The Cramps Jukebox

There have been a number of Cramps-related compilations over the years and all have their merits, since the Cramps were influenced by some of the craziest, wildest and sickest rock'n'roll in history. This 2-CD set is based on a radio interview the dynamic duo (Lux & Ivy) did at a New Jersey station, technically to hype their collection of rarities, How to Make a Monster, but which evolved into a discussion of their record collection.

Disc 1 is all music - songs the Cramps "borrowed", covered or just plain loved. Especially interesting is their professed love for doo-wop - their collecting obsession - and the inclusion here of some of their faves. But, there is plenty of rockabilly madness and just cool 50's r'n'r. As is often the case, there is not much concentration on their love of 60's mania, but there is a limit to what a CD can hold!

The 2nd disc is all interviews, including the radio interview that was the basis for this concept. Ivy does a great deal of the talking though Lux's observations are always entertaining and wacky. His absence from this world is a true tragedy.

Damn near anything to do with the Cramps is worthwhile and this is particularly cool. Listen and have fun testing yourself on which song was used for which Cramps tune!

recommended gigs

Thursday March 28, The Tinglerz w/Surrounded by Thieves and the Moans at Backstage Bar and Billiards
Thursday March 28 - The Psyatics with Slim Jim Phantom, Dash Rip Rock, The Limit Club, Ditch Diggers and Fink Bombs
Thursday March 28 - Thee Swank Bastards at the Beauty Bar

Friday March 29 - the Beau Hodges Band w/Rev Horton Heat  - LV Country Saloon
Friday Mar 29 - Bogtrotters Union are house band at Hennessey's
Saturday Mar 30 - Bogtrotters Union are house band at Hennessey's
Saturday March 30 - the Cold Blue Rebels with the Chop Tops - LV Country Saloon
Saturday Mar 30 - The Tinglerz with the Gears at the Bunkhouse

Tuesday April 2 - The Tinglerz with Los Vigilantes and Las Ardillas at the Bunkhouse

First Friday April 5 - Crazy Chief at Cowtown Guitars

Saturday April 13 - Thee Swank Bastards - Double Down

Wednesday April 17 - Thee Swank Bastards at the Griffin

Thursday April 18 - Benefit for Push Forward at the Beauty Bar with the SWAMP GOSPEL and Crazy Chief

Friday April 19 - Tiger Sex (featuring Kei from the Tinglerz) with the Gashers at the Double Down

Saturday April 20 - Record Store Day - be sure to pick up the Zia Records compilation with the Swamp Gospel's "The Devil Got Religion"!
Saturday April 20 - The Lucky Cheats, Pat Todd and the Rank Outsiders, Black Jets and Defendents - Triple B

Monday April 22 - Kaleidoscope UK, the Astaires and Steppes jam with John Fallon (Steppes), Rob Campanella (Brian Jonestown Massacre) and Nelson Bragg - Bunkhouse

Wednesday April 24 - Thee Swank Bastards at the Double Down

Friday April 26th - The Psyatics with Rob's daughter's band, the Hecks, along with Urban Disposal at the Motor City Cafe
Friday April 26 - Thee Swank Bastards at the Onyx Theater

What have I forgotten? Lemme know!

I'll add more as I hear about them! Friends - lemme know and I'll list gigs here, for what it's worth!

Neil Young and Crazy Horse - Americana

As the title may suggest, this is Young and the Horse covering traditional American folk song and giving them the Crazy Horse treatment - to the point where you don't initially realize what song you are listening to! Songs that you sang in elementary school, like "Oh Suzanna" and "My Darling Clementine" are now buried under the band's beautiful distortion and the melodies somewhat turned inside out. And it's always entertaining to find out how many "children's songs" are actually about sex and/or death!

Other numbers that they twist into their own are "Tom Dula", "Gallows Pole", the Silhouettes doo-wop hit "Get a Job" (kinda different from all the rest, stylistically, but fitting for today's economy and the themes of the rest of the tunes), "Travel On', "High Flying Bird", "Jesus' Chariot" ("She'll Be Comin' Round the Mountain"), "This Land is Your Land", "Wayfarin' Stranger" and "God Save the Queen" (which "My Country 'Tis of Thee" is taken from).

There is a beautiful booklet included with a brief history and background of each tune, explaining what inspired the group to cover each one and what variations they have added. This is the classic Crazy Horse sound, though no extended guitar workouts (which I kinda miss, but I guess this is more about the songs). Still, quite good and fitting for me as I have been listening to a lot more early Americana music lately!

Tom Waits - Bad As Me

I have always been a huge fan of Waits' '70's records, but some of his anarchistic, cacophony-laden pieces of his later works, while I appreciate the madness inherent within, have kinda left me tepid. This new CD, however, seems to be a good balance, with some of the craziness tempered with real songs. He still yelps over some circus-styled mania, but also croons over some real ballads, and grooves with some almost - dare I say - "normal" songs. Hell, "Kiss Me" sounds like it could have been from Blue Valentine. But, he also have his loping, off-beat stompers like "Satisfied", which should please fans of any of his styles. "Hell Broke Luce" (funny title) has the pounding percussion of some of his current output, but also shares a feel with numbers like "Pasties and a G-String".

