JJ Grey and MOFRO – Better Days: The
Live Concert Film
Directed by Spookie Daly Alligator Records / Thunderbolt
Productions /
Madison House / Flying Pig Studio / MVD Visual 119 minutes, 2011 / 2013 www.mvdvisual.com
Up
North, JJ Grey and MOFRO are not as well-known as some of their other Southern brethren
that walk the path of rock, blues and country. Part of this concert documentary
is musicians, including members of the band, describing MOFRO’s sound and
everyone has a different slant to it. So, what the hell, here is mine.
I
definitely would not call it Southern Rock. I can see them as more Skynyrd than
the Allmans, with some of Jim Dandy’s growling Blues and less tight pants, but
not as much rock. Swamp rock is a good descriptor, but more if it had more
classic R&B and Gospel. And for good measure, as one member of the band
says, add a bit of “J[immy] Reed.”
The
reason why all these are accurate, is because they refuse to stay on any one
highway line, but move from lane to lane, keeping it interesting. For example, “DirtFloorCracker”
is solid Southern Rock, even though, as I said, I would not classify them as
such. Another, the title cut “Brighter Days” sounds to me like something out of
the John Mellencamp – er – camp.
This
documentary is a cross between a concert and talking heads. The live music
part, which is a complete concert, was taped at the Variety Playhouse in
Atlanta, GA, on January 22, 2011. It’s not too far up the swamp from where JJ
grew up near Jacksonville, F-L-A (same town as Tom Petty, who followed a very
different musical path). You can hear it in JJ’s voice, as he says the lyrics
with a deep drawl, “Ain’t but one thing dat’s foww showw / Ev’rybhudy wants
sommoww.”
Before
each song, there is an interview part, mostly with the tall, lanky and graying Grey,
which beautifully sets up the meaning and tone for the song to come. All the music
is shown completely, thankfully, though the one where he introduces the band
seems to go on a bit.
The
MOFRO’s behind JJ are phenomenal musicians, especially Dennis Marion’s trumpet
and Andrew Trube’s lead guitar. The whole band gets more than one solo throughout,
and each one shines without trying to top the rest. It isn’t a contest, it’s an
expression of talent.
I
wasn’t familiar with MOFRO’s output before, but I may keep my ears perked up if
they come my way to play. The closest I knew was Bodeco (who I have seen live,
and they killed), and the Formerly Brothers (Amos Garrett – Doug Sahm – Gene Taylor),
which by coincidence was what I was listening to the day before playing this
DVD, but it’s nice to add to the repertoire.
If I
had any complaints about the documentary, they are small and petty. For
example, I would have liked to have had the song titles come up as they
started, and as with most of these kinds of films, the talking head interviews
are identified once, and then you just have to remember who they are, which
makes it harder if they are (a) less known and (b) there are many involved. As
I said, petty.
If
you are into this kind of sound, I recommend this highly. If you’re bored by
Southern Rock as it stands and prefer a more raw sound that has a bit more country
and R&B to it than the rock, check ‘em out. This film can easily hold you
until then.
Directed by Doug Hawes-Davis High Plains Films / Big Sky Films / MVD Visual 93 minutes / 2013 www.mvdvisual.com
In a time of really bad music, where
the Top-10 is proliferated with the inanity of the likes of the Bieber, the
Perry and sadly, now the Swift, it’s great to continue to hear great music,
even if it’s from the past.
And speaking of inanity, in the
center of that plus insanity, or as I like to call it: Texas, thank God for
Austin, a sane safehouse for a state known for religious fanatics, Southern
rock, and future fucktard failures to run for President.
Thus we come to the Gourds, a “genre-blending”
band that they call (themselves) “just a rock and roll band,” but I would call
them Country Rock and Roll. But mostly I would call them a shit load of fun.
But I’m gettin’ ahead of myself.
These guys, who imply the standard
instruments plus a variously an electric keyboard, fiddle, mandolin and
accordion get down and have fun together. In their current form, they’ve been
together since 1999, but they’ve been playing since before that and have over
10 albums out there. Coming from different parts of Texas and Louisiana, they
settled in Austin and not only made it their home, have come to be identified
with the city, often showing up in bar, clubs and especially SXSW.
Just as important, the quintet seems
like a nice bunch of guys, and they certainly seem to get along pretty well.
