggested
Styles: Modern and Traditional Electric Blues, Funk, Soul Blues, Pop-Jazz, Southern Soul, Rhythm and Blues
The Blues world had to take serious note when Baltimore, Maryland’s Charles “Big Daddy” Stallings received a most meaningful honor of being featured in an article in April 2013’s “Living Blues” print magazine, Issue #224. Having been a fan of “Big Daddy” and his witty and devilish sense of humor and party music since 2004, I was tickled for him to be interviewed in depth by a magazine that prides itself on being “The Magazine of the African American Blues Tradition.” Just being featured shouts: This artist’s Blues are Real Deep, Real-Deal, and Real Good! Big Daddy has just issued his fourth CD, and all his albums feature only original songs.
Born on May 8, 1945 in North Carolina, Big Daddy was raised with 10 siblings on a poor working farm near Hobbsville NC. That locale is where he met a cast of characters who have appeared in many songs. Three of his four CDs contain tracks titled, “Hobbsville Blues,” “Hobbsville #2,” and from his latest, “Hobbsville #3, Parts 1, 2 & 3.” Check out Stallings’s story from “Hobbsville #3, Part 1” with the hilarious line from a local character named Emmett, drunk and facing harassment, “Don’t make me pull my .47 out in here. [Stallings, narrating above a killer Blues instrumental track, explains] Now, nobody knew what a ‘.47’ was.” Trust me, humorous lyrical surprises await on subjects like drinking, gambling, fighting, shooting, and other adult fun.
An Army veteran who played guitar in Germany while enlisted in 1967, Big Daddy is an accidental recording star, of sorts. He set out in 2001 just to record a CD while he still had chops to leave as a legacy for his grandkids to enjoy. The resulting album, “One Night Lover,” took three years to make while friends told him he was wasting his money, but it was an immediate hit with those who heard it. The title track got regional airplay and some satellite radio and internet play, including international. Another particularly popular song was “4 x 4 Woman” (“She’s 4 feet tall, 4 feet wide, and she weighs 400 pounds!” “She keep your refrigerator full of food/ in case she get in a snacking mood”). Realistically, Charles found that CD distribution for a self-release is always problematic, and putting together a profitable multi-state tour needed outside support, which was absent. Steadily making a good living driving a truck by day, Stallings has made music at night, gigging like all the other bands – catch as catch can.
Containing a surprising 20 tracks, the CD runs close to eighty minutes. Although all four CDs are studio productions, Big Daddy has presented the last three as though one is hearing a Blues-party-live-stage-show. With occasional canned applause, the band members are enthusiastically introduced, “I've got some heavyweight help this time.” Big Daddy gets a full production sound with eight band members and four female vocalists taking leads and harmonizing and by utilizing a mix of horns, bass-drums-percussion, guitar, piano and harp. Joining Big Daddy's vocals and guitar are Joe "E Flat" Thomas - alto sax, Nadine Rae - vocals, "Sweet, Sweet" Debbie Brown - vocals & background vocals, Nova Peele -vocals & background vocals, Deletta Gillespie - background vocals, Anthony "Swamp Dog" Clark - harp, Clarence Ward III - trumpet, flugelhorn & tenor sax, LeRoy "Hit Man" Flowers Jr. - bass, lead and rhythm guitar & background vocals, Gail Parish -bass, Steve Levine -harp, Michael Devilson -drums, Dawoud Said (piano), and "Fooman" Bill Pratt -strings, Rhodes & keyboards.
"Million Dollars" is a slower Blues song that has Charles and Nadine trading vocal jabs, with Charles adding hot guitar leads. Also Bluesy are “Beulah Mae” and the Delta Styled “Young Boy, Young Man” sporting incredible Blues harp from A. Clark. Two Funk tracks are the smile inducing "Boody Pop And Lock" and "Boody Pop And Lock # 2" with spoken, sung, and rapped vocals and cool backup harmony. A surprising Pop-Jazz instrumental is “E. Groove” with wordless vocal doo-wop scatting by Peele and Gillespie. Big Daddy’s best baritone vocals are heard in the Ray Charles inspired and (rare) serious themed “Don’t Cry.”
I have been reviewing CDs for fifteen years, and trust me, nobody writes lyrics, generates more fun, and creates music like Charles “Big Daddy” Stallings! While All musicians are unique, Charles “Big Daddy” Stallings is more unique that most. That is a good thing! The editors at “Living Blues” know it, and you should too.

Review - "I Like It When They Call Me "Big Daddy"

Charles " Big Daddy " Stallings
Call Me Big Daddy
Tai Jeria

Big Daddy , the lead singer and guitarist Charles Stallings comes from South Carolina . Growing up in a large family on a farm near Hobbsville , he had more than one child the opportunity to meet directly with the blues . Decided to share their experiences with the world in 2004 , when he released the debut album " One Night Lover" . From these early recordings it was obvious that his blues blues absolutely not sad or depressing . On the contrary, as seen in the fourth , this time the concert album, Music of the Great Dad exudes life satisfaction and great energy . From the first bars just heard and seen great joy that we derive from playing together all musicians . And this is no small team as the design of blues - soul should. We are dealing with the sextet , which in addition to classical composition guitar - bass - drums , we find a section of brass instruments and a great harmonica , supported by Anthony " Swamp Dog " Clark.
So playing disasters , such is the composition , with lots of elements of R & B, can be compared to with us to HooDoo Band or Dr . Blues Soul Revision. Composition James # 2 melee is dedicated to James Brown , so design is very similar . It can not be accused of neglecting a pure blues band ! Songs such as Beaulah Mae and Young Boy , Young Man speak for themselves . It's a real blues , served in the classic style , close to Chicago , where an important role is played by guitar lead. The times in which he shared the stage with blues masters such as Michael Burks , Pinetop Perkins , Hubert Sumlin and Bernard Allison has not been in vain . Today, Big Daddy , who moved from a small farm to the big city blues , enjoys a high reputation audience and the media. Big City R & B Magazine wrote probably the shortest , simplest yet to review artist as he could to get - "He's the real thing!" 

Review - "I Like It When They Call Me..."

Charles "Big Daddy" Stallings

Call Me Big Daddy

Eighteen songs, yes, eighteen, are on this fourth release from Mr. Stallings.  And all are written by Big Daddy himself.  It’s like getting two Big Daddy CDs for the price of one, which is a good thang!  So it seems fair that there should be two reviews.  

