KIOS Jacobs celebrates 11 blue years
Tuesday, October 04, 2005
Mike Jacobs KIOS celebrates 11 years of ‘Blues in the Afternoon. Yes, the blues is still alive and well in Omaha! Over that last eleven years, every Monday except one,(since October 4, 1994), from 2:00 until 3:30 p.m., Mike Jacobs has returned to the same studio where he had earned his High School diploma . Mike goes in to play albums and share his love of an American folk art with listeners throughout most of Eastern Nebraska and Western Iowa. “Our (KIOS fm) mission is to encourage student involvement and education (in the broadcasting industry)” says the Jacobs. But when it comes to his love for blues and jazz, “They are going to have to carry me out of here in a casket” say the thirty-nine year old ‘84 graduate of Tech High School (their last graduating class). “I know I never want to give this up.”
After graduating from the Omaha Public School’s broadcasting program Jacob’s attending UNO and was an instrumental voice on the inter-campus station KBLZ. From there Jacobs graduated to commercial radio including a weekend stint at KKCD. These days the man behind “that” voice works full-time with Omaha’s National Public Radio affiliate KIOS (91.5 fm) that is owned and operated by Omaha’s school system. His show, Blues in the Afternoon’ celebrated its eleventh year on Monday, October 3rd.
When asked what he tries to accomplish with the music that gets aired, the youthful middle aged deejay chimes in, “I don’t think the price of CDs is going to come down anytime soon and my show allows fans to hear some of the album before they go out and spend their hard earned money. During the show I try to touch as many blues bases as possible; from R.L. Burnside to Marcia Ball to Kansas City jump and of course our acoustic set. When it makes sense I also try to feature an album so the listener gets a real feel for the album. I suppose I look at an album as a body of art.” It also sounds like relaxed education process so listeners get a chance to keep up with the flood of albums in the market. Chicago based Alligator Records owner Bruce Iglauer recently went on record as saying that Whites are incapable of playing blues. “Oh I don’t know about that. Sure. Yes, anybody can play the blues! Europeans really love the blues, I think (blues) will make in-roads into China over the next ten years. The blues are a global experience and everyone is invited to join in...sometimes whether they want to or not!” laughs Jacobs.
But what about the students? “This is really why we are here. We usually have about a dozen students in the program. I help with production, pronunciation and programming issues. The students are required to create a show about a significant jazz artist that is worthy to air on the station.” Jacobs goes on to discuss that it is important to help kids learn about their culture and feel a sense of pride even if jazz & blues are not what they are listening to at this stage in their lives. Jacobs proudly notes, “We did have one young kid that did a show on (jazz saxophonist) Coleman Hawkins. Afterwards he told me it was some of the best stuff he‘d ever heard; so I got him a list of essential Coleman’s recordings. It was cool to turn a kid onto something great like that.”
“My favorite living blues player is probably Buddy Guy” a contemplative Jacob’s finally says when asked. “But I love the old guard such as Muddy Waters, Howlin’ Wolf, Otis Rush and Magic Sam. Right now I am especially enjoying Kansas City’s Jay McShann “ Whether it’s on his blues show or the Wednesday & Friday afternoon Jazz programs Jacobs lends the power KIOS’ audience to local artists. “We’ve had Dave Stryker and Karyn Allison as well as Luigi Waitts, Preston Love, and Jorge Nila on the air live. I’d like to do more of that in the future” says Mike. “Interviews sound better in the studio (than over the telephone).”Local blues artist Kris Lager says, ‘Blues in the Afternoon’ is a show I have to catch every week. Mike’s one of the wells I can go to discover great music... I really love that show.” Jacobs makes it a point to talk about local acts, “I really enjoy Sarah Benck & the Robbers, Matt Whipkey & Anonymous American have a future in front of them and The Tijuana Gigolos - who I saw open for Link Wray at the Zoo Bar. You can really feel the area’s music scene is healthy.”
