- Advertisement -
Eric C. Shoaf | Vintage Guitar® magazine - Part 2

Author: Eric C. Shoaf

  • Ronnie Earl & the Broadcasters

    Ronnie Earl & the Broadcasters

    Ronnie EarlStarting like a number of instrumental albums Ronnie Earl has produced over the past 15 years, this one opens with a mid-tempo (Albert Collinspenned) track, then slows for some blues and a cool cover (“Chitlins Con Carne” by Kenny Burrell).

    But then, something amazing happens; reaching deep and from the heart, Earl works through four of the most moving tunes he has ever recorded, and taps into a wellspring of soulful guitar work that is intense, emotional, and uplifting. Earl has previously displayed a talent for putting heart and soul into his playing, and here he produced the recording and wrote or co-wrote nine of the 14 cuts, most of which are melodic and lyrical even though there are no vocals – just the soaring cry and moan of Earl’s amazing Fender Strat through a Super Reverb.

    His choice of covers is no less inspiring, especially an interpretation of Duke Pearson’s “Cristo Redentor,” which captures the beautiful melody in an inspired way and is a perfect choice for Earl’s style. Aided by the Hammond B-3/piano (and songwriting) of Dave Limina, Earl’s playing is a tone-tonic for the soul.

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

  • Todd Wolfe Band

    Todd Wolfe Band

    Todd WolfeWolfe is best known as a sideman for Sheryl Crow, but he has also recorded with Leslie West and Faith Hill, among others. Now, with his own group – a trio – Wolfe delivers a set of nine originals and a live cover that captures the key elements of the band.

    In the tradition of potent jam bands like Cream or Gov’t Mule, the tunes here are extended for full effect, mixing verse and chorus with extensive soloing. Nowhere is this better demonstrated than the show-closing “Shame,” which features guitar work that weaves elements of the Allman Brothers with Hendrix shadings. Tempo and key changes, unusual timekeeping, and interesting phrasing keep the lengthier cuts interesting. Strong vocal work fills the non-jam spaces, and Wolfe flavors each cut with a variety of classic solid and semi-solid axes. Most of all, Wolfe and company grab the vibe and run with it, melding to form a single musical unit that knows how to simmer – and when to turn up the heat.

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

  • Los Fabulocos featuring Kid Ramos

    This second release from the Southern California band Los Fabulocos sizzles like a juicy steak fajita sprinkled with seasoning from rock, tejano, and country-western swing with a garnish of talent and high style.

     

    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.

  • Harvey Dalton Arnold Blues Band

    Harvey Dalton Arnold Blues Band

    Harvey Dalton Arnold Blues BandNamed for its founder, this band is steeped in the blues and modern interpretations of classics. An album of covers? Not inasmuch as the arrangements are completely different which provides an unexpected character to familiar lyrics. So “It Hurts Me, Too” has a midtempo feel, “Ramblin on My Mind” is recast as a rocker, and “Sittin on Top of the World” becomes an uptempo dance tune. Carried by Dalton’s strong vocals, the rhythm section is firmly in the pocket while Dalton, a member of the Outlaws in the late ’70s, rolls his slide guitar while coguitarist Kim Shomaker blazes with soulful licks and fills that make these classic tunes sound new and different.

    The arrangements have been worked out over many a night in bars and juke joints, and masterfully captured in the studio.

    It’s good to see blues classics kept alive with a freshness and validity that makes for great listening.

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

  • Duke Robillard

    Duke Robillard

    Duke RobillardOne of the busiest players around today, Duke takes a break from touring, producing, and recording jazz, jumpswing, and bop to crank out his most uncompromising blues set in 20 years.

    Twelve original songs and a cover offer gritty guitar, gravelly vocals, and grinding rhythm. “Workin’ Hard for my Uncle” is Robillard’s ode to the taxman, and hits a little close to home. The disc closer, “Bradford Boogie,” reminds us that Robillard is a master at weaving inspired guitar solos that keep going, bar after bar, yet never repeat themselves.

    Unlike recent Robillard releases, guitar is front-and-center here, with saxophone moved to the side. Still, Robillard is accompanied by a capable crew that includes musicians with whom he has played for years. Standout cuts include “Rhode Island Red Rooster,” an homage to the Chicago blues of Muddy Waters and his ilk, “The High Cost of Lovin’,” co-written with Doc Pomus, “Duke’s Evening Blues” for its spoken-word vocal track, and “Grey Sky Blues,” which captures slow blues that is familiar and fresh with a full horn section backing and those long guitar solos for which Duke is known.

