“JB Hutto said, "Blues will be blues until the end of the world". He was right. Look at Jimmy Reed and the spectrum of emotions he takes you through with a simpler but greatly effective technique. He can do more with less. It is harder to do more with less, but when it reaches the soul and move a person, you know that the artist is hitting his mark.”

Dave Weld: Bluesin' Through The Years 

A super exciting LP compilation from one of the best purveyors of Chicago electric house rockin' boogie blues Dave Weld & The Imperial Flames titled “Bluesin' Through The Years” (2025, Delmark Records)! Veteran guitarist/vocalist Dave Weld and his powerhouse vocalist Monica Myhre team up with an amazing Imperial Flames band (with long time drummer/vocalist Jeff Taylor) and special guests Lil' Ed, Bobby Rush, Abb Locke, Sax Gordon, & Tom Hambridge. Dave Weld and The Imperial Flames, an authentic, real deal blues band, high energy with versatile talent, variety, and a cohesive show that includes original driving houserockin blues, blues rock, funk, boogie and Soul. Blues originals are classic in nature, the standards are revitalized with striking three part vocal harmony, three vocal stylists, Passionate slide guitarist, Dave Weld mentored from Grammy Winning Master J.B. Hutto and legendary slideman, along with blues diva and two time Rami winner Monica Myhre (Mona Rose), a kicking rhythm section consisting of the smooth voice of Jeff Taylor holding a solid beat on drums, Kenny Pickens blazing on bass, Harry YaSeen, tutored by the famous Art Hodes on piano/organ and the Mississippi saxman, Rogers Randle.

(Dave Weld / Photo by Norman Sands)

Born in Chicago in 1952, Dave was first influenced as a child when he found an old Victrola in the basement and wore out the blues 78’s. In high school the Stones, Clapton and Mayall first came out but Dave traded those records for Howlin’ Wolf, Lightnin Hopkins, and BB King.After high school Weld moved to New Mexico, and studied guitar under Kurt Black, a jazz player who worked with Benny Carter, Grant Green and others in the New York jazz scene. Also he drove to Nevada and met and jammed with Gatemouth Brown. Weld bought Hound Dog Taylor’s first Alligator album, heard Howlin Wolf over the radio in the desert one night, packed up and drove back home in his 67′ Ford, and made it with $10 to spare. Dave found out the West side of Chicago in the black hood was friendlier than the North side, and started sitting in at clubs, and landed a gig with Hound Dog Taylor’s band, Brewer Phillips, Ted Harvey, at Sweet Peas on 43rd St. While there a year, there were shake dancers and fistfights. And his experiences with the Blues continue…

Interview by Michael Limnios                 Archive: Dave Weld, 2015 & 2022 Interview

Special Thanks: Dave Weld, Julia A. Miller, Elbio Barilari, and Kevin Johnson

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process? 

One thing is that I have the backing and help from one of the oldest and most established blues and jazz labels in the world, Delmark Records, which is growing now, and has never stopped growing and getting better and better! We sometimes rehearse there, too.

I think I have grown with better timing, better phrasing, and I hope I can put a little more soul into the song, more feeling. I really want blues to talk to someone. I was very intense as a young man, but I gained more chops as an older man. Vocally my breathing is a little better now as an older man, but I lost a little range with my vocals. But I have gained a deeper vocal now and it is more blues. These are ways I can share my emotions better now, without tearing out my guts, losing my voice, or collapsing on stage. I really want to reach a wide range of people, as much as possible, and let them know that a Chicago Blues is every damn bit as good as a rock or a pop song.

What has remained the same it the deep need to please the listener. Also, how the song is created, the arrangement, which chords are best, which key is best. THE GROOVE!!  JB Hutto told me a long time ago to write songs like a full grown man and he said to sing a blues and write a blues, you have to dig deep into your soul.

“Well, the old timers were young once too - let's see if the young ones can hang in there long enough to get that kind of stature. But don't get me wrong, some of the young guys out there have built on the foundation that the old cats laid down. They can play some really great styles now, and had they been around in the 70's playing like that, or the 80's, they would be in mansions today.” (Dave Weld & The Imperial Flames - Bluesin' Through The Years / Cove Photo by Karen Murphy) 

When did the idea of the Imperial Flames come about? Do you have any interesting stories about the making of the new album Bluesin' Through The Years?