They also share lead vocals between the four front guys. Some songs are
straightforward country/Americana, there are also songs about fruit and other
seemingly random topics. That’s not to lock them in, though, because their
cover ofSnoop Dogg’s “Gin and Juice”
went viral. But the shots of them playing on stage, which are many here, they
certainly seem to be having a blast.
Building the story of the band, both
indivudally and as a group, there are one-on-one interviews, and also radio
interviews (videoed during the talks). They explain how they are in a
relationship, and it’s easy to hurt each other because they know each other so
well, but choose not to do that. That’s a brotherhood.
What’s nice is a llot of the
interviews are mixes from the last few years, rather than all new stuff, so you
can see the changes over time. For example one member is show with his toddler
in 1998, and then you see him in recent footage. We follow them on tours, in
local clubs, at home, and other music-related situations, such as playing and
interviews at radio stations, as I said previously. This is usually something
bands hate for someone to say, but I get the impression that the band is their
career, because no one talks about other jobs. That they make enough from these
tours to survive means they are in nearly constant motion (tours)
One section shows them recording with
Larry Campbell at Levon Helms studio in Woodstock, NY. This is introduced by
the announcement of Levon’s passing, and the recording session, etc., is in
flashback. It’s pretty obvious this documentary is many years in the making.
There are three sets of bonus
material, including Deleted scenes, and alternative ones. What got me smiling
though, were the 12 complete live songs. It’s all about the music, ain’it?
While this could actually have been
trimmed a bit (by 20 minutes, perhaps?), but their joy is infectious, and that
we get to hear so much music helps promote the band as much as their
personalities. As someone says at about the halfway point, “Our greatest asset
is that we’re fun, we’re happy, and we’re having a good time.”
Charlie Daniels Band 1980 Directed by Christian Wagner
MIG / WDR
76 min, 1980 / 2012 MIG-music.de MVDvisual.com
I only saw the Charlie Daniels Band once, at Carnegie Hall in 1973. It was one of the first of many concerts I went to with Bernie Kugel after we became friends in high school. Why the Charlie Daniels Band, of all things, for a then-folkie (me) and a garage rock fan (Bernie)? They were opening for – and I kid you not – comic Robert Klein.
Back then, the only song of theirs I knew was “Devil Went Down to Georgia.” Okay, it’s pretty much the same now, except for a couple more. The difference is that I’m at an age when I can appreciate them now. I went through a country phase in the late ‘70s (yes, even as I was punking out; how much more punk could Hank Williams be, as he was arguably the Johnny Thunders of his day).
The CDB tends to be lumped together in the “Southern Rock” genre, but that’s not really fair. Most southern rock bands, like Lynyrd Skynyrd and Black Oak Arkansas (both of whom I interviewed in the mid-‘70s), were more Blues based, while the Tennessee-bred CDB is firmly country rock. Not the modern, crappy country of Shania Twain or Carrie Underwood (both of whom can truly sing, but are boring in their modernist style), but rather they are closer to the Grand Ole Opry than those who are appearing on particular that stage these days.
Essentially CDB is C&W with some rockin’ guitarwork, though their songs are varied in style. For example, some are quite reflective, such as, well, “Reflections,” in which Daniels remembers some close friends who are gone, such as his pal Ronnie van Zandt of the aforementioned Skynyrd. But he’s most famous for his story songs, such as “Legend of Wooley Swamp” (which sounds very similar to “Devil”), “Blindman,” another hit with “Uneasy Rider” (this has a similar patter to Charlie Ryan’s 1955 “Hot Rod Lincoln”), and of course, “The Devil Went Down to Georgia.”
There definitely is some blues here, though, such as “No Potion for the Pain” (powerfully sung by Taz DiGregorio), but country is more prevailing.
Daniels has a strong voice, both literally and figuratively, showing why the CDB has so much clout in the country market. It makes me ponder how strange it must have been in the audience of Westfalenhalle Dortmund in Germany, on that November 28, 1980 night, and hear their jingoistic “In America.” I mean this tune is directly in Toby Keith territory. The audience seemed to enjoy it.
How country are they? Just listen to “Long Haired Country Boy.” Tom Crain’s guitar wails just right. In fact, Crain is pretty formidable, as is Daniel’s actually. The entire band is solid from beginning to end. He even takes the lead vocals on “Cumberland Mountain No. 9.” I did note, however, that it is strange there’s no slide guitar in the group.
