Playing With Fire - update 05/16/2005Monday, May 16, 2005
If FREE is the best, then the only thing that could be better is FREE and GOOD. This year’s 2nd annual Playing with Fire concert series promises to be an improvement over last year’s award-winning event.
www.playingwithfireomaha.com
In America, “too much is enough,” and that adage holds true with this year’s event. Not only are there seven free concerts (two more than last year), there is also a new four show Friday Blues series. That makes 11 concerts in all!
Last year’s inaugural season was initiated by local businessman Jeff Davis. “Jeff approached me about helping do ONE show in the Old Market: that quickly grew into five shows” says Homer’s President Rick Galusha. “With 11 shows this year he’s really worn out his welcome!” jokes Galusha. “I grew up with a ‘60’s idealism” says Davis. “We really wanted to create an environment for the community to come together, share in some exceptional music and do it all for free. Omaha’s is a happening community and I wanted to be a part of that. And I wanted share my love of music with all my new best friends.”
PLAYING WITH FIRE information:
There are five Saturday shows, a Sunday show, and a Friday show. Two of the shows (July 16th & September 11th) consist of three national recording acts. The seven shows will be held at Lewis & Clark Landing Park; right on the banks of the Missouri River between the new Qwest Center and the river (345 Riverfront Drive). Like last year absolutely no outside food or beverages will be allowed in the park. “These concerts are free because of the sales of concessions and sponsorships.” Says Davis. “We make certain that prices for food and beverages are very reasonable, so no one gets gouged. We want families to be able to afford to come.” So help keep this series free by bringing a BIG appetite! Gates open at 4:00 p.m.(except for the Sunday show on September 11th when they open at noon) and music begins about an hour later.
Playing with Fire requests that concert attendees bring a can of food or two for donation to the Omaha Food Bank, and to keep with the spirit of the event in giving back to the community. FREE PARKING: Due to a special agreement with Gallup University and Metro Area Transit, PWF is able to offer FREE parking just north of Lewis & Clark Landing, along Riverfront Drive, at the Gallup University campus. For a mere $1 per rider (50 cents each way: buy a roundtrip ticket when you park your car) MAT will shuttle guests between the parking lots and the parks. This area is for shuttle riders only. According to Galusha, “There’s been a concern with parking and we wanted to make it as easy as possible this year. Gallup’s help with parking certainly will relieve some of that pressure. ” To avoid park congestion, the quickest access to the Gallup parking lot is to take Cumings Street EAST toward the airport. Cumings will turn into Abbot Drive. Take Abbot Drive to North 6th Street and turn South onto Gallup Drive. With a commitment to help establish Omaha’s musical future, The Blues Society of Omaha’s ‘Blues Kids’ will open some of the shows with a short set that is certain to improve over the five month span of this series. BSO Kids Band coordinator Doug Backer is an enthusiastic supporter of his pupils. “The kids are really excited and ready to put on a great show.” The BSO Kids will also be circulating throughout the audience selling raffle tickets to help them raise money for lessons, instruments, and travel. Russo’s Music has donated guitars for the raffle: winners will get to go backstage, meet that evening's bands, and get their guitar signed. This event could not happen without the support of the Blues Society of Omaha. “We knew this was an event that will grow into a real showcase for Omaha. We’re glad to be a part of it.” says the BSO’s Dan Griffin.
Saturday, June 4 Bernard Allison: Recording with father (blues legend Luther Allison) at 13, Bernard got a job just out of high school touring with Koko Taylor. In 2003, the Prague Post called Allison, “a dedicated touring musician, and his live shows are reputed to be incendiary and geared toward a wide array of listeners.” (2004 Artist)www.bernardallison.com
Melvin Taylor: Influenced by B.B. King, Albert King and Jimi Hendrix, Taylor worked in clubs by the age of 12. Since the 1980s he, along with former members of his first band, The Transistors, toured Europe and opened shows for B.B. King, Buddy Guy, Santana and George Benson. He then formed his own band, The Slack Band, and in 1995 recorded the best-selling album in Evidence Records catalog, Melvin Taylor & the Slack Band.
Blues Messengers: Dedicated to preserving authentic blues, this Lincoln-based band features the blistering guitar work of Joe Manthey and Shawn Holt, the son of Chicago blues legend, Magic Slim. www.bluesmessengers.com
Saturday, July 16 Curtis Salgado: His vocals shined at such an early age, his kindergarten teacher declared it by pinning a note about his singing prowess to his clothes. He began his band in the early 1970s, then spent a 6-year stint in Robert Cray's band, including performing on Cray's debut album. Salgado appeared on NPR's Mountain Stage and his last CD, Activated, gained a W.C. Handy nomination for "Soul Blues Album of the Year." His newest, Strong Suspicion, showcases Salgodo’s vocal talent and honed harmonica skills.www.curtissalgado.com
Fathead: The Canada-based band has garnered rave reviews worldwide, and member John Mays recently scored Canadian male vocalist of the year. The group's 1998 release, Blues Weather, won a Juno Award (the Canadian Grammy) for "Blues Recording of the Year." The single, First Class Riff-Raff off their 2000 follow-up, Where's Your Head At? won the 2002 Canadian Indie Award and was nominated for a Juno. Fathead’s stellar songwriting, soul-drenched melodies and ensemble playing is not-to-be-missed.www.fathead.biz
Walter Trout and the Radicals: So popular in Europe that in a BBC poll, Trout was voted the sixth best guitarist of all time right behind Jimmy Page, and ahead of Stevie Ray Vaughn and Jeff Beck. The Los Angeles Times describes Trout as “a torrential gladiator guitar player – a kind the term ‘guitar hero’ was coined to describe.” (2004 Artist) www.waltertrout.comSaturday,
August 13David Gogo: Ten years after being nominated for best new solo artist at the 1995 Juno Awards, this British Columbia-based Canadian just won the 2005 Maple Blues Award for "Guitarist of the Year." Gogo recently released his seventh album Vibe, which features guest artists like guitarist Jeff Healey and John Capek. The Victoria Times Colonist recently quoted Gogo discussing the music he makes. "I don't like to be a paint-by-numbers blues guy. I like to make things exciting." www.davidgogo.org
Dave Hole: This Australian slide guitarist with an "over-the-top" style of playing has drawn raves from audiences as well as international publications. Billboard wrote, "Slide guitar fanatics will have their brains blown out by this Australian fret-melter…Remarkably inventive, technically unusual overhand slide work…Prepare to hear your jaw hitting the floor." Hole has 7 studio albums and delivered ferocious live shows on 10 world tours.www.davehole.com
Tres Equis: Local band, Tres Equis, have toured the globe in support of national recording artists. Lead guitarist, Storm, won national notoriety with his dynamic style several years ago by winning Atlantic Records' "Play it Like Jimmy" contest. Rock and Roll Hall of Fame member Jimmy Page selected Storm as having the best recorded cover rendition of one of Page's guitar solos.
Friday, September 9Malford Milligan: This blues/soul singer gained national acclaim with his band, Storyville. Recorded on more than 30 albums, he performed three times on "Austin City Limits" and appeared on "Late Night with Conan O'Brien." Texas Monthly Magazine said, "(He) may be the next great soul singer…his tenor resonance and barking delivery invite comparisons with Sam Cooke and Otis Redding, and when he's onstage, you can't take your eyes off him!"www.malfordmilligan.com
Tony Vega Band: Blues Access Magazine hails Vega as "a gifted Texas guitarist that demonstrates an ability to play varying styles with equal skill. He has a compelling, razor-sharp guitar style." Don 'T-Bone' Erickson, founding editor of Blueswax e-zine says the newest CD, Tastes Like Love, "serves notice that the band is a force that cannot be denied…one of my favorite albums of 2004…”www.tonyvegaband.com
Dave Nevling: Vocalist, harp player and songwriter, Nevling won the Real Blues 2002 award for Best Texas Blues Harmonica player. Nevling's Blues Kats band features talented artists--guitarist, Adam Burchfield, Jeff Parmenter on bass, Bob Armour on drums and Brad Dawson on the organ. Southwest Blues magazine calls the band's latest album Heady Brew, "…an awesome CD" with "a remarkable group of songs held together with great grooves and catchy lyrics."www.davenevling.com
Saturday, September 10 Dawn Tyler Watson (Dawn Tyler Blues Project): At 13 she played guitar as a seasoned performer and mastered many styles. Dubbed the "Queen of the Blues in Montreal" by the Journal de Montreal, Blues Review magazine raves, "Dawn Tyler Watson takes flexible vocals and a ton of stage presence and applies it all to songs with jazz, funk and pop shadings without ever losing her blues center."www.dawntylerwatson.com
Sue Foley: Honored with her first Juno Award in 2000 for Love Comin' Down”, she has since received a record-setting 14 Maple Blues Awards since 1999, in the categories of Songwriter, Guitarist Recording, Entertainer and Vocalist of the Year. Her recent CD, Where the Action Is, gained the first-ever W.C. Handy award nomination for a Canadian female artist. www.suefoley.com
Sarah Benck and the Robbers: Benck’s recent song, "Tidal Wave" gained national attention from becoming the national YMCA's theme song. Her web site boasts, "After hearing Benck play live, you can't help but agree that music fits Sarah like Cinderella's slipper."www.sarahbenck.comSunday,
September 11The Campbell Brothers: Raised in the "sacred steel" style, a rare music tradition rooted in the African-American Holiness-Pentacostal church, they schooled the popular pedal-steel guitar player, Robert Randolph. The Campbell Brothers combine the church repertoire with the growling, wailing, singing and swinging voice of the steel guitar. Living Blues boasts "…different from anything you've ever heard…essential listening for anyone interested in blues guitar."www.campbellbrothers.com
Dawn Tyler Blues Project; (see September 10th)
Heidi Joy: Operatically trained, Joy began her music career in 1995 and initiated her Holiday Joy concerts in 2000, playing in Nebraska and at a U.S. Naval Base in Guam. www.heidijoy.com
“FRIDAY BLUES” series.
The four “Friday Blues” shows will be held at outdoors at Downtown Blues bar (1512 Howard St. These shows are also free and the sales of concessions help to pay the bills. Gates open at 5:00 p.m. There is no on-site parking but plenty of on-street parking WEST of the Old Market area including a parking garage at 14th & Harney. Downtown Blues' shows will include bands playing outside in the parking lot, as well as Sarah Benck and the Robbers playing the break for each of the four shows.
According to Homer’s Vice President and local radio host Mike Fratt, “Sarah’s status within Omaha’s music community has been rising quickly and this is a good chance for people that normally might not get to see Sarah perform see a terrific local talent on the verge of exploding onto the next level of live music.”
Friday, June 3, 2005 Joanna Connor Guitar World magazine calls her "one red hot and blue mama." Combining funk, rock and world beat, Connor's soulful voice and guitar mastery brings audiences to their feet. Sharing the stage with Buddy Guy, Robert Cray and Los Lobos, Living Blues raves she is "a slide guitarist of ferocious intensity." www.dmamusic.org/joannaconnor
Friday, July 15, 2005 Eric Sardinas Known to “ignite his guitar and walk amidst the flames,” Sardinas has played since age six. About his opening for B.B. King in the House of Blues, the Las Vegas Sun wrote, “His wicked stage presence, combined with his fiery attack on the electrified dobro had the capacity crowd literally screaming.” (2004 Artist)www.ericsardinas.com
Friday, August 12, 2005 Hadden SayersBorn and raised Texan, Hadden Sayers started his own band in 1993, became drawn to the blues in 1996, and has performed, played or jammed with the likes of Kenny Wayne Shepherd, The Neville Brothers, Susan Tedeschi, Double Trouble, Los Lobos, Ian Moore and many others. The Kansas City Pitch Weekly says the press, "doesn't quite explain Sayers' scorching guitar and bluesy, rockin', take-no-prisoners songwriting touch…Wear long sleeves, this band burns!"www.haddensayers.com
Sunday, March 30, 2008
Album Review Bruce Springsteen's Devil and Dust
Bruce Springsteen - Devils & Dust Monday, April 25, 2005
Artist: Bruce Springsteen
Title: Devils & Dust
Rating: Niche
There are moments when “rock” music can be as significant an artform as other more recognized mediums such as painting, dance, or a Classical piece. Few “pop” artists are able to transcend their confines to create a sonic mindscape where words and music come together to create series of mental images that other forms of art are accredited with.
It’s been twenty-one years since Springsteen’s, ‘Born in the USA’ ruled the airwaves. Since his massive commercial bonanza Springsteen has calmly down shifted his career.
In many ways Springsteen has nurtured two careers; one with the E-Street Band and a series of solo & acoustic recordings. His first album, Greetings from Asbury Park, a wordsmith extravaganza, straddles the middle ground between these two careers. In a strange duality Springsteen was inducted into the Rock and Roll Hall of Fame & Museum sans’ E Street Band in ’99 although clearly his biggest successes have been with the band.
Devils & Dust is the third in the series of studio acoustic albums: Nebraska (’82), [Unplugged (’92)], Ghost of Tom Joad (’96) and now Devils & Dust. Generally critics have lauded most offerings by Springsteen. While Nebraska is widely appreciated, his acoustic albums have been dark and ponderous. Devils & Dust is more Steinbeck and less Little Richard.
I like Springsteen and I purchased this album in the new Dual Disc format; one side is a compact disc, the other side is a DVD that features four videos as well as the full album. Consequently the Dual Disc format allows the recording to be played on CD, DVD or CD Rom (computer) players. So it is convenient. This format allows the artist an expanded medium in which to communicate their art; music, album jacket art, and now video(s). The Dual Disc also allows the artist flexibility to include live, behind the scenes, and interview video. So the ability to communicate the art and concept is greatly expanded. The five videos included are; Devils & Dust, Long Time Comin’ Reno, All I’m Thinkin’ About, and Matamoros Banks. All the videos are shot in the same setting and resonate of ‘The Grapes of Wrath’… an empty 40’s ish house with bare walls, blistering wallpaper, and wooden floors.
The video pictures reflect the stark bareness of the music and the stories being told. Make no mistake; if you want an album to sing along with, to lift up your spirits, this ain’t it. This album’s 12 songs delve into brief lingering images that are true reflections of a harsher side of life. Appropriately the third track, Reno, includes an “adult” warning as it deals with the explicit transaction between a prostitute and her customer and drags the entire album down. On this recording Springsteen uses many of the non-E-Street Band members from, ’The Rising’ sessions including Producer Brendan O’Brien, Soozie Tyrell and The Nashville String Machine.
In the early ‘70’s the relatively unknown up & coming Springsteen’s career was condemned when he was compared to Bob Dylan. Today comparing a relative unknown songwriter to Dylan is rote but back then it was sacrilege. In retrospect, while most of the last 30+ years of Dylan’s career have been a wasteland, Springsteen remains firmly in control of his career and exercises his right to ‘turn off’ the Springsteen-Machine by releasing albums, such as Devils & Dust, that are tome-like literary works but hardly commercial or uplifting. Devils & Dust is as close to literature as music may be capable of; however, this album deals with images that do not appeal to me. For the die hard Springsteen fan this will be yet another in a long line of well above average to great albums; however, to the average pop music fan, unless The Grapes of Wrath happens to be one of your favorite books, Devils and Dust will probably not be something you’ll enjoy.
For certain this album requires multiple listenings before it begins to show itself and for a niche few it will be well worth the investment.
Artist: Bruce Springsteen
Title: Devils & Dust
Rating: Niche
There are moments when “rock” music can be as significant an artform as other more recognized mediums such as painting, dance, or a Classical piece. Few “pop” artists are able to transcend their confines to create a sonic mindscape where words and music come together to create series of mental images that other forms of art are accredited with.
It’s been twenty-one years since Springsteen’s, ‘Born in the USA’ ruled the airwaves. Since his massive commercial bonanza Springsteen has calmly down shifted his career.
In many ways Springsteen has nurtured two careers; one with the E-Street Band and a series of solo & acoustic recordings. His first album, Greetings from Asbury Park, a wordsmith extravaganza, straddles the middle ground between these two careers. In a strange duality Springsteen was inducted into the Rock and Roll Hall of Fame & Museum sans’ E Street Band in ’99 although clearly his biggest successes have been with the band.
Devils & Dust is the third in the series of studio acoustic albums: Nebraska (’82), [Unplugged (’92)], Ghost of Tom Joad (’96) and now Devils & Dust. Generally critics have lauded most offerings by Springsteen. While Nebraska is widely appreciated, his acoustic albums have been dark and ponderous. Devils & Dust is more Steinbeck and less Little Richard.
I like Springsteen and I purchased this album in the new Dual Disc format; one side is a compact disc, the other side is a DVD that features four videos as well as the full album. Consequently the Dual Disc format allows the recording to be played on CD, DVD or CD Rom (computer) players. So it is convenient. This format allows the artist an expanded medium in which to communicate their art; music, album jacket art, and now video(s). The Dual Disc also allows the artist flexibility to include live, behind the scenes, and interview video. So the ability to communicate the art and concept is greatly expanded. The five videos included are; Devils & Dust, Long Time Comin’ Reno, All I’m Thinkin’ About, and Matamoros Banks. All the videos are shot in the same setting and resonate of ‘The Grapes of Wrath’… an empty 40’s ish house with bare walls, blistering wallpaper, and wooden floors.
The video pictures reflect the stark bareness of the music and the stories being told. Make no mistake; if you want an album to sing along with, to lift up your spirits, this ain’t it. This album’s 12 songs delve into brief lingering images that are true reflections of a harsher side of life. Appropriately the third track, Reno, includes an “adult” warning as it deals with the explicit transaction between a prostitute and her customer and drags the entire album down. On this recording Springsteen uses many of the non-E-Street Band members from, ’The Rising’ sessions including Producer Brendan O’Brien, Soozie Tyrell and The Nashville String Machine.
In the early ‘70’s the relatively unknown up & coming Springsteen’s career was condemned when he was compared to Bob Dylan. Today comparing a relative unknown songwriter to Dylan is rote but back then it was sacrilege. In retrospect, while most of the last 30+ years of Dylan’s career have been a wasteland, Springsteen remains firmly in control of his career and exercises his right to ‘turn off’ the Springsteen-Machine by releasing albums, such as Devils & Dust, that are tome-like literary works but hardly commercial or uplifting. Devils & Dust is as close to literature as music may be capable of; however, this album deals with images that do not appeal to me. For the die hard Springsteen fan this will be yet another in a long line of well above average to great albums; however, to the average pop music fan, unless The Grapes of Wrath happens to be one of your favorite books, Devils and Dust will probably not be something you’ll enjoy.
For certain this album requires multiple listenings before it begins to show itself and for a niche few it will be well worth the investment.
What's On Serial April 20th 2005
What's On @ PS Blues 05202005Wednesday, April 20, 2005
What’s “on” at Pacific Street Blues?
Vol. 3
Artist: Marcia Ball
Title: Live! Down the Road
Rating: Good
Like many blues progenitors, Marci Ball has her style and she does it very well. If it’s a style that you appreciate then having Ball’s live interpretations of these songs is something you’re going to appreciate. However, if you’re not already a fan then this album is an average outing that will sell well off the stage and poorly in the stores. Let’s not beat around the bush, Ball is quite good and very entertaining live: a charming stylist with a smokin’ band. That said, this effort breaks no new ground and while fans will adore the effort, others will quickly forget it ever came out. Plan on hearing, ‘Down the Road’ for a few months on KIWR’s Pacific Street Blues and make your own decision.
