In the Ozark mountains, Clarence Brewer—widely recognized locally as King Clarentz—stands as a central figure in the regional music community. His performances fuse the lively boogie grooves associated with John Lee Hooker alongside the sharper, modal juke joint approach of R.L. Burnside, all while incorporating contemporary lyrics into an appealing and distinctive style within today's blues landscape. Having entered the world in 1950, Brewer cultivated a dedicated audience throughout the Ozarks through his work not only as a blues musician but also as a sculptor and folk artist, with his own woodcuts gracing the artwork on his first record. Accompanying his narratives—centered on themes including voodoo, misguided politics, the devil's domain, the deadly impact of fast food on society, along with treacherous women and alcohol—via slide guitar techniques applied to a Sears and Roebuck Silvertone instrument, this forward-looking blues innovator crafts an output that feels both raw and timeless. His initial album came together in 1998 before appearing in 1999 via the HMG label, with Lou Whitney from the Skeletons handling production duties and the Skeletons providing instrumental support. Far exceeding the limitations of a mere entertainer embracing a rural aesthetic, Clarence Brewer functions as a contemporary creator conveying substantial messages through his energetically unpolished delivery.
