Month: December 2010

Some still think Jethro Tull is the name of that band’s lead singer. So was it wise for a band, especially one with a female lead singer, to name itself Donna The Buffalo? The hippy pretentiousness of it begs for the administering of a Moe Howard-style group slap. But Silverlined, their sixth album, is full of lively, intelligent, rhythmically infectious songs that can be serious or light without being pedantic or goofy.

Sure, DTB are idealistic granola-encrusted post-hippies, but likeable ones. Jeb Puryear plays strong country guitar and writes and sings pretty well. But DTB comes alive when he’s coloring writer/singer/Earth Mother Tara Nevins’ tunes with background vocals and snappy middle-range licks, though it would have been nice if guest backup vocalist David Hidalgo had been handed a guitar for a tune or two.

Nevins’ cowgirl voice and trenchant, wry songs (she wrote six of them on this disc) are the band’s greatest assets. Her “Broken Dreams” (“Why can’t you seem to talk like you really know what you did?”) comes from a woman whose BS detector is set on 10. Compared to Puryear’s seven songs, all six of Nevins’ (including “Beauty Within,” one of two with Bela Fleck on banjo) underscore that DTB is at its best with her up front. But if what Puryear brings as musician, co-producer, or navigator helps Nevins operate at her peak, he’s earning his keep.

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

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Fans of the Chris Hillman/Gram Parsons version of the Flying Burrito Brothers will latch onto this. Though the Marley gang is a bit lighter, you hear Gibson Brothers influence on “Love And Happiness For You,” where producer Jack Clemet gets Grady Martin-style acoustic lead from Mike Phelan and lovely lines from pedal-steel player Eddie Littlefield, Jr., who provides a great deal of the album’s character, while the tragic-comic relief of “Poor Old Dirt Farmer” is helped by his Levon-Helm-ish delivery. But when keyboardist Jerry Fletcher returns to sing the easygoing Western swing of “Should I Be Singing The Blues,” it’s obvious his voice and style are a major part of the band’s appeal. It works well in the bluegrass/rockabilly blend exemplified by “Got Leavin’ On Her Mind,” enhanced by the simple, twangy beauty of Phelan’s electric baritone solo.

Other high points include “Travelin’ Teardrop Blues,” co-written by guest guitarist Shawn Camp, Willis Alan Ramsey’s “Goodbye To Old Missoula,” and a wonderful reading of John Hartford’s “Here I Am In Love Again.” And a pair of tunes by Dan Wheetman – “Light In The Forest” and “Don’t We All Feel Like That” – are influenced by Cajun rumba and serve as another showcase for Fletcher’s mellow vocals and Clement’s understated production.

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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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Two respected artists turn simple correspondence into an album. And when you listen to the songs, it’s easy to hear the rapport.

While at times the songs here are dominated by one artist or the other, several cuts feel a bit like hits by Johnny Cash and June Carter. “Treat Me Right” serves that purpose. A boogie with fine slide guitar from Karp and playful interplay on guitar, it reflects the many styles of music that help the duo convey their ideas.

There are all kinds of blues, from boogie to the acoustic New Orleans feel of “Mm Hmm” to the country blues of “Hold On Baby.” Several of the cuts dominated by Foley take a jazzy turn with tasteful chord playing behind her reflective vocals and lyrics. There are even a couple of songs, like “Wait” and “Baby Don’t Go,” that have a definite pop tilt.

Guitars are the primary instrument throughout this disc, and each player shows their skills, though Foley lays back a little more than on her solo work. Karp lays down lots of tough slide, electric backing, and acoustic rhythm, and it’s usually easy to tell who’s playing what; neither is short on soul or chops. This partnership works.

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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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“Old-timey” music used to be the province of grizzled dudes with tobacco-juice stains running down the front of their shirts. But in the last couple of years, younger female musicians have embraced the form, and fans of roots music discovered that old-timey music is a lot more palatable – and hence more popular – when performed by women.

Banjo player Evie Ladin employs the older claw-hammer technique, which she combines with polyrhythmic arrangements to emphasize the rhythmic elements of old-timey style.

Ladin’s music preserves the rhythms of old-timey music while removing some of the discordant unison playing. Her rhythms are also rock solid, with a certainty of pulse that old-timey music rarely has. Some of the credit for the rhythm should go to co-producer Keith Terry, who plays all drum and percussion parts. The other co-producer, Mike Marshall, adds both guitar and mandolin parts. The overall recording quality of Float Downstream is exemplary, with a spacious-but-natural reverberation and big drum and percussion sounds.

Ladin has cobbled together a fun first album, full of rhythmically interesting music performed by musicians with super chops. What’s not to like?

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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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For savvy record collectors, this CD should jump off the rack, with its cover homage to The Swinging Guitar Of Tal Farlow – not to mention Munnerlyn’s National California archtop (a ’53) and Jeffries’ Wright Custom double-eight pedal steel (a ’65). Flip the digipak over, and you’ll probably be laying down the dough, once you see John’s ’60s Carvin mando/guitar doubleneck.

The duo is based out of the Bay Area, and familiar names like Brian Godchaux (fiddler with Dan Hicks and Jerry Garcia) and Hank Maninger (bassist with Bonnie Hayes, the Aqua Velvets, and Hacienda Brothers) crop up here.

The roots of the all-instrumental, all-original program are in Western swing – which isn’t surprising considering Jeffries is an alumnus of Big Sandy & His Fly-Rite Boys. He lists Joaquin Murphy, Speedy West, and Vance Terry as major influences, while Munnerlyn names Chet Atkins, Jimmy Bryant, and Charlie Christian among the “too numerous to mention.”

Lest you think their attention to detail is limited to guitar collecting and cover graphics, they deliver the goods in the grooves, too – from Lee’s “Blues For Earl” (a beautiful ballad that’s not blues) to John’s “Chester’s Mule,” displaying Chet’s influence, as does “Mercy Street” (along with a Hank Williams vibe).

The album ends on low-key note with the acoustic “I Lost You,” featuring Jeffries on Dobro. A tasty finish leaving the listener ready for a second set.

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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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Caleb Quaye was a respected session player known for his work with Elton John and Hall & Oates. Then the rock and roll lifestyle caught up with him and “a conversation with God after a night of partying” led him in a new direction. He embraced Christianity and became a musician/evangelist.

Today, Quaye serves as adjunct faculty at Life Pacific College, and on Out of the Blue, his tasteful playing (in a quartet that includes drums, keyboards, and bass) shines mostly in the form of jazz. Many of these tunes would fit well on a smooth-jazz station, with their funky feel and lovely, hummable melodies. And though he’s got chops to spare, Quaye’s soloing is not standard jazz; the tone is a bit overdriven. He also uses a light chorus effect that gives a nebulous, floating feel and allows an expressive percussive element. The closest he gets to blues or rock is “Ask and You Shall Receive,” which still has a jazzy head that leads to a swinging solo by Quaye and Charles Williams on piano.

Mellow, but full of fire, maybe this is a reflection of Quaye’s life. Whatever the case, it’s nice to have him back in the studio adding to his legacy.

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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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