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CD
Reviews
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Edited
by Jesse
Jarnow
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Index To Reviews
"Life Before Insanity" - Gov't Mule "Life Before Insanity" - Gov't Mule
Insanity - 1 a: unsoundness or derangement of the mind usu. occurring as
a
specific disorder (as schizophrenia) and usu. excluding such states as
mental deficiency, psychoneurosis, and various character disorders. B: a
mental disorder 2: such unsoundness of mind or lack of understanding as
prevents one from having the mental capacity required by law to enter into a
particular relationship, status, or transaction or as excuses one from
criminal or civil responsibility 3 a: extreme folly or unreasonableness b:
something utterly foolish or unreasonable. Insanity comes in many shapes and sizes, and it continues to become more prevalent as our world gains complexity. Those who fall under its spell have parts of their normal lucid lives littered with bits of obsession, addiction, and/or compulsion. Gov't Mule's fifth album, "Life Before Insanity," is comprised of songs which explore many views of insanity. These songs distinctly relate the feelings of people who feel mentally deficient, or somehow painfully detached from society. The band punctuates its message with concise instrumental sections and worldly lyricism. Some of the themes are so related, I wouldn't be surprised if songs share characters. While many that are fans specifically of the band's live instrumental digressions may be disappointed with this disc, the group focuses on the songs, and delivers them with focus and strength. I'm sure the band will never permanently shed its love of long, improvised instrumental passages. Their previous major release, "Live With A Little Help From Our Friends," features a wealth of improvising (as does their other live disc, "Live At Roseland"). Even the other two studio releases featured more instrumental work, and less heavy-handed production. Their choice to put this approach on the shelf for this recording perhaps may be in part due to the band being aware that it has a strong batch of songs here. The Mule continues it success working in conjunction with Michael Barbiero, who produced each of their other four major releases. Barbiero's more pronounced presence garners impressive results. This disc is loaded with future classics, starting with a song that already has opened many a Mule live show, and is only fully appreciated at ear-splitting volume, Wandering Child. Drummer Matt Abts and Bassist Alan Woody open the disc with an understated syncopated groove. This gives way to a fiery riff from guitarist Warren Haynes that mimics the groove as Woody and Abts abandon it and shift to a grinding rhythm. Wandering Child is the one track that may seem most truncated compared to live versions, but it is a nice punch in the chin to prepare the listener for what may be the release of the year so far. The introduction and mid-song jams may be a bit short, but is a full throttle, souped-up, hard-rockin' romp. It also sets the table for the disc by touching on a theme that often precedes insanity, vulnerability. We have a lonely young child that's "drowned in shame, drunk with emotion" searching for strength and solace in an unforgiving world. The potent blend of Warren's power chords and Alan's ornamental bass lines over Matt's muscular drumming captures the desperation of the lyric. The song builds to an angry apex as Warren sings, "Till I find out who I am. Now that there's no one here to show me." The title track ensues, providing relief from the robust lead track. Clearly something catastrophic has happened to the character of this song, as he reflects on his Life Before Insanity. This song speaks to the tendency for people to turn inside when answers aren't available around them. Warren sings with measured passion, and effectively captures the contemplative nature of the song with the ethereal textures he gets out of his guitar. The Mule is a unique power trio that has more than a little understanding of the importance of nuance. This is one of many tracks on the CD that benefits from the understated colorings of all three members. There is also a brawny bridge that is pure Mule. Warren's singing on this track (as well as Fallen Down and I Think You Know What I Mean) reveal the influence Paul Rodgers (lead singer of 70s rock band, Bad Company) has had on his vocal approach. Bad Little Doggie rocks with a "livin' on the edge of life" intensity. The fast-living character of this song is criticized for abuse, "your bad behavior has finally caught up to you;" and for being a stubborn hothead, "Fire can't melt you, when you're mind's made up. But ice can't cool you, you naughty little pup." Haynes' vocal and the driving changes in this number reflect the angry and admonishing voice of this song. This is a quick, punchy tune with a hot guitar solo; FM program directors should definitely lend an ear to this song, and consider it for airplay. The soulful Lay Your Burden Down is an ideal number for Ben Harper to sit in on. Harper's ornamental lap steelwork, and his achingly soulful lead vocal on two verses, are key parts of this standout track. Haynes also belts out a "from the gut" lead vocal, and he Harper form a sonically pleasing blend. Johnny Neel guests on keys, lending some subtle ornaments that seem to reveal themselves a bit more with repeat listens. Haynes' guitarwork is restrained at first, but he bridles the energy and gradually builds it to a feverish pitch with Harper's delectable slide inputs jumping in at just the right moment. This is another track to be played at a high volume, try it. I looooove it. Barbiero's production brilliance is most obvious to me on Fallen Down. This is a number that I saw the band tackle live a few times last year, and I've never felt much for it. With the vocals out front and clearly audible, and Johnny Neel's inputs on the organ and Wurlitzer woven throughout, the song takes on a profound feel. I don't know if it's the mix, or the specific performance, but I found myself caught up in the lead character of this song. The mournful tone of this song echoes the hopelessness of its main character, which has reached rock bottom. When Haynes sings, "But hindsight is very clear when loneliness is falling. And destiny's still calling," the character's pain comes through full force. Warren makes great use of each note on a prudent solo that preludes the final refrain. It's a nice updated (and, let's face it, considerably more well written) version of the ballady rock that was particularly popular in the seventies. World Gone Wild speaks to the uneasiness, and loneliness associated with disillusionment. Haynes exchanges gentle riffs with Neel before charging into the song. His vocal alternates from a hazy, torpid sound with his usual voice, suggesting two voices in the song, one of which is a sort of omniscient narrator. The other is our protagonist who has been "left alone in this wilderness" and beaten down by it. Neel's decorative organ work is everywhere, first kneading the grind, then bolstering a concise and powerful Haynes solo. The band builds the rhythm behind Warren, as he repeats "Is it all a dream?" Haynes captures the frantic nature of the desperation the song speaks to without being too gratuitous. He reserves the jaw-dropping guitar acrobatics for the song's second, and final jam. As Warren is cooking up this solo, Abts drumming grows in ferocity, and the two of them power up the energy over Woody's rock solid base bringing the song to a robust close. It may not be up to the Mule's live intensity, but like Wandering Child, it comes as close as one could expect in a studio setting. Tastes Like Wine features a character trying to get his life together, perhaps even going through withdrawal. The delicacy of the quiet acoustic portion of the song is a perfect juxtaposition for the more charged section during which Haynes sings, "The Gods must be nervous - can't you feel it shaking inside you? World must be trembling like I am." The band captures the bi-polar nature of people trying to make a large-scale change in their lives. Warren's acoustic solo is maybe his most delicately precious studio playing to date. Insecurity is explored in the sultry I Think You Know What I Mean, a dark song about dignity lost. Hook Herrera adds to the dark nature of the song with some bittersweet harmonica, at one point soaring to a high sound that Haynes first joins, then weaving into a solo of his own. The song is an acute blend of seduction and swagger, sounding like Paul Rodgers singing with Los Lobos. This is the one song on the disc that I felt was particularly cut too short. As the track fades on a bluesy Herrera solo, Warren begins to engage him in some interplay, and I rush to the volume knob to catch every second that is included. Let's hope the full version appears on some kind of compilation in the future. Pink Floyd's Goodbye Blue Sky comes to mind during the haunting Far Away. Not only are the songs slightly similar musically, they each convey the alienation associated with complete isolation frighteningly well. I immediately thought of Syd Barrett when I first heard Haynes sing, Someday I'll know what's going on inside my head. For now, I'll just stay here." Haynes even sprinkles some David Gilmour-esque guitar licks into his instrumental approach. After the last few notes of Far Away sweetly fade away, Abts' gentle drum beat eases the band into No Need To Suffer. This is the one piece that falls short of holding its own among the strong material that makes up the rest of this CD. While Alan Woody's messaging bass is beautiful, blending gorgeously with Haynes' guitar textures similar to those on the title track, the lyrics don't stand up to the sonic lushness of the song. We * are * treated to a rare Woody studio bass solo, which gives way to a spiraling Haynes lead, each of which serve to save the track. The disc closes with In My Life, a number about a soul beaten down by its lingering demons. The voice in the song is shocked at the familiarity he feels while watching someone else follow his (her) path to destruction. Warren's slide acoustic guitar blends sweetly with Alan's Dulcitar. Matt Abts work on djembe and ashika lends itself well to the organic feel of the track. The CD's bonus track is a not-so gentle reminder of another thing this band is capable of, some good ol' down home slide driven blues. Warren rips some piercing slide guitar on a scorching version of Robert Johnson's, If I Had Possession Over Judgement Day, one final plea for clarity in a convoluted world. It's a fitting 2 1/2-minute post-script to an introspective, compelling CD. Gov't Mule has always been a great live band. They have honed their sound particularly well in the last couple of years, silencing even some of the critics that initially found them to be too abrasive. Recently, they have been have been quite consistent with their creative and energetic performances. I'm not the only guy who suddenly finds myself wanting to see this band as much as I possibly can. Already arguably one of the most aggressively improvisational live bands anywhere, now Gov't Mule has proven they can make a full CD with focused versions of thematically linked, outstanding songs. Any fan of this group would have to be insane not to purchase a copy.