Like so many blues fans today young Mike Jacobs came to the blues through rock & roll. “I loved the Rolling Stones, Clapton, Allman Brothers, and Janis Joplin. A couple of weeks ago I played ‘Back of My Hand’ off the newest Rolling Stones album. It was an appropriate blues track. I’d read the album credits and see a song was written by C. Burnett. Who’s that?, Oh, Howlin’ Wolf, and off I would go to find about more about this Howlin’ Wolf character. The Stones were great about that.” When asked about the heritage of so-called spotlight programming in Omaha’s radio market Jacob’s lights up, “I can remember working with Steve Sleeper. I was working over-nights and he would come in on Sunday mornings to do his show, ‘Jazz Brunch.’ I remember when Steve was on the original KQ98 (along with Mike Cody, Paxton West, and Kevin Casaria). It was a golden period in radio. Today the playlists (on commercial radio) are so tight and the medium is so competitive that there are a lot of dissatisfied listeners.” Is the ‘art’ of radio is dead? Jacobs thinks for a moment and says, “I can’t say that but there are more and more people looking for vibrant, intelligent alternatives. I try to have a good show that is entertaining. I know when it’s good, all the songs fit together, time flies by and things are just groovin’. And the emails or phone calls come in.”
More and more public radio fills a listener need and keeps an artform out front. “I don’t know that the blues has died. It’s coming back in terms of programming. The Blues Society of Omaha has about 1,000 members now and with the opening of live music venues such as Mick’s Tavern in Benson or Sokol Auditorium you could say the blues is ‘still alive and well’ in Omaha: that rumours of its death have been greatly exaggerated he repeats.”
Sunday, March 30, 2008
Album Review Rolling Stones Bigger Band
Rollings Stones MUCH Bigger BangSaturday, September 17, 2005
Artist: The Rolling Stones
Title: The Bigger Bang
Once again the Rolling Stones thumb their noses at the conventional wisdom of the established Anti-Establishment.
When they began in 1962 the Rolling Stones thwarted conventional wisdom by playing American blues rather than the Trad Jazz or Skiffle that was popular with English kids at the time. By juxtaposing their career path against that of the more accepted Beatles during the 60’s the Stones extended the life of their band. With the release of their latest studio effort, The Bigger Bang’ the Rolling Stones have, as best I can figure, 24 studio albums, 8 official live albums, numerous boxset, and (at least) 18 domestic Greatest Hits packages. While the rest of the world was coming off the bliss of Woodstock, in 1969 the Stones suffered through the death of founder Brian Jones (guitar), the murder of a fan (Meredith Hunter), during their free concert at Oakland’s Altamont Speedway (and captured in the film, Gimme Shelter), the eminent firing of manager Allen B. Klein, a shift from “pop” to a rootsy-blues band, and replacement guitar player Mick Taylor. Any one of these could have easily broken up the band; inexplicably the Rolling Stones not only survived but went on to record some of their best known material.
With the 1972 release of, ‘Exile on Main Street’ conventional wisdom trashed the double album.
In 2004 Rolling Stone magazine placed ‘Exile on Main Street’ in the Top Ten best Rock albums.
In 2005 critics besmirch the band who’s youngest member, Ron Wood, is 58 years old. Sixteen years ago, with the 1989 release of their ‘Steel Wheels’ album conventional wisdom joked about the “steel wheelchairs tour.” Yet this same caste of critics praised Muddy Waters, while in his late 60’s for his trilogy of Blue Sky recordings with Johnny Winter. Evidently conventional wisdom says it’s okay for a African American blues act to be active into their seventh decade but Englishmen need to fade away. I’m nor even going to pretend to give an unbias review of the latest Stones album, ‘The Bigger Bang.’ I have featured three tracks on PS Blues for the last month. “Rough Justice” was probably written by Mick Jagger and harkens back to “Sad, Sad, Sad” from the Steel Wheels album. After the lackluster Bridges to Babylon album the band hasn’t rocked this hard in the studio since the release of the irresprisable ‘91 anti-war anthem, “High Wire.” “Back of My Hand” is a blues track and exhibits the Stones in one of their strong suits.
