Jeff Plankenhorn

SoulSlide

Lounge Side

plankenhornSinger, 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.”gnm_end_bug

Tracks
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
10. Headstrong
11. Live Today (feat. The Resentments)
12. Walking in the Sun

Total time: 43:48

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artist’s website
amazon.com
iTunes Store

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Jeff Healey

Heal My Soul

Provogue

healeyThis 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).”gnm_end_bug

Tracks
1. Daze Of The Night
2. Moodswing
3. Baby Blue
4. I Misunderstood
5. Please
6. Love In Her Eyes
7. Temptation
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

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artist’s website
amazon.com
iTunes Store

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Supersonic Blues Machine

West of Flushing, South of Frisco

Provogue

supersonicOn the heels of Van Wilks’ outstanding new album comes another ass-kicking release of blues-rock.

“West of Flushing, South of Frisco” is the debut by Supersonic Blues Machine, an all-star trio made up of producer, mixer and bass player Fabrizio Grossi; drummer Kenny Aronoff; and guitarist/singer Lance Lopez — who, like Wilks, is based in Texas.

And like Wilks’ album “21st Century Blues,” SBM’s has a contribution from Billy Gibbons, in the form of “Running Whiskey.” But the ZZ Top guitarist/singer is just the tip of the guest-artist iceberg: Also on board are friends Warren Haynes, Chris Duarte, Eric Gales, Walter Trout and Robben Ford.

Except for the Gibbons-sung “Running Whiskey,” Lopez handles lead vocals, with help on one song each from Haynes and Trout. Grossi wrote or co-wrote all of the songs, save for a Bobby Blue Bland cover (“Ain’t No Love”) and a number by Joey Sykes, an L.A.-based guitarist who sometimes co-writes songs in Nashville (“Let’s Call It a Day”). Aronoff just basically pounds the hell out of the skins.

Augmenting the core trio on various cuts are Jimmy Zavala (harmonica), Serge Simic (acoustic guitar), Garrett Holbrook (lap steel), Sam Lusting (keyboards), Paolo Verdone (guitar), Sykes (guitar) and Phil Parlapiano (organ).

Lopez’s gruff voice serves the music well, sounding a bit like Captain Beefheart on opener “Miracle Man” and “Bone Bucket Blues.” Instrumentally, “I Ain’t Fallin’ ” sounds like a mashup of Jimi Hendrix’s “Foxy Lady” and Sly and the Family Stone’s “I Want to Take You Higher.”

Haynes lends a ton o’ soul to “Remedy,” and the album goes out in fine, funky style on “Watchagonnado.”gnm_end_bug

Tracks
1. Miracle Man
2. I Ain’t Falling Again
3. Running Whiskey (feat. Billy Gibbons)
4. Remedy (feat. Warren Haynes)
5. Bone Bucket Blues
6. Let It Be
7. That’s My Way (feat. Chris Duarte)
8. Ain’t No Love (In The Heart Of The City)
9. Nightmares And Dreams (feat. Eric Gales)
10. Can’t Take It No More (feat. Walter Trout)
11. Whiskey Time (Running Whiskey’s extended ending)
12. Let’s Call It A Day (feat. Robben Ford)
13. Watchagonnado

Total time: 55:48

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artist’s website
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iTunes Store

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Van Wilks

21st Century Blues

Texas ’51

wilksVan Wilks’ 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 “Golddigger,” 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.gnm_end_bug

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

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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.gnm_end_bug

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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