blues from the mud

For Pops - Mud and Kim hi-res by Sam Holden

kim wilson and mud morganfield. photo by sam holden.

That the late blooming blues singer Mud Morganfield would be asked to record a tribute album to father McKinley Morganfield, better known as the Delta/Chicago roots music pioneer Muddy Waters, would seem inevitable. Adding the harmonica talents of Fabulous Thunderbirds founder and frontman Kim Wilson, an avowed Waters disciple, seemed a cinch to heighten the authenticity of such a project.

But For Pops (A Tribute to Muddy Waters) is actually the end result of an unexpected collaboration and an equally unlikely career.

To start with, Morganfield shared little of his youth in the company of his father and didn’t professionally pursue an inherent love of blues music until 2005. As for teaming with Wilson, that was done exclusively for the tribute album. The two barely knew each other before recording sessions began.

Still, For Pops sounds like the work of seasoned blues pros that have been playing together for years. The link between Morganfield’s booming, bass-heavy singing and Wilson’s effortlessly soulful blues harp work can’t help but recall the champion recordings Waters cut decades ago with harmonica great James Cotton.

The catalyst for the project was David Earl of the indie blues label Severn Records, which issued Morganfield’s Son of the 7th Son album as well as the Thunderbirds’ On the Verge.

“What would have been my dad’s 100th birthday was coming up,” Morganfield said. “Dave made phone calls to different people because Kim and I were both on the same label – his label. They asked us to hook up and do something. We had met each other on the road. But these recording sessions were really the first chance we had to talk. We became great friends.”

There were two keys to making For Pops sound pure and robustly blue. The first was the song selection. Morganfield wanted to avoid a simple recitation of warhorse Waters tunes like Hoochie Coochie Man, Got My Mojo Working and Mannish Boy in favor of a slightly less obvious repertoire. As a result, For Pops mixes a few familiar gems (Trouble No More), several underappreciated classics (most notably, a fervent take of Blow Wind Blow) and some comparative obscurities (My Dog Can’t Bark).

“The songs were a combination of choices by me, Kim and Dave Earl,” Morganfield said. “We would try to stay away from Mojo and Hoochie Coochie Man, that kind of stuff. People have done it a million times. We were just trying to get down to the nitty gritty Delta blues sound that pop did.

“Just for the record, I saw my father very little growing up. I was at an early age when he and my mother broke up. I mean, pop was a great dad as far as taking care of me financially. But I didn’t study much of his stuff back then. As a matter of fact, every song on the album I sung off a sheet in front of me. Didn’t even know the lyrics to them. I just sang them as the band played the songs, so it’s as real and raw as you can get.”

For Pops is also an exploration of the link between Delta-based vocals and the harmonica sounds that have long supported them. That was what brought Morganfield and Wilson together in the first place, but it also served as a point of discovery for the singer when it came to his father’s music.

“For a lot of years, I could never figure out why my dad loved Little Walter, James Cotton and all those great harp players so much,” Morganfield said. “It took me quite a long time to understand that if you don’t have harp player, the music is not really traditional blues.

“You could put all the horns in there you like. But if you don’t have a harp player, man, you just don’t got no blues.”

Mud Morganfield and Kim Wilson perform for the WoodSongs Old-Time Radio Hour at 6:45 p.m. Sept. 29 at the Lyric Theatre and Cultural Arts Center, 300 E. Third. Also appearing will be Angaleena Presley. Tickets are $20. Call (859) 252-8888, (859) 280-2218.

mouthing off

smashmouth

smash mouth: michael klooster, steve harwell and paul de lisle.

In the years leading up to the late ‘90s popularity of its radio hits Walkin’ on the Sun and All Star, Smash Mouth could have been any kind of band it chose to be. That’s because the California troupe had already given a test drive to nearly every pop sound under the sun it was soon to be walking on.

“The original lineup really was four very different personalities,” said bassist and co-founder Paul De Lisle. “Everyone played the way that they played and it worked. You can’t predict chemistry, I guess.

