Categories :

Similar artists

Albums

CD£12.99

Blues - Released May 31, 1996 | Okeh - Epic

Distinctions Exceptional Sound Recording
On his second album, Keb' Mo' begins to expand the borders of his Delta blues by recording with a full band on a couple of tracks and attempting more expansive, rock-based song structures. The attempts aren't entirely successful and it's ironic that he decided to try rock-oriented material after he received such praise for his traditionalist debut. Still, there are a few songs on the album that rank with the best on his first album, which suggests that Just Like You is merely a sophomore slump. ~ Thom Owens
HI-RES£16.49
CD£11.99

Blues - Released June 14, 2019 | Concord Records

Hi-Res
Faithful. 25 years since his career began, Kevin Roosevelt Moore – a.k.a Keb’ Mo – has always remained deeply faithful to the blues. A righteous path which has never kept him from adding his own stone to a building which already has many, many builders. Oklahoma in that sense is an original project – a stone of his own, if you will. There are no links between him, his story and that state which borders Colorado and Kansas to the north, Missouri and Arkansas to the east, New Mexico to the west and Texas to the south. In 2013, Keb’ Mo, along with Kenny Wayne Shepherd, travelled there for a disaster relief fund concert, following a deadly tornado. Friendships were born, along with a need to create something which would be anchored to that region. Keb’ Mo’s blues is intertwined with country, native American and folk music; Robert Randolph and his impressionistic lap steel playing came along, with Rosanne Cash, as well as Taj Mahal – with whom he wrote the album TajMo in 2017. True to himself, his lyrics scrutinize America’s internalized suffering as well our era’s new set of problems.© Clotilde Maréchal/Qobuz
CD£8.49

Blues - Released May 12, 1994 | Okeh - Epic

Keb' Mo's self-titled debut is an edgy, ambitious collection of gritty country blues. Keb' Mo' pushes into new directions, trying to incorporate some of the sensibilites of the slacker revolution without losing touch of the tradition that makes the blues the breathing, vital art form it is. His attempts aren't always successful, but his gutsy guitar playing and impassioned vocals, as well as his surprisingly accomplished songwriting, make Keb' Mo' a debut to cherish. ~ Thom Owens
HI-RES£14.99
CD£12.99

Blues - Released January 17, 2017 | Epic - 550 Music - Okeh

Hi-Res
Keb' Mo''s self-titled first album, from its Robert Johnson covers to its appearance on a resuscitated Okeh Records, seemed to suggest the arrival of a Delta blues traditionalist, even though the former Kevin Moore was really a Los Angeles native who had kicked around the music business for years playing various styles of music. The follow-up, Just Like You, was therefore a disappointment to blues purists, since it clearly used folk-blues as a basis to create adult contemporary pop in the Bonnie Raitt mold. But to the music industry, that was just fine, since it fostered the hope that here was an artist (finally!) who could find a way to make the blues -- consistently revered but commercially dicey -- pay, and Keb' Mo' won a Best Contemporary Blues Album Grammy for his effort. Slow Down (1998) brought him a second Grammy and got even higher in the charts. The Door is more of the same. Keb' Mo''s slightly gritty voice and fingerpicking are the focus of the music, but he does not hesitate to add mainstream pop elements, beginning with writing partners who include Bobby McFerrin and Melissa Manchester, and continuing with a backup band that features such session aces as keyboard player Greg Phillinganes and drummer Jim Keltner. This is music that is folkish and bluesy rather than being actual folk-blues. Just in case anyone hasn't gotten the point yet, Keb' Mo' begins the album's sole cover, Elmore James' "It Hurts Me Too," in authentic folk-blues style, after which the arrangement lurches into a heavily percussive, anything but traditional direction. It's fair warning that the singer/guitarist is interested in tradition only as a jumping-off point. Maybe that's what "contemporary blues" is. ~ William Ruhlmann
HI-RES£18.99
CD£13.49

