Artist: Melvin Taylor and the Slack Band
Title: Rendevouz with the Blues
England's Hammer Studios shoulda shot a movie called,'The Blue Curse of Stevie Ray Vaughan.' Guaranteed to shorten any promising career, the "curse" is used by the clueless to infer speed and rocking tunes: the 'curse' in invoked by those in the know to infer drool clone-like artistry.
When listening to the current recordings of Chicago's Melvin Taylor and the Slack Band, including his latest, Rendevous with the Blues' on Evidence Records, Taylor no longer needs to fear an invocation of 'the curse.' Taylor has clearly risen above the ebbing rip-tide of Vaughan's legacy and introduced a unique blend of Chicago blues and George Benson's jazz to the lexicon of modern music. Daring to go where no one has gone before, with rich full tone and a texture all his own, Taylor is embarking on career where few have the chops to follow.
According to Rolling Stone Magazine's website, Melvin Taylor is "One of the most exhilarating blues guitarists to emerge in the past decade, Melvin Taylor is more a blues innovator than a purist, mixing jazz chords and rock influences into his tapestry of electric blues. Born in Mississippi in '59, Taylor's family moved to Chicago when he was three. By age 12, the young guitarist had started jamming with his uncle and friends. In the early '80s, Taylor was asked to join the Legendary Blues Band (following the departure of Muddy Waters). In early 1995, Taylor signed with Evidence Records and released his first album in 11 years, simply titled Melvin Taylor and the Slack Band. The record began to turn heads and soon became the best-selling title in Evidence's catalog. Dirty Pool followed in 1997, further increasing his reputation as one of the best blues guitarist on the scene."
Seeing Taylor perform his defying over-the-necks lighting quick melodic runs live leads the listener to question why the artist has not quickly risen to the upper echelon of the club circuit. Being signed to an independent label, rarely playing clubs outside the Chicago area, and a history of substance abuse in the past have plagued his career. Taylor also asserts that racism has put hurdles in his path. With the past fading away, on his latest album, Rendezvous With the Blues, Taylor shows his skills as an truly gifted guitar player and song interpreter. Performing songs by John Lee Hooker, Herbie Mann, Gregg Allman, Sonny Boy Williamson, Prince, and ZZ Top, Taylor makes the songs his own by adding his jazzy touch and rock-hard riffs. Of special note is the guest appearance by Mato Naiji of Indigenous on two tracks including, 'A Tribute to John Lee Hooker.' The cultural clash between Naiji's Austin-bend playing and Taylor's Benson-bend highlights just how far Taylor's sound and playing is from 'the curse.'
Thursday, January 10, 2008
Blues Purists Beware! Alice Stuart
Artist: Alice Stuart
Title: 'Can't Find No Heaven'
Rating: Good Label: Burnside
Purists beware!Portland based Burnside Records is rapidly developing a reputation of very credible music releases with a strong representation of Pacific Northwest artists. Among this growing clan of credible releases is a new album by former Frank Zappa & the Mothers of Invention member Alice Stuart. Stuart's rootsy based approach began in the early '60's as an opening act for folk and blues luminaries such as Mississippi John Hurt, Doc Watson, Phil Ochs, Jack Elliot, Muddy Waters, and Doug Kershaw
During her less than prolific career, Stuart has recorded her rambling blues style with the upper crust of blues-roots labels including Arhoolie, Fantasy, and now Burnside. With the endorsement from the Northwest's greatest music mogul Terry Currier - it appears that Stuarts career is coming back strong after a ten-plus year break. Produced by the well respected guitar man Terry Robb, Stuart's album is a heartfelt mix of revived acoustic blues based songs with a tasty touch of folky feel. Purists are fated to adore this record. Stuart's vocals are torn and frayed with the strand of weakness that endears the listener.
Described by Rolling Stone magazine as, "a major talent... her lyrics are evocative...", "Can't Find No Heaven" includes guest appearances by Evidence Records harp player Paul DeLay.
