Published on Sep 12, 1997
God
damnit,what a miserable day I had at work! (I have to work
another job besides doing this site – being a recluse doesn’t pay
the cable bill.) By the time I came home, I really needed something
to clear my head of the last crummy nine hours.
Fortunately, I have a secret weapon for dealing with the blues.
That weapon is… the blues. The blues? Damn right.
I’ve often written about Alligator Records, a little label based
out of Chicago which has become a sanctuary for blues artists over
the last 25 years. (And
no, I’m not kissing up – we don’t get anything from them
except an occasional e-mail and catalog.) Their 1986 sampler of
their artists,
Genuine Houserockin’ Music, showcases 11 strong artists at
their best – and is one grand introduction to both the artists and
the label.
One warning, though – when one says “blues,” your mind may call
up images of Robert Johnson, Muddy Waters, Willie Dixon or Howlin’
Wolf. The performances here embody the new generation of the blues,
one which embraces Bessie Smith as much as Led Zeppelin and Mahalia
Jackson.
One example of this new mixture is blues legend Koko Taylor, who
gained national prominence on Chess with “Wang Dang Doodle.” Her
contribution to this album, “Come To Mama,” has tinges of gospel in
her sultry voice – and frankly, it’s a welcome change. The guitar
lines on this one are so tasty and addictive that you’ll find
yourself coming back to this track often.
The same goes for Lonnie Brooks, who injects just a smidge of
rock into his performance on “Don’t Take Advantage Of Me.” This
track may not be one of Brooks’ best known, but is definitely worth
giving several spins. (Brooks is also one of the classiest acts I
have ever had the privilege to meet – if I ever get a chance to
interview him again, I owe him a drink dating back to December
1989.)
Other artists will wet some people’s whistles depending on your
particular tastes. I, for one, was never a big fan of Albert
Collins, though the track “Blackjack” (featuring Johnny “Clyde”
Copeland and Robert Cray) is probably one of the more pure blues
songs on the disc). Likewise, I would have chosen a different track
from Lonnie Mack other than “Satisfy Suzie,” though that one has
become a live favorite.
Two artists stand out in my mind on
Genuine Houserockin’ Music. One of them, Fenton Robinson,
has a slow, soulful delivery that goes down smooth as whiskey. The
featured track, “Laundry Man,” is a decent effort – though I
personally prefer “Somebody Loan Me A Dime.” The other artist,
Jimmy Johnson, was the second artist we reviewed on “The Daily
Vault” way back in January. His contribution, ironically, is a
Fenton Robinson-penned track, “You Don’t Know What Love Is,” a
version that betters the original.
Closing out this collection is a previously-unreleased track
from the band for whom Alligator was started – Hound Dog Taylor
& The Houserockers. “Don’t Blame Me” is a song that could even
make the dead get up and dance, and is a hell of a present that
they pulled out of the vaults.
To the blues purists, many of the artists on
Genuine Houserockin’ Music may not seem to be true blues
musicians. My advice: lighten up. If anything, these artists embody
the true meaning of the blues, which is not always to bum the
listener out to the point of suicide. I put this album on, and by
the time Son Seals or Roy Buchanan come blaring through the
speakers, my day has been improved.
If you’ve never bought an album on Alligator, this is a great
place to start. Last time I checked, it’s still available at a
bargain price, and it has something to please every listener.
Presently there are four other volumes in this series – eventually
we’ll get to them all. But for now,
Genuine Houserockin’ Music is one hell of a handshake.