Wednesday, July 14, 2004
Artist: Smokin’ Joe Kubek & Bnois King
Title: Show Me the Money
I have been familiar with Kubek’s career for more than a decade now including listening to most of his releases during this period. While his guitar playing has always been above average his albums have been less than inspired. I frequently thought that Kubek’s willingness to give King microphone time was a bad career move. As the human body ages eventually the voice loses its clout. I would lump Bnois King in the group of blues artists who’s voice is not what it used to be; B. B. King, Etta James, Johnny Winter. So my expectations for Kubek’s latest were quite low.
As a live performer Kubek usually leaves ‘it all on stage’ but, like many recording artists, he was unable to translate that onto the Compact Disc. Well listen up blues fans because Smokin’ Joe’s latest, Show Me the Money, is well worth your ear time. Slicker, grittier, and with a recharged sense of melody Kubek’s latest is probably more rock than trad but the heavy blues flavour remains the same.
Historically artists of Kubek’s magnitude have released albums with the intent of selling them off the stage. On his latest Kubek release, if he can muster the marketing, radio airplay, and tour his tail off, Kubek & King deserve to see sales in stores.
In a ‘One to Ten World Where Five is Average’ this is a solid seven and worth your examination. Hear Kubek’s latest and all the new releases every Sunday from Nine to Noon on K89.7 FM, KIWR’s Pacific Street Blues radio program featuring Rick Galusha.
Friday, January 18, 2008
Muddy Waters defined the 20th Century
Tuesday, June 29, 2004
Titles: Hard Again Title: I’m Ready Title: King Bee
Artist: Muddy Waters
When it rains it pours…
Telling someone with even a modest interest in “GREAT” music to check out a Muddy Waters album is like telling a baseball fan the New York Yankees have had some good players. In an honest discussion Muddy Waters was the foundation that defined popular music in the 20th century.
If there is any question, allow me to erase it now, Muddy Waters, more than Elvis or Chuck Berry or ANYONE ELSE birthed the sound of rock n’ roll. Oh yeah, Elvis made it sexy and Chuck gave it lyrics but Muddy birthed it and nurtured it. When the Beatles rolled off the boat in the early ‘60’s all the great blues artists and many of the (white) rock artists got rudely shoved aside. When Johnny Winter got signed in the late ‘60’s he was rumoured to have been the first “rock” solo artist to have received a million dollar recording contract. Go figure! Anyway, within a decade Winter was at the recording helm breathing new life into the great Muddy Waters recording career.
In 1977 Johnny and Muddy would release the critically acclaimed album, Hard Again. It was on this album that Waters would re-record his older hits using a ‘modern’ recording studio with one of his great bands including; Pinetop Perkins (piano), James Cotton (harp), Willie ‘Big Eyes’ Smith (drums), ‘Steady Rollin’ Bob Margolin (guitar) and Charles Calmese (bass). I can remember the buzz on this album being so strong that, as a high school senior, going in to purchase the brand new (and only) Sex Pistols album AND the Hard Again…which harkens me back to the time when it was the music that mattered!
So now, much to my own joy, Muddy’s ‘Blue Sky Trilogy’ have all been remastered and reissued; Hard Again (’77), I’m Ready (’78), King Bee (’81). No music collection is complete without a worthy sampling of Muddy Waters and no true music fan’s knowledge is rounded unless they have developed a full appreciation for the greatness of Muddy Waters. Any of these three discs are worth the time and investment although I recommend beginning with Hard Again.
Titles: Hard Again Title: I’m Ready Title: King Bee
Artist: Muddy Waters
When it rains it pours…
Telling someone with even a modest interest in “GREAT” music to check out a Muddy Waters album is like telling a baseball fan the New York Yankees have had some good players. In an honest discussion Muddy Waters was the foundation that defined popular music in the 20th century.
If there is any question, allow me to erase it now, Muddy Waters, more than Elvis or Chuck Berry or ANYONE ELSE birthed the sound of rock n’ roll. Oh yeah, Elvis made it sexy and Chuck gave it lyrics but Muddy birthed it and nurtured it. When the Beatles rolled off the boat in the early ‘60’s all the great blues artists and many of the (white) rock artists got rudely shoved aside. When Johnny Winter got signed in the late ‘60’s he was rumoured to have been the first “rock” solo artist to have received a million dollar recording contract. Go figure! Anyway, within a decade Winter was at the recording helm breathing new life into the great Muddy Waters recording career.
