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Throwback Thursday – We Survived Bluestock!

Buddy Guy at BluestockI was looking for some pictures to commemorate Buddy’s Guy’s birthday and for Throwback Thursday on our Facebook page. I was led to a nice set of shots taken at Bluestock, the ill-fated festival in the Catskills that literally and figuratively took a bath thanks to Hurricane Irene striking far inland three years ago. The post led to a conversation on Facebook with ChefJimi Patricola and Chris Lyon, our ticket winner for Pennsylvania Blues Festival, and it got me thinking about that fateful weekend at Hunter Mountain in New York state.

So let’s get in the WABAC machine once again and revisit the one, and so far only, Bluestock…

BluestockPosterSkies were blue and spirits were high on Friday afternoon as the first annual Bluestock festival kicked off with two time IBC winner Lionel Young and his band, but a sense of foreboding was palpable as attendees wondered what Sunday would bring as Irene left a wake of destruction in her path up the east coast.

No, Bluestock did not exactly happen as planned. Gregg Allman, Saturday’s scheduled headliner, had to cancel due to illness. Mysteriously, or perhaps enigmatically, Steven Seagal and his band Thunderbox (yes! this is a real thing) were no where to be found. Shemekia Copeland was a late addition to the lineup and Robert Cray was added as a headliner. Then the unexpected, unwanted guest arrived: Hurricane Irene. Producer Steve Simon probably never had an inkling that hurricane season could disrupt his monumental undertaking of combining the Blues Cruise with Woodstock. A hurricane? In the Catskills? Never. Well, think again.

By the end of Friday night, Sunday’s schedule had been scrapped and the festival, originally intended to take place outdoors, with two side-by-side stages for continuous music, was to be moved indoors on Saturday. Thankfully, Hunter Mountain Ski Resort had several halls to accommodate the indoor festival allowing them to keep the original plan of adjacent stages and continuous entertainment. To everyone’s surprise, the headliners Robert Cray and Buddy Guy were to play outdoors on Saturday afternoon and all the other acts that could make it would be playing indoors for a marathon thirteen hour show.

Of course, many were displeased by the turn of events and several angry customers shared their opinions on social media sites like Facebook. Some were angry about cancellations and many felt the festival should have been cancelled altogether. However, the majority of people gathered on the mountain thought the show must go on. And go on it did. Crammed into two days of music were nineteen acts featuring a veritable who’s-who of modern blues. Performers ranged from longtime favorites like Elvin Bishop, Tommy Castro & The Legendary Rhythm & Blues Revue, Tab Benoit, Ronnie Baker Brooks, Shemekia Copeland to relatively newcomers Moreland & Arbuckle, Alexis P. Suter Band, Trampled Under Foot, and Port City Prophets to local favorites Bruce Katz Band and Chris O’Leary, who made a surprise appearance with Bob Margolin & Matt Hill (Matt now plays full time in his wife Nikki Hill‘s band).

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While Saturday had illustrious acts seemingly every hour on the hour, Friday’s lineup was stellar in itself. The Lionel Young Band got the early birds moving with their leader’s guitar pickin’, fiddle pluckin’ boogies and a rollicking version of “Got My Mojo Working.” Literally moments after the closing notes of their set, Bob Margolin & Matt Hill continued the show on the adjacent stage allowing the crowd nary a second to catch its breath. Bob Margolin is a proven crowd pleaser but 2011 BMA Best New Artist winner Matt Hill stole the show with possibly the best AC/DC cover ever in “Hellz Bellz” – done Jerry Lee Lewis style, it was a nearly unrecognizable revved up rock n’ roller that would have left Malcolm and Angus Young drop-jawed and stupefied. Matt Hill then upped the ante with a song presumably called “Lemon Squeezer.” He sang about squeezing your lemons, woman, showed you his technique, bounded around the stage and removed his belt to whip you into submission. His infectious energy spread through the crowd and band. When Chris O’Leary came out to blow some harp it seemed the hurricane may have come early. They laid waste to preconceived notions of legendary jams when Lionel Young came out with his fiddle and joined the fray. This supergroup tore into another version of “Got My Mojo Working” that had the Catskill evergreens shimmying on the slopes.

