CINEMATIK: CINEMATIK; ONE FULL MOON AWAY

(KACHINA RECORDS; 2001; 2004) A REVIEW FROM THE VAULTS

CINEMATIK (Neal Smith, Peter Catucci, Robert Mitchell) (photo credit: TONY LOEW)

Famed Alice Cooper percussionist Neal Smith has lent his name to many projects since the demise of that storied outfit some four-and-a-half decades ago – from the sublime (Billion Dollar Babies, Bouchard Dunaway and Smith) to the ridiculous (the big noise, hair metal of Ded Ringer) to the ridiculously sublime (Plasmatics and his own 1975 solo album, PLATINUM GOD). I’m not exactly sure where this project falls; it’s kind of a “musician’s project,” with textures generally unexplored in any of Neal’s other work. There are hints of the old Cooper sound, particularly a descending riff that spirals through “Temple Mental,” a tune from Cinematik’s eponymous debut. Much of Neal’s work on the trio’s two albums involves African and tribal percussion instruments rather than the standard “rock guy” drum kit that most of us associate with the “platinum God.”

Though there are touches of the old Neal Smith sound, much of the music is very… uh… cinematic. Neal’s bandmates, bassist/vocalist Peter Catucci and guitarist/vocalist Robert Mitchell, create an almost orchestral feel, allowing the understated percussion to flow through the (mostly) instrumental material of CINEMATIK and ONE FULL MOON AWAY, rather than drive the tunes forward. Occasionally, subtlety and power mean the same thing. That is never more evident than on the beautiful instrumental, “Awake,” a song from the first album. With Peter’s minimal use of the didgeridoo and his quietly throbbing bass and Neal’s less-is-more approach (on what sounds like either a tom-tom or a small hand drum and a tambourine) on the evocative Native American percussion, Robert weaves an elegant, slightly jazz-flavored guitar over, under, and through the tune leaving you spellbound. Peter’s didgeridoo comes to the fore a little more forcefully on the rather loopy, jazzy hip-hop of “Reckon Eyes.” Other high points of the first disc are “Nude Ellie,” the somehow transcendent “African Clay,” and the doom-heavy “Even In Sleep.” Peter Hickey guests on keyboards on “Nude Ellie” and “African Clay,” the latter of which also features a vocal performance by Maximillian Catucci; Grace Loew adds cello to the tune “Grace Beach.” I know that somebody somewhere is going to call the music of CINEMATIK “New Age.” If they do (or even if it looks like they’re thinking it), smack ’em! They deserve it (plus… they won’t hit ya back cuz they’re all peaceful and at one with self and universe… or some mumbo-jumbo crap like that)!

ONE FULL MOON AWAY pretty much picks up right where CINEMATIK left off, but tends to rock a bit more (maybe due to an unsolicited “New Age” tag-line haunting the guys from the first album). “Incognito” borders on rock and roll more than just about anything else on either release, with a “JAMES BOND” kinda vibe and the trio expanding their sound to include – among other things – a sax (provided by Klyph Johnson). Robert adds a little bit of Frippertronics-style guitar sound washes through-out the disc, all to good effect. This album also features more vocal tracks and more harmony and backing vocals than the first. Plus – inadvertent or homage – there are tracks that virtually scream “Alice Cooper!” The hypnotic “Million To One” is very reminiscent of “Halo of Flies.” In a slightly less chaotic fashion, of course. With Robert and Peter splitting lead vocal duties, I’m never quite sure who’s singing what, but I must say that one of the guys has definitely picked up a stylish Joe Walsh kind of phrasing, put to good use on “Unfrozen,” among others. The Native American percussion is back on a track called “Amorak,” but the over-all sound of the track is very spooky… a kind of swirling eddy of darkness. “Euriffodes” (sound it out and you’ll get the little inside joke) is an excuse for Neal to play a standard (if smaller than usual) drum-kit and for Robert to… ROCK OUT! The track is, possibly, the guys showing everybody that Steve Howe and Yes aren’t the only people who can pull off a song like this. Other high spots include the trippy “Murder In the Moon” and the percussion heavy Middle-Eastern fusion of the final track, “Simplas Childernz.” Peter adds the violin, clay flute, and berimbau to his instrumental onslaught, while guest players help to flesh out the sound: Grace Loew returns on cello, Rob Fraboni adds shaker to the goofy “Wolfman’s Holiday,” and Klyph Johnson is all over the place with his already noted sax work, as well as the occasional bassoon.

NEAL SMITH (photo credit: JIM SIATRAS)

Listening to the albums back-to-back, I’d have to give the nod to CINEMATIK on atmosphere alone, though the more up-tempo ONE FULL MOON AWAY definitely is worth obtaining, as well. It has been a while since these albums were released (they are copyrighted 2001 and 2002), and the three members have all gone on to other projects (most notably, Neal’s return to the rock arena with Joe Bouchard and Dennis Dunaway and Peter’s work on the Garrison Project album). However, the music that these three men make together is truly amazing. I, for one, am hoping for a third release from Cinematik.


3.2: THE RULES HAVE CHANGED

(FRONTIER RECORDS; 2018)

In 1988, Geffen Records released an album of pop music with haughty (some would say pretentious) rock overtones by a band called 3. That band featured two-thirds of Emerson, Lake and Palmer (the sixty-six percent that wasn’t Greg Lake) and multi-instrumentalist journeyman, Robert Berry. The partnership was an attempt to play the more melodic style of progressive rock which had given Palmer and Berry (with Asia and GTR, respectively) some successes in the previous few years. Maybe the impetus grew from Keith Emerson’s desire for a wider audience than he ever experienced in the Nice or ELP; a growing need to be accepted. Whatever brought the three together, the resulting record, … To THE POWER OF THREE, was well received. With the band doing well on the road, Keith began to feel stifled by the record company’s insistence that they strike while the iron was hot, virtually demanding that they return to the studio to begin work on album number two; Keith’s answer was simple: He quit. Fast forward to 2015. Robert found himself in conversations with Italy’s Frontier Records regarding a new project from 3; After consulting with Emerson (but, apparently, not Carl Palmer) regarding the possibility of resurrecting the band, the two began writing and demoing new material, scheduled studio time, signed contracts with Frontier and… as quickly as it began, it was over: Keith Emerson had committed suicide. Reeling from the loss, Berry set aside the project; after a time of grieving and reflecting, Robert decided to once again resurrect the project – utilizing songs and snippets of ideas that he and Emerson had shared – as a final farewell to his friend and band-mate. Working as a one man band, he began work on what would become THE RULES HAVE CHANGED under the name 3.2. Does it work? For the most part, I think so. The record is split fifty-fifty with new Berry compositions and pieces that he and Keith had been working on before the latter’s death. Still, Emerson’s larger-than-life character and overwhelming musical sensibility are felt throughout what Robert has accomplished here.