In 1977 Johnny and Muddy would release the critically acclaimed album, Hard Again. It was on this album that Waters would re-record his older hits using a ‘modern’ recording studio with one of his great bands including; Pinetop Perkins (piano), James Cotton (harp), Willie ‘Big Eyes’ Smith (drums), ‘Steady Rollin’ Bob Margolin (guitar) and Charles Calmese (bass). I can remember the buzz on this album being so strong that, as a high school senior, going in to purchase the brand new (and only) Sex Pistols album AND the Hard Again…which harkens me back to the time when it was the music that mattered!
So now, much to my own joy, Muddy’s ‘Blue Sky Trilogy’ have all been remastered and reissued; Hard Again (’77), I’m Ready (’78), King Bee (’81). No music collection is complete without a worthy sampling of Muddy Waters and no true music fan’s knowledge is rounded unless they have developed a full appreciation for the greatness of Muddy Waters. Any of these three discs are worth the time and investment although I recommend beginning with Hard Again.
Hadden Sayers belongs in your home
Hadden Sayers belongs in your home
Friday, June 11, 2004
Artist: Hadden Sayers
Title: 12 Bars and the Naked Truth
When Hadden Sayers rolls back into Omaha on June 23rd to play Murphy’s Lounge (96th & L Streets) he’ll be promoting one of the year’s strongest independently distributed adult rock albums; 12 Bars and the Naked Truth.
Like so many significant “adult rock” artists (READ: fans are 35+), Sayers hails from the great state of Texas. On this, his fifth album, Sayers brings a ultra mature sound, distinctive from many of the Texas artists and very clearly not under the auspices of the late Stevie Ray Vaughan. After his last album’s (Supersonic) edgy rock sound, Sayers has moved to a complete focus on the song and done it well. At a time when two good songs on an album has become a standard, Sayers has the skills to string together a full length album of well above average songs (a rarity in today’s ‘thanks to technology we can make albums much, much longer than really necessary’ recording industry.)
Do it for the passion. For me, today, what so many mature rock bands lack is commitment to passion: a willingness to lean into the storm and risk a bit of who they are, their control, in exchange for a well crafted song, a well performed song.
‘12 Bars & the Naked Truth’ finds Sayers singing on day-to-day live issues that many of his listeners will be able to relate to; that living in the moment is important to happiness (These are the Good Old Days) and dealing with folks you may rather not have had to deal with (Mister Know-It-All) “Why would you compromise when you’re so wise?” "You better pray for rain, you don't know rain like I do."
Sayers sexy baritone vocals set off well against his tasteful guitar licks and rhythm section that plods along solidly. What’s it sound like? Straight ahead Tom Petty coming from Texas rather than Florida.
In a possibly unconscious nod to great songwriters, like Ray Davies (Kinks) before him, Sayers sings of a Sunday afternoon but in this case the focus is on love gone awry. On the song ‘Complicated’ Sayers lays out the average male mental gymnastics of dealing with the so-called more delicate sex. “I’m easy, so easy, you can read my mind with just one look into my eyes. I’m not brilliant or amazing; wear my heart on my sleeve but that’s the kind of thing you’re looking for… but you’re so complicated it’s blows my mind. You’re so sophisticated I wonder why? I’m forgiveful, and forgetful...”
A consummate self marketer, Sayers delivers a complete entertainment package to his fans; exceptional songwriting, very strong live performances, high quality packaging & imaging, an informative website that is replete with options to interact with the pop star including downloads and merchandise. During the month of June Homer’s, along with other tastemakers in Omaha, is determined to foist this well deserving artist into your rock-n-roll orbit.
So don’t take my word for it, stop at your local Homer’s Store & check out ’12 Bars’ on a listening station or go to www.HaddenSayers.com and listen for yourself. Sayers SHOULD be a part of your album collection’s future. You’ll love the passion.
