Month: November 2010

It’s an unlikely story that cow-punk pioneers Jason and the Scorchers would be releasing an album in 2010. It’s even more unlikely, so early in the year, to say it may end up being one of the year’s best records.

Original members Jason Ringenberg and Warner E. Hodges are the lynchpins for the great music on Halcyon Times. Joined by Pontus Snibb on drums and Al Collins on bass, along with numerous friends including ex-Georgia Satellite Dan Baird (on acoustic guitar and vocals), they give JATS fans a healthy dose of the stuff they have long loved about the band, including scorching lead guitar from Hodges. From the first track, “Moonshine Boy/Releasing Celtic Prisoners,” it’s evident that no prisoners will be taken in this stomper with frantic guitar that toes the line between rock and country and has a funny biographical lyric.

Hodges’ strengths as a guitarist are many. He manages to stay completely in control even while his solos sound set to careen. If a song calls for an unearthly country bend, it’s there. If a soaring melodic solo is in order, it appears. If chugging, Keith Richards-style rhythms are needed (as on “Deep Holy Water”) it carries the song. While the rhythm guitar forms the basis for that song, his short solo is an amazing mix of single lines, country bends, banjo rolls, and everything-in-between that manages to encapsulate a lot of what his playing is about.

Singer/guitarist Ringenberg is, of course, the voice of the band. His vocals, while every-man in nature, are as distinctive as the band’s sound. He wraps himself around lyrics about working-class problems to the intricacies of the music industry and can cover whatever style the band adopts, including the frenetic mix of country and rock JATS is often credited with helping create, or a simple country-folk tune. There’s no mistaking who’s singing the song.

The new rhythm section proves up to the task and the production of Hodges and Brad Jones captures the band’s spirit.

Here’s hoping 2010 proves a big year for a band that missed well-deserved recognition the first few times around.

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This article originally appeared in VG’s Jul. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Hailing from Philadelphia, Dr. Dog plays progressive rock in the best sense of the word.

Time was, a lot of pop music felt like the song “Stranger,” where punchy rhythm guitars and layered vocals are the hallmarks of the song. Throw in bass lines reminiscent of Paul McCartney, and you get the idea.

Each song here has similar pedigree. Well-written and well-conceived, the music is an art form that has otherwise largely ceased to exist; you get funky pop on songs like “Unbearable Why,” with heavenly melodic harmonized guitars, while sustaining chords and a disjointed guitar solo power “I Only Wear Blue.” The title cut is an exercise in harmony (thanks in part to Jim James of My Morning Jacket) where the vocals match the plaintive cry of the slide guitar.

For fans of the Beatles or Supertramp, Dr. Dog is a gimme. It’s a joy to hear a band work so hard to make a good song – and here they do it 11 times.

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This article originally appeared in VG’s Jul. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Downchild is a Canadian blues band driven by blues maestro Donnie Walsh. Their new release is made up of originals written by Walsh that are tough and gritty in the best blues tradition, with stellar production.  Special guests include bluesman/celebrity Dan Aykroyd, blues-rocker Colin James, and Stax Records legend Wayne Jackson of the Memphis Horns.

This is not a slow blues record; it has everything from uptempo swinging blues to medium shuffles – the gamut. It’s a set of tunes that stays true to 12-bar traditions with guitar solos, harp solos, big horns – even a trumpet solo, and lyrics about living it up and feeling low-down.

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This article originally appeared in VG’s Jul. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Following last year’s stripped-down Shimmer, with her new album, Pieta Brown returns to a more familiar sound with longtime guitarist and producer, Bo Ramsey.

Brown is a wonderful songwriter. Mixing folk, country, rock, and a bit of blues, her work is full of wonderful imagery and moods. Here, Brown and Ramsey show a lot of restraint, and their effort lends atmosphere to the songs. For instance, “Wishes Falling Through the Rain” has a smoky lyric/vocal and spooky electric guitar. “Other Way Around” is a quiet folk tune with a gorgeous vocal and lovely Ramsey electric guitar. Speaking of, Ramsey doesn’t go for fire-breathing solos here. Instead, he darts effortlessly around the vocals, playing with soul, elegance, and nuance. His playing and production style are a perfect match for Brown’s writing and expressive vocals.

The other solo instrument that contributes on a few cuts here is the pedal steel of Brian Wilkie, and it’s as tasteful as all the other elements.

There are no bad cuts on One and All. Rather, it’s one of those albums where every listen reveals something new and worthwhile.

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This article originally appeared in VG’s Jul. ’10 issue.  All copyrights are by the author and Vintage Guitar magazine.  Unauthorized replication or use is strictly prohibited.