Artist: Jimmy Thackery
Title: Healin’ Ground
Rating: Good
With the release of his umpteenth solo album Jimmy Thackery has his niche in the blues world well carved. A canny good guitar player that can stoke a hot riff I lump Thackery a bit lower down the totem pole of uninspired players along with; B.B. King, Eric Clapton, Peter Green and Jonny Lang. Thackery’s live shows have devolved into rote-recall of distant songs with dull edges and well anchored safety nets. In the past decade he’s moved from a red-hot dynamo as heard on, ‘Empty Arms Motel’ to, well, just another act passing through town eeking out an existence. His latest album, ‘Healin’ Ground’ will get the airplay it deserves (because that’s what people want to hear) but count on this piece passing through the night quickly. I guess I am incredibly disappointed in his vocal performance and, based upon that apparent lack of effort, can’t get past it. Sorry fans. Sorry Jimmy.
Artist: Robbie Fulks
Title: Georgia Hard
Rating: Very Good
A known name that I know little about, Fulks latest effort, ‘Georgia Hard’ is a very good country roots album that is left of Lyle Lovett & George Strait and pushing hard up against Merle Haggard. Fulks’ ability to write a good song and get it recorded with a fresh, inspired sound makes this album unfold nicely. While the songs stall amid this 15 song album (tracks 6, 7, & 8) things quickly rev back up. Once again Fulks’ effort is punished by trying to make too long of an album. As you’ve all heard me rant before, no artist, NO ARTIST, can sustain a career spanning numerous albums that requires an artistic vision the equilivent of double vinyl album release every time. So tune into KIWR’s Pacific Street Blues to hear this album over the next few months and, once again, you decide!
What’s “on” at Pacific Street Blues?
Vol. 3
Artist: Marcia Ball
Title: Live! Down the Road
Rating: Good
Like many blues progenitors, Marci Ball has her style and she does it very well. If it’s a style that you appreciate then having Ball’s live interpretations of these songs is something you’re going to appreciate. However, if you’re not already a fan then this album is an average outing that will sell well off the stage and poorly in the stores. Let’s not beat around the bush, Ball is quite good and very entertaining live: a charming stylist with a smokin’ band. That said, this effort breaks no new ground and while fans will adore the effort, others will quickly forget it ever came out. Plan on hearing, ‘Down the Road’ for a few months on KIWR’s Pacific Street Blues and make your own decision.
Artist: Jimmy Thackery
Title: Healin’ Ground
Rating: Good
With the release of his umpteenth solo album Jimmy Thackery has his niche in the blues world well carved. A canny good guitar player that can stoke a hot riff I lump Thackery a bit lower down the totem pole of uninspired players along with; B.B. King, Eric Clapton, Peter Green and Jonny Lang. Thackery’s live shows have devolved into rote-recall of distant songs with dull edges and well anchored safety nets. In the past decade he’s moved from a red-hot dynamo as heard on, ‘Empty Arms Motel’ to, well, just another act passing through town eeking out an existence. His latest album, ‘Healin’ Ground’ will get the airplay it deserves (because that’s what people want to hear) but count on this piece passing through the night quickly. I guess I am incredibly disappointed in his vocal performance and, based upon that apparent lack of effort, can’t get past it. Sorry fans. Sorry Jimmy.
Artist: Robbie Fulks
Title: Georgia Hard
Rating: Very Good
A known name that I know little about, Fulks latest effort, ‘Georgia Hard’ is a very good country roots album that is left of Lyle Lovett & George Strait and pushing hard up against Merle Haggard. Fulks’ ability to write a good song and get it recorded with a fresh, inspired sound makes this album unfold nicely. While the songs stall amid this 15 song album (tracks 6, 7, & 8) things quickly rev back up. Once again Fulks’ effort is punished by trying to make too long of an album. As you’ve all heard me rant before, no artist, NO ARTIST, can sustain a career spanning numerous albums that requires an artistic vision the equilivent of double vinyl album release every time. So tune into KIWR’s Pacific Street Blues to hear this album over the next few months and, once again, you decide!
What's on Serial April 15, 2005
What's On @ PS Blues 05172005Friday, April 15, 2005
What’s on at Pacific Street Blues? (Vol. No. 2)
Artist: Mem Shannon
Title: I’m from Phunkville
Rating: Very Good
Shannon marketed his first album as the blues cab driver from New Orleans. While his debut album was a worthy effort that occasionally still hits the “turntable” these days, his subsequent albums have been average. Shannon’s new album, “I’m From Phunkville” is an inspired modern blues album. His guitar playing is crisp and aggressive, the songs have non-cliché ridden melody lines, and his vocals are earnest. You know me, I love texture rather than twoXfours and Shannon lays off his playing giving the song room to develop and space to resonate. The packaging is superb. This is a very good modern electric blues album.
Artist: Various
Title: “You See Me Laughin’”
Subtitle: The Last of the Hill Country Bluesmen
Format: DVD
Rating: Great / Niche
Fat Possum Records is one of two or three labels that releases “purist” blues today. I love Alligator and Blind Pig but those are Urban recordings cleaned up for the White Middle Class – NOT that there’s anything wrong with that. On their DVD, ‘You See Me Laughin’ Fat Possum captures the true grit that REAL blues is: pure emotion, heart felt when there’s an absence of “talent.” The DVD features video clips of T-Model Ford and Cedell Davis with a focus on the incredible R. L. Burnside. And like anything that borders on ‘being too cool for the room’ there’s a litany of rock artists that want to add their chic to the project in order to build their own street credibility: so don’t act surprised when U2’s Bona, Jon Spencer’s Blues Explosion or Iggy Pop, ahem, pop-up. For the true-blue Blues fan this is a fantastic piece of entertainment that will sizzle your circuit board; however, for most it’s too deep and too cool. That said, if you’ve read this far you’re probably just the kind of character that would absolutely [adulate] over this DVD!
Artist: Sarah Benck & The Robbers
Title: Suicide Doublewide
Rating: Very Good
I can’t get enough of this band. The focus point of the band is a young Sarah Benck who leads this band through the moves with seeming ease. While I’m the guy least likely to break away for an evening out (young family:family comes first) this band has never failed to create that impression of future possibilities: the songs are there, the live performance is electric, and the band rocks ‘til it hurts. The opening track, Real Friend, is an up-tempo tune that is the featured track on PS Blues these days.
What’s on at Pacific Street Blues? (Vol. No. 2)
Artist: Mem Shannon
Title: I’m from Phunkville
Rating: Very Good
Shannon marketed his first album as the blues cab driver from New Orleans. While his debut album was a worthy effort that occasionally still hits the “turntable” these days, his subsequent albums have been average. Shannon’s new album, “I’m From Phunkville” is an inspired modern blues album. His guitar playing is crisp and aggressive, the songs have non-cliché ridden melody lines, and his vocals are earnest. You know me, I love texture rather than twoXfours and Shannon lays off his playing giving the song room to develop and space to resonate. The packaging is superb. This is a very good modern electric blues album.
Artist: Various
Title: “You See Me Laughin’”
Subtitle: The Last of the Hill Country Bluesmen
Format: DVD
Rating: Great / Niche
Fat Possum Records is one of two or three labels that releases “purist” blues today. I love Alligator and Blind Pig but those are Urban recordings cleaned up for the White Middle Class – NOT that there’s anything wrong with that. On their DVD, ‘You See Me Laughin’ Fat Possum captures the true grit that REAL blues is: pure emotion, heart felt when there’s an absence of “talent.” The DVD features video clips of T-Model Ford and Cedell Davis with a focus on the incredible R. L. Burnside. And like anything that borders on ‘being too cool for the room’ there’s a litany of rock artists that want to add their chic to the project in order to build their own street credibility: so don’t act surprised when U2’s Bona, Jon Spencer’s Blues Explosion or Iggy Pop, ahem, pop-up. For the true-blue Blues fan this is a fantastic piece of entertainment that will sizzle your circuit board; however, for most it’s too deep and too cool. That said, if you’ve read this far you’re probably just the kind of character that would absolutely [adulate] over this DVD!
Artist: Sarah Benck & The Robbers
Title: Suicide Doublewide
Rating: Very Good
I can’t get enough of this band. The focus point of the band is a young Sarah Benck who leads this band through the moves with seeming ease. While I’m the guy least likely to break away for an evening out (young family:family comes first) this band has never failed to create that impression of future possibilities: the songs are there, the live performance is electric, and the band rocks ‘til it hurts. The opening track, Real Friend, is an up-tempo tune that is the featured track on PS Blues these days.
What's On Serial April 12, 2005
What's On @ PS Blues 05122005Tuesday, April 12, 2005
What’s on at Pacific Street Blues?
Time. Time is of the essence. There never seems to be enough time!
Here’s a snapshot of some of the albums you’ll hear this week on PS Blues.
Artist: David Jacobs-Strain
Title: Ocean or a Teardrop
Rating: Excellent
This is the best “blues” title I’ve heard in some time. It took multiple listens for Jacob-Strain’s album to unfold but when it did, IT DID. DJS takes a fresh approach to modern blues in that he plays an acoustic guitar and prefers texture to ‘twang-bar’ doodling. He is also comfortable branching beyond the ‘purist’ restrictions allowing the songs to take him where they may. His guitar playing, with an emphasis on slide, is amazing. The songwriting is refreshing and the actual recording is sharp and clear.
Artist: Tinsley Ellis
Title: The Hard Way
Rating: Very Good
Tinsely Ellis is an artist that has played the markets several times. Clearly he’s a road warrior. Historically I have found his previous albums uninteresting and yet his live show ganders plenty of praise. So it was a pleasant surprise when his latest album exhibited beautiful melodies, appropriate blistering guitar work, and strong vocal lines. This is a fine album by a strong live performer. Very enjoyable!
Artist: Nora Jean Bruso
Title: Going Back to Mississippi
Rating: Good
Bruso’s debut album has all the blistering female vocals of a true Chicago shouter ala’ Shemekia Copeland or Etta James’ latter career work. Bruso hit’s all the appropriate blues bar genres on her album with a stellar slow cooking performance on the 7th track, ‘Don’t You Remember?’ Bruso is coming to town for the Blues Society of Omaha’s debut Blues Crusie (www.omahablues.com) and if her album is any indication, it’s going to be a rockin’ good time!
What’s on at Pacific Street Blues?
Time. Time is of the essence. There never seems to be enough time!
Here’s a snapshot of some of the albums you’ll hear this week on PS Blues.
Artist: David Jacobs-Strain
Title: Ocean or a Teardrop
Rating: Excellent
This is the best “blues” title I’ve heard in some time. It took multiple listens for Jacob-Strain’s album to unfold but when it did, IT DID. DJS takes a fresh approach to modern blues in that he plays an acoustic guitar and prefers texture to ‘twang-bar’ doodling. He is also comfortable branching beyond the ‘purist’ restrictions allowing the songs to take him where they may. His guitar playing, with an emphasis on slide, is amazing. The songwriting is refreshing and the actual recording is sharp and clear.
Artist: Tinsley Ellis
Title: The Hard Way
Rating: Very Good
Tinsely Ellis is an artist that has played the markets several times. Clearly he’s a road warrior. Historically I have found his previous albums uninteresting and yet his live show ganders plenty of praise. So it was a pleasant surprise when his latest album exhibited beautiful melodies, appropriate blistering guitar work, and strong vocal lines. This is a fine album by a strong live performer. Very enjoyable!
Artist: Nora Jean Bruso
Title: Going Back to Mississippi
Rating: Good
Bruso’s debut album has all the blistering female vocals of a true Chicago shouter ala’ Shemekia Copeland or Etta James’ latter career work. Bruso hit’s all the appropriate blues bar genres on her album with a stellar slow cooking performance on the 7th track, ‘Don’t You Remember?’ Bruso is coming to town for the Blues Society of Omaha’s debut Blues Crusie (www.omahablues.com) and if her album is any indication, it’s going to be a rockin’ good time!
Album Review: Neil Young's Greendale
Neil Young's GreendaleMonday, February 28, 2005
Artist: Neil Young
Title: Greendale (DVD & CD)
Rating: Good
Neil Young is one of the few artists that never compromised his art for commerce. Among others in that group I would include Patti Smith. Bruce Springsteen, and Iggy Pop. His latest offering, Greendale, does not rank among the many great albums that Young has put out or participated in over his now four decade career; however, for any fan that has “bought into” Young’s art, it’s a pretty cool piece.
Available on CD and now DVD, Greendale, is a musical drama set in a small California town. With his back-up band Crazy Horse offering their usual haphazard approach to keeping the music simple, Young tells a story of a drugs, murder, the devil, environmental concern and a small town’s dealing with all this excitement.
What makes this story of interest is that Young chose to use his neighbors, employees and friends in the movie/DVD to tell the story. Much like Omaha’s own Jeff Davis and the Playing With Fire concert series, Young evidently reached a point in his life where he wanted to use some of his wealth to create an artistic medium for the fun and the benefit of his community. In, Greendale, Young and friends made a stripped down movie that depicted the story on his album of the same name. So no-name actors perform in front of the amateur film makers: much like his music, Young strips down the art to it’s bare essentials and spins 90 minutes of pure hippy culture entertainment that leaves the viewer with a sense of having participated in something fun.
To compound all this fun Young toured, Greendale, and took many of his neighbor-actors on the road with him: which had to be a gas! At the end of the DVD, included in the “Making of Greendale’ section Young includes concert footage of the tour’s final song, “Be the Rain.” The entire cast is on stage performing the song. Interestingly one of Young’s two sons, both of whom suffer from Cerebral Palsy, is wheeled on stage. For those that have followed Young’s life it’s a touching moment that goes by unheralded. (By-the-way, Young’s album, Trans, (1983?) with it’s synthesized & processed vocals and the heavy use of electronic instruments, is about Young’s effort to communicate with his special needs sons).
Anyway, back to Greendale, it’s not going to win a Grammy next year but it’s encompassing, it’s passionate, and it’s anti-slick n’ polish. I really enjoyed it. Really now, “this note's for you.”
Artist: Neil Young
Title: Greendale (DVD & CD)
Rating: Good
Neil Young is one of the few artists that never compromised his art for commerce. Among others in that group I would include Patti Smith. Bruce Springsteen, and Iggy Pop. His latest offering, Greendale, does not rank among the many great albums that Young has put out or participated in over his now four decade career; however, for any fan that has “bought into” Young’s art, it’s a pretty cool piece.
Available on CD and now DVD, Greendale, is a musical drama set in a small California town. With his back-up band Crazy Horse offering their usual haphazard approach to keeping the music simple, Young tells a story of a drugs, murder, the devil, environmental concern and a small town’s dealing with all this excitement.
What makes this story of interest is that Young chose to use his neighbors, employees and friends in the movie/DVD to tell the story. Much like Omaha’s own Jeff Davis and the Playing With Fire concert series, Young evidently reached a point in his life where he wanted to use some of his wealth to create an artistic medium for the fun and the benefit of his community. In, Greendale, Young and friends made a stripped down movie that depicted the story on his album of the same name. So no-name actors perform in front of the amateur film makers: much like his music, Young strips down the art to it’s bare essentials and spins 90 minutes of pure hippy culture entertainment that leaves the viewer with a sense of having participated in something fun.
To compound all this fun Young toured, Greendale, and took many of his neighbor-actors on the road with him: which had to be a gas! At the end of the DVD, included in the “Making of Greendale’ section Young includes concert footage of the tour’s final song, “Be the Rain.” The entire cast is on stage performing the song. Interestingly one of Young’s two sons, both of whom suffer from Cerebral Palsy, is wheeled on stage. For those that have followed Young’s life it’s a touching moment that goes by unheralded. (By-the-way, Young’s album, Trans, (1983?) with it’s synthesized & processed vocals and the heavy use of electronic instruments, is about Young’s effort to communicate with his special needs sons).
Anyway, back to Greendale, it’s not going to win a Grammy next year but it’s encompassing, it’s passionate, and it’s anti-slick n’ polish. I really enjoyed it. Really now, “this note's for you.”
Album Review: Indigneous' Long Way Home
blues views By Rick Galusha
I have been working in retail music since 1978. I was a Classical & Jazz deejay at KVNO while in college and have hosted KIWR's PS Blues for more than 13 years [Sundays from 9 am - Noon at 89.7 fm]. I don't know it all but I think I have a pretty rounded - reality based - hype free opinion. You may agree or you may read this column figuring if I liked it you're going to stay away . . . hey, whatever you want.
Indigenous - Long Way Home
Monday, February 21, 2005
Artist: Indigenous
Title: Long Way Home
Rating: Good (and then some)
One hundred and twenty-six years ago, Chief Standing Bear stood in the then Indian Territories of Oklahoma, on the eve of his historic trek that would bring freedom to all indigenous people of North America, and probably thought that his 500 mile walk in January was a long way home to his native lands near what is now Valentine, Nebraska. Standing Bear’s return home to bury his son would result in a trial in which the decision would end the Indian Reservation system. Although largely forgotten Standing Bear stands as one of the great civil rights leaders of our nation’s history.
This new seven-song album by the band Indigenous shows them trying to reignite their career. Although all the tracks were recorded recently some of the songs were written early while some are new. The opening track, Well You Know, harkens back to the bands last album: the self-titled release on Silvertone Records. Whether due to the absent efforts of the band’s label, the over-powering influences of the Davey Brothers, the departure of their long time manager or numerous family issues, the band’s desire to reach a younger audience with a more modern sound failed to garner significant sales and their career cooled off to room temperature. This song belonged on that album.
The next track, Rest of My Days, first appeared on the band’s ‘Circle’ album. This version of the exceptionally well-written track includes crisp airy acoustic guitar “weaves” that add depth and texture. Were it not for the “play-for-pay” policies adopted by major & regional radio conglomerates this song would be blaring out of every car radio in America by mid-July. Let me say that a different way, were radio station “Music Directors” actually empowered to pick the music they played, and were their consultants not accepting payola for choosing songs by faceless bands that sound like other faceless bands which happen to be quite good at selling useless disposable products to amorphous demographics that remain uncommitted to most things, this song would be a massive hit. It is a “great” song by any standard in the rock idiom.
Awake, the 3rd track on the album has appeared a few times through out the band’s career including their first self produced album, ‘Awake’, and their ‘Live- Blues from the Sky’ album. Awake was written by the sister-drummer Wanbdi: who’s beau Jesse Davey, of the recently signed Interscope Records act, The Davey Brothers, appeared on, produced, co-wrote a track and shot the photographs for this CD-EP (which Mato assures me HE did NOT wear mascara for!). As an aside I would add that Wanbdi has a voracious appetite for literature. Once again this is a very strong track for the band, which fans will enjoy.
The fifth track on the album, Six Feet Down, shows a glimpse of what this band is capable of. Co-written with Jesse Davey, this track has a thick blues base that thematically barks of a modern blues-rock standard. The electric guitar solo is a pure Hendrix; languid, well paced, and tasty. Since the departure of Horse, the band has been ripe for a fourth member. Could it be Jesse Davey? If so, where would that leave the Davey Brothers? Clearly Wanbdi and Jesse are a couple and there appears to be a strong musical repartee between Mato and Davey. The forthcoming release by the Davey Brothers will read volumes into where this young Englishman’s heart, and fingers, is. Is it possible to be in two bands on the cusp of breaking big?
The sixth track, Don’t Let Me Go, co-written by Pte (bass) and Mato (a/k/a Standing Bear) is a manifestation of the band’s split personality. Anchored in Santana & Hendrix, Indigenous’ evolution in sound tend to follow the modern fad of being heavier and murkier with less distinct melody lines or what I would call “aching pastels of showering powerchords” which I find uninspiring.
