Good rest to you, David James – a local Irish music legend.

Many of you might not know who David James was, but I’ll try to sum up his amazing life in a blog post.

David James was well-known in the South Bend / Mishawaka (“Michiana”) area as a legend in the Irish music scene.  He pretty much put South Bend on the map as a hotspot for Irish music, and he wasn’t even Irish.  He loved the music, promoting it, and most of all playing it.  He played banjo, fiddle, bass, harmonica, and probably half a dozen other instruments I’ve forgotten about as I write this.  He was best known, however, for his mastery of the hammer dulcimer.  David won multiple prestigious awards at Irish music festivals for his dulcimer skills.

He was a Notre Dame graduate with a degree in political science and he remained an avid advocate for social justice all through his life.  He championed workers’ rights, LGBTQ and racial equality measures, education reform, and many other causes that sought to help the underdog.

The way David affected my life was that he co-founded Nocturne – the WSND program for which I DJ in the summer and winter – in 1968.  David worked at WSND as the host of “Celtic Traditions” for many years, broadcasting Celtic music all over the world.  He would often be there when I showed up for my Nocturne shows and tell me stories of playing grimy blues clubs with blues legends, Irish music festivals with hardcore hippies, and being in the middle of the politically charged 1960’s.

He was a lover of all kinds of music and often asked me about the music I spun on my show.  He’d hang out for the first couple tunes I’d play while we chatted and sometimes stop in mid-conversation and ask, “Who is this?”  I introduced him to Ancient River when I played one of their tunes and he said, “Sounds like someone’s been listening to a lot of Doors.”  I also turned him on to Gary Wilson and Earthless one of the last times I saw him over the summer of 2017.

I’ll always think of him when I spin at WSND now, and I wish he could’ve seen the new station once the construction is done.  I’m sure his spirit will slide into the booth now and then when he’s not kicking back a ghostly pint at the Fiddler’s Hearth in South Bend.  I plan to play a tribute to him this summer on WSND with lots of psychedelic rock, blues, and his own music.

Oh yeah, as if his local legacy, national tours with multiple bands, and international awards weren’t enough, he released two albums – Tiompan Alley in 1992 and The Lone Man’s Path a decade later.

Good rest to you, sir.

Keep your mind open.

 

Top live shows of 2017: #’s 15 – 11

We’re halfway through my list of top live shows of the year.  Who’s in the top half?

#15 – Tom Petty and the Heartbreakers – Scottrade Center – St. Louis, MO May 12th.

This was an impressive show with a sold-out crowd.  Tom Petty and his crew had a fun time tearing through a lot of classic hits, and the performance took on a deeper meaning to my wife and I after Petty’s death at the end of this tour.  We’d wanted to see him for a long while, so we were thankful we caught him in time.

#14 – Buddy Guy – Lerner Theatre – Elkhart, IN September 9th.

Blues legend Buddy Guy is pushing 90 and still shredding better than guitarists a third of his age.  He dazzled with his skill and spoke openly about the importance of love and compassion in these tough times.

#13 – Depeche Mode – Air Canada Centre – Toronto, ON September 3rd.

Depeche Mode were a big part of our high school years, so it was surprising that it took my wife and I so long to finally catch them live.  It was a solid set with new and classic tracks and one of the best encores we saw all year.

#12 – Deap Vally – Valley Bar – Phoenix, AZ March 11th.

Deap Vally are easily one of the best live bands of this decade.  This set at Phoenix’s VIVA PHX festival was a stunner.  I always feel bad for any band that has to follow them, and getting to chat with them after the show was an added treat.

#11 – The Black Angels – Thalia Hall – Chicago, IL May 11th.

I won’t skip an opportunity to see the Black Angels.  I’ve already bought tickets to see them at next year’s Levitation Austin festival.  This set in Chicago was a great start to a fun weekend with my wife, and the Black Angels played more aggressively than I’d seen them in a long while.

Who cracks the top 10?  Tune in tomorrow to find out!

Keep your mind open.

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Brother O’ Brother – Neon Native

Indianapolis rock duo Brother O’ Brother are busy making solid records in the middle of a state practically ignored by the music industry and touring bands.  Their latest, Neon Native, is a prime example of a nearly secret vibrant music scene in the Hoosier state’s capital.

