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CD Reviews
Edited by Dean Budnick
Gov't Mule-Live With a Little Help From Our Friends
By Chip SchrammWhen Warren Haynes, Matt Abts, and Allen Woody left the Allman Brothers Band to strike out on their own venture as a trio, a lot of folks weren't sure what to make of it. Would this be a short run project or a bonafide touring band? Will they have enough energy on their own to keep the clubs and concert halls packed night after night? Are they going to keep in touch with old buddies and invite them to play on special occasions? The answers to all of these questions are laid to rest once and for all on the double-disc Live With a Little Help From Our Friends, their fourth release and second live album. Certainly the amount of material covered by the band up to this point proves that they are three mules in it for the long haul. Their concert success all over the country throughout the past several years is also a testament to the soul and fire they bring to a live performance on any given night.
This album is well thought out and masterfully mixed and produced. Gov't Mule picked this past New Years Eve's concert for the album. Several members of the their musical family attended that night at the Roxy and lent their own unique touches. The special guests themselves are a collective group of legends and legends-to-be. The multi-dimensional Randall Bramblett and keyboardist Chuck Leavell, both members of Sea Level in the late 70's, add classy touches on saxophone and keyboards. Bernie "Purple Wu" Worrell from Parliament Funkadelic lays down some deep grooves on several tracks. Marc Ford of the Black Crowes and Jimmy Herring (Aquarium Rescue Unit, Jazz is Dead) contribute guitar work to compliment Warren's blazing licks. Throw in slide guitar Jedi-in-training Derek Trucks and his drummer Rico Scott to the mix and what you have is an all out power-jam. You would think with a lineup like that, the Roxy would have blown a fuse somewhere!
The song selections themselves are also very well chosen. Originals written by Warren Haynes and Gov't Mule are mixed in with rare cover songs to the delight of the fans on New Year's Eve. The first disc of the set starts out with originals. Matt Abts' mysterious rhythm on the wood block gives "Thorzine Shuffle" an appropriate beginning. The subtle, creeping jam on that very first track lasts nine minutes on its own before segueing into a short instrumental titled "Dolphineus." At this point, the crowd has a big countdown and Warren wishes everyone "Happy New Year." He then surprises and rewards Mule fans by breaking out a rare but powerful rendition of "War Pigs" by Black Sabbath, raising both the intensity and sound levels for the rest of the disc. The next track is the first with a guest, Marc Ford on guitar. The band then breaks out "30 days in the hole" a song originally performed by Humble Pie. The dark vocal imagery and hard-edged guitar licks traded by Haynes and Ford do the song quite a bit of justice in my opinion. "Mr. Big," the next track, also features Ford and Haynes trading off mean guitar licks in much the same fashion. Things shift gears a little after that as Chuck Leavell joins the Mule for an Elmore James blues number "Look on Yonder Wall." The eleven minute jam that follows showcases both Leavell's legendary ability to play keyboards with anyone at any time, and also Gov't Mule's flexibility as a band. They steer the jam into a ragtime direction and bring the Roxy to its knees.
The seventh track on this album is my own personal favorite. Warren Haynes' epic ballad "Soulshine" is an inspiring song no matter how many different musicians are contributing, but this version can't be compared to any other. Bernie Worrell joins Leavell in the keyboard section (Leavell plays Wurlitzer piano, Worrell plays organ) and Derek "Younkin" Trucks joins his soul brother on stage for the most incredible slide guitar jam I've ever heard on CD. Indeed, the opening organ riffs by Worrell also send chills up my spine each time I hear them. Probably the most amazing thing about this particular track is that Derek broke a string in the middle of the song. The take was so spectacular that Gov't Mule decided to keep it anyway. Gov't Mule and Friends close the first disc with their seminal workingman's song "Mule." Matt Abts really shines throughout the extended jam, driving the song into new territory during the 18 minute long track.
Disc two is much more freeform than disc one. The most obvious thing about it is that it only has four tracks, each more than ten minutes long. Sad and Deep as You, written by David Mason (of Traffic), is a haunting piece well accentuated by Randall Bramblett's soprano saxophone. Allen Woody also shows his skills on the mandolin on this track. "Devil Likes It Slow" and the final track "Afro-Blue," include some inspired moments from Jimmy Herring on guitar. Warren also can't resist the temptation to sing one more ballad, so he digs deep to belt out a soulful rendition of Neil Young's "Cortez the Killer." As one might imagine, any track that is nearly thirty minutes long could be considered a stand-alone piece. Afro-Blue is all that and more. I'm not going to try and do this version justice in words; I simply can't do it. I will just have to say that it highlights each musician's strengths and incorporates them into a classic rock masterpiece. Rico Scott joins Trucks, Worrell, Bramblett and Herring to support the band throughout this track.
