Rabo de Nube – Charles Lloyd Quartet (ECM, 15 Mar 08)
Charles Lloyd has been around the musical block, so to speak. Born & raised in post-Depression era (not to mention musically rich) Memphis, Lloyd began blowing saxophone at the tender age of nine. By his mid-teens he was working sideman gigs with Blues royalty (e.g., B.B. King, Howlin’ Wolf, Bobby Bland.) He moved to Los Angeles in the mid-50s to attend USC and that’s where he jumped into Jazz with both feet. He recorded regularly, releasing an average of one LP per year, until the early 70s. At that time he took a detour into teaching Transcendental Meditation. He recorded sporadically for next decade or so, moving away from Jazz to work regularly with The Beach Boys.
Rabo de Nubo (Cloud Tail) is a solid piece of work. It was recorded live in Switzerland in 2007. Prometheus and Le Colline de Monk, are the only free form leaning jaunts (revealing his early influences from Ornette Coleman and Eric Dolphy) on the disc. The rest of the album is more melodic and accessible to the occasional Jazz fan.
The standouts: In spite of a rambling 4 minute intro Migration of Spirit is a great cut. The beginning of Booker’s Garden, a tribute to Lloyd’s childhood friend Booker Little, has a Keith Jarrett feel to it with Lloyd on flute (Jarrett worked with Floyd for a time in the 60s.). And the title track Rabo de Nube is outstanding! It’s the only non-Lloyd composition on the disc (composed by Cuban musician Silvio Rodriguez.)
Plunder, Beg and Curse – Colour Revolt (Fat Possum Records, 1 Apr 08)
In spite of the bands name they are not from the UK. They hail from Mississippi. Maybe that’s how they spell color down there, who knows. What I do know is that these guys rock! They’ve been playing together since high school in one form or another and it shows. Plunder, Beg and Curse has a sound that is noticeably absent from today’s airwaves (unless you listen to KEXP or something of that ilk) the sound of voices full of angst & dissatisfaction with the status quo baying at the moon. Voices propelled by a driving drum and bass and lifted heavenward on the notes of searing guitars.
Colour Revolt has put together a great CD of tunes. Tasty licks over thick beats, thoughtful melodic lyrics expressed through gritty vocals and it’s all arranged & played tighter than dick’s hat band. Your mom and dad could have danced to this kind of music at their high school prom, if the band had prepared for the gig by swigging post-coital Michelobs between bong hits while discussing what a shitty job our leaders have done over the past few decades (the past eight years in particular) and how hard it’s going to be to get the rig back on the rails. Or maybe I’m dreaming. Either way listen to this band!
Only As the Day Is Long - Sera Cahoone (Sub Pop Records 18 Mar 08)
Sera Cahone started out as a drummer for the Seattle band Carissa’s Wierd. When they broke up some went on to form Band of Horses and Grand Archives and, thank the gods, Sera set out on her own. She’s put together a nice little snap-shot of American Roots music. I like to call it Alt Country*. The ten tracks are stripped down, mostly country sounding, minimal arrangements with sweet vocal harmonies. Sera has hit one out of the park on her first pitch. I love this sound! If Neil Young had been born a double x instead of an xy, he would have released something like this in his post-Buffalo Springfield days.
The highlights for me: You Might As Well, Runnin’ Your Way and Seven Hours Later.
*For those who care, Alt Country is not a term I coined. I first remember seeing it on a music magazine called No Depression . “Alt Country, whatever that is” is a tag line for them, and a damned good one I might add. Anyway, some would say Alt Country comes from Rockers like Gram Parsons & Neil Young embracing a Country sound and adopting it for their own compositions way back in the 60s. Others would argue that Alt Country was born later, in the post-Punk era when the harder leaning artists discovered Johnny Cash, Merle Haggard and Waylon & Willie. Most will agree that the first true Alt Country band was Uncle Tupelo. In a nut shell, they melded Punk with Country for a new sound. The founding members of Uncle Tupelo went on to form Wilco and Son Volt.
Friday, June 27, 2008
Tuesday, June 3, 2008
Sundirtwater, Sun Kil Moon and One of C&W’s Favorite Sons.
Hey Folks,
My last few weeks have been filled with soccer and baseball. Very busy! The soccer was exciting. The girls played well and finished better than expected. Sadly I watched the Sox drop two in a row to the worst team in MLB (and, as luck would have it, my local team.)
Some selections are beginning to roll in and I'm looking forward to a big batch of new releases. Hopefully they will be blogworthy. As some of you may have guessed I prefer not to publish reviews for CDs that I don't like. There's enough negativity in the ether without me adding to it.
Now that the concert season is upon us I have lots of shows to attend. Emmylou, a Long Winters reunion, the Foo Fighters and Yes to name a few. And I nearly forgot, the demolition derbies, complete with rollover shows, started a few weeks ago. They're celebrating the Solstice with mini-car football. It's tough being a Renaissance man.
Merle Haggard - The Bluegrass Sessions (McCoury Music, 2 Oct 07)
Merle Haggard has been one of my favorites since I first heard “Mama Tried” on WPOR while riding to the dump with my dad. We loved riding to the dump because he’d stop at Dick McDougal’s store and buy us kids a birch beer and himself a Black Label or PBR. Then he’d drink his wrapped in a small paper bag, like no one would suspect anything. I never got that part. Any way I digress…
On this latest effort Merle and his all-star backing band, led by Marty Stuart, recorded a dozen tracks of old and new in living room style (live set approach) at Ricky Skaggs’ studio. Sure it’s called The Bluegrass Sessions and there’s a mandolin lead break on almost every track, but in truth it’s classic country, unplugged, Grand Ole Opry style. If you’re tired of all the Skynyrd and Eagles wanna-bes that clog country radio today, pop open a 16 oz. PBR and check out Jimmy Rogers Blues Medley, Blues Stay Away From Me and Merle’s different arrangement of his old hit, Big City. You’ll be glad you did.
