DO THE ARCHITECTURAL WATUSI – Page 4

HEADHUNTING FOR FUN AND PROFIT: THE KENTUCKY HEADHUNTERS LIVE PREVIEW

They’re a little bit Donny and a little bit Marie… and a little bit James Brown and a little bit McKinley Morganfield… maybe even a little bit Woody Guthrie. The music of the Kentucky Headhunters is permeated with an amalgam of everything that is American music. The boys from the heart of Kentucky are a lean and not-too-mean Rock and Roll machine, hitting on all four cylinders. Like the rest of the world, Greg Martin, Fred Young, Richard Young and Doug Phelps found themselves with jobs that they couldn’t go to and, in a couple of cases, they were put low by the virus that held us all prisoners for nearly 30 months. Guitarist Martin said that the band was just “crawling out of the wreckage” in 2021, reconvening in February to record what became the album THAT’S A FACT JACK! and somehow managing to play about forty-five dates through the end of the year. Now, the Headhunters are back on the road and coming to the Effingham (Illinois) Performance Center, just a few hours up the road from Greg’s adopted home of Glasgow, Kentucky. With opening act Confederate Railroad in tow, he has guaranteed a good time for all. When asked what can be expected on April 2 in Effingham, Martin said, “It’s gonna be like somebody opened the corn crib and let a bunch of hogs in. It’s gonna be a frenzy of Rock and Roll, Country and Blues. Naw, man… we’re gonna have a great time. We always love playing that part of the state; it’s always a blast. We got a lot of fans. Yeah. I think you’re gonna see some guys just happy to be out playin’ music again.”

THE KENTUCKY HEADHUNTERS (Greg Martin) (photo credit: CHRISTIE GOODWIN)

As excited as the guitarist was to get back to playing live, he was just as excited to tell us about his other career and, naturally, our conversation eventually ambled into a discussion about Greg’s LOWDOWN HOEDOWN program on WDNS radio out of Bowling Green. The three hour Blues-intensive show airs Monday nights beginning at 7:00 Central time and streams at wdnsfm.com. Brother Greg is a true musicologist and traditionally delves into the roots and the seedy underbelly of the beast we call Rock and Roll… don’t expect any type of genre segregation with this show as the man was raised on AM radio when it didn’t matter what kind of music was being played as long as it was good. You can expect the same type of show from the Headhunters. What a great way to spend a Saturday night! For ticket information, head over to the Performance Center’s site, the-epc.org.

MARTIN BARRE: LEFT OF CENTER

Martin Lancelot Barre is one of the unsung heroes of Rock and Roll. As Tony Iommi’s replacement in Jethro Tull, he created and played some of the most recognizable riffs in the history of the electric guitar. I mean, who hasn’t marveled at the power of his opening salvo to “Aqualung” or the monstrous crunch of his work on “Locomotive Breath?” And, who can forget the epic, bone-crushing CREST OF A KNAVE, which won the first Grammy awarded for Heavy Metal Album? Standing stage left with Jethro Tull for more than 43 years, Mister Barre was Ian Anderson’s “left-hand man” and so much more. As Anderson was moving more toward a solo career in the early ‘90s, Martin branched out as well, finally having the chance to display his songwriting prowess on such albums as A SUMMER BAND (1993), STAGE LEFT (2003), and BACK TO STEEL (2014), alongside several live albums.

Now, Martin Barre is bringing the music of Jethro Tull – AQUALUNG in particular – to the magnificent, intimate Wildey Theatre in Edwardsville for two nights, January 21 and 22. This year marks the fiftieth anniversary of Tull’s most well-known, most successful album (AQUALUNG, if you weren’t paying attention; actually, the record was released in 1971 but, you know… lockdowns and pandemics and such) and, since no one else was taking advantage of such an event, Martin and his band decided that they would. And, they aren’t coming alone… original Tull drummer Clive Bunker is appearing on (at least) the Midwest leg of the tour; keyboardist Dee Palmer, who was an integral part (as David Palmer) of the Tull machine for many years as an arranger, conductor and writer before having an actual “player” credit on SONGS FROM THE WOODS, has opted out of this tour due to health concerns amid the ongoing COVID scare. Martin declares that he and his group (vocalist Dan Crisp, bassist Alan Thomson and drummer Darby Todd) are more than up for the challenges presented by Ms Palmer’s absence. Clive, Dee and the Martin Barre Band can be heard (and seen) in all their glory on the latest release, a DVD called LIVE AT THE WILDEY, recorded during their 2019 tour. As far as other surprises this time around, Martin promised this writer – over a cup of tea and a telephone call – “Oh, there’s definitely surprises. Well, let me think… one, two, three, four… certainly four pieces of music that we’ve never played before. We swap it around… I mean, I always love throwing in something that’s really left of center. I really enjoy people being in shock.” It sounds like a great night of Rock and Roll,with plenty of Tull and an ample sampling of tunes from the Martin Barre Band, to boot!

DO THE ARCHITECTURAL WATUSI Live Music Preview Music Features/Interviews | Darren Tracy | January 16, 2022 | Alan Thomson AQUALUNG AQUALUNG 50TH ANNIVERSARY TOUR Blues Rock Classic Rock Clive Bunker Dan Crisp Darby Todd Dee Palmer Edwardsville IL Hard Rock Jethro Tull Live Music Martin Barre Martin Barre Band Music Music Preview Progressive Folk Rock Progressive Rock Rock and Roll Wildey Theatre

TARANOYA: BECOMING

(SOUND AS LANGUAGE; 2021)

I have been writing about ambient music for many years, as it is the still under-appreciated genre I MOST find myself able to get immersed in. From those heady early days decades ago when Brian Eno contextualized a new sound that could function as either foreground or background and that would serve as “a tint, an atmosphere,” as he put it, rather than something you had to experience in a traditional listening mode, to the myriad of variations the genre sprouted in the modern age (Ambient Jazz, Ambient Classical, Ethno-Ambient, Dark Ambient, space music, et cetera ad nauseum), I’ve been riveted by the endless universe of sound that the misleading term “ambient” can encompass. I honestly can’t think of another musical banner, excepting maybe “indie rock” or “art rock,” that will accommodate so many types of music. It’s because of how the music is supposed to FUNCTION for the average listener, the fact that it needs to be workable as background music, but also to reward close listening, that helps it to live up to Eno’s definition.

