Wily Bo Walker has created a world for his music, stories, film storyboards and artistic vision in the cinematic, film noir landscape of VoodooVille. As a magazine, we have kept up with Wily Bo and we spoke to him a while back when this album came up in conversation, so it is great to see it now on general release and available on all platforms.
Wily Bo: “During Covid it was postponed. We had the theatre booked, and it was a lot to get everybody involved. We had the lockdown in 2020, so we had everything in 2019, and we were getting ready to put it on, and there was a small London theatre. I played the songs live with a fourteen-piece band about ten years ago; it has this New Orleans kind of vibe, and the songs went down really well. It’s something I’m still working on, and it will get finished at some point. It is there in the pot, and you will see in the not-too-distant future a few singles coming from that project. I am starting to release material from it, and I have another artist commissioned to do the artwork. It is all ongoing. It is like an alter ego for me for that project; it has that Louis Armstrong vibe, and I think it shows the fun those guys had with the performance.”
Every release for Wily Bo is a well-crafted piece of art, from the album cover to the songs themselves, a listening and visual pleasure usually! This album is produced by Wily Bo and he brings along a talented crew of vocalists and musicians to create the whole sound delivery, including long time collaborator E D Brayshaw on lead guitar.
It was released on February 14, so you can stream it or buy it now. It has 13 songs and runs to just under 53 minutes. I should have gotten the review done last month, but please excuse me at the moment; a new baby at home and a lot of life got in the way!
Here is my review:
“Shoot Me Down” is a funky opener, full of exciting rhythm and drum beat. It is kind of a wild west shootout with background humor in the lyrics. The groove is really infectious, a bit of a masterclass of blues and funk fusion.
“Drag Me Down” bounces its way into my headphones. The lyrics are a bit morose but the music hits an upbeat tempo. Those blues vocals are so distinctive and the song fires back that the subscription to the human race may be cancelled, but he fights back. Shirley King (BB’s daughter) told us the blues men always entertained, no matter if they were singing their blues. I listen to Wily Bo, and the case is made for what she says.
“Down Amongst the Dead Men” seems to have plenty of life within it. Another song with a powerful groove, a tight combo of instrumentals and some great vocal background harmonies. It settles you into the album.
“Ain’t Gonna Dig My Own Grave no More” introduces a form of clap-along rhythm and holds the storytelling theme. It’s an album track, adding to the general whole.
“Yesterday is Here” (It’s been a Wonderful Life) slows things down a bit and gives that New Orleans voodoo feel. It’s an interesting song, a bit dark, a celebration of those grey skies and the end of days.
“Swamp.” This track has its own enjoyable energy, with these little background vocals popping up to add melody and humour to the beat, a catchy chorus, and music delivered from the devil’s backyard. Listening to it again after a little while (I reviewed the single a few months ago), I still like it and its swampy vibe.
“Such a Night, He Got the Girl this time” was originally reviewed by my colleague Lorraine, and I’m using her comments here as I find myself in agreement! “No need for pusillanimity here: I absolutely loved all elements of this song. It took me to VoodooVille—alright, it transported me to this late Victorian circus show, where the blues man/storyteller plies his craft. It has these fantastic blues vocals, a touch of Chester Arthur Burnett (aka Howlin Wolf), and yet it swings along with the style of a Dean Martin! It has a sense of romance, for sure, and “it’s sweet confusion under the moonlight!”
“Little Gina” (Swamp Beat Burlesque) is one that I think fans of Wily Bo will be aware of, it’s clearly a number that would hit the mark live nicely. It is a sway-along, harmonized dance style burlesque. Nicely delivered.
“Who Do You Love?” (Dontcha love me, baby?) was reviewed by me when it was released as a single. “This one continues the New Orleans vibe with some fine blues vocals and a real drum beat straight from the land of voodoo. A great touch here is in the backing vocals, which perfectly harmonize the piece. It has a musical swagger and delivers a great version of Bo Diddley’s classic blues track, which lyrically is full of hoodoo imagery (a Mississippi folk magic belief) that fits Wily Bo’s project well.
“When the Angels Call Your Time” opens with the rain falling and those distinctive blues vocals. The song gets you moving with the tune and I loved the different layers to it. A fine little blues number, and very New Orleans. At 4.43, one of the longer tracks on the album.
“Speaking of Happiness” opens with that jungle drum beat, a slow walk and a bit of a sensual feel in the groove.
“Tomorrow We Will” presents a slight change of direction, a bit of raising your glass to today, as who knows if we will be here tomorrow. There is a sing-along element.
“The Openator” (The Rattlin Bone Overture) brings all the musicians together in what starts out almost as a Henry Mancini moment. The use of the trumpets, the various instrumentalization sections, an ensemble closure, a bit of jazz and bringing the curtain down.
Standout Tracks: “Shoot Me Down” (loved it), “Drag Me Down,” and “Such a Night, He Got the Girl this time.”
Summary:
Wily Bo Walker delivers a masterclass in blues and funk fusion with his latest album, blending infectious grooves, dark humor, and swampy storytelling. From the wild-west energy of “Shoot Me Down” to the voodoo-soaked swagger of “Who Do You Love?” every track showcases his signature blend of bluesy grit and theatrical flair. Standout moments like “Drag Me Down” and “Such a Night, He Got the Girl this Time” transport listeners to smoky bars and mystical bayous, where bluesmen spin their tales with soul and style. The album’s rich instrumentation, from tight harmonies to punchy brass, creates a cinematic experience full of depth and character. Whether you’re here for the foot-stomping rhythms or the haunting melodies, Wily Bo proves once again that the blues isn’t just alive—it’s kicking, laughing, and howling at the moon.
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Wily Bo Walker Bandcamp here
You can stream music from the artist here
By Stevie Ritson
Wily Bo Walker—Lead Vocals, Guitars, Banjo, Violin, Double Bass, Electric Bass, Hammond Organ, Keyboards, Didgeridoo, Sousaphone, Drums, Percussion, Handclaps, Tambourine, Djembe, Afuche, Shekere, Cowbell, Triangle, Vibraslap, Stomps, Backing Vocals, VoodooVille Choir, Whistling, Sound FX
Special Guests:
Li’l Neill—Trombones & Trumpets, Backing Vocals, Shouts
Kareña K—Backing Vocals
The Vampirettes (feat. Kareña K) – Backing Vocals
Clarky—Double Bass
Ronnie Costley—Spoken Voices
Pete Farrugia—Telecaster & Les Paul
Stevie Watts—Hammond Organ
Danny Flam—Trombones & Trumpets, Tuba, Sousaphone
Ron Bertolet—Tenor & Baritone Sax
Max Saidi—Drums
Tommy Rhodes—Bass
Max Wynter—Trumpet
Mike McGovern—Trumpet
Mark Gatz—Saxophones
Ruslan Agababayev—Keyboards
Eran Asias—Drums & Percussion
E D Brayshaw—Lead Guitar
Keith Mack—Guitar
Marco Panascia—Double Bass
Tony Gorruso—Trumpet
Kenny Rampton—Trumpet
Steve Withoft—Trombone
Nir Naaman—Sax
Benjy King—Keyboards
Produced by Wily Bo Walker
Artwork by the Magnificent Steve Lillie. All Rights Reserved