SECOND MIND REVIEWS
INTERNATIONAL GUITAR FEDERATION
Michael Messer "Second Mind" has won
"BEST BLUES GUITAR ALBUM OF
2003"
These reviews are complete, not edited.
< For edited press-cuttings go to Second Mind page >
MICHAEL MESSER - Second Mind
Moby
eat your heart out. British blues slide-guitarist, Messer's new CD is made
without -
'Computers or digital recording equipment.' It does, however, make excellent use
of Louie
Genis' scratching and vinyl drum loops. These give the album a crunchy, modern
feel, whilst
never detracting from Messer's, by turns, earthy and delicate playing, and his
deep sense of
blues history. Check Jinx Alright, for example, which quotes Robert Johnson
lyrically, Son
House musically, and samples Arthur 'Big Boy' Crudup's, That's All Right. For
every more
experimental outing - the fractured, but beautiful techno-jazz balladry of Blue
Letters; or the
spooky Eastern modalities of Big Wind - there's a heads-down Jagger/Richards
workout
such as Love; or a good time, barrelhouse boogie like Riverboat.
This is the best British blues album of the 21st century so far. ****
"What's On" London - Jan '03
Who'd have thought that one of our fave blues albums of the year would have
come from this side of the pond?
Messer can handle a slide guitar like a true 1920s hero, but Second Mind is more
than that: it's an old-meets-nu
blues tour de force that gives full reign to our man's love of pop, rock and,
frankly, spooky shit. Electric guitars
rage over loop/dub backdrops, lovely, liquid acoustic figures recall slide kings
of yore, vocals plumb the dark
side like Tom Waits or Johnny Dowd, the band swerve from boogie to funk to
ambient with nonchalant ease
- and it all hangs together just right.
"Guitar
Magazine" UK - Albums of the Year 2002
<
Click to read Guitar Magazine Michael Messer interview about Second Mind >
Michael
Messer is a scholar - he's just compiled Catfish's enchanting Classic Slide
Guitar Vol 3: Hawaiian
Guitar Masters -
and by all accounts, a gentleman as well. I'd add that he's one of the
most important bluesmen
in Britain, and mightily relevant throughout the blues world. He has progressed from being
an excellent technician -
on the National Steel especially - with good touch and an eclectic palette of
stylings to choose from; to being in
the vanguard of the 21st century blues. And that doesn't mean
he has forsaken traditional values either.
Second Mind is book ended by two versions of the song Locomotive Skin.
The opener is reminiscent
of Skip McDonald and Adrian Sherwood's ambient-dub-blues outfit, Little Axe - it
kicks in with a hefty funk beat,
and is underscored by a turntablist scratching away on an unidentified vocal
sample from some ancient Mississip'
chanter -
but the spirit of the Delta still breathes through these modernistic
touches. The closing, hidden-track version
of
the number, ghosts out of the charming, old-timey melodics of Painting The
Blues - a cut which comes complete
with a lovely, liquid, lap steel solo. The scratching is again an integral
part of ...Skin, but this time it spars spookily
with Messer's sparse country blues acoustic, and an age-old, yet timeless, vocal
performance. The use of this framing
device sums up the breadth of Messer's musical vision. Tracks 2 to 12
travel to all points in between.
Blue Letters smoulders - Alan Whetton's smoky sax intertwines with
Messer's sincere vocals. His voice quivers
with the emotion of a young Buddy Guy, while Richard Causon's disjointed,
jazzy piano fills reflect Messer's
melancholy
lyrics perfectly. Causon (who has worked with Ryan Adams), adds
authenticity & Americana style
throughout. Next up,
Hummingbirds In My Soul has the feel of a joyful, techno-inflected,
J.J.Cale. Difficult to
imagine I know, but buy it
and you'll see what I mean, I promise!
Messer's
multi-faceted outlook: world music.