“Steve (Harwell, Smash Mouth’s vocalist and frontman), he listens to country music. But when he was in high school, he listened to modern rock. But he’s kind of an alternative rocker, too. He’s a real serious music fan. He just likes what he likes. Same with me, too. Now, dealing with the different influences does come into play. You put a band together and go, ‘Okay, I’ve got three of the hottest musicians out there.’ But then one of them is a jerk. Then another isn’t working out in a different situation.’ You never know. But for the four of us at the very beginning, it just clicked. None of us were that great by ourselves. But together, it just worked. There was that intangible thing going on, you know?”

Of course, it could also be said the time was right for an unapologetically fun performance pack like Smash Mouth when its double platinum debut album Fush Yu Mang was released during the summer of 1997.

“The ‘90s was such a wide open time,” De Lisle said. “Nirvana kind of opened the floodgates. That wasn’t just for punk rock bands, either, because grunge bands were essentially like pop-punk bands. But that was the case for alternative music, in general. There was the whole ska-punk thing going on, too. It was like anything was alternative.

“That whole era was great for us because it was also a song oriented time for radio. That was our thing. For us, it all came down to songs. There were always labels – alternative this, grunge that. But the reason Nirvana was great wasn’t because they were a grunge band. It’s that their songs were better than everyone else’s. It was the songs. Period.

“Our whole goal was to remain song oriented. We were trying to write hit songs that were pop songs. That was the craft we’re trying for, but it was a hard thing to do. We were trying to write songs people would like but that we also liked. Our record collections growing up were filled with punk rock, but it was more the pop-punk stuff. We always liked bands like the Buzzcocks more than, say, the Sex Pistols. We were just always song oriented. We didn’t want to jam. We just wanted to write good songs.”

Roughly a dozen musicians, most of them guitarists and drummers, have entered and exited the Smash Mouth ranks since the band formed in 1994. While keyboardist and 17 year member Michael Klooster along with two comparatively recent recruits – guitarist Sean Hurwitz and drummer Jason Sutter – round out the band’s current lineup, Harwell and De Lisle have been with Smash Mouth for its entire 20 year history.

“Steve and I are like brothers,” De Lisle said. “The other day we were in this restaurant. I can’t even remember what we were talking about. But the waitress came up and said, ‘You guys are either brothers or have known each other a long time.’

“We talk like an old married couple. We bicker at each other. There are times I just want to ring his neck, but I love the dude. We’re really good friends. Always have been.”

Smash Mouth performs at 8 p.m. Sept. 27 at the Norton Center for the Arts at Centre College, 600 W. Walnut St. in Danville. Tickets are $25-$46. Call (877) 448-7469, (859) 236-4692 or go to www.nortoncenter.com.

in performance: turtle island quartet with nellie mckay

tiq plus nellie

turtle island quartet plus one: mateusz smoczynski, david balakrishnan, nellie mckay, mark summer and benjamin von gutzeit.

“Nothing says ‘Jamaica’ like a string quartet,” remarked a giddy Nellie McKay last night at the Grand Theatre in Frankfort before diving into a reggae uprising called Carribean Time.

Perhaps not. Then again, when the ensemble by your side is the Turtle Island Quartet, a troupe that came across equally last night as a chamber, swing and world music troupe, such stylistic non-sequiturs seemed almost routine. Over the course of two 45 minute sets, these two already multi-directional acts matched wits to create a program full of wildly disparate pop fusion.

For Turtle Island, the instrumentation of a traditional string quartet became an open playing field full of bright jazz expression, as in the show opening Windspan, a tune penned by Yellowjackets saxophonist Bob Mintzer. Similarly arresting was the lighter swing of John Carisi’s Israel, where cellist Mark Summer plucked his instrument with the solemnity and groove of a double bass. But the quartet’s main attraction was violinist David Balakrishnan’s Guruvayoor, where an Eastern-leaning drone sprang to life as a vibrant dance piece that balanced chamber and Celtic accents. All three tunes are featured on TIQ’s upcoming album Confetti Man

McKay was the pop scholar – a song stylist capable of bracing original work, as shown by two very different second set affirmations, Beneath the Underdog and Mother of Pearl. The skies opened after that with McKay channeling the likes of Loretta Lynn (the hapless maternal anthem One’s on the Way) and Billie Holiday (through a lullaby-like reading Do You Know What It Means to Miss New Orleans).

