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| The Future of the Blues? |
| band: Gomes, Anthony |
| Album: Blues in Technicolor |
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Coco Montoya introduced the new kid at Cozy's as "the future of the blues." Then this longhaired Canadian hippy with a permanent lazy-eyed, stoner smile plugged in and set the place on fire. Coco was generous, but not given to hyperbole. This young man from Mississauga, Ontario has the Delta in his veins and Hendrix in his attitude. That one song at the end of Mr. Montoya's set brought me back the next night for a full taste of incense burning, electric banjo, Gomes' own band of gypsies, and enough vintage guitars on stage to stock a charity auction at Sotheby's. The album "Blues in Technicolor" is a dazzling light show with fire breathing solos on Anthony's openhearted songs. This rainbow-of-sound bluesman carries a party in that hard shell case, and may have written the title song to answer any doubts he's been hurt enough to play that Technicolor blues. "I've got the scars / I've felt the pain / Deep down Inside / We're all the same." If his message that "the blues is all about healing one another" may be a tidbit sweet for the genre, he's got enough pain and passion in his six string to cauterize any lingering doubt.
Anthony's weapon against shame, loss, pain and pestilence is always the blues. If his lyrics too easily overcome all things negative, his guitar cuts deep enough perform a psychic surgery all but the most dedicated human Tuinal in the Debbie Downer section of the listening audience. He plays in styles ranging from Hendrix and Robin Trower to Clapton at his most impressive. Buddy Guy is first in the "Special Thanks" portion of the album artwork, but the economy of Buddy's guitar style just isn't Anthony. At a subsequent concert a seasoned blues performer commented during one of his scorched earth solos, "Slow down, young man." The style here is more energy than economy. Even Hendrix had more space in his solos, and Buddy Guy plays more music in fewer notes than anyone seems to remember. That said, Anthony is worth a course is speed listening to catch his fire.
Hard Year for the Blues is worthy of note as a deeply felt eulogy for the losses in a year of obituaries in the collective roadhouse. This guitar wizard is a true believer in the power of this genre. He may be the best emissary to the youth for this great American music. While others carry the torch, Anthony regularly burns down the house and takes no prisoners. He may well earn his place where Stevie Ray Vaughan once stood as an ambassador to the goth and grunge world of Generation X. He's the man who smiles as he fights the powers that be. Anthony has some of that sweet modesty characteristic of his hometown near "Toronto the Good," so he doesn't believe the hype even if Coco Montoya hands him the mantle. All that said, I'll go with Coco. With "Blues in Technicolor" as early indication of things to come, he may one day be called "the future of the blues."
THE SONGS:
1. BLUES IN TECHNICOLOR sets out Anthony's special theory of bluesativity: "[T]he blues is all about healing one another." This "rainbow of sound" is the medicine for "a blues so real / everybody's got it." I would like to believe it. Somehow the technocrat in me longs for clean water, guarantied healthcare and the benefits of good government. Maybe utopia will flow from the Delta. Politics hasn't worked. Might be worth a try.
2. GONNA HAVE A PARTY is a fast paced rock 'n' roll party song in 12 bars. Jim Hudson, Joan Collaso and Jim Peterik add a sing along spirit in the backing vocal. The guitar is hell bent for leather peddle to the metal start to finish. That's a party in that hard shell case of his. This much I do believe. "Now that's what we call one hell of a party!"
3. BAD LUCK CHILD isn't mellow, but the pace is merciful in this deep slow groove complaint song from the "Bad Luck Child." This is familiar territory in the "Born Under A Bad Sign" universe of pain and isolation. Anthony's vocal is connected in a special way this song out. His guitar is Slowhand in a little but of a hurry. This relaxed tempo allows Anthony to show the detail with pain and passion.
4. OUTTA THE CATHOUSE has that cocky sense of shame like a boy's apology for stealing candy with the taste still strong on his tongue. The lyrics say "I'm sorry," but the tone is all joy at the transgression. He may be "out of the cathouse and into the doghouse" but it ain't no thing. This is naughty sex and a slap on the wrist. He's going to do it again! Trust me on this one.
5. MISERY FOR COMPANY sips a little sloe gin, pounds the tom tom, and launches into a sweet slow scream on the high strings. There's more economy of sound here in this traditional domestic blues song. The misery in this song comes more from the getting found out than the being bad. The cast of characters includes a mother-in-law who says "her daughter don't love me no more," a boss man sends Mr. Late Again to the unemployment line, and the preacher man. "I'd pray for your soul son / But I got a good feeling you and the good Lord ain't never gonna meet." Why is it misery likes to keep a list of bad in its hip pocket? Maybe it's so we can write songs about it. I can't think of any other reason.
6. LOVE'S GOT THE POWER is signature Anthony. Anthony testifies that "love's got the power" to cure what hurts. The blues is his way of showing love. Love and the blues fit interchangeably in these sweet spirited songs from this nice guy who only complains with his guitar. If the Dalai Llama can advocate happiness as a weapon against violence, maybe I'm selling this philosophy short. If a guitar could bring peace to the world, I'd bet on Anthony. Maybe Up With People failed because their music sucked.
7. HARD YEAR FOR THE BLUES kicks it at the roadhouse on acoustic. Just Anthony and a guitar in a fitting tribute to the loss of Johnny Copeland, Jimmy Rogers, Fenton Robinson, Luther Allison, and Junior Wells. The simplicity of this song brings it home. "These friends are going people, but they left us a little part of their soul." Hats off.
8. WOLF IN MY HENHOUSE opens with a fine strong drum beat that won't be the first you learn on your new kit. Anthony lets that drum talk through the song straight through to the solo. The effects boxes are more or less turned off for this one, and Anthony lets some notes sustain. Gomes' best line: "Somebody get me my shotgun, / 'Cause the wolf think he gonna eat chicken / but he gonna get a whole different barrel of fun."
9. SHAME ON YOU has that "On The Road Again" pace and rhythm and that same fine blues rhythm lick that made Norman Greenbaum undeservedly famous for "Spirit in the Sky." There's a dueling Claptons guitar break taking Anthony into Double Trouble territory. It's an unnecessary heartfelt blast at the chick in the past. This is the song you don't really ever get to sing to the cheating Miss Thang you left behind.
10. BRAND NEW DAY takes a slower pace right around the speed of Dylan's "If Dogs Run Free" for a pick-me-up song to a brother in the dumps. "Sooner or later / The sun's gonna be shining on your front door." A little help from your "brothers and sister / To help you along the way" and the magic potion of time will cure the brokenhearted. A some about tomorrow.
11. HIGH CALORIE WOMAN sings the bass notes in a double down of the riff. The lyrics here are sparse to leave room for the Cream filled guitar. Don't try these licks at home. That's a sweet instrumental break with enough variation to avoid the repeats. Some songs make you want to grab a guitar. This one and I'm convinced I'll never play that much or that well. I'm sticking to a typewriter.
12. MONDAY KINDA TUESDAY is roadhouse simple on acoustic and better for it. This isn't Stormy Monday, but a Monday Kinda Tuesday is just the same. The vocal on this one takes the focus with Anthony on roadhouse rhythm guitar. The technique for the hollow body is spare and sweet. This song speaks for itself.
CAST OF CHARACTERS:
Anthony Gomes: guitar and vocals
Dan "King" Kahn: guitar
Brian "BJ" Jones: drums
Roosevelt "Hatter" Purifoy: keyboards
Jr. Fuller: bass
Jim Hudson, Joan Collaso and Jim Peterik: background vocals
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