Rick Galusha's Pacific Street Blues and Americana

One Perspective: 2011, A Year in the Blues

2011-12-27T09:11:00.000-08:00

One Perspective: 2011, A Year in the Blues

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;

1. Tab Benoit, Medicine
2. Tedeschi – Trucks Band, Revelator
3. Quintus McCormick Blues Band, Put it on me! (True soul meets Chicago Blues)
4. Roy Gaines and his Orchestra, Tuxedo Blues
5. Robin Trower, the playful heart, and (His best effort since ‘Bridge of Sighs’
6. Damon Fowler, Devil Got His Way

Blues song of 2011; Hadden Sayers, ‘Back to the Blues’ (featuring duet w/ Ruthie Foster)

Runner Up;
1. Roy Trevino, ‘Sin Ella’
2. Smoove & Turrell, ‘Hard Work’
3. Robin Trower, ‘Find Me’

Eye on the Horizon;
1. Gary Clark Jr.
2. Trombone Shorty
3. Russ Tippins Band,
4. Roy Trevino

Unsigned bands of significant note;
1. Smoove and Turrell, Eccentric Audio – New millennium Northern Soul (England)
2. Jim Stapley, Live – Paul Rogers (Free/ Bad Company) fronts Humble Pie (Steve Marriott / Peter Frampton)
3. Mitch Gettman, Worn
4. The Poorboys – (self titled) – “Englishicana” at its finest (Americana with a melody.)

Blues come-back records of 2011;
1. Hadden Sayers, Hard Dollar
2. Johnny Winter, Roots
3. Savoy Brown, Voodoo Moon

album review: Cindy Bullens, 'Howling Trains and Barking Dogs'

2011-07-06T07:27:00.000-07:00

Artist: Cindy Bullens
Title: Howling Trains and Barking Dogs

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.’

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.

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.’

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.

album review: Hadden Sayers, 'Hard Dollar'

2011-05-20T08:38:00.000-07:00

Artist: Hadden Sayers
Title: Hard Dollar

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.

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.

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.

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.

Album Review: Etta James, 'Essential Modern Recordings'

2011-05-16T07:59:00.000-07:00

Artist: Etta James
Title: Essential Modern Records Collection

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.)

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.

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.

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.

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.

Album Review: Joe Pitts, Ten Shades of Blue

2011-05-12T07:57:00.000-07:00

Artist: Joe Pitts
Title: Ten Shades of Blue

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.

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.

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.

Programmers can pick a cover and rest assured that Pitt’s authentic blues delivery will satiate a blues listenership.

Album Review: The Kilborn Alley Blues Band, Better Off

2011-05-09T11:12:00.000-07:00

Artist: Kilborn Alley Blues Band
Title: Better Off Now

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.

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.

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.

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.

Album Review: Carolina Chocolate Drops, 'Genuine Negro Jig'

2011-03-23T08:39:00.000-07:00

Artist: Carolina Chocolate Drops
Title: Genuine Negro Jig

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.’

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.

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

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.

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.

album review: Eric Johnson, Up Close

2011-03-07T08:26:00.000-08:00

Artist: Eric Johnson
Title: Up Close

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.

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.

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.

On the fourth track, “Texas” Johnson covers the Buddy Miles/ Mike Bloomfield (Electric Flag) track which is the only straight-ahead blues song.

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.

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

that appeals to their limited scope in musical stylings.

Album Review: Robin Trower, The Playful Heart

2011-02-27T13:08:00.000-08:00

Artist: Robin Trower
Title: the playful heart

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.

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.

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…

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.

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).

‘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.

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.

Album Review: Russ Tippins Electrickery

2011-02-08T07:52:00.000-08:00

Artist: Russ Tippins Electric Band
Title: electrickery

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.

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).

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.

Christmas Gifts Blues CDs

2010-12-02T08:06:00.002-08:00

Looking at the Blues in 2010.
Writer: Rick Galusha

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.”

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.

• 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.

• 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.

• 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.

• 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.
There are three releases by ‘major artists’ that should appeal to the majority of blues fans;

• 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.

• 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.

• ‘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.

• 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.

Vocally there are two other albums that stood out for me…

• 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.

• 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.

• 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.

• 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.

• 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.

Album Review: Chris James & Patrick Rynn, 'Gonna Boogie Anyway'

2010-11-25T08:27:00.000-08:00

Artist: Chris James, Patrick Rynn
Title: Gonna Boogie Anyway

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.’

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.

This is a straight forward electric pure blues record; no flashy bells and whistles.

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.

Album Review: Piano Red, 'The Lost Atlanta Tapes'

2010-11-25T08:25:00.000-08:00

Artist: Piano Red
Title: The Lost Atlanta Tapes

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.

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.

Album Review: Jim Byrnes Everywhere West

2010-11-11T08:24:00.000-08:00

Artist: Jim Byrnes
Title: Everywhere West

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.”
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.’

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.

Album Review: Leon Russell, Elton John / The Union

2010-11-01T13:47:00.001-07:00

Artist: Elton John and Leon Russell
Title: The Union

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.

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.

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.

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.

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.

You can take the boy out of Vegas but…

Album Review: Mitch Woods, Gumbo Blues

2010-10-20T09:29:00.000-07:00

Artist: Mitch Woods
Title: Gumbo Blues

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.

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.

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.

Album Review: Kirsten Thien, Delicious

2010-10-13T07:10:00.001-07:00

Artist: Kirsten Thien
Title: Delicious

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.

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.

Album Review: Robert Cray, Cookin' in Mobile

2010-10-01T14:41:00.001-07:00

Artist: Robert Cray
Title: Cookin’ in Mobile

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.

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.

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.

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.

Political Editorial: Taxing Internet Sales

2010-08-31T09:09:00.000-07:00

This Op-Ed piece was printed initially in the Omaha World Herald, 2009

I say it is time to collect internet sales taxes.

This call to arms may be anathema to a fiscal conservative but let’s inject some facts into the discussion.

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.

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].

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.

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.

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.”

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.

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.

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.

Richard ‘Rick’ Galusha

SOURCES:

Fowler, G. A. (2009, June 19). Amazon Threatens Cuts Over State Taxes. Wall Street Journal , p. B3.

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

Tischler & Associates. (n.d.). Retrieved September 18 , 2003, from http://www.smartgrowth.org/news/bystate.asp?state-ID

Political Editorial: Whiteclay

2010-08-31T09:05:00.001-07:00

Published Sunday August 29, 2010
Omaha World Herald newspaper

Midlands Voices: Act urgently on Whiteclay
By Rick Galusha

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.

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:

>> 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).

>> 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).

>> 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).

>> 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).

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).

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.

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.

While the choice of sobriety is an individual decision, there are several things Nebraskans can do to provide hope:

>> Demand enforcement of existing Nebraska laws in Whiteclay, Neb.

>> Empower our elected officials to begin seeking long-term solutions to this extreme poverty, including calling upon the government of South Dakota to participate.

>> Create awareness by sharing this commentary with family members, friends, co-workers and congregants.

>> Take specific action by sending letters and e-mails and placing telephone calls to elected officials.

>> Use social networking to enhance awareness.

>> 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.)

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.

To quote Edmund Burke, “If not us, then who? If not now, then when?”

Rick Derringer Album Review

2010-08-19T14:59:00.001-07:00

Artist: Rick Derringer
Title: The Three Kings of the Blues
Writer: Rick Galusha

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.

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.

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.

Album Review: Indigenous, 'The Acoustic Sessions'

2010-08-06T22:03:00.000-07:00

Band: Indigenous
Title: The Acoustic Sessions
Writer: Rick Galusha

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).

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.

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.

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.

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.

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.

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.

Album Review: Southside Johnny and the Asbury Jukes, 'Pills and Ammo'

2010-08-05T18:19:00.000-07:00

Artist: Southside Johnny & the Asbury Jukes
Title: Pills and Ammo (A Little Chaos is Good for the Soul)
Writer: Rick Galusha

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.

“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.” ‘Lead Me On’

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.

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,

“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?”

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), 'Come on everybody take a trip with me. Down the Mississippi, down to New Orleans' on 'Umbrella In My Drink."

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.’

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.

Besides anyone that can include, “I think Mkultra is messing with my mind” deserves accolades.

[“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.)]

Article: What is the Blues?

2010-07-29T08:41:00.000-07:00

What is the Blues?

Writers: Rick Galusha, Chris D. Thomas

Recently, noted music critic and Wall Street Journal 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?”

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.

Writing about music is based upon opinion. 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 Rolling Stone magazine 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.

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.

Rock music’s influence is culturally pervasive in Western culture. 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.)

The Modern Blues market consists of blues acts as well as non-blues bands that appeal to the roots & blues audience. 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.

The blues was a Black-American artform. 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.

Finally, some music is intended to be art, while some is highly disposable. 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.

Listening takes patience. 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.

Essentially there are five categories for blues CDs;

1.) Art. 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)

2.) Good Records. 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)

3.) “Pipeline fillers” 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)

4.) Souvenirs. 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)

5.) Friends and Family. 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)

What is the allure of the blues? 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.

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;

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)

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)

c.) “…music helps us to make sense of our everyday lives and experiences.” (Shankar, 2000)

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)

There are a myriad of “styles” within the blues genre but none are as prevalent as the, ‘Twang bar kings’ and the ‘purists.’

Twang Bar Kings. 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.

Purists: 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.

Album Covers: 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.

Album Length: 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.

Kids don’t want to listen to their parents “Blues.” 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.

All contemporary Blues fans got there by listening to rock music… 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.

What is the role of the blues deejay? 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.

What is the role of the blues writer? There are three (general) types of album or concert writers;

-Advocates. 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.

-Critics: 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.)

-Reporters: 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.

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.

Bibliography
Lewis, G. (1992). Who Do You Love? The dimensions of musical taste. In Popular Music and Communication, 2nd Edition. Newbury Park, California: Sage Publications.

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. .

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
Willis, P. (1990). Common Culture. Milton Keynes (England): Open University Press.

Album Review: Rob Stone, Back Around Here

2010-07-27T18:09:00.002-07:00

Artist: Rob Stone
Title: Back Around Here
Writer: Rick Galusha

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.

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.
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.

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.
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.

Not a “great” album but fun and above average.

Album Review: Bob Malone, 'Ain't What You Know'

2010-07-18T16:45:00.000-07:00

Writer: Bob Malone
Title: Ain’t What You Know
Writer: Rick Galusha

When your friends and co-workers are among the finest studio musicians from one of the world’s most competitive music centers, you have an advantage if played properly. Born in Maine, reared in New Jersey, a graduate of Berklee School of Music and apprenticed in New Orleans; the sixth album by Los Angles based studio keyboardist Bob Malone, “Ain’t What You Know” is a finely honed, exceptionally well crafted album. Much like the ultimate genre hopper Eric Clapton, Malone is able to move effortlessly between overt blues based tracks to the John Hiatt-like, ‘Small Girl’ or the pop radio, ‘Butterfly.’

Malone’s choices for the albums only two covers; The Band’s ‘Up on Cripple Creek’ and The Faces’ “Stay With Me,” indicate the artist’s larger vision for the album; blues based textures relying on solid songwriting and smooth studio production with an eye on commercial appeal to a mature audience with a Classic Rock background. Producer Bob DeMarco effectively uses depth and space, including a smokin’ horn section and female back-up vocals, to actively engage the listener’s ears while paying homage to the song.

While only reminiscent of a traditional blues sound, Malone appeals to the roots and blues audience with heartfelt ballads, nuisanced arrangements and a never ending tour schedule. If one were to take the blues credibility of Dr. John, the songwriting of Jimmy Webb and the arrangement skills of early period Elton John, we see Malone in vesture that suits him perfectly. More traditional blues fans may find this particular outing to lack sufficient rough edges; however, blues and roots radio programmers that seek to introduce lesser known artists will be able to widen their audience. Over its ten tracks this album is a well rounded and well above average.

Album Review: Son of '76 & the Watchmen 'Shangri-La'

2010-07-05T07:04:00.000-07:00

Artist: Son of ’76 & the Watchmen
Title: Letters from Shangri-La
Writer: Rick Galusha
Rating: 7

“Letters from Shangri-La” is the latest release from the Nebraska based roots rock band, ‘Son of ’76 & the Watchmen.’ Debut albums often tend to be a “kitchen sink” affair where the band throws in years of songwriting creating an album of mixed styles, multiple themes and influences. That this is the third album from the band only adds to their genre defying mystic. Unfocused albums require more interactive listening and since an uncommitted fan is, at best, a passive listener, this album does not unfold itself easily to the ear.

Led by Josh Hoyer’s rootsy barenecked vocals, the album includes songs with a hint of New Orleans (Katrina Revisited), a harkening of Ireland (Annie’s Heart), Roy Orbinson (The Moon) and an Americana base that transcends defined categories; think of Tom Waits fronting the Outlaws singing Dave Alvin material from the ‘Blackjack David’ period. Because of the length, 15 songs, the album can easily lose the listener as it jumps from style to style. This is an album that will challenge the listener’s commitment to wait, listen and find the beauty that lies within.

Hoyer uses the album to sing about two of the region’s darkest themes.

On his 1982 release, ‘Nebraska’ Bruce Springsteen sang of a mass murder spree in 1958 that spread across Nebraska and into Wyoming. Born in Lincoln, Nebraska, Charlie Starkweather and accomplice Caril Ann Fugate spread fear across the state as they murdered her family and others. While Springsteen sang from Starkweather’s perspective, Hoyer sings from the perspective of the fictional son of Starkweather. It is a harkening to the dust bowl song theme of criminals and hero’s. On '
Outside Looking In' Hoyer sings of Nebraska’s shame today: Whiteclay is an unincorporated village of 14 residents with four package stores that peddle 3 to 4 million cans of beer per year to the dry Native American Pine Ridge Indian Reservation's 38,000 residents. Much like the track 'Place I Know,’ from Indigenous, Hoyer sings of the alienation and hopelessness of living amid a Reservation community where alcoholism rates exceed 60% of the adult population.

Devoid of overt catchy pop-tracks, “Shangri-La” leans heavily on the piano tracks of Nicholas Semrad to hold the band’s sound together by moving smoothly behind the lead instruments adding depth and texture.

At its core this is a very good but complex album that does not easily unfold. Anyone willing to invest the effort to experience the immense depth of this record will become acquainted with a true artistic expression that sets aside any pretext towards commercialism. A glance at today’s sonic landscape puts ‘The Watchmen’ in a vein of developing along a line of contemporary music that haunts dingy taverns and make-shift venues aspiring towards an appearance on Austin City Limits. For the true music connoisseur this record will become a precious gem but recognized as such by only a few. The songs are well composed and the musicians bring the songs to life. After numerous listenings the album rises above well above 'regional release quality' to become a solid foundation for national aspiration. Time and again we see maturing artist focus their sound to capture a wider audience. While this tact can build an audience, it is often done at the expense of art.

Being a recovered independent retailer I appreciate the bands, ‘Big Box Store’ track bemoaning the homogenization of America’s small towns and retail landscape. More accomplished radio hosts might focus in on ‘She’s the Kind of Woman’ or the beautiful uptempo ‘Avalee,’ where Hoyer sings to instill hope in a daughter and that she has “got to believe” something better awaits in her future. Should ‘Son of ’76 & the Watchmen ‘ cast aside the comforts of home and hit the road something better may await their future: this is an act with promise and worthy of keeping an eye on.

Album Review: John Nemeth, Name the Day!

2010-06-03T12:55:00.001-07:00

Artist: John Nemeth
Title: Name the Day!
Writer: Rick Galusha
Rating: 6

Like a breath of fresh air, the ‘soul resurgence’ movement has gurgled up and onto the radar of most blues music fans. Recently Sharon Jones and the Dap Kings helped bring the movement to a wider spectrum of fans via’ a nice spread in the USA Today newspaper. Along with James Hunter, Eli ‘Paperboy’ Reed, Darrell Nulisch, Lou Pride and Tad Robinson; John Nemeth has been an up and coming act within a genre popularize by the likes of Otis Redding, Sam & Dave and Aretha Franklin.

Since his signing with Blind Pig Records back in 2006, John Nemeth has sat atop a powerful publicity machine creating awareness and fan adulation across the blues spectrum. Nemeth has been nominated numerous times for a Blues Foundation Award.
On his latest album, ‘Name the Day!,’ Nemeth’s music leans hard into a traditional blues sound with a heavy R n’ B feel. His harmonica playing is featured throughout this groove laden album. Of the albums eleven tracks, ten are written by Nemeth. The album also includes a cover of Otis Blackwell, “Home in Your Heart.” Blackwell is perhaps best known for having written songs made famous by Elvis Presley, “All Shook Up” and “Don’t Be Cruel.”

While the album is good, the associated hype is elevating expectations beyond delivery. This is an above average national recording by a hardworking and respectable artist but within the genre Nemeth’s songwriting and arrangements simply do not deliver as well as others. Perhaps the great allure to Nemeth’s career is his willingness to “sell” the entertainment and a diehard road dog attitude by playing every venue on the map with equal zest and vigor. In a genre amid re-growth Nemeth’s aggressive ‘take it to the listener’ work ethic is clearly paying off…and so it should. It is my speculation that his best album is in front of him. In the meantime ‘go with the flow’ and see this artist live and in a venue near you.

Album Review: Cyril Neville, Brand New Blues

2010-06-03T12:53:00.000-07:00

Artist: Cyril Neville
Title: Brand New Blues
Writer: Rick Galusha

Whether the Neville Brothers or the Marsalis’ are the first family of the New Orleans music community, both have a ready history of making fine music. And whether as solo artists, members of the Meters or recording together as, ‘The Neville Brothers,’ the Neville’s have , since 1954, made some highly listenable recordings including; ‘Fiyo on the Bayou,’ ‘Yellow Moon,’ and ‘Brothers Keeper.’
In the linear notes of his first solo album in eight years, Cyril Neville notes that Tab Benoit told him, “go blues” in 2005. While Cyril Neville’s album, ‘Brand New Blues’ may be his “blues record,” for me it is a more focused outing for the New Orleans native.

Often albums by the Neville Brothers include messages of social criticism. While the blues is usually personal, the outcry from New Orleans musicians over the 2005 flooding of New Orleans has been pervasive. On this record Neville delves elbow deep into the issue. In the linear notes writer John Sinclair tells readers that the flooding of New Orleans, “wasn’t really due to natural causes but was actually caused by the refusal of Congress to appropriate sufficient funding.” The actual finding, done in part by Louisiana State University, is, “Investigators criticized Congress for years of irregular funding and state and local authorities for failing to maintain the levees properly.” Sinclair goes on to say the flood was, “merely a trigger for institutional racism and civic ugliness.” You may agree or disagree where the blame lies; or the extent of who holds how much blame, however as a source for anguish and therefore material, the flood of New Orleans is a contemporary catastrophe and is now a part of America’s ‘disaster songs lexicon.’

So let’s talk about the music. This is not a “great” album in that it will not be widely embraced by the blues listener base. Instead it is a very strong record by a known American artist that aficionados of New Orleans and/or niche areas of blues and roots music will greatly enjoy. What Cyril shows us is a refraction of how the textures of blues music can be amalgamated into other genres and sounds. The sense and feel of this album is immediately familiar and, after hearing this recording, fans of the Neville Brothers will better recognize how Cyril contributes to the overall sound of his, ‘family groove.’

Like nearly any recording based in the poly-rhythms of New Orleans, it’s hard to keep your toes from tapping and your feet from dancing. ‘Cream Them Beans,’ is the equivalent of a Crescent City 12 bar jam as Neville talks over the track while the band rollicks.

Traditional blues radio programmers will want to focus on the album’s closing track, a cover of Bob Marley’s, ‘Slave Driver’ (where Marley’s album title, ‘catch a fire’ is coined.) This is a slow, highly textured track with a languid, slow burn. (Interestingly, Severn’s latest R n’ B singer Charles Wilson covers Marley’s ‘Is this Love’ on his latest release, “Troubled Child.”) Neville adds to Marley’s composition as he sings, “When I first saw what happen to New Orleans, my blood ran cold. My people’s freedom bought and sold,” in what develops into a quarter by quarter review of the current state of the 3rd Coast’s finest city…in its current form.

This is a good album; a credible showcase but it needs the listener’s full focus and an understanding that Neville is going to use his music as a vehicle for political advocating and, at times, I just want to hear music.

Album Review: Karen Lovely, Still the Rain

2010-05-26T20:17:00.000-07:00

Artist: Karen Lovely
Title: Still the Rain

Perhaps it was her showcase in Memphis at the International Blues Competition last January…or maybe it the cool night breeze blowing in the car window that created the proper listening setting…but whatever it was Karen Lovely’s second album, ‘Still the Rain’ totally captured my ear. In a seemingly endless cycle of average blues CDs, Lovely’s new album is the brightest spot on the horizon and a good bet to make many’a Top Blues Album list this year.

Like many recording vocalists Lovely does not necessarily have the “perfect” voice however she is self-aware enough to choose selections that compliment her strengths and she pursues them with vigor. Lovely edges away from the well trodden “shouter” and the overused octave gospel slides: instead she mixes a speaking-singing style that is empowered by strong supporting instrumentation. And credit must be given to a band that underplays so tastefully to use space and serve the song. On the track ‘Other Plans’ Lovely presents the listener with a ‘simmering’ blues replete with a soft, lilting sax line played by Michael Vannice.

The unrushed tempo of the songs, the mile wide textures and intelligent, sensitive lyrics come together to present a near perfect independent blues release that belies the maturity of an artist releasing her second album. ‘Full Time Job’ is a solid blues song with a lush piano arrangement that for whatever reason reminds me of those (priceless) early Charlie Rich Sun Recordings. ‘Glad Your Gone’ opens with a B. B. King-like guitar intro that is at once comfortable yet fresh and new.

Lovely is fortunate to front the ‘Dawwg House Rhythm Section consisting of; Lee Spath, Drums; Richard Cousins, bass; Jim Pugh, Piano & B3 and Alan Mirikitani, guitar. The songs of Producer Dennis Walker and co-writer, co-producer Alan Mirikitani give Lovely the vehicles that separate this album from others.

‘Still the Rain’ is a magnificent album that burns ever so slowly embodying a perfect balance of showcase, songwriting, and professional musicianship. Imagine a subtle Diane Schuur fronting a mid-period Ray Charles in a very intimate, very dark night club setting. Radio programmers will find that the up tempo ‘Cold Man Cold’ is a nice entry to an album.

Album Review: The Poorboys

2010-03-06T17:10:00.000-08:00

You can hear this music at; www.kiwrblues.podomatic.com

In every community there are bands of musicians that are too young to die and too committed to quit. Whether by passion or talent, over the decades the actors become proficient and move through musical genres to see which one fits best. In time these bands begin to write their own songs, transcend genre and create that blended sound that is uniquely their own. Given time to percolate, these faceless agents can create amazing albums: a monument to life spent in music. Trouble is, shifting through literal mountains of bad CDs, these records rare. Late in 2009 radio host Ally Lee recorded and began to spin a prime example of an exceptional regional release by ‘The Poorboys.’

A traditional five piece band who’s sound revolves around the Segar-like vocals and songwriting of Bob Davidson, the rich accenting keyboards of Nigel Stawart and the momentum setting drums of George Waters. Over the years this is a band that has learned the importance of using space (or not playing). Bass player Paul Mander and guitarist Graeme Kelly have an incredibly tasty presence; often by playing minimally. If taste can be measured, The Poorboys excel in good taste; knowing when to play as well as when to serve the song by not playing. It is a wisdom culled over years of playing.

There are two radio ready tracks on their self titled album. On the upbeat track, “She Moves Like Water,” Davidson sings of a free willed woman that, “moves like water, running around anything that keeps her from flowing her own way.” Using a full blown American accent, Davidson’s central character moves from human to a metaphor for time and aging as “she washes over me” and “rolls to the sea.” The songwriter’s use of water throughout the song ties together, on one level, the love of a woman and on another level a passion for an aging life.

The second radio track is “East of Paradise.” The song rolls out slowly behind a somber piano opening juxtaposed against paced drums. The band’s use of background cellos is a McCartney-like touch that creates depth behind the vocals yet cast a shadow on the intensely sorrowful lyric lines of broken love. At eight minutes, the extended piano break is set against the cellos emotive theme giving the listener a sense of panoramic movement. As a guitar takes over, it propels the song, building an energy that pushes to emotional climax. A delicate sense of songwriter that employs music to express emotions that words simply could not. Brilliant, absolutely brilliant.

This album of perfect length (nine tracks) is as close to being “great” as one could ever expect from the ocean of undiscovered, self-produced albums. In the end ‘The Poorboys’ are a regional band from Northeast England that will perform to adoring friends and family. The band will strike a memorable history that too few will imbibe but such loss is the making for Shakespearian Tales.

Album Review: Discpiles of Sound

2010-01-31T07:59:00.001-08:00

Band: The Disciples of Sound

When the band Indigenous split up, Mato Nanji (guitar, vocals) kept the name and continues to tour under that moniker. While it took awhile longer, younger brother, Pte (paa-tay) or ‘Little Buffalo Man’ followed his muse and formed a much heavier sounding band, ‘Disciples of Sound’ (DOS). The band consists of Pte (listed as Buffalo on the liner notes), Ed Miles and Nate Boff. A three track EP of the Austin based band recently surfaced along with a developing presence on the social networking site, Facebook.

According to the legendary British deejay Ally Lee, “If you like Storyville you will adore this band.”

The early permutations of DOS image and sound can be heard and seen on the Indigenous ep ‘Long Way Home.’ This seven song EP was produced by family friend Jesse Davey (The Hoax, Davey Brothers). While the DOS ‘sound’ is removed from blues, it is blues based and akin to a chain-saw plodding Chris Duarte presence. The ep opens with an electric version of ‘Devils in My Head’ which features Pte and Mato’s sister Wanbdi on drums along with Jesse Davey on organ and guitars. The disc also features the tracks ‘All Red’ and an acoustic version of ‘Devils in My Head.’

This is a band that the majority of “blues” fans may warm to slowly. Employing a heavy bottom sound with howling vocals and that noted atonal Austin “thud,” the band is a clear departure from Pte’s previous national band. Receiving continual airplay on the British ‘Lionheart Radio,’ DOS clearly resonates with an industrial leaning audience that moves easily from Stevie Ray Vaughan to Metallica and, perhaps, it is the sonic flexibility that will prove to be DOS’ calling card to building a larger audience.

"The Poor Boys" viral campaign

2009-12-30T06:53:00.000-08:00

We're music lovers, you and I.

It is what we do; share music and try to turn others onto the music we enjoy.

There is a song that has absolutley "smitten" my ear of late - and I'd like to share it with you...

