Bernard Allison Albums (11)
What The Critics Say
As the title and cover art suggests, Triple Fret is a player's album. Although Bernard Allison gets star billing (and does all the vocals), this is a trio record, with fellow electric blues guitarists Larry McCray and Carl Weathersby contributing as much guitar firepower as Allison. Even better, second-generation Hammond organ legend Lucky Peterson guests, adding some welcome musical variety to the otherwise fret-heavy selection and getting his own showcase, the smoking seven-minute instrumental workout "Where's Lucky?" That leaves the songwriting as the only weak spot, but unfortunately, it's pretty seriously weak. Most of the songs on Triple Fret are hackneyed Chicago blues riffs with self-referential lyrics about how hard it is to be a bluesman. Tune out the lyrics and the undistinguished chord changes and the sheer enjoyment of the trio's playing comes through. For some, however, that might not be quite enough. ~ Stewart Mason, All Music Guide
What The Critics Say
Bernard Allison got some valuable advice from his father, Luther, before the latter's death in 1997: "Don't be afraid to go outside of the blues," he said. "Don't let them label you like they did me." Bernard has obviously taken that advice to heart; his solo albums have been a rich mixture of rock, funk, blues, and R&B. Most of his recordings have been released in Europe, where he has made his home for a decade. The release of Higher Power comes a little while after his return to the States, and reflects a lifetime of both good times and bad. The album's most noticeable lyrical element is the recurring theme of recovery from addiction -- "I've Learned My Lesson" (from which the album's explicitly AA-derived title is taken) and "New Life I'm In" are two of the most explicit blues-based odes to a 12-step program since Stevie Ray Vaughan's "Wall of Denial." On the funkier, less pious side are the soulful "Raggedy and Dirty" (charmingly, he pronounces that word "raggly") and the funky, vaguely misogynistic "Woman Named Trouble." You'll hear hints of his father's playing peeking through from time to time, but even more pronounced are Allison's debts to Jimi Hendrix and, to a lesser extent, Johnny Winter, who has served as something of a mentor in the area of slide technique over the years. Bernard Allison's style is a bit idiosyncratic and not all of his experiments work perfectly, but it's so refreshing to hear an original voice working in the general area of the blues that it's easy to forgive a failed risk or two. Recommended. ~ Rick Anderson, All Music Guide
What The Critics Say
More than a few musicologists have noted the parallels between hip-hop and the blues -- both involve first-rate storytelling, both can be sexually candid, and both have been known to use dark humor. But there is one major difference between hip-hop and the blues: while hip-hop is extremely youth-driven, the blues world is a lot more receptive to people who are 30 and over. Blues fans realize that someone might have more to say at 35 than he/she did at 20; consequently, blues artists are encouraged to grow and develop, which is a good thing for someone like Bernard Allison. The singer/guitarist showed promise all along, but Kentucky Fried Blues finds a thirtysomething Allison continuing to grow as an artist. This CD isn't called Kentucky Fried Blues because Allison is from Kentucky -- Allison gets most of his electric blues inspiration from Chicago and Texas. Rather, the name Kentucky Fried Blues stems from the fact that this CD was recorded live at the WC Handy Blues Festival in June 1999 in Henderson, KY, where a 33-year-old Allison is sounding more and more confident -- not only as a bluesman, but also as a soul singer. The blues are the album's main focus, and a blues-oriented approach serves him well on the instrumental "Buzz Me," Buddy Guy's "Leave My Girl Alone," and father Luther Allison's "Life Is a Bitch." But he has no problem getting into soul-singer mode on "Midnight Creeper," which is also by the late Luther Allison. For Bernard Allison, being blues-oriented doesn't mean excluding soul, funk, and rock influences -- and it doesn't mean that he can't have some fun with a '60s-like soul tune. All things considered, Kentucky Fried Blues paints an appealing picture of Allison at 33. ~ Alex Henderson, All Music Guide
What The Critics Say
Rock, funk, and straight-ahead blues are all covered with ease on Across the Water, guitarist Bernard Allison's first release on the Tone-cool label. Allison is the son of blues guitarist Luther Allison and while the blues was a constant in his early listening, the rock and funk influences of his generation also played a natural part in his musical upbringing. Allison employs producer Jim Gaines who has worked with Santana, Stevie Ray Vaughan, and Albert Collins, helping to achieve the right blend of musical influences without getting away from the blues focus. ~ Al Campbell, All Music Guide
'Times Are Changing'
Release Date 10/6/1998
Tracks 13
Label Ruf/Platinum
See Album Tracklist and Review
'Keepin' the Blues Alive'
Release Date 7/1/1997
Tracks 11
Label Cannonball
See Album Tracklist and Review
What The Critics Say
Using a group of hand-picked Chicago musicians he was friendly with, and borrowed equipment, Bernard Allison recorded his stunning U.S. debut, Keepin' the Blues Alive. The album was released early in 1997, perfectly blending traditional post-WWII Chicago blues with a few blues-rock riffs from the 1970s and '80s thrown in. Songs like "Young Boy's Blues," "When I'm Lonely" and "Tell Me Why" demonstrate a refreshing approach to blues songwriting reminiscent of Louisiana bluesman Larry Garner. ~ Richard Skelly, All Music Guide
What The Critics Say
Bernard Allison's inaugural effort bristled with the urgency and blues-rock guitar chops that distinguished his late father, Luther Allison. The pair played together for much of the '80s before Bernard recorded this album with his father's musicians -- including keyboardist Michel Carras, who pulls down some good barrelhouse piano parts. The mood is feisty and assertive, especially on "B.A.'s Knockin' at Your Door" and "Low Down and Dirty," which poses the gleeful question, "And you think I'd change my style?" Of course not; fans knew exactly what they were getting, such as the Hendrix-flecked string-bending that drives "Help." (Bernard even dabbles on drums and keyboards.) Other highlights include the title track's party blues, complete with sassy horns; "Baby Child," a hilarious recounting of how Bernard began his career; and "Travlin'," a slower, yet frank look at the road's ups and downs. While hardly the deftest lyricist, Bernard's breezy self-assurance on guitar and can-do musical ethic should overcome most objections. ~ Ralph Heibutzki, All Music Guide
What The Critics Say
When it comes to the blues, it seems like there are two different camps -- those who are staunch authentic blues enthusiasts, and those who like their blues amped up with a decidedly rock approach. On his 1996 live release, No Mercy, singer/guitarist Bernard Allison certainly falls under the latter category. As with the majority of modern-day blues-rockers, Allison focuses mostly on covers of vintage blues tunes, with the odd original (or more accurately, one lone original -- "Next Generation") thrown in for good measure. With Allison backed by a group of studio pros, No Mercy captures blues at its most well-honed -- the complete opposite of the grittiness of the original bluesmen -- especially on such tracks as the album-opening "Rock Me Baby" and "Breakin' Up Somebody's Home." Also included are a pair of tributes to Bernard's father, Luther Allison ("Change Your Way of Living" and "Help") as well as a reading of "Tin Pan Alley," which is very reminiscent of Stevie Ray Vaughan's version (on his classic Couldn't Stand the Weather release). If you're an admirer of modern-day blues-rock, then No Mercy is certainly worth a spin. ~ Greg Prato, All Music Guide
