Aerosmith Honkin’ on Bobo (2004)

From subjectivesounds.com

Blues done Aerosmith style; pretty much sums it up, doesn’t it?

Honkin’ On Bobo is one album title that for years, ever since the album’s release, I mistakenly referred to as Honkin’ On A Bobo; thinking hilariously that Bobo was slang for harmonica. If it were not for this review, I would forever be adding an A to the title in a similar manner as the dreaded mondegreen when listening to lyrics and trying to sing along. Nevertheless, these faux pas are fundamental to our connection with music. Plus, if music is to be interpreted by the listener, then our quizzical errors are our way of interpreting the meaning and while I now know Bobo is a person having the values of the counterculture of the 1960s, I kinda like my version better and henceforth I intend to describe the act of playing the harmonica as Honkin’ On A Bobo. 

Honkin’ On Bobo is, of course, not your traditional Aerosmith album, for the band decided for their 14th studio album that they would cover some of the very best blues-based rock tunes of the 50s and 60s. The result is an album that is welcoming to all listeners who appreciate that style of music and while I may prefer another interpretation, even the first releases of some of these classic songs, there really isn’t a bad song to be heard on Honkin’ On Bobo, thereby making this a must-own for any Aerosmith fan. The Grind, however, is an original Aerosmith tune and while it is far removed from its counterparts with regard to era, the soul of the 50s and 60s remains.

As you listen to Honkin’ On Bobo, you’ll be pleasantly surprised to hear the Aerosmith of old as Honkin’ On Bobo is about as barebones a production as you’re going to get from Aerosmith and that is actually a good thing for Just Push Play was getting a little too fancy in the post-production phase, compared to the perfectly balanced Nine Lives. Honkin’ On Bobo is subsequently a listenable album that you’ll likely find yourself enjoying on repeat and it’s arguably perfect for a Sunday drive in the country. Of course, that’s if you turn down the volume. View fullsizeView fullsizeView fullsize

Yes, dear reader, Honkin’ On Bobo is mastered loud! The Apple Music edition, an Apple Digital Master, reins the loudness in a little, but the CD is full on! That doesn’t mean that it’s bad, just that Bob Ludwig got a little too excited when mastering this exceptional release. I’ve said it many times before, I know where the volume knob is and I’m not afraid to use it. Loudness for loudness sake just isn’t good and Honkin’ On Bobo is pushing the album into the red, thankfully not far enough to destroy the musicality, but if you want the closest representation to the original recording,

I’d suggest checking out the Apple Music release for Apple’s Digital Master program is somewhat focused on limiting loudness and the guidelines are pretty clear. That shouldn’t deter CD lovers, however, for the CD release I’m fortunate enough to own (cat: COL 515447 2) does sound good when played on my main system, but it just doesn’t scale well and to give you an idea of what I mean, I have to turn the volume down by 5%, compared to my normal CD listening levels, because it is mastered so hot. I’d also suggest that the Apple Music edition is a little fuller in the mid and low end, when compared to the CD, but the difference is minimal and you’ll likely only notice it if you compare the releases as I have.

What is, especially, compelling for music lovers, however, is the CD artwork and layout. To say it’s exquisite would be an understatement as the booklet is full-featured, with magnificent photographs and complete liner notes, minus the lyrics. The CD is, as you can tell from the photographs, beautiful and matches the inlay tray design perfectly. Yes, dear reader, I’m one of those music collectors that must put the CD in the case in its correct orientation. It drives everyone around me insane, but that is how much pride I take in the physical product. It’s a passion, a hobby, and part of the listening experience that no streaming alternative can come close to replicating. 

Aerosmith Honkin’ on Bobo (2004)

From metalreviews.com

Aerosmith have been releasing albums within the music industry for over 30 years now! During their amazing career they have seen their fair share of highs and lows. This includes mutli-platinum selling albums along with some duds, sold out concerts, group turmoil, drug and management problems, etc. Through it all they have survived and have rightfully earned a place in the Rock N’ Roll Hall of Fame. Much of their success, especially in the late 80’s, was helped by using the power ballad formula. Aerosmith have now reached a point in their career where they have seen, done and experienced almost everything rock stars can experience. Now that they have come full circle, they can afford to do whatever they want without risking much.

