Electronica
Monday, December 06, 2004
It was bound to happen. There has been a movement to expand the blues sound to include electronica music. If pop artist Moby represents one end of the sonic spectrum then R. L. Burnside represents a true blues man’s effort to push the art form forward. The band, Nu Blues, on Chris Thomas King’s 21st Century recording label lands somewhere in the middle.
So does it work? Listening to the variety of albums that amalgamate blues and electronica made me ask the seemingly simple question, ‘What are the blues?’ Much like rap, the blues WERE a threat to white mainstream society that was embraced by younger people in order to shock the previous generation. Furthermore, the blues relies heavily on a Confidence Game approach: the music is only as good as the listener can be convinced it is. Lastly, it’s heavy on rhythm and emotions. It’s also relatively easy to mimic and a vast majority of blues albums will not withstand the test of time.
So is this new hybrid sound blues or pop? The tradition 12 bar nature of blues is quickly laid aside on these new efforts. AND it cannot be performed live. Okay, with enough gadgets and tape loops it can be performed live. After numerous listenings I would say that Moby is interesting but hardly exciting, that RL Burnside is exciting and these experiments are interesting but very much a niche, and that Putumayo’s Blues Lounge various artist compilation is something you would probably be wiser to borrow from a friend.
Which brings us to Nu Blues, a four-piece, inter-racial band of young men, and their new album, “Dreams of a Blues Man.” Combing the sounds of the blues with the “modern sounds of the street” this band is exceptional. A tasteful smatter of singing and rap-like vocals set against loops & synthesizers, Nu Blues includes harmonica playing, a Nashville slide guitar and the dynamite vocals of Goose Ramon. The heavy blues influences seeds the music with familiar sounds and makes the album easy to pick-up. Okay, it’s not “The Blues” but it is quite interesting and folks that have a wider listening vocabulary will find this album worth their investigation. Clearly it’s not for everyone but than what music worth listening to is?
Monday, January 21, 2008
Omaha's top selling blues titles in 2004
Top 15 2004
Tuesday, November 30, 2004
Da’ Blues! An American art form that delights the soul and celebrates life’s trials.
A quick glance at Homer’s Top Selling Blues albums for 2004 revels some interesting facts.
Joe Bonamassa, an artist that has become familiar with Omaha fans, was the best selling artist this year with two albums in the Top 100. His newest album, Had to Cry Today, sold well enough to give Bonamassa two albums in the Top Five (and three in the Top 100) but was classified as a “rock” album instead of a blues record.
Proving once again that death has great marketing potential, legendary Floridian Ray Charles had three albums in the Top 12. No doubt sales were also impacted by the release of the crucially acclaimed film, Ray.
Past sales indicate that B. B. King and Stevie Ray Vaughan are the areas best selling blues artists. Interestingly King came in at #31 with his album, Why I Sing the Blues’ while Vaughan’s #15 seller hails last year’s “Year of the Blues” promotion featuring the PBS series, “Martin Scorses Presents the Blues.”
Not one but two artists see the positive effect of Reader columnist B. J. Hutchtemann with Top Ten placements that she has championed over the years; Keb Mo and Curtis Salgado.
Omaha’s Indigenous Jam clearly launched the local success for a likely contender for finest living blues guitar player alive today with Robben Ford coming in at #6 which was produced by John Wooler, former EVP of Virgin Records and founder of the defunct Pointblank Record label.
The increasingly significant Omaha Blues Society flexs it's impact muscle when the appearance of Renee Austin who was one of their guest artists this summer on their very popular Missouri River Boat cruises. If you're not yet a member of the OBS - GET OUT'YER WALLET and help make Omaha the live music Mecca it so richly deserves!
Last but hardly least, one of my top five favorite blues albums of all time Etta James’ “At Last” places #7 in the year’s best sellers. If you haven’t heard this album, and have even a casual affinity for the blues, this is a MUST OWN album by a towering figure within the genre. A great record by any standard.
1 BLUES DELUXE BONAMASSA,JOE
2 GENIUS LOVES COMPANY CHARLES,RAY
3 KEEP IT SIMPLE KEB MO'
4 SANCTUARY MUSSELWHITE,CHARLIE
5 VERY BEST OF RAY CHARLES
6 KEEP ON RUNNING FORD,ROBBEN
7 AT LAST JAMES,ETTA
8 SWEET TALK AUSTIN,RENEE
9 ANTHOLOGY RAY CHARLES
10 STRONG SUSPICION SALGADO,CURTIS
11 WAIT FOR ME TEDESCHI,SUSAN
12 WHISKEY STORE LIVE TAB BENOIT & JIMMY THACKERY
13 ELECTRIC MUD WATERS,MUDDY
14 BOTHERED MIND BURNSIDE,R.L.
15 MARTIN SCORSESE PRES VAUGHAN,STEVIE RAY
Be sure to tune into KIWR’s Pacific Street Blues on Sunday, December 19th when Rick Galusha begins his 16th year of hosting this three-hour radio program. PS Blues airs Sundays from 9:00 – Noon. PS Blues is now preceded by Mike Fratt’s three hour program, Sunday Morning
Tuesday, November 30, 2004
Da’ Blues! An American art form that delights the soul and celebrates life’s trials.
A quick glance at Homer’s Top Selling Blues albums for 2004 revels some interesting facts.
Joe Bonamassa, an artist that has become familiar with Omaha fans, was the best selling artist this year with two albums in the Top 100. His newest album, Had to Cry Today, sold well enough to give Bonamassa two albums in the Top Five (and three in the Top 100) but was classified as a “rock” album instead of a blues record.
Proving once again that death has great marketing potential, legendary Floridian Ray Charles had three albums in the Top 12. No doubt sales were also impacted by the release of the crucially acclaimed film, Ray.
Past sales indicate that B. B. King and Stevie Ray Vaughan are the areas best selling blues artists. Interestingly King came in at #31 with his album, Why I Sing the Blues’ while Vaughan’s #15 seller hails last year’s “Year of the Blues” promotion featuring the PBS series, “Martin Scorses Presents the Blues.”
Not one but two artists see the positive effect of Reader columnist B. J. Hutchtemann with Top Ten placements that she has championed over the years; Keb Mo and Curtis Salgado.
Omaha’s Indigenous Jam clearly launched the local success for a likely contender for finest living blues guitar player alive today with Robben Ford coming in at #6 which was produced by John Wooler, former EVP of Virgin Records and founder of the defunct Pointblank Record label.
The increasingly significant Omaha Blues Society flexs it's impact muscle when the appearance of Renee Austin who was one of their guest artists this summer on their very popular Missouri River Boat cruises. If you're not yet a member of the OBS - GET OUT'YER WALLET and help make Omaha the live music Mecca it so richly deserves!
Last but hardly least, one of my top five favorite blues albums of all time Etta James’ “At Last” places #7 in the year’s best sellers. If you haven’t heard this album, and have even a casual affinity for the blues, this is a MUST OWN album by a towering figure within the genre. A great record by any standard.
1 BLUES DELUXE BONAMASSA,JOE
2 GENIUS LOVES COMPANY CHARLES,RAY
3 KEEP IT SIMPLE KEB MO'
4 SANCTUARY MUSSELWHITE,CHARLIE
5 VERY BEST OF RAY CHARLES
6 KEEP ON RUNNING FORD,ROBBEN
7 AT LAST JAMES,ETTA
8 SWEET TALK AUSTIN,RENEE
9 ANTHOLOGY RAY CHARLES
10 STRONG SUSPICION SALGADO,CURTIS
11 WAIT FOR ME TEDESCHI,SUSAN
12 WHISKEY STORE LIVE TAB BENOIT & JIMMY THACKERY
13 ELECTRIC MUD WATERS,MUDDY
14 BOTHERED MIND BURNSIDE,R.L.
15 MARTIN SCORSESE PRES VAUGHAN,STEVIE RAY
Be sure to tune into KIWR’s Pacific Street Blues on Sunday, December 19th when Rick Galusha begins his 16th year of hosting this three-hour radio program. PS Blues airs Sundays from 9:00 – Noon. PS Blues is now preceded by Mike Fratt’s three hour program, Sunday Morning
Friday, January 18, 2008
Bob Clearmountain replies to email RE; Stone's Live album (not to me)
Stones Live Licks
Saturday, November 13, 2004
CLEARMOUNTAIN thread - complete...
Posted by: R (IP Logged)
Date: november 9, 2004 17:21
...for those wishing reference thereto:
My letter to Mr. Clearmountain, sent Friday, November 5, late afternoon EDT:
Dear Mr. Clearmountain:
I have, like many, many people been a longtime, albeit indirect fan of your work. You have produced and more often mixed and mastered a slew of very popular albums and there is no doubt your name graces the liner notes of millions of CDs in hundreds of thousands of home worldwide. Enough of my pandering however. On to my comments and questions about the new Stones live release.
I am writing on behalf of concerned members of the 'It's Only Rock And Roll' unofficial Stones fan web-site. We have hundreds of members worldwide and we've been pondering these questions for a week now:
You, and whomever else that were involved in creating the sound and feel of the new Rolling Stones live CD, have finally nailed it! You've captured what many of us longtime obsessive fans have always wanted in a live album from the modern day Stones. The guitars are grungy, dirty and wonderful! Clearly audible in the right and left channel. The full spectrum of Charlies drums are there for the percussion fascists among us and Jagger's vocals (while apparently overdubbed to some extent) are in perfect balance to the overall aural window. The ancillary players have been relegated to the background (a pet peeve of us Stones lovers who lack no other life and concern themselves with such things). The song selection could be better but that's not your department as I understand it. All in all "Live Licks" is terrific EXCEPT:
Please forgive me for asking, but why is the editing so horrific?
Brown Sugar: the guitars sound cut and pasted. A sax note from another source seems to step on the end of Bobby Keys solo which sounds flat. The "yeah, yeah, yeah woooh!" call and response simply appears out of nowhere.
Rocks Off: the most memorable verse in the song, the one that follows the bridge, has been cut and the song moves straight to the chorus. The transistion is not a smooth one to say the least.
Satisfaction: Seems to have had much of Keith and Ronnie's inspired guitar interplay excised when compared to the original, which appears to be the version found on the Four Flicks DVD (as too were most of the songs on this release).
You Can't Always Get What You Want: At 6:45 the jump from the midtempo singalong to the fast guitar solo is a blatant edit, poorly executed, and throws the whole feel of the song off. It's as though a minute was just lopped out. No crossfade. Nada.
Honky Tonk Women: It sounds as though the live guitar solos were excised and a Keith solo was dubbed over Chuck Leavell's piano solo.
Every song on "Live Licks" has been shortened and it seems inexplicable as each disc runs only an hour leaving room for longer versions and perhaps two or three more songs each. We don't get out much and we'd really been looking forward to this album. Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
Thank you.
Sincerely,
R-------IORR member since 1997.
----------
Mr. Clearmountains response to the above letter received Monday, November 8 in early afternoon, EDT. His responses are in quotes:
"Hmmmm... you have some fascinating observations there. First of all I'd like to thank you for being so complimentary about the sound of the new Stones live album, and about my work in general. I used "Get Yer Ya-Ya's Out" as a reference as I believe it to be probably the best live rock album ever released (ED: Must not have heard Live at Leeds by The Who) . If I got anywhere near that ballpark with this one I think I can feel I've accomplished something."
"You're correct in your observation that there was quite a bit of editing involved, (as there is in most live album productions) and in your assumption that I had nothing to do with that part of the production. The thing is, all the edit decisions were made by Don Was and the Stones themselves. As far as the guitars go, as anyone who has ever worked on a Stones album (studio or live) knows, for every five licks those guys play, only one or two are actually usable - and those are generally amazing. When you see them live they get away with it because there's a lot going on on stage to look at, so you don't really notice. Stones freaks like you guys may not mind hearing licks that have very little to do with the the song they're playing, but the general public, and the Stones themselves don't really want to know.*
"As for specifics, see below for answers. I can't remember all the details (I don't yet have a copy of the album for reference) and actually don't know what edits were done before it got to me, but here's what I know:
... Jagger's vocals (while apparently overdubbed to some extent) are in perfect balance to the overall aural window.
"Only one lead vocal was overdubbed, and unfortunately, I'm not at liberty to say which one. All other vocals were live. (Can you guess which one?)"
Brown Sugar: the guitars sound cut and pasted. A sax note from another source seems to step on the end of Bobby Keys solo which sounds flat. The "yeah, yeah, yeah woooh!" call and response simply appears out of nowhere.
"The BK sax solo is the original solo (as far as I know) and if you were as much of a Stones fan as you claim you'd know that Bobby Keys has rarely, if ever played a solo that wasn't flat. It's kinda part of what makes him so unique. I was momentarily tempted to tune him up (would have been simple and only taken a few minutes) but didn't for fear that it would no longer sound like Bobby Keys.
"The "yeah, yeah, yeah woooh!" is totally real, the audience mics are goosed a bit on the "wooh" as it would have sounded quite anticlimactic if you couldn't hear that."
Rocks Off: the most memorable verse in the song, the one that follows the bridge, has been cut and the song moves straight to the chorus. The transistion is not a smooth one to say the least.
"*A decision made by the band, I think because the they sort of fell apart during that verse, but I'm not really sure."
Satisfaction: Seems to have had much of Keith and Ronnie's inspired guitar interplay excised when compared to the original, which appears to be the version found on the Four Flicks DVD (as too were most of the songs on this release).
"*Band/producer decision."
You Can't Always Get What You Want: At 6:45 the jump from the midtempo singalong to the fast guitar solo is a blatant edit, poorly executed, and throws the whole feel of the song off. It's as though a minute was just lopped out. No crossfade. Nada.
"*Band/producer decision, if that's true. I think it was because it got a bit boring during that section."
Honky Tonk Women: It sounds as though the live guitar solos were excised and a Keith solo was dubbed over Chuck Leavell's piano solo.
"*Band/producer decision, if in fact, true."
Every song on "Live Licks" has been shortened and it seems inexplicable as each disc runs only an hour leaving room for longer versions and perhaps two or three more songs each. We don't get out much and we'd really been looking forward to this album. Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
"I don't believe the sound was compromised at all. I'd like to add that, as I've mixed one studio album, various singles, two live Pay-Per-View cable broadcasts, a feature-length film and two previous live albums for them, I believe this ranks as one of their best pieces of work since the mid 70's. I don't think this album would have been nearly as listenable and enjoyable without the hard work and, as you've put it, "horrific editing". But of course, as an avid Stones fan myself since the early 60's, that's just my opinion."
Cheers, Bob Clearmountain [www.mixthis.com]
----------
My response to HIS reply sent mid afternoon EDT, November 8. Not published in its entirety in previous threads. Mr. Clearmountain's comments are in quotes.:
In a message dated 11/8/04 4:11:30 PM, bob@mixthis.com writes:
Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
"I don't believe the sound was compromised at all."
I stand corrected. What I meant to say was the overall enjoyment of the album is compromised by the poor edits. As I said earlier, it's the BEST SOUNDING live Stones album since Ya Yas - which makes the edits all the more obvious - and irksome.
"and if you were as much of a Stones fan as you claim you'd know that Bobby Keys has rarely, if ever played a solo that wasn't flat. It's kinda part of what makes him so unique."
Mea culpa. Actually the "flat" observation was someone elses. The thing that bugged me was there seems to be another horn (or horns) stepping on Billy's last note as though edited from the stadium show wherein the horn section followed Billy's solo.
" The "yeah, yeah, yeah woooh!" is totally real, the audience mics are goosed a bit on the "wooh" as it would have sounded quite anticlimactic if you couldn't hear that."
It's not how they come in but rather when. Perhaps a bit of hair-splitting on the part of us Stonesiophiles who've been listening to roughly the same arrangement of the live "Brown Sugar" for thirty or so years.
Thank you very much for your prompt, professional and detailed to response to my (admittedly somewhat snarky but we do take these things seriously) letter. I've forwarded your reply 'round the world and hundreds of people are already arguing about which Jagger vocal was overdubbed as you read this. My guess is "Street Fighting Man."
You live and work in Portland as I recall? My sister lives outside of Kennebunkport and we are fond of Gritty McDuffs for lunch. I just can't get used to the sun going down at 3:30 in the afternoon however.
Thanks again.
Sincerely,R------- ------------
Mr. Clearmountain's reply to the above letter, received 5:45pm EDT, November 8:
Dear R-----,
I've really got to get myself a copy of the record to check out your observations because, to be quite honest, I just don't remember these details. As I said, I do feel whatever editing might have been done improved the-well at least-my overall enjoyment of the album. You guys might wanna just relax and enjoy it for what it is as well. The album is the Rolling Stones vision of how they want to be presented on disk at this point in time. If you really are Stones fans, you'd respect them for that and get over it. They're also quite spontaneous, and don't play the exact same arrangements every night, so some of the tunes may sound a bit different than what you've been used to for the last "...thirty or so years".
The one song that Mick had to overdub was only because there was a problem with the mic, and it was only in a few places.
I live and work in Los Angeles. My manager and close friend, Dan Crewe lives near Portland.
Cheers,
Clearmountain
Saturday, November 13, 2004
CLEARMOUNTAIN thread - complete...
Posted by: R (IP Logged)
Date: november 9, 2004 17:21
...for those wishing reference thereto:
My letter to Mr. Clearmountain, sent Friday, November 5, late afternoon EDT:
Dear Mr. Clearmountain:
I have, like many, many people been a longtime, albeit indirect fan of your work. You have produced and more often mixed and mastered a slew of very popular albums and there is no doubt your name graces the liner notes of millions of CDs in hundreds of thousands of home worldwide. Enough of my pandering however. On to my comments and questions about the new Stones live release.
I am writing on behalf of concerned members of the 'It's Only Rock And Roll' unofficial Stones fan web-site. We have hundreds of members worldwide and we've been pondering these questions for a week now:
You, and whomever else that were involved in creating the sound and feel of the new Rolling Stones live CD, have finally nailed it! You've captured what many of us longtime obsessive fans have always wanted in a live album from the modern day Stones. The guitars are grungy, dirty and wonderful! Clearly audible in the right and left channel. The full spectrum of Charlies drums are there for the percussion fascists among us and Jagger's vocals (while apparently overdubbed to some extent) are in perfect balance to the overall aural window. The ancillary players have been relegated to the background (a pet peeve of us Stones lovers who lack no other life and concern themselves with such things). The song selection could be better but that's not your department as I understand it. All in all "Live Licks" is terrific EXCEPT:
Please forgive me for asking, but why is the editing so horrific?
