Published on May 31, 1999
Charles Brown should have been a major star up until the day he
died. The new generation of blues fans had the chance to really
bring his career back from the unknown when, in 1989, his album
One More For The Road was released. Unfortunately, the
revival never did catch fire, and it wasn’t until Bonnie Raitt
brought Brown out onto the road for some live dates that some
people even gave him the time of day.
Three words: God-Damn Shame. Brown should have been on the same
pedestal as Tony Bennett is these days. His style of slow blues –
really R&B form the early days – comes off as smooth as a good
shot of whiskey, and this album is proof that, even as the twilight
of his years came to him, he still had what it took to deliver the
goods.
This album was a stylistic shift for Alligator Records, mainly
because Brown’s style of music often had as much of a jazz
influence as it did straight twelve-bar blues. And, unlike some of
their other signings, this is a much mellower form of the blues,
one that requires the listener to sit down and take it all in.
One song that really sums up the picture for me is “Save Your
Love For Me,” a track that dares to lay down a saxophone-driven
groove and create a real mood, not just a rhythm. Brown – who often
let his piano playing just become part of the rhythm track and had
other artists take the solo spotlight – acts as the crooning
bandleader, taking the track into levels previously unexperienced
by the younger (or less experienced) blues fan.
Likewise, “One For My Baby” dares to paint the scene before
delivering its message. Possibly best-known as the song Bette
Midler sang to Johnny Carson on his last show (at least last with
guests), Brown successfully makes this song his own and keeps the
emotion of the track intact. No disrespect towards Midler and her
version which still can bring me to tears, but this track truly
belonged in Brown’s hands.
The magic continues for most of
One More For The Road, making you think that Brown can do no
wrong. Cuts like “Route 66”, “Cottage For Sale”, “I Stepped In
Quicksand” and “You Changed My Life” all make strong cases for
Brown’s immortality as a legend of rhythm and blues.
So why didn’t the fire light for Brown? Believe me, I wish I
knew the answer. I can honestly see some people picking up this
album, listening to it, then kicking themselves because Brown never
got to reclaim the level of fame he once had and truly deserved.
(To some people, he’s always going to be known just for “Please
Come Home For Christmas”.)
That Charles Brown died without becoming the superstar he should
have been is sad enough. Fortunately,
One More From The Road exists to make sure that he can
achieve something possibly greater: immortality.