01. I Wanna Go Back to Detroit City
02. Times
03. What Now?
04. Meet Me at the Graveyard
05. Mississippi Sue
06. Detroit (I’m So Glad I Stayed)
07. Hall of Fame
08. I Don’t Like You No More
09. Morning After Blues

Mike Alonso - Drums
Peter Andrus - Guitar
Colleen Burke - Vocals (Background)
Greasy Carlisi - Bass
Dennis Coffey - Guitar, Guitar (Acoustic)
Troy Gregory - Bass
Steve King - Bass
Dan Kroha - Guitar
Maria Nuccilli - Vocals (Background)
Dave Shettler - Drums, Percussion, Synthesizer, Vocals (Background)
Matthew Smith - Guitars, Vibraphone, Vocals (Background)
Ben Van Camp - Drums
Eric Villa - Bass, Composer
Jim White - Drums
Andre Williams – Vocals, Tambourine

While the conventional wisdom in Michigan has it that the City of Detroit is slowly but surely making a comeback, Andre Williams isn't quite having that. Heading back to his old home town, Williams discovered the former home of Fortune Records, the Motor City label where he cut his first hits, was now an overgrown empty lot. Struck by this, Williams began writing lyrics about what Detroit was, is, and could be, and these tunes dominate 2016's I Wanna Go Back to Detroit City. The almost-80-year-old R&B wildman actually sings more about life on the mean streets than about sex this time out, limiting most of his obsessions about the opposite sex to the tune "Mississippi Sue" (who turns out to have passed on, making the finished product a bit less than lascivious). And if Williams imagines a future Detroit where there's a party on every corner in "Detroit (So Glad I Stayed)," married to a groove that's half-Funkadelic and half-Stooges, the grit of "Times" shows his optimism goes only so far. I Wanna Go Back to Detroit City is an unusually thoughtful album from the typically hard-partying Mr. Rhythm, and the musicians working behind him keep the music lean, sharp, and on point, especially Motown guitar legend Dennis Coffey and Outrageous Cherry founder Matthew Smith. (The latter produced the sessions with Williams.) Whether he's lamenting the uphill climb of life in his hometown, letting someone know why they're no longer friends, or telling the Rock & Roll Hall of Fame just what they can do, I Wanna Go Back to Detroit City makes it clear Andre Williams still has a lot on his mind, and time hasn't dulled his impact one bit. ---Mark Dending, Rovi

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1. Can You Deal With It?
2. Hear Ya Dance
3. Never Had A Problem               play
4. Pray For You Daughter
5. If You Leave Me
6. Rosalie                           play
7. If It Wasn't For You
8. Your Woman
9. Can't Take 'em Off

Andre Williams has led a roller coaster life that has taken him from the major-label studios of Motown to homelessness and drug addiction in Chicago. His new album, Can You Deal With It?, evokes these different lives with images of sex and drugs mixed with upbeat soul and rock tempos. Plus, the album was recorded in New Orleans, which undoubtedly contributed to the naughty nature of this 72-year-old’s work. Don’t let Williams’ age fool you; this isn’t something to listen to with your grandparents. Partnering with the New Orleans Hellhounds, who are known for their hedonistic lifestyle and out-of-control shows, Williams takes gritty lyrics and layers them over his combination of classic rock and hip-swinging soul. Some lyrics are as vulgar as Three 6 Mafia, but the rhythms — a far from hip-hop — mash country blues reminiscent of Lynyrd Skynyrd and Tom Waits. The title track begins the album but fails to deliver. It seems Williams was looking for a hit that radio listeners would love, but it’s not there. The female backup singer is annoying; she just keeps yelling “Yeah!” Move on. “Hear You Dance” and “If It Wasn’t For You” are lonely drinking songs, and are more suited to his organic, hearty style. They sound vintage, with slow melodic rhythms, a hint of electric guitar and slow cymbals bringing the beat. The female chorus crooning behind Williams reminds us of his Motown days, despite the rockers providing the backdrop. The album ends with “Can’t Take ‘Em Off,” which is the kind of song Williams does best. Suggesting elements of a smoky New Orleans’ blues club, rough guitar rifts are coupled with Williams’ bark. The song peaks when high-pitched female vocals join the party. Although there are some big flubs on Can You Deal With It?, Williams doesn’t completely miss the mark. Sure, being in the music business since he was 16 might dull the thrill of making a new album for him, but he’s not down for the count. And if nothing else, it’s refreshing, albeit slightly creepy, to see a senior citizen still rockin’ out and singing about sexy broads. –Julie Terry

