With a title like Strictly Whatever, you’d think that the musicians would be phoning in their performances, or otherwise indicating that they don’t care about the music. Not so with Harry Manx and Kevin Breit! Though their third duo album (and their second for Stony Plain Records) is titled Strictly Whatever, it is as passionate and entertaining as their other recorded works.
In some ways, Strictly Whatever is a continuation of their unique musical style, with great harmony vocals, Breit’s fine playing on the guitar and other assorted instruments, and Manx’s Indian-blues fusion and philosophical lyrics (not to mention Art Avalos’ effective percussion). Yet, there are enough differences between this and their previous albums to justify hearing this effort. A lot of the songs are less overtly blues-esque and incorporate influences from other roots genres, including country and even Hawaiian music on “Little Ukelele”. In the long run, this might mean that the record will appeal to a wider audience and help these fine musicians gain more recognition for their considerable talents. Also notable is Manx’s use of the baritone guitar on many of the tracks, which gives the songs a distinctive dark flavor. Interestingly, the Indian flavor characteristic of Manx’s music is also toned down, with his signature instrument, the mohan veena, appearing on only one song.
The album commences with a slower tune entitled “Sunny”, whose minor key and introspective sound contrast nicely with the positive lyrics. Other highlights include “Looking For a Brand New World” and “Dance with Delilah”, two up-tempo feel-good songs with some interesting wah-wah guitar on the former and baritone guitar on the latter; both would make excellent theme music for the summer season! Speaking of summer, “Hippy Trippy” is a fun surf-style song, with Breit’s buzzing electric sitar handling the melody and solos (surf sitar!). “Note To Self” is an even trippier, atmospheric instrumental piece, functioning as an effective prelude to the haunting “Do Not Stand At My Grave And Weep”. There is some intriguing John Schofield-esque guitar soloing on “Looking For a Plan” (presumably by Breit), which liven up an otherwise average song. For fans of classic blues, the cover of John Lee Hooker’s “Mr. Lucky” is probably the most straight-ahead blues performance here, with some fine weaving guitars and Manx’s unique vocals.
Being a fan of the blues and the duo’s previous albums, I wasn’t sure if I would enjoy the broader influences displayed on this new album. I was expecting my reaction to be strictly whatever. But I was wrong. This is a great album that flows nicely from start to finish, and is a worthy addition to Manx and Breit’s discography!
5/24/2011
The Howlin' Wolf Album: Still Dogs****?
It is likely that no record in Howlin’ Wolf’s discography is as controversial and polarizing as his 1969 psychedelic effort, The Howlin’ Wolf Album (or, as it is titled on the stark cover: This is Howlin’ Wolf’s new album. He doesn’t like it. He didn’t like his electric guitar at first either). Long ravaged by blues critics, listeners, and the Wolf himself (who called it ‘dogs****’), The Howlin’ Wolf Album has been out of print for many years. Its recent reissue by Get On Down records begs the question: is it really ‘dogs****’ as the titular artist claimed, or is it a hidden gem in the Howlin’ Wolf discography?
In my opinion, The Howlin’ Wolf Album is closer to the former rather than the latter, and listening to the record, it is quite obvious why the Wolf and his fans dismissed the album (besides producer Marshall Chess’s assertion that the negativity in the album title undermined its sales). Although the album consists of remakes of the Wolf’s well-known hits, the psychedelic interpretations bear little resemblance to the originals. Even with the adventurous arrangements, most of the songs sound similar to each other, and the effect is quite monotonous in the end. Furthermore, the tempos lack the rhythmic quirkiness of Howlin’ Wolf’s classic works, and tend to drag after a while. And don’t get me started on the uninspired instrumentation with fuzzed-out electronics, guitars, and plodding drums prominent in the mix!