Waits is a real chameleon and the music can be quite hard to describe, but I assume that most people have heard him by now, so you have an idea what he sounds like. Like I said, to me, this is a good mix of his old and new - dig it a lot!

The Essential Carter Brothers

The Carter Brothers (not to be confused with the country/bluegrass Carter Family) was (is? - they were still gigging at the time of this 2003 CD release) a blues/soul/gospel trio of brothers from Garland, Alabama, who moved to Pacoima, California and recorded for Shreveport, Louisiana's Jewel Records. They hit big on the R'n'B charts in the mid-60's with "Southern Country Boy", a rockin' mix of Bobby "Blue" Bland and B.B.King. Excellent vocals, stinging guitar work and a fine groove - what a way to start a career!

Lots of fine music on this collection - amazing blues like "Booze in the Bottle" (highlighting guitarist Al Carter - the other brothers were Jerry on keys and Roman on superb lead vocals and bass), "I've Been Mistreated", "Booby Trap Baby" and funky soul numbers like "Stop Talking in Your Sleep", "I Don't Care", "So Glad She's Mine", etc. Most of the tunes are amalgamations of these formulas, usually mixing elements of everything together into one cohesive and fun whole. There's even a soulful ballad (that is truly full of soul) in "Don't Pity Me", a more up-beat dance feel to "Queen Bee", the horn-driven "There's Trouble Brewin'", the gospel keys mixing with soul in "Hey It's Alright", the Motown-ish "Anything For You Baby", and lots more.

This is one of my current favorite acquisitions. Yes, it is somewhat derivative of the artists that influenced them but still truly fun stuff done excellently - highly recommended!

The Remains

The Remains are, of course, well known to the garage community for their fine, electric piano-driven hit, "Don't Look Back", but there is far more to this group. This CD is essentially the same line-up as the vinyl album collection that I've had since the 80's, but it's nice to have in this format.

These cats were Boston heroes - and deservedly so - and managed to secure the opening slot for the Beatles famous, final 1966 American tour before, surprisingly, splitting up on the verge of their success. This CD highlights their groovy rock'n'roll mixed with hip harmonies and white-soul sounds. While Barry Tashian was the undisputed leader of the group (vocals and guitar), Bill Briggs keyboards (often the electric piano) really drives the tunes, and the dynamic rhythm section of Vern Miller on bass and Chip Damiani propels the band.

The styles vary from the bluesy "Diddy Wah Diddy" to the harmony-driven "Why Do I Cry" and "Lonely Weekend" to the more rockin' "You Got a Hard Time Coming" and the heavy garage of "Once Before", that the Unclaimed would cover in the 80's. Even the slower songs like "Thank You" are still so well done that you'll be knocked out by the writing and execution.

The CD is the complete original album along with ten bonus tracks of non-LP B-sides and outtakes - all that are just as good as the ones that made the cut. Their take on "Mercy Mercy" and "I'm Talking About You" are at least as good as the Stones, "My Babe" shows more of their blues roots (with Briggs' harmonica work), "I Can't Get Away From You" is more cool harmony rock, "Ain't That Her" and "All Good Things" are right up there with their best, and the rest rock along in their unique way.

This is pretty much the perfect cross between the Beatles and the Stones - done by Americans, no less - great harmonies and hard rock blended together. If not for their unfortuitous break-up, the Remains would be rock'n'roll icons.

The Dictators - Viva Dictators

C'mon - it's the Dictators - I don't really have to convince you to buy this, do I? This is the band recorded in their home town of New York at two locations - Maxwell's and the Bowery Ballroom - doing songs spanning most of their career - oddly, nothing from Manifest Destiny.

But, they know what the fans want, from their best tunes off of Go Girl Crazy! to newer numbers like "Who Will Save Rock'n'Roll", "I Am Right" and "Avenue A". Bloodbrothers is also represented with its best, "Minnesota Strip", "Baby Let's Twist" and "Stay With Me". Even Manitoba's Wild Kingdom (which was almost the Dics, anyway) makes appearances with "New York, New York" and "Haircut and Attitude".

The sound is superb, the energy astounding, the singing is even better than the studio recordings in most instances and, of course, the music is terrific. Not a lot of chatter, though, which is too bad as Manitoba is a great comedian, but for pure r'n'r this can't be beat. Get it!

recommended gigs

Tonight, Thursday March 21 - Neon Reverb rolls on with the Slovenly Records showcase TONIGHT March 21st at Bunkhouse! Music from Acid Baby Jesus, Anomalys, Hellshovel, King Automatic, Las Ardillas, Los Vigilantes, The Psyched and a DJ set from The Thing With Two Heads! Just $10 at the door for a night of awesome awesome bands!

