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.

Thoughts On The Coronavirus And Music

Because of the coronavirus pandemic, several music events have been canceled or postponed, including South By Southwest, Ultra Music Festival, Stagecoach Festival, and The Coachella Valley Music And Arts Festival. This will likely have a serious negative impact on many musicians who make their living by performing and selling merchandise on the road. So if a concert you had planned to attend is canceled or postponed, consider ordering some records or CDs from the artists in the meantime. Likewise, if fear of contracting the virus is keeping you from attending a concert that has not been canceled, help out the bands by purchasing copies of their new albums through their websites. That way, in addition to supporting the musicians, you will have a stack of new discs to listen to in the event you decide to quarantine yourself before this thing is over. In addition to stocking up on water and toilet paper, build yourself a nice stockpile of records and compact discs. Then you can enjoy some good music while the world falls into chaos and disrepair outside.

Steve Goodman: “Live ‘69” (2020) CD Review

Most of us know Steve Goodman as the songwriter who composed “City Of New Orleans,” which was a hit for Arlo Guthrie and has been covered by a lot of other artists. He was also responsible for “You Never Even Call Me By My Name,” which was a hit for David Allan Coe (under the title “You Never Even Called Me By My Name”). So it might come as a surprise to find that the new live album, Live ’69, finds him covering other artists’ material. What we get on this disc is some great material, music in the folk, country and blues realms, performed by an excellent and talented artist. This recording is from November 10, 1969, before Steve Goodman had even put out his first studio album, so it provides a document of the performer at the beginning of his career. He is joined by Bob Hoban on bass, violin and backing vocals. The man who recorded the performance provides the disc’s liner notes.

The album opens with a cover of “You Can’t Just A Book By Its Cover,” which was written by Willie Dixon and originally recorded by Bo Diddley. The first version I recall hearing was by The Monkees, a concert recording from 1967. Steve Goodman delivers a good, energetic rendition. “Can’t you see/That you all misjudged me?” That’s followed by “Ballad Of Spiro Agnew,” one of the shortest songs ever recorded. It was written by Tom Paxton and also covered by John Denver. Steve Goodman sings, “I will sing you the ballad of Spiro Agnew/And all of the things he has done.” The song ends there. Perfect. You have to love Tom Paxton. And remember, this was in 1969, a few years before the slimy bastard resigned in disgrace. Of course, you could substitute some current politicians’ names for Spiro Agnew, and this song would work just as well. Spiro Agnew was under the impression that a vice president could not be indicted. Seems I’ve heard something like that recently.

There is some stage banter at the end of that track, leading into “Bullfrog Blues,” which begins with some nice guitar work. On this blues track, Steve Goodman shows his sense of humor, even then poking fun at that humor (“A little humor there, sorta crept up on us, goodnight,” he says). Also, we get a sense of him as a storyteller. And when he has his audience in his grasp, he teases them a bit, repeating “She says” each time followed by a lengthy pause, then telling them “If it doesn’t mean that much to you, I won’t tell you.” That’s followed by “Fast Freight,” with a bit of stage banter before this track in which Steve introduces Bob Hoban. This song was written by Terry Gilkyson, and has been recorded The Kingston Trio, as well as by Eliza Gilkyson (Terry’s daughter). Steve Goodman delivers an excellent rendition, getting really immersed in the story and feel of the song. “Well, I wouldn’t give you a nickel for the bum I used to be/I work as hard now as any man in town/And I’ve got me a pretty little girl, and she thinks the world of me/My god, I’d be a fool to let her down.”

There is some more stage banter before “Byker Hill,” in which he mentions The Beatles and Bach. He performs this traditional tune basically a cappella, using his guitar as a percussion instrument, which ends up getting the audience clapping along. At the end of this track, there is more stage banter in which he talks a bit about the following song, “John Barleycorn,” another traditional number. This one is also performed a cappella, without any tapping on his guitar. It’s a captivating performance. That’s followed by a cover of Bob Dylan’s “Country Pie,” which has quite a different feel from Dylan’s original version on Nashville Skyline. Even without a band backing him, Steve’s version somehow ends up being a bit more wild and loose. Bob Hoban plays violin on this one. Steve follows that with a cover of Merle Haggard’s “Mama Tried,” a song I learned from Grateful Dead concert tapes when I was growing up. Steve Goodman’s version seems a bit slower at first, but I dig it. Bob Hoban provides backing vocals on this one. Then there is an excitement, and a delicious energy to the guitar at the start of “Truck Drivin’ Man,” more in line with Terry Fell’s original rendition rather than Buck Owens’ version. This is a fun rendition, featuring playful touches, particularly vocally, such as Steve’s asides, “Come here, Mabel” and “con leche.” That’s followed by another playful song, “Wonderful World Of Sex,” written by Mike Smith. The way Steve Goodman delivers the line “I sure dig sex” makes me laugh aloud every time. This track is a goofy delight. “Well, you can get love from your mama or your poppa/You can get steam from a Turkish or a sauna/You can get hot from tortillas or lasagna/But you get all three when you make it with me, baby.”

