The whole production simply drips professionalism: The drums are where they belong, crisp and true, You don't notice the bass, and you're not supposed to but the rest of the deal, the layers of bright and lively or sad and sweet or dirty blue guitar parts are quiet genius and that's not even the good part. The good part is the voice, man, and beyond that the voicings, which is only another way of talking about the heart of the man.
Shake Your Money Maker flat cracked me up Bobby is a madman and he ain't too proud to beg either. He get's so far into that crazy old Peter Green Lyric you can't help but wonder how is this guy not locked up? Seriously, this level of commitment to this peculiar form of self expression sounds a bit dangerous and there's very few guys that get this far into it, because it feels dangerous, to know the bad parts of the blues this deeply and the fear is you won't live to tell the tale.
I for one I am glad Mr. Lindstrom lived not only to tell the tale but to so wisely and deeply re-enact it and that he ain't too proud to show us how it felt.
It's a big deal. I love it, and I thank you Bobby for doing what you do.
Now that last cut, Who's been talking, Howlin'Wolf, got under my skin like I didn't think it could showing me something about my own heart that is dark and lonesome and tragic in a way and I don't normally look at that shit there's enough madness in the world but I think , as Studie Heckard used to say, "it's good for ya." And if you don't take it out and take a look at it in the light now and then it can come upside your head and heart from the blind side, like it did for Studie, and then you are well and truly doomed.
Here's the thing I'm talking about Bobby and the band doing Who's been talking?
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