The Waifs – Sundirtwater (Compass Records, 4 Mar 08)
In my humble opinion the best harmonies come from siblings; Anne & Nancy Wilson (Heart), the Robinson brothers (Black Crowes) and the Beach Boys, to name a few. Vikki Thorn and Dona Simpson are no exception. The girls from down under, supported by the phenomenal guitar work of Josh Cunningham, have put together an excellent assortment of songs. It’s a little more “built-up” than their previous releases. The trio is fast becoming a band and thickening up their sound by layering electric over acoustic. The arrangements are solid and I like the addition of instruments.
The bluesy lick of the opening track Pony will start you tapping your feet and you’ll continue right into the Fever-like title track (think Peggy Lee.) The mid-tempo country rockers How Many Miles and Goodbye are reminiscent of the Eagles (in their prime.)
Sundirtwater is my favorite release of 2008. It’s so good it inspired me to have another listen to their back catalog. The Waifs songwriting and performance remind me a lot of the Indigo Girls. Buy this disc now!
Sun Kil Moon – April (Caldo Verde, 1 Apr 08)
Mark Kozelek writes and performs some great music, but the guy is definitely not a cheery man. Having said that, I really like this album. It’s melodic, although a bit reserved, somber and to some extent, repetitive. He reminds me of Neil Young before his Keep on Rockin’ In the Free World period. For April Kozelek returns to his roots. He’s back to his Red House Painters sound; a stripped down, solid, slower-tempo approach to rock and best of all the songs are original compositions. There’s no re-working of other people’s songs on this disc. Included in the package is a four song disc of different arrangements.
Don't look for any rockers or dance tracks. This CD is better suited for relaxing on the porch with friends. And I apologize for not singling out a track or two as my favorite, but this whole album is good.
More to follow...
My last few weeks have been filled with soccer and baseball. Very busy! The soccer was exciting. The girls played well and finished better than expected. Sadly I watched the Sox drop two in a row to the worst team in MLB (and, as luck would have it, my local team.)
Some selections are beginning to roll in and I'm looking forward to a big batch of new releases. Hopefully they will be blogworthy. As some of you may have guessed I prefer not to publish reviews for CDs that I don't like. There's enough negativity in the ether without me adding to it.
Now that the concert season is upon us I have lots of shows to attend. Emmylou, a Long Winters reunion, the Foo Fighters and Yes to name a few. And I nearly forgot, the demolition derbies, complete with rollover shows, started a few weeks ago. They're celebrating the Solstice with mini-car football. It's tough being a Renaissance man.
Merle Haggard - The Bluegrass Sessions (McCoury Music, 2 Oct 07)
Merle Haggard has been one of my favorites since I first heard “Mama Tried” on WPOR while riding to the dump with my dad. We loved riding to the dump because he’d stop at Dick McDougal’s store and buy us kids a birch beer and himself a Black Label or PBR. Then he’d drink his wrapped in a small paper bag, like no one would suspect anything. I never got that part. Any way I digress…
On this latest effort Merle and his all-star backing band, led by Marty Stuart, recorded a dozen tracks of old and new in living room style (live set approach) at Ricky Skaggs’ studio. Sure it’s called The Bluegrass Sessions and there’s a mandolin lead break on almost every track, but in truth it’s classic country, unplugged, Grand Ole Opry style. If you’re tired of all the Skynyrd and Eagles wanna-bes that clog country radio today, pop open a 16 oz. PBR and check out Jimmy Rogers Blues Medley, Blues Stay Away From Me and Merle’s different arrangement of his old hit, Big City. You’ll be glad you did.
The Waifs – Sundirtwater (Compass Records, 4 Mar 08)
In my humble opinion the best harmonies come from siblings; Anne & Nancy Wilson (Heart), the Robinson brothers (Black Crowes) and the Beach Boys, to name a few. Vikki Thorn and Dona Simpson are no exception. The girls from down under, supported by the phenomenal guitar work of Josh Cunningham, have put together an excellent assortment of songs. It’s a little more “built-up” than their previous releases. The trio is fast becoming a band and thickening up their sound by layering electric over acoustic. The arrangements are solid and I like the addition of instruments.
The bluesy lick of the opening track Pony will start you tapping your feet and you’ll continue right into the Fever-like title track (think Peggy Lee.) The mid-tempo country rockers How Many Miles and Goodbye are reminiscent of the Eagles (in their prime.)
Sundirtwater is my favorite release of 2008. It’s so good it inspired me to have another listen to their back catalog. The Waifs songwriting and performance remind me a lot of the Indigo Girls. Buy this disc now!
Sun Kil Moon – April (Caldo Verde, 1 Apr 08)
Mark Kozelek writes and performs some great music, but the guy is definitely not a cheery man. Having said that, I really like this album. It’s melodic, although a bit reserved, somber and to some extent, repetitive. He reminds me of Neil Young before his Keep on Rockin’ In the Free World period. For April Kozelek returns to his roots. He’s back to his Red House Painters sound; a stripped down, solid, slower-tempo approach to rock and best of all the songs are original compositions. There’s no re-working of other people’s songs on this disc. Included in the package is a four song disc of different arrangements.
Don't look for any rockers or dance tracks. This CD is better suited for relaxing on the porch with friends. And I apologize for not singling out a track or two as my favorite, but this whole album is good.
More to follow...
Sunday, May 18, 2008
Steve and Herbie Accelerate with Van, plus plus...
Folks,
I flipped through my latest copy of the magazine No Depression (#75 May - June 2008) with a heavy heart. This is the last print issue. From now on if you want to read their coverage of the alternative country music scene you’ll have to go to http://www.nodepression.net/
I must confess that I was late to sign up for a subscription. Sure I took the complimentary copies from the table at the Backyard Stage at Bumbershoot (where I heard some of the best music of the festival, year after year) but I didn’t commit until two years ago. Kyla, Peter & Grant, I’m sorry I delayed.
