Music Reviews: Catch-up for April 2018

Text © Robert Barry Francos / FFanzeen, 2018

Images from the Internet

There was a point where I just found myself starting a new job, and other responsibilities weighed in, so here I am catching up on some of the CDs I’ve received over the past few years that I haven’t gotten to as yet. Note that CDs will mostly have first shot over digital/streaming releases. If you are interested in me reviewing something, contact me at rbf55@msn.com to find out where to send it. This is going to be a bit of a series, so patience…

Ball’n’Chain

Sands of Time

Carved in Stone

Boston is a center for metal, and this is a perfect example of a heavy sound. Most people think of Aerosmith for Bosstown rock, but they’re pure pop compared to this. The center is Jeffrey Baker on vocals (y’know, they type that warbles on the last syllable), Aart Knyff on lead guitar and Joe Black pluckin’ bass. These three would later record together under the moniker Joe Black’s Blackenstein. Here they are joined by Tom D’Amico on keys, leading to one solid metal song after another. If you like the classic heavy sounds, this will not disappoint, since whether it’s a ballad or a rave up, it’s a piledriver, with titles like “Let It All Hang Out” (with a strong musical catch that one can pump their fists to), “What Comes Around Goes Around,” “Real Woman” and “Don’t Play with Fire.” Lyrics are included.

www.joeblack.com

Buzzy LInhart

Electric Lady Dream: The Eddie Kramer Sessions

Buzzart Enterprises

Buzzy Linhart has spent a large chunk of his career flirting with the big time. Yeah, he’s recorded with the likes of Hendrix, Carly Simon (his ex-girlfriend), CSNY and John Sebastian (his ex-roomie). These sessions that were recorded at the fabled studio in 1969 (this album was originally released in 1971 under the title MUSIC), starts in solid Hendrix-style rock that mixes with the breeze of the West Coast sound, but with a more bluesy edge. He continues on with various styles, but its rock in one variation or another. His claim to fame may be co-writing Bette Midler’s “(You Gotta Have) Friends” with Moogy Klingman, but his near psychedelia-fueled sounds are post-Sgt. Pepper’s/Pet Sounds’ heavy production values. This may have killed if he had found a proper outlet for it at the time, and fans of American rock from that time, you certainly won’t get disappointed. Most of the songs are originals, like the enjoyable opening “IF You Love Me,” but there are also a couple of covers, like Fred Neil’s (one of Buzzy’s early mentors) “The Bag I’m In,” Tim Hardin’s “Reputation,” and another collaboration with Klingman, “The Birds.” Long guitar and vibraphone solos punctuate the music, continuing to solidify his sound to those in the know. He may never be a household name, but he is a musician’s musician.

www.buzzylinhart.com

Honky

421

MVD Audio

Wow, talk about feeling like you’re being hit over the head! This Texas trio can generally be put into the Southern Rock category… or perhaps Southern Metal Rock? They are definitely closer to ZZ Top’s wicked guitars than, say, anything from sweet home Alabama or dark wood Arkansas. It’s no surprise when you consider that one member, bassist and vocalist JD Pinkus was a member of both the Butthole Surfers and the MELVINS. He’s joined by Bobby Ed Landgraf on vox and a thunka-thunka guitar; pounding the skins in wild zeal is Trinidad Leal. This power trio never lets up for a second. They manage to make lots of noise and yet keep a melody and rhythm going. The instrumental “4:21,” shows some Butthole Surfer kind of noise that’s impressive. By the half-way point, it’s a bit more accessible, albeit still heavy as hell. I do believe that both southern rockers and metalheads can find mutual ground here. It ends on the impressive “Black Joe’s Bitch.”

