Big Bill Morganfield
Blues In The Blood
Blind Pig Records (BPCD 5086)
by Dick Houff
Review date: October 2003
"Keeping the Blues Alive Award"|
Achievement for Blues on the Internet
Presented by The Blues Foundation
This is Morganfield's third release with Blind Pig Records. It's quite obvious that Big Bill has come along way since his first sessions. For one thing, he penned all but one of the songs on this outing. You'll also notice he has retained the quality of what the blues is all about; don't expect to find the usual polish and contemporary frat sounds being pawned as the real deal. I might add, that experimental and improv go a long way in my book; there's room to grow in any genre, however, I'll always remain loyal to original blues forms. By now, everyone should know that Big Bill is the son of the master; Mr. Muddy Waters. And does this cause strain on Bill? Not anymore; he has grown into his own man by cultivating his own signature sound. Of course, it is hard on the men and women whose parents were giants in the music business-and let's not forget film or any other art form. But to rise above the judgmental crowd with something a little bit different in regards to originality is the true steppingstone to success. Big Bill Morganfield has reached those heights. And "Boogie Child" is the perfect opening song on this outing. Tough and in your face; I can foresee some wild bump and grind with a whole lot of booty shake on the dance floor! The follow-up, "Evil," has a mean Delta haze wrapped around it-another tough number-dig the mandolin, courtesy of Jimmy Vivino. Track #3, "Hootchie Coochie Girl" is a killer that takes the same trip as the previous. Morganfield hits you with some damn fine slide on "Left Alone." Again, Bill works a mildly distorted slide that works beautifully. The song "Whiskey" is pure Delta, and my favorite composition on the album. We're still in the Mississippi Delta on track #7, "Fell Like Dyin'"-and my number two pick! The following "Love You Right" travels north to Chicago. Big Bill keeps that relentless pace going without a sign of letting-up. And track #9, "Anything Just For You" is another perfect example with no stops-strong harp and guitar, and Bill's unmistakable baritone voice. On "Strong Love," Bill shows you who's the boss-some more great harp from Tad Walters. Morganfield's "Time To Go" is played in the key of Jimmy Reed-upscale that is-and watch for the changes! We finally come to a climax with "Why Don't You Live So God can Know You," a Muddy Waters original. This record burns!
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