"Spirit Into Sound" - Mickey
Hart Hypnotic. That one word sums up "Spirit into Sound" better than any other I can think of. It is also, however, way too short so allow me to elaborate. Remember when Mickey would play the balafon during the Drums/Space jams of the mid-80s? That enchanting, yet incessant repeat of which contained both rhythm and melody. The hybrid mix of sound to the ears, and resonance you felt in your chest; in your core. The undeniable feeling that it was your core after a time. Did it pull you in? Do you wish it could again? Mickey Hart has recently released his third effort in a series of CDs with an accompanying book. The first pair of these was entitled "Drumming at the Edge of Magic". It was the self-proclaimed "long preface" to the later, and more well known, "Planet Drum". Both of which have now been succeeded by his latest effort, and likely not his last, "Spirit Into Sound". For a taste of the book, and an intriguing interview with Mickey done right here at JamBands by none other than our own Dean Budnick, go here. Together with Rebeca Mauleon, Mickey has produced one of the more introspective collections I have heard from him since "Dafos". The feeling of which is less aggressive than most of his previous releases, but far more hypnotic. The laid-back and mysterious groove sets in deep, at the primal levels of mysticism and wonder. Very few egos are entrenched in the production of its sound, even the line-up is a mere skeleton crew. We are blessed by long-time friend and spiritual counterpart Zakir Hussain on the majority of cuts, as well as a peppering of other talented artists which include: Rahsaan Fredricks, Bob Weir, Bobi Cespedes, Haroon Tahir, and Ustad Sultan Khan. Mickey has again resorted to what he likes best; mainly natures instruments: The human voice and the drum. As in many of his previous projects, Mickey selects some of the most beautiful voices to take us where he wants us to go. When the direction was down and dirty, primal and aggressive, Airto was there. And when we were to be returned to ground level before being lifted even further skyward, Flora. With "Spirit Into Sound" we are now gently guided to into world of the Shaman and the layer in-between by Rebecca Mauleon's haunting vocals. I readily admit I do not understand the words, nor do I feel the need. As with the drum, the language we are communicating in is universal, no translation is needed. I can shut my eyes and regress to the desert at the sound of Mickey's Tar during Elephant Walk, drifting over dunes with the melody as my head detaches from my body to sprout wings and flight takes over, I am no longer here. Or I can be propelled into rhythmic dance during Chroma, possessed of spirit that is and is not me; my mind swimming in the ripples of the Udu's reach, accented by glass harp and wood blocks. To hear a perfect example of the mystery expressed in Rebeca's voice, Hidden Beach is the perfect vehicle. To write about a disc whose main function is the embodiment of the musician's spirit in the form of sound is no easy undertaking. How to describe the feeling drums arouses in me is hard enough without having to critique the actual artist responsible for not only my own comprehension of these strange and foreign instruments, but the actual ownership of them as well. What started out as interesting interlude in the middle of the Dead's second set became for me as well as for countless others, a life-long obsession. The purchase of, and struggle to learn and play such things as the Dun-Dun, the Udu, and the Tabla's led me to such things as collecting deer antlers and hooves on hiking trips, in an attempt try to understand and explore some of my own sounds, and in effect me as a spiritual being. It seems as impossible to me to try explain why I feel the need to play music, as it is to offer up any number of descriptions as to how I feel when I listen it. When all things are right, music is just there; it is I who transcends as a result of it. That is unfortunately the ultimate review of "Spirit into Sound" and something I could never describe.
"Dick's Picks XV" - the Grateful
Dead It's debatable whether a review of this CD is even necessary. To those of you who might not be sure: this is one of the most celebrated complete shows (9/3/77) from one of the Dead's best years, and, as with all DP's, the price is reasonable and the care put into the packaging and sound quality is commendable. In fact, most people who care that this CD exists have already bought it. There may be those who aren't sure whether or why they should care, though, and that's understandable. Since Dick started the series, he faced a few dilemmas: complete shows or highlights? Rare shows or shows which many consider the best but which might be common in trading circles? Or, to put it more broadly, why bother putting these shows on CD? As for the first two questions: since DP5, Dick leaned mostly towards full shows, and often towards ones that were well-circulated. In this reviewer's opinion, the first decision is great and the second quite okay. There may be several '77 shows that circulate only as mediocre AUD recordings that have as many musical highlights as 9/3/77, but few are as unique or momentous. Perhaps that leads to the best answer to the last question posed above : certain shows say as much or more about the Dead's artistic evolution as any studio album, and are equally worthy of the platform of official CD release. Granted, DP15 circumvents the above reasoning a bit : reportedly, one of Dick's motivations to pick this show was the vault tape's sonic superiority to the widely-traded FM recording. And, certainly, 9/3/77 has fewer surprises than many shows from, say, '68 to '71. By this time, the developments in the maturing band's sound were subtler, and on the way to becoming negative as often as not. Still, this show is a standout in Dead history for several reasons : it was the first after a three-month break, with both Donna and Mickey performing under medical strain, and the band played to a crowd of 100,000. Also, from a musical perspective, this show may be the last hurrah of the jazzy 76/77 Dead sound, which soon gave way to the streamlined arena-rock that characterized much of the Dead's later years. Like most '77 shows, this lacks the spaciness found between '72 and '74. However, the band's vocals are at a peak, as is the rock power and the sheer *certainness* of their jamming. Check out Mississipi Half-Step - Jerry has something to say with his guitar, and the band provides multiple exclamation points. They could also stretch out in fine style, as Eyes Of The World and Not Fade Away prove. There are no duds, and each song offers a bit of detail - Phil prodding here, smoky vocals there (they played Estimated Prophet nearly every show this year, and you can hear how psyched the band is about the song every time - ditto the slightly-less-frequently-heard, especially as an encore, Terrapin Station), and a drum and whistle intro to Truckin' that I haven't heard elsewhere. My one complaint would be that, as a show-as-CD-quality-musical-statement, this one doesn't rank with 5/8 or 5/9/77 (and who knows what other '77 shows other Heads might mention). 9/3's Not Fade Away starts with an overlong spell in what-song-are-we-playing musical-debate land and doesn't reach the same ecstatic highs as 5/8 (although Donna's scream after the first chorus is worth the CD price by itself), and the show has nothing to equal the beautiful pacing (better than any GD studio album side) of 5/8's St. Stephen > Not Fade Away > St. Stephen, Morning Dew run. What to say to this? Well, despite taking into account all of the arguments above, Dick must have concluded that there was no time limit, and fortunately, the folks at GDM have taken up his task and proven him right. R.I.P.
"Dick's Picks XVI" - the Grateful
Dead
When Dick Latvala passed away last summer following a fatal heart attack,
his legacy was captured in a five-CD vessel entitled "So Many
Roads", which also happened to collect some of the finer moments in the
history of the Grateful Dead's thirty year career. The entire set allows the
listener to audibly hear the link between every era in Grateful Dead
history. In a sense, it is the first accurate musical survey of the Grateful
Dead outback -- a clear map placing everything in its proper evolutionary
berth. With such an atlas in place, perhaps future Dead scholars will use
the track listings on "So Many Roads" as a kind of latitude and longitude to
place the band's music in its own context -- which is where it really
belongs, anyway.
The latest installment in the "Dick's Picks" series - the second
post-Latvala, the first post-"So Many Roads" - documents a complete show
from the old Fillmore Auditorium in San Francisco, taped November 8, 1969.
In terms of a "So Many Roads" measurement, that would be something like
II/1.04 -- on the second disc of the set, a little less than halfway between
tracks one and two. Placed in between those tracks, it makes perfect sense.
The first track on the second disc of "So Many Roads" is an absolutely
primal version rendition of the complete That's It For The Other One
suite from February 1969. The energy is incendiary and the music seems to be
pulling aggressively in all directions. The second track is labeled simply
the Beautiful Jam and, if anything is, this is it. Recorded in
February 1971, it is the Grateful Dead embarking on one of the most graceful
flights of fancy of their career. They settled on one of the directions from
'69 Other One, one of the roads, and exploited it. It soars and
little more need be said for it.
The transition from the Dead of '69 to the Dead of '71 is by all means a
logical one. Listening to the two tracks side-by-side makes that very clear.
That doesn't mean the transition didn't occur. It did, and it can be heard
clearly on "Dick's Picks XVI".
As evidenced on the first disc, the band's repertoire is in transformation.
This period saw the introduction of many of the original country-blues songs
that would supplement the band's already broad psychedelic songlist. In
fact, the show contains the earliest known performance of Cumberland
Blues. Truth be told, it shows. Much of the first disc features inspired
yet extremely sloppy playing -- the raw power that drove early crunchers
like The Eleven and Caution (featured on the second and third
discs respectively) drives the "Workingman's Dead"-era tunes presented here.
It's as if one strapped a hot-rod engine onto a locomotive. The energy is
high in both of them, it's just a different force that drives 'em.
More accurately actually, it's as if one dropped a hot-rod driver
into the control room of a locomotive. He's used to the speed, but not quite
sure how to handle it. He might apply the brakes differently, might be
unsure of how the thing accelerates, might forget that he has to pick up
passengers ... if a rendition of Jesse Fuller's Monkey
and the Engineer were on the album, I could have a whole lotta fun.
Nevertheless, the band is still learning how to play many of the shorter
roots-influenced songs. One can hear glimmers of the swiftness the band will
soon achieve, but not much more than that.
On the second and third discs, the band fares much better -- while they're
not sure how to use that new deftness on its own, they can and do apply it
with a large degree of success to what they already know. Dark Star
begins lazily, quite different from the downright uptempo versions the band
was playing just a year earlier, with a long and leisurely duet between
Garcia and Lesh reminiscent of a more mature version of the rapport the two
refined at the Mickey and the Heartbeats shows the previous fall at the
Matrix.
After the first verse, and a quick Feelin' Groovy jam, Lesh leans in
slightly - only slightly - and pushes in the direction of the Other
One. The drummers are right on top of it with cymbal splashes.
Unfortunately, the whole band feels kind of sluggish as they drop into the
groove. It's nice, but without the punchiness or vitality that define other
versions. As Garcia lets loose a series of saxophone-like trills, the rest
of the band manages to rally together behind him, dropping into a more
convincing version of the theme. And after that, another drop into a quieter
space.