In 1998, at the age of 62, Andre Williams launched a new career as the Dirtiest Old Man in Rock & Roll with the gloriously lewd album Silky, and ten years later Williams just keeps getting dirtier, and just as importantly he seems to be having even more fun with it as he follows the good groove into his eighth decade. Many years of hard living are clearly audible in Williams' voice on the album Can You Deal with It?, which pairs him up with a band of ragged but right R&B mavens called the New Orleans Hellhounds, but if his instrument is a bit rough around the edges, the spirit is not just willing but raring to go, and this set manages to fuse the crazed, hallucinogenic rent-party vibe of Silky and The Black Godfather with full-strength soul and old-school funk backdrops that bring Williams' music of the '60s and '70s into the present day. Williams has made plenty of albums that are louder and crazier, but it's been a long time since he grooved as hard as he does on "Your Woman" and "If You Leave Me," and the rowdy country-soul vibe of "Pray for You Daughter" and "Rosalie" sounds downright playful, a quality that hasn't always been at the forefront of Mr. Rhythm's work. "Never Had a Problem" blatantly borrows its hook from "Should I Stay or Should I Go," but it manages to rock even harder than the Clash's variation on this theme, and "Can't Take 'Em Off" would make the ideal theme song for some particularly kinky and imaginative exotic dancer. The band (which includes whacked-out keyboard genius Mr. Quintron) grooves with gusto on these sessions, but it's Andre Williams who really brings this show to life, and whether he's moaning, laughing, scolding, or pleading, he's the raunchiest senior citizen on the face of the Earth and he's inviting you to one wild party on Can You Deal with It? The AARP ain't got nothin' on this man. -–Mark Deming

Amerykańska legenda rhythm'n'bluesa, soulu i funku spuszcza swoje nowoorleańskie piekielne psy z uwięzi i wraca do garażowego punk-rocka.

Andre Williams, znany również jako "Black Godfather" nie należy do najmłodszej generacji muzyków amerykańskich, bywa porównywany z Jamesem Brownem i Screaming jay Hawkinsem, współpracował min. ze Stevie Wonderem, Ike & Tina Turner, Parliament, Funkadelic, Edwin Starr, Jon Spencer Blues Explosion, Dirtbombs czy nawet z Jackiem White'em. Najnowszym albumem udowadnia, że wciąż liczy się na rockowej scenie. Ze swym wściekłym głosem, napędzany przez muzyków młodszej generacji z New Orleans Hellhounds (min. ze słynnym Quintronem na organach) wypełnia lukę między Jamesem Brownem i Jonem Spencerem. Jego naładowany energią soul-funk-punk-rock to istny dynamit. Niech nikt nie mówi potem, że nie był ostrzegany: ta płyta ma więcej grindu i kopa niż litr najmocniejszego espresso.

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1	Hold Up		              play	        
2	Do You Remember			
3	I'm Not Worthy			
4	Prove It to Me			
5	I Don't Need Mary (Juana)			
6	Three Sisters			
7	Uptown Hustle		      play	
8	Chrysler 300			
9	Thunder Thighs			
10	I Can See

Personnel: 
Andre Williams (vocals)
Doug Roberson (guitar, background vocals); 
Nate "Count" Basinger (harmonica, piano, Wurlitzer organ); 
Eddie McKinley (tenor saxophone); 
David Basinger (baritone saxophone, Wurlitzer organ, background vocals); 
John Svec (bass guitar, background vocals); 
Dustin Conner (bass guitar); 
Jim Viner (drums, cowbells, tambourine); 
Sarah Cram, Andy Caffrey, Kenn Goodman (background vocals).

With a mind-boggling 50-year career in the music business, 70-year old Andre Williams is showing no signs of slowing down. The original rapper and R&B performer returns to his soulful roots on "Aphrodisiac", enlisting the 'Diplomats Of Solid Sound' as his backing band on this diverse and adventurous offering. Hints of blues, rock, r&b, rap and soul fill the grooves of this release that flows seamlessly from start to finish. Andre's voice never sounded better as he tackles topics ranging from alcoholism (I'm Not Worthy), Hurricane Katrina (Three Sisters), rejection (I Can See) and love (Do You Remember). But it's also a fun masterfully produced album that will both transfix past Andre fans and new listeners. Recorded in Iowa City, IA., this is the real Andre...the real deal...from the 'Black Godfather'.

