Van Wilks

21st Century Blues

Texas ’51

wilksWilks’ first new studio album in 10 years is a solid set of blues-rock boasting some of the finest guitar tone ever put on wax, easily holding a candle to efforts by more-recognizable names such as Kenny Wayne Shepherd, the Fabulous Thunderbirds and Joe Bonamassa.

“21st Century Blues” — like many other releases these days by independent artists of integrity — was crowdfunded, a win-win arrangement for the Austin, Texas-based singer/songwriter/guitarist and his fans but also confirmation of his relevance.

The record’s wide range of blues-rock subgenres is served by its ever-changing lineup from track to track.

“I wanted to use different players that I felt fit the song,” Wilks told Good New Music by email. “I like to use different players to keep new energy coming into the songs.” 

“Drive By Lover” was co-written with sometimes collaborator Billy Gibbons. Originally recorded by ZZ Top as a bonus track on 2012’s “La Futura” (Best Buy edition), here it features background vocals by Christopher Cross.

Cross (who came full circle four years ago by returning to Texas after 30 years in Los Angeles) also contributes the album’s only non-Wilks guitar on his own “She Makes Me Crazy,” which features former Storyville singer Malford Milligan sharing vocals with Wilks.

The album was recorded at various Texas studios except for parts of “Golddiger,” for which Wilks’ vocals and some guitar were recorded at a studio outside Paris that had been a farm in the 1700s — “a magic place called Lumiere 13,” Wilks told GNM. He explained the French connection: “I’ve played France for years and have a great place in my heart for all things French. There’s a strong connection with Texas blues and the French music lovers. Don’t know why and I don’t try to figure it out!”

The centerpiece is “There’s a Sin in There Somewhere,” which begins like a scratchy 78 with solo resophonic guitar; morphs into a full-band showcase for electric slide à la Led Zeppelin’s version of “In My Time of Dying”; and concludes by smoothly segueing to a solo-resophonic outro.

Tracks
1. Strange Girl
2. Drive By Lover
3. Golddigger
4. Just Walk Away
5. There’s A Sin In There Somewhere
6. 21st Century Blues
7. Who’s Foolin’ Who
8. She Makes Me Crazy
9. If I Were A Richman
10. Can’t Stop Thinkin’
11. Livin’ On Borrowed Time
12. Midnight Crossing

Total time: 52:24

External links
artist’s website
amazon.com
iTunes Store

 

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Circles Around the Sun

Interludes for the Dead

Rhino

CirclesAroundTheSun_Cover.inddLooks like Jazz Is Dead finally has some competition in the subgenre of “instrumental interpretations of Grateful Dead songs” — sort of.

These interludes were created by Neal Casal and friends to accompany the visuals shown during intermission and sometimes pre-concert at the Dead’s five “Fare Thee Well” shows last summer. But unlike JID’s work, these are original compositions written on the fly by four like-minded musicians (guitarist Casal, keyboardist Adam MacDougall, bassist Dan Horne and drummer Mark Levy) during two days of jam sessions in Ventura. And Circles Around the Sun don’t sound like the Dead so much as embody the spirit of the band.

The music unofficially circulated online after tech-savvy fans extracted it from live webcasts. By popular demand, Rhino is giving it a proper vinyl/CD/digital release.

Some of the tunes sound vaguely like Jerry Garcia’s side projects with keyboardists Howard Wales and Merl Saunders. Others just sound like, as noted on one Internet forum, “elevator music” — to which someone unabashedly replied that he could use a little Grateful Dead elevator music in his life.

Song titles often indicate a song’s source of inspiration: “Space Wheel” is a spaced-out “The Wheel,” while “Scarlotta’s Magnolias” derives from “Scarlet Begonias” and “Sugar Magnolia.”

Other songs have to be heard before a catalyst can be divined: “Hat and Cane,” for instance, is clearly modeled after “China Cat Sunflower.” More tricky is “Ginger Says,” the title of which comes from a verse included in early performances of “West L.A. Fadeaway” that subsequently vanished.

For those wanting more, three discs of interludes are included in the 12-disc “Fare Thee Well” box set, which Rhino says comprises all the set-break music heard during the three nights in Chicago. Exclusive to the two-disc “Interludes,” however, is “Kasey’s Bones,” which a Rhino publicist says was played at one of the two Santa Clara shows.

