Thursday, September 11, 2003
What would I spend my money on these days?
Good question!
Glad someone asked me that finally.
About this time of the year I begin to kick around a Top Ten list for January. Some of the discs that are bound to be in that list include (in no particular order);
Robben Ford / Keep On Runing -
If you aren't hip to Robben Ford yet, the time has arrived. No list of great guitar players is complete without Robben Ford. Ford's performance at last year's Indigenous Jam was nothing short of spell-binding. Ford teams up with John Wooler to produce a polished yet passionate disc that includes some brilliant covers including; Nick Lowe's 'What So Funny 'Bout Peace Love & Understanding', 'Homework' as covered by the J. Geils Band and Albert Collins earlier, and 'Badge' by Eric Clapton & Cream. This is a VERY GOOD' album replete with horns, great band, and excellent music. What's not to like?
Various Artists / Remembering Patsy -
You can't swing a dead cat without hitting a tribute album these days. What's the deal? There are three reasons you're seeing so many tribute albums (most of which are stink-ola);
a.) Its an effort to bring rock fans back into the music buying mode (and in many cases into the blues genre specifically), b.) There is a need for tested "great" songs, and c.) They're fun and allow artists to record songs that are quick, easy, and fun.
You may THINK you don't know a lot of the music of Patsy Cline but chances are you actually do know quite a few of the songs she sang. Jazz chartreuse Diana Krall covers the Willie Nelson penned tune, Crazy; k.d. Lang simmers on 'Leavin' On Your Mind' and Natalie Cole's cover of I Fall to Pieces' (also covered by Linda Ronstadt) is excellent. Other artists featured on this VERY GOOD disc include multi-Grammy award-winning-it-kid Nora Jones, Patty Griffin, Amy Grant, Michelle Branch, and more.
Los Lonely Boys / Los Lonely Boys -
When Austin's Waterloo Records owner John Kuntz recommends a band; you listen. LLBs have lite the critical world on fire with a buzz hotter than Joe Perry hot sauce! Apparently three Hispanic brothers from the San Marcos area just north of Austin LLB use three part layered harmonies on top of a faux-Mexican/rock guitar sound and pumpin' Texas-blues sound. Its really worth some looking at. Like any debut albums this one is relatively unfocused on a 'specific sound' and, for me, that's what makes debut albums interesting.
Joe Bonamassa / Blues Deluxe -
This kid is quickly rising to the top. Luckily he's NOT on a major label and his fan base will develop at the same speed as his notoriety. You only have to see this guy one time to understand that he's got that something special that differentiates good from great. In many ways Bonamassa is the great continuation of 70's arena blues-rock with bands like Humble Pie and Spinal Tap (just kidding). A healthy mix between Jimi, Stevie, Carlos, and Keith, Bonamassa has a super sharp feel for playing the guitar with a keenly developing ability to do what so many great players can't do... write a bluesy pop song. I am a bonafide fan of this kid: maybe you should be too?
Jonny Lang / Long Time Coming -
This could very well be a 'GREAT album: time will soon tell.
Jam packed with great songs, excellent playing, and dynamic vocals I can't imagine anything coming between this record and imortality. I've seen Lang play numerous times and I can see the appeal. For whatever reason I still don't consider myself to be a "fan" but this album may soon teach this old dog to change his ways!
Lyle Lovett / My Baby Don't Tolerate -
I hate to fall into predictable trends; however, I suspect I'll be buying Lyle Lovett records as long as he's inspired to put them out. Oh sure, I know, he's now being labeled as Yuppie Roots Music. Oh hogwash. Just because someone finds commercial success does not mean they've sold out or watered down their art. After seemingly having suffered from writers block for nearly a decade Lovett finally releases a new album of new songs. While he won a Grammy for the album,' The Road from Ensenada' Lovett's last few albums have been a soundtrack, a greatest hits album, a live album, and a double album of cover songs written by some of the great Texas songwriters. So all I can say is, "IT's ABOUT TIME LOVETT!" And say that with great affection!
Now, as they say on M*A*S*H... that is all
Thursday, January 10, 2008
Neil Young ~ Greendale
Thursday, August 21, 2003
Artist: Neil Young
Album: Greendale
I think of rock music as the great American art form of the working class. While Indie rock has been infiltrated with the well-to-do and private schooled, rock remains a wide open arena for a working class or "black" kid to get a break. Usually that means they eventually cop-out and lose touch with the inner fire that brought them to the party. This is known as "selling out."
