For their first ever show in Glasgow Giant Sand landed at the ABC in Sauchiehall street as part of this years Celtic Connections. Howe Gelb has played several solo gigs here over the past ten years or so but this was the first full blown Sand experience and it was well worth the wait. While the latest album Blurry Blue Mountain featured heavily there was a fine nod to the current reissue programme by Fire Records who are releasing around 30 past Giant Sand/Howe Gelb records in remastered and expanded formats. Accordingly we were treated to blisteringly hot renditions of Thin Line Man and Valley of Rain in their full blown guitar mesh. While the crowd (and it was crowded) went wild for these Ride The Rails (from the latest album) matched them for intensity.
Blabber’N’Smoke was able to grab some time with Howe for an interview before the gig, some of which will be posted here soon. In the meantime here’s some pictures of the event.
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First Footin’
Back from the holidays and here’s a couple of albums that have been sitting on the shelf for a while.
First up is the curiously named The Chymical Vegas Wedding of Joe Cassady and The West End Sound. Cassady, a New Yorker has a voice that is similar at times to that of Butch Hancock of the Flatlanders and at others like the young Mick Jagger. He sings in a laconic, laid-back style with a fine handle on the words that pack the songs here. The opening song Broken Down for example is a textbook example of how to use alliteration with the repetition of the words broken down throughout the song. Elsewhere he muses on the possibility of history reversing in Van Gogh’s Ear and in Make It Rain uses the silver screen and the dreams therein to reflect on the impossibility of achieving them. This is all delivered over a very attractive backdrop. In particular Shu Nakamura on guitar, mandolin, Dobro and banjo shines throughout. For the most part the band play acoustic based rock with Nakamura providing colour. There are a couple of throwaway confections with Rosarch in Love a dead ringer for Six Days on the Road and We all Tour With Elvis done as a sprightly country romp. However Cassady and the band can rock out successfully as evidenced on Holy Hell. The best moments however are the limpid swoons of Make It Rain and Living Ghosts, two songs that are delicate and beautiful with superb playing from all involved, they sound and feel as if the listener is looking at starlight on a clear night.
http://soundcloud.com/paulk-2/joe-cassady-and-the-west-end-sound-pole-dance
Next up is a great slice of swedish Americana in the form of Mack Johhansson’s New Sweden.
Mack Johansson was the vocalist in the superb Swedish band Hyacinth House who despite two fine albums failed to gather much attention and eventually split up. Their first album in particular was a spectacular piece of Americana conjuring up visions of deep running rivers and green valleys with a sinister undercurrent, a bit like watching Deliverance actually. On his debut solo album Johansson digs deeper into that dark underbelly of Americana with a harder edged, blues, gospel and occasional rockabilly sound that has already paid dividends with one of his songs landing a slot in the American Gothic vampire drama True Blood.
Ranging from the driving acoustic swagger of Foot stompin’ Blues to the pumping and almost electronica sounds of Coyote Indian Blues Johansson rarely puts a foot wrong. There are elements of the elemental David Eugene Edwards of 16 Horsepower and Wovenhand here and there but ultimately Mack sounds fairly unique and closes the album with perhaps his best song Ulrike. Dark and doomladen with sinister slide guitar it oozes menace before building to a great climax. Anyone who knows Hyacinth House will dig the inclusion of a new version of New Day Rising, the song that opened their first album. In addition there is a hidden song Northern Highway that pops up after the album proper is ended. A cover of a David Childers song it just about sums up the album with its Americana imagery and the wailing guitars snaking all over it although it is the only song recorded in the USA and with a different set of musicians.
The album title stakes a claim for Swedish singers to sing Americana as it and the cover art refer to a 17th Century Swedish colony along the Delaware River that despite being annexed by the English has left a lasting and present American-Swedish connection.
Goodbye Captain
Most folk will know by now that Don Van Vliet, aka Captain Beefheart passed away yesterday. Blabber ‘n’ Smoke obviously owes a debt to him. He was one of the best and totally unique. Nothing else to say other than recommend that you dig out some of his music and spend a little time with it.
Round Up Time
Adrian Nation. Fall or Fly.
A busy fellow, Adrian Nation seems to spend a lot of time on the road, either at folk venues in the UK or in Greece, strangely enough. His second album is an engaging listen with hazy echoes of Celtic mist and what appears to be a slight Richard Thompson influence. The quality of the players he has assembled here is quite superb and includes Fairport drummer Gerry Conway and the excellent Canadian, Colin Linden of Blackie and The Rodeo Kings. The album has been lauded by our own Iain Anderson on Radio Scotland who chose it as his folk album of the week back in November and that practically tells you all you need to know about it.
