The keen reader might remember Mortal Prophets from a feature we did earlier this year, on the occasion of its acclaimed debut single ‘Stomp The Devil’. The blues-rock outfit helmed by John Beckmann hasn’t slowed down since, crowning its artistry with a wonderful EP. This week, Mortal Phopeths return with a charming double release, ‘Baby Please Don’t Go’ and ‘Cross Road Blues’.
Both are established Blues classics, undergoing a profound transformation under Beckmann’s wise and inspired hands. Featuring saxophonist Dana Colley, ‘Baby Please Don’t Go’ serves up slow-tempo, hypnotic sonic goodness, blending organic and electronic elements seamlessly. Colley’s authoritative baritone sax makes the track solemn in its tone, reiterating the main theme with magnetic repetition.
‘Cross Road Blues’ embarks on a more poignant, relatable approach, borrowing the original Robert Johnson’s lyrics while placing them in heartfelt modern settings. To note, Irish guitar legend William D. Lucey takes care of guitar and production duties. The result is magnificent and provides the perfect backdrop for Beckmann’s gritty, pensive vocals.
Overall, the record encapsulates the essence of John Beckmann’s artistry: innovate and evolve a personal brand of eclectic Blues without forgetting the classics.
Intrigued by the project, we caught up with Beckmann to find out more about the new tracks. Read the wisdom he shared with us down below:
What is the significance of the original “Cross Road Blues” to you?
I’m greatly in awe of Robert Johnson’s heartfelt magic, It’s possibly my favourite song on the album. “Cross Road Blues” has been covered by everyone from Eric Clapton and Cream, to many others. Regardless of its mythology and various renditions, Johnson’s recording was indeed a pivotal one, it has truly stood the test of time.
Historically the song has been used to perpetuate the mythos of Johnson selling his soul to the Devil for his newly founded musical ability. In the simplest reading, Johnson describes his grief at being unable to catch a ride at an intersection before the sun sets. However, many historians see different levels of meaning and some have even attached a supernatural significance to the song.
Within the context of this full LP, where does “Crossroad Blues” fit story-wise?
The album begins with the first two songs which are by Johnson and they act as a spiritual and historical underpinning from which the album begins its journey.
In collaboration with William Declan Lucey, how did you conceptualize this single on a sonic basis? And how did that collaborative process pan out?
Robert Johnson was a solo guitarist. I wanted to reconceptualize the song with more elaborate instrumentation, to imbue it within a more experimental contemporary framework, hence the drifting electronic atmospheric and shimmering guitar treatments. In a way, letting the original lyrics drive the production, without directly copying all of the musical elements directly from the original, they are still there and recognizable, but approach it with a fresh and modern sensibility.
William and I collaborate effortlessly, it’s a very fluid and dynamic relationship that we have, he understands what I’m after and made some fantastic contributions musically, he’s very talented.
Recommended! Discover the singles on November 4th, on your favourite streaming platform.
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