Cuts 2 – 10:  After the intro cut, in the title cut Big Daddy informs us that he “likes to make the little girls happy.”  Boody Pop and Lock open with the full horn section sound produced by only Joe “E-Flat” Thomas on alto sax, and Clarence Ward III on trumpet.  What a marvelous R & B groove that duo achieves here!  This groove continues on Boody Pop and Lock #2, with some of the lyrics presented rap-style.  This shows Mr. Stallings’ producer and arranger skills, in addition to his talents as a guitarist/vocalist/ and songwriter.

The instrumental Levine Boogie features two terrific harp players, guest Steve Levine, and Anthony “Swamp Dog” Clark who appears on six other tunes.  Beaulah Mae, which begins with a tasty guitar intro, tells us about a gal who chews no tobacco, dips no snuff, AND loves to play. The James Brown – inflected tune James # 2 is aptly titled.  The first half of this disc closes with the slow and loping Young Boy, Young Man, which features “Swamp Dog” Clark on harp throughout, and it also nicely opens with him.

Cuts 11 – 20:  Big Daddy’s story song, set in Hobbsville, North Carolina, is a trilogy on tunes twelve through fourteen.  In it we are told about some of the town’s characters, and their activities. This is a nice biographical sketch of a period in Big Daddy’s life that obviously made a lasting impression on him. One really feels transported back to that place and era as he shares some of his strong memories with us.  The honking horn of his current ride begins My New Chevy Van.  His happiness with having a new vehicle shines throughout.  City Life and E Groove are two beautiful jazz tunes, mostly instrumentals with some scatting on the latter number.  After introducing his band mates in the Outro, the disc closes, as perhaps do most of his live shows, with I’m G – O – N – E.

If you can’t catch Big Daddy in person, this CD will substitute nicely. Available at 

Cecil Davis - WNY Blues Society (Aug 26, 2013)

Review - "I Like It When They Call Me..."

 Because most of the bands I write these reviews for are from all over the world, I have never seen a large majority of them. For that same reason, other than knowing of them from their CD submissions, I've not heard of many of them as well. However, the music on all of them has been quite good and there are many that I would just love to be able to see live. "Charles "Big Daddy" Stallings is not just one of them but he is the one, out of all of them, that I'd most like to meet. Not because of his talent, his singing, his writing or his performance abilities - which are all top notch. I want to meet him because of his sense of humor, his attitude, his bizarreness and his fun, interesting and exciting ways of telling a story. The guy is a classic. I think the best way to sum him up is to say that if he was a TV show, he'd have to be on USA because that networks' motto is "Characters Welcome".

In case there's any doubt as to how many CDs Big Daddy's released and who's helping out with this one, Charles' intro to this one starts off with......"Hello World, I'm back with CD # 4....Y'all miss me? I've got some heavyweight help this time: Nadine Rae (vocals), Anthony "Swamp Dog" Clark (harp), "Sweet, Sweet" Debbie Brown (vocals & background vocals), Clarence Ward III (trumpet, flugelhorn & tenor sax), Dawoud Said (piano), Nova Peele (vocals & background vocals), Daletta Gillespie (background vocals), LeRoy "Hit Man" Flowers Jr (bass, lead and rhythm guitar & background vocals), Gail Parish (bass), Steve Levine (harp), Joe "E Flat" Thomas (alto sax), Michael Devilson (drums), and the name of this CD is (I Like it When They) "Call Me Big Daddy......Let's go to work". {Not verbally mentioned is "Fooman" Bill Pratt (strings, Rhodes & keyboards) and of course, Big Daddy's on vocals and guitar}.
As with all of his releases, (I Like it When They) "Call Me Big Daddy", features all original music - and lots of it. The disc contains 20 tracks, totaling close to eighty minutes of all kinds of fun filled music.
On "Boody Pop And Lock" there was just so much goin' on that it had to run into the next track, "Boody Pop And Lock # 2". These are two of the discs funkiest tracks. Together they combine lots of great dance...excuse me, boody popin' music, cool spoken, sung and rapped vocals with great backup harmony, blaring horns, smokin' rhythm and a whole lot of sass.
"Million Dollars" is about as close to a traditional blues song that this very nontraditional bunch get. Charles and Nadine do a hell of a job vocally, with Charles getting in several scorching guitar leads and Clarence and Joe providing some beautiful, sultry horn accompaniments.
So the harmonica player on this one is Steve Levine and the song is called "Levine Boogie".....need I say more? Of course not - It's just what you'd expect - nearly five minutes of Steve blowin' his brains out on the harp with the rest of the guys goin' as crazy as he is.
Deviating from his whimsical story telling vocal style, Bid Daddy sings his heart out on "Don't Cry". The sincerity and pain that can be felt through his singing tell as much of a story as the songs lyrics. Then, as if throwing salt into his wounds, Deborah - as the woman causing his hurt - starts loudly ridiculing him as he puts forth his feelings. Possibly the discs best song and easily it's most heartfelt.
"E. Groove" is one of the more serious and possibly the most beautiful tracks of the lot. It's a relaxed semi-instrumental shuffle that features "Big Daddy" softly strummin' the guitar while being backed up by a soothing rhythm. What actually makes the track are the wordless vocal improvisations being performed by Nova and Delleta. Wanting to hear much more of this harmonious Doo...Doo Doo....Doop Doop Do Do Do....Wop...Woop Woop Woo Woo...Bomp Bomp Bomp Wee Oooo, I replayed this one at least a a dozen times. Great Stuff!
The "Outro" is a smoker that leads into the closing track. The band is once again being introduced but it's happening while they're in the midst of an all out jam with boisterous cheers coming from the obviously very happy crowd.
Just as he did on his energized introduction, Big Daddy spends another four minutes saying good-bye on the closing track appropriately called I'm G-O-N-E gone. This time instead of shouting out band member's names he's shouting out cities around the country as he individually tells them he's G-O-N-E gone. It's actually quite a good track with heavy duty rhythm comin' out of LeRoy and Michael with the "Swamp Dog" blowin the hell out of the harp.
The rest of the songs would take forever for me to tell you about. They're all cool and apparently real stories about a bunch of friends and acquaintances (all characters, of course) of Big Daddy. They're about drinking, fighting, shooting, laughing, crying, gambling and a whole lot more. They include: "Call Me Big Daddy", "Lost And Found" "Beaulah Mae", "James #2", "Young Boy, Young Man", "Bunny Hop", "Hobsville #3 Part 1", "Hobsville #3 Part2 (O.C. Hoffler)", "Hobsville #3 Part 3 (Bonny Lee's)", "My New Chevy Van" and "City Life".
I strongly suggest you visit Charles "Big Daddy" Stallings at and in addition to looking into getting your hands on some of his music, should you live in the D.C / MD area, look at his schedule as well. As I said earlier, this has to be one hell of an act to catch live. If you go, walk up to him and tell him the Blewzzman sent ya.