The track resonates with an oriental vibe reminiscent of The Doors'
The
End, as used in Apocalypse Now. This is as much the Killing Fields as the Killing Floor. Swathes of scorching
guitar sustain
and feedback buffet other, more delicate, acoustic figures, while the lyrics tell the story of impending
(environmental?) doom. Epic
stuff. This leads straight into the sleazy, stomping, good-time R'n'B of Love - which
wouldn't sound out of
place on Exile On Main Street. When the ever-splendid Ruby Turner starts hollerin' in the
background you know you're in
honky-tonk heaven. Jinx Alright follows: a down-home,
slide guitar driven,
Delta blues crammed full with musical and
lyrical references to Son House, Robert Johnson and Arthur Crudup,
amongst others.
perfect sense. A beautiful amalgam of history and foresight; musicality
and grit; blues, boogie and beats -
Second Mind is a work of near genius.
Joe
Cushley "Blues Matters!" Oct'
02
12
tracks plus one bonus acoustic track. We loved Michael’s last album and here
he comes again BUT this is different! He’s all wired up and plugged
in giving out some
soaring electric slide guitar with full band behind him AND scratching and drum
looping going on.
Aiming for the ‘Street Blues’ market here this is a very interesting
album indeed.
There’s super playing and very modern feel that is disarming in
it’s charm. There are some fine moments in
the first track, “Locomotive Skin”, where harp and slide combine and
some background chat that works well.
Great sax from Alan Whetton on “Blue Letters” which has lovely
tinkling piano fluttering in and out
while scratched voice and churning guitar chords grind away - and neat slide
weaves around it all.
“Big Wind” is ethereal sounding with chilling, sparse slide work and
deep, gruff, talking vocal and brushed
drums. “Jinx Alright” is a more traditional juke joint style that
blasts along like you ain’t gonna stop it.
…”Shine On” changes pace again to gentle and features Ruby Turner
on backing vocal, this is nice.
There’s liberal use of faded lines from classic blues songs in the
background courtesy of the ‘scratch man’
– Louie Genis, who’s Dad, Ed also appears within on guitar.
“Tail Feather Blues” has a familiar
rhythm to it and works well. “Bluer Than Blue” becomes
compulsive as it grinds out its message with
searing slide work. “Painting The Blues” is country blues with
Ruby back singing with Michael on this
gentle number. The album closes with the bonus “Locomotive
Skin” acoustic version…..be patient when
the ‘final’ track ends, it takes a few seconds to arrive. So to round
this off……do we like it? Oh yes!!!!!!
This man’s skill is unquestionable, this album is markedly different to
his last release and
shows off new territory that works well in this 21st Century.
’Ponch’ "Blues Matters!" Nov' 02
This Michael’s second disc, and it’s a commendable one, too. Messer is a slide
master:
And he alternates with his other guitarist, Ed Genis. On the heels of last
year’s King Guitar,
Second Mind is a exemplary example how one can play the guitar. Michael is a UK
wonder,
racking up award after award. Songs like ‘Hummingbirds In My Soul’ are a
laudable manifestation.
The multi-instrumentalism of the disc sometimes gives a spooky and eerie
feeling.
Michael Messer should
clean up on the US awards as well.
Mark A. Cole - Dec' 03
This is Messer’s second album for Catfish,
and to be honest, if his last was anything like
this, it’s no wonder the man’s getting deserved attention. Soaked in the
blues, it’s a
beautifully moody & soulful affair that reminds me of Waits, Mullen &
Cooder all rolled
into one. As well as the slide and hunks of steel guitar, there’s the odd
vocal loops and
samples. The loops and samples are used minimally and add such an intensity,
especially
on the opening track, Locomotive Skin and Blue Letters. Big
Wind is a slow piece, with
just the right amount of slide, samples and the combined results make one of the
most
evocative tracks I have heard in a very, very long time. In all there’s twelve tracks
ranging from the
raunchy to the downright spooky, where the sun sets slowly on small-town
America.