The Bluestock crew kept the music going, operating like a well-oiled machine, getting BMA nominees Trampled Under Foot on stage just as the jam with Bob Margolin ended. The band appeared on many “best” lists in the last few years and it is immediately apparent why. This trio of siblings plays almost telepathically, locked in the groove and playing hard. Once their fiery set ended, the festival modeled after the Blues Cruise found ports of call in Louisiana with sets from Tab Benoit and Trombone Shorty & Orleans Avenue. Benoit’s laid back delivery and sinewy grooves took us deep in the heart Cajun Country. Exuberant fans threw plush alligator hats to the band and Tab obliged by donning the cap while playing. His searing solos were hot as a raging skillet in a blackened shrimp contest, and were twice as tasty.

Trombone Shorty & Orleans Avenue took us from Benoit’s rural bayou to the Crescent City with an effervescent set full of New Orleans funk and jazz. Many concert goers later commented that the band seemed out place at a blues festival, but enjoyed them nonetheless. Blues and jazz are inextricably linked, born of similar circumstances and using the same musical language. It was a master stroke to remind the fans of this oft forgotten musical relationship and the powerful music of Trombone Shorty & Orleans Avenue certainly had the crowd in the palm of its hand by the end of the set. Shorty’s passion and connection to his instruments was nearly tangible as he breathed life from the trombone and trumpet into the air around Hunter Mountain. The band was one of only a few selling their CDs for less than twenty dollars – theirs were merely ten – and I hope everyone who enjoyed the set took one home. A better value for ten bucks could not be found at the festival.

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Friday’s closer Elvin Bishop took the stage and played a set roughly based on his recent CD “Raisin’ Hell Revue” recorded on one of the Blues Cruises. Unfortunately he told some of the same stories from the CD but his good humor helps overcome the familiarity. His guitar playing helps a little too. Well, it helps a lot. The jamming kicked up a notch when Tab Benoit joined Elvin Bishop and the band for a few songs to close out the set. They didn’t play “Got My Mojo Working” and I’m glad for that. After the first two acts of the day did it I was getting worried.

Due to a bizarre twist of weather-related fate, Saturday noon found Robert Cray on stage while the crew set up the opposite stage for Buddy Guy. Robert Cray and Buddy Guy, back to back, on a Saturday afternoon. It almost made you glad to be in the path of a hurricane. Cray’s smooth, soulful blues eased the bleary-eyed revelers into the day. Cray joked a few times about the bright sunlight and time of day but there was no detrimental effect on the music.

While Robert Cray’s set was somewhat laid back, Buddy Guy came out all guns blazing. If the hair of the dog didn’t cure your ills, trouble was coming your way at maximum volume and speed. Buddy’s amps must have been bought from Spinal Tap because he was definitely one louder than everyone else. He sang “74 Years Young” from his Living Proof album but played like the owner of 34 years young fingers. His passion, humor, stage antics and propensity to say “fuck” a lot certainly woke everyone up.

About halfway into his set, Buddy brought out 12 year old Quinn Sullivan who has been appearing with the Buddy Guy Band for a few years. Quinn has enormous talent and his technique is flawless, but unfortunately he’s at a stage of his musical life marked mostly by imitation, and Buddy let him dominate the rest of the set. Sullivan sang a few songs, but his pre-pubescent voice is too high and was washed out in the mix. Still, he is only twelve and will hopefully evolve into a powerful musical force in the next ten years or so. Buddy Guy believes in him and even quipped that he would certainly come back next year, but only if Quinn gets an invitation too. I say Quinn Sullivan should be invited, but give him his own set so we can get a full ninety minutes of Buddy Guy next time.

After Buddy Guy’s set, the festival moved indoors, just moments ahead of the rain. Recent concert tragedies from stages falling at the Indiana State Fair and the Ottawa Blues Fest surely had the promoters and crew concerned and they made short work of taking down the outdoor staging. Accommodations were also made to allow the campers to stay in the lodge on Saturday night. Steve Simon and crew put safety first making sure all attendees were protected.

There was a bridge there on Friday. I'm sure of it!
There was a bridge there on Friday. I’m sure of it!