3.2 (Robert Berry) (publicity photo)

“One By One” starts with a magnificent, cinematic piano piece before a grandiose, symphonic blast of power propels the song into the first verse, where Mister Berry’s pop leanings are on display front-and-center. Here, the number takes on the feel and scope of an Asia-like progressive ballad; the instrumental passages convey a blend of piano-driven Jazz and Classical phrasing, which informed much of Emerson’s career. Time changes and sudden shifts in style over the tune’s seven-plus minutes, while off-putting at first blush eventually come into focus as the ultimate tribute and a heartfelt homage to Keith Emerson. On “Powerful Man,” the original intent of the group is brought into sharper focus, with what could be considered a more radio friendly sound within a simpler – by comparison – more compact and focused five minute rock song, led by Robert’s Emerson-inspired keyboard work. This certainly would not sound out of place nestled between the poppier works of GTR, Asia or even Trevor Rabin-era Yes. With the title track, the pomposity almost crushes the feel of what the artist was trying to convey, lyrically. The song is a double-edged sword, as the words could be taken as a betrayal by a lover or, more deeply, it may also be construed as an open letter in which Robert attempts to heal the wounds torn open by Emerson’s suicide. Perhaps “The Rules Have Changed” would have been better with a more stripped-down approach but, then, Keith Emerson was never known for his subtlety. Referencing many of Emerson’s most well-known riffs, “Our Bond” is, finally, Robert Berry’s soul stripped bare over the loss of a dear friend. Likewise, the music is stripped of any pretensions of grandiosity. This, the third of four numbers written solely by Berry, brought a shiver to my spine, particularly the perfect, lone piano that closes out the piece. It is, by far, my favorite track thus far.

“What You’re Dreaming Now” has the unmistakable mark of Keith Emerson and the glory days of ELP (as well as a bit of ELPowell ‘80s bombast) all over it; Berry’s vocal phrasing even shares a certain quality, if not timbre, with Greg Lake while his drumming exhibits the power of Cozy Powell along with the finesse of Carl Palmer. It may not be the strongest composition on the album, but for sheer progressive physicality, it’s hard to beat. The playful, almost joyful sound of WORKS-era Emerson, Lake and Palmer (I’m thinking something like “Tiger In a Spotlight” from …VOLUME TWO) are in full effect on “Somebody’s Watching,” with a pumping bass and a guitar set to “power chord stun.” The keyboards sound as if they could have been recorded by Emerson at any time over his illustrious career; as Keith has a co-writing and co-arrangement credit on the tune, one does wonder if Robert used a snippet of a demo that Keith had provided and built the track around that unfinished framework. “This Letter” starts off as beautiful ballad, with a nice acoustic guitar lead and hints and echoes of piano playing around and beneath a ragged vocal; an synth-derived orchestra plays in as the pace begins to quicken at about the halfway mark. All well and good but, the piece begins to morph into a sort of gypsy parody of itself shortly after the introduction of a ragtime piano and we are soon witness to the number devolving into something so far afield from where it began that the joy – for me, anyway – is sucked right out of it. It’s as if Berry has taken two very different songs and jammed them together in an attempt to… what? The first half borders on exceptional while the second half borders on theatrical overkill. Things are definitely back on track with the final track, “Your Mark On The World,” with power chords aplenty and the return of the Emerson penchant for verbose noodling on every keyboard he could get his hands on. As much as I dislike the second half of “This Letter” for that same verboseness, it works in the context of this more upbeat number. Oddly enough, the thing seemed to end way before it was actually over – at 5:20, Robert just… stops! It really felt like it could have and should have gone on for another two minutes, at least. Oh, well… such are the vagaries of Rock and Roll and, if it took me almost an entire record to find something to complain about, I’d say that Robert Berry has done Keith Emerson proud. Well done, Mister Berry!

3.2 (Robert Berry, Keith Emerson) (uncredited photo)


NEIL YOUNG/JOHN HAMMOND

(June 28, 2018; FOX THEATRE, Saint Louis MO)

A chance to see Neil Young solo is rare indeed, and Saint Louis fans have not had that opportunity for many years. As a lifelong fan, there was no way I would pass up such an opportunity. I’ve seen Neil with Crazy Horse, with CSNY, with the International Harvesters, with the Stray Gators and more, but the solo acoustic concerts have certainly been among the most memorable. When I flew to San Francisco in 1978 to see Neil at the tiny Boarding House nightclub, that may well have been the most stunning concert I’ve ever seen. So, to say I was stoked for this rare Saint Louis solo show would be an understatement. John Hammond, a grizzled old blues rocker, opened the show despite not being billed. Favoring a bottleneck guitar and looking as craggy as an old oak tree, Hammond was amiable and interesting, but there was some restlessness getting through his set. And it was at least 45 minutes after he finished before Neil finally came out. Dressed all in black, a la Johnny Cash, Neil looked around, waved to the crowd, and finally took his seat. He opened with the nostalgic and totally appropriate Buffalo Springfield-era classic “On the Way Home.” This song speaks volumes to die-hard Rusties, and Neil delivered it with focus and clarity. In fact, it was quickly apparent he was in great voice tonight. At his age, it’s a wonder he can still reach most of those high notes. “Homefires” was next, the first of many surprises. That song was intended for the unreleased HARVEST follow-up, HOMEGROWN, and I couldn’t help but think it was kind of a comment on Neil’s changed love life in the last two years. “I’m free to give my love/But you’re not the one I’m thinking of/So for me, the wheels keep turning/Got to keep those homefires burning.” His ex-wife Pegi might have been the one Young was NOT thinking of. He is certainly thinking about new gal Darryl Hannah, and plenty.

NEIL YOUNG (photo credit: THRASHER)

“Love is a Rose” and “Only Love Can Break Your Heart’ came next, and the latter was a special treat for me. I could not remember hearing that one at a Neil show before, and it was charming. Neil told little anecdotes about many things during the show. He pointed to several guitars and with a couple of them said, “I got that one from Steve Stills. He’s a great guy.” In fact, it soon became apparent that Neil was in an especially chatty mood. This is not typical for him at all. “I feel like I’m talking too much up here,” he remarked at one point. “Like I’m doin’ a job interview or something.” “You’re HIRED!” someone bellowed from the audience, and it was a memorable moment. Young fiddled with his harmonicas, telling his assistant he needed a “C harp.” But when he started the song, he quickly stopped and said, “No, I need a B flat harp!” That song was “Mellow My Mind,” one of three he performed from TONIGHT’S THE NIGHT. He told the story of how he and his band had all drunk alot of tequila and gotten into a certain mood, so they could pay tribute to Bruce Berry and others who had died around that time. Neil played great, ringing piano on that song and “Speakin’ Out,” another tune I had never heard him do. The audience went nuts when he talked about a time in his career when he changed the type of songs he was writing, and how the Kent State massacre drove him to write about a new ill wind blowing in. He then performed “Ohio” on solo electric guitar, a truly compelling and unexpected moment, one the sold-out throng reveled in. His only hint about the times we’re living in came when he talked about school shootings and all the “anger” out there, leading to the fiery song “Angry World.” Some of us thought he might bring up our current president, but that did not happen. It was clear that Neil was NOT speaking from a script; spontaneity was the rule of the night.

