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7 of 7 people found the following review helpful:
5.0 out of 5 stars
An historic celebration of the blues, 25 Jun 2005
Billed as "a one night history of the blues," Lightning in a Bottle (with Martin Scorsese serving as executive producer) assembles a ton of great performers to retrace the steps of the blues from the Mississippi Delta to Chicago to the rest of the country. The concert took place in Radio City Music Hall in February 2003, and it packs a lot of music and history into a little less than two hours. Old clips, interviews, and snippets of rehearsal accompany the performances themselves, offering a blues history lesson of sorts. I won't pretend to be an expert on the blues; Muddy Waters is about the only blues singer I've ever spent time seriously listening to. That will probably change, now that I know a little more about the incredible music I've been missing out on all these years. It would be impossible to talk about every performance crammed into this concert - blues songs tend to be pretty short (especially when you don't include any jam session stuff), so an incredible number of songs were performed on this historic night. Go check out the soundtrack to see who performed what. All of the living legends were fantastic, and their vintage blues is still the best blues on earth. Mavis Staple really gets the ball rolling with her spiritual performance of Blind Lemon Jefferson's See That My Grave is Kept Clean. David "Honeyboy" Edwards (at 88) still shows the world what acoustic Delta blues was all about with his performance of Gamblin' Man. The incomparable Clarence "Gateway" Brown plays Okie Dokie Swamp like only he can. Hubert Sumlin, despite having recently lost a lung, pours great energy into Killing Floor (although I thought singer David Johansen came off as hopelessly contrived). Ruth Brown, Mavis Staple, and Natalie Cole (with a little help from Bill Cosby) make Men Are Just Like Streetcars one of the most entertaining songs of the night. Natalie Cole, I have to say, can sure 'nough sing the blues, as she proves with her version of W.C. Handy's classic St. Louis Blues. Robert Johnson is represented by Keb' Mo' performing Love in Vain, while Odetta wows the crowd with Lead Belly's Jim Crow Blues. James "Blood" Ulmer (with Allison Kraus) takes us all the way back to 1930 with The Mississippi Sheiks' Sitting on Top of the World. The incomparable Muddy Waters was well represented by Buddy Guy on I Can't Be Satisfied. Buddy Guy, as far as I'm concerned, stole the whole show. How important is this man to the blues and music in general? He's the very nexus between Muddy Waters and Jimi Hendrix. Later in the show, Guy returned to perform his own First Time I Met the Blues. Then, after giving us some riffs of Hendrix's Red House, he is compelled to come back out to perform Hendrix's Voodoo Child with Angelique Kidjo. Solomon Burke gets the crowd jumping with Turn on Your Love Light and Down in the Valley. Last but not least, B.B. King puts the final exclamation point on this historic night, making Lucille wail on his classic Sweet Sixteen. The younger performers feature some hits and misses. Shemekia Copeland, who performs I Pity the Fool with Robert Cray, is incredible. The Neville Brothers shine on Big Chief, Steven Tyler and Joe Perry bring their own style to I'm a King Bee, and Bonnie Raitt shows she belongs onstage with Coming Home. I didn't particularly care for John Fogerty's rocked-up performance of Midnight Special, though, and Macy Gray (after appearing quite clueless at rehearsal) had a little too much fun with Big Mamma Thornton's Hound Dog. I have nothing but disdain for Chuck D, I have to say; turning John Lee Hooker's Boom Boom into rap is bad enough, but this guy momentarily spoiled the whole evening by using the song to make a political statement. Don't think of this concert as the blues' funeral. Lightning in a Bottle is a celebration of all the greats who defined this uniquely American style of music. The blues will almost surely never return to the heights of the old Delta and Chicago eras, but the classics will always be a part of us, and there is at least some hope (Shemekia Copeland, for sure) on the horizon for its future. One of the problems with the blues is the fact that so many people still haven't experienced it for themselves. This DVD goes a long way toward solving that problem, and with any luck, it will inspire one or more young performers to follow in the giant footsteps of those celebrated here.
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