Album Review: Bob Malone, 'Ain't What You Know'

Writer: Bob Malone
Title: Ain’t What You Know
Writer: Rick Galusha

When your friends and co-workers are among the finest studio musicians from one of the world’s most competitive music centers, you have an advantage if played properly. Born in Maine, reared in New Jersey, a graduate of Berklee School of Music and apprenticed in New Orleans; the sixth album by Los Angles based studio keyboardist Bob Malone, “Ain’t What You Know” is a finely honed, exceptionally well crafted album. Much like the ultimate genre hopper Eric Clapton, Malone is able to move effortlessly between overt blues based tracks to the John Hiatt-like, ‘Small Girl’ or the pop radio, ‘Butterfly.’

Malone’s choices for the albums only two covers; The Band’s ‘Up on Cripple Creek’ and The Faces’ “Stay With Me,” indicate the artist’s larger vision for the album; blues based textures relying on solid songwriting and smooth studio production with an eye on commercial appeal to a mature audience with a Classic Rock background. Producer Bob DeMarco effectively uses depth and space, including a smokin’ horn section and female back-up vocals, to actively engage the listener’s ears while paying homage to the song.

While only reminiscent of a traditional blues sound, Malone appeals to the roots and blues audience with heartfelt ballads, nuisanced arrangements and a never ending tour schedule. If one were to take the blues credibility of Dr. John, the songwriting of Jimmy Webb and the arrangement skills of early period Elton John, we see Malone in vesture that suits him perfectly. More traditional blues fans may find this particular outing to lack sufficient rough edges; however, blues and roots radio programmers that seek to introduce lesser known artists will be able to widen their audience. Over its ten tracks this album is a well rounded and well above average.

Album Review: Son of '76 & the Watchmen 'Shangri-La'

Artist: Son of ’76 & the Watchmen
Title: Letters from Shangri-La
Writer: Rick Galusha
Rating: 7

“Letters from Shangri-La” is the latest release from the Nebraska based roots rock band, ‘Son of ’76 & the Watchmen.’ Debut albums often tend to be a “kitchen sink” affair where the band throws in years of songwriting creating an album of mixed styles, multiple themes and influences. That this is the third album from the band only adds to their genre defying mystic. Unfocused albums require more interactive listening and since an uncommitted fan is, at best, a passive listener, this album does not unfold itself easily to the ear.

Led by Josh Hoyer’s rootsy barenecked vocals, the album includes songs with a hint of New Orleans (Katrina Revisited), a harkening of Ireland (Annie’s Heart), Roy Orbinson (The Moon) and an Americana base that transcends defined categories; think of Tom Waits fronting the Outlaws singing Dave Alvin material from the ‘Blackjack David’ period. Because of the length, 15 songs, the album can easily lose the listener as it jumps from style to style. This is an album that will challenge the listener’s commitment to wait, listen and find the beauty that lies within.

Hoyer uses the album to sing about two of the region’s darkest themes.

On his 1982 release, ‘Nebraska’ Bruce Springsteen sang of a mass murder spree in 1958 that spread across Nebraska and into Wyoming. Born in Lincoln, Nebraska, Charlie Starkweather and accomplice Caril Ann Fugate spread fear across the state as they murdered her family and others. While Springsteen sang from Starkweather’s perspective, Hoyer sings from the perspective of the fictional son of Starkweather. It is a harkening to the dust bowl song theme of criminals and hero’s. On '
Outside Looking In' Hoyer sings of Nebraska’s shame today: Whiteclay is an unincorporated village of 14 residents with four package stores that peddle 3 to 4 million cans of beer per year to the dry Native American Pine Ridge Indian Reservation's 38,000 residents. Much like the track 'Place I Know,’ from Indigenous, Hoyer sings of the alienation and hopelessness of living amid a Reservation community where alcoholism rates exceed 60% of the adult population.

Devoid of overt catchy pop-tracks, “Shangri-La” leans heavily on the piano tracks of Nicholas Semrad to hold the band’s sound together by moving smoothly behind the lead instruments adding depth and texture.

At its core this is a very good but complex album that does not easily unfold. Anyone willing to invest the effort to experience the immense depth of this record will become acquainted with a true artistic expression that sets aside any pretext towards commercialism. A glance at today’s sonic landscape puts ‘The Watchmen’ in a vein of developing along a line of contemporary music that haunts dingy taverns and make-shift venues aspiring towards an appearance on Austin City Limits. For the true music connoisseur this record will become a precious gem but recognized as such by only a few. The songs are well composed and the musicians bring the songs to life. After numerous listenings the album rises above well above 'regional release quality' to become a solid foundation for national aspiration. Time and again we see maturing artist focus their sound to capture a wider audience. While this tact can build an audience, it is often done at the expense of art.

