Chris CainFriday, August 19, 2005
Artist: Chris Cain
Title: Hall of Shame
Rating: Excellent
Within the broader genre of blues there are sub-categories among them the ‘Robert Johnson school’ which profoundly effected early Rock bands such as the Rolling Stones, Led Zeppelin, and the Allman Brothers. Another school are guitarists influenced by B.B King such as Eric Clapton, Carlos Santana and Chris Cain. When I heard that Cain was coming to perform in Omaha I grabbed a couple of CD’s I received over the years at Pacific Street Blues.Cain is a tasty guitar player with a strong tenor voice and an excellent vocabulary of licks and songs. His sound brings together classic Joe Williams vocals fronting B.B. King’s band.
It is fresh, remarkable, and void of trite cliches and gushing tributes.His sixth album, released in 2003, Hall of Shame, is an exceptionally well crafter blues album that uses texture & taste. Hall of Shame is a mellow affair with soaring solos and heartfelt vocals in a classic post 50’s electric blues sound. This is as perfect a “blues” album as you will ever find. Cain’s solos are jazzy crisp runs ala’ early Steely Dan that contribute to the melody line rather than simply fill up space with clutter. Cain will be performing in Omaha on Sunday, August 28th at the Blues Society ofOmaha’s FREE family day at the Anchor Inn. For more details go towww.OmahaBlues.com.
Sunday, March 30, 2008
101ers Thursday, August 18, 2005
Artist: The 101ers (Joe Strummer’s pre-Clash band)
Title: Elgin Avenue Breakdown (Revisited)
Rating: Niche / Good (interesting)
Lou Reed wrote it but Joe Strummer had a Rock n’ Roll heart. In the mid ‘70’s After a decade of “artrock” and the dirth of “corporate rock” on America’s FM radio stations, The Sex Pistols kicked open the doors of pop consciousness with an aggressive sound that was basic, fast, and anti-establishment. While the Pistols soon disintegrated, as the leader of one of rock’s great garage bands (The Clash), Strummer & band took England’s “punk” rock movement to the next level and released one of rock’s “great” albums, ‘London Calling.’ Strummer actually joined a band that already consisted of the three other members of what would become The Clash; Mick Jones, Topper Headon & Paul Simonon.
In the film, “Punk: Attitude” Pretenders leader, and now Rock n’ Roll Hall of Fame member, Chrissie Hynde documents being a pre-Strummer member of the band that would become The Clash. I can’t remember where I read it but it pretty much summed up the band’s conclusion, “when they turned their Tommy guns on themselves” with Strummer driving Jones out of the band and killing the thing that made the band unique. Before The Clash Strummer was in a band called, The 101ers. The 101ers were a high energy pub-band that survived by covering rock nuggets. Recently the Astralwerks Record label reissued an extended version of the 101ers album, Elgin Avenue Breakdown (Revisited). According to the liner notes, on April 3, 1975 the original Sex Pistols (pre-Sid Vicious) opened for the 101ers and Strummer saw the future. This would lead to the breakup of the 101ers and the form The Clash.
This new version of Elgin Avenue Breakdown (Revisited) captures the band’s studio recordings and a handful of live recordings including Slim Harpo’s (ala Exile on Main Street) “Shake Your Hips”, the Rolling Stones’, “Out of Time” and “Lonely Mother’s Son” which would resurface on the seriously rock-worthy self-titled Clash album as “Jail Guitar Doors.” This new version of Elgin Avenue Breakdown captures an excellent local band thrashing about with furious energy and heart felt enthusiasm: it’s everything “rock n’ roll” should be and sadly rarely is. However, this recording does not begin to approach the landmark recordings of The Clash. However, as a snapshot of where the roots of punk rock came from, this album contains excellent historical perspective that rock musicologist or craving Clash fans will surely enjoy. Since Joe Strummer is no longer with us The Clash will never reform and there’s a sadness in that. Modern pop culture has yet to acknowledge Strummer’s contribution: as determined by other’s successfully covering the music of The Clash. “They” did play Omaha in the mid-80’s (by which time Mick Jones had been evicted from the band).
I vaguely recall being told a story that someone in The Firm, reportedly Gary Foster (arguably Omaha’s finest drummer) had written a snide remark about The Clash in the men’s latrine at the original Howard Street Tavern. According to the tale a member of The Clash stumbled onto the rude graffiti and commented on it from the stage during their show. Oh wonder!