Friday March 22nd - Bogtrotter's Union - Neon Reverb The Bunkhouse Saloon

Saturday March 23 Thee Swank Bastards @ Dino's

Tuesday March 26 - Crazy Chief at Aritfice

Wednesday March 27 Thee Swank Bastards @ Double Down

Thursday March 28, The Tinglerz w/Surrounded by Thieves and the Moans at Backstage Bar and Billiards
Thursday March 28 - The Psyatics with Slim Jim Phantom, Dash Rip Rock, The Limit Club, Ditch Diggers and Fink Bombs
Thursday March 28 - Thee Swank Bastards at the Beauty Bar

Friday March 29 - the Beau Hodges Band w/Rev Horton Heat  - LV Country Saloon

Saturday March 30 - the Cold Blue Rebels with the Chop Tops - LV Country Saloon

Tuesday April 2 - The Tinglerz with Los Vigilantes and Las Ardillas at the Bunkhouse

Saturday April 13 - Thee Swank Bastards - Double Down

Wednesday April 17 - Thee Swank Bastards at the Griffin

Thursday April 18 - Benefit for Push Forward at the Beauty Bar with the SWAMP GOSPEL and Crazy Chief

Friday April 19 - Tiger Sex (featuring Kei from the Tinglerz) with the Gashers at the Double Down

Saturday April 20 - The Lucky Cheats, Pat Todd and the Rank Outsiders, Black Jets and Defendents - Triple B

Monday April 22 - Kaleidoscope UK, the Astaires and Steppes jam with John Fallon (Steppes), Rob Campanella (Brian Jonestown Massacre) and Nelson Bragg - Bunkhouse

Friday April 26th - The Psyatics with Rob's daughter's band, the Hecks, along with Urban Disposal at the Motor City Cafe

I'll add more as I hear about them! Friends - lemme know and I'll list gigs here, for what it's worth!

Lonnie Johnson - The Complete Folkways Recordings

Lonnie Johnson, born in 1899, was an early blues/jazz singer/guitarist/songwriter who pioneered the role of jazz guitar and is credited as the first to play single-string guitar solos. His style heavily influenced later greats such as Django Reinhardt and T-Bone Walker and subsequently the modern blues/rock guitar solo.

Coming from a large musical family, he played professionally off-and-on from his teens to his final years, alternating with menial jobs in steel mills and as a janitor.His hey-day is considered to be in the 1920's & '30's, but this album of solo studio sessions, recorded in 1967, showed him to still be a phenomenal guitarist and strong, expressive singer.

Every song here is simply Lonnie and his guitar and he fills each tune with powerful emotion. This is more smooth and jazzy than most blues that I listen to, but done just so goddam well that you can't help but be swept away. T-Bone echoed many of Johnson's guitar lines but, if anything, Johnson proves to be the master here. Creative, melodic and always fitting the song, he plays around the tune and his vocals and creates a fullness of sound so that you do not miss any other instruments.

There is a short interview with Lonnie in the second-to-last cut, giving you a brief overview of his life. It is kind of amazing that someone this talented and influential was not able to make a living for himself with his music throughout his life. But, that is the saga of all too many musicians. In any case, an excellent example and sweet blues/jazz done by a  master. Every guitarist should hear this!

Million Dollar Bash – Bob Dylan, the Band and the Basement Tapes – by Sid Griffin

While I am a big fan of Dylan’s, I am not a fanatic and, in fact, I do not own any variation on the legendary “Basement Tapes.” What primarily drew me to this book was the fact that Sid Griffin, who I played with back in the day in the Unclaimed, is the author and I’ve been meaning to investigate his writings.

This book is beautifully done, with glossy pages, and tons of information, though almost no photos. What is does have is lots of information – background on Dylan’s life leading up to the basement tapes, including lots of speculation on his famous motorcycle crash (actually so much that it goes a little overboard), his move to Woodstock (including hows and whys), his work with the members of what would become the Band (then still the Hawks) and eventually to recording of the tapes.

Griffin goes into detail on each song (though he admits that there may be many more yet to be unearthed), with personnel, instruments played, equipment used, lead-ins, fades-outs and lots more. He dissects each tune and compares it to other versions and gives us a feel of the attitude at the time of the recording.     

        

Sid is obviously a huge admirer of the Band and goes into great lengths to describe their work with and without Dylan, including detailing the recordings that they did on their own during this time period in Woodstock. Also explained is the process in which these demos (as that is what they were – songs to hawk – pardon the pun – to other performers in order to keep money coming in while Dylan was laid up) were disbursed to others, and how they became bootlegs. Some of the original covers are talked about and there is an extensive discography of cover versions at the end. The official Basement Tapes release is analyzed, with mentions of which takes were used, what was overdubbed at the time (1975) and what other material was added besides the actual basement recordings.