Last but not least is a live track of what could be considered one of Mato’s two songwriting high points. Things We Do, is a song that ebbs and grows with the band. Things We Do was the name of their first Pachyderm album as well as their contribution track to the 'Honor the Earth' benefit album. At the very least this song is an all too brief look into what Indigenous is capable of. Put ten songs of this caliber together on one album and you have the makings of a significance musical statement. However, Mato is over-taxed and incapable under current circumstances. Mato is the van driver, the lead guitar player, the singer, the songwriter, the liaison with management, and the mouthpiece with media & radio. He’s also the ‘father figure’ within the band as well as a genuine father to his own three children. On all levels this band’s very existence rests more and more on his shoulders. For this band to transcend it’s creative trap Pte and Wanbdi need to step up and assume some of the responsibilities. A true partnerships need to develop between these siblings or they will never be given the mental and emotional break necessary for this band to create an album of music that we can see lies withinTwo of rock’s most significant albums, ‘Revolver’ and ‘Rubber Soul’ by the Beatles were both under 28 minutes long. ‘Long Way Home’ clocks in at 35 minutes. It’s is the perfect length with the perfect price point - under ten dollars. Technology allows today’s bands to record up to 74-minute albums onto one compact disc or a double vinyl album. No wonder fans are disillusioned. I can count on one hand the number of double vinyl albums that were able to maintain an artistic vision of that length. (When Tupac Shakur released a double CD of rap music, the equalivent of four vinyl albums, I had to laugh at the cynical joke being played on innocent music listeners.)
Although the band considers this a stop gap recording while it shops for a new label, I hope their point of reference changes to considering this to be a new marketing technique; two 5 - 7 track EPs a year that are musical diverse and mark the growth of the band’s sound during this transitional period. Two albums a year would keep the product pipeline full and fans engaged. It would also force the creative juices to flow year-round. Indigenous continues to be an act whose goal should be the national stage - selling out 2,500 seat auditoriums across the nation. Refining efforts like ‘Long Way Home’ and a hard, focused, work schedule for the next 36 months should get them back where they belong.
I have been working in retail music since 1978. I was a Classical & Jazz deejay at KVNO while in college and have hosted KIWR's PS Blues for more than 13 years [Sundays from 9 am - Noon at 89.7 fm]. I don't know it all but I think I have a pretty rounded - reality based - hype free opinion. You may agree or you may read this column figuring if I liked it you're going to stay away . . . hey, whatever you want.
Indigenous - Long Way Home
Monday, February 21, 2005
Artist: Indigenous
Title: Long Way Home
Rating: Good (and then some)
One hundred and twenty-six years ago, Chief Standing Bear stood in the then Indian Territories of Oklahoma, on the eve of his historic trek that would bring freedom to all indigenous people of North America, and probably thought that his 500 mile walk in January was a long way home to his native lands near what is now Valentine, Nebraska. Standing Bear’s return home to bury his son would result in a trial in which the decision would end the Indian Reservation system. Although largely forgotten Standing Bear stands as one of the great civil rights leaders of our nation’s history.
This new seven-song album by the band Indigenous shows them trying to reignite their career. Although all the tracks were recorded recently some of the songs were written early while some are new. The opening track, Well You Know, harkens back to the bands last album: the self-titled release on Silvertone Records. Whether due to the absent efforts of the band’s label, the over-powering influences of the Davey Brothers, the departure of their long time manager or numerous family issues, the band’s desire to reach a younger audience with a more modern sound failed to garner significant sales and their career cooled off to room temperature. This song belonged on that album.
The next track, Rest of My Days, first appeared on the band’s ‘Circle’ album. This version of the exceptionally well-written track includes crisp airy acoustic guitar “weaves” that add depth and texture. Were it not for the “play-for-pay” policies adopted by major & regional radio conglomerates this song would be blaring out of every car radio in America by mid-July. Let me say that a different way, were radio station “Music Directors” actually empowered to pick the music they played, and were their consultants not accepting payola for choosing songs by faceless bands that sound like other faceless bands which happen to be quite good at selling useless disposable products to amorphous demographics that remain uncommitted to most things, this song would be a massive hit. It is a “great” song by any standard in the rock idiom.
Awake, the 3rd track on the album has appeared a few times through out the band’s career including their first self produced album, ‘Awake’, and their ‘Live- Blues from the Sky’ album. Awake was written by the sister-drummer Wanbdi: who’s beau Jesse Davey, of the recently signed Interscope Records act, The Davey Brothers, appeared on, produced, co-wrote a track and shot the photographs for this CD-EP (which Mato assures me HE did NOT wear mascara for!). As an aside I would add that Wanbdi has a voracious appetite for literature. Once again this is a very strong track for the band, which fans will enjoy.
The fifth track on the album, Six Feet Down, shows a glimpse of what this band is capable of. Co-written with Jesse Davey, this track has a thick blues base that thematically barks of a modern blues-rock standard. The electric guitar solo is a pure Hendrix; languid, well paced, and tasty. Since the departure of Horse, the band has been ripe for a fourth member. Could it be Jesse Davey? If so, where would that leave the Davey Brothers? Clearly Wanbdi and Jesse are a couple and there appears to be a strong musical repartee between Mato and Davey. The forthcoming release by the Davey Brothers will read volumes into where this young Englishman’s heart, and fingers, is. Is it possible to be in two bands on the cusp of breaking big?
The sixth track, Don’t Let Me Go, co-written by Pte (bass) and Mato (a/k/a Standing Bear) is a manifestation of the band’s split personality. Anchored in Santana & Hendrix, Indigenous’ evolution in sound tend to follow the modern fad of being heavier and murkier with less distinct melody lines or what I would call “aching pastels of showering powerchords” which I find uninspiring.
Last but not least is a live track of what could be considered one of Mato’s two songwriting high points. Things We Do, is a song that ebbs and grows with the band. Things We Do was the name of their first Pachyderm album as well as their contribution track to the 'Honor the Earth' benefit album. At the very least this song is an all too brief look into what Indigenous is capable of. Put ten songs of this caliber together on one album and you have the makings of a significance musical statement. However, Mato is over-taxed and incapable under current circumstances. Mato is the van driver, the lead guitar player, the singer, the songwriter, the liaison with management, and the mouthpiece with media & radio. He’s also the ‘father figure’ within the band as well as a genuine father to his own three children. On all levels this band’s very existence rests more and more on his shoulders. For this band to transcend it’s creative trap Pte and Wanbdi need to step up and assume some of the responsibilities. A true partnerships need to develop between these siblings or they will never be given the mental and emotional break necessary for this band to create an album of music that we can see lies withinTwo of rock’s most significant albums, ‘Revolver’ and ‘Rubber Soul’ by the Beatles were both under 28 minutes long. ‘Long Way Home’ clocks in at 35 minutes. It’s is the perfect length with the perfect price point - under ten dollars. Technology allows today’s bands to record up to 74-minute albums onto one compact disc or a double vinyl album. No wonder fans are disillusioned. I can count on one hand the number of double vinyl albums that were able to maintain an artistic vision of that length. (When Tupac Shakur released a double CD of rap music, the equalivent of four vinyl albums, I had to laugh at the cynical joke being played on innocent music listeners.)
Although the band considers this a stop gap recording while it shops for a new label, I hope their point of reference changes to considering this to be a new marketing technique; two 5 - 7 track EPs a year that are musical diverse and mark the growth of the band’s sound during this transitional period. Two albums a year would keep the product pipeline full and fans engaged. It would also force the creative juices to flow year-round. Indigenous continues to be an act whose goal should be the national stage - selling out 2,500 seat auditoriums across the nation. Refining efforts like ‘Long Way Home’ and a hard, focused, work schedule for the next 36 months should get them back where they belong.
Album Review: Carolyn Wonderland
Artist: Carolyn Wonderland
Title: Miss Understood
Writer: Rick Galusha
The Beatles had ‘Sergeant Pepper’; the Stones ‘Exile on Main Street.’ At some point in every band’s career there is a point to create a definitive work of art. Without taking that leap of professionalism the band is more times than not trapped in a cycle of recording the ‘same’ figurative album again and again. (See Boston or Journey) Bruce Springsteen had ‘Born to Run’ and Buddy Guy has ‘Damn Right I Got the Blues.’ With the release of her latest album, ‘Miss Understood’ Houston’s bluesy rock n’ roll actress Carolyn Wonderland, now based in Austin, Texas, is back with an album that could very well mark a significant upturn in her recording efforts.
In many ways Wonderland, fresh off her interlude playing with Bob Dylan, has intentionally embraced the path of another East Texan (Port Arthur) Janis Joplin. Having nurtured an image of hard drinkin’ and fast living Wonderland’s career has, at times, seemed to be a fatal wound in slow motion. One need only watch a couple of VH1 ‘Behind the Music’ programs to realize that substance abuse has ended more than a few thousand promising careers.
‘Miss Understood’ is a very strong and entertaining album that leans more towards ballad than blues: more towards 1968 Austin than 1955 Chicago. Part of that may be due to the production efforts of ‘Asleep at the Wheel’ front man Ray Benson. Tulsa based drummer Jamie Oldaker, who plays on numerous tracks, may also have had an impact on Wonderland and her willingness to take exciting chances. (According to the liner notes in Oldaker’s, “Mad Dogs and Okies” he has had an amazing career including playing with Eric Clapton during his Oklahoma/J.J. Cale period, backing up Peter Frampton (and a post-Kiss Ace Frehley), a member of the multi-platinum band The Tractors, discovered Ronnie Dunn of Brooks & Dunn, and playing at Live Aid including appearing with Phil Collins.) Perhaps as a testament to the new found Carolyn Wonderland she covers ‘Still Alive and Well’ by Rick “Hang on Sloopy” Derringer (Zerringer); a song originally made famous by Beaumont, Texas’s Johnny Winter – who’s own struggles have been epically Richards-ian in scope and length.
The sixth track on the album, “Long Way to Go” with violin and soft accompaniment could have come off John Mellencamp’s transitional album, ‘Scarecrow.’ The album’s closing track, ‘Feed Me to the Lions’ transcends predictable genre as Wonderland successfully reaches for a song of depth and texture. The album’s tenth track, ‘I Live Alone with Someone’ has a Ray Charles, ‘Lonely Avenue’ quality to it and is very radio friendly. The violin accompaniment; Leigh Mahoney and Tracy Seeger of the Tosca String Quartet, is yet again stunning in texture and taste.
On “I Don’t Want to Fall For You” Miss Wonderland employs jazz vocals that go to seemingly unfamiliar territory. Yet the brush snare and piano backing is, well, wonderful. It is refreshing to see an established artist grasp beyond the confine of preconception toward something bigger; something better. Carolyn Wonderland is easily among the finest barroom brawlers in the Midwest floorboard pounding business. Her newest album, ‘Miss Understood’ is the kind of album that any roots and blues music fan will fully enjoy and derive hours of listening enjoyment from for years to come. While listening to this album over the past few weeks I have dared to consider that perhaps Wonderland is charting a course that Janis Joplin, had she lived and matured, may have pursued. We’ll never know but the dobro laden, The Farmer Song’ gives hint to what might have been.
This is an album that most blues fans and all roots music fans should enjoy.
Title: Miss Understood
Writer: Rick Galusha
The Beatles had ‘Sergeant Pepper’; the Stones ‘Exile on Main Street.’ At some point in every band’s career there is a point to create a definitive work of art. Without taking that leap of professionalism the band is more times than not trapped in a cycle of recording the ‘same’ figurative album again and again. (See Boston or Journey) Bruce Springsteen had ‘Born to Run’ and Buddy Guy has ‘Damn Right I Got the Blues.’ With the release of her latest album, ‘Miss Understood’ Houston’s bluesy rock n’ roll actress Carolyn Wonderland, now based in Austin, Texas, is back with an album that could very well mark a significant upturn in her recording efforts.
In many ways Wonderland, fresh off her interlude playing with Bob Dylan, has intentionally embraced the path of another East Texan (Port Arthur) Janis Joplin. Having nurtured an image of hard drinkin’ and fast living Wonderland’s career has, at times, seemed to be a fatal wound in slow motion. One need only watch a couple of VH1 ‘Behind the Music’ programs to realize that substance abuse has ended more than a few thousand promising careers.
‘Miss Understood’ is a very strong and entertaining album that leans more towards ballad than blues: more towards 1968 Austin than 1955 Chicago. Part of that may be due to the production efforts of ‘Asleep at the Wheel’ front man Ray Benson. Tulsa based drummer Jamie Oldaker, who plays on numerous tracks, may also have had an impact on Wonderland and her willingness to take exciting chances. (According to the liner notes in Oldaker’s, “Mad Dogs and Okies” he has had an amazing career including playing with Eric Clapton during his Oklahoma/J.J. Cale period, backing up Peter Frampton (and a post-Kiss Ace Frehley), a member of the multi-platinum band The Tractors, discovered Ronnie Dunn of Brooks & Dunn, and playing at Live Aid including appearing with Phil Collins.) Perhaps as a testament to the new found Carolyn Wonderland she covers ‘Still Alive and Well’ by Rick “Hang on Sloopy” Derringer (Zerringer); a song originally made famous by Beaumont, Texas’s Johnny Winter – who’s own struggles have been epically Richards-ian in scope and length.
The sixth track on the album, “Long Way to Go” with violin and soft accompaniment could have come off John Mellencamp’s transitional album, ‘Scarecrow.’ The album’s closing track, ‘Feed Me to the Lions’ transcends predictable genre as Wonderland successfully reaches for a song of depth and texture. The album’s tenth track, ‘I Live Alone with Someone’ has a Ray Charles, ‘Lonely Avenue’ quality to it and is very radio friendly. The violin accompaniment; Leigh Mahoney and Tracy Seeger of the Tosca String Quartet, is yet again stunning in texture and taste.
On “I Don’t Want to Fall For You” Miss Wonderland employs jazz vocals that go to seemingly unfamiliar territory. Yet the brush snare and piano backing is, well, wonderful. It is refreshing to see an established artist grasp beyond the confine of preconception toward something bigger; something better. Carolyn Wonderland is easily among the finest barroom brawlers in the Midwest floorboard pounding business. Her newest album, ‘Miss Understood’ is the kind of album that any roots and blues music fan will fully enjoy and derive hours of listening enjoyment from for years to come. While listening to this album over the past few weeks I have dared to consider that perhaps Wonderland is charting a course that Janis Joplin, had she lived and matured, may have pursued. We’ll never know but the dobro laden, The Farmer Song’ gives hint to what might have been.
This is an album that most blues fans and all roots music fans should enjoy.
Sunday, March 9, 2008
Album Review: Ray Davies, Working Man's Cafe'
Album: Working Man’s Café
Artist: Ray Davies
Writer: Rick Galusha
In 1990 the band best known for singing about working class life and strife in England, The Kinks, were inducted into the Rock n’ Roll Hall of Fame in Cleveland, Ohio. The Kinks discography includes songs like; “Lola,” “Victoria” and “Til the End of the Day.” They were, appropriately enough, The Hall’s fourth British band; behind the Rolling Stones (who paid for much of the RnR HoF building), The Beatles and The Who. The irony is that among the various British iconic institution’s, The Kinks found commercial success in America while remaining little more than a piece of post-punk rock memorabilia in the UK. Throughout the history of The Kinks, Ray Davies and brother Dave Davies (pronounced Davis) were in conflict (preceeding Oasis’ Gallagher brother’s stage battles by decades.) Ray was the singer/ songwriter and focal point of the band. The younger Dave was the band’s lead guitarist and has subsequently credited with developing the ‘heavy guitar riff’ that would dominate the Heavy Metal genre of rock; as heard on songs like ‘All Day and All of the Night” or “You Really Got Me” (later covered by Van Halen.)
While this is heralded as Ray’s second solo effort; ‘Other Peoples Lives’ being released in 2005, Kinkologists know that the motion picture soundtrack, ‘Return to Waterloo’ was actually Davies’ first solo album. (Admittedly it was basically a Kinks album sans brother Dave – but released under the moniker Ray Davies.) Whereas solo efforts by band fixtures tend to be pathetic, Working Man’s Café is simply brilliant. A perfect balance of topical wordsmithing, memorable tunes and crafted arrangements. By taking a chance and recording outside of the Kinks Davies has been able to cast aside the expectations and stigma’s usually associated with a 40+ year career. However since The Kinks were little more than a band behind Davies, how unique can it really be? Gone are the simple bash n’ pop beauty 2 minute wonders that The Kinks were so good at and instead are songs that could easily fit in with Davies’ late ‘70’s – early ‘80’s Arista album trilogy; ‘Misfits,’ ‘Sleepwalker’ and ‘Low Budget.’
The album opens with a slamming guitar riff that transmogrifies into a faux-Americana shuffle about Globilization while singing about, “Cowboys in Vietnam, making their movies.” The next track, “You’re Asking Me” is akin to perhaps Davies best song, “Waterloo Sunset” while he signs, “If you’re asking me, Don’t take my advice. Don’t make me responsible for living your life. Do we learn from all the questions that we ask? Do we learn from the past? It’s up to your to learn from your mistakes. Go and break your leg but don’t come to me if you do.” The title track, “Working Man’s Café” is a monster track for that will wash over Kink’s fans with an aural of familiarity.
By the seventh track the listener is pulled completely in as Davies strides into, “No One Listen.” As much as any prior Kinks song Davies uses his experience in New Orleans of a being shot during a botched robbery to sing of incompetent bureaucrats and having the tables turned against as he sings, “Why is it difficult to get things done, In the age of computers and communications. The powers that be say that they can’t keep a hold, Of a world that is escalating out of control…But a bureaucrat says we’ve lost your file, So we’ll put you on hold for a while…Blame the hurricane; blame the drug trade, the economy, Blame the Ghettos in the land of the free, Cos they ain’t gonna listen to me.”
On the very next track Davies again harkens a familiar theme of isolation as he sings, “I am the imaginary man, yes I am…I was always in your head, To raise your expectations, And always let it be said, I offered my very best to you… Gave you my dreams to aspire to, Involved you in all my crazy schemes, And took you to place you’d never seen.” As one came to expect on early period Kinks albums Davies’ insight on working class anonymity is striking.
In 1994 Ray Davies wrote his autobiography. It wasn’t your ordinary affair as “he” interviewed a character named, “R. D.” where, in the end, R.D. commits suicide – thus ending the “life” of that character for that Ray Davies could live. In many ways, while the rumors of a reunion with brother Dave Davies abound, clearly Ray has “killed” The Kinks and found a new voice which, for time and investment, is far superior the lackluster revue act the Kink’s had become by the late ‘80’s amid albums like ‘Phobia,’ ‘U.K. Jive’ and ‘Give the People What They Want.’ Some versions of the album include a short DVD of Davies ’91 Fall American tour. References to the 9/11 tragedy are apparent. Dave Davies ’96 autobiography, ‘Kink – The Outrageous Story of My Wild Years as the Founder and Lead Guitarist of the Kinks” can be found in a cutout bin near you. ‘Working Man’s Café’ is a perfect compliment to that vast catalogue of equally brilliant Kinks songs from so long ago.
Artist: Ray Davies
Writer: Rick Galusha
In 1990 the band best known for singing about working class life and strife in England, The Kinks, were inducted into the Rock n’ Roll Hall of Fame in Cleveland, Ohio. The Kinks discography includes songs like; “Lola,” “Victoria” and “Til the End of the Day.” They were, appropriately enough, The Hall’s fourth British band; behind the Rolling Stones (who paid for much of the RnR HoF building), The Beatles and The Who. The irony is that among the various British iconic institution’s, The Kinks found commercial success in America while remaining little more than a piece of post-punk rock memorabilia in the UK. Throughout the history of The Kinks, Ray Davies and brother Dave Davies (pronounced Davis) were in conflict (preceeding Oasis’ Gallagher brother’s stage battles by decades.) Ray was the singer/ songwriter and focal point of the band. The younger Dave was the band’s lead guitarist and has subsequently credited with developing the ‘heavy guitar riff’ that would dominate the Heavy Metal genre of rock; as heard on songs like ‘All Day and All of the Night” or “You Really Got Me” (later covered by Van Halen.)
