Bobby Rush – Folk Funk

The word "innovative" or the phrase "break new ground" doesn't apply to this album, but that isn't what the musicians on this release set out to be or do. And fans of that "classic," "authentic" electric blues sound aren't going to mind at all, because Folk Funk is one of the most classic- and authentic-sounding blues albums of the past twenty years, if not longer. That certainly owes a great deal to the phenomenal production, led by none other than Bobby Rush himself. Channeling the Delta in every way by recording at Sonic Temple in Jackson, Mississippi doesn't hurt, either. Recruiting Alvin Youngblood Hart, a young (comparatively, to Rush) master of all forms and facets of blues guitar, is the ace in the hole. Hart's playing is exceptional, reminiscent of some of Buddy Guy's best work as accompaniment to Muddy Waters (Folk Singer), Eddie Floyd (Five Long Years), and Junior Wells (anything they did together). Never upstaging the old master, Hart gives Bobby Rush all the room he needs to create his harp and vocal magic without ever compromising his own deep pocket in every song. It shouldn't be forgotten that this album is titled Folk Funk, so despite a solid foundation in the blues, Rush, a New Orleanian (the primitive, folk-art album cover is a nod to Rush's Louisiana roots), varies his approach, throwing more than a little pinch of funk, soul, and R&B into the roux that keeps Folk Funk so tasty. So while the album is bookended by the John Lee Hooker-derived "Feeling Good-Part One" and "Feeling Good-Part Two," and further steeped in the blues with songs such as the Sonny Boy Williamson-reminiscent "Ninety-Nine," Rush keeps listeners on their toes with refreshing, New Orleans-inspired jams such as "Voodoo Man" and "Saints Gotta Move." Overall, however, Folk Funk's success comes back to two things: its perfect production; and, as it should be, the stellar interplay between Rush's deep, well-traveled vocals and blues-journeyman harp work and Alvin Youngblood Hart's exquisite support on guitar.