CD Review
    Charlie Musslewhite
    Sanctuary
    (Real World Records 70876 18472 2 2)
    by Gordon Baxter
    Review date: August 2004
    "Keeping the Blues Alive Award"
    Achievement for Blues on the Internet
    Presented by The Blues Foundation
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    It is now 37 years since harpmeister Charlie Musselwhite's debut album, "Stand Back!" appeared. Musselwhite has been continually evolving since then, though, incorporating influences from within and beyond the blues to try and keep ahead of the field. With his latest album, "Sanctuary," Musselwhite captures the feel of the darker, more brooding side of the blues.

    Proceedings start off in sprightly fashion with the Gospel infused "Homeless Child," where composer Ben Harper puts in the first of two appearances. Musselwhite is the usual epitome of cool in his vocal delivery, and plays unamplified harp to the foil of Charlie Sexton's slide guitar. Despite the title, it is delivered in a cheery, clapalong style, which stands in quite a contrast to much of the rest of the album. The ensuing "My Road Lies in Darkness" marks the beginning of a darker seam, which is enhanced by Musselwhite's vocals--he sounds like he is singing through the harp mic, a technique used to great effect by Papa George Lightfoot. It then gets very dark and eerie on "Burn Down The Cornfield."

    The Blind Boys of Alabama jump aboard to lighten the mood on "Train To Nowhere." The engine room of Jared Michael Nickerson (bass) and Michael Jerome (drums) drive it along, and Musselwhite's smoky vocals add to the atmosphere. The Blind Boys of Alabama later return for the uptempo footstomping "I Had Trouble." In the interim, the band head back into the swamps on Sonny Landreth's "Shootin' For The Moon." They eventually re-emerge for Eddie Harris' "Alicia," which has a real jazzy guitar sound--think Django Reinhardt--and Musselwhite plays some very emotional harp.

    The musical mood apparently lightens once more on "I Had Trouble," largely thanks to the return of the Blind Boys of Alabama. A closer listen to the lyrics, however, reveals that the song's story is not a particularly happy one. The album then closes with the short solo instrumental, "Route 19 (Attala County, Mississippi)," a mean and moody piece that leaves you in no doubt that Musselwhite is still one of the finest harp players around.

    "Sanctuary" is yet another fine album from Charlie Musselwhite. The Sanctuary band do a great job in supporting the master. There should be a health warning on the cover, noting that the mood is mostly pretty dark, despite the seemingly happy introduction. No worry, though, the blues has always had a darker side, and Musselwhite is merely mining it to great effect. The signing of Musselwhite by Realworld could prove to be very fruitful and visionary, particularly if they can hook him up with other artists from the Realworld roster. In the meantime, "Sanctuary" will do very nicely thank you.

    www.charlie-musselwhite.com
    www.realworldrecords.com/musselwhite

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