Month: November 2010

While a generation may remember James Brown as a soul star who fell on hard times, or as a man whose death has led to a tabloid-ready story of a fight for his estate, this three-disc set brings back the man who was a legend not only for his talent, but for his work in the black community.

The set consists of three DVDs. The first is the documentary The Night James Brown Saved Boston. It tells the tale of April 5, 1968, the day after the assassination of Martin Luther King, Jr. Brown’s scheduled concert in Boston was almost canceled, but it was eventually agreed to show the concert live on television, the hope being folks would stay indoors that night and Boston wouldn’t burn, like most other big cities in the U.S. The plan worked, and the documentary talks with most of the political and business principals. We also hear from members of the band. Full of great news footage from rioting, speeches from the likes of president Lyndon Johnson, and the concert, which was shown on the local PBS station, the film is fascinating as it sets up the complexities of Brown and tells what other folks were thinking. Extras include extended interviews.

Disc two is the concert as it was broadcast. Simply put, it is amazing. We see a master at work as he reveals why performers ranging from Prince to Michael Jackson to John Mellencamp to Chris Brown copped moves from J.B. Vocally, his unearthly screams are astounding. Brown’s vocals are often distorted because the producers simply weren’t savvy enough to know how to handle his style, but that never detracts from what your eyes behold. Brown’s control of the band is a sheer delight; they’re as tight an ensemble as was ever assembled. Guitarists will love watching Jimmy Nolen on “Get It Together,” where he shows how he helped create the basis for most of the funk guitar work that has followed since. Brown tells Nolen, “Give me a little Wes Montgomery,” and Nolen delivers. It’s an amazing segment.

The hands-down high point of the show happens when the crowd starts to get antsy. Brown handles the situation with amazing aplomb, as a potential powder keg is quickly diffused as the concert wraps up. There is some overlap between discs one and two, but it’s great to see the whole show.

Disc three is a concert from the Apollo in ’68. Unlike the Boston show, it was shot in color, but it’s hampered by the overuse of psychedelic effects that apparently were used because this show was a television special. The set list is different, highlighted by a stunning “It’s a Man’s, Man’s, Man’s World.” Extras include J.B.’s classic performance at 1964’s “T.A.M.I. Show” and two Paris performances from ’67 and ’68.

This is more than simply a piece of musical history. It’s American history, and it’s as important as any cultural event of the last 50 years.

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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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On their fourth Sugar Hill release the Gibson Brothers have dialed back their high-energy bluegrass sound to focus on songs and lyrics rather than hot picking.

The brothers hail from upstate New York, and while most modern bluegrass bands eschew regionalism, they embrace and emphasize the stylistic nuances that differentiate New England-style bluegrass from its Southern counterparts. Instead of the Virginia accents of Jim and Jessie, Leigh and Eric Gibson retain a New York lilt.

Their vocal accents and inflections are reminiscent of the great Canadian singer/songwriter Ian Tyson. But instead of folk, the Gibsons do bluegrass and are responsible for seven of the 13 cuts here. The five others were written by the likes of Tom Petty, Steve Earle, Julie Miller, and Faron Young. The title cut has a plaintive Celtic edge and tells of Adirondack mountain miners’ love of baseball (yes, there were mines in northern New York). Their cover of Steve Earle’s “The Other Side of Town” captures the song’s Ray Price-influenced honky-tonk sound while keeping it bluegrass. The Gibsons’ treatment of Julie Miller’s “Somewhere Trouble Don’t Go” couples the song’s old-timey two-step rhythm with a Louvin Brothers’-style double lead vocal. The results are jaunty and haunting.

Compared to other top-tier contemporary bluegrass bands, the Gibson Brothers have a more palatable sound with less nasal twang and full-throttle rhythm playing. Their overall feel has more in common with folk-grass – and that’s not a bad thing. Many bluegrass fans will enjoy music that caresses rather than pummels.

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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.

