There is no doubt in my mind that The Black Crowes are one of the best live bands out there. Not only do they play as a cohesive unit, they also have an extensive catalog of songs, filled with a plethora of originals and an immense amount of covers. What this means is that no matter what night you go see them, you will be treated to a totally unique show and setlist. On top of all of this is the fact that when they headline, their shows run for a minimum of two hours. Essentially, you are going to get your money’s worth, that is if you are okay with the probability of not hearing most of their singles and listening to some extended solos and/or jams. Still, if you want to hear some great rock music played by a band that has been at it for over 20 years, then this is your band.

This was my twelfth Crowes show (if you include a Chris and Rich Robinson acoustic show) and I can easily say, while I’ve never seen a bad show from the band, this one was pretty great. Right from the start, the band was cooking, and visably having fun playing with each other (which if you know anything about the band, wasn’t always the case). With one minor exception, the setlist was incredibly solid. A great mix of originals and covers, the band actually played more “hits” than usual, and had only one song that would be even remotely considered a deep cut from their back catalog. Ironically that song, “Garden Gate,” was also the outlier of the night, but more on that later.

For the most part, the show was one where you saw a band get back to what it was primarily known for, which in this case meant a band playing some straight ahead rock and roll. More than half of the songs came from their first three albums, Shake Your Money Maker, The Southern Harmony and Musical Companion, and Amorica, which was fine by me since they are definitely three of their best (the latter two being, in my eyes, their two best). This made the show feel like the band was just throwing musical haymakers all night, which not only delighted myself, but most of the crowd as well.

The band started off with a bevy of these early songs, including an interesting mini-medley of “My Morning Song” into “Stare It Cold” into a gospel breakdown before going back into “My Morning Song.” While this seems to be a new twist to some older songs, it was easily one of the best moments of the night having amazing energy throughout the entire medley. Interestingly another highlight of the show was another mini-medley of “Hard to Handle” into Deep Purple’s “Hush.” While the execution of “Hush” could use some tightening up (they’ve only performed the cover a few times), the band’s vocal harmonies were on full display, which is saying something.

Let me take a moment to step back and explain what I mean. Lead singer, Chris Robinson, has one of the most rock and roll voices of all time (my father once said he was the next Paul Rodgers), and his voice is one of the reasons the band was so successful and well known. However, most of the band’s previous lineups did not consist of guys who had great voices, for harmony or lead. This was compensated by the fact that the band toured with two female backup singers for most their career. However, it seems that the band has abandoned that concept for the time being. Thankfully, they now have guys who can sing well. Guitarist, Rich Robinson’s (Chris’s brother) voice has gotten better over the years, and is now at the point where he can sing lead and I can actually enjoy the song. Bassist Sven Pipien has an underrated voice, and easily the best man for harmonizing with Chris Robinson. Keyboardist Adam MacDougall added some depth to the harmonies, as did new guitarist Jackie Greene. It was definitely a pleasant surprise to see and hear the band do this, and I though I loved the backup singers, they weren’t missed at all.

I should also take the time to talk about the band’s playing last night. Overall, they were great, even with a couple of interesting moments (mainly due to Greene not knowing all of the songs as well as the other five members). Chris Robinson was, as expected, dominant. As I said earlier, he has one of those ultimate rock and roll voices, having the ability to sing with such passion and cockiness, while being perfectly in tune. He is also, in my mind, one of the best frontmen in rock, following in the footsteps of Rod Stewart, Mick Jagger, and Paul Rodgers. Guitarists Rich Robinson and Jackie Greene were ripping it up all night, though there was a lot less interplay between the two than there has been between Robinson and other former Crowes guitarists (I’m sure this will come in time as long as Greene stays on with the band, though he will never be Marc Ford).  Drummer Steve Gorman was his normal rock solid self, keeping the groove going the entire night. Keyboardist Adam MacDougall was fantastic, and though he is no Ed Harsch (the band’s original and longtime keyboardist), has definitely brought a different (more jazzy) element to the group, especially during the solos. Oh, and he loves playing the clavinet, and there is never too much clavinet. Finally, there is bassist Sven Pipien. Like his singing, Pipien’s bass playing is, to me, underappreciated. Not only is he always in the pocket with Gorman, but his ability to add little licks and riffs in the middle of songs adds another layer to the band. Yet, he knows his place, never trying to overstep the rest of the group, while still doing his thing. It is simply a joy to watch and listen to him play. Then again, seeing this band live is always a treat. But let’s get back to the setlist…

Besides the aforementioned songs, other highlights from the night were “Wiser Time,” “Thorn In My Pride” (but when is this song not a highlight?), and a cover of Traffic’s “Medicated Goo.” The two Crowes originals are songs that are played regularly, and for good reason. Both songs have emotional buildups that bring the crowd to a frenzy, as well as having extended breakdowns/solos/jams in the middle of the tunes. “Thorn” regularly runs about 15 minutes, and is sometimes accompanied by the jam known as “Thorn’s Progress” which can run up to 10 minutes, while “Wiser Time” includes a keyboard solo (which was very jazzy last night) and two guitar solos in the middle. Yet, neither song is “jammy,” just extended live versions. As for “Medicated Goo,” it’s just simply one of my favorite songs by Traffic and was just a treat to hear live.

Which is something I can say about all of the songs from last night, with the exception of “Garden Gate.” Now I have no problem with the song, it’s just that it just seemed to be totally out of place for the set. Now, if they had played two sets instead of one, and opened the second set with that song, it would’ve worked, but playing an acoustic folky song in the middle of an electric rock set really kills the momentum (though they did play “She Talks to Angels” with an acoustic guitar and mandolin, and that worked fine). But thankfully, it was only one song, and the band kept the energy level high for most of the night.