Title: 'Can't Find No Heaven'
Rating: Good Label: Burnside
Purists beware!Portland based Burnside Records is rapidly developing a reputation of very credible music releases with a strong representation of Pacific Northwest artists. Among this growing clan of credible releases is a new album by former Frank Zappa & the Mothers of Invention member Alice Stuart. Stuart's rootsy based approach began in the early '60's as an opening act for folk and blues luminaries such as Mississippi John Hurt, Doc Watson, Phil Ochs, Jack Elliot, Muddy Waters, and Doug Kershaw
During her less than prolific career, Stuart has recorded her rambling blues style with the upper crust of blues-roots labels including Arhoolie, Fantasy, and now Burnside. With the endorsement from the Northwest's greatest music mogul Terry Currier - it appears that Stuarts career is coming back strong after a ten-plus year break. Produced by the well respected guitar man Terry Robb, Stuart's album is a heartfelt mix of revived acoustic blues based songs with a tasty touch of folky feel. Purists are fated to adore this record. Stuart's vocals are torn and frayed with the strand of weakness that endears the listener.
Described by Rolling Stone magazine as, "a major talent... her lyrics are evocative...", "Can't Find No Heaven" includes guest appearances by Evidence Records harp player Paul DeLay.
Heartmurmurs deliver blue plate special
Band: The Heartmumurs
Title: 'Same Old Blues'
Writer: Rick Galusha
The latest release by Lincoln's well known Zoo Bar house band, The Heartmurmurs' is aptly named, 'Same Old Blues.' Recorded live in October 2001, The Heartmurmurs purr through a two disc slate of traditional and pop-blues standards including covers of songs by B. B. King, Bill Withers, Chuck Berry, and Albert Collins. In a world where the next wrinkle on the blues is hailed as ground-breaking, the Heartmurmurs dish up their standard fare of blues that Lincoln's steeped audience have come to expect; not quite purists but any illusions of 'fad dancing' is left to other bands. Each member of the band is a competent musician and not adding any flairs to the blues, but then their meal ticket has been punched because they don't change - what you see is what you get and if you like what you've gotten since 1973 you're going to love this double CD set.
Probably as much a souvenir piece of the Zoo Bar, 'Same Old Blues' is a solid measuring stick for all blues discs. As the blues genres struggles to define itself in this modern world, with rock music being marketed as the blues. The Heartmurmurs march on playing what they know best and giving their audience what they have come to expect. To paraphrase Ray Davies of the Kinks, God Bless stability, "tea and virginity."
Title: 'Same Old Blues'
Writer: Rick Galusha
The latest release by Lincoln's well known Zoo Bar house band, The Heartmurmurs' is aptly named, 'Same Old Blues.' Recorded live in October 2001, The Heartmurmurs purr through a two disc slate of traditional and pop-blues standards including covers of songs by B. B. King, Bill Withers, Chuck Berry, and Albert Collins. In a world where the next wrinkle on the blues is hailed as ground-breaking, the Heartmurmurs dish up their standard fare of blues that Lincoln's steeped audience have come to expect; not quite purists but any illusions of 'fad dancing' is left to other bands. Each member of the band is a competent musician and not adding any flairs to the blues, but then their meal ticket has been punched because they don't change - what you see is what you get and if you like what you've gotten since 1973 you're going to love this double CD set.
Probably as much a souvenir piece of the Zoo Bar, 'Same Old Blues' is a solid measuring stick for all blues discs. As the blues genres struggles to define itself in this modern world, with rock music being marketed as the blues. The Heartmurmurs march on playing what they know best and giving their audience what they have come to expect. To paraphrase Ray Davies of the Kinks, God Bless stability, "tea and virginity."
