Seiche: “Demo Press” (1981/2019) Vinyl Review

If you collect records, you know that some releases have rather small pressings. Take those Record Store Day releases, for example, some of which have pressings of only five hundred copies. Well, when the Seiche record Demo Press was originally released in 1981, there were only fifty copies made (at least with the proper record cover; apparently there were another hundred copies that came in a plain white sleeve). Talk about a limited run! It’s insane, and it provides some clue as to why few have heard of it, or even of the band. But fortunately, the record has now been re-issued by Jackpot Records, so more people can enjoy this rare treasure. Seiche was a progressive rock band based in Chicago, made up of Steve Zahradnik on guitar and vocals, Tom Vess on bass and vocals, and Marc Levinson on drums and percussion. This trio formed in the late 1970s and put out only that one album before disbanding. The re-issue has a different cover, with the original blue and white artwork appearing in the upper left corner of the sticker on the plastic wrap. Inside, the liner notes provide some information on the band, as well as several photos. The songs are all originals, written by Steve Zahradnik and Tom Vess.

Side A

The record opens with “In The Calm Of Your Eye,” which has a mellow, haunting sound at the start, seeming to take some influence from the darker side of folk. That tone is maintained, even as the song develops a cool drum beat. “And we will find a way/To see/There can be/Life in the calm/Calm of your eye.” Then halfway through, the song shifts from an acoustic sound to more of a harder rock groove, and soon the electric guitar flies upward, as if suddenly freed of constraints, and the song becomes a cool jam. Then “Evidently Me” begins in that rock realm, but with something of an otherworldly vibe, like the rock music of some fantasy creatures. And when the vocals come in, that sense is even stronger. I am digging this music, and I think I also would have enjoyed it had I heard it when it was first released in 1981. That was the year I started playing Dungeons And Dragons, and something about the sound of this song makes me feel it would have been eagerly welcomed by our group while we played. “There lie certain dangers/Quite beneath the ones you see.” Then this one takes a turn also, led by the bass, speeding up and becoming a hard rock jam, like something Deep Purple might have done in its early days. This band can seriously rock when it wants to. Both “In The Calm Of Your Eye” and “Evidently Me” were written by Steve Zahradnik.

The first side of the record concludes with “Islands,” written by Tom Vess, who leads this one off with his bass. Rather than build toward it, this one begins as a rocking jam, the guys ripping right into it. Perhaps the song takes a breath or two at one point, then that electric guitar is off on a fiery quest, raising specters from the smoke of a ceremony in some distant land. The song then slows its pace, almost as if breaking down. And after a brief pause, it shifts into a prettier and mellower land, and it is then that the vocals begin. “Try to fathom a place that is untouched by fate/A place where you know not what will come/But what does will not harm you/A promised land, perhaps, but in a much simpler sense.” This pretty realm, however, feels like a respite, an oasis, and you just know you will be in a more turbulent, electric territory sooner or later. And indeed, that is the case, and soon things are moving quickly, the drums and bass rushing forward, that groove seeming to say “Onward, now, now, now, let’s go.”

Side B

The second side opens with “Dissonant Toys,” which eases in, creating a strange atmosphere, another fantasy realm, like that which a slightly disturbed child might see in his room when the shifting shadows cause things to seem to move, to flicker. Then the song kicks in to become a rock song, and again these guys jam on it, each of the three musicians delivering interesting stuff. This is one of those songs where you might sometimes find yourself focusing on one instrument, sometimes on another. There is some excellent work on drums here. Toward the end, the song returns to that mellower place, as if coming back from the realm of a child’s imagination, and right as the song ends, there is a hint that that realm is about to break through into this reality. That’s followed by “The Maze,” an instrumental track that begins with a glorious energy, like the band is already jamming, and we’ve stepped into the room to check out what they’re up to. There is a brighter, more cheerful sound and vibe to this one, and it moves at a good clip.  And then it’s suddenly over.

“Medicine Man” has a strong progressive rock sound from the start, soon zooming off toward some distant point, then shifting its groove once it has arrived, and that’s when the vocals come in. At that point, it has a bit of a 1960s influence, which is cool.  “When I see you that way it’s so hard to say no thank you.” I love this section. The song then speeds off again just before the end. The album concludes with “Good Mourning,” which opens in a prettier, more relaxed place. Again, a 1960s psychedelic influence is felt. The electric guitar then offers a lament or petition to the gods. Will they answer? It almost doesn’t matter, as the offering seems an end in itself. And the song returns to a more acoustic setting. “Find a new way to live/Learn the way to forget and forgive.”

Record Track List

Side A

1. In The Calm Of Your Eye
2. Evidently Me
3. Islands 

Side B

1. Dissonant Toys
2. The Maze
3. Medicine Man
4. Good Mourning

The special re-issue of Demo Press was released on November 29, 2019 through Jackpot Records.

