Boogie Bone | Pro-Bone-O

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Blues: Electric Blues Rock: Album Rock Moods: Featuring Guitar
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by Boogie Bone

This boiling cauldron of sometimes dissonant musical stylings, comes together as a compelling blend of traditional blues and album rock.
Genre: Blues: Electric Blues
Release Date: 

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  Song Share Time Download
1. Deep Black Water
4:07 $0.99
2. Got It Made
4:45 $0.99
3. The Preacher
3:25 $0.99
4. Stranded
4:02 $0.99
5. Why
3:50 $0.99
6. How Blue Are You
3:55 $0.99
7. Too Old To Die Young
3:07 $0.99
8. Good Times
4:06 $0.99
9. Inside Out
3:20 $0.99
10. Serves Me Right
4:37 $0.99
11. It Don't Matter
4:00 $0.99
12. One Day
3:06 $0.99
Downloads are available as MP3-320 files.



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JD's 2¢ worth

They keep getting better & better!
Pro-Bone-O is the third CD of original songs from Portland, Oregon based Boogie Bone. The song writing team of Steve Williams and Jason Pope just gets better and better with each effort. Every song on the CD is distinctive and memorable. Although the disc starts out with more of a stripped down, back to basics approach with Deep Black Water, and even more so with The Preacher, the funkafied Stranded is the standout song on the album. It's as if they crossed Tommy Castro's Nasty Habits with Albert Collins' The Moon Is Full to arrive at something completely original and addictive!

Although Boogie Bone was greatly influenced by SRV in their previous two albums, Pro-Bone-O pays homage to others. The acoustic Too Old To Die Young actually shows some Led Zeppelin influence, whereas One Day pulls some inspiration from Van Morrison. How Blue Are You is a full-on rocker that is an ode to four blues guitarists who have passed on. Serves Me Right rounds out the variety as the album's only true old school ballad.

Some have criticized Boogie Bone for being all over the place, stylistically. But I reject that. I think it's the band's strength not to pigeon hole themselves rigidly in the blues, but to venture out of the box.

Pro-Bone-O is a must own album!

Greg Johnson

Recently while talking to Boogie Bone's Steven Dee Williams and Howlin' Jake Johnson, they explained to me that their new CD Pro-Bone-O was going to be a bit toned down, aiming to appease the more traditional blues lovers. Well, before all of you die-hard Bone Heads start to bemoan what will befall your beloved band, let me tell you that there is no need to worry. Boogie Bone may have taken what they term as a toned down approach, but this new album still kicks things out in high gear.
I do have to say that the band is certainly all over the map with musical approaches for what has to be their most eclectic release to date. But though it may take a variety of paths, it all sounds great. These guys write exceptional lyrics and Johnson is the perfect front man to deliver those words. They're all splendid musicians that have a feel as if they were hand-crafted to fit together. Henry Gavaldon and Todd "Spud" Stevens are a solid rhythm section, putting the spark behind whatever direction that Williams' guitar and the hodge-podge of instrumentation offered by Steve Snyder travel. And those two travel extensively, playing off from one another brilliantly throughout the disc..
Right off the get-go, you have the two Steves open with a train-like rhythm of guitar and harmonica on "Deep Black Water," that paces its way right into a rocker number on "Got It Made." That second track is more of the type of song you may be used to from Boogie Bone, but they quickly change pace into perhaps the most traditional sounding acoustic blues piece they've done to date on "The Preacher," as the basic acoustic guitar and harp are highlighted with handclaps and footstomps holding the beat.
The album continues with its diverse patterns with funky-paced "Stranded" that offers a bit of a James Brown feel on Snyder's sax work; a little psychedelic break between guitar and keys midway through "How Blue Are You"; and even bringing on an Eastern flavor with Williams' guitar achieving a little sitar-like tone on "Too Old To Die Young" (now if that isn't your expected Boogie Bone title for a song, what is?). Plus there's the feel-good number recalling hanging out with your buddies on "Good Times" where you spend the night drinking, possibly getting into a little fight, while "making jokes about your sisters and mothers."
Pro-Bone-O may not be the type of fare that you've heard from them before, but this album works. It offers new directions for the band and they have what it takes to bring them all across in the grandest manner. Another winning release from Boogie Bone. Can they do no wrong? Not with material like they've given us so far. Pro-Bone-O follows suit!


I am a Bone Head!
Another great set of music from some of my favorite Pacific Northwest bluzers. Every track is pleasing...Jakes voice top notch, as always, and compliments the lyrics of each track (not to shabby on the harp there either) Yes some traditional blues, some bluzed up funk n soul, and some flat out rockers. I dig the horns quite a bit. Steve Dee Williams goes from 0 to 60 without hesitation and the feel of the record is overall satisfying and enjoyable. These bluz katz sound just as good live! I luv this record guys......thank you for sharing your talent!

