tag:blogger.com,1999:blog-84989697488196982412024-02-18T21:47:53.937-06:00Rick Galusha's Pacific Street Blues and AmericanaIn 2010 PSBlues & Americana received the prestigious 'Keeping the Blues Alive' award.
Hear Pacific Street Blues & Americana Sunday's 9 - Noon CST (-6 GMT) on 89.7 fm or online; www.897theriver.com.
Playlists are at www.OmahaBlues.com or www.facebook.com/psblues.
PODCAST: You can stream or download aired shows at www.KIWRBLues.PodOMatic.com.
We don't educate, we don't mitigate...we just play good music.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.comBlogger169125tag:blogger.com,1999:blog-8498969748819698241.post-77981587778454208752011-12-27T11:11:00.000-06:002011-12-27T11:11:43.503-06:00One Perspective: 2011, A Year in the BluesOne Perspective: 2011, A Year in the Blues<br />
<br />
Like seemingly everything else, with the blues; the more it changes the more it stays the same. The on-going stigma of adding to the blues versus preserving the art form is in full force. Despite the anchor of history and the rigidity of the familiar, the albums which received the most airplay on Pacific St. Blues and Americana this year includes;<br />
<br />
1. Tab Benoit, Medicine<br />
2. Tedeschi – Trucks Band, Revelator<br />
3. Quintus McCormick Blues Band, Put it on me! (True soul meets Chicago Blues)<br />
4. Roy Gaines and his Orchestra, Tuxedo Blues<br />
5. Robin Trower, the playful heart, and (His best effort since ‘Bridge of Sighs’ <br />
6. Damon Fowler, Devil Got His Way<br />
<br />
Blues song of 2011; Hadden Sayers, ‘Back to the Blues’ (featuring duet w/ Ruthie Foster)<br />
<br />
Runner Up; <br />
1. Roy Trevino, ‘Sin Ella’<br />
2. Smoove & Turrell, ‘Hard Work’ <br />
3. Robin Trower, ‘Find Me’ <br />
<br />
Eye on the Horizon;<br />
1. Gary Clark Jr. <br />
2. Trombone Shorty<br />
3. Russ Tippins Band, <br />
4. Roy Trevino<br />
<br />
Unsigned bands of significant note; <br />
1. Smoove and Turrell, Eccentric Audio – New millennium Northern Soul (England) <br />
2. Jim Stapley, Live – Paul Rogers (Free/ Bad Company) fronts Humble Pie (Steve Marriott / Peter Frampton) <br />
3. Mitch Gettman, Worn<br />
4. The Poorboys – (self titled) – “Englishicana” at its finest (Americana with a melody.)<br />
<br />
Blues come-back records of 2011; <br />
1. Hadden Sayers, Hard Dollar <br />
2. Johnny Winter, Roots <br />
3. Savoy Brown, Voodoo Moon<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYsGot-4cOhWOSUShSfelguiTJqZsvggeii5DDF7oTAyEr5M_IB1-QJbLiFIew_QYLsCTxBq3uC5nra3vnQM4BiyCWGYfFMx_5g8LmIwjKzAooml90LNGqdJa3V-WM4rqSLSeQalAoq8g/s1600/Sumlin_and_Cotton_001.JPG" imageanchor="1" style="clear:right; float:right; margin-left:1em; margin-bottom:1em"><img border="0" height="240" width="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYsGot-4cOhWOSUShSfelguiTJqZsvggeii5DDF7oTAyEr5M_IB1-QJbLiFIew_QYLsCTxBq3uC5nra3vnQM4BiyCWGYfFMx_5g8LmIwjKzAooml90LNGqdJa3V-WM4rqSLSeQalAoq8g/s320/Sumlin_and_Cotton_001.JPG" /></a></div>Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-75369066389118257162011-07-06T09:27:00.000-05:002011-07-06T09:27:06.706-05:00album review: Cindy Bullens, 'Howling Trains and Barking Dogs'Artist: Cindy Bullens<br />
Title: Howling Trains and Barking Dogs<br />
<br />
In the end there are only two kinds of music; good music and bad music. Cindy Bullens’ new album, ‘Howling Trains and Barking Dogs’ is good music. Admittedly it is not a blues album; however, it is roots music and the audience’s crossover. While assigning labels can be off-setting, most listeners would slot New England singer-songwriter Cindy Bullens as an Americana artist. Her new album, ‘Howling Trains and Barking Dogs’ is packed with radio friendly songs including a duet with friend and collaborator Radney Foster on, ‘Labor of Love.’ <br />
<br />
Bullens career stretches back to singing in Elton John’s band. Her two Grammy nominations came early in her recording career including a nod as one of three singers for the soundtrack, ‘Grease.’ Throughout her career Bullens has attracted high caliber partnerships including work with; Bonnie Raitt, Delbert McClinton, John Hiatt, Lucinda Williams and Rodney Crowell. Her songs have been recorded by numerous acts including; The Dixie Chicks, Irma Thomas and Sarah Brown. <br />
<br />
Guests on Bullens new album include Al Anderson(NRBQ), Radney Foster and Wendy Waldman. Noted songwriter Bill Lloyd (whose new reunion album with Radney Foster is also excellent) co-wrote the track, ‘In a Perfect World.’ <br />
<br />
Whereas many albums have a few good songs, Howling Trains unfolds with strong melodies, tactful playing which serves the song and meaningful lyrics. For blues programmers the track, ‘I Didn’t Know,’ with the strong piano playing of Bob Colwell should fit most shows. The ballad, ‘Everywhere and Nowhere’ with its strong Rosanne Cash sound, is heartfelt and makes a nice tonal color break. It is hard to imagine that any listener with, “wide-tastes” would not thoroughly enjoy this release.<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnpSzXBeQsfSAT7M1qsv9_YLfG5fwvZNwAd5hWmkd-kgFuy1qt-AoYjLEy5mPK7_aLLN8pW9TGybIYqTsg0r6x7z5I13qyKOpuGreM8yZMQKCzOdgjvFUngeZ7PlSSQNBrTYKyTq531o/s1600/bullens.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="124" width="124" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMnpSzXBeQsfSAT7M1qsv9_YLfG5fwvZNwAd5hWmkd-kgFuy1qt-AoYjLEy5mPK7_aLLN8pW9TGybIYqTsg0r6x7z5I13qyKOpuGreM8yZMQKCzOdgjvFUngeZ7PlSSQNBrTYKyTq531o/s320/bullens.jpg" /></a></div>Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-53106694729902218362011-05-20T10:38:00.000-05:002011-05-20T10:38:11.169-05:00album review: Hadden Sayers, 'Hard Dollar'<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheCxKhPnv0cXXN5X-E4gGzWvpRhk5PchrgJY1t0sGGb3FRO7jx1q6ogtXfyIA3uAbCSOvnhsfN5w91W7SdjWnQ5h-7ZvrCXHak7VZapHFUiLfOCXU8jJsMNwL_r41aTasohVMnIk2Fn74/s1600/hadeen+2+.bmp" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="144" width="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheCxKhPnv0cXXN5X-E4gGzWvpRhk5PchrgJY1t0sGGb3FRO7jx1q6ogtXfyIA3uAbCSOvnhsfN5w91W7SdjWnQ5h-7ZvrCXHak7VZapHFUiLfOCXU8jJsMNwL_r41aTasohVMnIk2Fn74/s320/hadeen+2+.bmp" /></a></div><br />
<br />
Artist: Hadden Sayers <br />
Title: Hard Dollar<br />
<br />
In the words of uber-rock band manager Derek Sutton (Styx, Robin Trower), “98% of people listen to music with their eyes.” When it comes to music today and slotting a new release, the targeted audience demographic trumps the music in the grooves. So while this album by Hadden Sayers’ may not be strictly “blues,” albeit using blues textures and instrumentation, the album is marketed, in part, to the blues-roots audience and THAT makes it a ‘blues record.’ Now, don’t get me wrong, there are blues tracks including a strong contender for any legitimate ‘blues duet of the year’ list; however, Sayers uses the breadth of styles found in Texas to fully explore his muse. I suppose a proactive music fans knows that there are two kinds of music; good music and bad music. ‘Hard Dollar’ is good music. <br />
<br />
It’s a considerable accolade when the daily newspaper of Texas’ live music hub, The Austin Statesman’ refers to Hadden Sayers’ as, “Houston’s best all-round guitarist.” But it wasn’t always that way. After a stretch of good records culminating is the superb, ‘Supersonic ,’ Sayers’ career nose-dived amid a move to Ohio, the death of a family member, record deals gone awry and a dearth in the music industry. However when noted blues artist and fellow Texan Ruthie Foster called looking for a guitarist, it was the spark that Sayers’ career needed. Since that call he has been building momentum.<br />
<br />
Sayers’ latest album, ‘Hard Dollar’ opens with a travelogue track ala’ the standard, “Route 66” or the Rolling Stones “Rip This Joint.” While there is more than six months left in the year, Sayers’ duet with Ruthie Foster is a solid contender for any critics “Blues Duet of the Year” lists. This song is brilliant. <br />
<br />
This is an album ripe with radio friendly blues tracks including, “Lap of Luxury” which is an excursion into minimalism. “All I Want is You” will ‘sell’ to a more traditional blues listenership. Sayers’ YouTube video of the album’s focus track, “Sweet Texas Girl” can be seen at; http://www.youtube.com/watch?v=HIJNU_-VXmw . (It is so nice to see a video that features real women.) There is also a remake of the track, ‘Flat Black Automobile’ which debuted acoustically on the ‘Supersonic ‘album. “Ain’t Comin’ Round No More” has a Willie Dixon composition feel that will strike a chord between Chicago’s Chess Records and contemporary blues. This is a solid comeback album for one of the genre’s finest songwriters. This record will appeal to roots music fans and broadminded blues fans as well as trad-rock and Texas-Jimmie Vaughan fans.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-83623806101644521562011-05-16T09:59:00.000-05:002011-05-16T09:59:30.469-05:00Album Review: Etta James, 'Essential Modern Recordings'Artist: Etta James<br />
Title: Essential Modern Records Collection<br />
<br />
Few would argue that Etta James is less than one of the most significant singers in the blues idiom. Her litany of hits include some of the blues best melody lines including; ‘At Last,’ ‘A Sunday Kind of Love’ and ‘Fool That I Am.’ Within the classic rock format legendary Beaumont belter Janis Joplin includes James’ hit, ‘Tell Mama’ in her repertoire. Born in 1938 in Los Angles to a 14 year old mother and a mix raced couple, Jamesetta Hawkins would begin her career when ‘race records’ or rhythm & blues was giving way to ‘rock n’ roll.’ In 1954 James, as a member of a female singing trio, would respond to the hit, ‘Work with Me Annie’ by Hank Ballard & the Midnighter’s with the track, and subsequent career launching hit, ‘Roll with Me, Henry’ (which was later re-titled, ‘The Wallflower’ in order to “tone down” an overt sexual connotation that “rock and roll” originally referred to.) <br />
<br />
On this package, “The Essential Modern Records Collection” predates James Chess Records blues period. Instead, “Miss Peaches” is heard singing rhythm & blues; indicating a clear road map of a sound that would become rock n’ roll. Her embracement of strong melody lines would follow James throughout her career. In many ways this package is an insight that “today’s blues legends” were perhaps more interest in a viable career than the proliferation of the artform we revere today. <br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKT9mxr_tbp5OSsSIgBXsf4VXIAH_AxHhjojmhbLifjGge5JrwC7a5zy4iVYdN2XYFmKw73HWe2-nUQV1IIEgtqbAQj6CMtZJ9bjt0ISKtldBFsCDf9gEHvQPz7bdUbGyq6QzMxAXLD5g/s1600/james.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="150" width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKT9mxr_tbp5OSsSIgBXsf4VXIAH_AxHhjojmhbLifjGge5JrwC7a5zy4iVYdN2XYFmKw73HWe2-nUQV1IIEgtqbAQj6CMtZJ9bjt0ISKtldBFsCDf9gEHvQPz7bdUbGyq6QzMxAXLD5g/s320/james.jpg" /></a></div><br />
<br />
This is a wonderful historical package that may exist outside of the interest of most traditional blues fans; however, musicologists will derive great pleasure by hearing the sound that first brought Etta James to the attention of the music listening audience. The track, ‘Tough Lover’ includes the obligator “woooooo” made famous by then label-mate Richard Penniman a/k/a Little Richard. ‘Good Rockin’ Daddy’ is a classic track based upon a post-War jump-blues derivative sound that fellow L.A. based musicians such as Louis Jordan were recording. ‘The Pick Up’ is a track screaming out to be covered in a modern setting. Long known as an instrument that closely resembles the human voice, James interplays with the saxophone stands out as a short recording trend in the mid-50’s. <br />
<br />
Programmers might want to use the song, ‘Market Place’ for airplay. Like Chuck Berry’s ‘Havana Moon, ‘ ‘Market Place’ experiments with a Cuban or Samba beat that evolves into a rock n’ roll song including a blistering guitar solo. <br />
<br />
This is a fun, brilliant albeit archival album. It’s full fifteen tracks may not be for all listeners; however, this is a credible artist and offers an opportunity to better understand how some come to the blues. The album breaks-up textures, tempos and melody lines that will add to the depth of a wide-reaching radio program.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-40209906988233265972011-05-12T09:57:00.000-05:002011-05-13T15:43:22.145-05:00Album Review: Joe Pitts, Ten Shades of BlueArtist: Joe Pitts<br />
Title: Ten Shades of Blue<br />
<br />
Like most blues fans today, Joe Pitts crew up on a Classic Rock diet of Eric Clapton, Duane Allman and others. If you can say one thing about John Mayall, Cyril Davis and Alexis Korner, it is that their mission to prolong the blues, and serve it back stateside, was successful. Pitt’s album, ‘Ten Shades of Blue’ is an example of one man’s musical journey that would likely never have launched had England not sheltered the art form in the late 50’s and 60’s. <br />
<br />
