Blues Rock

Album Review #29: Muddy Waters at Newport by Muddy Waters (1960)

bookcase Albums , , , , , , ,

Live at Newport, Muddy Waters.jpg

Muddy Waters was among the first to bring the electric guitar into the blues, and this live recording is one of the best showcases of his talent. It’s the second live album recorded at the Newport Jazz Festival I’ve reviewed for this list, the first being Duke Ellington’s in 1956, but this album is of course wildly different. Featuring boundless energy, powerful rhythms, and soulful vocal performances, this is a defining album for the genre, introducing blues to a much wider audience than it previously had.

I’m going to be honest: the harmonica makes this album. Something about its mournful, harmonious voice just propels these already good songs into the realm of pure excellence. Without James Cotton’s harmonica playing, this album wouldn’t be nearly as memorable as it is. Its fluttering, unsteady and shimmering tone injects passion into the slow songs and vigor into the fast songs. But it’s not the only virtue this album has. Francis Clay’s drumming makes the uptempo tracks exhilarating, but it’s the slow tracks where the percussion really shines. The drums give slower songs a feeling of sheer power and strength not seen anywhere else in music at the time. Each and every beat is like a punch to the chest, and I mean that in the best possible way. Couple that with Otis Spann’s piano and Muddy Water’s guitar and vocals, and you’ve got a recipe for some of the best classic blues ever put to record.

Muddy Waters telegraph.co.uk

Muddy with his legendary Fender Telecaster. Image source: telegraph.co.uk

When it comes to which specific track is the best, that’s a tough choice, but I’d have to say “I’m Your Hoochie Coochie Man” takes the cake. With a slower tempo, stomping beat, and an absolutely iconic hook, it’s probably the strongest and most memorable track on the entire record. The harmonica, piano, guitar, and bass just seem to kind of meld together into a single sound, and the result is just pure blues bliss. Some other great tracks include the opener “I’ve Got My Brand on You”, “Baby, Please Don’t Go,” and “I’ve Got My Mojo Working,” which is so good that the audience makes them play it twice. But, second to “Hoochie Coochie Man,” the highlight of the record has to be the haunting closer “Goodbye Newport Blues.” It’s by far the gloomiest track the album has to offer, and it ends the concert on a high, if depressing, note.

Muddy Waters at Newport is simply put one of the greatest blues albums of the decade, if not of all time. It’s got melodies and rhythms that’ll stick in your head for days, and is possibly the best showcase of Muddy Water’s musical genius of his entire catalog. If you’re not familiar with the blues, this is an incredible place to start, and if you’re a fan of the blues, you’ve probably already heard it, but just listen to it anyway.

Favorite Tracks: “I’m Your Hoochie Coochie Man,” “Goodbye Newport Blues,” “I’ve Got My Brand on You”

Next Up: Sunday at the Village Vanguard by Bill Evans Trio (1961)

Album Review #27: A Date With The Everly Brothers by The Everly Brothers (1960)

bookcase Albums , , , , , , , , ,

a-date-with-the-everly-brothers

Think about this for a second: without these guys, there’d be no Beatles or Beach Boys as we know them. Would anyone want to live in a world like that? I don’t think so. They were trailblazers in the world of pop-oriented rock and roll, and their influence on future musicians for decades to come simply cannot be measured. All future influence and importance aside, this is a damn strong pop-rock album in its own right. Short and sweet, it crams as many insanely catchy lyrics, choruses and melodies as is possible to fit inside its 27-minute runtime. It’s funny how albums so short can have such huge and lasting impact: Fats Domino, The Crickets and Little Richard, just to name a few, and now we have the Everly Brothers to join those prestigious ranks.

Blending elements of Elvis-style rock and roll with surf rock and Louvin Brothers-esque close vocal harmonies, this record creates a distinctive blend of pop-rock that’s extremely receptive to 60’s prom setlists and extensive radio play alike. Some may use those descriptors as an insult, but I think it really just proves how well the Everly Brothers know their craft. Don and Phil know exactly what to do to hammer a catchy melody or hook into your brain after just a single listen, and their knowledge of the art of pop is immediately evident. Commercially viable does not mean bad, and this album is only one of countless examples.

everly-brothers-yourtoojerrydotblogspotdotcom

Image Source: yourtoojerry.blogspot.com

Despite being a relatively short album compared to typical album runtimes, it actually works in a surprising amount of musical diversity. There’s Surf Rock in tracks like “Made to Love” and one of my personal favorites, “Sigh, Cry, Almost Die.” There’s slow ballads, like “That’s Just Too Much,” “Always It’s You” and one of their most well-known hits, “Love Hurts.” There’s even a hearty helping of blues rock, showcased at its best in “Baby What You Want Me to Do,” with some excellent piano and rhythm guitar. And with all of these suberb tracks, the album isn’t even done yet: there’s still songs like “Lucille,” “Donna Donna,” and of course, “Cathy’s Clown.”

This is an album that simply doesn’t waste a track. Every single one of this album’s 27 minutes is jam-packed with pop-rock perfection, and its short length means that you finish the album wanting more. Don’t be put off by their teenage-heart-throb image or their boy-band aesthetic, because they really do know how to make a good song.

Favorite Tracks: “Baby What You Want Me to Do,” “Sigh, Cry, Almost Die,” “Lucille,” “Cathy’s Clown”

Next Up:  Back at the Chicken Shack by Jimmy Smith (1960)