While this is heralded as Ray’s second solo effort; ‘Other Peoples Lives’ being released in 2005, Kinkologists know that the motion picture soundtrack, ‘Return to Waterloo’ was actually Davies’ first solo album. (Admittedly it was basically a Kinks album sans brother Dave – but released under the moniker Ray Davies.) Whereas solo efforts by band fixtures tend to be pathetic, Working Man’s Café is simply brilliant. A perfect balance of topical wordsmithing, memorable tunes and crafted arrangements. By taking a chance and recording outside of the Kinks Davies has been able to cast aside the expectations and stigma’s usually associated with a 40+ year career. However since The Kinks were little more than a band behind Davies, how unique can it really be? Gone are the simple bash n’ pop beauty 2 minute wonders that The Kinks were so good at and instead are songs that could easily fit in with Davies’ late ‘70’s – early ‘80’s Arista album trilogy; ‘Misfits,’ ‘Sleepwalker’ and ‘Low Budget.’
The album opens with a slamming guitar riff that transmogrifies into a faux-Americana shuffle about Globilization while singing about, “Cowboys in Vietnam, making their movies.” The next track, “You’re Asking Me” is akin to perhaps Davies best song, “Waterloo Sunset” while he signs, “If you’re asking me, Don’t take my advice. Don’t make me responsible for living your life. Do we learn from all the questions that we ask? Do we learn from the past? It’s up to your to learn from your mistakes. Go and break your leg but don’t come to me if you do.” The title track, “Working Man’s Café” is a monster track for that will wash over Kink’s fans with an aural of familiarity.
By the seventh track the listener is pulled completely in as Davies strides into, “No One Listen.” As much as any prior Kinks song Davies uses his experience in New Orleans of a being shot during a botched robbery to sing of incompetent bureaucrats and having the tables turned against as he sings, “Why is it difficult to get things done, In the age of computers and communications. The powers that be say that they can’t keep a hold, Of a world that is escalating out of control…But a bureaucrat says we’ve lost your file, So we’ll put you on hold for a while…Blame the hurricane; blame the drug trade, the economy, Blame the Ghettos in the land of the free, Cos they ain’t gonna listen to me.”
On the very next track Davies again harkens a familiar theme of isolation as he sings, “I am the imaginary man, yes I am…I was always in your head, To raise your expectations, And always let it be said, I offered my very best to you… Gave you my dreams to aspire to, Involved you in all my crazy schemes, And took you to place you’d never seen.” As one came to expect on early period Kinks albums Davies’ insight on working class anonymity is striking.
In 1994 Ray Davies wrote his autobiography. It wasn’t your ordinary affair as “he” interviewed a character named, “R. D.” where, in the end, R.D. commits suicide – thus ending the “life” of that character for that Ray Davies could live. In many ways, while the rumors of a reunion with brother Dave Davies abound, clearly Ray has “killed” The Kinks and found a new voice which, for time and investment, is far superior the lackluster revue act the Kink’s had become by the late ‘80’s amid albums like ‘Phobia,’ ‘U.K. Jive’ and ‘Give the People What They Want.’ Some versions of the album include a short DVD of Davies ’91 Fall American tour. References to the 9/11 tragedy are apparent. Dave Davies ’96 autobiography, ‘Kink – The Outrageous Story of My Wild Years as the Founder and Lead Guitarist of the Kinks” can be found in a cutout bin near you. ‘Working Man’s Café’ is a perfect compliment to that vast catalogue of equally brilliant Kinks songs from so long ago.
Album Review: Kelly Bell Band
Artist: Kelly Bell Band
Title: reincarnated
Writer: Rick Galusha
Released on the Phat Blues Music label, The Kelly Bell Band album, ‘reincarnated’ is the near perfect contemporary blues album. Bell ties together traditional blues structures and instrumentation with modern vocal delivery and harmonies in a sexy, tuneful exercise that liberates the artist from the shackles of recorded expectations and frees the band to grab from The Average White Band here or Robert Johnson there in a beautiful expression akin to sonic soaring well above the clutter of today’s independent ‘blues’ releases. This is an excellent album (and that was an awfully long sentence).
The track, ‘Can’t Take That Back’ includes a humorous banter between Bell and a former lover with tasty zingers including, “I got news for you Kelly Bell, you are nothing” and “You think you’re fabulous, NO!” “Kelly Bell, Phat Blues, hrumph, Phat Blues THIS!” “I think you suck, you’re tired and I have just about had it with you!” It is a hilarious quid-pro-quo exchange that cracks me up every time as Bell the ‘gets a ear full’ that all members of the male species have to heard more than once.
Bell’s take on Johnson’s ‘Love in Vain’ is, finally, an exciting, jumping rollick through a well covered field and amazingly comes out fresh. Rather than trying to replicate, Bell’s Band pumps vocal harmony lines with a sassy harmonica played by Dane Paul Russell. The song is given life and while the sharp edge and associated anguish intended by Johnson may be gone – it is an up-tempo and refreshing take on a blues classic.
For whatever reason the album’s eighth track is, ‘SpongeBob Squarepants.” While it is entertaining it sticks out like a sore thumb and may be best skipped. It would have been better tucked away at the end of the CD; a bonus track or something since it certainly throws off the momentum of an otherwise well paced record.
With tongue in cheek the band approaches the track, ‘Porno Star’ in a very Zappa-esque style. Somehow they are able to bring it back and make it sonically fit with the rest of the album although, clearly, it ‘tain’t the blues per se. Again, maybe it is this apparent lack of focus coupled with risk that keeps the album on track and interesting. This is the track that includes the obligatory ‘monster guitar’ licks but with some restraint. Like The Who’s, ‘A Quick One (while he’s away)’ this song melds into another seemingly unrelated songs or breaks…‘People are People’ where spoken word reads over a jazzy musical background. It is poignant and yet you can sense the smirk on Bell’s lips when he says, “You are one of billions and billions of stars, or snowflakes…did you know every snow flack is different?” The speaker goes on to say, “People are people, people need to be loved and not judged but not by you. There is one judge and that’s HIS job, not yours…you got you and then you’re surrounded by the world - that may be how you see it but its not. You’re a part of a great, great tapestry and you’re one thread…people need to be loved.” So, “people are people and I’m not the judge.”
This is a terrifically wide album with superb musicianship and a scattering of musical genres that are at once interesting and resonate. Because it doesn’t easily fit into a comfortable genre box The Kelly Bell Band is not going to set the world on fire but I can easily see this as a cross-over album that, given proper attention, could bring in folds of listeners and in its own special way make your corner of the world better for having heard it. This is a much needed breath of fresh air in the often cerebral-less homologized world that contemporary music seems to want to offer us.
Title: reincarnated
Writer: Rick Galusha
Released on the Phat Blues Music label, The Kelly Bell Band album, ‘reincarnated’ is the near perfect contemporary blues album. Bell ties together traditional blues structures and instrumentation with modern vocal delivery and harmonies in a sexy, tuneful exercise that liberates the artist from the shackles of recorded expectations and frees the band to grab from The Average White Band here or Robert Johnson there in a beautiful expression akin to sonic soaring well above the clutter of today’s independent ‘blues’ releases. This is an excellent album (and that was an awfully long sentence).
The track, ‘Can’t Take That Back’ includes a humorous banter between Bell and a former lover with tasty zingers including, “I got news for you Kelly Bell, you are nothing” and “You think you’re fabulous, NO!” “Kelly Bell, Phat Blues, hrumph, Phat Blues THIS!” “I think you suck, you’re tired and I have just about had it with you!” It is a hilarious quid-pro-quo exchange that cracks me up every time as Bell the ‘gets a ear full’ that all members of the male species have to heard more than once.
Bell’s take on Johnson’s ‘Love in Vain’ is, finally, an exciting, jumping rollick through a well covered field and amazingly comes out fresh. Rather than trying to replicate, Bell’s Band pumps vocal harmony lines with a sassy harmonica played by Dane Paul Russell. The song is given life and while the sharp edge and associated anguish intended by Johnson may be gone – it is an up-tempo and refreshing take on a blues classic.
For whatever reason the album’s eighth track is, ‘SpongeBob Squarepants.” While it is entertaining it sticks out like a sore thumb and may be best skipped. It would have been better tucked away at the end of the CD; a bonus track or something since it certainly throws off the momentum of an otherwise well paced record.
With tongue in cheek the band approaches the track, ‘Porno Star’ in a very Zappa-esque style. Somehow they are able to bring it back and make it sonically fit with the rest of the album although, clearly, it ‘tain’t the blues per se. Again, maybe it is this apparent lack of focus coupled with risk that keeps the album on track and interesting. This is the track that includes the obligatory ‘monster guitar’ licks but with some restraint. Like The Who’s, ‘A Quick One (while he’s away)’ this song melds into another seemingly unrelated songs or breaks…‘People are People’ where spoken word reads over a jazzy musical background. It is poignant and yet you can sense the smirk on Bell’s lips when he says, “You are one of billions and billions of stars, or snowflakes…did you know every snow flack is different?” The speaker goes on to say, “People are people, people need to be loved and not judged but not by you. There is one judge and that’s HIS job, not yours…you got you and then you’re surrounded by the world - that may be how you see it but its not. You’re a part of a great, great tapestry and you’re one thread…people need to be loved.” So, “people are people and I’m not the judge.”
This is a terrifically wide album with superb musicianship and a scattering of musical genres that are at once interesting and resonate. Because it doesn’t easily fit into a comfortable genre box The Kelly Bell Band is not going to set the world on fire but I can easily see this as a cross-over album that, given proper attention, could bring in folds of listeners and in its own special way make your corner of the world better for having heard it. This is a much needed breath of fresh air in the often cerebral-less homologized world that contemporary music seems to want to offer us.
Wednesday, February 20, 2008
Album Review: Ian McLagan, Here Comes Trouble
Artist: Ian McLagan
Title: Here Comes Trouble
Rating: 9
Writer: Rick Galusha
Okay, I love this guy – always have. He’s the ‘pocket guy’ on so many albums from the ‘60’s and 70’s that are the foundation for my love of rock music including the Rolling Stone’s, ‘Some Girls’ album or the organ line from Rod Stewart’s “Maggie May.” Whether as a member of the Small Faces (“Itchycoo Park”) or a founding member of that great band, ‘The Faces,’ (who picked up Rod Stewart and Ronnie Wood (Rolling Stones) after they’d left the Jeff Beck Group) Ian McLagan was smack dab in the middle of rock’s golden era. A quick glance at the great English rock-come-blues movement and Ian ‘Mac’ McLagan is playing on Stewart’s and Wood’s solo albums or appearing on Ronnie Lane’s projects or as an long term addition to the Rolling Stones. Ian McLagan has also lent the benefit of his talents for touring to prestigious acts like Bob Dylan, Bonnie Raitt and currently Billy Bragg. His, is an amazing rock n’ roll life.
McLagan’s web-only (www.MacsPages.com) release, ‘Here Comes Trouble,’ is an amalgamation of two previously released albums; ‘Troublemaker’ and ‘Last Chance to Dance’ along with a cover of The Who’s ‘Picture’s of Lilly,’ an extended version of ‘Truly,’ and another version of the song, ‘Last Chance to Dance.’ In all there are seventeen tracks.
While most fans are aware of the “big” albums surrounding the English pop-rock blues movement; ‘Exile on Main Street’ by the Rolling Stones, Rod Stewart’s albums on the Mercury label and all those rollicking Faces albums, there is a deep niche of lesser know but equally compelling albums such as the first three Ron Wood solo records, ‘Rough Mix’ by Ronnie Lane & The Who’s Peter Townshend, and McLagan’s ‘Troublemaker.’
In 1977 Keith Richards was busted for drug violations in Canada. One of the off-shoots of that was Ronnie Wood’s New Barbarian’s band which included Richards, McLagan, and Zigaboo Modeliste (The Meters) and jazz bassist Stanley Clarke as well as long time Stone’s sax player, and Texan, Bobby Keys. When the tour ended the band ended up in Rob Fraboni’s ‘Shangri-La Studios and recorded a total of five tracks; one for each member of the band including ‘Truly’ which ended up on the Mac’s ‘Troublemaker’ album. Interestingly an extended version of the track is included on this package clocking in at nearly 12 minutes. (In mid-2007 a double CD set of the New Barbarians Live was released on Wood’s, Wooden Records). ‘Troublemaker’ ends with McLagan covering Ron Wood’s Mystifies Me. Devoid of pop catering tunes the album is pure and beautiful – the type of album that today could resurrect the Stone’s current lackluster recordings.
The ‘Last Chance to Dance’ EP (1985) is only four songs long and while obscure is a fine examples of up-tempo abandoned rock n’ roll with the obvious heavy English interpretation. ‘You’re My Girl,’ (the opening track off his solo effort, ‘Rise and Shine’) originally came out on this EP.
In all, Ian McLagan is an advocate for rock music and this solo effort is an amazing unrealized gem where the guitars of Keith Richards and Ron Wood are unleashed; where Bobby Keys, Jim Keltner and Ringo Starr all contribute. It is a fine if heretofore unrecognized piece of the best of British music available.
Just for the record McLagan has also guested on albums by; Bruce Springsteen, Frank Black, Patty Griffin, Taj Mahal, Melissa Etheridge, Robyn Hitchcock, Mary Gauthier, Robert Earl Keen, Kelly Willis, Paul Westerberg, John Hiatt, Tom Russell, Midge Ure, The Georgia Satellites, Izzy Stradlin (Guns n’ Roses), Toni Price, Chris Gaffney (Dave Alvin), LeRoi Brothers, James McMurtry, Joe Cocker and others. Recently McLagan has settled in Austin – the former home of the late Ronnie Lane. In 2006 McLagan released the highly regarded tribute album, ‘Spiritual Boy’ which comprised covers of songs written by former Faces & Small Faces band-mate Ronnie Lane. McLagan’s book, ‘All the Rage’ chronicles his musical life.
Title: Here Comes Trouble
Rating: 9
Writer: Rick Galusha
Okay, I love this guy – always have. He’s the ‘pocket guy’ on so many albums from the ‘60’s and 70’s that are the foundation for my love of rock music including the Rolling Stone’s, ‘Some Girls’ album or the organ line from Rod Stewart’s “Maggie May.” Whether as a member of the Small Faces (“Itchycoo Park”) or a founding member of that great band, ‘The Faces,’ (who picked up Rod Stewart and Ronnie Wood (Rolling Stones) after they’d left the Jeff Beck Group) Ian McLagan was smack dab in the middle of rock’s golden era. A quick glance at the great English rock-come-blues movement and Ian ‘Mac’ McLagan is playing on Stewart’s and Wood’s solo albums or appearing on Ronnie Lane’s projects or as an long term addition to the Rolling Stones. Ian McLagan has also lent the benefit of his talents for touring to prestigious acts like Bob Dylan, Bonnie Raitt and currently Billy Bragg. His, is an amazing rock n’ roll life.
McLagan’s web-only (www.MacsPages.com) release, ‘Here Comes Trouble,’ is an amalgamation of two previously released albums; ‘Troublemaker’ and ‘Last Chance to Dance’ along with a cover of The Who’s ‘Picture’s of Lilly,’ an extended version of ‘Truly,’ and another version of the song, ‘Last Chance to Dance.’ In all there are seventeen tracks.
While most fans are aware of the “big” albums surrounding the English pop-rock blues movement; ‘Exile on Main Street’ by the Rolling Stones, Rod Stewart’s albums on the Mercury label and all those rollicking Faces albums, there is a deep niche of lesser know but equally compelling albums such as the first three Ron Wood solo records, ‘Rough Mix’ by Ronnie Lane & The Who’s Peter Townshend, and McLagan’s ‘Troublemaker.’
In 1977 Keith Richards was busted for drug violations in Canada. One of the off-shoots of that was Ronnie Wood’s New Barbarian’s band which included Richards, McLagan, and Zigaboo Modeliste (The Meters) and jazz bassist Stanley Clarke as well as long time Stone’s sax player, and Texan, Bobby Keys. When the tour ended the band ended up in Rob Fraboni’s ‘Shangri-La Studios and recorded a total of five tracks; one for each member of the band including ‘Truly’ which ended up on the Mac’s ‘Troublemaker’ album. Interestingly an extended version of the track is included on this package clocking in at nearly 12 minutes. (In mid-2007 a double CD set of the New Barbarians Live was released on Wood’s, Wooden Records). ‘Troublemaker’ ends with McLagan covering Ron Wood’s Mystifies Me. Devoid of pop catering tunes the album is pure and beautiful – the type of album that today could resurrect the Stone’s current lackluster recordings.
The ‘Last Chance to Dance’ EP (1985) is only four songs long and while obscure is a fine examples of up-tempo abandoned rock n’ roll with the obvious heavy English interpretation. ‘You’re My Girl,’ (the opening track off his solo effort, ‘Rise and Shine’) originally came out on this EP.
In all, Ian McLagan is an advocate for rock music and this solo effort is an amazing unrealized gem where the guitars of Keith Richards and Ron Wood are unleashed; where Bobby Keys, Jim Keltner and Ringo Starr all contribute. It is a fine if heretofore unrecognized piece of the best of British music available.
Just for the record McLagan has also guested on albums by; Bruce Springsteen, Frank Black, Patty Griffin, Taj Mahal, Melissa Etheridge, Robyn Hitchcock, Mary Gauthier, Robert Earl Keen, Kelly Willis, Paul Westerberg, John Hiatt, Tom Russell, Midge Ure, The Georgia Satellites, Izzy Stradlin (Guns n’ Roses), Toni Price, Chris Gaffney (Dave Alvin), LeRoi Brothers, James McMurtry, Joe Cocker and others. Recently McLagan has settled in Austin – the former home of the late Ronnie Lane. In 2006 McLagan released the highly regarded tribute album, ‘Spiritual Boy’ which comprised covers of songs written by former Faces & Small Faces band-mate Ronnie Lane. McLagan’s book, ‘All the Rage’ chronicles his musical life.
Album Review: Anthony Gomes, Live
Artist: Anthony Gomes
Title: Live
Writer: Rick Galusha
Rock is dead – long live ‘the blues.’ Perhaps since the guitar was plugged into an amplifier or maybe it was when Nirvana signed to a major label, either way “rock” has been sliding into the obscurity of numerous niches categories and “the blues” has become a codeword for screaming guitars and loud drums. To some degree you have to know the code in order to fully understand the nuisance of the statement. Yes, there are still Blues records being put out but many of the ‘the blues’ records being released are actually “rock” records. So what? Indeed, so what. Really it only matters when you consider Blues to be a traditional American artform – after than, it’s just music and the affixed genre label is little more than a marketing effort.
Anthony Gomes is the Pete Rose of ‘the blues;’ a fighter that just is not going to give up. The latest effort by showman Anthony Gomes is a live album recorded at Seattle’s Triple Door venue in February 2007. It is a high energy ruckus affair that showcases Gomes’ aptitude toward abandoned ‘twang bar king’ playing. And it has absolutely no connection to Blues but will be readily identified as ‘the blues.’ Much like Joe Bonamassa before him, Gomes ties in Classic Rock licks that sharp ears and sober minds will pick up on. For example, on the track, ‘Bluebird’ keyboardist Todd Hamric melds in an organ line by The Doors’ Ray Manzerak’s from the famed song, ‘Riders on the Storm.’ Again, it’s a fun, tasty gesture.
By the fourth track the band jumps into Led Zeppelin’s ‘Heartbreaker’ including a bombastic extended guitar solo. What’s not fun about a well played cover? After all, some Blues artists are anchored to playing songs thirty years their senior.
