blues views By Rick Galusha
I have been working in retail music since 1978. I was a Classical & Jazz deejay at KVNO while in college and have hosted KIWR's PS Blues for more than 13 years [Sundays from 9 am - Noon at 89.7 fm]. I don't know it all but I think I have a pretty rounded - reality based - hype free opinion. You may agree or you may read this column figuring if I liked it you're going to stay away . . . hey, whatever you want.
Indigenous - Long Way Home
Monday, February 21, 2005
Artist: Indigenous
Title: Long Way Home
Rating: Good (and then some)
One hundred and twenty-six years ago, Chief Standing Bear stood in the then Indian Territories of Oklahoma, on the eve of his historic trek that would bring freedom to all indigenous people of North America, and probably thought that his 500 mile walk in January was a long way home to his native lands near what is now Valentine, Nebraska. Standing Bear’s return home to bury his son would result in a trial in which the decision would end the Indian Reservation system. Although largely forgotten Standing Bear stands as one of the great civil rights leaders of our nation’s history.
This new seven-song album by the band Indigenous shows them trying to reignite their career. Although all the tracks were recorded recently some of the songs were written early while some are new. The opening track, Well You Know, harkens back to the bands last album: the self-titled release on Silvertone Records. Whether due to the absent efforts of the band’s label, the over-powering influences of the Davey Brothers, the departure of their long time manager or numerous family issues, the band’s desire to reach a younger audience with a more modern sound failed to garner significant sales and their career cooled off to room temperature. This song belonged on that album.
The next track, Rest of My Days, first appeared on the band’s ‘Circle’ album. This version of the exceptionally well-written track includes crisp airy acoustic guitar “weaves” that add depth and texture. Were it not for the “play-for-pay” policies adopted by major & regional radio conglomerates this song would be blaring out of every car radio in America by mid-July. Let me say that a different way, were radio station “Music Directors” actually empowered to pick the music they played, and were their consultants not accepting payola for choosing songs by faceless bands that sound like other faceless bands which happen to be quite good at selling useless disposable products to amorphous demographics that remain uncommitted to most things, this song would be a massive hit. It is a “great” song by any standard in the rock idiom.
Awake, the 3rd track on the album has appeared a few times through out the band’s career including their first self produced album, ‘Awake’, and their ‘Live- Blues from the Sky’ album. Awake was written by the sister-drummer Wanbdi: who’s beau Jesse Davey, of the recently signed Interscope Records act, The Davey Brothers, appeared on, produced, co-wrote a track and shot the photographs for this CD-EP (which Mato assures me HE did NOT wear mascara for!). As an aside I would add that Wanbdi has a voracious appetite for literature. Once again this is a very strong track for the band, which fans will enjoy.
The fifth track on the album, Six Feet Down, shows a glimpse of what this band is capable of. Co-written with Jesse Davey, this track has a thick blues base that thematically barks of a modern blues-rock standard. The electric guitar solo is a pure Hendrix; languid, well paced, and tasty. Since the departure of Horse, the band has been ripe for a fourth member. Could it be Jesse Davey? If so, where would that leave the Davey Brothers? Clearly Wanbdi and Jesse are a couple and there appears to be a strong musical repartee between Mato and Davey. The forthcoming release by the Davey Brothers will read volumes into where this young Englishman’s heart, and fingers, is. Is it possible to be in two bands on the cusp of breaking big?
The sixth track, Don’t Let Me Go, co-written by Pte (bass) and Mato (a/k/a Standing Bear) is a manifestation of the band’s split personality. Anchored in Santana & Hendrix, Indigenous’ evolution in sound tend to follow the modern fad of being heavier and murkier with less distinct melody lines or what I would call “aching pastels of showering powerchords” which I find uninspiring.
Last but not least is a live track of what could be considered one of Mato’s two songwriting high points. Things We Do, is a song that ebbs and grows with the band. Things We Do was the name of their first Pachyderm album as well as their contribution track to the 'Honor the Earth' benefit album. At the very least this song is an all too brief look into what Indigenous is capable of. Put ten songs of this caliber together on one album and you have the makings of a significance musical statement. However, Mato is over-taxed and incapable under current circumstances. Mato is the van driver, the lead guitar player, the singer, the songwriter, the liaison with management, and the mouthpiece with media & radio. He’s also the ‘father figure’ within the band as well as a genuine father to his own three children. On all levels this band’s very existence rests more and more on his shoulders. For this band to transcend it’s creative trap Pte and Wanbdi need to step up and assume some of the responsibilities. A true partnerships need to develop between these siblings or they will never be given the mental and emotional break necessary for this band to create an album of music that we can see lies withinTwo of rock’s most significant albums, ‘Revolver’ and ‘Rubber Soul’ by the Beatles were both under 28 minutes long. ‘Long Way Home’ clocks in at 35 minutes. It’s is the perfect length with the perfect price point - under ten dollars. Technology allows today’s bands to record up to 74-minute albums onto one compact disc or a double vinyl album. No wonder fans are disillusioned. I can count on one hand the number of double vinyl albums that were able to maintain an artistic vision of that length. (When Tupac Shakur released a double CD of rap music, the equalivent of four vinyl albums, I had to laugh at the cynical joke being played on innocent music listeners.)
Although the band considers this a stop gap recording while it shops for a new label, I hope their point of reference changes to considering this to be a new marketing technique; two 5 - 7 track EPs a year that are musical diverse and mark the growth of the band’s sound during this transitional period. Two albums a year would keep the product pipeline full and fans engaged. It would also force the creative juices to flow year-round. Indigenous continues to be an act whose goal should be the national stage - selling out 2,500 seat auditoriums across the nation. Refining efforts like ‘Long Way Home’ and a hard, focused, work schedule for the next 36 months should get them back where they belong.
