Tinsley Ellis — “Labor of Love” — Alligator Records
Acoustic guitar blues always raises the feral specter of the music’s murky origins, buried in the roots of field hollers and church music, conjured up by the spirits of bluesmen like Charley Patton, Son House and Willie Brown a century ago.
When contemporary blues artists decide to revisit that historical form, they invite listeners on a journey back up the long and winding road of primeval blues history. Some give new life to the original music; others bring that spirit into their own creations. Both can be vital, expressive forms.
Tinsley Ellis, who has been a premier blues-rock performer for decades, has pulled the plug on his own past to live in an acoustic present. His latest album, “Labor of Love,” is a follow to his brilliant 2024 acoustic debut, “Naked Truth.”
While that first impressive solo effort included a few reworked classics, “Love” is entirely Ellis. He’s created a raw and rootsy set of personal songs filled with the emotional essence of the blues, distilled by his expressive vocals and inventive guitar work. On a technical note, Ellis used six different open tunings on his 1969 Martin D-35, his 12-string Martin D-12-20, and his 1937 National Steel O Series guitars. For the first time, he also played mandolin on three songs.
Ellis says the endless possibilities created by those instruments keeps him constantly invigorated by the music. And it shows on this gorgeous session, as he weaves a tapestry of modern tales drawn from the fabric of his spirit.
The opener is the pulsating, hypnotic “Hoodoo Woman,” featuring Ellis sounding ethereal on the mandolin. “Long Time” follows, a rhythmic, mythic and slyly lyrically tale of Adam and Eve. “To A Hammer” (everything’s a nail) is a slowly picked blues that emphasizes a rich vocal. “Sad Sad Song” offers a cheerful mandolin and handclaps as a counterpoint to its mournful lyric.
“The Trouble With Love” is a gentle ballad of unrequited love plaintively sung in a higher register. “Sunnyland” showcases his National Steel in a fierce vocal take. “Whole Wide World” offers a melodic bit of philosophy that says “the whole wide world needs love.” “Sweet Ice Tea” is a tasty blues hungering for “soul food and sweet ice tea.”
“I’d Rather Be Saved” is a gospel-soaked plea to be saved — from his “mean old boss man.” A sprightly mandolin highlights “Too Broke,” with its fatalistic outlook — “never seen a bank truck in a funeral parade.” The delicately picked “Low Land of Sorrow” seeks escape from the low land in the coming storm. Tinsley uses his higher register again to great effect on the elegant love song, “Fountain Of Love.” The closer is the rich gospel of “Lay My Burden Down.” It’s an eloquent, passionate finale to an album filled with eloquent and passionate moments.
“Labor of Love” is just that: A testament to the music that has driven Ellis throughout his career in the blues. As he puts it — “No matter what I play, I like to have an edge. For me, just playing this music is a labor of love. I sat at the feet of Muddy Waters, B.B. King, Howlin’ Wolf. I got into this music because of them. I always told myself if I could just make a living playing the blues, I’d be, at least in my own mind, successful.”
Here’s “Hoodoo Woman” from the album:
Tracklist:
1. Hoodoo Woman 3:12
2. Long Time 2:55
3. To A Hammer 3:40
4. Sad Sad Song 2:33
5. The Trouble With Love 2:59
6. Sunnyland 2:50
7. Whole Wide World 2:59
8. Sweet Ice Tea 2:53
9. I’d Rather Be Saved 4:20
10. Too Broke 3:00
11. Low Land Of Sorrow 3:18
12. Fountain Of Love 2:57
13. Lay My Burden Down 3:28
Blues Roadhouse 