BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.

dereksmusicblog ♦ October 14, 2011 ♦ Leave a comment

BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.

Sometimes, I feel the word legend is used too often nowadays. Two successful albums seem to be about all it takes for an artist to attain legendary status. That always makes me smile, when there are artists like Bobby “Blue” Bland whose recording career has spanned six decades. His debut album Blues Consolidated was released on Duke Records in 1958, and six decades and twenty-six studio albums later, Bobby released Blues At Midnight in 2003. However, Bobby’s recording career started in 1951, aged twenty-one, when he released Booted on Chess Records. After that, he released three further singles for Chess, before switching to Duke Records where he released numerous successful singles. Since then, he has worked with some of the biggest names in music including BB King and Van Morrison. Like Sam Cooke, Ray Charles and Junior Parker, Bobby’s music is a fusion of gospel, blues and R&B. 

 During his career he has made some critically acclaimed albums, one of his best being His California Album, released in 1973, which was released on ABC-Dunhill Records. Dunhill Records had been taken over by ABC Records. By this time, Bobby had turned his life around, having stopped drinking two years previously. So, when he entered the studio with ABC’s producer Steve Barri, arranger Michael Omartian and some of Los Angeles’ best session musicians, everything was set for Bobby to produce a classic blues and soul album. When the album was released, it became Bobby’s first album to enter the US Billboard 200 in nearly a decade. Two successful singles were released from the album, This Time I’m Gone For Good, which reached number five in the US R&B Charts and Goin’ Down Slow, which reached number seventeen in the US R&B Charts. Since then, His California Album has been hailed as one of Bobby’s finest albums. Four years later, in 1977, he released the long awaited follow up to His California Album, Reflections In Blue. However, like many people, I much prefer His California Album, which I’ll now tell you about. 

His California Album opens with This Time I’m Gone For Good, a bluesy sounding track, which was released as a single. The track was co-written by Duke Records’ President Don Robey, using the pseudonym Deadric Malone. When the track opens, the sound is slow, dark and moody. A combination of slow, spacey drums, chiming guitars, pedestrian bass and piano accompany a raspy, vocal laden in sadness and regret from Bobby. Adding to the already hugely sad sound, are strings which gently and slowly sweep in. During the track, Bobby warns that this time, there’s no going back, he’s gone for good, his is mind made up. It’s a hugely dramatic and sad sounding track, one that’s designed to tug at your heartstrings. A combination of Bobby’s powerful, raspy and sorrowful vocal and a slow, moody arrangement that’s absolutely laden in drama, sadness and atmosphere, make this a fantastic track to open the album.

Van Morrison cowrote Up and Down World with Deadric Malone, a much faster track than the opening track, with a country soul sound and just a hint of the blues. When the track opens, with guitars and rhythm section, there’s no hint of what’s to come. The tempo is slow, slightly sparse and dark, before Bobby’s vocal enters. Here it’s a brighter sounding vocal, accompanied by a much more upbeat and melodic sounding arrangement. This is thanks to an arrangement that swings along, with bright, shimmering chiming guitars, blazing horns, an atmospheric organ and a faster rhythm section who get a groove going that drives the track along. Add to that a throaty, happier sounding vocal from Bobby and some good lyrics. By the track’s end, it’s a very different sounding track from the opening track, but one with an equally good vocal and arrangement. 

It’s Not the Spotlight is a track that’s been covered by many people, and over the years, I’ve heard many of these versions. However, this is my favorite versions of the song, and may even be the definitive version. He seems to bring the lyrics to life, and together with Michael Omartian’s arrangement, makes the track his own. Bright chiming guitars open the track, before the rhythm section and piano combine. They’ve created the perfect backdrop for Bobby’s raspy, passionate vocal which is accompanied by some subtle, hugely soulful backing vocalists. A Hammond organ and brass section enter, a combination that seems to add further atmosphere and drama to the track. Horns bray and blaze, while the rhythm section keep the tempo slow, while Bobby’s heartfelt, drama laden vocal takes centre-stage. Over four minutes, Bobby injects passion, drama and soul into Gerry Goffin and Barry Goldberg’s lyrics, and in the process claims the song as his own. Forget about the rest, Bobby’s version is the best. Four minutes of the most passionate and soulful music you could hope to hear.