Sunday, March 30, 2008
Album Review: Carolyn Wonderland
Artist: Carolyn Wonderland
Title: Miss Understood
Writer: Rick Galusha
The Beatles had ‘Sergeant Pepper’; the Stones ‘Exile on Main Street.’ At some point in every band’s career there is a point to create a definitive work of art. Without taking that leap of professionalism the band is more times than not trapped in a cycle of recording the ‘same’ figurative album again and again. (See Boston or Journey) Bruce Springsteen had ‘Born to Run’ and Buddy Guy has ‘Damn Right I Got the Blues.’ With the release of her latest album, ‘Miss Understood’ Houston’s bluesy rock n’ roll actress Carolyn Wonderland, now based in Austin, Texas, is back with an album that could very well mark a significant upturn in her recording efforts.
In many ways Wonderland, fresh off her interlude playing with Bob Dylan, has intentionally embraced the path of another East Texan (Port Arthur) Janis Joplin. Having nurtured an image of hard drinkin’ and fast living Wonderland’s career has, at times, seemed to be a fatal wound in slow motion. One need only watch a couple of VH1 ‘Behind the Music’ programs to realize that substance abuse has ended more than a few thousand promising careers.
‘Miss Understood’ is a very strong and entertaining album that leans more towards ballad than blues: more towards 1968 Austin than 1955 Chicago. Part of that may be due to the production efforts of ‘Asleep at the Wheel’ front man Ray Benson. Tulsa based drummer Jamie Oldaker, who plays on numerous tracks, may also have had an impact on Wonderland and her willingness to take exciting chances. (According to the liner notes in Oldaker’s, “Mad Dogs and Okies” he has had an amazing career including playing with Eric Clapton during his Oklahoma/J.J. Cale period, backing up Peter Frampton (and a post-Kiss Ace Frehley), a member of the multi-platinum band The Tractors, discovered Ronnie Dunn of Brooks & Dunn, and playing at Live Aid including appearing with Phil Collins.) Perhaps as a testament to the new found Carolyn Wonderland she covers ‘Still Alive and Well’ by Rick “Hang on Sloopy” Derringer (Zerringer); a song originally made famous by Beaumont, Texas’s Johnny Winter – who’s own struggles have been epically Richards-ian in scope and length.
The sixth track on the album, “Long Way to Go” with violin and soft accompaniment could have come off John Mellencamp’s transitional album, ‘Scarecrow.’ The album’s closing track, ‘Feed Me to the Lions’ transcends predictable genre as Wonderland successfully reaches for a song of depth and texture. The album’s tenth track, ‘I Live Alone with Someone’ has a Ray Charles, ‘Lonely Avenue’ quality to it and is very radio friendly. The violin accompaniment; Leigh Mahoney and Tracy Seeger of the Tosca String Quartet, is yet again stunning in texture and taste.
On “I Don’t Want to Fall For You” Miss Wonderland employs jazz vocals that go to seemingly unfamiliar territory. Yet the brush snare and piano backing is, well, wonderful. It is refreshing to see an established artist grasp beyond the confine of preconception toward something bigger; something better. Carolyn Wonderland is easily among the finest barroom brawlers in the Midwest floorboard pounding business. Her newest album, ‘Miss Understood’ is the kind of album that any roots and blues music fan will fully enjoy and derive hours of listening enjoyment from for years to come. While listening to this album over the past few weeks I have dared to consider that perhaps Wonderland is charting a course that Janis Joplin, had she lived and matured, may have pursued. We’ll never know but the dobro laden, The Farmer Song’ gives hint to what might have been.
This is an album that most blues fans and all roots music fans should enjoy.
Title: Miss Understood
Writer: Rick Galusha
The Beatles had ‘Sergeant Pepper’; the Stones ‘Exile on Main Street.’ At some point in every band’s career there is a point to create a definitive work of art. Without taking that leap of professionalism the band is more times than not trapped in a cycle of recording the ‘same’ figurative album again and again. (See Boston or Journey) Bruce Springsteen had ‘Born to Run’ and Buddy Guy has ‘Damn Right I Got the Blues.’ With the release of her latest album, ‘Miss Understood’ Houston’s bluesy rock n’ roll actress Carolyn Wonderland, now based in Austin, Texas, is back with an album that could very well mark a significant upturn in her recording efforts.
In many ways Wonderland, fresh off her interlude playing with Bob Dylan, has intentionally embraced the path of another East Texan (Port Arthur) Janis Joplin. Having nurtured an image of hard drinkin’ and fast living Wonderland’s career has, at times, seemed to be a fatal wound in slow motion. One need only watch a couple of VH1 ‘Behind the Music’ programs to realize that substance abuse has ended more than a few thousand promising careers.
‘Miss Understood’ is a very strong and entertaining album that leans more towards ballad than blues: more towards 1968 Austin than 1955 Chicago. Part of that may be due to the production efforts of ‘Asleep at the Wheel’ front man Ray Benson. Tulsa based drummer Jamie Oldaker, who plays on numerous tracks, may also have had an impact on Wonderland and her willingness to take exciting chances. (According to the liner notes in Oldaker’s, “Mad Dogs and Okies” he has had an amazing career including playing with Eric Clapton during his Oklahoma/J.J. Cale period, backing up Peter Frampton (and a post-Kiss Ace Frehley), a member of the multi-platinum band The Tractors, discovered Ronnie Dunn of Brooks & Dunn, and playing at Live Aid including appearing with Phil Collins.) Perhaps as a testament to the new found Carolyn Wonderland she covers ‘Still Alive and Well’ by Rick “Hang on Sloopy” Derringer (Zerringer); a song originally made famous by Beaumont, Texas’s Johnny Winter – who’s own struggles have been epically Richards-ian in scope and length.
The sixth track on the album, “Long Way to Go” with violin and soft accompaniment could have come off John Mellencamp’s transitional album, ‘Scarecrow.’ The album’s closing track, ‘Feed Me to the Lions’ transcends predictable genre as Wonderland successfully reaches for a song of depth and texture. The album’s tenth track, ‘I Live Alone with Someone’ has a Ray Charles, ‘Lonely Avenue’ quality to it and is very radio friendly. The violin accompaniment; Leigh Mahoney and Tracy Seeger of the Tosca String Quartet, is yet again stunning in texture and taste.
