Category: Blues Rock


Lots of Good Times Despite Some Bad Times on Led Zeppelin Tribute: Jealous Butcher Records Presents: From the Land of Ice and Snow

Filed under: AltCountry, Blues Rock, College/Art Rock, Guitar Rock, Hispanic-influenced Rock
October 26, 2010

I think the ambitious endeavor of doing a Led Zeppelin tribute album is what are going to do about replacing/rectifying/resurrecting/reduplicating the sounds of Jimmy Page and John Bonham. So when Kind of Like Spitting opens up Jealous Butcher Records Presents: From the Land of Ice and Snow: The Songs of Led Zeppelin, I was impressed right away with their “Good Times Bad Times” for its cacophony of guitars and drums on the first minute and a half, the “good times” section of the song. The middle part of the track (the “bad times”) that meanders with its odd jumbles exemplifies the challenge of this two-disc (plus third disc worth as download only): not everything here remains consistently strong. Many of the tracks are experimental tributes, exploring the songs of Led Zeppelin from a wide-range of tacks. Thankfully, like “Good Times Bad Times,” the album often returns to strong form.

Disc One
The eeriness of “Dazed and Confused” emerges on the Portland Cello Project’s version, with the strings being reminiscent of the way the oeuvre was treated on Jimmy Page and Robert Plant’s No Quarter. The drums of Adam Selzer’s “Poor Tom” set the stage for his talky version of the song even as an eclectic set of instruments bring out the voodoo blues of the song. Carcrashlander utilizes organ and keys for a soulful but electrified “Nobody’s Fault But Mine.” Kaia’s whimsical “Fool in the Rain” bounces on some tight snare, a kind of Elizabeth Mitchell-like tenderness in the vocal.

“Heartbreaker” doesn’t try to match the guitar or the drums word-for-word. Instead, Lackluster delivers fuzzed out guitars and over-the-top sonics on the drums/effects. Similarly, Knock Knock on “Moby Dick” inserts toy instruments for guitar solos and takes an electronic drum approach to the drum solo while also including spoken word readings from Melville’s novel.

Weinland’s bluesy country “Hey Hey What Can I Do” finds comfort in the track while giving a new feel. There’s a spacious, countryside, vacant highway feel to Chris Walla’s (Death Cab for Cutie) “In the Evening.”

Disc Two
Pellet Gun’s “Rock and Roll” is equal parts Michael Stipe talky bits, Talking Heads angularity, and fIREHOSE rhythm. The tight harmonies and gentle touch of Kelly Blair Bauman’s version of “Stairway to Heaven” brings a twangy ring to the classic track without reaching too far. A subdued vocal for “Misty Mountain Hop” means that Buellton can bring out the country jam of the song while leaving the yelps and high-pitched tones to Robert Plant. Meanwhile, Rebecca Gates’ breathy vocal on “Four Sticks” is spot on along with the tasteful arrangement by her band the Consortium.

M.Ward’s “Bron-Yr-Aur” has absolutely gorgeous guitars. Power of County’s “Down by the Seaside” is like Neil Young kicking up the track’s dust with some Valley twang. Parks & Recreation brings a indie rock Texmex border sound to “All My Love” that really works.

Digital Download
Wow & Flutter offer a weird electronic noise-stuffed version of “Heartbreaker,” with warped keys taking the place of guitar solos—until the second go round when the guitars show up for indie fuzz. “Ramble On” is a soul-funk, organ-led affair in the hands of Dan Blaker & the Crackers. Leigh Marble brings maracas along with pal Victor Nash’s trumpets so that “Immigrant Song” is crossing that Mexican border into Texas. The Mighty Ghosts of Heaven pick up “Over the Hills and Far Away” in a bluegrass vein which really works with the spirit of the song. Buzzy, fat beats meet you for the electronic version of “Wanton Song” by RemoteTreeChildren.