Artist: The 101ers (Joe Strummer’s pre-Clash band)
Title: Elgin Avenue Breakdown (Revisited)
Rating: Niche / Good (interesting)
Lou Reed wrote it but Joe Strummer had a Rock n’ Roll heart. In the mid ‘70’s After a decade of “artrock” and the dirth of “corporate rock” on America’s FM radio stations, The Sex Pistols kicked open the doors of pop consciousness with an aggressive sound that was basic, fast, and anti-establishment. While the Pistols soon disintegrated, as the leader of one of rock’s great garage bands (The Clash), Strummer & band took England’s “punk” rock movement to the next level and released one of rock’s “great” albums, ‘London Calling.’ Strummer actually joined a band that already consisted of the three other members of what would become The Clash; Mick Jones, Topper Headon & Paul Simonon.
In the film, “Punk: Attitude” Pretenders leader, and now Rock n’ Roll Hall of Fame member, Chrissie Hynde documents being a pre-Strummer member of the band that would become The Clash. I can’t remember where I read it but it pretty much summed up the band’s conclusion, “when they turned their Tommy guns on themselves” with Strummer driving Jones out of the band and killing the thing that made the band unique. Before The Clash Strummer was in a band called, The 101ers. The 101ers were a high energy pub-band that survived by covering rock nuggets. Recently the Astralwerks Record label reissued an extended version of the 101ers album, Elgin Avenue Breakdown (Revisited). According to the liner notes, on April 3, 1975 the original Sex Pistols (pre-Sid Vicious) opened for the 101ers and Strummer saw the future. This would lead to the breakup of the 101ers and the form The Clash.
This new version of Elgin Avenue Breakdown (Revisited) captures the band’s studio recordings and a handful of live recordings including Slim Harpo’s (ala Exile on Main Street) “Shake Your Hips”, the Rolling Stones’, “Out of Time” and “Lonely Mother’s Son” which would resurface on the seriously rock-worthy self-titled Clash album as “Jail Guitar Doors.” This new version of Elgin Avenue Breakdown captures an excellent local band thrashing about with furious energy and heart felt enthusiasm: it’s everything “rock n’ roll” should be and sadly rarely is. However, this recording does not begin to approach the landmark recordings of The Clash. However, as a snapshot of where the roots of punk rock came from, this album contains excellent historical perspective that rock musicologist or craving Clash fans will surely enjoy. Since Joe Strummer is no longer with us The Clash will never reform and there’s a sadness in that. Modern pop culture has yet to acknowledge Strummer’s contribution: as determined by other’s successfully covering the music of The Clash. “They” did play Omaha in the mid-80’s (by which time Mick Jones had been evicted from the band).
I vaguely recall being told a story that someone in The Firm, reportedly Gary Foster (arguably Omaha’s finest drummer) had written a snide remark about The Clash in the men’s latrine at the original Howard Street Tavern. According to the tale a member of The Clash stumbled onto the rude graffiti and commented on it from the stage during their show. Oh wonder!
Album Review Ry Cooder's Chavez Ravine
Chavez RavineFriday, August 05, 2005
Artist: Ry Cooder
Title: Chavez Ravine
Rating: Niche / Very Good
Born in Southern California in 1947, guitarist Ry Cooder has maintained two recording careers; one in the Rock genre and the other flirting around the World Music genre. As a young man he learned to play on the knee of the Reverend Gary Davis: who’s song, “Cocaine” Jackson Browne recorded for his ‘Running on Empty’ album. One of Cooder’s earliest bands included Taj Mahal and Ed Cassidy (Spirit). This short lived band broke up when a completed album was shelved. Cooder then moved into studio work recording with bands such as Paul Revere & the Raiders. He also recorded on the debut album by Captain Beefheart & His Magic Band as well as guesting with Randy Newman, Little Feat, and Van Dyke Parks (who worked with Brian Wilson of the Beach Boys). Prior to the recording the soundtrack to the film, ‘Performance’ (starring Rolling Stone Mick Jagger) Cooder is credited on the Stones’, Sister Morphine’, ‘Love in Vain’ and the heavily bootlegged, ‘Highway Child.’ He also appears on the cultish flims, ‘Memo From Turner’ along with Nicky Hopkins, Stevie Winwood, and Jim Capaldi. A somewhat rare version of Cooder playing a blistering slide guitar over the song, ‘Brown Sugar’ a/k/a Black Pussy (in reference to a particularlily smooth and dark colored Mexican heroin) exists; however, it’s rumoured that a tiff over a riff with Keith Richards caused this version to be shelved
In 1979 Cooder’s album, Bop Til You Drop, was marketed as the first album in which all the tracks were recorded digitally.
In 1992 Cooder joined Nick Lowe, John Hiatt, and long time collaborator Jim Keltner in the band, Little Village, for one album before being disbanded.