Imagine my delight, then, to come across the Iranian born, Portland-based female composer/vocalist/producer Taranoya (Taraneh Schmidt), whose new release
BECOMING is just about the most enthralling thing I have heard this year. It’s all dreamy, drifty, ethereal soft vocals, most of it essentially wordless although there ARE some intended lyrics, floating through beds of gentle droney synthesizer. Reference points don’t immediately come to mind… some of Liz Fraser’s aesthetic on the Cocteau Twins’ VICTORIALAND disc in particular would be one door in. I also was reminded here and there of a Kranky label artist named Jessica Bailiff, as well as scattered tracks from other ambient artists who’ve utilized feather-soft female vocals in the background. But what we have here is an entire album’s worth of this sumptuous sound, and it’s pretty singular in my view. And singularly PRETTY, without ever being vacuous or saccharine. That’s no mean feat, and it speaks wonders for Taranoya’s soulful, deeply contemplative vibe. I am almost shocked at how blissfully haunting this recording is, and how it manages to avoid nearly every cliche of the genre. Releases in this sonic terrain can sink rather rapidly if the lyrics are too upfront and take you out of the dreamy web you want to get stuck in, or if the instrumentation veers too much into the “new age” realm. Without wanting to irritate fans of new age (and I have some records that would fall under that banner myself), I am experienced enough with this kind of stuff to be able to tell the difference between New Age and Ambient, something that connoisseurs used to argue about on the net, back when these things were viewed as more consequential. What many of us viewed as new age seldom stood up to late-night scrutiny, as it aims for the lightest and most undemanding of moods while being generally quite restricted in its ambition, with some exceptions. Taranoya’s BECOMING, my friends, is very definitely AMBIENT music, and that’s a compliment. It’s lush, lulling, pastoral dream music conjured by a woman who seems to intuitively know that heading right for your subconscious, the place you inhabit when your intellect is turned off, makes for a far more satisfying sound experience than adhering to the parameters of the more typical offerings in this ballpark.

I personally LOVE music that appeals to a sort of “half asleep” state, and has a quality of being totally removed from mundane or stress-induced concerns, the kind we all battle daily. “Accidents” is eight minutes of beautiful keyboard drone that invites you to get comfy, serves you a fruit-infused beverage like nothing you’ve imbibed before, and then puts you at rapt attention as your charming host murmurs things to you that you can’t quite hear but you don’t care… her voice hypnotizes you and pulls you right into a place you would be happy to just never leave. “Heavenly” is an overused adjective in the ambient world, but… this IS heavenly, mes amis. What Taranoya’s voice does between 4:27 and about 4:43 on this track may be the single most beautiful moment I’ve experienced in a piece of music this year. The whole track is a wonder, really. A little bit of spoken word at the end adds to the feeling you’re in a partial dream state sitting in a cushioned chair at the airport or something. “You’re Only Breaking Down” is an even longer track, commencing with a Cocteaus-style flourish before Taranoya goes full feminine vocal allure in the middle of the mix. It’s like hearing your favorite cat purring happily, with neither one of you inclined to move even a smidge from where you’re currently located. And I was awestruck by the artist’s discipline to keep the keyboard sounds so subtly in the background, never showing off for even a moment. The dream state rules here, aesthetically. Works for me!

“Thinking About You” does get a shade more familiar initially, with the main synthesizer being not too far removed from the odd Tangerine Dream release or even early Pink Floyd. But from about the two-minute mark on, the sort of “otherly” ambient strangeness we fans always hope for kicks in, and Taranoya proves once again she’ll opt for originality and the sonic multi-verse over any formula or “non-genre” tenets. I was fully spellbound by the time this track was over, and knew I’d be a fan of this gal from here on out.

On “Let the Air,” the vocals are the most “conventional”; you can just about hear some actual words and there’s a touch more normalcy if that’s what you prefer (love the ending, though). And “Do I Return” has what is clearly a piano, not some obscure synth setting stumbled across in the wee hours of the morning when otherliness rules in the studio. It’s still very pretty. But the long track “Wake Me Up Rush” returns to the killer combo of Taranoya’s ethereal voice and the airy synth settings she tends to favor, with a low-frequency drone entering stage left at about the four-minute mark that adds some unexpected gripping energy. Subtle variety in a tapestry of sound that is uniformly lulling, is what makes this set something of an ambient classic, ethno-femme division (“fembient”? “womenbient”? What moniker should we give, exactly, to characterize the sub-genre of ambient where a deeply compassionate and yes, angelic female presence, is at the center of the sound? And is that even worth pursuing?). I’m in love with this music, and I thank this spellbinding artist for truly forging some new territory on BECOMING. Taranoya strikes deep… into your life it will creep, if you decide to check this out and float away among the clouds of bliss that this very visionary and wondrous artist has to offer.

(BECOMING is currently available as a limited edition of 100 cassettes, as well as the obligatory digital download)

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Kevin Renick | December 19, 2021 | Ambient Music Cassette Only Release Digital Drone Music Experimental Music Limited Edition Music Streaming Video Taranoya

MICK FLEETWOOD AND FRIENDS CELEBRATE THE MUSIC OF PETER GREEN AND THE EARLY YEARS OF FLEETWOOD MAC

(BMG MUSIC GROUP; 2021)

A majority of people in the good ol’ United States of… believe that Fleetwood Mac began with (maybe even started BY) Stevie Nicks and Lindsey Buckingham; most of the rest of the world knows that the Mac had been around for at least 70 years before the Buckingham/Nicks tandem joined in 1974 or so. Actually, Peter Green left John Mayall’s Bluesbreakers in 1967, taking drummer Mick Fleetwood with him to form what was originally called Peter Green’s Fleetwood Mac; Bluesbreakers bassist John McVie would follow later that year. Drug use and a mental collapse led to Green exiting the group in 1970 and the game of musical chairs (so to speak) with guitarists began. Now, Mister Fleetwood is never one to forget upon which side his toast is buttered and, more importantly, who made it possible for him to pay for not only the bread and the butter, but also the knife to spread the butter and the house in which he sits at the table buttering that toast. That incredibly confusing run-on sentence is just a bored writers way of saying that Mick Fleetwood gives credit where credit is due and pays tribute to those who have made his lifestyle possible. So it was, that on Tuesday, February 25, 2020, Fleetwood and his hand-picked, suitably impressive “house band” (alongside an equally impressive lineup of friends) took the stage of London’s legendary Palladium to celebrate the music of Peter Green’s Fleetwood Mac. As it turned out, the very next day, England was put on lockdown due to the COVID-19 pandemic. The performance has been released in several formats: The video documentary has been making the rounds on various streaming platforms, as well as being released on Blu-Ray in a package that includes two CDs and a deluxe package that also features four slabs of vinyl; of course, the double CD and four LP versions are available separately, too.

MICK FLEETWOOD (photo credits: ROSS HALFIN, OLIVER HALFIN, KAZUYO HORIE)

Things get off to a fine start with “Rollin’ Man,” from the Mac’s second album, MISTER WONDERFUL. It features Mick’s specially chosen musicians – Andy Fairwether-Low, Jonny Lang and Rick Vito on guitars with David Bronze on bass and musical director Ricky Peterson on keyboards; Vito takes the vocals, as he did during his short time as a member of the Mac. Lang takes over the vocal duties on “Homework,” an Otis Rush tune played live in the earliest days of the band, while the final member of the group, the Who’s Zak Starkey joins in, keeping the beat alongside Fleetwood on drums for most of the evening. If there were any questions regarding the Blues pedigree of the original Fleetwood Mac, these opening salvos should dispel them. The first “friend” makes quite a splash as Billy Gibbons (yeah, one of the beards from ZZ Top) tackles “Doctor Brown” as only he can. As hot as the backing band was on the first two numbers, they somehow seem even more energized here.