When they released the blues track, “Honest I Do,” for the ‘Hope Floats’ soundtrack, some called for a blues album by the band. In fact lead singer Mick Jagger recorded a serious blues solo album with the band, The Red Devils, although to date it is available only as a bootleg. Finally, “Streets of Love,” is a typical post-86 Jagger ballad ala’ the “Voodoo Lounge” album. With the (struggling) sobriety of guitarist Ronnie Wood it’s clear he’s giving the band a new level of energy by getting them to play songs long forgotten in venues much too small and keeping them on stage.
Throughout their 40+ year career the Stones have successfully ignored conventional wisdom.
The only difference is they are now thumbing their nose at the ‘Established Anti-Establishment’ and may God bless’em for doing so. As Keith said on opening night of the, Bridges to Babylon’ tour, “Any day above ground is a good day.”
Incidentally, conventional wisdom berates the band for the plethora of Greatest Hits packages. Twelve or 66% of their domestic Hits albums came out on the ABKCO label, owned by former manager and industry bad guy Allen B. Klein (company), AFTER the band had left Klein and the Decca label.
So much for conventional wisdom.
Artist: The Rolling Stones
Title: The Bigger Bang
Once again the Rolling Stones thumb their noses at the conventional wisdom of the established Anti-Establishment.
When they began in 1962 the Rolling Stones thwarted conventional wisdom by playing American blues rather than the Trad Jazz or Skiffle that was popular with English kids at the time. By juxtaposing their career path against that of the more accepted Beatles during the 60’s the Stones extended the life of their band. With the release of their latest studio effort, The Bigger Bang’ the Rolling Stones have, as best I can figure, 24 studio albums, 8 official live albums, numerous boxset, and (at least) 18 domestic Greatest Hits packages. While the rest of the world was coming off the bliss of Woodstock, in 1969 the Stones suffered through the death of founder Brian Jones (guitar), the murder of a fan (Meredith Hunter), during their free concert at Oakland’s Altamont Speedway (and captured in the film, Gimme Shelter), the eminent firing of manager Allen B. Klein, a shift from “pop” to a rootsy-blues band, and replacement guitar player Mick Taylor. Any one of these could have easily broken up the band; inexplicably the Rolling Stones not only survived but went on to record some of their best known material.
With the 1972 release of, ‘Exile on Main Street’ conventional wisdom trashed the double album.
In 2004 Rolling Stone magazine placed ‘Exile on Main Street’ in the Top Ten best Rock albums.
In 2005 critics besmirch the band who’s youngest member, Ron Wood, is 58 years old. Sixteen years ago, with the 1989 release of their ‘Steel Wheels’ album conventional wisdom joked about the “steel wheelchairs tour.” Yet this same caste of critics praised Muddy Waters, while in his late 60’s for his trilogy of Blue Sky recordings with Johnny Winter. Evidently conventional wisdom says it’s okay for a African American blues act to be active into their seventh decade but Englishmen need to fade away. I’m nor even going to pretend to give an unbias review of the latest Stones album, ‘The Bigger Bang.’ I have featured three tracks on PS Blues for the last month. “Rough Justice” was probably written by Mick Jagger and harkens back to “Sad, Sad, Sad” from the Steel Wheels album. After the lackluster Bridges to Babylon album the band hasn’t rocked this hard in the studio since the release of the irresprisable ‘91 anti-war anthem, “High Wire.” “Back of My Hand” is a blues track and exhibits the Stones in one of their strong suits.
