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Keb' Mo': The Door

 A l b u m   D e t a i l s


Label: Epic Records
Released: 2000.10.10
Time:
 49:00
Category: Blues
Producer(s): Russ Titelman, Keb' Mo'
Rating: *******... (7/10)
Media type: CD
Web address: www.kebmo.net
Appears with:
Purchase date: 2003.10.02
Price in €: 9,99



 S o n g s ,   T r a c k s


[1] The Door (K.Moore/L.Ware) - 3:56
[2] Loola Loo (B.McFerrin/K.Moore) - 4:12
[3] It Hurts Me Too (E.James/M.Sehorn) - 5:27
[4] Come on Back (K.Moore) - 4:57
[5] Stand Up [And Be Strong] (C.Gibb/K.Moore) - 2:26
[6] Anyway (K.Moore) - 3:36
[7] Don't You Know (K.Moore) - 4:20
[8] It's All Coming Back (K.Moore/J.L.Parker) - 4:46
[9] Gimme What You Got (K.McCormick/K.Moore) - 4:11
[10] Mommy Can I Come Home (M.Manchester/K.Moore) - 3:10
[11] Change (K.Moore) - 4:16
[12] The Beginning (B.McFerrin/K.Moore) - 3:43

 A r t i s t s ,   P e r s o n n e l


KEVIN "Keb' Mo'" MOORE - Guitar, Harmonica, Vocals

MICHAEL DAVIS - Trombone
DAVID MANN - Tenor Saxophone
LEW SOLOFF - Trumpet
JIM KELTNER - Drums
LAWRENCE FELDMAN - Alto & Tenor Saxophone
GREG LEISZ - Pedal Steel
REGGIE MCBRIDE - Bass
GREG PHILLINGANES - Synthesizer, Pedal Steel, Keyboards, Guitar Synth
FREDDIE WASHINGTON - Bass
FREDDIE "Ready Freddie" WASHINGTON - Bass
SERGIO GONZÁLEZ - Percussion, Drums
STEVE JORDAN - Percussion, Drums

ROB MOUNSEY - Conductor, Horn Arrangements, Horn Conductor
TOMMY EYRE - String Arrangements, Synthesizer Strings
SCARLETT RIVERA - Violin
GERRI SUTYAK - Cello
THOMAS TALLY - Viola
MICHAEL DAVIS - Trombone

MARVA HICKS - Vocals, Background Vocals
DENNIS COLLINS - Vocals, Background Vocals
JAMES "D-Train" WILLIAMS - Vocals, Background Vocals
LEON WARE - Vocals, Background Vocals

JILL D. ABATE - Producer
JILL DELL'ABATE - Producer, Production Assistant, Additional Production
DAVE O'DONNELL - Engineer, Mixing
MARK JOHNSON - Engineer
RYAN SMITH - Mixing, Mixing Assistant
BILL LANE - Assistant Engineer
JASON STASIUM - Assistant Engineer
TIM OLMSTEAD - Assistant Engineer
TED JENSEN - Mastering
ART SMITH - Guitar Technician
JOEL ZIMMERMAN - Art Direction
MICHAEL CAPLAN - A&R
JOHN BONCIMINO - Management
JOANN TOMINAGA - Production Coordination
JOHN HALPERN - Photography

 C o m m e n t s ,   N o t e s


2000 CD OKeh/550/Epic 61428
2000 CS OKeh/550/Epic 61428
2000 SCD OKeh/550/Epic 61428



Keb' Mo''s self-titled first album, from its Robert Johnson covers to its appearance on a resuscitated Okeh Records, seemed to suggest the arrival of a Delta blues traditionalist, even though the former Kevin Moore was really a Los Angeles native who had kicked around the music business for years playing various styles of music. The follow-up, Just Like You, was therefore a disappointment to blues purists, since it clearly used folk-blues as a basis to create adult contemporary pop in the Bonnie Raitt mold. But to the music industry, that was just fine, since it fostered the hope that here was an artist (finally!) who could find a way to make the blues — consistently revered but commercially dicey — pay, and Keb' Mo' won a Best Contemporary Blues Album Grammy for his effort. Slow Down (1998) brought him a second Grammy and got even higher in the charts. The Door is more of the same. Keb' Mo''s slightly gritty voice and fingerpicking are the focus of the music, but he does not hesitate to add mainstream pop elements, beginning with writing partners who include Bobby McFerrin and Melissa Manchester, and continuing with a backup band that features such session aces as keyboard player Greg Phillinganes and drummer Jim Keltner. This is music that is folkish and bluesy rather than being actual folk-blues. Just in case anyone hasn't gotten the point yet, Keb' Mo' begins the album's sole cover, Elmore James' "It Hurts Me Too," in authentic folk-blues style, after which the arrangement lurches into a heavily percussive, anything but traditional direction. It's fair warning that the singer/guitarist is interested in tradition only as a jumping-off point. Maybe that's what "contemporary blues" is.

William Ruhlmann, All-Music Guide, © 1992 - 2003 AEC One Stop Group, Inc.



