It’s only right that listeners might hear a nervousness in these discs. The song fades out just as it’s warming up, so no telling if Butler and Bateman pulled off the same harp/drums breakdown that would blow away the Pinkpop crowd in Europe some seven months later. The disc wraps up with a frenetic, ringing “Backstroke,” Butler seemingly grabbing words out of the air to keep up.
The Charlotte set also features “Red Headed Woman,” a fun shuffle in Hollywood Fats mode. In Richmond, it’s the closing shuffle “I’m Tryin’,” a lumpty-lump, Texas-sized tune that owes a debt to “Wait on Time.” “I got places to go now, and money to waste,” Butler hollers, “I can’t find another, to ever take your place.” “I’m Tryin'” from Richmond Sept. More fun are the tunes we’ve not heard in better form elsewhere. “Devil Woman” is even stronger a few days later, as the band pushes it past the eight-minute mark.
Butler even raps a new verse to the song, hitting on many of his favorite stand-by lyrics. Size plays with the groove, until his ecstatic solo. There are flashes of brilliance, however, on a jam-length “Devil Woman.” Jonny Ray Bartel’s bass is dirty and rubbery, giving the tune a grinding funk feel. In Richmond, a three-song section from the just-released “King King” is a mixed bag: “Goin’ to the Church” is a rush job, while “She’s Dangerous” doesn’t quite drive, and ends abruptly. Tell me who do you love? Listen to “Who Do You Love?” from Charlotte, Sept. Got a tombstone hand and a graveyard mind Come Charlotte, Butler plays with the lyrics some: The lyrics have the perfect swagger for Butler’s personality and cadence. One of the group’s unheralded reworkings is Bo Diddley’s “Who Do You Love?,” just a great, tasteful groove that sounds fresh - which is hard to do given the ubiquity of The Beat. The tune becomes a rockabilly stomper that builds the tension until the turnaround release later made popular on “The Backstreet Crawler.” Incident in Room 410: How The Red Devils were banned from Days Inn, 1992īoth shows continue with “Shake Your Hips,” a bold choice for its reliance on dynamics, a rimshot boogie and guitar pyrotechnics.1992: Red Devils find the Size that fits.Just three days later, however, the same tune is crunchier and bouncier, with a pounding two-handed shuffle by Bill Bateman, hot turnarounds and leadwork by Paul Size and a much more confident vocal performance by Lester Butler. That there is no crowd noise coming into the mix is unnerving, as it sounds as though the band finishes songs to complete silence.īoth shows begin with a sturdy shuffle, here called “Hey Baby,” but in reality a mad-libs version of the warhorse “Riding in the Moonlight.” The Richmond gig finds the band sounding quite tentative - solid blues to be sure, but no real fireworks. From the very top, the audio quality is quite high, making these discs an aural treat. These recordings document the band working through their setlists, and winning over crowds with their hardworking blues. 4 Charlotte, N.C., recordings represent the band’s sixth and eighth opening spots (by our count) for the Brothers. Two soundboard-quality recordings shine light on The Red Devils’ 1992 opening slots for the Allman Brothers. Note: A version of this post was first published on Dec.
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