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Even if you haven’t heard of Dan Tyminski, you’ve likely heard his music. His Grammy-winning version of “I Am A Man of Constant Sorrow” from the soundtrack O Brother Where Art Thou? garnered a ton of radio airplay. Few musicians can count on a lifetime gig, but Tyminski’s “day job” in Alison Krause’s Union Station band is at least as secure as any tenured college professor. But he still pursues solo projects, and Wheels is an excellent course in what makes him tick, musically.

Tyminski delights in adding extra bluesy down-home funk to country and bluegrass tunes. The added grit may be a reaction to what he plays in Union Station, where arrangements lean to clean and slick. Tyminski and his band turn every cut into an instant bluegrass classic; Union Station bandmate Ron Block’s “The One You Lean On” is a good example of how Tyminski can emphasize a song’s core. The instrumental solos are all solid, but subservient to the tune’s emotional impact. On mandolinist Adam Steffy’s instrumental, “Knock, Knock,” Tyminski demonstrates his formidable rhythm-guitar chops. Keeping up with Steffy’s mandolin, Ron Stewart’s banjo, and Justin Moses fiddle isn’t for the faint-hearted. And despite the superb picking, the real star is Tyminski’s voice. Even cameos by Vince Gill and Sharon White can’t upstage his powerful lead vocals.

Though it has taken eight years for Tyminski to record this second solo album, the gap wasn’t due to a lack of direction. Wheels occupies a precise space in bluegrass between old-time and modern. His neotraditional approach will appeal to anyone whose tastes lean toward traditional acoustic Americana.
 

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

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On their first major label release, the band formerly known as Disneyland After Dark (changed after a threatened lawsuit by the Disney Co.) was poised for a breakthrough in the U.S. with backing from Warner Brothers, and video in heavy rotation on MTV, and a melodic approach to metal that featured big guitars and no keyboards. Alas, it didn’t happen.

Perceived as a “hair band,” their debut was blunted by the rapid change of musical tastes and embrace of grunge. That’s too bad because this record, originally released in 1989, is as compelling as any from the era. Every song is well-crafted with melodic hooks, catchy choruses, and surprises like a groovy lead played on a Gretsch in several songs. Though No Fuel, backed by the Warner machine, was not a bad seller, the followup stiffed and D.A.D retreated to Europe where they gained and maintained a big following.

This reissue has been remastered, but the original was so well-recorded it’s difficult to hear any sonic changes. Still, it serves as a reminder of how much great music falls through the cracks when there aren’t enough ears to hear.

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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.

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One iconic artifact of the late-’70s rock scene was the ubiquitous “double live album,” a marketing ploy usually timed for the Christmas rush, but one that also yielded much good music.

Following the platinum successes of such hits as “Carry On Wayward Son” and “Dust in the Wind,” prog icons Kansas followed the vinyl formula, offering Two for the Show in late ’78. Sure, it was full of glossy concert photos, but otherwise it diverged from other double live LPs of the era in one distinct area – no overdubs. Back then it was common for a band to record new studio parts over the basic live tracks, fixing any bum notes and increasing fidelity – and no one was ever the wiser. Kansas instead presented their concert album largely devoid of studio tweaking – though to my ears, some of the audience cheers rise and fall in suspicious places. Still, for all intents and purposes, this is as real as it gets.

As for the music, Two for the Show is a solid live document of Kansas, then at the top of their game and still featuring the original lineup with lead vocalist Steve Walsh and co-guitarists Kerry Livgren and Rich Williams (Livgren left the band in the early ’80s and now leads the band Proto-Kaw). The 30th Anniversary Edition ups the ante by including nearly a full CD of unreleased live material from the 1977-’78 tours, as well as a color booklet of classic photos and fresh liner notes. Aside from just about all of their FM hits, this set features “Closet Chronicles” and a cover of J.J. Cale’s “Bring it Back.”

As guitar pickers, Livgren and Williams were from the Cream/Jeff Beck Group/Led Zep school. Each employed that roaring Gibson-through-Marshall tone with fat, neck-pickup solos and crunchy rhythm parts. Neither was an innovator, but you really can’t find two more quintessential hard-rock players from the era. Listen to “Portrait (He Knew)” or “Icarus (Borne of Wings of Steel)” for some of their muscular riffery. “Dust in the Wind,” conversely, showcases the band’s lighter side and includes a fingerstyle acoustic solo sporting impressive Travis-style picking. And for melodic lead work, nothing really tops the stately solos in “The Wall,” one of the best  FM “power ballads” ever written. All in all, this excellent set is the perfect music for your blacklight-equipped basement, customized Chevy van, or maybe just a hard-rockin’ flashback to that era long ago. The only thing missing is your 8-track player.

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

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His resume includes names like Marilyn Manson and Rob Zombie, but John 5 is not your typical shock-metal guitarist. In fact, much of his new DVD shows him running down country licks… in full goth-god makeup and regalia. But there’s no arguing his mastery of banjo rolls, behind-the-nut bends, pedal-steel bends, and chicken pickin’.