When they released the blues track, “Honest I Do,” for the ‘Hope Floats’ soundtrack, some called for a blues album by the band. In fact lead singer Mick Jagger recorded a serious blues solo album with the band, The Red Devils, although to date it is available only as a bootleg. Finally, “Streets of Love,” is a typical post-86 Jagger ballad ala’ the “Voodoo Lounge” album. With the (struggling) sobriety of guitarist Ronnie Wood it’s clear he’s giving the band a new level of energy by getting them to play songs long forgotten in venues much too small and keeping them on stage.
Throughout their 40+ year career the Stones have successfully ignored conventional wisdom.
The only difference is they are now thumbing their nose at the ‘Established Anti-Establishment’ and may God bless’em for doing so. As Keith said on opening night of the, Bridges to Babylon’ tour, “Any day above ground is a good day.”
Incidentally, conventional wisdom berates the band for the plethora of Greatest Hits packages. Twelve or 66% of their domestic Hits albums came out on the ABKCO label, owned by former manager and industry bad guy Allen B. Klein (company), AFTER the band had left Klein and the Decca label.
So much for conventional wisdom.
Album Review Eric Clapton Back Home
Eric Clapton - Back HomeSaturday, September 17, 2005
Artist: Eric Clapton
Title: Back Home
Rating: Very Good
Multiple Rock & Roll Hall of Fame member Eric Clapton (Eric "Ricky" Patrick Clapp) has been beyond the reach of critics for decades. Although I've never considered myself much of a fan mysteriously I've accumulated a serious collection of his albums. Much like Dylan or Stevie Ray Vaughan, my admiration is based upon the respect I see others pay this talented artist. With a nickname like "god" (in reference to his guitar playing) he can't possibly live up to his reputation. Clapton's post-heroin preference to steer clear of long flashing guitar runs in favour of tasty tone and 'songs' misguides listener's expectations and makes for somewhat lessened concert experiences: I mean why does "Eric Clapton" need guitar slingers like Albert King or Doyle Bramhall Junior in "His" band??? Just like Buddy Guy, seeing Clapton live is an unfulfilling exercise in thinking, "Come on Eric, you take the bloody solo!"
Name a genre of music and there's a strong possibility that Clapton's dabbled in it. Reggae star Bob Marley owed much of international success of his career to two moments; one was opening for Bruce Springsteen at the Bottom Line Club and the second was the chart success of Eric Clapton's cover of Marley's, 'I Shot the Sheriff.' At the dawning of his career Clapton choose to leave the newly leaning pop stylings of the Yardbirds just as their hit, 'For Your Love' was beginning to dominate pop charts on both sides of the Atlantic. (The Yardbirds would later include Jimmy Page & Jeff Beck) Leaving the Yardbirds, (name for famed jazz sax player Charlie 'Yardbird' Parker) for John Mayall & the Bluesbreakers, Clapton stayed just long enough to record the famed 'Beano' album: so named for the English children's comic book is reading on the albums cover. (Also in the Bluesbreakers with Clapton was John McVie who would eventually hook-up with later period Bluesbreakers Peter Green & Mick Fleetwood to form Peter Green's Fleetwood Mac. In 1969 The Rolling Stones would pull Mick Taylor from the Bluesbreakers to replace Brian Jones). Clapton's career would then tumble through Cream, Blind Faith, Bonnie & Delaney, Derek & the Dominos (featuring American guitar sensation Duane Allman) and recording the guitar solo on, 'While My Guitar Gently Weeps' for The Beatles White Album under the name L'Angelo Mysterioso. Clapton would also record under the name X-Sample for the poorly received techno-album, Retail Therapy.
