Actors putting out albums – it’s an idea that doesn’t always bode well. Actually, almost never. Unexpectedly, this trend of thespian trainwrecks doesn’t include the (apparently) multitalented actor, musician, and bestselling author, Hugh Laurie. His debut album, Let Them Talk (Warner Bros), proves that Laurie has a soulful set of pipes that handle complex melodies with an unexpected natural ease. Dim the lights and sit back, as Let Them Talk is an evocative fifteen-track tribute to New Orleans blues.

If you’re familiar with Hugh Laurie’s character House on the eponymous series, it’s hard not to chuckle once in a while when listening, but usually because of how this CD seems to seamlessly echo the character’s own musical piano talent as exhibited on the show (in Season 3, 6, etc.). For the pun-prone, it also brings the phrase “House of Blues” to mind – but I assure you the album’s not nearly as groan-worthy.

From weariness to excitement to sadness, Laurie knows well how to use his voice to convey disparate feelings. “Police Dog” harnesses and lets loose on a subject that is a blues cornerstone – unrequited love with a mean pooch. Within other tracks, half-ghosts of ragtime and spirituals rise from their graves as if the eras never passed. For instance, “The Battle of Jericho” spiritual has a Cab Calloway rollicking swing to it. Blues legend Irma Thomas, lauded as “The Queen of New Orleans”, joins Laurie on “John Henry.” Keeping with the renowned guest list, blues pianist, songwriter, and producer Allen Toussaint notably contributes horn arrangements on several of the compositions. Shifting gears, “You Don’t Know My Mind” is a hard-hitting, funny narrative in miniature about love and hate and misery. “Sometimes I think you’re too good to die/Other times I think you should be buried alive/ Baby you don’t know/ You don’t know my mind.” Doesn’t pull any punches, huh?

Living a dream whose fruition (supposedly) made him weep when he heard it was going to happen, Laurie collaborates with idol Dr. John on “After You’ve Gone.” Despite bringing on board such famous blues fixtures, Laurie states freely that his overall interpretation of the blues isn’t based on an 1890s Alabama life he hasn’t lived, but his own life. To quote Laurie: “Let this record show that I am a white, middle-class Englishman, openly trespassing on the music and myth of the American south.” It’s that very authenticity combined with Laurie’s natural musical gifts that shines through.

3.5 / 5 bars