"He's got the talent, the energy and
everything else to make it click"
--Queen of the Blues, Koko Taylor

"The future of blues is good hands
& i'll tell you why with 3 words,
Wayne Baker Brooks"
--Tom Marker WXRT


"it is heart warming to see Wayne
perform knowing the blues tradition
is in good hands with the next
generation"
--Barry Dolins, Director, Chicago
Blues Fest for 21 years
"his show was well done and full of
excellent music and guitar from a man
who learned his craft well"
-- Dave Piltz

"Wayne has developed an impressive
guitar style that incorporates the best of
traditional and modern day Chicago
blues"
--Ray Stiles

"Don't be surprised if Wayne gains
greater exposure for the blues and
gathers a better marketplace for it"
--Tim Holek, Blues Critic
Wayne Baker Brooks set at The Pocono Blues Festival was electrifying....His set
jumpstarted the 1st day of this 3 day National Blues Festival and set the tone for the
weekend....Wayne is a must for all venues large & small and for any talent buyer that
takes their music seriously.
--Michael Cloeren, Founder & Producer Pocono Blues
"Wayne Baker Brooks takes what Chris Thomas King and Chuck D. started
to a higher ground"
--Tim Holek, Blues Critic
"Down and Dirty, from the-gut-blues" --Chicago Tribune

"A Must See" --Chicago Suntimes
CD reviews

* * * * 4 Stars - All Music Guide

By the time Wayne Baker Brooks released his debut album, he had played
the blues in Lonnie Brooks' band for almost 15 years, served as a roadie for
two years before that, and led his own band for seven years (in addition to
still playing with his dad). Clearly, he did not rush into a recording career.
Instead, he paid his dues and took the time to find his own voice: a course a
less savvy bluesman might not have made, especially considering Brooks'
family legacy. It was a wise decision, because Mystery is not just a strong
debut, it's a fully formed new vision that updates the sound of the blues
without falling into the same tired blues-rock clichés. Instead, Brooks adds
some soul, funk, and even a little hip-hop to his solid blues foundation and
comes up with a great set of all-original tunes.

Right from the opening title cut, you know this isn't your standard blues
album. It opens with a tremoloed Fender Rhodes vamp with an acoustic
rhythm guitar doing one thing in one ear and an electric doing something
else in the other. And, are those turntables in the mix?! Yep, but it's a subtle
touch like so many others throughout the album (and they're judiciously used
on just two cuts). Brooks is a strong, soulful singer; he's got a big, meaty
Gibson tone; and his solos often don't go where you're expecting them to.
The production is crisp without being slick, and it's got a nice open mix.
Brooks knew what he wanted from the tunes, and his arrangements are
impressive. Hammond here, Clavinet there, horns on a couple tracks, some
tasty slide, and well-done backing vocals all add variety, but Brooks' singing
and guitar playing are always the focus. He's equally at home on uptempo
numbers ("Sooner or Later," "It Don't Work Like That") as he is on the slower
numbers like the soulful "Exiled." He brings a bit of the funk to "Baby Stop,"
and "Nu Kinda Blues" is just what it says with its pumping bass, scratching,
and killer harmonica playing over a ZZ Top-style groove. But despite these
additional influences, Brooks is a bluesman to the core, albeit a very modern
one, and that becomes clear every time he starts playing his guitar (and
check out the exchanges with Lonnie on "It Don't Work Like That"). Mystery is
not just a great album; it marks Wayne Baker Brooks as someone to keep an
eye on as the blues enter the 21st century. As Wayne himself said, "Blues
purists might not get my music but blues has to breathe fresh air sometimes."
Amen to that.

by Sean Westergaard, All Music Guide
BluesWax.com

Blues For Dummies This Ain’t, (02/02/05)

This is a cracking good debut record!
It starts with a crisp, understated title track. A blend of
dense rhythms, elements of contemporary R&B, and
the slightest trace of Hip Hop. The catchy, Family
Stone-inflected Funk workout "Baby Stop" follows -
plenty of snap once again from drummer Matt Walker
and the rest of the crew. "Exiled," the third track on the
CD, is a confidently delivered, touching ballad. All
three bear the mark of a road-toughened pro that
knows what it takes to get a crowd moving.

