Stones Live Licks
Saturday, November 13, 2004
CLEARMOUNTAIN thread - complete...
Posted by: R (IP Logged)
Date: november 9, 2004 17:21
...for those wishing reference thereto:
My letter to Mr. Clearmountain, sent Friday, November 5, late afternoon EDT:
Dear Mr. Clearmountain:
I have, like many, many people been a longtime, albeit indirect fan of your work. You have produced and more often mixed and mastered a slew of very popular albums and there is no doubt your name graces the liner notes of millions of CDs in hundreds of thousands of home worldwide. Enough of my pandering however. On to my comments and questions about the new Stones live release.
I am writing on behalf of concerned members of the 'It's Only Rock And Roll' unofficial Stones fan web-site. We have hundreds of members worldwide and we've been pondering these questions for a week now:
You, and whomever else that were involved in creating the sound and feel of the new Rolling Stones live CD, have finally nailed it! You've captured what many of us longtime obsessive fans have always wanted in a live album from the modern day Stones. The guitars are grungy, dirty and wonderful! Clearly audible in the right and left channel. The full spectrum of Charlies drums are there for the percussion fascists among us and Jagger's vocals (while apparently overdubbed to some extent) are in perfect balance to the overall aural window. The ancillary players have been relegated to the background (a pet peeve of us Stones lovers who lack no other life and concern themselves with such things). The song selection could be better but that's not your department as I understand it. All in all "Live Licks" is terrific EXCEPT:
Please forgive me for asking, but why is the editing so horrific?
Brown Sugar: the guitars sound cut and pasted. A sax note from another source seems to step on the end of Bobby Keys solo which sounds flat. The "yeah, yeah, yeah woooh!" call and response simply appears out of nowhere.
Rocks Off: the most memorable verse in the song, the one that follows the bridge, has been cut and the song moves straight to the chorus. The transistion is not a smooth one to say the least.
Satisfaction: Seems to have had much of Keith and Ronnie's inspired guitar interplay excised when compared to the original, which appears to be the version found on the Four Flicks DVD (as too were most of the songs on this release).
You Can't Always Get What You Want: At 6:45 the jump from the midtempo singalong to the fast guitar solo is a blatant edit, poorly executed, and throws the whole feel of the song off. It's as though a minute was just lopped out. No crossfade. Nada.
Honky Tonk Women: It sounds as though the live guitar solos were excised and a Keith solo was dubbed over Chuck Leavell's piano solo.
Every song on "Live Licks" has been shortened and it seems inexplicable as each disc runs only an hour leaving room for longer versions and perhaps two or three more songs each. We don't get out much and we'd really been looking forward to this album. Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
Thank you.
Sincerely,
R-------IORR member since 1997.
----------
Mr. Clearmountains response to the above letter received Monday, November 8 in early afternoon, EDT. His responses are in quotes:
"Hmmmm... you have some fascinating observations there. First of all I'd like to thank you for being so complimentary about the sound of the new Stones live album, and about my work in general. I used "Get Yer Ya-Ya's Out" as a reference as I believe it to be probably the best live rock album ever released (ED: Must not have heard Live at Leeds by The Who) . If I got anywhere near that ballpark with this one I think I can feel I've accomplished something."
"You're correct in your observation that there was quite a bit of editing involved, (as there is in most live album productions) and in your assumption that I had nothing to do with that part of the production. The thing is, all the edit decisions were made by Don Was and the Stones themselves. As far as the guitars go, as anyone who has ever worked on a Stones album (studio or live) knows, for every five licks those guys play, only one or two are actually usable - and those are generally amazing. When you see them live they get away with it because there's a lot going on on stage to look at, so you don't really notice. Stones freaks like you guys may not mind hearing licks that have very little to do with the the song they're playing, but the general public, and the Stones themselves don't really want to know.*
"As for specifics, see below for answers. I can't remember all the details (I don't yet have a copy of the album for reference) and actually don't know what edits were done before it got to me, but here's what I know:
... Jagger's vocals (while apparently overdubbed to some extent) are in perfect balance to the overall aural window.
"Only one lead vocal was overdubbed, and unfortunately, I'm not at liberty to say which one. All other vocals were live. (Can you guess which one?)"
Brown Sugar: the guitars sound cut and pasted. A sax note from another source seems to step on the end of Bobby Keys solo which sounds flat. The "yeah, yeah, yeah woooh!" call and response simply appears out of nowhere.
"The BK sax solo is the original solo (as far as I know) and if you were as much of a Stones fan as you claim you'd know that Bobby Keys has rarely, if ever played a solo that wasn't flat. It's kinda part of what makes him so unique. I was momentarily tempted to tune him up (would have been simple and only taken a few minutes) but didn't for fear that it would no longer sound like Bobby Keys.
"The "yeah, yeah, yeah woooh!" is totally real, the audience mics are goosed a bit on the "wooh" as it would have sounded quite anticlimactic if you couldn't hear that."
Rocks Off: the most memorable verse in the song, the one that follows the bridge, has been cut and the song moves straight to the chorus. The transistion is not a smooth one to say the least.
"*A decision made by the band, I think because the they sort of fell apart during that verse, but I'm not really sure."
Satisfaction: Seems to have had much of Keith and Ronnie's inspired guitar interplay excised when compared to the original, which appears to be the version found on the Four Flicks DVD (as too were most of the songs on this release).
"*Band/producer decision."
You Can't Always Get What You Want: At 6:45 the jump from the midtempo singalong to the fast guitar solo is a blatant edit, poorly executed, and throws the whole feel of the song off. It's as though a minute was just lopped out. No crossfade. Nada.
"*Band/producer decision, if that's true. I think it was because it got a bit boring during that section."
Honky Tonk Women: It sounds as though the live guitar solos were excised and a Keith solo was dubbed over Chuck Leavell's piano solo.
"*Band/producer decision, if in fact, true."
Every song on "Live Licks" has been shortened and it seems inexplicable as each disc runs only an hour leaving room for longer versions and perhaps two or three more songs each. We don't get out much and we'd really been looking forward to this album. Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
"I don't believe the sound was compromised at all. I'd like to add that, as I've mixed one studio album, various singles, two live Pay-Per-View cable broadcasts, a feature-length film and two previous live albums for them, I believe this ranks as one of their best pieces of work since the mid 70's. I don't think this album would have been nearly as listenable and enjoyable without the hard work and, as you've put it, "horrific editing". But of course, as an avid Stones fan myself since the early 60's, that's just my opinion."
