tag:blogger.com,1999:blog-34980383813726423232024-03-18T22:32:16.251-07:00Michael Doherty's Music LogSharing my love of music.
Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.comBlogger3113125tag:blogger.com,1999:blog-3498038381372642323.post-3058396143934325512024-03-17T11:48:00.000-07:002024-03-17T11:48:02.492-07:00The Dirty Mickeys Pay Tribute To Shane MacGowan At Pocock Brewing Company, 3-16-24<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitX7Zfs9uZmqCH3bERm00fVS8pt7S6-34K6s5ps_t5HK9c5ohClvMAPXm7TRzeUTOBApquRQL_0gnnskwrKLnQ4MGVpDYLNEuGSQBsRkU2vxHU1ErRQjZ1Hw6r6WvYkoG0O5UxM_qtR3LOELtaolb2gONCg9j0wddS9wzgZ1KHxedZeFeuaV5GivEdy03I/s6240/DSCF5167.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitX7Zfs9uZmqCH3bERm00fVS8pt7S6-34K6s5ps_t5HK9c5ohClvMAPXm7TRzeUTOBApquRQL_0gnnskwrKLnQ4MGVpDYLNEuGSQBsRkU2vxHU1ErRQjZ1Hw6r6WvYkoG0O5UxM_qtR3LOELtaolb2gONCg9j0wddS9wzgZ1KHxedZeFeuaV5GivEdy03I/s320/DSCF5167.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"The Sick Bed Of Cuchulainn"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table>Though I’ve been a fan of The Pogues since my early
teens, I never saw them in concert. And with Shane MacGowan’s death in late
November, my thoughts of one day seeing them were put to rest. In honor of
Shane MacGowan and St. Patrick’s Day, a group got together to perform Pogues
numbers at the Pocock Brewing Company in Santa Clarita, California. The group
included two members of Hot Club Of Los Angeles – Jake Bluenote on vocals,
banjo, guitar and tin whistle; and Carl Byron on accordion and keyboard – and their
presence was a big reason why I attended the show. The group also included Pat
Mac Swyney on tin whistle and octave mandolin, Leslie Yeseta on bass and
vocals, Dawn Lunsford on guitar and vocals, and Theresa Snider on drums.<p></p>
<p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1kGUP7jHSh7zt38s-LXhECPJjQsFNMWVydAyM9niXYa2oN1P0G9MELWORa_cl5IboeOFS-GbLPerxBT78LuMt7sRxNxCoCSvHvVvnTxqUEU7LYXjs_RS4l6gOYedPBFgwX7uIe4tRSATTwsFHLMhG40d1hiYdt1QQeWeLa9-ENmYPZczIXBqfjLPqcnCA/s6240/DSCF5093.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1kGUP7jHSh7zt38s-LXhECPJjQsFNMWVydAyM9niXYa2oN1P0G9MELWORa_cl5IboeOFS-GbLPerxBT78LuMt7sRxNxCoCSvHvVvnTxqUEU7LYXjs_RS4l6gOYedPBFgwX7uIe4tRSATTwsFHLMhG40d1hiYdt1QQeWeLa9-ENmYPZczIXBqfjLPqcnCA/s320/DSCF5093.JPG" width="320" /></a></div>The show was scheduled to start at 3 p.m., and though I
got there an hour early, the music was already in progress and the place was packed.
The venue’s St. Patrick’s Day celebration was in full swing a day early. Well,
all right! Jake Bluenote and Pat Mac Swyney were on stage, performing as a duo.
And for the last song of their set, Leslie Yeseta joined them. Their set
wrapped up at 2:31 p.m., and the other members immediately began setting up for
the full band set. The venue had a lively and loud crowd, but some harsh
feedback got everyone’s attention momentarily, as the soundcheck continued. I liked
the place immediately. It had good folks, good vibes and good beer. I started
with Letter Of Marque, an IPA, then switched to Union Brown Porter, and
later tried Mahna Mahna. And, yes, it was named after the song heard in an
episode of <i style="mso-bidi-font-style: normal;">The Muppet Show</i> back in
1976 (though the song is a bit older than that), and that’s why I wanted to try
it. It was delicious.<p></p>
<p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi635AGDcRylNim9ZSj1gM1bIxjFxITheFkBau7y1W9_5J6MQOTSfCKT3CLocKtU8XlEeP4-itZdJS6YB1zbjVaU6ljyrvSx0qixSfs-1N2MlLcFYDPJmnG9-oL87mY3pV-LM-T_18-Ejckjhscjx433U6FaUmgQrl0aQYirmcwIVMoU7bQ24mPSbfpv22b/s6240/DSCF5131.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi635AGDcRylNim9ZSj1gM1bIxjFxITheFkBau7y1W9_5J6MQOTSfCKT3CLocKtU8XlEeP4-itZdJS6YB1zbjVaU6ljyrvSx0qixSfs-1N2MlLcFYDPJmnG9-oL87mY3pV-LM-T_18-Ejckjhscjx433U6FaUmgQrl0aQYirmcwIVMoU7bQ24mPSbfpv22b/s320/DSCF5131.JPG" width="320" /></a></div><br />At 3:11 p.m., Jake said, “<i style="mso-bidi-font-style: normal;">Greetings!</i>” And without another word, the band went right into its
first song, “The Sick Bed Of Cuchulainn,” the lead track from The Pogues’ great
LP <i style="mso-bidi-font-style: normal;">Rum Sodomy & The Lash</i>,
released in 1985. They followed that with “Streams Of Whiskey.” The sound wasn’t
perfect in that room, but the spirit certainly was. The first set also included
“The Ghost Of A Smile,” “Cotton Fields,” “Haunted,” and “Dirty Old Town,” that
last one featuring some nice work by Pat Mac Swyney on harmonica at the
beginning. They also played “Venus In Bother Boots,” a good punk number by The
Nips, the band Shane was in before The Pogues. Jake played guitar on that one,
and also on the last song of the set. And what an interesting number they chose
to close the first set, “An Irish Airman Foresees His Death,” which is a poem
by William Butler Yeats, delivered as spoken word. The first set ended at 3:57
p.m. The band returned at 4:32 p.m. for the second set, which featured songs
like “If I Should Fall From Grace With God,” “White City,” “The Old Main Drag,”
“Lullaby Of London,” “Danny Boy,” “Boat Train,” and “The Rake At The Gates Of
Hell.” Leslie sang lead on “I’m A Man You Don’t Meet Every Day.” That was
followed by “The Body Of An American” and then “Fairytale Of New York.” “Fairytale
Of New York” is far and away the best Christmas song ever written. It is so good
that it is welcome throughout the year (something you can’t say about most
Christmas songs). These guys did an absolutely wonderful job with it. They
followed that with “The Parting Glass,” and concluded the show with “A Rainy
Night In Soho.” The show ended at 5:49 p.m. Apparently, this was planned on
being a one-off, but they had such a good time that it now looks like the band
will be doing this again. And that is good news. I’m hoping next time they’ll
do “Sally MacLennane.”<p></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKihDp544stIzCvmymCcM_WgH7GRxFMEndSUsJnhp104xRqClXMa8JBfOZHv_H6Ar5PJToMlCoaxVNhdEvkwCE552u-pBUE19QCTrbl1AQ4Az07PFc98xtu5GPw7ttCQAA02vQajpaPgRqoE_33l-tjvTGX6DDLndbFYD_GjYPsum_tntTVLbo30hPShYJ/s6240/DSCF5157.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKihDp544stIzCvmymCcM_WgH7GRxFMEndSUsJnhp104xRqClXMa8JBfOZHv_H6Ar5PJToMlCoaxVNhdEvkwCE552u-pBUE19QCTrbl1AQ4Az07PFc98xtu5GPw7ttCQAA02vQajpaPgRqoE_33l-tjvTGX6DDLndbFYD_GjYPsum_tntTVLbo30hPShYJ/s320/DSCF5157.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"The Sick Bed Of Cuchulainn"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjcIup9DBm9g8uYBhiYvsgKfllp1ZO69EtPK71Le3tXr5mUrA2_ts5hVdp9eT5A17bABEM7hdN5uH74REeWTwfTWKcHyrre9rt3ilXg3Fl0gBKlR1MRBOei1Dc4Us3uzm22XCqCdh_V-9T0rHBgzII_kwncFhVKF15ByMvGnRc997QL9UNzt4sL2Eb_nf/s6240/DSCF5203.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSjcIup9DBm9g8uYBhiYvsgKfllp1ZO69EtPK71Le3tXr5mUrA2_ts5hVdp9eT5A17bABEM7hdN5uH74REeWTwfTWKcHyrre9rt3ilXg3Fl0gBKlR1MRBOei1Dc4Us3uzm22XCqCdh_V-9T0rHBgzII_kwncFhVKF15ByMvGnRc997QL9UNzt4sL2Eb_nf/s320/DSCF5203.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Streams Of Whiskey"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3WCh-syUNVl4wfFQcMLhb0uji7b3yk9UR9cP4v7ryBq9ETQJxL5cfYrqer9xAke5oIPZDFllwRflpSv0Vr3NrWTtPL41GD2ByTjpGaHDpEc1xJRvih-_TArUZStiOGRg_icUcDZUF14CmlYIe4sV9Z3u8y__k1HrUBPzqlzngtoSEhI-_rRIay2f07w0/s6240/DSCF5245.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3WCh-syUNVl4wfFQcMLhb0uji7b3yk9UR9cP4v7ryBq9ETQJxL5cfYrqer9xAke5oIPZDFllwRflpSv0Vr3NrWTtPL41GD2ByTjpGaHDpEc1xJRvih-_TArUZStiOGRg_icUcDZUF14CmlYIe4sV9Z3u8y__k1HrUBPzqlzngtoSEhI-_rRIay2f07w0/s320/DSCF5245.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Billy's Bones"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVGbdCbieT6a_HewC7UnZRoeKrzKJzF3hQUhmFR2b8fMr_uyl00C8-EkYPaZX2ewkoZts2x7QxJ0bhBEe-MW3C_Kiv0LF_aGjAhZsMVq0rppsY64QGlTrPzqb1FFtWEwH1ax1SGBBta0Xmb1737R6k63kbjX0vHDEar-ep5lfMIZaGTZ7EMTVhTOcbHQr7/s6240/DSCF5307.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVGbdCbieT6a_HewC7UnZRoeKrzKJzF3hQUhmFR2b8fMr_uyl00C8-EkYPaZX2ewkoZts2x7QxJ0bhBEe-MW3C_Kiv0LF_aGjAhZsMVq0rppsY64QGlTrPzqb1FFtWEwH1ax1SGBBta0Xmb1737R6k63kbjX0vHDEar-ep5lfMIZaGTZ7EMTVhTOcbHQr7/s320/DSCF5307.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Cotton Fields"<br /><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-FTrdvOxgRZhG0glj5fEqh079MY6vM8Sg2GuJgjvW3tqtEv2kGurfevMjXRw2UM5PDX4CdZ4OAVzrz0H3hSUSA1nXmNHdwxp96xh3JG9ub1Wc7By-NlRaLasJW1t3es-s_4pJXaaXew5mN5sIqQBW2uEdyrV40TnquceWnduzu_SL284D3LpHGdw0NcIa/s6240/DSCF5323%20Dirty%20Old%20Town.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-FTrdvOxgRZhG0glj5fEqh079MY6vM8Sg2GuJgjvW3tqtEv2kGurfevMjXRw2UM5PDX4CdZ4OAVzrz0H3hSUSA1nXmNHdwxp96xh3JG9ub1Wc7By-NlRaLasJW1t3es-s_4pJXaaXew5mN5sIqQBW2uEdyrV40TnquceWnduzu_SL284D3LpHGdw0NcIa/s320/DSCF5323%20Dirty%20Old%20Town.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Dirty Old Town"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGklJhBg2CslS7m_gNU1L-xGsQNsKARtcqdjZ1pivk9KrkIFJOBwkbDcky8qBcePFAbpqDQxhwzFaESM4pHMELrYh1Z97E89L1gl4N8rnlU1-3beGkN_L8Kg4o0hLrL7OYw7SK7GmAfn1EwISn1PqRXNh1qxept5oENtAYrlx1VoypHtuoPd77UiCXVisn/s6240/DSCF5440.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGklJhBg2CslS7m_gNU1L-xGsQNsKARtcqdjZ1pivk9KrkIFJOBwkbDcky8qBcePFAbpqDQxhwzFaESM4pHMELrYh1Z97E89L1gl4N8rnlU1-3beGkN_L8Kg4o0hLrL7OYw7SK7GmAfn1EwISn1PqRXNh1qxept5oENtAYrlx1VoypHtuoPd77UiCXVisn/s320/DSCF5440.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"I'm A Man You Don't Meet Every Day"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLd-XVjJwaYBh_coSCLixkuiE2iRQqb655xXVpxppi1L7lrFPXvAub85ALFKxjC0ioYP7e0s0dmgpI_re5xt_y07Kkx9PrYwRxyzydRfQiWMK7d23N9UyezGG8rksZmPP4qupW8A7FWe3-DSQl3664hG5h6REXlR8Rdkc4xJPAOMe8r1JzvOAfg60RRH8/s1640/DSCF5478%20Fairytale%20Of%20New%20York%20cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="701" data-original-width="1640" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLd-XVjJwaYBh_coSCLixkuiE2iRQqb655xXVpxppi1L7lrFPXvAub85ALFKxjC0ioYP7e0s0dmgpI_re5xt_y07Kkx9PrYwRxyzydRfQiWMK7d23N9UyezGG8rksZmPP4qupW8A7FWe3-DSQl3664hG5h6REXlR8Rdkc4xJPAOMe8r1JzvOAfg60RRH8/s320/DSCF5478%20Fairytale%20Of%20New%20York%20cropped.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"Fairytale Of New York"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br />Pocock Brewing Company is located at 24907 Avenue
Tibbitts in Santa Clarita, California.<br />Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-57784067475316768242024-03-15T15:56:00.000-07:002024-03-15T15:56:03.588-07:00Ohio Players: “Observations In Time: The Johnny Brantley/Vidalia Productions” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1lgcK9KDW7Vud5g80oKeeHGJ2mUH-bRtHgDchoY4unLjwl2k8o3vCmaKCakis76LFKR2-7GCIIgaCxMVJyEwOQZjQM8VdEdBulR7YLJYOae8sq-wwXlId09_-rZYvcVwYCas0un4wBF-tOAvg7Gv9ex2zmKUBKRBJVBlgI4KxfuT1qdMWiTHVLZndnKT/s450/zz%20Ohio%20Players.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-1lgcK9KDW7Vud5g80oKeeHGJ2mUH-bRtHgDchoY4unLjwl2k8o3vCmaKCakis76LFKR2-7GCIIgaCxMVJyEwOQZjQM8VdEdBulR7YLJYOae8sq-wwXlId09_-rZYvcVwYCas0un4wBF-tOAvg7Gv9ex2zmKUBKRBJVBlgI4KxfuT1qdMWiTHVLZndnKT/s320/zz%20Ohio%20Players.jpg" width="320" /></a></div>Who hasn’t put “Love Rollercoaster” on at least one mix
tape or mix CD? It probably has the simplest set of lyrics ever written (aside,
I suppose, from some Phish songs), and yet is a lot of fun. Well, six years
before that song was a big hit, Ohio Players released their first album. Titled
<i style="mso-bidi-font-style: normal;">Observations In Time</i>, the record featured
a somewhat different lineup than that on recordings of “Love Rollercoaster” and
“Fire” and “Sweet Sticky Thing.” In the late 1960s, the band included Leroy
Bonner on guitar, Bobby Fears on vocals, Marshall Jones on bass, Ralph Middlebrooks
on trumpet and saxophone, Dutch Robinson on piano and vocals, Clarence Satchell
on saxophone and flute, and Gregory Webster on drums. They also released
some singles during that time. Now the album and singles are collected on a
new disc titled <i style="mso-bidi-font-style: normal;">Observations In Time: The
Johnny Brantley/Vidalia Productions</i>. The collection includes twenty-four
tracks, along with new liner notes by Tim Dillinger-Curenton.<p></p>
<p class="MsoNoSpacing">The first eleven tracks make up the 1969 LP <i style="mso-bidi-font-style: normal;">Observations In Time</i>, that album opening
with “Here Today And Gone Tomorrow,” a rather sweet and soulful number that
eases in before developing a good groove. It features a strong vocal
performance and some cool work on horns. “<i style="mso-bidi-font-style: normal;">That’s
how you show your love to me/That’s how you show your love to me</i>.” I love
how that line is repeated, and the power the second time is striking. We can
hear the need to connect with us in his delivery. “<i style="mso-bidi-font-style: normal;">Each time you come, you leave a little bit of sorrow</i>.” Yes, this
opening track is so much better than the band’s later hits. Things get a little
more fun on “Mother-In-Law,” which opens with the phrase “<i style="mso-bidi-font-style: normal;">The worst person I know</i>.” Ha! No holding back there, but rather
getting right to the point. This track has a seriously delicious rhythm. The
bass line is fantastic, and I love the drumming. This track also features some
excellent work on guitar. The song was written by Allen Toussaint.</p>
<p class="MsoNoSpacing">“Stop Lying To Yourself” has a lively rhythm, and contains
some excellent work from the brass players. That’s followed by an unusual take
on “Over The Rainbow,” which begins on drums. Yet when the vocals come in, it
takes on more of a classic sound. It actually feels like a number for a slow
dance in an early rock and roll setting, working really well in that context.
The pace then picks up on the lines, “<i style="mso-bidi-font-style: normal;">One
day I’ll wish upon a star/And wake up where the clouds are far behind me</i>.” These
guys put their own spin on it, and it is effective. The vocal work here is
really good, sometimes surprising. Things get fun and funky with “Find Someone
To Love,” a delicious instrumental track. Has this music been used in any
movies? If not, someone should write a movie specifically to use this tune. The
band slows things down then with “Cold Cold World,” getting into the blues. “<i style="mso-bidi-font-style: normal;">My poor mother before she died/She said
things won’t ever change/You were born a loser/And all your life you’ll play a
game</i>.” Wow. This is such a good song. Again, this is the music the band
should be known for. Perhaps with this collection, that will become the case.</p>
<p class="MsoNoSpacing">I’ve said it before, but you can never go wrong with
Gershwin. On this album, Ohio Players cover “Summertime,” a song that Janis
Joplin totally nailed when she was with Big Brother & The Holding Company.
There have been a lot of damn good versions of this song over the years, and
this rendition by Ohio Players can certainly be counted among their number.
There is a raw bluesy power, particularly in the guitar work and the vocals, while
the horns have a somewhat smoother sound. The band gets loose here, jamming on
this song, delivering a rendition that is nearly eight minutes long. In the
second half, there is a cool lead on flute. I also love the drumming in that
section. That’s followed by “Bad Bargain,” a soulful and powerful song. Check
out the opening lines: “<i style="mso-bidi-font-style: normal;">A man buys a
house/And the bank takes it away/A woman, you know, she works real hard/And yet
the family grows deeper in debt each day</i>.” These lines are still true
today; well, if someone can actually afford to buy a house in the first place,
that is. “<i style="mso-bidi-font-style: normal;">It’s a bad, bad bargain/When
nobody gains</i>.”</p>
<p class="MsoNoSpacing">“The Man That I Am” features a good, earnest vocal
performance. That’s followed by “Lonely Street,” which begins with the
question, “<i style="mso-bidi-font-style: normal;">Have you ever walked down a
lonely street at midnight/Just to be alone, to think alone, and to dream alone?</i>”
The music itself feels like night, puts us in that space, that feeling. The
original album concludes with “Street Party,” a lively number that might get
you up and dancing. “<i style="mso-bidi-font-style: normal;">There’s a place that
I go in the middle of the summer/Everybody has a good time/The people laugh and
they sing/They don’t talk about their troubles</i>.” That sounds so appealing,
and this song is perhaps the perfect choice to create such an atmosphere. Most
of us could use it.</p>
<p class="MsoNoSpacing">The next several tracks were included on <i style="mso-bidi-font-style: normal;">First Impressions</i>, a collection released
in 1972, but recorded in 1968. <span style="mso-spacerun: yes;"> </span>The first
of those songs is “A Little Soul Party (A Woman & Some Soul),” continuing
the party atmosphere. “<i style="mso-bidi-font-style: normal;">I don’t want no
messin’ around/Hey, I don’t want no delay</i>.” <i style="mso-bidi-font-style: normal;">First Impressions</i> does include a few songs that were also on <i style="mso-bidi-font-style: normal;">Observations In Time</i>, but there are no
repetitions on this disc, so “Over The Rainbow” is skipped, and the next track
is “A Thing Called Love,” a fun number featuring a good bass line and some nice
work from the brass section. That’s followed by “My Neighbors,” a playful and
funky song that makes use of children’s nursery rhymes, bringing those characters
into a modern context, and riffing on them. Then in “Tell Me Why,” the band is
eager for answers regarding the differences in people’s lives.</p>
<p class="MsoNoSpacing">“You Don’t Mean It” and “Trespassin’” were included on <i style="mso-bidi-font-style: normal;">First Impressions</i>, but also released
four years earlier on a single.<span style="mso-spacerun: yes;"> </span>“You Don’t
Mean It” features some delicious percussion, keeping a quick pulse throughout. “<i style="mso-bidi-font-style: normal;">You don’t mean the things you say/You just
couldn’t mean it</i>.” And “Trespassin’” has a fantastic energy and power, with
a raw edge, and also contains some strong work on drums. “I Got To Hold On” and
“It’s A Cryin’ Shame” were likewise included on <i style="mso-bidi-font-style: normal;">First Impressions</i> and released on a single in 1968. I really
like the guitar work that begins “I Got To Hold On.” Here the band professes, “<i style="mso-bidi-font-style: normal;">I can’t stand for you to be away/When you’re
gone one minute, it seems like a day</i>.” “It’s A Cryin’ Shame” is another
track to get folks on their feet, shaking and dancing. “<i style="mso-bidi-font-style: normal;">Lord have mercy</i>,” indeed! <i>First Impressions</i> ends with “Alabama Soupbone,
Pt. 1 & 2,” here listed as “Alabama Soupbone (Pt. 1& 2),” an
instrumental track featuring good stuff on piano and flute. It’s odd how it
fades out approximately halfway through, then comes in again. I guess those are
the different parts, but it’s not a very long song, so it doesn’t make sense
that it’s divided into parts at all. </p>
<p class="MsoNoSpacing">The next two tracks come from <i style="mso-bidi-font-style: normal;">16 Greatest Hits</i>, a 1976 release. The first of those two is “I’ve
Gotta Get Away” (though it was listed as “I Gotta Get Away” on the original
release), and it is another of this collection’s highlights. It’s about getting
away from a relationship, and it features a passionate vocal performance. “<i style="mso-bidi-font-style: normal;">It’s hard to believe now baby that you would
deceive me</i>.” The second is a cover of “Love Slipped Through My Fingers,”
which Ohio Players title “Love Slips Thru My Fingers.” It was written by Edward
Lewis, James Lewis and Marion Farmer, and released on a single Sam Williams in
1967. Ohio Players deliver a good rendition. This collection’s final two
tracks are instrumental renditions of two songs from <i style="mso-bidi-font-style: normal;">Observations In Time</i>, “The Man That I Am” and “Street Party.” They were
included on a 1977 record titled <i style="mso-bidi-font-style: normal;">Superpack</i>.
Interestingly, both tracks are longer than their vocal counterparts, ”Street
Party” by just a few seconds, but “The Man That I Am” by a minute and a half.</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Here Today And Gone Tomorrow</li><li class="MsoNoSpacing">Mother-In-Law</li><li class="MsoNoSpacing">Stop Lying To Yourself</li><li class="MsoNoSpacing">Over The Rainbow</li><li class="MsoNoSpacing">Find Someone To Love</li><li class="MsoNoSpacing">Cold Cold World</li><li class="MsoNoSpacing">Summertime</li><li class="MsoNoSpacing">Bad Bargain</li><li class="MsoNoSpacing">The Man That I Am</li><li class="MsoNoSpacing">Lonely Street</li><li class="MsoNoSpacing">Street Party</li><li class="MsoNoSpacing">A Little Soul Party (A Woman & Some Soul)</li><li class="MsoNoSpacing">A Thing Called Love</li><li class="MsoNoSpacing">My Neighbors</li><li class="MsoNoSpacing">Tell Me Why</li><li class="MsoNoSpacing">You Don’t Mean It</li><li class="MsoNoSpacing">Trespassin’</li><li class="MsoNoSpacing">I Got To Hold On</li><li class="MsoNoSpacing">It’s A Cryin’ Shame</li><li class="MsoNoSpacing">Alabama Soupbone (Pt. 1 & 2)<br /></li><li class="MsoNoSpacing">I’ve Gotta Get Away</li><li class="MsoNoSpacing">Love Slips Thru My Fingers</li><li class="MsoNoSpacing">The Man That I Am (Instrumental)</li><li class="MsoNoSpacing">Street Party (Instrumental)</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Observations In
Time: The Johnny Brantley/Vidalia Productions</i> is scheduled to be released
on April 5, 2024 through Omnivore Recordings.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-72181856875458868432024-03-13T22:28:00.000-07:002024-03-13T22:28:20.123-07:00Loreena McKennitt: “The Road Back Home” (2024) Vinyl Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0dAmGsaASuVi4s5a5x5-69CsiuHDhuBzCbP1tGh9XSdFy5LBbO4K7Y4CoAOUtKR_sZs4QM5D0Ev3VjDGPWLCz0yNSqWoNc012P1KkXl9tjqeYNLl3ZTHgbAQN8YiXlaAnliDxcylbmJIJauwA0RC92LWCih9gVOHvdzBVTLX5kAvcknShrJmMWWeR2Wy/s960/zz%20Loreena%20McKennitt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0dAmGsaASuVi4s5a5x5-69CsiuHDhuBzCbP1tGh9XSdFy5LBbO4K7Y4CoAOUtKR_sZs4QM5D0Ev3VjDGPWLCz0yNSqWoNc012P1KkXl9tjqeYNLl3ZTHgbAQN8YiXlaAnliDxcylbmJIJauwA0RC92LWCih9gVOHvdzBVTLX5kAvcknShrJmMWWeR2Wy/s320/zz%20Loreena%20McKennitt.jpg" width="320" /></a></div>When most of us think of going home, it’s not just a
place that we have in mind, but a time. Always an earlier time, before the
responsibilities of adulthood took hold. And sometimes it’s an almost-mythical
time, a memory that isn’t quite our own, a feeling of what the past must have
been, a return to a time we have heard about, thought about, but not
experienced. And in that time there is a feeling of warmth and comfort and joy,
and so we yearn to be there. Loreena McKennitt has captured that feeling with
her new release, <i style="mso-bidi-font-style: normal;">The Road Back Home</i>,
a live album recorded last summer when she was performing at folk festivals in
Ontario. The tracks on this record come from performances at the Goderich
Celtic Roots Festival and the Summerfolk Music And Crafts Festival. Loreena
McKennitt plays both harp and accordion. She is joined by Caroline Lavelle on
cello and backing vocals; Miriam Fischer on pads, accordion, piano and backing vocals;
Errol Fischer on violin, mandolin, tenor banjo and kick drum; Cait Watson on
whistle and backing vocals; Pete Watson on guitar and backing vocals; and
Romano Dinillo on bodhrán. <p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Side One</b></p>
<p class="MsoNoSpacing">The album opens with “Searching For Lambs,” and Loreena
McKennitt’s gorgeous voice immediately transports us, to both another place and
another time, that destination feeling just right. The cello adds a solemn feel,
sounding like an almost mournful call from the past. “Searching For Lambs” is
followed by “Mary & The Soldier.” Some pretty work on the harp sets the
tone for this one, the sound of this track putting us in a place of green
fields, of innocence, of young love, of community, everything presented in
sunlight. The music is incredibly appealing. Does this not feel like home to
everyone? Then “On A Bright May Morning” contains a beautiful instrumental
introduction, gentle and sweet. Loreena McKennitt possesses a voice that makes
wonders feel natural, and nature feel magical, and which gives us the feeling that
we can take part in it all. It is a voice that is tender and passionate. When she
sings of true love, it has a spiritual quality, the feeling that love is much
greater than its participants. This is a song that Loreena McKennitt included
on her 2010 album <i style="mso-bidi-font-style: normal;">The Wind That Shakes
The Barley</i>.</p>
<p class="MsoNoSpacing">“As I Roved Out” has a strong rhythm. I’ve always loved
this song. Flynn recorded a really good rendition of it for his <i style="mso-bidi-font-style: normal;">Let The Show Begin</i> album. Here Loreena McKennitt
delivers a wonderful rendition, featuring a good energy and some excellent work
on strings. That’s followed by “Custom Gap,” a beautiful piece, feeling like a
dream. I could drift along with this music, knowing it will take me somewhere
spectacular, somewhere safe, somewhere green. And I love that moment when it
picks up in pace and becomes joyful. A good number of Celtic songs do that, and
every one makes me happy. This instrumental track is a delightful way to wrap
up the first side of the record.</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Side Two</b></p>
<p class="MsoNoSpacing">Loreena McKennitt begins the second side with “Bonny
Portmore,” and as the song begins, the music seems to welcome us to a special
spot out in nature. Loreena delivers another gorgeous vocal performance. one of
warmth, of love, of compassion, sounding both timeless and immediate. There is
also some wonderful backing vocal work, some beautiful blending of voices. This
is a song that Loreena McKennitt included on her 1991 album <i style="mso-bidi-font-style: normal;">The Visit</i>. That’s followed by “Greystones,”
an instrumental track. As it begins, it feels like walking along a mountain path,
where there is no danger, where the earth is welcoming, and the trees and even
the sunlight are our companions on the journey, wordlessly guiding our
footsteps and wishing us a safe homecoming. And finally in the distance we see
loved ones waiting for us. So beautiful. “The Star Of The County Down” is
another song that I’ve heard a lot over the years, and have always enjoyed. It
is no surprise that Loreena McKennitt does an excellent job with it. I have not
yet been to Ireland, but this music itself feels like home to me.</p>
<p class="MsoNoSpacing">“Salvation Contradiction” has a pleasant, gentle and
youthful air about it as it begins. And then suddenly, the drums take over, and
lead the piece into a more spirited section. Again, I love it. The music raises
our spirits as it brings us to our feet to dance. There is great joy here. This
instrumental track has a big finish. James Keelaghan joins Loreena McKennitt on
vocals for the final track. However, it begins as a beautiful instrumental, “S<span style="mso-bidi-font-style: italic;">í</span> Bheag, S<span style="mso-bidi-font-style: italic;">í</span> Mh<span style="mso-bidi-font-style: italic;">ó</span>r,” which is
both soothing and uplifting. It feels like a road home indeed, the end of a
long journey. Then it moves into “Wild Mountain Thyme.” Ah, but is our journey
coming to an end, or are we starting another? James Keelaghan sings lead on a
verse. What a wonderful conclusion to an excellent record.</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Record Track List</b></p>
<p class="MsoNoSpacing">Side One</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Searching For Lambs</li><li class="MsoNoSpacing">Mary & The Soldier</li><li class="MsoNoSpacing">On A Bright May Morning</li><li class="MsoNoSpacing">As I Roved Out</li><li class="MsoNoSpacing">Custom Gap</li></ol>
<p class="MsoNoSpacing">Side Two</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Bonny Portmore</li><li class="MsoNoSpacing">Greystones</li><li class="MsoNoSpacing">The Star Of The County Down</li><li class="MsoNoSpacing">Salvation Contradiction</li><li class="MsoNoSpacing">S<span style="mso-bidi-font-style: italic;">í</span> Bheag,
S<span style="mso-bidi-font-style: italic;">í</span> Mh<span style="mso-bidi-font-style: italic;">ó</span>r/Wild Mountain Thyme</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">The Road Back Home</i>
was released on March 8, 2024, and is on 180 gram black vinyl.<br /></p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-55451410785669464502024-03-13T13:59:00.000-07:002024-03-13T13:59:24.093-07:00MOTU: “Acceding To The Apocalypse” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuCCVbGFxlflQkq0ZLqtwPyky7njvYwEpRj7AAue_0iwPOVBPcNTxQLYE35hgx4-ysJNrGqLB5WCIkE28Cd4JMr5Gn3R7qWmPqKsnEgVHVQ4ca-alN-SLR3QU5fA0m0gqpITKkfYeTs_-A6dD252FsWMOFaEM1IECIhWHYd2Df0SkltGLZpfhx9PCz5uIb/s381/zz%20MOTU%20Acceding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="379" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuCCVbGFxlflQkq0ZLqtwPyky7njvYwEpRj7AAue_0iwPOVBPcNTxQLYE35hgx4-ysJNrGqLB5WCIkE28Cd4JMr5Gn3R7qWmPqKsnEgVHVQ4ca-alN-SLR3QU5fA0m0gqpITKkfYeTs_-A6dD252FsWMOFaEM1IECIhWHYd2Df0SkltGLZpfhx9PCz5uIb/s320/zz%20MOTU%20Acceding.jpg" width="318" /></a></div>MOTU is the project and stage name of Richard Michelson,
and it stands for Music Of The Universe. Richard Michelson plays a variety of
instruments on his new album, <i style="mso-bidi-font-style: normal;">Acceding To
The Apocalypse</i>, including acoustic guitar, electric guitar, dobro, pedal
steel, bass, keyboards and harmonica. Like his 2023 release, <a href="https://michaelsmusiclog.blogspot.com/2023/06/motu-water-is-high-songs-of-love-lies.html"><i style="mso-bidi-font-style: normal;">The Water Is High</i></a>, this
new album features all original material, written, arranged and mastered by
Michelson. And as on that earlier release, here he is joined by his wife Dee
Michelson on vocals, and by Ed Modzel on drums. He is also joined this time by
Rich Fry on vocals and guitar.<p></p>
<p class="MsoNoSpacing">The album opens with “The Cost,” which eases in gently,
that vibe working in an almost eerie way with those first images of traffic on
the highway and the line “<i style="mso-bidi-font-style: normal;">Drivers in a
trance seem lost</i>.” Those first lines are particularly effective for those
of us living in Los Angeles and other areas where traffic has become a normal
part of existence. Soon he asks, “<i style="mso-bidi-font-style: normal;">What is
the cost?</i>” And the song builds from there, turning to other areas of what
has become modern life, and featuring some pretty backing vocal work and nice
percussion. This track also features some good guitar work toward the end. “<i style="mso-bidi-font-style: normal;">How much have we lost?</i>” That’s followed
by “Love Is All We Need.” A lonely guitar begins this one, and the song soon
takes on a heavier sound, with a blues rock vibe. The guitar is the song’s
voice for the first few minutes, and even as it rises, there is a sense of
melancholy about it. Then, after three minutes, the vocals come in. “<i style="mso-bidi-font-style: normal;">A place where truth is free/A place where
eyes can see/Love is all we need</i>.” Yet the darker, heavier vibe remains, giving
the impression that love will not conquer all, at least no time soon. It’s an
interesting song, for even on lines like “<i style="mso-bidi-font-style: normal;">The
war for love can be won/One day peace will come/We’ll all live as one/And love
is all we need</i>,” there isn’t a lot of optimism in the delivery. Yes, we
need love. But will we get it? </p>
<p class="MsoNoSpacing">I love the electric guitar work near the beginning of
“Too Much,” and wish that opening section went on a little longer. The song’s
first lines are effective: “<i style="mso-bidi-font-style: normal;">Too many
questions makes a man insane/Too many answers can shut down his brain/Too much
of everything makes you complain/That too many problems will just cause you
pain/Too much confusion from too much news</i>.” This is a time when there is
just too much going on that we are supposed to pay attention to. Too many
people talking, too many people lying, too much rubbish being shoved in our
faces. It’s a wonder that we haven’t all just completely shut down. “<i style="mso-bidi-font-style: normal;">Too little love when there’s much to
despise/Too little truth when there are so many lies</i>.” Yes. Some people
seem to subsist on lies, on garbage, and maybe they’re the sane ones after all,
for they are able to turn what is terrible somehow to their advantage, at least
in their minds. This is one of my personal favorites from this album. Then “When
Your Smile Has Left The Room” has a gentler, sweeter vibe. “<i style="mso-bidi-font-style: normal;">But so much is gone/But I linger on/When
your smile has left the room</i>.”</p>
<p class="MsoNoSpacing">The guitar turns bluesy again for “A Test Of Our Love,”
and MOTU announces in the first line, “<i style="mso-bidi-font-style: normal;">Life
is pain</i>.” Yes, but that’s not all it is. “<i style="mso-bidi-font-style: normal;">Life is sort of/A test of our love</i>,” Richard Michelson sings, but
something about his delivery, and about the sound of this track, seems hopeful,
even positive. “<i style="mso-bidi-font-style: normal;">Nothing can be clear/We hear
what we want to hear/No tears left to get rid of/A test of our love</i>.” That’s
followed by “You’re Just A Pile Of Crap,” another of the disc’s highlights. I
love that raw bluesy guitar that begins this track, setting a cool tone. Even
before the lyrics begin, just that title creates the image of a certain person
in our minds. “<i style="mso-bidi-font-style: normal;">Lots of lies, but no
facts/We can see through your trap/You’re just a pile of crap/Think too much of
yourself/Not much of everyone else/Directing everyone to cheer and clap/You’re
just a pile of crap.</i>” I love the delivery of that title line. It is clear
to anyone with eyes and ears and hearts that Donald Trump is just a pile of
crap. What’s bewildering to me is that there are millions of people who adore
him. What is it they adore? He has no redeeming qualities, not even one, and
that is some kind of feat. Seriously, he is completely devoid of any and all
positive qualities. This song is straightforward, the message not couched in
any flowery language, and I love it. I also love the harmonica work.</p>
<p class="MsoNoSpacing">“<i style="mso-bidi-font-style: normal;">And nothing,
nothing here seems real/I’m looking for answers</i>.” I love how “I’m Looking
For Answers” moves slowly, fitting for that search for answers, and giving it a
haunted feel. In one verse, this song addresses mass shootings, how politicians
offer thoughts and prayers, “<i style="mso-bidi-font-style: normal;">But do
nothing and don’t even care</i>.” If the horrors at Sandy Hook weren’t enough
to effect change, then change will likely never happen. What we have to hope
for, sadly, is that the children of all Republican politicians will be victims
of gun violence. That is the only way those politicians will entertain a solution
to the problem. It has to touch them personally. This song is another of the
album’s gems. It’s followed by “I Can’t Be Denied.” There is some cool, raw
work on harmonica at the beginning of this one. “<i style="mso-bidi-font-style: normal;">I’m a man, yeah, and I can’t be denied</i>,” we hear, and we wonder
where he might be going with this one. “<i style="mso-bidi-font-style: normal;">You’re
my woman, yeah, so make me satisfied</i>.” This track has that classic vibe,
and so the lyrics could certainly be in earnest, as they fit with older songs
of that style, that sound, that vibe, but it could also be a comment on that
very thing. Either way, the track features some excellent work on guitar.</p>
<p class="MsoNoSpacing">“Acceding To The Apocalypse,” the album’s title track,
comes on with a cool punk energy, particularly in that bass work, and becomes a
good, hard-driving blues tune, the album’s only instrumental track. The album then
concludes with “History Repeats Itself,” another strong number. “<i style="mso-bidi-font-style: normal;">Only a fool thinks power can bring
happiness/A hole in his heart where his soul used to rest/Anger brings
confusion as he lies to himself/Ignorant of the past, history repeats itself</i>.”