Meanwhile, two stages were ready to go inside. One in a large auditorium style hall and the other in place for the late night jams with Mitch Woods, dubbed Club 88. Mitch hosts Club 88 on the Blues Cruises and usually persuades lingering musicians to join in the fun. Tucked in the corner of the lodge, the stage was like an eight ounce brisket sandwich with sixteen ounces of brisket on it; messy, over flowing, and finger licking good. The sky was crying but the blues lovers were smiling as the two stages provided continual music for the next eleven hours as the rain pounded the mountain outside.

Saturday’s indoor lineup was Shemekia Copeland, Ronnie Baker Brooks, Curtis Salgado, Bruce Katz Band, Shakura S’Aida, Moreland & Arbuckle, Tommy Castro & The Legendary Rhythm & Blues Revue, Albert Cummings, Alexis P. Suter Band, and Port City Prophets. Every one who made it to the mountain played a set and then the music continued once more when Mitch Woods’ Club 88 re-opened for business with the Prince of Beale St. Billy Gibson at the microphone.

I must confess I’ve seen Shemekia Copeland three times this year. She played basically the same set each time and told the same stories. I suspect I’m spoiled by bands that vary their sets. Her band is tight and plays perfectly each time, which makes once a year enough for me. Ms. Copeland has a powerful voice and uses it well, but there are no surprises for repeat customers. If you haven’t heard her sing live though, I highly recommend it. No studio wizardry, and sometimes no microphone, is used but her tiny frame holds inside an immense musical force.

 

Guitargasm. Add it to your lexicon.
Guitargasm. Add it to your lexicon.

Ronnie Baker Brooks gave the guitar fans one long guitargasm after another and even soloed his way through the crowd to the bar for a drink and a bottle to play some slide. It’s not a new addition to the traditional trick bag, but it gets the crowds going every time. Curtis Salgado’s blue-eyed soul had the faithful swaying to the beat; Bruce Katz Band whipped up some Hammond B-3 blues with Alexis P. Suter’s guitarist Jimmy Bennett pulling double duty, playing and singing with Bruce. Shakura S’Aida’s vigorous vocalizing drew cheers and Moreland & Arbuckle literally and figuratively kicked everything up a notch with their guitar and harmonica led trio. They were asked to play a bit longer while Tommy Castro was setting up next door and the enthusiastic crowd response drove them to greater manic intensity. They even had the audacity to release their new album on vinyl, which was quite popular at the merchandise table.

The delay from getting Tommy Castro set up caused a schedule crunch and bands had to play simultaneously, dividing the attention of the Bluestock survivors but Tommy Castro & The Legendary Rhythm & Blues Revue held most of the focus once under way. They played an incendiary rendition of “Gotta Serve Somebody” before being joined by Rick Estrin, Deanna Bogart and others for a recreation of the legendary blues cruise’s favorite jams.

Albert Cummings took the stage with the rhythm section from Shakura S’Aida’s band – two guys he met a mere thirty minutes before going on – and they wowed the small crowd in front of the tiny Club 88 stage. The trio played seamlessly with Cummings’ molten licks flowing freely over the bedrock of bass and drums. Alexis P. Suter’s powerful, booming voice filled the auditorium and the band’s gospel infused blues surely added weight to those prayers for shelter from the storm pounding the Catskills. Port City Prophets, an upcoming band from South Carolina, played last on the Club 88 stage, mixing amusing originals with clever covers. They played a dynamic version of Stevie Ray Vaughan’s “Couldn’t Stand The Weather” in honor of the looming devastation that would be unleashed by morning.

I'm not sure what used to be here but it's probably on Oneonta by now.
I’m not sure what used to be here but it’s probably on Oneonta by now.

And so, we had Bluestock 2011: One of the headliners cancelled, an MC was AWOL, minor acts hoping for major exposure were crammed into a ski lodge playing for hundreds instead of thousands, headliners opened the show, openers closed; all the signs of the Apocalypse were there. But the Apocalypse never came. The crowd was well behaved in the cramped space, everyone was happy to be there enjoying a seemingly endless variety of blues, and the producers, promoters, managers and musicians all pulled together to provide those who braved the weather the best possible experience. They came through with class and grace, deftly handling one dilemma after another making Bluestock 2011 an unforgettable weekend of music, friends and adventure. Although I’m already looking forward to the next Bluestock, strangely enough, the Simon brothers and the Bluestock crew will have a hard time topping it next year.

