Category Archives: SHOW “G”-Views

Here is an album for those of you with a taste for something soulful, playful and has a whistling captivation that’ll have you tapping your feet and smiling with each note. The sound is alive with critters never seen before and although this music is certainly ROOTS music, it is the origin of this species of sound that requires many ears to listen, and perhaps someone will identify this rare treat. Mike Mattison on vocals charges the emotion of each song llowing us to climb right into the lyrics. Paul Olsen‘s guitar is like liquid magma, solid and flowing magically, weaving its own path with destinations at time unknown.
If you could take the guts out Tom Waits, the soul of James Browns‘ soul, and the spirit of one Mississippi John Hurt and put them all into an old cooking pot, that special ingredient that MA sprinkles on to give it that SOMETHING DIFFERENT must be SCRAPOMATIC.

Head over to the groups website here.
or their lables site here.

This past week I have had the best time. Having a sit down dinner and conversations with Mike Mattison and Paul Olsen from ScrapOmatic. Then the fellas reminded the people at Toad’s Place in New Haven what it is all about. The howlin’ soul of Mike’s voice along with the perfectly place notes of Mike’s guitar, they play off each other with a jester’s spirit while those in attendence kept in tune while clapping along. It was like being with a group of friends around a bon-fire, in the woods, deep in the woods. If you like your music with some soul and you like your people real..this is the band for you.

I also had the chance to catch up with Devon Allman and his band Honeytribe. Pedro Arevalo plays slide, George Potsos on bass and Jack Kirkner on keys and Mark Oyarzabal on drums…this band brings the kitchen sink out each night, with authentic blues rock with a handshakes worth of soul. The synergy of this band on stage is something to behold. Shifting from fiery delta blues standards to their own rock-based material, this band inspires all who bear witness to their live performances. Honeytribe has something for all music lovers.

Get out and see both of these acts whenever possible, but in the meantime keep your thirsty ears tuned into greenarrowradio to hear ScrapOmatic and Honeytribe and a whole world of new music for your open minds. LIVE MUSIC IS BETTER…BUMPER STICKERS SHOULD BE ISSUED!

Peace,
MisterG

Well…After chatting with Little Steven and him getting me all worked up about judging the go-go girls competition, I actually made it to the show at Foxwoods. I mingled with the young lady selling the goods, and hope to see her again in November to see what the fortune was?! There were Rolling Rock Girls there too, raffling off a Little Steven signed Gibson…I didn’t walk away with that but I know it was close. I did manage a tee-shirt and a hankerchief. OH YEAH the MUSIC..The Zombies were the headliner and were worth the drive. Still mysterious after all these years and the rhythms were tight. But for me, the MOONEY SUZUKIs stole the show. They sweat rock and roll. They strut and strangle guitar strings and remind those notes who is the boss. This band of NYC was worth the price of admission, not to mention that there were 3 other acts too. I have to admit, the mingling with the promotions people was more appealing to me then the 2 opening acts. I hope to make it to the next two shows, and advise you…IF YOU LIKE ROCK AND ROLL…this is the show for you. LONG LIVE ROCK AND ROLL.

Mister G—->9/20/06

After ten years without a new CD, Joan Jett returns to rock and roll with SINNER. (Ten years if you do not count her Japan-only release NAKED. Several of the songs on NAKED can be found here.) Joan not only looks great but sounds fantastic great! This one’s a rocker and you need to get it! The coolest tune is A.C.D.C., a song written by the band Sweet. This one kicks. Have you seen the video with Carmen Electra? As you can only imagine….HOTT
Ms. Jett is Rock and Roll in it’s raw sense. This album certainly brushes up against a few lines politcally, socially and sexually, but never really crosses any. The song Baby Blue hits me in all the right places, from the intentionally slow start to the slight pause between soft into hard, it just is the tune I keep playing.
Best line for me comes from the first track Riddles, where Ms. Jett speaks of the decision makers of the free world: ” Don’t claim that you represent me when I don’t believe a word that you say!”