Review - "I Like It When..."

When you’re done listening to the soul blues music of this down home and eclectic LP, one can feel the joyful spirit in which the work is accomplished so much it inspires a contagious good feeling impression.

The seasoned mastery of the Boss is indisputably felt throughout the twenty tracks of this A sagacious bandleader Charles "Big Daddy" Stallings first strikes up his band calling each musician under his command. No doubt, this singer and guitar player from Baltimore runs a small company of a dozen instrumentalists and vocalists.  This is his fourth opus since 2004.

"Big Daddy" tells naughty, sentimental or urban stories with consummate art, sometimes with a string of songs as parts of a long story. He is at the top of his game in “Million Dollars”, a delectable blues duet with Baltimore’s own powerful blues singer Nadine Rae who reminds us Big Maybelle.

Though one feels a small inflection of intensity towards the end of this opus, we acknowledge that "Big Daddy" much deserves a higher appreciation and recognition on our continent he has already toured in the 60’s both as soldier and musician, as photographs included in the liner notes show evidence.

En patron avisé,

Charles “Big Daddy”

Stallings commence

par faire l’appel de

tous ses musiciens.

Il faut dire que ce

chanteur et

guitariste de Baltimore règne sur une petite

entreprise d’une douzaine d’instrumentistes et

choristes. À n’en pas douter, on travaille dans

la joie tant cet album de blues soul – down

home et éclectique à la fois – dégage une

impression de bonne humeur contagieuse. Le

savoir-faire du boss est incontestable au long

des vingt titres qui jalonnent ce quatrième

opus depuis 2004. Big Daddy raconte avec un

art consommé des histoires coquines

urbaines ou sentimentales, parfois sous forme

de suites. Il est au sommet de sa forme dans

Million dollars, un délectable duo blues avec

la puissante chanteuse Nadine Rae qui

rappelle un peu Big Maybelle. Malgré une

petite baisse de régime vers la fin de l’album,

Big Daddy mérite une reconnaissance plus

grande en particulier sur notre continent qu’il

a déjà parcouru dans les années 1960 en tant

que militaire (et musicien !), comme en

témoignent ici des photos insérées dans le

Claire de Lune - Blue Moon Radio (Univ.of South Carolina, WUSC) (Jun 25, 2013)

Review - "I Like It When They Call Me..."


Although he likes to portray himself as a good-timey, shuffle-heavy party man, Baltimore-based Charles Stallings (featured in LB#224) is much more than that.  On such outings as the Godfather of Soul tribute James#32, the breezy pop-jazz instrumental E. Groove, and the somewhat incongruous light-funk/rap/southern soul melange Boody Pop and Lock (Nos. 1 and 2), he demonstrates an admirable stylistic range.  Young Boy, Young Man finds him in a neo-Delta groove, powered by Anthony "Swamp Dog" Clark's rootsy harmonica warbles.  He affects a neo-Eckstine/Hartman/Rawls croon on the horn-sweetened ballad Don't Cry (obviously inspired by Ray Charles' Don't Let The Sun Catch You Crying): his three-part tribute to North Carolina juking (hobbsville, Pts 1,2,and 3), conversely returns him back down home. 

     Stallings sings in a powerful but unforced baritone-even on barnburners,rather than shout over his band's accompaniment, he like to find a niche somewhere beneath the tumult and inhabit it.  He has crafted this CD to evoke an all star stage revue-it features no fewer than four women guest vocalist in various combinations, both solo and in close-harmony tandem, and several tracks are enhanced (or perhaps marred) by a faux "live" audience.  

     Over the course of 20 tracks, Stallings sometimes seems to lose his stylistic focus, confusing hit-and-miss dilettantism with true versatility (the sophisticated-pop instrumental City Life, though seasoned by some attractive solo work from pianist Dawoud Said, tenor saxist Clarence Ward lll, and Stallings himself on guitar, sounds more like a backing track in search of a vocal than a fully realized effort).  But, as is often the case when a talented artist reaches for a little more than he can easily carry, there's plenty to savor here on a track-by-track basis.

David Whiteis - Living Blues (Jun 20, 2013)

Review - "I Like It When..."