Brown Sugar: the guitars sound cut and pasted. A sax note from another source seems to step on the end of Bobby Keys solo which sounds flat. The "yeah, yeah, yeah woooh!" call and response simply appears out of nowhere.
Rocks Off: the most memorable verse in the song, the one that follows the bridge, has been cut and the song moves straight to the chorus. The transistion is not a smooth one to say the least.
Satisfaction: Seems to have had much of Keith and Ronnie's inspired guitar interplay excised when compared to the original, which appears to be the version found on the Four Flicks DVD (as too were most of the songs on this release).
You Can't Always Get What You Want: At 6:45 the jump from the midtempo singalong to the fast guitar solo is a blatant edit, poorly executed, and throws the whole feel of the song off. It's as though a minute was just lopped out. No crossfade. Nada.
Honky Tonk Women: It sounds as though the live guitar solos were excised and a Keith solo was dubbed over Chuck Leavell's piano solo.
Every song on "Live Licks" has been shortened and it seems inexplicable as each disc runs only an hour leaving room for longer versions and perhaps two or three more songs each. We don't get out much and we'd really been looking forward to this album. Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
Thank you.
Sincerely,
R-------IORR member since 1997.
----------
Mr. Clearmountains response to the above letter received Monday, November 8 in early afternoon, EDT. His responses are in quotes:
"Hmmmm... you have some fascinating observations there. First of all I'd like to thank you for being so complimentary about the sound of the new Stones live album, and about my work in general. I used "Get Yer Ya-Ya's Out" as a reference as I believe it to be probably the best live rock album ever released (ED: Must not have heard Live at Leeds by The Who) . If I got anywhere near that ballpark with this one I think I can feel I've accomplished something."
"You're correct in your observation that there was quite a bit of editing involved, (as there is in most live album productions) and in your assumption that I had nothing to do with that part of the production. The thing is, all the edit decisions were made by Don Was and the Stones themselves. As far as the guitars go, as anyone who has ever worked on a Stones album (studio or live) knows, for every five licks those guys play, only one or two are actually usable - and those are generally amazing. When you see them live they get away with it because there's a lot going on on stage to look at, so you don't really notice. Stones freaks like you guys may not mind hearing licks that have very little to do with the the song they're playing, but the general public, and the Stones themselves don't really want to know.*
"As for specifics, see below for answers. I can't remember all the details (I don't yet have a copy of the album for reference) and actually don't know what edits were done before it got to me, but here's what I know:
... Jagger's vocals (while apparently overdubbed to some extent) are in perfect balance to the overall aural window.
"Only one lead vocal was overdubbed, and unfortunately, I'm not at liberty to say which one. All other vocals were live. (Can you guess which one?)"
Brown Sugar: the guitars sound cut and pasted. A sax note from another source seems to step on the end of Bobby Keys solo which sounds flat. The "yeah, yeah, yeah woooh!" call and response simply appears out of nowhere.
"The BK sax solo is the original solo (as far as I know) and if you were as much of a Stones fan as you claim you'd know that Bobby Keys has rarely, if ever played a solo that wasn't flat. It's kinda part of what makes him so unique. I was momentarily tempted to tune him up (would have been simple and only taken a few minutes) but didn't for fear that it would no longer sound like Bobby Keys.
"The "yeah, yeah, yeah woooh!" is totally real, the audience mics are goosed a bit on the "wooh" as it would have sounded quite anticlimactic if you couldn't hear that."
Rocks Off: the most memorable verse in the song, the one that follows the bridge, has been cut and the song moves straight to the chorus. The transistion is not a smooth one to say the least.
"*A decision made by the band, I think because the they sort of fell apart during that verse, but I'm not really sure."
Satisfaction: Seems to have had much of Keith and Ronnie's inspired guitar interplay excised when compared to the original, which appears to be the version found on the Four Flicks DVD (as too were most of the songs on this release).
"*Band/producer decision."
You Can't Always Get What You Want: At 6:45 the jump from the midtempo singalong to the fast guitar solo is a blatant edit, poorly executed, and throws the whole feel of the song off. It's as though a minute was just lopped out. No crossfade. Nada.
"*Band/producer decision, if that's true. I think it was because it got a bit boring during that section."
Honky Tonk Women: It sounds as though the live guitar solos were excised and a Keith solo was dubbed over Chuck Leavell's piano solo.
"*Band/producer decision, if in fact, true."
Every song on "Live Licks" has been shortened and it seems inexplicable as each disc runs only an hour leaving room for longer versions and perhaps two or three more songs each. We don't get out much and we'd really been looking forward to this album. Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
"I don't believe the sound was compromised at all. I'd like to add that, as I've mixed one studio album, various singles, two live Pay-Per-View cable broadcasts, a feature-length film and two previous live albums for them, I believe this ranks as one of their best pieces of work since the mid 70's. I don't think this album would have been nearly as listenable and enjoyable without the hard work and, as you've put it, "horrific editing". But of course, as an avid Stones fan myself since the early 60's, that's just my opinion."
Cheers, Bob Clearmountain [www.mixthis.com]
----------
My response to HIS reply sent mid afternoon EDT, November 8. Not published in its entirety in previous threads. Mr. Clearmountain's comments are in quotes.:
In a message dated 11/8/04 4:11:30 PM, bob@mixthis.com writes:
Could you, if you can, please tell us all at IORR how the wonderful SOUND of this album was compromised by the apparently amateurish editing (which I trust was not your department). I'll be please to forward your response to the site.
"I don't believe the sound was compromised at all."
I stand corrected. What I meant to say was the overall enjoyment of the album is compromised by the poor edits. As I said earlier, it's the BEST SOUNDING live Stones album since Ya Yas - which makes the edits all the more obvious - and irksome.
"and if you were as much of a Stones fan as you claim you'd know that Bobby Keys has rarely, if ever played a solo that wasn't flat. It's kinda part of what makes him so unique."
Mea culpa. Actually the "flat" observation was someone elses. The thing that bugged me was there seems to be another horn (or horns) stepping on Billy's last note as though edited from the stadium show wherein the horn section followed Billy's solo.
" The "yeah, yeah, yeah woooh!" is totally real, the audience mics are goosed a bit on the "wooh" as it would have sounded quite anticlimactic if you couldn't hear that."
It's not how they come in but rather when. Perhaps a bit of hair-splitting on the part of us Stonesiophiles who've been listening to roughly the same arrangement of the live "Brown Sugar" for thirty or so years.
Thank you very much for your prompt, professional and detailed to response to my (admittedly somewhat snarky but we do take these things seriously) letter. I've forwarded your reply 'round the world and hundreds of people are already arguing about which Jagger vocal was overdubbed as you read this. My guess is "Street Fighting Man."
You live and work in Portland as I recall? My sister lives outside of Kennebunkport and we are fond of Gritty McDuffs for lunch. I just can't get used to the sun going down at 3:30 in the afternoon however.
Thanks again.
Sincerely,R------- ------------
Mr. Clearmountain's reply to the above letter, received 5:45pm EDT, November 8:
Dear R-----,
I've really got to get myself a copy of the record to check out your observations because, to be quite honest, I just don't remember these details. As I said, I do feel whatever editing might have been done improved the-well at least-my overall enjoyment of the album. You guys might wanna just relax and enjoy it for what it is as well. The album is the Rolling Stones vision of how they want to be presented on disk at this point in time. If you really are Stones fans, you'd respect them for that and get over it. They're also quite spontaneous, and don't play the exact same arrangements every night, so some of the tunes may sound a bit different than what you've been used to for the last "...thirty or so years".
The one song that Mick had to overdub was only because there was a problem with the mic, and it was only in a few places.
I live and work in Los Angeles. My manager and close friend, Dan Crewe lives near Portland.
Cheers,
Clearmountain
Album Review: ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
New Orleans boxset
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans Rating: Great
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans Rating: Great
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Album Review: Doctor's, Professors, Kings & Queen, The Big Ol' Box of New Orleans
New Orleans boxset
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Monday, November 08, 2004
Title: ‘The Big Ol’ Box of New Orleans
Various Artists
You may still be mulling over election results but retailers are gearing up for the Christmas sales season. This is the time of year when the major labels release their “superstar” albums for the year and, of course, big beautiful boxsets with equally big price points.
Usually boxsets do not sell in the numbers that single disc albums do but are thrown at for serious fans. This year there have been two “great” boxset releases; ‘Five Guys Walk Into a Bar’ by one of rock’s best bands The Faces, and, ‘Doctors, Professors, Kings & Queen The Big Ol’ Box of New Orleans.’
The New Orleans boxset is probably the coolest gift one could give to a serious music fan. Four discs, a great box, and a terrific book inside, this boxset gives the listener a comprehensive over-view of America’s premier music city. While other communities have an impressive history of great music, for me, New Orleans of the bedrock of “American” music. The so-called Big Easy is the home of jazz, a heavy contender for rhythm & soul base, and certainly the town that birthed funk. By mixing music & culture, food & entertainment, and a sense of the mystical New Orleans music has given the town a swagger that other communities can’t mimic.
Each disc takes the listeners down a unique route. There will be well known names such as Dr. John, The Neville Brothers, Louis Armstrong & Pete Fountain. There are also less known but equally brilliant tracks by acts that deserve to be known like; Walter Wolfman Washington, Sonny Landreth, Henry Butler, and the Dirty Dozen Brass Band. The book, 84 pages long, includes sensational photographs, excellent sidebar graphics, and well written narratives that help the reader understand the history of this city and how it’s inhabitants blended together numerous cultures to create a bizarre but beautiful community. This boxset is an absolutely brilliant introductory to some of America’s best music and the listener’s interest will be warmly rewarded.
This is the perfect Holiday gift whether its for you or someone you know that loves great music. So yes, we're talking about Christmas here but don't let that slow you down, this is great music in a great package that you can listen to all year around.
Album Review: Johnny Winter, Second Winter (deluxe edition)
Johnny Winter
Thursday, November 04, 2004
Artist: Johnny Winter
Album: Second Winter (Deluxe Edition)
First things first, I love Johnny Winter. For me there’s nothing like a well played guitar and few have the catalogue of licks that Johnny Winter seems to be able to throw down endlessly. This album, Second Winter, was originally released back in 1969 when “rock” music’s golden age was peaking. Winter’s band, which included brother Edgar and bass player Tommy Shannon (who would later back Stevie Ray Vaughan as a member of Double Trouble) had just played Woodstock before recording this album. With his anointed status as one of rock’s upcoming superstar Winter had recently signed on as music’s largest solo contract artist with Columbia Records for more than a million dollars: which in 1969 was still a lot of money. So the band was hot and the world was listening.
Record companies mining the vaults for product is nothing new. Historically few labels have done it well. One of a couple of exceptions is Sony (CBS, Columbia, Epic, Okeh). Using the original recorded album, the label restore’s the original album artwork and then remixes and remasters, adds in additional tracks and then, dig this, give you ANOTHER disc of new music. So the packaging is excellent and you get some really great tunes. Now that’s smart marketing!
The second disc in this package is a nine track live concert from the Royal Albert Hall in 1970 and includes the most excellent SLOW electric blues track, “It’s My Own Fault.” While Winter may have been young he exhibits a litany of finesse and taste with his twelve minute cover this B. B. King track. The second disc also features the debut of brother Edgar’s instrumental track, ‘Frankenstein’ (which would become a hit five years later).
The original album includes two additional studio tracks; ‘Early in the Morning’ and ‘Tell the Truth.’ Already known as one of the great blues albums, the newly reissued Second Winter is a MUST OWN disc for any true fan of the electric blues. It’s only a minor leap to suggest that without this record and the success it brought to Winter there would never have been a scene to incubate a Lil’ Stevie Vaughan. This album will be heavily featured for the next month or so on KIWR’s Pacific Street Blues, Sundays from 9:00 a.m. – Noon.
Thursday, November 04, 2004
Artist: Johnny Winter
Album: Second Winter (Deluxe Edition)
First things first, I love Johnny Winter. For me there’s nothing like a well played guitar and few have the catalogue of licks that Johnny Winter seems to be able to throw down endlessly. This album, Second Winter, was originally released back in 1969 when “rock” music’s golden age was peaking. Winter’s band, which included brother Edgar and bass player Tommy Shannon (who would later back Stevie Ray Vaughan as a member of Double Trouble) had just played Woodstock before recording this album. With his anointed status as one of rock’s upcoming superstar Winter had recently signed on as music’s largest solo contract artist with Columbia Records for more than a million dollars: which in 1969 was still a lot of money. So the band was hot and the world was listening.
Record companies mining the vaults for product is nothing new. Historically few labels have done it well. One of a couple of exceptions is Sony (CBS, Columbia, Epic, Okeh). Using the original recorded album, the label restore’s the original album artwork and then remixes and remasters, adds in additional tracks and then, dig this, give you ANOTHER disc of new music. So the packaging is excellent and you get some really great tunes. Now that’s smart marketing!
The second disc in this package is a nine track live concert from the Royal Albert Hall in 1970 and includes the most excellent SLOW electric blues track, “It’s My Own Fault.” While Winter may have been young he exhibits a litany of finesse and taste with his twelve minute cover this B. B. King track. The second disc also features the debut of brother Edgar’s instrumental track, ‘Frankenstein’ (which would become a hit five years later).
The original album includes two additional studio tracks; ‘Early in the Morning’ and ‘Tell the Truth.’ Already known as one of the great blues albums, the newly reissued Second Winter is a MUST OWN disc for any true fan of the electric blues. It’s only a minor leap to suggest that without this record and the success it brought to Winter there would never have been a scene to incubate a Lil’ Stevie Vaughan. This album will be heavily featured for the next month or so on KIWR’s Pacific Street Blues, Sundays from 9:00 a.m. – Noon.
Album Review: Heart, Jupiter's Darling
Monday, October 11, 2004
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Album Review: Heart, Jupiter's Darling
Monday, October 11, 2004
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Heart
Jupiters Darling
My earliest memory of Heart was when their song Barracuda came on the radio in the summer of 1978 (I think) and Jim Shirley, the neighbor kid, said, “This is a cool song.” Jim was never into music too much so it really stood out. He was right and all summer Heart was on the radio. Mike Abendroth and I went to see Heart play the Music Hall and they were exciting and energized. We left the show pumped up! By the early ‘80’s, thanks to over-exposure on the radio, I had heard enough of the band Heart and thought I could live without hearing them again... until now.
After an extended hiatus, and an exceptional acoustic duet album that snuck past most folks in the late ‘90’s, Ann and Nancy Wilson are back with their hybrid Led Zeppelin vein of rock. This album is six songs too long but it is a damn good record. Traditional “rock” fans could very easily forget that this is a band that was well past its prime: this record is fresh and brings back everything that made Heart interesting back in the late ‘70’s without sounding like a Nostalgia Act.
Don’t let my rating fool you, a good record is, well, good. And if we are honest with ourselves, when was the last time you actually heard a “good album?” By that I mean, from start to finish it’s good: what it isn’t is three good songs surrounded by filler tracks. The packaging is especially good and the band is back doing what they go best, rock.
Album Review: Putumayo's Blue Lounge
Putumayo's Blues Lounge
Monday, October 04, 2004
The Putumayo Recording Label
As the sheer number of album releases each year balloons over 30,000 titles the music listener finds it harder and harder to wade through this avalanche to find music they want to hear.
One of the surefire methods to find success is to find a trusted label where the label’s integrity for releasing good music is such that the listener is willing to try an unknown artist simply because of the recording label their music appears one. Some of the well-known examples of this include; Windham Hill, Subpop, Stiff, American Gramophone and in a very modern sense, Saddle Creek Records.
Well it’s time to add another label to this distinguished list. The Putumayo Label was started when it’s founder fell in love with World Music. In addition to have exceptionally high musical standards for their compilations Putumayo’s albums also feature distinctive, attractive album artwork.
While I cannot recommend every title from this label, simply because I haven’t developed an appreciation for music from all corners of the world, their latest release, Blues Lounge, is yet another fine example of melding modern blues with cutting edge music sure to fire the interest of even the most casual blues fan. Admittedly this is not for purists as the title indicates it is a combination of blues and pseudo-lounge music. Relaxing yet stimulating.
Probably the most high profile act on this sampler is modern hipster Moby. Like so many bands in the ‘60’s Moby’s spent some time mining the American Blues genre for inspiration. This track, Run On, is very hip gospel tinged track that shows where the blues can be taken.
The track by Gare Du Nord relies heavily on the Robert Johnson song, Come On In My Kitchen. After a brief intro Du Nord takes the track in a new direction that is at once wonderful and true to the roots.
Often times modern blues recordings add nothing to the body of the art form but are merely archeological in their pursuit. This disc, ten tracks in all, breathes a modern sensibility into the blues and show a path that could capture the ears of old fans and bring in new fans to the fold. Very interesting and like EVERYTHING on the Putumayo label, exceptionally well done.
Monday, October 04, 2004
The Putumayo Recording Label
As the sheer number of album releases each year balloons over 30,000 titles the music listener finds it harder and harder to wade through this avalanche to find music they want to hear.
One of the surefire methods to find success is to find a trusted label where the label’s integrity for releasing good music is such that the listener is willing to try an unknown artist simply because of the recording label their music appears one. Some of the well-known examples of this include; Windham Hill, Subpop, Stiff, American Gramophone and in a very modern sense, Saddle Creek Records.
Well it’s time to add another label to this distinguished list. The Putumayo Label was started when it’s founder fell in love with World Music. In addition to have exceptionally high musical standards for their compilations Putumayo’s albums also feature distinctive, attractive album artwork.
While I cannot recommend every title from this label, simply because I haven’t developed an appreciation for music from all corners of the world, their latest release, Blues Lounge, is yet another fine example of melding modern blues with cutting edge music sure to fire the interest of even the most casual blues fan. Admittedly this is not for purists as the title indicates it is a combination of blues and pseudo-lounge music. Relaxing yet stimulating.
Probably the most high profile act on this sampler is modern hipster Moby. Like so many bands in the ‘60’s Moby’s spent some time mining the American Blues genre for inspiration. This track, Run On, is very hip gospel tinged track that shows where the blues can be taken.
