Thursday, February 18, 2021

Brigitte DeMeyer: “Seeker” (2021) CD Review


On Brigitte DeMeyer’s new release, Seeker, the singer and songwriter collaborates with Jano Rix, who is known for his work with The Wood Brothers. Jano Rix, in addition to co-writing much of the material and playing multiple instruments on these tracks, also produced the album.  His fellow Wood Brothers – Oliver on guitar and backing vocals, and Chris on bass – play on a couple of tracks. Also joining Brigitte DeMeyer on this album are Ted Pecchio on bass, Kris Donegan on guitar, JP Ruggieri on guitar and pedal steel, Victor Krauss on bass, and Alfreda McCrary on backing vocals. So, yeah, there is a whole lot of talent behind this release. The focus, of course, is on Brigitte DeMeyer’s vocals.

The album opens with “All The Blue,” a track that eases in, first establishing a good, kind of haunting groove, with Jano Rix on shuitar, before Brigitte’s vocals come in.  Her approach is intimate, with empathy, as to a friend. “The day gets weary, your eyes are blurry/The sun is always beating you back home.” Before long, this track has worked its way into your soul. I like those touches on pedal steel by JP Ruggieri. Brigitte DeMeyer then completely changes gears with “Cat Man Do,” which – as you might guess from its playful title – is a fun number. It has a seriously cool sound, featuring some great stuff by Kris Donegan on guitar and by Jano Rix on piano. The lyrics mention a “continual strut,” and the sound has that sort of vibe, that sort of style. Freda McCrary (of The McCrary Sisters) joins Brigitte DeMeyer on vocals. “Salt Of The Earth” is one of the tracks to feature Oliver Wood and Chris Wood. Brigitte delivers a soulful vocal performance, and though this track contains the poor “self”/“shelf” rhyme, it is still quite good.

One of my personal favorites on this album is “Louisiana.” I’m drawn to this one right from the start. It features one of the most exciting vocal performances of the album, with soul and passion, a seductive sound. And I love that supporting work on piano. This one has a sort of spontaneous vibe, like we happen to catch these guys in a moment of creation. Certainly one of the album’s highlights. It is followed by “Calamity Gone,” another cool track with a steady rhythm and a firm, determined vocal performance to match that rhythm. Brigitte DeMeyer changes gears again, with “Already In,” a sweet and soulful love song, her voice supported mainly by acoustic guitar. This track’s unadorned production is quite effective, particularly as it draws our attention to her voice and lyrics. “No nevers, no have tos/No need to convince/With a heart that wants you/You’re already in.”

Things then get jazzy with “Ain’t No Mister,” Brigitte DeMeyer changing her vocal approach to fit the material, showing her versatility, and here displaying a good deal of attitude. This track also features some excellent work by Jano Rix on piano. That’s followed by “Wishbone,” which opens with some pretty work on guitar. It then builds from there, becoming a soulful, moving, and gorgeous number, another of my personal favorites. That’s followed by “Seeker,” the album’s title track. In this one she sings, “What I find is I’ve gone blind to where I do belong,” an idea I think most of us have been in touch with at one time or another. This is the other track to feature Chris Wood and Oliver Wood. I particularly love Chris Wood’s work on upright bass. The album concludes with “Roots And Wings And Bones,” another pretty and engaging song. I love this track’s ending.

CD Track List

  1. All The Blue
  2. Cat Man Do
  3. Salt Of The Earth
  4. Louisiana
  5. Calamity Gone
  6. Already In
  7. Ain’t No Mister
  8. Wishbone
  9. Seeker
  10. Roots And Wings And Bones

Seeker is scheduled to be released on March 26, 2021.

Saturday, February 13, 2021

Rebecca DuMaine And The Dave Miller Trio: “Someday, Someday” (2021)


There is a line from the Steve Owen song “Longing To Be” that has always stuck with me: “It’s a different kind of cursing, but someday is the dirtiest word.” A great line, right? The other song that comes to mind when I hear the word someday is, of course, Creedence Clearwater Revival’s “Someday Never Comes,” in which a child learns the disappointments and confusions of life. And yet, for me there is still something hopeful in the word, even if deep down inside we know it will never happen. It is like obstinately hopeful. All of that went through my mind as I first put on Someday, Someday, the new album from Rebecca DuMaine And The Dave Miller Trio. And there is something hopeful and cheerful about the music on this album, even when Rebecca is singing of lost love. The songs chosen for this release are mostly standards, but there are also a couple of original compositions written in the last year during the time of isolation and darkness.