Daddy- Charles Stallings, Sr, Columbia, South Carolina, growing up with his
10 brothers on a farm in Hobbsville, North Carolina. For Charles
the blues music every day an escape from the daily grind.
He does his military service and is interested to become a musician. The
first blues song he learn to play for his move to the big
Baltimore city on the East Coast in Maryland, is? Big Boss Man? Jimmy
Reed. In 2004 he released his first album? One Night Lover? out. ? Big
Daddy? has since worked with Michael Burks, Pinetop
Perkins, Hubert Sumlin, Bernard Allison, Magic Slim,? The Holmes
Brothers?, Mark Hummel? His purpose is to every performance with his? Bluez
Evolution Band? the? ultimate blues party? do take place.
The fourth album? Big Daddy? ? (I Like When They?) Call Me Big Daddy?
has no fewer than twenty tracks,? Intro? And? Outro? included. Charles
Sr. Yards. does it with style and class, especially with lots of love
for his music. In the line up many names and strikingly ladies? (And
they can sing too!) The regular musicians around? Big Daddy? on this album
are LeRoy? Hit Man? Flowers, Jr.. (Bass, rhythm guitar), Michael Devilson
(Drums) and Anthony? Swamp Dog? Clark (harp). As mentioned the ladies. This
are Nadine Rae (vocals), Nova Peele (backing vocals, vocals), Deborah
(Debbie) Brown (backing vocals, vocals) and Deletta Gillespie (backing
vocals). The finishers in the show are the blowers Joe? E Flat? Thomas (alto
sax) and Clarence Ward III (trumpet, tenor sax, flugelhorn? bugle). Late
we start the party because? Big Daddy? is? back and this number is
After the intro, the title track immediately as opener. Joe Thomas? alto sax
hums cozy, Nova Peele chuckles along and the trumpet of Clarence Ward
III is clearly blown. I'm apparently not only happy with?
With a baritone voice, caliber of the Southern blues man Big Georges
Jackson, it immediately goes in the same mood continues with three? Lost And
Found?. It is soul and Motown with the first time? Rushed you to the
dance floor? duo? Boody Pop And Lock # I & # 2?. Both numbers run
silently into each other. The blowers are funky and the duo Nova Peele and
Debbie Brown do great backings: boody pop-pop-pop! Besides this duo is
there is also a trio, with the numbers? Hobbsville # 3 Part 1, 2 & 3?. Part 1 of
This trilogy is a peaceful country slow blues. Daddy does the story
of his youth and of his friends, who clearly already more
experience (s) have. As the story progresses, the pace increases. In
Part 2 tension rises with OCHoffer and at the end of Part 3, the
bullet through the church, because there is a party at? Bonny Lee?. ? Big Daddy? late
also like his influences and preferences appear. There is first? James # 2?.
This is funk as instructed in the booklet? Sexmachine?
James Brown. Or, as the Daddy says:? We handle Mr.. James?. Get up,
get up man, I feel like being a? And then flirt Stallings also with
Another legend in 10? Young Boy, Young Man?. The song is a slow
harmonica blues and Muddy Waters? ? Hoochie Coochie Man? alike. Anthony
Clark swampt out here category and with great class! With? Big Daddy? is
also repeatedly dance time. Slow time is cent.6? Million Dollars?, A
slow blues or 15? Don? t Cry?, a ballad with a lot of soul, sadness
and emotions. ? Big Daddy?, Experience as he is, also calls for due attention
for his guests. 7? Levine?'s Boogie? is a harp and boogie with guest
harmonica player Steve Levine as leader, in his duel with the other
harpist Anthony? Swamp Dog? Clark. 11? Bunny Hop 2012? it is then again
different with funk, R & B and hip hop. For lovers of jazz and more
grooves is 17? CityLife?. We get a pretty jazzy interlude on piano
with Dawoud Said. 18? E. Groove? is also very jazzy and groovy guitar by the
and doobie-doobie-doo-ba?'s choir of the Nova & Peele Deletta
Gillespie. Ladies, that's what it does in this album somewhere. 8? Beaulah
Mae? is uptempo blues, but beware you count for Lady Mae, as she puts
the lines! And then there's still 16? My New Chevy?, A slow rock and
very funny, the dialogues? Big Daddy? with Nova Peel and
choir. And then, when Charles? Was Big Daddy? Stallings? G-O-N-E, Gone?
My hat off to Charles? Big Daddy? Stallings Sr. and for his? Call Me
Big Daddy?, Because this is an album to put everything once. Upon your
Stallings knows his craft and is the man who unwittingly and completely in the
brings mood. It is good to know that this kind of musicians yet.
Do not hesitate if you get the chance to buy this album or a
to enjoy great show

Review - "I Like It When They Call Me..."

SO NOW, ladies and gentlemen, it is star time! Are you ready for star time? (Cue fanfare and cheering crowds.) Another night at the Apollo? Not quite.  But the hardest working man in Maryland show business- the star of our show, Charles Stallings in all of his Big Daddiness- is bound to make you shout and shimm-may.  "Call Me Big Daddy", his fourth studio album with an under-the-spotlights persona, does break a James Brownian sweat just to ensure your good time.  In the biz, that's known as let's-give-'em-a-show showmanship.  He is Baltimore's Mister Dynamite; our own Bobby Rush.  Raised on an early diet of Jimmy Reed down in little ol'Hobbsville, N.C., Poppa got a brand new bag after migrating north in the late 60's.  All that funk'n'soul had seeped in from over the AM airwaves bestowing Stallings (now closing in on 70) with a style as fly as his wardrobe.  But that XL-sized personality needs more than his trusty old guitar for partying.  He also needs a small army; slammin' band, poppin' horns, harem of singing soul sisters, sound effects man (in charge of the cheering crowds, etc).  Unsure of which direction to commit to, "Big Daddy" takes them all: big-leg blues ("Beaulah Mae"), a dash of J.B.-dedicated funk, some talking blues ("Hobbsville#3", Parts 1-3"), the doo-doo-doo'ing "E Groove."  And, of course, frisky fun which uses multiple codenames for wink, wink: "Bunny Hop 2012," "Boody Pop and Lock (Parts 1 and 2)."  Even "My New Chevy Van" has ulterior motives.  for this much entertainment value, a cover charge should be tacked on.    


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Charles "Big Daddy" Stallings "I Love It When They Call Me 'Big Daddy'" (USA)



There are a few artists for whom I really get excited when I find their newest CD in my mailbox, perhaps no more so than for Charles "Big Daddy" Stallings, whoms music over the last few years, has become some of my absolute favorite. Charles "Big Daddy" Stallings newest release, "I Love It When They Call Me 'Big Daddy'", is described as a "Bluesical Journey" from Tobacco Road to the Fast Lane of the Urban/Boogie Boulevard" and marks the 3rd of his 4 releases, I have received, and I couldn't be happier to slip this "Good Time Bluez With A Twist!!!", CD into my player.

"Hello world... I'm back with CD Number 4", is how Charles "Big Daddy" Stallings, starts off this killer 20 Track album, that will keep you hopping for 78 minutes, which is twice as long as a fair number of new albums out there nowadays, and believe me when I say you will get your moneys worth with every second of "I Love It When They Call Me 'Big Daddy'".

As always Charles "Big Daddy" Stallings, shows off not only his immense talent as a Guitarist, but also his immense talent as a Songwriter, as all 20 of the Tracks were written, arranged, and produced by Stallings. Of his songwriting, Blues Blast Magazine wrote, "Nobody writes lyrics and songs that generate more fun than "Big Daddy" Stalling", a statement which could not be more true.

A tradition of Charles "Big Daddy" Stallings, since he started recording in 2004, has been to always include, local and regional artists and guests, and for "I Love It When They Call Me 'Big Daddy'", he once again chose a magnificent lineup, which included, Anthony "Swamp Dog" Clark (Harp), Leroy "Hit Man" Flowers, Jr. (Bass Guitar), Michael Devilson (Drums), Joe "E Flat" Thomas (Alto Sax), Steve Levine (Harp), Clarence Ward III (Trumpet), Dawoud Said (Piano), "Fooman" Bill Pratt (Strings/Rhodes/Keyboards), Nova Peele & Deletta Gillespie (Background Vocals), Nadine Rae (Lead Vocals on Track 6 "Million Dollars), and Debbie Brown (Vocals). Throughout the album Stallings acts as Ring Master, as he makes a point to introduce the great Artists and Guests.

Picking favorites off of "I Love It When They Call Me 'Big Daddy'", was not an easy task, as each song came wrapped in it's own little special package of sounds and experiences, never the less, here are 3, Track 3 "Lost And Found", Track 7 "Levine Boogie", and Track 9 "James #2".