You can count, on two hands, the number of successful rock bands/artists that haven't sold out at least once in their career: among them I would include Iggy Pop, Patti Smith, and Neil Young. While Young's art has frequently suffered hiccups - he has never sold out and has frequently ran away as success loomed on the horizon. Always unpredictable Young challenges his audience to grow and change with him: Crazy Horse; Crosby, Stills, Nash & Young; The Shocking Pinks, Trans; alone & acoustic, or with Pearl Jam as a back-up band (Mirror Ball) etc... Consternation follows him everywhere.
Knowing that the art in commercial radio is dead, Young has used his own legacy to help promote his new release, Greendale. When his new album hit retail stores on August 19th, he also reissued some older titles, Remastered and at a smokin' low price point; American Stars Bars, On the Beach, Re-Act-Or, and Hawks & Doves. I would rank American Stars & Bars and On the Beach as both "great" albums. While Hawks & Doves and Re-Act-Or are sub-average.
Greendale is Young's "Tommy" opera as there is an accompanying movie forthcoming. Included on the initial releases of Greendale is a full length concert DVD of Young's solo-live performance of his "opera." What's it sound like? Excellent Neil Young & Crazy Horse material including acoustic tracks, full length jams, and rough hewn edge that Crazy Horse albums are supposed to have.
He may be Canadian but he's damn good! (LOL)
Artist: Neil Young
Album: Greendale
I think of rock music as the great American art form of the working class. While Indie rock has been infiltrated with the well-to-do and private schooled, rock remains a wide open arena for a working class or "black" kid to get a break. Usually that means they eventually cop-out and lose touch with the inner fire that brought them to the party. This is known as "selling out."
You can count, on two hands, the number of successful rock bands/artists that haven't sold out at least once in their career: among them I would include Iggy Pop, Patti Smith, and Neil Young. While Young's art has frequently suffered hiccups - he has never sold out and has frequently ran away as success loomed on the horizon. Always unpredictable Young challenges his audience to grow and change with him: Crazy Horse; Crosby, Stills, Nash & Young; The Shocking Pinks, Trans; alone & acoustic, or with Pearl Jam as a back-up band (Mirror Ball) etc... Consternation follows him everywhere.
Knowing that the art in commercial radio is dead, Young has used his own legacy to help promote his new release, Greendale. When his new album hit retail stores on August 19th, he also reissued some older titles, Remastered and at a smokin' low price point; American Stars Bars, On the Beach, Re-Act-Or, and Hawks & Doves. I would rank American Stars & Bars and On the Beach as both "great" albums. While Hawks & Doves and Re-Act-Or are sub-average.
Greendale is Young's "Tommy" opera as there is an accompanying movie forthcoming. Included on the initial releases of Greendale is a full length concert DVD of Young's solo-live performance of his "opera." What's it sound like? Excellent Neil Young & Crazy Horse material including acoustic tracks, full length jams, and rough hewn edge that Crazy Horse albums are supposed to have.
He may be Canadian but he's damn good! (LOL)
Indigenous leans into the storm
Thursday, July 24, 2003
Artist: Indigenous
Title: Indigenous
(The orange cover Silvertone Records)
Down but never out, Indigenous have finally fired their shot at the big-time by releasing their first major label album.
Gurgling under the radar of rock's mass audience, Indigenous have been leaning on the cliff of success awaiting a nudge to push them from barroom brawlers to a bonafide arena act. By this point in their career the band should be releasing albums that are statements rather than a hodge-podge of tracks: this album totters between brilliant rock melody lines (You Turn My World Around) to poorly executed platforms for guitar solos (What You Do To Me). For me, throw your eggs now, Jimi & Stevie suffered from the A.D.D. focus on writing and an over reliance on stunning guitar abilities. Much like 'Things We Do' the band teases the listener with GREAT songs only to fall back on filler tracks (albums with fewer tracks would solve this problem). Granted I still expect this band to release a definitive rock album. However on this album Indigenous delivers an album that has at least three excellent singles and half-a-dozen very strong tracks.
This is no turd on the lawn.
