Charles Douglas Musselwhite
b. January 31st, 1944 in Kosciusko (Mississippi)
CHICAGO ANTHOLOGY
Together
Floating World
BLUES FROM CHICAGO
Cherry Red
November 1964 / September 1965 / February 1966
DELUXE EDITION
Alligator
mid 1960's
Un titre ("Newport News blues") enregistré par Charlie au tout début de sa carrière en compagnie de Will Shade (créateur du Memphis Jug Band) qui fut un de ses professeurs. La séance a probablement été capturée quelque part entre 1964 et 1966 (année de la mort de Shade).
One track ("Newport News blues") recorded by Charlie at the very beginning of his career with Will Shade (creator of the Memphis Jug Band) who was one of his teachers. The session probably was captured sometime between 1964 and 1966 (year of Shade's death).
CHICAGO THE BLUES TODAY vol.3
Vanguard
December 1965
Le producteur Sam Charters prend sous son aile le jeune Charlie Musselwhite et lui propose d'accompagner le grand Big Walter Horton sur un titre ("Rockin' my boogie") de sa célèbre anthologie.
Producer Sam Charters takes young Charlie Musselwhite under his wing and offers him to accompany the great Big Walter Horton on a song ("Rockin' my boogie") on his famous anthology.
STAND BACK
Vanguard
1967
Quand le producteur Sam Charters propose à Charlie Musselwhite d'enregistrer son premier album, il souhaite inscrire sa musique dans la continuité de Paul Butterfield, alors en plein succès. Accompagné notamment d'Harvey Mandel et de Barry Goldberg, il délivre un sympathique mais inégal album de blues. On retient notamment "Cha cha the blues", "Back at the chicken shack" et sa reprise du "Christo redemptor" de Duke Pearson qu'il jouera souvent.
When producer Sam Charters asked Charlie Musselwhite to record his first album, he wanted to place his music in the continuity of Paul Butterfield, then in full success. Accompanied in particular by Harvey Mandel and Barry Goldberg, he delivers a nice but uneven blues album. We notably point out "Cha cha the blues", "Back at the chicken shack" and his cover of Duke Pearson's "Christo redemptor" which he played often.
STONE BLUES
Vanguard
1968
Pour son second disque chez Vanguard, la production est l'oeuvre de Barry Goldberg. Encore une fois, le programme reste assez inégal. On peut trouver "My buddy buddy friends", "Everything's gonna be alright", "Gone and left me" parmi les meilleurs moments. En revanche son long instrumental "Bag gloom brews" est bien peu convaincant.
For his second disc with Vanguard, the production is the work of Barry Goldberg. Once again, the program remains quite uneven. We can find "My buddy buddy friends", "Everything's gonna be alright", "Gone and left me" among the best moments. On the other hand, his long instrumental "Bag gloom brews" is very unconvincing.
LOUISIANA FOG
Cherry Red
Kent
TAKIN' CARE OF BUSINESS
Kent
Thunderbolt
1968
Cet album - vraisemblablement enregistré en quelques heures - semble bien peu inspiré. Produit par Morey Alexander, Charlie y est notamment accompagné par le guitariste Robben Ford. Mais rien ne fonctionne vraiment dans ce disque plat et ennuyeux.
This album - probably recorded in a few hours - seems very uninspired. Produced by Morey Alexander, Charlie is notably accompanied by the guitarist Robben Ford. But nothing really works in this flat and boring disc.
TENNESSEE WOMAN
Vanguard
1969
Pour son troisième album chez Vanguard, c'est cette fois Pete Welding qui se charge de la production. Ce sont les deux slow blues qui méritent vraiment une écoute attentive : "Blues feeling today" (avec un jeune Rod Piazza à l'harmonica chromatique) et une longue version de "Christo Redemptor".
For his third album with Vanguard, this time Pete Welding is in charge of production. These are the two slow blues that really deserve careful listening : “Blues feeling today” (with a young Rod Piazza on chromatic harmonica) and a long version of “Christo Redemptor”.
MEMPHIS TENNESSEE
Paramount
Crosscut
1969
Hormis deux morceaux sympathiques ("Blues" et "Arkansas boogie"), le reste du programme de cet album décevant s'avère bien peu convaincant.
Apart from two nice tracks ("Blues" and "Arkansas boogie"), the rest of the program of this disappointing album turns out to be very unconvincing.
