Late bluesman Luther Allison was in the middle of a deal with Motown Records when he cut Luther's Blues, a move that reflected the changing fortunes of both the blues and the Motown sound.
Both were decreasing in relevancy as the '70s progressed, joining forces makes sense.
Luther's Blues is best when it allows Allison to show off. The title track as well as "Let's Have a Little Talk," which has fun with its many false starts and endings, are both smoky, slow rollers that allow the Arkansas-born guitarist to wail.
One of the extra tracks on Spotify, "San-Ho-Zay," is just as good as the rest, with Allison doing mean things to his guitar to make such a beautiful racket.
Where the marriage with Motown comes into play is on "K.T.," easily the weakest track and the biggest departure from the blues format. Allison attempts something much closer to '70s funk and soul, relying mostly on keyboards and horns instead of his ax.
It's the only evidence that Motown had a hand whatsoever in Luther's Blues because, otherwise, this is a fine slab of Chicago blues.
Tomorrow's entry: PJ Harvey, To Bring You My Love