BIG HEAD BLUES CLUB

Big Head Todd & The Monsters with guests

B.B. King, Honeyboy Edwards, Hubert Sumlin, Charlie Musselwhite, Ruthie Foster, Lightnin’ Malcom, Cedric Burnside

100 Years of Robert Johnson

Ryko/Big Records

By Geoff Trubow

Any blues aficionado is aware that May 2011 marks the 100th anniversary of Robert Johnson’s birth.  Although Johnson recorded only 29 songs between 1936 and 1937, not long before his untimely death, his legend and influence have grown steadily and strongly over the years.  His originality and innovativeness shines through his expertise on the guitar, his unique, at times agonized, vocals and his incredibly prolific lyrics.  As Hubert Sumlin, the late Howlin’ Wolf’s guitarist, stated to USA Today, “…there were folks before him, but what he did was good…” 

            His songs were beautifully crafted, yet they are also free formed and loose enough to be open to a wide variety of interpretation.  Examples of this are Cream’s heavy, stinging version of “Crossroads”, the Rolling Stones’ hauntingly melodic “Love in Vain” and George Thorogood’s faithful rendition of “Kindhearted Woman Blues”.  Now in recognition of Johnson’s centennial, Big Head Todd and the Monsters have released Big Head Blues Club, a collection of 10 of the blues man’s songs with several special guests. 

            Big Head Todd and the Monsters have been recording their own brand of music for over twenty years with the same lineup of Todd Park Mohr on vocals and guitar, Rob Squires on bass and Brian Nevin on drums.  In 2004, Jeremy Lawton joined the band on keyboards.  Although they may not have exploded with the same impact as some of their peers in the 90s, they have neither burned out nor faded away.  This is evident by their continual release of albums and perpetual touring.  Though not regarded as a blues band, they have shifted their talents to celebrate Robert Johnson’s music with dramatic and exceptional results.

Recorded in less than a week at the renowned Ardent Studios in Memphis last year with production by Chris Goldsmith, “Big Head Blues Club” presents the Monsters putting their own exclusive stamp on Johnson’s tunes.  They show the necessary respect for the songs, but also vary them to gratifying degrees.

            The album opens with a gritty version of “Come On in My Kitchen”, setting the stage for what the listener can expect in how Johnson is presented.  Mohr lays down some notable licks and solos, turning the song into an easygoing, but durable jam accented by Lawton’s organ and the unquestionable harmonica abilities of guest, Charlie Musslewhite.  The improvisational groundwork is cemented by Nevin’s rollicking drums and Squires’ bass riffs.

            The group is joined for “Ramblin’ on My Mind” by the duo of Lightnin’ Malcolm on electric slide guitar and Cedric Burnside, grandson of R.L. Burnside, on acoustic guitar.  The pair interplay nicely as Mohr performs only the vocals in a higher pitch than he usually employs, paying homage to Johnson’s style without copying it.  Malcolm returns on guitar with a boogie version of “When You Got a Good Friend” that would have made John Lee Hooker proud.  Coincidentally, the Monsters recorded a rocked up take on Hooker’s “Boom Boom” with the man himself for their 1997 album Beautiful World.  On “Good Friend”, Malcolm is accompanied on guitar by the aforementioned Hubert Sumlin and Lawton switching to lap steel.  Mohr again just sticks to the vocals with help from Texas singer Ruthie Foster.  She also duets with Mohr on “Kind Hearted Woman,” adding a 1920s, classic blues woman touch to the tune.

            One of the most appealing readings is “Cross Road Blues” with the still mighty B.B. King.  King does turn this song into his own as it is far removed from Johnson’s original or any other version recorded since.  His signature guitar solos and voice, which remain a powerful force, change the number drastically with the Monsters dependably playing along with him as he trades off licks and vocals with Mohr.

            Another attention-grabbing number is “If I Had Possession Over Judgement Day”.  Mohr again just sings here with Malcolm on guitar and Burnside on drums.  The trio is united with David “Honeyboy” Edwards.  Edwards, age 95, actually knew and played with Robert Johnson.  Unlike “Cross Road Blues”, this version is closer to Johnson’s original and Edwards’ presence lends another level of authenticity. 

            Edwards returns on the album’s closer, “Sweet Home Chicago”, on vocals and guitar, joined only by Charlie Musslewhite on harp.  Even as he approaches his own centennial, Edwards is still incredibly sharp with his electric guitar and a voice that reflects the true spirit of the blues.  It is fitting and reverent that the Monsters had Edwards close out their record, as he was a friend and collaborator of the man being honored.

            “Big Head Blues Club” turns out to be a fine collection of some of Robert Johnson’s work under the direction of Big Head Todd and the Monsters and their many distinguished guests.  It should satisfy their legions of fans as the group ventures into new territory by reconstructing the old.  Admirers of Robert Johnson should also appreciate the album as the Monsters deferentially crafted his songs in a new light as well as working so effectively with their fellow musicians.

###