WORD OF MOUTH
Capitol
1969
TAKIN' MY TIME
Arhoolie
MEMPHIS CHARLIE
Arhoolie
January - February 1971
Les séances que Charlie Musselwhite fit pour le label Arhoolie de Chris Strachwitz montrent enfin complètement ses talents d'harmoniciste et de compositeur. Bien accompagné par William "Skip" Rose, Robben Ford, Patrick Ford et Gerald Pedersen, il livre un album intense et consistant. On peut retenir les excellents "It ain't right", "Finger lickin' good", "Wild wild woman" (une reprise de Johnny Young) et le long slow blues "Takin' my time". La réédition CD "Memphis Charlie" (avec un dessin de pochette dessiné par Lynda Barry) ne reprend pas tous les titres de ces séances (deux titres manquant).
The sessions that Charlie Musselwhite did for Chris Strachwitz's Arhoolie label finally fully showed his talents as a harmonica player and composer. In good company with William "Skip" Rose, Robben Ford, Patrick Ford and Gerald Pedersen, he delivers an intense and consistent album. We can point out the excellent "It ain't right", "Finger lickin' good", "Wild wild woman" (a Johnny Young cover) and the long slow blues "Takin' my time". The CD reissue "Memphis Charlie" (with a cover design by Lynda Barry) does not compile all titles of these sessions (two titles missing).
GOIN' BACK DOWN SOUTH
Arhoolie
MEMPHIS CHARLIE
Arhoolie
January 1971 / August 1974
Ce second album regroupe la suite des séances pour le label Arhoolie de Chris Strachwitz. Un programme encore une fois inspiré et remarquable. Concernant la séance de 1974, on peut entendre le piano de Lafayette Leake et Charlie joue un peu de guitare sur deux titres. On apprécie en particulier "Crazy for my baby", "Take me back", "Blue Stu", "If trouble was money" (dans lequel il joue de l'harmonica chromatique). La réédition CD "Memphis Charlie" (avec un dessin de pochette dessiné par Lynda Barry) ne reprend pas tous les titres de ces séances (un titre manquant).
This second album brings together the rest of the sessions for Chris Strachwitz's Arhoolie label. Once again an inspired and remarkable program. Concerning the 1974 session, we can hear Lafayette Leake's piano and Charlie plays guitar on two tracks. We particularly like "Crazy for my baby", "Take me back", "Blue Stu", "If trouble was money" (in which he plays chromatic harmonica). The CD reissue "Memphis Charlie" (with a cover design by Lynda Barry) does not compile all titles of these sessions (one title missing).
LEAVE THE BLUES TO US
Capitol
1975
Un disque intense produit par Morey Alexander avec les participations de Barry Goldberg et Mike Bloomfield. Charlie se montre en grande forme vocalement et à l'harmonica bien soutenu par un groupe compact et puissant. On apprécie en particulier "Business man", "Skinny woman", "Candy kitchen", "Long as I have you". Un disque qui n'a jamais été réédité en CD.
An intense record produced by Morey Alexander with participation from Barry Goldberg and Mike Bloomfield. Charlie is in great shape vocally and on harmonica well supported by a compact and powerful group. We particularly like "Business man", "Skinny woman", "Candy kitchen", "Long as I have you". A record that has never been reissued on CD.
TIMES GETTIN' TOUGHER THAN TOUGH
Crystal Clear
October 1978
Un superbe disque de West Coast Blues dans lequel brille l'harmonica de Charlie Musselwhite. Derrière lui, un excellent groupe avec notamment le remarquable guitariste et arrangeur Johnny Heartsman et le saxophoniste Bobby Forte. On peut souligner les belles reprises de "Times gettin' tougher than tough" de Jimmy Witherspoon mais aussi de "Big leg woman" et "Sloppy drunk". Production d'Ed Wodenjak et Tom Wiggins.
A superb West Coast Blues record in which Charlie Musselwhite's harmonica shines. Behind him, an excellent backing band including the remarkable guitarist and arranger Johnny Heartsman and saxophonist Bobby Forte. We can highlight the beautiful covers of "Times gettin' tougher than tough" by Jimmy Witherspoon but also of "Big leg woman" and "Sloppy drunk". Produced by Ed Wodenjak and Tom Wiggins.
