The Telarc Blues Project

C. Michael Bailey

Senior Contributor since 1997

...wants to know if Gene Harris is playing "Summertime" in Heaven...

Recent articles (1,695 total)

Published: November 5, 2003

The fun does not stop there. Robert Jr. Lockwood turns in an intense "I'm A Steady Rollin' Man" with Carey Bell playing Rice Miller to Lockwood's Johnson. Two other old timers also show up. Pinetop Perkins, pounding his piano, tells the listener of his "Sweet Home Chicago" while Bob Margolin provides the slide guitar. Clarence "Gatemouth" Brown performs "If You've Got a Good Friend" only as he can. Most of the performances on this disc are reverent and straight. That is with the exception of the aforementioned Robert Palmer. Palmer uses a tuba, dobro, and processed guitar. And his voice: Palmer had one of the finest vocal performances on the record, using Johnson's "Milkcow Calf's Blues" as his vehicle. If you already have The Complete Robert Johnson, buy this disc . If you don't already have The Complete Robert Johnson, get it and then buy Hellhound on My Trail. It's just like reading poetry—you just have to.

The Music of Mississippi Fred McDowall

Como, Mississippi's Fred McDowall may not be a household blues name save for the inclusion of his "You Got to Move" on the Rolling Stone's Sticky Fingers. Paul Geremia starts things off with McDowall's sacred music with "Get Right Church," playing twelve-sting slide. His vocals betray the conflicts between the church and blues lives. Charlie Musselwhite and Anders Osborne ply their acoustic wares on "61 Highway" and "Kokomo Blues," respectively. The brilliant McDowall statement "Keep Your Lamps Trimmed and Burning" smokes from the rhythm section of guitarist Gregg Hoover, bassist Dan Corbett, and drummer Darren Thiboutot. Colleen Sexton testifies as she sings.

Brian Stoltz attacks "You Got To Move" from a traditional standpoint, his thumping slide guitar staying close to the original. Tab Benoit puts an electric sheen on "Train I Ride," his voice full of delta dust. David Maxwell transforms "I Heard Somebody Call" into a country Chopin Nocturne. Sue Foley shows up for a very cool "Frisco Line," her guitar and voice equally gritty. The disc closer is a molten "Good Morning Little Schoolgirl" by Scott Holt.

This McDowall collection is the finest of the three contained in the set if for no other reason than he is less well known. The entire set is fine and worth purchasing.

The Blues White Album

Of all three of the blues interpretation recordings, the Blues White Album fares the worse. Conceptually, this is the only Beatles recording that could be covered in this way as it did contain 12-bar blues ("Why Don't We Do It in the Road" and "Yer Blues") and, indeed, these pieces do translate well (even if Jimmy Thackery's vocals are heavy-handed on "Do It..." his guitar is searing). Lucky Peterson's "Yer Blues" might be the disc highlight. "Revolution" is treated about as well as can be expected by Kenny Neal, Tab Benoit, and Lucky Peterson, who provide the song a Memphis Groove.

Maria Muldaur transforms "Ob-la-di, Ob-la-da" via a Muscle Shoals sound, but never quite makes it to where the song needs to go. Part of this is because this would have to be troublesome song to cover because it is so thoroughly Beatles. I held out great hope for "While My Guitar Gently Weeps," a certified guitar workout saved for master Joe Louis Walker. It is a troublesome masterpiece. Walker's guitar is superb throughout and his vocals hit the mark. But...there is still that Beatles thing. Colin Linden's "Blackbird" and Charlie Musselwhite's instrumental "Dear Prudence" close this disc out on a high note, offering the most original interpretations of the project.

Telarc had not engaged the services of double trouble for this recording, using former Saturday Night Live's G.E. Smith and his band for the party. They are more than capable, but do bring a rote studio fell to the recording. This is not a bad recording. This is hard material to deal with.

The Blues on Blonde on Blonde

The Blues on Blonde on Blonde gets a little closer to the core than did the White Alb um project. Dylan never got far from his blues roots and infused the blues into all that he did. Guitarist Brian Stolzt, veteran of several Telarc recordings vamps Rainy Day Woman #12 & 35 in a Slingblade sort of way, giving the song a heavy backbeat carrying his wah-wah on its back. Sue Foley sings "Most Likely Your Go Your Way..." with sexy and angry resignation. Walter Trout tears up the 12-bar "Leopard-Skin Pill-Box Hat."

Special treats include Anders Osborne's take on "Visions of Johanna" and Duke Robillard's "Pledging My Time." Joe Louis Walker works out "Stuck Inside of Mobile..." as an eight-minute guitar tour-de-force. And the true highlight is C.J. Chenier's Zydeco romp through "Absolutely Sweet Marie." Double Trouble is on had for this recording, offering a much-needed consistency.