The Eddy

Here's the guy everybody knows for his monster rock/reggae/electro hit "Electric Avenue." What did he ever do after that? Almost nobody knows, and that's what this Music Club collection attempts to inform the world of for a budget price. Personally, I love Music Club reissues; they are priced super reasonably, they have lovely packages that feature enough tracks to give a representative sample with a few rarities tossed in, and they offer an adequate set of liner notes to educate the listener. This is helpful in the case of Grant, who, at least in the U.S., is a one-hit MTV wonder. Eddy Grant had an awesome band of rockers and soulsters together in the 1960s called the Equals who had a string of modest British hits – including "Police on My Back" – that everybody identifies with the Clash.

After the worldwide success of Killer on the Rampage, Eddy Grant took a three-year sabbatical to build his own studio. By the time he returned in 1987, the rest of the world had caught up, and wandered off down the road into the sterility of disco/synth-pop. Still, that doesn't explain why Grant felt obligated to follow suit. Of course, Born Tuff isn't "pure" club: "Melody of the Night" has a hint of Bruce Springsteen and the title track a touch of Bob Marley, while there's a soca flair here and Afro-beats there (most of the underlying rhythms are reggae-based). The problem was, Grant fell into the same trap as the rest of the synth scene, believing it possible to overcome the soul-lessness of the genre, and failing miserably.

Eddy Clearwater has had a tough time shaking his "Chuck Berry imitator" label, and he includes Berry-tinged numbers at the halfway point and end of this nice, if thoroughly derivative, urban blues set recorded in 1989 for Black and Blue with the familiar country boogie shuffle and tinkling licks. Clearwater could not do a set without the signature "Lay My Guitar Down," and this rendition is surging and enjoyable although inferior to the definitive one. Otherwise, it is a pile-driving and urgently performed date; Clearwater and Will Crosby swap slashing lines, crackling phrases, and answering fills. Clearwater's session contains several robust, entertaining passages, even if there is absolutely nothing you have not heard before.

Clearwater wrote the lion's share of this well-produced collection, reaching back for material by Jimmy Reed, Otis Rush, and Willie Mabon to round it out. The usual infectious mix of shimmering West Side blues, hauling rockabilly, and even a touch of funk on "Little Bit of Blues." Guitarist Will Crosby shares lead chores with his boss, and Carey Bell (Eddy's cousin) handles the harp work.

Going for Broke is a 1984 album by Eddy Grant. Following the major success of the previous Killer on the Rampage, this album takes a similar approach but was not as successful. It featured the U.S. hit "Romancing the Stone", as well as the singles "Till I Can't Take Love No More" and "Boys in the Street". "Romancing the Stone" was intended for the 1984 feature film of the same name, in fact was announced by Casey Kasem on the 30 June 1984 edition of American Top 40 as the title song to the movie, but ultimately was not used, though clips from the film appeared in the song's music video, and the song is mentioned in the film's closing credits.

Eddy Clearwater is equally talented as a bluish singer and as an improvising guitarist. On Reservation Blues, he ranges from Chicago blues to rock & roll, throwing in a couple instrumentals too. His repertoire includes both socially relevant lyrics and good-time music, featuring some of the latter when the former gets a bit too somber. Although there are some solid solos from his supporting players (including three guitar spots for Duke Robillard, two fine solos from tenor saxophonist Dennis Taylor, and a guest appearance by Carey Bell on harmonica during "Find Yourself"), Clearwater is the main star throughout. Fortunately, he is heard in prime form, whether happily jamming "I Wouldn't Lay My Guitar Down" and "Blues Cruise" or singing in a more serious mood on "Winds of Change" and "Everything to Gain." A gem.

On this CD are 2 Chicago Blues legends presented: Eddie "Chief" Clearwater and Carey Bell.
Once dismissed by purists as a Chuck Berry imitator (and an accurate one at that), tall, lean, and lanky Chicago southpaw Eddy Clearwater became recognized as a prime progenitor of West Side-style blues guitar. That's not to say he wouldn't liven up a gig with a little duck-walking or a frat party rendition of "Shout"; after all, Clearwater brought a wide array of influences to the party. Gospel, country, '50s rock, and deep-down blues were all incorporated into his slashing guitar attack. But when he put his mind to it, "The Chief" (a nickname accrued from his penchant for donning Native American headdresses on-stage) was one of the Windy City's finest bluesmen…