Ambient/New Age - Released October 18, 2019 | Concord Records

Hi-Res
CD£11.99

Blues - Released June 14, 2019 | Concord Records

Faithful. 25 years since his career began, Kevin Roosevelt Moore – a.k.a Keb’ Mo – has always remained deeply faithful to the blues. A righteous path which has never kept him from adding his own stone to a building which already has many, many builders. Oklahoma in that sense is an original project – a stone of his own, if you will. There are no links between him, his story and that state which borders Colorado and Kansas to the north, Missouri and Arkansas to the east, New Mexico to the west and Texas to the south. In 2013, Keb’ Mo, along with Kenny Wayne Shepherd, travelled there for a disaster relief fund concert, following a deadly tornado. Friendships were born, along with a need to create something which would be anchored to that region. Keb’ Mo’s blues is intertwined with country, native American and folk music; Robert Randolph and his impressionistic lap steel playing came along, with Rosanne Cash, as well as Taj Mahal – with whom he wrote the album TajMo in 2017. True to himself, his lyrics scrutinize America’s internalized suffering as well our era’s new set of problems.© Clotilde Maréchal/Qobuz
CD£12.99

Blues - Released August 13, 1998 | Okeh - 550 Music

CD£10.49

Blues - Released October 16, 2005 | Epic - One Haven - Red Ink

On Suitcase, his eighth studio release, Keb' Mo' (Kevin Moore) reunites with John Porter, the producer of Moore's critically lauded first album, and the result is a pleasant, midtempo suite of songs dedicated to the emotional baggage everyone carries with them as they plow through increasingly complicated lives in search of peace, love, and some measure of personal redemption. Moore covers this ground with a wink and a grin in his voice, though, and Suitcase emerges as a wry commentary on modern life that still manages to sound bright and positive, beginning with the effervescent, sprung reggae rhythm of the opening track, "Your Love," one of the best cuts here. Other highlights include the lovely ballad, "Still There for Me," a celebration of the little man and his private victories, "I'm a Hero," and the soothing, hopeful shuffle that closes things out, "Life Is Beautiful." Moore is generally classified as a blues player, but the truth is, aside from his first album, he has actually done very little true blues material, and it is probably more accurate to call what he does blues-informed, but even that ignores the point that he is probably much closer in tone, theme, and feel to James Taylor than he is to Robert Johnson or any other blues figure. He does turn to the blues here, though, on the title track, "Suitcase," and morphs it into a wonderfully engaging song about what people bring into a romantic relationship and what they take away in the end, making full use of the "emotional baggage" connection inherent in the title. It is Keb' Mo' at his best, drawing on his ability to synthesize roots forms like the blues into completely contemporary commentaries on the struggles, travails, and blind faith in personal redemption that accompanies people as they slog their way daily ever deeper into the 21st century. ~ Steve Leggett
CD£12.99

Blues - Released September 5, 2003 | Epic - Legacy

CD£12.99

Miscellaneous - Released February 12, 1998 | Sony Wonder

The rise in the number of titles in the children's music category around the turn of the century was accompanied by a shift in the approach to such recordings. As baby boomers, who remain loyal record buyers, have become parents, the artists who appeal to them have turned to children's music, but it often seems as though the records are still being made for the boomers, not their children. Though the recordings often concern the subjects of childhood and parenting, it is often hard to imagine a child actually enjoying the music. Such is the case with the Keb' Mo' children's album, Big Wide Grin, which is better regarded as a regular Keb' Mo' album on the theme of family rather than an album for children. The singer covers a number of pop evergreens from the late '60s and 1970s -- the O'Jays' "Love Train," Bill Withers' "Grandma's Hands," the Winstons' "Color Him Father," Sly and the Family Stone's "Family Affair," Joni Mitchell's "Big Yellow Taxi," and Stevie Wonder's "Isn't She Lovely" -- and he reaches back even further for the swing-era standard "The Flat Foot Floogie" and "America the Beautiful." All of these are likely to be familiar to parents of a certain age, and most have something to do with family issues, but only a couple are likely to appeal to children. This is not to say that, to be a children's album, a record must be filled with singalongs for the preschool set. But albums like this belong to a recent subset of the children's market that should perhaps be labeled "parents' music." In the case of Keb' Mo', the recording serves to ease him even more in the direction of being a folk-pop interpreter, an approach he has embraced increasingly since initially coming across as a new-style folk-blues singer. ~ William Ruhlmann
CD£7.49

