ROBERT BRO BROWN STANDS IN FRONT OF THE CLUB INDIGO, “windy-city” cold blowing into his bloodshot eyes. How long since he’s closed his eyes—months, maybe even years. He looks up and down the boulevard—not a car in sight. Quiet, except for the sound of a dog howling in the distance. Mournful wailing. The baying of a hound tracking a scent.
A shiver tracks his spine. Bro reaches inside his overcoat pocket, pulls out a bottle, and downs the dregs. He wipes his lips with his sleeve and drops the empty into the gutter. The bottle does not break. It spins around on its side a couple of times and comes to a stop—bottleneck pointing in his direction. Mephisto Gin—Bottled in Chicago. Bro picks up his guitar and turns toward the club entrance.
At a little past 9:30 P.M., Bro, carrying his ancient guitar case, walks through the front door of Club Indigo. The bald bouncer glances up from his chair and waves him through.
Robert Brown is dragging around a lot of history. He was once a sideman with the great Howlin’ Wolf, and in the 1950s, he recorded two solo albums, “A Minor Blues” and “Whiskey Talking.” Both of these albums were once considered to be blues classics. Now, mostly forgotten, he works as a bar musician playing a style of blues shaped by the great Mississippi Delta players like Charley Patton—one man with an acoustic guitar—nowhere to hide.
Bro walks slowly down the entranceway that leads into the club. He eyes the assorted old photos of renowned blues performers that line the wall to his right—familiar faces from a better time and a better place. On the opposite wall, Club Indigo jackets, t-shirts, and caps, in various colors, hang like masterpieces in a museum.
Inside, the bar is a fusion of neon beer signs, tinted lights, and cigarette smoke. The booths are like something from the 1950s.
As Bro makes his way through a group of people chatting in front of the bar, Shaky Jake, one of the club managers, is on stage with a microphone giving his usual pre-show pitch:
“Ladies and gentleman, I want to remind you to tip your waitresses and bartenders, who are working real hard for you. And don’t forget to pick up a blues souvenir! We have T-shirts, baseball caps, and jackets. We also have CDs by famous Chicago blues artists. In the meantime, sit tight, because the great bluesman, Robert Brown, will be out shortly!”
Bro walks past the stage and into the dressing room—a cheap panel and plaster hangout for the band during breaks. Almost every inch of wall-space is covered with graffiti left by the hundreds of unknown bar musicians that have passed through over the years. On the wall, somebody has scrawled: “We’re still getting the blues and Clapton’s still getting the money.”
John Keyes, the club owner, is sitting at a small table in the middle of the room. He has an empty whiskey glass in his hand.
“Nice to see you, Mr. Brown,” says Keyes.
He gets up, walks over to where Bro is leaning on his guitar case, and says, “Robert, you and I have to talk.”
“What about?” asks Bro.
“Business,” says Keyes, “We can’t afford to go on any longer, the way we’re going now. Times are bad. The crowd is down. The club has got to make a change.”
“And I’m the change,” says Bro.
“The Artist On The Spanish Hall’s Republican Activities In Monterey, California ,1937”:
by Aurelia Lorca
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