In 1997 Cooder regrouped some of Cuba’s finest roots musicians to recorded the first million selling world album, Buena Vista Social Club. The success of BVSC thrust Eliades Ochoa and Ibrahim Ferrer into international limelight and caused numerous labels to follow suit with the release of their own World Music albums.
In 2005 Cooder mined an interest closer to his home with the release on the Nonesuch label, Chavez Ravine. Chavez Ravine was an area in east Los Angeles where poor hispanics lived until the 1950’s when City Planners decided to pave over the neighborhood and plant Dodger Stadium. Like the BVSC album Chavez Ravine includes a wonderful multipage colour booklet with lyrics, photographs, sketches and brief details on the scandal surrounding the reclaimination of Chavez Ravine. The music on the album includes what I assume to be tradtional Hispanic instrumentation with songs written specifically for this album. Nearly all the songs are sung in Spanish and the tyrics are intrepretated in the booklet. It’s a slow languid album with texture and space and, obviously, a heavy south of the border influence. Cooder’s use of numerous vocalists gives the album a sense of testimony from the Ravine’s inhabitants telling their stories.
Today Los Angles appears to be more of a quagmire than a community but this album gives the City of Angels a sense that at one time families lived in neighborhoods where conversations across driveways might have occurred. A similar sense is derived from Dave Alvin’s song, ’Dry River’ on the Blue Blvd album. Given time to unfold this is an exceedingly interest album that grows on the listener. Much like BVSC, Chavez Ravine will open up doors and take the listener to new and exciting auralscapes.
Artist: Ry Cooder
Title: Chavez Ravine
Rating: Niche / Very Good
Born in Southern California in 1947, guitarist Ry Cooder has maintained two recording careers; one in the Rock genre and the other flirting around the World Music genre. As a young man he learned to play on the knee of the Reverend Gary Davis: who’s song, “Cocaine” Jackson Browne recorded for his ‘Running on Empty’ album. One of Cooder’s earliest bands included Taj Mahal and Ed Cassidy (Spirit). This short lived band broke up when a completed album was shelved. Cooder then moved into studio work recording with bands such as Paul Revere & the Raiders. He also recorded on the debut album by Captain Beefheart & His Magic Band as well as guesting with Randy Newman, Little Feat, and Van Dyke Parks (who worked with Brian Wilson of the Beach Boys). Prior to the recording the soundtrack to the film, ‘Performance’ (starring Rolling Stone Mick Jagger) Cooder is credited on the Stones’, Sister Morphine’, ‘Love in Vain’ and the heavily bootlegged, ‘Highway Child.’ He also appears on the cultish flims, ‘Memo From Turner’ along with Nicky Hopkins, Stevie Winwood, and Jim Capaldi. A somewhat rare version of Cooder playing a blistering slide guitar over the song, ‘Brown Sugar’ a/k/a Black Pussy (in reference to a particularlily smooth and dark colored Mexican heroin) exists; however, it’s rumoured that a tiff over a riff with Keith Richards caused this version to be shelved
In 1979 Cooder’s album, Bop Til You Drop, was marketed as the first album in which all the tracks were recorded digitally.
In 1992 Cooder joined Nick Lowe, John Hiatt, and long time collaborator Jim Keltner in the band, Little Village, for one album before being disbanded.
In 1997 Cooder regrouped some of Cuba’s finest roots musicians to recorded the first million selling world album, Buena Vista Social Club. The success of BVSC thrust Eliades Ochoa and Ibrahim Ferrer into international limelight and caused numerous labels to follow suit with the release of their own World Music albums.
In 2005 Cooder mined an interest closer to his home with the release on the Nonesuch label, Chavez Ravine. Chavez Ravine was an area in east Los Angeles where poor hispanics lived until the 1950’s when City Planners decided to pave over the neighborhood and plant Dodger Stadium. Like the BVSC album Chavez Ravine includes a wonderful multipage colour booklet with lyrics, photographs, sketches and brief details on the scandal surrounding the reclaimination of Chavez Ravine. The music on the album includes what I assume to be tradtional Hispanic instrumentation with songs written specifically for this album. Nearly all the songs are sung in Spanish and the tyrics are intrepretated in the booklet. It’s a slow languid album with texture and space and, obviously, a heavy south of the border influence. Cooder’s use of numerous vocalists gives the album a sense of testimony from the Ravine’s inhabitants telling their stories.
Today Los Angles appears to be more of a quagmire than a community but this album gives the City of Angels a sense that at one time families lived in neighborhoods where conversations across driveways might have occurred. A similar sense is derived from Dave Alvin’s song, ’Dry River’ on the Blue Blvd album. Given time to unfold this is an exceedingly interest album that grows on the listener. Much like BVSC, Chavez Ravine will open up doors and take the listener to new and exciting auralscapes.
