Complex, soulful singer-songwriter Americana

Nashville-based singer/songwriter Jeff Black has some heavy friends, including mandolinist Sam Bush, guitarist Jerry Douglas and singer/songwriters Matraca Berg, Gretchen Peters and Kim Richey. And though they all lend a hand on his fifth solo album, it’s Black’s voice – both singing and writing – that gives the album its soul. Black also played most of the instruments, overdubbing himself on guitar, banjo, keyboards, bass and percussion, but the only hint of one-man-bandism is the music’s tight grip on the songs. Black’s voice takes on many different shades, at various times recalling the downtown soul of Willy DeVille, the gruff side of Springsteen, the melodic saloon growl of Tom Waits, the deadpan of James McMurtry, the rye twinkle of Randy Newman and even a few moments of Neil Diamond’s pop-soulfulness.

Black draws from country, folk, soul, blues, gospel and contemporary pop, offering songs that range from the contemplative banjo solo of “Virgil’s Blues” to the foot-tapping Little Feat-inflected title track. Jerry Douglas laces his twang throughout “Walking Home,” but the husk in Black’s voice is more Memphis than Nashville, and his lyric – an internal monologue anticipating a forthcoming explanation – isn’t your standard country fare. Black writes phrases and draws images that are easily known, but connects them into verses that recast the easy first understanding. Early in the album, his characters are caught in dilemmas that find them on the verge of apologizing, disaffected from their taught beliefs, and weighed down by riches.

But the album takes a more grounded and optimistic turn with “New Love Song” and the turmoil in Black’s head subsides with the acceptance of “Waiting.” Still, even as he embraces a less guarded life, his happiness seems to be that of a cynic who finds potential loss at the root of joy, one who counsels “you’re going to find out just how heavy happiness can be.” He closes the album with the confessional “Ravanna,” contemplating the physical and emotional distances one travels from childhood, and meditating on the relationship between human frailty and divine grace. The travel from inner turmoil, through confession, awareness and acceptance suggests the pages of a personal journal, but one whose journey is still a work in progress. [©2011 hyperbolium dot com]

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A three-song holiday treat from Lyle Lovett

This three-song EP from Lyle Lovett includes jazzy covers of Vince Guaraldi’s “Christmastime is Here” and Frank Loesser’s “Baby, It’s Cold Outside,” with vocalist Kat Edmonson serving as harmonist and foil. There’s also a sly new original, “The Girl with the Holiday Smile.” The latter is slated to reappear on Lovett’s next album, but the cool yuletide covers are only available here. [©2011 hyperbolium dot com]

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Legendary bassist’s post-Stones R&B band

After leaving the Rolling Stones in 1992, bassist Bill Wyman formed the Rhythm Kings around a core of Graham Broad, Andy Fairweather-Low, Georgie Fame, Albert Lee, Beverly Skeete and Geraint Watkins. The group is joined by a revolving line-up of British all-stars that has included Gary Brooker, Eric Clapton, Peter Frampton, Mark Knopfler, George Harrison, Nicky Hopkins and Mick Taylor. Wyman shares lead vocals with Fame, Skeete, Watkins, and the occasional guest, such as Paul Carrack. Wyman’s hoarse whisper hasn’t the power or charisma of Mick Jagger, but with the crack band chugging away, and the other vocalists taking the lion’s share of leads, his limitations aren’t really noticeable. The mix of original and cover songs play out like a rhythm and blues review, like Commander Cody and His Lost Planet Airmen, minus the stoned country influences. Proper American’s box set pulls together the group’s first four studio albums, from their 1998 debut, Struttin’ Our Stuff, through 2001’s two-CD Double Bill, packaged in mini-LP sleeves in a cardboard wrapper, with full credits and new liner notes by Bud Scoppa. There’s nothing revelatory here, but if you enjoy a night out with a talented band happily playing jump blues, R&B and rock ‘n’ roll favorites (not to mention new compositions that will remind you of your favorites), this is a nice spin. [©2011 hyperbolium dot com]

Bill Wyman’s Home Page

Ray Charles live in 1961 at the height of his powers

1961 was a banner year for Ray Charles. The crossover seeds he’d sewn with Atlantic on 1959’s The Genius of Ray Charles had led him to bigger bands and orchestras and a contract with ABC. In 1960 he’d notched his first #1 on the pop chart with a cover of Hoagy Carmichael’s “Georgia on My Mind,” and by 1961 the demand for his concert appearances finally brought him to Europe, where he headlined the second-annual Antibes Jazz Festival in southeastern France. Charles performed four dates with the classic lineup of his octet, featuring Hank Crawford (alto sax), David “Fathead” Newman (tenor sax and flute), Leroy Cooper (baritone sax), Phillip Guilbeau (trumpet), John Hunt (trumpet), Edgar Willis (bass), Bruno Carr (drums) and the Raelettes (Gwen Berry, Margie Hendrix, Pat Lyles and Darlene McCrea).