Neither demonstrative not dismissive, Pitts shows he can growl with the best of contemporary blues artists. As the album title suggests, Pitts covers ten artist that were influential to his musical journey. With an overt background in Classic Rock, there are some songs that play more to a rock audience than a blues audience. Water Trout’s heavy handed, ‘Clouds on the Horizon’ is a prime example of Pitts strapping on the electric guitar mantel. Pitts’ cover of Luther Allison’s, “Pain in the Streets” or Eric Gales’, “Freedom from My Demon’s” are showcases for Pitt to expand on this otherwise laconic styling’s. <br />
<br />
Arkansas denizen Joe Pitts has traveled the world playing the blues. It is a journey that most listeners will be able to easily connect with: covers on this album include songs by Peter Green, Elmore James and Muddy Waters. On the tenth track, John Mayall’s, “The World Keeps on Turning” Pitts uses a resonator; adding texture to the album. The album is an above average full band electric sound in performance and arrangement. <br />
<br />
Programmers can pick a cover and rest assured that Pitt’s authentic blues delivery will satiate a blues listenership.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-59100335558597233782011-05-09T13:12:00.000-05:002011-05-09T13:12:21.046-05:00Album Review: The Kilborn Alley Blues Band, Better OffArtist: Kilborn Alley Blues Band<br />
Title: Better Off Now<br />
<br />
This is the quintessential contemporary blues band; white, Middle-American and offering a wide spectrum of tastes and talents. The new album by The Kilborn Alley Blues Band, ‘Better Off Now’ effectively uses historical blues textures, sounds, instruments and themes to deliver a modern blues sound that is familiar, fresh and nearly at once, comfortable. <br />
<br />
Nurtured in the traditional a ‘50’s blues environment of Champaign-Urbana, Illinois; KABB cherry picks influences from among the genres finest including; Buddy Guy, B. B. King, Denise LaSalle and others. While the references may not be apparent, what is clear is this band understands the difference between playing a twelve bar and playing some blues. They are seeped and authentic. <br />
<br />
While the opening track, “Nothin’ Left to Stimulate” will draw nods of approval and a smirk in a country bitten by a downturn in economics and opportunity, programmers will want to wade much deeper into the albums track listing to find gold. The albums title track, “Better Off” has a Stax R n’ B sensibility. Eric Michaels organ playing on the track, “Tonight” harkens to those halcyon days when blues and R n’ B were played side-by-side in jukeboxes and juke joints across the nation. Joe Asselin’s harmonica on “Keep Me Hangin’ ” provides a traditional Chicago blues track to round out an already strong record. <br />
<br />
This is an exceptionally tasty album that opens slowly but is worth the wait. Singer Andrew Duncanson uses a straight-forward style with an appropriate hint of rasp that is especially effective in ballads and extended notes. KABB has been frequently nominated for awards and national recognition; with albums like, ‘Better Off’ it is apparent why critics, radio hosts and venue are paying close attention. <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFbIQ7q1VGTac8HZd1W3geC1j-kxOxu4vO441hAx69EXIuLw-QMQfK0wcPjlzRU1YTY6n1zG7oMSqoMDAIxhWlLW1PaDAMVKNIGKXdUK2Ye6eP7EihKBhQy87eqcUvz0QbCjWaMH7aDvk/s1600/KABB.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="130" width="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFbIQ7q1VGTac8HZd1W3geC1j-kxOxu4vO441hAx69EXIuLw-QMQfK0wcPjlzRU1YTY6n1zG7oMSqoMDAIxhWlLW1PaDAMVKNIGKXdUK2Ye6eP7EihKBhQy87eqcUvz0QbCjWaMH7aDvk/s400/KABB.jpg" /></a></div>Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-4359515755395180622011-03-23T10:39:00.000-05:002011-03-23T10:39:10.718-05:00Album Review: Carolina Chocolate Drops, 'Genuine Negro Jig'Artist: Carolina Chocolate Drops<br />
Title: Genuine Negro Jig<br />
<br />
<br />
I must’a been living under a rock… In January of this year the Carolina Chocolate Drops (CCD) earned a Grammy Award for their album, ‘Genuine Negro Jig.’ Shortly after winning their Grammy founding member Justin Robinson was replaced by Adam Matta and Hubby Jenkins. The remaining founding members are; Rhiannon Giddens (vocals, banjo, violin) and Dom Flemons (guitar, banjo, vocals). This Durham, North Caroline black string band met through an online community, ‘Black Banjo: Then and Now.’ As a three piece they committed to learning at the knee of 80-something Joe Thompson and his ‘short bow style.’<br />
<br />
While an aspect of the blues community is the demand by some to honor the traditional artform, CCD platforms their sound in a pre-electric Piedmont style but updated to a contemporary setting. The result if a wonderful, credible mix of old and new; engaging the listeners of traditional styles yet opening the door to younger, contemporary music fans too. It is simply, brilliant. <br />
<br />
Of the albums twelve tracks, half are traditional songs. The band covers Tom Waits, “Trampled Rose.” Singer Rhiannon Giddens echo of Scottish singer Annie Briggs A-Capella version of the British folk <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_X6pUUQtnM8uQwDdqgd5PyyJ4parYD_Aqvi3FrplwqpOnX5p0ZiBEdrgK6zreYug-QLDHgAgiJPRvySfld2V-unEoyqtw6HQQdxK1cMq9rSYeBxDb6-3uhC3cViYPVcR1AwyCeWlUl08/s1600/carolina-chocolate-drops-genuine-negro-jig_1262970062.png" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="186" width="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_X6pUUQtnM8uQwDdqgd5PyyJ4parYD_Aqvi3FrplwqpOnX5p0ZiBEdrgK6zreYug-QLDHgAgiJPRvySfld2V-unEoyqtw6HQQdxK1cMq9rSYeBxDb6-3uhC3cViYPVcR1AwyCeWlUl08/s400/carolina-chocolate-drops-genuine-negro-jig_1262970062.png" /></a></div><br />
standard ‘Reynadine” is captivating in its depth and simultaneous simplicity. To quote a You-Tube comment, “This is real soul music.” While the album lacks an overt blues track the band relies on Etta Baker, Papa Charlie Jackson, Blu Cantrell, and Ike & Tina Turner for sources. The use of ‘Who Don’t You Do Right’ is credited to ‘Weed Smokers Dream’ by Harlem Hamfats; which many programmers may have recently received on the ‘Rhythm & Blues’ label’s four CD compilation entitled, ‘Rhythm & Blues, 1925 – 1942.<br />
<br />
For programmers this album provides a tasty textural break for listeners yet clings to an authentic root in a fashion similar to the explorations of Chris Thomas King, Taj Mahal or Eric Bibb. This album also makes a good transition between an archival acoustic track (Yazoo, Smithsonian, Lomax) and the renderings of a contemporary artist such as Rory Block.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-65731366867891207122011-03-07T10:26:00.000-06:002011-03-07T10:26:38.476-06:00album review: Eric Johnson, Up CloseArtist: Eric Johnson<br />
Title: Up Close <br />
<br />
Guitarist Eric Johnson’s first major label debut, ‘Tones’ was release in 1986. Garnering merely a Grammy nomination on his debut in ‘86, Johnson would take home the Grammy in ’91 for his next release, ‘Ah Via Musicom.’ Long recognized by critics, Johnson’s career seems plagued with failed “breaks” that would have launched others into the upper stratosphere of the music industry. His seemingly inability to connect with a larger audience remains an unsolved mystery. None-the-less, he continues to sporadically release high quality albums that center on instrumentals tracks with tasty albeit grit-free vocals. Reputed to be a perfectionist, one wonders whether this inability to ‘let go’ is the cause of Johnson’s limited market reach. As the “Jeff Beck of the Southern Plains,” Johnson’s ability to write, perform and arrange is beyond reproach. <br />
<br />
On ‘Up Close’ Johnson employs his distinct approach to the guitar. Predictably he uses instrumentals to showcase this unique technique; a style that employs traditional blues textures; arcs and bends, but is simultaneously smooth with a near Stanley Jordan-like qualities. <br />
<br />
On the cut, “Brilliant Room” Johnson once again teams up with Austin vocalist Malford Milligan to deliver an excellent radio-friendly, up-tempo song. Johnson’s use of ‘hammer down’ techniques behind Milligan’s vocals adds a delicate touch to an already enjoyable tune. <br />
<br />
On the fourth track, “Texas” Johnson covers the Buddy Miles/ Mike Bloomfield (Electric Flag) track which is the only straight-ahead blues song. <br />
<br />
The track “Gem” uses the guitar sounds to mimic light breaking through a diamond. It is a level of creativity that is seldom heard. “A Change Has Come to Me” harkens the acoustic song style of a previous, late and great, Austin player.<br />
<br />
This is a brilliant album that players will immediately gravitate towards. Casual listeners will find the soundscape not only relaxing but full of depth and textures. Programmers will find the album to have long legs with plenty of tracks for broadcast. Traditional blues fans will find little <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfdRY5G-7_SdSHJf1RQb5HwE6u0I3lfhqUrKWzQj4UfeHZirOOpn6TYMNK0Eg5IVabqpUTx0Gx4xcbiNW-YBiLdDIH8ZenbLYlYiuz4h6uFSAkSru6xWDeM9fwASQDC4M8NyVvhkYajI/s1600/johnson.jpg" imageanchor="1" style="clear:right; float:right; margin-left:1em; margin-bottom:1em"><img border="0" height="150" width="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfdRY5G-7_SdSHJf1RQb5HwE6u0I3lfhqUrKWzQj4UfeHZirOOpn6TYMNK0Eg5IVabqpUTx0Gx4xcbiNW-YBiLdDIH8ZenbLYlYiuz4h6uFSAkSru6xWDeM9fwASQDC4M8NyVvhkYajI/s400/johnson.jpg" /></a></div><br />
that appeals to their limited scope in musical stylings.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-83673752888960780932011-02-27T15:08:00.000-06:002011-02-27T15:08:28.423-06:00Album Review: Robin Trower, The Playful Heart<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgue0Fci9VsGC7qPXzD481BMOWCKdrnzFHmnIGrFYKzd06Ofi47WZWpeNwQZcsnVtWRTsy__h5tiPrYbQBw-ct906fU6xqnFS8kLSoQMLyYyy8mDAfxJErlBGcPddMS7cfGowm1zKWZUEo/s1600/trower.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="117" width="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgue0Fci9VsGC7qPXzD481BMOWCKdrnzFHmnIGrFYKzd06Ofi47WZWpeNwQZcsnVtWRTsy__h5tiPrYbQBw-ct906fU6xqnFS8kLSoQMLyYyy8mDAfxJErlBGcPddMS7cfGowm1zKWZUEo/s400/trower.jpg" /></a></div><br />
Artist: Robin Trower<br />
Title: the playful heart<br />
<br />
By the time Jimi Hendrix got done with the blues – there was a whole new branch in the artform. Yes, he honored the past but he is as significant to contemporary blues as Muddy Waters was to the ‘electric blues.’ With the advent of Hendrix’s influence the door was open to “rock” players using blues textures to emote beyond three chords and a cloud of dust. When the gates finally fell, the hackneyed as well as the credible came in: as it is with all artforms. Since his well received 1974 release, ‘Bridge of Signs’ Britain’s Robin Trower has struggled to focus his interpretation of Jimi’s muse against an unfriendly field of music critics. While there have been peaks over the past 37 years – much of the catalogue is resigned to an adamant niche of disciples. The sense that greatness is within reach resides on many of Trower’s outings is a scab that lingers; unitchable and annoying. <br />
<br />
With the release of ‘the playful heart’ former Procol Harem (Lighter Shade of Pale) member Robin Trower has arrived with the finest release of his career.<br />
<br />
In 1974, as a 14 year I began my official life long dalliance with Trower’s career by taking the Greyhound to attend his concert in Lincoln, Nebraska. Unrecognized until recently, Tommy Bolin’s edition of the band Moxy opened the show. And like a fetid marriage – the love affair with Trower’s music was arduous, hopeful and frustrating. When vocalist (and original bass player) Jimmy Dewer left the band there were many times when it was more out of routine allegiance than affection that the romance continued…<br />
<br />
On the first listen of, ‘Find Me’ to realize that it is that rare, perfect, moment when an artist fully realizes his muse and is able to share it.<br />
<br />
Trower’s guitar playing has been consistent; under-playing and highly textured. However the vocals for the band have been its weakest link. When Davey Pattison joined Trower as a vocalist, the magic was back. ‘The Playful Heart’ was recorded with his touring band: vocalist Pattison, drummer Pete Thompson and bassist Glenn Letsch. The album was produced by Livingston Brown (Tina Turner, Bryan Ferry and Sting). <br />
<br />
‘The Playful Heart’ is a balanced album where vocals, song writing, performances and arrangements fit together with a synergy that has been missing. Programmers will find that the fifth track, ‘Find Me’ opens up the album. It is a languid tune where the band slips into a groove that allows Trower’s guitar playing to arc and bend above the lyric lines. ‘The Tuning’ is a high energy echo of ‘Too Rolling Stoned.’ The use of whispers in the chorus gives a haunted feel much as it did for The Doors song, ‘Riders on the Storm.’ Like ‘Too Rolling Stoned,’ ‘The Turning’ slows tempo at the three minute mark giving the listener a sense of a panoramic soundscape. Other strong songs include a rockin’, ‘Song for Those While Fell’ and the ballad, ‘Maybe I Can Be a Friend.’ And while I would not say it is jazz, the ninth track, ‘Camille’ uses jazz chords and a light touch to give a late night, candle-lit lounge feel.<br />