Being a recovered independent retailer I appreciate the bands, ‘Big Box Store’ track bemoaning the homogenization of America’s small towns and retail landscape. More accomplished radio hosts might focus in on ‘She’s the Kind of Woman’ or the beautiful uptempo ‘Avalee,’ where Hoyer sings to instill hope in a daughter and that she has “got to believe” something better awaits in her future. Should ‘Son of ’76 & the Watchmen ‘ cast aside the comforts of home and hit the road something better may await their future: this is an act with promise and worthy of keeping an eye on.

Album Review: John Nemeth, Name the Day!

Artist: John Nemeth
Title: Name the Day!
Writer: Rick Galusha
Rating: 6

Like a breath of fresh air, the ‘soul resurgence’ movement has gurgled up and onto the radar of most blues music fans. Recently Sharon Jones and the Dap Kings helped bring the movement to a wider spectrum of fans via’ a nice spread in the USA Today newspaper. Along with James Hunter, Eli ‘Paperboy’ Reed, Darrell Nulisch, Lou Pride and Tad Robinson; John Nemeth has been an up and coming act within a genre popularize by the likes of Otis Redding, Sam & Dave and Aretha Franklin.

Since his signing with Blind Pig Records back in 2006, John Nemeth has sat atop a powerful publicity machine creating awareness and fan adulation across the blues spectrum. Nemeth has been nominated numerous times for a Blues Foundation Award.
On his latest album, ‘Name the Day!,’ Nemeth’s music leans hard into a traditional blues sound with a heavy R n’ B feel. His harmonica playing is featured throughout this groove laden album. Of the albums eleven tracks, ten are written by Nemeth. The album also includes a cover of Otis Blackwell, “Home in Your Heart.” Blackwell is perhaps best known for having written songs made famous by Elvis Presley, “All Shook Up” and “Don’t Be Cruel.”

While the album is good, the associated hype is elevating expectations beyond delivery. This is an above average national recording by a hardworking and respectable artist but within the genre Nemeth’s songwriting and arrangements simply do not deliver as well as others. Perhaps the great allure to Nemeth’s career is his willingness to “sell” the entertainment and a diehard road dog attitude by playing every venue on the map with equal zest and vigor. In a genre amid re-growth Nemeth’s aggressive ‘take it to the listener’ work ethic is clearly paying off…and so it should. It is my speculation that his best album is in front of him. In the meantime ‘go with the flow’ and see this artist live and in a venue near you.

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: Karen Lovely, Still the Rain

Artist: Karen Lovely
Title: Still the Rain

Perhaps it was her showcase in Memphis at the International Blues Competition last January…or maybe it the cool night breeze blowing in the car window that created the proper listening setting…but whatever it was Karen Lovely’s second album, ‘Still the Rain’ totally captured my ear. In a seemingly endless cycle of average blues CDs, Lovely’s new album is the brightest spot on the horizon and a good bet to make many’a Top Blues Album list this year.

Like many recording vocalists Lovely does not necessarily have the “perfect” voice however she is self-aware enough to choose selections that compliment her strengths and she pursues them with vigor. Lovely edges away from the well trodden “shouter” and the overused octave gospel slides: instead she mixes a speaking-singing style that is empowered by strong supporting instrumentation. And credit must be given to a band that underplays so tastefully to use space and serve the song. On the track ‘Other Plans’ Lovely presents the listener with a ‘simmering’ blues replete with a soft, lilting sax line played by Michael Vannice.

The unrushed tempo of the songs, the mile wide textures and intelligent, sensitive lyrics come together to present a near perfect independent blues release that belies the maturity of an artist releasing her second album. ‘Full Time Job’ is a solid blues song with a lush piano arrangement that for whatever reason reminds me of those (priceless) early Charlie Rich Sun Recordings. ‘Glad Your Gone’ opens with a B. B. King-like guitar intro that is at once comfortable yet fresh and new.

Lovely is fortunate to front the ‘Dawwg House Rhythm Section consisting of; Lee Spath, Drums; Richard Cousins, bass; Jim Pugh, Piano & B3 and Alan Mirikitani, guitar. The songs of Producer Dennis Walker and co-writer, co-producer Alan Mirikitani give Lovely the vehicles that separate this album from others.

