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.
Sunday, March 30, 2008
What's On serial - July 21, 2005
Whats on @ PS Blues 07252005 Friday, July 22, 2005
It seems that summer, more than any other season, can associate fond memories of carefree times with the great music you were listening to at the time; weddings, high school graduations, dating and new drivers licenses.
By accident I’ve stumbled across a couple of ‘pop’ records which evoked that light, lilting sense of summer that I seem to have been missing these past few decades.
Artist: Gabin
Title: Mr. Freedom
Release: August 23rd
Featuring vocalists Dee Dee Bridgewater and Edwyn Collins, Gabin is a crisp, poppy record with short, well written tunes and lyrics that have no higher message. This is pure disposable pop music that has entrancing Bossa Nova rythmns, catchy melody lines, non-traditional instrumentation. This is pure fun and quite enjoyable. With only ten tracks on the album you know the artists understand space and brevity!
Because of it’s quirky rythmns and hip sampling entwined with jazzy piano and flute riffs, for whatever reason, I see this album as especially attractive to women. I dunno - like reggae it will make gals move their hips ever so seductively. If you’re looking for something fresh and tasty, something that doesn’t imply angst to understand, something fun, something summery; this is a perfect album to wrap your summer memories around.
Artist: The Greenhornes
Title: East Grand Blues
Rating: Very Good
Release: August 2nd
More than anything this albums smacks of a great hybrid of the Byrds meet the Mama’s & the Papa’s with the occasional Eric Burden (Animals) flair. Pure 60’s sensibilites. Produced by Brendan Benson, the Greenhornes are from Cincinnati and will be touring with The White Stripes this summer. Once again, it’s light & fresh with that Byrds Rickenbacker sound (which they lifted from the Beatles).
The Greenhornes have captured the sound of rock radio when it was young and made it their own. This is a brilliant pop-psychadelic album that has no higher signifance other than your enjoyment. Well written songs that will linger on your mind. The track, ‘Pattern Skies’ is heavily influenced by the Kink’s [‘Set Me Free (Little Girl)].’ If you enjoy Tom Petty, who was clearly influenced by the Byrds, then the Greenhornes are a natural progression of that sound. It’s nice to hear a new band that understands the past and draws from it’s best influences.
It seems that summer, more than any other season, can associate fond memories of carefree times with the great music you were listening to at the time; weddings, high school graduations, dating and new drivers licenses.
By accident I’ve stumbled across a couple of ‘pop’ records which evoked that light, lilting sense of summer that I seem to have been missing these past few decades.
Artist: Gabin
Title: Mr. Freedom
Release: August 23rd
Featuring vocalists Dee Dee Bridgewater and Edwyn Collins, Gabin is a crisp, poppy record with short, well written tunes and lyrics that have no higher message. This is pure disposable pop music that has entrancing Bossa Nova rythmns, catchy melody lines, non-traditional instrumentation. This is pure fun and quite enjoyable. With only ten tracks on the album you know the artists understand space and brevity!
Because of it’s quirky rythmns and hip sampling entwined with jazzy piano and flute riffs, for whatever reason, I see this album as especially attractive to women. I dunno - like reggae it will make gals move their hips ever so seductively. If you’re looking for something fresh and tasty, something that doesn’t imply angst to understand, something fun, something summery; this is a perfect album to wrap your summer memories around.
Artist: The Greenhornes
Title: East Grand Blues
Rating: Very Good
Release: August 2nd
More than anything this albums smacks of a great hybrid of the Byrds meet the Mama’s & the Papa’s with the occasional Eric Burden (Animals) flair. Pure 60’s sensibilites. Produced by Brendan Benson, the Greenhornes are from Cincinnati and will be touring with The White Stripes this summer. Once again, it’s light & fresh with that Byrds Rickenbacker sound (which they lifted from the Beatles).