I’m told that advertising revenue wasn’t enough to keep the print copy afloat and yet I couldn’t help but notice that issue #75 is substantially thicker than previous releases due to, you guessed it, advertising. A day late and a dollar short…anyway.
If you like traditional Country music, alternative Country music, Bluegrass, Blues or Folk music or anything that falls under the banner of American Roots music then this is your resource.
As Dean Mayhew was fond of saying, “Onward through the fog,”
After many weeks of nary a thing to discuss musically I have been inundated with Esion-worthy CDs.
First, some new releases from some very heavy hitters:
REM – Accelerate (Warner Brothers, 1 Apr 08) Remember when only you and few of your friends were listening to REM? They finally got back to that place, musically speaking.
Steve Winwood – Nine Lives (Sony, 29 Apr08) OK, so it’s not About Time, but a solid effort nonetheless. Opens with a great bluesy number I’m Not Drowning.
Van Morrison – Keep It Simple (Lost Highway, 1 Apr08) Blues based 763rd album by Van. It’s good, but a long way from Tupelo Honey.
Herbie Hancock – River: The Joni Letters (Verve, 25 Sept 07) Joni Mitchell’s songs in the hands of a different master. Nora Jones is amazing! Witness a rare moment where the Grammys got it right. Buy this disc now!!!!
And now for some up-and-coming acts:
Vampire Weekend – Vampire Weekend (Xl Recordings, 29 Jan 08) The band that’s taking the nation by storm. World influenced, poppy, bright beats and infectious rhythms. It’s very dance-around-the-house-in-your-undies kind of stuff.
Grand Archives – Grand Archives (Sub Pop, 19 Feb 08) Melodic, Pop harmonies, nice.
Throw Me the Statue – Moonbeams (Secretly Canadian, 19 Feb 08) Up-beat, Pop Rock melodies
The Weepies –
Hideaway (Nettwerk Productions, 2008)
Say I Am You (Nettwerk Productions, 2006) Classic guy/girl Folk, clever lyrics and oh-so-nice harmonies
Kate Tucker and the Sons of Sweden – Kate Tucker and the Sons of Sweden (Red Valise Recordings, 2007) Folk Rock, a little on the somber side, but great stuff
Crooked Still –
Hop High (Signature Sounds, 2007)
Shaken By A Low Sound (Signature Sounds, 2006) Traditional Bluegrass tunes with a Newgrass treatment from a quartet of Yankees.
Check out these bands. You’ll be glad that you did!
Moondoggies – Country Rock, Punk-a-billy, nice harmonies
Physics – Hip-hop, tasty grooves
Sleepy Eyes of Death – Electronica from a group named for a martial arts movie, but don’t let that stop ya
Pocket Change – Jazzy, Funky, not to be confused with the hip-hop group of the same name.
Black Whales – Stripped-down-to-the-primer Rock with undertones of surf music Boss Martians – Rock’N’Roll baby
Sera Cahoone – “Alt Country, whatever that is…”
Femurs – Acoustic Punk, if you can believe that.
Fleet Foxes – Folk with multi-part, super-smooth harmonies
Trespassers William – Folk Rock, a bit on the somber side but excellent (check out lie in the sound)
Blue Mountain – Been around for a decade or so, but new to me, “Alt Country, whatever that is…”
Ashleigh Flynn – Oh Gawd, not another singer-songwriter sharing tunes about their garden and cat! Actually this one does some rhythmically pleasing, melodic Folk songs
Love As Laughter – Brooklyn-based rockers on a Seattle label, they sound a lot like The Kinks.
Colour Revolt – The next generation of Southern Rock. I love this band!
Hilary McRae – Remember when Pop music was good? You know, way back before Simon, Randy and Paula ruined it for everyone? This girl gives me hope.
Sinem Saniye – Poppy sounds with a World music influence. Who can resist singing along with, “Boom sheke nana?”
I flipped through my latest copy of the magazine No Depression (#75 May - June 2008) with a heavy heart. This is the last print issue. From now on if you want to read their coverage of the alternative country music scene you’ll have to go to http://www.nodepression.net/
I must confess that I was late to sign up for a subscription. Sure I took the complimentary copies from the table at the Backyard Stage at Bumbershoot (where I heard some of the best music of the festival, year after year) but I didn’t commit until two years ago. Kyla, Peter & Grant, I’m sorry I delayed.
I’m told that advertising revenue wasn’t enough to keep the print copy afloat and yet I couldn’t help but notice that issue #75 is substantially thicker than previous releases due to, you guessed it, advertising. A day late and a dollar short…anyway.
If you like traditional Country music, alternative Country music, Bluegrass, Blues or Folk music or anything that falls under the banner of American Roots music then this is your resource.
As Dean Mayhew was fond of saying, “Onward through the fog,”
After many weeks of nary a thing to discuss musically I have been inundated with Esion-worthy CDs.
First, some new releases from some very heavy hitters:
REM – Accelerate (Warner Brothers, 1 Apr 08) Remember when only you and few of your friends were listening to REM? They finally got back to that place, musically speaking.
Steve Winwood – Nine Lives (Sony, 29 Apr08) OK, so it’s not About Time, but a solid effort nonetheless. Opens with a great bluesy number I’m Not Drowning.
Van Morrison – Keep It Simple (Lost Highway, 1 Apr08) Blues based 763rd album by Van. It’s good, but a long way from Tupelo Honey.
Herbie Hancock – River: The Joni Letters (Verve, 25 Sept 07) Joni Mitchell’s songs in the hands of a different master. Nora Jones is amazing! Witness a rare moment where the Grammys got it right. Buy this disc now!!!!
