stompin' grounds
Chris Chown
Speakeasy
1997
11 tracks
When Charlie Pride released his first album of country music, there was no picture and very little background information included. For some of the same reasons, perhaps Chris Chown might have been well advised to take the same approach. Although this young bluesman has built something of a reputation for himself, credibility still sags a little when the potential listener is confronted with a picture of the artist as a skinny teenager in a cowboy hat and vest. That is, until the music starts playing.
Chris Chown is a nineteen year old white kid from London, Ontario, who recorded this, his first CD, when he was sixteen. Many who have seen and heard him consider him some kind of a blues prodigy. Certainly the music of Chown's trio suggests an artist of some greater years and experience.
Besides the requisite classics, this CD includes three songs written by Chown and one he co-wrote with his bassist, Ryan Spong. How good are they? Without looking up the credits, it's impossible to distinguish them from the classic blues in this recording.
"Blues from the Other Side" is a classy six minute slow rocker that allows Chown to show off his considerable guitar skills. Spong's bass and the drums of Frank Stracuzzi drive "You Can Love Me" with a force reminiscent of Frank Marino's Mahogany Rush or John Kay's Steppenwolf, and there is some nice guitar work by Chown, especially in the extended instrumental ending. "Baby's Got the Blues" is well chosen as the first cut on this release. A rocking Fabulous Thunderbirds style piece, it quickly carries the listener away from the kid on the cover and into the blues ahead. Again, much of the power of this song derives from the pumping bass of Spong, who also co-wrote it.
Of the four originals, though, "What's What" is arguably the strongest. The driving beat of Stracuzzi's drums, the pumping rhythm of Spong's bass, and Chown's rocking guitar riffs come together perfectly to underscore the authentic sounding lyrics. In fact, original or classic, this is the song most likely to stand out from the others on this release.
This recording is good enough that perhaps the biggest risk Chown runs is that of hubris - of becoming overconfident and stopping learning. With humility and hard work, this is one young artist who can go a long way.
When he sings, Chown achieves the vocal mannerisms and quirks, if not the subleties, of the old bluesmen. This lends a lot to the authenticity of his sound. The question arises of whether, at nineteen years old, Chown is just a very good mimic or he actually has a precocious grasp of the blues. In the end though, the answer really does not matter. What this kid does, he does very well.
In fact, perhaps Chown should stop promoting that he's still in his teens. When you're this good, you don't need to sell yourself as a prodigy.
Those looking for more information on Chris Chown will find it on his home page.
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Review Written: December 8, 1998
Page Last modified: February 14, 2004
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