When you go to a Black Crowes show, you expect to experience a great rock band playing some great rock tunes, and that’s what last night was. They were focused, playing well, and having fun, which is all you can really ask for from a band. It wasn’t the best Crowes show I’ve seen, but was it was a great one, making me want to see them again some time soon. Hopefully you’ll want to see them, too.

Setlist (from Crowesbase.com)
JEALOUS AGAIN – Shake Your Money Maker
HOTEL ILLNESS – The Southern Harmony and Musical Companion
MY MORNING SONG ->  – The Southern Harmony and Musical Companion
STARE IT COLD ->  – Shake Your Money Maker
MY MORNING SONG
MEDICATED GOO – Last Exit (Traffic)
OH JOSEPHINE - Warpaint
WISER TIME – Amorica
SHE TALKS TO ANGELS – Shake Your Money Maker
GARDEN GATE – Before The Frost…Until The Freeze
HIGH HEAD BLUES - Amorica
SOUL SINGING – Lions
SEEING THINGS – Shake Your Money Maker
THORN IN MY PRIDE – The Southern Harmony and Musical Companion
REMEDY – The Southern Harmony and Musical Companion
HARD TO HANDLE ->  – Shake Your Money Maker
HUSH ->  - Shades of Deep Purple (Deep Purple)
HARD TO HANDLE
- encore -
APPALOOSA – Before The Frost…Until the Freeze
OH SWEET NUTHIN’ – Loaded (The Velvet Underground)
WILLIN’ – Sailin’ Shoes (Little Feat)

Robert Randolph grew up going to a House of God Church in Orange, NJ. This Christian denomination is known for having a different style of gospel music than most churches. In House of God churches the lead instrument is a pedal steel or lap steel guitar, and many of their songs are instrumental, with the guitars “singing” praise to the Lord. Thus, this style of music is known as Sacred Steel.

The genre was more or less unknown to people outside of church members, until the late 1990s when Arhoolie Records released a handful of albums by Sacred Steel artists. Yet it was the 1999 album Sacred Steel Live!, which was a collection of live congregational recordings, that would be the game changer. The album found its way to the hands of the members of North Mississippi Allstars (who were already fans of the genre) who in turn showed it to John Medeski. Though the album mainly featured the Campbell Brothers, it was the playing of a young Robert Randolph that caught their ear. The four men got in contact with the prodigy and soon formed The Word, releasing their eponymous album in 2001, an all-instrumental gospel album. Though the album was critically acclaimed, it was the band’s live shows that began getting people’s attention, particularly the fiery playing and stage presence of Randolph. This in turn led to Randolph forming his own band, Robert Randolph & The Family Band, becoming a well known and respected musician (he’s been featured several times on Eric Clapton’s Crossroads Guitar Festival).

Having solidified his place in the music industry, Randolph has decided to recognize his musical mentors, showcasing them on the album Robert Randolph Presents: The Slide Brothers. The Slide Brothers are Calvin Cooke, Aubrey Ghent, and Chuck and Darick Campbell (of the Campbell Brothers), all Sacred Steel icons. Each man is a beast on the steel guitar (particularly Chuck Campbell), with Cooke and Ghent being fantastic singers as well.

The album is a mix of secular covers (though with religious overtones), traditionals, and straight up gospel tunes, and every track has outstanding musicianship and killer guitar work. The wide range of extremely well-done covers include The Allman Brothers’ “Don’t Keep Me Wonderin’,” George Harrison‘s “My Sweet Lord” (though omitting all Hare Krishna references), Fatboy Slim‘s “Praise You,” and Elmore James‘ “It Hurts Me Too” and “The Sky Is Crying,” as well as Eric Clapton‘s version of the traditional “Motherless Children.” The blending of secular and gospel traditions creates a unique celebration of music, while also showing off the talents of some great, largely unknown musicians.

Though billed as a four man Sacred Steel supergroup, there is not one song on the album that features all four Slide Brothers at the same time. The closest they come is on three tracks, where three of the Brothers are performing, “Don’t Keep Me Wonderin’,” “My Sweet Lord,” and “It Hurts Me Too.” However, all three of these songs feature Chuck and Darick Campbell on steel guitar, with either Ghent or Cooke on vocals. Those two do play together on “Sunday School Blues” and “Catch That Train,” but it’s a bit disappointing to not have all four (or five if you include Randolph) playing at the same time on even one single track.

Another interesting aspect of this album is that there is a rotating group of backing musicians throughout. Five of the eleven songs feature The Campbell Brothers as the backing band (who are a fantastic group in their own right), while three others feature The Family Band (one of which has none of The Slide Brothers, “Praise You”). Though this doesn’t take away from high quality of musicianship that engulfs the entire album, it is just an interesting note that shows that this album is more of a collaboration of Sacred Steel icons rather than an endeavor by a supergroup.

Finally, there is the fact that Sacred Steel is known to be a very instrumental-heavy genre, yet the only instrumental track is the traditional “Wade In The Water.” While all the other tracks do showcase the fantastic skills of the four Slide Brothers, this track, played by the Campbell Brothers, is probably the best example of what Sacred Steel is all about. You can really hear why they consider steel guitar playing a different kind of singing. The Campbells’ guitar work soars throughout, evoking an image of preachers and pastors singing and praising their Lord with intense emotion. It’s a shame that there are no other instrumental tracks on the album, because these songs are truly the essence of Sacred Steel.