And now for some up-and-coming acts:
Vampire Weekend – Vampire Weekend (Xl Recordings, 29 Jan 08) The band that’s taking the nation by storm. World influenced, poppy, bright beats and infectious rhythms. It’s very dance-around-the-house-in-your-undies kind of stuff.
Grand Archives – Grand Archives (Sub Pop, 19 Feb 08) Melodic, Pop harmonies, nice.
Throw Me the Statue – Moonbeams (Secretly Canadian, 19 Feb 08) Up-beat, Pop Rock melodies
The Weepies –
Hideaway (Nettwerk Productions, 2008)
Say I Am You (Nettwerk Productions, 2006) Classic guy/girl Folk, clever lyrics and oh-so-nice harmonies
Kate Tucker and the Sons of Sweden – Kate Tucker and the Sons of Sweden (Red Valise Recordings, 2007) Folk Rock, a little on the somber side, but great stuff
Crooked Still –
Hop High (Signature Sounds, 2007)
Shaken By A Low Sound (Signature Sounds, 2006) Traditional Bluegrass tunes with a Newgrass treatment from a quartet of Yankees.
Check out these bands. You’ll be glad that you did!
Moondoggies – Country Rock, Punk-a-billy, nice harmonies
Physics – Hip-hop, tasty grooves
Sleepy Eyes of Death – Electronica from a group named for a martial arts movie, but don’t let that stop ya
Pocket Change – Jazzy, Funky, not to be confused with the hip-hop group of the same name.
Black Whales – Stripped-down-to-the-primer Rock with undertones of surf music Boss Martians – Rock’N’Roll baby
Sera Cahoone – “Alt Country, whatever that is…”
Femurs – Acoustic Punk, if you can believe that.
Fleet Foxes – Folk with multi-part, super-smooth harmonies
Trespassers William – Folk Rock, a bit on the somber side but excellent (check out lie in the sound)
Blue Mountain – Been around for a decade or so, but new to me, “Alt Country, whatever that is…”
Ashleigh Flynn – Oh Gawd, not another singer-songwriter sharing tunes about their garden and cat! Actually this one does some rhythmically pleasing, melodic Folk songs
Love As Laughter – Brooklyn-based rockers on a Seattle label, they sound a lot like The Kinks.
Colour Revolt – The next generation of Southern Rock. I love this band!
Hilary McRae – Remember when Pop music was good? You know, way back before Simon, Randy and Paula ruined it for everyone? This girl gives me hope.
Sinem Saniye – Poppy sounds with a World music influence. Who can resist singing along with, “Boom sheke nana?”
Saturday, April 19, 2008
Danny Federici and The Wailin’ Jennys
Danny Federici, best known for his work as keyboardist in the E Street Band, died last night in New York after a long battle with cancer. Please take a moment to remember him and send some positive thoughts to his family and friends.
Wailin’ Jennys @ The Triple Door (Seattle, WA 15 Apr 08)
The combination of food & live music is right up there with raindrops on roses and whiskers on kittens. The Triple Door in Seattle takes talented acts, wonderful acoustics, excellent seating, great service and food (from Wild Ginger’s kitchen upstairs) and turns it into the consummate dinner theater experience.
I’ve always wanted to see an evening show at the Triple Door, to take advantage of the full range of features. I caught a Nada Surf acoustic “matinee” at the Triple Door a few years ago, courtesy of my good friend John, but the kitchen wasn’t available for that event. When my good friend John called to say he had four tickets for the Wailin’ Jennys I said yes immediately (in truth I ran it by my wife first.)
This was my second Jennys’ show in the past two months, four overall, and even though the sets were shorter than I’d seen in past shows the music was top shelf! The girls looked and sounded as good as ever. The vocals were as crisp and clear as a fall day. The arrangements were perfect and the musicianship was as good as I’ve ever seen or heard in recent memory.
I’ve commented before on Heather Masse and Jeremy Penner (9 Feb 08), the newest Jennys. Heather’s songwriting skills and vocals are a welcome addition. Jeremy’s amazing fiddle and mandolin round out the Jennys sound.
Highlights for me: the Gillian Welch penned One More Dollar, an a capella version of Leadbelly's Sylvie (at the February Harrison show it was scrapped due to giggles), Glory Bound Ruth's non-denominational Gospel song, and the encore of One Voice, the Jennys' anthem, and the a capella, no amplification, Parting Glass.
Emmylou Harris will perform at Woodland Park Zoo this summer. And the Black Crowes will appear at the Puyallup Fair.
More to follow...
Monday, April 14, 2008
The Dalai Lama speaks. Dave listens.
Dave Matthews & Tim Reynolds @ Key Arena, Seattle, WA, 11 Apr 08
Friday night’s concert was a fundraiser for Seeds of Compassion The evening began around 4:30 PM with a discussion between the Dalai Lama, Ann Curry (Dateline NBC) and Dave Matthews.
The chairs were set on the stage. The large projection screens were in place. The Dalai Lama received a thunderous, standing ovation as he took the stage. During introductions Dave Matthews received a similar response from the audience. His Holiness donned a crimson visor to shield his eyes from the stage lights and the conversation began.
As a precursor to his question for the Dalai Lama Matthews began with a little bit about his background and how music affects his life. He finally asked if there was a correlation between compassion and music. His Holiness replied that a compassionate approach to any activity or action is more beneficial than doing something without compassion.
Anne Curry’s question of, “How can we have compassion toward our enemies?” Got the dialog moving along and allowed the Dalai Lama to expand on his ideas and share his perspective. I saw him Saturday as well and was able to have a better grasp after hearing him a second time. Here’s what I took away from Friday and Saturday.
