Wednesday, May 4, 2011

Music Review: Elvin Bishop - Elvin Bishop's Raisin' Hell Revue

I’m getting old! I bought the original vinyl Raisin' Hell back in 1977. I have always preferred Elvin Bishop live than in the studio. His sense of fun and exuberance translates better in a live setting. He is a consummate musician, and the concert stage is a better place to express himself than the confines of the studio.

He began his career during 1963 when he became a part of the legendary Paul Butterfield Blues Band. He remained with the band for five years before striking out on his own. He is best remembered for his series of 1970s albums for the Capricorn label, plus the hit single “Fooled Around And Fell In Love.” He has continued to release his brand of country blues and rock for over four decades.

This brings us and him to the 2010 Legendary Blues Cruise. Take a ship full of blues aficionados, provide them with a steady diet of blues musicians, and something good is bound to happen along the way. Elvin Bishop was one of those musicians and the resultant Elvin Bishop's Raisin’ Hell Revue is a product of that cruise.

The album has a barroom feel as it is loose and raucous. He surrounds himself with a fine supporting cast. While Bishop has developed into a competent vocalist, it is his guitar expertise that has always made him a stand-out. He only takes the lead vocal on four of the thirteen tracks. Finis Tasby and John Nemeth provide most of the vocal work, which allows Elvin to concentrate on his guitar playing. Other musicians lending a hand are long time bandmate and sax player Terry Hanck, guitarist Chris Andersen, trombonist Ed Early, keyboardist Steve Willis, guitarist Bob Welsh, drummer Bobby Cochran, bassist Ruth Davies, and vocalist Lisa Leu Andersen. They all add up to a group of interchangeable parts that come together in a revue in the classic sense of the term.

The album is a career spanning retrospective of Bishop’s career. “Callin’ All Cows,” “Rock My Soul,” and his classic “Fooled Around And Fell In Love” are all updated from the first Raisin’ Hell album. The first of the three has the dueling slide guitars of Bishop and Welsh. Bishop’s slide solo on “Cryin’ Fool” is pure blues.

Songs such as “What The Hell Is Going On,” “The Night Time Is The Right Time,” “Down In Virginia,” and “Bye Bye Baby” explore such styles as blues, rock, up-tempo rhythm & blues, and even a little gospel thrown in for good measure. Throughout it all Bishop acts as the ringmaster for the circus swirling around him.

Elvin Bishop's Raisin’ Hell Revue is a fine example of the good time music Elvin Bishop has been producing for over forty years. I doubt if his new album will change the face of rock or blues music but it sure is a fun ride.
Read More >>

Review: Beady Eye – ‘Millionaire’

Do not let the title of this song mislead you – it is not a pompous insight into how brilliant it is being a multi-millionaire rock star; that just wouldn’t sit right with fans of Liam Gallagher, despite the fact he’s clearly not short of a few quid. On the contrary, the inspiration behind this single is of far less materialistic substance. A trip to Spain and the paintings of Salvador Dali inspired Beady Eye guitarist Andy Bell to pen this sweet little number that’s been released at a time when the band’s stomping ground’s weather is suspiciously serene, somewhat perfect timing for your BBQ iPod shuffle playlists.

The releases from Beady Eye’s debut album, ‘Different Gear Still Speeding‘ have done well to showcase the many different sides of an album that oozes variety. ‘Bring The Light‘ introduces the 50′s rock n’ roll influence. ‘Four Letter Word‘ ticks the ‘lairy anthemic rocker’ box and ‘The Roller‘ serves its purpose as the album’s staple singalong tune, with huge nods to a certain Mr Lennon.

So what about ‘Millionaire‘? Their second official release represents a gentler side of the band’s musical pallet and finds Liam reacquainting himself with that delicate quality in his voice which we’ve not heard since the likes of Oasis‘ ‘Don’t Go Away‘. It also rings true Liam’s description of the album being more “musical” than Oasis. Its infectious melody and intriguing lyrics which Liam wraps his voice around so well all add to the song’s charm.

Beady Eye are not afraid to show off their influences and they would be the first ones to admit that – it was more or less the blueprint for their debut record. The La’s are one of the prime influences flowing throughout the album and ‘Millionaire’ is the most obvious example of how connected the band are to those scouse heroes. The song’s loose, uninhibited, stripped back sound, awash with acoustic guitars, give it a distinctly La’s feel, with shades of their track, ‘I.O.U.‘ It also reeks of that optimism found in early Oasis tracks like ‘Round Are Way‘.

Just don’t expect to nail the lyrics on your first go at pub karaoke, they’re a bit of a mouthful. “Sweet Cadaques to Figueres a 40 minute ride, you drive it and I spend it looking out my window” – yes, you read that right, and not a mention of fur coats or champagne breakfasts.
Read More >>

PS I Love You Meet Me at the Muster Station

It’s taken PS I Love You a while to unleash their debut album upon us. Frontman Paul Saulnier has been performing under the name since 2005. And even though he and drummer Benjamin Nelson finally got round to releasing Meet Me At The Muster Station in North America last year, we’ve still had to wait another six months to get a sniff of it on this side of the Atlantic.

