Month: July 2013

Though its song titles imply this is “surf music,” James Patrick Regan and the Deadlies boast plenty of other inf luences.

Yes, there’s plenty of reverb-drenched guitar from Regan, and bassist Bob St. Laurent and drummer Jim Lang can ride a wave with the best of them, but “Mayhem at Pillar Point” is a straightahead ’60s garage rocker, while “Pig Farm” is a fun country tune with fine bending and twang. “Mojave Dry Run” is a creepy boogie with feedback and other cool guitar sounds. “Teahupo’s” has surf overtones, but it’s really just a fine rock instrumental with a funky edge. “B6 Shuffle” is a funky shuffle where Regan’s guitar supplies the fuel.

There is plenty of surf. “Save the Waves” and “Pier Pressure” are heavy on the feel and have nasty, ultra-hyper guitar work from Regan; notes bounce off the walls. On “Splat!,” the boys show a sense of humor to go with their chops; a mash-up of the theme songs from “Banana Splits” and “Batman,” it’s the perfect mix of rock and surf.

While Meet the Deadlies is loaded with fine playing, it’s also full of what most rock and roll forgets these days – plain ol’ fun!

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.

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Winterland consists of four CDs, one for each night of the Experience’s October ’68 stint and a fourth disc of highlights from each night as well as a backstage interview with Jimi in Boston a month later.

Bootlegs of numerous Hendrix shows have made the rounds, but this is the real deal. The original onsite engineers were Wally Heider and Bill Halverson, whose cumulative credits include Cream’s Wheels Of Fire, CSN’s self-titled debut, Albert King’s Live Wire/Blues Power, Van Morrison’s Tupelo Honey, and dozens more (by Wes Montgomery, Otis Redding, Bill Evans, Chuck Berry, Ray Charles – you get the idea), including Hendrix’ live Band Of Gypsies. The tapes were mixed by package co-producer Eddie Kramer, whose association with Hendrix is well-known (and who also worked his magic with the Beatles, the Stones, Traffic, Santana, Bowie, Curtis Mayfield, and John Mayall, to name a few). Mastering was performed by George Marino, who, in addition to remastering reissues of Hendrix’ studio albums, has a resume that encompasses classics by Miles, Dylan, Lennon, Zeppelin, Queen, Sam Cooke, Stevie Wonder, AC/CD, and countless more. This isn’t just the A-Team, it’s the A-Team’s starting lineup.

In his notes, Fricke dramatically states, “Even if you were there you’re not done.” But it’s obvious from a few “observations” that Fricke definitely wasn’t there. Like seemingly every other writer, he refers to Jimi’s “six sold-out shows” over the three nights – which is misleading. At Fillmore and Winterland shows, it was standard that each act played two sets, with the bill going bottom to top, then repeating. Admission was three or three-and-a-half bucks, and they didn’t turn the house. Acts soon learned (and liked) this, so they would rarely repeat songs – although Hendrix rarely walked off stage without doing “Foxey Lady” and “Purple Haze,” sometimes back-to-back. Fricke also states the Jimi previewed “Voodoo Child (Slight Return)” from Electric Ladyland, which would not be released until two weeks later. True – but it wasn’t uncommon for Bay Area FM underground bastion KMPX to have exclusive tapes prior to official release dates. So when Hendrix broke into “Voodoo Child (Slight Return)” after evening-opener “Are You Experienced?” the first two nights, the crowd recognized it and reacted immediately (at least on October 11, when a 15-year-old future guitar journalist was pressed against the stage, maybe 10 feet away from Jimi).

Speaking of “Are You Experienced,” Fricke accurately states that Hendrix opened with it on the 11th, with Virgil Gonzalves of the opening act, the Buddy Miles Express, on flute. But as with Disc 1, that night’s song sequence is jumbled around, with each disc beginning with the second set’s extended instrumental opener, “Tax Free.” Also, Disc 3 closes with the three-song finale of the first set. Apparently coproducers John McDermott and Jimi’s father’s adopted daughter, Janie Hendrix, (it’s hard to imagine Kramer going along with this) think they can draw up a set list better than Jimi.