<br />
Whether an established bluesrock fans that missed Trower’s ‘70’s heyday, or a former fan, this is an excellent album that you will find comfortable and familiar. For die-hard blues purists, unless you choose to follow the thread from Albert King to Jimi Hendrix and beyond, this is probably not an album you will enjoy. For existing fans, this album justifies Trower’s persistence. It is his second “great” record. Young listeners repeatedly demonstrate a fondness for the ‘60’s golden period of Rock, this album cements that bridge between the bygone era of “rock stars” to contemporary electric blues.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-50255007027088072592011-02-08T09:52:00.000-06:002011-02-08T09:53:48.299-06:00Album Review: Russ Tippins Electrickery<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAcHAt5Z928EjzYrpWFfmT2mhmURVJSu5qts65GP7_z2pasvM4nbvzIegjAdgIVXWtj-Ons5vvubHlX9VbYoUAwn-ipCDXqyBxmzIBtY2G0OncxE9fdgIEzn2jccZgCILt8kagxcGpYCQ/s1600/Tippins.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="120" width="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAcHAt5Z928EjzYrpWFfmT2mhmURVJSu5qts65GP7_z2pasvM4nbvzIegjAdgIVXWtj-Ons5vvubHlX9VbYoUAwn-ipCDXqyBxmzIBtY2G0OncxE9fdgIEzn2jccZgCILt8kagxcGpYCQ/s400/Tippins.jpg" /></a></div><br />
<br />
<br />
Artist: Russ Tippins Electric Band<br />
Title: electrickery<br />
<br />
Like America’s rust-belt, Newcastle Upon Tyne, located in the industrial northeast of England, is a hard rock area much like Detroit, Cleveland or Omaha. The area is also largely an unrecognized breeding grounds for world class music talent including; Sting, Bryan Ferry (Roxy Music), The Animals, Mark Knopfler (Dire Straits) and Brian Johnson (AC/DC). Newcastle’s Russ Tippins looks like Pat Travers, sings like a cross between Steve Marriott & Geddy Lee and is heavily influenced by Jimi Hendrix and Jimmy Page. His album, ‘electrickery’ has all the makings for a heavier rock milestone yet heavily influenced by blues textures … this is not a blues record.<br />
<br />
Critically, Tippins brings little new to the party but his sound and smooth playing puts the hammer to the anvil and should appeal to blues rock fans; a significant slice of the today’s blues market. The album opens with a fiery cover Hendrix’s ‘Freedom’ and closes with a hidden cover of ‘Lemon Song’ by Led Zepplin (via’s Robert Johnson and Willie Dixon). <br />
<br />
In a genre lead by Joe Bonamassa with support from Aynsley Lister and Mato Nanji ; Tippins has strong commercial promise which will expand as his song writing skills develop. Bass player John Dawson and drummer Ian Halford set up a solid platform for Tippins to solo and soar. The track, ‘She’s Gone’ is a powerful ballad that makes easy entry for radio hosts which harkens strongly to late period Humble Pie. The “hit” on this record is the fast-moving panoramic title track, ‘electrickery,’ where Tippins and Dawson whipsaw the fretboard with manic energy.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-46175875896512162942010-12-02T10:06:00.002-06:002010-12-02T10:14:00.170-06:00Christmas Gifts Blues CDs<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaG9VuIYH0vRDz4fdgIXsb1VnqURRSMtCPxcJhMK86pt-pQmSbEuA59wSUxmsYobEGSQ_A_wQ-nnhD8ETT_CF2dsV9Es7XO_jqb49hK6E1dC7NErFog_yF-xiFPaLgIG5aL88tpNlHjuE/s1600/BRAN+landscape+5.JPG"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaG9VuIYH0vRDz4fdgIXsb1VnqURRSMtCPxcJhMK86pt-pQmSbEuA59wSUxmsYobEGSQ_A_wQ-nnhD8ETT_CF2dsV9Es7XO_jqb49hK6E1dC7NErFog_yF-xiFPaLgIG5aL88tpNlHjuE/s400/BRAN+landscape+5.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5546118543262121970" /></a><br /><br />Looking at the Blues in 2010.<br />Writer: Rick Galusha <br /><br />There was a time when Christmas was a religious break; a time of hope and aspiration. But those days seem far away as today December 25th seems little more than a Hallmark pause of retail exuberance. Meanwhile the blues melds into a homogenized exercise that bets on the next ‘horse’ in the endless race of commercial popularity. It would be dishonest to pretend that I hadn’t spent the last twenty years at the ‘racetrack’ and, except for this brief moment of clarity, won’t soon be back with, “a handle in my hand.” <br /><br />A by-product of the music industry continued meltdown in that this “creative destruction” presents opportunities. Overall, 2010 has been a good year for music. As ‘twas last year, inexpensive technology lowers costs and the market is flooded with homemade projects; thereby, confusing the consumers with choices. This mountain of selection has created an opportunity for voices that try to help discern honorable hobby from recommendation. This subsequent ramble is hardly the tradition “best of list” as few are able to fully imbibe the breadth of blues releases today.<br /><br />• That said, my favorite independent release this year was, ‘Still the Rain’ by Karen Lovely. This is a luscious taste that simmers on low as Lovely’s vocals emotes modern vocal blues that breed authenticity over mimicry and clichés. <br /><br />• Perhaps the wider industries ‘pick to win’ this year was former Fabulous Thunderbird guitarist Jimmie Vaughan’s release, ‘Plays Blues Ballads and Favorites.’ Vaughan’s understated guitar styling’s are ever-vogue and often tasty. His safe choice of songs indicates a lack of risk as the heir-apparent is positioned to define cool in today’s blues scene. It’s clear that Vaughan is neither hungry nor compelled to earn accolades. This record could have been better but is none-the-less, quite good. That said, the former dominance of the Austin sound has ebbed. <br /><br />• The blues continues to be a guitar players market. This year’s ‘ax-man cometh’ disc is ‘Spread the Love’ by the ever tasty love supreme of Ronnie Earl and the Broadcasters. An instrumental record, Earl’s venture are endlessly textured and under-stated in a genre that leans toward two-by-four wielding mercenaries. If this guy ever put out a bad album, I haven’t heard it yet. <br /><br />• Speaking of “great” guitar albums, ‘3 Hours Past Midnight’ (complied 1986) by Johnny ‘Guitar’ Watson is the definitive blues guitar album. A musical chameleon that served tutelage under fellow Houston players Albert Collins and Johnny Copeland, Watson’s catalogue is spotty ranging from the touted ‘Gangster of Love’ to the vapid, ‘’I Cried for You.’ Dying in Japan in ’96, Watson’s legacy is, for me, unexplored and beckoning with the subtly of a coastal foghorn. <br />There are three releases by ‘major artists’ that should appeal to the majority of blues fans;<br /><br />• Eric Clapton’s self titled release, Clapton, came out late in the year. While some will kvetch that the former Patrick Clapham is not a blues artist, such standards are irrelevant. This is a solid record by the genre’s most impactful artist.<br /><br />• Carlos Santana’s, ‘Guitar Heaven – The Greatest Guitar Classics of All Time’ is clearly targeted to baby boomer rock music fans that know this artist, and know the songs and are thus predisposed to hearing Santana cover songs they already know. Is it art? No. Is it commercially viable? Yes. This is a low risk, low cost gift that is artistically harmless but little more than a calculated cash grab. So don’t gift this to your serious music listener but a casual listener will likely be appreciative.<br /><br />• ‘The Union’ by Elton John and Leon Russell is another speculative venture designed to salvage two careers. Media spin poses this as John’s rescue of Russell’s career. “Ellie” stands to gain artistic credibility from the presence of Russell as well as guest spots from Neil Young, Booker T. Jones, Brian Wilson, Robert Randolph and producer T Bone Burnett. This is a nice album that unfolds slowly. While not appropriate for a blues purist, most blues fans should be curious. <br /><br />• Speaking of Classic Rock artists, the entire John Lennon catalogue has been re-released. As everyone’s ‘big brother,’ peace activist John Lennon’s death thirty years ago still pangs. Public Broadcasting’s documentary, LennoNYC’ attempted to re-define Yoko Ono’s role as Lennon artistic peer. Perhaps side-kick would have been a more believable as ‘Double Fantasy’ showcases the wide gap between their respective talents. <br /><br />Vocally there are two other albums that stood out for me… <br /><br />• The industry has donned John Nemeth’s ‘Name the Day’ as a front runner. Any critical perspective on this disc is roundly rapped but suffice it to say that while artful, Nemeth is the beneficiary of marketing as much as music…but then which successful artist is not? A rather predictable bent on the blues, this album is warmly received. <br /><br />• Former Mavericks front man Raul Malo is this generations Roy Orbison. Long considered among the finest recorded vocalists, Orbison’s Texas roots align well with Malo’s Hispanic background to create an album, ‘Sinners & Saints.’ Malo swoon his way through a variety of styles but it all comes back to a beautiful voice and rich arrangements. No, this is not something for everyone but true music fans should find Malo’s cross-genre pollination interesting, new and unexpected.<br /><br />• The ‘up & comer’ for t2010 is Ruf Record’s release, ‘Diamonds in the Dirt’ by England’s Joanne Shaw Taylor. Young enough to have impact, Shaw Taylor explores enough to make the release interesting. Her strength is minor ballads which lend themselves to airplay; however, she wisely pushes into other sounds and this exploration piques my interest. Occasionally she mistakes ‘shouting’ for emotive singing which I enjoy less. The mentoring of Dave Stewart (Eurthymics) – lead to connection with uber-producer Jim Gaines (Allman Brothers, Bonamassa) – which lead to endorsement by Joe Bonamassa – all feeds into a short cut to success…so perhaps it is who you know. The proof will be in the pudding and the pudding is still coagulating. <br /><br />• For those that venture outside of the blues, Richard Thompson (Fairport Convention) has released an album that is an ocean of intrigue, ‘Dream Attic.’ Thompson’s guitar playing is unpredictable and second to none. His understatement and use of off-keys is ever interesting. Thompson is a niche artist Stateside but worth the exploration as he exemplifies among a minor handful that did not ‘sell out’ when the opportunity came knocking. <br /><br />• Finally, Otis Taylor remains the genre’s most pressing artist. More than any other, to my mind, Taylor uses his music to credibly push the blues into crevices and passageways that are simultaneously intriguing and captivating. A crusty bastard, Taylor’s music uses hypnotic layering of blues textures to help a seemingly near stagnant artform expand beyond established confines (IMO). His new album, ‘Clovis People, Volume 3’ is an audible adventure that requires rapt attention from listeners and yet, somehow, Taylor is able to keep the focus on the industry. Taylor seems uncompromising, thankfully.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-62220609295359864482010-11-25T10:27:00.000-06:002010-11-25T10:29:25.163-06:00Album Review: Chris James & Patrick Rynn, 'Gonna Boogie Anyway'<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizBXONk103dZaAr1THR46iYUt707IgMbqTVnKI55waLDLgDHik7S5S0IbJMzSacBHtQolemsTBgNGoTchnxEjtcbLP1TOgbAy3bxRwStR_4tBi3RkYc3Pztf4eICCHX-_QsFBbJa-Y2Ug/s1600/NCCAP64MRKCA0GKIEDCARQG9UZCA2PNJ5HCAFMUGW0CAOHHT33CAQYTGPHCAUFC6EOCA3O16KKCAMUQC26CAB46Z7WCAJG1ACQCA130BK1CAOAFQ79CAKKWAG7CAF5HHUUCACGRQFSCAUJCPF6CAMJF7HZ.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 130px; height: 130px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizBXONk103dZaAr1THR46iYUt707IgMbqTVnKI55waLDLgDHik7S5S0IbJMzSacBHtQolemsTBgNGoTchnxEjtcbLP1TOgbAy3bxRwStR_4tBi3RkYc3Pztf4eICCHX-_QsFBbJa-Y2Ug/s400/NCCAP64MRKCA0GKIEDCARQG9UZCA2PNJ5HCAFMUGW0CAOHHT33CAQYTGPHCAUFC6EOCA3O16KKCAMUQC26CAB46Z7WCAJG1ACQCA130BK1CAOAFQ79CAKKWAG7CAF5HHUUCACGRQFSCAUJCPF6CAMJF7HZ.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5543525101603881058" /></a><br />Artist: Chris James, Patrick Rynn<br />Title: Gonna Boogie Anyway<br /><br />When guitarist Chris James and bass player Patrick Rynn collaborated as the ‘C – Notes’ behind vocalist and harmonica player Rob Stone, it was my “pure blues” album of the year. With the release of their new album, ‘Gonna Boogie Anyway’ James and Rynn are back with a gritty honest electric Chicago blues sound. Out on the Chicago based Earwig Records this album includes a stellar line-up of accomplices including; David Maxwell (piano), Sam Lay (drums), and Henry Gray (piano). Blues harmonica player and noted radio host Bob Corritore guests on the tracks, ‘H.M. Stomp’ (instrumental) and the Bo Diddley cover, ‘Little Girl.’ <br /><br />An interesting aspect to this album is a study in how drums and drumming styles affect the sound of a band. As a guitar and bass (vocal) duo, James and Rynn often have to rely on guest drummers. In addition to Sam Lay, other drummers on the disc include; Willie Hayes and Eddie Kobeck. There are three ‘drumless’ tracks on the album; which adds to a listeners learning experience; ‘You Can’t Trust Nobody,’ ‘Headed Out West,’ and ‘Black Spider Blues.’ Admittedly, either the music “moves You” or it doesn’t; however, as we listen, we also learn.