There’s no doubt about it though – it’s been worth the wait.

The first bars of the album’s opening title track might make you think otherwise. 'Sure,' you might say, 'the riff is a scuzzy, summery slice of lo-fi guitar-pop, but does my record collection really need another thirty minutes of blissfully stoned college-rock? I’ve already got all the Pavement albums.' Then, out of the haze and smoke, comes Saulnier yelping and gurning like a Seventies Bryan Ferry, but twice the size and without the grooming. This isn’t your bog-standard derivative indie.

The real PS I Love You start to emerge out of the altogether tenser ‘Breadends’. It’s far grungier, far more despairing, as Saulnier’s shrieking becomes more hysterical, until he finally gives up and lets a surreal, soppy cock-rock guitar solo do the talking. It’s bonkers, beautiful and strangely brilliant, but swiftly bettered on ‘2012’.

On ‘2012’, a searing, enigmatic guitar melody falls away into what sounds like 50 grown men weeping and howling in emotional agony. The actual lyrics are thrillingly incomprehensible, soaked in thick distortion and layered into oblivion. Saulnier’s multiple voices are panned left and right, even forwards and backwards it seems. It sounds fantastically muddled and chaotic, as a weary hook repeatedly ignites and burns out in sublime confusion. It’s a perfect pop song that has few, if any, pop characteristics.

It’s the way Meet Me At The Muster Station constantly straddles that border between charismatic composure and unhinged anarchy that makes it great. ‘CBEZ’, for example, has a tightly-wound guitar melody wrapped around firm, stomping drums, but it’s surprisingly complemented by waves of dripping feedback and shaky splutters of lyrics.

But PS I Love you aren’t just a masterclass in noise-pop (though it’s clear from pretty early on that they are certainly that). The hissing jangle of ‘Scattered’ bounces around the room, even though the minor chords give it shades of sadness, making it music to dance to as much as mosh to or sob to. The buzzing, pulsating bass of ‘Get Over’ shits on anything Pendulum have ever squeezed out, for its unexpected but irresistible pounding dancefloor-readiness, while the shredding solo on ‘Facelove’ will earn Saulnier his metalhead stripes.

On paper, there might not seem to be much to separate PS I Love You from the current crop of contemporary punk-influenced bands. What does set this duo apart, however, is that while they seem unashamedly punk rock in ideology and approach, they are distinctively human as songwriters and artists. There is an irrepressible tenderness constantly colliding with noisy experimentation, bruising grunginess and a compellingly coy, slightly shambling demeanour.

One glance at the chunky, bespectacled frame of Paul Saulnier and the lean, unassuming streak that is Benjamin Nelson tells you that PS I Love You are underdogs. Like all of the best underdogs, not only have they got something to say, they’ve gathered the confidence to say it loudly and proudly, with far more skill, excitement and emotional intelligence than any of their peers.
Read More >>

Mick Harvey Sketches from the Book of the Dead

It’s been two years since Mick Harvey’s complexly catalysed 2009 split from the Bad Seeds, and aside from contributing to PJ Harvey’s Let England Shake, it’s been largely quiet from the 52-year-old Australian. But Sketches from the Book of the Dead is a project that’s been slowly maturing since long before Harvey quit his day job - not that I’m about to knock him for the delay when Harvey is, by his own admission, 'not a songwriter by vocation', and this is his first fully self-penned record. It was interesting, whilst wading through the relatively humble amount of web-space dedicated to Harvey’s lengthy career, to find him drawing parallels between Sketches from the Book of the Dead and Let England Shake. The two are, after all, both ‘concept albums’ – Let England Shake a record on the subject of the First World War, while Sketches... is an 11 song requiem for friends, family and colleagues.

Clearly then, the album deals with a portion of Harvey’s life that’s predominantly characterized by death, and is conceptually unified by its dealing with mortality, inspired by the recently departed characters from Harvey’s life (including Rowland S. Howard of Harvey’s former post-punk troupe The Birthday Party). I say ‘characters’ not particularly because of Harvey’s portrayal of different personalities, but because of his taste for melodrama. The album develops like a piece of dimly-lit theatre, each signaling a new scene, a new character, and a new story.

Opening pair ‘October Boy’ and ‘The Ballad of Jay Givens’ sit heavy with a sort of mistreated snarl, but they’re soon replaced by the atmospheric bleeding of ‘Two Paintings’, a transition that seems to repeat itself between the couplet of ‘The Bells Never Rang’ and ‘That’s All, Paul’, and the pastoral reflection of ‘How Should I Leave You?’. But while musically, the moodily evocative guitar, piano and double bass led songs seem to split into the two categories of gnarling minor-key tension and a floating contemplation, they’re definitely distinct in both lyric and narrative, each a separate character study in its own right.

