Album Review: Aynsley Lister, equalibrium

Aynsley Lister: equilibrium

For anyone that has been listening to ‘Pacific Street Blues & Americana’ over the years you know I love a well played guitar. Love it to the point of being downright discerning – which is a nice way to say finicky. While tasty players like B. B. King, Eric Clapton and Buddy Guy are perhaps the progenitors of tasty blues licks – there is a new generation of players that deserve some kudos. Yes, we all lost something special when Stevie Ray died. Among the players I really enjoy are included; Joe Bonamassa, Robben Ford, the late Rory Gallagher, Mato Nanji of Indigenous and Aynsley Lister. Lister is the new kid on the block and based upon his last two albums; ‘Upside Down’ and this new effort, ‘equilibrium’ Englishman Lister has easily moved solidly into the world’s “next big thing” slot.

In a traditional sense, if Luther Allison is the blues, then Lister ain’t. Sorry folks, no 12 bars here. Instead Lister uses the tones and textures of contemporary electric blues against a melody rich lyric line that is immediately accessible and immediately enjoyable. While the blues-rock genre is ripe with slingers – there are few bonafide songwriters in the mix and, as perhaps the first real blues-rock songwriter might say, “Move over rover and let Jimi take over.”

Lister’s ability to lift and soar while honoring the song is an impressive art. His bursts of energy lie beneath slower moving passages that provide emotional uplifts that are “gob-smackingly good” and at the same time beautiful and genuine. From the perspective of player records for the last twenty years, Aynsley Lister is clearly a talent worthy of your attention and interest.

Blog: August 13, 2009

I recently got into a conversation with a local impresario. It seems there are more n’ more shows in the market every year. As we have seen in the housing, electrical, airline and energy industries, when supply dramatically exceeds demand there is a retrenchment. In this example, between the free shows and the possibly over-abundance of quality line-up shows – there simply isn’t sufficient audience to support all these shows. On first blush this is hardly a negative; when was the last time someone had the gall to complain that there was too much going on in Omaha? So we have it pretty good right now; as the Horseshoe Casino realized by literally having to give away concert tickets to see the recent ARC Angels show. So tune your fiddle Nero as amid a recessionary decline there is less and less ticket buying capacity up against more and more shows.

Interestingly, since CD’s sales have fallen more than 50% in the past five years, the Wall Street Journal recently discussed how CD’s are being used to drive concert ticket sales as artist derive income from performance now rather than album sales. So where does the “equilibrium point” between ticket demand and artist availability meet? The market will determine. I know this; my days of paying $75 or more for concert tickets is over. And if very many others feel as I do; that either than cannot afford high priced tickets or they simply see their home, vacation or IRA as a better investment, artists are going to be getting crunched from both sides.
Think about that; CD sales are nearly inconsequential and a recessionary period coupled with too many concerts will likely drive ticket prices down. Seemingly one can draw the impression that contemporary society is reducing the value of music across numerous fronts.

Is it fair to say that Bono was the last rock star?

While I still place a premium on recorded music, I find the thuggery of modern sports to be beyond the pale. As a society we are paying virtually uneducated brawlers millions to throw a ball across the plate while we ask the educators of the next generation of American’s to use their comparatively meager incomes to buy supplies that our education system can no longer afford to purchase.

Where does the source of this problem lie?

With you of course - And with me. As a society we get what we pay for. In America today we vote with our dollars and more of us are voting for ‘Tiger Woods’ and ‘A Rod’ than that gal in the classroom teaching our kids. Damn shame it is too. It seems to me we are voting less and less for the ‘Eric Clapton’s’ of the world but still dramatically over-paying for the ‘Bob Stoops’ of the world. So before you bitch, look in the mirror – there lies the problem.

Album Review: Kris Lager Band - 'The Might Quinn'

Artist: Kris Lager Band
Title: The Mighty Quinn
Writer: Rick Galusha

Along with Des Moines’ Matt Woods, Nebraska’s Kris Lager has laid the groundwork to become the High Plains’ next blues act of note. Earning their road apprenticeship as the band for Mato Nanji’s Indigneous, The Kris Lager Band has release their fourth album, ‘The Mighty Quinn.’ Like many bands that are allowed to develop at the less than frantic pace of today’s internet driven music industry, Lager’s second and third CD’s displayed progressive improvement and strong lyrical melody lines that are indicative of the early bluesrock progenitors such as The Allman Brothers, Bonney & Delaney and Leon Russell. As the critically applauded band, ‘The Screaming Cheetah Wheelies’ learned however, this is a narrowing genre today and although the Derek Trucks Band is doing well with their World Music come blues feel, few others within this field seem to rise above a regional cult status.