Eamon Ra: “Meat Bones Chemicals Electricity” (2020) Vinyl Review

Things are a little nutty out there, no question about it. And as more and more people are being asked to remain at home until this crisis passes, it seems an opportune time to dig into some new vinyl releases. Take advantage of this time off from work, at least until financial worries push all joyful thoughts from our minds. Eamon Ra is the new project of Seattle-based singer and guitarist and songwriter Eamon Nordquist, whom you might know as a member of the Sterling Loons or from his guitar work on Truly’s albums. Eamon Ra’s debut album, Meat Bones Chemical Electricity, has a certain delicious 1960s sound, and there is even a playful nod to John Lennon’s influence on the back of the record cover, with the band being referred to as The Plastic Eamon Band. Of course, there is another joke in that reference, as the band in question is just Eamon Nordquist along with a series of drummers joining him on various tracks. Eamon Nordquist plays guitar, bass and mellotron. He has also created a book to accompany the record, with illustrations to go along with each track.

Side A

The album opens with “Future History,” a cool song with a strong 1960s British invasion vibe, and some psychedelic touches. It’s an overall cheerful sound, which I certainly appreciate. Plus, it’s a love song, and we can never have too many of those. Here is a taste of the lyrics: “I’m getting memories I shouldn’t yet have/But you know that I know they’re true/It’s you and me in this future I see.” Michael Collins plays drums on this track. That’s followed by “Pitchforks And Torches,” which begins with sound effects of a crowd and church bells (ask not for whom the bell tolls; it tolls for all of us, right?). The artwork in the accompanying book, by the way, is adorable, like an awkward teenage punk Frankenstein’s monster or something. Likewise, there is something kind of adorable about the song itself, particularly during that instrumental section, which I love. This song includes the album’s title in its lyrics: “They didn’t understand/Quite how he could just be/Meat bones and chemicals, electricity.” Mark Pickerel plays drums on this one.

The song title “Kiss Somebody You Love” is certainly good advice. When things are getting crazy (and they are certainly getting crazy now), we sometimes need a reminder to do those things that should come naturally. In this one, Eamon sings “Sipping cups at my café, I read the news like every day/It’s the same old stories, it never ends/But I keep reading ‘em just the same.” We are all fixated on the news these days. But what matters most are those important people in our lives. Kiss someone you love (unless, perhaps, you haven’t seen that person in a while; in that case, maintain a distance of six feet from him or her). Jeff Brown plays drums on this song, and on the one that follows it, “Fun To Be Had.” This is an interesting track, the song’s character seeming to urge folks to have fun, while the song itself has a somewhat sadder, darker tone. Plus, the song’s narrator isn’t quite to be trusted, as he tells us “Having fun, maybe you heard about the things I’ve done/Some were good and some were not so good, I admit/Having fun, maybe some things I should or shouldn’t have done/But nobody understands that they were fun.” Oh man, look out. That darker, more serious tone continues in “Nightingale,” which has a haunting, timeless folk sound. It is a song of death. “But no storm could stop the words that flew from nightingale/Asking only where his true love went.” This track ends with sound effects of birds and a distant storm. Though as the song ended, the chirping continued, and I realized there were birds outside my window.

Side B

The record’s second side kicks off with a cool, lively rock song, “Waiting For The Morning.” I love the sound of this track, which has a bit of a garage thing, a bit of psychedelia, a bit of punk. That energy is wonderful, particularly as he sings “Stop, stop it, stop it, stop.” There is also some good guitar work. The accompanying artwork in the book includes a sign on a building that reads “Meaningless Drudgery Inc.” Most of us at one point or other in our lives have been able to relate to that. That’s followed by “Happiest Day In History,” which, as you might guess, has a positive bent. Yes, we’ve got to keep up our optimism. It has been difficult to do the last few years, and even more difficult right now, but I like hearing someone wishing us the happiest day in history. Tim Meinig plays drums on this one.

Interestingly, the first line of the following song, “Simple But So Complicated,” is “She knows the way from happiness to pain.” Ah, that happiest day didn’t last too long. Has reality intruded? Like the dog in the accompanying illustration says, “Sunny days are fine, but they always turn to grey.” This song has a mellower, more introspective feel at the start, but does kick in and features some brighter 1960s pop elements (such as that “ba ba ba ba” vocal part which is reminiscent of the Beach Boys). There is something loose about this one, which works for the lyrics. “He’s lost his way, his sunshine’s turned to gray.” By the way, this track also incorporates the album’s title in its lyrics: “Meat bones and chemicals, electricity/Simple, but so complicated.” The album then concludes with “Such Good Friends,” a song about appreciating the people in one’s life, and letting them know, something we should do frequently, especially in these dark and twisted days. “I’m so lucky to have such good friends/And I really want to tell you again.”

Record Track List

Side A

1. Future History
2. Pitchforks And Torches
3. Kiss Somebody You Love
4. Fun To Be Had
5. Nightingale 

Side B

1. Waiting For The Morning
2. Happiest Day In History
3. Simple But So Complicated
4. Such Good Friends

Meat Bones Chemicals Electricity was released on March 6, 2020.

