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.
Sunday, March 30, 2008
Album Reviews; Renee Austin, Shemekia Copeland, Heaven Davis
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.
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
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.
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.
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!
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
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.
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
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!"
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
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.
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.
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