Throwback Thursday | Ronnie Baker Brooks Interview

A few years ago I had the chance to interview Ronnie Baker Brooks for American Blues News. it was part of our Father’s Day special feature. ABN has since become dormant and the expansive content has been lost to the ether. Since Father’s Day is this weekend, I thought it would be a perfect time to throwback to that feature and this interview with one of the leading sons of the blues: Ronnie Baker Brooks, son of Lonnie Brooks.

Ronnie Baker Brooks-1Ronnie is on tour this summer with his own band and as a special guest with Big Head Todd & The Monsters. Tour dates can be found here: RBB Tour Dates. I’ve been fortunate too see Ronnie’s show and he always leaves it all on the boards. He is a veteran showman, skilled entertainer, and ace guitarist. His show will leave you wanting more.

Now let’s get in the WABAC machine and check in with Ronnie Baker Brooks circa spring 2011…

JK What was it like growing up with your Dad (Lonnie Brooks) as a famous blues musician?

RB When I was younger I didn’t realize what impact Dad had. He was just Dad around the house. Me and my brother Wayne used to just try to emulate Dad around the house with brooms, spoons, pots & pans, and when I went to see my Dad play at the Chicago Blues Fest when I was around 11 or 12 years old, that’s when I was like “Wow! This is not normal.” It was something special and something different. I didn’t really, really embrace it until I got on the road with him after I graduated high school. That’s when I realized it was so special.

JK Did you go out with him as a kid accompanying Dad or as a musician?

RB Well, I went out with him on weekends from around age 14 to 18. I would carry amplifiers, set up the stage, tune guitars, and sometimes he would let me play one song a night. Then when I graduated from high school I went out full time doing that – being a roadie. Whatever the band needed; I sold albums – back then it was vinyl – I set up the stage, drove the van, everything they needed and my Dad would reward me by letting me play one or two songs, then two led to four, then four led to one set and one set led to being in the band.

Ronnie Baker Brooks-2JK When did you start playing guitar?

RB I started playing and my Dad started teaching me when I was six. My first time on stage in front of an audience I was nine, at a club called Pepper’s Hideout.

JK What was that like for you?

RB That was weird, man, because we always played with Dad at home and I felt pretty comfortable. It really kept me out of trouble because I grew up in the ghetto on the south side of Chicago. It was kinda rough over there. Being in the house playing music with my Dad kept me away from trouble and I really, really enjoyed it. I looked forward to it. Just to hang with my Dad and for him to give me that attention through music. I started playing on stage, my first time was at Pepper’s; it was packed and I had a mood ring on and it was turning all kinds of colors. My Mom was there with me and she was like “calm down, calm down. Just play like you do at home.” When she said that, it calmed me down and I got up on stage with him and the people didn’t believe it was me playing. They thought my Dad was playing so he held up his hands. When they saw it was me playing, they threw money on stage. I made more money than my Dad that night and I thought I was a superstar! I thought I made it, man.

JK So did you want to go back the next night?

RB Yeah! But my Dad said “we can’t have kids coming in there all the time.” It was a special occasion, like a birthday and coming home party. He had gone to Europe for six weeks or something like that and it happened to be around the time of my birthday. But, he said if I learned more songs he’d get me up there again. That was my big splash into the music business. I did some local TV commercials and I thought I was famous. It went to my head. Then I decided to quit and play basketball because my Dad said “You can’t do both.”  You know, most of my friends, I didn’t have any that were playing music. Most guys I knew playing music were my Dad’s age. Most of my friends were playing basketball or football – some kind of sport. I told my Dad, I want to play basketball. Well, he said “You can’t do both. If you want to be good you’ve got to concentrate on one or the other.” He later said I broke his heart when I decided to play basketball (laughs). He didn’t tell me until I got back into music. But my Dad would play until 4 am, get up and take me to my games at 9 am, watch me play, take me to lunch, take a nap and he go back out to work that night. I had no idea he was thinking “he broke my heart.”