Still, there is no denying that Robert Randolph Presents: The Slide Brothers is a very powerful and energetic album that features highly skilled musicians playing some great songs. Fans of great guitar playing (especially slide guitar) will love this album, as will classic rock and blues lovers. Though the album features gospel musicians, it does an excellent job reinforcing the fact that without gospel, there would be no blues or R&B, and thus no rock ‘n’ roll. It also preaches that no matter where it comes from, music should be a celebration, bringing joy to all who care to listen. Hopefully, this album not only brings that feeling to listeners, but also leads them to discover and appreciate a style of music that all people should love, no matter what their religious affiliation.

For more (non-expert) information on Sacred Steel, here is a paper I wrote on the genre back in 2004 for a History of Blues class in college: Sacred Steel

After the first listen through I knew that this was a special album. There was not one bad track on the album, and about half of the songs were absolute gems.

The album opens with the title track, “Dixie Chicken,” which is probably the group’s most well known song after “Willin’.” A light, yet funky, song, it has all of the elements that Little Feat was known for during the Lowell George era of the band: great slide guitar work, syncopated beats, and well crafted lyrics lined with wit. The song also musically sets the tone, not only for the album, but also for the rest of the first era of Little Feat (after Lowell George’s death in 1980, the band went on hiatus before returning in 1988). New Orleans-style funk was to be the backbone of the band’s next seven years.

The second track, “Two Trains,” is pure funk. I’m not talking about your stereotypical Parliament-esque funk, I’m talking about the laid-back, syncopated feel, that still smacks the two and four, laid down by the late Richie Hayward, Sam Clayton, and Kenny Gradney. Then there’s the guitar work from both Paul Barrere and George. And of course Bill Payne‘s piano adds another layer to the song that is so well constructed that all of the parts seamlessly meld together. Though the song is not one of the band’s most well-known songs, it might be my favorite on the album. (It’s also ten times better than the version on George’s solo album, I’ll Eat It Here.)

I take what I just said back. “Roll Um Easy,” the third track on the album, might be my favorite. This track is all Lowell George, and it’s gorgeous. There’s nothing fancy about the song, but that’s what makes it fantastic. George’s wordwork is on full display straight fromt he get-go, opening with the lines, “I am just a vagabond, a drifter on the run. And eloquent profanity just rolls right off my tongue. And I have dined in palaces, drunk wines with kings and queens. But darlin’, oh darlin’ your the best thing I’ve ever seen.” Now, I wasn’t an English major, and never have been a lyric person in general, but I would call that some great poetry. It’s simply a beautiful, emotional, yet witty song that I can’t imagine not loving it. Easily one of the highest points of the album, at least in my mind.

A cover of Allen Toussaint‘s song “On Your Way Down” follows, and only hardens the fact that the band is totally entrenched in the New Orleans mentality. The band does a great job keeping the essence and feel of the original while still making it their own version. Though Paul Barrere’s guitar work is all over this song, it is Bill Payne’s keyboard and piano work that really holds the whole thing together. He never solos, nor really ever comes to the forefront, but all of the licks he plays in the background add so much color to the song that it would sound bare without him.

The next tune, “Kiss It Off,” brings a different feel to the record. With a mix of tablas and synthesizers to start, the song would seem to not fit in with the New Orleans feel of the album. However, the song was written by George, and definitely has the melodic tendencies of the rest of the album, making it, oddly enough, fit with the rest of the tracks.

“Fool Yourself” (penned by Fred Tackett, who is now a member of the band) opens the second side of the album, and is another unassuming gem on the record. The song has nothing too complicated within it (unless you count the layers of musical parts) nor is it loud or boisterous, but it is the fact that it has a very humble, unassuming feel that makes it so wonderful. Like “Roll ‘Um Easy,” this song is driven by George’s voice, which is filled with so much calm, yet so emotional, that I always find it hard not to listen attentively.

Penned and sung by Payne and Barrere, “Walkin’ All Night” is filled with energy and groove, and brings the New Orleans feel back to the listener. Yet, while the music is solid, I’ve always found it hard to listen to Payne or Barrere sing lead. Neither of their voices compare to George’s, both in range and in style, making it hard for me to absolutely love any Little Feat song that doesn’t have George on lead vocals. Still, this song about a prostitute is fun, and fits right in with album.

Next up is one of Little Feat’s more well-known songs, “Fat Man In The Bathtub.” Like the title track, this tune is filled with fantastic music and incredibly witty lyrics, and grooves harder than most of the album. This is likely do to the fact that Richie Hayward’s drumming emulates the New Orleans groove, particularly in the beginning of the song, and is filled with lots of syncopation, which is aided by the auxiliary percussion work of Sam Clayton. You also have some fantastic slide guitar work from both Barrere and George that shows what kind of musical force the band was when they were at their best. Yet, it is the vocal work in the chorus that steals the show. Though George is singing lead, it is the background vocals of Hayward, Bonnie Raitt, and Bonnie Bramlett (of Delaney and Bonnie) that take things over the top. The vocalists add some extra fun near the end of the song, where they all are singing and riffing on the lyric “I hear you moan,” as the track fades out. (While this track is definitely a classic, the best version of the song is the previously mentioned live version from Waiting For Columbus, which takes the entire song up a notch.)

“Juliette” follows and opens with George on flute (a rarity), before punching into a solid groove. Overall, the song is great and the music is more than solid, yet it is the production of the song that really shines in my eyes. If you listen closely you can hear all of the layers (particularly vocals) that are embedded in the tune, and hopefully you will find yourself appreciating how wonderfully mixed this song is, which only adds to the fact that is so well written.

The album closes with an instrumental co-written by George and Payne entitled “Lafayette Railroad.” There is not much to say for this slow moving track, except that it really showcases why Lowell George was widely known as a great slide guitar player. An interesting, yet appropriate way to end the album.