Blues influences have always been prevalent on Aerosmith albums. Songs like “Walkin The Dog” from the debut, “Train Kept A Rollin” from “Get Your Wings”, “Milk Cow Blues” from “Draw The Line“, and “The Hop” from “Done With Mirrors” are just a few examples. It’s only natural for Aerosmith to release an album totally engulfed in the genre. They have taken a break from the power ballad formula used on the last string of releases and strip down the music to it’s basic elements. They go back to the very roots that made them what they are today.

“Honkin’ on Bobo” represents a number of cover songs (most originally done by the great blues artists of the genre) and one Aerosmith original called “The Grind“. Over all, the music is pretty good for what it’s worth, though I don’t see the CD spending an extended periond of time on my players as this stuff can grow old on you pretty fast. I prefer “Rocks” and “Toys in the Attic” era Aerosmith. They translate the music more rock ‘n roll than blues, stamping their identity on it and make the songs sound as if they were their own. Aerosmith sound relaxed and seem to really enjoy what they are playing, just jamming away. The sounds of the harmonica, steel guitar, piano and hammond organ help give the music a rock and roll feel. This is also helped by the production of Jack Douglas, who was a big part in Aerosmith’s 70’s success on the albums “Get Your Wings” through “Draw The Line“. Aerosmith sound fresh, rejuvenated, even liberated from the need to have a hit power ballad, though “The Grind” could almost pass for one. They cover The Who’s “Eyesight To The Blind” from “Tommy” and really color the song in blues making you think this was the way the orignal was meant to sound. Joe Perry lends his lead vocals on “Back Back Train” with a little help from Tracy Bonham, who sounds like a dead ringer for Stevie Nicks. Steven Tyler can play a mean harmonica and Joe Perry’s leads are expressed with much feeling and emotion.

I had the opportunity to see Aerosmith with Kiss back in November at Madison Square Garden in New York. Aerosmith played a few songs from “Honkin’ on Bobo” back then and they translated well in the live setting. At the time I didn’t know the whole album would be blues inspired.

For old school, die-hard Aerosmith fans, this release should be a welcomed one. For the teeny boppers used to the sappy power ballads like “Cryin‘”, “Angel” and “Amazing“, go buy a Bon Jovi record!

America’s “Led Zeppelin” still show that they have alot of life left in them. Who knows, at the rate Aerosmith are going, they’ll be around as long as the Rolling Stones. I still hope the next Aerosmith album that consists of original material will continue to go back to the roots; the roots of the mid seventies. I thought the “Nine Lives” release came pretty close at times, but then they went in another direction with “Just Push Play“. “Honkin’ on Bobo” seems like step in the right direction to get them back on track so the “train will keep a rollin‘”.

Aerosmith Honkin’ On Bobo (2004)

From imarocker.com

The eagerly anticipated Aerosmith blues outing ‘Honkin’ On Bobo’ (apparently bluespeak for playing the harmonica) is finally here and to my mind is their finest release since 1989’s ‘Pump’. As I’ve been asked to submit a review, I’ll spare y’all any pre-amble and cut to the chase:

Opener ‘Roadrunner’ is a classic hard-rock tip-of-the-hat to 60’s R’n’B. Fans of Van Halen’s ‘Pretty Woman’, DLR’s ‘Tobacco Road’ or even the Horslip’s ‘Shakin’ All Over’ will definitely enjoy this, which is probably the nearest Aerosmith have come to straight-ahead vintage RnR since Permanent Vacation’s ‘Im Down’.
Track 2 sees the ‘Smiths revisiting previously explored territory, as ‘Shame, Shame, Shame’ could pass as a modern reworking of ‘Big 10 inch Record’ from their classic ‘Toys In The Attic’, albeit benefiting from 21st Century production techniques.