I first listened to this disc at the end of a rather long day at work, when I was not in the best of moods. After like fifteen seconds of the first track, “Just Friends,” all of the little things that annoyed me during the day seemed to just disappear.  Rebecca DuMaine’s voice is friendly and bright and wonderful, and there is some completely delicious work by Dave Miller on piano. And though this is a song about a love that is no longer (with lines like “Two friends drifting apart/Two friends, one broken heart”), I find it rather uplifting. It might be due in part to Bill Belasco’s work on drums, which keeps things moving forward in a light and spirited way. That’s followed by Gilbert O’ Sullivan’s “Alone Again (Naturally),” another song about someone who has suddenly lost love, and in this case is contemplating suicide in the first verse. It had been quite a while since I had thought about this song. I heard it a lot while growing up, and then it sort of disappeared from my life. This version by Rebecca DuMaine is beautiful. It begins gently, her voice supported by Dave Miller on piano. Then on the lines “To think that only yesterday/I was cheerful, bright and gay,” the others join in, an interesting choice, for this rendition at that moment begins to sound a bit more cheerful, bright and gay. It is like we are moving into the past with her. This is such a depressing set of lyrics, but there is a sweetness to this version that keeps us from giving in to despair.

What is it about the French language that makes it so beautiful and sexy? I don’t know, but Rebecca DuMaine sounds fantastic singing in French on “Samba de Mon Coeur Qui Bat,” a song written by Benjamin Biolay and recorded by Coralie Clément. This has a classic, timeless vibe, but is actually a fairly recent song, Coralie Clément’s version having come out in 2001. I love Dave Miller’s work on piano on this new rendition. That is followed by “The Gentleman Is A Dope,” a song written by Richard Rodgers and Oscar Hammerstein II for the musical Allegro. It’s a fun tune, particularly the way Rebecca DuMaine delivers it. She totally sells it, becoming the character. Seriously, her voice takes on a different tone, a different quality here. It’s an excellent performance.

“Someday, Someday,” the album’s title track, is an original number by Rebecca DuMaine, addressing this crazy time when concerts and other social activities have been put on hold because of the pandemic. “Dreaming of a life I had just yesterday/How I long to be/Where my heart was wild and free/Now I sit inside.” Though it is about a longing for a return to that life, this song is a lively, exciting number that moves at a good pace, giving us a sense that that life is still present. This track features some excellent drumming, that great rhythm seeming to take over in the second half for a time. Rebecca DuMaine sings this one with a sense of urgency. “How I long to see/Happy faces smile at me.” That is followed by “Both Sides Now,” my favorite Joni Mitchell song (which was originally listed as “Both Sides, Now”). Her recording of it from Clouds often makes me cry. Rebecca DuMaine offers a personal take on it, this version having a sort of magical sense about it. It is more positive, as if accepting, even embracing, the different things that life throws at us. Then we get the other original composition by Rebecca DuMaine, “Time To Get Unstuck (Happy Little New Song).” This is a delight from the very beginning, the way it inserts that little pause, which works well with the song’s idea of getting unstuck. You feel maybe it happens in that precise moment. This track features a lead on piano that is kind of adorable. Plus, I seriously dig Chuck Bennett’s work on bass. “It’s easy to neglect the simple stuff, baby/Dismiss the magic moments that appear every day/When being in the present seems too much, darling/Don’t shut your ears and eyes and run away.” Ah, we can all relate to the idea of the present seeming to be too much, can’t we? This is a positive, uplifting number, and for me another of the disc’s highlights.

Rebecca DuMaine’s rendition of “As Long I Live” is absolutely wonderful. I love her playful delivery. And that work on piano is equally playful and enjoyable. If this track doesn’t cause you to smile, you may in fact already be dead (and it’s freaking me out a bit that you’re reading this). “Maybe I can’t live to love you as long as I want to/Life isn’t long enough, baby/But I can love you as long as I live.” That’s followed by “On A Clear Day,” which has a pleasant vibe, in large part because of Dave Miller’s work on piano. Then “I Guess I’ll Have To Change My Plan” is a kind of silly and light song, and these musicians get into the spirit of the thing, particularly after it kicks in.

