The Blasters: "Live 1986" (2011) CD Review

I've often said that 1986 was the year that pop music went horribly wrong. It's when it stopped being fun. Music became dull. It was the year the so-called hair bands really took over. We had to put up with Cinderella and Europe and Poison and Whitesnake and Stryper. And at the other end of the spectrum we had Whitney Houston and Billy Ocean putting out songs that were so boring you just wanted to drink some bleach or set your clothes on fire. Remember, 1986 was also the year that Aerosmith kicked drugs (except for drummer Joey Kramer, who'd hold out for another year or so), and they'd never be as good again. We also had the new, less interesting version of Van Halen, not-so-affectionately referred to as Van Hagar. Things had gone wrong.

It's no wonder that 1986 was the year that saw the return of The Monkees, The Grass Roots, The Union Gap and other 1960s bands. People turned to the old stuff, to music they could count on. Anything to escape the vast wasteland of 1986 radio. Sure, there was still some good stuff happening (like 'Til Tuesday and REM), but by and large pop music - and mainstream radio - had gone to hell. Even bands outside the mainstream were feeling the horrid effects of 1986. The Dead Kennedys broke up that year. So did Black Flag. And The Clash. And The Boomtown Rats. Hell, even the Grateful Dead were affected - Jerry Garcia escaped part of the year by going into a diabetic coma.

And 1986 was the year The Blasters played their final shows with their original lineup, before Dave Alvin left (though there would be some reunions later on). The Blasters put out pure fun rock and roll. It sounds like stuff from the 1950s and 1960s, and yet most of these tunes are originals. Written with the heart of roots rock and roll. And heart was hard to come by in 1986. Huey Lewis sang that the heart of rock and roll was still beating, but the year he sang that was 1983. By 1986 Huey was singing about going back in time.

And you could go back in time - sort of - by seeing The Blasters. Like early rock and roll 45s, these songs are pretty short. They breeze in, grab you, and end, the band moving onto the next tune. These songs were recorded at The Coach House in San Juan Capistrano on February 14, 1986.

"Rock And Roll Will Stand"

The album opens with "Rock And Roll Will Stand," a "Johnny B. Goode"-type tune from The Blasters' 1985 release Hard Line. It's a tune about making it in the music business, with lyrics like, "You're going to get a star on the walk of the fame/Soon you'll have the biggest record in the land/Everybody knows rock and roll will stand." It's not the clearest recording. It seems we're missing the guitars at times in the mix. But hey, things can't be too polished. This is rock and roll.

The guitars are more prominent in the mix by the second tune, "Trouble Bound," also from Hard Line. At times Phil's vocals remind me a bit of Buddy Holly on this one.

"Jubilee Train"

They introduce "Jubilee Train" by saying, "This goes out to all the homeless people." "Jubilee Train" has a great groove and great energy. This is timeless rock. The Blasters must have helped the crowd at The Coach House forget about 1986, and this CD will help you forget about 2011 (if that's your desire). This is earnest rock and roll recorded by good musicians. This is not a cheesy cover band rehashing the classics for an elderly crowd in a park. After all, this tune - one of the CD's best - is an original.

Here is a bit of the lyrics: "Billie Jean was a factory girl/Never had another job in her life/The factory closed down/She was out on the street/She heard about a jubilee train." And yeah, there is a bit of blues in there.

"Jubilee Train" was included on the band's 1983 release, Non Fiction.

"Mystery Train"

"Mystery Train" has always been a favorite of mine. It's been covered by... well, everybody. (I remember a great version by Jerry Garcia and Merl Saunders on the Keystone records.)

This version by The Blasters features a steady quick driving beat like a train thundering down the track. It's what makes the song pulse and thrive, rather than the guitars which usually pull the song along. Not that there isn't some darned good stuff on guitar here - because there is, particularly toward the end. "Mystery Train" was written by Junior Parker.

"Just Another Sunday"

"Just Another Sunday" was written by Dave Alvin and John Doe. (For those who aren't familiar with John Doe, he founded the band X, which Dave Alvin joined in the 1980s). This one has a bit of an angrier edge, with its repeated "It's just another Sunday in hell." More rock, less roll on this one. I really dig Phil's vocals on this song.

"I Don't Want To"

"I Don't Want To" is a seriously fun song with a bit of a rebellious attitude, like all good rock and roll has. It starts, "They say I shouldn't waste my life anymore by running around/Well, I should find some nice white girl and settle down/They tell me that's what I should do/But I don't want to." The guitars are glorious, man. Dave Alvin wrote this, and his guitar just screams. This is one of the best tracks.

"Somebody Done Hoodooed The Hoodoo Man"

"Somebody Done Hoodooed The Hoodoo Man" is a great bluesy tune with some wonderful work on harmonica by Phil Alvin. This song features deliciously down and mean lines like, "I'm gonna fix my baby so she can't have no other man." This song is over way too soon. I wish they'd stretched out a bit more.

"I'm Shakin'" is such a cool tune, and these guys do a great job with it. Written by Rudy Toombs, "I'm Shakin'" was also covered by Little Willie John.

