Review: Toronzo Cannon ‘Shut Up and Play!'

Review: Toronzo Cannon ‘Shut Up and Play!’

Review: Toronzo Cannon ‘Shut Up and Play!’

By Hal Horowitz

You don’t have to drive a bus for decades in one of America’s largest and most thriving cities to play the blues. But it helps.

That profession, which bluesman Toronzo Cannon followed even after recording a clutch of highly successful albums (he quit in 2019, upon the release of his previous disc), brought him face to face with everyday people, going to and from work daily, with their stories of trying to get by. None of it was lost on him as he uses their experiences, and his, to craft the concepts for his unapologetically gritty songs.

The boldly titled Shut Up and Play!, is his sixth set and third for the esteemed Alligator label. Which means Cannon has the support needed to take his music to the masses who provide the raw material for many of his songs.

Everything about his approach is tough and in-your-face. From his fiery guitar to a gruff voice that borrows liberally from fellow Chicagoan Howlin’ Wolf (with an occasional smoother Robert Cray side), and songs that split the difference between streetwise soul, gutbucket blues rocking and even some gospel, Cannon is the whole package.

Opener “Can’t Fix the World” lays out the general musical and lyrical blueprint. Cannon lists his frustrations with politics and the socio-economic situation (“People getting shot in the church, school and store…Enough talking it’s time to act…why does justice take so damn long?” he bellows) between shards of molten guitar. Powerful stuff.

He digs into a tenacious Chicago shuffle for “Something to Do Man” humorously boasting of his abilities to satisfy women (“Give me a call if you want to have fun”). It’s described as a public service announcement while the band chugs behind him. That sultry situation escaltes on the sexed-up, stripped-down “My Woman Loves Me Too Much” enhanced by Matthew Skoller’s perfectly oily harmonica work. Here he labels his lover, acting like the song’s title, wanting to get a little of his “blackberry pie,” a woman who “started acting all frisky at the age of forty five.” Look no further than the title of “Got Me by the Short Hairs” for the moral of a sticky story where a one-night stand ends up pregnant. The band pounds out a Stones-y rocking beat to highlight the drama.

Cannon gets full R&B for the “Guilty,” giving solo space to keyboardist Cole DeGenova. He talks about how we’re all guilty of something, finally admitting “You’re not alone people, I’m just like you” before launching into a jazzy guitar break worthy of George Benson. On the funky “Him,” more slick licks sizzle on a track that sounds like he’s been listening to later-era Johnny “Guitar” Watson.

We end on a raucous, amped-up note as Cannon goes full psychedelic Hendrix on the title track (at six minutes, the set’s longest) spitting out his anger at those who tell him to “shut up and play,” something he clearly has no intention of doing. The flanging guitar which alternates speakers, and reverbed vocals infuse a strong 60s flair. You can almost see Jimi smiling down with approval both for the musical “Hear My Train A-Comin’” treatment and the black power theme.

Toronzo Cannon may not be driving a bus any longer but for 50 minutes of hard-hitting blues and soul, he takes us on a trip that’s well worth the fare.

“Can’t Fix The World”