Dylan’s ‘The Man In The Long Black Coat’ production (ala Daniel Lanois) is
brought to mind
on more than several occasions. Helping out is Ruby Turner on backing vocals and
Louie Genis
is the man behind the ‘scratching and vinyl drum loops’, as well as Simon
Price on ‘proper’
drums and Alan Whetton on sax. Absolutely cracking album with twelve stunning
tracks.
Dave W Hughes – "Modern Dance" – Dec
'02
Well, King Guitar, last year's studio album from
this dynamic blues guitarist, absolutely blew me away when I heard it,
and so the task of reviewing this follow-up was one I accepted with
alacrity! Second Mind might not be as immediate
and overtly blistering in its initial impact as its predecessor, but it weaves a
very satisfying and unusually rich tapestry of
influences into its twelve tracks, from the southern-fried boogie of Locomotive
Skin to the steamy, unsettling
"scratch 'n' sax" sleaze of Blue Letters, the ripe funk of Hummingbirds
In My Soul to the eerily doomy, gothically
sinister Big Wind, the definitive Stones riffing of Love to the
soulful, slide-soaked country gospel of Shine On,
not to mention a superlative Dixieland/Bob Crosby drum mini-workout on Riverboat.
There's almost too much to take in, but every single selection has its own
considerable rewards to be reaped.
Michael's own seriously stunning musicianship dazzles on every cut, yet his
sheer inventiveness and healthily world-wise
attitude to his many acknowledged influences ensures that his work never
comes across as just another guitar showcase,
for all factors are given due prominence within the mix, even when the spotlight
inevitably falls on his own lead work.
Michael's excellent supporting crew includes Ruby Turner on backing vocals,
Richard Causon on keyboards, and brothers
Ed and Louie Genis on guitars and scratching respectively; this
represents an extension from his touring band
(just Ed and
the rhythm section of Andy Crowdy and Simon Price). The mere
appearance of scratching on a blues album might seem
heresy to purists, but it's saying something for Michael's
skill that it's selectively and intelligently used and not remotely out
of place.
Although most of the cuts are relatively extended, they stretch out quite
unashamedly and totally naturally
in context rather than exuding workout-fatigue as can often be the case on solo
outings by blues guitarists.
Its sheer diversity is but one of the album's many strengths, being
celebrated stylishly by its unity of purpose.
In the end, then, if you want a blues-based album that's full of excellent
playing, yet startlingly original
and refreshingly different, then don't "messeround", check Michael's
two albums out pronto!
David Kidman "NetRhythms" Nov' 02
Michael Messer Second Mind - An outing of remarkable verve, taste and originality from one of the
UK's premier bottleneck-botherers - and better than 95 per cent of the USA's
current nickel-plated blues output.
With a full band in tow, Messer casts his net wide over traditional blues forms
(the gutbucket Nationalisms of
Jinx Alright, the skiffly, choogling Riverboat), the low-down and
sultry (the Stonesy, raunchsome Love) and far
darker,
starker territory like the threatening Blue Letters, the whispery Big
Wind and the muttered vocals and twisted
Elmore quotes of In The Pocket. Messer's playing is as fab' as ever,
his vocals are reaching new, convincing heights
and the lyrical twists add a dimension rare in modern rootsy Americana. (4 stars****)
Rick Batey GUITAR magazine UK
Michael Messer Second Mind - If last year's King Guitar opened the
ears to the slide guitar talents
of the UK's Michael Messer, Second Mind will confirm him as an artist of
considerable merit. Recorded
(mostly) live in the studio with his regular band, it features 12 cuts that take
his masterful old-style electric &
acoustic playing into new directions. Employing the scratching/looping
techniques of Louie Genis, Second Mind
adopts a Moby-esque edge - turgid pub blues this ain't. Locomotive Skin opens
with a smelly ensemble blues groove;
Hummingbirds In My Soul features Messer's trademark resonator riffing,
which on Big Wind marries a Robbie
Robertson-like spoken vocal peppered with Jerry Douglas-style reso-lines.