Overall, a good, interesting read on this Holy Grail of Dylan material. There is some repetition throughout, but the writing is accessible, informal and informative. I have not read the other books on the subject, but this at least seems a good place to start regarding this period.

recommended gigs

Thursday Mar 14 - The Lucky Cheats and the LV Country Saloon

Friday March 15 - Tinglerz / Guttermouth @ LV Country Saloon
Friday March 15th - Bogtrotter's Union at McMullan's Irish Pub
Friday March 15 - Beauty Bar - the Astaires with Leather Lungs

Saturday March 16th - Bogtrotter's Union - St. Patrick's Day on Fremont
March 16 - Thee Swank Bastards - Money Plays

Sunday March 17 - The Lucky Cheats at Backstage Bar and Billiards
Sunday March 17th - Bogtrotter''s Union - St. Patrick's Day on Fremont/McMullan's Irish Pub

Tuesday March 19th - Bogtrotter's Union - Samuel Adams party @ Todd English in the Aria

Wednesday March 20 - Thee Swank Bastards Griffin

Friday March 22nd - Bogtrotter's Union - Neon Reverb The Bunkhouse Saloon

Saturday March 23 Thee Swank Bastards @ Dino's

Wednesday March 27 Thee Swank Bastards @ Double Down

Thursday March 28, The Tinglerz w/Surrounded by Thieves & the Moans at Backstage Bar & Billiards

Friday March 29 - the Beau Hodges Band w/Rev Horton Heat  - LV Country Saloon

Saturday March 30 - the Cold Blue Rebels with the Chop Tops - LV Country Saloon

I'll add more as I hear about them! Friends - lemme know and I'll list gigs here, for what it's worth!

Blind Gary Davis - Harlem Street Singer

Also known as Reverend Gary Davis, this exquisite guitarist traverses blues, gospel, ragtime, folk and more. Having been born blind, his talents are all that much more amazing as his guitar playing is intricate and complex, and all done while singing. He was a consummate showman, as well, playing with one hand while snapping the fingers of his other, slapping the sound box of the guitar and waving his arms about. His voice has a raspy, gospel tone and his passion is undeniable as he sings.

This collection has some cross-over with other compilations that I have (such as the Heroes of the Blues series), but each has enough different tunes to make the different records all worthwhile. This is simply Gary & his guitar - and that is all that he needs to fill a room. The songs here were originally recorded in 1960 (according to the liner notes he recorded 20 songs, mostly done in one take, in 3 hours!) and are all religious in tone, since he had been an ordained minister for years at this point and was preaching at a local store-front church. They range from the joyous ("Twelve Gates to the City", "I Belong to the Band") to the mournful ("Death Don't Have No Marcy") to simply preachin' the gospel ("Samson and Delilah", "Lo, I Be With You Always"). All are great, with impressive guitar lines (he finger-picked with simply his thumb and index finger making it all that more wondrous how he did what he did) and wonderful, expressive singing.

Nicely recorded and re-mastered for CD, this is a great collection, though at only 12 songs, you will be sure to be wanting more!

Mance Lipscomb - Texas Songster

Mance Lipscomb is another self-proclaimed "songster", as opposed to a blues singer, though he gained popularity in the 60's folk/blues revival, sharing his extensive musical knowledge. As the liner notes to this CD says, Mance played and sand "popular songs, ballads, spirituals, children's songs, jubilees, slow drags, rags, breakdowns and blues." He is not unlike fellow songsters such as Lead Belly and Rev. Gary Davis, who also played a wide variety of tunes.

Lipscomb is not a guitar virtuoso, but is a fine finger-picker and his expressive voice blends well with his backings. This collection spans many of the different genres that he worked in, and shows his unique interpretations of some numbers made famous by others, such as "Spoonful", "Baby Please Don't Go", "Big Boss Man" and "Jack of Diamonds".

This isn't as raw as much of the blues that I like, but as a songster/folk singer, this is truly excellent and passionate. Don't try to pigeon-hole Lipscomb into a tidy, little box, but if you are open-minded and enjoy early Americana and African-American traditional songs, this is a superior selection.

Charles Bukoski - Born Into This (documentary)

Definitely not a rock'n'roller - in fact he often disdained the entire genre, as his was a lover of classical music - he has, nonetheless, influenced countless musicians and lyricists. (How many bands have named themselves and/or their records after his writings?) His story is that of the most basic punk rocker - terrible home life, left when he was young, traveled, and devoted himself to his art to the point of starving - though Bukowski got lucky and was finally able to support himself in his later years.

This documentary tells his story, albeit in an abbreviated fashion, with lots of interviews with the man himself, his wife, his girlfriends, the mother of his daughter (not looking well in her later years) and many others. Musicians such as Tom Waits & Bono, actors such as Sean Penn & Harry Dean Stanton and other celebrities such as Lawrence Ferlinghetti and John Fante's wife, Joyce, all give their accolades and show their admiration.

Love the 60's B&W interview footage and the trips through old-time Hollywood. Luckily, many people were enamored with Buk even in his early days, so there is a lot of documentation in his homes and in his readings. There are clips from Barbet's Bukowki Tapes of Charles talking of his parents and the cruelty of his father, including a rather emotional segment in the house he grew up in. There is a very disturbing encounter with Buk and his then-girlfriend and later-wife, Linda, in which he starts to physically abuse her - and her later being interviewed and saying that she never took that kind of shit again.

I could go on, but if you know anything about Bukowski, you basically know his story. The great thing about this is that it gives you images to go along with the words that you have read many times over. No, it is not the complete story - far from it - but that is what the books are for. This is a terrific overview and really humanizes the man. Even Melanie, who has not cared for his writings, felt a fondness for the man and his vulnerability here. I feel that I came to him late in the game - in the early 80's - but there was not much that I learned here, though the format and presentation was all quite entertaining and well done.

