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Aerosmith flying high again
May 2004 - I have to admit, before I listened to Honkin’ on Bobo, I was skeptical. To me Aerosmith’s last two albums have been, shall we say, substandard. I found myself reluctant to put the disc in the player for fear of, I thought, almost inevitable disappointment. After listening to only the first track, relief swept over me. Aerosmith most definitely had it back. Over the many years Aerosmith have been around (their debut self-titled album was released in 1973), they have proven themselves to be an incredibly diverse group of musicians, and Bobo continues that far-flung talent. The band’s sound has always had a distinct blues edge and this collection of bluesy-rock ‘n roll covers is a remarkable return to form. After a suitably theatrical, carnival-style introduction by vocalist Steven Tyler (who also handles harmonica duties on Bobo), the album kicks off with the upcoming single Road Runner. The track perfectly captures the mood of the album, but also has that inimitable Aerosmith style which will please first-time listeners, and welcome back long-time fans. The album quickly progresses onto Aerosmith’s rendition of a Kenyon Fisher classic, Shame, Shame, Shame. Offering a definite change of pace, the band’s familiarity and appreciation for the original material of the song is clearly evident in the care and skill they exhibit with their version of this well-loved rocker. Another standout track is the current single Baby, Please Don’t Go. The track that follows is another Fred McDowell collaboration with the Rev. Gary Davis, You Gotta Move. One of my personal favorites, the song expertly displays both the lyrical bite of the original songwriters and Aerosmith’s instrumental talent with Joe Perry given free reign to improvise on guitar and Tyler’s harmonica adding further dimension. The band even manages to sneak an original track onto Bobo. Despite the classically Aerosmith feel to the tune, the melancholic lyrics and weary, trudging rhythm make The Grind a more than worthy addition to an already strong line-up of songs. Track ten, Temperature, follows with a much more familiar, almost stereotypical blues sound. Guitarist Joe Perry takes over the helm for vocal responsibilities on Stop Messin’ Around. Another example of classic blues musicianship, Perry could be credited with perhaps too much input, were the song not so good — his riffs combined with more-than-capable vocal style really make the track his own. The last song on the album is slightly more esoteric than the others; another Fred McDowell arrangement, Jesus Is On The Main Line featuring harmonized vocals, tambourine percussion, and the dominant but never overbearing vocals of Tracy Bonham. Unlike every other track on Bobo, Aerosmith again show shrewdness in their choice of covers and the track, although brief, ends the album perfectly, leaving the listener wanting more. Which brings me to my only criticism of Bobo. It seemed that no sooner had I lit my cigar, poured a splash of ‘Beam on the rocks and sat on my porch that it was all over. With a running time of a mere 43:49, I would have to say that the album’s running time would be the only real flaw with an otherwise excellent album. Of course, this is not Aerosmith’s fault, having chosen to perform other artists’ songs — I just wish the flight had lasted a little longer. Aside from that, this is a true masterpiece — a great return to form for the undisputed kings of classic rock. |
CD Honkin’ on Bobo is a remarkable return to form