Among Atlantic Canadian producers and musicians, Mike Trask seems unique; with his affinity for analog and a style of music that has become increasingly idiosyncratic with each release, Trask is continually surprising us. His latest release, “Great God Almighty,” is a clear indicator that, rather than having independently manifested his own form of rock and roll, Trask has some very real influences, especially when it comes to the blues.
So, we asked him for the Top 10 blues albums that have influenced him the most.
A favourite at Trask’s live performances for years, “Great God Almighty” was recorded in the summer of 2018, and originally intended to be included on his latest LP, TV Dinner (2021). “Great God Almighty” failed to pass the album’s vibe check, but not for any lack of merit. It’s simply too deep into the blues.
While the single was appropriately set aside and has subsequently been released as part of Trasks’s new digital-only VAULT series, it reveals a far deeper appreciation for the blues than Trask has displayed in much of his recent work.
We asked Trask to discuss his favourites of the genre from his own record collection. Here are Mike Trask’s top ten blues influences:
John Lee Hooker
The Best of John Lee Hooker 1965 – 1974 (1992)
“My introduction to blues. I was probably 15 when I heard this compilation for the first time, and I was hooked on the lyrics and groove right away. A heavy impact throughout my life, and never far from the turntable, John Lee Hooker was my first teacher in the blues so I hold his work pretty close to my heart.”
Muddy Waters
More Real Folk Blues (1967)
“Ten years after I’d heard John Lee Hooker, I really started digging into blues with some new friends from the music community, and Muddy immediately drew me in. The slide guitar specifically, and the way Muddy Waters used his voice. His vocals have always been a go-to on mic technique for me.”
Jimmy Reed
I’m Jimmy Reed (1958)
“This record almost has the grooves warn off of the vinyl! Introduced to me by my friend Jim Henman, who thought I’d enjoy the writing, Jimmy Reed really made me think about melody in a way few blues records have. Also, the sound and tones on this record have left their mark on my producing style, specifically the drum sounds. It’s rare that this record is in the sleeve at my house.”
Lightnin’ Hopkins
Lightnin’ Strikes (1962)
“This record takes me to another planet when I spin it! Lightning Hopkins can create so much with seemingly with so little, he’s sneaky that way. His guitar playing on this record was formative for my live show. Particularly on ‘Great God Almighty’ which has been part of our live show for years.”
Otis Spann
Otis Spann is the Blues (1989)
“First time I heard Otis Spann, I thought it sounded like he was stretching time. His whole style, the way he lays back on the beat and is never in a rush to get through the tune, that’s been an important lesson for me.”
Little Walter
Confessin’ the Blues (1996)
“When I used to go on tour, we would take a portable suitcase turntable, and Little Walter’s “Confessin’ the Blues” was on every trip. The sound, the feel, the lyrics, the singing! I am still as in awe of Little Walter today as I was the first day I heard him. To me, all popular music is sent through Little Walter’s sieve, and I can hear his influence everywhere.”
Howlin’ Wolf
Moanin’ in the Moonlight (1958)
“I heard Howlin’ Wolf after hearing Tom Waits and Captain Beefheart, so I was a Wolf fan before I even knew it! Howlin’ Wolf is the pillar, the benchmark, he is the original!! The first thing I noticed was the voice. Then, the groove. Then, the unique guitar playing. I later found out the guitar playing wasn’t actually Howlin’ Wolf, it was Hubert Sumlin. That guitar tone was a revelation for me. Howlin’ Wolf gets me pumped up. I’ve done a rendition of ‘Smokestack Lightning’ at 80% of my live shows over the past ten years.”
Junior Wells’ Chicago Blues Band with Buddy Guy
Hoodoo Man Blues (1991)
“This was a later discovery for me. The sound of this recording is bonkers, I find. How did the engineers and the band do it? The songs are amazing, the band is amazing, and Buddy Guy is explosive. The sound of the record continues to puzzle me with each spin.”
Junior Kimbrough
First Recordings (2009)
“Such a heavy influence for me. ‘Great God Almighty’ couldn’t exist without this record. The groove and the tones are one of a kind. I’m glad these early Junior Kimbrough recordings are available, took a long time for his best stuff to see the light of day. I thought a lot about Kimbrough when I was recording TV Dinner.”
Magic Sam and Shakey Jake
Live at Sylvio’s 1966 (2013)
“This is one of the most recent discoveries for me. I saw Garrett Mason do a killer version of ‘All Your Love’ at Bearly’s in Halifax and I went to talk to him about it. He told me about Magic Sam and I was instantly hooked. The vocals and guitar tones blew my mind! This is another record I find specifically melodic for a blues album, like I mentioned with Jimmy Reed. The guitar playing on ‘Great God Almighty’ is influenced by the playing of Magic Sam.”
VAULT 1 sees Trask digging through his personal archives for demos, live recordings, rehearsal tapes, and forgotten gems deserving of re-evaluation. There is very little double that it will turn up more than a few treasures.