When the co-billed artists played together the boundaries were blurred even further and the traditions grew more askew. McKay didn’t prove to be a technically dazzling singer, but the strong emotive sway of her vocals and the general cabaret-like demeanor of her delivery were heightened considerably by the quartet’s support, whether it was through the dance hall tipsiness of Kurt Weill’s Alabama Song, another beautifully elegiac nod to Holiday with I Cover the Waterfront and the playful Marlene Dietrich vamping during Black Market.

But on the show closing cover of I Remember You, McKay’s vocal and piano work seemed to emerge like a frail spirit from the shadows of the strings before disappearing back into them with a sense of subtle but elegant mystery.

critic’s pick 241: john coltrane, ‘offering’

coltrane offeringOne enters into the wondrous new archival recording Offering with John Coltrane already at work. That’s the way the jazz titan’s music could often make you feel – like you were arriving late.

The saxophonist starts in an instant – before, in fact, the recording engineers begin to roll tape. There is no intro, no warm-up, no easing in of intent. The music begins full blown with 16 minutes of Naima rushing in like an ocean at low tide. Coltrane’s tenor solo hardly takes a breath for five-and-a-half glorious minutes then disappears under an extended exchange between pianist (and wife) Alice Coltrane and drummer Rashied Ali. He returns in the final minutes for the only reading of the piece’s hymn-like theme, which is played as a brief coda.

Though a vital protégé throughout the performance that follows, Coltrane’s tenor sax partner in crime Pharoah Sanders sits Naima out. Can you blame him?

Offering has been available in bite-sized, bootlegged forms for years. But this new release presents us with the entire 90 minute set. Recorded on a Friday evening in a half-empty Mitten Hall at Temple University in November 1966 (eight months before Coltrane’s death at age 40), Offering is presented as less of a jazz concert and more of a spiritual affirmation.

A 26 minute reading of the 1964 ballad Crescent emphasizes, in somewhat fractured fashion, the full strengths of this unique ensemble. The warm glow of Coltrane’s tenor sax lead briefly states the tune’s luscious melody before surrendering to a scorched earth solo by Sanders. Then a subsequent piano excursion by Alice Coltrane, presented with a lighter variation of the modal mischief summoned years earlier in Coltrane’s quartet by McCoy Tyner, invites four guest percussionists to the spiritual rumble.

But the stuff of legend here is Leo. Opening with a seemingly traditional, boppish run, the music becomes so combustible Coltrane actually sings in a wordless, relenting wail that seems to strive for the notes his horn can’t reach or articulate.

There are sonic limitations to Offering’s source material. As the performance was set up with enough microphones to suit a primitive radio broadcast and not a fully produced recording that would surface nearly half a century later, the sound mix heavily favors whatever soloist was at hand. You can readily hear instruments being quickly amped up and faded out manually. That means guest bassist Sonny Johnson is all but lost outside of his contemplative solo at the onset of My Favorite Things.

But when the mighty Coltrane gains the spotlight with that spectacular tenor tone, you can practically sense the steam rising from the music. That makes Offering an exquisite remembrance of a jazz colossus conversing with the spirits. His language is his own, but all are invited to share in the rapture that ensues.

return to turtle island

Turtle-Island-Quartet

turtle island quartet, from left: david balakrishnan, mateusz smoczynski, mark summer and benjamin von gutzeit.

About seven years ago, the genre-busting Turtle Island String Quartet dropped the “String” from its name. It was perhaps an incidental detail to some. The lineup still adhered to the requisite string quartet instrumentation of cello, viola and two violins. But after nearly three decades of journeying though bebop, swing, bluegrass, folk, Euro-classical, Indian classical and a handful of other musical styles and strategies, the time came to remind the world Turtle Island was anything but a conventional string ensemble.

“Because of the way the group is constructed, a string quartet with four members equally grounded in jazz improvisation and classical technique, you’re automatically dealing with musicians who are rebels,” said TIQ violinist and founder David Balakrishnan. “We’re talking about rebels in the sense they are doing something unique with their instruments.”

