Subscribe | UPI Odd Newsletter Subscribe Coco Montoya has it bad. He certainly isn't the first blues guitarist/singer/songwriter to come down with a serious case of woman problems, but he is apparently one of the most miserable. On "Can't Look Back" (Alligator), Montoya presents a deep catalog of lover's complaints. His manly pride prevents him from letting his woman win the argument. On "Wish I Could Be That Strong," and now that she's gone he realizes she was right all along. He has spent his life "Running Away From Love," turning turtle every time some good woman's love shines his way. Advertisement Nevertheless, being a bluesman he's already got "one foot out the door" when the next argument comes along. "I Won't Beg," says Montoya, yet he goes on to "Trip, Stumble and Fall," he "Can't See the Street for My Tears," and he "Can't Look Back," knowing he's "No Longer a Part of Your Dreams." Advertisement Even after taking all those lumps Montoya is eager to start the cycle all over again because by the end of the record he realizes he's been "Holding Out for You." Fortunately Montoya is a guitarist, because when the emotions get the bleakest, he can just rear back and blow away those blues with some fierce licks. "Can't Look Back" is loaded with exceptional guitar playing, from the stately lines of "...Tears" to the searing multi-tracked solo on "Trip...." This is the genuine article and Montoya does not come by it accidentally. He paid his dues working behind some of the masters of the form. Montoya, a 10-year veteran of John Mayall's Bluesbreakers and protégé of Albert Collins, ranks among the top-drawing and best-selling artists on the blues-rock scene. Produced by Jim Gaines (Luther Allison, Santana, Stevie Ray Vaughan), "Can't Look Back" also reconfigures the Albert Collins classic "Same Old Thing." Born in Santa Monica, California in 1951 and raised by working class parents with a large record collection, Montoya's interest in music began early. In 1969, Montoya saw Albert King opening up a Creedence Clearwater Revival/Iron Butterfly concert, and was transformed. "After Albert got done playing," said Montoya, "my life was changed. When he played, the music went right into my soul. It grabbed me so emotionally that I had tears welling up in my eyes. Nothing had ever affected me to this level. He showed me what music and guitar playing were all about. I knew that was what I wanted to do." Advertisement By the mid-1970s, Montoya, whose first instrument was drums, was playing in several local rock bands, one of which played in a small Culver City, Calif., bar on weekends. One Sunday Albert Collins was booked to play a matinee there and the club owner gave Collins permission to use Montoya's drums without asking Montoya. When Albert heard that Montoya was upset, he called him at the club to apologize and invited the young drummer to his show. Montoya saw Albert's performance and was blown away. But he never expected what would happen next. A few months later, Albert desperately needed a drummer for a tour of the northwest, and he called Montoya. After the tour ended, Montoya remained in Collins' band for five more years. It was during this time that Montoya began doubling on guitar. And Collins went out of his way to mentor his new protégé. As Montoya's guitar playing improved, his relationship with Collins kept growing. "He was like a father to me," said Montoya, who often slept at Collins' house. When Collins declared Montoya his "son," it was the highest praise and affection he could offer. As disco began to take over and gigs began to dry up, Montoya left Collins' band, but the two stayed very close friends. Montoya kept playing guitar ("I had plenty of time on my hands," he recalled) and eventually others took note of his prowess. Advertisement One night in the early 1980s, Montoya was jamming in a Los Angeles bar when John Mayall walked in. As a quick tribute, Montoya launched into "All Your Love." Impressed, Mayall left the club with a soundboard tape. When Mayall needed a guitarist for the newly reformed Bluesbreakers, he called Montoya, who spent the next 10 years with Mayall. By the early 1990s, Montoya was at another crossroad. He had been with the Bluesbreakers for 10 years and felt ready for a change. With words of advice from Collins, Montoya set off on a solo career. His debut as a leader, 1995's "Gotta Mind to Travel" (originally on Silvertone Records in England and later issued on Blind Pig Records), became an instant favorite with blues fans, radio programmers and critics. In 1996, he was nominated for four W.C. Handy Awards, and walked away with the award for Best New Blues Artist. Montoya's follow-up, 1996's "Ya Think I'd Know Better" (Blind Pig), showcased a feral blues rocker with vocal skills matched only by his ferocious guitar playing. 1997's "Just Let Go" (Blind Pig) continued to showcase Montoya's steely guitar licks and intense vocals. Montoya's 2000 debut for Alligator, "Suspicion," quickly became the best-selling album of his career, with over 130 radio stations spinning the disc. Advertisement He hasn't looked back since.