During a period when acts play-it-safe, Indigenous self produces their debut with the help of (future) brother-in-law(s) Jesse and Robin Davey a/k/a The Davey Brothers. Replete with the modern 'hard rock' sound, Indigenous makes a bold move from the sedate blues-rock genre of aging baby boomers to the younger, tougher rock crowd. Interesting they whip out, ''Shame, Shame, Shame'' by the legendary Jimmy Reed as if to say, 'hey, we're still down with the blues' and as Led Zeppelin was so capable of doing with other's songs, Indigenous converts this old standard to their own lexicon. Lyrically cliche themes haunt Mato's lyrics which center on distance and missed opportunities at love. Missing is a vocal delivery that demands the listener's attention. As ever, the band does not rely on the studio to over-sell their sound and therefore over-deliver live.
Opening the album with a cover from the Davey Brothers previous band, The Hoax, "C'Mon Susie" has benefitted from sporadic commercial radio airplay. Not an over-powering single, the track was able to land the back into the mainstreams vision line. Finally radio seems to be getting hip to laying groundwork for long term success.
It's not till the second track that the teasing begins. Surging with power ''You Turn My World Around'' swings with a lopping beat set off against a second guitar part and driving drums resulting in one of the finest modern-blues songs I've heard. Seeming to lean into the "storm", guitar player Mato Nanji attacks with a zeal rarely seen from the usually stoic leader of the band. Always capable I think the band lacks from external influences more than skill or desire.
Interestingly the band's designer hair cuts and high profile photographs alter the image but maintains its soul and swing. Drummer Wanbdi swings harder and with more confidence then previous recordings. Gone are the gush of notes in favor of tastier albeit fewer licks from central figure & guitar player Mato. Early on the band was heavily influenced by the music that interest their father Greg. As the band grew older, slowly, ever so slowly, other sounds crept into their world. Doyle Bramhall's production of their last effort, Circle, "Austin-ated" the band with easy Texas shuffles. And though the Davey Brothers have introduced the band to modern rock production, Indigenous maintains their core Fender sound. Matter-of-fact, there are numerous tracks on the new album that could have appeared on any number of prior albums.
If you're a fan of the band you are going to connect almost immediately with this new record. Will it draw in younger listeners? Since the rise of rap I can honestly say I have no idea what the kids are gonna dig. This is a consistent effort which is well recorded and executed. As usual they tread away from new ground in favor of well trodden turf; however, it strikes a note with me and I'm digging it.
Artist: Indigenous
Title: Indigenous
(The orange cover Silvertone Records)
Down but never out, Indigenous have finally fired their shot at the big-time by releasing their first major label album.
Gurgling under the radar of rock's mass audience, Indigenous have been leaning on the cliff of success awaiting a nudge to push them from barroom brawlers to a bonafide arena act. By this point in their career the band should be releasing albums that are statements rather than a hodge-podge of tracks: this album totters between brilliant rock melody lines (You Turn My World Around) to poorly executed platforms for guitar solos (What You Do To Me). For me, throw your eggs now, Jimi & Stevie suffered from the A.D.D. focus on writing and an over reliance on stunning guitar abilities. Much like 'Things We Do' the band teases the listener with GREAT songs only to fall back on filler tracks (albums with fewer tracks would solve this problem). Granted I still expect this band to release a definitive rock album. However on this album Indigenous delivers an album that has at least three excellent singles and half-a-dozen very strong tracks.
This is no turd on the lawn.
During a period when acts play-it-safe, Indigenous self produces their debut with the help of (future) brother-in-law(s) Jesse and Robin Davey a/k/a The Davey Brothers. Replete with the modern 'hard rock' sound, Indigenous makes a bold move from the sedate blues-rock genre of aging baby boomers to the younger, tougher rock crowd. Interesting they whip out, ''Shame, Shame, Shame'' by the legendary Jimmy Reed as if to say, 'hey, we're still down with the blues' and as Led Zeppelin was so capable of doing with other's songs, Indigenous converts this old standard to their own lexicon. Lyrically cliche themes haunt Mato's lyrics which center on distance and missed opportunities at love. Missing is a vocal delivery that demands the listener's attention. As ever, the band does not rely on the studio to over-sell their sound and therefore over-deliver live.