Good for beginner and novices to the man as well as hard-core fans - even has Buk reading some of his words, which is the way that you should hear them. See it, for sure.

Muddy Waters - Can't Be Satisfied (DVD)

As one of the top blues men of all time, it was hardly surprising that a documentary would be made of Muddy. He was highly charismatic, handsome, and extremely talented. This tells his story with plenty of photos and some cool video clips, including home movies of him playing in a Chicago club while the patrons imbibe in all manners of drink, dance and debauchery.

Interviews with family members, including wives & girlfriends, band members & peers, and fans such as Keith Richards and Bonnie Raitt, flesh out the story. We are driven around Chicago and shown what has become of the sites that are legendary in blues circles, which have mostly been destroyed.

Co-produced and co-directed by Robert Gordon, who wrote a book on Waters by the same name, this covers a lot of the same ground, but is well worth it for the video and sounds included. Unfortunately, there are no complete performances, even in the bonus footage, but what you do see is sure to convince you that this man deserves the many accolades that he has received.

Good overall documentary, but should be viewed with some of the superb concert footage that is available these days to really give you a feel for the man (M-A-N).

recommended gigs

Friday March 8 - Thee Swank Bastards at the Double Down
Friday March 8 - Crazy Chief at Vamp'd
Friday March 8 - Beau Hodges Band - House of Blues

Saturday March 9 - the Psyatics at the Double Down Saloon

Sunday March 10th - Bogtrotter's Union at the Double Down Saloon w/ Stagnetti's Cock, Bobby Meader band

Thursday Mar 14 - The Lucky Cheats and the LV Country Saloon

Friday March 15 - Tinglerz / Guttermouth @ LV Country Saloon
Friday March 15th - Bogtrotter's Union at McMullan's Irish Pub

Saturday March 16th - Bogtrotter's Union - St. Patrick's Day on Fremont
March 16 - Thee Swank Bastards - Money Plays

Sunday March 17 - The Lucky Cheats at Backstage Bar and Billiards
Sunday March 17th - Bogtrotter''s Union - St. Patrick's Day on Fremont/McMullan's Irish Pub

Tuesday March 19th - Bogtrotter's Union - Samuel Adams party @ Todd English in the Aria

Wednesday March 20 - Thee Swank Bastards Griffin

Friday March 22nd - Bogtrotter's Union - Neon Reverb The Bunkhouse Saloon

Saturday March 23 Thee Swank Bastards @ Dino's

Wednesday March 27 Thee Swank Bastards @ Double Down

Thursday March 28, The Tinglerz w/Surrounded by Thieves & the Moans at Backstage Bar & Billiards

Friday March 29 - the Beau Hodges Band w/Rev Horton Heat  - LV Country Saloon

Saturday March 30 - the Cold Blue Rebels with the Chop Tops - LV Country Saloon

I'll add more as I hear about them! Friends - lemme know and I'll list gigs here, for what it's worth!

Ernest Tubb - The Definitive Collection

As I've said, I am just learning about C&W (a title that Tubb championed, since he felt "hillbilly music" was derogative), so was unfamiliar with this early pioneer of the Texas "honky-tonk" style. Heavily influenced by the "Singing Brakeman", Jimmie Rodgers, I also hear plenty of Hank Williams here in style & delivery. His backing band is simple - no flashy players - but fitting for each of the songs.

Tubb avoids the overtly silly country lyrics, which I appreciate and which, to me, makes the songs that much more listenable. Topics range from World War II, the death of his infant son, alcoholism, adultery (the liner notes claim that he was the first C&W artist to openly approach this subject). His "Blue Christmas" inspired Elvis and once fame hit, he helped other aspiring artists including Hank Williams, Hank Snow, Patsy Cline, Johnny Cash, Loretta Lynn (who he recorded duets with) and more.

This "Texas Troubadour" is a great example of the roots of true Country & Western music. Nice stuff!

Tom Waits – The Heart of Saturday Night

I think that I first came across Tom Waits due to stumbling upon Blue Valentine, digging the cover and then totally digging the beat/jazz stylings within. While I appreciate his later, more arty/noisy/whatever work, his 70’s songs are the ones that stick with me – cuz they are real songs. In a nostalgic vein, yes, but timeless in their own way.

This was his second album, coming after Closing Time and the growth between the two is pretty amazing – I would easily have thought that this (that I somehow missed until now) was a few records down the line. While “San Diego Serenade” isn’t that far removed from his previous singer/songwriter-styled tunes, the rest are far more old school jazz crooners, fueled by swinging upright bass by Jim Hughart and tenor saxophone by Pete Christlieb. You can practically see the beatniks snapping their fingers!

I know that some people prefer his later work, but I love this stuff and am happy to find another album’s worth to dig upon! I highly recommend all of his 70’s work!

Wynton Marsalis – Mr. Jelly Lord – Standard Time Vol. 6

Other than my wonderful wife, dog & family, music is the most important thing in this world to me and damn near every day that I’m alive I realize just how much I don’t know about the wild variety of good music that exists in this world. Another case in point – the music of Jelly Roll Morton.