And what better way to end the set with a long, particularly raucous and upbeat version of the bluegrass classic instrumental, “Orange Blossom Special” (with a bit of others such as “Dixie” thrown in), showcasing their heritage and bringing a bit of Americana to the Rhineland.
For a video recording from 1980, the image is quite clear, and the sound is excellent, as is usually true from the Rockpalast series. From beginning to end, this is a classic C&W lover’s dream. It certainly made me smile. And that’s even without Robert Klein.
Band
Charlie Daniels: Vocals/guitar/violin
Tom Crain: Guitar/vocals
Taz DiGregorio: Keyboards/vocals
Charlie Hayward: Bass
Fred Edwards: Drums
James W. Marshall: Drums
Set List: Funky Junky
Trudy
Jitterbug
Legend of Wooley Swamp
Blindman
Reflections
El Toreador
No Potion for the Pain
In America
Long Haired Country Boy
Uneasy Rider
Cumberland Mountain No. 9
Devil Went Down to Georgia Encore: The South’s Gonna Do It Again
Orange Blossom Special
The closest I ever came to seeing Rank and File live was on a punk-related Rock Palace television program, sharing the bill with the likes of the Circle Jerks. They did two amazing songs, “Amanda Ruth” and “Hot Wind” (which I still have on VHS somewhere, and I that have attached below). My pal, Steve Adams, who colleged in Austin, used to go see the band during its heyday, and remains a fan.
According to Wikipedia, after the break-up of R&F, Chip and Tony Kinman started the drum-machine-based synthpop band Blackbird, and Alejandro Escovedo joined with his brother Javier to form True Believers, before going solo.
But recently Rank and File have reformed and toured, so who knows what’s next.
PS, I love Gary’s Canadiana take on this, including calling mac’’n’ cheese “Kraft Dinner,” and uncertainty about the Mason-Dixon line: north of it was mostly Slave free, south of it had slavery, starting on the north Virginia state line, and running east to west; it was “dismantled” after the Civil War, though I’m guessing Gary must know that all these years later.
Note that despite my teasing, Gary is truly among my favorite rock writers, and has been since the days of his own fanzine, The Pig Paper (all issues of which can be found online here: https://www.rocksbackpages.com/Library/Writer/gary-pig-gold)… – RBF, 2011 .
“They sound like a cross between Buck Owens and the Ramones!”
”Watching Chip Kinman on stage is just like watching Gary Busey in The Buddy Holly Story.”
“I have a funny feeling I’m witnessing the birth of something amazing.”
Oh, my God!”
On Saturday, April 2, 1983, Rank and File brought heir unique interpretation of The American Sound to the ratty Radio City club, deep within the bowels of the bed-washbasin-and-surfboard suburb of L.A. known as Anaheim, California (right down the road from Disneyland!). Quoted verbatim above are but four of the many observations I solicited from the preppies, punkies, and poseurs of all persuasions who stood spellbound as Rank and File recreated – in fact, incarnated – their groundbreaking Sundown LP atop the creaky Radio City stage. By the end of their 45-minute set, as the audience’s bewilderment had graduated form half-hearted slam-dancing to sub-Hee Haw-style hoots ‘n’ hollers, I couldn’t help but imagine that this must’ve been just like it would have been to see Elvis, Scotty and Bill playing around the Memphis trucker bars and parking lots 30 years ago! Hell – maybe we are witnessing The Birth of Something Amazing.
”We had to do a lot of growing up in order to get where we are today…” – Chip Kinman: guitar, vocals, harmonica and Buddy Busey imitations.
”…and play what we are today.” – Tony Kinman: vocals and authentic Bonanza headwear.
”…and I’m just the drummer.” – Slim Evans: just drums.
”I agree.” – Alejandro Escovedo: guitar, vocals, and grinning Spanish teen appeal.
To make a sob story short, the Kinman brothers woke up one day near San Francisco during the Summer of Hate to find themselves, as one half of the infamous Dils, bonafide yet reluctant stars of the local blank generation. Much soul-searching ensued, which quickly lead to (as is vividly recounted on Sundown’s strongest cut, “I Went Walking”) the break-up of the Dils, a sabbatical to NYC’s St. Mark’s Place, a damnation of the their NeWave era in general, and ultimately, a pilgrimage to the Deep South to bask in the comparatively calming sounds and smells of the Great American Heartland. To this day, they call Austin, Texas “home.”
