Album Review: Kirsten Thien, Delicious

Artist: Kirsten Thien
Title: Delicious

By mandate it seems that every white woman in the blues genre is compared to Bonnie Raitt. While the yardstick is immense, the expectation has become a cliché. On her third album, Delicious, Kirsten Thien, another redheaded blues woman, proffers an exceptional album that has immense commercial potential. The production, playing and vocal lines are more suburban than urban but the textures and performances make for a world class blues album. Of the albums eleven tracks, eight are co-written by singer and guitarist Thien. Covers include; Willie Dixon’s ‘I Ain’t Superstitious,’ Ida Cox’s, ‘Wild Women Don’t Get the Blues,’ and ‘Taxi Love’ by Charlie Feldman and Jon Tiven. While ‘Taxi Love’ is the weak link in an otherwise excellent record, the songs ‘Ain’t That the Truth’ and ‘A Woman Knows’ are brilliant ballads that programmers may want to investigate for broadcast. For a more up tempo romp ‘Treat ‘Im Like a Man’ is a powerful ‘morning after’ response to the genres abundance of cheating songs. ‘Get Outta the Funk, Get into the Groove’ is a song that broadens the records reach. The record’s opening track, a horn driven, groove laden ‘’Love That’s Made to Shame’ is tasty and intelligent as the production and arrangements give the singer room to move amid: legendary Chess Records player Hubert Sumlin provides a guitar solo along with Andy Snitzer on Tenor Sax and the albums producer Erik Boyd on backing vocals.

This is a very solid, immediately enjoyable album that a wide base of blues fans should readily embrace. Those looking backwards may not connect as readily with this contemporary offering which showcases Thien building a sound upon the genres offerings from the era of Little Feat up until the present. This album is at least six songs deep for radio airplay. If one is able to judge a book by its cover, or in this case a Compact Disc, this is a well thought out, emotionally pure effort that shows the blues in, potentially, its most viable resurgence. Thien is an artist worth watching, closely.

Album Review: Robert Cray, Cookin' in Mobile

Artist: Robert Cray
Title: Cookin’ in Mobile

In many ways Robert Cray walks the thin dividing line between blues in the credible sense and blues in the popular sense. While he has found commercial success over the years, I have often struggled to appreciate his artistic methodology many times. The allure of his near Sam Cooke voice pulled me in but the redundant lyrical themes wore me out. So it is with mix emotions that I open each release.

In a blues world where the guitar seems to rule, Robert Cray is a tasty but adequate player. His distinction lies not in the fretwork wizardry that so many rely on but, rather, in the way he melds his voice and guitar playing. The rough edges are smoothed out and the precision is precise. His is a mixture of classic soul vocal lines and pop-blues instrumentation. We all recognize the sound but often, for me, the songwriting is the weak link.

On his latest release, a live album entitled, ‘Cookin’ in Mobile’ Robert Cray has, finally, released the complete album. The band is in the “pocket” and perfectly grooves to Cray’s crooning. The song selection is near perfect: as a record store clerk in the very early 1980’s I bought a 12” vinyl release of ‘’Phone Booth’ which, in many ways, sealed by adoration for the electric blues. Whether it is his cover of ‘Sitting on Top of the World’ or the up tempo, ‘That’s What Keeps Me Rockin’ Cray and band are in fine form on this Vanguard release.

Radio hosts might look at either of the songs mentioned as well as the opening track, “Our Last Time” or “Right Next Door” (a/k/a Strong Persuader). On some level an affection for Robert Cray’s music is perhaps a mandate as a contemporary blues fan… but on the other hand I wish he would, ‘buy a new book’ and sing about something other than, “the back door slam.” But then he didn’t ask… and his success is surely his own hard earn achievement.

Political Editorial: Taxing Internet Sales

This Op-Ed piece was printed initially in the Omaha World Herald, 2009


I say it is time to collect internet sales taxes.

This call to arms may be anathema to a fiscal conservative but let’s inject some facts into the discussion.

State and local government budgets are, in some part, based upon the collection of sales tax revenues. Basic epistemology of fiscally conservative thought is that fewer taxes equate to smaller government and that is usually perceived as a good thing. However maintaining functional government budgets is inarguable.