All this gracefulness are the first signs of the band that would produce the
Beautiful Jam a little more than a year later. Following some
meltdowns - oh, and the verses - the band moves briefly back into the
Dark Star melody before embarking on the most beautiful twenty
seconds of the album, if a little predictable. As the band veers away from
where they would normally enter the last verse, Lesh begins the closing
bassline to Uncle John's Band. Garcia picks up on it quickly and
drops into a triumphant little pattern reminiscent of the "Yub Yub" song
from the end of "Return Of The
Jedi". No shit.
The band precedes to swoop through an instrumental rendition of Uncle
John's Band - neat to hear, though messy - before landing in a fairly
typical Saint Stephen > The Eleven. The acceleration into
Caution out of the Eleven, like normal, is a joyous one. One
gets the sense, however, that the band is back on familiar ground. The first
disc is the band clearly on new territory, and kind of not doing too well
with it (if only they had "So Many Roads" to guide them). The second disc is
the band struggling to perfect a style of graceful improvisation that they'd
ultimately succeed with. The third disc is the band doing what they did best
at the time: stinging psychedelic blues.
The material - Caution > The Main Ten > Caution > Feedback > We Bid You
Goodnight with filler of a Turn On Your Love Light recorded the
previous night - is a perfect culmination of the band's career to that
point. Just as the Beautiful Jam would ultimately capture the best of
the band's grace, and "Europe '72" would perfectly document the band's
ability to play fluid country-blues, the third disc of "Dick's Picks XVI"
has the band nailing everything they had been working on.
"Natural Bridge" - Bela
Fleck
When I saw the promo sticker on the case of this classic bluegrass album, I
nearly laughed out loud. "This CD if for promotional use only, any
subsequent sale or redistribution is punishable by law."" Like I'm gonna
sell THIS. It was hardly a chore having to listen to it. It was really
more of a lesson in the development and evolution of modern bluegrass.
First released back in 1982, "Natural Bridge" describes both the name of
the album, title of the last track on the album, and also serves as a
metaphor for the stylistic segues that occur from song to song. While
Vassar Clements and I were pondering the key to the recent resurgence in
bluegrass and folk music earlier (with few definitive conclusions, I might
add,) listening to this later in the evening provided perhaps more than a
shred of evidence.
The players on the album are all renowned masters of their craft. Bela
Fleck on banjo, Mark Schatz on bass and Jerry Douglas on a wicked Dobro,
make up the core trio, but they are only the foundation of the much larger
structure to the album. Names like Mark O'Connor (guitar), Darol Anger,
Sam Bush, Ricky Skaggs (all on fiddle at one point or another,) Mike
Marshall, and David Grisman (both on mandolin) read like a who's who of
bluegrass and folk music. All the songs are written and arranged by Fleck,
but each is unique unto itself. Most of the songs are short and the
performances are extremely tight, something I find amazing given the sheer
volume of different players on the project. Much like his friend and
inspiration Grisman (the second track is entitled Dawg's Due,) Fleck
explores and blends different genres, without sacrificing the integrity or
quality of his work.
The CD starts out with a somewhat traditional bluegrass picking stomp
entitled Punchdrunk. This opening number along with Bitter
Gap and Rocky Road are the closest to "standard" bluegrass on
the album, but they still are accented by Fleck's own personal touches and
those of his fellow musicians. Ricky Skaggs, quite well known in country
music circles, adds a nice bit of string fiddling to the former.
Flexibility has a snazzy feel to it, and all of a sudden they aren't
really playing bluegrass anymore. It certainly sounds like the same
instruments, but at any moment Frank Sinatra could break into a touching
version of Moondance without losing a beat. October Winds,
one of the longer tracks on the album at 5:48, also steers the material
into jazzy waters. This track has an odd syncopation mostly because
Grisman and Marshall recorded through opposite channels on their mandolins.
Fleck also gives Grisman a chance to show off on Dawg's Due, of
course. This third track features Grisman flying around the neck of his
mandolin while Bela spirals rings around him on banjo. Daybreak has
a very peaceful, child-like nursery rhyme quality to it. Simple yet
intricate at the same time, it is almost a microcosm for the rest of the
album as a whole. Old Hickory Waltz is a fitting title for track 9,
featuring Buck White on mandolin. The final track on the album is the
title track, and it does not disappoint. It mixes almost all of the
elements on the album into one tastefully done casserole, with just
Grisman, Anger, and O'Connor supporting the base trio. The longest track
at 6:53, it is also the most complex. Overall "Natural Bridge" is a
shining star in the galaxy of modern music, earning itself a prominent spot
on the timeline of bluegrass development and fusion. I had never heard it
before now, but that seems to be the whole point of re-releasing it. Any
bluegrass or folk music fan, young or old, should add this to their
permanent music collection.
"Live At The Variety Playhouse 7.10.99" - Blueground Undergrass
"The twang was right and the music was tight," describes this album
perfectly. The line is from the song I Don't Want to Leave and this
album
is so good you won't want to. You will just want to get down with some
down-home, homegrown, organically created pure American roots music.
The name Blueground Undergrass seems to give the impression "This is not
your father's bluegrass anymore." Pardon the reference to the old
Oldsmobile slogan, but the band name conjures up images of progressive,
experimental, cutting edge bluegrass. In actuality this is not the case.
Most
of the music on this album is straightforward bluegrass. Luckily though
there
are several times when the music does hit unique creative peaks. But
generally the musical compositions aren't quite as adventurous as the name
implies. The musicians themselves are another story, and the individual
musical performances here are spectacular.
This is a first class bluegrass band, no doubt about it. The band consists
of
Rev. Jeff Mosier (lead vocals, banjo), Johnny Mosier (guitars), Mark Van
Allen (pedal steel), Edward Hunter (fiddle), and Michael Grando (drums). In
particular the sounds of the banjo, fiddle and pedal steel rise above and
take over the basic framework of the actual songs. Throughout the album I
followed the path of the fiery fiddle, the poetic pedal steel and the
boogying banjo. The eerie, moody, provocative sounds of the pedal steel add
an epic, dramatic quality to the songs. And the fiddle and banjo just flat
out rock, or shall I say, pick'n'roll.
For the most part, this is indeed your father's bluegrass. But there is
absolutely nothing wrong with that. Especially when we're talking about
bluegrass legends Dr. Ralph Stanley and Bill Monroe who are each honored
with
a cover song. This album presents wonderful, joyful, entertaining, foot
stompin' bluegrass. Some songs do combine rock, funk, jazz and bluegrass to
create a special sound. There are several points when the music leaves
bluegrass and heads out into other territories. In fact, the album's opening
song Zambilly is one of them.
Zambilly seems to set the stage for the out of this world wacky
weirdness
that I originally expected from this band. The song is a three and a
half-minute sparse collage of percussion, freaky tuning and spacey noodling.
It sounds like the band is preparing for take off into a distant musical
galaxy. It is a musical introduction that fits in with the Blueground
Undergrass name. The genre bending continues onto the second song,
African
Hillbilly. This funky country flavored romp features a frenzied fiddle
solo
layered over a thick funk groove. It could easily be an example of what the
band calls hick hop.
Unfortunately the next song, Take This Hammer, kills all the momentum
built
up from the first two songs. "Take this hammer, and hand it to the captain,"
Jeff Mosier sings over and over. Instead I would like to take the hammer and
smash this annoying song. The song is a traditional song, but I really don't
know why the band chose to cover it. There are a few cover songs or songs
written by someone outside the band. But Blueground Undergrass' original
songs are strong enough to stand on their own. They don't need any help, so
why have they enlisted help? The best songs on this album are the ones
credited to bandleader Jeff Mosier. I wish there were a few more of his
originals included here.
The album's best songs occur smack dab in the middle. Red Haired Boy >
Orange
Blossom Spatial and I Don't Want Leave combine to form the
centerpiece of
this album. Red Haired Boy in particular is the finest piece of music
on
the entire record. It starts out with just the banjo and fiddle playing the
main melody of the tune. Gradually the rest of the band joins in and the
melody marches on with a Celtic flavor. It's a catchy piece of music and I
wish it lasted longer than four minutes.
The wonderful vibes radiating from the music are steam rolled over by an
abrupt segue into the Orange Blossom Spatial. This is a train song
and the
train rudely runs over the melody of the Red Haired Boy. Train
whistles can
be heard, and the music chugs along to simulate a train. This musical train
begins to gather steam and the jam becomes pure American steel muscle like a
locomotive. Jeff Mosier picks his banjo at a furious pace to keep up the
train moving. And move it does, as the ragin' train jam becomes a highlight
of the album.
And the jamming continues as the next song is about just that. Jeff Mosier
explains that I Don't Want to Leave is about someone who gets freaked
out
at his first bluegrass jam session. As he sings "Teach me to play your music
from another world," the music attempts to take us there. It's a bluegrass
world of course, and bluegrass jam sessions are intense. This fiery jam
reflects that intensity.
The pace slows down with Seven Daffodils, a ballad that features some
hauntingly beautiful pedal steel guitar work. But things pick up again as
the
album begins its homestretch with a Farewell to Lemmings. This unique
tune
sounds like the swing classic In The Mood meets Miles Davis' So
What with
a little bit of Bela Fleck thrown in.
Bluegrass musicians always pay tribute to their forefathers, and this album
closes out with songs honoring two bluegrass legends. Oh Death,
written by
Dr. Ralph Stanley is noteworthy because at 15 minutes it is the longest song
on the album. And the album ends with a faithful version of Blue and
Lonesome, in memory of Bill Monroe, the father of bluegrass.
Blueground Undergrass have lofty goals to turn bluegrass into music from
another dimension. They want to use traditional bluegrass and Americana as a
stepping stone to the next mystical musical level. But currently their sound
relies too much on straightforward bluegrass. It will be interesting to see
just how underground, cutting edge or trail blazing their bluegrass will
become in the future.
