LURRIE BELL

Let’s Talk About Love

Aria B.G. ABG1

by Tim Holek

Let’s Talk About Love is a personal triumph for Lurrie Bell, who has experienced his share of adversity. In 2007, Bell lost both his partner Susan Greenberg and his father, Chicago blues harmonica legend Carey Bell. It’s not as if Lurrie hadn’t survived enough hardship. He already had triumphed over a debilitating bout of mental illness that stretched through much of the ’80s and ’90s during which he’d even gone homeless for a time. Through it all, Bell took refuge in his music. In choosing the edifying songs for this album, “A theme started to emerge,” says producer Matthew Skoller, who chose all the songs, “and that theme was love.” None of the 12 songs were written by Bell, but the conceptually innovative blues stylist makes each one of them his own.

            Bell is joined by several Chicago blues colleagues including Felton Crews (bass), Kenny Smith (drums), and Sidney Wingfield (keyboards). Billy Branch’s superb harp appears on one track. Together, they comprise the city’s upper echelon of blues artists.  Lurrie’s bursting-at-the-seams, full–of-feeling guitar style isn’t flashy. Nor is it slashing or stinging, but it will leave its mark on your soul. His earthy vocals are rough but tender.      

            The shuffling title track is modern day traditional Chicago blues at its finest. Quite simply, the entire 46-minute disc could be described the same way. It may not be one of his most often covered songs nor a classic like Spoonful, but Earthquake and Hurricane is undoubtedly Willie Dixon. Andrew Brown’s You Ought To Be Ashamed isn’t the most memorable song, but each one of Bell’s finger-plucked lead guitar notes sounds wonderful. Hip Linkchain’s Cold Chills is a simple boogie but Anthony Palmer’s potent rhythm guitar and Bell’s intense lead guitar make it brilliant. With a shrill harp, Skoller raises a commotion on two songs. Turn To Me is a slow minor key blues. Is there a better kind? Missing You – written by another Chicago blues guitar colleague, Billy Flynn – can be interpreted as an admirable farewell to Greenberg. The song is so sad, it’s sweet. How Bell is capable of singing the loving lyrics without breaking down is proof that he is a rock of strength.  At this time in his life, there likely isn’t a more suitable song for Bell than Pop Staples’ Why (Am I Treated So Bad). Via affectionate vocals and probing guitar, Bell expresses his pain. You’ll feel it so much that you will hurt; yet it’s a pleasure to experience.

            Bell comes across as musically mature on his triumphant first solo release in eight years. You almost sense him as a wounded veteran carrying the torch through the homestretch so that it can be handed on to another generation. As Skoller observes in his liner notes, “Lurrie is now a blues master. There are very few blues masters left.” He may not have the dynamism of Luther Allison, but along with John Primer, Magic Slim, and Lil’ Ed Williams, Bell may be the last of the great Chicago blues guitarists. After listening to this real deal blues CD, you’ll realize that Bell, like Chicago, is loaded with the blues.

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