Article & interview with Albert Cummings
Albert CummingsFriday, August 05, 2005
One way or the other Albert Cummings is pounding the floor boards. Hammering away as contracting builder of luxury homes in the Western Massachusetts/ Southern Vermont area or in front of the footlights on blues stages across the country Albert Cummings is a man that knows how to deliver. His first nationally distributed album, 'True to Yourself' on Blind Pig Records has been an immediate lighting rod of accolades reviews or purist pans. "The label feels this album still has legs so we are out trying to build up that national audience" says Cummings.
Like most modern electric blues players Cummings has an appreciation for Hendrix and Stevie Ray. "Everybody wanted to sound like Stevie, not me, I just wanted to cop that feel Jimi was the first but Stevie actually hit the notes better. But like Stevie said, 'I can play it but Jimi wrote it.' " His budding base is going to be more with older rock fans than blues snots; he's got a fiery hot rock guitar sound, the increasingly rare ability to incorporate a tune in his songs, and, as fans of the Playing With Fire concert series fans saw, a stage presence that goes, and goes, and goes. "With most players you can quickly figure out where they hang out on the neck but not Hendrix - it's obvious but he was special and so young."
You learn quickly that most blues acts build a lore around their beginnings; railroad tracks, blues clubs, sneaking in, ancient black teachers. Even his beginnings go against the tired Blues clichés, "I really wasn't interested in the guitar. I'm a fourth generation home builder that grew up loving Bluegrass and playing the five string banjo. It wasn't until I was 28 that I really began to get into the guitar. I saw Stevie at the Orpheum Theatre during the, 'Can't Stand the Weather' tour and that was the end of the banjo." His playing incorporates a high energy, heavy string, Stratocaster sound with a rock n' roll beat and heavy organ influence. Even the themes of his songs tend to avoid worn out stories that other players bring out like a tired crutch. High pitched squeals, ZZ Top-ish bottom ends, and hard luck tales of unrequited love make for an honest faux-suburban blues sound. Yes, its the antithesis of "blues" but it's honest and immediately accessible to anyone that grew up on '70's FM radio.
As Cummings noted when talking about the old masters (Albert King, BB King, Freddie King, Albert Collins & Buddy Guy), "When it comes to the blues, you just can't fake it." And he doesn't: Cummings is clearly more Led Zeppelin than Howlin' Wolf. If there is a linear line for guitar styles with one end being a technical player (Robert Fripp - King Crimson) and the other end being an emotional player (Mato Nanji - Indigenous) Cummings leans hard on playing what's in his heart rather than his head. "There are times when I get so into playing live on stage with the band that I become a member of audience wondering what's coming next. I've literally 'woken-up' at the end of a gig not knowing where I was or what was going on. It's like a trance that transcends anything else." As a local high end builder in Williamstown, Mass., Cummings joined the National Guard in his younger days and trained for Desert Storm. "We were in the armored division: Tanks. We didn't go but it got awful close and we were ready. There's nothing like a Tank!" Cummings is quick to express support for members of today's Armed Forces. So whether it's moving planks of wood, plunking on a wooden guitars or driving tanks through the woods, Cummings is pure middle class America; a self made businessman in pursuit of his musical dream. Yes, his blues is not going to sucker up to snobs but rock fans. the open minded, and modern electric blues fans are going to get "it" right away and as we saw with Cummings Playing With Fire show by the end of the show those fans will be sweaty with big smiles screaming for more. "We play about 100 - 125 shows a year and just got off a tour of the West Coast with B. B. King. It's a constant battle to run the business and be on the road and then we'll play a festival with 7,000 people. Coming off stage you get that shiver and suddenly it all comes back into focus on why we are doing this - it's love baby, love!"
One way or the other Albert Cummings is pounding the floor boards. Hammering away as contracting builder of luxury homes in the Western Massachusetts/ Southern Vermont area or in front of the footlights on blues stages across the country Albert Cummings is a man that knows how to deliver. His first nationally distributed album, 'True to Yourself' on Blind Pig Records has been an immediate lighting rod of accolades reviews or purist pans. "The label feels this album still has legs so we are out trying to build up that national audience" says Cummings.
Like most modern electric blues players Cummings has an appreciation for Hendrix and Stevie Ray. "Everybody wanted to sound like Stevie, not me, I just wanted to cop that feel Jimi was the first but Stevie actually hit the notes better. But like Stevie said, 'I can play it but Jimi wrote it.' " His budding base is going to be more with older rock fans than blues snots; he's got a fiery hot rock guitar sound, the increasingly rare ability to incorporate a tune in his songs, and, as fans of the Playing With Fire concert series fans saw, a stage presence that goes, and goes, and goes. "With most players you can quickly figure out where they hang out on the neck but not Hendrix - it's obvious but he was special and so young."
