| |
One Night In
America
Charlie Musselwhite CD Review
If I'm waiting at the airport and need a book to read, there are
several authors whose books I would buy on sight. I would'nt need to
read the cover jacket because I know that the book will be a good
read. There are a few actors whose movies I'll attend without
watching the trailers or reading the reviews. I know that the movie
will be worth watching. And when a guy like Charlie
Musselwhite
releases a new CD, I'll buy it for the very same reason-- I know it
will be great. For over 30 years, Charlie has never let me down and
his new recording, ONE
NIGHT IN AMERICA,
is certainly no exception.
On this album, Charlie has at least temporarily abandoned his
interest in Brazilian music; his fat tone Chicago blues harp and his
West Coast Swing. He has returned to what he calls his roots with an
incredibly sweet, yet crisp harmonica. A stellar band and the added
treat of some darned beautiful accompanying vocals back him. The
result is a nostalgic and optimistic collection of contemporary and
traditional Blues that is as proud of its past as it is confident of
its future.
The first track, TRAIL
OF TEARS sets the
pace with Charlie wrapping his mellow voice around the sweet harmony
of Kelly Willis and Christine Ohlman. If the guitar solo by Saturday
Night Lives' G.E.Smith wasn't enough, there is also an outstanding
solo by Charlie's old friend, Robben Ford.
IN A TOWN THIS
SIZE is an
interesting tune, with a country flavor that definitely has a
bluegrass sound. The backing vocal by Kelly Willis and the tongue-in
cheek lyrics provide an interesting change from some of the darker,
more aggressive tunes on the album. Speaking of darker moods, AIN'T
IN TIME is one of
personal favorites on this CD. This has a very brooding;
ominous quality that prevails until the harp solo raises the hairs
on the back of my neck.
IN YOUR DARKEST
HOUR is a tune of
Charlie's that he has recorded before. I've always like the original
for it's ominous; almost foreboding 'I'll see you soon' quality.
This new version has an air of truth and regret that gives it a
poignant message.
BLUE OVERTOOK ME
is also a tune that Charlie has previously recorded. A great tune to
begin with, it's been dusted off, brightened up and fined-tuned with
the great guitar licks from G.E.Smith and Robben Ford.
After a sweet instrumental shuffle entitled I'LL
MEET YOU OVER THERE,
The last track is an old chesnut by Jimmy Reed, AIN'T
THAT LOVIN' YOU BABY
that has a nice jump to it. I think T-Bone Wolk's bass has a lot to
do with the continuity of this album, and this tune is a perfect
example. This is a fun, great version of Jimmy's and I think he'd
agree that it is the perfect last track for this fine CD. This may
not be the usual Charlie Musselwhite CD, but is there really such a
thing? Charlie is the only harp player of his stature that keep's
coming up with fresh new approaches to his music. Charlie doesn't
need to walk the bar in dark glasses while deep breathing into a
chromonica. Nor does the audience in the front seats require extra
napkins when he plays his harp. Charlie's just so GOOD. He's the
most versatile and influential harp player since Sonny Boy
Williamson. Don't miss this one!
http://www.charlie-musselwhite.com/cd23.htm
Pat Benny
|
