Playing solo on songs such as "You Better Turn Around," and "Moanin' the Blues," Johnny's introspection precludes emotional release. His tremulous voice virtually erupts from his forceful delivery and his guitar playing is refined and full of strength. Playing with the others, he weaves his way around their accompaniment in the style of a true Delta Bluesman.

Although he has developed his own style through years of playing on the road with countless other bluesmen, he pays his respects to one of his earliest mentors when he covers Robert Johnson's, "Hot Tamale." He also performs solo on, "30 Days in Jail," another composition that owes much of its slide origins to R.J.'s mentoring. Johnny's fingers dance up and down the fretboard, stroking notes here and sliding notes there, the culmination of which is a flurry of music created by the bluesman that feigns several guitars being played at once, but in actuality, radiates cohesively from a single instrument.

Louisiana Red, providing backing guitar on four of the songs, is the featured singer and lead slide guitar player on "Red Sun." Based on the "Rollin and Tumblin" phrasing, Red nails the slide in the stylistic vein of Muddy Waters while Johnny provides quiet backing on second guitar. After inviting Sugar Blue to solo on the harmonica, Red extends the same invitation to himself before he solos on his slide guitar. Notice how Red's slide hangs onto the last note of the signature riff for an extra long moment, providing the blues drag that shakes up the rhythm and messes with the minds of many a wannabe blues guitarist.

Ron Rault sits in on bass for a pair of tunes and a young Sugar Blue plays harmonica on five of the songs. For the most part, James Whiting (Sugar Blue) is generally blowing a restrained harp in a manner that is much more conducive to this type of music than the pyrotechnically frenzied riffs that often emanates from his repertoire. However, he still has moments where he gives one the impression that he is attempting to search out that elusive note that says the most. All in all he's had better performances on record but it could have been much worse if he would have tried to dazzle us with a gazillion notes on every song.

Johnny ends the set with a blues lesson titled, "Epilog." He directs his comments towards Red but he might as well have been speaking to everyone who tries to play the blues. "There's lots that you don't know about it, but you'll learn, you've got to learn, and it makes no difference how long you do it, you gonna always learn something. When you get to the place where you can't learn, it time to quit then, forget it." (JS) Come to think of it, he may as well have been philosophizing about life in general.

Johnny Shines, "Too Wet to Plow," is a fine collection of acoustic blues re-released by Labor Records to fill out Johnny's catalog of available electric blues. Although he is capably accompanied by Louisiana Red and Sugar Blue on several of the songs, his solo recordings are the definite highlights of the CD. His authoritative voice and dexterous guitar playing bring you back to the old school Delta blues. His voice, a mirror to his soul, is compelling and filled with emotion. His guitar lays down the foundation of his music; with it, he answers his expressive declarations and accentuates the drama created by his lyrics, re-establishing a mesmerizing scenario of the master bluesman and his blues.

Labor Records, Box 1601 Canal Street Station New York, N.Y. 10013-0879 Telephone: 718-833-4430, Fax: 718-833-7165, E-mail: LaborRec@aol.com Distributed by: Qualiton www.Qualiton.com

This review is copyright © 2001 by Stephen T. Davidson, and Blues On Stage, all rights reserved. Copy, duplication or download prohibited without written permission. For permission to use this review please send an E-mail to Ray Stiles.