JK That’s a good Dad right there. He let you pursue what you wanted to do.

RB I’m glad I did it too. Basketball taught me teamwork that I apply to my band today. Everybody can’t have the ball at the same time. We all have our roles to play to make this work.

Brooks Family DynastyJK There are a lot of parallels between a sports team and a band; it’s everybody working together.

RB That’s right. Dad didn’t tell me until I was back into music and back out on the road – “You know you broke my heart.” I said “what do you mean?” He said, “When you decided to play basketball. And I’m so glad you’re back into music, but you’ve got to prove it to me this time.” He didn’t pay me. He took a lot of grief for taking me on the road. We were riding in the van and his band members were saying, “Man, we don’t need him. Why’s he out here?” But I wasn’t getting paid. I was out there just to help Dad.  So I had to earn everybody’s trust. I loaded the van, tuned guitars; I was the roadie, the gopher guy. I did it so well that they depended on me. When I wasn’t there, they’d be asking “Hey, where’s Ronnie?” I didn’t realize he was preparing me for my own band. It was to prepare me to get my own career going. Everything from calling hotels, setting up load-in times, advancing the shows – it just prepared me. And I thank my Dad for that.

 JK It sounds like he taught you the whole trade.

RB Yes, he did.

JK Were the guys openly hostile or just griping?

RB Some were, man. I had to earn it. And my father was always saying “Look, I don’t want anybody saying you got anything because I’m your Dad.” I had to prove it, and not only to the band, but to the audience too. I didn’t want anyone to say “He got this because of his Dad.” And, I didn’t my father to feel responsible for carrying me. I didn’t want that pressure on my father. So, I had to do three times the work to earn it. I still feel like that sometimes.  I feel like the pressure is on, being his son I still feel like I have to do that for the music. Compared to rock & rollers, rappers and hip-hoppers, we have to work harder to prove we’re justified in being here.

JK I would think it would be harder to convince the audience. They might be thinking “Oh, it’s just his kid.”

RB You know man, I got that coming up. “What do you know about the blues? You don’t know no blues.” This was before Jonny Lang and Derek Trucks and all those guys getting those good contracts at a young age.  When I was coming up it was “No, he don’t know nothing about the blues. What’re you talking about blues?” It made me dig in that hole a little harder and I did my homework and learned about all the previous blues musicians I could – Muddy, John Lee Hooker, I was listening to the raw stuff too like Son House and Lightnin’ Hopkins, and I was feeling it. But I always had to prove it. Koko Taylor, Eddy Clearwater, Son Seals, Luther Allison, they all said “Do this. You are the future. You’ve got to keep this music alive.” There were a few though that were like “Put that thing down! You don’t know blues.” And they weren’t giving out contracts like they are now.

Ronnie Baker Brooks Bluestock-1JK Jonny Lang, Derek Truck, Joe Bonamassa – they all have something in common which is that they’re white. Younger people like you, Bernard Allison, Shemekia Copeland and so on get the interest from the blues labels but Trucks and Lang and the others get the interest of the big labels like Sony. Is that a cultural thing or is it just that the business doesn’t see you as a viable product? They’d rather sign Jay-Z and sell him to the black kids.

