Recorded live in Tokyo back in May of 2009, the DVD Mick Taylor Band – The Tokyo Concert features Taylor on guitar and vocals, Max Middleton on keyboards, Kuma Harada on bass, Jeff Allen on drums, and Denny Newman on guitar and vocals.

Any fan of the Rolling Stones remembers the incredible lead guitar work of Mick Taylor, as it was a significant sound throughout the band’s prime years. It’s a contentious subject to this day as to why he even departed the most famous rock band in history. However, since he had already gained notoriety as a premier blues guitarist in John Mayall’s Bluesbreakers, one needn’t wonder where his heart really was by the time he hooked up with Jagger and Richards. But if it wasn’t for his contributions to great albums like “Sticky Fingers”, songs like “Sway”, “Moonlight Mile”, and “Can’t You Hear Me Knocking” may never have been recorded, especially the incredible versions we’re familiar with.

Though Mick Taylor has been involved in numerous musical projects since leaving the Stones, they’ve been subtle affairs in comparison to that prime period of his career. And besides being one of the greats to come and go in the Bluesbreakers, another important Taylor feature is his reputation as an acclaimed and respected musician, one who never felt the need to adjust his persona or musical taste to fit in with the contemporary music of the day.

Fans of Mick Taylor in general, especially those of his solo effort “A Stone’s Throw”, will be delighted with Mick Taylor Band – The Tokyo Concert. Four of the seven tracks on the collection are from that album, including the delightful opener “Secret Affair”. It’s all about Mick Taylor the guitarist here, as it is the foremost aspect throughout. “Twisted Sister” treats the listener to both his lead guitar technique as well as his slide. “Losing My Faith”, another of the tracks from “A Stone’s Throw”, is a pleasant slow blues. He stays in that mode and does a nice tribute to Muddy Waters in Willie Dixon’s “You Shook Me”. The downright bluesy song features some brilliant slide and lead phrasing again.

The audience is then treated to “Burying Ground”, an original from Denny Newman. The British guitarist sings and takes over the solo guitar reigns here while Mick takes a break. Following Dylan’s “Blind Willie McTell”, the song that closes Taylor’s “A Stones Throw” as well, Taylor closes the show with a pleasurable rendition of “No Expectations”, the Jagger/Richards gem from “Beggar’s Banquet”.

Though his singing voice is a bit sluggish, let’s keep in mind that this is the great Mick Taylor, not American Idol. It’s the sound of a successful seasoned veteran. He’s somewhat reserved in his guitar playing, too, maybe even a tad modest in places, but that’s something that obviously comes with age and is to be expected. Though front and center here, Mick was always a modest performer anyway, the perfect sideman. That said, the music throughout is exhilarating. And it’s great to hear that definitive and cherished Taylor/Les Paul guitar tone again.

The concert seems somewhat short at first look, with only seven songs in its entirety, but it’s still an hour and seven minutes of brilliant music. And it’s abundant in superb guitar solos. In addition to this extraordinary show, the added feature “On the Road with Mick Taylor” makes Mick Taylor Band – The Tokyo Concert even more valuable for fans. It’s a twenty-four minute biography/interview of Mick Taylor, a musician whose life story has been an unfamiliar tale to many anyway. The situation of leaving the Stones and playing with Dylan are just a couple of things he touches on in the interesting conversation.  More concert footage is included, as well.

Here’s a clip of Mick Taylor Live in Munich, GE (3/16/2009)

Click here to view the embedded video.

Related Links:
Mick Taylor Band – The Tokyo Concert

Mick Taylor

"Double Down Live" by ZZ Top

By: Brian D. Holland

Eagle Vision recently released “Double Down Live” by ZZ Top, a dual DVD set featuring two hard rockin’ shows, from 1980 and 2008. DVD one, titled “Definitely Then … 1980″, was filmed for the Rockpalast television show at the Grugahalle, in Essen, Germany. Consisting of a greatest hits setlist, nine of the twenty-two songs are from the then recently released “Deguello” album.

For most of the show, Billy Gibbons conjures massive sound and crunchy tones from “Pearly Gates”, his legendary ‘59 Gibson Les Paul. He also uses his fire red Gretsch Jupiter Thunderbird, known as “Billy Bo”, for a couple of songs. He adds dimension and detail to “Jesus Just Left Chicago” with interesting volume and tone manipulation, from clean and soft to loud and heavily distorted. Alongside Dusty’s throbbing foundation and Frank’s solid percussion, his guitar chops exemplify the ZZ Top brilliance in the bluesy “Fool For Your Stockings”. Though “Cheap Sunglasses” is rocked solidly to the hilt, “Arrested For Driving While Blind” takes it even further.

The second DVD, “Almost Now … 2008″, opens that year’s US and European tour with a rockin’ “Got Me Under Pressure”. The film switches between concert footage and interesting offstage action throughout, band member interviews as well. Again, we get to hear “Waitin’ For The Bus” segue into “Jesus Just Left Chicago”, the back-to-back staples that ZZ Top shows wouldn’t be the same without. They take it into slow blues territory with “Blue Jean Blues”, in which Billy’s comical storytelling segues nicely into the 12-bar melody. He enhances the hard rockin’ “Just Got Paid” with incredible slide guitar licks on his gold top Les Paul. Later on, the trio gets into a fascinating version of Hendrix’s “Hey Joe” and finishes with “Tush”.

