|
The North
Mississippi Allstars
Still Shakin'
New West Records
Luther Dickinson
Dead Blues, Vol. 1
Strolling Bones Records |
The North Mississippi Allstars have
crafted some of the most intriguing music of the
Mississippi Hill Country for over a quarter
century, an energetic mix of blues, country,
hip-hop, funk, soul, and rock that certainly
appeals to blues fans both old and new, as they
help bring the music to the 21st century.
In
2000, the band's debut, Shake Hands With
Shorty, took the blues world by storm and
garnered the band a Grammy nomination for Best
Contemporary Blues Album. In 2025, the band
celebrated the 25th anniversary of that album's
release with Still Shakin' (New West
Records).
The
current edition of the Allstars consists of
brothers Cody (drums, vocals) and Luther
Dickinson (guitars, keys, vocals, bass),
Rayfield “Ray Ray” Hollomon (pedal steel, synth
bass, bass), and Joey Williams (vocals, guitar,
bass). They are joined on selected tracks by
Duwayne Burnside (vocals, guitar), Widespead
Panic's Jojo Hermann (B3, clavinet, vocals),
Robert Kimbrough (guitar, vocals), Kashiah
Hunter (pedal steel), Trae Pierce (bass),
Grahame Lesh (bass), and vocalists Sharisse and
Shontelle Norman.
The
band provides three originals among the 11
tracks, the remainder of which are their
versions of classic blues tunes that may be
familiar to fans, but re-imagined as only the
Allstars can. An example is the breakneck cover
of Robert Johnson's “Preachin' Blues,” driven by
a brisk rhythm and Luther Dickinson's and
Hollomon's fretwork.
Junior Kimbrough's “Stay All Night” features
Kimbrough's son Robert on vocal (with Williams)
and guitar, with more pedal steel from Hollomon
that adds a spacey vibe to the sweaty track.
Another Kimbrough song, the dreamy “My Mind Is
Ramblin',” follows, with Luther Dickinson
teaming up with the Normans on vocals. The
irresistible “Pray For Peace,” written by the
band, is a funky, gospel-flavored tune with a
lead vocal from Williams that also touches on
social issues.
Furry Lewis' “K.C. Jones (Part II)” features
guests Hermann on vocals and clavinet and Lesh
(the late Phil Lesh's son) on bass. This version
has a definite Grateful Dead feel.
The
supple title track, also a collaborative effort,
reflects on the band's past, present, and
future, vowing that they will never lose a grip
on their Mississippi roots. R.L. Burnside's
“Poor Boy” gets an inspired update, with
Hollomon playing synth bass and Burnside's son
Duwayne contributing vocals and guitar.
Williams delivers a rousing and funky read of
the traditional “Don't Let The Devil Ride,” a
deft mix of gospel, blues, and R&B (with
assistance from Hunter's pedal steel) that
really cooks. Mississippi Fred McDowell's “Write
Me A Few Lines” keeps the funky vibe going with
Hunter's pedal steel once again in support
before a brisk read of Furry Lewis' “John
Henry,” brings the album to a conclusion.
The
album wraps in earnest with the moving
instrumental, “Monomyth (Folk Hero's Last
Ride),” which Luther Dickinson penned to
commemorate the 15th anniversary of Jim
Dickinson's (Luther and Cody's father) passing.
Still
Shakin' proves that the North Mississippi
Allstars are still making outstanding, in their
words, “modern Mississippi music.” I would have
to say that I listened to this album more than
any others released this year. It really hit me
where I live. There's not a bad song to be found
in the bunch, and I'm eagerly awaiting the
band's next 25 years.
---
Several
years ago, Luther Dickinson and his brother Cody were
invited to play with bassist Phil Lesh of the Grateful Dead in
Lesh's Phil & Friends group. The more they performed together,
the more Dickinson realized how many old blues songs that the
Dead had incorporated into their repertoire.
During the pandemic,
Dickinson worked on an instrumental album inspired by his
collaboration with Lesh, and he began bringing friends in to
flesh out the tracks. He was introduced to North Carolina singer
Datrian Johnson by keyboardist John Medeski, and Dickinson
decided to let Johnson sing the lyrics of some of those classic
blues tunes on top of his instrumental tracks.
The end result is
Dead Blues, Vol. 1 (Strolling Bones Records), a decidedly
modern take on nine blues standards.
Joining the
Dickinsons (Luther – guitars/Hofner bass/Wulitzer synths/melodica,
Cody – drums) and Johnson (vocals) on these tracks are Paul
Taylor (cajon/ominchord/bass/guitar), Ray Ray Hollomon (pedal
steel/bass), Steve Selvidge (“space funk” guitar), Grahame Lesh
(lead guitar), Boo Mitchell (DX7 synthesizer), Art Edmaiston
(sax), Marc Franklin (trumpet), and Jesse Williams (bass).
The interesting
thing about these tracks is that while they come from the
Grateful Dead's repertoire, Dickinson and company don't really
play them like the Dead played them. Instead, their approach
reflects, as Dickinson put it, “Phil's wild spirit and approach
to re-interpretation”....and how!!
Opening with Blind
Lemon Jefferson's “One Kind of Favor,” horns figure prominently
on this deeply funky interpretation, giving the track a strong
soul vibe. The group's version of Bo Diddley's “Who Do You Love”
is a complete makeover from previous versions, a moody, funky
workout, and The Mississippi Sheiks' “Sitting On Top Of The
World” includes haunting accompaniment from Taylor's omnichord
and Lesh's guitar.
The cover of Muddy
Waters' “King Bee” is so funky it'll make your backbone slip,
with Hollomon's pedal steel joining in as well. Junior Parker's
“Mystery Train” finds Johnson shining on vocals and Hollomon
also contributing pedal steel over the stripped-down rhythm
section.
“Minglewood Blues,”
which dates back to the late '20s and Cannon's Jug Stompers,
sounds quite different from the Dead's previous versions with an
almost jazzy delivery.
The final three
tracks, “I Just Want To Make Love To You,” “Little Red Rooster,”
and “High Heel Sneakers,” will be recognizable to blues fans by
title only, thanks to the incredible arrangements, fusing blues,
R&B, funk, and soul. Johnson's singing over these tracks
completely remake the songs while retaining the roots of the
source material. I'm amazed that I've never heard him on any
other recordings, but hopefully that will change.
Like the North
Mississippi Allstars' Still Shakin', Dead Blues Vol. 1
is dedicated to the memory of Phil Lesh, who Dickinson says,
“changed his life” with his dynamic and innovative approach to
music. That influence has shown up on NMA's more recent
recordings, but never as much as on Dead Blues Vol 1.
Blues fans who
aren't afraid to branch out from the normal fare are encouraged
to give this album a spin.
--- Graham Clarke