Long before fame took his hand, in his book about the Rolling Stones former band roommate Fred Pheldge claimed that Eric Clapton would sit-in with the Stones as their singer, under the nickname 'Ginger,' when Mick Jagger was pulled away for perform with Alexis Korner: a claim disputed during an interview for PS Blues by former Rolling Stone & band historian Bill Wyman. From his earliest days Clapton's life has faced many hardships including struggles with heroin and alcoholism. Born the illegitimate son of a 16 year old mother, much like actor Jack Nicholson, Clapton was raised to believe that his Grandparents were his parents and that his mother was his sister. In 1990 Clapton would suffer the losses of good friends Colin Smythe, Nigel Brown and Stevie Ray Vaughan, in a helicopter crash after their concert in Apple Valley, Wisconsin. Month's later Clapton's son Conor would fall 49 floors from the balcony of his mother's apartment to his death. In 1992 Clapton's song about his son's death, 'Tears in Heaven, & the album, Unplugged, would capture six Grammy Awards. Eric Clapton has had a lifelong dalliance with the blues. While the 80's saw Clapton recording with an American county flavor, the new millennium, until the release of his newest album, Back Home, saw Clapton recording homage's to blues hero's Robert Johnson and BB King resulting in three albums I would recommend only to die-hard fans.
On his new album, Back Home, a smiling and relaxed pot-bellied Eric Clapton appears in the liner notes with his wife and three young daughters. If strife and torture help artists create memorable art then the scenes of domestic bliss are well placed. Much like the previous two Robert Johnson cover-albums, a full-length album with 5.1 surround sound and DVD are included in the package. Unlike many previous albums, this record is wonderful yet nothing more than pop music. Do not approach this record with any expectations for 'slowhand' as it's merely a lark through the park and yet comfortable like talking to an old friend. The opening 'So Tired' is catchy & uplifting. Anyone that has suffered through the sleepless joy of early child rearing will immediately 'get' the lyrics and the baby crying in the background. Clapton delves back into a loose reggae stance with the single, 'Revolution' and 'Say What You Will.' The band also dabbles with the Philadelphia Soul stylings of '80's Hall & Oats with the at-once radio friendly sound of, 'Love Don't Love Nobody.' As I listened to this song it reminds me of my wife's Lite radio station: listening to a song I remember hating but as the tune draws to a close I realize I know every word. 'Loves Comes to Everyone' with its Little Stevie Winwood keyboard solo and 'Piece of My Heart' are prime radio songs that will define this fall's radio playlists. On the track 'One Day' we hear the band finally lean into the storm with an edgy burn yet a guitar solo that is sufficient and yet hardly magnificent. 'Run Home to Me' is a beautiful lullaby that brought tears to this parent's eyes.
While it's only September, Home Again, is the perfect Christmas gift for that aging Baby Boomer in your life and who knows that person may be you. It's a fine album with brief smatterings of guitar solos. Like Ice Cream, I would recommend playing infrequently as too much of a good thing will quickly lose it's appeal. 'Slowhand' is not covering any new ground with this power-pop release but then he doesn't have to because he is after all 'god.' This is an album you will have a hard time not playing and that most music fans will enjoy for years to come.
Artist: Eric Clapton
Title: Back Home
Rating: Very Good
Multiple Rock & Roll Hall of Fame member Eric Clapton (Eric "Ricky" Patrick Clapp) has been beyond the reach of critics for decades. Although I've never considered myself much of a fan mysteriously I've accumulated a serious collection of his albums. Much like Dylan or Stevie Ray Vaughan, my admiration is based upon the respect I see others pay this talented artist. With a nickname like "god" (in reference to his guitar playing) he can't possibly live up to his reputation. Clapton's post-heroin preference to steer clear of long flashing guitar runs in favour of tasty tone and 'songs' misguides listener's expectations and makes for somewhat lessened concert experiences: I mean why does "Eric Clapton" need guitar slingers like Albert King or Doyle Bramhall Junior in "His" band??? Just like Buddy Guy, seeing Clapton live is an unfulfilling exercise in thinking, "Come on Eric, you take the bloody solo!"
