There is no doubt that Ronnie
Baker Brooks is a blistering guitarist who knows his way around the Blues. With the help
of Jellybean Johnson, he has released a slick disc of Blues music called
"Golddigger."
Musically, Brooks has earned his pedigree
from years of touring with his father, the legendary Lonnie Brooks. It is clear where his
talent and his passion come from.
This debut album gives the younger Brooks a
chance to cut loose and display his range of talents which extend past his off-the-charts
guitar work. He is also the songwriter and vocalist and co-producer (with Johnson) on
"Golddigger."
IF there is anything negative about this
release, it is that the lyric writing is uneven. While Brooks’ focus is on his
slashing guitar and his ultra-tight band, the lyrics on some of the cuts seem incidental.
Things begin to turn around "Baby Please
(Come Back Home)," a song featuring the keyboards of Ernest Williamson Jr. The
lyrical style is more cohesive and undeniably influenced by a more traditional form of
music.
His guitar stays in top form throughout and
his interplay with Williamson is reminiscent of the other Brooks/Williamson work that
Blues fans have come to know and love.
On the mellow "Where Do I Stand In
Line?" Brooks gets the opportunity to show off his vocal chops. This is one of the
best cuts on the disc. The band has created new levels of tightness which support his
emotional baritone voice.
It isn't long before he blisters back through
the earphones with "Stuck on Stupid" which feels more gospel than Blues in
it’s delivery. The gritty sweetness of this track allows for us all to settle in and
be comfortable. We have all been "Stuck on Stupid" but not many of us can
express it the way Brook’s guitar can.
He shuffles into "Keep These Blues
Alive" with the help of the man who "...gave him his first Blues lesson...now
he’s gonna give him his blessin’...to keep these Blues alive."
This duet with his famous father will go down
as a Blues anthem for years to come. It includes a historical look at the birth of the
Blues as well as a tribute to great players.
When Lonnie begins his solo, you can almost
see him beaming with joy. When Ronnie steps in and takes over, all of his influences meld
into one frantic moment of guitar ferocity.
With co-producer Johnson helping out on
guitar chores on "Must’ve Been Bought" the arc of energy continues to
serge. There is a "concert" feel about the way the energy builds throughout the
course of the disc.
Johnson’s guitar is unforgiving as it
rocks with much more authority than I typically heard on Blues albums. The aggressive
guitar work is the perfect accent for the angry lyrics that Brooks spits out with venom.
The final cut is acoustic opportunity for
Ronnie and his voice to leave you wanting for more. It is the best written and arranged
song on the disc. The song is called "I’ll See You Again." If he
continues to release this type of material, he surely will.
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