This live album was recorded by legendary internet DAT taper/guru Doug Oade.
Along with his brother he makes the patch cables that almost all tapers use
to patch together long daisy chains of DAT decks at concerts. The quality of
this recording is superb, a fact even more remarkable considering the low
price of this album. It is part of the Phoenix Presents series. All of the
live albums in this series are $10. They are produced as limited edition and
are available only through the bands themselves, Phoenix Presents , the Homegrown Music Network,
and a few other jam band friendly places. They are not available in stores.
"Too Many Years" - Jorma Kaukonen
Jorma Kaukonen has been recording and performing for over forty years now.
These days his
work at the Fur Peace Ranch
is taking up quite a bit of his time. Not only does Jorma spend a good
amount of time sharing his craft, but he also takes part in many of the special events
that take place at The Ranch. It's a good sign for the future of music
that there are hundreds of musicians under Jorma's tutelage every
summer.
However, Jorma still has some time to tour and record, and his most
recent solo release "Too
Many Years", is definitely a "must have" for even his most casual
fans. I hesitate to call this the best of his career, because who knows
what the hell is out there?! However, I've kept up with him for over twenty
years, and this is clearly his best output that I am aware of, outside of
his work with Hot Tuna.
>From the bluesy realism of the opening Fools Blues to the
spirited cover of Friend Of The Devil which closes the CD there is a
consistent soulfulness underlying the music on here. The players on the CD
make up the members of the Jorma Kaukonen Trio that actually has some shows coming up in April and
May. Pete Sears' understated work on piano and organ is vital to the
music. Michael Falzarano is in his best voice to date, and his rhythm
guitar supports Jorma without getting in his way.
While the title track has less sting than the biting darkness of
Jorma's solo version on his "Too Hot To Handle" CD, it still succeeds in
delivering the pain associated with fading love. Jorma's vocal approach
combines with Sears' elegant organ to create a mournful tone. Johnny Cash's
Home Of The Blues is a perfect follow-up, as it tells the story of
one who is content to be immersed in music. Sears lends a smart accordion
solo to the mix, and Jorma offers an expressive lead vocal without
sacrificing clarity.
Jorma rearranges the bluegrass standard Nine Pound Hammer and
turns it into a jaunty blues. His phrasing is Dylan-esque, as he twists
some words, and like Bob, uses the "rush to catch up" style beautifully.
His judicious approach to his guitarwork fits in perfectly with his
arrangement. There is even a quick change in chord progression in the
instrumental break that I've not heard in other versions of the song, giving
the ear a mid-song tickle. He also injects his own inimitable style into
Ronnie Self's Big Town. Jorma sandwiches two killer acoustic solos
around a nice Sears lead. At one point, Jorma repeats a series of notes in
his own familiar style, injecting extra soul into the rendition.
I still remember the first time I heard Gypsy Fire at the '98
Charlotte Furthur show. Hot Tuna was opening for The Other Ones. Even
though I was deep in anticipation of my first Other Ones show, I was
blind-sided by the elegance of the song. Plus, Jorma took a breathtaking
solo in a style that we don't get to see him play every day. While this
version is not as crushing as that one (check out the "And
Furthurmore" release for a more strident version) it is still a
sparkling track. Jorma lends some dizzying guitarwork during and after the
final refrain. Jorma is refreshingly willing to share the spotlight as he
includes Michael Falzarano compositions on his own CD. Falzarano is well
represented as a songwriter by Gypsy Fire, and his 50s flavored blues
romp, Larue Larue. Jorma scorches his lead on this one, exhibiting
his ability to liberally fire notes out without muddying the feel. You
Got To Move also hearkens back to days of yore. I especially enjoy
Jorma's lyrical playing on this one.
When I first saw Hot Tuna at the Boston Orpheum back in November of
1983, they played a song called Junkies On Angel Dust late in their
set. It was an explosive version of which I still have vivid memories.
Unfortunately, I didn't pick up the lyrics at the time, nor have I
understood many of them in any of the versions I've seen since. Well, it
appears on this album, and now it's called, Man For All Seasons.
Jorma's extra effort on vocals really pays off on this one. Instrumentally,
this is a more controlled version than the mind-bender's Hot Tuna used to
toss out. There is some sweet Sears/Kaukonen conversation at one point, and
Falzarano's prudent rhythm guitar quietly bolsters the performance.
Fans of Arlo Guthrie may hear strains
of Gabriel's Mother's Highway Ballad #16 Blues, in Heaven On
Earth. This pleasant Kaukonen/Falzarano instrumental may not be the
strongest track on the CD, but it does showcase Falzarano's mandolin
ability. Speaking of Falzarano, I believe this represents the first release
with him taking the lead vocal on a Rev. Gary Davis song. With him singing,
Say No To The Devil, Jorma is freed up to add some extra baubels in
the verse sections of a Davis song. Jorma's piercing steel guitar and the
urgency of Falzarano's vocal delivery crackle out of the speaker. Sears'
lead on the organ is one part church, another part honky-tonk. I love this
number, and it's a fun song to put on just as your headin' out the door.
The pining Hypnotation Blues lets Jorma and Pete display their
considerable acumen as soloists. The bed of simple lyrics and straight
ahead blues progression becomes a launching pad for some stellar guitar
work. Sears lays subtle organ behind Jorma, but it's his lead work on the
piano that sticks in the mind. Jorma's unusual approach to builds, and his
knack for blending subtlety and strength are on full display here. This is
an eleven minute track that feels like half that.
The creative opening to Friend Of The Devil foreshadows that
this will not be like any other FOTD ever heard. They lend a jovial
feel to it, while still displaying compositional respect. Perhaps the
experience of three Furthur Festivals has rubbed off on Falzarano, as he
sounds more than comfortable delivering the lead vocal. Jorma's guitar solo
finds him sneaking in subtle Garcia references without straying from his own
style one bit. Sears piano tickling gives way to some aggressive pounding
that powers the song into another Jorma lead, as he cooks up "ol Red" before
concluding it with one last Garcia reference in his summation.
It is an appropriate closer for an album by a man who has never been
shy about the "trickle down" benefit of being associated with The Grateful
Dead. Many Deadheads are more than thankful for his meaningful
contributions on the Furthur tours. There is so much more to Jorma than
this association though, and he seems to be as healthy as a horse these
days. I look forward to Jorma recording and performing for many more years,
as one can never have too many years of Jorma.
"Cosmic Smile" - Spirit
Starting off its archival series, the Phoenix Media Group does a noble job
of a difficult task with this CD. The fact is that the Sony megacorporation
owns Spirit's best work. However, Cosmic Smile is an eloquent coda to the
Spirit story, or, more specifically, that of guitarist/songwriter/vocalist
Randy California, who died tragically in 1997. A collection of 90's
California recordings, mostly solo, this CD states the case capably for the
endurance of his artistry.
A bit of background : though not as well-known as they should be, Spirit
were among the best American bands between 1967 and 1970, in the days of
their first lineup. Their radio hits I Got A Line On You and
Nature's Way (both California songs) are good, but only hint at the
complexity of their style. The first four albums, ending with the classic
"12 Dreams Of Dr. Sardonicus", spotlight killer playing and eccentric
jazz/rock songwriting that anticipates Phish rather more than the Dead
albums of the period.
However, creative tension put an end to that lineup and, when the dust
settled, California and drummer Ed Cassidy ended up the principal carriers
of the Spirit banner. Originally based on the interaction of five unique
individuals, Spirit never fully recovered from these shifts. Like most
other Spirit albums after "Sardonicus", "Cosmic Smile" is not unlike a
Beatles album with only Lennon and Ringo.
However, though California got little attention for his later work, "Cosmic
Smile" should be a pleasant surprise to those who only know the earlier
Spirit. As the title hints, California did little to avoid being a relic,
and the drum machines and social commentary ("Drive-by shootings, gangs and
wars/After this commercial, the football scores") can be awkward. If you
have a bias against aging hippies, this CD probably won't change your mind.
Overall, though, "Cosmic Smile" shows that California did a job of
transcending the decades worthy of comparison to Santana or Fripp, and
without the reliance on younger players that those guys have exhibited.
From the start of the first cut, it's clear that he lost none of his skill
for off-center hooks, and his vocals may have even improved. The solo
acoustic cuts (Fire, I Had A Dream) are no less effective than
the psychedelic rockers (Shake My Ego Down, Compromise). Three
instrumental cuts prove that his guitar playing, firmly in the Hendrix mold,
didn't deteriorate either. References to death ("If I'm gone, you must go
on") add poignancy.
The Phoenix folks could have done more to steer the artwork and title away
from the pseudo-psychedelic packaging style that has helped other late
Spirit releases make their way to the cutout bins. Below the surface,
though, they make their point about this artist. Filter away the digital
production and any of these cuts could have fit comfortably on one of those
60's albums.
Buy the Sony/Legacy Spirit reissues first. But, if those reel you in, get
this to hear a surprisingly comforting view of how the story evolved after
that classic era ended.
self-titled - No Glue
I just listened to No Glue's first album twice straight through to prepare
for this review. And I'm not exaggerating when I say I'm physically
exhausted from the endeavor. The album consists of three long
self-contained live improvisations taken from audience tapes of No Glue's
second and third ever gigs, which went down a year or so ago in humble
surroundings (a dorm and a pizza joint) in Burlington. The music is
wonderful, and deserves a much larger audience than they apparently had at
these gigs. But I can understand why more people don't turn out to see this
kind of frenetic, free jamming. This album is so abstract and polytonal,
and requires such intense concentration that it challenges the listener to
make it through its 50 minutes.