The sixth track, ‘When the Right Woman Does You Wrong’ is a slow bluesy number that bear up to crescendo after crescendo giving Gomes a slow burning simmer that explodes amid a cliché warning the he is, “about to lose control.” And so the platform for yet another guitar solo is set and like a lemming to the sea Gomes knows that it is pyrotechniques that butters the bread on his roadshow.
“Falling” is a U2-like track that pulls in sentimental mood as Gomes’ sings “At this moment I am humble and I surrender to your voice. I’m falling. You know its hard to walk on water with broken bones and worn out shoes, I’ve thrown every punch, I’ve run every road, I’ve got nothing else to lose.” Clearly a contemporary radio friendly track that end with the sound of Helicopter’s and John F. Kennedy saying, “Ask not what your country can do for you; ask what you can do for your country” before melding into the anti-conflict track from his previous album, ‘War on War.’ “Talk about a revolution, a soul solution, something worth fighting for…My name is Anthony Gomes Ladies and Gentlemen and I believe in Love.”
Gomes’ band rocks and, as his career progresses, his playing becomes finer and more nuisanced. That said, it is unlikely he’ll cut any new ground or create a school of protégées. His albums are readily apparent. None-the-less he is a personable barroom brawler that can write a good song, play a mean guitar and put together a well constructed album that will stand up to repeated listens and bring the fan enjoyment. He is an entertainer first and foremost and there is absolutely nothing wrong with giving folks what they came to hear.
Title: Live
Writer: Rick Galusha
Rock is dead – long live ‘the blues.’ Perhaps since the guitar was plugged into an amplifier or maybe it was when Nirvana signed to a major label, either way “rock” has been sliding into the obscurity of numerous niches categories and “the blues” has become a codeword for screaming guitars and loud drums. To some degree you have to know the code in order to fully understand the nuisance of the statement. Yes, there are still Blues records being put out but many of the ‘the blues’ records being released are actually “rock” records. So what? Indeed, so what. Really it only matters when you consider Blues to be a traditional American artform – after than, it’s just music and the affixed genre label is little more than a marketing effort.
Anthony Gomes is the Pete Rose of ‘the blues;’ a fighter that just is not going to give up. The latest effort by showman Anthony Gomes is a live album recorded at Seattle’s Triple Door venue in February 2007. It is a high energy ruckus affair that showcases Gomes’ aptitude toward abandoned ‘twang bar king’ playing. And it has absolutely no connection to Blues but will be readily identified as ‘the blues.’ Much like Joe Bonamassa before him, Gomes ties in Classic Rock licks that sharp ears and sober minds will pick up on. For example, on the track, ‘Bluebird’ keyboardist Todd Hamric melds in an organ line by The Doors’ Ray Manzerak’s from the famed song, ‘Riders on the Storm.’ Again, it’s a fun, tasty gesture.
By the fourth track the band jumps into Led Zeppelin’s ‘Heartbreaker’ including a bombastic extended guitar solo. What’s not fun about a well played cover? After all, some Blues artists are anchored to playing songs thirty years their senior.
The sixth track, ‘When the Right Woman Does You Wrong’ is a slow bluesy number that bear up to crescendo after crescendo giving Gomes a slow burning simmer that explodes amid a cliché warning the he is, “about to lose control.” And so the platform for yet another guitar solo is set and like a lemming to the sea Gomes knows that it is pyrotechniques that butters the bread on his roadshow.
“Falling” is a U2-like track that pulls in sentimental mood as Gomes’ sings “At this moment I am humble and I surrender to your voice. I’m falling. You know its hard to walk on water with broken bones and worn out shoes, I’ve thrown every punch, I’ve run every road, I’ve got nothing else to lose.” Clearly a contemporary radio friendly track that end with the sound of Helicopter’s and John F. Kennedy saying, “Ask not what your country can do for you; ask what you can do for your country” before melding into the anti-conflict track from his previous album, ‘War on War.’ “Talk about a revolution, a soul solution, something worth fighting for…My name is Anthony Gomes Ladies and Gentlemen and I believe in Love.”
Gomes’ band rocks and, as his career progresses, his playing becomes finer and more nuisanced. That said, it is unlikely he’ll cut any new ground or create a school of protégées. His albums are readily apparent. None-the-less he is a personable barroom brawler that can write a good song, play a mean guitar and put together a well constructed album that will stand up to repeated listens and bring the fan enjoyment. He is an entertainer first and foremost and there is absolutely nothing wrong with giving folks what they came to hear.
Album Review: Randy McAllister, Duck Slap Soup
Artist: Randy McAllister
Title: Duck Slap Soup
Writer: Rick Galusha
It’s been my experience that the Texas brand of “blues” allows for great deviation from the traditional 12 bar call-call-response. No doubt the genre is a respected giant within the scene. Drummer, singer, songwriter and harp player Randy McAllister hails from Texas. While he has yet to place his stamp upon the national scene for his pop-orientated Texas blues sound, it is fresh and gathering momentum. McAllister’s songwriting is creative albeit unchallenged and like many contemporary blues players he wanders from tradition while embracing “blues” sounds and textures.
The album opens with a most pleasant, ‘Clear My Head.’ Very Delbert McClinton like this song has a powerful melody line and tasty slide guitar licks interspersed. It modulates up; building slowly into a song about the complexities of modern life. Predictably the opening track is also the most radio friendly.
McAllister turns to a Memphis soul sounds with the song, ‘When I Get Back Home’ that is Otis Redding like in its melody and arrangement. Emotionally the song fails to fully grasp the style and thus the album begins to crack.
In the 70’s Boston’s, ‘J. Geils Band’ was putting out some of the finest blues based rock n’ roll records of the era. McAllister’s ‘I Have to Set You Free,’ written by Mike Morgan, is very Geils like minus the inherent energetic mayhem interplay that Wolf and the band excelled at. Nonetheless it’s a solid ballad that becomes a door to opening up the rest of this album.
In his vocals on ‘The Girl Ain’t Right’ McAllister uses guitarist Mike Morgan to echo his slurred vocal line while Benita Arterberry-Burns sings a ‘gospel’ like back-up. It’s a rumbling tune with high energy that some fans will find appealing.
‘Close Your Eyes’ harkens to a stripped down soul song of the late ‘60’s with a strong melody line and spacious backdrop. The song ‘$127.00 Sandwich’ couldn’t end fast enough for this listener. The album closes with the AC/DC riffed, ‘Steady Decline.’ Mike Hanna’s organ lines and background vocals support the song as Mike Morgan steps up to take the guitar solo.
If success is an album that appeals to a wide audience, sells well and engages the listener this is an average effort by a promising artist. McAllister’s singing is average and this album, while entertaining, is not groundbreaking – leaning too heavily on trite riffs. Like many blues artists McAllister is a likeable character who gives glimpses of a promising future but just doesn’t seem to able to lift the album off the ground. All the pieces are in place but it fails to meld into a cohesive entertaining recording unable to set the world on fire. Committed fans will adore this record; however, for the uninitiated I would suggest waiting for the next effort.
Title: Duck Slap Soup
Writer: Rick Galusha
It’s been my experience that the Texas brand of “blues” allows for great deviation from the traditional 12 bar call-call-response. No doubt the genre is a respected giant within the scene. Drummer, singer, songwriter and harp player Randy McAllister hails from Texas. While he has yet to place his stamp upon the national scene for his pop-orientated Texas blues sound, it is fresh and gathering momentum. McAllister’s songwriting is creative albeit unchallenged and like many contemporary blues players he wanders from tradition while embracing “blues” sounds and textures.
The album opens with a most pleasant, ‘Clear My Head.’ Very Delbert McClinton like this song has a powerful melody line and tasty slide guitar licks interspersed. It modulates up; building slowly into a song about the complexities of modern life. Predictably the opening track is also the most radio friendly.
McAllister turns to a Memphis soul sounds with the song, ‘When I Get Back Home’ that is Otis Redding like in its melody and arrangement. Emotionally the song fails to fully grasp the style and thus the album begins to crack.
In the 70’s Boston’s, ‘J. Geils Band’ was putting out some of the finest blues based rock n’ roll records of the era. McAllister’s ‘I Have to Set You Free,’ written by Mike Morgan, is very Geils like minus the inherent energetic mayhem interplay that Wolf and the band excelled at. Nonetheless it’s a solid ballad that becomes a door to opening up the rest of this album.
In his vocals on ‘The Girl Ain’t Right’ McAllister uses guitarist Mike Morgan to echo his slurred vocal line while Benita Arterberry-Burns sings a ‘gospel’ like back-up. It’s a rumbling tune with high energy that some fans will find appealing.
‘Close Your Eyes’ harkens to a stripped down soul song of the late ‘60’s with a strong melody line and spacious backdrop. The song ‘$127.00 Sandwich’ couldn’t end fast enough for this listener. The album closes with the AC/DC riffed, ‘Steady Decline.’ Mike Hanna’s organ lines and background vocals support the song as Mike Morgan steps up to take the guitar solo.
If success is an album that appeals to a wide audience, sells well and engages the listener this is an average effort by a promising artist. McAllister’s singing is average and this album, while entertaining, is not groundbreaking – leaning too heavily on trite riffs. Like many blues artists McAllister is a likeable character who gives glimpses of a promising future but just doesn’t seem to able to lift the album off the ground. All the pieces are in place but it fails to meld into a cohesive entertaining recording unable to set the world on fire. Committed fans will adore this record; however, for the uninitiated I would suggest waiting for the next effort.
Album Review: Vee Jay Records boxset
Vee Jay Records boxset
Various Artists
Writer: Rick Galusha
The landscape of music recording is littered with now legendary recording labels including; Sun, Chess, Stax and Atlantic. Long before Gary, Indiana’s Jackson Five became a Motown phenomenon, Vee-Jay Records was making history as a successful label owned and operated by a married African-American couple; Vivian Carter and James Bracken; much like Stax the label name is an amalgamation of the owner’s names.
Eventually the label would move down-the-road to Chicago. Within the blues idiom perhaps their most significant signing was also their best; Jimmy Reed who got 17 charted singles with Vee-Jay. According to their website (www.vee-jay.net), “When we first met Jimmy Reed in 1953, he was actually working in Chicago in the stockyards, where he was cutting up cattle. ..one day and we heard Jimmy play. We asked him, “Do you have any songs that you have written?” And he says, "No, but I’ve got some I made up.” And that was how we got Jimmy Reed…Jimmy was something else. He’d get drunk the day of the session, so I had a police officer that I’d get to “arrest” him the night before and take him to jail. I’d come down the next morning and pick him up and take him to the studio. I never told him that, because I don’t think he would have appreciated it that I put him in the tank overnight. That was the only way I could get him down to the studio sober. On most of his dates, he was dead drunk. If you notice, he slurred very badly. He could read, but he was playing guitar at the same time, so his wife would have to whisper the lyric in his ear. Sometimes, you could hear her leaking through on the microphone.”
Other famed blues artists aligned with Vee-Jay included; Billy Boy Arnold, Eddie Taylor, Elmore James, Jay McShann, John Lee Hooker, Camille Howard, Hank Ballard, Pee Wee Crayton, Snooky Prior, The Staple Singers, Jerry Butler, The Five Blind Boys of Alabama, Betty Everett, Little Richard and Billy Preston. An observant eye will notice a significant overlap with the New Orleans/ Los Angles based ‘Specialty Record’ label.
Specifically tracks that blues fans will enjoy include; Jimmy Reed’s, ‘Ain’t that Loving You Baby,’ John Lee Hooker’s, ‘Dimples,’ Gene Allison’s, ‘You Can Make It If You Try,’ Elmore James’ ‘It Hurts Me Too,’ and Betty Everett’s, ‘You’re No Good’ as later covered by Linda Ronstadt or Gloria Jones’ ‘Tainted Love’ as later covered by Soft Cell.
Most rock fans will favor a faint memory that it was Vee-Jay that released the first four American singles for the Fab Four as Beatlemania kicked off in the United States. However their reaches into pop music included, The Four Seasons and their song, ‘Sherry,’ The Dell’s, ‘Oh What a Nite,’ Hank Ballard’s original version of, ‘The Twist,’ Dee Clark’s ‘Raindrops,’ and Gene Chandler’s, ‘Duke of Earl.’
In general this is a very interesting snapshot of a successful regional record company that for a brief moment lived in the crux where ‘the blues’ melded into ‘rock n’ roll.’ It is clearly not a collection of songs that everyone is going to “must own” but it is a very tasty supplement to a healthy collection or at the very least a fine foundation from which to begin a musicological exploration into the history of modern American music.
Various Artists
Writer: Rick Galusha
The landscape of music recording is littered with now legendary recording labels including; Sun, Chess, Stax and Atlantic. Long before Gary, Indiana’s Jackson Five became a Motown phenomenon, Vee-Jay Records was making history as a successful label owned and operated by a married African-American couple; Vivian Carter and James Bracken; much like Stax the label name is an amalgamation of the owner’s names.
Eventually the label would move down-the-road to Chicago. Within the blues idiom perhaps their most significant signing was also their best; Jimmy Reed who got 17 charted singles with Vee-Jay. According to their website (www.vee-jay.net), “When we first met Jimmy Reed in 1953, he was actually working in Chicago in the stockyards, where he was cutting up cattle. ..one day and we heard Jimmy play. We asked him, “Do you have any songs that you have written?” And he says, "No, but I’ve got some I made up.” And that was how we got Jimmy Reed…Jimmy was something else. He’d get drunk the day of the session, so I had a police officer that I’d get to “arrest” him the night before and take him to jail. I’d come down the next morning and pick him up and take him to the studio. I never told him that, because I don’t think he would have appreciated it that I put him in the tank overnight. That was the only way I could get him down to the studio sober. On most of his dates, he was dead drunk. If you notice, he slurred very badly. He could read, but he was playing guitar at the same time, so his wife would have to whisper the lyric in his ear. Sometimes, you could hear her leaking through on the microphone.”
Other famed blues artists aligned with Vee-Jay included; Billy Boy Arnold, Eddie Taylor, Elmore James, Jay McShann, John Lee Hooker, Camille Howard, Hank Ballard, Pee Wee Crayton, Snooky Prior, The Staple Singers, Jerry Butler, The Five Blind Boys of Alabama, Betty Everett, Little Richard and Billy Preston. An observant eye will notice a significant overlap with the New Orleans/ Los Angles based ‘Specialty Record’ label.
Specifically tracks that blues fans will enjoy include; Jimmy Reed’s, ‘Ain’t that Loving You Baby,’ John Lee Hooker’s, ‘Dimples,’ Gene Allison’s, ‘You Can Make It If You Try,’ Elmore James’ ‘It Hurts Me Too,’ and Betty Everett’s, ‘You’re No Good’ as later covered by Linda Ronstadt or Gloria Jones’ ‘Tainted Love’ as later covered by Soft Cell.
Most rock fans will favor a faint memory that it was Vee-Jay that released the first four American singles for the Fab Four as Beatlemania kicked off in the United States. However their reaches into pop music included, The Four Seasons and their song, ‘Sherry,’ The Dell’s, ‘Oh What a Nite,’ Hank Ballard’s original version of, ‘The Twist,’ Dee Clark’s ‘Raindrops,’ and Gene Chandler’s, ‘Duke of Earl.’
In general this is a very interesting snapshot of a successful regional record company that for a brief moment lived in the crux where ‘the blues’ melded into ‘rock n’ roll.’ It is clearly not a collection of songs that everyone is going to “must own” but it is a very tasty supplement to a healthy collection or at the very least a fine foundation from which to begin a musicological exploration into the history of modern American music.
Album Review: Marah, Angels of Destruction
Rock n’ Roll used to be about “down” with the man and “up” the establishment. It’s used to be a young man’s game. Like it or not I have matured into the establishment. Consequently I shy away from reviewing rock records. However Marah, the band, have released their seventh album, ‘Angels of Destruction’ and it is compelling.
Based in Philadelphia, Marah has seen more than its fair share of personnel changes over the past fifteen years. Entertainment Weekly columnist Stephen King described Marah as, ‘the best rock band in America that nobody knows about.” Since their initial national release, “Kids in Philly” Marah have been a critic’s darling but seen little success outside of hipsters and record geeks. In spite of that horrible handicap, their latest album, “Angels of Destruction” is a superb example of an exceptionally well thought out rootsy based rock that brings together of bit of Springsteen’s “Wild & Innocent” album instrumentation together with an earthy Subdudes-like Americana sound and a Patti Smith or Velvet Underground street sense into an immediately accessible rock record. Heavy on pop-like melody lines the band leans on obscure lyrics amid layered arrangements. Its clear this band has a rock-n-roll heart; a sense of history as they steal from the best and make it their own. On first blush the listener can easily get into the songs and, with repeated listens, dig in deeper to the vast textures. All the songs on the album were written by the band with brothers David and Serge Bielanko contributing the most.
On the opening track, ‘Coughing Up Blood’ the band uses an up-tempo beat that carries throughout the album. This panoramic tune is propelled across a sonic landscape by drummer Dave Petersen brushes on the snare emulating a purring engine. ‘Angles on a Passing Train’ is a cityscape epic that slowly builds into a beautiful near ballad of movement amid an urban setting where David Bielanko sings, “Here we go, its just around the corner, Angles on a passing train, Step into the light” Throughout the album the band uses Christian imagery at arms length much like early and now later period Springsteen records. While the overt texture of the album is roots rock there is a faint underbelly of electronic sound effects that come to presence towards the end of the song.
By the firth track, ‘Blue but Cool’ the band is in the pocket of an exceptionally strong album. Amid a heart achingly moving melody line Bielanko sings, “Reelin’ from a tongue kiss on the outskirts of foreverness…I wonder what they think of this back at infatuationess. Now that we are home darling, how come we both keep starin’ at the front door?”
This should be Marah’s long predicted breakthrough album. Early in 1998 Lucinda Williams’ album, ‘Car Wheels on a Gravel Road’ came out very early in the year under Spin Magazine’s declaration that it was destine to be “the album of the year.” While Willliams is an enigmatic figure, Spin’s gesture came off as a premature bandwagon gaff. Marah’s ‘Angels of Destruction’ will be this year’s opening calling card that shines among a rather otherwise dreary release schedule.
Based in Philadelphia, Marah has seen more than its fair share of personnel changes over the past fifteen years. Entertainment Weekly columnist Stephen King described Marah as, ‘the best rock band in America that nobody knows about.” Since their initial national release, “Kids in Philly” Marah have been a critic’s darling but seen little success outside of hipsters and record geeks. In spite of that horrible handicap, their latest album, “Angels of Destruction” is a superb example of an exceptionally well thought out rootsy based rock that brings together of bit of Springsteen’s “Wild & Innocent” album instrumentation together with an earthy Subdudes-like Americana sound and a Patti Smith or Velvet Underground street sense into an immediately accessible rock record. Heavy on pop-like melody lines the band leans on obscure lyrics amid layered arrangements. Its clear this band has a rock-n-roll heart; a sense of history as they steal from the best and make it their own. On first blush the listener can easily get into the songs and, with repeated listens, dig in deeper to the vast textures. All the songs on the album were written by the band with brothers David and Serge Bielanko contributing the most.
On the opening track, ‘Coughing Up Blood’ the band uses an up-tempo beat that carries throughout the album. This panoramic tune is propelled across a sonic landscape by drummer Dave Petersen brushes on the snare emulating a purring engine. ‘Angles on a Passing Train’ is a cityscape epic that slowly builds into a beautiful near ballad of movement amid an urban setting where David Bielanko sings, “Here we go, its just around the corner, Angles on a passing train, Step into the light” Throughout the album the band uses Christian imagery at arms length much like early and now later period Springsteen records. While the overt texture of the album is roots rock there is a faint underbelly of electronic sound effects that come to presence towards the end of the song.