Over the past year or so I've formed an online friendship with Mister Ally Lee - who hosts the 'Roots, Rock, Riot Show' at www.lionheartradio.com. Ally's program runs 1:00 - 4:00 p.m. CST. Lee's in-depth knowledge of music adds to a rather "wide" radio playlist - keeping the listener on their toes and ever open to this sound or that. It is the way innovative radio should be...unpredictable and fresh.

Ally also operates a recording studio in his hometown of Alnwick, Northumberland; on the north east coast of England. I was able to visit him this October and be on his show along with other 'Roots, Rock, Riot Show' luminaries including; Paul Shucksmith, Oil Slick Mick, Dave from Shipley and my very dear friend, David Wilson.

Anyway, recently Ally emailed me a track he has just finished, "She Moves Like Water" by a local band, 'The Poor Boys.' It is fantastic and a song I think deserves to be heard and shared. If you think of Bob Seger and the Silver Bullet Band (circa 1978) and you put JC Fogerty (Creedence Clearwater Revival) in front of THAT band...well you're getting pretty close.

I suppose it is no coincidence that one of JC Fogerty's songs, "Down on the Corner" refers to a street corner band, 'Willie and the Poor Boys.' (It is also of interest that former Rollin' Stones bass player Bill Wyman's post-Stones band is 'Willie and the Poor Boys.'

You can stream or download this song at www.kiwrblues.podomatic.com. If you like this song, or these archival recordings of the 'Pacific Street Blues and Americana' radio program, please share the link with your friends. If you enjoy "She Moves Like Water" as much as I do, please download the song and send it to your friends...it can be a real Cinderella story in the making if you let it.

Thanks and Season's Greetings across the globe.
Rick Galusha
Recepient: 'Keep the Blues Alive Award' public radio, '09.

Shocking FACTS about the Pine Ridge Indian Reservation

2009-11-09T20:00:00.000-08:00

November 2009

The Pine Ridge Reservation

In many ways South Dakota’s Pine Ridge Reservation, home of the Lakota Sioux Tribe, is a saturated “fly trap” of well intended do-gooders. While researching life style statistics for this report I found volumes of websites, blogs, articles and postings by groups and individuals working to alleviate the extreme poverty and harsh living conditions of the 18,600+ people on the Pine Ridge.

While I have been unable to verify all of these figures (see attached sheet of verified figures), the Pine Ridge Reservation Is among, if not thee, poorest counties in the United States.

This area is afflicted with some of society’s most devastating problems including; poverty, alcoholism, diabetes, teen suicide and violence.

Here are some facts, many of which contradict each other, I have found on the internet;

1.) According to ‘Red Cloud Indian School’ (Pine Ridge Indian Reservation Demographics, 2009);

• 80% of residents are unemployed (versus 10% of the rest of the country)
• 49% of the residents live below the Federal poverty level (61% under the age of 18),
• Per Capita income in Shannon County is $6,286,
• The Infant Mortality rate is 5X higher than the national average,
• Native American amputation rates due to diabetes is 3 to 4X higher than the national average
• Death rate due to diabetes is 3X higher than the national average
• Other than Haiti, Life Expectancy on the Pine Ridge is the lowest in the Western Hemisphere;
-Men 48 years,
-Women, 52 years

2.) According to the New York Times (Kilborn, 1992);
• The Pine Ridge covers 2 million acres (Larger than Connecticut),
• 63.1% of all residents live in poverty in 1989 (national average 14.2% in 1991)
• The interview was with Father Joseph Daniel Sheehan

3.) According to City-Data.com (Pine Ridge, South Dakota (the city), 2007);

Pine Ridge South Dakota % Difference
Median Household income $24,346 $43,424 56.07%
Median Age 19.7 35.6 55.34%
Est. per Capita Income $7,373 $22,252 33.13%
Est. median home value $27,379 $118,700 23.07%
Average household size 4.4 2.5 (people) 176.00%
Percentage family hholds 86.2% 67.0% 128.66%

Residents with income below the poverty level 2007
61.0% 13.2% 462.12%
Residents with income below 50% of the poverty level 2007
25.9% 5.8% 446.55%

For the population over the age of 25;
- High School or higher 62.1%
- Bachelors degree or higher 4.3%
- Grad. Or Prof. degree 1.2%
- Unemployed 35.5%

4.) According to ‘Native American Times’ (Schwartz, 2006);

• 58.7% of Grandparents on the Reservation are responsible for raising their own grandchildren,
• The median income varies between $2,600 and $3,500 per year,
• 97% of the population lives below the Federal poverty line,
• The unemployment rate “is said to be approximately 83-85% and can be higher during winter…”
• Teenage suicide rates on Pine Ridge Reservation are 150% higher than the U.S. national average for this age group,
• The infant mortality rate is the highest on this continent and is about 300% higher than the U.S. national average,
• The rate of diabetes on the Reservation is reported to be 800% higher than the U.S. national average,
• Reports indicate that 50% of adults on the Reservation over the age of 40 have diabetes,
• The tuberculosis rate on the Pine Ridge Reservation is approximately 800% higher than the U.S. national average,
• Cervical cancer is 500% higher than the U.S. national average,
• “It is reported that at least 60% of the homes on the Pine Ridge Reservation are infested with Black Mold Stachybotrys.”
• The school drop-out rate is over 70%
• Teacher turnover (rate) is 800% that of the U.S. national average,
• “There is an estimated average of 17 people living in each family home( a home which may have two to three rooms).”
• 39% of homes on the Reservation have no electricity,
• There are no public libraries except one at the Oglala Lakota College (in an area the size of Connecticut),
• Alcoholism affects eight out of ten families on the Reservation,
• The death rate from alcohol-related problems on the Reservation is 300% higher than the remaining U.S. population,

5.) According to the United States government's Census Bureau, 2009
(www.quickfacts.census.gov)

South Shannon Reported
Nebraska U.S.A. Dakota County Pine Ridge
Education
2008 Bachelors Degrees 23.70% 24.40% 21.50% 12.10% 4.30%
2008 High School Diploma 86.60% 80.40% 84.60% 70.00% 62.10%
2008 Population Change 4.20% 8.00% 6.50% 9.40%
2000 Home Ownership 67.40% 66.30% 68.20% 48.60%
2000 Persons per Home 2.49 2.59 2.50 4.36
2008 Below Poverty 11.1 13.0 13.2 47.4 (below)
2008 Med. Hhold Income 47072 50740 43507 25964
2000 Med. Home Value 88000 119600 79600 25900 27397
1999 Per Capital Income 19613 21587 17652 6286 7373
2008 Retail Sls per Capita 11729 10615 12626 2347
2008 Building Permits 6346 905359 3884 0
2008 Population 1783432 304mill 804194 13637 28787
1990 Native Population 12410 1937391 50575 14295
1990 % Native Population 0.8% 7.3% 0.8% 92.2%
2008 Federal Dollars 13.9m 2.536b 8.7mil 139,986
2008 Fed Dollars per Cap. $7.84 $8.34 $10.92 $10.27
1995 Population % Veterns 11.0% 10.5%

Poverty Reports for Pine Ridge residents U.S. Census Report 2000

46.4% of households on Pine Ridge are in poverty.49% 1990)
39.4% of Sioux families lived in poverty; 44.4% of individuals
60.5% of households have no father figure in the home.
47.5% of the Pine Ridge above the age of 18 live in poverty.

Native Population U.S.A. taken in 1995
Native Population Shannon County taken in 2000 Approximate

Individual
Indian Health Services Budget 2007 (HIS) $4.2 Billion $13.92
Bureau Indian Affairs 2010 Budget 2007 (BIA) $22. Billion $73.07
"Reported" Annual Pine Ridge income from Casino per individual $0.15

Works Cited
Kilborn, P. T. (1992, September 20). Life at the Bottom - America's Poorest County / A Special Report; Sad Discinction for the Sioux: Homeland Is No.1 in Poverty. Retrieved 2009 October, from The New York Times : www.nytimes.com/1992/09/20/us/life-bottom-america-s-poorest-county-special-report

Pine Ridge Indian Reservation Demographics. (2009, July ). Retrieved 2009 October, from Red Cloud School: www.redcloudschool.org

Pine Ridge, South Dakota (the city). (2007, July). Retrieved August 28, 2009, from City Data.com: www.city-data.com/city/Pine-Ridge-South-Dakota.html

Schwartz, S. M. (2006, November 3). Life, conditions, and hopes on the Pine Ridge Oglala Lakota (Sioux) Reservation of SD. Retrieved 2009 23, October , from Native American Times: http://proquest.umi.com/pqdlink?vinst=PROD&fmt=3&startpage=-1&ver=1&vname=PQ...

United States Census Bureau. (2009). Retrieved September 2009, from quickfacts.census.gov: www.quickfacts.census.gov

This report compiled by Prof. Rick Galusha
Galusha can be contacted at rick.galusha@gmail.com

Listen to the Pacific Street Blues & Americana radio program on Sunday, December 6th for our 3rd annual 'Toys for the Pine Ridge' phone drive. Hear the show live, online at www.897theriver.com 9 a.m. - Noon CST. Join us as Lash LaRue's citywide effort to bring a smile and a ray of sunshine to a Native child's face. YOU really can make a difference!

Album Review Mark Knopfler 'Get Lucky'

2009-10-15T07:12:00.000-07:00

Artist: Mark Knopfler
Title: Get Lucky

As the founder of Dire Straits, Mark Knopfler found vast success and recognition with songs like, ‘Down to the Waterline’ and ‘Money for Nothing.’ Since reaching the pinnacle of economic success, much like Neil Young or even Bob Dylan, Knopfler has downshifted his career by going solo and putting out albums that lean heavily on roots and less on ‘rock n’ roll.’ While FM radio audiences may have felt slighted, music aficionados have been the beneficiary as Knopfler’s solo records have been consistently excellent.

Along with fellow Northumberland son, Sting, Mark Knopfler hails a part of his life from the Tyneside area of northeast England near Newcastle upon Tyne. Like his musical doppelganger, Knopfler goes back to the sound of his northern heritage using bagpipes, flute & whistle and accordion to create a soundscape enhanced by Celtic textures but anchored in post-1980’s folk music. Knopfler’s songs are panoramic with haunting tones that are fresh and familiar; telling stories of characters from his youth including meeting noted British race car driver Bobby Brown or memories of the United Kingdom’s ‘Remembrance Day’ along with “Angry Alfie, Bill and Ken.” It is interesting that both Knopfler and Sting draw upon the memories of the now long gone shipbuilding industry that once employed the working ‘Geordies’ and ‘Macums’ of the Tyneside area. As heard on Sting’s, ‘Soul Cages’ album and on Knopfler’s song, ‘So Far from Clyde’ (a reference to a water inlet in Scotland).

In recent year’s music’s “in crowd” crowed about Knopfler’s two duet albums with American songstress Emmylou Harris. While tasty the real gems of Knopfler’s body of work lie within his solo efforts rather than the albums by Dire Straits or Harris. For radio programmers, ‘You Can’t Beat the House’ is an easy entry into this album while ‘Piper to the End’ is a rich Celtic sound. The album’s title track is another accessible track to allow listeners a doorway into Knopfler’s rich musical expression. This is a true artist and therefore plan on it taking a few listens before the album begins to unfold for you. Knopfler is a master ballad writer and, as his work with Dire Straits has shown, a pretty good up-tempo songwriter too. Due to the niche nature of his work and the seemingly unique roots he brings together for the foundation of his songwriting, Knopfler is not for every listener but for those willing to invest the ear-time – his work will become among your favorite, ‘return to albums.’

2009-10-14T09:18:00.001-07:00

Band: Tower of Power
Title: Great American Soulbook
Rating: 8

Writer: Rick Galusha

Combine one of recorded music finest horns bands with the best of the best soul songs and you get the new Tower of Power album, ‘Great American Soulbook.’ While mass appeal has overtly missed this terrific bay area act, for more than four decades (’68 – present) Tower of Power have graced, albeit surreptitiously, some of radio and recordings most popular acts including; Aerosmith, Elton John, Little Feat, Phish, Santana, Heart, Huey Lewis and the News, the Monkees, Santana, Elkie Brooks, Elton John, John Lee Hooker, Rod Stewart, Jefferson Starship, Mickey Hart, Spyro Gyra, Lyle Lovett, Poison, Phish, Toto, and the Brothers Johnson.

Perhaps the comfort of this album is that there are no surprises. Across their 22 albums the band has been consistent and ranged from brilliant to good. As the title of the album implies, TOP covers twelve well known soul songs including; Billy Paul’s ‘Me and Mrs. Jones,’ a medley of James Brown hits (an early influence on the band’s sound development) and Bill Wither’s ‘Who is He and What is He to You.’ Perhaps the highlight of the album is Tom Jones version of Sam & Dave’s, ‘Thank-you’ (as covered earlier by Z.Z. Top). Other guest appearances include; Sam Moore’s (Sam & Dave) cover of the Otis Redding hit, ‘Mr. Pitiful, ’ two songs with British youngster Joss Stone who joins the band for, ‘It Takes Two’ and ‘Your Precious Love’ and the aforementioned Huey Lewis on, ‘634-5789.’

Any song on this album is immediately radio friendly and music fans will find the performances and singing to be excellent. No, TOP is not breaking any new ground with this release but perhaps seeing the rewards that Rod Stewart and others had using well known covers to find financial success, Tower of Power has fallen back on their early influences and personal favorites to release an album that most soul music fans and many blues fans will find hours of enjoyment listening to.

album review: Dani Wilde, 'heal my blues'

2009-09-20T11:13:00.000-07:00

Artist: Dani Wilde
Title: ‘heal my blues’

Much like Motown, RUF Records has created a formula to produce “blues” albums with European overtones that are beginning to be embraced by a wide, white American audience. More than anything else the ‘Suburban Blues’ audience craves a wailing guitar and smooth melody lines. Recently I asked friends to name their top blues albums of the last decade; one said simply, “the one with the guitar solos.” And so it is.

At the dawn of this new millennium Europe seems to be making an effort to replicate the blues boomerang of England in the 1960’s and Wilde seems to be a full fledged member of that movement. To reach wider audiences radio and music gets homogenized. Wilde’s new album, ‘heal my blues’ is a near perfect example of the “demographic specific slotting” that we see in “pop” music today. Wilde’s songs are slick and entertaining; well arranged tracks that include appropriate blues textures and good production value. If you’re a listener that defines “authentic” blues as rough and unfinished; this is not an album for you. However, if you are among the vast unwashed masses that appreciate a well performed tune with sufficient emoted emotion and over arching guitar solos – you will probably be drawn into Ms. Wilde’s album. Harp playing brother Will Wilde’s wailing jumps in and out of the songs with apropos vigor. Surely this is exactly the type of album that radio programmers interested in building a larger audience will embrace. Wilde “sells” her music through visual as well as visceral content creating an enriched entertainment value that many acts today miss.

Is it credible? It’s British. Can the British play the blues? Some would say that from Peter Green to the Hoax, the answer has been yes. Will everyone agree? No. Does it matter? It only matters if it is your money. Is there a marketing machine behind Wilde and is it gathering momentum? Yup! Will you play it on your radio show? Until the cows come home. This is a packaged artist that can check all the boxes of being a blues artist but will not add anything to the genre; there is nothing original going on here (but the point is, there doesn’t have to be). Wilde’s music and showmanship is unlikely to create a circle of lasting influence or be escalated to significant stature by gathering critical acclaim. None-the-less, it is well done, it is fun and chances are good you’ll be seeing Wilde and band at a venue near you. Chances are even better that Wilde will strike a chord with appreciative festival audiences who use the term “great” with ease but with the usual lack of discernment.

Album Review: Plateros, Hang On

2009-08-13T14:04:00.001-07:00

Plateros: Hang On

Levi Plateros is this year’s version of Los Lonely Boys minus the kooky antics and overdriven hype. The Plateros band includes what I assume is his father on bass and a cousin on drums. Their multi-layered vocal lines are pure and sweet. While Levi’s muse is a blasting guitar line set over rich melody lines, this band can pile-drive a song with the best of the blues genre’s bashers and then just as easily pull back with heavy pop music hooks and soft, melody rich tracks.

In small doses the band’s uses its unique musical influences to add a sonic flair that are subtle yet compellingly interesting. In the end Levi runs wild with loaming and lilting guitar solos that likely draw in all but the most harden blues-rock guitar aficionados’. For some the lack of chain-saw ratcheting will be a turn off and thus the band perceived as having too much melody; however, if the debut album by Los Lonely Boys ever got your toes tapping – Plateros is a fine second step.

Least we remiss the marketing aspect, Plateros is an all Navajo band and fits nicely among other indigenous and/or sibling acts like; Santana, Indigenous, Los Lobos, Homemade Jamz Blues Band and the aforementioned Los Lonely Boys. Again, this is a band worth keeping your eye on and it is fair to expect big things from them in the future.

Album Review: Aynsley Lister, equalibrium

2009-08-13T13:53:00.000-07:00

Aynsley Lister: equilibrium

For anyone that has been listening to ‘Pacific Street Blues & Americana’ over the years you know I love a well played guitar. Love it to the point of being downright discerning – which is a nice way to say finicky. While tasty players like B. B. King, Eric Clapton and Buddy Guy are perhaps the progenitors of tasty blues licks – there is a new generation of players that deserve some kudos. Yes, we all lost something special when Stevie Ray died. Among the players I really enjoy are included; Joe Bonamassa, Robben Ford, the late Rory Gallagher, Mato Nanji of Indigenous and Aynsley Lister. Lister is the new kid on the block and based upon his last two albums; ‘Upside Down’ and this new effort, ‘equilibrium’ Englishman Lister has easily moved solidly into the world’s “next big thing” slot.

In a traditional sense, if Luther Allison is the blues, then Lister ain’t. Sorry folks, no 12 bars here. Instead Lister uses the tones and textures of contemporary electric blues against a melody rich lyric line that is immediately accessible and immediately enjoyable. While the blues-rock genre is ripe with slingers – there are few bonafide songwriters in the mix and, as perhaps the first real blues-rock songwriter might say, “Move over rover and let Jimi take over.”

Lister’s ability to lift and soar while honoring the song is an impressive art. His bursts of energy lie beneath slower moving passages that provide emotional uplifts that are “gob-smackingly good” and at the same time beautiful and genuine. From the perspective of player records for the last twenty years, Aynsley Lister is clearly a talent worthy of your attention and interest.

2009-08-13T12:38:00.000-07:00

Blog: August 13, 2009

I recently got into a conversation with a local impresario. It seems there are more n’ more shows in the market every year. As we have seen in the housing, electrical, airline and energy industries, when supply dramatically exceeds demand there is a retrenchment. In this example, between the free shows and the possibly over-abundance of quality line-up shows – there simply isn’t sufficient audience to support all these shows. On first blush this is hardly a negative; when was the last time someone had the gall to complain that there was too much going on in Omaha? So we have it pretty good right now; as the Horseshoe Casino realized by literally having to give away concert tickets to see the recent ARC Angels show. So tune your fiddle Nero as amid a recessionary decline there is less and less ticket buying capacity up against more and more shows.

Interestingly, since CD’s sales have fallen more than 50% in the past five years, the Wall Street Journal recently discussed how CD’s are being used to drive concert ticket sales as artist derive income from performance now rather than album sales. So where does the “equilibrium point” between ticket demand and artist availability meet? The market will determine. I know this; my days of paying $75 or more for concert tickets is over. And if very many others feel as I do; that either than cannot afford high priced tickets or they simply see their home, vacation or IRA as a better investment, artists are going to be getting crunched from both sides.
Think about that; CD sales are nearly inconsequential and a recessionary period coupled with too many concerts will likely drive ticket prices down. Seemingly one can draw the impression that contemporary society is reducing the value of music across numerous fronts.

Is it fair to say that Bono was the last rock star?

While I still place a premium on recorded music, I find the thuggery of modern sports to be beyond the pale. As a society we are paying virtually uneducated brawlers millions to throw a ball across the plate while we ask the educators of the next generation of American’s to use their comparatively meager incomes to buy supplies that our education system can no longer afford to purchase.

Where does the source of this problem lie?

With you of course - And with me. As a society we get what we pay for. In America today we vote with our dollars and more of us are voting for ‘Tiger Woods’ and ‘A Rod’ than that gal in the classroom teaching our kids. Damn shame it is too. It seems to me we are voting less and less for the ‘Eric Clapton’s’ of the world but still dramatically over-paying for the ‘Bob Stoops’ of the world. So before you bitch, look in the mirror – there lies the problem.

Album Review: Kris Lager Band - 'The Might Quinn'

2009-06-19T16:14:00.000-07:00

Artist: Kris Lager Band
Title: The Mighty Quinn
Writer: Rick Galusha

Along with Des Moines’ Matt Woods, Nebraska’s Kris Lager has laid the groundwork to become the High Plains’ next blues act of note. Earning their road apprenticeship as the band for Mato Nanji’s Indigneous, The Kris Lager Band has release their fourth album, ‘The Mighty Quinn.’ Like many bands that are allowed to develop at the less than frantic pace of today’s internet driven music industry, Lager’s second and third CD’s displayed progressive improvement and strong lyrical melody lines that are indicative of the early bluesrock progenitors such as The Allman Brothers, Bonney & Delaney and Leon Russell. As the critically applauded band, ‘The Screaming Cheetah Wheelies’ learned however, this is a narrowing genre today and although the Derek Trucks Band is doing well with their World Music come blues feel, few others within this field seem to rise above a regional cult status.

‘The Might Quinn’ is a powerful record where the nuisance of the inter-play between Lager’s slide guitar and Miah Weir’s keyboards can, at times, over-shadow the songs but, after numerous playings, Lager’s true-to-self style slowly transcends and the true power behind the album emerges. This is not your passive listening, blues friendly, compact disc. Instead the listener is required to invest in the audio experience as the band moves through complicated but enjoyable passages.

On the track, “Mean Old World” Lager’s emotive vocals lines broach new areas for the band as they pioneer in a more tentative yet heart-felt layer brushed up against an aggressive slide guitar line. On ‘Hold On’ the band melds an island rhythm over rich blues textures akin to the sounds of “461 Ocean Boulevard.” While not an easy album to digest in initial airings, ‘The Might Quinn’ shows the Kris Lager Band growing by writing songs that are well outside of the narrow confines of the blues industry today. This is a serious album that is filled with songs that separates the partisans from the artisans and like anything work having – the climb is worth the view.

“Mama always told me not to look into the eye's of the sun, but mama, that's where the fun is.”

Album Review: Cyril Neville, Brand New Blues

2009-05-14T07:35:00.001-07:00

Artist: Cyril Neville
Title: Brand New Blues
Writer: Rick Galusha

Whether the Neville Brothers or the Marsalis’ are the first family of the New Orleans music community, both have a ready history of making fine music. And whether as solo artists, members of the Meters or recording together as, ‘The Neville Brothers,’ the Neville’s have , since 1954, made some highly listenable recordings including; ‘Fiyo on the Bayou,’ ‘Yellow Moon,’ and ‘Brothers Keeper.’

In the linear notes of his first solo album in eight years, Cyril Neville notes that Tab Benoit told him, “go blues” in 2005. While Cyril Neville’s album, ‘Brand New Blues’ may be his “blues record,” for me it is a more focused outing for the New Orleans native.

Often albums by the Neville Brothers include messages of social criticism. While the blues is usually personal, the outcry from New Orleans musicians over the 2005 flooding of New Orleans has been pervasive. On this record Neville delves elbow deep into the issue. In the linear notes writer John Sinclair tells readers that the flooding of New Orleans, “wasn’t really due to natural causes but was actually caused by the refusal of Congress to appropriate sufficient funding.” The actual finding, done in part by Louisiana State University, is, “Investigators criticized Congress for years of irregular funding and state and local authorities for failing to maintain the levees properly.” Sinclair goes on to say the flood was, “merely a trigger for institutional racism and civic ugliness.” You may agree or disagree where the blame lies; or the extent of who holds how much blame, however as a source for anguish and therefore material, the flood of New Orleans is a contemporary catastrophe and is now a part of America’s ‘disaster songs lexicon.’

So let’s talk about the music. This is not a “great” album in that it will not be widely embraced by the blues listener base. Instead it is a very strong record by a known American artist that aficionados of New Orleans and/or niche areas of blues and roots music will greatly enjoy. What Cyril shows us is a refraction of how the textures of blues music can be amalgamated into other genres and sounds. The sense and feel of this album is immediately familiar and, after hearing this recording, fans of the Neville Brothers will better recognize how Cyril contributes to the overall sound of his, ‘family groove.’

Like nearly any recording based in the poly-rhythms of New Orleans, it’s hard to keep your toes from tapping and your feet from dancing. ‘Cream Them Beans,’ is the equivalent of a Crescent City 12 bar jam as Neville talks over the track while the band rollicks.

Traditional blues radio programmers will want to focus on the album’s closing track, a cover of Bob Marley’s, ‘Slave Driver’ (where Marley’s album title, ‘catch a fire’ is coined.) This is a slow, highly textured track with a languid, slow burn. (Interestingly, Severn’s latest R n’ B singer Charles Wilson covers Marley’s ‘Is this Love’ on his latest release, “Troubled Child.”) Neville adds to Marley’s composition as he sings, “When I first saw what happen to New Orleans, my blood ran cold. My people’s freedom bought and sold,” in what develops into a quarter by quarter review of the current state of the 3rd Coast’s finest city…in its current form.

This is a good album; a credible showcase but it needs the listener’s full focus and an understanding that Neville is going to use his music as a vehicle for political advocating and, at times, I just want to hear music.

Album Review: Deanna Bogart 11th Hour

2009-04-29T13:53:00.001-07:00

Artist: Deanna Bogart
Title: 11th Hour
Writer: Rick Galusha
Rating: 9

The evolution of technology has profoundly impacted music listening habits. Due to the demise of the grip by the music industry’s major label system, music fans are now being bombarded with more CDs than ever before. Like the average consumer in a wine store, many of us are standing in front of a massive selection of choices, mouth agape, (and possibly drooling), trying to make “heads or tails” out of an oceans of music in front of us. Therein lies much of the popularity of the Blues; like a McDonald’s hamburger, listeners have a pretty good idea what they’re going to hear, usually. As most blues fans graduate from their old collection of Rolling Stones or Led Zeppelin records, even the traditionally rather narrow genre of the blues is exploding to encompass more and more influences. To the chagrin of traditionalists…it is what it is (and like other “music gatekeepers,” snobbery is becoming passé).

Although “blues rock” has been a part of the blues scene since the early 1960’s – more than ever it has become an entrenched category. Today, it seems to me, “pop” blues is coming on strong. Let’s define this a bit; pop music is by definition popular. It also tends to be melodic, well arranged and contains a memorable tune. Some of the progenitors of this include Jason Ricci, David Grissom, Bob Malone and this latest album by Deanna Bogart.