CHRISTINE MCVIE (photo credits: ROSS HALFIN, OLIVER HALFIN, KAZUYO HORIE)

While I can find no indication that Fleetwood Mac ever recorded or even played the Otis Rush track “All Your Love (I Miss Loving)” in a live setting, I’m sure that Peter Green, Mick Fleetwood and John McVie played it many times during their respective tenures in John Mayall’s Bluesbreakers. That somehow makes it the perfect tune for Mayall to join the festivities, supplying both vocals and keyboards. Mick introduces his former boss with, “Please give a grand, grand welcome to our mentor, Mister John Mayall,” as the band rips into a killer version of the tune. If you are unfamiliar with the music of John Mayall, first of all… WHY? And, second, the man sprang from the womb (in 1933, making him 83 years old when this concert took place!) wailing the Blues! Steven Tyler late of some band called Aerosmith delivers his version of “Rattlesnake Shake,” one of Peter Green’s and the Mac’s best known early songs (from THEN PLAY ON) in his inimitable over-the-top fashion. Tyler sticks around to add flavor and harmonica to “Stop Messin’ ‘Round,” the third of five tracks from MISTER WONDERFUL, the album that introduced Christine McVie (then, as now, “Perfect”) to the world of Fleetwood Mac. Since the group’s ascension to the Pop Rock hierarchy, we’ve known Ms McVie as the gruff balladeer, in contrast to Stevie Nicks’ wispy, ethereal flights of fancy; here, she shows that she can hold her own with just about anybody, belting out the Blues that the early band was known for.

RICK VITO (photo credits: ROSS HALFIN, OLIVER HALFIN, KAZUYO HORIE)

Not one to ignore a good thing, Fleetwood keeps Christine around for “Looking For Somebody” from the group’s first album. The memorable drum intro leads into a re-imagined version of the song with McVie trading vocal leads with Rick Vito. “Sandy Mary” comes with a strange pedigree: Peter Green’s Fleetwood Mac had been performing the tune live at least as early as 1969, with the song appearing on various records of rather dubious origins. It wouldn’t see an official release until LIVE AT THE BBC in 1995. Jonny Lang’s soulful vocals make the song hard to forget. Vito takes over on vocals for “Love That Burns,” a slow-burning Blues number with a great slide lead and organ solo. It’s hard to imagine the rest of the album being as good as this side.

PETE TOWNSHEND (photo credits: ROSS HALFIN, OLIVER HALFIN, KAZUYO HORIE)

Next to the stage is one of the Gallagher brothers, Noel, whom (along with his equally distasteful brother, Liam) I dislike on general principals, though I must admit to liking some of their band’s earlier stuff. Noel actually acquits himself quite nicely on the stripped-down acoustic Blues of “The World Keep On Turning.” He hangs around for a more rocking “Like Crying,” a Danny Kirwan song from THEN PLAY ON. Overall, Mister Gallagher has taken steps with this performance to – if not endear – overcome my disdain for his earlier abhorrent behavior. He may be inching closer to gaining a certain respectability but… nope! I still don’t like the guy. Vito, Lang, and Fleetwood take center stage on Chester Burnett’s “No Place To Go,” a song that appeared on the first Fleetwood Mac album. A rolling kind of rhythm underpins some nice slide guitar (maybe it’s a dobro… credits on this thing are somewhat lacking) and some impassioned “church meetin’” vocals from Rick and Jonny. Pete Townshend makes a magnificent Who sound on “Station Man,” a great track from the first album after Peter Green’s departure from the band, KILN HOUSE. It seems that Townshend’s presence has re-energized the band, as they’re hitting on all cylinders throughout the Danny Kirwan/Jeremy Spencer/John McVie barn-burner. This may be my favorite single track up to the midway point of the set.

DAVID GILMOUR (photo credits: ROSS HALFIN, OLIVER HALFIN, KAZUYO HORIE)

Neil Finn, one of the newest members (and current co-winner of the guitarist musical chair game) of Fleetwood Mac, performs a nice version of the 1969 single, “Man of the World.” His voice isn’t unappealing and his guitar work is a thing of simplistic beauty. Just when you think that the song is gonna go on too long, it ends at just the right time; such a tune should never outstay its welcome. Billy Gibbons and Steven Tyler return for one of the Mac’s most well known tracks, “Oh, Well (Part One).” The pair trade vocals, with Billy playing his usual crunchy-mean guitar and Steven wailing (as one does) intermittently on the harmonica. The band finds a heavy groove to fall into before it smooths out for “Oh, Well (Part Two),” featuring one David Gilmour on guitar. By the reception, I must assume that a fine time was had by all.

ZAK STARKEY, RICK VITO, JONNY LANG (photo credits ROSS HALFIN, OLIVER HALFIN, KAZUYO HORIE)

Jonny Lang proves he is a bonafide practitioner of the Rhythm and Blues that set Fleetwood Mac off on their fifty-plus year journey with a Gospel-tinged version of Little Willie John’s “Need Your Love So Bad.” The vocals, the guitars (including a solo that would make BB King weep) and Ricky Peterson’s almost mournful Hammond organ all but scream the Blues. Rick Vito steps to the mic again for “Black Magic Woman,” possibly the greatest hit that Santana ever had. This version, obviously, owes more to the Mac’s original version than it does to the cover by Carlos and his boys. Fleetwood and Zak Starkey on drums and Dave Bronze’s work on the bass prove to be a formidable rhythm section, especially on the extended jam that ends the tune. The special guests are great – and a great tribute to Peter Green – but the power and passion of Mick’s hand-chosen band is monster and not to be slighted.

MICK FLEETWOOD, JEREMY SPENCER (photo credits: ROSS HALFIN, OLIVER HALFIN, KAZUYO HORIE)

Jeremy Spencer, a founding member of Fleetwood Mac (he stayed with the band through 1970’s KILN HOUSE album) is joined by former Rolling Stone bassist Bill Wyman on a couple of Elmore James tunes. Mick introduces Wyman before adding, “The last time I shared the stage with this dear friend of mine was 50 years ago,” as an introduction to Spencer. First is a killer version of “The Sky Is Crying,” which Jeremy sang during the early band’s live set. With Mick holding down the drum stool and Bill laying down a solid bassline, Spencer’s somewhat reedy voice and brilliant slide work are allowed to soar over the rock-steady band. Things slow to a near-stroll pace for “I Can’t Hold Out,” with an even more impressive slide lead from Jeremy. Obviously, having another original Mac on board was a surprising treat for the ticket holders and he did not disappoint. The presence of a Stone was equally impressive, as was his playing.