By the firth track, ‘Blue but Cool’ the band is in the pocket of an exceptionally strong album. Amid a heart achingly moving melody line Bielanko sings, “Reelin’ from a tongue kiss on the outskirts of foreverness…I wonder what they think of this back at infatuationess. Now that we are home darling, how come we both keep starin’ at the front door?”
This should be Marah’s long predicted breakthrough album. Early in 1998 Lucinda Williams’ album, ‘Car Wheels on a Gravel Road’ came out very early in the year under Spin Magazine’s declaration that it was destine to be “the album of the year.” While Willliams is an enigmatic figure, Spin’s gesture came off as a premature bandwagon gaff. Marah’s ‘Angels of Destruction’ will be this year’s opening calling card that shines among a rather otherwise dreary release schedule.
Friday, February 15, 2008
Vee Jay Records boxset
Vee Jay Records boxset
Various Artists
Writer: Rick Galusha
Rating: 7
The landscape of music recording is littered with now legendary recording labels including; Sun, Chess, Stax and Atlantic. Long before Gary, Indiana's Jackson Five became a Motown phenomenon, Vee-Jay Records was making history as a successful label owned and operated by a married African-American couple; Vivian Carter and James Bracken; much like Stax the label name is an amalgamation of the owner's names.
Eventually the label would move down-the-road to Chicago. Within the blues idiom perhaps their most significant signing was also their best; Jimmy Reed who got 17 charted singles with Vee-Jay. According to their website (www.vee-jay.net), "When we first met Jimmy Reed in 1953, he was actually working in Chicago in the stockyards, where he was cutting up cattle. ..one day and we heard Jimmy play. We asked him, "Do you have any songs that you have written?" And he says, "No, but I've got some I made up." And that was how we got Jimmy Reed…Jimmy was something else. He'd get drunk the day of the session, so I had a police officer that I'd get to "arrest" him the night before and take him to jail. I'd come down the next morning and pick him up and take him to the studio. I never told him that, because I don't think he would have appreciated it that I put him in the tank overnight. That was the only way I could get him down to the studio sober. On most of his dates, he was dead drunk. If you notice, he slurred very badly. He could read, but he was playing guitar at the same time, so his wife would have to whisper the lyric in his ear. Sometimes, you could hear her leaking through on the microphone."
Other famed blues artists aligned with Vee-Jay included; Billy Boy Arnold, Eddie Taylor, Elmore James, Jay McShann, John Lee Hooker, Camille Howard, Hank Ballard, Pee Wee Crayton, Snooky Prior, The Staple Singers, Jerry Butler, The Five Blind Boys of Alabama, Betty Everett, Little Richard and Billy Preston. An observant eye will notice a significant overlap with the New Orleans/ Los Angles based 'Specialty Record' label.
Specifically tracks that blues fans will enjoy include; Jimmy Reed's, 'Ain't that Loving You Baby,' John Lee Hooker's, 'Dimples,' Gene Allison's, 'You Can Make It If You Try,' Elmore James' 'It Hurts Me Too,' and Betty Everett's, 'You're No Good' as later covered by Linda Ronstadt or Gloria Jones' 'Tainted Love' as later covered by Soft Cell.
Most rock fans will favor a faint memory that it was Vee-Jay that released the first four American singles for the Fab Four as Beatlemania kicked off in the United States. However their reaches into pop music included, The Four Seasons and their song, 'Sherry,' The Dell's, 'Oh What a Nite,' Hank Ballard's original version of, 'The Twist,' Dee Clark's 'Raindrops,' and Gene Chandler's, 'Duke of Earl.'
In general this is a very interesting snapshot of a successful regional record company that for a brief moment lived in the crux where 'the blues' melded into 'rock n' roll.' It is clearly not a collection of songs that everyone is going to "must own" but it is a very tasty supplement to a healthy collection or at the very least a fine foundation from which to begin a musicological exploration into the history of modern American music.
Various Artists
Writer: Rick Galusha
Rating: 7
The landscape of music recording is littered with now legendary recording labels including; Sun, Chess, Stax and Atlantic. Long before Gary, Indiana's Jackson Five became a Motown phenomenon, Vee-Jay Records was making history as a successful label owned and operated by a married African-American couple; Vivian Carter and James Bracken; much like Stax the label name is an amalgamation of the owner's names.
Eventually the label would move down-the-road to Chicago. Within the blues idiom perhaps their most significant signing was also their best; Jimmy Reed who got 17 charted singles with Vee-Jay. According to their website (www.vee-jay.net), "When we first met Jimmy Reed in 1953, he was actually working in Chicago in the stockyards, where he was cutting up cattle. ..one day and we heard Jimmy play. We asked him, "Do you have any songs that you have written?" And he says, "No, but I've got some I made up." And that was how we got Jimmy Reed…Jimmy was something else. He'd get drunk the day of the session, so I had a police officer that I'd get to "arrest" him the night before and take him to jail. I'd come down the next morning and pick him up and take him to the studio. I never told him that, because I don't think he would have appreciated it that I put him in the tank overnight. That was the only way I could get him down to the studio sober. On most of his dates, he was dead drunk. If you notice, he slurred very badly. He could read, but he was playing guitar at the same time, so his wife would have to whisper the lyric in his ear. Sometimes, you could hear her leaking through on the microphone."
Other famed blues artists aligned with Vee-Jay included; Billy Boy Arnold, Eddie Taylor, Elmore James, Jay McShann, John Lee Hooker, Camille Howard, Hank Ballard, Pee Wee Crayton, Snooky Prior, The Staple Singers, Jerry Butler, The Five Blind Boys of Alabama, Betty Everett, Little Richard and Billy Preston. An observant eye will notice a significant overlap with the New Orleans/ Los Angles based 'Specialty Record' label.
Specifically tracks that blues fans will enjoy include; Jimmy Reed's, 'Ain't that Loving You Baby,' John Lee Hooker's, 'Dimples,' Gene Allison's, 'You Can Make It If You Try,' Elmore James' 'It Hurts Me Too,' and Betty Everett's, 'You're No Good' as later covered by Linda Ronstadt or Gloria Jones' 'Tainted Love' as later covered by Soft Cell.
Most rock fans will favor a faint memory that it was Vee-Jay that released the first four American singles for the Fab Four as Beatlemania kicked off in the United States. However their reaches into pop music included, The Four Seasons and their song, 'Sherry,' The Dell's, 'Oh What a Nite,' Hank Ballard's original version of, 'The Twist,' Dee Clark's 'Raindrops,' and Gene Chandler's, 'Duke of Earl.'
In general this is a very interesting snapshot of a successful regional record company that for a brief moment lived in the crux where 'the blues' melded into 'rock n' roll.' It is clearly not a collection of songs that everyone is going to "must own" but it is a very tasty supplement to a healthy collection or at the very least a fine foundation from which to begin a musicological exploration into the history of modern American music.
Thursday, January 31, 2008
Pandora.com gives music fans control over their music
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.
Album Review: Angels of Destruction
Rock n' Roll used to be about "down" with the man and "up" the establishment. It's used to be a young man's game. Like it or not I have matured into the establishment. Consequently I shy away from reviewing rock records. However Marah, the band, have released their seventh album, 'Angels of Destruction' and it is compelling.
Based in Philadelphia, Marah has seen more than its fair share of personnel changes over the past fifteen years. Entertainment Weekly columnist Stephen King described Marah as, 'the best rock band in America that nobody knows about." Since their initial national release, "Kids in Philly" Marah have been a critic's darling but seen little success outside of hipsters and record geeks. In spite of that horrible handicap, their latest album, "Angels of Destruction" is a superb example of an exceptionally well thought out rootsy based rock that brings together of bit of Springsteen's "Wild & Innocent" album instrumentation together with an earthy Subdudes-like Americana sound and a Patti Smith or Velvet Underground street sense into an immediately accessible rock record. Heavy on pop-like melody lines the band leans on obscure lyrics amid layered arrangements. Its clear this band has a rock-n-roll heart; a sense of history as they steal from the best and make it their own. On first blush the listener can easily get into the songs and, with repeated listens, dig in deeper to the vast textures. All the songs on the album were written by the band with brothers David and Serge Bielanko contributing the most.
On the opening track, 'Coughing Up Blood' the band uses an up-tempo beat that carries throughout the album. This panoramic tune is propelled across a sonic landscape by drummer Dave Petersen brushes on the snare emulating a purring engine. 'Angles on a Passing Train' is a cityscape epic that slowly builds into a beautiful near ballad of movement amid an urban setting where David Bielanko sings, "Here we go, its just around the corner, Angles on a passing train, Step into the light" Throughout the album the band uses Christian imagery at arms length much like early and now later period Springsteen records. While the overt texture of the album is roots rock there is a faint underbelly of electronic sound effects that come to presence towards the end of the song.
By the firth track, 'Blue but Cool' the band is in the pocket of an exceptionally strong album. Amid a heart achingly moving melody line Bielanko sings, "Reelin' from a tongue kiss on the outskirts of foreverness…I wonder what they think of this back at infatuationess. Now that we are home darling, how come we both keep starin' at the front door?"
This should be Marah's long predicted breakthrough album. Early in 1998 Lucinda Williams' album, 'Car Wheels on a Gravel Road' came out very early in the year under Spin Magazine's declaration that it was destine to be "the album of the year." While Willliams is an enigmatic figure, Spin's gesture came off as a premature bandwagon gaff. Marah's 'Angels of Destruction' will be this year's opening calling card that shines among a rather otherwise dreary release schedule.
Based in Philadelphia, Marah has seen more than its fair share of personnel changes over the past fifteen years. Entertainment Weekly columnist Stephen King described Marah as, 'the best rock band in America that nobody knows about." Since their initial national release, "Kids in Philly" Marah have been a critic's darling but seen little success outside of hipsters and record geeks. In spite of that horrible handicap, their latest album, "Angels of Destruction" is a superb example of an exceptionally well thought out rootsy based rock that brings together of bit of Springsteen's "Wild & Innocent" album instrumentation together with an earthy Subdudes-like Americana sound and a Patti Smith or Velvet Underground street sense into an immediately accessible rock record. Heavy on pop-like melody lines the band leans on obscure lyrics amid layered arrangements. Its clear this band has a rock-n-roll heart; a sense of history as they steal from the best and make it their own. On first blush the listener can easily get into the songs and, with repeated listens, dig in deeper to the vast textures. All the songs on the album were written by the band with brothers David and Serge Bielanko contributing the most.
On the opening track, 'Coughing Up Blood' the band uses an up-tempo beat that carries throughout the album. This panoramic tune is propelled across a sonic landscape by drummer Dave Petersen brushes on the snare emulating a purring engine. 'Angles on a Passing Train' is a cityscape epic that slowly builds into a beautiful near ballad of movement amid an urban setting where David Bielanko sings, "Here we go, its just around the corner, Angles on a passing train, Step into the light" Throughout the album the band uses Christian imagery at arms length much like early and now later period Springsteen records. While the overt texture of the album is roots rock there is a faint underbelly of electronic sound effects that come to presence towards the end of the song.
By the firth track, 'Blue but Cool' the band is in the pocket of an exceptionally strong album. Amid a heart achingly moving melody line Bielanko sings, "Reelin' from a tongue kiss on the outskirts of foreverness…I wonder what they think of this back at infatuationess. Now that we are home darling, how come we both keep starin' at the front door?"
This should be Marah's long predicted breakthrough album. Early in 1998 Lucinda Williams' album, 'Car Wheels on a Gravel Road' came out very early in the year under Spin Magazine's declaration that it was destine to be "the album of the year." While Willliams is an enigmatic figure, Spin's gesture came off as a premature bandwagon gaff. Marah's 'Angels of Destruction' will be this year's opening calling card that shines among a rather otherwise dreary release schedule.
Monday, January 21, 2008
Susan Tedeschi - Live from Austin, Texas
Susan Tedeschi Live
Monday, January 31, 2005
Artist: Susan Tedeschi
Title: Live From Austin, Texas
Years ago, when Susan Tedeschi appeared on the cover of Blues Revue magazine, before the release of her first album, I assumed it was some pretty good record industry hype and, as is usually the case, a clanging gong usually best left ignored. Boy was I wrong. This latest album (and companion DVD), ‘Live From Austin, Texas’ was recorded in conjunction with the PBS program Austin City Limits. This is her third album and it just knocks my socks off.
If you’re not square with Tedeschi yet I would describe her as a young less polished Bonnie Raitt with a stronger roots bent to her songwriting. This new album is comprised of her best songs including the deliciously delicate ballad, ‘Love’s in Need of Love Today’ as well as the intense blues-based, ‘Wrapped in the Arms of Another.’ Also included is a live version of the song, ‘In the Garden’ which she recorded with Stevie Ray Vaughan’s band Double Trouble.
Married to Derek Trucks, nephew to the Allman Brother’s Butch Trucks, Mrs. Trucks career had slowed down considerably to start and raise her new family. It’s nice to see that her chops remain sharp and her vocals have continued to improve. All in All this is a very good album by an artist who I plan to follow. Quite good entertainment!
Other artists included in New West recording label’s series of live recordings from PBS’ Austin City Limits are; Steve Earle, The Flatlanders, and Delbert McClinton. I suspect we will continue to see amazing archival releases of some of today’s best root musicians. As former radio deejay and area music-head Bruce Karlquist said to me, “Even if I don’t recognize the name, if it’s on Austin City Limits it’s probably something worth checking out.”
Monday, January 31, 2005
Artist: Susan Tedeschi
Title: Live From Austin, Texas
Years ago, when Susan Tedeschi appeared on the cover of Blues Revue magazine, before the release of her first album, I assumed it was some pretty good record industry hype and, as is usually the case, a clanging gong usually best left ignored. Boy was I wrong. This latest album (and companion DVD), ‘Live From Austin, Texas’ was recorded in conjunction with the PBS program Austin City Limits. This is her third album and it just knocks my socks off.
If you’re not square with Tedeschi yet I would describe her as a young less polished Bonnie Raitt with a stronger roots bent to her songwriting. This new album is comprised of her best songs including the deliciously delicate ballad, ‘Love’s in Need of Love Today’ as well as the intense blues-based, ‘Wrapped in the Arms of Another.’ Also included is a live version of the song, ‘In the Garden’ which she recorded with Stevie Ray Vaughan’s band Double Trouble.
Married to Derek Trucks, nephew to the Allman Brother’s Butch Trucks, Mrs. Trucks career had slowed down considerably to start and raise her new family. It’s nice to see that her chops remain sharp and her vocals have continued to improve. All in All this is a very good album by an artist who I plan to follow. Quite good entertainment!
Other artists included in New West recording label’s series of live recordings from PBS’ Austin City Limits are; Steve Earle, The Flatlanders, and Delbert McClinton. I suspect we will continue to see amazing archival releases of some of today’s best root musicians. As former radio deejay and area music-head Bruce Karlquist said to me, “Even if I don’t recognize the name, if it’s on Austin City Limits it’s probably something worth checking out.”
Bright Eyes and Standing Bear meet in history, for the 2nd time
Inshtatheamba
Friday, January 07, 2005
With the January 25th release of two albums by Omaha's Saddle Creek recording artist Conor Oberst [I'm Awake, It's Morning - and - Digital Ash in a Digital Urn] fans around the world recognize the name,‘Bright Eyes’ as the musical moniker Oberst performs under.
Fewer will recognize the name Mato Nanji: leader of the BMG blues rock recording act Indigenous. Nanji’s Americanize name translates to Standing Bear: a name quite a few Omahan’s will recognize as the name of a local recreational dam site and a prominent bridge in North-Central Nebraska. Nanji, a Nakota Sioux is a direct descendent of the historical Standing Bear, a Ponca Sioux.
Few, if any, will recognize the name Susette LaFlesche but all three of these names played a role in one of our nation's most significant Civil Rights cases that occurred 125 years ago.
In March of 1879 Ponca (Sioux) Tribal Chief Standing Bear was arrested by a reluctant General George Crook. Prior to this date the Ponca’s had been forcibly relocated from their homeland in North Central Nebraska (near what is now Valentine) to the Indian reservations in Oklahoma. This trek is now referred to as, The Trail of Tears.’ Due to the severe living conditions more than 500 members (over a third) of the tribe died including Standing Bears son. At the dying request of his son Standing Bear and a handful of tribal members walked more than 500 miles back to Nebraska in January of 1879 to bury his son in the tribe’s native homeland.
Crook was ordered to arrest Standing Bear and once again forcibly return him to the distant reservation. While he followed his orders it would be reveled, after his death, that Crook also secretly meet with Omaha Herald Editor Thomas Tibbles to help the Indians. (The Omaha Herald had not yet merged to form the now Omaha World Herald). “Tibbles idea was this: that the newly passed 14th Amendment to the U.S. Constitution guaranteed equal protection under the law to all persons. Since it clear that the government had no right to hold a white person in captivity unless that person had been convicted of a crime, it therefore had no right to hold the Poncas on a reservation against their will. Standing Bear could therefore petition a judge for a writ of habeas corpus, a type of legal order which would require the army to either prove the Poncas guilty of a crime, or to release them.” [pg 169]
Tibbles talked a young lawyer named John L. Webster to accept the case “pro bono” or without pay. Interestingly Creighton University’s law school now abuts Webster Street. Webster then sought the assistance of A.J. Poppleton. Somewhat verbose Poppleton’s closing arguments took a mere four hours while Webster’s lasted six hours. Opposing U.S. District Attorney Genio M Lambertson (the only one of the three to NOT have an Omaha street named after him) took five hours to sum up his case.
In a courtroom at Fort Omaha (30th & Fort), dressed in full Native regalia Standing Bear would deliver an oft-misquoted speech to the court in his own defense. Sitting Judge Elmer Dundy would decide that Standing Bear, and therefore all Native Americans, were “a person” and thereby have rights within the American Judisical system. This would mean that the Government could no longer detain these peoples on reservations against their will.
“Later that year Tibbles resigned his post at the Herald to go East on a speaking tour with Standing Bear. The two of them hoped to raise awareness, create sympathy for the Indians, and see that the Poncas got their land back. Accompanying them was a remarkable young woman named Susette LaFlesche, daughter of the chief of the Omahans. Partly of French ancestry, “Susette LaFlesche” was the woman’s “white” name. She had another: Inshtatheamba, meaning Bright Eyes. Beautiful, educated, and highly intelligent Bright Eyes served not only as Standing Bear’s interpreter, but as a powerful speaker in her own right. Eventually she and Tibbles were married.” [pg 177]
While free to live where they want, eventually the Ponca did receive their land back although the tribe remains divided between Nebraska and Oklahoma to this day.
Book referred to: ‘A Dirty, Wicked Town. Tales of 19th Century Omaha’ David L. Bristow. Caxton Press.
Friday, January 07, 2005
With the January 25th release of two albums by Omaha's Saddle Creek recording artist Conor Oberst [I'm Awake, It's Morning - and - Digital Ash in a Digital Urn] fans around the world recognize the name,‘Bright Eyes’ as the musical moniker Oberst performs under.
Fewer will recognize the name Mato Nanji: leader of the BMG blues rock recording act Indigenous. Nanji’s Americanize name translates to Standing Bear: a name quite a few Omahan’s will recognize as the name of a local recreational dam site and a prominent bridge in North-Central Nebraska. Nanji, a Nakota Sioux is a direct descendent of the historical Standing Bear, a Ponca Sioux.
Few, if any, will recognize the name Susette LaFlesche but all three of these names played a role in one of our nation's most significant Civil Rights cases that occurred 125 years ago.
In March of 1879 Ponca (Sioux) Tribal Chief Standing Bear was arrested by a reluctant General George Crook. Prior to this date the Ponca’s had been forcibly relocated from their homeland in North Central Nebraska (near what is now Valentine) to the Indian reservations in Oklahoma. This trek is now referred to as, The Trail of Tears.’ Due to the severe living conditions more than 500 members (over a third) of the tribe died including Standing Bears son. At the dying request of his son Standing Bear and a handful of tribal members walked more than 500 miles back to Nebraska in January of 1879 to bury his son in the tribe’s native homeland.
