Bob Brozman - Post Industrial Blues
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Artist: Bob BrozmanEdition: Music CD
CD Release Date: 2007-11-06
Music Label: Ruf
Music reviews of Post Industrial Blues
Music Review: Delicious Blues Triumph
Rating: 5 Stars
This one seals the deal. Bob Brozman is a freakin' genius! I love every album this guy ever made, but he's topped himself here. This is one rompin' stompin' blues-jazz-roots record. Brozman may not be the greatest blues singer in the world, but he makes up for it one hundred percent with his instrumental abilities, and extraordinary composing and arranging skills (most of the material here is original). And his vocal work happens to be better here than it's ever been. There is not a track on this album that is anything less than perfection, so I'll just single out a few stunners:
The first three tracks: Brozman's music has always had something to say. Now we hear from the man himself; I'm sure his political opponents will hate this album, but its production values are only the start when describing the music itself. An avid guitar enthusiast and expert on National Guitars, this guy can play several instruments with skill and emotion. The blues is real, but he's hip and contemporary. I never cared what his political views were, so knowing them now only cements my relationship with this guy's artistry. Anyone opposed to this guy's opinions, will of course object to the lyrics, but those who merely dislike political discourse of any stripe in their music, have no fear. The man's touch is light, and often filled with humor. No dour folk troubedour, he, Mr. Brozman rocks and rolls his way through these opening numbers, never letting up from then on. He had me hooked right away, so the wild variety of styles that followed had more than a chance.
For this guy takes risks. His first openly political album, yet Brozman knows that the music itself doesn't have to depress to get the message across. This is a continuously evolving rant during which Bob never forgets that the music has to be good to make anyone want to listen. "Lonely Children" is a particular revelation. How can a guy preach like this and still make it so good musically, that I want to return to its spell? The guy just rocks, and I'm there ... incidentally, Lacy J. Dalton drops by for some backing vocals; nice.
"Let's Get It, Boy!" follows, and hops up one into a swing frenzy, before plunging the listener into a blues so harsh that it is unavoidable. On "Three Families Blues," Bob's anger is contagious. Intense. Little bit of vocoder work provides an unexpected reminder that Brozman knows how to use the tools of his trade, and he's unafraid of bringing left field elements into the blues. Too cool, but not so much as to dampen the potent stories being told.
Relief arrives right after in a haunting little instrumental ditty called "Strange Ukekle Blues," composed, according to the CD liner notes during a break between recording takes of another song. Brozman's love of Hawaiiana nearly always finds its way into any of his projects, and often, he hits you by surprise. I never mind (I'm a Sol Hoopii fan, after all), but by now it definitely doesn't matter what Bob proposes. I'll go along, whatever ... and this one's sweet, but kinda rocks, too.
A few different, typical Brozman blues styles follow, and then ... "People Are Strange," the Doors hit. Brilliant cover, and a total surprise. As the next-to-last track in a generous album of musical pyrotechnics, Brozman's earned the right to do whatever he damn well pleases (and yes, I love what he does with this).
Anyone who gives a damn about country blues guitar should at least give Brozman a serious listen (and I dare anyone who likes this kind of music to "just eat one). He's got rhythm, phrasing, and melody down to an elemental excellence that can't be denied. Often, when a seasoned artist reaches past expectations, a critic will say, "this is very good, but first-timers should start with..." The norm does not apply here. This is as good a place to start as any. Then, if you're smitten, get DEVIL'S SLIDE or BLUE HULA STOMP. The recent LUMIERE is Bob in a "World Music" mode (his "orchestra" is mostly made up of many Bob's), and BLUES REFLEX is close to the perfection offered on POST-INDUSTRIAL BLUES.
I am biased; Bob Brozman makes me smile.
I'll say one more thing: this guy is modern and cool, but knows his history. He's roots in a real way, but he's not afraid to mix it up and make it play to the here-and-now.
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