Indigenous revive career with 'Broken Lands'

INDIGENOUS - “BROKEN LANDS”

While rock music is awash with bands comprised of siblings the South Dakota band Indigenous cut a swath in the bluesrock genre for ethnic bands like Los Lonely Boys and the Homemade Jamz Blues Band. During the past decade Indigenous has struggled to live up to its initial promise; struggling to find a voice since the ’98 release of, ‘Things We Do.’ In the succeeding ten years, through three subsequent albums and two CD-EPs, Mato Nanji, the sole remaining founding member, has parted company with his siblings, changed management and allowed his promising career to nearly fall apart. The fans disappointment has been palatable. With the August release of ‘Broken Lands’ the promise sensed on their 1995 release, ‘Awake’ has been fulfilled.

As the son of noted Indian Rights pioneer Greg Zephier, Mato Nanji has been silent on this legacy…until now. When Zephier died of natural causes in 1999 Jackson Browne played at the memorial Indigenous Jam concert. Zephier honored his son by giving him the native name of America’s first Civic Rights leader Standing Bear. Greg raised his son to be sober, principled and to admire the music of Jimi Hendrix, Santana, Albert King and eventually Stevie Ray Vaughan. All are lessons Nanji took to heart.

The band’s previous album, ‘Chasing the Sun’ dealt with the trauma of breaking up a band comprised of family members. The release of his latest effort, Broken Lands, shows Nanji using the Draconian nightmare of growing up on an impoverished reservation, being invisible to most Americans, to sing the blues…the real blues. On the song, ‘Place I Know’ Mato remembers a community raped by alcoholism and drug abuse when he sings, “I hear a baby crying in the night, with no mother in sight. Walking down the street with no shoes on their feet…You take all you can, in this place I know.” For this writer, contemporary blues have never been more real; more apparent or more genuine. The subsequent instrumental break shows the “ancient art” of guitar weaving between Nanji and the band’s other guitarist Kris Lager that is captivating and panoramic..

On ‘All I Want to See” the band brings back the textures of a prominent acoustic guitar so righteously used on the title track of their ’98 radio embraced album, ‘Things We Do.’ By the seventh track of ‘Broken Lands’ the band has downshifted into the albums most radio friendly track, ‘Just Can’t Hide’ where the band uses crisp melody lines against (more!) cowbell to accelerate the album’s energy a notch above the normative. Gone are the atonal groove tracks of previous records and back are melody lines intertwined with blues textures and subtle but biting lyric lines.

Guitar hackers will relish at the interplay between Nanji and Lager but it is organist Jeremiah Weir’s background playing that seems to push and prod the album with gentle textures and polite nods ala’ the Allman Brothers or The Derek Trucks Band. John Fairchild on drums and A.C. Wright on bass round-out Nanji’s touring band that is road tight and solid on a foundation that was born on the windswept high plains of Nebraska. There are six radio friendly tracks on this album including the jumping, ‘Make a Change,’ a Black Crowes style, “It’s Alright With Me” and the Hendrix textured, ‘Should I Stay.” Not to be confused with an Eric Clapton track of the same name, ‘Let It Rain’ simmers into a full blown rock tune that is comfortable – drawing the listener into the album. Nanji repeatedly leans into the wind with guitar solos that build the song and ends soon enough.

On ‘Eyes of a Child’ Nanji contrasts his childhood to those of his own children when he sings of his home life with wife, co-writer and vocalist Leah Nanji when he says,“You taught me what I need to know. Living with no envy and loving all around, Finding your voice with each little sound. Gaining strength from the arms that embrace you; Never worry about the troubles that may face you. Teaching others life is a gift. With every smile you will get your wish.”

Fans have waiting a long time to hear this album. As with any band there have been disappointments. To those of us that have trudged out to see the band over the past ten difficult years – ‘Broken Lands’ is a masterpiece. Nanji has stepped up with an album of songs that will bind fans back to a band that has finally found its voice…a voice with a message that matters.

Perhaps Nanji is speaking to listeners when he sings, “Still remember all the things we had together…Can you hear me calling you. Can you feel me missing you? I know I was lost before…now you’re all I’m looking for” from the album’s track, ‘Still Remember.’ Broken Lands comes out August 19th on Vanguard Records.

album review: Kelly Hunt Mercy

Artist: Kelly Hunt
Title: Mercy
Writer: Rick Galusha
Rating: 7

If the South has Marcia Ball – then the Midwest has Kelly Hunt. Originating in Kansas City, Hunt has a storied career built by hard work and seemingly endless touring. While recognized by many, Hunt’s career seems to just shy of the level playing field that many national label artists muster. None-the-less this piano player continues to deliver solid albums.