For my first favorite, I almost chose Track 2 "Call Me Big Daddy", which essentially had a similar sound to "Lost And Found", but the selling point for me was the Harp playing of Anthony "Swamp Dog" Clark that kicked in around the 1:00 mark and brilliantly accentuated the remainder of this gem of a song.

Since I really love listening to great Harp work, Track 7 "Levine Boogie", was a shoe in as my next favorite, as it not only featured Anthony "Swamp Dog" Clark, but also Steve Levine on Harp, with both these masters joining in together at the end to just kill it. Man was this one a great one. A Harp lovers dream come true.

Whenever you have the word James in a song title, more often than not, it refers to the Godfather of Soul, James Brown, and sure enough that is whom, "James #2", a little treasure of a tribute is dedicated to. "James #2", starts off with a great Funky James Brown beat, as Stallings introduces the performers on this track, and then takes us on a trip to James Ville. Lots of great work on this one from Clarence Ward III and backing Vocals from Leroy "Hit Man" Flowers, Jr. A great Track that I'm sure James Brown would of been very flattered to have heard.

Throughout the 3 Albums I have heard from Charles "Big Daddy" Stallings, one thing has remained a constant, and that is the inability to say one was better than the other, because they are so consistantly well written and performed, but another thing is a certainty when it comes to Charles "Big Daddy" Stallings and the albums he releases, and that is that they are, without a doubt, absolutely great, with "I Love It When They Call Me 'Big Daddy'", being the latest proof of that.

Review by John Vermilyea (Blues Underground Network)


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Review -"Blues Party"

Charles 'BIG DADDY' Stallings gee what a name! 'Blues Party' his third CD, hits the mark with some fine songs and mighty fine singing. This man's tonsils are the voice of experience, rough edged yet curiously wholesome and coupled with some gorgeous slices of deep blues guitar makes an impressive combination

Blues glues this together but it's also got a strong soul vibe to it. Such as 'I Wanna Dance' which grooves along merrily in Al Greene-esque fashion with a phat horn section that reminds of happy days coming out of 'Muscle Shoals'. There's definitely nothing wrong with this guy's mojo, Stallings is in a strident mood and you can't help raise a smile when his earthy lyrics and blistering guitar kick in. Tell it as it is Big Daddy! A stonking band adorn this radio friendly album too, and I for one hope he comes to the UK real soon.
Words Emrys Baird

Review -"Blues Party"

Charles ‘Big Daddy’ Stallings “Blues Party”. Tai Jeria Music 2009. Estamos frente a un auténtico bombazo. Big Daddy es un bluesman de la vieja escuela, pero con la pulsación y la chispa de los creadores contemporáneos. Cantante vistoso, elegante pero a la vez duro, áspero, eficiente y muy efectivo, nuestro hombre tiene todo lo que se debe pedir a a un auténtico exponente del blues sureño. Stallings despide feeling y energía por todos los poros de su piel, para mi ha sido toda una sorpresa encontrar a un tipo de este calibre, sobre todo en estos tiempos que corren, donde la música es en su mayoría prefabricada. De cualquier forma nuestro hombre no es un novato pues, si no estoy equivocado, este es su tercer disco editado en el mercado Sin duda alguna debemos referirnos a él como uno de los grandes baluartes que todavía conservan la esencia del blues primigenio. Un gran disco donde el blues se expande contagiando al oyente en todas y cada una de las notas musicales que van sonando a lo largo de los diecinueve temas que se incluyen. Blues de arriba abajo, contundente y sin concesiones, a cargo de un cantante y unos músicos que responden perfectamente entregando lo mejor de sí mismos. MUY BUENO. This cd is a real hit. Big Daddy is an old school bluesman with the beat and wittiness of contemporary artists. Colorful, elegant but at the same time hard rough singer with an efficient effective displaying, our man has all what should be asked to a genuine Southern blues artist. Stallings oozes energy and feeling by every skin pore and it has been a surprise for me to find a musician like him, especially in these days where music is largely manufactured. Anyway, our man is not a new comer, because if I'm not wrong, this is his third album already published. We should certainly consider him as one of the greatest strongholds that still keep the genuine blues essence. A great album where blues expands to catch listeners with every single note of the nineteen songs included. You will only find true powerful effective blues, performed by a singer and a bunch of musicians who give the best of themselves. GREAT.

Review -"Blues Party"

"Big Daddy" Stallings is back on the bandstand with another set of good time tunes with his latest release "Blues Party." Charles Stallings is the real deal blues man brought up on a farm in Hobbsville, North Carolina with 10 brothers and sisters before moving to Baltimore, Maryland.  Charles Stallings has remade himself as "Big Daddy" singer, guitarist and bandleader, releasing the CDs "One Night Lover" in 2004 and the "Blues Evolution" in 2007.  The national spotlight came his way at the International Blues Challenge in Memphis, Tennessee, where he's represented both he Baltimore and the D.C. Blues Societies.  

Now living in Baltimore, Maryland, "Big Daddy" has brought us another party platter of 19 tunes he's written and produced with the small band of Gail Parrish or LeRoy Flowers on bass, Russell HaywardII or Bill Pratt beating the drums, and occasionally Steve Levine blowing harp.  As the party cranks up, a big band of horn joins the ruckus.  Joe "E Flat" Thomas plays alto sax and writes the arrangements with "Big Daddy", Clarence Ward and Kelvin O'Neal blows trumpets and Jacky Harriston or Bill Pratt play keyboards.  

You don't need an invitation for this "Blues Party"; just hit "play."  Big Daddy introduces himself, backed up by Mark Wenner from the Nighthawks on harp, as the big band jumps in for the title tune with Steve Levine's harp blowing along with the horns.  The horns take a breather as we go "Down on the Farm" with Mark Wenner's harp and Big Daddy's guitar telling this tale.  The salacious "Horny Bee" spreads his honey around till all the young girls are "Knocked Up!" - sadly true in many communities.  It's a "Doggone Shame" features Steve Levine's harp.  

The horns come back for the remainder of the party to play "I Wanna Dance" with some "Latin Girls" put some "Blues in Your Funk" and play a "James" Brown tribute.  Even the "Old Folks" are feeling frisky and Grandma is after "The Lucky Number."  Those "Fine Lady"are dancing doing the "Swing 2010" till the sun comes up and then "She's Gone"and the "Old Dog" is left sitting on the porch.  This "Big Daddy" isn't just about a good time.  When he wakes up in the morning, gets the kids off to school, goes to work everyday to pay the bill, but he may end up being "In Love By Yourself."  Stalling is a gentleman to the end, finishing this recording with a "Thank You" to all the players that made this possible.  

