Getting’ close to that date…
Every once in awhile, just when you think, I’m gonna’ cruise into a consistent harder edge, and float along with ballads, I’m gonna’ pull you back to that waterbed.
Joe really bends the strings on this one with that beautiful steel sound; And Steven plays a harp not like typical ST, but almost like homage to days gone by. The both of them welcome you onto the porch, with Joey just keeping the tempo.
Do you ever wanna’ just tell someone to get a new “shtick”? I mean fuck dude, if the name Aerosmith comes out of your pen onto paper, it doesn’t have to be followed by the names Mick and Keith!!! It’s like it’s in the rule book! Whatever dude… Thank god I like the Stones. If not, this guy might have single handedly turned me off to them, just because he can’t seem to write a review of something the Boys from New Hampsha” have done, or do, without a mention… Even if it’s a good review, which I don’t think this guy is capable of, I think his pen name should be “Richard Hedd”, but that’s just me…
Stephan Erlewine, in a review for Allmusic.com, writes;
“… The nature of the blues is that every musician who plays it stamps his or her own identity on a set of familiar chord changes and songs. While it might not feel like the blues, Aerosmith do indeed stamp their identity on each track on their long-promised blues album, the atrociously named Honkin’ On Bobo. Other rockers who have cut full-length blues albums have always played the music with a kind of scholarly reverence, taking care to pay tribute to their influences. Not Aerosmith. They turn up the amps and cut loose, playing slick and sleazy blooze-rock that feels indebted to second-generation blues-rock instead of blues forefathers. But that’s the nature of the band. Surely, they loved Chess and country blues as much as they loved the Stones bbut they are so thoroughly the children of Mick aand Keith, they can’t help but sound like a rock & roll band no matter what they do, no matter what they play. That might mean that Honkin’ on Bobo iis something that could be close to anathema to blues purists, since it’s a rock album pure and simple, but chances are the band members don’t care, since they’re just here to have a good time playing songs they love.”
Maybe it’s just me, but damn if that doesn’t sound like not only back handed compliment, but maybe the hand had a knife in it… I mean I like some of it, but also really confusing, and then to use the word; “ANATHEMA”??? Really Richard, you’re gonna’ go Latin “damnation” on us??!!
A person or thing detested or loathed:
A person or thing accursed or consigned to damnation or destruction.
You know what dude???
He goes on to say; that this song in particular though, gives us a heavy dose of Mississippi Fred McDowell, along with Baby Please Don’t Go… Every indication, from the awful title and silly album art to the notion that the band was going back to its roots, suggests that this is going to be an embarrassment from a band that has been no stranger to embarrassment during the ’90s. Instead, it’s the best flat-out rock album Aerosmith has made in ages, ever since Joe Perry rejoined the band for Done With Mirrors Sure, they can still be tasteless and ridiculous, whether in Steven Tyler’s vocal affectations or in the band’s oversized riffs, but again, that’s the nature of the band — no other band does sleaze better. When they do it well, it can be irresistible rock & roll, and it’s been a long, long time since they’ve sounded as good as they do here. Despite that awful title, Honkin’ on Bobo is a real surprise and a real return to form for Aerosmith.
So I guess, he liked it. So what was all that stuff up there?
Tyler said; “the key was to avoid anything that sounded like a preservation-minded blues tribute: “This is not about a resurgence of the blues. It was us discovering you can do these songs and have a whole lot of fun. It just plain feels good.” I like this quote, because it tells you straight out; “we’re not gonna’ do a ‘Clapton’ thing. We’re gonna’ do Aerosmith.
Joe says; “People think that the blues is just older men, but when they wrote this stuff, a lot of times they were in their twenties and thirties, and they were just trying to get people off in the juke joints.”
And the we have our friend at Rolling Stone; David Fricke writes; … There are moments of exotic restraint, such as the misty-mountain noir of Perry’s hurdy-gurdy in McDowell’s beloved tune, but if you want scholarship and propriety? You’re barking at the wrong doghouse.
I love how the guys pay homage, but bring that Aerosmith intensity to studio on this one, Joey keeping perfect rhythm, never getting ahead never getting behind, the faint bass lines, in harmony with Brad’s rhythm, and Joe’s bending of the strings over steel guitar. It’s Hill Country Music, from the Deep South with a twist. It’s 1325 commonwealth, It’s One Way St., and Movin’ Out, just written by another man, much earlier in history. And Steven’s harmonica is absolute tradition, never getting away from the Joe’s and Tracy’s vocals always playin’ on the porch in the background. This is the music on the porch, and they do it as good as, if not better than anyone.
I think if Fred was still alive, he’d stand up and give applause on this one… One of the few that Joe can sing, and he’s the right guy to sing it…
AND Tracy… WOW!… just frickin’ wow!
By Mike Faires