Underscoring that notion was the first album released under the modified TIQ moniker, 2007’s A Love Supreme: The Legacy of John Coltrane – a baker’s dozen of tunes

penned or popularized by the legendary saxophonist. Among them is the entirety of Coltrane’s immortal A Love Supreme album and shorter psalm-like pieces such as the gorgeous Naima. The later was first recorded by Turtle Island for its sophomore album Metropolis in 1989. Ironically, the year also marked one of the last times the quartet performed in Central Kentucky. Its long overdue return comes Tuesday with a collaborative concert featuring pop-cabaret songsmith Nellie McKay at the Grand Theater in Frankfort.

“We try to make a point about music in the 21st century,” said Balakrishnan. “We’re saying you can have a group like Turtle Island playing in a string quartet covering this range of stylistic material that is trying to find its own identity inside of that. But the music also tells a story beyond the elements of those styles.”

With those varying styles takes has been a roster of equally diverse TIQ collaborators. The list includes guitar great Leo Kottke, Cuban jazz clarinetist Paquito D’Rivera, jazz pianist Kenny Barron, the Manhattan Transfer and the Parsons Dance Company. McKay is an intriguing addition to the club. A songwriter of exacting wit and emotive clarity, she also possesses a scholarly command of song traditions that stretch from Loretta Lynn to Ella Fitzgerald.

“You know, string quartets… we’re pretty heady,” Balakrishnan said. “Now, Nellie goes into more of an indie-pop territory. She’s cutting more of the middle of the grain and yet she’s got that kind of ’30 s-revisited thing, as well. She’s like the second coming of Marlene Dietrich. Nellie is so into her. It’s really fun to watch. I think she probably dreams about her.”

The collaborative program TIQ and McKay will present on Tuesday, A Flower is a Lovesome Thing, is fashioned after the German Weimar cabaret of the late 1920s but extends its repertoire across continents for songs by Billie Holiday and Billy Strayhorn.

The alliance will also carry over to the new TIQ album, Confetti Man, which has McKay singing a Balakrishnan arrangement of the Burt Bacharach/Hal David hit Send Me No Flowers (most famously recorded by Doris Day in the 1964 film of the same name).

“In some ways, Turtle Island’s game face is to prove we can solo over Coltrane tunes and survive,” Balakrishnan said. “And we really take pride in that. But Nellie is coming from a different place. There is this incredible theatrical side to her. She’s a songwriter and she’s carefully crafted how she puts all this music together in the Nellie McKay style.

“Some of the stuff I love the most is when we’re playing a chart like Send Me No Flowers. It’s a very sparse, dreamy thing. What I get from Nellie is she sounds sweet with a certain amount of sarcasm, a certain in-your-faceness that’s right below the surface.

“Nellie is such a joy to hang with. She is fresh and completely spontaneous in the way she lives and makes music.”

Turtle Island Quartet with Nellie McKay perform ‘A Flower is a Lovesome Thing’ at 7:30 p.m. Sept 23 at the Grand Theater, 308 St. Clair in Frankfort. Tickets are $30-$45. Call (502) 352-7469 or go to www.grandtheatrefrankfort.org

in performance: the fixx

TheFixx_PressPhoto3

the fixx: dan k. brown, jamie west-oram, cy curnin, adam woods and rupert greenall.

“Prepare to be mesmerized,” said Cy Curnin early into an unexpectedly complete and vital sounding performance by The Fixx last night at the Christ the King Oktoberfest.

Normally, such a remark could be chalked up to standard rock star boasting made even more idle by the fact the veteran British pop band has been out of the commercial limelight for close to three decades. But on multiple levels, Curnin proved he and the Fixx have earned bragging rights.

The bottom line: Curnin was physically and vocally fit, the band (operating with the same lineup that became an MTV hit in the ‘80s) played with vigor and mature purpose and the sound mix was refreshingly crisp, especially for an Oktoberfest show. Add in a repertoire that balanced ‘80s radio hits (Saved by Zero, One Thing Leads to Another), deep catalog obscurities (1983’s Running, 1988’s Subterranean) and a healthy quartet of tunes from its best album in 25 years (2012’s Beautiful Friction) and you had a show that way outdistanced the usual oldies act entertainment billed for a community festival.