Old-style swinging acoustic blues is
catered for aplenty; Bluer Than Blue has bags of authentic Chicago
tension, while Painting The Blues winds
down with laid back old-time country. Refreshingly innovative yet authentic. (
4.5 stars ***** )
Dave Burrluck GUITARIST magazine UK Nov' 02
Click here to read GUITARIST
magazine interview - Feb 2003
Michael
Messer - Second Mind - If you like bluesy slide guitar playing within
the context of a great
band playing vibrant songs, this is the one for you. Opener, Locomotive Skin,
has just enough
of a modern edge with a mid-tempo drum groove and a spattering of record
scratching to keep both
older blues fans happy and new converts intrigued. Blue Letters has a
wide hi-fi production with a thick
grunge blues riff, lazy piano chords and wailing saxophone. The groove is so
thick that by the time the
sultry slide guitar solo enters, you're totally hooked.
Jason Sidwell TOTAL GUITAR magazine UK Jan'03
Michael Messer is a British musician who has gained a reputation
for ability
playing slide guitar (although he is not necessarily confined to that style of
playing).
Michael Messer uses a whole range of blues-based techniques, from acoustic
Son House delta licks to overdriven electric Elmore James. He takes the basic
elements and experiments with sound, rhythm, percussion and lyrical overlays
to create a multi-layered musical tapestry that definitely grabs the attention
making you sit up and listen. Second Mind is a continuation of much of his
previous work, but this latest album proves to be Michael’s most realized
work to date. All the songs are original, written either by Michael or by
Terry Clarke, or in dual collaboration. Lyrics utilize scattered rhyme to
form patterns of symmetry with the music, which is often overlaid with
scratching and vinyl drum-loops and interspersed with samplings of the
ghost voices of such bygone bluesmen as Arthur ‘Big Boy’ Crudup or
Lightnin’ Hopkins – some of which is exceedingly effective. But the
binding force throughout the album is Michael’s probing, driving and
exhilarating guitar work. He also delivers his best vocal performance yet.
Dave Peabody fROOTS magazine UK June '03
Once upon a time, a reviewer would have
noted the influence of Chicago blues on the British
music scene of the 1960s. Thirty or so years later, it is just as relevant
to note the influence
of the British blues revival on contemporary players like Michael Messer. His
sensibilities, in
fact, draw from early Fleetwood Mac, John Mayall, and on occasion, the Rolling
Stones. This,
however, isn’t meant to imply that Second Mind is no more than a revival of the
revival. On
‘Blue Letters’ he mixes a brooding guitar with a back-track of scratching vinyl
to carve out
a sound reminiscent of Chuck Prophet’s later work. It’s fascinating, in fact, to
find two different
artists, one working in America, one in Britain, cross-mixing genres to create
fresh sounds.
These fresh effects would mean little, however, without good songs, and Second
Mind is full
of them. Messer had a hand in most of them and the stylistic range is
impressive. The infectious,
upbeat ‘Hummingbirds in my Soul’ gives way to the atmospheric ‘Big Wind,’ which
in turn
prepares the way for the Stones’ rocker ‘Love.’ The production is clean and
clear, making
sure to keep space between the various guitar parts and tastefully weaving in
bits of keyboards
and gospel singing. The arrangements, taking advantage of the stylistic range,
offer a number
of pleasant surprises. Flourishes of accordion adorn ‘Shine On,’ while harmonica
provides a
little something on ‘Tail Feather Blues.’ All of these elements, along with
Messer’s fine vocals,
make Second Mind a superior release and also a match for his 2001 release, King
Guitar.