Cheers, Bob Clearmountain [www.mixthis.com]
----------
My response to HIS reply sent mid afternoon EDT, November 8. Not published in its entirety in previous threads. Mr. Clearmountain's comments are in quotes.:
In a message dated 11/8/04 4:11:30 PM, bob@mixthis.com writes:
Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
"I don't believe the sound was compromised at all."
I stand corrected. What I meant to say was the overall enjoyment of the album is compromised by the poor edits. As I said earlier, it's the BEST SOUNDING live Stones album since Ya Yas - which makes the edits all the more obvious - and irksome.
"and if you were as much of a Stones fan as you claim you'd know that Bobby Keys has rarely, if ever played a solo that wasn't flat. It's kinda part of what makes him so unique."
Mea culpa. Actually the "flat" observation was someone elses. The thing that bugged me was there seems to be another horn (or horns) stepping on Billy's last note as though edited from the stadium show wherein the horn section followed Billy's solo.
" The "yeah, yeah, yeah woooh!" is totally real, the audience mics are goosed a bit on the "wooh" as it would have sounded quite anticlimactic if you couldn't hear that."
It's not how they come in but rather when. Perhaps a bit of hair-splitting on the part of us Stonesiophiles who've been listening to roughly the same arrangement of the live "Brown Sugar" for thirty or so years.
Thank you very much for your prompt, professional and detailed to response to my (admittedly somewhat snarky but we do take these things seriously) letter. I've forwarded your reply 'round the world and hundreds of people are already arguing about which Jagger vocal was overdubbed as you read this. My guess is "Street Fighting Man."
You live and work in Portland as I recall? My sister lives outside of Kennebunkport and we are fond of Gritty McDuffs for lunch. I just can't get used to the sun going down at 3:30 in the afternoon however.
Thanks again.
Sincerely,R------- ------------
Mr. Clearmountain's reply to the above letter, received 5:45pm EDT, November 8:
Dear R-----,
I've really got to get myself a copy of the record to check out your observations because, to be quite honest, I just don't remember these details. As I said, I do feel whatever editing might have been done improved the-well at least-my overall enjoyment of the album. You guys might wanna just relax and enjoy it for what it is as well. The album is the Rolling Stones vision of how they want to be presented on disk at this point in time. If you really are Stones fans, you'd respect them for that and get over it. They're also quite spontaneous, and don't play the exact same arrangements every night, so some of the tunes may sound a bit different than what you've been used to for the last "...thirty or so years".
The one song that Mick had to overdub was only because there was a problem with the mic, and it was only in a few places.
I live and work in Los Angeles. My manager and close friend, Dan Crewe lives near Portland.
Cheers,
Clearmountain
Friday, January 18, 2008
Album Review: ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
New Orleans boxset
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans Rating: Great
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans Rating: Great
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Album Review: Doctor's, Professors, Kings & Queen, The Big Ol' Box of New Orleans
New Orleans boxset
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Album Review: Johnny Winter, Second Winter (deluxe edition)
Johnny Winter
Thursday, November 04, 2004
Artist: Johnny Winter
Album: Second Winter (Deluxe Edition)
First things first, I love Johnny Winter. For me there’s nothing like a well played guitar and few have the catalogue of licks that Johnny Winter seems to be able to throw down endlessly. This album, Second Winter, was originally released back in 1969 when “rock” music’s golden age was peaking. Winter’s band, which included brother Edgar and bass player Tommy Shannon (who would later back Stevie Ray Vaughan as a member of Double Trouble) had just played Woodstock before recording this album. With his anointed status as one of rock’s upcoming superstar Winter had recently signed on as music’s largest solo contract artist with Columbia Records for more than a million dollars: which in 1969 was still a lot of money. So the band was hot and the world was listening.
Record companies mining the vaults for product is nothing new. Historically few labels have done it well. One of a couple of exceptions is Sony (CBS, Columbia, Epic, Okeh). Using the original recorded album, the label restore’s the original album artwork and then remixes and remasters, adds in additional tracks and then, dig this, give you ANOTHER disc of new music. So the packaging is excellent and you get some really great tunes. Now that’s smart marketing!
The second disc in this package is a nine track live concert from the Royal Albert Hall in 1970 and includes the most excellent SLOW electric blues track, “It’s My Own Fault.” While Winter may have been young he exhibits a litany of finesse and taste with his twelve minute cover this B. B. King track. The second disc also features the debut of brother Edgar’s instrumental track, ‘Frankenstein’ (which would become a hit five years later).
The original album includes two additional studio tracks; ‘Early in the Morning’ and ‘Tell the Truth.’ Already known as one of the great blues albums, the newly reissued Second Winter is a MUST OWN disc for any true fan of the electric blues. It’s only a minor leap to suggest that without this record and the success it brought to Winter there would never have been a scene to incubate a Lil’ Stevie Vaughan. This album will be heavily featured for the next month or so on KIWR’s Pacific Street Blues, Sundays from 9:00 a.m. – Noon.
Thursday, November 04, 2004
Artist: Johnny Winter
Album: Second Winter (Deluxe Edition)
First things first, I love Johnny Winter. For me there’s nothing like a well played guitar and few have the catalogue of licks that Johnny Winter seems to be able to throw down endlessly. This album, Second Winter, was originally released back in 1969 when “rock” music’s golden age was peaking. Winter’s band, which included brother Edgar and bass player Tommy Shannon (who would later back Stevie Ray Vaughan as a member of Double Trouble) had just played Woodstock before recording this album. With his anointed status as one of rock’s upcoming superstar Winter had recently signed on as music’s largest solo contract artist with Columbia Records for more than a million dollars: which in 1969 was still a lot of money. So the band was hot and the world was listening.
Record companies mining the vaults for product is nothing new. Historically few labels have done it well. One of a couple of exceptions is Sony (CBS, Columbia, Epic, Okeh). Using the original recorded album, the label restore’s the original album artwork and then remixes and remasters, adds in additional tracks and then, dig this, give you ANOTHER disc of new music. So the packaging is excellent and you get some really great tunes. Now that’s smart marketing!
The second disc in this package is a nine track live concert from the Royal Albert Hall in 1970 and includes the most excellent SLOW electric blues track, “It’s My Own Fault.” While Winter may have been young he exhibits a litany of finesse and taste with his twelve minute cover this B. B. King track. The second disc also features the debut of brother Edgar’s instrumental track, ‘Frankenstein’ (which would become a hit five years later).
The original album includes two additional studio tracks; ‘Early in the Morning’ and ‘Tell the Truth.’ Already known as one of the great blues albums, the newly reissued Second Winter is a MUST OWN disc for any true fan of the electric blues. It’s only a minor leap to suggest that without this record and the success it brought to Winter there would never have been a scene to incubate a Lil’ Stevie Vaughan. This album will be heavily featured for the next month or so on KIWR’s Pacific Street Blues, Sundays from 9:00 a.m. – Noon.