While I love New Orleans and its indigenous music, I have never been much of a scholar of ragtime or New Orleans jazz. So, I am not one to speak critically of this fun and – dare I say it? – whimsical music, but Marsalis obviously has studied this and has done a great job of recreating it – even to the point of recording in the same room where Jelly Roll once did. He put together a terrific band of players and everyone does their part to bring the sounds to life.

Looking for something to play for your next gumbo or jambalya dinner? Check this out!

RIP Alvin Lee

Alvin Lee Dead: Ten Years After Frontman Dies From Surgery Complications 
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Of course, I was a fan after seeing them rip it up in the Woodstock movie, but have just been listening to their brand of rockin' blues again lately. Sad and once again, far too young.

Junior Brown – Greatest Hits

I have just discovered Junior Brown through friends posting him on Facebook and I initially thought that he was an old-time player since his C&W style is old-school – not the tripe of today. His playing is tasty, highly skillful, damn fast, and he even created his own “guit-steel” – a 6-string guitar with a lap-steel guitar attached to it! He is equally dexterous on both instruments and his playing is a joy to hear.

As I said on my review of the Speedy West/Jimmy Bryant CD, C&W’s corniness has been a turn-off to me in the past and while it can be amusing, it sometimes is so over-the-top that it is distracting. Brown doesn’t go quite that far, but he certainly has his share of country goofiness. Thankfully, his playing takes your mind off of the silliness.

I have picked up a couple of his CDs since first hearing him and this hits package has several songs overlapping on both of those – “Highway Patrol” & “My Wife Thinks You’re Dead” being two of them. I love when he simply lets his guitar(s) do the talking, as in “Sugar Foot Rag”, which crosses the lines of country and bluegrass and has some great string work, which at time – somewhat bizarrely – channels Jimi Hendrix! But, I do like well-rounded musicians!

“My Baby Don’t Dance to Nothin’ But Ernest Tubb” is another example of my previous complaint, but “Freeborn Man” is a stunning guitar workout and a song that lacks goofiness! Yay! This extends to “Too Many Nights in a Roadhouse” and while “Broke Down South of Dallas” and “Semi-Crazy” both border lyrically, they are still cool twangers. “Venom Wearin’ Denim” and “Joe the Singing Janitor” are a bit over the top and fairly inconsequential numbers, but “Freedom Machine” has some truly excellent playing, as does “Long Walk Back to San Antone”.

Definitely not a “serious artist” and obviously he is not trying to be, but damn, can he play guitar! Because of my aversion to lyrical wackiness, I wish he would do more instrumentals, where he shines beyond most of today’s players. But, despite all my bitchin’, he does a good job with his tunes and is a fine singer, as well. Certainly a good place for modern listeners to discover what C&W really is (as opposed to the pap that gets played on the radio these days).

Speedy West & Jimmy Bryant – Stratosphere Boogie

I am new to country music – as a kid I didn’t care for the corniness or the fact that the people who played and listened to this style despised me for my looks and wanted to kick my ass. Hopefully, we’ve all out-grown that now and I have come to appreciate some of the stellar musicians in the field, despite its continued corniness, lyrically. 

Speedy West & Jimmy Bryant are a duo of pedal-steel & 6-string guitarists who created a mix of country swing, jazz, and bluegrass and blew minds with their unbelievable speed. As session musicians as well as artists in their own rights, they recorded literally thousands of tunes (the liner notes claim 6000 for Speedy!) and continue to influences players to this day.

This record will show you why! Literally mind-boggling speed & dexterity are shown on both instruments, while maintaining taste, style and class. I was totally unfamiliar with this mix of country, swing and jazz, so this duo comes as a revelation to me. Whether playing one of their many originals – most of which they would work out during their recording sessions – or traditional bluegrass (“Arkansas Traveler”, “Old Joe Clark”) or C&W numbers, they would imbue every tune with their own personalities. Every tune here rocks and swings and jumps and bops along with strong melodies always in the forefront.

The liner notes tell their story and makes me want to discover more from these two! Absolutely a great find and an instrumental record that has such strong songs that you forget that no one is singing! If you want your music neat and tidy in a safe little box, this is not for you. But for those who appreciate originality and style and fantastic playing, pick it up! 

Magic Sam – An Introduction to Magic Sam

As the title would suggest, this is a compilation, but since I found this at the library I thought I’d pick it up on see what it has that I don’t have on the two Sam albums I own (West Side Soul and Black Magic), since this cat is one of the greats! There are a number of tunes from those two fabulous records, but lots more, as well.

Since everything I have heard from Sam is pretty damn phenomenal, it’s always a pleasure to find more. He is truly soulful in his delivery and playing and he is not afraid to mix things up with different tempos, from cool and slow to swingin’ grooves to frantic stompers. There are several songs in a similar vein (his homage to Muddy Waters’ “Same Thing”), but they all have some hip differences, though they were obviously trying to cash in on the popularity of the first one. That was common with all of the blues cats though – case in point, Elmore James and his million (all cool) variations on “Dust My Broom”. “Do The Camel Walk” takes Freddie King’s cool instro “Hideaway” and adds sax, glockenspiel (!) and Sam’s personal touches, making it into its own thang.