Blues - Released April 22, 2014 | Kind Of Blue Music

The title is a tip-off that after the soul excursion of The Reflection, Keb' Mo' is getting back to the blues, but also that he's concerned with not limiting himself to just that genre. It's clear Keb' Mo' has a broad view of the blues, seeing it as the backbone of American music, a generous definition he makes plain on BLUESAmericana. As the record rolls through its ten tracks, it amiably drifts across the country, touching upon the careening New Orleans stomp of "Old Me Better" as well as the soulful thrum of Memphis on "For Better or Worse." Keb' Mo' takes plenty of stops along the way, favoring a bit of Chicago grind and low-key Texas shuffles, but usually he pours it all into a relaxed, friendly groove that leaves plenty of space for his warm, cheerful vocals. Such an emphasis on feel means that beneath its sly anthropology, BLUESAmericana is essentially mood music, a soundtrack for good times on a sunny Sunday afternoon, and if that seems like slight praise, it also means that the album ultimately proves Keb' Mo''s point; blues can be heard in every thread of the musical fabric of America. ~ Stephen Thomas Erlewine
CD£12.99

Blues - Released January 23, 2004 | Epic - Okeh

CD£12.99

Pop - Released September 2, 2004 | Epic

CD£12.99

Blues - Released September 22, 2004 | Epic - Okeh

CD£13.99

Blues - Released August 2, 2011 | Yolabelle International

Booklet
Being labeled and marketed as a blues musician was never really a good fit for Keb' Mo'. True, he first came to the attention of most when he came out of Compton playing Robert Johnson songs on a National Steel guitar, and that’s how his recording career started, but this is a guy who used to be a staff songwriter for A&M Records, so he has always had plenty of pop, soul, R&B, and jazz in his kit bag and, truth be known, he’s really closer to an artist like James Taylor than he is to Howlin’ Wolf. His new album, The Reflection, the first on his own Yolabelle record imprint (he also self-produced the album) after several releases with Sony, has nothing on it that could be called blues, and nothing that even really comes close. It’s a calm, easy, and mellow mixture of adult pop, urban soul, and very light funk, but then Mo' has been flirting with this kind of thing for a couple of albums now and it’s clear that this is closer to what he’s all about than being a blues preservationist -- which he really never was in the first place. The sound on this release is crisp and warm, smooth as honey, and never jarring, as Mo' muses on love and its difficulties in different settings, his vocals full of sincerity and good will. It’s all as pleasant as an easy summer afternoon, which is both a strength here and a problem. Nothing about The Reflection has an edge of any sort and as song after song rolls by, it gets lulling, and only a handful of the songs immediately stand out, most notably “We Don’t Need It,” a timely song about a man who loses his job and has to come home and tell his family, and “Crush on You,” which features guest vocals from India.Arie and has a charmingly light and innocent groove to it. A version of the Eagles' “One of These Nights,” which features alto sax from Dave Koz, also stands out, but not for the right reasons. Mo' has turned the song, which was fueled by the feeling of desperate lust in the original Eagles version, into a gentle song of yearning, and while the lyrics and melody still work in a more relaxed setting, the song really doesn’t generate the edge it needs to truly resonate. Keb' Mo' never was Howlin’ Wolf, Robert Johnson, or Muddy Waters, but he isn’t quite James Taylor yet, either. The Reflection is a warm outing, and it’s easy to like the sound of it, but all smooth honey makes one hungry for something with a little bit more of a kick to it now and then. ~ Steve Leggett
CD£14.49

