David Bromberg Band

The Blues, The Whole Blues and Nothing But the Blues

Red House

bromberg2“The Blues, The Whole Blues and Nothing But the Blues” is the best of David Bromberg’s four studio albums released since ending his 17-year recording hiatus 10 years ago — and also among his best ever.

His excellent previous three releases (2007’s solo acoustic “Try Me One More Time,” and the 2011 and 2013 band efforts “Use Me” and “Only Slightly Mad”) were just setting the stage for this superb compendium of standards and obscurities.

Robert Johnson’s “Walkin’ Blues” is fully electrified by Bromberg’s slide guitar and also features an ultrafine solo by second guitarist Mark Cosgrove.

Bromberg handles all solos — slide and otherwise — on the rest of the songs except for “Delia,” a guitar duet between Bromberg’s acoustic and producer Larry Campbell’s acoustic slide. The traditional song is reprised from Bromberg’s 1972 eponymous debut.

Other exceptionally noteworthy standards include Sonny Boy Williamson II’s “Eyesight to the Blind,” graced by Little Feat keyboardist Bill Payne’s nimble fingers on the organ as well as a quick fiddle solo by Nate Grower; and “Yield Not to Temptation,” a Deadric Malone (aka Don Robey) composition that was a hit for Bobby “Blue” Bland but which, as pointed out by Bromberg in his liner notes, received an inspiring treatment by Tracy Nelson, Marcia Ball and Irma Thomas on their 1998 summit, “Sing It!”

In the Obscurities Department, a bone called “How Come My Dog Don’t Bark When You Come ‘Round?” has been dug up — rare because it’s not the Prince Patridge number that Dr. John covered to great effect. Many have recorded and taken credit for songs going by that or similar names, including Memphis Slim, Lorraine Ellison and even Buck Owens. Bromberg says he doesn’t know who wrote this one, but learned it from a lead sheet while considering songs for a ’70s album: “I think the album I was doing was “Reckless Abandon,” he told Good New Music by email.

Another obscure gem is the sexual-innuendo-laden “You’ve Been a Good Ole Wagon,” a Bessie Smith tune written by John Willie (aka “Shifty”) Henry, with Payne on piano, Grower on fiddle and Cosgrove on mandolin.

And then there’s the title song. “We thought that we’d finished recording the album,” Bromberg says in the liners, “which was already titled ‘The Blues, The Whole Blues and Nothing But the Blues,’ when (manager) Mark McKenna found this song by Gary Nicholson and Russell Smith. Of course we had to go back to the studio and record it.” The song originally appeared on an album by Memphis R&B group Fish Heads & Rice in 1994.

Bromberg concludes “Blues” with two new original compositions: the humorous “This Month” (“The first time that woman left me — this month — I couldn’t even tell you why”) and “You Don’t Have to Go,” whose lyrics are a mashup of several Chicago blues numbers including “Sweet Home Chicago” and “The Sky Is Crying.”gnm_end_bug

Tracks
1. Walkin’ Blues
2. How Come My Dog Don’t Bark When You Come ’Round?
3. Kentucky Blues
4. Why Are People Like That?
5. A Fool For You
6. Eyesight To The Blind
7. 900 Miles
8. Yield Not To Temptation
9. You’ve Been A Good Ole Wagon
10. Delia
11. The Blues, The Whole Blues And Nothing But The Blues
12. This Month
13. You Don’t Have to Go

Total time: 57:42

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Bob Weir

Blue Mountain

Legacy

weirIt’s hard to believe, but “Blue Mountain” is only Bob Weir’s third solo studio album and first since 1978’s “Heaven Help the Fool.”

Over the years, the Grateful Dead rhythm guitarist/vocalist has released several studio albums by side projects (Kingfish, 1976; Bobby and the Midnites, 1981 and 1984; Weir/Wassmerman, 1998; Ratdog, 2000), but this is the first new music under the name of just “Bob Weir” in nearly 38 years.

It took some young blood to get the old man of the “Blue Mountain” to come down to the Red River Valley and cut some new tunes — specifically Josh Kaufman, Josh Ritter and Aaron Dessner.

It was Weir’s mention of his love for cowboy music (developed while working a summer job on a Wyoming ranch when he was 15) to these pups that got the ball rolling.

Brooklyn-based Kaufman, whose résumé as a sideman includes work with Dessner’s indie-rock band The National as well as albums by folk-rocker Ritter, produced the record. Ritter — either alone or with Weir — wrote lyrics for all but a few songs, and Kaufman/Ritter/Weir supplied most of the music.

(Side note: Dessner and his brother Bryce, also in The National, curated “Day of the Dead”: this year’s 59-song compilation of exclusive Grateful Dead indie covers co-produced by Kaufman and benefiting the Red Hot Organization.)

“Blue Mountain” has an independent-Americana feel, with Weir’s central acoustic guitar often circled by Aaron Dessner’s electric. But the album — references to “Shenandoah,” “I’m an Old Cowhand” and “Ghost Riders in the Sky” aside — is not a bunch of songs in the vein of “El Paso” or “Big Iron.”

Rather, the mellow and mostly slow-mo (except for “Gonesville”) music takes the listener on a surreal journey back to Weir’s 15th summer — a ride that gets more enjoyable with each trip.gnm_end_bug

Tracks
1. Only A River
2. Cottonwood Lullaby
3. Gonesville
4. Lay My Lily Down
5. Gallop On The Run
6. Whatever Happened To Rose
7. Ghost Towns
8. Darkest Hour
9. Ki-Yi Bossie
10. Storm Country
11. Blue Mountain
12. One More River To Cross

Total time: 51:42

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The Carnivaleros

carnivaleros5Dreams Are Strange

RootaVega

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.”gnm_end_bug

Tracks
1. Hesitation Bridge
2. Dreams Are Strange
3. The Chestnut Oak
4. Gonna Jump in a Hole
5. Mamie Eisenhower
6. Tumacacori
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

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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

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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

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