Songs like All Our Yearning Moments are classic examples of fine writing and heartfelt playing, warm and engaging, perfect late night listening, the ebb and flow of the album is nicely balanced. There is a strong Celtic influence on The Other Side of The Light and Set Fire to The Sky with whistle and Uilean pipes from Troy Donockley The frenetic opener Don’t Turn Away and the chunky Thompson like Undo The Chains are invigorating while The Heart Beats On with Linden on slide guitar is a stone fox chase of a song. Nation himself is no slouch on the guitar as evidenced on the acoustic piece Five Finger Rapids.
Nothing groundbreaking here but a fine example of a mature songwriter and well crafted modern folk.
All Our Yearning Moments.
The Loz Netto Band. Bridge of Dreams.
While Blabber ‘n’ Smoke has a deep love and respect for blues music it has to be said that the majority of modern electric blues doesn’t rock the boat here. Going back to the roots of country blues is often appreciated (see the recent Tom Feldman review for example) but it’s far too easy to slip into a copycat mode and few artists have achieved the power and visceral feel of blues since the likes of John Campbell, Rainer Ptacek and Stevie ray Vaughn (all sadly deceased). This Loz Netto chap however is intriguing. With a history going back to London pub rock with the bands Moon and Sniff ‘n’ the Tears (remember the great Drivers Seat) and a cover of Little Feat’s Dixie Chicken on the album it begged a listen.
On the face of it The Loz Netto Band are a typical three-piece blues band. However the opening song Bridge of Dreams is like the soundtrack to a film noir classic, As I said, intriguing. In fact there are no routine 12 bar blues here with covers of Alan Toussaint’s On Your Way Down and Lowell George’s Dixie Chicken owing more to the New Orleans southern soul slink that does fill our heart with wonder. With a nod to Ry Cooder in their cover of Cash’s Get Rhythm the band overall are tight and the fatback guitar sound employed by Netto is a welcome reminder of the great Danny Adler and Roogalator, another staple of those long lost pub rock years. Get hip and enjoy some gumbo here.
Bridge Of Dreams
Natasha Borzilova. Balancing Act
Winding up this trio is the even more intriguing idea of a Russian born Americana songstress. Natasha Borzilova was born in Obinisk, Russia but now resides in Nashville. Despite her stated original intention of recording an album of Russian folk songs this album consists of her own songs with only the closing traditional Rechka betraying her roots. Taking her cue from this song which deals with three sisters crossing a river and one of them drowning Borzilova writes about elemental links between nature and humanity, highlighted on the superb Water and Wood.
Although traditional in sound there are moments such as the guitar in Balancing Act that add an edge to her crystal clear vocals. The closing Russian song Rechka, sung in her native tongue, is a beautiful and climatic end to what is a fine album.
Balancing Act
James Overbee The Old Way.
If the old way was to get a guitar, strum along to some songs and entertain folks, then this album is aptly named. From Kentucky, Overbee has forsaken his band The Talking Machine (their last album, Stayin’ In Touch is a fine slice of Neil Young/Rich Hopkins guitar laden rock) to deliver eleven songs that flow ever so well in a folky manner. Accompanied only by David Vaughn on bass, Overbee sings, plays guitar, drums and blows his harp on a selection of his own compositions that recalls more innocent times. His delivery, particularly with the harmonica present is reminiscent of Neil Young in his folky form, think of Long May you Run and you’re halfway there. Overbee’s voice has an attractive worn way with it and this is heard to best effect on the ballad So This Is What You Wanted, a little gem of a song. There is a naïve, untutored quality in his singing that takes a bit of time to get used to but its used to fine effect on Song For No One and Do You Think I’m A Fool, a pair of songs that reach back to the likes of Woody Guthrie and old time folk Americana. Do You Think I’m a Fool in particular is almost archetypal and one can imagine it having been sung by Hank Williams or Michael Hurley.
The album ends on a high note with the delightful folky froth of Mistaken, a simple song that buskers everywhere should learn. Simple, homespun and heartfelt, if you like your folk woody and plain give it a go.
The Pines. Tremolo.
David Huckfelt and Benson Ramsay are The Pines, a duo based in Minneapolis. They are currently touring the UK and appearing in Glasgow on December 1st. On this, their third album they are joined by an impressive band who conjure up a great rootsy sound that resembles Bob Dylan’s recent forays into America’s folk and blues past particularly on Time Out of Mind. Of particular note is the guitar playing of Bo Ramsay (album producer and father of Benson). On Lonesome Tremolo Blues he plays spectacular slide guitar but throughout his playing is a delight while J.T. Bates on drums, James Buckley, bass and Alex Ramsay (another family member) on keyboards provide a sympathetic bedrock.