It is a sin and a shame that Magic Sam isn’t bigger in the pantheon of Chicago blues, cuz he was another master of the genre. As an introduction, this does a great job. Pick up whatever you can by the man!

Fleetwood Mac – Preaching the Blues – In Concert 1971

This is an interesting document of Fleetwood Mac in flux. Peter Green has left, “Christine McVie Perfect” has just joined, Jeremy Spencer is about to depart, yet the group is still very much a blues band and nothing like the MOR/Pop group they later became.

This is evident in the opening number, the slide-driven, “Madison Blues”, sounding quite like the Elmore James original. “Purple Dancer” though, does mix the blues (more excellent slide work) with a bit more of a psych/pop tune and this pop tendency continues in guitarist Danny Kirwan’s “Open the Door”. But the return firmly to the blues with their terrific cover of Son House’s “Preaching the Blues” and their take on Elmore James’ version of “Dust My Broom”, both featuring Spencer’s terrific slide playing.

Christine takes the lead vocal on her original “Get Like You Used To Be”, a blues/pop song, that doesn’t really stand out – or show what they would become – but is not bad, either. Straight back into the hard-core blues for “Don’t Go, Please Stay” before the bit more ambitious twin-guitar/harmony vocal work on “Station Man” – not unlike a rougher Wishbone Ash, oddly enough. “I’m On My Way” continues with more psych/pop, with a bit of funky wah-wah, changing things up a bit.

I never really cared for Spencer’s fascination with re-creating 50’s tunes, despite him being quite good at it. On “Jailhouse Rock” he does spit out some fierce guitar lines, but it doesn’t really save the number, and his Elvis imitation, “The King Speaks”/”Teenage Darlin’” is plain goofy – maybe it worked in person but it’s just embarrassing on record. Thankfully, they redeem themselves with a rockin’ “Honey Hush” as their closer.

I enjoyed this CD quite a bit, but it does sound like what they were at the time – a group in transition and not 100% sure what will happen next. Still, some superior blues-rock work here with fairly amazing sound quality (love the loud, present guitars!) and well worth it on that level.

Lead Belly – In the Shadows of the Gallows Pole

I have never been a particular fan of Lead Belly’s most famous number, ”Goodnight Irene”, unless maybe I was drunk in an Irish bar, so I never really looked up much of his other work. Not quite sure what prodded me to pick up this release, but glad that I did. While Lead Belly was more of a “songster” than a bluesman, he shares much in common with them, especially a fierce fire underlying his work.

Of course, “Gallows Pole” is now most famously known due to Led Zepplin’s version, but here it’s old country (English) roots are apparent as Lead Belly adds his personal feelings of incarceration to the tale. Elsewhere on the disc he sings a cappella (on a trilogy that includes “Black Betty”, which was rocked up into a hit for Ram Jam in the 70’s), plays his 12-string guitar and even backs himself on accordion for a couple of songs.

No, this isn’t strictly blues, but the roots are the same, and many of the famous, early bluesmen also played popular songs of the days to augment their set and entertain their audiences. But there are blues-based numbers, such as “DeKalb Blues”, “Bottle Up and Go” and the great political number, “Bourgeois Blues” that most garage/blues/rockabilly cats will recognize from Panther Burns' incredible take on their debut record. Other songs, such as “Big Fat Woman”, “Julie Ann Johnson”, “Whoa, Back, Back!” and the traditional “John Hardy” (here credited to Ledbetter, though the song existed before him – and, oddly, played on the accordion), would more likely be called folk songs rather than blues, though again, the lines can be easily crossed.

This is a good selection of tunes as an introduction to more of the man than “…Irene”. It is a fine starting point and I will be looking for other releases. Just as a side note, there are many typos on the outside cover of the release that I got, which may cause some confusion when looking for particular songs.

The Psyatics / Crazy Chief at the Motor City Cafe, Friday Feb 22

Life has gotten in the way of me posting about this show, but I didn't want to forget it altogether. The Motor City is another fave dive bar in town, booked by the super-cool bartendress, Christy, with a great atmosphere, cheap drinks and good r'n'r! The stage basically has no lights, so photos can be difficult (especially with my camera/phone), but a terrific place to play & see bands.

                                                                      (Jack Ball / Psyatics)
I have ranted and raved about the Psyatics many a-times already and don't know what else to say about them except see them! A hep mix of garage/punk/post-punk and whatever the hell else they feel like throwing in there. Rob Bell is a great songwriter/singer/bassist and drummer Jimmy Krah channels DJ Bonebrake while Jack Bell adds truly interesting guitar lines over it all. Hopefully, there will be recordings soon from these cats!


Crazy Chief is the latest amalgamation from couple-about-town Jesse and Roxie, now fleshed out by Nick Thompson on 2nd guitar (and ridiculously nice guy!), Drew Johnson on vocals and pounder Dan Conway on the skins. These cats and kitten look and sound like a great 70's rock'n'roll band, from the opening Stooges cover to the bashing ending. Loud guitar, tight rhythms and damn good vocals. They are getting lots of well-deserved publicity lately and are playing around regularly so go see them while ya can catch them in the clubs!
                       