The Greenhornes have captured the sound of rock radio when it was young and made it their own. This is a brilliant pop-psychadelic album that has no higher signifance other than your enjoyment. Well written songs that will linger on your mind. The track, ‘Pattern Skies’ is heavily influenced by the Kink’s [‘Set Me Free (Little Girl)].’ If you enjoy Tom Petty, who was clearly influenced by the Byrds, then the Greenhornes are a natural progression of that sound. It’s nice to hear a new band that understands the past and draws from it’s best influences.
What's On serial July 5, 2005
What’s On at Pacific Street Blues
Volume # 8
This week we review two titles that are category definers. Each artist is a ‘purist’ within their genre and, to some degree, defines that genre’s sound today.
Artist: Sean Costello
Title: Sean Costello
Rating: Very Good
Costello first blossomed on the scene as the guitar player in Susan Tedeschi’s band. Unlike Tedeschi, Costello is a touring monster and has played Nebraska several times including this weekends (July 9th & 10th) blues festival on the Metro Community College’s 30th & Fort Street campus. Costello’s sound has progressively become his own on each album with a fine culmination on this self titled release. After three albums Costello has grown beyond the trad-purist into an artist that has put his own stamp on his retro sound. Unlike many traditionalists however Costello has chosen to grow the sound beyond the tight constrictions of “pure blues.” His songs avoid tired clichés and yet sonically appeal to purist blues fans as well as modern blues fans. Unlike his contemporary Jonny Lang, Costello has a firm grip on the development of his style, the ability to write a good song and substance beyond a sharp jaw line and a nice hair cut.
Artist: Eric Johnson
Title: Bloom
Rating: Good++
Eric Johnson has to be among the most talented guitar players in the world. He has defined his own sound and made a living out of being brilliant and incredibly talented. Johnson’s weak link, like most hot-shot guitar players is his song writing. Instead Johnson has created sonic pallets where sound and color mesh in an intense burst of skill and aptitude. Not for everyone, Johnson’s sound is well defined and unquestionably pleasant to listen to; however, you’re not going to walk away humming a tune. Heavy on the instrumentals Johnson’s voice is wispy and angelic. Like most gifted musicians I suspect Johnson struggles with compromises between his art, his skill, and the commercial end of the music business. I really enjoy this guy but there are times when I want to be drawn into the music and leave with a tune in my head that lingers.
Volume # 8
This week we review two titles that are category definers. Each artist is a ‘purist’ within their genre and, to some degree, defines that genre’s sound today.
Artist: Sean Costello
Title: Sean Costello
Rating: Very Good
Costello first blossomed on the scene as the guitar player in Susan Tedeschi’s band. Unlike Tedeschi, Costello is a touring monster and has played Nebraska several times including this weekends (July 9th & 10th) blues festival on the Metro Community College’s 30th & Fort Street campus. Costello’s sound has progressively become his own on each album with a fine culmination on this self titled release. After three albums Costello has grown beyond the trad-purist into an artist that has put his own stamp on his retro sound. Unlike many traditionalists however Costello has chosen to grow the sound beyond the tight constrictions of “pure blues.” His songs avoid tired clichés and yet sonically appeal to purist blues fans as well as modern blues fans. Unlike his contemporary Jonny Lang, Costello has a firm grip on the development of his style, the ability to write a good song and substance beyond a sharp jaw line and a nice hair cut.
Artist: Eric Johnson
Title: Bloom
Rating: Good++
Eric Johnson has to be among the most talented guitar players in the world. He has defined his own sound and made a living out of being brilliant and incredibly talented. Johnson’s weak link, like most hot-shot guitar players is his song writing. Instead Johnson has created sonic pallets where sound and color mesh in an intense burst of skill and aptitude. Not for everyone, Johnson’s sound is well defined and unquestionably pleasant to listen to; however, you’re not going to walk away humming a tune. Heavy on the instrumentals Johnson’s voice is wispy and angelic. Like most gifted musicians I suspect Johnson struggles with compromises between his art, his skill, and the commercial end of the music business. I really enjoy this guy but there are times when I want to be drawn into the music and leave with a tune in my head that lingers.
What's On serial - June 21, 2005
What's On @ PS Blues 06212005Wednesday, June 22, 2005
What’s on at Pacific Street Blues?
