Picture this: It's 1969. The Summer of Love has morphed into a grittier reality, and the blues are experiencing a metamorphosis. John Mayall, the British blues patriarch who'd already steered a legion of guitar gods (Clapton, Green, Taylor) into the limelight, is embarking on a new sonic adventure. He's swapped the grimy London clubs for the sun-drenched hills of Laurel Canyon, trading his electric blues backbone for a more laid-back, psychedelic-tinged sound. And the result? "Blues from Laurel Canyon," a 12" vinyl LP that's as much a travelogue as it is a musical exploration.
This ain't your daddy's Chicago blues. This is Mayall soaking up the Laurel Canyon vibe, letting the California sun seep into his songwriting. You can hear it in the loose, jam-band feel of the tracks, the acoustic guitars weaving in and out of the electric blues framework. It's a testament to Mayall's willingness to evolve, to take risks, to not be confined by genre expectations. He's not just playing the blues; he's living them, breathing them, channeling the Laurel Canyon zeitgeist into his music.
The album was recorded at the legendary Sunset Sound Recorders in Hollywood, a studio that had already hosted the likes of The Doors, The Beach Boys, and Led Zeppelin. Mayall assembled a crack team of musicians, including the young Mick Taylor on guitar (fresh off his Rolling Stones stint), and Larry Taylor (of Canned Heat fame) on bass. The production was handled by the seasoned Bob Krasnow, who brought a polished yet organic sound to the album.
Now, let's talk about the music itself. The title track, "Blues from Laurel Canyon," is a sprawling epic, showcasing Mayall's storytelling prowess and his band's improvisational skills. It's a vivid account of his time spent in Laurel Canyon, name-dropping local landmarks and personalities like the Whisky a Go Go and Canned Heat's Bob "The Bear" Hite. "The Bear" is a funky, blues-rock stomper that'll get your head bobbing and your feet tapping, a tribute to his friendship with Hite. "2401" is a more introspective, acoustic-driven number with a touch of country twang, a whimsical reference to Frank Zappa's home address. And then there's "Room to Move," a sprawling blues-rock jam that features some scorching guitar work from Mick Taylor.
"Blues from Laurel Canyon" wasn't without its controversies. Some blues purists criticized Mayall for straying too far from his roots, for embracing a more commercial sound. But Mayall didn't care about pleasing the critics. He was on a personal journey, exploring new musical landscapes, and he wasn't going to let anyone hold him back. This journey is evident in the album's lyrical content, which reflects his experiences in Laurel Canyon, from the excitement of new encounters to the heartbreak of failed relationships.
This West-German 12" vinyl pressing of "Blues from Laurel Canyon" is a sonic time capsule, capturing a pivotal moment in Mayall's career. It's a testament to his adventurous spirit, his willingness to push boundaries, and his unwavering dedication to the blues. So, if you're looking for a blues album that's both innovative and timeless, look no further than "Blues from Laurel Canyon." It's a testament to the transformative power of music, the fusion of cultures, and the enduring spirit of the blues, with a Laurel Canyon twist.