Nitpicking? Maybe, since obviously not every song played over the course of three nights could be included. But it would nice to adhere closer to the continuity of Hendrix’ sets. On the plus side, the 36-page booklet is filled with beautiful photos by professionals Jim Marshall and Robert Knight, interrupted by only a couple of murky snapshots probably taken by fans (something Graham’s shows never discouraged).

As for the playing captured in those sets and presented here, this is about as good as it gets. Over the years, some of Hendrix’ “just ask the axis” lyrics have dated him to a certain time (as wondrous as it was), but hearing him here, utterly in command, the timelessness of his playing and music shines through.

Hendrix was not quite 26 here, just two years after Experience’s Paris debut. The original lineup broke up the following summer, and not quite two years after this magical weekend, Jimi was gone. But whether October ’68 or today, he’ll remain the best until someone better comes along.

Don’t hold your breath.

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This article originally appeared in VG‘s Jan. ’12 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

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The list of people who call themselves “professional harmonica players” certainly is not all that long. And the number of female harmonica players… well, beyond Stacie Collins, I can’t think of one.

On her third CD, Collins demonstrates not only her ability to blow harp, but her songwriting, singing, and band-leading chops.

Collins’ music is basically Southern blues-rock with a booze-tinged edge. The opening tune, “Hey Mister,” kicks off this CD with a straight-ahead boogie beat and brassy “wall of sound” harmonica. The second tune, “I Won’t Do You Like That,” slows the beats per minute but rocks just as intensely, with sizzling guitars by Dan Baird and Eric Borash pushed along by Jimmy Lester’s drums and Al Collins’ punchy bass lines.

What separates Collins’ music from the hundreds of other Southern rock acts? First, she’s a woman playing music that’s typically the provenance of hairy guys. Second, her music has more subtlety than mere kick-ass bar-band music. Third, her songwriting is also above average for the genre. No, don’t expect her to bare her soul lyrically – most of the subject matter is cheatin’/ lovin’/drinkin’. But Collins knows enough to keep it fresh. Her melodies are bluesy with ample use of the one, four, and five chords. The difference
is the sound of her voice; instead of a big ol’ bullhorn, hers is a more delicate tool, more like what you’d expect from a country singer such as Allison Moorer.

If you’re ready to rock, Stacie Collins is willing and able, with her special honky-tonk recipe.

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

The past few Pete Levin albums have featured his fine organ playing, great songs, and lots of room for whatever guitarist was working with him. Jump! is no different, with Dave Stryker on guitar. Put the two with drummer Lenny White and you’ve got the mix for a highly entertaining record.

Stryker proves a valuable ally on nine cuts; whether it’s a funky blues with rock touches (even a nice Hendrixy series of hammer-ons) like the title track, or a swinger like “Exclamation!,” Stryker proves a versatile player brimming with soul. Their take on Charles Mingus’ “Nostalgia in Times Square” lets Stryker stretch on single lines, chords, and octaves while building a dazzling solo. His 9th-chord work on “The Big Dog is Always Right” proves he would have easily fit into James Brown’s JBs.

While most of the tunes are uptempo swingers or rollicking blues, Freddie Hubbard’s “Little Sunf lower” gets a smoky blues treatment that finds Stryker highlighting his harmonic capabilities along with his soloing abilities.

The final cut is a rendition of “Honeysuckle Rose” Levin did in 2008 with the now-deceased Joe Beck. It’s a swinging version and showcases the guitarist’s skill at comping and the ease with which he could solo, zipping thoughtfully and easily in and out of changes. It’s a perfect tribute to a player who was woefully underappreciated.

Levin’s compositions, as always, are tight and memorable, and his choice of covers is very cool, including an unexpected take on “Talk to the Animals.” Jump! is a treat for jazz and guitar fans alike.

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