Name a genre of music and there's a strong possibility that Clapton's dabbled in it. Reggae star Bob Marley owed much of international success of his career to two moments; one was opening for Bruce Springsteen at the Bottom Line Club and the second was the chart success of Eric Clapton's cover of Marley's, 'I Shot the Sheriff.' At the dawning of his career Clapton choose to leave the newly leaning pop stylings of the Yardbirds just as their hit, 'For Your Love' was beginning to dominate pop charts on both sides of the Atlantic. (The Yardbirds would later include Jimmy Page & Jeff Beck) Leaving the Yardbirds, (name for famed jazz sax player Charlie 'Yardbird' Parker) for John Mayall & the Bluesbreakers, Clapton stayed just long enough to record the famed 'Beano' album: so named for the English children's comic book is reading on the albums cover. (Also in the Bluesbreakers with Clapton was John McVie who would eventually hook-up with later period Bluesbreakers Peter Green & Mick Fleetwood to form Peter Green's Fleetwood Mac. In 1969 The Rolling Stones would pull Mick Taylor from the Bluesbreakers to replace Brian Jones). Clapton's career would then tumble through Cream, Blind Faith, Bonnie & Delaney, Derek & the Dominos (featuring American guitar sensation Duane Allman) and recording the guitar solo on, 'While My Guitar Gently Weeps' for The Beatles White Album under the name L'Angelo Mysterioso. Clapton would also record under the name X-Sample for the poorly received techno-album, Retail Therapy.
Long before fame took his hand, in his book about the Rolling Stones former band roommate Fred Pheldge claimed that Eric Clapton would sit-in with the Stones as their singer, under the nickname 'Ginger,' when Mick Jagger was pulled away for perform with Alexis Korner: a claim disputed during an interview for PS Blues by former Rolling Stone & band historian Bill Wyman. From his earliest days Clapton's life has faced many hardships including struggles with heroin and alcoholism. Born the illegitimate son of a 16 year old mother, much like actor Jack Nicholson, Clapton was raised to believe that his Grandparents were his parents and that his mother was his sister. In 1990 Clapton would suffer the losses of good friends Colin Smythe, Nigel Brown and Stevie Ray Vaughan, in a helicopter crash after their concert in Apple Valley, Wisconsin. Month's later Clapton's son Conor would fall 49 floors from the balcony of his mother's apartment to his death. In 1992 Clapton's song about his son's death, 'Tears in Heaven, & the album, Unplugged, would capture six Grammy Awards. Eric Clapton has had a lifelong dalliance with the blues. While the 80's saw Clapton recording with an American county flavor, the new millennium, until the release of his newest album, Back Home, saw Clapton recording homage's to blues hero's Robert Johnson and BB King resulting in three albums I would recommend only to die-hard fans.
On his new album, Back Home, a smiling and relaxed pot-bellied Eric Clapton appears in the liner notes with his wife and three young daughters. If strife and torture help artists create memorable art then the scenes of domestic bliss are well placed. Much like the previous two Robert Johnson cover-albums, a full-length album with 5.1 surround sound and DVD are included in the package. Unlike many previous albums, this record is wonderful yet nothing more than pop music. Do not approach this record with any expectations for 'slowhand' as it's merely a lark through the park and yet comfortable like talking to an old friend. The opening 'So Tired' is catchy & uplifting. Anyone that has suffered through the sleepless joy of early child rearing will immediately 'get' the lyrics and the baby crying in the background. Clapton delves back into a loose reggae stance with the single, 'Revolution' and 'Say What You Will.' The band also dabbles with the Philadelphia Soul stylings of '80's Hall & Oats with the at-once radio friendly sound of, 'Love Don't Love Nobody.' As I listened to this song it reminds me of my wife's Lite radio station: listening to a song I remember hating but as the tune draws to a close I realize I know every word. 'Loves Comes to Everyone' with its Little Stevie Winwood keyboard solo and 'Piece of My Heart' are prime radio songs that will define this fall's radio playlists. On the track 'One Day' we hear the band finally lean into the storm with an edgy burn yet a guitar solo that is sufficient and yet hardly magnificent. 'Run Home to Me' is a beautiful lullaby that brought tears to this parent's eyes.