Metallica’s Kirk Hammett straps on Peter Green’s beloved 1959 Les Paul for another well-known tune, “The Green Manalishi (With the Two Prong Crown),” though probably a large percentage of America will credit the song to Judas Priest, who famously covered it on their 1979 live record, UNLEASHED IN THE EAST. The tune proves that Kirk has a little bit more to him than just “loud, fast rules.” ZZ Top’s Mister Gibbons joins the fray once more on vocals and guitar. David Gilmour returns, this time on pedal steel, for what can only be described as a lilting, stately take on one of the original group’s biggest hits, “Albatross.” Elmore James’ “Shake Your Money Maker” closes the show, with a free-for-all that sees the entire cast return to the stage. The highlighted musicians and singers include Rick Vito, Ricky Peterson, Steven Tyler, Andy Fairweather-Low and John Mayall.

PETER GREEN, circa 1969 (photo credit: GETTY IMAGES)

Amid a haze of psychedelic drug use and mental collapse – diagnosed as schizophrenia – Peter Green walked away from the band he founded in 1970. His body of music during the course of those three-plus years as the group’s primary songwriter, vocalist and guitarist is quite staggering. The legendary BB King once said of Green’s playing, “He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats.” Peter’s near fifty-year career as a professional musician began in 1961 and didn’t officially end until his death on July 25, 2020 at the age of 73, just five short months after this monumental tribute. The show and the music are particularly bittersweet as he was unable to attend what must have been one of the proudest moments of his life.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Darren Tracy | August 15, 2021 | Andy Fairweather-Low Bill Wyman Billy Gibbons Blues Rock Christine McVie Dave Bronze David Gilmour DVD/Blu-Ray Fleetwood Mac Jeremy Spencer John Mayall Jonny Lang Kirk Hammett Live Recording London Palladium Mick Fleetwood Neil Finn Pete Townshend Peter Green Pop Music Rhythm and Blues Rick Vito Ricky Peterson Rock and Roll Steven Tyler Streaming Video Tribute Concert Vinyl Zak Starkey

LYKANTROPI: TALES TO BE TOLD

(DESPOTZ RECORDS; 2020)

Clearly I have GOT to get myself to Scandinavia. I’ve known that for a while, but it was mostly based on my passion for a few Norwegian acts specifically. But the more I hear of bands influenced by the apparently endless deep forests of Finland and especially Sweden, the more I want to see that influence for myself. Apparently those endless woods make musicians of the region want to write brooding, proggy song cycles about life, love, hours contemplating the meaning of it all, and yes, “tales to be told” in music. That’s the title of this brand-new album by Lykantropi, a group sewing up good reviews and a fast-growing fan base due to their ‘70s rock evoking brand of psych, which is delivered in a perfectly comfortable ensemble guitar, flute and mixed-gender vocals. You need know NOTHING about Nordic spells or landscapes to appreciate this stuff. But it helps if you like Jethro Tull, Blue Oyster Cult, the Moody Blues and yep, even prog kings Yes, since the sounds on TALES TO BE TOLD bring all of those legends to mind.

LYKANTROPI (OLA RUI NYGARD, MARTIN OSTLUND, TOMAS ERIKSSON, MY SHAOLIN, ELIAS HAKANSSON, IA OBERG) (publicity photo)

Martin Ostlund and My Shaolin trade off on male-female lead vocals and often combine for strong harmonies that will remind you of lots of stuff you grew up on in the ‘70s. That’s no slight; it’s a brisk and invigorating sound when combined with the thoroughly confident guitar riffing on tracks like “Coming Your Way,” “Mother of Envy” and “Axis of Margaret,” which is a good solid tune to sample if you’re in a hurry. On “Coming… ,” the repeated simple chorus of “Close your eyes before it’s too late” tends to stick in your mind, and as much as I’d like to ask the band specifically what they MEAN with that lyric, I’ll just take it at face value. The sturdy and melodic title track and the showcase tune “Kom ta mig ut,” which has a striking accompanying video. show a band that is impressively disciplined, one that has obviously heard a few Yes and Genesis albums, yet they rarely indulge in guitar solos or anything at all that could be called “ponderous.” They seem to be purveyors of a surging sonic current that moves forward, but always provides just the right framework for the two vocalists to be heard over, and for the atmosphere to envelop the listener. I really like the accessible arrangement on “Mother of Envy” and the expansive but breathing normally space of “Varlden gar vidare,” which yes, is sung in Swedish but it doesn’t matter. It’s the whole landscape of the piece that draws you in, not individual lyrics. The instrumental work here is exemplary, with Lo Oberg’s flute work deserving special mention. If you want lyrics you understand to sink your teeth into, go with “Coming Your Way” or “Spell On Me,” which made me listen a few times to catch the lyric “”The only time I feel all right is when I’m by your side,” and its slight variation. Others can discuss if the Kinks tune “All Day and All of the Night” and the similar lyric may have been in the heads of the songwriters, but it’s more likely that this universal expression of love and existential angst gripped the pens of Lykantropi’s songwriters same as it does for us Yankee types. Even if they do have better forests and more precise language skills over in Scandi-land.

TALES TO BE TOLD isn’t all that groundbreaking; you’ve heard this sort of psych-y, proggy idiom before. But it’s unquestionably more self-assured and sincere than the umpteen generations of American bands that have been trafficking in this sound since the halcyon era of the ‘70s. And I’ll take the Swedish focused cool and inter-band solidarity we get here over any number of second-rate progsters garnering column inches elsewhere. Three or four albums in, Lykantropi seem to know what they’re doing, and they have the lineup and dedication they need to stay in this for the long run. Give ’em a listen, and then listen again. If, like me, you have all the reference points in you already, the sense of familiarity will be welcome and even a bit emotional.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Kevin Renick | March 17, 2021 | Folk Metal Lo Oberg Lykantropi Martin Ostlund My Shaolin Progressive Folk Metal Rock and Roll Streaming Video Sweden

JON ANDERSON: SONG OF SEVEN; CHRIS SQUIRE: FISH OUT OF WATER

(ESOTERIC RECORDINGS/CHERRY RED RECORDS; 2020; 2018)

When Jon Anderson and Chris Squire first formed Yes in 1968 in London, they talked about their vision for a new style of music: melodic, layered and poppy like some of the major groups they loved – The Beatles, Byrds and Simon and Garfunkel among them – but perhaps more expansive somehow, more dynamically rich. I seriously doubt they had anything like CLOSE TO THE EDGE in mind back then, as that sort of leap only became possible with the incredible level of musicianship brought to the group by Steve Howe, Rick Wakeman, et al. But yeah, they were thinking big. And their flair for melodic, commercially appealing classic rock was always present in their sound, no matter how Topographically expansive it got. These two solo reissues (we’re rather tardy getting a review up for Squire, but hey, it allows us to do this informative combo piece right now!) are terrific illustrations of the kind of diverse sonic stylin’ each musician felt free to do outside their mother group. They’re filled with craftsmanship, imaginative arrangements and an obvious love for romantic yet far-reaching pop rock ‘n roll.