This DVD set contains some of the best onstage audio and visual footage of ZZ Top performing their original brand of rock and boogie fused blues, including their distinct chic showmanship and signature “moving sidewalk” stage show. It’s much better than the “Live From Texas” DVD released last year. They have an incredible knack for sounding full and huge in the live setting. It’s often been said that the Texas trio is one of the best live rock bands in history. The remarkable feature here is that “Double Down Live” validates that assessment over a twenty-eight year period.

Click here to view the embedded video.

Label:  Eagle Vision Disc One – Definitely Then … 1980

1. I Thank You

2. Waitin’ For the Bus

3. Jesus Just Left Chicago

4. Precious And Grace

5. I’m Bad, I’m Nationwide

6. Manic Mechanic

7. Lowdown In The Street

8. Heard It On The X

9. Fool For Your Stockings

10. Nasty Dogs & Funky Kings

11. El Diablo

12. Cheap Sunglasses

13. Arrested For Driving While Blind

14. Beer Drinkers & Hell Raisers

15. La Grange

16. She Loves My Automobile

17. Hi Fi Mama

18. Dust My Broom

19. Jailhouse Rock

20. Tush

21. Tube Snake Boogie

22. Just Got Paid Disc

Two – Almost Now … 2008

1. Got Me Under Pressure

2. Waitin’ For The Bus

3. Jesus Just Left Chicago

4. I’m Bad, I’m Nationwide

5. Blue Jean Blues

6. Heard It On The X

7. Just Got Paid

8. I Need You Tonight

9. La Grange (With Sloppy Drunk & Bar-B-Q)

10. Hey Joe

11. Tush

Links

Double Down Live on Amazon

"By A Thread" - Gov't Mule

By: Brian D. Holland

By A Thread, the latest studio release from Gov’t Mule, is a straightforward audio testimonial that classic hard rock is alive and well in the 21st century. And unique only to bands of this fine quality, Warren Haynes and gang prove once again that they’re able to adjust and evolve in a positive way with each CD. Barring the more than plentiful live material circulated over the years, the reggae infused “Mighty High” as well, the studio albums that come out every two to three years or more are what it’s really all about, and they get better all the time.

Though Mule has released a ton of great music since the tragic death of Allen Woody in 2000, the bottom notes never again reached his level of intensity. Nevertheless, new bassist Jorgen Carlsson fills the gap flawlessly here, as his bass lines are powerful and funky. His incredibly fat yet effervescent and liquid-like tone sticks out significantly. No disrespect intended toward former bassist Andy Hess either, as his style suited the music of the time perfectly, most notably in “High & Mighty”, one of their best albums to date. Hess is the bassist of note on the last two tracks here as well. And even though Danny Louis’ contributions on keyboards and rhythm guitar are essential to the rich and full arrangements, the prominent bass timbre aids immensely in beckoning the power trio sound that they exerted in the old days (think “Thorazine Shuffle”). It’s nice to hear a rock band sound like a power trio sometimes, even if they’re not a trio. And as usual, longtime drummer Matt Abts pumps out hardcore rhythms and unique changes throughout, with a contemporary and stylish technique that boldly flaunts a John Bonham rawness at times.

Opening with Carlsson’s hard thumping bass notes, ZZ Top’s Billy Gibbons adds incredible licks in conjunction with Warren’s to the funk infested “Broke Down On The Brazos”. Warren’s guttural and emotional vocal sets the mood immediately. This continues in “Steppin’ Lightly”, a hard driving rocker highlighting his creamy Gibson tone and soaring lead work.

Warren has often been clever at entertaining fans with wonderful covers of past songs, at summoning up gems from the depths of musical obscurity as well. In this case it’s a powerful rendition of “Railroad Boy”, the haunting folk song once performed by Joan Baez. He utilizes his familiar Gibson 12-string here, starting with the bluesy riff at the beginning (reminiscent of the earlier “So Weak, So Strong”). It gets surprisingly potent in the chorus, and continues in that mode throughout. “Gordon James” possesses a similar earthy and folky ambiance up front. The Haynes original then segues into a harder Zeppelin-like power chorus. This rock-solid essence matches the solemn lyrical content. “Forevermore” is in this vein as well.

Talking about the album’s bass guitar aspect can surely get redundant, but it’s certainly relevant in “Monday Morning Meltdown”. The enormous sound sets the deep and reflective atmosphere at the get go, and the bottom muscle is prevalent throughout the 8-minute song. Its spacey and elusive melody contains a variety of instrumental tones, time signatures, and changes, and although it takes a while to sink in, it eventually becomes a choice track after enough listens. “Any Open Window” is fast paced and infectious. The rhythm section stays tight and concise while Warren injects interesting lead and riff work into the Hendrix inspired rocker. The welcomed slide guitar and vibrant organ in “Frozen Fear” provide it with a robust Allman Brothers flavor. It’s highly melodic and percussive in that direction as well.

