THE HOLLYWOOD BLUE FLAMES "DEEP IN AMERICA" Source: Blindman's Blues Forum Date: 08/2010 Writer: Craig Ruskey

Highly recommended. Deep In America from the Hollywood Blue Flames now marks the fourth recording project which gathers together the remaining four members of the now-legendary Hollywood Fats Band. While it’s sad and disappointing that Hollywood Fats (real name Michael Mann) isn’t around (he died of a drug overdose in 1986) to reap the benefits of the cult status his band acquired over the years, Big Al Blake, Fred Kaplan, Larry Taylor and Richard Innes are carrying on the legacy, on this project with Junior Watson and Kirk Fletcher. This issue is also the second release from the Delta Groove label that contains rare and original ‘live’ recordings of Fats and the boys from thirty-plus years ago.

The first disc contains new recordings from the Blue Flames with guitar chores split about evenly between Junior Watson and Kirk Fletcher - Watson plays on five with Fletcher on four. Big Al Blake’s vocal style isn’t quite like anyone else singing blues today; he’s got a unique way of phrasing that helps him sound like a combination of tongue-twisted hipster and old man, and his harp playing is a treat to take in. His tone, whether amplified or acoustic, is thick and rich. Four of the tracks on disc one (Rambler & A Rollin’ Stone/Leavin’ California/Jalopy To Drive/Hip Hoppin’ Toad) first appeared on Mr. Blake’s Blues (in 1997), which was the first official recorded reunion of the remaining members of the Fats outfit. National Enquirer Baby and Nit Wit were on the Blue Flames’ first Delta Groove effort, Soul Sanctuary in 2005, with Fletcher. Watson’s an incredible guitarist whose playing is equally brilliant as it is bizarre. Check his stone blues chops and greasy, understated tone on Blake’s soulful slow blues, Rambler & A Rollin’ Stone and compare it to his slash and burn approach on National Enquirer Baby, a stumbling shuffle. Fletcher's contributions shouldn't be missed either. His tough yet reserved style is out front in Rocky Mountain Blues, He's A Blues Man and more. Blake’s overdriven harp is shown to great effect on Bad Boy Blues and Fly Like The Eagle. Blake also shows his abilities as a country blues guitar player on Hip-Hoppin’ Toad, Music Man and Leavin’ California. Kaplan’s piano is well to the fore on a handful of cuts, especially the pair of instrumentals Crescent City Rock and Hushpuppy. The joined-at-the-hip rhythm section of Larry Taylor and Richard Innes make for sure and steady driving from beginning to end.