PERFORMER: Gary Louris (www.rykodisc.com)
CD: “Vagabonds” (Ryko)

The first solo release from Jayhawks co-founder Gary Louris is not surprising in its style. It explores the various shades of what has become known as “Americana” (which itself is a tip of the hat to Louris’ influential band). What is surprising — stunning is perhaps a better term — is its depth.

There’s no doubt that this is a spiritual effort, especially lyrically, in its quest for answers to some of the basic questions that have haunted humans. There are also moments when it downright feels like a gospel record. The spontaneous-feeling hand claps on the closing of “To Die a Happy Man” will put you inside a country church as will the chorus of “Black Grass,” while “She Only Calls Me On Sunday” is like a Dylanesque hymn.

The constants are Louris’ voice, an easy flow to the music and the lyrics and Josh Grange’s beautifully evocative pedal steel. On the opener, “True Blue,” Louris effectively melds the spirits of Neil Young and Vic Chesnutt; “We’ll Get By” could be a Crosby, Stills, Nash & Young outtake; “D.C. Blues” is all his own, a gorgeous, pleading ballad; and just when you think he’d be out of ideas, the longing of the wonderfully fresh “I Wanna Get High” is palpable and urgent. This is especially great stuff for a wintry day.

– By Michael Lipton

PERFORMER: Blue Million (www.alansongs.com).
CD: “Blue Million”

In various incarnations (Stanley Louis Band, Off the Wall, Blue Million, Cheap Beats, and solo), Alan Griffith has been a constant on the Kanawha Valley music scene since the mid-’80s. And while his style has changed over the years from British and indie rock ’n’ roll to a pared-down format that draws on equal parts Dylan, Ramblin’ Jack and the Replacements, anyone who knows Griffith knows his music comes straight from his Boone County soul.

The current Blue Million reunites Griffith with longtime drummer Andy Lewis with newcomer “J” Hill on bass and vocals. Musically, the results are, by turns, minor-keyed story songs that keenly reflect the life and mood of a West Virginia lifer (“Next Year,” “Tall Ray”), Dylanesque talking blues (“Adam Bit the Apple”) and rockers that invoke the grand, open chords of Keith Richards (“Waiting For a Melody”). Read the rest of this entry »

PERFORMER: The Soul of John Black (www.yellowdogrecords.com)
CD: “The Good Girl Blues” (Yellow Dog)

The second release from former Fishbone guitarist/keyboardist John “J.B.” Bigham’s band The Soul of John Black, “The Good Girl Blues” explores a rich tapestry of blues, R&B and soul that’s all but an endangered species. It opens with “The Hole,” a black, à capella field chant that sets up a funky groove that showcases Bigham’s acrobatic soul croon. From there, he takes on straight-up, slow blues (“The Moon Blues”), the funked-up, Southern-fried “Swamp Thang” (a cross between Poonanny and Tony Joe White) and countryish “One Hit” (reminiscent of Brewer and Shipley’s ’60s hit “One Toke Over the Line”), and the simmering soul of “Feelin’s.”

With plenty of femm-e background vocals, “Good Girl” gives the blues a different twist while “Moanin’” is exactly that — an old-school moan with nothing but Bigham’s wordless vocals and an acoustic guitar.

Having played with Miles Davis, Eminem, Dr. Dre, Bruce Hornsby and Everlast, Bigham brings a wealth of experience to his music, making his “blues” a “spirit” more than simply a musical form. Bigham takes ample cues from the likes of Leadbelly and John Lee Hooker, as well as absorbing the influence of people like Taj Mahal, Keb’ Mo’ and Robert Cray. With any luck, this signals an innovative resurgence of the blues by black artists, most of whom have opted to steer clear of the genre for some time.