You learn quickly that most blues acts build a lore around their beginnings; railroad tracks, blues clubs, sneaking in, ancient black teachers. Even his beginnings go against the tired Blues clichés, "I really wasn't interested in the guitar. I'm a fourth generation home builder that grew up loving Bluegrass and playing the five string banjo. It wasn't until I was 28 that I really began to get into the guitar. I saw Stevie at the Orpheum Theatre during the, 'Can't Stand the Weather' tour and that was the end of the banjo." His playing incorporates a high energy, heavy string, Stratocaster sound with a rock n' roll beat and heavy organ influence. Even the themes of his songs tend to avoid worn out stories that other players bring out like a tired crutch. High pitched squeals, ZZ Top-ish bottom ends, and hard luck tales of unrequited love make for an honest faux-suburban blues sound. Yes, its the antithesis of "blues" but it's honest and immediately accessible to anyone that grew up on '70's FM radio.
As Cummings noted when talking about the old masters (Albert King, BB King, Freddie King, Albert Collins & Buddy Guy), "When it comes to the blues, you just can't fake it." And he doesn't: Cummings is clearly more Led Zeppelin than Howlin' Wolf. If there is a linear line for guitar styles with one end being a technical player (Robert Fripp - King Crimson) and the other end being an emotional player (Mato Nanji - Indigenous) Cummings leans hard on playing what's in his heart rather than his head. "There are times when I get so into playing live on stage with the band that I become a member of audience wondering what's coming next. I've literally 'woken-up' at the end of a gig not knowing where I was or what was going on. It's like a trance that transcends anything else." As a local high end builder in Williamstown, Mass., Cummings joined the National Guard in his younger days and trained for Desert Storm. "We were in the armored division: Tanks. We didn't go but it got awful close and we were ready. There's nothing like a Tank!" Cummings is quick to express support for members of today's Armed Forces. So whether it's moving planks of wood, plunking on a wooden guitars or driving tanks through the woods, Cummings is pure middle class America; a self made businessman in pursuit of his musical dream. Yes, his blues is not going to sucker up to snobs but rock fans. the open minded, and modern electric blues fans are going to get "it" right away and as we saw with Cummings Playing With Fire show by the end of the show those fans will be sweaty with big smiles screaming for more. "We play about 100 - 125 shows a year and just got off a tour of the West Coast with B. B. King. It's a constant battle to run the business and be on the road and then we'll play a festival with 7,000 people. Coming off stage you get that shiver and suddenly it all comes back into focus on why we are doing this - it's love baby, love!"
Garage Rock Op-Ed - Fleshtones, Jarvis Humby, The Blues Vans
Garage RockSunday, July 31, 2005
Critically a sonic line exists: PN (PreNirvana) and AN (After Nirvana). After a dirth of hodge, “rock” seems to be cool again; that wonderful sound of energy & exhalation. During the ‘60’s a niche of rock, adored by critics, was born called Garage Rock (GR). GR came about in the ‘60’s when kids, listening to their AM transistor radios, began to emulate the sounds they were hearing. Generally, GR is simple songs that are propelled by heaps of enthusiasm, a dash of talent & finesse, strong keyboard presence, heavy bass, an occasionally harmonica, flailing drums and slashing yet simple guitar riffs. Having rock n’ roll hearts Jim Morrow (The Front), Jim Fleming (The Confidentials), and in some instances Homer’s Manager Charlie Burton are fine local examples of GR.
Recently three GR albums came out that reinvigorated my lumbar - the best of which is;
Artist: Jarvis Humby,
Title: Assume the Position It’s Jarvis Humby,
Rating: Better than Very Good.
Not since the debut album by Jamie Cullem album have I rated an album this highly. Other than it’s basic sound this record has nothing to do with blues. Recorded in the bustling backwaters of Stockton-On-Tees in England this band demonstrates an ample understanding of the history of great rock albums. Throughout the album they tip their hat to the bands that made rock an artform. In their liner notes they thank, “Dylan, Muddy Waters, The Animals, and The MGs” (as in Booker T). The montage on the cover includes a pimply young Keith Richards, a Sgt. Pepper era Ringo Starr & a psychedelic George Harrison, a photo of Who bass player John Entwistle in his Mod London finest, the cover of the Small Faces’ Nut Gone Flake album, and the Grateful Dead’s Mr. Natural cartoon figure. From the onset this bands throws all the furniture in a heap in the corner in order to make room for their powerful, danceable, short songs. On the second track, ‘These Eyes’ Jarvis Humby plays a smokin’ Sitar solo that makes Brian Jones roll over to tell Tschakowsky the news. I adore this album.