Friday night’s concert was a fundraiser for Seeds of Compassion The evening began around 4:30 PM with a discussion between the Dalai Lama, Ann Curry (Dateline NBC) and Dave Matthews.
The chairs were set on the stage. The large projection screens were in place. The Dalai Lama received a thunderous, standing ovation as he took the stage. During introductions Dave Matthews received a similar response from the audience. His Holiness donned a crimson visor to shield his eyes from the stage lights and the conversation began.
As a precursor to his question for the Dalai Lama Matthews began with a little bit about his background and how music affects his life. He finally asked if there was a correlation between compassion and music. His Holiness replied that a compassionate approach to any activity or action is more beneficial than doing something without compassion.
Anne Curry’s question of, “How can we have compassion toward our enemies?” Got the dialog moving along and allowed the Dalai Lama to expand on his ideas and share his perspective. I saw him Saturday as well and was able to have a better grasp after hearing him a second time. Here’s what I took away from Friday and Saturday.
- Have compassion for your enemies, forgive them. That doesn’t mean to forget what they’ve done or to stop protecting yourself from further harm. Create dialog to help solve problems. You may find you are more alike than different. His Holiness suggested having world leaders, who are at odds with each other, vacation together with their families; prepare and share meals with each other, the kids play together, the spouses talk and the leaders spend a few days getting to know each other before discussing issues.
- We are just one in six billion but we have a responsibility to take care of ourselves. Wise selfishness is taking care of yourself, if you are healthy and approach life with compassion that affects those around you in a positive manner. Foolish selfishness is indulging with disregard for the effect on others and the consequences of those actions. It lacks compassion and gives off negative energy.
- All of the world’s problems are manmade. If we created them then we should be able to solve them. And when the Dalai Lama says manmade he means “men” made them, not women. The Dalai Lama learned compassion from his mother’s affection. He feels that women, due to their inherent nature to care for little ones, have more capacity to be more compassionate than men.
They talked for close to an hour. Then we had a break while they set the stage for Death Cab for Cutie. We decided to go to the Center House and get some refreshment. Unfortunately we returned in time to hear the lion’s share of Death Cab’s last number. It was good, a mostly acoustic rendition of Brothers on a Hotel Bed.
The roadies arranged the stage for the final event. Two chairs with a coffee table separating them and one mic set up on an oriental carpet (Is it PC to say oriental when referring to a carpet?) After a bit Dave and Tim showed up. They began with a long, almost haunting intro to Bartender on the barely lit stage. The 16 song set was full of between song banter, Dave confessing his nervousness during the Q&A part of the show and sharing some about the compositions themselves. I can’t remember when I’ve heard a more full sound from two guitars. Who needs a band when you have Tim Reynolds standing next to you?
The highlights: Bartender, Cry Freedom, Betrayal (Tim Reynolds one-man demonstration of just how much you can do with an acoustic guitar and a few effects), Everyday, Dancing Nancies and the encore Lie In Our Graves.
More to follow…
Sunday, March 30, 2008
The Boss Barely Slams the Back Door
In the 50s British & other European radio stations broadcast regular programs featuring American Blues, R&B and Country & Western in addition to the new sound from the states, Rock’N’Roll. British teens were hearing the very roots of American Rock’N’Roll at a time when all but the most die-hard music fans in the United States remained ignorant of the genre’s origins. Weaned on a steady diet of American roots music, teens in the United Kingdom formed their own bands, mimicked what they were hearing on the radio and eventually moved forward to export their own version of Rock’N’Roll. The resulting effort was known as the British Invasion (circa early 1960s.)
Back Door Slam – Roll Away (Blix Street, 26 Jun 07)
Back Door Slam is an updated version of the British Invasion story. According to their own website this talented, power trio from Isle of Man was, “Brought up on a potentially overindulgent appetite of Everything Blues,” and thank the lord that they decided to share their sound with the rest of us. From the first drop of the needle it’s evident, these guys mean business. Come Home, builds from the bass line, adding drums and then guitar, by the time Davy Knowles starts singing it’s like the whistle on a southbound freight train telling everyone to get the hell out of the way. And when these guys get rolling you won’t want to stop them.
The group is young but they write and play with a misleading level of maturity. You’d swear Gotta Leave, a bluesy number about moving on, was written and performed by seasoned veterans. Nope, Davy Knowles wrote it and Back Door Slam serves it up like they’d spent two decades on the road with John Mayall. Their treatment of Outside Woman Blues borrows just enough from Eric Clapton to let you know it isn’t Cream. (Note: “Gonna buy me a bulldog, watch my old lady while I sleep” Call me old-fashioned, but I don’t think I’d want to be with someone distrustful enough to require a guard dog to assure fidelity.)
Just when you think the boys are limited to a blues treatment of Rock’N’Roll, they offer songs like Stay, Too Good For Me and the title track Roll Away. The acoustic arrangements betray their folk influence and demonstrate vast range & great depth.
Tasty licks, hooks that grab you first time ‘round, searing solos, soulful vocals, tightly executed, meticulously produced, excellent songwriting and musicianship, I can’t list any favorite tracks because every song is great. This is how records should be made.
Bobby Bare – Sings Lullabys, Legends and Lies and More (RCA 24 Jul 07)
Most of you know Shel Silverstein as the author of Where the Sidewalk Ends and other children’s books. Did you know he was a cartoonist for Playboy? Or that he wrote many songs including several number one country hits.
Back in the early 70s Bobby Bare asked Shel Silverstein to write a few songs for him. Silverstein returned with a dozen newly penned compositions along with two older songs. Bare recorded them as Sings Lullabys, Legends and Lies in 1973, what some would call Bobby Bare’s best album. This is a remaster of the original recording. The newer version has a second CD with 16 tracks of Silverstein penned, Bare performed collaborations recorded after the Lullabys sessions. The set is a sampling of Bare’s bawdy, irreverent approach to music as one of Country & Western’s original outlaws. A word of caution; Bare’s loose treatment of Silverstein’s offbeat humor is most definitely not politically correct and it’s not for everyone. I doubt that you’ll find it patently offensive, but it may make you cringe a little. Anyway, if you listened to country music radio in the 70s like I did, (don’t act surprised folks I listened to everything and still do) then you will feel a certain familiarity, maybe even comfort, like running into an old high school chum that you haven’t seen for years.
