Month: August 2007

Bruce Molsky proves that you can be scholarly about American roots music without being boring. On Soon Be Time he entertains his listeners on fiddle, banjo, and finger-picked guitar. All solo, no overdubbing, just him, an instrument, and you.

This is Molsky’s sixth solo album, and much of the material was developed from live performances. Though most of the tunes are at least 50 years old (with the exception of Molsky’s original “On My Street” and Kjell-Erik Eriksson’s “Come Home”) they have the vibrancy of freshly penned compositions. Molsky breathes life into old music, a skill that stems from a passion and insight into what makes each tune special. Nothing on Soon Be Time comes across as “just another old fiddle tune.”

Take “Forked Deer.” Oft-recorded, Molsky’s version has a particular rustic beauty. He uses double-stops to give melody a modal character that many other versions minimize or avoid all together.

Recorded at Compass Sound Studio in Nashville, by Eric Jaskowiak, the disc has a natural acoustic fidelity. Whether it’s fiddle, banjo, or his Santa Cruz guitar, Molsky sounds like he’s sitting between your speakers. With just a whisper of natural-sounding reverb, this recording captures the immediacy of a live performance in a well-tuned acoustic space.

Molsky’s music has a straightforward delivery and honesty that runs counter to a majority of what you hear in mainstream pop. Wanna water your roots? Try a healthy dose of Soon Be Time.

This article originally appeared in VG‘s Jan. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Sibling harmonies are invariably sited for the unmatched quality that results from the close similarity of the voices – from the Everly Brothers to the Pointer Sisters. But the Roche sisters’ one-of-a-kind blend comes from three very dissimilar voices. Terre climbs the upper register, Maggie can hit low notes that would make Junior Brown jealous, and Suzzy weaves around all points in between. But the blend is all their own and can be stunning to hear.

As the Roches, the trio came to prominence in the neo-folk scene of the late ’70s, recording a self-titled gem with sparse backing – essentially the girls’ acoustic guitars with Tony Levin’s economical bass, producer Robert Fripp’s electric fills, and some synth textures. Along with the sisters’ smart, often humorous songs, it was folk with a new wave (almost punk) sensibility, and it earned them an immediate cult following.

Owing in part to the lack of imagination at major labels, they eventually succumbed to filling out their sound with full band backing – not surprisingly with less success. After 10 albums, they went on hiatus to pursue other things, including solo and duo projects. Their return, 11 years later, is, if anything, an even more accurate snapshot of the trio as singers and songwriters – hold the drums, thank you. Suzzy and Maggie play guitars and piano, with Maggie also providing bass, while Terre handles bass, uke, and a variety of guitars, including a Tibetan damyen. Stewart Lerman layers bass, guitar, and percussion, but the net result is like a simple, classy setting for a priceless jewel. Nearly 30 years after their breakthrough debut, this sounds like its logical followup.

In addition to the beautiful melodies of Suzzy’s “Us Little Kids” and Terre’s “September 11th At The Shambhala Center,” there’s the rocking “Gung Ho” and a fantastic cover of “The Naughty Lady Of Shady Lane.” Their friend “Paranoid Larry” contributes two of the CD’s wittiest tunes, “No Shoes” and “Jesus Shaves,” but top honors in that bag go to their own “Piggy Mask,” set to a bossa nova beat.

Suzzy’s daughter, Lucy, sings one of the few solo vocals, on her composition, “Long Before.” Not surprisingly, it offers yet more proof that talent indeed runs in this family.

This article originally appeared in VG‘s Jun. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

On his latest release, Dave Stryker collaborates once again with saxophonist Steve Slagle, and the two are joined by bassist Jay Anderson and Billy Hart on drums, and Joe Lovano joins on tenor sax for a couple cuts.

Stryker’s bop on the opener, “Knew Hold,” swings mightily, especially when he’s soloing. After the guitar and sax state the head, his imaginative solo really lets the tune take flight. And when Slagle solos, Stryker’s comping lends the perfect complement. In fact, throughout the record, listening to his rhythm playing is a treat in and of itself. He’s always in the right place, playing the right chord. With no piano, he and Anderson lay down the bed for Slagle’s solos, and they work beautifully. His chord work also helps drive cuts like “Dear Mr. Hicks” and the cover of Charles Mingus’ “Self-Portrait In Three Colors.”