The latest album by Deanna Bogart, 11th Hour, pushes the envelope of what many would consider to be, “the blues.” However this is an artist that any music fan can easily embrace because the music defies hewn category. Bogart’s songs are intelligent, her lyrics are endearing and her arrangements far surpass the vast minions of faceless sound-alike zombies that permeate the landscape. Yes, it is that good.

Radio programmers will want to pay close attention to the album’s 3rd track, “Love and Attention.” While this stunning, show stopping duet with Tommy Castro is certainly not going to draw much reward from the blues award system, this is simply one of the finest radio friendly pop songs since the term, ‘Philadelphia Soul’ was coined in the 1970’s. The track is immediately credible with Bogart’s songwriting and arrangement on the ballad well beyond exceptional. Yes, it is that good.

On ‘11th Hour’ Bogart does two covers, ‘Since We’ve Ended as Lovers,’ written by Stevie Wonder but given to Jeff Beck as a reputed payoff for reneging on the promised track, ‘Superstition.’ John Hiatt’s, ‘Have a Little Faith’ is also given Bogart’s careful touch.

Admittedly, while Deanna Bogart is an extraordinary musician, the presence of a gifted band is apparent. On the albums opening track, ‘Sweet Pea’ guitarist Dan Leonard slices in chords while the band swings in a groove reminiscent of “Aja” period Steely Dan. The band’s bassist Scott Ambush and drummer Mike Aubin carefully under-play while giving the songs a solid base from which to grow. On the track, ‘Unkl Funkl’ the band ventures into a tasty funk/ jazz piece that shows just how talented this band really is – with Ambush’s rapid fire fingers giving the listeners that much loved guitar attack while Leonard fires back with a highly textured response. More traditionally orientate blues show will want to focus on the smoky late-night sultry notions of the album’s closing track, “Eleventh Hour Blues.”
So no, purist blues fans are probably not going to fawn over Deanna Bogart’s latest collection of songs. Everyone else will easily find this an album that will bear up to repeat listening for years to come. Yes, it really is that good.

Album Review: Michelle Malone, Debris

2009-04-20T18:50:00.000-07:00

Artist: Michelle Malone
Title: Debris
Writer: Rick Galusha

In a world where ‘chic rock’ in now its own category; few really do. That’s not to denigrate the artform – but often the bar is lowered to compensate…but then I feel that way about most “rock” records released in this new millennium. With the release of her last album, Debris, Georgia based Michelle Malone has laid down a wall-to-wall rock n’ roll record that defies such petty niche labels as ‘chic rock.’ Malone has a sharp Southern rock flavor more akin to the Black Crowes and Tom Petty than Lynyrd Skynyrd and Molly Hatchet. Malone plays a lyrically rich guitar style under the influences of Rich Robinson and Keith Richards; where biting counter-licks sneak in behind verses and choruses with impressive subtly. Her songwriting shows great texture and depth as she moves from overt rocker, ‘Chattahoochee Boogaloo’ and ‘Feather in a Hurricane’ to the FM friendly sing-a-long, ‘Yesterday’s Make Up.’
This is not a good ‘chic rock’ record: this is an excellent rock n’ roll record in the finest sense…and these are getting to be few and far between.

As an independent artist, Malone’s songwriting will immediately appeal to roots rock fans albeit ‘Debris’ has a fully produced sound that includes Malone’s slide guitar and harmonica playing behind her intelligent lyrics. On the album’s eighth track, Weed & Wine, Malone recalls a time familiar to most baby boomers when she sings, “Remember when we used to sneak out. Remember when we howled at the moon. Radio cracklin’ with, ‘Sweet Melissa,’ on a steamy summer night in June. You always wore that corduroy jacket; and them bell-bottom patched up jeans. Well baby put’em back on and meet me at reservoir by the statelLine. We’ll cause a scene. You bring the weed – I’ll bring the wine. Crawl in the backseat honey and have a real good time.”

On June 3rd Malone brings her tasty blues-base rock sound to Omaha’s Barfly at 114th and Dodge Streets. With nearly twenty road harden years under her belt, and at least twenty albums for sale on her website (www.michellemalone.com), Michelle Malone’s “overnight success” could easily become the surprise gig for the summer of ’09. You’ll be able to hear Malone’s music every Sunday on Pacific Street Blues – yeah, it’s that good.

Album Review: John Mellencamp 'Life, Death, Love and Freedom'

2009-03-28T10:58:00.000-07:00

Artist: John Mellencamp

Title: Life, Death, Love and Freedom

Writer: Rick Galusha

It’s a human trait to dwell on mortality: it’s where religion is rooted. Since recorded history began musicians have released recordings of this pondering; perhaps none so much as those of the roots genres including blues. However, like political criticism, it is an easily fumbled message and few can carry the torch beyond one, maybe two songs in the span of a career.

After finding commercial success early in his career John Mellencamp dropped the ‘Cougar’ moniker and began to turn his music-making towards a more roots based sound. While musically snobby 40 something’s may have written off Bloomington’s sage as “a hack” long ago, in 1985 Mellencamp released an album, ‘Scarecrow’ which lent a Midwestern credibility to the cultural landscape that heretofore had been rooted on coastal seaboards. Bruce Springsteen made New Jersey a state with romantic ballets in the streets: Mellencamp sang of farm foreclosures, national pride and growing up in 50’s seeing life from a ‘rumbleseat.’ Suddenly the lure of the living within spitting distance of Los Angles and New York City was not as bright as it had been and, finally, being from the Midwest, and its small town manners, was kinda cool.

When Mellencamp fully embraced a ‘roots’ sound to his music is debatable; however, by the 1993 album, ‘Human Wheels’ it was clear that writing hits was off the agenda. Although the title track was radio friendly, the voice of the album spoke of deeper thoughts and the music took on a rawer edge. Radio and retail no longer asked what had happened to John, we all knew, he’d pulled a Neil Young and chose art over commerce… finally put the finishing fork in the pop star, “Johnny Cougar.” Casting aside any lingering fears, Mellencamp ventured into liberal activism, whether political or social (ala’ founding Farm Aid along with Neil Young and Willie Nelson), Mellencamp’s new personification, ‘Lil’ Bastard’ had taken over.

With the release of his latest album, ‘Life, Death, Love and Freedom’ (LDLF) Mellencamp fully realizes this transition with, perhaps, his strongest artistic statement to date. At first glance the album is full of morbidity: apparently the ‘Lil’Bastard’ is afraid of something. LDLF is a 14 track testament to one man’s midlife reconciliations. The opening track, ‘Longest Days’ sets the tone as the Mellencamp sings,

“So you pretend not to notice,
That everything has changed,
The way you look,
And the friends you once had.
So you keep on acting the same,
But deep down in your soul,
You know you got no flame.
And who knows then which way to go?
Life is short even in its longest days.’

It has been a long time since a lyric resonated as when he sings,

‘Sometimes you get sick,
And you don’t get better,
That’s when life is short,
Even in its longest days.’

While the subject matter is heavy, and the music is compelling, Mellencamp’s latest effort is the finest full length album from one of Classic Rock’s pantheon. While other’s struggle to find a new voice that fits with their aging bodies, Mellencamp saddles up and bangs away with a album that shows, finally, that aging and music can remain symbiotic. It is as if the age-old struggle between Jagger and Richards has finally been settled; you can be “great” and release exceptional music even though “midlife” is now in the rear-view mirror.

Not one to miss an opportunity, Mellencamp hoists up the social commentary albeit using a thinly veiled analogy in the song, ‘Without a Shot.’ He takes a swipe at false nationalism.

“We open our eyes at midnight,
Seeing the setting of the sun.
Foundation are crumbling; The inner structure’s gone;
Used up by corruption,
And the passage of time.
We hope we got some fight left,
Cause our children, our children are dying.”

Within the same tune he rails against false piety with resonation.

“So we think that forgiveness,
Is a God given right.
And equality for all,
Is just a waste of time.
With our nickel-plated Jesus,
Chained around our necks;
Handing out versus of scripture,
Like we wrote it down ourselves.”

A compact disc is the equivalent of a double album set. Over the past 50 years you can probably count, now on two hands, the number of studio-recorded-rock-double-albums that maintain a high level of quality throughout ( Exile on Main Street, Quadrophenia, Electric Ladyland, London Calling, Blonde on Blonde are a few). I readily suggest that, ‘Life, Death’ Love and Freedom’ be added that select group of records. ‘Life, Death, Love and Freedom’ is a thinking man’s roots album that is rich in textures with carefully crafted songs and arrangements; it is a brilliant musical statement…albeit by a “hack” from Indiana.

Book Review - Laurel Canyon. The inside story of rock n' roll's legendary neighborhood

2009-03-12T20:28:00.000-07:00

Book Review

Title: Laurel Canyon, The Inside Story of Rock and Roll’s Legendary Neighborhood

Author: Michael Walker

When rock music was young and yet to be infiltrated by hard drugs, MBA’s and big BIG money, there was a hippie enclave holed up in the hills and valleys behind the Sunset Stripe in Los Angles. After the Beatles came in and decimated the musical landscape, numerous artists on the verge of fantastic success congregated in the Laurel Canyon area – buying inexpensive homes with proximity to the developing music center of Southern California. Included in this cavalcade of rising stars were the Byrds, Joni Mitchell & Graham Nash, Frank Zappa, Mama Cass Elliott, Neil Young, Jackson Brown, The Eagles and others. The Doors hailed from Venice Beach which was across town and a million miles away. In his tell-all-book Michael Walker talks about the unique artist community that lived on Laurel Canyon road in central Los Angles.

The book recounts how Cass Elliott brought together Graham Nash (of the Hollies) with Stephen Stills (of Buffalo Springfield) and David Crosby (of the Byrds) in her living room, “…she pulls up in this convertible Porsche. I got in and she drove me up Laurel Canyon to this house” says Nash. ‘Waiting there were Stills and Crosby, who sang for Nash the Stills composition, ‘You Don’t Have to Cry.’ “That was a moment that is indelibly etched on my soul,” Nash recalled.

Walker is sure to dish the dirt including Robert Plant’s (Led Zeppelin) fancy for 16 year old groupies and the, ‘L.A. Queens’ that catered to, “provide the fulfillment of fantasies of these men [who] were older than me” recalls Morgan Welch. Walker recalls the now infamous, ‘Riot at the Hyatt’ hotel on Sunset Strip and the debauchery that seemed to go on nightly as rock bands target Los Angles for much needed breaks from the road.

Walker talks about Charles Manson getting thrown out by Gail Zappa and his suspected reasons for the murdering Leno & Rosemary LaBianca and Sharon Tate. “Sally Stevens, an L.A. record executive who lived on Lookout Mountain at the time, recalls, ‘I was kind of wandering about this party and there was a door slightly open and I could see people sitting in a circle. There was a candle in the middle of the floor, and there was this guy sitting in the corner. He was kind of holding forth to everyone and they were all sitting like a bunch of sheep. And as I looked in the door, he said, ‘Come in, come in.’ I just got a bad feeling from him and said, ‘No, that’s okay.’ Later on, when they arrested Manson, I went, God, that’s the guys.”

As cocaine overtook marijuana as the drug of choice, Laurel Canyon’s innocence fell away behind a shroud of paranoia and the onslaught of Glam Rock. “A young misfit named Frank Ferrana, at the time being a transient being raised at the Sunset Tower apartment building on the strip, was obsessed with the Sweet’s vocalist, Brian Connolly, and why, among other matters, Connolly had, ‘bangs that curled under,’ Ferrana would change his name to Nikki Sixx and found Motley Crue…”

To lift from Charles Dickens, ‘it was the best of times’ and the future was tomorrow rather than yesterday. This is an easy read that is fun, packed with lots of known music names of when innocence was the norm and baby-boomer youths were hitting their teens and early 20’s. Yes, its fun. No, it’s not explicit. And best of all, the Omaha Public Library has it on hand…so it is free!

Album Review: Hague

2009-03-12T18:58:00.000-07:00

Artist: Hague a/k/a Mark Stenton
Title: (self titled)

A few folks have heard the bromide, “Taking coals to Newcastle.” A substantially smaller circle will know that Newcastle Upon Tyne, a northeast English town, was “home” to significant rock music talents including; Sting (The Police), Brian Johnstone (Ac/Dc), Brian Ferry (Roxy Music), Eric Burden (The Animals), Lindesfarne, Splinter, Nic Armstrong, Mark Knopfler (Dire Straits) and Andy Taylor (Duran Duran). Much like the midwest American cities of Omaha or Detroit, Newcastle has a perchance for rust-belt rock n’ roll that leans towards metal. So it a tribute to the internet that, ‘Hague’ has been able to muster any accord amid the heavier sounds that Newcastle is known for.

As an avid music fan, I lost my muse. Where it went I could not say. Perhaps it was the grind of 24 years in the pre-recorded music retail business – an industry that is literally less than half the business it was five years ago. And more than a few musical muses have been pilloried on the rail of radio’s endless blah, blah, blah. Having celebrated the twentieth anniversary of, ‘Pacific Street Blues & Americana’ (www.KIWRblues.Podomatic.com) I’d become a part of that dinge albeit trying to convey art over amassing an audience. I lost my rock n’ roll heart…so much so that I’ve resorted to trolling the internet listening to obscure LPFM (low powered frequency modulation) radio stations that recent legislation in Britain created. One day I found a heartbeat. Lionheart Radio, a real community station, located in Alnwick, Northumberland: a mere hamlet on the North Sea coast between Newcastle and the lowlands of Scotland. It was art. Oh, it’s not that their air-talent is that “talented.” One day it’s a conversation about Mrs. Thompson’s fresh garden tomatoes and the next it’s a choir of school children. Host Ally Lee is perhaps the most spontaneous deejay I’ve heard since KQKQ died in May of 1978. Lionheart is a come-to-life ‘Petticoat Junction’ that streams across the internet. It’s a community and you’re welcome to listen in.

It was on Lionheart that I heard the musical project by forty year old Mark Stenton’s. In a world where tits sell toothpaste, this was all together different. ‘Hague’ is at once a nostalgic memory you never had and the lilting smell of mom’s hug after coming in from the cold. It is the simple interplay between vocal, acoustic guitar and rich backing textures that allow the listener to focus on the well written music that sweeps you away with mental images and rendering lyric lines. The used of space is brilliant. Whether a keyboard, flute or super low bass, Hague builds a audio soundscape that is immediately friendly. Stenton’s sound is a bit ‘Bare Trees’ (Fleetwood Mac), a tad ascending English sing-a-long and a less palliative David Gray.

This five track EP opens with the track, ‘Fool.’ Stenton juxtaposes a flute against a strumming guitar as he sings, “You act like a fool, so they think you’re a fool. You want to fit in but I don’t know where on earth to begin.” It is a powerful song with layered texture and solo-era Lennon bite. “You say many things, without saying anything. Who’s in the mirror staring at you? What are trying to prove, when you act like a fool?”

“These northern stars flicker in silence, and the moon is burning red.” The album closes with the near cinematic song, ‘Northern Blues.’ Stenton uses space among a sonic pallet that harkens Townshend with, ‘See me, hear me, come on talk to me. Feel me and heal me, come on home to me.” A kick drum emulates a heartbeat as the song’s character bemoans a departed lover or the death of a dear someone. “These northern lights, they dance awhile, like the spirits breaking free. I’ll sing to you, my northern blues. Till you’re resting with me.” At 2:21 this is a powerful and moving artscape that is dramatic, underplayed and wrenchingly beautiful. This five track EP “has no filler.” Hague can be heard at; http://haguemusic.co.uk/

Putumayo's tasty Christmas albums

2008-12-11T10:27:00.000-08:00

Title: A Jazz & Blues Christmas
Title: New Orleans Christmas

Label: Putumayo
Writer: Rick Galusha

Long know for their colorful covers and faux-ethnic artwork covers, the Putumayo Recording label is a leading record label for compiling world music artists together onto an album that is both interesting and often entertaining. In 2006 they Putumayo released an album of Christmas songs fashioned out of the New Orleans genre. This year (2008) they are back with an equally interesting foray entitled, “A Jazz & Blues Christmas.” As a pairing these are the only Christmas albums to get repeated listening on my turntable this time of year.

Often Christmas and Holiday albums are rehashed efforts to modify traditional carols which, for me, are limited and lack freshness. How many versions of “Jingle Bells” can the average human withstand? Now I get to eat my own words as Ray Charles version of ‘Rudolph the Red-Nosed Reindeer’ is a marvelous interpretation from Florida’s street savvy master of soul – it is at once languid, bluesy, horn driven and captivating. Also featured are mainstay artists such as B. B. King, Charlie Brown, Ellis Marsalis and the New Birth Brass Band.

Thankfully Putumayo uses it strength in the market to introduce new artists with interesting additions the roots Christmas category. As a fan of roots music in nearly all of its genres there is a sassy quid pro quo when the performing act, Randy Greer and Ignasi Terraza Trio, perform, ‘Wrap Yourself in a Christmas Package.’ To find a Christmas album that is entertaining and seasonal is a rare gem.

These are two diamonds to consider for your December festival making.

Rick Fowler Back on My Good Foot album

2008-12-08T13:39:00.001-08:00

Artist: Rick Fowler
Title: Back on My Good Foot
Writer: Rick Galusha

Rick Fowler’s latest album, ‘Back on My Good Foot’ is a well performed album. Fowler’s voice compliments the style and his high energy playing is tasteful and not over-bearing. He can play: he can sing… but like so many twang-bar kings, Fowler’s apparent weakness is his songwriting. From the opening bass lines of, ‘Infected with the Blues’ Fowler delves into blues clichés including; preachers, crossroads, devils and demons. It shows that being a very good guitar playing does not make you a songwriter.

On, ‘Running from the Truth’ Fowler tries his hand at political commentary, taking a cynical stance towards our two party-system while offering no solutions; simply bitching. I can’t cite the source but, “Democracy is an absolutely terrible government – but it the best form of government on the planet.” In many ways cynicism is a cop out and makes for bad lyrical filler.

This is a fan’s album. It is very well played and arranged. The best track on the record is a cover of the Savoy Brown tune, ‘Hellbound Train’ where Fowler stretches out and showcases his chops. As a sideman Fowler has an impressive list of friends and employers. Occasionally a vanity project is a diamond in the rough but, ‘Back on My Good Foot’ is not cutting any new ground here.

Gary Moore - Bad for You Baby

2008-11-21T06:44:00.000-08:00

Artist: Gary Moore
Title: Bad for You Baby
Writer: Rick Galusha

Irish Bluesrocker Gary Moore is no newcomer to the idiom. Before there was a Sebastian Bach, Moore and Phil Lynott formed ‘Skid Row’ in the early 70’s. Shortly after that Lynott would leave to form Thin Lizzy and Moore would maintain a dalliance with Lynott until Phil‘s death in 1986. As a young man Moore took guitar lessons from Peter Green – founder of the Fleetwood Mac Blues Band. When Green opted out of the music industry he bequeathed his famed Les Paul to the young Belfast player. In 1995 Moore would pay homage to Green with the critically acclaimed album, ‘Blues for Greeny’ where Moore covered Green’s music; using the slow blues technique of Green to launch an album of rapid fire solos and meandering wondrous fret work.

While Green’s influence on Moore is apparent, equally obvious is Moore’s fascination with B. B. King and his perchance of holding a single note for numerous measures and making the tones and shadings fill the recording. Over the stretch of his four decades of recording, Moore has sharpened his tasty albeit up-tempo ax slinging that is sure to attract fans of Joe Bonamassa, Mato Nanji or Jeff Beck. And while song writing is historically a short coming for wunder-players, Moore’s vocals compliment his style and his albums historically have included a mix of covers and self-penned tunes with strong melody lines. Moore relies on blues textures and structure as he creates a sound that is easy to embrace and yet full of depth.

Moore’s latest album, Bad for you Baby, is a plain good record. Admittedly, his version of the blues, while widely embraced, is not aligned with most critics and other assorted purists. However, for the Everyman in each of us – this is an album with depth and variance that includes languid ballads like, ‘Trouble Ain’t Far Behind’ and the screaming guitars of ‘Umbrella Man.’ Moore’s covers two Muddy Waters songs, ‘Walkin’ Through the Park’ and ‘Someday Baby.’ He also follows Johnny Winter lead by covering J.B. Lenoir’s, ‘Mojo Boogie’ as well as Al Kooper’s Blood, Sweat & Tears era, ‘I Love You More Than You’ll Ever Know.’ Denver’s Otis Taylor pays back the favour by appearing on Moore’s album by playing his African banjo on the track, ‘Preacher Man Blues.’

Fans of the afore mentioned Joe Bonamassa, Jeff Beck and Mato Nanji(Indigenous) will enjoy Moore’s romp through the blues genre; his tender emoting notes and fiery finger fretted runs. Radio hosts might look at the smokin’ ‘Umbrella Man’ or the slow and emotive, ‘Did You Ever Feel Lonely?’

Joe Bonamassa - Live from Nowhere

2008-10-23T09:52:00.000-07:00

Artist: Joe Bonamassa
Title: Live from Nowhere

Within today’s contemporary blues scene there is an audience that loves a hot guitar player. Some bemoan the act; some adore it. The latest two disc album by Joe Bonamassa is a showcase for the New Yorker axman. There are few players today with the depth in their trick bag that Bonamassa brings to the table. And while simply rolling out impressive lick after lick can make for a tedious listening experience, Bonamassa balances the fine line between serving the song and musical masturbation. Today, it seems the guitar gods of our youth are now either dead or over 60 and matted with gray hair. Clearly Bonamassa has the chops to vie for similar recognition and the poo-poo’s certain to follow such a suggestion are based upon little more than jealousy and a lack of scope.

In addition to being able to write a good song, or at least co-write one, Bonamassa has a well developed history of rock’s finest players and tributes them throughout this latest effort. In the melody ‘Django/Just Got Paid’ Joe throws in licks from a myriad of artists including Peter Frampton and Jimmy Page. On the same disc the live version of his track, ‘Asking Around for You,’ a contemporary blues-rock classic, is instantly recognizable for its ethos of B. B. King; who took the teenage Joe under his wing. So one has to ask, why this rock player is considered by many to be a “blues artist?” For no other reason than that is where his audience can be found and if fans vote with their dollars – Bonamassa is an unheralded upstart that is earning his respect one venue and one fan at a time.

Throughout this live album Bonamassa swings between serving the song and taking off on fret board adventures that may not appeal to all blues fans. Included are some earlier classics including, ‘Woke Up Dreaming’ and a too short version of, ‘If Heartaches were Nickels.” Also included is his now trademark show stopper, “A New Day Yesterday/ Starship Trooper/Wurm’ (covers of songs by Jethro Tull and Yes).

In all this is a radio ready album for shows and fans that derive from a classic rock background and dabble in the blues for sonic familiarity and access to the new artists that, for whatever reason, today’s radio ignores. The track, ‘India/ Mountain Time’ is as strong a blues-rock ballad as rock radio could possibly hope to discover- but in order to discover music one needs to be a leader (and a listener) rather than a pollster and, well, perhaps the absence of Bonamassa of the radio today is a reflection of why pertinent rock radio died in a Wisconsin helicopter crash nearly two decades ago.

So why isn’t this album given a higher rating than eight? ‘Live from Nowhere’ is an album seeped in the blues ala Humble Pie, Led Zeppelin and Rory Gallagher; however, to the “Blues” establishment this is not a “Blues” record…none-the-less it is an easy fit to most ears with soaring solos, tasty keyboard interplay and blistering rushes of bravado. What only time will tell is if this album will cross over into, ‘a dear friend’ that is played for its warmth as much as its songs and solos. “Feel the wind blow, feel the time flow, and I’ll be there when the morning comes.’

Indigenous revive career with 'Broken Lands'

2008-08-20T08:18:00.000-07:00

INDIGENOUS - “BROKEN LANDS”

While rock music is awash with bands comprised of siblings the South Dakota band Indigenous cut a swath in the bluesrock genre for ethnic bands like Los Lonely Boys and the Homemade Jamz Blues Band. During the past decade Indigenous has struggled to live up to its initial promise; struggling to find a voice since the ’98 release of, ‘Things We Do.’ In the succeeding ten years, through three subsequent albums and two CD-EPs, Mato Nanji, the sole remaining founding member, has parted company with his siblings, changed management and allowed his promising career to nearly fall apart. The fans disappointment has been palatable. With the August release of ‘Broken Lands’ the promise sensed on their 1995 release, ‘Awake’ has been fulfilled.

As the son of noted Indian Rights pioneer Greg Zephier, Mato Nanji has been silent on this legacy…until now. When Zephier died of natural causes in 1999 Jackson Browne played at the memorial Indigenous Jam concert. Zephier honored his son by giving him the native name of America’s first Civic Rights leader Standing Bear. Greg raised his son to be sober, principled and to admire the music of Jimi Hendrix, Santana, Albert King and eventually Stevie Ray Vaughan. All are lessons Nanji took to heart.

The band’s previous album, ‘Chasing the Sun’ dealt with the trauma of breaking up a band comprised of family members. The release of his latest effort, Broken Lands, shows Nanji using the Draconian nightmare of growing up on an impoverished reservation, being invisible to most Americans, to sing the blues…the real blues. On the song, ‘Place I Know’ Mato remembers a community raped by alcoholism and drug abuse when he sings, “I hear a baby crying in the night, with no mother in sight. Walking down the street with no shoes on their feet…You take all you can, in this place I know.” For this writer, contemporary blues have never been more real; more apparent or more genuine. The subsequent instrumental break shows the “ancient art” of guitar weaving between Nanji and the band’s other guitarist Kris Lager that is captivating and panoramic..

On ‘All I Want to See” the band brings back the textures of a prominent acoustic guitar so righteously used on the title track of their ’98 radio embraced album, ‘Things We Do.’ By the seventh track of ‘Broken Lands’ the band has downshifted into the albums most radio friendly track, ‘Just Can’t Hide’ where the band uses crisp melody lines against (more!) cowbell to accelerate the album’s energy a notch above the normative. Gone are the atonal groove tracks of previous records and back are melody lines intertwined with blues textures and subtle but biting lyric lines.

Guitar hackers will relish at the interplay between Nanji and Lager but it is organist Jeremiah Weir’s background playing that seems to push and prod the album with gentle textures and polite nods ala’ the Allman Brothers or The Derek Trucks Band. John Fairchild on drums and A.C. Wright on bass round-out Nanji’s touring band that is road tight and solid on a foundation that was born on the windswept high plains of Nebraska. There are six radio friendly tracks on this album including the jumping, ‘Make a Change,’ a Black Crowes style, “It’s Alright With Me” and the Hendrix textured, ‘Should I Stay.” Not to be confused with an Eric Clapton track of the same name, ‘Let It Rain’ simmers into a full blown rock tune that is comfortable – drawing the listener into the album. Nanji repeatedly leans into the wind with guitar solos that build the song and ends soon enough.