‘The Might Quinn’ is a powerful record where the nuisance of the inter-play between Lager’s slide guitar and Miah Weir’s keyboards can, at times, over-shadow the songs but, after numerous playings, Lager’s true-to-self style slowly transcends and the true power behind the album emerges. This is not your passive listening, blues friendly, compact disc. Instead the listener is required to invest in the audio experience as the band moves through complicated but enjoyable passages.

On the track, “Mean Old World” Lager’s emotive vocals lines broach new areas for the band as they pioneer in a more tentative yet heart-felt layer brushed up against an aggressive slide guitar line. On ‘Hold On’ the band melds an island rhythm over rich blues textures akin to the sounds of “461 Ocean Boulevard.” While not an easy album to digest in initial airings, ‘The Might Quinn’ shows the Kris Lager Band growing by writing songs that are well outside of the narrow confines of the blues industry today. This is a serious album that is filled with songs that separates the partisans from the artisans and like anything work having – the climb is worth the view.

“Mama always told me not to look into the eye's of the sun, but mama, that's where the fun is.”

Album Review: Cyril Neville, Brand New Blues

Artist: Cyril Neville
Title: Brand New Blues
Writer: Rick Galusha

Whether the Neville Brothers or the Marsalis’ are the first family of the New Orleans music community, both have a ready history of making fine music. And whether as solo artists, members of the Meters or recording together as, ‘The Neville Brothers,’ the Neville’s have , since 1954, made some highly listenable recordings including; ‘Fiyo on the Bayou,’ ‘Yellow Moon,’ and ‘Brothers Keeper.’

In the linear notes of his first solo album in eight years, Cyril Neville notes that Tab Benoit told him, “go blues” in 2005. While Cyril Neville’s album, ‘Brand New Blues’ may be his “blues record,” for me it is a more focused outing for the New Orleans native.

Often albums by the Neville Brothers include messages of social criticism. While the blues is usually personal, the outcry from New Orleans musicians over the 2005 flooding of New Orleans has been pervasive. On this record Neville delves elbow deep into the issue. In the linear notes writer John Sinclair tells readers that the flooding of New Orleans, “wasn’t really due to natural causes but was actually caused by the refusal of Congress to appropriate sufficient funding.” The actual finding, done in part by Louisiana State University, is, “Investigators criticized Congress for years of irregular funding and state and local authorities for failing to maintain the levees properly.” Sinclair goes on to say the flood was, “merely a trigger for institutional racism and civic ugliness.” You may agree or disagree where the blame lies; or the extent of who holds how much blame, however as a source for anguish and therefore material, the flood of New Orleans is a contemporary catastrophe and is now a part of America’s ‘disaster songs lexicon.’

So let’s talk about the music. This is not a “great” album in that it will not be widely embraced by the blues listener base. Instead it is a very strong record by a known American artist that aficionados of New Orleans and/or niche areas of blues and roots music will greatly enjoy. What Cyril shows us is a refraction of how the textures of blues music can be amalgamated into other genres and sounds. The sense and feel of this album is immediately familiar and, after hearing this recording, fans of the Neville Brothers will better recognize how Cyril contributes to the overall sound of his, ‘family groove.’

Like nearly any recording based in the poly-rhythms of New Orleans, it’s hard to keep your toes from tapping and your feet from dancing. ‘Cream Them Beans,’ is the equivalent of a Crescent City 12 bar jam as Neville talks over the track while the band rollicks.

Traditional blues radio programmers will want to focus on the album’s closing track, a cover of Bob Marley’s, ‘Slave Driver’ (where Marley’s album title, ‘catch a fire’ is coined.) This is a slow, highly textured track with a languid, slow burn. (Interestingly, Severn’s latest R n’ B singer Charles Wilson covers Marley’s ‘Is this Love’ on his latest release, “Troubled Child.”) Neville adds to Marley’s composition as he sings, “When I first saw what happen to New Orleans, my blood ran cold. My people’s freedom bought and sold,” in what develops into a quarter by quarter review of the current state of the 3rd Coast’s finest city…in its current form.

This is a good album; a credible showcase but it needs the listener’s full focus and an understanding that Neville is going to use his music as a vehicle for political advocating and, at times, I just want to hear music.

Album Review: Deanna Bogart 11th Hour

Artist: Deanna Bogart
Title: 11th Hour
Writer: Rick Galusha
Rating: 9

The evolution of technology has profoundly impacted music listening habits. Due to the demise of the grip by the music industry’s major label system, music fans are now being bombarded with more CDs than ever before. Like the average consumer in a wine store, many of us are standing in front of a massive selection of choices, mouth agape, (and possibly drooling), trying to make “heads or tails” out of an oceans of music in front of us. Therein lies much of the popularity of the Blues; like a McDonald’s hamburger, listeners have a pretty good idea what they’re going to hear, usually. As most blues fans graduate from their old collection of Rolling Stones or Led Zeppelin records, even the traditionally rather narrow genre of the blues is exploding to encompass more and more influences. To the chagrin of traditionalists…it is what it is (and like other “music gatekeepers,” snobbery is becoming passé).