JON ANDERSON, circa 1980 (uncredited photo)

SONG OF SEVEN was NOT Anderson’s solo debut; he’d already released the ethereal and somewhat esoteric OLIAS OF SUNHILLOW during a Yes break when all five members made solo albums. That album was sort of what you might have expected from ol’ Jon at the time… cosmic, spacey, drifty. Not so with SoS, though. What are fans of epic Yes to make of Jon singing lines like “Don’t forget I always want you by my side/Baby, by my side/Oh yeah, yeah, yeah… ”? Is this really the same guy that wrote “Dawn of the light lying between a silence and sold sources/Chased amid fusions of wonder…” etcetera? One and the same, yeah, yeah, yeah. Jon seemed to at least partially rebel against his “out there” image on some of the tracks here. He wanted to get straight to the “Heart of the Matter,” the title of the most conventional rocking song here. If not for that instantly recognizable high voice, this could be the kind of mainstream rocker, complete with breezy backing vocals, that any number of today’s more formulaic male artists might serve up. It’s upbeat to the max, and our hero even talks about getting his baby in the “back seat of my car,” which is sort of beyond belief if you stop to think about it. This ain’t Yes by a long shot! “Everybody Loves You” sounds a bit like Trevor Rabin-era Yes, with a normal chorus (“Everybody loves you/But I just love you a little bit more”) and an airy, sweet arrangement. The real gems, though, are “Take Your Time” and “Days.” The former is contemplative and relaxed as Anderson warns against rushing around too much and losing sight of the simple pleasures of love and enjoying each day. It’s short and agreeably low-key, making for one of his most enjoyable solo songs ever as a result. And there’s a nice keyboard bit and some fetching bass also, courtesy of John Giblin. Then comes the gorgeous “Days,” a Yes song in all but execution. It’s up there with “Wonderous Stories,” a recitation of nature imagery and the art of soaking up the beauty to be seen all around you, perhaps on a perfect spring day. There is no one better than Jon Anderson at this type of thing; you can just see him standing outside watching swallows circling, young deer sauntering through ferns in the mist, the aroma from the garden filling your nostrils… “The days are blessings,” he sings, and who would challenge the sentiment? Beautiful, and it’s followed by a harp solo, perfectly executed. This leads into some lush strings and the title epic, which is in a whole nother league from the earlier trifles I mentioned. In a piece that crosses the 11-minute mark (arguably a few minutes too long), with lyrics about how “everywhere you look you release parts of your senses/And everywhere there’s purpose and answers to all your dreams” as well as the line “starlight… telling me there’s something else to cling onto,” you get the trippy Jon most of us have come to cherish (or not)… he builds and cycles ever upward towards some lofty realization of the meaning of it all. There’s also a dazzling Clem Clemson guitar solo or two that sound like Steve Howe a bit, and some childlike voices joining in. This stuff isn’t for everyone, mind. Anderson’s core music requires you to lose your cynicism to fully enjoy it. But at least two thirds of this record is truly winning, and shows our prog hero loosening up quite a bit and demonstrating he can let his hair down when he wants. Sure, Anderson can be cloying here and there but damn, this guy loves music and life, and with his staggering body of work he’s earned the right to do whatever the hell he wants. And on this record he wants to just sing odes to the beauty and ultimate goodness of it all, including gettin’ down with your baby (and perhaps BABIES). You got a problem with that, head elsewhere, pal… This reissue does NOT offer much in the way of extras, though, just a couple of US single edits of “Some Are Born” and “Heart of the Matter.”

JON ANDERSON and CHRIS SQUIRE with Yes, 1977 (photo credit: RICHARD DREW/ASSOCIATED PRESS)

Chris Squire’s 1975 opus, FISH OUT OF WATER was his only major solo release, and as such earned plenty of attention. It’s a solid, compelling five-song disc showcasing both his legendary bass playing skills and his thin but pleasingly sincere vocals (Squire’s ability to serve up harmonies that perfectly complimented Jon Anderson made for part of that trademark Yes vocal sound). “Hold Out Your Hand” was a fairly popular single, balancing Squire’s fluid bass runs, some Wakeman-style organ (from Barry Ross and Wakeman’s replacement/predecessor, Patrick Moraz) and a bracing melody and arrangement. “You By My Side” is more pedestrian; a Yes veteran shouldn’t be writing stuff like “You know I love ya/I can’t be without ya/When I’m alone, I still feel this way about ya.” T’aint “Roundabout,” that’s for sure. To be fair, some lush orchestration later in the song improves things, and there is no doubting Squire’s melodic flair. As on Anderson’s disc, Squire also has an 11-minute opus for us after that, and it’s a doozy. “Silently Falling” opens with a gorgeous bit of old-fashioned classicism, with keyboards, flute and the like. Squire sings with a kind of achingly romantic tenderness, and his bass surges underneath the whole thing in that familiar Yes manner. Indeed, this whole thing sounds like Yes although without Anderson’s mystical tendencies. There’s a long keyboard-driven section that rocks but gets a tad repetitious, although you won’t mind if this aspect of the Yes sound is your thing. But Squire’s band cooks up a storm, that’s for sure. About halfway through, there’s a nice quiet passage, then a different section where Squire mostly sings “silently falling” over and over. You can picture him being lost in the majesty of the proceedings here, and it’s indeed substantial in that prog rocky way. “Lucky Seven” adds a bit of funk, introducing horns (not all that transcendent in my view), a nice Bill Bruford performance on percussion, and a decent string arrangement. Squire again sings mostly in a low key manner, which helps, since the music here isn’t always subtle. “Safe (Canon Song)” is the 15-minute magnum opus that rounds out the record, and it’s the most meaty and adventurous Squire solo track to date. Let me just say that the first minute and a half of this song struck me, when I first heard it long ago, as among the most beautiful passages on any rock record ever. The strings and piano are simply gorgeous and Squire’s plaintive vocal, opening with the phrase “When your savior lets you down… ” achieves an understated perfection. The music swells and flows, revealing the kind of powerful sense of purpose that Squire brought to many a Yes album. I simply love the verse where he sings “When you’re faced with all those doubts/Have no fear/When the changes come about/I’ll be here/I’ll be waiting beside you/To shelter your heart/Like a ship in a harbor… You will be, safe with me.” There is something so transcendent about this part of the song; it may well be the most soaringly romantic moment on any Yes solo album so far. It’s followed, then, by a particular series of notes that is repeated over and over on different instruments, including the string section. Squire plays one of his patented bass riffs to contrast with this semi-classical arrangement, squeezing out multiple variations of the same two or three ideas. Kudos to fine keyboard work by Moraz, Rose and Andrew Pryce Jackman as well. The piece lumbers along, taking no prisoners, and your own patience level will determine if you’re still digging it by the 10-minute mark or so. Myself, I am in awe of the sheer moxie it took to arrange this densely orchestrated beast, especially since Squire began it with such delicate beauty, and then gleefully allowed it to become this gargantuan epic of sonic razzle dazzle. It’s musically rich, and it helped FISH OUT OF WATER become one of the most popular Yes solo albums, one that still holds up nicely.