“Inside Outside Woman Blues #3″ is the quintessential Mule slow blues. In the vein of Willie Dixon’s “I Can’t Quit You Baby” (the cover Warren once did with Little Milton), it also mirrors that Zeppelin potency. Utilizing incredible lead runs enhanced with a buttery wah-wah effect, Warren’s at home and at his best in this potent slow blues number, in which he stylistically lays reference to Page, Hendrix, and even Albert King in places.

Although these funk infested hard rock tracks will undoubtedly be ideal in the live setting, as the deep tangents that many of them depart on explore progressive blues, jazz, and psychedelic regions, the best thing about this batch of songs are the level of power and emotion exerted by all of the musicians involved, Haynes in particular. His vocal aptitude is as signature to the music as his guitar style and tone.

By A Thread is a powerful CD, one that promotes the songwriting capacity and guitar hero status of Warren Haynes even further. Much like the good stuff that came out in the early 70s, aspects of originality and excitement exist in the music. Gov’t Mule is unquestionably one of those great rock bands whose fans look forward to the next studio album with expectation and anticipation.  By A Thread, once again, represents and lives up to that reputation.

Click here to view the embedded video.

Gov’t Mule:
Warren Haynes – Guitar, Vocals, Producer
Matt Abts – Drums, Percussion
Danny Louis – Keyboards, Rhythm Guitar
Jorgen Carlsson – Bass

Also:
Andy Hess – Bass
Billy Gibbons – Guitar
Gordie “Grady” Johnson – Producer, Background Vocals

Links

By A Thread on Amazon

"Soul On Ten" Robben Ford

By: Brian D. Holland

Eight of the ten tracks on Robben Ford’s fourth and most recent Concord Records release, “Soul On 10″, were recorded last April at The Independent in San Francisco’s Alamo Square. No doubt a room chosen for its acoustic value, audience applause at the end of each song is the single reminder that it was recorded live and not in the studio. With an approach that contains an air of excellence in any recording situation, even Robben’s raw and improvisational sections come off tight and concise.

Though his singing voice is more than adequate, his compositions good, and the individual members of his rhythm section solid and praiseworthy enough on their own, Robben’s bluesy and melodic fret work is what it’s all about here.  There’s no getting around that. His signature guitar tone is full and vibrant, and the notes soar soulfully and generously about the venue, loudly yet never piercingly loud. His playing technique is a dynamic voice in itself, one that’s genuinely expressive. Those familiar with the amazing guitarist know that much of his melodic phrasing and timbre is suggestive of a brass instrument at times, which only adds dimension to that instrumental voice. These characteristics are prominent within the setlist’s mixture of blues, jazz, rock, soul, funk, and contemporary sounds.  Generally speaking, there’s enough music candy for everyone’s ears in this sundry show.

A funky wah-wah induced rhythm reminiscent of Hendrix gets Supernatural started. The exemplary gem from the 1999 album of the same name possesses a unique to Robben style. He has a knack for putting an elaborate arrangement in its place by granting it temporary footing on the ground, and then firing it off into intricate obscurity again, a Miles Davis jazz-like area in this case.

Indianola (from his 2002 “Blue Moon” album), the lone instrumental here, is an amazing display of both rhythmic flow and solo expertise. Though it’s very much Robben Ford, it evokes the style of both Eric Johnson and Sonny Landreth in places. The incredible drumming of Toss Panos keeps the rhythm going strong throughout the upbeat number. Robben once again utilizes the wah-wah in There’ll Never Be Another You. As everything else pertaining to his technique, he uses the effect tastefully and sparingly, adding nicely to the song’s funky atmosphere without going over the top. He eliminates it when the arrangement changes pace, and ultimately goes another way with some interesting volume manipulation.

He boldly does his own thing with Willy Dixon’s Spoonful. The blues staple once popularized by Cream is performed in a vibrant and funky manner. The guitar solo, which is incredible throughout, stays original to Robben Ford while true to the song. Neal Evans is solid on Hammond B3. A good choice to follow this cover, Nothin’ To Nobody, written with Michael McDonald for the Supernatural album, is an eleven minute contemporary jazz excursion. Robben’s snappy licks lead into Travis Carlton’s (son of Larry) solid bass solo. The band then gets into a little 12-bar Chicago blues with exciting renditions of Elmore James’ Please Set A Date and Jimmy Reed’s You Don’t Have To Go.

Earthquake, a new original composition, is an eight minute show of utter diversity. All the stops are pulled for this modern, bluesy, jazzy, and utterly soulful performance. A triumphant mesh of contemporary melody and amazing musicianship once again, it’s all over the Robben Ford musical spectrum.

Though How Deep In The Blues (Do You Want To Go) closes the show, the music isn’t over. Two new and original studio tracks put the icing on the cake. Pleasantly mellow yet lyrically profound, Don’t Worry ‘Bout Me is about loved ones left behind and loneliness on the road. The lyrically thoughtful Thoughtless brings the fine album to a suitable close.