Whenever I hear a cover of “Cry Me A River,” it takes me a few moments to push the Joe Cocker version out of my head so that I can appreciate it on its own merits, without trying to compare it to that one. But this version by Rebecca DuMaine and the Dave Miller Trio immediately sets itself apart by adding a nod to Dave Brubeck’s “Take Five” at the beginning. This is a lively rendition, and the instrumental section halfway through gets exciting. Check out that percussion!  And there is a cool lead on bass. “La Vie En Rose” is a song that always makes me happy, and Rebecca DuMaine delivers an excellent version, combining it with Charlie Parker’s “Au Privave,” which works quite well. Rebecca’s voice is totally gorgeous. Ah, that French! That’s followed by a cheerful, joyful rendition of “Wrap Your Troubles In Dreams.” “Just wrap your troubles in dreams/And dream your troubles away.” Yes, seems like good advice. This is an optimistic number, something we can certainly use, and it features another good, and rather peppy, lead on bass. Toward the end of this song is the line “Just remember that sunshine always follows the rain.” And Rebecca DuMaine chooses to follow that thought with “Sunny,” its first line being “Sunny, yesterday my life was filled with rain.” This is a bright, cheerful rendition, with a good groove. The more I listen to this version, the more I realize just how excellent it is. And that is how this album closes.

CD Track List

  1. Just Friends
  2. Alone Again (Naturally)
  3. Samba De Mon Coeur Qui Bat
  4. The Gentleman Is A Dope
  5. Someday, Someday
  6. Both Sides Now
  7. Time To Get Unstuck (Happy Little New Song)
  8. As Long As I Live
  9. On A Clear Day
  10. I Guess I’ll Have To Change My Plan
  11. Cry Me A River
  12. La Vie En Rose/Au Privave
  13. Wrap Your Troubles In Dreams
  14. Sunny

Someday, Someday is scheduled to be released on March 12, 2021 on Summit Records.

Friday, February 12, 2021

Tommy Bolin: “Shake The Devil: The Lost Sessions” (2021) CD Review


Tommy Bolin was only twenty-five when he died, and yet he left behind a fairly impressive body of work. He was a founding member of the rock group Zephyr, playing on their first two records, and then a member of the James Gang, where he not only took over on lead guitar but also wrote much of the material the band released in 1973 and 1974. Following that, he joined Deep Purple, playing on the group’s 1975 LP Come Taste The Band. And somehow in that time he also played on Billy Cobham’s Spectrum album and managed to record a couple of solo albums. When Tommy Bolin died, there were a lot of tapes of his playing, but no one could find demos for his final album, Private Eyes. Until now. Dave Thompson, in the liner notes for Shake The Devil: The Lost Sessions, quotes Johnnie Bolin, who says of the tape, “I don’t know where it came from, or where it has been for the last 45 years.” I’d love to know the story behind these recordings, and perhaps someday we will, but for now we can enjoy the music itself.

The disc opens with its title track, an alternate mix of “Shake The Devil,” the first track from the second side of Private Eyes, and a wonderful example of 1970s rock, music I still maintain affection for. This is the kind of rock that was playing early in my childhood. The sound feels perhaps a bit muddier, and this version has a slightly longer ending. It starts to fade out, like the album version, and then cuts off. That’s followed by an alternate version of “Bustin’ Out For Rosey,” the lead track from Private Eyes. This is a fun tune, with something of a funky edge, with some rather goofy lyrics like “Yeah, I feel I’m crisp and toasty.” Yet it is a rather sweet song. Then that strange spacey part comes as a surprise, and feels more pronounced than in the album version, but it’s easy to get into it. This is one of my favorite tracks. “Hello, Again” is a mellower, softer number played on acoustic guitar. This version is without Del Newman’s pretty string arrangement that is on the album version. “And by the way, hello again/I’m so pleased to have your company/We’ll count the stars under misty skies/And watch them fall into the sea.”

This disc contains an alternate version of “Sweet Burgundy,” this one a bit shorter than the album version, with the instrumental section at the end trimmed. There is also an instrumental demo of “You Told Me That You Loved Me,” which to me at first feels like the closing music for Saturday Night Live or something, with that saxophone. I like it. And it builds from there, featuring some good work on keys. That’s followed by a demo of “Post Toastee,” just vocals and guitar. It is labeled as an acoustic demo, but it doesn’t sound acoustic to me. On the album, this song is nine minutes, becoming a cool jam that even dips into a disco sound at one point. This version is approximately a third of that length. Things then get fun and kind of funky with “Tommy’s Instrumental,” an outtake, a tune that was not included on Private Eyes. Certainly a reason to want to own this disc. Approximately halfway through, it takes a surprising and wonderful turn, with that sax coming in.