"Border Radio"

"Border Radio" is straight-forward, feel-good rock and roll, written by Dave Alvin and featured on the band's 1981 self-title record. Here is a taste of the lyrics: "She tries to remember the heat of his touch/While listening to the Border Radio/She calls toll-free and requests an old song/Something they used to know/She prays to herself that wherever he is/He's listening to the border radio."

"Off The Wall" is a short instrumental tune featuring Phil Alvin on harmonica. It's the album's only instrumental track.

"Long White Cadillac"

"Long White Cadillac" is a seriously fun rock tune that features a nod to "Pipeline" in its extended instrumental intro. At 5:37, this is by the far the longest track on the CD (and some of that is crowd noise after the song has ended). The band cuts loose on this one, and it's easy to picture the audience doing the same. The energy is palpable. Toward the end of the song, Phil sings, "The highway fades to black/It's my last ride/I'm never coming back/In a long white cadillac."

"Long White Cadillac" was included on Non Fiction (1983).

The album concludes with "Marie, Marie," a fast-paced fun number written by Dave Alvin. This song led off the band's 1981 release, and was also included on their 1980 release, American Music. It is also featured in the film Someone To Watch Over Me (1987).

CD Track List

1. Rock And Roll Will Stand
2. Trouble Bound
3. Jubilee Train
4. Mystery Train
5. Just Another Sunday
6. I Don't Want To
7. Somebody Done Hoodooed The Hoodoo Man
8. Help You Dream
9. Crazy Baby
10. I'm Shakin'
11. Border Radio
12. Dark Night
13. Off The Wall
14. Red Rose
15. American Music
16. Long White Cadillac
17. Marie Marie
    

Musicians

The Blasters are Phil Alvin on guitar, vocals and harmonica; Dave Alvin on lead guitar; John Bazz on bass; and Bill Bateman on drums.

Live 1986 was released on May 31, 2011 through Rock Beat Records.

Cannonball Adderley With Bill Evans: "Know What I Mean?" (1961/2011 re-issue) CD Review

I admit that before popping this disc into my player I knew nothing about Julian "Cannonball" Adderley. But I was immediately drawn in and won over. Of course, I had Bill Evans as an access point. Besides playing on this album, it's one of his compositions that begins this release.

Cannonball Adderly played with Miles Davis in the late 1950s, appearing on Milestones (1958), Miles & Monk at Newport (1958), Jazz at the Plaza (1958), Porgy and Bess (1958) and Kind of Blue (1959). (Bill Evans also played on Kind Of Blue.)

"Waltz For Debby"

The album opens with a Bill Evans composition, "Waltz For Debby." This is one of my favorite Bill Evans tunes, and the version here is wonderful. It begins with just Bill Evans on piano - playing delicately, beautifully. It's more than a minute in before the rest of the band comes in, and Cannonball Adderley takes his lead on alto saxophone. And to match Bill's playing, Cannonball's sax is played with beauty and precision. But as the song goes on, Cannonball loosens up, starts blowing harder. It's interesting that after Bill's solo late in the song, when Cannonball comes back in, it's with a softer edge again.

"Goodbye"

"Goodbye" is a mellow tune, and it's Cannonball's song right from the start, with some wonderful, sustained notes. Bill plays softly, perfectly behind him, and when it's his turn at lead, he doesn't really change what he's doing at first. It's more like Cannonball got interested in what Bill was already doing and stopped playing so he could listen to him. I love Bill Evans' work on this song. It's actually quite a while before Cannonball comes back in.

"Goodbye" was written by Gordon Jenkins. Bill Evans included a version of this song on his 1962 release, Empathy.

"Who Cares?"

"Who Cares?" was written by George Gershwin and Ira Gershwin for the 1931 musical Of Thee I Sing. There is a certain swing to the rhythm created by Percy Heath on bass and Connie Kay on drums. Cannonball takes the lead early, and his playing is so wonderful you don't want him to relinquish the lead, but to just go on and on. He is really singing with that sax.

A different take is included in the bonus tracks.

"Venice"

"Venice" starts off as a sly little number with Percy Heath setting the pace and tone on bass, with some work on cymbals by Connie Kay. Then Cannonball comes in, easing into the structure Percy created. It's not until Bill Evans comes in that the song takes on a bit of a brighter or lighter tone. But it doesn't change all that much. This is a totally cool tune.

"Venice" was written by John Lewis.

"Toy"

"Toy" comes on stronger from the start. This song has a catchy hook on saxophone, and interesting changes throughout. It also has a great quick rhythm. I love what Connie Kay does on this track. "Toy" is definitely one of the album's highlights. It was written by Clifford Jordan.

An alternate take of "Toy" is included in the bonus tracks - a take that was previously unreleased.

"Elsa"

"Elsa" begins with Bill Evans. The bass and drums create a soft, pretty, easy rhythm. And Bill's playing is sweet. It isn't until nearly two minutes in that Cannonball comes in. He raises the energy level a bit, but it's mostly keeping within the perceived boundaries set by the rest of the band.

Interestingly, earlier that same month that this track was recorded, the Bill Evans Trio recorded this tune for inclusion on Explorations. Bill Evans would later record it again for Trio '65. "Elsa" was written by Earl Zindars.