All The Real Girls: “Movie Star Handsome” (2020) Vinyl Review

As concerts are canceled, and as theatres and bars and restaurants close, more and more we are going to find ourselves on our own for our entertainment. It is a strange and stressful time, to be sure, but it is also a great time to listen to records. There is something both calming and exciting about putting the needle into the groove of a new album, when we are ready for whatever journey the music is about to take us on. Movie Star Handsome, the new album from All The Real Girls, has been released on vinyl as well as CD, and it is a treat to place this one on the turntable. The Seattle-based band is led by Peter Donovan, who wrote all the lyrics for this release. He provides the vocals and plays rhythm guitar. Evan West is on bass. Zander Nevitt is on lead guitar. Matt Millen is on drums. There are also several special guests on various tracks, including Bill Nordwall on piano, organ, mellotron, synthesizers and glockenspiel. The album cover reminds me a bit of the first New Riders Of The Purple Sage record, with the circle in the center, and band’s initials in the top part of the circle, and the artwork including a cactus. And the music certainly has a strong country element.

Side A

The album kicks off with “Rob Me Blind,” and immediately we get the sense of how important vivid characters are in this band’s songwriting, and how these characters have stories to tell us. The first time I listened to this song, the lines that stood out for me were “I wasn’t much to look at then, and I ain’t much better now/But you love me anyhow.” I like that there is a pause before “But you love me anyhow,” for it gives that line more emphasis, more meaning. Ah yes, this song ends up being a sweet love song of sorts. “Whoever said crime don’t pay/Has probably never seen your face on a sunny day.” That’s followed by “Shows What I Knew,” which has a harder edge from the start. “I never thought in a million years/There’d be anything left that you would need to prove/Shows what I knew.” Then toward the end, unexpectedly, it becomes a song you might find yourself singing along with. “We’re gonna be good boys like our brothers/We’re gonna be good girls like our mothers.”

Mike Giacolino joins the band on harmonica for “Could’ve Told Me Then,” and I absolutely love his work here. His presence is felt and appreciated from the very beginning, and helps to make this one of my personal favorites. This track has a lively country rock sound, and an excellent vocal performance. This is a song about a couple heading out on the road together. “We packed up everything we had, headed out east on the ten/And if you knew you’d never love me, well, you could have told me then.” I also love these lines: “And I know you never made me any promises/And I could have done so much better to win your heart/As the years go by, it seems to me it’s getting colder each spring/I’m trying to keep busy, but I haven’t done a thing.” This is a seriously good song, and I highly recommend checking it out.

All The Real Girls is a band with ties to the movies. Its name comes from a 2003 film starring Patricia Clarkson, Zooey Deschanel and Paul Schneider. And Peter Donovan has some experience in the film industry himself, having acted, directed and produced, as well as written music for a film. So perhaps it is no surprise that this band would refer in some way to films in these tracks. “Movie Star Handsome,” the album’s title track, features some fantastic lyrics. Check out these lines: “I’ll let you go and break my heart/I’ll let you tear that sacred muscle apart/And swallow the spark/Build a cage in the dark.” I particularly love that line “I’ll let you tear that sacred muscle apart,” such a strong and powerful image, a more graphic description that is incredibly effective. But my favorite line in this song is “And I’ll write your name with claw marks in the sky.” Wow, these guys can create some memorable and striking phrases. This is certainly another of the album’s strongest tracks. It features Eric Corson on slide guitar. The first side of the record then concludes with “Wolves,” which begins softly on piano. “And we’ve heard there’s wolves at the door and they want in.” After that line, the song kicks in, and includes some frightening and depressing lines, like “And I guess we’ve read our last book/We’ve danced our last two-step, we sung our last hook/And we’ve seen the scoundrels and crooks, they always win.” This is a powerful and stirring song.

Side B

The second side of the record then begins with a cheerful-sounding tune, “Empty Glass Of Ice.” The lyrics, however, contrast with that tone, and are about a nasty breakup (“You sold my favorite records and threw my clothes out on the lawn”), leading the man to drink by himself at a bar until closing time. Yet for him there is still hope. And the song has some humor, in lines like “I think I’d better call you, then I think I’d better not/I think it’s time somebody took me home.” Yes, it’s a country song about drinking, and it features some nice work by Ed Brooks on pedal steel, which adds that great lonesome feel to it. There is some clapping at the end, however, which quickly dispels that sense that this poor guy is alone. I would have cut that. That’s followed by “Hometown Hero.” This one too has a rather bright sound, and is more of a rock song, with some lines that work in contrast, such as “I wake up crying most nights” and “I’m a shipwreck, I’m a ghost.”

“Brother Brian” opens with a punch, a strong beat, which works well with its subject, which includes bombs and death. I love the surprising addition of horns to this exciting song. Samantha Boshnack is on trumpet, and Chris Credit is on saxophone. Then in “Do Your Worst,” Peter Donovan sings, “I want to live forever/I want to watch the sands of times roll by/I want us to be together/So do your worst to me tonight.” An unusual declaration of love, eh? I love it. I also love this line: “They say you’ve got a mouth on you, it’s full of razor blades.” Interestingly, some nice female backing vocals by Amanda Winterhalter help to create the sense of this being a sweet love song. This track is another of the record’s highlights. The record then wraps up with “Your Favorite Songs,” another unusual love song. Check out these lines: “If you want to be the captain of a ship/I’ll carve you out an ocean and build a boat in it.” This is perhaps the album’s more interesting track. It pulls you in, and there is something undeniably beautiful about it. Certainly part of that is Jacqueline Ryall’s presence on cello. After the line “But we’ll be strong somehow,” the song kicks in, which is perfect. “I’ll lie and say it gets better/I’ll tell you there’s a light at the end/But you don’t need my pity.”