CHRIS SQUIRE, 1975 (photo credit: LAURENCE BERNES)

Disc 2 of this reissue includes the one-off Squire and Alan White collaboration “Run With the Fox,” which turned up on one of those Yes box sets sometime back. It’s a charming but unlikely Christmas song, full of seasonal exuberance and whimsy. Appearing with it is the seldom previously heard instrumental version called “Return of the Fox,” the B side of the original 1981 single. Although interesting if you like this sort of thing, it doesn’t really add much in terms of enjoyment. But the track with Squire’s vocal is undeniably a charming little ditty. You also get edited single versions of “Lucky Seven” and “Silently Falling,” although that latter piece is substantial enough that cutting it down to single size is a bit of an aesthetic insult. Still, Squire at least gave us one classic solo album before he died, to go with all the masterful, groundbreaking Yes compositions he had such a huge role in helping to create. Any true Yes fan probably should have this in their collection if they don’t already.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | December 30, 2020 | Acoustic Music Alan White Andrew Pryce Jackman Barry Ross Bill Bruford Chris Squire Classic Rock Clem Clemson English Folk Music Expanded Edition John Giblin Jon Anderson Music Patrick Moraz Pop Music Progressive Folk Rock Progressive Rock Reissue Rock and Roll Yes

PRETENDERS: HATE FOR SALE

(BMG MUSIC GROUP; 2020)

When I heard that there was new music coming from Chrissie Hynde and Pretenders, I must admit I was pretty happy! HATE FOR SALE was released this past July, their first album of new music since 2016’s ALONE. There are a couple of new faces in the band’s studio make-up (a couple have been part of the group’s live line-up for quite awhile): James Walbourne on guitar and keyboards, Nick Wilkinson on bass, Stephen Street on keyboards and percussion, plus the studio return of original drummer Martin Chambers, who hadn’t recorded with the band since LOOSE SCREW in 2002. Of course, the linchpin, the main star, band architect and leader, Chrissie Hynde, sounds incredible; her songwriting, guitar work and readily recognizable harmonica blasts are feisty and ready to rock. Her voice, it almost goes without saying, is wonderful.

HATE FOR SALE isn’t very long… just a little over 30 minutes, but you certainly get your money’s worth with every song. Those songs flow well as the band moves flawlessly from one to another. Though I really do like all ten tracks here, I think my favorites are “Turf Accountant Daddy” and “Didn’t Want To Be This Lonely,” which just rock with reckless abandon. There’s an interesting kinda Reggae thing called “Lightning Man” which moves directly into “Turf Accountant Daddy” that manages to mix things up a bit. The record ends with a nice little tune, a beautiful piano ballad called “Crying In Public,” an emotional side that we rarely see from Chrissie.

PRETENDERS (James Walbourne, Nick Wilkinson, Martin Chambers, Chrissie Hynde) (uncredited photo)

Martin Chambers sounds great throughout and I’m so glad he’s back, but this is obviously Chrissie’s album and she makes the most of it. She’s been in the business for over five decades and I have certainly enjoyed her work. Having lost track of what Ms Hynde and her band had been up to in recent years, I was curious when I heard they had new music out. I was totally happy and surprised when I finally got to hear it. I’ve seen the group in concert a couple of times, once right after their debut album came out in the States, opening for the Who and once on a package tour with ZZ Top and Stray Cats. Both good shows (though they were nearly “Who’d” off the stage during the first one!) and I’ve always liked their music, but this new one, HATE FOR SALE, has become one of my favorites of this year. Stephen Street did an excellent job producing and mixing, giving the music a very clean sound. The entire record hits you right in the gut… in the best way possible! Pretenders were scheduled to tour with Journey earlier this year but, like countless others, those plans were put on hold due to the pandemic. So, even though we didn’t get live Pretenders this year, we did get an absolutely incredible record from them. For that and for decades of musical brilliance, I say, “Thank you, Chrissie Hynde!”

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Bill Winer | December 28, 2020 | Alternative Rock Blues Rock Chrissie Hynde Classic Rock Hard Rock James Walbourne Martin Chambers Music Nick Wilkinson Pop Rock Pretenders Punk Rock Rock and Roll Stephen Street Streaming Video

WILLIAM SHATNER: THE BLUES

(CLEOPATRA RECORDS; 2020)

William Shatner has been an icon of pop culture pretty much since the concept itself emerged: He needs no summary at all for his influential role as Captain Kirk on the original STAR TREK series, after which he went on to TJ HOOKER, BOSTON LEGAL and an increasingly eccentric series of recordings (the first of which, 1968’s THE TRANSFORMED MAN, is now legendary). Shatner has been satirized, imitated, mythologized and, by certain former colleagues, dismissed as arrogant and self-centered. He’s bigger than life, this guy, and everything he does, just about, commands attention. Not long ago he recorded a Christmas album that sold pretty well, and that must have planted the seed to start exploring other genres. Thus, we now get THE BLUES, an unlikely and potentially controversial collection of Blues standards and Blues-flavored rockers that find Shatner absolutely being himself, for better or worse, in a style of music that would seem to be light years from his comfort zone. How does a privileged white Canadian icon insert himself into a mostly black, angst-laced genre that is all about authenticity and down to earth emotions? Well, he hires a bunch of legendary players to back him, for one. Thus we get guys like Steve Cropper, Jeff “Skunk” Baxter, James Burton, Sonny Landreth, Ritchie Blackmore and others to power the legend through classics like “Smokestack Lightning,” “The Thrill Is Gone,” “I Can’t Quit You Baby” and the Muddy Waters classic “Mannish Boy,” among many others. Let’s start with that last song, which really does work, astoundingly. The groove is a timeless blues template, but Shatner has no trouble at all delivering lyrics like “Now I’m a man, way past 21/Want you to believe me, baby/I have lots of fun.” The recontextualization of such a famous tune is kind of a hoot, and when Shatner sings “I’m a natural born lover’s man/I’m a hoochie coochie man” late in the song, he lets out an energetic “Woo!” that lets you know he’s having fun. Someone will put this on at a party somewhere, and people will be laughing and wanting to know who it is. Same with “I Put a Spell On You,” a timeless chestnut that was already a bit demented in the Screamin’ Jay Hawkins original, so having Shatner here trying to play it just slightly unhinged works fine. The musicians throughout are playing with fierce, bottom-anchored chops as on “Sweet Home Chicago,” “Born Under a Bad Sign” and “Crossroads,” which in a recent interview Shatner said he was fascinated by regarding the apocryphal Robert Johnson story about a minimally talented guy selling his soul to the devil to perform at a much higher level. You wanna be the one to write an entertaining essay comparing Robert Johnson to William Shatner, go right ahead. But Shatner digs in here, and although many will scratch their heads, this stuff isn’t boring. You gotta wonder, though, with the sterling musicianship on “Smokestack Lightning,” isn’t it a disservice to have a hokey, jokey vocal that draws your attention away from the groove? That “Chicago” song, “I Can’t Quit You Baby” and a few others are a bit hard to take; Shatner bellows, screeches and over-dramatizes the words (non-singing, technically) in a manner that can truly annoy. “You hear me moanin’ and groanin’/It hurts… ” go the lyrics, and yeah, that’ll sum it up for many. Shatner’s shtick is more palatable when he’s doing his patented “talk singing,” as on “Sunshine of Your Love,” a highlight here. Shatner’s sense of fun and self-awareness is almost palpable in this performance; he’s winking at the listener, and well aware of the unlikeliness of what he’s doing. “The Thrill Is Gone” is also “Shatnerized” effectively (that word should be in the dictionary by now), as ol’ Bill keeps a sort of subtle mockery in the mix when he tells an unknown woman “Oh yeah, oh yeah/I’m free, I’m free from your spell now… ” with unique vocal tics adding to the impact.

