Archive for February, 2006

Solid country from Big Al

Tuesday, February 28th, 2006

THE CD: “After Hours” (Columbia/Legacy)
PERFORMER: Big Al Anderson
WEBSITE: Click here

“Big Al” Anderson was a longtime guitar player and songwriter in NRBQ. For the past 13 years, he has been a songwriter who divides his time between Nashville and Connecticut. He has placed songs with Carlene Carter, Aaron Tippin, Alabama, Trisha Yearwood, and The Mavericks, to name a few.

This kind of songwriting resume takes versatility and variety. Anderson’s writing partners include R&B veteran Delbert McClinton, and Sharon Vaughn, as on “Do Nothin’ Day,” which features Vaughn’s lead vocal:

.”I hear them singing happy birthday/better think about the wish I made/cause this year gone by ain’t been no piece of cake/just another revolution/pull it together and it comes undone/just one more candle and a trip around the sun/and I’m just hanging while this old world keeps spinning/and its good to know its out of my control/ ’cause if there’s one thing that I’ve learned from all this living/is that it wouldn’t change a thing if I let go.”

This particular cut has a Ronnie Milsap sound, but the CD also touches on honky-tonk, big-band jazz and blues to gospel, country and back again. Along the way, Anderson displays some very impressive guitar chops, as on “Blues About You Baby.” More good country music from a solid artist. Release date is March 7.

You can’t rock the country out of Radney

Tuesday, February 28th, 2006

THE CD: “This World We Live In” (Dualtone)
THE PERFORMER: Radney Foster
WEBSITE: www.radneyfoster.com

Radney Foster is a veteran Nashville songwriter who has had songs recorded by The Dixie Chicks, Guy Clark and others. Foster’s “Real Fine Place to Start” was a number one hit for Sara Evans.

Joining Foster here are some out-of-towners, namely guitarist Waddy Wachtel, drummer Charlie Drayton and Bob Glaub on bass. These guys have rock credentials that stretch to LA and back, but they don’t rock the country out of Foster. The recording has a rich, spare, sound, and isn’t overproduced.

Foster’s vocals have a heartfelt longing, as on “New Zip Code

“A new Zip code is what I need/Anyplace where your heartache can’t find me/Ain’t a bar in this town where I can lose your memory/So I’m kissing this dirt goodbye/I’m probably never gonna outrun this hurt/But I’m damn sure gonna try.”

This is smart music from a top songwriter with a solid rhythm section. “World We Live In” will be released on April 4. Dualtone is a label listeners can look forward to hearing more from.

— By Paul Gartner

Davies could have done better

Tuesday, February 28th, 2006

THE CD: “Other People’s Lives”(V2 Records)
PERFORMER: Ray Davies
WEBSITE: Click here.
SUGGESTED TRACKS: “Creatures of Little Faith”, “The Tourist”, “The Gateway (Lonesome Train)”

The first solo album by ex-Kinks frontman Ray Davies sounds pretty much like the solo effort of an aging rock star. Most of the songs on “Other People’s Lives” involve vague tales of pensive song-people struggling with change or age or insecurity. Very little of the clever social commentary — or plain old good songs — Davies penned for the Kinks appear here.

The Davies of yore glows dully in the background on such songs as “The Tourist,” an indictment of rich, clueless vacationers inspired by Davies’ pre-Katrina move to New Orleans: “Just another tourist checking out the slums/With my plastic Visa, drinking with my chums.”

“Creatures of Little Faith,” a simple song of waning love, shows Davies can still write a good little tune when he wants to: “You caught me with my pants down but I was only taking a shower/Still, you looked for the evidence like the smell of perfume or lipstick on my collar.”

In fairness, no one should expect Davies to sound just like the Kinks — it’s time to move on. But 30-plus years of heading up one of hard rock’s seminal bands should have resulted in more than throwaway Herman’s Hermits tracks and bizarre railings against stand-up comedians. Let us hope this otherwise outstanding musician realizes his potential in the next 40 years.

Available at all local record stores.

– by Morgan Kelly

Time to ‘Walk the Line’ again

Monday, February 27th, 2006

Tomorrow night already feels like a good night to stay inside with a movie. The one I’m thinking of will be released on DVD this Tuesday. Walk The Line hit theaters back in November, and now you can add it to your collection.