– By Michael Lipton 

Artist: Al Basile (www.albasile.com)
Album: “The Tinge” (Sweetspot Records)

The latest solo effort from Roomful of Blues cornet player Al Basile is one of those rare contemporary blues releases that takes smooth, jazz-flavored blues in the spirit of Cleanhead Vinson and Joe Williams and finds its own comfortable niche. Not only are Basile’s vocal and playing front-and-center but, as a side man, Duke Robillard’s guitar work is better than ever. At it’s best moments, the result might be described as sounding like a great Robert Cray record. The grooves simmer and cook expertly and the playing is nothing less than top-notch.

Bruce Katz alternates between piano, organ and Wurlitzer, while a horn section (Basile and saxmen Rich Lataille and Doug James) adds color and dynamics. The songs are moody, jumpy, in-the-pocket variations on old-style, big city blues (“Go Back Home to the Blues,” “Too Slow”), R&B (“Just Wait and See”), an occasional country-flavored pop tune (“Can I Trust You With a Kiss”) and what could pass for a jazz standard (“Give Me the Rainbow”) that manage to never sound trite.

— By Michael Lipton

PERFORMER: Adam Franklin (www.hispeedsoul.com)
CD: “Bolts of Melody” (Hi-Speed Soul)

In anticipation of a Swervedriver reunion scheduled for this year, the group’s main man, Adam Franklin, has issued his first solo effort. While most of the sonic elements of his former band are pleasantly intact, this is a kinder, gentler Franklin, for sure — a singer/songwriter collection of sorts compared to the wall-of-sound Swervedriver. And if Swervedriver’s sound was a mind-numbing, almost psychedelic, wash, Franklin has found a balance that indulges his fondness for heady instrumentation (especially guitars) while giving more play to his languid melodies.

More often than not, the tunes are midtempo excursions that, by turns, give a nod to the fluid guitar of Hendrix circa “Electric Ladyland” (“Sundown”), Pink Floyd/David Gilmour (“Morning Rain”) and simply nice progressions and chord inversions (the instrumental “Theme From LSD”). The mostly acoustic “Birdsong” and “Song of Solomon” offer hints of what Franklin’s solo shows might sound like — not to mention reminding you that the guy can really sing. And speaking of Pink Floyd, “Syd’s Eyes” offers yet another paean to Pink Floyd founder Syd Barrett. Oh, and did I mention that it’s Franklin playing all those guitar parts? Impressive!

– By Michael Lipton 

Performer: The Coal Men
The CD: “Beauty Is A Moment”
Note: The Coal Men perform Thursday, Jan. 10 at 10 p.m. at Charleston’s The Empty Glass. The cover charge is $4.

Nashville’s The Coal Men serve up a huge slice of Americana Pie with their second full-length release, “Beauty Is A Moment.” Led by singer/guitarist Dave Coleman, this band manages to epitomize the best of Southern Rock without sinking to a redneck stereotype. This is sophisticated rock-tinged pop with a genuine regional flavor.

Coleman wrote or co-wrote all the songs on the album, and they range from country to rock while maintaining a cohesive vision and style. A first-rate crew of musicians back up Coleman, including his rhythm section (who also provide backing vocals) Jason “Hitch” Hitchcock on bass and Dave Ray on drums. Additional musicians include Brian Setzer sideman Chris Frame on guitar and Jen Gunderman, whose keyboards and accordion add a great deal to the texture of this album. Read the rest of this entry »

Artist: The Pipettes (www.interscope.com)
Album: “We Are the Pipettes” (Cherrytree/Interscope).

If you’re primed for some light-hearted, dance-crazy post-holiday fare, may I recommend the debut by the Pipettes? After the opening title track, which successfully takes its cues from the riotous B52’s, this trio of British flappers (Riotbecki, Gwenno and Rosay) have captured — and expanded on — the essence of ’60s American girl pop.
From there, they effectively mine the sonic and spiritual vaults of classic ’60s girls groups.