And, yes, we are again talking about an ignorant, racist ex-game show host that
somehow became president of the United States. One of the scariest things about
Trump is that he has no curiosity about anything. He’s probably never read a
book in his life. But scarier than that is that even after his attempt at
overthrowing this nation’s democracy, many citizens support him. They crave a
dictator. What has gone wrong with people? Well, it’s something that went wrong
before, and this song takes us to November 1923, when there was a failed coup
attempt by Adolf Hitler. “<i style="mso-bidi-font-style: normal;">An autocrat
only ever cares about himself/Ignorant of the past, history repeats itself</i>.”</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">The Cost</li><li class="MsoNoSpacing">Love Is All We Need</li><li class="MsoNoSpacing">Too Much</li><li class="MsoNoSpacing">When Your Smile Has Left The Room</li><li class="MsoNoSpacing">A Test Of Our Love</li><li class="MsoNoSpacing">You’re Just A Pile Of Crap</li><li class="MsoNoSpacing">I’m Looking For Answers</li><li class="MsoNoSpacing">I Can’t Be Denied</li><li class="MsoNoSpacing">Acceding To The Apocalypse</li><li class="MsoNoSpacing">History Repeats Itself</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Acceding To The
Apocalypse</i> is scheduled to be released on March 29, 2024.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-68320616760129975582024-03-11T15:22:00.000-07:002024-03-11T15:49:47.380-07:00Betty Bryant at The Jazz Salon, 3-10-24 Concert Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDa_WFlma1BKKZqAfO9fCVrvsuJSBjmwmYTJqTj5cvR5qiGAtR5xgocWoRv1ls1KAtT5UrBnLBfXJNO5JpIVORLWXHEtFSslDnkF26MyLTWMDDHDBwkewEQJPRwcUDBQPFLXj2_VpXVOZhrBGryfwp2HP-RDEEmxIi8Dea6YcC0xxiaZfI2UI53vnQxH2F/s6240/DSCF4939.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDa_WFlma1BKKZqAfO9fCVrvsuJSBjmwmYTJqTj5cvR5qiGAtR5xgocWoRv1ls1KAtT5UrBnLBfXJNO5JpIVORLWXHEtFSslDnkF26MyLTWMDDHDBwkewEQJPRwcUDBQPFLXj2_VpXVOZhrBGryfwp2HP-RDEEmxIi8Dea6YcC0xxiaZfI2UI53vnQxH2F/s320/DSCF4939.JPG" width="213" /></a></div>The Jazz Salon is a weekly event that until recently was
held on Thursday evenings at the Los Angeles Athletic Club in downtown L.A.,
and has now moved to Sundays. Last night vocalist and pianist Betty Bryant
delivered two wonderful sets, backed by Dave Ross on bass, Judd Pillot on
drums, and Robert Kyle on saxophone and flute. It was Betty Bryant’s first time
playing at the venue since the change to Sundays, and while the crowd was perhaps
a little smaller than usual, as Dave Ross mentioned, it was also more
attentive. Folks were there to hear this tremendous talent, and were not
disappointed.<p></p>
<p class="MsoNoSpacing">The concert was scheduled to start at 6 p.m., and at 5:59,
Betty, with a cane to aid her walk (she’s ninety-four years old), made her way
to the stage to keep as close as possible to that start time. The band warmed
up with an instrumental number, each musician getting a chance to shine, and
Betty immediately delivering the goods on piano. The band then went into “I
Remember You.” “<i style="mso-bidi-font-style: normal;">When my life is through/And
the angels ask me to recall/The thrill of it all</i>,” Betty sang. Ah, these are
the moments I will remember, catching great shows like this one. This is what
it’s all about for me. The first set also included songs by Antonio Carlos
Jobim and Jimmy Van Heusen, along with a delightful rendition of “Until The
Real Thing Comes Along.” At the end of the first set, Betty Bryant got bluesy
with a very cool version of “Stormy Monday,” featuring some wonderful stuff on
keys, as well as great solos on saxophone and bass. This song was included on
her new album, <a href="https://michaelsmusiclog.blogspot.com/2024/01/betty-bryant-lotta-livin-2024-cd-review.html"><i style="mso-bidi-font-style: normal;">Lotta Livin’</i></a>, and was a highlight of the first set.</p>
<p class="MsoNoSpacing">After a thirty-minute break, Betty Bryant started the
second set with another song from <i style="mso-bidi-font-style: normal;">Lotta
Livin’</i>, “The Devil And The Deep Blue Sea,” which was one of the gems of the
evening. She followed that with yet another of the show’s highlights, an
original number titled “I Can’t Walk Like Tina Turner In My High-Heeled Shoes,”
a song that was funny and delightful. In her introduction, she mentioned that
the song was inspired by a moment when Johnny Carson said that Tina Turner was
put on this planet to teach women how to walk in high-heeled shoes. Another fun
number from the second set was “I Got Rhythm,” which featured an excellent lead on
bass. Enjoying this song, I was struck by how Los Angeles really has some
stellar musicians. I’m lucky to be living in a city with so much great music. After it, Betty said, “<i style="mso-bidi-font-style: normal;">Thank you, Mr. Gershwin</i>.” Robert Kyle played flute on that song,
and on the one that followed it, “Baby Baby All The Time,” a song that Betty
Bryant included on <i style="mso-bidi-font-style: normal;">Lotta Livin’</i>, and
one that was a highlight of the show. She followed that with a fun rendition of
“Exactly Like You,” getting the audience to sing that title line. In the middle
of the song, she told the crowd, “<i style="mso-bidi-font-style: normal;">You’re
doing very well</i>,” then delivered a wonderful lead on keys. At the end of
that song, she said she was signing us all up and taking us on the road
tomorrow. I got the feeling everyone in the room would have been game for that.
She then gave us “A Lot Of Livin’ To Do,” the closing track from the new album.
It was a treat to hear this one. Well, honestly, it was a treat to hear each
song she chose to perform last night. She wrapped up the show with an original
number, “The Goodbye Song.” As she sang, “<i style="mso-bidi-font-style: normal;">to
bask in the warmth of your smile</i>,” her own smile was wide and beautiful.
The show ended at 8:35 p.m.</p>
<p class="MsoNoSpacing">Here are a few photos from the show:</p>
<p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz3nDNqRkhR8I0i9g4ekwOlht245n9598TNx3bWwKVROEJxhE7bYw7Zrg2a4oV20dIMz52asLpI7N18r-ydNISt1n5vrdhseE3Nvv4hCCkpkbSJ9ngibJP06GfiTRi3e5ZAI_6XGpYBxpbZ1Tc26_bG6Fz8GNsN2K0duejL7-VVeKS9SfGlDU04X6jnoOQ/s6240/DSCF4927.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz3nDNqRkhR8I0i9g4ekwOlht245n9598TNx3bWwKVROEJxhE7bYw7Zrg2a4oV20dIMz52asLpI7N18r-ydNISt1n5vrdhseE3Nvv4hCCkpkbSJ9ngibJP06GfiTRi3e5ZAI_6XGpYBxpbZ1Tc26_bG6Fz8GNsN2K0duejL7-VVeKS9SfGlDU04X6jnoOQ/s320/DSCF4927.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGx0v1ONs8RDKe9VzOYsZokW3VpcQI-6fVYSOR4JbNMCQJjjPaWXIXMJ-LXxKv8jm10QNUYnPLYVPjWbAmo3Sjx20kCZte3n3_XdzOlyLLKLZZYxbKIczIt-gU0DRGK6RN6x5_k-E3uC0HstnqFi31dBmsWGC1IJhepBiyeBj7umjO4AzKUashAOmXw9BW/s6240/DSCF4944.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGx0v1ONs8RDKe9VzOYsZokW3VpcQI-6fVYSOR4JbNMCQJjjPaWXIXMJ-LXxKv8jm10QNUYnPLYVPjWbAmo3Sjx20kCZte3n3_XdzOlyLLKLZZYxbKIczIt-gU0DRGK6RN6x5_k-E3uC0HstnqFi31dBmsWGC1IJhepBiyeBj7umjO4AzKUashAOmXw9BW/s320/DSCF4944.JPG" width="320" /></a></div><p></p>
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Angeles Athletic Club, at 431 W. 7th St. in Los Angeles, California.
Apparently, the room is going to be reconfigured soon, and will be separate
from the dining area, making it even more of a listening room, which works well
for those who are there for the music. For more information on The Jazz Salon music series, and to make reservations, visit the <a href="https://jazzsalon.org/">website</a>. <br />Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-17393070228310834752024-03-10T13:32:00.000-07:002024-03-10T13:32:00.215-07:00Brief Notes On New Jazz Releases<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing">Why are we still mired in the same horrid political
landscape of 2016? Shouldn’t Donald Trump be in prison by now? The next several
months are going to be tiring and vexing, and I am thankful for the musicians
who will help keep us sane throughout the campaign. Here are notes on a few new
jazz albums you might want to check out. This time, I chose all female artists.
Woman can, and should, have a powerful voice in this election, if they choose
to combat the Republican cult that is bent on eliminating their rights.</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMnbz4ApvP8EEqcTZ-GS7SxKbwvUf0yFvlGoyLtO61A6q6DP7FS5Zh0DtZR4cDJ0LB20NVxV5nUtrWZuMxiu09LqPy6PQ012Od3o2T-JrhznBzYSaUUQyhQ-k253qhdTdCn6VZuuaQDHTc4uQthjzLIZN4cnBgUARe_RlTuvMdVRiOmBWKATPRsbe7gVd/s450/zz%20Ellie%20Lee%20Escape.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggMnbz4ApvP8EEqcTZ-GS7SxKbwvUf0yFvlGoyLtO61A6q6DP7FS5Zh0DtZR4cDJ0LB20NVxV5nUtrWZuMxiu09LqPy6PQ012Od3o2T-JrhznBzYSaUUQyhQ-k253qhdTdCn6VZuuaQDHTc4uQthjzLIZN4cnBgUARe_RlTuvMdVRiOmBWKATPRsbe7gVd/s320/zz%20Ellie%20Lee%20Escape.jpg" width="320" /></a></b></div><b style="mso-bidi-font-weight: normal;">Ellie Lee:
“Escape”</b> – Ellie Lee is a pianist and composer originally from South Korea,
and now based in New York. She studied at Berklee College of Music, where she
moved from classical to jazz. Her new album features mostly original material.
Joining her on this release are Steve Wilson on saxophone, Steve LaSpina on
bass, and Jongkuk Kim on drums. <i style="mso-bidi-font-style: normal;">Escape</i>
opens with its title track, and as it begins it does feel like an escape from
the stress of everyday life, though perhaps some thoughts remain on the sources
of that stress. There is joy here, but also need, and I think many people can
relate to that feeling. The track features some particularly strong work on
saxophone. “Escape” is followed by “Beyond The Blue,” which has a rather tense
beginning, but soon relaxes as the saxophone comes in, with a briefly wistful
feel, before building in power again to become an exciting piece. I love how
the piano drives things forward with a great force at times. The mood turns
gentler as “A Fine Day” begins, and the feeling is of letting one’s thoughts
stray with the breezes, with no agenda except to keep negative thoughts to a
minimum. There is some beautiful work on piano. And speaking of breezes, that
track is followed by “Melrose Breeze,” which feels like a dance that takes
place just above the ground, where maybe you are not even aware that your feet
are no longer in contact with the earth. I particularly love the work on drums
here. The album’s only cover is “Whisper Not,” written by saxophone player Benny
Golson, here presented with an arrangement by Ellie Lee. As you might expect,
the track features some excellent and lively work on saxophone. That’s followed
by “Toss And Turn,” which has kind of a light vibe and features some wonderful
work on bass. Nice solo work on piano gets “On The Road” off to a good start.
This track has a warm feel to it, particularly the piano, and it leaves me
feeling happy and optimistic. The album then concludes with “New Chapter,”
which seems to move with confidence toward the future. Then nearly two minutes
in, things get more fun. It feels like the musicians are really enjoying
themselves, and there is a great energy to this track. This album is scheduled
to be released on May 24, 2024.<p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaJ-XC-Ar6ZsiOoBoW6PJV_1LRoNC0um0Re-Q3yg4pgIA7HMhsN_X1EIoNFnZiCaatVAQlSYH-7PTxCq8qPf_LyW4zvCHPQbpyeIo5wUBh2ew-4HuFdSm6cHfxvVh1xaRUDg4QPcgOKkUDfUkshrBcFJn6wprYOQU93MssStp1adf9m54Gmpwgf70Y7gW0/s406/Screenshot%202024-03-10%20at%2013-27-49%2061nFeDVsqsL._AC_UY327_FMwebp_QL65_.jpg%20(WEBP%20Image%20327%20%C3%97%20327%20pixels).png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="406" data-original-width="398" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaJ-XC-Ar6ZsiOoBoW6PJV_1LRoNC0um0Re-Q3yg4pgIA7HMhsN_X1EIoNFnZiCaatVAQlSYH-7PTxCq8qPf_LyW4zvCHPQbpyeIo5wUBh2ew-4HuFdSm6cHfxvVh1xaRUDg4QPcgOKkUDfUkshrBcFJn6wprYOQU93MssStp1adf9m54Gmpwgf70Y7gW0/s320/Screenshot%202024-03-10%20at%2013-27-49%2061nFeDVsqsL._AC_UY327_FMwebp_QL65_.jpg%20(WEBP%20Image%20327%20%C3%97%20327%20pixels).png" width="314" /></a></b></div><b style="mso-bidi-font-weight: normal;">Danette McMahon:
“No More Excuses”</b> – Vocalist and composer Danette McMahon’s new album
features mostly original material, along with two interesting choices of
covers. Joining her on this release are Joe LoCascio on piano, Andre Lienhard
on piano, Phillip Jones on organ, Paul Chester on guitar, Anthony Sapp on
upright bass, Mark Simmons on drums, Milton Comeaux on percussion, Woody Witt
on tenor saxophone, Ed Lowe on trombone, Lay Arredondo on flugelhorn, and
Patrick Moore on cello. The album opens with “Innocent Bystander,” which right
away gets into a good groove, featuring some cool work on keys. Danette McMahon
delivers a passionate vocal performance on this song about helping our fellow
humans, those who might not be noticed. “<i style="mso-bidi-font-style: normal;">How
can I turn my head and look the other way/When the unspoken words can have so
much to say/‘Do unto others’ kept pounding in my head/Then I heard a voice that
clearly said, ‘You’re not an innocent bystander.’</i>” It’s a strong song,
though it does employ that “self”/“shelf” rhyme. It’s followed by “Come Dance
With Me,” which contains some really nice guitar work, particularly at the
beginning. It’s a sweet love song with a Latin groove. And if it doesn’t get
you dancing, it should at least get you smiling and wanting to hold your
special someone. Then in “Life Goes On,” a love has come to an end, and she has
to gather herself to go on and perform. And what a great vocal performance she
delivers here, with the right amount of ache. “<i style="mso-bidi-font-style: normal;">I can sing of love/And make it sound so sweet/But when I close my eyes
at night/I feel numb from my head to my feet</i>.” This track also features some
wonderful work on saxophone. Things then get lighter with “Road Trip,”
certainly a good song to include on your traveling play list. One of my
personal favorites is “Naughty Girl,” with its playful and sexy mood, and that
great stuff on trombone. “<i style="mso-bidi-font-style: normal;">I want to be a
naughty girl/Leave my prim and proper ways behind/You can take my sugar, add a
whole lot of spice/Hello to nasty, I’m done being nice</i>.” Oh yes! Another of
the disc’s highlights is “Don’t Pretend,” which features some excellent work on
keys and a fantastic vocal performance. Here is a taste of the lyrics: “<i style="mso-bidi-font-style: normal;">I was such a hopeless romantic/You, you were
just hopeless/Now it all comes down to this/Who gets the house, who gets the
cars/Who gets the kids that wear the scars</i>.” The first of the two covers is
“Wonderwall.” Yes, the Oasis song. But don’t let that scare you off. Danette
McMahon chooses a really nice approach, her vocals supported by just piano and
cello. And of course she has a much better voice than the guy from Oasis, so
this rendition is far superior to the original. The other cover is “You And Me,”
a Dave Matthews Band song. Though many of my friends love Dave Matthews, I have
never been able to get into his stuff. But Danette McMahon delivers a sweet,
positive and hopeful rendition that includes flugelhorn. The album concludes
with another of its highlights, “The Lady I Never Knew,” which features a
delicious groove, some cool work on organ, and a heartfelt vocal performance. This
album was released on January 26, 2024.<p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz7d33TrNYiCLNNNuwEHIHA8N2-mmTRz9L0Y96PyaqngdFYeahlE2flOlcwMjvKpyuwe_4TJspUXgOVAUJDu3xPcP-la4vT60qu2IUEPFIh4jmBlOGarXAk8z8k3eZy5JwhnotLBYfXF1j64kZa_OMfD2TVVQZYprkkqrN63flHWzZ5Ej_FaicUnGklY5/s408/Screenshot%202024-03-10%20at%2013-24-07%20718rRnnvh1L._AC_UY327_FMwebp_QL65_.jpg%20(WEBP%20Image%20327%20%C3%97%20327%20pixels).png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="408" data-original-width="408" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLz7d33TrNYiCLNNNuwEHIHA8N2-mmTRz9L0Y96PyaqngdFYeahlE2flOlcwMjvKpyuwe_4TJspUXgOVAUJDu3xPcP-la4vT60qu2IUEPFIh4jmBlOGarXAk8z8k3eZy5JwhnotLBYfXF1j64kZa_OMfD2TVVQZYprkkqrN63flHWzZ5Ej_FaicUnGklY5/s320/Screenshot%202024-03-10%20at%2013-24-07%20718rRnnvh1L._AC_UY327_FMwebp_QL65_.jpg%20(WEBP%20Image%20327%20%C3%97%20327%20pixels).png" width="320" /></a></b></div><b style="mso-bidi-font-weight: normal;">Julia Vari:
“Somos”</b> – Vocalist Julia Vari is joined by Negroni’s Trio on her new album,
<i style="mso-bidi-font-style: normal;">Somos</i>. The trio is made up of the
father-and-son team of Jos<span style="mso-bidi-font-style: italic;">é</span>
Negroni on piano and Nomar Negroni on drums, along with Rafael Valencia on
bass. Julia Vari sings in several languages, and opens the album with “La
Bikina,” written by Rub<span style="mso-bidi-font-style: italic;">é</span>n
Fuentes, and immediately displays the power and passion and beauty of her
voice. She is captivating from those opening moments, and then chooses points
to become more intimate. Nathan Samuelson joins the group on trumpet for this
track, delivering a wonderful lead in the second half. I love how Julia Vari
gets playful at the end. That’s followed by “Nature Boy,” a song recorded by
Nat King Cole in the late 1940s. Julia Vari’s rendition begins with some really
nice work on piano, and then as she sings “<i style="mso-bidi-font-style: normal;">A
very strange, enchanted boy</i>,” there is a bit of magic in her delivery. Ah
yes, she is able to enchant all who listen, even as she riffs without actual
words. And this track features some delicious work on piano. Then “Siboney”
begins with some cool work on drums, and establishes an excellent rhythm before
Julia’s seductive vocals come in. There is another fantastic lead on piano on
this track. Julia Vari then puts her own spin on Horace Silver’s “Song For My
Father,” with Portuguese lyrics by Carolina P<span style="mso-bidi-font-style: italic;">é</span>rez Sanz. She delivers another beautiful vocal performance, and
this track features a great bass line. She slows things down with a gorgeous
rendition of Agust<span style="mso-bidi-font-weight: bold;">í</span>n Lara’s “Noche
De Ronda,” a song that was a hit for Elvira R<span style="mso-bidi-font-weight: bold;">í</span>os. Julia Vari does a tremendous job with this song, and it’s one
of my personal favorites on the album. On this song, she is backed by just
piano. Things get lively again with her rendition of “C’est Si Bon,” which she
sings in French and English. She is once again seductive here, and this track
features a good lead on bass, with Julia Vari offering some accompanying scat.
The track becomes more playful toward the end. The album concludes with “Historia
De Un Amor,” written by Carlos Eleta Almar<span lang="ES" style="mso-ansi-language: ES;">á</span>n, and covered by a lot of artists over the years. Julia Vari
delivers a passionate rendition. This album was released on February 16, 2024.<p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtsTBvI4VcGDzycPVARKNTxl976CmNEU7KQ4C295TOpcZk3r4U9YFG81ND3z8Y4Mj9hy_glp1FxthIXdOPYRrq0vabhxeVD0Il7wWgSkh2SS1WBTfBCIs1bC0QqpB4J1kJJH8aXSNsrQcMeJvJulOafQCGj3COpBy0kTJpVetTZ8H0xri7v32Q78wJKvD5/s425/zz%20Lauren%20White%20Making.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtsTBvI4VcGDzycPVARKNTxl976CmNEU7KQ4C295TOpcZk3r4U9YFG81ND3z8Y4Mj9hy_glp1FxthIXdOPYRrq0vabhxeVD0Il7wWgSkh2SS1WBTfBCIs1bC0QqpB4J1kJJH8aXSNsrQcMeJvJulOafQCGj3COpBy0kTJpVetTZ8H0xri7v32Q78wJKvD5/s320/zz%20Lauren%20White%20Making.jpg" width="320" /></a></b></div><b style="mso-bidi-font-weight: normal;">Lauren White:
“Making It Up As We Go Along”</b> – Vocalist Lauren White chooses a mix of pop
and jazz numbers to cover on her new album, the songs dealing with different
aspects of love and relationships. She opens things with “I’m Not The Same
Without You,” written by Donald Fagen and included on his 2012 album <i style="mso-bidi-font-style: normal;">Sunken Condos</i>. While you might expect a
song with that title to be about a longing, this song goes a different route: “<i style="mso-bidi-font-style: normal;">I feel much stronger than I have in years/My
mind is sharp now, and my spirit’s sound</i>.” The line that always makes me smile
is, “<i style="mso-bidi-font-style: normal;">I can hold my breath for a really
long time now</i>,” and Lauren’s delivery is perfect. She is happy, even
astounded at the changes, but not boasting. This track features a delicious
lead on piano by Quinn Johnson, who also did the arrangements on this release.
She then goes in a different direction with her rendition of “I’m Glad There Is
You,” giving it a bossa nova vibe, which works with the friendly warmth of her
voice. This track also features some excellent guitar work by Larry Koonse. Lauren
White’s rendition of Ron Boustead’s “Unlikely Valentine” has a seriously cool
opening section, with great stuff from the rhythm section, setting things in
motion. I especially love Ken Axt’s work on bass. Lauren White’s vocal approach
is bright and lively, and this track is a highlight. “<i style="mso-bidi-font-style: normal;">It’s only love, don’t be afraid</i>.” She then slows things down with
“Our Game,” becoming more intimate. Ken Axt has a chance to shine on this track
as well. Lauren White then has fun with “Tin Tin Deo,” which features some great
stuff by Chris Wabich on drums, as well as a wonderful lead on flute by Katisse
Buckingham. She follows that with Mark Winkler’s “Lowercase,” which was
included on his <i style="mso-bidi-font-style: normal;">Till I Get It Right</i>
album. This one features a cool rhythm. Ray Brinker is on drums, and Trey Henry
plays bass on this track. Paul Jost then joins her on vocals for a good
rendition of “Vrohoula,” delivering some fun scat. This track also features
some phenomenal stuff by Larry Koonse on guitar. “<i style="mso-bidi-font-style: normal;">We’re just as right as we are wrong/We’re making it up as we go along</i>,”
Lauren sings in the album’s title track. Ah, I believe that’s the case for all
of us, making it up as we go. She draws us closer with her rendition of “I Have
The Feeling I’ve Been Here Before,” then follows that with a strong rendition
of Stevie Wonder’s “Make Sure You’re Sure.” She wraps up the album with “Turn
Out The Stars,” her vocals supported just by Quinn Johnson on piano. This album
is scheduled to be released on March 15, 2024.<p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl0vPyh0sVClpZwMawYcqLTO8_pY84MWpPu-cIx-Pg9gLji2XpaRvkT8Dfj8d4mbKcn2_cK7UGHEZeJA-fFkhvtM8vtZSllC3z-pHmx2LNM_er3zlnQp68xbRCXDcXQ2mbTdPKO9p0tN1dTVlM6c_dfcVCQcjnjtBnfhqb4nQrMDXUhYbrxkydqBAyto6P/s341/Screenshot%202024-03-10%20at%2013-25-49%20RECORDINGS.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="303" data-original-width="341" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl0vPyh0sVClpZwMawYcqLTO8_pY84MWpPu-cIx-Pg9gLji2XpaRvkT8Dfj8d4mbKcn2_cK7UGHEZeJA-fFkhvtM8vtZSllC3z-pHmx2LNM_er3zlnQp68xbRCXDcXQ2mbTdPKO9p0tN1dTVlM6c_dfcVCQcjnjtBnfhqb4nQrMDXUhYbrxkydqBAyto6P/s320/Screenshot%202024-03-10%20at%2013-25-49%20RECORDINGS.png" width="320" /></a></b></div><b style="mso-bidi-font-weight: normal;">Andrea Wolper:
“Wanderlust”</b> – Vocalist and composer Andrea Wolper delivers a mix of
original material and covers on her new album, opening it with a seriously cool
take on Ray Charles’ “Light Out Of Darkness.” I love the way it kind of sneaks
up on us at the beginning, building before her sexy vocals come in. And then,
watch out, because she will own you before long. The band helps cast her spell
over everyone who listens. John Di Martino is on piano, Ken Filiano is on bass,
Michael TA Thompson is on drums, Charlie Burnham is on violin, and Jeff Lederer
plays both clarinet and flute on this album. This first track features a
wonderful lead on violin. She follows that with a cover of “Dog Day Afternoon,”
written by Wayne Carson and recorded by Shelby Lynne, and puts her own spin on
it, giving it a beautiful late-night vibe. What a gorgeous vocal performance. Then
we get the first of the album’s original compositions, “Sobe E Desce,” which
has a delightfully odd beginning, Andrea adding playful vocal elements, before
the song settles into a pleasant groove, the flute accompanying her vocal line
for a time. But what I love most here is the work on drums, even before that
cool section where the bass and drums respond to each other. She switches gears
with “Still Life,” another original number, this one with a somewhat
contemplative air, her voice supported by piano. “<i style="mso-bidi-font-style: normal;">I light a single candle/I watch the flame/And speak your name</i>.”
