THE HOLLYWOOD BLUE FLAMES "ROAD TO RIO" Source: Blues In Britain Date: 07/2006 Writer: Mick Rainsford

The set opens with ‘Road To Rio’, which I can only describe as a West Coast hybrid of North Mississippi Hill Country blues – a number that boogies along with Blake’s declamatory vocals fired by Kaplan’s percolating B3 and Fletcher’s feral guitar flourishes. ‘Everybody’s Blues’ is another winner – a downhome blues replete with choogling harp, tantalizing guitar, great stick-work and some retro rock’n’rolling piano.

Staying in that lowdown (home) groove, ‘Coffee Grindin’ Man’ finds Blake mixing elements of Broonzy and John Lee Williamson, Kaplan responding with some wonderful Black Bob inspired piano – repeating the formula, but getting even more lowdown, on ‘Long Black Cadillac’, where Blake’s laconic vocals are underpinned, this time, by Rice Miller influenced harp. Miller, in his Storyville period, is again the influence on ‘Gone Away’, but this time Kim Wilson supplies the harp that perfectly complements Blake’s reflective picking and “mushy-mouthed” vocals on a blues that is stunning in it’s simplicity.

‘Gumbo Grinder’ finds Kaplan laying down some pure N’Awlins gumbo a la Professor Longhair – ‘3rd Degree Burn’ does exactly that as Fletcher punches out lowdown greasy guitar licks over a pulsing backbeat and percolating organ – whilst Blake takes center stage on the percussive Harmonica Slim styled ‘Dr Blake’s Boogie’.

Jr Watson has all of the attributes that made Michael Mann such a huge personality and talent – an exquisite mastery of tone and phasing allied to an off-kilter approach to playing that could often be described as eccentric, but was always “true-blue” – so it comes as no surprise that he blends seamlessly with the Flames on the three “bonus” tracks included. ‘Junior’s Boogie Rocket’ is a typically wild, jumping instrumental – Willie Dixon’s ‘Let Me Love You’ is a “cracker”, Blake’s laconic vocals and wailing harp underpinned by Kaplan’s slow-rolling piano, whilst Watson’s guitar crawls lasciviously all over the mix – which leaves the mellow swing of ‘Honeydripper’ where Blake’s harp pays homage to Rice Miller and Big Walter, whilst Watson’s guitar evokes an almost accordion-like feel.

This set comes with a bonus!

And what a bonus!

A second CD, ‘Larger Than Life’, that features previously unreleased live recordings (1979-80) by the Hollywood Fats Band (Taylor, Blake, Innes and Mann), including guest appearances by Roy Brown and Eddie “Cleanhead” Vinson.

The set opens with the scorching instrumental ‘Fat Fries One’ – Fats cutting lose as he demonstrates his trademark creativity allied to a mastery of tone and phrasing that few other guitarists can aspire to, but will all strive to achieve.

Al Blake features on four tracks – his “roadhouse” vocals power-housing through a stomping rendition of Arthur Gunter’s ‘Baby Let’s Play House’ replete with rollicking piano and the big fat tone of Fats’ jumping guitar. ‘Shake, Rattle and Roll’ is performed Big Joe Turner style, with Fats and Kaplan again cutting loose behind Blake’s mushy-mouthed vocals – ‘Rockinitis’ mines a “down in the alley” groove and features some fine Billy boy Arnold styled harp – whilst AC Reed’s ‘This Little Voice’ is a loping blues replete with cascading piano and tantalizing then stomping guitar.

“Cleanhead” and Roy Brown feature on two tracks each, and it is a tribute to the band that they both sound as if they have been singing and playing with the band for years. That is not to say that both artists find themselves in a comfort zone – for these are performances that are bristling with excitement and creative energy.

‘Kidney Stew Blues’ finds Vinson at his best, responding, both vocally and instrumentally to Fats inspired, T-Bone influenced guitar – ‘Cleanhead Blues’ mining a moodier blues groove, Vinson’s sax wailing the blues whilst Fats’ guitar is almost vocal in it’s intensity. On ‘Love For Sale’, Brown declares, salaciously, “I’m one dirty old man – believe me”, a sentiment echoed by Fats’ guitar and Kaplan’s cascading piano – whilst ‘Boogie Woogie Blues’ does exactly what it says on the tin – the whole band stretching out and grooving as Brown struts his stuff.

Well – what can I say?

This is one hellacious double CD set that I can only describe as essential.