On ‘Eyes of a Child’ Nanji contrasts his childhood to those of his own children when he sings of his home life with wife, co-writer and vocalist Leah Nanji when he says,“You taught me what I need to know. Living with no envy and loving all around, Finding your voice with each little sound. Gaining strength from the arms that embrace you; Never worry about the troubles that may face you. Teaching others life is a gift. With every smile you will get your wish.”

Fans have waiting a long time to hear this album. As with any band there have been disappointments. To those of us that have trudged out to see the band over the past ten difficult years – ‘Broken Lands’ is a masterpiece. Nanji has stepped up with an album of songs that will bind fans back to a band that has finally found its voice…a voice with a message that matters.

Perhaps Nanji is speaking to listeners when he sings, “Still remember all the things we had together…Can you hear me calling you. Can you feel me missing you? I know I was lost before…now you’re all I’m looking for” from the album’s track, ‘Still Remember.’ Broken Lands comes out August 19th on Vanguard Records.

album review: Kelly Hunt Mercy

2008-06-30T10:52:00.001-07:00

Artist: Kelly Hunt
Title: Mercy
Writer: Rick Galusha
Rating: 7

If the South has Marcia Ball – then the Midwest has Kelly Hunt. Originating in Kansas City, Hunt has a storied career built by hard work and seemingly endless touring. While recognized by many, Hunt’s career seems to just shy of the level playing field that many national label artists muster. None-the-less this piano player continues to deliver solid albums.

Kelly Hunt’s piano focused sound blends a rough edged tavern blues with a contemporary melded blues that can initially be indistinct. The sounds and the textures are immediately recognizable, and there are plenty of “blue notes,” brought together with a less evident melody line but a strong groove. Most of the modern blues community will immediately be at ease with Hunt’s sound.

“They told her two girls could not make a life. This is wrong. Get up, find you a man and be a wife. Oh but when their eyes met they knew it was right. They had no choice but to follow this life. And their love was so big, all heaven broke loose. Their love was so big it made it stone truth.” And thus begins the third track, “Love” on Hunt’s album, ‘Mercy.’ While musicians have historically held a liberal bias, one wonders in the day of 24 hour news if music will continue to be a source for intellectual discourse or merely become a clanging gong of politically correct mind numbing. Clearly there are those who advocate the “shut up and sing” mentality while the oft kicked Constitution guarantees the singer a voice in the public square. When an artist chooses to employ a topical political issue in their art, and step into that public discourse, they open themselves up to criticism that can go beyond their art and focus’ on their content.

Personally I am less drawn to random topical issues being thrown amid recordings. Yes, I recognize an artist’s right to compose and preach but I also recognize my lack of appreciation of society’s seemingly endless polar tugs. I also have a personal desire to seek “just” entertainment for my money and my time. There are artists you come to expect political messages from such as Billy Bragg, Steve Earle, Neil Young, Bob Dylan or Bruce Springsteen but at what point can you draw the line? I suppose at the ‘on/off’ button for you CD player. I skipped the last Springsteen tour; not because I necessarily disagreed with his bantering messages but because I didn’t want to have to pay to hear them. Call me a curmudgeon.

On the title track Hunt and band perform a haunting and beautiful ballad focused on a soft piano line emphasized by Hunt’s vocal lines. The singer advocates for personal mercy for herself and others. It is a wonderful and moving piece that should appeal to radio. In all this is a good, not great, album of songs by a hard working Midwestern barroom talent with aspirations to become a national artist. Hunt’s voice varies between Aretha Franklin in her prime and a modern Etta James’. The songs are above average but failed to fully capture this listener’s ear…although most listeners would find varying levels of enjoyment in this collection of songs.

Album Review, Blues Divine, That's What It Takes

2008-06-16T16:18:00.001-07:00

Artist: Blues Divine
Title: That’s What It Takes
Writer: Rick Galusha

Kentucky born guitarist Phillip Franchini debuts his blues chops on the 2006 recording, ‘Blues Divine’ (available on CDBaby.com) Now residing in Southern California, according to the net, Franchini has also released the Flamenco/ Classical album, ‘Paleo’ under the moniker Phillipo Franchini after spending numerous years overseas. Regardless of his musical meanderings Franchini is a competent player with a polished pallet for arrangements and smooth vocal lines. His distinctive voice is warm and, wonder of wonders, he can carry a tune.

Throughout the Blues Divine album Franchini displays a wide range of musical styles while maintaining a comfortable sound that most blues fans will immediately warm to. From the up-tempo and radio friendly horn driven Little Milton style, ‘Other Men’s Crimes’ to a more traditional ‘Delta One’ Franchini seems comfortable moving about the blues spectrum with ease. Joined by Albert Lee and David Grishom, Franchini’s band includes a horn section that repeatedly graces with album with strong lines and good arrangements. Back-up vocalists C.C. White and Raquel Allegra add great depth and texture to Franchini’s able vocals.

This is a very smooth and readily digestible album of contemporary blues with strong melody lines and slick arrangements. I have to imagine that Franchini’s blues are right up the alley and in the pocket for non-Purists blues music fans that want to widen their scope to include new and skilled artists. I would speculate Blues Divine is to modern blues what the Doobie Brothers were to rock n’ roll; competent, perhaps too slick for critics but very popular, very skilled song writers that moved easily within the more commercial arenas with his easy to grasp arrangements and emoted lyrics. I would readily recommend this album to those blues fans looking for a bit more melody and a lot less twang-bar driven jamming.

Album Review: Ricky Gene Hall and the Goods

2008-06-16T16:17:00.000-07:00

Artist: Ricky Gene Hall and The Goods
Title: (self titled)
Writer: Rick Galusha

I love a wailin’ guitar. Sure, there are times with the atonal sledgehammer droning of some players gets beyond the annoying nuisance stage; however, Ricky Gene Hall’s self titled third album is a solid guitar-driven rock blues record. Born in Kentucky Hall’s family drove the “Hillbilly Highway” to Ohio where Hall resides and tours today. A regional artist Hall’s underplayed guitar licks fully support his strong vocals and the power trio backing from bassist Tom Martin and drummer Rocky Evans. This is a strong outing that most contemporary blues fans are going to eat up. The band is adept and plays the song rather than throwing scales and solos at the listener without chance for respite.

While Hall’s chops are perfunctory and his songwriting is more melodic that most of his contemporaries, his playing is perhaps a bit too safe and lacks the gritty flare that often distinguishes art from commerce. A majority of listeners could care less about critical appeasement and this is a very strong record for them- instantly recognizable and easily digested. Hall’s ultra-smooth vocals and the band’s tasty playing is nothing less than wonderful. Hall’s guitar tone is rich and full. Ricky Gene Hall’s album includes appropriate covers such as Little Milton’s, ‘That’s What Love Will Make You Do,’ Taj Mahal’s ‘Blues Ain’t Nothin’ and the old standard, ‘It Hurts Me Too.’ The band writes five of the albums thirteen tracks with the arching ballad, ‘Rather Hear a Lie’ being the record’s radio friendly track. Other songwriters include; Isaac Hayes & David Porter (Stax), Percy Mayfield, and Louis Jordan.

Album Review: Mississippi Mudsharks, Train Rolls On

2008-06-16T16:16:00.000-07:00

Artist: Mississippi Mudsharks
Title: Train Rolls On
Writer: Rick Galusha

This is a band that cuts from the cloth of Walter Trout and Molly Hatchet. With gruff vocals that nary’ between a bark and a growl ala’ Jim Dandy Mangrum (Black Oak Arkansas) the band crusades through an albums worth of tracks. Guitarist Scotty ‘Mad Dog’ Blinn plays licks reminiscent of Kiss’ Ace Frehley while bass player “Big” Mike Lars hammers away with flair.

With all the gusto of Motorhead behind them the Mississippi Mudsharks wail, twist and turn as the album hits high speed tempos. These guys are the absolute dumpster divers of West Coast blues kitsch…in other words they may not be a band for most listeners. However ‘The Mudsharks’ have repeatedly won the San Diego markets award for Best Blues Album of the Year including three times in the 90’s and again in 2006. With their heavy handed blues that leans towards ZZ Top on Meth ala’ Nashville Pussy, the blues is a genre that seems to welcome all comers, and this is a band that will push even the most lenient of envelopes. So to lift a line from Rod Stewart off the latest Faces boxset album, “God bless [their] socks!”

Delta Highway, The Devil Had a Woman

2008-06-08T13:05:00.000-07:00

Artist: Delta Highway
Title: The Devil Had a Woman
Writer: Rick Galusha

Musical genres are little more than marketing tools to help people piece together what a band or compact disc is probably going to sound like. An indicator if you like. As the Major Label systems continues to shrink more and more artists are looking for a musical home. Subsequently more and more acts are falling into the blues category, not because they are playing anything close to the call-call-response of a 12 bar rotation but because the blues audience is big, has money and is generally less and less discerning. I think its great because the tie that binds is blues but the definition is getting wider and wider. Unlike the rock genre, which has fractured into tens of thousands of micro-niches, the blues continues to be an embracing genre that clings to the forefathers but essentially accepts nearly anything that chooses to call itself blues. As a cocksure John Travolta said in the film ‘Broken Arrow,’ “Ain’t it cool!”

With the release of their new album, ‘The Devil Had a Woman,’ the Memphis based band, Delta Highway sets aside any debate on what genre they belong to. This is pure contemporary blues firmly rooted in the traditional American artform. Unlike many roots blues bands however Delta Highway reaches out to the modern listener with fragrant hints of stronger melody lines and more apparent tunesmithing. The band is founded on the relationship of twenty-nine year old vocalist and harmonica player Brandon Santini and thirty-one year old guitarist Justin Sulek. Santini and Sulek are backed by industry stalwarts Tom Louis on bass and Keven Eddy on drums. Together the band has the sounds and textures of the Blues-Greats but utilize modern aspects including the modified vocal line, “The Devil had a woman looked a lot like you” in the title track. In addition, this band “pockets-in-the-groove” better than less experienced bands seem to capture on their albums.

Santini’s vocals are richer than most and are draped with careful harmonica backing lines for added depth and texture. This band underplays appropriately allowing Santini’s harp line, such as on the opening of ‘Feelin’ Bad’ to fully introduce the song without being pushed or overshadowed by pesky guitars or over-used drums. They embrace the song and use their skills to keep the listener focused as the song’s energy builds to a simmering height. There’s no hurry and there’s no rush. Tasty.

The fourth track on the album, “We Got a Thang Goin’ On” starts off with a heavy tilt towards the Rolling Stone’s 1978’s track, ‘Miss You’ including a possibly unintended refrain from Sugar Blue’s harmonica lick that the Stone’s used so effectively in their foray into disco…but make no mistake, Delta Highway’s take is seeped and dirty and won’t be mistaken for disco in your lifetime. The use of an organ in the song only adds to the energy which Santini’s harp solo sets against.

This is a very strong album from a band that has established itself in the blues friendly Mecca market of Memphis. Guitarist Sulek can rip’em off and lay’em down with tasty aplomb but without becoming the dominate force in the song; quickly moving back into the background. This is a band that prides itself on delivering “pure blues.” Clearly the band knows their history and their newest album, ‘The Devil Had a Woman” is an excellent vehicle for blues purists as well as more open minded blues listeners. More traditional radio programmers might spin the fifth track, ‘Got to Be On My Way’ while more free-form jocks find that, ‘We Got a Thang Goin’ On,’ with its Classic Rock reflection, something their listeners will enjoy.

Frank Carillo and the Bandoleros 'Someday'

2008-05-28T08:03:00.001-07:00

Artist: Frank Carillo and the Bandoleros
Album: Someday

Writer: Rick Galusha

There was a time when rock records were marketed as rock records. Due to demographic shift and the dearth of choice on commercial radio, rock records by artists over the age of 40 are now marketed to a blues audience. The latest album by Frank Carillo and the Bandoleros is titled, ‘Someday.’ Much like The Michael Stanley Band, Joe Grushecky’s Iron City Rockers or perhaps Nils Lofgren, Carillo is a niche artist within the rock genre that, if you happen to “get it,” you love their music. If you “miss the train” however you are probably oblivious to their work.

Frank Caillo has that ageless summer voice that calls you back to a hot summer nights and a dashboard radios. Carillo’s previous album, “Bad Out There’ was a solid outing that included a tribute track to the late James ‘Jimmy’ Dewar who sang with the Robin Trower Band. For more than three decades Carillo has been the bridesmaid – always on the cusp of a larger audience. After departing Humble Pie, Peter Frampton invited Carillo to play on his next two solo efforts including; Frampton’s ‘Camel’ and ‘Winds of Change.’ Shortly after that, while using the Rolling Stones equipment, Carillo’s band hung-out with Led Zeppelin who were recording, ‘Houses of the Holy’ across the hall. In 1978 Carillo has his first major label deal which included Yvonne Elliman who was enjoying success in Eric Clapton’s band and her lead role in the smash hit, ‘Jesus Christ Superstar.’ And so it goes, ever so close.

Once again, Carillo has released a very strong record that most pre-Nirvana rock and many roots fans will appreciate. On his website, http://www.frankcarillo.com listeners can preview the current and previous solo effort in their entirety; I suggest trying the third track, ‘Lucky (If you can breath). The songs are strong but lack the charisma associated with a statured artist. The arrangements and recordings are pristine and carefully considered. So what’s the deal? The Bandoleros can play and Carillo has an exceptional rock n’ roll voice (ala’ Paul Rogers or Sammy Hagar minus the usual howls and braggadocio). In today’s music environment “good” is no longer good enough – weak skilled record label wonks and radio industry wannabes want easy marketing, model like looks and sexually charged misfits that can be easily manipulated. Well none of those things exist on this album. If ever there was a record where the music did the talking Frank Carillo and The Bandoleros, ‘Someday’ is that record. No – on first listen you’re not going to “get it.” Perhaps by the fourth time through the absolute pure enjoyment of this record, of Carillo’s voice will settle in and then, like me, you’ll become entrapped by an album and an artist that “has it” even if today’s fractured industry fails to fully grasp something is beyond the low laying fruit of mass commercialism. This is a diamond in the rough and don’t ever expect The Bandoleros to become a significant draw – they are a niche of exquisite flavor. Get it – it’s good!

The Informants - Stiletto Angel 'horn driven blues'

2008-05-23T07:19:00.001-07:00

Artist: The Informants
Title: Stiletto Angel
Writer: Rick Galusha

Denver based band, ‘The Informants’ are a sonically full-range band that puts the piano and horns right up front with vocalist Kerry Pastine for a rich mix of Louis Jordan meets Roomful of Blues fun-time blues that are irresistible, at times sexy and exceptionally well arranged. This is a recording of a band that took time to conceive an album as opposed to the regular collection of songs thrown together. When it comes to the history of recorded music these guys ‘get it’ and understand how to take a bit from the past, add a bit from the present and come up with something familiar yet fresh.

No doubt about it, this album wraps around the “sultry” and able vocals of Kerry Pastine.

On the title track singer Pastine uses full-throated approach that swings with a Chuck Berry sass against a pulsating band in high gear. Strategically placed pauses with a taste of Angelia Strehli vocal lines leads the band through a high gear tune of a woman clearly in control of the next sexual conquest who, “just hasn’t gone wrong” yet.

‘Tears of a Heartache’ is a slow burning track that sounds like something Otis Redding would have sung. Rather than punching through the next break the bands, stops, holds and waits for the next chorus to present itself in with a simmering broken hearted line.

The Informants have a rich mix of soulful guitar, lulling horns and a fine, fine vocalist. This is not a record that slips easily into a genre other than to say that roots music fans will readily embrace this album and those that got into the ‘jump blues’ craze of the late 90’s will readily appreciate this well made record.

‘Let’s Roll’ is your thumping blues ala’ Exene meets John Doe (‘X’) in a rich duet that is crafted to add something special to the genre. It is easy to see The Informants performing this track at next year’s ‘Keeping the Blues Alive’ presentation. A terrific album that stands up repeated listening in the car or on the home stereo.

Sweden's Slidin' Slim and "One Man Riot"

2008-04-28T11:30:00.000-07:00

Artist: Slidin’ Slim
Title: One Man Riot

Writer: Rick Galusha

In vein that crosses the music and playing of Watermelon Slim with the marketing chutzpah of The Black Keys, the latest release by Swedish born and bred, ‘Slidin’ Slim,’ entitled, “One Man Riot” is a respectable release from an artist who is most incongruous to the sound. You see, while the sound is well replicated of a steel body Blues slide guitar, “Slim” is young, white and Swedish. But his album is neither cliché ridden nor trite. It takes some listens but its fun and much like the highly regarded releases by that Oklahoma trash hauler Watermelon Slim – it does preserve a sound that is the antithesis of commercial and does so in a way that is, well, fun.

On the second track, ‘Devil in Disguise” Slim creates a sonic curtain to sing against using a unique picking to create an impression of mystery and danger. Quite literally this could be a Watermelon Slim album…except that it isn’t. Even the vocal accents are similar.

This isn’t an album that most people are going to run out and pick up. It too similar to Watermelon Slim; however, if given exposure it’s a good solid effort that fills a highly niched genre. Like most “white” players this record is easy to listen to and has a lyrical sort of pop sensibility to it: rather than the harsh cutting ‘delta sound’ of early recordings.

For sometime Sweden has been putting together nice blues based albums including serving as a recording base for Eric Bibb and others. If you’re interested in getting a feel for the blues outside of these United States this may well be an excellent example. Other than sales off the stage or due to some expatriate interest, I can’t see this album seeing much domestic success albeit a very solid record by a talented up n’ comer.

Miscellenous Thoughts about technology and websites

2008-04-28T11:29:00.001-07:00

Tech Column 2

While it’s self evident, it hadn’t dawned on me until recently that consumers of digital information are highly niched and want to be able to buffer, or hold, information until they are ready to process it. Traditional mass media vehicles such as newspapers, television and radio are learning how to set aside their content for later consumption. Buffering is an aspect of convenience that consumers have come to expect. For nearly twenty years I have hosted a three hour blues/ Americana radio program. By ‘podcasting’ Pacific Street Blues at www.podomatic.com listeners can tune in whenever they want as well as download the podcast for increased portability. No longer are consumers necessarily tied to the radio for a specific program at a specific time. It’s the same with newspapers. While the Omaha World Herald requires you to register in order to get full access to their content, The Wall Street Journal, for example, require readers to pay a fee for full access to their content. I recently signed up for access to ‘The Newcastle Evening Chronicle” on-line newspaper to read about events and stories in faraway Newcastle Upon Tyne, England. That they are able to get nearly $15 a month is incredible. So I get what I want, when I want it – interesting.

Another example of fantastic technology is a website, ‘www.tuned.mobi.com.’ Interestingly I haven’t been able to get the site to come up on anything other than a cellular telephone. The PC version is http://www.radiofeeds.co.uk/pda/ . This site allows listeners to tune into radio stations throughout the English speaking world including; Ireland, The United Kingdom, Australia and the United States. Admittedly there’s no longer any special with listening to radio throughout the world on the internet. Between ‘towered’ radio and internet only radio there are literally tens of thousands of choices. BUT, driving to work this morning I listened to Shannonside Northern Radio from Roscommon, Ireland (about midway between Dublin and Galway). The good news is that commercial Irish radio is as mundane as commercial American radio although news briefs on the lottery, a lorry wreck and Mrs. Fitzgerald’s broken fence was interesting. More so than music programming, I find call-in or talk radio the most interesting.

While not for everyone, another awesome music site for fan’s of rock music golden period is www.WolfgangsVault.com. The site is home to legendary rock promoter’s Bill Graham’s legacy and host live tapes from concerts he promoted as well as many of the now nearly mythical ‘King Biscuit Flower Hour’ series and a country music series called, ‘Silver Eagle.’ This is truly an amazing site which includes ‘Bitches Brew’ era recordings from Mile Davis, Led Zeppelin shows from 1969, Lou Reed concerts from ’73 to ’86, Vintage era Pink Floyd and more. There are interviews as well as original articles from ‘Cream Magazine’ as well as contemporary articles on today’s music. Listener’s are required to register and downloads of select concerts are also available. From obscure Yardbirds recordings to the band Kansas live at Omaha’s Civic Auditorium (July 21, 1982) – this site is a gold mine for musical exploration. There are rare and authorized merchandise, links to EBay auctions and an adjunct to look-up pending concert dates. This site has limited ability to broadcast on cellphones.

Wolfgang’s Vault now includes a vanguard music site called, ‘Daytrotter.’ In addition to editorial content regarding modern bands the site includes more than 800 songs that can be streamed or downloaded for use on your PC or portable listening device. The music you want, when you want it and at a price that’s hard to argue with (free).

What’s clear in all this is that using ‘free’ music as bait to build on-line traffic is not going to wane anytime in the near future. Much like the demise of CDs, one wonders if giving away music is wise. As CD stores have learned, if the perceived value of solid goods is eroded, if music becomes a commodity, then the value of “music” plummets. The increased niche listening habits coupled with the lowered perceived value seems to be spurring local music hubs.

Listen to the Pacific Street Blues podcast

2008-04-28T11:17:00.000-07:00

Since 1989, twenty years ago, Pacific Street Blues has been broadcasting in the Omaha, Nebraska market.

Yeah, its a blues based radio program but we play Americana and other respectable forms of roots music as well as the sporadic archival Classic Rock track.

PS Blues is not for "purists" per se' but I reckon most folks over the age of 30 will enjoy it.
Your thoughts and input are appreciated at KIWRBlues@gmail.com.

Here's the link....
www.KIWRBlues.Podomatic.com

Thanks for listening...

Album Review Blue House's Shake Your Butt

2008-03-30T11:51:00.001-07:00

Blue House & Sgt PepperThursday, November 10, 2005

Artist: Blue House
Title: Shake Your Butt

Over the past decade Blue House has become one of the area’s most popular live music acts. From my perspective much of this is due to the incessant marketing efforts of band leader, drummer, and vocalist Joe Putjender. However, it would remiss to discount the musicians in the band as being anything other than quite, quite good. Blue House is a polished horn-driven, pop-music, R n’ B six piece band that, on their latest album Shake Your Butt, appear to be exploring musical textures beyond the confines that generally restricts bands with less talented members. This is their fourth album and while the very nature of their genre prevents them from becoming a national touring act they are, nonetheless, exciting, tasty soloists, and dadgumit just plain fun!

On the track, “Sweet Jelly” or on, “du schoene tanzer” (beautiful dancer) the band spreads it wings and ventures into beautiful sound-scapes. Not to forgo, “who brought’em to the dance” they contrast these new sonic efforts with their traditional styles; boppin’ dance tunes and the now obligatory cheesy-schtick. Especially corny are the songs, suspiciously inspired by the band’s close relationship with KEZO FM powerhouse morning team Todd & Tyler, “Jenna’s Got a Harley” and “Shake Your Butt.” (*)

Blue House pays a proper homage to the late great John Lee Hooker, who made a career out of ripping off his own musical catalogue, with the not even vaguely disguised rip off Hooker’s “Boom Boom” on the song, “dog pound”... which includes a tasty interplay between saxophone players Stan Harper, Scott Vicroy, Joel Edwards and guitarist Wink. Not surprisingly the drums are up front and snappy as vocalist Putjender growls out his best Howlin’ Wolf imitation though much of the recording. And much like the Rollin’ Stones it often appears that the guitar reinforces the drive of Putjender’s drum with sharp chords and sassy solos.

Overall, this is a very strong album that stands up to repeated listening and worth your precious ear time.

In a recent conversation with Putjender we discussed using this talented vehicle to push the limits of local recordings by exploring well outside of the established ‘Blue House’ sound. Personally I hope they choose to take a musical left curve. On, ‘Shake Your Butt’ the band shows all the indications of having the ability to explore: this band has the ability to create a musical piece of art that few, if any, other local bands could produce. While I don’t intend to denigrate the band by making an overtly ridiculous comparison, I suggest that this band should consider making the equivalent of THEIR Sgt. Pepper’s album next.

***************************************************

(*) Speaking of Todd & Tyler, while their Pro-gambling, anti-Republican, anti-Nebraska football, redneck-philosophizing antagonistic routine can predicitably drone on, (love'ya guys!) our community owes a great deal to these two yobs. Instead of sitting comfortably in the catbird seat as the area’s top rated radio program, and complacency is the soup d’jour for commercial radio, Todd n' Tyler offer the power of their bully pulpit to promote local & traveling musicians to reach a massive audience that is otherwise out of reach and out of budget. These guys are 100% Pro-Omaha and they deserve our respect and gratitude for choosing to ‘put up’ and not ‘shut up.’ Specifically, Journal Broadcasting in general is leading the charge to tie back to local musical talent and, from these 'Tired Eyes' their efforts have not gone unnoticed nor unappreciated.

Album Review Susan Tedeschi's Hope & Desire

2008-03-30T11:49:00.001-07:00

Blues Album of 2005Thursday, October 27, 2005

Artist: Susan Tedeschi
Album: Hope & Desire
Rating: Exceptional

It's not like me to gush over a new album; however, the latest effort by Bostonian Susan Tedeschi deserves that rare praise. Her latest album, Hope & Desire, is "all that and more." According to her official website, "Hope and Desire, Tedeschi's fourth album (actually it's her fifth) and her first for Verve Forecast...She puts a soulful, unmistakably personal spin on a heartfelt set of songs drawn from such diverse sources as Ray Charles ("Tired of My Tears"), the Rolling Stones ("You Got the Silver"), Bob Dylan ("Lord Protect My Child"), Aretha Franklin ("Share Your Love with Me"), Donny Hathaway ("Magnificent Sanctuary Band") and Fontella Bass ("Soul of A Man")" as well as "Security" by Otis Redding.

After her initial release on the Oarfin label, the self distribute, Better Days, Tedeschi was featured on the cover of Blues Revue magazine as an unsigned artist. A bold move for an unknown artist; however, album after album Tedeschi has delivered a vibrant interpretation of modern electric blues. While the physican comparisons to Bonnie Raitt are inevitable (redheaded female blues guitar player), Tedeschi's songwriting is inadequately noted in a genre where songs are so often the missing link of artistry. Recently the New West record label released a DVD/CD companion piece of Tedeschi as a part of their 'Live in Austin' series. While possibly not as electrifying a performer as most blues-rock fans might want, her cover of Stevie Wonder's, "Loves in Need of Love Today" is a show stopper.

Tedeschi's newest has all the makings of being this year's most significant blues release. Susan Tedeschi is setting a foundation to be one of this generations finest modern electric blues performer with the missing link being her ability to cross over from the blues niche to the much wider rock spectrum. Her music contain melody lines that are more complicated than the standard I, IV, V chord progression of most blues and consequently her songs are more likely to stay with you upon repeated listening. The third song on the album, Bob Dylan's, "Lord Protect My Child" is haunting and beautiful. To date four offers have been made for her to play the Omaha market; which she has yet to do. I understand being a new mom with a husband that also travels (Derek Trucks - solo / Allman Brothers). Anymore Omaha's track record as a great live music town is well established and it's time that Tedeschi's management woke up.

