Shout-out to my brother-in-law who brought Popa Chubby to my attention earlier today. Before then, I had never heard of the 60-year-old electric blues-focused guitarist and songwriter from the Bronx, New York, who was born Theodore Joseph “Ted” Horowitz.
Chubby has been playing music for more than 30 years. On his website he describes his style as “the Stooges meets Buddy Guy, Motörhead meets Muddy Waters, and Jimi Hendrix meets Robert Johnson.” These are many names to throw around, but based on YouTube clips I have seen it’s not just empty words.
The above tune is the title track of Chubby’s most recent album that came out in March this year in celebration of his 30th anniversary as a blues artist. It’s one of 13 original tracks on the record that also includes covers of Freddie King’sI’d Rather be Blind and Prince’sKiss.
I’m pretty sure I’m going to further explore Chubby and write more about him. Until then I’ll leave you with this cool rendition of Jim Hendrix’sHey Joe captured in 2011 on the German music TV program Rockpalast.
Ordinary Madness reflects on blues rock veteran’s eventful life and himself
When I sawWalter Trout at The Iridium in New York City last April, I was struck how openly he talked about the challenges life has thrown at him. One sentence stayed with me in particular: “Personally, I’m happy to be anywhere.” Overcoming drug and alcohol addiction in the ’80s, surviving liver failure and recovering from a liver transplant in 1994, and dealing with dishonest management people are some of the chapters in Trout’s long career. Now, the 69-old blues rock veteran is out with his 29th album Ordinary Madness, on which he reflects about his life and himself.
“There’s a lot of extraordinary madness going on right now,” said Trout in a statement issued by Mascot Label Group, which includes his label Provogue. “This album started because I was dealing with the flaws and weakness inside me. But it ended up being about everyone.” Ordinary Madness may also well be one of Trout’s most compelling albums he has released in his 50-year-plus music career.
When Trout’s previous blues cover collection Survivor Blues came out in January 2019, it was supposed to be packaged with a second album of original songs, he toldAmerican Blues Scene. But the second album wasn’t ready and Trout didn’t have the time to finish it, since he went on the road to support Survivor Blues, the tour during which I caught him. After he returned home and listened to the previously recorded material, he decided to scrap most of it and start over.
“When you are in a blues band you are either in a bus or a van driving for five to six hours at a time,” Trout said, reflecting on his last tour. “I was doing a lot of looking out the window and watching cities, cornfields, and forests go by. I found myself doing a lot of self-reflection about my life and myself. I started writing little notes to myself and I didn’t expect them to be lyrics.” Well, they did, and together with Trout’s great guitar playing, they make for a compelling listening experience. Time for some music!
I’d like to kick it off with the album’s opener and title track. The song starts with what Trout called “a little electronic psychedelia thing,” before launching into a powerful mid-tempo blues. That intro was created by Jon Trout, one of Walter’s three sons who are all musicians. “Jon is getting ready to start at the Royal Conservatory of Music in Denmark as an Electronic Music Major,” Trout proudly noted. “As great of a guitar player as he is, since he has been twelve, he has also done electronic music.” The tune’s lyrics set the tone for the album. It’s ordinary madness/It’s the everyday kind/It ain’t nothing special/It’s just there in your mind/It’s the sadness and the fear/And the anger that you feel every day/It just lays there in your gut/And it won’t go away/It’s just ordinary madness/And it’s here inside of me/Yes, it’s here inside of me…
While I highlighted Wanna Dance in a previous Best of What’s Newinstallment, I just couldn’t could skip this tune, which to me is one of the standouts on the album. “I had Neil Young and Crazy Horse in mind when I wrote the tune,” Trout told American Songwriter. “The way the two guitars play off each other. I recorded the song and brought it home and was playing it for my kids and my 18-year old said it sounds more like Neil Van Halen and walked out of the room!” Dancing is a metaphor for enjoying and celebrating every moment in live, since We ain’t gonna live forever, as Trout sings. This tune just grabs me with what I feel is an epic vibe.
On My Foolish Pride Trout shows he can write more than just blistering blues rockers. The acoustic ballad’s theme came from a phrase he had written down during his last tour on one of the above long bus rides, he told American Blues Scene. “I had my little notebook that I write in on the road and I went through it and found, “Sometimes I do my best, but I fail and I know that happens to everyone. Then I try to hide away my shame, but I get all wrapped up in myself.”…I had not written it to be lyrical. I started strumming my guitar at home and that became the first verse of my song “Foolish Pride.” That is why the first verse of the song does not rhyme because it wasn’t written to be lyrical. I had to write the rest of the song, but I already had the theme to the song which was examining my own limitations, flaws, and weaknesses. Dealing with your humanity, aging, and relationships are all themes examined on this record.” I just love the warm sound of this tune and the Hammond organ’s beautiful contribution in this context.