Opening the album with a cover from the Davey Brothers previous band, The Hoax, "C'Mon Susie" has benefitted from sporadic commercial radio airplay. Not an over-powering single, the track was able to land the back into the mainstreams vision line. Finally radio seems to be getting hip to laying groundwork for long term success.
It's not till the second track that the teasing begins. Surging with power ''You Turn My World Around'' swings with a lopping beat set off against a second guitar part and driving drums resulting in one of the finest modern-blues songs I've heard. Seeming to lean into the "storm", guitar player Mato Nanji attacks with a zeal rarely seen from the usually stoic leader of the band. Always capable I think the band lacks from external influences more than skill or desire.
Interestingly the band's designer hair cuts and high profile photographs alter the image but maintains its soul and swing. Drummer Wanbdi swings harder and with more confidence then previous recordings. Gone are the gush of notes in favor of tastier albeit fewer licks from central figure & guitar player Mato. Early on the band was heavily influenced by the music that interest their father Greg. As the band grew older, slowly, ever so slowly, other sounds crept into their world. Doyle Bramhall's production of their last effort, Circle, "Austin-ated" the band with easy Texas shuffles. And though the Davey Brothers have introduced the band to modern rock production, Indigenous maintains their core Fender sound. Matter-of-fact, there are numerous tracks on the new album that could have appeared on any number of prior albums.
If you're a fan of the band you are going to connect almost immediately with this new record. Will it draw in younger listeners? Since the rise of rap I can honestly say I have no idea what the kids are gonna dig. This is a consistent effort which is well recorded and executed. As usual they tread away from new ground in favor of well trodden turf; however, it strikes a note with me and I'm digging it.
Kris Lager can cut the mustard
Kris Lager Band
First albums are kinda like photos from your High School prom. At the time it seems like the thing to do but years later you remember the fool you made of yourself. Because of the all might dollar and the corruption between radio and record labels, today's artist's are forced to have hits with their first album. Were that the case 30 years ago, Bruce Springsteen, The Who, REM, Rush, U2, and Metallica would have all washed out like used bath water. Clearly radio is a 'johnny come lately' and the labels have resorted to throwing crap against the wall to see what sticks. Gone are the days when artist were encouraged to grow and develop. Today it is hit or shit - nothing in between. Fortunately, Lincoln wunderkid Kris Lager is cutting his teeth on his own dime.
Over the past five years we've seen a near complete collapse of the blues-rock genre. Gone are the Jonny Lang's & Kenny Wayne Shepherd's. Even Indigenous is using their newest album as a vehicle to move from a blues audience (about 3% of sales) to the rock audience (43% of sales). On his first and self titled release Lager and band go through the motions of being a big name blues act. Why? Being polite, there may be five guys in the world that can play an entertaining 12 bar blues structure and none of them live within 400 miles of Omaha. Say whatever you want but with today's fickle music consumer, the music no longer does the talking. It's all about image & lifestyle and the Kris Lager Band has no image. Damn shame too. His new album has all the signs of being the foundation for a big name career.
Music? Oh, you want to hear about music? Sure you do. The music moves from strong to nearly great. Lager's album lacks any "hits" or "radio friendly tunes" but overall his tracks show very strong song-writing that should mature. Kris needs to lock himself in the kitchen and not come out until he's written a great song: a great song! I like it when a guitar player can step up and wail on - it's what I like - and Lager can play the guitar. Jeremiah Weir's keyboards give the listener a break and adds tasty morsel's of sound. On this album I do not like the recorded drum sound. I'm not engineer but they sound lifeless and flat to me. Bass player Matt 'prettyboy' Evans tucks in and helps drummer Kyle Armes set-up a base for Lager and Weir. On the seventh cut, Black Rose, the band stretches out and shows what it capable of - which is pure magic ala' Allman Brothers 1970. Can Lager 'cut it' as a front man and singer? The next two years will determine whether its to be the bar circuit or the theatre circuit. This 'horse' is a wild card but with some focus & sweat, a good haircut and some image development, Kris Lager could easily zoom out of these high plains and be more than just a footnote in local music history.
We've seen what Indigenous have been able to accomplish with Omaha as a loyal base... lighting could strike twice but it's going to take a die-hard serious commitment to KNOWING how the business turns. This is a very good album. Lager is young enough to have a serious go at having a career playing music. I hope he aspires to be more.