The sound was the real stunner, partly because the first third of the previous night’s Oktoberfest performance by the Smithereens sounded like the band was playing on a different block. But here the balance was astonishingly clean, offering decisive balance between the array of keyboard orchestrations by Rupert Greenall and the library of rhythm phrases by guitarist Jamie West-Oram. Hearing the two’s playing form a trance-like backdrop behind Curnin’s conversational vocals during the title tune to Beautiful Friction underscored the fact that the Fixx entered the into the program last night as a band that viewed its entire sound and song catalog as being completely of the moment.

Of course, it was very much the band’s ‘80s hit parade that kept Oktoberfest packed last night. Even there, surprises surfaced. Stand or Fall, the 1982 single that largely introduced The Fixx to America, was a kaleidoscope of clean guitar, keyboard and vocal colors while the encore finale of Secret Separation weaved in the chorus of the Tina Turner hit Better Be Good to Me (the 1984 single featured Curnin and West-Oram) to cap a performance that was as much an affirmation as it was pop history lesson.

in performance: the smithereens

smithereens 1

the smithereens: jim babjak, severo jornacion, dennis diken and pat dinizio.

After 34 years together, The Smithereens still wear intentions and inspirations openly. Once a tepid sound mix was readjusted last night at their Christ the King Oktoberfest performance that initially had the band sounding like it was playing a few blocks away, you got to hear exactly how openly.

The better portion of the New Jersey quartet’s 1 ¾ hour set was centered on very elemental tunes established by clever guitar hooks and adjoining pop melodies, as on the 1986 breakthrough hit Behind the Wall of Sleep (which, curiously, opened the performance) and the comparatively forgotten 1994 gem Miles from Nowhere.

From there, singer/guitarist Pat DiNizio, guitarist Jim Babjak and drummer Dennis Diken (all founding Smithereens members) and Kenny Howes (filling in for bassist Severo Jornacion) fleshed out the music with a wealth of pop references. Some were generalized, like the power pop drive that fortified the Babjak tune One Look at You (from Smithereens 2011). Other songs with a modestly greater level of urgency and/or melancholy, like 1989’s Blue Period, possessed the sort of post-punk pop that would have been right at home on an early Elvis Costello album.

Then there were the instances where The Smithereens’ pop influences were unapologetically exact. Between 2007 and 2009, the band recorded entire album-length tributes to The Beatles and The Who. Understandably, those cornerstone acts were referenced repeatedly last night.

For example, a sometimes surf-style cover of The Who’s Tommy instrumental Sparks was placed side-by-side with one of The Smithereens’ most overlooked hook-heavy hits, House We Used to Live In from one of its most underappreciated albums (1988’s Green Thoughts). That medley led into a pair of highly faithful Beatles covers – a pop-centric reading of Please Please Me and a poetically melancholy It’s Only Love.

The show passed by other pop outposts, as well, including the dark, Doors-like bass groove that propelled Blood and Roses and the snippets of Free’s All Right Now and The Who’s Behind Blues Eyes that goosed the show-closing A Girl Like You. Such a mash-up brought an entire pop universe to the doorstep of a tried and tested Jersey band with a rock ‘n’ roll heart the size of Texas.

mr. fixx it

the fixx

cy curnin (forefront) : still leading the fixx after 34 years.

Rare is the artist that views today as a simpler time than the one that earned him fame. But that is exactly the take Cy Curnin has on the pop marketplace today after three decades as frontman for The Fixx.

Perhaps that’s because the veteran British band is comfortable today with its collective role as a rock elder. While Fixx hits like Saved by Zero, One Thing Leads to Another and Secret Separation ruled radio and MTV during the first half of the ‘80s, the band continues to tour and record today with what can be considered a refreshingly modest mindset.

“Things really are a lot simpler and a lot less complicated for us these days,” Curnin said. “It’s a way smaller market share that we have now, but it’s one that is a lot closer and connected with the fans. So that’s a plus. The ease and speed with which we can record things has also greatly improved.

“Of course, the world is still a crazy place to live in. It was then. It is now. We’re a group of five guys. We discuss the world the world around us, and I think our music still reflects that. We’re a little wiser than we were then, so the philosophical take on how we see the world has changed a bit. Back then, we were angry young men. Now we’re just angry.”

