Rick Galusha's Pacific St. Blues and Americana

Since inception (1989), Pacific St. Blues & Americana strives to be a discerning voice helping roots fans sift through the mountains of music released every year. We are not for everyone; we want to engage active, critical listeners that hear beyond d'jour. Interviews include: Johnny Winter, Bill Wyman (Rolling Stones), Jerry Wexler, Tommy Shannon & Chris Layton, B.B. King, Dr. John, Robin Trower, Robben Ford, Mato Nanji, Joe Bonamassa, Harry Manx, Sue Foley, Marshall Chess, Billy Lee Riley, Charlie Louvin, Kim Richey, Radney Foster, Eric Johnson, David Clayton Thomas, Al Kooper, Phil Chen (Wired, Blow By Blow), Ian McLagan, Art Neville, Southside Johnny, Miami Steve Van Zant, Nils Lofgren, Bruce Iglauer, Charlie Musselwhite, Studebaker John, Chris Duarte, Smokin' Joe Kubeck, Hamilton Loomis, Peter Karp, Roomful of Blues, James Harman, Hadden Sayers, Malford Milligan, Melvin Taylor, Otis Taylor, Dave Alvin, Coco Montoya, Jimmy Thackery, Marsha Ball, Maria Muldaur, Shelby Lynne, Magic Dick & J. Geils, Lil' Milton, BuddyGuy, Aynsley Lister, Matt Schofield, Susan Tedeschi, Derek Trucks, Guy Clark, Joe Ely, James Cotton, Robin & Jesse Davey, Hugh Coltman (Hoax), Sean Kelly (Samples), John Entwistle (The Who), Mark Olson (Jayhawks), Walter Wolfman Washington, Anthony Gomes, Bob Malone, Chubby Carrier, Buckwheat Zydeco, Murali Coryell, David Jacob Strain, DeAnna Bogart, Michael Lee Firkins, Guy Davis, Jason Ricci, John Doe, Little Feat, Matt Woods, MikeZito, Peter Buffett, Ronnie Baker Brooks, Corky Siegel, Todd Park Mohr, Watermelon Slim, Magic Slim, Corey Harris,- - - - - - ------------------------Radio archives: http://www.kiwrblues.podomatic.com/. Playlists: http://www.omahablues.com/ Reviews featured in http://www.blueswax.com/. Email: KIWRblues@gmail.com Live online; Sundays 9 a.m. (-6 GMT) http://www.897theriver.com/

Tuesday, August 31, 2010

Political Editorial: Taxing Internet Sales



This Op-Ed piece was printed initially in the Omaha World Herald, 2009


I say it is time to collect internet sales taxes.

This call to arms may be anathema to a fiscal conservative but let’s inject some facts into the discussion.

State and local government budgets are, in some part, based upon the collection of sales tax revenues. Basic epistemology of fiscally conservative thought is that fewer taxes equate to smaller government and that is usually perceived as a good thing. However maintaining functional government budgets is inarguable.

As we look at the evolution of technology and its impact on the retail industry, we are seeing a growing shift to online sales of everyday goods. For the most part this shift towards online sales does not capture sales taxes – negatively impacting State and local government budgets. The shift is also creating an unlevel playing field that favors online retailers against local ‘brick’ retailers since a tax free purchase may equate to as much as a 12% discount in some markets [ 7% here in Omaha].

Put another way, the immediate effect of a discount on tax-free online purchases sends wealth out of the Omaha market and, as a community; we lose the benefit of the economic multiplier effect created by that money circulating throughout our state and community. In the long term we may also risk losing retail jobs and, as we all know, the retail industry is a significant employer.

It is a fact that small business is the engine that drives the American economy. The Maryland based Tischler & Associates, Inc. (now d/b/a Tischler Bise) reported that “Big Box retailers generate a net annual deficit of $468 per 1,000 square feet (to taxpayers)…Fast food restaurants have a net annual cost of $5,168 per 1,000 sq. ft…In contrast, specialty retail has a positive impact on public revenue of $326 per 1,000 sq. ft.” (Tischler & Associates) When you weigh in the actual employment impact as well as the economic multiplier effect, government should be strongly incentivized to support the local retail economy.

According to the Wall Street Journal, several states, including North Carolina, Hawaii, California, Connecticut, New York, Maryland, Minnesota and Tennessee, have decided to level the playing field through recent legislation. Online behemoth Amazon has threatened to “clip local affiliates” rather than pay their currently defined legal share of sales taxes. (Fowler, 2009). The University of Tennessee estimates that “uncollected Internet Sales taxes will cost state and local governments more than $11,000,000,000 a year by 2012.”