The slow blues All Out Of Tears is another highlight on the album. I also have to say while Trout undoubtedly is a better guitarist and songwriter than a vocalist, I feel his singing on this and other tracks works very well. I woke up thinking/ That you might be coming home/Then I realized I was dreamin’/That I just laid there all alone/Everyday without you/You know it feel just like a hundred years/My heart is crying/But my eyes are dry/And I’v run out of tears to cry/I’m all out of tears… It’s a classic blues that reminds me a bit of Gary Moore.
I’d like to feature one more song Trout called out when American Blues Scene asked whether he had a favorite tune on the album: Heaven In Your Eyes. “It has sentimental value to me because I was sitting around the living room when I was putting it together,” Trout explained. “I was strumming my acoustic guitar and I came up with this very melodic kind of tune. The melody was very much like a McCartney song. It needed a lot of words and the only line I had was heaven in your eyes. I didn’t know what to do with it. I played it for Marie [Trout’s wife Marie Braendgaard]. She walked out of the room and came back half an hour later with the lyrics. Lyrically the song is all her. She is also the lyricist on three other songs on the record. We have become the songwriting team.”
On Ordinary Madness Trout is backed by his touring band featuring Teddy ‘Zig Zag’ Andreadis (keyboards), Johnny Griparic (bass) and Michael Leasure (drums). There is also his long-time producer Eric Corne and special guests including Skip Edwards (keyboards), Drake ‘Munkihaid’ Shining (keyboards) and Anthony Grisham (guitar). The album was recorded at former Doors guitarist Robby Krieger’s private studio in Los Angeles and completed just days before the U.S. shutdown due to COVID-19.
“It is my favorite studio in the world,” Trout said to American Blues Scene. “The guy who runs the studio and is Robby’s partner is Michael Dumas. Michael is the nicest guy and he is there to help you however he can. Robby has a huge collection of gear. There are all sorts of guitars, amps, drums, and keyboards. Everything you can imagine is there…One day, on my song “Wanna Dance” Robby came in and listened to my solo. He stood there and at the end of the solo he looked over at me and he had a great big smile on his face. That felt great.”
I’d like to wrap things up with something Trout toldAmerican Songwriter, which I think perfectly sums up what he’s all about. “The word authentic with the blues can get you into trouble. People say, ‘you’re a white kid from the suburbs, how can you be authentic?’ I’m not from Clarksdale, Mississippi and I didn’t pick cotton. To me, the only way for me to be authentic is to play from my heart and my soul with all the honesty and meaning I can put into the music. If I can play a gig and then get to the hotel and look in the mirror and say I gave them everything I have tonight and played from my heart with all the emotion and feeling I can convey to them, then that’s how I can be authentic. I have to be authentic to who I am.”
Sources: Wikipedia; Mascot Label Group; American Blues Scene; American Songwriter; YouTube
“Playing fast is something I used to do with John [Mayall] when things weren’t going well. But it isn’t any good. I like to play slowly and feel every note.” I think this quote from Peter Green, which was included in a June 16, 2020 feature by Guitar World, nicely reflects the philosophy of the English guitarist. About six weeks after that story had been published, Green passed away “peacefully in his sleep” on July 25, 2020 at the age of 73, as reported by the BBC and many other media outlets. This post is a late recognition of a great artist I only had known from some of his excellent work with the early Fleetwood Mac.
It’s really unfortunate that oftentimes it takes a death or other tragic event to get somebody on your radar screen. When it came to Peter Green, I first and foremost viewed him as this great British guitarist who wrote the fantastic tune Black Magic Woman, which I initially thought was a Santana song, and Albatross, an instrumental with one of the most beautiful guitar tones I’ve ever heard. As I started to explore some of Green’s post-Fleetwood Mac work, perhaps one of the biggest revelations was that apart from his guitar chops he also had a pretty good voice.
This post doesn’t aim to be a traditional obituary. You can find plenty of such pieces elsewhere. Instead, I’d like to focus on Green’s music, especially beyond Fleetwood Mac. Interestingly, Peter Allen Greenbaum who was born in London on October 29, 1946, started his music career as a bassist. According to the above BBC story, it was an encounter with none other than a young Eric Clapton that convinced Green to switch to guitar. “I decided to go back on lead guitar after seeing him with the Bluesbreakers. He had a Les Paul, his fingers were marvellous. The guy knew how to do a bit of evil, I guess.”
Not only did Green manage to retool fairly quickly, but before he knew it, he ended up replacing Clapton in The Bluesbreakers. Here’s a nice anecdote that’s included in the previously noted feature in Guitar World. When John Mayall & The Bluesbreakers assembled for the sessions to record their sophomore album A Hard Road in October 1966, producer Mike Vernon nervously asked, “Where’s Eric Clapton?” Mayall replied, “He’s not with us any more, but don’t worry, we’ve got someone better.” Apparently, somewhat in disbelief, Vernon said, “You’ve got someone better – than Eric Clapton?” Mayall responded, “He might not be better now, but in a couple of years, he’s going to be the best.” The Godfather of British Blues simply knew talent when he saw it!