That being said, The Howlin’ Wolf Album is not without its merits. Musicians as diverse as John Paul Jones (Led Zeppelin), Jack White (The White Stripes), and Chuck D have found value in the psychedelic works of Muddy Waters and Howlin’ Wolf, and deservedly so. Howlin’ Wolf’s voice and personality cut through the busy mix on almost every track, and his spoken introductions on “Tail Dragger” and “Back Door Man” are a valuable insight into the background of the album and the man's personality. Although he is unfortunately buried in the mix, you can still occasionally hear Hubert Sumlin’s intricate guitar work, which is always a pleasure. Additionally, some of the Wolf’s songs actually sound good in a psychedelic blues-rock context. The flute-and-bass led psychedelic rendition of “Smokestack Lightning” is as hypnotic as the original, and possibly even more haunting. “The Red Rooster” has an almost funk-rock feel to it, which works well; I hear similarities between this track and “I Got Your Number” from Guitar Shorty’s 2006 album We The People. Unlike the rest of the album, the concluding track “Back Door Man” refreshingly has a traditional blues rhythm and the acid-influenced sounds are kept to a minimum while the Wolf proclaims how he ‘eats more chicken [than] any man seen’ and Sumlin responds with spiky lead guitar.
While it’s not a misunderstood masterpiece, it’s not ‘dogs****’ either. The Howlin’ Wolf Album is worth checking out if you enjoy Howlin’ Wolf and/or psychedelic blues-influenced music. However, despite the title, this is not THE Howlin’ Wolf album to check out if you want to hear what the Wolf did best and see why he was/is so revered by music fans.
In my opinion, The Howlin’ Wolf Album is closer to the former rather than the latter, and listening to the record, it is quite obvious why the Wolf and his fans dismissed the album (besides producer Marshall Chess’s assertion that the negativity in the album title undermined its sales). Although the album consists of remakes of the Wolf’s well-known hits, the psychedelic interpretations bear little resemblance to the originals. Even with the adventurous arrangements, most of the songs sound similar to each other, and the effect is quite monotonous in the end. Furthermore, the tempos lack the rhythmic quirkiness of Howlin’ Wolf’s classic works, and tend to drag after a while. And don’t get me started on the uninspired instrumentation with fuzzed-out electronics, guitars, and plodding drums prominent in the mix!
That being said, The Howlin’ Wolf Album is not without its merits. Musicians as diverse as John Paul Jones (Led Zeppelin), Jack White (The White Stripes), and Chuck D have found value in the psychedelic works of Muddy Waters and Howlin’ Wolf, and deservedly so. Howlin’ Wolf’s voice and personality cut through the busy mix on almost every track, and his spoken introductions on “Tail Dragger” and “Back Door Man” are a valuable insight into the background of the album and the man's personality. Although he is unfortunately buried in the mix, you can still occasionally hear Hubert Sumlin’s intricate guitar work, which is always a pleasure. Additionally, some of the Wolf’s songs actually sound good in a psychedelic blues-rock context. The flute-and-bass led psychedelic rendition of “Smokestack Lightning” is as hypnotic as the original, and possibly even more haunting. “The Red Rooster” has an almost funk-rock feel to it, which works well; I hear similarities between this track and “I Got Your Number” from Guitar Shorty’s 2006 album We The People. Unlike the rest of the album, the concluding track “Back Door Man” refreshingly has a traditional blues rhythm and the acid-influenced sounds are kept to a minimum while the Wolf proclaims how he ‘eats more chicken [than] any man seen’ and Sumlin responds with spiky lead guitar.
While it’s not a misunderstood masterpiece, it’s not ‘dogs****’ either. The Howlin’ Wolf Album is worth checking out if you enjoy Howlin’ Wolf and/or psychedelic blues-influenced music. However, despite the title, this is not THE Howlin’ Wolf album to check out if you want to hear what the Wolf did best and see why he was/is so revered by music fans.
4/01/2011
April Fools! Señor Blues Goes Bananas...
Sting singing the blues? A blues cover of "Purple Rain"? Crazy. But that's what will be happening on Señor Blues this Saturday (April 2). Tune in to CJSR to hear these and other wild variations on the blues, on the Señor Blues April Fools' show. Cheers!
3/12/2011
No Electricity, but Power Aplenty: The All-Acoustic Edition of Señor Blues
To commemorate Earth Hour 2011, the next edition of Señor Blues (on March 19) will be all acoustic. Join me as we uncover the roots of blues and rock 'n' roll (before electricity became widespread) and explore today's acoustic blues music. Even without electric instruments, you'll see how the blues retains all of its power and energy. Really!