The movie covers the first 36 years of the storied life of Johnny Cash. It gives fans a glimpse at Cash’s humble upbringing amid the cotton fields of Dyess, Arkansas, including the darkest moment of his life: the death of his older brother Jack, something that haunted Johnny for the rest of his life. From there, the early days of Cash’s career, which coincided with the dawn of rock n’ roll, are chronicled. Elvis Presley and Jerry Lee Lewis were among his peers. A performance at California’s Folsom Prison, which was recorded for what became a classic live album and a milestone in his career, is also a key plot point.

“Walk The Line” is mainly about the relationship between Johnny and June Carter Cash, which is probably one of the best love stories of all time. It began as a story of forbidden love between the right people who met at the wrong time. Eventually, it became the story of how a woman’s deep and unwavering love helped to save a self-destructive man from himself. Joaquin Phoenix (Johnny) and Reese Witherspoon (June) do an excellent job capturing the personalities of the real-life couple — although they really are both too pretty for the roles. If the truth be told, both Johnny and June were a little on the homely side. However, both were cast with the blessings of Mr. and Mrs. Cash. Their only child together, John Carter Cash, served as the movie’s executive producer. With those factors in mind, it’s easy to see how the movie was able to tell the story it set out to tell.

The movie is entertaining, and for the most part, is well done. Much of the initial buzz centered on the movie’s musical numbers. Phoenix and Witherspoon do the singing themselves and both turn in credible performances. They worked incredibly hard to replicate the nuances of both singers (and in Phoenix’s case, Cash’s guitar playing style as well), and it shows. From the beginning of the movie’s promotional cycle, both thespians were touted as Academy Award worthy. As it turned out, he was nominated for Best Actor, and she got a nod for Best Actress.

If Entertainment Weekly’s prediction is correct, it’ll be Witherspoon who takes home a trophy on March 5th. She’s adorable as June, playing her as light-hearted and strong-willed at the same time. Cash fans are very familiar with the stories of his wildman antics in the early 1960s, which were fueled by a nasty amphetamine addiction. While watching “Walk the Line,” it’s easy to see how much of a nightmare it had to be to deal with him at times. Perhaps June should be considered for sainthood.

Knowing the real-life story made it easy to buy into the on-screen portrayals, but the movie could’ve dug even deeper into Johnny and June’s relationship. It’s true that as a youngster, Cash had become smitten with June after hearing her perform with her family on the radio. Upon meeting, it was also apparent that there was a certain chemistry between them, which radiated in their appearances onstage together.

From there, however, the film doesn’t always do a great job of explaining why they fell for each other. To see their romance develop onscreen, it seems that things sparked simply because they were always around each other while touring together. Marriages to others were merely obstacles they’d eventually get around. Cash’s attraction to June was obviously based on more than just an infatuation stemming from childhood, so what was at the heart of it? What was it about Cash that attracted June despite the darkness that surrounded him?

The idea of falling in love with someone that you probably shouldn’t is what led June to co-write “Ring Of Fire,” which became one of Cash’s biggest hits and signature songs. The movie acknowledges that, but glosses over it. It would’ve been interesting to see how Phoenix’s Cash reacted when he heard the song or read the lyrics for the first time. How did he feel when he realized it was written about him? A scene with Witherspoon’s June explaining her inspiration would’ve made the scene where the song is performed feel symbolic as a defining moment in their relationship.

Considering what the song is about, “Ring Of Fire” would’ve been a more appropriate title for the movie. “I Walk The Line” was a song Cash had written for his first wife. He wrote it to let her know that he’d remain faithful to her as his budding career demanded that he spend more time away from her. That turned out to be a line Cash couldn’t quite walk.

“Walk the Line” captures the period in Cash’s life where his rebellious nature made him infamous and legendary, but ends with the beginning stages of the redemption that is equally a part of the Johnny Cash persona and mystique. Without June Carter, that redemption wouldn’t have been possible. Without her, the story of his life would have had a much different ending.

—By ozz

Enter Gazz Oscar Contest by noon Monday

Tuesday, February 21st, 2006

Click here for contest details…

Reinterpreting Fahey

Wednesday, February 15th, 2006

THE CD: “I Am the Resurrection: A Tribute to John Fahey” (Vanguard Records)
PERFORMER: Several

John Fahey was the creator of what he called “American Primitive Guitar,” which is marked by a contemplative deep blues feel, played solo, fingerstyle, with open tunings. He was an early influence on — and champion of — Leo Kottke, Peter Lang and others. Fahey died on Feb. 24, 2001.

