Tributary Otis, youtube mp3 indir
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04:20
"Tributary Otis"
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The glaring omission is Brian Blush's lead soaring and settling throughout the track. His tone is as much a signature as his style and both are beyond my reach at the moment.
Brian's tragic tumble has kinda muted extended dialogue about his talent. I'll revisit this and expound but I'll leave you with this...
Find a few minutes and give "Fizzy, Fuzzy, Big & Buzzy" a spin. The debut LP of The Refreshments is an iconic Sonoran Desert staple and it showcases the Roger Clyne/Brian Blush synergy at its highest octane. Roger's songwriting had found its form but that form was more readily achieved in part to Brian. Roger could set a solid groove progression, let his pen wander with his storytelling imagery, wit and Mill Ave. smarminess and then let Brian get a snoutful of the scent and unleash that beast.
FFB&B is a "lead riff" album despite all its other obvious strengths. He doesn't stop. He supplies the rhythm hooks, sometimes two or three on one track, and his leads jump out of the speakers. His tone is tough but smooth and he can attack the neck like he's gonna choke it out or skate across the top for high heat speed or graceful nuance.
The two opposites provided a rare tonic. I'm lucky to know them both and "Front-row Johnny", shuttling the Dos Equis and mescal at a reliable rate, is lucky to remember most of the countless gigs with Roger, magnanimous and all-inviting as he forever teetered over the front monitors, and Brian, intently hunched over in the shadows of stage right, emerging and retreating with each flourishing blast, showing exactly why rock n' roll matters so much.