Wayne Baker Brooks has the résumé. Son of veteran
Chicago Bluesman Lonnie Brooks and co-author of
the Blues entry in the popular For Dummies series of
reference books, Wayne and his brother Ronnie (who
handles rhythm guitar duties on Mystery) soaked up the
Blues at home and in Windy City nightclubs. Later, the
guitar-slinging siblings logged thousands of miles as
members of Lonnie's road band. The elder Brooks
turns up on Mystery, too, trading solos with his son on a
song called "It Don't Work Like That."

But this is Wayne's record. He wrote or co-wrote all
thirteen songs and it's an impressive batch. He writes
lean, modern urban Blues, liberally and boldly mixing
styles and technologies. There are DJ and
programming credits on Mystery, but they don't
overwhelm the music. "Ain't That Lovin' You" sits atop
a smooth wash of synthetic bass, with Brooks' edgy
vocal and Bluesy guitar hooks giving the song bite.
"She's Dangerous" sounds like Robert Palmer writing
for the Stones (a sort of Blues "Addicted To Love").
"Nu Kinda Blues" features the scratching of DJ Ajax,
the Blues harp of Ben Ruth, and hijacked ZZ Top riffs
over programmed rhythm and is aimed straight at the
kid with the baggy jeans who's never heard of the
Blues - referred to here as the hip-sounding "Chicago
Style."

After the rock 'em, sock 'em lead guitar duel with
Lonnie, a pair of great horn-driven songs breathe new
life into the album at a point where, generally, artists
begin to run out of ideas. The firecracker groove of
"You Make It Easy, Baby" is another highlight. Only
"Tell Me" has a throwaway feel to it and should have
landed on the cutting room floor - if only because it
pales next to the stronger material.

Mystery is almost guaranteed not to please purists.
Wayne Baker Brooks may have grown up close to the
mother lode, yet he's mining the musical regions most
Blues artists consider a no-go zone, and doing it well. I
suspect he'll get even better.

Vincent Abbate is a contributing editor at BluesWax
Blues Revue Magazine


The Following is the review of Wayne Baker Brooks'
Debut CD "Mystery" as it appears in Blues Revue
Magazine
Aug/Sept issue:

"Wayne Baker Brooks and his brother, Ronnie, picked
up the family trade playing alongside their father,
Lonnie Brooks.  Wayne has earned stripes both in his
father's band and on his own, and his debut album has
been a long time coming, but it's well worth the wait:  
The guitarist and singer arrives a fully developed
talent and a maverick whose distinct brand of blues
incorporates elements of rock, R&B, funk, and even a
trace of hip-hop.  Mystery delivers mainstream appeal
without betraying the family legacy.  The midtempo
title track establishes Brooks as someone not content
to repeat the same old thing, and though purists might
mistake the slick production as an attempt at being
radio-friendly, what they'd be missing is a song with a
memorable hook and a great, drama-building
midsection.  Brooks proves nearly as good a singer as
he is a guitar player, full of grit and soul.

It's hard to imagine rock fans not appreciating the
ballad 'Exiled' or the techno-boogie of 'Nu Kinda
Blues'.  The latter track, fueled by guest harmonica
player Ben Ruth, features a guitar riff that recalls ZZ
Top's MTV years.  ('Do the Muddy Waters and dance!'
Brooks commands.)  In case anyone doubts Brooks'
commitment to his roots, he follows with the more
traditional 'It Don't Work Like That', a tongue-in-cheek
song about the school of hard knocks that features
old-school solos from his father, Ronnie, who
contributes rhythm guitar through most of the disc,
joins the vocal chorus.  The elder Brooks seems to
have taught his sons not just how to play, sing and
lead bands, but how to blaze their own trails.  Listen to
this Mystery unfold and reveal its secrets."

Goto The Blues Revue Website
By Dave "Doc Piltz for MnBlues.com

Guitarist/songwriter Wayne Baker Brooks is the younger of the two
guitar playing sons of bluesman Lonnie Brooks. While Lonnie's elder
son, Ronnie Baker Brooks has performed as a solo artist for some time
after serving his "apprenticeship" as a member of Lonnie's band, Wayne
has only recently stepped out on his own to test the waters of a solo
career. With a live performance for the former First Lady and now U. S.
Senator Hillary Rodham Clinton under his belt and a life that has
included an appearance as an extra in Blues Brothers 2000 (check out
the scene at Willie's Strip Club) and as a co-author of the blues
reference guide, Blues for Dummies, Wayne has certainly lived a full
and varied life in a rather short period of time.