<br /><br />This is a straight forward electric pure blues record; no flashy bells and whistles. <br /><br />Purists will love this album for its honesty, historical root and direct approach. “Modern blues” listeners may initially find this album too traditional although repeated listening will push open the door to a greater appreciation that often, ‘simpler is better.’ As a radio host, I found, ‘Dearest Darling,’ a second Bo Diddley cover to be my focus track. All listeners should focus in on the pure sounding instruments as they juxtapose to James’ vocals. In addition to the great albums from days gone by, this is a very good foundation album of modern purist blues that fans can build a library upon.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-77938628546564024852010-11-25T10:25:00.000-06:002010-11-25T10:27:24.827-06:00Album Review: Piano Red, 'The Lost Atlanta Tapes'<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcjm30y9LDVK78IneqZhD6fmwousFXaMHYdXNzvv9zxxSPBFcMPTAVZe9KFCzx-SeV4ar1BS1o_90i_dFzUyqXfhPsAZZcII-CwthjfpIkKarrSTRRaXTlAFPi_EcZWUObc7nkGMTw8GI/s1600/V4CAG8F4A1CAJGWQ5JCAG5E6RZCAF5VMR1CA3LO54WCA3ERP3CCAQPM60JCA3GPO3XCAOVW55ECAFC36XECAOP2KZOCAXCPIDSCAC5HGAOCAW7HU4HCAV2FXT5CAVEBG2YCAB0GDS1CAGWPOIUCABZGOEB.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 124px; height: 124px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcjm30y9LDVK78IneqZhD6fmwousFXaMHYdXNzvv9zxxSPBFcMPTAVZe9KFCzx-SeV4ar1BS1o_90i_dFzUyqXfhPsAZZcII-CwthjfpIkKarrSTRRaXTlAFPi_EcZWUObc7nkGMTw8GI/s400/V4CAG8F4A1CAJGWQ5JCAG5E6RZCAF5VMR1CA3LO54WCA3ERP3CCAQPM60JCA3GPO3XCAOVW55ECAFC36XECAOP2KZOCAXCPIDSCAC5HGAOCAW7HU4HCAV2FXT5CAVEBG2YCAB0GDS1CAGWPOIUCABZGOEB.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5543524620077931314" /></a><br />Artist: Piano Red<br />Title: The Lost Atlanta Tapes<br /><br />Long before Wilko Johnson (John Wilkinson) commandeered the name for his noted English pub rock band, Piano Red was playing barrel house blues and using the moniker ‘Dr. Feelgood.’ Piano Red successfully cut sides for RCA Victor including hits such as ‘Red’s Boogie,’ ‘Just Right Bounce’ and ‘Laying the Boogie.’ His songs have been covered by some of rock n’ rolls greats including; Little Richard, re-titled as ‘She Knows How to Rock’; Carl Perkins, ‘The Wrong Yo-Yo’; and the Beatles, ‘Mister Moonlight.’ While Piano Red (a/k/a Willie Perryman) has earned his place in music history – he is not a household name for most listeners. Perryman died of cancer in 1985.<br /><br />This album, ‘The Lost Atlanta Tapes’ were recorded in 1984, shortly before Red’s death. With 18 songs in all, this album is a gentile rollick through a collection of standards and originals including; ‘That’s My Desire,’ ‘C.C. Rider,’ ‘Baby Please Don’t Go,’ and ‘Corinna, Corinna.’ This is not a raucous affair as the 73 year old meanders and talks through a set of music to an appreciative audience. The ‘Lost Atlanta Tapes’ is a highly niched release which will evade most blues listeners. Yes, Piano Red deserves our respect for his contribution to the lexicon of modern blues and rock music; however, other than for its historical perspective, this is an album best left to true aficionados and serious collectors. It is not a bad record per se’ – it is simply a peripheral recording few modern blues listeners will fully enjoy.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-20138705482605846292010-11-11T10:24:00.000-06:002010-11-11T10:27:07.680-06:00Album Review: Jim Byrnes Everywhere West<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRpXMRfTQoqXEUGaSioq0Jr8kVokkCj_fDBPiDPaXlDwQjpp9u-UMf6DG10gB6EjPHyawH3hgdJ6wYtBaHKkNPLtAl4Tn_aAA4_fULBcT2isVhfD01hBozo0QfWlsl147kdOJNr9KN88w/s1600/byrnes.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 130px; height: 130px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRpXMRfTQoqXEUGaSioq0Jr8kVokkCj_fDBPiDPaXlDwQjpp9u-UMf6DG10gB6EjPHyawH3hgdJ6wYtBaHKkNPLtAl4Tn_aAA4_fULBcT2isVhfD01hBozo0QfWlsl147kdOJNr9KN88w/s400/byrnes.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5538329490988060674" /></a><br />Artist: Jim Byrnes<br />Title: Everywhere West<br /><br />The music industry has had its share of actors poising as musicians including; Eddie Murphy, Don Johnson, Kevin Bacon, Bruce ‘Bruno’ Willis and Jeff Daniels. Now we can add St. Louis born Jim Byrnes to that distinguished list. Of course this list goes both ways; musicians that have tried acting include; Mick Jagger, David Bowie, Kris Kristofferson, Johnny Cash, Willie Nelson, “Ice Cube” and “Queen Latifah.” <br />Brynes’ latest album, ‘Everywhere West’ is a credible outing of blues based roots music that wanders among numerous influences and sound including a bluegrass textured, ‘Bootleggers Blues’ and the horn driven blues, ‘Black Nights.’ Like many progenitors, Byrnes travels the lore of being among the few white guy in the bar watching some of the blues genres greatest including Howlin’ Wolf performing ‘Red Rooster.’ Of the twelve tracks on the album Byrnes wrote three but included covers of Lowell Folsom, ‘Black Night,’ Robert Johnson ‘From Four Until Late’ (Also covered by Cream), Louis Jordan ‘You Can’t Get That Stuff No More’ and Jimmy Reed, ‘Take Out Some Insurance on Me.’ <br /><br />This album has a nice suburban blues sound and textures. It is well performed and arranged. While Byrnes’ is not a “star” per se in the acting field, his accomplishments as an actor and now a musician are inarguable. This is not an album that is going to rewrite the course of the blues genre; however, it is well above the hobbyist level and has entertainment value. While all the songs are ready for radio, programmers might focus on Byrnes’ cover of ‘He Was a Friend of Mine,’ a traditional song, which was also recorded by Willie Nelson, Bob Dylan and The Byrds.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-91356426749590680852010-11-01T15:47:00.001-05:002010-11-01T15:48:58.920-05:00Album Review: Leon Russell, Elton John / The Union<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIIbAyoTQjel8svViopq5BQeFOkpnLaSo4_jTriNpW5ts_RoRBsnsWYgUpTOaqwmepY0yerkrLsbeVuoOSWHCaLF_DdbFVbp3qaYJMiGdt79RF7YgDy8Ao006oUoTqUUUHhXTfhCGkxso/s1600/5ICA2IPG29CAW2Z20LCAQ1KO5XCAWT69JPCANRLFDOCAEY0L95CAU16IULCA0JHQI1CA3E0AISCAFO17R8CA6HJ74VCAU1PW6KCA2Q8ME5CAA6EA4BCAR9UWLGCAB0H11CCAKM4SLZCARH0QYCCAQN95JF.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 124px; height: 124px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIIbAyoTQjel8svViopq5BQeFOkpnLaSo4_jTriNpW5ts_RoRBsnsWYgUpTOaqwmepY0yerkrLsbeVuoOSWHCaLF_DdbFVbp3qaYJMiGdt79RF7YgDy8Ao006oUoTqUUUHhXTfhCGkxso/s400/5ICA2IPG29CAW2Z20LCAQ1KO5XCAWT69JPCANRLFDOCAEY0L95CAU16IULCA0JHQI1CA3E0AISCAFO17R8CA6HJ74VCAU1PW6KCA2Q8ME5CAA6EA4BCAR9UWLGCAB0H11CCAKM4SLZCARH0QYCCAQN95JF.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5534686118444597330" /></a><br />Artist: Elton John and Leon Russell<br />Title: The Union<br /><br />While it would be a stretch to say this is a rock n’ roll album, it would be an even greater stretch to say this is a blues album. However, undoubtedly Oklahoma’s Leon Russell’s career is based upon many a blues flavor and if, as he purports it, Russell is John’s biggest icon, perhaps there is sufficient room for Elton John to rest awhile under the big tent of blues music. That being said, this is an album which could fit nicely in some roots music radio playlists… so perhaps Blueswax readers will already familiar with this album.<br /><br />In the late ‘80’s and into the 1990’s rock hierarchies of performers were coupling up to energize flagging careers. As radio melted down into the gloppy, highly niched audio conundrum that we hear today, artists that had sold millions of albums were being dropped by labels no longer interested in artist development. These labels needed sales and anything on the cusp soon found itself sans label in an industry that was being nullified by advancing technology. So artists like Santana recorded with Rob Thomas and gandered the massive album, ‘Supernatural.’ Usually these all star outings were big on glimmer and low on critical content. They were crap. Around the change of the millennium Elton John teamed up with a very soused Billy Joel and together they toured the world keeping alive a flame that seemed to be rapidly diminishing. Times seemed dire. Today “Ellie” has used his slightly tarnished career to team up with an idol from his youth, Leon Russell, whose career had seen better days. Together they have compiled an album that is fated to earn hills of accolades while invigorating each individual career. <br /><br />If the quality of art is compounded by its complication, as noted thinker and PBS commentator Mortimer Adler suggests it is, then this really could have been a beautiful outing. While the roles between saved and savior blur, together Leon Russell and Elton John’s album, produced by today’s soup d’jour uber-producer T-Bone Burnett is okay. The album’s 14 songs are four songs too many and would have made two very nice ‘solo w/guest records.’ However, for reasons that defy overt simplicity, this is near arduous length of oblique yet interesting collection of over-produced songs. Said simply, it’s good but it is not great. Will these songs ripen? Only time will tell.<br /><br />The opening track, “If It Wasn’t for Bad” is a classic piece of Elton John arranging that harkens to his noted ‘Goodbye Yellow Brick Road’ period. This song feature Stax star Booker T. Jones and was written by Russell. ‘Eight Hundred Dollar Shoes’ features Taupin’s somewhat vapid temporal lyrics disguised as meaningful. I mean, really, a song using $800 shoes as a metaphor; yawn. On ‘Hey Ahab’ John gives his go at being guttural, giving the listener his best blues growl. It is not until the album’s fourth track, the Civil War expedition, ‘Gone to Shiloh’ that the music nears honesty in its roots and feel. Neil Young lends his vocals and sings the second verse of this ballad. The vocals of Russell and Young mix well. When John’s vocals sing the 3rd verse the listener is set in a wonderful audio landscape. Each man’s vocal adding a depth and contrast that works quite well. ‘Monkey Suit’ is an up tempo ‘Rod Stewart’ boogie that provides a level of energy to the album while giving it an obligatory sing-along. <br /><br />This is a nice Sunday morning album by mature songwriters that are beyond looking for success while relying a bit too hard on sentimental clichés. For some listeners this is going to be a touchstone of pure brilliance; an audio landscape that ties together nostalgia with the contemporary. Like many musical outings the listener has to agree to believe. Roots radio might consider ‘A Dream Come True’ for airplay. Once again though, what starts out as promising eventually gives way to over-layered production that all but smites the song amid background vocals, cowbells and tap-dancing percussion and a regretful tempo shift. Ugh. It is an album you want to enjoy, badly, but Sir Elton is like an enabling spouse that sickens the music by forcing his presence into each and every crevice. Perhaps Sir George Martin could de-Spector this album someday. <br /><br />You can take the boy out of Vegas but…Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-60429101616900930982010-10-20T11:29:00.000-05:002010-10-20T11:30:58.797-05:00Album Review: Mitch Woods, Gumbo Blues<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4-FGOOAHHBAKuX2OHKQL-6W1kYkAfo13RKmNn4Zd-g0lsx_Q-y_reho93fkD4nZOOGQ8gWehjYgIrKHnO8uwSkaU-yqHWZhtD4u-DK8Lw3-fcwF8uk5KikNLqSsz9pOlDLdG28k45IqE/s1600/woods.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 118px; height: 118px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4-FGOOAHHBAKuX2OHKQL-6W1kYkAfo13RKmNn4Zd-g0lsx_Q-y_reho93fkD4nZOOGQ8gWehjYgIrKHnO8uwSkaU-yqHWZhtD4u-DK8Lw3-fcwF8uk5KikNLqSsz9pOlDLdG28k45IqE/s400/woods.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5530166617445170674" /></a><br />Artist: Mitch Woods<br />Title: Gumbo Blues<br /><br />On his tribute album to “Smiley Lewis and the pioneers of New Orleans Rhythm & Blues” piano player Mitch Woods employs the formidable talents of a terrific band to highlight a wonderful niche of American music. When we look at the many greats that emerged from the New Orleans market, the line of R n’ B piano players is long including; Professor Longhair, James Booker, Art Neville, Dr. John, Fats Domino and Allen Toussaint. It is an area of music that seems to define pure delight by immediately getting fingers and toes tapping. Much like Chuck Berry’s form of blues, the New Orleans R&B piano sound is easily digested and continues to lend its vibrancy to many contemporary players including; Bob Malone, Jon Cleary and Mitch Woods. When it comes down to technical definitions, this sound is firmly rooted in the blues BUT defies the form by being inherently danceable and overwhelmingly joyous. <br /><br />The latest outing by Mitch Woods is clearly focused on this genre. Titled ‘Gumbo Blues’ Woods and band wheel through some of the genres finest covers including; ‘Lil’ Liza Jane’, ‘Blue Monday,’ ‘I Hear You Knockin’ and ‘Shame, Shame, Shame: ’ a veritable songbook of the legendary Dave Bartholomew. This is a terrific album albeit it all covers. <br /><br />Throughout his career Woods has looked backwards for inspiration. His interpretations and arrangements are delightful but solidly retrospective. Like all of us, Woods and his band needs to eat – so his efforts to pull the artform forward may have earned less overt reward than this caliber of talent deserves. With a deep catalogue of albums out, Woods, like Taj Mahal, has defined himself as a credible progenitor and musicological preservationist of the first caliber. Unfortunately it is a choice that presents a set of challenges including lower levels of recognition and commercial reward. Radio programmers can virtually “drop the needle” on any track and elevate energy levels with sounds and textures that harkens to the very dawn of rock n’ roll while remaining true to the blues. If there is a god of music, than surely Mitch Woods will receive radio support if for no other reason than the music does the talking and it speaks well.