Suddenly, Chip and Tony had traded in their trendy Sears Silvertones for authentic Fender gear, unearthed in Slim Evans one of the finest skinmen this side of D.J. Fontana, sent for their old Bay Area sidekick Alejandro to round out the quartet, and faster than you can say Get Rhythm!, this renegade combo were tearing up every truckstop, lounge, and even punk palace south of the Mason-Dixon line. (Which reminds me: where in hell is the Mason-Dixon line anyways?) Like the good ol’ boys they now were, they lived on Lone Star Beer and Kraft Dinner ‘til they had enough saved up to buy a station wagon with which to return west to the Promised Land where, during the fall of ’82, they blew a much-needed breath of fresh prairie air into the spandex’d El Lay music scene.
Soon, our heroes found themselves back in ‘Frisco, laying down tracks for their first Slash Records album – an LP, which no less than Robert Hillburn, the West Coast’s very own Robert Christgau, proclaimed as “one of the strongest American debut records in a decade.” In fact, Mr. Hillburn found himself so totally enamored with Sundown that he had 10 copies send air express! to the Man in Black hisself, Johnny Cash, and then urged his VIP pals at Warner Bros. that they’d better pick up this platter, fast, if they knew what was good for ‘em. As a result, you can now find Rank and File proudly displayed in your local discery, right alongside the new Duran Duran… or George Jones… or Journey…
And herein we arrive at the primary dilemma which could very well prevent Rank and File from claiming their rightful place atop several of Billboard’s Hot Hit charts: just what is Rank and File? Country? Pop? New Wave? Mockabilly? Well, I for one chose (e) All of the Above, coz in Sundown, I can hear at any given moment the twang of a Link Wray, the hooks of a Goffin-King, the lyrical wit of a Nick Lowe, and the harmonies of the brothers Louvin and Everly. Yet the blend is far from nostalgic or regurgitent: the Kinman’s compositions sound somehow Fresh, New, Current, and Vital. Just like that other great American rock phenomenon, Creedence Clearwater Revival sounded a dozen years ago, remember?
But unlike the Hey!days of CCR, U.S. radio today just isn’t as ignorantly open to the fresh, new, current or vital – sure, “Do You Really Want to Hurt Me” went Top Ten, but only by initial packaging it in a blank sleeve, if y’know what I mean. Consequently, I often find myself awakening at 3 a.m. in a cold sweat, fearful that Rank and File’s potential as Divine Saviors of U.S. Music (sorry folks – I’m on my soapbox again) might be irreversibly nixed in the bud. Jesus Christ! These guys could fuckin’ revolutionize what we now blindly accept as C&W; they could be the Sex Pistols to the Kenny Rogers and Barbara Mandrells who now effortlessly and offensively rule the majority of this nation’s jukeboxes, airwaves, and music award ballots. Given half a chance, Sundown could shake things up one helluva lot more than an entire army of Dils ever could!
Okay – I worry about such things. Maybe you do too. But does Tony Kinman? “Nah,” he informed me between rounds at the Radio City bar. “Every band me ‘n Chip have been in has, uh, Made It to some extent. But, you know – so what? The success part of things is really outta our hands for the most part. It’s managers and record companies who have to worry about that stuff. And the people out there really decide in the long run how big a band can be, and for how long.”
But Holy Cow, Tony! Doesn’t it bug you guys that if it wasn’t for the Casey Kasems and the Kal Rudmans of the world, Rank and File could very well be that exclusive Next Big Thing we’ve all be waiting breathlessly for?!!, I scream out. Tony’s long, low, all-knowing laugh is my only reply. But it’s his alter-ego, Chip, who leaves me with this final, all-encompassing, concluding profundity before leaping back on stage for the second set:
“Success? All I care about is what key we’re gonna do ‘White Lightening’ in tonight!”
And There You Have It: the saga of a relatively new band busy brewing right under your very noses. Looking for musical kicks in the ‘Eighties? No need to shop overseas amongst the latest mascara’d synthepoppers: Buy American. Support Rank and File. And who know? We may never have to listen to the Gatlin Brothers Ever Again!