Charles "Big Daddy" Stallings is a rare find in these times, a man who's comes up from the cotton field to the big city and his "Blues Party" qualifies as the real thing.  Some people can wear a fancy hat and talk the talk but Charles "Big Daddy" Stallings has the blues to back it up. -    

Review - "Blues Party"

Charles Stallings
Charles "Big Daddy" Stallings
"Blues Party"
Tai Jeria Records

By Peter "Blewzzman" Lauro, © November 2010

Charles "Big Daddy" Stallings, sure knows how to have a good time....and produce a CD while doing so. He just gathers a bunch of the DC area's best musicians and gets them to carry on with.....I mean perform with him on his humorous, raucous, racy, sometimes heartfelt and always interestingly written songs. Ultimately, it ends up being a party - a "Blues Party".

On "Blues Party", his third release, Charles "Big Daddy" Stallings - on guitars, vocals and backup vocals - is joined by a crowd he calls The Blues Evolution Band. They are: Mark Wenner and Steve Levine on harp; Gail Parish and Ronald Bland on bass; Joe "E Flat" Thomas and Carlos Johnson on sax; Clarence Ward III and Kelvin O'Neal on trumpet; Russell Hayward II on drums; Bill Pratt on drums & Keyboards; LeRoy Flowers Jr on lead guitar & bass; Jacky Harriston on organ; Wayne Johns on guitar; and Milvia Hernandez on screams & Latin girls sounds.

The disc opens with an intro featuring Mark doing a slow, soft harp solo while Big Daddy emphatically, and proudly, announces "I'm Charles "Big Daddy" Stallings and I approve these blues. Right back atcha with CD # 3, enough music for 2 CDs. Join me now as we go down Hobbsville, North Carolina and get ready for a blues party....c'mon".

Now it's officially party time. The rhythm section kicks in, the harp's switched hands and Steve's taken it from slow and soft to hard and rough, the horns starts wailing, Milvia's screaming away and Big Daddy's shouting out to everyone. Yes siree, this "Blues Party" is underway.

It takes a "Fine Lady" to get Big Daddy to quit fooling around.....well at least a little bit. This somewhat traditional track features him singing his heart out and getting down on the lead guitar. Hot rhythm from Gail & Russell and equally hot wind from Joe & Clarence fuel this one.

"Swing 2010" is a jammin' instrumental. With Gail & Russell again setting the pace, the three piece horn section lights this one up. Several lead solos bouncing back and forth between Clarence's trumpet and Carlos' sax, along with another from Jacky on the organ, make this one of the discs best.

Now that "She's Gone", Big Daddy's got the blues.... man has he got the blues. This one's all him. As he begs for mercy, it's obvious his emotions are coming from his heart... vocally and musically. Pure, unadulterated blues - just the way I like it.

Big Daddy's feeling soulful and the band's feeling funky on "James" - a tribute to the late, very soulful, and very funky James Brown. Of course, where there's funk, there's rhythm and horns and this one's loaded with both. Great trumpet and sax leads from Clarence and Joe.

As the intro stated, this disc does have enough music for two discs - nineteen tracks to be exact. They include: "Horny Bee", "Down On The Farm", "Knocked Up", "Old Folks", "Doggone Shame", "In Love With Yourself", "Icon Introduction", "The Lucky Numbers", "I Wanna Dance", "Latin Girls", "Old Dog", "Blues In Your Funk", and "Thank You".

Having written about all three of Big Daddy's discs, I'm beginning to feel like part of the band. I hoping disc four has a spot for a foot tapping knee slapper... I can do that. Maybe while you're at looking to pick up a disc, you'll let the big guy know the Blewzman's available.

Peter "Blewzzman" Lauro, © November 2010

Peter 'Blewzzman" Lauro
Blues Editor @

Review - "Blues Party"

Review -"Blues Party"

I usually don't get too excited when I receive a CD for review, but OMG, this one blew me away.  This was my first introduction to Charles "Big Daddy" Stallings and I had no idea what to expect.  The CD, "Blues Party", loaded with nineteen cuts, including a few band intros.  Besides the true blues cuts, this thing is loaded with funk, groove, soul, Latin rhythm, swing, R&B, and even a beach music cut, all with a blues overtone.  From the time the CD opens where he announces in his opening intro, "I'm "Big Daddy" Stallings and I approve these blues," it never lets up.  

Born in Columbia, S.C and raised on a farm in Hobbsville, N.C, music became his life.  He eventually moved to Baltimore, MD and performed in local R&B and jazz bands while recording his own blues CDs.  This one is his third release.  His horn section is one of the tightest I've heard in ages and his harp player is top-notch. 

Some of my top picks are the title track "Blue Party," the swinging number "Swing 2010" which really shows of the horn section, the really runny "Old Folks," the super funky tribute to James Brown "James," and another funky tune "Blues In Your Funk." This is just one good time CD, folks.  I give it Five Stars Plus!  Go out and pick this one up.  After track one or two, if you're not grinning ear-to-ear and tappin' your toes, there's just somethin' wrong with you.  

Review- "Blues Party"

The wonderfully named 'Charles 'Big Daddy' Stallings has appeared on these pages in the past. He has three albums to his name, which appeared in 2004, 2007, and now this release on the independent Tai Jeria Record Company label. Although a lot of folks out there knock the Internet, with it's pastuerisation and homogenisation of the musical genre, one great string to it's technological bow, is it does bring folks together. The label is based in Baltimore in Maryland, and would have, probably, never made it to the U.K. shores had it been released 30 years ago. Thesedays, although in my books vinyl is still king. I have just about been won over by CD, and the PR folks at Tai Jeria Music kindly sent me over this album, which has some liner notes, which all go to help the listener get to know the artist a little more. It's here where mp3 is left wanting, although that format has it's place I guess. Big Daddy's albums don't always appear to be what is on sale to the customer. A shelf stacker in the music department at your local store, would put this album (just by looking at it) on the same shelf alongside Muddy Waters and the real Blues guys. In many ways, this album has more in common with the likes of the late Bill Coday and Johnnie Taylor. Going straight for the jugular, the song 'I Wanna Dance' is an absolute Southern Soul classic. If the aforementioned Bill Coday's tune 'I'm In A Midnight Mood, In The Middle Of The Day' did it for you, then so will this cracker of a song. Almost distracted me from a very fine album, and an improvement on the last Big Daddy release. Charles' delivery is best described as 'charming'. There is an almost innocence about his music, which is completely unpretentious. It is what it is. The man delivers 18 slices of Southern Soul at it's finest. 'James' brought a real smile to my face, as this is the man paying homage to the Soul Brother No.1. Charles dips into Jazz and the real Blues genres throughout an album which really was a refreshing set, juxtaposing the larger label converyor belted-out output. Check 'I Wanna Dance' at Amazon. It won't disappoint. With reference to Peter Young at Jazz FM's excellent Soul Cellar, this is Cellar with modern Soul sensibilities. Nice album Charles.

