Month: June 2001

Sean Watkins is one third of the young Grammy-nominated supergroup Nickel Creek. Along with his sister Sara and mando phenom Chris Thile, they’ve lit up the festival circuit with fresh musical energy. Let it Fall is Sean’s first solo album, and it showcases his superb chops and mature musical sensibilities.

All but one of the selections here are instrumentals, the exception being the title cut, which features Glen Phillips on lead vocals, backed by Sean and Sara. It may even get some airplay on AAA/Americana radio stations because it is so moving and melodic. On the rest of the album, Watkins’ musical styles span from moody acoustic folk, to celtic, bluegrass, and jazz-inflected “newgrass.” At the end of the disc, if you’re very patient, you’ll discover a bonus track of Django-like jazz.

Other musicians include Jerry Douglas on dobro, Stuart Duncan and Luke Bulla on fiddle, Dennis Caplinger on banjo, Todd Phillips, Kevin Hennessy, and Bob Magnuson on bass, and Duncan Moore on drums. Watkins produced the CD, which was recorded at four different studios. David Glasser, Airshow Mastering, roped the disc together and gave it a spacious and natural soundstage. This fine CD shows that musical sophistication is certainly not a function of chronological age.

This epic chronicles the story of the seminal British blues/rock band Free. Leaving no stone unturned, and with the help of more than 400 photos, authors David Clayton and Todd K. Smith have painstakingly detailed the rise and fall of the band from its early pub gig days in late-’60s London through the massive chart success of “All Right Now,” to the varied fortunes of vocalist Paul Rodgers, drummer Simon Kirke, bassist Andy Fraser, and guitarist Paul Kossoff (VG, May ’00).

Obviously a labor of love, Clayton and Smith have transformed the magic of Free’s music and the chemistry of the band into print through conversation with the surviving members and others, including Al Kooper, Chris Blackwell, Andy Johns, Ritchie Blackmore, and more. Given the perspective associated with the passage of time, the writers are able to give Free its place in rock history as a significant and important musical force.

While never enjoying the huge commercial success of their contemporaries in Led Zeppelin, Free’s early live performances were legendary and often shattered attendance records set by The Rolling Stones and The Who in their native U.K. Heavy Load reads like a comprehensive who’s who of late-’60s/early-’70s rock bands, particularly those British.

The story within is of the genius and tragedy of Paul Kossoff, whose early playing earned him legions of fans, including Eric Clapton. But sadly, the drug use present in his life since late childhood eventually destroyed his body and contributed to his untimely death in March of ’76, at age 25.

Of particular interest to guitar aficionados are the descriptions and superb photographs of Kossoff’s instruments (most are late-’50s Gibson Les Pauls) and amplifiers we now consider vintage and collectible.

In a time of cookie-cutter approach to musical biographies on TV music channels, Heavy Load paints Kossoff, Kirke, Fraser, and Rodgers as vibrant-yet-human musicians, not Spinal Tap-ish caricatures. The quality of the writing and the drama of the story ensures it will appeal to fans and non-fans alike.

At $58 ($35 for the book, $23 for shipping from England) Heavy Load is not cheap, but it’s arguably one of the best books ever written about a rock band, and it’s the definitive Free book. For more, contact Todd Smith at The Cutting Edge, (215) 657-8651, tkscutedge@aol.com.

Vintage Guitar: What went through your minds when you heard a book on Free was in the works?

Simon Kirke: My first thought was, “About bloody time!” It’s been so long since Free was around, but I suppose time has added to the mystique somewhat. The story is such a classic one of humble beginnings and the triumphs and tragedies that befell us. I think it makes for compulsive reading. It also gave everyone involved a chance to tell their tale.

John Bundrick: My first thought was, “Oh boy, they’re not gonna let Free die. Free is still alive and well in the souls of the fans.” Naturally, when I heard that (Free historian) David Clayton was heading it up, I knew it would be good. Dave is very thorough. It’s always a real treat to see photos in books like this, and Dave filled the book up, bringing back all those lovely memories. Very nice touch!

Thoughts on accuracy, completeness of the story, and overall writing?

Simon: I was impressed. David really loves the band, and it shows. He and Todd Smith spent years putting it together. I was also very moved by the stories. Most of the events took place over 30 years ago and I had forgotten them. The oral history aspect of the book worked well, gave it a conversational feel…

Bundrick: I thought it was a very professional job. So good, in fact, I’m gonna give my copy to Pete Townshend. The cover design is excellent, showing the real Free at its best. Overall, the accuracy was spot-on, however, any time you deal with a pot of memories, somewhere along the way, somebody remembers an event a little bit differently, but in all, Dave and Todd juggled it beautifully. The story will never really be complete, because all of us except Koss are alive and still very active – in reality, as offshoots of the original Free lineup.

What do you remember most about your time with Free?

