There are two important things to remember about the blues. First and foremost, it’s about feel – an intangible but absolutely essential quality – rather than musical perfection. And second, unlike its offspring, rock ‘n’ roll, blues values experience. It’s music about life, generally best delivered by those who’ve been around the block a time or two.
Pinetop Perkins and Willie ‘Big Eyes’ Smith have definitely been around - Perkins was born in 1913, Smith in 1936. They’ve been playing blues longer than many of their listeners have been alive, and both spent time with Muddy Waters, a giant of the genre who helped establish the palette for the ensemble sound that defines Chicago blues today. They’ve been working together on and off ever since, with well over 40 years of shared musical history ensuring they’re telepathically tight on stage and in the studio.
It follows, then, that the two esteemed gentlemen know their way around a 12-bar tune, and the supporting cast assembled by producer Michael Freeman is equally adept. Smith, formerly one of the best shuffle drummers around, here hands drum duties to his son, Kenny ‘Beady Eyes’ Smith, who’s every bit dad’s equal at capturing that lazy but urgent beat that gives the best blues such irresistible momentum. That leaves the elder Smith free to blow wheezy but unfailingly effective harmonica (his first instrument) and deal with lead vocal duties, while Perkins continues to defy the ages with sprightly and sparkling piano work, anchored by one of the best left hands to ever tickle the blue ivories. Also on board is another Waters alum, bassist Bob Stroger, with Chicago stalwart John Primer (who also spent time with Waters) and relative newcomer ‘Little Frank’ Krakowski handling guitars. It’s a dream band indeed, powerful yet supple, slipping easily into each groove with intuitive ease.
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