Track Listing

1. Shake (Yo Mama)
2. Keep The Devil Down
3. Soldier
4. Eaglebird
5. I'd Love To Be Happy
6. Mizzip
7. Blow Out
8. Come Go With Me
9. Rooster's Blues
10. Take Your Time, Rodney
11. Long Way From Home

Product Details

• Amazon Sales Rank: #71709 in Music
• Released on: 2008-01-22
• Number of discs: 1
• Dimensions: .10 pounds

Album Description
2008 release, the band's first studio album on their own label, Songs of the South Records. Hernando also marks the first release since 2005's critically lauded and Grammy-nominated Electric Blue Watermelon. Where EBW was a tribute to the tradition of the Hill Country Blues legacy that has always influenced the band, the brothers Dickinson, Luther (guitars, vocals) and Cody (drums) and bassist Chris Chew, decided to cut the lines from the past with the new record and create their most personal sonic statement to date. To celebrate this newfound unity in independence, they called the record Hernando, which is the name of the town the trio grew up in together.

Amazon.com
Combine the fatback guitar tone of Eric Clapton during his Cream days with the slap-back rhythms of the delta, and you’ve got the spontaneous combustion that fires through the best of Hernando. After excursions into psychedelic jamming, this Mississippi trio returns to its roots, titling the CD after its hometown and drawing deeply from blues and early rock & roll. The results showcase the virtuosity of guitarist Luther Dickinson more prominently than ever, though drummer and brother Cody takes a vocal on "Mizzip," a celebration of good times in their home state, and bassist Chris Chew sings "I Would Love to Be a Hippy," where the borderline novelty lyrics contrast with the sweet subtlety of Luther’s guitar. Producer-pianist-patriarch Jim Dickinson lets the interplay develop organically. While the first four cuts bring out the band’s juke-joint best, the aptly titled "Long Way from Home," a harmony-laden ballad, shows that the Allstars still have fresh territory to explore. --Don McLeese

Customer Reviews

Shakin' What Their Mamas Gave 'em
Here the Allstars are getting back to basics, after a badly cluttered album (Electric Blue Watermelon) that was weighed down by too many guest stars having an unfocused and inefficient party. Hernando returns us to the mean swamp blues as delivered by just the Dickinson Brothers and Chris Chew, with help from only a couple of guest singers and with East Memphis Slim occasionally chipping in on piano. This has encouraged the three Allstars to focus their attack, in the process creating some of their heaviest and lowdownest grooves yet. Longtime fans will be pleasantly surprised by the sinister swampfests in "Keep the Devil Down" and "Rooster's Blues," while the band has significantly darkened their lyrical outlook in "Soldier" and "Long Way from Home." But rest assured that there is some fun on this album as well, with a joyous carnival dance vibe in "Mizzip" and a rollicking rave-up in "Blow Out." Here the Allstars show us what they're really good at - lean and mean southern blues rock with a minimum of adornments. The nastier, the better... and here we have the Allstars at their nastiest and best. [~doomsdayer520~]

The Allstars' Greatest to Date. Essential.
It is not a secret to anyone familiar with this band that their best work has been and is created on stage in front of an audience night after night. Who I consider to be the modern day equivalent to the Jimi Hendrix Experience or Cream, these three guys make up arguably one of the best improvisation trios around today. Maybe one of the best American rock 'n' roll trios in the history of the genre. Their musical interaction is hardly ever short of impressive, and I contend that they are one of the most exciting acts touring today.

That being said, their track record for making studio albums is less than inspiring. Their first release, "Shake Hands with Shorty," offers a track list of classic Hill Country blues standards that have become staples in the band's live shows. Unfortunately, the track list isn't enough to carry the album, as it suffers from over production, excessive overdubs, and lackluster performances compared to their live renditions of the same songs.