Aretha Franklin & Lou Pride: Soul Music
Artist: Lou Pride
Title: Words of Caution
Label: Severn
Artist: Aretha Franklin
Title: Queen in Waiting (The Columbia Years 1960 - 1965)
Label: Columbia
Good music moves your soul; it makes me wanna dance (or at least wiggle a bit). As a 'big music buyer' since 1971 I've often tried to narrow down the music I like best, late '70's punk, mid-60's British Blues rock, mid-50's electric Chicago blues, soul music... gosh, I just can't decide. This I do know, nothing beats a good soul record and both of these are excellent examples of how good soul music can really be.
What is soul music? Good question. Whereas blues is all about the beat, to me soul music is the blues with a more pronounced melody line and 'swing' in the rhythm. On his album, Words of Caution' Lou Pride reprises the finest blend of '60's soul with modern recording techniques and some 'on-fire' players. While the Malaco Record label technically still records modern soul music, their cost-corner-cutting strategy of using programming, synthesizer keyboards, and lack of audio texture from song-to-song cheapens their output into the 'unlistenable' category.
Washington D.C. based Severn Records (Darrell Nulisch, Mike Morgan & the Crawl) have yet again signed a relatively unknown talent and introduced the world to a vibrant artist with potential to continue releasing great records into the future. Using the keyboard accents and swaths of Severn stable artist Benjie Porecki and the seven-eight piece horn section, Words of Caution, is an excellent example of '60's soul music in a modern world. If you love the great old soul star like Otis Redding, Sam & Dave, early Aretha Franklin, etc... you will find this album immediately accessible and wonderful.
This record will be spinning on KIWR's PS Blues radio program well into the future. The eighth track, 'Bringin' Me Back Home' swings with all the force of Memphis soul tornado.
Speaking of Aretha Franklin, you can't deny the true diva. If you happen to catch VH1's Diva programs, it was clear that all knees bowed to the still reigning Queen of Soul. Unfortunately, at least for me, her modern recordings hell bent on chasing modern sounds rather than falling back on Atlantic's Jerry Wexler's 1965 philosophy that lead Aretha onto Billboard's pop charts... put the Queen at the piano and let her sing. Instead she's covering crappy pop tunes with half hearted "Hot Producers" putting out albums that are, at best, forgettable. After mining the ancient archives of Atlantic's catalogue, including the wonderful 4 CD boxset on Rhino, Queen of Soul' I realized you can only listen to 'Chain of Fools' or the Otis Redding penned, 'Respect' so many times. My heart grew fonder while my ears yearned for something new; something exciting. God Bless Sony Music's Legacy Label line. With the July '02 release of the two CD set, 'Queen in Waiting' one gets to hear from pre-hey day recordings by the soon-to-be-crowned Queen of Soul. Primarily blues based, these recordings are tasty morsels that had hidden themselves from my wandering lust for more Franklin soul. 'Evil Gal Blues' and more, this set promises to add a new and exciting dimension to my love for that Detroit musical goddess of the church pew.
Title: Words of Caution
Label: Severn
Artist: Aretha Franklin
Title: Queen in Waiting (The Columbia Years 1960 - 1965)
Label: Columbia
Good music moves your soul; it makes me wanna dance (or at least wiggle a bit). As a 'big music buyer' since 1971 I've often tried to narrow down the music I like best, late '70's punk, mid-60's British Blues rock, mid-50's electric Chicago blues, soul music... gosh, I just can't decide. This I do know, nothing beats a good soul record and both of these are excellent examples of how good soul music can really be.
What is soul music? Good question. Whereas blues is all about the beat, to me soul music is the blues with a more pronounced melody line and 'swing' in the rhythm. On his album, Words of Caution' Lou Pride reprises the finest blend of '60's soul with modern recording techniques and some 'on-fire' players. While the Malaco Record label technically still records modern soul music, their cost-corner-cutting strategy of using programming, synthesizer keyboards, and lack of audio texture from song-to-song cheapens their output into the 'unlistenable' category.
