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.


RINGO STARR: GIVE MORE LOVE

(ROCCABELLA RECORDS/UNIVERSAL MUSIC GROUP; 2017)

There are a mere handful of people that are readily recognizable by just one name: Cher, Liberace, Siegfried-and-Roy (Which I believe was actually the name of a white tiger that had a very successful show in Vegas until some German sap stuck his head in its mouth and it bit down… hard), Madonna and, apparently, Ringo… some dude that, aside from having one syllable more in his name than Cher (who’s primary claim to fame was from a line in a song by the Tubes: “Oh, God! More beautiful than Cher!”), but one less than Madonna and falling far short syllable-wise to the other two, is the father of a fairly successful rock drummer. Okay… I guess I have to come clean and tell you… I have absolutely no idea who this guy with the large proboscis actually is! Well, other than the drummer for, arguably, the greatest band to ever trod this earth. And, oh, yeah… he can sing a little and he’s not a half bad actor. Other than that, a real nobody! Aaand… I think I’ve got all of the stupid jokes out of my system for this review, so…

RINGO STARR (photo credit: GARY MILLER)

GIVE MORE LOVE kicks off with “We’re On the Road Again,” which features a spendly, snake-charming lead guitar from Steve Lukather (yes, THAT Steve Lukather) and bass from that other guy that Ringo played with back in the 1960s. Ringo is his usual rock solid drummer-type, nothing flash but spot on, nonetheless. His vocals are nice on this song, utilizing a standard rock and roll lyrical tool: We’re on the road and we’re coming to your town. “Laughable” is a pretty solid rocker with another nice guitar part, this time from Peter Frampton. Benmont Tench turns out to be the song’s MVP with some quite effective keyboard coloring, while the bass player (either Sir Paulie or background vocalist Timothy B Schmitt) also delivers a stand out performance. One of the more memorable songs from the album (and, just maybe, from Mister Starkey’s recorded output for the past twenty years or so). “Show Me the Way” is Ringo’s love song to either McCartney, his legions of fans or, – more likely – wife Barbara Bach. The “growing old together” theme is one that only a human who has lived through as many years as this artist can pull off with any kind of conviction. It’s a modest little mid-tempo rocker that definitely hits the mark, proving once again, why we love this guy so much. Lukather again gives us a rockin’ little guitar part; Jim Cox’s organ borders on the exquisite. (That last part didn’t come out quite right, but… it is what it is.) “Speed of Sound” is not the Wings tune, but a rather out-of-character “gotta get away” sentiment from Ringo. There’s quite a nice melody line from Ringo, a gentleman who always seems to deliver the perfect vocal for someone with his limited vocal prowess. Lukather and Frampton shine on guitar and co-writer Richard Marx (who, coincidentally, is NOT dead) offers some nice acoustic backing. “Standing Still” is Ringo revisiting the Country sound of his 1970 album, BEAUCOUPS OF BLUES. The vocals are far more forceful here than on any of the more rocking tunes on this record. A name from the very distant pass – Gary Burr – gets a co-writing credit and adds a bit of acoustic guitar to the proceedings, while Steve Dudas plays the electric and Greg Leisz takes the lead on the dobro, all of which adds up to a most impressive tune!

RINGO STARR (publicity photo)

After a pause to flip the record (there’s just something so exciting and special about turning over a slab of vinyl to get to the rest of the recording, isn’t there?), we’re on to side two. “King of the Kingdom” is co-written by yet another music legend, Van Dyke Parks. The tune features a cool wa-wa guitar lead from Dave Stewart and some tasty sax work from Edgar Winter. The newfound Starkey swagger returns, at least lyrically, though it’s tempered by the punchline, “But, she’s the King of the Kingdom.” The brilliant Nathan East continues his stellar bass playing, introducing a little bit of a Reggae feel to the number. You just knew that Joe Walsh was gonna show up somewhere on this record, didn’t you? Well, “Electricity” is that spot. The Starr of our show is definitely having fun with this one, both vocally and percussively. Tench is back with Don Was pitching in on bass and co-writer Glen Ballard offering up some Fender Rhodes. Another Country number, “So Wrong For So Long,” proves that a bit of tongue-in-cheek goes along way. Stewart, Cox, East and Burr return in various capacities, as does Leisz, this time on the pedal steel. Honestly, as much as I like the rock stuff here, I certainly wouldn’t mind another full-blown Country record from this old fart. “Shake It Up” is Ringo playing Carl Perkins (as he did on “Matchbox” way back when), Edgar supplies some finest-kind rolling boogie-woogie piano. Toss in a spot-on Rockabilly solo from guitarist Dudas, and this one may just be my favorite track on the whole record. The album’s title track and closing number, “Give More Love,” is another echo from the past, with a late ‘50s/early ‘60s atmospheric teen idol kind of tune, the type of song that made Ricky Nelson my sister’s favorite singer. Dudas’ bassy guitar sound is perfect for the song, with the Bissonette brothers (Matt on bass, Greg on percussion) adapting their heavier sound to the proceedings with great success. Ringo in the role of Ringo is, per usual, very Ringo-like and that ain’t a bad thing. This is certainly a nice way to end a record from a guy who’s main claims to fame is as the father of famed drummer Zak Starkey and as the lead in the snubbed-by-the-Academy feature film, CAVEMAN.