Album Review: Heart, Jupiter's Darling
Monday, October 11, 2004
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Album Review: Heart, Jupiter's Darling
Monday, October 11, 2004
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Album Review: Putumayo's Blue Lounge
Putumayo's Blues Lounge
Monday, October 04, 2004
The Putumayo Recording Label
As the sheer number of album releases each year balloons over 30,000 titles the music listener finds it harder and harder to wade through this avalanche to find music they want to hear.
One of the surefire methods to find success is to find a trusted label where the label’s integrity for releasing good music is such that the listener is willing to try an unknown artist simply because of the recording label their music appears one. Some of the well-known examples of this include; Windham Hill, Subpop, Stiff, American Gramophone and in a very modern sense, Saddle Creek Records.
Well it’s time to add another label to this distinguished list. The Putumayo Label was started when it’s founder fell in love with World Music. In addition to have exceptionally high musical standards for their compilations Putumayo’s albums also feature distinctive, attractive album artwork.
While I cannot recommend every title from this label, simply because I haven’t developed an appreciation for music from all corners of the world, their latest release, Blues Lounge, is yet another fine example of melding modern blues with cutting edge music sure to fire the interest of even the most casual blues fan. Admittedly this is not for purists as the title indicates it is a combination of blues and pseudo-lounge music. Relaxing yet stimulating.
Probably the most high profile act on this sampler is modern hipster Moby. Like so many bands in the ‘60’s Moby’s spent some time mining the American Blues genre for inspiration. This track, Run On, is very hip gospel tinged track that shows where the blues can be taken.
The track by Gare Du Nord relies heavily on the Robert Johnson song, Come On In My Kitchen. After a brief intro Du Nord takes the track in a new direction that is at once wonderful and true to the roots.
Often times modern blues recordings add nothing to the body of the art form but are merely archeological in their pursuit. This disc, ten tracks in all, breathes a modern sensibility into the blues and show a path that could capture the ears of old fans and bring in new fans to the fold. Very interesting and like EVERYTHING on the Putumayo label, exceptionally well done.
Monday, October 04, 2004
The Putumayo Recording Label
As the sheer number of album releases each year balloons over 30,000 titles the music listener finds it harder and harder to wade through this avalanche to find music they want to hear.
One of the surefire methods to find success is to find a trusted label where the label’s integrity for releasing good music is such that the listener is willing to try an unknown artist simply because of the recording label their music appears one. Some of the well-known examples of this include; Windham Hill, Subpop, Stiff, American Gramophone and in a very modern sense, Saddle Creek Records.
Well it’s time to add another label to this distinguished list. The Putumayo Label was started when it’s founder fell in love with World Music. In addition to have exceptionally high musical standards for their compilations Putumayo’s albums also feature distinctive, attractive album artwork.
While I cannot recommend every title from this label, simply because I haven’t developed an appreciation for music from all corners of the world, their latest release, Blues Lounge, is yet another fine example of melding modern blues with cutting edge music sure to fire the interest of even the most casual blues fan. Admittedly this is not for purists as the title indicates it is a combination of blues and pseudo-lounge music. Relaxing yet stimulating.
Probably the most high profile act on this sampler is modern hipster Moby. Like so many bands in the ‘60’s Moby’s spent some time mining the American Blues genre for inspiration. This track, Run On, is very hip gospel tinged track that shows where the blues can be taken.
The track by Gare Du Nord relies heavily on the Robert Johnson song, Come On In My Kitchen. After a brief intro Du Nord takes the track in a new direction that is at once wonderful and true to the roots.
Often times modern blues recordings add nothing to the body of the art form but are merely archeological in their pursuit. This disc, ten tracks in all, breathes a modern sensibility into the blues and show a path that could capture the ears of old fans and bring in new fans to the fold. Very interesting and like EVERYTHING on the Putumayo label, exceptionally well done.
Album Review: Ian Moore, Luminaria
Ian Moore
Wednesday, September 08, 2004
Artist: Ian Moore
Title: Luminaria
I gotta admit, I never connected with any of Moore’s earlier releases. It wasn’t due to a lack of trying. I listened ‘till my ears bleed and while the talent was evident I just never, ‘got it.’ Pte, the bass player of Indigenous, bleed, ‘Ian Moore’ from his pores one summer and was convinced that only Jimi Hendrix was better. Hmmm. I didn’t get it.
On his latest effort, Moore is clearly leaving behind his Austin Twang-bar king days and wagering his entire career on the ability to move into a new genre. In other words, when Moore tours back into Omaha on September 24th (Sokol Underground) do not expect to hear any blues whammy stuff.
Instead, The All New’ Moore will be performing some exceptionally well-written pop songs as heard on his latest album, Luminaira. But why pop music? I would guess the move is strategic. The blues-rock guitar playing monster category has been slipping further and further down in sales and popularity. While a ‘hot’ selling blues record may see as many as 30,000 units sold, a well done pop record should sell 3X that number or more: volume and money! Evidently at still a young age Moore had peaked and had started looking around for new mountains to climb. Good for him!
Like most ‘pop’ music, Moore’s latest sound is hard to categorize. That means you’re going to have to hear it to understand it. I would suggest taking the time to visit Moore’s website (www.IanMoore.com) to hear it. There is a Paul McCartney sense of arrangement to the sonic landscapes and shades that Moore’s creates with.
HEAR THIS; you are not going to listen to this disc one time and completely appreciate the depth and texture that is packed into this recording. As a matter of fact, if you can’t spend time with this recording you probably shouldn’t invest any time into the effort. On the other hand, and there’s always another hand, this is probably an album that, given time could quite possibly open up all new frontiers of interest. It’s a passionate recording that revels layer upon layer with repeated listening.
Wednesday, September 08, 2004
Artist: Ian Moore
Title: Luminaria
I gotta admit, I never connected with any of Moore’s earlier releases. It wasn’t due to a lack of trying. I listened ‘till my ears bleed and while the talent was evident I just never, ‘got it.’ Pte, the bass player of Indigenous, bleed, ‘Ian Moore’ from his pores one summer and was convinced that only Jimi Hendrix was better. Hmmm. I didn’t get it.
On his latest effort, Moore is clearly leaving behind his Austin Twang-bar king days and wagering his entire career on the ability to move into a new genre. In other words, when Moore tours back into Omaha on September 24th (Sokol Underground) do not expect to hear any blues whammy stuff.