That’s followed by a cool rendition of Abbey Lincoln’s “The Music Is The
Magic,” emerging from a dark corner of a hot club to snake and dance its way
into your heart. Magic, indeed! She returns to original material with “The
Nature Of Life,” an interesting piece that transports us to some distance place
before she begins her spoken word delivery of the song’s lyrics. “Nevermore,”
another original tune, begins with a captivating bass solo, setting the tone
for the great allure of her vocal performance. “<i style="mso-bidi-font-style: normal;">You beckon me, and then you close the door/Well, to quote ‘The Raven,’
darling, nevermore</i>.” How can you not fall for a song this cool,
particularly when it refers to Edgar Allan Poe? This album also includes a
completely improvised piece, “Cisluna,” which has some nice peaks and moments
of tension that are also somehow beautiful. Andrea Wolper wraps things up with
“The Winter Of Our Content,” a title that I can’t help but love, as it is a
play on the opening of Shakespeare’s <i style="mso-bidi-font-style: normal;">Richard
The Third</i>: “<i style="mso-bidi-font-style: normal;">Now is the winter of our
discontent/Made glorious summer by this son of York</i>.” This track is a
delight, and its title isn’t the only nod to Shakespeare. She refers to a scene
from <i style="mso-bidi-font-style: normal;">Romeo And Juliet</i> in the line, “<i style="mso-bidi-font-style: normal;">Ever nightingale, never lark</i>.” She also
uses the expression “<i style="mso-bidi-font-style: normal;">tempest-tossed</i>,”
which Shakespeare first used in <i style="mso-bidi-font-style: normal;">Romeo And
Juliet</i>, and then used again in <i style="mso-bidi-font-style: normal;">Macbeth</i>.
This album is scheduled to be released on April 12, 2024. <br /><p></p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-70540662147624199432024-03-09T16:42:00.000-08:002024-03-09T16:42:24.643-08:00International Women’s Day at The Hotel Café, 3-8-24: Photos<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRW911GQ5OMiP4LTxJrcFjv1pEEsZB0r-4gGp_xYlMsutXOi33ig3wZaye-1ucAyy5luDrVLKR6yr_XfgWXnJ-mMtUcHAflpFXcQCbzYCGVS7fy78cA1LN97lQsax_xv9piOrjVX6uK1O3EmvWMyZpy47lfgj1Qe5G17Uf-bqHEnN_jwPrXvgbpBqxVUQJ/s6240/DSCF4602.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRW911GQ5OMiP4LTxJrcFjv1pEEsZB0r-4gGp_xYlMsutXOi33ig3wZaye-1ucAyy5luDrVLKR6yr_XfgWXnJ-mMtUcHAflpFXcQCbzYCGVS7fy78cA1LN97lQsax_xv9piOrjVX6uK1O3EmvWMyZpy47lfgj1Qe5G17Uf-bqHEnN_jwPrXvgbpBqxVUQJ/s320/DSCF4602.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hannah Avison and Kalie Shorr</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table>To honor International Women’s Day, a concert featuring
female artists was held at The Hotel Café last night. The event took place in
the Second Stage area of the venue, a wonderfully intimate space, and featured
an excellent lineup of performers, each of whom performed three or four songs.
Gena B. Jones opened the night just after 6:30 p.m. with a little standup
comedy, and then introduced the first musical act, Lisa Sanders & Brown
Sugar. For their third song, Lisa Sanders & Brown Sugar chose to cover “Wonderful
World,” delivering a heartfelt and moving rendition, and getting the audience
singing along. It was a beautiful moment, and it really helped set the perfect
tone for the evening. The lineup also included, in order, Maureen Toth, Leeann
Skoda, Taylor Kelly, Devon Michael, Hannah Avison, Kalie Shorr, Rainy Terrell,
Averi Burk, and Lavalove. There were excellent performances throughout the
night, but highlights for me were Maureen Toth, Leeann Skoda (I especially
enjoyed her song “The Living Room”), Taylor Kelly (who was joined by Logan Roth
on keyboard), Hannah Avison, Kalie Shorr, and Rainy Terrell (of Alibis).
Kalie Shorr supported Hannah Avison on guitar and backing vocals, and then stayed
on stage for her own set, and those two sets were particularly great. Hannah
Avison’s “Where Would You Rather Die,” a funny song inspired by an actual
conversation, was perhaps my favorite number of the show. And Kalie Shorr’s “Dirty
Movies” was another standout from the night. There were several times when
performers got the audience singing along, and there was a good energy in the
room. The show was scheduled to go until 9:30 p.m., but actually went until
10:30.<br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0PPqB4mY5KWUGlANfBqBZ1mYptM49AJMflaIKnqft2YwivnNCGqgxVcMlgm_e0muCl7HEl55Bo5EduGHDNagcYoMd9ppu1eKMDefe0zy5R6q7fMOQlbR2fHeqI6HuL4x94mxN_hchWrHFvTAWXyVyu26GFAfbKQQaL-5UaZen9Rrl_ePK1SGX19juw7El/s6240/DSCF4353.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0PPqB4mY5KWUGlANfBqBZ1mYptM49AJMflaIKnqft2YwivnNCGqgxVcMlgm_e0muCl7HEl55Bo5EduGHDNagcYoMd9ppu1eKMDefe0zy5R6q7fMOQlbR2fHeqI6HuL4x94mxN_hchWrHFvTAWXyVyu26GFAfbKQQaL-5UaZen9Rrl_ePK1SGX19juw7El/s320/DSCF4353.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lisa Sanders & Brown Sugar</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br />
<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZF5gfJceqk442fBH6LDSLNuYsYHSloy_a_ypexXL0Ie6CWmhvtAGa12gpTyqoIdZyr9nUymqNrAh3UiajLPNwAsOGrOe6EoXg5nrb0IxHzgNt6tYVNbhXTiX0ax5VyoMlmvLrgZ1U_3jBE3LV2p-LLjPw2jV_0Q8KhInrExMk0lWsLfBDf9DT9EYg2BY/s6240/DSCF4383.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZF5gfJceqk442fBH6LDSLNuYsYHSloy_a_ypexXL0Ie6CWmhvtAGa12gpTyqoIdZyr9nUymqNrAh3UiajLPNwAsOGrOe6EoXg5nrb0IxHzgNt6tYVNbhXTiX0ax5VyoMlmvLrgZ1U_3jBE3LV2p-LLjPw2jV_0Q8KhInrExMk0lWsLfBDf9DT9EYg2BY/s320/DSCF4383.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lisa Sanders & Brown Sugar</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjFBSoizbUT-oRLxsKrsLT4P3nbpPO2WPDZR6d4oPi4VhiUi1_0H2hd5BKYDQ__qGTTYwJq1it4QLk9ZcBLMoqc3rzL9goxNYjIJIukTwp9r3efBFc6fC0U94SkqAyq-h2VFIutCqbQKu5aISO8nuCc033MTBqEoDpMFNSW6v_MogHRFj6IYkkrj0Atgd/s6240/DSCF4431.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjFBSoizbUT-oRLxsKrsLT4P3nbpPO2WPDZR6d4oPi4VhiUi1_0H2hd5BKYDQ__qGTTYwJq1it4QLk9ZcBLMoqc3rzL9goxNYjIJIukTwp9r3efBFc6fC0U94SkqAyq-h2VFIutCqbQKu5aISO8nuCc033MTBqEoDpMFNSW6v_MogHRFj6IYkkrj0Atgd/s320/DSCF4431.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maureen Toth</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKMHhsuVJByUG49Dkk9bMHclWKD1Zef2nuOv4vkKx3xtGCIty0xpyabW3R22VvxqR4RDJIulEogj9S5P9fjzbbGEwIngx_GJUb7Y0aliZySVt_ecKIPTIB5BeFv9byfYHNBbq_lne_M6K5BIp5ji2ZaXZ0yd2Qlm9qs3bCw89jVQmHGYlkFpjHPgBI6fo5/s6240/DSCF4453.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKMHhsuVJByUG49Dkk9bMHclWKD1Zef2nuOv4vkKx3xtGCIty0xpyabW3R22VvxqR4RDJIulEogj9S5P9fjzbbGEwIngx_GJUb7Y0aliZySVt_ecKIPTIB5BeFv9byfYHNBbq_lne_M6K5BIp5ji2ZaXZ0yd2Qlm9qs3bCw89jVQmHGYlkFpjHPgBI6fo5/s320/DSCF4453.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Maureen Toth</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8PZzkKB57KYisU3w3JvX8qiiOg1Ix7WmN8d_Em7CnMrVwP56CZXeMJBDL0esYOaUUB0nhN8zrHtFPC9NYBkJCaWVe2XN6YX8-W04Td9O_3wkirdVvNYvEF-eJ4L423hvYs2EmqCL2Tn7LNaPq0NUMLlfZYJstBHmsF4ax6SDWHhMal5_qEzHJLnIvSPgu/s6240/DSCF4471.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8PZzkKB57KYisU3w3JvX8qiiOg1Ix7WmN8d_Em7CnMrVwP56CZXeMJBDL0esYOaUUB0nhN8zrHtFPC9NYBkJCaWVe2XN6YX8-W04Td9O_3wkirdVvNYvEF-eJ4L423hvYs2EmqCL2Tn7LNaPq0NUMLlfZYJstBHmsF4ax6SDWHhMal5_qEzHJLnIvSPgu/s320/DSCF4471.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leeann Skoda</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISF7PXKkxTEgajJ7iy2aVuDN2jdno7v9Fd_ghG6mhR23N6nSCUHHRyirh5pvwf0ji-zJrsWvwh61q8PP9kfdNCEFWbEml3UxJ5tYyE-V1f_xn-40uIY_el3vbGr2Kzh-RnmtytLLJl5JZBHM2LbZkhjXBfih69WC7UXXAeYMI0DPYbrLaT7vzPKb8gEJY/s1094/DSCF4481%20cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="694" data-original-width="1094" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISF7PXKkxTEgajJ7iy2aVuDN2jdno7v9Fd_ghG6mhR23N6nSCUHHRyirh5pvwf0ji-zJrsWvwh61q8PP9kfdNCEFWbEml3UxJ5tYyE-V1f_xn-40uIY_el3vbGr2Kzh-RnmtytLLJl5JZBHM2LbZkhjXBfih69WC7UXXAeYMI0DPYbrLaT7vzPKb8gEJY/s320/DSCF4481%20cropped.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leeann Skoda</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeU4R5VJROS6dG_wto6ZGgwSS3jEgl-4GKSaUYKsEmtK8YFwozrcvncJPR5uc-F8ZvJkUZGoZGvHWzmjltcx7mWSK6Gxh6abVVxGN0O5S9Pitwx6qXmuWjGSzbhLoEtrDCo9I6H4TGukFAX0UG26t1get3Jzub7xjs8ubrD3kxsVUJlPSJ-XIXZrmTclo3/s6240/DSCF4496.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeU4R5VJROS6dG_wto6ZGgwSS3jEgl-4GKSaUYKsEmtK8YFwozrcvncJPR5uc-F8ZvJkUZGoZGvHWzmjltcx7mWSK6Gxh6abVVxGN0O5S9Pitwx6qXmuWjGSzbhLoEtrDCo9I6H4TGukFAX0UG26t1get3Jzub7xjs8ubrD3kxsVUJlPSJ-XIXZrmTclo3/s320/DSCF4496.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Taylor Kelly</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF5ylGRnSCdHsK8ZnPxOz3ETyYnmDDbz_qSfGeB3MwvbLjkJuxpSGBpKyWB8i2vafeXuABh2uh_KpQk0DBZ4HrKr1CopfjfkQAxxo7wWuYMOyPZS51UScWQsaOpdOEF5c_Xffmlfq5WRVdnHPHUfsSpNvWdwcuitxgWP83RlmwpR6qFK1VKwNqNYpq9X6W/s6240/DSCF4507.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF5ylGRnSCdHsK8ZnPxOz3ETyYnmDDbz_qSfGeB3MwvbLjkJuxpSGBpKyWB8i2vafeXuABh2uh_KpQk0DBZ4HrKr1CopfjfkQAxxo7wWuYMOyPZS51UScWQsaOpdOEF5c_Xffmlfq5WRVdnHPHUfsSpNvWdwcuitxgWP83RlmwpR6qFK1VKwNqNYpq9X6W/s320/DSCF4507.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Taylor Kelly</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB70OBiOGHjrWTLGm2WGabvQlHUhDGCa9RDaOYNnHtXuYOi7MlLGAjI2Nl9Jqswgw2KRxEeFagtSzNete8PpxW5C7MzrhyrqUsCccmF1FJEg0qmiSGpk-pOpf5Rhps1Ap7YMJTuOXOsyKAIm4Z2D2EdjcL6qG7Qqc5bNTfBwTSyQJO8vA-GxYxscKPUl-O/s6240/DSCF4545.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB70OBiOGHjrWTLGm2WGabvQlHUhDGCa9RDaOYNnHtXuYOi7MlLGAjI2Nl9Jqswgw2KRxEeFagtSzNete8PpxW5C7MzrhyrqUsCccmF1FJEg0qmiSGpk-pOpf5Rhps1Ap7YMJTuOXOsyKAIm4Z2D2EdjcL6qG7Qqc5bNTfBwTSyQJO8vA-GxYxscKPUl-O/s320/DSCF4545.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Devon Michael</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv09NM0ZEi2VU4N_xOfqWk5GymwUcDhglWtPGm4cMKtj8JQhvNK1oguGXci_rFSnu565xQppMkgFVEcH_nfgbCrqfs_Rn5-tvp3Yp6nw8rZnrXdvHc80j9eSPEphvc8DuStMknsWq_kZDeA8-_E9maUFBU3_czp0lUXWdMPcxqU3x4cEiywL8pF4BCG3wZ/s6240/DSCF4583.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv09NM0ZEi2VU4N_xOfqWk5GymwUcDhglWtPGm4cMKtj8JQhvNK1oguGXci_rFSnu565xQppMkgFVEcH_nfgbCrqfs_Rn5-tvp3Yp6nw8rZnrXdvHc80j9eSPEphvc8DuStMknsWq_kZDeA8-_E9maUFBU3_czp0lUXWdMPcxqU3x4cEiywL8pF4BCG3wZ/s320/DSCF4583.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hannah Avison</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctKXmYt6L86bHA5DPyqf5y59OrrQHgsGs2WN64EoCBkx7PoAWh5Zu2SgXefLDPqftOikw02226ZDFDSIuEEnnv3IMD_d3B0QxEZHa8WK5OcVxhzAaeBlw53jy6cfymtVlZUp27qnzQ0VmZJgoBe_sMd1D_OOqeYk706U1Ades23D-rpPxpcrv4h-ftqpO/s6240/DSCF4597.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjctKXmYt6L86bHA5DPyqf5y59OrrQHgsGs2WN64EoCBkx7PoAWh5Zu2SgXefLDPqftOikw02226ZDFDSIuEEnnv3IMD_d3B0QxEZHa8WK5OcVxhzAaeBlw53jy6cfymtVlZUp27qnzQ0VmZJgoBe_sMd1D_OOqeYk706U1Ades23D-rpPxpcrv4h-ftqpO/s320/DSCF4597.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hannah Avison</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhun20j8RGekAppE4YwrCjXssTxqMtXbqMAP-uuSwj9RRX3x8QVUodCizuhyphenhyphen-wjag29uvFmWxVrH4kV-xBA66DoenS3oTB6zRdzM7r_8nakVyJ34XmmKNg6spac3f4Jz5kGXqvXxlg2XELTM_9mQ6LT0Ry_oq_zQCXZbeG7vSmmPALQ9gArJbD2geN3Ntft/s6240/DSCF4641.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhun20j8RGekAppE4YwrCjXssTxqMtXbqMAP-uuSwj9RRX3x8QVUodCizuhyphenhyphen-wjag29uvFmWxVrH4kV-xBA66DoenS3oTB6zRdzM7r_8nakVyJ34XmmKNg6spac3f4Jz5kGXqvXxlg2XELTM_9mQ6LT0Ry_oq_zQCXZbeG7vSmmPALQ9gArJbD2geN3Ntft/s320/DSCF4641.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kalie Shorr</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifRDOKRHoBAZKcMSLhzNSAcEGGK4eMSKmOQ-MM4e-tx0GjLbc6C9h1xVrEhLS_TFicVNsU6tGXyNkIp-8kNBE5gyALKai9upeh36529VN5y5kU7el7gFem5g_PoAUsMZtXG8F9jRL-aigh5gUrTm7tEW1T3QI5GLbtmYowsK8tq-qXz9De6FXryU4SoP4-/s804/DSCF4653%20cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="804" data-original-width="769" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifRDOKRHoBAZKcMSLhzNSAcEGGK4eMSKmOQ-MM4e-tx0GjLbc6C9h1xVrEhLS_TFicVNsU6tGXyNkIp-8kNBE5gyALKai9upeh36529VN5y5kU7el7gFem5g_PoAUsMZtXG8F9jRL-aigh5gUrTm7tEW1T3QI5GLbtmYowsK8tq-qXz9De6FXryU4SoP4-/s320/DSCF4653%20cropped.jpg" width="306" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kalie Shorr</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTpgxFnBdym12MyOyaJup-NUNVwZko0OmrnqzzPPV-PK0P7RYfSC2kUK8fCZ7DWQ8ZJnZh_gnTMiPi7fJAF-UwANKOca875rGweondXfd1uEB4G4ol5jD5aWTLtm_-kASQ3jGNvuO8P6R0KGz2hd-u0peRouAGUPtfhYd73pdfx8K7gSq5uE_-8HkK1wPe/s6240/DSCF4712.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTpgxFnBdym12MyOyaJup-NUNVwZko0OmrnqzzPPV-PK0P7RYfSC2kUK8fCZ7DWQ8ZJnZh_gnTMiPi7fJAF-UwANKOca875rGweondXfd1uEB4G4ol5jD5aWTLtm_-kASQ3jGNvuO8P6R0KGz2hd-u0peRouAGUPtfhYd73pdfx8K7gSq5uE_-8HkK1wPe/s320/DSCF4712.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rainy Terrell</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXD7aZ5RlYVjMCEhAtsGxItn4qeX5W_a5woH6X9jOZ7EE0G_Ir-ukWuSkt3dSr3kVSbU5VJd7we3SnRq90aNyHD-klABB8FVYoym2IeiBz5pdDN2xprujSMyQjEIdQUwuRrRPjRQRer3l75gFpPWXoZ14jdZ-gM-g_R0uef-tXhyphenhyphenNOlHMbcWR7_f2eM6o_/s6240/DSCF4788.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXD7aZ5RlYVjMCEhAtsGxItn4qeX5W_a5woH6X9jOZ7EE0G_Ir-ukWuSkt3dSr3kVSbU5VJd7we3SnRq90aNyHD-klABB8FVYoym2IeiBz5pdDN2xprujSMyQjEIdQUwuRrRPjRQRer3l75gFpPWXoZ14jdZ-gM-g_R0uef-tXhyphenhyphenNOlHMbcWR7_f2eM6o_/s320/DSCF4788.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rainy Terrell</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg941iqgcPB2W7u4KRs5mY294DdjR96hVgvyCmrOZpshXd7lvHRw_3u2HeQA31bTkzI8fyg1l-eEPIHUuc-_JU7cl2O049khg1lJLuONYObfSpEuUZ8g_x8WxhIYD9m-6_VFQ5KrhtNlk-HLqz6NxGsINrRXpSPf4FUBeu0JQatW1jtXg59-_XbofxCPLS7/s6240/DSCF4836.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg941iqgcPB2W7u4KRs5mY294DdjR96hVgvyCmrOZpshXd7lvHRw_3u2HeQA31bTkzI8fyg1l-eEPIHUuc-_JU7cl2O049khg1lJLuONYObfSpEuUZ8g_x8WxhIYD9m-6_VFQ5KrhtNlk-HLqz6NxGsINrRXpSPf4FUBeu0JQatW1jtXg59-_XbofxCPLS7/s320/DSCF4836.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Averi Burk</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61D5xSDOFmBwME0IO0CnQugmDaGSFY9xKspYco2sEiX0ZjmRngk8mEsUOlkJqUqIZ8_Fvs5eaybsOEgUHoc6Xa9BeaMebhVfGQopOAK4dAT276zv46wzEi56a2bjA5HX_xshYbclrqFWC0BHuA3T_F290PGi2G4UHDZQz0-9Zf60Z_11krWXjNxB_OOPl/s6240/DSCF4859.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61D5xSDOFmBwME0IO0CnQugmDaGSFY9xKspYco2sEiX0ZjmRngk8mEsUOlkJqUqIZ8_Fvs5eaybsOEgUHoc6Xa9BeaMebhVfGQopOAK4dAT276zv46wzEi56a2bjA5HX_xshYbclrqFWC0BHuA3T_F290PGi2G4UHDZQz0-9Zf60Z_11krWXjNxB_OOPl/s320/DSCF4859.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Averi Burk</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8LLHaNFVoULEhNqY_POzsfchvu4ucJ5yKdG0AUgEuDkrwmh9zB-aZyIrr9pwPYo4hPfQACiAvrqy3ZI0pJDl1meBkrf7NO_QbcbrwsGafTXnHqRDafXvrlhgiFS-yutFFhZ3u8MELHIGTcNifVG29cNyBKdSRaQlwCeJrfHR2pCPENu3msd3hB2Cu6LU/s6240/DSCF4877.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8LLHaNFVoULEhNqY_POzsfchvu4ucJ5yKdG0AUgEuDkrwmh9zB-aZyIrr9pwPYo4hPfQACiAvrqy3ZI0pJDl1meBkrf7NO_QbcbrwsGafTXnHqRDafXvrlhgiFS-yutFFhZ3u8MELHIGTcNifVG29cNyBKdSRaQlwCeJrfHR2pCPENu3msd3hB2Cu6LU/s320/DSCF4877.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lavalove</td><td class="tr-caption" style="text-align: center;"> </td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsAMzJo3z8KSmbqIxHT5IhKRH8VO2GDnDrq5YYZ7AtgA5RZEu1z0FLFhbdQMhA6FB4mZSXWeYcZ7AhPYeNhhzm40JTyaKOm3CFDOOrYOxge9wlYFv2_UnpdBtYLfGmio2NTgfyurCKujeuiCV44KjV_UhdgEBjf_duj3aKjoqhO9Etg2L_7V_jeS9qOZB/s6240/DSCF4910.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsAMzJo3z8KSmbqIxHT5IhKRH8VO2GDnDrq5YYZ7AtgA5RZEu1z0FLFhbdQMhA6FB4mZSXWeYcZ7AhPYeNhhzm40JTyaKOm3CFDOOrYOxge9wlYFv2_UnpdBtYLfGmio2NTgfyurCKujeuiCV44KjV_UhdgEBjf_duj3aKjoqhO9Etg2L_7V_jeS9qOZB/s320/DSCF4910.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Lavalove</td><td class="tr-caption" style="text-align: center;"> </td></tr></tbody></table><br />Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-37657423227912542742024-03-05T15:19:00.000-08:002024-03-05T15:19:00.381-08:00Sylvia Tyson: “At The End Of The Day” (2023) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQN3k30Ab5H5NtvwKdf7r4Ug9mNgjbI8XKWuKJ684yxoMCQzUTXFLXj-87U1Zkcu65Pk_Q4McTurkEvlS5pCMm7FxOkPXyZNHN5G3mUjzvC6EzKKL6fyKQVm1Xi9VlgP693G783kWbaX0ftAnP3u5xOHcs12hYFiThcuVyh4M9vCon7ufKz7OEmGIO3bog/s1000/zz%20Sylvia%20Tyson%20At%20The%20End.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQN3k30Ab5H5NtvwKdf7r4Ug9mNgjbI8XKWuKJ684yxoMCQzUTXFLXj-87U1Zkcu65Pk_Q4McTurkEvlS5pCMm7FxOkPXyZNHN5G3mUjzvC6EzKKL6fyKQVm1Xi9VlgP693G783kWbaX0ftAnP3u5xOHcs12hYFiThcuVyh4M9vCon7ufKz7OEmGIO3bog/s320/zz%20Sylvia%20Tyson%20At%20The%20End.jpg" width="320" /></a></div>Sylvia Tyson is a singer and songwriter known for her
work as half of the folk duo Ian & Sylvia. After their divorce, she began a
solo career, releasing several albums in the 1970s and 1980s. She is now in her
eighties, and recently released <i style="mso-bidi-font-style: normal;">At The
End Of The Day</i>, her first new album in more than a decade. It contains all
original material, written or co-written by Sylvia Tyson, and is some of the
best stuff she’s ever recorded. Joining her on this release are Jason Fowler on
guitar, Charles James on bass, John Sheard on piano, Drew Jurecka on violin and
mandolin, Denis Keldie on accordion and organ, Mark Lalama on accordion and organ,
and Davide DiRenzo on drums.<p></p>
<p class="MsoNoSpacing">The album opens with “Sweet Agony,” which has a beautiful
and sweet sound. “<i style="mso-bidi-font-style: normal;">Come to me, sweet
agony/I am ready to fall in love again</i>,” Sylvia Tyson sings at the
beginning of the song. There is something wonderfully sad and hopeful in the
delivery, in her vocal approach and in that work on strings. You
get the sense of a past that contains a good deal of pain and loss. “<i style="mso-bidi-font-style: normal;">Oh, love can hurt or it can heal you/It’s a
gamble we all take/And we live with our mistakes/It’s both a curse and a rescue</i>.”
But in the end, love is everything, and so we all lean toward it, yearn for it.
This is a moving and beautiful opening number. It was written by Sylvia Tyson
and Cindy Church. “Sweet Agony” is followed by “I Never Got Over You,” also
written by Sylvia Tyson and Cindy Church. This one features some nice work on
mandolin and violin, and is about a love that was given up years ago but is
still in mind. “<i style="mso-bidi-font-style: normal;">The million things that
fill my day/Help to keep these blues away/They’ll always find me when the day
is through/Still wanting you</i>.” There is a sweet ache to this song of memory
and longing.</p>
<p class="MsoNoSpacing">I love that accordion work at the beginning of “Leaves In
The Storm.” This song takes us to the past, as she sets the scene at the
beginning: “<i style="mso-bidi-font-style: normal;">That night in Berlin at the
end of the war/In a bombed-out building, we met ‘neath the stars/A distant
phonograph played some old love song</i>.” But even before those lines, the
accordion helps set the tone, helps sets the place. The violin also helps
create a vivid atmosphere, and is mentioned in the lyrics: “<i style="mso-bidi-font-style: normal;">We danced in the dark to that sad violin</i>.”
This song has many lines that stand out, such as these: “<i style="mso-bidi-font-style: normal;">Strangers, then lovers, in a world torn apart/We both knew in our
hearts we were leaves in the storm</i>.” That is a striking image, leaves in a
storm. And this is another moving song, one of my personal favorites. “<i style="mso-bidi-font-style: normal;">Regrets, I have many/But never that one
night</i>.” That’s followed by “Not Quite Rain” The work on guitar has a
soothing quality. I love the way this one builds lyrically until she is
speaking of love: “<i style="mso-bidi-font-style: normal;">And though we’ve
barely met, it’s clear that we/Have had a taste of how sweet love could be/But
it’s not quite love</i>.” She pauses after “<i style="mso-bidi-font-style: normal;">love
could be</i>,” as if she wants to remain in that feeling as long as possible
before admitting that what she is thinking about isn’t quite love, a strong and
wonderful moment. This one was written by Sylvia Tyson and Joan Besen.</p>
<p class="MsoNoSpacing">Things then get fun with “Now Tell Me That You’ve Got The
Blues,” which has a Louisiana vibe. This blues number features some delicious
percussion, and a wonderful lead on piano. Here is a taste of the lyrics: “<i style="mso-bidi-font-style: normal;">I haven’t had a steady job since I don’t
know when/My significant other left with my best friend/I’ve got holes in the
soles of my dancing shoes/Now tell me that you’ve got blues</i>.” Oh yes, she
has a bit of attitude here, and I love it. She addresses those people who just
don’t know what the blues are, but claim they have it rough. This one was
written by Sylvia Tyson and Chris Whiteley, and is another of the disc’s
highlights. Then in “Long Chain Of Love,” Sylvia sings, “<i style="mso-bidi-font-style: normal;">With all the memories it can hold/On a long chain of love/They reached
across the distance/On a long chain of love</i>.” This track features some
beautiful work on violin. It was written by Sylvia Tyson and Cindy Church.</p>
<p class="MsoNoSpacing">Sylvia Tyson wrote “Generous Heart” with Shirley Eikhard,
the songwriter responsible for Bonnie Raitt’s “Something To Talk About.” In the
disc’s liner notes, Sylvia mentions that they had written it a decade ago, and
Shirley died a week after Sylvia called with the news that she was finally
going to record it. There is something darker in its sound, which I love. “<i style="mso-bidi-font-style: normal;">You’ve always been there when I needed
you/There was nothing I ever could ask that you wouldn’t do/I was so blind to
all of your pain/I made a lover’s demands at a time when you needed a friend</i>.”
There is an ache in her voice as she sings, “<i style="mso-bidi-font-style: normal;">Life isn’t fair/It takes funny turns/And if I’ve made some mistakes in
the past/There’s something I’ve learned</i>.” Another line that really gets to
me is this: “<i style="mso-bidi-font-style: normal;">No one should face the
darkness alone</i>.” The music takes a lighter turn again with “Cynical Love
Song,” with that work on accordion. “<i style="mso-bidi-font-style: normal;">Love’s
a dance in the dark at best/It flies, then it dies/And the world goes on
unimpressed</i>.” Yup. I love the biting humor of this song. And the line “<i style="mso-bidi-font-style: normal;">So it goes</i>” of course makes me think of
Kurt Vonnegut. <span style="mso-spacerun: yes;"> </span></p>
<p class="MsoNoSpacing">“<i style="mso-bidi-font-style: normal;">They’ve killed the
lights on the midway tonight/All the attractions are shuttered down tight/And
the tattooed lady has put on her clothes/No crowd, no show</i>,” Sylvia Tyson
sings at the beginning of “No Crowd, No Show.” The lines that especially stand
out to me are these: “<i style="mso-bidi-font-style: normal;">The rules of the
game change every day/And god help us all if we don’t want to play</i>.” Don’t
you wish you could let the authorities know that you don’t wish to play their
games? It doesn’t seem right that we are obligated to play along with someone
else’s game. We should be able to sit out if we wish. This song has its
own sad beauty. I especially like that work on violin. Sylvia follows that with
“Angels In Troubled Times.” We are living in troubled times, no question about
it. People are turning toward fascism in this country, even if most of them
won’t admit it, and we can’t even trust or respect the Supreme Court anymore.