My favorites, Numbers and Tequila Sheila.
Bruce Springsteen and the E-Street Band @ Key Arena, Seattle, WA 29 Mar 08
Springsteen was the hottest ticket and one of the biggest concert draws for nearly two decades. Last night’s show at the Key was a testament to his popularity. Backed by his just as popular E Street Band he ran through two and a half hours of old and new compositions before a house, packed to the rafters, of bouncing baby boomers. Hey, we may dance like pudgy, middle-aged, rhythmically-challenged, white men, but at least we’re still dancing.
The band took the stage around 8:30, sans keyboard player Danny Federici, who is undergoing treatment for melanoma, and Mrs. Springsteen, Patty Sciafla, who is “protecting the fort” both for and from his three teens. Max dropped the beat on one of my faves Trapped (a Jimmy Cliff tune that was recorded for the USA for Africa: Live Aid album) and they barely took a breath for the next three songs: Radio Nowhere, Lonesome Day & No Surrender. The roadies and guitar techs had their work cut out for them trying to keep up with the 58 year old Springsteen and his bandmates. While The Boss may have lost a little spring in his step he hasn’t lost much. Everyone looked good, a few more wrinkles and pounds, a little less hair, but for the most part, healthy. The Big Man, Clarence Clemons, was the exception. Not to be disrespectful, but Clarence spent as much time in an elegant, wingback chair to the side of the stage as he did standing up. In the old days there was a lot more interaction between The Boss and The Big Man. Rest assured, even though Clarence moved slowly he can still blow that horn!
You can keep your shredders, cheddars and bangers of headers because Nils Lofgren can tear up a fret board like nobody’s business. There were few time where he was able to stretch his legs and he went for a stroll with a capitol “S”! Wow can that guy play guitar.
The 24 song set featured eight tracks from the band’s latest release, Magic (Esion reviewed 26 Oct 07) and three each from The Rising, Darkness On the Edge of Town, & Born to Run. The highlights of the show for me: Reason to Believe, She’s the One, Tenth Ave Freeze Out, and Rosalita, which he’s played three times in the past 54 shows.
More to follow…
Back Door Slam – Roll Away (Blix Street, 26 Jun 07)
Back Door Slam is an updated version of the British Invasion story. According to their own website this talented, power trio from Isle of Man was, “Brought up on a potentially overindulgent appetite of Everything Blues,” and thank the lord that they decided to share their sound with the rest of us. From the first drop of the needle it’s evident, these guys mean business. Come Home, builds from the bass line, adding drums and then guitar, by the time Davy Knowles starts singing it’s like the whistle on a southbound freight train telling everyone to get the hell out of the way. And when these guys get rolling you won’t want to stop them.
The group is young but they write and play with a misleading level of maturity. You’d swear Gotta Leave, a bluesy number about moving on, was written and performed by seasoned veterans. Nope, Davy Knowles wrote it and Back Door Slam serves it up like they’d spent two decades on the road with John Mayall. Their treatment of Outside Woman Blues borrows just enough from Eric Clapton to let you know it isn’t Cream. (Note: “Gonna buy me a bulldog, watch my old lady while I sleep” Call me old-fashioned, but I don’t think I’d want to be with someone distrustful enough to require a guard dog to assure fidelity.)
Just when you think the boys are limited to a blues treatment of Rock’N’Roll, they offer songs like Stay, Too Good For Me and the title track Roll Away. The acoustic arrangements betray their folk influence and demonstrate vast range & great depth.
Tasty licks, hooks that grab you first time ‘round, searing solos, soulful vocals, tightly executed, meticulously produced, excellent songwriting and musicianship, I can’t list any favorite tracks because every song is great. This is how records should be made.
Bobby Bare – Sings Lullabys, Legends and Lies and More (RCA 24 Jul 07)
Most of you know Shel Silverstein as the author of Where the Sidewalk Ends and other children’s books. Did you know he was a cartoonist for Playboy? Or that he wrote many songs including several number one country hits.
Back in the early 70s Bobby Bare asked Shel Silverstein to write a few songs for him. Silverstein returned with a dozen newly penned compositions along with two older songs. Bare recorded them as Sings Lullabys, Legends and Lies in 1973, what some would call Bobby Bare’s best album. This is a remaster of the original recording. The newer version has a second CD with 16 tracks of Silverstein penned, Bare performed collaborations recorded after the Lullabys sessions. The set is a sampling of Bare’s bawdy, irreverent approach to music as one of Country & Western’s original outlaws. A word of caution; Bare’s loose treatment of Silverstein’s offbeat humor is most definitely not politically correct and it’s not for everyone. I doubt that you’ll find it patently offensive, but it may make you cringe a little. Anyway, if you listened to country music radio in the 70s like I did, (don’t act surprised folks I listened to everything and still do) then you will feel a certain familiarity, maybe even comfort, like running into an old high school chum that you haven’t seen for years.
My favorites, Numbers and Tequila Sheila.
Bruce Springsteen and the E-Street Band @ Key Arena, Seattle, WA 29 Mar 08
Springsteen was the hottest ticket and one of the biggest concert draws for nearly two decades. Last night’s show at the Key was a testament to his popularity. Backed by his just as popular E Street Band he ran through two and a half hours of old and new compositions before a house, packed to the rafters, of bouncing baby boomers. Hey, we may dance like pudgy, middle-aged, rhythmically-challenged, white men, but at least we’re still dancing.