Instead, The All New’ Moore will be performing some exceptionally well-written pop songs as heard on his latest album, Luminaira. But why pop music? I would guess the move is strategic. The blues-rock guitar playing monster category has been slipping further and further down in sales and popularity. While a ‘hot’ selling blues record may see as many as 30,000 units sold, a well done pop record should sell 3X that number or more: volume and money! Evidently at still a young age Moore had peaked and had started looking around for new mountains to climb. Good for him!
Like most ‘pop’ music, Moore’s latest sound is hard to categorize. That means you’re going to have to hear it to understand it. I would suggest taking the time to visit Moore’s website (www.IanMoore.com) to hear it. There is a Paul McCartney sense of arrangement to the sonic landscapes and shades that Moore’s creates with.
HEAR THIS; you are not going to listen to this disc one time and completely appreciate the depth and texture that is packed into this recording. As a matter of fact, if you can’t spend time with this recording you probably shouldn’t invest any time into the effort. On the other hand, and there’s always another hand, this is probably an album that, given time could quite possibly open up all new frontiers of interest. It’s a passionate recording that revels layer upon layer with repeated listening.
Album Review: Joe Bonamassa, Had to Cry Today
Thursday, August 26, 2004
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
RL Burnside - A Bothered Mind
Thursday, August 12, 2004
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
The Pandora.coim website - simply fantastic!
Technology Column – Rick Galusha
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
KCVU radio
Thursday, August 12, 2004
And now for something completely different…
Artist: KCUV.com
Rating: GREAT
The music industry has always been a strange beast. I can’t think of any other industry where it’s the norm to low ball it’s new releases and then makes margin on older products. It’s also unique in that so many people; be it label, band, retail or radio, want to get into the “music industry” that they bid their own wages below market value in order to do so. It’s just nuts and you have to be nuts to pursue it!
As we have all seen over the past decade or so, radio has become incredibly competitive. Formats change on a dime, literally, and on-air personalities have become highly disposable. There is an echelon of talent that is well compensated but to describe radio as a cut throat industry is to describe Iraq as a sketchy: quite an understatement.
With the need to drive advertising dollars through their airwaves most commercial radio stations have adopted a format approach that, in my opinion, taken the wonder and magic out of radio and replaced it with a completely predictable, follow-the-leader approach implementing the McDonalds hamburger approach: it’s ain’t exciting but you know what you’re going to get every time you go there. Now don’t get me wrong, generally those folks make a lot more money than I do, and money is the barometer of a successful business; however, that doesn’t endear my ears… especially if I have to listen to BAD/ uncreative commercials.
With that diatribe in mind, as we have found in the retail industry, the true music fan is going to find a method to get exposure to the music they love. As broadcast radio is on the verge of having to deal with satellite and internet radio have the potential to become a force to be reckoned with. They say competition is good for the consumer: we’ll see. I think we can all see what Cable has done for television (I’ll leave that one up to you to decide – HBO serials versus the Game Channel). Anyway, I recently found an on-line radio station that thrills my musical taste buds. Certainly it’s not as good as KIWR’s PS Blues (yes, I am the host) but it’s darn close kids. WWW.KCUV.com is a Denver based AM radio station that also broadcasts over the internet. Full of vim & vigor KCUV plays an endless stream of “GREAT” music with few repetitions and plenty o’taste. Yes, there are songs and artists the average music fan is not going to be familiar with but this station is clearly programmed to NOT be too cool for the room. Judging from their playlist, which is rotated on the screen while you listen, this station targets 30+ heavy / hip music fans with a massively large cornucopia of artists & songs. Focused on the wide spectrum of artists between bluesman Muddy Waters to Lyle Lovett, Dave Alvin, and older fifties artists.
If you’re like me, pulling your own tongue out with rusty pliers is almost more pleasant than saying anything positive about the state to our West (thanks to the obnoxious Colorado University fans that have yet to learn how to lose with grace) however, someone over there where the air is thin has finally gotten it together and created a path back to great radio, great music, and hip on-air talent. See, the Lord does answer prayers!
http://www.kcuvradio.com
And now for something completely different…
Artist: KCUV.com
Rating: GREAT
The music industry has always been a strange beast. I can’t think of any other industry where it’s the norm to low ball it’s new releases and then makes margin on older products. It’s also unique in that so many people; be it label, band, retail or radio, want to get into the “music industry” that they bid their own wages below market value in order to do so. It’s just nuts and you have to be nuts to pursue it!
As we have all seen over the past decade or so, radio has become incredibly competitive. Formats change on a dime, literally, and on-air personalities have become highly disposable. There is an echelon of talent that is well compensated but to describe radio as a cut throat industry is to describe Iraq as a sketchy: quite an understatement.
With the need to drive advertising dollars through their airwaves most commercial radio stations have adopted a format approach that, in my opinion, taken the wonder and magic out of radio and replaced it with a completely predictable, follow-the-leader approach implementing the McDonalds hamburger approach: it’s ain’t exciting but you know what you’re going to get every time you go there. Now don’t get me wrong, generally those folks make a lot more money than I do, and money is the barometer of a successful business; however, that doesn’t endear my ears… especially if I have to listen to BAD/ uncreative commercials.
With that diatribe in mind, as we have found in the retail industry, the true music fan is going to find a method to get exposure to the music they love. As broadcast radio is on the verge of having to deal with satellite and internet radio have the potential to become a force to be reckoned with. They say competition is good for the consumer: we’ll see. I think we can all see what Cable has done for television (I’ll leave that one up to you to decide – HBO serials versus the Game Channel). Anyway, I recently found an on-line radio station that thrills my musical taste buds. Certainly it’s not as good as KIWR’s PS Blues (yes, I am the host) but it’s darn close kids. WWW.KCUV.com is a Denver based AM radio station that also broadcasts over the internet. Full of vim & vigor KCUV plays an endless stream of “GREAT” music with few repetitions and plenty o’taste. Yes, there are songs and artists the average music fan is not going to be familiar with but this station is clearly programmed to NOT be too cool for the room. Judging from their playlist, which is rotated on the screen while you listen, this station targets 30+ heavy / hip music fans with a massively large cornucopia of artists & songs. Focused on the wide spectrum of artists between bluesman Muddy Waters to Lyle Lovett, Dave Alvin, and older fifties artists.