Record Track List

Side A

1. Rob Me Blind
2. Shows What I Knew
3. Could’ve Told Me Then
4. Movie Star Handsome
5. Wolves 

Side B

1. Empty Glass Of Ice
2. Hometown Hero
3. Brother Brian
4. Do Your Worst
5. Your Favorite Songs

Movie Star Handsome was released on both vinyl and CD on February 21, 2020.

Honey West: “Bad Old World” (2017/2019) Vinyl Review

As things become even crazier out there, and many people are now temporarily out of work or are working from home, it seems the perfect time to catch up on some vinyl releases. Honey West is a group led by Ted Zurkowski and Ian McDonald, an interesting pair to be sure. You know Ian McDonald as a founding member of both King Crimson and Foreigner. And Ted Zurkowski… well, more on him in a bit. They released their first album, Bad Old World, on CD in May of 2017, and then gave it the special vinyl treatment late last year, complete with gatefold containing a beautiful photo of a sunset (it’s upside down, at least on my copy, but no matter). That photo, by the way, was taken by Ian McDonald. The tracks have been remastered and presented on 180-gram vinyl, and they sound excellent. The album contains all original material, written by Zurkowski and McDonald. Ted Zurkowski provides the vocals and plays guitar and percussion. Ian McDonald plays lead guitar, sitar, piano, organ, harpsichord, flute, clarinet, saxophone and percussion, and provides some backing vocals. The other musicians performing on this record include Graham Maby (who has performed with Joe Jackson, Natalie Merchant and They Might Be Giants) on bass, Maxwell McDonald on bass, Lincoln Schleifer on bass, Steve Holley (from Wings) on drums and backing vocals, and Denny McDermott on drums.

Side 1

The album kicks off with “The September Issue,” a song written by both Ted Zurkowski and Ian McDonald. The sound of this one, its beat and the guitar work, remind me of the rock music I grew up on. It’s fairly straightforward, without adornments, without anything unnecessary. At times, the guitar has a bit of a Chuck Berry thing happening. Graham Maby is on bass, and Steve Holley is on drums on this track. That’s followed by “Brand New Car,” also written by both Zurkowski and McDonald. This one has a sweeter vibe. Ted sings, “Life’s so easy now,” and we wonder if he is being honest or rather trying to convince himself of the truth of the statement. “Life’s so easy now/Since you went away/Don’t know what to do/Except to sleep all day.” This is a totally enjoyable song, and it features some nice work on flute.

“Bad Old World,” the album’s title track, comes on strong with a driving beat. This one comes at us at a fast pace, fitting with the energy and sense of the lyrics, that anxiety felt by the song’s character, like he’s trying to stay a few steps ahead of the world that is trying to take his baby. I really like the vocal delivery, which has a bit of punk to it. Plus, this one contains a Shakespeare reference in the line, “Brave new world where we sleep hand in glove.” That is a reference to Miranda’s line “O brave new world/That has such people in ‘t” from The Tempest. This song was written by Ted Zurkowski, and this seems the perfect place to get into a bit of his history. Zurkowski is a co-founder of the Frog And Peach theatre ensemble in New York, a group dedicated to presenting Shakespeare’s plays with simplicity, intimacy and passion. He just recently directed the company’s production of King Lear. So it comes as no surprise to find a Shakespeare reference popping up in his lyrics. I also appreciate this line, which feels timely: “No compassion anywhere, as far as I can see.” This is one of my favorite tracks. In addition to good lyrics, this one features some excellent work on guitar. And it ends with a scream of the word “love.”

“She’s Not Your Life” has a gentle vibe, its sound a bit more in the folk vein. There is something pretty about this one. Here is a taste of the lyrics: “When your heart is not your own anymore/You find that love has gone away without you/She used to laugh and dance across your floor/Now that girl just laughs at everything about you.” Things take on more energy again with “Sylvia Strange,” which has some reggae to its beat, and is a lot of fun. This one features some unusual and compelling lyrics, such as “Sylvia’s dimples are dragons that play on her face” and “A man may be steel, but a woman is always mink-lined.” This is another of the record’s highlights. The first side then ends with a lively rock tune, “Generationless Man,” another track that reminds me of that music I loved while growing up. There is also a certain humor to this song (and, really, to most of these tracks). “Don’t get him going ‘cause he’ll never quit/His hands are bloody now/Throw a rope around him/Try and make him sit/Wipe his worried brow.”