Washington D.C. based Severn Records (Darrell Nulisch, Mike Morgan & the Crawl) have yet again signed a relatively unknown talent and introduced the world to a vibrant artist with potential to continue releasing great records into the future. Using the keyboard accents and swaths of Severn stable artist Benjie Porecki and the seven-eight piece horn section, Words of Caution, is an excellent example of '60's soul music in a modern world. If you love the great old soul star like Otis Redding, Sam & Dave, early Aretha Franklin, etc... you will find this album immediately accessible and wonderful.
This record will be spinning on KIWR's PS Blues radio program well into the future. The eighth track, 'Bringin' Me Back Home' swings with all the force of Memphis soul tornado.
Speaking of Aretha Franklin, you can't deny the true diva. If you happen to catch VH1's Diva programs, it was clear that all knees bowed to the still reigning Queen of Soul. Unfortunately, at least for me, her modern recordings hell bent on chasing modern sounds rather than falling back on Atlantic's Jerry Wexler's 1965 philosophy that lead Aretha onto Billboard's pop charts... put the Queen at the piano and let her sing. Instead she's covering crappy pop tunes with half hearted "Hot Producers" putting out albums that are, at best, forgettable. After mining the ancient archives of Atlantic's catalogue, including the wonderful 4 CD boxset on Rhino, Queen of Soul' I realized you can only listen to 'Chain of Fools' or the Otis Redding penned, 'Respect' so many times. My heart grew fonder while my ears yearned for something new; something exciting. God Bless Sony Music's Legacy Label line. With the July '02 release of the two CD set, 'Queen in Waiting' one gets to hear from pre-hey day recordings by the soon-to-be-crowned Queen of Soul. Primarily blues based, these recordings are tasty morsels that had hidden themselves from my wandering lust for more Franklin soul. 'Evil Gal Blues' and more, this set promises to add a new and exciting dimension to my love for that Detroit musical goddess of the church pew.
Nominee - Keeping the Blues Alive award 2007
I recently found out the radio program, Pacific Street Blues, was nominated for a 'Keeping the Blues Alive' award. KTBA is a national recognition by the industry that "you" are among the best in the country for the category you've been nominated in. Last year Terry O'Halloran won the award for his efforts in promoting live blues. It's cool to be nominated although I wonder if they've heard this "blues" show. On some level the nomination is recognition that perservance pays off; through three radio stations, numerous guest hosts, emceeing hundreds of events and lasting a span of nearly two decades. For more than ten years PS Blues has been aired from 9 - Noon in KIWR 89.7 fm.
Over the years the show has changed quite a bit. When the show began, John Draus and I played archival blues - albums like, "Blood Stains on the Wall." Yeah, gutteral. When the late, and dearly missed, John Lastovica co-hosted he introduced blues based Classic Rock to the mix. After meeting for the first Omaha Blues Society meeting we began to focus on playing bands that we coming to town; something I think we can do a better job at. Joe Putjender was instrumental (pun intended) in getting us to play local artists: something we remain very committed to and very proud of.
Highlights include spending 90 minutes on the phone with Bill Wyman (The Rolling Stones), interviewing Johnny Winter on his bus and interviewing a recently sober Dr. John while B. B. King's band smoked pot, pun intended, thus clouding up the process. I meet Mato Nanji (Indigenous), a gentle soul, early and since then our kids play together whenever we can swing it. It was especially cool when, for nine months, listener's kept the show alive since campaign laws forbid me from being on the air. Getting to know Mark Tilsen, former Indigenous Manager, who assisted in the legal defense of 600 Native Americans at Wounded Knee, made me better than I was.
