back beat

Rip It Up, Issue 201, 1 May 1994, Page 33

back beat

BONNIE RAITT, Longing in Their Hearts (Capitol)

“If it ain’t broke, don’t fix it" time for Raitt and coproducer Don Was, and to complain would be churlish. Part three of Raitt’s mid-life renaissance continues the successful mix of erotic swamp grooves, seductive urban ballands and gritty country blues. If anything, this album’s charms are more subtle and enduring than its instantly likeable predecessors. Raitt’s vocal is spellbinding - supple, true and brimming with confidence - you wonder where she’ll take it next. Her assuredness extends to the songs; she writes half, the others are by old friends such as Paul Brady, Teenie Hodges and Richard Thompson (and New Zealander Lea Maalfrid). Drummer Ricky Fataar leads the great band and guests include Thompson, Levon Helm and the Memphis Horns.

SID SELVIDGE, Twice Told Tales (Elektra Nonesuch)

Another gem from the reliable American Explorer series, which spotlights roots musicians languishing

in obscurity. Selvidge is a Memphis cult hero, a singer’s singer whose pure voice combines blues, country and folk into something unique. The haunting vocals could be Jimmie Dale Gilmore without the nasality; other touchstones include Hank Williams, Furry Lewis, Jimmie Rodgers. The slide guitar work and appreciation for musical Americana recall Ry Cooder. Standout among the classics interpreted here is Ivory Joe Hunter’s ‘Since I Met You Baby’, an exquisite, careful, aching reading. Both moving and good fun (he parties up at the end), Twice Told Tales is the roots release of the month (albeit one year old already).

DR JOHN, Television (MCA/BMG)

Goin’ Back to New Orleans in 1992 was just what the Doctor needed. That wacky history of New Orleans music was a retro move which proved revitalising. This is a slick update of 1973’s In the Right Place; if the band lacks the Meters’ personality (check out the budget reissue of Desitively Bonaroo from 1974), the Doctor has it in spades, mixing second-line rhythms

with hard funk grooves and voodoo weirdness. Hi-tech New Orleans funk for the 90s, but with a real drummer, plenty of piano - and that wicked voice.

DANKO, FJELD, ANDERSEN (Rykodisc)

A roots supergroup; the Band’s Rick Danko joined by old “new Dylan" Eric Andersen and Norwegian folkie Jonas Fjeld. But there’s no grandstanding here: Danko’s inimitable enthusiastic, anguished vocal blends well with the seductive Fjeld and earnest Andersen. With subtle, sympathetic backing from Norwegian musicians, they mix ballads (Danko’s version of Andersen’s ‘Blue River’ could be a Band classic), ancient Nordic folk and rock’n’roll. Mellow to begin with, by the end it’s a stomping jukejoint party.

JOHN ELLtSON, Welcome Back (After Hours)

Lead vocalist of the Soul Brothers Six in the 60s (whose ‘Some Kind of Wonderful’ was huge for Grand Funk Railroad in the 70s), Ellison returns with a seamless, timeless album of Southern soul. With great Stax grooves, consistent songs, and a vocal style that borrows equally from Joe Tex and Clarence Carter, this is for genre stalwarts. The (all-natural) feels include pumping soul, languid blues and roadhouse R&B, and it all ends up with a SB6 reunion party reviving ‘Wonderful’. Safe but satisfying.

JIMMY WEBB, Suspending Disbelief (Elektra)

Child prodigy 60s songwriter Webb (‘Wichita Lineman’, ‘Up Up and Away’) turned singer/songwriter in the 70s, but records rarely. He has Warren Zevon’s voice and Randy Newman’s intelligence (without the irony). Real singers could do something with these songs; swamped by a big El Lay studio sound, they become lush, expensive demos.

CATFISH KEITH, Cherry Ball (Fishtail)

Call-me-Cat looks as silly as his name but turns out to be a country blues devotee, like John Hammond with a sense of humour. Chicago-born ’fish sings with credibility and certainly knows his way around a National steel slide guitar - his fingerpicking technique is dazzling. He mixes originals with country blues obscurities, so it’s a compliment to say it gets a bit samey.

DOYLE BRAMHALL, Bird Nest on the (Antones)

A master of Texas roadhouse blues records his debut album after 30 years of one-night stands and teaching Stevie Ray Vaughan the ropes. Like Vaughan, he’s loud, sweaty, sings with his mouth full, and likes lots of slide guitar. Like Levon Helm, he’s doing it all from behind the drum kit. Bramhall’s originals (SRV covered many) sit comfortably beside rock’n’roll and

blues classics (Elvis. John Lee Hooker, Johnny Nash); his first set-list and terrific lived-in voice declare years of experience on the Texan bar-band circuit.

PAT MCLAUGHLIN, Unglued (Dos)

Van Morrison, Dion, George Jones, John Hiatt, Delbert McClinton; this well-worn voice is as familiar as an old shoe and has travelled many different places. He coasts through the styles - gospel, country, tough rock’n’roll, sensitive ballads-with such ease, it takes a while to realise the depth of his songs and performances. The adaptable (value for money!) voice testifies that he has lived the situations he writes about; he’s the real thing alongside retro-poseurs like Counting Crows. A triumph over diversity from an unsung vocal hero.

TONY BENNETT, Steppin’ Out (Columbia)

Tone, my maan. Brooklyn's favourite son plays the class rooms of Manhattan now, and is newly hip with the young set. He sings with a life’s-been-good-to-me smile on his face, his ingenuous charm similar to Springsteen’s. He skips with joy through this tribute to the “golden age” of songwriting (Kern, Porter, Gershwin, Berlin). Unlike his mentor Sinatra, he exudes no sleaze and his voice has benefitted from some weathering. The small jazz combo is having fun too.

ETTA JAMES, Mystery Lady (Private/BMG)

Blues belter Etta shows her sensitive side with this labour of love, a tribute to Billie Holiday. Delicate, straight interpretations of Lady Day classics, supported by tasty jazzers with a rich, warm sound. Sad, of course, but her joy comes through; like Holiday, there’s strength behind the languid pose. For Berocca mornings and

smart-set soirees.

Chris Bourke