Volume # 7
Artist: Graham Parker
Title: Songs of No Consequence
Rating: Niche
After wandering for seemingly 40 years in the desert Parker has come back with an album full of cynical, caustic observances that only this old punk could muster. While Costello has softened to a squishy middle, Parker remains hungry and mean. Sharp tunes, amazing lyrics such as this from, Bad Chardonnay,
“I’ve got my act together,
Okay it’s only an act,
But it’s served me well for a long, long time.”
Parker legendary pub-rocking band, ‘ The Rumour’ is thing of the past but his new outfit pulls him through. This is a very strong album that old fans can use to reconnect to a great albeit unknown legendary figure.
Artist: Dwight Yoakam
Title: Blame the Vain
Rating: Very Good
Modern country is neutered noise for pin-up artists as disposable used razor blades. For the past 19 years Yoakam has successfully waded through the remnants of county music proud past. Like any artist with a plateful of albums some have been outstanding and some should have been left out standing in a field. Sadly country radio has learned how to make money and consequently completely abandoned the art of music. For Pete’s sake Johnny Cash won a Grammy and still couldn’t get airplay! This is a terrific album that cuts along Yoakam’s Bakersfield (Haggard) roots. The packaging & artwork are outstanding. Yoakam’s cross-genre career has created a new, wider roots audience for country’s next generation of real acts. This is an excellent album.
What’s on at Pacific Street Blues?
Volume # 7
Artist: Graham Parker
Title: Songs of No Consequence
Rating: Niche
After wandering for seemingly 40 years in the desert Parker has come back with an album full of cynical, caustic observances that only this old punk could muster. While Costello has softened to a squishy middle, Parker remains hungry and mean. Sharp tunes, amazing lyrics such as this from, Bad Chardonnay,
“I’ve got my act together,
Okay it’s only an act,
But it’s served me well for a long, long time.”
Parker legendary pub-rocking band, ‘ The Rumour’ is thing of the past but his new outfit pulls him through. This is a very strong album that old fans can use to reconnect to a great albeit unknown legendary figure.
Artist: Dwight Yoakam
Title: Blame the Vain
Rating: Very Good
Modern country is neutered noise for pin-up artists as disposable used razor blades. For the past 19 years Yoakam has successfully waded through the remnants of county music proud past. Like any artist with a plateful of albums some have been outstanding and some should have been left out standing in a field. Sadly country radio has learned how to make money and consequently completely abandoned the art of music. For Pete’s sake Johnny Cash won a Grammy and still couldn’t get airplay! This is a terrific album that cuts along Yoakam’s Bakersfield (Haggard) roots. The packaging & artwork are outstanding. Yoakam’s cross-genre career has created a new, wider roots audience for country’s next generation of real acts. This is an excellent album.
What's on Serial June 9, 2005
What's On @ PS Blues 06092005Thursday, June 09, 2005
What’s On at Pacific Street Blues – Vol# 6
Artist: Lucinda Williams
Title: Live @ The Fillmore
Rating: Very Good
Lost Highway is a bona fide roots rock label that, generally, puts out albums of substance. Since her early days Lucinda Williams has been a darling of the critics. Her rough and tumble mix of Tom Petty meets Keith Richards brand of Americana roots rock is full of depth, texture and anguish. While we’ve long been ‘dating’ I never really hooked up completely with her music: especially after her clunker, ‘World Without Tears.’ Live at the Fillmore is pure redemption. Her songs seem to blossom completely with her bar-nag vocals fitting the underside of life that her songs so often portray. The only track that could be misconstrued as a hit is, Righteously’ and only the brave would approach this album one song at a time – rather it needs to be approached as a complete work of art. Over time this album will continue to unfold such that a heavy music fan will ‘get it’ while a more casual listener will wonder what they were drinking when they bought this thing!