Robben Ford’s Soul On Ten is a wonderful live presentation, a solid display of the ever inspiring showmanship of one of today’s most compelling and original guitarists. The two added studio pieces at the end are indications of his desire to include more of what he’s presently doing, keeping busy making good music.

Click here to view the embedded video.

Concert Setlist:
1. Supernatural
2. Indianola
3. There’ll Never Be Another You
4. Spoonful
5. Nothin’ To Nobody
6. Please Set A Date/You Don’t Have To Go
7. Earthquake
8. How Deep In The Blues (Do You Want To Go)
Studio:
9. Don’t Worry ‘Bout Me
10. Thoughtless

Label: Concord Records
Release Date: August 11, 2009

Links

Robben Ford
Soul On Ten on Amazon

Joe Bonamassa dreamed of being a professional guitarist and playing the Royal Albert Hall ever since he was a young boy growing up in Utica, New York. This dream came true on May 4, 2009. In reference to that ultimate concert experience, he states in the DVD’s onset, “You only get one shot to make it right.” As his fantasy becomes realized, the trepidation is compounded when his longtime idol, guitarist Eric Clapton, steps onstage to play alongside him. Does Joe get it right? He certainly does.

He walks onstage playing the howling intro notes to Django as the jam-packed hall welcomes him with a standing ovation. Trading off guitars (a Les Paul Gold Top for an Ernie Ball Music Man Baritone), the tone monster then delves into “The Ballad of John Henry”. With another Les Paul in hand, he soars off on a blues lead trek in “So It’s Like That” (from the 2002 CD of the same name), a definite crowd pleaser. “Last Kiss”, from The Ballad of John Henry CD, puts Bonamassa well into his first set.

Following incredible performances of “So Many Roads” and Stop”, Eric Clapton takes to the stage for an exhilarating “Further On Up The Road”, in which both virtuosos take turns singing and soloing. Joe utilizes a new Yamaha LJX 26C acoustic in “High Water Everywhere”, and then takes his Les Paul into a 9-minute “Sloe Gin” excursion.

In the intro to DVD two, Joe talks about his early influences. A slide show of the young musician alongside some of them, most notably B.B. King (right before his twelfth birthday), ensues during the conversation.  He explains that the chance meeting led to an opening slot with the great bluesman, a show in front of 5000 people.  A tour then followed.

Highlights on the second DVD include Sonny Boy Williamson’s “Your Funeral My Trial”, with Paul Jones (Brit singer, harmonica player, and actor) on blues harp. Joe then displays his prowess once again for blues lead soloing in “Blues Deluxe”. Though that’s nothing new for him, it’s extra nice here in the Royal Albert Hall setting, placing him on a pedestal with Clapton and the best of them.  He kicks some bluesrockin’ ass in “Story Of A Quarryman” and does ZZ Top some Rio Grande justice with his version of “Just Got Paid”. Placing the audience in spellbound mode with the soaring notes in “India”, the intro segues magically into “Mountain Time”. The show closes with “Asking Around For You”, from 2002’s You and Me album.

For long-time fans of Joe Bonamassa, those who’ve been around since his early days, this DVD is a gratifying keepsake of a major highlight in the musician’s career.  When a performer headlines London’s Royal Albert Hall, it’s probably safe to say that he’s finally made it. And although there’ll be more achievements for him, the concert herein is no doubt an excellent one. It’s not only a momentous occasion for Joe Bonamassa, it’s one for bluesrock in general.

The included booklet contains an excellent description of Joe’s gear, so there’s no need to go into much detail here. However, besides 5 Les Pauls, his Ernie Ball/Music Man John Petrucci Baratone is a very nice instrument, and full of colorful tone. He used that as well as a 2009 Music Man 25th Anniversary Hardtail. All were plugged into his ‘87 Marshall Jubilee and others (also noted inside). The DVD tone is impeccable throughout.

The importance of a good band is imperative to any live show, so the band members are listed here:

Click here to view the embedded video.

Joe Bonamassa: guitar and vocals
Rick Melick: keyboards, tambourine, and backing vocals
Carmine Rojas: bass
Anton Figg: drums
Bogie Bowles: drums
Lee Thornberg: trumpet and arranger
Sean Freeman: sax
Mike Feltham: trombone

Disc One
1. The Road To The Royal Albert Hall (short documentary)
2. Django
3. The Ballad Of John Henry
4. So, It’s Like That
5. Last Kiss
6. So Many Roads
7. Stop!
8. Further On Up The Road (with Eric Clapton)
9. High Water Everywhere
10. Sloe Gin

Disc Two
1. I first met B.B. King (short documentary)
2. Lonesome Road Blues
3. Happier Times
4. Your Funeral My Trial (with Paul Jones)
5. Blues Deluxe
6. Story Of A Quarryman
7. The Great Flood
8. Just Got Paid
9. Mountain Time
10. Asking Around For You

Extras:
Bus Interview (Joe talking about the music while playing his Gold Top thru a Marshall Class 5)
Woke Up Dreaming (acoustic)

Label: J & R Adventures

Links:

Joe Bonamassa Live From the Royal Albert Hall on Amazon
Joe Bonamassa

Cream with Jack Bruce, Eric Clapton and Ginger Baker

To begin with, for those unaware, a supergroup is a rock band consisting of members from a variety of prior successful endeavors, musicians who are renowned independently as well. Every now and then, a supergroup infiltrates the rock music world, immediately creating intense anticipation and interest. These bands have a tendency to be short-lived unfortunately, or transient even, as other plans enter into their music business lives as quickly as the seasons change. However, the excitement they generate is often warranted, primarily because they tend to release some good music, often epic in quality, during their brief existence.