There are three versions of “Gypsy Soul” included on this release. The first is the closest to the album version, a cool, somewhat laid-back jazzy tune. I love the moment when the saxophone comes in, and I that guitar work in the second half is especially delicious. That instrumental section is excellent, and makes this track another of the disc’s highlights for me. The second version of “Gypsy Soul” is quite a bit different – a mellower, kind of loose, acoustic demo, giving us a sense of how the song developed. It’s much shorter. That’s followed by the third version, a rehearsal that features some really good work on guitar. This disc also contains two instrumental demos of “Someday Will Bring Our Love Home.” The first one has a vibrant sound, with some good percussion, and is a bit longer than the album version. It ends suddenly. The album wraps up with the second instrumental demo of “Someday Will Bring Our Love Home,” which has something of a cool country flavor. After it fades out, there is an additional little treat at the end of the disc.

CD Track List

  1. Shake The Devil (Alternate Mix)
  2. Bustin’ Out For Rosey (Alternate Version)
  3. Hello, Again (Outtake)
  4. Gypsy Soul #1 (Outtake)
  5. Sweet Burgundy (Alternate Version)
  6. Someday Will Bring Our Love Home (Instrumental Demo)
  7. You Told Me That You Loved Me (Instrumental Demo)
  8. Post Toastee (Acoustic Demo)
  9. Tommy’s Instrumental (Outtake)
  10. Gypsy Soul #2 (Acoustic Demo)
  11. Gypsy Soul #3 (Rehearsal Demo)
  12. Someday Will Bring Our Love Home (Instrumental Demo)

Shake The Devil: The Lost Sessions was released today, February 12, 2021, on Cleopatra Records.

Sunday, February 7, 2021

Gayelynn McKinney And McKinney Zone: “Zoot Suit Funk” (2021) CD Review


Gayelynn McKinney is a talented drummer who has performed with some excellent artists, including Aretha Franklin, Freda Payne, Larry Corryell and Chaka Khan. You might also know her from her work in the group Straight Ahead, of which she is a founding member. Gayelynn McKinney also has a solo career, and on her latest release, Zoot Suit Funk, she delivers mostly original material. Joining her on this album are Ibrahim Jones on bass; Trenita Womack on congas, tambourine and vocals; Rafael Statin on saxophone, bass flute and bass clarinet; Alex Anest on guitar; and Demetrius Nabors on keys.

The album opens with “Stylin’,” a tune with an interesting sound, like a relaxed smooth jazz sound meeting funk. It features some cool work on bass, as well as great leads on saxophone and keys. Trenita Womack and Gayelynn McKinney are on vocals, occasionally repeating the one word “stylin’.” The drumming is of course excellent, but isn’t really the focus here. Then in the next track, “Space Goddess,” they start to get to some exciting drumming. Here Gayelynn McKinney cuts loose, along with Trenita Womack on congas, and the two of them really drive this piece. I love the way this one moves and grooves. I particularly like the way this track takes off before the end, feeling like a celebration of the space goddess. (By the way, is it like a goddess from outer space? Or is it just a goddess here on Earth who demands at least six feet of space around her due to the pandemic?)

The first of the album’s covers is Jill Scott’s “My Love,” with vocal work by Trenita Womack and Gayelynn McKinney. This rendition has a pleasant groove, one you might find yourself tapping your feet to. This track also features a really good lead on guitar. For me, this one gets even better and more interesting as it goes, as each musician gets a turn to lead and explore within that groove. That’s followed by “Having Fun.” This track has a good amount of funk, just what you might expect from a song bearing the title “Having Fun.” The musicians seem to be enjoying the groove, and everything has a light vibe. I suspect most folks who listen to this will be having fun as well. I love Gayelynn McKinney’s work on drums. And that sax lead is seriously delicious. And speaking of delicious, check out the bass and drums at the beginning of “Gwendolyn.” So damn good! And this track just takes off from there. The whole thing is fun, but that section of bass and drums toward the end is absolutely fantastic, one of my personal favorite moments of the album. I wish it went on longer. Then we get the second cover of the album, Bill Withers’ “Lovely Day,” which has a laid-back vibe and features more catchy work on bass and a nice lead on piano. Ah yes, this music does indeed sound like a lovely day. And if you wish to improve your day, putting on this album is certainly one way to do that.