Here’s The Supernatural from A Hard Road, a track Green wrote. Check out that mighty guitar tone! It reminds me a bit of Black Magic Woman. The instrumental helped establish Green’s trademark sound and earn him the nickname “The Green God.” In case you didn’t know what inspired the post’s headline, now you do!
By July 1967, Green had left The Bluesbreakers and formed his new band initally called Peter Green’s Fleetwood Mac Featuring Jeremy Spencer. Apart from Green (vocals, guitar, harmonica), the lineup included Mick Fleetwood (drums), Jeremy Spencer (vocals, slide guitar, piano) and John McVie (bass). Not only had all of them been previous members of The Bluesbreakers, but John Mayall turned out to be the band’s enabler by offering Green free recording time. Mayall strikes me as somebody who was more than happy to provide apprenticeships to talented up and coming musicians! Here’s Long Grey Mere, a tune Green wrote for Fleetwood Mac, the February 1968 debut by the band that by then was called Peter Greene’s Fleetwood Mac. Bob Brunning, who technically was the band’s first bassist before John McVie joined, played bass on the track.
In early 1970, Fleetwood Mac were on tour in Europe. At that time, Green had become a frequent user of LSD. In Munich, Germany, he ended up visiting a hippie commune and “disappearing” for three days. A New York Timesobituary included a later quote from Green saying he “went on a trip, and never came back.” After a final performance on May 20 that year, he left Fleetwood Mac. The following month, Green started work on what became his first solo album, The End of the Game. Released in December of the same year, the record featured edited free-form jazz rock jam sessions, marking a radical departure from his music with the Mac. Here’s the title track.
Following his solo debut, Green’s output became unsteady. In 1971, he briefly reunited with Fleetwood Mac, filling in for Jeremy Spencer after his departure to help the band complete their U.S. tour under the pseudonym Peter Blue. Beasts of Burden is a single Green recorded with fellow British guitarist Nigel Watson, who many years later would become part of Peter Green Splinter Group. The tune later was added to an expanded version of the above album.
Eventually, Green’s mental health issues took a heavy toll. He was diagnosed with schizophrenia and ended up being in psychiatric hospitals in the mid-’70s, undergoing electroconvulsive therapy – yikes! To me, this frighteningly sounds like One Flew Over the Cuckoo’s Nest, the 1975 picture starring Jack Nicholson, one of his best performances I’ve ever watched. Luckily, Green reemerged professionally and in May 1979 released his sophomore solo album In the Skies. Here’s the great title track and opener, which Green co-wrote with his wife Jane Greene (nee Samuels) whom he had married in January 1978. Sadly, the marriage was short-lived and ended in divorce in 1979.
Starting with his next album Little Dreamer from April 1980, Green mostly relied on others to write songs for him, including his brother Mike Green (born Michael Greenbaum) for next few years. Here’s the groovy opener Loser Two Times. While the song was written by Mike Green, one cannot help but notice these words feel very autobiographic. I’m a loser two times/I’m a loser two times/I tried to change my ways but I was too blind/I lost my money, I lost my girl/And now I’ve almost lost my mind/Yes, I’m a loser two times…
Peter Green’s first reemergence from his health challenges ended with Kolors, his sixth solo album from 1983, which largely consisted of songs from previous recording sessions that had been unreleased. According to The New York Times, Green’s medications essentially incapacitated him. Eventually, he managed to wean himself from prescription tranquilizers in the ’90s. In 1997, he returned to music for the second time with Peter Green Splinter Group. Here’s Homework from their eponymous first album, a tune by Dave Clark and Al Perkins I had known and liked for many years by The J. Geils Band. The Splinter Group’s rendition features Green on lead vocals.
Time Traders, which appeared in October 2001, was the Splinter Group’s sixth album. Unlike their predecessors that had largely featured covers, especially of Robert Johnson, Time Traders entirely consisted of original tunes that had been written by members of the band. Here’s Underway, an instrumental by Green, which first had appeared on Fleetwood Mac’s third studio album Then Play On from September 1969. The track showcases more of that magic tone Green got out of his guitar.
February 2003 saw the release of the Splinter Group’s eighth and final album Reaching the Cold 100. Here’s Don’t Walk Away From Me, written by Roger Cotton, who played guitar, keyboards and organ in the band, featuring Green on guitar and vocals. Beautiful tune with a great sound – and yet another good example of Green’s vocal abilities!
The final track I’d like to highlight is Trouble in Mind, which Peter Green released together with Ian Stewart, Charlie Hart, Charlie Watts and Brian Knight in February 2009. Written by jazz pianist Richard M. Jones, the blues standard was first recorded by singer Thelma La Vizzo in 1924. It was also covered by Dinah Washington, Nina Simone and many other artists.