Joe Bonamassa Interview/ Article

2008-03-30T09:43:00.001-07:00

Joe Bonamssa interview - October '05Saturday, October 08, 2005

"The Finest in Rockin' Electric Blues"The Joe Bonamassa Group

Thursday, October 13th
Scottish Rites Hall ( An Intimiate Orpheum Style setting )20th & Douglas - -
Free parking SOUTH of the Hall

with - - - -
The Kris Lager Band & friends - featuring;
Matt Whipkey (Anonymous American)
Sarah Benck (and the Robbers)
Andrew Bailey (Jazz Holes)
Heidi Joy, and
Rollin' Brian Leichner

ARTICLE:

Mention names like Eric Clapton, The Rolling Stones, Led Zeppelin or Jeff Beck and you’re talking about the great blues-rock acts of the ‘60’s. Each of these English acts relied on turn-of-the-century American blues artists like Robert Johnson, Muddy Waters, and later on B. B. King. As Omaha’s music scene becomes a national magnet more up & coming national acts are finding the Welcome mat is out for them too. When The Joe Bonamassa Group headlined for thousands at the ‘05 Playing With Fire concert series he’d already developed a core that embraced the young blues-rocker sensation from upstate New York. By the time Bonamassa played his first area show, opening for B.B. King at Westfair in 2003 (at the age of 23), he’d already been guesting with BB on Kings tours for well over a decade.

Bonamassa’s career began at the age of 14 with Capitol Records band Bloodline. “I record that album when I was 15; it was a month before I got my drivers license. The band consisted of Waylon Kreiger, the son of The Doors Robbie Kreiger (guitar), the son of the original bass player for the Allman Brothers Berry Oakley Jr. and Aaron Davis - son of the great Miles Davis. I was enrolled in two schools at the time of my high school graduation; a school for kids in entertainment and my home town school. I had the option of getting a diploma from my home town High School so that morning we rolled up in the tour bus, I walked out, some people had thought I’d dropped out, but I got my diploma, got back on and drove to the next gig. We were playing all over the world. I didn’t have most of the childhood experiences that most kids have but I traded them for something that was pretty unique.”

When asked about coming back Bonamassa says, “I am so looking forward to getting back to Omaha. It’s been over a year! We had to go out with ‘The King’ (B.B. King) this summer: we had to pay homage to the King. I sat in with him a couple of nights ago, on the last night of the tour, and I’ll tell you what, that man sings so powerfully, he’s always in great spirits, always plays great, always very cordial to his band and to us: that night he had 75 - 80 people on the bus. That’s a testament to how appreciative he is of his fans.” King’s album, ‘Live at the Regal” is one of Bonamassa desert island discs. “Live at the Regal is my favorite album: I just had to wait for my vocal ability to catch up before I was going to record something by B. B. (King). It took awhile. My albums, ‘Blues Deluxe’ and ‘Had to Cry Today’ were back-to-back albums that are the most cohesive albums I have”

So when is the next record coming? “We start recording at the end of November and plan to have it out in March ‘06. But before that we’re going to release a DVD that we did at ‘Rock Palace’ (The Austin City Limits of Europe) in Germany.” It will be the second DVD and sixth album. “We recorded a live show and got the DVD back a month ago. We were watching it and we were blown away by it:. There were only 300 people at the (sold out) show in a tiny room: it’s very intimate. But for the next album I’d like to pull out the old rolodex of famous friends to see who is available and get them on the new album. On the last two albums people were just starting to get to know us and I think this next one will be, boom, here’s who we are and I thing people are going to really dig on it.”

The band can’t help but get better and better. “We’re out about 200 - 240 days a years. Crowds are starting to get bigger and more people are discovering us. It’s all beginning to happen for us, especially in Europe. We did over 100 shows this summer alone!” say Bonamassa. “We have a very loyal fan base and those folks have been talking. The word of mouth is beginning to spread. We usually do about 1000 people a night on our own in theatres and ‘everybody knows my name’ now, it’s very cool.”

Don’t you find that the blues audience tends to be older and seem reluctant to give new young artists a chance? “There’s a group of us out there Kenny Wayne Shepherd, Jonny Lang, North Mississippi All Stars, Derek Trucks, Mato (of Indigenous) and a few others; a bunch of great, young players out there now.” Is the problem radio? “A lot of the blues mainstream radio who believe that blues-rock is not really blues, but it is. If you listen to B.B. King he’s got a ton of blues-rock songs in there. We did a song last year, ‘Never Make Your Move Too Soon’ which is a rock track with B.B. singing on it. I think the problem is there’s a sort of a battle being underscored between purists and people that want to see the music sorta morph & change. You’re not going to master the Masters; there’s only one Muddy Waters and one Robert Johnson but it’s okay to try and take all those influences and put them together and make something of your own. I mean Clapton did it in the ‘60’s, the Rolling Stones, Zeppelin, Paul Kossoff (Free / Backstreet Crawler), Jethro Tull, Jeff Beck. They all did something cool and it was based on the I, IV, V chord progression. It’s the blues.” When you play live you delve into some archival classic rock licks in the middle of an extended solo. “Yeah, we play everything from (Jethro) Tull to Starship Trooper from Yes. And it’s kinda weird, in the middle of a blues show, but I’m a firm believer that anyone that likes the blues remembers Yes. They went and saw King Crimson and it’s some of the stuff that I love too. We try to mix it up so it’s never the same changes over and over again. We never want the audience saying ‘I’ve heard this’ for the first three songs and then the next eight are the same-old, same-old. I always want people to be challenged and surprised by what we give’em in a live show.

Bonamassa was on the DVD about Atlantic Record producer Tom Dowd (Allman Brothers, John Coltrane, Otis Redding, Lynyrd Skynyrd, Ray Charles, Derek & the Dominos, Eric Clapton, Cream, Thelonious Monk, Aretha Franklin) “If you listen to Classic Rock radio at all you hear Tom’s work 20X a day. I am so proud that my first solo album, ‘A New Day Yesterday’ was the last full album that Tom ever produced. It was so great to get to know Tom; to be his friend for the last 3 years of his life. He was such a wonderful human being. The people who know Dowd worship him but those that don’t, once they watch his DVD, ‘Tom Down & the Language of Music’ find he was a very interesting man.” As a physicists on the Manhattan Project (the development of the Atomic Bomb) to developing the eight track recording process along with Les Paul. Dowd was instrumental in the development of the modern recording process, R n’B, and Southern Rock. “After Tom’s work on the Manhattan Project he was sworn to secrecy. So when he went back to Columbia University he sat through the classroom lectures knowing that he’d proven much of what was being taught was wrong but he had to get a job somewhere. So he started working in a recording studio as an Asst Engineer for Atlantic Records.”

The Joe Bonamass Group appears in concert, Thursday, October 13th at the Scottish Rites Hall, 20th & Douglas Streets in Omaha. Ticket are avaiable at www.etix.com or Homer's Music Stores. Opening will be the Kris Lager Band & Friends including; Matt Whipkey, Sarah Benck, Andrew Bailey, Heidi Joy, and Rollin' Brian Leichner. Joe Bonamassa with www.Bluezine.com artist of the year in '05. Bonamassa's album. Blues Deluxe was album of year in 2004 for KIWR's Pacific Street Blues' Rick Galusha (who wrote this article).

KIOS' fm Mike Jacobs Celebrates 11 "blue" years on the radio

2008-03-30T09:39:00.000-07:00

KIOS Jacobs celebrates 11 blue years

Tuesday, October 04, 2005

Mike Jacobs KIOS celebrates 11 years of ‘Blues in the Afternoon. Yes, the blues is still alive and well in Omaha! Over that last eleven years, every Monday except one,(since October 4, 1994), from 2:00 until 3:30 p.m., Mike Jacobs has returned to the same studio where he had earned his High School diploma . Mike goes in to play albums and share his love of an American folk art with listeners throughout most of Eastern Nebraska and Western Iowa. “Our (KIOS fm) mission is to encourage student involvement and education (in the broadcasting industry)” says the Jacobs. But when it comes to his love for blues and jazz, “They are going to have to carry me out of here in a casket” say the thirty-nine year old ‘84 graduate of Tech High School (their last graduating class). “I know I never want to give this up.”

After graduating from the Omaha Public School’s broadcasting program Jacob’s attending UNO and was an instrumental voice on the inter-campus station KBLZ. From there Jacobs graduated to commercial radio including a weekend stint at KKCD. These days the man behind “that” voice works full-time with Omaha’s National Public Radio affiliate KIOS (91.5 fm) that is owned and operated by Omaha’s school system. His show, Blues in the Afternoon’ celebrated its eleventh year on Monday, October 3rd.

When asked what he tries to accomplish with the music that gets aired, the youthful middle aged deejay chimes in, “I don’t think the price of CDs is going to come down anytime soon and my show allows fans to hear some of the album before they go out and spend their hard earned money. During the show I try to touch as many blues bases as possible; from R.L. Burnside to Marcia Ball to Kansas City jump and of course our acoustic set. When it makes sense I also try to feature an album so the listener gets a real feel for the album. I suppose I look at an album as a body of art.” It also sounds like relaxed education process so listeners get a chance to keep up with the flood of albums in the market. Chicago based Alligator Records owner Bruce Iglauer recently went on record as saying that Whites are incapable of playing blues. “Oh I don’t know about that. Sure. Yes, anybody can play the blues! Europeans really love the blues, I think (blues) will make in-roads into China over the next ten years. The blues are a global experience and everyone is invited to join in...sometimes whether they want to or not!” laughs Jacobs.

But what about the students? “This is really why we are here. We usually have about a dozen students in the program. I help with production, pronunciation and programming issues. The students are required to create a show about a significant jazz artist that is worthy to air on the station.” Jacobs goes on to discuss that it is important to help kids learn about their culture and feel a sense of pride even if jazz & blues are not what they are listening to at this stage in their lives. Jacobs proudly notes, “We did have one young kid that did a show on (jazz saxophonist) Coleman Hawkins. Afterwards he told me it was some of the best stuff he‘d ever heard; so I got him a list of essential Coleman’s recordings. It was cool to turn a kid onto something great like that.”

“My favorite living blues player is probably Buddy Guy” a contemplative Jacob’s finally says when asked. “But I love the old guard such as Muddy Waters, Howlin’ Wolf, Otis Rush and Magic Sam. Right now I am especially enjoying Kansas City’s Jay McShann “ Whether it’s on his blues show or the Wednesday & Friday afternoon Jazz programs Jacobs lends the power KIOS’ audience to local artists. “We’ve had Dave Stryker and Karyn Allison as well as Luigi Waitts, Preston Love, and Jorge Nila on the air live. I’d like to do more of that in the future” says Mike. “Interviews sound better in the studio (than over the telephone).”Local blues artist Kris Lager says, ‘Blues in the Afternoon’ is a show I have to catch every week. Mike’s one of the wells I can go to discover great music... I really love that show.” Jacobs makes it a point to talk about local acts, “I really enjoy Sarah Benck & the Robbers, Matt Whipkey & Anonymous American have a future in front of them and The Tijuana Gigolos - who I saw open for Link Wray at the Zoo Bar. You can really feel the area’s music scene is healthy.”

Like so many blues fans today young Mike Jacobs came to the blues through rock & roll. “I loved the Rolling Stones, Clapton, Allman Brothers, and Janis Joplin. A couple of weeks ago I played ‘Back of My Hand’ off the newest Rolling Stones album. It was an appropriate blues track. I’d read the album credits and see a song was written by C. Burnett. Who’s that?, Oh, Howlin’ Wolf, and off I would go to find about more about this Howlin’ Wolf character. The Stones were great about that.” When asked about the heritage of so-called spotlight programming in Omaha’s radio market Jacob’s lights up, “I can remember working with Steve Sleeper. I was working over-nights and he would come in on Sunday mornings to do his show, ‘Jazz Brunch.’ I remember when Steve was on the original KQ98 (along with Mike Cody, Paxton West, and Kevin Casaria). It was a golden period in radio. Today the playlists (on commercial radio) are so tight and the medium is so competitive that there are a lot of dissatisfied listeners.” Is the ‘art’ of radio is dead? Jacobs thinks for a moment and says, “I can’t say that but there are more and more people looking for vibrant, intelligent alternatives. I try to have a good show that is entertaining. I know when it’s good, all the songs fit together, time flies by and things are just groovin’. And the emails or phone calls come in.”

More and more public radio fills a listener need and keeps an artform out front. “I don’t know that the blues has died. It’s coming back in terms of programming. The Blues Society of Omaha has about 1,000 members now and with the opening of live music venues such as Mick’s Tavern in Benson or Sokol Auditorium you could say the blues is ‘still alive and well’ in Omaha: that rumours of its death have been greatly exaggerated he repeats.”

Album Review Rolling Stones Bigger Band

2008-03-30T09:37:00.000-07:00

Rollings Stones MUCH Bigger BangSaturday, September 17, 2005

Artist: The Rolling Stones
Title: The Bigger Bang

Once again the Rolling Stones thumb their noses at the conventional wisdom of the established Anti-Establishment.

When they began in 1962 the Rolling Stones thwarted conventional wisdom by playing American blues rather than the Trad Jazz or Skiffle that was popular with English kids at the time. By juxtaposing their career path against that of the more accepted Beatles during the 60’s the Stones extended the life of their band. With the release of their latest studio effort, The Bigger Bang’ the Rolling Stones have, as best I can figure, 24 studio albums, 8 official live albums, numerous boxset, and (at least) 18 domestic Greatest Hits packages. While the rest of the world was coming off the bliss of Woodstock, in 1969 the Stones suffered through the death of founder Brian Jones (guitar), the murder of a fan (Meredith Hunter), during their free concert at Oakland’s Altamont Speedway (and captured in the film, Gimme Shelter), the eminent firing of manager Allen B. Klein, a shift from “pop” to a rootsy-blues band, and replacement guitar player Mick Taylor. Any one of these could have easily broken up the band; inexplicably the Rolling Stones not only survived but went on to record some of their best known material.

With the 1972 release of, ‘Exile on Main Street’ conventional wisdom trashed the double album.

In 2004 Rolling Stone magazine placed ‘Exile on Main Street’ in the Top Ten best Rock albums.

In 2005 critics besmirch the band who’s youngest member, Ron Wood, is 58 years old. Sixteen years ago, with the 1989 release of their ‘Steel Wheels’ album conventional wisdom joked about the “steel wheelchairs tour.” Yet this same caste of critics praised Muddy Waters, while in his late 60’s for his trilogy of Blue Sky recordings with Johnny Winter. Evidently conventional wisdom says it’s okay for a African American blues act to be active into their seventh decade but Englishmen need to fade away. I’m nor even going to pretend to give an unbias review of the latest Stones album, ‘The Bigger Bang.’ I have featured three tracks on PS Blues for the last month. “Rough Justice” was probably written by Mick Jagger and harkens back to “Sad, Sad, Sad” from the Steel Wheels album. After the lackluster Bridges to Babylon album the band hasn’t rocked this hard in the studio since the release of the irresprisable ‘91 anti-war anthem, “High Wire.” “Back of My Hand” is a blues track and exhibits the Stones in one of their strong suits.

When they released the blues track, “Honest I Do,” for the ‘Hope Floats’ soundtrack, some called for a blues album by the band. In fact lead singer Mick Jagger recorded a serious blues solo album with the band, The Red Devils, although to date it is available only as a bootleg. Finally, “Streets of Love,” is a typical post-86 Jagger ballad ala’ the “Voodoo Lounge” album. With the (struggling) sobriety of guitarist Ronnie Wood it’s clear he’s giving the band a new level of energy by getting them to play songs long forgotten in venues much too small and keeping them on stage.

Throughout their 40+ year career the Stones have successfully ignored conventional wisdom.

The only difference is they are now thumbing their nose at the ‘Established Anti-Establishment’ and may God bless’em for doing so. As Keith said on opening night of the, Bridges to Babylon’ tour, “Any day above ground is a good day.”

Incidentally, conventional wisdom berates the band for the plethora of Greatest Hits packages. Twelve or 66% of their domestic Hits albums came out on the ABKCO label, owned by former manager and industry bad guy Allen B. Klein (company), AFTER the band had left Klein and the Decca label.

So much for conventional wisdom.

Album Review Eric Clapton Back Home

2008-03-30T09:35:00.000-07:00

Eric Clapton - Back HomeSaturday, September 17, 2005

Artist: Eric Clapton
Title: Back Home
Rating: Very Good

Multiple Rock & Roll Hall of Fame member Eric Clapton (Eric "Ricky" Patrick Clapp) has been beyond the reach of critics for decades. Although I've never considered myself much of a fan mysteriously I've accumulated a serious collection of his albums. Much like Dylan or Stevie Ray Vaughan, my admiration is based upon the respect I see others pay this talented artist. With a nickname like "god" (in reference to his guitar playing) he can't possibly live up to his reputation. Clapton's post-heroin preference to steer clear of long flashing guitar runs in favour of tasty tone and 'songs' misguides listener's expectations and makes for somewhat lessened concert experiences: I mean why does "Eric Clapton" need guitar slingers like Albert King or Doyle Bramhall Junior in "His" band??? Just like Buddy Guy, seeing Clapton live is an unfulfilling exercise in thinking, "Come on Eric, you take the bloody solo!"

Name a genre of music and there's a strong possibility that Clapton's dabbled in it. Reggae star Bob Marley owed much of international success of his career to two moments; one was opening for Bruce Springsteen at the Bottom Line Club and the second was the chart success of Eric Clapton's cover of Marley's, 'I Shot the Sheriff.' At the dawning of his career Clapton choose to leave the newly leaning pop stylings of the Yardbirds just as their hit, 'For Your Love' was beginning to dominate pop charts on both sides of the Atlantic. (The Yardbirds would later include Jimmy Page & Jeff Beck) Leaving the Yardbirds, (name for famed jazz sax player Charlie 'Yardbird' Parker) for John Mayall & the Bluesbreakers, Clapton stayed just long enough to record the famed 'Beano' album: so named for the English children's comic book is reading on the albums cover. (Also in the Bluesbreakers with Clapton was John McVie who would eventually hook-up with later period Bluesbreakers Peter Green & Mick Fleetwood to form Peter Green's Fleetwood Mac. In 1969 The Rolling Stones would pull Mick Taylor from the Bluesbreakers to replace Brian Jones). Clapton's career would then tumble through Cream, Blind Faith, Bonnie & Delaney, Derek & the Dominos (featuring American guitar sensation Duane Allman) and recording the guitar solo on, 'While My Guitar Gently Weeps' for The Beatles White Album under the name L'Angelo Mysterioso. Clapton would also record under the name X-Sample for the poorly received techno-album, Retail Therapy.

Long before fame took his hand, in his book about the Rolling Stones former band roommate Fred Pheldge claimed that Eric Clapton would sit-in with the Stones as their singer, under the nickname 'Ginger,' when Mick Jagger was pulled away for perform with Alexis Korner: a claim disputed during an interview for PS Blues by former Rolling Stone & band historian Bill Wyman. From his earliest days Clapton's life has faced many hardships including struggles with heroin and alcoholism. Born the illegitimate son of a 16 year old mother, much like actor Jack Nicholson, Clapton was raised to believe that his Grandparents were his parents and that his mother was his sister. In 1990 Clapton would suffer the losses of good friends Colin Smythe, Nigel Brown and Stevie Ray Vaughan, in a helicopter crash after their concert in Apple Valley, Wisconsin. Month's later Clapton's son Conor would fall 49 floors from the balcony of his mother's apartment to his death. In 1992 Clapton's song about his son's death, 'Tears in Heaven, & the album, Unplugged, would capture six Grammy Awards. Eric Clapton has had a lifelong dalliance with the blues. While the 80's saw Clapton recording with an American county flavor, the new millennium, until the release of his newest album, Back Home, saw Clapton recording homage's to blues hero's Robert Johnson and BB King resulting in three albums I would recommend only to die-hard fans.

On his new album, Back Home, a smiling and relaxed pot-bellied Eric Clapton appears in the liner notes with his wife and three young daughters. If strife and torture help artists create memorable art then the scenes of domestic bliss are well placed. Much like the previous two Robert Johnson cover-albums, a full-length album with 5.1 surround sound and DVD are included in the package. Unlike many previous albums, this record is wonderful yet nothing more than pop music. Do not approach this record with any expectations for 'slowhand' as it's merely a lark through the park and yet comfortable like talking to an old friend. The opening 'So Tired' is catchy & uplifting. Anyone that has suffered through the sleepless joy of early child rearing will immediately 'get' the lyrics and the baby crying in the background. Clapton delves back into a loose reggae stance with the single, 'Revolution' and 'Say What You Will.' The band also dabbles with the Philadelphia Soul stylings of '80's Hall & Oats with the at-once radio friendly sound of, 'Love Don't Love Nobody.' As I listened to this song it reminds me of my wife's Lite radio station: listening to a song I remember hating but as the tune draws to a close I realize I know every word. 'Loves Comes to Everyone' with its Little Stevie Winwood keyboard solo and 'Piece of My Heart' are prime radio songs that will define this fall's radio playlists. On the track 'One Day' we hear the band finally lean into the storm with an edgy burn yet a guitar solo that is sufficient and yet hardly magnificent. 'Run Home to Me' is a beautiful lullaby that brought tears to this parent's eyes.

While it's only September, Home Again, is the perfect Christmas gift for that aging Baby Boomer in your life and who knows that person may be you. It's a fine album with brief smatterings of guitar solos. Like Ice Cream, I would recommend playing infrequently as too much of a good thing will quickly lose it's appeal. 'Slowhand' is not covering any new ground with this power-pop release but then he doesn't have to because he is after all 'god.' This is an album you will have a hard time not playing and that most music fans will enjoy for years to come.

Album Reviews; Renee Austin, Shemekia Copeland, Heaven Davis

2008-03-30T09:34:00.000-07:00

Austin, Copeland, & Heaven DavisThursday, August 25, 2005

Artist: Renee Austin
Title: Right About Love
Rating: Good

Born in California, raised in Texas, and living in Minneapolis, Renee Austin’s 2003 album, ‘Sweet Talk’ thrust her onto the national scene. Noted for her “five octave” vocal range Austin’s second album is titled, ‘ Right About Love.’ A semi-annual performer in the Eastern Nebraska area Austin’s slowly building an appreciative audience. On her latest album Austin says she is driving towards an Austin (Texas) sound with a guest shot by Delbert McClinton and songs written with Malford Milligan & Tommy Shannon as well as David Grissom. And just like Elvis Presley more than 40 years before her, Austin also covers Arthur ‘Big Boy’ Crudups, “That’s All Right (with Mama).” She also covers Bobby Gentry’s, “Strangers on a Train.”

Over all this is an album with numerous srong performances and Austin's hard earned fanbase will fully appreciae this record. As a concert souvenir this album will sell well off the stage too. For those looking around for a “blues” album this is probably not a good place to start as the flavor is more R n’ B and AAA music; however, within it’s intended demographic it’s a strong album.

Artist: Shemekia Copeland
Title” The Soul Truth
Rating: Good

There is a book by Arnold Shaw called, “Honkers And Shouters - The Golden Years of Rhythm & Blues.” I can remember reading it and coming to the ephiphany that ‘shouting’ is a genre within the R n’ B category. This includes vocalists such as Etta James or Koko Taylor during the twilight of their careers as their voices waned. Such a deliver style includes a myriad of growls, snorts, and edgy positioning that often wavers off note but is carried-off by the emotional force of the emoter.

On her fourth album, ‘The Soul Truth’ Shemekia Copeland rolls out her best ‘Shouting’ with the help of legendary Stax guitar man (and Blues Brother film star) Steve Cropper and the equally impressive Muscle Shoals Horn section. Other guest appearances include; Dobie Gray, sometime Allman Brother or sometime Rolling Stones keyboardist Chuck Levell, and Felix Cavaliere. The album relies heavily on the songwriting contributions of Cropper and John Hahn. (Copeland does none of the songwriting.) These are really good songs with a Stax meets Saturday Night Live flavor ala’ punching horn lines and rhythm section up front. Deservedly or not Copeland, daughter of Johnny Clyde Copeland, finds herself in the drivers seat of a highly respected genre of American music with all eyes on her. Deservedly? The label’s tout of Copeland being in the same class as Aretha Franklin is misplaced. Copeland is sassy, industry wise (using Cropper and Dr. John to produce her last two albums) and hard working; however, such a claim is out of bounds.

Artist: Heaven Davis
Title: Steamy
Rating: Very Good

Heaven Davis has no history with the middle class white fans of blues music. Her lack of presence is going to hurt her ability to get fans to pay attention to such an impressive album. Able to sing AND carry a tune, Davis walks through 14 songs including a comedic one she wrote entitled, ‘Sell My Jewelry.’ The second track on the album, ‘Daydreaming ‘Bout You’ has the stylings of a mid-60’s soul song. While the temptation to draw a wider (whiter?) audience is ever present, Davis’ keeps a working class R n’ B sound that is tasty and accomplished. She is clearly comfortable within her own skin. Davis' song, "Regrets" is vintage Glady's Knight and exceptional.

If you enjoy Otis Redding’s “Sitting on the Dock of the Bay” more than Michael Bolton’s then chances are quite strong you are going to immediately “get” Heaven Davis’ sound. Yes, it’s a purists flavor and you know I usually stray far from that restraint but in this case Davis has the goods and delivers them in full.

Album Review Chris Cain's Hall of Shame

2008-03-30T09:32:00.000-07:00

Chris CainFriday, August 19, 2005

Artist: Chris Cain
Title: Hall of Shame
Rating: Excellent

Within the broader genre of blues there are sub-categories among them the ‘Robert Johnson school’ which profoundly effected early Rock bands such as the Rolling Stones, Led Zeppelin, and the Allman Brothers. Another school are guitarists influenced by B.B King such as Eric Clapton, Carlos Santana and Chris Cain. When I heard that Cain was coming to perform in Omaha I grabbed a couple of CD’s I received over the years at Pacific Street Blues.Cain is a tasty guitar player with a strong tenor voice and an excellent vocabulary of licks and songs. His sound brings together classic Joe Williams vocals fronting B.B. King’s band.

It is fresh, remarkable, and void of trite cliches and gushing tributes.His sixth album, released in 2003, Hall of Shame, is an exceptionally well crafter blues album that uses texture & taste. Hall of Shame is a mellow affair with soaring solos and heartfelt vocals in a classic post 50’s electric blues sound. This is as perfect a “blues” album as you will ever find. Cain’s solos are jazzy crisp runs ala’ early Steely Dan that contribute to the melody line rather than simply fill up space with clutter. Cain will be performing in Omaha on Sunday, August 28th at the Blues Society ofOmaha’s FREE family day at the Anchor Inn. For more details go towww.OmahaBlues.com.