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-32662361793485562542010-10-13T09:10:00.001-05:002010-10-13T09:11:45.086-05:00Album Review: Kirsten Thien, Delicious<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2hv3HdOVZrRlU3TIAUFP4veqFzQ96uvGmypF7plkqIlG3hr0jOmxr9B-ouY8arKgW47rWTrtWCK_RepNy0y2-23ikq4Zp6zrrHetp69QKgeFHXQT1FWHVjcM7LBYDISYuLHhAzecDIDw/s1600/thien.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 93px; height: 80px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2hv3HdOVZrRlU3TIAUFP4veqFzQ96uvGmypF7plkqIlG3hr0jOmxr9B-ouY8arKgW47rWTrtWCK_RepNy0y2-23ikq4Zp6zrrHetp69QKgeFHXQT1FWHVjcM7LBYDISYuLHhAzecDIDw/s400/thien.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5527532989825483826" /></a><br />Artist: Kirsten Thien<br />Title: Delicious<br /><br />By mandate it seems that every white woman in the blues genre is compared to Bonnie Raitt. While the yardstick is immense, the expectation has become a cliché. On her third album, Delicious, Kirsten Thien, another redheaded blues woman, proffers an exceptional album that has immense commercial potential. The production, playing and vocal lines are more suburban than urban but the textures and performances make for a world class blues album. Of the albums eleven tracks, eight are co-written by singer and guitarist Thien. Covers include; Willie Dixon’s ‘I Ain’t Superstitious,’ Ida Cox’s, ‘Wild Women Don’t Get the Blues,’ and ‘Taxi Love’ by Charlie Feldman and Jon Tiven. While ‘Taxi Love’ is the weak link in an otherwise excellent record, the songs ‘Ain’t That the Truth’ and ‘A Woman Knows’ are brilliant ballads that programmers may want to investigate for broadcast. For a more up tempo romp ‘Treat ‘Im Like a Man’ is a powerful ‘morning after’ response to the genres abundance of cheating songs. ‘Get Outta the Funk, Get into the Groove’ is a song that broadens the records reach. The record’s opening track, a horn driven, groove laden ‘’Love That’s Made to Shame’ is tasty and intelligent as the production and arrangements give the singer room to move amid: legendary Chess Records player Hubert Sumlin provides a guitar solo along with Andy Snitzer on Tenor Sax and the albums producer Erik Boyd on backing vocals. <br /><br />This is a very solid, immediately enjoyable album that a wide base of blues fans should readily embrace. Those looking backwards may not connect as readily with this contemporary offering which showcases Thien building a sound upon the genres offerings from the era of Little Feat up until the present. This album is at least six songs deep for radio airplay. If one is able to judge a book by its cover, or in this case a Compact Disc, this is a well thought out, emotionally pure effort that shows the blues in, potentially, its most viable resurgence. Thien is an artist worth watching, closely.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-27171625775035440282010-10-01T16:41:00.001-05:002010-10-01T16:43:02.800-05:00Album Review: Robert Cray, Cookin' in Mobile<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy_JEtfhJrUZJ_RCzT8L7IiPWaZpQ0fzJ0d_A2pMcX3HWjLA6F_NA_2RIbt9wxRrPU6jID09H1A29g-waU4xjOvae9Wpj_LJLkp3Sg5jpVo-KQucHamxaa4XXIKF7uvxQ0U8dnxgyWc0E/s1600/51Vf6hXnoCL__SL500_AA300_.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 300px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy_JEtfhJrUZJ_RCzT8L7IiPWaZpQ0fzJ0d_A2pMcX3HWjLA6F_NA_2RIbt9wxRrPU6jID09H1A29g-waU4xjOvae9Wpj_LJLkp3Sg5jpVo-KQucHamxaa4XXIKF7uvxQ0U8dnxgyWc0E/s400/51Vf6hXnoCL__SL500_AA300_.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5523196410538266626" /></a><br />Artist: Robert Cray<br />Title: Cookin’ in Mobile<br /><br />In many ways Robert Cray walks the thin dividing line between blues in the credible sense and blues in the popular sense. While he has found commercial success over the years, I have often struggled to appreciate his artistic methodology many times. The allure of his near Sam Cooke voice pulled me in but the redundant lyrical themes wore me out. So it is with mix emotions that I open each release. <br /><br />In a blues world where the guitar seems to rule, Robert Cray is a tasty but adequate player. His distinction lies not in the fretwork wizardry that so many rely on but, rather, in the way he melds his voice and guitar playing. The rough edges are smoothed out and the precision is precise. His is a mixture of classic soul vocal lines and pop-blues instrumentation. We all recognize the sound but often, for me, the songwriting is the weak link.<br /><br />On his latest release, a live album entitled, ‘Cookin’ in Mobile’ Robert Cray has, finally, released the complete album. The band is in the “pocket” and perfectly grooves to Cray’s crooning. The song selection is near perfect: as a record store clerk in the very early 1980’s I bought a 12” vinyl release of ‘’Phone Booth’ which, in many ways, sealed by adoration for the electric blues. Whether it is his cover of ‘Sitting on Top of the World’ or the up tempo, ‘That’s What Keeps Me Rockin’ Cray and band are in fine form on this Vanguard release. <br /><br />Radio hosts might look at either of the songs mentioned as well as the opening track, “Our Last Time” or “Right Next Door” (a/k/a Strong Persuader). On some level an affection for Robert Cray’s music is perhaps a mandate as a contemporary blues fan… but on the other hand I wish he would, ‘buy a new book’ and sing about something other than, “the back door slam.” But then he didn’t ask… and his success is surely his own hard earn achievement.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-71680984414723666782010-08-31T11:09:00.000-05:002010-08-31T11:12:58.711-05:00Political Editorial: Taxing Internet Sales<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI5aY9djoY9v6kgAJOhPFIadi282EMi23uB9mTlVIa6AdO1Y9P_N9QUR6p9Xt8fTUMTdD5v-J1r1ZYM9ldwvw-iyg-mr6GzwabpQq5yo0FoEudeivDSWsV2OER1YQv9LusuMz2sWm1s2U/s1600/i%2520love%2520omaha.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 161px; height: 107px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI5aY9djoY9v6kgAJOhPFIadi282EMi23uB9mTlVIa6AdO1Y9P_N9QUR6p9Xt8fTUMTdD5v-J1r1ZYM9ldwvw-iyg-mr6GzwabpQq5yo0FoEudeivDSWsV2OER1YQv9LusuMz2sWm1s2U/s200/i%2520love%2520omaha.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5511607192756558818" /></a><br /><br />This Op-Ed piece was printed initially in the Omaha World Herald, 2009 <br /><br /><br />I say it is time to collect internet sales taxes. <br /><br />This call to arms may be anathema to a fiscal conservative but let’s inject some facts into the discussion. <br /><br />State and local government budgets are, in some part, based upon the collection of sales tax revenues. Basic epistemology of fiscally conservative thought is that fewer taxes equate to smaller government and that is usually perceived as a good thing. However maintaining functional government budgets is inarguable. <br /><br />As we look at the evolution of technology and its impact on the retail industry, we are seeing a growing shift to online sales of everyday goods. For the most part this shift towards online sales does not capture sales taxes – negatively impacting State and local government budgets. The shift is also creating an unlevel playing field that favors online retailers against local ‘brick’ retailers since a tax free purchase may equate to as much as a 12% discount in some markets [ 7% here in Omaha]. <br /><br />Put another way, the immediate effect of a discount on tax-free online purchases sends wealth out of the Omaha market and, as a community; we lose the benefit of the economic multiplier effect created by that money circulating throughout our state and community. In the long term we may also risk losing retail jobs and, as we all know, the retail industry is a significant employer.<br /><br />It is a fact that small business is the engine that drives the American economy. The Maryland based Tischler & Associates, Inc. (now d/b/a Tischler Bise) reported that “Big Box retailers generate a net annual deficit of $468 per 1,000 square feet (to taxpayers)…Fast food restaurants have a net annual cost of $5,168 per 1,000 sq. ft…In contrast, specialty retail has a positive impact on public revenue of $326 per 1,000 sq. ft.” (Tischler & Associates) When you weigh in the actual employment impact as well as the economic multiplier effect, government should be strongly incentivized to support the local retail economy.<br /><br />According to the Wall Street Journal, several states, including North Carolina, Hawaii, California, Connecticut, New York, Maryland, Minnesota and Tennessee, have decided to level the playing field through recent legislation. Online behemoth Amazon has threatened to “clip local affiliates” rather than pay their currently defined legal share of sales taxes. (Fowler, 2009). The University of Tennessee estimates that “uncollected Internet Sales taxes will cost state and local governments more than $11,000,000,000 a year by 2012.” <br /><br />In its early guise, government nurtured the viability of online companies by allowing this issue to go unnoticed. According to the U.S. Census Bureau, in the First Quarter of 2009 online sales were $31,717,000,000. (Quarterly Retail E-Commerce Sales, 1st Quarter 2009, 2009) By any standards the online retail industry has been sufficiently incubated and it is time to level the playing field as well as increase State and local revenues through the appropriate application of existing and needed sales tax collection laws. <br /><br />Studies indicate that 8% - 12% of retail sales have moved online; the impact on government budgets is apparent. Because of the disparity of various state and local taxation levels, the process of collecting and submitting levies of online sales would be a significant burden to retailers. A suggested method could be to have a uniform nationwide taxation level for online sales thus simplifying the collection and submission process for retailers. Another “level playing field” consideration could be to reduce in-store sales tax levels as a result of collecting sales taxes on all retail sales once again. <br /><br />Finally, this is not an advocation for a new tax. Nor can a reasonable person misconstrue this to be a call to increase taxes. If we are going to tax retail sales, and history shows we are, isn’t it about time that Nebraska, and Omaha, join in the processes to balance the playing field? At the very least this is an existing loophole that needs to be debated.<br /><br />Richard ‘Rick’ Galusha <br /><br />SOURCES: <br /><br />Fowler, G. A. (2009, June 19). Amazon Threatens Cuts Over State Taxes. Wall Street Journal , p. B3.<br /><br />Quarterly Retail E-Commerce Sales, 1st Quarter 2009. (2009, May 15). Retrieved June 24 , 2009, from U.S. Census Bureau News: http://www.census.gov/mrts/www/data/html/09Q1.html<br /><br />Tischler & Associates. (n.d.). Retrieved September 18 , 2003, from http://www.smartgrowth.org/news/bystate.asp?state-IDRick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com1tag:blogger.com,1999:blog-8498969748819698241.post-17708016802918473582010-08-31T11:05:00.001-05:002010-08-31T11:07:38.466-05:00Political Editorial: Whiteclay<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4GvAN6s7_BkIChTEu69113Kvp0YLcBk8h9nMVcA8nBgt-X-dLJudOI4MFjAVnNJ12wy7qykk4xq2cgktQCsIejtewrUl8CAj9bmgVDYpeS17NqyWiqUdKPqTtATWBr-6b_h2y8-wvlk/s1600/Standing+Bear.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 336px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr4GvAN6s7_BkIChTEu69113Kvp0YLcBk8h9nMVcA8nBgt-X-dLJudOI4MFjAVnNJ12wy7qykk4xq2cgktQCsIejtewrUl8CAj9bmgVDYpeS17NqyWiqUdKPqTtATWBr-6b_h2y8-wvlk/s400/Standing+Bear.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5511606110587561986" /></a><br /><br />Published Sunday August 29, 2010<br />Omaha World Herald newspaper<br /><br />Midlands Voices: Act urgently on Whiteclay<br />By Rick Galusha <br /><br />The writer is an assistant professor in the College of Arts and Sciences at Bellevue University. He is assistant director for the university’s Center for American Visions and Values.