I first discovered Buddy Miles on Jimi Hendrix’s Band of Gypsys LP. Buddy sings “Changes” (a title variation on the titular song on this album) and bangs the skins on that album. The live album is Hendrix’s most soulful and funky LP in his catalog and Buddy is a big reason.
Buddy’s background was playing in jazz and R&B bands. He met Hendrix when they were in different bands on the same tour circuit. They struck up a friendship and jammed together. Buddy was just 16 when he first met Jimi. He managed to jam with rock and roll royalty over the years: Hendrix, Santana, Stills, McLaughlin, George Clinton, Bloomfield, etc.
Them Changes opens with the titular track. It is much more traditional soul (lots of horns) than what I was first introduced to with Hendrix, but it still rocks hard.
“I Still Love You, Anyway” would not sound out of place on a Stevie Wonder album or as an acoustic ballad on Led Zeppelin album.
“Hearts Delight” has a Motown feel, but with delightfully rough edges. It then segues into a James Brown ballad to close out the song.
Side one ends with a brilliant cover of the Allman Brothers’ “Dreams.” The song opens with the classic guitar riff but it is spiced up by a horn section giving the song a great Blood Sweat & Tears feel.
Side two launches with another great cover, Neil Young’s “Down By The River.”
Next is “Memphis Train” which is pretty conventional Memphis soul – think Otis Redding.
“Paul B. Allen, Omaha Nebraska” is an instrumental work out reminiscent of what a blues band would play to warm up the crowd for the featured performer. I can imagine hearing this jam at an Allman Brothers’ show. Nice foundation for the players in Buddy’s band to step out and solo.
The album concludes with “Your Feeling Is Mine” another piece of classic Memphis soul.
The LP is a nice synthesis of soul and acid rock. This album is pretty easy to find in the crates. I picked up mine in fair to good condition for a buck. Recommended to Allman Brothers, Otis Redding and more recently Sharon Jones and the Dap Kings fans.
How on earth I missed this album in 2014 is beyond me. Rocky Music’s Avalon is in my hall of fame – one of my favorite albums of all time. Most of Roxy Music’s catalog has not resonated with me, but Avalon has touched my soul.
I am not sure how I stumbled upon Avonmore. It was about a month ago and it has been in constant rotation since. It has a similar groove as Avalon. A funky slow boil.
After a month I am giving it a proper listen via 180 gram vinyl.
The guitar playing is subtle but superb, led by the great Nile Rogers (Chic) and Johnny Marr (The Smiths). Long time Ferry/Roxy guitarist Neil Hubbard plays on all the cuts. In addition, the thick strings are manned primarily by Marcus Miller (Miles Davis).
There are plenty of great guests too: Flea, Mark Knopfler, Ronnie Spector and Maceo Parker.
This album would have for sure made my top 5 of 2014. This is like finding a long-lost sequel to a classic (Roxy’s Avalon).
Ferry is the master of the quite storm. If you like pristine production values, subtle British funk and great (but not flamboyant) guitar, you will love this LP.
No spoilers – go ahead and read.
I don’t watch a lot of TV outside of sports and my wife’s shows. But last year I serial watched Breaking Bad (one episode a day on the treadmill). That show really opened my eyes that TV is now better than movies.
Great TV has always been about great characters and Breaking Bad was full of them. Although the plot could get tedious (unfairly accentuated by serial watching), I never tired of the characters. Saul Goodman was one of the consistent scene stealers.
Saul’s charm was that at his core he is a lovable looser who has just enough gall to lie, cheat and steal without guilt (just fear of being caught). Saul somehow makes being a mild psychopath a charming character defect (something as benign as being scatter brained). I think there is a little bit of Saul in all of us if we were honest enough to admit it.
I was thrilled to hear there would be a Breaking Bad spinoff focused on Saul. When it debuted this winter I enjoyed the first few episodes, but honestly I was underwhelmed. Then this past week I watched episode 6 (Five-0) and that was the payoff. The episode focused on another great Breaking Bad character Mike Ehrmantraut.
In this episode we learn Mike’s tragic past and how it defines his character. Jonathan Banks performance is absolutely brilliant. Some of the best acting I have ever seen on-screen (small or large). It is so cool to learn the foundation of a character you already know. You always new Mike had a tragic past and now you see it and his character now makes total sense. I love that this was accomplished with such a long set up. Congratulations to Vince Gilligan – he has delivered again. I am officially hooked on Better Call Saul.
This album is the definition of “Crate Digger’s Gold.” I knew nothing of Wishbone Ash other than they were an early 70s band. I was digging the $1 boxes at the recent Rock N’ Roll Sale when I pulled this double LP. For a buck I was curious as to who Wishbone Ash was. I assumed that a live album would be a good introduction to the band.
I finally gave it a spin last night – wow what a cool band. Imagine combining early Yes with The Allman Brothers and you have a bit of a sense of Wishbone Ash. But I don’t want to mislead you – they really don’t sound like anyone else – they have their own unique sound. What struck me right away was that it was a twin guitar attack. I immediately Googled them to find out who the hell are these guys.