Crook was ordered to arrest Standing Bear and once again forcibly return him to the distant reservation. While he followed his orders it would be reveled, after his death, that Crook also secretly meet with Omaha Herald Editor Thomas Tibbles to help the Indians. (The Omaha Herald had not yet merged to form the now Omaha World Herald). “Tibbles idea was this: that the newly passed 14th Amendment to the U.S. Constitution guaranteed equal protection under the law to all persons. Since it clear that the government had no right to hold a white person in captivity unless that person had been convicted of a crime, it therefore had no right to hold the Poncas on a reservation against their will. Standing Bear could therefore petition a judge for a writ of habeas corpus, a type of legal order which would require the army to either prove the Poncas guilty of a crime, or to release them.” [pg 169]
Tibbles talked a young lawyer named John L. Webster to accept the case “pro bono” or without pay. Interestingly Creighton University’s law school now abuts Webster Street. Webster then sought the assistance of A.J. Poppleton. Somewhat verbose Poppleton’s closing arguments took a mere four hours while Webster’s lasted six hours. Opposing U.S. District Attorney Genio M Lambertson (the only one of the three to NOT have an Omaha street named after him) took five hours to sum up his case.
In a courtroom at Fort Omaha (30th & Fort), dressed in full Native regalia Standing Bear would deliver an oft-misquoted speech to the court in his own defense. Sitting Judge Elmer Dundy would decide that Standing Bear, and therefore all Native Americans, were “a person” and thereby have rights within the American Judisical system. This would mean that the Government could no longer detain these peoples on reservations against their will.
“Later that year Tibbles resigned his post at the Herald to go East on a speaking tour with Standing Bear. The two of them hoped to raise awareness, create sympathy for the Indians, and see that the Poncas got their land back. Accompanying them was a remarkable young woman named Susette LaFlesche, daughter of the chief of the Omahans. Partly of French ancestry, “Susette LaFlesche” was the woman’s “white” name. She had another: Inshtatheamba, meaning Bright Eyes. Beautiful, educated, and highly intelligent Bright Eyes served not only as Standing Bear’s interpreter, but as a powerful speaker in her own right. Eventually she and Tibbles were married.” [pg 177]
While free to live where they want, eventually the Ponca did receive their land back although the tribe remains divided between Nebraska and Oklahoma to this day.
Book referred to: ‘A Dirty, Wicked Town. Tales of 19th Century Omaha’ David L. Bristow. Caxton Press.
Fat Possum's Nathaniel Mayer
Nathaniel Mayer
Tuesday, January 04, 2005
Artist: Nathaniel Mayer
Title: I Just Want to be Held
Label: Fat Possum
I don’t know how they continue to do it but once again the Fat Possum Record Label releases a terrific rootsy rock n’ blues album.
Nathaniel Mayer’s release, “I Just Want to be Held” ties together many of the genres that make up Rock Music’s bedrock sound.” With a voice that crosses between an anguished Joe Cocker and besoddened James Brown, Mayer wheezes his way through a litany of ten songs including three covers. Mayer’s rendition of John Lennon’s “I Found Out” is a perfect epiphany between the tune and lyrics of rock’s tortured Saint and the grit, grime, and broken glass of Detroit’s inner-city decay. Few should dare to cover a tune from Lennon’s pain ridden solo era and yet Mayer takes Lennon’s misery and ratchets it up. Pure musical beauty is the worst way emoting what “the blues” was meant to evoke in the listener.
Growing up in Detroit in 1960’s it’s clear that Mayer’s music is a blend of the pop sensibilities of Motown and the blues overtones from having heard migrants on the so called Blue Highway. The Blue Highway is a reference to massive movement of rural Southern Blacks to northern urban industrial cities after WWII looking for work and a way off the farm. A manifestation of this mass migration is the blues that were recorded in the 1950’s including; Muddy Waters & Buddy Guy in Chicago and John Lee Hooker’s stint in Detroit. And maybe it’s me but I hear a lot of Iggy Pop’s thrusting musical anxiety buried deep within Mayer’s music. Mayer’s use of the organ to accent and drive the songs harkens back to AM pop music of the mid-60’s while his lyrics delve well beyond the cliché ridden crapola so often served up as the blues.
When I consider rap music; like the blues of the 50’s, Soul Music of the ‘60’s or Funk/Disco of the 70’s & 80’s, it reminds me that this “sound” is simply White America’s fear & fascination of Black American culture being sold back in the highly stylized packaging. Like modern rock music however eventually this exaggerated ‘fear for sale’ gets marginalized and pasteurized so that it’s “fit” for television, radio and movie soundtracks: it’s about as dangerous as spoilt milk. I mean isn’t Eminem simply Elvis Presley of his generation? Which brings me to my point, ala’ Jack Nicholson, you want the blues? You can’t handle the blues! Cause if you could you’d be so heavily into the Fat Possum Record Label it would be selling like a Bright Eyes album!
Check out this Nathaniel Mayer record, it’s the perfect mix between pop music, the blues, and soul. What a great way to kick off the year!
Tuesday, January 04, 2005
Artist: Nathaniel Mayer
Title: I Just Want to be Held
Label: Fat Possum
I don’t know how they continue to do it but once again the Fat Possum Record Label releases a terrific rootsy rock n’ blues album.
Nathaniel Mayer’s release, “I Just Want to be Held” ties together many of the genres that make up Rock Music’s bedrock sound.” With a voice that crosses between an anguished Joe Cocker and besoddened James Brown, Mayer wheezes his way through a litany of ten songs including three covers. Mayer’s rendition of John Lennon’s “I Found Out” is a perfect epiphany between the tune and lyrics of rock’s tortured Saint and the grit, grime, and broken glass of Detroit’s inner-city decay. Few should dare to cover a tune from Lennon’s pain ridden solo era and yet Mayer takes Lennon’s misery and ratchets it up. Pure musical beauty is the worst way emoting what “the blues” was meant to evoke in the listener.
Growing up in Detroit in 1960’s it’s clear that Mayer’s music is a blend of the pop sensibilities of Motown and the blues overtones from having heard migrants on the so called Blue Highway. The Blue Highway is a reference to massive movement of rural Southern Blacks to northern urban industrial cities after WWII looking for work and a way off the farm. A manifestation of this mass migration is the blues that were recorded in the 1950’s including; Muddy Waters & Buddy Guy in Chicago and John Lee Hooker’s stint in Detroit. And maybe it’s me but I hear a lot of Iggy Pop’s thrusting musical anxiety buried deep within Mayer’s music. Mayer’s use of the organ to accent and drive the songs harkens back to AM pop music of the mid-60’s while his lyrics delve well beyond the cliché ridden crapola so often served up as the blues.
When I consider rap music; like the blues of the 50’s, Soul Music of the ‘60’s or Funk/Disco of the 70’s & 80’s, it reminds me that this “sound” is simply White America’s fear & fascination of Black American culture being sold back in the highly stylized packaging. Like modern rock music however eventually this exaggerated ‘fear for sale’ gets marginalized and pasteurized so that it’s “fit” for television, radio and movie soundtracks: it’s about as dangerous as spoilt milk. I mean isn’t Eminem simply Elvis Presley of his generation? Which brings me to my point, ala’ Jack Nicholson, you want the blues? You can’t handle the blues! Cause if you could you’d be so heavily into the Fat Possum Record Label it would be selling like a Bright Eyes album!
Check out this Nathaniel Mayer record, it’s the perfect mix between pop music, the blues, and soul. What a great way to kick off the year!
W. C. Handy Awards '05
W. C. Handy Awards '05
Tuesday, December 28, 2004
As might be expected the W. C. Handy Awards cause the Grammy Blues nominations to pale by comparison.
When the blues industry (fans, writers, artists, & radio) wants to recognize acts they award them a W.C. Handy Award. Handy was a black jazz musician that is credited with having “discovered” blues music while waiting for a train in the South around the turn of the previous century.
Historically the W.C. Handy awards have been a pretty good indication of where the genre has been. It is also a high ground for blues purists. Historically 'death' has been a pretty good way to clean up Handy Awards. Voters also lean towards highly commercial a/k/a big budget efforts which, more often then not, flop: B.B. King & Eric Clapton’s, Riding with the King, or Peter Green’s (Fleetwood Mac), Robert Johnson Songbook. There is also a strong leaning toward 'name' artists' especially when they near the end of their career.
So here’s my handicap for this year’s awards, I have shaded the titles I think will win the award and I have (rg)’d the ones I think deserve to win. With all due respect for these artists that have taken the risks, done hard time on the road, and worked beer stenched barroom stages for decades, I based my personal choices more about where I feel the art form of American Blues needs to be headed rather than where it has been. Unlike artists, labels, or managers, I have no dog in this fight and hope all artists get recognition and more importantly more album and ticket sales in the coming year!
Always quick to jump in with both feet (and usually landing in my own mouth) I think the W.C. Handy Awards is missing the boat by not having a series of categories that embraces younger, louder, more electric acts that will bring with them youth and a wider audience. I know, I know, I KNOW... you have to draw the line at some point but a quick glance at this list shows us not only great names and great talent but an aging base of performers that are often past their musical prime. Am I advocating throwing them out? NO WAY! I just think we need to widen the circle and try to welcome a new fan base into the fold.
I also think the awards system is failing to recognize the other side of this business which accepts great financial risks: the blues labels. I think the Awards need to recognize labels that assist in making it possible for these artists to reach fans that are unable to see them. I would target the label(s) that are "square dealers" with the artists and fans, using technology to keep the industry competative, as well as, having a marketing cohesiveness that exhibits a commitment to the blues art form.
As with any award process, the Handy’s are homogenized to the point of blandness but it is a wide-net and actually is a pretty good representation of “pure” blues recordings and performances for the year.
2005 - 26th W.C. Handy Blues Awards
Acoustic Blues Album of the Year Paul Oscher - "Alone With The Blues"Billy Branch & Kenny Neal - "Double Take" Corey Harris - "Mississippi To Mali" Paul Rishell & Annie Raines - "Goin' Home" (RG) Carey & Lurrie Bell - "Second Nature"
Acoustic Blues-Artist of the Year Paul Oscher Corey Harris David "Honeyboy" Edwards Paul Rishell & Annie Raines (RG) Eric Bibb
New Artist Debut Watermelon Slim - "Up Close & Personal" John Lee Hooker, Jr. - "Blues With A Vengence" (Grammy nomination) Nora Jean Bruso - "Going Back To Mississippi" Michael Powers - "Onyx Root" The Bo-Keys - "The Royal Sessions" (RG)
Blues Album of the Year W.C. Clark - "Deep In The Heart" Mavis Staples - "Have A Little Faith" (RG) The Holmes Brothers - "Simple Truths" Guitar Shorty - "Watch Your Back" Rod Piazza and the Mighty Flyers - "Keepin' It Real"
Blues Band of the Year Little Charlie & The Nightcats Smokin' Joe Kubek Band (RG) Rod Piazza & The Mighty Flyers Magic Slim & The Teardrops (Lincoln resident) Anson Funderburgh & The Rockets The Holmes Brothers
Blues Entertainer of the Year Bobby Rush Kim Wilson B.B. King Pinetop Perkins (Grammy Nomination) Solomon Burke (rg)
Blues Song of the Year "Alone With The Blues" - WRITER Paul Oscher , Performed by Paul Oscher "Have A Little Faith"- WRITER Jim Tullio and Jim Weider, Performed by Mavis Staples "Run Myself Out Of Town"- WRITER Wendell Holmes, Performed by The Holmes Brothers "Piecework Politicians" - WRITER James Harman, Performed by James Harman "Nothin' Ever Hurt Me"- WRITER EG Kight, Performed by EG Kight
Comeback Blues Album of the Year Big Joe Duskin - "Big Joe Jumps Again!" (rg) Gary U.S. Bonds - "Back In 20"
Contemporary Blues Album of the Year Charlie Musselwhite - "Sanctuary" (rg) The Holmes Brothers - "Simple Truths"Ronnie Earl & The Broadcasters - "Now My Soul" Guitar Shorty - "Watch Your Back" Michael Powers - "Onyx Root"
Contemporary Blues-Female Artist of the Year Janiva Magness Marcia Ball Shemekia Copeland EG Kight Deborah Coleman (rg) [Playing With Fire Artist]
Contemporary Blues-Male Artist of the Year Kim Wilson Chris Thomas King (rg) Charlie Musselwhite James Harman Robert Randolph
Historical Blues Album of the Year Hound Dog Taylor - "Release The Hound" (Alligator Records)Charles Brown - "A Life In The Blues" (Rounder Records)Muddy Waters - "Hard Again" (Epic/Legacy) Johnny Winter - "Second Winter" (Columbia/Legacy)(rg) Lucille Bogan - "Shave 'em Dry" (Columbia/Legacy)Muddy Waters - "I'm Ready" (Epic/Legacy)
Instrumentalist-Bass Bob Stroger Willie Kent Bill Stuve Calvin "Fuzz" Jones Mookie Brill Sherman Holmes
Instrumentalist-Drums Jimi Bott Popsy Dixon Sam Carr Sam Lay Willie "Big Eyes" Smith
Instrumentalist-Guitar Ronnie Earl Duke Robillard Kirk Fletcher Bob Margolin Roy Rogers
Instrumentalist-Harmonica Kim Wilson Charlie Musselwhite Rod Piazza James Harman Paul Oscher
Instrumentalist-Horns Calvin Owens - Trumpet Mark Kazanoff – Saxophone Roomful of Blues Horns Greg Piccolo - Saxophone Sax Gordon - Saxophone
Instrumentalist-Keyboards Henry Butler (rg) Honey Piazza Dave Maxwell Marcia Ball Jon Cleary
Instrumentalist-Other Robert Randolph - Pedal Steel Guitar (rg) Clarence "Gatemouth" Brown - Fiddle Sonny Rhodes - Lap Steel Guitar Otis Taylor - Banjo Andra Faye - Mandolin
Soul/Blues Album of the Year Mavis Staples - "Have A Little Faith" Bobby Rush - "Folk Funk"W.C. Clark - "Deep In The Heart" Tad Robinson - "Did You Ever Wonder?" (rg) Charles Wilson - "If Heartaches Were Nickels"
Soul/Blues-Female Artist of the Year Mavis Staples (rg) Bettye LaVette Etta James Toni Lynn Washington Barbara Lynn
Soul/Blues-Male Artist of the Year Bobby Rush Tad Robinson (rg) Little Milton Solomon Burke W.C. Clark
Traditional Blues Album of the Year James Cotton - "Baby Don't You Tear My Clothes" Jody Williams - "You Left Me In The Dark" (rg) Duke Robillard - "Blue Mood: The Songs Of T-Bone Walker" Pinetop Perkins - "Ladies Man" (Grammy Nomincation) Sam Myers - "Coming From The Old School"
Traditional Blues-Female Artist of the Year Jessie Mae Hemphill Nora Jean Bruso (rg) Ruth Brown Koko Taylor Maria Muldaur
Traditional Blues-Male Artist of the Year Robert Lockwood Jr. Jody Williams (rg) Sam Myers Hubert Sumlin Pinetop Perkins (Grammy Nomination)
Tuesday, December 28, 2004
As might be expected the W. C. Handy Awards cause the Grammy Blues nominations to pale by comparison.
When the blues industry (fans, writers, artists, & radio) wants to recognize acts they award them a W.C. Handy Award. Handy was a black jazz musician that is credited with having “discovered” blues music while waiting for a train in the South around the turn of the previous century.
Historically the W.C. Handy awards have been a pretty good indication of where the genre has been. It is also a high ground for blues purists. Historically 'death' has been a pretty good way to clean up Handy Awards. Voters also lean towards highly commercial a/k/a big budget efforts which, more often then not, flop: B.B. King & Eric Clapton’s, Riding with the King, or Peter Green’s (Fleetwood Mac), Robert Johnson Songbook. There is also a strong leaning toward 'name' artists' especially when they near the end of their career.
So here’s my handicap for this year’s awards, I have shaded the titles I think will win the award and I have (rg)’d the ones I think deserve to win. With all due respect for these artists that have taken the risks, done hard time on the road, and worked beer stenched barroom stages for decades, I based my personal choices more about where I feel the art form of American Blues needs to be headed rather than where it has been. Unlike artists, labels, or managers, I have no dog in this fight and hope all artists get recognition and more importantly more album and ticket sales in the coming year!
Always quick to jump in with both feet (and usually landing in my own mouth) I think the W.C. Handy Awards is missing the boat by not having a series of categories that embraces younger, louder, more electric acts that will bring with them youth and a wider audience. I know, I know, I KNOW... you have to draw the line at some point but a quick glance at this list shows us not only great names and great talent but an aging base of performers that are often past their musical prime. Am I advocating throwing them out? NO WAY! I just think we need to widen the circle and try to welcome a new fan base into the fold.
I also think the awards system is failing to recognize the other side of this business which accepts great financial risks: the blues labels. I think the Awards need to recognize labels that assist in making it possible for these artists to reach fans that are unable to see them. I would target the label(s) that are "square dealers" with the artists and fans, using technology to keep the industry competative, as well as, having a marketing cohesiveness that exhibits a commitment to the blues art form.
As with any award process, the Handy’s are homogenized to the point of blandness but it is a wide-net and actually is a pretty good representation of “pure” blues recordings and performances for the year.
