Magic Slim (a.k.a. Morris Holt) is best known for his raw power on
the guitar. Slim plays with an authenticity, straight ahead tone, and a
naturalness that is becoming rare in this era of guitar clones.
Magic Slim's vocals are also strong, steeped in tradition and
delivered with soul. For much of this CD, however, all the vocals,
especially Slim's, are just a bit too far back in the mix for my taste
-- behind the instruments in both volume and presence. This was most
likely meant to be intentionally stylistic -- to simulate the sound as
if it were live, but I found it uncomfortable. There are more than a few
guitar players who happen to sing poorly enough that the use of heavy
reverb sort of hides their vocal flaws -- burying them purposely. Slim
can sing, as can his brother Nick Holt, and so can his son, Shawn, who
features his fine writing, guitar, and vocal abilities on track #10,
"Young Man's Blues."
Whatever the drawbacks I found with the vocal mix, they are
quickley forgotten and far over-shadowed by the rest of the music on the
CD. This material is just the kind of Chicago's Southside sounds us
blues junkies crave. Check out Hound Dog Taylor's "It's Alright" ala
Magic Slim -- fabulous. The feel on this stuff is unmatched. The rhythm
section is perfectly in the pocket, nothing is pushed. Slim's guitar is
right out front with all of his originality and flair, but not
over-processed in any way. He seems to never run out of things to say
on the fretboard and he's never boring. Magic Slim's sound is clean and
honest, and if that's how you like your blues, don't run for cover
before pick up Black Tornado and take it to the cellar with you.
This review is copyright © 1998 by Kurt Koehler, all rights reserved.
Blues On Stage Table of Contents:
Copyright 1997, 1998 by Ray M. Stiles. All rights reserved.
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