<br /><br />Nebraskans are shocked to learn that a portion of the second-poorest area in the entire Western Hemisphere lies within our state, in the area that includes the Pine Ridge Reservation. Consider the following figures from the 2002-03 edition of Regional Differences in Indian Health, published by the U.S. Department of Health and Human Services:<br /><br />>> The age-adjusted alcoholism death rates in the Reservation area are nearly 17 times higher than the national population mean (108.7 per 100,000 people versus 6.7 nationally).<br /><br />>> The age-adjusted tuberculosis death rates in the Reservation area are eight times higher than the national population mean (2.4 per 100,000 versus 0.3 nationally).<br /><br />>> The age-adjusted diabetes mellitus death rates in the Reservation area are more than five times higher than the national population mean (68.7 per 100,000 versus 13.3 nationally).<br /><br />>> The age-adjusted suicide rates in the Reservation area are nearly three times higher than the national population mean (29.7 per 100,000 versus 11.2 nationally).<br /><br />Because a majority of the Pine Ridge Reservation lands are located within the borders of South Dakota, some suggest that this is a state sovereignty issue. However, the effects spill into our state, including the numerous medical and legal concerns that define Whiteclay, Neb., (population 14).<br /><br />Whiteclay’s four package stores sell the equivalent of more than 3 million cans of beer annually. Adult alcoholism rates on Pine Ridge have been estimated to exceed 65 percent.<br /><br />In an era when bitterness can define the political landscape, our Legislature passed a modest bill this year. In July, the Douglas County Republican Party passed a resolution calling for the establishment of a committee to seek viable solutions for the extreme poverty on the Pine Ridge Reservation. Independently, later that month, the Nebraska Democratic Party passed an identical resolution. This solution-seeking-committee would consist of the governors of Nebraska and South Dakota as well as the president of the Lakota Sioux Nation.<br /><br />While the choice of sobriety is an individual decision, there are several things Nebraskans can do to provide hope:<br /><br />>> Demand enforcement of existing Nebraska laws in Whiteclay, Neb.<br /><br />>> Empower our elected officials to begin seeking long-term solutions to this extreme poverty, including calling upon the government of South Dakota to participate.<br /><br />>> Create awareness by sharing this commentary with family members, friends, co-workers and congregants.<br /><br />>> Take specific action by sending letters and e-mails and placing telephone calls to elected officials.<br /><br />>> Use social networking to enhance awareness.<br /><br />>> Contact the Whiteclay awareness committee (WhiteclayAwareness@gmail.com) to schedule a speaker and-or show the film “The Battle for Whiteclay.” (Include schools, civic or business organizations, churches, synagogues, mosques or living rooms.)<br /><br />This nonpartisan issue is gaining momentum. Readers of the New Testament will recognize the passage, “I tell you the truth, whatever you did not do for the least of these, you did not do for me.” It would be a moral failure for Nebraskans to allow this misery to continue.<br /><br />To quote Edmund Burke, “If not us, then who? If not now, then when?”Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com1tag:blogger.com,1999:blog-8498969748819698241.post-85760524302671844462010-08-19T16:59:00.001-05:002010-08-19T16:59:55.877-05:00Rick Derringer Album Review<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJwgR_kIIHB5NpZIWk8KgmjfZWujm08aUMPMPdus1tfVMfsUQSY1HfbOYcv3gRlIEWHK3IiaU1Bcb8_kGzSk6D-_-VRRhzgbZI03nk-Dh60fjo9YTi49W0DBKieTGmJVRfstx4axHjpeA/s1600/a1.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 135px; height: 135px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJwgR_kIIHB5NpZIWk8KgmjfZWujm08aUMPMPdus1tfVMfsUQSY1HfbOYcv3gRlIEWHK3IiaU1Bcb8_kGzSk6D-_-VRRhzgbZI03nk-Dh60fjo9YTi49W0DBKieTGmJVRfstx4axHjpeA/s400/a1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5507243986373238514" /></a><br /><br />Artist: Rick Derringer<br />Title: The Three Kings of the Blues<br />Writer: Rick Galusha <br /><br />It was hard to grow up in the ‘70’s and not know about Rick ‘Rock n’ Roll Hoochie Koo’ Derringer. Whether it was his band, ‘The McCoy’s’ 1965 #1 hit, ‘Hang on Sloopy’ (The Official Rock Song for the State of Ohio) or his self titled band’s FM flash, ‘Let Me In,’ Rick Derringer was a household name among avid music fans. Perhaps best known for his able support of Edgar and Johnny Winter, Derringer’s star diminished by the mid-1980s. <br /><br />Down but never out Rick Derringer is back with a compilation on Shrapnel Records which pay homage to the three kings of the blues… B. B., Albert and Freddie. With tracks taken from previous Derringer solo efforts, this album is Derringer at his best. Like brass knuckles on a peroxide blonde Derringer takes ten blues standards, revs up his chainsaw guitar and double-times past any semblance of musical nuisance… and yet fun pervades this guilty pleasure. With songs like, ‘Key to the Highway,’ ‘Born Under a Bad Sign’ and ‘Let the Good Times Roll’ Derringer delivers these tracks right between your eyes. <br /><br />Purists will roll over and groan but contemporary blues fans (IE: Rock n’ Rollers) are going to eat this album with a fork and spoon. Programmers will want to use this CD like grease on a spitball when they reach up, caress the bill of their cap, and jumpstart listeners with a familiar sounding cover track. It ain’t art but then art never was a parameter for mass appeal. Look to Derringer’s version of Freddie King’s, ‘You’ve Got to Love Her With a Feeling’ as the gateway to the easily accessible sonnets of this record.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-482414875237484032010-08-07T00:03:00.000-05:002010-08-07T00:05:17.047-05:00Album Review: Indigenous, 'The Acoustic Sessions'<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEkRE3MLwi5Ymzdt4GclknVXZZYog200K_QPl4zoksjplIRC9MZz7-OAQKBm7STyimCihd4ANyje8U5z-zCZqRtmmeA4wheehKETf_AGJEnh28D5Q1_ydHqwHggGJHlolYry6UEWEUVQ/s1600/51tgIWXhCSL__SL500_AA300_.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 300px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEkRE3MLwi5Ymzdt4GclknVXZZYog200K_QPl4zoksjplIRC9MZz7-OAQKBm7STyimCihd4ANyje8U5z-zCZqRtmmeA4wheehKETf_AGJEnh28D5Q1_ydHqwHggGJHlolYry6UEWEUVQ/s400/51tgIWXhCSL__SL500_AA300_.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5502529407108460146" /></a><br />Band: Indigenous<br />Title: The Acoustic Sessions<br />Writer: Rick Galusha <br /><br />In 1995 a band of Native American siblings from the Northern Ponca Tribe Reservation in Wagner, South Dakota released a self-produced album, ‘Awake.’ Now in their 16th year the band has released fourteen full length albums including their newest, ‘The Acoustic Sessions.’ Nanji’s father, Greg Zephier, a friend of actor Marlon Brando, was an activist in the American Indian Movement and named his son for the noted civil rights figure Standing Bear (d:1908).<br /><br />What started as a tight knit band of family members eventually succumbed to the travails of rivalry, broken relationships, and illicit substance use. When the Davey Brothers, of the successful British band ‘The Hoax,’ informally hovered near the band, the once blues based guitar rock sound of the band moved towards a more contemporary, bottom-heavy, hard rock sound. This new sound and image moved the band towards a larger and younger potential audience but pushed away the loyal base of “Indiginuts.” Their career stalled and internal issues resulted in Wandbi (sister/drummer), Pte (brother/bass) and Horse (cousin/percussion) leaving the band. As a solo act under the name Indigenous, Mato Nanji struggled to re-find his voice and old audience. <br /><br />With the release of their 13th album, ‘Broken Lands’ Nanji finally looked inward to write about the social trauma’s of 170 years of the reservation system inflicted upon many Native Americans. On the track, “Place I Know” Nanji sang of barefoot children left to raise themselves by alcoholic parents. (Alcohol related deaths on South Dakota’s reservation’s average 1640% higher than median America.) While the song’s structure was not overt blues, the band that had been deserted by many of its fans released one of 2008’s lyrically most powerful blues albums. ‘Broken Lands’ signaled a come back for Indigenous. <br /><br />Filtered throughout the band’s history has been a collection of excellent songs. Admittedly skeptical of “an unplugged album,” that was comprised of greatest hits, ‘The Acoustic Sessions’ is the second excellent album for an artist that refused to die. In their original form many of the songs featured on this album, while highly melodic and well played, lacked sufficient texture within the album format to compel one to listen to the whole album. Gone for the past several albums have been the depth providing textures that conga player Horse provided the band’s early incarnations. In this acoustic setting Nanji is able to demonstrate his guitar prowess while serving the song and, in many instances, these songs are fully complimentary to the full band versions. <br /><br />The album opens with the pacing ‘Now That You’re Gone’ where Mato’s vocal energy rises over a layered percussive setting against a guitar solo that recalls some of cleanest fretwork of his career. Now in its fourth released version, ‘Things We Do’ is the song that defines the band musically, lyrically and spiritually. “When I close my eyes, a dream comes to me” Nanji sings as the song builds thanks to the percussion and organ of producer Jamie Candiloro (REM, Willie Nelson, Ryan Adams, Eagles). The albums fourth track, ‘Rest of My Days’ is the album’s focus track where Candiloro’s production eerily recalls Marvin Gaye’s ‘I Want You’ period. The use of subtle ‘toned percussive instruments’ (I don’t know what they are) heightens the song with stunning effect. On ‘Leaving’ Lisa Germano provides a wonderful violin backing that moves to the foreground with a defining solo; wonderfully unexpected. <br /><br />The album ends with a cover of the Traveling Wilbury’s track ‘You Got It’ penned by Jeff Lynn (ELO) and Roy Orbison (Sun Records). Radio programs that rely on Classic Rock artist may find this track to be comfortable for listeners. However, this album has “legs” so programmers will want to move beyond the obvious and low hanging fruit of a covered hit record. <br /><br />This album is a powerful statement of revitalization for Indigenous. There is a history that threads throughout popular music of bands releasing three excellent albums consecutively; perhaps there will be another strong album in the future. Fans of contemporary blues-rock players such as Stevie Ray Vaughan, Eric Clapton, Santana and Jimi Hendrix will enjoy this album.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-45439555223988934852010-08-05T20:19:00.000-05:002010-08-05T20:31:54.266-05:00Album Review: Southside Johnny and the Asbury Jukes, 'Pills and Ammo'<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg807dQs8sNSL_FwNKx5eY735y4863kd0Tkmy3kmfw7Hchx4V3QnOmxtZdMaryfE0P1ZmcnU0ArDJ-8H86B1RDzn4dKl1mSNN9GdRX5P3yC5VaQxygpms2BxQ4J4bKYmjDmOs0iR9Zvp8A/s1600/southside+johnny.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 130px; height: 130px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg807dQs8sNSL_FwNKx5eY735y4863kd0Tkmy3kmfw7Hchx4V3QnOmxtZdMaryfE0P1ZmcnU0ArDJ-8H86B1RDzn4dKl1mSNN9GdRX5P3yC5VaQxygpms2BxQ4J4bKYmjDmOs0iR9Zvp8A/s400/southside+johnny.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5502102486134523554" /></a><br />Artist: Southside Johnny & the Asbury Jukes<br />Title: Pills and Ammo (A Little Chaos is Good for the Soul)<br />Writer: Rick Galusha <br /><br />If the blues is nothing more than a musical structure, a predictable amalgamation of chords and progressions, than read no further. However if the blues is a feeling, a fleeting emotion that helps defines our time on mortal coil then the latest release by Southside Johnny (Lyon) and the Asbury Jukes, ‘Pills and Ammo’ is a refreshing, powerful, hard-driving collection of songs by an unsung icon of American music. <br /><br /><em><strong>“You take something sweet and you make it rough. You make a blood sport out of making love. No matter how low I go, I never go down enough.”</strong></em> ‘Lead Me On’<br /><br />As an album of twelve songs, ‘Pills and Ammo’ is first and foremost a very good record. Between the grooves are passages and segue ways that use overt blues textures with horn driven R n’ B to deliver the goods. While most are familiar with New Jersey’s other” boss,” in many ways it was the Brooouce-mania that not only brought John Lyon’s band to national attention but unintentionally overshadowed an otherwise wonderful band. As the leader John Lyon chose the nickname “Southside” in homage to Chicago’s famed blues scene. “Jukes” attributed to Little Walter’s famed instrumental harmonica song. A review of the pre-Jukes sonic landscape includes other horn bands including the wonderful Stax and Hi Recordings, Chess’ Little Milton and eventually Chicago; Blood, Sweat and Tears; Chase, Electric Flag or Butterfield Blues Band’s later era recordings. Arguably Southside Johnny has taken the blues, added a bit of Jersey sand & salt (grit), and created a largely undefined but brilliant genre. <br /><br />This is an album that uses the horns to propel the songs against strong vocal melody lines and intelligent lyrics. The song, ‘Strange, Strange Feeling,’ begins with a ‘Harlem Shuffle’ groove and includes the exceptional lyric line, <br /><br /><em><strong>“My woman left me long time ago, Still sends me Christmas Card, complete with plastic snow. There’s never any return address, She’s just being kind I guess. How much further down do I have to go?”