Jealous Butcher Records
Kelly Blair Bauman
Buellton
Carcrashlander
Rebecca Gates & the Consortium
Kaia
Knock Knock
Lackluster
M.Ward
Leigh Marble
Mighty Ghosts of Heaven
Parks & Recreation
Pellet Gun
Portland Cello Project
Power of County
RemoteTreeChildren
Adam Selzer
Chris Walla
Weinland
Wow & Flutter

Comment

My Old Kentucky British Invasion: The Lions Rampant’s It’s Fun to Do Bad Things

Filed under: Blues Rock, Garage Rock
October 12, 2010

British Invasion via Kentucky/Cincinnati. The Lions Rampant bring 60’s era Kinks to the forefront of what the band calls “Blues-infused, Garage-brewed Rock ‘n’ Roll.” It’s Fun to Do Bad Things begins with “TLR Theme,” crunching through a bluesy shout ‘n’ stomp, a pre-punk punk that carries all of that 60’s rock energy that had everyone scratching their heads wondering what they were going to do with such an audacious sound. “Lights On” begins with keys and a warbling vocal like the Kinks via Simple Kid. Besides the clanging blues rock that bangs out tremendously, “Your Love” also has a great bass line. “Cocaine Anne” has a psychedelic air with theremin fun in the frantic mess. There’s also a way in which an early Soul Asylum shows up especially on the more garage rock tracks like “Don’t Feel It” and “Make Up Your Mind.”

The Lions Rampant
Deep Elm Records (Check out the site for free sampler downloads)

Comment

Wanting More: 22-20s’ Shake/Shiver/Moan

Filed under: Blues Rock
October 4, 2010

Shake/Shiver/Moan starts off exactly where 22-20’s need to be: jamming, bluesy, classic rock that channels the Stones, Led Zeppelin, and so much more. “Heart on a String” rocks on a train track beat that draws you right into an album that is anything but an express train. Track 2, “Bitter Pills,” shows what else to expect from the album—bluesy ballads that linger too long in any one location. Where “Heart on a String” preps the listener for more rocking, the album’s track order leaves one wanting.

The bluesy rock picks back up for track three, “Talk to Me,” which with its jamming, breakdown chorus is easily the strongest track here. Just one track and you find yourself pogoing again on an urgent beat for “Latest Heartbeat.” These are the standout moments of the album, and there are far too few.

Of the more tracks that pull back the guitars and tempo, “Ocean” lays out a nice Byrds-like psychedelic classic rock feel. The acoustic-like “Morning Train” closes out the album, a fine way to go gently into the night, as a darkly painted aural portrait.

22-20s
TBD Records

Comment

Soul Shaking Blues: Cathy Lemons & Johnny Ace’s Lemonace

Filed under: Blues Rock — 2 Comments
September 27, 2010

Cathy Lemons and Johnny Ace jump out on Lemonace with soul-stirring blues. The production of the album gives a live, blues club feel to the sound—immediate, intimate, with just the right amount of reverb. Lemons’ vocals trade off in fine partnership with Ace’s. Each song is propelled forward by Ace’s bass with Pierre Le Corre, Kid Andersen, and Tommy Castro providing guitar. If at first paid attention to Lemonace because of seeing Castro’s name attached to it, and any project graced by the power blues rock of Castro’s guitar has got to be good. However, more than Castro’s appearance on two tracks, Le Corre and Andersen play some mean lead guitar as well.

“Sink or Swim” cruises along with a soul blues with Ace’s raps setting the stage. There’s the jump blues of “I Got It” with its great bass/guitar riff further charged up by the crisp drums of Artie “Stix” Chavez. “Love Like a Fire” is a sweltering soul whose bridge finds Le Corre really tearing up the place.

