“We will continue to service all consumer and dealer inquiries for warranty service and support for the Hamer product line,” he added. “Our Customer Service department will have access to the list of finished goods, assemblies, and parts to address customer requirements. We will support the Hamer brand, its products and related trademarks.”

Classically trained on the guitar, Akkerman also played lute and composed many of Focus’ hit songs. After departing the band in 1976, he launched a solo career that has seen him collaborate with many high-profile musicians. He has remained busy through the decades and most recently performed a series of concerts with Andy Summers, former guitarist for The Police. Akkerman’s most recent album, Minor Details, was released in 2011.

While his guitar work with Yoakam was glorious, lowdown country music, on his own albums, Anderson
stretches out and lets go. Even Things Up continues in that tradition, but with a fine twist.

Here, Anderson returns to an early love, the blues. And just as he brought his tasteful licks to roots rock and alt-country, his guitar licks here show a deep understanding of the blues. Anderson was born in Detroit and grew up in a working-class family, eventually following his parents to an auto assembly-line job. That background informs his music.

This article originally appeared in VG‘s June ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Born of the rich and varied musical experiences of its members, the eight original tunes and a handful of covers are mostly boot-tapping uptempo numbers driven by Jesus Cuevas’ accordion and Kid Ramos’ tasty guitar work. Standout cuts include “The Vibe,” “Los Chucos Suaves” and a nifty cover of Little Richard’s “Keep a Knockin’” which features Ron Dziubla on saxophone and lyrics sung in Spanish, for an authentic feel.

Those familiar with Ramos’ know of his work with the Fabulous Thunderbirds and other acts, and often associate him with blues guitar. But his background is much wider and his chops are as much Tex-Mex as jazz-rooted and informed by the blues. All are displayed here; Ramos doesn’t often show his hand, keeping the rhythm and holding flash to a minimum. It does sometimes show, like on the original “My Brother’s Keeper,” which not only has a great riff, but offers some very nice Telecaster tones and licks.

Still, this is very obviously a band record, where all players contribute rather than fighting to be heard. They cook while letting the music do the talking and adding spice to an already thick Cali-Mex stew.

This article originally appeared in VG‘s June ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Hollywood studio guitar doyen Bob Bain laughed, “Howard would pull all-nighters before those sessions. He’d stay up arranging, then go straight to the studio to record. Jack [Marshall] and Howard would come to my place and stay up writing charts and arrangements for the next day’s session. Even if I wasn’t there, my wife, Judy, would give them the run of the place. Sometimes, I’d be on the date with them the next day… though I had enough sense to get some sleep!”

Justin Townes Earle/The Head and the Heart
Thursday, March 22, 7:30 pm | Lucas Theatre for the Arts

An Acoustic Evening with Lyle Lovett & John Hiatt
Saturday, March 24, 8:00 pm | Trustees Theater

Pink Martini
Thursday, March, 29, 8:00 pm | Lucas Theatre for the Arts

Here to Stay: The Gershwin Experience
Monday, April 2, 5:00 & 7:30 pm
Tuesday, April 3 & Wednesday, April 4, 12:30 & 3:00 pm
Charles H. Morris Center

Let It Burn features covers of an eclectic group of songs originally performed by the likes of Adele, The Black Keys, Los Lobos, Johnny Cash, The Band, Pete Seeger, Crosby, Stills & Nash, John Martyn, Robbie Robertson. The album also includes several new Ruthie Foster compositions.

Fere's Hot Strings

The band’s latest CD offers more of a good thing. Fere’s guitarwork is backed by Rainer Hagmann on violin and baritone violin, rhythm guitarist Dani Solimine, bassist Thomas Duerst, and several guest musicians.

The album kicks off with the rousing “Hot Club Dance” that swings with intensity – one of Fere’s trademarks. The group adds few classic jazz covers to their songlist here, but both “Night and Day” and “Whispering” are worthy.

In keeping with the album’s title concept and Fere’s own interest in ’70s rock, the band turns to both “Little Wing” and “Black Magic Woman,” transporting them into the Gypsy jazz lexicon. Thanks to Fere’s musicianship, these not only work, but seem naturals.

Fere long ago proved himself on guitar, but his playing has continued to grow on this outing. He seemingly can’t help but swing. And yet it’s the simple and beautiful melodiousness of his solos that make them such gems.

This article originally appeared in VG‘s April ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Highlight tracks include “Pretty When It’s New,” with twin guitars from Tim Howard and Haggard’s son, Ben, that have all the charm they would’ve had 20 or 30 years ago. Rob Ickes’ Dobro on “Oil Tanker Train” calls up the early tunes that made I’m A Lonesome Fugitive and Branded Man showcases of taste and restraint without any sacrifice of goodtime

feeling. For “Live And Love Always,” Haggard breaks out his fiddle and his wife, Theresa, proves another fine duet partner as he pays tribute to the Western swing he loves so much; likewise “The Road To My Heart,” where Ben takes a tasty lead. Haggard has always taken a unique approach to guitar solos, and “How Do You Find Me Here” is no exception. Except for the title cut, it may be the most quintessential Haggard tune on the album – a definite highlight. Haggard holds himself to a high standard onstage and in the studio. Very little of his output slips below “good” and more often he lands smack in the middle of “great.” This one is his best in years.