www.honky.net

Jah Wobble & Keith Levene

Yin & Yang

Cherry Red Records

If you are anywhere familiar with Wobble and Levene, you know that (a) they were key components of PiL, and that (b) their direction is anything but conventional. They have updated their sound to include some rap (the “fuck” filled title cut) and what sounds like Harry Potter-ish incantations (“Jags & Staffs”), but lyrics don’t really seem to be a main focus of their intentions. There’s a lot of noise within the melodies (electronica, I’m assuming), that relies on rhythms and odd sounds, and the occasionally distorted singing (echoes, reverb, etc.). There is one weird cover of the originally weird George Harrison cut, “Within You Without You,” and lots to unpack of their own creations. I would argue that this is either updated No Wave or Fusion Jazz, but it would fit in well with the likes of Kraftwerk or DeadMou5, except it’s a bit more melodic and not quite as rhythmic (thank god). I don’t think there’s anything here that’s you’d necessarily sing along with, per se, but as an adventure in experimentation, it’s a valiant and I believe successful endeavor. Hey, anyone who can make The Hybrid Kids (1979) collection is okay with me!

Metal Pistol

Magnum Force

FNB Productions

Sometimes one can succeed without pushing the envelope, just sticking to the path. Metal Pistol is solid metal, with brilliantly flashing guitar work by Steve (Laz) Stanley. He’s bound to gain most of the attention, along with Benatar-ish vocals by Sunny Lee, and rightfully so. However, drummer Roy Adams’ and Brett Sinclair’s bass bottom definitely deserves equal notice as all are integral to this pounding sound and rhythm. This is a fun tat-a-tat-a-tat type of metal that feels like being hit with a sledgehammer, and yet it feels so good. I’m not sure how much of it is in the production, but screw that, just put this puppy on if you’re metal-bound, and I’m sure you might have a good time. In typical metal mania, the songs are typically in the 5 minute mark, but they fly away fast.

www.fnbproductions.com

Mud, Blood & Beer

Gone For Good

Mud, Blood & Beer Music

Technically, I assume that this could be considered country rock, but for me it has kind of a ‘60s garage sound, with an additional kind of Scottish pastiche, especially on the second of the 5 cuts here, “New Math.” “Mine the Light” is a bit more traditional, post-“9 to 5” commercial country, the only cut with a pedal guitar, but it still has a sharp edge to it that has it stand out. “Gramercy Park” has vocalist Jess Hoeffner puts on a bit of Townes van Zandt growl on the stanzas, and the choruses rock out a bit, with harmonies.  This is one of the few I sat through twice, so that tells ya something.

www.mudbloodbeermusic.com

Ralph Carney’s Serious Jazz Project

Seriously

Smog Veil Records

While I enjoy jazz, especially this kind, I have to admit it’s a bit out of my wheelhouse; I don’t know who these guys are, so I hope they don’t take that personally and I’ll give it my best shot. This is definitely not avant-garde (the punk equivalent would be No Wave), which means it’s a lot more accessible to a larger amount of people. With a bit a boogie thrown in here and there, this reminds me more of the early days of swing, like Cab Calloway, Count Basie or Benny Goodman (my parents’ favorite type of sound). This is heavy on the sax and clarinets, which Carney plays multiple types of both, for which he is joined by Randy Odell on drums, Ari Munkres on bass, and Michael Macintosh on keys. There are others who add their expertise here and there, such as the sultry sounding Karina Denike on vocals. If you liked listening to your parents’… well, now I guess grandparents’ old records, you might enjoy this. I certainly know I did. There’s an original or two, but mostly it’s covers by the likes of Ellington (“Carnival in Caroline,” “Gypsy Without a Song”) and Rodgers and Hart (“You Took Advantage of Me”), so if that sounds familiar to you, certainly you know the sound I mean. Definitely more upbeat than boring lite jazz, and not as atonal as Coltrane, so it’s a swing-fest of fun.