Often it feels like we can’t do anything about it. But Sylvia asks, “<i style="mso-bidi-font-style: normal;">But what if we all became angels/Each of us,
all of us, angels/In troubled times?</i>” What a beautiful idea. There is some
wonderful guitar work on this track. “<i style="mso-bidi-font-style: normal;">But
we can prevail against evil</i>.”</p>
<p class="MsoNoSpacing">“At The End Of The Day,” the album’s title track, is a
gorgeous song of memory, of life, of love. “<i style="mso-bidi-font-style: normal;">At
the end of the day when the shadows grow longer/The now is pushed aside, and
the past grows stronger/When I think of the good times, all the hard times fall
away/It’s the good times I remember at the end of the day</i>.” Sylvia Tyson
delivers a compelling and passionate vocal performance. And I love that moment
when the violin rises up, as if to push away darkness itself, to push away the
darker memories. I think at the end of our lives, none of us is dwelling on the
troubles. At least, I hope that is the case. This is another of the album’s
highlights. The album then concludes with “Janet’s Garden,” an instrumental
track that begins with some beautiful violin work, that instrument again working
to lift us up.</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Sweet Agony</li><li class="MsoNoSpacing">I Never Got Over You</li><li class="MsoNoSpacing">Leaves In The Storm</li><li class="MsoNoSpacing">Not Quite Rain</li><li class="MsoNoSpacing">Now Tell Me That You’ve Got The Blues</li><li class="MsoNoSpacing">Long Chain Of Love</li><li class="MsoNoSpacing">Generous Heart</li><li class="MsoNoSpacing">Cynical Little Love Song</li><li class="MsoNoSpacing">No Crowd, No Show</li><li class="MsoNoSpacing">Angels In Troubled Times</li><li class="MsoNoSpacing">At The End Of The Day</li><li class="MsoNoSpacing">Janet’s Garden</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">At The End Of The
Day</i> was released on November 3, 2023 on Stony Plain Records.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-27241037112681087502024-03-05T10:16:00.000-08:002024-03-05T10:16:23.127-08:00Ernesto Cervini’s Turboprop: “A Canadian Songbook” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwasIJqfqrGq0IDbOBXSaaNOlUzHwlM_AfzSaEi2X5xMGaW90nqQ7p-yBv1Plaph1WYqFBf9JxXbD0Qpy_z3TTh6sHkrMxNTH5vIYm64rO4zRLwodA_P5iEoSuTFUKuDr-ALpJiJKlxKSjgp0nXCa-C4Dey_NRgUcMMTFXV6A7Xw2aN21X_N8zlYiNiV7/s768/zz%20Turboprop%20Canadian.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwasIJqfqrGq0IDbOBXSaaNOlUzHwlM_AfzSaEi2X5xMGaW90nqQ7p-yBv1Plaph1WYqFBf9JxXbD0Qpy_z3TTh6sHkrMxNTH5vIYm64rO4zRLwodA_P5iEoSuTFUKuDr-ALpJiJKlxKSjgp0nXCa-C4Dey_NRgUcMMTFXV6A7Xw2aN21X_N8zlYiNiV7/s320/zz%20Turboprop%20Canadian.jpg" width="320" /></a></div>Turboprop, led by drummer and composer Ernesto Cervini,
released its first album nearly a decade ago, and followed it with <i style="mso-bidi-font-style: normal;">Rev</i> in 2017,<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Abundance</i>
in 2018, a holiday EP titled <i style="mso-bidi-font-style: normal;">A Very
Turboprop Christmas</i> in 2020, and another holiday single in 2023 (and yes,
that last single is “Little Drummer Boy,” a natural choice for Ernesto Cervini,
and the group’s rendition is fantastic). Some of the musicians from Turboprop
also played on Ernesto Cervini’s wonderful 2022 release, <a href="https://michaelsmusiclog.blogspot.com/2022/10/ernesto-cervini-joy-2022-cd-review.html"><i style="mso-bidi-font-style: normal;">Joy</i></a>. Now Turboprop is putting out a new full-length
album. Titled <i style="mso-bidi-font-style: normal;">A Canadian Songbook</i>, it
features material written by Canadian songwriters, including James Hill, Steven
Page, Ed Robertson, Raine Maida, Arnold Lanni, Allison Au, William Carn, and of
course Ernesto Cervini himself. The band is made up of Ernesto Cervini on
drums, Tara Davidson on alto saxophone, Joel Frahm on tenor saxophone, Willian
Carn on trombone, Adrean Farrugia on piano, and Dan Loomis on bass.<p></p>
<p class="MsoNoSpacing">The album opens with “Skeletons,” a piece composed by keyboardist
James Hill and included on Local Talent’s 2019 album <i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">Higienópolis</span></i><span style="mso-bidi-font-weight: bold;">. This version by Turboprop begins with some
cool work on drums, and soon gets into that familiar theme. These guys do a
great job with the tune, and the track features some strong work on saxophone
in addition to drums, becoming quite lively partway through. There is also some
great stuff on piano. Apparently, this is a piece the band has performed in
concert fairly regularly. It gets quite exciting in the second half. I actually
think Turboprop’s version is better than the original recording. The band turns
more toward the pop world with a rendition of The Barenaked Ladies’ “When I
Fall,” a song from that band’s <i style="mso-bidi-font-style: normal;">Born On A
Pirate Ship</i> album. It was written by Steven Page and Ed Robertson. This
version has a kind of cool, loose sound at the start, featuring an excellent
bass line and some wonderful work by William Carn on trombone. I hadn’t thought
about Barenaked Ladies in a while, but this track develops an undeniable
beauty, and it is making me want to revisit that band’s work. Check out that
extraordinary work on tenor saxophone on this track.</span></p>
<p class="MsoNoSpacing"><span style="mso-bidi-font-weight: bold;">Then we get into
the original material. This disc contains two compositions by Ernesto Cervini.
The first is “If, Then,” a track that grabs us with that dramatic opening, which
feels like it could be heard in a military-themed film or some other type of
thriller. Interestingly, the section led by piano has a much warmer vibe. There
is some fantastic drumming throughout the track’s different sections, including
a great solo in the second half, which is my favorite part. That is followed by
the second of the original tracks, “Stuck Inside.” I’ve said it before, but I
really do hope someone writes a comprehensive book about music that has come
out of the pandemic. As you can guess from the title, this composition
addresses that time when suddenly everything shut down and it felt dangerous to
even go to a grocery store. And while it was a scary situation, it did give
people the opportunity to re-evaluate their priorities and to spend more time
with their loved ones (at least those they happened to be residing with), and
so it wasn’t all bad. The music here reflects that. It begins with the brass
section rushing about, with much to say, much to do, but the track soon relaxes
and develops a romantic vibe, a classic vibe. And, yes, there was a sort of
return to earlier times in a sense. Being stuck inside with the love of your
life is certainly not a bad thing, so long as you could enjoy that time and not
get too caught up in the news. The horns are really at the heart of this piece,
delivering some wonderful stuff. This track also features a good lead on bass.</span></p>
<p class="MsoNoSpacing"><span style="mso-bidi-font-weight: bold;">Our Lady Peace is
a rock band that became quite popular in Canada. On this album Turboprop covers
“Clumsy,” the title track to the group’s 1997 album. It’s a song that was also
included on the soundtrack to <i style="mso-bidi-font-style: normal;">I Know What
You Did Last Summer</i>. I love this instrumental approach to the song. I’m not
all that fond of the vocal work of the original recording, though I do like a
lot of the song’s lyrics, such as these lines: “<i style="mso-bidi-font-style: normal;">I’ll be waving my hand/Watching you drown/Watching you scream</i>.” Anyway,
I’d much rather listen to the saxophone here than that band’s vocalist, and the
instrumental rendition takes us on a different journey, developing its own
power. That’s followed by “Aureole,” written by Allison Au, who is a talented saxophone
player and composer. “Aureole” was included on the Allison Au Quartet 2016
release <i style="mso-bidi-font-style: normal;">Forest Grove</i>. Being a rather
exciting jazz composition, it might seem a more obvious choice for Turbroprop
to perform, and these guys do a great job with it. I love the way it moves,
often with a quick pulse. As you might guess, there is a whole lot of delicious
stuff on saxophone. And the rhythm section cuts loose, keeping things pumping,
driving things close to the edge, where the magic often happens.</span></p>
<p class="MsoNoSpacing"><span style="mso-bidi-font-weight: bold;">William Carn’s
2022 album <i style="mso-bidi-font-style: normal;">Choices</i> is another that
came out of the experience of the pandemic, and from that release Ernesto
Cervini has chosen “The Inertia Of Complacency” to wrap up this disc. Cervini
played drums on that original version as well, and as William Carn is a member
of Turboprop, the two have another go at what is one of the best tracks on <i style="mso-bidi-font-style: normal;">Choices</i>. This one has different
sections, like pieces of a story, all keeping us engaged and excited about the
overall direction the track is taking.</span></p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Skeletons</li><li class="MsoNoSpacing">When I Fall</li><li class="MsoNoSpacing">If, Then</li><li class="MsoNoSpacing">Stuck Inside</li><li class="MsoNoSpacing">Clumsy</li><li class="MsoNoSpacing">Aureole</li><li class="MsoNoSpacing">The Inertia Of Complacency</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">A Canadian Songbook</i>
is scheduled to be released on March 8, 2024.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-19383016539045384042024-03-04T12:20:00.000-08:002024-03-04T12:20:32.106-08:00Chris Murphy, John Surge And The Haymakers, and The Ellie Rollins Band at Mayan Bar & Grill, 3-3-24: Photos<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBFYJ4bxf_tUOTlqbQMYFuyMUJh9ee7JQBw2WoPcG_uBSFuYa6rqcUvHeipRkhAAzKTbaAymVGBaMn0sQt_tO_zapBKdLiRxr_apbYJewbZqFIBZNfL2Obj9MlJrME5ufmWk6E5sd3ewOcMOEkP582lCIdrC-dWMDMm0cT6XfbOmSiZC5fNPAvy0xP0CH/s6240/DSCF4174.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjBFYJ4bxf_tUOTlqbQMYFuyMUJh9ee7JQBw2WoPcG_uBSFuYa6rqcUvHeipRkhAAzKTbaAymVGBaMn0sQt_tO_zapBKdLiRxr_apbYJewbZqFIBZNfL2Obj9MlJrME5ufmWk6E5sd3ewOcMOEkP582lCIdrC-dWMDMm0cT6XfbOmSiZC5fNPAvy0xP0CH/s320/DSCF4174.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Surge And The Haymakers, with Chris Murphy</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table>That great concert series at the Mayan Bar & Grill
in Monrovia continued last night with sets by Chris Murphy, John Surge And The Haymakers,
and The Ellie Rollins Band. The weather persists being weird in Los Angeles,
and it was still too cold for the show to begin on the patio, so all three
bands performed on the indoor stage. I was particularly excited to see Chris
Murphy, as I’d had the opportunity to review his last couple of releases, and enjoyed them tremendously. He started the show with a solo set, taking the stage
at 6:05 p.m., creating loops and getting an entire band out of his violin. He
also got the audience singing along with his “Done With Diane.” One of the
highlights for me was “The Wolves Of Laredo.” His excellent set ended at 6:51
p.m., and ten minutes later John Surge And The Haymakers took the stage. The
band includes bass player Teresa Cowles, whom I’ve seen perform with Evie Sands and
Ben Vaughn, among other artists. Before the set started I asked her how many
bands she’s in. She shrugged her shoulders, even she doesn’t know. Well, this
band delivered some fun country numbers, focusing on material from <i style="mso-bidi-font-style: normal;">Almost Time</i>, which was released last
year. Chris Murphy joined the band on fiddle on that album’s “What Were We
Thinking,” which featured not only some great stuff on fiddle, but also some
wonderful work on pedal steel. “<i style="mso-bidi-font-style: normal;">Well,
that was fun</i>,” John Surge said after that song. “<i style="mso-bidi-font-style: normal;">Anyone else want to play with us?</i>” They wrapped up their set with a
good rendition of “Six Days On The Road.” The Ellie Rollins band closed out the
night, and it turned out that Chris Murphy is a member of that band, playing
mandolin rather than violin. The band, which also included Marty Rifkin on
dobro, got the chance to jam on several of the songs, including on the
beautiful “Learning To Live Alone.” The show ended at 9:10 p.m. Oddly, it was
warmer outside at the end of the concert than before it started. What’s going
on, Los Angeles?</p>
<p class="MsoNoSpacing"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnynCF6mE7y2babEZ2np3EH6JlsKr34Ml9-EBQMkj8KvEXIosndkDITx3-EsRsIGr0vNAniQHQ3BsiNN2li-k09X9CBbCUgbbuilxBAclkAfS9505rD3V1LkcjxkInt_1kp6nkU_G5H6kQcou9vKQUiY9D1l7Z1iAucfDZiG5ttPI6o_xTT05Aljp7-1oi/s6240/DSCF4006.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnynCF6mE7y2babEZ2np3EH6JlsKr34Ml9-EBQMkj8KvEXIosndkDITx3-EsRsIGr0vNAniQHQ3BsiNN2li-k09X9CBbCUgbbuilxBAclkAfS9505rD3V1LkcjxkInt_1kp6nkU_G5H6kQcou9vKQUiY9D1l7Z1iAucfDZiG5ttPI6o_xTT05Aljp7-1oi/s320/DSCF4006.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chris Murphy</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /></p>
<p class="MsoNoSpacing"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK3502INjAFlG6a4GX29T1HcJJ53A0PeBdVN0_zxo_OmBamHxjo2EG0XNBRPI-c1ZQzSJdB7UdoQ__EKQ4uXx2YXhnk5S-fI9QgfBMdLhV2cb26eFPAEgGT_4Cgo5FioJSSEOAYI59iFTVNbvFBuZ_2bvmCAnEVNGqXVOCcW8TgfLvqq_kui7UYgvN68a6/s6240/DSCF4018.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK3502INjAFlG6a4GX29T1HcJJ53A0PeBdVN0_zxo_OmBamHxjo2EG0XNBRPI-c1ZQzSJdB7UdoQ__EKQ4uXx2YXhnk5S-fI9QgfBMdLhV2cb26eFPAEgGT_4Cgo5FioJSSEOAYI59iFTVNbvFBuZ_2bvmCAnEVNGqXVOCcW8TgfLvqq_kui7UYgvN68a6/s320/DSCF4018.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chris Murphy</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilHg953vxs79UddERCNRYhASt2-iAfzx-ngtTzbuY_lhLPfgl-fEVDSyAGCG3AhCH1uGPMMX41mzQT4NStQbBcskTKu9DhGMtq2CVuoHCcMgukEPwd0rz4un9PNDVbPUdO4RxtX5xJIlplSNMm4Sn1dfZVpPK31Hr7gCpmwzLj9V2124PXH1zPq2xNe2aV/s6240/DSCF4037.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilHg953vxs79UddERCNRYhASt2-iAfzx-ngtTzbuY_lhLPfgl-fEVDSyAGCG3AhCH1uGPMMX41mzQT4NStQbBcskTKu9DhGMtq2CVuoHCcMgukEPwd0rz4un9PNDVbPUdO4RxtX5xJIlplSNMm4Sn1dfZVpPK31Hr7gCpmwzLj9V2124PXH1zPq2xNe2aV/s320/DSCF4037.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Chris Murphy<br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV6G4Y1jgg-0jvzsaOkiwX6LjNZ3R9J-NtKJPqgenJtrbzD2g28-tvXr0NcOV3mHGhO7XscW71w4qyLiQt_hYabAynKgeU_inX_y9VcW5FDFLIEHJ87HGv975oJII4DXsfQywHOXHa4IS9LzpXMJkQ8mxS3B5Ck_Wawx2GtjpDY_W5g8duuFw15k2D8s9U/s1541/DSCF4053%20cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="765" data-original-width="1541" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV6G4Y1jgg-0jvzsaOkiwX6LjNZ3R9J-NtKJPqgenJtrbzD2g28-tvXr0NcOV3mHGhO7XscW71w4qyLiQt_hYabAynKgeU_inX_y9VcW5FDFLIEHJ87HGv975oJII4DXsfQywHOXHa4IS9LzpXMJkQ8mxS3B5Ck_Wawx2GtjpDY_W5g8duuFw15k2D8s9U/s320/DSCF4053%20cropped.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Surge And The Haymakers</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; 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margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrLkCGqK0nL6kc7npvwIWr-xfIo00aVQG47BQqAIb6ef7zE19jvucwfY-xQDsLloQ_JvAepgW2G9AblNYEKqa9h-TBq2mPKr3UYbfSmMacEY1UZBGTM1OYdteQxkU7zdGJr8RPNrHiX-rACaU2XXMtMlFqB_eQe_NExZGZFedv6HFxfhR6RWugO8hjGFaF/s6240/DSCF4103.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrLkCGqK0nL6kc7npvwIWr-xfIo00aVQG47BQqAIb6ef7zE19jvucwfY-xQDsLloQ_JvAepgW2G9AblNYEKqa9h-TBq2mPKr3UYbfSmMacEY1UZBGTM1OYdteQxkU7zdGJr8RPNrHiX-rACaU2XXMtMlFqB_eQe_NExZGZFedv6HFxfhR6RWugO8hjGFaF/s320/DSCF4103.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Surge And The Haymakers</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNQsEbqN4_DvaSeypDSVOqhni-Z1ZNxRUabOkFMCjZFYjbzFDCZZNPBckTYG4WAnNFZUIUK6dR_yCGQCrBSZL9mTpkjYu8dEJRj71dnAXW7n8Ka3hj0c1GanSTC6CYO0oxfCq2GWcnMI2Xq3h4nqZ9TxcA2HKGBG6xFvc8X725V81SCUKcBVTSNhPzfQAN/s6240/DSCF4125.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNQsEbqN4_DvaSeypDSVOqhni-Z1ZNxRUabOkFMCjZFYjbzFDCZZNPBckTYG4WAnNFZUIUK6dR_yCGQCrBSZL9mTpkjYu8dEJRj71dnAXW7n8Ka3hj0c1GanSTC6CYO0oxfCq2GWcnMI2Xq3h4nqZ9TxcA2HKGBG6xFvc8X725V81SCUKcBVTSNhPzfQAN/s320/DSCF4125.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Surge And The Haymakers</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsQlaJlPNawq2abX19dQMZGFxACEhuoaiL9LCi_7jIvjc2bNsBRPrZa1mqg-X1Az4VdgTKbQhGkDdXXaaKUigPKQzeT1BDM3k5i256WhHy1GLrCrv01XZFefC5oCcfrgNVvhyphenhyphenuDFZFPe6YLUIdDrOnxppDAC4GDoUcujDmGwwkkZouldgaAG0nxfTZZlu9/s6240/DSCF4183.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsQlaJlPNawq2abX19dQMZGFxACEhuoaiL9LCi_7jIvjc2bNsBRPrZa1mqg-X1Az4VdgTKbQhGkDdXXaaKUigPKQzeT1BDM3k5i256WhHy1GLrCrv01XZFefC5oCcfrgNVvhyphenhyphenuDFZFPe6YLUIdDrOnxppDAC4GDoUcujDmGwwkkZouldgaAG0nxfTZZlu9/s320/DSCF4183.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Surge And The Haymakers</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjERYcSw0WW43q3nLKTWQNAS7amZuXq5HWq-5-k7c_Ang7uo2r5kVfVoC2GpHHnXA4BzXAFLlj_54C4Fx5bZF_UHZSf_MsOY4mHnZtENXTVahOOWpKFTVaqSDGo-iwZJhSdemrYHZaLZ7JCsEJuC-nGCERK4lukj7o3ZwZz8UbtsVaWb-ozWSfurGqn_I1b/s6240/DSCF4217.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjERYcSw0WW43q3nLKTWQNAS7amZuXq5HWq-5-k7c_Ang7uo2r5kVfVoC2GpHHnXA4BzXAFLlj_54C4Fx5bZF_UHZSf_MsOY4mHnZtENXTVahOOWpKFTVaqSDGo-iwZJhSdemrYHZaLZ7JCsEJuC-nGCERK4lukj7o3ZwZz8UbtsVaWb-ozWSfurGqn_I1b/s320/DSCF4217.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ellie Rollins Band</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfhQ45GmpbJK33rnpfBv0SuB6VBfvptjuq3U4OEHpki3y69wXcVcbrOTGPdmOA6o5y1bGP9ATyEcgbzlYhspNzYuAGA7gDIUVWUCXzM6w5rNlO5JPnKEM0Jnsm4O0Z6RiSyt6ntlRH-Lt9fIb00ukYcK124ngig_CSAG_IrXC9SHmprNKII7p3mbkFjdd9/s6240/DSCF4228.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfhQ45GmpbJK33rnpfBv0SuB6VBfvptjuq3U4OEHpki3y69wXcVcbrOTGPdmOA6o5y1bGP9ATyEcgbzlYhspNzYuAGA7gDIUVWUCXzM6w5rNlO5JPnKEM0Jnsm4O0Z6RiSyt6ntlRH-Lt9fIb00ukYcK124ngig_CSAG_IrXC9SHmprNKII7p3mbkFjdd9/s320/DSCF4228.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ellie Rollins Band</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2kysM7QvtxvegCFZOCObR12WGalshASaEeY9BD9zuUOq77I6UcFNTH8Oo8Fqh-7G_0hfi-TGBQANIE5c3IgCls_8lbOgNPTtZNVRUX9Bts2iOZibFvRMUf7S8kI_XLwLuHlFhU0ehKP8DyqIr1mlclQhHVccFXQvslj5IkXOExdZ8GR-I-W55rCE4vGao/s6240/DSCF4240.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2kysM7QvtxvegCFZOCObR12WGalshASaEeY9BD9zuUOq77I6UcFNTH8Oo8Fqh-7G_0hfi-TGBQANIE5c3IgCls_8lbOgNPTtZNVRUX9Bts2iOZibFvRMUf7S8kI_XLwLuHlFhU0ehKP8DyqIr1mlclQhHVccFXQvslj5IkXOExdZ8GR-I-W55rCE4vGao/s320/DSCF4240.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ellie Rollins Band</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiegvA8etyPevzUY092GX2bZCKRLtzo3MEgR78u7pIxVWJwQpqkgHhBJww90NSaa6SKpehzNiV7jMg6BDXd68h7bWgBVIsT8sS6OV8ts2vaGYU3zpHpViQpsh8zEQ1oAxGnOHe8IFTXqaKENaRJ-xEtrpT8g1zDbi8veaaqQ93lF_XcXuq_poSJvvqgwjiM/s6240/DSCF4252.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="6240" data-original-width="4160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiegvA8etyPevzUY092GX2bZCKRLtzo3MEgR78u7pIxVWJwQpqkgHhBJww90NSaa6SKpehzNiV7jMg6BDXd68h7bWgBVIsT8sS6OV8ts2vaGYU3zpHpViQpsh8zEQ1oAxGnOHe8IFTXqaKENaRJ-xEtrpT8g1zDbi8veaaqQ93lF_XcXuq_poSJvvqgwjiM/s320/DSCF4252.JPG" width="213" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ellie Rollins Band</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqu7r34Q08IYypL810qmka_V8W4v1ez2yybvpqRzv8fCtjlclETZfUHDEAczw58hc-13Fottf7BeytOHBzHBCTW-qctuMFKiaAp1Gc0TIP-MH4WgAjQymkDhM3iBl_rueN_mdK8JpREGoo6aZ14yBcIyE-w8ECZJbpcMMI6dI-MA1HV4xzs3Yetc43H875/s6240/DSCF4312.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqu7r34Q08IYypL810qmka_V8W4v1ez2yybvpqRzv8fCtjlclETZfUHDEAczw58hc-13Fottf7BeytOHBzHBCTW-qctuMFKiaAp1Gc0TIP-MH4WgAjQymkDhM3iBl_rueN_mdK8JpREGoo6aZ14yBcIyE-w8ECZJbpcMMI6dI-MA1HV4xzs3Yetc43H875/s320/DSCF4312.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ellie Rollins Band</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjndaHcfe63v5R_aIF5uq_UkHL_YfboQ37d2qCKH5xvD_jjcxUTs9wd4yo8Q22OfXiEcjfU8FAkiGJrlicIiX1dZ4OO20dxAdaxmRYWdOV9-vQ58piFO6SUdRAInbMt13WgP204aP5zlFGtQZ0303dzeuk0EUnK_2temXS3KEeWtr-yyuWbqzxHx2dF3cZA/s807/DSCF4329%20cropped.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="807" data-original-width="585" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjndaHcfe63v5R_aIF5uq_UkHL_YfboQ37d2qCKH5xvD_jjcxUTs9wd4yo8Q22OfXiEcjfU8FAkiGJrlicIiX1dZ4OO20dxAdaxmRYWdOV9-vQ58piFO6SUdRAInbMt13WgP204aP5zlFGtQZ0303dzeuk0EUnK_2temXS3KEeWtr-yyuWbqzxHx2dF3cZA/s320/DSCF4329%20cropped.jpg" width="232" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ellie Rollins Band</td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><br />Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-48320841114113440392024-03-02T21:18:00.000-08:002024-03-02T21:18:18.723-08:00Brothers Brown: “Nowhere Left To Go” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLFAclERTyluVRnrGoMcRqri-zQKR4z4lObgemCdTxTEVQ4TDA-PAKsHJ4VZuZgyR7p-CRhkK9ymU3F8F4dTt-qK_pQsYnZTb0F1ZQ6T2bIhXmp8kUcs1EY4zanVF0MwnSkzaNJJfkmGTf-8YwJrA_dQSgEUgH_EPlIAknsTEjA1ycECChMZ2suqCSnAAQ/s1000/zz%20Brothers%20Brown%20Nowher.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLFAclERTyluVRnrGoMcRqri-zQKR4z4lObgemCdTxTEVQ4TDA-PAKsHJ4VZuZgyR7p-CRhkK9ymU3F8F4dTt-qK_pQsYnZTb0F1ZQ6T2bIhXmp8kUcs1EY4zanVF0MwnSkzaNJJfkmGTf-8YwJrA_dQSgEUgH_EPlIAknsTEjA1ycECChMZ2suqCSnAAQ/s320/zz%20Brothers%20Brown%20Nowher.jpg" width="320" /></a></div>Brothers Brown is a bluesy jam band founded by two guys
with the same name, Paul Brown, one of them from Nashville, the other from Los
Angeles. Paul Brown from Los Angeles is on vocals and guitar; Paul Brown from
Nashville is on organ, piano and synthesizer. David Santos plays bass and
rhythm guitar, and provides vocals; Peter Young is on drums, percussion,
guitar, and also provides vocals. In 2016, they put out their first album, <a href="https://michaelsmusiclog.blogspot.com/2016/04/brothers-brown-dusty-road-2016-cd-review.html"><i style="mso-bidi-font-style: normal;">Dusty Road</i></a>, which
contains some excellent songs, such as “The River” and “This Old Heart.” The
band’s new album, <i style="mso-bidi-font-style: normal;">Nowhere Left To Go</i>,
features all original material, and again these guys have composed some gems.
This disc also features special guest Bobby Rush on one track. <p></p>
<p class="MsoNoSpacing">The album opens with “Wrong Side Of Town,” a tune that
eases in and soon develops a soulful vibe, and features some nice work on keys.
Ah, the wrong side of town never sounded so right. That’s followed by “Junior’s
Back.” “<i style="mso-bidi-font-style: normal;">He made the most disturbing sound</i>,”
they sing early in this one, but the sound of this song is wonderful, the band taking
some inspiration from early 1970s rock bands. Fans of groups like Allman
Brothers and Little Feat will dig this song. This track features some good
guitar work, particularly during the jam in the middle. “<i style="mso-bidi-font-style: normal;">I’m going to take a long trip when he comes to town/Back to the days
when the stars and the moon were friends/Staring up into the night, I thought
it would never end</i>.” The band then establishes a cool blues vibe at the
beginning of “Runnin’ Blues,” telling us, “<i style="mso-bidi-font-style: normal;">I’m
on a hell-bound train</i>.” I love that image. Something about a train always
work in song. He’s heading for trouble, but, as we learn, he was also leaving
trouble: “<i style="mso-bidi-font-style: normal;">I left a world of hurt and pain
back there behind me</i>.” So maybe it’s no surprise when he sings that he has
“<i style="mso-bidi-font-style: normal;">nothing left to lose</i>.” This is one
of my personal favorite tracks. “<i style="mso-bidi-font-style: normal;">I took a
lover’s deepest trust and I betrayed it/I owed someone the deepest debt, I
never paid it/I broke a promise to be true</i>.”</p>
<p class="MsoNoSpacing">Paul Brown (from Nashville) has worked with Bobby Rush on
several of his albums, including that great 2013 release <a href="https://michaelsmusiclog.blogspot.com/2013/01/bobby-rush-down-in-louisiana-2013-cd.html"><i style="mso-bidi-font-style: normal;">Down In Louisiana</i></a>, also playing keys on it and
writing some of the material. And on this album’s title track, “Nowhere Left To
Go,” Bobby Rush joins the band on vocals. As you might expect from his
presence, this song has a stronger blues sound, and is another of the disc’s
highlights. “<i style="mso-bidi-font-style: normal;">Got a stack of bills on my
table</i>.” Always, right? “<i style="mso-bidi-font-style: normal;">Everything is
upside down/All the dreams I ever had got all turned around</i>.” That’s
followed by another seriously cool blues number, “My Baby.” Here are the
opening lines: “<i style="mso-bidi-font-style: normal;">My baby wants to make
love tonight/She says she’s gonna make me feel all right/Well, my baby’s gonna
let her hair down tonight</i>.” Oh yes, that’s what we all need. When the world
gets a bit too mad, it’s great to narrow the focus down just to two people,
remind yourself what life’s all about. This track has a strong groove and
features some wonderful work on both keys and guitar.</p>
<p class="MsoNoSpacing">“<i style="mso-bidi-font-style: normal;">Let’s all get high
up on the mountains</i>,” they sing sweetly at the start of “High Up On The Mountains,”
pausing slightly after the word “<i style="mso-bidi-font-style: normal;">high</i>,”
giving us the impression that they mean it in more than one sense. “<i style="mso-bidi-font-style: normal;">Let the world just slip away</i>.” Yes,
that’s just what many of us are itching for these days. There is a beauty to
this song, especially in the vocal delivery, and I appreciate the song’s
optimism. It leaves us with the line “<i style="mso-bidi-font-style: normal;">And
somehow we’ll find our way</i>.” This is another of the album’s highlights, an
absolutely wonderful song. That’s followed by “Chitlin’ Pickin’,” a totally
enjoyable instrumental track with a groove to get folks dancing. There is a
certain joy to this tune. This track in particular makes me want to see this
band in concert. Then a delicious, mean blues vibe is created at the beginning
of “Brand New Day,” and it’s a more than a minute before the vocals come in,
giving a chance for us to first get immersed in the groove. “<i style="mso-bidi-font-style: normal;">Yeah, the sun is shining through our window/It’s a brand new day</i>.”
It’s a new day, with possibilities, but the blues are still there. This track
features some excellent work on bass.</p>
<p class="MsoNoSpacing">“Whatcha Gonna Do” also has a strong groove. “<i style="mso-bidi-font-style: normal;">Don’t think about yesterday, it’s already
gone/Don’t think about tomorrow, you can’t predict what’s in the stars/And I
want to say, whatcha going to do, it’s just another day/Whatcha gonna do with
it?</i>” That’s the question, isn’t it? It is difficult to remain in the
present, and that is what the song is urging us to do. And its positive vibes
are working. The best way I find to stay in the present is to dance, to lose
myself in the music at a concert. Those are the moments when I feel most in the
present. That’s followed by “Give Me One Reason,” a relationship song. “<i style="mso-bidi-font-style: normal;">I don’t know why you run away and always try
to hurt me</i>.” I love the liveliness of the chorus, and some of the guitar
work is catchy. And that “<i style="mso-bidi-font-style: normal;">Sha la la</i>”
part reminds me of Van Morrison. Then “Snakehole Road” has more of a blues rock
sound, rising up from the dark mists out there on the edge where the blues seems
to take physical form. “<i style="mso-bidi-font-style: normal;">The place is
always open/Oh, whatcha going to do/Ain’t no cops for miles around</i>.” The
song has a bit of an odd ending. “Black And Blue” also something of a heavier
sound, and features some good work on drums. The album concludes with “Fifteen
Minutes,” an aptly titled blues jam. Actually, it’s nearly sixteen minutes in
length. I do wonder if the title came after it was recorded, and I wonder if when
they play it in concert and it goes, say, seventeen minutes, do they then
re-title it. Anyway, it’s a cool, slow number featuring some delicious work on
guitar. It has a great contemplative vibe, and the guitar takes on more of an
exploratory feel at times in the second half. There is also some excellent
percussion. It’s a really good instrumental track, and another that makes me
want to see this band perform live.</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Wrong Side Of Town</li><li class="MsoNoSpacing">Junior’s Back</li><li class="MsoNoSpacing">Runnin’ Blues</li><li class="MsoNoSpacing">Nowhere Left To Go</li><li class="MsoNoSpacing">My Baby</li><li class="MsoNoSpacing">High Up On The Mountain</li><li class="MsoNoSpacing">Chitlin’ Pickin’</li><li class="MsoNoSpacing">Brand New Day</li><li class="MsoNoSpacing">Whatcha Gonna Do</li><li class="MsoNoSpacing">Give Me One Reason</li><li class="MsoNoSpacing">Snakehole Road</li><li class="MsoNoSpacing">Black And Blue</li><li class="MsoNoSpacing">Fifteen Minutes</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Nowhere Left To Go</i>
was released on January 12, 2024 on Woodward Avenue Records.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-11477362349376601392024-03-02T14:04:00.000-08:002024-03-02T14:04:37.980-08:00Heather Little: “By Now” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAHKjhdzVAMtsUMGt79B_9Je0wmGFLoABzqp8_VUVDlX0MhEWzAW6zYqslVOulIFfVPn96L0vhQH1BtQndQ6d-qd_9W-XUhubgW7ldZse9XwemtZc5mmdOJu_ZJIX3IbeefFGS7322PN7cpBFQWjpLSu8xhcCtG_0wvN7QqgQpw1YxqKBePYg7yT2bTsb/s1400/zz%20Heather%20Little%20By%20Now.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguAHKjhdzVAMtsUMGt79B_9Je0wmGFLoABzqp8_VUVDlX0MhEWzAW6zYqslVOulIFfVPn96L0vhQH1BtQndQ6d-qd_9W-XUhubgW7ldZse9XwemtZc5mmdOJu_ZJIX3IbeefFGS7322PN7cpBFQWjpLSu8xhcCtG_0wvN7QqgQpw1YxqKBePYg7yT2bTsb/s320/zz%20Heather%20Little%20By%20Now.jpg" width="320" /></a></div>Heather Little is a singer and songwriter from Texas. She
released <i style="mso-bidi-font-style: normal;">Wings Like These</i>, her first
full-length album, back in 2013, but at that point was already known for her
songwriting. “Gunpowder & Lead,” co-written by Miranda Lambert, was
released as a single by Lambert and became her first big hit.<span style="mso-spacerun: yes;"> </span>Heather Little had also co-written Miranda
Lambert’s first major single, “Me And Charlie Talking,” which was included on
Lambert’s <i style="mso-bidi-font-style: normal;">Kerosene</i>, released in
2005.<span style="mso-spacerun: yes;"> </span>And she co-wrote Sunny Sweeney’s
“Helluva Heart,” on Sweeney’s 2011 album <i style="mso-bidi-font-style: normal;">Concrete</i>.