Part 1: This is just two of a series of DVDs that have been released to promote a collection of television specials from the 1980s that highlight specific genres of music, with each disc focusing on a one at a time. America’s Music Legacy: Country and Western Directed by Gene Weed Cube International / Century Home Video, 1981 / 2010 115 minutes, USD $16.95 Cubeinternational.com Qleap.co.uk MVDvisual.com The program itself was originally titled Countrystyle. Considering the wide range covered, that seems pretty appropriate. This show, mounted at the Knotts Berry Farm Theater in California, is externally hosted (he’s filmed at various park spots and then spliced inbetween) by Gene Weed (d. 1999), who did the same honors for the short-lived television series Shiveree, and was director for ABC’s coverage of Live Aid (he was part of Dick Clark’s company).
Starting with the young and fresh, the show opens with Sylvia (Kirby), who is one of the first “new country” artists (similarly along the lines of Juice Newton), when country starting becoming as much about pop music. She performs two of her early hits (well, I guess then-current), starting with “Drifter,” which went to No. 1 on the country charts. She follows up with the really awful “The Matador,” a pandering audience sing-along mess, which is due more to the song than the singer. However, she is apparently enjoying herself up on stage, though now nearly 30 years later, she’s a life coach rather than a performer. Heck, this disk did not even list her in the bios section!
The first to unofficially represent the ‘70s period, the last bastion before the rise of “country pop,” is Razzy Bailey, whose style reminds me of the likes of Larry Gatlin, with “Lovin’ Up a Storm” and “She Left Love All Over Me.” He also does the classic “Nightlife,” a Willie Nelson boogie blues ballad.
Eddie Dean (d. 1991) has been around since the ‘30s, first making appearances singing in Roy Rogers westerns and the like. He certainly stands out in his bright yellow two-piece outfit. I swear, C+W musicians have the loudest clothes of all music genres, and I won’t even go into the tassels (or tzitzit, as my parent may have called them). Anyway, Dean sings some songs he has been known for, such as the traditional cowboy tune from yon, “Wagon Wheels” (which has a similar feel to “Tumbling Tumbleweeds”). He follows this with the (I’m) cheatin’ hit of his, “One Has My Name (One Has My Heart)”, written by Dean and his wife. This song is so classic and timeless. Then there’s another Dean-penned number, Hillbilly Heaven,” which is a bluegrass ballad that reminds me in theme of the Righteous Brothers’ (worst) song, “Rock and Roll Heaven.” It takes us on a name dropping tour of all the people in hillbilly music that died, and even those to follow! Dean is definitely ol’ time country, and is fun to watch.
What can one say about Doug Kershaw, the “Ragin’ Cajun”? He is pure entertainer, with his fiddle in hand (but rarely under neck); he plays nothing but toe tappin’, foot stompin’, yeeee-haaaaaw Cajun-style bluegrass. Considering the way he handles the fiddle, could one call him the Hendrix of the instrument? Well, maybe that’s overstepping, but the cat can play. He performs two of his big hits, “Diggy Diggy Hi, Diggy Diggy Low” and “Louisiana Man,” as well as Hank Williams’ “Jambalaya.” Or should I say, of course he does that song, considering he comes from the bayou (his dad was an alligator hunter). He is obviously having fun, with the audience, about the previous performers, with the cameras, and especially the music. He is quite comfortable dancing around the stage while playing, and it’s catching.
Sadly, one of the few real disappointments on this collection is the wonderful Clara Ann Fowler, better known as (Miss) Patti Page. Oh, the woman can sing, and even though her big hit, “Tennessee Waltz” was recorded in 1950, she still has the pipes that made her famous, without missing a note. Great voice. The problem for me is the presentation. He puts absolutely no soul into most of the songs, such as Willie Nelson’s “On the Road Again,” “Please Release Me” (made famous in the US by Englebert Humperdink), and a bizarre cover of John Hartford’s “Gentle on My Mind,” where she takes the position of the woman he left behind, presenting it in a classic hetero-normative stance (yes, I know C+W is conservative, but…). She sings these songs both bouncy and flouncy, like she’s barely present, or as a lounge singer may. Absolutely no stage presence at all. However! She does a pretty good job on a new song for her at the time, “No Aces,” and actually has a nice tenderness for her classic “Waltz.”
Moe Bandy started out in the rodeo, and after moving into music it’s a topic he still comes back to often. In fact, his first big hit, played here, is “Bandy the Rodeo Clown.” He also does the like-minded “It’s a Cheatin’ Situation” and “Cowboys Ain’t Supposed to Cry,” both of which are rodeo related. His milieu is the weepy storyline of heartbreak and sadness, and he continues that theme with “Take Me Back to Yesterday Once More” (why do C+W titles tend to be so long?). His music has lots of steel-string wah-wah.
