Portrait

Album review

Larry "Mud" Morganfield is the oldest son of Muddy Waters. He bears a striking resemblance to his father vocally and physically. Portrait, issued by Chicago's Delmark label, is a painstakingly remixed and remastered version of Morganfield's proper 2012 studio debut, Son of the Seventh Son. It differs from its predecessor by the inclusion of two bonus tracks: the crossover blues-gospel hit "Praise Him" that's registered on terrestrial and satellite radio, and an archival cover of "Good Morning Little Schoolgirl" recorded during the album sessions. Morganfield sounds like a seasoned pro here and delivers a blistering set that honors his dad's legacy while foreshadowing his later career. The inclusion of "Praise Him" as the opener, almost calls for a reconsideration of the album. Written in response to the loss of close friends to COVID-19, Morganfield employs the Chicago blues tradition in asserting spiritual gratitude. His vocal is committed, resonant, full of conviction. He rises above the band and a female gospel chorus in a fingerpopping meld of modern blues, vintage-style R&B, and street corner gospel. While the groove may be strictly Saturday night, the lyric is pure Sunday morning. "Short Dress Woman" uses the changes from his father's version of Preston "Red" Foster's "Got My Mojo Workin'," and Morganfield's vocal is sharp and energetic as he sings the praises of a big-legged woman. The title track, written by John Grimaldi, is a celebration of sexual prowess that deliberately integrates images from Muddy's repertoire into the lyric. He sings with understated menace, accentuating its slow, darkly sexual vibe. Morganfield's original songs stack up very favorably against his dad's. "Love to Flirt" rides an easy-rolling rhythm to tell the story of a woman who makes eyes at every guy she sees. He sings with a combination of irritation and weary resignation. "Leave Me Alone" is a weary, classic blues lament with a bouncy tempo and ironic humor. Bob Corritore's smoking harmonica fills duel with the singer's growling vocal. The funky "Catfishing" is obviously not about fishing, as Morganfield's sly vocal implies; Barrelhouse Chuck supplies playful, bubbling, sometimes stinging organ fills. The reading of Muddy's "You Can't Never Lose What You Never Had" is at once fiery and eerie in its close resemblance to the original as the band channels the vibe of a '50s Chess Records session. It contains excellent work from pianist Barrelhouse Chuck (Goering) and soulful slide guitar from Billy Flynn. Closer "Good Morning Little Schoolgirl" follows suit. Its raucous piano, simmering harmonica, bumping bassline, and frame-biting guitar licks are buoyed by a snare and hi-hat shuffle under Morganfield's passionate, reverb-laden vocal. When Son of the Seventh Son was released, it drew rave reviews globally for its presentation of vintage Chicago blues. Morganfield's consistently excellent catalog proves it was no fluke. Delmark's Portrait -- especially with the inclusion of "Praise Him" -- improves on the original with a sonic presentation equal to the kinetic, hip-shaking music.
© j. poet & Thom Jurek /TiVo