As best as we can manage Pacific Street Blues is a conduit between listeners and music. Sometimes we do a good job but sometimes I don't. (Syntax error intended) I want PS Blues to be unpredictable and challenge listeners schema of what the blues is. Thanks to Iowa Western Community College, Vicki, Bill and Sophia for letting me share the music. Thanks to Terry for running the dials. Thanks to the Blues Society of Omaha and "Thank-You" to the many listeners of Pacific Street Blues. I don't know if we'll win any national awards but as chessy as it sounds we've been winning for the past 1,032 weeks. Thanks for listening.
Post script: Our friends in Canada won this year's award and we wish them the best. This means no trip for Rick to Memphis in February - LOL
Over the years the show has changed quite a bit. When the show began, John Draus and I played archival blues - albums like, "Blood Stains on the Wall." Yeah, gutteral. When the late, and dearly missed, John Lastovica co-hosted he introduced blues based Classic Rock to the mix. After meeting for the first Omaha Blues Society meeting we began to focus on playing bands that we coming to town; something I think we can do a better job at. Joe Putjender was instrumental (pun intended) in getting us to play local artists: something we remain very committed to and very proud of.
Highlights include spending 90 minutes on the phone with Bill Wyman (The Rolling Stones), interviewing Johnny Winter on his bus and interviewing a recently sober Dr. John while B. B. King's band smoked pot, pun intended, thus clouding up the process. I meet Mato Nanji (Indigenous), a gentle soul, early and since then our kids play together whenever we can swing it. It was especially cool when, for nine months, listener's kept the show alive since campaign laws forbid me from being on the air. Getting to know Mark Tilsen, former Indigenous Manager, who assisted in the legal defense of 600 Native Americans at Wounded Knee, made me better than I was.
As best as we can manage Pacific Street Blues is a conduit between listeners and music. Sometimes we do a good job but sometimes I don't. (Syntax error intended) I want PS Blues to be unpredictable and challenge listeners schema of what the blues is. Thanks to Iowa Western Community College, Vicki, Bill and Sophia for letting me share the music. Thanks to Terry for running the dials. Thanks to the Blues Society of Omaha and "Thank-You" to the many listeners of Pacific Street Blues. I don't know if we'll win any national awards but as chessy as it sounds we've been winning for the past 1,032 weeks. Thanks for listening.
Post script: Our friends in Canada won this year's award and we wish them the best. This means no trip for Rick to Memphis in February - LOL
Blue House 'How Big?' is sure to big!
Artist: Blue House
Title: How Big?
Local Music; the term infers inferiority. Unbeknown to most, Eastern Nebraska's live music scene has actually been taking on very positive reputation throughout the country. Including articles in national and international magazines such at Time, Mojo, and Album Network. At one point a manager for a well known national act referred to our fair community as, 'The Austin of the North.' While Austin's reputation as the 'Live Music Capital of the World' may be sullied now - it was quite the compliment when it was offered. I am especially proud of the support role that Homer's has played in development of the areas live music scene. I think there are other major supporting players making it happen including www.SLAMomaha, BJ Hutchtemann, Terry O. & the Omaha Blues Society, Sophia John, KIWR ' The River', Marq, and The READER. In the end it comes down to the musicians themselves - are the songs there or aren't they? If the masses vote with dollars, based upon the sales of local music, the local scene is exploding with success.
Through the '70's and '80's Omaha's preference ran towards working-class-rock. To a large extent that was propelled by Z92's 'goouge' playlist. With the tumbling plethora of radio formats resulting in the wildly successful format of KIWR (in terms of music sold) and to a lesser extent KCTY, Omahan's preferences for music has been maturing and expanding. When some things change; some things stay the same. I particularly enjoy the development within our blues community of two significant acts; John Crews Blues, who's album is forthcoming, and Blue House, who's new album, 'How Big?' is just hitting the stores (04/27/2002). John Crews pre-release single, 'King of Broken Hearts' indicates that their new album will be excellent: after three listenings to the new Blue House album I can say that 'How Big?' is, after 13 years of hosting PS Blues (KIWR/KKCD) the finest locally released blues-genre release I have heard to date.
