Long John Baldry Albums (12)
'Remembering Leadbelly'
Release Date 11/6/2001
Tracks 18
Label Import
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What The Critics Say
Long John Baldry came of age as a singer during the British blues boom, and it's obvious that his love of the music hasn't left him. As he explains in the interview track at the end, Leadbelly was his first musical inspiration, and here he has his chance to pay homage to the man. In his sixties at the time of this recording, Baldry's voice has improved with age, deepening a little and sounding more gravelly -- just perfect for the grittiness of Leadbelly's songs, which ran the gamut from blues to folk, gospel, and beyond. It's an intelligent selection, ignoring the obvious "Goodnight Irene" and "In the Pines," while keeping defining moments like "Rock Island Line" (the tune that launched skiffle in England), "Birmingham Jail," and "We're in the Same Boat Brother" -- it's remarkable just how familiar so much of the material is. The version of "Gallows Pole" (much better known for its subsequent incarnation as a Led Zeppelin piece) roars with power and urgency, "Lining Track" and "John Hardy" (whose unusual arrangement centers around pump organ) are definitive railroad songs, while the hymns "Mary Don't You Weep" and "We Shall Walk Through the Valley," though springing from an older well, were very much a part of the Huddie Leadbetter repertoire. There's even a children's song, "On a Christmas Day," showing yet another facet of the big man. Add in an interview with Alan Lomax, the folklorist who discovered Leadbelly and helped his career, and you have something that stands as more than a tribute, but a full portrait of a seminal American artist. ~ Chris Nickson, All Music Guide
What The Critics Say
Brit blues legend Baldry recorded this live album during his 1999 European tour on a Hamburg stop. During the '60s blues resurgence, Baldry has musicians such as Charlie Watts, Rod Stewart, and Jack Bruce pass through his bands. His sound still echoes the tough, power blues that led to the development of such groups as Cream and Led Zeppelin. Baldry chooses to do much of his classic material while leading the group from his 12-string acoustic guitar. Long John is a potent, gravel-voiced blues man. His tough, exaggerated blues-rock is guaranteed to wow a crowd. Capturing this in a live setting makes for an excellent document of Long John's time-tested talent. An added bonus is a shining new star on the blues scene and new member to Baldry's trio, guitarist Matt Taylor. The liner notes include an overview of Baldry's entire career with photos going back to the '60s. ~ Tom Schulte, All Music Guide
'Right to Sing the Blues'
Release Date 2/25/1997
Tracks 13
Label Stony Plain
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What The Critics Say
One of the founding fathers of the '60s British blues scene, Long John Baldry owns one of the great white blues voices, a power that remains undiminished for Right to Sing the Blues. The disc forms another consistent Baldry primer visiting the rich diversity of blues styles, from the quiet folk-blues of "Whoa Back Buck" (longtime colleague Papa John King tearing up his slide guitar) to jump blues party tunes like opener "They Raided the Joint." Vocal sidekick Kathi McDonald also carries the torch, especially on an incendiary title track already highlighted by a scorching Colin James guitar riff. On occasion, the tall one is too much the mannered gentleman for the good of his muse. It would be nice to hear him bust loose more frequently, as he does on "I'm Shakin'," his pipes sounding like gargled nails with an Irish Cream chaser. It would also be nice to find him writing again. While mostly recognized as a judicious interpreter, Baldry has proven his capability over the years, and the complete absence of self-penned material strikes one as borderline laziness. He even dips back to a tune already covered on a previous release -- Bonnie Dobson's classic "Morning Dew" -- albeit giving it a fresh Cajun/Zydeco coat of paint. In case dependable, honorable music isn't enough incentive on its own, the disc earns bonus points by concluding with a 23-minute interview in which Baldry recounts his take on the British blues scene. Not exactly flashy multimedia, but a nice addition for fans of pop music history. ~ Roch Parisien, All Music Guide