Opening with “R.O.S.E.,” the album immediately submerses you into Brother O’ Brother’s psychedelic blues and powerful riffs.  You can hear influences ranging from the Black Keys to the Black Angels in the first few chords.  “16 Flowers” brings in a slight punk edge and flattens everything around you.  It’s one of the most powerful songs I’ve heard all year.  “Sunshine” has a southern rock vibe before it blows up into something you might hear from Zen Guerilla,  “Grab the Rope” gets off to a raucous start with soulful yet rough vocals and then a chugging beat that doesn’t let up for the whole track.

“I Got It” continues the rock and roll fury with guitar work that sounds like strings are going to break at any moment.  “I Confess” has some psychedelic sludge that I love.  “Cardinal” is, on it’s surface, a song about the beauty of a bird, but it’s also about the beauty of a lover, killer guitar work, and slam-tastic beats.  “Fever” is just as powerful in its subtlety as we hear about a “sweet love” who inspires guitar chords that Jack White dreams about at night.

Even the acoustic guitar on “White Noise” has a fierce energy to it. “Take Me” brings back the electric fuzz and ups the blues influences.  Their cover of David Bowie‘s “Life on Mars” ups the Mick Ronson fuzzed-out guitars and is almost unrecognizable at first (but it’s still great).  “Widow Maker” could be a Thin Lizzy B-side.

Don’t let anyone tell you rock and roll is dead.  It isn’t.  Brother O’ Brother is living proof.   They’re one of my favorite discoveries of the year.

Keep your mind open.

https://www.youtube.com/watch?v=BBPQoyo4lTk

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Live: Buddy Guy and Quinn Sullivan – Elkhart, IN – September 09, 2017

My wife and I caught Buddy Guy at the Lerner Theatre in Elkhart, Indiana.  It was our first show at the Lerner, even though we’ve lived a 30-minute drive from Elkhart for over 20 years.  I don’t know how this happened, but we got some good seats (after a ticket mix-up at the box office) and settled in for the opener – 17-year-old blues guitarist wunderkind Quinn Sullivan.

Quinn Sullivan

Sullivan first played on stage with Buddy Guy when he was seven years old.  He shreds like he’s been playing for far longer than seventeen years.  He played a few cuts from his three albums, as well as a cover of Jimi Hendrix’s “Little Wing.”

Buddy Guy came out to meet a rowdy crowd (many of whom had done plenty of pre-game drinking) and got right down to business by breaking a guitar string on the first note.

Buddy Guy with replacement guitar.

Once a replacement guitar was brought to him, he proceeded to shred through “Damn Right I Got the Blues” and then played around with classics like “Rock Me Baby,” “Fever,” “Hoochie Coochie Man,” and “Who’s Making Love to Your Old Lady?”

Guy had plenty of fun stories as well, including one lively rant about genetically engineered chickens and tomatoes (“When I was a kid, a tomato was like cotton.  You could make a sandwich out of it.  Now you get a tomato and you could play baseball with it.”) and how you should buy produce that still has bugs on it (“Because it hasn’t been sprayed with stuff you shouldn’t eat.”).

One wild part of the show was when he played a guitar solo using a drum stick and a shirt.

Playing guitar with a shirt and a drumstick. Really.

Trust me, it worked.  It worked quite well, in fact.  He was flailing his guitar with a T-shirt and playing Cream riffs while doing it.  He also walked through the crowd, shredding and singing the whole time.

He brought his son, Greg Guy, and Quinn Sullivan back onstage for the end.  His back-up band was, just like the last time I saw him, killer.  They can play seemingly any tune and stop on a dime.  Greg Guy and Sullivan played along during Buddy’s hit “Feels Like Rain” and then tore through Clapton and Hendrix covers to end the show.

Buddy Guy (right) watches his son, Greg, and Quinn Sullivan carry on the blues tradition.

The show was close to three hours total, and a fun performance that had everyone cheering and hollering.  Buddy Guy is eighty-one years old now, so don’t miss him if he comes close.  He’ll probably tour until he drops dead, but make sure you see him shred.  There aren’t many living legends anymore.

Keep your mind open.

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Rewind Review: The Black Keys – Magic Potion (2006)

Every now and then (okay, more than that), an album slips through the cracks and years go by before I pick it up and wonder, “What took me so long?” Such an album is Magic Potion by the Black Keys (Dan Auerbach – guitar and vocals, Patrick Carney -drums). I’m a big fan of their work (especially the first half of their discography), and Magic Potion has been on my “must buy” list for a long time.

