Aerosmith - Honkin' On Bobo
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CD Details
Artist: AerosmithEdition: Music CD
CD Release Date: 2004-03-30
Music Label: Sony
Soundtracks:
- Road Runner
- Shame, Shame, Shame
- Eyesight To The Blind
- Baby, Please Don't Go
- Never Loved A Girl
- Back Back Train
- You Gotta Move
- The Grind
- I'm Ready
- Temperature
- Stop Messin' Around
- Jesus Is On The Mainline
Music reviews of Honkin' On Bobo
Music Review: THREE CHORDS AND THE TRUTH
Rating: 4 Stars
In a world where Bono of U2 fame can be nominated for the Nobel Peace Prize, Aerosmith recording a "roots" album is as completely fitting like a high-speed pirate ship on the Caribbean. Mr. Tyler and company's early albums already are collected and bound in gold leaf in the Rock And Roll Library. Indeed, even their "comeback" albums starting with PERMANENT VACATION and PUMP make a good case for "second acts" in rock and roll. The problem of late has been Aerosmith's proclivity towards gonzo-mega over production such as in operatic favorites "Cryin'" and "Livin' On The Edge". While cool as a cheese pizza and rhinestone thong in the Clinton White House sort of way, they do not weather repeated rotations and now appear as tedious excess during these "desert" war years. War and economic depression have a way of making the exuberant times an insult to the human spirit in retrospect. Pictures of bloodied soldiers in body armor advancing through the streets of battle undercuts the pretensions of tough boys flashing guns and tattoos, rapping about bikini-ed "ho"s and "cappin'" someone's ass. One is a warrior; but other is worse than a fake.
Of course, Crabby (this reviewer) has no room to talk. Much like the gentlemen in Aerosmith, I grew up loving the blues from all those old Yardbirds, Rolling Stones, and Cream albums. "Smokestack Lightning" remains one of my all-time favorite songs. All the Mississippi grit and grind of those sloppy guitars, pounding bass and war drums with harmonica and distorted vocals hit you at the base of your groan and extends out the arms and legs. Whiskey rhythms, gambling, sticky sweat, and a woman's intimate aroma flood the senses and cloud the mind. Great stuff. Yet distant from the real thing itself.
As much as we thought we loved the blues those old men like Muddy Waters, Howlin' Wolf, and John Lee Hooker could only sit back shaking their heads in disbelief that all these white boys just didn't get it. There was legitimate debate in the 1960's whether a Caucasian man could ever play the blues. Whatever the merits of doubting the possibility, many a boy musician from the suburbs picked the blues up and remade it in their own image. The major achievement/failing of all those "blues" records was they took what they thought they heard and made it rock. Anglo-Saxon country boys all over the world followed Elvis' tracks down the winding trail that started in Chicago, rode down river to St, Louis and Memphis and ending up in the delta of Louisiana. The Stones and the Beatles showed a whole generation that they were not condemned to live their lives listening to the likes of Frank Sinatra and Jerry Vale recycling the Great American Songbook. The youth rebelled and rocked the night away. It wouldn't have been so bad that those old blues men watched a bunch of kids get rich off of their songs as long as they got paid. Trouble was they largely weren't paid at all--and they sure weren't invited to appear on American Bandstand either.
Still, when rock and roll gets silly or too big for its britches, it is always a good move to drink waters from the old wells. Whatever you may think of Aerosmith, these guys can growl out the blues with the best of them. When the music you make reaches the realms of hysterical bombast, 100 piece orchestras, and a little too much comfort sitting down among Hollywood stars and starlets, it is seriously advised you go back and touch something real. Themes of sexual seduction, alcohol, betrayal, guilt, damnation and redemption grounds those who know they're more sinner than saint and for whom beauty often is a mockery of the world as they find it. Rock returns to what it knows. Oddly, singing songs about pretty girls is possible once again.
The best cuts are "Road Runner", "Eyesight To The Blind", "Baby, Please Don't Go", "Back Back Train", and "You Gotta Move". The rest of the album isn't quite up to the same standards as these; but they aren't bad either. The "You Gotta Move" is the same song as the one found on the Rolling Stones STICKY FINGERS album and in most ways seems to be the more complete version than the Stone's.
As far as the recording quality goes, Aerosmith has set these tracks down very cleanly. The dirt and grit comes all from the actual performances themselves. This can be a little jarring from those who love those old Yardbirds and Stones records that got much of their dirty grit from the primitive recording methods of the time (records executives at the time were sure the English rebirth of rock and roll was just a temporary fad and so didn't spend a lot of money on those early albums.) It is only at the end of HONKIN' ON BOBO with "Jesus Is On The Main Line" that we get a loose and trashy version of a blues standard as it seems everyone and his sister around the recording studio join in the singing. I don't know about you but this added touch is a charming end to this labor of love.
Charles Mingus once said "No America-No Jazz". Much the same thing must be said for Rock as well. Rock is a mongrel dog that came from a land where several music styles found themselves rubbing elbows with each other. They borrowed from each other with impunity and it came to pass that the new "whole" became greater than the sum of its parts. Rock didn't spring forth magically from the mouth of Elvis Presley in 1954 nor did it from the hands of Chuck Berry either. The blues was rough and uncouth and was certainly not performed among polite company. But it had/has a dignity all its own.
Rock is a manchild of many parents. The Blues serves as a sort of "True North" for rock. The Blues doesn't care what jeans you where or where you go on your next vacation. The Blues takes everything down to its most basic elements: man, woman, fear, love and the truth.
Description of Honkin' On Bobo
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