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Nov 16, 2020 Web Exclusive By Mark Moody

In spite of his rather prolific musical output, from Christmas songs to David Bowie covers, there aren’t a lot of reviews to be found of William Shatner’s recorded work. A bit of supposition, but some likely reasons include: expectation of an excruciating listening experience, assumption that Shatner is a novelty act, and an abject fear that the listener may actually enjoy the record. All three of those come to bear on Shatner’s latest, The Blues. The cover art doesn’t exactly convey the feel of the blues, with a bemused Shatner traipsing through what looks to be the abandoned set of What Dreams May Come.

But, surrounded by a cadre of blues guitarists (Kirk Fletcher, Arthur Adams) and blues wannabes (Brad Paisley, Jeff “Skunk” Baxter), the music here certainly is, well, bluesy. The spoken word vocals, not so much. The spot you would think Shatner’s vocal “approach” would work best is on Muddy Waters’ own talking blues “Mannish Boy.” But alas, it seems Shatner was given the lyric sheet on the way into the studio. Not sure Shatner was informed the spelled out parts of the song actually spell things—like “MAN” and “BOY.” But that’s a relative bright spot compared to a few other tracks. Shatner’s more youthful edge of the prior decade (he’s pushing 90 now), has faded on “The Thrill Is Gone” and it sounds he’s in need of palliative care. “I Can’t Quit You Baby” has the talented Fletcher playing across what sounds like Shatner’s morning constitutional. But the lowest point comes on Howlin’ Wolf’s “Smokestack Lightnin’.” Shatner’s blubbering rendition makes it pretty clear he’s not heard the hair-raising original, or maybe doesn’t care, and Baxter’s gamely play-along does nothing to salvage the wreckage.

In other spots, things are tolerable if not a little bit enjoyable. For those in the know, Brad Paisley is quite the guitar player in spite of his generally innocuous country tunes. He kicks up quite a bit of dust on the opening “Sweet Home Chicago,” and Shatner provides a lively vocal belying his age. The Canned Heat backing on “Let’s Work Together” works well, but rivaling the opener for best on the album is a rollicking “Route 66.” Steve Cropper, nearly 80 himself and long time guitarist for Booker T. & the M.G.’s, puts a flashy but also groove heavy R&B twist to the song. And for Shatner’s part, it sounds like he really practiced for this one! Maybe even Canadians (as Shatner’s blues roots go) have a hankering for a road trip every now and then.

Recorded blues music has been around just a little bit longer than Shatner himself and has survived all fashions of what comes and goes. The blues are resilient music for times when the future doesn’t look so resilient itself. The genre has stood up to more than what Shatner can do to bring it down, and all in all The Blues rolls with Shatner’s punches. The album is replete with plenty of hoots and hollers if you find yourself in the mood for such things. (www.williamshatner.com)

Author rating: 4.5/10