Generously supported by KEZO's Todd & Tyler (who use the power of their bully pulpit to support local music against the stations lethargic formatting), Blue House has been 'in development' for more than five years and folks, the wait has been worth it!
On their first album Blue House was steeped in standard covers & tired clichés, smothered under the weight of a band that didn't jelling. This new album exhibits a well oiled machine that includes a tastefully skillful guitar player (Joe Buda) who has the sense to get out of the way and let the band rock as a unit. Buda's tasteful "chord slicing" adds a funk driven push to the band's propelling rhythm section (Joe Putjenter- drums & vocals, Eric Reimnitz-bass) Throughout the disc the band allows the sensual beauty of it's horn section to step up and solo and for this alone the band stands above all comers. The seventh track, 'Da De Da (Grease the Cat)' is an Average White Band-like inspired instrumental that allows each brass-man to step forward and 'sass' the melody line (Scott Vicroy - saxophones, Stan Harper-saxophones, Joel Edwards-trumpet). Edwards muted solo fits perfectly.
So what's wrong with this release? The CD jacket's back panel is nearly unreadable and with an audience of 35 and over - forget it - no one could read it if they wanted to. Then there's the novelty song, 'How Big You Gonna Get', though sure to be a favorite tune at the bands live peformance, to quote Danny Devito's character in the film 'Tin Men' "it's [gonna be] an albatros around my neck." My other critic is that there are moments when Buda's lack of a chucky guitar sound gives a, 'Modern AC' sound to the band ala Michael McDonald... which come to think about it is probably a critical faux pax but a commercial lode. Of the twelve tracks on the album, nine are originals and, for the most part, exceptionally well done . Their cover of, 'Polk Salad Annie' rocks-n-fros into a swingin' ditta that allows the horn section to push up against the a panoramic guitar solo. The band also covers the old standard by Stax Records' Rufus Thomas (and later covered by the Rolling Stones and Aerosmith), 'Walkin' the Dog.' The third cover is, 'Tee Ni Nee Ni Nu' which I recognize as an Alex Chilton (Box Tops) tune.
In closing, this is a very good album and considering that it's a local blues band, well, that makes it all the better. With proper marketing and a full commitment by the band, their's is a modern-retro sound that could offer Blue House an opportunity to explore stages outside of our immediate vicinity. I hope they reach for the brass ring that this record indicates is with their reach.
Title: How Big?
Local Music; the term infers inferiority. Unbeknown to most, Eastern Nebraska's live music scene has actually been taking on very positive reputation throughout the country. Including articles in national and international magazines such at Time, Mojo, and Album Network. At one point a manager for a well known national act referred to our fair community as, 'The Austin of the North.' While Austin's reputation as the 'Live Music Capital of the World' may be sullied now - it was quite the compliment when it was offered. I am especially proud of the support role that Homer's has played in development of the areas live music scene. I think there are other major supporting players making it happen including www.SLAMomaha, BJ Hutchtemann, Terry O. & the Omaha Blues Society, Sophia John, KIWR ' The River', Marq, and The READER. In the end it comes down to the musicians themselves - are the songs there or aren't they? If the masses vote with dollars, based upon the sales of local music, the local scene is exploding with success.
Through the '70's and '80's Omaha's preference ran towards working-class-rock. To a large extent that was propelled by Z92's 'goouge' playlist. With the tumbling plethora of radio formats resulting in the wildly successful format of KIWR (in terms of music sold) and to a lesser extent KCTY, Omahan's preferences for music has been maturing and expanding. When some things change; some things stay the same. I particularly enjoy the development within our blues community of two significant acts; John Crews Blues, who's album is forthcoming, and Blue House, who's new album, 'How Big?' is just hitting the stores (04/27/2002). John Crews pre-release single, 'King of Broken Hearts' indicates that their new album will be excellent: after three listenings to the new Blue House album I can say that 'How Big?' is, after 13 years of hosting PS Blues (KIWR/KKCD) the finest locally released blues-genre release I have heard to date.