The two full dates captured here – July 18th and 22nd – split their set lists between earlier titles recorded for Atlantic and then recent sides for ABC. The two sets repeat a few titles (“Let the Good Times Roll,” “Georgia on My Mind,” “Sticks and Stones” and crowd-rousing versions of Charles’ first crossover hit, “What’d I Say”), but also add unique titles, including a swinging take of Charles then-current Latin-rhythm single “One Mint Julep” a celebratory performance of “Hallelujah, I Love Her So” (with Newman stepping to the front for a short solo), and a cover of Nat King Cole’s “With You On My Mind.” The band’s instrumental tunes give Charles an opportunity to show off his considerable talent as a pianist, and the fluidity with which the shows move between jazz, blues, R&B, gospel and pop is mesmerizing.

The two sets are augmented by six bonus performances culled from shows on the 19th and 21st, bringing the total program to a satisfying 105 minutes. Originally filmed (not videotaped) for French public television, these performances have been unseen for nearly fifty years. The black-and-white footage is neatly edited, with interesting close-ups of the instrumentalists and images of the sunglasses-wearing cigarette-smoking audience. The audio is crisp, well-balanced mono with only a few inconsequential artifacts, including Charles’ enthusiastic foot stomping rattling his microphone stand on “Let the Good Times Roll.” This is a terrific archival discovery and a must-see for Ray Charles fans! [©2011 hyperbolium dot com]

Weathered Americana spiced with blues, rock and New Orleans grooves

This Oakland, California quartet first turned up two years ago with the rustic, down-tempo Russian River Songs, a short collection that brought to mind the minimalism and melancholy of Richard Buckner’s early works. After gigging and developing their sound, they’ve returned to the studio to record this first full-length. The focal points of their sound remain Skip Allums’ languid vocals and Sam Tokheim’s pedal steel, and though the tempos remain restrained, the subdued tone of their debut has given way to the more aggressive energy of Adam Burstein’s drumming and guitars that are strummed with purpose. Allums has written several songs for his native Baton Rouge, but the lyrical voice is as much that of an ex-lover as an ex-pat. He rummages through bittersweet memories, happily nostalgic from across the physical and temporal divide that separates him from the flawed object of his desire. He longs to return to a place that only exists in his rose-colored memory, just as one might long for a relationship whose rough edges have been obscured by time. He’s homesick, but not enough to actually return. The band adds brass (courtesy of Ralph Carney) to “Brother,” rocks a Velvet Underground rhythm riff on “Evangeline Blues” and strikes a New Orleans groove for the closing “(I’m Not) Gonna Waste Another Song on You,” but it’s their weathered Americana that remains their calling card. [©2011 hyperbolium dot com]

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‘70s-styled power-trio monster riffage

Parker Griggs and his band take it to the next level of power-trio psychedelic blues-rock with their third album. Griggs is possessed by the metal, blues-rock, boogie and prog-rock greats of the early ‘70s as he unleashes monster guitar riffage astride the slugfest of his rhythm section. One can only dream that Radio Moscow could be sent back in time to tread the stage of Winterland on a bill with Hendrix, Sabbath, Crimson, Ten Years After or Humble Pie. The album opens in full hypersonic stride, with the bass and drums threatening to run away from the ear-clearing wails of Parker’s fuzzed guitar, and the bombast doesn’t let up until disc’s end. There are a few production touches – stereo pans, phase effects and feedback – but the bulk of the album is straightforward, take-no-prisoners hard rock. Drop the needle on your Thorens turntable, turn up the volume on your Marantz receiver and let your Advent loudspeakers sing. [©2011 hyperbolium dot com]

MP3 | Little Eyes
Radio Moscow’s Home Page

Welsh power duo cranks up blues-rock riffs

Going the reductionist power trio format one better, this Welsh duo features brothers Aled and Brennig Clifford on guitar/vocals and drums, respectively. With cues from the White Stripes, Black Keys, Two Gallants and others, The Cliffords buzz through heavy blues-rock originals that offer room for Aled to display his guitar playing prowess. Unlike the sonic pounding of labelmates Radio Moscow, Henry’s Funeral Shoe takes a more nuanced, and less psych-influenced, approach to their jamming. Aled’s playing follows more in the vein of British blues-rock giants like Peter Green and Rory Gallagher than metal or prog-rock players, and though he can pierce your eardrums with high, loud notes, he also plays slide and strums an acoustic on “Bottom is Top.” The songs bear the influence of everything from Robert Johnson to The Who, amplified by the volume of metal and the ferocity of punk rock. The hammering power chords of “Dog Scratched Ear” give way to the dobro-styled intro of “Mission & Maintenance,” which ramps itself into a howl stoked by Brennig’s drums and John Edwards’ harmonica. The band neatly ties together acoustic roots, early-60s electrification, late-60s jamming, early-70s excess and the late-70s punk-rock rebuttal; it’s a heavy trip. [©2011 hyperbolium dot com]