I encourage anyone who likes jammin' blues and rock collaborations to get a copy of this album. I know several people who had heard Gov't Mule before, but weren't sold on them until this album was released. It marks a milestone for the three founding musicians as well as a couple of their friends. Around the same time the album was released, Derek Trucks was invited to join his Uncle Butch in the Allman Brothers Band full time. Hopefully, if music fans are lucky enough, collaborations between these fine musicians will continue for some time to come.
Kingfish- Sundown in the Forest
By AJ Abrams420 has become an international hippie holiday. And this year fans of the San Francisco Bay Area sound have an extra special reason to celebrate. On April 20th (4/20) Kingfish's first studio album since1978, "Sundown in the Forest" will be released. The album features an all star cast of Bay Area musicians performing pure American roots rock. It mixes the traditional Bay Area sound with blues and country. Although the musicianship on the album is top notch the tunes emphasize superb songwriting over jamming. The songwriting on "Sundown in the Forest" is simple and effective and it is a fun, carefree album to listen to.
Mathew Kelly (harmonica, guitar, vocals) is and always has been the leader of Kingfish. But the band's family tree has always been a who's who of the finest Bay Area musicians. And "Sundown in the Forest" is no exception - Bob Weir (guitar, vocals), Jerry Garcia, (guitar), Steve Kimock (guitar) and Bobby Vega (bass) are the biggest names featured throughout the album. Longtime Kingfish members Barry Sless (guitar and pedal steel guitar) and Mookie Siegal (keyboards) are also along for this brand new Kingfish album.
The first two tunes on the album give Kingfish a thoroughly contemporary sound. While the rest of the album is more traditional americana music, these first two tracks show that Kingfish isn't just a roots revival act. They sound right at home in the 90s creating modern music reflective of our times.
The album opens with female vocalist Jenni Muldaur telling us that "Nothing ever hurts as much as love." Her smooth, sultry vocals help to update Kingfish's sound while the music shuffles along in an infectious groove similar to a Scarlet/Fire jam by the Dead. Fred Campbell's bass playing also adds a funky touch. She also sings lead vocals on two other songs. The next song is the title track, dedicated to Julia Butterfly Hill and the struggle to preserve our environment for future generations. It begins with a haunting, exotic sounding introduction that paints the sonic picture of a rainforest. The beautiful album cover also helps set the scene. The cover shows the sun setting on a lush, tropical rainforest. Colorful frogs with the Kingfish logo emblazoned on their backs frolic in the trees. Vocalist Danny Rio warns us that "Trees are the lungs of the planet, cut them down and she cries. If we don't stop this madness, it's doubtful we would survive." Bob Weir, himself a supporter of rainforest causes, sings backup vocals on this song. "It Don't Take Much" follows and is an interesting hybrid of rockabilly and the Eagles. Matthew Kelly sings the verses in a bluesy/rockabilly style while the chorus of "It just takes you and me" is sung in laid back Southern California Eagles style harmonies.
Jerry Garcia rises from the dead to contribute guitar work on the album's best song, "Ridin' High." Garcia laid down the guitar tracks in 1973 and Mathew Kelly lovingly restored the previously unreleased rhythm and lead guitar parts especially for this album. "Ridin' High" begins with a slow country flavor featuring beautiful harmonica playing from Kelly and some nice pedal steel work by Robert Powell. The song gradually builds, picks up steam and becomes a feel good groove. Once the groove kicks in this tune oozes with positive vibes and cosmic, cheerful karma. "Ooh I'm in no hurry, I got no place to go. Not a care and not a worry in mind, to keep me feeling low." Songwriter/vocalist Sam Cutler sings as the music drips with a laid back California vibe. But as soon as he ends the song with the classic Grateful Dead line "With your love light shining," Garcia takes off on a magical guitar solo. The band jams behind him as his unmistakable tone really does shine as bright as a love light.
Mathew Kelly dedicates another song, "Every Little Light," to the memory of Jerry Garcia. Kelly used to sing the emotional ballad in concert with Ratdog, but now has cut the perfect studio version to remember his friend. Throughout the song Kelly's harmonica cries out in sadness, portraying the solemn feeling of missing Jerry.