The band consists of Stacy Starkweather and Gabe Jarrett (formerly
two-thirds of the Jazz Mandolin Project) on bass and drums respectively,
joined by Greg Matses on guitar synthesizer. The band's goal, as one of
them says in the "special bonus track" (a post-gig conversation with an
inebriated audience member), is No Preconceptions which is also the
title of the first and free-est jam. At that they succeed admirably. The
band establishes their roots by opening the album with jazz piano courtesy
of Matses' MIDI rig. Seconds later they're off, as Stacy lays down a
bubbling funk bassline, which the others fit around obliquely. Soon the
funk dissolves to volcanic rumbling drums and high scraping sounds from
Starkweather's six-string bass, which in turn give way to joyous calypso,
all complemented by winds, strings and unearthly sounds from the guitar.
For 23 minutes they wander, letting the music take them wherever it will.
Every time they approach coherence as a band Jarrett's drums turn free, or
the guitar turns to ambience, or the bass gets swallowed in its effects and
the trio runs off exploring again. The territory they cover in that time is
admirable, and in such a long piece of totally improvised music they never
threaten to lose direction.
The other two jams, Broken Candle, and Sandbox, are more
restrained
than No Preconceptions - and each about half the length - but no less
stunning. Jarrett drums like a barely domesticated animal: calm one
minute, furious the next, breaking from ambiant cymbal rolls to mind
bogglingly fast afro-cuban beats when you least expect it. Starkweather's
melodic bass is spacy and beautiful, laying out wonderful Jaco-esque leads
drenched in chorus and flange. And Matses proves himself an able funk
guitarist in the opening of Sandbox, but spends most of the rest of
the
album as a shapeshifter- a violin one second, a pipe organ the next, and a
choir of celestial voices in between.
This album is not for the faint hearted. There are neither vocals nor
written songs, and long stretches of ambiant dissonance permeate every
track. But anyone interested in top notch improvised music played by
astounding musicians aught to love every second of "No Glue." I
personally am looking forward to hearing a lot more from this excellent
band; I hope they can find enough of an audience to support a tour and
future releases. Hopefully, the current climate of the jambands scene,
which has produced such wonderful acts as The Slip and Miracle Orchestra,
can find a place for "No Glue" as well.
"Live At The Royal Albert Hall" - Ladysmith Black Mambazo
Ladysmith Black Mombazo has
been creating their singular style of a cappella (termed "isicathamiya" in
Africa) singing combined with an at time vigorous, and always visceral stage
presence for over 35 years now. Their music comes from traditional Zulu
dance songs, as well as songs that touch on desire, protest, and war. The
enigmatic and esteemed Joseph Shabalaba leads the ten-man ensemble. Their
live performances feature lush, rich, and captivating harmonies sung with
infectious vigor. Their songs are peppered not only with energetic
synchronized motion, but also stirring musical subtlety. The Boston Globe
has described their music as "a soulful interweaving of voice and
spirit."
They also have a storied history. They first garnered attention when a
1970 African radio broadcast led to a major contract. Their collaboration
with Paul Simon on his hugely successful "Graceland" album gained them
immense notice in the eighties, particularly here in the US. Buoyed by
"Graceland"'s success, Mombazo became de facto cultural ambassadors of the
post-Apartheid South Africa. Ladysmith has endured because of the strength
of their material and their palpably spiritual performances. They continue to perform
internationally today, having just wrapped up tour of the Southeastern
US, they are headed for England, Scotland, and Wales. They are not shy
about speaking out not only about the injustices of Apartheid, but also the
residue of this oppression that still lingers in South Africa to this
date.
While an audio recording of a live Ladysmith performance can't capture
the entire beauty of their show, "Ladysmith Black Mombazo Live At The Royal
Albert Hall" does do the group some justice. The disc, culled from an
appearance at the legendary venue in 1999, displays many examples of their
soaring harmonies. They are led by Joseph Shabalaba, and his charisma as a
leader is evident on Ngamthola. His rich, powerful lead is peppered
with a variety of clicks and pops from his mouth, and supported by the
immense bed of sound provided by his cohorts. Shabalaba is truly one of the
most amazing vocal performers on the planet. The way he shifts from weaving
in and out of the harmonies of the chorus, to lending a exemplary lead to
call and response carries the energy of Abadala, which is introduced
with a mini-skit that references inter-generational chasms. This song
blends their native Zulu language, with English lyrics, at one point citing
the idea conventionalized in the States, "you can lead a horse to water, but
you can't make him drink."
While most of their lyrics are sung in their native tongue, Zulu, Ladysmith does perform a
few
other songs with portions in English for this London audience. The
desirous Hello My Baby (not the same song Phish covers), finds the
orchestra of voice peppered with group kisses for "my baby". Their choice
to address the object of desire of the song with a "hey baby" sounds elegant
rather than condescending coming from this magnificent choir. King of
Kings speaks to the timeless longing for peace, and it displays the
choir's ability to roll through even the most abrupt tempo changes with
ease. It also closes with some pleasantly percussive vocal frolicking.
The anthemic, Rain Rain Beautiful Rain sings praises to the sky.
Their voices weave elegantly in and out of each other each time they return
to the timeless lyric, "When the sun says good night, to the mountain, I am
dreaming of your sight, say goodnight." The final song is in English, and
it is their most popular. Shabalaba co-wrote Homeless with Paul
Simon, (Joseph is credited as sole songwriter of every other track on the
disc) and this performance is even more enjoyable that the more famous
"Graceland" one.
The Zulu dance song, Wena Othanda, also features some
percolating mouthwork that acts as a percussion section. This helps LBM to
convey the lusty nature of the song even though it is sung in Zulu. There
is a curious fade during a strong section of this peace however. The crowd
responds to the opening notes of, Inkanyezi Nezazi (Star and the
Wiseman). The ensemble delivers their largest sound on this one,
perhaps in response to the crowd.
The crowning jewel of the disc is Phansi Emigodini (Deep Down In The
Mines), a song dedicated to the men who work in the mines of South
Africa. "They work very hard for not much pay" a band member announces.
That is followed by another skit, which seems to symbolize a labor meeting.
There is much symbolism in this lengthy song, like the one section that
finds the chorus repeating a phrase endlessly, symbolizing the repetitive
nature of the work in the mines. This is an invigorating sonic journey,
with some incredible sounds emitting from various members' mouths at
different times. It also serves as a creative, artistic tribute to the
mineworkers.
I will admit that while I find their live performances beguiling, and
often leave their shows wishing I could see even more, I rarely hear LBM's
CDs from start to end. I find it most enjoyable to listen to Ladysmith
Black Mombazo in 15-20 minute spurts. Some of their music also can serve as
an interesting bridge between songs of disparate musical styles on a mix
tape. I am not really a fan of cappella music, with the exception of groups
like Take 6, The Bobs and The Persuasions my knowledge is cursory. However,
when it comes to Ladysmith, Ngiyabathanda Labafana!
There is a unifying force to the Mombazo music. Shabalaba puts it best
in a quote included with the liner notes when he says, "our music is about
peace and harmony, it breaks through boundaries of colour, religion, and
nationality with a message of hope."
By the way, Ngiyabathanda Labafana means, "I love these guys" in Zulu.
"Many Different Colors First and Last" - MDC
As consumers of rock music in America, we have come to expect certain things
from an album. Albums are created by bands or musicians as a diary of music
that they have created collectively over a distinct period of time. At this
fundamental core, "Many Different Colors First and Last" by MDC defies the
laws that constrain our ability to be open-minded musically. When MDC
removes the filters and rules by which our minds operate to consume music,
First and Last becomes a creative and far-reaching musical project.
This album is not a band of musicians that have played together at length
before. Some of the musicians who compose the music seem to not have even
played together on this album- except through the magic of the recording
device. Overall, this appears to be an album revolving around the producers
and writers of the music. Producers Michael Carr and Gary Lyons, with song
writer Mick E. Dean attract and direct a musical cast of characters that
metamorphoses before your ears. These musicians are accomplished and
talented, and whose names are a whos who of studio and entertainment
industry regulars.
The most recognizable name on the list is Paul Schaffer, whose charm,
personality, and keyboards enliven the Late Show and the CBS Orchestra
nightly. His distinct sound and character becomes a face in the crowd in the
midst of the talent that is assembled here. His bandmate Will Lee provides
bass for some of the tracks. Drummers include the accomplished Bernard
Purdie, Shawn Pelton, and Alan Schwarzberg. Purdie, who is best known for
his work with Steely Dan, Aretha Franklin, and Quincy Jones is coupled once
again with Chuck Rainey who is also known for his work with Steely Dan,
Franklin, and Marvin Gaye ("I Want You.) Pelton has worked with everyone
from Shawn Colvin and Celine Dion, to Billy Joel, and the Brecker Bros. Add
to this mix such luminaries as Jeff "Skunk Baxter" on guitar (Steely Dan and
the Doobies,) Steve Conte on guitar and vocals (Maceo Parker, Billy Squier,
Crown Jewels) and Elliott Randall on guitar (Steely Dan) and you have a
supporting cast that could launch any vehicle.
Shaped by Mick E Deans songwriting and Gary Lyons engineering, MDC creates a
diverse group of songs that spread the gambit from R&B to Techno. Along the
way they visit symphonies, funk, rap, and progressive rock. At times the
songs appear to be written for Dream Theatre, and other times they appear
headed for a dance hall album. Its difficult to get a grip on the musical
intentions here before they flit and fly into another realm, barely letting
you catch up. The album can at times be visionary and yet appear retro and
reflective. This is an album that you will never get a full handle on, its
purpose and executionary style will always evade your understanding.