Review -"Blues Party"

Charles "Big Daddy" Stallings describes his music as "Good Times Blues With A Twist."  This South Carolina - born singer/ songwriter/ guitarist was raised in North Carolina and settled in Baltimore, Maryland.  His music is highlighted by ultra catchy rhythms and a magnificent guitar tone.  Exuberant horns are a staple of his urbane band and provide the pulse for the songs.  This CD, his third, was recorded with the six core members of his Bluez Evolution Band. 

     The 80-minute all -original disc plays like a radio program, with spoken introductions and smooth transitions connecting songs, just as you'd expect to hear from an experienced disc jockey.  On the lead-off title song, Stallings enthusiastically declares, "there is gonna be a thrill on the hill," and you know this is going to be a serious electric blues bash. 

     The multipurpose band performs more than electric blues.  The infectious "Swing 2010" is an R&B instrumental featuring Clarence Ward III blasting his trumpet into the stratosphere along side Carlos Johnson's killer sax solo which is also classy and sexy while Jacky Harriston's organ whirls on "The Lucky Number."  These brass-touting artists give the famed New Orleans brass bands a run for the money. 

     Sexual innuendo arises more than once, as in "Horny Bee" where a gun shoots honey.  Here Leroy Flowers Jr.'s sweet lead guitar stings with penetrating notes that permeate the main melody.  The lyrics are graphic enough on "Old Dogs" to convey that Grandpa needs Viagra.

     Stallings' vocals are the most expressive on the rockin' "She's Gone".  It's good to hear them being stretched and challenged because overall they do not receive the same workout as his guitar receives.  Russell Hayward has better sounding and better played drums, with Bill Pratt's drum cymbal crashes suffering from a tinny sound. 

     Stallings and his band of revelers know how to play off each other while improvising.  They all prove themselves to be professional and experienced musicians.  Whether by intent or accident, the variations in the songs seem natural.  Yes, the blues songs are basic, and their melodies are repeated too many times, but the CD is what good independent music should be.  Stallings will cause you to open your ears, sit up, and take notice.  Many bands claim to combine soul, blues and funk; Stallings prefers to perform them separately.  Best of all, he performs all styles equally well.         

Tim Holek - Living Blues

Review - "Blues Party"

 Featured Blues Review 1 of 7

Charles “Big Daddy” Stallings - Blues Party

Tai Jeria Record Company

19 tracks; 79:57 minutes; Suggested

Styles: Traditional Blues, Contemporary Blues, Soul-blues, Funk, Swing, Latin

If you want a shot of Whiskey, you gotta go to the still.
If you want a drink of water, you go to the well.
If you want to hear it from the horse’s mouth, you gotta go to the horse.
If you want a “Blues Party,” you gotta go to the source!
.....And, the source is Charles “Big Daddy” Stallings.

I have been reviewing CDs for twelve years, and trust me, nobody writes lyrics, generates more fun, and creates songs like Charles “Big Daddy” Stallings! His witty and devilish sense of humor is a big part of the party. For example, sample these lines from his first two albums:

* “She’s 4 feet tall, 4 feet wide, and she weighs 400 pounds!” “She keep your refrigerator full of food/ in case she get in a snacking mood.” from “4x4 Woman” 2004
* “Her skirt was so short I could see all the way upstairs to what was on her mind” from “I Got the Blu-Hoos” 2004
* “[sung rap style]Wake up in the morning - with the fog; feed the chickens and slop the hogs. I got corn to plant and fields to plow, but right now, I gotta milk this cow...” from “Funky Farm” 2004
* “... I think your wife is cheating on us!” from “Strange Things” 2007
* “Sorry, but a lot of you little girls need to be spanked,” from “Booty Slappin’” 2007
* “Tuesday I couldn’t go to work [because] lightning struck my outhouse, and I got stuff all over my shirt.” from “Hard Times/Good Times” 2007

Now, Stallings continues the good times by releasing his third album, “Blues Party” with salacious sounding titles like, “Horny Bee” and “Knocked Up.” I won’t spoil the lyrical surprises that await.

Although this is a studio production, Big Daddy presents it as though it is live. Before the full band tears into the pumping title track, “Blues Party,” the first words heard are, “Ladies and gentlemen, I am Charles “Big Daddy” Stallings, and I approve these Blues. ...enough music [79:57] for two CDs. Join me now as we...get ready for a Blues Party. C’mon!”

The CD is loaded with Stalling’s patented rhythm and sounds utilizing a mix of horns, bass-drums-percussion, guitar, piano and harp. There is plenty of the variety that has made Big Daddy famous:

For Traditional Blues: try “Down on the Farm” with Stallings on lead guitar and his rich, baritone vocals plus co-lead harp (Mark Wenner) backed by only bass (Gail Parrish) and drums (Russell Hayward II). Hell, who even writes AAB rhyme scheme in a 12 bar Blues anymore? It demonstrates that, among his various styles, Stallings’ rural upbringing in North Carolina deeply embedded his Blues.
Swing: Juxtaposed 180 degrees is the next track, “Swing 2010,” opening with several trumpet blasts followed by full horns arranged by side-man sax player Joe “E Flat” Thomas.

Jacky Harriston takes a tasty organ solo midway through this dance inducer. Another great instrumental is “The Lucky Number.”

Slow Blues: “She’s Gone” is a slow Blues that caused one WKCC listener to call for a re-play. Another is the humorous “Old Folks” about the sex drive living on into old age.

Chicago Blues: “Doggone Shame” is a jumping number about curbing cursing. “Don’t start cursing and all that jive – count to five!” For some Soul: “In Love By Yourself” finds Stallings channeling his finest Barry White.

Funk: “James” is a terrific nod to the late James Brown while “Old Dog” is a lament to younger days of chasing tail. “Blues in your Funk” gives bassist Ronald Bland the chance to shine as he funks it up.

All musicians are equally unique. It is just that Charles “Big Daddy” Stallings is more unique that most. That is a good thing! Pop this album in the player, and it’s 80 minutes of Blues Party! C’mon.

Reviewer James "Skyy Dobro" Walker is a noted Blues writer, DJ, Master of Ceremonies, and longtime Blues Blast Magazine contributor. His weekly radio show "Friends of the Blues" can be heard Saturdays 8 pm - Midnight on WKCC 91.1 FM and at in Kankakee, IL.