www.akroncracker.com

Sean Burns

Cold Beans & Broken Eggs

Self-published

Folk singer-songwriters in a country vein is a category I don’t hear enough of, and Sean Burns is a really nice way to easy back into it. This CD is a bit of a travelogue, with each song about a different place, such as “A Postcard from Rochester, New York (Talkin’ ‘Bout Now),” “Texas,” “If You Need Me I’ll Be in Wisconsin,” “Mexico Town,” and I especially enjoyed “Tumbleweed,” which name-checks a bunch of locations in Saskatchewan (he’s from Manitoba). Considering how much he tours, it’s hardly surprising. I’m hoping he plays Saskatoon at some point. There’s some country that runs through most of the songs with a pedal guitar (that has a Mexican lilt). For those who don’t know, C&W is overall bigger in the Prairies than, say, the pop of Alanis Morissette or the rock of Rush. For this, Sean’s voice has just the right amount of warble (think less than Melanie Safka), and a pleasant tone that feels comfortable from the first note. His songs are basically about real life situations and daily emotions, rather than something grand and esoteric. The band backing him is well mixed on the CD, with Sean right in front rather than being buried. Each song is well done, which makes it hard to say one is a standout among the others, because they are all of high quality.

www.seanburns.ca

Steve Gilligan

Jacob’s Well

Actuality Records

From his work in the Stompers to pairing up with Jon Macey (Fox Trot), Steve Gilligan’s history in the Boston music scene is unquestionable. I had the opportunity to see Macey and Gilligan perform about a decade ago, and it was quite enjoyable. This marks Steve’s first solo effort. Despite the rock-pop background, this time the coast to coast sound is solid singer-songwriter balladry, and Steve’s alto voice is actually quite suited for it. His sound could fit into the “feel-good music” category, which the Lovin’ Spoonful and Turtles successfully embellished. The songs are quite poetic and melodic, and I am quite impressed by how good it all is. While Steve is the main focus and plays most of the instruments, he has quite a few locals filling in, including most members of the Stompers in one form or another, including its vocalist Sal Baglio who adds some electric guitar on one cut. A couple of songs, “Out of the Rain” and “Niki’s Blue Waltz,” are almost a Stompers reunion. The rare rave-up, such as “What’s a Little Rock’n’Roll Between Friends” (Dave Friedman’s keyboards are enjoyable) are also standouts.  Most of the songs are about love, so Steve’s harmonica is also a key instrument through most of the cuts, which gives you some idea of the sound. Steve should be recording more often, even knowing there’s another album out there titled Winter Rain. Lyrics are included in a booklet with very small print (my only complaint about this).

www.ldsteve.com

Vonda Shepard

Solo

Panshot Records

Along with Diana Krall, Shepard has pretty much cornered the market on the very blonde womyn jazzy piano and singing. There is a reason for that; okay a couple at least. First is that she had just the right vehicle at just the right time when she appeared (musically) on the television show “Ally McBeal,” back around the turn of the Millennium. The other and larger reason is that she is extremely talented. Most people know her for the songs she covers, but she has also been a songwriter for decades, so this is a good opportunity for her to shine as she plays live in the studio: just her and her piano. Her voice is sort of like water flowing over pebbles; I don’t know if that makes sense, but that’s the image it conjures. She has a cadence that is all her own, which is part of what made her popular in the first place. If there were two themes to pick out of these slow ballad-paced songs, it would be travel and heartbreak. Many songs deal with moving on in both the physical and emotional senses, with a piano tinkling behind it. For examples, the opening song is about traveling down to “Maryland,” or in “Soothe Me,” she starts with “Maybe I should wander down these streets a little longer.” Though mostly originals, even the covers she’s chosen talks about moving: “You Belong to Me” (“See the pyramids along the Nile…”) and the Left Banke’s “Walk Away Renee.” For break-ups, there are the likes of “Don’t Cry Ilene” (“It’s hard to say exactly why he left you”) and “Baby Don’t You Break My Heart Slow,” the two songs that close out this collection. There’s no doubt it’s a beautiful albeit sadness-focused set, but it may be just want is needed on a lonely rainy afternoon. Lyrics are included in a nice booklet.

www.panshotrecords.de

Hoyt Axton: Half Folkie, Half Hippie, Half Okie (Guest Article)

