Month: August 2009

Two of pop music’s finest – Steve Winwood and Alex Chilton – hit the big time while still in their teens; Stevie Wonder even earlier, and Shuggie Otis and Kenny Wayne Shepherd were playing with the big boys before they hit 20. Yet, bands – people who play their own instruments and possibly write their own material – made up of folks under 20 are usually, often rightly, considered novelty acts.

No qualifications are needed for the Perry siblings, together known as the Homemade Jamz Blues Band. From the first notes of this disc – recorded when drummer Tyra was 9, bassist Kyle was 13, and guitarist/vocalist Ryan was 15 – it’s obvious these are musicians ready and worthy to be judged by grown-up standards.

Tyra has the command and confidence of someone who’s spent years playing Beale Street gin joints. Can a 9-year-old be this funky, so knowing, on a set of traps? And she and Kyle are a rhythm section with an intuition usually lacking in players three times their ages. And while big brother Ryan’s guitar reflects intense study (Jimi Hendrix, Buddy Guy) he’s not just regurgitating licks – impressive as that may be – he’s got the savvy to work what he’s heard into something uniquely his own. When he sings, it’s not with the voice of a kid or a freakish parody of an adult, but with that of a young man who can sing about a “Voodoo Woman” without straining credibility the way this disc, in the most positive way, will.

This article originally appeared in VG‘s Aug. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

Mutlu Onaral is a singer/songwriter from Philadelphia who mixes soul and folk into a sound that highlights the best of both.

If it sounds familiar (a la Hall and Oates), it may be because the set was produced by none other than Tom “T-Bone” Wolk. Not surprisingly, Hall makes a guest appearance on the wonderful acoustic funk of “See What It Brings.” The song highlights what’s great about this album.

Mutlu’s vocals are silky smooth, but not clichéd. He has a high-pitched voice, but not in the sense of classic soul crooners. The acoustic funk is jabbed at times by nice electric guitar fills and a soulful, vibrato-laden solo.

Wolk, known as the bassist for Hall and Oates, is a fine guitarist and plays the lion’s share of six-string.
But this record is driven by tremendous songs. “Hello Morning” is a spacey folk/soul mix with nice changes. “Marilyn” is pop heaven. “Shaky Ground” is reggae with a guest appearance by G. Love. “Make it There,” with guest Amos Lee, is a minor-key lament about the state of the streets. The choruses are gorgeous.

The centerpiece is “Mama’s Not Coming Home,” a pop/rock/soul mix with an incredible hook and a fine, if a bit depressing, story. It’s full of great changes, marvelous vocals, and soulful electric and acoustic guitar.

This article originally appeared in VG‘s Oct. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

The Beatles formative years playing the sleazy clubs of Hamburg was their time in the wilderness. They honed their skills as musicians – as well as with groupies and pill-popping. When they eventually return to England, they were a polished band ready for stardom.

This British documentary tells the tale with a stiff upper lip. It blends interviews with collaborator Tony Sheridan, vintage footage and photos of Hamburg, and lackluster tracks from the period Polydor album by Sheridan and “The Beat Brothers.” The feel, sadly, is stiltingly academic, as if this is a required lecture for Rock and Roll 101.

The package also promises “Never before seen footage,” but unfortunately this is not of the Beatles. And as the small print on the back warns, “This program contains no Beatles music.”

This article originally appeared in VG‘s June. ’08 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.