Gravy Train
Never before has a feat of this magnitude been attempted. I’m sure a few remember the cult video classic “Where The Streets Have No Name” by the ever-promising U2. This of course was a novel idea in downtown LA, but when the Rougeaux Brothers decided to do a free gig on the top of a two story building in the heart of the quaint village of Dalkey, people stood up and took notice. Security was put on high alert, local businesses shut down and transport officials were warned of demands exceeding supply by levels never witnessed before in modern day society. This is an account of what happened on that historic day in June 2003.
Dat Woman Wuz Born A Man
They may be from a bygone age and clearly, on occasions, look it, but no one can accuse the Rougeaux brothers of not living in the 21st century, nor of shying away from the issues of the day. Once again, through their art form (music), they are prepared to explore the burning questions that the U2’s of this world are apparently afraid to.
On this occasion, with the help of guitar genius Frankie latte, their subject is gender re-alignment – a phenomenon which is quietly but rapidly touching the lives of almost every family on our planet, including their own (their half brother, now half sister, Susan was a man.)
And you know, this is not about selling records or making money. It may be cleverly disguised as a cynical and blatant commercial venture but this is a serious warning, a ‘tip-off’, as it were, to the world.
So while you delight in another visual and musical masterpiece, don’t lose sight of another profound Rougeaux message – “they don’t grow back you know”
Going Back To Smallville
You have their albums, you have their singles, you even have them on the cover of newsweek magazine, but now you have it all. This isn’t just a video, this is a cinematic masterpiece – a four and a half minute epic where jay and Bobsy take to the silver screen like fish to water and indeed, they take a fish from the water, and then, they play with it! – crazy. Uncut and uncensored, from bedroom to outhouse, jay and Bobsy take you on a journey, a journey back to where it all began. Smell it, feel it, touch it. This is Smallsville – this is home.
Big Back Lady
Following the huge success of their first music video, Bobsy and Jay are back and this time with a BANG! This is not for the faint hearted. In “Going Back To Smallsville”, they took you back to where it all began, the tranquility, the beauty, the frolicking in the long grass and the playing with the fish. Now, they’re taking you forward. Bigger, bolder, raunchier, louder, leaving their country blues roots behind them as they explode into this ecliptic orgy of seductive sounds and saucy visuals, which combine to leave you weak at the knees, tingling and craving for more.
Duck Dive Bob & Weave
A heart wrenching yet inspirational journey into the life of an extremely untalented man and his search for ultimate boxing glory.
PARTAY ROLL
The Rougeaux Brothers decided that this epic requires no introduction.
PARTAY ROLL CREDITS
A Brief History of the Legendary 'Kings of the Blues'
B. B. King, Elmore James and Muddy Waters are just a few of the many great bluesmen who have laid claim to the title ‘King of the blues’. But, ironically perhaps, the greatest of them all and most deserving of that title were the little known bluesmen from the sleepy town of Smallsville, Mississippi – THE ROUGEAUX BROTHERS. Though never receiving the world – wide acclaim and recognition their talent and musical innovation so richly deserved, they truly are, in the eyes of those that know and love the devil’s music, ‘the Kings of the Blues’.
Born Jason and Robert Rogers, probably between the early and late 1930’s, the brothers early childhood was spent labouring on farms, logging camps and railroads. Later, when things got rough with the failure of the corn crop, the great depression and the death of their invalid parents, the brothers turned to music for comfort and to provide entertainment for their blind and hyperactive grandparents. Fashioning a harmonica from a piece of old railway line and a drum from the hide of a large rat, the brothers took their first tentative steps into the wonderful world of music. By all accounts their early ‘music’ was a rather raw sound which probably prompted their grandparents decision to leave and take up residence in the nearby, though out of earshot, doss house run by the local chapter of the klu klux klan.
Changing their names to Jay and Bobsy Bob they immersed themselves in music. Jay obsessed with his harmonica, playing with it day and night ’til his lips and tongue bled – and ,on one occasion, almost bleeding to death. Bobsy Bob was equally dedicated and would lock himself away for days on end developing his uniquely powerful vocal style in the acoustically perfect though stinking family out-house.
It was in or around the late 40’s that the brothers formed their first band – a trio with the very good Chuck Berry ( not to be confused with the musician of the same name ). They called themselves “The Bluesberry’s” and recorded their first song, a swinging gutsy blues number entitled “Smellin’ da Blues”. By all accounts this was a classic of the post war modern Blues era and would surely have been a number one billboard chart hit and shot the band to instant stardom had it received any airplay.
Disappointment after disappointment followed as the band went from one record company and radio station to another. Talent scouts would leave their gigs even before the band had finished tuning up. The music world was not yet ready for this unique talent
It was not until the late 50’s that Jay and Bobsy Bob parted company with Chuck Berry and formed the now legendary Rougeaux Brothers. The original line up had Bobsy Bob on lead vocals, Jay on harmonica, Chester Rimes on bass and Willie “guitar” Watson on drums. After a short time “guitar” Watson was replaced by his brother “Banjo” Watson, after “guitar” was sentenced to five years imprisonment for making love to a Woman badly and without her consent. “Banjo” died shortly afterwards and was replaced by his father “Twelve string guitar” Watson who, despite his drug problem and senility, was a remarkable drummer. It was largely with this line up that the Rougeauxs were to write and record some of the most extraordinary Blues songs which could have influenced and shaped modern Blues and taken the brothers from humble beginnings to musical greatness.
