What seems to be an unlikely pairing in the duo of former -- and future apparently -- Led Zeppelin vocalist Robert Plant and bluegrass superstar Alison Krauss is actually one of the most effortless-sounding pairings in modern popular music. The bridge seems to be producer T-Bone Burnett and the band assembled for this outing: drummer Jay Bellerose ...
Keb' Mo's self-titled debut is an edgy, ambitious collection of gritty country blues. Keb' Mo' pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren't always successful, but his gutsy ...
Keb' Mo' is less a blues singer than a performer who works from that conceptual base, not in the way Taj Mahal does, knowingly carrying a tradition forward, half teacher and wise elder, but more as a populist, the James Taylor of blues, say, or a less recalcitrant J.J. Cale. To criticize him for not being Skip James or Robert Johnson sort of ...
A massive media campaign comprising seven documentary films broadcast on public television and released as a DVD box set, plus accompanying soundtrack albums, a 13-part radio series, a companion book, 12 individual artist compilations, and a five-CD box set, The Blues, executive produced by filmmaker Martin Scorsese, threatened to be even more all ...
You Don't Know My Mind brings back the familiar, friendly growl of modern-day traditionalist Guy Davis, with a pipin' hot baker's dozen of his compositions. Again, on this disc Davis has some extremely able players to help augment his songs and support his vision of them, never overplaying or getting in the way, but providing that constant base of ...
After 35 years and the release of over 2800 contemporary blues tracks, it's safe to say that Bruce Iglauer's Alligator Records is the world's premier blues label, particularly if sheer numbers are factored in, and while the label's releases tend to sound mind-numbingly similar sometimes, this two-disc overview of Alligator's history shows how much ...
On Suitcase, his eighth studio release, Keb' Mo' (Kevin Moore) reunites with John Porter, the producer of Moore's critically lauded first album, and the result is a pleasant, midtempo suite of songs dedicated to the emotional baggage everyone carries with them as they plow through increasingly complicated lives in search of peace, love, and some ...
Otis Taylor can make people nervous. His take on the blues is defiant, angry, aggressive, and confrontational, owing as much to Peter Tosh as Charley Patton. Although he carries the dust of 1920s country blues in his mostly acoustic songs, his railings against social injustices are thoroughly contemporary. Taylor is an often pedantic songwriter, ...
This is the real deal -- Phelps performs with the full authority and authenticity of the Delta bluest tradition without ever once sounding like a Folkways museum piece. There's nothing more to it than the 34-year-old's raspy, swamp-infused vocals, lapstyle acoustic guitar played using fingerpicking and slide, and self-accompanied stomp-box ...
The rise in the number of titles in the children's music category around the turn of the century was accompanied by a shift in the approach to such recordings. As baby boomers, who remain loyal record buyers, have become parents, the artists who appeal to them have turned to children's music, but it often seems as though the records are still ...
There is plenty of fire in Saffire -- The Uppity Blues Women, a trio of feisty multiracial middle-aged acoustic blues femmes who, rather surprisingly, were one of the top sellers from Alligator's male-dominated, plugged-in roster. This generous 20-track, 75-minute compilation collects highlights from the threesome's previous seven Alligator albums ...
As passionate as dust bowl troubadour Woody Guthrie was about politics and inequality, he was even more passionate about children, particularly his own. It has been long known that Guthrie left behind a wealth of unrecorded and half completed songs while he was living in New York near the end of his life, the most famous of these appearing as ...
On his second album, Keb' Mo' begins to expand the borders of his Delta blues by recording with a full band on a couple of tracks and attempting more expansive, rock-based song structures. The attempts aren't entirely successful and it's ironic that he decided to try rock-oriented material after he received such praise for his traditionalist debut ...
Phelps' third album is an accomplished serving of country blues that combines the sweet and sour power of his guitar playing with the equally bittersweet charge of Phelps' wearied voice. Shine Eyed Mister Zen features a lot of singing, but most importantly it spotlights the singing of Phelps' slide guitar, which integrates a humid and natural ...
Since he's a limited vocalist with erratic songwriting skills, one could justifiably argue that the soundtrack medium is the best vehicle for Ry Cooder's talents, allowing him to construct eclectic, chiefly instrumental pieces drawing upon all sorts of roots music and ethnic flavors (often, but not always, employing his excellent blues and slide ...
Many tribute albums act as secret promotional tools for the individual labels to push some of their lesser-known artists on the coattails of their heavy hitters. Fortunately, nothing could be further from the truth on Lost Highway's all-star tribute to Hank Williams, Timeless. Bob Dylan, Johnny Cash, Tom Petty, Emmylou Harris, and Keith Richards ...
Columbia/Legacy's 2000 collection The Best of Taj Mahal is a first-rate overview of Taj Mahal's classic late-'60s/early-'70s work for Columbia. Spanning 17 tracks, including a previously unreleased cut "Sweet Mama Janisse" from 1970, this hits many of the key points from the records he released between 1967 and 1974, including "Statesboro Blues," ...
Alligator Records shows a different side of its house-rocking face on this 13-cut collection of acoustic blues. While Muddy Waters, Robert Johnson and Bukka White don't appear here, other performers -- some of whom one normally associates with overdriven electricity -- are. Buddy Guy is present, as is Stevie Ray Vaughan. Koko Taylor's "The Man ...
With each new release, the clothes of an old bluesman fit Guy Davis more and more comfortably. By now the blues are completely a part of who he is, so when he reworks an old Sleepy John Estes song into the opener, "Limetown," it feels completely natural; even with the familiar "Rollin' And Tumblin'" riff. He mixes it up well between covers and ...
As the third volume of Columbia's Austin City Limits series, this one shines the spotlight on the cornucopia of blues treasures from the show's rich history. The big tickets here include Lightnin' Hopkins' lion-in-winter performance of "Rock Me Baby" (complete with screeching wah-wah pedal), Stevie Ray Vaughan's "Love Struck Baby," his brother ...
You could see this one coming. Watermelon Slim's last album, 2004's sparse and arresting Up Close & Personal, revealed a contemporary bluesman with a scholar's understanding of the genre and a truly skewed, passionate approach to performing it that hinted at even deeper possibilities. Watermelon Slim & the Workers is the payoff. The sound on this ...
As its title implies, this is a spiritually based collaboration from three distinct -- even disparate -- yet surprisingly harmonious voices. Mostly, but not entirely acoustic, the trio of rootsy singers trade lead vocals on smooth jazz/blues ("Bessie's Dream"), folk-blues ("Good Stuff"), Delta blues ("Rolling Log"), gospel (an a cappella version ...
By their third release it had already been noted numerous times that beautiful harmonies were a strong point for alternative folksters Po' Girl and that they could entrance with music that wasn't afraid to straddle genres while remaining organically pure. With their third release. Canada's acoustic wonders have conquered the full-length, ...
Since his doo wop beginnings in the 1950s, Dion has tried a number of different musical styles, including the rock & roll of his early-'60s solo work and his late-'60s folk-pop phase. He also played the blues, if less prominently (see for example the belatedly released Bronx Blues album), and he again tries the style here in what he bills as a ...
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