Though you won’t find Dixie Chicken on a lot of “Greatest Albums of All Time” lists, it is hard to deny that this is a very good album, and easily the best of Little Feat’s career, which continues today. Yet, for me it is not just the fact that there are so many great songs on the album, but it is also the mood and feel of the record. While so many of my favorite albums get me in emotional or energetic states, this album puts me at eases, and I can simply just enjoy what I am listening to. Yet, as you listen to the record more and more, you pick up the nuances that make it so special and fantastic, making each listen more enjoyable than the one before.

So “be my Dixie Chicken, [and] I’ll be your Tennessee Lamb, and we can walk together down in Dixieland.”

Let’s go.

Overall, the show was good. Kind of odd, but good. The musicianship of the band was much better than I ever anticipated. Since the band’s music isn’t anything extravagant, and pretty consistent in sound and feel, I was just expecting to see a fairly loose band having fun. However, the band was incredibly tight, having each song down to a science, even without a setlist. Each musician’s part never overshadows the others, creating tightly woven music that is superficially unassuming, but impressive when closely examined. Guitarist Xan McCurdy was incredibly skillful, showing off his talents not with gaudy guitar solos, but with tight riffs and licks reminiscent of Steve Cropper. Bassist Gabe Nelson was rock-solid, laying down the backbone for each song. Drummer Paulo Baldi was incredible, and so in-the-pocket that unless you were paying close attention, you would have no idea how syncopated his beats actually were. Multi-instrumentalist Vince DiFiore filled in the gaps with keyboards, percussion, and, of course, his masterful work on the trumpet.

And then there was lead singer/guitarist John McCrea. Vocally, McCrea was exactly what I expected, with his limited range and deadpan voice. And his guitar work was fine, and kind of impressive at times. Yet, it was his antics, hand motions, and often off-time vibraslap playing that took away from the rest of the band. McCrea seemed to be attempting to conduct the band with awkward hand motions, which not only was unnecessary (since the band was super tight), but distracting, at least to me. He also seemed to have no sense of timing during different songs, hitting the vibraslap at weird moments or on the wrong beat. Of course, he was on cue when it counted, like during “Short Skirt/Long Jacket.” But it was hard to shake the notion that he was either just messing around, or actually had no idea where the beat was, in regards to both the hand motions and vibraslapping.

However, McCrea’s performance was only one of the several odd instances that happened during the show. The show started with an incredibly 80s style instrumental song, with neon lights in the background, that went on just a little too long. And when the band did finally come on the stage, they didn’t start right away, creating a weird transition before they started with the Willie Nelson ballad, “Sad Songs and Waltzes.” If they had come on while the song was ending, and started immediately after the canned music was finished, it would have been a lot more effective.

Another odd aspect of the show was the fact that though there was no opener, and the band did play two sets, the second set was half as long as the first, and included a total stoppage of music so that McCrea could pick an audience member to take home a fig tree (with the hope that this person would plant it and take pictures of it for the rest of their life). While I had no problem with the tree giveaway in the middle of the set, it was the fact that right before the tree giveaway he stopped after starting “Jesus Wrote a Blank Check” and then went and explained why he was stopping (there was no setlist and he was following his muse), which preceded him going into the tree giveaway. This whole sequence caused a very awkward moment in the show, which killed the momentum the band had going for it. This isn’t the first time I’ve seen this happen, but the other times have been during Ben Folds shows, when it was just him and a piano, and the atmosphere was much more intimate and less formal. As I mentioned, the second set was half as long as the first, which not only was odd, but made me question why they even had two sets. The whole thing left me with a weird, unsatisfied feeling.

With all of that said, I still had a good time, and was happy to know that the band was giving all of their merchandise proceeds to help Hurricane Sandy relief causes. The band was solid, the music was good, and the crowd was into it. Still, I never found myself totally immersed in the show, like I am with many of the bands I see. In my mind, Cake sounded exactly like did on their records, and while it was an enjoyable show, I left feeling like there was no real need to see the band again for a while, unless their next record is completely different from and a lot better than their previous six albums. But if you get a chance to see them, you should. I just wouldn’t go out of my way to do so.

Setlist
1. Sad Songs and Waltzes – Fashion Nugget
2. Opera Singer – Comfort Eagle
3. Stickshifts and Safetybelts – Fashion Nugget
4. Arco Arena – Comfort Eagle
5. Wheels – Pressure Chief
6. Ruby Sees All – Motorcade of Generosity
7. Frank Sinatra – Fashion Nugget
8. Love You Madly – Comfort Eagle
9. Long Time – Showroom of Compassion
10. Bound Away – Showroom of Compassion
11. Mustache Man (Wasted) – Showroom of Compassion
12. Sick Of You – Showroom of Compassion
(intermission)
13. Federal Funding – Showroom of Compassion
14. Comanche – Motorcade of Generosity
15. Jolene - Motorcade of Generosity
16. Thrills – B-Sides And Rarities (during tree giveaway)
17. Sheep Go to Heaven – Prolonging the Magic
18. Rock ‘N’ Roll Lifestyle – Motorcade of Generosity
19. Never There – Prolonging the Magic
Encore
20. Short Skirt/Long Jacket – Comfort Eagle
21. The Distance – Fashion Nugget

On the music side of things, a lot was going on. Though I did not purchase a lot of newly released material (13 albums to be exact), I continued to expand my musical palette and continued to delve further into the back catalogs of artists I do like. I’ve also continued to build my vinyl collection (through record stores and raiding my parents’ collection), and now that I have a working turntable, I’m actually able to listen to them (Little Feat‘s Waiting For Columbus is playing as I type). My now former band, New Inhabitants, was able to record and release a 5 song EP within the span of a few months, and I’ve been starting to reconnect with old bandmates here in NJ with the hope something might happen. I was extremely successful at camp this summer, helping teens become better musicians and exposing campers and counselors to music, and learning about some artists I’ve never heard of before. And of course there were the concerts that I experienced (at least 10 of them, not sure on the exact number), all of which were pretty great.

