Kid
Ramos
Greasy Kid
Stuff
Evidence
To begin this review I feel I must pose a very important question: When
is Kid Ramos going to be given his just due as one of the blues
world's most refined guitar warriors? I thought his last two very fine
releases, Kid Ramos and West Coast House Party (both on
Evidence), would bring him the accolades and national notoriety as a solo
artist that this dynamic guitarist so richly deserves.
If his latest, Greasy
Kid Stuff (Evidence), doesn't end up high on every blues sales chart,
every critic's best albums of the year list and the winner of one or two
Handy Awards, then my feeling is that there really is no Santa Claus, Easter
Bunny and Great Pumpkin, and the world as we know it has it's priorities
bass ackwards!
This latest masterpiece is a bit of departure from his last
two releases. Gone are the extensive casts of guest guitarists, singers and
other musicians found on those recordings. For those of you who are
disappointed with that information, relax, this album still holds a few
surprises which we'll get to later. Ramos instead chose to go with a highly
polished group of supporting LA session men, consisting of the
multi-talented Jeff Turmes on both acoustic and electric basses, rhythm
guitar and all saxes, the flight-fingered Tom Mahon on piano, and one of the
blues' master drummers, Richard Innes.
The original intention of this album
was to do a stripped down, basic blues album. Guitar, bass, drums, some
piano and lots of harmonica, sort of in the same vein of The Wolf's Memphis
sessions and early Chicago blues sides, when you could still hear the Delta
flowing through the music. Well .... according to this album's liner notes,
some of that survived and the rest just sort of took it's own form, due in
part to the dazzling lineup of harp players that contributed not only their
musical talent, but their vocal and songwriting prowess as well.
The program
opens with the instrumental title track, finding Ramos and sax player Turmes
trading off licks to an upbeat shuffling bop. This one gives way to the
first of three numbers with James Harman, entitled "Chicken Hearted
Woman." Harman's vocals and harp are also at the forefront of "Low
Down Woman," a rather funny but bizarre tale of a lady with rather
unusual drinking habits consisting of vanilla extract and Pine Sol.
Charlie
Musselwhite contributes his own "Charlie's Old Highway 51 Blues,"
along with a down and dirty cover of "Rich Man's Woman (On A Poor Man's
Pay)," and joins forces with Rick Estrin for the album's humorous
closer "Harmonica Hangover." Mr. Estrin is at his jiving best on
"Its Hot In Here" and at his mellowest and moodiest best with the
instrumental "Marion's Mood," both original pieces.
The
rambunctious harp and vocals of Paul deLay grace two of his original
numbers, "Say What You Mean Baby" and "Ain't Gonna
Holler," both of which sound like they could have easily fit onto
deLay's new release.
Rod Piazza drops by, bringing with him a pair of
original numbers that are quickly becoming personal favorites. The first is
the bright and bouncy instrumental "Devil's Foot," featuring a
swing flavor to it, and the second is the jumping "That's What She
Hollered."
No Kid Ramos album would be complete without an appearance
by gigmate, producer, vocalist, harp player and longtime collaborator
Lynwood Slim, adding his unique style to Willie Dixon's "I Don't Care
Who Knows."
Oh yeah, I almost forgot ... there is a guitar player on
this album and that's Kid Ramos. There isn't a guitar lick on the 17 tracks
that doesn't belong to him on this outing, with his execution on every
number being nothing short of masterfully brilliant. Whatever style of blues
you can think of, this cat plays it like he was born
to play it. Whether it's screaming high pitched solos, mellow tonal runs up
and down the fretboard or bright jazzy fills in support of his fellow
players'
solos, Ramos plays with an absolute passion for his music that is becoming
harder to find nowadays.
It would be a difficult choice to single out any
particular tune or solo on this album that he shines on because he shines on
the whole damned thing from start to finish. Producing yourself I'm sure is
not an easy task, but Ramos once again rises to the occasion for the third
straight time, delivering a razor sharp package due in part to the recording
and engineering expertise of Jerry Hall.
Greasy Kid Stuff was
supposed to be
a very basic blues album. What emerged, if listened to closely, and
regardless of how it may have come to be interpreted by the artists that
made
it, is exactly what it was intended to be, in my opinion ... a brilliant,
well-formulated blues album that burns with the passions of it's musicians'
performances in respect to their chosen art. By far one of the year's best
release.
--- Steve Hinrichsen
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