Clarence "Gatemouth" Brown Albums (16)
'The Blues Ain't Nothin''
Release Date 7/1/2002
Tracks 14
Label Black & Blue
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What The Critics Say
In 1995, septuagenarian Clarence "Gatemouth" Brown moved from the independent blues label Alligator to Verve, then to the jazz division of PolyGram, part of Universal. In his five albums for the label (the last two of them released on the Blue Thumb subsidiary) -- The Man (1995), Long Way Home (1996), Gate Swings (1997), American Music, Texas Style (1999), and now Back to Bogalusa -- he has been able to pursue his eclectic inclinations more fully than he did when his label bosses were trying to emphasize his blues guitar playing. The center of Brown's taste is post-World War II jump blues and R&B with a distinctly Southwestern feel. Tasty as his guitar playing is, he likes to add horns and even a bit of country fiddle to the mix. As its title indicates, Back to Bogalusa particularly investigates the Louisiana influences on this Pelican State native, notably on the tracks "Going Back to Louisiana," "Breaux Bridge Rag," "Bogalusa Boogie Man," and the Cajun-styled "Louisian'." He adds in some sympathetic songs by writers of a later generation, notably "Lie No Better," co-written by Delbert McClinton and Little Feat's "Dixie Chicken," co-written by Lowell George. And he sounds most at home in the funky instrumentals "Grape Jelly" and "Slap It." Brown has taken hits from blues critics for the perceived apostasy of his golden years, but with a singing and playing ability that belies his years he sounds like he's having a wonderful time. ~ William Ruhlmann, All Music Guide
'American Music, Texas Style'
Release Date 6/29/1999
Tracks 13
Label Verve
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What The Critics Say
Clarence "Gatemouth" Brown was 74 when he recorded American Music, Texas Style, and the Texas bluesman made it clear that he still had plenty of energy. On this CD, Brown really emphasizes his love of jazz. Young hard bop players like trumpeter Nicholas Payton and alto saxman Wes Anderson are on board, and the veteran singer/guitarist offers no less than three standards from Duke Ellington's repertoire ("I'm Beginning to See the Light," "Don't Get Around Much Anymore," and son Mercer Ellington's "Things Ain't What They Used to Be") and two classics from Charlie Parker's years with Jay McShann ("Hootie Blues," "Jumpin' the Blues"). Meanwhile, the jazz influence is hard to miss on such fast jump blues as "Rock My Blues Away" and "Without Me Baby." Brown's voice is thinner than it used to be, but his guitar playing is as energetic as ever. While this CD isn't definitive, it's a good, solid effort that Brown can be proud of. ~ Alex Henderson, All Music Guide
What The Critics Say
There aren't many 75-year-old entertainers who rock with the intensity of Gatemouth Brown, a multi-instrumentalist from Louisiana who is a master of guitar, fiddle, viola, mandolin and harmonica. A look into Brown's history shows him leading a 23-piece orchestra in the late '40s, after a stint during the '20s and '30s as a Peacock Records recording artist. During the '60s, Brown traded in his guitar for a gun, signing on as a deputy sheriff in New Mexico. In 1974, at the age of 50, he jumped headfirst back into his music, and the rest is history. Black Jack was originally released on the Music Is Medicine label in 1977, and explores the versatile Brown's love for Texas swing, featuring outstanding tracks laced with swing, big band, R&B and straight-up blues. Alternating between a smoking guitar and a fiery fiddle, Brown drives these 12 songs like a stock-car at NASCAR's Darlington, fast as he can go but still in absolute control of the vehicle. From the funky guitar picking of "Chickenshift," to the bluesy title cut "Black Jack," Brown burns brightly. The soulful "Dark End of the Hallway" is another standout track, as is the intense closing instrumental, "Up Jumped the Devil." For anyone who had previously tacked the blues label on Clarence "Gatemouth" Brown's considerable cowboy hat, now is the time to reconsider. While Brown is indeed a master bluesman, he is equally adept at handling Texas swing, country, jazz and rock & roll. A man of many talents who shows absolutely zero signs of slowing down. [Originally released in 1975, Black Jack was reissued on CD in 2006.] ~ Michael B. Smith, All Music Guide
What The Critics Say
Designed like one of John Lee Hooker's latter-day albums, Clarence "Gatemouth" Brown's Long Way Home is filled with guest appearances by superstars like Eric Clapton and Ry Cooder. Although it has the same clean, immaculate production that hampered Hooker's albums, Brown cuts through the gloss with his gut-crunching licks and hoarse, fiery vocals. Throughout the record, Gate sounds far younger than his 76 years of age -- his solos completely cut those of his guest stars. It's a welcome surprise to hear just how vital Brown sounds on Long Way Home, which ranks among his best recorded efforts. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Brown made the big jump to major-label stature for this typically unclassifiable set, which feistily sweeps through zydeco ("Big Mammou"), country ("Up Jumped the Devil"), Louis Jordan ("Early in the Morning"), and even a little blues along its unpredictable course. Cajun accordionist Jo-El Sonnier receives several solos in a guest-starring role. ~ Bill Dahl, All Music Guide
What The Critics Say
A delightfully eclectic program spotlighting nearly all of Gate's musical leanings -- blues, jazz, country, even a hearty taste of "Louisiana Zydeco" -- and a revealing glimpse of his multi-instrumental abilities: he plays guitar, violin, drums, and piano! There's a tender remake of the Chuck Willis R&B ballad and a funk-tinged update of "Got My Mojo Working," but everything else is from Brown's own pen. ~ Bill Dahl, All Music Guide
What The Critics Say
Live set cut in Fort Worth, TX, that presents an accurate depiction of the breadth and scope of a Gatemouth Brown concert. Switching between guitar and violin, Gate offers everything from a reprise of "Okie Dokie Stomp" to a tender "Please Send Me Someone to Love" from Percy Mayfield's songbook and personalized renditions of "St. Louis Blues" and "Frankie and Johnny." ~ Bill Dahl, All Music Guide
