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James Armstrong has been described by one music writer as “an artist in a world of craftsmen, harking back to a time when each bluesman had a distinctive musical voice. James shares with the legends the ability to go beyond rocking the roadhouse (though he excels at that), to telling the kind of story that the blues tells the best. He’s one of a very few seasoned artists who manages to honor the sound of traditional blues, while giving it the contemporary feel that makes modern fans groove.”
Blues at the Border is a mix of songs, stories and styles performed by an artist whose dedication to his craft has seen him through one of the hardest times in the history of touring musicians. “Since 9-11 it’s been hard for everybody: musicians, clubs and fans,” says James. “I wanted to make an album that reflected how much the world has changed.” By drawing on not only his deep blues roots but his rock, country and folk influences as well, James manages to transcend the constraints of tight musical boundaries. “The blues is evolving like every other genre,” he states.” You can be authentic and contemporary at the same time. It’s all about balance!”
Armstrong and fellow producers Michael Ross and Bob Trenchard went with “Blues at the Border” as the title cut to illustrate James’ point: the song uses grit, groove and lyrics that reflect a very 21st century frustration – border crossing. “‘Blues at the Border’ looks at life for musicians after 9-11,” he says. “Add to that the fact that I’ve been in a long distance international relationship for over eight years and it was only a matter of time before I’d write a song about the border. My girlfriend and I wrote it together over the phone!” The song has some of the best slide guitar on the album and a comic
riff at the end, reminding us that James is a born entertainer. “I wanted the song to be funny, not a pity-party or giving over to despair. I’ve never seen the blues as sad music.”
The choice of Michael Ross as the main producer was a no-brainer. “I call Mike my guitar angel, after he covered for me on guitar when I was injured,” recalls Armstrong. “I told him he’d always play on my CDs, but this time I wanted him to produce me as well. And he really stepped up to the plate. His vast knowledge of all kinds of music helped establish the right mood in every cut, especially on the track, ‘Young Man with the Blues.’”