Da sitzt jeder Ton, wo er hingehört, nichts stört. So können sich die ruhigen Songs prima entfalten. Keb's warme Stimme und sein gefühlvolles Gitarrenspiel verleihen der Musik noch mehr Tiefe und Seele.

M. Sohn in Audio 1/01



Singer-guitarist Kevin Moore, known by his slangy abbreviation Keb' Mo', has already enjoyed commercial success. He's cut radio hits like "I Was Wrong," toured with Bonnie Raitt, and won Grammys for his last two albums. Yet this time, Moore's truly nailed his blues-pop ambitions with a warm mix of sonics and songcraft. The Door wraps spare arrangements around Moore's bone-deep slide guitar and the slow-granite foundation of drummer Jim Keltner and bassist Reggie McBride. They catch the spirit of the music's simple country roots, but spin savvy moves like updating Elmore James's "It Hurts Me Too" with a hip-hop groove that flies. Moore has also penned wise, sweetly emotional lyrics. He weaves themes like class-consciousness (the star-crossed love ode "Anyway") and poverty of the spirit ("Change") into heart-tugging ballads colored by the chocolate-y Mississippi moan of his voice. Add in flourishes of electric jazz guitar and some nasty rock tones, and this tallies up as his most ambitious, balanced CD. But shouldn't he have called it The Do'?

Ted Drozdowski, Amazon.com



Der Sänger und Gitarrist Kevin Moore, bekannt unter der Slang-Abkürzung seines Namens Keb' Mo', hat bereits seinen kommerziellen Erfolg erreicht. Er hat Radio-Hits aufgenommen wie "I Was Wrong", er war gemeinsam mit Bonnie Raitt auf Tour, er gewann Grammys für seine beiden letzten Alben. Dieses Mal hat Moore jedoch seine Blues-Pop-Ambitionen mit einem gefühlvollen Mix von Klängen und songcraft ergänzt.
The Door umgibt Moores tiefes Gitarrenspiel, die bedächtige Untermalung des Schlagzeugers Jim Keltner und Reggie McBride am Bass mit zurückhaltend angelegten Arrangements. Sie erfassen den Geist dieser Musik, die aus einfachen Country-Wurzeln erwachsen ist, aber es gelingen ihnen kluge Schachzüge wie zum Beispiel eine Adaptation von "It Hurts Me Too" von Elmore James mit einem HipHop Groove, der nur so fetzt.
Moore hat kluge, gefühlvoll bewegende Texte geschrieben. Er entwickelt Themen wie Klassenbewusstsein (die unglückliche Liebesode "Anyway") und Anspruchslosigkeit ("Change") und macht daraus ergreifende Balladen, die von der Mississippi-Klage in seiner Stimme ihren speziellen Charakter erhalten. Hinzukommen noch Passagen mit elektrischen Jazz-Gitarren und einige heftige Rock-Klänge, und all dies wird dann zu seiner anspruchsvollsten und ausgewogensten CD. Aber hätte er diese Platte nicht The Do' nennen sollen?

Ted Drozdowski, Aus der Amazon.de-Redaktion



Zu Elmore James' Klassiker "It Hurts Me Too" drömmelt es im Hintergrund Didg-mäßig, schwer dröhnen die Trommeln. Keb' Mo' sichtet mal wieder die Songs der Väter und steckt sie in moderne Klamotten. Der schwarze Shooting Star des Pop-Blues spielt auf seinem vierten Album zwischendurch aber auch traditionelle Töne, etwa beim Zupfen à la Mississippi John Hurt. So breit ist die Palette des Soundforschers, dass auch seine eigenen Werke stets abwechslungsreich bleiben. Vom Banjo-Loop mit frechen Keyboards und den kernigen Drums von Steve Jordan oder Jim Keltner bis zur einsamen Gitarre, vom Disco-Stoff mit Streicherteppich oder Nasty Fonk bis zur Verandamusik reicht die Palette des Songschreibers, der für seine Themen diesmal immer den passenden Griff in die Grabbelkiste der Roots-Geschichte getan hat. Ganz hübsch.

© Blue Rhythm (11/00)- Werner Griff



The Door has been given a bigger push, its rerelease prompted by Mo's high profile gigs with BB King. The LA-based Kevin Moore was re-christened at the start of the 1990s to mark his born-again bluesman conversion, but Mr Mo' isn't so steeped in rustic bluesology this time. The general feel's still there at every turn, even if, on a number like "Come On Back", it's running in the background of some frothy West Coast soul. Mo' keeps up both aspects of his sound, ranging from the completely solo porch-style delivery of "Mommy, Can I Come Home" and "Loola Loo" (only a treading foot for time-keeping) to the full band (plus horns, strings and gospel chorus) work-outs of "It's All Coming Back" and "Gimme What You Got". On the swinging title track (certainly a most optimistic opener), Mo' manages to capture electric and acoustic vibes simultaneously, then cannily frills "It Hurts Me Too" with subtle electronic textures, giving the old Elmore James chestnut a bold and booting treatment.

Martin Longley, Amazon.co.uk Review
 

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