First albums are kinda like photos from your High School prom. At the time it seems like the thing to do but years later you remember the fool you made of yourself. Because of the all might dollar and the corruption between radio and record labels, today's artist's are forced to have hits with their first album. Were that the case 30 years ago, Bruce Springsteen, The Who, REM, Rush, U2, and Metallica would have all washed out like used bath water. Clearly radio is a 'johnny come lately' and the labels have resorted to throwing crap against the wall to see what sticks. Gone are the days when artist were encouraged to grow and develop. Today it is hit or shit - nothing in between. Fortunately, Lincoln wunderkid Kris Lager is cutting his teeth on his own dime.
Over the past five years we've seen a near complete collapse of the blues-rock genre. Gone are the Jonny Lang's & Kenny Wayne Shepherd's. Even Indigenous is using their newest album as a vehicle to move from a blues audience (about 3% of sales) to the rock audience (43% of sales). On his first and self titled release Lager and band go through the motions of being a big name blues act. Why? Being polite, there may be five guys in the world that can play an entertaining 12 bar blues structure and none of them live within 400 miles of Omaha. Say whatever you want but with today's fickle music consumer, the music no longer does the talking. It's all about image & lifestyle and the Kris Lager Band has no image. Damn shame too. His new album has all the signs of being the foundation for a big name career.
Music? Oh, you want to hear about music? Sure you do. The music moves from strong to nearly great. Lager's album lacks any "hits" or "radio friendly tunes" but overall his tracks show very strong song-writing that should mature. Kris needs to lock himself in the kitchen and not come out until he's written a great song: a great song! I like it when a guitar player can step up and wail on - it's what I like - and Lager can play the guitar. Jeremiah Weir's keyboards give the listener a break and adds tasty morsel's of sound. On this album I do not like the recorded drum sound. I'm not engineer but they sound lifeless and flat to me. Bass player Matt 'prettyboy' Evans tucks in and helps drummer Kyle Armes set-up a base for Lager and Weir. On the seventh cut, Black Rose, the band stretches out and shows what it capable of - which is pure magic ala' Allman Brothers 1970. Can Lager 'cut it' as a front man and singer? The next two years will determine whether its to be the bar circuit or the theatre circuit. This 'horse' is a wild card but with some focus & sweat, a good haircut and some image development, Kris Lager could easily zoom out of these high plains and be more than just a footnote in local music history.
We've seen what Indigenous have been able to accomplish with Omaha as a loyal base... lighting could strike twice but it's going to take a die-hard serious commitment to KNOWING how the business turns. This is a very good album. Lager is young enough to have a serious go at having a career playing music. I hope he aspires to be more.
12 albums from 2003 worth your time
So much good music to hear these days...
(written) Monday, March 31, 2003
There is so much good music out there right now. I haven't seen this much good music in a long, long time. Here are some suggestions;
1. Nils Lofgren Band Live.- In addition to being an incredible guitar player, Lofgren has a super smooth voice. The drummer on this album, Timm Biery, is an absolute MONSTER.
2. Who's Next DELUXE EDITION. Probably a top five all time great album remastered with a second disc of live cuts. The standard by which other albums are judged raises the bar again.
3. The Jayhawks - Rainy Day Music - Something good from Minneapolis. While the JH have always been a very solid band their albums have been only slightly better than average. This new effort shows the band stripped down to three players and is brilliant. Former Lincolnite Matthew Sweet guests on this album.
4. The Thorns. - A cross between everything that was good about the band America with Crosby, Stills, Nash & Young. Featuring Matthew Sweet, Pete Droge, and Shawn Mullins. This is your next purchase.
5. Darrell Nulisch - Times Like These - White soul vocals that weaves the sound of "classic Motown/ Stax" vocals and suburban blues. One of my all time favorite recording artists.
6. John Hiatt - Beneath This Gruff Exterior. I only have the single at the moment, My Baby Blue, but it is his most radio-friendly recording to date. Really really nice.
7. Harry Manx (any of three). This may be too bluesy for most but this guy is a genius and I do not use that term lightly. Manx plays an 18 stringed instrument from India much like a guitar but with a haunting sound. Manx plays blues and american pop covers and it is a breathtaking amalgation of sounds. When Manx played the jam last year he silenced 2,500 people who hung on every note: I have NEVER seen a performer with no name recognition place a crowd in such awe.