                                                                                                                                                                                                           

Muddy Waters & The Rolling Stones Live At The Checkerboard Lounge, Chicago 1981 DVD

Obviously, Muddy Waters was a huge influence on the Rolling Stones - he gave them their name, after all - and they have shown their love for him many times over the years. Here they took a break from a major tour to see the man playing a small club in Chicago. Of course, this is all staged - there is no way that the Stones could clandestinely appear anywhere at this stage of their career - but it does show how much the boys still loved their mentor.

The show starts out with Muddy's band playing a few tunes by themselves, as was common in his shows at the time, and then Muddy takes the stage for a couple numbers - even playing some biting slide guitar, which he didn't always do at this point. The Stones arrive to much fanfare during an extended "Baby Please Don't Go", which becomes a jam as Muddy calls up Mick, pianist Ian Stewart, Keith & Ron Wood. Mick comes & goes during the night and is, quite frankly, the weakest part of the show - he is a consummate showman in his own right, but flailing about next to the intense dignity and presence of Waters, he tends to fall short.

Richards & Wood both perform well, though there are no big sparks flying - just fun jamming among friends. Junior Wells and Buddy Guy make appearances and are both pretty great, but the festivities are brought down a bit by an overly inebriated Lefty Dizz, who I am not familiar with, but his playing here is simply, sadly, sloppy.

Again, a fun, rompin', stompin' jam night, but don't expect any real magic. Muddy was capable of some real entertainment, though his appearances here are all too brief, and his band is good & solid and really hold down the fort as anarchy reigns around them. A good-time video showing what happens when musicians of all calibers get together to let off steam and enjoy themselves.

The Howlin' Wolf Story - DVD

The Wolf is one of the giants of the blues scene and is right up there with Muddy Waters in the creation of what we now consider electric Chicago blues. The differences between the two can be subtle at times, and each have an intense passion, but the Wolf seems to teeter more on the edge than Waters and was known for single chord, riff-oriented blues than memorized while still rockin' and swingin' with a manic intensity.

This DVD includes some fantastic performance videos of him in action and this giant of a man - 6'3" and close to 300 lbs ("of heavenly joy", as the song goes) - would stalk the stage, get on his hands and knees, climb up curtains, bulge out his eyes, lick his guitar & harmonica and sweat out a storm while giving his all. The presence is startling even via video - it is hard to imagine what he must have been like in a small club.

Interviews with long-time guitarist Hubert Sumlin are particularly entertaining and informative - he is quite a character himself - and they talk with Wolf's family, along with period interviews with peers such as Muddy. Footage of greats such as Bukka White appear, as well as a fine cut of Son House from an early TV appearance, but, sadly, House is also shown as the latter-day alcoholic that he became.

This is really indispensable for any lover of the blues - a great story, incredible footage and amazing music. Get it!

The Astaires/All Mod Cons - High Rollers Scooter Rally, The Plaza, Las Vegas

I have certainly never been a mod, though I appreciate their style, mainly because I could never follow all of the rules & regulations - I like a bit more edge &  insanity to my look, as well as my music. But, it is a good look, for those who can pull it off, and the music is generally pretty swinging. The Plaza hosted a High Rollers Weekender and Saturday was the music night, featuring DJ's playing hip 60's tunes and local self-proclaimed mods, the Astaires, as well as a long-running Jam cover band, All Mod Cons.

The Astaires is a trio of young (all right about 20 or younger) Vegas gents who have style galore and a sound that is actually more garage-punk mixed with post-punk than mod, but, as I have raved several times before, have real songs, cool presence and a hard-hitting attack. The mods in attendance showed more open-mindedness than I expected and gave the guys a warm welcome and they received numerous gig offers. Good job all around!

I loved the Jam's first two albums, but was already getting leery of their direction with All Mod Cons, though that is still a good album. I appreciate growth and all, but Weller got a bit more introspective than I care for generally, and I stopped listening. I did get to see them about the time of In The City in Indiana opening for, of all bands, Angel (!), where they were booed by a couple thousand people and applauded by me and 3 others, but they put on a stellar,  amazingly energetic show.

Boston-based All Mod Cons take most of their set from Setting Sons era tunes, (with some earlier stuff, of course) so the set list didn't really knock me out, though they received a good response. The cats are not youngsters (who is anymore, other than the Astaires?!) and with their east-coast look and stockiness, they came off a bit more like wise-guy lawyers than the sleek mods that Weller and Foxton were, and their drummer, who was pretty animated behind the kit, was simply wearing shorts (!), a white shirt and a Union Jack tie. The guitarist did sound like Weller vocally, and tonally everything was pretty much there, but the visual energy was lacking (the bassist would hop a little once in a while, but never lept, as an example).

There were quite a few stylish scooters parked in the back that we explored and it appeared to be a happening event for the mods. As with much r'n'r, it's tough growing old in the mod scene, but I'm glad that the young turks like the Astaires are getting attention, as well.