Brian Jones’ Wet Dream: North Mississippi Allstars (Acoustic) at World Cafe Live

Townspeople, judging by the poll results, it would seem you know your Moderator well, but I have some news that might shock you as much as it’s shocked me: I loved tonight’s North Mississippi Allstars show at Philadelphia’s World Cafe Live. The band – playing an acoustic set, no less – went from respectable to impressive to dazzling to moving over the course of their set. I was impressed by their musicianship, their comfort, and their humility.

These guys are Brian Jones’ wet dream. Three dedicated followers of the American music tradition with plenty of natural style but totally devoid of cliched “Southern” and “black” manipulations of self-conscious white folks. There was no alt-country/Americana moaning and mumbling. No swigs from the Southern Comfort bottle filled with apple juice. None of that nonsense. Even their Look was cliche free: the two Dickinson brothers were tiny, and lacking in muttonchops.

How well Brian would have done in the roll of the jack-of-all trades drummer (in electric shows) who, in tonight’s acoustic configuration, played rhythm guitar, piano, and washboard. Brian would have stayed on his true path, maybe sired another 2 dozen illegitimate children, but kept the flame burning.

The lefty bassist was a huge black man who leaned back, rested his bass at the top of his ample belly, and easily drove the songs along. He took lead vocal on 2 songs, “Everybody Needs Someone to Love” (or whatever that Solomon Burke [I believe] song is called [the song the Stones cover on their first live album]) and “Sittin’ on the Dock of the Bay”. The guy delivered the goods with good humor to boot.

Leader – and I mean Leader in that ideal way that I spoke of last week, when I realized the missing link in many bands I don’t like – Luther Dickinson was a tremendous, relaxed guitarist, playing a lot of slide fills between his fingerpicking. He played a number of extended solos that reminded me of Duane Allman. Better yet, he sang in a deep, straightforward, manly voice – never once getting into blackface or any sort of crowd-pleasing rebel yell. Even when he was singing lyrics about women shaking their asses or people getting drunk on whiskey, he refused to resort to some cliched delivery to play up to the crowd’s multiple hang-ups about being white and living in a northeastern city.

And one more thing: Luther Dickson and the bassist had almost no treble on their instruments, which gave them a very manly sound. How I hate trebly noodling on acoustic instruments. This lead guitarist got a very deep, bassy tone out of his acoustic pickup/mic’ed dual amp setup.

I’m sure I’m forgetting a dozen other things they did just right, such as the singer’s subtle, classy ways of signalling to the soundman. Take my word, these guys are well worth seeing if they come to your town, especially if they play an acoustic set. If The Grateful Dead could actually play and sing and could demonstrate exquisite taste – and if they oculd kick out half their members – they’d be like the North Mississippi Allstars.

The band members sang and played like they’d lived this music, and based on AMG blurbage, it’s clear they have, so don’t feel the need to point this out! I wish I could be more ariculate regarding my surprising love for this show. It helped me that their style of the blues was of the country/porch variety, with songs following one of the following templates that I happen to like:

• “Mystery Train”
• “Prodigal Son”
• “Hip Shake Boogie”
• The ascending solo in “In Memory of Elizabeth Reed”

And did I mention that their musicianship and attitude were tremendous? What ultimately helped me embrace them, however, was their avoidance of all the hokey things I pick on when usually confronted with any music along these lines. Oh, they also made mention of having contributed to the film Black Snake Moan, followed by a joke about having worked on the movie. BONUS POINTS!