Los Straitjackets

Deke Dickerson Sings the Great Instrumental Hits!!!!!!

Yep Roc

dickersonIt’s like amplifying the experience of hearing Lorne Greene sing the theme to “Bonanza” after only having known it as an instrumental.

Instrumentals have fallen out of fashion over the decades yet fans remain. But the vocal instrumental subgenre is about as esoteric as it gets. And Dickerson — a rockabilly, hillbilly-jazz and surf artist who also collects music outside the norm and beyond — wants to share it via renditions of a few choice examples, with the help of instrumental combo Los Straitjackets.

“Most famous instrumental hits either started out as vocal songs, or — even better — were written as instrumentals, became hits, and then some knucklehead came along and wrote lyrics for them after the fact,” Dickerson explains in the album’s press release.

Songs here originally composed with lyrics are “Theme From a Summer Place,” “Perfidia” and “Misirlou,” given Beach Boys, ska and exotica arrangements, respectively.

The rest are instrumentals that had “knucklehead”-penned lyrics added later. Some of the best are Bill Doggett’s “Honky Tonk” (Doggett himself put out the vocal version as a follow-up single to the instrumental); the Shadows’ “Apache” (uniting disco, hip-hop, surf and country);  ”You Can Count on Me” (sung to the tune of the theme from “Hawaii 5-O” and sourced from Sammy Davis Jr.’s 1976 version); and “Popcorn” (the Gershon Kingsley moog classic popularized by Hot Butter and later performed with vocals by French band Anarchic System).

Dickerson limits his guitar work to electric sitar on “Misirlou” but takes his singing seriously. “When I was recording the vocals,” he recalls in the press release, “I kept thinking of the classic Bill Murray ‘Saturday Night Live’ lounge singer bit, and I quickly realized, that’s my role here: I’m here to interpret these familiar melodies in a recognizable fashion, and to embrace the absurdity beneath it all.”

And just as Murray’s Nick Winters pines for “those Star Wars” and pleads, “Don’t let ‘em end,” so, too, might listeners of this album of reverently irreverent modifications of long-buried treasure be left wishing for a “Vol. 2″ from impresario Dickerson and his lucha libre mask-wearing sidekicks. gnm_end_bug

Tracks
1. Fury
2. Honky Tonk
3. Magic Star
4. Theme From A Summer Place
5. Perfidia
6. Apache
7. Misirlou
8. Kawanga
9. Wild Weekend
10. You Can Count On Me
11. Walk Don’t Run
12. Popcorn
13. Sleepwalk
14. Pipeline

Total time: 38:30

External links
artist’s website
Amazon.com
iTunes Store

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Eric Clapton & Friends

The Breeze: An Appreciation of JJ Cale

Bushbranch/Surfdog

claptonThe first question one might ask upon discovering Eric Clapton has released a heartfelt J.J. Cale tribute one year after Cale’s passing July 26, 2013, would be: How closely did the Oklahoman’s No. 1 disciple hew to that remarkably nonchalant, front-porch sound?

As closely as possible. In fact, it seems oxymoronic but state-of-the art technology was used to recreate Cale’s down-to-earth style. “We did a lot of things where (co-producer) Simon (Climie) would put a Pro Tools (computer) program on top of John’s songs,” Clapton said in an interview with the San Diego Union-Tribune. “And, bit by bit, we put layers of stuff on, keyboards, guitars, drums, and take John out, so a facsimile was created. And we’d play with that, with the key and length of the track. It would be the same; we just replaced all the instruments. And where appropriate, we’d match what he’d done to try to emulate that and let the moment and the personality (of the guest musicians) take over. I try to sing like John, but I still felt we got to a place where we achieved other things.”

On “Lies,” Clapton’s and John Mayer’s tandem vocals are given equal preference mix-wise, and together they almost sound like one person who sounds a lot like Cale. Other effects are used elsewhere, as on “Cajun Moon,” where Clapton sings alone but overdubs background vocals. And on songs like “Someday,” featuring Mark Knopfler, a guest vocalist handles lead vocals.