The next performer is the only person who could comfortably fit on most DVD categories in this series, without changing his material all that much. Jerry Lee Lewis moved comfortably into C+W and gospel after his rock and roll career was cut short in 1959, with his influence felt both from and to the varied genres. And, as always, he does not hold back. Whether blasting through the rock and roll boogie of “I’m Rockin’ My Life Away” and “Great Balls of Fire,” or the more traditional bluegrass boogie of “I’m Walkin’ at the End of the Road” and “I Trusted in You” (the flipside of the “Great Balls” 45), he covers all the bases. It’s also interesting that he invokes himself in third person in nearly every song. Do I really need to tell you ‘bout the Killer, one of the more exciting entertainers in the last 50 years?
Once in the rock band Fire and Ice, Terry Gregory brings that energy to country (well, new country) with the silly “Marie LaVoe” (a swamp witch who likes to make “another man done gone”). She moves around the stage, strutin’ and squattin’ as if she was still rockin’, but it definitely works for her. Her second song, “Can’t Say Goodbye,” is a break-up ballad that’s more pop than country. She is nicely expressive in her presence, and has a decent voice.
He’s now a legend (his list of awards in the bio area go on for pages), and it’s clear to see why. Ricky Skaggs is the final new performer here, and he covers a bunch of his traditional-influenced country crooning with the (again) heartbreakers “Get Your Heart Broke,” “You May See Me Walking,” and “I’m Cryin’ My Heart Out Over You.” Skaggs has been a major fixture in both the country and rock (e.g., the White Stripes, Bruce Hornsby) scene for decades now.
For some reason, we return to Terry Gregory, though it’s obvious this clip is actually from the earlier set, where she covers Tammy Wynette’s “Stand By Your Man.” Terry does have a good voice and charm, but she is no match for Wynette’s version, when it comes to pacing, intonation and inflection.
And then, again, there is Jerry Lee (also from the earlier set), where he brings down the house with the history of rock’n’roll, covering Chuck Berry’s “Memphis, Tennessee,” his own “A Whole Lot of Shakin’ Goin’ On,” and as an encore, an abbreviation of Little Richard’s “Good Golly Miss Molly.”
Covering traditional, neo-traditional, bluegrass, Cajun, and new country, among others, this wide covering makes this a nicely handled package. [see video at end of blog]
* * * *
America’s Music Legacy: Rhythm + Blues Directed by Kip Walton Cube International / Century Home Video, 1983 / 2010 95 minutes, USD $16.95 Cubeinternational.com Qleap.co.uk MVDvisual.com This was a potentially very scary DVD for me to watch. I love early R+B, but from 1974 through 1985 (aka the dreaded disco years), R+B became a nightmare (ass it would again with the advent of hip-hop and rap). Fortunately, most of what is covered here is from the earlier incarnations of the sound, which it broke off from jazz in the 1940s. Perhaps that explains why many of the people here have passed on since its airing.
This release is actually two separate television shows (specials?), both taking place in a studio made to look like an intimate club (a perfect setting for this style). The first is hosted by actor Brock Peters (d. 2005), who has a deep, rich speaking voice (like James Earl Jones). Between musical acts he explains the history of Rhythm and Blues in short spurts, and one old film clip of Slim Gaillard. He is thankfully non-obtrusive, and his presence is actually a nice pace-setter.
The first artist is Brook Benton (d. 1988), who sings the metaphoric tune, “Boll Weevil” (about trying to find a home), and a bluesy “Thank You Pretty Baby.” Let me add right here, that because these are two shows pasted together, to save time they edited out some songs, which remain listed on the cover; this quite frustrating. Benton’s “Rainy Night in Georgia” is among those; a far superior tune to “Boll Weevil,” it is not here. Surely there was enough time to put this on, since the cover states this is two hours, and it’s actually 25 minutes shy of that.
He is followed by the ever-lovable native of Terre Haute, IN, Ben Scatman Crothers (d. 1986), of whom I’ve been a fan for years. You may know some of his acting work, such as the mailman on Chico and the Man, the guy who gets killed by Jack Nicholson in the last reel of The Shining, and the title character voice of Hong Kong Phooey, but he’s been a musician (starting as a drummer) since the 1920s, eventually getting into guitar and said scat singing. Strumming a guitar uke style, he is obviously having fun with a rambunctious “Ain’t She Sweet,” the slow ballad “Mean Dog Blues” (which he co-wrote), and the Louis Armstrong styled “End of the Road.” Scatman is always a joy to watch, even much younger as a drummer in the above-mentioned Gaillard clip.