Artist: The Blue Vans,
Title: The Art of Rolling,
Rating: Good + / Niche
Hailing from Scandinavia The Blue Vans have delved back into Rock’s Heyday via’ Paul Weller’s Jam to dig up the spirit of Pete Townshend’s Who. This is a band that is full of the swagger of youth. Their lyrics speak of teenage angst, social revolution and all those idealistic things that a young man believes yet an old man knows better. From the cover artwork to the tracks inside this is a high energy GR album that evokes ‘Live At Leeds’ with shorter jams and borderline mayhem. The album’s last song, New Slough’ includes an extended jam that brings the listener onto the stage and into the fold. Without being voyeuristic this is a beautiful album and lacks the pretense that similar “indie” rock titles seems to thrive on. This is simple bash & pop destine to be a hidden gem that a listener takes out once or twice a year and marvels in its pop-art.
Artist: The Fleshtones
Title: Beachhead
Rating: Good / Niche
Sloppy, aggressive, gobs of guitar fuzz and very New York Dolls-ish, The Fleshtones are back: which brings up Mr. Hartsock’s joke (usually associate with Barbara Streisand), “How can we miss you when you won’t go away?” (I am joking!) Always the bridesmaid and never the bride, The ‘Tones have been around for decades and seem to linger on the brink of shooting up to the next level and a larger audience. This is a band that rocks because it’s members probably don’t know what else to do. Their new album, Beachhead, is remarkable in that it’s better than most of their previous efforts and with their label’s (Yep Roc) growing presence in the market it leaves me hopeful that with the apparent resurgence of the GR sound they may bring this band to the forefront. As the title suggests this band may be landing in a spot from which to begin taking over the world! Group chanting, harmonica breaks, heavy guitar riffs, and bowery heartaches this is a band that sounds very East Coast and ripe. It’s hard not to love an underdog. The Fleshtones are never going to be mainstream but then that adds to their mystic.
Critically a sonic line exists: PN (PreNirvana) and AN (After Nirvana). After a dirth of hodge, “rock” seems to be cool again; that wonderful sound of energy & exhalation. During the ‘60’s a niche of rock, adored by critics, was born called Garage Rock (GR). GR came about in the ‘60’s when kids, listening to their AM transistor radios, began to emulate the sounds they were hearing. Generally, GR is simple songs that are propelled by heaps of enthusiasm, a dash of talent & finesse, strong keyboard presence, heavy bass, an occasionally harmonica, flailing drums and slashing yet simple guitar riffs. Having rock n’ roll hearts Jim Morrow (The Front), Jim Fleming (The Confidentials), and in some instances Homer’s Manager Charlie Burton are fine local examples of GR.
Recently three GR albums came out that reinvigorated my lumbar - the best of which is;
Artist: Jarvis Humby,
Title: Assume the Position It’s Jarvis Humby,
Rating: Better than Very Good.
Not since the debut album by Jamie Cullem album have I rated an album this highly. Other than it’s basic sound this record has nothing to do with blues. Recorded in the bustling backwaters of Stockton-On-Tees in England this band demonstrates an ample understanding of the history of great rock albums. Throughout the album they tip their hat to the bands that made rock an artform. In their liner notes they thank, “Dylan, Muddy Waters, The Animals, and The MGs” (as in Booker T). The montage on the cover includes a pimply young Keith Richards, a Sgt. Pepper era Ringo Starr & a psychedelic George Harrison, a photo of Who bass player John Entwistle in his Mod London finest, the cover of the Small Faces’ Nut Gone Flake album, and the Grateful Dead’s Mr. Natural cartoon figure. From the onset this bands throws all the furniture in a heap in the corner in order to make room for their powerful, danceable, short songs. On the second track, ‘These Eyes’ Jarvis Humby plays a smokin’ Sitar solo that makes Brian Jones roll over to tell Tschakowsky the news. I adore this album.
Artist: The Blue Vans,
Title: The Art of Rolling,
Rating: Good + / Niche
Hailing from Scandinavia The Blue Vans have delved back into Rock’s Heyday via’ Paul Weller’s Jam to dig up the spirit of Pete Townshend’s Who. This is a band that is full of the swagger of youth. Their lyrics speak of teenage angst, social revolution and all those idealistic things that a young man believes yet an old man knows better. From the cover artwork to the tracks inside this is a high energy GR album that evokes ‘Live At Leeds’ with shorter jams and borderline mayhem. The album’s last song, New Slough’ includes an extended jam that brings the listener onto the stage and into the fold. Without being voyeuristic this is a beautiful album and lacks the pretense that similar “indie” rock titles seems to thrive on. This is simple bash & pop destine to be a hidden gem that a listener takes out once or twice a year and marvels in its pop-art.