That same year saw the release of <i style="mso-bidi-font-style: normal;">Killin’
Uncle Buzzy</i> from Travis Meadows, that album including “Minefield,” a track
that Heather Little co-wrote and that features her backing vocal work. In 2021,
Heather Little released a live album, which was the second volume in the <i style="mso-bidi-font-style: normal;">Old Quarter Live Sessions</i> series. And
now she is releasing a new studio album. Titled <i style="mso-bidi-font-style: normal;">By Now</i>, this album features original material written by Heather
Little, along with her own rendition of “Gunpowder & Lead.” And she is
joined by some talented musicians, including Duke Levine on guitar, Audley
Freed on guitar, Jared Tyler on guitar, Kevin Barry on guitar, John Jackson on
guitar, Russ Paul on pedal steel, Paul Griffith on drums and percussion, Scott Amendola on drums and percussion, John Deaderick on
piano and organ, Stefano Intelisano on accordion, Niamh Varian-Barry on viola,
Eamon McLoughlin on fiddle and mandolin, Sebastian Steinberg on upright bass,
Joe Newberry on banjo, Mai Bloomfield on cello, Van Plating on violin, Bow Thayer
on bojotar, and Kami Lyle on trumpet. Frank Swart, who co-produced the album
with Brian Brinkerhoff, plays electric guitar, bass, mandolin and piano. There
are also some special guests joining her on various tracks, including Patty
Griffin.<p></p>
<p class="MsoNoSpacing">Heather Little opens with album with “Five Deer County,”
a song that she had included on her live album. That earlier recording is a
solo acoustic rendition, while this new version includes a full band and
features special guest Rusty Van Sickle joining her on vocals. Here is a taste
of the lyrics: “<i style="mso-bidi-font-style: normal;">I could bring him back/I
could string him up/But I ain’t no ball and chain/No, I’d rather give him back
his name/And let him have all he’s ever dreamed/In a five deer county and an
old Airstream</i>.” This track also features some good work on electric guitar.
That’s followed by “Hands Like Mine,” which features Patty Griffin on vocals. The
vocals on this track are particularly striking, embodying and expressing
experience and vulnerability, sadness and ache. “<i style="mso-bidi-font-style: normal;">And the boy that gave it to me/He promised me the moon/But all he had
was the dark where it belonged/It wasn’t his fault, he didn’t know the
rollercoaster we were on/Was a one-way ride straight to hell</i>.” That is a
compelling and haunting opening section, particularly the way she says “<i style="mso-bidi-font-style: normal;">It wasn’t his fault.</i>” The band then
comes in and helps lifts us a bit. Toward the end the person is addressed directly,
“<i>It’s not your fault</i>.” But the most striking and heartbreaking line is the
song’s main line, “<i style="mso-bidi-font-style: normal;">‘Cause they don’t make
a ring for hands like mine</i>.” I also like the accordion work on this track. </p>
<p class="MsoNoSpacing">Leslie Satcher joins Heather Little on vocals for “Razor
Wire,” the two sounding beautiful together. “<i style="mso-bidi-font-style: normal;">So when the sun sets, fetch your torches/And burn the walls to the
ground/Be my razor wire stomping around in circles like a fool/And I’ll be
looking for you too</i>.” <span style="mso-spacerun: yes;"> </span>I also love
the sad sound of the strings, adding to the song’s impact. And check out these
lines: “<i style="mso-bidi-font-style: normal;">If I disappear please look
forever/Spend your time believing a thousand different ways/Spend your dimes
and nickels buying wishes from the well/And I will spend my dying
breath/Calling out your name</i>.” Wow. This is a gorgeous song that had me
near tears. Each track on this album demonstrates what an incredible talent
Heather Little has for songwriting, and every song has lyrics that grab us, such
as these, from “Bones”: “<i style="mso-bidi-font-style: normal;">I killed all my
summers crying over spring/And lost my winters to reeling from the falls</i>”
and “<i style="mso-bidi-font-style: normal;">And I’ll keep that night on my
bedside table/And I’ll leave it there until I’m able/To toss it in the box
where it belongs</i>.” And though she has written songs for other artists, what
better voice than hers is there to deliver these lines?</p>
<p class="MsoNoSpacing">“Better By Now” is sort of the title track, and it
features guest Ronnie Bowman on vocals, the two sounding so good together as
they deliver the song’s main line, “<i style="mso-bidi-font-style: normal;">I
ought to be better by now</i>.” There is something of a lighter sound to this
one, even as Heather sings, “<i style="mso-bidi-font-style: normal;">Your knife
is dirty and your plans are cruel</i>.” Something in her delivery tells us she
is going to be all right. We can hear an inner strength, a resilience that is
fueled by hope. Heather Little delivers another heartfelt vocal performance on “Landfall,”
here her voice supported mainly by piano. I don’t think anyone could be left
unaffected by her performance, and by this song as a whole, thinking about the
storms in his or her own life. This track features some beautiful work on
strings.</p>
<p class="MsoNoSpacing">There is the sound of a transistor radio at the beginning
of “Transistor Radio” before the song quickly kicks in to become a powerful
number. “<i style="mso-bidi-font-style: normal;">Running hard from all the
bastards that knew me by my father’s name/He never wrote, he barely called, he
left well enough alone/By the time he really died/I read it on my phone</i>.” Oh
man, those lines pack a punch. And I can relate to her lines about saying
things she’d never thought she’d say, “<i style="mso-bidi-font-style: normal;">They
don’t make ‘em like they used to</i>.” This track ends as it began, this time
the sound effect lasting a bit longer. That’s followed by “California Queen.” A
live version of this song was released as a single in 2022, that being a solo
acoustic rendition. She pulls us in so easily with her voice, this song told
from someone who is half of a somewhat unusual relationship. “<i style="mso-bidi-font-style: normal;">You are my knight/You’re the one who saves
me/You are my carnal distraction from the war that’s always raging</i>.” She
keeps that royalty theme going with the lines “<i style="mso-bidi-font-style: normal;">Your castle walls are so high/You know I’ll fall/But I still climb</i>.”</p>
<p class="MsoNoSpacing">Patty Griffin joins Heather Little again on “This Life
Without You,” a heartbreaking song of loss. I could not keep the tears from
falling while listening to this one. The line about the sun rising out of spite
hit me. It feels that way when someone you love has died. It seems wrong when
the world just keeps going as if nothing has happened. These lines are striking
too: “<i style="mso-bidi-font-style: normal;">They come over, they call/They send
flowers, then they stop/And it’s just me and too much room in our bed</i>.” This
is another song that Heather Little included on that live album. The line “<i style="mso-bidi-font-style: normal;">If you had it to do over</i>” on that earlier
version becomes “<i style="mso-bidi-font-style: normal;">If we had to do it over</i>”
here. “This Life Without You” is followed by “My Father’s Roof.” That beautiful
work on trumpet seems to be coming from the past, from memory, from another
realm, a voice connecting the past to the present. And it is a difficult past
that must be dealt with. Check out these lines: “<i style="mso-bidi-font-style: normal;">My father’s roof is a heavy kind of halo/If you lose it better lay low
‘til he’s through/‘Cause there’s a sniper in the rafters/And it’s only kill or capture/All
the bullets are a hundred and forty proof/There ain’t no refuge, comfort or
shelter/Under my father’s roof</i>.”</p>
<p class="MsoNoSpacing">Crystal Bowersox joins Heather Little on “Saint
Christopher,” a song that features some wonderful work on pedal steel. And, as
is the case with all of Heather Little’s material, it contains some excellent
lyrics. “<i style="mso-bidi-font-style: normal;">It’s all perfect in the dark/In
the morning we are only who we are</i>.” That’s followed by “Sunset Inn,” another
song that Heather Little included on her live album, where it was the lead
track. Here it begins with some beautiful work on strings. This is a song about
seeking temporary shelter, with Heather singing “<i style="mso-bidi-font-style: normal;">I’m safe inside, I suppose/This is home tonight/I’m all right</i>.”
This is a place to gather herself together, to decide what might be next. Interestingly,
this song also uses the word “knight” to describe the man in a relationship (as
in “California Queen”): “<i style="mso-bidi-font-style: normal;">Don’t throw your
heart to a white knight/‘Cause he’s a rodeo clown/He’ll turn the whole world
upside down/Just dying to save someone again</i>.” The album concludes with
Heather Little’s rendition of “Gunpowder & Lead,” co-written by Miranda
Lambert. The work on strings at the beginning immediately distinguishes it from
Miranda Lambert’s rendition. It still has that power of the earlier version,
but it’s a different sort of power, residing mainly in the vocal work. Van
Plating joins Heather Little on vocals for this track, and the excellent string
work features prominently.</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Five Deer County</li><li class="MsoNoSpacing">Hands Like Mine</li><li class="MsoNoSpacing">Razor Wire</li><li class="MsoNoSpacing">Bones</li><li class="MsoNoSpacing">Better By Now</li><li class="MsoNoSpacing">Landfall</li><li class="MsoNoSpacing">Transistor Radio</li><li class="MsoNoSpacing">California Queen</li><li class="MsoNoSpacing">This Life Without You</li><li class="MsoNoSpacing">My Father’s Roof</li><li class="MsoNoSpacing">Saint Christopher</li><li class="MsoNoSpacing">Sunset Inn</li><li class="MsoNoSpacing">Gunpowder & Lead</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">By Now</i> is
scheduled to be released on April 19, 2024.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-2590160449746151492024-02-26T14:49:00.000-08:002024-02-26T14:49:27.829-08:00Zac Bauman: “Bell Jar” (2017) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjWDkRnnh5wjhF2zZImDeNxvDbAhSVxdAeMmrlFoxpUmh7ykBxsEpiGnfBM0hHFjaSq6j7ClZNO-aAnihE0xFUlAJvBlOVhf5Sow-ay83qpFKT7uUU5EIJ0v9DBTFscb79DbghcL4H6sdL2SE-71gTwI5h_lJzVrD5BK3f6iSdRgeCOvW3wHnaPscOXSso/s700/zz%20Zac%20Bauman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjWDkRnnh5wjhF2zZImDeNxvDbAhSVxdAeMmrlFoxpUmh7ykBxsEpiGnfBM0hHFjaSq6j7ClZNO-aAnihE0xFUlAJvBlOVhf5Sow-ay83qpFKT7uUU5EIJ0v9DBTFscb79DbghcL4H6sdL2SE-71gTwI5h_lJzVrD5BK3f6iSdRgeCOvW3wHnaPscOXSso/s320/zz%20Zac%20Bauman.jpg" width="320" /></a></div>Zac Bauman is a singer and songwriter based in
Sacramento. He plays a variety of instruments, and on his 2017 album <i style="mso-bidi-font-style: normal;">Bell Jar</i> he plays nearly everything you
hear, apart from the trumpet and trombone. As you might guess from the album’s
title (assuming you are familiar with the Sylvia Plath novel), the songs here
deal with depression and mental health. But no, the album is not a downer. Rather,
it offers hope, the music seeming to be coming from the other side of the
struggle at times, and reaching a hand to those still mired in it. All the
songs on this release were written by Zac Bauman, who also mixed the album.<p></p>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Bell Jar</i> opens
with “Over And Over,” which has a rather pretty and uplifting folk sound as it
begins. And so, because of that sound, that vibe, the song’s first line comes
as something of a surprise: “<i style="mso-bidi-font-style: normal;">Birds call
me out, and I lower the muzzle from my snout</i>.” The word <i style="mso-bidi-font-style: normal;">muzzle</i> has multiple definitions, but I
can’t help but think of the barrel of a gun here. A decision has been made. And,
yes, this song has a positive feel. Check out these lines: “<i style="mso-bidi-font-style: normal;">Life makes a sound/You can hear it vibrating
all around/You don’t know the song/But hey, you’ll hum along/‘Cause it’s over
and over before you know</i>.” Yes, it’s all over so quickly, before we really
get a hold of things, before we learn what it’s all about. This song leads
straight into “Requiem For Joe Death,” an instrumental track featuring some
really nice work on guitar. It has a classic vibe to it, fitting in the
tradition of some of the great folk and acoustic blues numbers.</p>
<p class="MsoNoSpacing">There is also something of an old-time folk feel to “(Nothing)
Like A Rolling Stone” as it begins, with the work on banjo. But Zac Bauman’s vocal
approach is somewhat at odds with that vibe. It is a voice with an ethereal
quality, which works particularly well with lines like these: <span style="mso-spacerun: yes;"> </span>“<i style="mso-bidi-font-style: normal;">Grin
and bear it all inside/Though you know that's not a cure/But a means to get
by/Just look around you now/If you want to see heaven/This life is a beautiful
something/If you take it in stride</i>.” This is the first track to feature
horns. That is Joe Espena, and he delivers some wonderful work here. That’s
followed by “Soulmate,” which begins with a reading of the first two stanzas of
E.E. Cummings’ “Somewhere I Have Never Traveled.” Then percussion dominates the
track, but with an interesting spiritual bent to it. It is a compelling sound
and vibe. There is something otherworldly about this track, including the vocal
performance. “<i style="mso-bidi-font-style: normal;">Well, a night is long, but
it’s longer in an empty home/Put your face in my hands, it’s nothing but a
wonder</i>.” The track takes an interesting turn toward the end, focusing on
guitar and banjo.</p>
<p class="MsoNoSpacing">Zac Bauman’s vocals have something of a progressive rock
sound, on the album’s title track and others. “Bell Jar” is such a wonderfully
strange song. The sound is part childhood fairy tale or something, which makes
it kind of eerie, kind of beautiful. “<i style="mso-bidi-font-style: normal;">And
so you shrug it off/That ever-nagging heartache/And put a smile on/By moving
muscles under your face/But inner voice, it howls/And paints the world a
glimmering grey</i>.” Another line that stands out is this: “<i style="mso-bidi-font-style: normal;">God is a hoax, is a lie, is a comfort for
desperate lives</i>.” True, though I try not to disparage anyone’s source of
comfort, so long as that person doesn’t use it to harm others. Aren’t we all a
little desperate? Then “This Lonesome Life” is pretty as it begins. “<i style="mso-bidi-font-style: normal;">Say what you want, it's a lonesome life/Cast
out your demons, but they linger at your side/All the world is waiting for that
golden tunnel light/To save us and erase us from this lonesome life</i>.” Approximately
a minute in, it takes on something of a Danny Elfman vibe. A darkness arrives, but
with a sense of being part of a carnival. I love it. The track then ends as it
began. That’s followed by “Exaltation At World’s End,” an instrumental piece
with different sections, featuring some excellent guitar work.</p>
<p class="MsoNoSpacing">As “Beleganjur Blues” begins, it is like the piece is
already in progress. Percussion plays a strong part in the song’s vibe. “<i style="mso-bidi-font-style: normal;">Soon flesh to ashes will flower/Spirit
rising from tower/While my heart is devoured</i>.” This song begins to feel
like it is marching toward the heavens, toward oblivion and uncertain glory, and
it’s one hell of an interesting journey. Joe Espena plays on this track. That’s
followed by “Blasphemer Rag,” which begins with the sound of static, like we’re
listening to an old record. I never care for that effect, for it never rings
true. That being said, this is a good song. I
appreciate these lines: “<i style="mso-bidi-font-style: normal;">Pardon me, but I
don’t need no threat of burning hell/To lead a life of well-doing and peace/But
that’s just me</i>.” It reminds me of something Penn Jillette said: “The
question I get asked by religious people all the time is: Without God, what’s
to stop me from raping all I want? And my answer is: <span style="mso-bidi-font-weight: bold;">I do rape all I want. And the amount I want is zero.” It worries me that
the only thing keeping some people from doing horrible things is fear of a
mythical being and mythical place. Joe Espena plays on this track too. </span></p>
<p class="MsoNoSpacing"><span style="mso-bidi-font-weight: bold;">There is
something soothing, comforting in the sound of “Breath Of Life,” with its light
vibe at the start. “<i style="mso-bidi-font-style: normal;">A little breath of
life/That’s what you want/It keeps you up at night/When you remember it’s gone</i>.”
I suppose what is comforting about this is that it is true for everyone. It’s
all we have, a little breath of life, and then it’s gone. This track is pretty
as it fades out. That’s followed by “Snaggletooth Rag,” a fun guitar
instrumental track. Whenever I see the word <i style="mso-bidi-font-style: normal;">Snaggletooth</i>,
I can’t help but think of one of my old <i style="mso-bidi-font-style: normal;">Star
Wars</i> figures from my childhood (and yes, I had the tall figure with the
blue outfit). But no, this music does not sound like that of the cantina band
from that scene. It is, however, delightful. Then some wonderful guitar work
gets “Stranger To You” off to a great start. It’s nearly two minutes in before
the vocals come in. “<i style="mso-bidi-font-style: normal;">Always seem to find
that your mind is a tangle of troubles/And your heart is a tangle of tunes/When
you look around and you’ve found that your life is a stranger to you/How do you
even begin?</i>” There is something quite catchy about this track. It’s another
of my personal favorites. There is even some nice work on harmonica toward the
end.</span></p>
<p class="MsoNoSpacing"><span style="mso-bidi-font-weight: bold;">“While Rome Burns”
contains some contemporary pop elements, but also accordion and some cool work
on electric guitar, giving it an intriguing and unusual sound. These lines
stand out: “<i style="mso-bidi-font-style: normal;">Every time I lift my head, I
feel the sting of wasted hours/All my dreams are moving on, while I just sit,
inhaling flowers/Tell me, tell me what you can to alleviate desire</i>.” The
album then concludes with “That Familiar Feeling,” which starts with a
compelling instrumental section that takes us through darkness and into a dawn
just before the vocals come in. And is that a harp? The vocals have a strange,
otherworldly vibe. “<i style="mso-bidi-font-style: normal;">Form is a lie/What
you are, you ain’t/Death isn’t to die, only a transformation</i>.” And we are
ready for any odd turn the music wishes to take. There is a hint of magic to
it.</span></p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Over And Over</li><li class="MsoNoSpacing">Requiem For Joe Death</li><li class="MsoNoSpacing">(Nothing) Like A Rolling Stone</li><li class="MsoNoSpacing">Soulmate</li><li class="MsoNoSpacing">Bell Jar</li><li class="MsoNoSpacing">This Lonesome Life</li><li class="MsoNoSpacing">Exaltation At World’s End</li><li class="MsoNoSpacing">Beleganjur Blues</li><li class="MsoNoSpacing">Blasphemer Rag</li><li class="MsoNoSpacing">Breath Of Life</li><li class="MsoNoSpacing">Snaggletooth Rag</li><li class="MsoNoSpacing">Stranger To You</li><li class="MsoNoSpacing">While Rome Burns</li><li class="MsoNoSpacing">That Familiar Feeling</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Bell Jar</i> was
released on September 17, 2017.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-20916405877069781732024-02-25T20:07:00.000-08:002024-02-25T20:07:25.438-08:00Pushbuttons at The York, 2-24-24: Photos<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7XYHD_6gZQmEA1oTnmSblu8Y25LdaGx2FL9XK7urwOoiZ1OwMtcBZEfQqe1pplt1M4jzWhAAWowwGkhTuocOVg8O5qEmNS-18p6xW9Y-cno2W7VSjnUqLYhmDuYbOc9F1HNG9MnOnBhO0g8SpPAxvfylMLV0_aFKySjWxSKSaMVRl_B5ivdY58gEmQCp5/s6240/DSCF3853.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="6240" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7XYHD_6gZQmEA1oTnmSblu8Y25LdaGx2FL9XK7urwOoiZ1OwMtcBZEfQqe1pplt1M4jzWhAAWowwGkhTuocOVg8O5qEmNS-18p6xW9Y-cno2W7VSjnUqLYhmDuYbOc9F1HNG9MnOnBhO0g8SpPAxvfylMLV0_aFKySjWxSKSaMVRl_B5ivdY58gEmQCp5/s320/DSCF3853.JPG" width="320" /></a></div>It had been a while since Pushbuttons had played at a
venue outside of the members’ homes, not since the pandemic started. Funny how
that’s a common marker of time these days. Pushbuttons is a group of talented and accomplished musicians who
get together every once in a while to play some delicious 1980s covers. This is
one of those purely-for-fun projects. I learned about this band because Derock
Goodwin is the guitarist. He was the guitarist for The Peak Show, one of the
best live bands I ever saw. The drummer for
Pushbuttons, Kate Schellenbach, is the drummer for Luscious Jackson, a band I
got turned onto in the early 1990s when I was a DJ at KWVA. “Citysong” still
gets in my head on a somewhat regular basis (though “Deep Shag” was my favorite
song from that album). Darren Embry and Laura Embry are, along with Derock
Goodwin, the core of Burning Manilow, another band that I wish would play more
often.<p></p>
<p class="MsoNoSpacing">The York is a cool venue, located almost directly across
the street from the old Peak Show Compound. I had spent many great nights in
this neighborhood, though most of them were twenty years ago, and the area has
changed a bit since then. The bar at The York is right in the center of the
room, so half of the place does not have a great view of the stage, which is
just to the left as you enter. But I grabbed a chair directly in front of the
door, right near the stage, where there was space to dance. Some light bulbs in
wire cages hung over the tables on the left side of the bar, a strange bit of
décor that I couldn’t help but like. After a somewhat lengthy soundcheck (though it might just
have felt that way because I was eager for the music), the band kicked off the
show at 9:20 p.m. with a totally fun cover of Gary Numan’s “Cars.” And the
night was underway. Other highlights of the first set included Bowie’s “Let’s
Dance,” Violent Femmes’ “Gone Daddy Gone,” The B-52s’ “Private Idaho,” and “Head
Over Heels” from The Go-Go’s. A half-hour set break gave folks a chance to get
to know each other. This place, or this band, attracts a really good group of
people. The second set included the fun “Situation” from Yazoo, as well as a
cool rendition of The Clash’s “Rock The Casbah,” among other gems. The show
ended at 11:32 p.m., and afterward I heard the good news that this gig is
likely going to become a regular thing, every month or two at this venue. So you will have more opportunities to check out this wonderful band.</p>
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<p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-MJfYNSaoh5x_pGgOMKtjWCORAp13vhdp2GfXk86zmaj-wAffAlTNyi_uPMBzO5G6C83mzTKxPtQiQbJVLcJKeAW884cxFfXgyKR2hCAdL1Ja6-NZeBwnOBXusTZERbQJlTn0Fessd9LJYm_oHbC53y2OH5tT8l8G6n4Llwsba0a97rbxhSL4du6310u3/s600/zz%20Frank%20Sinatra%20Platinum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-MJfYNSaoh5x_pGgOMKtjWCORAp13vhdp2GfXk86zmaj-wAffAlTNyi_uPMBzO5G6C83mzTKxPtQiQbJVLcJKeAW884cxFfXgyKR2hCAdL1Ja6-NZeBwnOBXusTZERbQJlTn0Fessd9LJYm_oHbC53y2OH5tT8l8G6n4Llwsba0a97rbxhSL4du6310u3/s320/zz%20Frank%20Sinatra%20Platinum.jpg" width="320" /></a></div>What can I saw about Frank Sinatra? The man had a
tremendous talent, and everyone knows that. Just consider all the songs we
still think of as Sinatra songs even though he didn’t write them. His impact on
music is immeasurable. <i style="mso-bidi-font-style: normal;">Platinum </i>is a
two-disc collection of tracks he recorded for Capitol Records between 1953 and
1962, including some of his most beloved recordings. This collection also contains
some previously unreleased tracks. Crazy, right? At this point, you’d think
everything that could be released has been released. But this fantastic
collection treats us to some alternate takes and test tracks, giving us a sense
of how Sinatra’s work proceeded in the studio. It also contains a liner notes
booklet, with several photos, along with some thoughts by Nelson Riddle, Gordon
Jenkins and Sinatra himself. The music is presented in chronological order,
apart from that bonus material which is presented at the end of the second
disc.<p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">CD 1</b></p>
<p class="MsoNoSpacing">The first disc opens with “Lean Baby,” recorded on April
2, 1953 and released on a single with “I’m Walking Behind You.” We hear the
take called out at the beginning, so this set makes a point of putting us in
the studio with him. This song is a delight, a playful love song. “<i style="mso-bidi-font-style: normal;">She’s slender, but she’s tender/She makes my
heart surrender/And every night when I hold her tight/The feeling is nice, my
arms can go around twice</i>.” That’s followed by “I’ve Got The World On A
String,” also recorded in April of 1953, and also released on a single. I love
how Frank Sinatra pulls us in with that intimate delivery, and then the horns blast,
setting things in motion. One wonderful thing is that there is a sort of
conversational feel to his delivery at moments, like he is speaking to us
directly, casually, even as he delivers a strong performance. Then “I Get A
Kick Out Of You” was recorded in November of 1953, and included on Sinatra’s
first album for Capitol, <i style="mso-bidi-font-style: normal;">Songs For Young
Lovers</i>, which was released in early 1954. I love the way the band begins to
cook on this one, and the way Sinatra holds onto the word “<i style="mso-bidi-font-style: normal;">terrifically</i>.” It’s such a cool track.</p>
<p class="MsoNoSpacing">“Young At Heart” was a big hit for him, and this
recording still has such a strong effect on anyone who listens. It’s a
beautiful track, one we just want to have carry us away into the great world it
describes. Oh yes, life is good. “<i style="mso-bidi-font-style: normal;">And
here is the best part/You have a head start/If you are among the very young at
heart</i>.” Those strings feel magical. “Young At Heart” is followed by
Sinatra’s rendition of Cole Porter’s “Just One Of Those Things,” recorded in
April of 1954 and used as the lead track on <i style="mso-bidi-font-style: normal;">Swing
Easy!</i> which was released that summer. Ah, his voice seems capable of taking
us on our own little trips to the moon, doesn’t it? This collection then moves
to 1955 with a couple of songs recorded on February 17th of that year, “I Get
Along Without You Very Well” and “In The Wee Small Hours Of The Morning,” both
of which were included on his <i style="mso-bidi-font-style: normal;">In The Wee
Small Hours</i> album. Also from 1955 come three more hits, “Learnin’ The Blues,”
“Love And Marriage” and “(Love Is) The Tender Trap.” The brass section’s work
in “Learnin’ The Blues” is so good. As for “Love And Marriage,” I can’t help
but think of the opening credits sequence to the television series <i style="mso-bidi-font-style: normal;">Married With Children</i> whenever I hear
it, even now. In fact, I expect the song to end after only a minute or so. But
no matter, it’s a great song, with playful elements. And there is something
wonderfully catchy about “(Love Is) The Tender Trap,” which also has playful
moments. When the horns take over in the second half, it feels like the whole
world should find itself engaged in a dance.</p>
<p class="MsoNoSpacing">“You Make Me Feel So Young” is another of those iconic
recordings. Yes, other people have recorded this song, but it will always be a
Sinatra song. Everything about this track is perfect. This song was recorded in
January of 1956 and was included on his <i style="mso-bidi-font-style: normal;">Songs
For Swingin’ Lovers!</i> album. Also from that album comes “I’ve Got You Under
My Skin,” another Cole Porter song, and another that is most closely associated
with Frank Sinatra, though it was recorded by several artists before Sinatra
did it. That’s followed by “I Couldn’t Sleep A Wink Last Night,” recorded on
November 1, 1956, and included on <i style="mso-bidi-font-style: normal;">Close
To You</i>, released in 1957. And he does feel especially close to us on this
track. There is a wonderful intimacy to his vocal delivery. The next two songs
were recorded on November 26, 1956, “The Lady Is A Tramp” and “Night And Day.”
“Night And Day” was included on <i style="mso-bidi-font-style: normal;">A
Swingin’ Affair!</i> (how many Sinatra albums have exclamation points in their
titles?), and is another Cole Porter song. Also from <i style="mso-bidi-font-style: normal;">A Swingin’ Affair!</i> comes “Oh! Look At Me Now,” though this is not
the first version of the song recorded by Sinatra. In the early 1940s he
recorded a version with Tommy Dorsey And His Orchestra.</p>
<p class="MsoNoSpacing">This collection moves to 1957 with “Where Are You?” which
was recorded on May 1st of that year, and used as the title track to an album
later that year. It features a gorgeous and moving vocal performance. That’s
followed by “Witchcraft,” which was released on a single in 1957, and is one of
my personal favorites. “<i style="mso-bidi-font-style: normal;">It’s such an
ancient pitch/But one I wouldn’t switch/’Cause there’s no nicer witch than you</i>.”
Oh yes, we know that feeling. This is such a great song. Then we get another of
those giant hits, “All The Way,” which was also released on a single. How can
you fail to be moved by this recording? “<i style="mso-bidi-font-style: normal;">When
somebody loves you/It’s no good unless he loves you all the way</i>.” That’s
the love that matters, that’s the love we all need. And we hear it in his
delivery. Then we get a couple of songs recorded in October of 1957 and
included on the 1958 album <i style="mso-bidi-font-style: normal;">Come Fly With
Me</i>, “Moonlight In Vermont” and “Come Fly With Me.” I love the energy of his
voice in “Come Fly With Me.” It makes us feel ridiculous for not going on some
romantic, beautiful adventure. What’s wrong with us? That’s followed by “Only
The Lonely,” the title track to a 1958 LP, which features another beautiful
performance. “<i style="mso-bidi-font-style: normal;">If you find love, hang on
to each caress</i>.” The first disc concludes with a couple of songs recorded
in December of 1958, “Something’s Gotta Give” and “All My Tomorrows.”
“Something’s Gotta Give” is a lively number included on <i style="mso-bidi-font-style: normal;">Come Dance With Me!</i> (another album title with an exclamation
point), and “All My Tomorrows” is a romantic and wonderful song. “<i style="mso-bidi-font-style: normal;">And all my bright tomorrows belong to you</i>.”
</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">CD 2</b></p>
<p class="MsoNoSpacing">The second disc starts in March of 1959, with Frank
Sinatra’s recording of “Here’s That Rainy Day,” a song he included on his <i style="mso-bidi-font-style: normal;">No One Cares</i> album. This track features
a compelling vocal performance. Just listen to the way he delivers a line like
“<i style="mso-bidi-font-style: normal;">Funny how love becomes a cold rainy day</i>,”
how his voice is so strong at the beginning of that line and grows softer in
the second half of it, losing power. We feel him reacting to that cold rainy
day. We can hear it in his voice. That’s followed by another song from <i style="mso-bidi-font-style: normal;">No One Cares</i>, “A Cottage For Sale,”
which was also recorded in March of 1959. This one too has a somber, sad vibe.
His voice borders on despair at moments, his performance is striking. But don’t
worry, the mood lifts with the next track, “High Hopes.” And the track features
some kindly words to the children’s chorus at the beginning: “<i style="mso-bidi-font-style: normal;">Have fun, now, boys and girls. Relax</i>.”
This playful number was released as a single in 1959. We then move into 1960
with “You Go To My Head,” a pretty and romantic song that Sinatra included on
his <i style="mso-bidi-font-style: normal;">Nice ‘N’ Easy</i> album. That’s
followed by a track he recorded the next day, “The Nearness Of You,” keeping to
that wonderful, romantic tone. What a gorgeous rendition! It is then followed
by the title track to <i style="mso-bidi-font-style: normal;">Nice ‘N’ Easy</i>.