Tune in to CJSR on March 19 for the all-acoustic edition of Señor Blues.
(Disclaimer: some electricity was used in the recording of this music, particularly to power the recording equipment. :) )
Tune in to CJSR on March 19 for the all-acoustic edition of Señor Blues.
(Disclaimer: some electricity was used in the recording of this music, particularly to power the recording equipment. :) )
2/18/2011
"Señor Blues" Late Winter/Early Spring schedule
Greetings, blues lovers!
Here is the schedule for "Señor Blues" for the next couple of months or so.
February 19 (Family Day special!)
March 5
March 19
April 2
April 9
April 23
Stay tuned to CJSR FM88.5 or follow the "Señor Blues" blog for updates on the program schedule.
Remember: "Señor Blues" alternates with "The Toast Marketing Board" every Saturday morning, from 7-9am.
Here is the schedule for "Señor Blues" for the next couple of months or so.
February 19 (Family Day special!)
March 5
March 19
April 2
April 9
April 23
Stay tuned to CJSR FM88.5 or follow the "Señor Blues" blog for updates on the program schedule.
Remember: "Señor Blues" alternates with "The Toast Marketing Board" every Saturday morning, from 7-9am.
1/15/2011
"Señor Blues" early 2011 schedule
Happy New Year, everyone! Here's to another year of nothin' but the blues. "Señor Blues" will be broadcast on CJSR airwaves from 7-9am on the following dates:
January 15
January 29
February 12
Stay tuned for more schedule updates, as well as album reviews and show features/highlights!
January 15
January 29
February 12
Stay tuned for more schedule updates, as well as album reviews and show features/highlights!
9/15/2010
Ronnie Earl & The Broadcasters "Spread The Love"
A lot of people I know have questioned how anyone could enjoy listening to the blues because they consider it to be “sad music”. While the argument can be made that a lot of blues songs deal with not-so-happy content, the name blues is a bit of a misnomer. At the base of it, blues is really a type of music that allows you to confront your demons and grow from experience; in this sense, playing and listening to the blues can be a spiritual experience. Ronnie Earl has exemplified the latter approach in his last few albums for Edmonton’s Stony Plain Records.
Though he has had a turbulent career and personal life, Earl has used the blues as a way to transcend his troubles and use his spiritual awareness to create wonderful music that touches people of all ages. With touches of jazz, soul, and gospel and possibly the best clean Strat tone since Mark Knopfler, Earl’s blues are unique in a world of SRV-clones and pop-blues crossovers.
Ronnie Earl and his band, The Broadcasters (named after the first solidbody guitar produced by Fender), are back with their latest all-instrumental album, Spread The Love, on Stony Plain Records. The album is stylistically diverse, with a little something for everyone; there are up-tempo workouts like the shuffling “Ethan’s Song” and the soulful organ-laden “Happy”, ballads like “Blues for Dr. Donna” (an ode to his wife) and the powerful “Miracle”, and even heartfelt tributes to some of Earl’s influences and blues greats like Albert Collins, Guitar Slim, and Otis Spann. There’s even a great acoustic blues at the end of the album, “Blues for Bill”, which almost transports listeners back to a back porch in the Mississippi Delta. The sound indicates that the band is playing in one room all together, with minimal overdubbing of instruments, which makes for an authentic and enjoyable experience; at times, I forget that this is not a live recording! Earl’s playing just keeps getting better year after year, with incredible licks seemingly being channeled through him from the heavens but without overplaying or assaulting your ears. Listeners who tire quickly of noodling instrumentalists have nothing to fear with Mr. Earl and his “less-is-more” approach!
Although this reviewer does not mind the absence of vocalists on this record (as it gives Earl more space to stretch out in his solos), listeners who enjoy lyrics with their blues may want to sample this album first before purchasing; however, unlike 2007's Hope Radio and 2009’s Living In The Light, the songs are for the most part shorter this time around, so the instrumentals shouldn’t get too long or boring.