According to Wikipedia:
Wishbone Ash are considered to be one of the major innovators of the harmony twin lead guitar format. Their contributions helped Andy Powell and Ted Turner to be voted “Two of the Ten Most Important Guitarists in Rock History” (Traffic magazine 1989), and to appear in the “Top 20 Guitarists of All Time” (Rolling Stone). Melody Maker (1972) described Powell and Turner as “the most interesting two guitar team since the days when Beck and Page graced The Yardbirds”.
This is why I crate dig – the thrill of discovering a great band or album you knew nothing about and paying next to nothing for the pleasure beyond your time. I have not listened to any other Wishbone Ash albums so I have no idea if this is representative of their catalog. But given they have a couple of incredible axe men I can only assume the live format is a great way to sample the band. There is some serious guitar slinging going on here – and not just the twin guitars – the bass player shreds too. But I can see why these guys never made it big: they don’t have distinctive vocals, they lack great hooks and monster riffs. But the twin guitar battles on top of a complex bass line is pretty damn intriguing to my jazz and jam band ears.
If you are a fan of complex rock and roll guitar or blowing sessions you will dig this album. My $1 copy was in pretty decent shape so you should not have to pay more than $5 for good copy of the LP.
I have been underwhelmed by the recent Led Zeppelin reissues. Partly because, as much as I love Zeppelin, they are classic rock warhorse that have been played to death (by both me and the radio). But mostly because I was so disappointed that the bonus material was so thin: live cuts, alternative mixes, demos. I can’t believe that a band this big did not have extra songs that did not make the cut.
Physical Graffiti does not bring any more to the table than the other reissues other than it is arguably their greatest album. Maybe I am just in the right mood. Maybe I have listened to this album a hundred fewer times than the rest of their catalog. I am digging this album – the reissue sounds stunning. If you are going to test drive one of these reissues – this is the one.
Physical Graffiti has all the tricks in the Zep bag: hard rock, folk, world music, funk, killer riffs, etc. This is a great band at the absolute peak of their powers.
As for the bonus material – more of the same – no new songs. The packaging on the deluxe edition is a very well done miniature LP.
I am more of Jerry Garcia fan than a Grateful Dead fan. I was a David Grisman fan before I was a fan of Garcia or the Dead.
Amazingly I have never owned this album in any format. I recently picked up an LP in very good condition for just 5 bucks at the recent Rock ‘N Roll Music Sale in Maple Grove (MN).
The album is live from 1973 and was released in 1975. Garcia is featured on vocals and banjo. Grisman on vocals and mandolin. This pure bluegrass vs. some of the fusion that both artist are famous for. That being said, the songs are traditional, original (3 by guitarist/vocalist Peter Rowen, 1 by Grisman and 1 by violinist Vassar Clements) and a cover of the Stones’ “Wild Horses.”
I “discovered” Grisman on his classic jazz bluegrass fusion (dawg music) Hot Dawg (1979). And I “discovered” Garcia via the Jerry Garcia Band on their 1991 eponymous live album.
This album has some high-speed picking and radiates a lot of joy. Garcia and Grisman had known each other for 10 plus years before this album was recorded. The lack of pretension is strong here. Pure love of music prevails. Garcia had such an amazing musical life outside the Dead and this is just one example of his many side gigs. This is a classic example of him subordinating his ego for the groove.
If you are a fan of picking and grinning or a fan of the Dead this LP is highly recommended.
Below is the complete Boarding House Shows which includes this album plus 45 more cuts. Also included bellow is Hot Dawg. Unfortunately Jerry Garcia Band is not available on Spotify.
I first became aware of Sly And Robbie on the 1980 Black Uhuru album Sinsemilla. They were a big deal in the 80s appearing on reggae albums by major reggae stars like Black Uhuru, Peter Tosh and Culture, but also with major rock stars like Bob Dylan and Mick Jagger.
This album was produced by Material/Bill Laswell (another pretty big deal in the 80s). Laswell is a pretty innovative cat who rides a thin line between funk and jazz. He is equally comfortable in hip hop and dance noise.
I knew nothing about this album – I plucked it out of the crate based on Sly And Robbie and Laswell’s reputation. When I first listened to Language Barrier the first thing that I thought of was Herbie Hancock’s “Rockit,” which Laswell produced a couple of years earlier. This is barely a reggae album and that is all right. There are plenty of great reggae grooves graced by Sly and Robbie. It is cool to hear this distinctive rhythm section hijacked for another cause.
The album features some pretty fantastic guests: Bob Dylan (who plays some subtle mouth harp on one song), Herbie Hancock, Afrika Bambaata, Doug E. Fresh (aka the Human Beatbox) among others.
This album was a flop commercially, but it is still a great LP. It is a very 80s sounding record – it accentuates the art side of that periods pop – it rides the edges. It sounds pretty damn innovative in hindsight. With each listen the groove gets deeper and funkier. There are a lot of layers here. Don’t ride the surface, dive deep. If you can imagine EDM with soul, check out this LP.
