INSIDE THIS ISSUE: Blues CD Reviews ⢠Blues ... - Delmark Records
INSIDE THIS ISSUE: Blues CD Reviews ⢠Blues ... - Delmark Records
INSIDE THIS ISSUE: Blues CD Reviews ⢠Blues ... - Delmark Records
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
DELMARK BLUES CLASSIC REVISITED<br />
BY KEVIN JOHNSON<br />
JRM<br />
H$<br />
14. 99 PRICE<br />
<strong>CD</strong><br />
LURRIE BELL, Mercurial Son<br />
(DELMARK DE-679)<br />
Recorded December 12, 1994 and<br />
March 24, 1995<br />
He is the BLUES—he<br />
grew up with it, and it is<br />
still all around him, as<br />
he painfully declares in<br />
“<strong>Blues</strong> Is All Around Me,<br />
follows me everywhere<br />
I go, if I can’t find my way<br />
outta here, I sure don’t<br />
want to live no more.”<br />
In my opinion, this is by far Lurrie Bell’s most exciting<br />
and interesting recording of his amazing life long<br />
blues career. 1995’s Mercurial Son was Lurrie’s first<br />
<strong>Delmark</strong> recording and first domestic release as a<br />
leader, after a JSP debut from London in ’89. Lurrie<br />
started recording as a featured sideman/lead guitarist<br />
when he was just a kid at 19 in ’77 with his legendary<br />
father, the late harmonica ace Carey Bell (on<br />
<strong>Delmark</strong>’s Heartache and Pain) and with his godfather,<br />
Eddie C. Campbell on his ’77 debut (the classic<br />
King of the Jungle,) as well as many other recordings,<br />
including with famous relatives Eddy Clearwater<br />
and pianist Lovie Lee, as well as forming the Sons of<br />
the <strong>Blues</strong> with today’s best Chicago harp player, Billy<br />
Branch! Today, after many years of psychological<br />
problems and personal setbacks, Lurrie thankfully<br />
has amazingly turned his life around and has his<br />
head together to become today’s premier bluesman,<br />
more popular than ever, and multiple national blues<br />
music awards.<br />
Lurrie was not in a good place at the time of this<br />
recording (nor for years before and after this, either.)<br />
If you don’t know Lurrie, it is very difficult to describe<br />
on paper because of the emotional depth this real<br />
life blues story carries. He is the BLUES—he grew up<br />
with it, and it is still all around him, as he painfully<br />
declares in “<strong>Blues</strong> Is All Around Me, follows me<br />
everywhere I go, if I can’t find my way outta here, I<br />
sure don’t want to live no more.” For many years,<br />
Lurrie struggled with mental demons and drug<br />
issues, which led to very erratic behavior, which obviously<br />
also drastically affected his playing. During<br />
these dark years, Lurrie would “get stuck” playing, or<br />
wasn’t able to play at all, and put on painful to watch<br />
performances more often than not. But when he was<br />
on, nobody could touch him. I have never seen other<br />
musicians’ heads snap to attention so fast when<br />
Lurrie was on. It was simply the definition of a jaw<br />
dropping performance.<br />
Mercurial Son reflects the state of mind Lurrie was<br />
in at this time; extremely dark, intense, disturbing,<br />
fascinating, and very different than anything I have<br />
ever heard. He was often on the edge of falling apart,<br />
but somehow pulled it together to end up with a<br />
thrilling result. And I must let you know that Lurrie<br />
may not even remember it (or want to.) I used to ask<br />
him to play some of the wild originals from this (like<br />
“Your Daddy Done Tripped the Trigger” and “Lurrie’s<br />
Hipshank”,) and he would look at me completely<br />
blankly, and then rip into another unique take on a<br />
Chicago <strong>Blues</strong> standard, or even better, a killer version<br />
of “Cleo’s Back!”<br />
Very influential on this recording were producers,<br />
world renowned blues scholars, Steve Cushing<br />
(<strong>Blues</strong> Before Sunrise blues radio host and vastly<br />
underrated drummer) and Scott Dirks (author of Little<br />
Walter bio among others, and fantastic harp player.)<br />
Steve Cushing wrote many of these wildly haunting<br />
and menacing originals and provided the “complex,<br />
yet primal sounding rhythms,” on drums providing<br />
somewhat of an African, Bo Diddley beat along with<br />
the late Chicago bass legend, Willie Black, and with<br />
Lurrie’s intertwining lead and rhythm dark deep funk<br />
blues guitar.<br />
This is from the original liners from well respected<br />
local writer/blues historian/bassist, Justin O’Brien<br />
“The music of Mercurial Son is stream of Lurrie’s consciousness.<br />
It is wild. It is rudimentary in its primordial<br />
groove. It is celebratory. It is dark and portentous.<br />
It is brilliant. It is playful and even hilarious. It can be<br />
nearly incoherent and it can be raunchy. And it can<br />
also be lucid and beautiful. It’s frightening and it’s<br />
thrilling. It’s strange and it’s wonderful.” I agree!<br />
—KEVIN JOHNSON<br />
I#2 on<br />
the Living <strong>Blues</strong><br />
Radio Chart!<br />
NICK MOSS & THE FLIP TOPS featuring<br />
special guest LURRIE BELL<br />
Live At Chan’s: Combo Platter No. 2 (BB<strong>CD</strong> 1012) SALE! $12.99<br />
“His second live album in three years at the Woonsocket, RI, institution is<br />
even better than the first—and that’s saying something. Whether it’s the<br />
acoustics or the egg rolls, Moss & Co. eat up Chan’s. A modern torchbearer<br />
of Chicago blues, Moss—joined on four songs by fellow South Side guitar<br />
wizard Lurrie Bell—and his ace band put these 10 high-energy cuts<br />
(clocking in at a whopping 79 minutes!) over the top.” —The Boston Herald<br />
DON’ T MISS THE FIRST COURSE!<br />
NICK MOSS & THE FLIP TOPS w/ Monster Mike Welch<br />
Live At Chan’s (VOL 1) (BB<strong>CD</strong> 1005)<br />
SALE! $12.99<br />
GET ALL OF BLUE BELLA’S<br />
FINE RELEASES AT JRM!<br />
9