Friday, June 11, 2004
Artist: Hadden Sayers
Title: 12 Bars and the Naked Truth
When Hadden Sayers rolls back into Omaha on June 23rd to play Murphy’s Lounge (96th & L Streets) he’ll be promoting one of the year’s strongest independently distributed adult rock albums; 12 Bars and the Naked Truth.
Like so many significant “adult rock” artists (READ: fans are 35+), Sayers hails from the great state of Texas. On this, his fifth album, Sayers brings a ultra mature sound, distinctive from many of the Texas artists and very clearly not under the auspices of the late Stevie Ray Vaughan. After his last album’s (Supersonic) edgy rock sound, Sayers has moved to a complete focus on the song and done it well. At a time when two good songs on an album has become a standard, Sayers has the skills to string together a full length album of well above average songs (a rarity in today’s ‘thanks to technology we can make albums much, much longer than really necessary’ recording industry.)
Do it for the passion. For me, today, what so many mature rock bands lack is commitment to passion: a willingness to lean into the storm and risk a bit of who they are, their control, in exchange for a well crafted song, a well performed song.
‘12 Bars & the Naked Truth’ finds Sayers singing on day-to-day live issues that many of his listeners will be able to relate to; that living in the moment is important to happiness (These are the Good Old Days) and dealing with folks you may rather not have had to deal with (Mister Know-It-All) “Why would you compromise when you’re so wise?” "You better pray for rain, you don't know rain like I do."
Sayers sexy baritone vocals set off well against his tasteful guitar licks and rhythm section that plods along solidly. What’s it sound like? Straight ahead Tom Petty coming from Texas rather than Florida.
In a possibly unconscious nod to great songwriters, like Ray Davies (Kinks) before him, Sayers sings of a Sunday afternoon but in this case the focus is on love gone awry. On the song ‘Complicated’ Sayers lays out the average male mental gymnastics of dealing with the so-called more delicate sex. “I’m easy, so easy, you can read my mind with just one look into my eyes. I’m not brilliant or amazing; wear my heart on my sleeve but that’s the kind of thing you’re looking for… but you’re so complicated it’s blows my mind. You’re so sophisticated I wonder why? I’m forgiveful, and forgetful...”
A consummate self marketer, Sayers delivers a complete entertainment package to his fans; exceptional songwriting, very strong live performances, high quality packaging & imaging, an informative website that is replete with options to interact with the pop star including downloads and merchandise. During the month of June Homer’s, along with other tastemakers in Omaha, is determined to foist this well deserving artist into your rock-n-roll orbit.
So don’t take my word for it, stop at your local Homer’s Store & check out ’12 Bars’ on a listening station or go to www.HaddenSayers.com and listen for yourself. Sayers SHOULD be a part of your album collection’s future. You’ll love the passion.
Blues makes a comeback to Omaha
Monday, June 07, 2004
Omaha's vibrant blues scene can be attributed to two primary factors; Larry Boemer’s Zoo Bar and a small group of fans in Omaha in the mid ‘90’s.
In 1971 Homer’s Music Stores, Alligator Records, and the Zoo Bar were all born. Larry Boemer’s willingness to forego wealth in order to preserve the blues art form is the stuff legends are made of. Boemer’s Zoo Bar planted the seeds for Omaha's love of the blues. While Larry has moved to Arkansas his family still plays a role in the Zoo Bars operation.
Much like Lincoln, through the ‘70’s, ‘80’s and into the ‘90’s Omaha's blues scene centered on a strong venue called the Howard Street Tavern. When landowner Mark Mercer turned warehouses into condos the original Howard Street Tavern was closed reportedly because of threats of noise/nuisance lawsuits by condo owners. (In a bizarre twist, the current resident of the old Howard Street Tavern paid back the community with a series of free blues-rock concerts this summer: it must have been karma.)
While the closure appeared to be a death keel it was actually a life preserver as a handful of seemingly independent activities came together; the Omaha Blues Society was b born under the leadership of President Greg Lindberg, local Blues writer BJ Hutchtemann began a weekly column, Terry O'Halloran (Murphy's Lounge) made a commitment to a weekly blues show called Six Bells Blues, the recording industry changed dramatically, and my radio program PS Blues moved from a low wattage late Monday night two hour show to a three hour Sunday morning program on a non-commercial 100,000 watt radio station giving the market two powerful blues radio programs; the other being Mike Jacob's Monday program on KIOS 91.5 fm.