If you’re like me, pulling your own tongue out with rusty pliers is almost more pleasant than saying anything positive about the state to our West (thanks to the obnoxious Colorado University fans that have yet to learn how to lose with grace) however, someone over there where the air is thin has finally gotten it together and created a path back to great radio, great music, and hip on-air talent. See, the Lord does answer prayers!
http://www.kcuvradio.com
Spirit - Peter Buffet's native American epitina
Wednesday, July 28, 2004
Peter Buffet’s, Spirit – the Seventh Fire
Award winning musician Peter Buffett’s “Spirit” presentation is a mix of Bowie-esque multi-media stage extravaganza, Chip Davis’ Fresh Aire, and a Native American version of Riverdance. Staged in a huge (air conditioned) tent with tiered seating, located on the banks of the Missouri River, Spirit tells the story of a young professional Native man that is drawn back to his native roots and culture in a spiritual awakening.
While the story line is cliché Buffett’s use and setting of Native culture adds a beautiful and unique twist to the story. Admittedly I am a neophyte stage critic and am unable to distinguish kitsch from class; however, Buffett’s use of dance, music, film and setting combine to draw the audience into the experience completely. Since the performance includes members of numerous tribes the audience is treated to a wide variety of Native culture costume and dance. The beauty is in the admiration of the culture.
Buffett’s music is a rock-based presentation with a heavy (Native)use of drumming (*). There are times when the entire band participates in mixture of chant and rhythm with spoken word over the top. All in all this is a bountiful experience and I would encourage readers to check out, ‘Spirit – the Seventh Fire.
-----------------------------------
It was during Buffett's performance that I connected the heavy use of drums within Native culture and role of former Indigenous Conga player Horse; who was a second percussionist in a four piece band. Like an epiphany, I realized that Horse's role within the band was based upon their cultural experience. Sadly Horse's substance abuse became a full time occupation and he is no longer with the band.
-----------------------------------On a happier note, Mato's third child was born this week. -----------------------------------
Peter Buffet’s, Spirit – the Seventh Fire
Award winning musician Peter Buffett’s “Spirit” presentation is a mix of Bowie-esque multi-media stage extravaganza, Chip Davis’ Fresh Aire, and a Native American version of Riverdance. Staged in a huge (air conditioned) tent with tiered seating, located on the banks of the Missouri River, Spirit tells the story of a young professional Native man that is drawn back to his native roots and culture in a spiritual awakening.
While the story line is cliché Buffett’s use and setting of Native culture adds a beautiful and unique twist to the story. Admittedly I am a neophyte stage critic and am unable to distinguish kitsch from class; however, Buffett’s use of dance, music, film and setting combine to draw the audience into the experience completely. Since the performance includes members of numerous tribes the audience is treated to a wide variety of Native culture costume and dance. The beauty is in the admiration of the culture.
Buffett’s music is a rock-based presentation with a heavy (Native)use of drumming (*). There are times when the entire band participates in mixture of chant and rhythm with spoken word over the top. All in all this is a bountiful experience and I would encourage readers to check out, ‘Spirit – the Seventh Fire.
-----------------------------------
It was during Buffett's performance that I connected the heavy use of drums within Native culture and role of former Indigenous Conga player Horse; who was a second percussionist in a four piece band. Like an epiphany, I realized that Horse's role within the band was based upon their cultural experience. Sadly Horse's substance abuse became a full time occupation and he is no longer with the band.
-----------------------------------On a happier note, Mato's third child was born this week. -----------------------------------
Jamie Cullum Twentysomething
Friday, July 16, 2004
Artist: Jamie Cullum
Title: Twentysomething
The only difference between this being a very good album and a great album is time.
Many times the mark of a great album is if it is still being listened to years later. I have no doubt this album will become a long term staple for any true fan of great music.
On all fronts this mildly jazz, pop vocal performance is a brilliant release showing a perfect balance between talent, creative vision, performance, and songwriting.
Another appealing aspect of Cullum’s debut album are his tasteful nods to the foundation of great music with his covers of Cole Porter’s, “I Get A Kick Out Of You’ or his cover of Jimi Hendrix’s, “The Wind Cries Mary” or the cover of, “Lover, You Should’ve Come Over” by the late Jeff Buckley. Clearly Cullum is a fan of music with an in-depth knowledge of popular music’s history. As the President of Homer’s Music Stores I am often dismayed at the lack of knowledge by contemporary musicians have of what came before "their" sound.
At the ’04 South By Southwest Music Festival (SXSW) in Austin, Texas, we had the opportunity to see Cullum perform. It was terrific. I don’t think it’s any leap of faith to say the Cullum is easily the one of the two most exhilarating piano playing performers since Elton John’s string of hits in the mid ‘70’s (the other was Ben Folds).
All in all this kid appears to have a great future in front of him and I encourage you, with every shred of influence I can muster, to check out this wonderful young talent and get on board the Peace Train before it leaves the station!
Artist: Jamie Cullum
Title: Twentysomething
The only difference between this being a very good album and a great album is time.
Many times the mark of a great album is if it is still being listened to years later. I have no doubt this album will become a long term staple for any true fan of great music.
On all fronts this mildly jazz, pop vocal performance is a brilliant release showing a perfect balance between talent, creative vision, performance, and songwriting.
Another appealing aspect of Cullum’s debut album are his tasteful nods to the foundation of great music with his covers of Cole Porter’s, “I Get A Kick Out Of You’ or his cover of Jimi Hendrix’s, “The Wind Cries Mary” or the cover of, “Lover, You Should’ve Come Over” by the late Jeff Buckley. Clearly Cullum is a fan of music with an in-depth knowledge of popular music’s history. As the President of Homer’s Music Stores I am often dismayed at the lack of knowledge by contemporary musicians have of what came before "their" sound.
At the ’04 South By Southwest Music Festival (SXSW) in Austin, Texas, we had the opportunity to see Cullum perform. It was terrific. I don’t think it’s any leap of faith to say the Cullum is easily the one of the two most exhilarating piano playing performers since Elton John’s string of hits in the mid ‘70’s (the other was Ben Folds).
All in all this kid appears to have a great future in front of him and I encourage you, with every shred of influence I can muster, to check out this wonderful young talent and get on board the Peace Train before it leaves the station!
Smokin' Joe Kubek
Wednesday, July 14, 2004
Artist: Smokin’ Joe Kubek & Bnois King
Title: Show Me the Money
I have been familiar with Kubek’s career for more than a decade now including listening to most of his releases during this period. While his guitar playing has always been above average his albums have been less than inspired. I frequently thought that Kubek’s willingness to give King microphone time was a bad career move. As the human body ages eventually the voice loses its clout. I would lump Bnois King in the group of blues artists who’s voice is not what it used to be; B. B. King, Etta James, Johnny Winter. So my expectations for Kubek’s latest were quite low.