</strong></em><br /><br />While the only constant in this band seems to be John Lyon himself, Bobby Bandiera ably replaces Miami Steve Van Zant and Billy Rush adding subtle yet emotive guitar lines. On ‘Umbrella Drink’ Lyon is joined by fellow Springsteen friend Gary ‘U.S.’ Bonds on a New Orleans horn driven romp that is pure lively joy that devolves to include the Neville Brothers, ‘Hey Pocky Way.’ Throughout the album Lyon, a noted avid music fan hide similar musical passages including a reference to his own ’77 release, “This Times Its for Real” in the smokin’ track, ‘One More Night to Rock.’ He also lifts the blues standard ‘Walking Blues’ in this albums track, ‘Woke Up This Morning.’ Bonds and Lyon also incorporate Allen Toussiant's *(Huey Smith), <em><strong>'Come on everybody take a trip with me. Down the Mississippi, down to New Orleans' </strong></em>on 'Umbrella In My Drink." <br /><br />If the album’s opening track, ‘Harder than It Looks’ refers to Lyon’s often struggling thirty-five professional career, then the album’s three closing tracks puts a stake in the ground for this powerful and revitalized performer; ‘Keep on Moving,’ ‘You Can’t Bury Me,’ and the powerful nostalgic ‘Thank You.’<br /><br />This is not an album for blues purist but the vast majority of blues fans will eat up this album with a fork and spoon. The melody lines are rich, the arrangements are excellent and the band plays for the songs. If you have albums that are your ‘Saturday night special’ or a ‘Sunday morning wake-up call,’ this is your ‘jump in the car and drive’ record that pounds on your door. Blues deejays could ‘drop the needle’ on just about any track but if you show lean traditional try the third track, ‘Woke Up This Morning.’ If you are looking for texture in your show, ‘Harder than It Looks’ or ‘Cross the Line’ are propelling. The closing ballad, ‘Thank You’ shares a common ‘look back in fondness’ an over 40 audience will easily relate to. <br /><br />Besides anyone that can include, “<em><strong>I think Mkultra is messing with my mind</strong></em>” deserves accolades. <br /><br /><em>[“Mkultra was the code name for a covert, illegal CIA human research program, run by the Office of Scientific Intelligence” which began in the 1950’s, “continuing at least through the late 1960s, and it used U.S. and Canadian citizens as its test subjects.” (LSD was used in this program.)] </em>Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0tag:blogger.com,1999:blog-8498969748819698241.post-41754990872183652702010-07-29T10:41:00.000-05:002010-07-29T11:01:22.892-05:00Article: What is the Blues?<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggum5JTipYQBvWzmTkhNCRPTRxlCVDkQ2Vi0zdkAzerggnTiGF4Sot3QVJwkYNalCJl2D_Nx0EWGDhCsA-kWBOufFirrSfP9eoNcJa4Ia-1Y3Iz66w9IQFkbJivrFRRrMfFMXyqbe4TPc/s1600/19056_278374577675_604207675_3824815_5099463_n.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 299px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggum5JTipYQBvWzmTkhNCRPTRxlCVDkQ2Vi0zdkAzerggnTiGF4Sot3QVJwkYNalCJl2D_Nx0EWGDhCsA-kWBOufFirrSfP9eoNcJa4Ia-1Y3Iz66w9IQFkbJivrFRRrMfFMXyqbe4TPc/s400/19056_278374577675_604207675_3824815_5099463_n.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5499358910784397410" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfjefeVdJiRzKVEOxera4z_lWVNBgFEj8F8-H-rEnMzTbZLrnzLSFxhs2cQcd6KcPALqi4hJ2enI-WbEKlmnU9poXVlQ0kB0VpuaPjqGRahfV47xPT_3moKNHmvl_pxVSFv2RLtZ5EmAM/s1600/Galusha+2009.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 120px; height: 120px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfjefeVdJiRzKVEOxera4z_lWVNBgFEj8F8-H-rEnMzTbZLrnzLSFxhs2cQcd6KcPALqi4hJ2enI-WbEKlmnU9poXVlQ0kB0VpuaPjqGRahfV47xPT_3moKNHmvl_pxVSFv2RLtZ5EmAM/s400/Galusha+2009.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5499357855491818242" /></a><br /><strong>What is the Blues?<br /><br />Writers: Rick Galusha, Chris D. Thomas</strong><br /><br />Recently, noted music critic and <em>Wall Street Jour</em>nal writer Jim Fusilli rightfully lamented that most blues fans are willing to accept only a limited range of styles. He also pointed out that because of this self-imposed limitation, the genre suffers; creative bands willing to explore the edges of the blues are discouraged by the lack of audience and airplay. Fusilli’s article begs the question, “What is the blues?”<br /><br />There’s no one answer to that question, and suggesting there is would be part of the problem. But here are a few thoughts on this issue. <br /><br /><strong>Writing about music is based upon opinion.</strong> What a reviewer thinks is simply his or her opinion. There are, of course, educated opinions based upon a wide variety of listening and reading. For example, one can state a fact such as, ‘Stevie Ray Vaughan tragically died while his mass popularity was still growing.’ It is an opinion that “Texas Flood” was his best recording. I think it is fair to state that Jim Fusilli has a well-educated opinion, listens and writes about a diverse selection of music, and has darn good taste. Remember that Led Zeppelin was originally panned in <em>Rolling Stone magazine </em>and that this gaffe defined the relationship between the band and rock critics for nearly a decade. In other words, even “educated” reviewers get it wrong. <br /><br />Most recognize traditional blues as being three chords (1, 4, and 5), 12 bars (or measures) and base the vocals on a ‘call-call-response’ where the second line is a repeat of the first line. Traditional blues can be simple to play, doe not require a great deal of musical training, and can be simplistic lyrically. As the form becomes more complicated, it moves away from the “traditional blues” sound. When Muddy Waters electrified his sound, added sidemen known as ‘Headhunters’ and created the instrumentation line-up that would become the sound of rock n’ roll (drums, bass, 2 guitars and vocals) he helped create the so-called, ‘Chicago Blues’ sound. So progression of the art form is tolerated, or should be. <br /><br /><strong>Rock music’s influence is culturally pervasive in Western culture</strong>. What a musician listens to is going to influence his sound regardless of the genre he plays. Easy examples of this include Who guitarist Pete Townshend’s use of the banjo (a preferred instrument of pre-WWII English entertainers) and Doors guitarist Robbie Krieger’s flamenco styling. Since the commercial explosion of rock music, American culture has been inundated by rock music. (I am skeptical when an artist claims to have always preferred the blues: the comment defies the impact of radio, advertising, media and pop culture.) Interestingly, traditional blues music, with its emphasis on rhythm and simple lyrics and its basis in black culture shares similarities to rap music. When Muddy Waters sings, “I’m a man,” listeners nod their heads in approval. But the overt appeal to violence and similar braggadocio in rap implies for some listeners a very real and unappealing threat. (Interestingly, violence employed in movies, television or literature is acceptable entertainment but references to violence in rap is often construed as a threat.)<br /><br /><strong>The Modern Blues market consists of blues acts as well as non-blues bands that appeal to the roots & blues audience</strong>. Most readers of this column would readily identify Eric Clapton as a bluesman. His roots with the John Mayall Band and a significant portion of his solo recordings reinforce Clapton’s blues credibility. However, Clapton’s Tulsa Period, which feature pop-ready ballads such as “Beautiful Tonight” or his ‘Reptile’ project fall outside of, blues confines. Dave Alvin has strong “roots and blues” pedagogy but his music, wonderful as it is, is not blues by most listeners’ standards. None-the-less, his crossover within the blues market is well- established. A dilemma presents itself when judges or reviewers cast their net on acts that are clearly not playing the blues, yet appeal to a blues audience. <br /><br /><strong>The blues was a Black-American artform</strong>. While it began as an African-American artform, the blues has moved into a larger market; white folks now make up the majority of the audience. With this migration comes a debate about whether non-black musicians are capable of playing the blues. It can be argued that early progenitors played the blues loosely and that this relaxed approach, focused on rhythm, allowed the player to extended measures, skip chords, employ irregular rhythms or play whatever his or her muse suggested. What some could refer to as authenticity could also be referred to as sloppiness. (It is this “sloppiness” that differentiates the Rolling Stones sound from other mainstream FM radio acts). Trained musicians will tightly follow measures, key and chord changes. Since the culture of Traditional Blues was about uneducated day-laborers teaching each other, swapping techniques and nurturing younger players, the blues roots are in untrained musicianship. So when a trained musician begs into the genre it can be perceived that what he plays’s, “ain’t the blues.” If consumers vote with their dollars there is an audience for both. Like the rest of the country, Black-Americans have developed diversified listening interests and therefore the European-American influence on the blues is growing. <br /><br />Finally, <strong>some music is intended to be art, while some is highly disposable</strong>. Not every album will be artistically significant. Few would argue that Bach withstood the test of time, whereas the list of forgotten acts is extensive. Occasionally, “Tastemakers” attempt to convert temporal pop acts to credible artists such as the recent, ‘Songwriters Hall of Fame’ honor for Taylor Swift. A cynical aspect of this is when a child lays claim to the coattails of a famous parent.<br /><br /><strong>Listening takes patience</strong>. Personally I often find that when an album opens too quickly, and the enjoyment is immediate and intense, I soon tire of listening to the record a/k/a “it has no legs.” Whereas, upon initial listens, if a record hints of substance it will, like an onion, peel and reveal its art upon repeated listening. It is often the not too subtle argument of snobs that the lack of patience and educated listening skills retards a genre’s wider audience of the ability to recognize its finer offerings. <br /><br /><strong>Essentially there are five categories for blues CDs</strong>; <br /><br />1.) <strong>Art</strong>. Albums that are finely crafted and intended to make an artistic statement. These albums tend to open slowly and require repeated listening. They also have a long “shelf life” and bear repeated listening over decades. Often these albums move months or even years ahead of the mass audience listening curve and are often not recognized upon release. These albums are by artists that, generally, have considered their image and include quality CD packaging. (9-10 rating)<br /><br />2.) <strong>Good Records</strong>. Sometimes an album is just good. It is an above-average performance that some folks will enjoy and some will not. The album is neither groundbreaking nor bad. It is a statement of the artist at the time it was recorded and its shelf life will depend upon the trends of the genre as well as the artist’s touring and commercial relevance. (6-8 rating)<br /><br />3.) <strong>“Pipeline fillers”</strong> These are lesser-quality albums by artists that have established or are establishing careers, but for whatever reason their current release is subpar. Many times these are barroom acts with little opportunity to rise above the occasional “big stage” festival showing. These acts gravitate between labels with regularity and often use covers or live tracks to fill up the album. Often these albums contain one or - perhaps two dynamite tracks. (4-5 rating)<br /><br />4.) <strong>Souvenirs</strong>. These are sold off the stage and have little if any shelf life. These artists are flogging it out on the road hoping for a break that catapults them to a better quality life. While their names are known by concert- goers, the passion of the moment quickly subsides. These artists have been known to use gimmicks such as topical songs, blues renditions of popular rock songs or claims of unconfirmable historical significance. (3- 5 rating)<br /><br />5.) <strong>Friends and Family</strong>. These are hobbyist projects that are fun for the makers as well as their friends and family members. These albums suffer from poor quality album artwork, weak songwriting, poorly developed covers and no distribution. These albums often over-employ clichés and lack artistic originality. These albums also often feature photos of the band on the cover. (0 – 2 rating)<br /><br /><strong>What is the allure of the blues?