The Fixx’s first Lexington visit came at the height of its commercial visibility when the band opened a sold out Rupp Arena concert by The Police in November 1983. Amazingly, the lineup that performed then will be the same as the one playing here on Saturday: Curnin, guitarist Jamie West-Oram, keyboardist Rupert Greenall, bassist Dan K. Brown and drummer Adam Woods.

“The friendship was there. The respect was there. We kind of came from similar backgrounds, I think. I’m also the youngest in the band by five years. The other guys, the musicians, mentored me, so you didn’t get this ego thing happening. We ended up being pretty even-tempered.

“I actually relied on their experience of being wiser adults, because I was very green. I had all the passion but I needed the skills, especially the social skills, to go with it. They helped me with that.”

The Fixx’s music today is essentially a progression of the sound it established in the ‘80s. On its most recent album, 2012 Beautiful Friction, Curnin’s vocals are stronger and deeper than in the band’s early days while the guitar/keyboard give-and-take between West-Oram and Greenall sounds more harmonious, creating a lush, orchestral sound reminiscent of Echo and the Bunnyman and, in some instances, early U2.

“We’ve actually got another (album) in the can that we’re just putting the finishing touches on,” Curnin said. “We realize a lot of people may go, ‘Whatever happened to that band The Fixx?’ Then they see we’ve just had an album out. It’s good for them to see we’re still very active in creating new music.

“The ‘80s, though, was a very original period for music. Even though it’s all just called ‘80s music’ today, it was as different as rock is to blues or funk. It was a defined music style. But it just so happened it was named after a time period rather a style of music. It was ‘80s music. That’s what we’re stuck with, but it was a very original, quirky era.

“There was a more guitar-based ‘80s sound and there was a sound with a more rhythmic keyboard extreme to it. What The Fixx did was marry both. That created a sound that served us well. It gave us a very big soundscape. I call it a night sky where we would float lyrical enigmas. Put in a haunting melody and off you go. That was Fixx music.”

The Fixx performs a free concert as part of the Christ the King Oktoberfest, 299 Colony Blvd. at 9:30 p.m. Sept. 20. For more info, go to www.ctkoktoberfest.com.

elvis, jersey and the smithereens

smithereens

the smithereens: jim babjak, dennis diken, pat dinizio and severo jornacion.

If you went strictly by the rock ‘n’ roll history books, The Smithereens would forever be viewed as a product of the ‘80s. But for the true inspiration that ignited the New Jersey based pop-centric rock troupe, you would have to peel back a few more years.

Specifically, your destination would be 1959. That was when a not-quite four year old Pat DiNizio saw Elvis Presley in King Creole for the first time. And the second. And the third.

“That summer of 1959, my dad made the mistake of taking me to a theatre on the boardwalk in Wildwood, New Jersey to see the re-release of what was, arguably, the best movie Elvis (Presley) ever made. I mean, he is really cool in King Creole. I’m told that I insisted on sitting through it four times, because you could sit in the theatre as many times as you wanted in those days. I ate 100 lollipops or something like that.”

There was no turning back at that point. The Elvis infatuation led to his first guitar which led to his first band. In 1980, one of those bands became The Smithereens, a group that ignored the post punk and new wave trends of the time as well as the synth-pop sounds that would soon overtake radio. Instead, the Jersey quartet drew on traditional pop and rock songcraft but toughened the edges with a litany of guitar riffs that ignited DiNizio’s songs before bouncing about the melodies like a mantra.

A few of their tunes – Behind the Wall of Sleep (1986), Only a Memory (1988) and A Girl Like You (1989) – became sizable hits. But there wasn’t an album The Smithereens constructed, from the 1986 debut Especially for You through the recent Smithereens 2011, that didn’t boil over with songs embracing melody, muscle and a sense of poetic darkness.

“We were influenced by songwriters like Ray Davies of The Kinks, (John) Lennon and (Paul) McCartney, Burt Bacharach, Jimmy Webb, the Rolling Stones to a lesser extent, the Beau Brummels, the Byrds – really any songwriter or band that could deliver a really powerful and emotional musical statement in three minutes or less,” DiNizio said. “That’s what we’re all about.

