By Scott Smith

TIMES RECORD • SSMITH@SWTIMES.COM

Oreo Blue creates quite a ruckus for only having four guys on its payroll.

Creating a thick sound from the stage that’s usually associated with six- or seven-piece groups, they know how to have fun, as apparent in the video for the driving, hook-ridden “Two Frogs Boogie” that’s included on their new CD, “Ten Down/Live at the Bypass.” Comprised of guitarist/vocalist Gary Hutchison, saxophonist/vocalist Brian Crowne, bassist Rod Williamson and drummer/vocalist Stephen Boudreaux, the area blues-rock band presents the result of nearly a decade of playing, writing and recording together on the video and on the disc’s 14 tracks, which were recorded live by Tom Ware and Fat Rabbit Recording of Van Buren on New Year’s Eve at the Kitchen Pass in Joplin, Mo.

Thrilling a New Year’s Eve crowd that sounds more than ready to greet 2002, the quartet is a tight, professional-sounding unit. But its members also know how to incite a good-time, party-like atmosphere both for music aficionados and those who want to casually groove to an audio stew of blues, rock, soul and old-style R&B.

Energetic but not over the top, Oreo Blue maintains a cool confidence while storming through its upbeat originals, like “I’m Standing Here,” “Blues Thang” and “Man Song.” And they haven’t forgotten how to bring down the volume, but not energy, for the more tender songs, such as a strong cover of Bill Withers’ timeless hit, “Ain’t No Sunshine.”

On “Things I’ve Done and Seen,” Hutchison’s bursting electric leads circle Crowne’s moody, Stax-like voice to create a rainy-day atmosphere. Traces of Jimi Hendrix, Hutchison’s guitar idol, can be heard in the way the lead guitarist picks away at his strings, but his use of sustain and the way he phrases his solos with his fretting hand are all his own.

Crowne, who also tackles double-duty on rhythm guitar, belts out noteworthy sax solos on Hutchison’s “I’m Standing Here,” shrouding the listener in a hypnotic-sounding haze before the author’s six-string blazes into focus. The musical dogfighting between the compatriots, which never really detracts from the songs or their disciplined melodies, pushes Oreo Blue to a higher standing than those held by countless standard blues bar combos. No jams limited to three chords or robot-like rhythm stomps found here, just bluesy R&B pieces that probably would make the late Sam Cooke nod with approval.

Allowing Hutchison and Crowne so much play room on stage are Williamson’s steady bass runs and Boudreaux’s punchy drums, a dependable team that plays with the beat instead of just creating it. There’s hardly a bum note or faulty drum part to be heard throughout the numbers, which also include respectful versions of Freddie King’s “Hideaway,” Junior Wells’ “Messin’ with the Kid” and John Lee Hooker’s “Dimples.” On the latter, Hutchison’s solos and Crowne’s sax blowing mimic each other in between verses, followed by Crowne’s “ha-ha-ho” vocal treatments that sound remarkably similar to that of the late Hooker.

Unlike many live albums, “Ten Down” flows with a clean sound, particularly on the confident vocals, the sassy saxophone and the cymbal crashes. There are a couple spots of feedback on the CD, which, thankfully, weren’t deleted during post-production mixing. These minor, welcomed blemishes give the disc a true, in-concert sound from a band that had the heart — and class — to dedicate the album to the victims of the Sept. 11 terrorist attacks. Oreo Blue is living proof that good guys still can play them mean, dirty ol’ blues.