But what about the songs? Chucky's Bass Boogie is playful and
energetic. Jive Boy Blues is quite authentic, evoking the 70s sound
of Steely Dan with good reason. It has a jazzy, lounge feel that is not the
least bit tired or hokey. This is probably thanks to the brilliant rhythm
section and the relaxed vocals. Been There is both straightforward
and ethereal. I know who ran the Iron Horse is another quality
number, complete with a backward masking intro. This song illustrates the
musical chasm straddling that is evident throughout the album, this song
alone combines 80s pop with fusion, rock, soul, and vocal pop.
This album is intended for the audiophile, someone who will relish the
playing and appearance of these musicians with extreme prejudice. While it
is easy to become encumbered by the 13 years and 30 musicians it took to
create this album, they need to be honored and respected. Don't come to this
album looking for something to throw on while you do the dishes, or when
youre getting ready to go out. For this album is meant to impress more than
to entertain. And it is impressive.
self-titled - Fat Apple
Although I've heard of Fat Apple<
for quite some time, I became particularly curious about them after last
August's Wormtown Music Festival in Rhode Island. My personal informal
survey of a few attendees revealed that Fat Apple was on everyone's minds.
Irrespective of what band people had primarily attended the Festival to
enjoy, Fat Apple's all night set deep in the woods at this Festival was
considered a highlight of the weekend. Few people actually saw the entire
performance, as they literally played ALL NIGHT. Everybody spoke highly
of the performance's energy, as well as its length.
Since then, I became familiar with some of the band's songs from
hearing them on the Dunhams' radio show in Atlanta (one of the few
commercial radio vehicles in the country where organic, improvisational, and
roots rock bands can be heard). I heard Fat Apple many times on this weekly
program, usually the song Government Cheese. Now that I've seen the
band a
couple of times, and I own their CD, I am one of their newest fans.
The band is composed of Chris Pastore and Scott Lloyd on guitars, with
the bearded Barry T. Cooper on percussion and Dave Lawson on drums. Kenny
Howard is on bass on the CD, but Ben Whitten has replaced him in the touring
band. Chris delivers most of the lead vocals, and his singing is so good it
belies the fact that he actually became the lead singer by default. The
band's original singer had an amazing voice, I'm told, but he struggled with
his stage presence.
Their first CD explores some folks that at first seem on top of the
world, but upon closer examination are actually mired in self-indulgence,
greed, and lethargy. At once it both criticizes and celebrates these folks
in a fashion that would even impress Garry Marshall (creator of All In The
Family). While the main character of Jack Splat leads a fast-paced,
fun-loving life, he also pays the price for it. This song is about this
shady Jack character returning to some place from his past, and the lyrics
chronicle a conversation he has with his former community. He seems to have
a positive self-view, "I don't feel no pain, of passing time; I got no
religion, I got peace of mind." It's the community folk that reveal his
darker side, pointing out not only does he owe the ol' folks some money, but
also that he's "trippin' on the vitamin A," and "workin' for the man with
the colorful necktie." He is admonished in one stanza as, "Jack Splat, full
of crap; with a second-hand blazer and a case of the clap; you better watch
out for the man on the street, you'll be gone a long time if they read your
rap sheet." This street savvy, world-aware lyrical approach is intrinsic to
the beauty of this band. So are the sweetly blending guitar tones, each
displaying a jazz sensibility in their lead and rhythm parts.
The Dunhams run one of those unusual commercial radio programs that
will air the most interesting tracks on a CD, whether or not they have
mainstream appeal. As I mentioned, Government Cheese, an outstanding
track,
was a fixture of this program last fall. It is definitely one of the better
studio performances I've ever heard a young "jam band" deliver. It
celebrates the freedom of a life without the pressures of work and corporate
influence with driving rhythms, trenchant leads, and poignant lyrics. There
are some vocal drop-ins reminiscent of "Overnight Sensation" era Zappa work,
like when the term "self-employed" is offered, as the term preferred to
"lazy." The song builds lyrically to the final verse line "We can never see
through the eyes of the big man who judges and holds all the grudges,"
displaying a surprisingly mature sense of songwriting rarely seen on debut
releases. This tune would make G. Gordon Liddy freak, as it partly
venerates a Welfare attitude. The percussion drives this song, particularly
during the long instrumental break. This section starts with an understated
guitar solo, which breaks down into a brief section of pleasant ensemble
playing. This is followed by some rockin' lead guitar, which in turn is
followed by a brief bass interlude, catapulting the band back to the chorus,
and the end of the song.
It is either a big coincidence or a clever tribute, but Dance By The
Light Of The Moon, references Los Lobos, and it has a distinctively
Lobos
feel. Los Lobos has an album titled "By The Light Of The Moon," the title
lifted from their mournful number River Of Tears. The guitar and percussion
in particular remind me of Los Lobos, and the chorus brings Steely Dan to
mind once again. The instrumental break starts with tight ensemble playing,
before giving way to a smartly crafted guitar solo which features some nice
interplay with the rhythm section. It is also refreshing to hear a song
that celebrates a woman for her boldness, rather than merely for her outer
beauty. The woman in this song is saluted for waking up the song's voice
from a pornographic dream, controlling the TV remote, and keeping him up all
night.
Never is the shadow of Steely Dan cast more thickly over this band than
on the opening of The Show. I wonder to myself if Donald Fagan
heard this,
would be impressed or outraged (or both). This song glides along gently,
with some unusual time signatures thrown in to keep the ear from getting
complacent. Once again, the lyrics represent a striking world sense for a
still relatively young band, "blessed with imagination, took me all this
time to finally realize, that I'll never get to use it, within the
limitations of this social compromise, that I have made." There is also a
nice long passage of exquisitely restrained gentle lead guitar over a gentle
rhythmic push.
Lunchmeat has some infectious hooks, any folks with a jamband radio
show should certainly consider this song and the aforementioned Gov't
Cheese
for airplay. There is a nice tone to the lead guitar, and some probing bass
throughout the cut. The song has one instrumental that takes off in a
completely different direction while still maintaining the feel of the
track. The measured lead guitar first offsets the agile drumming, before
gradually buildings, then dropping into some muscular low notes that bring
the song to its close.
There were only two disappointing tracks on this CD. Shakedown hits
me as generic funk, it is probably better represented in a live setting
where the band can inject improvisation more liberally. Dance Little
Brother isn't musically interesting enough to make up for its painfully
trite lyrics. However there is so much on this disc it is more than worthy
of purchase.
It's not surprising to me that these guys can pull off a set like the
one at Wormtown. This is a hard working band that maintains a rigorous
touring schedule. At one recent Atlanta performance, they were standing in
front of perhaps their smallest area audience to date. Many bands would
have been discouraged, or even outraged. Undaunted, Fat Apple decided to
turn the negative into a positive by performing an adventurously exploratory
first set, of which I hope to procure a recording. While they did seem to
cut the second set short (they had a full day ahead of them), they rewarded
the audience that remained to spirited versions of some brand new material.
While this CD only broaches what this band is capable of in a live setting,
it is a strong debut release. My biggest problem with it is that it could
be longer, but those who believe "less is more" would argue that that isn't
a problem at all.
"Show Low Album" - Ennui
Upon hearing Chapter 2 Paragraph 3, the first track from Ennuis debut
release, a heaviness begins to settle in to the listeners mind. An apt
comparison to this feeling can be found within Lord Alfred Tennyson's "The
Lotus Eaters". The sailors lost on an island partake in some poppies and the
resulting description is:
Why are we weighed down with such heaviness
Time driveth onward fast,
Let us alone. What is it that will last?
In silence ripen, fall and cease:
Give us long rest or death, dark death, or dreamful ease.
How sweet it were, hearing the downward stream.
Tennyson's opium induced sentiments here are not far from the feelings
conjured by Ennui. With a Pink Floyd/3-Mile Pilot sound and wildly poetic
lyrics, this band takes the mind to some esoteric places. In a sense, Ennui
is able to create the feeling of floating numb under a chemical substance
with music.
Obviously the next question is how. First Ennui is highly repetitve and
painstakingly subtle. According to Eastern musicians, repetition is
religious and taps into the sound (OM) that created the universe. Musicians
such as Ravi Shankar and U.Srivinas have praised the effects of repeating a
certain set of notes over and over, thus leading the listeners mind to a
holy union with the godhead. Other examples of musicians employing this
technique are too numerous: John Coltrane, John McLaughlin and just about
any trance music being created these days. Saliently, Ennui is not
practicing this technique for such a lofty goal, but their use of repetition
does create a similar situation. By having this floating and incessant bass
line, the mind begins to creep into enigmatic, ethereal lands.
With a repetitive base, the band then adds some poetic lyrics, sung by the
Waters-esque Dan Gober. It is an arduous undertaking to decipher all of
these lyrics, yet what does pervade through has a pastoral quality,
describing the moon and fields. Out of these symbols, the sentiment of a
human being is created who must no longer be a "time toy/ hold your bricks
against the wall". At this point the human no longer wants to be controlled
by time, thus the references to nature: a quest for immutability. Symbolism
of this variety, which is actually Romanticism, is rarely employed in modern
lyrics. By no means is this a criticism of the band, but the documentation
of their acumen. Listening to the disc, these lyrics were meant for to
create floating numbing sound, to feed the mind on its trip through
psychedelic bliss.
Containing only four tracks equaling nearly fifty minutes, "Show Low Album"
is more of a musical movement, bordering on an opus, then most albums being
released. Each song carries the sentiment of the previous track because of
the constant subversive nature of the repetitive and down beat psychedelia.
Therefore at times the listener may become lost, or uncertain of the track
that the album has reached. Given some critical analysis, this state of
confusion (of ennui) is exactly what the band wants; to lull the listener
into a trance and take them on a journey for fifty minutes. During this
period of swirling poppy filled bliss, the mind begins to realize the true
subtleties of art, reacting to any infinitesimal changes in a snare beat or
conga fill.