Besides Knopfler and Mayer, guest vocalists are Tom Petty; fellow Oklahoman Don White; Willie Nelson; and Cale’s widow, Christine Lakeland. Other guitarists in addition to Clapton are Knopfler; Mayer; Nelson; White; revered Memphis session great Reggie Young; Derek Trucks; Albert Lee; David Lindley; Don Preston; Lakeland; Doyle Bramhall II; and pedal steel guitarist Greg Leisz.

Three songs are based on unreleased Cale demos: the aforementioned “Someday”; the Nelson-sung “Songbird,” featuring Lindley on lap steel and Nelson sideman Mickey Raphael on harmonica; and “Train to Nowhere,” boasting a three-way vocal share by Knopfler, Clapton and White, not to mention four guitarists in Knopfler, Clapton, White and Preston (who recorded with Leon Russell in the ’70s on Shelter Records, which released Cale’s first five albums ). Another obscure composition is the Clapton-sung “Since You Said Goodbye,” from a 1973 Bradley’s Barn session and issued in 2007 on Cale’s “Rewind” outtakes compilation.

Among many standouts are the sole non-Cale-penned “I’ll Be There (If You Ever Want Me”), an early hit for Ray Price that gives Clapton an excuse to play dobro; “The Old Man and Me,” Petty’s lead-vocal turn and perhaps the best illustration of Cale’s laid-back singing, boosted by Leisz’s ethereal pedal steel; “Starbound,” another Nelson-sung tune that has the added benefit of Trucks’ slide and Leisz’s steel; and the sendoff “Crying Eyes,” a word-for-word duet between Clapton and Lakeland with a concise slide solo by Trucks at the end.gnm_end_bug

Tracks

1. Call Me The Breeze (vocals Eric Clapton)
2. Rock And Roll Records (vocals Eric Clapton & Tom Petty)
3. Someday (vocals Mark Knopfler)
4. Lies (vocals John Mayer & Eric Clapton)
5. Sensitive Kind (vocals Don White)
6. Cajun Moon (vocals Eric Clapton)
7. Magnolia (vocals John Mayer)
8. I Got The Same Old Blues (vocals Tom Petty & Eric Clapton)
9. Songbird (vocals Willie Nelson)
10. Since You Said Goodbye (vocals Eric Clapton)
11. I’ll Be There (If You Ever Want Me) (vocals Don White)
12. The Old Man And Me (vocals Tom Petty)
13. Train To Nowhere (vocals Mark Knopfler, Don White & Eric Clapton)
14. Starbound (vocals Willie Nelson)
15. Don’t Wait (vocals Eric Clapton & John Mayer)
16. Crying Eyes (vocals Eric Clapton & Christine Lakeland)

Total time: 51:28

External links
J.J. Cale’s website
Eric Clapton’s website
amazon.com
iTunes Store

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Dave Alvin & Phil Alvin

Common Ground: Dave Alvin & Phil Alvin Play and Sing the Songs of Big Bill Broonzy

Yep Roc

alvinsThree decades after their last full album together (the Blasters’ 1985 “Hard Line”), the Alvin brothers are making beautiful “American Music” together again, thanks to a near-death experience and the “entrance drug into prewar blues.”

A couple of years ago, Phil Alvin’s throat became so swollen after a Blasters show in Spain that he needed an emergency tracheotomy. At the hospital, according to his account in the Blasters Newsletter, an intern “clubbed my heart back from a flatline TWICE.” Ultimately an abscessed tooth was found to be the culprit, and the singer recovered with vocal cords intact.

Prior to this, the brothers had recorded their first song together since guitarist/songwriter Dave Alvin left the Blasters for a solo career: a duet called “What’s Up With Your Brother?” on Dave’s 2011 album “Eleven Eleven.” After Phil’s 2012 health scare, they reunited again in 2013 for the soundtrack of a Stephen King/John Mellencamp musical, “The Ghost Brothers of Darkland County.” Then, in November, they started work on an EP of songs by “shared musical square one” Big Bill Broonzy.