But, don’t take my word on this album, go out and get it for yourself and make up your own minds. That is what this album is all about. As veterans of the punk scene, it’s only natural that Joan Jett and the Blackhearts will perform on The Vans Warped Tour 2006, as well as their own tour dates in support of the upcoming release. This summer Blackheart will also re-issue Joan Jett and the Blackhearts’ catalog, completely remastered by Greg Calbi with enhanced elements and bonus tracks.

I am working on getting a brief conversation set up w/ Ms. Jett to hear it from her, hopefully we can make that one work out. She needs to be heard.

For Lotus, the constant touring seems to have finally begun to pay off. Eventually any band on the live music circuit has to reach that “make-it or break-it point,” and with the release of their third album, The Strength of Weak Ties, (released April 4th on Harmonized Records) the Philadelphian organic electronic quintet may have pushed over the proverbial hump. What becomes most apparent throughout this album is Lotus’ maturation as a band and as individual musicians. While Nomad, the band’s second album, flowed smoothly from start to finish, it left a taste of “there could be more” on the listener’s palate. Though still good, it felt like a live band taking their live sound into the studio, and it came out sounding like a glorified bootleg. All the talent and head-bobbing grooves were present, but a sonic void remained after all was said and done. With the new album, Lotus goes deeper into their songwriting and compositions, leaving little room for the “what if?” Clear and concise, it offers a portrait of what a band known for their live shows can produce in the studio setting. Finally, they have created a work of art that will appeal to a target audience outside of the jam scene, while still captivating the faithful “old schoolers.” Calling Lotus a rock band may catch some off guard, but a rock band they are. Before any of the ultra-technological, post-modern gadgetry, samplers, and synthesizers, Lotus maintained a jazzy, organic sound. Mike Rempel, the band’s crafty lead guitarist, has stayed true to his sometimes delicate, sometime ripping guitar style. Chuck Morris (percussion) has added a HandSonic and other intricate grains to fill-in spaces, as do the Miller brothers, who write the vast majority of the band’s tunes. Although the sound has been driven by an eclectic fervor for futuristic flavor, Lotus has remained genuine to their core. When the dust settles, they continue to be a rock & roll band with a range of jazz, funk, world, and electronic textures further amplifying and coloring an increasingly polyphonic product.

The difference is that Lotus now enjoys a much more complete sound…check it out!!!

For years, Patterson Hood and his band Drive-By Truckers have been claiming to be more than just a southern rock band. Dating back to the 2001 release of their double-disc Southern Rock Opera, there has been little argument that the Truckers are one of rock music’s most potent and powerful bands both in the studio and on the stage. But the albums that put them on the map (each one an instant classic) – Rock Opera, Decoration Day and 2004’s The Dirty South – were clearly rooted firmly in the South. And although the band was working to dismantle common misconceptions of southern life – specifically, trying to enlighten folks on “the duality of the southern thing” – the music and the mindset have always been, without question, southern. But with the release of A Blessing and a Curse, the Truckers have finally put their money where their mouth is.
It’s not that they have abandoned the soul of what has made them great; they have simply pushed their sound out from under the Mason-Dixon Line and crafted an edgy rock album that resonates regardless of region. The clear separation from what they’ve done in the past left many longtime fans scratching their heads after the first spin. But after spending time with the 12 tracks on Blessing, it shows itself to be every bit as infectious and amazing as anything that has come before; it’s just different – and that is something any fan of the band should damn well embrace. Mike Cooley‘s “Gravity’s Gone” is etched from the country-blues of Creedence or Sticky Fingers-era Stones, and Hood‘s “Little Bonnie,” a disturbing song about a cousin who dies young and a father who blames himself, is as eerie and heartbreaking as anything that’s come before it. Jason Isbell‘s “Easy on Yourself” is an urgent rocker showcasing his remarkable growth as a songwriter, while his song “Wednesday” is a nod to the Replacements that finds Isbell crooning in a high register he’s never even come close to reaching in the past.
****New West Records

I had a chance to speak to Jason the other day. The band was just beginning their tour in Texas and will be in Ct in july with The Black Crowes and the Robert Randolph Band. A big thanks to Traci for setting up the conversation.

