Post Industrial Blues

This one seals the deal. Bob Brozman is a freakin' genius! I love every album this guy ever made, but he's topped himself here. This is one rompin' stompin' blues-jazz-roots record. Brozman may not be the greatest blues singer in the world, but he makes up for it one hundred percent with his instrumental abilities, and extraordinary composing and arranging skills (most of the material here is original). And his vocal work happens to be better here than it's ever been. There is not a track on this album that is anything less than perfection, so I'll just single out a few stunners:The first three tracks: Brozman's music has always had something to say. Now we hear from the man himself; I'm sure his political opponents will hate this album, but its production values are only the start when describing the music itself. An avid guitar enthusiast and expert on National Guitars, this guy can play several instruments with skill and emotion. The blues is real, but he's hip and contemporary. I never cared what his political views were, so knowing them now only cements my relationship with this guy's artistry. Anyone opposed to this guy's opinions, will of course object to the lyrics, but those who merely dislike political discourse of any stripe in their music, have no fear. The man's touch is light, and often filled with humor. No dour folk troubedour, he, Mr. Brozman rocks and rolls his way through these opening numbers, never letting up from then on. He had me hooked right away, so the wild variety of styles that followed had more than a chance.For this guy takes risks. His first openly political album, yet Brozman knows that the music itself doesn't have to depress to get the message across. This is a continuously evolving rant during which Bob never forgets that the music has to be good to make anyone want to listen. "Lonely Children" is a particular revelation. How can a guy preach like this and still make it so good musically, that I want to return to its spell? The guy just rocks, and I'm there ... incidentally, Lacy J. Dalton drops by for some backing vocals; nice."Let's Get It, Boy!" follows, and hops up one into a swing frenzy, before plunging the listener into a blues so harsh that it is unavoidable. On "Three Families Blues," Bob's anger is contagious. Intense. Little bit of vocoder work provides an unexpected reminder that Brozman knows how to use the tools of his trade, and he's unafraid of bringing left field elements into the blues. Too cool, but not so much as to dampen the potent stories being told.Relief arrives right after in a haunting little instrumental ditty called "Strange Ukekle Blues," composed, according to the CD liner notes during a break between recording takes of another song. Brozman's love of Hawaiiana nearly always finds its way into any of his projects, and often, he hits you by surprise. I never mind (I'm a Sol Hoopii fan, after all), but by now it definitely doesn't matter what Bob proposes. I'll go along, whatever ... and this one's sweet, but kinda rocks, too.A few different, typical Brozman blues styles follow, and then ... "People Are Strange," the Doors hit. Brilliant cover, and a total surprise. As the next-to-last track in a generous album of musical pyrotechnics, Brozman's earned the right to do whatever he damn well pleases (and yes, I love what he does with this).Anyone who gives a damn about country blues guitar should at least give Brozman a serious listen (and I dare anyone who likes this kind of music to "just eat one). He's got rhythm, phrasing, and melody down to an elemental excellence that can't be denied. Often, when a seasoned artist reaches past expectations, a critic will say, "this is very good, but first-timers should start with..." The norm does not apply here. This is as good a place to start as any. Then, if you're smitten, get DEVIL'S SLIDE or BLUE HULA STOMP. The recent LUMIERE is Bob in a "World Music" mode (his "orchestra" is mostly made up of many Bob's), and BLUES REFLEX is close to the perfection offered on POST-INDUSTRIAL BLUES.I am biased; Bob Brozman makes me smile.I'll say one more thing: this guy is modern and cool, but knows his history. He's roots in a real way, but he's not afraid to mix it up and make it play to the here-and-now.

I liked this album but I wanted to love it.I'm truly not here to start a fruitless and acrimonious economic or political discussion. I must say however that I PERSONALLY found it hard to see past the pinko bent that pervaded the lyrics. I know it's shallow, I know it's myopic but I am just being honest. He has every right to say what he wants and sing from the heart, and he is truly ONE HELL OF A GUITAR PLAYER. Nothing can be taken away from Bob, he is above reproach. But if you release an album or song that is inherently political, you risk alienating one half of the spectrum or the other. So I give him points for bravery but demerits for disagreeing with me. (It's my review after all :)That being said....wear garters because sonically this album will blow your socks off! The tones this man can get out of a taught string are otherworldy. He is like some sort of voodoo guitar shamen who cooks up a spooky smoky howling cauldron of string wizardry.Right Wing guitar freaks will like itCentrist guitar freaks will love itLeft wing guitar freaks will literally crap themselves with joy

Bob is excellent, when playing blues.

The Bob Brozman & Ruf Records brotherhood is now a very impressive 3 for 3. What a great album! Post-Industrial Blues is where  Live in Germany  and  Blues Reflex  meet Bob's worldview put into words (though not every song is "political"). We're also bathed in top-shelf playing/composing/arranging, and his touch/tone on some of my favorite instruments.The old english 7-string banjo does a ton for this album (though it's not on every track). Old Man's Blues mixes the banjo with the sanshin (Takashi's main instrument on  Jin Jin/Firefly  and  Nankuru Naisa ) to great effect. Who'd have thought that a sanshin and an old english banjo would bring late-years Docks Boggs to my mind? Fresh from its starring role on  Lumiere , the little baglama also appears beautifully on Lonely Children.With Look at New Orleans and Three Families Blues we get 2 original lyrics that may even surpass Rolling Through This World (still a favorite here in its 4th cd and/or dvd appearance in the past 5 or 6 years) for heavy emotional power. Beautiful, important stuff. Forget "politics". This is about people and compassion before profit. And most importantly for an album of music, they're songs I love.This is Bob's album of the year for me. From the songs/music to the recording quality. It's true that some of these songs tread different lyrical terrain than have past Brozman songs but this is still an album for anyone who loves Bob's continuing, evolving notions of how pre-war music can live in the present without being beholden to precedent. This album is still about Nationals, and Bob being the man who brings the best of the '20s, '30s and early '40s into the 21st Century with dignity, creativity, emotion and forward motion... without sentimentality or Museum Quality stagnancy. With ears that travel and learn from the world as well as look inward, if globalization has a bright spot... a guidepost to the way it ought to be happening... Brozman's artistic output is it.

everything like promised!

For me Bob Brozman is the best "resophonic" guitarist in the world. Great album, great soul. Amazing acoustic blues music.

通常のブルースとは違い、ルーツを追求しブロズマンならではの作品に満足です。