The Imperial Flames came about at our first gig at Sam's Saloon on Belmont in Chicago. It was about 1986, 87 or 88. It was a place that was used in the old days as a speakeasy. The backroom was where the music is now, but in yesteryear during prohibition, illegal whiskey was sold there. I used the drummer for the the original Blues Imperials, Louie Henderson, because he and I recorded for Alligator with Lil Ed's first album. I picked up Mike Scharf, my first bass man, and Harry Yaseen on piano. Soon I switched drummers to use Ted Harvey from my first professional gig back in 1976, with the Houserockers, Hound DogTaylor's band after he died. So I started using Ted at my gigs, and he was absolutely wonderful!

I wanted the world to know of the time I spent with Lil Ed and Alligator, so the Imperial Flames sounded kind of like the Blues Imperials, and I like the tone it set.  I talked with Lil Ed about it and he said to go for it! He had no problem with it! But early on I realized I would be doing all the booking, the hiring of musicians, the buying equipment, the buying a vehicle, the writing songs, and setting up rehearsal.  So I added "Dave Weld" and the "Imperial Flames".

You know these songs are an incredible part of my history.  "She's Lyin'" was recorded back on "Record Row" on Michigan Ave, around where Chess was and all the rest Brunswick Records, which was in the Vee Jay building. I used Abb Locke, sax,  Herman Applewhite, bass, Jeff Taylor, drums, and they were all legendary, and we were working together every week. Years later I took that tape to a little studio in Palatine, must be five, 10 years later, adding the background vocals with Monica Myhre, Jeff Herman. THEN five years passed and we got on Delmark and Steve Wagner re mixed it and mastered it and put it out on our first Delmark CD, "Burnin' Love". Talk about the amount of effort and persistence, wow.

Now we have that same song featured and mastered to the MAX by Julia Miller, CEO of Delmark! All these songs have weaved around my past to create an incredible tapistry. William Faulkner said, "The past is never dead, it's not even past!"

“Well, the old timers were young once too - let's see if the young ones can hang in there long enough to get that kind of stature. But don't get me wrong, some of the young guys out there have built on the foundation that the old cats laid down. They can play some really great styles now, and had they been around in the 70's playing like that, or the 80's, they would be in mansions today. Still, I like the feel of the classic artists, I can't help it. They all have the love of music in common, and the old saying goes: "The more things change, the more they stay the same".” (Veteran guitarist/vocalist Dave Weld and his powerhouse vocalist Monica Myhre / Photo by Mike Graham)

Are there any memories with Eddie Shaw, Johnny Littlejohn, and Maxwell St Jimmy, which you’d like to share with us?

My memories of Maxwell St Jimmy and Eddie Shaw are mixed up together because I used to go to Maxwell St to see Jimmy play. Then when I joined the Wolf Pack, with Hubert Sumlin, Shorty Gilbert (who I talked to last month by the grace of God!), Chico Chism, Detroit Junior, and Eddie Shaw, they had a homestand there after Wolf died at the 1815 Club on W Roosevelt. Maxwell St Jimmy used to come up and play.  He kicked off Sonny Boy's "Help me", and he liked my groove and looked over at me. I was there at the 1815 Club on Friday and Saturday nights about a year running. Johnny Littlejohn came to see us at the Casablanca on 16th and Pulaski, and he did not like when Lil Ed and I took his gig, and he came by to complain to the owner of the club, who was THE major west side drug pusher. The owner came to the bandstand and said to us, "Play a real, real fast one for Johnny". I don't think we played all that great but it must have been good enough.

But Eddie Shaw remained my friend the rest of his life, and I always turned to him for old timers advice. I loved him.

From the musical and feeling point of view is there any difference between the old - cats great bluesmen and the young blues musicians?

Well, the old timers were young once too - let's see if the young ones can hang in there long enough to get that kind of stature. But don't get me wrong, some of the young guys out there have built on the foundation that the old cats laid down. They can play some really great styles now, and had they been around in the 70's playing like that, or the 80's, they would be in mansions today. Still, I like the feel of the classic artists, I can't help it. They all have the love of music in common, and the old saying goes: "The more things change, the more they stay the same".