The term ’supergroup’ was coined in the 60s when some ambitious bands started achieving deserved notoriety for each member’s twofold successes. In paraphrasing the Neil Young lyric, sometimes their previous endeavors would either ‘burn out or fade away’. But it has also been fashionable to sustain membership in the original band while performing simultaneously in another. This scenario provides the performer with a sense of freshness, a change from the sound and style of the original band.

When it comes to both change and diversity, musician Jack White easily comes to mind. Though continuing on with ex-wife Meg in The White Stripes, he’s also in the Raconteurs. And just for the record, we’re talking about a guy who produced and performed on an album that resulted in two Grammy awards for country star Loretta Lynn a while back. Talk about freshness and diversity. To top it all off, he’s also a member of The Dead Weather, another interesting band made up of independently recognized musicians.

Guitar icon Eric Clapton has experienced his share of this type of musical get-together, as he has been involved in at least three classic supergroups: Cream, Blind Faith, and Derek and the Dominoes. He didn’t stick around very long in any of these, as his roaming eye for melodic venture always saw something new on the horizon. Even today, Clapton demonstrates a sense of variety in his musical approach, one that involves a revolving door of band members and appearances onstage with many different acts and contemporaries. His musical existence is always entering new phases and fresh beginnings.

David Crosby, Stephen Stills, Graham Nash and Neil Young

From a different angle, one that involves longevity, the fact that Crosby Stills & Nash are still carrying on today makes them one of the longest running supergroups in history. They were formed in the late 60s by original members of The Byrds, Buffalo Springfield, and The Hollies respectively. Neil Young, their sporadic fourth member, was also in Buffalo Springfield.

Other notable supergroups include Emerson Lake & Palmer, Bad Company, Traveling Wilburys, Asia, Audioslave, The Plastic Ono Band (also featuring Clapton), Little Village, Journey, The Firm, Temple of the Dog, Mad Season, Hindu Love Gods, A Perfect Circle, and Velvet Revolver. Country music had a huge one, too, with The Highwaymen, the topnotch assembly that included Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson.

Though bands of this type pop up regularly, it’s often debatable as to whether they’re of actual supergroup status or not, as prior success is a questionable issue in itself. And besides degree of fame, the details surrounding a band’s existence get a little fuzzy at times. For example, the year 2005 gave us Heaven and Hell, and although the band is without a doubt super, it’s more or less Black Sabbath under another name. Ronnie James Dio had been the band’s alternate celebrated frontman for some time anyway, as Ozzy Osbourne was always coming and going and doing his own thing. Others labeled supergroups, though in reality are/were bands with different singers, are Audioslave (Rage Against the Machine with Soundgarden’s Chris Cornell on vocals), Hindu Love Gods (REM with Warren Zevon on vocals), and Alter Bridge (Creed with Myles Kennedy on vocals).

What it boils down to is that genuine supergroup classification is a contentious issue for many reasons. Nevertheless, prior to 2008, it’s safe to say that the last big one was Velvet Revolver, the explosive ensemble that erupted onto the music scene in 2002. Yet once again, they’re essentially one particular band with a different lead singer (Guns N Roses with Stone Temple Pilots’ vocalist Scott Weiland). But it would be preposterous to label Weiland, Slash, and the rest of VR anything but a supergroup. Unfortunately, though, an inclination to be short-lived exists with them as well. Their pursuit of a new lead singer has been an ongoing thing since Weiland’s departure, putting the band on a seemingly never-ending hiatus. But at least they stayed together long enough to give us two decent album releases.

Some fans believe that the time is ripe for an influx of supergroups, some genuine ensembles mega in status. It’s not a mystical premonition either, as the wheels have been in motion for some time now. For good reason, too. In today’s weak economy, mixed with the reality that rock is currently overshadowed behind an enormously synthetic pop music industry, the supergroup situation might just be the best road for many renowned rockers to take, those with a desire to stay relevant in today’s music world. To break up the monotony by doing something different can also be a positive thing. It makes sense, and it has to do with the fact that these bands have a tendency to sell out concert halls, generate substantial income for everyone involved, and most importantly: have fun and make some great music together.

Ringo Starr and an array of All-Star performers and friends

Ringo Starr realized this back in 1989, when he went on tour with the first installment of Ringo Starr & His All-Starr Band. Since then, he has put together ten different versions of this successful touring machine, not only covering his songs throughout his solo career and his hits with The Beatles, but the other member’s hits, too. It was a worthwhile undertaking for Ringo as well as the others, and the shows always contained extremely diverse setlists. It worked for Velvet Revolver as well. Besides songs from both releases, they entertained fans with the music of both Stone Temple Pilots and Guns N Roses. No way could a crowd leave unfulfilled by the show’s end.

