Fenton Robinson – Somebody Loan Me A Dime – Alligator Records ALCD 4705

Since this is a blog, and not a review for a third party, I’m afforded the freedom to let my personal measured biases to come to the forefront.  No doubt there were many great blues artists still alive and vital in Chicago during the early 1970s, plying their own unique brands of blues honed over many nights of performing, year after year.  And, I am in no way implying that the entirety of the Chicago scene was abounding with the same chord progressions and blues song constructs.  Homesick James was thriving with his unique blues slide guitar technique.  Buddy Guy was offering his at-times manic fretboard tilts, and Eddy Clearwater was bridging his marvelous blend of blues infused with Chuck Berry influences.

However, there was a lot of what has been come to be known as “lump-de-lump” blues, where the song’s cadence mimicked the aforementioned structure.  Anyone who has been on the Chicago blues scene has experienced, as it is known, “the setlist from hell”, a string of well-known and well-worn blues standards that become in-performance akin to something to be endured rater than savored and appreciated.

This 1974 Fenton Robinson Alligator Records release, his first of three for the label, presented to the world a blues artist who shed the standard leanings of Chicago-styled blues in favor of a more melodic pattern of touch, tone, volume, and inventiveness than what was standard at the time.  It was refreshing, exhilarating, and commanded a close listen for its many nuances and excursions. 

Robinson employed a fleet, inspired methodology to his guitar efforts.  For him, shading, stylistic flair, and roomy parameters of volume were the keys.  Nothing was over-played.  Robinson’s guitar manner was something alike the skittering excursions a listener may find in the world of jazz.  He was capable of amazing runs, solos constructed on the idea to meander the routes not typical for the blues at the time, experimenting and rambling to find the perfect use of a single note or phrase.  Robinson could work a note to find its most effective means and use, reminding one of Otis Rush’ strivings.  If a listener closed their eyes, it would be plausible to believe they were bearing witness to T-Bone Walker in concert.

Robinson’s strong voice here resided in the middle-to-upper range to great results.  His vocals were silky and smooth, full of falsettos of varying degrees of pitches, resolute in their long, extended endeavors, either joyous, melancholy, or completely blue, depending upon the subject being addressed. 

The ensemble work here is ideally balanced.  Mighty Joe Young, a blues artist quite like Robinson in his soulful approach, comports the proceedings well in his rhythm guitar obligations.  It is said best in that you don’t find the rhythm work obtrusive in any manner; it’s there, complementing and lifting.  Young knew how to play this brand of blues.  He is doing exactly what he brought aboard to do.

The bass work is strong in its framing of the tunes, weaving in and out with the right bass line constructions and volumes to superlative outcomes.

The assembled horns provide certain tunes a show band type of experience, and build and lower in capacity at just the right moments to best suit the emotional impact of a given song.

The piano designs come to the forefront when required, or return to their rightful position in the sonic backdrop, the perfect foil for a given tune’s mood.

The percussion work is very strong, and the individual song backbones are resolute and impeccable.

Robinson’s collective work here could easily be found in either a south or west side Chicago tavern, or conversely, at a soul venue; such is the versatility of the blues here.  His work is sterling in its creativity, indicating a vision of how the blues form could be shaped.  Robinson’s whole approach to the blues here is to retain the essence and influences that make the music what it essentially is, and the purposes it serves, but to do so in a template that can best be labeled as mellow.

 This Fenton Robinson set belongs in all blues collections.  It stands the tests of time very well.  Without reservation, it comes highly-recommended.