With so many Omaha kids spending their college years in Lincoln, a love of the blues born in the Zoo Bar migrated back to Omaha and, since there is a larger population base, there were (are) numerous live venues for blues & roots in Omaha including; The 18th Amendment vis-a-vie Murphy's Lounge, The Music Box, The MACdome, Maggie McCalls, & of course McKenna’s. With a larger choice of venues there were bound to be more bands. This Zoo Bar/ college education basis coupled with Omaha's preexisting love of hard Midwestern rock (REO Speedwagon, BTO, Rush), and the absence of a bona fide African-American presence within the scene (either as performers or fans) has left a clear predilection of what we call “the blues” here in Omaha.
As the home recording industry changed local bands found recording albums an affordable option. And record they did. At Homer’s we made an early decision to carry all the local music we could get our hands on: it was a commitment that carried over to the radio program which, until election laws kicked in, PS Blues usually included two to three local cuts a week.
The first manifestation of this synthesis coming together was, for me, that Omaha became a launching pad for four kids off a South Dakota reservation, in a band called Indigenous, to become a national act and eventually get signed to an international label. Should he choose to, Lincoln's Kris Lager will benefit from Omaha's lust for blues rock and could be the next act to kick the dirt off his boots and head for the big city.
While he was alive Stevie Ray Vaughan single handily lifted the blues back into the national consciousness. Vaughn's ability to roust FM radio out of its post 1978 doldrums created a wave that younger blues act rode for ten years after his tragic death. When computer downloading began to scalp the music industry labels quickly began to cut back artist rosters and boutique labels; thus marketing dollars to build awareness for bands that sold under 750,000 albums disappeared along with, eventually, many of the bands. At the same time aggressive drinking and driving laws kicked in making it difficult for blues band to tour and for blues venues to make ends meet. Except for festivals, at the turn of the Century, the state of the blues was dismal.
While other free local events may have preceded them, Jeff & Sheri Davis’ five ‘Playing With Fire’ concert series has raised a new level of excitement in Omaha's blues scene. (SEE previous column 'Free Concerts') This summers free concert listings includes a five star Summer Arts Festival line-up (Dirty Dozen Brass Band, Blind Boys of Alabama, Corey Harris) and a free 25th Anniversary show by Greg Lindberg’s Absolutely Fresh Seafood which includes Chubby Carrier. Sadly this years Indigenous Jam will not take place but seven free concerts more than makes up for its absence.
Lastly, the success of Omaha's blues scene rests upon its fans. If music buffs vote with their dollars, the blues will continue to get voted into office in Our Town!
Omaha's vibrant blues scene can be attributed to two primary factors; Larry Boemer’s Zoo Bar and a small group of fans in Omaha in the mid ‘90’s.
In 1971 Homer’s Music Stores, Alligator Records, and the Zoo Bar were all born. Larry Boemer’s willingness to forego wealth in order to preserve the blues art form is the stuff legends are made of. Boemer’s Zoo Bar planted the seeds for Omaha's love of the blues. While Larry has moved to Arkansas his family still plays a role in the Zoo Bars operation.
Much like Lincoln, through the ‘70’s, ‘80’s and into the ‘90’s Omaha's blues scene centered on a strong venue called the Howard Street Tavern. When landowner Mark Mercer turned warehouses into condos the original Howard Street Tavern was closed reportedly because of threats of noise/nuisance lawsuits by condo owners. (In a bizarre twist, the current resident of the old Howard Street Tavern paid back the community with a series of free blues-rock concerts this summer: it must have been karma.)
While the closure appeared to be a death keel it was actually a life preserver as a handful of seemingly independent activities came together; the Omaha Blues Society was b born under the leadership of President Greg Lindberg, local Blues writer BJ Hutchtemann began a weekly column, Terry O'Halloran (Murphy's Lounge) made a commitment to a weekly blues show called Six Bells Blues, the recording industry changed dramatically, and my radio program PS Blues moved from a low wattage late Monday night two hour show to a three hour Sunday morning program on a non-commercial 100,000 watt radio station giving the market two powerful blues radio programs; the other being Mike Jacob's Monday program on KIOS 91.5 fm.