Eventually, Ennui's "Show Low Album" is like the voyage Tennyson takes his
readers on in "The Lotus Eaters". Only the sentiment is updated a given a
soundtrack. A truly visceral experience for those who enjoy exploration.
"The Sound" - the Larry Keel
Experience
Larry Keel has been working in the music business as an artist,
manager, and producer for over twenty years. His work on flat top guitar
has won him much recognition, not to mention two mid-90s flatpicking
contests at the Telluride Bluegrass Festival. His current band, the Larry
Keel Experience, performs
not only top-notch bluegrass, but also singular bluegrass hybrid stylings.
The result has been called an "alternative bluegrass" sound by many fans of
this group. They are able to do some very creative things while still
performing within the confines of bluegrass tradition, all acoustic and sans
drummer.
Their most recent release, "The Sound", finds them exploring how reggae,
blues, folk, and
old-time can blend with bluegrass. The uniqueness of this group can be
heard on Culpeper Woodchuck as Keel's growling lead vocal is in a
perfect setting over the solemn mood the band creates. There is a pleasant
darkness to the song, which Christen Hubbard's builds on with a brief, but
captivating mandolin solo. Keel takes an aggressive solo himself displaying
his ability to burn up the acoustic guitar in his own unique style with
seeming ease.
The most familiar cover among the many on this disc is probably Bob
Marley's Hammer. TLKE breathes new life into this Marley chestnut by
performing it with wistfulness. This group clearly has a strong folk
sensibility, as their use of space is pivotal in the success of this track.
This track also represents their strongest vocals on the disc, and there is
warmth to this version that makes it a proper salute to the deceased king of
reggae.
Although this is a nice batch of songs, one can't help but wonder why
more of Keel's own writing is not included. Two of the strongest tracks are
from his pen, the ballad Tombstones, and the lusciously sparse,
Lonely. The latter of these features some graceful and at times
chilling play from the fiddle of guest Cailen Campbell. Tombstones
benefits from some winsome Hubbard mandolin, which follows some more fine
fret tickling from the male Keel. Larry also offers an excellent lead vocal
as well, giving the song more warmth than its title would indicate.
My favorite among the cover songs is the lively rendition of John
Hartford's All Fall Down. The song comes charging out of the fade of
the lead track, Sound Check. The vocals are all sung with gusto, and
the instrumental section builds on this energy. The upbeat banjo lead
artfully segues into some spirited guitar pickin'. Sound Check is
written by Will Lee, and features a tasty exchange of mandolin, banjo, and
guitar pickin'.
Larry plays more spectacular guitar on a David Via composition called
Corn Liquor. There are energy bursts throughout the song. Keel
gets a very forceful sound out of his low strings, even when he's picking at
breakneck speed. The flawed sage that is the voice of this song has seen it
all, but he reserves his highest praise for "that good ol' Mountain Shine,"
presumably referring to some choice liquor.
Clearly, the band members are no strangers to bluegrass, as they gallop
through Riley Puckett's I'm Gettin' Ready To Go, and Ben Eldrige's
Appalachian Rain. These foot stompers suitably off -set the more
delicate material on this eclectic disc. Gettin' Ready shows off
Jenny Keel's flair for a high lonesome backing vocal. TLKE also displays
their bluegrass awareness on strong readings of the traditional, Mule To
Ride, and Bob Willis' Panhandle County. Panhandle
Country, sneaks up on the listener energetically, starting with a
whisper before sweeping through some stellar instrumental work, culminating
with more potent fiddle from Campbell, powering the song to its closing.
This and a heart-felt version of Blind Willie Johnson's Bye and Bye,
provide a warm conclusion to the disc.
"Pineapple Recording Sessions" - Convoy
The five-manned Convoy has received a wealth of acclaim over the last two
years. Rolling Stone hailed their sound, calling them a mix of Willie Nelson
and Brian Wilson. Other reputable publications swore they played authentic
rock and roll, a mix not heard since 1973. One such magazine claimed them
"the upholders of California soul."
All of which came before any recorded material. Finally, the release of
"Pineapple Recording Sessions" ingrains into (ironically, as will be
realized) the laser readable valleys of a CD, and exhibits audibly the
reasons for the lofty praise: fourteen tracks of Beach Boys/Beatles/Rolling
Stones/Willie Nelson inspired bliss. The album is a culmination of over two
years of playing and recording from their secluded house in the hills of
Jamul, CA. A short paragraph in the liner explains the CDs birth: "utilizing
extremely outdated technology. We mostly recorded on a half-inch eight-track
tape machine, but we also schizophrenically bounced and spliced on other
associated tape machines. It contains far too many instruments"
With these instruments and outdated recording techniques Convoy creates an
album worthy of the media attention. All of the songs have an air of
timelessness. Listening to "Pineapple Recording Sessions" is not unlike
listening to a classic old LP that has sat around for a while gathering
dust. While the vinyl dust contributes to a few skips, the music never loses
its dateless, ethereal quality.
From the opening Weekends, where lap steel, electric guitar play with
a weeping sentiment, only to burst into a Rolling Stones styled number, the
quality and praises of Convoy are justified. This track is just balls-out
rock and roll, the type that people would listen to, drinking beers and
partying circa 1974 at the roadhouse bar. No synthesizers, no turntables, no
drum machines, Weekends is just five people making rock and roll.
When the last ounce of reverb dissipates, a Brian Wilson styled piano beat
comes forth. Heres Lookin at You shows Convoys ability to be
sensitive, empathetic and opens a door into other influences at work.
Lately, many artists from Beck to
"insert-the-name-of-that-alternative-musician-here" have claimed "Pet
Sounds" a record of ground breaking proportions: often more influential to
them then that infamous Beatles album. In some respects it has become
cliché, and most of these musicians (Beck and a few others excluded), never
really come close to creating that feel. Convoy not only does create that
sound, but they can write songs that Wilson could have penned some thirty
years ago.
This becomes evident with the next track Late Night Feel, with its
harmonies and female inspired lyrics. As a tambourine shakes, a twangy
guitar strums the chords, combined with the warmth of the analog recording
process; Convoy becomes a musical time machine. Certainly, they are a modern
band, but there is something that shuttles the listener back to a simpler
time. In some respects, it is the same thing that happens when people hear
Ripple or Uncle John's Band. Songs of this sort dont
necessarily sound old, but embody a spirit prominent in those long passed
days. This is what Convoy taps into, the spirit of a bygone epoch.
After several Stones and Wilson styled-pieces, the band shows a bit of
country. While this is an extraordinary album, Sugarcane is gorgeous,
almost coming from somewhere else. As the harmonies of Jason Hill, Robbie
Dodds and Brian Karseig croon, harmonica and lap steel twang in the
background. Really, Sugarcane sounds like a plethora of other songs
all combined, but at the same time walks a line of originality. Ever person
can think of a song that fits like a glove upon first listening, reaching
déjà vu proportions. Sugarcane is one, and if Convoy has several of
these in their bag, then they arent going to need many reviews to attract
national attention.
Several songs after the twang and beauty of the aforementioned track comes
All My Friends, which has a Beatles quality. Lyrically and sonically
it could be the sequel to Hey Jude. Vocally, Convoy has a bit more
twang than the Beatles, but the similarities to Hey Jude become more
audible as the band builds to a crescendo, where vocal harmonies and a sing
along chorus emerges. That the previous sentences were just typed is a
testament to the high level of creativity on the "Pineapple Recording
Sessions". After all, there just arent bands coming close to these sort of
sacred mountains of musicality.
After a while, the listener may grow skeptical. The album did take two
years, and could be just a studio creation. In some respects, Convoy may
have thought the same and included a live cut of Ladyfinger which is
full of alacrity. With grit and grind, Convoy gives a glimpse to what is
more than likely a hell-of-a live show.
Apparently (from what I have heard), this album is a limited edition piece
and it is unknown how long it will be around. Whether or not they are about
to be signed may have to play into this (that they arent signed is
shocking), nevertheless while it is still available get this eloquent work
of art. This just may be the next band to change the way music is currently
going: hopefully to drag it from its electronic base to stare into itself,
eventually to realize that nothing can replace a dirty, reverb drenched
guitar, great harmonies, and top-notch songwriting.
"The Daylight Album" - Barefoot
Revolution
At a glance, Barefoot Revolution seems like a great band. Their new album,
"The Daylight Album," should have been a great album, and at times it is.
The group features funky guitar rhythms that can be quite catchy. Step
Up , for example, starts off with an upbeat three chord descending
pattern. Horns
enter regularly to accent the tune. The Medley of Four Seasons opens
with a pretty flute melody that is quite pleasant to the ear. It then
progresses to a section where rich vocal
harmonies mix with a single lead voice to create a nice effect.
On songs like Daylight , all of the elements of this group come
together nicely.
The lead vocal is strong and rich, meeting harmonies at key points
throughout the verses.
Meanwhile, the flute continually adds a counter melody in the background. A
subtle,
clean guitar adds further texture to the song.
Unfortunately, the lead guitarist is not always this subtle. Although some
of
the written
parts are interesting, particularly when they interact with other
instruments, many of the
improvisations prove less effective due to the tone chosen by the
guitarist. He
sometimes sounds harsh, thin, and scraping which doesn't
match the
overall sound of the band, which is fluid and smooth.
Once in a while, as in the end of
The Snake Charmer , the lead guitar seems to almost fit with the
song. Yet, in
general, it serves as the barrier which forces listeners, who may have
otherwise enjoyed this CD, to turn it off.
Aside from that, there are only a few minor problems. The lead singer has a
pleasant voice within a certain range. Yet, at times, he tries to stretch,
and the strain in his voice is obvious and unprofessional. Similarly, the
harmonies are generally rich and beautiful sounding. Yet, occasionally, a
bass voice which does not fit with
the others enters the mix, souring the whole.