Peter Green was inducted into the Rock & Roll Hall of Fame in 1998 together with Fleetwood Mac, including Stevie Nicks, Mick Fleetwood, Lindsey Buckingham, John McVie, Jeremy Spencer, Danny Kirwan and Christine McVie. In June 1996, Green was voted the third greatest guitarist of all time in Mojo magazine. And in December 2015, Rolling Stoneranked him at no. 58 in their list of 100 Greatest Guitarists of All Time. No matter how you rank Peter Green, there’s no doubt the “Green God” was a master of tone and I think an undervalued vocalist.
Sources: Wikipedia; Guitar World; BBC; The New York Times; Rolling Stone; YouTube
Frequent visitors of the blog and others who have a good idea about my music taste know I really dig vocals, especially multi-part harmony singing. In fact, when it comes to artists like The Temptations, I could even do without any backing music. That’s why felt like shaking things up a little and putting together this collection of tracks that shockingly don’t have any vocals. Once I started to reflect, it was surprisingly easy to find instrumentals I really like – yes, they do exist and, no, I don’t miss the vocals!
Since I still play guitar occasionally (only to realize how rusty I’ve become!), I decided to focus on primarily guitar-driven tracks. While I’m sure you could point me to jazz instrumentals I also find attractive, the reality is I’m much more familiar with other genres, especially in the rock and blues arena. Most of the tracks in this post came to my mind pretty quickly. The John Mayall and the Blues Breakers and Steve Vai tunes were the only ones I picked from a listGuitar World put together.
I’ve always thought Hank Marvin had a really cool sound. Here’s Apache, which was written by English composer Jerry Lordan and first recorded by Bert Weedon in 1960, but it was the version by The Shadows released in July of the same year, which became a major hit that topped the UK Singles Chart for five weeks.
John Mayall and the Blues Breakers/Steppin’ Out
Steppin’ Out is a great cover of a Memphis Slim tune from the debut studio album by John Mayall and the Blues Breakers from July 1966. It was titled Blues Breakers with Clapton featuring, you guessed it, Eric Clapton, who had become the band’s lead guitarist following the release of their first live album John Mayall Plays John Mayall that appeared in March 1965.
Pink Floyd/Interstellar Overdrive
My Pink Floyd journey began with their ’70s classics Wish You Were Here and The Dark Side of the Moon. Much of their early phase with Syd Barrett was an acquired taste, especially experimental tunes like Interstellar Overdrive from Floyd’s debut The Piper at the Gates of Dawn released in August 1967. It’s one of only two tracks on the album credited to all members of the band at the time: Barrett, Roger Waters, Richard Wright and Nick Mason.
Deep Purple/Wring That Neck
Wring That Neck is a kick-ass tune from Deep Purple’s sophomore album The Book of Taliesyn that appeared in October 1968. As was quite common for the band, Jon Lord’s mighty Hammond organ pretty much had equal weight to Ritchie Blackmore’s guitar. That’s always something I’ve loved about Deep Purple, as much as I dig guitar-driven rock. Wring That Neck was co-written Blackmore, Lord, bassist Nick Semper and drummer Ian Paice.
Yes, I know, I featured this gem only recently on July 25 when Peter Green sadly passed away at the age of 73. I’m also still planning to do a follow-up on this extraordinary guitarist. But I just couldn’t skip Albatross in this collection, which Green wrote and recorded with Fleetwood Mac in October 1968. The track was released as a non-album single the following month. It’s a perfect example of Green’s style that emphasized feeling over showing off complexity, speed and other guitar skills. With it’s exceptionally beautiful tone, I would rate Albatross as one of the best instrumentals, perhaps even my all-time favorite, together with another track that’s still coming up.
The Allman Brothers Band/Jessica
Jessica first appeared on The Allman Brothers Band’s fourth studio album Brothers and Sisters from August 1973. It also became the record’s second single in December that year. Written by lead guitarist Dickey Betts, the tune was a tribute to jazz guitar virtuoso Django Reinhardt. Betts named the tune after his daughter Jessica Betts who was an infant at the time. When you have such beautiful instrumental harmonies, who needs harmony vocals? Yes, I just wrote that! 🙂
Santana/Europa (Earth’s Cry Heaven’s Smile)
Santana’sEuropa (Earth’s Cry Heaven’s Smile) is the other above noted tune, which together with Albatross I would perhaps call my all-time favorite guitar-driven instrumental. In particular, it’s the electric guitar tone that stands out to me in both of these tracks. Co-written by Carlos Santana and his longtime backing musician Tom Coster who provided keyboards, Europa was first recorded for Santana’s seventh studio album Amigos from March 1976. It also appeared separately as a single and was also one of the live tracks on the Moonflower album released in October 1977.