When I first glanced at the track list, “Peaceful Place” stood out, for it reminded me of that Grateful Dead lyric from “Throwing Stones,” “A peaceful place, or so it looks from space.” And whether Gayelynn McKinney had that line in mind or not, this track does have that sort of feel, like seeing the world as a whole and its potential for being peaceful, and letting that feeling sort of wash over you. The next line from that Dead song is “A closer look reveals the human race,” but in this piece, it seems humanity might have found a way to be in harmony with the world itself, found a way to relax. How wonderful if that could be true. That’s followed by “Just A Little Bass And Drums.” Based on that title, I was pretty sure I was going to love it. I wasn’t wrong. This is a totally cool and funky number, featuring some playful vocal work from Gayelynn McKinney as well as some great stuff on drums, and more impressive and totally fun work on bass. Plus, Rafael Statin is on bass clarinet, delivering a delicious lead in the second half. Yes, this track is another highlight for me. This music makes me happy. The album then concludes with its title track, “Zoot Suit Funk,” another fun number with a strong, prominent groove. This one might get you dancing, and includes some excellent work on saxophone.

CD Track List

  1. Stylin’
  2. Space Goddess
  3. My Love
  4. Having Fun
  5. Gwendolyn
  6. Lovely Day
  7. Peaceful Place
  8. Just A Little Bass And Drums
  9. Zoot Suit Funk

Zoot Suit Funk was released on January 15, 2021.

Saturday, February 6, 2021

Susan Anders: “13 Women” (2021) CD Review


On her new album, 13 Women, singer and songwriter Susan Anders presents thirteen original songs, each one inspired by a different woman. Some of these women are certainly familiar to you, folks such as Helen Keller and Josephine Baker. But others are less well-known, and these songs might inspire you to do a little research on these women, for there are some incredible stories behind these songs. Susan Anders, in addition to providing the lead vocals, plays acoustic guitar, electric guitar, keyboard and percussion on this release. Joining her are Tom Manche on acoustic guitar, electric guitar, keyboard, bass, percussion, and backing vocals; Dave Francis on bass; Maggie Chafee on cello; Jim Hoke on clarinet, flute, harmonica and electric piano; and Mary Rodgers on accordion. There are also several backing vocalists featured on various tracks.

The album opens with “Just Give Me Everything,” a song inspired by Helen Keller, a woman who lost her sight and hearing, yet became a respected author and advocate for those with disabilities. It is also about Annie Sullivan, who taught Helen Keller to communicate. The lines that stand out for me each time I listen to this song are “There’s something out there/Past all this darkness.” That’s followed by “Spell,” about Sarah Wildes, a woman who was hanged for being a witch during the Salem witch trials. This one has a cool sound, with some interesting and powerful use of percussion, and also features some good backing vocal work by Reneé Hayes. Check out these lyrics: “How does a whole town go insane?/How does someone lie then speak my name?/How does a twist of words get me in this cold cell?/In this cold cell/You’re going to think what you’re going to think.”

Lucy Goldthorpe is one of the historical figures on this album with whom I was unfamiliar, and she is the inspiration for “Open Prairie.” She was a teacher who in the early part of the twentieth century moved to North Dakota, taking advantage of the Homestead Act, which provided a way for women to own property. There she made herself a home. “Desolation and cold I may find/But I’ve made up my mind/Yeah, North Dakota is where I’m bound/I will build a shack on my own ground/There’s a life waiting for me there, I hear it calling.” Then “You Healed Me” is a song about Henrietta Lacks and the effect she has had on the world. Henrietta Lacks is one of the women that I ended up researching. Hers is a fascinating story. She unwittingly provided cells for medical research, which are still used to this day. This song is different from the previous tracks, in that its story is not told from the perspective of the woman herself, but from a person who was helped by what she gave. “We never met/Never passed on the street/But you healed me/You healed me.” This track features some really nice work by Jim Hoke on harmonica.

I love the opening line of “Castles,” “I am a failed debutante,” a line that makes me smile each time I listen to this disc. This song is inspired by Julia Morgan, the first licensed female architect in California. Like everyone who visits it, I was astonished by Hearst Castle. It is by far the most impressive structure I’ve ever been inside, and it was one of the buildings designed by Julia Morgan. The song’s title alludes to that place. “Mosaic pools, marble stairs/Sculpted arches everywhere/Let me keep working and I’m fulfilled/I got castles on my mind and they’re going to get built.” Jim Hoke delivers some wonderful work on clarinet on this track. Susan Anders then gives a sweeter sound to “My Life In The Stars,” a song about a female astronomer named Henrietta Swan Leavitt who contributed considerably to the field. There is a crater on the moon named after her. “And how that brightness shifts with time/And how luminous and variable they are/Just like my life in the stars.”