As a live performer Kubek usually leaves ‘it all on stage’ but, like many recording artists, he was unable to translate that onto the Compact Disc. Well listen up blues fans because Smokin’ Joe’s latest, Show Me the Money, is well worth your ear time. Slicker, grittier, and with a recharged sense of melody Kubek’s latest is probably more rock than trad but the heavy blues flavour remains the same.
Historically artists of Kubek’s magnitude have released albums with the intent of selling them off the stage. On his latest Kubek release, if he can muster the marketing, radio airplay, and tour his tail off, Kubek & King deserve to see sales in stores.
In a ‘One to Ten World Where Five is Average’ this is a solid seven and worth your examination. Hear Kubek’s latest and all the new releases every Sunday from Nine to Noon on K89.7 FM, KIWR’s Pacific Street Blues radio program featuring Rick Galusha.
Artist: Smokin’ Joe Kubek & Bnois King
Title: Show Me the Money
I have been familiar with Kubek’s career for more than a decade now including listening to most of his releases during this period. While his guitar playing has always been above average his albums have been less than inspired. I frequently thought that Kubek’s willingness to give King microphone time was a bad career move. As the human body ages eventually the voice loses its clout. I would lump Bnois King in the group of blues artists who’s voice is not what it used to be; B. B. King, Etta James, Johnny Winter. So my expectations for Kubek’s latest were quite low.
As a live performer Kubek usually leaves ‘it all on stage’ but, like many recording artists, he was unable to translate that onto the Compact Disc. Well listen up blues fans because Smokin’ Joe’s latest, Show Me the Money, is well worth your ear time. Slicker, grittier, and with a recharged sense of melody Kubek’s latest is probably more rock than trad but the heavy blues flavour remains the same.
Historically artists of Kubek’s magnitude have released albums with the intent of selling them off the stage. On his latest Kubek release, if he can muster the marketing, radio airplay, and tour his tail off, Kubek & King deserve to see sales in stores.
In a ‘One to Ten World Where Five is Average’ this is a solid seven and worth your examination. Hear Kubek’s latest and all the new releases every Sunday from Nine to Noon on K89.7 FM, KIWR’s Pacific Street Blues radio program featuring Rick Galusha.
Muddy Waters defined the 20th Century
Tuesday, June 29, 2004
Titles: Hard Again Title: I’m Ready Title: King Bee
Artist: Muddy Waters
When it rains it pours…
Telling someone with even a modest interest in “GREAT” music to check out a Muddy Waters album is like telling a baseball fan the New York Yankees have had some good players. In an honest discussion Muddy Waters was the foundation that defined popular music in the 20th century.
If there is any question, allow me to erase it now, Muddy Waters, more than Elvis or Chuck Berry or ANYONE ELSE birthed the sound of rock n’ roll. Oh yeah, Elvis made it sexy and Chuck gave it lyrics but Muddy birthed it and nurtured it. When the Beatles rolled off the boat in the early ‘60’s all the great blues artists and many of the (white) rock artists got rudely shoved aside. When Johnny Winter got signed in the late ‘60’s he was rumoured to have been the first “rock” solo artist to have received a million dollar recording contract. Go figure! Anyway, within a decade Winter was at the recording helm breathing new life into the great Muddy Waters recording career.
In 1977 Johnny and Muddy would release the critically acclaimed album, Hard Again. It was on this album that Waters would re-record his older hits using a ‘modern’ recording studio with one of his great bands including; Pinetop Perkins (piano), James Cotton (harp), Willie ‘Big Eyes’ Smith (drums), ‘Steady Rollin’ Bob Margolin (guitar) and Charles Calmese (bass). I can remember the buzz on this album being so strong that, as a high school senior, going in to purchase the brand new (and only) Sex Pistols album AND the Hard Again…which harkens me back to the time when it was the music that mattered!
So now, much to my own joy, Muddy’s ‘Blue Sky Trilogy’ have all been remastered and reissued; Hard Again (’77), I’m Ready (’78), King Bee (’81). No music collection is complete without a worthy sampling of Muddy Waters and no true music fan’s knowledge is rounded unless they have developed a full appreciation for the greatness of Muddy Waters. Any of these three discs are worth the time and investment although I recommend beginning with Hard Again.
Titles: Hard Again Title: I’m Ready Title: King Bee
Artist: Muddy Waters
When it rains it pours…
Telling someone with even a modest interest in “GREAT” music to check out a Muddy Waters album is like telling a baseball fan the New York Yankees have had some good players. In an honest discussion Muddy Waters was the foundation that defined popular music in the 20th century.
If there is any question, allow me to erase it now, Muddy Waters, more than Elvis or Chuck Berry or ANYONE ELSE birthed the sound of rock n’ roll. Oh yeah, Elvis made it sexy and Chuck gave it lyrics but Muddy birthed it and nurtured it. When the Beatles rolled off the boat in the early ‘60’s all the great blues artists and many of the (white) rock artists got rudely shoved aside. When Johnny Winter got signed in the late ‘60’s he was rumoured to have been the first “rock” solo artist to have received a million dollar recording contract. Go figure! Anyway, within a decade Winter was at the recording helm breathing new life into the great Muddy Waters recording career.
In 1977 Johnny and Muddy would release the critically acclaimed album, Hard Again. It was on this album that Waters would re-record his older hits using a ‘modern’ recording studio with one of his great bands including; Pinetop Perkins (piano), James Cotton (harp), Willie ‘Big Eyes’ Smith (drums), ‘Steady Rollin’ Bob Margolin (guitar) and Charles Calmese (bass). I can remember the buzz on this album being so strong that, as a high school senior, going in to purchase the brand new (and only) Sex Pistols album AND the Hard Again…which harkens me back to the time when it was the music that mattered!
So now, much to my own joy, Muddy’s ‘Blue Sky Trilogy’ have all been remastered and reissued; Hard Again (’77), I’m Ready (’78), King Bee (’81). No music collection is complete without a worthy sampling of Muddy Waters and no true music fan’s knowledge is rounded unless they have developed a full appreciation for the greatness of Muddy Waters. Any of these three discs are worth the time and investment although I recommend beginning with Hard Again.
Hadden Sayers belongs in your home
Hadden Sayers belongs in your home
Friday, June 11, 2004
Artist: Hadden Sayers
Title: 12 Bars and the Naked Truth
When Hadden Sayers rolls back into Omaha on June 23rd to play Murphy’s Lounge (96th & L Streets) he’ll be promoting one of the year’s strongest independently distributed adult rock albums; 12 Bars and the Naked Truth.
