Coming to Maine wasn't easy for Bobby Rush -- literally, since mechanical problems sidelined his bus several hundred miles away from Maine on Friday, February 27, the day of his first performance in our state. Then, when the van he rented to move enough of his equipment and entourage to put on the show got a flat and had no usable spare, he must have wondered if fate was not trying to tell him something. But, no matter, when he finally arrived in Rockland, late and at less than full force, Rush just allowed his performer's instincts to take over, and it was like he was born to be on the stage of the Time Out Pub on that evening. Rush provided a wonderful blend of hot blues, flinky and soulful dance grooves, sung and spoken storytelling, sexually-suggestive humorous patter, sight gags (two huge pairs of bloomers helped get his point across during a tale about "Loving a Big Fat Woman"), and, of course, his female "shake dancers."
Rush's journey to Maine was circuitous in a figurative sense as well. Born and raised in Loiuisiana, he made his way to Chicago in the '50s where he eventually became part of Chess Records' studio band. But the lure of the spotlight and the joy of entertaining constantly drew him to stage front and center. With some R&B chart success in the early seventies, he took his show on the Deep South "chitlin' circuit," and eventually relocated to one of the circuit's hubs, Jackson, Mississippi. Rush has been a star and top attraction for a quarter century now, but has had a vision of bringing his entertainment to an audience unbound by any color line, leading him to forays into venues well outside the black club circuit ("There's no black /white issue, I just want to make good music says Rush). Along the way, he has garnered huzzahs, such as the 1997 "Living Blues" Award for Best Live Performer.
Rush's show left little doubt that such honors are well-deserved. Rush tore through a two-plus hour set to a very appreciative if smallish crowd. The show got underway with a few numbers by the Rush Hour Band, consisting of keyboardist Melvin Hendricks, drummer Bruce Howard, guitartist Shawn Kellerman, and bassist Terry Richardson. After a short set which included a stunning cover of Ann Peeble's "Feel Like Breakin' Up of Jimmy Reed's "Big Boss Man," Bobby Rush and his entourage of dancers, Carol Minor, Scandelicious and Georgia Peach took the stage.
Rush presented a generous selection of mostly originals, like "I Ain't Studdin' Ya," "I'm Not Hen-Pecked (I just Been Pecked By the Right Hen)," "Evil," "What's Good For The Goose," "Woman Is Like A Highway (Soft Shoulders and Dangerous Curves)" and, in a tribute to his Chess days, a medley
Bobby Rush performing at King Biscut Blues Festival in 1997. Photo by Doug Hooper
which included parts of "Mannish Child," and " Hoochie-Coochie Man." During his show, Rush developed a nice rapport with the audience, and frequently left the stage to move among the crowd, incoporating audience responses into his story-songs. His trademark mention of his own name, e.g., "Now people say to me, Bobby Rush, ...", a trick he has long used in his recordings to make sure that people know who's singing, and his all-around good humor and warm-heartedness were very much in evidence and quite endearing.
Rush's lyrics and subject matter were risque in more a suggestive than sexually-~xplicit way, not exactly X-rated but not ready for prime time either. The bump and grind, rump-shaking moves of his dancers certainly were good for a charge and helped ward off any lingering Maine winter chill from entering the club. Rush expressed thanks at one point for being able to present a pretty much unadulterated version of his revue. I have heard that he is on the roster for the 1999 North Atlantic Blues Festival and will be curious to see how he translates the show for a more family-oriented audience.
The evening also presented many examples of extremely fine instrumental chops. Rush himself ofien blew mean and hard on his harmonica, and Kellerman proved himself to be a monster on guitar, mostly content to provide a nice groove for the star of the show but able to rip off some ferocious solos as the opportunity required. During one of his early numbers, Rush introduced each band member and gave them each a little time to show off their wares, which I thiought was a nice touch.
Rush's show was a real treat with high caliber showmanship and musicianship. Rush played pretty much until closing time and then stuck around to chat with audience members and sign autographs, eventually forcing the club's bouncers to drag the hangers-on, including yours truly, out the door. Kudos to the Time Out Pub for being such a good-sounding venue and to promoters Bill Miller and Garry Stevens for giving us the opportunity to experience Rush's unique act.
[ RUSH HOMEPAGE | PRESS ARCHIVE ]