“Girl You Never Knew” isn’t about a specific woman, but about a representation of the working women during World War II, Rosie the Riveter. And it’s about how being an important part of the workforce changed women, and how not all of them were eager to revert to their previous lives once the war was at an end. Check out these lines: “You’re out there fighting like it’s 1943/That world is gone now – it’s changing more each week/I love you, but I am not who I used to be/I pay the bills, I patch the roof, I fix the car.” I seriously dig the cool vibe of this track. This is one of my personal favorites. That’s followed by another song related to World War II, “Witness,” which is about Martha Gellhorn, a respected war correspondent who was the only woman to land at Normandy on D-Day. Her career continued long after that, and she published several books, in addition to covering many important events. “If I cannot fix this, fix this/I will be their/Witness, witness/I’ll let no one miss this, miss this/I will never quit this, quit this/I will be their witness.” “A Little More From Josephine” also touches upon World War II, for Josephine Baker, in addition to being a singer, dancer and civil rights activist, was a spy for the French Resistance. “You’re hypnotized, forgetting that I’ve got ears/You watch my boobies bounce and your brain disappears/I can take you down with one wild swing of my leg up to the balcony/And ooh wee/I will steal your secrets while you are begging for/A little more from Josephine.” This track has an appropriately jazzy vibe, and I particularly love that clarinet.

Maud Stevens Wagner, the source of inspiration for “Under Your Skin,” is another woman I hadn’t heard of. She was the first known female tattoo artist in the U.S. I’m not a fan of tattoos, which might be why I wasn’t familiar with her name, but there is something kind of magical about this song. “Under Your Skin” is followed by “Wave That Rocks Me,” a song inspired by Edmonia Lewis. Hers is a name I feel I should have known, and thanks to this song, I am learning about this sculptor who overcame all sorts of hardships and prejudice. “My life will be my own/I’ll carve it out of stone/I’ll make a work of art.” This song, which features some good percussion, was written by Susan Anders and Renee Hayes. Then “Walk This Freedom” is about Mildred Lisette Norman, a peace activist who adopted the name Peace Pilgrim and walked around the country for nearly three decades, promoting peace. The album concludes with a song inspired by Amelia Earhart, “What A Woman Can Do,” which includes these excellent and memorable lines: “I’m scared, but I’m cocky/So just you watch me/Sailing up over the blue/I’m wild, but I’m careful/I’m courting angels/I’ll do what a woman can do.”

CD Track List

  1. Just Give Me Everything
  2. Spell
  3. Open Prairie
  4. You Healed Me
  5. Castles
  6. My Life In The Stars
  7. Girl You Never Knew
  8. Witness
  9. A Little More From Josephine
  10. Under Your Skin
  11. Wave That Rocks Me
  12. Walk This Freedom
  13. What A Woman Can Do

13 Women is scheduled to be released on March 5, 2021.

Monday, February 1, 2021

Grateful Dead: “Dave’s Picks Volume 37” (2021) CD Review


The first extensive series of Grateful Dead concert recordings, titled Dick’s Picks, lasted long enough to include thirty-six volumes. With the new volume in the Dave’s Picks series, Volume 37, that number has been surpassed, a milestone, to be sure. And to mark the occasion, Dave Lemieux has chosen an excellent show from the spring of 1978. Dave’s Picks Volume 37 contains the complete show the Grateful Dead performed on April 15, 1978 at College Of William & Mary in Williamsburg, Virginia, along with a good chunk of the show from April 18th in Pittsburgh, Pennsylvania.

Disc 1

The first disc contains the first set, as well as the first three songs of the second set. The band kicks off the show with “Mississippi Half-Step Uptown Toodeloo.” It is an energetic rendition right out of the gate, though Jerry Garcia’s microphone takes a moment to function. That is soon fixed, and the band is cooking. Listen to Jerry belt out “On my way” just before the jam. Yeah, this is a pretty damn good version of “Mississippi Half-Step.” It just never falters, and its peaks are high ones. The crowd must have known they were in for a good show just by the band’s playing on this first song. The band follows “Half-Step” with “Passenger,” Bob Weir and Donna Jean Godchaux’s vocals sounding good together here, as they keep the energy high, Bill Kreutzmann and Mickey Hart driving everything forward and onward. Things then slow down for a sweet, gentle rendition of “Friend Of The Devil.” This version has such a pleasant vibe about it, I find my face hurting from smiling continuously through it. The jam is rather pretty too. This is a version to make you feel good, no question about it. They follow that with a version of “El Paso” that builds as it goes, and then an excellent “Brown-Eyed Women” that has a bit of a bounce to it at times. This is a pretty joyous set. “Brown-Eyed Women” finishes gently, and Bobby then leads the group into “Let It Grow,” and before he even begins the lyrics, we get some really nice work by Jerry on guitar, which seems to signal this is going to be something special. And indeed, it is. Holy moly, Jerry lets it rip a few minutes in, and it seems nothing can go wrong now. The band is really going for it here, resulting in one of the best versions of this song I’ve heard. The first set concludes with “Deal.” “Deal” is a fun song, but was rarely one to get me overly excited. That being said, this is a spectacular rendition, particularly as it gets close to the end, the band repeating “Don’t you let that deal go down.”