Side 2

The record’s second side opens with “California,” the guitars on this track having something of a Byrds vibe, which I like. There are a lot of songs about California, including many titled “California,” and this one captures and conveys a good sense of what it is like here. “My Hollywood dreams always/gonna want a brand new start/So keep on California-ing me.” By the way, the Byrds sound is clearly deliberate, for there is a more direct reference to that band in the lines “Your mountains and your valleys and your ocean/And you’re eight miles high.” That’s followed by “Sailing,” a mellower tune about facing an impending death. But it has a positive, optimistic bent, heard in the line “It’s a good day for sailing,” which is repeated. “You’ve set out on your own before/Maybe never quite this far from shore.” This track features some beautiful work on flute, which seems to lift us up even as it guides the person onward, a wonderful touch.

I love the opening line of “A Girl Called Life,” “I’m a guy who can never keep his thoughts to himself.” It is an interesting line with which to open, because of course the rest of the song is delivered from his perspective and so is full of his thoughts, which are clearly not kept from us. This is another track with a clear sense of humor, particularly in lines like “And my friends have started telling me/Maybe I should get some help somewhere/Like I really care.” That’s followed by “Old Man,” which deals, at least in part, with a flood. That guitar lead partway through has a definite Beatles feel. Then “Terry & Julie” has more of a bright pop rock sound. “Terry kissed Julie up on the bridge where/The snow was falling so fast/They looked down at the dirty old river/And all the boats as they passed.” “Terry & Julie” leads straight into the record’s final track, “Dementia,” a solid and totally delicious rocking tune. Dementia has been on our minds lately as we watch the president stumble around on the White House lawn or getting off or onto planes. But this song is about the lighter side of dementia, right? It’s part of the natural progression of life, and an understandable reaction to life’s insanity. And hey, it contains another Shakespeare reference, this time to Hamlet: “Doctor said it’s a normal thing/One way to handle life’s arrows and slings.” And actually it seems there is a nod to King Lear as well, in the line “Take off our clothes and run a little mad.” And the lines “Dementia/I thought I had a plan/Dementia/I just ate my sweater/Dementia/I don’t want to get better” make me laugh every time. This is a great tune, possibly the album’s best.

Record Track List

Side 1

1. The September Issue
2. Brand New Car
3. Bad Old World
4. She’s Not Your Life
5. Sylvia Strange
6. Generationless Man

Side 2

1. California
2. Sailing
3. A Girl Called Life
4. Old Man
5. Terry & Julie
6. Dementia

Bad Old World was released on vinyl on September 3, 2019 on Readout Records.

Funk Shui NYC: “Shark NATO On A Plane” (2020) CD Review

Yes, I admit it is the album’s title that initially drew me to this disc. I am a big fan of shark movies (I even have a small role in one of them), and I totally enjoyed the Sharknado series (though I think I still haven’t seen the final entry). So of course I love the play on the title of those films, combining that with the North Atlantic Treaty Organization, and with another goofy film that I like, Snakes On A Plane. With a title like Shark NATO On A Plane, you know the album is going to strive to lift your spirits. It is going to be fun. And Funk Shui NYC (not to be confused with Sacramento’s Funk Shui Band) makes good on the promise of that title. This band, which is based in New York, is led by Dave Morgan on saxophone and flute, and Rob Susman on trombone, both of whom also wrote some of the album’s tracks. The other talented musicians making up this band are Chris Hemingway on alto saxophone, Charles Lee on alto saxophone, Stan Killian on tenor saxophone, John Isley on tenor saxophone, Scott Burrows on trombone, Seneca Black on trumpet, Chris Anderson on trumpet, Bryan Davis on trumpet, Jordan Hirsch on trumpet, Noel Cohen on guitar, Dan Asher on bass, Rex Benincasa on percussion, and Peter Grant on drums. These guys create the most delicious cocktail, mixing funk and jazz and rock. We could all use a little joy right now, and this band is ready to provide it.

Shark NATO On A Plane opens with its title track, which has something of a New Orleans vibe, particularly in that delicious percussion. This is a lot of fun, just the thing to temporarily push away your worries and anger over the state of the world. Let it be your theme music as you dance your way down those empty supermarket aisles. There is a whole lot of wonderful stuff on horns here. “Shark NATO On A Plane” is an original tune, written by Rob Susman. It is followed by another original tune, “July Groove/September Funk,” this one composed by Dave Morgan and Noel Cohen. A groovy and funky bass line gets this one moving straight away. Then those horns give it something of a 1970s feel, something that makes me smile. What a joy it is to listen to this one. I love that trumpet lead part, which lifts things to a higher plane. The band then follows that with a delightful take on the theme to Barney Miller, a show I loved when growing up. That was a show my parents also enjoyed, and I must remember to play this track for them. I think my mom in particular is going to seriously dig it. The theme has a distinctive and memorable bass line and some great work on horns, so it’s an excellent choice for this group to tackle. This rendition features a great beat, and has an undeniably funky feel almost from the start. Partway through it mellows for a bit, and then that horn takes us all into some beautiful realm while that wonderful percussion keeps us grounded. It’s fantastic. And then the bass takes on that familiar theme once again.

