The Allman Bros Live at Warner Theatre, Erie, PA. 19th July 2005 Peach
When looking at the history of the Allman Brothers band, it’s important to frame the length and breadth of a career that has spanned over four decades, included several different line-up incarnations and overseen numerous album releases, with many more live albums than studio works. The final band members that brought the wonderful journey to a close was reputed to be as great as the original band that started out in the 1960’s with the Duane Allman/Dickie Betts guitar axis; ultimately replaced here by Warren Haynes and Derek Trucks. They were joined by founding members Greg Allman on keyboards & vocals and drummers Jaimoe and Butch Trucks - plus Oteil Burbridge on bass and Marc Quinones on percussion.
The band never enjoyed being called a Southern Rock band, a tag that was defined by lazy journalism, as their sound included elements of RnB, Jazz, Blues and incorporated extended workouts in which the members were given plenty of room for self-expression. The focus on improvisation led to some of the most dynamic interplay, with both melody and harmony being explored simultaneously in the soloing.
With Country Roots influences also running through a number of the songs written, the band also attracted a reputation for being a Jam Band, a term that stuck and something that they shared with the Grateful Dead. It led to inspiring quite a number of associated acts over succeeding years, with Widespread Panic and Gov’t Mule being two prime examples. With such a dedicated fan base plugging into their live groove, it was the strong touring ethic that earned the Allman Brothers the greatest praise and revenues over the years. As much as they fulfilled their studio commitment to make records for various labels, it was that live appeal that always endured.
This live concert from 2005 has been considered by the band themselves as ‘one that got away’ and they were very proud of the performance that was captured on these two discs. Everything starts slowly as the band find their way into the collective groove that is Mountain Jam and once the drums, percussion and bass lines lock in, the 11 minutes pass by in a reverie of superb playing with all the band sitting snugly in the pocket. Statesboro blues follows in a celebration of the genre, Greg Allman singing in his wonderfully whisky sour tone that adds so much character to the overall sound.
Tracks like Melissa, Ramblin’ Man The High Cost of Low Living, Firing Line and Midnight Rider show all that is creative and restrained at the same time, a type of spontaneity that allows for breakdowns in the song structures, only to build back up the melody and tempo as they go in search for one more high.
The concert includes covers of other songs, something that the band enjoyed doing throughout their career. This night saw Good Mornin’ Little Schoolgirl, Into the Mystic, The Night They Drove Ole’ Dixie Down and Don’t Think Twice, It’s Alright. Whether covering a song like Trouble No More (Muddy Waters) or Statesboro Blues (Blind Willie McTell), the band always find inventive ways of putting their own unique stamp on the songs. Finishing off the evening with the blues of One Way Out, it seems an appropriate choice to bring the curtain down. It is preceded by a sixteen-minute version of the classic, Jessica, which is a joyful celebration of all that this band stands for, a bedrock for inventive expression and flights beyond the giddy heights of imagination. You would struggle to find a better live set among the many recorded shows over the years – this was a night that all the stars aligned.
Review by Paul McGee
Dan Krikorian Alive In Costa Mesa Self Release
After a steady run of five studio albums, dating from 2008 to 2019’s GRANDEUR release, this singer-songwriter has decided to release a live album that captures a show he performed in his hometown of Costa Mesa last year. The challenge with a live album is in trying to replicate the unique atmosphere of the night and to keep the production quality at a level which engages the listener. Not always an easy task and on this evidence Krikorian got it just about right with a clear sound and good separation on the various instruments to be heard in the final mix. There is some echo on the drum sounds occasionally and the guitar is not as prominent in the lead runs as it could be; however, it’s nigh on impossible to get everything perfect and the spirit in the playing wins the day.
Starting with the gently acoustic sound of Long Days and a message about returning home, the mood is set for the rest of the evening and the generous inclusion of 22 songs that are performed over a two hour set. High Heels and Words follow in quick succession, the former name checks Bruce Springsteen and Josh Ritter, plus a r’n’b groove, while the latter has a slow melody and a bluesy feel. California is pure Americana with a nice easy tempo and a warm keyboard sound, while on Joe Purdy the blues sound is heightened by some fine saxophone playing. Know Me is the sole track featured from the debut album in 2008, Oxford Street, with a nice Americana feel to the arrangement. Thief Like That follows in a very similar vein, all strummed guitars, easy beat and inventive keyboards.
