BOBBY BLAND: HERE'S THE MAN!!! (1962)
1) 36-22-36; 2) You're The One
(That I Adore); 3) Turn On Your Love Light; 4) Who Will The Next Fool Be; 5)
You're Worth It All; 6) Blues In The Night; 7) Your Friends; 8) Ain't That
Lovin' You; 9) Jelly Jelly Jelly; 10) Twistin' Up The Road; 11) Stormy Monday
Blues.
This quick follow-up to Two Steps is not as universally lauded or included in any «golden
fund» anthologies — in fact, it is not even available as such on CD, and has to
be re-cobbled together from larger Duke Records collections — however,
quality-wise, it is maybe only half a notch below Two Steps, and only because the instrumental focus is slightly shifted
from individual instruments to «big band flavor», with a Vegasy touch to some
of the numbers that wasn't there before. Also, there was really no need to remake ʽFurther On Up The
Roadʼ as ʽTwistin' Up The Roadʼ — as if there was no other way to let us know
the chronological setting of the record. You can hardly twist to the re-make
anyway: it gets stuck somewhere midway between gritty blues-rock and dance
entertainment.
But this is the one that has ʽTurn On Your
Lovelightʼ on it, a number we usually know from Pigpen's classic 20-minute
workouts on Grateful Dead concerts — and no matter how much we respect the
Grateful Dead, the two-and-a-half minute original cannot be beat: Pigpen is no
Bobby Bland when it comes to winding yourself up in a gospel-soul frenzy, and
the song's big selling point is Joe Scott's original brass arrangement,
combining boogie discipline with New Orleanian excitement (there is an echo of
ʽSaintsʼ in there somewhere).
This is also the one that has the definitive version of ʽStormy
Mondayʼ on it — well, possibly the second definitive after T-Bone Walker's
original recording, but it was this one that must have inspired everybody from
the Allman Brothers to Clapton: Bobby gets in character with such verve and
authenticity as T-Bone never could (not being much of a great singer), and
Wayne Bennett's lead guitar playing is every bit as good, and probably several
bits better, than Walker's — he gives the song a laid-back, jazzy vibe with
just the faintest, subtlest traces of anxiety and paranoia, and in between the
two of them, a classic soulful update on a pioneering electric blues classic is
produced. If you are sick and tired of the recent ten millionth cover of
ʽStormy Mondayʼ recorded by yet another generic blues outfit, put yourself in
the context of 1962 and it may be easier to understand why the song has
inspired such an annoyingly massive legacy.
Other recognizable tunes include Billy
Eckstine's ʽJelly, Jellyʼ (later also appropriated by the Allmans for Brothers And Sisters), done in a
somewhat «loungey» fashion; Charlie Rich's ʽWho Will The Next Fool Be?ʼ; and a
version of ʽBlues In The Nightʼ that is no better or worse than the legions of
versions of ʽBlues In The Nightʼ recorded over the years. However, none of
these are as much fun as is ʽ36-22-36ʼ, where Bobby's backers yell out the
measurements with such force, you'd think the sincerity of his love confessions
depended on it in a direct proportion. (Not that there'd be anything surprising
about it).
The album only has 11 tracks: as you re-cobble
the sequencing from various compilations, it would make sense to expand it to
12 by not forgetting ʽHow Does A Cheatin' Woman Feelʼ, a great, but forgotten
B-side from the same year with yet another fine vocal/guitar duet from Bobby
and Wayne — denser and moodier than on ʽStormy Mondayʼ, and adding the much
needed extra darkness and depression to a record whose only flaw is a small
excess of sentimentalism for a supposedly «blues» album. Oh sure, it inherits
the «urban blues» tradition rather than the «Delta blues» one, but still, there
has to be a good balance between the happy Bobby and the unhappy Bobby. Restore
this balance with ʽCheatin' Womanʼ, and that's a surefire thumbs up for you.
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