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(back) - Blues on Stage -
Remembering Leadbelly CD Review
Leadbelly
was one of the foundational stones upon which
the Blues was born. As this exquisite tribute reminds us,
however, Huddie Ledbetter was more than just a Bluesman.
He sang and composed material that was relatively far a field,
as well, mostly notable the folk standard 'Good Night Irene',
conspicuously absent here. Long John Baldry has a voice
and demeanor well suited to the material. Sometimes as gruff as
Tom Waits, he's an expressive and passionate singer. |
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From the opening 'Lining Track', which inevitably reminds
of Taj Mahal's version 30 years ago, he sets the
tone. His version of 'Gallow's Pole', on which he is joined by
fiddler Jesse Zubot and vocalist Kathi McDonald,
is as fiery as I've ever heard and the version of 'Midnight
Special' is a wonderful acoustic version that stands next to
any other. 'Rock Island Line' is done in a pretty
straight ahead manner, rather than the skiffle style popularized
by Lonnie Donegan. 'Good Morning Blues', opens with a
scratchy recording of
Leadbelly's version before segueing
into Baldry's superb take with harmonica player Butch Coulter.
'Birmingham Jail' has a country waltz feel, 'We're in
the Same Boat Brother' is done in a hootenanny style and 'John
Hardy' benefits from John Lee Sanders' harmonium. He
also does wonderful versions of 'Diggin' My Potatoes' and
'Mary Don't You Weep'. by Mark E. Gallo
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BOS
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BLUES REVUE - LONG JOHN BALDRY -
Remembering Leadbelly
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Huddie Ledbetter and Long John Baldry don't have a
lot in common. One is tall, white, and willowy, while the other
was short, black, and stout. One was an ex-con, accused of
attempted murder, while the other has...well, murdered the odd
cover tune. One is dead and one's still doing nicely, thank you.
Leadbelly
was the first black musician adopted by a white
audience, while Baldry first emerged from Folk, Pop, and R&B
circles. Baldry has long been in awe of the work songs that
helped the slaves endure hard labor. Who can forget his powerful
treatment of Ledbetter's 'Black Girl' from 1971's
It Ain't Easy, sung in duet with the like-voiced
Maggie Bell? Sixteen
tracks range from the simplistic prison song
'Lining Track'
accompanied
only by percussion, to the full-blown hymnal 'Oh Mary Don't
You Weep,' with assistance from National Steel guitar,
finger cymbals, and Sybel Thrasher's lush background vocals. Baldry's 12-string highlights the familiar
'Gallows Pole,'
anchored by the aggressive fiddling of Jesse Zubot and
given an almost Celtic feel by the slick ensemble. 'Take This Hammer,'
one of the
album's best tracks and some of the best Baldry in years. Another
highlight is Baldry's take on 'John Hardy,' his voice
nicely complemented by a 1865 pump organ and harmonium
accompaniment - a peculiar treatment that makes for one of the
disc's most poignant moments.
'Good Morning
Blues'
begins with
a primitive tape Baldry made in '58 featuring a scratchy lead
vocal and guitar; when it gives way to a modern recording, it
nicely sums up this entire exercise. A worthy
tribute.
by
ERIC THOM
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Blues Revue
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