Next up, Sonny Boy Williamson’s ‘Eyesight to the Blind’ allows Tyler to show off his blues-harp prowess: a tall order, given the former’s legendary status as ‘King of the Blues Harp’. However, ST proves yet again that he’s no slouch in this department either, and is aided and abetted by the swamp-blues guitar of Perry and Whitford.
‘Baby Please Don’t Go’ needs no introduction to fans of Rock or Blues. This standard saw its entrée to the rock arena via Van Morrison’s Them in the mid-60’s and since has been covered by the likes of Budgie and AC/DC. This version breathes new life into the old tour de force, and for me is one of the standout covers of the rock era. Notable are Joey Kramer’s drum fills- simple yet highly effective. Additionally, Tom Hamilton’s bass work here is exceptional, holding down a walking bass line until the climax of the guitar solo, when he finally runs off on a freewheelin’ fret-fest that had me hanging on to the speakers!

‘Never Loved A Girl’ is crying out for a single release. This is a typical soul number, but its definitely Stax Studios Memphis, as opposed to Tamla Motown Detroit. It’s a game musician who’ll take on a vocal popularized by Aretha Franklin, but No Surprise (sic) that Steven Tyler is well up to the task.

The first half of the album ends with the first of three songs penned by Mississippi Fred McDowell (cousin of Carnhill Titch?) and sees Joe Perry capably take the lead vocal. Hearing this track hints at the possible influence behind the likes of former Aero-classics such as ‘Hang Man Jury’ and ‘Voodoo Medicine Man’. Tracey Bonham, who delivers in a style similar to Sheryl Crow, Stevie Nicks or even Bonnie Raitt, joins Joe on vocals, for what is possibly Perry’s best-ever outing behind the microphone.

Track 7 is another McDowell tune, ‘You Gotta Move’. Previously covered by the Rolling Stones in swamp blues fashion, Aerosmith instead prefer to sidestep potential Stones comparisons by applying the patented Bo Diddly riff and beat. This thereby gives the song an entirely different flavour- and no bad thing following 30+ plus years of unfavourable and meaningless Stones comparisons, which do neither band justice.
The only self-penned track is ‘The Grind’, which is a slow 12-bar, probably written as a single release. Typical latter-day ‘Smith-stuff, this is 21st Century Aero-blues, as opposed to the early nineties country pastiche of ‘Get A Grip’s ‘Crazy’ or ‘Cryin’.

Willy Dixon’s spooky-blues workout ‘Im ready’ will give Quentin Tarantino something to think about if he’s ever considering remaking The Adams Family and needs some inspired soundtrack material. This track may fit the bill.
The Jewish-blues of ‘Temperature’ sees Tyler’s vocal at its most affected. This type of material is reminiscent of the style and spirit of the ‘Unplugged and Seated’ retro-Faces set, recorded by Rod Stewart and Ronnie Wood over 10 years ago. Fans of this album could do worse than check The Faces out if they require more of the same.

It’s nice to see Aerosmith acknowledge the blues influence from 4000 miles east of the Mississippi, with the penultimate track, Peter Green’s ‘Stop Messin Around’. Again Joe’s on vocals and while this has been an ad-libbed live staple for quite some time, on this occasion the band give it the full studio treatment, featuring a stunning dual lead break from Perry and the criminally underrated Brad Whitford.

‘Jesus Is On The Main Line’ is an acoustic gospel chant lifted straight from the Delta cotton fields. Again, additional vocals are capably provided by Tracey Bonham for a song that wouldn’t be out of place on the soundtrack of ‘Oh Brother Where Art Thou’. It really doesn’t get anymore organic than this, and it’s a nice touch that the band should end this outing right back at the roots of the blues, musically, culturally and spiritually.
For me then, a five star rating, and I’d be very surprised if this album isn’t a huge success. I hope that I can come across a better album this year, but I seriously doubt it, given its many strengths and highlights. Few of the so-called ‘Greatest Rock Bands in-the-World’ could manage to pull this off: certainly not the likes of REM or the Chillis. Possibly Fleetwood Mac, if they can pull in both Peter Green and a revitalized David Lee Roth (!) or maybe even Van Halen, if they can travel back in time to hire James Brown circa-1967.

In short then, if you like rock, blues, or Blues-rock then check this out and I’m sure you’ll enjoy it. If not, stand clear! The only gripe for me, is that at less than 44 minutes, this album is too short; then again, I’d probably say the same if it was twice as long. Grammy nominations writ large? – Lets wait and see.