Steve Vai/The Attitude Song
When it comes to guitarists and their playing, I’m generally in the less-is-more camp. That’s why I really must further explore Peter Green whose style should be up right up my alley. Sometimes though shredding is okay. I was going to include Eddie Van Halen’sEruption, but it’s really more an over-the-top guitar solo than an instrumental. So I went with Steve Vai and The Attitude Song, a track from his solo debut album Flex-Able from January 1984. I definitely couldn’t take this kind of music at all times. In fact, as I’m listening to the tune while writing this, it’s actually making me somewhat anxious. While the harmony guitar and bass action sound cool, like most things, I feel it should be enjoyed in moderation! 🙂
Stevie Ray Vaughan/Scuttle Buttin
Scuttle Buttin’ by Stevie Ray Vaughan isn’t exactly restrained guitar playing either. But while like The Attitude Song it’s a shredder, the tune has never made me anxious. I think that’s largely because I really dig Vaughan’s sound. Yes, he’s playing very fast and many notes, yet to me, it comes across as less aggressive than Vai who uses more distortion. Written by Vaughan, Scuttle Buttin’ appeared on his excellent second studio album Couldn’t Stand the Weather released in May 1984.
Jeff Beck/A Day in the Life
The last artist I’d like to feature in this collection is another extraordinary guitarist with an amazing tone: Jeff Beck. His unique technique that relies on using his thumb to pick the guitar strings, the ring finger to control the volume knob and his pinkie to work the vibrato bar of his Fender Stratocaster creates a unique sound no other guitar player I’ve heard has. Here’s Beck’s beautiful rendition of The Beatles tune A Day in the Life. It was included on In My Life, an album of Fab Four covers compiled and produced by George Martin, which appeared in October 1998.
While I don’t ever feel I need a specific reason to write about the blues, I can’t deny the timing of this post isn’t entirely coincidental. The other day, I watched a Q&A with Walter Trout that was streamed online, during which he answered questions fans had submitted. At some point, he talked about his influences and in this context noted The Paul Butterfield Blues Band and their eponymous debut album from October 1965. Well, evidently, Trout’s got great taste!
Frankly, I could have picked any tune from this record, which is just outstanding from the first to the last bar. So let’s kick it off with the opener Born in Chicago. It was written by blues, rock and folk singer-songwriter Nick Gravenites, who became best known as the lead vocalist for The Electric Flag and his work with Janis Joplin and Butterfield Blues Band guitarist Mike Bloomfield.
Apart from the great music, I’d like to call out the tune’s lyrics. These words could have been written in present-day America – something to think about as the country’s so-called leaders present alternate facts, while they pretend to celebrate the nation’s birthday with grandiose and thoughtless mass gatherings in the middle of a deadly pandemic!
I was born in Chicago 1941/I was was born in Chicago in 1941/Well, my father told me/”Son, you had better get a gun”/Well, my first friend went down/When I was 17 years old/Well, my first friend went down/When I was 17 years old/Well, there’s one thing I can say about that boy/He gotta go…
As frequent visitors of the blog know, I just dig vocals, so let’s shake things up a little with a great instrumental. Thank You Mr. Poobah was co-written by Bloomfield, Paul Butterfield and the band’s keyboarder Mark Naftalin. I love that tune’s groove fueled by Jerome Arnold’s walking bass and Sam Lay’s drum work. And there’s also Bloomfield’s masterful guitar-playing and Butterfield’s great harmonica work. Frankly – dare I say it – when the music is so nicely rockin’ and rollin’, who needs vocals! Yes, that just came from the guy who likes to wine about certain tracks, especially in prog rock, which seemingly have endless instrumental parts with no vocals! 🙂
While it’s perhaps an obvious choice, I just couldn’t skip I Got My Mojo Working – what a killer rendition of the Muddy Waters tune that originally came out in April 1957! ‘Nuff said, here it is!
Let’s move on to another original, Our Love Is Drifting, co-written by Butterfield and the band’s second guitarist Elvin Bishop. It’s a great mid-tempo blues track. Butterfield’s singing, Bishop’s guitar work and Arnold’s bassline are the standouts to me in this tune.
I’d like to wrap up things with another blues classic: Mystery Train written by Junior Parker and produced by Sam Philips in 1953. Elvis Presley was the first among many other artists who covered the tune.
The Paul Butterfield Blues Band was the first of six albums Butterfield released under that name between 1965 and 1971. The band saw various line-up changes already starting with its sophomore album East-West from August 1966, which featured Billy Davenport on drums. Bloomfield who had tired of the band’s intense touring schedule left in 1967 to form The Electric Flag. Among others, that band included the above-noted Gravenites (rhythm guitar, vocals), Barry Goldberg (keyboards), Harvey Brooks (bass) and Buddy Miles (drums), who later became a member of Jimi Hendrix’s Band of Gypsies.