In its early guise, government nurtured the viability of online companies by allowing this issue to go unnoticed. According to the U.S. Census Bureau, in the First Quarter of 2009 online sales were $31,717,000,000. (Quarterly Retail E-Commerce Sales, 1st Quarter 2009, 2009) By any standards the online retail industry has been sufficiently incubated and it is time to level the playing field as well as increase State and local revenues through the appropriate application of existing and needed sales tax collection laws.

Studies indicate that 8% - 12% of retail sales have moved online; the impact on government budgets is apparent. Because of the disparity of various state and local taxation levels, the process of collecting and submitting levies of online sales would be a significant burden to retailers. A suggested method could be to have a uniform nationwide taxation level for online sales thus simplifying the collection and submission process for retailers. Another “level playing field” consideration could be to reduce in-store sales tax levels as a result of collecting sales taxes on all retail sales once again.

Finally, this is not an advocation for a new tax. Nor can a reasonable person misconstrue this to be a call to increase taxes. If we are going to tax retail sales, and history shows we are, isn’t it about time that Nebraska, and Omaha, join in the processes to balance the playing field? At the very least this is an existing loophole that needs to be debated.

Richard ‘Rick’ Galusha

SOURCES:

Fowler, G. A. (2009, June 19). Amazon Threatens Cuts Over State Taxes. Wall Street Journal , p. B3.

Quarterly Retail E-Commerce Sales, 1st Quarter 2009. (2009, May 15). Retrieved June 24 , 2009, from U.S. Census Bureau News: http://www.census.gov/mrts/www/data/html/09Q1.html

Tischler & Associates. (n.d.). Retrieved September 18 , 2003, from http://www.smartgrowth.org/news/bystate.asp?state-ID

Political Editorial: Whiteclay



Published Sunday August 29, 2010
Omaha World Herald newspaper

Midlands Voices: Act urgently on Whiteclay
By Rick Galusha

The writer is an assistant professor in the College of Arts and Sciences at Bellevue University. He is assistant director for the university’s Center for American Visions and Values.

Nebraskans are shocked to learn that a portion of the second-poorest area in the entire Western Hemisphere lies within our state, in the area that includes the Pine Ridge Reservation. Consider the following figures from the 2002-03 edition of Regional Differences in Indian Health, published by the U.S. Department of Health and Human Services:

>> The age-adjusted alcoholism death rates in the Reservation area are nearly 17 times higher than the national population mean (108.7 per 100,000 people versus 6.7 nationally).

>> The age-adjusted tuberculosis death rates in the Reservation area are eight times higher than the national population mean (2.4 per 100,000 versus 0.3 nationally).

>> The age-adjusted diabetes mellitus death rates in the Reservation area are more than five times higher than the national population mean (68.7 per 100,000 versus 13.3 nationally).

>> The age-adjusted suicide rates in the Reservation area are nearly three times higher than the national population mean (29.7 per 100,000 versus 11.2 nationally).

Because a majority of the Pine Ridge Reservation lands are located within the borders of South Dakota, some suggest that this is a state sovereignty issue. However, the effects spill into our state, including the numerous medical and legal concerns that define Whiteclay, Neb., (population 14).

Whiteclay’s four package stores sell the equivalent of more than 3 million cans of beer annually. Adult alcoholism rates on Pine Ridge have been estimated to exceed 65 percent.

In an era when bitterness can define the political landscape, our Legislature passed a modest bill this year. In July, the Douglas County Republican Party passed a resolution calling for the establishment of a committee to seek viable solutions for the extreme poverty on the Pine Ridge Reservation. Independently, later that month, the Nebraska Democratic Party passed an identical resolution. This solution-seeking-committee would consist of the governors of Nebraska and South Dakota as well as the president of the Lakota Sioux Nation.

While the choice of sobriety is an individual decision, there are several things Nebraskans can do to provide hope:

>> Demand enforcement of existing Nebraska laws in Whiteclay, Neb.

>> Empower our elected officials to begin seeking long-term solutions to this extreme poverty, including calling upon the government of South Dakota to participate.

>> Create awareness by sharing this commentary with family members, friends, co-workers and congregants.

>> Take specific action by sending letters and e-mails and placing telephone calls to elected officials.

>> Use social networking to enhance awareness.

>> Contact the Whiteclay awareness committee (WhiteclayAwareness@gmail.com) to schedule a speaker and-or show the film “The Battle for Whiteclay.” (Include schools, civic or business organizations, churches, synagogues, mosques or living rooms.)