The opening chords of “Just Got to Be” exemplify what I love about the band – chugging guitar, rock drumming that borders on being sloppy, and sweaty blues-style vocals. “Your Touch” is one of their biggest hits thanks to its slick groove and sexy subject matter. “You’re the One” is a bit psychedelic as Auerbach sings a sweet song about his mother teaching him about love and how he later carried those lessons to his girlfriend.

“Just a Little Heat” reveals the band’s love for Led Zeppelin, who also loved the blues. Just listen to the opening licks and tell me they don’t remind you of Zeppelin’s “Heartbreaker.” “Give Your Heart Away” is a great “So long, baby” type of blues song about Auerbach walking away from a woman who treated him like a doormat. “Strange Desire” again brings in some psychedelic guitar work before it becomes a catchy song about dangerous love. “I don’t wanna go to hell, but if I do it’ll be because of you,” Auerbach sings, pulling no punches in the process. “Modern Times” only amplifies the dirty, floor-stomping feel of the record.

“The Flame” has some of Auerbach’s best guitar work on the record as it moves from blues to psych-rock to some Marc Bolan-like riffs. “The times are changin’, and the people need rearrangin’,” Auerbach sings on “Goodbye Babylon” in a sweaty, loud ode to the world of 2006. “Black Door” could be the follow-up to the Rolling Stones’ “Paint It Black,” with Auerbach and Carney painting all of Keith Richards and Charlie Watts’ red doors, as Auerbach unleashes a ton of skronky, reverbed guitar that Richards would enjoy and Carney puts down a wicked beat behind him that Watts would love. The album ends with “Elevator,” a song that has Auerbach getting freaky with several different women in one building. The guitar goes from smooth groove in the verses to wall-flattening in the choruses. It must be deafening live.

Don’t wait a long time to pick up this record. It’s solid from beginning to end. This Magic Potion is probably just what you need right now.

Keep your mind open.

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Jake Xerxes Fussell’s new album now available.

JAKE XERXES FUSSELL’S WHAT IN THE NATURAL WORLD IS OUT TODAY ON
PARADISE OF BACHELORS

STREAM THE WHOLE NEW ALBUM NOW
http://smarturl.it/PoB031

FUSSELL TO SUPPORT JOAN SHELLEY ON SUMMER TOUR

[What In The Natural World album art; painting by Roger Brown]
“Achingly beautiful…a record that yields a procession of hidden treasures. Fussell has an uncanny ability to illuminate the present by propping up a window against the past. Whatever the raw material’s vintage, the protagonist’s pursuit of abstract notion – freedom, empowerment, danger, fulfillment – is every inch as pertinent today.” –Uncut (9/10)

“It’s difficult to imagine another contemporary interpreter delivering a tale of desperation and sadness with such tenderness, warmth, and grace. Jake Xerxes Fussell is a national treasure.” –Aquarium Drunkard

“Fussell freely adapts early American roots music, teasing out new melodic subtleties and overseeing small-band arrangements that bring crystalline folk-rock glow to decades-old songs.” –Chicago Reader

“Jake Xerxes Fussell, the otherworldly guitar player, has an innate ability to infuse traditional folk songs and older works with a revived sense of purpose, a freshly calibrated compass.” –FLOOD
Jake Xerxes Fussell’s second full-length album, What in the Natural World, is out today via Paradise of Bachelors and now available to stream and download in full.

Alongside the release of the album, Oxford American has featured the Durham, North Carolina singer and guitarist with a special emphasis on the fifth track, “Bells of Rhymney.” This arcane coal miner’s lament shares its text, by Welsh poet Idris Davies, with the song popularized by Pete Seeger and the Byrds, complete with personified, protesting bells, but here Jake supplies his own gospel-tinged musical setting.

 

I lived in Mississippi for about ten years and several years before I left I was playing music a lot with this guy Reverend John Wilkins (who is a Memphis-based Gospel musician). His father is Robert Wilkins, who recorded back in the twenties as a blues singer and later as a gospel musician. So I had to really familiarize myself with that sort of ‘guitar evangelism.’ The approach that I’m using in ‘Bells of Rhymney’ is straight out of that idiom.”