I may have mentioned this once or twice, but you can never go wrong with Gershwin. The members of Funk Shui NYC prove this once again with their cheerful, upbeat rendition of “Summertime,” complete with a Latin groove. I love the way the brass instruments shout out gloriously. This is certainly not a mellow, reserved or restrained version. The group then returns to original material with “Into The Fourth Dimension,” composed by Rob Susman. I like the way this one builds, getting exciting, taking us on some adventure, then suddenly breaking into a funky section halfway through. And yes, that means another cool bass line. Then it begins to get rowdy again, picking up the pace, and building in intensity. I imagine folks dancing with wild abandon to this one at the group’s performances, then perhaps being surprised at the next turn the track takes, the horns issuing some sort of warning. This track feels like an exciting story. That’s followed by another original tune, “Professional Development,” this one written by Dave Morgan. It begins with a lead on bass, and soon this one too takes us on a fun ride, with bright tones and colors all around.

“Rock Bottom” is a title that seems to describe perfectly the country under the command of racist gameshow host Donald Trump. We as a nation have hit our lowest point. This song, however, is a total delight. It comes on strong, like a beast eager to devour whatever may lie in its path, thumping through the neighborhood, then later moving almost to frenzy, with a strong pulse and an appetite, those horns circling us. This one too takes an unexpected turn in the second half, toward rock with that electric guitar. This is another original track, written by Rob Susman and Noel Cohen. The album then turns to rock bands for inspiration, first with a cover of The Beatles’ trippy “Blue Jay Way,” a song written by George Harrison and named after a street here in Los Angeles. Funk Shui NYC, not surprisingly, gives the tune a funky spin, and it works quite well. The band follows that with a wonderful cover of Cream’s “I Feel Free,” a song that was covered by Belinda Carlisle in the 1980s. This version has all the energy you would ever hope to cram into the song, and is just fantastic. It feels like a party, like a celebration that extends for several blocks, on rooftops and in the streets. The album then wraps up with a delicious rendition of Allen Toussaint’s “Everything I Do Gonna Be Funky.” And really what could be more fitting for this band? Plus, this track includes a drum solo, so I am in heaven here.

CD Track List

1. Shark NATO On A Plane
2. July Groove/September Funk
3. What Barney (The Barney Miller Theme)
4. Summertime
5. Into The Fourth Dimension
6. Professional Development
7. Rock Bottom
8. Blue Jay Way
9. I Feel Free
10. Everything I Do Gonna Be Funky

Shark NATO On A Plane was released on February 7, 2020.

Watermelon Slim: “Traveling Man” (2020) CD Review

Traveling Man, the new release from blues musician Watermelon Slim, is a two-disc live album, containing music from two sets he performed in 2016. These are solo performances in intimate venues, both in Oklahoma, where he makes his home. He was, however, born in Massachusetts and schooled at the University of Oregon (two things I have in common with him), and his time in Boston has influenced at least one of the songs in this collection. On this release, he plays electric slide guitar and harmonica. The songs he delivers are a mix of original material and covers. As I understand it, these aren’t the complete shows, but this release contains more than an hour and a half of music.

Disc 1

The first disc contains music he performed at The Blue Door in Oklahoma City on September 24, 2016. After a brief introduction by Greg Johnson, owner of the venue, Watermelon Slim opens with an original tune titled “Blue Freightliner,” a song included on his 2004 album Up Close & Personal. This song has a classic, loose blues sound, with some wonderful work on slide guitar, particularly during that instrumental section. That’s followed by “Truck Driving Songs,” which has a more playful vibe and is a totally enjoyable song. “I do it for the money but mostly for the music.” Here he promises us that truck driving songs will never go out of style. Then in “Northern Blues,” he sings “If I stay here too many more winters, I believe that I might die.” Oh yes, that’s what leads many of us from New England to sunny southern California. This track features some great guitar work. And lines like “Got to take off down the road/Down the road I go” are always appealing. I also love the way he sings the words “Albuquerque, New Mexico.” At the end of the track he mentions that he wrote the song in Massachusetts. So there you go.

“The Last Blues” begins with some cool work on guitar. “At first I called this song ‘After My Heart Attack,’ but that seemed a little bit too direct,” he says after singing the song’s first line. I love the way he addresses the audience like that, even during a song. That great loose style makes me feel that it is something special to see him perform. “And my last words of advice, don’t sweat it when it’s your time to go.” That’s followed by “Scalemaster Blues,” another truck driving song. Both “The Last Blues” and “Scalemaster Blues” were included on Up Close & Personal. Watermelon Slim then turns more to a folk and country style on “300 Miles,” a song I’ll be adding to my road trip play list. This song was included on Escape From The Chicken Coop, which was released in 2009. In this one, he sings “I’m strapped to these wheels, more machine than a man.” Hey, is that a Return Of The Jedi reference? In this one he also sings, “Though I’m getting up in years.” Watermelon Slim is seventy years old. “It’s 300 miles ‘til I’ll rest again.”