Blues - Released January 11, 2013 | Epic - Legacy

CD£15.49

Blues - Released September 30, 2011 | Yolabelle International

Being labeled and marketed as a blues musician was never really a good fit for Keb' Mo'. True, he first came to the attention of most when he came out of Compton playing Robert Johnson songs on a National Steel guitar, and that’s how his recording career started, but this is a guy who used to be a staff songwriter for A&M Records, so he has always had plenty of pop, soul, R&B, and jazz in his kit bag and, truth be known, he’s really closer to an artist like James Taylor than he is to Howlin’ Wolf. His new album, The Reflection, the first on his own Yolabelle record imprint (he also self-produced the album) after several releases with Sony, has nothing on it that could be called blues, and nothing that even really comes close. It’s a calm, easy, and mellow mixture of adult pop, urban soul, and very light funk, but then Mo' has been flirting with this kind of thing for a couple of albums now and it’s clear that this is closer to what he’s all about than being a blues preservationist -- which he really never was in the first place. The sound on this release is crisp and warm, smooth as honey, and never jarring, as Mo' muses on love and its difficulties in different settings, his vocals full of sincerity and good will. It’s all as pleasant as an easy summer afternoon, which is both a strength here and a problem. Nothing about The Reflection has an edge of any sort and as song after song rolls by, it gets lulling, and only a handful of the songs immediately stand out, most notably “We Don’t Need It,” a timely song about a man who loses his job and has to come home and tell his family, and “Crush on You,” which features guest vocals from India.Arie and has a charmingly light and innocent groove to it. A version of the Eagles' “One of These Nights,” which features alto sax from Dave Koz, also stands out, but not for the right reasons. Mo' has turned the song, which was fueled by the feeling of desperate lust in the original Eagles version, into a gentle song of yearning, and while the lyrics and melody still work in a more relaxed setting, the song really doesn’t generate the edge it needs to truly resonate. Keb' Mo' never was Howlin’ Wolf, Robert Johnson, or Muddy Waters, but he isn’t quite James Taylor yet, either. The Reflection is a warm outing, and it’s easy to like the sound of it, but all smooth honey makes one hungry for something with a little bit more of a kick to it now and then. ~ Steve Leggett
CD£11.99

Ambient/New Age - Released October 18, 2019 | Concord Records

CD£8.99

Soul - Released October 14, 2009 | Yolabelle International - One Haven Music

Keb' Mo' has gotten a bit of flak now and again for being a crossover blues artist, but with three Grammys in his pocket, he gets the last laugh. Like Bonnie Raitt, Taj Mahal, and his contemporaries Alvin Youngblood Hart and Corey Harris, he uses the blues as a template for a musical vision that includes jazz, funk, rock, R&B, and pop. It is perhaps that last category that causes much of the carping; still, there's no denying the blue heart at the center of his art, or his expertise as a songwriter, singer, instrumentalist, and showman. Mo' left Sony Music in 2004 after a decade on their various labels, and Live & Mo' is his first album for his own Yolabelle label. It's a solid outing that blends a few choice items from his back catalog with new tunes cut both live and in the studio. He opens the set with "Victims of Comfort," the ironic blues tune that was one of the highlights of Keb' Mo', his 1994 debut. His jazzy guitar fills and the subtle drumming of Kevin Moore II add to its laid-back feel. "Perpetual Blues Machine" is a Chicago-style kiss-off to a faithless woman, with stinging leads from Mo' and the big B-3 of Jeff Paris dropping plenty of grit into the groove. Mo' shows his folk roots on the swingin' country blues "Hole in the Bucket," which features his multi-tracked guitar, harmonica, and chiming mandolin blues picking. Mo' gets serious on the closing tracks "Government Cheese" and "A Brand New America." "Cheese" is a funky rocker with a catchy staccato guitar figure and Memphis-flavored horns that addresses the plight of the underemployed with his usual wry humor. "America" is an inspirational tune that nods to Martin Luther King, Jr.'s dream. It's a love song to the nation, perhaps inspired by Obama's election, a soulful salute to the land we all love. The children's choir that Mo' tacks onto the end of the track is a bit over the top, but there's no denying the tune's subtle power. ~ j. poet
HI-RES£14.99
CD£8.99

Blues - Released September 28, 2018 | Kind Of Blue Music

Hi-Res