Vocally Ramsay and Huckfelt resemble Dylan or at times John Prine, their parched voices sound vulnerable, earnest and honest and they draw you in to the songs which by and large are all outstanding. For the most part these are moonlit poems set to crepuscular music. Twilight hymns that tell no stories but which are packed with arresting images, mysterious allusions and overall a sense of alienation and loss. At times one feels as if one were listening to the poems of W. B. Yeats set to music. Even when they play what appears to be a simple love song as on Hearts and Bones the lyrics seem more like a script for a surrealist movie
Last night you were in my dreams/Heart and bones/When I woke up you were next to me/Heart and bones/Blood is red and the sky is blue/Heart and bones/And I’ve never met anyone like you/Heart and bones/Big bright moon over old St. Paul/Heart and bones/I met you when the apples fall/Heart and bones.
There are two cover songs on the album, “Spider” John Koerner’s Skipper and His Wife and Mississippi John Hurt’s Spike Driver Blues are given fairly straightforward run-throughs with the latter reinforcing the John Prine comparison, both sit well in the overall feel of the album but in the end it is the Pines’ own songs which stand out.
This is a tremendous album, one of the best of the year and there is an opportunity to see this duo on their first UK tour as they play in Glasgow on December 1st at the Woodend Bowling Club supported by the Wynntown Marshals (a definite bonus there).
website
Lonesome Tremolo Blues
Ian Siegal and Ben Prestage
While most modern blues leaves Blabber’n’Smoke relatively unmoved those who tread the old time rural folk traditions are always welcome at our door. So welcome then to Ian Siegal whose latest album The Dust is a spectacular rendition of acoustic songs delivered in a muscular fashion. A mixture of covers and self penned songs delivered for the most part solo (although with pertinent and excellent contributions from B. J. Cole, Sam Hare and Nikolai Torp) it seems set to receive similar accolades as his album Broadside named as Mojo Blues Album of the Year in 2009
Siegal provides masterful blues on The Silver Spurs and Between The Stump and The Ground with his guitar sliding and picking well to the fore. However he also branches out into true Americana territory with covers of Steve Earle’s Cocaine Cannot Kill my Pain and Mary Gauthier’s I Drink, a fabulous rendition which sounds as if Kris Kristofferson had penned it. The old standard I’ll Fly Away with pump organ from Torp is given a full throated gospel treatment and begs the listener to join in on shouting Hallelujah.
Three live songs tacked onto the end of the album sit uncomfortably with the preceding tracks but Siegal impresses particularly on the Howlin’ Wolf medley which closes the album, growling and howling he conjures up the spooky dread which was the Wolf. A bonus song, Hank William’s’ I’m So Lonesome I could Cry ties up the album neatly joining up blues, folk and country. If you like catfish Keith, Taj Mahal or even Seasick Steve you will love this.
Siegal is supported by Ben Prestage who might be more suited to the Seasick Steve comparison according to his photos. His album Real Music is an energetic one-man band (with occasional tuba, jug and harp added) foray into the blues. Not the moaning at midnight type but toe tapping, beer drinking juke joint jive. Think John Lee Hooker and Dr. John and you’re halfway there. There are elements of old time vaudeville in Rag and Hesitation Blues while Johnny Cash’s God Is Gonna Cut You Down is given a downright dirty going over.
These guys are touring now, dates
13/11/10 glasgow, scotland THE ARCHES
solo, w/guest Ben Prestage USA
more info »
14/11/10 CARLISLE, UK CARLISLE BLUES FESTIVAL
solo more info »
15/11/10 YORK, UK FIBBERS
Solo, w/guest Ben Prestage (USA) more info »
16/11/10 MANCHESTER, UK BAND ON THE WALL
Solo, w/guest Ben Prestage (USA) more info »
17/11/10 sheffield, UK THE BOARDWALK
Solo, w/guest Ben Prestage (USA) more info »
18/11/10 NOTTINGHAM, UK RESCUE ROOMS
Solo, w/guest Ben Prestage (USA) more info »
19/11/10 SELBY, UK TOWN HALL
Solo, w/guest Ben Prestage (USA) more info »
20/11/10 blakeney, uk HARBOUR ROOMS
Solo, w/guest Ben Prestage (USA) more info »
21/11/10 shoreham, uk ROPETACKLE CENTRE
Solo, w/guest Ben Prestage (USA) more info »
23/11/10 Rochester, UK THE ROFFEN
Solo, w/guest Ben Prestage (USA)
>>>SOLD OUT<<>>SOLD OUT<<<
Ben Prestage God\'s Gonna Cut You Down
Website
Ian Siegal I\'ll Fly away
Website
Tensheds Crazy Beautiful.