Vanguard Records has released this new collection to mark the fifth anniversary of Fahey’s death. It features a clutch of artists unfamiliar to me: The Fruit Bats, Devendra Banhart, Lee Ranaldo, and Howe Gelb. Former Plimsoul Peter Case has a tune here, too.

Like Fahey’s music, the CD is very quiet and meditative, and well… somewhat repetitive. But as any traditional musician knows, repetition is good for you. And Fahey’s tunes are ripe for interpretation. “The Dance of Death” from Calexico has a great groove. Ranaldo’s “The Singing Bridge of Memphis, Tennessee” has what sounds like the rhythm of cars hitting pavement as a backdrop to acoustic guitar and feedback, with vocal chorus. The effect is very gentle.
“Bean Vine Blues” evokes Mississippi John Hurt, and sounds like it is played through the kind of 8 watt amps Woolworth’s used to sell back in 1965, only with a busted speaker — and set on 12. Cul De Sac’s “The Portland Cement Factory” is interrupted by what sound like emergency transmissions from Mars.

This is a great collection and homage to the master of American Primitive.

— By Paul Gartner

Neo-’70s duo rock hard, but nothing new

Tuesday, February 14th, 2006

CD: “Morningwood”(Capitol)
PERFORMER: Morningwood
WEBSITE: Click here.

The self-titled debut of NYC-based Morningwood represents everything good about ’70s pop-rock — it’s equal parts sexy, sassy, catchy and loud.

At a tender 23, front woman Chantal Claret sounds like she earned her rock stripes alongside the Runaways and Debbie Harry. Under her calm stare and Jaclyn Smith-curls lurk both ’70s girl-rage (as in the roaring indictment of condescension, “Body 21″) and the power to lull us into sweet teen-dreams, as in the song “Ride the Lights.”

Although known to spit out killer songs solo, Claret has a damn solid band backing her aural tour of the Carter-era. Ex-Wallflowers drummer Pedro Yanowitz — the band’s only other official member — now takes on the backup vocals and lays down pounding grooves on bass (hear “Everybody Rules”).

To attain that authentic Wall of Sound, the duo called upon a host of guest musicians with a history in throwback pop. Guitarist Richard Steel played lead guitar for the defunct Brit-band Spacehog (the foursome’s drummer, Johnny Cragg, makes a one-song stop).

Spacehog also borrowed heavily from the ’70s, although their sound-of-choice leaned more toward the operatic, arena-rock of Queen. Steel’s style of accentuating the lyrics with simple, high-octave riffs (a la Brian May) softens Morningwood’s proto-punk roots well: songs such as “Nth Degree” and “Jetsetter” feature a dance-club body drawing life from a beating Heart-like grit.

Sadly, this album dropped last month, not 30 years ago. Morningwood’s wild, vintage-punk venues surely offer something radical (and worth seeing) in today’s music world, but their album sounds like a retread. The sound they rekindle no longer shocks but influences, meaning everyone has heard it and now tries to build on it. Bands such as the Strokes also borrow heavily from this era, but tweak it for freshness. Morningwood sounds so 1970s that you could slip the song “Televisor” into a classic rock station playlist and no one would notice.

All love aside, it’s hard to imagine that Morningwood will ever be treated as more than a novelty (the name doesn’t help). And that’s a heartbreaker.

– by Morgan Kelly

Santana doubled up: live and on tape

Monday, February 13th, 2006

THE CD: “Santana III” (Columbia/Legacy)
THE PERFORMER: Santana

This double CD bookends the original studio album with a live set recorded at the Fillmore West on July 4, 1971. Nearly two years after their Woodstock debut, the band had changed in a big way with the addition of guitarist Neil Schon and perscussionist Thomas “Coke” Escovedo.

First, the live cuts. The band cooks thru “Batuka” and “Toussaint L’Overture,” but by the time they roll out their signature smash, “Black Magic Woman,” the band sounds tired. Things do perk up with “Incident at Neshabur.” “In a Silent Way” proves once again how these guys could jam.

The studio cuts sound as good as ever, with fire and emotion from the guitar of 15-year-old Schon. (Schon and Rolie, by the way, went on to further fame and fortune in Journey.) “Everything is Coming Our Way” is powerful, with a happy yet haunting vocal from Santana.

There are also four bonus tracks from 1971: “Gumbo,” “Folsom Street - One,” “Banbeye,” and “No One to Depend On.” Of these, “Gumbo” really cooks. Crank it up.