Steve Goodman gives us one hell of a medley toward the end of the album, an interesting grouping of songs. It starts with “Where Are You Going.” In the introduction, he says he wrote that one (so it’s the sole original song on the album). “It’s about the just-plain folks on Wells Street in Chicago. Aside from the cops and the freaks, I figured there were some just plain folks who deserve some time, you know, in a song. So here’s a song about the junkies on Wells Street.” In this one, he sings, “‘Where are you going, mister?’/Sings a lonesome sidewalk sister.” His work on guitar then takes us from that song to The Beatles’ “Eleanor Rigby.” Steve Goodman riffs on the line “All the lonely people” for a bit. Then the guitar work shifts as he segues into “Drifter,” a song written by Travis Edmonson. “I’m a drifter and a loner,” he sings here. And then the music becomes more powerful, tenser as he goes into “Somebody To Love,” delivering a seriously good and earnest rendition of the Jefferson Airplane song (actually, it was a Great Society song first). He then returns to “Eleanor Rigby” before the end, again digging into the line about “lonely people,” that clearly being the theme of the medley. The track is nearly twenty minutes. The album then concludes with a song by Leroy Van Dyke, “The Auctioneer,” a track that calls for a rapid delivery at moments. It’s a fun and light number to wrap things up.

CD Track List

1. You Can’t Judge A Book By Its Cover
2. Ballad Of Spiro Agnew
3. Bullfrog Blues
4. Fast Freight
5. Byker Hill
6. John Barleycorn
7. Country Pie
8. Mama Tried
9. Truck Drivin’ Man
10. Wonderful World Of Sex
11. Medley: Where Are You Going/Eleanor Rigby/Drifter/Somebody To Love
12. The Auctioneer

Live ’69 is scheduled to be released on April 3, 2020 through Omnivore Recordings.

John Di Martino: “Passion Flower: The Music Of Billy Strayhorn” (2020) CD Review

Billy Strayhorn was a composer known for his work with Duke Ellington and for writing several numbers that have become jazz standards. Jazz pianist John Di Martino pays tribute to the composer on his new release, Passion Flower: The Music Of Billy Strayhorn, offering fresh takes on some of those classics such as “Lush Life” and “Take The A Train.” Joining him on this album are Eric Alexander on tenor saxophone, Boris Kozlov on bass, and Lewis Nash on drums.

From the moment the disc’s first track opens with that groovy bass line, I am on hooked. This rendition of “Johnny Come Lately” moves and shakes, and features some excellent work on piano. Then when Eric Alexander takes his lead spot, his saxophone blows freely, like a call to everyone in earshot to come on out. And, as if we needed any other reason to love this track, there is a cool drum solo toward the end. Yup, this is a strong opening to the album. Raul Midón then joins the band on vocals for an intimate rendition of “Lush Life,” his vocals supported mainly by John Di Martino on piano. This track has a wonderful late-night vibe. That’s followed by “Rain Check.” The saxophone really cuts loose and flies at moments on this track.  I love that joyous, unrestrained playing. John Di Martino’s playing has some delightfully light touches, likely to make you smile. This track includes a drum solo near the end.

I am obsessed with all things Shakespeare, and so the track that initially drew me to this album is “Star-Crossed Lovers (Pretty Girl).” This piece of music was written for the Duke Ellington record Such Sweet Thunder, the title a play on Romeo’s line “Parting is such sweet sorrow” (yes, Juliet says the line in most productions, but it is only in Q1 that she is given that line; the Q2 and the First Folio assign the line to Romeo). This is a beautiful track, with something of a slow Brazilian rhythm. I just want to get lost in this one sometimes, you know? That’s followed by another composition co-written by Duke Ellington, “Isfahan,” also known as “Elf.” This track features some wonderful work on bass. Then we get a really nice rendition of “Chelsea Bridge,” with its engaging romantic sound, that sound created partly by that work on saxophone. But it is John Di Martino’s sometimes delicate work on piano that is at the heart of this track. That lead section partway through is beautiful. Then toward the end, there is a gorgeous and cool sax solo.