The Paul Butterfield Blues Band’s eponymous debut album essentially was ignored when it came out, at least from a chart perspective. It only climbed to number 123 on the Billboard 200. I’m also a bit surprised it merely ranked at no. 468 on Rolling Stone’s 2012 list of The 500 Greatest Albums of All Time. Well, it least they did include it, along with the following commentary: Where American white kids got the notion they could play the blues. This band had two kiler guitarists: Michael Bloomfield and Elvin Bishop. Jeez, there’s even a typo in there – what an embarrassment!
A selection of newly released music that caught my attention
Here’s the latest installment of my recurring new music feature. It nicely illustrates that great new music isn’t a matter of age. In fact, I’ve said it all along: Old guys rock! 🙂 Three of the following artists have been around for 50 years, while the remaining three represent a younger generation. There’s some blues rock, coz you rarely can go wrong with it; some prog and art rock; some post punk rock; and some indie rock and pop. Let’s get to it!
Walter Trout/Wanna Dance
Long-time blues rocker Walter Trout, who originally hails from Ocean City, N.J., is a survivor – literally. He started his music career on the Jersey shore scene in the late 1960s. After relocating to Los Angeles in the early ’70s, the guitarist became a sideman for John Lee Hooker, Percy Mayfield, Big Mama Thornton and Joe Tex, among others. From 1981 to 1984, Trout was the lead guitarist for Canned Heat. In 1984, he joined John Mayall’s Bluesbreakers and, as he noted during a recent one-hour online chat, it was Mayall who encouraged him not to copy other previous Bluesbreakers’ lead guitarists like Peter Green and Eric Clapton but to develop his own style. Trout did, left the Bluesbreakers in 1989 and launched his solo career. He has since released more than 20 albums. In 2014, things got dicey when Trout was diagnosed with liver failure – likely a result from alcohol and substance abuse he overcame in the ’80s. A liver transplant saved his life just in time. After a long recovery, Trout was able to return to music, which as he has said is the only thing he could ever do. Released on June 12, Wanna Dance is a great blues rocker from Ordinary Madness, an upcoming album of all original music, scheduled for August 28. I saw Trout in New York City in April 2019 and witnessed firsthand he is a compelling, no BS artist. Really looking forward to this record!
Ohmme/Flood Your Gut
Ohmme (formerly know as Homme) are an indie rock band from Chicago formed in 2014 by singer-songwriter and multi-instrumentalists Sima Cunningham and Macie Stewart. In 2016, Matt Carroll joined the two young women on drums. Apple Music characterizes them as “an experimental indie pop band who use their striking vocal harmonies and lean, angular guitar patterns to create songs that are spare but full-bodied, making clever use of dynamics to generate a rich sound out of a small number of elements” – jeez, you wonder whether they pay reviewers by the number of words they stick in one sentence! Ohmme takes the opposite approach on their Facebookpage: “An experiment with voice, guitar, and sound.” The band released their debut single in November 2015, followed by an eponymous EP in 2017. Flood Your Gut is the opener to Ohmme’s new (second) studio album Fantasize Your Ghost, released on June 5. Admittedly, the somewhat monotonous trance-inducing sound of this tune didn’t grab me immediately, but the more often I listen to it, the more I dig it – there’s something weirdly catchy about it!
American rock band Kansas may have formed in the early ’70s, but evidently, they aren’t dust in the wind yet. Frankly, I wasn’t aware the band is still active. Granted, Kansas have gone through many lineup changes in their 50-year history; if I see this correctly, it appears guitarist Rich Williams and drummer Phil Erhart are the only remaining founding members, who have been on all of the band’s 15 studio releases that came out between 1974 and 2016, as well as their upcoming album The Absence of Presence, scheduled for July 17. I’m mostly familiar with Kansas’ better known tunes like Carry On Wayward Son, Dust in the Wind, Point of No Return and Play the Game Tonight. I oftentimes feel rock that’s based on simple guitar riffs is best and consider the fantastic Carry On Wayward Son as an exception that proves the rule. Jets Overhead, which was written by guitarist Zak Rizvi and appeared on June 5, is the third track released ahead of the album. You rarely hear a violin solo in a rock song these days. Sounds pretty good to me!
Phoebe Bridgers/Graceland Too
Phoebe Bridgers is a Los Angeles-based 25-year-old singer-songwriter. Apple Music‘s characterization of her music as “folk-based” with “a dreamy and hook-filled indie pop heart” sounds right to me. Apart from her solo work, she’s also a member of indie rock band Boygenius and performs with Conor Oberst in indie rock duo Better Oblivion Community Center. In March 2014, Bridgers released her debut, an EP cheerfully titled Killer. Following what appears to be a live album, 2016 Tour CD, her first full-length studio release Stranger in the Alps appeared in September 2017. Graceland Too is a country-flavored tune from Bridgers’ sophomore album Punisher, which came out on June 18. This song has a beautiful warm sound that nicely blends with Bridgers’ voice.