Kelly Hunt’s piano focused sound blends a rough edged tavern blues with a contemporary melded blues that can initially be indistinct. The sounds and the textures are immediately recognizable, and there are plenty of “blue notes,” brought together with a less evident melody line but a strong groove. Most of the modern blues community will immediately be at ease with Hunt’s sound.

“They told her two girls could not make a life. This is wrong. Get up, find you a man and be a wife. Oh but when their eyes met they knew it was right. They had no choice but to follow this life. And their love was so big, all heaven broke loose. Their love was so big it made it stone truth.” And thus begins the third track, “Love” on Hunt’s album, ‘Mercy.’ While musicians have historically held a liberal bias, one wonders in the day of 24 hour news if music will continue to be a source for intellectual discourse or merely become a clanging gong of politically correct mind numbing. Clearly there are those who advocate the “shut up and sing” mentality while the oft kicked Constitution guarantees the singer a voice in the public square. When an artist chooses to employ a topical political issue in their art, and step into that public discourse, they open themselves up to criticism that can go beyond their art and focus’ on their content.

Personally I am less drawn to random topical issues being thrown amid recordings. Yes, I recognize an artist’s right to compose and preach but I also recognize my lack of appreciation of society’s seemingly endless polar tugs. I also have a personal desire to seek “just” entertainment for my money and my time. There are artists you come to expect political messages from such as Billy Bragg, Steve Earle, Neil Young, Bob Dylan or Bruce Springsteen but at what point can you draw the line? I suppose at the ‘on/off’ button for you CD player. I skipped the last Springsteen tour; not because I necessarily disagreed with his bantering messages but because I didn’t want to have to pay to hear them. Call me a curmudgeon.

On the title track Hunt and band perform a haunting and beautiful ballad focused on a soft piano line emphasized by Hunt’s vocal lines. The singer advocates for personal mercy for herself and others. It is a wonderful and moving piece that should appeal to radio. In all this is a good, not great, album of songs by a hard working Midwestern barroom talent with aspirations to become a national artist. Hunt’s voice varies between Aretha Franklin in her prime and a modern Etta James’. The songs are above average but failed to fully capture this listener’s ear…although most listeners would find varying levels of enjoyment in this collection of songs.

Album Review, Blues Divine, That's What It Takes

Artist: Blues Divine
Title: That’s What It Takes
Writer: Rick Galusha


Kentucky born guitarist Phillip Franchini debuts his blues chops on the 2006 recording, ‘Blues Divine’ (available on CDBaby.com) Now residing in Southern California, according to the net, Franchini has also released the Flamenco/ Classical album, ‘Paleo’ under the moniker Phillipo Franchini after spending numerous years overseas. Regardless of his musical meanderings Franchini is a competent player with a polished pallet for arrangements and smooth vocal lines. His distinctive voice is warm and, wonder of wonders, he can carry a tune.

Throughout the Blues Divine album Franchini displays a wide range of musical styles while maintaining a comfortable sound that most blues fans will immediately warm to. From the up-tempo and radio friendly horn driven Little Milton style, ‘Other Men’s Crimes’ to a more traditional ‘Delta One’ Franchini seems comfortable moving about the blues spectrum with ease. Joined by Albert Lee and David Grishom, Franchini’s band includes a horn section that repeatedly graces with album with strong lines and good arrangements. Back-up vocalists C.C. White and Raquel Allegra add great depth and texture to Franchini’s able vocals.

This is a very smooth and readily digestible album of contemporary blues with strong melody lines and slick arrangements. I have to imagine that Franchini’s blues are right up the alley and in the pocket for non-Purists blues music fans that want to widen their scope to include new and skilled artists. I would speculate Blues Divine is to modern blues what the Doobie Brothers were to rock n’ roll; competent, perhaps too slick for critics but very popular, very skilled song writers that moved easily within the more commercial arenas with his easy to grasp arrangements and emoted lyrics. I would readily recommend this album to those blues fans looking for a bit more melody and a lot less twang-bar driven jamming.

