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Howard and the White Boys

Talkin' colorblind new-generation Chicago blues.

Monday Aug 11, 2008.     By Gavin Paul

Music Feed

Though lead singer Howard McCullum is indeed a blues musician of color, as his band's moniker suggests, the rest of the band is not. So goes the case with most new-generation bluesmen, as the genre continues to evolve. Howard divulges, "Unfortunately, people still have this vision of fat old black men from cotton fields. And, you know, I'm from Mississippi originally. But I've never picked cotton. I have a Masters degree. I can't help that. My experiences are real. And they're valid also."

Howard and the White Boys' tale begins with a stroke of luck back in the late '80s, as B.B. King was late for a gig at Northeastern Illinois University's Egyptian Theatre. McCullum, an official frontman for just nine months at the time, received a knock on his door from some friends on the university's concert committee with an impromptu invitation to fill the gap. "I thought they were kidding," explains McCullum, "It seriously took 'em about 20 minutes to convince me that they weren't pulling my leg." And though he had a hard time finding his drummer (he was in the audience, completely oblivious!) Howard caps the story, "And that kind of started it all off for us."

The White Boys who broke into the limelight on 1995's Strung Out On The Blues, were simply some Caucasian cats—Dan Bellini (guitar/harmonica), Steve Asma (guitar) and Jim Christopulos (drums)—with an affinity for modern electric and no musical training. Howard's barroom-preacher bellows about subjects like the simple pleasures of an ugly woman whose saving grace is her cooking skills ("She Can Cook"), along with muscled covers of influences like Muddy Waters ("I Got My Mojo Working"), showcased the melting-pot up-and-comers as a crew with a simple, organic love for the genre.

It was enough to impress Chicago blues legend Buddy Guy, who would accompany the band in on-stage jam sessions during the early days of his aptly named Legends club. And after Buddy took step two, and brought the band on tour as his opening act for a good 20-date run, exposure hit the sky. Back in Chicago, the Boys would be called upon to support bills by Chicago icons like Koko Taylor, Albert King, the late Junior Wells and Lonnie Brooks. European tours came soon after.

2004 saw the recruitment of lionheart guitarist Pete Galanis, a then 26-year-old protege who came to the band's shows enough to get hired. He was just in time for the next album, a musical ode to Chicago inspirations like Elmore James and other guitar-smiths.

Currently the band is at work on a new album, set for next summer. In the interim, Howard talks a little further shop on his city:

What's the best place to witness true Chicago blues?
Legends is my favorite. It's just quality entertainment every night. It's the real deal.

Why is Chicago's blues scene the best in the world?
It's just gotta be that the best players come here.

Who is the best new-gen bluesman on the Chicago circuit right now?
Me. Aside from myself? Blues is a weird thing; this artist isn't that new, but I'm still going to say Robert Cray.

In honor of your cover of "Good Booty And BBQ," where's the best joint to find the two?
BBQ, I don't think you can go wrong with Carson's. And the booty part, it all depends on how strong your game is. I have to keep some secrets.

Howard and the White Boys hit Sheffield's BBQ & Blues Summer Bash on Saturday, August 16; $20 for all you can eat and drink.