Although lacking the hilarious slice-of-life studio banter that makes its companion album
Bummer Road so priceless, this is certainly a collection of terrific
Chicago blues tracks as only
Sonny Boy Williamson could do it. Like the Tennessee harmonica player with whom he shared a stage name, this
Sonny Boy's music comes from the
country blues tradition, fair and square. The way he plays harmonica is straight out of the country, with only a slight trace of the kind of microphone and amplifier distortion that the slightly younger
Little Walter would exploit. Even the way these two harmonica men solo is quite different.
Williamson can and does give individual notes detailed attention, creating a sound that could make a listener think the instrument responsible must be the size of a car, not something small enough to be tucked into a shirt pocket. But he often does it in such a rhythmically supportive way that instead of a chorus of harmonica soloing with band background, the result sounds more like a coordinated ensemble statement. This instrumental emphasis combines with his love of subtly shuffling, comfortable medium tempos and the sympathetic sound of his voice to create a style of
blues that can approach the warm and fuzzy feeling of a good cup of hot chocolate. The instrumentalists involved all deserve much credit for the final blend. Is it
Muddy Waters, or
Jimmy Rogers, who picks the guitar riffs out on
"Good Evening Everybody"? The sound of the instrument is unforgettably quaint, like someone playing on a 15-dollar guitar. Drummer
Fred Below raises the roof on almost every track he appears, at times going over the top. The hilariously named
"This Is My Apartment" has wonderfully recorded drums, including a robust tom tom sound, while the leader's harp improvisations and the guitar playing of
Luther Tucker and
Robert Jr. Lockwood sometimes even takes off in different directions, the result forecasting the sound of
Ornette Coleman's electric groups. The same instrumental lineup makes the album's title track a classic of stinging whammy bar guitar mixed with thick, gloppy harmonica.
"Like Wolf" is another one in which the drums are slathered with enough reverb to camouflage a small restaurant, while
Williamson's vocal is an uncanny imitation of
Howlin' Wolf. Bassist
Willie Dixon may be doubling up his line with one of the guitarists on this one -- the sound of the bass seems higher than usual. Like many of the this leader's band arrangements, it is just plain amazing.
Country blues or not, the sounds of the city influenced this music in just the right way. The Chicago recording scene of the '50s was a hotbed of interplay between musicians who took part in
jazz and
blues sessions or gigs without batting an eye at the supposed difference. The sway of
jazz rhythms is not the only influence that impacts the sound of these recordings. There is also a vivid use of space and dimension, the individual instruments each given a giant amount of room and responsibility.
Lockwood Jr. takes particular advantage, developing interesting tones as he fits the guitar into the picture with a constant ear for attention-grabbing moments. ~ Eugene Chadbourne
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