Stereo Six: Corey Congilio Cites Some of His Favourite Blues Songs & Albums

Out of all popular music genres, the blues requires a particular devotion, which Corey Congilio possesses in abundance. He returns with a new release coming up next month, A Good Place To Start. Due out on August 19th, it’s a six-track EP composed of Congilio’s favourite blues tracks. Featuring songs by Howlin’ Wolf, Bobby “Blue” Bland, and Johnny Guitar Watson, the songs are reimagined in Congilio’s own style. With blues such an important part of his life, it was important to him to pay homage to the genre that helped shape him. These are the albums that helped him find his way to his own career as a musician and an instrumentalist.

For 25 years now, Congilio has been a mainstay of the mainstream music industry. He has literally done it all. He has assumed various roles, from touring guitarist to session musician and even an educator. His resume is sparkling, featuring performances with established artists like Joss Stone, David Lee Murphy, Lucie Silvas, Radney Foster, Cassadee Pope, Derek St. Holmes, Danielle Bradbery, Laura Bell Bundy, and Barbara Blue. After performing with so many others, Congilio began to get the itch to record and arrange his own music. That’s what led to the recording of A Good Place To Start.

With musical influences so much a part of Congilio as an artist, he joins us today for a Stereo Six to run down six albums and songs that are of utmost importance to him.

“These records and songs are only a handful of the many that have influenced me over the years. I wanted to put together a tribute to them while showcasing my influences and personal style. My musical mission is always to embrace the future while honouring the past. Bringing light to these classic recordings is what I think is A Good Place To Start.”

Corey Congilio ‘A Good Place To Start’ album artwork

1. Otis Rush – Mourning In The Morning (1969, Cotillion)

“Like many guitarists who catch the blues bug early, I was introduced to Otis Rush via his most famous song, ‘All Your Love (I Miss Loving).’ Like any explorative musician, I started to seek out more from Mr. Rush and the record Mourning In The Morning quickly became my favourite. The sound of that record is loose, raw and straight up funky.

“After some light research, it’s easy to understand why. The record was recorded at the legendary FAME Studios in Muscle Shoals, Alabama, with the Swampers rhythm section providing the foundation while the great Duane Allman and Jimmy Johnson provided guitar tracks. If that wasn’t enough, blues staples Mike Bloomfield and Nick Gravenites produced and co-wrote many of the songs, including the first track, ‘Me.’

“When I first heard the tune ‘Me,’ I knew I would cover it someday. Being an artist of any kind can come with moments of loneliness and the song’s hook, ‘the only true friend that I ever had, was me’ really spoke to me at the time. I like all of the songs on this record so much, but covering ‘Me’ was destined to become my personal tribute to Mr. Otis Rush.”

2. Howlin’ Wolf – Howlin’ Wolf (1962, Chess)

“The 1962 release of the self-titled record Howlin’ Wolf contains one of my favourite Howlin’ Wolf tunes, ‘Who’s Been Talkin.’ Like many songs in the blues lexicon, this was written by the prolific writer and bassist Willie Dixon. I wanted to cover that song but take it in a completely different direction.

“I went through a period where I was listening to a lot of recordings produced by Daniel Lanois. Lanois produced the Willie Nelson album Teatro, and the grooves created by drummers Victor Indrizo and Tony Mangurian are the true heartbeat of that record. I wanted to bring their approach to Howlin’ Wolf’s tune and mix it with a key change, rhythm variations and improvising.”

3. Bobby “Blue” Bland – Dreamer (1974, Dunhill Records)

“Whether they are the writer or not, great blues singers could truly deliver a song and its message with magnetic authenticity. Bobby ‘Blue’ Bland was a master of this. When I heard his tune ‘I Wouldn’t Treat A Dog (The Way You Treated Me)’ from the Dreamer album, I was blown away by his performance. Knowing that I am certainly not a Bobby clone, I took this song in a George Benson meets The Eagles in 1975 direction. Even though I’m a guitarist, I didn’t want to make my version of this tune a guitar soloing extravaganza, so I referenced Don Felder’s approach on the song ‘I Can’t Tell You Why’ and drew inspiration from him.”

4. Johnny Copeland – An Introduction to Johnny Copeland (2006, Fuel 2000)

“I first learned of Johnny Copeland from his Grammy-winning collaboration ‘Showdown’ with Albert Collins and Robert Cray (two of my other favourite blues artists). Out of that trio, Johnny was who I was least familiar with. I started doing some research one day, and as I was swiping through playlists, I stumbled upon his tune from 1963 called ‘Heebie Jeebies.’ The song just sounded fun, and I really loved the feel of it. I’m a fan of songs, particularly blues songs, that aren’t too serious and are meant to be lighthearted. ‘Heebie Jeebies’ had the fun, lighthearted and groovy vibe that made me wanna create my own version.”

5. Johnny “Guitar” Watson – “Hot Little Mama” (1955, RPM Records)

“I knew of Johnny Guitar Watson’s more commercially popular works like ‘Real Mother For Ya’ and ‘Ain’t That a Bitch,’ but I hadn’t dug in enough to his early recordings like the song ‘Hot Little Mama’ originally recorded in 1955 with the RPM label. Watson’s earlier recordings showcase his foundation in the blues and lay the groundwork for his funk and R&B endeavours later on. The legendary bluesmen often talked about their romantic partners, and ‘Hot Little Mama’ contains many metaphors that pertain to his affection for his lady and how she’s ‘like electric wire!’

“What also drew me to Watson is his ability to reinvent himself and not get stuck in the past. His wife, Susan Maier Watson, had this sentiment: ‘He was proud that he could change with the times and not get stuck in the past.’ Forward movement isn’t always appreciated in genres like the blues, but I’m a fan of Johnny ‘Guitar’ Watson because of his innovative spirit!”

6. Junior Wells – “Two Headed Woman” (1957, Chief Records)

“Blues musicians would often sing about Hoodoo or Rootwork in their music. A ‘two-headed woman’ (or ‘two-headed doctor’) is a term used in African American folk magic, specifically Hoodoo, to describe someone who has a deep understanding and ability to work with spiritual forces, spells, and charms. They are seen as having ‘two heads.’

“In this tune, Junior is singing about a woman who is not just ordinary, but one who possesses a supernatural power or a strong connection to Hoodoo. Like many of the songs I’ve listed here, ‘Two Headed Woman’ has an uptempo groove that is not a typical blues shuffle or slow blues, which is what drew me to it.”