Album Review: Cyril Neville, Brand New Blues

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.

Joe Bonamassa - Live from Nowhere

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.’

Book Review: Ron Wood's Autobiography

Book Review: Ronnie
Author: Ronnie Wood
Writer: Rick Galusha

“When it rains, it pours.” This Christmas Season is the year of the rock autobiography. There are releases by Eric Clapton, Patti Boyd (the former Mrs. George Harrison/ Mrs. Eric Clapton) and now Rolling Stone Ronnie Wood; as well as a long threatened Keith Richards tome later in ’08. In 1990 the Rolling Stone’s bassist Bill Wyman left the band and quickly released his autobiography, and perhaps the finest Stones’ insider book, ‘Stone Alone.’ In 1998 former Small Faces and Faces keyboardist Ian McLagan released, ‘All the Rage’ which included his many years as a significant sideman in the Rolling Stones as well as with Dylan, Raitt, Billy Bragg and of course the ever “frugal” Rod Stewart. As a member of the Faces along with Ron Wood, McLagan’s book offered a raw look into the playful antics of a band of imbibing youth who eventually became hopeless drug addicts dabbling in music.

Set-up in a chronological read, Wood’s book begins with his youth as the first member of the Wood family to be born on land; as opposed to the canal barges that still populate portions of the London area. Like many of us, with two older brothers, the young ‘Woody’ was introduced at an early age to pre-rock music, ‘young birds’ and the gang mentality cocoon that many bands develop. Woods story is no different than many of his era, successful band signs contract with crooked manager, get screwed to the wall, find themselves broke and are forced to start all over again. Whether it’s the Stones or the Beatles, Ronnie’s first band, ‘The Birds’ or McLagan’s Small Faces, eventually one is left wondering how so many musicians could have been so repeatedly duped, drunk and broke. It was a different time and the ‘rock ‘n’ roll’ lexicon of business was being written by kids that grew up with nothing, found success, fame and money, and had no idea how to manage it.

Eventually Ron Wood joins as a bass player with former Yardbird guitarist Jeff Beck along with Mickey Waller (drums) and Rod Stewart in the now legendary Jeff Beck Group. While history shows it was studio musicians Jimmy Page and John Paul Jones that sought out then unknown Robert Plant and John Henry Bonham to form Led Zeppelin, Wood’s book spins the lore that Manager Peter Grant first approached Wood to form, ‘The New Yardbirds’ band with Plant and Bonham. Obviously that doesn’t make sense since Plant and Bonham were plucked from obscurity by Page but it makes for good reading. Life with Peter Grant proved unbearable for Wood and, according to his perspective, he rung up Small Faces bass player Ronnie Lane who’s band had just lost Steve Marriott to Peter Frampton to form Humble Pie. Wood’s account pretty much mirror’s McLagan’s as a super shy Rod Stewart eventually relents, joins the band, renames themselves ‘The Faces’ and for the next eight year’s becomes one of the best “rock n’ roll” bands most people never heard of. After the Stones release the seminal album, ‘Its Only Rock n’ Roll’ then guitar player Mick Taylor leaves the band whereupon Jagger “borrows” Wood for a world tour creating resentment among The Faces and in 1975 The Faces split up and Wood becomes a member of the Rolling Stones. Like many, I think of Wood as “the new guy” in the band although the reality is that from 1963 to 1975, twelve years, Mick and Keith had three guitar players (Dick Taylor, Brian Jones and Mick Taylor) but for the last 32 years Ron Wood has been the steadfast anchor to Keith’s engine.

Oh but the drugs. Make no mistake, like McLagan, Wood’s book is awash of tales regarding drugs and alcohol. By the later half of the book the use of “blow,” “freebase,” “smack,” and Guiness becomes overbearing and, with much irony, Wood is told to clean up or he’d be kicked out of the Stones for drug abuse just before the ’40 Licks Tour.’ Wood winds down the book with clarity, something lacking in most of the book, as he struggles to right his ship and recover from bankruptcy during the ‘90’s not once but three times. At one point he seems to indicate a freebasing habit during his Los Angles years of nearly $70,000 over six weeks and that such abuse went on for five years or a $2,000,000 habit. I can recall reading Musician Magazine in the late 80’s when Keith Richards expressed shock and concern about Wood’s current consumption. The famed Woody Woodpecker of rock notes that he drew strength in his struggle towards sobriety from his wife’s Jo own effort as well as from Stones drummer Charlie Watts who simply decided one day to end his dependence on heroin and alcohol after falling down his stairs at home.