So now that 2012 is pretty much in the books, and the world did not end, it’s time to look forward to 2013.

How many concerts will I be seeing this year? The move back to the NYC metro area has already yielded more opportunities to see shows, but my work schedule hampers my ability to see shows during the week. While it hasn’t totally stopped me from seeing a midweek show (saw two in the same week back in October), it’s definitely making me think twice about what shows I get tickets for. Currently I have one show lined up for next year (Cake in Montclair, NJ), and it’s pretty likely that I will be seeing The Black Crowes in April. Beyond those two shows, nothing else is planned, but knowing me, there will be many in the next year for me to experience.

What albums will I procure? Beyond a possible new Toad the Wet Sprocket album and the upcoming Sacred Steel supergroup album, Robert Randolph Presents: The Slide Brothers, I’m not actually sure what to expect in the coming year. Hopefully it will be a good year of music, but currently I have no idea what to expect.

How much music will I play? I guarantee I will be playing music this next year, but in what capacity, how often, and with who, are all big ????s. Only time will tell I guess.

And finally, what will happen to this blog and what it will look like over the course of the next 12 months? My hope is that I will still be able to post on a fairly regularly basis, though my life as a teacher has definitely gotten in the way of my writing consistently, as well as sucking the life out of my drive to do anything productive when I get home from work. But as long as there are things for me to write about (or for me to want to write about), I will find a way to write.

Thanks again to everyone who has read this blog with some regularity. It’s been really fun, thus far, and I hope to continue doing it well into next year.

Have a healthy and happy New Year!

-J.F.

1. Listen to all bands that people recommend with an open mind. Though this one is hard to truly figure out, I definitely feel I did a good job of this, though I could’ve done better. Thanks to friends, I’m now know of and/or enjoy, bands such as White Denim, Spoon, Dawes, Radio Moscow, and Hadag Nahash. On top of this I’ve finally given a good listen to a bunch of older bands such as The Kinks and XTC and thoroughly enjoyed what I have heard. Better late than never! ACHIEVED
2. Use up my iTunes credit. This is really hard to quantify, because when I bought my new MacBook Pro, I got $100 of iTunes/App Store credit, so I really have no idea how I’ve done. I’ve definitely bought music via iTunes, but not as much as I would have hoped. INCONCLUSIVE
3. Buy more new albums on vinyl. On Record Store Day’s Black Friday I bought a few new singles/EPs, but have yet to purchase a new full-length album on vinyl, though I continue to buy older, used vinyl. Part of this has to do with the fact I still can’t shake the habit of buying CDs, and part of it has to do with what you will read below. PARTIALLY ACHIEVED
4. Get a GOOD phonograph. A few weeks after writing last year’s resolutions, I found an old turntable in my mom’s house, brought it back with me to Kansas, and got it fixed. Or so I thought. The motor on the sucker was dying, and started playing my records slower, causing all of the music to be a full step lower than it should have been. So for most of the year, I wasn’t listening to any vinyl. After months of thinking about it (and getting a job), I finally purchased a new turntable that is doing the trick, and seems to be solid. ACHIEVED (though later than expected)
5. Maximize my time in Lawrence in regards to live shows. During my last 5 months in Lawrence, KS, I managed to see a handful of shows, including Galactic, the Head and the Heart, Hadag Nahash and The Wood Brothers, as well as a bunch of local bands. This is on top of having seen Delta Spirit, fun. (before they exploded), The Greenhornes, Robert Randolph and the Family Band, Orgone, North Mississippi Allstars, and The Chris Robinson Brotherhood, along with all of their opening bands, and several local acts during the 16 months prior to last year’s entry. For a college town on the edge of the middle of nowhere, that’s a damn good list. Definitely enjoyed my time in the town and feel that I took advantage of the live shows that came through. ACHIEVED
6. Continue this blog for another year. Though the entries are no longer weekly, the fact that I’m even writing this means I succeeded. ACHIEVED
7. Wherever I end up living, join a band. Luckily, I ended back where I grew up, which means I have a lot of people I know who I can play music with. The problem is that my job is insanely time consuming. That being said, my old band, The All New Cheap Moves (for which this blog was named after), is in the process of writing new material and we have jammed a few times. On top of this, there has been talk of my high school/college band, Zanzibar Scuf, getting back together. Then again, it’s just talk, and beyond our annual Scuf Nog jam session, who knows what will happen. IN PROCESS
8. If the world does end on December 21^st, listen to Dulcinea while it happens. There’s still 5 days until this happens or not, and if it does, I’ll be blasting it wherever I am. TO BE DETERMINED

So it seems I was able to fulfill 4/8 of my resolutions, with no complete failures. Not too bad. How did you do?

Simply titled, Eric Burdon & The Greenhornes (though there are sites that have the title Apolinere Enameled), the all too brief EP showcases a perfect match between one of the forefather’s of British blues-rock and the Cincinnati group that embodies the essence of Burdon’s early work. For those of you unfamiliar with the two parties, here’s a quick history lesson. Eric Burdon was the lead singer of The Animals, best known for their hits “House of the Rising Sun” and “We Gotta Get Out Of This Place.” He then went on to start the band War (originally called Eric Burdon & War), with whom he recorded the hit “Spill the Wine.” (He split with the group long before they recorded their super hit, “Low Rider.”) Since the 1970s, Burdon has reincarnated The Animals several times, and has put out numerous solo albums, but never reaching the success he had in his early career, though still very respected. The Greenhornes are a garage rock band that have been heavily influenced by blues and garage rock artists from the 60s and 70s. While the group has never hit the big time, the groups rhythm section, bassist Jack Lawrence and drummer Patrick Keeler, are/were members of The Ranconteurs, along with Jack White and Brendan Benson; Lawrence also collaborated with Jack White in the band The Dead Weather.