NEIL YOUNG (uncredited photo)

For me, after Neil talked about where two of his pianos came from (one had fire damage and he was still able to play it), I was thrilled to hear “There’s a World,” possibly one of his most underrated songs. It’s a dreamlike ode to looking both inward and outward, and Neil played it with great delicacy. That was one of about five songs he played from his most popular album, HARVEST. “Are You Ready For the Country,” a note perfect “Out On the Weekend” and “Heart of Gold” were others. “Love In Mind,” a tender ode from the “ditch-trilogy” live album TIME FADES AWAY, also got an airing… wonderfully evocative. But for hardcore Neil-ites and “Rusties,” the one-two punch of “Love and War” and “Peaceful Valley Boulevard,” from the not often heralded LENOISE album, were the emotional peak of the show. Both these songs touch on violence, things being out of control, and environmental apocalypse, with love being seen as the one necessity for all of us, the ultimate way to peace. The guitar Neil played on that latter song allows for a certain rich, atmospheric resonance in the simple strumming of a powerful chord. The edgy sound, which potently rang through the entire theatre, accented Neil’s existential lyrics perfectly. “A polar bear was drifting on an ice floe/Sun beating down from the sky/Politicians gathered for a summit/And came away with nothing to decide… Who’ll be the one to lead this world/Who’ll be the beacon in the night?” Most in the audience sat in hushed awe.

Unfortunately, that did NOT include a chowderheaded idiot across the aisle from me, who simply could not shut up. He drew a few complaints with that, but when he stood directly in front of the people behind him and blocked their view, that’s when it got serious. The addle-brained druggie (I was sure he had to be; no one could be that rude just naturally, could they?) earned two visits from ushers, but even that didn’t do it. When he continued to jabber, the guy behind him had enough and probably called him a name. The two men stood up, and I was about to witness a fight, I thought. Right here during Neil’s apt song “Love and War”! The good guy’s girlfriend intervened to stop the violence, instead opting to go for security. They did, and the troublemaker was unceremoniously removed by Security. Maybe it’s just me, but if I paid $100 for a Neil Young ticket (or even more), I would not get so fucked up that I would lose all sense of decorum and risk getting escorted out of the show prematurely. Takes all kinds, I guess.

NEIL YOUNG (uncredited photo)

Neil appeared to not be phased by shouted requests or various fan comments. “What d’ya mean?” he said wryly, when someone shouted “Old Man!” And he remarked “It doesn’t even register” after another comment. It was striking to see this iconic, charismatic legend stalking the stage, walking this way and that way, looking as if he was making it up on the fly. “I would do something if I could remember what I was just thinking,” I believe he said near the end. The show barely grazed the 90-minute mark. He closed with “Needle and the Damage Done” and “Heart of Gold,” and was coaxed out for a single encore, “Tumbleweed,” which he played on ukelele. The tender song was clearly directed at Darryl Hannah, a sweet ode to her positive influence on him (it appears on the soundtrack to their new movie, PARADOX). Always leave ’em wanting more, it is said. Mister Young did just that; the fans were yelling until the lights went on. Altogether an eccentric, often dramatic and mostly moving performance by a performer who is seldom less than mesmerizing. I counted in my head, and with all the configurations I’ve seen him in, I think this was Neil show number 25 for me. Many moments from this one will stay with me. That’s how it tends to be with Neil Young shows.


ADRIAN AARDVARK: DYING OPTIMISTICALLY

(EPIFO MUSIC; 2018)

Upon first seeing the name, Adrian Aardvark seemed to me a devouring angel, an agent of the bleakest of Black Metals. Nah… just kidding. In fact, I wasn’t sure what to expect from this album but, I gotta say, it isn’t at all like anything else I’ve heard before… not even close! I mean, it looks and smells like a rock and roll record, spliced with a fair amount of Americana and not a little bit of angst. Even so, my initial thoughts were leaning toward “Ah! Someone’s rich father has bought studio time for his son and his friends to record an album. Kinda like the Shags, woefully untalented but determined to become a band.” After a couple of songs, however, I began to warm up to, even appreciate, what this motley crew were attempting to convey. Oddly enough, while researching the band for this piece, I was amazed to discover that DYING OPTIMISTICALLY is the group’s seventh release since 2008 (and the first since BONES POSITIVE, an EP released in 2014)! I cannot honestly conceive of how I could have missed anything for the last ten years called Adrian Aardvark, though I am now old enough that such things do escape me upon occasion. Anyway, on to the review…

ADRIAN AARDVARK (Daz Bird, Shannon Stott-Rigsbee, Catherine Harrison-Wurster, Christopher Stott-Rigsbee) (photo credit: JERRY CADIEUX)

The first thing that you notice on “Just Us” is alluded to in rather veiled terms up above: Everything (wait… make that EVERYTHING) seems woefully out of tune, with the singer, Christopher Stott-Rigsbee, sounding alarmingly like a drunken karaoke enthusiast. Somewhere around the two minute mark, things almost come together, as a fuzzy bass (or, is it a cello?), insistent drumming and the scraping of a violin keep the thing from totally going over the cliff. Bonus points for – unlike the short prelude/introduction/tune-up that starts the song off – everything ending together. “If Only” definitely sounds like a drunken lament to a litany of “what if’s” in a relationship gone very wrong. Stott-Rigsbee lists his transgressions before admitting, “Yes, I am ashamed of my insecurities/Yes, I am ashamed of my stupid feelings.” Here, the music kinda sounds more in tune and of one mind, occupying a certain feedback/drone frequency that is not unappealing. In fact, the discordant buzz of the whole mess is really starting to grow on me. The cello takes a more prominent spot on “Peace In a Loving Way,” with Shannon Stott-Rigsbee droning away masterfully. The lyrics seem as though they are wedged into a melody that is simply too small to adequately contain them; try, for instance, to fit the first verse into any standard rock format without breaking your tongue: “Through updates, versions and brand new postages/The letters inside remain the same as they travel to/You through signals unseen, speaking words/Floating like waves whisper your way.” It ain’t easy. Even so, at less than two-and-a-half minutes, it feels like you’re in and out almost before you realize that the sound – and, in fact, the entire record – is actually becoming, not only palatable but, begrudgingly enjoyable, as well. The bizarrely-titled “Young Pharaohs and Horses” comes with an equally bizarre video… as it should! Drummer Daz Bard adds a bit of trombone to the proceedings, with Shannon chiming in with a scratchy (whinnying?) violin part; the weird, out-of-place gang vocals, like just about everything else on this album, are no doubt added to merely muddle the lyrical issue. Four songs in and Christopher is starting to come across as more of a true musical genius, as opposed to the offspring of a wealthy Daddy Warbucks type bankrolling his kid’s musical aspirations. “I Don’t Wanna Love No More” is a step back for me. It isn’t necessarily that the sentiments aren’t spot-on in a society of individuals struggling to find their place but, the acapella (aside from three drum rolls somewhere in the middle) delivery – impassioned as it is – just doesn’t do it for me. “Little Girl,” however, is a completely different beast. Despite some rather questionable lyrics: “I am a little girl in a big big world/My dress so clean and my hair is curled” and “Don’t you want to ride with me/Don’t you want to sleep with me” (allusions to Christopher Stott-Rigsbee’s… uh… fluid sexual identity, I know, but… still… ), this is the most fully realized, hardest rocking and most in-tune song so far. A throbbing bass line (Catherine Harrison-Wurster… on the upright, no less) and a frantic vocal performance from Christopher highlight the number.