Throughout his book Wood makes reference to two cages in his life; one being the gilded trap members of the band find themselves in when the show goes on the road. There is money, luxury and fame at the cost of loneliness and the inability to do regultar things like walk down the street. The other reference regards a phrase Keith uses when on stage just before the curtain goes up and, “the cage is open.” This is a pretty well written book that is thin on specifics but long on debauchery. Wood finally gives an interesting glimpse into the Stone’s dark period from ’81 to ’89 when the band had essentially broken up due to Jagger and Richards infighting. ‘Ronnie’ would make a terrific Christmas gift for baby boomer Stones fanatics as well as other classic rock fans. Long a prized pursuit of collectors and bootleggers, Wood also recently released a live double CD set of his solo band, ‘The New Barbarians’ (named by Neil Young) which included Keith Richards, Ian McLagan, Stanley Clark (bass) and Jospeh ‘Zigaboo’ Modeliste (Meters, Neville Brothers) on the drums along with Bobby Keys on saxophone. The album is titled, ‘Buried Alive’ and is a barely adequate recording of a sloppy band playing in Maryland.

Book Review: Patti Boyd's Autobiography

Book Review: Wonderful Tonight
George Harrison, Eric Clapton, and Me

Writer: Patti Boyd
Reviewer: Rick Galusha

Patti Boyd was a fashion model in the early ‘60’s when ‘Swinging London’s’ cool factor was at its height. As a child I can vividly recall the ‘Max Factor’ ads that were filmed in London and aired during ‘The Monkees’ program on television.

Not surprisingly Boyd and Clapton’s autobiographies were released within weeks of each other. After completing Patti Boyd’s autobiography, ‘Wonderful Tonight’ a friend lent me his super rare copy of Derek & the Dominos, ‘In Concert.’ Of all the Clapton albums I’ve heard his playing was never comparable to this – not even close.

Although she was a British citizen, Patti Boyd was born in Africa. The eldest child in her family, Boyd moved back to England at a young age. The product of a broken home, twice, Boyd’s tells the life of an emotionally crippled ‘Child of the ‘60’s’ that lands not one but two of rock’s superstars in matrimony; Beatle George Harrison and Eric ‘Slowhand’ Clapton. Outwardly Boyd lives a dream life; at the center of London’s hip scene, making money as a high paid model, meeting pop stars and traveling the globe meeting celebrities and artists. On the dark side Boyd survives overt spousal promiscuity, drug induced abusive relationships, interlopers & hanger-oners, and an on going saga of egos suffering due to the ups and downs of stardom.

As a ‘hand picked’ model for a role in the Beatles film, ‘Hard Days Night’ Boyd meets and eventually marries the Harrison. Together they stumble through the drug haze of the ‘60’s, go to Wales and then India to hang with the Mariharishi, survive the break-up of The Beatles and then begin to fight as Harrison stumbles to define his post-Beatle life. While Boyd later identifies herself as Harrison “soul mate” she finds time to accept the advances of Harrison’s good friend Eric Clapton. The book is awash with love notes sent from Clapton to Boyd including one signed, ‘Slowhand.’

Boyd eventually leaves Harrison drug dabbling for Clapton’s more serious substance abuse problems with heroin and then alcohol. While Harrison’s life was somewhat cloistered but peaceful, Clapton’s was abusive, self-centered and possessive. Amid the anguish of an alcoholic marriage gone astray Boyd relates how young Conor Clapton, the illegitimate son of Eric Clapton, breaks up her co-dependent marriage. An oblivious husband, Clapton, relates the joy of his new found fatherhood with his barren wife. It is the height of sadness and simultaneous weirdness as the former Patrick Clapham was so self absorbed as to reportedly completely miss her sorrow. The sage continues when the infant falls to his death and subsequently inspires the Grammy award winning song, ‘Tears in Heaven.’

Boyd was certainly one of the ‘In Crowd’ and relates a perspective on many pivotal music moments that Boomers will recognize; including Live Aid, The Concert for Bangladesh and the Apple Records debacle. On one hand it is refreshing as the books spoons away the years to a time of fewer obligations and life’s future beckoned. On the other hand Boyd is a brat that has the gumption to ask Clapton, well after their divorce, for 600,000 English pounds ($1,500,000) for a “cottage with a view” so that Boyd and her new love may reside in.

The book moves very quickly and includes cameos by Mick Jagger, John & Paul, Mick Fleetwood of Fleetwood Mac (who was married to her sister twice), Phil Collins, Mike Rutherford, David Gilmore, Roger Waters and The Who’s Pete Townshend. It is both insightful and gossipy at the same time. This book is fun for fans albeit with little more to offer than moments inside one of rock music’s most famous enclave. It is delicious but shallow and completely entertaining.