The general impression one is left with is that the vocalists are talented
guys who would benefit from a little more training. The harmonies are rich
and beautiful but the voices don't always sound strong individually. One
would think
that with
practice, these problems will take care of themselves.
Barefoot Revolution seems to have a lot of potential to develop into a
fine band. When the lead guitar chooses to use a clean tone, the talents of
the group
are allowed to shine through. Clearly, the group has the ability and the
presence to
create some great music. Hopefully, as they evolve together, Barefoot
Revolution will learn to put their best foot forward and make their next
album as good as this one might have been.
"Curvy People" - the Rype
Band
Another homegrown jamband attempting to exit the local/regional orbit is
Upstate NY's The Rype Band, with their debut independent release "Curvy
Purple." This self-produced indy collection, containing songs written
during the band's formative period of 1995-1999, features a consistently
mellow acoustic rock feel with reggae/urban and pop/alternative influences.
Aiming between the lighter side of Phish and the kinder, gentler edge of
Sublime, this disc falls short of either optimistic
target.
"Curvy Purple" is at times amusing and pleasant, but not always
compelling. The
inane banter of 20 Hrs. of Techno immediately jaded my perception of
the rest of the material-an unwise choice, I felt, to open the disc.
Cocoon, a Peter Gabriel Sledgehammer-ish jam that is far too
short at 3:30, along with two live cuts-the catchy Big Notch, and
the socio-political Overthrow-are solid, enjoyable songs.
Unfortunately, they are buried DEEP in the middle of too many similar works
that don't engage, intrigue or change tempo. Compare Outer Space and
Poetry, Dana's Attic and Nub or even
the reggae grooves Time Don't Stop and Rise Up. Culling
several of these
20 tracks would have allowed the stronger material to breathe and make an
impact. Consider this an average fledgling effort-the eggplant spaceship is
reported to be sporting two Soviet-made rockets and octofonic sound, but it
hasn't quite gotten off the pad yet.
"Faces In The Clouds" - Smilin' Jack
From the start of Jump Up, "Faces in the Clouds" opening track, you
know that you are in for an album that is unconventional. There is little
attempt by Smilin Jack to make this album accessible to the listener. While
many bands are attempting to spoon feed an audience, or to at least meet
them halfway with their original sound, Smilin Jack is doing their own
thing.
The most noticeably different attribute is the non-traditional vocal style.
Chris Jamison has a style that is reminiscent of Captain Beefheart, Colonel
Bruce Hampton, or Baby Gramps. The melody lines are not extracted from
anything that you may find familiar- they are more seemingly leeched from
the stream of his consciousness. Cat Cool is a perfect example of
this, with melody lines that have a Siamese twin relationship between the
vocals and guitar. Yet this doesnt produce an Oteil Burbridge effect,
instead resulting in a more confusing than enhancing style.
The whole project has a silly sense of humor, which puts the album into
perspective. "The artist currently known as Cen" lends the strongest
performance on bass. He is one of the few truly consistent qualities to this
disc. This is especially evident in Science Morality, which has a
great shuffling backbeat with a rambling and yet repetitious vocal line. The
drums on the whole album are decent but follow the lead of the vocals,
rather than confining them. Most of the songs have an inside joke quality,
as if the author has a meaning to the music that you will never discover on
your own.
I find the textural quality of the mix to be disappointing. At times the
guitar seems too far back in the mix, at other times the drums seem to
disappear- while the bass remains clear and solid throughout. The sound of
the disc was far below what I expected from my first glance. The artwork of
the front cover is quite impressive, with an amazing drawing by Clint
Delacy. It is one of those stony pictures that lets you discover something
new within it every time you look.
All in all, "Faces in the Clouds" is an ambitious undertaking that doesnt
quite achieve what it sets out to achieve. It is an album whose time has yet
to come. But, if you are in the market for an off kilter, creative disc, you
should find this one to be enjoyable.
"The Second System" - Nozmo
King
An 8-piece outfit including guitar, bass, drums, organ, sax, trumpet,
trombone, and vocals, Nozmo King has the firepower to pull off a variety of
music.
Consequently, it's difficult to describe their sound. At different times,
ska, funk,
rock, R&B, hip-hop, rap, and jazz can all be heard somewhere in the mix.
The music is catchy and fun. Vocalist Tibyron Quinn has a strong
distinctive tenor voice that is the perfect fit for this unique band.
Improvisations are
plentiful enough to satisfy the biggest fans of instrumental music.
Meanwhile, vocals are
tastefully interspersed in a manner that keeps the listener aware of the
song
structure without giving him time to tire of it.
Within any given part, the songwriting is impressive. As horns weave in
and out of soul vocals harmonized in R&B intervals,
songs rev up
to solos by all
instruments. Yet, nearly
every song has multiple parts, which do not always flow smoothly.
A. favorite technique of the band is to suddenly speed a song up and
change
the feeling for
about 20 seconds. Then, abruptly, they drop the tempo back to where they
came from.
This creates a startling effect, leaving the listener wondering what just
happened. It
almost sounds like someone skillfully switching back and forth between two
different
records. Some songs find them jumping between as many as five
incompatible styles and
tempos. Once a listener gets settled back in, each segment proves to be
high quality
music. Yet, as soon as the listener begins to get in the groove again, he
is jerked out by a
random segue-less change.
There are a few songs on which Nozmo King is able to limit itself to one
tempo
and style throughout the whole song. These are unique and powerful,
highlighting the bands strengths.
Jupiter Coyote Live
JC Live, the first live release from the Georgia
quintet, showcases the sizzling Southern slide,
rolling vocal strings, haunting fiddle, seamless
segues, poppy bass, steady kick, and custom guijo
that have blended to make JC a steady and relentless
live act for ten years. They represent the
second generation of Southern rock. Recorded
on three nights in the first week of October,
2000, Jupiter Coyote Live offers a solid
introduction to these road warriors as they
stretch the limits of Southern rock.
The primary shaper of sounds is Matt Mayes.
Matt handles lead vocals, acoustic and
electric guitars, the guijo (which I will
get to later), and chief songwriting duties.
His thoughtful songs of drifters, discontent,
self-exploration, redemption, and celebration
lend an air of the singer-songwriter to
the sound that encourages close listening
and emotive vocals over extensive jamming.
All of which is not to suggest that they cannot jam.
As the 20+ minute "Willow" on the second disc
testifies, their ten years at 200-300 shows
a year has strengthened their interplay and
granted them that Jedi like ability to
predict another's action. Like a live
show, the first disc is more song oriented,
while the second disc opens the doors wide
and stretches the boundaries. The highlight
of the first disc is the haunting "Amorous."
"I'm waking up from a bad dream and I'm right
in another," Mayes sings in this tale of
yearning as the narrator turns to love to
escape confusion only to find more confusion.
Steve Trismen sounds like he is sawing on the
fiddle at the furthest end of a cave throughout
the disc, but his distance is never so effective
as it is on this cut both mimicking and
framing the storyteller's mood.
The remainder of the first disc is lightly
jammed, as the tracks average under six
minutes. Other highlights include the
opener, "Tumbleweed," a Wharf Rattish tale
of an marginalized drifter wandering to lose
his had-a-woman-now-she's-gone blues, and
"Everytime," another tale of longing that
has an excellent roll to it thanks to the
guijo.
The guijo is a custom made contraption that
derives its name, obviously, from the guitar
and the banjo. It is a standard five-string
banjo neck mounted on an electric guitar body.
It allows Mayes to pick wildly on the "Dueling
Banjos>Foggy Mtn. Breakdown" that closes the
second disc, but to hear what this gizmo can
really do, check out "Inquire with Delight"
where Mayes runs it through a wah-wah to
achieve a washed-out funky sound that is all
its own.
"Rose Hill", with its rolling groove, sets the
stage for a second disc that extends where
the first contains. "Inquire with Delight"
falls together in slippery tones. The sharp,
staccato opening notes of "Lucky Day" give way
to the slink that slides into the picked
electric guijo run. Mayes right hand is
excellent, and the picked guijo adds an
unique wrinkle to the jams, especially with
the wah-wah taboot. The interplay between
Felty and Mayes on "Cindi" is a testament to
twenty plus years of friendship and thousands
of shows. The jam has legs and rambles
through the Georgia hills. The mix is a
bit unbalanced, and Trismen in particular
is a casualty on this track. He suffers again
on "Real Thing", the feel-good summertime
sing-along song that could.
"Willow" is the sprawler, and, while the jam
is not concise throughout, moments are
spectacular. The paired guitar of Allman
fame gets a jauntier, rock 'n roll treatment
that leaves the listener shaken and stirred
before the guitar tones turn heavy. The
fiddle solo is once again all but lost in
the mix, and, while the playing on this
cut is at times excellent, it does not
cover as much ground in twenty minutes as
Cindi does in eleven. On the upside, the
transitions from jam to verse are startlingly
quick and smooth, and there are many.
While many bands would throw one 15 minute
jam in the middle, JC chops it into smaller
jams interspersed with vocals throughout. This
draws the focus to the story of young Willow
who chose the wind over the earth and learned
to regret it, and provides a frame for a series
or diverse sections.
The Dueling Banjos>Foggy Mtn. Breakdown closer
is damn fine but not flawless. It is nice
to hear straight bluegrass (with one odd verse
of Cat Scratch Fever thrown in for good measure)
on the guijo.
As a whole, their first live album captures
the experience well. There are flubs as in
any show, and it is nice that they left them
in. The first disc shows off Mayes' gift with
a pen, and the second disc proves that ten
years of steady touring makes all the difference.
At its best, this album is irresistible, and
at its worst is still solid.
To hear for yourself, go to
http://www.jupitercoyote.com/frameset.html to
listen to a live broadcast from Dallas, TX.
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