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Various: Blues for a Rotten Afternoon

AAJ Staff By

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From the ain’t nothin’ more authentic dirge of Luther "Guitar Jr." Johnson’s "So Mean to Me" to the barrelhouse cluckin’ of Marty Grebb’s "Hen House," this blatant copy of Joel Dorn’s "Jazz for..." series combines true tales of loss with rather peppy pleas for love, wealth and the other anti-ingredients of the blues. In true blues, everything gets lost, prompting Junior Wells to ask the somewhat musical question "Why Are People Like That" (a bluesy companion to Dylan’s "Rainy Day Women"). While John Primer’s "Brutal Hearted Woman" might be the culprit, Son Seals tells us that it can be the love itself that has the breakdown. In those cases where the problem is not your woman (which is actually the desired aim in Sugar ray Norcia’s blues-hearted "Life Will Be Better"), another common culprit is money (which is the titular theme of Debbie Davies’s contribution). And in today’s world, In the modern blues age, that can also mean a case of "Credit Card Blues," which Terry Evans diagnoses with insightful and cautionary humor.

In the worst case scenario, love and money can combine for even more tragic results, as in Sam Lay’s "Somebody’s Gotta Do It." Though you may not want to admit it, there are times when the loss is your own darn fault, as in Kenny Neal’s Cocker-esque "Killed the Goose That Laid the Golden Egg." Other times, the loss is not intentional, but still ends up being your fault, as in Lady Bianca’s Motown-worthy heart-burner "How Do I Tell My Little Sister?" No matter what causes the pain, sometimes the only answer seems to be diving into a sea of drink, as Willie Dixon prepares to do in "If the Sea Was Whiskey." Other times, there ain’t nothin’ to do but sing the blues. Though the repertoire and cast of characters onthis label sampler is impressive, nobody puts it together better than Maria Muldaur, whose aching "Misery and the Blues" sums it all up in more than name.


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