Customer Reviews

Against the Wall

5 star:		(4)
4 star:		(1)
3 star:		(0)
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1 star:		(0)

 

 

I have been listening to and collecting blues recordings since c. 1970 and I believe that this album is without question one of a handful of truly GREAT blues albums recorded in the modern era. Mooney's distinctive style -- a blend of intense, sharp-edged Delta blues with the syncopated second-line rhythms of New Orleans -- is at its apex on this release. And the minimalist backing (just bass & drums on most cuts) lets Mooney's guitar and vocals exert their powerful spell on you. The songs cut to the bone. This is one of those albums of which it can truly be said, "If you don't like it, then buddy you just don't like blues."

John Mooney has been recording, innovating and evolving his unique style of acoustic and electric blues for 20 years. Never satisfied with simple imatation, he always creates. This album is no exception.

John has developed and mastered an electric delta rooted guitar style then blended it with New Orleans syncopated rhythms to create a brew that is simultaneously soulfull and energizing.

There is little innovation in blues today that is keeping its heart and soul. John Mooney is an exception. He penned 9 of the 10 songs on this record an not one of them is a mere aping of some one else's style - yet they convey all of the human spirit and emotion of the masters before him.

John is an artist with both talent and creativity!

First a declaration of bias - I am a big John Mooney fan - all the way back to when I first heard his "Late Last Night" album in the 80's.

Of all his albums this remains my favorite (others are "Dealing with the Devil", and of course the one that started it all "Late Last Night")

This first came out on the House of Blues label (that edition may have become something of a collectible) - fortunately it is still available albeit sparsely on the (German) Ruf label.

Although Mooney has a had a long been influenced by New Orleans sound, this is the first album where I think he's managed the full integration/amalgamation between his original major Son House Delta Blues influence and New Orleans.

The sound on this album is full - yet mostly it's just him and a drummer (some tracks add bass and/or congas) - the minimal additional instrumentation enhances the overall sound - yet manages to put focus on the vocal and guitar playing. "Broken Mold" has a great New Orleans second-line rhythm that really makes the song over his live solo performances - great as those are.

The strength of this album is the selection of songs, there's not a weak one among them, and their sequencing - where each song in turn seems just right, and makes the listening an exhilerating pleasure from start to finish.

A very worthwhile album - if you like John Mooney - you should have this album -
and at some of the prices on Amazon MarketPlace there is almost no excuse......

I initially heard one cut "Sacred Ground" on a local NPR station at the end of a long day on the road. Even after 400+ miles "Sacred Ground" had me tapping my steering wheel and wanting to play the cut multiple times to pin down the words.

The album carries on the joys of "Sacred Ground" - simple and direct lyrics, a raw voice with great musicality, acoustical bass and drums supporting an electric guitar, traditional blues with syncopation,... What Mooney does best is carry on a blues tradition while innovating within its constraints.

My only complaint is the similarity between several of the cuts - as creative an artist as John Mooney could surely modify his sound sufficently to give a distinctive touch to each song.

Mooney's voice is unforgettable. If you've heard him once, you'll always recognize him no matter what he's playing. And play he does!!! "Sacred Ground" and "Broken Mold" are raucus toe-tappers. Don't confuse his style on "Sideways in Paradise" (with Thackery) with this album. This one's much more raw and aggresive. Great Job!!!