The track by Gare Du Nord relies heavily on the Robert Johnson song, Come On In My Kitchen. After a brief intro Du Nord takes the track in a new direction that is at once wonderful and true to the roots.
Often times modern blues recordings add nothing to the body of the art form but are merely archeological in their pursuit. This disc, ten tracks in all, breathes a modern sensibility into the blues and show a path that could capture the ears of old fans and bring in new fans to the fold. Very interesting and like EVERYTHING on the Putumayo label, exceptionally well done.
Album Review: Ian Moore, Luminaria
Ian Moore
Wednesday, September 08, 2004
Artist: Ian Moore
Title: Luminaria
I gotta admit, I never connected with any of Moore’s earlier releases. It wasn’t due to a lack of trying. I listened ‘till my ears bleed and while the talent was evident I just never, ‘got it.’ Pte, the bass player of Indigenous, bleed, ‘Ian Moore’ from his pores one summer and was convinced that only Jimi Hendrix was better. Hmmm. I didn’t get it.
On his latest effort, Moore is clearly leaving behind his Austin Twang-bar king days and wagering his entire career on the ability to move into a new genre. In other words, when Moore tours back into Omaha on September 24th (Sokol Underground) do not expect to hear any blues whammy stuff.
Instead, The All New’ Moore will be performing some exceptionally well-written pop songs as heard on his latest album, Luminaira. But why pop music? I would guess the move is strategic. The blues-rock guitar playing monster category has been slipping further and further down in sales and popularity. While a ‘hot’ selling blues record may see as many as 30,000 units sold, a well done pop record should sell 3X that number or more: volume and money! Evidently at still a young age Moore had peaked and had started looking around for new mountains to climb. Good for him!
Like most ‘pop’ music, Moore’s latest sound is hard to categorize. That means you’re going to have to hear it to understand it. I would suggest taking the time to visit Moore’s website (www.IanMoore.com) to hear it. There is a Paul McCartney sense of arrangement to the sonic landscapes and shades that Moore’s creates with.
HEAR THIS; you are not going to listen to this disc one time and completely appreciate the depth and texture that is packed into this recording. As a matter of fact, if you can’t spend time with this recording you probably shouldn’t invest any time into the effort. On the other hand, and there’s always another hand, this is probably an album that, given time could quite possibly open up all new frontiers of interest. It’s a passionate recording that revels layer upon layer with repeated listening.
Wednesday, September 08, 2004
Artist: Ian Moore
Title: Luminaria
I gotta admit, I never connected with any of Moore’s earlier releases. It wasn’t due to a lack of trying. I listened ‘till my ears bleed and while the talent was evident I just never, ‘got it.’ Pte, the bass player of Indigenous, bleed, ‘Ian Moore’ from his pores one summer and was convinced that only Jimi Hendrix was better. Hmmm. I didn’t get it.
On his latest effort, Moore is clearly leaving behind his Austin Twang-bar king days and wagering his entire career on the ability to move into a new genre. In other words, when Moore tours back into Omaha on September 24th (Sokol Underground) do not expect to hear any blues whammy stuff.
Instead, The All New’ Moore will be performing some exceptionally well-written pop songs as heard on his latest album, Luminaira. But why pop music? I would guess the move is strategic. The blues-rock guitar playing monster category has been slipping further and further down in sales and popularity. While a ‘hot’ selling blues record may see as many as 30,000 units sold, a well done pop record should sell 3X that number or more: volume and money! Evidently at still a young age Moore had peaked and had started looking around for new mountains to climb. Good for him!
Like most ‘pop’ music, Moore’s latest sound is hard to categorize. That means you’re going to have to hear it to understand it. I would suggest taking the time to visit Moore’s website (www.IanMoore.com) to hear it. There is a Paul McCartney sense of arrangement to the sonic landscapes and shades that Moore’s creates with.
HEAR THIS; you are not going to listen to this disc one time and completely appreciate the depth and texture that is packed into this recording. As a matter of fact, if you can’t spend time with this recording you probably shouldn’t invest any time into the effort. On the other hand, and there’s always another hand, this is probably an album that, given time could quite possibly open up all new frontiers of interest. It’s a passionate recording that revels layer upon layer with repeated listening.
Album Review: Joe Bonamassa, Had to Cry Today
Thursday, August 26, 2004
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
Artist: Joe Bonamassa
Title: Had to Cry Today
The national success of Joe Bonamassa can, to some extent, be credited Eastern Nebraska’s growing presence on the national music scene. While much of our area’s acclaim can be attributed to Robb Nansel and the bands on the Saddle Creek Record label, the area’s commitment to live music, and specifically blues based music, is now beginning to bear fruit. True fans know this seed was planted in Lincoln’s Zoo Bar and has since flourished in Omaha.
The integral relationships of radio, print & retail intertwining with the avid fans in the Omaha Blues Society has created a scene that has a proven ability to catapult an artist onto the national stage. Certainly Omaha’s thrust is not self-sustaining but it sure can get some folks to pay attention.
Like Indigenous before him, Joe Bonamassa is the beneficiary of Omaha’s love affair with his Brit-based blistering electric blues. Regular readers of this column will note the Joe’s previous album was my ‘Blues Album of the Year’ in ’03. So it was with eager anticipation that I threw on his latest effort.
He’s clearly changed direction a bit; more rock and less blues. Within this genre I hear no player that supercedes Bonamassa’s ability to drive home a great electric riff striking to the heart of the sound without over-playing or being cliche. ‘Joemaha’ left the ego at the door to write a smattering of the songs that blend with songs written by others. To put a sharper point on it, this album is not a collection of songs strung together: instead it a one piece of art that is composed of eleven tracks, much the way I remember my favorite albums being done.
While "great" is few and far between, there are three, and you can quote me on this, GREAT songs on this incredibly strong album including the seventh track, When She Dances. A slow ballad that is virtually guitar free, Bonamassa’s ability to vocally emote an emotion in song is locked in here. Gregg Allman like in his delivery Joe should have a commercial hit here. (Will radio “get” it? Not unless they pay someone too much money to tell them it’s good.)
To my blues ear, the fourth track, Reconsider Baby, a cover of Lowell Fulsom, is the near perfect ‘sound’ that most modern electric blues fans crave; soaring solos in a minor key with extended vocal notes and very B. B. King like. ANY fan of the late Stevie Ray Vaughan will immediately get this song.
The third GREAT song on this album, The River, is not a Springsteen cover. Opening with National Steel guitar plucking, Bonamassa quickly winds this song into a fresh blast that harkens to the sound that made Brit-Rock in the late ‘60’s so cool.
What Bonamassa understands, and what separates him from other blues players, is pacing. His albums are jam packed with sonic texture and the listener is not subjected to the “same song” for thirty minutes. While Joe’s guitar playing is quite capable of ‘blowing the doors off any old jalopy’ instead he chooses to employ clever licks, breathing space, and good taste.
This is an excellent record that could very well break this artist onto the next stage that his career so richly deserves. WEAR YOUR LOCAL COLORS AND BUY IT TODAY!
RL Burnside - A Bothered Mind
Thursday, August 12, 2004
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
Artist: R. L. Burnside
Title: A Bothered Mind
This is an exceptionally interesting album. Harkening from the great South, Burnside once again blends his Mississippi delta blues with modern Electronica to create a special music that will make most Blues purists will cringe before capturing their imaginations. This experimental blend is not new: Moby has tried it in the past. Burnside’s adventurous blood is also apparent on his previous album ‘Ass Pocket of Whisky’ recorded with Indie Rocker’s Jon Spencer’s Blues Explosion.
This is the best example to date of this effort to blend the old with the new. At this point I need to flop in the line, ‘Something old, something new, something borrowed and something blue.’ In this case this bromide applies totally!
Using Burnside’s John Lee Hooker style loose barchord style guitar playing over a traditional blues bass & drum line, this album jumps & jives with loops, repetitive phrases, and well placed electronic whirls and twirls to create a heady blues album that is immediately familiar and immediately strange. This is probably the hippest thing I’ve heard all year. However, if there were ever a situation where something is too cool for the room... this could be it!
Blossoming Detroit superstar Kid Rock ‘throws down’ on the track, My Name is Robert Too’ which relies heavily on vocal loops ala’ early 80’s King Crimson. (Seems you can't listen to an album these days without Kid ‘Robert’ Rock guesting on it!) The artist Born is also featured on two tracks on the album; Goin’ Down South, and Someday Baby.
The packaging on the album is a multi-fold album jacket with brightened colors of the artis on a delta gravel road: a depiction of the music inside… kinda old, kinda new, definitely borrowing a modern sound to lay over some very good blues. This album is exceptionally interesting but will probably not appeal to everyone. Check out Homer's in-store listening stations in the month of August ’04 as this disc is featured and worth checking out if only to let you know what CAN be done when a creative mind gets to work on it.
The Pandora.coim website - simply fantastic!
Technology Column – Rick Galusha
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
With greater and greater rapidity the technological advances we see on computers are being applied to cellular telephones. Once ‘just a phone,’ the cell phone is now a music player, an on ramp to the internet, a credit card, a camera and video recorder, a planner, a calculator, a radio (including satellite), a video game, a tv (including cable) a key for real estate lockboxes, an audio/video GPS device and some allow editing on Excel or Word spreadsheets.
It doesn’t take much imagination to foresee that the advance of cellphones spells the death keel for iPods, PDA’s, GPS and other forms of technology. The move is afoot to condense numerous electronic gadgets into one and some advocate that it be the ever evolving cellular. The current cellphone networks play a trump card in the ensuing battle. In a recent product presentation for the Verizon ‘Juke’ phone it was said that Apple sold “one hundred million iPods” and that the Juke was being introduced in order to go after that market. The Motorola Q9 is already out and designed to hold a 32 gig chip for music and video – if you can find a chip that big. Clearly the audio/ visual assets of the new Q are also targeted after the successful iPod.
I’m no tech guru – I’m probably more like you, stumbling across things that friends recommend. Recently a fantastic music related website came to my attention; Pandora.Com. This is a music intense website that allows the listener to steer what’s played on the streaming musical broadcast. What’s more, you can influence the stream by choosing more than one ‘core’ artist to help Pandora’s algorithms pick more songs that may, or may not, appeal to you. As the songs play the listeners is invited to give a ‘thumbs up’ or ‘thumbs down’ vote on a song/ artist. Two thumbs down on an artist and, unless you’ve picked them as a core artist, their music is banned permentatly from the station. So the ability to have some influence over what’s being played makes this site delicious. What adds to the flavor is that the site will inevitably play bands you’ve never heard of and suddenly you’re off on a new musical exploration. Listeners are invited to have numerous ‘radio stations’ on the site (up to 100), for multiple genres of interest, and you’re encouraged to share “your superior station” with that friend whose musical taste simply can’t hold a candle to yours.
Like a lot of websites, Pandora.com does have a mobile-phone aspect to it so, at least theoretically, you could stream it on your phone and then Bluetooth it over to your car or home stereo. So unlike a lot of music websites, Pandroa.com has a limited aspect of mobility to the website too. Currently Pandora works on only select phones on the AT&T and Sprint networks. At the bottom of the homepage is the ‘mobile’ tab. Also, you can subscribe to Pandora. I can’t imagine this website being around for long enough – it really is wonderful and the perfect at work audio companion – but I wonder how the income stream can support the Ivy League educated executives the website lists.
Under the “Pandora Presents” tab is an educational adjunct to the site. Created by serious musicologists, Pandora.com includes a series of podcasts that range from ‘what’s a trip hop beat’ to ‘the blues scale’ to ‘word choices in lyrics.’ So musicians as well as curiosity seekers can learn more about the ‘how’s’ and ‘why’s’ of how music is really made. These are near college level lectures filled with information and they can be automatically downloaded to your computer.
KCVU radio
Thursday, August 12, 2004
And now for something completely different…
Artist: KCUV.com
Rating: GREAT
The music industry has always been a strange beast. I can’t think of any other industry where it’s the norm to low ball it’s new releases and then makes margin on older products. It’s also unique in that so many people; be it label, band, retail or radio, want to get into the “music industry” that they bid their own wages below market value in order to do so. It’s just nuts and you have to be nuts to pursue it!
As we have all seen over the past decade or so, radio has become incredibly competitive. Formats change on a dime, literally, and on-air personalities have become highly disposable. There is an echelon of talent that is well compensated but to describe radio as a cut throat industry is to describe Iraq as a sketchy: quite an understatement.
With the need to drive advertising dollars through their airwaves most commercial radio stations have adopted a format approach that, in my opinion, taken the wonder and magic out of radio and replaced it with a completely predictable, follow-the-leader approach implementing the McDonalds hamburger approach: it’s ain’t exciting but you know what you’re going to get every time you go there. Now don’t get me wrong, generally those folks make a lot more money than I do, and money is the barometer of a successful business; however, that doesn’t endear my ears… especially if I have to listen to BAD/ uncreative commercials.
With that diatribe in mind, as we have found in the retail industry, the true music fan is going to find a method to get exposure to the music they love. As broadcast radio is on the verge of having to deal with satellite and internet radio have the potential to become a force to be reckoned with. They say competition is good for the consumer: we’ll see. I think we can all see what Cable has done for television (I’ll leave that one up to you to decide – HBO serials versus the Game Channel). Anyway, I recently found an on-line radio station that thrills my musical taste buds. Certainly it’s not as good as KIWR’s PS Blues (yes, I am the host) but it’s darn close kids. WWW.KCUV.com is a Denver based AM radio station that also broadcasts over the internet. Full of vim & vigor KCUV plays an endless stream of “GREAT” music with few repetitions and plenty o’taste. Yes, there are songs and artists the average music fan is not going to be familiar with but this station is clearly programmed to NOT be too cool for the room. Judging from their playlist, which is rotated on the screen while you listen, this station targets 30+ heavy / hip music fans with a massively large cornucopia of artists & songs. Focused on the wide spectrum of artists between bluesman Muddy Waters to Lyle Lovett, Dave Alvin, and older fifties artists.
If you’re like me, pulling your own tongue out with rusty pliers is almost more pleasant than saying anything positive about the state to our West (thanks to the obnoxious Colorado University fans that have yet to learn how to lose with grace) however, someone over there where the air is thin has finally gotten it together and created a path back to great radio, great music, and hip on-air talent. See, the Lord does answer prayers!
http://www.kcuvradio.com
And now for something completely different…
Artist: KCUV.com
Rating: GREAT
The music industry has always been a strange beast. I can’t think of any other industry where it’s the norm to low ball it’s new releases and then makes margin on older products. It’s also unique in that so many people; be it label, band, retail or radio, want to get into the “music industry” that they bid their own wages below market value in order to do so. It’s just nuts and you have to be nuts to pursue it!
As we have all seen over the past decade or so, radio has become incredibly competitive. Formats change on a dime, literally, and on-air personalities have become highly disposable. There is an echelon of talent that is well compensated but to describe radio as a cut throat industry is to describe Iraq as a sketchy: quite an understatement.
With the need to drive advertising dollars through their airwaves most commercial radio stations have adopted a format approach that, in my opinion, taken the wonder and magic out of radio and replaced it with a completely predictable, follow-the-leader approach implementing the McDonalds hamburger approach: it’s ain’t exciting but you know what you’re going to get every time you go there. Now don’t get me wrong, generally those folks make a lot more money than I do, and money is the barometer of a successful business; however, that doesn’t endear my ears… especially if I have to listen to BAD/ uncreative commercials.
With that diatribe in mind, as we have found in the retail industry, the true music fan is going to find a method to get exposure to the music they love. As broadcast radio is on the verge of having to deal with satellite and internet radio have the potential to become a force to be reckoned with. They say competition is good for the consumer: we’ll see. I think we can all see what Cable has done for television (I’ll leave that one up to you to decide – HBO serials versus the Game Channel). Anyway, I recently found an on-line radio station that thrills my musical taste buds. Certainly it’s not as good as KIWR’s PS Blues (yes, I am the host) but it’s darn close kids. WWW.KCUV.com is a Denver based AM radio station that also broadcasts over the internet. Full of vim & vigor KCUV plays an endless stream of “GREAT” music with few repetitions and plenty o’taste. Yes, there are songs and artists the average music fan is not going to be familiar with but this station is clearly programmed to NOT be too cool for the room. Judging from their playlist, which is rotated on the screen while you listen, this station targets 30+ heavy / hip music fans with a massively large cornucopia of artists & songs. Focused on the wide spectrum of artists between bluesman Muddy Waters to Lyle Lovett, Dave Alvin, and older fifties artists.
If you’re like me, pulling your own tongue out with rusty pliers is almost more pleasant than saying anything positive about the state to our West (thanks to the obnoxious Colorado University fans that have yet to learn how to lose with grace) however, someone over there where the air is thin has finally gotten it together and created a path back to great radio, great music, and hip on-air talent. See, the Lord does answer prayers!
http://www.kcuvradio.com
Spirit - Peter Buffet's native American epitina
Wednesday, July 28, 2004
Peter Buffet’s, Spirit – the Seventh Fire
Award winning musician Peter Buffett’s “Spirit” presentation is a mix of Bowie-esque multi-media stage extravaganza, Chip Davis’ Fresh Aire, and a Native American version of Riverdance. Staged in a huge (air conditioned) tent with tiered seating, located on the banks of the Missouri River, Spirit tells the story of a young professional Native man that is drawn back to his native roots and culture in a spiritual awakening.
While the story line is cliché Buffett’s use and setting of Native culture adds a beautiful and unique twist to the story. Admittedly I am a neophyte stage critic and am unable to distinguish kitsch from class; however, Buffett’s use of dance, music, film and setting combine to draw the audience into the experience completely. Since the performance includes members of numerous tribes the audience is treated to a wide variety of Native culture costume and dance. The beauty is in the admiration of the culture.
Buffett’s music is a rock-based presentation with a heavy (Native)use of drumming (*). There are times when the entire band participates in mixture of chant and rhythm with spoken word over the top. All in all this is a bountiful experience and I would encourage readers to check out, ‘Spirit – the Seventh Fire.
-----------------------------------
It was during Buffett's performance that I connected the heavy use of drums within Native culture and role of former Indigenous Conga player Horse; who was a second percussionist in a four piece band. Like an epiphany, I realized that Horse's role within the band was based upon their cultural experience. Sadly Horse's substance abuse became a full time occupation and he is no longer with the band.