On “I Don’t Want to Fall For You” Miss Wonderland employs jazz vocals that go to seemingly unfamiliar territory. Yet the brush snare and piano backing is, well, wonderful. It is refreshing to see an established artist grasp beyond the confine of preconception toward something bigger; something better. Carolyn Wonderland is easily among the finest barroom brawlers in the Midwest floorboard pounding business. Her newest album, ‘Miss Understood’ is the kind of album that any roots and blues music fan will fully enjoy and derive hours of listening enjoyment from for years to come. While listening to this album over the past few weeks I have dared to consider that perhaps Wonderland is charting a course that Janis Joplin, had she lived and matured, may have pursued. We’ll never know but the dobro laden, The Farmer Song’ gives hint to what might have been.
This is an album that most blues fans and all roots music fans should enjoy.
Sunday, March 9, 2008
Album Review: Ray Davies, Working Man's Cafe'
Album: Working Man’s Café
Artist: Ray Davies
Writer: Rick Galusha
In 1990 the band best known for singing about working class life and strife in England, The Kinks, were inducted into the Rock n’ Roll Hall of Fame in Cleveland, Ohio. The Kinks discography includes songs like; “Lola,” “Victoria” and “Til the End of the Day.” They were, appropriately enough, The Hall’s fourth British band; behind the Rolling Stones (who paid for much of the RnR HoF building), The Beatles and The Who. The irony is that among the various British iconic institution’s, The Kinks found commercial success in America while remaining little more than a piece of post-punk rock memorabilia in the UK. Throughout the history of The Kinks, Ray Davies and brother Dave Davies (pronounced Davis) were in conflict (preceeding Oasis’ Gallagher brother’s stage battles by decades.) Ray was the singer/ songwriter and focal point of the band. The younger Dave was the band’s lead guitarist and has subsequently credited with developing the ‘heavy guitar riff’ that would dominate the Heavy Metal genre of rock; as heard on songs like ‘All Day and All of the Night” or “You Really Got Me” (later covered by Van Halen.)
While this is heralded as Ray’s second solo effort; ‘Other Peoples Lives’ being released in 2005, Kinkologists know that the motion picture soundtrack, ‘Return to Waterloo’ was actually Davies’ first solo album. (Admittedly it was basically a Kinks album sans brother Dave – but released under the moniker Ray Davies.) Whereas solo efforts by band fixtures tend to be pathetic, Working Man’s Café is simply brilliant. A perfect balance of topical wordsmithing, memorable tunes and crafted arrangements. By taking a chance and recording outside of the Kinks Davies has been able to cast aside the expectations and stigma’s usually associated with a 40+ year career. However since The Kinks were little more than a band behind Davies, how unique can it really be? Gone are the simple bash n’ pop beauty 2 minute wonders that The Kinks were so good at and instead are songs that could easily fit in with Davies’ late ‘70’s – early ‘80’s Arista album trilogy; ‘Misfits,’ ‘Sleepwalker’ and ‘Low Budget.’
The album opens with a slamming guitar riff that transmogrifies into a faux-Americana shuffle about Globilization while singing about, “Cowboys in Vietnam, making their movies.” The next track, “You’re Asking Me” is akin to perhaps Davies best song, “Waterloo Sunset” while he signs, “If you’re asking me, Don’t take my advice. Don’t make me responsible for living your life. Do we learn from all the questions that we ask? Do we learn from the past? It’s up to your to learn from your mistakes. Go and break your leg but don’t come to me if you do.” The title track, “Working Man’s Café” is a monster track for that will wash over Kink’s fans with an aural of familiarity.
By the seventh track the listener is pulled completely in as Davies strides into, “No One Listen.” As much as any prior Kinks song Davies uses his experience in New Orleans of a being shot during a botched robbery to sing of incompetent bureaucrats and having the tables turned against as he sings, “Why is it difficult to get things done, In the age of computers and communications. The powers that be say that they can’t keep a hold, Of a world that is escalating out of control…But a bureaucrat says we’ve lost your file, So we’ll put you on hold for a while…Blame the hurricane; blame the drug trade, the economy, Blame the Ghettos in the land of the free, Cos they ain’t gonna listen to me.”
On the very next track Davies again harkens a familiar theme of isolation as he sings, “I am the imaginary man, yes I am…I was always in your head, To raise your expectations, And always let it be said, I offered my very best to you… Gave you my dreams to aspire to, Involved you in all my crazy schemes, And took you to place you’d never seen.” As one came to expect on early period Kinks albums Davies’ insight on working class anonymity is striking.
In 1994 Ray Davies wrote his autobiography. It wasn’t your ordinary affair as “he” interviewed a character named, “R. D.” where, in the end, R.D. commits suicide – thus ending the “life” of that character for that Ray Davies could live. In many ways, while the rumors of a reunion with brother Dave Davies abound, clearly Ray has “killed” The Kinks and found a new voice which, for time and investment, is far superior the lackluster revue act the Kink’s had become by the late ‘80’s amid albums like ‘Phobia,’ ‘U.K. Jive’ and ‘Give the People What They Want.’ Some versions of the album include a short DVD of Davies ’91 Fall American tour. References to the 9/11 tragedy are apparent. Dave Davies ’96 autobiography, ‘Kink – The Outrageous Story of My Wild Years as the Founder and Lead Guitarist of the Kinks” can be found in a cutout bin near you. ‘Working Man’s Café’ is a perfect compliment to that vast catalogue of equally brilliant Kinks songs from so long ago.
Artist: Ray Davies
Writer: Rick Galusha
In 1990 the band best known for singing about working class life and strife in England, The Kinks, were inducted into the Rock n’ Roll Hall of Fame in Cleveland, Ohio. The Kinks discography includes songs like; “Lola,” “Victoria” and “Til the End of the Day.” They were, appropriately enough, The Hall’s fourth British band; behind the Rolling Stones (who paid for much of the RnR HoF building), The Beatles and The Who. The irony is that among the various British iconic institution’s, The Kinks found commercial success in America while remaining little more than a piece of post-punk rock memorabilia in the UK. Throughout the history of The Kinks, Ray Davies and brother Dave Davies (pronounced Davis) were in conflict (preceeding Oasis’ Gallagher brother’s stage battles by decades.) Ray was the singer/ songwriter and focal point of the band. The younger Dave was the band’s lead guitarist and has subsequently credited with developing the ‘heavy guitar riff’ that would dominate the Heavy Metal genre of rock; as heard on songs like ‘All Day and All of the Night” or “You Really Got Me” (later covered by Van Halen.)