He then switches from guitar to harmonica for a cover of “Jimmy Bell,” a blues tune written by William Carridine (also known as Cat-Iron). He starts this track with some nice work on harmonica. He returns to slide guitar for a cover of “61 Highway Blues,” another good choice for a road trip play list. It was written by Mississippi Fred McDowell. Watermelon Slim adds a spoken introduction, mentioning that Highway 61 is known as the Blues Highway. “You know that 61 Highway is the longest road I know/You know it runs down from Minneapolis, Minnesota down to the Gulf of Mexico.” This track features some exciting work on guitar. “Some people drive for money/Others drive for fun.” He follows that with a cover of “Smokestack Lightning,” which he says is by request. “I’ve been singing this since 1963,” he tells the audience, “when I heard it on a record by a group called The Yardbirds.” I think the first version I heard was by the Grateful Dead, an early tape when Pigpen was singing it. Watermelon Slim delivers a really good rendition, adding his own playful touches, and you can hear the audience laughing at one point. He combines “Smokestack Lightning” with “Two Trains Running” (also known as “Still A Fool”), a Muddy Waters song.

One of my favorite tracks on this disc is Watermelon Slim’s rendition of “Frisco Line,” another Fred McDowell song. He delivers an excellent performance, both vocally and on guitar. There are some delicious vocal touches, like the way he asks “What are you gonna do, boy?/What are you gonna do/When you ain’t got nothing left to lose?” This is a wild and wonderful track. The first disc then concludes with “Holler #4,” an original song in which he sings “You know I’m singing this song all by myself/Lord, I don’t need no band.” No argument there. This album is certainly proof of that. This first disc contains approximately sixty-five minutes of music.

Disc 2

The second disc contains his performance from February 28, 2016 at The Depot, in Norman, Oklahoma. There is no harmonica on this one, but his guitar playing is excellent. This disc also includes a brief introduction, and then Watermelon Slim gets straight to it with a strong performance of “Let It Be In Memphis,” delivered with a certain power to his vocals. And his guitar sings and pops. And, hell, this song is about death, which we will all be facing at some point. “No matter how you jump and shout/One day your candle is still going out.” Yet it is a fun track. It is followed by “Into The Sunset,” and this one is fun too, with more fine work on guitar. Watermelon Slim seems to have a whole lot of energy at this show. At the end of the track, he tells the crowd the name of the song, and says that it’s about retirement. As the track fades out, he adds, “I might never do that.” Well, from the energy here, it doesn’t sound like he will ever need to. He follows that with a good rendition of the traditional number “John Henry.” This one jumps, and it feels like that guitar is alive, able to leap off the stage if it so chooses. “Archetypal Blues,” a song from his Up Close & Personal album, also has a delightful and nearly palpable energy. In this one, he shouts out to several famous and influential blues players, then sings “My inspiration/Be my inspiration/Even though you’re dead.”

In the introduction to “Oklahoma Blues,” Watermelon Slim says, “I’ve been doing this song since… Well, it’s been going on thirty years at this point.” And when he says the song’s title, it gets a reaction from the Oklahoma crowd, as you might expect. This is a very cool blues song with a classic sound. The line “I ain’t got no insurance” certainly strikes a chord at the moment. As is the case with all the songs on this two-disc set, it is a solo effort, and so it’s funny to hear him encourage himself, “Play it, Slim,” before doing the guitar solo. I appreciate that humor. A bit of banter precedes “Devil’s Cadillac” as well. I love the darker, haunted vibe of this one. “The Cadillac was so quiet/Like the inside of a hearse/The air conditioning was so cold/Like a tomb or maybe worse.” The second disc then concludes with “Dark Genius,” a song from his 2017 album Golden Boy.  This is another intriguing song, dealing with death. This disc is quite a bit shorter than the first one, only approximately thirty-three minutes, but what a great thirty-three minutes.

CD Track List

Disc 1

1. Blue Freightliner
2. Truck Driving Songs
3. Northern Blues
4. The Last Blues
5. Scalemaster Blues
6. 300 Miles
7. Jimmy Bell
8. 61 Highway Blues
9. Smokestack Lightning/Two Trains Running
10. Frisco Line
11. Holler #4

Disc 2

1. Let It Be In Memphis
2. Into The Sunset 
3. John Henry
4. Archetypal Blues
5. Oklahoma Blues
6. Devil’s Cadillac
7. Dark Genius 

Traveling Man is scheduled to be released on March 27, 2020 through NorthernBlues Music.

Ben Bostick: “Among The Faceless Crowd” (2020) CD Review

Ben Bostick’s new album, Among The Faceless Crowd, is quite a bit different from the 2018 album, Hellfire, that initially got me excited about this artist. It is more in the folk realm, as Ben draws us inward with tales of desperation and worry. And, really, it feels like we are already right there with him, particularly as he sings about the frustrations of working and not getting anywhere. As much as I love the previous release, I actually think this album is even better. Ben Bostick plays a lot of the instruments on this one, including acoustic guitar, electric guitar, bass, organ, harmonica, glockenspiel, and percussion. Still, he has musicians joining him on several tracks, including Luke Miller on organ, Kyle LaLone on guitar, and Cory Tramontelli on bass, all of whom performed on Hellfire as well. In addition, Ben Thomas is on drums. All the songs are originals, written by Ben Bostick.