-----------------------------------On a happier note, Mato's third child was born this week. -----------------------------------
Peter Buffet’s, Spirit – the Seventh Fire
Award winning musician Peter Buffett’s “Spirit” presentation is a mix of Bowie-esque multi-media stage extravaganza, Chip Davis’ Fresh Aire, and a Native American version of Riverdance. Staged in a huge (air conditioned) tent with tiered seating, located on the banks of the Missouri River, Spirit tells the story of a young professional Native man that is drawn back to his native roots and culture in a spiritual awakening.
While the story line is cliché Buffett’s use and setting of Native culture adds a beautiful and unique twist to the story. Admittedly I am a neophyte stage critic and am unable to distinguish kitsch from class; however, Buffett’s use of dance, music, film and setting combine to draw the audience into the experience completely. Since the performance includes members of numerous tribes the audience is treated to a wide variety of Native culture costume and dance. The beauty is in the admiration of the culture.
Buffett’s music is a rock-based presentation with a heavy (Native)use of drumming (*). There are times when the entire band participates in mixture of chant and rhythm with spoken word over the top. All in all this is a bountiful experience and I would encourage readers to check out, ‘Spirit – the Seventh Fire.
-----------------------------------
It was during Buffett's performance that I connected the heavy use of drums within Native culture and role of former Indigenous Conga player Horse; who was a second percussionist in a four piece band. Like an epiphany, I realized that Horse's role within the band was based upon their cultural experience. Sadly Horse's substance abuse became a full time occupation and he is no longer with the band.
-----------------------------------On a happier note, Mato's third child was born this week. -----------------------------------
Jamie Cullum Twentysomething
Friday, July 16, 2004
Artist: Jamie Cullum
Title: Twentysomething
The only difference between this being a very good album and a great album is time.
Many times the mark of a great album is if it is still being listened to years later. I have no doubt this album will become a long term staple for any true fan of great music.
On all fronts this mildly jazz, pop vocal performance is a brilliant release showing a perfect balance between talent, creative vision, performance, and songwriting.
Another appealing aspect of Cullum’s debut album are his tasteful nods to the foundation of great music with his covers of Cole Porter’s, “I Get A Kick Out Of You’ or his cover of Jimi Hendrix’s, “The Wind Cries Mary” or the cover of, “Lover, You Should’ve Come Over” by the late Jeff Buckley. Clearly Cullum is a fan of music with an in-depth knowledge of popular music’s history. As the President of Homer’s Music Stores I am often dismayed at the lack of knowledge by contemporary musicians have of what came before "their" sound.
At the ’04 South By Southwest Music Festival (SXSW) in Austin, Texas, we had the opportunity to see Cullum perform. It was terrific. I don’t think it’s any leap of faith to say the Cullum is easily the one of the two most exhilarating piano playing performers since Elton John’s string of hits in the mid ‘70’s (the other was Ben Folds).
All in all this kid appears to have a great future in front of him and I encourage you, with every shred of influence I can muster, to check out this wonderful young talent and get on board the Peace Train before it leaves the station!
Artist: Jamie Cullum
Title: Twentysomething
The only difference between this being a very good album and a great album is time.
Many times the mark of a great album is if it is still being listened to years later. I have no doubt this album will become a long term staple for any true fan of great music.
On all fronts this mildly jazz, pop vocal performance is a brilliant release showing a perfect balance between talent, creative vision, performance, and songwriting.
Another appealing aspect of Cullum’s debut album are his tasteful nods to the foundation of great music with his covers of Cole Porter’s, “I Get A Kick Out Of You’ or his cover of Jimi Hendrix’s, “The Wind Cries Mary” or the cover of, “Lover, You Should’ve Come Over” by the late Jeff Buckley. Clearly Cullum is a fan of music with an in-depth knowledge of popular music’s history. As the President of Homer’s Music Stores I am often dismayed at the lack of knowledge by contemporary musicians have of what came before "their" sound.
At the ’04 South By Southwest Music Festival (SXSW) in Austin, Texas, we had the opportunity to see Cullum perform. It was terrific. I don’t think it’s any leap of faith to say the Cullum is easily the one of the two most exhilarating piano playing performers since Elton John’s string of hits in the mid ‘70’s (the other was Ben Folds).
All in all this kid appears to have a great future in front of him and I encourage you, with every shred of influence I can muster, to check out this wonderful young talent and get on board the Peace Train before it leaves the station!
Smokin' Joe Kubek
Wednesday, July 14, 2004
Artist: Smokin’ Joe Kubek & Bnois King
Title: Show Me the Money
I have been familiar with Kubek’s career for more than a decade now including listening to most of his releases during this period. While his guitar playing has always been above average his albums have been less than inspired. I frequently thought that Kubek’s willingness to give King microphone time was a bad career move. As the human body ages eventually the voice loses its clout. I would lump Bnois King in the group of blues artists who’s voice is not what it used to be; B. B. King, Etta James, Johnny Winter. So my expectations for Kubek’s latest were quite low.
As a live performer Kubek usually leaves ‘it all on stage’ but, like many recording artists, he was unable to translate that onto the Compact Disc. Well listen up blues fans because Smokin’ Joe’s latest, Show Me the Money, is well worth your ear time. Slicker, grittier, and with a recharged sense of melody Kubek’s latest is probably more rock than trad but the heavy blues flavour remains the same.
Historically artists of Kubek’s magnitude have released albums with the intent of selling them off the stage. On his latest Kubek release, if he can muster the marketing, radio airplay, and tour his tail off, Kubek & King deserve to see sales in stores.
In a ‘One to Ten World Where Five is Average’ this is a solid seven and worth your examination. Hear Kubek’s latest and all the new releases every Sunday from Nine to Noon on K89.7 FM, KIWR’s Pacific Street Blues radio program featuring Rick Galusha.
Artist: Smokin’ Joe Kubek & Bnois King
Title: Show Me the Money
I have been familiar with Kubek’s career for more than a decade now including listening to most of his releases during this period. While his guitar playing has always been above average his albums have been less than inspired. I frequently thought that Kubek’s willingness to give King microphone time was a bad career move. As the human body ages eventually the voice loses its clout. I would lump Bnois King in the group of blues artists who’s voice is not what it used to be; B. B. King, Etta James, Johnny Winter. So my expectations for Kubek’s latest were quite low.
As a live performer Kubek usually leaves ‘it all on stage’ but, like many recording artists, he was unable to translate that onto the Compact Disc. Well listen up blues fans because Smokin’ Joe’s latest, Show Me the Money, is well worth your ear time. Slicker, grittier, and with a recharged sense of melody Kubek’s latest is probably more rock than trad but the heavy blues flavour remains the same.
Historically artists of Kubek’s magnitude have released albums with the intent of selling them off the stage. On his latest Kubek release, if he can muster the marketing, radio airplay, and tour his tail off, Kubek & King deserve to see sales in stores.
In a ‘One to Ten World Where Five is Average’ this is a solid seven and worth your examination. Hear Kubek’s latest and all the new releases every Sunday from Nine to Noon on K89.7 FM, KIWR’s Pacific Street Blues radio program featuring Rick Galusha.
Muddy Waters defined the 20th Century
Tuesday, June 29, 2004
Titles: Hard Again Title: I’m Ready Title: King Bee
Artist: Muddy Waters
When it rains it pours…
Telling someone with even a modest interest in “GREAT” music to check out a Muddy Waters album is like telling a baseball fan the New York Yankees have had some good players. In an honest discussion Muddy Waters was the foundation that defined popular music in the 20th century.
If there is any question, allow me to erase it now, Muddy Waters, more than Elvis or Chuck Berry or ANYONE ELSE birthed the sound of rock n’ roll. Oh yeah, Elvis made it sexy and Chuck gave it lyrics but Muddy birthed it and nurtured it. When the Beatles rolled off the boat in the early ‘60’s all the great blues artists and many of the (white) rock artists got rudely shoved aside. When Johnny Winter got signed in the late ‘60’s he was rumoured to have been the first “rock” solo artist to have received a million dollar recording contract. Go figure! Anyway, within a decade Winter was at the recording helm breathing new life into the great Muddy Waters recording career.
In 1977 Johnny and Muddy would release the critically acclaimed album, Hard Again. It was on this album that Waters would re-record his older hits using a ‘modern’ recording studio with one of his great bands including; Pinetop Perkins (piano), James Cotton (harp), Willie ‘Big Eyes’ Smith (drums), ‘Steady Rollin’ Bob Margolin (guitar) and Charles Calmese (bass). I can remember the buzz on this album being so strong that, as a high school senior, going in to purchase the brand new (and only) Sex Pistols album AND the Hard Again…which harkens me back to the time when it was the music that mattered!
So now, much to my own joy, Muddy’s ‘Blue Sky Trilogy’ have all been remastered and reissued; Hard Again (’77), I’m Ready (’78), King Bee (’81). No music collection is complete without a worthy sampling of Muddy Waters and no true music fan’s knowledge is rounded unless they have developed a full appreciation for the greatness of Muddy Waters. Any of these three discs are worth the time and investment although I recommend beginning with Hard Again.
Titles: Hard Again Title: I’m Ready Title: King Bee
Artist: Muddy Waters
When it rains it pours…
Telling someone with even a modest interest in “GREAT” music to check out a Muddy Waters album is like telling a baseball fan the New York Yankees have had some good players. In an honest discussion Muddy Waters was the foundation that defined popular music in the 20th century.
If there is any question, allow me to erase it now, Muddy Waters, more than Elvis or Chuck Berry or ANYONE ELSE birthed the sound of rock n’ roll. Oh yeah, Elvis made it sexy and Chuck gave it lyrics but Muddy birthed it and nurtured it. When the Beatles rolled off the boat in the early ‘60’s all the great blues artists and many of the (white) rock artists got rudely shoved aside. When Johnny Winter got signed in the late ‘60’s he was rumoured to have been the first “rock” solo artist to have received a million dollar recording contract. Go figure! Anyway, within a decade Winter was at the recording helm breathing new life into the great Muddy Waters recording career.
In 1977 Johnny and Muddy would release the critically acclaimed album, Hard Again. It was on this album that Waters would re-record his older hits using a ‘modern’ recording studio with one of his great bands including; Pinetop Perkins (piano), James Cotton (harp), Willie ‘Big Eyes’ Smith (drums), ‘Steady Rollin’ Bob Margolin (guitar) and Charles Calmese (bass). I can remember the buzz on this album being so strong that, as a high school senior, going in to purchase the brand new (and only) Sex Pistols album AND the Hard Again…which harkens me back to the time when it was the music that mattered!
So now, much to my own joy, Muddy’s ‘Blue Sky Trilogy’ have all been remastered and reissued; Hard Again (’77), I’m Ready (’78), King Bee (’81). No music collection is complete without a worthy sampling of Muddy Waters and no true music fan’s knowledge is rounded unless they have developed a full appreciation for the greatness of Muddy Waters. Any of these three discs are worth the time and investment although I recommend beginning with Hard Again.
Hadden Sayers belongs in your home
Hadden Sayers belongs in your home
Friday, June 11, 2004
Artist: Hadden Sayers
Title: 12 Bars and the Naked Truth
When Hadden Sayers rolls back into Omaha on June 23rd to play Murphy’s Lounge (96th & L Streets) he’ll be promoting one of the year’s strongest independently distributed adult rock albums; 12 Bars and the Naked Truth.
Like so many significant “adult rock” artists (READ: fans are 35+), Sayers hails from the great state of Texas. On this, his fifth album, Sayers brings a ultra mature sound, distinctive from many of the Texas artists and very clearly not under the auspices of the late Stevie Ray Vaughan. After his last album’s (Supersonic) edgy rock sound, Sayers has moved to a complete focus on the song and done it well. At a time when two good songs on an album has become a standard, Sayers has the skills to string together a full length album of well above average songs (a rarity in today’s ‘thanks to technology we can make albums much, much longer than really necessary’ recording industry.)
Do it for the passion. For me, today, what so many mature rock bands lack is commitment to passion: a willingness to lean into the storm and risk a bit of who they are, their control, in exchange for a well crafted song, a well performed song.
‘12 Bars & the Naked Truth’ finds Sayers singing on day-to-day live issues that many of his listeners will be able to relate to; that living in the moment is important to happiness (These are the Good Old Days) and dealing with folks you may rather not have had to deal with (Mister Know-It-All) “Why would you compromise when you’re so wise?” "You better pray for rain, you don't know rain like I do."
Sayers sexy baritone vocals set off well against his tasteful guitar licks and rhythm section that plods along solidly. What’s it sound like? Straight ahead Tom Petty coming from Texas rather than Florida.
In a possibly unconscious nod to great songwriters, like Ray Davies (Kinks) before him, Sayers sings of a Sunday afternoon but in this case the focus is on love gone awry. On the song ‘Complicated’ Sayers lays out the average male mental gymnastics of dealing with the so-called more delicate sex. “I’m easy, so easy, you can read my mind with just one look into my eyes. I’m not brilliant or amazing; wear my heart on my sleeve but that’s the kind of thing you’re looking for… but you’re so complicated it’s blows my mind. You’re so sophisticated I wonder why? I’m forgiveful, and forgetful...”
A consummate self marketer, Sayers delivers a complete entertainment package to his fans; exceptional songwriting, very strong live performances, high quality packaging & imaging, an informative website that is replete with options to interact with the pop star including downloads and merchandise. During the month of June Homer’s, along with other tastemakers in Omaha, is determined to foist this well deserving artist into your rock-n-roll orbit.
So don’t take my word for it, stop at your local Homer’s Store & check out ’12 Bars’ on a listening station or go to www.HaddenSayers.com and listen for yourself. Sayers SHOULD be a part of your album collection’s future. You’ll love the passion.
Friday, June 11, 2004
Artist: Hadden Sayers
Title: 12 Bars and the Naked Truth
When Hadden Sayers rolls back into Omaha on June 23rd to play Murphy’s Lounge (96th & L Streets) he’ll be promoting one of the year’s strongest independently distributed adult rock albums; 12 Bars and the Naked Truth.
Like so many significant “adult rock” artists (READ: fans are 35+), Sayers hails from the great state of Texas. On this, his fifth album, Sayers brings a ultra mature sound, distinctive from many of the Texas artists and very clearly not under the auspices of the late Stevie Ray Vaughan. After his last album’s (Supersonic) edgy rock sound, Sayers has moved to a complete focus on the song and done it well. At a time when two good songs on an album has become a standard, Sayers has the skills to string together a full length album of well above average songs (a rarity in today’s ‘thanks to technology we can make albums much, much longer than really necessary’ recording industry.)
Do it for the passion. For me, today, what so many mature rock bands lack is commitment to passion: a willingness to lean into the storm and risk a bit of who they are, their control, in exchange for a well crafted song, a well performed song.
‘12 Bars & the Naked Truth’ finds Sayers singing on day-to-day live issues that many of his listeners will be able to relate to; that living in the moment is important to happiness (These are the Good Old Days) and dealing with folks you may rather not have had to deal with (Mister Know-It-All) “Why would you compromise when you’re so wise?” "You better pray for rain, you don't know rain like I do."
Sayers sexy baritone vocals set off well against his tasteful guitar licks and rhythm section that plods along solidly. What’s it sound like? Straight ahead Tom Petty coming from Texas rather than Florida.
In a possibly unconscious nod to great songwriters, like Ray Davies (Kinks) before him, Sayers sings of a Sunday afternoon but in this case the focus is on love gone awry. On the song ‘Complicated’ Sayers lays out the average male mental gymnastics of dealing with the so-called more delicate sex. “I’m easy, so easy, you can read my mind with just one look into my eyes. I’m not brilliant or amazing; wear my heart on my sleeve but that’s the kind of thing you’re looking for… but you’re so complicated it’s blows my mind. You’re so sophisticated I wonder why? I’m forgiveful, and forgetful...”
A consummate self marketer, Sayers delivers a complete entertainment package to his fans; exceptional songwriting, very strong live performances, high quality packaging & imaging, an informative website that is replete with options to interact with the pop star including downloads and merchandise. During the month of June Homer’s, along with other tastemakers in Omaha, is determined to foist this well deserving artist into your rock-n-roll orbit.
So don’t take my word for it, stop at your local Homer’s Store & check out ’12 Bars’ on a listening station or go to www.HaddenSayers.com and listen for yourself. Sayers SHOULD be a part of your album collection’s future. You’ll love the passion.
Blues makes a comeback to Omaha
Monday, June 07, 2004
Omaha's vibrant blues scene can be attributed to two primary factors; Larry Boemer’s Zoo Bar and a small group of fans in Omaha in the mid ‘90’s.
In 1971 Homer’s Music Stores, Alligator Records, and the Zoo Bar were all born. Larry Boemer’s willingness to forego wealth in order to preserve the blues art form is the stuff legends are made of. Boemer’s Zoo Bar planted the seeds for Omaha's love of the blues. While Larry has moved to Arkansas his family still plays a role in the Zoo Bars operation.
Much like Lincoln, through the ‘70’s, ‘80’s and into the ‘90’s Omaha's blues scene centered on a strong venue called the Howard Street Tavern. When landowner Mark Mercer turned warehouses into condos the original Howard Street Tavern was closed reportedly because of threats of noise/nuisance lawsuits by condo owners. (In a bizarre twist, the current resident of the old Howard Street Tavern paid back the community with a series of free blues-rock concerts this summer: it must have been karma.)
While the closure appeared to be a death keel it was actually a life preserver as a handful of seemingly independent activities came together; the Omaha Blues Society was b born under the leadership of President Greg Lindberg, local Blues writer BJ Hutchtemann began a weekly column, Terry O'Halloran (Murphy's Lounge) made a commitment to a weekly blues show called Six Bells Blues, the recording industry changed dramatically, and my radio program PS Blues moved from a low wattage late Monday night two hour show to a three hour Sunday morning program on a non-commercial 100,000 watt radio station giving the market two powerful blues radio programs; the other being Mike Jacob's Monday program on KIOS 91.5 fm.
