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TAJ MAHAL

with JESSE EDWIN DAVIS, GARY GILMORE, CHUCK BLACKWELL, AL KOOPER, EARL PALMER

One of the most prominent figures in late 20th century blues, singer/multi-instrumentalist Taj Mahal played an enormous role in revitalizing and preserving traditional acoustic blues. Not content to stay within that realm, Mahal soon broadened his approach, taking a musicologist's interest in a multitude of folk and roots music from around the world -- reggae and other Caribbean folk, jazz, gospel, R&B, zydeco, various West African styles, Latin, even Hawaiian. The African-derived heritage of most of those forms allowed Mahal to explore his own ethnicity from a global perspective and to present the blues as part of a wider musical context. Yet while he dabbled in many different genres, he never strayed too far from his laid-back country blues foundation. Blues purists naturally didn't have much use for Mahal's music, and according to some of his other detractors, his multi-ethnic fusions sometimes came off as indulgent, or overly self-conscious and academic. Still, Mahal's concept was vindicated in the '90s, when a cadre of young bluesmen began to follow his lead -- both acoustic revivalists (Keb' Mo', Guy Davis) and eclectic bohemians (Corey Harris, Alvin Youngblood Hart)

"THE NATCH'L BLUES"

Produced by David Rubinson

1968     LP     DIRECTION RECORDS      8-63397 STEREO

MADE IN ENGLAND    ORIGINAL PRESSING

Released on a ''yellow'' Direction label. 

Released in a laminated (on front) single cover

Barcode and Other Identifiers

Barcode: none

Label: DIRECTION -  YELLOW LABEL +BLACK 'ARROW' LOGO - BLACK TEXT

Catalog on cover: 8-63397     

Catalog on labels: S 58-63397  (CS 9698) 63397 A / S 58-63397 (CS 9698) 63397 B 

Matrix / Runout (Side A, Stamped): S8 63397 A1

Matrix / Runout (Side B, Stamped): S8 63397 B1

On labels: rim text reads "Made in England.......prohibited"

 ?1968 on both labels (on the labels the release year appears at 3 o'clock, circa)

Rights Society / Publishing: April Music Ltd., Copyright Control

On Back Sleeve: Notes by Taj Mahal

Produced by David Rubinson

CBS Stereo Records can be played on mono reproducers...

CBS is a Trademark of Columbia Broadcasting System, Inc. U.S.A. 

Printed and made by Ernest J. Day & Co. Ltd., London, W.11. Patent Pending

tracklisting

Side 1: GOOD MORNING MISS BROWN - CORINNA

I AIN'T GONNA LET NOBODY STEAL MY JELLYROLL

GOING UP TO THE COUNTRY, PAINT MY MAILBOX BLUE - DONE CHANGED MY WAY OF LIVING

Side 2: SHE CAUGHT THE KATY AND LEFT ME A MULE TO RIDE - THE CUCKOO

YOU DON'T MISS YOUR WATER ('TIL YOUR WELL RUNS DRY) - A LOT OF LOVE

  grading

RECORD VG(+) but (please, read above description)

SLEEVE VG(+) but (please, see pictures and read above description)

Taj Mahal's second album, recorded in the spring and fall of 1968, opens with more stripped-down Delta-style blues in the manner of his debut, but adds a little more amplification (partly courtesy of Al Kooper on organ) before moving into wholly bigger sound on numbers like "She Caught the Katy and Left Me a Mule to Ride" and "The Cuckoo" -- the latter, in particular, features crunchy electric and acoustic guitars and Gary Gilmore playing his bass almost like a lead instrument, like a bluesman's answer to John Entwistle. Most notable, however, may be "You Don't Miss Your Water ('Til Your Well Runs Dry)" and "Ain't That a Lot of Love," which offer Taj Mahal working in the realm of soul and treading onto Otis Redding territory. This is particularly notable on "You Don't Miss Your Water," which achieves the intensity of a gospel performance and comes complete with a Stax/Volt-style horn arrangement by Jesse Ed Davis that sounds more like the real thing than the real thing. "Ain't That a Lot of Love," by contrast, is driven by a hard electric guitar sound and a relentless bass part that sounds like a more urgent version of the bassline from the Spencer Davis Group's "Gimme Some Lovin'."...(AllMusic)