But it’s his soloing that really grabs your attention. He’s not afraid to let his affection for the blues shine through on songs like “Turning Point” and the aforementioned Mingus tune. And every solo swings; even when he steps a bit outside, the feel never leaves. His feel, chops, and great tone sound like a player totally in control of his instrument. At a young age, Stryker is staking a claim for recognition as one of the great players, and this band is staking a claim as one of the finest jazz groups working.

This article originally appeared in VG‘s May. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

The Psychedelic Underground

Eric Gales’ new disc picks up where last year’s Crystal Vision left off. It’s a double-barreled dose of muscular blues-rock riffs, real-deal life stories, and refreshing solos. Classic blues-rock riffage is offset with angular melodies, Beatle-esque harmonies and deep pocket funk. Songs such as “Wake Up Call,” “Someday” and “Someone Else’s Problem” keep the blues alive without resorting to grave robbing. Out of the box twists and turns like “Pretty Lie,” “I’ve Got Something For You,” and “Honey in the Comb” keep things fresh and contemporary as they highlight Gales’ love for hip chromaticism, cool harmonic shifts and heavy pop-rock songwriting. Heartfelt, real-deal gospel vocals take us to the darkest of places. Gales leads us on a guided tour of the cliffs of despair, the valleys of woe, the evil that women do, and redemption.

The Psychedelic Underground is a super-charged, gain-fueled, Strat fest played over angry riffs and virtuoso wah strangulations. Producer Mike Varney keeps Gales on point and focused. The production is hot, with no frills, and very heavy. Thomas Pridgen (drums), Steve Evans (bass) and Mark Robertson (keys) provide a thick wall of slammin’ groove. Though hardcore fans may question the lack of adventure heard on 2001’s That’s What I Am, it’s probably just Varney keeping Gales earthbound in the blues.

Sure, this record could just as well been titled Crystal Vision II. But so what? It has some of Gales’ most inspired playing. It’s not every day you get to hear a guy of his caliber tell his tale and do his thing.

This article originally appeared in VG‘s Jun. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

If you can get past the erroneous claim on the shrinkwrap’s sticker, not to mention Dick Dale’s enormous ego (in evidence in various ways), you’ll be glad you did. Because if you’re not familiar with the self-proclaimed (and unchallenged) King Of Surf Guitar’s early work, wax up your board; you’re in for a hell of a ride!

The aforementioned sticker claims that this album “single-handedly created surf music” – even though SoCal bands like the Belairs and studio combos like the Gamblers were playing and recording surf instrumentals at the same time or earlier. The liner notes, though, get downright surreal. Example: “In the beginning, there was the T-rex… then came Dick Dale.” “Who wrote this?,” you ask? Why, Dick Dale, of course. (If you’re wondering why the guitarist refers to himself in the third person, you’re new to this surf stuff, aren’t you?)

In recent years, the Dickster has embellished his bio so much, his records should be stocked in the salt section of your local grocery store – because any “facts” need to be taken with more than just a grain of sodium. Unfortunately, annotator Barry Alfonso falls for every bit of misinformation, hook, line and sinker. No, Jimi Hendrix did not dedicate “Third Stone From The Sun” to Dick Dale; “You’ll never hear surf music again” was not a tribute to the most out-of-fashion genre of the late ’60s. This is about as true as Dale talking about riding five-mile waves (really? five miles?) or the notion that school teachers made the girls sit on the floor and cross their legs, fearing they’d lose control over Dick’s fertility-dance rhythms.

But the biggest, most obvious falsehood is that this entire album (released 11/62) was recorded without the aid of Fender’s outboard Reverb tank. The reason Dale has insisted on this fantasy is because he has continually back-dated his “invention” of surf music – to the point that it eventually pre-dated the introduction (in early 1962) of the Fender Reverb. But anyone with ears can tell the difference. His first single, “Let’s Go Trippin’,” cut in September ’61? Pre-reverb. Songs like “Surf Beat,” “Surfing Drums,” and “Miserlou” (presented here in its original single form as well as the LP’s string-sweetened “Twist” version)? Dripping with spring reverb. The difference is night and day.