                                                                                 —Jake Xerxes Fussell as told to Oxford American

 

Fussell will head out on a spring UK and EU tour co-headlining with Daniel Bachman, followed by a summer US tour in support of Joan Shelley (full list of dates below). He will celebrate the album release with a full-band performance (featuring fellow PoB artist Nathan Bowles and Casey Toll of Mt. Moriah) at the Nightlight in Chapel Hill today, March 31, supported by Asheville guitarist Sarah Louise and Carolina Soul DJs.
Stream/Download Jake Xerxes Fussell’s What In The Natural World
http://smarturl.it/PoB031

Listen to Jake Xerxes Fussell’s “Jump For Joy” –
https://youtu.be/L-cfhokanYs

Listen to Jake Xerxes Fussell’s “Furniture Man” –
https://soundcloud.com/paradise-of-bachelors/furniture-man/s-Ddy4d

Listen to Jake Xerxes Fussell’s “Have You Ever Seen Peaches Growing on a Sweet Potato Vine?”–
https://soundcloud.com/paradise-of-bachelors/have-you-ever-seen-peaches-growing-on-a-sweet-potato-vine/s-OiQ3Q

Jake Xerxes Fussell US Tour Dates:
March 31 – Chapel Hill, NC @ Nightlight (full band Record Release show) w/ Sarah Louise
April 8 – Oxford, MS @ End of All Music (in-store) w/ Nathan Bowles
April 8 – Oxford, MS @ Proud Larry’s w/ Nathan Bowles
May 31 – Bloomington, IN @ The Bishop*
June 1 – Milwaukee, WI @ Collectivo*
June 2 – Minneapolis, MN @ Bryant Lake Bowl*
June 3 – Chicago, IL @ Old Town*
June 4 – Cedar Rapids, IA @ CSPH Hall*
June 6 – Des Moines, IA @ Vaudeville Mews*
June 7 – Kansas City, MO @ Knuckleheads*
June 8 – St. Louis, MO @ KDHX Stage*
June 9 – Paducah @ Maiden Alley Cinema*
June 10 – Louisville, KY @ Headliners*
June 11 – Nashville, TN @ The Basement*
June 13 – Decatur, GA @ Eddie’s Attic*
June 14 – Carrboro, NC @ Cat’s Cradle*
June 15 – Vienna, VA @ Jammin’ Java*
June 16 – Freehold, NJ @ Concerts in the Studio*
June 17 – Boston, MA @ Brighton Music Hall*
June 18 – Northampton, MA @ Parlor Room*
June 20 – Philadelphia, PA @ Boot & Saddle*

*supporting Joan Shelley
Purchase What in the Natural World:
From PoB/artist (LP/CD/MP3): http://www.paradiseofbachelors.com/pob-031
Other online options (physical/digital/streaming): http://smarturl.it/PoB031

Jake Xerxes Fussell online:
PoB Artist page: http://www.paradiseofbachelors.com/jake-xerxes-fussell
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Rewind Review: Cream – Fresh Cream (1966)

I decided to explore the four classic albums by Cream (Ginger Baker – drums and vocals, Jack Bruce – bass, harmonica, and vocals, Eric Clapton – guitar and vocals) after hearing one of their many great blues covers not long ago. I found them all in a nice box set at a recent record collector show and decided to dive into some late 60’s stoner-psych blues.

It’s easy to forget that Fresh Cream was a sensation when it was released because Cream was practically a supergroup by the time it hit the stores. All three members had already played in prominent London bands (i.e., The Yardbirds, John Mayall’s bands) and were highly regarded for their skills.

The opener, “I Feel Free,” was an instant classic. It starts with a simple “bum-bum-bum” vocal and handclap rhythm before Baker’s crazy cymbal work, Bruce’s sharp vocals, and Clapton’s wailing guitar take over the song. “N.S.U.” has sizzling guitar work from Clapton, which might relate to the possible sizzling he was feeling in his groin at the time, as one of the rumored meanings of “N.S.U.” is that it stands for “Non-Specific Urethritis” – a venereal disease Clapton may have had back then (or perhaps a motorcycle since one is mentioned in the lyrics).

“Sleepy Time Time” is, most likely, about being high and / or sex afterglow. Baker’s jazz drumming on it is great. He’s known for his grooves and this song is a prime example of them. “Dreaming” could’ve been a 1950’s jukebox love song in another life. “Sweet Wine” has some of Clapton coolest playing on the record. Their cover of Willie Dixon’s blues classic “Spoonful” is a masterpiece and the longest song on the record.

I don’t know what a “Cat’s Squirrel” is, but it’s another bluesy rocker with great harmonica work by Bruce and wicked grooves by Clapton. “Four Until Late” is a Robert Johnson classic, so it’s only right that Clapton does lead vocals on it. Their cover of “Rollin’ and Tumblin’” will make you a Cream fan if you’re not by the time you reach the ninth track because they absolutely shred it. This was the song I heard that made me think, “I need to buy some Cream records.”