Generously supported by KEZO's Todd & Tyler (who use the power of their bully pulpit to support local music against the stations lethargic formatting), Blue House has been 'in development' for more than five years and folks, the wait has been worth it!
On their first album Blue House was steeped in standard covers & tired clichés, smothered under the weight of a band that didn't jelling. This new album exhibits a well oiled machine that includes a tastefully skillful guitar player (Joe Buda) who has the sense to get out of the way and let the band rock as a unit. Buda's tasteful "chord slicing" adds a funk driven push to the band's propelling rhythm section (Joe Putjenter- drums & vocals, Eric Reimnitz-bass) Throughout the disc the band allows the sensual beauty of it's horn section to step up and solo and for this alone the band stands above all comers. The seventh track, 'Da De Da (Grease the Cat)' is an Average White Band-like inspired instrumental that allows each brass-man to step forward and 'sass' the melody line (Scott Vicroy - saxophones, Stan Harper-saxophones, Joel Edwards-trumpet). Edwards muted solo fits perfectly.
So what's wrong with this release? The CD jacket's back panel is nearly unreadable and with an audience of 35 and over - forget it - no one could read it if they wanted to. Then there's the novelty song, 'How Big You Gonna Get', though sure to be a favorite tune at the bands live peformance, to quote Danny Devito's character in the film 'Tin Men' "it's [gonna be] an albatros around my neck." My other critic is that there are moments when Buda's lack of a chucky guitar sound gives a, 'Modern AC' sound to the band ala Michael McDonald... which come to think about it is probably a critical faux pax but a commercial lode. Of the twelve tracks on the album, nine are originals and, for the most part, exceptionally well done . Their cover of, 'Polk Salad Annie' rocks-n-fros into a swingin' ditta that allows the horn section to push up against the a panoramic guitar solo. The band also covers the old standard by Stax Records' Rufus Thomas (and later covered by the Rolling Stones and Aerosmith), 'Walkin' the Dog.' The third cover is, 'Tee Ni Nee Ni Nu' which I recognize as an Alex Chilton (Box Tops) tune.
In closing, this is a very good album and considering that it's a local blues band, well, that makes it all the better. With proper marketing and a full commitment by the band, their's is a modern-retro sound that could offer Blue House an opportunity to explore stages outside of our immediate vicinity. I hope they reach for the brass ring that this record indicates is with their reach.
Harry Manx - blues w/a twist of India!
Artist: Harry Manx
Title: Wise & Otherwise
With the death of Stevie Ray Vaughan the blues genre suffered a crisis in confidence. Blues labels knew there was a market that was just developing: a chance to sell more records. With Vaughan's death it appeared this door was closing. Today Bonnie Raitt is hoisting the entire genre on her slender shoulders and pulling the blues into the mainstream. However, in the early 90's, in a genre that honored age and experience, major labels began to sign young guitar players (Shepherd, Lang, Naiji, Welch, etc...) and fans embraced the elixir of youth! Now the sheen is wearing off and blues sales are flagging. In an environment that is rapidly changing Canadian Harry Manx is challenging current trends; he's older, he plays an acoustic guitar, and rather than offering the umpteenth (often lame) version of Robert Johnson's 'Sweet Home Chicago', Manx is using his '60's pop roots to connect with the musically disenfranchised baby boomers
This is my first 'niche' rated record. It is also my first 'trad-blues' review and the first album released in this new millennium reviewed on this site. I wanted to foist something into the discussion that was unknown but none-the-less very, very good. Harry Manx's second release, 'Wise & Otherwise' is an exceptional release with a folky blues based foundation that, by avoiding the standard 12 bar blues format, seems to embrace a near 'pop' music format. I would almost venture to say that Manx is, in the best sense of the word, a hybrid between Portland blues performer Kelly Joe Phelps (in regard to his playing) and a mellower Bob Segar (in regard to the texture of his voice). What adds to the wonder of Manx's music is an India genre influence.