“Pull Shapes” (the Pipe’s second single) switches gears to a revved-up Chiffons, complete with a Phil Spector-inspired wall-of-sound production, while the faux dramatic “Judy” and “A Winter’s Sky” are perfectly executed, lush and gorgeous pop tunes. No need for a libretto, this music is just for fun — and fun it is. There’s plenty of poppy, punky sass (and humor) on tracks like “Why Did You Stay?,” “Dirty Mind,” “It Hurts to See You Dance So Well” and the hit “ABC.” But it’s “Your Kisses Are Wasted on Me” that hits paydirt on all levels: it’s campy, catchy, has a great chant (the title) and a total ’60s AM rock groove.

– By Michael Lipton 

Artist: Jason Collett (www.arts-crafts.ca)
Album: “Here’s To Being Here” (Arts & Crafts)

As a member of the wildly prolific Broken Social Scene, Jason Collett is a long-standing member of Canada’s indie elite. Following up ’06’s “Idols,” “Here’s to Being Here,” Collett has simply outdone himself. The sound of the Howie Beck-produced album is simple and engaging with lots of space (an undervalued musical component), and the tunes are pleasantly down to earth.

From the opening musical and melodic hooks of “Roll On Oblivion,” the songs and performances are effortless, and the sonic choices are perfect. A bit of a chameleon, Collett offers up his best George Harrison on “Sorry Lori,” and while half singing “Out of Time,” he sounds like a charming cross between Dylan, Paul Simon and Lou Reed. Elsewhere, on “Charlyn, Angel of Kensington,” he concocts a simmering and funky, syncopated groove, and “No Redemption” has a breezy, banjo “Everybody’s Talkin’” feel.

There’s no escaping the feeling that you’re hearing not only what resides in Collett’s head but what it would sound like to hear him in a living room. As of late, Collett has been in good company, opening for Feist, Calexico and Josh Rouse. Let’s cross our fingers and hope for a “Mountain Stage” appearance.

– By Michael Lipton 

Artist: Betty Harris (www.evidencemusic.com)
Album: “Intuition” (Evidence)

Following a hiatus that has lasted for more than three decades, dynamic soul singer Betty Harris is back. The 16 tunes on her first release since the late ’60s shows that Harris — who worked and recorded with Big Maybelle, Allen Toussaint, Lee Dorsey, Otis Redding and James Carr — still has pipes and attitude to spare.

The opening, “Is it Hot in Here,” is a swaggering and rocking R&B track that at its best moments sounds like Etta James fronting the Stones. While the songs (mostly written by producer/multi-instrumentalist Jon Tiven and the bassist, his wife Sally) fall mostly on the rock side of soul, which is not necessarily Harris’ strongest suit, she aggressively grabs hold of each tune, determined to make it her own.

“Since You Brought Your Sweet Love,” a soulful duet with Freddie Scott, stands out, as does the bluesy, minor-keyed rocker “Who’s Takin’ Care of Me” and the slide guitar-driven “Time to Fly” (co-written by Bonnie Bramlett). “Need” sounds ready-made for a duet with Bonnie Raitt but it’s the closer, “Happiness is Mine,” co-written by Harris, that clearly sums up the attitude of someone who, after decades, is reveling in once again doing what she loves.

— By Michael Lipton

Artist: Voodoo Katz (www.voodookatz.com)
Album: “Glimpse” (self-produced)
LISTEN: Hear the first track off the CD

The second release from Charleston’s Voodoo Katz successfully delivers the warm, rhythmic grooves that have made the band a staple on the Charleston club scene. However, this time around, the tunes — with influences ranging from funk and R&B to pop and world beat — are more focused, sounding less like individual contributions and more like the work of a band.

The title track moves from syncopated, rock-infused verses to a free and easy chorus that underscores the band’s positive vibe. In particular, the soaring spirit of Derick Kirk, who, at 28, lost his battle with cancer in July, is ever present. Throughout, the interplay between Mark Davis’ clear vocals and Kirk’s melodic sax lines are pleasantly reminiscent of the catchy, ska-pop of the English Beat. Read the rest of this entry »