Essentially, the two entities were meant for each other.

This can be heard in the first minute of the opening track, “Black Dog.” (No, not the Led Zeppelin song.) Burdon’s aggressively bluesy voice is perfectly complimented by the heavy groove laid down by The Greenhornes. Jack Lawrence’s bass lines anchor everything, setting up a dark, yet soulful mood. Craig Fox’s guitar adds some depth to Lawrence’s lines, and Patrick Keeler is as steady as ever on the drums, laying an absolutely rock solid groove. Yet, it is Andrew Higley’s organ that really compliments Burdon’s voice, if only because it evokes the sound of 60s garage rock, where Burdon’s voice first breathed life. The song sounds menacing and could be easily found on an early, proto-metal hard blues album from the late 60s (think Black Sabbath or Deep Purple). This is Eric Burdon’s bread and butter, and there is no denying he’s still on top of his game.

The second track on side A of the EP, “Out Of My Mind,” is not nearly as aggressive as the prior track, but still continues the feeling of being a time warp from the 60s. Once again it is Higley’s keyboards that promote this feeling on this balladesque tune, but this time around he is aided by Fox’s clean guitar sound that promotes a sense of teenage garage band playing a slow dance at a local YMCA gathering. Burdon’s vocal control, both in dynamics and emotion, is sensational. This is particularly the case during the verses when the band drops way down, dynamically, and he takes total control of the song, bringing you in close as he tells his story of woe. It’s just another example of why this man is a legend.

The B-side of the EP consists of two songs, “Can You Win” and “Cab Driver.” The first is a straight ahead blues rocker that once again promotes the feeling of being straight of out the 60s, though more like early Fleetwood Mac or Humble Pie this time around. The Greenhornes own the song and Craig Fox is once again at the forefront. His guitar work, while nothing mind-blowing, is pretty kick-ass, showing that he knows his stuff. “Cab Driver,” is just insane, and silly. Burdon plays an Eastern European man who is telling a personal story, while The Greenhornes play around on a minor key, oompa (polka) groove, backing him up perfectly. Honestly, this track sounds more like a jam that turned into a ditty (it was written all of them, unlike the other tracks), but still shows the talents the five men and the synergy between them.

Which is why I am hoping that this EP is not just a one-off, but a jumping point for future collaboration. If Burdon ever needed a band that understood him musically, The Greenhornes are it, and they could definitely use the boosted exposure to elevate their profile beyond being “that band with two guys from The Ranconteurs.” In my mind it would be a win-win-win situation, because not only would the two parties benefit, but audiences would as well. This album is not groundbreaking, but it’s really good, and the musical talent and energy that springs forth from my speakers tells me that these two musical entities are a good fit for each other. So here’s to hoping for good sales and reviews so we all can benefit from some great music in the future, because there’s always room for more.

Note: This EP is only available on vinyl and digitally. In my opinion, the vinyl sounds better.

The EP’s title track, “Bright Lights,” was stuck in my head for days, but it was the two live, solo acoustic tracks that really caught my attention. His guitar playing was not only impressive, but also incredibly rhythmic. Add in his soulful, slightly gravely voice, and I realized I was listening to a bon-a-fide, modern day bluesman.  So it should be no surprise that his debut album, Blak and Blu, was one that I was anticipating for several months, and for all intents and purposes this album lived up to my expectations.

Based purely on the limited material I knew, I was anticipating that Blak and Blu would be a down and dirty blues-rock album, filled with lots of guitar work and soulful singing. What I heard was a mix of blues, rock, and modern soul/R&B. At times Clark sounds like Dan Auerbach (of The Black Keys), other times like Lenny Kravitz, and other times like a generic modern R&B artist. For some people this may show a inconsistency in Clark’s music, but I interpret this differently. Instead of being inconsistent, I see this as Clark trying to find his niche in the music world, as well as understanding that in order to find the widest audience possible, he must try to hit the musical interests of a wide swath of potential fans. Or he could just be paying tribute to his influences.

Unlike many debut albums, Blak and Blu is quite long, having 13 tracks and clocking in at 66 minutes. It’s a lot of music to take in, and as mentioned above, it’s quite sprawling genre-wise. Overall, the album is very good, with a handful of pretty fantastic songs. The album’s first track, “Ain’t Messin ‘Round,” is one of these. Opening with a single snare hit followed by an intense blast of horns, the song is a pretty standard sounding blues-rocker. Though nothing in the song is mind-blowing, the song is just a pure barnburner, with intensity that does not relent, even during the post-solo breakdown. This is one of those songs that should be played LOUD while you just simply let yourself have fun.

The track that follows, “When My Train Pulls In,” is a full band version of one of the solo acoustic tracks from The Bright Lights EP. Where the EP version was more somber and emotional, the album version is full of energy, though still packing that emotional punch. The guitar work on the album version is very Hendrix-esque, filled with tons of distortion and wah-wah. Ironically, the solo on the EP version has Clark playing a bit of “Third Stone From The Sun” by Jimi Hendrix, a track that he actually covers later on the album (though it is combined with one of his own tracks).