RB There you go. It boils down to money. The companies that put big money into an artist want to see it come back and it’s got to be a no-brainer. There are many great musicians out there deserving of that kind of attention but it comes down to money.  In America, if you see something you can relate to you’ll support it. If they see a black kid playing blues, they think “Ah, I don’t know about blues.” But if they see some hip-hop, that’s the thing in their neighborhood. They can see themselves doing that. That’s the ticket out. They see them making money and in the ghetto you don’t want to be reminded of the tough times. They don’t want to hear about blues. But you know what, it’s an educational process.  A lot of my friends who would’ve been teasing me about it back then love it now. You have to go through some of it maybe to understand it or enjoy it. Now they say, “Oh, now I know what they’re talking about.” Some of them come to my shows and tell me “I thought the blues was crying in your drink but you’re having fun!” It’s a hard thing to get across. I really believe that with the right African-American artist who had the chance, it would help the African-American kids back into the music. With Jonny Lang, Derek Trucks, & Joe Bonamassa the white kids see themselves so they think “I can do that.” Like “Mom, can I get a guitar like Jonny Lang?” You know? So they can relate quicker to them than they could me because they see themselves but it’s getting better and I’ll tell you what, I’m glad anybody listens to this music. No matter what color, how old or whatever, if we get one fan at a time I’m happy. If Derek Trucks gets 1,000 fans I hope they investigate more and find out about others. But that’s how it is. It’s been that formula for a long time. Eric Clapton and the British Invasion did the same thing for Buddy Guy and Muddy Waters. It took the Stones and those guys to bring that music back here for the people to appreciate it.

JK Yeah. It’s ridiculous.

RB Yeah. But I’m not the one who started this; I’m just out in it. Hopefully we can get past the barriers that our music inherited.

Ronnie Baker Brooks - Bluestock-2JK Do the people you grew up with like blues music now?

RB They love it now man. Especially when they come out to the shows. Plus, they don’t want to listen what they’re kids are listening to. Some of the people that teased me come looking for backstage passes now and want to hang. So, it’s weird. I’m just glad I was exposed to it early fro my father and absorbed it. Even today I think back to when I was first exposed to it at such an early age and I’m grateful for that.

JK Does your Dad still tour?

RB A little bit but not as much as he used to. He’s 77. Back when I was with him we’d do 250 to 300 dates a year. But it’s changed a bit. He doesn’t have gigs during the week like he used to. Dad is at an age where they can’t sell him the gig like they can me, you know like “this can really help your career.”

JK He doesn’t have to take gigs. I can’t believe he’s 77. I would never have guessed that.

RB He doesn’t look 77 and he doesn’t always act 77 (laughs). He’s got a brand new record coming out soon, I don’t know when, but it’s got new material he wrote. I’m really proud of him. The older you get the more difficult it gets. You’ve really got to love it to stay with it for so long. I’m glad to see it and I’m really looking forward to the record being released. It might motivate him to get out there and play more.

JK What about your brother Wayne; he has his own record label?

RB Yeah, he has his own record company. He has a new single out by rapper Twista. He still does his own thing and still plays with my dad when he does shows. We’re all going to get together and play some shows over the summer billed as the Brooks Family.

JK Any chance of a Brooks Family record?

RB I hope so. We’ve talked about it from time to time.

JK Were you and Wayne in your Dad’s band at the same time?

RB Yeah. He came up the same way I did; being a roadie and tech, you know. Dad sent us to blues college, man.

JK Were you one of the band members giving him crap when he came out on the road?

RB (laughs) Well, no. Really I made it easier for him because I broke the ice. He caught it too though. That’s just part of being the boss’s son. You’ve got to prove yourself and pull your own weight.

JK Was there any different audience reaction when both of you were in the band? Audiences can be cynical especially with two sons out there.

RB We didn’t hear any of it. In fact it was kinda the opposite. I’ve had grown men coming to me in tears talking about “It’s great you’re up there with your Dad. I wish I could have that relationship with my father,” you know, that kind of stuff.

JK Was there any sibling rivalry on stage?

RB (Hesitates) Well…yes. Like I said, we’re all competitive. Wayne & I used to play basketball together no one wanted to lose. We’d play cards with Mom & Dad and no one wanted to lose. So, yeah, we have that drive, but we love and respect each other. We would drive each other to be the best we could be.  If you didn’t work at it, it would be exposed, but we all brought our A game and wanted everybody to look good.

JK I’ve noticed in your music there’s some funk and soul influences. Did you deliberately set out to be different from your Dad’s music or do you just feel it differently?   

RB It’s a combination of both. Dad would always tell us to be ourselves. Learn all you can from what B.B.’s done, Albert’s done, but remember, you’re never going to be Albert King. But you can take what they had to offer and make it your own. So that enabled me to be different when I wrote songs. I listen to blues, gospel, soul, R&B, even country music – my Dad used to play country music once in a while – and Wayne and I grew up in the hip-hop era so there’s that too. I try to apply all that to what I do, but I never think this is going to be a blues song or this is going to be an R&B song; it comes out as it is.