Ronnie D. Lankford, Jr. All Music Guide & Windows
Media.com - 2003
Michael Messer, king of the National steel guitar and,
with Joe Ely guitarist Jesse Taylor & England’s
Irish muse Terry Clarke, part of one of the most outrageously exciting
roots-rocking bands ever, Rhythm Oil.
Although Clarke doesn’t appear on Second Mind his presence is pervasive, like
the scent of gumbo on
the breeze, having co-written six of the tracks with Messer & four
others.
The music is a world away from
Messer’s airy Hawaiian phase, the stuff here being raunchy & dirty.
Whether the soulful Hummingbirds In My Soul, the slow & chunky In
The Pocket, there’s a feel
of being on the street in Clarksdale, Messer’s vocals drifting in & out.
There’s more country’ish stuff
(Riverboat) but then you hit the killer smooch of Tail Feather Blues,
a Green Onions riff attacked
from behind by DJ scratching as Messer’s slide duels with harmonica.
Messer’s usual excellent band make
sure things never falter…….the keyboards of Richard Causon
(who’s played with Ryan Adams & the Jayhawks) filling the corners
with hazy swirls.
And yet it finishes with Painting The Blues, a take on 30’s-ish
country. Dark & Demonic.( 4 stars ****)
Nick Dalton. Maverick magazine UK Nov' 02
I just bought a copy of 'Second Mind' and without a doubt it's
one of the most interesting and diverse
albums of the year so far. It's got a beautiful feel all through it, and a wide
selection of tracks that highlight
Messer's enormous talent for trailblazing new material whilst maintaining the
warmth and traditions of the blues.
In particular 'Locomotive Skin', 'Big Wind', 'Love' and 'Bluer Than Blue'
are
the tracks that left me really spinning,
but an album like this should really be digested whole, as it stands out from
start to finish.
AMAZON.CO.UK customer review Nov'02
Second Mind on the
estimable Catfish label - lemme tell ya.....this album rocks! If you like your
blues
steeped in tradition, but twisted right up to date in a variety of creative
& diverse guises, this is for you.
Gibson Keddie GEAR magazine UK
Nov'02
Michael
Messer has now moved up a league into Sonny Landreth territory;
'Second Mind' follows on from 'King Guitar' with original compositions,
carefully-wrought
arrangements and exquisite guitar-playing. An award-winner in the
making...
Cilla Huggins – Juke Blues – Nov '02
Once upon a time, a reviewer would've noted
the influence of Chicago
blues on the English music scene of the 1960s. Thirty or so years later, it is
just as relevant
to note the influence of the English blues revival on contemporary players like
Michael Messer.
His sensibilities, in fact, draw from early Fleetwood Mac, John Mayall, and on
occasion, the
Rolling Stones. This, however, isn't meant to imply that Second Mind is
no more than
a revival of the revival. On “Blue Letters" he mixes a brooding
guitar with a backtrack of
scratching vinyl to carve out a sound reminiscent of Chuck Prophet's later work.
It's
fascinating, in fact, to find two different artists, one working in America, one
in Britain,
cross-mixing genres to create fresh sounds. These fresh effects would mean
little, however,
without good songs and Second Mind is full of them. Messer had a hand in
most of them
and the stylistic range is impressive. The infectious, upbeat “Hummingbirds
in My Soul" gives
way to the atmospheric “Big Wind" which in turn prepares the way
for the Stones rocker “Love."
The production is clean and clear, making sure to keep space between the various
guitar parts
and tastefully weaving in bits of keyboards and gospel singing. The
arrangements, taking
advantage of the stylistic range, offer a number of pleasant surprises.
Flourishes of accordion
adorn “Shine On" while harmonica provides a little something extra
on “Tail Feather Blues."
All of these elements, along with Messer's fine vocals, make Second Mind
a superior release
and also a match for his 2001 release, King Guitar.
Ronnie D. Lankford, Jr. - All Music Guide - Dec '02
Having
shaken up the British blues scene a year or so ago with his King Guitar
album &
his stunning slide playing, Michael Messer is in no mood to sit back & rest
on his laurels.