With so many Omaha kids spending their college years in Lincoln, a love of the blues born in the Zoo Bar migrated back to Omaha and, since there is a larger population base, there were (are) numerous live venues for blues & roots in Omaha including; The 18th Amendment vis-a-vie Murphy's Lounge, The Music Box, The MACdome, Maggie McCalls, & of course McKenna’s. With a larger choice of venues there were bound to be more bands. This Zoo Bar/ college education basis coupled with Omaha's preexisting love of hard Midwestern rock (REO Speedwagon, BTO, Rush), and the absence of a bona fide African-American presence within the scene (either as performers or fans) has left a clear predilection of what we call “the blues” here in Omaha.
As the home recording industry changed local bands found recording albums an affordable option. And record they did. At Homer’s we made an early decision to carry all the local music we could get our hands on: it was a commitment that carried over to the radio program which, until election laws kicked in, PS Blues usually included two to three local cuts a week.
The first manifestation of this synthesis coming together was, for me, that Omaha became a launching pad for four kids off a South Dakota reservation, in a band called Indigenous, to become a national act and eventually get signed to an international label. Should he choose to, Lincoln's Kris Lager will benefit from Omaha's lust for blues rock and could be the next act to kick the dirt off his boots and head for the big city.
While he was alive Stevie Ray Vaughan single handily lifted the blues back into the national consciousness. Vaughn's ability to roust FM radio out of its post 1978 doldrums created a wave that younger blues act rode for ten years after his tragic death. When computer downloading began to scalp the music industry labels quickly began to cut back artist rosters and boutique labels; thus marketing dollars to build awareness for bands that sold under 750,000 albums disappeared along with, eventually, many of the bands. At the same time aggressive drinking and driving laws kicked in making it difficult for blues band to tour and for blues venues to make ends meet. Except for festivals, at the turn of the Century, the state of the blues was dismal.
While other free local events may have preceded them, Jeff & Sheri Davis’ five ‘Playing With Fire’ concert series has raised a new level of excitement in Omaha's blues scene. (SEE previous column 'Free Concerts') This summers free concert listings includes a five star Summer Arts Festival line-up (Dirty Dozen Brass Band, Blind Boys of Alabama, Corey Harris) and a free 25th Anniversary show by Greg Lindberg’s Absolutely Fresh Seafood which includes Chubby Carrier. Sadly this years Indigenous Jam will not take place but seven free concerts more than makes up for its absence.
Lastly, the success of Omaha's blues scene rests upon its fans. If music buffs vote with their dollars, the blues will continue to get voted into office in Our Town!
Omaha's vibrant blues scene can be attributed to two primary factors; Larry Boemer’s Zoo Bar and a small group of fans in Omaha in the mid ‘90’s.
In 1971 Homer’s Music Stores, Alligator Records, and the Zoo Bar were all born. Larry Boemer’s willingness to forego wealth in order to preserve the blues art form is the stuff legends are made of. Boemer’s Zoo Bar planted the seeds for Omaha's love of the blues. While Larry has moved to Arkansas his family still plays a role in the Zoo Bars operation.
Much like Lincoln, through the ‘70’s, ‘80’s and into the ‘90’s Omaha's blues scene centered on a strong venue called the Howard Street Tavern. When landowner Mark Mercer turned warehouses into condos the original Howard Street Tavern was closed reportedly because of threats of noise/nuisance lawsuits by condo owners. (In a bizarre twist, the current resident of the old Howard Street Tavern paid back the community with a series of free blues-rock concerts this summer: it must have been karma.)
While the closure appeared to be a death keel it was actually a life preserver as a handful of seemingly independent activities came together; the Omaha Blues Society was b born under the leadership of President Greg Lindberg, local Blues writer BJ Hutchtemann began a weekly column, Terry O'Halloran (Murphy's Lounge) made a commitment to a weekly blues show called Six Bells Blues, the recording industry changed dramatically, and my radio program PS Blues moved from a low wattage late Monday night two hour show to a three hour Sunday morning program on a non-commercial 100,000 watt radio station giving the market two powerful blues radio programs; the other being Mike Jacob's Monday program on KIOS 91.5 fm.
With so many Omaha kids spending their college years in Lincoln, a love of the blues born in the Zoo Bar migrated back to Omaha and, since there is a larger population base, there were (are) numerous live venues for blues & roots in Omaha including; The 18th Amendment vis-a-vie Murphy's Lounge, The Music Box, The MACdome, Maggie McCalls, & of course McKenna’s. With a larger choice of venues there were bound to be more bands. This Zoo Bar/ college education basis coupled with Omaha's preexisting love of hard Midwestern rock (REO Speedwagon, BTO, Rush), and the absence of a bona fide African-American presence within the scene (either as performers or fans) has left a clear predilection of what we call “the blues” here in Omaha.
As the home recording industry changed local bands found recording albums an affordable option. And record they did. At Homer’s we made an early decision to carry all the local music we could get our hands on: it was a commitment that carried over to the radio program which, until election laws kicked in, PS Blues usually included two to three local cuts a week.
The first manifestation of this synthesis coming together was, for me, that Omaha became a launching pad for four kids off a South Dakota reservation, in a band called Indigenous, to become a national act and eventually get signed to an international label. Should he choose to, Lincoln's Kris Lager will benefit from Omaha's lust for blues rock and could be the next act to kick the dirt off his boots and head for the big city.
While he was alive Stevie Ray Vaughan single handily lifted the blues back into the national consciousness. Vaughn's ability to roust FM radio out of its post 1978 doldrums created a wave that younger blues act rode for ten years after his tragic death. When computer downloading began to scalp the music industry labels quickly began to cut back artist rosters and boutique labels; thus marketing dollars to build awareness for bands that sold under 750,000 albums disappeared along with, eventually, many of the bands. At the same time aggressive drinking and driving laws kicked in making it difficult for blues band to tour and for blues venues to make ends meet. Except for festivals, at the turn of the Century, the state of the blues was dismal.
While other free local events may have preceded them, Jeff & Sheri Davis’ five ‘Playing With Fire’ concert series has raised a new level of excitement in Omaha's blues scene. (SEE previous column 'Free Concerts') This summers free concert listings includes a five star Summer Arts Festival line-up (Dirty Dozen Brass Band, Blind Boys of Alabama, Corey Harris) and a free 25th Anniversary show by Greg Lindberg’s Absolutely Fresh Seafood which includes Chubby Carrier. Sadly this years Indigenous Jam will not take place but seven free concerts more than makes up for its absence.
Lastly, the success of Omaha's blues scene rests upon its fans. If music buffs vote with their dollars, the blues will continue to get voted into office in Our Town!
Thursday, January 10, 2008
Thee Shams are no flim-flam!
Thursday, May 27, 2004
Artist: Thee Shams
Title: Please Yourself
Label: Fat Possum
This is the perfect "rock" record for a blues fan. If you're like me, as you got older your lack of interest in popular rock music grew with each birthday: there are still plenty of rock records you throw on but most of them were recorded before 1980. Thee Shams present THAT kind of blues fan with the perfect rock record.
Thee Shams, hailing form the Ohio Valley, have successfully captured the 'sound' of Sixties garage rock bands like, ? & the Mysterians (who performed 96 Tears). This album lives in a sonic cross between the Rolling Stones and the New York Dolls; or between Aerosmith and another fabulous Fat Possum label band The Black Keys. It's all that and a whole lot more.
The fact is this album has little to do with the blues other than copping the sound as so many great rock bands have before them. The second track, "If You Gotta Go" was written by Bob Dylan and later covered by Canadian Sue Foley. Like many rock bands (The Kinks, Oasis, BTO, Indigenous, Everly Brothers, The Black Crowes) Thee Shams are a four piece band centered around brothers - in this case Zachery and Andrew Gabbard. There must be something in the genes but this is an excellent record that I cannot quit playing. The fourth track, "Love Me All the Time" is a ballad consisting of a simplistic arrangement that so the words & tune are not cluttered by over production: BRILLIANT!
Well if the music does the talking this album speaks volumes about how cool rock could be if only commercial radio would let it!
Artist: Thee Shams
Title: Please Yourself
Label: Fat Possum
This is the perfect "rock" record for a blues fan. If you're like me, as you got older your lack of interest in popular rock music grew with each birthday: there are still plenty of rock records you throw on but most of them were recorded before 1980. Thee Shams present THAT kind of blues fan with the perfect rock record.
Thee Shams, hailing form the Ohio Valley, have successfully captured the 'sound' of Sixties garage rock bands like, ? & the Mysterians (who performed 96 Tears). This album lives in a sonic cross between the Rolling Stones and the New York Dolls; or between Aerosmith and another fabulous Fat Possum label band The Black Keys. It's all that and a whole lot more.
The fact is this album has little to do with the blues other than copping the sound as so many great rock bands have before them. The second track, "If You Gotta Go" was written by Bob Dylan and later covered by Canadian Sue Foley. Like many rock bands (The Kinks, Oasis, BTO, Indigenous, Everly Brothers, The Black Crowes) Thee Shams are a four piece band centered around brothers - in this case Zachery and Andrew Gabbard. There must be something in the genes but this is an excellent record that I cannot quit playing. The fourth track, "Love Me All the Time" is a ballad consisting of a simplistic arrangement that so the words & tune are not cluttered by over production: BRILLIANT!
Well if the music does the talking this album speaks volumes about how cool rock could be if only commercial radio would let it!
John & the Sisters (Kevin Breit)
It'll be TOO DAMN BAD if you miss this
Monday, May 10, 2004
Artist: John & the Sisters featuring Kevin Breit
Title: Domino Vacancy
Kevin Breit achieved "fame" for his songwriting with multi-Grammy winner Norah Jones, Cassandra Wilson, and to a much lesser extent for his work with the incredible Harry Manx (who is playing the Omaha Blues Society's Blues Cruise later this month). While not yet a household name, Breit's music has been heard at least once by every American (able to hear). It's no wonder; he's an incredible talent.
On his latest release, a solo effort disguised as 'John and the Sisters', Breit delivers a blues based album that older music fans will be able to sink their teeth into without having to be dumbed down for mass consumption. Inevitably we've all purchased an album that we adored upon initial listening and quickly never played again. The best albums are the records that unfold upon repeated listening. This album promises to be one that non-traditionalist blues fans are going to be playing repeatedly for decades. Breit bends and perverts musical boundaries to create songs that challenge the listener. The opening track, Too Damn Big, is a song that Aerosmith should have done on their latest album. Much like a Tyler/Perry composition, Too Damn Big, is a super funky blues number that cuts across genres with a Tom Waits sort of bite to it. By the time Breit reaches the track, Good Day, he's transmogrified into a tasty John Mellencamp sort of approach.
If you experiment with one "blues" album this year, this album is a five star gem that has that great 'FM blues based classic rock sound' we grew up on. What's better, the performances are exceptional and the songs are excellent. Yes, upon initial listening it's going to be coming at you from left field but it's quite good and worthy of your consideration.
Monday, May 10, 2004
Artist: John & the Sisters featuring Kevin Breit
Title: Domino Vacancy
Kevin Breit achieved "fame" for his songwriting with multi-Grammy winner Norah Jones, Cassandra Wilson, and to a much lesser extent for his work with the incredible Harry Manx (who is playing the Omaha Blues Society's Blues Cruise later this month). While not yet a household name, Breit's music has been heard at least once by every American (able to hear). It's no wonder; he's an incredible talent.
On his latest release, a solo effort disguised as 'John and the Sisters', Breit delivers a blues based album that older music fans will be able to sink their teeth into without having to be dumbed down for mass consumption. Inevitably we've all purchased an album that we adored upon initial listening and quickly never played again. The best albums are the records that unfold upon repeated listening. This album promises to be one that non-traditionalist blues fans are going to be playing repeatedly for decades. Breit bends and perverts musical boundaries to create songs that challenge the listener. The opening track, Too Damn Big, is a song that Aerosmith should have done on their latest album. Much like a Tyler/Perry composition, Too Damn Big, is a super funky blues number that cuts across genres with a Tom Waits sort of bite to it. By the time Breit reaches the track, Good Day, he's transmogrified into a tasty John Mellencamp sort of approach.
If you experiment with one "blues" album this year, this album is a five star gem that has that great 'FM blues based classic rock sound' we grew up on. What's better, the performances are exceptional and the songs are excellent. Yes, upon initial listening it's going to be coming at you from left field but it's quite good and worthy of your consideration.
Rob Stone & the C Notes - album of the year?
Rob Stone & C Notes album is excellent
Friday, April 23, 2004
Artist: Rob Stone and the C Notes
Title: Just My Luck
The Chicago based Earwig label has struggled to sign an act of significance but they've signed a winner with Rob Stone and the C Notes. If you're one of those folks that immediately dismiss "white" blues artists you might as well stop reading now. Okay, now that we've gotten rid of the snobs let's talk about an excellent Modern-Acoustic-Blues album.
This band is comprised of three (white) guys that met as members in the band of former Howlin' Wolf & Paul Butterfield Blues Band drummer Sam Lay. With a background in the blues-rock genre Rob Stone is able to straddle the art of Post-War Chicago blues and a more commercial modern blues sound. So many times these stylings fall flat as imitations. Leaning heavily on Stone's ultra-smooth vocals (Harry Connick Jr.) and his in-sync harp playing the band swings hard against Sam Lay's solid drums. The late Dave Myers guests on this album.
As the blues art form continues to evolve Stone has been able to go one step further along the revivalists path cut by the likes of Sean Costello. Respectfully, I appreciate that this album lacks any whiff of Texas blues.
With only three covers this album's strength is its songwriting. The fifth song, Empty Room, is a marvelous slow burning track that defines how good this band really is. To my mind, considering past W.C. Handy award winning songs, Empty Room should be in the running as song of the year. There are plenty of other exceptional songs including; Too Late Honey, Playing Games, My Side of the Story, and Strange Blues. Track for track this is one of the finest revivalist blues albums I have ever heard and I've heard more than my share. Compared to the hooey-Blues we see and hear adnaseum, Rob Stone and the C Notes have re-sparked my admiration for non-electric blues.
For GREAT on-line Americana radio hit this link...http://www.kcuvradio.com/playa/index.asp?fname=http://azul.streamguys.com/kcuv
Friday, April 23, 2004
Artist: Rob Stone and the C Notes
Title: Just My Luck
The Chicago based Earwig label has struggled to sign an act of significance but they've signed a winner with Rob Stone and the C Notes. If you're one of those folks that immediately dismiss "white" blues artists you might as well stop reading now. Okay, now that we've gotten rid of the snobs let's talk about an excellent Modern-Acoustic-Blues album.
This band is comprised of three (white) guys that met as members in the band of former Howlin' Wolf & Paul Butterfield Blues Band drummer Sam Lay. With a background in the blues-rock genre Rob Stone is able to straddle the art of Post-War Chicago blues and a more commercial modern blues sound. So many times these stylings fall flat as imitations. Leaning heavily on Stone's ultra-smooth vocals (Harry Connick Jr.) and his in-sync harp playing the band swings hard against Sam Lay's solid drums. The late Dave Myers guests on this album.
As the blues art form continues to evolve Stone has been able to go one step further along the revivalists path cut by the likes of Sean Costello. Respectfully, I appreciate that this album lacks any whiff of Texas blues.
With only three covers this album's strength is its songwriting. The fifth song, Empty Room, is a marvelous slow burning track that defines how good this band really is. To my mind, considering past W.C. Handy award winning songs, Empty Room should be in the running as song of the year. There are plenty of other exceptional songs including; Too Late Honey, Playing Games, My Side of the Story, and Strange Blues. Track for track this is one of the finest revivalist blues albums I have ever heard and I've heard more than my share. Compared to the hooey-Blues we see and hear adnaseum, Rob Stone and the C Notes have re-sparked my admiration for non-electric blues.
For GREAT on-line Americana radio hit this link...http://www.kcuvradio.com/playa/index.asp?fname=http://azul.streamguys.com/kcuv
Aerosmith - Honkin' on Bobo
Aerosmith's 'Honkin On Bobo'
Thursday, April 01, 2004
Band: Aerosmith
Title: Honkin' on Bobo
About 90 days ago the, 'Year of the Blues' expired without much hoopla. Targeted to reinvigorate the wilting artform, some popsters including John Mellencamp jumped on board with an excellent album of blues orientated songs and covers. Absent an ocean of reissued archival blues recordings and a tepid Scorsee PBS special, to my mind, the industry failed miserably to embrace the 12 month Blues celebration and the listener responded in kind.
In one week two major label releases have come out which could have propelled the Year of the Blues into more than a blip; Eric Clapton's, 'Me & Mr. Johnson' and Aerosmith's Honkin' On Bobo.' Both albums have gotten well above average reviews from major publications including Rolling Stone and Time magazines. As I listen to these releases I celebrate the vibrancy they could muster for the scene by bringing a vast audience back to the well. As the 'pie' grows larger the opportunity for the commercial success of other deserving acts increases.
It's self evident that both Clapton and Aerosmith have redefine avenues for the blues sound; however, both are equally too far removed from the grit & grind of the modern American Blues sound to offer more than a sanitary sound for mass consumption. Yeah, yeah, yeah, Steven Tyler is hot-stuff; an animated guru of words and stage antics but is that sufficient to pull off this latest caper? If you are 'heavily' into modern American blues you may, I said may, be able to dig into Aerosmith's album: 11 trad covers and one original. However it's more likely this disc is going to appeal most to folks that have fallen away from roots music and Aerosmith fans. So much of what separates a good blues album from a great recording is passion and conviction. 'Honkin' on Bobo' is a well recorded passable but unconvincing performance by America's premier rock band that is up to it's usual sthick. Hear it before you buy it and you'll thank me in the morning.
Okay, for those unwilling to read between the lines, it's a solid album by a great band pretending to be a blues band. Aerosmith shines best when they do their own thing: and they do it so well. The value of this album will be the interest 'Smith is able to generate in the blues and thereby help lesser known blues acts. It's entertaining and it's respectable but it's was never meant to be groundbreaking and consquently it's not.
Thursday, April 01, 2004
Band: Aerosmith
Title: Honkin' on Bobo
About 90 days ago the, 'Year of the Blues' expired without much hoopla. Targeted to reinvigorate the wilting artform, some popsters including John Mellencamp jumped on board with an excellent album of blues orientated songs and covers. Absent an ocean of reissued archival blues recordings and a tepid Scorsee PBS special, to my mind, the industry failed miserably to embrace the 12 month Blues celebration and the listener responded in kind.