As Garcia's guitar solo fades out of "Ridin' High," Bob Weir's vocals kick off the very next song, "Padlock Cufflinks." This song is perfectly suited for Weir's vocal style. In an agitated, gruff voice Weir describes a man who "live like a cave creature...He got tatoos from the rock pile, He got connections that would make you cringe. He like a reptile from the gutter. You deal with him you can expect a singe." Weir's voice sounds as slimy as the person he is singing about and Greg Douglas' slide guitar playing also helps give this song an edgy feel.
Other highlights of the record include a blues rendition of the Bob Dylan classic "It Takes A Lot to Laugh, It Takes a Train to Cry" and the Country Joe McDonald tune "Starship Ride," a psychedelic country romp featuring Bob Weir and Barry Flast on co-lead vocals. The album rocks to a close with an updated version of the foot stompin' Kingfish classic "Jump for Joy"
There is a huge mix of singers, songwriters and musicians that appear on this album. The songs were recorded at many different studios over several years. But, incredibly the entire album sounds like one unified band. The producers and engineers of this album did a spectacular job to make such a varied collection of people and studios sound so cohesive.
"Sundown in the Forest" will surely please all fans of the traditional Bay Area sound. The album is American roots rock at its finest. The liner notes add: "This album honors the history of Kingfish, and Kingfish related musicians past and present. It also takes this band into the future in an epic way."
"Sundown in the Forest" can be ordered through Phoenix Rising's website - www.radiophoenix.com.
Max Creek-Spring Water
review by Paul L. "Pro" Pearson, Ph.D.If you talk about jambands that have been around the block, Max Creek is one of the first you should mention. The reason they've survived for almost three decades? A great vibe and an honest groove. Their sixth disc, Spring Water, is a living snapshot of the Max Creek experience, and their first release since 1990. Although it is doubtful that this disc will penetrate the commercial scene, it is nevertheless one that jamband fans should enjoy.
The magic from two nights at the Webster Theater in Hartford, CT in January, 1998 is flawlessly captured on this ten song Wranger Records collection. Formed in Connecticut in 1971, Max Creek was named for John Rider's (bass, vocals) boyhood Virginia town in the Blue Ridge mountains. With a core lineup steady since 1979, Max Creek continues to tour and play for large, appreciative crowds as the legend continues to grow in the northeast and beyond.
"Wild Side" starts the disc with an upbeat jaunt to the island-influenced side, then extends into a nice type I jam that ends peacefully. Rob Fried is solid on the conga, while Rider's bass both drives and expresses. Scott Murawski (guitar, vocals), penned "Something is Forming," an up-tempo romp through the pleasurable uncertainty of love, and is at home on the fretboard in the pursuit. "Hard Love" is a bluesier number written by Mark Mercier (keyboards, organ vocals), that may evoke afterimages of Little Feat or even the Band. The crowd is clapping along on the beginning of "You're the Only One," a jazz/blues ride that Scott Allshouse (drums) is right on top of. "You Let Me Down Again" is a standard-fare rocker, while "Angel of My Mind" is somewhat slower. "Leaves" is an unexpected pleasure and a true ear-catcher, as the tempo drops way down with Rider holding the melody line while Murawski builds the blues into pure expression, counterpointed by Mercier. An effective funkier blues, "Love Makes you Lose Your Mind" follows and is lyrically my favorite on the disc. "Just A Rose" ends the disc with a harder-edged jam and some help from the crowd.
The energy and groove that permeate this disc are undeniable, so it's easy to see why these guys have a growing fan base and a reputation for fun shows. Although I find the vocals too harsh around the edges for the material, Rider's standout bass work is subtle, yet pervasive and tasty, driving the music along in conjunction with Allshouse and Fried. Murawski's guitar runs and Mercier's keyboard beauty are above the industry average, but rarely threaten to propel the jam segments into leaving orbit. Likewise, the subject matter and lyrics are pretty standard fare throughout, mainly focusing on the ins and outs of love and relationships, with the occasional witty turn.
Max Creek fans will no doubt enjoy this addition to their collection, and those unfamiliar will find it a good disc to mix in with their current favorites. Max Creek has carved their niche in the jamband world, and is busily exploring that territory. You are advised to stop by for a cool drink of Spring Water yourself.