Simon: The high points include performing at the first Isle Of Wight festival, Wilson Pickett’s version of “Fire & Water” – Paul Rodgers was on cloud nine for weeks after! Also, receiving our one and only gold disc for “All Right Now,” shows at Sunderland and Newcastle during our heyday – scenes you would not believe. And, touring with Traffic and the Muscle Shoals rhythm section in ’73, Pete Townshend coming up to our van and saying how much he liked “All Right Now.” Ditto Elton John.

Bundrick: The main vibe I remember was one of honest, completely unbending, hard, hard, work with the four guys who brought me into the fold without any prejudgement. I can recall the smell of Basing Street Studios, the family-type vibe from Island Records’ Chris Blackwell and all their staff, and all the other bands on Island. We were like farm animals in Blackwell’s Barn! Just slopping it out, trying this and trying that.

Touring with Free was always a treat. I felt like I was in the big time, playing with the big boys. These guys really knew their stuff, so I was with the right crowd, you can be sure. Whenever Paul would sing, you knew you were in the right place – onstage with him. Simon and I always got on, and are still good friends today. As detailed in the book, Simon was the peacemaker. He stepped in the middle of trouble several times, but nobody was gonna mess with him, so any trouble soon got dispersed.

Overall, the experience of recording in the studio and doing the wonderful tours was an experience I have never matched.

Since the breakup of the band, do you think Free has been given its proper place in rock history? What should its legacy be?

Simon: Free should be in the Rock and Roll Hall of Fame, quite honestly. We influenced a lot of bands and although we didn’t sell as many records in the States as in England, there’s still a lot of respect for us. Whether or not we will remains to be seen.

Our legacy was a blues-based, soulful music played with passion and feel. We lived and died for that band.

Bundrick: I don’t think Free has been given its proper place in rock history! I’m sure it’s due to the fact it didn’t survive long enough to conquer the American market. They hit on it, but never kicked it to death. So they didn’t have the endurance of, say, The Who or The Stones. Free could have been just as big, in my eyes. With a singer like Paul Rodgers onboard, it’s pretty hard for the boat to sink! In fact, I think Paul should have his own place in the Rock and Roll Hall of Fame.

Free’s legacy is as the band that started it all in the ’70s! The godfathers of white soul music! They influenced a slew of bands like Foreigner, Kansas, Humble Pie, and all of the singers who mimic Paul. His phrasing is very original, and when you hear a singer using his style, you easily pick up on it.

What would you like the readers of VG to know about Free – little-known facts, anecdotes, etc.?

Simon: We schlepped Eric Clapton’s totem pole up and down the West Coast leg of the U.S. Blind Faith tour in our bus. He has it in his garden in Surrey. Also, the guitar he swapped with Koss on that tour (’59 Les Paul Standard) was just auctioned for $100,000 for charity.

Bundrick: I’d like people to know that Paul Rodgers and I don’t hate each other. It’s a myth generated from one bad encounter in ’72. He’s the finest rock singer on the planet, bar none!

What have you done in the years since Free?

Bundrick: Paul and Simon went on to Bad Company, who recently reformed for a reunion tour. Paul is with them off and on, plus he does his amazing solo work. I went on to join The Who. Also, we must not forget Tetsu Yamauchi, the bassist who took over from Andy in Free. Tetsu was an admirable replacement, and he now lives in his home country of Japan. Richard Digby Smith, our resident engineer at Island, was my mentor and helped me wade through all these different English-type muses, and explained what was going on.

So, really, the story of Free goes on!

Simon: Since the Bad Company reunion tour, I’ve been on a couple more All-Starr tours with Ringo. I write songs and do sessions, and at the moment I’m involved with film scoring and supervision. I live in New York City with my wife and four children.

For more on Bundrick, see www.johnbundrick.freeserve.co.uk.

This review and interview originally appeared in VG‘s June ’01 issue.

John Gorka is the energizer bunny of singer/songwriters. He just keeps going and going. Each new release not only equals the quality of his last, but exceeds it. The Company You Keep is John’s eighth album. It features not only superb songwriting, but sterling performances.

While some songwriters create great melodies, Gorka’s forté is his lyrics. The clever wordplay on “Hank Williams Senior Moment” and “Around the House” makes you think while you’re tapping your feet. His songs can also be evocatively beautiful. “When You Walk In” has a haunting quality reminiscent of the best work of Mark Cohn or Jessie Winchester.

Joining John is Micheal Manring on bass, Peter Ostoushko on fiddle, Den Magraw, Patty Larkin, and John Jennings on guitar, and Lucy Kaplansky, Ani DiFranco, and Mary Chapin Carpenter on vocals.

Production credits are shared by Gorka, Andy Stochansky, and Robb Genadek. The sound is warm and intimate, yet texturally intricate. This is a CD that will quickly become a cherished possession.