In one week two major label releases have come out which could have propelled the Year of the Blues into more than a blip; Eric Clapton's, 'Me & Mr. Johnson' and Aerosmith's Honkin' On Bobo.' Both albums have gotten well above average reviews from major publications including Rolling Stone and Time magazines. As I listen to these releases I celebrate the vibrancy they could muster for the scene by bringing a vast audience back to the well. As the 'pie' grows larger the opportunity for the commercial success of other deserving acts increases.
It's self evident that both Clapton and Aerosmith have redefine avenues for the blues sound; however, both are equally too far removed from the grit & grind of the modern American Blues sound to offer more than a sanitary sound for mass consumption. Yeah, yeah, yeah, Steven Tyler is hot-stuff; an animated guru of words and stage antics but is that sufficient to pull off this latest caper? If you are 'heavily' into modern American blues you may, I said may, be able to dig into Aerosmith's album: 11 trad covers and one original. However it's more likely this disc is going to appeal most to folks that have fallen away from roots music and Aerosmith fans. So much of what separates a good blues album from a great recording is passion and conviction. 'Honkin' on Bobo' is a well recorded passable but unconvincing performance by America's premier rock band that is up to it's usual sthick. Hear it before you buy it and you'll thank me in the morning.
Okay, for those unwilling to read between the lines, it's a solid album by a great band pretending to be a blues band. Aerosmith shines best when they do their own thing: and they do it so well. The value of this album will be the interest 'Smith is able to generate in the blues and thereby help lesser known blues acts. It's entertaining and it's respectable but it's was never meant to be groundbreaking and consquently it's not.
Buddy Guy wins Grammy with Blues Singer (2004)
Tuesday, February 17, 2004
Artist: Buddy Guy
Album: Blues Singer
A college English professor once told a class of mine that our assignment was to write a paper at the college student level. To which the class clown replied, "Since we ARE college students so that'd include anything we wrote." I always loved that stupid answer: it seems to apply to so many predicaments.
George "Buddy" Guy won a Grammy this year for his acoustic blues album, "Blues Singer" on the Silvertone recording label (which he shares with Indigenous). Clearly whatever Buddy Guy records is going to fall into the blues category and since the recordings are primarily Buddy on an acoustic guitar, well, it's an acoustic blues album. And since he won the prestigious Grammy Award you can figure it's probably pretty good.
What the award doesn't tell you is that Blues Singer is a collection of cover songs written by great blues artists that probably figured in Guy's historic past. Guy dedicated the album to the late John Lee Hooker. Hook's passing was literally the death of the first generation of famed electric blues players: now the torch has passed to Guy and his generation.
The man once described by Eric Clapton as the greatest guitar player he'd ever seen, and we can assume Clapton's seen all the greats, reinvigorated his career back in the early 90's with the release of hard rocking, guitar driven , blues based album, 'Damn Right I've Got the Blues.' Since then Guy's albums have stood toe-to-toe with all of the bluesenvogue twang-bar kings. Suddenly Guy takes a pause to record an acoustic album as if in acknowledgment of his new found position in the blues world.
'Blues Singer' is a well heeled effort for Guy to show his fretboard skills in a low volume forum. Exceptionally well played and searingly honest, Blues Singer, reminds me of Guy's work with the late Junior Wells.
As the king of Chicago Blues in the 1950's Muddy Waters, with the help of Willie Dixon, culled together a stable of blues artists for the Chess Record label which has yet to be matched, in terms of talent, by any label before or since (although Atlantic certainly gave'em a run for their money in the '70's). One of their earliest talent acquisitions, fresh off the Greyhound and unfed for three days, was George 'Buddy' Guy. In many ways Guy's latest effort is heartfelt "thanks" to those that made his career possible.
Artist: Buddy Guy
Album: Blues Singer
A college English professor once told a class of mine that our assignment was to write a paper at the college student level. To which the class clown replied, "Since we ARE college students so that'd include anything we wrote." I always loved that stupid answer: it seems to apply to so many predicaments.
George "Buddy" Guy won a Grammy this year for his acoustic blues album, "Blues Singer" on the Silvertone recording label (which he shares with Indigenous). Clearly whatever Buddy Guy records is going to fall into the blues category and since the recordings are primarily Buddy on an acoustic guitar, well, it's an acoustic blues album. And since he won the prestigious Grammy Award you can figure it's probably pretty good.
What the award doesn't tell you is that Blues Singer is a collection of cover songs written by great blues artists that probably figured in Guy's historic past. Guy dedicated the album to the late John Lee Hooker. Hook's passing was literally the death of the first generation of famed electric blues players: now the torch has passed to Guy and his generation.
The man once described by Eric Clapton as the greatest guitar player he'd ever seen, and we can assume Clapton's seen all the greats, reinvigorated his career back in the early 90's with the release of hard rocking, guitar driven , blues based album, 'Damn Right I've Got the Blues.' Since then Guy's albums have stood toe-to-toe with all of the bluesenvogue twang-bar kings. Suddenly Guy takes a pause to record an acoustic album as if in acknowledgment of his new found position in the blues world.
'Blues Singer' is a well heeled effort for Guy to show his fretboard skills in a low volume forum. Exceptionally well played and searingly honest, Blues Singer, reminds me of Guy's work with the late Junior Wells.
As the king of Chicago Blues in the 1950's Muddy Waters, with the help of Willie Dixon, culled together a stable of blues artists for the Chess Record label which has yet to be matched, in terms of talent, by any label before or since (although Atlantic certainly gave'em a run for their money in the '70's). One of their earliest talent acquisitions, fresh off the Greyhound and unfed for three days, was George 'Buddy' Guy. In many ways Guy's latest effort is heartfelt "thanks" to those that made his career possible.
That Good old Soul Music still harkens
Saturday, January 31, 2004
Various Soul Reissues
In the early days of the recording music's weekly news source, Billboard Magazine, popular recordings by black Americans were charted as 'race records.' That's modified over the years to include terms like Soul, R-n-B, and now the generic catch all, 'hip hop.'
When I think of soul music, like most white middle class Americans, I think of Aretha Franklin and Otis Redding. When I listen to today's "hip hop" I wonder what happen to those great heartfelt melody lines? Because of its reliance on rhythm today's "rap" music is a much closer cousin to the blues than most would care to admit. Interestingly, like generations before us, parental whites are rejecting the rap culture much like our grandparents probably rejected blues and soul music to our parents and our older siblings. Interesting how the wheel turns.
As noted in earlier writings, the Fuel 2000 record label is, hands down, the most exciting re-issuer of great music from the past including their razor sharp focus on the blues genre.
Artist: Otis Clay
Title: Testify
If one mentions soul music and Otis is the same breath the legendary Otis Redding comes to mind immediately; but wait, there was another. One of the recent nuggets thrust back into the market is a twenty-two track compact disc by soul music's "Other Otis", Otis Clay. Like so many great soul singers of the 50's & 60's (Redding, Franklin, Cooke, Rawls), Clay came to popular music through the church. On this release, 'Testify, Clay binds his Chicago blues roots & gospel to Southern soul and the result is some fantastic archival soul. Heavy on the horns and thick with great heartfelt melodies, this is a Soul Music fan's diamond in the rough. Clay continues to record and tour with recent albums on Rounder and Echo records.
Artist: Candi Staton
Title: Candi Station
Another reissue gem is the Astralwerks over seas licensing of a self titled compilation release by Candi Staton. Born in Alabama and raised in the church Staton was touring as a professional singer while still in school backing up Aretha Franklin, Mahalia Jackson, The Staple Singers and the Soul Stirrers. Eventually Staton would meet and marry noted blues man Clarence 'Strokin' Carter. Working with the FAME record label at the legendary Muscle Shoals studio, Staton recorded some genre defining music. If you're like me and have already assimilated the music of Aretha Franklin, Otis Redding, Sam & Dave, and the Stax label and still want more, Candi Staton could very well be the cure for what ails ya.
Some other quality soul reissues & compliations are;
Aretha Franklin, The Queen in Waiting, Four Stars
The Cream of Vintage Soul Volume 1 Three+ Stars (3 discs for $9.99)
The Cream of Northern Soul Volume 1 Three+ Stars (3 discs for $9.99)
Various Soul Reissues
In the early days of the recording music's weekly news source, Billboard Magazine, popular recordings by black Americans were charted as 'race records.' That's modified over the years to include terms like Soul, R-n-B, and now the generic catch all, 'hip hop.'
When I think of soul music, like most white middle class Americans, I think of Aretha Franklin and Otis Redding. When I listen to today's "hip hop" I wonder what happen to those great heartfelt melody lines? Because of its reliance on rhythm today's "rap" music is a much closer cousin to the blues than most would care to admit. Interestingly, like generations before us, parental whites are rejecting the rap culture much like our grandparents probably rejected blues and soul music to our parents and our older siblings. Interesting how the wheel turns.
As noted in earlier writings, the Fuel 2000 record label is, hands down, the most exciting re-issuer of great music from the past including their razor sharp focus on the blues genre.
Artist: Otis Clay
Title: Testify
If one mentions soul music and Otis is the same breath the legendary Otis Redding comes to mind immediately; but wait, there was another. One of the recent nuggets thrust back into the market is a twenty-two track compact disc by soul music's "Other Otis", Otis Clay. Like so many great soul singers of the 50's & 60's (Redding, Franklin, Cooke, Rawls), Clay came to popular music through the church. On this release, 'Testify, Clay binds his Chicago blues roots & gospel to Southern soul and the result is some fantastic archival soul. Heavy on the horns and thick with great heartfelt melodies, this is a Soul Music fan's diamond in the rough. Clay continues to record and tour with recent albums on Rounder and Echo records.
Artist: Candi Staton
Title: Candi Station
Another reissue gem is the Astralwerks over seas licensing of a self titled compilation release by Candi Staton. Born in Alabama and raised in the church Staton was touring as a professional singer while still in school backing up Aretha Franklin, Mahalia Jackson, The Staple Singers and the Soul Stirrers. Eventually Staton would meet and marry noted blues man Clarence 'Strokin' Carter. Working with the FAME record label at the legendary Muscle Shoals studio, Staton recorded some genre defining music. If you're like me and have already assimilated the music of Aretha Franklin, Otis Redding, Sam & Dave, and the Stax label and still want more, Candi Staton could very well be the cure for what ails ya.
Some other quality soul reissues & compliations are;
Aretha Franklin, The Queen in Waiting, Four Stars
The Cream of Vintage Soul Volume 1 Three+ Stars (3 discs for $9.99)
The Cream of Northern Soul Volume 1 Three+ Stars (3 discs for $9.99)
PBS Blues, Heather Myles, reissued Who album
Tuesday, November 25, 2003
I was recently invited to write about albums that I thought were, "great."
Here are three examples of albums I really enjoy.
----------------------------------------------------
Marty Scorsese's seven part Blues series on Public Broadcasting (reason alone to support PBS) has resulted in a flood of blues compilations CDs. Instead of starring at Homer's massive blues CD selection with glassy eyes and a furrored brow, start your search for the perfect introductory blues album with the 21 track album, 'Martin Scorsese Presents The Best of the Blues.'
Begining with a recording by the legendary King of the Delta Blues, Robert Johnson (Cross Road Blues: later covered by Cream), this album weaves it way chronologically through the history of this great American artform. This album is uniquely intelligent in that it includes pivitol tracks which document the various "schools" of blues or "mark" the four basic "waves" of each period of blues; early recordings, Chicago & electric, the British hand it back to Rock, and the SRV-impact.
From the delta, the album travels north on the Blue Highway to Chicago: Howlin Wolf (Evil) and Muddy Waters (Hoochie Coochie Man). The album includes the foundation of Britian's blues revival with the recording of "All Your Love" by John Mayall and the Bluesbreakers featuring Eric Clapton. The '60's embrace of the blues in a rock context is shown with tracks by Janis Joplin (One Good Man) Jimi Hendrix Experience (Red House), and southern blues with the Allman Brother's, "One Way Out" (live). Along the way you hear music by Ray Charles, Skip James, John Lee Hooker, Etta James, and the mandatory, "The Thrill is Gone" by B. B. King.
Passing from ancient history io the modern era this album kicks off the fourth era of blues with the modern mastery of Stevie Ray Vaughan. The CD makes a critical statement by including tracks by Keb Mo', Los Lobos, Susan Tedeschi, and a duet by Shemekia Copeland with Robert Cray.
All in all this is an excellent blues CD that can easily supplement a fine collection or serve as the foundation to help someone you love and care about (Rap-Victim).
------------------------------------------------------
At some point in their lives music fans come to a realization that there are only two kinds of music: good music and bad music. When this epiphany strikes vast catalogues and hidden genres open. In the mid-80's, with the seemingly simultaneous debut releases by Dwight Yoakum, Randy Travis and Steve Earle, I began to discover country music.
Before we get too carried away I feel the need to distance "good" country music from the pig-noise feeding the death knell of today's country radio music. In the remarkable but unheard category of great country artists are Kim Richey and Heather Myles.
While her third (though first nationally distributed) album, Highways & Honky Tonks, was stunning, 'Sweet Talk and Good Lies' by Heather Myles (2000) is destine to become a classic country album: a defining moment in the course of country music's future.
Duets with Merle Haggard and Dwight Yoakum stamp "approved" on Myle's. Her covers of "By the Time I Get to Phoenix," "Cry Me a River," and "Chapel of Love" allow first time listeners easy access to Myles recordings, but it is her own songs that exemplify how significant this relative unknown will be. As is required of any pertinent female country music singer, Myles is easy on the eyes but this time it's her music that draws you in and keeps you reaching for her music.
Rolling Stone writer Chet Flippo wrote, "Myles has more brass than a hardware store." Myles is a musical force that will continue to attract attention and move the course of country music.
------------------------------------------------------
When people flippantly say an album is, "great" I immediately whip out the musical yardstick: "Do you mean it's as good as The Who's, 'Who's Next' ?" Usually not.
When Townshend and band scrapped the multi-disc Lifehouse project in 1971 and culled the recordings down to one disc, the album was named 'Who's Next.' Thirty-one years later the label released a remixed, remastered two CD version of Who's Next Deluxe Edition which includes live cuts as well as other tracks not included on the maiden release but recorded as a part of the Lifehouse project.
Packed with rock anthems (Baba O'Riley / Won't Get Fooled Again) and tasty ballads (Bargain / Behind Blue Eyes); while the Beatles were the first significant group for a generation, and the Rolling Stones remain rock music's greatest live band (still !), Who's Next is the definitive rock album by which all "great" rock albums should be measured.
Townshend uses the rock format to discuss pertinent political, social, and hormonal themes. Unlike so many of it's contemporary albums, after 33 years, 'Who's Next' remains fresh and exciting.
I was recently invited to write about albums that I thought were, "great."
Here are three examples of albums I really enjoy.
----------------------------------------------------
Marty Scorsese's seven part Blues series on Public Broadcasting (reason alone to support PBS) has resulted in a flood of blues compilations CDs. Instead of starring at Homer's massive blues CD selection with glassy eyes and a furrored brow, start your search for the perfect introductory blues album with the 21 track album, 'Martin Scorsese Presents The Best of the Blues.'
Begining with a recording by the legendary King of the Delta Blues, Robert Johnson (Cross Road Blues: later covered by Cream), this album weaves it way chronologically through the history of this great American artform. This album is uniquely intelligent in that it includes pivitol tracks which document the various "schools" of blues or "mark" the four basic "waves" of each period of blues; early recordings, Chicago & electric, the British hand it back to Rock, and the SRV-impact.
From the delta, the album travels north on the Blue Highway to Chicago: Howlin Wolf (Evil) and Muddy Waters (Hoochie Coochie Man). The album includes the foundation of Britian's blues revival with the recording of "All Your Love" by John Mayall and the Bluesbreakers featuring Eric Clapton. The '60's embrace of the blues in a rock context is shown with tracks by Janis Joplin (One Good Man) Jimi Hendrix Experience (Red House), and southern blues with the Allman Brother's, "One Way Out" (live). Along the way you hear music by Ray Charles, Skip James, John Lee Hooker, Etta James, and the mandatory, "The Thrill is Gone" by B. B. King.
Passing from ancient history io the modern era this album kicks off the fourth era of blues with the modern mastery of Stevie Ray Vaughan. The CD makes a critical statement by including tracks by Keb Mo', Los Lobos, Susan Tedeschi, and a duet by Shemekia Copeland with Robert Cray.
All in all this is an excellent blues CD that can easily supplement a fine collection or serve as the foundation to help someone you love and care about (Rap-Victim).
------------------------------------------------------
At some point in their lives music fans come to a realization that there are only two kinds of music: good music and bad music. When this epiphany strikes vast catalogues and hidden genres open. In the mid-80's, with the seemingly simultaneous debut releases by Dwight Yoakum, Randy Travis and Steve Earle, I began to discover country music.
Before we get too carried away I feel the need to distance "good" country music from the pig-noise feeding the death knell of today's country radio music. In the remarkable but unheard category of great country artists are Kim Richey and Heather Myles.
While her third (though first nationally distributed) album, Highways & Honky Tonks, was stunning, 'Sweet Talk and Good Lies' by Heather Myles (2000) is destine to become a classic country album: a defining moment in the course of country music's future.
Duets with Merle Haggard and Dwight Yoakum stamp "approved" on Myle's. Her covers of "By the Time I Get to Phoenix," "Cry Me a River," and "Chapel of Love" allow first time listeners easy access to Myles recordings, but it is her own songs that exemplify how significant this relative unknown will be. As is required of any pertinent female country music singer, Myles is easy on the eyes but this time it's her music that draws you in and keeps you reaching for her music.
Rolling Stone writer Chet Flippo wrote, "Myles has more brass than a hardware store." Myles is a musical force that will continue to attract attention and move the course of country music.
------------------------------------------------------
When people flippantly say an album is, "great" I immediately whip out the musical yardstick: "Do you mean it's as good as The Who's, 'Who's Next' ?" Usually not.
When Townshend and band scrapped the multi-disc Lifehouse project in 1971 and culled the recordings down to one disc, the album was named 'Who's Next.' Thirty-one years later the label released a remixed, remastered two CD version of Who's Next Deluxe Edition which includes live cuts as well as other tracks not included on the maiden release but recorded as a part of the Lifehouse project.