John Di Martino offers a cheerful rendition of “Day Dream” (listed as “Daydream” on the CD case), which draws us in and then gets more exciting as it goes, and has a powerful conclusion. That’s followed by “Passion Flower,” the album’s title track, a beautiful and interesting piece, featuring some moving work on saxophone. I also really like Lewis Nash’s work on drums, which is engaging, particularly as it is perhaps different from what you might expect. Things then get popping and rolling again with “U.M.M.G.” (which stands for Upper Manhattan Medical Group), a song that was included on Duke Ellington’s Jazz Party LP. And this rendition certainly sounds like a party. There is a great energy and joy to the playing, and a delightful momentum. John Di Martino follows that with a gorgeous and compelling rendition of “Blood Count,” performed as a duet of piano and saxophone. This is one of my personal favorite tracks, and apparently was Billy Strayhorn’s final composition, completed while he was in the hospital.

Another of the album’s highlights for me is “Take The A Train.” It sounds like a train approaching at the start, and then gets cooking. I love Lewis Nash’s work on drums throughout this track, and Boris Kozlov’s bass line is just completely bloody great. John Di Martino delivers some exciting work on piano, propelling the track forward and upward, like this train is winding its way up some glorious mountain, flying a few inches above the track. But perhaps my favorite part of this track is that bass solo. Delicious! John Di Martino turns to a more thoughtful number next, “A Flower Is A Lovesome Thing,” which is delivered as a gorgeous piano solo. Then “Absinthe (Lament For An Orchid)” features a prominent bass line that I totally dig. The saxophone blows sweetly above that. John Di Martino concludes this album with another pretty solo piece on piano, “Lotus Blossom.”

CD Track List

1. Johnny Come Lately
2. Lush Life
3. Rain Check
4. Star-Crossed Lovers (Pretty Girl)
5. Isfahan (Elf)
6. Chelsea Bridge
7. Day Dream
8. Passion Flower
9. U.M.M.G.
10. Blood Count
11. Take The A Train
12. A Flower Is A Lovesome Thing
13. Absinthe (Lament For An Orchid)
14. Lotus Blossom

Passion Flower: The Music Of Billy Strayhorn is scheduled to be released on April 10, 2020.

Matty T. Wall: “Transpacific Blues Vol. 1” (2019) CD Review

On Matty T. Wall’s latest release, Transpacific Blues Vol. 1, the Australian blues vocalist and guitarist offers good, vibrant renditions of some well-known blues numbers, and is joined on most tracks by special blues guests, including folks like Eric Gales and Kid Ramos. The band backing Matty is made up of Ric Whittle on drums, and Stephen Walker on bass. In the disc’s liner notes, Matty T. Wall provides some brief notes on why each song was chosen. These are songs you most likely are familiar with, as they’ve been covered a lot, but here they are given a fresh energy. And the album features a whole lot of great guitar work.

The disc opens with a good, pulsing rendition of John Lee Hooker’s “Boom Boom,” this track featuring Dave Hole. My friends and I first learned about John Lee Hooker through his appearance in The Blues Brothers, where he performs this song. I love the way Matty T. Wall approaches this song, with an enthusiasm you feel shooting out of the stereo speakers. The guitars shine, for sure, but I am also really fond of Ric Whittle’s work on drums, which gives the song something of a lighter vibe and keeps it moving forward. That’s followed by “Hi-Heel Sneakers,” a song written and originally recorded by Robert Higgenbotham (though under the name Tommy Tucker). This version by Matty T. Wall features a damn good groove, different from other versions I’ve heard, with more nice stuff on drums. This is a version that might get you dancing. Eric Gales joins him on guitar on this one, and the guitar has a joyful sound. The guys jam a bit on this track, helping to give it a party-like atmosphere and vibe.