‘Still the Rain’ is a magnificent album that burns ever so slowly embodying a perfect balance of showcase, songwriting, and professional musicianship. Imagine a subtle Diane Schuur fronting a mid-period Ray Charles in a very intimate, very dark night club setting. Radio programmers will find that the up tempo ‘Cold Man Cold’ is a nice entry to an album.

Album Review: The Poorboys

You can hear this music at; www.kiwrblues.podomatic.com

In every community there are bands of musicians that are too young to die and too committed to quit. Whether by passion or talent, over the decades the actors become proficient and move through musical genres to see which one fits best. In time these bands begin to write their own songs, transcend genre and create that blended sound that is uniquely their own. Given time to percolate, these faceless agents can create amazing albums: a monument to life spent in music. Trouble is, shifting through literal mountains of bad CDs, these records rare. Late in 2009 radio host Ally Lee recorded and began to spin a prime example of an exceptional regional release by ‘The Poorboys.’

A traditional five piece band who’s sound revolves around the Segar-like vocals and songwriting of Bob Davidson, the rich accenting keyboards of Nigel Stawart and the momentum setting drums of George Waters. Over the years this is a band that has learned the importance of using space (or not playing). Bass player Paul Mander and guitarist Graeme Kelly have an incredibly tasty presence; often by playing minimally. If taste can be measured, The Poorboys excel in good taste; knowing when to play as well as when to serve the song by not playing. It is a wisdom culled over years of playing.

There are two radio ready tracks on their self titled album. On the upbeat track, “She Moves Like Water,” Davidson sings of a free willed woman that, “moves like water, running around anything that keeps her from flowing her own way.” Using a full blown American accent, Davidson’s central character moves from human to a metaphor for time and aging as “she washes over me” and “rolls to the sea.” The songwriter’s use of water throughout the song ties together, on one level, the love of a woman and on another level a passion for an aging life.

The second radio track is “East of Paradise.” The song rolls out slowly behind a somber piano opening juxtaposed against paced drums. The band’s use of background cellos is a McCartney-like touch that creates depth behind the vocals yet cast a shadow on the intensely sorrowful lyric lines of broken love. At eight minutes, the extended piano break is set against the cellos emotive theme giving the listener a sense of panoramic movement. As a guitar takes over, it propels the song, building an energy that pushes to emotional climax. A delicate sense of songwriter that employs music to express emotions that words simply could not. Brilliant, absolutely brilliant.

This album of perfect length (nine tracks) is as close to being “great” as one could ever expect from the ocean of undiscovered, self-produced albums. In the end ‘The Poorboys’ are a regional band from Northeast England that will perform to adoring friends and family. The band will strike a memorable history that too few will imbibe but such loss is the making for Shakespearian Tales.

Album Review: Discpiles of Sound

Band: The Disciples of Sound

When the band Indigenous split up, Mato Nanji (guitar, vocals) kept the name and continues to tour under that moniker. While it took awhile longer, younger brother, Pte (paa-tay) or ‘Little Buffalo Man’ followed his muse and formed a much heavier sounding band, ‘Disciples of Sound’ (DOS). The band consists of Pte (listed as Buffalo on the liner notes), Ed Miles and Nate Boff. A three track EP of the Austin based band recently surfaced along with a developing presence on the social networking site, Facebook.

According to the legendary British deejay Ally Lee, “If you like Storyville you will adore this band.”

The early permutations of DOS image and sound can be heard and seen on the Indigenous ep ‘Long Way Home.’ This seven song EP was produced by family friend Jesse Davey (The Hoax, Davey Brothers). While the DOS ‘sound’ is removed from blues, it is blues based and akin to a chain-saw plodding Chris Duarte presence. The ep opens with an electric version of ‘Devils in My Head’ which features Pte and Mato’s sister Wanbdi on drums along with Jesse Davey on organ and guitars. The disc also features the tracks ‘All Red’ and an acoustic version of ‘Devils in My Head.’

This is a band that the majority of “blues” fans may warm to slowly. Employing a heavy bottom sound with howling vocals and that noted atonal Austin “thud,” the band is a clear departure from Pte’s previous national band. Receiving continual airplay on the British ‘Lionheart Radio,’ DOS clearly resonates with an industrial leaning audience that moves easily from Stevie Ray Vaughan to Metallica and, perhaps, it is the sonic flexibility that will prove to be DOS’ calling card to building a larger audience.