Packed with rock anthems (Baba O'Riley / Won't Get Fooled Again) and tasty ballads (Bargain / Behind Blue Eyes); while the Beatles were the first significant group for a generation, and the Rolling Stones remain rock music's greatest live band (still !), Who's Next is the definitive rock album by which all "great" rock albums should be measured.
Townshend uses the rock format to discuss pertinent political, social, and hormonal themes. Unlike so many of it's contemporary albums, after 33 years, 'Who's Next' remains fresh and exciting.
Steve Earle (LIVE) Just An American Boy
Steve Earle's new album is EXCELLENT
Monday, October 27, 2003
Artist: Steve Earle
Album: Just An American Boy
Among musicologists "live" albums are rated separately from studio and greatest hits albums. Probably the most heralded live albums are The Who's, 'Live at Leeds' and then The Allman Brother's, 'Live at the Fillmore.' Steve Earle's latest, 'Just An American Boy: The Audio Documentary' deserves consideration as a landmark live album. While rappers have successfully turned their "art" into a money printing bling-bling caricature of the ghetto, it has been a long time since Rock Music has been this dangerous.
This is a two disc set and there is plenty of rambling on the microphone between songs. Make no mistake, while the music is excellent, what makes this record so interesting is that Earle uses his liberal political bantering to tie together his songs and give his performance a sense of continuity. If you are offended by overt political statements you won't enjoy this record; on-the-other-hand, those banterings are what make this album so inspiring: the listener's political beliefs are challenged in the best Woody Guthrie tradition.
In regard to the music, Earle has hit a stride of excellence. Earle is a powerful thought provoking song writer. Like the folk music of the '60's, Earle has tapped into the long forgotten art of anti-war protest. Earle can write "great" songs with poignant words and execute with brilliance. Originally marketed as a country artist Earle has become the political sage of edgy Americana. This record is dangerous because the words and the related call to action & thought are two things that the vapid FM rock music of today has forgotten. Based on this disc Earle could well be the finest example of mature American rock today.
Monday, October 27, 2003
Artist: Steve Earle
Album: Just An American Boy
Among musicologists "live" albums are rated separately from studio and greatest hits albums. Probably the most heralded live albums are The Who's, 'Live at Leeds' and then The Allman Brother's, 'Live at the Fillmore.' Steve Earle's latest, 'Just An American Boy: The Audio Documentary' deserves consideration as a landmark live album. While rappers have successfully turned their "art" into a money printing bling-bling caricature of the ghetto, it has been a long time since Rock Music has been this dangerous.
This is a two disc set and there is plenty of rambling on the microphone between songs. Make no mistake, while the music is excellent, what makes this record so interesting is that Earle uses his liberal political bantering to tie together his songs and give his performance a sense of continuity. If you are offended by overt political statements you won't enjoy this record; on-the-other-hand, those banterings are what make this album so inspiring: the listener's political beliefs are challenged in the best Woody Guthrie tradition.
In regard to the music, Earle has hit a stride of excellence. Earle is a powerful thought provoking song writer. Like the folk music of the '60's, Earle has tapped into the long forgotten art of anti-war protest. Earle can write "great" songs with poignant words and execute with brilliance. Originally marketed as a country artist Earle has become the political sage of edgy Americana. This record is dangerous because the words and the related call to action & thought are two things that the vapid FM rock music of today has forgotten. Based on this disc Earle could well be the finest example of mature American rock today.
So you wanna buy some blues? Various albums worth your time
Thursday, September 11, 2003
What would I spend my money on these days?
Good question!
Glad someone asked me that finally.
About this time of the year I begin to kick around a Top Ten list for January. Some of the discs that are bound to be in that list include (in no particular order);
Robben Ford / Keep On Runing -
If you aren't hip to Robben Ford yet, the time has arrived. No list of great guitar players is complete without Robben Ford. Ford's performance at last year's Indigenous Jam was nothing short of spell-binding. Ford teams up with John Wooler to produce a polished yet passionate disc that includes some brilliant covers including; Nick Lowe's 'What So Funny 'Bout Peace Love & Understanding', 'Homework' as covered by the J. Geils Band and Albert Collins earlier, and 'Badge' by Eric Clapton & Cream. This is a VERY GOOD' album replete with horns, great band, and excellent music. What's not to like?
Various Artists / Remembering Patsy -
You can't swing a dead cat without hitting a tribute album these days. What's the deal? There are three reasons you're seeing so many tribute albums (most of which are stink-ola);
a.) Its an effort to bring rock fans back into the music buying mode (and in many cases into the blues genre specifically), b.) There is a need for tested "great" songs, and c.) They're fun and allow artists to record songs that are quick, easy, and fun.
You may THINK you don't know a lot of the music of Patsy Cline but chances are you actually do know quite a few of the songs she sang. Jazz chartreuse Diana Krall covers the Willie Nelson penned tune, Crazy; k.d. Lang simmers on 'Leavin' On Your Mind' and Natalie Cole's cover of I Fall to Pieces' (also covered by Linda Ronstadt) is excellent. Other artists featured on this VERY GOOD disc include multi-Grammy award-winning-it-kid Nora Jones, Patty Griffin, Amy Grant, Michelle Branch, and more.
Los Lonely Boys / Los Lonely Boys -
When Austin's Waterloo Records owner John Kuntz recommends a band; you listen. LLBs have lite the critical world on fire with a buzz hotter than Joe Perry hot sauce! Apparently three Hispanic brothers from the San Marcos area just north of Austin LLB use three part layered harmonies on top of a faux-Mexican/rock guitar sound and pumpin' Texas-blues sound. Its really worth some looking at. Like any debut albums this one is relatively unfocused on a 'specific sound' and, for me, that's what makes debut albums interesting.
Joe Bonamassa / Blues Deluxe -
This kid is quickly rising to the top. Luckily he's NOT on a major label and his fan base will develop at the same speed as his notoriety. You only have to see this guy one time to understand that he's got that something special that differentiates good from great. In many ways Bonamassa is the great continuation of 70's arena blues-rock with bands like Humble Pie and Spinal Tap (just kidding). A healthy mix between Jimi, Stevie, Carlos, and Keith, Bonamassa has a super sharp feel for playing the guitar with a keenly developing ability to do what so many great players can't do... write a bluesy pop song. I am a bonafide fan of this kid: maybe you should be too?
Jonny Lang / Long Time Coming -
This could very well be a 'GREAT album: time will soon tell.
Jam packed with great songs, excellent playing, and dynamic vocals I can't imagine anything coming between this record and imortality. I've seen Lang play numerous times and I can see the appeal. For whatever reason I still don't consider myself to be a "fan" but this album may soon teach this old dog to change his ways!
Lyle Lovett / My Baby Don't Tolerate -
I hate to fall into predictable trends; however, I suspect I'll be buying Lyle Lovett records as long as he's inspired to put them out. Oh sure, I know, he's now being labeled as Yuppie Roots Music. Oh hogwash. Just because someone finds commercial success does not mean they've sold out or watered down their art. After seemingly having suffered from writers block for nearly a decade Lovett finally releases a new album of new songs. While he won a Grammy for the album,' The Road from Ensenada' Lovett's last few albums have been a soundtrack, a greatest hits album, a live album, and a double album of cover songs written by some of the great Texas songwriters. So all I can say is, "IT's ABOUT TIME LOVETT!" And say that with great affection!
Now, as they say on M*A*S*H... that is all
What would I spend my money on these days?
Good question!
Glad someone asked me that finally.
About this time of the year I begin to kick around a Top Ten list for January. Some of the discs that are bound to be in that list include (in no particular order);
Robben Ford / Keep On Runing -
If you aren't hip to Robben Ford yet, the time has arrived. No list of great guitar players is complete without Robben Ford. Ford's performance at last year's Indigenous Jam was nothing short of spell-binding. Ford teams up with John Wooler to produce a polished yet passionate disc that includes some brilliant covers including; Nick Lowe's 'What So Funny 'Bout Peace Love & Understanding', 'Homework' as covered by the J. Geils Band and Albert Collins earlier, and 'Badge' by Eric Clapton & Cream. This is a VERY GOOD' album replete with horns, great band, and excellent music. What's not to like?
Various Artists / Remembering Patsy -
You can't swing a dead cat without hitting a tribute album these days. What's the deal? There are three reasons you're seeing so many tribute albums (most of which are stink-ola);
a.) Its an effort to bring rock fans back into the music buying mode (and in many cases into the blues genre specifically), b.) There is a need for tested "great" songs, and c.) They're fun and allow artists to record songs that are quick, easy, and fun.
You may THINK you don't know a lot of the music of Patsy Cline but chances are you actually do know quite a few of the songs she sang. Jazz chartreuse Diana Krall covers the Willie Nelson penned tune, Crazy; k.d. Lang simmers on 'Leavin' On Your Mind' and Natalie Cole's cover of I Fall to Pieces' (also covered by Linda Ronstadt) is excellent. Other artists featured on this VERY GOOD disc include multi-Grammy award-winning-it-kid Nora Jones, Patty Griffin, Amy Grant, Michelle Branch, and more.
Los Lonely Boys / Los Lonely Boys -
When Austin's Waterloo Records owner John Kuntz recommends a band; you listen. LLBs have lite the critical world on fire with a buzz hotter than Joe Perry hot sauce! Apparently three Hispanic brothers from the San Marcos area just north of Austin LLB use three part layered harmonies on top of a faux-Mexican/rock guitar sound and pumpin' Texas-blues sound. Its really worth some looking at. Like any debut albums this one is relatively unfocused on a 'specific sound' and, for me, that's what makes debut albums interesting.
Joe Bonamassa / Blues Deluxe -
This kid is quickly rising to the top. Luckily he's NOT on a major label and his fan base will develop at the same speed as his notoriety. You only have to see this guy one time to understand that he's got that something special that differentiates good from great. In many ways Bonamassa is the great continuation of 70's arena blues-rock with bands like Humble Pie and Spinal Tap (just kidding). A healthy mix between Jimi, Stevie, Carlos, and Keith, Bonamassa has a super sharp feel for playing the guitar with a keenly developing ability to do what so many great players can't do... write a bluesy pop song. I am a bonafide fan of this kid: maybe you should be too?
Jonny Lang / Long Time Coming -
This could very well be a 'GREAT album: time will soon tell.
Jam packed with great songs, excellent playing, and dynamic vocals I can't imagine anything coming between this record and imortality. I've seen Lang play numerous times and I can see the appeal. For whatever reason I still don't consider myself to be a "fan" but this album may soon teach this old dog to change his ways!
Lyle Lovett / My Baby Don't Tolerate -
I hate to fall into predictable trends; however, I suspect I'll be buying Lyle Lovett records as long as he's inspired to put them out. Oh sure, I know, he's now being labeled as Yuppie Roots Music. Oh hogwash. Just because someone finds commercial success does not mean they've sold out or watered down their art. After seemingly having suffered from writers block for nearly a decade Lovett finally releases a new album of new songs. While he won a Grammy for the album,' The Road from Ensenada' Lovett's last few albums have been a soundtrack, a greatest hits album, a live album, and a double album of cover songs written by some of the great Texas songwriters. So all I can say is, "IT's ABOUT TIME LOVETT!" And say that with great affection!
Now, as they say on M*A*S*H... that is all
Neil Young ~ Greendale
Thursday, August 21, 2003
Artist: Neil Young
Album: Greendale
I think of rock music as the great American art form of the working class. While Indie rock has been infiltrated with the well-to-do and private schooled, rock remains a wide open arena for a working class or "black" kid to get a break. Usually that means they eventually cop-out and lose touch with the inner fire that brought them to the party. This is known as "selling out."
You can count, on two hands, the number of successful rock bands/artists that haven't sold out at least once in their career: among them I would include Iggy Pop, Patti Smith, and Neil Young. While Young's art has frequently suffered hiccups - he has never sold out and has frequently ran away as success loomed on the horizon. Always unpredictable Young challenges his audience to grow and change with him: Crazy Horse; Crosby, Stills, Nash & Young; The Shocking Pinks, Trans; alone & acoustic, or with Pearl Jam as a back-up band (Mirror Ball) etc... Consternation follows him everywhere.
Knowing that the art in commercial radio is dead, Young has used his own legacy to help promote his new release, Greendale. When his new album hit retail stores on August 19th, he also reissued some older titles, Remastered and at a smokin' low price point; American Stars Bars, On the Beach, Re-Act-Or, and Hawks & Doves. I would rank American Stars & Bars and On the Beach as both "great" albums. While Hawks & Doves and Re-Act-Or are sub-average.
Greendale is Young's "Tommy" opera as there is an accompanying movie forthcoming. Included on the initial releases of Greendale is a full length concert DVD of Young's solo-live performance of his "opera." What's it sound like? Excellent Neil Young & Crazy Horse material including acoustic tracks, full length jams, and rough hewn edge that Crazy Horse albums are supposed to have.
He may be Canadian but he's damn good! (LOL)
Artist: Neil Young
Album: Greendale
I think of rock music as the great American art form of the working class. While Indie rock has been infiltrated with the well-to-do and private schooled, rock remains a wide open arena for a working class or "black" kid to get a break. Usually that means they eventually cop-out and lose touch with the inner fire that brought them to the party. This is known as "selling out."
You can count, on two hands, the number of successful rock bands/artists that haven't sold out at least once in their career: among them I would include Iggy Pop, Patti Smith, and Neil Young. While Young's art has frequently suffered hiccups - he has never sold out and has frequently ran away as success loomed on the horizon. Always unpredictable Young challenges his audience to grow and change with him: Crazy Horse; Crosby, Stills, Nash & Young; The Shocking Pinks, Trans; alone & acoustic, or with Pearl Jam as a back-up band (Mirror Ball) etc... Consternation follows him everywhere.
Knowing that the art in commercial radio is dead, Young has used his own legacy to help promote his new release, Greendale. When his new album hit retail stores on August 19th, he also reissued some older titles, Remastered and at a smokin' low price point; American Stars Bars, On the Beach, Re-Act-Or, and Hawks & Doves. I would rank American Stars & Bars and On the Beach as both "great" albums. While Hawks & Doves and Re-Act-Or are sub-average.
Greendale is Young's "Tommy" opera as there is an accompanying movie forthcoming. Included on the initial releases of Greendale is a full length concert DVD of Young's solo-live performance of his "opera." What's it sound like? Excellent Neil Young & Crazy Horse material including acoustic tracks, full length jams, and rough hewn edge that Crazy Horse albums are supposed to have.
He may be Canadian but he's damn good! (LOL)
Indigenous leans into the storm
Thursday, July 24, 2003
Artist: Indigenous
Title: Indigenous
(The orange cover Silvertone Records)
Down but never out, Indigenous have finally fired their shot at the big-time by releasing their first major label album.
Gurgling under the radar of rock's mass audience, Indigenous have been leaning on the cliff of success awaiting a nudge to push them from barroom brawlers to a bonafide arena act. By this point in their career the band should be releasing albums that are statements rather than a hodge-podge of tracks: this album totters between brilliant rock melody lines (You Turn My World Around) to poorly executed platforms for guitar solos (What You Do To Me). For me, throw your eggs now, Jimi & Stevie suffered from the A.D.D. focus on writing and an over reliance on stunning guitar abilities. Much like 'Things We Do' the band teases the listener with GREAT songs only to fall back on filler tracks (albums with fewer tracks would solve this problem). Granted I still expect this band to release a definitive rock album. However on this album Indigenous delivers an album that has at least three excellent singles and half-a-dozen very strong tracks.
This is no turd on the lawn.
During a period when acts play-it-safe, Indigenous self produces their debut with the help of (future) brother-in-law(s) Jesse and Robin Davey a/k/a The Davey Brothers. Replete with the modern 'hard rock' sound, Indigenous makes a bold move from the sedate blues-rock genre of aging baby boomers to the younger, tougher rock crowd. Interesting they whip out, ''Shame, Shame, Shame'' by the legendary Jimmy Reed as if to say, 'hey, we're still down with the blues' and as Led Zeppelin was so capable of doing with other's songs, Indigenous converts this old standard to their own lexicon. Lyrically cliche themes haunt Mato's lyrics which center on distance and missed opportunities at love. Missing is a vocal delivery that demands the listener's attention. As ever, the band does not rely on the studio to over-sell their sound and therefore over-deliver live.
Opening the album with a cover from the Davey Brothers previous band, The Hoax, "C'Mon Susie" has benefitted from sporadic commercial radio airplay. Not an over-powering single, the track was able to land the back into the mainstreams vision line. Finally radio seems to be getting hip to laying groundwork for long term success.
It's not till the second track that the teasing begins. Surging with power ''You Turn My World Around'' swings with a lopping beat set off against a second guitar part and driving drums resulting in one of the finest modern-blues songs I've heard. Seeming to lean into the "storm", guitar player Mato Nanji attacks with a zeal rarely seen from the usually stoic leader of the band. Always capable I think the band lacks from external influences more than skill or desire.
Interestingly the band's designer hair cuts and high profile photographs alter the image but maintains its soul and swing. Drummer Wanbdi swings harder and with more confidence then previous recordings. Gone are the gush of notes in favor of tastier albeit fewer licks from central figure & guitar player Mato. Early on the band was heavily influenced by the music that interest their father Greg. As the band grew older, slowly, ever so slowly, other sounds crept into their world. Doyle Bramhall's production of their last effort, Circle, "Austin-ated" the band with easy Texas shuffles. And though the Davey Brothers have introduced the band to modern rock production, Indigenous maintains their core Fender sound. Matter-of-fact, there are numerous tracks on the new album that could have appeared on any number of prior albums.
If you're a fan of the band you are going to connect almost immediately with this new record. Will it draw in younger listeners? Since the rise of rap I can honestly say I have no idea what the kids are gonna dig. This is a consistent effort which is well recorded and executed. As usual they tread away from new ground in favor of well trodden turf; however, it strikes a note with me and I'm digging it.
Artist: Indigenous
Title: Indigenous
(The orange cover Silvertone Records)
Down but never out, Indigenous have finally fired their shot at the big-time by releasing their first major label album.