JK What’s your guitar set-up like?

RB I have a number of guitar pedals (laughs). But it all boils down to your fingers. Even my Dad always said you’ve got to have your own fingerprint. I use pedals to get different sounds. I’ve got a three piece so I use them to keep it interesting; so every song doesn’t sound the same. But really it’s in the fingers. When Buddy guy sat in with me he played my guitars and amps and sounded just like Buddy Guy. I try to establish that for myself.

Ronnie Baker Brooks - StratJK Do you usually use Strats?

RB On the road, yeah. They’re durable. But I have about 35 guitars. I use a lot of them in the studio and every now and then I’ll take some on the road if it’s a short trip, but some of the Gibsons are delicate. So, I take my two main Strats – the one I call “The Baby” and the other one I call “Champagne.” Those two go on the road.

JK What guitars did your Dad use? He had some guitars that looked like Strats but I couldn’t tell what make they were.

RB He had custom made Strat style guitars by Flynn Guitars, but right now he uses Gibson SGs or the 335.

JK I was surprised to see him playing an SG on the album covers because he had a slinky, trebly tone I wouldn’t normally associate with a Gibson SG.

RB That SG on the front cover of Bayou Lightning was my first guitar. That’s my Gibson SG on there. That was the first professional grade guitar that he bought for me. He got me a cheaper Sears model before he knew I really wanted to play but then he got the SG. Before I went out on stage with him the first time he bought me that SG. Then when I quit to play basketball he took it back! Then he did Bayou Lightning and Turn On The Night with that guitar. I got it back when I returned to the band.

JK what do you have coming up?

RB I’ve got some touring, I’m always writing. I’m getting a record together, either at the end of this year or beginning of next. I’ll be doing some dates with my brothers and father this summer.  I just produced Eddy Clearwater’s record and I produced this group from Holland called The Juke Joints. I did their CD which is out now over there. I’ve been making guest appearances. I’m on a record coming out soon called Living History of Chicago Blues or something like that. It’s got Buddy Guy, Magic Slim, James Cotton, Billy Branch, Lurrie Bell, John Primer; a bunch of people from Chicago got together and we did this record. I did my father’s song “Don’t Take Advantage Of Me.” I did that one over and one of my songs over. So, I’ve done everything for everybody else. I also helped Dad with his record. So now it’s time for me to do something for myself.

DSCN1491JK What’s it like for you as a producer to work with Eddy Clearwater or even your Dad? Do they take it well when you assert yourself?

RB Yeah. Actually, they listen to me. They want me to take control. Eddy said “If you want something done you tell me what to do. I trust that you know what you’re talking about.”  For him to give me that, it added a little pressure to be sure about what you want, because you’ve got a legend that you’re telling what to do. That was awesome. That was probably one of the best times of my life; for Eddy to embrace me like that and trusting me. First it was only supposed to be one or two songs and I went over to his house and it just started rolling. Ideas started popping out and everything was flowing really well and he said let’s just do the whole album. I’m honored. That’s something no one can take away from me. It was a great experience. He was the first person other than my father who said “I want you to do this for me and I know you can do it.”

JK What album is that?

RB West Side Struggle on Alligator Records.

JK To sum it up and put it in perspective for us, what do you think is the most important thing you learned from all the time spent playing with your Dad?

RB To be a man – a human being. Treat people how you want to be treated, be professional and do the best you can. You can’t please everyone but you can please yourself by doing your best. That keeps me grounded. You get compliments all the time. There are huge egos out here. You can’t start believing all that stuff and let it get to you. My Dad gave me a firm foundation to build on. That’s the best gift he gave me. He gave me a craft and I embraced it. He never forced us – me or Wayne – to do anything but once we showed him we wanted to do it, he sacrificed so we could do it. I’m very grateful and I feel like I have to carry this on; the family legacy.

My thanks to Ronnie baker Brooks for taking the time to explore his musical pedigree and I hope all you Fathers and Sons out there enjoy Father’s Day 2014.