While this is heralded as Ray’s second solo effort; ‘Other Peoples Lives’ being released in 2005, Kinkologists know that the motion picture soundtrack, ‘Return to Waterloo’ was actually Davies’ first solo album. (Admittedly it was basically a Kinks album sans brother Dave – but released under the moniker Ray Davies.) Whereas solo efforts by band fixtures tend to be pathetic, Working Man’s Café is simply brilliant. A perfect balance of topical wordsmithing, memorable tunes and crafted arrangements. By taking a chance and recording outside of the Kinks Davies has been able to cast aside the expectations and stigma’s usually associated with a 40+ year career. However since The Kinks were little more than a band behind Davies, how unique can it really be? Gone are the simple bash n’ pop beauty 2 minute wonders that The Kinks were so good at and instead are songs that could easily fit in with Davies’ late ‘70’s – early ‘80’s Arista album trilogy; ‘Misfits,’ ‘Sleepwalker’ and ‘Low Budget.’
The album opens with a slamming guitar riff that transmogrifies into a faux-Americana shuffle about Globilization while singing about, “Cowboys in Vietnam, making their movies.” The next track, “You’re Asking Me” is akin to perhaps Davies best song, “Waterloo Sunset” while he signs, “If you’re asking me, Don’t take my advice. Don’t make me responsible for living your life. Do we learn from all the questions that we ask? Do we learn from the past? It’s up to your to learn from your mistakes. Go and break your leg but don’t come to me if you do.” The title track, “Working Man’s Café” is a monster track for that will wash over Kink’s fans with an aural of familiarity.
By the seventh track the listener is pulled completely in as Davies strides into, “No One Listen.” As much as any prior Kinks song Davies uses his experience in New Orleans of a being shot during a botched robbery to sing of incompetent bureaucrats and having the tables turned against as he sings, “Why is it difficult to get things done, In the age of computers and communications. The powers that be say that they can’t keep a hold, Of a world that is escalating out of control…But a bureaucrat says we’ve lost your file, So we’ll put you on hold for a while…Blame the hurricane; blame the drug trade, the economy, Blame the Ghettos in the land of the free, Cos they ain’t gonna listen to me.”
On the very next track Davies again harkens a familiar theme of isolation as he sings, “I am the imaginary man, yes I am…I was always in your head, To raise your expectations, And always let it be said, I offered my very best to you… Gave you my dreams to aspire to, Involved you in all my crazy schemes, And took you to place you’d never seen.” As one came to expect on early period Kinks albums Davies’ insight on working class anonymity is striking.
In 1994 Ray Davies wrote his autobiography. It wasn’t your ordinary affair as “he” interviewed a character named, “R. D.” where, in the end, R.D. commits suicide – thus ending the “life” of that character for that Ray Davies could live. In many ways, while the rumors of a reunion with brother Dave Davies abound, clearly Ray has “killed” The Kinks and found a new voice which, for time and investment, is far superior the lackluster revue act the Kink’s had become by the late ‘80’s amid albums like ‘Phobia,’ ‘U.K. Jive’ and ‘Give the People What They Want.’ Some versions of the album include a short DVD of Davies ’91 Fall American tour. References to the 9/11 tragedy are apparent. Dave Davies ’96 autobiography, ‘Kink – The Outrageous Story of My Wild Years as the Founder and Lead Guitarist of the Kinks” can be found in a cutout bin near you. ‘Working Man’s Café’ is a perfect compliment to that vast catalogue of equally brilliant Kinks songs from so long ago.
Album Review: Kelly Bell Band
Artist: Kelly Bell Band
Title: reincarnated
Writer: Rick Galusha
Released on the Phat Blues Music label, The Kelly Bell Band album, ‘reincarnated’ is the near perfect contemporary blues album. Bell ties together traditional blues structures and instrumentation with modern vocal delivery and harmonies in a sexy, tuneful exercise that liberates the artist from the shackles of recorded expectations and frees the band to grab from The Average White Band here or Robert Johnson there in a beautiful expression akin to sonic soaring well above the clutter of today’s independent ‘blues’ releases. This is an excellent album (and that was an awfully long sentence).
The track, ‘Can’t Take That Back’ includes a humorous banter between Bell and a former lover with tasty zingers including, “I got news for you Kelly Bell, you are nothing” and “You think you’re fabulous, NO!” “Kelly Bell, Phat Blues, hrumph, Phat Blues THIS!” “I think you suck, you’re tired and I have just about had it with you!” It is a hilarious quid-pro-quo exchange that cracks me up every time as Bell the ‘gets a ear full’ that all members of the male species have to heard more than once.
Bell’s take on Johnson’s ‘Love in Vain’ is, finally, an exciting, jumping rollick through a well covered field and amazingly comes out fresh. Rather than trying to replicate, Bell’s Band pumps vocal harmony lines with a sassy harmonica played by Dane Paul Russell. The song is given life and while the sharp edge and associated anguish intended by Johnson may be gone – it is an up-tempo and refreshing take on a blues classic.
For whatever reason the album’s eighth track is, ‘SpongeBob Squarepants.” While it is entertaining it sticks out like a sore thumb and may be best skipped. It would have been better tucked away at the end of the CD; a bonus track or something since it certainly throws off the momentum of an otherwise well paced record.
