12/1/2004

Derek Taylor

A Memphis session band with members steeped in the sounds of Stax and Motown, The Bo-Keys operate ostensibly under the leadership of bassist Scott Bomar who also serves as producer and principal songsmith. The other band members have impressive credentials too with Skip Pitts holding a long-standing residency as guitarist for Isaac Hayes and drummer Willie Hall having supplied traps work on his fair share of Stax record dates. Taped at Willie Mitchell's Royal Studios, in what is essentially a converted movie theatre space, the music on (2) carries a heavy groove from the get-go. Church and gospel elements also figure heavily into the ensemble sound as Ronnie Williams' reedy organ intro on the version of "Coming Home Baby" amply attests. Hall hits a syncopated snare beat and Pitts slides in with slithery wah-wah strums to lock with Bomar's meaty bass line and the band quickly buries itself in heavy groove, a groove sustained for virtually the entire set. Tracks are for the most part free of excess and complexity, the longest clocking in at just under seven minutes and several adhering to the time limit of 45rpm singles. No real frills to speak of here, just greasy and responsive interplay that manages to craft the conundrum balance of simultaneous "loose" and "tight" communication. Saxophonist Jim Spake's lines occasionally dip over into the saccharine side, but the rhythm section usually manages to extricate his missteps from the mire of sentimentality. In tandem with trumpeter Marc Franklin, he makes for a reliable front line.

Plenty of humor crops up too as during Williams' gruff hipster vocals on "Deuce and a Quarter" where he shows off a voice that strikes as a strange amalgam of Kool and the Gang's Robert Bell and washed-up rapper Tone Loc. The band's mid-set rendition of the Jimmy Smith classic "Back at the Chicken Shack" is a conspicuous feature for Williams and Pitts. It echoes the original Smith/Burrell version in the pair's central interaction, but also draws on the guest talent of Calvin Newborn and John Gary Williams on vocal skit runs the course of the entire track. Latin grooves get the predictable nod on "Spanish Delight" where Hall and Diaz construct a hip-quaking beat and Bomar spreads a thick harmonic jelly on the bottom end. Spake straps on rotund baritone and Williams reels off a succession of fleshy fills that keep the sounds piping hot for the tune's duration. The band also honors the funk pantheon by insuring that Soul Brother #1 receives the requisite props with a smoldering interpretation of "Doin' It to Death." For the moody ballad "I remember Stax," composer Bomar mixes equal parts Booker T. & the MGs and Isaac Hayes into a pungent stew that contains the flavor of both legendary acts. The Bo-Keys and their disc vary significantly from that of Wilson's effort. They may wear their influences prominently, but they also temper what they borrow with a strong and guiding personal sound. The music might not be all that memorable or ambitious, but as a snapshot of old friends reveling in the good time atmosphere of healthy and time-tested grooves it scores high points. My thumbs are up-ended enthusiastically on this one.