Blues Revue, Dec/Jan 2005
"Hip Tips"
by Bob Margolin
"Who have you seen on the road that really impressed you?" I was asked that on the House of Blues Radio Hour 10 years ago. It was a very hip question, because I was touring and often ran into fine musicians who weren't well-known yet. Blues fans want to hear about these up-and-coming players, and in '95, I wrote a series of columns for Blues Revue about some of them.
I'm still on the road and still meeting new players and catching up with old friends. We usually exchange our latest CDs or dubs of unreleased recordings, and I've been especially knocked out by what they've given me lately. The best thing I can do with such a gift is pass it on. These are not reviews, but my personal recommendations.
…I've also praised Idaho singer/harp player John Németh here [in Blues Revue magazine] and I was sincere. Maybe that's why I was asked to write liner notes for his new self-released, Come And Get It. The album floored me and as I wrote, I was afraid I was being too enthusiastic. It's obvious that John is a fine harp player and singer, but damn, is he truly great? A few months after I wrote the [liner] notes I listened again, driving through the mountains of West Virginia on my way home from the Mississippi Valley Blues Festival, with my musical sensibilities particularly sharp from having played eight of the previous nine nights. This time, John's album sounded even stronger. I remember telling friends up North in '80 that they should go see Stevie Ray Vaughan, but they weren't impressed because he wasn't famous yet. I also remember writing a rave review in these pages [about] Victoria amplifiers when they were introduced-they have since proved to be modern classics in the blues guitar world. It will give me great pleasure to say, "I told you so!" about John Németh. You'll see.
…I wouldn't recommend these albums to you if it wasn't my honest opinion that they are treasures. It would make me smile to know you enjoyed these fine artists for yourself. All the mentioned artists have easily found web sites for you to peruse where you can purchase their music if you're intrigued.
BluesWax, Sept. 8, 2004
"A Rising Blue Note"
by Don "T-Bone" Erickson
Junior Watson, who is considered by many to be the finest Blues guitar player around, states emphatically that "John Németh's voice is a national treasure." This lofty boast could easily be dismissed by many as a cohort's overzealous way of helping a fellow friend and musician - you know, a "just bein' nice to my buddy" kinda thing. Well, Junior has indeed performed with Németh, recruiting him as a vocalist and harp player on past gigs, and Junior returns the favor by playing guitar on Come And Get It. But, if ever there was a seemingly hyperbolic statement that has the undeniable ring of truth, this is one you can count on. Németh's voice is truly a wonder to hear.
He shows his incredible range and control to a high degree on the first track here, "She Belongs To Me." It's a Magic Sam tune and not too many singers can pull off Sam's high-pitched impassioned wails, but Németh conjures up some magic and makes the song his own. When he sings, "She makes a blind man see" and then screams, OhhhhhhhOhh! She's fine...and unique/Everything 'bout my baby is so sweet," you feel his sheer joy. It makes you want to see what all the fuss is about, but with the sure knowledge that you better keep your distance, or else. It doesn't hurt that Watson picks some crafty Magic Slim-type licks to add some spice.
"Ain't Too Old" is an Al Simmons song that reminds me of one of those disjointed Howlin' Wolf classics like "Smokestack Lightnin'." And if anyone can come close to the Wolf's vocal power (without the gravel), Németh is right up there. You sort of get the notion that if John's musical life had taken a tragic turn (in my mind) and he was pointed toward a career in (shudder) Opera, instead of the lowdown Blues, with some serious training, he might have done quite well.
John's voice is strong, smooth, and he really knows how to value nuance and dynamics. Gee, then there's his harp playing. Certainly no slouch there, either. In fact, he can hold his own with most of them blowin' the Blues. The title track features some thick, meaty tone to demonstrate what I say. Shoot, there's a whole mess more of that where that came from!
"Bring It Back Home" by K.B Kennard and "What Have I Done Wrong" by Jackson Otis (where does he find these obscure tunes?) both feature Watson's slick and sneaky licks all over them. The unpredictable nature of his playing is always a revelation and puts a fresh spin on an age-old style and genre.
Tiny Grimes' "Romance Without Finance" leads into five straight tunes penned by Németh. John shows he's as talented at writing as he is at finding old gems to cover. His own tunes range from light, Country Blues (with slapping upright bass from Vance Ehlers), to dark minor Blues with a rhumba beat (with almost-Classical piano work from Andy Cortens), to Little Walter-style Boogie, to some New Orleans flavor a la Guitar Slim, to Louis Jordan-style Jump Blues. His harp work ranges from unamplified to some tasty chromatic.
After a slow dance grind (with some Johnny "Guitar" Watson trebly guitar spurts from Watson), John finishes up the disc with three light and bouncy tunes from the songbooks of Fats Domino and W.C. Handy, plus Willie Eagan's "She's Gone Away, But She'll Be Back," which alternates between quirky passages and hard-swingin' rompin'.
And as good as this album is, it still doesn't reveal just how outstanding Németh can be live on stage. I saw him recently and was astounded, even though I had already seen him with Junior a few years ago. With a full night to do his own thing, John swooped, soared, and crooned his way though a night of remarkable tunes, showing he not only has talent, but also great stage presence. And that Junior Parker tune he tackled! Man, he had all of that range and smooth vibrato down! Definitely one of the best club shows that I've ever seen.
John Németh is simply the Blues artist that I feel is most deserving of more recognition. Check the man and his band out whenever you get the chance.
Don "T-Bone" Erickson is the founding editor BluesWax