“<i style="mso-bidi-font-style: normal;">We’re on the road to romance, that’s
safe to say</i>,” indeed! Any road to romance must include at least a little
Frank Sinatra music.</p>
<p class="MsoNoSpacing">Things then start to swing a bit with “River, Stay ‘Way
From My Door,” which is a delightful number with a joyous energy, both in his
vocal performance and in the work of the brass section. Then we get a couple of
songs that were included on <i style="mso-bidi-font-style: normal;">Sinatra’s
Swingin’ Session!!!</i> (holy moly, three exclamation points in one title), “September
In The Rain” and “Blue Moon.” I love that ending to “September In The Rain,”
his voice supported by bass. And he puts his own spin on “Blue Moon,” a track
that features some wonderful work on saxophone. That’s followed by “Day By Day,”
the lead track from <i style="mso-bidi-font-style: normal;">Come Swing With Me!</i>
(seriously, the man loved his exclamation points). Sinatra had already had a
hit with an earlier recording of this song from the 1940s. This track was
recorded in March of 1961. Also recorded in 1961 was “When The World Was Young,”
which was included on Sinatra’s 1962 LP <i style="mso-bidi-font-style: normal;">Point
Of No Return</i>. “<i style="mso-bidi-font-style: normal;">Wherever I go, they
mention my name/And that in itself is some sort of fame</i>.” The final track
before the alternate takes is “I Gotta Right To Sing The Blues,” a song
recorded on March 6, 1962. As it begins we hear “<i style="mso-bidi-font-style: normal;">Take 3</i>” being called out. This is a seriously delicious number with
a cool vocal performance, and some lively work from the brass section. It was
included on <i style="mso-bidi-font-style: normal;">Sinatra Sings… Of Love And
Things</i>.</p>
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</p><p class="MsoNoSpacing">Then we get to those special tracks, which are also
presented in chronological order, beginning in 1958 with “Here Goes,” recorded
on March 3rd of that year. We are treated to some studio banter, and a false
start before a lively and exciting rendition. Listen to the way that bass races
along. That’s followed by an alternate take of “Guess I’ll Hang My Tears Out To
Dry.” We hear that this is “<i style="mso-bidi-font-style: normal;">Take one</i>.”
It’s a beautiful version, and I love that moment where his voice nearly breaks
on the word “<i style="mso-bidi-font-style: normal;">teardrops</i>,” something that
comes as a surprise. This version is approximately a minute longer than that included
on <i style="mso-bidi-font-style: normal;">Only The Lonely</i>. <span style="mso-spacerun: yes;"> </span>Then we get the May 29, 1958 session for “Lush
Life,” beginning with the first take, which lasts but a few seconds and goes
right into the second take. We get a minute into it before Sinatra indicates he
wants to start again, and then we get the third take. This take is stopped
partway through, and there is some amusing banter. “<i style="mso-bidi-font-style: normal;">Put it aside for about a year</i>.” And that’s how this track
concludes. But he put it away for longer than that. Apparently, Sinatra never
returned to the song. I wonder why. The disc takes us next to June 24, 1958 for
a test track for “One For My Baby,” another song that would be included on <i style="mso-bidi-font-style: normal;">Only The Lonely</i>. This is a great
rendition, with Sinatra’s voice supported just by piano, and is for me one of
the highlights of this disc.</p>
<p class="MsoNoSpacing">There is one more track from 1958, an alternate take of “Just
In Time,” recorded on September 30th. This song would be included on <i style="mso-bidi-font-style: normal;">Come Dance With Me!</i> which was released
in 1959. There is some banter about the trumpets at the beginning of the track.
The third and fourth takes are cut almost immediately, and what we get is the
fifth take. That is followed by “A Hole In The Head (radio spots),” which contains
takes of various promotional spots for the film directed by Frank Capra. There
is something quite playful about this track, and the first take of the second
spot causes whoever was present in the room to laugh. It’s probably that “<i style="mso-bidi-font-style: normal;">Bink boink</i>” that he utters at the end. “<i style="mso-bidi-font-style: normal;">You know how to fix it?</i>” he says before
the next take. “<i style="mso-bidi-font-style: normal;">Just a shade slower than
what we did the other one, just a touch</i>.” It’s a treat hearing this stuff,
like we are in the room ourselves. Those spots were recorded in May of 1959.
The disc then goes into 1960 with “I’ve Got A Crush On You,” a song Sinatra
included on <i style="mso-bidi-font-style: normal;">Nice ‘N’ Easy</i>. There is
some funny banter at the beginning of the track. They go through the entire
song, and then start it again, with Sinatra giving a bit of direction to the
players first. That second take contains a surprising change of lyrics, which
causes everyone to laugh. There is a lot of humor before they start the third
take, and more laughter as they begin the fourth take. This collection
concludes with “Memories Of You,” recorded in September of 1961. This one also
includes instructions to the musicians from Frank Sinatra, and a call for
whiskey and brandy. And what a vocal performance! <br /></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">CD Track List</b></p>
<p class="MsoNoSpacing">CD 1</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Lean Baby</li><li class="MsoNoSpacing">I’ve Got The World On A String</li><li class="MsoNoSpacing">I Get A Kick Out Of You</li><li class="MsoNoSpacing">Young At Heart</li><li class="MsoNoSpacing">Just One Of Those Things</li><li class="MsoNoSpacing">I Get Along Without You Very Well</li><li class="MsoNoSpacing">In The Wee Small Hours Of The Morning</li><li class="MsoNoSpacing">Learnin’ The Blues</li><li class="MsoNoSpacing">Love And Marriage</li><li class="MsoNoSpacing">(Love Is) The Tender Trap</li><li class="MsoNoSpacing">You Make Me Feel So Young</li><li class="MsoNoSpacing">I’ve Got You Under My Skin</li><li class="MsoNoSpacing">I Couldn’t Sleep A Wink Last Night</li><li class="MsoNoSpacing">The Lady Is A Tramp</li><li class="MsoNoSpacing">Night And Day</li><li class="MsoNoSpacing">Oh! Look At Me Now</li><li class="MsoNoSpacing">Where Are You?</li><li class="MsoNoSpacing">Witchcraft</li><li class="MsoNoSpacing">All The Way</li><li class="MsoNoSpacing">Moonlight In Vermont</li><li class="MsoNoSpacing">Come Fly With Me</li><li class="MsoNoSpacing">Only The Lonely</li><li class="MsoNoSpacing">Something’s Gotta Give</li><li class="MsoNoSpacing">All My Tomorrows</li></ol>
<p class="MsoNoSpacing">CD 2</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Here’s That Rainy Day</li><li class="MsoNoSpacing">A Cottage For Sale</li><li class="MsoNoSpacing">High Hopes</li><li class="MsoNoSpacing">You Go To My Head</li><li class="MsoNoSpacing">The Nearness Of You</li><li class="MsoNoSpacing">Nice ‘N’ Easy</li><li class="MsoNoSpacing">River, Stay ‘Way From My Door</li><li class="MsoNoSpacing">September In The Rain</li><li class="MsoNoSpacing">Blue Moon</li><li class="MsoNoSpacing">Day By Day</li><li class="MsoNoSpacing">When The World Was Young</li><li class="MsoNoSpacing">I Gotta Right To Sing The Blues</li><li class="MsoNoSpacing">Here Goes (session takes)</li><li class="MsoNoSpacing">Guess I’ll Hang My Tears Out To Dry (alternate take)</li><li class="MsoNoSpacing">Lush Life (session takes)</li><li class="MsoNoSpacing">One For My Baby (test track)</li><li class="MsoNoSpacing">Just In Time (alternate take)</li><li class="MsoNoSpacing">A Hole In The Head (radio spots)</li><li class="MsoNoSpacing">I’ve Got A Crush On You (session takes)</li><li class="MsoNoSpacing">Memories Of You (session takes)</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Platinum </i>was
released on October 27, 2023.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-4053312118204825212024-02-19T14:49:00.000-08:002024-02-19T14:49:36.354-08:00Rafael Riqueni: “Versatae” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6a7zsVNJ8bBpAi1EUBLJhUK2fKZvMqAij7FApncf9L1bwhRwG1ap6ZIMQ1zPG67cghFsuxsy_KEL7e0hw6DbiQQw_E1ZYhGOueCLMUjUSoxieTIafhAO66X5oaPeSTL0WcrWwNto6AIqnhiUrEv8DRB0uwnD1Z07H-jZNbZYrh_ojdu8yogPI1GHWekOh/s600/zz%20Rafael%20Riqueni.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6a7zsVNJ8bBpAi1EUBLJhUK2fKZvMqAij7FApncf9L1bwhRwG1ap6ZIMQ1zPG67cghFsuxsy_KEL7e0hw6DbiQQw_E1ZYhGOueCLMUjUSoxieTIafhAO66X5oaPeSTL0WcrWwNto6AIqnhiUrEv8DRB0uwnD1Z07H-jZNbZYrh_ojdu8yogPI1GHWekOh/s320/zz%20Rafael%20Riqueni.jpg" width="320" /></a></div>Rafael Riqueni is a flamenco guitar player from Seville.
He released his first album, <i>Juego de Niños</i><span style="mso-bidi-font-style: italic;">,<i> </i>in 1986, and has followed that with several others, gathering
prizes and accolades along the way.</span> On his new release, <i style="mso-bidi-font-style: normal;">Versatae</i>, he puts his own spin on some
familiar songs, mostly from the pop and rock realms, some that you might not guess would translate so well to this style. Apart from a couple of tracks toward
the end of the disc, this album contains solo guitar pieces.<p></p>
<p class="MsoNoSpacing">Rafael Riqueni opens the album with Eric Clapton’s “Tears
In Heaven,” an interesting choice to cover, for of course it’s a very personal
song. But as is the case with most of Eric Clapton’s material it features some
good guitar work, and so provides an opportunity for Rafael Requeni to
shine. And it’s a pretty song, even if perhaps a bit heavy for an album opener.
Rafael Riqueni delivers a moving and respectful rendition. He follows that with
a cover of Santana’s “Europa (Earth’s Cry Heaven’s Smile),” here simply titled
“Europa,” though it is that parenthetical title that is part of what makes this
is a perfect number to follow “Tears In Heaven.” This is one of Santana’s most
famous compositions (it was co-written by Tom Coster), and is an instrumental,
making it an ideal selection for Rafael Riqueni. I love his approach to this
piece. It is beautiful and stirring, and it fades out all too soon.</p>
<p class="MsoNoSpacing">Ennio Morricone composed some absolutely fantastic music
over his career, including for such films as <i style="mso-bidi-font-style: normal;">The Battle Of Algiers</i>, <i style="mso-bidi-font-style: normal;">Teorema</i>,
<i style="mso-bidi-font-style: normal;">A Lizard In A Woman’s Skin</i>, <i style="mso-bidi-font-style: normal;">Once Upon A Time In America</i> and <i style="mso-bidi-font-style: normal;">Bugsy</i>, among many others. On this album,
Rafael Riqueni chooses to cover the main theme to <i style="mso-bidi-font-style: normal;">Cinema Paradiso</i>, giving us a touching and sweet rendition. That’s
followed by a delightful rendition of “Just The Two Of Us,” the guitar so
eloquently expressing the joy of the piece. He delivers some phenomenal work
here, and this track is one of the highlights for me. “What A Wonderful World” is
a song I have loved since I first heard it in my early teens. It never fails to
move me. Rafael Riqueni here proves the song has that power even without its
lyrics, though at times it’s difficult to keep certain lines from running through
my head while I listen.</p>
<p class="MsoNoSpacing">One of the album’s most surprising choices is “Dream On,”
a song from Aerosmith’s first album. I listened to this band a lot during my
childhood, especially the <i style="mso-bidi-font-style: normal;">Toys In The
Attic</i> album. I saw them put on a great and fun concert in 1986, a free show
at the Worcester Centrum. But the next year at that same venue, they had
suddenly become incredibly polished, and that concert wasn’t nearly as
enjoyable (they even shot a music video at the show). I definitely preferred
the raw energy of the previous year’s show. After that (I was fifteen at that
point), I kind of lost interest in them. It is a treat now to revisit one of
the band’s most popular songs in this instrumental setting. Rafael Riqueni does
an excellent job with it, giving me a fresh appreciation of the song. Follow
Aerosmith with Henry Mancini? Sure, why not? Rafael Riqueni delivers a
beautiful and thoughtful rendition of “Moon River.” He then goes back to
classic rock with a cover of Led Zeppelin’s “Stairway To Heaven.” This is the
first track I heard from this album, and is what got me excited about it. Led
Zeppelin is another band I listened to a lot during my childhood and then moved
away from, preferring to listen to the artists they had ripped off (such as
Willie Dixon). But this gorgeous rendition is giving me a renewed appreciation
for the band’s music. It’s not the full song, but it is enough.</p>
<p class="MsoNoSpacing">Dolly Parton has written some excellent songs, including
“I Will Always Love You,” a song that has become more associated with Whitney
Houston (though Parton’s original is better in my opinion; you can hear it on
her <i style="mso-bidi-font-style: normal;">Jolene</i> album), and one that
Rafael Riqueni chooses to cover here. I wasn’t sure how this one would work
without the vocals, but his guitar expresses the emotion so well. That’s
followed by a cover of “Every Breath You Take.” This song was everywhere in
1983. It’s a beautiful song about stalking and possessiveness that many people
thought was sweet and romantic at the time. Go figure. The entire record <i style="mso-bidi-font-style: normal;">Synchronicity</i> was great, arguably the
best record of 1983. Anyway, Rafael Riqueni’s rendition is fairly faithful.
Rafael Riqueni then moves in another direction, veering away from popular songs
of the 1960s, 1970s, 1980s and early 1990s, and dipping into the 1920s with
“Amapola,” a piece composed by Joseph M. LaCalle. It became more popular in the
1930s and early 1940s, and has been recorded by many artists over the years.
Rafael Riqueni’s version has something of a magical sense to it, feeling like a
wonderful fairy tale. He then delivers an excellent original number, “Cogiendo
Rosas,” a piece that has its own magic. His playing here will transport you.
And that’s how the main section of the album concludes. The remaining three
tracks are bonuses, apparently not available on the vinyl version.</p>
<p class="MsoNoSpacing">In August of 2022, a Ben E. King album titled <a href="https://michaelsmusiclog.blogspot.com/2022/09/ben-e-king-supernatural-soul-2022-cd.html"><i style="mso-bidi-font-style: normal;">Supernatural Soul</i></a> was
released. On this disc, classic Ben E. King material was re-cut, with
additional performances added in. Rafael Riqueni plays guitar on “Spanish
Harlem,” and that track is also included on this disc. It is the only track to
feature vocals. That’s followed by a pretty, though short, version of The
Beatles’ “Yesterday.” The disc concludes with that recording of “Spanish
Harlem,” but this time with the vocals cut out.</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Tears In Heaven</li><li class="MsoNoSpacing">Europa</li><li class="MsoNoSpacing">Cinema Paradiso Main Theme</li><li class="MsoNoSpacing">Just The Two Of Us</li><li class="MsoNoSpacing">What A Wonderful World</li><li class="MsoNoSpacing">Dream On</li><li class="MsoNoSpacing">Moon River</li><li class="MsoNoSpacing">Stairway To Heaven</li><li class="MsoNoSpacing">I Will Always Love You</li><li class="MsoNoSpacing">Every Breath You Take</li><li class="MsoNoSpacing">Amapola</li><li class="MsoNoSpacing">Cogiendo Rosas</li><li class="MsoNoSpacing">Spanish Harlem</li><li class="MsoNoSpacing">Yesterday</li><li class="MsoNoSpacing">Spanish Harlem (Instrumental Version)</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Versatae</i> was
released on CD on February 16, 2024. A vinyl edition is scheduled to be
released on March 29th, and it is a nice pale green vinyl.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-46186006109574709292024-02-18T17:14:00.000-08:002024-02-18T17:14:05.570-08:00Kay Adams: “Little Pink Mack” (2024) Vinyl Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjTrVyFgaWHc-_OZzMpbtDDLpHxuC1lGtCsFOqnlcNBiEQ-jqr_TWl8IhKuFFbKhotb6pEm0PZzh5oVC4zmNjqUt6PwUMnkFAx6QZF5gY-XZtveTUirl23mo6GMqsEHxTDuwwRyE58a2m_1h7e3YDziNT5O9ksXJP-54Md5M-A1KKXm_Fwtv8bj1oQ0P8/s700/zz%20Kay%20Adams%20Little.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjTrVyFgaWHc-_OZzMpbtDDLpHxuC1lGtCsFOqnlcNBiEQ-jqr_TWl8IhKuFFbKhotb6pEm0PZzh5oVC4zmNjqUt6PwUMnkFAx6QZF5gY-XZtveTUirl23mo6GMqsEHxTDuwwRyE58a2m_1h7e3YDziNT5O9ksXJP-54Md5M-A1KKXm_Fwtv8bj1oQ0P8/s320/zz%20Kay%20Adams%20Little.jpg" width="320" /></a></div>Buck Owens must have been one of the busiest singers and
musicians in the history of music. In addition to the large number of records
he recorded and the television program <i style="mso-bidi-font-style: normal;">Hee
Haw</i> which he hosted, Buck Owens did a half-hour syndicated show called <i style="mso-bidi-font-style: normal;">The Buck Owens Ranch Show</i>, which began
running in 1966. Kay Adams was one of the regular performers on that program, and
her new record <i style="mso-bidi-font-style: normal;">Little Pink Mack</i>
collects her performances from 1966 to 1968. The songs were recorded live in
the studio at Buck Owens Ranch, and feature Buck Owens And The Buckaroos
backing her. Most of the tracks are covers, but there are some original numbers
here. The songs are fairly short, so that ten songs fit on each side of this
record. The release includes liner notes by Jim Allen, and the album is
presented in pink vinyl.<p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Side A</b></p>
<p class="MsoNoSpacing">The record opens with its title track, “Little Pink Mack,”
a fun, rather adorable number about a female truck driver, certainly a rarity
back then (and perhaps even now?). Kay Adams has her own delightful vocal
delivery, especially heard on certain words, like “<i style="mso-bidi-font-style: normal;">Mack</i>” and “<i style="mso-bidi-font-style: normal;">stack</i>.” And
yet we believe her when she says she can take care of herself, for she has
spunk and is sure of herself. “<i style="mso-bidi-font-style: normal;">Don’t mess
around if you’re looking for a race/To be wiped out by a girl would be a
disgrace</i>.” That’s followed by “Roll Out The Red Carpet,” a song written by Buck
Owens and Don Rich. Kay Adams covered several Buck Owens songs on her records.
That makes sense, doesn’t it? After all, he wrote some of the best songs of
that time. She clearly has a good time with “Roll Out The Red Carpet.” And don’t
we all want the sort of treatment she sings about here? Then on “Let The Good
Times Roll,” Kay Adams’ voice carries a sense of joy and excitement. Turn this
one up, kiss your sweetheart and let the good times roll.</p>
<p class="MsoNoSpacing">Kay Adams delivers a fairly energetic rendition of “Silver
Threads And Golden Needles,” with just a bit of a rock flavor to the music.
What a great vocal performance Kay gives, especially toward the end. She then
gets bluesy with “Terrible Tangled Web,” delivered as a duet with Dick Curless.
They sound great together. This track features some cool work on guitar, and is
one of my personal favorites. That’s followed by “Anymore.” I love Kay’s energy
and attitude on this one, right from the start as she sings, “<i style="mso-bidi-font-style: normal;">Go ahead and fool around with every girl in
town/I don’t care anymore</i>.” And then listen to the way she raises her voice
on “<i style="mso-bidi-font-style: normal;">And now I’m free</i>.” This is
another of the record’s highlights, in large part because of her vocal
performance. “Rocks In My Head” is another song written by Buck Owens, and another
delightful number. He included it on his 1967 album <i style="mso-bidi-font-style: normal;">Your Tender Loving Care</i>. “<i style="mso-bidi-font-style: normal;">Just
like a puppy, I rolled over and played dead/Oh, I must have had rocks in my
head</i>.” And I love the attitude in her delivery of the line “<i style="mso-bidi-font-style: normal;">While I live it up, well, you can live it
down</i>.”</p>
<p class="MsoNoSpacing">“I Let A Stranger Buy The Wine” is an original number
written by Kay Adams. Her delivery has more of an intimate vibe, almost a
confessional tone, with a more serious feel. “<i style="mso-bidi-font-style: normal;">Right or wrong, it was good to have his company/Tonight, I let a
stranger buy the wine</i>.” She included this song on her 1967 album <i style="mso-bidi-font-style: normal;">Alcohol And Tears</i>, and it is another highlight
of this collection. Clearly she has a talent for songwriting as well as for
singing. That’s followed by another original song, “Bottle Baby,” which was
also included on <i style="mso-bidi-font-style: normal;">Alcohol And Tears</i>.
Written by Kay Adams and Bobby Austin, this one is about deciding she’s had
enough, that a relationship is over. She kicks the man out, declaring at the
end, “<i style="mso-bidi-font-style: normal;">You’re not Kay’s baby no more</i>.”
The first side of the record concludes with a beautifully sad country number
titled “Get Out Of My Heart,” which features some great guitar work and an
excellent and moving vocal performance. “<i style="mso-bidi-font-style: normal;">You
shouldn’t be here at all/You’re going to tear me all apart/Get out of my heart</i>.”</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Side B</b></p>
<p class="MsoNoSpacing">Like the first side, the second side opens with a fun
song about a truck driver, this time a male truck driver. The song, “Big Mac,”
moves at a good pace. This truck driver says, “<i style="mso-bidi-font-style: normal;">Why, you’re the sweetest thing that I’ve ever seen</i>,” and the song
is told from the perspective of the woman who received that compliment, a woman
who works at a diner. This song was written by June Davis. Then Dick Curless
joins Kay Adams again for “A Devil Like Me (Needs An Angel Like You),” the song
a sort of conversation between the two. “<i style="mso-bidi-font-style: normal;">If
an angel like me had a devil like you/I’d stop your running around</i>.” I love
the quaver in Dick’s voice on the word “<i style="mso-bidi-font-style: normal;">shady</i>”
in the phrase “<i style="mso-bidi-font-style: normal;">with a shady past</i>.”
That’s followed by “Number One Heel,” a Buck Owens song written with Bonnie
Owens, and included on the 1965 album <i style="mso-bidi-font-style: normal;">Before
You Go/No One But You</i>. Kay Adams gives us a really good rendition on this
record. “<i style="mso-bidi-font-style: normal;">I’m the number one fool that
still loves you/Yes, you’ll always be number one with me</i>.” This track
features a strong, prominent bass line.</p>
<p class="MsoNoSpacing">There is a bit of laughter as Kay Adams begins “Old Heart
Get Ready,” a track that features another of the record’s great vocal
performances. It’s a fun song, and another highlight. It’s followed by “Six
Days A Waiting.” Here she is adorable, her voice one of strength and grit. This
song is a variation on “Six Days On The Road,” the other side of it, the answer
to it from the woman waiting at home. Yup, in this one Kay Adams is not the
truck driver, but the woman waiting for her truck driving man to get home. And
you bet he’d better make it home tonight. This track features some excellent
guitar work. Then “Down, Down, Down” is particularly catchy and moves at a
great pace. <span style="mso-spacerun: yes;"> </span>“Loose Talk” is a love song
about the effects of people’s talk on a relationship. “<i style="mso-bidi-font-style: normal;">I know you love me/And happy we could be/If some folks would leave us
alone</i>.”</p>
<p class="MsoNoSpacing">Kay Adams slows things down with “You Don’t Have Very Far
To Go,” a song written by Merle Haggard and Red Simpson. There is a beautiful
ache in her voice as she sings, “<i style="mso-bidi-font-style: normal;">But if
you’re trying to break my heart/You don’t have very far to go</i>.” And that
pedal steel work is perfect. Then “Honky Tonk Heartache” directly addresses
heartache, but does so with a higher level of energy. It was written by Chris
Roberts and Scotty Turner. The album concludes with “Be Nice To Everybody,”
which features a sweet vocal performance. In this one, Kay sings, “<i style="mso-bidi-font-style: normal;">There you go driving in your big, long
car/You got a house overlooking the town/But be nice to everybody on the way
up/You’re going to meet them again coming down</i>.” Hearing those lines, I can’t
help but think of a certain ex-game show host who is finally coming down (but
who has never been nice to anyone).</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Record Track List</b></p>
<p class="MsoNoSpacing">Side A</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Little Pink Mack</li><li class="MsoNoSpacing">Roll Out The Red Carpet</li><li class="MsoNoSpacing">Let The Good Times Roll</li><li class="MsoNoSpacing">Silver Threads And Golden Needles</li><li class="MsoNoSpacing">Terrible Tangled Web</li><li class="MsoNoSpacing">Anymore</li><li class="MsoNoSpacing">Rocks In My Head</li><li class="MsoNoSpacing">I Let A Stranger Buy The Wine</li><li class="MsoNoSpacing">Bottle Baby</li><li class="MsoNoSpacing">Get Out Of My Heart</li></ol>
<p class="MsoNoSpacing">Side B</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Big Mac</li><li class="MsoNoSpacing">A Devil Like Me (Needs An Angel Like You)</li><li class="MsoNoSpacing">Number One Heel</li><li class="MsoNoSpacing">Old Heart Get Ready</li><li class="MsoNoSpacing">Six Days A Waiting</li><li class="MsoNoSpacing">Down, Down, Down</li><li class="MsoNoSpacing">Loose Talk</li><li class="MsoNoSpacing">You Don’t Have Very Far To Go</li><li class="MsoNoSpacing">Honky Tonk Heartache</li><li class="MsoNoSpacing">Be Nice To Everybody</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Little Pink Mack</i>
is scheduled to be released on March 1, 2024 through Sundazed Music.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Yx-QtWVHIu4UtmbtXECapuzTue99lnL-3OJL2dnC3exxoZt05rN-KrLhf1zJA89OKGZdr9OVSI1ls4Kk9fZwlGqhETQBf_ykwIKCr00Uu-RJFoIm5Z6eZuUI7iYaFJa-Rh0U6ibw0l9_tYdJXE-sIzXTUW2UIFZoxYdP8VeVJljPKVVzydPYJUBADqOU/s2272/IMG_5914.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1704" data-original-width="2272" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Yx-QtWVHIu4UtmbtXECapuzTue99lnL-3OJL2dnC3exxoZt05rN-KrLhf1zJA89OKGZdr9OVSI1ls4Kk9fZwlGqhETQBf_ykwIKCr00Uu-RJFoIm5Z6eZuUI7iYaFJa-Rh0U6ibw0l9_tYdJXE-sIzXTUW2UIFZoxYdP8VeVJljPKVVzydPYJUBADqOU/s320/IMG_5914.JPG" width="320" /></a></div>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-77496865459109868842024-02-17T13:34:00.000-08:002024-02-17T13:34:12.444-08:00Claudia Gibson: “The Fields Of Chazy” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWbqDS-Xq0X_Y3G87xe2U3h-Gx0feoJEWPpphE3dJdUpm_9PhIkKAHFwhfb1N3c3CXYa27pex5HxQR269M8QA9O06mDAD3czrvwKdAw3bcfQznICAxWGAPipM0Bs2km5EcOdUOsbxxypedx-106G5oN1fp7J4oyUGH6fMWj2lrUW9GoXgZthtqkBNM7t6_/s1600/zz%20Claudia%20Gibson.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWbqDS-Xq0X_Y3G87xe2U3h-Gx0feoJEWPpphE3dJdUpm_9PhIkKAHFwhfb1N3c3CXYa27pex5HxQR269M8QA9O06mDAD3czrvwKdAw3bcfQznICAxWGAPipM0Bs2km5EcOdUOsbxxypedx-106G5oN1fp7J4oyUGH6fMWj2lrUW9GoXgZthtqkBNM7t6_/s320/zz%20Claudia%20Gibson.jpg" width="320" /></a></div>Claudia Gibson is a singer and songwriter based in
Austin, Texas. She released her first album, <i style="mso-bidi-font-style: normal;">Step By Step</i>, in 2016, and followed that a few years later with an
EP titled <i style="mso-bidi-font-style: normal;">Louisiana Sky</i>. Her new
album, <i style="mso-bidi-font-style: normal;">The Fields Of Chazy</i>, features
mostly original material. The album was produced by Walt Wilkins and Ron Flynt,
and was funded by her fans. Joining Claudia Gibson on this release are Chris
Beall on electric guitar; Rich Brotherton on acoustic guitar, tenor guitar,
mandolin and cittern; John Chipman on drums and percussion; Bart de Win on
accordion; Mark Epstein on electric bass and acoustic bass; Ron Flynt on bass,
piano and organ; Warren Hood on fiddle; Geoff Queen on pedal steel; Ray
Rodriguez on cajon and percussion; Tina Mitchell Wilkins on backing vocals; and
Walt Wilkins on backing vocals and percussion. <p></p>
<p class="MsoNoSpacing">The album opens with its title track, “The Fields Of
Chazy,” which tells the story of Claudia Gibson’s paternal grandfather. Chazy,
by the way, is a town in New York. On this track, Claudia tells a moving story
of sorrow and struggle, but also hope, with music playing a part in the latter,
as Claudia sings, “<i style="mso-bidi-font-style: normal;">Grandpa played accordion/With
gnarled hands when I was young/The songs of old Acadia</i>.” The song also takes
us to the present, to Claudia’s present, as she walks the area where her
grandfather lived, among the trees he planted. “<i style="mso-bidi-font-style: normal;">The twisted ancient apple trees/The sweet fruit of his legacy</i>.” That
image is striking for me, perhaps because I grew up near an apple orchard, and
had my first job there when I was thirteen. This track features some nice work
on accordion. It is followed by “Unbound.” I love the optimism in the early
line, “<i style="mso-bidi-font-style: normal;">Unbound and ready to begin</i>.” This
is a song of being on the road, and having a destination. She is heading home, something
that always holds great appeal in song. Here it is not just heading home, but also
maybe starting over. There is sadness in it, yes, her voice expressing it so
perfectly, but it seems the song looks to the future more than holds onto the
past. This track features some beautiful work on pedal steel, and good
harmonies, and it is one of my personal favorites.</p>
<p class="MsoNoSpacing">“Laura’s Song” is about Laura Bullion, an outlaw in the
wild west. This song tells her story, her romance with Ben Kilpatrick, delivered
from her perspective. “<i style="mso-bidi-font-style: normal;">Out on good
behavior/Seven more years did I pine/I walked the straight and narrow path/While
Ben did his hard time</i>.” And before the end, she sings of Ben’s death, how
he could not live an honest life. Death plays a part in “Rain” too, from its
opening stanza: “<i style="mso-bidi-font-style: normal;">I heard the news come
through this morning/You’re gone, shook off your earthly chains/Blue skies have
turned to black/And you ain’t coming back/And sometimes all it does is rain</i>.”
This one has a bluesy vibe and features some cool work on keys and some
excellent guitar work. Death is certainly in the air these days, isn’t it?
Perhaps that has always been the case, and these days we just can’t help but
notice it. This song is another of the disc’s highlights, featuring one of the
album’s best vocal performances.</p>
<p class="MsoNoSpacing">“The Days” at first seems to live in memories, looking
back to a time when the world felt like it was ours. Claudia then sings, “<i style="mso-bidi-font-style: normal;">Well, maybe it's not our world anymore/It's
burning like a house on fire/Hard to keep up the way we did before/But the
truth still resonates</i>.” Many of us can relate to those lines. Things have
changed, people have gotten ugly, and it’s hard sometimes to recognize the
world we loved. But she goes on to say, “<i style="mso-bidi-font-style: normal;">This
is our world, and these are the times</i>.” Indeed, we are not gone yet. Why
let go of the world when we are still a part of it, when we can still do some
good? This is an ultimately positive and pretty song. Death makes itself known
in the first line of “Promised Land,” “<i style="mso-bidi-font-style: normal;">Papa
died the 19th of September</i>.” This song tells a story from the past, from
this country’s history, regarding immigration. It is the story of Claudia
Gibson’s maternal grandmother, who was a child when she came here from Russia. “<i style="mso-bidi-font-style: normal;">There’s the lady with the torch/We’re living
in the promised land/Oh, Lina, Liberty she stands/Shining in our newfound home/Welcome
to the promised land, the promised land</i>.” Ah yes, the Statue of Liberty was
supposed to welcome people to this country. It seems things are a little
different these days, sadly, but history tells us that immigrants faced
adversity all along, though horror shows like that created by Texas governor
Greg Abbott seem a step beyond (that scoundrel deserves a lonely, painful end,
with no compassion shown him).</p>
<p class="MsoNoSpacing">“The Night Visiting Song” is the one cover on the album.
It is a traditional Scottish song, and special guest Pat Byrne joins Claudia
Gibson on vocals for this beautiful rendition. This track features some wonderful
work on fiddle. It is followed by “Angles Fly,” a song that looks back, a photo
causing the memories to return. “<i style="mso-bidi-font-style: normal;">Your
photo fell out from a book/An old one I had overlooked/I saw us in our younger
days/With ‘True Love’ on the title page</i>.” And I wonder just what happened
as I listen to lines like “<i style="mso-bidi-font-style: normal;">How hard it
was to reconcile/The man I loved with one reviled/You were not then what you
became</i>.” But at the end of the song she is looking upward and outward, not
backward. The album concludes with “Shine On,” a beautiful song that acts like
a friend, offering a shoulder, offering a hand. Claudia Gibson delivers a
sweet, comforting vocal performance. “<i style="mso-bidi-font-style: normal;">Sometimes
the world feels so heavy/The burden of years as we toil and we strive/When luck
is not even or steady/Keep your hand on the tiller/And eyes on the prize</i>.”