While it's only September, Home Again, is the perfect Christmas gift for that aging Baby Boomer in your life and who knows that person may be you. It's a fine album with brief smatterings of guitar solos. Like Ice Cream, I would recommend playing infrequently as too much of a good thing will quickly lose it's appeal. 'Slowhand' is not covering any new ground with this power-pop release but then he doesn't have to because he is after all 'god.' This is an album you will have a hard time not playing and that most music fans will enjoy for years to come.
Album Reviews; Renee Austin, Shemekia Copeland, Heaven Davis
Austin, Copeland, & Heaven DavisThursday, August 25, 2005
Artist: Renee Austin
Title: Right About Love
Rating: Good
Born in California, raised in Texas, and living in Minneapolis, Renee Austin’s 2003 album, ‘Sweet Talk’ thrust her onto the national scene. Noted for her “five octave” vocal range Austin’s second album is titled, ‘ Right About Love.’ A semi-annual performer in the Eastern Nebraska area Austin’s slowly building an appreciative audience. On her latest album Austin says she is driving towards an Austin (Texas) sound with a guest shot by Delbert McClinton and songs written with Malford Milligan & Tommy Shannon as well as David Grissom. And just like Elvis Presley more than 40 years before her, Austin also covers Arthur ‘Big Boy’ Crudups, “That’s All Right (with Mama).” She also covers Bobby Gentry’s, “Strangers on a Train.”
Over all this is an album with numerous srong performances and Austin's hard earned fanbase will fully appreciae this record. As a concert souvenir this album will sell well off the stage too. For those looking around for a “blues” album this is probably not a good place to start as the flavor is more R n’ B and AAA music; however, within it’s intended demographic it’s a strong album.
Artist: Shemekia Copeland
Title” The Soul Truth
Rating: Good
There is a book by Arnold Shaw called, “Honkers And Shouters - The Golden Years of Rhythm & Blues.” I can remember reading it and coming to the ephiphany that ‘shouting’ is a genre within the R n’ B category. This includes vocalists such as Etta James or Koko Taylor during the twilight of their careers as their voices waned. Such a deliver style includes a myriad of growls, snorts, and edgy positioning that often wavers off note but is carried-off by the emotional force of the emoter.
On her fourth album, ‘The Soul Truth’ Shemekia Copeland rolls out her best ‘Shouting’ with the help of legendary Stax guitar man (and Blues Brother film star) Steve Cropper and the equally impressive Muscle Shoals Horn section. Other guest appearances include; Dobie Gray, sometime Allman Brother or sometime Rolling Stones keyboardist Chuck Levell, and Felix Cavaliere. The album relies heavily on the songwriting contributions of Cropper and John Hahn. (Copeland does none of the songwriting.) These are really good songs with a Stax meets Saturday Night Live flavor ala’ punching horn lines and rhythm section up front. Deservedly or not Copeland, daughter of Johnny Clyde Copeland, finds herself in the drivers seat of a highly respected genre of American music with all eyes on her. Deservedly? The label’s tout of Copeland being in the same class as Aretha Franklin is misplaced. Copeland is sassy, industry wise (using Cropper and Dr. John to produce her last two albums) and hard working; however, such a claim is out of bounds.
Artist: Heaven Davis
Title: Steamy
Rating: Very Good
Heaven Davis has no history with the middle class white fans of blues music. Her lack of presence is going to hurt her ability to get fans to pay attention to such an impressive album. Able to sing AND carry a tune, Davis walks through 14 songs including a comedic one she wrote entitled, ‘Sell My Jewelry.’ The second track on the album, ‘Daydreaming ‘Bout You’ has the stylings of a mid-60’s soul song. While the temptation to draw a wider (whiter?) audience is ever present, Davis’ keeps a working class R n’ B sound that is tasty and accomplished. She is clearly comfortable within her own skin. Davis' song, "Regrets" is vintage Glady's Knight and exceptional.
