1.Want Ad Blues
2.Broke and Hungry
3.Show Biz blues
4.Too Late Brother
5.Black Cat Bone
6.Telephone Blues
7.Getting Nasty
8.Standing at the Crossroads
9.Sugar Bee
10.Jitterbug Swing
11.Son of Boogie Woogie
12.Frankie and Johnny

Ron Thompson - vocals, guitar, harmonica
Jim Pugh - Hammond B3 Organ
D’Mar - drums (1, 4, 6, 9, 12)
Scott Griffin - drums (2, 3, 5, 7, 8, 10, 11)

The Little Village Foundation is a non-profit record label started up under the direction of keyboardist Jim Pugh, who recently retired after twenty-five years with Robert Cray. The mission of this organization is to seek and record obscure yet prodigious musicians who have not received proper recognition and respect. Oakland guitarist Ron Thompson certainly falls into this category, and Son of Boogie Woogie hopes to give him nudge into the much deserved spotlight.

Ron Thompson is the rare guitarist who never strayed from his blues leanings. In an era where dime a dozen rock guitarists attempt to interpret pale imitations of the blues, Thompson is the real deal. The years spent accompanying John Lee Hooker and other top blues artists, instilled in him a driving awareness of how this music should, and has to be played.

Since his debut recording in 1983 "Treat Her Like Gold," Thompson has released six other records with his band The Resistors, the most recent being "Resonator," done in 2007 on the 32-20 label. He has enjoyed constant appreciation on his home turf in the San Francisco Bay Area, but anything vaguely resembling fame and fortune has regrettably eluded him.

This time around Thompson demonstrates he is adept at shuffling blues as the opener "Want Ad Blues," and "Too Late Brother," and can get down and dirty with "Telephone Blues." These are reminiscent of the classic West Coast style of T-Bone Walker, who is an obvious influence. But where he really shows his stuff is on the slide guitar numbers "Broke and Hungry," and "Show Biz Blues." He can expertly pull off riffs from the tough Chicago school, as well as flat out Texas boogie, all while belting out raw and raucous vocals. The final cut is a down home take on the perennial "Frankie and Johnny," which brings to mind the great Jimmy Reed, complete with harmonica and barroom swagger.

Though most of the authentic bluesmen who originated this uniquely African-American music have passed, Ron Thompson continues not only to play in the time honored tradition, but to live the life he sings about. He just might be one of the few left standing who play blues from the heart. ---James Nadal, allaboutjazz.com

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01 – Black Cat Bone [00:03:02]
02 – I Ain’t Got You [00:03:09]
03 – I’m Shakin’ [00:02:43]
04 – It Ain’t Your Business [00:02:18]
05 – It’s Cold [00:03:10]
06 – Just Like A Devil [00:02:52]
07 – Marie Marie [00:03:30]
08 – Rock Me Right [00:03:10]
09 – T.L.Walkin’ [00:03:15]
10 – Treat Her Like Gold [00:03:15]

After honing his chops behind Little Joe Blue and John Lee Hooker, guitarist Ron Thompson went solo in 1980, forming his own blues/roots-rock trio, the Resisters. Just Like a Devil, a 1990 release on pianist Mark Naftalin's Winner label, was culled from Thompson's appearances on Naftalin's Blue Monday Party radio program.

Born and raised in Oakland, California, Thompson began playing guitar when he was 11, picking up slide guitar shortly afterward. When he was in his late teens, he was playing slide guitar with Little Joe Blue. For about five years, he worked in local Bay Area clubs, both as a solo artist and a supporting musician. In 1975, John Lee Hooker asked Thompson to join his backing band and the guitarist accepted. For the next three years, he played with Hooker, developing a national reputation.

Thompson left Hooker in 1978. Two years later, he formed his own band, the Resistors, and landed a contract with Takoma Records. Thompson's debut album, Treat Her Like Gold, appeared in 1983. Although he launched a solo career, Thompson continued to play with a number of other musicians, including Lowell Fulson, Etta James, and Big Mama Thornton. In 1987, his second album, Resister Twister, was released; it was followed shortly afterward by Just Like a Devil. Thompson continued to perform throughout the late '80s and '90s, although he didn't record quite as frequently. --- Bill Dahl, Rovi

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