8. Sonny Landreth - The Road We're On - Louisiana boy delivers adult rock pop sense slide guitar sound with VERY solid songwriting. You might want to hear this first. Exceptional if you like slide players.
9. Jesse Malin - The Fine Art of Self Destruction - Have only heard this twice but its a very good adult rock-n-roll record. Up tempo and fun.
10. Jason Mraz - Waiting for My Rocket to Come - Another excellent record worth checking out. This guy will be huge.
11. The Black Keys - Thickfreakness. The definative music snobs groove. Two white kids from Ohio that lay down the blackest Missisippi blues-groove to come along in a very long time. This is some super cool shit but has the potential to become a flag bearing release for dorks to prove how cool they are. Get it before they do and then look down your nose at them!
12. Lucinda Williams - World Without Tears. Suffers from the Todd Rundgren complex. Couple of GREAT songs, couple of stiffs, and some average to very good filler. This is the record that is going to break her career wide open. Critics that follow the leader by reading others reviews but don't listen to music are going to sing praises for this disc. In the end, I think its going to be over-rated.
(written) Monday, March 31, 2003
There is so much good music out there right now. I haven't seen this much good music in a long, long time. Here are some suggestions;
1. Nils Lofgren Band Live.- In addition to being an incredible guitar player, Lofgren has a super smooth voice. The drummer on this album, Timm Biery, is an absolute MONSTER.
2. Who's Next DELUXE EDITION. Probably a top five all time great album remastered with a second disc of live cuts. The standard by which other albums are judged raises the bar again.
3. The Jayhawks - Rainy Day Music - Something good from Minneapolis. While the JH have always been a very solid band their albums have been only slightly better than average. This new effort shows the band stripped down to three players and is brilliant. Former Lincolnite Matthew Sweet guests on this album.
4. The Thorns. - A cross between everything that was good about the band America with Crosby, Stills, Nash & Young. Featuring Matthew Sweet, Pete Droge, and Shawn Mullins. This is your next purchase.
5. Darrell Nulisch - Times Like These - White soul vocals that weaves the sound of "classic Motown/ Stax" vocals and suburban blues. One of my all time favorite recording artists.
6. John Hiatt - Beneath This Gruff Exterior. I only have the single at the moment, My Baby Blue, but it is his most radio-friendly recording to date. Really really nice.
7. Harry Manx (any of three). This may be too bluesy for most but this guy is a genius and I do not use that term lightly. Manx plays an 18 stringed instrument from India much like a guitar but with a haunting sound. Manx plays blues and american pop covers and it is a breathtaking amalgation of sounds. When Manx played the jam last year he silenced 2,500 people who hung on every note: I have NEVER seen a performer with no name recognition place a crowd in such awe.
8. Sonny Landreth - The Road We're On - Louisiana boy delivers adult rock pop sense slide guitar sound with VERY solid songwriting. You might want to hear this first. Exceptional if you like slide players.
9. Jesse Malin - The Fine Art of Self Destruction - Have only heard this twice but its a very good adult rock-n-roll record. Up tempo and fun.
10. Jason Mraz - Waiting for My Rocket to Come - Another excellent record worth checking out. This guy will be huge.
11. The Black Keys - Thickfreakness. The definative music snobs groove. Two white kids from Ohio that lay down the blackest Missisippi blues-groove to come along in a very long time. This is some super cool shit but has the potential to become a flag bearing release for dorks to prove how cool they are. Get it before they do and then look down your nose at them!
12. Lucinda Williams - World Without Tears. Suffers from the Todd Rundgren complex. Couple of GREAT songs, couple of stiffs, and some average to very good filler. This is the record that is going to break her career wide open. Critics that follow the leader by reading others reviews but don't listen to music are going to sing praises for this disc. In the end, I think its going to be over-rated.
Lighting Strikes Susan Tedeschi Twice
Artist: Susan Tedeschi
Title: Wait For Me
In 1989 a six-year sober Bonnie Raitt bedazzled a beleaguered music industry with the multi- platinum, multi-Grammy album, 'Nick of Time.' After more than twenty years, Raitt had finally struck gold. The "sound" of Raitt's wagon-load of Grammy album was not new - her refreshed pop sense with a blues base got her on the radio airplay but it was the ballads that struck a nerve with listeners. For the next decade Raitt would be the world's darling lending her bully pulpit to social & environmental causes.