“Bright Lights,” the fourth track, is easily my favorite on the album. Essentially a remixed and remastered version of the one found on his EP, the song is just one of those big, fat, juicy blues songs that anyone with any love of music can’t resist. The beat is locked in the pocket, and the bassline consists of thick, heavy quarter and eighth notes, that give the song a solid foundation. The guitar work is, once again, stellar, something that is consistent throughout the album. However, it is the lyrical hooks that grab me in this song. Though there is really nothing special about them, the combination of simple, repeated phrases and the aforementioned phat beat cause the refrains to be stuck in my head for days.

The seventh track, “Glitter Ain’t Gold,” is another heavy, bluesy rocker, which sounds eerily like it came from a Lenny Kravitz album. From the riff to Clark’s voice it’s pure Kravitz. Yet, this doesn’t take away from the fact that this song kicks some pretty serious ass. The powerhouse combination of heavy fuzz guitar and bass playing the same ostinato riff make this song. It’s just one of those lines that makes you want to turn the volume up high and head bang.

“Next Door Neighbor Blues” closes the album, but may be the best example of what Gary Clark, Jr., truly is: a bluesman. Recorded to sound like a lo-fi field recording, the song exhibits Clark’s ability to play and knowledge of traditional blues. To me, this is the core of his music, and the fact that he is displaying it on his debut record is impressive, because he’s already shown his ability to play more modern and popular styles of music, but leaves the listener with a raw, crude-sounding traditional blues. And this isn’t just some silly knock-off, it’s a good song, and shows that Clark’s musical roots come from the blues.

While these songs are the highlights (in my mind) of the album, there are a bunch of other really good songs. “Travis County” is a barnburner that seems to come straight out of Clark’s hometown of Austin, TX. “The Life” is the most modern R&B influenced song, and I could easily see this as being a radio hit. “Please Come Home” is a 60s soul influenced song, and would easily fit in with what Raphael Saadiq has been doing recently. “Third Stone From The Sun/You Love Me Like You Say” combines the Hendrix classic and a cover of the Little Johnny Taylor tune into a jam-heavy mini-medley that contains the one of the best guitar solos on the album. And then there’s “You Saved Me,” which, in my mind, is Clark’s attempt at writing his own “Purple Rain.” Though it doesn’t sound like the Prince classic, it does remind me of it, and Prince in general, which is not a bad thing at all.

So in the end, what may seem like an album that has no musical focus, should really be viewed as an album that is showcasing the ability of a rising star in the music world. The fact of the matter is Gary Clark, Jr. has talent, lots of it, and it can definitely be heard on this record. The one qualm I have with this record is that it does not have “Don’t Owe You A Thang,” which appeared on The Bright Lights EP.  The song is a heavy, blues shuffle that is just simply electric, and one that I could see being the highlight of a live show.

Which leads me to my final thought. While Blak and Blu is a really enjoyable album that showcases his ability, Gary Clark, Jr. is someone you need to see live. Now I will admit that I have yet to see him in concert, but I have seen some of his live performances online (both streaming and recorded video) and they were phenomenal. The energy that emits from his album comes out in his live performances, but at an exponentially higher level.

He may not be a once-in-a-generation artist, like some have titled him, but Gary Clark, Jr. is a talent, and one that you should take a listen to.

Having been together for over 20 years, it would be easy to simply say that the three members, John Medeski (keyboards), Billy Martin (percussion), and Chris Wood (bass), have a good musical rapport with each, but that would be doing a disservice to what they really have: a connection so strong that it’s almost palpable during live performances (well, you know what I mean). If you sat down and listened to all of their studio albums in chronological order, you would be able to not only hear a progression in their musical style, but also in the cohesiveness of their playing together. The bond the three have is, at this point, unbreakable and, in my mind, permanent. Each member has done several side projects over the course of the band’s career, yet instead of splintering, these breaks have made the group more creative and loose, and more connected on stage. Every time the group puts out a new studio album, I always wonder if they still have ideas left, and every time I’m amazed at how the band is able to create songs that sound fresh and new, but still have that MMW sound and feel.

And then there are their live shows, which are not just musical performances, but experiences. Seeing the trio live is like watching master artisans create a masterpiece in front of your eyes, because, well, it is just that. Normally, when you see a band, particularly a rock band, you know what you’re going to get. You know what they are going to sound like and you’re pretty sure of a few songs that will be played. With a MMW show, you never know what to expect. Sure, if they are touring to support an album, you can assume they will play a few tracks from it, but like any other jazz artist/group you never know how it will actually sound. But unlike many jazz performances, the band also loves to throw in chunks of free improvisation that may or may not lead into a song. By changing up setlists every night it keeps things fresh for the audience, and I can only imagine it keeps things fresh for the band. Yet no matter what you hear, you know that the quality and execution of the music will be at a truly elite level.

This can all be heard on the band’s newest release, Free Magic, a live album that captures the band during their 2007 acoustic tour. As you listen to the album, you can hear how in the pocket the three are with each other, allowing each to seemingly do their own thing at the same time during solo and improv sections, yet still being aware of each other, enabling them to create spontaneous, magical moments. The maturity of the band is also audible, especially when compared to the group’s previous live, acoustic album, Tonic, which was taken from performances in 1999, 8 years prior to this material, but also only 8 years into the band’s existence. While Tonic oozes with energy and ferocity, it lacks the cohesiveness within the band that Free Magic showcases. Tonic also has the sound of the band trying to force themselves into a box, saying, “We know we’re known for being an organ-based jazz-funk trio, but we can also play REAL jazz!” whereas Free Magic sounds like the band trying to push their own collective boundaries by limiting the available sonic materials, yet still challenging themselves to create a masterpiece. It’s amazing what an extra 8 years of playing together can do.