THE HARMONICA ACCORDING TO CHARLIE MUSSELWHITE
Kicking Mule
Blind Pig
1978
Charlie Musselwhite a conçu cette méthode d'apprentissage de l'harmonica en Angleterre pour le label Kicking Mule de Stefan Grossman. Mais cette méthode peut s'écouter comme n'importe quel album de blues. Charlie montre son immense talent dans tous les styles, explorant toutes ces possibilités de l'instrument. On apprécie notamment "Harpin' on a riff", "Pistol in your face", "Blues all night", "Way I feel".
Charlie Musselwhite designed this method for learning harmonica in England for Stefan Grossman's Kicking Mule label. But this method can be listened to like any blues album. Charlie shows his immense talent in all styles, exploring all these possibilities of the instrument. We particularly like "Harpin' on a riff", “Pistol in your face”, “Blues all night”, “Way I feel”.
CURTAIN CALL COCKTAILS
War Bride
Red Lightnin'
Westside
1982
Concert dans lequel Charlie est associé au groupe californien The Dynatones. Un programme plutôt sympathique rempli majoritairement de reprises convenablement rendues. La version CD est enrichie de quatre titres inédits.
Concert in which Charlie is associated with the californian band The Dynatones. A rather nice program filled mainly with adequately rendered covers. The CD version is enhanced with four previously unreleased tracks.
WHERE HAVE ALL THE GOOD TIMES GONE
Blue Rock' It
November 1983 / February 1984
Cet album méconnu est assurément un des plus réussis de Charlie Musselwhite. Il est accompagné de superbes musiciens : Robben Ford (guitare), Clay Cotton (piano), Steve Ehrman (basse) et Patrick Ford (batterie et production). Charlie se montre en grande forme à l'harmonica et brille dans un programme intense et varié : "Seemed like the whole world was crying", "Stretching out", "Where have all the good times gone". Il joue aussi de la guitare sur les magnifiques "Baby O" et "I'll get a break someday".
This little-known album is undoubtedly one of Charlie Musselwhite's most achieved. He is accompanied by superb musicians : Robben Ford (guitar), Clay Cotton (piano), Steve Ehrman (bass) and Patrick Ford (drums and production). Charlie is in great shape on harmonica and shines in an intense and varied program : "Seemed like the whole world was crying", "Stretching out", "Where have all the good times gone". He also plays guitar on the magnificent "Baby O" and "I'll get a break someday".
MELLOW DEE
Crosscut
July - August 1985
Cet album fut enregistré en Allemagne sous la supervision du producteur Detlev Hoegen (fondateur du label Crosscut). Une tracklist consistante avec de bons morceaux comme "Hey Miss Bessie", "Peach orchard mama", "Comin' home baby", "Can't you see wht you're doin' to me".
This album was recorded in Germany under the supervision of producer Detlev Hoegen (founder of the Crosscut label). A consistent tracklist with good songs like "Hey Miss Bessie", "Peach orchard mama", "Comin' home baby", "Can't you see what you're doin' to me".
LIVE 1986 UP AND DOWN THE HIGHWAY
Indigo
CAMBRIDGE BLUES
Blue Horizon
August 1986
Lors d'une tournée européenne, Charlie fit quelques dates sur le sol anglais en trio avec Bob Hall et Dave Peabody. En dépit de morceaux parfois un peu longs, un concert intéressant réunissant trois musiciens inspirés pour un bon set de blues acoustique : "Hey Miss Bessie", "Big leg woman", "Up and down the avenue", "Skinny woman".
During a european tour, Charlie did a few dates on english soil as a trio with Bob Hall and Dave Peabody. Despite the tracks sometimes being a little long, an interesting concert bringing together three inspired musicians for a good acoustic blues set : "Hey Miss Bessie", "Big leg woman", "Up and down the avenue", "Skinny woman".
ACE OF HARPS
Alligator
1990
Pour son premier album chez Alligator, Charlie conserve son producteur habituel Patrick Ford (frère de Robben Ford) et bénéficie de la belle guitare d'Andrew "Junior Boy" Jones. Il brille notamment sur ses propres compositions comme "The blues overtook me", "She may be your woman", "River hip mama" (co-écrite avec Jones), "Leaving your town" mais aussi dans la ballade atmosphérique "Yesterdays".
For his first album with Alligator, Charlie keeps his usual producer Patrick Ford (brother of Robben Ford) and benefits from the beautiful guitar of Andrew "Junior Boy" Jones. He shines in particular on his own compositions such as "The blues overtook me", "She may be your woman", "River hip mama" (co-written with Jones), "Leaving your town" but also in the atmospheric ballad “Yesterdays”.