For the more than a decade that I’ve known Brian Dickson, his fandom of the multi-talented Hoyt Axton has been evident. If Hoyt had been younger, it’s possible he could have been called country punk, along with the likes of Rank & File, but he was more of the generation of Townes van Zandt and the hyper-realistic country that was both harsh and beautiful. This, in part, is why I asked Brian to write something about Hoyt, since little is known about him these days, and he deserves the credit he can get. Besides, feeding a musical obsession is something I will usually stand behind, especially if the subject is as worthwhile as Axton. – Robert Barry Francos / FFanzeen, 2014

By Brian Dickson, 2014
Images from the Internet

I was pleasantly surprised when Robert dropped me a line and asked if I would like to write a piece on Hoyt Axton for this blog, but I had to ask him: “Are you sure Axton fits the bill for ‘Rock n’ Roll Attitude with Integrity’?” Robert's reply: “Hoyt was as punk as Johnny Cash or Townes Van Zandt, as far as I’m concerned.” Which I believe is true in several ways. Hoyt enjoyed a long, colorful career that included not only music composition and performance, but acting, record production and commercial voice-over work. But part of my fascination with the man, I think, is that his musical approach always eluded definition. He could never be bracketed into one genre or another.

Hoyt Wayne Axton. If you don’t know the name, chances are you’d recognize him from films and TV. “Bonanza.“ Smoky (1966). The Black Stallion (1979). “WKRP in Cincinnati.” Heart Like A Wheel (1983). Gremlins (1984) [He played the dad who gave his son the Gremlin – RBF]. We’re No Angels (1989). A slew of others. But if you can’t place the face, chances are you know the voice. Extoller of the Big Mac, Pizza Hut, and Busch beer. And of course, writer and singer of some truly great songs.

Born in Duncan, Oklahoma, in 1938, and raised in Comanche; the eldest son of John T. Axton and Mae Boren (Mae, later known as ”The Queen Mother of Nashville,“ co-wrote “Heartbreak Hotel” for Elvis). He served a brief stint in the U.S. Navy after attending Oklahoma State University on a football scholarship. His career in music began in West Coast coffee houses and folk clubs in the early sixties.

I’ll admit I’m showing up at the party pretty late here. I was born in ’73; by that year Axton had recorded ten albums for six different labels. Nineteen sixty-nine saw the release of My Griffin Is Gone on Columbia Records, followed by two on Capitol Records in 1971 (Joy to the World, and the lesser known Country Anthem). In ’73 came Less Than the Song on A&M, the first of four albums on that label, which is widely recognized as Hoyt’s creative peak: Song in ’73, Life Machine (1974), Southbound (1975) and Fearless (1976).

But being an ‘80’s kid, I became aware of Hoyt not through his music, but by seeing him in movies - Gremlins, primarily - and on television, namely, “WKRP in Cincinnati” and “Diff’rent Strokes.” In tenth grade it became a daily routine after walking home from school to catch a re-run of “WKRP” at 4. I fondly recall that classic first-season episode entitled, “I Do, I Do…For Now.” Hoyt, playing the imposing “T.J. Watson from Rockthrow, West Virginia,” arrives at the station to reclaim his childhood sweetheart, Jennifer Marlowe (Loni Anderson), who hastily pretends to be married to Dr. Johnny Fever (Howard Hesseman). Hoyt sings “Jealous Man” to a captive and terrified Fever in the station lobby (“You got the knife, I got the gun / c’mon boy, we’re gonna have a little fun…”). He proceeds to tell a story about his dear ol’ pappy. And how the woman his pappy loved – his mama – was already married to another man by the name of Jenkins. But Jenkins didn’t wanna give his mama up. So his pappy - bein’ the man he was - went down to see Jenkins…and called him out. “Called him out?” Fever replies nervously. That’s right, T.J. says – called…him…out. Fever (hope diminishing): “To talk.” Hoyt: “Uh-huh. Then he shot him.” This is one of my favorite scenes in all of TV history.