Upon the death of Stevie Ray Vaughan in August 1990, Raitt would add the weight of being the blues only major cross-over artist on her slim shoulders. Thanks to the momentum of Stevie Ray Vaughan, 'the blues' art-form was vibrant throughout the '90's. As the impact of downloading and burning began to reverberate, major labels sang the blues over financial losses. As result, labels cut artists and ad budgets. Consequently the blues' popularity has been on the down-swing since the new millennium.
Tone Cool's Susan Tedeschi may provide the thumb in the dike to stem the blues' ebbing popularity. For a blues album to sell 50,000 units is a smashing success. Tedeschi's last album, Just Won't Burn, sold more than ½ million albums. With the release of her newest effort (November 19th), Wait For Me, Tedeschi will surely substantially best her last effort. It's a terrific album jam packed with superb vocal performances, strong songs, and excellent arrangements. Included on the album are two previously released tracks. 'In the Garden' appeared on Double Trouble's latest release (along with a cover of Led Zeppelin's, 'Rock -n- Roll.' 'Baby You're Right' appears on Tedeschi's husband Derek Trucks' latest stellar release, Joyful Noise.' A nephew of Allman Brothers bass player 'Butch' Trucks, Derek Trucks played with the Allman Brothers Band for much of last year with Tedeschi's band opening.
Consequently, Tedeschi's sound has matured substantially into a more rock oriented sound. Like Raitt's, Nick of Time, Tedeschi has mixed tasty ballads with upbeat rockers. Tedeschi is backed by a smoking guitar and humping organ (players unknown at this time). Also covered on the album is Dylan's, 'Don't Think Twice.' While blues purists continue to embrace Tedeschi, 'Wait for Me' is sure to be a cross-over hit that rock fans are going to relate. While today's helter-skelter music world leaves it up to anyone's guess, it will be interesting to see if radio 'gets it' and hops on board a sure thing early in the cycle or will it wait?
Title: Wait For Me
In 1989 a six-year sober Bonnie Raitt bedazzled a beleaguered music industry with the multi- platinum, multi-Grammy album, 'Nick of Time.' After more than twenty years, Raitt had finally struck gold. The "sound" of Raitt's wagon-load of Grammy album was not new - her refreshed pop sense with a blues base got her on the radio airplay but it was the ballads that struck a nerve with listeners. For the next decade Raitt would be the world's darling lending her bully pulpit to social & environmental causes.
Upon the death of Stevie Ray Vaughan in August 1990, Raitt would add the weight of being the blues only major cross-over artist on her slim shoulders. Thanks to the momentum of Stevie Ray Vaughan, 'the blues' art-form was vibrant throughout the '90's. As the impact of downloading and burning began to reverberate, major labels sang the blues over financial losses. As result, labels cut artists and ad budgets. Consequently the blues' popularity has been on the down-swing since the new millennium.
Tone Cool's Susan Tedeschi may provide the thumb in the dike to stem the blues' ebbing popularity. For a blues album to sell 50,000 units is a smashing success. Tedeschi's last album, Just Won't Burn, sold more than ½ million albums. With the release of her newest effort (November 19th), Wait For Me, Tedeschi will surely substantially best her last effort. It's a terrific album jam packed with superb vocal performances, strong songs, and excellent arrangements. Included on the album are two previously released tracks. 'In the Garden' appeared on Double Trouble's latest release (along with a cover of Led Zeppelin's, 'Rock -n- Roll.' 'Baby You're Right' appears on Tedeschi's husband Derek Trucks' latest stellar release, Joyful Noise.' A nephew of Allman Brothers bass player 'Butch' Trucks, Derek Trucks played with the Allman Brothers Band for much of last year with Tedeschi's band opening.
Consequently, Tedeschi's sound has matured substantially into a more rock oriented sound. Like Raitt's, Nick of Time, Tedeschi has mixed tasty ballads with upbeat rockers. Tedeschi is backed by a smoking guitar and humping organ (players unknown at this time). Also covered on the album is Dylan's, 'Don't Think Twice.' While blues purists continue to embrace Tedeschi, 'Wait for Me' is sure to be a cross-over hit that rock fans are going to relate. While today's helter-skelter music world leaves it up to anyone's guess, it will be interesting to see if radio 'gets it' and hops on board a sure thing early in the cycle or will it wait?