The band took the stage around 8:30, sans keyboard player Danny Federici, who is undergoing treatment for melanoma, and Mrs. Springsteen, Patty Sciafla, who is “protecting the fort” both for and from his three teens. Max dropped the beat on one of my faves Trapped (a Jimmy Cliff tune that was recorded for the USA for Africa: Live Aid album) and they barely took a breath for the next three songs: Radio Nowhere, Lonesome Day & No Surrender. The roadies and guitar techs had their work cut out for them trying to keep up with the 58 year old Springsteen and his bandmates. While The Boss may have lost a little spring in his step he hasn’t lost much. Everyone looked good, a few more wrinkles and pounds, a little less hair, but for the most part, healthy. The Big Man, Clarence Clemons, was the exception. Not to be disrespectful, but Clarence spent as much time in an elegant, wingback chair to the side of the stage as he did standing up. In the old days there was a lot more interaction between The Boss and The Big Man. Rest assured, even though Clarence moved slowly he can still blow that horn!
You can keep your shredders, cheddars and bangers of headers because Nils Lofgren can tear up a fret board like nobody’s business. There were few time where he was able to stretch his legs and he went for a stroll with a capitol “S”! Wow can that guy play guitar.
The 24 song set featured eight tracks from the band’s latest release, Magic (Esion reviewed 26 Oct 07) and three each from The Rising, Darkness On the Edge of Town, & Born to Run. The highlights of the show for me: Reason to Believe, She’s the One, Tenth Ave Freeze Out, and Rosalita, which he’s played three times in the past 54 shows.
More to follow…
Saturday, March 22, 2008
Satisfied with Two Shoes and Warpaint
Two Shoes - The Cat Empire (Velour Records 6 Oct 07)
Sure this is an older album, according to my resources it was originally released in Australia on 10 Oct 05, and while I first heard Sly several months ago I didn’t get a chance to hear the whole disc until recently. So the music is new to me and certainly worth the space on my humble blog.
Cat Empire is a sextet from down under who has taken the sound from the Ska resurgence of the late 70s and turned it on its ear. They prefer to lean toward a Latin approach instead of relying on the more tradition Reggae-based sound (the disc was recorded in the same studio as Buena Vista Social Club.) I other words, they’re more like The English Beat than The Specials. Although their vocal style, with lots of slang and heavy Aussie accents, most closely resembles Ian Dury & the Blockheads. Any way it’s brilliant!
My favorites: The Car Song has a full R&B sound, similar to the recordings Ray Charles shared with us. Sly is an up-tempo story infatuation with a walking bass line, starts & stops in just the right places and a perfect vocal delivery. If you’re sitting still after 8 bars of this tune you need to check your pulse because you’re probably dead! Saltwater is the most traditionally pure Ska tune on the disc.
If you’re looking for something to get you out of your chair and shake the dust from your bones then buy this CD and play it loud. Your neighbors will thank you.
Warpaint – The Black Crowes (Silver Arrow 3 Mar 08)
Call me old-fashioned, but I interpret the process of reviewing music to include listening to the songs. It looks like Answer.com agrees. Their definition of review: To examine with an eye to criticism or correction. Maxim’s choice to assign Warpaint 2½ stars without hearing a single note has sullied the reputation of music critics the world over. They should be lashed to the mainmast, striped to the waste and flogged repeatedly for their transgressions. Sorry, I digress.
The hiatus Chris and Rich Robinson took a few years back to pursue their own projects (Chris’s New Earth Mud & This Magnificent Distance and Rich’s nearly solo Paper) gave them the space they needed to explore their own musical direction as well as mature as songwriters and performers. While the work from that period gave us some very good songs, something was missing. Eventually the boys discovered what all of us suspected. To create a full sound Chris needed Rich’s musicianship as much as Rich needed Chris’s vocals. It’s all about balance people!
Warpaint is the first studio recording from the Brothers Robinson since 2001’s Lions. The sessions for the CD benefited from that time of exploration and was worth every minute of the wait. For those of you who pigeon-holed The Crowes as an American knock off of The Stones or The Faces, think again. This album demonstrates a range and creativity that Black Crowes fans have been aware of for years.
The boys have assembled a collection of tracks that will make their mamma & daddy proud. Drawing once again from their influences of Blues, R&B, C&W, Gospel, Rock, Folk & Bluegrass, Chris and Rich Robinson demonstrate a thorough knowledge and complex understanding of all who have come before. They take that knowledge, run it through the Crowe songwriting process and yield eleven great tunes. I love every cut on the disc from the opening rocker Goodbye Daughters of the Revolution to the folky Whoa Mule. My favorites: Oh Josephine, a soulful lament of things not turning out quite the way they planned, and God’s Got It a bluesed-up treatment of the Reverend Charles Jackson’s Gospel tune.
This is a must for any Crowe fan and highly recommended for lovers of great music.
Satisfied – John Sebastian and Dave Grisman (Acoustic Disc 6 Nov 07)
There’s a lot to be said for “one take” style recordings. First of all you get more of a performance based tune as opposed to an engineered sound, so it’s closer to what you’d hear in a live setting. Secondly, there are no overdubs, pitch correction or speeding/slowing of the track so the artist must rely solely on delivery & musicianship. Lastly, it’s a bit like eavesdropping and slightly voyeuristic. When listening to the stripped-down performance, warts and all, I can’t help but having the feeling that I’m privy to something I’m not supposed to hear. It definitely appeals to the naughtier angels of my nature.
