4 Ever Mine

Arthur 'Big Boy' Crudup - A Music Man Like Nobody Ever Saw (2016) {5CD Box Set Bear Family BCD 17352 rec 1941-1962}
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© 1941-62, 2016 Bear Family Records | BCD 17352
Blues / Delta Blues / Chicago Blues / Electric Blues

In the world of music, there was never anyone quite like ARTHUR 'BIG BOY' CRUDUP. Rooted in the Mississippi Delta, his style was propulsive, melodic, original, and profoundly soulful. If he wasn’t 'The Father of Rock ‘n’ Roll', as one LP proclaimed, there’s no doubt that rock ‘n’ roll owes a debt to his songs, including That’s All Right Mama, My Baby Left Me, Rock Me Mamma, So Glad You’re Mine, and Mean Ol’ Frisco Blues, as much as to his tight, swinging brand of rural blues.

Despite the fact that he came to prominence in the heyday of Hollywood's great film scores, Hugo Friedhofer never achieved the recognition enjoyed by his contemporaries Miklos Rozsa, Alfred Newman, Bernard Herrmann, and Franz Waxman. This may have been a result of the fact that he tended to score movies that were more noted for their stars than their dramatic content.

Named Gramophone’s One to Watch and winner of the 2022 International Handel Singing Competition, Alexander Chance makes his recording debut on Linn. Drop not, mine eyes is a recital of English lute songs that soaks up the zeitgeist of the past couple of years to create a programme full of melancholic works by Dowland, Campion, Danyel, Purcell and others. If the ever-popular Dowland was readily prone to sadness, as exemplified by the pair I saw my lady weep and Flow , my tears, or indeed In darkness let me dwell, the polymath Thomas Campion favoured a more sober style, as shown in I care not for these ladies . Thomas Ford displays his more profane side here with Fair, sweet, cruel and What then is love . When it comes to melancholy, John Danyel’s Grief, keep within and Drop not, mine eyes are every bit as good as Dowland. The programme closes with Purcell, the other English Orpheus. Toby Carr provides sympathetic accompaniment on lute and theorbo.

On his Vanguard debut, guitarist Tab Benoit favors his usual workmanlike approach, serving up standard blues and Cajun riffs with ease. Though not technically flashy, Benoit is a solid songwriter with enough musicality to more than make up for the lack of fireworks. He can give his songs a restrained ("I'm Tired") or relaxed ("Raided That Joint") feel and he emotes as well as anybody on the title track. The rollicking "Crawfishin'" and "Jambalaya" recall Louisiana, and Benoit closes things off with the frenetically up-tempo "Bayou Boogie." The one possible misstep here is his take on the Willie Dixon classic "Twenty-Nine Ways (to My Baby's Door)"; anyone who remembers Koko Taylor's earthshaking version will find this one a little tame./quote]

Some might find it ironic that the Back To Mine phenomenon was kicked off by two of England's most crowd pleasing trance DJs, Dave Seaman and Nick Warren. But perhaps it is obvious that the 24hour party culture of the UK would produce the most stirring of come-down music since it is clearly the other side of the ecstacy coin. Seaman starts with composer Craig Armstrong's sweeping version of "Weather Storm", a cut he first created with England's almighty chill deities, Massive Attack. Downtempo figureheads dominate much of the mix, with Kruder & Dorfmeister's bubbling dub of Depeche Mode's "Useless" rising mightily from the beatless soundscape of Global Communication's "Epsilon Phase"…