SIGNATURE
Alligator
1991
Pour ce second album chez Alligator, on retrouve globalement les mêmes musiciens (on ajoute toutefois une section cuivres dirigée par Art Baron) mais cette fois Charlie est son propre producteur. Un programme un peu moins intense que sur le précédent "Ace of harps". On peut retenir toutefois "Make my getaway", "Blues got me again", "It's gettin' warm in here" (co-écrit avec Andrew "Junior Boy" Jones). Apparition de John Lee Hooker sur le dernier titre "Cheatin' on me".
For this second album on Alligator, we find quite the same musicians (we however add a horn section led by Art Baron) but this time Charlie is his own producer. A slightly less intense program than on the previous "Ace of Harps". However, we can point out "Make my getaway", "Blues got me again", "It's gettin' warm in here" (co-written with Andrew "Junior Boy" Jones). Appearance of John Lee Hooker on the last track "Cheatin' on me".
IN MY TIME
Alligator
1994
Charlie Musselwhite délivre ici un album plus introspectif et apaisé qu'à l'accoutumée. Brillant à l'harmonica, il joue aussi de la guitare sur les magnifiques "Stingaree" et "Ain't it time". On apprécie également "Leaving blues", "When it rains it pours", "Please don't think I'm nosy", "Hear me talkin'". Il est rejoint sur deux morceaux par les Blind Boys of Alabama ("Beside of a neighbor").
Charlie Musselwhite delivers here a more introspective and peaceful album than usual. Brilliant on the harmonica, he also plays guitar on the magnificent “Stingaree” and “Ain’t it time.” We also like "Leaving blues", "When it rains it pours", "Please don't think I'm nosy", "Hear me talkin'". He is joined on two songs by the Blind Boys of Alabama ("Beside of a neighbor").
ROUGH NEWS
Pointblank
April 1996
Après Alligator, Charlie arrive chez Pointblank. Pour son premier album produit par Dick Shurman et Keith Keller, il délivre un programme très varié jouant aussi bien dans un style West Coast, que Delta ou Chicago. On trouve même des incursions dans le Jazz et la musique brésilienne. On apprécie en particulier "Both sides of the fence", "Natural born lover", "Darkest hour", "Rough dried woman", "Feel it in your heart", "Clarksdale boogie". On note les participations de Fenton Robinson, Kid Ramos, Junior Watson et Cesar Rosas.
After Alligator, Charlie arrives at Pointblank. For his first album produced by Dick Shurman and Keith Keller, he delivers a very varied program playing as well in a West Coast style, that Delta or Chicago styles. We even find incursions into Jazz and Brazilian music. We particularly like "Both sides of the fence", "Natural born lover", "Darkest hour", "Rough dried woman", "Feel it in your heart", "Clarksdale boogie". We note the participations of Fenton Robinson, Kid Ramos, Junior Watson and Cesar Rosas.
CONTINENTAL DRIFTER
Pointblank
1999
Pour ce second opus pour Pointblank, enregistré entre l'Europe et la Californie, Charlie est son propre producteur en compagnie de sa femme et manager Henrietta et de Samuel Lehmer. Il explore cette fois les rythmes cubains (participation d'Eliades Ochoa et El Cuarteto Patria) sur quatre morceaux sympathiques. Le reste du programme est du blues joué en solitaire ("Blues up the river") ou avec un petit groupe électrique.
For this second opus for Pointblank, recorded between Europe and California, Charlie is his own producer alongside his wife and manager Henrietta and Samuel Lehmer. This time, he explores Cuban rhythms (participation of Eliades Ochoa and El Cuarteto Patria) on four nice tracks. The rest of the program is blues played solo ("Blues up the river") or with a small electric backing band.
DARKEST HOUR
Pointblank
Henrietta
1999
Pour ce troisième et dernier disque pour Pointblank, Charlie propose ce projet tout acoustique dans lequel il joue seul guitare et harmonica. Un album sombre et introspectif contenant de superbes réussites comme "I had trouble", "In your darkest hour", "Clarksdale boogie", "My road lies in darkness", "The muscle in my arm", "Please remember me". Production de Charlie, Harry Gale et Don Hyde.