rtist: Entrance
Title: Wandering Stranger
Rating: Niche
Upon first listen this album could easily be mistaken for an arrogant ‘day tripper’ by a lost indie-shoe-starer (a/k/a Creeker) with a desire to develop credibility by recording a rootsy blend of America mountain music and Led-Zeppelin-folk. The band consists of Guy Blakeslee on guitar & vocals, Paz Lenchartim on Keys & Fiddle (FIDDLE!), and Tommy Rouse on Drums & driver. Blakeslee walks a thin line between an absolutely brilliant aping of Robert Plant and complete hogwash…and yet deep inside there’s an intangible quality that brings me back repeatedly. The more I listen the more I am compelled to their music. I can’t see any commercial appeal with this music but, gosh, it’s really interesting and certainly breaks out of the trite hipness of the singer/songwriter category.
What’s On at Pacific Street Blues – Vol# 6
Artist: Lucinda Williams
Title: Live @ The Fillmore
Rating: Very Good
Lost Highway is a bona fide roots rock label that, generally, puts out albums of substance. Since her early days Lucinda Williams has been a darling of the critics. Her rough and tumble mix of Tom Petty meets Keith Richards brand of Americana roots rock is full of depth, texture and anguish. While we’ve long been ‘dating’ I never really hooked up completely with her music: especially after her clunker, ‘World Without Tears.’ Live at the Fillmore is pure redemption. Her songs seem to blossom completely with her bar-nag vocals fitting the underside of life that her songs so often portray. The only track that could be misconstrued as a hit is, Righteously’ and only the brave would approach this album one song at a time – rather it needs to be approached as a complete work of art. Over time this album will continue to unfold such that a heavy music fan will ‘get it’ while a more casual listener will wonder what they were drinking when they bought this thing!
rtist: Entrance
Title: Wandering Stranger
Rating: Niche
Upon first listen this album could easily be mistaken for an arrogant ‘day tripper’ by a lost indie-shoe-starer (a/k/a Creeker) with a desire to develop credibility by recording a rootsy blend of America mountain music and Led-Zeppelin-folk. The band consists of Guy Blakeslee on guitar & vocals, Paz Lenchartim on Keys & Fiddle (FIDDLE!), and Tommy Rouse on Drums & driver. Blakeslee walks a thin line between an absolutely brilliant aping of Robert Plant and complete hogwash…and yet deep inside there’s an intangible quality that brings me back repeatedly. The more I listen the more I am compelled to their music. I can’t see any commercial appeal with this music but, gosh, it’s really interesting and certainly breaks out of the trite hipness of the singer/songwriter category.
What's on Serial June 1, 2005
Whats on PS Blues 06012005Wednesday, June 01, 2005
What’s On at Pacific Street Blues?
Volume # 5
Artist: Steel Train
Album Title: Twilight Tales From the Prairies of the Sun
Rating: Very Good
More and more the acoustic singer-songwriter ‘sound’ is becoming the soup d’jour of hipness. None-the-less there are bands within that genre that write really good songs and put out good albums. ‘Twilight Tales’ is a most interesting record that incorporates a blend between early Allman Brother’s sense of meandering panoramic songs combined with a not-quite-so-hippy kind of Grateful Dead layered vocals. Steel Train has a passive approach to presenting their songs much like Crosby, Stills, & Nash would do with this early albums; occasionally breaking into a very melodic tune. The more I play this album the more I enjoy it. It’s not yet half way through the year but this is probably a Top Ten 2005 album for me… and certainly a sound outside of what most listeners may have expected from me.
Artist: Corey Harris
Album: Daily Bread
Rating: Very Good
If you need a category to understand him better, Corey Harris is a modern Taj Mahal. Taj is an iconic Musicologist who’s recent career is bent on preserving and presenting the musical ties between early Black American slaves and the native African tribal sounds that later formed ‘The Blues.’ Mahal is quite good at it; however, I sometimes find his historical accuracy tiring. Harris on the other hand also reaches back into this bedrock of the blues and then ties in a strong melodic almost pop sensibility. He also reaches into island sounds to blend in more roots. While Harris’ other albums did not reach out to me, Daily Bread, is a very strong album that has unfolded after repeated listening. I really enjoy this record and I think most PS Blues listeners will too!
