/vtVUM-
"Blues You Can Use"
Bobby Bland
Malaco Records
★★V2
The recording career of
Bobby “Blue” Bland is one
that began in the early 1960s,
when he recorded for
Houston’s Duke Records.
Since that time, Bland has
recorded some of the finest
rhythm and blues of all time.
His combination of blues and
soul has made him one of the
most popular blues singers
ever.
Unfortunately, “Blues You
Can Use” is not one of Bland’s
better recordings. Some of the
songs are so heavily
orchestrated with string
sections that Bland begins to
sound like the Perry Como of
blues.
The use of stringed
instruments is not a practice
normally associated with blues,
but Malaco Records has used
them in a way that is
interesting, enjoyable and gives
the label’s recordings a sound
all their own. But here, the
strings tend to dominate, rather
than add to, the sound.
Ballads like “Spending My
Life With You” and “Our First
Blues Song” suffer from this
orchestrated, “wall of sound”
production. Perhaps “Our First
Blues Song” could be more
appropriately titled “Our First
Wimpy Pop Song.”
“There’s No Easy Way to
Say Goodbye” also suffers
from the muddled production.
“Let’s Part as Friends” could
have been a good song. The
guitar part on the song is
excellent but here, again,
production undermines the
effort.
However, “Blues You Can
Use” is not without its bright
spots. “24 Hours a Day” is
easily the album’s best song.
Skillful guitar work, a strong
rhythm section and upbeat
horn backing by the Muscle
Shoals Homs combine with
Bland’s soulful vocals to make
a lively piece of rhythm and
blues.
“I’ve Got a Problem” is the
record’s best ballad. The song
features soulful guitar and
horns as Bland sings of being
caught in a 3-way love affair.
Also, the string section is kept
more in the background. In this
way, the song is undoubtedly a
rhythm and blues song, but the
strings add an extra touch to it.
“Restless Feelins” is a good
song as well, featuring a jazzy
hom section and a great flute
solo by Cybil Cheesman.
These three bright spots
however, make up only one-
third of the record. The
remainder of “Blues You Can
Use” could be easily mistaken
for a muddled foray into
middle-of-the-road pop music.
Bland’s vocals are quite
exceptional, and few blues
singers today can do a ballad as
well as he can, but admittedly
his vocals lack the strength of
his early days on classic
recordings like “Two Steps
From the Blues” and “St.
James’ Infirmary. ” His vocals
are good throughout the
record, but unfortunately the
heavily orchestrated
production weaken what could
have been a good record.
Malaco is a good record
company, and Bland is a good
singer, but this record is not.
There are a few good songs,
but for some really great
material by this talented singer,
pick up a copy of “Two Steps
From the Blues" or “Call On
Me” and skip this effort.
Review by Shane Hall
Two Against One
Ken Gleason, vocals; Richard
Fuegler, guitar; Debbie
Quackenbush, guitar,
saxophone, harmonica; Chuck
Keith, bass, guitar; Alexei
Wolfe, keyboards; Lane
Boozer, drums
★★★
The Cow Hop Expansion
played host Friday night to the
club debut of College Station’s
own Two Against One. The
band has only been together
for a few months, and has
mostly played at fraternity
parties.
Despite the fact that this was
its first club performance, the
band put on a better-than-
average show mixing original
material with music ranging
from the Rolling Stones to
R.E.M.
The band made an
impressive opening with their
version of the Romantics’
“What I Like About You.”
Gleason demonstrated good
vocal ability, while the other
members proved to be fairly
talented musicians. A short
harmonica solo by rhythm
guitar player Debbie
Quackenbush was especially
enjoyable.
“Satisfaction” was another
highlight of the band’s first set,
as was the Kingsmen’s “Louie,
Louie.” Though “Louie,
Louie” has been done and
redone, hashed and rehashed
by numerous musicians over
the past two decades, Two
Against One’s version of this
moldy oldie was energetic and
entertaining.
The first set also included
two R.E.M. covers. “It’s the
End of the World As We Know
It (And I Feel Fine)” was well-
played, but “The Finest
Worksong” did not seem to
work as well.
The band’s second set was
their best. After opening with
an original song that featured
strong rhythm work by Keith
and Boozer, Gleason launched
into his best Jim Morrison as
Fuegler started playing the
opening chords of “Gloria.” At
this point, the audience
seemed to be enjoying
themselves as the dance floor
was packed almost instantly.
Reggae found its way into
the show as the band covered
the Troggs’ “Wild Thing.”
Adding reggae rhythms and a
danceable beat, Two Against
One’s version of this garage
rock classic was original but,
most of all, impressive.
The band was able to keep
the crowd moving the
remainder of the night with a
version of the Champs’
“Tequila,” and an especially
impressive version of the Call’s
hit “Everywhere I Go.”
The third set was the only
low point of the night. Aside
from an excellent cover of the
Clash’s “Should I Stay or
Should I Go,” the third set
consisted mostly of songs the
band had already done in the
first two sets. This indicated a
need to work up some more
material.
But, looking on the bright
side, Gleason is a .talented
vocalist, and all the
bandmembers are talented
musicians. They also give
energetic performances which
the audience seems to enjoy,
and they seem to enjoy
performing. All in all, Two
Against One is good for a band
that has only been together
four months. The band just
needs to work on their versions
of some songs and add to their
repertoire.
Review by Shane Hall
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