For this third and final disc for Pointblank, Charlie offers this all-acoustic project in which he plays guitar and harmonica alone. A dark and introspective album containing superb achievements like "I had trouble", "In your darkest hour", "Clarksdale boogie", "My road lies in darkness", "The muscle in my arm", "Please remember me". Production by Charlie, Harry Gale and Don Hyde.
SUPERHARPS
Telarc
April 1999
Réunion d'harmonicistes produit par Randy Labbe sous la bannière Telarc. On peut entendre Charlie Musselwhite sur l'excellent "Blues why do you worry me" avec Sugar Ray Norcia et sur le titre final.
Harmonicists meeting produced by Randy Labbe under the Telarc banner. We can hear Charlie Musselwhite on the excellent "Blues why do you worry me" with Sugar Ray Norcia and on the final title.
ONE NIGHT IN AMERICA
Telarc
June 2001
Un album intéressant à dominante Country-Rock produit par Randy Labbe avec en particulier "In a town this size". Mais, Charlie n'en délaisse pas moins le Blues comme en témoigne les excellents "Blues overtook me" et "Walking alone".
An interesting predominantly Country-Rock album produced by Randy Labbe with in particular "In a town this size". But, Charlie nonetheless abandons the Blues as in demonstrates the excellent “Blues overtook me” and “Walking alone”.
SANCTUARY
Real World
2004
Pour le label Real World et le producteur John Chelew, Charlie délivre un album au son à la fois brut et atmosphérique. S'éloignant parfois du Blues, il recèle quelques beaux moments comme "Homeless child" (avec Ben Harper), My road lies in darkness", "Burn down the cornfield", "The neighborhood", "I had trouble" (avec les Blind Boys of Alabama).
For the Real World label and producer John Chelew, Charlie delivers an album with a both raw and atmospheric sound. Sometimes moving away from the Blues, it contains some beautiful moments like "Homeless child" (with Ben Harper), My road lies in darkness", "Burn down the cornfield", "The neighborhood", "I had trouble" (with the Blind Boys of Alabama).
DELTA HARDWARE
Real World
2006
Un superbe album de blues brut et puissant produit par Chris Goldsmith. Charlie Musselwhite y est accompagné par un groupe attentif et inspiré : Chris "Kid" Andersen (guitare), Randy Bermudes (basse) et June Core (batterie). La tracklist est intense notamment avec des morceaux accrocheurs comme "Church is out", "Sundown", "Black water", "Clarksdale boogie", "Invisible ones".
A superb album of raw and powerful blues produced by Chris Goldsmith. Charlie Musselwhite is accompanied by an attentive and inspired backing band : Chris "Kid" Andersen (guitar), Randy Bermudes (bass) and June Core (drums). The tracklist is intense, particularly with catchy songs like "Church is out", "Sundown", "Black water", "Clarksdale boogie", "Invisible ones".
ROUGH DRIED : LIVE AT THE TRIPLE DOOR
Henrietta
May 2007
Un concert puissant et intense enregistré dans un club de Seattle dans lequel Charlie joue avec ses musiciens réguliers (Chris "Kid" Andersen, Randy Bermudes, June Core). Une fois de plus, il se montre brillant à l'harmonica et ses sidemen appliqués et inspirés.
A powerful and intense concert recorded in a Seattle club in which Charlie plays with his regular musicians (Chris "Kid" Andersen, Randy Bermudes, June Core). Once again, he is brilliant on the harmonica and his sidemen are diligent and inspired.
THE WELL
Alligator
2010
Charlie avait donné trois excellents albums au label Alligator dans les années 90. Le voici de retour en 2010 sous la supervision du producteur Chris Goldsmith. Encore une fois, il propose un superbe disque avec de belles réussites comme "The well", "Where highway 61 runs", "Sad and beautiful world" (avec Mavis Staples), l'instrumental "Sonny Payne special", "Hoodoo queen". Comme à son habitude, Charlie prend la guitare sur deux titres.
Charlie had given three excellent albums to the Alligator label in the 90's. Here he is back in 2010 under the supervision of producer Chris Goldsmith. Once again, he offers a superb album with great achievements like "The well", "Where highway 61 runs", "Sad and beautiful world" (with Mavis Staples), the instrumental "Sonny Payne special", "Hoodoo queen". As usual, Charlie takes the guitar on two tracks.
JUKE JOINT CHAPEL
Henrietta
August 2012
Ce concert autoproduit présente Charlie sur scène dans un juke joint du Mississippi avec son groupe régulier. Un bon concert avec ses propres compositions ("Strange land", "River hip mama") et quelques reprises intéressantes ("Bad boy").