2005 - 26th W.C. Handy Blues Awards
Acoustic Blues Album of the Year Paul Oscher - "Alone With The Blues"Billy Branch & Kenny Neal - "Double Take" Corey Harris - "Mississippi To Mali" Paul Rishell & Annie Raines - "Goin' Home" (RG) Carey & Lurrie Bell - "Second Nature"
Acoustic Blues-Artist of the Year Paul Oscher Corey Harris David "Honeyboy" Edwards Paul Rishell & Annie Raines (RG) Eric Bibb
New Artist Debut Watermelon Slim - "Up Close & Personal" John Lee Hooker, Jr. - "Blues With A Vengence" (Grammy nomination) Nora Jean Bruso - "Going Back To Mississippi" Michael Powers - "Onyx Root" The Bo-Keys - "The Royal Sessions" (RG)
Blues Album of the Year W.C. Clark - "Deep In The Heart" Mavis Staples - "Have A Little Faith" (RG) The Holmes Brothers - "Simple Truths" Guitar Shorty - "Watch Your Back" Rod Piazza and the Mighty Flyers - "Keepin' It Real"
Blues Band of the Year Little Charlie & The Nightcats Smokin' Joe Kubek Band (RG) Rod Piazza & The Mighty Flyers Magic Slim & The Teardrops (Lincoln resident) Anson Funderburgh & The Rockets The Holmes Brothers
Blues Entertainer of the Year Bobby Rush Kim Wilson B.B. King Pinetop Perkins (Grammy Nomination) Solomon Burke (rg)
Blues Song of the Year "Alone With The Blues" - WRITER Paul Oscher , Performed by Paul Oscher "Have A Little Faith"- WRITER Jim Tullio and Jim Weider, Performed by Mavis Staples "Run Myself Out Of Town"- WRITER Wendell Holmes, Performed by The Holmes Brothers "Piecework Politicians" - WRITER James Harman, Performed by James Harman "Nothin' Ever Hurt Me"- WRITER EG Kight, Performed by EG Kight
Comeback Blues Album of the Year Big Joe Duskin - "Big Joe Jumps Again!" (rg) Gary U.S. Bonds - "Back In 20"
Contemporary Blues Album of the Year Charlie Musselwhite - "Sanctuary" (rg) The Holmes Brothers - "Simple Truths"Ronnie Earl & The Broadcasters - "Now My Soul" Guitar Shorty - "Watch Your Back" Michael Powers - "Onyx Root"
Contemporary Blues-Female Artist of the Year Janiva Magness Marcia Ball Shemekia Copeland EG Kight Deborah Coleman (rg) [Playing With Fire Artist]
Contemporary Blues-Male Artist of the Year Kim Wilson Chris Thomas King (rg) Charlie Musselwhite James Harman Robert Randolph
Historical Blues Album of the Year Hound Dog Taylor - "Release The Hound" (Alligator Records)Charles Brown - "A Life In The Blues" (Rounder Records)Muddy Waters - "Hard Again" (Epic/Legacy) Johnny Winter - "Second Winter" (Columbia/Legacy)(rg) Lucille Bogan - "Shave 'em Dry" (Columbia/Legacy)Muddy Waters - "I'm Ready" (Epic/Legacy)
Instrumentalist-Bass Bob Stroger Willie Kent Bill Stuve Calvin "Fuzz" Jones Mookie Brill Sherman Holmes
Instrumentalist-Drums Jimi Bott Popsy Dixon Sam Carr Sam Lay Willie "Big Eyes" Smith
Instrumentalist-Guitar Ronnie Earl Duke Robillard Kirk Fletcher Bob Margolin Roy Rogers
Instrumentalist-Harmonica Kim Wilson Charlie Musselwhite Rod Piazza James Harman Paul Oscher
Instrumentalist-Horns Calvin Owens - Trumpet Mark Kazanoff – Saxophone Roomful of Blues Horns Greg Piccolo - Saxophone Sax Gordon - Saxophone
Instrumentalist-Keyboards Henry Butler (rg) Honey Piazza Dave Maxwell Marcia Ball Jon Cleary
Instrumentalist-Other Robert Randolph - Pedal Steel Guitar (rg) Clarence "Gatemouth" Brown - Fiddle Sonny Rhodes - Lap Steel Guitar Otis Taylor - Banjo Andra Faye - Mandolin
Soul/Blues Album of the Year Mavis Staples - "Have A Little Faith" Bobby Rush - "Folk Funk"W.C. Clark - "Deep In The Heart" Tad Robinson - "Did You Ever Wonder?" (rg) Charles Wilson - "If Heartaches Were Nickels"
Soul/Blues-Female Artist of the Year Mavis Staples (rg) Bettye LaVette Etta James Toni Lynn Washington Barbara Lynn
Soul/Blues-Male Artist of the Year Bobby Rush Tad Robinson (rg) Little Milton Solomon Burke W.C. Clark
Traditional Blues Album of the Year James Cotton - "Baby Don't You Tear My Clothes" Jody Williams - "You Left Me In The Dark" (rg) Duke Robillard - "Blue Mood: The Songs Of T-Bone Walker" Pinetop Perkins - "Ladies Man" (Grammy Nomincation) Sam Myers - "Coming From The Old School"
Traditional Blues-Female Artist of the Year Jessie Mae Hemphill Nora Jean Bruso (rg) Ruth Brown Koko Taylor Maria Muldaur
Traditional Blues-Male Artist of the Year Robert Lockwood Jr. Jody Williams (rg) Sam Myers Hubert Sumlin Pinetop Perkins (Grammy Nomination)
The blues review - Year in Music '05
Year in Music '05
Friday, December 17, 2004
It’s that time of the year to make lists and resolutions. While hardly comprehensive here are my lists to begin the discussions.
Songs of the Year:
Joe Bonamassa – “The River”
John & His Sisters – “Too Damn Big”
Jackie Green – “Gone Wanderin"
John Crews Blues – “Captain of Her Soul”
Okay, I think Bonamassa’s the real deal. “Too Damn Big” is the song Aerosmith tried to record this year. Jackie Green’s track is especially buoyant and the whole album is quite good. Green’s a young guy and capable of writing really good songs.
Best Boxsets:
Doctors, Professors, Kings & Queens – The Big Ol’ Box of New Orleans
The Faces – Five Guys Walk into a Bar
There are rumours of a Faces Reunion next year (Rod Stewart, Ronnie Wood, Ian McLagan, Kenny Jones and a bass player to be named: Bill Wyman?). That would pretty cool. Course Rod is also kicking around a Jeff Beck Group Reunion (Rod, Ronnie, Jeff, and Mickey Waller). I wonder just how long Beck and Stewart could be in the same room at the same time without killing each other? The New Orleans boxset is a primo 4 disc set that any serious roots music fan would love!
Disappointments of the Year:
Aerosmith – Honkin On Bobo
Eric Clapton – Me & Mr. Johnson
Johnny Winter – I’m a Bluesman
The Blasters – Live
Aerosmith’s shot at the blues was bad. And Clapton? The last thing the world needed was another album of all Robert Johnson covers. Why the only thing that I could think of that would be worse would be a CD/DVD combo that included rehearsals for a tour where Clapton played Johnson tour. Johnny’s great but his voice is shot. Dave Alvin’s brilliant solo career overshadowed the Blasters rather lame live album.
“The Hype is Killing Me!”
Los Lonely Boys – Los Lonely Boys
Loretta Lynn (with Jack White) – Van Leer Rose
“They’ve Got the Buzz …
Sarah Benck and the Bank Robbers
Jason Churchill with Craig Balderston
Goodbye Sunday
Kris Lager Band
Monica Eby
Heidi Joy
More and more Omaha is becoming a live music Mecca. I sure hope our community continues to embrace the impressive array of talent that resides in our town.
Disappointment of the Year
Saddle Creek Records thwarted effort to open a venue on Saddle Creek Road. Sure, I certainly not 'hip' enough to have ever gone in there but it sure would have added prestige to our image to have embraced a label that even the New York Times indicated was the hippest thing in the world right now!
“Did We Really NEED It?”
Simon & Garfunkel – Old Friends: Live on Stage
The Rolling Stones – Live Licks
Eric Clapton – Sessions for Robert J(ohnson)
Did we really need another live version of ‘Sounds of Silence’, ‘Brown Sugar’ or Eric Clapton playing yet another album of Robert Johnson songs? Okay the Stones album’s mix is pretty unique but other than that these bands just need to write some new songs and let the old ones go.
Best Concerts
Joe Bonamassa with Indigenous & Joe Putjender @ Mick’s Tavern
The PWF concert series (which I co-produced)
Jason Churchill (Satellite Blues Band) with Craig Balderstan @ Mick’s
Robert Randolph @ Qwest Arena (with Eric Clapton)
Okay, seven of these I helped to produce. What can I say, free is good and the show at Mick’s was my idea of a perfect evening; great music, great venue, great friends! Look for exciting news on this year’s Playing With Fire concert series soon. Also, remember this, Robert Randolph was taught how to play by the Campbell Brothers.
Best Re-Issued Recordings
Johnny Winter – Second Winter
Muddy Waters – Hard Again
Muddy Waters – I’m Ready
Muddy Waters – King Bee
Candi Staton – (self titled on Astralwerks)
My Favorite Albums of the Year:
1. Rob Stone & the C Notes – Just My Luck - - Revived my faith in acoustic blues with a blue eyed soul twist!
2. Joe Bonamassa – Had to Cry Today - - I'd put Joemaha on stage with any guitar player in the world right now! He can write, he can sing, and he can play his ass-off!
3. Hadden Sayers Band – 12 Bars & the Naked Truth - - Little known Texas songwriter excels at what so many attempt: write exceptional songs!
4. Notorious Cherry Bombs (Rodney Crowell with Vince Gill) – Notorious Cherry Bombs - - Rodney Crowell can do no wrong in my book!
5. Sue Foley – Change - - Sexy Redhead writes killer tunes, play her tail off and can emote a good song like so few!
6. Henry Butler – Homeland - - Seeing Butler play his New Orleans style barrel house piano blues in a tiny outdoor club during Austin's SXSW Music Festival this year was incredible. Spending time with Ian McLagan watching it was even better!
7. Renee Austin – If This is Love… - - Must be the red hair or something. Susan Tedeschi & Bonnie Raitt are a red heads too. What is it with red haired women performing the blues? Just don't try and fix it!
8. Jody Williams – You Left Me in the Dark - - Very good. Very retro. Very smooth. Bruce Karlquist dug it!
9. Black Keys – Rubber Factory - - Indie, fashionable, awesome voice. Maybe there is hope for my factor of cool yet? Naw!
10. Smokin’ Joe Kubeck – Show Me the Money - - Good ol'Howard Street Zoo Bar Tavern table rockin' blues. Kubeck finally gets smooth and tasty!
Friday, December 17, 2004
It’s that time of the year to make lists and resolutions. While hardly comprehensive here are my lists to begin the discussions.
Songs of the Year:
Joe Bonamassa – “The River”
John & His Sisters – “Too Damn Big”
Jackie Green – “Gone Wanderin"
John Crews Blues – “Captain of Her Soul”
Okay, I think Bonamassa’s the real deal. “Too Damn Big” is the song Aerosmith tried to record this year. Jackie Green’s track is especially buoyant and the whole album is quite good. Green’s a young guy and capable of writing really good songs.
Best Boxsets:
Doctors, Professors, Kings & Queens – The Big Ol’ Box of New Orleans
The Faces – Five Guys Walk into a Bar
There are rumours of a Faces Reunion next year (Rod Stewart, Ronnie Wood, Ian McLagan, Kenny Jones and a bass player to be named: Bill Wyman?). That would pretty cool. Course Rod is also kicking around a Jeff Beck Group Reunion (Rod, Ronnie, Jeff, and Mickey Waller). I wonder just how long Beck and Stewart could be in the same room at the same time without killing each other? The New Orleans boxset is a primo 4 disc set that any serious roots music fan would love!
Disappointments of the Year:
Aerosmith – Honkin On Bobo
Eric Clapton – Me & Mr. Johnson
Johnny Winter – I’m a Bluesman
The Blasters – Live
Aerosmith’s shot at the blues was bad. And Clapton? The last thing the world needed was another album of all Robert Johnson covers. Why the only thing that I could think of that would be worse would be a CD/DVD combo that included rehearsals for a tour where Clapton played Johnson tour. Johnny’s great but his voice is shot. Dave Alvin’s brilliant solo career overshadowed the Blasters rather lame live album.
“The Hype is Killing Me!”
Los Lonely Boys – Los Lonely Boys
Loretta Lynn (with Jack White) – Van Leer Rose
“They’ve Got the Buzz …
Sarah Benck and the Bank Robbers
Jason Churchill with Craig Balderston
Goodbye Sunday
Kris Lager Band
Monica Eby
Heidi Joy
More and more Omaha is becoming a live music Mecca. I sure hope our community continues to embrace the impressive array of talent that resides in our town.
Disappointment of the Year
Saddle Creek Records thwarted effort to open a venue on Saddle Creek Road. Sure, I certainly not 'hip' enough to have ever gone in there but it sure would have added prestige to our image to have embraced a label that even the New York Times indicated was the hippest thing in the world right now!
“Did We Really NEED It?”
Simon & Garfunkel – Old Friends: Live on Stage
The Rolling Stones – Live Licks
Eric Clapton – Sessions for Robert J(ohnson)
Did we really need another live version of ‘Sounds of Silence’, ‘Brown Sugar’ or Eric Clapton playing yet another album of Robert Johnson songs? Okay the Stones album’s mix is pretty unique but other than that these bands just need to write some new songs and let the old ones go.
Best Concerts
Joe Bonamassa with Indigenous & Joe Putjender @ Mick’s Tavern
The PWF concert series (which I co-produced)
Jason Churchill (Satellite Blues Band) with Craig Balderstan @ Mick’s
Robert Randolph @ Qwest Arena (with Eric Clapton)
Okay, seven of these I helped to produce. What can I say, free is good and the show at Mick’s was my idea of a perfect evening; great music, great venue, great friends! Look for exciting news on this year’s Playing With Fire concert series soon. Also, remember this, Robert Randolph was taught how to play by the Campbell Brothers.
Best Re-Issued Recordings
Johnny Winter – Second Winter
Muddy Waters – Hard Again
Muddy Waters – I’m Ready
Muddy Waters – King Bee
Candi Staton – (self titled on Astralwerks)
My Favorite Albums of the Year:
1. Rob Stone & the C Notes – Just My Luck - - Revived my faith in acoustic blues with a blue eyed soul twist!
2. Joe Bonamassa – Had to Cry Today - - I'd put Joemaha on stage with any guitar player in the world right now! He can write, he can sing, and he can play his ass-off!
3. Hadden Sayers Band – 12 Bars & the Naked Truth - - Little known Texas songwriter excels at what so many attempt: write exceptional songs!
4. Notorious Cherry Bombs (Rodney Crowell with Vince Gill) – Notorious Cherry Bombs - - Rodney Crowell can do no wrong in my book!
5. Sue Foley – Change - - Sexy Redhead writes killer tunes, play her tail off and can emote a good song like so few!
6. Henry Butler – Homeland - - Seeing Butler play his New Orleans style barrel house piano blues in a tiny outdoor club during Austin's SXSW Music Festival this year was incredible. Spending time with Ian McLagan watching it was even better!
7. Renee Austin – If This is Love… - - Must be the red hair or something. Susan Tedeschi & Bonnie Raitt are a red heads too. What is it with red haired women performing the blues? Just don't try and fix it!
8. Jody Williams – You Left Me in the Dark - - Very good. Very retro. Very smooth. Bruce Karlquist dug it!
9. Black Keys – Rubber Factory - - Indie, fashionable, awesome voice. Maybe there is hope for my factor of cool yet? Naw!
10. Smokin’ Joe Kubeck – Show Me the Money - - Good ol'Howard Street Zoo Bar Tavern table rockin' blues. Kubeck finally gets smooth and tasty!
'04 Grammy ramblings and errant mublings
Blues Grammy Nominations
Wednesday, December 08, 2004
I suppose it's appropriate that in this year's Grammy nominations, 'The Blues' was category #13. As I scrolled down the extensive list I had the impression that the categories were ranked according to sales: so blues comes after Gospel, Tejano, and Mexican. Reflecting on population trends, this is kinda tell isn't it? There are two "Blues" fields in the Grammy's;
Category 64 - Best Traditional Blues Album (Vocal or Instrumental.) includes;
Me And Mr Johnson, Eric Clapton, [Reprise] Baby, Don't You Tear My Clothes, James Cotton, [Telarc] Blues With A Vengeance, John Lee Hooker, Jr., [Kent Records] Blues To The Bone, Etta James, [RCA Victor] Ladies Man, Pinetop Perkins, [M.C. Records]
See any names you recognize? What I see is a lame attempt by people that are clearly out of touch, particularly with the Blues genre, nominating names that are in their comfort zone. No effort was made to really uncover the field and discern actual trends or talent. Remember, these are the folks that gave Jethro Tull the ‘Heavy Metal’ Grammy the first year that category was awarded. ANY artist on the Fat Possum record label are more deserving in this category than anyone actually nominated, except possibly Pinetop Perkins; however that album relies heavily on pop star guests. Sure Cotton & Etta were the scene, “back in the day” but her voice is shot and he’s a thin vapor of his once great glory. Clapton? Much like Bob Dylan, Clapton has rested on his laurels for too long and is no longer capable of breaking new ground or taking the art form forward. And who in the hell is John Lee Hooker Junior? Next year they are probably going to prop up Muddy Water’s son! At least Jimmy Rodgers son, Jimmy D. Lane has a credible album out that he’s touring behind it. While California label misfits nominate clichés that fit into their naïve world I believe the Blues is as vibrant as it’s ever been and if anyone on this dopey nominating committee had taken the time to think… However judging from the method by which they’ve managed this industry into the (messed)-up mess it’s in at the moment it’s clearly too much for ask a bunch of fashionably “Recovered,” self-centered, elitists to make credible nominations. Much to their black rimmed glasses, tinted hair and squared toe black shoed shock – they really are out of touch and need to step out of the way to allow the next generation in.
Category 65 - Best Contemporary Blues Album (Vocal or Instrumental.)
N'awlinz Dis Dat Or D'udda, Dr. John, [Blue Note] Keep It Simple, Keb' Mo', [Epic/Okeh] What's Wrong With This Picture?, Van Morrison, [Blue Note Records] Sanctuary, Charlie Musselwhite, [Real World] I'm A Bluesman, Johnny Winter, [Virgin]
This list of nominations is a bit better. I’ll predict Johnny Winter wins: his health has been bad and this will be an effort to recognize him before its too late. Keb Mo is a genuine artist and this album is good although he’s had better. Charlie Musselwhite is a groundbreaking force of nature that has graduated to the top of the class. Van Morrison? All I can say is, “What’s Wrong With This Picture?” And while I appreciate his volume of work I was shocked to see Dr. John’s latest included but God bless him none-the-less.
Wednesday, December 08, 2004
I suppose it's appropriate that in this year's Grammy nominations, 'The Blues' was category #13. As I scrolled down the extensive list I had the impression that the categories were ranked according to sales: so blues comes after Gospel, Tejano, and Mexican. Reflecting on population trends, this is kinda tell isn't it? There are two "Blues" fields in the Grammy's;
Category 64 - Best Traditional Blues Album (Vocal or Instrumental.) includes;
Me And Mr Johnson, Eric Clapton, [Reprise] Baby, Don't You Tear My Clothes, James Cotton, [Telarc] Blues With A Vengeance, John Lee Hooker, Jr., [Kent Records] Blues To The Bone, Etta James, [RCA Victor] Ladies Man, Pinetop Perkins, [M.C. Records]
See any names you recognize? What I see is a lame attempt by people that are clearly out of touch, particularly with the Blues genre, nominating names that are in their comfort zone. No effort was made to really uncover the field and discern actual trends or talent. Remember, these are the folks that gave Jethro Tull the ‘Heavy Metal’ Grammy the first year that category was awarded. ANY artist on the Fat Possum record label are more deserving in this category than anyone actually nominated, except possibly Pinetop Perkins; however that album relies heavily on pop star guests. Sure Cotton & Etta were the scene, “back in the day” but her voice is shot and he’s a thin vapor of his once great glory. Clapton? Much like Bob Dylan, Clapton has rested on his laurels for too long and is no longer capable of breaking new ground or taking the art form forward. And who in the hell is John Lee Hooker Junior? Next year they are probably going to prop up Muddy Water’s son! At least Jimmy Rodgers son, Jimmy D. Lane has a credible album out that he’s touring behind it. While California label misfits nominate clichés that fit into their naïve world I believe the Blues is as vibrant as it’s ever been and if anyone on this dopey nominating committee had taken the time to think… However judging from the method by which they’ve managed this industry into the (messed)-up mess it’s in at the moment it’s clearly too much for ask a bunch of fashionably “Recovered,” self-centered, elitists to make credible nominations. Much to their black rimmed glasses, tinted hair and squared toe black shoed shock – they really are out of touch and need to step out of the way to allow the next generation in.
Category 65 - Best Contemporary Blues Album (Vocal or Instrumental.)
N'awlinz Dis Dat Or D'udda, Dr. John, [Blue Note] Keep It Simple, Keb' Mo', [Epic/Okeh] What's Wrong With This Picture?, Van Morrison, [Blue Note Records] Sanctuary, Charlie Musselwhite, [Real World] I'm A Bluesman, Johnny Winter, [Virgin]
This list of nominations is a bit better. I’ll predict Johnny Winter wins: his health has been bad and this will be an effort to recognize him before its too late. Keb Mo is a genuine artist and this album is good although he’s had better. Charlie Musselwhite is a groundbreaking force of nature that has graduated to the top of the class. Van Morrison? All I can say is, “What’s Wrong With This Picture?” And while I appreciate his volume of work I was shocked to see Dr. John’s latest included but God bless him none-the-less.
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