This is an article that appeared in the April 11th edition of the UMass Daily Collegian.

Taj Mahal

"Phantom Blues"

Private Music

Two years ago, many UMass students only knew Taj Mahal as an architectural wonder in India and a gaudy Hotel in Atlantic City. However, following Taj's performance at the 1994 UMass spring concert, many of you will remember him as the cool cat who brought the house down with his solo act and again later on when he jammed with The Violent Femmes. Taj, a UMass alum of the class of '63, brought the blues home to Amherst that day, just as he has brought them home once again on his new album, "Phantom Blues."
The clever title conveys both the haunting nature of his songs, and the immortal allure of the blues. Taj's stunningly vivacious performance proves the blues aren't dead. As anyone who has seen him live can attest, Taj is a competent guitar player, however on this album guitar honors are given to producer, John Porter. This move allows Taj to concentrate on vocals; spotlighting his whiskey and gravel voice. The raspy bluesman brings to life both familiar and original R&B classics in toe-tapping blues style. Taj explains that the album was, "designed to go down some familiar trails, but to look for new things."
The album leads off with "Lovin' In My Baby's Eyes", a soothing blues with a relaxing mellow rhythm, augmented by Taj's only harmonica playing on the album. Along the way, Taj puts his inimitable "spin" on Fats Domino's classic "Let the Four Winds Blow", complete with a rollicking piano. Blues disciple, Bonnie Raitt, duets with Taj on the upbeat blues shuffle, "I Need Your Loving", backed by a bevy of vocalists echoing the title's assertion. "Ooh Poo Pah Doo" is an amusing sixties tune reminiscent of the great Wilson Pickett.
Consummate bluesman, Eric Clapton handles guitar duties on "Here in the Dark" and "(You've Got to) Love Her With Feeling." On "Here in the Dark", Taj's blues laments are answered by the evocative riffs Clapton pours forth. The latter song, co-written by the late Freddie King, one time Clapton mentor, showcases Clapton's attempt to emulate his idol's guitar phrasings. Unlike recent efforts from fellow blues legend, John Lee Hooker, Taj's album is not overburdened by guest stars. The presence of Raitt and Clapton serve to enhance the character of the songs rather than infringe on Taj's performance.
Throughout the album, Taj manages to balance light-hearted humor with soulful vocal delivery of lyrics like: "I found out my slice on the side has been eating from the forbidden fruit", from "Cheatin' On You". Many songs on the album illustrate the gritty style that has influenced contemporaries like Robert Cray and Stevie Ray Vaughan. Over his thirty year career, Taj has awed as many with his sonic beauty, as his architectural namesake has with its visual beauty. Longevity and an eduring appeal are something else they both share. On this, his third album of the nineties, don't look for him to stop any time soon. Forget about seeing The Taj Mahal, hear Taj Mahal. Grade: A-

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