With his solo career now underway, it only makes sense that Wayne
Baker Brooks have a solo recording to help him get started. At a recent
live appearance, I was able to pick up a copy of Wayne Baker Brooks
debut release, Mystery, which will be officially released in August
(although you can pick up copies on Wayne's website at
www.waynebakerbrooks.com). In spite of Wayne's warning that the
recording was probably more rock-oriented than blues, upon actually
listening to Mystery, I found the recording to contain a nice mix of
styles including rock, Texas and Chicago blues, along with a bit of
funk and soul. Many times sounding more like his father than his older
brother, Wayne seems to be well on his way to establishing his own
style with music that is very listenable. Wayne had a hand in the
writing and arrangement of all thirteen songs on the CD, which also
includes a guest appearance by Lonnie Brooks and rhythm guitar by
Ronnie Baker Brooks on all but one song ("Just Like A Butterfly").

Mystery opens with the CD's title track, co-written by Wayne with
Bruce McCabe and Jeff Jacobs. The song has a drum driven sound and
offers the first glimpse at Wayne Baker Brook's prowess as a solo
guitarist with some hot licks filling out the sound. Other highlights
on the recording include the soulful sound of "Exiled" which offers
some nice slide guitar by guest player, Jon Spiegel (Jon also appears
on the following number, "Ain't That Loving You") and the funky cool of
"She's Dangerous" with Wayne's burning guitar taking the forefront at
the break. "Nu Kinda Blues" is an interesting song that offers numerous
elements of the funked out hypno-blues performed by R. L. Burnside in
his collaborations with the Jon Spencer Blues Explosion. The inclusion
of the DJ and the reoccurring harmonica-based reprise definitely gives
the song an electrified Mississippi Hill Country sound. Careful
listeners might also pick up a notable ZZ Top riff in the song.

At the halfway point of Mystery, Lonnie Brooks makes a guest
appearance in support of Wayne on "It Don't Work Like That." This is
one of the more bluesy tracks on the CD and includes trade offs on lead
solos between Wayne and Lonnie and a vocal chorus performed by Wayne,
Lonnie and Ronnie Baker Brooks. Throughout the song Lonnie and Wayne
trade riffs and comments that make the song particularly entertaining.
The following number, "Your Turn (To Talk To The Blues)" is an
excellent horn-heavy number, with an interesting rhythm and lots of
hard-hitting guitar by Wayne.

As Mystery moves towards its conclusion, the song choices continue to
exhibit a variety of feelings and styles. "Sooner or Later" is probably
one of the harder-edged songs on the CD with a driving riff and tough
sounding lead guitar by Wayne. "You Make It Easy Baby" is a high
powered, up tempo workout including more flaming guitar and intricate
rhythms. "Just Like A Butterfly" is an interesting number, appearing to
be the most instrumentally stripped down song on the CD. The song has a
nice tune and some image-filled lyrics about a woman flitting quickly
from lover to lover, leaving each wanting more. The CD closes out with
"Root Of My Soul", leaving listeners on a more rock-oriented, but
definitely a strong note regarding the talents Wayne Baker Brooks.

Mystery, the debut solo release by Wayne Baker Brooks definitely has
my recommendation for anyone who likes their blues with a harder edge.
Brook's guitar is every bit as strong as his father and older brother
and the music has a feeling that Wayne can hopefully continue to
develop into his own signature style. Check it out, I think you will
like it.
Live Reviews
Bay Car Blues Festival Review
Dunkirk France
April 30th, 2005
Wayne Baker Brooks (Live in France)

After a short obligatory technical pause to set up the matos third part
of this night of the Blues and to once again greet with the passage the
kindness and the devotion of tens of voluntary which make of this
festival an event from now on impossible to circumvent of the Blues,
the first notes of guitar claquèrent, shingling, sharp-edged, in the
purest electric Blues style. The eyes of the public lit, sparkled.
Wayne had just launched the machine, the very large artillery, Wayne
Baker Brooks , the second wire of the one of the large legends of the
Blues, Mr Lonnie Brooks .