Moving up to Motown, Mary Wells (d. 1992), one of the first artists to have a hit on the label and helped define the sound. She does her classic Smokey Robinson-penned “My Guy,” and then a disco-ized “Gigolo” (this seems to be a kind of ‘80s trend: when I saw Martha Reeves play at Zappaz in Brooklyn during this period, she did the same treatment for “Dancing in the Streets”). I was not happy, especially since her “Two Lovers” is listed by not presented.
After that disco terror, there came the polar opposite style in the form of O.C. Smith (d. 2001), who had a big hit with “Little Green Apples” (1968 song of the year). I would be hard pressed to call this R+B, but more like lame pop. While there is a slight pick-up with “Stormy Monday,” in which the band easily outshines Smith, he drags it right back down with the turgid Bobby Russell-penned “Honey (I Miss You)” (that Bobby Goldsboro had a bigger hit with, for some reason, perhaps a deal with the devil). Ironically, Russell also wrote “Little Green Apples.” Smith’s R+B-lite is not exactly exciting performing, rather looking like he phoned it in. Throughout, I kept thinking that it’s a shame they didn’t get Bill Withers to do “Ain’t No Sunshine,” a much better artist and song in the contemporary R+B genre.
There is a rise in spirit, though, when Sam Moore hits the stage. His version of “Soul Man” is as exciting as ever, even without Dave Prater. It’s definitely rousing, and a fine way to end the first program (though “I’ve Been Loving You” and “Hold On, I’m Coming” are, again, listed but not shown).
Without any announcement, the second program is started by a jump cut, and we are introduced to its host, Billy Eckstine (d. 1993), who, like Brock Peters, gives a bit of a history lesson between artists, showing a few b+w clips such as Louis Jordan and Amos Milburn. A singing contemporary of Sinatra, Eckstine actually gave blue eyes a close competitor, especially among the African-American demographic.
Eckstine starts out with a solid proto-rocker, “Little Mama,” the kind of song Elvis would take and add in his own spin. This only makes sense, as the first guest is Ruth Brown (d. 2006). There are some who will know her from her appearance in the original Hairspray film, but she is considered one the first queens of rock and roll (though I would place her in the proto- area as well). She is so much fun to watch as she careens through her 1953 “5-10-15 More” and “Teardrops From My Eyes.” And as joyous as it is to see someone this present in their music, she is obviously having a blast as well.
To exemplify soul, they call in “the fifth Beatle,” Billy Preston. Like Brown, he is obviously having a good time, setting proverbial fire to his two-level keyboard electric organ. He starts off with a lengthy, raucous cover of the Gershwin brothers’ “Summertime” (from Porgy and Bess). While most of it is an instrumental, he jumps in about half-way through and plays the piece as “Bach would play it,” and then as Ray Charles would, including a vocal impression. Then he really gets down and goes through one of his bigger hits, “Will It Go Round in Circles.” Even I was singing along on parts (“…Let the bad guy win / Once in a while!”).
Getting back to more a traditional sound, Gloria Lynne sings the torchy “I Wish You Love,” and is then joined by Eckstine for a jazzy “Call Me Irresponsible,” a 1962 standard. While her voice is a bit rough in spots, one can see where she was coming from, and admire her work.
And speaking of irresponsible, the last act is Sheer Delight, a ‘80s post-disco girl group performing “Getting to the Good Part.” Solid top-10 schlock, this type of material was handled so much better by the likes of Lady Flash. This is one time when I was just fine with a couple of songs that were listed on the cover but not performed.
To close the show, Eckstine commanders the stage, and performs Duke Ellington’s “Mr. Saturday Night” (which has the line “Don’t get around much anymore”), “In My Solitude,” and “I’m Beginning to See the Light.” He finishes up with the slow boogie blues of “Jelly Jelly Blues.”
So, mostly my fears were unwarranted, and this was actually a really nice collection. Yeah, there’s more I would have liked to see, such as some of the artists I’ve mentioned, and others, such as Aretha, James Brown, and Curtis Mayfield, but I wouldn’t be surprised if they show up on a later part of this collection.
Here are some releases by artists who are deep into the classic Americana genre, yet bring their own vision to the style.
