Music

Robert Cray: The Best of Robert Cray -- The Millenium Collection

Jason MacNeil

Robert Cray

The Best of Robert Cray -- the Millenium Collection

Label: Universal
US Release Date: 2002-10-15
UK Release Date: Available as import
Amazon
iTunes

Robert Cray has never been justly compared to the likes of Eric Clapton, Stevie Ray Vaughn, or other modern blues guitarists of his era. And to take a line from Fats Domino, ain't that a shame! Continuing to put out one credible blues album after another while appeasing contemporary blues fans and elder purists is difficult. But Cray has done it without breaking much of a sweat. As Art Tipaldi, a noted blues journalist, writes in the liner notes: "Cray single-handedly rejuvenated the blues and proved to the music world that not all young black artists were rappin' on city street corners." The ten songs on this compilation "best of" record are a good primer for most of his consistently great albums.

The first track offered to the listener is "Smoking Gun", with Cray containing enough soul both in his fingers and his voice to translate his point anywhere at any time. A very good guitar solo has Cray standing on the notes rather than blistering through with a series of cliched chords. "My hearts beatin' just like a drum", he sings as his strong backing musicians provide ample support. "Right Next Door (Because of Me)" packs less punch as a light reggae hue can be heard behind the "woes me" narrative. Taken from his debut album Strong Persuader and containing the title within the song, the tune isn't one of his best. Even the solo sounds a bit thin in parts and sounds a bit dated in portions courtesy of Peter Boe's keyboards.

When Cray is at his best, he blends the soulful Motown sounds of Otis Redding with a contemporary rhythm arrangement. "Bouncin' Back" is a perfect example of this; Cray baring his soul as a horn section, featuring the legendary Memphis Horns, toots its magic. "I believe it's a very good sign", Cray sings before he allows the horns to carry the bridge. Another asset to the track is the bass groove of Richard Cousins. It is probably the highlight of a very good beginning. Nearly all of his albums are represented here on the ten tracks, but only one from his 1988 Don't Be Afraid of the Dark album is included. "Don't You Even Care" is perhaps the closest the guitarist will come to resemble a modern B.B. King, following the traditional blues standard down to a tee. Even the guitar solo, while not a clone of King's, is certainly in the same ballpark.

"Holdin' On", written by keyboard player Jim Hugh, resorts to the piano-driven backdrop. Cray plays a moderate leading role here, but his vocals are pushed too far back in the mix in spots. Cray does give some nice solos throughout it, especially in the heart of the song before going back to the verses. The song has the feeling of a Fats Domino arrangement, but Domino couldn't carry the tune vocally the Cray does, hitting impressive highs. The greatest thing about this song is that, being one of the longer tunes, it's allowed to evolve into something bigger than its parts. "These Things", taken from his 1990 album Midnight Stroll, is the type of blues that hits you just about the navel with a simple yet heartfelt mastery of Cray's guitar being displayed. He also starts wailing as if you never felt it in the opening notes. Or if you were dead!

A curveball on the album appears with the quasi-calypso sound on "I Was Warned". Having elements of what a blues tango might come off like, Cray speaks the words more than sings them for effect. "Whether they're right or wrong, at least the mystery is gone", he says about being done wrong by his woman. Unfortunately it loses whatever momentum it had by the three minute mark, meaning the remainder doesn't do much until Cray gives one of his better guitar solos three minutes later. "Some Pain, Some Shame" has a better flow and groove as Cray keeps everything in sonic union. He also delivers what is another shining moment of nimble finger picking, hitting the notes with the precision and crispness of David Gilmour. Closing with "You're Gonna Need Me", Cray shows why he'll be even more vital to blues music once B.B. and Buddy are no longer with us.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less
3

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less
9

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image