Oh yes, music helps us keep on going, helps us keep in mind what is important
and what is true. </p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">The Fields Of Chazy</li><li class="MsoNoSpacing">Unbound</li><li class="MsoNoSpacing">Laura’s Song</li><li class="MsoNoSpacing">Rain</li><li class="MsoNoSpacing">The Days</li><li class="MsoNoSpacing">Promised Land</li><li class="MsoNoSpacing">The Night Visiting Song</li><li class="MsoNoSpacing">Angels Fly</li><li class="MsoNoSpacing">Shine On</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">The Fields Of Chazy</i>
is scheduled to be released on March 1, 2024.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-14094134531235785622024-02-16T14:09:00.000-08:002024-02-16T14:09:42.233-08:00Britti: “Hello, I’m Britti” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuOWtmEeTudwDIj6DL1cW7aE9I6wXXQgfap8Umkxhl8LQhgyUK6Dl-aThq9o5O3Ky2PCOWBrt7_nGFNiGGr00mPLYrmetmZc-qEyWtq0WjFqRP_R7v5S74BK0kBAogJy9AHOrigYJnj4-jzOxcKjtn0FSiXD4BHI7ErFT73o3GFIYuErNPZpwAEW-8_bI/s700/zz%20Britti%20Hello.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuOWtmEeTudwDIj6DL1cW7aE9I6wXXQgfap8Umkxhl8LQhgyUK6Dl-aThq9o5O3Ky2PCOWBrt7_nGFNiGGr00mPLYrmetmZc-qEyWtq0WjFqRP_R7v5S74BK0kBAogJy9AHOrigYJnj4-jzOxcKjtn0FSiXD4BHI7ErFT73o3GFIYuErNPZpwAEW-8_bI/s320/zz%20Britti%20Hello.jpg" width="320" /></a></div>Brittany Guerin is a singer and songwriter from Baton
Rouge and now based in New Orleans. Performing under the name Britti, she just
released her debut full-length album, aptly titled <i style="mso-bidi-font-style: normal;">Hello, I’m Britti</i>. It was produced by Dan Auerbach (of The Black
Keys), and recorded and mixed at his studio, Easy Eye Sound Studios in
Nashville. It features all original music, co-written by Brittany Guerin and
Dan Auerbach. Dan Auerbach also plays electric guitar, acoustic guitar,
synthesizer, electric sitar, and percussion on these tracks, and provides some
backing vocal work. Also joining Britti on this release are Tom Bukovac on acoustic
guitar, electric guitar, and lap steel; Russ Pahl on electric guitar, acoustic guitar and steel guitar; Nick Movshon on bass; Ray
Jacildo on piano, organ, harpsichord, mellotron, vibraphone, and glockenspiel;
Mike Rojas on piano, electric piano, organ, clavinet and synthesizer; Jay Bellerose on drums and percussion; Sam
Bacco on percussion; and Ray Mason on horns. Andy Gabbard and Trey Keller
provide backing vocals.<p></p>
<p class="MsoNoSpacing">The album grabbed me with its opening track, “So Tired,”
a soulful and honest song with a good groove. Perhaps it was partly the
straightforward delivery of the first line, “<i style="mso-bidi-font-style: normal;">So tired, so tired</i>,” which spoke to me after I had worked nearly
seventy hours the week before and was still exhausted. Her delivery made me
smile. And check out these lines: “<i style="mso-bidi-font-style: normal;">So
tired/Giving up when I should be moving on/So tired/Never dreamed it would ever
take this long/So tired/Turn around, and before you know, it’s gone</i>.” The
line “<i style="mso-bidi-font-style: normal;">Never dreamed it would take this
long</i>” is another that stands out to me. I love the use of the word <i style="mso-bidi-font-style: normal;">dreamed</i> there, fitting in a song about
being tired. This is an excellent song, featuring a wonderful bass line and a
vocal performance that is friendly and true and beautiful. It was written by
Brittany Guerin, Dan Auerbach and Pat McLaughlin. Then “Still Gone” has a somewhat
easygoing vibe as it begins. “<i style="mso-bidi-font-style: normal;">Lightning
strikes in front of me/Oh, I used to be so afraid/Life took you away from
me/Canceled all the plans we made</i>,” Britti tells us. She is immersed in
memory, but maybe does not want to emerge from it, for the sound builds as she
sings “<i style="mso-bidi-font-style: normal;">Day after day, no escape/Because
you’re still gone</i>.” Sometimes we don’t want to be pulled from our memories,
our longings. Interestingly, she sings “<i style="mso-bidi-font-style: normal;">Now
today is haunting me/Didn’t end up like it should</i>.” It is the present, not
the past, which haunts her. This track ends up being another beautiful number.</p>
<p class="MsoNoSpacing">There is a gentle funkiness to “Nothing Compares To You,”
and there is an intimacy as she delivers the song’s title line. There is an
earnestness. Hers is a voice we believe. Her performance grows in power, and
the horns join in that rising of energy, which is wonderful. This is such a
cool little gem of a song. It was written by Brittany Guerin, Dan Auerbach and
Pat McLaughlin. That’s followed by “Back Where We Belong,” which has more of a
country vibe, with Russ Pahl delivering some sweet work on steel guitar. Britti’s
voice is equally at home in this realm. <span style="mso-spacerun: yes;"> </span>“<i style="mso-bidi-font-style: normal;">People
say hello/To people they don’t know/If I don’t smile, is that a crime/When someone
is your rock, and you let them roll away/What else can you do, but everything
to make them stay/I pray that you’ll never be lonely</i>.” What a beautiful
vocal performance. This is a moving number, another of my favorites. “Keep
Running” also has some country and folk elements. Here she sings, “<i>I’m a young
trailblazer with a rambling soul/I’m building fires everywhere I go</i>.” And that
guitar hook is catchy. When she sings “<i style="mso-bidi-font-style: normal;">I’m
a lonely soldier far away from home</i>,” the drum work has something of a
military feel. Mike Rojas plays both piano and clavinet on this track. “<i style="mso-bidi-font-style: normal;">I keep running so I don’t feel the pain/I keep
running through the wind and the rain</i>.”</p>
<p class="MsoNoSpacing">“<i style="mso-bidi-font-style: normal;">Take my kindness
for weakness/I bet I would win the fight</i>,” Britti sings at the beginning of
“Silly Boy.” Her vocals have an intimate quality here too. This track features
some nice work from the horns (both Ray Mason and Todd Simon play on this one),
and another good bass line. There is a spoken word section that works
perfectly, yet still comes a surprise: “<i style="mso-bidi-font-style: normal;">Silly
boy, you thought you’d have me forever/And that I’d never ever leave your
side/It’s so hard to say this/And it don’t come easy/But I can’t let my, my
true feelings hide</i>.” That section adds to this song’s classic vibe.<span style="mso-spacerun: yes;"> </span>Tom Bukovac plays lap steel on this one. A beautiful
atmosphere is created as “Lullaby” begins. I love that percussion. “<i style="mso-bidi-font-style: normal;">Sing me a lullaby/Like you always do/When I
need you to</i>.” And yes, there is need in her voice, though she seems to be
speaking to that need within all of us who listen, but there is also something angelic
about her delivery. This is a gorgeous track, another of the disc’s highlights.
It was written by Brittany Guerin, Dan Auerbach and Roger Cook.</p>
<p class="MsoNoSpacing">“There Ain’t Nothing” is a delicious and totally
enjoyable track, mixing blues and soul, with some classic sounds on horns. “<i style="mso-bidi-font-style: normal;">You can drink your pain away/It won’t erase
the mistakes you made/You can tell yourself another lie/But that<span style="mso-spacerun: yes;"> </span>won’t save yourself another cry</i>.” This cool
song was written by Brittany Guerin, Dan Auerbach and Bobby Wood. That’s
followed by “Reach Out,” the music feeling like it is coming from some great
lost 1970s so-called “exploitation” film. It has a fantastic vibe. It was
written by Brittany Guerin, Dan Auerbach and Pat McLaughlin. That’s followed by
“Save Me.” I’ve mentioned before that I have never heard a bad song titled
“Home.” The same might be said for “Save Me.” I especially love songs with that
title by Wagons and Aimee Mann, but also tracks by Queen, Melanie Safka, Neil
Diamond, Wilson Pickett and Bonnie Tyler. Add to that group this song by Britti.
There is a great energy to this song from the start. And check out these lines:
“<i style="mso-bidi-font-style: normal;">I was born in the stars/I’m not
surprised if you think I’m from Mars/To look in my eyes is to look in my
heart/I’ve got no secrets, I’m only human, there’s no illusion</i>.” Ray
Jacildo plays mellotron, vibraphone and glockenspiel on this one. The album
concludes with “Once Upon A Time,” another beautiful song. “<i style="mso-bidi-font-style: normal;">Dreaming about the love I used to know/Sadly,
that was once upon a time</i>.” This one builds in power until its gentle
ending. A wonderful conclusion to an absolutely excellent album. I am looking forward to hearing more from this talented artist.<br /></p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">So Tired</li><li class="MsoNoSpacing">Still Gone</li><li class="MsoNoSpacing">Nothing Compares To You</li><li class="MsoNoSpacing">Back Where We Belong</li><li class="MsoNoSpacing">Keep Running</li><li class="MsoNoSpacing">Silly Boy</li><li class="MsoNoSpacing">Lullaby</li><li class="MsoNoSpacing">There Ain’t Nothing</li><li class="MsoNoSpacing">Reach Out</li><li class="MsoNoSpacing">Save Me</li><li class="MsoNoSpacing">Once Upon A Time</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Hello, I’m Britti</i>
was released on February 2, 2024 through Easy Eye Sound.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-28707883001246302442024-02-13T14:21:00.000-08:002024-02-13T14:21:57.151-08:00Yosef Gutman Levitt: “The World And Its People” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHL_fkxkcfgVDi_wISFcYh71zzRt3FXInaUe1iStcaqagN6_CYTAS1HSlaZl4DZC3JvQKGLtrSuFhPStZ_gW4O-_PpwwcqtStBLQI9V_R9YwDwOOXiYuS5HZUoNrUf1dH2s3zzumvRtpOKVVRhxElyzrYJcXhelolkAr90DuJwmc9Us834AsxibKrCkAgW/s600/zz%20Josef%20Gutman%20Levitt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHL_fkxkcfgVDi_wISFcYh71zzRt3FXInaUe1iStcaqagN6_CYTAS1HSlaZl4DZC3JvQKGLtrSuFhPStZ_gW4O-_PpwwcqtStBLQI9V_R9YwDwOOXiYuS5HZUoNrUf1dH2s3zzumvRtpOKVVRhxElyzrYJcXhelolkAr90DuJwmc9Us834AsxibKrCkAgW/s320/zz%20Josef%20Gutman%20Levitt.jpg" width="320" /></a></div>Yosef Gutman Levitt is a bass player and composer from
South Africa who studied at Berklee College of Music in Boston in the late
1990s, then began performing in New York, and now is based in Jerusalem. He
didn’t release his first album until 2019, but in the short time since then has
released another nine, including collaborations. His new album, <i style="mso-bidi-font-style: normal;">The World And Its People</i>, features some
original compositions by Yosef Gutman Levitt and Gilad Ronen. Yosef Gutman
Levitt plays upright and acoustic bass on these tracks, and is joined by Yoed
Nir on cello, Omri Mor on piano, and Tal Yahalom on guitar.<p></p>
<p class="MsoNoSpacing">The album’s opening track, “Awakening,” eases in,
beginning with piano, softly drawing us in. It does feel like those first
moments of the day, assuming an alarm clock doesn’t propel you into hasty
action, when only a little light comes in and sleep still has a slight hold. It
is gentle, relaxed. And then, as the day begins, the other instruments come in,
and it builds into a beautiful and joyful piece. You can hear that moment when
the sun’s rays first hit you. When I hear music like this, I wish my days could
begin this way. It is like the day welcomes us, and we welcome the day. There
is something timeless about this track. That is followed by “My Soul Thirsts,”
which has its own beauty, though with perhaps a more somber, contemplative feel
to it. Each of the instruments has its own voice, its own moments to offer that
voice up in hope. I am particularly moved by the cello work on this track.</p>
<p class="MsoNoSpacing">There is something light, almost playful as “Shifting Sky”
begins. It isn’t long before there is an excitement about this music, a sense
of anticipation, as if looking for the arrival of something or someone. There
is an interesting energy to this track, and also moments that are soothing. It is one of my personal favorites. As “The World And Its People,” the album’s
title track, opens, there is almost something hesitant about it, in the guitar
work, the way pauses are built into that its structure, as if there are things
that are left unsaid, or as if opinions are being formed, not wishing to rush
to conclusions. There is something both beautiful and sad in the sound, which
is fitting when addressing the world and its people. The cello finds and
expresses the beauty, and there is an undeniable hope to this piece, and even
optimism, particularly in the section led by piano and bass. For me, that is
where the joy takes over.</p>
<p class="MsoNoSpacing">“B’Nei Heichala” is another beautiful piece that seems to
offer comfort and understanding. I especially love the way the lead on piano
builds in the second half, the cello rising in support. And there is a
wonderful, though brief, section of bass and guitar, the other instruments soon
joining again and reaching a gorgeous climax. That is followed by “Dancing
Together.” There is something intriguing about the progression of this track. It
moves with joy, but also curiosity and a yearning. There is warmth to it,
particularly when the piece attains a fuller sound, when everything comes
together. “The Shepherd” is another of my favorite tracks, from that wonderful
opening section, which features some cool work on bass. It has something of an
improvised vibe, yet also seems to be coming from an older, or timeless, place,
one of collective memory. This track creates a rather beautiful and interesting
landscape, and features some excellent work on guitar.</p>
<p class="MsoNoSpacing">The work on strings at the beginning of “Morning Star” feels
like something occurring over a vast and barren landscape, and then as that
opening section segues into main body of the piece, it becomes more intimate, like
one person’s experience of something larger, one person’s perspective. It might
feel a bit lonely, perhaps, but there is also an understanding of that position
in relation to the larger universe, and so other elements are brought into that
perspective. That’s followed by “Nigun Tzemach Tzedek,” a piece that is moving
and soulful, yet having a good energy too, with some wonderful work on guitar.
Then “David’s Harp” has a lighter vibe, with a kind of fun groove. It features
some wonderful work on bass. The album concludes with “Purim Lanu.” There is
some tension as it begins, then the track starts to open and build, with an intensity to
the emotion that is compelling and exciting.</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Awakening</li><li class="MsoNoSpacing">My Soul Thirsts</li><li class="MsoNoSpacing">Shifting Sky</li><li class="MsoNoSpacing">The World And Its People</li><li class="MsoNoSpacing">B’Nei Heichala</li><li class="MsoNoSpacing">Dancing Together</li><li class="MsoNoSpacing">The Shepherd</li><li class="MsoNoSpacing">Morning Star</li><li class="MsoNoSpacing">Nigun Tzemach Tzedek</li><li class="MsoNoSpacing">David’s Harp</li><li class="MsoNoSpacing">Purim Lanu</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">The World And Its
People</i> was released on February 9, 2024. <br /></p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-56529684124382399662024-02-04T17:18:00.000-08:002024-02-04T17:18:01.203-08:00Danielle Nicole: “The Love You Bleed” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv69pCv8JYCDllx_DdWO4OBk4v13SKuRc4g8lZ43t2Kh4epLXPj79IUw22iE8kTBcZ6IExpqPXKY03-fOvsG2x9RYChoiRBiQOXHZ0AvCWzEsKS9s2ipA2syfV9yo3Px41E44Bncu57ZpE9-mY6TpRcY-ARyVYnwLxqDE60520ogPPt7VS_YdIXiuvmetm/s1200/zz%20Danielle%20Nicole.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv69pCv8JYCDllx_DdWO4OBk4v13SKuRc4g8lZ43t2Kh4epLXPj79IUw22iE8kTBcZ6IExpqPXKY03-fOvsG2x9RYChoiRBiQOXHZ0AvCWzEsKS9s2ipA2syfV9yo3Px41E44Bncu57ZpE9-mY6TpRcY-ARyVYnwLxqDE60520ogPPt7VS_YdIXiuvmetm/s320/zz%20Danielle%20Nicole.jpeg" width="320" /></a></div>Danielle Nicole Schnebelen, who goes by Danielle Nicole,
is a blues singer and songwriter from Kansas City, Missouri. She was a member
of Trampled Under Foot, a band she started with siblings Nick Schnebelen and
Kris Schnebelen, and then released her first full-length solo album, <i style="mso-bidi-font-style: normal;">Wolf Den</i>, in 2015. In 2018, she released
<i style="mso-bidi-font-style: normal;">Cry No More</i>, which was nominated for
a Grammy for Best Contemporary Blues Album. Her new album, <i style="mso-bidi-font-style: normal;">The Love You Bleed</i>, features mostly original material, focusing on
the subject of love. In addition to the lead vocals, she plays bass on these
tracks. She is joined by Brandon Miller on electric guitar, acoustic guitar, 12-string
guitar, pedal steel, mandolin and backing vocals (Brandon Miller also co-wrote
many of the tracks); Damon Parker on organ, piano and synthesizer; Go-Go Ray on
drums; Tony Braunagel on percussion; and Stevie Blacke on strings.<p></p>
<p class="MsoNoSpacing">The album opens with “Love On My Brain,” a perfect title
to kick off an album of songs focusing on love. The song begins by establishing
a good beat, and Danielle Nicole delivers the first few lines with just the
drums backing her, which has a very cool sound. Then the song kicks in. It’s about
how love can affect our entire being. “<i style="mso-bidi-font-style: normal;">When
I sleep, it’s in a cold sweat/I’m dreaming things that haven’t happened
yet/Said it’s love on my brain/Got me feeling this way</i>.” The song is taken
to another level when she begins to belt out some of the lyrics. She delivers an
impressive and powerful performance. It is a fearless delivery, she is not
holding back. Some good guitar work follows, though it perhaps doesn’t quite
reach the level of her vocals, though it comes close. Before the end she asks,
“<i style="mso-bidi-font-style: normal;">Is this a gift or is this a disease?</i>”
And then the guitar takes off to that higher level, delivering some great stuff
before the song begins to fade out. “Love On My Brain” was written by Danielle
Nicole Schnebelen and Brandon Miller.</p>
<p class="MsoNoSpacing">“Make Love” has a classic, soulful vibe as it begins. On
this track, Danielle Nicole offers some of the best advice you’ll receive: “<i style="mso-bidi-font-style: normal;">So make love every single day/Make love,
push it through the pain/And you’ll see what love can truly mean</i>.” There is
something undeniably catchy about this song. It was chosen as the album’s first
single, certainly a good choice. It is one of my personal favorites. And
speaking of that great classic soul vibe, check out the beginning of “Right By
Your Side.” Her vocal performance pulls us right in, and makes us feel she’s
been with us right along. That voice, that style, that emotion. “<i style="mso-bidi-font-style: normal;">I know if I need you, you’re gonna be right
here/There was a time when I watched you walk away/I tell you right now I’ll
never make the same mistake</i>.” This track also features some good work on
organ, and is another of the album’s highlights. It grows in power as it
progresses. Danielle Nicole seems to put everything into her vocal performance
here. Hell, I could listen to her just sing the word “<i style="mso-bidi-font-style: normal;">baby</i>” all night.</p>
<p class="MsoNoSpacing">Things turn a little darker with “How Did We Get To
Goodbye,” the sound at the beginning like a drive along a lonesome highway.
Here she wonders just went wrong, something most people have experienced at one
point or another in their lives. “<i style="mso-bidi-font-style: normal;">You put
on a show/All through the night/You tell me you love me/Then you go turn out
the light/But what is revealed/By the morning sun/You walk out the door</i>.” A
cool bass line, another strong vocal performance, and a nice acoustic guitar
part toward the end all help this track stand out. That’s followed by “Head
Down Low,” which soon gets a heavy blues beat going. This one is about a young
man setting out on his own, while his mother worries about him, so addresses
another aspect of love. This song has a dark, mean edge, and is powerful, with a
strong sense of atmosphere. Then in “Fireproof” Danielle Nicole sings, “<i style="mso-bidi-font-style: normal;">Way back when we were kids/Happiness was
everything/You told me we’re meant to me/Baby, don’t you change a thing</i>.” Ah,
but of course things have changed since then. Her voice is fiery here, with
attitude, and that guitar backs her up. “Fireproof” was written by Danielle
Nicole Schnebelen and Brandon Miller.</p>
<p class="MsoNoSpacing">The album’s only cover is “A Lover Is Forever,” a song written
by Steve Goodman and Fred Knoblach, and recorded by folks like Etta James and
Roseanne Cash. Some nice work on acoustic guitar opens this track, and it is
just the guitar that backs her voice, setting this song apart from the other
tracks. There is passion and ache and resilience in her performance. “<i style="mso-bidi-font-style: normal;">Nothing here remains the same/But the way I
feel for you/I can watch you walk away/And I know I’ll get by/And I know just
what to say/But, honey, I can’t tell a lie</i>.” That’s followed by “Say You’ll
Stay,” a slow, beautiful and sad number. “<i style="mso-bidi-font-style: normal;">Once
we stood side by side/Then everything changed</i>.” Those are simple, yet
heartbreaking lines. “<i style="mso-bidi-font-style: normal;">So now I find
myself just staring at the door/I pretend you rush in with open arms/But I know
you won’t</i>.” This track features strings and gorgeous guitar work. Here’s
another line that stands out: “<i style="mso-bidi-font-style: normal;">I’ll be
saving all my tears for you to wipe away</i>.”</p>
<p class="MsoNoSpacing">“Fool’s Gold” has a great heavy blues vibe and features
another strong vocal performance. “<i style="mso-bidi-font-style: normal;">You showed
me what’s real/How in the hell should I feel?</i>” Her voice has both heart and
teeth. She mentions the pandemic in the line, “<i style="mso-bidi-font-style: normal;">I know why you really called me when the world shut down</i>.” And
check out that work on keys in the middle. “Walk On By” has a solid blues rock
sound, and features another powerful vocal performance. There is even attitude
as she sings, “<i style="mso-bidi-font-style: normal;">You have to let your heart
be your guide</i>.” This is a voice of experience, a voice of someone that
isn’t taking any crap. “<i style="mso-bidi-font-style: normal;">Hear the world
cry for peace/But what does it mean?</i>” I love that bass, and that
instrumental section in the second half is fantastic. Then “Who He Things You Are”
eases in. Check out these opening lines: “<i style="mso-bidi-font-style: normal;">Another
day has come and gone/He sits and waits for you to call/Time picks at the
wound/That love can’t just heal in the blink of an eye</i>.” This song also
provides the album with its title in the lines “<i style="mso-bidi-font-style: normal;">How the hell is he supposed to feel/The love that you bleed/Is the life
that he leads</i>.” This track features an excellent, heartfelt performance. The
album concludes with “Young Love On The Hill,” which has a more gentle acoustic
sound, and features mandolin and strings. “<i style="mso-bidi-font-style: normal;">Driving
blind down a highway/Can’t see through the rain and tears/You’re flying
homeward bound/Broken hearts can’t make a sound</i>.” It ends with her
repeating, “<i style="mso-bidi-font-style: normal;">I will remember</i>.”</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Love On My Brain</li><li class="MsoNoSpacing">Make Love</li><li class="MsoNoSpacing">Right By Your Side</li><li class="MsoNoSpacing">How Did We Get To Goodbye</li><li class="MsoNoSpacing">Head Down Low</li><li class="MsoNoSpacing">Fireproof</li><li class="MsoNoSpacing">A Lover Is Forever</li><li class="MsoNoSpacing">Say You’ll Stay</li><li class="MsoNoSpacing">Fool’s Gold</li><li class="MsoNoSpacing">Walk On By</li><li class="MsoNoSpacing">Who He Thinks You Are</li><li class="MsoNoSpacing">Young Love On The Hill</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">The Love You Bleed</i>
was released on January 26, 2024 on Forty Below Records.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-88648766369740360792024-02-04T13:08:00.000-08:002024-02-04T13:08:33.850-08:00The Groove Krewe: “Blues From The Bayou EP” (2023) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBLl9OxG9jVVs1fMb6C2Xuap3AGV61qbKE-KVX9X_3SXPdVp7y9vj9gEi0CAyyMAs0ONkKBdD1TD2zlm_ls6s9lFqPDFyNIfd2swP1XjvIc8fy6SHzSoBvmPYt5YBgn7ALz60D7qaUesrZFqIMNOKycWIvhTGyuOX2lKnplkifFyoQOWyczmjgsle6nSd/s500/zz%20Groove%20Krewe.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQBLl9OxG9jVVs1fMb6C2Xuap3AGV61qbKE-KVX9X_3SXPdVp7y9vj9gEi0CAyyMAs0ONkKBdD1TD2zlm_ls6s9lFqPDFyNIfd2swP1XjvIc8fy6SHzSoBvmPYt5YBgn7ALz60D7qaUesrZFqIMNOKycWIvhTGyuOX2lKnplkifFyoQOWyczmjgsle6nSd/s320/zz%20Groove%20Krewe.jpg" width="320" /></a></div>The Groove Krewe is a group led by three studio musicians
who write original music and have different vocalists join them on their
releases to sing the material. Their 2022 debut album, <i style="mso-bidi-font-style: normal;">Run To Daylight</i>, featured Nick Daniels III on vocals. And their
latest release, <i style="mso-bidi-font-style: normal;">Blues From The Bayou EP</i>,
features Jonathan “Boogie” Long as their vocalist (he also does some guitar
solos and fills). The disc contains all original material, written by those
three band members – Rex Pearce, Nelson Blanchard and Dale Murray. Rex Pearce
plays guitar, Nelson Blanchard plays keyboards and guitar. Dale Murray is on
percussion. The three of them also produced the album. Vocalist and guitarist
Jonathon “Boogie” Long won the 2011 Guitar Center “King Of The Blues” award for
best unsigned blues artist, and put out his first album soon after that. In 2019,
he was inducted into the Louisiana Music Hall Of Fame.<p></p>
<p class="MsoNoSpacing">The disc opens with “Ain’t No If About It,” written by
Rex Pearce and Nelson Blanchard. It is a fun number that includes the horn
section of Jason Parfait and Ian Smith. In this delightful love song, Jonathon
“Boogie” Long proclaims, “<i style="mso-bidi-font-style: normal;">If you were the
morning, baby, I’d be up at dawn</i>.” He then tells us there is no <i style="mso-bidi-font-style: normal;">if </i>about it. May everyone have a love he
or she is so sure of. Jonathon “Boogie” Long delivers a strong, raw vocal
performance. This rollicking number makes us feel like we’re at a great blues
bar, where everyone is dancing and drinking without a thought for tomorrow.
Nelson Blanchard, in addition to guitar and keyboard, plays bass on this track,
and Eddie Bayers is on drums. That’s followed by “Lightnin’ Done Struck Again,”
written by Rex Pearce, Nelson Blanchard and Dale Murray. And now the
relationship has gotten into trouble. The man has been cheating, and the woman
has learned about it. “<i style="mso-bidi-font-style: normal;">I swore I didn’t
have wandering eyes/Her stormy voice said you’ve been telling lies/She got wind
of my running around/There ain’t no secrets in this delta town</i>.” She
understandably tells him it’s over. He sings, “<i style="mso-bidi-font-style: normal;">Dark clouds follow me, you know it’s true</i>,” but, let’s face it, his
cheating is the problem. It isn’t until he tells us “<i style="mso-bidi-font-style: normal;">She found somebody new/And it’s my best friend</i>” that we can
honestly side with this guy. Because that is just wrong, no matter what
preceded it. David Hyde is on bass, delivering some good stuff, and that horn
section again adds some nice work.</p>
<p class="MsoNoSpacing">On “Dangerous Curves,” the horn section delivers some
delicious stuff right from the start. The dangerous curves Jonathon Long is
singing about here are not those of a road, but the alluring shape of a woman.
And what’s wonderful is that the band continues the driving analogy throughout
the track, and it works. “<i style="mso-bidi-font-style: normal;">I can’t slow
down around those tempting curves/Some fools never put their foot on the
brakes/The straight and narrow is a hard way to go/Keep your hands on the
wheel, and your eyes on the road</i>.” And I love the backing vocals echoing “<i style="mso-bidi-font-style: normal;">Dangerous curves</i>.” Nelson Blanchard and
Elaine Foster provide backing vocals on this disc. This track also features
some cool work on keys. This song was written by Rex Pearce, Nelson Blanchard
and Terry Duncan. It’s followed by “Empty Pocket Blues.” What, a blues song
about being poor? Sure thing. And while this is a popular blues topic, the
songs addressing it usually work, and I suppose that is because people are always
struggling. And with rent soaring these days, this song certainly speaks to us. Here is a
taste of the lyrics: “<i style="mso-bidi-font-style: normal;">I’ve got worn-out
clothes and holes in my shoes/Running out of money, I could use some good news/The
cost of living’s high, but my earnings are low/I need to hit the lottery just
to pay what I owe</i>.” Yup, sounds about right. And music like this helps us
deal with these troubles. Hey, we may be broke, but we can still dance. And
again, the backing vocalists echo the title line, adding to the song’s joy.
There is also some wonderful stuff on guitar. This song was written by Rex
Pearce and Nelson Blanchard. The disc then concludes with “Eclipsed By Love,”
written by Rex Pearce. This one also has a horn section, this time made up of
Pete Verbois, Bobby Campo and Chris Belleau. The track also features a strong, mean
groove and a powerful vocal performance. Tony Haselden plays guitar on this
track, Leon Medica is on bass, and Dave Peters is on drums. </p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Ain’t No If About It</li><li class="MsoNoSpacing">Lightnin’ Done Struck Again</li><li class="MsoNoSpacing">Dangerous Curves</li><li class="MsoNoSpacing">Empty Pocket Blues</li><li class="MsoNoSpacing">Eclipsed By Love</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Blues From The
Bayou EP</i> was released on August 1, 2023. <br /></p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-18111916183595301512024-02-03T18:49:00.000-08:002024-02-03T18:49:53.636-08:00Jeshua Marshall: “The Flood” (2023) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACuQ6ZiwYWd5Kw3drOBNKKFwVCZi6cD6fVow_S0hK8jHP-W5E6nQTXSEoVImftEDgWf1zX-jef2w2DY4Mrj3WVlTeCjRBMc3OOtW1ICknavuZfF8jJhx7WGHXsZlA8t6XXs2rU28xVVoIhnrtsVATg-Hzs5IR75Ldb2FR1KPS0qLSf-tVCIv2SSDgVnHi/s700/zz%20Jeshua%20Marshall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACuQ6ZiwYWd5Kw3drOBNKKFwVCZi6cD6fVow_S0hK8jHP-W5E6nQTXSEoVImftEDgWf1zX-jef2w2DY4Mrj3WVlTeCjRBMc3OOtW1ICknavuZfF8jJhx7WGHXsZlA8t6XXs2rU28xVVoIhnrtsVATg-Hzs5IR75Ldb2FR1KPS0qLSf-tVCIv2SSDgVnHi/s320/zz%20Jeshua%20Marshall.jpg" width="320" /></a></div>Jeshua Marshall is a singer and songwriter based in Bend,
Oregon, and known for his work in Larry And His Flask, a group he started with
his brother Jamin more than twenty years ago. He released his first solo album,
<i style="mso-bidi-font-style: normal;">Shoot The Moon</i>, in 2021, and followed
that with <i style="mso-bidi-font-style: normal;">The Flood</i> last fall. <i style="mso-bidi-font-style: normal;">The Flood</i> features mostly original
material. Joining him on this release are Davey Hemm on bass, Miguel Mendoza on
trumpet, Seth Acquarolo on guitar and keys, Wendi Wampler on clarinet, and Todd
Rosenberg on drums and vocals, along with a guest on one track.<p></p>
<p class="MsoNoSpacing">The album opens with a cover of “Knights Ferry,” a song
from Willy Tea Taylor’s <i style="mso-bidi-font-style: normal;">The Great Western
Hangover</i>, and here re-titled “Water.” The song’s first lines delighted me to
the point where I laughed out loud the first time I listened to this disc: “<i style="mso-bidi-font-style: normal;">There’s a town on the river/It might make
you lose your liver</i>.” Jeshua Marshall and his band put their own spin on
the song, speeding it up a bit and giving it a delicious funky groove, and
adding horns, making it a good song to dance to. There are even hand claps. I’m
totally digging this approach. Everything about it is working well,
particularly those short jams, featuring great stuff on trumpet and clarinet. There
is also a good lead on electric guitar. And before the end, you might find
yourself singing along with the chorus: “<i style="mso-bidi-font-style: normal;">Oh,
in the water/Deep down in the water/Yes, it’s in the water/Falling down</i>.” That’s
followed by the album’s title track, “The Flood,” which has a ska groove and
features more great stuff on trumpet. And I love that opening line, “<i style="mso-bidi-font-style: normal;">How’d you like a new tomorrow</i>.” It’s a positive
number, feeling almost like a strange celebration, particularly as he sings, “<i style="mso-bidi-font-style: normal;">We live for love, and we don’t give up</i>.”