Like so many significant “adult rock” artists (READ: fans are 35+), Sayers hails from the great state of Texas. On this, his fifth album, Sayers brings a ultra mature sound, distinctive from many of the Texas artists and very clearly not under the auspices of the late Stevie Ray Vaughan. After his last album’s (Supersonic) edgy rock sound, Sayers has moved to a complete focus on the song and done it well. At a time when two good songs on an album has become a standard, Sayers has the skills to string together a full length album of well above average songs (a rarity in today’s ‘thanks to technology we can make albums much, much longer than really necessary’ recording industry.)
Do it for the passion. For me, today, what so many mature rock bands lack is commitment to passion: a willingness to lean into the storm and risk a bit of who they are, their control, in exchange for a well crafted song, a well performed song.
‘12 Bars & the Naked Truth’ finds Sayers singing on day-to-day live issues that many of his listeners will be able to relate to; that living in the moment is important to happiness (These are the Good Old Days) and dealing with folks you may rather not have had to deal with (Mister Know-It-All) “Why would you compromise when you’re so wise?” "You better pray for rain, you don't know rain like I do."
Sayers sexy baritone vocals set off well against his tasteful guitar licks and rhythm section that plods along solidly. What’s it sound like? Straight ahead Tom Petty coming from Texas rather than Florida.
In a possibly unconscious nod to great songwriters, like Ray Davies (Kinks) before him, Sayers sings of a Sunday afternoon but in this case the focus is on love gone awry. On the song ‘Complicated’ Sayers lays out the average male mental gymnastics of dealing with the so-called more delicate sex. “I’m easy, so easy, you can read my mind with just one look into my eyes. I’m not brilliant or amazing; wear my heart on my sleeve but that’s the kind of thing you’re looking for… but you’re so complicated it’s blows my mind. You’re so sophisticated I wonder why? I’m forgiveful, and forgetful...”
A consummate self marketer, Sayers delivers a complete entertainment package to his fans; exceptional songwriting, very strong live performances, high quality packaging & imaging, an informative website that is replete with options to interact with the pop star including downloads and merchandise. During the month of June Homer’s, along with other tastemakers in Omaha, is determined to foist this well deserving artist into your rock-n-roll orbit.
So don’t take my word for it, stop at your local Homer’s Store & check out ’12 Bars’ on a listening station or go to www.HaddenSayers.com and listen for yourself. Sayers SHOULD be a part of your album collection’s future. You’ll love the passion.
Friday, June 11, 2004
Artist: Hadden Sayers
Title: 12 Bars and the Naked Truth
When Hadden Sayers rolls back into Omaha on June 23rd to play Murphy’s Lounge (96th & L Streets) he’ll be promoting one of the year’s strongest independently distributed adult rock albums; 12 Bars and the Naked Truth.
Like so many significant “adult rock” artists (READ: fans are 35+), Sayers hails from the great state of Texas. On this, his fifth album, Sayers brings a ultra mature sound, distinctive from many of the Texas artists and very clearly not under the auspices of the late Stevie Ray Vaughan. After his last album’s (Supersonic) edgy rock sound, Sayers has moved to a complete focus on the song and done it well. At a time when two good songs on an album has become a standard, Sayers has the skills to string together a full length album of well above average songs (a rarity in today’s ‘thanks to technology we can make albums much, much longer than really necessary’ recording industry.)
Do it for the passion. For me, today, what so many mature rock bands lack is commitment to passion: a willingness to lean into the storm and risk a bit of who they are, their control, in exchange for a well crafted song, a well performed song.
‘12 Bars & the Naked Truth’ finds Sayers singing on day-to-day live issues that many of his listeners will be able to relate to; that living in the moment is important to happiness (These are the Good Old Days) and dealing with folks you may rather not have had to deal with (Mister Know-It-All) “Why would you compromise when you’re so wise?” "You better pray for rain, you don't know rain like I do."
Sayers sexy baritone vocals set off well against his tasteful guitar licks and rhythm section that plods along solidly. What’s it sound like? Straight ahead Tom Petty coming from Texas rather than Florida.
In a possibly unconscious nod to great songwriters, like Ray Davies (Kinks) before him, Sayers sings of a Sunday afternoon but in this case the focus is on love gone awry. On the song ‘Complicated’ Sayers lays out the average male mental gymnastics of dealing with the so-called more delicate sex. “I’m easy, so easy, you can read my mind with just one look into my eyes. I’m not brilliant or amazing; wear my heart on my sleeve but that’s the kind of thing you’re looking for… but you’re so complicated it’s blows my mind. You’re so sophisticated I wonder why? I’m forgiveful, and forgetful...”
A consummate self marketer, Sayers delivers a complete entertainment package to his fans; exceptional songwriting, very strong live performances, high quality packaging & imaging, an informative website that is replete with options to interact with the pop star including downloads and merchandise. During the month of June Homer’s, along with other tastemakers in Omaha, is determined to foist this well deserving artist into your rock-n-roll orbit.
So don’t take my word for it, stop at your local Homer’s Store & check out ’12 Bars’ on a listening station or go to www.HaddenSayers.com and listen for yourself. Sayers SHOULD be a part of your album collection’s future. You’ll love the passion.
Blues makes a comeback to Omaha
Monday, June 07, 2004
Omaha's vibrant blues scene can be attributed to two primary factors; Larry Boemer’s Zoo Bar and a small group of fans in Omaha in the mid ‘90’s.
In 1971 Homer’s Music Stores, Alligator Records, and the Zoo Bar were all born. Larry Boemer’s willingness to forego wealth in order to preserve the blues art form is the stuff legends are made of. Boemer’s Zoo Bar planted the seeds for Omaha's love of the blues. While Larry has moved to Arkansas his family still plays a role in the Zoo Bars operation.
Much like Lincoln, through the ‘70’s, ‘80’s and into the ‘90’s Omaha's blues scene centered on a strong venue called the Howard Street Tavern. When landowner Mark Mercer turned warehouses into condos the original Howard Street Tavern was closed reportedly because of threats of noise/nuisance lawsuits by condo owners. (In a bizarre twist, the current resident of the old Howard Street Tavern paid back the community with a series of free blues-rock concerts this summer: it must have been karma.)
While the closure appeared to be a death keel it was actually a life preserver as a handful of seemingly independent activities came together; the Omaha Blues Society was b born under the leadership of President Greg Lindberg, local Blues writer BJ Hutchtemann began a weekly column, Terry O'Halloran (Murphy's Lounge) made a commitment to a weekly blues show called Six Bells Blues, the recording industry changed dramatically, and my radio program PS Blues moved from a low wattage late Monday night two hour show to a three hour Sunday morning program on a non-commercial 100,000 watt radio station giving the market two powerful blues radio programs; the other being Mike Jacob's Monday program on KIOS 91.5 fm.