"Nancy (With The Laughing Face)"

"Nancy (With The Laughing Face)" was written by Jimmy Van Heusen and Phil Silvers, and was famously recorded by Frank Sinatra. (It was also recorded by Tony Bennett and Ray Charles.) I love the delicate playing of Bill Evans on this album's version. And Cannonball's playing has an almost romantic feel, which then changes Bill's playing at the end. And listen to the bass.

"Know What I Mean?"

As it began, this album concludes with a Bill Evans composition. This one being the title track, "Know What I Mean?" Whereas Bill introduced "Waltz For Debby," Cannonball comes in fairly soon on this tune. It's a mellow tune, until the cool bass solo a minute and thirty-seven seconds in. Then the drums come in with more volume, and change the song. Bill's playing on this one is looser at times, before the song returns to its mellower theme.

An alternate take is included in the bonus tracks. This version is longer, with a significantly different beginning - particularly with what Connie Kay is doing on drums.

CD Track List

1. Waltz For Debby
2. Goodbye
3. Who Cares? (Take 5)
4. Venice
5. Toy (Take 10)
6. Elsa
7. Nancy (With The Laughing Face)
8. Know What I Mean? (Re-Take 7)
9. Who Cares (Take 4)
10. Toy (Take 8)
11. Know What I Mean? (Take 12)
    

Musicians

The musicians on this album are Julian "Cannonball" Adderley on alto saxophone, Bill Evans on piano, Percy Heath on bass, and Connie Kay on drums.

This special re-issue of Know What I Mean? was released on June 14, 2011 through Concord Music Group as part of the Original Jazz Classics Remasters series. Also released on that date were five other titles in that series: Bill Evans Trio: Explorations, Chet Baker: In New York, Ornette Coleman: Something Else!!!!, Thelonious Monk: Thelonious Alone In San Francisco, and Ella Fitzgerald and Joe Pass: Easy Living.

The new liner notes included with this release have little to do with Cannonball Adderly and Bill Evans, and are more about a jazz magazine and an attempt to interview Thelonious Monk. But the original liner notes are also included.

Julian Cannonball Adderley died in August of 1975.

Bill Evans Trio: "Explorations" (1961/2011 re-issue) CD Review

Bill Evans fans have plenty to be happy about these days. Quite a lot of his material is being re-issued, often with bonus tracks - some previously unreleased. The last year has seen the re-issue of Bill Evans Trio's Waltz For Debby (on September 28, 2010), the release of the two-disc set The Definitive Bill Evans On Riverside And Fantasy (on April 5, 2011), the re-issue of the Cannonball Adderley With Bill Evans album Know What I Mean? (on June 14, 2011), and Tony Bennett's The Best Of The Improv Recordings (which includes several duets with Bill Evans, released on July 12, 2011). All of that, in addition to Explorations, means a whole lot of great music.

This special re-issue of Explorations includes four bonus tracks, two of which were previously unreleased.

"Israel"

The CD opens with "Israel." Its first thirty seconds sound disjointed, but not jarringly so. And that intro helps draw the listener in, so he or she is ready when the song really kicks in. This song's most interesting section is the bass solo by Scott LaFaro. It's a soft, almost delicate, and intricate bass solo, played over just the steady closing of the high-hat and a bit of work on the cymbals. Bill Evans comes in for a moment on piano, but the bass solo isn't quite over, and Bill goes silent again. Soon after he comes in again, there is a brief but very unusual drum solo by Paul Motian. His solo is not about rolls or speed. It's about briefly exploring a strange rhythm with the entire kit.

Paul Motian has played with a wide variety of musicians over the years including Thelonious Monk, Arlo Guthrie and Bill Frisell.

"Israel" was written by John Carisi.

"Beautiful Love"

"Beautiful Love" is a peppy tune. At first it's the rhythm by Paul Motian that catches my attention. But then Bill Evans comes to the fore. At times, Bill Evans seems to be playing two complete piano parts at once. There is something loose, yet precise about his playing that is intriguing. "Beautiful Love" was written by Haven Gillespie, Wayne King, Egbert Van Alstyne and Victor Young. It was introduced in 1931 by the Wayne King Orchestra.

A different, longer take of this tune is included in the bonus tracks. At moments, this other version seems gloriously less structured, with more energy.

"Nardis"

"Nardis" was written by Miles Davis. It appeared on Cannonball Adderly's 1958 release, Portrait Of Cannonball, an album that features Bill Evans on piano. Bill Evans of course played with Miles Davis for a short period in the late 1950s, appearing 1958 Miles (1958) and Kind Of Blue (1959). "Nardis" is a fairly mellow tune. It feature nice work on bass by Scott LaFaro, though his time in the lead position might go on a tad long.

"How Deep Is The Ocean?"

"How Deep Is The Ocean?" was written by Irving Berlin in 1932. It has been covered by many artists, including Billie Holiday, Ella Fitzgerald, Frank Sinatra and The Isley Brothers. Bill Evans' version has a good steady groove, with some wonderful work on piano.