It’s great to see Ronnie and the Broadcasters still releasing high quality music and Spread The Love is a welcome addition to their discography. Highly recommended for Ronnie Earl and blues fans, as well as anyone who wants to see how the blues is not necessarily “sad music”.
Though he has had a turbulent career and personal life, Earl has used the blues as a way to transcend his troubles and use his spiritual awareness to create wonderful music that touches people of all ages. With touches of jazz, soul, and gospel and possibly the best clean Strat tone since Mark Knopfler, Earl’s blues are unique in a world of SRV-clones and pop-blues crossovers.
Ronnie Earl and his band, The Broadcasters (named after the first solidbody guitar produced by Fender), are back with their latest all-instrumental album, Spread The Love, on Stony Plain Records. The album is stylistically diverse, with a little something for everyone; there are up-tempo workouts like the shuffling “Ethan’s Song” and the soulful organ-laden “Happy”, ballads like “Blues for Dr. Donna” (an ode to his wife) and the powerful “Miracle”, and even heartfelt tributes to some of Earl’s influences and blues greats like Albert Collins, Guitar Slim, and Otis Spann. There’s even a great acoustic blues at the end of the album, “Blues for Bill”, which almost transports listeners back to a back porch in the Mississippi Delta. The sound indicates that the band is playing in one room all together, with minimal overdubbing of instruments, which makes for an authentic and enjoyable experience; at times, I forget that this is not a live recording! Earl’s playing just keeps getting better year after year, with incredible licks seemingly being channeled through him from the heavens but without overplaying or assaulting your ears. Listeners who tire quickly of noodling instrumentalists have nothing to fear with Mr. Earl and his “less-is-more” approach!
Although this reviewer does not mind the absence of vocalists on this record (as it gives Earl more space to stretch out in his solos), listeners who enjoy lyrics with their blues may want to sample this album first before purchasing; however, unlike 2007's Hope Radio and 2009’s Living In The Light, the songs are for the most part shorter this time around, so the instrumentals shouldn’t get too long or boring.
It’s great to see Ronnie and the Broadcasters still releasing high quality music and Spread The Love is a welcome addition to their discography. Highly recommended for Ronnie Earl and blues fans, as well as anyone who wants to see how the blues is not necessarily “sad music”.
9/10/2010
"Señor Blues" Fall Schedule
Señor Blues will be on on the following days this Fall (7-9am MT, as always):
September 18 (the 3rd Anniversary show!)
October 2
October 16
Future shows will be announced later this season. Stay tuned and check here for any updates or changes to the schedule!
September 18 (the 3rd Anniversary show!)
October 2
October 16
Future shows will be announced later this season. Stay tuned and check here for any updates or changes to the schedule!
8/30/2010
Señor Blues 1980s Blues Retrospective
Legwarmers...MTV...Who's The Boss?...Stevie Ray Vaughan...Robert Cray... What do all of these things have in common? They're all associated with the 1980s!
Tune in to Señor Blues this upcoming Saturday from 7-9am for a 1980s blues retrospective to commemorate the 80th edition of Señor Blues. Join me as we discuss the major artists, trends, and recordings from one of the most important decades in blues history.
Legwarmers and Flock of Seagulls hair-do's not included! :)
Tune in to Señor Blues this upcoming Saturday from 7-9am for a 1980s blues retrospective to commemorate the 80th edition of Señor Blues. Join me as we discuss the major artists, trends, and recordings from one of the most important decades in blues history.
Legwarmers and Flock of Seagulls hair-do's not included! :)
8/09/2010
Blast From the Past: Nina Simone Sings The Blues
I tend to be a bit skeptical about albums titled [Insert Artist Name] Sings The Blues, especially when the titular artist is not really known for singing the blues in the first place; more often than not, I find such albums to be curios and interesting experiments in marketing, rather than successful musical or artistic statements. There are exceptions, of course, and although Nina Simone is not often labeled as a ‘blues singer’, the blues has always been an important component of her music, whether it’s apparent or more understated. Nina Simone Sings The Blues, her first release on the RCA Victor label, was released in 1967, shortly after the blues revival influenced by the British Invasion and before the late-60s blues-rock boom.