This nonpartisan issue is gaining momentum. Readers of the New Testament will recognize the passage, “I tell you the truth, whatever you did not do for the least of these, you did not do for me.” It would be a moral failure for Nebraskans to allow this misery to continue.

To quote Edmund Burke, “If not us, then who? If not now, then when?”

Thursday, August 19, 2010

Rick Derringer Album Review



Artist: Rick Derringer
Title: The Three Kings of the Blues
Writer: Rick Galusha

It was hard to grow up in the ‘70’s and not know about Rick ‘Rock n’ Roll Hoochie Koo’ Derringer. Whether it was his band, ‘The McCoy’s’ 1965 #1 hit, ‘Hang on Sloopy’ (The Official Rock Song for the State of Ohio) or his self titled band’s FM flash, ‘Let Me In,’ Rick Derringer was a household name among avid music fans. Perhaps best known for his able support of Edgar and Johnny Winter, Derringer’s star diminished by the mid-1980s.

Down but never out Rick Derringer is back with a compilation on Shrapnel Records which pay homage to the three kings of the blues… B. B., Albert and Freddie. With tracks taken from previous Derringer solo efforts, this album is Derringer at his best. Like brass knuckles on a peroxide blonde Derringer takes ten blues standards, revs up his chainsaw guitar and double-times past any semblance of musical nuisance… and yet fun pervades this guilty pleasure. With songs like, ‘Key to the Highway,’ ‘Born Under a Bad Sign’ and ‘Let the Good Times Roll’ Derringer delivers these tracks right between your eyes.

Purists will roll over and groan but contemporary blues fans (IE: Rock n’ Rollers) are going to eat this album with a fork and spoon. Programmers will want to use this CD like grease on a spitball when they reach up, caress the bill of their cap, and jumpstart listeners with a familiar sounding cover track. It ain’t art but then art never was a parameter for mass appeal. Look to Derringer’s version of Freddie King’s, ‘You’ve Got to Love Her With a Feeling’ as the gateway to the easily accessible sonnets of this record.

Saturday, August 7, 2010

Album Review: Indigenous, 'The Acoustic Sessions'


Band: Indigenous
Title: The Acoustic Sessions
Writer: Rick Galusha

In 1995 a band of Native American siblings from the Northern Ponca Tribe Reservation in Wagner, South Dakota released a self-produced album, ‘Awake.’ Now in their 16th year the band has released fourteen full length albums including their newest, ‘The Acoustic Sessions.’ Nanji’s father, Greg Zephier, a friend of actor Marlon Brando, was an activist in the American Indian Movement and named his son for the noted civil rights figure Standing Bear (d:1908).

What started as a tight knit band of family members eventually succumbed to the travails of rivalry, broken relationships, and illicit substance use. When the Davey Brothers, of the successful British band ‘The Hoax,’ informally hovered near the band, the once blues based guitar rock sound of the band moved towards a more contemporary, bottom-heavy, hard rock sound. This new sound and image moved the band towards a larger and younger potential audience but pushed away the loyal base of “Indiginuts.” Their career stalled and internal issues resulted in Wandbi (sister/drummer), Pte (brother/bass) and Horse (cousin/percussion) leaving the band. As a solo act under the name Indigenous, Mato Nanji struggled to re-find his voice and old audience.

With the release of their 13th album, ‘Broken Lands’ Nanji finally looked inward to write about the social trauma’s of 170 years of the reservation system inflicted upon many Native Americans. On the track, “Place I Know” Nanji sang of barefoot children left to raise themselves by alcoholic parents. (Alcohol related deaths on South Dakota’s reservation’s average 1640% higher than median America.) While the song’s structure was not overt blues, the band that had been deserted by many of its fans released one of 2008’s lyrically most powerful blues albums. ‘Broken Lands’ signaled a come back for Indigenous.

Filtered throughout the band’s history has been a collection of excellent songs. Admittedly skeptical of “an unplugged album,” that was comprised of greatest hits, ‘The Acoustic Sessions’ is the second excellent album for an artist that refused to die. In their original form many of the songs featured on this album, while highly melodic and well played, lacked sufficient texture within the album format to compel one to listen to the whole album. Gone for the past several albums have been the depth providing textures that conga player Horse provided the band’s early incarnations. In this acoustic setting Nanji is able to demonstrate his guitar prowess while serving the song and, in many instances, these songs are fully complimentary to the full band versions.