This self-produced concert features Charlie on stage in a Mississippi juke joint with his regular band. A good concert with his own compositions ("Strange land", "River hip mama") and some interesting covers ("Bad boy").
GET UP
Stax
2013
Dans cette association, Ben Harper prend en charge le chant et la guitare (et la production) tandis que Charlie se focalise sur l'harmonica. Leur entente est vraiment parfaite et la tracklist superbement variée et inspirée : "Don't look twice", "I'm in I'm out I'm gone", "I ride at dawn", "Get up" sans oublier "We can't end this way" aux accents Gospel.
In this association, Ben Harper takes care of vocals and guitar (and production) while Charlie focuses on harmonica. Their good feeling is really perfect and the tracklist is superbly varied and inspired : "Don't look twice", "I'm in I'm out I'm gone", "I ride at dawn", "Get up" without forgetting "We can't end this way" with Gospel accents.
I AIN'T LYIN'
Henrietta
September - December 2014
Un bon disque de blues traditionnel auto-publié sur son propre label (du nom de sa femme) enregistré avec son groupe régulier (Matt Stubbs, Steve Froberg, June Core). Rien de très original mais du blues brut bien joué ("Done somebody wrong").
A good traditional self-released blues record on his own label (named after his wife) recorded with his regular band (Matt Stubbs, Steve Froberg, June Core). Nothing very original but well played raw blues ("Done somebody wrong").
NO MERCY IN THIS LAND
Anti
2018
Seconde collaboration entre Ben Harper et Charlie Musselwhite cette fois pour le label Anti d'Andy Kaulkin. Les deux hommes délivrent un superbe opus de blues brut et terrien parsemé de remarquables pépites : "When I go", "Bad habits", "The bottle wins again", "Found the one", "No mercy in this land", "Movin' on". Il existe une version CD améliorée avec trois titres en version live.
Second collaboration between Ben Harper and Charlie Musselwhite this time for Andy Kaulkin's Anti label. The two men deliver a superb opus of raw and down home blues sprinkled with remarkable gems : "When I go", "Bad habits", "The bottle wins again", "Found the one", "No mercy in this land", "Movin' on". There is a CD version enhanced with three tracks in live version.
100 YEARS OF BLUES
Alligator
2020
Réunion de deux grands bluesmen - amis de longue date - sous la supervision du producteur Kid Andersen. En pleine forme, le guitariste Elvin Bishop et l'harmoniciste Charlie Musselwhite délivrent un set de blues terrien uniquement accompagnés de Bob Welsh (guitare et piano) et de Kid Andersen (basse). On peut ressortir de ce programme intense et excitant les excellents "Birds of a feather", "West Helena blues", "Good times", "If I should have bad luck", "Blues why do you worry me", "Help me", "100 years of blues".
Reunion of two great bluesmen - longtime friends - under the supervision of producer Kid Andersen. In top form, guitarist Elvin Bishop and harmonica player Charlie Musselwhite deliver a set of down-home blues only accompanied by Bob Welsh (guitar and piano) and Kid Andersen (bass). We can point out from this intense and exciting program the excellent "Birds of a feather", "West Helena blues", "Good times", "If I should have bad luck", "Blues why do you worry me", "Help me", "100 years of blues".
LIVE AT THE BELLY UP
Belly Up Live
2020
MISSISSIPPI SON
Alligator
2022
De nouveau chez Alligator, cet album symbolise un véritable retour aux sources pour Charlie. Gravé à Clarksdale, majoritairement acoustique, il présente Charlie seul à la guitare et à l'harmonica sur tous les titres (parfois rejoint par une basse et une batterie). Une tracklist introspective et inspirée en particulier sur "Blues up the river", "In your darkest hour", "The dark", "Pea vine blues", "Drifting from town to town", "Rank strangers". Production de Gary Vincent et de sa femme et manager Henrietta Musselwhite.
Once again with Alligator, this album symbolizes a true return to his roots for Charlie. Recorded in Clarksdale, mainly acoustic, it presents Charlie alone on guitar and harmonica on all tracks (sometimes joined by bass and drums). An introspective and inspired tracklist in particular on "Blues up the river", "In your darkest hour", "The dark", "Pea vine blues", "Drifting from town to town", "Rank strangers". Production by Gary Vincent and his wife and manager Henrietta Musselwhite.