MP3 | Dog Scratched Ear
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An 85-year-old blues legend burns up the stage

Born in 1895, and having been an early blues innovator in the 1920s, Alberta Hunter became a living link to the jazz-age, and stars like Bessie Smith, Paul Robeson and Ma Rainey. In the late ‘50s she started a second career as a nurse, and mostly retired from music, but by the mid-70s she’d been lured back to live performance. In 1981 she recorded this live set at a New York cabaret called The Cookery. At 85, Hunter was still sharp-as-a-tack; not sharp for an 85-year-old, just sharp. Her sassy stage patter, interactions with the band and audience, and vocalizing are filled with percussive energy, knowing phrasings and deep experience and wisdom. Singing with accompaniment from Gerald Cook (piano, arrangements) and Jimmy Lewis (bass), Hunter covers standards that she wrote (and as she noted, was still collecting royalties on) as well as a selection of standards from other authors of the great American songbook. This same set was issued by Varese Sarabande in 2001, and is now returned to domestic print by the Rockbeat label. [©2011 hyperbolium dot com]

Candye Kane and Laura Chavez tear up the blues

Kane’s first album after beating pancreatic cancer, 2009’s Superhero, was rightly built on themes from the fight. This follow-up release extends the recovery, but more by doubling-down on the blues belting career she had before, than by living some sort of hyperaware second chapter. There’s a pleasure in her singing that’s perhaps a step more ferocious than before, expressing George Herbert’s notion that living well is the best revenge, or in this case, the greatest triumph. But the scars she carries – a problematic childhood, early motherhood, less-than-savory jobs and cancer recovery – are those of a winner, the marks carried by anyone who’s lived enough life to really sing the blues. Kane’s nine new original songs are matters of the heart, mostly roughed-up and broken, occasionally recovered. The four covers include a sweet and sexy take on Johnny “Guitar” Watson’s “I Love to Love You” and a moody version of “Sweet Nothin’s” that adds Wanda Jackson’s scorching sass to Brenda Lee’s original precociousness. Laura Chavez’s guitar is given equal voice to Kane’s vocals, motivating the songs with twangy rhythm playing and stinging riffs, and James Harman guests on harmonica for Jack Tempshin and Glen Frey’s previously unrecorded “Everybody’s Gonna Love Somebody Tonight.” Take these tunes for a spin on Whittier, Tweedy or Bellflower, and enjoy the punchy mixes as they roar from the rear speaker of your ’62 Impala. [©2011 hyperbolium dot com]

MP3 | You Can’t Hurt Me Anymore
Candye Kane’s Home Page

Simon expands his reach with third solo effort

Simon’s third solo album (including 1965’s The Paul Simon Songbook), found the singer-songwriter expanding upon the freedom he’d displayed on the previous year’s eponymous release. The branching out displayed with reggae, Latin and South American sounds was now expanded with bluesy doo-wop, New Orleans pop, gospel and Memphis soul. Simon deftly choreographed an impressive guest list that includes The Dixie Hummingbirds, The Roches, horns arranged by Alan Toussaint and strings arranged by Quincy Jones. His mastery weaves multiple studios, dates and backing bands (including the players of Muscle Shoals) into a surprisingly cohesive album.

Beyond the album’s hits (“Kodachrome” and “Love Me Like a Rock”), Simon produced an album of memorable songs that set themselves apart from his earlier work with Art Garfunkel. The brass party on “Take Me to the Mardi Gras,” gospel backing vocals of “Tenderness,” Jamaican style of “Sunny Day,” and country underpinnings of “St. Judy’s Comet” were fresh to Simon’s catalog, and even the Garfunel-esque “American Tune” feels like a declaration of independence with Simon singing unaccompanied. Legacy’s 2011 reissue reuses Bill Inglot’s remastering and the four bonus demo tracks of Rhino’s 2004 reissue. Legacy’s traded out Rhino’s digipack for a standard jewel case and a 12-page booklet of lyrics and pictures. [©2011 hyperbolium dot com]