Creaky Wooden Floor” opens the second half – continuing the strong showing from “Little Girl” – with more weird metaphorical (metaphysical?) lyrics about beets and elephants. The song is pretty nifty, in a New Country kind of way and is delivered, like the previous four tracks, in a short, punk rock fashion. On “Get Gotten,” a chunky guitar riff rides along for a spell before being joined by a very nice violin part; the unmelodic, unnerving howls of Stott-Rigsbee deliver quite an impressive effect. Somewhere about two minutes in, the whole thing shifts gears amidst a beautifully shambolic break before completely collapsing in upon itself at the end. I may have just crowned a new favorite track! There is an insistent hint of didgeridoo (a masterfully understated performance by Christopher) throughout “Horny Wildebeast,” which seems perfectly natural given the song’s title. After a rather rambunctious start, the final four minutes or so seem to settle into a nice mid-tempo with – dare I say? – quietly elegant violin and cello dancing over the top. “Oo Ra Ra” and “The Sun” form a sort of intermingled couplet, with melody, choruses and chanting kinda running through the two-as-one pieces (or, piece, as the case may be). The former is a surprisingly melodic bit of falderol with lyrics somehow befitting the proceedings, such as “Put down the knife, we don’t have to fight/We can make love till morning’s light.” The number eventually devolves into the type of musical chants that the “natives” in all of those old Johnny Weissmuller movies are so fond of. “The Sun” blasts forth from that, a forceful, blistering piece of noise of the type I find so appealing. The lyrics here tend to lean toward a rather cogent warning from everybody’s favorite ball of light: “Feel my heat/Feel the cancer/You can’t be given life/Without being given death.” Oh, Sun, you’re such a kidder! A cool, unexpected blast of the Blues, filtered through various other styles of what has generally become known as “Americana” may, at a mere five-and-a-quarter minutes, prove “Misery Shaker” to be Adrian Aardvark’s magnum opus. Time changes and style shifts glide together seamlessly, held together by the superior percussive efforts of Daz Bird.

ADRIAN AARDVARK (Christopher Stott-Rigsbee, Catherine Harrison-Wurster, Daz Bird, Shannon Stott-Rigsbee) (uncredited photo)

As mentioned at the outset, I was totally unprepared for the musical onslaught of Adrian Aardvark and was, initially, taken aback by the complete atonality of the first track but… I must say that I have been richly rewarded by sticking with the program, seeing it through to its brilliant climax. Heck, I may just have to revisit the group’s Bandcamp page and listen to their other releases… after I’ve rested up a bit from this DYING OPTIMISTICALLY experience.


GREGG ALLMAN: SOUTHERN BLOOD

(ROUNDER RECORDS/CONCORD RECORDS; 2017)

SOUTHERN BLOOD is a fitting last release for the star-crossed survivor, Gregg Allman. Allman was quite ill and he knew that this would be his last record, a final goodbye to his fans, a love letter to family and friends. As his son, Devon, writes in the liner notes. “What you hold in your hands is our father’s last statement. He wanted to leave you a most poignant, soulful and deep parting gift as he left us all.” The album is filled with great tunes – most of them covers – done in that inimitable Allman style, with that whiskey voice and Southern growl, maybe a little weaker due to his failing health but unmistakable, nonetheless. That style made him a true rock legend, alongside his brother, Duane, and their prototype for Southern Rock and Blues, the Allman Brothers Band. His band – Steve Potts and Marc Quinones on drums and percussion, Ronald Johnson on bass, Peter Levin on keyboards, a horn section of Jay Collins, Marc Franklin and Art Edmaiston and musical director Scott Sharrard on guitar – offer just the right tone and backing for such an important project.

GREGG ALLMAN (photo credit: PATRICIA O’DRISCOLL)

The covers range from Tim Buckley’s “Once I Was” and Willie Dixon’s “I Love the Life I Live” to Bob Dylan’s, “Going Going Gone” and Lowell George’s “Willin’,” songs that leave the listener with a bitter-sweet feeling, as they all – in one way or another – deal with endings and loss and loneliness. One of the most powerful songs on SOUTHERN BLOOD is the Grateful Dead’s “Black Muddy River,” as Gregg sings “I will walk alone by the black muddy river/And dream me a dream of my own.” What an emotional, draining song, with a mournful pedal steel part provided by Greg Leisz. Jackson Browne guests on his own “Song For Adam,” possibly the most gut-wrenchingly beautiful lament as, according to producer Don Was, “Gregg always loved this song because it reminded him of his brother, Duane. When he gets to the line ‘Still it seems that he stopped singing in the middle of his song,’ you can here him choke up and falter.” Was says that they never got to finish the song’s last two lines and feels that it was a “poetic way for him to make his exit.” Definitely a fitting end to a storied career and a final album.

GREGG ALLMAN (photo credit: MATT BUTLER)

Like David Bowie before him, Gregg Allman knew this would be his final statement and he put everything – his heart, his soul – into it. It will stand as a great, lasting testament to Gregg and his phenomenal legacy. His life and his legacy can best be summed up in the record’s opening cut, an original called “My Only True Friend.” If these lyrics don’t bring a tear to your eye, nothing will: “Keep me in your heart/Keep your soul on the mend,” “I hope you’re haunted by the music of my soul/When I’m gone,” “I can’t bear to think this might be the end” and “Still on and on I run/It feels like home is just around the bend/I got so much left to give/But I’m running out of time, my friend.” Rest well, friend. Enjoy that reunion with Duane and Barry.


