Joan Osborne digs into her blues and soul roots

Joan Osborne’s 1995 smash, “One of Us,” may be the best thing that ever happened to her commercial fortunes, but her inability to follow-up its chart-topping success is more likely the best thing that ever happened to her artistry. In the wake of the triple-platinum Relish, Osborne receded into touring, social activism, musical study and guest appearances, taking five years to issue a follow-up that couldn’t possibly repeat the success of her major label debut. But in failing to sell millions of copies, Righteous Love freed Osborne from the expectations of another lightning strike, and set her on a path led by musical muses. She explored classic and original soul, recorded country and Americana, and even reunited with the team that had produced Relish.

Her first set of soul covers, 2002’s How Sweet It Is, featured modern production that was at odds with the material’s grit. Her second set, 2007’s Breakfast in Bed, is the more direct antecedent to this new album, with funkier arrangements that seem to have been inspired by her terrific appearance in Standing in the Shadows of Motown. For her latest set of covers, Osborne’s picked songs in which she hears the blues, going beyond the standard I-IV-V to find songs that connect to the emotion. It’s a diverse set, ranging from blues standards popularized by Sonny Boy Williamson, John Mayall, Muddy Waters and Slim Harpo to soul sides from Ray Charles, Ike & Tina, Betty Wright, Bill Withers, Otis Redding and Al Green.

The album breaks from the gate in full stride with a propulsive version of Ashford and Simpson’s “I Don’t Need No Doctor” that heats up Ray Charles’ 1966 original. Drummer Aaron Comess and bassist Richard Hammond lay down a wickedly funky bottom end punctuated by Chris Karlic’s baritone sax, and the Holmes Brothers’ backing vocals push Osborne to great heights of protest. Osborne’s equally effective singing low and seductive, taking the band with her on Muddy Waters’ “I Want to Be Loved.” The song list features some deep singles, including Olive Brown’s R&B “Roll Like a Big Wheel,” and album tracks such as John Mayall’s solo “Broken Wings.”

Some of the better known tunes accrue layers from multiple earlier covers, such as how Willie Dixon’s “Bring it on Home” picks up notes from both Sonny Boy Williamson’s original and Led Zeppelin’s more lascivious cover, and James Moore’s “Shake Your Hips” picks up from Slim Harpo’s original and the Rolling Stones’ well-known remake. Others are sung in straightforward tribute to the originals, such as Betty Wright’s “Shoorah! Shoorah!” (with songwriter Allen Toussaint pitching in on piano), and at least one, “I’m Qualified,” keys entirely off a soul cover (by Clarence Carter) rather than the R&B original (by Jimmy Hughes).

Osborne’s shown herself to be a terrific interpreter of classic blues and soul material, but it’s something she’s shown before. Perhaps that’s enough – there are few singers with a musical sensibility as good as hers, or a voice that’s gained as much character with age. Still, given her proven ability to write, as well as her (and her production team’s) great ears for songs, one has to ask whether she should be defining material, as well as redefining it. In the end, though, these songs are sturdy enough to merit multiple interpretations, and Osborne’s covers are like colorful patina layered on classic pieces of art. [©2012 hyperbolium dot com]

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