With tongue in cheek the band approaches the track, ‘Porno Star’ in a very Zappa-esque style. Somehow they are able to bring it back and make it sonically fit with the rest of the album although, clearly, it ‘tain’t the blues per se. Again, maybe it is this apparent lack of focus coupled with risk that keeps the album on track and interesting. This is the track that includes the obligatory ‘monster guitar’ licks but with some restraint. Like The Who’s, ‘A Quick One (while he’s away)’ this song melds into another seemingly unrelated songs or breaks…‘People are People’ where spoken word reads over a jazzy musical background. It is poignant and yet you can sense the smirk on Bell’s lips when he says, “You are one of billions and billions of stars, or snowflakes…did you know every snow flack is different?” The speaker goes on to say, “People are people, people need to be loved and not judged but not by you. There is one judge and that’s HIS job, not yours…you got you and then you’re surrounded by the world - that may be how you see it but its not. You’re a part of a great, great tapestry and you’re one thread…people need to be loved.” So, “people are people and I’m not the judge.”
This is a terrifically wide album with superb musicianship and a scattering of musical genres that are at once interesting and resonate. Because it doesn’t easily fit into a comfortable genre box The Kelly Bell Band is not going to set the world on fire but I can easily see this as a cross-over album that, given proper attention, could bring in folds of listeners and in its own special way make your corner of the world better for having heard it. This is a much needed breath of fresh air in the often cerebral-less homologized world that contemporary music seems to want to offer us.
Title: reincarnated
Writer: Rick Galusha
Released on the Phat Blues Music label, The Kelly Bell Band album, ‘reincarnated’ is the near perfect contemporary blues album. Bell ties together traditional blues structures and instrumentation with modern vocal delivery and harmonies in a sexy, tuneful exercise that liberates the artist from the shackles of recorded expectations and frees the band to grab from The Average White Band here or Robert Johnson there in a beautiful expression akin to sonic soaring well above the clutter of today’s independent ‘blues’ releases. This is an excellent album (and that was an awfully long sentence).
The track, ‘Can’t Take That Back’ includes a humorous banter between Bell and a former lover with tasty zingers including, “I got news for you Kelly Bell, you are nothing” and “You think you’re fabulous, NO!” “Kelly Bell, Phat Blues, hrumph, Phat Blues THIS!” “I think you suck, you’re tired and I have just about had it with you!” It is a hilarious quid-pro-quo exchange that cracks me up every time as Bell the ‘gets a ear full’ that all members of the male species have to heard more than once.
Bell’s take on Johnson’s ‘Love in Vain’ is, finally, an exciting, jumping rollick through a well covered field and amazingly comes out fresh. Rather than trying to replicate, Bell’s Band pumps vocal harmony lines with a sassy harmonica played by Dane Paul Russell. The song is given life and while the sharp edge and associated anguish intended by Johnson may be gone – it is an up-tempo and refreshing take on a blues classic.
For whatever reason the album’s eighth track is, ‘SpongeBob Squarepants.” While it is entertaining it sticks out like a sore thumb and may be best skipped. It would have been better tucked away at the end of the CD; a bonus track or something since it certainly throws off the momentum of an otherwise well paced record.
With tongue in cheek the band approaches the track, ‘Porno Star’ in a very Zappa-esque style. Somehow they are able to bring it back and make it sonically fit with the rest of the album although, clearly, it ‘tain’t the blues per se. Again, maybe it is this apparent lack of focus coupled with risk that keeps the album on track and interesting. This is the track that includes the obligatory ‘monster guitar’ licks but with some restraint. Like The Who’s, ‘A Quick One (while he’s away)’ this song melds into another seemingly unrelated songs or breaks…‘People are People’ where spoken word reads over a jazzy musical background. It is poignant and yet you can sense the smirk on Bell’s lips when he says, “You are one of billions and billions of stars, or snowflakes…did you know every snow flack is different?” The speaker goes on to say, “People are people, people need to be loved and not judged but not by you. There is one judge and that’s HIS job, not yours…you got you and then you’re surrounded by the world - that may be how you see it but its not. You’re a part of a great, great tapestry and you’re one thread…people need to be loved.” So, “people are people and I’m not the judge.”
This is a terrifically wide album with superb musicianship and a scattering of musical genres that are at once interesting and resonate. Because it doesn’t easily fit into a comfortable genre box The Kelly Bell Band is not going to set the world on fire but I can easily see this as a cross-over album that, given proper attention, could bring in folds of listeners and in its own special way make your corner of the world better for having heard it. This is a much needed breath of fresh air in the often cerebral-less homologized world that contemporary music seems to want to offer us.
Wednesday, February 20, 2008
Album Review: Ian McLagan, Here Comes Trouble
Artist: Ian McLagan
Title: Here Comes Trouble
Rating: 9
Writer: Rick Galusha
Okay, I love this guy – always have. He’s the ‘pocket guy’ on so many albums from the ‘60’s and 70’s that are the foundation for my love of rock music including the Rolling Stone’s, ‘Some Girls’ album or the organ line from Rod Stewart’s “Maggie May.” Whether as a member of the Small Faces (“Itchycoo Park”) or a founding member of that great band, ‘The Faces,’ (who picked up Rod Stewart and Ronnie Wood (Rolling Stones) after they’d left the Jeff Beck Group) Ian McLagan was smack dab in the middle of rock’s golden era. A quick glance at the great English rock-come-blues movement and Ian ‘Mac’ McLagan is playing on Stewart’s and Wood’s solo albums or appearing on Ronnie Lane’s projects or as an long term addition to the Rolling Stones. Ian McLagan has also lent the benefit of his talents for touring to prestigious acts like Bob Dylan, Bonnie Raitt and currently Billy Bragg. His, is an amazing rock n’ roll life.
McLagan’s web-only (www.MacsPages.com) release, ‘Here Comes Trouble,’ is an amalgamation of two previously released albums; ‘Troublemaker’ and ‘Last Chance to Dance’ along with a cover of The Who’s ‘Picture’s of Lilly,’ an extended version of ‘Truly,’ and another version of the song, ‘Last Chance to Dance.’ In all there are seventeen tracks.