As we look at the evolution of technology and its impact on the retail industry, we are seeing a growing shift to online sales of everyday goods. For the most part this shift towards online sales does not capture sales taxes – negatively impacting State and local government budgets. The shift is also creating an unlevel playing field that favors online retailers against local ‘brick’ retailers since a tax free purchase may equate to as much as a 12% discount in some markets [ 7% here in Omaha].

Put another way, the immediate effect of a discount on tax-free online purchases sends wealth out of the Omaha market and, as a community; we lose the benefit of the economic multiplier effect created by that money circulating throughout our state and community. In the long term we may also risk losing retail jobs and, as we all know, the retail industry is a significant employer.

It is a fact that small business is the engine that drives the American economy. The Maryland based Tischler & Associates, Inc. (now d/b/a Tischler Bise) reported that “Big Box retailers generate a net annual deficit of $468 per 1,000 square feet (to taxpayers)…Fast food restaurants have a net annual cost of $5,168 per 1,000 sq. ft…In contrast, specialty retail has a positive impact on public revenue of $326 per 1,000 sq. ft.” (Tischler & Associates) When you weigh in the actual employment impact as well as the economic multiplier effect, government should be strongly incentivized to support the local retail economy.

According to the Wall Street Journal, several states, including North Carolina, Hawaii, California, Connecticut, New York, Maryland, Minnesota and Tennessee, have decided to level the playing field through recent legislation. Online behemoth Amazon has threatened to “clip local affiliates” rather than pay their currently defined legal share of sales taxes. (Fowler, 2009). The University of Tennessee estimates that “uncollected Internet Sales taxes will cost state and local governments more than $11,000,000,000 a year by 2012.”

In its early guise, government nurtured the viability of online companies by allowing this issue to go unnoticed. According to the U.S. Census Bureau, in the First Quarter of 2009 online sales were $31,717,000,000. (Quarterly Retail E-Commerce Sales, 1st Quarter 2009, 2009) By any standards the online retail industry has been sufficiently incubated and it is time to level the playing field as well as increase State and local revenues through the appropriate application of existing and needed sales tax collection laws.

Studies indicate that 8% - 12% of retail sales have moved online; the impact on government budgets is apparent. Because of the disparity of various state and local taxation levels, the process of collecting and submitting levies of online sales would be a significant burden to retailers. A suggested method could be to have a uniform nationwide taxation level for online sales thus simplifying the collection and submission process for retailers. Another “level playing field” consideration could be to reduce in-store sales tax levels as a result of collecting sales taxes on all retail sales once again.

Finally, this is not an advocation for a new tax. Nor can a reasonable person misconstrue this to be a call to increase taxes. If we are going to tax retail sales, and history shows we are, isn’t it about time that Nebraska, and Omaha, join in the processes to balance the playing field? At the very least this is an existing loophole that needs to be debated.

Richard ‘Rick’ Galusha

SOURCES:

Fowler, G. A. (2009, June 19). Amazon Threatens Cuts Over State Taxes. Wall Street Journal , p. B3.

Quarterly Retail E-Commerce Sales, 1st Quarter 2009. (2009, May 15). Retrieved June 24 , 2009, from U.S. Census Bureau News: http://www.census.gov/mrts/www/data/html/09Q1.html

Tischler & Associates. (n.d.). Retrieved September 18 , 2003, from http://www.smartgrowth.org/news/bystate.asp?state-ID

Political Editorial: Whiteclay

Published Sunday August 29, 2010
Omaha World Herald newspaper

Midlands Voices: Act urgently on Whiteclay
By Rick Galusha

The writer is an assistant professor in the College of Arts and Sciences at Bellevue University. He is assistant director for the university’s Center for American Visions and Values.

Nebraskans are shocked to learn that a portion of the second-poorest area in the entire Western Hemisphere lies within our state, in the area that includes the Pine Ridge Reservation. Consider the following figures from the 2002-03 edition of Regional Differences in Indian Health, published by the U.S. Department of Health and Human Services:

>> The age-adjusted alcoholism death rates in the Reservation area are nearly 17 times higher than the national population mean (108.7 per 100,000 people versus 6.7 nationally).