2008-03-30T09:30:00.000-07:00

101ers Thursday, August 18, 2005

Artist: The 101ers (Joe Strummer’s pre-Clash band)
Title: Elgin Avenue Breakdown (Revisited)
Rating: Niche / Good (interesting)

Lou Reed wrote it but Joe Strummer had a Rock n’ Roll heart. In the mid ‘70’s After a decade of “artrock” and the dirth of “corporate rock” on America’s FM radio stations, The Sex Pistols kicked open the doors of pop consciousness with an aggressive sound that was basic, fast, and anti-establishment. While the Pistols soon disintegrated, as the leader of one of rock’s great garage bands (The Clash), Strummer & band took England’s “punk” rock movement to the next level and released one of rock’s “great” albums, ‘London Calling.’ Strummer actually joined a band that already consisted of the three other members of what would become The Clash; Mick Jones, Topper Headon & Paul Simonon.

In the film, “Punk: Attitude” Pretenders leader, and now Rock n’ Roll Hall of Fame member, Chrissie Hynde documents being a pre-Strummer member of the band that would become The Clash. I can’t remember where I read it but it pretty much summed up the band’s conclusion, “when they turned their Tommy guns on themselves” with Strummer driving Jones out of the band and killing the thing that made the band unique. Before The Clash Strummer was in a band called, The 101ers. The 101ers were a high energy pub-band that survived by covering rock nuggets. Recently the Astralwerks Record label reissued an extended version of the 101ers album, Elgin Avenue Breakdown (Revisited). According to the liner notes, on April 3, 1975 the original Sex Pistols (pre-Sid Vicious) opened for the 101ers and Strummer saw the future. This would lead to the breakup of the 101ers and the form The Clash.

This new version of Elgin Avenue Breakdown (Revisited) captures the band’s studio recordings and a handful of live recordings including Slim Harpo’s (ala Exile on Main Street) “Shake Your Hips”, the Rolling Stones’, “Out of Time” and “Lonely Mother’s Son” which would resurface on the seriously rock-worthy self-titled Clash album as “Jail Guitar Doors.” This new version of Elgin Avenue Breakdown captures an excellent local band thrashing about with furious energy and heart felt enthusiasm: it’s everything “rock n’ roll” should be and sadly rarely is. However, this recording does not begin to approach the landmark recordings of The Clash. However, as a snapshot of where the roots of punk rock came from, this album contains excellent historical perspective that rock musicologist or craving Clash fans will surely enjoy. Since Joe Strummer is no longer with us The Clash will never reform and there’s a sadness in that. Modern pop culture has yet to acknowledge Strummer’s contribution: as determined by other’s successfully covering the music of The Clash. “They” did play Omaha in the mid-80’s (by which time Mick Jones had been evicted from the band).

I vaguely recall being told a story that someone in The Firm, reportedly Gary Foster (arguably Omaha’s finest drummer) had written a snide remark about The Clash in the men’s latrine at the original Howard Street Tavern. According to the tale a member of The Clash stumbled onto the rude graffiti and commented on it from the stage during their show. Oh wonder!

Album Review Ry Cooder's Chavez Ravine

2008-03-30T09:28:00.000-07:00

Chavez RavineFriday, August 05, 2005

Artist: Ry Cooder
Title: Chavez Ravine
Rating: Niche / Very Good

Born in Southern California in 1947, guitarist Ry Cooder has maintained two recording careers; one in the Rock genre and the other flirting around the World Music genre. As a young man he learned to play on the knee of the Reverend Gary Davis: who’s song, “Cocaine” Jackson Browne recorded for his ‘Running on Empty’ album. One of Cooder’s earliest bands included Taj Mahal and Ed Cassidy (Spirit). This short lived band broke up when a completed album was shelved. Cooder then moved into studio work recording with bands such as Paul Revere & the Raiders. He also recorded on the debut album by Captain Beefheart & His Magic Band as well as guesting with Randy Newman, Little Feat, and Van Dyke Parks (who worked with Brian Wilson of the Beach Boys). Prior to the recording the soundtrack to the film, ‘Performance’ (starring Rolling Stone Mick Jagger) Cooder is credited on the Stones’, Sister Morphine’, ‘Love in Vain’ and the heavily bootlegged, ‘Highway Child.’ He also appears on the cultish flims, ‘Memo From Turner’ along with Nicky Hopkins, Stevie Winwood, and Jim Capaldi. A somewhat rare version of Cooder playing a blistering slide guitar over the song, ‘Brown Sugar’ a/k/a Black Pussy (in reference to a particularlily smooth and dark colored Mexican heroin) exists; however, it’s rumoured that a tiff over a riff with Keith Richards caused this version to be shelved

In 1979 Cooder’s album, Bop Til You Drop, was marketed as the first album in which all the tracks were recorded digitally.

In 1992 Cooder joined Nick Lowe, John Hiatt, and long time collaborator Jim Keltner in the band, Little Village, for one album before being disbanded.

In 1997 Cooder regrouped some of Cuba’s finest roots musicians to recorded the first million selling world album, Buena Vista Social Club. The success of BVSC thrust Eliades Ochoa and Ibrahim Ferrer into international limelight and caused numerous labels to follow suit with the release of their own World Music albums.

In 2005 Cooder mined an interest closer to his home with the release on the Nonesuch label, Chavez Ravine. Chavez Ravine was an area in east Los Angeles where poor hispanics lived until the 1950’s when City Planners decided to pave over the neighborhood and plant Dodger Stadium. Like the BVSC album Chavez Ravine includes a wonderful multipage colour booklet with lyrics, photographs, sketches and brief details on the scandal surrounding the reclaimination of Chavez Ravine. The music on the album includes what I assume to be tradtional Hispanic instrumentation with songs written specifically for this album. Nearly all the songs are sung in Spanish and the tyrics are intrepretated in the booklet. It’s a slow languid album with texture and space and, obviously, a heavy south of the border influence. Cooder’s use of numerous vocalists gives the album a sense of testimony from the Ravine’s inhabitants telling their stories.

Today Los Angles appears to be more of a quagmire than a community but this album gives the City of Angels a sense that at one time families lived in neighborhoods where conversations across driveways might have occurred. A similar sense is derived from Dave Alvin’s song, ’Dry River’ on the Blue Blvd album. Given time to unfold this is an exceedingly interest album that grows on the listener. Much like BVSC, Chavez Ravine will open up doors and take the listener to new and exciting auralscapes.

Article & interview with Albert Cummings

2008-03-30T09:27:00.000-07:00

Albert CummingsFriday, August 05, 2005

One way or the other Albert Cummings is pounding the floor boards. Hammering away as contracting builder of luxury homes in the Western Massachusetts/ Southern Vermont area or in front of the footlights on blues stages across the country Albert Cummings is a man that knows how to deliver. His first nationally distributed album, 'True to Yourself' on Blind Pig Records has been an immediate lighting rod of accolades reviews or purist pans. "The label feels this album still has legs so we are out trying to build up that national audience" says Cummings.

Like most modern electric blues players Cummings has an appreciation for Hendrix and Stevie Ray. "Everybody wanted to sound like Stevie, not me, I just wanted to cop that feel Jimi was the first but Stevie actually hit the notes better. But like Stevie said, 'I can play it but Jimi wrote it.' " His budding base is going to be more with older rock fans than blues snots; he's got a fiery hot rock guitar sound, the increasingly rare ability to incorporate a tune in his songs, and, as fans of the Playing With Fire concert series fans saw, a stage presence that goes, and goes, and goes. "With most players you can quickly figure out where they hang out on the neck but not Hendrix - it's obvious but he was special and so young."

You learn quickly that most blues acts build a lore around their beginnings; railroad tracks, blues clubs, sneaking in, ancient black teachers. Even his beginnings go against the tired Blues clichés, "I really wasn't interested in the guitar. I'm a fourth generation home builder that grew up loving Bluegrass and playing the five string banjo. It wasn't until I was 28 that I really began to get into the guitar. I saw Stevie at the Orpheum Theatre during the, 'Can't Stand the Weather' tour and that was the end of the banjo." His playing incorporates a high energy, heavy string, Stratocaster sound with a rock n' roll beat and heavy organ influence. Even the themes of his songs tend to avoid worn out stories that other players bring out like a tired crutch. High pitched squeals, ZZ Top-ish bottom ends, and hard luck tales of unrequited love make for an honest faux-suburban blues sound. Yes, its the antithesis of "blues" but it's honest and immediately accessible to anyone that grew up on '70's FM radio.

As Cummings noted when talking about the old masters (Albert King, BB King, Freddie King, Albert Collins & Buddy Guy), "When it comes to the blues, you just can't fake it." And he doesn't: Cummings is clearly more Led Zeppelin than Howlin' Wolf. If there is a linear line for guitar styles with one end being a technical player (Robert Fripp - King Crimson) and the other end being an emotional player (Mato Nanji - Indigenous) Cummings leans hard on playing what's in his heart rather than his head. "There are times when I get so into playing live on stage with the band that I become a member of audience wondering what's coming next. I've literally 'woken-up' at the end of a gig not knowing where I was or what was going on. It's like a trance that transcends anything else." As a local high end builder in Williamstown, Mass., Cummings joined the National Guard in his younger days and trained for Desert Storm. "We were in the armored division: Tanks. We didn't go but it got awful close and we were ready. There's nothing like a Tank!" Cummings is quick to express support for members of today's Armed Forces. So whether it's moving planks of wood, plunking on a wooden guitars or driving tanks through the woods, Cummings is pure middle class America; a self made businessman in pursuit of his musical dream. Yes, his blues is not going to sucker up to snobs but rock fans. the open minded, and modern electric blues fans are going to get "it" right away and as we saw with Cummings Playing With Fire show by the end of the show those fans will be sweaty with big smiles screaming for more. "We play about 100 - 125 shows a year and just got off a tour of the West Coast with B. B. King. It's a constant battle to run the business and be on the road and then we'll play a festival with 7,000 people. Coming off stage you get that shiver and suddenly it all comes back into focus on why we are doing this - it's love baby, love!"

Garage Rock Op-Ed - Fleshtones, Jarvis Humby, The Blues Vans

2008-03-30T09:25:00.000-07:00

Garage RockSunday, July 31, 2005

Critically a sonic line exists: PN (PreNirvana) and AN (After Nirvana). After a dirth of hodge, “rock” seems to be cool again; that wonderful sound of energy & exhalation. During the ‘60’s a niche of rock, adored by critics, was born called Garage Rock (GR). GR came about in the ‘60’s when kids, listening to their AM transistor radios, began to emulate the sounds they were hearing. Generally, GR is simple songs that are propelled by heaps of enthusiasm, a dash of talent & finesse, strong keyboard presence, heavy bass, an occasionally harmonica, flailing drums and slashing yet simple guitar riffs. Having rock n’ roll hearts Jim Morrow (The Front), Jim Fleming (The Confidentials), and in some instances Homer’s Manager Charlie Burton are fine local examples of GR.

Recently three GR albums came out that reinvigorated my lumbar - the best of which is;

Artist: Jarvis Humby,
Title: Assume the Position It’s Jarvis Humby,
Rating: Better than Very Good.

Not since the debut album by Jamie Cullem album have I rated an album this highly. Other than it’s basic sound this record has nothing to do with blues. Recorded in the bustling backwaters of Stockton-On-Tees in England this band demonstrates an ample understanding of the history of great rock albums. Throughout the album they tip their hat to the bands that made rock an artform. In their liner notes they thank, “Dylan, Muddy Waters, The Animals, and The MGs” (as in Booker T). The montage on the cover includes a pimply young Keith Richards, a Sgt. Pepper era Ringo Starr & a psychedelic George Harrison, a photo of Who bass player John Entwistle in his Mod London finest, the cover of the Small Faces’ Nut Gone Flake album, and the Grateful Dead’s Mr. Natural cartoon figure. From the onset this bands throws all the furniture in a heap in the corner in order to make room for their powerful, danceable, short songs. On the second track, ‘These Eyes’ Jarvis Humby plays a smokin’ Sitar solo that makes Brian Jones roll over to tell Tschakowsky the news. I adore this album.

Artist: The Blue Vans,
Title: The Art of Rolling,
Rating: Good + / Niche

Hailing from Scandinavia The Blue Vans have delved back into Rock’s Heyday via’ Paul Weller’s Jam to dig up the spirit of Pete Townshend’s Who. This is a band that is full of the swagger of youth. Their lyrics speak of teenage angst, social revolution and all those idealistic things that a young man believes yet an old man knows better. From the cover artwork to the tracks inside this is a high energy GR album that evokes ‘Live At Leeds’ with shorter jams and borderline mayhem. The album’s last song, New Slough’ includes an extended jam that brings the listener onto the stage and into the fold. Without being voyeuristic this is a beautiful album and lacks the pretense that similar “indie” rock titles seems to thrive on. This is simple bash & pop destine to be a hidden gem that a listener takes out once or twice a year and marvels in its pop-art.

Artist: The Fleshtones
Title: Beachhead
Rating: Good / Niche

Sloppy, aggressive, gobs of guitar fuzz and very New York Dolls-ish, The Fleshtones are back: which brings up Mr. Hartsock’s joke (usually associate with Barbara Streisand), “How can we miss you when you won’t go away?” (I am joking!) Always the bridesmaid and never the bride, The ‘Tones have been around for decades and seem to linger on the brink of shooting up to the next level and a larger audience. This is a band that rocks because it’s members probably don’t know what else to do. Their new album, Beachhead, is remarkable in that it’s better than most of their previous efforts and with their label’s (Yep Roc) growing presence in the market it leaves me hopeful that with the apparent resurgence of the GR sound they may bring this band to the forefront. As the title suggests this band may be landing in a spot from which to begin taking over the world! Group chanting, harmonica breaks, heavy guitar riffs, and bowery heartaches this is a band that sounds very East Coast and ripe. It’s hard not to love an underdog. The Fleshtones are never going to be mainstream but then that adds to their mystic.

What's On serial - July 21, 2005

2008-03-30T09:24:00.001-07:00

Whats on @ PS Blues 07252005 Friday, July 22, 2005

It seems that summer, more than any other season, can associate fond memories of carefree times with the great music you were listening to at the time; weddings, high school graduations, dating and new drivers licenses.

By accident I’ve stumbled across a couple of ‘pop’ records which evoked that light, lilting sense of summer that I seem to have been missing these past few decades.

Artist: Gabin
Title: Mr. Freedom
Release: August 23rd

Featuring vocalists Dee Dee Bridgewater and Edwyn Collins, Gabin is a crisp, poppy record with short, well written tunes and lyrics that have no higher message. This is pure disposable pop music that has entrancing Bossa Nova rythmns, catchy melody lines, non-traditional instrumentation. This is pure fun and quite enjoyable. With only ten tracks on the album you know the artists understand space and brevity!

Because of it’s quirky rythmns and hip sampling entwined with jazzy piano and flute riffs, for whatever reason, I see this album as especially attractive to women. I dunno - like reggae it will make gals move their hips ever so seductively. If you’re looking for something fresh and tasty, something that doesn’t imply angst to understand, something fun, something summery; this is a perfect album to wrap your summer memories around.

Artist: The Greenhornes
Title: East Grand Blues
Rating: Very Good
Release: August 2nd

More than anything this albums smacks of a great hybrid of the Byrds meet the Mama’s & the Papa’s with the occasional Eric Burden (Animals) flair. Pure 60’s sensibilites. Produced by Brendan Benson, the Greenhornes are from Cincinnati and will be touring with The White Stripes this summer. Once again, it’s light & fresh with that Byrds Rickenbacker sound (which they lifted from the Beatles).

The Greenhornes have captured the sound of rock radio when it was young and made it their own. This is a brilliant pop-psychadelic album that has no higher signifance other than your enjoyment. Well written songs that will linger on your mind. The track, ‘Pattern Skies’ is heavily influenced by the Kink’s [‘Set Me Free (Little Girl)].’ If you enjoy Tom Petty, who was clearly influenced by the Byrds, then the Greenhornes are a natural progression of that sound. It’s nice to hear a new band that understands the past and draws from it’s best influences.

What's On serial July 5, 2005

2008-03-30T09:23:00.000-07:00

What’s On at Pacific Street Blues
Volume # 8

This week we review two titles that are category definers. Each artist is a ‘purist’ within their genre and, to some degree, defines that genre’s sound today.

Artist: Sean Costello
Title: Sean Costello
Rating: Very Good

Costello first blossomed on the scene as the guitar player in Susan Tedeschi’s band. Unlike Tedeschi, Costello is a touring monster and has played Nebraska several times including this weekends (July 9th & 10th) blues festival on the Metro Community College’s 30th & Fort Street campus. Costello’s sound has progressively become his own on each album with a fine culmination on this self titled release. After three albums Costello has grown beyond the trad-purist into an artist that has put his own stamp on his retro sound. Unlike many traditionalists however Costello has chosen to grow the sound beyond the tight constrictions of “pure blues.” His songs avoid tired clichés and yet sonically appeal to purist blues fans as well as modern blues fans. Unlike his contemporary Jonny Lang, Costello has a firm grip on the development of his style, the ability to write a good song and substance beyond a sharp jaw line and a nice hair cut.

Artist: Eric Johnson
Title: Bloom
Rating: Good++

Eric Johnson has to be among the most talented guitar players in the world. He has defined his own sound and made a living out of being brilliant and incredibly talented. Johnson’s weak link, like most hot-shot guitar players is his song writing. Instead Johnson has created sonic pallets where sound and color mesh in an intense burst of skill and aptitude. Not for everyone, Johnson’s sound is well defined and unquestionably pleasant to listen to; however, you’re not going to walk away humming a tune. Heavy on the instrumentals Johnson’s voice is wispy and angelic. Like most gifted musicians I suspect Johnson struggles with compromises between his art, his skill, and the commercial end of the music business. I really enjoy this guy but there are times when I want to be drawn into the music and leave with a tune in my head that lingers.

What's On serial - June 21, 2005

2008-03-30T09:22:00.001-07:00

What's On @ PS Blues 06212005Wednesday, June 22, 2005
What’s on at Pacific Street Blues?
Volume # 7

Artist: Graham Parker
Title: Songs of No Consequence
Rating: Niche

After wandering for seemingly 40 years in the desert Parker has come back with an album full of cynical, caustic observances that only this old punk could muster. While Costello has softened to a squishy middle, Parker remains hungry and mean. Sharp tunes, amazing lyrics such as this from, Bad Chardonnay,

“I’ve got my act together,
Okay it’s only an act,
But it’s served me well for a long, long time.”

Parker legendary pub-rocking band, ‘ The Rumour’ is thing of the past but his new outfit pulls him through. This is a very strong album that old fans can use to reconnect to a great albeit unknown legendary figure.

Artist: Dwight Yoakam
Title: Blame the Vain
Rating: Very Good

Modern country is neutered noise for pin-up artists as disposable used razor blades. For the past 19 years Yoakam has successfully waded through the remnants of county music proud past. Like any artist with a plateful of albums some have been outstanding and some should have been left out standing in a field. Sadly country radio has learned how to make money and consequently completely abandoned the art of music. For Pete’s sake Johnny Cash won a Grammy and still couldn’t get airplay! This is a terrific album that cuts along Yoakam’s Bakersfield (Haggard) roots. The packaging & artwork are outstanding. Yoakam’s cross-genre career has created a new, wider roots audience for country’s next generation of real acts. This is an excellent album.

What's on Serial June 9, 2005

2008-03-30T07:53:00.000-07:00

What's On @ PS Blues 06092005Thursday, June 09, 2005
What’s On at Pacific Street Blues – Vol# 6

Artist: Lucinda Williams
Title: Live @ The Fillmore
Rating: Very Good

Lost Highway is a bona fide roots rock label that, generally, puts out albums of substance. Since her early days Lucinda Williams has been a darling of the critics. Her rough and tumble mix of Tom Petty meets Keith Richards brand of Americana roots rock is full of depth, texture and anguish. While we’ve long been ‘dating’ I never really hooked up completely with her music: especially after her clunker, ‘World Without Tears.’ Live at the Fillmore is pure redemption. Her songs seem to blossom completely with her bar-nag vocals fitting the underside of life that her songs so often portray. The only track that could be misconstrued as a hit is, Righteously’ and only the brave would approach this album one song at a time – rather it needs to be approached as a complete work of art. Over time this album will continue to unfold such that a heavy music fan will ‘get it’ while a more casual listener will wonder what they were drinking when they bought this thing!

rtist: Entrance
Title: Wandering Stranger
Rating: Niche

Upon first listen this album could easily be mistaken for an arrogant ‘day tripper’ by a lost indie-shoe-starer (a/k/a Creeker) with a desire to develop credibility by recording a rootsy blend of America mountain music and Led-Zeppelin-folk. The band consists of Guy Blakeslee on guitar & vocals, Paz Lenchartim on Keys & Fiddle (FIDDLE!), and Tommy Rouse on Drums & driver. Blakeslee walks a thin line between an absolutely brilliant aping of Robert Plant and complete hogwash…and yet deep inside there’s an intangible quality that brings me back repeatedly. The more I listen the more I am compelled to their music. I can’t see any commercial appeal with this music but, gosh, it’s really interesting and certainly breaks out of the trite hipness of the singer/songwriter category.

What's on Serial June 1, 2005

2008-03-30T07:51:00.002-07:00

Whats on PS Blues 06012005Wednesday, June 01, 2005
What’s On at Pacific Street Blues?
Volume # 5

Artist: Steel Train
Album Title: Twilight Tales From the Prairies of the Sun
Rating: Very Good

More and more the acoustic singer-songwriter ‘sound’ is becoming the soup d’jour of hipness. None-the-less there are bands within that genre that write really good songs and put out good albums. ‘Twilight Tales’ is a most interesting record that incorporates a blend between early Allman Brother’s sense of meandering panoramic songs combined with a not-quite-so-hippy kind of Grateful Dead layered vocals. Steel Train has a passive approach to presenting their songs much like Crosby, Stills, & Nash would do with this early albums; occasionally breaking into a very melodic tune. The more I play this album the more I enjoy it. It’s not yet half way through the year but this is probably a Top Ten 2005 album for me… and certainly a sound outside of what most listeners may have expected from me.

Artist: Corey Harris
Album: Daily Bread
Rating: Very Good

If you need a category to understand him better, Corey Harris is a modern Taj Mahal. Taj is an iconic Musicologist who’s recent career is bent on preserving and presenting the musical ties between early Black American slaves and the native African tribal sounds that later formed ‘The Blues.’ Mahal is quite good at it; however, I sometimes find his historical accuracy tiring. Harris on the other hand also reaches back into this bedrock of the blues and then ties in a strong melodic almost pop sensibility. He also reaches into island sounds to blend in more roots. While Harris’ other albums did not reach out to me, Daily Bread, is a very strong album that has unfolded after repeated listening. I really enjoy this record and I think most PS Blues listeners will too!

Artist: Tab Benoit
Album: Fever for the Bayou
Rating: Good

I have a great affinity for New Orleans rhythm and blues music. This extends to the outlying areas where Zydeco is king. Try as I might, after numerous listenings I simply cannot get this album to open up. To my ears it sounds, at best, like an average blues album: consequently it does nothing for me. Yes, we’re going to air it a couple of times to create awareness but I am saddened. My expectations for Benoit are to rock-it with a rich flavored album – you get none of that here. Tab’s a terrific player and clearly competent but I hear none of that on this release.

What's on Serial May 23rd 2005

2008-03-30T07:51:00.001-07:00

What's On @ PS Blues 05232005Monday, May 23, 2005
What’s On at Pacific Street Blues?
Volume # 4

Artist: Precious Bryant
Title: The Truth
Rating: Very Good

This is not the sort of album I would normally ‘do for.’ It’s very basic and stripped down. Usually these sorts of albums are by post-modern blues interpreters who’s interest in more about preserving the artform than taking it forward. While that’s an honorable albeit somewhat fiscally challenging effort, those kinds of records usually fall short in a mass of clichés and endless ‘honking.’ Not so with Precious Bryant. This is a beautiful full on blues in the “purist” sense that we could possible expect in the 21st century. No pretenses. No stupid nicknames. No hype. Just pure blues based on simple songs that occasionally breakaway from the redundancy of the 12 bar blues. If you’re a “purists” or someone that just wants a fresh but honest blues sound – this is a brilliant album that just like a ripen orange is bursting with juicy flavor.

Artist: Bobby Patterson
Title: Soul of the Man
Rating: Niche

I love good soul. I especially dig Otis Redding and the other giants on the Stax, Muscle Shoals, Hi recordings. While I don’t think anyone could ever touch Otis, I do enjoy well-performed music in this genre. This compilation by Bobby Patterson is an excellent compliment to someone who’s collection is already well stocked with the masters (Aretha Franklin !) With a super funky beat, pumpin’ horns, and a series of slow melting grooves, this album is a sugary concoction of beautiful, authentic, soul music. So why wear your old records out? Try something new that I promise will rekindle your ancient urge to wear polyester leisure suits and pop-in cake cutter combs. Sweet!

Artist: Chris Beard
Title: Live Wire
Rating: Very Good

Until I heard this record it never dawned on me that the late, great Luther Allison has spawned a sub-genre of Midwest electric blues guitar players. As a 4th generation player Chris Beard has continued to grow the genre and balance the fine line between rote blues and high powered rock n’ roll. Beard’s band includes his smokin’ guitar and a very funky horn section that can R-O-C-K! This is a very high-powered live album with excellent songs, superb performances, and terrific presentation & pacing. I really like this album. Often live albums, especially within the blues genre, are pipe-line fillers that bands use to sell to intoxicated fans off the stage. If this record is an indication of Chris Beard’s live shows then fans intoxicated with the blues must be the norm. As within any “rock” genre the difference between a “good” band and a “great” band is always the drummer: Buddy Honeycutt is the drummer on this album and he propels the band through songs like a Navy Ice Cutter. Significantly Beard manages to pull off a strong album without having to resort to use of tired overplayed covers. There’ll be no ‘Sweet Home Chicago’ on this piece… thank gawd.

PWF season 2

2008-03-30T07:46:00.000-07:00

Playing With Fire - update 05/16/2005Monday, May 16, 2005

If FREE is the best, then the only thing that could be better is FREE and GOOD. This year’s 2nd annual Playing with Fire concert series promises to be an improvement over last year’s award-winning event.

www.playingwithfireomaha.com

In America, “too much is enough,” and that adage holds true with this year’s event. Not only are there seven free concerts (two more than last year), there is also a new four show Friday Blues series. That makes 11 concerts in all!