Included in the DVD repertoire are run-downs of several songs from his previous album of the same title. And while those cuts are definitely metal, they’re also full of an odd mix of country licks, and John 5 does a fine job of tutoring, and slowing down the notes that have made him a regular on lists of “fastest guitar players.” His chops are amazing.

While the DVD is instructional, before you rush out to buy your aspiring pre-teen (or teen!) guitarist a copy, know there’s a lurid side that includes bare-breasted women and strong S&M imagery. There is a parental advisory, and to J5’s credit, his rendition of “Sugarfoot Rag” should keep (or get) kids focused on what he’s doing.

J5’s latest CD, Requiem, again offers the odd mix of metal and country. The songs have great melodies, even at their loudest and most metal, and his command of the instrument is amazing. The track “Cleansing the Soul” may just create a musical genre. Think metal with a hoedown feel. Regardless, it’s a guitar tour de force. Now, ’bout the whole “musical persona” thing, there, Mr. Lowery…

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

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A lot can transpire with Pat Metheny in 10 years, but it’s nice to be able to look back at this 1998 concert, filmed with multiple cameras and excellent sound at the gorgeous Mountain Winery in Saratoga, California.

Though the bulk of the material comes from the Metheny Group’s ’97 album, Imaginary Day, the band doesn’t perform every song, nor in sequence, and three songs from other albums are also included.

Metheny begins the set solo, with “Into The Dream,” playing one of luthier Linda Manzer’s amazing multi-string acoustics – a combination baritone, harp-guitar, koto, which only Metheny (or an octopus) could do justice to. By song’s end, the band has also taken the stage to punctuate the dramatic ending.

The guitarist switches to his Roland GR-303, and the band lays down the groove of “Follow Me,” with the group’s longtime nucleus (keyboardist Lyle Mays, bassist Steve Rodby, and drummer Paul Wertico) augmented by Jeff Haynes’ percussion and the dual acoustic rhythms and vocal harmonies of Mark Ledford and Philip Hamilton. Metheny employs a standard guitar tone to state the melody, but kicks in a synth sound somewhere between trumpet and organ for the solo.

Strapping on the Ibanez hollowbody that replaced his tour-worn Gibson ES-175 for “A Story Within The Story,” Pat achieves the familiar tone of his earlier records, and spotlights his pure-jazz chops (revealing influences Wes Montgomery and Jim Hall) in the extended solo.

Which brings up the inevitable question, “Is it jazz?”

Metheny & Co. have indeed carved out a niche not previously occupied in jazz, in terms of their music and popularity. In one configuration or another, Metheny has won 17 Grammys, including 1998’s Best Contemporary Jazz Performance for Imaginary Day. Along the way, there have been flirtations with new-age music, with notable differences being that Metheny comes from deep jazz roots and the fact that most new-agers couldn’t begin to play music this complex, not to mention this energetic.

Along with the Imaginary Day material, Metheny offers “Message To A Friend” (the only song not co-written by Mays) on solo gut-string. Mays and Metheny then duet on the extended “September Fifteenth” before all concerned wind things up with a blowing “Minuano.”

Metheny concerts are anything but stingy in terms of quality or quantity, and this DVD, clocking in just over 90 minutes with an interview with the bandleader, is no exception.

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

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Sonny Landreth records are typically gems, and this one is no exception. This time out, he has written songs for folks he admires, then invited them to play them with him; Eric Clapton, Robben Ford, Vince Gill, Dr. John, Eric Johnson, Mark Knopfler, and Jimmy Buffett all contribute. The results are interesting, and at the high level you’d expect. The cuts with guitarists find the guest and the host sharing time. “Blue Tarp Blues,” a minor-key lament about the aftermath of Hurricane Katrina, features fine playing by Landreth and Knopfler. As we expect from Landreth, the slide guitar is soulful and blistering. Clapton appears on the pop-rocker “When I Still Had You,” which has interesting changes and intertwining guitars that in a different era would have been an instant radio hit. The two also trade licks on the droning minor blues of “Storm of Worry.”

Landreth not only plays with, but tips his musical cap to Eric Johnson on the instrumental “The Milky Way Home.” It’s the kind of song Johnson might write, and both are fabulous on the cut. Ford pops up on two cuts, “Way Past Long” and “Blue Angel.” The former is a shuffle with a great lyric. Landreth’s slide solo is nasty, with great tone, while Ford darts in and out with his typical jazz/blues eloquence. The country tune “The Goin’ On” lets Vince Gill, who’s often not given enough credit for his playing, cut loose with a big solo that’s full of grit and harmony.

“All-star” albums like this often fail miserably. But Landreth’s fine songwriting, combined with great playing by all concerned, turn this effort into a true experience.

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

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