While most fans are aware of the “big” albums surrounding the English pop-rock blues movement; ‘Exile on Main Street’ by the Rolling Stones, Rod Stewart’s albums on the Mercury label and all those rollicking Faces albums, there is a deep niche of lesser know but equally compelling albums such as the first three Ron Wood solo records, ‘Rough Mix’ by Ronnie Lane & The Who’s Peter Townshend, and McLagan’s ‘Troublemaker.’
In 1977 Keith Richards was busted for drug violations in Canada. One of the off-shoots of that was Ronnie Wood’s New Barbarian’s band which included Richards, McLagan, and Zigaboo Modeliste (The Meters) and jazz bassist Stanley Clarke as well as long time Stone’s sax player, and Texan, Bobby Keys. When the tour ended the band ended up in Rob Fraboni’s ‘Shangri-La Studios and recorded a total of five tracks; one for each member of the band including ‘Truly’ which ended up on the Mac’s ‘Troublemaker’ album. Interestingly an extended version of the track is included on this package clocking in at nearly 12 minutes. (In mid-2007 a double CD set of the New Barbarians Live was released on Wood’s, Wooden Records). ‘Troublemaker’ ends with McLagan covering Ron Wood’s Mystifies Me. Devoid of pop catering tunes the album is pure and beautiful – the type of album that today could resurrect the Stone’s current lackluster recordings.
The ‘Last Chance to Dance’ EP (1985) is only four songs long and while obscure is a fine examples of up-tempo abandoned rock n’ roll with the obvious heavy English interpretation. ‘You’re My Girl,’ (the opening track off his solo effort, ‘Rise and Shine’) originally came out on this EP.
In all, Ian McLagan is an advocate for rock music and this solo effort is an amazing unrealized gem where the guitars of Keith Richards and Ron Wood are unleashed; where Bobby Keys, Jim Keltner and Ringo Starr all contribute. It is a fine if heretofore unrecognized piece of the best of British music available.
Just for the record McLagan has also guested on albums by; Bruce Springsteen, Frank Black, Patty Griffin, Taj Mahal, Melissa Etheridge, Robyn Hitchcock, Mary Gauthier, Robert Earl Keen, Kelly Willis, Paul Westerberg, John Hiatt, Tom Russell, Midge Ure, The Georgia Satellites, Izzy Stradlin (Guns n’ Roses), Toni Price, Chris Gaffney (Dave Alvin), LeRoi Brothers, James McMurtry, Joe Cocker and others. Recently McLagan has settled in Austin – the former home of the late Ronnie Lane. In 2006 McLagan released the highly regarded tribute album, ‘Spiritual Boy’ which comprised covers of songs written by former Faces & Small Faces band-mate Ronnie Lane. McLagan’s book, ‘All the Rage’ chronicles his musical life.
Title: Here Comes Trouble
Rating: 9
Writer: Rick Galusha
Okay, I love this guy – always have. He’s the ‘pocket guy’ on so many albums from the ‘60’s and 70’s that are the foundation for my love of rock music including the Rolling Stone’s, ‘Some Girls’ album or the organ line from Rod Stewart’s “Maggie May.” Whether as a member of the Small Faces (“Itchycoo Park”) or a founding member of that great band, ‘The Faces,’ (who picked up Rod Stewart and Ronnie Wood (Rolling Stones) after they’d left the Jeff Beck Group) Ian McLagan was smack dab in the middle of rock’s golden era. A quick glance at the great English rock-come-blues movement and Ian ‘Mac’ McLagan is playing on Stewart’s and Wood’s solo albums or appearing on Ronnie Lane’s projects or as an long term addition to the Rolling Stones. Ian McLagan has also lent the benefit of his talents for touring to prestigious acts like Bob Dylan, Bonnie Raitt and currently Billy Bragg. His, is an amazing rock n’ roll life.
McLagan’s web-only (www.MacsPages.com) release, ‘Here Comes Trouble,’ is an amalgamation of two previously released albums; ‘Troublemaker’ and ‘Last Chance to Dance’ along with a cover of The Who’s ‘Picture’s of Lilly,’ an extended version of ‘Truly,’ and another version of the song, ‘Last Chance to Dance.’ In all there are seventeen tracks.
While most fans are aware of the “big” albums surrounding the English pop-rock blues movement; ‘Exile on Main Street’ by the Rolling Stones, Rod Stewart’s albums on the Mercury label and all those rollicking Faces albums, there is a deep niche of lesser know but equally compelling albums such as the first three Ron Wood solo records, ‘Rough Mix’ by Ronnie Lane & The Who’s Peter Townshend, and McLagan’s ‘Troublemaker.’
In 1977 Keith Richards was busted for drug violations in Canada. One of the off-shoots of that was Ronnie Wood’s New Barbarian’s band which included Richards, McLagan, and Zigaboo Modeliste (The Meters) and jazz bassist Stanley Clarke as well as long time Stone’s sax player, and Texan, Bobby Keys. When the tour ended the band ended up in Rob Fraboni’s ‘Shangri-La Studios and recorded a total of five tracks; one for each member of the band including ‘Truly’ which ended up on the Mac’s ‘Troublemaker’ album. Interestingly an extended version of the track is included on this package clocking in at nearly 12 minutes. (In mid-2007 a double CD set of the New Barbarians Live was released on Wood’s, Wooden Records). ‘Troublemaker’ ends with McLagan covering Ron Wood’s Mystifies Me. Devoid of pop catering tunes the album is pure and beautiful – the type of album that today could resurrect the Stone’s current lackluster recordings.
The ‘Last Chance to Dance’ EP (1985) is only four songs long and while obscure is a fine examples of up-tempo abandoned rock n’ roll with the obvious heavy English interpretation. ‘You’re My Girl,’ (the opening track off his solo effort, ‘Rise and Shine’) originally came out on this EP.
In all, Ian McLagan is an advocate for rock music and this solo effort is an amazing unrealized gem where the guitars of Keith Richards and Ron Wood are unleashed; where Bobby Keys, Jim Keltner and Ringo Starr all contribute. It is a fine if heretofore unrecognized piece of the best of British music available.