A slightly longer take is included in the bonus tracks - one that was previously unreleased. Bill Evans' playing is more playful, fanciful at the beginning of this version, and I really like it. This version makes this re-issue worth owning.

"I Wish I Knew"

"I Wish I Knew" was written by Harry Warren and Mack Gordon. The version here is a slow, thoughtful rendition. A different take is included in the bonus tracks.

"Sweet And Lovely"

The original album concluded with "Sweet And Lovely," written by Gus Arnheim, Harry Tobias, and Jules Lemare. Lots of folks have covered this song over the years, including Thelonious Monk, Sonny Stitt, Blue Mitchell and Buddy Powell. But this rendition by Bill Evans is particularly interesting. It definitely has the feel of a loose jam. And Paul Motian often stops, then springs back into action - while Bill Evans and Scott LaFaro just cut loose and play. And then Paul has another bizarre solo toward the end. This is one of my favorite tracks on this release.

CD Track List

1. Israel
2. Haunted Heart
3. Beautiful Love
4. Elsa
5. Nardis
6. How Deep Is the Ocean?
7. I Wish I Knew
8. Sweet And Lovely
9. The Boy Next Door
10. Beautiful Love (Take 1)
11. How Deep Is The Ocean? (Take 2)
12. I Wish I Knew (Take 2)
    

The Bill Evans Trio is Bill Evans on piano, Scott LaFaro on bass, and Paul Motian on drums.

This special re-issue of Explorations was released on June 14th through Concord Music Group as part of the Original Jazz Classics Remasters series. Also released on that date were five other titles in that series: Cannonball Adderly with Bill Evans: Know What I Mean?, Chet Baker: In New York, Ornette Coleman: Something Else!!!!, Thelonious Monk: Thelonious Alone In San Francisco, and Ella Fitzgerald and Joe Pass: Easy Living.

Fur Dixon & Steve Werner: "Songs Of The Open Road Volume One" (2011) CD Review

Though the majority of songs they perform in concert are originals, Fur Dixon & Steve Werner have always chosen some wonderful tunes to cover. So it seemed only natural that they should eventually release an album of covers. And that is exactly what Songs Of The Open Road Volume One is. The album's title is no false promise. These are songs of the road, of the land, of travel.

As they generally do in concert and on their original CDs, they trade off lead vocals, track by track.

"Southbound"

Fur Dixon & Steve Werner open Songs Of The Open Road Volume One with "Southbound," a wonderful tune written by Doc Watson and Merle Watson. This is a perfect song for this duo, as it's about being stuck in a city, listening to the sounds of trains. These are themes and images these two are drawn to again and again. Steve does the lead vocals on this one, and I absolutely love the way he sings it. Brantley Kearns plays fiddle on this track.

"I Like How I Feel"

"I Like How I Feel" is a sweet, slow love song written by Randall Lamb. I can't get enough of Fur singing the slower tunes. They're among my favorites of their original material, and Fur does an excellent job with this song. It starts, "My eyes are on the road/My hands are on the wheel/When I'm with you/I like the way that I feel." Again, these lyrics fulfill the promise of the album's title. Fur Dixon & Steve Werner often sing of traveling; in fact, their previous album was titled Travelers.

John McDuffie plays pedal steel on this one.

"Do Re Mi"

"Do Re Mi" is a song that Fur Dixon and Steve Werner often perform in concert. Steve has said it's his favorite Woody Guthrie tune. Those of us who live in California find these lyrics sadly still accurate and relevant: "California is the garden of Eden/A paradise to live in or see/But believe it or not/You won't find it so hot/If you ain't got the do re mi."

Otoño Lujan plays button accordion on this track. Tony Zamora plays guitarron. They give the song a happier, almost celebratory feel, which is a wonderful juxtaposition with the desperation and cynicism (read that as realism) of the lyrics. I also love what Steve does on guitar on this track.

"Dreary Black Hills"

"Dreary Black Hills" is a traditional folk song that is incredibly pretty. I know I've said it before, but Fur has such a great voice. And it's so well suited for traditional, timeless folk songs.

Steve Werner plays banjo on this track. Brantley Kearns plays fiddle.

"Waitin' For The Hard Times To Go"

"Waitin' For The Hard times To Go" is one of those great sad folk tunes full of yearning. Steve sings it with just the right emotion in his voice. It was written by Jim Ringer. Here is a taste of the lyrics: "I need someone to talk to/But I want you to know/I ain't putting you down/But I don't like your town/Just hanging around/Waiting for the hard times to go."

"Clay Pigeons"

"Clay Pigeons" is a wonderful song written by Blaze Foley. Fur's voice is so sweet, even on what could be a silly line like, "Go where the people say 'y'all'." This song really captures what Fur Dixon & Steve Werner are all about, especially in lines like "Singing songs for the people I meet" and "Singing songs with a friend." Music always seems the best way of communicating - because it's not just thoughts, but emotions that are conveyed. And people are more able to hear you if they can feel what you're saying. Perhaps that's why everyone who hears Fur Dixon and Steve Werner immediately thinks of them as friends.