With so many Omaha kids spending their college years in Lincoln, a love of the blues born in the Zoo Bar migrated back to Omaha and, since there is a larger population base, there were (are) numerous live venues for blues & roots in Omaha including; The 18th Amendment vis-a-vie Murphy's Lounge, The Music Box, The MACdome, Maggie McCalls, & of course McKenna’s. With a larger choice of venues there were bound to be more bands. This Zoo Bar/ college education basis coupled with Omaha's preexisting love of hard Midwestern rock (REO Speedwagon, BTO, Rush), and the absence of a bona fide African-American presence within the scene (either as performers or fans) has left a clear predilection of what we call “the blues” here in Omaha.
As the home recording industry changed local bands found recording albums an affordable option. And record they did. At Homer’s we made an early decision to carry all the local music we could get our hands on: it was a commitment that carried over to the radio program which, until election laws kicked in, PS Blues usually included two to three local cuts a week.
The first manifestation of this synthesis coming together was, for me, that Omaha became a launching pad for four kids off a South Dakota reservation, in a band called Indigenous, to become a national act and eventually get signed to an international label. Should he choose to, Lincoln's Kris Lager will benefit from Omaha's lust for blues rock and could be the next act to kick the dirt off his boots and head for the big city.
While he was alive Stevie Ray Vaughan single handily lifted the blues back into the national consciousness. Vaughn's ability to roust FM radio out of its post 1978 doldrums created a wave that younger blues act rode for ten years after his tragic death. When computer downloading began to scalp the music industry labels quickly began to cut back artist rosters and boutique labels; thus marketing dollars to build awareness for bands that sold under 750,000 albums disappeared along with, eventually, many of the bands. At the same time aggressive drinking and driving laws kicked in making it difficult for blues band to tour and for blues venues to make ends meet. Except for festivals, at the turn of the Century, the state of the blues was dismal.
While other free local events may have preceded them, Jeff & Sheri Davis’ five ‘Playing With Fire’ concert series has raised a new level of excitement in Omaha's blues scene. (SEE previous column 'Free Concerts') This summers free concert listings includes a five star Summer Arts Festival line-up (Dirty Dozen Brass Band, Blind Boys of Alabama, Corey Harris) and a free 25th Anniversary show by Greg Lindberg’s Absolutely Fresh Seafood which includes Chubby Carrier. Sadly this years Indigenous Jam will not take place but seven free concerts more than makes up for its absence.
Lastly, the success of Omaha's blues scene rests upon its fans. If music buffs vote with their dollars, the blues will continue to get voted into office in Our Town!
Thursday, January 10, 2008
Thee Shams are no flim-flam!
Thursday, May 27, 2004
Artist: Thee Shams
Title: Please Yourself
Label: Fat Possum
This is the perfect "rock" record for a blues fan. If you're like me, as you got older your lack of interest in popular rock music grew with each birthday: there are still plenty of rock records you throw on but most of them were recorded before 1980. Thee Shams present THAT kind of blues fan with the perfect rock record.
Thee Shams, hailing form the Ohio Valley, have successfully captured the 'sound' of Sixties garage rock bands like, ? & the Mysterians (who performed 96 Tears). This album lives in a sonic cross between the Rolling Stones and the New York Dolls; or between Aerosmith and another fabulous Fat Possum label band The Black Keys. It's all that and a whole lot more.
The fact is this album has little to do with the blues other than copping the sound as so many great rock bands have before them. The second track, "If You Gotta Go" was written by Bob Dylan and later covered by Canadian Sue Foley. Like many rock bands (The Kinks, Oasis, BTO, Indigenous, Everly Brothers, The Black Crowes) Thee Shams are a four piece band centered around brothers - in this case Zachery and Andrew Gabbard. There must be something in the genes but this is an excellent record that I cannot quit playing. The fourth track, "Love Me All the Time" is a ballad consisting of a simplistic arrangement that so the words & tune are not cluttered by over production: BRILLIANT!