If you enjoy Otis Redding’s “Sitting on the Dock of the Bay” more than Michael Bolton’s then chances are quite strong you are going to immediately “get” Heaven Davis’ sound. Yes, it’s a purists flavor and you know I usually stray far from that restraint but in this case Davis has the goods and delivers them in full.
Artist: Renee Austin
Title: Right About Love
Rating: Good
Born in California, raised in Texas, and living in Minneapolis, Renee Austin’s 2003 album, ‘Sweet Talk’ thrust her onto the national scene. Noted for her “five octave” vocal range Austin’s second album is titled, ‘ Right About Love.’ A semi-annual performer in the Eastern Nebraska area Austin’s slowly building an appreciative audience. On her latest album Austin says she is driving towards an Austin (Texas) sound with a guest shot by Delbert McClinton and songs written with Malford Milligan & Tommy Shannon as well as David Grissom. And just like Elvis Presley more than 40 years before her, Austin also covers Arthur ‘Big Boy’ Crudups, “That’s All Right (with Mama).” She also covers Bobby Gentry’s, “Strangers on a Train.”
Over all this is an album with numerous srong performances and Austin's hard earned fanbase will fully appreciae this record. As a concert souvenir this album will sell well off the stage too. For those looking around for a “blues” album this is probably not a good place to start as the flavor is more R n’ B and AAA music; however, within it’s intended demographic it’s a strong album.
Artist: Shemekia Copeland
Title” The Soul Truth
Rating: Good
There is a book by Arnold Shaw called, “Honkers And Shouters - The Golden Years of Rhythm & Blues.” I can remember reading it and coming to the ephiphany that ‘shouting’ is a genre within the R n’ B category. This includes vocalists such as Etta James or Koko Taylor during the twilight of their careers as their voices waned. Such a deliver style includes a myriad of growls, snorts, and edgy positioning that often wavers off note but is carried-off by the emotional force of the emoter.
On her fourth album, ‘The Soul Truth’ Shemekia Copeland rolls out her best ‘Shouting’ with the help of legendary Stax guitar man (and Blues Brother film star) Steve Cropper and the equally impressive Muscle Shoals Horn section. Other guest appearances include; Dobie Gray, sometime Allman Brother or sometime Rolling Stones keyboardist Chuck Levell, and Felix Cavaliere. The album relies heavily on the songwriting contributions of Cropper and John Hahn. (Copeland does none of the songwriting.) These are really good songs with a Stax meets Saturday Night Live flavor ala’ punching horn lines and rhythm section up front. Deservedly or not Copeland, daughter of Johnny Clyde Copeland, finds herself in the drivers seat of a highly respected genre of American music with all eyes on her. Deservedly? The label’s tout of Copeland being in the same class as Aretha Franklin is misplaced. Copeland is sassy, industry wise (using Cropper and Dr. John to produce her last two albums) and hard working; however, such a claim is out of bounds.
Artist: Heaven Davis
Title: Steamy
Rating: Very Good
Heaven Davis has no history with the middle class white fans of blues music. Her lack of presence is going to hurt her ability to get fans to pay attention to such an impressive album. Able to sing AND carry a tune, Davis walks through 14 songs including a comedic one she wrote entitled, ‘Sell My Jewelry.’ The second track on the album, ‘Daydreaming ‘Bout You’ has the stylings of a mid-60’s soul song. While the temptation to draw a wider (whiter?) audience is ever present, Davis’ keeps a working class R n’ B sound that is tasty and accomplished. She is clearly comfortable within her own skin. Davis' song, "Regrets" is vintage Glady's Knight and exceptional.
If you enjoy Otis Redding’s “Sitting on the Dock of the Bay” more than Michael Bolton’s then chances are quite strong you are going to immediately “get” Heaven Davis’ sound. Yes, it’s a purists flavor and you know I usually stray far from that restraint but in this case Davis has the goods and delivers them in full.
Album Review Chris Cain's Hall of Shame
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.
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.
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.
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