I’m certain the members of Chickenfoot took all of this into consideration when they got together in 2008. This quintessential supergroup has without a doubt been the perfect platform for ex-Van Halen singer Sammy Hagar and bassist Michael Anthony to be involved in something huge again. They’re certainly renowned enough, and fans love them both. Getting together with mammoth shredder Joe Satriani and drummer Chad Smith was an ingenious move, one that once again put their faces on the front of music magazines everywhere, earning them a successful CD and a sold out tour as well. Generally an instrumentalist by trade, it was also a good move for Satriani. It has allotted him the opportunity to subsist in a vocal band and reinforce an already successful career. Though he’s had his share of supergroup instrumental machines with his G3 concoctions, Joe isn’t exactly new to the rock band situation either. He toured with Mick Jagger years ago, and later with Deep Purple. But this is his first affair as an original guitarist of a mega rock vocal outfit, one of supergroup caliber. Last but not least, drummer Chad Smith has himself a substantial gig that’s far removed from the sound of The Red Hot Chili Peppers. It has freshness and individuality written all over it for him. And everyone’s talking about his “I’m not Will Ferrell” t-shirt.

Hagar and Anthony have recently downplayed the supergroup idiom, choosing to keep more of a low profile instead. But even though they desire to be labeled just a rock’n'roll band, it doesn’t change the fact that Chickenfoot fits the supergroup description just as good if not better than many other bands have over the years. However, taking the modest road might be a good thing. Maybe they’ll break pattern and stay together longer, in an effort to create a lot of music and carry out some mega tours. We’ll just have to wait and see.

2009 has awakened to the formation of Them Crooked Vultures, made up of guitarist Josh Homme (Queens of the Stone Age, Kyuss), drummer Dave Grohl (Foo Fighters, Nirvana), and bassist John Paul Jones (Led Zeppelin). I’m sure most would agree that supergroup status here is indisputable, though we’re still awaiting the release of a debut CD.

What’s interesting about this band is that there’s already a big buzz going around. Tour tickets and t-shirt sales on the band’s website can attest to that. The anticipation is immense. And although Grohl and Homme are more than enough to bring out fans of grunge, stoner, and modern west coast rock, the addition of John Paul Jones builds the hype to rock enormity. Hype of this level can be overwhelming for sure, but these three can handle it. Fans obviously agree, which is the motive behind the excitement to begin with.

This trend has the potential to continue, and different names will probably keep popping up. We’ll see Slash involved in something big soon as well. One of the most beloved guitar heroes around today, he’s a prime candidate for another supergroup mesh, with or without Velvet Revolver. Of course, some eventually choose to leave the supergroup concoction and return to the band that made them who they are, or to a variation thereof. Maybe even Velvet Guns or Revolving Rose. Who knows!

Are all rock fans geared up for a modern day supergroup rage? Maybe not. Let’s look at the minor issue of naysayers, those who cast negativity on the whole concept, by knocking everything current in the rock world even before it gets started. They’re also the pessimists, and the geezers, those who won’t let you forget that they lived through ‘the best rock years ever’. There’s truth in that, of course, but it would be nice if they at least took some time to listen to today’s quality rock music. And there’s a lot of great stuff out there. Without wasting any more time and energy on cynical opinion, let’s be optimistic about the future of rock and its bands — big and small, super and not so. If the bands stop coming, the music will too. And keep in mind the statement supposedly made by a Decca records executive back in 1962, in reference to The Beatles, “We don’t like their sound, and rock and roll is on the way out.” Paying attention to that declaration wouldn’t have done anyone any good. It certainly didn’t do Decca any good. We need more rock groups today, and the bigger the better.

More supergroups, please!

Links

Chickenfoot On Amazon

Chickenfoot

Them Crooked Vultures

“Crest Of A Wave – The Best Of Rory Gallagher” was recently released by Eagle Rock Entertainment. The dual CD set contains 24 of the Irish blues rocker’s best studio material. Though he’s now regarded as one of the world’s greatest blues rock guitarists, one whose records have sold over thirty million copies to date, Rory was virtually unknown to many fans of the style in his prime, especially in the States.  Nevertheless, before his untimely death in 1995, from complications following a liver transplant, he left behind a plentiful amount of live and studio material.

“Crest Of A Wave” is an excellent compilation for longtime fans and collectors, as well as a great place for novices to begin their stimulating journey into the music of this exciting performer.

Click here to view the embedded video.

