Drummer/label head Pat Ford reunited with Charlie Musselwhite and brought along brother Robben Ford on guitar, producing this return to form. Musselwhite is up to the task in all departments – singing, playing (great tone), and especially songwriting (the title tune and "Seemed Like the Whole World Was Crying," inspired by Muddy Waters' death) – but it had been a while since Robben Ford had played low-down blues (touring with Joni Mitchell, putting in countless hours in L.A. studios), and it may have been wiser to give the guitar chair to Tim Kaihatsu, who by this time had seniority in terms of hours on the bandstand with Musselwhite, above any other Musselwhite alumnus. Pianist Clay Cotton is in fine form. This time out, the deviations (to be expected by now) include Don & Dewey's "Stretching Out," an impressive chromatic harp rendering of "Exodus," and Musselwhite's solo guitar outing, "Baby-O." Easily Musselwhite's best-engineered album yet (nice job, Greg Goodwin).
Harmonica ace Charlie Musselwhite falls between the more obvious generations of blues players, younger than its elder statesmen but considerably senior to young hot-shots like Jonny Lang and Kenny Wayne Shepherd. How, then, can he find a fresh hook to his music without resorting to attention-grabbing gimmicks? Except for two songs featuring producer/guitarist Cesar Rosas of Los Lobos, Charlie Musselwhite's 1997 album, Rough News, doesn't have any famous guests, but it stands out from the harmonica whiz's long and deep discography nonetheless. Musselwhite has pared down his sound so radically that every instrument has become a rhythm instrument. When these lean, groove-based arrangements are applied to tunes as simple and catchy as "Both Sides of Fence," "I Sat & Cried" and "Natural Born Lover," the results jump at the listener with the bare-basics excitement of early rock & roll.
Charlie Musselwhite continues his prolific four-decade career jumping over to Telarc for his first album of the millennium after spending the '90s recording for Alligator and Virgin. A recap of his formative Memphis roots, Musselwhite receives substantial assistance from guests Robben Ford on guitar (Musselwhite provided Ford with his first gigs when the guitarist was in his late teens), Texas vocalist Kelly Willis, and guitarist/mandolin player Marty Stuart; the last two bring a rootsy, laid back country feel to the album that effectively fuses the swampy C&W, R&B, and blues of Memphis into a cohesive statement. Musselwhite blows unamplified harp on every track, but it's his weathered, understated vocals that infuse these songs with down-home charm. Covers from Jimmy Reed, Los Lobos (the album takes its title from their "One Time One Night"), Ivory Joe Hunter, and Kieran Kane flow beautifully into each other as the artist masterfully blurs the lines between genres.
Charlie Musselwhite takes four different approaches on this Alligator release. On two tracks, he turns to guitar, proving a competent instrumentalist and convincing singer in a vintage Delta style. He also does two gospel numbers backed by the legendary Blind Boys of Alabama, which are heartfelt, but not exactly triumphs. Musselwhite reveals his jazz influence on three tracks, making them entertaining harmonica workouts. But for blues fans, Musselwhite's biting licks and spiraling riffs are best featured on such numbers as "If I Should Have Bad Luck" and "Leaving Blues." Despite the diverse strains, Musselwhite retains credibility throughout while displaying the wide range of sources from which he's forged his distinctive style.
The Well is twenty seventh studio album by American blues singer and harmonica player Charlie Musselwhite. It was released in August 2010. It was his first release on Alligator Records label since 1993 album In My Time. In the title song he credits Jessica McClure's ordeal as a child trapped in a well for over 58 hours in 1987 for inspiring him to quit drinking, stating.
The addition of jazz pianist Skip Rose gave a new dimension to the ensemble sound, and provided a perfect foil to Charlie's own soloing – especially on the re-take of "Cristo Redentor," extended to 11 minutes, shifting to double-time in spots. Rose's instrumental, "A Nice Day for Something," is a welcome change of pace, and Musselwhite's "Blue Feeling Today" compares favorably to fine covers of Little Walter and Fenton Robinson tunes.
Stax Deluxe CD+DVD-Edition! 6-plated green packaging with 24-page booklet This album is a dream come true for both artists. Ever since meeting for the first time many years ago, they had the idea of recording together. But due to scheduling conflicts, no recording dates could be set. Finally, it all worked out well, and what a great album this is! Backed by Harper’s band, Harper and Musselwhite are sounding fantastic. The music’s new, innovative, powerful, deep, passionate with great lyrics and perfectly performed. My favorite for winning the best blues album of the year award. This edition comes with a 38 minute bonus DVD including three live cuts, a.o. Ben Harper – voc/gtr/slide gtr, Charlie Musselwhite – hca, Jason Mozersky – gtr, Jesse Ingalls – kbds/bass, Jordan Richardson – drums.
Sanctuary is the twenty third studio album by American singer and harpist Charlie Musselwhite. It was released in 2004 on Peter Gabriel's Real World label, Musselwhite's debut release on this label. The album features two other American artists who have released on Real World: all male vocal gospel group Blind Boys of Alabama, and folk blues guitarist Ben Harper…