Album Review: Ricky Gene Hall and the Goods

Artist: Ricky Gene Hall and The Goods
Title: (self titled)
Writer: Rick Galusha

I love a wailin’ guitar. Sure, there are times with the atonal sledgehammer droning of some players gets beyond the annoying nuisance stage; however, Ricky Gene Hall’s self titled third album is a solid guitar-driven rock blues record. Born in Kentucky Hall’s family drove the “Hillbilly Highway” to Ohio where Hall resides and tours today. A regional artist Hall’s underplayed guitar licks fully support his strong vocals and the power trio backing from bassist Tom Martin and drummer Rocky Evans. This is a strong outing that most contemporary blues fans are going to eat up. The band is adept and plays the song rather than throwing scales and solos at the listener without chance for respite.

While Hall’s chops are perfunctory and his songwriting is more melodic that most of his contemporaries, his playing is perhaps a bit too safe and lacks the gritty flare that often distinguishes art from commerce. A majority of listeners could care less about critical appeasement and this is a very strong record for them- instantly recognizable and easily digested. Hall’s ultra-smooth vocals and the band’s tasty playing is nothing less than wonderful. Hall’s guitar tone is rich and full. Ricky Gene Hall’s album includes appropriate covers such as Little Milton’s, ‘That’s What Love Will Make You Do,’ Taj Mahal’s ‘Blues Ain’t Nothin’ and the old standard, ‘It Hurts Me Too.’ The band writes five of the albums thirteen tracks with the arching ballad, ‘Rather Hear a Lie’ being the record’s radio friendly track. Other songwriters include; Isaac Hayes & David Porter (Stax), Percy Mayfield, and Louis Jordan.

Album Review: Mississippi Mudsharks, Train Rolls On

Artist: Mississippi Mudsharks
Title: Train Rolls On
Writer: Rick Galusha

This is a band that cuts from the cloth of Walter Trout and Molly Hatchet. With gruff vocals that nary’ between a bark and a growl ala’ Jim Dandy Mangrum (Black Oak Arkansas) the band crusades through an albums worth of tracks. Guitarist Scotty ‘Mad Dog’ Blinn plays licks reminiscent of Kiss’ Ace Frehley while bass player “Big” Mike Lars hammers away with flair.

With all the gusto of Motorhead behind them the Mississippi Mudsharks wail, twist and turn as the album hits high speed tempos. These guys are the absolute dumpster divers of West Coast blues kitsch…in other words they may not be a band for most listeners. However ‘The Mudsharks’ have repeatedly won the San Diego markets award for Best Blues Album of the Year including three times in the 90’s and again in 2006. With their heavy handed blues that leans towards ZZ Top on Meth ala’ Nashville Pussy, the blues is a genre that seems to welcome all comers, and this is a band that will push even the most lenient of envelopes. So to lift a line from Rod Stewart off the latest Faces boxset album, “God bless [their] socks!”

Delta Highway, The Devil Had a Woman

Artist: Delta Highway
Title: The Devil Had a Woman
Writer: Rick Galusha

Musical genres are little more than marketing tools to help people piece together what a band or compact disc is probably going to sound like. An indicator if you like. As the Major Label systems continues to shrink more and more artists are looking for a musical home. Subsequently more and more acts are falling into the blues category, not because they are playing anything close to the call-call-response of a 12 bar rotation but because the blues audience is big, has money and is generally less and less discerning. I think its great because the tie that binds is blues but the definition is getting wider and wider. Unlike the rock genre, which has fractured into tens of thousands of micro-niches, the blues continues to be an embracing genre that clings to the forefathers but essentially accepts nearly anything that chooses to call itself blues. As a cocksure John Travolta said in the film ‘Broken Arrow,’ “Ain’t it cool!”

With the release of their new album, ‘The Devil Had a Woman,’ the Memphis based band, Delta Highway sets aside any debate on what genre they belong to. This is pure contemporary blues firmly rooted in the traditional American artform. Unlike many roots blues bands however Delta Highway reaches out to the modern listener with fragrant hints of stronger melody lines and more apparent tunesmithing. The band is founded on the relationship of twenty-nine year old vocalist and harmonica player Brandon Santini and thirty-one year old guitarist Justin Sulek. Santini and Sulek are backed by industry stalwarts Tom Louis on bass and Keven Eddy on drums. Together the band has the sounds and textures of the Blues-Greats but utilize modern aspects including the modified vocal line, “The Devil had a woman looked a lot like you” in the title track. In addition, this band “pockets-in-the-groove” better than less experienced bands seem to capture on their albums.