Well if the music does the talking this album speaks volumes about how cool rock could be if only commercial radio would let it!
Artist: Thee Shams
Title: Please Yourself
Label: Fat Possum
This is the perfect "rock" record for a blues fan. If you're like me, as you got older your lack of interest in popular rock music grew with each birthday: there are still plenty of rock records you throw on but most of them were recorded before 1980. Thee Shams present THAT kind of blues fan with the perfect rock record.
Thee Shams, hailing form the Ohio Valley, have successfully captured the 'sound' of Sixties garage rock bands like, ? & the Mysterians (who performed 96 Tears). This album lives in a sonic cross between the Rolling Stones and the New York Dolls; or between Aerosmith and another fabulous Fat Possum label band The Black Keys. It's all that and a whole lot more.
The fact is this album has little to do with the blues other than copping the sound as so many great rock bands have before them. The second track, "If You Gotta Go" was written by Bob Dylan and later covered by Canadian Sue Foley. Like many rock bands (The Kinks, Oasis, BTO, Indigenous, Everly Brothers, The Black Crowes) Thee Shams are a four piece band centered around brothers - in this case Zachery and Andrew Gabbard. There must be something in the genes but this is an excellent record that I cannot quit playing. The fourth track, "Love Me All the Time" is a ballad consisting of a simplistic arrangement that so the words & tune are not cluttered by over production: BRILLIANT!
Well if the music does the talking this album speaks volumes about how cool rock could be if only commercial radio would let it!
John & the Sisters (Kevin Breit)
It'll be TOO DAMN BAD if you miss this
Monday, May 10, 2004
Artist: John & the Sisters featuring Kevin Breit
Title: Domino Vacancy
Kevin Breit achieved "fame" for his songwriting with multi-Grammy winner Norah Jones, Cassandra Wilson, and to a much lesser extent for his work with the incredible Harry Manx (who is playing the Omaha Blues Society's Blues Cruise later this month). While not yet a household name, Breit's music has been heard at least once by every American (able to hear). It's no wonder; he's an incredible talent.
On his latest release, a solo effort disguised as 'John and the Sisters', Breit delivers a blues based album that older music fans will be able to sink their teeth into without having to be dumbed down for mass consumption. Inevitably we've all purchased an album that we adored upon initial listening and quickly never played again. The best albums are the records that unfold upon repeated listening. This album promises to be one that non-traditionalist blues fans are going to be playing repeatedly for decades. Breit bends and perverts musical boundaries to create songs that challenge the listener. The opening track, Too Damn Big, is a song that Aerosmith should have done on their latest album. Much like a Tyler/Perry composition, Too Damn Big, is a super funky blues number that cuts across genres with a Tom Waits sort of bite to it. By the time Breit reaches the track, Good Day, he's transmogrified into a tasty John Mellencamp sort of approach.
If you experiment with one "blues" album this year, this album is a five star gem that has that great 'FM blues based classic rock sound' we grew up on. What's better, the performances are exceptional and the songs are excellent. Yes, upon initial listening it's going to be coming at you from left field but it's quite good and worthy of your consideration.
Monday, May 10, 2004
Artist: John & the Sisters featuring Kevin Breit
Title: Domino Vacancy
Kevin Breit achieved "fame" for his songwriting with multi-Grammy winner Norah Jones, Cassandra Wilson, and to a much lesser extent for his work with the incredible Harry Manx (who is playing the Omaha Blues Society's Blues Cruise later this month). While not yet a household name, Breit's music has been heard at least once by every American (able to hear). It's no wonder; he's an incredible talent.
On his latest release, a solo effort disguised as 'John and the Sisters', Breit delivers a blues based album that older music fans will be able to sink their teeth into without having to be dumbed down for mass consumption. Inevitably we've all purchased an album that we adored upon initial listening and quickly never played again. The best albums are the records that unfold upon repeated listening. This album promises to be one that non-traditionalist blues fans are going to be playing repeatedly for decades. Breit bends and perverts musical boundaries to create songs that challenge the listener. The opening track, Too Damn Big, is a song that Aerosmith should have done on their latest album. Much like a Tyler/Perry composition, Too Damn Big, is a super funky blues number that cuts across genres with a Tom Waits sort of bite to it. By the time Breit reaches the track, Good Day, he's transmogrified into a tasty John Mellencamp sort of approach.