RED JASPER: 777

(ANGEL AIR RECORDS; 2016)

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Hot on the heels of the critically acclaimed THE GREAT AND SECRET SHOW – relatively speaking, anyway… before that January 2015 album, the band’s previous release was 1997’s ANAGRAMARY – comes the seventh and latest chapter of the progressively-inclined Red Jasper, called 777. Like its predecessor, the record is a gently rocking progressive affair… kinda like latter-day Genesis or early Gentle Giant, with just enough bite to keep the more hard rock-inclined among us happy (not to mention some Marillion-esque keyboard work and some very tasty guitar from time to time). 777 is sort of a sequel to the Clive Barker-inspired …SECRET SHOW, with the lyrics once again exploring the very personal religious imagery from that release; as vocalist David Clifford writes in his liner notes, “777 is described as the antithesis of 666.” The first track is called “7” and it has a definite Marillion feel, though without the harsh, powerful vocals of Derek Dick (better known as Fish) or even the smoother pop stylings of Steve Hogarth. Clifford hangs around the upper registers, sort of somewhere around Geddy Lee’s mid-period Rush stuff, while avoiding the nasally proclivities of that stalwart. “Nothing To Believe” features a galloping bass line from Jim Thornton and really cool multi-tracked and harmony riffing from guitarist Robin Harrison. The lyrics document the struggles of youth and, finally, rising above the chaos and dismay with the chorus, “That life has gone/But my life will carry on.” Bonus points to newish drummer Florin Werner for his indiscreet use of the cowbell throughout the tune. Shifting from a demented waltz to a punky, charging hard rock affair, the schizophrenic “She Waits” offers a little something for everybody, including a completely unhinged Harrison solo and more words-per-square-inch than most tunes. “Forth of Fife” could very easily be considered either an homage or a flat-out rip of the Genesis classic “Firth of Fifth.” It has so many like elements that it’s hard not to compare the two: Lloyd George’s amazing keyboard work, particularly the solo piano; a flute part that may or may not be another George keyboard creation (no mention of a flute appears anywhere in the album credits); more stellar fretwork from Harrison; a melody line that is quite reminiscent of the Genesis tune. Given all of these similarities, it wouldn’t be too difficult to consider “Forth of Fife” a musical parody of an iconic piece of progressive rock. Thankfully, the tune stands on its own, as the nods to the previous work manage to weave themselves into the songs original fabric, allowing the words and music to tell their own story, live in their own reality. The most forceful track thus far, “The Gathering” features all of the hallmarks of a great progressive number, falling somewhere between classic Yes and a more metallic Rush. The rhythm section, in particular, puts a little extra punch into their parts – Thornton’s bass moves from Chris Squire’s melodic picking style to something akin to Tony Levin’s fluid stick thumps, while Werner falls just south of the percussive overload created by Neal Peart. Even at eight-and-a-half minutes, the song never lagged and, in fact, seemed to end far sooner than I expected. Again, bonus points to the other three Jaspers, with amazing work turned in by Clifford, George and Harrison.

Red Jasper (Jon Thornton, Robin Harrison, David Clifford, Lloyd George, Florin Werner) (uncredited photo)

Red Jasper (Jon Thornton, Robin Harrison, David Clifford, Lloyd George, Florin Werner) (uncredited photo)

Reaching Out” begins with a lone, chiming guitar before developing into a really cool psuedo-’60s Folk-pop sort of affair. The addition of an “arena rock” keyboard solo (it reminds me of something Ken Hensley may have played during Uriah Heep’s heyday; David Byron called it the “Moog simplifier”), which could have rendered the song cheesy beyond repair, actually enhances the overall vibe. More late ’60s guitar highlights “Blessed With Gold,” a track that is equal parts “California Dreamin’,” Lordian (as in, Deep Purple’s Jon) keyboard bombast, Middle Eastern melodies and a certain “Arrh, matey” nautical theme. “Dragonfly” is a gauzy, pastoral number, with elegant fretwork from Harrison and keyboard washes from George. However, though Clifford’s ALICE THROUGH THE LOOKING GLASS lyrics lend a child-like charm to the tune, it’s Werner’s percussive restraint and Thornton’s rather lilting bassline that really make the song work for me. It seems as though these Jaspers got most of their hard rocking tendencies out of their systems in the first half of 777, as “Paradise Folly” continues the Fairport Convention/English Folk sound prevalent on the second half. Another beautiful guitar solo from Harrison highlights the proceedings. “October and April” is listed as a bonus track. It’s a stripped-down cover of an obscure song by an even more obscure Finnish group called the Rasmus. Clifford duets with his daughter, Soheila, with brilliant accompaniment by Red Jasper’s original guitarist, Tony Heath, on a number that kinda reminds me of a Celtic version of Bon Jovi’s “Wanted Dead or Alive.” A nice, if rather light, end to an unassuming record that sort of sneaks up on you… before you realize what’s happening, your toes are a-tappin’ and you’re having a quietly good time with one of England’s best secret weapons of progressive music.


THE QUEBE SISTERS/TOMMY HALLORAN

(February 17, 2016; THE BALLROOM AT THE SHELDON CONCERT HALL, Saint Louis MO)

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I have long heard great things about the Sheldon Concert Hall but, though I have visited the venue in a sales capacity when I worked at WDLJ radio, I have never been to a show there. Needless to say, I was stoked for this one… not only would I have the pleasure of witnessing the amazing fiddling acumen of the three Quebe Sisters but, I would finally see a show at what has often been referred to as the “most acoustically perfect” room in the Midwest. Initially, I was brought low once I realized that the show was scheduled for another room at the Sheldon complex, the Ballroom located on the fourth floor. To call the Ballroom intimate is a bit of an understatement (the room is slightly larger than Off Broadway); the top floor location, high ceilings and general layout of the room concerned me: Would the acoustics be an issue here? Once the music started, however, all fears were laid aside, as the sound was phenomenal throughout the night.

Tommy Halloran (Abbie Steiling; Abbie Steiling, Tommy Halloran; Tommy Halloran) (photo credits: DARREN TRACY)

Tommy Halloran (Abbie Steiling; Abbie Steiling, Tommy Halloran; Tommy Halloran) (photo credits: DARREN TRACY)

Local Jazz and Blues artiste Tommy Halloran left his combo – the exquisitely titled Guerrilla Swing – at home but, he wasn’t alone… he brought violin player Abbie Steiling along to keep him company. The duo worked their way through a set of mostly original material, primarily from Halloran and the Guerrilla’s 2014 offering, UNDER THE CATALPA TREES, stopping along the way for offerings from Irving Berlin (the opening number, “My Walking Stick,” originally performed by Ethel Merman in 1938; other memorable versions were by Tommy Dorsey and Louis Armstrong with the Mills Brothers) and Eddie DeLange and Louis Alter (“Do You Know What It Means To Miss New Orleans,” performed by Armstrong and Billie Holiday in the 1947 movie NEW ORLEANS). Tommy is a dabbler; he dabbles in a variety of styles, everything from Hot Jazz to Texas Swing to a form of jazzy Blues that is inherently Saint Louis in nature. Halloran has a supple, pleasant voice with just a hint of rasp on the uptempo tunes, like the… uh… highly-caffeinated “Caffeine.” His facial expressions, general demeanor and vocal phrasing bring to mind both Tom Waits and the incomparable Leon Redbone; his physical appearance and style of dress brings the term “disheveled gentleman chic” to mind. The more “love song” ballady numbers, like “Under the Catalpa Trees” and “Gardenias For Rita” highlighted Ms Steiling’s subtle, almost fragile violin work, as well as Tommy’s playful rhythm guitar; but, don’t think the pair incapable of kicking up a bit of the proverbial dust, if the tune called for it, as on “My Favorite Sin.” Even though this was my first exposure to Tommy Halloran, his is a familiar name in Saint Louis music circles. I can now understand the reverence with which many speak his name… I was left wanting more and would certainly relish the chance to hear a full-band dissertation from Guerrilla Swing in the future.