Last year’s inaugural season was initiated by local businessman Jeff Davis. “Jeff approached me about helping do ONE show in the Old Market: that quickly grew into five shows” says Homer’s President Rick Galusha. “With 11 shows this year he’s really worn out his welcome!” jokes Galusha. “I grew up with a ‘60’s idealism” says Davis. “We really wanted to create an environment for the community to come together, share in some exceptional music and do it all for free. Omaha’s is a happening community and I wanted to be a part of that. And I wanted share my love of music with all my new best friends.”

PLAYING WITH FIRE information:

There are five Saturday shows, a Sunday show, and a Friday show. Two of the shows (July 16th & September 11th) consist of three national recording acts. The seven shows will be held at Lewis & Clark Landing Park; right on the banks of the Missouri River between the new Qwest Center and the river (345 Riverfront Drive). Like last year absolutely no outside food or beverages will be allowed in the park. “These concerts are free because of the sales of concessions and sponsorships.” Says Davis. “We make certain that prices for food and beverages are very reasonable, so no one gets gouged. We want families to be able to afford to come.” So help keep this series free by bringing a BIG appetite! Gates open at 4:00 p.m.(except for the Sunday show on September 11th when they open at noon) and music begins about an hour later.
Playing with Fire requests that concert attendees bring a can of food or two for donation to the Omaha Food Bank, and to keep with the spirit of the event in giving back to the community. FREE PARKING: Due to a special agreement with Gallup University and Metro Area Transit, PWF is able to offer FREE parking just north of Lewis & Clark Landing, along Riverfront Drive, at the Gallup University campus. For a mere $1 per rider (50 cents each way: buy a roundtrip ticket when you park your car) MAT will shuttle guests between the parking lots and the parks. This area is for shuttle riders only. According to Galusha, “There’s been a concern with parking and we wanted to make it as easy as possible this year. Gallup’s help with parking certainly will relieve some of that pressure. ” To avoid park congestion, the quickest access to the Gallup parking lot is to take Cumings Street EAST toward the airport. Cumings will turn into Abbot Drive. Take Abbot Drive to North 6th Street and turn South onto Gallup Drive. With a commitment to help establish Omaha’s musical future, The Blues Society of Omaha’s ‘Blues Kids’ will open some of the shows with a short set that is certain to improve over the five month span of this series. BSO Kids Band coordinator Doug Backer is an enthusiastic supporter of his pupils. “The kids are really excited and ready to put on a great show.” The BSO Kids will also be circulating throughout the audience selling raffle tickets to help them raise money for lessons, instruments, and travel. Russo’s Music has donated guitars for the raffle: winners will get to go backstage, meet that evening's bands, and get their guitar signed. This event could not happen without the support of the Blues Society of Omaha. “We knew this was an event that will grow into a real showcase for Omaha. We’re glad to be a part of it.” says the BSO’s Dan Griffin.

Saturday, June 4 Bernard Allison: Recording with father (blues legend Luther Allison) at 13, Bernard got a job just out of high school touring with Koko Taylor. In 2003, the Prague Post called Allison, “a dedicated touring musician, and his live shows are reputed to be incendiary and geared toward a wide array of listeners.” (2004 Artist)www.bernardallison.com

Melvin Taylor: Influenced by B.B. King, Albert King and Jimi Hendrix, Taylor worked in clubs by the age of 12. Since the 1980s he, along with former members of his first band, The Transistors, toured Europe and opened shows for B.B. King, Buddy Guy, Santana and George Benson. He then formed his own band, The Slack Band, and in 1995 recorded the best-selling album in Evidence Records catalog, Melvin Taylor & the Slack Band.

Blues Messengers: Dedicated to preserving authentic blues, this Lincoln-based band features the blistering guitar work of Joe Manthey and Shawn Holt, the son of Chicago blues legend, Magic Slim. www.bluesmessengers.com

Saturday, July 16 Curtis Salgado: His vocals shined at such an early age, his kindergarten teacher declared it by pinning a note about his singing prowess to his clothes. He began his band in the early 1970s, then spent a 6-year stint in Robert Cray's band, including performing on Cray's debut album. Salgado appeared on NPR's Mountain Stage and his last CD, Activated, gained a W.C. Handy nomination for "Soul Blues Album of the Year." His newest, Strong Suspicion, showcases Salgodo’s vocal talent and honed harmonica skills.www.curtissalgado.com

Fathead: The Canada-based band has garnered rave reviews worldwide, and member John Mays recently scored Canadian male vocalist of the year. The group's 1998 release, Blues Weather, won a Juno Award (the Canadian Grammy) for "Blues Recording of the Year." The single, First Class Riff-Raff off their 2000 follow-up, Where's Your Head At? won the 2002 Canadian Indie Award and was nominated for a Juno. Fathead’s stellar songwriting, soul-drenched melodies and ensemble playing is not-to-be-missed.www.fathead.biz

Walter Trout and the Radicals: So popular in Europe that in a BBC poll, Trout was voted the sixth best guitarist of all time right behind Jimmy Page, and ahead of Stevie Ray Vaughn and Jeff Beck. The Los Angeles Times describes Trout as “a torrential gladiator guitar player – a kind the term ‘guitar hero’ was coined to describe.” (2004 Artist) www.waltertrout.comSaturday,

August 13David Gogo: Ten years after being nominated for best new solo artist at the 1995 Juno Awards, this British Columbia-based Canadian just won the 2005 Maple Blues Award for "Guitarist of the Year." Gogo recently released his seventh album Vibe, which features guest artists like guitarist Jeff Healey and John Capek. The Victoria Times Colonist recently quoted Gogo discussing the music he makes. "I don't like to be a paint-by-numbers blues guy. I like to make things exciting." www.davidgogo.org

Dave Hole: This Australian slide guitarist with an "over-the-top" style of playing has drawn raves from audiences as well as international publications. Billboard wrote, "Slide guitar fanatics will have their brains blown out by this Australian fret-melter…Remarkably inventive, technically unusual overhand slide work…Prepare to hear your jaw hitting the floor." Hole has 7 studio albums and delivered ferocious live shows on 10 world tours.www.davehole.com

Tres Equis: Local band, Tres Equis, have toured the globe in support of national recording artists. Lead guitarist, Storm, won national notoriety with his dynamic style several years ago by winning Atlantic Records' "Play it Like Jimmy" contest. Rock and Roll Hall of Fame member Jimmy Page selected Storm as having the best recorded cover rendition of one of Page's guitar solos.

Friday, September 9Malford Milligan: This blues/soul singer gained national acclaim with his band, Storyville. Recorded on more than 30 albums, he performed three times on "Austin City Limits" and appeared on "Late Night with Conan O'Brien." Texas Monthly Magazine said, "(He) may be the next great soul singer…his tenor resonance and barking delivery invite comparisons with Sam Cooke and Otis Redding, and when he's onstage, you can't take your eyes off him!"www.malfordmilligan.com

Tony Vega Band: Blues Access Magazine hails Vega as "a gifted Texas guitarist that demonstrates an ability to play varying styles with equal skill. He has a compelling, razor-sharp guitar style." Don 'T-Bone' Erickson, founding editor of Blueswax e-zine says the newest CD, Tastes Like Love, "serves notice that the band is a force that cannot be denied…one of my favorite albums of 2004…”www.tonyvegaband.com

Dave Nevling: Vocalist, harp player and songwriter, Nevling won the Real Blues 2002 award for Best Texas Blues Harmonica player. Nevling's Blues Kats band features talented artists--guitarist, Adam Burchfield, Jeff Parmenter on bass, Bob Armour on drums and Brad Dawson on the organ. Southwest Blues magazine calls the band's latest album Heady Brew, "…an awesome CD" with "a remarkable group of songs held together with great grooves and catchy lyrics."www.davenevling.com

Saturday, September 10 Dawn Tyler Watson (Dawn Tyler Blues Project): At 13 she played guitar as a seasoned performer and mastered many styles. Dubbed the "Queen of the Blues in Montreal" by the Journal de Montreal, Blues Review magazine raves, "Dawn Tyler Watson takes flexible vocals and a ton of stage presence and applies it all to songs with jazz, funk and pop shadings without ever losing her blues center."www.dawntylerwatson.com

Sue Foley: Honored with her first Juno Award in 2000 for Love Comin' Down”, she has since received a record-setting 14 Maple Blues Awards since 1999, in the categories of Songwriter, Guitarist Recording, Entertainer and Vocalist of the Year. Her recent CD, Where the Action Is, gained the first-ever W.C. Handy award nomination for a Canadian female artist. www.suefoley.com

Sarah Benck and the Robbers: Benck’s recent song, "Tidal Wave" gained national attention from becoming the national YMCA's theme song. Her web site boasts, "After hearing Benck play live, you can't help but agree that music fits Sarah like Cinderella's slipper."www.sarahbenck.comSunday,

September 11The Campbell Brothers: Raised in the "sacred steel" style, a rare music tradition rooted in the African-American Holiness-Pentacostal church, they schooled the popular pedal-steel guitar player, Robert Randolph. The Campbell Brothers combine the church repertoire with the growling, wailing, singing and swinging voice of the steel guitar. Living Blues boasts "…different from anything you've ever heard…essential listening for anyone interested in blues guitar."www.campbellbrothers.com

Dawn Tyler Blues Project; (see September 10th)

Heidi Joy: Operatically trained, Joy began her music career in 1995 and initiated her Holiday Joy concerts in 2000, playing in Nebraska and at a U.S. Naval Base in Guam. www.heidijoy.com

“FRIDAY BLUES” series.

The four “Friday Blues” shows will be held at outdoors at Downtown Blues bar (1512 Howard St. These shows are also free and the sales of concessions help to pay the bills. Gates open at 5:00 p.m. There is no on-site parking but plenty of on-street parking WEST of the Old Market area including a parking garage at 14th & Harney. Downtown Blues' shows will include bands playing outside in the parking lot, as well as Sarah Benck and the Robbers playing the break for each of the four shows.

According to Homer’s Vice President and local radio host Mike Fratt, “Sarah’s status within Omaha’s music community has been rising quickly and this is a good chance for people that normally might not get to see Sarah perform see a terrific local talent on the verge of exploding onto the next level of live music.”

Friday, June 3, 2005 Joanna Connor Guitar World magazine calls her "one red hot and blue mama." Combining funk, rock and world beat, Connor's soulful voice and guitar mastery brings audiences to their feet. Sharing the stage with Buddy Guy, Robert Cray and Los Lobos, Living Blues raves she is "a slide guitarist of ferocious intensity." www.dmamusic.org/joannaconnor

Friday, July 15, 2005 Eric Sardinas Known to “ignite his guitar and walk amidst the flames,” Sardinas has played since age six. About his opening for B.B. King in the House of Blues, the Las Vegas Sun wrote, “His wicked stage presence, combined with his fiery attack on the electrified dobro had the capacity crowd literally screaming.” (2004 Artist)www.ericsardinas.com

Friday, August 12, 2005 Hadden SayersBorn and raised Texan, Hadden Sayers started his own band in 1993, became drawn to the blues in 1996, and has performed, played or jammed with the likes of Kenny Wayne Shepherd, The Neville Brothers, Susan Tedeschi, Double Trouble, Los Lobos, Ian Moore and many others. The Kansas City Pitch Weekly says the press, "doesn't quite explain Sayers' scorching guitar and bluesy, rockin', take-no-prisoners songwriting touch…Wear long sleeves, this band burns!"www.haddensayers.com

Album Review Bruce Springsteen's Devil and Dust

2008-03-30T07:45:00.000-07:00

Bruce Springsteen - Devils & Dust Monday, April 25, 2005

Artist: Bruce Springsteen
Title: Devils & Dust
Rating: Niche

There are moments when “rock” music can be as significant an artform as other more recognized mediums such as painting, dance, or a Classical piece. Few “pop” artists are able to transcend their confines to create a sonic mindscape where words and music come together to create series of mental images that other forms of art are accredited with.

It’s been twenty-one years since Springsteen’s, ‘Born in the USA’ ruled the airwaves. Since his massive commercial bonanza Springsteen has calmly down shifted his career.

In many ways Springsteen has nurtured two careers; one with the E-Street Band and a series of solo & acoustic recordings. His first album, Greetings from Asbury Park, a wordsmith extravaganza, straddles the middle ground between these two careers. In a strange duality Springsteen was inducted into the Rock and Roll Hall of Fame & Museum sans’ E Street Band in ’99 although clearly his biggest successes have been with the band.

Devils & Dust is the third in the series of studio acoustic albums: Nebraska (’82), [Unplugged (’92)], Ghost of Tom Joad (’96) and now Devils & Dust. Generally critics have lauded most offerings by Springsteen. While Nebraska is widely appreciated, his acoustic albums have been dark and ponderous. Devils & Dust is more Steinbeck and less Little Richard.

I like Springsteen and I purchased this album in the new Dual Disc format; one side is a compact disc, the other side is a DVD that features four videos as well as the full album. Consequently the Dual Disc format allows the recording to be played on CD, DVD or CD Rom (computer) players. So it is convenient. This format allows the artist an expanded medium in which to communicate their art; music, album jacket art, and now video(s). The Dual Disc also allows the artist flexibility to include live, behind the scenes, and interview video. So the ability to communicate the art and concept is greatly expanded. The five videos included are; Devils & Dust, Long Time Comin’ Reno, All I’m Thinkin’ About, and Matamoros Banks. All the videos are shot in the same setting and resonate of ‘The Grapes of Wrath’… an empty 40’s ish house with bare walls, blistering wallpaper, and wooden floors.

The video pictures reflect the stark bareness of the music and the stories being told. Make no mistake; if you want an album to sing along with, to lift up your spirits, this ain’t it. This album’s 12 songs delve into brief lingering images that are true reflections of a harsher side of life. Appropriately the third track, Reno, includes an “adult” warning as it deals with the explicit transaction between a prostitute and her customer and drags the entire album down. On this recording Springsteen uses many of the non-E-Street Band members from, ’The Rising’ sessions including Producer Brendan O’Brien, Soozie Tyrell and The Nashville String Machine.

In the early ‘70’s the relatively unknown up & coming Springsteen’s career was condemned when he was compared to Bob Dylan. Today comparing a relative unknown songwriter to Dylan is rote but back then it was sacrilege. In retrospect, while most of the last 30+ years of Dylan’s career have been a wasteland, Springsteen remains firmly in control of his career and exercises his right to ‘turn off’ the Springsteen-Machine by releasing albums, such as Devils & Dust, that are tome-like literary works but hardly commercial or uplifting. Devils & Dust is as close to literature as music may be capable of; however, this album deals with images that do not appeal to me. For the die hard Springsteen fan this will be yet another in a long line of well above average to great albums; however, to the average pop music fan, unless The Grapes of Wrath happens to be one of your favorite books, Devils and Dust will probably not be something you’ll enjoy.

For certain this album requires multiple listenings before it begins to show itself and for a niche few it will be well worth the investment.

What's On Serial April 20th 2005

2008-03-30T07:44:00.000-07:00

What's On @ PS Blues 05202005Wednesday, April 20, 2005
What’s “on” at Pacific Street Blues?
Vol. 3

Artist: Marcia Ball
Title: Live! Down the Road
Rating: Good

Like many blues progenitors, Marci Ball has her style and she does it very well. If it’s a style that you appreciate then having Ball’s live interpretations of these songs is something you’re going to appreciate. However, if you’re not already a fan then this album is an average outing that will sell well off the stage and poorly in the stores. Let’s not beat around the bush, Ball is quite good and very entertaining live: a charming stylist with a smokin’ band. That said, this effort breaks no new ground and while fans will adore the effort, others will quickly forget it ever came out. Plan on hearing, ‘Down the Road’ for a few months on KIWR’s Pacific Street Blues and make your own decision.

Artist: Jimmy Thackery
Title: Healin’ Ground
Rating: Good

With the release of his umpteenth solo album Jimmy Thackery has his niche in the blues world well carved. A canny good guitar player that can stoke a hot riff I lump Thackery a bit lower down the totem pole of uninspired players along with; B.B. King, Eric Clapton, Peter Green and Jonny Lang. Thackery’s live shows have devolved into rote-recall of distant songs with dull edges and well anchored safety nets. In the past decade he’s moved from a red-hot dynamo as heard on, ‘Empty Arms Motel’ to, well, just another act passing through town eeking out an existence. His latest album, ‘Healin’ Ground’ will get the airplay it deserves (because that’s what people want to hear) but count on this piece passing through the night quickly. I guess I am incredibly disappointed in his vocal performance and, based upon that apparent lack of effort, can’t get past it. Sorry fans. Sorry Jimmy.

Artist: Robbie Fulks
Title: Georgia Hard
Rating: Very Good

A known name that I know little about, Fulks latest effort, ‘Georgia Hard’ is a very good country roots album that is left of Lyle Lovett & George Strait and pushing hard up against Merle Haggard. Fulks’ ability to write a good song and get it recorded with a fresh, inspired sound makes this album unfold nicely. While the songs stall amid this 15 song album (tracks 6, 7, & 8) things quickly rev back up. Once again Fulks’ effort is punished by trying to make too long of an album. As you’ve all heard me rant before, no artist, NO ARTIST, can sustain a career spanning numerous albums that requires an artistic vision the equilivent of double vinyl album release every time. So tune into KIWR’s Pacific Street Blues to hear this album over the next few months and, once again, you decide!

What's on Serial April 15, 2005

2008-03-30T07:43:00.000-07:00

What's On @ PS Blues 05172005Friday, April 15, 2005
What’s on at Pacific Street Blues? (Vol. No. 2)

Artist: Mem Shannon
Title: I’m from Phunkville
Rating: Very Good
Shannon marketed his first album as the blues cab driver from New Orleans. While his debut album was a worthy effort that occasionally still hits the “turntable” these days, his subsequent albums have been average. Shannon’s new album, “I’m From Phunkville” is an inspired modern blues album. His guitar playing is crisp and aggressive, the songs have non-cliché ridden melody lines, and his vocals are earnest. You know me, I love texture rather than twoXfours and Shannon lays off his playing giving the song room to develop and space to resonate. The packaging is superb. This is a very good modern electric blues album.

Artist: Various
Title: “You See Me Laughin’”
Subtitle: The Last of the Hill Country Bluesmen
Format: DVD
Rating: Great / Niche

Fat Possum Records is one of two or three labels that releases “purist” blues today. I love Alligator and Blind Pig but those are Urban recordings cleaned up for the White Middle Class – NOT that there’s anything wrong with that. On their DVD, ‘You See Me Laughin’ Fat Possum captures the true grit that REAL blues is: pure emotion, heart felt when there’s an absence of “talent.” The DVD features video clips of T-Model Ford and Cedell Davis with a focus on the incredible R. L. Burnside. And like anything that borders on ‘being too cool for the room’ there’s a litany of rock artists that want to add their chic to the project in order to build their own street credibility: so don’t act surprised when U2’s Bona, Jon Spencer’s Blues Explosion or Iggy Pop, ahem, pop-up. For the true-blue Blues fan this is a fantastic piece of entertainment that will sizzle your circuit board; however, for most it’s too deep and too cool. That said, if you’ve read this far you’re probably just the kind of character that would absolutely [adulate] over this DVD!

Artist: Sarah Benck & The Robbers
Title: Suicide Doublewide
Rating: Very Good

I can’t get enough of this band. The focus point of the band is a young Sarah Benck who leads this band through the moves with seeming ease. While I’m the guy least likely to break away for an evening out (young family:family comes first) this band has never failed to create that impression of future possibilities: the songs are there, the live performance is electric, and the band rocks ‘til it hurts. The opening track, Real Friend, is an up-tempo tune that is the featured track on PS Blues these days.

What's On Serial April 12, 2005

2008-03-30T07:40:00.002-07:00

What's On @ PS Blues 05122005Tuesday, April 12, 2005
What’s on at Pacific Street Blues?

Time. Time is of the essence. There never seems to be enough time!
Here’s a snapshot of some of the albums you’ll hear this week on PS Blues.

Artist: David Jacobs-Strain
Title: Ocean or a Teardrop
Rating: Excellent

This is the best “blues” title I’ve heard in some time. It took multiple listens for Jacob-Strain’s album to unfold but when it did, IT DID. DJS takes a fresh approach to modern blues in that he plays an acoustic guitar and prefers texture to ‘twang-bar’ doodling. He is also comfortable branching beyond the ‘purist’ restrictions allowing the songs to take him where they may. His guitar playing, with an emphasis on slide, is amazing. The songwriting is refreshing and the actual recording is sharp and clear.

Artist: Tinsley Ellis
Title: The Hard Way
Rating: Very Good

Tinsely Ellis is an artist that has played the markets several times. Clearly he’s a road warrior. Historically I have found his previous albums uninteresting and yet his live show ganders plenty of praise. So it was a pleasant surprise when his latest album exhibited beautiful melodies, appropriate blistering guitar work, and strong vocal lines. This is a fine album by a strong live performer. Very enjoyable!

Artist: Nora Jean Bruso
Title: Going Back to Mississippi
Rating: Good

Bruso’s debut album has all the blistering female vocals of a true Chicago shouter ala’ Shemekia Copeland or Etta James’ latter career work. Bruso hit’s all the appropriate blues bar genres on her album with a stellar slow cooking performance on the 7th track, ‘Don’t You Remember?’ Bruso is coming to town for the Blues Society of Omaha’s debut Blues Crusie (www.omahablues.com) and if her album is any indication, it’s going to be a rockin’ good time!

Album Review: Neil Young's Greendale

2008-03-30T07:40:00.001-07:00

Neil Young's GreendaleMonday, February 28, 2005
Artist: Neil Young
Title: Greendale (DVD & CD)
Rating: Good

Neil Young is one of the few artists that never compromised his art for commerce. Among others in that group I would include Patti Smith. Bruce Springsteen, and Iggy Pop. His latest offering, Greendale, does not rank among the many great albums that Young has put out or participated in over his now four decade career; however, for any fan that has “bought into” Young’s art, it’s a pretty cool piece.

Available on CD and now DVD, Greendale, is a musical drama set in a small California town. With his back-up band Crazy Horse offering their usual haphazard approach to keeping the music simple, Young tells a story of a drugs, murder, the devil, environmental concern and a small town’s dealing with all this excitement.

What makes this story of interest is that Young chose to use his neighbors, employees and friends in the movie/DVD to tell the story. Much like Omaha’s own Jeff Davis and the Playing With Fire concert series, Young evidently reached a point in his life where he wanted to use some of his wealth to create an artistic medium for the fun and the benefit of his community. In, Greendale, Young and friends made a stripped down movie that depicted the story on his album of the same name. So no-name actors perform in front of the amateur film makers: much like his music, Young strips down the art to it’s bare essentials and spins 90 minutes of pure hippy culture entertainment that leaves the viewer with a sense of having participated in something fun.

To compound all this fun Young toured, Greendale, and took many of his neighbor-actors on the road with him: which had to be a gas! At the end of the DVD, included in the “Making of Greendale’ section Young includes concert footage of the tour’s final song, “Be the Rain.” The entire cast is on stage performing the song. Interestingly one of Young’s two sons, both of whom suffer from Cerebral Palsy, is wheeled on stage. For those that have followed Young’s life it’s a touching moment that goes by unheralded. (By-the-way, Young’s album, Trans, (1983?) with it’s synthesized & processed vocals and the heavy use of electronic instruments, is about Young’s effort to communicate with his special needs sons).

Anyway, back to Greendale, it’s not going to win a Grammy next year but it’s encompassing, it’s passionate, and it’s anti-slick n’ polish. I really enjoyed it. Really now, “this note's for you.”

Album Review: Indigneous' Long Way Home

2008-03-30T07:32:00.001-07:00

blues views By Rick Galusha

I have been working in retail music since 1978. I was a Classical & Jazz deejay at KVNO while in college and have hosted KIWR's PS Blues for more than 13 years [Sundays from 9 am - Noon at 89.7 fm]. I don't know it all but I think I have a pretty rounded - reality based - hype free opinion. You may agree or you may read this column figuring if I liked it you're going to stay away . . . hey, whatever you want.

Indigenous - Long Way Home
Monday, February 21, 2005

Artist: Indigenous
Title: Long Way Home
Rating: Good (and then some)

One hundred and twenty-six years ago, Chief Standing Bear stood in the then Indian Territories of Oklahoma, on the eve of his historic trek that would bring freedom to all indigenous people of North America, and probably thought that his 500 mile walk in January was a long way home to his native lands near what is now Valentine, Nebraska. Standing Bear’s return home to bury his son would result in a trial in which the decision would end the Indian Reservation system. Although largely forgotten Standing Bear stands as one of the great civil rights leaders of our nation’s history.

This new seven-song album by the band Indigenous shows them trying to reignite their career. Although all the tracks were recorded recently some of the songs were written early while some are new. The opening track, Well You Know, harkens back to the bands last album: the self-titled release on Silvertone Records. Whether due to the absent efforts of the band’s label, the over-powering influences of the Davey Brothers, the departure of their long time manager or numerous family issues, the band’s desire to reach a younger audience with a more modern sound failed to garner significant sales and their career cooled off to room temperature. This song belonged on that album.

The next track, Rest of My Days, first appeared on the band’s ‘Circle’ album. This version of the exceptionally well-written track includes crisp airy acoustic guitar “weaves” that add depth and texture. Were it not for the “play-for-pay” policies adopted by major & regional radio conglomerates this song would be blaring out of every car radio in America by mid-July. Let me say that a different way, were radio station “Music Directors” actually empowered to pick the music they played, and were their consultants not accepting payola for choosing songs by faceless bands that sound like other faceless bands which happen to be quite good at selling useless disposable products to amorphous demographics that remain uncommitted to most things, this song would be a massive hit. It is a “great” song by any standard in the rock idiom.

Awake, the 3rd track on the album has appeared a few times through out the band’s career including their first self produced album, ‘Awake’, and their ‘Live- Blues from the Sky’ album. Awake was written by the sister-drummer Wanbdi: who’s beau Jesse Davey, of the recently signed Interscope Records act, The Davey Brothers, appeared on, produced, co-wrote a track and shot the photographs for this CD-EP (which Mato assures me HE did NOT wear mascara for!). As an aside I would add that Wanbdi has a voracious appetite for literature. Once again this is a very strong track for the band, which fans will enjoy.

The fifth track on the album, Six Feet Down, shows a glimpse of what this band is capable of. Co-written with Jesse Davey, this track has a thick blues base that thematically barks of a modern blues-rock standard. The electric guitar solo is a pure Hendrix; languid, well paced, and tasty. Since the departure of Horse, the band has been ripe for a fourth member. Could it be Jesse Davey? If so, where would that leave the Davey Brothers? Clearly Wanbdi and Jesse are a couple and there appears to be a strong musical repartee between Mato and Davey. The forthcoming release by the Davey Brothers will read volumes into where this young Englishman’s heart, and fingers, is. Is it possible to be in two bands on the cusp of breaking big?