To my knowledge, the 'raga' was first introduced to the blues genre by Mike Bloomfield whilst a member of the Paul Butterfield Blues Band; however, Manx embraces the influence from India throughout this album and that added 'spice' is nothing short of mesmerizing. In addition to playing the slide guitar, Manx also plays an Indian instrument called 'The Veena' as well as the Banjo & Harmonica. Of the twelve songs on the album, seven are original compositions. In a most original twist Manx melds his own, "The Gist of Madhuvanti" into the B. B. King standard "The Thrill is Gone." Manx also covers classic rock tunes by Jimi Hendrix, "Foxy Lady" and Van Morrison, "Crazy Love."
Endorsing an artist is always a sketchy leap of faith. I have spoken to Manx on the phone a couple of times and swapped some EMAILS. Seems like a pretty approachable fellow and, based upon what I've heard of his music, someone who can embrace a cliche ridden genre, add something to it and make it his own. Harry Manx will be appearing at this year's Indigenous Jam and as an army of one I am very excited about seeing someone that I am confident will capture the attention of the Jam's historically attentive fans.
Title: Wise & Otherwise
With the death of Stevie Ray Vaughan the blues genre suffered a crisis in confidence. Blues labels knew there was a market that was just developing: a chance to sell more records. With Vaughan's death it appeared this door was closing. Today Bonnie Raitt is hoisting the entire genre on her slender shoulders and pulling the blues into the mainstream. However, in the early 90's, in a genre that honored age and experience, major labels began to sign young guitar players (Shepherd, Lang, Naiji, Welch, etc...) and fans embraced the elixir of youth! Now the sheen is wearing off and blues sales are flagging. In an environment that is rapidly changing Canadian Harry Manx is challenging current trends; he's older, he plays an acoustic guitar, and rather than offering the umpteenth (often lame) version of Robert Johnson's 'Sweet Home Chicago', Manx is using his '60's pop roots to connect with the musically disenfranchised baby boomers
This is my first 'niche' rated record. It is also my first 'trad-blues' review and the first album released in this new millennium reviewed on this site. I wanted to foist something into the discussion that was unknown but none-the-less very, very good. Harry Manx's second release, 'Wise & Otherwise' is an exceptional release with a folky blues based foundation that, by avoiding the standard 12 bar blues format, seems to embrace a near 'pop' music format. I would almost venture to say that Manx is, in the best sense of the word, a hybrid between Portland blues performer Kelly Joe Phelps (in regard to his playing) and a mellower Bob Segar (in regard to the texture of his voice). What adds to the wonder of Manx's music is an India genre influence.
To my knowledge, the 'raga' was first introduced to the blues genre by Mike Bloomfield whilst a member of the Paul Butterfield Blues Band; however, Manx embraces the influence from India throughout this album and that added 'spice' is nothing short of mesmerizing. In addition to playing the slide guitar, Manx also plays an Indian instrument called 'The Veena' as well as the Banjo & Harmonica. Of the twelve songs on the album, seven are original compositions. In a most original twist Manx melds his own, "The Gist of Madhuvanti" into the B. B. King standard "The Thrill is Gone." Manx also covers classic rock tunes by Jimi Hendrix, "Foxy Lady" and Van Morrison, "Crazy Love."
Endorsing an artist is always a sketchy leap of faith. I have spoken to Manx on the phone a couple of times and swapped some EMAILS. Seems like a pretty approachable fellow and, based upon what I've heard of his music, someone who can embrace a cliche ridden genre, add something to it and make it his own. Harry Manx will be appearing at this year's Indigenous Jam and as an army of one I am very excited about seeing someone that I am confident will capture the attention of the Jam's historically attentive fans.
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