Toward the end he repeats, “<i style="mso-bidi-font-style: normal;">I’m in love
with the underground</i>.”</p>
<p class="MsoNoSpacing">The sound turns gentle at the beginning of “In A Dream,” and
then builds from there and features a great bass line. “<i style="mso-bidi-font-style: normal;">I’ll wait for you/In a dream/See what comes next/So what if we have
nothing left/We gave it all, we gave it all</i>.” This one also continues with
the album’s water images, as he sings, “<i style="mso-bidi-font-style: normal;">Underneath
the sea/I’ll wait for you</i>.” That’s followed by “Unbound,” a song that grabs
me almost immediately, the moment the drums come in. What a great rhythm! This
track also features some nice work on guitar. Check out these opening lines: “<i style="mso-bidi-font-style: normal;">Away from the bright city lights/Where the blue
moon and stars collide/Take it, take it all away/One billion distractions/With
zero satisfaction</i>.” Excellent, right? This is such an enjoyable song, and
one I’m guessing many folks will relate to. It’s one of my personal favorites.</p>
<p class="MsoNoSpacing">“Agua Es Vida” features lyrics by Yanin Saavedra, who
joins Jeshua Marshall on vocals. This one has a reggae vibe, and it continues
the album’s theme of water. “<i style="mso-bidi-font-style: normal;">Agua es
vida, agua es vida/She gives you what you need/We’re taking too much</i>.” Yanin’s
vocal work is sexy and compelling, helping to make this another of the album’s
highlights. Then “Closed Doors” comes at us at a fast pace, with some punk
elements, and the lyrics delivered with a sense of urgency. “<i style="mso-bidi-font-style: normal;">Rise above the anger and hatred/We never
give up, we never give in</i>.” This music is so good. I would say this track
is yet another highlight, but the idea of a highlight begins to lose its meaning when
every track is excellent, when every track feels like a highlight. “Ride”
begins with a good rhythm, and is another fast-paced gem, but with more country
in its sound. And here is some honesty delivered to the next generation: “<i style="mso-bidi-font-style: normal;">Nothing lasts forever, my son/Except the
earth, the sky and the sea/Nothing lasts forever, young one/Especially you and
me/Even mountains fall to the sea/Even mountains will fall eventually</i>.” And
again there is a mention of water in those lines. This track contains a nice
lead on keys in the middle. “<i style="mso-bidi-font-style: normal;">Hearts can
only break so many times/Before they fade away</i>.”</p>
<p class="MsoNoSpacing">“Best Friend” is a song that celebrates true friendship,
though first mentioning those fair-weather friends. This is an exciting song
with a dramatic quality. It also touches upon the brevity of life in the line “<i style="mso-bidi-font-style: normal;">No, I ain’t got no more time to waste</i>.”
Life is too short to spend it with anyone we don’t like, with anyone who is not
genuine. Check out that great guitar work toward the end, along with the
trumpet. This track has a sudden ending, and is followed by “Swing,” a seriously
fun track. “<i style="mso-bidi-font-style: normal;">Swing, swing, I like to
swing/I swing all day and night</i>.” It’s another one to fill the dance floor
with happy bodies. And it does include a water-related image in the lines “<i style="mso-bidi-font-style: normal;">With the rising tide/I thought I’d be on my
way</i>.” As this song reaches its conclusion, the pace picks up. Jeshua
Marshall then slows things down for “Wave,” which has a cool, bluesy vibe as it
starts. Then that trumpet sounds so damn good as the song takes on a delightful
rhythm. You don’t have to wait very long for images of water, as the first
lines are “<i style="mso-bidi-font-style: normal;">Come in from the storm/It’s
raining so damn hard now</i>.” And I appreciate the song’s sweet and hopeful ending,
with Jeshua Marshall singing “<i style="mso-bidi-font-style: normal;">I’ll leave
a light on for you/I’ll leave a light on</i>.” </p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Water</li><li class="MsoNoSpacing">The Flood</li><li class="MsoNoSpacing">In A Dream</li><li class="MsoNoSpacing">Unbound</li><li class="MsoNoSpacing">Agua Es Vida</li><li class="MsoNoSpacing">Closed Doors</li><li class="MsoNoSpacing">Ride</li><li class="MsoNoSpacing">Best Friend</li><li class="MsoNoSpacing">Swing</li><li class="MsoNoSpacing">Wave</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">The Flood</i> was
released on September 22, 2023.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-25051891559647005862024-02-03T12:42:00.000-08:002024-02-03T12:42:38.208-08:00The HawtThorns: “Zero Gravity” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgraPn_g1IitYw47P3APzRQwbFANMoCCyBPW2kRxWHHWgWQ7b9Zea5RC6KjyQ36SNVm_4rXlmOodMVGoDx4na9TILwLSvxkgh79LwqaajsEX7meQJAzqFZgh6OXNbnOrQbGMx9ItMOBhCIcRq83ybICuaSntDFfP_N_79EoNTTs_cOyL3rnfCepsf2xQLNs/s488/zz%20The%20Hawtthorns%20Zero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="488" data-original-width="488" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgraPn_g1IitYw47P3APzRQwbFANMoCCyBPW2kRxWHHWgWQ7b9Zea5RC6KjyQ36SNVm_4rXlmOodMVGoDx4na9TILwLSvxkgh79LwqaajsEX7meQJAzqFZgh6OXNbnOrQbGMx9ItMOBhCIcRq83ybICuaSntDFfP_N_79EoNTTs_cOyL3rnfCepsf2xQLNs/s320/zz%20The%20Hawtthorns%20Zero.jpg" width="320" /></a></div>Though it was great having The HawtThorns here in Los
Angeles, Nashville seems to be a perfect fit for the duo of KP Hawthorn and
Johnny Hawthorn. Their new album, <i style="mso-bidi-font-style: normal;">Zero
Gravity</i>, recorded at The Studio Nashville, might just be their best yet. It
is their third full-length release, following 2019’s <i style="mso-bidi-font-style: normal;">Morning Sun</i> and 2022’s <i style="mso-bidi-font-style: normal;"><a href="https://michaelsmusiclog.blogspot.com/2022/01/the-hawtthorns-tarot-cards-and-shooting.html">Tarot Cards And Shooting Stars</a></i>. It features mostly original
material, along with one wonderful cover (and that cover features a special
guest on harmony vocals). Both KP and Johnny provide vocals and play guitar on
these tracks. They are joined by Ted Pecchio on bass, Nick Buda on drums and
percussion, Jano Rix on keys and percussion, and Chris Condon on guitar.<p></p>
<p class="MsoNoSpacing">The album opens with “Nothing But A Shadow,” KP Hawthorn delivering
an intriguing opening line, “<i style="mso-bidi-font-style: normal;">Woke up in a
graveyard bus stop</i>.” We feel like we are placed in the middle of a story,
and so pay particular attention to the lyrics. Plus, the guitar has that cool,
haunted western sound, helping to tell the story too. It’s a song of being on
the road, with dreams of heading home, and feeling like only a shadow is left
of her. Yet she tells us, “<i style="mso-bidi-font-style: normal;">I still got a
long, long way to go</i>.” And check out that exciting instrumental section in
the track’s second half. This is a seriously cool start to the album. It’s
followed by “Zero Gravity,” the album’s title track. This one has an interesting
opening, with an electronic sound. Then the acoustic guitar emerges from
that, the song like a response to that opening, directly addressing the source
of the sound, the first lines being “<i style="mso-bidi-font-style: normal;">Alien
from outer space/You’ve far surpassed this human race</i>.” There is an innocence
to the sound, in the guitar and KP’s vocal approach. “<i style="mso-bidi-font-style: normal;">Tell me what is life like on Mars</i>.” This song builds beautifully,
and I love the percussion on this track. It was written by KP Hawthorn and
Steve Berns, and features an excellent vocal performance. “<i style="mso-bidi-font-style: normal;">I can feel you with me, even though I know you’re not/I let you go in
zero gravity/I’m awake now/But in my dreams you’re coming back to me</i>.” This
is one of my favorites.</p>
<p class="MsoNoSpacing">“Hands On A Clock” has a brighter, livelier country feel.
“<i style="mso-bidi-font-style: normal;">And if the world freezes up, will there
still be a morning after?</i>” Partly due to KP’s wonderful vocal performance,
this song makes me feel good each time I listen to it. “<i style="mso-bidi-font-style: normal;">Keep
your feet on the ground/Keep your head in the clouds/Keep your friends all
around/There’s no stopping us now</i>.” Some songs just feel like the word Yes,
you know? That’s followed by “Trouble.” This is an original song written by KP
Hawthorn, not a cover of the Cat Stevens song. It has something of a rock
flavor, in the guitar work and its rhythm, as well as the rhythm of her vocal
delivery. “<i style="mso-bidi-font-style: normal;">Under the spotlight/Dog
fight/Little bit of stage fright now</i>.” There is a power behind this one, and
it has some catchy elements, and ends up being another of the disc’s
highlights.</p>
<p class="MsoNoSpacing">“Faking It” has a sweeter sound as it opens, a sound that
is wrapped in memory and nostalgia even before KP sings that opening phrase, “<i style="mso-bidi-font-style: normal;">I remember when</i>.” It soon takes an
interesting turn (though I suppose I should have anticipated it by the song’s
title): “<i style="mso-bidi-font-style: normal;">Now when I see you, I’ll
say/’Hey, been a while, you look good, how you been’/And I’ll smile while we
talk/And you’ll think I’m your friend/But I’ll be faking it/Faking it</i>.” And
we learn how she really feels about this person: “<i style="mso-bidi-font-style: normal;">I don’t want to see your pretty face anymore/In fact, I’m glad you’re
gone</i>.” So these are not sweet memories, this isn’t a song of longing for
the past, not at all. This one was written by KP Hawthorn and Shane Alexander.
It is followed by “Flying,” which opens in a gentle, thoughtful place. Its
first line also contains the word “<i style="mso-bidi-font-style: normal;">remember</i>,”
but this one has a much different feel. “<i style="mso-bidi-font-style: normal;">Remember
that dream where you were flying/Staying in the air wasn’t hard to do/Gliding
over the horizon/Don’t come down ‘til you want to</i>.” And this line stands
out to me: “<i style="mso-bidi-font-style: normal;">Keep control of what you can
in this land of insanity</i>.” This song feels like a friend, offering an ear
and a voice:<span style="mso-spacerun: yes;"> </span>“<i style="mso-bidi-font-style: normal;">Maybe just go with where you’re happy/And let the rest work itself out</i>.”
It’s a pretty song with a good rhythm.</p>
<p class="MsoNoSpacing">“Don’t Plan To Lose” is a lively, fast-paced country
song, the drums pushing it forward. “<i style="mso-bidi-font-style: normal;">Let’s
not get wasted tonight/I want to keep it on the rails/It’s easy to mix up the
feelings/When words and their meanings fail</i>.” This track features some really
good work on guitar. “<i style="mso-bidi-font-style: normal;">I can see the
finish line/And I don’t plan to lose</i>.” Then “Long Game” has a sort of
easygoing vibe as it begins. “<i style="mso-bidi-font-style: normal;">We’re
tired, and it’s a late night/But you know we’ll get through this, just hold me
tight</i>.” This one was written by KP Hawthorn and Caitlin Cannon. It is
followed by “Don’t Wait By The Phone,” a fun track, with some delicious work on
keys. And on this one Johnny Hawthorn sings lead. “<i style="mso-bidi-font-style: normal;">And I’ve got nothing, nothing left to say/So don’t wait by the phone/I’m
already gone</i>.” It was written by KP Hawthorn and Johnny Hawthorn. There is
also some great guitar work on this track.</p>
<p class="MsoNoSpacing">“Save This One” is pretty as it begins, feeling like a
dream. Its first line, “<i style="mso-bidi-font-style: normal;">The one where
we’re on the river</i>,” sounds like the title of a <i style="mso-bidi-font-style: normal;">Friends </i>episode. This is a song of memories, of photographs. “<i style="mso-bidi-font-style: normal;">Trying to say goodbye/But it’s hard/So maybe
I’ll just save this one</i>.” I sometimes find it difficult to get rid of
things, and particularly difficult to get rid of photos. It is like tearing
away at memories, at pieces of your past. How do we know when it is the right
time to say the final goodbye, not only to someone, but also to the person that
we were during that time? “<i style="mso-bidi-font-style: normal;">What is the
end game/Can I learn if I don’t remember/Feels like we were good together</i>.”
This is yet another of my personal favorite tracks. The album then concludes
with its sole cover, an energetic rendition of The Everly Brothers’ “When Will
I Be Loved,” a song that was also a hit for Linda Ronstadt. On this track,
special guest Alice Wallace joins them on harmonies, adding another layer to
the beautiful vocals. This track also contains some strong work on guitar.</p>
<p class="MsoNoSpacing"><b>CD Track List</b></p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Nothing But A Shadow</li><li class="MsoNoSpacing">Zero Gravity</li><li class="MsoNoSpacing">Hands On A Clock</li><li class="MsoNoSpacing">Trouble</li><li class="MsoNoSpacing">Faking It</li><li class="MsoNoSpacing">Flying</li><li class="MsoNoSpacing">Don’t Plan To Lose</li><li class="MsoNoSpacing">Long Game</li><li class="MsoNoSpacing">Don’t Wait By The Phone</li><li class="MsoNoSpacing">Save This One</li><li class="MsoNoSpacing">When Will I Be Loved</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Zero Gravity</i> is
scheduled to be released on April 5, 2024 on Red Parlor Records.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0tag:blogger.com,1999:blog-3498038381372642323.post-1589697493993608252024-02-01T20:45:00.000-08:002024-02-01T20:45:47.045-08:00Grateful Dead: “Dave’s Picks Volume 49” (2024) CD Review<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR829tIQ0EYHty5W3Ff0PCEzZo7Y1whqG-s1Ok9xZFbmzSsECb0Bdpeo109yi6qf2nBsRzx3JV7z-8j_9uNmv7Okq3hnM34XpzWIXd1ExqBwl1xXqIqLAaHDXgg-G6tteUols2g6EtcgvF9CuetCtqP8EzCCS_EJ9GMoQn18iZ3pL9v1-EaxBshLaOj_Cl/s787/Screenshot%202024-02-01%20at%2020-21-50%20Grateful%20Dead%20Dave's%20Picks%2049%20Vol%2049%204_27-28_1985%20Stanford%20PreSale%20New%20SEALED4CD%20eBay.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="785" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR829tIQ0EYHty5W3Ff0PCEzZo7Y1whqG-s1Ok9xZFbmzSsECb0Bdpeo109yi6qf2nBsRzx3JV7z-8j_9uNmv7Okq3hnM34XpzWIXd1ExqBwl1xXqIqLAaHDXgg-G6tteUols2g6EtcgvF9CuetCtqP8EzCCS_EJ9GMoQn18iZ3pL9v1-EaxBshLaOj_Cl/s320/Screenshot%202024-02-01%20at%2020-21-50%20Grateful%20Dead%20Dave's%20Picks%2049%20Vol%2049%204_27-28_1985%20Stanford%20PreSale%20New%20SEALED4CD%20eBay.png" width="319" /></a></div>I was thirteen the first time I begged my parents to get
me tickets to see the Grateful Dead. They refused. They knew nothing of the
band, only that the audience took drugs, and the band’s name I think scared
them. That was in 1985. But when I began collecting tapes a few years later, I
didn’t get much from 1985. What little I did hear didn’t sound that great.
Jerry’s vocals seemed strained, and as I got deeper into the music, I focused
on 1969, 1970, 1973 and 1977. From the 1980s, I thought the best years were
1980 and 1989 – the beginning and end of the decade, and I ignored much of the
middle. But of course there were good shows every year. The new volume in the <i style="mso-bidi-font-style: normal;">Dave’s Picks</i> series contains two
complete shows from 1985 – April 27 and 28, at Frost Amphitheatre in Palo Alto,
California. Yes, it’s another four-disc treat!<p></p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Disc 1</b></p>
<p class="MsoNoSpacing">The first disc contains the entire first set from the
April 27th show, plus the first two songs of the second set. The band kicks things
off with “Dancing In The Street,” and the show immediately feels like a party.
All we need is sweet music, and here it is. In fact, Jerry Garcia’s guitar has
a really sweet vibe. This is not the most rocking version of the song the band
ever played, but it has a wonderfully cheerful vibe, and the jam, led by
Jerry’s guitar, has something of an exploratory feel, which of course this
early in the show promises an excellent night. And if there was any doubt about
that, the band ends it right away by going straight into “Bertha,” and things
become even more fun, the song moving at a good clip. Again, it is Jerry’s
guitar work that becomes the focus here. Those notes themselves seem to be
dancing. And we get eight shouts of “<i>Anymore!</i>” Such great energy. The band then
shifts directions, turning to the blues with “Little Red Rooster,” with some
interesting echoing of the early lines, and an easygoing jam that seems just
right. I like the way Brent Mydland’s work on keys kind of sneaks up on
you, unusual for him, and before you know it, your smile is almost too big to
remain on your face. This is a seriously good rendition of “Rooster.” I don’t
want it to end. But it does, of course. And then Jerry leads the band into
“Brown-Eyed Women,” which seems the perfect choice. Yes, Jerry’s voice is
straining at moments, but he makes up for it with his guitar work, and
everything else sounds so good too. Plus, Jerry makes that strain work for the
song, and the other guys really support him with their backing vocals, so that
it ends up being a good version.</p>
<p class="MsoNoSpacing">I love the way they begin “My Brother Esau” here, teasing
the groove and the song’s blues element before going fully into the song. And
then there is a bit of a hop to the tune’s rhythm, which is wonderful. I wish
they’d kept playing this song. I never saw the Dead perform it live. The song
was on my cassette copy of <i>In The Dark</i>, but later when I got the album on CD,
it was missing. I never understood the reasoning behind that. They follow “My
Brother Esau” with “Ramble On Rose.” There is an awkward start to this song
that is strangely endearing and delightful. Again, there is something cheerful
about it. The band seems happy. And Jerry manages to belt out the “<i style="mso-bidi-font-style: normal;">leader of the band</i>” line. There is a bit
of playfulness, and a “<i style="mso-bidi-font-style: normal;">We want Phil</i>”
chant is taken up. “<i style="mso-bidi-font-style: normal;">We’re hanging onto
him for a while</i>” is the band’s response. But Phil Lesh pleases those folks
by singing Bob Dylan’s “Just Like Tom Thumb’s Blues.” Phil gets playful
here, as he often did on this song, singing “<i style="mso-bidi-font-style: normal;">my best friend, my drummer</i>” and “<i style="mso-bidi-font-style: normal;">I started out on Heineken</i>.” The band follows that with “Cold Rain
And Snow,” an interesting placement for that song, which usually came at the
beginning, or near the beginning of a set. It’s a strong rendition. They then
wrap up the first set with “The Music Never Stopped.” They began the set by
getting folks dancing, and end it with a song that puts everyone in that same
space. This is another song that always makes people feel good, and the jam
section is beautiful. And what a fantastic finish!</p>
<p class="MsoNoSpacing">The first disc then moves us to the second set for a
“Scarlet Begonias” opener. Yes, another song that is always appreciated, always
enjoyed, always loved, and another with a completely cheerful vibe. This song
is so much fun to dance to, and this version features some stellar guitar work.
Things are moving, popping, and rising up into the air, bubbling over with joy
and excitement. And the jam, while maintaining that delicious groove, does
start to pursue interests outside our atmosphere. They start to explore, but do
it while dancing. There is a sense of wonder coupled with a sense of belonging
wherever we go. Things get a bit funky there, and you have to love that groove.
It seems they are edging toward “Fire On The Mountain,” as was so often the
case, but then, surprise, “Eyes Of The World” emerges. What a brilliant
choice. “Eyes” is another song to keep the celebration going, for this is one
that is a lot of fun to dance to, one to keep your whole body in motion, the
guitar determining the direction of the dance. And during the dance we are
reminded of the brevity of this whole thing, this celebration, as we “<i style="mso-bidi-font-style: normal;">burst into bloom and decay</i>.” But that
just makes us enjoy the moment even more, dance all the more enthusiastically.
As the really cool jam leads into “Goin’ Down The Road Feeling Bad,” the music
fades out and the disc comes to an end.</p><p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Disc 2</b></p>
<p class="MsoNoSpacing">The second disc takes up right where the first disc left
off, or a few second before that, actually, as the band segues into “Goin’ Down
The Road Feeling Bad,” which has a good deal of energy from its start. It’s a
train pumping along, eager to go, go, go. The conductor occasionally steps down
to tell us something or other, but the train can’t slow much even then. And
again, there is such joy in the playing. It takes a moment before I realize
we’ve begun to move into the next song, and talk about keeping the party going,
they choose “Man Smart, Woman Smarter” with its great beat. This show will have
people dancing even after their final breaths. They’re too busy enjoying
themselves to notice an inconvenience like dying. And I love what Brent does
during that vocal jam. That leads seamlessly into “Drums,” which is perfect.
Bill Kreutzmann and Mickey Hart keep a great beat going. They are really
together on this one. Then after a few minutes, things start to drift into a
different realm, one of youth and magic, orchestrated by baton fingers and
jelly mouths, as electric blues and purples engulf the yellows, drinking from
singing bowls, then running a series of tests. Things seem to be right, or
right enough, though there are occasional warps in reality. We just roll past
them, though you might find yourself in darker territory, instinctively putting
up your guard. That large drum echoes in our gut, and the creature keeps
coming, leading us to some ceremony. We recognize the vision on the altar, but
as she turns to us, she disappears. And so do our surroundings. We find
ourselves floating among an odd collection of objects in “Space,” things that
become activated as we drift too close, offering warnings or information, it is
unclear which. An order is called, an order is established, and the beings
continue the ritual, our presence no longer heeded. Several speak at once,
messages overlapping, losing meaning and becoming pure sound, and so drifting
away from order, unraveling, though only to cover a larger expanse. </p>
<p class="MsoNoSpacing">As things come together again, Jerry leads the others
into “The Wheel,” one of my favorite choices of songs to come out of “Space.” It’s another reminder of the brevity of thing. But we’re “<i style="mso-bidi-font-style: normal;">bound to cover just a little more ground</i>.”
We soon find ourselves in a pretty space, before things change again, and the
band decides which direction to go. Then, bam, it all comes together again, and
the guys burst into “Truckin’,” everything cooking well, a party on its own
terms, even within the larger world. Then suddenly “The Other One” comes
exploding up from below. It is a beast that immediately takes over all the
world in sight, transforming everything it so much as glances at. There is
an urgency and determination, and we are into the first verse, Bob Weir’s
voice riding the beast into battle, casting shards of light into the thick hide
of the adversary.
Things then drift down to a human level for “Black Peter.” I think Peter will
be okay. We all get lonely sometimes, and need people around us. No need to go
dying for this to happen. But when we do go, it will be like any other day. No
great changes, the world just keeps moving on without us. Jerry’s soulful vocal
work draws us closer, and then a great rhythm emerges. See, everything is fine.
This is as cheerful as “Black Peter” has gotten, and then we’re moved from that
straight into the purest of rock and roll, Chuck Berry territory. “Around And
Around” reminds us once again that it’s a party, so keep dancing. And Bob is
into it, throwing himself into those vocals. That song leads straight into “One
More Saturday Night,” one more rock and roll song to close out the second set.
The encore is “Keep Your Day Job.” I remember a lot of folks weren’t all that
fond of that song, but I always thought it was kind of fun, certainly not meant
to be taken too seriously.</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Disc 3</b></p>
<p class="MsoNoSpacing">The third disc contains the entire first set from April
28th, and the encore. It was a special two-song encore at this show. There is
an unusual choice to open the show, “Gimme Some Lovin’,” a song I think I only
saw them do deep in the second set, so it feels like they’re starting off
already in the middle of things, like the band wants to get straight to the
heart of the matter, kick the show into gear. And then where to go from there? The
band begins to drift off as they figure out the correct path. And soon the band
is playing “Mississippi Half-Step Uptown Toodeloo.” Yes, there is a strain
in Jerry’s voice again, but again he makes it work for him, and we hear a desperation
in the song’s character as a result, which works, at least until it gets to the
pretty section at the end, when we want his voice to be a bit gentler. Still,
it’s a really good rendition, with some beautiful guitar work. Bob then shifts
things into a bluesy area with “New Minglewood Blues.” Listen to Phil’s bass,
it’s like some big dark cat strutting and ready to pounce. And there is
something great about the way this rendition moves with confidence. They then
shift into “Bird Song,” establishing a good groove before the song’s beauty
comes into play. I love how you can feel the beauty passing by you, swirling around
you and disappearing into the night, into darkness. Sometimes that’s what this
music feels like: sparks of light in the darkness. The jam has a great energy.
It might not be exploring any unusual territory, but it fills the space it does
play in, making the place exciting. The song becomes gentle again as the vocals
come back. “<i style="mso-bidi-font-style: normal;">Snow and rain, snow and rain</i>.”</p>
<p class="MsoNoSpacing">There is a pause as the band deals with various things on
stage, and then Brent leads the band into “Tons Of Steel,” a song that would be
included on <i style="mso-bidi-font-style: normal;">In The Dark</i> a couple of
years later. It’s a nice rendition, with a surprisingly soothing quality to the
vocal delivery, even as we learn “<i style="mso-bidi-font-style: normal;">the
brakes don’t work and this grade’s so steep</i>.” The song has a gentle
conclusion. Jerry then begins “China Cat Sunflower,” this version featuring
some nice jamming, moving at a good pace, like scaling a mountain in a foot
race. And as we reach the top, we find a group of people dancing, and we’re in
“I Know You Rider,” the folks beckoning us to join the circle around a bonfire. And holy
moly, listen to Jerry belt out the “<i>northbound train</i>” line. Fantastic. And
that’s how the first set ends.</p>
<p class="MsoNoSpacing">This disc also includes the encore. And hey, that’s how
we did it back in the days of tapes. The encore was put at the end of the
cassette containing the first set. Anyway, the band delivers a rousing
rendition of “U.S. Blues.” The guys are cooking here. It seems like the
end of the show. Bob says good night. But the crowd manages to coax them back
out for another number, the Bob Dylan song “She Belongs To Me.” It calms things
down, becomes a beautiful rendition, and sends the crowd into the night feeling
good.</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">Disc 4</b></p>
<p class="MsoNoSpacing">The final disc contains the complete second set from
April 28th. The first number is counted out a few times, and the band tears
into “Hell In A Bucket,” with Bob full of playful attitude. There is a somewhat
darker, heavier vibe to this song that I sometimes wasn’t into back in the day,
but this is a song that has grown immensely on me over the years, and I love
when Bob lets loose on vocals: “<i style="mso-bidi-font-style: normal;">Ride,
ride, ride/At least I’m enjoying the ride</i>.” Jerry leads the band straight
into “Crazy Fingers.” It is a fairly mellow rendition, with an intimate vibe at
times. “<i style="mso-bidi-font-style: normal;">Who can stop what must arrive
now?</i>” There is a pretty sound to the guitar, like brightly colored
underwater flowers suddenly blooming, and the song takes us to some interesting
territory, where joy threatens to explode at our feet with each step. And then
we realize there is something delicate there, but we press on and suddenly it
makes way for “Playing In The Band.” Now it seems the band is ready to tear
into the outer atmosphere, first with sheer power, and then by easing into it
sideways, by dismantling sections of the sky’s canopy. Things get crazier
outside its protection, with beauty and danger along the same path. Forward
movement continues, regardless of what might be to either side. Animals seeking
affection pull up next to us, but we are too busy tugging a piece of yarn that
holds together a section of reality. And interestingly, we are then deposited
in the darker, delicate world of “China Doll.” We thought we were traveling
farther out, but somehow went further in. This song sounds so pretty as Jerry sings, “<i style="mso-bidi-font-style: normal;">Take up your china doll</i>.” The song becomes a beautiful jam. </p>
<p class="MsoNoSpacing">The guys then go back into “Playing In The Band” for just a
moment, playing a hint of it before veering off into a different jam, the groove the most important element. The jam goes in some unexpected places,
and then leads into “Drums,” this time immediately galloping into the deep
belly of the cosmos. A belch can shift our entire reality. Step delicately on
the rope of intestines stretching from one star to another. Tread carefully, as
amphibians pop up on either side, greeting us in rhythm, and slip back under
that layer of sparkling sludge. That rumbling stops other activity, draws
everyone together. The pounding, the heavy steps of the universe itself, having
taken on the form of one of its ancient monsters. It passes, and we are
wrapped in the tendrils of some conscious cloud as we drift into “Space.” The
darkness itself takes the form of a chord, delivering a pounding of its own, a
strong fist of rock and dust. Golden creatures speak a language we should know,
but can’t recall. And we settle upon a plateau where a ritual is in progress. Then we are inside one element of that, and if we look out from there we’ll
see answers and history dripping from the skin of the participants into
oblivion. Tiny rays of light dance with each other, engage in some courtship.
Pieces of reality drop around us, but it’s an unrecognizable pattern, until the
teases of “Playing In The Band” make the ground familiar, and then we are back
in that song. The band has taken us out and brought us back yet again. And now
that we are firmly on earth, they lead us down to the dock of the city for a
rather touching and powerful version of “Wharf Rat.” That in turn leads into “Throwing
Stones,” with some cool work on keys. “<i style="mso-bidi-font-style: normal;">The
darkness never goes from some men’s eyes</i>.” It’s a strong rendition with a
good “<i>Ashes, ashes</i>” part at the end, leading directly into “Not Fade Away,”
always a fun way of wrapping up a set. This is a totally enjoyable rendition,
and it has a big finish, rather than leaving the crowd clapping out the beat.</p>
<p class="MsoNoSpacing"><b style="mso-bidi-font-weight: normal;">CD Track List</b></p>
<p class="MsoNoSpacing">Disc 1</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Dancing In The Street ></li><li class="MsoNoSpacing">Bertha</li><li class="MsoNoSpacing">Little Red Rooster</li><li class="MsoNoSpacing">Brown-Eyed Women</li><li class="MsoNoSpacing">My Brother Esau</li><li class="MsoNoSpacing">Ramble On Rose</li><li class="MsoNoSpacing">Just Like Tom Thumb’s Blues</li><li class="MsoNoSpacing">Cold Rain And Snow</li><li class="MsoNoSpacing">The Music Never Stopped</li><li class="MsoNoSpacing">Scarlet Begonias ></li><li class="MsoNoSpacing">Eyes Of The World</li></ol>
<p class="MsoNoSpacing">Disc 2</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Goin’ Down The Road Feeling Bad ></li><li class="MsoNoSpacing">Man Smart, Woman Smarter ></li><li class="MsoNoSpacing">Drums ></li><li class="MsoNoSpacing">Space ></li><li class="MsoNoSpacing">The Wheel ></li><li class="MsoNoSpacing">Truckin’ ></li><li class="MsoNoSpacing">The Other One ></li><li class="MsoNoSpacing">Black Peter ></li><li class="MsoNoSpacing">Around And Around ></li><li class="MsoNoSpacing">One More Saturday Night</li><li class="MsoNoSpacing">Keep Your Day Job</li></ol>
<p class="MsoNoSpacing">Disc 3</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Gimme Some Lovin’ ></li><li class="MsoNoSpacing">Mississippi Half-Step Uptown Toodeloo</li><li class="MsoNoSpacing">New Minglewood Blues</li><li class="MsoNoSpacing">Bird Song</li><li class="MsoNoSpacing">Tons Of Steel</li><li class="MsoNoSpacing">China Cat Sunflower ></li><li class="MsoNoSpacing">I Know You Rider</li><li class="MsoNoSpacing">U.S. Blues</li><li class="MsoNoSpacing">She Belongs To Me</li></ol>
<p class="MsoNoSpacing">Disc 4</p>
<ol style="text-align: left;"><li class="MsoNoSpacing">Hell In A Bucket ></li><li class="MsoNoSpacing">Crazy Fingers ></li><li class="MsoNoSpacing">Playing In The Band ></li><li class="MsoNoSpacing">China Doll ></li><li class="MsoNoSpacing">Drums ></li><li class="MsoNoSpacing">Space ></li><li class="MsoNoSpacing">Playing In The Band ></li><li class="MsoNoSpacing">Wharf Rat ></li><li class="MsoNoSpacing">Throwing Stones ></li><li class="MsoNoSpacing">Not Fade Away</li></ol>
<p class="MsoNoSpacing"><i style="mso-bidi-font-style: normal;">Dave’s Picks Volume
49</i> was released in late January, 2024. My copy arrived on January 29th.
This volume is limited to 25,000 copies. Mine is number 23528. I’m excited to
see what special show the fiftieth volume will contain.</p>Michael Dohertyhttp://www.blogger.com/profile/00008909555111595107noreply@blogger.com0