Celebrated and decorated blues singer and harmonica player marks a six-decade career milestone with a fine album.
Celebrated blues musician Charlie Musselwhite’s career has so far spanned approximately 60 years; his recorded output during this time started with 1967’s “Stand Back! Here Comes Charley Musselwhite’s Southside Band” and extends to today’s “Look Out Highway“. Born in Kosciusko, Mississippi, in January 1944, Musselwhite moved to Memphis at the age of three. He gravitated to Chicago in the early 1960s, then on to San Francisco in 1967; all the while picking up the diverse musical influences from each region. During his time in Chicago’s South Side, Musselwhite got to know a number of influential blues musicians, including Muddy Waters, Junior Wells, Sonny Boy Williamson, Buddy Guy and Howlin’ Wolf. He also became firm friends with John Lee Hooker.
As a frequent collaborator, the list of artists with whom Musselwhite has worked, through recording, touring, or both, is extensive; it includes Big Walter Horton, Tom Waits, Cyndi Lauper, Hot Tuna, Bonnie Raitt, Elvin Bishop, John Lee Hooker and Ben Harper (with whom Musselwhite won a Grammy Award for the 2013 LP “Get Up!“). Nominated 13 times for Grammy Awards, Musselwhite has also won 33 Blues Music Awards and 2010 saw him inducted into the Blues Hall of Fame.
Musselwhite has a connection with the 1980 movie The Blues Brothers, with him reputedly being the inspiration for Elwood Blues, the character played by Dan Aykroyd. Further, Musselwhite appeared in the sequel, Blues Brothers 2000, as a member of the Louisiana Gator Boys (singing and playing harmonica alongside Eric Clapton, B.B. King, Bo Diddley, Steve Winwood, Jimmie Vaughan, Jeff “Skunk” Baxter, Junior Wells, Isaac Hayes, Dr John and a host of other star musicians).
Musselwhite also appeared, alongside other musicians, including Jason Isbell, Jack White and Sturgill Simpson, in Martin Scorsese’s 2023 movie Killers of the Flower Moon.
The new record “Look Out Highway” was recorded at Greaseland Studios in San Jose, California, a facility owned by Christoffer ‘Kid’ Andersen, who features heavily on this record, both as a player (guitar, piano and organ) and producer. Andersen (as producer) and Greaseland are developing reputations amongst blues players, resulting in a string of blues artists flocking to San Jose to record albums.
The songs on “Look Out Highway” exhibit a sound that has been honed over almost six decades to become a combination of Delta, Chicago and Memphis blues, along with a touch of soul. It’s a very effective mixture, giving the songs plenty of character. The core of the musicians on the record is made up of players from Musselwhite’s regular touring band; drummer June Core, Matt Stubbs on guitar and bassist Randy Bermudes.
The tone is set on the title track opener, one of the LP’s singles; it features a hypnotic riff, while Musselwhite’s harmonica leaps from the record and grabs you. ‘Sad Eyes‘ follows, featuring Andersen on piano and organ; Musselwhite’s vocals here remind of Keith Richards.
‘Storm Warning‘, another single, sees Andersen pick up the guitar. There’s a sense of foreboding here “You better close all the windows, Lock up all the doors, There’s a storm comin’ man, never before, Storm warning, My baby blowin’ back into town, I see clouds on the horizon, Soon the rain will be pouring down“. An updated version of a song from the 1967 debut record, ‘Baby, Won’t You Please Help Me‘ is given the modern Musselwhite treatment, considerably beefed up and sounding so much better for it (the title is also given a subtle change, from ‘will’ to ‘won’t’).
‘Hip Shakin’ Mama‘ is a high-octane highlight; if you let it, it will really get you moving. The lyrics point to this being a love song; starting with “My baby’s got somethin’, tries to keep it hid, I got somethin’ to find it with” before moving on to “When you wear that dress, and the sun shines through, I can’t believe all that mess is you, Man on the run, blues in the wind, Hip shakin’ mama, try me once again“.
Two of the songs feature guest vocal performances; ‘Ready For Times To Get Better‘ (the only song here not written or co-written by Musselwhite) benefits from Edna Nicole’s rich voice as she duets with Musselwhite, whereas ‘Ghosts in Memphis‘ has a different vibe altogether, with rapper Al Kapone providing his perspective. Musselwhite has explained that this song is about “all the characters missing from days past who appear as ghosts whenever I’m back in Memphis“.
Standout track on the album is ‘Open Road‘, featuring features a nice harmonica solo, this is a song about a woman who likes to be on the move “Well, now my baby, I know she loves me, She loves this old highway too, she feels like ramblin’ ain’t nothin’ I can do“.
This is a really good record; Musselwhite has poured all of his experience into the songs and, with his touring band, has produced a fine album.