Cathy Lemons and Johnny Ace
Vizztone

Comment

Country Blues/Southern Rock: The Stone Foxes’ Bears & Bulls

Filed under: Blues Rock
September 18, 2010

They might have killed Robert Johnson, but they’re playing a rocking tribute to the blues legend with their Country Blues-styled Rock. The Stone Foxes’ Bears & Bulls reaches right back to Country Blues to form the cornerstone of their Southern Rock, especially on the grooving “I Killed Robert Johnson,” a dark confessional tale speculating on the reasons on why someone may have killed the bluesman. This song and plenty of others here swagger like American Minor. The songs are full of swampy riffs, Allman Brothers solos, and bluesy lyrical lines. Shannon Koehler’s drums really punctuate the vibe, riding well alongside the guitar and bass lines. Gang vocals give a roadhouse feel to the tracks. It would be easy to chock the Stone Foxes up as another throwback to the late 60’s/early 70’s classic rock’s obsession with the blues, but that would be denying their place in the current milieu. This band has something to say within the Country Blues/Southern Rock format. They have derived something like any of the bluesmen that have learned from the masters, but they have created something uniquely their own, an energy that must be reckoned with.

The Stone Foxes

Comment

Notebook Series Review: Ryan Delmore’s The Spirit, the Water, and the Blood

Filed under: AltCountry, American Folk-influenced Rock, Blues Rock
September 8, 2010

The Music Spectrum Notebook Series digs into my handwritten notes and reviews on older releases still getting my attention.

2008’s The Spirit, the Water, and the Blood from Ryan Delmore still commands a lot of attention in my CD player. Playing blue-infected, rootsy Americana rock, Delmore delivers worship music for those of us who are usually not all that interested in praise and worship music. It would take a unique blend of musicians to pull off playing these tunes, but even if you can’t replicate Delmore & Co.’s songs in your church, the disc is well worth letting spin in your player and transform your way of imagining what worship music can be.

Delmore’s voice crackles with a country blues singer-songwriter feel while Marc Ford’s electric guitar and Larry Schubert’s pedal steel punctuate the songs with aural Spirit-inspiration. Mark Folkrod’s drums help keep things on the back foot, tapping out that laid back backbeat (“Sing Like Mary Sang”).

“Provide for Me” rings with the strains of Psalm 121 through the country blues of a John Hiatt song. There’s an AltCountry, Son Volt stance to “Jesus’ Name.” Elsewhere, the ballads grow from a mumble, a dusty, dark barn, a flickering candle while you’re alone in prayer.

Ryan Delmore
Roots Worship
Varietal Records

Comment

“U.S. 41″ on Mojo Makes Appropriate Moving Music for Music Spectrum

Filed under: American Band Rock, Blues Rock
July 14, 2010

Tom Petty and the Heartbreakers are talking about the Southern portion of U.S. 41, but the bluesy testimony to the asphalt ribbon still arrived this summer appropriately enough for me personally. I have accepted a call to be pastor of Bethel Lutheran Church in Gurnee, Illinois. Where we live now in Milwaukee, Wisconsin, is only a few miles from a northern portion of U.S. 41, and when we move, we’ll still be just a few miles from Petty’s highway of lore. It’s as if they wrote a song for our move that basically follows 41 south for 55 miles.

Of course after the U.S. 41 connection, Petty’s song loses all other similarity to us. It’s a song of antebellum, share-cropping, workin’, muddlin’ through blues. In fact, that’s what makes Mojo a great album–the way Petty and gang delve into Southern swamp blues rock. It isn’t authentic blues throughout, but it sure rings true on the backs of some strong grooves and blistering guitar work.

Meanwhile, Music Spectrum will take a short break and be back in September after we get settled. A band would invite you to the merch table during the break in their set. Since Music Spectrum doesn’t have a merch table, I’ll just invite you to drop an email or check out the Facebook page. Love to hear from you. God bless you on U.S. 41 or whatever road you’re on.

Tom Petty

Comment

X Playing the Blues: Thee Headliners Rain & Blood

Filed under: Blues Rock, Punk
May 14, 2010

Thee HeadlinersImagine if X had leaned more heavily towards the blues instead of country. Then you’ll start to get the idea of Thee Headliners—a bluesed-up punk sound straight from a dark basement rockabilly club where you squeeze 50 people into the space made for 25.