The Quebe Sisters (Grace Quebe; Sophia Quebe; Hulda Quebe) (photo credits: DARREN TRACY)

The Quebe Sisters (Grace Quebe; Sophia Quebe; Hulda Quebe) (photo credits: DARREN TRACY)

As impressed as I was by Halloran and Steiling, this night definitely belonged to Grace, Sophia and Hulda Quebe (which, according to their website, rhymes with “maybe”). The sisters have all been fiddle champions, both in their home-state of Texas and on a national level. Accompanied by Daniel Parr on upright bass and Simon Stipp on guitar, the ladies proved themselves proficient in everything from the Western Swing of Bob Wills and the Texas Swing of Ray Benson to the Big Band sounds of Ella Fitzgerald and Benny Goodman to the pure Country of Hank Williams, Connie Smith and Jeannie Seely and the myriad of connective styles between. The highlights came fast and furious, as the group kicked things of with an anthem of the Mexican Revolution of 1912, the instrumental workout, “Jesse Polka.” From there, it was on to a beautiful version of Hank Senior’s classic honky-tonk tear jerker, “Cold Cold Heart,” with amazing harmony vocals from the trio, huddled around a single microphone, like the radio and Opry stars of yore. The hillbilly boogie of Moon Mullican’s “Every Which A-Way” led into “Twin Guitar Special,” a classic fiddle hoedown from the Quebe’s biggest influence, Bob Wills and His Texas Playboys. Bridging the gap between Western Swing and the “tear-in-my-beer” Country and Western tunes so prominent in the 1960s was a number written by Cindy Walker and recorded by Wills, “Going Away Party.” The high harmony vocals and the plaintive strains of the fiddles lend an air of authenticity that three twenty-somethings like Hulda, Grace and Sophia simply should not possess. “If I Talk To Him” is full-on Country misery, as Sophia takes the lead on the Connie Smith sob-fest; the harmonies, as always, are beautiful but, it’s also nice to hear each sister take a lead.

The Quebe Sisters (Daniel Parr; Grace, Sophia, Hulda Quebe; Simon Stipp) (photo credits: DARREN TRACY)

The Quebe Sisters (Daniel Parr; Grace, Sophia, Hulda Quebe; Simon Stipp) (photo credits: DARREN TRACY)

After a couple of true Country tunes, a version of Roy Rogers’ “Along the Navajo Trail” (which was later recorded by – among others – Wills and the Playboys; the Quebes recorded a version with Benson and his group, Asleep At the Wheel last year for an album called STILL THE KING: CELEBRATING THE MUSIC OF BOB WILLS AND HIS TEXAS PLAYBOYS) and “Once a Day,” written by Bill Anderson and originally recorded by Connie Smith, things started to get a bit adventurous with trips down avenues rarely traveled by a group such as the Quebe Sisters. These excursions included “How High the Moon,” a Jazz number first recorded by Big Band legend Benny Goodman and a later, more popular version by the duo of Les Paul and Mary Ford; “Be My Life’s Companion,” a vocal hit for both crooners the Mills Brothers and Rosemary Clooney; the Rhythm and Blues barn-burner (and early template for the music we call Rock and Roll), “Teardrops From My Eyes,” a song that propelled Ruth Brown to the top of the R and B charts; and set-closer “It’s a Sin To Tell a Lie,” a Country Blues ballad made popular by Fats Waller and recorded by the Ink Spots, among many others. As each of the trio, as well as Stipp and Parr, performed near-mind-numbing solos and the Quebes displayed further talents with dual and triple harmony fiddle leads, I, nevertheless, found myself engulfed in the sound of the transcendent female voices, blending in perfect harmony. Both Jeannie Seely’s “Leaving and Saying Goodbye.” a hit for Faron Young, and one of Willie Nelson’s most examples beautiful compositions, “Summer of Roses,” sent chills down my spine.

The Quebe Sisters (Grace Quebe; Daniel Parr, Sophia Quebe; Hulda Quebe) (photo credits: DARREN TRACY)

The Quebe Sisters (Grace Quebe; Daniel Parr, Sophia Quebe; Hulda Quebe) (photo credits: DARREN TRACY)

Aside from the already-alluded to “It’s a Sin To Tell a lie,” the final portion of the set was given over to classic Folk numbers, beginning with Woody Guthrie’s “Sally Goodin,” which turned into a fiery fiddle breakdown, again highlighting the individual and collective talents of the Quebe Sisters. Perhaps the most stirring moments of the show came with a medley of early nineteenth century Folk tunes, one quite English in origin, the other unmistakably American. Starting with the haunting “The Wayfaring Stranger,” the group’s strong vocals and the weariness evoked by the moans of the fiddles had the entire room transfixed; “Speed the Plow” was, likewise, very emotionally charged and moving. I’ve tried to give words to the soaring voices and exemplary playing of the Quebe Sisters; I’ve attempted to describe the genre-bending musical choices played on this night. I’m not exactly sure how best to describe what happened on the fourth floor of the Sheldon Concert Hall on the evening of February 17, 2016, other than to say that this was the music of America (call it “Americana,” if you must), played by what may very well be the best and the brightest we have to offer.


JOHN LODGE: 10,000 LIGHT YEARS AGO

(Esoteric Antenna; 2015)