Since reawakening the world to his outsize talents with the raw and raunchy blast of 1998's Silky, R&B legend and self-described "Mr. Rhythm" Andre Williams seems to have gone out of his way to prove just how freaky he can deaky on each subsequent album. But Williams pulls back the reigns a bit on 2006's Aphrodisiac and the disc shows he can groove a bit easier and still keep the party going. Williams' backing band for this set is Iowa City's latter-day organ groove merchants the Diplomats of Solid Sound who, as expected, don't generate the same sort of noisy attack as the garage rock upstarts he's most frequently been teamed with in recent years. The result is a more laid-back and funky groove that's soulful but potent at the same time, fusing '70s blaxploitation sounds, Jimmy Smith-style jazz figures, and Booker T.-influenced R&B workouts into one solid package. Williams gives as good as he gets on these sessions, and if his voice is a bit frayed around the edges, the old-school toasting of "Uptown Hustler," the potent lovers' pleading of "I'm Not Worthy" and "I Don't Need May (Juana)," and the post-Hurricane Katrina lament of "Three Sisters" confirm the spirit is still more than willing. Williams has certainly sounded more physically powerful than he does on Aphrodisiac, not surprising for a man of 70 years, but he's still capable of getting on the good foot, and this album's biggest drawback is its running time -- at a mere 29 minutes, this album doesn't fuel the party as long as it could or should, though the quality outweighs the quantity. ~ Mark DemingUncut

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1. Hey Truckers 
2. Busted 
3. She's A Bag Of Potato Chips 
4. I Can Tell 
5. Pardon Me (I've Got Someone To Kill) 
6. Weapon Of Mass Destruction 
7. Easy On The Eyes 
8. I'm An Old, Old Man (Tryin' To Live While I Can) 
9. Tramp Trail 
10. Psycho 
11. I Understand (Do You) 
12. Old John                   play
13. Queen Of The World         play
14. My Sister Stole My Woman

Musicians: 
Andre Williams (vocals); 
Travis Good (guitar, dobro, mandolin, fiddle); 
Dallas Good (guitar, piano, organ); 
Sean Dean (acoustic bass); 
Mike Belitsky (drums).

Andre Williams, a collectors' cult figure who talk-sang his way through such '50s and '60s R&B novelties as "Jail Bait," "Bacon Fat," and "Cadillac Jack," waves his freak flag high on the very first track, "Hey Truckers" (rhymes with "bad you-know-whatters"). Though he cites his Alabama farm-boy upbringing as credentials, his X-rated country sounds like none you've heard before--sort of a midair crash between Screamin' Jay Hawkins, mid-'60s Bob Dylan, and the local honky-tonk hero. And while his originals, cowritten with Sadie Dallas Good, play on traditional country themes, they are more than merely clever; they are unfailingly melodic, full of nice arranging touches, and somehow true to the form, thanks in large part to Toronto's quirky cowpunk quartet the Sadies. His vocals range from a bellow to a rumbling recitation. And both Johnny Paycheck's "Pardon Me (I've Got Someone to Kill)" and Leon Payne's "Psycho" are present and accounted for, as are more conventional gems from Harlan Howard and Lefty Frizzell. Not for everyone, but perversely likable. --John Morthland

In the late '90s, Andre Williams was undergoing a bit of a renaissance as small, independent labels realized that this R&B/rap pioneer still had plenty of gas left in the tank; they started recording him again for the first time in several decades. It also helped that enlightened times give the more salacious aspects of his art a wider playground than they had back in the 1950s and early '60s, when he was cutting his streetwise, spoken-word classics for labels like Fortune and Chess. Efforts for St. George and others focused on the style and substance of those landmark recordings, but this one put a different spin on the Andre Williams sound.

Backed by the country-rock group the Sadies, this is Williams' country album. He applies his rappin' mastery to Johnny Paycheck's "Pardon Me (I've Got Someone to Kill)," Leon Payne's "Psycho," Harlan Howard's "Busted," Eddy Arnold's "Easy on the Eyes," and Lefty Frizzell's "I'm an Old, Old Man." His patented slow drawl makes these songs his own, while the band provides minimal support, rife with twangy guitars, mandolins, fiddles, and dobros throughout. Williams and guitarist Dallas Good co-wrote everything else, with "She's a Bag of Potato Chips," the moody and downright eerie "I Can Tell," and the goofy opener "Hey Truckers" being standouts. It's the aural antidote to the CMA Awards. -- AMG

