Keb Moo The Door

Keb' Mo''s self-titled first album, from its Robert Johnson covers to its appearance on a resuscitated Okeh Records, seemed to suggest the arrival of a Delta blues traditionalist, even though the former Kevin Moore was really a Los Angeles native who had kicked around the music business for years playing various styles of music. The follow-up, Just Like You, was therefore a disappointment to blues purists, since it clearly used folk-blues as a basis to create adult contemporary pop in the Bonnie Raitt mold. But to the music industry, that was just fine, since it fostered the hope that here was an artist (finally!) who could find a way to make the blues - consistently revered but commercially dicey - pay, and Keb' Mo' won a Best Contemporary Blues Album Grammy for his effort. Slow Down (1998) brought him a second Grammy…

The occasion of the series of television films broadcast under the umbrella title The Blues in the fall of 2003 provided the opportunity to compile the highlights of Keb' Mo''s recording career thus far into a single-disc collection. One might argue that, with only four regular albums under his belt (there was also a children's album, Big Wide Grin), Keb' Mo' wasn't quite ready for a best-of, but those albums attracted a wide audience among blues fans; each one lodged in the Top Five of Billboard's Top Blues Albums chart, and the second and third, Just Like You and Slow Down, won Grammys for Best Contemporary Blues Album. Actually, it's the self-titled first album from 1994 that is the most impressive (as well as the least "contemporary"), and six tracks from it have been excerpted here, with three from Just Like You, four from Slow Down, and one from the fourth album, The Door…

Keb' Mo' is less a blues singer than a performer who works from that conceptual base, not in the way Taj Mahal does, knowingly carrying a tradition forward, half teacher and wise elder, but more as a populist, the James Taylor of blues, say, or a less recalcitrant J.J. Cale. To criticize him for not being Skip James or Robert Johnson sort of misses the point of what Keb' Mo' is shooting for, and like Bonnie Raitt discovered, bringing a modern pop-blues to a wide audience sure beats playing authentic for purists. Either path is as fake or as real as the other in a post-postmodern age where the blues creaks along as a single DNA strand in a world of rap, metal, and neo-soul. All of which makes the blues a strange career path to use to get straight out of Compton, yet that's exactly what Keb' Mo' has done, rising out of one of toughest urban landscapes in the world by covering Robert Johnson songs on his National steel guitar…

The rise in the number of titles in the children's music category around the turn of the century was accompanied by a shift in the approach to such recordings. As baby boomers, who remain loyal record buyers, have become parents, the artists who appeal to them have turned to children's music, but it often seems as though the records are still being made for the boomers, not their children. Though the recordings often concern the subjects of childhood and parenting, it is often hard to imagine a child actually enjoying the music. Such is the case with the Keb' Mo' children's album, Big Wide Grin, which is better regarded as a regular Keb' Mo' album on the theme of family rather than an album for children. The singer covers a number of pop evergreens from the late '60s and 1970s - the O'Jays' "Love Train," Bill Withers' "Grandma's Hands," the Winstons' "Color Him Father"…

After recording one of their darkest albums, 1984's The Top, the Cure regrouped and shuffled their lineup, which changed their musical direction rather radically. While the band always had a pop element in their sound and even recorded one of the lightest songs of the '80s, "The Lovecats," The Head on the Door is where they become a hitmaking machine. The shiny, sleek production and laser-sharp melodies of "Inbetween Days" and "Close to Me" helped them become modern rock radio staples and the inspired videos had them in heavy rotation on MTV. The rest of the record didn't suffer for hooks and inventive arrangements either, making even the gloomiest songs like "Screw" and "Kyoto Song" sound radio-ready, and the inventive arrangements…

Pink isn't a color usually associated with blues but That Hot Pink Blues Album doesn't have a sound usually associated with Keb' Mo'. Sure, there are elements of the acoustic slide guitar that has been his signature since his 1994 debut, but the live album emphasizes his softer, soulful side, sometimes pairing the bluesman with sympathetic strings. In this respect, That Hot Pink Blues Album feels like a cousin to the mellow 2011 set The Reflection, but these 16 songs were cut on the 2015 supporting tour for 2014's BLUESAmericana, a record that was designed to touch on as many different American roots sounds as possible. Compared to that, That Hot Pink Blues Album is a little more streamlined, containing a dual focus on mellow grooves and sensitive reflections. He's attempted this in the studio, but his interpretations breathe and sigh on-stage, which is what makes That Hot Pink Blues Album warm and enveloping in a way few other Keb' Mo' records are.

Being labeled and marketed as a blues musician was never really a good fit for Keb' Mo'. True, he first came to the attention of most when he came out of Compton playing Robert Johnson songs on a National Steel guitar, and that’s how his recording career started, but this is a guy who used to be a staff songwriter for A&M Records, so he has always had plenty of pop, soul, R&B, and jazz in his kit bag and, truth be known, he’s really closer to an artist like James Taylor than he is to Howlin’ Wolf. His new album, The Reflection, the first on his own Yolabelle record imprint (he also self-produced the album) after several releases with Sony, has nothing on it that could be called blues, and nothing that even really comes close…