From the first line of the opening track, “Do I Move You?”, it’s obvious that this record was not made for commercial reasons. This is raw blues, sounding more like some of Chess’s grittier sides of the ‘60s than the smoother blues of B.B. King and Little Milton; the arrangements are relatively sparse, allowing lots of room for Simone’s singing and piano and the playing of the small ensemble (two guitars, bass, drums, harmonica/sax) behind her. It definitely sounds like the entire band was playing in the room with Simone as they laid down the tracks. The album contains a mix of up-tempo blues and R&B tunes and slower ballads, which makes for a balanced and enjoyable program of music. Interestingly, although she covers some standards, Simone also adds some self-written blues tunes to the mix, which shows that she is not only an effective interpreter of other blues works but a skilled writer of her own blues songs too.
On the up-tempo side, “Day and Night” is a fun song, with Simone’s double-tracked harmonizing vocals singing over a jaunty soul-blues riff. Her rendition of the classic “House of the Rising Sun” has a gospel flavor to it, with some haunting minor chords cleverly hidden in the arrangement. Similarly, on the slower side, songs like “My Man’s Gone Now”, “Since I Fell For You”, and “Blues For Mama” have a haunting quality, mixing Simone’s plaintive and almost androgynous-sounding vocals with dark piano chords; they really are distinctive as her own unique interpretations of these songs. “Backlash Blues” is also notable for its poignant lyrics (written by Langston Hughes), which are about the then-current Civil Rights Movement. “In the Dark” also has an addictive smoky after-hours club feel.
My only gripe about Nina Simone Sings The Blues is that some of the songs are just too short; just as they seem to be getting going and finding their groove, they’re finished! Still, in the pre-CD/mp3 era, the time constraints were common to a lot of singles and albums, and it doesn’t detract from the experience of listening to the album…it just makes you want to repeat the album all over again from the start. If records titled [Insert Name] Sings The Blues make you skeptical too, don’t be fooled by this title…Nina Simone Sings The Blues is the real deal.
From the first line of the opening track, “Do I Move You?”, it’s obvious that this record was not made for commercial reasons. This is raw blues, sounding more like some of Chess’s grittier sides of the ‘60s than the smoother blues of B.B. King and Little Milton; the arrangements are relatively sparse, allowing lots of room for Simone’s singing and piano and the playing of the small ensemble (two guitars, bass, drums, harmonica/sax) behind her. It definitely sounds like the entire band was playing in the room with Simone as they laid down the tracks. The album contains a mix of up-tempo blues and R&B tunes and slower ballads, which makes for a balanced and enjoyable program of music. Interestingly, although she covers some standards, Simone also adds some self-written blues tunes to the mix, which shows that she is not only an effective interpreter of other blues works but a skilled writer of her own blues songs too.
On the up-tempo side, “Day and Night” is a fun song, with Simone’s double-tracked harmonizing vocals singing over a jaunty soul-blues riff. Her rendition of the classic “House of the Rising Sun” has a gospel flavor to it, with some haunting minor chords cleverly hidden in the arrangement. Similarly, on the slower side, songs like “My Man’s Gone Now”, “Since I Fell For You”, and “Blues For Mama” have a haunting quality, mixing Simone’s plaintive and almost androgynous-sounding vocals with dark piano chords; they really are distinctive as her own unique interpretations of these songs. “Backlash Blues” is also notable for its poignant lyrics (written by Langston Hughes), which are about the then-current Civil Rights Movement. “In the Dark” also has an addictive smoky after-hours club feel.
My only gripe about Nina Simone Sings The Blues is that some of the songs are just too short; just as they seem to be getting going and finding their groove, they’re finished! Still, in the pre-CD/mp3 era, the time constraints were common to a lot of singles and albums, and it doesn’t detract from the experience of listening to the album…it just makes you want to repeat the album all over again from the start. If records titled [Insert Name] Sings The Blues make you skeptical too, don’t be fooled by this title…Nina Simone Sings The Blues is the real deal.
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