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I’m rather late coming to this one, which is odd because I am a big Moody Blues fan. I think the Moodys are one of the most underrated (at least by official organizations) bands of all time, and in particular, I think Justin Hayward is an incredible singer/songwriter that deserves some kind of special creative inspiration award for the way he transformed the Moodys from an average ’60s pop band to an incredibly evocative, haunting poetic soft prog band. In fact, there is a new film out about the significance of DAYS OF FUTURE PAST in the annals of rock music. Okay, there were others involved in that process, but… it was mostly Justin. However, this review is supposed to be about John Lodge. His second solo disc is titled 10,000 LIGHT YEARS AGO, and it begs the question, as solo outings always do, what interesting things did John have to share with us that could not fit into the confines of the Moodys’ work? Well, maybe that’s not fair – a parent band generally has a signature sound that everyone contributes to; solo albums allow the “lesser” members to do something where they are in control. John Lodge is a vital part of the Moody Blues, and his collaborations with Justin Hayward have made for some of the best music of all time, up to and including their peerless 1975 BLUE JAYS outing. But vocally, he certainly takes a back seat to Justin’s emotive singing. That said, if you cue up the tune “Simply Magic,” you’ll not only get an acoustic charmer of a tune, you’ll get three Moody Blues – as Ray Thomas and Mike Pinder, both of whom left the band after their heyday, make guest appearances. It’s a breezy little tune. I didn’t respond much to “In My Mind” and “Get Me Out of Here,” both of which struck me as rather bland. Somewhat better is the violin and accordion-laden “Love Passed Me By,” a snappy little supper club tune that sounds like John Lodge making music far apart from his homies. He seems really engaged in this track. One thing, though… after years of making poetic, innovative music with his bros Justin Hayward and Graeme Edge, couldn’t Lodge come up with better lyrics than “Love passed me by/When you said goodbye/For another guy/Gone was the chance/Of our romance/When you said goodbye/Now as I lay in my cold and lonely room/It’s the day love passed me by.” C’mon, John, you were involved in tunes like “Tuesday Afternoon,” “Ride My Seesaw,” and “Question”… you’re gonna tell me that sophisticated comps like that didn’t raise the stakes for ya? Most is forgiven with the out and out rock & roll of “(You Drive Me) Crazy,” which is a ton of fun and might be as loose as Lodge has ever sounded in a recording studio. “Lose Your Love” is quite yucky, and Lodge doesn’t have an interesting enough voice or approach to pull off the bland lyrics and overly familiar subject matter here. The closing title track seems like an attempt to utilize some aspects of the Moodys’ sound in a solo context, and while it has a little bit of grandeur and definite forward motion, I couldn’t help wondering what the song might have risen to if Hayward had been the co-writer. Not much original here, honestly.

John Lodge (publicity photo courtesy: ROGERS AND COWAN)

John Lodge (publicity photo courtesy: ROGERS AND COWAN)

It’s gotta be tough, being in a legendary band and thinking you have more to say than what the band will allow. The creative impulse cannot be denied, but the fact is, countless solo albums from bands like the Moody Blues, Yes, Genesis, Pink Floyd and others from the progressive era simply fell way short of expectations. Justin Hayward, as the primary force in the Moodys, always seemed so prolific that he had to get his solo stuff out there, and it retained a familiarity overall that kept fans pleased. While some of Lodge’s tunes rise to the level of melodic pleasantry, there is definitely a sense of something missing on 10,000 LIGHT YEARS AGO. You want it to be dramatic, like the title… searching, thoughtful, maybe even a little epic. At best, though, it is amiable, well-crafted and inoffensive. It’s a “question of imbalance,” a thwarted “search for the lost chord” that would stick with you somehow if these songs were richer in detail, even if most Moodys’ fans will at least be glad this second Lodge outing exists at all.


THE HILLBENDERS: TOMMY – A BLUEGRASS OPRY

(Compass Records; 2015)

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Ambition is an awesome thing. In music, it often leads to groundbreaking work or concepts, and this here album from Springfield, Missouri bluegrass band the Hillbenders is a doozy in that regard. The notion of doing a bluegrass interpretation of the Who’s legendary TOMMY album seems preposterous at first… how could the sonic intricacies and intense storyline of Pete Townsend’s magnum opus be re-interpreted in such a different genre, one as down to earth as Ozarks-style bluegrass? The fact that it works so well says a great deal about the abilities (and pure ATTITUDE) of this band – guitarist Jim Rea, mandolinist Nolan Lawrence, dobro player Chad Graves, banjo player Mark Cassidy and bass player Gary Rea. Pete Townsend himself gave a thumbs-up to the record and invited the band to a show on the Who’s recent tour, doing photos with them. So yeah, this crazy project is a success. But how does it SOUND? Well, the amazing thing is that the band largely sticks to the structure of the original songs. It’s just that in place of electric guitars, Roger Daltrey’s peerless vocals and Keith Moon’s powerhouse drumming, you get, well, acoustic instruments like banjo and dobro. There are no long, jammy bluegrass workouts of the type often seen in the genre… the Hillbenders adhere to the original song structures. That is striking on tracks like the magnificent “Overture,” the carefully rendered “Amazing Journey” (which really IS amazing in this sassy, grassy rendition) and the classic “Pinball Wizard,” a rousing performance in which the band makes sure their energy matches the original, and renders the concern about whether a banjo and mandolin could possibly match what Pete did on the original absolutely moot. “Tommy, Can You Hear Me” is delivered simply and soulfully, with perfectly pleasant harmonies. “Sally Simpson” becomes a truly curious hybrid, a song that, thematically, would likely never see its ilk on another bluegrass album. I mean, this is rock and roll in its energy and pure panache. What a revelation to hear the Who’s richly layered classic rock presented in such a different manner. It says something about the universality of music and themes that the Hillbenders could pull this off so thrillingly.

The Hillbenders (Nolan Lawrence, Chad "Gravy Boat" Graves, Gary Rea, Jim Rea, Mark Cassidy) (publicity photo)

The Hillbenders (Nolan Lawrence, Chad “Gravy Boat” Graves, Gary Rea, Jim Rea, Mark Cassidy) (publicity photo)

Not everything brings the awe, though. Daltrey’s haunting “See Me, Feel Me” performance in its two appearances on the original is a work of vocal majesty that inevitably loses something in the simpler, more rustic approach taken here. Similarly, the drama and shifting elements of “Welcome” as a composition are diminished in this arrangement… maybe by this point, the sound is just getting too samey. And “We’re Not Gonna Take It” is missing an edge it badly needs. But gosh, songs like “Christmas” and especially, “Sensatiion,” are utterly inspired and perfectly performed by the Hillbenders, giving fresh life to compositions that most of us from the classic rock era know like the backs of our hands. There is something revolutionary about hearing a modest Ozark string band fearlessly take on a classic rock opera by legendary Brits, and do it with their own personalities and aesthetic intact, triumphantly. It’s a bold leap into rarified musical territory, and it proves once again that all things are possible if you’ve got courage, chops and, well, a pretty awesome source work. Here’s to the Hillbenders for TRULY “kicking out the jams” in every way.


LOVE: REEL-TO-REAL

(HIGH MOON RECORDS/RSO RECORDS; reissue 2015, original release 1974)

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Love’s seventh official album, REEL-TO-REAL, was seven years removed from the classic psychedelia of the brilliant FOREVER CHANGES and, seemingly, light years away musically. Arthur Lee had steered the Love boat (sorry… couldn’t resist the bad pun) solo since the original group disintegrated due to in-fighting and drug abuse after FOREVER CHANGES and, while each subsequent album featured a song or two that evoked the first three records, Lee had a tendency to ramble without Love’s other songwriter and vocalist, Bryan MacLean, taking at least some of the creative load off. After four years (and four albums) with Elektra and two records for Blue Thumb in 1969 and 1970, Arthur put the Love name to bed and recorded the hard-rocking solo record, VINDICATOR. In 1973, Lee put together a new Love and recorded an album called BLACK BEAUTY; unfortunately, the label, Buffalo Records, went belly-up before the record could be released (a remastered version of BLACK BEAUTY finally saw release through Half Moon Records in 2013). Invigorated by the sound of the new Love, Arthur Lee began work on what would become REEL-TO-REAL, released on RSO Records in 1974. Now, following the success of BLACK BEAUTY, High Moon has released a deluxe reissue of that 1974 record, complete with 12 bonus tracks of outtakes, demos and alternate versions. “But,” you ask, “was it worth it?” The short answer is, “Yes. Yes, it was.”

