"Blues Overtook Me" genre: General Blues
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	"...all (the tunes) somehow capture the feeling of the times I remember growing up in Memphis in the 1940s and '50s. They were the times I had—the sad ones and the happy ones—it was all I knew." —Charlie Musselwhite (from the liner notes)
	CD: One Night in America   Label: Telarc International Corp. Credits: Charlie Musselwhite
	Story Behind the Song In the hallowed blues lexicon, "crossroads" conjures up a dark and dusty trail with the Devil lurking in the shadows, waiting to strike up his next bargain. For veteran harpist Charlie Musselwhite it has taken on a different and much more benign meaning: a meeting ground where musical paths converge, one that has given birth to some of the most original and compelling sounds that we have come to identify as "american music." On his debut recording for Telarc, Musselwhite draws deeply from his own experiences of growing up in Memphis. The result is One Night in America, a collection of songs that reflect the feeling and spirit of perhaps this country’s most vital musical center. Blues, country, hillbilly, gospel and rock ‘n’ roll lived side by side in Memphis and for the young Musselwhite, he wanted to get to know them all. Living in a town with the likes of Johnny Burnette, Dusty Rhodes, Johnny and Tommy Cash, and Elvis Presley, Charlie had only to walk out the door and receive an education that would inform his musical style to the present day. Producer Randy Labbe and Musselwhite realized the potential that could be mined for the album and assembled a stellar cast of musicians including Marty Stuart (mandolin), Robben Ford (guitar), G.E. Smith (guitar), T-Bone Wolk (bass), Per Hanson (drums), along with guest vocalists Kelly Willis and Christine Ohlman. "It didn’t take long after Randy and I first started talking about this concept that the pieces all fell into place naturally," recalls Musselwhite. One Night in America moves effortless between styles, whether it is the country-flavored duet "In A Town This Size," which features Charlie sharing the microphone with singer Kelly Willis or the more traditional blues original "I’ll Meet You Over There," a rollicking instrumental where Musselwhite’s harp solo leaves no doubt as to why he has captured the W.C. Handy Award as Best Instrumentalist year after year. Other highlights include Johnny Cash’s "Big River" and a cover of Jimmy Reed’s "Ain’t That Loving You Baby," featuring a guitar solo by longtime friend and collaborator Robben Ford.

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