Kid Ramos, whom you probably know from his work in The Fabulous Thunderbirds, joins Matty T. Wall on “Quicksand,” a song recorded by Guitar Slim in the 1950s and by Albert Collins in the 1980s. It is one of those classic blues songs about being treated poorly by a woman. The guitar feels like it’s hopping at times on this track, and shouting at other times, wonderful stuff. Of course, that cool bass line sets the tone. This is one of my favorite tracks. “They tell me love is like quicksand/Can’t stop when you’re sinking down.” That’s followed by another song that was recorded by Albert Collins, “She’s Into Something,” though more famously recorded by Muddy Waters. It was written by Carl Wright. There is plenty of exciting work on guitar on this track, as Walter Trout (whom you might know from his work in John Mayall’s Bluesbreakers) joins the band. There is also a lively vocal performance. This is a seriously enjoyable track.

“Stormy Monday” is the album’s first track to not feature a special guest. But that doesn’t make the track any less special, as Matty T. Wall delivers a fine rendition of the T-Bone Walker song, his guitar humming with passion and soul. And what a vocal performance! Listen to him hold onto the word “Lord” in the line “Lord have mercy.” That moment ought to grab you by the throat and make you pay attention. And Stephen Walker’s bass is holding court in a land so deep, you feel no one could reach up to taste sunlight from there. So delicious. And then that guitar work is just fantastic. This is a track that just gets better and better. You should definitely make a point of checking it out. That’s followed by “Born Under A Bad Sign,” a song I’ve been digging since I heard the Cream version when I was in junior high. Kirk Fletcher joins Matty T. Wall on this track, and there is a lot of excellent guitar work. But for me the bass is at the heart of this version. Then we get a strong take on “I’m Tore Down,” this track featuring the trio without any special guest musicians. The album concludes with “Crossroads,” another song that I first heard done by Cream. This version certainly owes something to that recording, but Matty T. Wall puts his own spin and touches on it. There are no special guests on this track.

CD Track List

1. Boom Boom
2. Hi-Heel Sneakers
3. Quicksand
4. She’s Into Something
5. Stormy Monday
6. Born Under A Bad Sign
7. I’m Tore Down
8. Crossroads

Transpacific Blues Vol. 1 was released on October 18, 2019. I am looking forward to hearing Vol. 2.

The Wild Honey Orchestra at Alex Theatre, 2-29-20 Concert Review

Wild Honey Orchestra performing "Do You Believe In Magic"

I had been hearing about these Wild Honey Orchestra shows for several years, where a group of incredibly talented musicians gather to celebrate the music of a particular band. In 2018, it was Buffalo Springfield. Last year it was The Kinks. The concerts are benefits for The Autism Think Tank, with all the musicians donating their time, so in addition to these shows being good times, they are also for a good cause. So what’s not to love about these events? I had intended to go the last couple of years, but one thing or another kept me from attending. When it was announced that this year’s concert would be a celebration of The Lovin’ Spoonful, I got excited, but was busy and kept putting off purchasing tickets. Until suddenly it became clear that The Lovin’ Spoonful themselves would be performing at the gig. How could I miss such a rare treat as a Lovin’ Spoonful reunion (though they kept calling it a “get together”)? By the time I bought tickets, the orchestra section was completely sold out. Gone also were all the tickets for the terrace section, and in fact most of the balcony seats had been claimed. We ended up in the last row of the center section of the balcony, directly in front of the lighting booth. But no matter. I was just happy to be in the room, and figured being in the last row would allow me space to dance without bothering anyone.

They were a little delayed in opening the doors for the show, and so a fairly large crowd had gathered on the sidewalk in front of the venue, most of the people being my age or older. It was a little after 7:30 p.m. when the doors finally opened, for a show scheduled to start at 8. A merchandise booth sold T-shirts and posters for the event. Upstairs were tables with signed records up for auction, helping to raise even more money for The Autism Think Tank. By the way, if you have trouble walking or tend to lose your balance, the balcony is not for you. At 8 p.m., it was announced that the show would start in a few minutes because there had been an accident and they were awaiting the arrival of paramedics. No further word was given on that, and a few minutes later a video was shown explaining what The Autism Think Tank is all about.