The album opens with the pacing ‘Now That You’re Gone’ where Mato’s vocal energy rises over a layered percussive setting against a guitar solo that recalls some of cleanest fretwork of his career. Now in its fourth released version, ‘Things We Do’ is the song that defines the band musically, lyrically and spiritually. “When I close my eyes, a dream comes to me” Nanji sings as the song builds thanks to the percussion and organ of producer Jamie Candiloro (REM, Willie Nelson, Ryan Adams, Eagles). The albums fourth track, ‘Rest of My Days’ is the album’s focus track where Candiloro’s production eerily recalls Marvin Gaye’s ‘I Want You’ period. The use of subtle ‘toned percussive instruments’ (I don’t know what they are) heightens the song with stunning effect. On ‘Leaving’ Lisa Germano provides a wonderful violin backing that moves to the foreground with a defining solo; wonderfully unexpected.

The album ends with a cover of the Traveling Wilbury’s track ‘You Got It’ penned by Jeff Lynn (ELO) and Roy Orbison (Sun Records). Radio programs that rely on Classic Rock artist may find this track to be comfortable for listeners. However, this album has “legs” so programmers will want to move beyond the obvious and low hanging fruit of a covered hit record.

This album is a powerful statement of revitalization for Indigenous. There is a history that threads throughout popular music of bands releasing three excellent albums consecutively; perhaps there will be another strong album in the future. Fans of contemporary blues-rock players such as Stevie Ray Vaughan, Eric Clapton, Santana and Jimi Hendrix will enjoy this album.

Thursday, August 5, 2010

Album Review: Southside Johnny and the Asbury Jukes, 'Pills and Ammo'


Artist: Southside Johnny & the Asbury Jukes
Title: Pills and Ammo (A Little Chaos is Good for the Soul)
Writer: Rick Galusha

If the blues is nothing more than a musical structure, a predictable amalgamation of chords and progressions, than read no further. However if the blues is a feeling, a fleeting emotion that helps defines our time on mortal coil then the latest release by Southside Johnny (Lyon) and the Asbury Jukes, ‘Pills and Ammo’ is a refreshing, powerful, hard-driving collection of songs by an unsung icon of American music.

“You take something sweet and you make it rough. You make a blood sport out of making love. No matter how low I go, I never go down enough.” ‘Lead Me On’

As an album of twelve songs, ‘Pills and Ammo’ is first and foremost a very good record. Between the grooves are passages and segue ways that use overt blues textures with horn driven R n’ B to deliver the goods. While most are familiar with New Jersey’s other” boss,” in many ways it was the Brooouce-mania that not only brought John Lyon’s band to national attention but unintentionally overshadowed an otherwise wonderful band. As the leader John Lyon chose the nickname “Southside” in homage to Chicago’s famed blues scene. “Jukes” attributed to Little Walter’s famed instrumental harmonica song. A review of the pre-Jukes sonic landscape includes other horn bands including the wonderful Stax and Hi Recordings, Chess’ Little Milton and eventually Chicago; Blood, Sweat and Tears; Chase, Electric Flag or Butterfield Blues Band’s later era recordings. Arguably Southside Johnny has taken the blues, added a bit of Jersey sand & salt (grit), and created a largely undefined but brilliant genre.

This is an album that uses the horns to propel the songs against strong vocal melody lines and intelligent lyrics. The song, ‘Strange, Strange Feeling,’ begins with a ‘Harlem Shuffle’ groove and includes the exceptional lyric line,

“My woman left me long time ago, Still sends me Christmas Card, complete with plastic snow. There’s never any return address, She’s just being kind I guess. How much further down do I have to go?”

While the only constant in this band seems to be John Lyon himself, Bobby Bandiera ably replaces Miami Steve Van Zant and Billy Rush adding subtle yet emotive guitar lines. On ‘Umbrella Drink’ Lyon is joined by fellow Springsteen friend Gary ‘U.S.’ Bonds on a New Orleans horn driven romp that is pure lively joy that devolves to include the Neville Brothers, ‘Hey Pocky Way.’ Throughout the album Lyon, a noted avid music fan hide similar musical passages including a reference to his own ’77 release, “This Times Its for Real” in the smokin’ track, ‘One More Night to Rock.’ He also lifts the blues standard ‘Walking Blues’ in this albums track, ‘Woke Up This Morning.’ Bonds and Lyon also incorporate Allen Toussiant's *(Huey Smith), 'Come on everybody take a trip with me. Down the Mississippi, down to New Orleans' on 'Umbrella In My Drink."

If the album’s opening track, ‘Harder than It Looks’ refers to Lyon’s often struggling thirty-five professional career, then the album’s three closing tracks puts a stake in the ground for this powerful and revitalized performer; ‘Keep on Moving,’ ‘You Can’t Bury Me,’ and the powerful nostalgic ‘Thank You.’