Artist: Tab Benoit
Album: Fever for the Bayou
Rating: Good
I have a great affinity for New Orleans rhythm and blues music. This extends to the outlying areas where Zydeco is king. Try as I might, after numerous listenings I simply cannot get this album to open up. To my ears it sounds, at best, like an average blues album: consequently it does nothing for me. Yes, we’re going to air it a couple of times to create awareness but I am saddened. My expectations for Benoit are to rock-it with a rich flavored album – you get none of that here. Tab’s a terrific player and clearly competent but I hear none of that on this release.
What’s On at Pacific Street Blues?
Volume # 5
Artist: Steel Train
Album Title: Twilight Tales From the Prairies of the Sun
Rating: Very Good
More and more the acoustic singer-songwriter ‘sound’ is becoming the soup d’jour of hipness. None-the-less there are bands within that genre that write really good songs and put out good albums. ‘Twilight Tales’ is a most interesting record that incorporates a blend between early Allman Brother’s sense of meandering panoramic songs combined with a not-quite-so-hippy kind of Grateful Dead layered vocals. Steel Train has a passive approach to presenting their songs much like Crosby, Stills, & Nash would do with this early albums; occasionally breaking into a very melodic tune. The more I play this album the more I enjoy it. It’s not yet half way through the year but this is probably a Top Ten 2005 album for me… and certainly a sound outside of what most listeners may have expected from me.
Artist: Corey Harris
Album: Daily Bread
Rating: Very Good
If you need a category to understand him better, Corey Harris is a modern Taj Mahal. Taj is an iconic Musicologist who’s recent career is bent on preserving and presenting the musical ties between early Black American slaves and the native African tribal sounds that later formed ‘The Blues.’ Mahal is quite good at it; however, I sometimes find his historical accuracy tiring. Harris on the other hand also reaches back into this bedrock of the blues and then ties in a strong melodic almost pop sensibility. He also reaches into island sounds to blend in more roots. While Harris’ other albums did not reach out to me, Daily Bread, is a very strong album that has unfolded after repeated listening. I really enjoy this record and I think most PS Blues listeners will too!
Artist: Tab Benoit
Album: Fever for the Bayou
Rating: Good
I have a great affinity for New Orleans rhythm and blues music. This extends to the outlying areas where Zydeco is king. Try as I might, after numerous listenings I simply cannot get this album to open up. To my ears it sounds, at best, like an average blues album: consequently it does nothing for me. Yes, we’re going to air it a couple of times to create awareness but I am saddened. My expectations for Benoit are to rock-it with a rich flavored album – you get none of that here. Tab’s a terrific player and clearly competent but I hear none of that on this release.
What's on Serial May 23rd 2005
What's On @ PS Blues 05232005Monday, May 23, 2005
What’s On at Pacific Street Blues?
Volume # 4
Artist: Precious Bryant
Title: The Truth
Rating: Very Good
This is not the sort of album I would normally ‘do for.’ It’s very basic and stripped down. Usually these sorts of albums are by post-modern blues interpreters who’s interest in more about preserving the artform than taking it forward. While that’s an honorable albeit somewhat fiscally challenging effort, those kinds of records usually fall short in a mass of clichés and endless ‘honking.’ Not so with Precious Bryant. This is a beautiful full on blues in the “purist” sense that we could possible expect in the 21st century. No pretenses. No stupid nicknames. No hype. Just pure blues based on simple songs that occasionally breakaway from the redundancy of the 12 bar blues. If you’re a “purists” or someone that just wants a fresh but honest blues sound – this is a brilliant album that just like a ripen orange is bursting with juicy flavor.