That is how the first set ends, but there is still more music on this first disc. The band opens the second set with the always-fun “Bertha,” and this rendition has all the energy you’d want from the song, and it leads directly into “Good Lovin’,” which feels like a great party itself, and is guaranteed to get you dancing around in your home. The band is clearly having a blast. But we have to save some energy for later, so Jerry follows that with an absolutely wonderful, soulful version of “Candyman” that gets to some nice, quiet spots, then rises at just the right moments. A masterful performance by Jerry. And that wraps up the first disc.

Disc 2

When I was starting to seriously dig into the Grateful Dead’s catalogue in my mid-teens, I found myself playing  “Sunrise” and “Terrapin Station” off of the Terrapin LP a lot, particularly at night with just a strobe light or a few candles lit in my room. It was a great way to reach another place, just the other side of the curtain, you know. Well, this disc begins with Donna delivering a really good version of “Sunrise.” So good to hear this one again. Here it does not lead into “Terrapin,” but rather “Playing In The Band,” and the guys are obviously eager to tear into it, to get it off to a powerful start. And, yes, this one, though a bit awkward at moments early on, really cooks. Then after a few minutes, they get into more interesting territory, that space that most of us were seeking each time we saw the band play. Isn’t it great when they get us there? And then they seem determined to push on right through that space to see what is beyond it, always curious about what is around the next bend, what is visible past the next star. This is a powerful version. Then at the end it drifts off, and interestingly goes into “Rhythm Devils,” never coming back into the main body of the song, so no scream from Donna. It has been explained why this track is labeled “Rhythm Devils” rather than “Drums,” but for those who might be unaware, during this tour, this segment of the show wasn’t just performed by Bill and Mickey, but sometimes by the entire band. It’s a whole big percussion jam, something you might think to find winding its way through the French Quarter in New Orleans. Must have been something to be present to witness that (there’s a photo on the back of the liner notes booklet to give you an idea). That leads into “Not Fade Away,” the drummers first establishing the beat. It begins a bit slowly, but after a few minutes, when they get into the lyrics, the song definitely grows in energy. This is an unusual “Not Fade Away,” the jam going into some stranger territory. And from there the band slides beautifully into “Morning Dew,” the crowd going wild when they hear those first notes. This was the only time the band played this song in 1978, and it’s an excellent version, Jerry’s voice sounding soulful, mournful, even delicate at times. And then his guitar tears into your heart. What a glorious rendition, certainly one of the best, and a highlight of this show. Just fantastic. Bob then ends the second set with “Around And Around.” The encore is “One More Saturday Night.” It was a Saturday, after all.

The second disc then concludes with the final two songs of the first set from April 18, 1978 – “Lazy Lightning” into “Supplication.” Those songs were included on the 1976 self-titled Kingfish album. Bob Weir was a member of that band during the time the Dead was on hiatus, and these two songs found their way into the Dead’s rotation, played somewhat regularly in the late 1970s and early 1980s. I saw the band play “Supplication” at Shoreline in the 1990s, but by then “Lazy Lightning” was long gone.

Disc 3

The third disc contains more music from the show on April 18, 1978, beginning with a couple of songs from the first set – “Sugaree” and “Tennessee Jed.” “Sugaree” was the second song of the set, and it’s a good version, particularly Jerry’s guitar work. Then “Tennessee Jed” was played just before “Lazy Lightning.” I always love hearing this one, and this version has some delightful touches and a good deal of power behind it. And it seems to just get better and better as it goes, ending up being a fairly remarkable rendition before it ends.