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1 Agile, mobile and hostile
2 I wanna be your favorite pair of pajamas
3 Bonin'
4 Through it all
5 Looking down at you - looking up at me
6 Bring me back my car unstripped
7 Car with the star                   play
8 Pussy stank                         play
9 Only black man in south Dakota
10 Let me put it in
11 Country and western song
12 Everybody knew

Andre Williams (born Zephire Andre Williams in Bessemer, Alabama, on November 1, 1936) is an American R&B and punk blues musician who started his career in the 1950s at Fortune Records in Detroit. The 2007 documentary "Agile Mobile Hostile: A Year with Andre Williams" tells of Williams' early career at Fortune Records, his hard life on the streets of Chicago in the 1980s, drug and alcohol abuse, his return to the stage and recording studio in 1995, and his current life and musical career - and the struggles that come with it.

SILKY was the triumphant comeback album for veteran R&B wildman Andre Williams, who spent much of the preceding couple of decades out of commission. While he'd made a previous album in the 1990s that reprised some of his early material, this 1998 release found him interacting with his spiritual kin, lowdown garage rockers like Gories/Dirtbombs guitarist Mick Collins (also the album's producer), who met Williams at the halfway point between his unhinged Screamin' Jay Hawkins-ish R&B and their own soul-inflected, deliciously trashy rock & roll. The marriage worked marvelously, and the dirty, quirky blues/soul/rock amalgam wound up winning the aging eccentric a whole new generation of admirers.

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1. Intro 
2. The Black Godfather                play
3. Whip The Booty 
4. Whatcha Gonna Do 
5. Sling That Thing 
6. The Dealer, The Peeler And The Stealer 
7. Freak Blues 
8. You Got It And I Want It 
9. Nasty Women 
10. I Hate Cha 
11. Montana Slim 
12. I Wanna Go Back To Mexico          play
13. Can't Find My Mind

Personnel: 
Andre Williams (vocals); 
Jon Spencer (vocals, guitar); 
Russell Simins (vocals, drums); 
Dave Shannon, Tom Shannon, Greg Oblivian, Brian Waters, Judah Bauer (guitar); 
Steve MacKay (saxophone); 
Craig Waters, Ewolf, Dana Hatch, Jack Oblivian & Impala, Patrick Pantano (drums);
The Compulsive Gamblers, The Dirtbombs (background vocals).

After recording one of the sleaziest albums of recent memory, 1998's Silky, what was Andre Williams supposed to do for an encore? Well, with The Black Godfather, Mr. Rhythm brings sleaze rock to new heights (or depths, depending on how you look at it). On Silky, producer and general co-conspirator Mick Collins (of the Gories and the Dirtbombs) rounded up an impressive team of Detroit-area grit-rock all-stars to back up Williams, but for The Black Godfather, Collins and Williams went nationwide, with the Jon Spencer Blues Explosion, the Compulsive Gamblers (formerly the Oblivions), the Cheater Slicks, and the Countdowns all kicking up a fuss as Williams wails on "Whip That Booty," "Nasty Women" "I Hate Cha," and "The Dealer, the Peeler, and the Stealer." While Silky sounded somewhat more unified, The Black Godfather rocks a good bit harder, and while the previous album featured the occasional moment of (relatively) subtle calm, this time out Williams is firing on all cylinders at once and sounding as nasty as he wants to be. The Black Godfather is loud, it's wild, and my, but it's in poor taste; if that sounds like a bad thing to you, you're best off leaving this be, but if that description sounds like fun, pick this up and have a party as Andre Williams shows you how to Sling That Thing. Points added for the cover, a hilariously accurate parody of a typical No Limit Records package --Mark Deming

A crazed, dirty, raw blend of blues, funk, soul, and gritty garage rock, THE BLACK GODFATHER finds the eternally eccentric R&B wildman Andre Williams at his most intense. Backed by a cast of characters that includes appropriately scrappy rockers like Dirtbombs leader Mick Collins (who also produced the album) and Jon Spencer, Williams generates a towering, unhinged wail that's easily the equal of the raucous din created by the aforementioned axemeisters. From the James Brown-meets-Captain Beefheart freak-funk of the title track to the trashy, in-your-face surf/garage-rock stomp of the gloriously sleazy "Whip the Booty" and the Tom Waits-goes-to-Memphis soul-blues of "Nasty Women," this is Williams at his loosest and toughest simultaneously, pushing it to the limit and well beyond. And that's not even mentioning the insane, psychedelic-tinged, extended version of the Cramps' mind-bending classic "I Cant Find My Mind" that closes out the album. Even by Williams's standards, it's a pretty twisted affair.

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