The sixth track, Don’t Let Me Go, co-written by Pte (bass) and Mato (a/k/a Standing Bear) is a manifestation of the band’s split personality. Anchored in Santana & Hendrix, Indigenous’ evolution in sound tend to follow the modern fad of being heavier and murkier with less distinct melody lines or what I would call “aching pastels of showering powerchords” which I find uninspiring.

Last but not least is a live track of what could be considered one of Mato’s two songwriting high points. Things We Do, is a song that ebbs and grows with the band. Things We Do was the name of their first Pachyderm album as well as their contribution track to the 'Honor the Earth' benefit album. At the very least this song is an all too brief look into what Indigenous is capable of. Put ten songs of this caliber together on one album and you have the makings of a significance musical statement. However, Mato is over-taxed and incapable under current circumstances. Mato is the van driver, the lead guitar player, the singer, the songwriter, the liaison with management, and the mouthpiece with media & radio. He’s also the ‘father figure’ within the band as well as a genuine father to his own three children. On all levels this band’s very existence rests more and more on his shoulders. For this band to transcend it’s creative trap Pte and Wanbdi need to step up and assume some of the responsibilities. A true partnerships need to develop between these siblings or they will never be given the mental and emotional break necessary for this band to create an album of music that we can see lies withinTwo of rock’s most significant albums, ‘Revolver’ and ‘Rubber Soul’ by the Beatles were both under 28 minutes long. ‘Long Way Home’ clocks in at 35 minutes. It’s is the perfect length with the perfect price point - under ten dollars. Technology allows today’s bands to record up to 74-minute albums onto one compact disc or a double vinyl album. No wonder fans are disillusioned. I can count on one hand the number of double vinyl albums that were able to maintain an artistic vision of that length. (When Tupac Shakur released a double CD of rap music, the equalivent of four vinyl albums, I had to laugh at the cynical joke being played on innocent music listeners.)

Although the band considers this a stop gap recording while it shops for a new label, I hope their point of reference changes to considering this to be a new marketing technique; two 5 - 7 track EPs a year that are musical diverse and mark the growth of the band’s sound during this transitional period. Two albums a year would keep the product pipeline full and fans engaged. It would also force the creative juices to flow year-round. Indigenous continues to be an act whose goal should be the national stage - selling out 2,500 seat auditoriums across the nation. Refining efforts like ‘Long Way Home’ and a hard, focused, work schedule for the next 36 months should get them back where they belong.

Album Review: Carolyn Wonderland

2008-03-30T07:20:00.000-07:00

Artist: Carolyn Wonderland
Title: Miss Understood
Writer: Rick Galusha

The Beatles had ‘Sergeant Pepper’; the Stones ‘Exile on Main Street.’ At some point in every band’s career there is a point to create a definitive work of art. Without taking that leap of professionalism the band is more times than not trapped in a cycle of recording the ‘same’ figurative album again and again. (See Boston or Journey) Bruce Springsteen had ‘Born to Run’ and Buddy Guy has ‘Damn Right I Got the Blues.’ With the release of her latest album, ‘Miss Understood’ Houston’s bluesy rock n’ roll actress Carolyn Wonderland, now based in Austin, Texas, is back with an album that could very well mark a significant upturn in her recording efforts.

In many ways Wonderland, fresh off her interlude playing with Bob Dylan, has intentionally embraced the path of another East Texan (Port Arthur) Janis Joplin. Having nurtured an image of hard drinkin’ and fast living Wonderland’s career has, at times, seemed to be a fatal wound in slow motion. One need only watch a couple of VH1 ‘Behind the Music’ programs to realize that substance abuse has ended more than a few thousand promising careers.

‘Miss Understood’ is a very strong and entertaining album that leans more towards ballad than blues: more towards 1968 Austin than 1955 Chicago. Part of that may be due to the production efforts of ‘Asleep at the Wheel’ front man Ray Benson. Tulsa based drummer Jamie Oldaker, who plays on numerous tracks, may also have had an impact on Wonderland and her willingness to take exciting chances. (According to the liner notes in Oldaker’s, “Mad Dogs and Okies” he has had an amazing career including playing with Eric Clapton during his Oklahoma/J.J. Cale period, backing up Peter Frampton (and a post-Kiss Ace Frehley), a member of the multi-platinum band The Tractors, discovered Ronnie Dunn of Brooks & Dunn, and playing at Live Aid including appearing with Phil Collins.) Perhaps as a testament to the new found Carolyn Wonderland she covers ‘Still Alive and Well’ by Rick “Hang on Sloopy” Derringer (Zerringer); a song originally made famous by Beaumont, Texas’s Johnny Winter – who’s own struggles have been epically Richards-ian in scope and length.

The sixth track on the album, “Long Way to Go” with violin and soft accompaniment could have come off John Mellencamp’s transitional album, ‘Scarecrow.’ The album’s closing track, ‘Feed Me to the Lions’ transcends predictable genre as Wonderland successfully reaches for a song of depth and texture. The album’s tenth track, ‘I Live Alone with Someone’ has a Ray Charles, ‘Lonely Avenue’ quality to it and is very radio friendly. The violin accompaniment; Leigh Mahoney and Tracy Seeger of the Tosca String Quartet, is yet again stunning in texture and taste.

On “I Don’t Want to Fall For You” Miss Wonderland employs jazz vocals that go to seemingly unfamiliar territory. Yet the brush snare and piano backing is, well, wonderful. It is refreshing to see an established artist grasp beyond the confine of preconception toward something bigger; something better. Carolyn Wonderland is easily among the finest barroom brawlers in the Midwest floorboard pounding business. Her newest album, ‘Miss Understood’ is the kind of album that any roots and blues music fan will fully enjoy and derive hours of listening enjoyment from for years to come. While listening to this album over the past few weeks I have dared to consider that perhaps Wonderland is charting a course that Janis Joplin, had she lived and matured, may have pursued. We’ll never know but the dobro laden, The Farmer Song’ gives hint to what might have been.

This is an album that most blues fans and all roots music fans should enjoy.

Album Review: Ray Davies, Working Man's Cafe'

2008-03-09T17:50:00.001-07:00

Album: Working Man’s Café
Artist: Ray Davies
Writer: Rick Galusha

In 1990 the band best known for singing about working class life and strife in England, The Kinks, were inducted into the Rock n’ Roll Hall of Fame in Cleveland, Ohio. The Kinks discography includes songs like; “Lola,” “Victoria” and “Til the End of the Day.” They were, appropriately enough, The Hall’s fourth British band; behind the Rolling Stones (who paid for much of the RnR HoF building), The Beatles and The Who. The irony is that among the various British iconic institution’s, The Kinks found commercial success in America while remaining little more than a piece of post-punk rock memorabilia in the UK. Throughout the history of The Kinks, Ray Davies and brother Dave Davies (pronounced Davis) were in conflict (preceeding Oasis’ Gallagher brother’s stage battles by decades.) Ray was the singer/ songwriter and focal point of the band. The younger Dave was the band’s lead guitarist and has subsequently credited with developing the ‘heavy guitar riff’ that would dominate the Heavy Metal genre of rock; as heard on songs like ‘All Day and All of the Night” or “You Really Got Me” (later covered by Van Halen.)

While this is heralded as Ray’s second solo effort; ‘Other Peoples Lives’ being released in 2005, Kinkologists know that the motion picture soundtrack, ‘Return to Waterloo’ was actually Davies’ first solo album. (Admittedly it was basically a Kinks album sans brother Dave – but released under the moniker Ray Davies.) Whereas solo efforts by band fixtures tend to be pathetic, Working Man’s Café is simply brilliant. A perfect balance of topical wordsmithing, memorable tunes and crafted arrangements. By taking a chance and recording outside of the Kinks Davies has been able to cast aside the expectations and stigma’s usually associated with a 40+ year career. However since The Kinks were little more than a band behind Davies, how unique can it really be? Gone are the simple bash n’ pop beauty 2 minute wonders that The Kinks were so good at and instead are songs that could easily fit in with Davies’ late ‘70’s – early ‘80’s Arista album trilogy; ‘Misfits,’ ‘Sleepwalker’ and ‘Low Budget.’

The album opens with a slamming guitar riff that transmogrifies into a faux-Americana shuffle about Globilization while singing about, “Cowboys in Vietnam, making their movies.” The next track, “You’re Asking Me” is akin to perhaps Davies best song, “Waterloo Sunset” while he signs, “If you’re asking me, Don’t take my advice. Don’t make me responsible for living your life. Do we learn from all the questions that we ask? Do we learn from the past? It’s up to your to learn from your mistakes. Go and break your leg but don’t come to me if you do.” The title track, “Working Man’s Café” is a monster track for that will wash over Kink’s fans with an aural of familiarity.

By the seventh track the listener is pulled completely in as Davies strides into, “No One Listen.” As much as any prior Kinks song Davies uses his experience in New Orleans of a being shot during a botched robbery to sing of incompetent bureaucrats and having the tables turned against as he sings, “Why is it difficult to get things done, In the age of computers and communications. The powers that be say that they can’t keep a hold, Of a world that is escalating out of control…But a bureaucrat says we’ve lost your file, So we’ll put you on hold for a while…Blame the hurricane; blame the drug trade, the economy, Blame the Ghettos in the land of the free, Cos they ain’t gonna listen to me.”

On the very next track Davies again harkens a familiar theme of isolation as he sings, “I am the imaginary man, yes I am…I was always in your head, To raise your expectations, And always let it be said, I offered my very best to you… Gave you my dreams to aspire to, Involved you in all my crazy schemes, And took you to place you’d never seen.” As one came to expect on early period Kinks albums Davies’ insight on working class anonymity is striking.

In 1994 Ray Davies wrote his autobiography. It wasn’t your ordinary affair as “he” interviewed a character named, “R. D.” where, in the end, R.D. commits suicide – thus ending the “life” of that character for that Ray Davies could live. In many ways, while the rumors of a reunion with brother Dave Davies abound, clearly Ray has “killed” The Kinks and found a new voice which, for time and investment, is far superior the lackluster revue act the Kink’s had become by the late ‘80’s amid albums like ‘Phobia,’ ‘U.K. Jive’ and ‘Give the People What They Want.’ Some versions of the album include a short DVD of Davies ’91 Fall American tour. References to the 9/11 tragedy are apparent. Dave Davies ’96 autobiography, ‘Kink – The Outrageous Story of My Wild Years as the Founder and Lead Guitarist of the Kinks” can be found in a cutout bin near you. ‘Working Man’s Café’ is a perfect compliment to that vast catalogue of equally brilliant Kinks songs from so long ago.

Album Review: Kelly Bell Band

2008-03-09T17:45:00.000-07:00

Artist: Kelly Bell Band
Title: reincarnated
Writer: Rick Galusha

Released on the Phat Blues Music label, The Kelly Bell Band album, ‘reincarnated’ is the near perfect contemporary blues album. Bell ties together traditional blues structures and instrumentation with modern vocal delivery and harmonies in a sexy, tuneful exercise that liberates the artist from the shackles of recorded expectations and frees the band to grab from The Average White Band here or Robert Johnson there in a beautiful expression akin to sonic soaring well above the clutter of today’s independent ‘blues’ releases. This is an excellent album (and that was an awfully long sentence).

The track, ‘Can’t Take That Back’ includes a humorous banter between Bell and a former lover with tasty zingers including, “I got news for you Kelly Bell, you are nothing” and “You think you’re fabulous, NO!” “Kelly Bell, Phat Blues, hrumph, Phat Blues THIS!” “I think you suck, you’re tired and I have just about had it with you!” It is a hilarious quid-pro-quo exchange that cracks me up every time as Bell the ‘gets a ear full’ that all members of the male species have to heard more than once.

Bell’s take on Johnson’s ‘Love in Vain’ is, finally, an exciting, jumping rollick through a well covered field and amazingly comes out fresh. Rather than trying to replicate, Bell’s Band pumps vocal harmony lines with a sassy harmonica played by Dane Paul Russell. The song is given life and while the sharp edge and associated anguish intended by Johnson may be gone – it is an up-tempo and refreshing take on a blues classic.

For whatever reason the album’s eighth track is, ‘SpongeBob Squarepants.” While it is entertaining it sticks out like a sore thumb and may be best skipped. It would have been better tucked away at the end of the CD; a bonus track or something since it certainly throws off the momentum of an otherwise well paced record.

With tongue in cheek the band approaches the track, ‘Porno Star’ in a very Zappa-esque style. Somehow they are able to bring it back and make it sonically fit with the rest of the album although, clearly, it ‘tain’t the blues per se. Again, maybe it is this apparent lack of focus coupled with risk that keeps the album on track and interesting. This is the track that includes the obligatory ‘monster guitar’ licks but with some restraint. Like The Who’s, ‘A Quick One (while he’s away)’ this song melds into another seemingly unrelated songs or breaks…‘People are People’ where spoken word reads over a jazzy musical background. It is poignant and yet you can sense the smirk on Bell’s lips when he says, “You are one of billions and billions of stars, or snowflakes…did you know every snow flack is different?” The speaker goes on to say, “People are people, people need to be loved and not judged but not by you. There is one judge and that’s HIS job, not yours…you got you and then you’re surrounded by the world - that may be how you see it but its not. You’re a part of a great, great tapestry and you’re one thread…people need to be loved.” So, “people are people and I’m not the judge.”

This is a terrifically wide album with superb musicianship and a scattering of musical genres that are at once interesting and resonate. Because it doesn’t easily fit into a comfortable genre box The Kelly Bell Band is not going to set the world on fire but I can easily see this as a cross-over album that, given proper attention, could bring in folds of listeners and in its own special way make your corner of the world better for having heard it. This is a much needed breath of fresh air in the often cerebral-less homologized world that contemporary music seems to want to offer us.

Album Review: Ian McLagan, Here Comes Trouble

2008-02-20T09:05:00.001-08:00

Artist: Ian McLagan
Title: Here Comes Trouble
Rating: 9
Writer: Rick Galusha

Okay, I love this guy – always have. He’s the ‘pocket guy’ on so many albums from the ‘60’s and 70’s that are the foundation for my love of rock music including the Rolling Stone’s, ‘Some Girls’ album or the organ line from Rod Stewart’s “Maggie May.” Whether as a member of the Small Faces (“Itchycoo Park”) or a founding member of that great band, ‘The Faces,’ (who picked up Rod Stewart and Ronnie Wood (Rolling Stones) after they’d left the Jeff Beck Group) Ian McLagan was smack dab in the middle of rock’s golden era. A quick glance at the great English rock-come-blues movement and Ian ‘Mac’ McLagan is playing on Stewart’s and Wood’s solo albums or appearing on Ronnie Lane’s projects or as an long term addition to the Rolling Stones. Ian McLagan has also lent the benefit of his talents for touring to prestigious acts like Bob Dylan, Bonnie Raitt and currently Billy Bragg. His, is an amazing rock n’ roll life.

McLagan’s web-only (www.MacsPages.com) release, ‘Here Comes Trouble,’ is an amalgamation of two previously released albums; ‘Troublemaker’ and ‘Last Chance to Dance’ along with a cover of The Who’s ‘Picture’s of Lilly,’ an extended version of ‘Truly,’ and another version of the song, ‘Last Chance to Dance.’ In all there are seventeen tracks.

While most fans are aware of the “big” albums surrounding the English pop-rock blues movement; ‘Exile on Main Street’ by the Rolling Stones, Rod Stewart’s albums on the Mercury label and all those rollicking Faces albums, there is a deep niche of lesser know but equally compelling albums such as the first three Ron Wood solo records, ‘Rough Mix’ by Ronnie Lane & The Who’s Peter Townshend, and McLagan’s ‘Troublemaker.’

In 1977 Keith Richards was busted for drug violations in Canada. One of the off-shoots of that was Ronnie Wood’s New Barbarian’s band which included Richards, McLagan, and Zigaboo Modeliste (The Meters) and jazz bassist Stanley Clarke as well as long time Stone’s sax player, and Texan, Bobby Keys. When the tour ended the band ended up in Rob Fraboni’s ‘Shangri-La Studios and recorded a total of five tracks; one for each member of the band including ‘Truly’ which ended up on the Mac’s ‘Troublemaker’ album. Interestingly an extended version of the track is included on this package clocking in at nearly 12 minutes. (In mid-2007 a double CD set of the New Barbarians Live was released on Wood’s, Wooden Records). ‘Troublemaker’ ends with McLagan covering Ron Wood’s Mystifies Me. Devoid of pop catering tunes the album is pure and beautiful – the type of album that today could resurrect the Stone’s current lackluster recordings.

The ‘Last Chance to Dance’ EP (1985) is only four songs long and while obscure is a fine examples of up-tempo abandoned rock n’ roll with the obvious heavy English interpretation. ‘You’re My Girl,’ (the opening track off his solo effort, ‘Rise and Shine’) originally came out on this EP.

In all, Ian McLagan is an advocate for rock music and this solo effort is an amazing unrealized gem where the guitars of Keith Richards and Ron Wood are unleashed; where Bobby Keys, Jim Keltner and Ringo Starr all contribute. It is a fine if heretofore unrecognized piece of the best of British music available.

Just for the record McLagan has also guested on albums by; Bruce Springsteen, Frank Black, Patty Griffin, Taj Mahal, Melissa Etheridge, Robyn Hitchcock, Mary Gauthier, Robert Earl Keen, Kelly Willis, Paul Westerberg, John Hiatt, Tom Russell, Midge Ure, The Georgia Satellites, Izzy Stradlin (Guns n’ Roses), Toni Price, Chris Gaffney (Dave Alvin), LeRoi Brothers, James McMurtry, Joe Cocker and others. Recently McLagan has settled in Austin – the former home of the late Ronnie Lane. In 2006 McLagan released the highly regarded tribute album, ‘Spiritual Boy’ which comprised covers of songs written by former Faces & Small Faces band-mate Ronnie Lane. McLagan’s book, ‘All the Rage’ chronicles his musical life.

Album Review: Anthony Gomes, Live

2008-02-20T09:04:00.000-08:00

Artist: Anthony Gomes
Title: Live

Writer: Rick Galusha

Rock is dead – long live ‘the blues.’ Perhaps since the guitar was plugged into an amplifier or maybe it was when Nirvana signed to a major label, either way “rock” has been sliding into the obscurity of numerous niches categories and “the blues” has become a codeword for screaming guitars and loud drums. To some degree you have to know the code in order to fully understand the nuisance of the statement. Yes, there are still Blues records being put out but many of the ‘the blues’ records being released are actually “rock” records. So what? Indeed, so what. Really it only matters when you consider Blues to be a traditional American artform – after than, it’s just music and the affixed genre label is little more than a marketing effort.

Anthony Gomes is the Pete Rose of ‘the blues;’ a fighter that just is not going to give up. The latest effort by showman Anthony Gomes is a live album recorded at Seattle’s Triple Door venue in February 2007. It is a high energy ruckus affair that showcases Gomes’ aptitude toward abandoned ‘twang bar king’ playing. And it has absolutely no connection to Blues but will be readily identified as ‘the blues.’ Much like Joe Bonamassa before him, Gomes ties in Classic Rock licks that sharp ears and sober minds will pick up on. For example, on the track, ‘Bluebird’ keyboardist Todd Hamric melds in an organ line by The Doors’ Ray Manzerak’s from the famed song, ‘Riders on the Storm.’ Again, it’s a fun, tasty gesture.

By the fourth track the band jumps into Led Zeppelin’s ‘Heartbreaker’ including a bombastic extended guitar solo. What’s not fun about a well played cover? After all, some Blues artists are anchored to playing songs thirty years their senior.

The sixth track, ‘When the Right Woman Does You Wrong’ is a slow bluesy number that bear up to crescendo after crescendo giving Gomes a slow burning simmer that explodes amid a cliché warning the he is, “about to lose control.” And so the platform for yet another guitar solo is set and like a lemming to the sea Gomes knows that it is pyrotechniques that butters the bread on his roadshow.

“Falling” is a U2-like track that pulls in sentimental mood as Gomes’ sings “At this moment I am humble and I surrender to your voice. I’m falling. You know its hard to walk on water with broken bones and worn out shoes, I’ve thrown every punch, I’ve run every road, I’ve got nothing else to lose.” Clearly a contemporary radio friendly track that end with the sound of Helicopter’s and John F. Kennedy saying, “Ask not what your country can do for you; ask what you can do for your country” before melding into the anti-conflict track from his previous album, ‘War on War.’ “Talk about a revolution, a soul solution, something worth fighting for…My name is Anthony Gomes Ladies and Gentlemen and I believe in Love.”

Gomes’ band rocks and, as his career progresses, his playing becomes finer and more nuisanced. That said, it is unlikely he’ll cut any new ground or create a school of protégées. His albums are readily apparent. None-the-less he is a personable barroom brawler that can write a good song, play a mean guitar and put together a well constructed album that will stand up to repeated listens and bring the fan enjoyment. He is an entertainer first and foremost and there is absolutely nothing wrong with giving folks what they came to hear.

Album Review: Randy McAllister, Duck Slap Soup

2008-02-20T09:03:00.002-08:00

Artist: Randy McAllister
Title: Duck Slap Soup
Writer: Rick Galusha

It’s been my experience that the Texas brand of “blues” allows for great deviation from the traditional 12 bar call-call-response. No doubt the genre is a respected giant within the scene. Drummer, singer, songwriter and harp player Randy McAllister hails from Texas. While he has yet to place his stamp upon the national scene for his pop-orientated Texas blues sound, it is fresh and gathering momentum. McAllister’s songwriting is creative albeit unchallenged and like many contemporary blues players he wanders from tradition while embracing “blues” sounds and textures.

The album opens with a most pleasant, ‘Clear My Head.’ Very Delbert McClinton like this song has a powerful melody line and tasty slide guitar licks interspersed. It modulates up; building slowly into a song about the complexities of modern life. Predictably the opening track is also the most radio friendly.

McAllister turns to a Memphis soul sounds with the song, ‘When I Get Back Home’ that is Otis Redding like in its melody and arrangement. Emotionally the song fails to fully grasp the style and thus the album begins to crack.

In the 70’s Boston’s, ‘J. Geils Band’ was putting out some of the finest blues based rock n’ roll records of the era. McAllister’s ‘I Have to Set You Free,’ written by Mike Morgan, is very Geils like minus the inherent energetic mayhem interplay that Wolf and the band excelled at. Nonetheless it’s a solid ballad that becomes a door to opening up the rest of this album.

In his vocals on ‘The Girl Ain’t Right’ McAllister uses guitarist Mike Morgan to echo his slurred vocal line while Benita Arterberry-Burns sings a ‘gospel’ like back-up. It’s a rumbling tune with high energy that some fans will find appealing.

‘Close Your Eyes’ harkens to a stripped down soul song of the late ‘60’s with a strong melody line and spacious backdrop. The song ‘$127.00 Sandwich’ couldn’t end fast enough for this listener. The album closes with the AC/DC riffed, ‘Steady Decline.’ Mike Hanna’s organ lines and background vocals support the song as Mike Morgan steps up to take the guitar solo.

If success is an album that appeals to a wide audience, sells well and engages the listener this is an average effort by a promising artist. McAllister’s singing is average and this album, while entertaining, is not groundbreaking – leaning too heavily on trite riffs. Like many blues artists McAllister is a likeable character who gives glimpses of a promising future but just doesn’t seem to able to lift the album off the ground. All the pieces are in place but it fails to meld into a cohesive entertaining recording unable to set the world on fire. Committed fans will adore this record; however, for the uninitiated I would suggest waiting for the next effort.

Album Review: Vee Jay Records boxset

2008-02-20T09:03:00.001-08:00

Vee Jay Records boxset
Various Artists
Writer: Rick Galusha

The landscape of music recording is littered with now legendary recording labels including; Sun, Chess, Stax and Atlantic. Long before Gary, Indiana’s Jackson Five became a Motown phenomenon, Vee-Jay Records was making history as a successful label owned and operated by a married African-American couple; Vivian Carter and James Bracken; much like Stax the label name is an amalgamation of the owner’s names.

Eventually the label would move down-the-road to Chicago. Within the blues idiom perhaps their most significant signing was also their best; Jimmy Reed who got 17 charted singles with Vee-Jay. According to their website (www.vee-jay.net), “When we first met Jimmy Reed in 1953, he was actually working in Chicago in the stockyards, where he was cutting up cattle. ..one day and we heard Jimmy play. We asked him, “Do you have any songs that you have written?” And he says, "No, but I’ve got some I made up.” And that was how we got Jimmy Reed…Jimmy was something else. He’d get drunk the day of the session, so I had a police officer that I’d get to “arrest” him the night before and take him to jail. I’d come down the next morning and pick him up and take him to the studio. I never told him that, because I don’t think he would have appreciated it that I put him in the tank overnight. That was the only way I could get him down to the studio sober. On most of his dates, he was dead drunk. If you notice, he slurred very badly. He could read, but he was playing guitar at the same time, so his wife would have to whisper the lyric in his ear. Sometimes, you could hear her leaking through on the microphone.”

Other famed blues artists aligned with Vee-Jay included; Billy Boy Arnold, Eddie Taylor, Elmore James, Jay McShann, John Lee Hooker, Camille Howard, Hank Ballard, Pee Wee Crayton, Snooky Prior, The Staple Singers, Jerry Butler, The Five Blind Boys of Alabama, Betty Everett, Little Richard and Billy Preston. An observant eye will notice a significant overlap with the New Orleans/ Los Angles based ‘Specialty Record’ label.

Specifically tracks that blues fans will enjoy include; Jimmy Reed’s, ‘Ain’t that Loving You Baby,’ John Lee Hooker’s, ‘Dimples,’ Gene Allison’s, ‘You Can Make It If You Try,’ Elmore James’ ‘It Hurts Me Too,’ and Betty Everett’s, ‘You’re No Good’ as later covered by Linda Ronstadt or Gloria Jones’ ‘Tainted Love’ as later covered by Soft Cell.

Most rock fans will favor a faint memory that it was Vee-Jay that released the first four American singles for the Fab Four as Beatlemania kicked off in the United States. However their reaches into pop music included, The Four Seasons and their song, ‘Sherry,’ The Dell’s, ‘Oh What a Nite,’ Hank Ballard’s original version of, ‘The Twist,’ Dee Clark’s ‘Raindrops,’ and Gene Chandler’s, ‘Duke of Earl.’

In general this is a very interesting snapshot of a successful regional record company that for a brief moment lived in the crux where ‘the blues’ melded into ‘rock n’ roll.’ It is clearly not a collection of songs that everyone is going to “must own” but it is a very tasty supplement to a healthy collection or at the very least a fine foundation from which to begin a musicological exploration into the history of modern American music.