Three years after the debut of Highly Evolved, a 2004 release that barely registered, and frontman Craig Nicholls‘ diagnosis wth Aspergers, the Vines have a new album that came out this month called Vision Valley. Non-believers can say what they like, sometimes good old pop-infused rock that does little more than validate the originality of their influences just feels good. Vision Valley is full of the grunge-heavy chord progressions and slightly strained vocals—that satisfying mix of blues-based guitar and an artsy angst—that got them the Nirvana comparisons in the first place. Just when the resemblance to Cobain sounds almost eerie, Nicholls changes it up with some Beatles-style harmonies and ballads like the title track “Vision Valley” and “Going Gone,” which recall their 2002 Supergrass-esque “Country Yard.” Whether referencing themselves or seminal musicians, The Vines do one thing and do it well; they make seamless rock-n-roll for the post-everything generation.

Shortly after departing the popular Washington DC area blues band The Nighthawks, of which he was a founding member, Jimmy Thackery re-emerged with the power trio Jimmy Thackery & The Drivers in order to put the spotlight firmly on his aggressive and distinctive blues rock guitar style. These selections from Thackery‘s Blind Pig years represent what many fans and critics alike consider to be his most vibrant and creative period to date. Special guests include Lonnie Brooks, Duke Robillard, John Mooney and Reba Russell.
This album as you would expect showcases Thackery‘s masterfull guitar work but does expolit a little weaker of a tool in his voice. Still, this music will drive you to drive, so hit the road and don’t forget to pack the Essential Jimmy Thackery on the trip.

blind pig records 2006

After many years of work, Paul Simon is finally ready to share his long-awaited collaboration with producer Brian Eno (U2, Talking Heads) with the listening public. The 11-track project, named “Surprise,” will be released May 9 in North America via Warner Bros. and a day earlier internationally. Some of the songs set to appear on “Surprise” are “Sons and Daughters,” “How Can You Live in the Northeast,” “Outrageous” and “Father and Daughter,” Simon’s contribution to 2002’s “The Wild Thornberrys Movie” which was nominated for the best original song Academy Award. Guest appearances include guitarist Bill Frisell, drummer Steve Gadd and pianist Herbie Hancock, whose 2005 album, “Possibilities,” featured a new recording with Simon of his “I Do It for Your Love.” “Surprise” is Simon‘s first studio album since 2000’s “You’re the One.”

I am not so sure I will run out to get this one, although I am a Bill Frisell fan.

Xiu Xiu have a real busy 2006 ahead of them with a mountain of projects ready to be unleashed. The band has finished their 5th LP with Deerhoof’s Greg Saunier behind the boards. Titled The Air Force the record is due for release on September 15. Jamie Stewart and company also have a covers EP/7″ package in the works, which will see stripped-down versions of tunes by Nina Simone, Bauhaus, and Elliott Smith. What’s more, the mopey noise-makers will be releasing a collaborative effort with ambient wonder Grouper as well as another XXL (Xiu Xiu and Larsen) effort. And if that wasn’t enough, Stewart is helping compose music for a McSweeney‘s DVD of early 20th century animation. Phew! All that’s left for Xiu Xiu is perhaps a feature film. Maybe A Hard Day’s Night with attempted suicides and analog static?

From what I hear the LP has 11 tracks and you can check out more on this band at: http://www.xiuxiu.org

Eight years separate 2005’s A Bigger Bang, the Rolling Stones‘ 24th album of original material, from its 1997 predecessor, Bridges to Babylon, the longest stretch of time between Stones albums in history, but unlike the three-year gap between 1986’s Dirty Work and 1989’s Steel Wheels, the band never really went away. The tight, sleek, muscular band showcased there was a surprise — they played with a strength and swagger they hadn’t had in years — but a bigger surprise is that A Bigger Bang finds that reinvigorated band carrying its latter-day renaissance into the studio, turning in a sinewy, confident, satisfying album that’s the band’s best in years. I have certainly not found it easy for such praise to come off my tounge for Mick and mates in a long time. What distinguishes A Bigger Bang is that it captures the Stones simply being the Stones, playing without guest stars, not trying to have a hit, not trying to adopt the production style of the day, not doing anything but lying back and playing. But that’s what makes A Bigger Bang a big deal: it’s the Stones back in fighting form for the first time in years, and they have both the strength and the stamina to make the excellent latter-day effort everybody’s been waiting for all these years.