"De Colores"

"De Colores" is a surprise. It's a traditional tune, sung completely in Spanish. Steve sings lead, and does a great job with it. There is an undeniable beauty to this song. Otoño Lujan plays accordion on this track.

"The Dealers" and "Prairie In The Sky"

The only songwriter to be represented twice on this album is Mary McCaslin. This is another surprise. Those who have seen Fur & Steve in concert might expect two Woody Guthrie songs, or two Johnny Cash songs to appear on this release. Mary McCaslin is known not only for her songwriting, but also for her interesting covers of folk, pop and rock tunes. She also performed and recorded with her husband, Jim Ringer (who wrote this album's "Waiting For The Hard Times To Go").

Fur Dixon sings lead on "The Dealers." Paul Cartwright plays fiddle on this track.

Steve Werner takes lead vocal duties on "Prairie In The Sky." John McDuffie plays pedal steel on this one. Tom Russell and Bill Staines have also covered this song.

"Prairie In The Sky" and "The Dealers" were both included on Mary McCaslin's 1975 release, Prairie In The Sky (which was re-issued in 1995).

"I Cannot Settle Down"

The album concludes with "I Cannot Settle Down," an excellent folk song written by Dan Janisch. Fur sings lead on this one. Steve joins her on the chorus: "But you see I cannot settle down/There's just so much that's left unfound/So I'll keep drifting like a cloud/On the wind, on the wind." A perfect ending to this collection of songs about the road. Paul Marshall plays auto-harp on this track. Steve Werner plays banjo.

CD Track List

1. Southbound
2. I Like How I Feel
3. Do Re Mi
4. Dreary Black Hills
5. Waitin' For The Hard Times To Go
6. Clay Pigeons
7. De Colores
8. The Dealers
9. Prairie In The Sky
10. I Cannot Settle Down
    

Musicians

Musicians on this album include Fur Dixon on vocals, rhythm guitar and bells; Steve Werner on vocals, lead guitar and banjo; Paul Marshall on bass and auto-harp; John McDuffie on pedal steel guitar; Brantley Kearns on fiddle; Paul Cartwright on fiddle; Otoño Lujan on button accordion; and Tony Zamora on guitarron.

Fur and Steve show no signs of slowing down, and for that I'm grateful. The "Volume One" in the title implies more to come. Here are my requests for volume two: "I'll Fly Away," "I Got Stripes" and "This Land Is Your Land," all three being songs they cover in concert.

Fur Dixon and Steve Werner put on a wonderful show. They don't really tour much outside of the Los Angeles area (despite the majority of their material being about traveling), so you have to come out here. It would be worth the trip to see them - even if you did nothing else while you were here.

Songs Of The Open Road Volume One was released February 1, 2011 through Grass And Gravel Records.

Fur Dixon & Steve Werner At McCabe's 7-15-11 Concert Review

Last night Fur Dixon & Steve Werner put on a phenomenal show at McCabe's in Santa Monica. The room was crowded even though the authorities had put the fear into people about driving during what they're calling "Carmageddon" - which is the time while the 405 highway is closed. The 405 was still open during the drive to the show, and though it was rush hour on a Friday (when traffic is usually at a standstill everywhere in L.A.), we got from North Hollywood to Santa Monica in fifteen minutes. Thanks, terrified people, for not being on the road.

Steve Werner joked right at the beginning of the concert about the whole traffic scare, "What are they going to show us that we haven't seen already?" He also said that they made it from the valley to Santa Monica quicker than ever before.

Fur Dixon & Steve Werner did two sets. The first set was basically their new album, Songs Of The Open Road Volume One. They played all of the tracks from it, though not in the same order as they're presented on the CD. Songs Of The Open Road is an album of covers - their first such recording, and it includes a lot of great tunes. Some of the songwriters that Fur & Steve covered on that album were in the audience, including Randall Lamb and Dan Janisch.

They opened with "Southbound," a tune written by Doc Watson and Merle Watson. This is also the song that opens the album, and it was a great choice to start the evening. After that tune Steve talked about how great it was to play at McCabe's, "where all my favorite people play. Now I can be one of my favorite people."

Fur Dixon introduced "Dreary Black Hills," a traditional tune, by saying it is "the way folk music, in my opinion, is supposed to be done."

After that song, they introduced the band. Brantley Kearns was on fiddle. Fur said that his presence gave them legitimacy. Brantley has played with David Bromberg, Dwight Yoakam and Rick Shea, among others. He also played fiddle in the Robert Altman film McCabe & Mrs. Miller (which of course qualifies him as one of the coolest people on the planet). John "Groover" McDuffie was on pedal steel. John has played with Rita Coolidge and The Psychedelic Cowboys, and is also a songwriter. Paul Marshall was on stand-up acoustic bass. Paul Marshall will be familiar to music fans as the bass player for I See Hawks In L.A. He also, back in the day, sang with The Strawberry Alarm Clock. Yes, that Paul Marshall. All of these musicians play on the new CD as well.

Otoño Lujan joined the band on accordion for "De Colores," and stayed for the rest of the first set. (He also plays on Songs Of The Open Road.) "De Colores" was played with an incredible amount of passion, and was the only song of the evening not sung in English.