Dave Grisman and John Sebastian are undisputed masters of their craft. They’ve been performing since the Dead Sea was sick. The two have played with everyone. And I do mean everyone. On Satisfied, a “one take” recording, you get a guitar, a mandolin, a banjo, an occasional harmonica and some vocals showcasing the nearly 100 years of musical experience represented by Dave & John. Combine that with one part Folk, one part Blues, one part Jazz, a sprinkling of Country & Bluegrass and apply liberally to a few public domain songs, some blues and country standards, several compositions by the masters themselves and you have a good disc of tunes to help you unwind after a long day of adding value to an unappreciative, soul-sucking corporation. The one drawback, and it’s just a slight detraction, Sebastian’s vocal isn’t quite as strong as it once was. Let’s not forget that he sang Summer In the City over 40 years ago.
I got a kick out of John admitting, via the liner notes, to being in uncharted territory when it comes to “Acoustico-Dawg” recordings (i.e., one take recording.) He asked the recording engineer to turn up his guitar and was told to play louder instead. I love it.
This is a CD any guitar player, or musician for that matter, would enjoy. Its approach can be appreciated for what it is, simple and pure. Not unlike me.
More to follow…
Sure this is an older album, according to my resources it was originally released in Australia on 10 Oct 05, and while I first heard Sly several months ago I didn’t get a chance to hear the whole disc until recently. So the music is new to me and certainly worth the space on my humble blog.
Cat Empire is a sextet from down under who has taken the sound from the Ska resurgence of the late 70s and turned it on its ear. They prefer to lean toward a Latin approach instead of relying on the more tradition Reggae-based sound (the disc was recorded in the same studio as Buena Vista Social Club.) I other words, they’re more like The English Beat than The Specials. Although their vocal style, with lots of slang and heavy Aussie accents, most closely resembles Ian Dury & the Blockheads. Any way it’s brilliant!
My favorites: The Car Song has a full R&B sound, similar to the recordings Ray Charles shared with us. Sly is an up-tempo story infatuation with a walking bass line, starts & stops in just the right places and a perfect vocal delivery. If you’re sitting still after 8 bars of this tune you need to check your pulse because you’re probably dead! Saltwater is the most traditionally pure Ska tune on the disc.
If you’re looking for something to get you out of your chair and shake the dust from your bones then buy this CD and play it loud. Your neighbors will thank you.
Warpaint – The Black Crowes (Silver Arrow 3 Mar 08)
Call me old-fashioned, but I interpret the process of reviewing music to include listening to the songs. It looks like Answer.com agrees. Their definition of review: To examine with an eye to criticism or correction. Maxim’s choice to assign Warpaint 2½ stars without hearing a single note has sullied the reputation of music critics the world over. They should be lashed to the mainmast, striped to the waste and flogged repeatedly for their transgressions. Sorry, I digress.
The hiatus Chris and Rich Robinson took a few years back to pursue their own projects (Chris’s New Earth Mud & This Magnificent Distance and Rich’s nearly solo Paper) gave them the space they needed to explore their own musical direction as well as mature as songwriters and performers. While the work from that period gave us some very good songs, something was missing. Eventually the boys discovered what all of us suspected. To create a full sound Chris needed Rich’s musicianship as much as Rich needed Chris’s vocals. It’s all about balance people!
Warpaint is the first studio recording from the Brothers Robinson since 2001’s Lions. The sessions for the CD benefited from that time of exploration and was worth every minute of the wait. For those of you who pigeon-holed The Crowes as an American knock off of The Stones or The Faces, think again. This album demonstrates a range and creativity that Black Crowes fans have been aware of for years.
The boys have assembled a collection of tracks that will make their mamma & daddy proud. Drawing once again from their influences of Blues, R&B, C&W, Gospel, Rock, Folk & Bluegrass, Chris and Rich Robinson demonstrate a thorough knowledge and complex understanding of all who have come before. They take that knowledge, run it through the Crowe songwriting process and yield eleven great tunes. I love every cut on the disc from the opening rocker Goodbye Daughters of the Revolution to the folky Whoa Mule. My favorites: Oh Josephine, a soulful lament of things not turning out quite the way they planned, and God’s Got It a bluesed-up treatment of the Reverend Charles Jackson’s Gospel tune.
This is a must for any Crowe fan and highly recommended for lovers of great music.
Satisfied – John Sebastian and Dave Grisman (Acoustic Disc 6 Nov 07)
There’s a lot to be said for “one take” style recordings. First of all you get more of a performance based tune as opposed to an engineered sound, so it’s closer to what you’d hear in a live setting. Secondly, there are no overdubs, pitch correction or speeding/slowing of the track so the artist must rely solely on delivery & musicianship. Lastly, it’s a bit like eavesdropping and slightly voyeuristic. When listening to the stripped-down performance, warts and all, I can’t help but having the feeling that I’m privy to something I’m not supposed to hear. It definitely appeals to the naughtier angels of my nature.
Dave Grisman and John Sebastian are undisputed masters of their craft. They’ve been performing since the Dead Sea was sick. The two have played with everyone. And I do mean everyone. On Satisfied, a “one take” recording, you get a guitar, a mandolin, a banjo, an occasional harmonica and some vocals showcasing the nearly 100 years of musical experience represented by Dave & John. Combine that with one part Folk, one part Blues, one part Jazz, a sprinkling of Country & Bluegrass and apply liberally to a few public domain songs, some blues and country standards, several compositions by the masters themselves and you have a good disc of tunes to help you unwind after a long day of adding value to an unappreciative, soul-sucking corporation. The one drawback, and it’s just a slight detraction, Sebastian’s vocal isn’t quite as strong as it once was. Let’s not forget that he sang Summer In the City over 40 years ago.
I got a kick out of John admitting, via the liner notes, to being in uncharted territory when it comes to “Acoustico-Dawg” recordings (i.e., one take recording.) He asked the recording engineer to turn up his guitar and was told to play louder instead. I love it.
This is a CD any guitar player, or musician for that matter, would enjoy. Its approach can be appreciated for what it is, simple and pure. Not unlike me.
More to follow…
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