This is not an album for blues purist but the vast majority of blues fans will eat up this album with a fork and spoon. The melody lines are rich, the arrangements are excellent and the band plays for the songs. If you have albums that are your ‘Saturday night special’ or a ‘Sunday morning wake-up call,’ this is your ‘jump in the car and drive’ record that pounds on your door. Blues deejays could ‘drop the needle’ on just about any track but if you show lean traditional try the third track, ‘Woke Up This Morning.’ If you are looking for texture in your show, ‘Harder than It Looks’ or ‘Cross the Line’ are propelling. The closing ballad, ‘Thank You’ shares a common ‘look back in fondness’ an over 40 audience will easily relate to.

Besides anyone that can include, “I think Mkultra is messing with my mind” deserves accolades.

[“Mkultra was the code name for a covert, illegal CIA human research program, run by the Office of Scientific Intelligence” which began in the 1950’s, “continuing at least through the late 1960s, and it used U.S. and Canadian citizens as its test subjects.” (LSD was used in this program.)]

Thursday, July 29, 2010

Article: What is the Blues?



What is the Blues?

Writers: Rick Galusha, Chris D. Thomas


Recently, noted music critic and Wall Street Journal writer Jim Fusilli rightfully lamented that most blues fans are willing to accept only a limited range of styles. He also pointed out that because of this self-imposed limitation, the genre suffers; creative bands willing to explore the edges of the blues are discouraged by the lack of audience and airplay. Fusilli’s article begs the question, “What is the blues?”

There’s no one answer to that question, and suggesting there is would be part of the problem. But here are a few thoughts on this issue.

Writing about music is based upon opinion. What a reviewer thinks is simply his or her opinion. There are, of course, educated opinions based upon a wide variety of listening and reading. For example, one can state a fact such as, ‘Stevie Ray Vaughan tragically died while his mass popularity was still growing.’ It is an opinion that “Texas Flood” was his best recording. I think it is fair to state that Jim Fusilli has a well-educated opinion, listens and writes about a diverse selection of music, and has darn good taste. Remember that Led Zeppelin was originally panned in Rolling Stone magazine and that this gaffe defined the relationship between the band and rock critics for nearly a decade. In other words, even “educated” reviewers get it wrong.

Most recognize traditional blues as being three chords (1, 4, and 5), 12 bars (or measures) and base the vocals on a ‘call-call-response’ where the second line is a repeat of the first line. Traditional blues can be simple to play, doe not require a great deal of musical training, and can be simplistic lyrically. As the form becomes more complicated, it moves away from the “traditional blues” sound. When Muddy Waters electrified his sound, added sidemen known as ‘Headhunters’ and created the instrumentation line-up that would become the sound of rock n’ roll (drums, bass, 2 guitars and vocals) he helped create the so-called, ‘Chicago Blues’ sound. So progression of the art form is tolerated, or should be.

Rock music’s influence is culturally pervasive in Western culture. What a musician listens to is going to influence his sound regardless of the genre he plays. Easy examples of this include Who guitarist Pete Townshend’s use of the banjo (a preferred instrument of pre-WWII English entertainers) and Doors guitarist Robbie Krieger’s flamenco styling. Since the commercial explosion of rock music, American culture has been inundated by rock music. (I am skeptical when an artist claims to have always preferred the blues: the comment defies the impact of radio, advertising, media and pop culture.) Interestingly, traditional blues music, with its emphasis on rhythm and simple lyrics and its basis in black culture shares similarities to rap music. When Muddy Waters sings, “I’m a man,” listeners nod their heads in approval. But the overt appeal to violence and similar braggadocio in rap implies for some listeners a very real and unappealing threat. (Interestingly, violence employed in movies, television or literature is acceptable entertainment but references to violence in rap is often construed as a threat.)

The Modern Blues market consists of blues acts as well as non-blues bands that appeal to the roots & blues audience. Most readers of this column would readily identify Eric Clapton as a bluesman. His roots with the John Mayall Band and a significant portion of his solo recordings reinforce Clapton’s blues credibility. However, Clapton’s Tulsa Period, which feature pop-ready ballads such as “Beautiful Tonight” or his ‘Reptile’ project fall outside of, blues confines. Dave Alvin has strong “roots and blues” pedagogy but his music, wonderful as it is, is not blues by most listeners’ standards. None-the-less, his crossover within the blues market is well- established. A dilemma presents itself when judges or reviewers cast their net on acts that are clearly not playing the blues, yet appeal to a blues audience.