During the intro to "Do Re Mi," Steve mentioned that his birthday had been the day before - July 14th - which is also Woody Guthrie's birthday. Of all the songs presented on the new CD, "Do Re Mi" is the one that Fur Dixon & Steve Werner have performed the most often, and they always do a great job with it. Steve has said before that it is his favorite Woody Guthrie tune.

They ended the first set with "I Cannot Settle Down," which Fur Dixon dedicated to her mother, who was in the audience. Fur credited her as being the source of her travel bug. After that song, a birthday cake was brought up on stage for Steve. He joked that there were twenty extra candles on it.

The band then took a set break, and invited the audience to partake of the cake. (It was delicious, by the way.)

They opened the second set with "Ventura County Line," one of my favorite songs from their first full-length CD, The Pearl And The Swine (2006).

Before "Homesick For The Highway Blues," Steve asked to hear everyone's yodel. He then generously judged the collective yodel "Excellent," which got a laugh from the crowd, who knew better. "Homesick For The Highway Blues" is from Fur & Steve's 2009 release, Travelers. They played several songs from that album during the second set, including the absolutely beautiful "Summer's Gone Again." Steve played harmonica at the beginning and end of that song.

In introducing "Scars," Steve joked, "This song is called 'Scars,' and it goes out to anyone who has it comin' to him." Steve also joked during his introduction to "Brother Tumbleweed," "This song goes out to every crusty old dude in here."

Throughout the night, but especially before (and during) "Journey To Another Side," there was a lot of sweet joking around between Fur and Steve. Fur said that a man cleaning around the house is sexy, but Steve said he wasn't going to fall for that. He thought instead of being sexy it was exhausting. And on the line "You and me and things that last the test of time," Fur gave Steve a playful kick. Fur sang "the ripe old age of 95" instead of "65." And on the line about "big underwear," Steve cheered, which got a laugh from the audience (and band members, for that matter). Otoño Lujan returned to the stage for "Journey To Another Side," and stayed for the rest of the second set and encore.

The audience sang along with "Backroads And Blues Skies," an old favorite from The Pearl And The Swine, and "Friends Around The Fire," a newer favorite from Travelers. (As a side note to Bob Dylan fans, Scarlet Rivera plays fiddle on the album version of "Backroads And Blue Skies.")

The encore was an excellent rendition of Woody Guthrie's "This Land Is Your Land" - complete with all the verses, not just the ones deemed nice enough for radio back in the day. Steve Werner has said before that this song should be our national anthem, and I completely agree. I encourage folks to sing this song whenever the current national anthem is played. Sing it loudly.

Set List

Set I

1. Southbound
2. The Dealers
3. Prairie In The Sky
4. Dreary Black Hills
5. Waiting For The Hard Times To Go
6. I Like How I Feel
7. De Colores
8. Clay Pigeons
9. Do Re Mi
10. I Cannot Settle Down
    

Set II

1. Ventura County Line
2. Homesick For The Highway Blues
3. Summer's Gone Again
4. Scars
5. Journey To Another Side
6. Brother Tumbleweed
7. Backroads And Blues Skies
8. Friends Around The Fire
   

Encore:

1. This Land Is Your Land

After the show, Fur Dixon and Steve Werner signed copies of their CDs.

By the way, though the 405 wasn't supposed to close until midnight, we found it closed at 10:48 p.m. We ended up taking Santa Monica to Coldwater Canyon, and there was no traffic whatsoever. Thanks again, terrified people, for staying off the roads and out of our way. But you did miss a fantastic concert.

McCabe's is located at 3101 Pico Blvd. in Santa Monica, California.

Wagons: "Rumble, Shake And Tumble" (2011) CD Review

The new album from Australian band Wagons is bursting with attitude and energy, but also passion. Obvious comparisons can be made to Nick Cave, particularly in the vocals. But there are many other influences heard in this material, including the more interesting and darker side of country.

Henry Wagons wrote all of this album's songs, except "Willie Nelson," which was written by Anto Mac, Dominic Bourke and Henry Wagons.

"Downlow"

Rumble, Shake And Tumble opens with "Downlow," which starts with a steady rock beat like something from The Knack. But when the guitar kicks in, it sounds very similar to Tom Petty. This is a song about keeping a love secret, with lines like "Working at the bar don't pay too good/Black sheep of the neighbourhood/Find a little a place without the booze and the fights/Out of the gaze of those prying eyes." It's not a bad song, but it's probably my least favorite from this album. The rest of the album is so much better.

"I Blew It"

"I Blew It" has a incredibly fun rhythm and good energy. From this song comes the album's title (in the lines, "Got myself in trouble/Rumble, shake and tumble"). I love Henry Wagons' vocals on this one. Sure, he's admitting his mistakes, but his voice is not full of regret (though he sings the line, "One thing I regret it's true"). Its more matter-of-fact. In fact, his voice is almost boasting rather than lamenting. And the music is pretty upbeat. It ends with the lines, "One thing just between you and me/We always knew I'd blow it didn't we/One thing I'll regret it's true/I blew it when it came to you."

