Where Y'at - Michael Dominici

A few weeks ago as I was driving to work, I heard a spellbinding NPR segment on two brothers from Iuka, Mississippi who embarked on odyssey beginning in Memphis, Tennessee down through the Mississippi Delta to New Orleans. Eddie Thomas (a multi-instrumentalist).and his brother Frank set out on a journey that traced the legacy of the blues heritage along Highway 61 and beyond. Once they would arrive at one of the historic locations, Eddie would play a song by the musician specifically associated with that particular site while Frank would document the performance and photograph the event.

These "field" recordings successfully place the listener on the scene, experiencing the story of the blues from a unique vantage point. In contrast to poet John Sinclair's similar evocation Fattening Frog For Snakes: The Delta Sound which takes the listener on a figurative journey, Angels on the Backroads literally takes us there. This novel approach pans out nicely. The feel of this recording varies markedly from place to place, song to song. At such places as the majestic Orpheum Theatre in Memphis and the ballroom of the Peabody Hotel, Eddie's plaintive guitar playing and heartfelt vocals ring pure and clear, placing the listener in front row seats for a grand concert. Elsewhere, we are treated to rooftop performances and outdoor performances in bustling city squares with trolleys passing by. Then there's a performance of Robert Wilken's "That's No Way to Get Along" recorded at Memphis' Central Railroad Station where Wilkens once worked as a Pullman Porter. Then there's Tommy Johnson's "Big Road Blues" recorded beneath a magnolia tree in Desoto Park on the bank of the Mississippi River. Soon enough, the Thomas Brothers begin their journey and head out to Highway 61 where they record a couple of tunes out on the open road.

(I'd be remiss if I didn't mention the three flawed studio recordings included here. These tunes, a Memphis Slim number, an Ike Turner tune and Louis Jordan's "Let the Good Times Roll" a) utilize the dreaded synthesizer (!) b) show Eddie's limitations as a swinger/rocker and c) were recorded back home in the studio in Iuka, Mississippi, making their inclusion dubious. However, this small misstep is easily forgiven, considering the overall quality and integrity of this well conceived labor of love.)

Whether you are a passionate blues aficionado, a neophyte or just searching for something unique, historically significant and totally sincere, I heartily recommend Eddie and Frank Thomas' Angels on the Backroads - one of the most fascinating recordings of recent vintage.

-Michael Dominici

Where Y’at February 2003, Volume 5, Issue 5, page 14 www.whereyatnola.com

Angels on the Backroads Volume 2 continues the blues odyssey of the Iuka, Mississippi brothers Eddie and Frank Thomas as they revisit historic locations in the Mississippi Delta along Highway 61. Multi-instrumentalist Eddie Thomas sticks mostly to the acoustic guitar this time out (although there’s some nice work on the harmonica and piano here as well.) Once again, the greatest rewards come from the stories, the sounds of the highway, the rustling atmosphere and the reconnection with the haunted land of the blues. Eddie Thomas stimulates the imagination effectively, and considering the challenge of taking on the legacies of so many diverse styles and distinctive musicians that emanated from this region, acquits himself well by literally placing the listener on location in The Mississippi Delta.

This chapter begins with a visit to the fabled “cross roads” immortalized in Robert Johnson’s “Cross Roads Blues.” Soon enough, we’re down the road listening to Gus Cannon’s (a.k.a. “Banjo Joe”) instrumental “Hollywood Rag” as the wind rustles through the 10 foot tall grass, sounding like sweet summer rain. One of the best things about this series is the eclectic song selection, like Willie Brown’s provocative “M&O Blues” and Rubin Lacey’s “Ham Hound Crave” (with the line “Let me be your sometimes ‘til your always comes…” ). It’s interesting that the Sheriff came by during their recording “Poor Boy, Long Ways from Home” since the law has always had a peculiar relationship with the blues in these parts. The caper here is the thrilling ride on Bukka White’s “Special Streamline.” This conversational classic features Bukka White talking out a hip Q&A routine, where he answers rhetorical questions with his guitar, whispering, “Now make it lonesome, ‘cause I’m a hobo myself sometimes…” Angels on the Backroads Volume 2 closes out with fine versions of Charlie Patton’s “Pea Vine Blues” and Mississippi John Hurt’s “Avalon Blues.” Can’t wait to hear where Eddie & Frank Thomas take us to on Volume 3.

– Michael Dominici

Where Y’at March 2003, Volume 5, Issue 7 www.whereyatnola.com