With so many Omaha kids spending their college years in Lincoln, a love of the blues born in the Zoo Bar migrated back to Omaha and, since there is a larger population base, there were (are) numerous live venues for blues & roots in Omaha including; The 18th Amendment vis-a-vie Murphy's Lounge, The Music Box, The MACdome, Maggie McCalls, & of course McKenna’s. With a larger choice of venues there were bound to be more bands. This Zoo Bar/ college education basis coupled with Omaha's preexisting love of hard Midwestern rock (REO Speedwagon, BTO, Rush), and the absence of a bona fide African-American presence within the scene (either as performers or fans) has left a clear predilection of what we call “the blues” here in Omaha.
As the home recording industry changed local bands found recording albums an affordable option. And record they did. At Homer’s we made an early decision to carry all the local music we could get our hands on: it was a commitment that carried over to the radio program which, until election laws kicked in, PS Blues usually included two to three local cuts a week.
The first manifestation of this synthesis coming together was, for me, that Omaha became a launching pad for four kids off a South Dakota reservation, in a band called Indigenous, to become a national act and eventually get signed to an international label. Should he choose to, Lincoln's Kris Lager will benefit from Omaha's lust for blues rock and could be the next act to kick the dirt off his boots and head for the big city.
While he was alive Stevie Ray Vaughan single handily lifted the blues back into the national consciousness. Vaughn's ability to roust FM radio out of its post 1978 doldrums created a wave that younger blues act rode for ten years after his tragic death. When computer downloading began to scalp the music industry labels quickly began to cut back artist rosters and boutique labels; thus marketing dollars to build awareness for bands that sold under 750,000 albums disappeared along with, eventually, many of the bands. At the same time aggressive drinking and driving laws kicked in making it difficult for blues band to tour and for blues venues to make ends meet. Except for festivals, at the turn of the Century, the state of the blues was dismal.
While other free local events may have preceded them, Jeff & Sheri Davis’ five ‘Playing With Fire’ concert series has raised a new level of excitement in Omaha's blues scene. (SEE previous column 'Free Concerts') This summers free concert listings includes a five star Summer Arts Festival line-up (Dirty Dozen Brass Band, Blind Boys of Alabama, Corey Harris) and a free 25th Anniversary show by Greg Lindberg’s Absolutely Fresh Seafood which includes Chubby Carrier. Sadly this years Indigenous Jam will not take place but seven free concerts more than makes up for its absence.
Lastly, the success of Omaha's blues scene rests upon its fans. If music buffs vote with their dollars, the blues will continue to get voted into office in Our Town!
Omaha's vibrant blues scene can be attributed to two primary factors; Larry Boemer’s Zoo Bar and a small group of fans in Omaha in the mid ‘90’s.
In 1971 Homer’s Music Stores, Alligator Records, and the Zoo Bar were all born. Larry Boemer’s willingness to forego wealth in order to preserve the blues art form is the stuff legends are made of. Boemer’s Zoo Bar planted the seeds for Omaha's love of the blues. While Larry has moved to Arkansas his family still plays a role in the Zoo Bars operation.
Much like Lincoln, through the ‘70’s, ‘80’s and into the ‘90’s Omaha's blues scene centered on a strong venue called the Howard Street Tavern. When landowner Mark Mercer turned warehouses into condos the original Howard Street Tavern was closed reportedly because of threats of noise/nuisance lawsuits by condo owners. (In a bizarre twist, the current resident of the old Howard Street Tavern paid back the community with a series of free blues-rock concerts this summer: it must have been karma.)
While the closure appeared to be a death keel it was actually a life preserver as a handful of seemingly independent activities came together; the Omaha Blues Society was b born under the leadership of President Greg Lindberg, local Blues writer BJ Hutchtemann began a weekly column, Terry O'Halloran (Murphy's Lounge) made a commitment to a weekly blues show called Six Bells Blues, the recording industry changed dramatically, and my radio program PS Blues moved from a low wattage late Monday night two hour show to a three hour Sunday morning program on a non-commercial 100,000 watt radio station giving the market two powerful blues radio programs; the other being Mike Jacob's Monday program on KIOS 91.5 fm.
With so many Omaha kids spending their college years in Lincoln, a love of the blues born in the Zoo Bar migrated back to Omaha and, since there is a larger population base, there were (are) numerous live venues for blues & roots in Omaha including; The 18th Amendment vis-a-vie Murphy's Lounge, The Music Box, The MACdome, Maggie McCalls, & of course McKenna’s. With a larger choice of venues there were bound to be more bands. This Zoo Bar/ college education basis coupled with Omaha's preexisting love of hard Midwestern rock (REO Speedwagon, BTO, Rush), and the absence of a bona fide African-American presence within the scene (either as performers or fans) has left a clear predilection of what we call “the blues” here in Omaha.
As the home recording industry changed local bands found recording albums an affordable option. And record they did. At Homer’s we made an early decision to carry all the local music we could get our hands on: it was a commitment that carried over to the radio program which, until election laws kicked in, PS Blues usually included two to three local cuts a week.
The first manifestation of this synthesis coming together was, for me, that Omaha became a launching pad for four kids off a South Dakota reservation, in a band called Indigenous, to become a national act and eventually get signed to an international label. Should he choose to, Lincoln's Kris Lager will benefit from Omaha's lust for blues rock and could be the next act to kick the dirt off his boots and head for the big city.
While he was alive Stevie Ray Vaughan single handily lifted the blues back into the national consciousness. Vaughn's ability to roust FM radio out of its post 1978 doldrums created a wave that younger blues act rode for ten years after his tragic death. When computer downloading began to scalp the music industry labels quickly began to cut back artist rosters and boutique labels; thus marketing dollars to build awareness for bands that sold under 750,000 albums disappeared along with, eventually, many of the bands. At the same time aggressive drinking and driving laws kicked in making it difficult for blues band to tour and for blues venues to make ends meet. Except for festivals, at the turn of the Century, the state of the blues was dismal.
While other free local events may have preceded them, Jeff & Sheri Davis’ five ‘Playing With Fire’ concert series has raised a new level of excitement in Omaha's blues scene. (SEE previous column 'Free Concerts') This summers free concert listings includes a five star Summer Arts Festival line-up (Dirty Dozen Brass Band, Blind Boys of Alabama, Corey Harris) and a free 25th Anniversary show by Greg Lindberg’s Absolutely Fresh Seafood which includes Chubby Carrier. Sadly this years Indigenous Jam will not take place but seven free concerts more than makes up for its absence.
Lastly, the success of Omaha's blues scene rests upon its fans. If music buffs vote with their dollars, the blues will continue to get voted into office in Our Town!
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