The blues was a Black-American artform. While it began as an African-American artform, the blues has moved into a larger market; white folks now make up the majority of the audience. With this migration comes a debate about whether non-black musicians are capable of playing the blues. It can be argued that early progenitors played the blues loosely and that this relaxed approach, focused on rhythm, allowed the player to extended measures, skip chords, employ irregular rhythms or play whatever his or her muse suggested. What some could refer to as authenticity could also be referred to as sloppiness. (It is this “sloppiness” that differentiates the Rolling Stones sound from other mainstream FM radio acts). Trained musicians will tightly follow measures, key and chord changes. Since the culture of Traditional Blues was about uneducated day-laborers teaching each other, swapping techniques and nurturing younger players, the blues roots are in untrained musicianship. So when a trained musician begs into the genre it can be perceived that what he plays’s, “ain’t the blues.” If consumers vote with their dollars there is an audience for both. Like the rest of the country, Black-Americans have developed diversified listening interests and therefore the European-American influence on the blues is growing.

Finally, some music is intended to be art, while some is highly disposable. Not every album will be artistically significant. Few would argue that Bach withstood the test of time, whereas the list of forgotten acts is extensive. Occasionally, “Tastemakers” attempt to convert temporal pop acts to credible artists such as the recent, ‘Songwriters Hall of Fame’ honor for Taylor Swift. A cynical aspect of this is when a child lays claim to the coattails of a famous parent.

Listening takes patience. Personally I often find that when an album opens too quickly, and the enjoyment is immediate and intense, I soon tire of listening to the record a/k/a “it has no legs.” Whereas, upon initial listens, if a record hints of substance it will, like an onion, peel and reveal its art upon repeated listening. It is often the not too subtle argument of snobs that the lack of patience and educated listening skills retards a genre’s wider audience of the ability to recognize its finer offerings.

Essentially there are five categories for blues CDs;

1.) Art. Albums that are finely crafted and intended to make an artistic statement. These albums tend to open slowly and require repeated listening. They also have a long “shelf life” and bear repeated listening over decades. Often these albums move months or even years ahead of the mass audience listening curve and are often not recognized upon release. These albums are by artists that, generally, have considered their image and include quality CD packaging. (9-10 rating)

2.) Good Records. Sometimes an album is just good. It is an above-average performance that some folks will enjoy and some will not. The album is neither groundbreaking nor bad. It is a statement of the artist at the time it was recorded and its shelf life will depend upon the trends of the genre as well as the artist’s touring and commercial relevance. (6-8 rating)

3.) “Pipeline fillers” These are lesser-quality albums by artists that have established or are establishing careers, but for whatever reason their current release is subpar. Many times these are barroom acts with little opportunity to rise above the occasional “big stage” festival showing. These acts gravitate between labels with regularity and often use covers or live tracks to fill up the album. Often these albums contain one or - perhaps two dynamite tracks. (4-5 rating)

4.) Souvenirs. These are sold off the stage and have little if any shelf life. These artists are flogging it out on the road hoping for a break that catapults them to a better quality life. While their names are known by concert- goers, the passion of the moment quickly subsides. These artists have been known to use gimmicks such as topical songs, blues renditions of popular rock songs or claims of unconfirmable historical significance. (3- 5 rating)

5.) Friends and Family. These are hobbyist projects that are fun for the makers as well as their friends and family members. These albums suffer from poor quality album artwork, weak songwriting, poorly developed covers and no distribution. These albums often over-employ clichés and lack artistic originality. These albums also often feature photos of the band on the cover. (0 – 2 rating)

What is the allure of the blues? Every culture has its own mores and standards. A common depiction of the modern blues scene is of overweight white males in bowling shirts wearing fedoras and sunglasses and sporting a “soul patch” under their lower lip. As Be Bop Deluxe’s Bill Nelson sang, “We revolt into style.” It is interesting that a highly dogmatic musical culture has a generally acceptable uniform.

In his personal exploration, “Lost in Music?, Subjective personal introspection and popular music consumption” (Shankar, 2000) British researcher Avi Shankar report on why we listen to or participate in the music we do;

a.) “Music is symbolic communication…it can easily recall a whole time and place, distant feelings and emotions, and memories of where we were and with whom…Music can also be a theme, a rallying cry, a protest around which we gather to speak out against social injustice.” (Lewis, 1992)

b.) “[...P]opular music still chronicles the feelings and life experiences of large sections of young people, providing a medium which an affective grounded aesthetic can be developed to enable personal and private feelings to be expressed and shared.” (Willis, 1990)

c.) “…music helps us to make sense of our everyday lives and experiences.” (Shankar, 2000)

d.) “…music is also important in letting other people know who we are, or would like to be, what group we belong to, or would like to belong to.” (Lewis, 1992)

There are a myriad of “styles” within the blues genre but none are as prevalent as the, ‘Twang bar kings’ and the ‘purists.’

