Mutants of the Monster: A Tribute to Black Oak Arkansas
Jim Dandy to the rescue — sort of.
“To the rescue” because all profits from the sale of “Mutants of the Monster: A Tribute to Black Oak Arkansas” will benefit Memphis-area animal rescue The Savior Foundation.
“Sort of” because it’s not a Jim Dandy or Black Oak Arkansas album, although Dandy (aka Jim Mangrum) and BOA guitarists Rickie Lee Reynolds and the late Jimmy Henderson make guest appearances.
Rather, it’s power trio Joecephus (aka Joey Killingsworth) and the George Jonestown Massacre backing a revolving cast of contributors that includes Jimbo Mathus; Shooter Jennings; and members of Nashville Pussy, Butthole Surfers, Hawkwind, Supersuckers, Lucero, Black Flag, Dead Kennedys and Dash Rip Rock.
But the abundance of punk-rock credentials can be misleading: This is Southern rock of the highest caliber, befitting one of the genre’s finest “guitar army” bands.
Mathus puts a spin on homespun “Uncle Lijiah” with a big assist from Robby Turner (Waylon Jennings, Chris Stapleton, Sturgill Stimpson), whose pedal steel graces the song throughout and subs for the banjo normally found at the end. Turner also stretches the ending into a compact jam, recalling the stylings of New Riders of the Purple Sage steeler Buddy Cage.
For sheer instrumental madness, it’s hard to top “When Electricity Came to Arkansas.” ANTiSEEN singer Jeff Clayton sets it up with the song’s brief “Hey, yeah” chant before turning the song over to Reynolds, Black Flag guitarist Greg Ginn and Killingsworth, who take the listener on an extended trip to triple-guitar heaven.
Shooter Jennings has fun with the double-entendre lyrics of “Hot Rod,” and Hawkwind’s Nik Turner embellishes “Swimmin’ in Quicksand” with a sax solo straddling the fence between melodic and improvisational.
An unexpected highlight lies in “The Wild Bunch,” sung by pro football player turned country singer Kyle Turley. Bolstering Turley’s performance is some amazing playing by Willie Nelson’s harmonica player, Mickey Raphael, who gets to fit more notes into a song than ever before.
1. Hey Y’all (feat. Blaine Cartwright and Ruyter Suys)
2. Uncle Lijiah (feat. Jimbo Mathus and Robby Turner)
3. Hot Rod (feat. Shooter Jennings)
4. Swimmin’ In Quicksand (feat. J.D. Pinkus and Nik Turner)
5. Hot And Nasty (feat. Eddie Spaghetti and Brian Venable)
6. When Electricity Came To Arkansas (feat. Jeff Clayton, Rickie Lee Reynolds and Greg Ginn)
7. Short Life Line (feat. Bill Davis)
8. Fever In My Mind (feat. Jim Dandy)
9. High ‘N’ Dry (feat. Whiskeydick)
10. Lord Have Mercy On My Soul (feat. Jeff Clayton and Paul Leary)
11. Mutants Of The Monster (
feat. Christopher “C.T.” Terry and Micheal Denner)
12. Mad Man
13. Strong Enough To Be Gentle (feat. Ruyter Suys and Jimmy Henderson)
14. Jim Dandy (feat. Jello Biafra and Ruyter Suys)
15. Rock ‘N’ Roll (Nine Pound Hammer, feat. Joecephus)
16. The Wild Bunch (
feat. Kyle Turley and Mickey Raphael)
17. Keep The Faith (Kentucky Bridgeburners)
Total time: 1:05:43
Posted August 25th, 2016
Tags: rockNo Comments »
Invention of Knowledge
For all intents and purposes, this is “Yes meets the Flower Kings.”
Jon Anderson has been saying for years that he wished to return to creating what he calls “Yes Music” — the long-form, epic style of progressive rock epitomized by that band on such albums as “Close to the Edge,” “Tales From Topographic Oceans” and “Relayer” in the 1970s.
In retrospect, 2011’s “Open” — a 21-minute song Anderson wrote with guitarist/arranger Stefan Podell that was only released digitally — seems to have been a way for the Yes founder and former lead singer to get his feet wet again.
For the full-album “Invention of Knowledge,” Flower Kings guitarist/vocalist Roine Stolt was enlisted to help “open the book” on compositions written a decade ago during a frenzy of online collaboration initiated by Anderson with songwriters from around the globe.
Anderson provides the album’s lead vocals and lyrics; Stolt handles guitars, arrangements and a few background vocals.
The process of “rejuvenating” the songs included sending MP3s back and forth between California (Anderson’s home) and Sweden (Stolt’s) via the information superhighway. When the demos were finished to the pair’s satisfaction, Stolt and members of the Flower Kings and Karmakanic — along with keyboardist Tom Brislin — recorded the backing tracks in Sweden.
“All basic music arrangements (had already been) laid out,” Stolt told Good New Music by email. “I had written all chord structures, bass lines, rhythms etc. Much of my guitar parts and even a few solos were recorded already.
