British blues legend John Mayall has been leading one version or another of his influential Bluesbreakers band for over 40 years now. The 1980s Bluesbreakers version may well represent the band's best incarnation since Mayall made stars of guitarists Eric Clapton and Peter Green at the dawn of the '60s. Featuring guitarists Walter Trout and Coco Montoya, this line-up recorded two albums: 1985's Behind The Iron Curtain, a live recording of a show in Hungary, and 1988's studio effort, Chicago Line, before Trout and Montoya went on to successful solo careers.
John Mayall's Bluesbreakers Live at Iowa State University
In 1982, John Mayall brought together members of the late-1960s incarnation of the Bluesbreakers (including Mick Taylor and John McVie) to hit the road for a couple of tours and subsequently film a concert documentary. Mayall had so much fun rockin' the blues that he decided to throw together a brand new Bluesbreakers, enlisting six-string wizards Trout and Montoya to fill out the ranks. It's this version of the band, with bassist Bobby Haynes and drummer Paul Hines, which traveled to Iowa State University in 1987 to perform in the intimate setting of The Maintenance Shop.
Live at Iowa State University kicks off with the soulful "Birthday Blues," the band building a slow, funky groove that Mayall embellishes with some energetic B-3 work. They jump right into Mayall's original "Rolling With The Blues," the British blues-rock legend strapping on his axe and kicking out a wiry swamp-blues vibe. Trout adds to the texture of the performance with a mournful, tearjerkin' solo, the notes dropping like lightning bolts from a thunderhead, the audience stunned but pleased by the sudden storm.
Down On Parchman Farm
Much beloved by blues-rock bounders, Mose Allison's classic "Parchman Farm" features Mayall's rollicking harpwork, the frontman blowing an extended solo like hellhounds (or Sonny Boy) were on his trail as the band keeps a locomotive beat. Switching to keys, Mayall taps out a bluesy Morse code at the board. The rest of the boys gradually segue in, the song ending with manic harmonica and Mayall's vocals, which are a unique blend of olde-world British accent, Southern twang, and Laurel Canyon patois.
"Riding On The L&N" is more of a hillbilly rave-up, a roots-rock stomp-n-strut with Mayall's best John Fogerty vocal approximation, plenty o' slinky slide-geetar courtesy o' the elder bluesman, and a scorched-earth solo by Trout. Montoya gets in a few choice licks, and the train just keeps a rolling 'til it reaches the station in a high-speed blaze of screaming guitars and fist-pounding drumbeats.
Little Walter's It Ain't Right
Mayall picks up the harp again for the Little Walter gem "It Ain't Right," throwing out a passable performance on what is - let's face it - a blues harp classic. Mayall does a fine job of juxtaposing his vocals with the harmonica, kicking up the dust with an inspired solo. Trout is up front on the blustery instrumental "Steppin' Out," notes flying off his fretboard and circling the audience like vultures at a feast.
Mayall jumps-n-jives with his manic keyboard-bashing, and the band delivers an unrelenting groove that the soloists ride all the way to the bank. Montoya moves out of the shadows, venturing into the audience to rip off a little magnesium-flare solo of his own, one of his few opportunities to shine in what is decidedly the "John & Walt Show."
Mayall's Room To Move
"Room To Move" is a rump-shaking R&B roller with foot-stompin' harpwork, Mayall's best vocal gymnastics, and some fine dusky keyboards. Mayall does a little chicken-scratching with the harmonica, even scat-singing into the mic, while Trout cranks out another powerful solo. After an extended standing ovation (caught on camera), the band returns to close out with an encore, a smoldering reading of Mayall's "One Life To Live."
Mayall pulls off his best Delta bluesman vocal performance, and Montoya is up in the rafters pulling strings like a veteran puppetmaster. Trout burns down the barn while Mayall bangs out jackhammer rhythm guitar like he's breaking up concrete.
Bonus Features?
Let's break it down point-by-point, shall we? First of all, the stated running time of 85 minutes is disingenuous at best...the actual performance segment is less than an hour in length. The remaining time consists of trailers for other DVDs, and other bonus stuff.
As for the bonus features, the John Mayall backstage "interview" is completely worthless, the British bluesman answering a single question, clocking in at under a minute, and with distorted sound to boot. Discographies for Mayall, Trout, and Montoya are OK, providing both album covers and a text listing for each artist.
A text-based feature that somebody found on the Internet, "So You Want To Sing The Blues?," is marginally funny, stating such eternal truths as "teenagers can’t sing the blues, they ain't fixin' to die yet." It also says that "ugly white people got a leg up on the blues," so I guess that your humble guide is in good standing.
The Reverend's Bottom Line
Regardless of the failure of the DVD's "extras" to be even remotely interesting, it's the band's performance that prompts one to pony up a Hamilton and a handful of Washingtons for the disc. For fans that love blues-rock guitar and electrified harp that breaks the sonic barrier, this performance will make your day. John Mayall's Bluesbreakers deliver a clear statement of blues-rock dominance with Live at Iowa State University, the DVD providing the viewer a rockin' good time! (Quantum Leap/Music Video Distributors)
