Mitch Woods – Happy Hour
MoMojo Records – 2024
13 tracks; 54 minutes 9 seconds
Happy Hour (2024), Mitch Woods’ latest release features his most popular original tunes, with new arrangements, backed by his long-time band the Rocket 88s playing their signature boogie-woogie New Orleans-tinged style. It was recorded during Covid at Greaseland Studios.
High-energy boogie woogie explodes from the start, with Dave Somers delivering spicy saxophone on the opening track, “Jukebox Drive”, as Woods plays groovy, syncopated piano, singing with the deep voice of a street-wise troubadour. Kid Andersen, the album producer (described as a “madman and musical genius in the liner notes”), offers blistering guitar solos. The lyrics speak of flying saucers, darkly lit bars, and Cadilac cars and the song is playful and energetic, an energy carried throughout the album.
Riotous, jovial boogie-woogie carries the LP, but one of the best songs, “Cryin’ For My Baby” begins with mournful, slow piano progressions and lingering, soulful vocals. Woods croons “Crying for my baby, cause my baby cried for me… If you don’t love me, honey set my soul free.” It is a sparse song, led by piano with saxophone and guitar notes highlighting Woods’ anguish – simple and effective.
“Broke” is powered by strong horns and a syncopated beat as a chorus of men sing “Broke, broke, ain’t got no dough.” Woods comes across as a storyteller, with a sing-rap style, telling the tale of a woman at a bar taking a man for all he is worth. Horn melodies thread throughout, in the high-spirited, punchy track.
Woods’ voice projects itself growling and gravelly in “Long, Lean, and Lanky”, a smooth, fast, classic boogie-woogie tune. The guitar work from Andersen steals the show with flavorful, skilled solos, bolstered by splashes of horn and an absolute torrent of piano, filled with emotion and passion. It’s the type of song meant to be heard live.
Two of the best tracks on the album lean into the New Orleans sound. “Hattie Green” boasts a New Orleans-drenched, funky groove, with growling, gritty vocals singing about a “hoodoo woman they call Hattie Green. Some men say she could turn water into fire… make your heart burn with desire. She’s my hoodoo queen. Down in New Orleans.” The band puts together a tapestry of funky bayou sound and Woods comes across as a mix of Dr. John and Randy Newman.
“Mojo Mambo”’s excellent piano introduction seems to be directly inspired by “Rockin’ Pneumonia and The Boogie Woogie Flu”, a track by the legendary founder of New Orleans R&B, Professor Longhair. The track is saucy, energetic, and full of fervor. The recurring piano melody is dynamite and the band is clearly loose, letting it all hang out. The band plays boogie-woogie as Woods calls the listeners to “Do the mojo mambo”, and throw down with Professor Longhair.
Charming, warm piano playing adorns “Amber Lee”, a sentimental, convivial song about a waitress at a crossroads on Route 63.
“Boogie Woogie Bar-B-Q” contains catchy, swinging horns, delicious saxophone notes, and sliding piano; a long song to barbecue with impressive blues guitar playing. It speaks to communal, simple pleasures.
Hot saxophone screams out on “Mr. Boogie’s Back in Town” as Woods shouts “Hey y’all, Mr. Boogie’s back in town. Get hip to that boogie-woogie sound.” The Rocket 88s create an undeniable beat and orchestration, forming a foot-tapping boogie-woogie tune dedicated to the genre.
While a strong album as a whole, a couple of tracks fell short of the mark. “Shakin’ the Shack”, a party song, seems forced, and “Queen Bee” is repetitive and contains an overly ambitious guitar solo.
With Happy Hour, Mitch Woods provides a high-energy boogie-woogie album, proving himself to be a playful storyteller and competent arrange. The force and energy of this music pour through – this is a riotous, jovial album sure to ease the blues and keep you dancing.
