By EDITOR-IN-CHIEF: Art Tipaldi
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Additional resources for Blues Music Magazine #4
It’s by no means your standard 12-bar presentation. Caskey thumps and crashes all over the place chasing Iguana’s erratic meanderings like Keith Moon chasing a crazed, punked-up Little Richard. But then the confusement comes in as Iguana mixes in classical and jazz licks and Caskey tumbles headfirst down the stairs just trying to get along. ” “Stumblin’ Home Satisfied” is Pinetop Perkins styled boogie-woogie, greasy rhythm and blues that makes the dance floor so slippery you need to sprinkle sawdust on the floor to keep from falling down.
It’s a moment of scary portent, as Flett unleashes a watery riff, but not the last: “Honky Tonk” weeps with a lonely slide, even as Flett recalls the simmering majesty of his first experience with the blues. He squeezes every ounce of hurt feeling out of a new take on “First You Cry,” the Egan co-write memorably covered by Sledge. He explores Duane Allman’s “Lil Martha” with a stoic delicacy. ” The second Egan co-write “Good To Ya Baby” connects Flett’s sound even more completely with Sumlin, as Flett catches a scalding little groove all by himself.
Musically there is a gritty call and response between harmonica and tenor until the guests – Billy Branch, Sherman Robertson, Carl Weathersby – board. And it all comes with Rush and Gustafson winking and smiling about them big-legged ladies followin’ the bus across the chitlin’ circuit. Most of the remaining songs offer sly takes on Rush’s successful stage persona, “Funky Old Man” (hard-hitting ‘70s horn funk), “If That’s The Way You Like It I Like It” (a slinky ode to what’s good for the goose is good for the gander), “Skinny Little Women” (a warning to skinny ladies to the tune of “Down Home Blues”), and “Too Much Weekend” (acoustic guitar and harmonica).
Blues Music Magazine #4 by EDITOR-IN-CHIEF: Art Tipaldi