'Rock with the Best'
Release Date 9/16/1996
Tracks 12
Label Hypertension
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'On Stage Tonight: Baldry's Out'
Release Date 5/2/1994
Tracks 12
Label Stony Plain
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'It Still Ain't Easy'
Release Date 1/1/1991
Tracks 14
Label Stony Plain
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What The Critics Say
Baldry's deep, rough-edged vocals have not changed over the years. The band is tight, with Mike Kalanj's Hammond B-3 and Bill Rogers's sax standing out. There are no flaws on this one, just great music. ~ Chip Renner, All Music Guide
What The Critics Say
On Stage Tonight - Baldry's Out! nicely rectifies a 30-year oversight: the gentleman has never previously released a live recording. Captured in Germany, the disc blends the strongest tracks from Baldry's It Still Ain't Easy comeback album with updated past greats. And it just wouldn't be Baldry (especially live) without the ferocious backing of longtime soulmate Kathi McDonald. While Baldry's blues can sometimes be a tad too "polite," On Stage Tonight captures that unique smoky growl in top form. ~ Roch Parisien, All Music Guide
'Welcome to the Club'
Release Date 1/1/1976
Tracks 11
Label Casablanca
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'Everything Stops for Tea'
Release Date 1/1/1972
Tracks 11
Label Warner Bros.
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What The Critics Say
Like its companion It Ain't Easy, the second half of Long John Baldry's early-'70s comeback Everything Stops for Tea initially attracted the most attention via its producers, former Baldry sidemen Elton John and Rod Stewart. The two superstars each handled one side apiece and, though neither shines with the same generous idiosyncrasies that saw the earlier LP sparkle, still they power Baldry to some marvelous heights -- most notably the should-have-been-a-hit cover of "Iko Iko," and a glorious "You Can't Judge a Book by Its Cover." With Baldry's musical tastes now drawing folkier textures into his blues (and eschewing the big ballad pop altogether), it's a varied and oft-times eclectic collection. But the strength of Baldry's performance smooths over any rough edges that might have tripped other singers and, though It Ain't Easy remains the superior of these two albums, this one really isn't that far behind it. ~ Dave Thompson, All Music Guide
What The Critics Say
It Ain't Easy features a British blues/rock lineup befitting the man behind the Long John Baldry moniker. This album returns Baldry to a decidedly edgier and hipper audience, with a literal cast of all-stars on some of the more adventurous material he had covered to date. This is no doubt due, at least in part, to the involvement of rock superstars Rod Stewart and Elton John. (In fact, John confesses to have taken the last name in his stage moniker from Baldry's first.) Among their contributions to the project, Stewart and Elton divided the production tasks -- each taking a side of the original album. Immediately, Baldry sheds the MOR blue-eyed pop soul image. The backing band on Stewart's side include fellow Face and future Rolling Stone, Ron Wood, on electric guitar and acoustic guitarist Sam Mitchell, who appeared on many of Stewart's early-'70s solo albums. His contributions to this side are numerous, including an especially potent solo on Leadbelly's "Black Girl." This authentic duet featuring Maggie Bell on co-lead vocals is a definite return to the Mississippi Delta for the song which is also known as the bluegrass standard "In the Pines." Other highlights from Stewart's sector include the humorous and self-biographical leadoff track "Conditional Discharge," which is paired with the full-tilt boogie of "Don't Try to Lay No Boogie Woogie on the King of Rock & Roll." Arguably the oddest cover version on this album is also among the best; "Morning Morning" from head Fug Tuli Kupferberg is given new and surprisingly fresh life by Baldry. Highlights from Elton John's side include Randy Newman's "Let's Burn Down the Cornfield," which would have fit perfectly on John's Tumbleweed Connection album. Additionally, "Rock Me When He's Gone" was actually recorded by John, although his version remained unissued until the 1992 odds and sods compilation Rare Masters. ~ Lindsay Planer, All Music Guide