CD 1
1. Follow Me
2. Shinkicker
3. Do You Read Me
4. Bought & Sold
5. Loanshark Blues
6. In Your Town
7. Calling Card
8. A Million Miles Away
9. Walk On Hot Coals
10. I Fall Apart
11. Tattoo’d Lady
12. Crest Of A Wave

CD 2
1. Bad Penny
2. Overnight Bag
3. Philby
4. Shadow Play
5. Moonchild
6. They Don’t Make Them Like You Anymore
7. Edged in Blue
8. Wheels Within Wheels
9. Out on the Western Plain
10. Out of My Mind
11. Barley & Grape Rag
12. Lonesome Highway

Links

http://www.rorygallagher.com/
Crest Of A Wave on Amazon

Fans will be overjoyed about the Gary Moore – Essential Montreux 5CD Set, released in July of 2009. The Irish blues-rock guitarist, who has adored playing to the music loving crowds of this beautiful Swiss city, famous for its yearly jazz fests and music venues, has acquired enormous amounts of recorded material over the past decade or so. Much of the included six hours of music, containing over 60 songs recorded between 1990 and 2001, has been released on these five CDs for the first time.

Disc One, recorded in 1990, contains a special treat: blues great Albert Collins appears on four songs in both the vocal and guitar capacity. The two bluesmen complement each other with tradeoff lead solos within mesmerizing onstage performances. Since this is Gary in 1990, staunch fans will notice that the setlist covers a lot of the songs from his then recently released Still Got The Blues album, still viewed by many to be the best of his illustrious career. This compelling 12-song CD finishes with a thrilling cover of Roy Buchanans “The Messiah Will Come Again,” only adding to Gary’s brilliance in style and tone within this period.

Some of the included tracks, like “Parisienne Walkways,” “All Your Love,” “Oh Pretty Woman,” and “Walking By Myself” appear more than once. It’s interesting to hear different versions of the same song, separated by a certain amount of years. Although it’s still Gary, varied guitar tones and all-around arrangement and musicianship make each performance uniquely fascinating. And each song is Gary Moore at his best, performing in one of his favorite onstage environments.

Other highlights include his renditions of songs by Peter Green, most notably on CD Two. “Stop Messing Around,” “Long Grey Mare,” “If You Be My Baby,” “I Loved Another Woman,” “Merry-Go-Round,” and “Jumping At Shadows,” all of which are either Green originals or affiliated songs, are prominent displays of the power of inspiration within the Moore performance. And just as within his studio CDs of late, a fine assortment of Moore originals sit comfortably among amazing blues covers throughout the whole box set.

There’s quite a lot of precious recorded material on this 5-CD set, enough to satisfy any fan of Gary Moore, including guitar aficionados and blues rockers everywhere. And when it comes to American fans, since Gary never crosses the pond anymore, Gary Moore – Essential Montreux is just that, essential Gary Moore live performances.

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Disc 2 – 1995:
If You Be My Baby
Long Grey Mare
Oh Pretty Woman
I Loved Another Woman
Merry-Go-Round
The Stumble
Need Your Love So Bad
You Dont Love Me
Key To Love
All Your Love
Since I Met You Baby
The Blues Is Alright
Stop Messing Around
Jumpin At Shadows

Disc 3 – 1997:
One Good Reason
One Fine Day
Cold Wind Blows
Ive Found My Love In You
Always There For You
Oh Pretty Woman
Walking By Myself
Business As Usual
Out In The Fields
Over The Hills and Far Away
Parisienne Walkways

Disc 4 – 1999:
Walking By Myself
Since I Met You Baby
Need Your Love So Bad
Tore Down
You Dont Love Me
All Your Love
Still Got The Blues
Too Tired
The Sky Is Crying
Further On Up The Road
Fire
Parisienne Walkways

Disc 5 – 2001
You Upset Me Baby
Cold Black Night
Stormy Monday
Oh Pretty Woman
All Your Love
Still Got The Blues
Too Tired
How Many Lies
Fire
Enough Of The Blues
The Prophet

Label: Eagle Rock Entertainment

Links:
Gary Moore

Rufus Huff, the debut release from the band of the same name, was released on April 14, 2009, on Zoho Roots. Taking their name from two obscure bluesmen, Whistlin’ Rufus and Luther Huff, the music of this Kentucky outfit is steeped deeply in the blues based hard rock of the ’70s. Despite the fact that bands like Mountain, Cactus, Humble Pie, and ZZ Top easily come to mind upon hearing them, the pure southern grit and raw power exerted is genuine and natural to this group of seasoned veterans.

Recorded live in the studio with very few overdubs, Rufus Huff is 12 southern influenced hard driving and thunderously funky songs. The powerhouse quartet is made up of vocalist Jarrod England (Naked Mole Rats, the Fender Benders), drummer Chris Hardesty (Naked Mole Rats, Supafuzz, the Fender Benders), bassist Dean Smith (Taildragger, Supafuzz), and guitarist Greg Martin, present and original member of the Kentucky Headhunters since they were known as Itchy Brother. Known for his incredible licks and chops, and also for tasteful guitar tone that’s sonically rich and full, his solos and fret movement are often subtle and modest yet perfectly suited to each song. Greg’s one of those traditionalist rock players who knows how to get the most out of each and every note.

Although I sometimes dislike comparing a current band to earlier performers, as it sometimes puts them in a light of being imitators or unoriginal, the fact that the music of Rufus Huff is drenched neck deep in ’70s hard-rock waters holds more of a pleasant significance than anything else. Originality is far from lacking in their music, especially in Martin’s guitar playing style, a technique that’s never excessive or predictable. And the arrangements are diverse and exciting. It’s “throwback” music to a different era for sure, but it’s a welcomed approach to southern influenced rock that weighs heavily on a predilection for style, volume, and tone.