Gurgling under the radar of rock's mass audience, Indigenous have been leaning on the cliff of success awaiting a nudge to push them from barroom brawlers to a bonafide arena act. By this point in their career the band should be releasing albums that are statements rather than a hodge-podge of tracks: this album totters between brilliant rock melody lines (You Turn My World Around) to poorly executed platforms for guitar solos (What You Do To Me). For me, throw your eggs now, Jimi & Stevie suffered from the A.D.D. focus on writing and an over reliance on stunning guitar abilities. Much like 'Things We Do' the band teases the listener with GREAT songs only to fall back on filler tracks (albums with fewer tracks would solve this problem). Granted I still expect this band to release a definitive rock album. However on this album Indigenous delivers an album that has at least three excellent singles and half-a-dozen very strong tracks.
This is no turd on the lawn.
During a period when acts play-it-safe, Indigenous self produces their debut with the help of (future) brother-in-law(s) Jesse and Robin Davey a/k/a The Davey Brothers. Replete with the modern 'hard rock' sound, Indigenous makes a bold move from the sedate blues-rock genre of aging baby boomers to the younger, tougher rock crowd. Interesting they whip out, ''Shame, Shame, Shame'' by the legendary Jimmy Reed as if to say, 'hey, we're still down with the blues' and as Led Zeppelin was so capable of doing with other's songs, Indigenous converts this old standard to their own lexicon. Lyrically cliche themes haunt Mato's lyrics which center on distance and missed opportunities at love. Missing is a vocal delivery that demands the listener's attention. As ever, the band does not rely on the studio to over-sell their sound and therefore over-deliver live.
Opening the album with a cover from the Davey Brothers previous band, The Hoax, "C'Mon Susie" has benefitted from sporadic commercial radio airplay. Not an over-powering single, the track was able to land the back into the mainstreams vision line. Finally radio seems to be getting hip to laying groundwork for long term success.
It's not till the second track that the teasing begins. Surging with power ''You Turn My World Around'' swings with a lopping beat set off against a second guitar part and driving drums resulting in one of the finest modern-blues songs I've heard. Seeming to lean into the "storm", guitar player Mato Nanji attacks with a zeal rarely seen from the usually stoic leader of the band. Always capable I think the band lacks from external influences more than skill or desire.
Interestingly the band's designer hair cuts and high profile photographs alter the image but maintains its soul and swing. Drummer Wanbdi swings harder and with more confidence then previous recordings. Gone are the gush of notes in favor of tastier albeit fewer licks from central figure & guitar player Mato. Early on the band was heavily influenced by the music that interest their father Greg. As the band grew older, slowly, ever so slowly, other sounds crept into their world. Doyle Bramhall's production of their last effort, Circle, "Austin-ated" the band with easy Texas shuffles. And though the Davey Brothers have introduced the band to modern rock production, Indigenous maintains their core Fender sound. Matter-of-fact, there are numerous tracks on the new album that could have appeared on any number of prior albums.
If you're a fan of the band you are going to connect almost immediately with this new record. Will it draw in younger listeners? Since the rise of rap I can honestly say I have no idea what the kids are gonna dig. This is a consistent effort which is well recorded and executed. As usual they tread away from new ground in favor of well trodden turf; however, it strikes a note with me and I'm digging it.
Kris Lager can cut the mustard
Kris Lager Band
First albums are kinda like photos from your High School prom. At the time it seems like the thing to do but years later you remember the fool you made of yourself. Because of the all might dollar and the corruption between radio and record labels, today's artist's are forced to have hits with their first album. Were that the case 30 years ago, Bruce Springsteen, The Who, REM, Rush, U2, and Metallica would have all washed out like used bath water. Clearly radio is a 'johnny come lately' and the labels have resorted to throwing crap against the wall to see what sticks. Gone are the days when artist were encouraged to grow and develop. Today it is hit or shit - nothing in between. Fortunately, Lincoln wunderkid Kris Lager is cutting his teeth on his own dime.
Over the past five years we've seen a near complete collapse of the blues-rock genre. Gone are the Jonny Lang's & Kenny Wayne Shepherd's. Even Indigenous is using their newest album as a vehicle to move from a blues audience (about 3% of sales) to the rock audience (43% of sales). On his first and self titled release Lager and band go through the motions of being a big name blues act. Why? Being polite, there may be five guys in the world that can play an entertaining 12 bar blues structure and none of them live within 400 miles of Omaha. Say whatever you want but with today's fickle music consumer, the music no longer does the talking. It's all about image & lifestyle and the Kris Lager Band has no image. Damn shame too. His new album has all the signs of being the foundation for a big name career.
Music? Oh, you want to hear about music? Sure you do. The music moves from strong to nearly great. Lager's album lacks any "hits" or "radio friendly tunes" but overall his tracks show very strong song-writing that should mature. Kris needs to lock himself in the kitchen and not come out until he's written a great song: a great song! I like it when a guitar player can step up and wail on - it's what I like - and Lager can play the guitar. Jeremiah Weir's keyboards give the listener a break and adds tasty morsel's of sound. On this album I do not like the recorded drum sound. I'm not engineer but they sound lifeless and flat to me. Bass player Matt 'prettyboy' Evans tucks in and helps drummer Kyle Armes set-up a base for Lager and Weir. On the seventh cut, Black Rose, the band stretches out and shows what it capable of - which is pure magic ala' Allman Brothers 1970. Can Lager 'cut it' as a front man and singer? The next two years will determine whether its to be the bar circuit or the theatre circuit. This 'horse' is a wild card but with some focus & sweat, a good haircut and some image development, Kris Lager could easily zoom out of these high plains and be more than just a footnote in local music history.
We've seen what Indigenous have been able to accomplish with Omaha as a loyal base... lighting could strike twice but it's going to take a die-hard serious commitment to KNOWING how the business turns. This is a very good album. Lager is young enough to have a serious go at having a career playing music. I hope he aspires to be more.
First albums are kinda like photos from your High School prom. At the time it seems like the thing to do but years later you remember the fool you made of yourself. Because of the all might dollar and the corruption between radio and record labels, today's artist's are forced to have hits with their first album. Were that the case 30 years ago, Bruce Springsteen, The Who, REM, Rush, U2, and Metallica would have all washed out like used bath water. Clearly radio is a 'johnny come lately' and the labels have resorted to throwing crap against the wall to see what sticks. Gone are the days when artist were encouraged to grow and develop. Today it is hit or shit - nothing in between. Fortunately, Lincoln wunderkid Kris Lager is cutting his teeth on his own dime.
Over the past five years we've seen a near complete collapse of the blues-rock genre. Gone are the Jonny Lang's & Kenny Wayne Shepherd's. Even Indigenous is using their newest album as a vehicle to move from a blues audience (about 3% of sales) to the rock audience (43% of sales). On his first and self titled release Lager and band go through the motions of being a big name blues act. Why? Being polite, there may be five guys in the world that can play an entertaining 12 bar blues structure and none of them live within 400 miles of Omaha. Say whatever you want but with today's fickle music consumer, the music no longer does the talking. It's all about image & lifestyle and the Kris Lager Band has no image. Damn shame too. His new album has all the signs of being the foundation for a big name career.
Music? Oh, you want to hear about music? Sure you do. The music moves from strong to nearly great. Lager's album lacks any "hits" or "radio friendly tunes" but overall his tracks show very strong song-writing that should mature. Kris needs to lock himself in the kitchen and not come out until he's written a great song: a great song! I like it when a guitar player can step up and wail on - it's what I like - and Lager can play the guitar. Jeremiah Weir's keyboards give the listener a break and adds tasty morsel's of sound. On this album I do not like the recorded drum sound. I'm not engineer but they sound lifeless and flat to me. Bass player Matt 'prettyboy' Evans tucks in and helps drummer Kyle Armes set-up a base for Lager and Weir. On the seventh cut, Black Rose, the band stretches out and shows what it capable of - which is pure magic ala' Allman Brothers 1970. Can Lager 'cut it' as a front man and singer? The next two years will determine whether its to be the bar circuit or the theatre circuit. This 'horse' is a wild card but with some focus & sweat, a good haircut and some image development, Kris Lager could easily zoom out of these high plains and be more than just a footnote in local music history.
We've seen what Indigenous have been able to accomplish with Omaha as a loyal base... lighting could strike twice but it's going to take a die-hard serious commitment to KNOWING how the business turns. This is a very good album. Lager is young enough to have a serious go at having a career playing music. I hope he aspires to be more.
12 albums from 2003 worth your time
So much good music to hear these days...
(written) Monday, March 31, 2003
There is so much good music out there right now. I haven't seen this much good music in a long, long time. Here are some suggestions;
1. Nils Lofgren Band Live.- In addition to being an incredible guitar player, Lofgren has a super smooth voice. The drummer on this album, Timm Biery, is an absolute MONSTER.
2. Who's Next DELUXE EDITION. Probably a top five all time great album remastered with a second disc of live cuts. The standard by which other albums are judged raises the bar again.
3. The Jayhawks - Rainy Day Music - Something good from Minneapolis. While the JH have always been a very solid band their albums have been only slightly better than average. This new effort shows the band stripped down to three players and is brilliant. Former Lincolnite Matthew Sweet guests on this album.
4. The Thorns. - A cross between everything that was good about the band America with Crosby, Stills, Nash & Young. Featuring Matthew Sweet, Pete Droge, and Shawn Mullins. This is your next purchase.
5. Darrell Nulisch - Times Like These - White soul vocals that weaves the sound of "classic Motown/ Stax" vocals and suburban blues. One of my all time favorite recording artists.
6. John Hiatt - Beneath This Gruff Exterior. I only have the single at the moment, My Baby Blue, but it is his most radio-friendly recording to date. Really really nice.
7. Harry Manx (any of three). This may be too bluesy for most but this guy is a genius and I do not use that term lightly. Manx plays an 18 stringed instrument from India much like a guitar but with a haunting sound. Manx plays blues and american pop covers and it is a breathtaking amalgation of sounds. When Manx played the jam last year he silenced 2,500 people who hung on every note: I have NEVER seen a performer with no name recognition place a crowd in such awe.
8. Sonny Landreth - The Road We're On - Louisiana boy delivers adult rock pop sense slide guitar sound with VERY solid songwriting. You might want to hear this first. Exceptional if you like slide players.
9. Jesse Malin - The Fine Art of Self Destruction - Have only heard this twice but its a very good adult rock-n-roll record. Up tempo and fun.
10. Jason Mraz - Waiting for My Rocket to Come - Another excellent record worth checking out. This guy will be huge.
11. The Black Keys - Thickfreakness. The definative music snobs groove. Two white kids from Ohio that lay down the blackest Missisippi blues-groove to come along in a very long time. This is some super cool shit but has the potential to become a flag bearing release for dorks to prove how cool they are. Get it before they do and then look down your nose at them!
12. Lucinda Williams - World Without Tears. Suffers from the Todd Rundgren complex. Couple of GREAT songs, couple of stiffs, and some average to very good filler. This is the record that is going to break her career wide open. Critics that follow the leader by reading others reviews but don't listen to music are going to sing praises for this disc. In the end, I think its going to be over-rated.
(written) Monday, March 31, 2003
There is so much good music out there right now. I haven't seen this much good music in a long, long time. Here are some suggestions;
1. Nils Lofgren Band Live.- In addition to being an incredible guitar player, Lofgren has a super smooth voice. The drummer on this album, Timm Biery, is an absolute MONSTER.
2. Who's Next DELUXE EDITION. Probably a top five all time great album remastered with a second disc of live cuts. The standard by which other albums are judged raises the bar again.
3. The Jayhawks - Rainy Day Music - Something good from Minneapolis. While the JH have always been a very solid band their albums have been only slightly better than average. This new effort shows the band stripped down to three players and is brilliant. Former Lincolnite Matthew Sweet guests on this album.
4. The Thorns. - A cross between everything that was good about the band America with Crosby, Stills, Nash & Young. Featuring Matthew Sweet, Pete Droge, and Shawn Mullins. This is your next purchase.
5. Darrell Nulisch - Times Like These - White soul vocals that weaves the sound of "classic Motown/ Stax" vocals and suburban blues. One of my all time favorite recording artists.
6. John Hiatt - Beneath This Gruff Exterior. I only have the single at the moment, My Baby Blue, but it is his most radio-friendly recording to date. Really really nice.
7. Harry Manx (any of three). This may be too bluesy for most but this guy is a genius and I do not use that term lightly. Manx plays an 18 stringed instrument from India much like a guitar but with a haunting sound. Manx plays blues and american pop covers and it is a breathtaking amalgation of sounds. When Manx played the jam last year he silenced 2,500 people who hung on every note: I have NEVER seen a performer with no name recognition place a crowd in such awe.
8. Sonny Landreth - The Road We're On - Louisiana boy delivers adult rock pop sense slide guitar sound with VERY solid songwriting. You might want to hear this first. Exceptional if you like slide players.
9. Jesse Malin - The Fine Art of Self Destruction - Have only heard this twice but its a very good adult rock-n-roll record. Up tempo and fun.
10. Jason Mraz - Waiting for My Rocket to Come - Another excellent record worth checking out. This guy will be huge.
11. The Black Keys - Thickfreakness. The definative music snobs groove. Two white kids from Ohio that lay down the blackest Missisippi blues-groove to come along in a very long time. This is some super cool shit but has the potential to become a flag bearing release for dorks to prove how cool they are. Get it before they do and then look down your nose at them!
12. Lucinda Williams - World Without Tears. Suffers from the Todd Rundgren complex. Couple of GREAT songs, couple of stiffs, and some average to very good filler. This is the record that is going to break her career wide open. Critics that follow the leader by reading others reviews but don't listen to music are going to sing praises for this disc. In the end, I think its going to be over-rated.
Lighting Strikes Susan Tedeschi Twice
Artist: Susan Tedeschi
Title: Wait For Me
In 1989 a six-year sober Bonnie Raitt bedazzled a beleaguered music industry with the multi- platinum, multi-Grammy album, 'Nick of Time.' After more than twenty years, Raitt had finally struck gold. The "sound" of Raitt's wagon-load of Grammy album was not new - her refreshed pop sense with a blues base got her on the radio airplay but it was the ballads that struck a nerve with listeners. For the next decade Raitt would be the world's darling lending her bully pulpit to social & environmental causes.
Upon the death of Stevie Ray Vaughan in August 1990, Raitt would add the weight of being the blues only major cross-over artist on her slim shoulders. Thanks to the momentum of Stevie Ray Vaughan, 'the blues' art-form was vibrant throughout the '90's. As the impact of downloading and burning began to reverberate, major labels sang the blues over financial losses. As result, labels cut artists and ad budgets. Consequently the blues' popularity has been on the down-swing since the new millennium.
Tone Cool's Susan Tedeschi may provide the thumb in the dike to stem the blues' ebbing popularity. For a blues album to sell 50,000 units is a smashing success. Tedeschi's last album, Just Won't Burn, sold more than ½ million albums. With the release of her newest effort (November 19th), Wait For Me, Tedeschi will surely substantially best her last effort. It's a terrific album jam packed with superb vocal performances, strong songs, and excellent arrangements. Included on the album are two previously released tracks. 'In the Garden' appeared on Double Trouble's latest release (along with a cover of Led Zeppelin's, 'Rock -n- Roll.' 'Baby You're Right' appears on Tedeschi's husband Derek Trucks' latest stellar release, Joyful Noise.' A nephew of Allman Brothers bass player 'Butch' Trucks, Derek Trucks played with the Allman Brothers Band for much of last year with Tedeschi's band opening.
Consequently, Tedeschi's sound has matured substantially into a more rock oriented sound. Like Raitt's, Nick of Time, Tedeschi has mixed tasty ballads with upbeat rockers. Tedeschi is backed by a smoking guitar and humping organ (players unknown at this time). Also covered on the album is Dylan's, 'Don't Think Twice.' While blues purists continue to embrace Tedeschi, 'Wait for Me' is sure to be a cross-over hit that rock fans are going to relate. While today's helter-skelter music world leaves it up to anyone's guess, it will be interesting to see if radio 'gets it' and hops on board a sure thing early in the cycle or will it wait?
Title: Wait For Me
In 1989 a six-year sober Bonnie Raitt bedazzled a beleaguered music industry with the multi- platinum, multi-Grammy album, 'Nick of Time.' After more than twenty years, Raitt had finally struck gold. The "sound" of Raitt's wagon-load of Grammy album was not new - her refreshed pop sense with a blues base got her on the radio airplay but it was the ballads that struck a nerve with listeners. For the next decade Raitt would be the world's darling lending her bully pulpit to social & environmental causes.
Upon the death of Stevie Ray Vaughan in August 1990, Raitt would add the weight of being the blues only major cross-over artist on her slim shoulders. Thanks to the momentum of Stevie Ray Vaughan, 'the blues' art-form was vibrant throughout the '90's. As the impact of downloading and burning began to reverberate, major labels sang the blues over financial losses. As result, labels cut artists and ad budgets. Consequently the blues' popularity has been on the down-swing since the new millennium.
Tone Cool's Susan Tedeschi may provide the thumb in the dike to stem the blues' ebbing popularity. For a blues album to sell 50,000 units is a smashing success. Tedeschi's last album, Just Won't Burn, sold more than ½ million albums. With the release of her newest effort (November 19th), Wait For Me, Tedeschi will surely substantially best her last effort. It's a terrific album jam packed with superb vocal performances, strong songs, and excellent arrangements. Included on the album are two previously released tracks. 'In the Garden' appeared on Double Trouble's latest release (along with a cover of Led Zeppelin's, 'Rock -n- Roll.' 'Baby You're Right' appears on Tedeschi's husband Derek Trucks' latest stellar release, Joyful Noise.' A nephew of Allman Brothers bass player 'Butch' Trucks, Derek Trucks played with the Allman Brothers Band for much of last year with Tedeschi's band opening.
Consequently, Tedeschi's sound has matured substantially into a more rock oriented sound. Like Raitt's, Nick of Time, Tedeschi has mixed tasty ballads with upbeat rockers. Tedeschi is backed by a smoking guitar and humping organ (players unknown at this time). Also covered on the album is Dylan's, 'Don't Think Twice.' While blues purists continue to embrace Tedeschi, 'Wait for Me' is sure to be a cross-over hit that rock fans are going to relate. While today's helter-skelter music world leaves it up to anyone's guess, it will be interesting to see if radio 'gets it' and hops on board a sure thing early in the cycle or will it wait?
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