If you experiment with one "blues" album this year, this album is a five star gem that has that great 'FM blues based classic rock sound' we grew up on. What's better, the performances are exceptional and the songs are excellent. Yes, upon initial listening it's going to be coming at you from left field but it's quite good and worthy of your consideration.
Rob Stone & the C Notes - album of the year?
Rob Stone & C Notes album is excellent
Friday, April 23, 2004
Artist: Rob Stone and the C Notes
Title: Just My Luck
The Chicago based Earwig label has struggled to sign an act of significance but they've signed a winner with Rob Stone and the C Notes. If you're one of those folks that immediately dismiss "white" blues artists you might as well stop reading now. Okay, now that we've gotten rid of the snobs let's talk about an excellent Modern-Acoustic-Blues album.
This band is comprised of three (white) guys that met as members in the band of former Howlin' Wolf & Paul Butterfield Blues Band drummer Sam Lay. With a background in the blues-rock genre Rob Stone is able to straddle the art of Post-War Chicago blues and a more commercial modern blues sound. So many times these stylings fall flat as imitations. Leaning heavily on Stone's ultra-smooth vocals (Harry Connick Jr.) and his in-sync harp playing the band swings hard against Sam Lay's solid drums. The late Dave Myers guests on this album.
As the blues art form continues to evolve Stone has been able to go one step further along the revivalists path cut by the likes of Sean Costello. Respectfully, I appreciate that this album lacks any whiff of Texas blues.
With only three covers this album's strength is its songwriting. The fifth song, Empty Room, is a marvelous slow burning track that defines how good this band really is. To my mind, considering past W.C. Handy award winning songs, Empty Room should be in the running as song of the year. There are plenty of other exceptional songs including; Too Late Honey, Playing Games, My Side of the Story, and Strange Blues. Track for track this is one of the finest revivalist blues albums I have ever heard and I've heard more than my share. Compared to the hooey-Blues we see and hear adnaseum, Rob Stone and the C Notes have re-sparked my admiration for non-electric blues.
For GREAT on-line Americana radio hit this link...http://www.kcuvradio.com/playa/index.asp?fname=http://azul.streamguys.com/kcuv
Friday, April 23, 2004
Artist: Rob Stone and the C Notes
Title: Just My Luck
The Chicago based Earwig label has struggled to sign an act of significance but they've signed a winner with Rob Stone and the C Notes. If you're one of those folks that immediately dismiss "white" blues artists you might as well stop reading now. Okay, now that we've gotten rid of the snobs let's talk about an excellent Modern-Acoustic-Blues album.
This band is comprised of three (white) guys that met as members in the band of former Howlin' Wolf & Paul Butterfield Blues Band drummer Sam Lay. With a background in the blues-rock genre Rob Stone is able to straddle the art of Post-War Chicago blues and a more commercial modern blues sound. So many times these stylings fall flat as imitations. Leaning heavily on Stone's ultra-smooth vocals (Harry Connick Jr.) and his in-sync harp playing the band swings hard against Sam Lay's solid drums. The late Dave Myers guests on this album.
As the blues art form continues to evolve Stone has been able to go one step further along the revivalists path cut by the likes of Sean Costello. Respectfully, I appreciate that this album lacks any whiff of Texas blues.
With only three covers this album's strength is its songwriting. The fifth song, Empty Room, is a marvelous slow burning track that defines how good this band really is. To my mind, considering past W.C. Handy award winning songs, Empty Room should be in the running as song of the year. There are plenty of other exceptional songs including; Too Late Honey, Playing Games, My Side of the Story, and Strange Blues. Track for track this is one of the finest revivalist blues albums I have ever heard and I've heard more than my share. Compared to the hooey-Blues we see and hear adnaseum, Rob Stone and the C Notes have re-sparked my admiration for non-electric blues.
For GREAT on-line Americana radio hit this link...http://www.kcuvradio.com/playa/index.asp?fname=http://azul.streamguys.com/kcuv
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