George "Blues Fin Tuna" Fish

Blues Blast Magazine
Portland Oregon’s Boogie Bone is a versatile and accomplished blues quintet with a flair for originality, and their CD, Pro-Bone-O, is unimpeachable testimony to that. Musically, Pro-Bone-O ranges across both acoustic and electric blues, and even modern jazz in the last track, “One Day.” The 12 tracks on the CD glide effortlessly from one style to another, and the band incorporates influences from modern rock, rockabilly, and James Brown percussive-horn soul into its efforts. All 12 songs here are original, penned by the band’s guitarist, Steven Dee Williams, in collaboration with Jason R. Pope, Pro-Bone-O’s associate producer and graphic designer.

In addition to Williams, who also plays keyboards, Boogie Bone’s personnel consists of Howlin’ Jake Johnson, vocals; Steve Snyder, another keyboardist, who especially shines here on acoustic and amplified blues harp, tenor and alto saxes, and on “One Day,” flute; and the rhythm section of drummer Todd “Spud” Stevens and bassist Henry Gavaldon. Jake Johnson’s moniker, “Howlin’,” is somewhat of a misnomer—while he can cry loudly with raging passion, he can also mourn softly, with his vocals consistently providing the full range of appropriate emotions across the variegated songs here.

While most of Pro-Bone-O’s lyrics are on the darker side of blues explorations, descents into impassioned desperation, regret and wonderment at mistreatment, tracks 2 and 8, “Got it Made” and “Good Times” respectively, are felicitously upbeat, celebrating on “Got It Made” an “OK-looking white boy” who has it made, while “Good Times” regales with the boys gathering together for a night in the bar, replete with bar noise and the waitress taking orders, giving last call. Williams and Pope have a way with truly striking lyrical imagery throughout: punctuating track 6, “How Blue Are You,” with reference to the lives of Robert Johnson, Magic Sam and Stevie Ray Vaughn; the rueful “I’ll write a song making fun of you” on the slow blues lamentation, “Why,” track 5; “You’re too young to die/but you’re too old to die young” thematic expression of track 7, “Too Old To Die Young;” the pointed “you smell like Jim” reproach to the cheating lover on track 11, “It Don’t Matter;” and the rollicking “making jokes about our sisters and our mothers” on “Good Times.”

Notable musical approaches grace several tracks: the acoustic country sound of chugging, train-like harmonica with acoustic guitar of the opening track, “Deep Black Water;” the rockabilly feel of track 2’s “Got It Made;” the classic 1950s feel of track 10’s slow blues ballad, “It Don’t Matter;” the equally 1950s rocking rhumba of track 9, “Inside Out;” the melancholy modal acoustic blues of “Too Old To Die Young;” the back-to basics simplicity of track 3’s ‘The Preacher,” with its elemental hand-clapping percussion and its guitar-and-harp interplay that’s reminiscent of the early collaborations of Muddy Waters and Little Walter; and the decidedly modern-rock guitar featured on “How Blue Are You.” Reed-instrument virtuoso Steve Snyder peppers track 4, “Stranded,” with a sax-percussive riff that’s classic James Brown, which also features the Steven Dee Williams mimicking a coffee percolator sound on his guitar. This same James Brown horn percussion is again adapted by Snyder effectively on the rocking “It Don’t Matter.” Both Williams and Snyder are extensively featured on solos, and organs and piano are also part of the musical background featured on Pro-Bone-O, all making for an unusual display of excellent taste in arrangement, musical and vocal virtuosity, and notably extensive variety of different musical styles and genre-crossing approaches throughout. This is what makes Boogie Bone stand out decisively: not just the musical variety, but the ability to play each of the variegated songs well. Pro-Bone-O is just a very accomplished CD from a very accomplished and original band.

Jason Pope’s graphic art aptly complements the musical art, both in its originality and in its technical excellence. The CD sleeve cover adapts the Ramones’ use of the official U.S. eagle-and shield seal as its logo to depict for Boogie Bone its own logo, one graphically emphasizing hellfire, skeletons, guitar and sax. This thematic emphasis carries on in Pope’s artwork for the sleeve tray, with its devil’s head and the band playing in the flames of hell, while the artwork on the CD itself pictures a grinning young man holding up a recording contract. All adding to Pro-Bone-O a felicitous artistic dimension to match its felicitous musical dimension.

Boogie Bone’s present fans are called Boneheads, and Pro-Bone-O can be expected to add more Boneheads to the ranks; for this CD is certainly no bonehead course, but truly at the advanced graduate level of creative explorations in contemporary blues-based musical approaches..

Reviewer George "Blues Fin Tuna" Fish hails from Indianapolis, Indiana, home of blues legends Yank Rachell and Leroy Carr. He has written a regular music column for several years. He wrote the liner notes for Yank Rachell’s Delmark album, Chicago Style. He has been a blues and pop music contributor for the left-wing press as well, and has appeared in Against the Current and Socialism and Democracy.