2005 Virgin Records. **** go get it.

I must admit that John Long has something. He has the ability to be real, sound real and sound real good too. In a world where you seem to need to hace a slick style or gimmick of some sort, John Long keeps it to what he knows. The Blues. He has been surrounded by blues music his whole life. His original music will somehow take you back to what you think of as THE BLUES.

Tired of the same ole bluesy sounding music. Do yourself a favor and give a listen to this album if you are tired of the same old, old Blues. Here is some NEW OLD blues. Yeah, I know this review is brief but you need to check this out on your own. I guess it just keeps sounding better each time I give it a whirl.
So, Whirl it…Whirl it a good one.

Gang of Four set the bar for post punk slash, funk, and clang with their situationist rebel music related to Marxist cultural criticism. Their music remains incredibly fresh and totally relevant. This is the record to buy for your intro to the Gang of Four because some proceeds for this actually go to the band. They are dead serious about their work and maybe only smile with the sly smile of those that get away with something profoundly artistic. Wire songs over the years have taken many forms and could be called art-punk post-modern. To me this recording almost resembles a live album. The sound is full, rich and clear. The version of “I Love A Man In Uniform” seems even more danceable and funky now. “To Hell With Poverty” gains a bit in its ferocity. “Damaged Goods” still sounds as good as ever especially when the drums first come in like machine gun fire and Dave Allen’s bass seems even more powerful. “Ether” still sounds like the final warning, so cool and urgent as frontman Jon King and guitarist Andy Gill sing about the “dirt behind the daydream” and “white noise in a white room”. Brilliant.

This album is absolutely essential.

*****

Stay tuned. In late February I will be interviewing bassist Dave Allen of Gang of Four and Pampelmoose.
www.pampelmoose.com

Louis Allen Rawls was born in Chicago on December 1, 1935, and was raised on the city’s south side by his grandmother. He sang in the choir at his Baptist church starting at age seven, and became interested in popular music as a teenager by attending shows at the Regal Theatre, with genre-crossing singers like Joe Williams, Arthur Prysock, and Billy Eckstine ranking as his particular favorites. Rawls also tried his hand at harmony-group singing with schoolmate Sam Cooke, together in a gospel outfit called the Teenage Kings of Harmony.
From gospel and early R&B to soul and jazz to blues and straight-up pop, Lou Rawls was a consummate master of African-American vocal music whose versatility helped him adapt to the changing musical times over and over again, while always remaining unmistakably himself. Blessed with a four-octave vocal range, Rawls’ smooth, classy elegance — sort of a cross between Sam Cooke and Nat King Cole — permeated nearly everything he sang, yet the fire of his early gospel days was never too far from the surface. He made his name as a crooner, first by singing jazz standards, then moving on to soul in the mid-’60s, and capped the most commercial phase of his career with a productive stint at Philadelphia International during the latter half of the ’70s. Even after his days as a chart presence were over, Rawls remained a highly visible figure on the American cultural landscape, pursuing an acting and voice-over career in addition to his continued concert appearances, and doing extensive charity work on behalf of the United Negro College Fund.
Lou Rawls Passed on January 6th of 2006. May he rest in Peace..

Biography by Steve Huey

SOULIN’ 1972
From the opening number “Whole Lotta Woman” you know that you are in for a swingin’ time. The ballad “Love Is a Hurtin’ Thing” and “Breakin’ My Back” were played on top 40 radio. (And with good reason.) “You’re The One” is a wild, soulful number. Lou’s “Don’t Explain” is one of the sassiest versions ever done! There is a little story as Lou sings “Memory Lane” and continues with a monologue followed by “It Was A Very Good Year”. Lou is very loose as he gives this song new definition and life. No one has ever sung “On A Clear Day” like this before or since. Instead of a ballad, Lou sings this song uptempo, but with conviction.

Recommended for those who like a soulfully upbeat male jazz singer.