>> The age-adjusted tuberculosis death rates in the Reservation area are eight times higher than the national population mean (2.4 per 100,000 versus 0.3 nationally).

>> The age-adjusted diabetes mellitus death rates in the Reservation area are more than five times higher than the national population mean (68.7 per 100,000 versus 13.3 nationally).

>> The age-adjusted suicide rates in the Reservation area are nearly three times higher than the national population mean (29.7 per 100,000 versus 11.2 nationally).

Because a majority of the Pine Ridge Reservation lands are located within the borders of South Dakota, some suggest that this is a state sovereignty issue. However, the effects spill into our state, including the numerous medical and legal concerns that define Whiteclay, Neb., (population 14).

Whiteclay’s four package stores sell the equivalent of more than 3 million cans of beer annually. Adult alcoholism rates on Pine Ridge have been estimated to exceed 65 percent.

In an era when bitterness can define the political landscape, our Legislature passed a modest bill this year. In July, the Douglas County Republican Party passed a resolution calling for the establishment of a committee to seek viable solutions for the extreme poverty on the Pine Ridge Reservation. Independently, later that month, the Nebraska Democratic Party passed an identical resolution. This solution-seeking-committee would consist of the governors of Nebraska and South Dakota as well as the president of the Lakota Sioux Nation.

While the choice of sobriety is an individual decision, there are several things Nebraskans can do to provide hope:

>> Demand enforcement of existing Nebraska laws in Whiteclay, Neb.

>> Empower our elected officials to begin seeking long-term solutions to this extreme poverty, including calling upon the government of South Dakota to participate.

>> Create awareness by sharing this commentary with family members, friends, co-workers and congregants.

>> Take specific action by sending letters and e-mails and placing telephone calls to elected officials.

>> Use social networking to enhance awareness.

>> Contact the Whiteclay awareness committee (WhiteclayAwareness@gmail.com) to schedule a speaker and-or show the film “The Battle for Whiteclay.” (Include schools, civic or business organizations, churches, synagogues, mosques or living rooms.)

This nonpartisan issue is gaining momentum. Readers of the New Testament will recognize the passage, “I tell you the truth, whatever you did not do for the least of these, you did not do for me.” It would be a moral failure for Nebraskans to allow this misery to continue.

To quote Edmund Burke, “If not us, then who? If not now, then when?”

Rick Derringer Album Review

Artist: Rick Derringer
Title: The Three Kings of the Blues
Writer: Rick Galusha

It was hard to grow up in the ‘70’s and not know about Rick ‘Rock n’ Roll Hoochie Koo’ Derringer. Whether it was his band, ‘The McCoy’s’ 1965 #1 hit, ‘Hang on Sloopy’ (The Official Rock Song for the State of Ohio) or his self titled band’s FM flash, ‘Let Me In,’ Rick Derringer was a household name among avid music fans. Perhaps best known for his able support of Edgar and Johnny Winter, Derringer’s star diminished by the mid-1980s.

Down but never out Rick Derringer is back with a compilation on Shrapnel Records which pay homage to the three kings of the blues… B. B., Albert and Freddie. With tracks taken from previous Derringer solo efforts, this album is Derringer at his best. Like brass knuckles on a peroxide blonde Derringer takes ten blues standards, revs up his chainsaw guitar and double-times past any semblance of musical nuisance… and yet fun pervades this guilty pleasure. With songs like, ‘Key to the Highway,’ ‘Born Under a Bad Sign’ and ‘Let the Good Times Roll’ Derringer delivers these tracks right between your eyes.

Purists will roll over and groan but contemporary blues fans (IE: Rock n’ Rollers) are going to eat this album with a fork and spoon. Programmers will want to use this CD like grease on a spitball when they reach up, caress the bill of their cap, and jumpstart listeners with a familiar sounding cover track. It ain’t art but then art never was a parameter for mass appeal. Look to Derringer’s version of Freddie King’s, ‘You’ve Got to Love Her With a Feeling’ as the gateway to the easily accessible sonnets of this record.