The melodramatic overtones are further propelled by Harvey’s voice – his bottomless baritone often balancing on the boundary between sung and spoken, even overdubbed with a graveled whisper on the brief ‘To Each His Own’. At times, this theatre makes me want to believe that Harvey’s retelling an old myth, rather than recounting more recent experiences. Distorted fairytale gestures such as “every door is barred with gold/and opens but to a golden key” on ‘A Place Called Passion’ and “wish I may, wish I might, have the wish I wish tonight/which little finger did it bite, this little finger on the right” on ‘Rhymeless’ hardly help to diminish the mystique of his dark storytelling.

If you can get on board with Harvey’s uniquely theatrical songwriting style, then there’s a prismatic world of life, love, indulgence, abandonment, betrayal, and ultimately, death in this record. Sadly, for those of you happier to be six months clear of pantomime season, it’s maybe a struggle to appreciate these songs as much more than histrionic fiction.
Read More >>

Monday, May 2, 2011

The Decemberists and Dr. John Highlight New and Old at JazzFest

"That was too dark for Jazz Fest," Colin Meloy proclaimed after singing "The Rake's Song" Sunday at the New Orleans Jazz and Heritage Festival. Perhaps a tale of infanticide would have been too grim if performed by Arlo Guthrie or John Mellencamp, both of whom were performing at the same time elsewhere at the Fair Grounds, but the song's infectious bounce had the audience singing the chorus-ending "alright." The set drew heavily from the recent The King is Dead, but "The Calamity Song" and "This is Why We Fight" were greeted with the same excitement as "16 Military Wives," "This Sporting Life" and the set-closing "The Mariner's Revenge Song."

Meanwhile, John Legend and the Roots performed less than a football field away, but there was no irony in their set, which focused on last year's Wake Up. The album of socially conscious soul from the late Sixties and early Seventies sometimes erred on the side of respectful; live, that restraint seemed classy and elegant. The grooves generated by ?uestlove and bassist Owen Biddle were physical, and as the band approached the end of "Compared to What" and Donny Hathaway's "Little Ghetto Boy," they pushed the band - with Legend on piano - to raise the energy level. By the set's end, that manifested itself in a rave-up, multi-chorus guitar solo by Kirk Douglas on "I Can't Write Left Handed."

For the encore, Legend's "Used to Love You," he called for New Orleans resident Mos Def to come out for a verse. Then the Roots' Black Thought started "Let Them Shine," a beautiful end to a day that also included one of the most generous Dr. John Jazz Fest sets in recent memory. The recent Rock and Roll Hall of Fame inductee played a spirited set that showcased his piano wizardry and deep songbook, but the moments that made the deepest impression were nods to others. Although he has performed the Mardi Gras Indian classic "Indian Red" for years, Sunday he used the jaunty arrangement by the late banjo player Danny Barker heard in the season-closing episode of Treme last year. He brought out Rock and Roll Hall of Famer Dave Bartholomew - the architect of New Orleans R&B - and gave his classic "The Monkey Speaks Its Mind" a spooky groove that would have been at home on Dr. John's earliest albums. The version inspired the 90-year-old Bartholomew to some of his best trumpet-playing in recent years and gave the song fresh life.

Photo by Tim Mosenfelder/Getty Images



The Rolling Stone Blog
Read More >>

Michael Jackson Manslaughter Trial Won't Start Until September

Michael Jackson fans anxious for the doctor charged in his death to face the DA in court are going to have to wait a little longer. Although Dr. Conrad Murray's involuntary manslaughter trial was scheduled to begin on May 9th, a judge agreed today to delay opening statements until September. Murray's legal team will use the extra months to "seek and prepare more medical experts," Reuters reports. Because finding a veterinarian willing to administer a pig with the powerful sedative Propofol probably isn't as easy to find as one might expect.

Murray's own lawyers lobbied for the trial delay, which is surprising considering they previously begged the judge to adhere to the May 9th start date because of concerns over whether Murray would be able to pay for his defense if the trial was postponed. In early March, the judge overseeing the trial said he was "distressed" that Murray's defense wasn't adequately prepared for a May trial, but Murray asked to keep the ball rolling. "It is only acceptable to me if this is not strung along over a long period of time," Murray told the judge then. "I don't want to lose my constitutional right to speedy trial."

By the time Murray goes to trial, it'll be over two years since Jackson's death. This thing's been postponed more times than Detox and Spider-Man: Turn Off the Dark combined.

