CD Reviews-February 2002

Marcia Ball: Presumed Innocent - Alligator
Marcia Ball's new album Presumed Innocent shows music fans that she's damn guilty of delivering another superb collection of southern boogie, roadhouse blues,and potent ballads. With PI being her ninth album (her first on Alligator Records) and being nominated for a list-leading 5 WC Handy Awards, Ms. Ball has reached a pinnacle in her career. Presumed Innocent is nominated for Best Contemporary Album and Blues Album of the Year and Ball, the ever-consummate performer, is nominated for Entertainer of the year.

As are all Marcia Ball albums, Presumed Innocent is steeped in blues and honky-tonk with some gulf coast sound thrown in for flavor. Ball's terrific stride piano is featured on all selections, although her bright vocals seem to be the featured item of this first session with Alligator. With 13 imaginative songs, five penned by Marcia, every selection is well-produced without being forced or overdone. Ball's ballad "She's So Innocent" is truly sung from the heart, as are the low and sweet "I Have the Right to Know" and "Let the Tears Roll Down." There's also a substantial dose of foot stompin' swamp boogie including Ball's "Leaving the Scene of the Crime" and "Shake a Leg." It is, however, her great secondline syncopation piano a la Professor Longhair that sets Marcia Ball apart from all others-a good dose is heard on her "Louella" and "Thibodaux, Louisiana." Along with several guest stars including Delbert McClinton, Wayne Jackson, and Sonny Landreth, this CD features a full range of Marcia Ball gems. I can see why Marcia deserves every nomination. For a live dose of this bayou queen of the piano, check out Marcia Ball performing songs from Presumed Innocent and other Ball favorites in the NW this month. -Phil Chesnut

"Studebaker" John Grimaldi: Howl With The Wolf - Evidence
Chicago's Studebaker John Grimaldi's eighth album, his first on Evidence, has a contemporary sound that is nevertheless firmly rooted in the past. "Burned By Love" and "Rich Man" demonstrate Studebaker John's convincing vocals and relentless slide guitar. Recalling Hound Dog Taylor and J.B. Hutto, "Juke Joint Jump" and "Harpology" change the pace as Studebaker John grabs the harmonica and jumps west coast-style, also bringing to mind Rod Piazza. Studebaker John is a genuine four-way threat. His raw, to-the-bone slide guitar and fat harmonica tone are combined with excellent vocals and clever songwriting. Howl With The Wolf, as well as all of John's previous recordings, are distinctive-they feature original compositions throughout. Howl With The Wolf is a serious mix of material that explores many aspects of life and love. - Tom Hunnewell

Various: O Brother, Where Art Thou? Soundtrack - Lost Highway
Showered with country music honors and nominated for several Grammies, the "O Brother Where Art Thou?" soundtrack is like a two-for-one movie. In a gigantic sense, this picture's musical collaborations help mold the journey of three escaped prisoners and their off-the-wall adventures-including their formation of a singing group called "The Soggy Bottom Boys". It's no surprise that "A Man Of Constant Sorrow" is a running theme and the most well-known song provided by the above-named group. There are no attempts at electronic reconstruction of, or tampering with, these old-school country and gospel selections and the artists represented are very well respected singer-musicians, including Norman Blake, The Stanley Brothers, and the late John Hartford. The songs sucessfully reflect the different turning points in the movie but some that deserve a bit more attention include "Didn't Leave Nobody But The Baby" featuring Emmylou Harris, Allison Kraus, and co-arranger Gillian Welch, complete with tiny baby squeals in the background and angelic harmonies. "In The Jailhouse Now," performed by baritone Tim Black Nelson, is counterbalanced with a comic foil of incredibly twangy yodeling. A relative newcomer in the bunch is Chris Thomas King who has the most contemporary arrangement with a soulful rendition of "Hard Time Killing Floor Blues". There are a few classic recordings inserted with the best being "Po' Lazarus" by James Carter (alias Alan Lomax) with a clanging ball and chain to keep the beat. Finally the echoing sentiments of The Fairfield Four on "Lonesome Valley" present another side of group harmonies, anchored by bass-baritone Isaac Freeman. The overall effort has generated a concert loosely based on "O Brother" with many of the soundtrack contributors called "Down From The Mountain". - Peggy Oliver