Cream was also the only band back in 1966 would could get away with covering Skip James’ “I’m So Glad” and have it be such a groovy psych-rocker. “Toad” is pretty much a five-minute and eight-second Ginger Baker drum solo, and that alone is worth a listen on this album.

They call stuff like this “classic rock” for a reason. Fresh Cream blew people’s minds in 1966, and it’s still mind-blowing, heavy, and fresh.

Keep your mind open.

https://www.youtube.com/watch?v=TNB0BxB83JY

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Vapors of Morphine – A New Low

VOMNLConsisting of two members of Morphine (one of my top 5 bands of all time) – Dana Colley (saxophones, vocals) and Jerome Deupree (drums) – and their pal Jeremy Lyons (vocals, guitar, bass, banjo, and more), Vapors of Morphine are reclaiming low rock and bringing it back when we need it most in this time of 24-hour news cycle cacophony.

A New Low opens with a short instrumental and then a traditional Tuareg song, “Renoveau / Daman N’Diaye” (and a second version of it near the end of the record).  The inclusion of Tuareg music on this (with vocals by Boubacar Diabate) is a great choice and shows the band’s love for low-fi world music as well.

Their new version of Morphine’s “Shiela” is great, and slightly darker than the original.  “Baby’s on Fire” has some of Colley’s best electric saxophone work.  I still don’t know how he gets those sounds out of those things.  Their take on Morphine’s “The Other Side” turns it from a song of lament and regret to one of paranoia.

Dana Colley often plays two saxophones (one tenor, one baritone) at once, but it sounds like he’s playing four on “Sombre Reptiles.”  “If” is a great example of low rock as Lyons sings, “If the ocean was whiskey or full of gin, would you lead me away or push me in?” and Deupree drums are cooly reverbed and Colley’s saxophones do a creepy crawl through your stereo.

“Red Apple Juice” is an old Appalachian standard, and the band does a great job with it, turning it into a near goth-country song with Lyons’ banjo leading the way.

Colley sings leads on “Souvenir,” another great Morphine track.  He also goes blissfully bonkers with his saxophone work on it by the end.  “Rowdy Blues” reminds me of Treat Her Right tracks, which is always a good thing (and a natural progression since THR’s Mark Sandman went on to form Morphine with Colley and Deupree).

The album ends with the instrumental “Interstellar Overdrive,” in which Dana Colley plays a spaceship.  The track is proof that the band could go full-blown psychedelic if they wanted.

A New Low is proof that low rock has returned and is just as good as it’s always been.

Keep your mind open.

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Captain Ivory – No Vacancy

CINV

Captain Ivory (Robbie Bolog – guitar and lap steel, Seth Maschari – drums and vibes, Brett Smith – bass, Jayson Trayer – vocals and guitar, Steve Zwilling – piano and organ) describe their sound on the cover of their new album, No Vacancy, as “greasy rock ‘n’ roll.” I can’t do much better than that. The whole album is full of power pop, swamp rock, and blues rock grooves that are so greasy you could fry a donut in them.

“Broken Light” introduces you to Trayer’s fine vocal style, which is somewhere between Kings of Leon, Howlin’ Wolf, and Jethro Tull. Maschari’s vibraphone work on the title track takes the song to a level above garage rock that other bands are still trying to reach. Zwilling’s keys take us into psychedelic territory on “Skinning the Hand,” and the rest of the band puts down a great blues groove while Trayer sings a fun song about a desperate man in a desperate card game that could put him on Easy Street or kill him.

“Cascades of Spain” is a lovely song about a man’s journey through old Europe. “Paper Towns” has excellent guitar work throughout it. “Hello Love Goodbye Fear” is a vicious attack on the current political landscape. “Every time I think about the western dream I let loose ‘cause I know it’s a lie,” Trayer sings. Zwilling’s keyboard work is jaunty, despite Trayer’s angry lyrics, and those stadium rock riffs are great. “Never Mind” is a classic rock song about heartbreak, and the breakdown in the last minute is outstanding. I love the way “Come Down” switches from a rock ballad to a sweaty, gritty blues-powered rock cut. The closer is, fittingly, “Epitaph,” which brings in some delightful soul touches.

I discovered these guys when my wife and I saw them play at a street festival in Ann Arbor, Michigan earlier this year. They are a crackerjack live band and worth your time if you enjoy greasy rock ‘n’ roll.

Keep your mind open.

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