The album opens with a beautiful and moving song, “Absolutely Emily.” I love his voice, which has a bit of a John Prine thing happening, working to pull us in immediately. It is a voice that embodies honesty and experience and humanity and love. Here is a taste of the lyrics: “Do you miss me, Emily?/I spend the nights with you in my dreams/The days are getting colder/But we’ll be warm before long/I promise, Emily.” On this track, Ben is joined by Luke Miller, Cory Tramontelli and Ben Thomas. The song’s last lines are particularly appealing these days: “We’ll live high on a hilltop/We’ll never go to town/I promise, Emily.” “Absolutely Emily” is followed by another gorgeous and sad song, “Wasting Gas,” about a man who is out of work and can’t bear to tell his wife. Check out these lines: “She fixes me lunch and kisses me goodbye/And I drive around, but I’m going nowhere.” Then toward the end of song, there is some lonesome, gorgeous, emotional work on harmonica. This song just gets better and better. Interestingly, it too mentions Emily. Ben plays all the instruments on this track, including glockenspiel.

“Working For A Living” has more energy, like a tightly wound country song ready to explode. It is more than a minute before it bursts through to another level. “I’m working for a living and it’s turning me cold.” The harmonica work is interesting here, sounding almost frozen like that line, wailing from a distance. And the percussion has a raw, unpolished sound. “Sir, don’t make me look like a loser in my baby’s eyes/I never used to be so cold and cruel.” Oh man, this is a powerful song. Ben plays all the instruments on this one. He then returns to a more classical folk sound with “I Just Can’t Seem To Get Ahead.” The first lines are ones that many people will certainly be able to relate to: “Working a job that I can’t stand/For less than I’m worth, but all that I can command.” I also appreciate this line: “Burying my dreams, drowning in debt.” This track features the band backing him. Most of them also perform on the next track, “The Last Coast.” This one packs a punch, with lines like “If I never see those people again, I won’t shed a tear” and “I’d rather be lost out there than lost at home/At least I’ll be lonely in a different place.” Yes, this is another powerful number. It kicks in, though remains largely folk. Here he breaks loose vocally too, and we want to shout along with him. This is a fucking great track.

“The Thief” is another song about struggling financially, featuring a man trying to support his family but unable to secure honest work, and so he turns to other means. Of course you feel for him as he tells us: “So I take unnecessary things/From those who can afford/To lose their necklaces and rings.” I like Luke Miller’s work on organ. “I got two kids and a wife/Who deserve a decent life/So I do what I’ve got to do.” That’s followed by “Central Valley,” which also deals with financial stress and turning to thievery. It is almost the continuation of the story from the previous song, as the man has now been caught. “I needed the money more than the man I took it from/I didn’t mean to hurt no one/So what’s going to happen, mister, to my wife and son/When I go to prison.” This track also contains a reference to The Grapes Of Wrath.

“Too Dark To Tell” makes me think of John Prine right at the start, that guitar work at the very beginning reminding me of “In Spite Of Ourselves.” Here are the song’s opening lines, which I imagine will speak to a lot of folks: “In this dark night it’s too hard for me to say now/If the rays of hope will shine again someday/And if I might be spared as the tempest starts to swell/At this point it’s just too dark to tell.” This song also includes a play on that famous line from “Amazing Grace”: “I once was found but now again I’m lost,” which is quite effective. This one is performed solo by Ben Bostick, and he offers some really good work on guitar. Interestingly, the song offers another meaning of its title with the line “But some tales are just too dark to tell.”  That’s followed by “Untroubled Mind,” in which Ben sings “I’ve seen the darkest hell when I looked into myself.” What a line! This song feels like it could be about the same sort of character who is now imprisoned and facing execution. “I’ve done things you can’t forgive.” This is an album you need to listen to straight through. No downloading a track or two, for that is not the way to appreciate these songs. They seem to build, one track on another, like chapters in a novel. And that takes us to “If I Were In A Novel,” the album’s final song. “If I were in a novel/I wouldn’t be the hero/I wouldn’t have a grand romance.” Ben Bostick plays all the instruments on this one. “If I were in a movie, I’d have no lines to say/I’d be out of focus/In the distance, on the edge of frame.” These lines are depressingly honest and real. They remind me of something Ken Kesey once said: “Always stay in your own movie.” Don’t allow yourself to fade into the background of someone else’s story, for you are responsible for your own life. The end of this track is powerful. There is a pause that feels like the end, and then the last lines are delivered a cappella, almost as spoken word, the instruments gone now, the rest of the world having disappeared as he sings of the void. Wow. What an album. This is a disc you appreciate more and more as it goes on.

CD Track List

1. Absolutely Emily
2. Wasting Gas
3. Working For A Living
4. I Just Can’t Seem To Get Ahead
5. The Last Coast
6. The Thief
7. Central Valley
8. Too Dark To Tell
9. Untroubled Mind
10. If I Were In A Novel

Among The Faceless Crowd is scheduled to be released on April 24, 2020.