 
[Photo: Toby Canham/Getty Images]
Read More >>

The Death of Osama Bin Laden: A Playlist Rock Opera

I logged onto Facebook last night to see the glorious words "Osama is dead!" The news spread at lightspeed across the globe and American took to the streets to celebrate. The Internet exploded with articles and comments, some by people who thought it sad we would celebrate death. I can see their point, and I reflected on in a bit. Then I thought about the innocent people who chose to jump from the World Trade Center on 9/11 instead of being burned alive and came to the conclusion that I too will celebrate the killing of Osama Bin Laden. I'm good with it. To mark the historic event I put together this 14 song soundtrack that tells the story of the operation, now all I need is a talented stage producer. Heartfelt thanks to our fine men and women who serve in the CIA and in our military, especially our bad-ass Navy Seals.
What songs would be in your death of Osama rock opera?
The Death of Osama Bin Laden: A Playlist Rock Opera 



yahoo
Read More >>

Kasabian reveal new album song titles


Kasabian have revealed a series of new song titles set to feature on their forthcoming new album.The Leicester band have been working on the record in San Fransisco with Dan The Automator, who produced their last album 'West Ryder Lunatic Pauper Asylum. Songs set to feature include 'Switchblade Smile', 'Neon Noon', Goodby Kiss', I Hear Voices', 'Shelter From The Storm' and 'Velociraptor'.

Singer Tom Meighan told Q that the latter song is "mega punk fucking aggression. Totally off the wall, but you know it's us."

Guitarist Serge Pizzorno said of the album: "Listening to the songs makes you feel great. Get your fucking jacket on, whack your fucking shoes on. It makes you believe things are going to happen."

The five-piece started work on the album at London's British Grove Studios earlier this year before the singer and guitarist headed to California to finish it. It's expected to be released in October.
Read More >>

Miles Kane: 'Noel Gallagher is a legend for appearing on my solo album'


Miles Kane has praised Noel Gallagher for helping him out with his debut solo record 'The Colour Of The Trap', which is released next week (May 9).

The Last Shadow Puppets man spoke to NME about the hook-up before playing a solo set at the Camden Crawl 2011 yesterday (April 30).

Kane explained that the collaboration with Gallagher on new track 'My Fantasy' came about pretty late in the day.

"He just came down one afternoon when I was mixing to have a cup of coffee and ended up doing a bit of singing. It was a beautiful afternoon, what a legend," he recalled.

Kane also confirmed he would never play Last Shadow Puppets songs during his solo shows and praised bandmate Alex Turner's latest material with Arctic Monkeys on their forthcoming new album 'Suck It And See'.

"I love their new record, I think it's amazing, the fans are gonna love it," he said, before enthusing about his own new material.

"It's very exciting to be getting out and doing these gigs, there's a great buzz and that makes me buzz," Kane concluded.

He went on to play ten songs during his gig at the HMV Forum, including 'Inhaler' and 'Come Closer'.

Miles Kane played:

'Better Left Invisible'
'Kingcrawler'
'My fantasy'
'Rearrange'
'Quicksand'
'Telepathy'
'Counting Down The Days'
'Hey Bulldog'
'Come Closer'
'Inhaler'

Elsewhere on the opening day of Camden Crawl 2011, Dananananaykroyd started their set at the Jazz Cafe by hugging all of the audience. They then played a half an hour gig heavily featuring music from their new record 'There Is A Way', including tracks 'Reboot' and 'E Numbers'.

At HMV Forum earlier in the night, Frankie And The Heartstrings were thrown an 'I love Justin Bieber' t-shirt, which Frankie picked up and threw to the back of the stage shouting "Fuck Bieber!" They then launched into their 2009 single 'Hunger'.

Emerge NME Radar Tour band Big Deal filled the Black Cap and warmed up for their leg of shows with Anna Calvi. The pair impressed the audience with 'Talk', 'Locked Up' and 'Homework' - despite bursting into nervous giggles half way through.

Today (1), Graham Coxon, Odd Future and Razorlight are all playing the annual London bash which sees more than 200 bands play across 44 venues.
Read More >>

Bon Jovi's Richie Sambora to miss tour to enter rehab


Bon Jovi guitarist Richie Sambora has entered rehab for his drinking problem and will miss the band's forthcoming north American and European tour.

The band are due to kick off live commitments today (April 30) in New Orleans, and have not yet revealed who will replace Sambora on stage.

According to Reuters a Bon Jovi statement read: "Our support for Richie is absolute. He is, and will remain, a member of Bon Jovi. Although he will be absent from upcoming shows for the time being, we very much look forward to his healthy return. In the meantime, we will keep our commitment to our fans and continue our tour."

The band are due to continue touring until the end of July.

Sambora has not revealed which facility he is being treated for his alcohol problem in, but a source was recently quoted as saying that he "recently has been drinking too much, and wants to get his life together."

He had previously entered rehab in 2007.
Read More >>
Related Posts Plugin for WordPress, Blogger...