His knowledge of the blues blues may be encyclopaedic, but he's no purist. Second
Mind
plunges onwards & upwards, his traditional styles infused with an
undercurrent of modern
grooves, scratches & beats. The opening Locomotive Skin is vibrant
& busy as the vocals
& harmonica jostle against the jangling repetitive riff. But as the riffs
relax, the spaces open up
& the scratchy rhythms start adding a subtle, fresh dimension to the blues. Big
Wind gets
positively dreamy & hypnotic as the beats swirl around Messer's growling
vocals; Jinx
Alright grooves along with the hellhound of Arthur Big Boy Crudup's That's
Alright Mama
audibly on Messer's trail; the jazzy country blues of Riverboat leads
to an intruiging
scratch 'n' drum solo; this album is really about invigorating the
blues....again.
Hugh Fielder - Classic Rock - Feb '03
Michael
Messer has a new album out on the Catfish label, entitled "Second
Mind" it serves up
12 tracks of original material in the style of . . . well, in the style of
Michael Messer of course.
Of course there's loads of slide guitar but there's scratching and sampling too,
I'm hearing Arthur
"Big Boy" Crudup's unmistakable voice and fleeting bits of Elmore
James, Lightnin' Hopkins and
one or two others too. The liner booklet proudly proclaims that "no
computers or digital recording
equipment were used in the making of this record" . . . OK, so how did the
stuff get itself into CD
format then? Ignore the studio trickery and focus instead on Messer's slide
guitar aerobics, then
get yourself along to one of his shows and experience a master at work.
Colin Everett - Blues Free Press - Dec '02
There are many facets to Michael
Messer’s career, working not only as a touring and recording
musician but also as record producer, songwriter and expert on the resonator
guitar. His playing
particularly on metal resonator guitars is much admired, and this his latest
outing finds him
surrounded by some pretty sharp musicians, while his much loved National steel
guitar is not
far away. Eleven of the titles are very creative original titles by Messer or
with him working in
conjunction with Terry Clarke, and many of Messer’s musical mentors can be
heard throughout
this set. There are strong suggestions of Elmore James in the forceful opening
title “Locomotive Skin”,
which has an evocative harmonica break from West Weston, and “Jinx Alright”,
has touches of early
Muddy Waters, but above all else Messer is very much his own man.
The vocals by Messer are very distinctive throughout this very
entertaining set and the
added vocal backing by Ruby Turner, on many of the titles, adds great class and
style. His guitar
picking on both acoustic and electric instruments is challenging and engaging,
and the surrounding
musicians, including his long time guitar sideman, Ed Genis. Richard
Causon – keyboards, Alan
Whetton – saxophone, Louie Genis - Turntables, Andy Crowdy – bass, Simon
Price – drums,
all work sympathetically alongside Messer while being allowed their own creative
space.
As mentioned earlier there is some tasty harmonica from West Weston, and
particularly on
another Muddy influenced title, “Bluer Than Blue”, where he is expressive
and controlled.
I think that it is the
inventiveness and experimentation, on this second outing for Messer
on Catfish Records, that I enjoyed the most. There is no doubt that this is a
blues album through
and through, which I think will have a wide appeal, but Messer introduces many
unusual inventive
sounds and ideas that you would not expect on a blues album. Perhaps not all the
inventiveness works,
but I particularly liked the way in which some tracks led one to the other
without a break, which really
works on the final two titles. The
penultimate title is a strong and gutsy electric track, which leads
beautifully, and seemingly naturally into the acoustic final title – a device
often used by others but
not quite so effectively as here. All in all this is a strong set from a man who
really enjoys what he
is doing while willing to take risks, and I hope that I will be able to
see them live while on
tour starting early next year.
Bob Tilling - "Blues & Rhythm" - Dec
'02
for further information contact info@michaelmesser.co.uk
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