Following 2012's 'Blues For The Modern Daze', Walter Trout pays tribute to late, great Chicago bluesman Luther Allison on 'Luther's Blues', the first covers album of his esteemed career. With unstoppable passion and dedication, Trout and his electric band tear through a winning selection of Allison classics, expertly reworking the energised cocktail of soul, funk and blues rock that was his trademark. The result is sonically Trout, and spiritually Allison.
Although critically acclaimed, 'Blues For The Modern Daze' was an emotionally raw offering, with Trout's distress at the state of contemporary society packing a pissed off punch. As such, 'Luther's Blues' finds him unburdened and re-energised. From the moment I'm Back hurls itself from the speakers with a storm of supercharged gusto and flame-throwing solos, it's obvious a weight's been lifted. Where 'Blues For The Modern Daze' was driven by a need for cathartic release, 'Luther's Blues' revels in the sheer joy of musical expression.
That said, Allison's storytelling also embraced hard truths. Songs about watching your woman drink herself to death sat alongside tales of urban violence, apartheid and duplicitous femmes. Trout's rocket-fuelled attack purges lyrical pain through sheer force of performance, with his infectious energy uplifting in spite of the subject matter.
The abundant soul in Allison's music made him one of the few blues artists signed to Motown records in the 1970s. Trout doesn't ape that style, instead amplifying the tunes' bluesier elements while keeping an undercurrent of soul bubbling throughout.
For example, the Stax horns and anachronistic synths are absent from the disconsolate ache of Bad Love and roisterous funk 'n' soul ditty Chicago. But said tribute to the Windy City still keeps the flare-wearing swing of the original, as Trout and his band whip up splendid street-smart grooves courtesy of popping bass lines and hip-shaking rhythms.
While the arrangements remain mostly faithful, the exceptionally gifted band make the compositions sound like vintage Trout. Whether it's the stalking prowl of All The Kings Horses or spinning riffery of Low Down And Dirty, where he duets with Allison's son Bernard, Trout and the guys add their own greasy signature courtesy of buffed up riffs, stinging solos and wide-eyed enthusiasm.
The only real revisions occur on Pain In The Streets and Move From The Hood. The former's slick R&B sheen is replaced by gentle blues, full of delicate vocals and crisp guitar lines that draw a stronger sense of pathos from the downtrodden lyric. The latter ditches the horns and ivories to become a beefed-up shuffle, with swirling organ flourishes and feisty drum fills.
It's fair to say Trout's rarely sounded better than he does here. Whether possessed by his desire to do Allison's work justice, or freedom from lyric writing and composing, he gives every ounce of himself to this record. This is particularly apparent on Cherry Red, where his bare-chested vocal and guitar pyrotechnics are something to behold.
The album closes with When Luther Played The Blues, the only Trout composition and a moving musical eulogy featuring famous Allison quotes: “Leave your ego, play the music, love the people”. Just as the tune concludes the band kicks back in and Walter sings: “Bye bye Luther”. It's a fitting finale.
This is a strong contender for best blues album of 2013 and highlights Trout's ongoing mission to keep blues alive by passing the magic of the masters on to younger generations. Of his hope for the record, he said: “If I had my way with this album, it would reignite interest in the man and his work, make people go back and check out the originals.” Consider it a job well done, sir. A job very well done.
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