“Big Bill … was the entrance drug into prewar blues,” Dave told the Los Angeles Times. “That’s the record Phil came home with that was all late-’30s recordings, and that was an eye-opening thing.” Work on the EP went so well that the project was expanded to an album.

For about half the songs on “Common Ground,” the Alvins are backed by LA session players Bob Glaub on bass and Don Heffington on drums. The other half is Dave’s touring band, the Guilty Ones — bassist Brad Fordham and drummer Lisa Pankratz (sans guitarist Chris Miller) — plus former Blaster Gene Taylor on piano. Phil and Dave share vocal and guitar duties, with Phil also playing harmonica.

Far from a note-by-note exercise drawing upon the Broonzy songbook, the album displays all the styles employed during the artist’s 30-year recording career (country blues, ragtime, early Chicago blues, swing, jump blues and folk) but often features one style being used to interpret a song originally done in another. In one instance, two songs are combined: The guitar melody of 1932′s “Long Tall Mama” is grafted onto the lyrics of 1941′s “All by Myself.”

“Truckin’ Little Woman,” a 1938 boogie-woogie number, is given a West Coast blues treatment to great effect. So are “I Feel So Good” and “Southern Flood Blues,” the latter benefiting from Phil’s authoritative harp playing (he took lessons from Sonny Terry, after all) .

In the acoustic realm, highlights include “How You Want It Done?”; “Big Bill Blues”; the instrumental “Saturday Night Rub”; and Broonzy’s best-known composition, “Key to the Highway.”

An added attraction for audiophiles: stellar engineering by Craig Parker Adams at his Winslow Ct. Studio in Los Angeles (Carlos Guitarlos, the Knitters, Stan Ridgeway, Peter Case, Steve Earl) and Joe Gastwirt’s impeccable mastering.gnm_end_bug

Tracks
1. All By Myself
2. I Feel So Good
3. How You Want It Done?
4. Southern Flood Blues
5. Big Bill Blues
6. Key To The Highway
7. Tomorrow
8. Just A Dream
9. You’ve Changed
10. Stuff They Call Money
11. Truckin’ Little Woman
12. Saturday Night Rub

Total time: 42:39

External links:
dissertation on Big Bill Broonzy
Dave Alvin’s website
amazon.com
iTunes Store

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Charlie Daniels Band

Off the Grid: Doin’ It Dylan

Blue Hat

danielsFor anyone who’s lost touch with Charlie Daniels over the past few decades, now’s a good time to check him out again.

Inspired after providing music on period instruments for AMC’s transcontinental-railroad-era “Hell on Wheels,” the Charlie Daniels Band went full steam ahead with “Off the Grid,” an acoustic take on a set of Dylan covers.

Daniels has a long-ago connection with Dylan: In 1969-70, he played guitar and bass at sessions for Dylan’s “Nashville Skyline,” “Self-Portrait” and “New Morning” albums. As a last-minute replacement for a guitarist during the recording of “Skyline,” he played so well that Dylan insisted he be used as a guitarist for the rest of the sessions. Daniels has credited the experience as giving him the confidence to start writing songs, some of which were covered by Elvis Presley and Tammy Wynette, which in turn led him to start a solo career.

“I was not naive enough to think I could swim in the same stream as Dylan, try to emulate what he had done or cop his licks,” Daniels says in the album’s press release. “Nobody could do that, but my ambitions were to provoke some thought, to color the imagery of my songs, to think outside the box of conformity” — all of which he is still doing on “Off the Grid.”

As far as “acoustic” albums go, this is the real deal, with nary an electric bass or electronic keyboards. It’s just the Charlie Daniels Band, which since keyboardist Joel “Taz” DiGregorio’s death in 2011 has been Daniels — acoustic guitar, mandolin, fiddle; Pat McDonald — drums, congas, shaker, tambourine; Charlie Hayward — acoustic bass; Bruce Brown — acoustic guitar, mandolin, dobro, harmonica, banjo; Chris Wormer — acoustic guitar, 12-string guitar, slide guitar; and Shannon Wickline — piano. Engineer and co-producer (with Daniels) Casey Wood contributes harmonium.