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From the kick-off of the opening song, “Feeling Blue,” the Grascals demonstrate that traditional bluegrass doesn’t have to sound old-fashioned. Even on moderate-tempo songs they maintain a driving rhythm that would make any hard-rocker envious. Their spot-on three-part harmonies have a sufficiently gruff edge to keep them from being too mainstream-country slick. The band treads a very thin line between a modern acoustic and the traditional old-style sound, accomplished by combining energy with restraint, and they do this so impeccably, whether it’s a solo, harmony, or backing rhythm part, that you can’t help but be impressed.

With only two co-written original songs, Keep On Walkin’ relies on shrewd song choices to showcase the Grascals’ unique contemporary style. Covers such as Ivy Bryant’s “The Only Daddy that Will Walk the Line” and Merle Haggard’s “Today I Started Loving You Again” have a more organic feel than the originals, but still sound modern. Recently penned songs such as the title cut, “Keep on Walkin’,” retain the feeling of classic bluegrass, but with a contemporary twist.

Without a doubt, the Grascals personify what a great bluegrass band should be – precise, multi-part vocals combined with virtuosic instrumentals. Keep On Walkin’ is so solid it’s positively golden.

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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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Bonevard

In some circles, Tom Verlaine is a legendary musician. As a member of Television in the late ’70s, he and Richard Lloyd cut a swath of influence far and wide. Collector’s Choice is now releasing his two solo records that followed the breakup of that band. While 1982’s Words From the Front is a strong album, 1981’s Dreamtime features some of Verlaine’s best songs and playing.

Chock full of great players from bands like Television, the Patti Smith Group, the Pretenders, the Dictators, and the Church, the album is nonetheless more about Verlaine’s guitars. He always puts the right note in the right place. If you’re more into fabulous chops, this might not be for you. But if you like nuance, taste, and players who know what a song needs, Verlaine is your guy.

Still, don’t doubt the chops. “The Blue Rube” is a guitar masterpiece with playing as nervous as a steer in a slaughterhouse. And Verlaine’s vocals share the mood – think David Byrne, but quirkier. It’s not for everyone, but it’s rewarding once you delve in. While Verlaine never had the big “hit record,” Dreamtime shows how far and wide his influence was felt.

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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.

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Shawn Mullins hit the big time in the ’90s with the sleepy folk tune “Lullaby.” Since then he has jumped around a bit and now finds himself recording for Vanguard, which has a long history in folk and blues. Mullins hasn’t changed up his recipe for songwriting to fit in, and the 12 cuts here are an eclectic mix of rock, folk, and R&B, with Mullins’ vocals sounding a bit like the late, great Steve Goodman.

While Mullins can definitely write a lyric, the band helps. Sheryl Crow band veteran Peter Stroud supplies most of the guitars with same tasteful support he gives to all of his other work. Whenever you hear a Stroud lick, it has a feel that blends perfectly while adding a distinct touch to a song. But Mullins is the star here, and his writing and singing dominate. “The Ballad of Kathryn Johnston” is a tale of a proud woman living where things have grown a bit rough. It’s wonderfully written with the minor-key feel and Stroud’s slide guitar lends a rowdy, menacing feel. Other tracks need only Mullins and his acoustic. “Home” works beautifully in that mode, “Homeless Joe” is an effective tale of an old blues man, “See That Train” is sung through a bullhorn and fits the lyric perfectly, as does a nasty slide guitar solo. On many of the vocals, Mullins voice takes on an earnestness much like Goodman’s. Many times we saw a wink behind Steve’s vocals, and we don’t always get that here. Mullins lyrics tend to stay a little more on the serious side of the street.

Mullins’ chart success probably surprised him as much as it did anybody. His intimate lyrics and folksinger attitude don’t mix well with Britney and company. But here he has found a niche that will serve him well.

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

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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

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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.