Album Review: Indigenous, 'The Acoustic Sessions'

Band: Indigenous
Title: The Acoustic Sessions
Writer: Rick Galusha

In 1995 a band of Native American siblings from the Northern Ponca Tribe Reservation in Wagner, South Dakota released a self-produced album, ‘Awake.’ Now in their 16th year the band has released fourteen full length albums including their newest, ‘The Acoustic Sessions.’ Nanji’s father, Greg Zephier, a friend of actor Marlon Brando, was an activist in the American Indian Movement and named his son for the noted civil rights figure Standing Bear (d:1908).

What started as a tight knit band of family members eventually succumbed to the travails of rivalry, broken relationships, and illicit substance use. When the Davey Brothers, of the successful British band ‘The Hoax,’ informally hovered near the band, the once blues based guitar rock sound of the band moved towards a more contemporary, bottom-heavy, hard rock sound. This new sound and image moved the band towards a larger and younger potential audience but pushed away the loyal base of “Indiginuts.” Their career stalled and internal issues resulted in Wandbi (sister/drummer), Pte (brother/bass) and Horse (cousin/percussion) leaving the band. As a solo act under the name Indigenous, Mato Nanji struggled to re-find his voice and old audience.

With the release of their 13th album, ‘Broken Lands’ Nanji finally looked inward to write about the social trauma’s of 170 years of the reservation system inflicted upon many Native Americans. On the track, “Place I Know” Nanji sang of barefoot children left to raise themselves by alcoholic parents. (Alcohol related deaths on South Dakota’s reservation’s average 1640% higher than median America.) While the song’s structure was not overt blues, the band that had been deserted by many of its fans released one of 2008’s lyrically most powerful blues albums. ‘Broken Lands’ signaled a come back for Indigenous.

Filtered throughout the band’s history has been a collection of excellent songs. Admittedly skeptical of “an unplugged album,” that was comprised of greatest hits, ‘The Acoustic Sessions’ is the second excellent album for an artist that refused to die. In their original form many of the songs featured on this album, while highly melodic and well played, lacked sufficient texture within the album format to compel one to listen to the whole album. Gone for the past several albums have been the depth providing textures that conga player Horse provided the band’s early incarnations. In this acoustic setting Nanji is able to demonstrate his guitar prowess while serving the song and, in many instances, these songs are fully complimentary to the full band versions.

The album opens with the pacing ‘Now That You’re Gone’ where Mato’s vocal energy rises over a layered percussive setting against a guitar solo that recalls some of cleanest fretwork of his career. Now in its fourth released version, ‘Things We Do’ is the song that defines the band musically, lyrically and spiritually. “When I close my eyes, a dream comes to me” Nanji sings as the song builds thanks to the percussion and organ of producer Jamie Candiloro (REM, Willie Nelson, Ryan Adams, Eagles). The albums fourth track, ‘Rest of My Days’ is the album’s focus track where Candiloro’s production eerily recalls Marvin Gaye’s ‘I Want You’ period. The use of subtle ‘toned percussive instruments’ (I don’t know what they are) heightens the song with stunning effect. On ‘Leaving’ Lisa Germano provides a wonderful violin backing that moves to the foreground with a defining solo; wonderfully unexpected.

The album ends with a cover of the Traveling Wilbury’s track ‘You Got It’ penned by Jeff Lynn (ELO) and Roy Orbison (Sun Records). Radio programs that rely on Classic Rock artist may find this track to be comfortable for listeners. However, this album has “legs” so programmers will want to move beyond the obvious and low hanging fruit of a covered hit record.

This album is a powerful statement of revitalization for Indigenous. There is a history that threads throughout popular music of bands releasing three excellent albums consecutively; perhaps there will be another strong album in the future. Fans of contemporary blues-rock players such as Stevie Ray Vaughan, Eric Clapton, Santana and Jimi Hendrix will enjoy this album.

