Razne subkulturalne skupine su plesale “horizontalni mambo” sa bluzom. Orgije su se uvek, kao ?to dolikuje, zavr?avale orgazmi?kim trijumfom. Pegavi, rahiti?ni engleski de?aci, gladni svega u posleratnoj bedi, ?ezdestih godina pro?log veka su, igraju?i skaredni ples sa bluzom izmislili muziku koju volimo. Se?ate se Rolingstounsa, Enimalsa, Jardberdsa, sastava Krim. Sli?ne posledice imao je susret bele, vaspovske (WASP), ju?nja?ke omladine sa ovim “crnim” muzi?kim idiomom: Olmen braders bend, Lynyrd Skynyrd, Wet Willie. Nedavno, poigravaju?i se bluzom, D?ek i Meg Vajt su spasili rok muziku najavljene smrti. Da je to mogu?e nekoliko godina ranije je nagovestio D?on Spenser.
Opsceni susreti bluza i likova ?iji su mentalni sklopovi obele?eni hipertrofiranim individualizmom i veli?anstvenim talentom davali su najprovokativnije rezultate. Diskografije Toma Vejtsa i Keptina Bifharta to potvr?uju. Sli?no je i sa tzv. “frikovima”. Njihova personalna i??a?enost u kontekstu stroge bluz forme dobijala je nadrealne obrise. Ta nit, koja ide od Skriming D?eja Hokinsa, preko britanskih ekscentrika Skriming Lorda Sa?a i Bilija ?ajldi?a vodi do ameri?kih otka?enjaka Kvintrona i Boba Loga III. Album ovog potonjeg “Log Bomb” (34?20??) najnoviji je primer takvog pristupa.
“Za ?inelu: leva noga… za bas bubanj imamo desnu… leva ruka je za slajd, desna za okidanje ?ica, a usna duplja je za govor”, tako je, u slobodnom prevodu, Bob Log III opisao svoju “one man band” izvo?a?ku metodologiju u numeri “One Man Band Boom” sa albuma “Log Bomb”. Ovakav na?in interpretacije bluza nije nepoznat. U prvoj polovini XX veka mnoge spodobe opremljene bubnjem i gitarom krstarile su deltom Misisipija. Bob Log III je inovirao koncept uvode?i “bajkerske” elemente: motociklisti?ka kaciga, sa ugra?enim telefonskim mikrofonom, koji je sa “usnom dupljom” povezan crevom od usisiva?a, neizostavan je deo opreme. Tako kostimiran pi?i neku vrstu retardiranog bluza u kome su glavne teme viski i ?enske grudi, kao ?to to eksplicitno govori aktuelni singl “Boob Scotch”.
“Ja sviram prljavi, prljavi bluz. Kao Fred Mekdouel i AC/DC. Ne znam ?ta je to, ali kad ga ?uje? ose?a? se bolje. Pokvareni osmeh ti se pojavi na licu”, rekao je Bob Log III. “Ras Mejer i Vajt Strajps se susre?u na njegovim plo?ama”, rekli su drugi. ?enske grudi, alkohol i slajd gitara predstavljeni su kao znamenja odmetni?kog ?ivljenja. Njegov nastup 17. maja u Domu omladine pokazu?e da je to sasvim dovoljno za povratak poljuljanog renegatskog dostojanstva.

Q: Listening to your album, Bukka White’s Memphis Hot Shoes” comes to mind. Does he have any influence on you?
A: I like Bukka. He plays fast & jumpy. Bukka got teeth.

Q: How did you come up with the idea of wearing a helmet?
A: It just feels right. Try it.

Q: What do you do to distinguish yourself from other artists?
A: I play like I do on my very own guitar.

Q: Is there any difference between the concepts of Doo Rag and your solo projects?
A: Concepts?

Q: Are there any young musicians who play blues and roots music around you?
A: Johnny Balls.

Q: What equipment did you use to record this record?
A: a 4-track, an 8-track & a Serge’s microphone

Q: What styles of blues interest you other than Mississippi?
A: Australia’s AC/DC.

Q: Is there an Arizona blues scene?
A: Yes, there is a “Blues Scene” on every spot of the planet.

Q: Who was the first blues artist you heard?
A: Screamin Jay Hawkins

Q: Who are your five favorite slide guitarists?
A: CeDell Davis, Fred McDowell, the guy from Foghat, Sol Hoopil, Sol K Bright

Q: What guitar tuning do you use?
A: Very Low : Here it is
Gauge: 68–48–36–24p–18–15
Note: Low A–A–E–A–C#–E

Q: What’s your definition of blues?
A: Bent, bending hard. Blues is a feeling.

Q: Does this include your music?
A: Yes but my music is not sad. My guitar hops with a bad left foot. I live in the 1990′s.

Q: Do you like soul Music?
A: Yes.

Q: Do you distinguish between soul & R&B?
A: No.

Q: Who do you want to collaborate with?
A: Wonder Woman.

Q: Do you have any future plans?
A: Wake up in the morning.

When Bob Log III was a child, he lost his left hand in a boating accident. It was soon replaced with a monkey paw, and a new guitar style was born.

It’s my own personal style, see,” Log says, “the paw moves much quicker than a normal hand, so my real hand has to flop around a lot to compensate.”

And what about the helmet?

What helmet?” he asks, his voice muffled by a helmet.

Bob Log III is an enigma wrapped in a riddle and riding a wave of futile guessing and searching as people around the globe are trying to figure out just one thing. Who is this man? Rumours have started to circulate that he is anyone from Tom Waits to one of the Strokes.

“He’s Bob Log, an enigma.” a spokesperson told NME. “He’s not one of The Strokes. None of them have monkey paws.”

In the April 24-May 1 issue of Time Out London, Tom Waits is asked who he is listening to right now. He says, “Well, I really like Wu Tang Clan, those guys kill me. And then there’s this guy named Bob Log, you ever heard of him? He’s this little kid — nobody ever knows how old he is — wears a motorcycle helmet and he has a microphone inside of it and he puts the glass over the front so you can’t see his face, and plays slide guitar. It’s just the loudest strangest stuff you’ve ever heard. You don’t understand one word he’s saying. I like people who glue macaroni on to a piece of cardboard and paint it gold. That’s what I aspire to basically.”

The chances that his identity will be found in our lifetime are slim, but this one man, bass drum/slide guitar, band continues to mystify everyone who hears him play. As long as there are bars, Bob Log will be there ready to let a lady sit in his lap, or if they’re lucky, allow them to slip a boob in his scotch.