John Sebastian was the first musician to take the stage, followed by several others. “So we’ve got to start this at the beginning,” John told the crowd, and led the musicians in a cool rendition of Mississippi John Hurt’s “Coffee Blues,” the song that gave The Lovin’ Spoonful their name. Then more musicians came out for the second song, “Lovin’ You.” Throughout the show, there were so many changes, with musicians coming and going, that it was damn near impossible to keep track of who was on the stage at any given moment. Steve Boone and Joe Butler performed on several songs at the beginning of the show, and then would return for certain songs. John Sebastian played on the majority of the tunes performed at the show, which was great. He seemed to be having a blast. Joe Butler sang lead on “Full Measure,” a song from Hums Of The Lovin’ Spoonful (the album that also contains “Lovin’ You”). It was after that song that Steve and Joe left the stage, and Dennis Diken (drummer for The Smithereens) then sang lead on “Butchie’s Tune.” That was followed by “It’s Not Time Now,” sung by Iain Matthews, and “Fishin’ Blues.” Then John Sebastian talked about getting a gig in Nashville, which led of course to “Nashville Cats,” featuring some nice work by Dave Pearlman on pedal steel. Nick Guzman sang “There She Is,” with The Muffs’ Ronnie Barnett and Roy McDonald on bass and drums respectively.

As you’ve likely gleaned by now, this was not just a greatest hits type of affair. I knew that going in, but was still delightfully surprised by some of the song choices. One of those surprises was “Pow!” I didn’t expect to hear anything from the What’s Up, Tiger Lilly? soundtrack (except “Fishin’ Blues,” which was also on Do You Believe In Magic). John Sebastian played harmonica on that one. That was followed by “Darlin’ Companion,” with Bill Mumy on vocals, and Elliot Easton (from The Cars) on guitar. This song had a false start, as they were still working things out. But that was certainly part of the charm of the night. Though there had been a couple of nights of rehearsals, the whole feel of the show was still pretty loose, which I appreciated. Cindy Lee Berryhill delivered a wonderful rendition of “Money,” which featured no fewer than three banjo players, as well as a typewriter. This show was full of highlights, and this song was certainly among them. Marshall Crenshaw then came out to perform “Rain On The Roof,” another surprise. It wasn’t a surprise that he performed, but his choice of songs certainly surprised and delighted me. He was accompanied by a harpist. Thomas Walsh (from Pugwash) gave us a really good rendition of “Coconut Grove.” Then Mark Eitzel sang “Didn’t Want To Have To Do It.”

In addition to What’s Up, Tiger Lilly, The Lovin’ Spoonful did the soundtrack for You’re A Big Boy Now, directed by Francis Ford Coppola. And actually the only song that I hoped to hear last night which wasn’t played was “Girl, Beautiful Girl,” from that soundtrack. However, Skylar Gudasz gave us a wonderful take on that album’s title track, backed by Elliott Easton on guitar and John Sebastian on guitar. We then were treated to a second song from What’s Up, Tiger Lilly, “Respoken,” performed by Marti Jones and Don Dixon. David Goodstein sang and played drums on “Warm Baby.” Then Peter Lewis (of Moby Grape) performed “Other Side Of This Life,” a song written by Fred Neil and also recorded by Jefferson Airplane. John Sebastian gave us the story behind the writing of “Summer In The City,” and his brother Mark Sebastian joined him on guitar, the two of them walking us through the song’s creation. Joe Butler and Steve Boone also played on that one. It was certainly another highlight of the first set, and was the song chosen to close the set. The first set ended at 9:50 p.m., and the audience was told in no uncertain terms that the set break would be only fifteen minutes. During the break, a slideshow was shown.

Twenty minutes later, it was announced that the set break was over, though many people had still not managed to get back from the bathrooms. Hey, it was an older crowd, you understand. Some folks need a little more time. Anyway, starting off the second set was another surprise. John Sebastian joked about sometimes being out of fashion, and talked about at one point being in need of a job. It was then he was called to write a theme song for a television program. And, yes, John sang “Welcome Back,” the theme to Welcome Back, Kotter (a show I absolutely loved as a child). This song came as a surprise because it’s from John’s solo career, and is not a Lovin’ Spoonful song. It was such a treat. John was supported by several backing vocalists. That was followed by another track from the You’re A Big Boy Now soundtrack, “Lonely (Amy’s Theme).” John told a funny anecdote about the writing of this tune, and then played harmonica on this instrumental number. The entire orchestra backed him, and, yes, it was another of the show’s highlights. Then John Sebastian left the stage, and The Three O’ Clock performed “She Is Still A Mystery.”