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Principato has long been known as a fine guitar player, but here production and vocals take him to a new level. There’s plenty of the stuff you expect from Principato, including funky New Orleans-style rock like “Lock and Key,” with horns, organ and precise chording; Fender heaven on the solos. “Too Damn Funky” is exactly that, with a nasty solo and cool chordal work on the outro. “Mi Solea” is an emotional instrumental that gives Principato a chance to show his stuff. His soloing is as clever and on-the-money as you want. The same goes for his workout on Jimmy Smith’s “8 Counts For Rita.” Its old fashioned greasy, funky soul feel lets Principato show off nice changes and great lead licks. And the closer, “They Called For Stormy Monday (But ‘Mustang Sally’ is Just As Bad!)” will definitely find a sympathetic ear in every working musician. Recorded live and with a perfect rendition of the Bobby “Blue” Bland/Allman Brothers versions of “Stormy Monday,” its lyrics have been adapted to include every song, and in some cases every band any musician over the age of 30 is sick of playing.

The good news is, with releases like this one, Tom’s bringing new and varied music to that realm.

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

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In the Middle of the Night

Greg Howe’s incredible chops often override the musical aspect of songs. At least that’s the common wisdom. But that doesn’t happen on this collection of songs that show off his rock, jazz, and funk sides without the playing overpowering the songs.

Tracks like “Emergency Exit” combine loud, abrasive rock chops with Howe’s jazz leanings. The rhythm section (Jon Reshard, bass, Gianluca Palmieri, drums, and David Cook, keyboards) is fabulous and lends perfect complement to Howe’s writing. And that writing covers a lot of ground, with songs having a Latin jazz feel (“Reunion”), demonstrating old-fashioned fusion (“Child’s Play”), wild funk (“Sound Proof”), or a lovely acoustic ballad (“Sunset In El Paso”), Howe’s writing and playing shine. The one cover hints at the breadth and scope of Howe’s playing, as the band takes on Stevie Wonder’s “Tell Me Something Good.” The inherent funk gets a heavy workout, as Howe breaks out the wah to help out on a strong, fast, and funky solo. The song is the perfect vehicle to highlight what Howe does best.
 

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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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There may not have been a blues bandleader since at least the mid ’60s who has not turned to his rhythm section and asked, accusingly; “Do you guys even know how to play a shuffle?” It’s a safe bet that question has never been asked of Kilborn Alley’s Chris Breen (bass) and Ed O’Hara (drums) – among the best at holding the reins since Jerome Arnold and Sam Lay did it for the early Butterfield Band. The two help fire the Kilborn’s music with the verve that marked the newly electrified blues pumped from the big beautiful Seeburg jukeboxes in the clubs of post-WWII Chicago’s South and West Sides. Authentic, soulful, expertly skilled, this band is madly exciting.

There’s no mistaking the guiding spirit of John Lee Hooker behind the album – and in singer/guitarist Andrew Duncan’s playing, in particular. Duncanson’s enthusiastic John Fogerty-throated vocals (“I’m Spent,” “She Don’t Know”), guitarist Josh Stimmel’s Robert Jr. Lockwood turns (“Fire With Fire”) and Joe Asselin, an absolute banshee on the harp, factor in the excitement. But what puts Tear Chicago Down above the average contemporary blues release is first-rate songwriting. Any bunch of good players can wrap snappy licks around a traditional progression, but how long has it been since a blues lyric broke your heart? The B.B. King/Charlie Foxx style plea for America’s troops to “Come Home Soon” comes close. And only the truly hard-hearted wouldn’t feel for the poor sap, duped unawares into crime, who must spend “Christmas In County.” “Crazier Things” is a direct “adaptation” of Muddy Waters but light-fingered though they may be, this band operates with style. And respect. Much of blues’ traditional changes and melodies are almost de rigueur anyway. If another “Smokestack Lightning” is to be written, the Kilborns, taking collective composing credit here, could be the ones to do it.

Putting the cherries on top, producer Nick Moss adds deft guitar, soloing on “Come Home Soon” and the multi-talented/ridiculously versatile Gerry Hundt, who engineered, plays organ on most of the disc and adds unique blues mandolin to “Crazier Things.”

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

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