Album Review: Mississippi Heat – Don’t Look Back

Israel-born with Belgian roots, Pierre Lacoque doesn’t – at least on paper – present as the most likely of authentic blues artists. But beginning with 1992’s Straight from the Heart, he and his group Mississippi Heat have been reliably churning out quality, real-deal blues releases. The band name notwithstanding, Mississippi Heat is based in Chicago. The group’s 14^th set, Don’t Look Back signals a return to that city’s Delmark Records, the album that released six of their most well-regarded releases in the period 2005-2016.

Per Lacoque’s time-tested approach, the band on Don’t Look Back is a large and versatile one. No less than 21 musicians are credited on the album; notable personnel include singer-harpist Omar Coleman (harp on two tracks), Danielle Nicole (vocals on two tracks) and spectacular pianist Johnny Iguana on nine tracks. Powerhouse vocalist Sheryl Youngblood provides vocals on nine tunes, and Lacoque is on hand for unamplified harp on all tracks plus amped harp when duetting with Coleman.

There’s a rollicking, good-timing vibe right out of the gate with “You Ain’t the Only One”; a loping beat chugs along with plenty of verve and sass, and for bonus points a subtle gospel feel. Lacoque peels off an impressive solo that listeners will wish went on longer.

With an early rock and roll feel, the guitar work on “Third Wheel” adds another element, and underscores the band’s skill and adaptability. The jump blues of “Quarter to Three” is exuberant and insistent, and – though it’s initially low in the mix – Iguana’s piano is the icing on the cake. When he takes a solo, it’s a thrill ride.

Johnny Iguana shares center stage with Youngblood on the dripping-with-emotion “Stepped Out of Line.” Joined by the soulful Nadima vocal ensemble (Nanette Frank, Diane Madison and Mae Koen), Youngblood turns in one of the album’s best performances. And Nadima is also on hand for superb vocal support on four other cuts on Don’t Look Back.

On “Can’t Take It,” Youngblood’s spirited voice spars in lively fashion with Lacoque’s harp, the band pummeling along in tight formation. The musicians pull out all the stops – and Lacoque blows like mad – on “Love (It Makes You Do Most Anything).”

The band turns nostalgic for “The Sock Hop,” a tune that digs into the space where blues and early rock and roll connected. The party-oriented lyrics (and backing shoo-be-doo-wop chorus work) match up seamlessly with the horn-heavy arrangement. The overall proceedings stick faithfully close to the blues idiom, exemplified by the bouncy title track. Coleman takes the spotlight for a lead vocal on the album closer, the hard-charging “Four Steel Walls.” It sports a feel that’s subtly different from the rest of the album, but it’s so good that few will mind.