The long-awaited authorized video from blues/rock guitar icon Johnny Winter has finally arrived. Compiled in part by Winter’s manager, Teddy Slatus, who asked fans to send video clips, the set includes TV clips and kicks off with never-before-seen still photos by Johnny’s wife, Susan.

The video is enhanced by commentary from Johnny recorded at different stages in his life, which accompanies rare and personal photos of him with family and friends. He speaks about hearing blues for the first time, and how it affected him. And he’s candid in talking about some of his life experiences, including getting his first tattoo.

Written commentary offers more history, and the concert footage isn’t in chronological order. Much of it isn’t even dated, but there are a lot of fun things to watch, including (but not limited to) performances of “Rock and Roll Hootchie Coo,” “Stranger,” “Sweet Papa John,” and “Mannish Boy.”

Another segment is dedicated to Winter’s father, and there’s also film from ca. ’69 that teams Johnny and brother, Edgar, on “Tell The Truth.” Other noteworthy musicians who make appearances include Dr. John, Tommy Shannon, Uncle John Turner, B.B. King, Bob Dylan, Steve Cropper, and G.E. Smith. And of course, Winter’s singing and guitar work shine throughout.

When you think about it, Johnny Winter has had quite a career. And here, from Alligator Records, just to let you know it continues strong, is a set of cuts from his stint with Alligator. There’s raucous blues, blistering rock and roll, and even some nice acoustic blues with Johnny shining on dobro.

There are a couple of things about Johnny that shine through when you hear him. One is his total immersion in the blues. He knows them inside out, and feels them. That feeling always comes through in his rough and ready vocals. And his playing is almost an encyclopedia of blues and blues/rock licks. Check out the rockin’ “Lights Out.” Yikes! Johnny cooks. Same thing with “Route 90.” Johnny’s nasty sound, killer single-line playing, and dazzling double-stops bounce out of your speakers and make it impossible not to dance around your room (or in my case, the car, which can be very embarrassing). Johnny’s prowess on slide shines through too on cuts like “Mojo Boogie” and “Murdering Blues.” He’s definitely one of the masters.

Another thing I’ve always liked about Johnny is his choice of material. He always seems to pick great songs. It’s tough to top tunes like “Third Degree,” “Don’t take Advantage of Me,” and the very funny “Master Mechanic.”

This CD is a great representation of Winter’s career for the past 15 to 20 years. If you’re a fan, you’ll love it. If you’re just being introduced, it’s a good place to start.

Rick Nelson was blessed in many ways, but some of those blessings also could be a curse. I’m talking about his great looks and his luck of having a national showcase in television on the “Ozzie and Harriet Show.” Those two things, unfortunatly, made some folks doubt his musical prowess. With this wonderful four-CD set, Capital tries to set the record straight.

Everything you’d expect is here. In fact, there’s 100 cuts, 54 of which hit the charts. Plus there’s a lot of unreleased tracks, live stuff, and alternate versions of a few songs. There’s a 48-page booklet that contains some great essays and more information than you can shake a stick at on the tracks that are contained on the CDs. Even the sleeves in each individual CD have info on what Rick recorded and when during different phases of his career.

Let’s talk about the music. There’s no denying the young Nelson fell under the influence of Sun Records and Elvis. Disc one has great cuts like “Be Bop Baby,” “If You Can’t Rock Me,” and so many rockin’ cuts it’s hard to pick just one to single them out. And talk about guitar playing. By the middle of the CD, James Burton has been installed as Rick’s lead guitarist. And he carves out a huge history of rock and roll on too many cuts to mention. What’s cool is that Burton gets his own page in the liner notes booklet – a very nice appreciation, written by Bob Hyde. By the way, Burton isn’t the only guitarist of note to record with Nelson. How about the likes of Joe Maphis, Barney Kessel, and in later days, the late Bobby Neal, who died in the plane crash that claimed Nelson.

Back to the music. There are a few cuts where it’s obvious daddy Ozzie picked the tune. But none of them are awful. Just boring. It’s when Rick tears it up that things get going again. By disc three, when his interests turn to country and country rock, things get really interesting. He’s doing stuff like “Louisiana Man” several years before the Byrds hit the country trail, and many years before the Eagles. He was trailblazer. His cover of Dylan’s “She Belongs To Me” was one of my favorite songs as a 12-year-old. Disc three also has his masterpiece from the later years, and one that summed up his philosophy – “Garden Party.” By the time we hit disc four, Rick can’t buy a hit, but the disc has some of his best stuff. Blazing country rock, killer ballads, and rockabilly heaven highlight the effort.

His vocals were always on the money, his band was tight as could be, and you could tell he still loved the music. His death in that New Year’s Eve plane crash in 1985 took away one of the true pioneers of rock. And by the way, no, drug use in the plane did not contribute to the crash, the NTSB made that official years ago, but for some reason that rumor just hangs on.

Anyway, check this one out. It’s finally a great package from one of the pioneers of rock who continued to grow long after his fans stopped progressing.