Album Review: Southside Johnny and the Asbury Jukes, 'Pills and Ammo'

Artist: Southside Johnny & the Asbury Jukes
Title: Pills and Ammo (A Little Chaos is Good for the Soul)
Writer: Rick Galusha

If the blues is nothing more than a musical structure, a predictable amalgamation of chords and progressions, than read no further. However if the blues is a feeling, a fleeting emotion that helps defines our time on mortal coil then the latest release by Southside Johnny (Lyon) and the Asbury Jukes, ‘Pills and Ammo’ is a refreshing, powerful, hard-driving collection of songs by an unsung icon of American music.

“You take something sweet and you make it rough. You make a blood sport out of making love. No matter how low I go, I never go down enough.” ‘Lead Me On’

As an album of twelve songs, ‘Pills and Ammo’ is first and foremost a very good record. Between the grooves are passages and segue ways that use overt blues textures with horn driven R n’ B to deliver the goods. While most are familiar with New Jersey’s other” boss,” in many ways it was the Brooouce-mania that not only brought John Lyon’s band to national attention but unintentionally overshadowed an otherwise wonderful band. As the leader John Lyon chose the nickname “Southside” in homage to Chicago’s famed blues scene. “Jukes” attributed to Little Walter’s famed instrumental harmonica song. A review of the pre-Jukes sonic landscape includes other horn bands including the wonderful Stax and Hi Recordings, Chess’ Little Milton and eventually Chicago; Blood, Sweat and Tears; Chase, Electric Flag or Butterfield Blues Band’s later era recordings. Arguably Southside Johnny has taken the blues, added a bit of Jersey sand & salt (grit), and created a largely undefined but brilliant genre.

This is an album that uses the horns to propel the songs against strong vocal melody lines and intelligent lyrics. The song, ‘Strange, Strange Feeling,’ begins with a ‘Harlem Shuffle’ groove and includes the exceptional lyric line,

“My woman left me long time ago, Still sends me Christmas Card, complete with plastic snow. There’s never any return address, She’s just being kind I guess. How much further down do I have to go?”

While the only constant in this band seems to be John Lyon himself, Bobby Bandiera ably replaces Miami Steve Van Zant and Billy Rush adding subtle yet emotive guitar lines. On ‘Umbrella Drink’ Lyon is joined by fellow Springsteen friend Gary ‘U.S.’ Bonds on a New Orleans horn driven romp that is pure lively joy that devolves to include the Neville Brothers, ‘Hey Pocky Way.’ Throughout the album Lyon, a noted avid music fan hide similar musical passages including a reference to his own ’77 release, “This Times Its for Real” in the smokin’ track, ‘One More Night to Rock.’ He also lifts the blues standard ‘Walking Blues’ in this albums track, ‘Woke Up This Morning.’ Bonds and Lyon also incorporate Allen Toussiant's *(Huey Smith), 'Come on everybody take a trip with me. Down the Mississippi, down to New Orleans' on 'Umbrella In My Drink."

If the album’s opening track, ‘Harder than It Looks’ refers to Lyon’s often struggling thirty-five professional career, then the album’s three closing tracks puts a stake in the ground for this powerful and revitalized performer; ‘Keep on Moving,’ ‘You Can’t Bury Me,’ and the powerful nostalgic ‘Thank You.’

This is not an album for blues purist but the vast majority of blues fans will eat up this album with a fork and spoon. The melody lines are rich, the arrangements are excellent and the band plays for the songs. If you have albums that are your ‘Saturday night special’ or a ‘Sunday morning wake-up call,’ this is your ‘jump in the car and drive’ record that pounds on your door. Blues deejays could ‘drop the needle’ on just about any track but if you show lean traditional try the third track, ‘Woke Up This Morning.’ If you are looking for texture in your show, ‘Harder than It Looks’ or ‘Cross the Line’ are propelling. The closing ballad, ‘Thank You’ shares a common ‘look back in fondness’ an over 40 audience will easily relate to.

Besides anyone that can include, “I think Mkultra is messing with my mind” deserves accolades.

[“Mkultra was the code name for a covert, illegal CIA human research program, run by the Office of Scientific Intelligence” which began in the 1950’s, “continuing at least through the late 1960s, and it used U.S. and Canadian citizens as its test subjects.” (LSD was used in this program.)]