Just for the record McLagan has also guested on albums by; Bruce Springsteen, Frank Black, Patty Griffin, Taj Mahal, Melissa Etheridge, Robyn Hitchcock, Mary Gauthier, Robert Earl Keen, Kelly Willis, Paul Westerberg, John Hiatt, Tom Russell, Midge Ure, The Georgia Satellites, Izzy Stradlin (Guns n’ Roses), Toni Price, Chris Gaffney (Dave Alvin), LeRoi Brothers, James McMurtry, Joe Cocker and others. Recently McLagan has settled in Austin – the former home of the late Ronnie Lane. In 2006 McLagan released the highly regarded tribute album, ‘Spiritual Boy’ which comprised covers of songs written by former Faces & Small Faces band-mate Ronnie Lane. McLagan’s book, ‘All the Rage’ chronicles his musical life.
Album Review: Anthony Gomes, Live
Artist: Anthony Gomes
Title: Live
Writer: Rick Galusha
Rock is dead – long live ‘the blues.’ Perhaps since the guitar was plugged into an amplifier or maybe it was when Nirvana signed to a major label, either way “rock” has been sliding into the obscurity of numerous niches categories and “the blues” has become a codeword for screaming guitars and loud drums. To some degree you have to know the code in order to fully understand the nuisance of the statement. Yes, there are still Blues records being put out but many of the ‘the blues’ records being released are actually “rock” records. So what? Indeed, so what. Really it only matters when you consider Blues to be a traditional American artform – after than, it’s just music and the affixed genre label is little more than a marketing effort.
Anthony Gomes is the Pete Rose of ‘the blues;’ a fighter that just is not going to give up. The latest effort by showman Anthony Gomes is a live album recorded at Seattle’s Triple Door venue in February 2007. It is a high energy ruckus affair that showcases Gomes’ aptitude toward abandoned ‘twang bar king’ playing. And it has absolutely no connection to Blues but will be readily identified as ‘the blues.’ Much like Joe Bonamassa before him, Gomes ties in Classic Rock licks that sharp ears and sober minds will pick up on. For example, on the track, ‘Bluebird’ keyboardist Todd Hamric melds in an organ line by The Doors’ Ray Manzerak’s from the famed song, ‘Riders on the Storm.’ Again, it’s a fun, tasty gesture.
By the fourth track the band jumps into Led Zeppelin’s ‘Heartbreaker’ including a bombastic extended guitar solo. What’s not fun about a well played cover? After all, some Blues artists are anchored to playing songs thirty years their senior.
The sixth track, ‘When the Right Woman Does You Wrong’ is a slow bluesy number that bear up to crescendo after crescendo giving Gomes a slow burning simmer that explodes amid a cliché warning the he is, “about to lose control.” And so the platform for yet another guitar solo is set and like a lemming to the sea Gomes knows that it is pyrotechniques that butters the bread on his roadshow.
“Falling” is a U2-like track that pulls in sentimental mood as Gomes’ sings “At this moment I am humble and I surrender to your voice. I’m falling. You know its hard to walk on water with broken bones and worn out shoes, I’ve thrown every punch, I’ve run every road, I’ve got nothing else to lose.” Clearly a contemporary radio friendly track that end with the sound of Helicopter’s and John F. Kennedy saying, “Ask not what your country can do for you; ask what you can do for your country” before melding into the anti-conflict track from his previous album, ‘War on War.’ “Talk about a revolution, a soul solution, something worth fighting for…My name is Anthony Gomes Ladies and Gentlemen and I believe in Love.”
Gomes’ band rocks and, as his career progresses, his playing becomes finer and more nuisanced. That said, it is unlikely he’ll cut any new ground or create a school of protégées. His albums are readily apparent. None-the-less he is a personable barroom brawler that can write a good song, play a mean guitar and put together a well constructed album that will stand up to repeated listens and bring the fan enjoyment. He is an entertainer first and foremost and there is absolutely nothing wrong with giving folks what they came to hear.
Title: Live
Writer: Rick Galusha
Rock is dead – long live ‘the blues.’ Perhaps since the guitar was plugged into an amplifier or maybe it was when Nirvana signed to a major label, either way “rock” has been sliding into the obscurity of numerous niches categories and “the blues” has become a codeword for screaming guitars and loud drums. To some degree you have to know the code in order to fully understand the nuisance of the statement. Yes, there are still Blues records being put out but many of the ‘the blues’ records being released are actually “rock” records. So what? Indeed, so what. Really it only matters when you consider Blues to be a traditional American artform – after than, it’s just music and the affixed genre label is little more than a marketing effort.
Anthony Gomes is the Pete Rose of ‘the blues;’ a fighter that just is not going to give up. The latest effort by showman Anthony Gomes is a live album recorded at Seattle’s Triple Door venue in February 2007. It is a high energy ruckus affair that showcases Gomes’ aptitude toward abandoned ‘twang bar king’ playing. And it has absolutely no connection to Blues but will be readily identified as ‘the blues.’ Much like Joe Bonamassa before him, Gomes ties in Classic Rock licks that sharp ears and sober minds will pick up on. For example, on the track, ‘Bluebird’ keyboardist Todd Hamric melds in an organ line by The Doors’ Ray Manzerak’s from the famed song, ‘Riders on the Storm.’ Again, it’s a fun, tasty gesture.
By the fourth track the band jumps into Led Zeppelin’s ‘Heartbreaker’ including a bombastic extended guitar solo. What’s not fun about a well played cover? After all, some Blues artists are anchored to playing songs thirty years their senior.
The sixth track, ‘When the Right Woman Does You Wrong’ is a slow bluesy number that bear up to crescendo after crescendo giving Gomes a slow burning simmer that explodes amid a cliché warning the he is, “about to lose control.” And so the platform for yet another guitar solo is set and like a lemming to the sea Gomes knows that it is pyrotechniques that butters the bread on his roadshow.