Alfonso also feels compelled to declare Dale the granddaddy of surf music. But mere volume does not heavy metal make, and Dick’s talent and actual accomplishments needn’t be piggybacked onto a more contemporary style.

Having said all that, I can’t urge you to buy this CD strongly enough. What? Well, Dick’s baloney aside, he’s truly one of the electric guitar’s unique stylists, and you can’t find a much more powerful musical experience than the aforementioned “Mirserlou” or “A Run For Life,” two of the six bonus tracks generously tacked on by Sundazed. So crank it up!

This article originally appeared in VG‘s FEB. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

A collection of songs inspired by Hurricane Katrina and its aftermath, this is one of the best albums of the year. Vernon Reid returns to produce (and supply guitar in spots), and the band is truly wonderful, especially Charlie Burnham on fiddle, who supplies sublime, pleasing solos.

The funky rock of “Survivors of the Hurricane” is a tip of the hat to the residents of New Orleans, and Ulmer’s voice, as always, is expressive and distinct. “Katrina” is a standard blues, spooky in a way most blues artists only dream about. “Let’s Talk About Jesus” looks to a higher power for answers to Katrina, and contains some of the finest guitar work on the record with scratchy, funky guitar. The album’s final track, “Old Slave Master,” is an Ulmer original stomper that lets his feelings shine through – and it’s not for the faint of heart!

While there are tough songs here, the covers are also inspired. John Lee Hooker’s “This Land is No One’s Land” is an amazing piece that resonates as well as ever. While Ulmer has a unique voice, it’s a reminder of Hooker’s influence on him. Willie Dixon’s “Dead Presidents” is given a rollicking treatment with a great vocal and fine fiddle solo from Burnham. The classic “Backwater Blues” talks about losing everything you have to rising water, with lyrics seemingly custom-fit and the amazing guitars that cover the gamut from country blues to jazz.

Ulmer cannot be pigeonholed, and though this disc will be tough to follow, he gives no reason to doubt that he’s fully capable.

This article originally appeared in VG‘s Aug. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Tribute records are a mixed bag by nature, but Anchored in Love is a wonderful collection of songs dedicated to June Carter Cash, several of them written by the country icon as well. Featuring country, bluegrass, and pop heavyweights like Emmylou Harris, Rosanne Cash, Ralph Stanley, and Patty Loveless, this set was produced by John Carter Cash, the son of June and third husband Johnny Cash. Cooler still, most of the tracks were recorded at the Cash Cabin, the family’s home studio in Henderson, Tennessee.

The younger Cash wisely chose to play the album straight, not glossing up the tracks with modern reinterpretations of his mother’s music. Instead, these versions are straight-up country, featuring quiet arrangements and easy interplay between the acoustic guitars, mandos and fiddles.

Right off the bat, the CD kicks off with two strong covers, starting with Willie Nelson’s duet with Sheryl Crow on “If I Were a Carpenter.” Willie’s voice is totally commanding and sets a reverent tone for the rest of the album. Next up is the seriously rockin’ “Jackson” by daughter Carlene Carter and Ronnie Dunn of Brooks & Dunn. There are twanging Teles and pedal-steel guitars aplenty, and these singers whip up a hellacious good time.

The timeless “Wildwood Flower” – the signature song of June’s mother Maybelle Carter – is lovingly sang by Loretta Lynn over a sweet acoustic guitar and mandolin backdrop. And fingerstylists will enjoy the superb Travis picking of Brad Paisley on “Keep on the Sunny Side.”

The only song that falls flat is Elvis Costello’s take on “Ring of Fire.” Unlike the rollicking Johnny Cash version, Elvis refers to June’s softer ballad with autoharp accompaniment. While a fine singer, Costello’s soaring voice seems more suited to Roy Orbison pop than classic country and seems oddly out of place here. Still, don’t let that stop you from grabbing this truly fine CD. Anchored in Love elegantly celebrates the understated charisma of June Carter Cash – something that often got lost in the shadows of her famous husband.

This article originally appeared in VG‘s Jul. ’07 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.