Anson Funderburgh and the Rockets featuring Sam Myers – Rack ‘Em Up – Black Top Records CD BT 1049 

Having originally released their freshman outing together in 1985 on Black Top Records’ My Love Is Here To Stay, Texas guitar ace Anson Funderburgh, and singular Delta blues vocalist and harmonica player Sam Myers, provided this 1989 collection on the heels of their 1987 outing, Sins, to a blues-loving public that had enthusiastically embraced the contrasts and synergies between this young guitar-slinging Texan and the veteran deep South bluesman.  Fervor for their recordings and live performances was continuing to build, and each new set of blues was met with higher expectations and excitement.  Funderburgh, Myers, and the Rockets did not disappoint on this blues excursion.

First, let’s take a route toward review here that leaves the primary faces of this recording relegated to later mentioning.  The Rockets, Funderburgh’s backing unit, are truly collaborative in their approach.  So precious few musical crews have attained a musical fusion as this combination of The Rockets did.  Matt McCabe’s keyboard efforts are melodic and tasteful; never obtrusive.  The crisp, strong rhythm section of Mike Judge’s bass, and Marc Wilson’s percussion involvements, are so solidifying as to be almost unrecognizable, except when the listener realizes that is the mark of a superb rhythm section.  There are numerous musical guests on this blues feast that provide expert impacts, including Ron Levy with his swirling organ excursions, Tater Britches on rhythm guitar on one track, and the collective Kamikaze Horns, an assemblage that astounds with its swinging, pumping, pleasing arrangements, a group that features Kaz Kazanoff on both tenor and baritone saxophones, the legendary Grady Gaines also on tenor saxophone, and trumpeter John Selzer.  The combined horn section bleats, cascades, and dances with grand coolness.  Regardless of who is soloing or if the horn ensemble is riffing in unison, their effects upon Funderburgh’s blues visions here are immense.

Funderburgh, as is his strength, in that uniquely Texas manner, plays with an economical style, knowing the heightened impact silence can play in a phrase.  His is a highly-tasteful approach, and while his solos can burn, sear, and cut, he is able to lay back, in the most momentary of ways, and let a brief burst of silence say much more than an additional note or two ever could.  Many blues guitarists could learn volumes from his blues guitar sensibilities.  Listening to Funderburgh, one hears influences ranging from Albert Collins, to Joe “Guitar” Hughes, to Earl King.  Funderburgh certainly, and without qualification, grandly swings in that Texas vein, yet when his solos fly, he is disposed to mindful, discerning, and thoughtful flights that unite his multitude of blues guitar influences.

As great as Anson Funderburgh and his band are, this, in many ways, is Myers’s show.  This is a collection that celebrates Myers’ stupendous blues talents.  His teeming declamatory vocal style is out front, braying and forcefully shaping his blues messages.  Cherished few blues singers have had this gift; Johnny Shines and Willie Kent come to mind, with Myers’ effortless bellowing inviting the listener into rapt attention to each of his lyrical blues utterances.  His vocals resonate deeply.  Myers’ ability to carry a single syllable to an impactful end is awe-inspiring.  

Myers’ harmonica efforts are effortless trips into blues class, with no wasted orbits necessary.  Each note has a purpose, and Myers delivers upon that pleasing blues harmonica frugality. 

Overall, this collection is chocked-full of blues with ideal changes of tempos and volume, to the brilliant total conclusion of being a great orchestral presentation.  This is a completely effortless listen for a blues fan who understands what is being offered here; general senses of joy and euphoria just seep from this blues collection.

In the late 1980s, Anson Funderburgh and the Rockets featuring Sam Myers would visit my hometown area frequently, often playing Mishawaka, IN’s Center Street Blues Café.  It was always a time of celebration when the band visited, because everyone knew what was on-tap; fine blues dispensed with class.  The group also played South Bend, IN’s west side Z.B. Falcon Club to a highly-appreciative audience, but I will always hold in high-regard those evenings when Anson and Sam would play the Center Street Blues Café, getting people out of their chairs to dance, with all of us up-close to one of the finest touring blues bands of the day.  Fine memories, indeed!

Seek this tremendous blues collection out!  Essential; no.  Recommended?  With this highest endorsement!