Twang Bar Kings. These are your axe pyrotechnicans that often use songs as a platform for extended jams. The songwriting tends to be weak and often the vocals are secondary to the jam. There are credible players within this “rock blues” category, including; SRV, Robben Ford, Aynsley Lister and relative newcomer Matt Schofield. A criticism of this genre is that certain players are heavy handed, for instance; Walter Trout or Chris Duarte. What is clear is that in a live music setting the audience will react to the “sound” of the Twang Bar King. So the emotion of the moment solicits a positive reaction from the audience, but rarely translates onto recordings.

Purists: This is a genre in which players replicate songs and styles of recordings from the early roots of the blues. Often a solo act, purists play a stripped down, raw or pure blues sound. In some ways these contemporary purists keep the blues alive by going all the way back to the sound’s recorded roots – offering live audiences an opportunity to hear and feel an approximation of what early blues probably sounded like. The downside of this genre is that while imitation may be the highest form of flattery, it can quickly become over-wrought. Another challenge for contemporary purist recordings is that their CD’s compete with the original recordings. Artists that I think do well within this genre include; Corey Harris, Chris Thomas King, Keb Mo, John Hammond and Eric Bibb; these artists tend to build upon the existing catalogue and contribute to the artform by taking it forward.

Album Covers: The album jacket is the invitation to listen. According to Roger Blackwell, the music on a CD will at best rate a seven on a ten scale. It is often the image and ancillary messages of an act that will differentiate a ‘good’ band from a ‘great’ band. (Roger Blackwell, 2004). In an environment where music has to compete with Play Stations, children, jobs and 24-hour news cycles, the audience wants more than just good music. They want to be a part of something larger than themselves, something that is entertaining, coincides with their dreams or aspirations, and provides an emotional resonance. According to Blackwell, the artwork of a CD is 33% of the perceived value. A photograph of average looking people is short-selling the effort. Bands need to define an image and then make certain that EVERY ASPECT of their presence reinforces this image including; websites, posters, stage presence and interviews. It is amateurish and confuses the audience when an act emits messages that conflict… so Blackwell may be suggesting that if you want a “real career” take the time to develop a message, massage it and then be prepared to update your image before it stagnates.

Album Length: Back when vinyl was king, critics could count on two hands the number of “great” double albums (two discs). “Great” single disc albums average up to 40 minutes in length. Even talented songwriters seem incapable of writing more than 40 minutes of good music in a 12-month period. So although a CD can hold nearly 80 minutes of music, “you” (or anyone else) are incapable of writing that much good music. Talk to your fans… no one “hears” anything past the 8th or 9th track. So drop the filler and leave your audience wanting more. Prolific artists can (and should) use online only releases to keep the “consumer pipeline” full in between CD releases. Use tasty covers, acoustic versions and unreleased or sub-par tracks to keep your fans coming back to your website. Nurture your base by giving them MORE than they expect… so that when that next T-shirt design or CD release is ready, you have a well- established relationship with your audience; thereby making your marketing efforts less burdensome. If you are serious, take time to review the websites of other artists; do you marketing homework.

Kids don’t want to listen to their parents “Blues.” There are also blues bands that want nothing to do with the blues market. Acts like The Black Keys have clearly chosen to pursue the modern indie rock market, and who can blame them? One of the base tenants of rock n’ roll is that your parents are specifically not invited. This does not lessen the contribution of acts building an audience outside of the blues but it does explain some of the distance you may have noticed in their outreach. I find it amusing when young critics bash the “blues scene” and then praise blues acts that are marketed specifically towards them; failing to recognize their own gullibility to label marketing efforts.

All contemporary Blues fans got there by listening to rock music… with The Rolling Stones, The Allman Brothers or Led Zeppelin being the biggest influences. The best selling blues acts are; B.B. King, Stevie Ray Vaughan and Eric Clapton. Robert Johnson is more significant than Charley Patton although they both vie for the title, “King of the Delta Blues.” It doesn’t matter if it was actually Tommy Johnson who sold his soul at the crossroads; perception trumps reality and Robert Johnson’s lore is as cemented in American history as Paul Revere’s ride.