From the album’s opener, “13 Daze,” to the final note in “Funky Junk,” all of the arrangements are coerced along by the potent percussive drive of a dynamic rhythm section. Martin’s creative guitar riffs and chops add to the subterranean punch flawlessly, and the profoundly brown and natural tone of his Gibson Les Paul into a cranked Marshall stack is the band’s unique and signature sound. Jarrod England’s vocal wail survives impeccably throughout the potent instrumental onslaught.

Among nine Rufus Huff originals are three outstanding covers, including Sonny Boy Williamson’s “Good Morning Little Schoolgirl” and Willie Dixon’s “I Ain’t Superstitious.” The third is country singer Dale Ann Bradley’s “Run Rufus Run,” which fits in perfectly considering the band’s name. However, the only detail that matches the original is the story within the lyrics, as the country tune gets rocked up to a potent funk here.

Rufus Huff is a genuine southern hard-rock album by a genuine southern hard-rock band. Their music is all about style and tone. The fact that it’s executed so tastefully is proof enough of just how serious and practiced the group really is. It’s a CD that fans of blues and boogie based hard-rock shouldn’t be without.

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Rufus Huff Track Listing
1. 13 Daze
2. High On Heaven Hill
3. Run Rufus Run
4. El Lago
5. Shiley’s
6. Gotta Have Her Name
7. Good Morning Little Schoolgirl
8. It’s All Right
9. The Bottom
10. Hain’t No Good Life
11. I Ain’t Superstitious
12. Funky Junk

Label: Zoho Roots

Links:
Rufus Huff

David Grissom recently released 10,000 Feet on Wide Lode Records. It’s the second solo album from the Texas guitarist and former member of Storyville, the Texas rock band that also included Tommy Shannon and Chris Layton of Double Trouble. Also known for his fine musicianship and studio work with the likes of John Mellencamp, Joe Ely, the Dixie Chicks, Buddy Guy, John Mayall, Bob Dylan, and the Allman Brothers Band, any release from Grissom should be anticipated with optimism. In guitar playing circles, he’s known for his signature Paul Reed Smith guitar, the PRS DGT (David Grissom Trem), and for the beautiful tonal combinations he conjures from it.

10,000 Feet is a good follow-up to Loud Music, his 2005 release. So, the existence of a handful of brilliant melodies amid a few gritty yet tasteful southern influenced blues rockers is nothing substantially new. With that said, his talent to craft a good tune appears to be growing stronger. Grissom has been known for his compositional abilities since the Storyville days, wherein he created and shaped songs like “Good Day for the Blues.” The song is reprised here acoustically, with Grissom at the vocal helm and Texas string master Warren Hood on the fiddle, giving it more of a country blues persona. There are a few more tunes in that tasty traditional style, too, most notably within a trio of bluesy instrumentals: “Butterbean Friday,” “Sqwawk,” and “Dover Soul.” However, most of the other tracks are stylish and catchy rockers suitable to the general rock audience, the enthusiasm of which is intensified by amazing guitar chops and an apt singing voice.

The two opening tracks on the CD, “Keep A Rollin’ On” and “10,000 Feet,” are incredibly appealing, and contain driving rhythms and rock solid melodies and instrumentation. Both are perfect examples of the stylish, catchy rock arrangements mentioned above. Though a country air is perceived throughout, a straightforward rock atmosphere is the overwhelming impression these songs generate. “Ain’t No Game at All,” “Gone and Lonesome,” and “Jet Trails in the Sky” follow suit, and all work together to make the CD a superb rock effort. Adding more dimension and diversity to the collection, more capacity in songwriting strength as well, both “Take Me Back to Texas” and “Ain’t No Other Way” are charming ballads. That’s a Bill Collings guitar you hear making beautiful sounds all over “Take Me Back to Texas.” It’s the favorite acoustic of Grissom these days.

An interesting aspect of 10,000 Feet is that the music within appears to have the ability to arouse interest not only in the blues and rock audience, but in the hard-rock, country, and even the soft rock audience as well. There’s a little of everything David Grissom on this CD, and it’s resplendent with endearingly memorable melodies, musicianship, and storytelling lyrics.

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10,000 Feet Track Listing
1. Keep A Rollin’ On
2. 10,000 Feet
3. Sqwawk
4. Ain’t No Game At All
5. Take Me Back To Texas
6. Butterbean Friday
7. Jet Trails In The Sky
8. Gone And Lonesome
9. Dover Soul
10. Ain’t No Other Way
11. True Love Don’t Work That Way
12. Good Day For The Blues

David Grissom: guitar, bass, vocals
Michael Ramos: keyboards
Warren Hood: fiddle
Scott Nelson: bass
Kenny Aronoff: drums
Chris Layton: drums
Carolyn Wonderland: background vocals

Wide Lode Records – 2009

Links:
David Grissom