On “Earning Her Wings” (angelaeasterling.com), ANGELA EASTERLING take a traditional pop country stance (think Loretta Lynn meets Barbara Mandrell) that is full of fiddles, pedal steel guitar, twang and some heavy emoting. From the fun “Feel Like Drinking” to the somber “Dear Johnny”, Angela invites you to the hoedown. Her voice is airy and fits the style like a sheath. Enjoyable from beginning to end, Angela has her finger (and voice) on the pulse of the style. The final cut is a rollicking cover of “When I Wake Up and Sleep No More”, with more than a hint of gospel handclapping sing-along. Yeah, I liked this one.
Stepping even further into traditional Americana, RACHEL HARRINGTON sets the calendar into prohibition period with “The Bootlegger’s Daughter” (Skinny Dennis, c/o rachelharrington.net). Not only does she capture the feel of the period with mandolins, steel pedal guitars, and banjos, but even her syntax and lyrics has the feel of the period. Stunning stuff, and backed by her beautiful, aerie voice, you can imagine you’re riding along with Bonnie and Clyde, or stepped into the “O Brother, Where Art Thou” soundtrack. Songs tell tales of shamed baseball player Shoeless Joe, revenge against the railroad around the time of the Civil War, and a hint of that ol’ tyme religion. It’s not often one finds this level of sophistication. File with along with Alison Krauss, Nanci Griffin and EmmyLou Harris.
MICHELLE TITIAN comes from one of the more musically underrated cities in Canada: Hamilton, Ontario. But even with me, who knows more of the rock side of the Hammer, there is a lot to learn. Michelle proves that with her eponymous CD (michelletitian.com). Her voice is very rich, as she sings somewhere between country and singer/songwriter, with a twang and pull on the heart. There is definitely a strong WTF air about this, making me wonder why this woman is not played on every country radio, as she has such a strong presence. With all the mediocre material broadcast, they need a fresh sound like this. I mean, she’s got the sound, the looks, and the material. The CD just gets better with each listen, making it difficult to pick a fave, so I’m just going to go down the middle, and pick two exceptionally strong cuts, with the classic sound of “Take My Hand” and the more contemporary twang of “Be Mine”.
JENNIFER BRANTLEY proves to be a watchable crossover country artist with her “On the Other Side” (Blue Room, PO Box 160916, Nashville, TN 37216). What does this mean? Simply, she sings country style, but in a way that it could easily fit into other genres, such as singer-songwriter, and even some pop. This is especially true on her demo of “Breakdown”, which I was luckily enough to hear. Jennifer has a sweet voice, which makes the meaning to some of the deep themes she covers all the more telling, including breakups and near suicide after mother abandonment. But the theme that seems the most consistent is coming through “the storm” to realization of love and home. It may sound simplistic, but through Jennifer’s eyes we see redemption among the questions in a way that is part story and all heart.
DOLORES DAGENAIS sent me her entire catalog of three releases, including her older releases “Mona Lisa’s Secret” (bluenewtmusic@sympatico.ca) and “The Original Fool” (bluenewtmusic@sympatico.com), and her newest, “Songs For the Moon” (Doloresdagenais.com). Of course, I started at the first and worked my way through all of them. Really beautiful music. Dolores sings from the heart, from her opening title cut of “Mona Lisa’s Secret” to her hopeful “A Course in Miracles” off her newest, this is a journey, and not just an RV trip to see James Kellaghan (see her amusing video diary on YouTube). Dolores’s voice is sweet, whether effectively being bluesy or traditional folk. Mostly she sings from the heart with full and emotive knowledge. Whether autobiographical or story form, you know this woman is coming from a place where she has experienced a wide range of both joys and hardships. Some of this shows up in her songs in the form of spirituality (but never preaching), in the likes of “2000 Years Late”, “Prayers” and the aforementioned “Miracles”. You can just feel the hope. Originating in Sudbury, Ontario (showing up in “Sudbury Home”, on “Fool”) she has made her way to Nova Scotia. For someone as prolific as she is (38 songs over 3 CDs), the quality of her writing doesn’t falter, which makes the listening a returned experience.
Currently living in Saskatoon (email at RBF55@msn.com for address). From 1977-88, I used to publish a print version of a music magazine in New York called FFanzeen, which dealt with the wide-ranging independent music scene. I also photographed many bands from the period (and since). Now I write this blog. And the beat goes on.
Posts