Elvis Costello/No Flag
Released June 5, No Flag is the first new song by Elvis Costello since Purse, an EP from April 2019, featuring four previously unreleased songs recorded with his band the Imposters. According to a news announcement, Costello recorded No Flag alone in Finland in February this year. “I wanted to go somewhere nobody knew me,” he explained. “So, this is ‘The Helsinki Sound.’” The announcement also asks readers to “look out for the next installment of this story on July 10th” – perhaps a hint to a forthcoming new album? With an unsettling melody and dark lyrics like No time for this kind of love/No flag waving high above/No sign for the dark place that I live/No God for the damn that I don’t give, the timing of the release during the COVID-19 pandemic certainly doesn’t look like a coincidence.
JJ Wilde/Cold Shoulder
JJ Wilde is a singer-songwriter hailing from Kitchener in Ontario, Canada, which is located about 60 miles of Toronto. Wilde started writing and playing guitar during her teenage years. Despite a massive amount of songs and gigging, she apparently struggled in the early part of her career, and ended up working three jobs. When Wilde about to give up music professionally in 2018, she finally got a break, signing with Black Box Recordings. Last year, her debut EP Wilde Eyes, Steady Hands appeared. Ruthless, Wilde’s first full album, was released on June 12. “This album has felt like a long time coming, and no time at all,” wrote Wilde on her Facebookpage. “Most of the inspiration for the album came from an apartment I lived in two years before I started this journey. I was in a dark place, and was very unsure of where my life was going. Almost 4 years later, with countless shows, tours, travelling, writing sessions, I now feel like this album is the complete first draft of an inside look into my world.” Here’s Cold Shoulder. I like this melodic rocker – check it out!
Sources: Wikipedia; Apple Music; Ohmme Facebook page; Kansas website; Elvis Costello website; JJ Wilde Facebook page; YouTube
A selection of newly released music that caught my attention
This latest installment of the recurring new music feature must acknowledge two albums that dropped today by two of the most influential music artists of our time: Bob Dylan and Neil Young. I already covered Young’s record in my previous post, so I’m skipping him here. There is also a new band of veteran session musicians who recently released their first single in the U.S., a great rock tune by an Australian band and a song from a German blues singer-songwriter and guitarist.
Bob Dylan/Goodbye Jimmy Reed
Goodbye Jimmy Reed is a tune from Rough and Rowdy Ways, the new and widely anticipated album by Bob Dylan. It’s his 39th studio record and the first with original material since Tempest from September 2012. In-between, the great music poet put out three cover albums with standards from the American Songbook. I was going to add all that’s missing is a Christmas collection when I just noticed Dylan already checked off that box in October 2009 with Christmas in the Heart. If you’re frequent visitor of the blog, you probably know my sentiments about Dylan range from outstanding to less than brilliant and everything in-between. Regardless, there’s no doubt Dylan is one of the most important singer-songwriters of our time. I also give him huge credit that age 79 instead of releasing yet another cover album, he dropped a collection with brand new songs. Goodbye Jimmy Reed is a tribute to the American electric blues guitarist who influenced Elvis Presley, Hank Williams Jr., The Rolling Stones and many other artists who I have no doubt include Dylan.
The Immediate Family/Cruel Twist
The Immediate Family is what you could call a super group featuring five veteran session musicians: Danny Kortchmar (guitar), Waddy Wachtel (guitar), Leland Sklar (bass), Russ Kunkel (drums) and Steve Postell (guitar). Between them, they have worked individually and together with artists like Jackson Browne, Carole King, Neil Young, Linda Ronstadt, Stevie Nicks, Keith Richards, James Taylor, Bob Dylan, Joe Walsh – and the list goes on and on. It’s yet another illustration that great musicians like to play with great musicians. But throwing together a group of top-notch musicians doesn’t automatically guarantee the outcome is as great as their skills. In this case I have to say I really like what I’m hearing! Cruel Twist is the group’s first U.S. single released on June 12. As reported by Rolling Stone, an EP is planned for October, followed by a full-length album next year.
According to their website, Datura4 are a Western Australian band combining full-tilt boogie, heavy psychedelia, blues and classic rock’n’roll for a sound heavy on riffage and mind-bending wig-outs – okey dokey. Founded in 2009, the band includes Dom Mariani (guitar), Bob Patient (keyboards), Stu Loasby (bass) and Warren “Wazza” Hall (drums). They released their debut album Demon Blues in 2015, followed by sophomore Hairy Mountain in 2016. Give is a great rocker from Datura4’s most recent album West Coast Highway Cosmic, which appeared on April 17. I dig the harmony guitar playing and the keyboard work. These guys are cooking – check it out!
