Lacy Gibson – Crying For My Baby – Delmark Records DE-689 

Originally recorded in 1977 as part of what was supposed to be a 10-album series highlighting Chicago blues, this collection finally saw the light of day in 1996 once Chicago’s eminent Delmark Records acquired the entirety of the series, one that was planned to be released on Miami’s T.K. Records, and instead ended-up being licensed to the U.K.’s Red Lightnin’ label.  

Gibson was renowned for his unique meld of refined jazz-infused guitar design and stout vocals.  Gibson recorded output included three albums under his name, and he made appearances on many other recordings.  Gibson was a diverse bluesman whose talents enriched a number of blues bands, including Jimmy Reed’s, Otis Rush’s, Willie Dixon’s, Billy Boy Arnold’s, Billy “The Kid” Emserson’s, and The Son Seals Blues Band, among others.   He also recorded with many of Chicago’s great bluesmen, including J.B. Hutto and Lee Jackson, among others, and early in his time in Chicago, he played with such blues luminaries as Johnny Shines and Big Walter Horton. 

Gibson’s vocals remind this reviewer of the illustrious bluesman Little Milton due to their richness, warmth, and grit.  It is obvious that Gibson sought to wrench the last drop of emotion out of each lyrical passage, providing the listener a sense of believing the story Gibson was attempting to convey via his blues.

Gibson’s guitar work is incredibly virtuosic.  Having had Wayne Bennett and Matt “Guitar” Murphy as early influences, Gibson’s work is eminently cultured; sophisticated as it is.  Gibson offers dynamic solos imparted with well thought-out structures.  They are not run-of-the-mill runs up and down the fretboard.  They are refreshing, surprising forays of blues splendor.  This is guitar work of the highly-inventive quality that the Chicago scene was not chocked full of at the time of these recordings.  The guitar work of Fenton Robinson comes to mind when listening to these cuts. 

The keyboard efforts of Chicago blues piano master Sunnyland Slim ideally comp and dance just in the background on many of the selections, and when he does step-up for a solo, Slim wholly satisfies; flourishes from a master.  Lee Jackson’s rhythm guitar efforts on three songs here ideally adds sonic structure, and are truly enhancements.  Willie Black’s stellar bass skills are superb rhythmic cadences; songs within songs that great bass lines should be.  Blues-drummer-without-peer Fred Below lays down economical percussion frameworks perfectly suited to each blues presented.  As always, his work is flawlessly on-point. 

Speaking earlier of Lee Jackson, three of the selections here feature Lee Jackson as the front man.  As a front man and a blues artist, it is a shame that his recorded legacy is so thin. 

If I heard this set of blues in a club, I would be very satisfied.  Lacy Gibson was a bluesman who (and please, excuse the cliché) deserved so much more recognition.  His broad skill set is a pleasure to behold, and his legacy truly is one of, “If only he could’ve been more fully recorded and appreciated.”  Despite that sentiment, this collection comes highly-recommended as a chronicle of late 1970s output by a journeyman Chicago bluesman who exceptionally earnt more opportunities to record and become better known.  This set is a gem.