Comments?
pro@strangepleasures.combaaba SETH- live at the end of the world
by: Dave RiouxLet's start by saying that baaba SETH are the self-proclaimed "United Nations of Music". The CD is entitled "Live at the end of the world", and it is a musical montage of sounds, instruments and influences from around the world. However it seems that the political opinions expressed in their web site ( www.baabaseth.com) seem to be directed wholly at the "American establishment" more than any other government. Many of which I can agree with, but hardly a world view. However, this is a review of music, not of political agendas or religious ideals.
A rhythmically charged mix, I can feel the dancer want to emerge almost immediately. Head bowed, arms raised, feeling every pulse of the entire rhythm section reaching out to me. These guys didn't miss a beat! Latin rhythms woven in with african percussions; fretless bass melodically keeping the backbone; a great blend executed by some talented musicians. According to their notes on the band, the drummers seat has had a couple two or three butts planted on it. I swear I couldn't tell by listening. Jim Ralston's timing was excellent, and the groove was seamless with Len Wishart's percussions. The whole thing would be incomplete if I didn't mention that Derek Bond's bass playing takes on many faces, and he wears them all well.
The brass section is what really got me! I've always loved a good brass section. You know that kind "Sly and the Family Stone meets Paul Simon's Rhythm of the Saints". Sharp brass comments brightly declaring the spirit to the skies. I've got an especially soft spot for trumpet, which when played well, has you leaping and smiling. I wanted to make sure to mention that Tim Lett's trumpet playing did just that, definitely the highlight for me. Not to underrate Mark Maynard's trombone or Hope Clayburn's many contributions.
Dirk Lind's vocal's help to make the picture complete. He has an urgent insistence in his voice that appeals to me, and rather resembles Ziggy Marley. I know most vocalists hate to be compared to anyone, but it does help to give you an idea of his talent. The utmost in quality, without being polished. He on rhythm guitar and Mike Chang on lead, make for a wonderful blend.
Great to listen to, better for dance. "Live at the end of the world" grew on me more and more with each listening, as any good CD should. It's been in constant rotation in my collection since I got it. Which in itself, says more about the CD than anything I've written here.
Banyan- Anytime At All
by Benjy EisenA Banyan tree is one whose branches stretch out until they themselves form new roots, and from those roots - new trunks. And as unlikely as it may seem, Stephen Perkins, drummer for Jane's Addiction and Porno For Pyros, has assembled an all-star cast whose branches do indeed resemble that of a Banyan tree but whose experiments in the studio go far beyond twigs and bark. The cast of characters which comprise the second release from Banyan have been pulled from an impressive array of musical avenues including artists who have worked with everyone from Prince to 2Pac. Ratdog bassist Rob Wasserman, guitar wizard Buckethead, jazz great Nels Cline and punk legend Mike Watt all make gratuitous contributions to the album, along with a wealth of others.
And while most super-groups tend to cut disks which merely show off the players' masturbatory skills, there's little wanking going on here - instead the album appears to provide an excellent outlet for name musicians to try their skill at cross-genres, improvisation and even a little acid jazz.
Not surprisingly, the album itself treads over a wide range of musical styles, from the infectious groove-jazz of "Justine" to the trip-hop stylings of "Steel Head". "La Sirena," one of just three vocal tracks on the disk, would fit snugly on a Church album while "Looped And Faded" would bode well as DJ Logic material. Flea and John Fruscianto from The Red Hot Chile Peppers appear on "Grease The System" spotlighting a soulful and artfully understated side of their playing.
Buckethead, the guitar virtuoso who has worked with everyone from P-Funk all-stars to John Zorn, takes the track "Sputnik" and transforms it into a near-Band Of Gypsies composition, while famed post-bop jazz guitarist Nels Cline transforms "New Old Hat" into Bitches Brew like material.
Mike Watt, best known as a founding member of seminal punk-rock bands The Minutemen and fIREHOSE contributes a surprising track ("Loving Them Pounds") which combines elements of big band swing and calypso. Rob Wasserman adds generously to the 15 minute freewheeling acid jazz experimentation of "The Apple and The Seed"
Through it all, the album has a certain flow to it, thanks in large part to the consistently inventive drumming and percussive flair of Stephen Perkins. Perkins, who toys with a number of percussive Stephen Perkins. Perkins, who toys with a number of percussive instruments throughout, becomes the central conductor who successfully ties the album together.
All in all, "Anytime At All" is an album which pulls together an unlikely band of superstars and creates what is very likely the most listenable album I've heard in 1999 thus far. I'd recommend Anytime At All, to anyone at all, all the time.
for more info on Banyan visit http://www.cyberoctave.com
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