</strong> Every culture has its own mores and standards. A common depiction of the modern blues scene is of overweight white males in bowling shirts wearing fedoras and sunglasses and sporting a “soul patch” under their lower lip. As Be Bop Deluxe’s Bill Nelson sang, “We revolt into style.” It is interesting that a highly dogmatic musical culture has a generally acceptable uniform. <br /><br />In his personal exploration, “Lost in Music?, Subjective personal introspection and popular music consumption” (Shankar, 2000) British researcher Avi Shankar report on why we listen to or participate in the music we do;<br /><br />a.) “Music is symbolic communication…it can easily recall a whole time and place, distant feelings and emotions, and memories of where we were and with whom…Music can also be a theme, a rallying cry, a protest around which we gather to speak out against social injustice.” (Lewis, 1992)<br /><br />b.) “[...P]opular music still chronicles the feelings and life experiences of large sections of young people, providing a medium which an affective grounded aesthetic can be developed to enable personal and private feelings to be expressed and shared.” (Willis, 1990)<br /><br />c.) “…music helps us to make sense of our everyday lives and experiences.” (Shankar, 2000)<br /><br />d.) “…music is also important in letting other people know who we are, or would like to be, what group we belong to, or would like to belong to.” (Lewis, 1992)<br /><br />There are a myriad of “styles” within the blues genre but none are as prevalent as the, ‘Twang bar kings’ and the ‘purists.’ <br /><br /><strong>Twang Bar Kings</strong>. These are your axe pyrotechnicans that often use songs as a platform for extended jams. The songwriting tends to be weak and often the vocals are secondary to the jam. There are credible players within this “rock blues” category, including; SRV, Robben Ford, Aynsley Lister and relative newcomer Matt Schofield. A criticism of this genre is that certain players are heavy handed, for instance; Walter Trout or Chris Duarte. What is clear is that in a live music setting the audience will react to the “sound” of the Twang Bar King. So the emotion of the moment solicits a positive reaction from the audience, but rarely translates onto recordings. <br /><br /><strong>Purists</strong>: This is a genre in which players replicate songs and styles of recordings from the early roots of the blues. Often a solo act, purists play a stripped down, raw or pure blues sound. In some ways these contemporary purists keep the blues alive by going all the way back to the sound’s recorded roots – offering live audiences an opportunity to hear and feel an approximation of what early blues probably sounded like. The downside of this genre is that while imitation may be the highest form of flattery, it can quickly become over-wrought. Another challenge for contemporary purist recordings is that their CD’s compete with the original recordings. Artists that I think do well within this genre include; Corey Harris, Chris Thomas King, Keb Mo, John Hammond and Eric Bibb; these artists tend to build upon the existing catalogue and contribute to the artform by taking it forward. <br /><br /><strong>Album Covers</strong>: The album jacket is the invitation to listen. According to Roger Blackwell, the music on a CD will at best rate a seven on a ten scale. It is often the image and ancillary messages of an act that will differentiate a ‘good’ band from a ‘great’ band. (Roger Blackwell, 2004). In an environment where music has to compete with Play Stations, children, jobs and 24-hour news cycles, the audience wants more than just good music. They want to be a part of something larger than themselves, something that is entertaining, coincides with their dreams or aspirations, and provides an emotional resonance. According to Blackwell, the artwork of a CD is 33% of the perceived value. A photograph of average looking people is short-selling the effort. Bands need to define an image and then make certain that EVERY ASPECT of their presence reinforces this image including; websites, posters, stage presence and interviews. It is amateurish and confuses the audience when an act emits messages that conflict… so Blackwell may be suggesting that if you want a “real career” take the time to develop a message, massage it and then be prepared to update your image before it stagnates. <br /><br /><strong>Album Length</strong>: Back when vinyl was king, critics could count on two hands the number of “great” double albums (two discs). “Great” single disc albums average up to 40 minutes in length. Even talented songwriters seem incapable of writing more than 40 minutes of good music in a 12-month period. So although a CD can hold nearly 80 minutes of music, “you” (or anyone else) are incapable of writing that much good music. Talk to your fans… no one “hears” anything past the 8th or 9th track. So drop the filler and leave your audience wanting more. Prolific artists can (and should) use online only releases to keep the “consumer pipeline” full in between CD releases. Use tasty covers, acoustic versions and unreleased or sub-par tracks to keep your fans coming back to your website. Nurture your base by giving them MORE than they expect… so that when that next T-shirt design or CD release is ready, you have a well- established relationship with your audience; thereby making your marketing efforts less burdensome. If you are serious, take time to review the websites of other artists; do you marketing homework. <br /><br /><strong>Kids don’t want to listen to their parents “Blues.”</strong> There are also blues bands that want nothing to do with the blues market. Acts like The Black Keys have clearly chosen to pursue the modern indie rock market, and who can blame them? One of the base tenants of rock n’ roll is that your parents are specifically not invited. This does not lessen the contribution of acts building an audience outside of the blues but it does explain some of the distance you may have noticed in their outreach. I find it amusing when young critics bash the “blues scene” and then praise blues acts that are marketed specifically towards them; failing to recognize their own gullibility to label marketing efforts. <br /><br /><strong>All contemporary Blues fans got there by listening to rock music… </strong>with The Rolling Stones, The Allman Brothers or Led Zeppelin being the biggest influences. The best selling blues acts are; B.B. King, Stevie Ray Vaughan and Eric Clapton. Robert Johnson is more significant than Charley Patton although they both vie for the title, “King of the Delta Blues.” It doesn’t matter if it was actually Tommy Johnson who sold his soul at the crossroads; perception trumps reality and Robert Johnson’s lore is as cemented in American history as Paul Revere’s ride. <br /><br /><strong>What is the role of the blues deejay?</strong> Entertainment is the basis for any radio host. I appreciate a degree of discernment. With more than 30,000 recording albums coming out annually, deejays need to listen to a wide breadth of music. An objective radio host has the opportunity to help their audience sift through the mountain of releases to identify ‘good’ titles. It is easy to allow label hype to take the lead. Deejays should be cognizant of the local scene helping to promote upcoming shows as well as, gulp, playing lesser acts that their audience appreciates. I also use my program to abet local acts build awareness by playing their CDs and hosting interviews. <br /><br /><strong>What is the role of the blues writer? </strong>There are three (general) types of album or concert writers; <br /><br /><strong>-Advocates</strong>. These are established fans who want you to enjoy what they like. There is nothing wrong with this; however, these are the least discerning since their bias is apparent. They seem to like everything.<br /><br /><strong>-Critics</strong>: These are writers who cast a critical eye on everything. While often appearing to be unhappy with anything, these writers discuss and contemplate art and, for me, help define trends with an eye on history and how something may, or may not, fit in. While good music is defined by what “you” enjoy, critics hold the art form to its highest standard and are quick to condemn ‘disposable music.’ Unfortunately “trendy” or “faddish” music is often highly disposable. (Take a look your CD collection for titles you “loved” but no longer listen to.)<br /><br /><strong>-Reporters</strong>: These writers seemingly focus on upcoming events and simply discuss them – providing facts and information. Readers are often left wondering what the reviewer’s opinion is. In a world awash with music; most bad, some good and very little ‘great,’ the role of the reviewer can be less than helpful since the reader is left to gamble with their entertainment dollars.<br /><br />It is important to remember that since blues music is guttural, writers are simply using their knowledge and experience to form an opinion. Since a written opinion should be rational rather than emotional – the reader is well within their rights to disagree. I recommend that you find a writer whose opinion generally coincides with your own and use them to wade through the heap of music beckoning for your ears. <br /><br /><strong>Bibliography</strong><br />Lewis, G. (1992). Who Do You Love? The dimensions of musical taste. In Popular Music and Communication, 2nd Edition. Newbury Park, California: Sage Publications.<br /><br />Roger Blackwell, T. S. (2004). Brands that Rock - what business leaders can learn from the world of rock and roll. Hoboken: John WIley & Sons, Inc. .<br /><br />Shankar, A. (2000). Lost in Music? Subjective personal introspection and popular music consumption. Retrieved July 14, 2010, from Proquest Database: http://proquest.umi.com/pdqlink?vinst=PROD&fmt=3&startpage=-1&ver=1&vname=PQ<br />Willis, P. (1990). Common Culture. Milton Keynes (England): Open University Press.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com6tag:blogger.com,1999:blog-8498969748819698241.post-73205650467246469902010-07-27T20:09:00.002-05:002010-07-27T20:11:06.336-05:00Album Review: Rob Stone, Back Around Here<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2CpF4MmwgetVUKQzCXHMPF52AYe2CSc2WafyFOZApFLIpicKLLbFpfKALKSrPtjxK6WKeB25iG2coy2Dcw2zlhBQ3RGyPql1tbP_4PX2YAkBX255ARidGquotD26rHS556lqTrS0pu1Y/s1600/Rob+Stone.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 120px; height: 120px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2CpF4MmwgetVUKQzCXHMPF52AYe2CSc2WafyFOZApFLIpicKLLbFpfKALKSrPtjxK6WKeB25iG2coy2Dcw2zlhBQ3RGyPql1tbP_4PX2YAkBX255ARidGquotD26rHS556lqTrS0pu1Y/s320/Rob+Stone.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5498758298738953906" /></a><br />Artist: Rob Stone<br />Title: Back Around Here<br />Writer: Rick Galusha <br /><br />When Rob Stone’s previous album, ‘Just My Luck’ came out it was my album of the year. No, it was probably not “the best” blues album that year but it was so fresh, so unrecognized and so accessible that I was swooned. When I saw that the drought was to be broken, that Stone was releasing, ‘Back Around Again’ my expectations soared. <br /><br />Stone’s former band mates Chris James (guitar) and Patrick Rynn (bass) a/k/a ‘The C Notes’ join in the recording with appearances by some of Chicago’s finest including; Aaron Moore (piano), Sam Lay (drums) and Willie ‘Big Eyes’ Smith (drums). Like Stone, Boston native David Maxwell (piano) also plays on the record.<br />Stone’s sound is pure 1950’s Chicago with flicks of other blues city sounds such as the New Orleans beat on the focus track, “Chicago All Night.” It is on “Chicago All Night” that the album begins to gel as the Stone’s lyrics take the listener through a late night until dawn tour of the Windy City’s noted blues venues, eateries and asundry hang-outs. On the fifth track, “I Need a Money Tree” Stone tiptoes around clichés themes without stepping off the balance beam. Perhaps this is the base draw to Stone’s recordings; that he harkens that lovely blues vibe that most associate with Chicago without being overly reliant on covers or rehashing tired clichés. Albeit an up tempo album, Stone has a vague Harry Connick vocal quality that is boosted that he is cognizant of what he can, and therefore cannot, sing. There is none of the faux-shouter blues growly mish-mash here – just a guy having a great time. <br /><br />The album falls short, for me, because there are too many tracks. The albums textures are consistent and perhaps I just need a tad more variance in sound: admittedly Stone let’s us know he has no interest in taking the artform beyond the establish 50’s sound. Since his first album provided a fine rendition of the post-war Chicago blues sound, a lack of maturation or perhaps development is apparent. <br />Radio hosts might look at, ‘Can’t Turn Back the Clock’ for an entry way into the record: David Maxwell rollicks across the keyboards and the song’s form is a pure, easily recognized but tasty blues treat. <br /><br />Not a “great” album but fun and above average.Rick Galushahttp://www.blogger.com/profile/09571156608604364118noreply@blogger.com0