My personal favorite Lovin’ Spoonful song is “Darling Be Home Soon.” It is a beautiful song, and I often tear up a bit when I hear it.  Last night Rob Laufer, the musical director of the show, performed it. He delayed the start of the song while waiting for Elliot Easton to join him on stage, but eventually gave up and began playing it. Elliott Easton finally did join him after the first verse. It was an excellent rendition, complete with horns and a string section. Afterward, Elliott explained that he’d been downstairs doing an interview about The Lovin’ Spoonful. That was followed by “Six O’ Clock” and then “Never Going Back.” John Sebastian played autoharp on “You Baby,” which was sung by the glorious Claudia Lennear. Steve Stanley sang “Younger Girl,” and then we got another song from John Sebastian’s solo career, “Stories We Could Tell,” with John on vocals and guitar, and joined by Carla Olson, also on vocals and guitar. That was followed by “Younger Generation,” sung by Kathy McCarty backed by two guitarists. Another of the show’s highlights was Dead Rock West’s absolutely beautiful rendition of “How Have You Been,” a song from John Sebastian’s 1970 solo album. Micky Dolenz then delivered an excellent version of “Daydream,” his voice sounding as good as ever. That song is a perfect choice for Micky. Alex Jules did the whistling.

Perhaps the most powerful and exciting moment of the second set came when Dave Alvin and John Sebastian jammed on that great blues instrumental, “Night Owl Blues,” along with Steve Boone on bass. Before launching into the tune, Dave Alvin told the story of his first rock concert, the lineup of which included The Lovin’ Spoonful. Someone in the audience gleefully shouted out, “I was there!” Anyway, this tune was just fucking great. John Sebastian is a fantastic harmonica player, a fact I sometimes forget, and he and Dave were ripping into this tune. Then Peter Case came onto the stage to perform a couple of songs, “Blues In The Bottle” and “4 Eyes,” keeping the energy high. Before “Blues In The Bottle,” Peter asked the crowd, “Are there any questions or anything so far?” There weren’t. Carnie Wilson and Rob Bonfiglio performed “Did You Ever Have To Make Up Your Mind?” They were joined by John Sebastian and Steve Boone. Carnie Wilson, for anyone who might not know, is the daughter of Brian Wilson of The Beach Boys, and the Wild Honey Orchestra actually takes its name from a Beach Boys song. Then Susan Cowsill sang “You Didn’t Have To Be So Nice,” which was followed by John Sebastian playing “Jug Band Music,” a totally fun song. The entire group of musicians then filled the stage for “Do You Believe In Magic,” the set’s closing number. John Sebastian played autoharp on this one. The second set ended precisely at midnight.

But the show was not over. John Sebastian, Steve Boone and Joe Butler decided to remain on the stage and do one last number together. First, of course, John told a story about opening for The Supremes. The song they chose to do was “Daydream,” with John doing the whistling. They were not backed by any members of the Wild Honey Orchestra, but performed as The Lovin’ Spoonful. It was the perfect ending to a magical night. The show concluded at 12:07 a.m.

Set List

Set I

1. Coffee Blues
2. Lovin’ You
3. Full Measure
4. Butchie’s Tune
5. It’s Not Time Now
6. Fishin’ Blues
7. Nashville Cats
8. There She Is
9. Pow!
10. Darlin’ Companion
11. Money
12. Rain On The Roof
13. Coconut Grove
14. Didn’t Want To Have To Do It
15. You’re A Big Boy Now
16. Respoken
17. Warm Baby
18. Other Side Of This Life
19. Summer In The City 

Set II

1. Welcome Back
2. Lonely (Amy’s Theme)
3. She Is Still A Mystery
4. Darling Be Home Soon
5. Six O’ Clock
6. Never Going Back
7. You Baby
8. Younger Girl
9. Stories We Could Tell
10. Younger Generation
11. How Have You Been
12. Daydream
13. Night Owl Blues
14. Blues In The Bottle
15. 4 Eyes
16. Did You Ever Have To Make Up Your Mind?
17. You Didn’t Have To Be So Nice
18. Jug Band Music
19. Do You Believe In Magic 

Encore

1. Daydream

Here are a few photos from the show:

"Full Measure"

"Fishin' Blues"

"Darlin' Companion"

"Lonely"

 

"Lonely"

 

"Daydream"

 

"Night Owl Blues"

"Do You Believe In Magic"

"Daydream"

 

Alex Theatre is located at 216 N. Brand, in Glendale, California.