Artist: Bobby Patterson
Title: Soul of the Man
Rating: Niche
I love good soul. I especially dig Otis Redding and the other giants on the Stax, Muscle Shoals, Hi recordings. While I don’t think anyone could ever touch Otis, I do enjoy well-performed music in this genre. This compilation by Bobby Patterson is an excellent compliment to someone who’s collection is already well stocked with the masters (Aretha Franklin !) With a super funky beat, pumpin’ horns, and a series of slow melting grooves, this album is a sugary concoction of beautiful, authentic, soul music. So why wear your old records out? Try something new that I promise will rekindle your ancient urge to wear polyester leisure suits and pop-in cake cutter combs. Sweet!
Artist: Chris Beard
Title: Live Wire
Rating: Very Good
Until I heard this record it never dawned on me that the late, great Luther Allison has spawned a sub-genre of Midwest electric blues guitar players. As a 4th generation player Chris Beard has continued to grow the genre and balance the fine line between rote blues and high powered rock n’ roll. Beard’s band includes his smokin’ guitar and a very funky horn section that can R-O-C-K! This is a very high-powered live album with excellent songs, superb performances, and terrific presentation & pacing. I really like this album. Often live albums, especially within the blues genre, are pipe-line fillers that bands use to sell to intoxicated fans off the stage. If this record is an indication of Chris Beard’s live shows then fans intoxicated with the blues must be the norm. As within any “rock” genre the difference between a “good” band and a “great” band is always the drummer: Buddy Honeycutt is the drummer on this album and he propels the band through songs like a Navy Ice Cutter. Significantly Beard manages to pull off a strong album without having to resort to use of tired overplayed covers. There’ll be no ‘Sweet Home Chicago’ on this piece… thank gawd.
What’s On at Pacific Street Blues?
Volume # 4
Artist: Precious Bryant
Title: The Truth
Rating: Very Good
This is not the sort of album I would normally ‘do for.’ It’s very basic and stripped down. Usually these sorts of albums are by post-modern blues interpreters who’s interest in more about preserving the artform than taking it forward. While that’s an honorable albeit somewhat fiscally challenging effort, those kinds of records usually fall short in a mass of clichés and endless ‘honking.’ Not so with Precious Bryant. This is a beautiful full on blues in the “purist” sense that we could possible expect in the 21st century. No pretenses. No stupid nicknames. No hype. Just pure blues based on simple songs that occasionally breakaway from the redundancy of the 12 bar blues. If you’re a “purists” or someone that just wants a fresh but honest blues sound – this is a brilliant album that just like a ripen orange is bursting with juicy flavor.
Artist: Bobby Patterson
Title: Soul of the Man
Rating: Niche
I love good soul. I especially dig Otis Redding and the other giants on the Stax, Muscle Shoals, Hi recordings. While I don’t think anyone could ever touch Otis, I do enjoy well-performed music in this genre. This compilation by Bobby Patterson is an excellent compliment to someone who’s collection is already well stocked with the masters (Aretha Franklin !) With a super funky beat, pumpin’ horns, and a series of slow melting grooves, this album is a sugary concoction of beautiful, authentic, soul music. So why wear your old records out? Try something new that I promise will rekindle your ancient urge to wear polyester leisure suits and pop-in cake cutter combs. Sweet!
Artist: Chris Beard
Title: Live Wire
Rating: Very Good
Until I heard this record it never dawned on me that the late, great Luther Allison has spawned a sub-genre of Midwest electric blues guitar players. As a 4th generation player Chris Beard has continued to grow the genre and balance the fine line between rote blues and high powered rock n’ roll. Beard’s band includes his smokin’ guitar and a very funky horn section that can R-O-C-K! This is a very high-powered live album with excellent songs, superb performances, and terrific presentation & pacing. I really like this album. Often live albums, especially within the blues genre, are pipe-line fillers that bands use to sell to intoxicated fans off the stage. If this record is an indication of Chris Beard’s live shows then fans intoxicated with the blues must be the norm. As within any “rock” genre the difference between a “good” band and a “great” band is always the drummer: Buddy Honeycutt is the drummer on this album and he propels the band through songs like a Navy Ice Cutter. Significantly Beard manages to pull off a strong album without having to resort to use of tired overplayed covers. There’ll be no ‘Sweet Home Chicago’ on this piece… thank gawd.
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