"Moon Into Sun"

"Moon Into Sun" is a country rock tune with kind of a sad feel and some good lyrics. Here is a taste: "Everybody tells me things will heal with time/But I have seen these hands spin a million miles/Please lift me from this downright funk/Douse my flames with a fire-truck." This track is quickly becoming a favorite of mine. Chris Altmann plays pedal steel on this track.

"Willie Nelson"

Willie Nelson is one of the world's best songwriters, and it's interesting how many other songwriters mention him in their own songs. Just last month, we heard Gary Nicholson sing "Listen To Willie," a song all about Willie Nelson (on Texas Songbook). As Henry Wagons sings, "Sometimes I listen to Elvis/Sometimes I listen to Cash/Sometimes I listen to Waylon/But it all goes back to the one and only/Willie, Willie, Willie, Willie/Willie Nelson." Amen.

Chris Altmann plays pedal steel on this track.

"Love Is Burning"

Right at the beginning of "Love Is Burning," I'm reminded of the Violent Femmes. This song sounds like it would be right at home on their New Times album. It has that raw, angry (yet still fun) drive. Though this song is more forceful than most of the material by the Violent Femmes (and has none of the whiny quality that characterizes some of their songs).

"My Daydreams"

"My Daydreams" is actually a really sweet acoustic tune. It reminds me a bit of Son Volt - something in the voice at times - a slight mumbling element that Jay Farrar has. Henry sings, "We've both been down this road before/Throwing our love across the sea/One day soon it'll just be you and me/And 'til that day I'll hold you in my/Daydreams." I just wish they'd cut the backing vocals that repeat lines toward the end - they add a cheesiness that has no place in this song. This song is much better than that.

Chris Altmann plays pedal steel on this track. Biddy Connor plays bowed saw. Peeps Wagon is credited as playing "collar shake," whatever that is.

"Save Me"

"Save Me" is my favorite track on this album. It's seriously catchy. You'll be singing along, and later when you're away from your CD player, this song will find its way into your head. I absolutely love this song, and welcome its intrusion into my thoughts any time. Check out these lyrics: "At the bottom of the ocean, the water's not blue/When you hit rock bottom, light don't seem to cut through/I feel like I'm drowning in the deep dark blue, but my heart's still beating and it beats for you." But it's the chorus you'll find yourself singing: "Save me, save me, I don't know what to do/I'm lost in the forest, can't find my way through/We're all lookin' for a path, some kinda clue, well my search is over, I'm following you."

"Marylou"

The album concludes with "Marylou." Yes, it's about time that Marylou re-entered the world of song. That name used to grace many tunes. Then she disappeared for a while. And now she's back, and in great form. In fact, Henry sings, "And now you're back/Right in front of me."

CD Track List

1. Downlow
2. I Blew It
3. Moon Into The Sun
4. Willie Nelson
5. Love Is Burning
6. My Daydreams
7. Save Me
8. Follow The Leader
9. Life's Too Short
10. Marylou
    

Musicians

Wagons are Henry Wagons on vocals, guitar, banjo, and keyboards; Mark Dawson on bass, drums, keyboards, guitar and backing vocals; Si Francis on drums, bass and cowbell; Matthew Hassett on keyboards and backing vocals; Richard Blaze on lead guitar; Steve Hassett on backing vocals; and Chad Mason on electric guitar.

Cornel Wilczek plays sitar on "Follow The Leader."

Rumble, Shake And Tumble is scheduled to be released August 16, 2011 on Spunk Records through Thirty Tigers. It was released in Australia on May 6, 2011.

Wagons released Trying To Get Home in 2006.

I'm hoping Wagons will tour the U.S. again soon, because this is a band I absolutely have to see in concert.

(For those who are interested, check out their video for "I Blew It." Enjoy.)

Paul McCartney: "McCartney II" (1980/2011 re-issue) CD Review

Music was in a strange state in 1980. Hard rock was basically finished. Bon Scott died on February 19th, 1980. John Bonham died in September of 1980. Pure disco was ending, being combined with pop, but the great pop songs of the 1980s were still a couple of years away. Punk had been co-opted. Folk was dead (and wouldn't be revived for several years). And by the end of 1980, John Lennon was gone.

During this year, Paul McCartney released his second real solo album, McCartney II. In some ways, it's very different from his first solo album, McCartney, released a decade earlier. This one takes its inspiration and sound from all over - from pop and dance music, from rock and roll, from the ether. However, like McCartney, this album features some instrumental tracks. And like the earlier album, Paul McCartney plays all the instruments and does the vocals. Linda provides harmonies, as she did on McCartney.

This is the third release in the Paul McCartney Archive Collection.

"Coming Up"

McCartney II opens with a funky dance number, "Coming Up." This song was released as a single and reached #1 on the Billboard chart. It opens with the lines, "You want a love to last forever/One that will never fade away/I want to help you with your problem/Stick around, I say."

A live version of this song from 1979 is included on the second disc. The dance beat is not as pronounced in the live version, and there is a wonderful horn section. I could do without the silly video game-type sound effect partway through, however.

