MAGIC SLIM & THE TEARDROPS

Midnight Blues

Blind Pig BPCD 5125

By Tim Holek

Chicago blues drips from the raw and gritty music of Magic Slim. His vocals are delivered like a champion boxer punches. His sharp, fast lead guitar notes are drenched in sweat. His rife rhythms rock like a ship that’s tossed about by a hellacious storm. His potent backing band – comprised of Jon McDonald (guitar), Danny O’Connor (bass), and David Simms (drums) – is more than capable of supporting the master. Together with Slim, they are considered to be one of the last real Chicago blues bands. Magic Slim doesn’t need to rely on guest stars in order to make a great CD. Still, eight confidant colleagues, including Otis Clay and Elvin Bishop, appear throughout the 47-minute disc. This is practically a 100% pure Chicago blues record. It was recorded in Chicago, it was produced by a Chicago blues artist, the cover photo and CD design were created by a Chicago graphic artist, most of the songs were written by Chicago artists, and the guests are all associated with Chicago.

          Some of the CD’s 13 songs have been previously recorded by Slim for albums on other labels. On Midnight Blues, the songs are all-new recordings. Muddy Waters’ You Can’t Lose What You Ain’t Never Had is delivered by two artists, James Cotton and Magic Slim, who have the right to play the song. That’s because Slim is considered to be the greatest living proponent of the electrified, Mississippi-to-Chicago blues style that was first made famous by Waters (Cotton played harp in Waters’ band for 12 years). The arrangement of the timeless song is made to sound as if it came from Slim’s own songbook. Waters’ Crosseyed Cat has also been Slim-ized to the point where you won’t recognize the song. If you think Hound Dog Taylor’s version of Give Me Back My Wig rocked, you’ll love Slim’s kick-butt interpretation that features the razor-sharp guitar of Lil’ Ed Williams. Little Milton’s Lonely Man sounds like it is being performed by producer/blues artist Nick Moss because Moss would perform it himself with the same raw Chicago Blues sound that Slim helped originate. Willie Dixon’s Spider In My Stew is a signature Slim tune for me because its one of the first Slim songs I ever heard. This rendition includes a familiar-sounding guitar solo courtesy of Lonnie Brooks. A couple of songs sound a bit out of place. The country rock of Going Down The Road Feeling Bad doesn’t naturally fit into Slim’s repertoire. Still, you will find yourself singing along during the chorus. Love songs aren’t usually associated with Slim but he nails Little Milton’s Loving You Is The Best Thing That Happened To Me. It is soulful and very happy sounding courtesy of Gene Barge (tenor sax) and the steaming Chicago Rhythm & Blues Kings horn section.    

            Sure, many of the songs sound similar and only five were written by Slim. But I state that as an observation not as a criticism. When Chicago blues is performed this well, it should just be played over and over again. If Slim ever makes a bad record, it will be time for him to retire. Based on this fiery CD, Slim’s retirement remains light years away.     

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