Tracks

Disc One
1. Hallucinate A Solution
2. Gilbert’s Groove
3. Kasey’s Bones
4. Space Wheel

Disc Two
1. Ginger Says
2. Farewell Franklins
3. Saturday’s Children
4. Scarlotta’s Magnolias
5. Hat And Cane
6. Mountains Of The Moon

Total time: 2:25:07

External links
Neal Casal’s website
amazon.com
iTunes Store

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GospelbeacH

Pacific Surf Line

Alive Naturalsound

gospelbeachPicture a warehouse full of mellow West Coast country-rock LPs from the 1970s. Imagine all those records being loaded into a gigantic “Star Trek”-style transporter and beamed to Alive Naturalsound Records in Burbank — where a malfunction causes them to rematerialize as a single platter called “Pacific Surf Line,” by a new group called GospelbeacH.

In a way, albums by the Byrds, Buffalo Springfield, the Monkees, Rick Nelson, Poco, Pure Prairie League, America, Loggins and Messina, Firefall and others did mutate into this new and wonderfully anachronistic release.

GospelbeacH is a retro supergroup made up of singer Brent Rademaker and drummer Tom Sanford (both of Beachwood Sparks); guitarists Jason Soda and Neal Casal (Everest/Watson Twins and Ryan Adams/Chris Robinson Brotherhood, respectively); and bass player Kip Boardman (Watson Twins/Ramsay Midwood).

Whereas Rademaker’s old group was more of a psychedelic country-rock band, GospelbeacH favors the straightforward variety while occasionally drifting into easy-listening/pop territory — such as on “Your Freedom,” with its twin flute-guitar lines recalling works by Jesse Colin Young and the aforementioned Loggins and Messina and Firefall.

The most overtly country-rock numbers are found in the opening one-two punch of “California Steamer” and “Sunshine Skyway,” especially the latter with its pedal steel guitar à la Rusty Young.

Other songs — such as “Come Down,” “Southern Girl” and “Alone” — illustrate the “beach” in GospelbeacH via guest harmony vocals by Nelson Bragg of Brian Wilson’s band.

No matter how it’s sliced, “Pacific Surf Line” will put a “Have a nice day” face on even the most jaded listener.gnm_end_bug

Tracks
1. California Steamer
2. Sunshine Skyway
3. Your Freedom
4. Mick Jones
5. Come Down
6. Southern Girl
7. Out of My Mind (On Cope And Reed)
8. Alone
9. Damsel In Distress

Total time: 40:30

External links
artist’s website
amazon.com
iTunes Store

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AndersonPonty Band

Better Late Than Never

Liaison

andersonpontyEver since the collaboration between Jon Anderson and Jean-Luc Ponty was announced as a Kickstarter project last summer, prog and fusion fans have been anxious to hear how these icons would sound together. The end result far and away exceeds anyone’s expectations.

One of the first things that stands out is Anderson’s embrace of the jazz vocal ethos. The former Yes singer doesn’t float downstream with the current — he rides thermals into the stratosphere. Of course, it would be hard not to be swept up by the jazz vibrations when the other musicians are all from Ponty’s camp, having been in the electric violinist’s band at one time or another. However, it wasn’t always like that.

Guitarist Jamie Glaser is heard on the live CD/DVD but not seen in the DVD, having been overdubbed in on both as a replacement for Jamie Dunlap, the Anderson associate who had to bow out of the project after the one-off Colorado concert from which the DVD and its CD counterpart had been sourced.

“(Dunlap’s) success in the TV and film world made it impossible for him to continue with us,” Ponty told Good New Music by email. “Then Jon really liked Jamie Glaser’s playing and personality after hearing and seeing some videos of him performing in my band before and also solo. So we hired a second Jamie after our first Jamie left!”

But leaving Dunlap in the DVD when the music was now performed by Glaser posed a problem.

“From what I remember Jon suggested to add some footage of Jamie Glaser in the recording studio, since he was not with us in Aspen but joined our project later on, but it didn’t really work with the flow of our concert DVD,” Ponty told GNM. In the end, the Dunlap footage was left on the cutting room floor.

The convoluted changes caused an online ruckus among a number of fans, some of whom were already up in arms because postings to the Kickstarter page were interpreted as indicating there would be a studio CD and a live DVD — a misunderstanding the artists attributed to overzealous promotion by someone other than themselves.