What is the role of the blues deejay? Entertainment is the basis for any radio host. I appreciate a degree of discernment. With more than 30,000 recording albums coming out annually, deejays need to listen to a wide breadth of music. An objective radio host has the opportunity to help their audience sift through the mountain of releases to identify ‘good’ titles. It is easy to allow label hype to take the lead. Deejays should be cognizant of the local scene helping to promote upcoming shows as well as, gulp, playing lesser acts that their audience appreciates. I also use my program to abet local acts build awareness by playing their CDs and hosting interviews.

What is the role of the blues writer? There are three (general) types of album or concert writers;

-Advocates. These are established fans who want you to enjoy what they like. There is nothing wrong with this; however, these are the least discerning since their bias is apparent. They seem to like everything.

-Critics: These are writers who cast a critical eye on everything. While often appearing to be unhappy with anything, these writers discuss and contemplate art and, for me, help define trends with an eye on history and how something may, or may not, fit in. While good music is defined by what “you” enjoy, critics hold the art form to its highest standard and are quick to condemn ‘disposable music.’ Unfortunately “trendy” or “faddish” music is often highly disposable. (Take a look your CD collection for titles you “loved” but no longer listen to.)

-Reporters: These writers seemingly focus on upcoming events and simply discuss them – providing facts and information. Readers are often left wondering what the reviewer’s opinion is. In a world awash with music; most bad, some good and very little ‘great,’ the role of the reviewer can be less than helpful since the reader is left to gamble with their entertainment dollars.

It is important to remember that since blues music is guttural, writers are simply using their knowledge and experience to form an opinion. Since a written opinion should be rational rather than emotional – the reader is well within their rights to disagree. I recommend that you find a writer whose opinion generally coincides with your own and use them to wade through the heap of music beckoning for your ears.

Bibliography
Lewis, G. (1992). Who Do You Love? The dimensions of musical taste. In Popular Music and Communication, 2nd Edition. Newbury Park, California: Sage Publications.

Roger Blackwell, T. S. (2004). Brands that Rock - what business leaders can learn from the world of rock and roll. Hoboken: John WIley & Sons, Inc. .

Shankar, A. (2000). Lost in Music? Subjective personal introspection and popular music consumption. Retrieved July 14, 2010, from Proquest Database: http://proquest.umi.com/pdqlink?vinst=PROD&fmt=3&startpage=-1&ver=1&vname=PQ
Willis, P. (1990). Common Culture. Milton Keynes (England): Open University Press.

Tuesday, July 27, 2010

Album Review: Rob Stone, Back Around Here


Artist: Rob Stone
Title: Back Around Here
Writer: Rick Galusha

When Rob Stone’s previous album, ‘Just My Luck’ came out it was my album of the year. No, it was probably not “the best” blues album that year but it was so fresh, so unrecognized and so accessible that I was swooned. When I saw that the drought was to be broken, that Stone was releasing, ‘Back Around Again’ my expectations soared.

Stone’s former band mates Chris James (guitar) and Patrick Rynn (bass) a/k/a ‘The C Notes’ join in the recording with appearances by some of Chicago’s finest including; Aaron Moore (piano), Sam Lay (drums) and Willie ‘Big Eyes’ Smith (drums). Like Stone, Boston native David Maxwell (piano) also plays on the record.
Stone’s sound is pure 1950’s Chicago with flicks of other blues city sounds such as the New Orleans beat on the focus track, “Chicago All Night.” It is on “Chicago All Night” that the album begins to gel as the Stone’s lyrics take the listener through a late night until dawn tour of the Windy City’s noted blues venues, eateries and asundry hang-outs. On the fifth track, “I Need a Money Tree” Stone tiptoes around clichés themes without stepping off the balance beam. Perhaps this is the base draw to Stone’s recordings; that he harkens that lovely blues vibe that most associate with Chicago without being overly reliant on covers or rehashing tired clichés. Albeit an up tempo album, Stone has a vague Harry Connick vocal quality that is boosted that he is cognizant of what he can, and therefore cannot, sing. There is none of the faux-shouter blues growly mish-mash here – just a guy having a great time.

The album falls short, for me, because there are too many tracks. The albums textures are consistent and perhaps I just need a tad more variance in sound: admittedly Stone let’s us know he has no interest in taking the artform beyond the establish 50’s sound. Since his first album provided a fine rendition of the post-war Chicago blues sound, a lack of maturation or perhaps development is apparent.
Radio hosts might look at, ‘Can’t Turn Back the Clock’ for an entry way into the record: David Maxwell rollicks across the keyboards and the song’s form is a pure, easily recognized but tasty blues treat.

Not a “great” album but fun and above average.