The only song here on which Daniels played on the original with Dylan is “Country Pie” from “Nashville Skyline,” but this time he plays fiddle. Source LPs for the balance of “Grid” are “The Freewheelin’ Bob Dylan” (1963); “The Times They Are a-Changin’ ” (1964); “Bringing It All Back Home” (1965); “Blonde on Blonde” (1966); “John Wesley Harding” (1967); “Self Portrait” (1970); “Bob Dylan’s Greatest Hits, Vol. II” (1971); “Blood on the Tracks” (1975); and “Slow Train Coming” (1979).

For the most part, Daniels goes with traditional country arrangements with a strong mandolin and fiddle presence. Dobro and acoustic slide also figure prominently. While “Doin’ It Dylan” is excellent across the board, CDB does Dylan especially well on the fast-talking “Tangled Up in Blue,” the  tipsy “I’ll Be Your Baby Tonight,” the nearly jazzy “Gotta Serve Somebody” and the not quite bluegrass “Quinn the Eskimo (The Mighty Quinn).”gnm_end_bug

Tracks
1. Tangled Up In Blue
2. The Times They Are A-Changin’
3. I’ll Be Your Baby Tonight
4. Gotta Serve Somebody
5. I Shall Be Released
6. Country Pie
7. Mr. Tambourine Man
8. A Hard Rain’s A-Gonna Fall
9. Just Like A Woman
10. Quinn The Eskimo (The Mighty Quinn)

Total time: 40:36

External links
artist’s website
amazon.com
iTunes Store

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Aaron Comess

Blues for Use

Hey Boy/Innsbruck

comessThree things for instrumental music lovers to keep in mind about Spin Doctors drummer Aaron Comess’ third solo effort:

1) It’s guitar-bass-drums.
2) Despite jazz, folk and blues elements, it’s still rock ‘n’ roll.
3) Guitarist Teddy Kumpel  pole-vaults over Comess’ sky-high musical bar with finesse.

“My natural instincts tend to go to the weird side of things,” says Comess in the album’s press release, “but I’m also just as interested in a simple pop song — I tend to try to make my instrumental songs get to the point like a song with someone singing words would.”

“Blues for Use” is indeed a weird album, but in an awe-inspiring way. Take “Hard Ball” for instance: Set up by the spacey cinematic intro of “Surprise – Part 1″ (think “Ra”-era Utopia minus the synthesizers), it startles with “Black Dog”-like bombast but soon switches to the gentle cry of electric slide, alternating between the two motifs and topping it off with a well-conceived bridge in the middle of its ABACABA construction.

Also in the press release, Kumpel says he enjoys “letting Aaron guide my guitar in a direction I never would go on my own. He jokes that he tries to write things that make me uncomfortable to play because sometimes it takes me a lot of work trying to make the songs my own and interpret them in a way that makes him happy. It’s always a satisfying challenge.”

Comess explained the method behind his dazzling compositions in an email to Good New Music: ”Most of the songs I wrote on an acoustic guitar, then I would demo the song myself playing the guitar, bass and drums, and then send them to Teddy and Rich. Then we would go over them and record. Some of the songs on this record we got to play out live before we went in the studio.”

Especially noteworthy are the variable-speed “Gorilla,” which approximates a great ape lumbering through the forest; the Friends of Dean Martinez/Sonny Landreth/Eric Johnson-like “Bajelirious,” which at times is sort of a reverse-electronica composition where the bass (Richard Hammond really shines) and rhythm guitars mimic Moog effects; “Casa Colonial,” an ode to the American Primitive genre; and the title cut, another alternating tune — this time between harmonics-laden friendly folk (à la Hot Tuna’s “Water Song”) and foreboding fusion (à la Mahavishnu Orchestra’s “Birds of Fire”).

Tracks
1. Surprise – Part 1
2. Hard Ball
3. Guilty Until Proven Innocent
4. Sunrise
5. Gorilla
6. Bajelirious
7. Clear
8. Casa Colonial
9. Blues For Use
10. Moonrise
11. Finally
12. Surprise – Part 2

Total time: 37:12

External links
artist’s website
amazon.com
iTunes Store

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