"Temporary Secretary"

"Temporary Secretary" opens with a synthesized rhythm, sounding very much like some of the 1980s pop - Paul was a bit ahead of the curve with this one. And then there is the wonderful juxtaposition of the acoustic guitar over it. And the vocals are seriously catchy, and pretty humorous too. Lines like "She can be a neurosurgeon/If she's doin' nothin' urgent" caused me to laugh out loud. I really dig this tune.

It was released as a single in the UK, but not the US.

"On The Way"

"On The Way" is one of the coolest songs on this album. It has a simple slow groove, and some nice work on guitar, some cool blues licks. Here is a bit of the lyrics: "Well you know I'll always love you/Everything will be ok/If I know you don't mind/The things I say/On the way."

"Nobody Knows"

"Nobody Knows" is more in the rock and roll vein, with a bit of a bluesy edge. It's sort of a throwback to the really early Beatles material (before they came to the U.S.), and as such it's a real treat. This is a fun song. Turn it up and enjoy.

Instrumentals

There are two instrumental tracks on McCartney II. The first, "Front Parlour," sounds like a pleasant afternoon party thrown by electronic frogs.

The second, "Frozen Jap," sounds like a hospital to me - the thumping of machinery to keep people alive, but in a state that's not quite real, not quite living, yet with hints of optimism, sunlight streaming into the rooms, the busy routine of the staff.

"Bogey Music"

"Bogey Music" is a strange combination of 1950s rock and roll with contemporary pop and editing and effects. But it does capture that innocent sense of fun. And it has a good beat.

"Darkroom" reminds me a bit of 1980s Egyptian pop music. Its uneven pace, however, is jarring at times.

"One Of These Days"

The album concludes with a simple acoustic number titled "One Of These Days." This is perhaps closest to some of his earlier solo tracks. It's certainly the prettiest song on this album. Here is a bit of the lyrics: "One of these days/When we both are at our ease/When you've got time to please yourself."

Second Disc

The second disc begins with "Blue Sway," a pop song with orchestration by Richard Niles. I wish Paul's vocals were a little more prominent in the mix. There are moments when this song curiously reminds me of Wham.

"Check My Machine" begins with a series of pre-recorded voices: "Hi, George," "Morning, Terry." With dance and industrial elements, this song is a strange surprise. Clubs that have an '80s night should throw this song into the mix. Seriously. Sure, it's a bit repetitive, but it's a dance song. It's fun.

"Bogey Wobble" is another strange one. You would never guess that this is a Paul McCartney song. It's an electronic instrumental tune that sounds at times like it could belong on the soundtrack to a terrible 1980s film about a futuristic motorcycle driven by a robot who is loved by a woman with long curly brown hair.

"Secret Friend" was originally released as the flip side to the UK single of "Temporary Secretary." Paul is clearly having fun electronically altering his voice. This song has a good rhythm that sounds like something the Talking Heads might have recorded early in their career. There is a short section that is just the rhythm, which is cool. This is the full-length version, just over ten minutes.

"Mr. H Atom" starts with a voice saying "Shangri-Las versus The Village People." I have no idea who would win that battle. But this song is ridiculously catchy. It shouldn't be, but it is. It fades out after approximately two and a half minutes, and "You Know I'll Get You Baby" begins. I wonder why these weren't presented as two separate tracks. They're both repetitive, so I suppose they fit together. But while the first is catchy, the second becomes a bit annoying.

I never cared for "Wonderful Christmastime." There are so few enjoyable Christmas songs, and this just isn't one of them.

The bonus disc ends with "All You Horse Riders/Blue Sway." "All You Horse Riders" is, well, kind of awful. Paul is basically singing instructions on riding a horse. It's unbelievable. But once you do finally believe it, it becomes unbearable. Fortunately three and a half minutes in, it segues into "Blue Sway."

CD Track List

Disc 1:

1. Coming Up
2. Temporary Secretary
3. On The Way
4. Waterfalls
5. Nobody Knows
6. Front Parlour
7. Summer's Day Song
8. Frozen Jap
9. Bogey Music
10. Darkroom
11. One Of These Days
    

Disc 2:

1. Blue Sway
2. Coming Up (Live At Glasgow, 1979)
3. Check My Machine (Edit)
4. Bogey Wobble
5. Secret Friend
6. Mr. H Atom/You Know I'll Get You Baby
7. Wonderful Christmastime (Edited Version)
8. All You Horse Riders/Blue Sway
   

As with the two-disc version of McCartney, the booklet for McCartney II includes lots of great photos and the lyrics to the songs from the first disc, but no real liner notes. For this Archive Collection release I was hoping for extensive notes, especially about the bonus tracks.

McCartney II was originally released in May of 1980. This special two-disc edition was released on June 14, 2011. There is also a four-disc edition available, the third disc being another CD and the fourth being a DVD. That version also includes a 128-page book, which has the information I sought in the booklet for the two-disc version. The two-disc version is also available on vinyl.

Released on that same day is the Paul McCartney Archive Collection edition of McCartney. The first CD in this series, Band On The Run, was released late last year. Future planned releases include Ram, Wings At The Speed Of Sound, Wings Over America, and Venus And Mars. I am looking forward to all of those.