Santini’s vocals are richer than most and are draped with careful harmonica backing lines for added depth and texture. This band underplays appropriately allowing Santini’s harp line, such as on the opening of ‘Feelin’ Bad’ to fully introduce the song without being pushed or overshadowed by pesky guitars or over-used drums. They embrace the song and use their skills to keep the listener focused as the song’s energy builds to a simmering height. There’s no hurry and there’s no rush. Tasty.

The fourth track on the album, “We Got a Thang Goin’ On” starts off with a heavy tilt towards the Rolling Stone’s 1978’s track, ‘Miss You’ including a possibly unintended refrain from Sugar Blue’s harmonica lick that the Stone’s used so effectively in their foray into disco…but make no mistake, Delta Highway’s take is seeped and dirty and won’t be mistaken for disco in your lifetime. The use of an organ in the song only adds to the energy which Santini’s harp solo sets against.

This is a very strong album from a band that has established itself in the blues friendly Mecca market of Memphis. Guitarist Sulek can rip’em off and lay’em down with tasty aplomb but without becoming the dominate force in the song; quickly moving back into the background. This is a band that prides itself on delivering “pure blues.” Clearly the band knows their history and their newest album, ‘The Devil Had a Woman” is an excellent vehicle for blues purists as well as more open minded blues listeners. More traditional radio programmers might spin the fifth track, ‘Got to Be On My Way’ while more free-form jocks find that, ‘We Got a Thang Goin’ On,’ with its Classic Rock reflection, something their listeners will enjoy.

Frank Carillo and the Bandoleros 'Someday'

Artist: Frank Carillo and the Bandoleros
Album: Someday

Writer: Rick Galusha

There was a time when rock records were marketed as rock records. Due to demographic shift and the dearth of choice on commercial radio, rock records by artists over the age of 40 are now marketed to a blues audience. The latest album by Frank Carillo and the Bandoleros is titled, ‘Someday.’ Much like The Michael Stanley Band, Joe Grushecky’s Iron City Rockers or perhaps Nils Lofgren, Carillo is a niche artist within the rock genre that, if you happen to “get it,” you love their music. If you “miss the train” however you are probably oblivious to their work.

Frank Caillo has that ageless summer voice that calls you back to a hot summer nights and a dashboard radios. Carillo’s previous album, “Bad Out There’ was a solid outing that included a tribute track to the late James ‘Jimmy’ Dewar who sang with the Robin Trower Band. For more than three decades Carillo has been the bridesmaid – always on the cusp of a larger audience. After departing Humble Pie, Peter Frampton invited Carillo to play on his next two solo efforts including; Frampton’s ‘Camel’ and ‘Winds of Change.’ Shortly after that, while using the Rolling Stones equipment, Carillo’s band hung-out with Led Zeppelin who were recording, ‘Houses of the Holy’ across the hall. In 1978 Carillo has his first major label deal which included Yvonne Elliman who was enjoying success in Eric Clapton’s band and her lead role in the smash hit, ‘Jesus Christ Superstar.’ And so it goes, ever so close.

Once again, Carillo has released a very strong record that most pre-Nirvana rock and many roots fans will appreciate. On his website, http://www.frankcarillo.com listeners can preview the current and previous solo effort in their entirety; I suggest trying the third track, ‘Lucky (If you can breath). The songs are strong but lack the charisma associated with a statured artist. The arrangements and recordings are pristine and carefully considered. So what’s the deal? The Bandoleros can play and Carillo has an exceptional rock n’ roll voice (ala’ Paul Rogers or Sammy Hagar minus the usual howls and braggadocio). In today’s music environment “good” is no longer good enough – weak skilled record label wonks and radio industry wannabes want easy marketing, model like looks and sexually charged misfits that can be easily manipulated. Well none of those things exist on this album. If ever there was a record where the music did the talking Frank Carillo and The Bandoleros, ‘Someday’ is that record. No – on first listen you’re not going to “get it.” Perhaps by the fourth time through the absolute pure enjoyment of this record, of Carillo’s voice will settle in and then, like me, you’ll become entrapped by an album and an artist that “has it” even if today’s fractured industry fails to fully grasp something is beyond the low laying fruit of mass commercialism. This is a diamond in the rough and don’t ever expect The Bandoleros to become a significant draw – they are a niche of exquisite flavor. Get it – it’s good!