Mississippi Fred McDowell Albums (17)
'Heritage of the Blues'
Release Date 1/28/2003
Tracks 12
Label Hightone
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'Mama Says I'm Crazy'
Release Date 11/12/2002
Tracks 11
Label Fat Possum
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What The Critics Say
Since no one could copyright "Mississippi," two major blues performers, Fred McDowell and John Hurt, adopted the state as part of their name. To confuse matters more, both performers made comebacks during the late '50s/early '60s and both specialized in prewar acoustic blues. While a blues novice might find such similarities confusing, the two men's singing and guitar styles are polar opposites. Whereas Hurt's smooth, deep vocals and Piedmont fingerpicking made him easily accessible to the folk revival crowd, McDowell's soulful vocals and forcefully rhythmic guitar represented something more primitive. In 1967, producer George Mitchell brought together McDowell and harp player Johnny Woods for an off-the-cuff session not unlike what one might have heard at a Como, MS, house party. Interestingly, the two men hadn't played together in eight years, but on songs like "Standing at the Backdoor" and the title track, one would never guess it. This isn't a polite affair, with one player holding back while the other solos. Instead, McDowell and Woods trade notes, overlap, and rush forward on "Long Haired Doney" and "Shake Em' on Down" as though they had an unlimited supply of energy. While McDowell's vocals and slashing guitar propel "Goin' Away" and "I Got a Woman" forward, Woods' harp adds pizzazz. Acoustic blues fans will warmly embrace Mama Says I'm Crazy and be thankful that Mitchell went to the trouble required to track down Woods for this earthy set. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
Recorded on November 5, 1971, Live at the Gaslight stands as the final recording of Delta blues legend Mississippi Fred McDowell. The bottleneck guitarist was in his seventies when this album was cut, but his voice and playing show no signs of age and his passion and conviction seem to have strengthened with the years. At this point in McDowell's career he had shifted to playing electric slide guitar, and during this Gaslight performance he was also supported by sparse bass playing from Tom Pomposello. Accompanying McDowell's gruff voice, the guitar often seems to finish the singer's sentences for him; it's like listening to an old married couple. The setting is very intimate, allowing for friendly interaction with the audience and warm reactions to McDowell's occasional introductions and commentary. Throughout the two-disc set there is a real sense of inspiration as if the singer was releasing this music from his soul for the first time. One of the first things McDowell admits is that he "don't play no rock & roll," but the raw power of even his soundcheck nearly contradicts that statement. While there are slight distractions on the first disc (an out-of-tune rendition of "When the Saints Go Marchin' In," a confusing tracklisting error on the back cover), there are certainly points of interest including the plaintive cry of "Baby Please Don't Go" and the righteous crunch of "You Got to Move." While the first CD has a few minor trouble spots, disc two really shines. The soulful moan of "Goin' to the River" blasts into the fiery punch of "Shake 'Em on Down," openly disputing his proclamation that he doesn't play rock & roll. The reverential conviction of "Good Mornin' Little Schoolgirl" precedes the last two songs, both inspirational numbers in true blues style: "Don't Mistreat Nobody" instructs his audience to be kind to their fellow man, and "Get Right Church" is almost a duet with his familiar bottleneck slide, chillingly foretelling his upcoming journey "home." Live at the Gaslight is a bright example of the raw power of Delta bottleneck blues by one of the genre's masters, and is not to be missed. ~ Zac Johnson, All Music Guide
What The Critics Say
When Mississippi Fred McDowell recorded these sides in March of 1968, producer Pete Welding encouraged McDowell to recall the earliest material he had learned when he first started playing. The result is a selection of tunes that simply don't show up on his other recordings, both stylistically and because of their previously unreleased status. Highlights include "Let Me Lay Down In Your Cool Iron Bed," "My Baby Don't Treat Me Like Humankind," "Jim Steam Killed Lula," "Will Me Your Gold Watch and Chain," "Dark Clouds A-Rising" and "Pea Vine Special." Also included are two previously unissued tracks recorded in 1966 before the bulk of this session. ~ Cub Koda, All Music Guide
'Live at the Mayfair Hotel'
Release Date 6/27/1995
Tracks 14
Label Warner Bros.
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What The Critics Say
Running 64 minutes, this compact disc gives us the complete contents of two British Red Lightnin' LPs, and McDowell's complete 1969 show from London's Mayfair Hotel. He is completely in his element here, scratching out dazzling licks on his hollow-body electric guitar, which is turned up loud enough to crunch and grind as he strums and sting real loud when he picks, but not so loud as to distort or overwhelm his singing. The highlights, which could really be the entire album, include "61 Highway," "Shake 'Em On Down," Willie Dixon's "My Babe," Mance Lipscombe's "Evil Hearted Woman," and McDowell's own "Kokomo Blues." Renowned British blueswoman Jo Ann Kelly sits in on one song, "When I Lay My Burden Down," which builds in intensity almost hypnotically, on what may be the best single CD in McDowell's output, and certainly his best concert release. ~ Bruce Eder, All Music Guide
'My Home Is in the Delta'
Release Date 3/21/1995
Tracks 17
Label Testament
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What The Critics Say
Mississippi Fred McDowell's home may have been in the Delta, but his music belonged to the world. This is heartfelt, raw, glorious country blues, delivered without an ounce of pretension or nostalgia. ~ Ron Wynn, All Music Guide
What The Critics Say
The connection between rural blues and spiritual music is sometimes overlooked. This 1966 recording, featuring McDowell, his guitar, and the Hunter's Chapel Singers of Como, Mississippi (including his wife Annie Mae), is one of the best illustrations of how closely the styles can be linked. McDowell and company perform what the record subtitle calls "Mississippi Delta spirituals" on this stark and moving set, which includes a version of one of his signature tunes, "You Got to Move." The CD reissue adds three previously unreleased tracks. ~ Richie Unterberger, All Music Guide
What The Critics Say
"Mississippi" Fred McDowell played simple, haunting blues with vivid, demonstrative passion and power. He wasn't a great guitarist, but his voicings and backings were always memorable, while his singing never lacked intensity or conviction or failed to hold interest. This 1965 set contains mostly McDowell compositions, with the exception of the set's final number, a nearly seven-minute exposition of Big Bill Broonzy's "Louise." Assisted only at times by his wife Annie, Fred McDowell makes every song entertaining, whether they're humorous, poignant, reflective, or bemused. ~ Ron Wynn, All Music Guide