Love (Melvan Whittington, Robert Rozelle, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

Love (Melvan Whittington, Robert Rozelle, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

The album kicks off with “Time Is Like a River,” a signal call that this Love is gonna be a funkier proposition than the band’s late ’60s heyday. The song is highlighted by a soulful Arthur Lee vocal with Motown-style female backing vocals. The number also features a galloping drum track from Joey Blocker and great, funky horns; for those jonesing for a touch of the old guard, the psychedelic dual leads and solos – provided by the tandem of Melvan Whittington and John Sterling – more than fit the bill. “Stop the Music” is kind of an old Rhythm and Blues stroll, with some cool slide work from Sterling, a nice, hard rocking solo and a honkin’ bit of harp from Lee. The surprising use of tuba adds a slight New Orleans Jazz flavor, while Arthur does his best Otis Redding. Love channels Stevie and Earth Wind and Fire on “Who Are You?,” with Philip Bailey-like falsetto vocals and a lot of Wonder-ous clavinet effects from Bobby Lyle. “Good Old Fashion Dream” is a great Southern Soul rocker. Almost as a contrast, Lee’s vocals are raspy and urgent, with Sherwood Akuna’s spongy bass line holding the groove together throughout. The acoustic Blues of “Which Witch Is Which” features a few elements of electric rock and roll, most noticeably an awesome backward guitar by guest Harvey Mandel. “With a Little Energy” is a total James Brown funk workout, with the rhythm section of Blocker and Robert Rozelle propelling the tune forward. Arthur’s vocals have a distinct Sly Stone vibe here.

Love (Arthur Lee) (photo credit: MICHAEL PUTLAND)

Love (Arthur Lee) (photo credit: MICHAEL PUTLAND)

What was originally the first cut on Side Two of the 1974 record, “Singing Cowboy” is probably the closest in feel to the original Love’s sound. Sterling’s slide and Blocker’s heavy drums once again shine. The next track had more of an organic beginning, with Akuna, Blocker and Whittington messing with the rhythm in the studio and Lee joining in with some lyrics; “Man, let’s record that,” said Lee. Producer Skip Taylor rolled tape and “Be Thankful For What You Got” was born. Though it isn’t my favorite song on the record, it does feature a funky, rather Caribbean groove; unfortunately, the bass and some faux orchestra parts push it into a proto-Disco sound. “You Said You Would” was one of the more controversial songs as it was being recorded. The chorus of “You said you would/You said you would/Now you’re gone” features gunshot before the last line; everybody but Arthur thought that using the sound effect throughout the tune was… well, overkill, but he wouldn’t budge and that’s how the number was released. The song itself is a return to the poppy psychedelic sound of early Love, with snarky lyrics from Lee, giving it a John Lennon or Harry Nilsson vibe. Hendrixian in scope, if not in execution, “Busted Feet” is a throbbing, pulsating hard rocker. Arthur’s vocals sound urgent and strained to his limits. It’s a cool, welcome departure from the general feel of the album. A ragged acoustic Blues, “Everybody’s Gotta Live,” closes the album proper, reminding me somehow of early, folky Dylan. A nice song and a great way to end a record.

Love (Robert Rozelle, Melvan Whittington, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

Love (Robert Rozelle, Melvan Whittington, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

This nicely packaged reissue clocks in at a hefty 72 minutes plus. The original album was an economical 33 minutes, which means there are nearly forty minutes of extras here… it ain’t all essential but… well, there ya go. The outtakes are pretty cool to hear and the rehearsal stuff is fun… I just kinda think that including a live show from that era woulda been a better choice. Having said that, the first outtake, “Do It Yourself,” is interesting on a couple of different fronts: The shuffling rhythm, funky horns and country-fried psychedelic guitar gives the song the feel of a hard rock version of Earth Wind and Fire; the aforementioned guitar parts are quite reminiscent of the band’s then-label mate, Eric Clapton, a sound and tone and style that, apparently, Arthur Lee loathed. “I Gotta Remember” is a straight on rocker, with Lee’s lyrics and vocals putting one in mind of Jimi. It has a sort of circular arrangement and could have been the hit that RSO label president Bill Oakes was looking for from Love; instead, the song remained unreleased at the time. More Hendrix-like lyrics inform “Someday,” a nifty little Sly and the Family Stone work out with minimal, rather simple instrumentation that focuses more on the basic groove than anything else. “You Gotta Feel It” is a Fats Domino New Orleans stroll with nice guitar and a solid Lee vocal over a rolling, popping bass line. I like the basic premise of the number but, at 3:38, it goes on about two minutes too long.

Love (John Sterling, Sherwood Akuna,  Joe Blocker, Arthur Lee, Herman McCormick, Melvan Whittington) (photo credit: BARRY FEINSTEIN)

Love (John Sterling, Sherwood Akuna, Joe Blocker, Arthur Lee, Herman McCormick, Melvan Whittington) (photo credit: BARRY FEINSTEIN)

The alternate versions of “With a Little Energy” and an electric “Everybody’s Gotta Live,” as well as the single mix of “You Said You Would,” are just okay. The alternate “Busted Feet” is nearly two minutes longer than the version released in 1974, with extended breaks, more vocal histrionics and a wicked, heavy guitar solo. “Stop the Music” uses Arthur’s slightly off-key guitar line as the lead and removes the horns, tuba and harmonica. Lee does a bit of vocal scatting in place of the harmonica. The extended length comes from some pretty funny studio banter. Perhaps the alternate take that differs most from the original album version is “Singing Cowboy.” This version features a faster tempo, as well as a more urgent and upfront slide guitar; there’s also an unhinged wah-infused solo toward the end. The studio rehearsals (more of a warm-up or, in some cases, just goofing around while Lee decided what he wanted to do during a particular session) are nice additions. “Graveyard Hop” is a weird snippet of “Jailhouse Rock,” with reworked lyrics. The piece sounds really ragged and cool. Maybe the most intriguing bonus cut is the band rehearsing the FOREVER CHANGES outtake, “Wonder People (I Do Wonder).” Even though it kind of sounds like an unfinished San Francisco hippie ballad, it does show that Arthur was a bit more receptive to returning to those songs… at least, in the confines of a recording studio. The song actually features a solid guitar solo, even if Lee’s vocals weren’t much more than incoherent scatting. Overall, the re-release of this woefully ignored album is well worth the price of admission and, spotty though it is, holds up really well.