Book Review: Neil Young's Biography, Shakey

Title: Shakey
Neil Young’s Biography
Writer: Jimmy McDonough
Review: Rick Galusha

By 1975 Stephen Stills had already established his bad habits. After playing with Neil Young in the highly touted band Buffalo Springfield, the relationship between Stills and Young was rocky. Despite the on-again, off-again nature of Young’s commitment to Stills’ new band, ‘Crosby, Stills and Nash,’ Young had agreed to record and tour the album, ‘Long May You Run’ with Stills. While Young’s substance abuse is well documented in Jimmy McDonough’s authorized biography, ‘Shakey’ he was in control and disliked being around junkies. At the Charlotte, North Caroline show Stephen Stills berated soundman and Young’s confident Tim Mulligan from the stage microphone. After the show an already distant Young got on his bus, ‘Pocahontas, and headed to the next gig in Atlanta. As the bus rolled down the highway that night an inebriated Stills got on the CB from his bus and demanded to speak to Neil. Initially ignoring Stills blathering Young eventually tore the CB out of the dash and told the driver to go to Nashville where he caught a plane and flew home to Malibu. The now legendary note was sent to a confused Stills, “Dear Stephen, funny how things that start spontaneously end that way, Eat a peach. Neil” And so the saga of being Neil Young continued.

In 2002 Jimmy McDonough first published the authorized biography of one of rock’s least predictable characters. Throughout his career McDonough documents Young’s ability to repeatedly thrash vast commercial appeal in favor of his musical art. A complicated man, McDonough’s interviews over the years with Young document an artist that is careful to not revel or define too much. Perhaps the most “innaresting” aspect of Young’s phobia of selling out is his choice to counter-balance the vast commercial success of ‘Crosby, Stills, Nash and Young’ with the barely able to play Crazy Horse band. Young is meticulous in his efforts to play with less competent players in order to capture a rawer, less commercially viable rendition of his songs. It must work since, unlike other “Classic Rock” artists, Young continues to release critically acclaimed albums late in career including; ‘Harvest Moon’ (’92), ‘Mirror Ball’ w/ Pearl Jam (’95), ‘Living with War’ (’06) and this year’s exceptional album, ‘Chrome Dreams II.’

McDonough’s book is a chronological look at Young’s career beginning in the village of OmeMee in Canada. McDonough gets Young to discuss his epilepsy and subsequent seizures but tiptoes around the polio that affected him in his youth. Throughout the book McDonough presents his research; based on bootlegs, interviews and clippings and asks Young to comment. Ever a ‘Shakey’ operator Young often avoid direct answers but gives insight into his state of mind. Often the discussion includes Young’s dismissal of others feelings in the past and today’s remorse such as the time Crosby and Nash were fired from a recording session. “Well, that was an easy way of doin’ it – but I still did it. I still went from place to place, and I just left a trail of destruction behind me, ya’ know. But the older you get, the more you realize how much that hurts people…Those records wouldn’t be there – and those people would still be as pissed off as they were in the first place. I chose to put the energy into the records.”
Once quoted in Rolling Stone magazine, Young indicated he had at least 600 albums in the can for posthumous release. Included in the vault is the album, ‘Homegrown.’ Homegrown was an album that legendary record industry mogul Mo Ostin predicted, in the early 70’s would sell five million albums. The album regards Young’s split with actress Carrie Snodgrass (The Fury) with whom Young had his first child Zeke. Young indicated the album is too honest, too close to the artist. “It was a little too personal…it scared me” said Young. Eventually tracks from the session would show up on other albums including; “Little Wing” and “Old Homestead” on ‘Hawks & Doves,’ “Star of Bethlehem” on ‘American Stars and Bars,’ and “Love is a Rose” and “Deep Forbidden Lake” on Decade but, according to the author, “to hear Homegrown in its entirety is to hear Neil Young at his best.” Another famed unreleased but heavily bootlegged album is “Chrome Dreams” (Chrome Dreams II came out in ’07) which was recorded in ’75-’76 and included the songs, “Pocahontas,” “Too Far Gone,” “Sedan Delivery,” and “Powderfinger.”

Like so many of his period, the drug references and abuse becomes carte blanche in the book. Young’s fear of needles and LSD possibly saved him from the hardcore abuse that others fell into and in retrospect he had harsh words about the drug culture he frequently found himself in, “But cocaine and music don’t really go together, and they never did…Drugs are great until you realize they work against you…Cocaine is a destructive drug. It takes you in, you need more if it all the time. It’s addicting.”

‘Shakey’ is an exceptionally well done rock biography where the artist interacts with the documented past and gives an additional insight on events and recordings rather than the traditional myopic rock-bio where just the author or the artist give a sweeping input. Young’s role in the band’s Buffalo Springfield and CSN&Y predated today’s ‘Americana’ music movement while his ‘three chords and a cloud of dust’ work with the band Crazy Horse and the album, ‘Everybody Knows this is Nowhere’ laid the groundwork for the grunge sound. Unquestionably Neil Young is as significant an artist as rock has seen ranking as a peer to Bob Dylan and Brian Wilson. This book is available at Omaha’s Public Library and is required reading for any true Neil Young fan or budding musicologist. This is an excellent book about one of rock’s few uncompromised artists, Neil Young.