Michael Hill's Blues Mo Discography 4 Alben (1994 - 2003)

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Michael Hill's Blues Mo Discography 4 Alben (1994 - 2003)

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Review by Ron Wynn

If it's possible to label anything "new," Michael Hill's Blues Mob are taking a "new" approach to the blues. Hill and his associates incorporate numerous musical influences and elements into contemporary material with a blues feel and sound. Hill's slashing slide guitar mixes rock, funk and reggae as well as blues inflections, and is consistently creative and engaging. The group's compositions feature lyrics which discuss issues and ideas as much as romantic situations and dilemmas, and Hill's vocals aren't pleading, but defiant, triumphant and aggressive. If you're seeking standard fare, this isn't your cup of tea, but those interested in music that expands the blues vocabulary and range will find Michael Hill's Blues Mob the ticket.

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Michael Hill's Blues Mo Discography 4 Alben (1994 - 2003)

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Review by Thom Owens

Michael Hill's primary attribute is his ambition. Where many contemporary bluesmen are content to turn out standard shuffles and boogies, he wants to bring it all together — Hendrix blues-rock, Chicago blues, soul-blues, jazz and reggae. It's a difficult task, so it isn't entirely surprising that he and his band the Blues Mob don't quite achieve his dreams on his second album, Have Mercy!. What is surprising is how close they come. When Hill and the Blues Mob have everything working right, their music is a heady fusion with real passion and heart. These moments — including "Women Make the World Go Round," "Africa in Her Name" and a reworking of "Stagolee" — are powerful enough to make the failed fusions forgivable, and they suggest that Hill could develop into a distinctive talent in his own right.

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Michael Hill's Blues Mo Discography 4 Alben (1994 - 2003)

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Review by Ann Wickstrom
Larger Than Life is every bit as good if not better than Hill's first three albums on Alligator, opening with a powerful blast of a cappella harmony. Equally as strong is Hill's slide playing throughout, with additional guitar support from Living Colour's Vernon Reid. The songs are divided into four categories: Love & Lust, Tales From the Hood, Shuffling Into Commitment, and At the End of the Day. Hill — always the storyteller — again champions the cause of the downtrodden and wrongly accused. "Monticello Nights" details Thomas Jefferson's affair with slave Sally Hemmings — now that's taking on a contentious topic. Hills' voice has the familiar comfort of an old friend, creative guitar licks abound, and — best of all — the songs stay with ya.

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Michael Hill's Blues Mo Discography 4 Alben (1994 - 2003)

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Review by Alex Henderson

New York isn't the first place that comes to mind when one thinks of blues singing — jazz musicians playing 12-bar themes, certainly, but not blues singing in the usual Chicago, Detroit, New Orleans, or Houston sense. There isn't a law against bluesmen coming from the Big Apple; it's just that the five boroughs are better known for jazz, hip-hop, and salsa than they are for blues singing. But if talented blues singers can be born in Sweden (Sven Zettenberg) or Yugoslavia (Ana Popovic), there is no reason why the Apple shouldn't participate — and New Yorker Michael Hill's participation has been quite valuable. Recorded live at two different NYC venues in the early 2000s, this double-CD paints a consistently attractive picture of what Hill proudly describes as his "New York City blues." The singer/guitarist is far from a blues purist; not everything he does has 12 bars, and Hill has been greatly influenced by rock, soul and funk. In fact, the title Electric Storyland Live acknowledges his creative debt to Jimi Hendrix, who was arguably the first heavy metal artist — this release's title is a play on Hendrix's Electric Ladyland. But the blues are Hill's foundation, and he always brings a wealth of blues feeling to the table regardless of whether or not something has 12-bar blues. Hill maintains the feeling of the blues whether he is being influenced by reggae on "Grandmother's Blues," hinting at African pop on "Blessings," or incorporating elements of the Isley Brothers and the Average White Band on "Something in the Sky," which has a '70s-like sound but is a commentary on the aftermath of September 11, 2001. A consistently rewarding document of the Michael Hill Blues Mob's live show, this double-CD is enthusiastically recommended to anyone who is seeking something fresh and challenging from the blues.