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The North Mississippi Allstars’ Electric Blue Watermelon came at a critical period for the band. Their last studio album Polaris has too many commercial undertones and was not popular with their longterm fans. However they did follow it up with their excellent Live at Bonaroo, which was far more of a return to the back to basics “world boogie” of their debut “Shake Hands With Shorty”. Indeed the album is notable in that it features 3 generations of the Burnside family including R L Burnside who makes his last recording on the album.

The decision the band chose was to make their greatest collection of songs yet, and the most diverse album of their career. While the album is firmly rooted in the blues, the styles contained embrace old-school rock & roll, electrified blues rock, '60s psychedelia, country, gospel and hip hop. Not all those styles will be embraced by everyone, however this album is a fine example of how a modern artist can take a traditional music style and combine it with other influences to produce something original and indeed hard to categorise.

The album features Luther and Cody Dickinson with bassist Chris Chew and as per their earlier albums is produced by the father Dickinson, the legendary Jim Dickinson. Electric Blue Watermelon is North Mississippi Allstar's fifth and finest album so far and was named after a loosely assembled band led by Memphis musician Lee Baker, who played blues festival gigs in Memphis during the 1960s. The primary lyrical theme of the album is reflection on growing up and the passing of many of the band’s influences and friends, such as Junior Kimbrough, and more recently Othar Turner and the aforementioned Burnside.

The magnificent opener is blisteringly version of Charley Patton s "Mississippi Boll Weevil Blues," which they attack in a similar method to their interpretation of "Shake 'em on Down". Featuring Luther Dickinson's slide guitar work and Chris Chew's blues-funk bassline the tune breaks down to just washboard and Cody Dickinson's thumping backbeat, before starting back up again. This song demonstrates the band's unique ability to do a wonderful and inventive update of an ancient song.

As a complete contrast the following song is the hip hop laced "No Mo". As Luther reminisces about his childhood, he is joined by guest rapper Al Kapone. Notably the final line is "the Mississippi Delta was a jungle before the white man came."

Stompin' My Foot," is a Hendrix-inspired blues-funk jam which features tremendous pedal steel work from Robert Randolph and also features Al Kapone adding his rapping commentary. "Deep Blue Sea," by comparison is a bluesy folk hymn as band keeps the original feel of Odetta's song and features a considered guitar solo by Luther in keeping with the mood..

Both "Teasin' Brown" and "Hurry Up Sunrise," were worked up by Luther from tapes of the late fife-and-drum-master Othar Turner talking and improvising lyrics on his front porch. While Teasin’ Brown is a guitar based blues tune, Hurry Up Sunshine is a far more relaxed tune, yet still upbeat and features a playful duet with Lucinda Williams, "Bang Bang Lulu" is more of a rocker with its sing-along chorus and mammoth percussion by the Rising Star band.

"Moonshine" is another reflective tune with Luther recalling lost idols like Kimbrough, making specific reference to details of Junior’s juke joint and features a Duane Allman like slide tone and a fine solo. "Horseshoe" is a tribute to their late friend and mentor Otha Turner and with a similar tune the seven minute "Mean Ol' World Wind Down" is a musical journey from fife-and-drum roots with Bo Diddley style beats.

The closing track "Bounceball" is a fife and drum march featuring Turner’s band, which gives way to the sound of crickets and frogs in the Mississippi night. A fine ending to a great album from a band who have produced a song based release which tastefully and respectfully adds contemporary sounds to traditional form of American music. Highly, highly recommended.


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