Review - "Blues Party"

Review - "Big Daddy" Stallings at The 219 Restaurant, Alexandria, VA.

Its been way too long since I had the pleasure of seeing Charles 'Big Daddy' Stallings and his band live, so when I got the word that he would be appearing in Old Town Alexandria, Virginia at the 219 Restaurant's Bayou Room, I made plans to attend and after fighting the brutal traffic on King Street I made it there just as they started playing. Stallings has a fine band led by saxophonist Joe Thomas and includes Steve Levine, a harmonica player who has really developed over the years. I apologize for not having the names of the other players. Opening up with the Hugh Maskela classic 'Grazing in the Grass," the band opened with several soul instrumentals with the horn line of sax, trumpet and harmonica being very effective. Then a couple instrumentals featured Levine who channeled his inner Walter Horton, "Easy" and the Duke Ellington standard, "Don't Get Around No More." The it was time for Big Daddy to get out of his chair and take the vocal mike opening with a pair of Louis Jordan numbers "Choo Choo Ch' Boogie," and "Caldonia," before tackling his own originals. Stallings has a down home vocal approach, yet is as much as home with a Jimmy Reed groove as when his band gets into a funk groove. His down home style helps invest such songs as his "4 X 4 Woman," with quite a bit of their charm as well as his lively "I've Got the Blues," set to a "Hootchie Kootchie Man" groove. Enlivening songs with his solos as well as some of Thomas, Levine and the excellent trumpet player, when they closed the set to Archie Bell's "Tighten Up," with the band getting introduced, it was quite an enjoyable set and well worth the drive.

Review- "Blues Evolution" (Espanol /Inglesia)

Charles ‘Big Daddy’ Stallings “Blues Evolution”. Tai Jeria 2008. Este es un disco donde el blues brota del espíritu, es decir, desde lo mas profundo del alma. En este caso emana de un cantante y guitarrista llamado Charles ‘Big Daddy’ Stallings que demuestra que tiene el blues y porque lo transmite de la forma en que lo hace. Charles lo presenta fácil, lo interpreta fácil y lo comunica fácil. Este “Blues Evolution” incluye quince estupendos temas realizados con gran feeling y mucho sentido del humor, porque Charles Stallings es asimismo un verdadero storyteller con una enorme capacidad de bromear, además de un tipo noble, creativo e ingenioso y de una solidez vocal excepcional. Un excelente álbum de ‘rollicking blues’ y ‘danceable blues grooves’ con una cuidada e imponente mezcla de armónica down home a cargo del gran Mark Wenner (The Nighthawks) y una sección de vientos con Joe Thomas saxo y Kelvin O’Neal trompeta que suenan frescos, compactos y acertados en sus intervenciones. Sería injusto no mencionar el buen hacer de los otros músicos que han intervenido en el cd, como Glenn Workman piano, Bill Pratt organo, Gail Parrish bajo, Ron Jenkins bateria, Steve Levine armónica junto a algunos otros invitados, más el debut vocal de las dos hijas mayores de Charles, Aleshya y Quesse Stallings. Sin duda, un soberbio y magistral trabajo. MUY BUENO. A record where blues emerges from the spirit, that is to say, from the deepest soul. Blues comes together with singer and guitar player Charles ‘Big Daddy’ Stallings who proves he has really got the blues and he knows how to spread them. Charles does it on an easy way which immediately communicates with the audience. “Blues Evolution” gathers fifteen excellent songs performed with an extreme feeling and a great sense of humour, because Charles Stallings is also a real storyteller who loves to joke, but also a creative witty fine man gifted with an exceptional solid voice. An splendid album with a great dose of ‘rollicking blues’ and danceable blues grooves including an impressive tasteful mixture of down home harmonica, performed by amazing Mark Wenner (The Nighthawks) and a horn section with Joe Thomas on saxo and Kelvin O’Neal on trumpet, performed on a cool, compact acute way. It will be unfair not to mention the good work of the other musicians who play on the cd, such as Glenn Workman on piano, Bill Pratt on organ, Gail Parrish on bass, Ron Jenkins on drums, and Steve Levine on harp, together with some other guest musicians, and introducing the two Charles elder daughters, Aleshya and Wuesse Stallings. Undoubtely, a superb mastery album. GREAT.

Review- "Blues Evolution"

Forget the press release that tells how Charles "Big Daddy" Stallings grew up on a farm with 10 brothers and sisters, or the assertion in "Going Down South" that he's going "where the rabbit tastes like chicken," or even the tale of lighting striking his outhouse in "Hard Times/Good Times." As befits a man whose entry into the blues came via Jimmy Reed's "Big Boss Man," this Baltimore guitarist's metier is wholly urban, and there's a lot of funk, boogie-woogie, and horn-driven R&B on his second CD, "Blues Evolution", to prove it. That said, there's not a whole lot of evolution going on here- Stallings' main stake to uniqueness is combining harp with a classic West Coast big-band sound. But as a bandleader and party maestro a la Big Joe Turner, he can't beat. These 15 originals run the gamut of urban blues and have a hell of a time doing so: You can tell these guys are doing more than cashing a paycheck by the chances they take, whether it be the dark chords bubbling up from the center of the "Night Train" tribute "Blues Train Express"; "Cha Cha 3000, " a self-explanatory instrumental that sometimes veers towards lounge music; or the flat out funk of "Booty Slappin';" on which Stallings declares, "I'm sorry, but some of you little girls need to be spanked." The Reed-inspired groove of "2999" envisions the year aliens make contact with the blues. On the 10-minute "Hobbsville#2," Stallings gets loose enough to deliver what is essentially his resume over a slow grind, but when he finally makes it to his favorite club, the band erupts into a hot Chicago-style shuffle, which speeds up as the crowd starts dancing. He's like the Ghost of Blues Past leading us to happier times...except that "Big Daddy" is interested in your party, right here and now.

Blues Revue

Review- "Blues Evolution"

Stallings, adequate on vocals and guitar, is a veteran entertainer in the Baltimore/Washington, D.C., area who cuts a surprising groove on his second album. He boogies like hell, leavens straight blues with ironic humor, cha-chas while leering at senoritas, funks in George Clinton's orbit and even gets sci-fi futuristic wacky on "2929." With saxophonist Joe "E-Flat" Thomas and Nighthawk harmonica man Mark Wenner sparking his ace band, Stallings demonstrates there's more to the blues than you thought.

Frank-John Hadley - Down Beat
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