When he emerged in 1967 with his eponymous debut album, Taj had already become well-known on the mid-60s Los Angeles scene, playing with Ry Cooder in The Rising Sons before embarking on a mission of exploring pure musical styles which he continues today. Released in late 1973, Oooh So Good… saw him mainly back accompanying himself on his National guitar on a mixture of standards such as Dust My Broom and Railroad Bill, while his pastoral electric picking on Buck Dancer’s Choice uncannily recalls John Fahey. With occasional vocal assistance from The Pointer Sisters and atmospheric jazz excursion Teacup’s Jazzy Blues Tune, it’s a joy to hear the blues served up so loose and natural.
1974’s Mo’ Roots saw reggae appear on Taj’s musical radar, ranging from a sublime Johnny Too Bad through pleasant lovelorn jogs to an unusual skanking take on the traditional Blackjack Davey. Taj plays everything himself, though his dreamy version of The Wailers’ Slave Driver was produced by Bob Marley, with keyboards from The Wailers’ Aston Barrett. Hailed as innovative at the time, it still sounds fresh. As John Tobler’s sleevenotes sign off: “Taj Mahal has never achieved mega-fame, but has enjoyed a sizable cult following for several decades.” Here are two reasons why.