– Paul Gartner

A legendary Miles Davis meet-up

Monday, February 13th, 2006

THE CD: “Miles Davis: The Cellar Door Sessions 1970″ (Sony)
THE PERFORMER: Miles Davis and friends

This six-CD set from Columbia/Legacy contains six of 10 sets recorded during legendary jazz trumpeter Miles Davis’ four-night run — Wednesday, Dec. 16, through Saturday, Dec. 19 — at the Washington, D.C., club in 1970.

This was quite a band. With Davis (on different nights) were Gary Bartz on soprano and alto sax; John McLaughlin on guitar; Keith Jarrett on keyboards; Michael Henderson on bass; Jack DeJohnette on drums; and Airto Moreira on percussion. This is the first time any of this music has been heard, except for the Saturday night set (which was included on the 1970 album, “Bitches Brew”).

Josef Zawinul’s “Directions” got a workout that week, and appears on five of the six CDs, as this collection is aimed at Davis afficionados. On the other hand, the tune is based on a repeating bass line in E, so by set five, it is a different tune. Maybe it is just the rock leanings, but I find this period more accessible than “Birth of the Cool,” and Davis’ icy trumpet tone. This may owe more to the composer than any brilliant insight on my part, but shows the debt bands such as Weather Report owed to Davis.

On “Directions” on CD 5, McLaughlin appears, playing biting staccato passages (as he says in his recollections of the time, to “fight it out on stage with Miles” was a blessing). These give way to Jarrett’s double keyboard solos then Davis’ wah-wahed trumpet. Imagine the frustrations of these great players, making scale wages while rock stars played blues scales for millions.

You can absorb this music for five years and not get it all. The 100-page booklet is excellent and most informative.

– Paul Gartner

Train’s “For Me, It’s You” is for me, just O.K.

Monday, February 6th, 2006

THE CD: For me, it’s you (Columbia)
PERFORMER: Train
WEBSITE: Here
LISTEN: Here

It’s hard not to like Train. Even if you think they are just a Top-40 act that pops up every few years to fill in the spaces between other songs that are on the radio way too much, you have to admit, they do write some killer songs. In fact I can’t think of better song lyrically than 2001’s “Drops of Jupiter,” which takes on Van Morrison status as far as I’m concerned.

That’s why I was so excited to pick up their brand new album “For Me, It’s You” which came out this past Tuesday. I had already bought the first single, “Cab,” which is every bit as catchy as anything they have ever put out. Singer Pat Monahan has always had a way of reaching his audience with lyrics that were so creative there was slim chance anyone else had beat him to them. On “Cab,” when he sings Sometimes I feel like I’m the only cab on the road, you can’t help but admire his ability to sink some loneliness into everyday objects.

Unfortunately that is where this album somewhat parts with Train’s previous efforts. While you could probably get by with calling Train’s previous albums inspiring (think 2003’s “My Private Nation”) this album would be considered much darker and depressing. All the while Train’s music is right on with previous efforts, and mixing that with depressing lyrics kind of takes a little of the band’s charm and spirit away. Consider the following not so great example.

Where Train’s first single, “Meet Virginia,” introduced the listener to a woman who seemed so quirky and cool you wished you could meet someone just like her and then write a song about it too, tracks like “Shelter Me,” “Explanation” and “Always Remember” make me want to say “Dude, maybe you should stay away from this woman.” Also, skip “Skyscraper” if you want to do something more productive with your life for a couple of minutes.

Don’t get me wrong, there are still plenty of good things to check out on this album. Train’s worst attempt at a pop song still beats most bands absolute best try. The first track, “All I Ever Wanted,” is Train at its best; and “Give Myself to You” is sure to end up being the next single. The title track, “For Me, It’s You,” is also a keeper and when Monohan sings Everybody’s got something they want to sing about, laugh about, cry about it’s true . . . for me it’s you — it will make you glad you took the time to check it out.

All in all “For Me, It’s You” is not the Train album I was hoping for, but it’s still worth checking out. Maybe go to Itunes (which also has an Itunes exclusive track “I Wanna Believe”) and preview the songs to see which ones would be worth it before buying the whole album. It’s not that it’s bad, it’s just that I know what Train has done in the past has been great, and this is, well, just a step down, which still qualifies as pretty good. In the end though, Train may say “For Me It’s You,” and you may say for me, it’s great, but when it comes to this album for me, it’s just O.K.

– by Mark Totten