As of the first title, extract of its album Mystrery , Wayne imposes a
sharp and removed play of guitar, its play, of an absolute intensity.
The musicians of Brooks Dad are there, diablement with the height,
formidable of insurance and power: Brian James with the keyboards, Mike
Rodbard with the battery, and the phenomenal Andre Howard with low.
Wayne connects two titles before announcing the entry in scene of the
legend. The son introduces the father: Ladies and Gentlemen, Lonnie
Brooks !

The room capsizes when that which was made call there is more than 35
years Guitar Junior advances on scene. Gibson, eternal Gibson is there.
First notes, first agreements. The artist is well there, the Legend is
alive, and the sound seems eternal. A sound, a Blues which belongs only
to him, that in Lonnie. This Blues that one called Voodoo Blues , and
which is mixture of all that Lonnie played, and lived. With its native
Louisiana in Chicago, while passing by Texas and Memphis, its Blues
soaked with cajun, zydeco, funk, rates/rhythms bayou, swing and
rock'n'roll, to amalgamate in this single and imperial Voodoo Blues. A
signature, that of a Master, a Legend.

Mais Lonnie est non seulement un grand Bluesman, il est aussi un génial
show-man. Et tandis que Wayne et son groupe maintenaient la cadence,
Lonnie descendit de scène et alla à la rencontre de son public,
utilisant ici un verre, là une bouteille, comme bottleneck, traversant
la salle du Palais du Littoral en jouant avec la langue, avec les
dents, alignant ensuite un solo la guitare derrière la tête, dans ce
style qu'imposa au monde le Dieu du manche, Jimi Hendrix.

The rest is in French

Il était déjà plus d'une heure du matin quand le public acclama et
réclama Lonnie pour un rappel. La salle était surchauffée, au concret
comme au figuré. Lonnie et Wayne revinrent, sensible à l'ovation de ce
public connaisseur. Ils revinrent. Père et fils s'assirent côte à côte,
tandis que Andre reprenait sa basse. Magie du blues. La salle était
débout et une grande partie du public était là, collée contre la scène.
Nous avions la légende vivante, Lonnie Brooks, à moins d'un mètre de
nous. Moment magique. Communion intégrale avec le public. Un spectateur
sortit son harmonica et là, tout près, accompagna Lonnie. La légende
n'est pas Légende inaccessible, elle est homme, un homme généreux,
d'une gentillesse extrême. Il fit signe au spectateur, lui demanda de
monter près de lui, sur scène. La légende jouait avec l'inconnu à
l'harmonica. Dans la salle, Jamie Wood, Nathan, Tyler et tant d'autres
encore s'étaient mêlés au public, captivés, subjugués.
C'est géant ! nous glissa Jamie. Géant, oui. Jamie avait bien résumé
cette fin de festival : géant.

Il était plus de deux heures du matin lorsqu'au moment de dire au
revoir, Wayne se leva et vit venir à lui, sur scène, quelques-uns de
ces bénévoles qui font que le Bay-Car est le Bay-Car, portant un gâteau
d'anniversaire. Hé oui, Wayne venait de jouer son tout premier concert
en Europe et en France le jour de son anniversaire. Et c'est aussi cela
le Blues, une amitié entre tous qui fait que l'on partage son plus beau
jour de l'année sur scène, avec des inconnus qui deviennent aussitôt
des amis.

Des amis (les plus courageux en tout cas.), qui se retrouvèrent
ensuite, et comme le veut la tradition, au Zapi'ng, antre du non moins
amical et charmant Frank Orts.
Lorsque nous arrivâmes, Mr Chang avait déjà allumé la flamme du Blues
et les braises étaient déjà bien rouges. Jeune prodige et virtuose de
la guitare, celui que nous surnommerons désormais Mr Magic Chang a
laissé Wayne et sa bande terminer ce 6ème Bay-Car Blues Festival à six
heures du matin par un Blues saignant et acéré qui illustrait les
propos que nous tenait Lonnie, la veille : J'ai transmis à mes fils
tout ce que j'aime et tout ce que j'ai créé dans le Blues. A eux
maintenant de continuer à faire vivre tout ça !
Lonnie, nous pouvons te le confirmer, la légende des Baker Brooks n'est
pas prête de s'arrêter. !
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