Many of the tracks on the album will be familiar to many people, as quite a few of them have been covered by other people. This is certainly true of (If Loving You Is Wrong) I Don’t Want To Be Right, another track where Bobby delivers a version that’s almost peerless. The lyrics are heartbreakingly sad, delivered with a mixture of despair, sadness and regret. There’s a melancholy sound and feel to the arrangement from the opening bars, when spacey guitars soar slowly, while the rhythm and string sections combine with a piano that emanates sadness and despair. When Bobby sings, his vocal is slow, full of desperation, sadness and regret at the situation he’s found himself in. The lyrics are about a married man having an affair with a young, single woman and all the problems and emotions this scenario creates. As if the arrangement isn’t already drenched in sadness, a Hammond organ enters, somehow managing to increase the level of desperation and despondency even more. Together with slow, metronomic drums, piano and the lushest of sweeping strings, the arrangement is one of the best on the albums. So is Bobby’s heartfelt, gut wrenchingly sad vocal. Taken together, it’s a potent combination, resulting in my favorite track on the album. Again, forget the rest, Bobby’s version is the best.

Goin’ Down Slow has a slow, bluesy feel, with the introduction having a lovely repetitive feel. A piano plays, finds a great atmospheric and dramatic groove, and decides to exploit it fully. It provides a building block for both the band and Bobby. The rhythm section, play slowly and thoughtfully, the bass dark, deep and moody the drums crisp and metronomic, before a funky guitar enters. Together with a restrained, equally thoughtful vocal from Bobby, that like the arrangement, opens up and grows in power. By now the arrangement has been given an injection in funk, with soaring screaming guitars and braying horns combining with an atmospheric, funk laden Hammond organ and rhythm section. Backing vocalists joyfully, rejoice, accompanying Bobby’s vocal. All the time, that lovely repetitive groove is present, providing the basis for a brilliantly, funky arrangement, made all the better by Bobby’s powerful and passionate vocal.

By now, it’s as if someone has flipped a switch and the album has been transformed into a combination of R&B and funk, which continues on the joyously sounding The Right Place At the Right Time, which is just three minutes of feel-good music. Chiming, melodic guitars, rhythm section and grand, soaring horns unite before Bobby’s raspy, good time vocal enters. Horns rasp, as his voice soars joyfully, accompanied by equally joyful and soulful backing vocalists. As Bobby sings, he offers some good advice, telling you no-one will give you anything, you’ve to “plan, plot and scheme”, and most of all, “be in the right place at the right time.” Meanwhile, the track goes from strength to strength, a catchy, joyous and upbeat sounding track, thanks to Bobby and some of LA’s finest session musicians. Quite simply, an outstanding track.

Help Me Through the Day has a bright, spacey opening, that sees guitars slow and thoughtful sounding, shimmer and soar. Meanwhile piano and rhythm section combine to slow things down, and in the process, transform the arrangement to a much more thoughtful, slight darker sound, tinged in sadness and regret. When Bobby’s vocal enters, his melancholy, rueful, sometimes pleading vocal, is a perfect match for the arrangement. He quickly, becomes almost desperate, struggling to make it through the day, pleading for help and maybe, salvation. This he does against a backdrop that’s slow, laden in atmosphere and sadness. Chiming guitars, sweeping lush strings, piano and slowed down rhythm section provide inspiration for Bobby, whose throaty, raspy vocal soars, heartbroken. Here, he really pulls out an excellent performance, so much so, you feel he’s been here, lived the song. However, without such a great arrangement, this song wouldn’t be half as good. Such an outstanding arrangement really lifts the track, making it one of the album’s highlights.