When asked if the intention was always to enhance the live performance with overdubs, Ponty said in his email: “Yes, the plan was to capture the raw energy of our live performance and to enhance it later. As we were listening to our live recording, Jon and I would come up with new ideas, Jon usually taking the lead for his songs and me for mine. I am sure glad we did — I love what we achieved this way.”

But keyboardist Wally Minko, drummer Rayford Griffin and bassist Baron Browne did no overdubs, Ponty said. “All you hear on the album is their live performance except for one of Jon’s songs, ‘I See You Messenger.’ We didn’t like our live performance of that one, so Jon came up with new ideas and I did a totally new arrangement for it, so this is the only song which was recorded from scratch and why you see recording studios credited. As for me I kept all my live solos but I was not yet mastering all the songs in Aspen and even forgot to play in some sections, so I overdubbed a few parts. Jon’s singing in Aspen was excellent overall but he came up with additional ideas afterwards and overdubbed a few more vocal parts.”

Regardless of the long road taken, “Better Late Than Never” was worth the wait: It’s an amazing mix of newly arranged Yes/Jon Anderson songs, as well as Ponty instrumental standards infused with newly written Anderson lyrics. Here’s hoping the album and tour do well enough to inspire the duo to co-write and record an entire studio follow-up.gnm_end_bug

Tracks
1. Intro
2. One in the Rhythm of Hope
3. A for Aria
4. Owner of a Lonely Heart
5. Listening with Me
6. Time and a Word
7. Infinite Mirage
8. Soul Eternal
9. Wonderous Stories
10. And You and I (CD only)
11. Renaissance of the Sun
12. Roundabout
13. I See You Messenger (CD only)
14. New New World (CD only)

Total CD time: 61:24

External links
Jon Anderson’s website
Jean-Luc Ponty’s website
amazon.com
iTunes Store

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Webb Wilder

Mississippi Moderne

Landslide

wilderSlide guitar has more of a presence on “Mississippi Moderne” than on Wilder’s other albums — perhaps because Nashville session player Bob Williams, who’s been co-guitarist since 2007 but played on just three songs off 2009’s “More Like Me,” is fully incorporated this time around.

“Moderne” also has a bluesier bent, which seems only natural given its focus on Mississippi, Wilder’s home state. Yet he continues to defy categorization, sounding a bit like Phil Alvin on “Rough and Tumble Guy” and Nick Lowe on “Too Much Sugar for a Nickel” (both being collaborations with John Hadley, of country music publisher Tree International fame), and covering Ray Davies’ “I Gotta Move,” a song he used to play with The Drapes back in Hattiesburg.

“Yard Dog” (originally recorded by Biloxi garage-rock band The One Way Street in 1966) and “Lucy Mae Blues” (a 1953 regional hit for Texas guitarist Frankie Lee Sims) were previously released as a 2013 digital-only single. Other covers are Conway Twitty’s “Lonely Blue Boy,” Otis Rush’s “It Takes Time,” Jimmy Reed’s “I’m Gonna Get My Baby” and Charlie Rich’s “Who Will the Next Fool Be?”

Another noteworthy cut is “Only a Fool,” co-written with Dan Penn (“The Dark End of the Street,” “Do Right Woman, Do Right Man”) and featuring twin-lead electric sitar riffs. Furthermore, former Wilder guitarists Joe V. McMahan and George Bradfute return to help out with the aforementioned “Yard Dog” and “I’m Gonna Get My Baby,” respectively.

Wilder’s eighth studio record was recorded at Nashville’s Studio 19, originally Scotty Moore’s Music City Recorders, just before it was demolished. Maybe a sense of inevitability spurred the musicians to new heights, but Wilder, Williams, longtime bassist Tom Comet and original drummer Jimmy Lester (also a founding member of Los Straitjackets) play like nobody’s business.

Tracks
1. Stones In My Pathway (intro)
2. Rough And Tumble Guy
3. If It Ain’t Broke (Don’t Fix It)
4. Only A Fool
5. I Gotta Move
6. Too Much Sugar For A Nickel
7. Lonely Blue Boy
8. Yard Dog
9. I’m Not Just Anybody’s Fool
10. It Takes Time
11. Lucy Mae Blues
12. Who Will The Next Fool Be
13. I’m Gonna Get My Baby
14. Stones In My Pathway

Total time: 46:05

External links
artist’s website
amazon.com
iTunes Store

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