“Falling” is a U2-like track that pulls in sentimental mood as Gomes’ sings “At this moment I am humble and I surrender to your voice. I’m falling. You know its hard to walk on water with broken bones and worn out shoes, I’ve thrown every punch, I’ve run every road, I’ve got nothing else to lose.” Clearly a contemporary radio friendly track that end with the sound of Helicopter’s and John F. Kennedy saying, “Ask not what your country can do for you; ask what you can do for your country” before melding into the anti-conflict track from his previous album, ‘War on War.’ “Talk about a revolution, a soul solution, something worth fighting for…My name is Anthony Gomes Ladies and Gentlemen and I believe in Love.”
Gomes’ band rocks and, as his career progresses, his playing becomes finer and more nuisanced. That said, it is unlikely he’ll cut any new ground or create a school of protégées. His albums are readily apparent. None-the-less he is a personable barroom brawler that can write a good song, play a mean guitar and put together a well constructed album that will stand up to repeated listens and bring the fan enjoyment. He is an entertainer first and foremost and there is absolutely nothing wrong with giving folks what they came to hear.
Album Review: Randy McAllister, Duck Slap Soup
Artist: Randy McAllister
Title: Duck Slap Soup
Writer: Rick Galusha
It’s been my experience that the Texas brand of “blues” allows for great deviation from the traditional 12 bar call-call-response. No doubt the genre is a respected giant within the scene. Drummer, singer, songwriter and harp player Randy McAllister hails from Texas. While he has yet to place his stamp upon the national scene for his pop-orientated Texas blues sound, it is fresh and gathering momentum. McAllister’s songwriting is creative albeit unchallenged and like many contemporary blues players he wanders from tradition while embracing “blues” sounds and textures.
The album opens with a most pleasant, ‘Clear My Head.’ Very Delbert McClinton like this song has a powerful melody line and tasty slide guitar licks interspersed. It modulates up; building slowly into a song about the complexities of modern life. Predictably the opening track is also the most radio friendly.
McAllister turns to a Memphis soul sounds with the song, ‘When I Get Back Home’ that is Otis Redding like in its melody and arrangement. Emotionally the song fails to fully grasp the style and thus the album begins to crack.
In the 70’s Boston’s, ‘J. Geils Band’ was putting out some of the finest blues based rock n’ roll records of the era. McAllister’s ‘I Have to Set You Free,’ written by Mike Morgan, is very Geils like minus the inherent energetic mayhem interplay that Wolf and the band excelled at. Nonetheless it’s a solid ballad that becomes a door to opening up the rest of this album.
In his vocals on ‘The Girl Ain’t Right’ McAllister uses guitarist Mike Morgan to echo his slurred vocal line while Benita Arterberry-Burns sings a ‘gospel’ like back-up. It’s a rumbling tune with high energy that some fans will find appealing.
‘Close Your Eyes’ harkens to a stripped down soul song of the late ‘60’s with a strong melody line and spacious backdrop. The song ‘$127.00 Sandwich’ couldn’t end fast enough for this listener. The album closes with the AC/DC riffed, ‘Steady Decline.’ Mike Hanna’s organ lines and background vocals support the song as Mike Morgan steps up to take the guitar solo.
If success is an album that appeals to a wide audience, sells well and engages the listener this is an average effort by a promising artist. McAllister’s singing is average and this album, while entertaining, is not groundbreaking – leaning too heavily on trite riffs. Like many blues artists McAllister is a likeable character who gives glimpses of a promising future but just doesn’t seem to able to lift the album off the ground. All the pieces are in place but it fails to meld into a cohesive entertaining recording unable to set the world on fire. Committed fans will adore this record; however, for the uninitiated I would suggest waiting for the next effort.
Title: Duck Slap Soup
Writer: Rick Galusha
It’s been my experience that the Texas brand of “blues” allows for great deviation from the traditional 12 bar call-call-response. No doubt the genre is a respected giant within the scene. Drummer, singer, songwriter and harp player Randy McAllister hails from Texas. While he has yet to place his stamp upon the national scene for his pop-orientated Texas blues sound, it is fresh and gathering momentum. McAllister’s songwriting is creative albeit unchallenged and like many contemporary blues players he wanders from tradition while embracing “blues” sounds and textures.
The album opens with a most pleasant, ‘Clear My Head.’ Very Delbert McClinton like this song has a powerful melody line and tasty slide guitar licks interspersed. It modulates up; building slowly into a song about the complexities of modern life. Predictably the opening track is also the most radio friendly.
McAllister turns to a Memphis soul sounds with the song, ‘When I Get Back Home’ that is Otis Redding like in its melody and arrangement. Emotionally the song fails to fully grasp the style and thus the album begins to crack.
In the 70’s Boston’s, ‘J. Geils Band’ was putting out some of the finest blues based rock n’ roll records of the era. McAllister’s ‘I Have to Set You Free,’ written by Mike Morgan, is very Geils like minus the inherent energetic mayhem interplay that Wolf and the band excelled at. Nonetheless it’s a solid ballad that becomes a door to opening up the rest of this album.
In his vocals on ‘The Girl Ain’t Right’ McAllister uses guitarist Mike Morgan to echo his slurred vocal line while Benita Arterberry-Burns sings a ‘gospel’ like back-up. It’s a rumbling tune with high energy that some fans will find appealing.
‘Close Your Eyes’ harkens to a stripped down soul song of the late ‘60’s with a strong melody line and spacious backdrop. The song ‘$127.00 Sandwich’ couldn’t end fast enough for this listener. The album closes with the AC/DC riffed, ‘Steady Decline.’ Mike Hanna’s organ lines and background vocals support the song as Mike Morgan steps up to take the guitar solo.
If success is an album that appeals to a wide audience, sells well and engages the listener this is an average effort by a promising artist. McAllister’s singing is average and this album, while entertaining, is not groundbreaking – leaning too heavily on trite riffs. Like many blues artists McAllister is a likeable character who gives glimpses of a promising future but just doesn’t seem to able to lift the album off the ground. All the pieces are in place but it fails to meld into a cohesive entertaining recording unable to set the world on fire. Committed fans will adore this record; however, for the uninitiated I would suggest waiting for the next effort.
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