Derek Trucks - better than most
Artist: Derek Trucks
Title: Joyful Noise
Writer: Rick Galusha
On his sophomoric release, Derek Trucks (nephew of Allman Brothers drummer Butch Trucks)has released an artistic mosaic that defies categorization and is certain to confound listeners. In the richest Fillmore-esque tradition, Trucks and band have amalgamated a fine tuned cornucopia of rootsy sounds into a sonic masterpiece.
"Oh sure, but what's that mean?" Today's market practically requires artists to dumb down their sound into a well defined niche so that any dope with fifteen bucks can figure it out. In the short term this means quick sales but tends to cost the artist long term career development. Not so with 'Joyful Noise.' Trucks and band lay out an album consisting of instrumentals, an Indian raga, a couple of soul ballads, a "Jazz" track, and a powerful blues song featuring Susan Tedeschi. The result is an eclectic, wonderful, challenging collection of songs that defy 'niche' but nonetheless fit together.
Relying on guest vocalists, Joyful Noise employs some of the day's most underappreciated singers including; Solomon Burke, Ruben Blades, Rahat Nusrat Fateh Ali Khan, and Mrs. Truck othewise known as Susan Tedeschi. And just to put a point on it, Tedeschi's track, 'Baby, You're Right' may be her finest recorded vocal delivery yet. Guitarist Trucks steals from the best including; Carlos Santana,Duane Allman, and John McLaughlin. Guitarists tend to be classified on a spectrum ranging from emotive (Mato Naiji) on one end to technical (Robert Fripp) on the other end. When a player is both expressive and technically adept, well, you have something special. Seeped in the '60's tradition of art before economics, Trucks' newest is a excellent example of a special player, who clearly understands the legacy of what that is "good music." 'Joyful Noise' pushes beyond the restrictive boundaries of today's music industry and somehow produces art in the art-starved genre that is rock music. 'Joyful Noise' is a rare gem that will over-time unfold to listeners and hold up to repeated listenings over the years to come. Psst - next time draft Chris Robinson or that kid from the Screaming Cheetah Wheelies for some vocal tracks)
Title: Joyful Noise
Writer: Rick Galusha
On his sophomoric release, Derek Trucks (nephew of Allman Brothers drummer Butch Trucks)has released an artistic mosaic that defies categorization and is certain to confound listeners. In the richest Fillmore-esque tradition, Trucks and band have amalgamated a fine tuned cornucopia of rootsy sounds into a sonic masterpiece.
"Oh sure, but what's that mean?" Today's market practically requires artists to dumb down their sound into a well defined niche so that any dope with fifteen bucks can figure it out. In the short term this means quick sales but tends to cost the artist long term career development. Not so with 'Joyful Noise.' Trucks and band lay out an album consisting of instrumentals, an Indian raga, a couple of soul ballads, a "Jazz" track, and a powerful blues song featuring Susan Tedeschi. The result is an eclectic, wonderful, challenging collection of songs that defy 'niche' but nonetheless fit together.
Relying on guest vocalists, Joyful Noise employs some of the day's most underappreciated singers including; Solomon Burke, Ruben Blades, Rahat Nusrat Fateh Ali Khan, and Mrs. Truck othewise known as Susan Tedeschi. And just to put a point on it, Tedeschi's track, 'Baby, You're Right' may be her finest recorded vocal delivery yet. Guitarist Trucks steals from the best including; Carlos Santana,Duane Allman, and John McLaughlin. Guitarists tend to be classified on a spectrum ranging from emotive (Mato Naiji) on one end to technical (Robert Fripp) on the other end. When a player is both expressive and technically adept, well, you have something special. Seeped in the '60's tradition of art before economics, Trucks' newest is a excellent example of a special player, who clearly understands the legacy of what that is "good music." 'Joyful Noise' pushes beyond the restrictive boundaries of today's music industry and somehow produces art in the art-starved genre that is rock music. 'Joyful Noise' is a rare gem that will over-time unfold to listeners and hold up to repeated listenings over the years to come. Psst - next time draft Chris Robinson or that kid from the Screaming Cheetah Wheelies for some vocal tracks)
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