WILLIAM SHATNER, August 2019 (photo credit: GABE ZINSBERG/GETTY IMAGES)

Fans of George Takei will find irony in Wilbert Harrison’s “Let’s Work Together,” which features Canned Heat. If this one doesn’t make you smile, face it, you aren’t destined to be a fan of Shatner’s music. The pauses, the enunciation… pure Bill! If hearing him say “Let’s make life worthwhile” and repeat that title over and over can’t tickle your funny bone, hey, no biggie. Shatner surely won’t care. But if you’re the big picture sort, you may even find poignancy in “Secrets and Sins,” the relatively drowsy closing track here, and the most personal song. I was always moving forward/Was always saying ‘yes’/A thousand little triumphs… ” Shatner chuckles audibly after a few more lines, then says “You may not like this answer/I do everything the same.” Yes and no, actually. Shatner does approach every project in life with the same sense of confidence in his own worthiness, and the same sense of pure fun. But he finds many different ways to BE William Shatner, and to serve up surprises both big and small. Sure, he can be insufferable, and you have every right to think he’s somehow desecrating the real spirit of the Blues on this album. But you gotta admit, he’s got panache… and he enjoys the hell out of his life, now in his late 80s. Personally, I think that makes this album some kind of wacky landmark. Shatner’s still moving ahead at Warp 7.

DO THE ARCHITECTURAL WATUSI Music Reviews | Kevin Renick | October 26, 2020 | BB King Blues Rock Canned Heat Folk Music James Burton Jeff “Skunk” Baxter Muddy Waters Music Rhythm and Blues Ritchie Blackmore Rock and Roll Screamin' Jay Hawkins Sonny Landreth Steve Cropper William Shatner

JON ANDERSON: 1000 HANDS, CHAPTER ONE

(BLUE ELAN RECORDS; 2020)

Jon Anderson has one of the most instantly recognizable voices in the world; as lead vocalist for prog rock titans Yes for the bulk of their storied career, his pipes became the vocal signature on dozens of vibrant rock classics such as “And You and I,” “Roundabout” and “Heart of the Sunrise.” Why Anderson is not still with Yes can best be left to another discussion, but the man still has a commanding, healthy sounding voice; he hardly seems to have aged at all despite his nearly 75 years of age. 1000 HANDS, Anderson’s latest opus, has been gestating for a number of years and earned its title at least partly from the exaggerated number of individuals who contributed to it. That includes former Yes associates like Steve Howe, Alan White and the late Chris Squire. So it stands to reason this dense new album will be of interest to Yes fans, but it’s also just a solid musical offering that anyone into lush, upbeat pop with classical leanings should be able to appreciate. It’s filled with spritely melodies, Anderson’s lyrical optimism and plenty of engaging instrumental interplay.

JON ANDERSON (photo credit: DEBORAH ANDERSON)

The album is bookended by two versions of a simple mostly acoustic song called “Now” in a brief into, then “Now and Again” as the fuller light rock song that ends the record (Howe guests on guitar here). “Ramalama” is a fun little piece that Anderson has said emerged from vocal exercises he was in the habit of doing. While one Anderson sings a repetitive “Dit di da,” another sings some lyrics about light, togetherness, finding your center and other standard Anderson concerns. The piece may remind some of Yes’ album 90210, especially the Rabin-penned “Leave It,” which I thought was extraordinary, myself. I’m hearing a banjo on this number, I believe, and that is kinda cool. By the time this song ends, it has thoroughly grabbed you and demonstrated Anderson’s absolute love of sheer sound, a real trademark of this iconic composer. “First Born Leaders” is an unlikely marriage of calypso and gospel stylings, featuring Larry Coryell guesting on guitar, a small choir and Anderson opening with a burst of smooth a cappella. “Everybody wants what they cannot have/Everybody needs what they cannot see/Everybody wants what they haven’t got at all,” goes the repeated chorus, and that’s pretty dang down to Earth for ol’ cosmic Jon. This is a melodic, upbeat tune that should please most music fans.

JON ANDERSON, 2016 (photo credit: JOE KLEON)

“Activate” features classical guitar and flute (by none other than Ian Anderson) and is one of the two tracks Chris Squire guests on, but at nearly 9 minutes is slightly too new agey for my taste. Anderson can’t stop his searchingly humanistic lyrics from simply pouring out in this song, and truthfully, they resonate quite well for the most part: “In accordance with the facts of life, we resolve to show the truth,” goes one lyric; “Don’t get in the way of the light that shines” is another. But I especially love this directive: “All you gotta do is mesmerize my heart and soul,” something I wish more artists would keep in mind. And the very poignant verse “And the only way we have of contacting you for sure/Is the melody of music and the harmony of love.” Although Anderson has voiced such sentiments countless times, I love the context here and it really moved me as a fellow musician. I only wish the song itself had contained more of the delicate beauty Anderson has been known to effortlessly conjure at times.