A friend of mine is collaborating with his favorite musician…on a web designing adventure….which brought me to this cd. With the release of IN A COMA, Matthew Good’s recent best of release….I went to a comfort zone.

This album is one of those rare treats. Solid from top to bottom. Like a perfect cup of morning coffee, the blend of mellow acoustic and ramming electric riffs makes it a sure repeat on the sound system. It travels well on any ride and is a good companion in a snowstorm for sure….

Take a reminder listen to this album if you forgot about it, if you have yet to uncover tis gem….take my advice and check it out.

**** Mr. G

I had such an odd mix of feelings when I found out Morcheeba had a new cd. I was ready for it, I planted myself firmly ready to go…but, that soon ended when I got this cd and realized something was VERY wrong. SKYE is gone!!!! There is a new vocalist who just DOESN’T do it for me.. Skyesound brought the soul to Morcheeba, and her airy, seductive vocals were a HUGE part of what made this band so incredible. Former Noonday Underground member Daisey Martey, a powerfully voiced singer who now sits in the lead position. There is something too different, but maybe change is just difficult for my ears. I like the fact that I can catch a hint of the Velvet Underground throughout this release…..I will give it more chances….

This disc pulls from the four albums Dr. John recorded for the British Parlophone label from 1997 to 2004 (released in the United States on Blue Note and Virgin). In the several decades since his popular emergence as the Night Tripper he’s become one of the respected men of New Orleans music. These 17 songs show him to be drawing from deep Crescent City traditions, as well as R&B, jazz, swing, balladry. The tunes also showcase his work with a range of notable guests (from Paul Weller to Randy Newman to Mavis Staples). These artist prove just how broad their shared influences are. Dr. John truly is a regular guy with a shadow that looms large over New Orleans.

Walter is a long-time favorite in New Orleans, and he has done some great work, but he really outdid himself here. The horn section in “Blue Moon Rising” has that majestic feel of Coltrane’s “Blue Trane”, and his melody line in that song is a downward walk down the stairs of longing like no other melody line I have heard in a blues song – deliberate, pensive, refraining from the acrobatic vocal loop-de-loops of modern R&B / soul. His voice can be both smooth like a crooner and tormented like a screamer. Songs like “Stop and think” and “Glasshouse” left me hitting repeat many times after the first listen, and true to his birthplace, Walter writes lyrics that not only *mean* something (are you listening, pop world?) but also decry the troubles of this world without becoming larmoyant. If you don’t listen to the lyrics, you might think “He Will See Us Through” is from Prince’s Purple Rain rather than a wonderfully soulful, hopeful, and danceable *gospel* addressing someone who has lost a loved one. When the going gets tough in New Orleans, people go dancing, so the same music that makes your foot tap also makes your heart cry and open up. (Maybe we should build better levees instead of partying – get to that next life.)

This is the second installment in the collaboration between Hunter (master of the 8-string guitar ) and Previte (electronic and acoustic drum virtuoso). This time around the rotating third member slot is filled by turntable wizard DJ Logic. Together they’ve turned up the heat, further progressing their sound into a more aggressive mix of funk, jazz, and jam band-style rock.
Guest DJ Logic’s messing around with turntablism allows Previte & Hunter to ride free in continuous sound hints and sparkling solos. Previte is powerfull and heavy-beating on acoustic drum; Hunter turns distorsion on and plays lots of dramatically-bare riffs for high moments of interplay.
Less ‘jazz-like’ than Latitude, maybe difficult to listen to for predictability-bound ears, but fresh and stimulating if you approach music by the what-could-it become.
Take the time to check the whole album out and you won’t be disappointed.

Mr. G reccomends ****

Daby Balde is one of Senegal’s best-kept musical secrets, long celebrated at home and now filtering onto the international scene. His amazing arrangements are based on his Fula traditions from the south of the country and feature the fiddle, accordion and flute accompanied by the more familiar West African sounds of the kora, acoustic guitar and percussion. With handsomely rich and beautiful melodies, captivating vocals and a repertoire that ranges from euphoric to melancholic, Daby Balde is a West African star on the rise.

MR G Rating *****

Must Listen for any world music fan.