“What has remained the same it the deep need to please the listener. Also, how the song is created, the arrangement, which chords are best, which key is best. THE GROOVE!! JB Hutto told me a long time ago to write songs like a full grown man and he said to sing a blues and write a blues, you have to dig deep into your soul.” ((Dave Weld & The Imperial Flames / Photo by Norman Sands)

How can a band/musician truly turn the blues into a commercial and popular genre of music for the today's audience?

By writing something so universal everyone can relate to it, in their personal lives. Putting a new take on an old groove. Simpler is better. Also by bridging the gap between the old sounds and more modern sounds, to create a timeless sound. It is super hard, and that is why there is not many songs like "The Thrill is Gone", or "Sweet Home Chicago", "Got My Mojo Workin'" or some of the others.

How has your experience with the “golden era” of blues influenced the way you compose and perform today?

I give everything I have and leave it on the stage like the old timers! I love to retain the feel of classic blues, but to add my spin on it and make it mine, in any little way possible. In my mind I am still trying to reach the bar of those classic blues, and only wish to add my own feel. You know if you were a musician in the old days your job was to practice 8 hours a day.  When Earl Hooker went on tour he would just load up in the station wagon and take off without any dates set up in advance, just taking what he could get from places he knew about. This is a faith and dedication business.

What's the balance in music between technique (skills) and soul/emotions? Why is it important to we preserve and spread the blues?

Because the blues will help us grow and expand our range, in what we can do and what we can feel from music. New things always come up when you think everything is all the same, something new will come around. Listen to Tab Benoit's chord changes, because they are fresh, simple and well executed. It is a foundation the masters laid down and we can take it on through the rest of our lives. JB Hutto said, "Blues will be blues until the end of the world". He was right. Look at Jimmy Reed and the spectrum of emotions he takes you through with a simpler but greatly effective technique. He can do more with less.  It is harder to do more with less, but when it reaches the soul and move a person, you know that the artist is hitting his mark.

“One thing is that I have the backing and help from one of the oldest and most established blues and jazz labels in the world, Delmark Records, which is growing now, and has never stopped growing and getting better and better! We sometimes rehearse there, too.” (Dave Weld & The Imperial Flames on stage, Windy City Blues Challenge, Chicago IL / Photo by Norman Sands)

What keeps a musician passionate after five decades in blues? How does your hometown that affect your music?

I try to keep up with Delmark and the high standards of their traditions of quality in music and writing! Also trying to keep in good health. Big Walter said the artist has to take care of himself, and for me that was quitting drinking. It was too much of a habit and time consuming and dangerous for driving. 42 years since I have had a drink. We used to sit out in a burned out car in a vacant lot drinking bumpy face gin, and we thought that when we got back in the club (Boss Joe's on W Lake) that we were great, but we actually sucked.

There is a lot of discipline involved and choices on what to practice. You can not just play when you are inspired, because it is creative work. Kim Simmonds of Savoy Brown said he used to practice two hours a day, everyday. That is what it takes.  And a little coffee. I tune in to my favorite artists on YouTube and jam with them.

Also working with people that you love. My current band is wonderful with the love of my life Monica Myhre, right by my side singing her heart out. Jeff Taylor, one of the true greats who worked with literally everyone and is a legend, and brings so much to the band. And now Dave Service on bass who has been with truely great groups and brings fresh to the band. Roger Randle on sax, who can wail with the best of them, and in town, Harry Yaseen on Piano who was there in the beginning.

Then there are goals as well, like playing certain venues and festivals.  Then there is a certain amount of stubborness, when you see others doing great, and you are denied, but you just keep trying. But in the long run it is because you enjoy it, and actually have to do it. Because You did not pick this lifestyle, it picked you!  Once you accept that you can, as Paul McCartney said, "take a sad song and make it better". As far as getting exercise, trying to do financial planning, because remember, Muddy was a painter for a while, and so was JB Hutto. A day job with flexible hours, or part time job helps you succeed as an artist. It also helps with humility, and it keeps you moving along, with your goals in mind. I always did a little producing myself and trying to do your own recordings shows you a lot, so when the time comes you are ready. What do they say? "I stay ready, so I don't have to get ready". Makes sense to me. Thank you so very much for this time together!!! I can't wait to see you at the gig!!!

Dave Weld & The Imperial Flames— Home

(Dave Weld / Photo by SMA Events Photography)