    For years, Robillard’s vocals have been down in the mix, but here, it’s out front and delivered with a staccato blast by someone who tells it like it is, lyrically. And with those (mostly Fender) guitars ringing through the set, it’s him doing what he does best.

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

  • Julius Pittman & the Revival

    Julius Pittman & the Revival

    Julius PittmanSouthern soul singer Julius Pittman, whose smooth vocal style brings to mind Al Green or Teddy Pendergrass, is a key performer, songwriter, and vocalist for the band that features Randy Moss on guitar.

    In a time when it seems singers from “American Idol” finalists to Michael Bolton apparently believe a song has to be sung with abandon from the very beginning, it’s great to hear a more subtle approach like Pittman’s. There are more dynamics, clearer emphasis where needed, and plenty of room for tasty guitar fills. This, his debut album, has all in spades.

    Backed by a full horn section, the band works through five original songs plus covers, including a fine rendition of Green’s “Tired of Being Alone.” Pittman isn’t well-known outside his base in the Virginia/DC area, but this could be his breakout.

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

  • Raisin’ Cain: The Wild and Raucous Story of Johnny Winter

    The biographer has a duty to get close to the subject in order to relay all the facts and get first-hand accounts of events while at the same time not getting so close that a story becomes sanitized and historically reinterpreted.

    In this bio on bluesman Johnny Winter, author Mary Lou Sullivan gets close enough for Winter to feel comfortable recounting his sometimes-difficult past, but not so sympathetic that the difficult areas are glossed over. Winter is a bundle of contradictions; a white kid playing and singing the black man’s blues as though he endured years in the cotton field; going from playing stadiums and winning Grammy awards with Muddy Waters followed by 20 years of obscurity. The story is well-documented here with commentary from major players and recollections by Winter himself.

    Growing up in very conservative 1950s Beaumont, Texas, as an albino, Winter was ostracized by peers. But as an emerging artist in the ’60s, his appearance was deemed hip and cool. But beyond his white hair and very pale skin, Winter was a walking blues encyclopedia. Combined with the fact he was an accomplished player, this earned him respect even among the true legends of the genre, many of whom he met, knew, and performed alongside. His only real downfall was that like so many before, he put his career in the hands of a manager who pushed his own agenda and fostered an “over-medicated” Winter who missed opportunities and released mediocre studio albums. There were exceptions, such as Winter’s performance at the Bob Dylan tribute concert in ’92, where Winter blew away some great guitar players on a scorching cover of Dylan’s “Highway 61 Revisited.”

    A few years ago, Winter started getting proper medical care. Sullivan befriended him, and though Winter doesn’t have a good memory of many things, Sullivan fills in details using information gathered from interviews with bandmates, producers, promoters, and family. The story that emerges is poignant – and all too common. However, this one has a happy ending, as Winter continues to tour and record. His performance at Eric Clapton’s Crossroads festival in 2007 showed he still has the chops.

    An appendix at the end of the book discusses Winter’s guitar choices over the years, and period photos document his development.

    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.

  • Downchild – I Need A Hat

    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.

    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.

  • D.A.D. – No Fuel Left for the Pilgrims

    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.

    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.

  • Duke Robillard – A Swing Lesson with Duke Robillard

    Duke continues his impressive output with a nod to his swing roots. Among guitarists, Robillard is known as a do-all, as he can be at home in almost any musical style, not only mimicking lines and copping phrases from the best of the genre, but adding deft touches to the finished product.

    His knowledge of musical history is deep, and here he touches on music from such disparate sources as Irving Berlin and Ray Charles while delivering a stew of swing-era tunes that snap and pop and still have room for solo improvisation.

    This disc is listenable for two big reasons; the supporting cast has been playing with Robillard for years and is made up of capable, fine performers in their own right. Many lead their own bands. Second, everyone is having fun, and it’s palpable in the recording. The horns are pushed up front and they zing, while the keyboards are floating and soaring.

    Duke gives the other musicians their space, allowing them ample solo time and keeping his own lead lines brisk and tight. He’s playing a Gibson Tal Farlow on most of the tracks, and an old Gibson L-7 with floating pickup on the others. The sound is smooth and mellow, which can be said for many of the cuts, though there are also a couple with Duke’s patented jump-swing approach. While most of these are covers, Duke’s originals stand with the best of what’s here, which is part of what makes his music so unique. <HR

    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.