Duke Records’ President,  Don Robey, using the pseudonym Deadric Malone, wrote Where My Went, one of four songs he either wrote or cowrote. The other song he wrote, The Right Place At the Right Time, was an outstanding track, so hopefully, this track will be just as good. Straight away, horns bray, while the rhythm section, organ and guitar combine, to produce an arrangement that’s bright, upbeat and fast moving. When Bobby sings, his voice isn’t as loud or powerful, and seems slightly restrained. There are similarities with Malone’s other track. In both cases, the lyrics seem a paean to the work ethic, which he’s obviously a big believer in, and admirer of. However, they’re neither as catchy, nor flow as naturally. Instead, they’re slightly contrived and labored. Bobby however, does his best, delivering them with enthusiasm and fervor. Meanwhile, the fuller arrangement is joyful, with blazing, joyous horns, driving rhythm section, piano and chiming guitars, combining masterfully. Sadly, such a brilliant arrangement is let down by a song that’s slightly weak. Although it’s not a bad song, it’s neither up to the standard of other tracks on the album, nor one of Malone’s best songs.

Friday the 13th Child, has a slow, atmospheric and thoughtful opening. The rhythm section, swooning guitars, piano and strings combine to accompany Bobby’s vocal which is laden with drama, as he gives a heartfelt delivery of the lyrics. His voice rises and falls, that by now familiar throaty, rasp ever present. However, again the lyrics which are full of sadness and emotion, have a somewhat contrived sound, as if the writer has tried too hard to make this a hugely moving track. Again, Bobby throws himself into the lyrics, sparing nothing. Meanwhile, the slow dramatic arrangement is full of swooning guitars, slow, sweeping strings, gentle piano and pedestrian rhythm section. This is a quite beautiful and emotional sound, and when combined with Bobby’s hugely heartfelt and passionate vocal works well. It’s just a pity that the lyrics have a slightly contrived sound. Having said that, like the previous song, it isn’t a bad song, it’s just not up to the standard of other track on the album.

Bobby closes His California Album with I’ve Got To Use My imagination, another of Gerry Goffin and Barry Goldberg’s songs. This is very much a return to form for Bobby and a much better song, from two great songwriters. Straight away, the sound is dark and dramatic, thanks to guitars and rhythm section combining, before Bobby’s powerful voice enters. Quickly, the arrangement grows, becoming hugely dramatic, including a wailing, atmospheric Hammond organ, chiming guitars and a throaty vocal, laden with emotion from Bobby. This is a song that suits his voice, good strong lyrics, well written and featuring an excellent arrangement from arranger Michael Omartian and producer Steve Barri. Horns cut in, blazing, upping the drama and atmosphere, while Bobby howls, really forcing his vocal, not holding back, as he sings about his woman leaving him, and the bad place he’s in. Later in the track there’s an excellent shimmering and chiming guitar solo. When it’s rejoins the rest of the arrangement, it’s like the missing part in a jigsaw, suddenly whole. By the end of the song, this great track seems like a fitting way to end the album, thanks to an outstanding heartfelt and passionate vocal from Bobby, and a brilliant blues laden, arrangement.

His California Album was a return to form for Bobby “Blue” Bland. Having turned his personal life round in 1971, he turned his career round in 1973. For the first time in nearly ten years, his album charted, spending nineteen weeks in the US Billboard 200. Suddenly, he had a critically acclaimed and commercially successful album on his hands. Thirty-eight years later, the album has a timeless quality, like all good music has. On the album are some fantastic songs, brilliantly played by the cream of Las Angeles’ musicians and sung with a combination of passion, sadness and joy by Bobby. Both arranger Michael Omartian and producer Steve Barri played a huge part in the album’s success, with the arrangements and production perfect for the songs. It allowed people to hear the best of Bobby, who after too long in the doldrums was back. It’s just a shame the “follow up” album took four years to be recorded and released. If it had been out sooner, it would’ve allowed Bobby to build on the momentum of His California Album, and maybe, helped him to revisit the heights of his earlier career on the Chess and Duke labels. However, His California Album is a great reminder of a return to form from one of the real legends of music, Bobby “Blue” Bland. Standout Tracks: This Time I’m Gone For Good, It’s Not the Spotlight, (If Loving You Is Wrong) I Don’t Want To Be Right and I’ve Got To Use My imagination.

BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.

http://www.youtube.com/watch?v=FJkW1BI1wIc