“We loved Buddy Holly. We loved Creedence (Clearwater Revival). And we liked heavier stuff like The Who. But I was also a major Black Sabbath fan. I met Ozzy (Osbourne) when I was 15 when they played the high school in my hometown. I followed them on the Paranoid tour, hitchhiking all over Connecticut, New York and New Jersey. I must have seen them about 15 times on that tour, and that’s reflected in some of our heavier material, songs like Blues Before and After and A Girl Like You.

“In truth, it’s a love of heavy riffs and that minor key dark thing combined with the optimistic pop of the Beatles that really fascinated me. So I would say The Smithereens are like Black Sabbath meets the Beatles in a very odd sort of way.”

The resulting music has carried The Smithereens long past the ‘80s. In its 34 year history, there has been only one personal change. Severo Jornacion took over bass guitar duties from Mike Mesaros in 2006 with founding members DiNizio, Jim Babjak (guitar) and Dennis Diken (drums) still piloting the band’s mighty sound.

“It’s not something we think about consciously, but this is a band of brothers, certainly,” DiNizio said. “There’s a little bit of dysfunction, but that comes with the territory.

“In the old days, when we were lucky enough to become successful, we were living on a bus 300 days a year. That lasted for about 10 years. The fact that we survived that and everyone is still alive and everyone is still friends says a lot. But we come from a certain dedication, a certain set of ideals, a certain aesthetic, if you will. There is a spirit of brotherhood here that says we’re all on the same page.”

The Smithereens perform a free concert as part of the Christ the King Oktoberfest, 299 Colony Blvd. at 9:30 p.m. Sept. 19. For more info, go to www.ctkoktoberfest.com.

critic’s pick 340: robert plant, ‘lullaby… and the ceaseless roar’

Robert-Plant-lullaby-and-The-Ceaseless-Roar_638One hardcore Led Zeppelin pal confessed to me after Robert Plant’s continued and steadfast refusal to follow the band’s 2007 London reunion with a full tour that the singer was “dead to me now.”

Undoubtedly many Zep-a-holics share similar sentiments. But if there was ever a nail in the reunion’s coffin, Plant’s fascinating new solo album, lullaby and… The Ceaseless Roar, is it. The work is a lush psychedelic-world music mash-up of an album. Curiously, it also reflects upon almost every musical step Plant has taken up to this point, including several with the mighty Zep. But the fabric of lullaby is so thrilling and new that no one is going to mistake it even remotely for a retro ride.

Though comprised mostly of new songs Plant penned with his two year old Sensational Shape Shifters band, lullaby begins with a parting shot to the Americana, folk and blues inspirations that dominated his 2007 multi-platinum Raising Sand with Alison Krauss and his Band of Joy followup in 2010. But the album-opening treatment of the bluegrass/country classic Little Maggie is tossed to another country altogether.

Percolating banjo from Liam “Skin” Tyson, a returnee from Plant’s 2005 Strange Sensation band, meets the brittle but wildly emotive playing on the single string African fiddle known as the ritti by a Gambian griot by the name of Juldeh Camara. Then the banjo runs seamlessly turn into electric beats, the light percussive shuffle of Dave Smith begins to flirt with loops and the melody that was once distinctly American becomes a jig on a dance floor located somewhere between Ireland and Mali.

And what of Plant, you ask? He sings with a meditative whisper throughout, as if engaging with spirits worldly and otherwordly. His multi-tracked moans effectively become an ultra-spooky, Zep-friendly chieftain in a global séance. I was so taken with Little Maggie that I must have listened to it five times before giving the rest of lullaby a chance. That’s when the Shape Shifters’ own material takes over and the album’s true riches are revealed.

Pocketful of Golden initially suggests some of the trippier moments from Zep’s Houses of the Holy before blooming into a blissful Eastern sweep while Somebody There brings Plant’s musical past beautifully into the Shape Shifters expansive pop present.

Not all of the global inspirations are African and Eastern, however. House of Love moves along with a rippling guitar drone that could pass for the work of King Crimson founder Robert Fripp while the techno/worldbeat boom that gooses Plant’s singing during Turn It Up brings the recent recordings of Peter Gabriel to mind.

It all makes lullaby an ultra-cool global party album that reaches across cultures and generations alike.

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