Each of the five tracks on Free Magic has its own identity. The opener, “Doppler,” is the typical MMW show opener, having about 6 minutes of free improvisation from the group before the trio locks into the tune. The song, eventually recorded for the group’s 2011 digital-only album 20, has a moderate groove that allows the group to easily play with each other and gives the soloist enough room to really move around. The second track, “Blues For Another Day,” is more mercurial in feel, going from total chaos to a slow blues, before slowing building up back into the chaos, ending, once again, with the slow blues. If anything this song shows the collective control and communication the group has, which is just one example of what makes their live shows so much fun. This is followed by “Free Magic/Ballade in C minor, ‘Vergessene Seelen’,” a combination of an 8 minute free improvisation and 4 minute, eery sounding song that haunts, yet still grooves. This is the only track that features a non-acoustic instrument; Chris Wood plays his Hofner bass. “Where’s Sly?” is next up, and though the song was originally recorded with Medeski playing electric piano and a horn section (on It’s a Jungle In Here), it is as beautiful as ever. The sonic landscape that was created on the studio release is reinvented with the sheer beauty of the sound that comes from Medeski playing a baby grand piano. Halfway through the track, a Billy Martin drum solo appears, showcasing the percussionist’s arsenal of toys and ideas, closing out the track. The album closes with a “medley” of tunes by Charles Mingus and Sun Ra, “Nostalgia In Times Square/Angel Race.” The group does justice to both songs, of course adding their own twist to the tunes, showing that the trio are still students and admirers of the greats that came before them.

Hearing the band in this type of setting is one thing, but seeing them live (like I’ve said before) is another story. The main difference is watching the talent that is John Medeski. Yes, Chris Wood and Billy Martin were amazing, as they always are, but what they were doing was not unique to a MMW show. Normally, Medeski is surrounded by keyboards, organs, and an acoustic piano, and most of his prodigal playing is overshadowed by the sounds that he is creating, which I must admit are always amazing. Yet, on this recording and on their recent acoustic tour, which I was able to witness on October 8 at the Bergen Performing Arts Center, he was only armed with a baby grand piano, a “prepared” upright piano, and a melodica. Being able to watch his hands effortlessly move across the keys, and hearing the ideas that just spew from his brain, was eye-opening. I have always been in awe of the man’s ability to play, but seeing it in its raw, natural form for two hours, without the veil of synthesized sounds, was truly an experience. (Watch this clip from the Englewood show, which I did not take, of the band doing Elvis Presley’s “Suspicious Minds” to see what I’ve been talking about.)

Though I’m incredibly biased towards this band, I cannot stress enough how talented the trio are, and how after 20 years they have not only gotten better, but they’ve been able to continue to sound fresh. None of their albums or their shows are ever the same, so every time you listen to or see them, it’s always a new experience. So do yourself a favor, and take a listen, if you haven’t already, and even if you don’t like what hear, just allow yourself to experience their music, because it’s something special. Hell, it really is (at times) magic.

The band I went to go see is called The Regulars, and all I really knew about them was that they played jangle/power pop, which is a genre of music I really do enjoy (see the Big Star and Bleu posts). I had asked Joe (the man who messaged me and the lead singer of the band) to see if he could put me on the guest list, but when I got to the club, they said there were no guest lists (I later found out he did in fact put me down, but that’s all in the past). Add this to the fact that I also couldn’t find someone to go with me to the show, and I was starting to think that this was going to turn out horribly. I don’t mind going to shows alone, but that’s usually because I am seeing a band I want to see. This was something totally new for me.

After sitting through a very interesting set from another band, The Regulars hit the stage. Knowing none of their songs I was trying to take in the overall feel and sound of the band, gauging whether or not what I was listening to was quality or not. From the beginning of their set, I could tell that these guys had a good understanding of what jangle/power pop really encompassed. They reminded me a lot of the Raspberries and Badfinger, especially with their vocal harmonies, that were, at times, really good. The other thing that the band had from start to finish was amazing stage presence. Not only was the band moving around on a very small stage, but they were all genuinely having a great time. I could see the bassist grinning euphorically for the entire set, and at times sing along to the song they were playing.

Song wise, there was little that really stood out to me, yet nothing was downright bad. The best song the band played was one of their new songs that was called (I believe) “100 Shades of White” which was really good. It was a moment where I went from thinking that the band was “ehhh” to thinking “Oh, okay, these guys have something.” The other moment that stood out, though not for the same reason, was the band’s mashup of Cheap Trick‘s “I Want You To Want Me” and The Beatles‘ “Help.” Though I thoroughly enjoyed, and was surprised by, the opening of the first going straight into the second, I really was not a fan of how the band went back and forth between the two songs. I personally thought it would have been better if they had just used the opening and closing of the Cheap Trick tune to bookend the classic from the Fab Four. Some of the crowd, however, loved the entire thing, and in the end, that’s the most important thing. The crowd also went a little crazy during the band’s last song, dancing in between tables and getting others to get up and dance, which was appropriate seeing as the band’s last tune was one of its most upbeat of the entire set.

Overall, I enjoyed the band’s set and would not be against seeing them again, and think that they have a solid foundation to build upon as they continue to play. However, I would suggest that the band listen to and learn from some of the less jangly and more power of the jangle/power pop artists, like Big Star, Jason Falkner, Matthew Sweet, Jellyfish, and Teenage Fan Club (if they haven’t already), and start to expand their sound to something bigger which may (or may not) help them gain some new fans. At the very least listening to those bands and artists would expand their musical knowledge and give them some inspiration to create some more great pop/rock songs.