The rest of the disc is almost the entire second set. In fact, all that is missing is the complete “Drums” segment. This disc contains a minute of it, just a little tease, enough to work as a transition between songs. As much as I love those versions of “Sugaree” and “Tennessee Jed,” I might prefer to just have the complete second set. Anyway, the second set opens with “Scarlet Begonias,” always a great song to kick off a set. Some minor flubs early on do not much mar this fun version, and I like the loose jam at the end, with the carefree vocal work by Donna. It does not lead into “Fire On The Mountain” this time, but instead the band goes into “Dancing In The Street,” with a beat designed to get you moving. This version is all about the groove, and at the end there is a section of just vocals and drums, and that leads to a bit of “Rhythm Devils,” just over a minute of it. It seems we get the very beginning of it, and the very end of it, as the drummers lead the group into “Samson And Delilah.” After a brief pause, the band eases into a beautiful rendition of “Terrapin Station.” Inspiration, indeed! This version is as close to perfect as any I’ve heard, except for one wildly off note toward the end. The set concludes with “Around And Around,” which begins softly, then kicks in, and by the end is a fiery, rocking rendition.

CD Track List

Disc 1

  1. Mississippi Half-Step Uptown Toodeloo
  2. Passenger
  3. Friend Of The Devil
  4. El Paso
  5. Brown-Eyed Women
  6. Let It Grow
  7. Deal
  8. Bertha >
  9. Good Lovin’
  10. Candyman

Disc 2

  1. Sunrise >
  2. Playing In The Band >
  3. Rhythm Devils >
  4. Not Fade Away >
  5. Morning Dew
  6. Around And Around
  7. One More Saturday Night
  8. Lazy Lightning >
  9. Supplication

Disc 3

  1. Sugaree
  2. Tennessee Jed
  3. Scarlet Begonias >
  4. Dancing In The Street >
  5. Rhythm Devils >
  6. Samson And Delilah
  7. Terrapin Station >
  8. Around And Around

Dave’s Picks Volume 37 was released in late January, 2021. My copy arrived on January 28th. This set is limited to 25,000 copies (an increase from the 22,000 copies of Volume 36). My copy is number 7730.

Ben Lang: “Modern Man EP” (2020) CD Review


Ben Lang is a singer and songwriter based in San Rafael, California. You might know him from his work in the band Biv And The Mnemonics. Late last year he released his debut solo CD, an EP titled Modern Man EP, featuring mostly original material. And this is truly a solo release, with Ben Lang providing the vocals and playing all the instruments.  The music is folk, sort of, though at times more in line with, say, the early Violent Femmes sound, and with some country elements too.

The disc opens with “Houston-New Orleans,” which came to me as a delightful surprise the first time I popped this disc in. Something about this song had me smiling almost immediately. It has a friendly sort of atmosphere, a hopeful sound, even as he sings about hitchhiking in the rain and whisky washing away his pain. “I was dreaming of the morning when I left my ma and pa/I was just another dreamer who’s been dreaming all along/I only want an open fire on a cloudy summer night out on the range.” That’s followed by the EP’s title track, “Modern Man,” in which he sings, “I will be your modern man.” And the song mentions things like charging phones and chatting online. It’s kind of funny, coming as it does after a song about wanting to live out on the range. And of course the album’s artwork seems to be in wonderful contrast with its title. Anyway, this song is folk, sure, but in the way Lou Reed might have approached it. “And we’re all doing the best that we can.”

As “Modern Man” is ending, we hear Ben say, “I might have nailed it.” Interestingly, that track is followed by a song called “Nailin’ It.” The line from this one that first stood out for me is “I’ve got my alibi, my hands are clean.” That line gets me to thinking about what he might have done. But, you know, there is something wonderfully sweet about the sound of this track. And, hell, if he’s not innocent, he’s innocent enough. “Victory this time is guaranteed.” Maybe, maybe, but you’ll find yourself rooting for him, no question. Then “Hollow Spaces” is rather beautiful right from the start, and there is something hopeful and oddly comforting in the line “To fill the space where you were hollow.” This is a surprisingly striking song. Then “Tee Off With Your Head” kicks in with a good deal of joy and energy to match its playful title. “Sit out back/You know, it’s time to relax/‘Cause we’re only getting old.” It sounds like a folk party. It’s kind of impressive that Ben Lang is playing all the instruments here, because it feels like a fun little folk jam. The EP concludes with “Mr. Moon,” the only song on it not written by Ben Lang. This is a short, adorable sing-along song.

CD Track List

  1. Houston-New Orleans
  2. Modern Man
  3. Nailin’ It
  4. Hollow Spaces
  5. Tee Off With Your Head
  6. Mr. Moon

Modern Man EP was released on November 27, 2020 on Moo Moo Records.