Customer Reviews

Hernando

5 star:		(11)
4 star:		(3)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

It is not a secret to anyone familiar with this band that their best work has been and is created on stage in front of an audience night after night. Who I consider to be the modern day equivalent to the Jimi Hendrix Experience or Cream, these three guys make up arguably one of the best improvisation trios around today. Maybe one of the best American rock 'n' roll trios in the history of the genre. Their musical interaction is hardly ever short of impressive, and I contend that they are one of the most exciting acts touring today.

That being said, their track record for making studio albums is less than inspiring. Their first release, "Shake Hands with Shorty," offers a track list of classic Hill Country blues standards that have become staples in the band's live shows. Unfortunately, the track list isn't enough to carry the album, as it suffers from over production, excessive overdubs, and lackluster performances compared to their live renditions of the same songs.

Their next release, "51 Phantom," was a definite improvement in production and in studio performance over the first album, but the sophomore effort is quite unbalanced. It seems to be a hodgepodge assemblage of classic Hill Country tunes (Lord Have Mercy), straight ahead blues rock (Sugartown, 51 Phantom), jam band exploration (Ship), electric folk (Leavin,' Storm), and loud, unruly metal (Mud). Needless to say, it is apparent when you listen to this album that unity was not something the band was striving for on this record.

"Polaris," the band's third release, is generally excepted by the majority of their fans as the disc best left in the shrink wrap, as the band ignores all the aspects of their playing and songwriting that make them unique. While there are a few forgotten gems on the disc, the album is a mostly a collection of pop/modern rock pieces that would likely make the average Nickelback or John Mayer fan wet in the underpants.

"Electric Blue Watermelon" was the next release. With guest artists on many of the tracks, this album does not have the feel of a North Mississippi Allstars performance throughout. It's nice to hear the country side of the Allstars on a few tracks, and the album contains some songs that became instant classics in the live setting. Overall though, "Electric Blue Watermelon" falls under the category of "an okay album."

"Mississippi Folk Music - Volume One" was a nice acoustic recording, but acoustic music just doesn't showcase the band in their true element.

With this history of recorded output, I wasn't sure what to expect out of "Hernando." The unpredictability and lackluster nature of their previous releases had me skeptical. But my fears appear to be unfounded after listening to this album numerous times. The album does not lack unity, a good set of songs, or quality performances. The only thing it lacks is a bad cut.

The opening track, "Shake," is a foot-stomping Allstars original based primarily on a static Ab7 chord, sounding like it could have been penned by one of their Hill Country Blues mentors. The modulating guitar riff that glues together "Keep the Devil Down" sounds like something that Jimi Hendrix would have written during his "Cry of Love" period. "Soldier," the band's musical tribute to the victims of Hurricane Katrina, showcases Luther Dickinson's ability to play inspiring, psychedelic solos that encompass his blues influences and 60's rock influences. "Eaglebird" opens with a Zoso-era Zeppelin type lick and segues seamlessly into a John Lee Hooker style boogie groove. Instead of the momentum killing ballad that most bands seem forced to throw in after four heavily rocking tracks, the North Mississippi Allstars slow things down with "I'd Love to Be a Hippy." Featuring one of Chris Chew's greatest vocal performances, this slow blues not only has great lyrics but also a guitar solo that Luther Dickinson is able to channel the likes of Wes Montgomery and Albert King during a single chorus. "Mizzip," Cody Dickinson's compositional contribution to "Hernando," brings the album's overall tempo back up to speed with a song that can be best described by the word "fun." Keeping up with the `50s/60's feel of "Mizzip," "Blow Out" is a rockabilly romp that clocks in well under the two minute mark. Luther's solo proves that he has heard a Chuck Berry record or two, as he nails the `50's rock `n' roll guitar style perfectly. "Come with Me," takes the mellow approach to Mississippi blues-rock, "Rooster's Blues" takes the heavy approach, and "Take Yo' Time, Rodney" finds a great middle ground between the sounds of the previous two. The closing track, "Long Way from Home," is an earthy, mellow end to a predominantly guttural album. With a sound similar to a ballad by The Doors, Luther Dickinson provides some of his most exploratory soloing on the album.

While I have never had a problem calling the North Mississippi Allstars a great band, this is the first album they've recorded in the studio that I feel comfortable calling a great album.