Although “blues rock” has been a part of the blues scene since the early 1960’s – more than ever it has become an entrenched category. Today, it seems to me, “pop” blues is coming on strong. Let’s define this a bit; pop music is by definition popular. It also tends to be melodic, well arranged and contains a memorable tune. Some of the progenitors of this include Jason Ricci, David Grissom, Bob Malone and this latest album by Deanna Bogart.

The latest album by Deanna Bogart, 11th Hour, pushes the envelope of what many would consider to be, “the blues.” However this is an artist that any music fan can easily embrace because the music defies hewn category. Bogart’s songs are intelligent, her lyrics are endearing and her arrangements far surpass the vast minions of faceless sound-alike zombies that permeate the landscape. Yes, it is that good.

Radio programmers will want to pay close attention to the album’s 3rd track, “Love and Attention.” While this stunning, show stopping duet with Tommy Castro is certainly not going to draw much reward from the blues award system, this is simply one of the finest radio friendly pop songs since the term, ‘Philadelphia Soul’ was coined in the 1970’s. The track is immediately credible with Bogart’s songwriting and arrangement on the ballad well beyond exceptional. Yes, it is that good.

On ‘11th Hour’ Bogart does two covers, ‘Since We’ve Ended as Lovers,’ written by Stevie Wonder but given to Jeff Beck as a reputed payoff for reneging on the promised track, ‘Superstition.’ John Hiatt’s, ‘Have a Little Faith’ is also given Bogart’s careful touch.

Admittedly, while Deanna Bogart is an extraordinary musician, the presence of a gifted band is apparent. On the albums opening track, ‘Sweet Pea’ guitarist Dan Leonard slices in chords while the band swings in a groove reminiscent of “Aja” period Steely Dan. The band’s bassist Scott Ambush and drummer Mike Aubin carefully under-play while giving the songs a solid base from which to grow. On the track, ‘Unkl Funkl’ the band ventures into a tasty funk/ jazz piece that shows just how talented this band really is – with Ambush’s rapid fire fingers giving the listeners that much loved guitar attack while Leonard fires back with a highly textured response. More traditionally orientate blues show will want to focus on the smoky late-night sultry notions of the album’s closing track, “Eleventh Hour Blues.”
So no, purist blues fans are probably not going to fawn over Deanna Bogart’s latest collection of songs. Everyone else will easily find this an album that will bear up to repeat listening for years to come. Yes, it really is that good.

Album Review: Michelle Malone, Debris

Artist: Michelle Malone
Title: Debris
Writer: Rick Galusha

In a world where ‘chic rock’ in now its own category; few really do. That’s not to denigrate the artform – but often the bar is lowered to compensate…but then I feel that way about most “rock” records released in this new millennium. With the release of her last album, Debris, Georgia based Michelle Malone has laid down a wall-to-wall rock n’ roll record that defies such petty niche labels as ‘chic rock.’ Malone has a sharp Southern rock flavor more akin to the Black Crowes and Tom Petty than Lynyrd Skynyrd and Molly Hatchet. Malone plays a lyrically rich guitar style under the influences of Rich Robinson and Keith Richards; where biting counter-licks sneak in behind verses and choruses with impressive subtly. Her songwriting shows great texture and depth as she moves from overt rocker, ‘Chattahoochee Boogaloo’ and ‘Feather in a Hurricane’ to the FM friendly sing-a-long, ‘Yesterday’s Make Up.’
This is not a good ‘chic rock’ record: this is an excellent rock n’ roll record in the finest sense…and these are getting to be few and far between.

As an independent artist, Malone’s songwriting will immediately appeal to roots rock fans albeit ‘Debris’ has a fully produced sound that includes Malone’s slide guitar and harmonica playing behind her intelligent lyrics. On the album’s eighth track, Weed & Wine, Malone recalls a time familiar to most baby boomers when she sings, “Remember when we used to sneak out. Remember when we howled at the moon. Radio cracklin’ with, ‘Sweet Melissa,’ on a steamy summer night in June. You always wore that corduroy jacket; and them bell-bottom patched up jeans. Well baby put’em back on and meet me at reservoir by the statelLine. We’ll cause a scene. You bring the weed – I’ll bring the wine. Crawl in the backseat honey and have a real good time.”