JON ANDERSON with ANDERSON PONTY BAND (photo credit: ROBIN KAUFFMAN)

“Makes Me Happy” and “I Found Myself” are sugary pop truffles, the former a ukulele-featuring melodic rush that could get the kiddies dancing; it has uncommon musical efficiency and a genuine spark of joy. The unlikely guests here include Rick Derringer, the Tower of Power Horns and, golly, the “human beatbox,” Michael Winslow. Clearly Anderson kept the sonic palette wide open for this outing. The latter is a romantic love song that features acoustic guitars, violin and (I think) a double-tracked vocal by Jon, before a woman’s voice responds in pure affirmation of his loving expression. If you’re into birds, you’ll notice the prominent call of an Eastern Phoebe throughout, so either Anderson had his windows open when he recorded this, or he made it a point to include sounds of nature in the mix. Again, it’s worth noting the simplicity and directness of tunes like this; no cosmic couplets needed to be transported somewhere special.

The next three songs represent a sort of climactic and Yes-influenced sequence, with “Twice in a Lifetime” featuring instrumentation that evokes “Turn of the Century” a bit, and “WDMCF” (“Where does music come from?”) featuring lovely harmonies, a piano showcase by Chick Corea, and the kind of celebration of MUSIC that Jon Anderson has made a career out of (see “Awaken” and “Sound Chaser” among others). If you’re a fan of Yes, go straight to this track and turn it up loud; it’s the best song here. There is something riveting about hearing Anderson sing “Music, music/Music… come up, music come up” that hits the bulls-eye of Anderson’s many thematic targets. He’s the right guy to ask “Where does music come from?” and although he might take 20 minutes or more to answer such a question in conversation, here he does it in a sublime five and a half minutes. Stellar, man. “1000 Hands (Come Up)” is the second song in a row to repeatedly use the phrase “come up,” and here we get some overtly jazz stylings (Billy Cobham joins the ensemble), some fancy keys (Corea again) and a sharp bit of violin by Jean-Luc Ponty. Not to mention Squire again making a welcome appearance. Anderson sounds more casual and circumspect on this 8-minute-plus track, and it feels like slightly new territory for him. The whole intricate arrangement comes over like the work of a composer/sonic architect who has been around for a long time and is still searching for sparkling new sounds.

Which Anderson HAS been, and clearly IS. When he sings “Come up with me” on that previous song, it’s not just an invitation to listen, it’s a plea to move your entire vibration to a higher level in life. That’s sound advice, no pun intended, for this era in particular. Anderson may sometimes be cloying, and the overall success of his solo work (and even some Yes recordings) depends on how organically his aesthetic and lyrical explorations nestle into those intricate proggy sound beds his band is known for. When everything gels, the results are transcendent (stuff like “Awaken” and “Heart of the Sunrise,” and at least a couple of tracks here). When it doesn’t, or if you ain’t in the mood, the love-peace-togetherness vibe can get a bit tiresome. But it’s immensely reassuring to have a good Jon Anderson album out there right now, and to hear him sounding happy and caring about humanity as only he can. High vibration, go on… indeed. This enduring musical soul is more than worth listening to on these matters, and would that EVERY legendary musician could still sound so focused and healthy at his age.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Kevin Renick | August 23, 2020 | Acoustic Music Alan White Billy Cobham Chick Corea Chris Squire Classic Rock English Folk Music Jean-Luc Ponty Jon Anderson Larry Coryell Micahel Winslow Middle Eastern Music Music Pop Music Progressive Folk Rock Progressive Jazz Rock Progressive Rock Rick Derringer Rock and Roll Singer/Songwriter Steve Howe Streaming Video Tower of Power World Music Yes

JOE OLNICK: WINK OF AN EYE

(SELF-RELEASED; 2020)

You gotta have patience to appreciate straight drone music. You know that expression people commonly use where someone talks too much? They’ll say of the party in question, “Oh he just drones on and on… ” In other words, someone is making a repetitive noise that someone else quickly gets tired of. Many listeners would say that about a lot of ambient music, especially the sub-genre that is primarily drone-based. But as a devoted ambient acolyte, I appreciate a good immersive drone, and Joe Olnick offers three of them on this here self-released outing. Olnick is a guitarist and producer mostly known for a sort of rock/funk/jazz hybrid that his Joe Olnick Band traffics in (“Funky Traffic” and “Downtown” earned spins on college radio). But he also digs ambient, and has been exploring the possibilities of what the guitar can do when, well, you process the shit out of it so it doesn’t hardly sound like a guitar anymore. WINK OF AN EYE apparently began as brief sections borrowed from an earlier ambient recording called BRIGHT PAINTINGS, and Olnick used what he calls “advanced processing techniques” to conjure up some layered space music.

There are only 3 pieces on this disc, curiously titled “Slow Funky Buildings,” “Slow Bright Buildings” and “Slow Modern Buildings.” All three are, you got it, slow. These are drones that can work as background ambience, and they are pleasant and captivating enough to hold your attention should you choose to pay it. But you won’t be suddenly bombarded by rude sonic bursts of weirdness, either. The “Slow Funky” track is most assuredly NOT funky… it’s made of subtly changing soundwaves that might remind you of a wild seashore, where the water comes into shore dramatically and then recedes. “Waves” is really the best word to describe this stuff. Not that much happens, but it’s still hypnotic. At 26 minutes, the “Slow Bright” track is longest, and it starts off more abrasive and metallic than its predecessor. I was reminded of Fripp and Eno’s “An Index of Metals,” only not as ominous as that opus. Olnick is not out to unnerve anyone; this really seems to be an exercise in how ambient a guitar can get when you manipulate the output very thoroughly. The answer? VERY ambient. You could possibly drift off to sleep with this one, although I wouldn’t call it “serene” or anything. “Slow Modern Buildings” does approach a kind of serenity, though. It’s a modest 11 minutes long, and turns the “evocative” dial up to at least “7.” You could take chunks of this piece and use ‘em in some arty indie film or documentary about wild places. Without any such context? You basically get a Joe Olnick ambient drone trio, which will be enough for some of us. No less than the legendary Robert Rich mastered this recording, which should tell you two things: One, it sounds terrific and enveloping, and two, Rich thought highly enough of the sonic excursions here to put his name on them.

You could say of virtually ANY ambient disc, “it’s not for everyone.” And this may bore non aficionados, for sure. But there is something very comfortable and unassuming about Olnick’s relaxed space music; he offers it up with the confidence that some folks will find it worthwhile. Olnick is NOT one of those artists who simply “drones on and on” without purpose. He’s got plenty of other things on his plate, but knowing he is into at least the occasional drone-fest makes WINK OF AN EYE rather special. I was a contented participant in the conversation that Olnick started with this release.

DO THE ARCHITECTURAL WATUSI Music Reviews Streaming Video | Kevin Renick | August 8, 2020 | Ambient Music Avant-Garde Music Drone Music Electronic Music Experimental Music Instrumental Music Joe Olnick Joe Olnick Band Music Rock and Roll Streaming Video

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