Here the Allstars are getting back to basics, after a badly cluttered album (Electric Blue Watermelon) that was weighed down by too many guest stars having an unfocused and inefficient party. Hernando returns us to the mean swamp blues as delivered by just the Dickinson Brothers and Chris Chew, with help from only a couple of guest singers and with East Memphis Slim occasionally chipping in on piano. This has encouraged the three Allstars to focus their attack, in the process creating some of their heaviest and lowdownest grooves yet. Longtime fans will be pleasantly surprised by the sinister swampfests in "Keep the Devil Down" and "Rooster's Blues," while the band has significantly darkened their lyrical outlook in "Soldier" and "Long Way from Home." But rest assured that there is some fun on this album as well, with a joyous carnival dance vibe in "Mizzip" and a rollicking rave-up in "Blow Out." Here the Allstars show us what they're really good at - lean and mean southern blues rock with a minimum of adornments. The nastier, the better... and here we have the Allstars at their nastiest and best. [~doomsdayer520~]

This is the best NMA effort since 51 Phantom, IMO. The three guys are sticking to what they do best...rock blues with a southern swamp tinge! Luther straps on a Strat this time around and lays down some dang cool Hendrix tone in his playing..dead on, man! As a result, this album has a little harder edge to some of the songs than Electric Blue Watermelon, and that's a good thing. A couple of live NMA mp3 albums from their website featured Luther doing his Hendrix stuff, and I'm glad he was able to carry that side of his playing to the studio this time...highly recommended for all NMA and blues/southern rock fans...and Hendrix fans!!

When are you coming back to Utah, guys????

THE NORTH MISSISSIPPI ALLSTARS are once again making the OLE BLUES current for those too young to appreciate it. the talent in this band just keeps getting stronger and fresh with each outing. this has to be my favorite band at this time. the cd starts quick and rocking but settles in for some groovin grooves. this is what good time music is all about. I CANNOT ENCOURAGE YOU ENOUGH TO PICK THIS UP. you youngsters who like blues would be wise to start with any of their releases and learn what its all about. this cd reminds of the best of J. GEILS band ever did. THESE GUYS ARE FOR REAL!!!!!

A friend in Georgia introduced me to the music of the North Mississippi Allstars some years ago when he put Shake Hands With Shorty in the CD player. I thought it was just OK at the time but good enough to give the band another shot. Hernando has received some favorable press since it was recently released so it is with this CD I decided to listen to them once again.
Well, the verdict is in. North Mississippi Allstars have proven to me that they are a band worthy of wider recognition. I don't know about all those industry references to swamp blues. I think that is just an easy allusion to their geographic origins and a simple way to categorize their music. Let's just say they do have a rather unique approach to what I'd just prefer to call blues rock.
After several listens, I still don't hear the five-star level of music that seems to be reviewers' consensus but I do hear a lot to like. My favorites are the driving opening cut Shake; the bluesy Keep The Devil Down; the humorous I'd Love To Be A Hippy; the hard-hitting Rooster's Blues; and the continually changing tempo of Take Yo Time, Rodney.
So if you like your rock and roll supercharged with a dose of the blues and you haven't heard NMA yet, then you should consider giving this a listen. If you need a point of comparison, about the closest one I can make is to pre-commercial ZZ Top.

These guys keep turning out their take on Mississippi blues.
Fine playing; no frills.

The other reviews are absolutely on, this group is awesome. If you like blues, rock, scortchin guitars, funkey off the beaten path music, this is for you. Lovin it on my deck tonight, bet my neighbors are too.

What a pleasant surprise. After several decent to mediocre studio albums by Luther and the boys this is a return to gritty blues and scorching guitars. The first track "Shake" sounds a lot like it could have been on Shake Hands with Shorty. If you are a fan of NMAS I would highly recommend.

If you, like me, were a little disspointed with "Polaris" and "Electric Blue Watermelon", you'll be glad the NMA are back to their strengths on "Hernando". Also, if you haven't gotten a copy of their "Keep On Marchin" DVD, do yourself a favor. It's a great concert and the extras show another side of the band. These guys deserve our support !

This is arguably the final production effort of the Dickinson era. I believe the tribute album (Keys To The Kingdom) that Cory and Luther did a year later was a superior effort. Hernando suffers from lack of imagination and passion, although there are flashes of NoMSAllStar brilliance here and there. Better efforts both before and after.