They say you can’t judge a book by the cover. Likewise this album. Tensheds (aka Matt Millership) is pictured on the sleeve looking like some Bowie clone from the early seventies and his publicity sheet has him resembling the boa feathered Eno from back in the Roxy Music days. So all in all one was expecting a glam rock rehash full of synths and retro seventies riffs. Instead there was an album that owes more to the early balladry of Tom Waits and at times a touch of a country jaunt
Opening with Go Out On the Weekend Tensheds’ debt to Waits is obvious and even more so on Angel of London where he sings lustily over swirling organ and some great horns. Vocally Tensheds has an attractive husky delivery that works as well in a delicate ballad such as Stains as on the uptempo City of Dreams which is reminiscent of Ronnie Lane’s Slim Chance with its saloon bar piano.
While the majority of the songs are piano based there are a couple of songs where acoustic guitar is prominent. Of these Flying Cars (with a lyrical nod to Life on Mars, so the Bowie look might not be so coincidental) is an excellent embittered tale of regret rendered from a cheap hotel room. The closing song, Paradise, with atmospheric guitar and percussion that does recall some of Eno’s ambient music is eerily beautiful, a song about death and memory.
The album was released on November 1st and Tensheds is currently touring.
website
Alexander Wolfe. Morning Brings A Flood.
Although this album has been kicking around since last year it’s getting a push as one of the tracks, Song For The Dead has bagged a place as the theme song for a new BBC comedy, Whites. Good enough reason to wheel it out and enjoy its eclectic mix of English pastoral and baroque rock settings. Wolfe’s story is fairly unique in itself. Full name Alexander Gordon de Menthon, a scion of a French aristocrat he funded this album through selling a family heirloom, a Rembrandt sketch, not often that happens.
Anyway, the result was an album that pulls in influences that include the likes of Tom Waits and Neil Young but the overall influences are English artists such as Paul Weller and even Peter Skellern. The Weller trick of fusing pastoral sounds with frighteningly good turbo charged guitar is given a good airing on the second song, Lazybones while the lengthy closer Stuck Under September is a close cousin to The Jam’s English Rose. The mellow Till Your Ship Comes In has shades of Nick drake particularly in the string accompaniment. While the overall feel of the album is of a wintry melancholia there are moments such as Teabags in Ashtrays which has wonderfully eccentric feel with Hawaiian guitar and merry go round circus music blending into a dizzying mix. The song that the Beeb is using, Song For The dead struts proudly sounding like a long lost Kinks song although Wolfe’s estuary English might not be his everyday voice one suspects. There are other joys, Empty Morning is a mournful lament with brass accompaniment reminiscent of Peter Skellern while This Submarine brings to mind folk rock experiments by the likes of Roy Harper and Michael Chapman from many moons ago.
A minor classic that might enjoy resurgence thanks to the BBC.
Listen to Lazeybones
Steven L Smith. Outside of Tupelo.
An accomplished luthier and self confessed fan of The Band (in particular Levon Helm), Merle Haggard and The Allman Brothers, Smith looks like a big bear of a man according to his picture on the sleeve. Appropriately enough he has a big sound as well. Vocally he comes from the Waylon Jennings school, gruff and loud, untutored perhaps but commanding attention. His songs are very much country rock with an acoustic bed over which the guitars (lead, pedal steel and slide) bite and caress, at times rocking away but able also to cradle a tender ballad. Listening to this folk such as Steve Young and Guy Clark came to mind while fiddle is used in a Charlie Daniels’ Style. While there is nothing new here when it comes to subject matter Smith writes convincingly about drunken truckers (Woman On A Pole) and fallen women who follow their dreams (Molly). Woman on A Pole in particular is a fine addition to the grand tradition of truck driving songs where a red neck trucker loses his heart and wallet to a pole dancer. It’s a grand opening song with the band playing at full tilt. Big Sky is an almost perfect country song with bright piano, rippling mandolin and fine swirls of pedal steel. Smith can write some fine and touching songs (Cowboy Song and Oregon in particular), and can also get down and dirty as on I Stole The Bible with devilish fiddle and bluesy slide. All in all this is an accomplished slice of country rock with a southern bent.