Their next release, "51 Phantom," was a definite improvement in production and in studio performance over the first album, but the sophomore effort is quite unbalanced. It seems to be a hodgepodge assemblage of classic Hill Country tunes (Lord Have Mercy), straight ahead blues rock (Sugartown, 51 Phantom), jam band exploration (Ship), electric folk (Leavin,' Storm), and loud, unruly metal (Mud). Needless to say, it is apparent when you listen to this album that unity was not something the band was striving for on this record.

"Polaris," the band's third release, is generally excepted by the majority of their fans as the disc best left in the shrink wrap, as the band ignores all the aspects of their playing and songwriting that make them unique. While there are a few forgotten gems on the disc, the album is a mostly a collection of pop/modern rock pieces that would likely make the average Nickelback or John Mayer fan wet in the underpants.

"Electric Blue Watermelon" was the next release. With guest artists on many of the tracks, this album does not have the feel of a North Mississippi Allstars performance throughout. It's nice to hear the country side of the Allstars on a few tracks, and the album contains some songs that became instant classics in the live setting. Overall though, "Electric Blue Watermelon" falls under the category of "an okay album."

"Mississippi Folk Music - Volume One" was a nice acoustic recording, but acoustic music just doesn't showcase the band in their true element.

With this history of recorded output, I wasn't sure what to expect out of "Hernando." The unpredictability and lackluster nature of their previous releases had me skeptical. But my fears appear to be unfounded after listening to this album numerous times. The album does not lack unity, a good set of songs, or quality performances. The only thing it lacks is a bad cut.

The opening track, "Shake," is a foot-stomping Allstars original based primarily on a static Ab7 chord, sounding like it could have been penned by one of their Hill Country Blues mentors. The modulating guitar riff that glues together "Keep the Devil Down" sounds like something that Jimi Hendrix would have written during his "Cry of Love" period. "Soldier," the band's musical tribute to the victims of Hurricane Katrina, showcases Luther Dickinson's ability to play inspiring, psychedelic solos that encompass his blues influences and 60's rock influences. "Eaglebird" opens with a Zoso-era Zeppelin type lick and segues seamlessly into a John Lee Hooker style boogie groove. Instead of the momentum killing ballad that most bands seem forced to throw in after four heavily rocking tracks, the North Mississippi Allstars slow things down with "I'd Love to Be a Hippy." Featuring one of Chris Chew's greatest vocal performances, this slow blues not only has great lyrics but also a guitar solo that Luther Dickinson is able to channel the likes of Wes Montgomery and Albert King during a single chorus. "Mizzip," Cody Dickinson's compositional contribution to "Hernando," brings the album's overall tempo back up to speed with a song that can be best described by the word "fun." Keeping up with the `50s/60's feel of "Mizzip," "Blow Out" is a rockabilly romp that clocks in well under the two minute mark. Luther's solo proves that he has heard a Chuck Berry record or two, as he nails the `50's rock `n' roll guitar style perfectly. "Come with Me," takes the mellow approach to Mississippi blues-rock, "Rooster's Blues" takes the heavy approach, and "Take Yo' Time, Rodney" finds a great middle ground between the sounds of the previous two. The closing track, "Long Way from Home," is an earthy, mellow end to a predominantly guttural album. With a sound similar to a ballad by The Doors, Luther Dickinson provides some of his most exploratory soloing on the album.

While I have never had a problem calling the North Mississippi Allstars a great band, this is the first album they've recorded in the studio that I feel comfortable calling a great album.

Good 'ol swampy blues rock...
This is the best NMA effort since 51 Phantom, IMO. The three guys are sticking to what they do best...rock blues with a southern swamp tinge! Luther straps on a Strat this time around and lays down some dang cool Hendrix tone in his playing..dead on, man! As a result, this album has a little harder edge to some of the songs than Electric Blue Watermelon, and that's a good thing. A couple of live NMA mp3 albums from their website featured Luther doing his Hendrix stuff, and I'm glad he was able to carry that side of his playing to the studio this time...highly recommended for all NMA and blues/southern rock fans...and Hendrix fans!!

When are you coming back to Utah, guys????