As for the digging, I found this gem in near mint condition at The Electric Fetus (opened but still in shrink-wrap). A bit overpriced at $9, I am accepting of inflation in the vinyl market these days, especially at parlors of hipness like The Fetus. The album has given me great enjoyment so the groove to value ratio has been high.
Sorry not available on Spotify, so no playlist.
Gov’t Mule is celebrating their 20th anniversary as a band with a variety of live release that are theme based. For example they released a vinyl-only set of Stones covers for Black Friday/Record Store Day in 2014 (Stone Side Of The Mule Vol. 1). They recently released a jazz rock instant classic with John Scofield (Sco-Mule).
This release is focused on Pink Floyd covers. There are two versions – one with just the Floyd covers (single CD and double LP) and a deluxe edition that is the entire Halloween 2008 concert at the Orpheum Theatre in Boston on three CDs (including a DVD video of the show mixed in stereo and 5.1). I purchased the deluxe version. For that version the first set is predominantly from the Mule’s catalog and the second set is Floyd covers.
I am new to Gov’t Mule, but I have for a long time admired Warren Haynes work with the Allman Brothers. Last fall I picked up the Record Store Day Stones’ cover album and was struck by Haynes vocals (he can obviously rock the guitar). With the Allman Brothers his vocals are typically a bluesy Gregg Allman growl. But on the Stones covers album he affected something closer to Jagger.
On Dark Side Haynes mimics David Gilmour’s vocals and guitar playing. When you hear the Mule cover Floyd you realize how bluesy Floyd’s music is at its heart – atmospheric and foreshadowing techno, but bluesy at its heart. The Floyd covers are pretty loyal to the originals – but with just a touch of a jam band feel.
The performance is five-star and the recording is three-star (Sco-Mule is better sonically). The DVD video quality is a bit grainy, but sonically as good as the CD. Sorry, but I don’t have the tools to review the 5.1 mix. The Floyd songs are so familiar – it is fun to hear a group of talented fan-boys take them for a ride. Overall the covers are pretty faithful, but with a touch of looseness that is just right.
My experience with Stone Side, Sco-Mule and Dark Side Of The Mule has got me digging into the Gov’t Mule’s catalog (looks all but their first album is on Spotify). What a great band. I have a ticket to the Sco-Mule concert in Minneapolis this week and I am really looking forward to it. It is fun to “discover” a band who has an extensive back catalog to mine.
Fear Fun was one of my favorite albums of the last ten years so it’s follow-up has big shoes to fill. I Love You, Honeybear is a much subtler offering that takes a few listens to reveal its brilliance, but it is a worthy successor.
Father John Misty is still channeling a Laurel Canyon vibe with Van Dyke Parks grandeur. Songs are beautifully and richly arranged to slightly disguise wonderfully twisted lyrics (e.g. Mascara, blood, ash, and cum on the Rorschach sheets where we make love). Father John Misty is in love, but he has not lost his bite.
I first listened this album on Spotify and I thought it a bit ho-hum. I listened to it several more times (out of reverence to Fear Fun) and it started to grab me. But it was not until I listened to the LP (regular edition) that the music really popped. I have not had the privilege of listening to it on CD or high def so I don’t know if it is just the inadequacy of lo rez streams or digital mix in general. The LP is at 45 RPM for maximum vinyl sonic experience. It sounds grand and you get to really sink you head into the lush pillow of Father John Misty and all his grand ambitions (stings, harps, horns, searing electric guitar, etc.).
If you dig well crafted folk pop with laced with dark twisted fantasies I Love You, Honeybear is for you (think Joni Mitchell, a splash of Brian Wilson and a twist of Kanye West). .
I have been a John Scofield fan since I was introduced to him as part of Miles Davis’ band in the 80s. I am less familiar with Gov’t Mule but I am a fan of the Allman Brothers’ Renaissance that Warren Haynes is responsible for.
I became aware of this collaboration when I was Googling for some background information on Gov’t Mule’s Dark Side Of The Mule album. I discovered there was a Sco-Mule tour this winter. I bought my tickets to the Minneapolis show and then was delighted to learn there was going to be a Sco-Mule album too.
The album is drawn from two live shows that Scofield did with Gov’t Mule in 1999. It sounds as fresh today as if it was recorded yesterday. This is classic groove oriented jazz rock. Lots of funky shredding. The best surprise is the keyboards (Dr. Dan Matrazzo – no idea who he is but he is amazing). The album has a lot of James Brown grooves that creates a great platform for Haynes and Scofield to spar.
The album is all instrumental with most of the songs clocking in well over 10 minutes (the album is two and half hours spread over two CDs). I don’t think it is an insult to call this a great jam band. Every song is pure joy. This a classic jazz blowing session that has Haynes and Scofield playfully throw punches. They tag off to Matrazzo too. Recording quality is top-notch for a live show. There are some amazing sounds coming out of these guys. Scofield sounds like a sax, electric violin and a turntable besides his great “regular” guitar tone. Haynes is his usual bluesy self which grounds the session as Scofield goes nuts. Matrazzo is amazing keyboard player (think Headhunter’s era Herbie Hancock) – I have got to find more stuff by this guy. I can’t wait to see this gang live.
Axl's Catch Groove 