The track on Rain & Blood called “(Intermission)” instrumentally rocks along a bluesy country stomp—perhaps most like something thrown in by Camper van Beethoven or the Weisstronauts. While this track strips back the punk layer, it represents the genesis of the basic sound here. Thee Headliners are at their most bluesy on the opener “Howlin’ at the Moon” while they’re ready to jump out of their blues shoes into some black leather combat boots on the shouts of “Sketch City.”

Unfortunately from a marketing perspective, the bloody cover pictures of the band holding hearts as if ripped out in some dark religious ritual proves to be a tough stumbling block to a listener. Expecting something vile or raucous by the picture may turn people away who would otherwise really appreciate the AltCountry blues punk. My advice: ignore the pictures and rock on with Thee Headliners.

Thee Headliners
Starcleaner Records

Comment

Working Outside the System to Feed Us Great Blues Rock: Paul Mark & the Van Dorens’ Blood & Treasure

Filed under: Blues Rock
February 9, 2009

Paul Mark & the Van Dorens play a blues rock that reaches back for rockabilly jump and soul/R&B swagger. On their most recent album, Blood & Treasure, they continue as the unsung, under the radar band with great rocking songs that really should be populating media on many levels.

“Everything is Nothing” rides along on a vibe and fun couplets (“The Taj Mahal, that’s just a pile of bricks…everything is nothing after you”). The soulful “Don’t Get Me Started” is pushed along very well by backup singers Susan Marshall and Jackie Johnson who raise the soul up a notch.

“Perp Walk” is some funk soul served on a bed of Santana-like percussion. While a toy piano acts as intro and outro for the song, the center features some wickedly blazing guitar riffs from Mark. “Raise the Roof” could be a new soul classic with Mark doing a little Gospel-type preaching (“If you don’t have that bedrock, that foundation of love, how you goin’ to build it?”). Going back for some good ol’ rock ‘n’ roll like the Traveling Wilburies and the Spanic Boys, “Lotta Things to Say” tells the tale of a guy with the gift of gab.

The soul jam of “Feed the Machine” takes it to the man by saying we’ve just got to join the team—ironic words from a hard working man outside the industry’s inner circle. As a coup de grace, he then lays down another blistering guitar solo.

Paul Mark & the Van Dorens

Tags:
Comment

Notebook Series Review: Union Pulse on Track Opening for Blue Mountain, Shank Hall, Milwaukee, WI, May 6, 2008

Filed under: AltCountry, Blues Rock
January 10, 2009

The Music Spectrum Notebook Series digs into my handwritten notes and reviews on older releases still getting my attention.

James Redding is Union Pulse. As the local act opening for Blue Mountain at Milwaukee’s Shank Hall, Redding employed Mike Hoffman and Brain Barney to bring that pulse up for a driving, pleasing set. While Martin Jack Rosenblum’s additions on harmonica didn’t add much overall spark, Redding showed himself to be a strong songwriter and excellent showman.

The first song, “Lonely Birthday,” was like John Lennon doing Lou Reed over pop-flecked country with some jam thrown in. Living up to his Big Head Todd T-shirt, “Do You Want to Be Right, Or Do You Want to Be Happy?” took on a muscly blues groove on a 50’s rock hint ultimately pointing to Led Zeppelin and the Kinks classic jams. In that same vein, the fourth song was a slamming blues river dragger like the epic feel of Five Eight.

The third song—supposedly about a girl named Jennifer from La Crosse, Wisconsin—was the first song to sound like the Union Pacific pulse, a country, train trail with reference to the garage rock crossovers of Paul Westerberg and Kevin Kinney/Drivin’ ‘n’ Cryin’. This morphed on “Sera Says” (Angel on a Wire) into a Son Volt/Peter Mulvey progeny.

Overall, probably especially because Redding was working with one-night-only guests, the sound is best when he lets loose on the guitar, letting the rhythm guide the song but sliding to the background.

Union Pulse

Tags: , , , , ,
Comment
Follow

Get every new post delivered to your Inbox.