Artist: The Fleshtones
Title: Beachhead
Rating: Good / Niche
Sloppy, aggressive, gobs of guitar fuzz and very New York Dolls-ish, The Fleshtones are back: which brings up Mr. Hartsock’s joke (usually associate with Barbara Streisand), “How can we miss you when you won’t go away?” (I am joking!) Always the bridesmaid and never the bride, The ‘Tones have been around for decades and seem to linger on the brink of shooting up to the next level and a larger audience. This is a band that rocks because it’s members probably don’t know what else to do. Their new album, Beachhead, is remarkable in that it’s better than most of their previous efforts and with their label’s (Yep Roc) growing presence in the market it leaves me hopeful that with the apparent resurgence of the GR sound they may bring this band to the forefront. As the title suggests this band may be landing in a spot from which to begin taking over the world! Group chanting, harmonica breaks, heavy guitar riffs, and bowery heartaches this is a band that sounds very East Coast and ripe. It’s hard not to love an underdog. The Fleshtones are never going to be mainstream but then that adds to their mystic.
What's On serial - July 21, 2005
Whats on @ PS Blues 07252005 Friday, July 22, 2005
It seems that summer, more than any other season, can associate fond memories of carefree times with the great music you were listening to at the time; weddings, high school graduations, dating and new drivers licenses.
By accident I’ve stumbled across a couple of ‘pop’ records which evoked that light, lilting sense of summer that I seem to have been missing these past few decades.
Artist: Gabin
Title: Mr. Freedom
Release: August 23rd
Featuring vocalists Dee Dee Bridgewater and Edwyn Collins, Gabin is a crisp, poppy record with short, well written tunes and lyrics that have no higher message. This is pure disposable pop music that has entrancing Bossa Nova rythmns, catchy melody lines, non-traditional instrumentation. This is pure fun and quite enjoyable. With only ten tracks on the album you know the artists understand space and brevity!
Because of it’s quirky rythmns and hip sampling entwined with jazzy piano and flute riffs, for whatever reason, I see this album as especially attractive to women. I dunno - like reggae it will make gals move their hips ever so seductively. If you’re looking for something fresh and tasty, something that doesn’t imply angst to understand, something fun, something summery; this is a perfect album to wrap your summer memories around.
Artist: The Greenhornes
Title: East Grand Blues
Rating: Very Good
Release: August 2nd
More than anything this albums smacks of a great hybrid of the Byrds meet the Mama’s & the Papa’s with the occasional Eric Burden (Animals) flair. Pure 60’s sensibilites. Produced by Brendan Benson, the Greenhornes are from Cincinnati and will be touring with The White Stripes this summer. Once again, it’s light & fresh with that Byrds Rickenbacker sound (which they lifted from the Beatles).
The Greenhornes have captured the sound of rock radio when it was young and made it their own. This is a brilliant pop-psychadelic album that has no higher signifance other than your enjoyment. Well written songs that will linger on your mind. The track, ‘Pattern Skies’ is heavily influenced by the Kink’s [‘Set Me Free (Little Girl)].’ If you enjoy Tom Petty, who was clearly influenced by the Byrds, then the Greenhornes are a natural progression of that sound. It’s nice to hear a new band that understands the past and draws from it’s best influences.
It seems that summer, more than any other season, can associate fond memories of carefree times with the great music you were listening to at the time; weddings, high school graduations, dating and new drivers licenses.
By accident I’ve stumbled across a couple of ‘pop’ records which evoked that light, lilting sense of summer that I seem to have been missing these past few decades.
Artist: Gabin
Title: Mr. Freedom
Release: August 23rd
Featuring vocalists Dee Dee Bridgewater and Edwyn Collins, Gabin is a crisp, poppy record with short, well written tunes and lyrics that have no higher message. This is pure disposable pop music that has entrancing Bossa Nova rythmns, catchy melody lines, non-traditional instrumentation. This is pure fun and quite enjoyable. With only ten tracks on the album you know the artists understand space and brevity!
Because of it’s quirky rythmns and hip sampling entwined with jazzy piano and flute riffs, for whatever reason, I see this album as especially attractive to women. I dunno - like reggae it will make gals move their hips ever so seductively. If you’re looking for something fresh and tasty, something that doesn’t imply angst to understand, something fun, something summery; this is a perfect album to wrap your summer memories around.