On June 3rd Malone brings her tasty blues-base rock sound to Omaha’s Barfly at 114th and Dodge Streets. With nearly twenty road harden years under her belt, and at least twenty albums for sale on her website (www.michellemalone.com), Michelle Malone’s “overnight success” could easily become the surprise gig for the summer of ’09. You’ll be able to hear Malone’s music every Sunday on Pacific Street Blues – yeah, it’s that good.

Album Review: John Mellencamp 'Life, Death, Love and Freedom'

Artist: John Mellencamp

Title: Life, Death, Love and Freedom

Writer: Rick Galusha

It’s a human trait to dwell on mortality: it’s where religion is rooted. Since recorded history began musicians have released recordings of this pondering; perhaps none so much as those of the roots genres including blues. However, like political criticism, it is an easily fumbled message and few can carry the torch beyond one, maybe two songs in the span of a career.

After finding commercial success early in his career John Mellencamp dropped the ‘Cougar’ moniker and began to turn his music-making towards a more roots based sound. While musically snobby 40 something’s may have written off Bloomington’s sage as “a hack” long ago, in 1985 Mellencamp released an album, ‘Scarecrow’ which lent a Midwestern credibility to the cultural landscape that heretofore had been rooted on coastal seaboards. Bruce Springsteen made New Jersey a state with romantic ballets in the streets: Mellencamp sang of farm foreclosures, national pride and growing up in 50’s seeing life from a ‘rumbleseat.’ Suddenly the lure of the living within spitting distance of Los Angles and New York City was not as bright as it had been and, finally, being from the Midwest, and its small town manners, was kinda cool.

When Mellencamp fully embraced a ‘roots’ sound to his music is debatable; however, by the 1993 album, ‘Human Wheels’ it was clear that writing hits was off the agenda. Although the title track was radio friendly, the voice of the album spoke of deeper thoughts and the music took on a rawer edge. Radio and retail no longer asked what had happened to John, we all knew, he’d pulled a Neil Young and chose art over commerce… finally put the finishing fork in the pop star, “Johnny Cougar.” Casting aside any lingering fears, Mellencamp ventured into liberal activism, whether political or social (ala’ founding Farm Aid along with Neil Young and Willie Nelson), Mellencamp’s new personification, ‘Lil’ Bastard’ had taken over.

With the release of his latest album, ‘Life, Death, Love and Freedom’ (LDLF) Mellencamp fully realizes this transition with, perhaps, his strongest artistic statement to date. At first glance the album is full of morbidity: apparently the ‘Lil’Bastard’ is afraid of something. LDLF is a 14 track testament to one man’s midlife reconciliations. The opening track, ‘Longest Days’ sets the tone as the Mellencamp sings,

“So you pretend not to notice,
That everything has changed,
The way you look,
And the friends you once had.
So you keep on acting the same,
But deep down in your soul,
You know you got no flame.
And who knows then which way to go?
Life is short even in its longest days.’

It has been a long time since a lyric resonated as when he sings,

‘Sometimes you get sick,
And you don’t get better,
That’s when life is short,
Even in its longest days.’

While the subject matter is heavy, and the music is compelling, Mellencamp’s latest effort is the finest full length album from one of Classic Rock’s pantheon. While other’s struggle to find a new voice that fits with their aging bodies, Mellencamp saddles up and bangs away with a album that shows, finally, that aging and music can remain symbiotic. It is as if the age-old struggle between Jagger and Richards has finally been settled; you can be “great” and release exceptional music even though “midlife” is now in the rear-view mirror.

Not one to miss an opportunity, Mellencamp hoists up the social commentary albeit using a thinly veiled analogy in the song, ‘Without a Shot.’ He takes a swipe at false nationalism.

“We open our eyes at midnight,
Seeing the setting of the sun.
Foundation are crumbling; The inner structure’s gone;
Used up by corruption,
And the passage of time.
We hope we got some fight left,
Cause our children, our children are dying.”

Within the same tune he rails against false piety with resonation.

“So we think that forgiveness,
Is a God given right.
And equality for all,
Is just a waste of time.
With our nickel-plated Jesus,
Chained around our necks;
Handing out versus of scripture,
Like we wrote it down ourselves.”

A compact disc is the equivalent of a double album set. Over the past 50 years you can probably count, now on two hands, the number of studio-recorded-rock-double-albums that maintain a high level of quality throughout ( Exile on Main Street, Quadrophenia, Electric Ladyland, London Calling, Blonde on Blonde are a few). I readily suggest that, ‘Life, Death’ Love and Freedom’ be added that select group of records. ‘Life, Death, Love and Freedom’ is a thinking man’s roots album that is rich in textures with carefully crafted songs and arrangements; it is a brilliant musical statement…albeit by a “hack” from Indiana.