It wasn’t until a road trip in the first car I ever owned – an ‘85 Plymouth Turismo, paid $650 cash – that I found Hoyt on a purely musical level. This was a solo run from Ottawa to my home province of New Brunswick, Canada, in 1999. I had been browsing CDs in a music store a couple of days prior, and stumbled across the two-disc A&M Years package, which contains Axton’s four albums released on A&M Records from 1973-76. I remember thinking, “Well, looky here. Hoyt Axton.” On that trip I cranked up songs on that old Duster’s player like “Peacemaker,” “Life Machine,” “Idol of the Band,” “Geronimo’s Cadillac,” and “No No Song.” I discovered Hoyt’s music with road tunes from Southbound and Fearless on the highway outside of Montreal that morning, which made me realize what an underrated figure the man was and is, to this day.

Hoyt is generally considered a country artist, particularly from his musical bend in the mid-to-late ‘70s and on. But let’s go back to the beginning: 1963. Consider his first folk recordings on Horizon Records: Greenback Dollar, Thunder’n Lightnin,’ Saturday’s Child. Bob Dylan broke down the door, and Axton moseyed through – not with the same lyrical prowess as Dylan, but with attitude, groove, and a voice like no other.

The following year saw Hoyt “explode”! Released by Vee-Jay in ’64, Hoyt Axton Explodes! is a mid-‘60s curio that might be loosely described as “garage folk-rock.” If Axton has a blues record, it would be Sings Bessie Smith (1965). My Griffin Is Gone (1969) is a lesser inclusion among the pantheon of classic albums of the period, but an atmospheric gem of that era, nonetheless. And Joy to the World is a rock album. A rock album with folky ballads making up half of each side, though. Folk n’ roll? Listen to the title track and “Never Been to Spain” (big hits for Three Dog Night). Regard others like “The Pusher” (big hit for Steppenwolf), “California Women,” or that classic party song, “Lightning Bar Blues.” Also a tune called “Captain America” from 1973. These are rock songs. His aforementioned albums on A&M from 1973-76 started with a somewhat experimental, progressive folk/blues oddity (Less Than the Song), but which somehow…wasn’t. The albums Life Machine, Southbound and Fearless were “country-rock,” but…weren’t. Hoyt’s other albums for MCA and the ones on his own Jeremiah label appeared to be country, but also quietly defied categorization. For the most part, his music encompassed folk, blues, rock ‘n’ roll and country simultaneously. Michael Curtis, co-writer of the Crosby, Stills & Nash hit “Southern Cross,” said of Axton: “Hoyt had his own way of writing. He didn't exactly break the rules of songwriting, but he would often ignore them. He taught me a lot.” [Quote from HERE]

Hoyt: I'm one of those fringe dudes -- Half folkie, half hippie, half Okie. My input has been very eclectic. I was always surrounded by all kinds of music as my family moved around the country: jazz, classical, gospel, whatever. The influences enter from a lot of directions. [Quote from HERE]

Hoyt died of heart failure in Victor, Montana, in October of 1999, at the age of 61. I never had the opportunity to meet him, or see him in concert. But from what I’ve read in recent years (and learned from members of my Facebook tribute group Fans of Hoyt [HERE] who actually knew him or met him), he was a genuinely nice fella. In a People magazine article published shortly after his death, his third wife, Donna Axton, said, “He used to throw twenty-dollar bills out the car window and say, 'That will make someone happy.’” Look at almost anything autographed by him and he will have written, “Joy to you, Hoyt.” “Joy” was his watchword.

I realize my observations here may be a bit biased because I am such a devotee. After unearthing The A&M Years on that trip down home in ‘99, I have since sought out every Axton album, and I am continually trying to catch his movie and television appearances; my research is ongoing. Hoyt’s daughter, April, is a member of Fans of Hoyt, and last year thanked me and the members of the group on his birthday for “keeping his spirit soaring” (it’s a pleasure, April!). But c’mon – have you ever met anyone who doesn’t like Axton’s music (if they’ve heard anything beyond “Boney Fingers” or “Della and the Dealer,” that is), or the likable characters he’s played in movies and on TV? As with Cash or TVZ, the old cliché applies: A man for all seasons. But what I also dig about him is this: Hoyt did his own thing. You could never button-hole the guy.