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9/1/2004

Bruce Rodgers

Let’s see...Kansas City has its jazz moniker, Chicago, electric blues, then there’s New York punk and don’t forget the San Francisco psychedelia sound. Anything missing?

Here’s a hint: Take a Hammond B-3 organ, a wah-wah guitar, a trumpet and a sax and, of course, the requisite drums and bass — all pouring forth from The Royal Sessions.

Still don’t know? Say fool...it’s Memphis soul we’re talkin’ bout.

With the release of The Royal Sessions, The Bo-Keys shook the musical memory tree earlier this year with a sound seasoned and simmered, updated and relevant. And what a collection of players, led most aptly by Charles “Skip” Pitts on guitar, famous forever for his creative stamp on Isaac Hayes’ Oscar-winning “Theme From Shaft,” and touch-the-spirit organ player Ronnie Williams.

Every cut works, makin’ the headphones stay on. Williams on the B-3 keeps the sound layered, doing everything from left hand runs across the keys, to dewdrop plops and lingering note massages. The best cut — among all the “best” cuts — is “Spanish Delight.” The Hammond starts out front, pushing a high-end sound against Jim Spake’s low baritone sax as Pitts picks in the background on rhythm. Then the transition begins as Pitts takes the lead, his licks cutting sharp, and Williams’ Hammond fades. It’s a little rock ‘n’ soul. Then again the Hammond moves to the front and that B-3 “Am-I-in-church?” sound carries you out.

Pitts gets bluesy on “Back at the Chicken Shack” as Williams’ right hand begins to move on the Hammond. Marc Franklin adds a confident trumpet on the opening cut “Coming Home Baby,” and throughout Willie Hall on drums and Scott Bomar on bass lend righteous weight. Without going totally retro in CD purchases, take in The Bo-Keys for a Memphis soul run.