Published on Nov 18, 1998
I have heard the future of the blues… and his name is Chris
Thomas King.
The son of bluesman Tabby Thomas (who is living what he sings as
you read this – his blues club is about to be razed to make room
for a highway), King has taken all the lessons he learned about the
blues while sitting at the feet of some of the genre’s masters and
created his own groove. The result is heard on his latest album,
Red Mud, which could be one of the best traditional blues
albums I’ve ever heard.
I don’t know how many other musicians would try playing the
blues on a classical guitar, but King gladly steps up to the
challenge – and aces it. The most powerful use of the classical
guitar is heard on King’s rendition of Robert Johnson’s “Come On In
My Kitchen” – a version on which King handles all the musical
chores, including harmonica and talkbox. I’ve always said the
talkbox is an effective device when used in moderation, and King’s
example here is probably the best use I’ve seen the device put to.
(Besides, how many people would have expected to hear such a device
used, especially on an acoustic blues album?)
King is full of surprises on
Red Mud, all of them pleasant. With originals like “If It
Ain’t One Thang, It’s Two,” “I’m On Fire” and the title track, King
proves himself to be a very mature songwriter for such a young man
(28). King also proves to be proficient at whatever instrument he
touches, from dobro and National steel guitar to acoustic bass to
string samples and drums. (The only other “regular” musician who
appears with any regularity is drummer Darryl White.)
Wait… that’s not completely true. King also brings in his dear
old dad to contribute two vocal lines. The songs that Tabby Thomas
appears on, “Hoodoo Party” and “Bus Station Blues,” are reminiscent
of the old-style blues that King grew up hearing, and are welcome
additions to this collection.
Drawbacks? Honestly, I can’t find a single one on
Red Mud or with King’s performance. He’s a fine vocalist and
a talented musician/songwriter who has created possibly one of the
most unforgettable blues albums in recent years. If King’s talents
only continue to be honed and refined, he will most likely become
one of the modern-day statesmen for a genre that loses far too many
elders each year. If this album isn’t revered as a classic in 30
years, it will only be because King himself has topped it. One of
the best albums I’ve listened to all year.