“Much of the backing vocal arrangements were there, too — so the band recorded quite heavily arranged music. However, they were all contributing with new ideas and developed their parts further. (And) Jon … rewrote quite a lot of the lyrics and re-sang much of the vocals, and added new vocal ideas and melodies. … So it was a project in constant development.”
Three of the four songs on “Invention” consist of two to three movements. According to a Stolt interview via Skype on June 3 with That Drummer Guy, the second and fourth song (“Knowing” and “Know”) were originally a single composition that Anderson decided to split and move apart in the track listing.
A look at songwriting credits for the entire album reveals that, for some of the multipart songs, individual movements were written by different sets of people — meaning that some of the writers collaborated with each other not only in absentia, but after the fact.
The title track sets the tone, establishing Anderson’s voice and Stolt’s guitar as the two main instruments.
Anderson’s voice sounds as good as ever, and his lyrics remain dependably mystical: The overall theme deals with ley lines; crystal streams of energy; and how man invents his understanding of the world.
Stolt’s musicianship shines throughout, particularly in a crescendo of massed guitars two-thirds of the way through “Chase and Harmony,” the second movement of “Knowing.”
The rest of the supporting musicians and a small army of background singers continually dazzle and amaze, as well. To borrow a line from the album’s intro, “All the stars, just so much space.”
1. Invention of Knowledge: (i) Invention, (ii.) We Are Truth, (iii) Knowledge
2. Knowing: (i) Knowing, (ii.) Chase and Harmony
3. Everybody Heals: (i) Everybody Heals, (ii) Better by Far, (iii) Golden Light
4. Know …
Total time: 1:05:01
Posted July 8th, 2016
Jon Anderson’s site
Flower Kings site
Tags: progNo Comments »
Dreams Are Strange
The Tucson, Ariz.-based Carnivaleros have always possessed a knack for unusually interesting arrangements, often combining instruments not normally heard together.
On “Dreams Are Strange,” the band makes a swampy Appalachian acoustical foray into Americana, with an expansion of its sound due to the presence of Heather “Lil’ Mama” Hardy’s violin on most tracks.
Tying it together is the decidedly non-Tex Mex/non-polka accordion of singer-songwriter Mackender, who favors basic North American folk and, occasionally, Middle Eastern and klezmer idioms.
Six of the album’s tracks are instrumental, including “Chestnut Oak” (featuring banjo); “Tumacacori” (vibes and lap steel); and “High Speed Yard Sale” (tuba).
Highlights among the album’s eight vocal numbers are the country-and-Cajun “Hesitation Bridge”; the incredibly witty title track; the jump zydeco “Gonna Jump in a Hole”; the upbeat “Who’s to Say” (which would have been a perfect vehicle for the late Dan Hicks, with its Hot Licks-type chorus); and the hard-luck tale “Wore Out My Welcome.”
1. Hesitation Bridge
2. Dreams Are Strange
3. The Chestnut Oak
4. Gonna Jump in a Hole
5. Mamie Eisenhower
7. Who’s to Say
8. Moving On
9. The Red Maple
10. Wore Out My Welcome
11. Donna’s Song
12. Psychic Mary
13. Time Traveling
14. High Speed Yard Sale
Total time: 48:49
Posted May 31st, 2016
Tags: americana, blues, country, folk, klezmer, zydecoNo Comments »
Singer, songwriter and guitarist Jeff Plankenhorn, aka Plank, plays “The Plank” — a self-designed, resonator-shaped, full-bodied electric guitar played lap-steel style while standing up.
“The Plank” allows Plank to realize his dream of mixing sacred-steel influences such as the Campbell Brothers and Robert Randolph with the Dobro stylings of Jerry Douglas and Josh Graves.
“SoulSlide” is his fourth album and third studio effort. Plank has played for Ray Wylie Hubbard, Willis Alan Ramsey, Slaid Cleaves and Joe Ely, among others. Before moving to Austin at Hubbard’s urging, he spent a year in Nashville learning to play Dobro, a skill put to great use here playing The Plank — which, not being a resonator, makes this latest release a bonanza of wonderfully wicked slide workouts.
Helping out are Brannen Temple on drums and Yoggie Musgrove on bass (the former rhythm section of late Texas guitar legend Stephen Bruton’s old trio), and guitar/keyboard player Dave Scher (not to be confused with Farmer Dave Scher of Beachwood Sparks). Making special appearances are singers Malford Milligan and Ruthie Foster, and former Fastball singer and guitarist Miles Zuniga (who co-wrote several of the songs with Plank, and contributes guitar and background vocals).
Showstoppers include Sam and Dave’s “You Got Me Hummin’ “; “Like Flowers,” a Plankenhorn original inspired by a line from the Charles Bukowski poem “People as Flowers”; the piano-guitar instrumental “Kansas City Nocturne”; “Vagabond Moonlight,” co-written by Plankenhorn, Zuniga and Brett Dennen; a never-released Ramsay cut, “Mockingbird Blues”; and Percy Sledge’s “Walking in the Sun.”
