That's Life Kim Wilson Antone's Records

For much of Kim Wilson's musical career he was the original harmonica player for the legendary Texas band, The Fabulous Thunderbirds. Some say it was Jimmie Vaughn's work at the heart of that group, but l'm convinced that it was Wilson's harp that set the tone and muscle for that group. It was his wailing yet controlled playing that set that group apart from most blues band throughout the '70s and '80s. This second solo offering clearly shows him to have the feel and energy, plus the musical acumen and virtuosity, necessary to be declared one of the best blues harp players on the scene today.

Wilson's sound is rough. On "Don't Bite the Hand that Feeds You" he growls and moans his way through a shuffle rhythm accompaniment, reminiscent of the great Chicago harpist Junior Wells. But where Wells strives to fit with the musicians he works with, most notably Buddy Guy, Wilson pushes the action, making other musicians take chances that they might never feel appropriate.

Wilson's unique harp sound lies in the muffling effect he embraces. Rather than opening up the harp, allowing the ringing upper register harmonies to pierce the air, Wilson's signature sound is heard when he keeps the harmonies tight and low. Thus, like Eric Clapton's or Johnny Winter's blues guitar playing, when you hear a hollow, muffled harmonica it is a good chance that it is Wilson doing the blowing.

Wilson has teamed up with some first-rate side musicians on this recording. The incomparable guitarist Duke Robillard, whose solo on "Baby Please Don't Lie to Me" is outstanding, opens on side one. Rust Zinn, a guitar phenom from Austin, ably supports Wilson on the R&B chestnut "Time Is On My Side." The super session guitarist from the '50s and '60s, Clarence Holliman, shows why he's been in the business for over 30 years. His work on "Teach Me (How to Love You)" is straight out of his work for the Duke/Peacock label out of Houston. It's simply first rate.

When I first played this recording to some friends at O'Sullivan's it received four thumbs up but one thumbs down. The complaint? Too short. I have to agree. At just under 40 minutes the recording does seem to be over well before one would like it to be.