Jamiah Rogers & Dirty Chxrch

Chicago Cowboy

Delmark Records

Jamiah Rogers was born on April 21, 1995, in the vibrant suburbs of Chicago, Illinois. Jamiah was born into a household rich with talent. With a mother whose voice resonated through the air and a father who masterfully wielded the guitar, Jamiah’s musical journey was woven into the fabric of his early life. By the age of three, Jamiah was already captivating audiences with his drumming skills, performing at school, at church, and alongside his father’s band, the Tony Rogers Band.

Jamiah’s love for music knows no bounds; he draws inspiration from a diverse array of genres, including blues, funk, reggae, soul, and R&B. His musical heroes include icons like Bob Marley, Jimi Hendrix, Albert King, Freddie King, B.B. King, Howlin’ Wolf, and Muddy Waters. At seven years old, Jamiah’s parents encouraged him to explore the guitar. Today, he is celebrated as a multi-instrumentalist, seamlessly transitioning between drums, guitar, bass, piano, and organ.

In 2010, at the age of fifteen, Jamiah took a bold step into the spotlight by forming his first power trio, Jamiah on Fire & the Red Machine, where he showcased his talents as both lead vocalist and guitarist. At the age of twenty-three, Jamiah released the independently produced Blues Superman. Now at the age of 31, he is captivating audiences with his dynamic performances both locally and internationally as he releases Chicago Cowboy. The album was recorded, mixed, and mastered by executive producer Julia A. Miller at Delmark’s Riverside Studio in Chicago. Jamiah Rogers, on vocals and guitars, is accompanied by bassist Isaiah “Zay” Horne and drummer Tyvon “Tank” Rice. Horne is replaced on one track, and Amyna Pearson is an added vocalist on another.

Chicago Cowboy opens with “Mojo Man,” as Jamiah sings, “I’m your Mojo Man, I’m the mojo man, I’m Hootchie koochie Man, I’m the mojo man. C’com you wanna see what I want to do, I’m your mojo man, I’m the mojo man. Hootchie koochie man, I’m the mojo man.”

On “Sacrifice,” Jamiah chimes, “Looking for my life, what I have left, sometimes I understand, sometimes it ain’t enough. Sacrifices, but I got a long way to go…sacridice, I work day and night…don’t lose the fight.”

“I Still Wonder” features Jamiah as he chants, “since you still love me, do you want my name? I still wonder if you want to be with me, I still wonder will we be forever…I still wonder.”

“On and On” features a funky beat, as Jamiah asks, “Do you feel it? sometimes it feels so good to me…I don’t need no one else, I want you to know.”

On the reggae-styled “Let Me Live,” Jamiah groans, “Let me live it feels so good…,” in a style reminiscent of Bob Marley.

On “Tell Me What It Is,” Jamiah cries out, “Tell me do you feel pain or blue, I feel good since the day we met, you say you love me and I love you too, tell me you want me around, I won’t let you sown…tell me what it is…tell me what is mine.”

The title track, “Chicago Cowboy,” features Jamiah as he wails, “Chicago cowboy, you’ll be calling my name till your back in my arms, I play by my rules, I’m a Chicago cowboy.” Here Jamiah reminds me of Jimi Hendrix.

On “Comin For Mines,” Larry Williams replaces “Zay” Horne, as Jamiah howls, “I want to come and go. I want to go wherever I want and come as I please, it’s my fire.”

“I Know You Gotta Go” features Jamiah as he declares, “I look up at the sky, the night is almost over. I know you gotta go…why do I do, tell me baby when you coming back home, but promise you’ll never leave me all aone,” with Amyna Pearson singing in duet with Jamiah.

On the funky “Do It Right,” Jamiah belts, “when times get hard and I need your love, baby please the way you do to me…you showed me what love’s about.”

“Leave My Girl Alone,” first recorded by Buddy Guy in 1965, features the lyrics, “You better leave, you better leave my little girl alone, you better leave Lord, you better leave my little girl alone, Lord, before I get evil, man, and I’m known to do something wrong…You call my house, all the hours of the night, but let me tell you, mister, that’s a sure way to start a fight, now why don’y you just go on, man, and leave my little girl alone. ’Cause Lord, you know I can get so evil and I’m known to do something wrong.”

“What’d I Say” is the 1959 Ray Charles classic, as Jamiah croons, “Hey mama, don’t you treat me wrong. Come and love your daddy all night long. All right now, hey, hey, all right. See the girl with the diamond ring, she knows how to shake that thing, all right now now, hey, hey, hey, hey. Tell your mama, tell your pa, I’m gonna send you back to Arkansas. Oh yes, ma’m, you don’t do right, don’t do right…aw, play it boy.”

Chicago Cowboy is a full-blown sonic thunderstorm. When Jamiah hits that first note, it’s lightning in a bottle: searing guitar runs, deep Chicago grooves, and a soul that shakes the foundation of every club. This is raw. This is loud. This is blues the way it was meant to be — sweaty, electric, and unapologetic. The kind of music where the amps glow, the drums crack like thunder, and the crowd feels every bend of the strings in their chest.

Richard Ludmerer

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