1. Lose My Mind
2. You Got Me Hummin’ (feat. Malford Milligan)
3. Trouble Find Me
4. Like Flowers (feat. Ruthie Foster)
5. Dirty Floor
6. Kansas City Nocturne
7. Born to Win
8. Vagabond Moonlight (feat. The Resentments)
9. Mockingbird Blues
11. Live Today (feat. The Resentments)
12. Walking in the Sun
Total time: 43:48
Posted April 21st, 2016
Tags: blues, rock, soulNo Comments »
Heal My Soul
This month marks the eighth anniversary of Jeff Healey’s death from cancer but also sees his first new blues-rock studio album in more than 15 years — released on what would have been his 50th birthday (March 25).
Healey’s widow, Christie, and longtime friend Roger Costa have spent more than a year lovingly creating a “lost album” from the four-year span of sessions that yielded the guitarist’s final blues-rock studio record to be released in his lifetime, 2000’s “Get Me Some.”
Surprisingly, “Heal My Soul” is at least as good as “Get Me Some” — which came out just before the Jeff Healey Band called it quits and the artist began his foray into 1920s/30s jazz.
Between “Get Me Some” and his death, Healy released three albums of jazz standards (two studio, one live). Posthumously there was a half-live, half-studio blues-rock album comprising cover tunes; a live blues-rock album of more cover tunes; his final jazz/swing studio disc; and two multidisc live blues-rock albums collectively comprising six concerts.
So after a decade and a half, “Heal My Soul” — a set of originals and covers — is most welcome.
Good New Music reached co-estate administrator Costa by email to ask how much of the record was newly recorded and overdubbed:
“Mostly just drums (were added),” Costa said. “Many of the songs had unfinished drum tracks, placeholder recordings, and even electronic drums in a couple of cases. It was quite common for whoever was around at the time to lay down a quick drum track for the song to be built on – sometimes even Jeff!
“We recorded new drums for nine out of the 12 tracks with an exceptional musician and dear friend, Dean Glover. Joe Rockman, Jeff’s old bass player and bassist on most of these songs, came down several times to hang out during this (process), and the mixing stage. Beyond that, the bulk of what little was added was for color — the odd bit of percussion, some electric piano and B3 on one track, etc. All of Jeff’s performances are intact.”
Two of the remaining three songs feature original trio drummer Tom Stephen, and a third was stripped down to just Healey’s guitar, with the above-mentioned keyboards overdubbed.
The Albert Collins tune “Put the Shoe on the Other Foot” is the only number that can be found, albeit in a different version, on any other Healey album — it was part of the 2013 German-concert compilation, “As the Years Go Passing By.” This new studio version has Healey on vocals rather than 2000 tour guitarist Philip Sayce.
Of the 12 songs on “Heal My Soul,” four are originals, two are are under “copyright control” (composer unknown) and six are covers. But other than the Collins song and Richard Thompson’s “I Misunderstood,” the covers are euphorically obscure.
Case in point: “Baby Blue” by Tim Beattie, a New York songwriter turned Nashville songwriter whose résumé includes stints as lead singer and harmonica/lap steel player for the Four Horsemen and as a member of Chris Whitley & The Bastard Club. It’s a beautiful acoustic/electric ballad that eventually appeared on Beattie’s out-of-print “Tim Beattie and Big Dog.” Here Healy overdubs a half-dozen vocal tracks to astounding effect.
“Moodswing” and “Love in Her Eyes” are by The Phantoms, a popular blues-rock outfit from the mid-’80s to mid-’90s on the club scene in Toronto, Healey’s home town. The two songs are a little harder-edged than typical Healey fare but, overall, in keeping with the album’s progressive tone. They come from The Phantoms’ unreleased fourth and final album.
“Perhaps I’ll release that lost Phantoms album one day,” lead singer and harmonicat Jerome Godboo told GNM by email. “I have several unreleased CDs. I seem to delight in making them (but am) a little weak in the distribution department.”
Every song — original or cover — on “Heal My Soul” is a beaut. But the album’s centerpiece is the midtempo hard-rock ballad “Kiss the Ground You Walk On,” written in the early ’90s by power-pop meister Parthenon Huxley (P.Hux) and heavy metal guitarist Marc Ferrari (Keel, Cold Sweat, Medicine Wheel).
Good New Music tracked down the two via email for the never-released song’s backstory: “Marc and I were paired up when I was a staff writer at MCA Music Publishing,” Huxley revealed. “We were always very proud of that song. We felt it was a hit and deserved a good home.”
“(We were) just two guys getting together to see where things may go,” Ferrari offered. He added that “other artists demoed that song, including Curtis Stigers — who almost cut it for ‘The Bodyguard’ soundtrack — and the singer of Simply Red (Mick Hucknall).”
1. Daze Of The Night
3. Baby Blue
4. I Misunderstood
6. Love In Her Eyes
8. Kiss The Ground You Walk On
9. All The Saints
10. Put The Shoe On The Other Foot
11. Under A Stone
12. It’s The Last Time
Total time: 51:58
Posted March 31st, 2016
Tags: blues, rockNo Comments »