Michael van Merwyk/We’re Human
Michael van Merwyk is a blues singer-songwriter and guitarist from Germany. According to this biography, he has become famous as one of only a few lap steel guitar players in the blues business. Michael performs and entertains fans at large festivals and also smaller clubs throughout Europe, either together in an acoustic duo with a blues harp player and singer Gerd Gorge as Delta Boys or his own band called Bluesoul. The (German) website of Bluesoul also notes van Merwyk started playing guitar at the age of 15 and has been an active musician for almost 35 years. I had never heard of him before. We’re Human is from what appears to be his most recent CD The Bear released on May 8. According to Discogs, the CD was recorded live in studio in December 2019 and January 2020.
Sources: Wikipedia; Rolling Stone; Last.fm; Bluesoul; YouTube
“Self Made Man” mostly features sister act’s familiar brand of roots-oriented blues rock
While breaking new ground can be exciting, sometimes it makes sense to stick to your old guns, especially if your fire power is as mighty as the raw and high-energy roots-oriented blues rock by Larkin Poe. And that’s pretty much what sisters Megan Lovell and Rebecca Lovell have decided to do on their fifth full-length studio album Self Made Man, which appeared today.
I really dig Larkin Poe, so if you’ve visited the blog in recent weeks, chances are you’ve seen some of my previous posts. If you’re new to this band, which at its core is the Lovell sisters, and would like some background, you can find it here. Without further ado, let’s get to some music.
The album kicks off with what essentially is the title track: She’s a Self Made Man. Co-written by the sisters, this tasty blues rocker nicely sets the stage for the record. Typically, Rebecca takes the role of the front woman, providing lead vocals and guitar, while her 2-year-older sister Megan plays smoking lap steel fill-ins and sings backing vocals. Here’s the official video.
I’m going to skip the next three tunes – Holy Ghost Fire, Keep Diggin’ and Back Down South – since I already previously covered them here, here and here. Together with the title track, each of these songs already appeared as singles leading up to the release of the album. Instead, here’s Tears of Blue to Gold, another co-write by the sisters, which illustrates Larkin Poe isn’t a pure breed southern blues rock one-trick pony but also blends in other music styles – in this case country rock.
Every Bird That Flies introduces some keyboards, which I understand are played by Rebecca as well. This adds some welcome variety to the soundscape. The other standout to me here is Megan’s lap steel work. The sisters co-wrote this tune with singer-songwriter Pat McLaughlin, who like them is based in Nashville, Tenn. It’s got a cool vibe.
Next up: Scorpion written by Rebecca. This tune has a great riff and a nice driving beat. Check it out!
The last track I’d like to highlight is the album’s closer EasyStreet. Co-written by Rebecca and Megan with Tony Esterly, another Nashville-based singer-songwriter, the tune is an interesting mix of gospel, country and blues. It’s also a nice illustration that Megan and Rebecca sound great harmonizing together.
According to this review by Glide Magazine, other musicians on the album include Tarka Layman (bass on three tunes) and Kevin McGowan (percussion). In addition, blues rock artist Tyler Bryant plays lead guitar on Back Down South.
Like Larkin Poe’s predecessor Venom & Faith from November 2018, which by the way topped the Billboard Blues Albums chart and received a 2020 Grammy nomination for Best Contemporary Blues Album, Self Made Man is self-produced by the sisters and appears on the band’s own label Tricki-Woo Records. While I think it’s fair to say the latter may explain the relatively basic sound quality, it does give the album a bare bones character that I find charming.
I’m going to leave you with another nice clip of a recent Behind the Mic live streaming performance presented by American Songwriter. It gives you a great idea about these two engaging ladies and their infectious energy together.
Sources: Wikipedia; Glide Magazine; American Songwriter; You Tube
Back Down South is the fourth and latest single from Larkin Poe’s upcoming new album Self Made Man slated to come out on June 12. They announced the release on Friday via their Twitterhandle.
If you’ve visited my blog before, chances are you’ve seen previous posts I did on sisters Rebecca Lovell (guitar) and Megan Lovell (lap steel guitar). For this tune, they teamed up with Tyler Bryant, a 29-year-old blues rock guitarist from Texas, who based on Wikipedia seems to be some kind of wunderkind I should probably check out.
The tune is a nice illustration of Larkin Poe’s approach to blend traditional blues and rock with contemporary sounds like synth claps. Admittedly, I prefer real hand clapping or drums for that matter but also respect what I assume is an attempt to create a more updated sound.
Keep Diggin’ is the third tune from Larkin Poe’s upcoming fifth studio album Self Made Man scheduled to come out on June 12th. Yesterday, they announced the premiere of the song’s official video on their YouTube channel.
This isn’t the first time I’ve written and raved about sister act Rebecca Lovell (guitar) and Megan Lovell (lap steel guitar). For example, you can read about their previous album Venom & Faithhere.
I just find the energy and enthusiasm these two young ladies bring to their music infectious. Their harmony vocals sound amazing as well. Based on the clips on their YouTube channel, Larkin Poe must be great live, and I hope to get a chance to see them at some point. Meanwhile, I’m looking forward to the new album.