Artist: The Greenhornes
Title: East Grand Blues
Rating: Very Good
Release: August 2nd
More than anything this albums smacks of a great hybrid of the Byrds meet the Mama’s & the Papa’s with the occasional Eric Burden (Animals) flair. Pure 60’s sensibilites. Produced by Brendan Benson, the Greenhornes are from Cincinnati and will be touring with The White Stripes this summer. Once again, it’s light & fresh with that Byrds Rickenbacker sound (which they lifted from the Beatles).
The Greenhornes have captured the sound of rock radio when it was young and made it their own. This is a brilliant pop-psychadelic album that has no higher signifance other than your enjoyment. Well written songs that will linger on your mind. The track, ‘Pattern Skies’ is heavily influenced by the Kink’s [‘Set Me Free (Little Girl)].’ If you enjoy Tom Petty, who was clearly influenced by the Byrds, then the Greenhornes are a natural progression of that sound. It’s nice to hear a new band that understands the past and draws from it’s best influences.
What's On serial July 5, 2005
What’s On at Pacific Street Blues
Volume # 8
This week we review two titles that are category definers. Each artist is a ‘purist’ within their genre and, to some degree, defines that genre’s sound today.
Artist: Sean Costello
Title: Sean Costello
Rating: Very Good
Costello first blossomed on the scene as the guitar player in Susan Tedeschi’s band. Unlike Tedeschi, Costello is a touring monster and has played Nebraska several times including this weekends (July 9th & 10th) blues festival on the Metro Community College’s 30th & Fort Street campus. Costello’s sound has progressively become his own on each album with a fine culmination on this self titled release. After three albums Costello has grown beyond the trad-purist into an artist that has put his own stamp on his retro sound. Unlike many traditionalists however Costello has chosen to grow the sound beyond the tight constrictions of “pure blues.” His songs avoid tired clichés and yet sonically appeal to purist blues fans as well as modern blues fans. Unlike his contemporary Jonny Lang, Costello has a firm grip on the development of his style, the ability to write a good song and substance beyond a sharp jaw line and a nice hair cut.
Artist: Eric Johnson
Title: Bloom
Rating: Good++
Eric Johnson has to be among the most talented guitar players in the world. He has defined his own sound and made a living out of being brilliant and incredibly talented. Johnson’s weak link, like most hot-shot guitar players is his song writing. Instead Johnson has created sonic pallets where sound and color mesh in an intense burst of skill and aptitude. Not for everyone, Johnson’s sound is well defined and unquestionably pleasant to listen to; however, you’re not going to walk away humming a tune. Heavy on the instrumentals Johnson’s voice is wispy and angelic. Like most gifted musicians I suspect Johnson struggles with compromises between his art, his skill, and the commercial end of the music business. I really enjoy this guy but there are times when I want to be drawn into the music and leave with a tune in my head that lingers.
Volume # 8
This week we review two titles that are category definers. Each artist is a ‘purist’ within their genre and, to some degree, defines that genre’s sound today.
Artist: Sean Costello
Title: Sean Costello
Rating: Very Good
Costello first blossomed on the scene as the guitar player in Susan Tedeschi’s band. Unlike Tedeschi, Costello is a touring monster and has played Nebraska several times including this weekends (July 9th & 10th) blues festival on the Metro Community College’s 30th & Fort Street campus. Costello’s sound has progressively become his own on each album with a fine culmination on this self titled release. After three albums Costello has grown beyond the trad-purist into an artist that has put his own stamp on his retro sound. Unlike many traditionalists however Costello has chosen to grow the sound beyond the tight constrictions of “pure blues.” His songs avoid tired clichés and yet sonically appeal to purist blues fans as well as modern blues fans. Unlike his contemporary Jonny Lang, Costello has a firm grip on the development of his style, the ability to write a good song and substance beyond a sharp jaw line and a nice hair cut.
Artist: Eric Johnson
Title: Bloom
Rating: Good++
Eric Johnson has to be among the most talented guitar players in the world. He has defined his own sound and made a living out of being brilliant and incredibly talented. Johnson’s weak link, like most hot-shot guitar players is his song writing. Instead Johnson has created sonic pallets where sound and color mesh in an intense burst of skill and aptitude. Not for everyone, Johnson’s sound is well defined and unquestionably pleasant to listen to; however, you’re not going to walk away humming a tune. Heavy on the instrumentals Johnson’s voice is wispy and angelic. Like most gifted musicians I suspect Johnson struggles with compromises between his art, his skill, and the commercial end of the music business. I really enjoy this guy but there are times when I want to be drawn into the music and leave with a tune in my head that lingers.
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