Bobby "Blue" Bland Blues You Can Use
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- Released: October 25, 1990
- Originally Released: 1990
- Label: Malaco Records
Song previews provided courtesy of iTunes
Personnel includes: Bobby "Blue" Bland (vocals); Mickey Davis, Bob McNally, Claudette Hampton, Peggy Plucker, Janet Dressle, Steve Dressler, Tim Mika, Patrice Evans, Chris Reidlinger, Mike Hatch (strings); Cybil Cheesman (flute); Jim Horn (bass flute, alto & baritone saxophones); Harvey Thompson (tenor saxophone); Harrison Calloway, Gary Armstrong (trumpet); Charles Rose (trombone); Carson Whitsett, Larry Addison (keyboards); Ray Griffin (bass); Roger Hawkins, James Robertson (drums); Jewel Bass, Catherine Henderson, Charlotte Chenault (background vocals).
Recorded at Muscle Shoals Sound Studios, Sheffield, Alabama.
Personnel: Bobby "Blue" Bland (vocals); Tim Mika, Steve Dressler, Mike Hatch, Bob McNally, Mickey Davis, Peggy Plucker, Janet Dressler, Claudette Hampton (strings); Jim Horn (flute, alto saxophone, baritone saxophone); Harvey Thompson (tenor saxophone); Gary Armstrong, Harrison Calloway (trumpet); Charles Rose (trombone); Larry Addison, Carson Whitsett (keyboards); Ray Griffin (bass guitar); Roger Hawkins, James Robertson (drums); Charlotte Chenault, Jewel Bass, Catherine Henderson (background vocals).
Recording information: Muscle Shoals Sound Studio, Sheffield, AL.
Photographer: Errol Dillon.
The Jackson, Mississippi-based Malaco Records became Bobby Bland's label from the mid-'80s onward. Dating from 1987, BLUES YOU CAN USE is another strong set, showing his ease with both funky grooves ("Get Your Money Where You Spend Your Time") and slow balladry ("Our First Blues Song").
As is generally the case with Malaco, scant information is provided in the package, but the core band is joined here by horns and/or strings, nicely underscoring the needs of each song. A song like "24 Hours a Day" finds Bland in full command, with his trademark snarling snorts zapping out like uncorked electricity. Bland was well into his fourth decade as a performing and recording artist at the time of these sessions, and he both maintains and expands upon the verve and promise of his recordings for the Duke label in the '50s.
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