Mississippi MacDonald – I Got What You Need
That British bluesman Mississippi MacDonald has had Memphis on his mind (and in his musical heart and soul) since the release of 2023’s Heavy State Loving Blues, is underlined in fine, Soul City fashion on I Got What You Need, his third album for APM Records.
The album also adds a flourish to what has been a great year for the singer-guitarist, highlights of which include a deserved double-win at the UK Blues Awards (Traditional Blues Artist Of The Year; Acoustic Act Of The Year) and joining the guest ranks of the Take Me To The River All Stars, an ensemble who celebrate and perform the best of New Orleans music.
As importantly, spending time in Memphis, working in not one but two studios in the city (Ecko and Royal) and collaborating with of Ecko owner/ songwriter John Ward, has paid major blues, R&B, soul and gospel dividends.
The album opens in fine, blues swinging style with the title track, a "satisfaction guaranteed" groover that features a bouncy and effective bass line from Eliott Boughen (the band is completed by Jim Kimberley on drums, Phil Dearing on guitars & keys and backing vocalist Lucy Randall).
The song itself was written and recorded by William Norris (aka Sonny Mack) and pulled from John Ward’s demos archive, as Ward felt it would be a good fit for MacDonald and the vibe of the album – turns out he was absolutely right.
'We’re Gonna Make It' (originally recorded by Little Milton in 1965) swings even further.
The R&B standard is given due respect by Mississippi MacDonald and his band; MacDonald’s huskier inflected vocal serves the song and lyric well, bolstered further by his solo play and guitar tone, which could have been born in the same era as the song itself.
(MacDonald plays a 67 Hardtail Stratocaster throughout, while Phil Dearing is equipped with a Custom Shop Telecaster; the perfect weapons of choice).
Slow blues number 'Stop! Think About It' is the first of four Mississippi MacDonald originals to feature.
MacDonald absolutely shines on this number (both vocally and on the tastefully played licks that come crying from his Hardtail), while Phil Dearing supplies delicately sprinkled piano accompaniment.
The tempo is upped for shuffle instrumental '3.35AM,' which is influenced by, and a dedicated nod to, Freddie King.
Following number, the Chicago meets Memphis blues stylings of 'Hard Luck and Trouble,' written by John Ward, is another that is a perfect fit for the album.
'Sinking,' written by Phil Dearing (who also produced & mixed the album), slows the pace once more.
A big blues ballad with a soulful, mid-song solo, Mississippi MacDonald pulls out his most impassioned vocal of the album to parallel the swell of the song and, indeed, swell (pun fully intended) of its lyric – "so you think you saw something in my eyes, and you know what I’m thinking; the water has come over the side, this boat is sinking…"
Funky instrumental 'Soul City One,' featuring Phil Dearing on the B-3 (kudos also to Messrs Boughen & Kimberley for the grooving rhythm), pays homage to the studios and Stax sound of Memphis.
Gospel country blues then comes calling in the shape of 'If I Could Only Hear My Mother Pray,' originally recorded by the great Mahalia Jackson in 1969.
Mississippi MacDonald again delivers a great vocal (he has never sung better than on this album) while Lucy Randall’s backing accompaniment is the icing on the Gospel cake.
Album closer 'Your Dreams,' a beautifully effective vocal & piano ballad, lives and breathes off Mississippi MacDonald’s Gospel/ lyrical vocal ("Did the candle give you light, through the chill of the night, did you follow the path you were shown?).
His mid-song guitar solo is also worthy of mention, where its equally lyrical style and space between the notes are as important as the notes themselves.
Mississippi MacDonald’s music is steeped in the tradition of US blues, from Chicago R&B to southern soul, but his time spent in Memphis has unquestionably led to his best album to date.
Ross Muir
FabricationsHQ
The album also adds a flourish to what has been a great year for the singer-guitarist, highlights of which include a deserved double-win at the UK Blues Awards (Traditional Blues Artist Of The Year; Acoustic Act Of The Year) and joining the guest ranks of the Take Me To The River All Stars, an ensemble who celebrate and perform the best of New Orleans music.
As importantly, spending time in Memphis, working in not one but two studios in the city (Ecko and Royal) and collaborating with of Ecko owner/ songwriter John Ward, has paid major blues, R&B, soul and gospel dividends.
The album opens in fine, blues swinging style with the title track, a "satisfaction guaranteed" groover that features a bouncy and effective bass line from Eliott Boughen (the band is completed by Jim Kimberley on drums, Phil Dearing on guitars & keys and backing vocalist Lucy Randall).
The song itself was written and recorded by William Norris (aka Sonny Mack) and pulled from John Ward’s demos archive, as Ward felt it would be a good fit for MacDonald and the vibe of the album – turns out he was absolutely right.
'We’re Gonna Make It' (originally recorded by Little Milton in 1965) swings even further.
The R&B standard is given due respect by Mississippi MacDonald and his band; MacDonald’s huskier inflected vocal serves the song and lyric well, bolstered further by his solo play and guitar tone, which could have been born in the same era as the song itself.
(MacDonald plays a 67 Hardtail Stratocaster throughout, while Phil Dearing is equipped with a Custom Shop Telecaster; the perfect weapons of choice).
Slow blues number 'Stop! Think About It' is the first of four Mississippi MacDonald originals to feature.
MacDonald absolutely shines on this number (both vocally and on the tastefully played licks that come crying from his Hardtail), while Phil Dearing supplies delicately sprinkled piano accompaniment.
The tempo is upped for shuffle instrumental '3.35AM,' which is influenced by, and a dedicated nod to, Freddie King.
Following number, the Chicago meets Memphis blues stylings of 'Hard Luck and Trouble,' written by John Ward, is another that is a perfect fit for the album.
'Sinking,' written by Phil Dearing (who also produced & mixed the album), slows the pace once more.
A big blues ballad with a soulful, mid-song solo, Mississippi MacDonald pulls out his most impassioned vocal of the album to parallel the swell of the song and, indeed, swell (pun fully intended) of its lyric – "so you think you saw something in my eyes, and you know what I’m thinking; the water has come over the side, this boat is sinking…"
Funky instrumental 'Soul City One,' featuring Phil Dearing on the B-3 (kudos also to Messrs Boughen & Kimberley for the grooving rhythm), pays homage to the studios and Stax sound of Memphis.
Gospel country blues then comes calling in the shape of 'If I Could Only Hear My Mother Pray,' originally recorded by the great Mahalia Jackson in 1969.
Mississippi MacDonald again delivers a great vocal (he has never sung better than on this album) while Lucy Randall’s backing accompaniment is the icing on the Gospel cake.
Album closer 'Your Dreams,' a beautifully effective vocal & piano ballad, lives and breathes off Mississippi MacDonald’s Gospel/ lyrical vocal ("Did the candle give you light, through the chill of the night, did you follow the path you were shown?).
His mid-song guitar solo is also worthy of mention, where its equally lyrical style and space between the notes are as important as the notes themselves.
Mississippi MacDonald’s music is steeped in the tradition of US blues, from Chicago R&B to southern soul, but his time spent in Memphis has unquestionably led to his best album to date.
Ross Muir
FabricationsHQ