As expected, the majority of the songs played are taken from the most recent release, GRANDEUR , the 2019 album. In all, there are nine tracks featured and previous albums from 2009 and 2011, COLOURS & CHORDS and WINDSOR BLUE respectively, are represented with four tracks each. There is a new song also, with the funky jazz arrangement on Groovin’ sounding really strong and full of rhythm. Something Good is a fine track to end the night, with the band in full flight mode and the crowd also really respond to Costa Mesa My Sweet Home, a theme song that Krikorian wrote for the city.
There is also an acoustic set with Krikorian playing four songs in the middle of proceedings. One of the songs, Lyla, written for his wife, is repeated later in the set with a band arrangement this time. The full band is Dan Krikorian (lead vocals, guitar), Mike Teague (guitar, vocals), Randy Querry (bass), Dustin Robinson (keys, vocals), Jack Carlino (lead guitar), Bruce Gallucci (saxophone) and Eric Berringer (drums). Something here for every taste with the variation and the ensemble playing showing the talent and versatility on display.
Review by Paul McGee
Peter Mulvey with SistaStrings Live at the Café Carpe Righteous Babe
Fort Atkinson is a city in Jefferson County, Wisconsin and it is home to the Café Carpe, a small bar-restaurant and music venue that was opened back in 1985. The music takes place in a talk-free listening room, separate from the main bar-dining area, making it the perfect place to record an intimate live performance.
Peter Mulvey has been playing guitar his whole life. With an incredible touring ethic and no little street smarts for keeping a healthy career in music on the right tracks, he has overseen the release of numerous albums since his debut, back in 1992. Of course, way before then he was busking around America and Europe learning his trade and honing his craft. An intelligent, witty man with an easy stage disposition and good manners; someone that you would let have your couch for a prolonged period of time (if asked). He is also a master guitar player and full of invention and skilful fingerpicking style, combined with a compelling percussive guitar style. He was born in Milwaukee and SistaStrings also hail from the same city, something that binds them together when they come in search of finding the musical crock of gold at the end of their collective rainbow. SistaStrings bring so much to the party, mostly their wonderfully intuitive playing. They are sisters, Chauntee and Monique Ross, playing violin and cello, singing beautifully as only siblings can and they are also classically trained. Combine their melodic, inventive, lush sound with the resonance of Peter’s voice and guitar and you are sure to have backed a winner. Now add the subtle drumming technique of Nathan Kilen and his ear for the right percussive touch – mix it all together in a musical blender across 18 songs, recorded over two nights in January 2020 and you have the perfect cure for the Covid-19 blues.
This is a really wonderful project, packed with superb musicianship, spontaneity and harmonious interplay across all instruments and voices. There are special moments throughout the recording and it seems churlish to elevate any particular song above the overall mood and texture but Are You Listening with minimal percussion, simple strum and cello interweaving with violin is a standout. As is The Details, filled with tension and attitude, restrained and resonant strings, Peter killing it on vocals as the melody stretches.
Trempealeau, a village on the Mississippi river, holds a personal memory and the gentle, understated playing reflect a melancholy, as the lines repeat ‘Why can’t you just say I Love You.’ The Trapeze Singer, an Iron & Wine cover, is quite hypnotic in delivery with the wistful lyrics about death, memory and the passing of time. There are five cover songs in all, including Devil Town (Daniel Johnston), Bicycle (Gary Louris & Marc Olsen), Red Rose Motel (John Statz) and Ingrid Bergman (Woody Guthrie & Billy Bragg). Peter knows hundreds of cover songs and how he can remember so many lyrics is anybody’s guess – all those busking years have sharpened his memory greatly, no doubt.
There are songs that have not been recorded yet, like I Have This Friend and He Is Dying, new songs such as Everything Is Ending, Don’t You Ever Change and You Are the Only One. Four of the songs are from the 2017 album, ARE YOU LISTENING, with a further five songs taken from three separate releases. With over one hour of sublime interplay and music of the highest calibre, this is a release to be savoured and purchased for anyone who enjoys the fine balance between the beauty in restrained playing and the grace to let the silences speak for themselves.
Review by Paul McGee
DL Marble One Line At A Time Casa
This album as recorded in Tempe, Arizona and produced by Eric “Roscoe” Ambel, which for those who know the name will know the kind of robust roots rock that usually emerges from one of his productions. Marble is the writer and singer of the bulk of the songs here, bar one song from Rob Baird. The assembled musicians are a solid rockin’ band with Paul Williams on bass, drummer A.D. Adams, Gigi Dixon on keyboards and Ambel and Roger Singleton on electric guitars. Marble adds acoustic alongside Ambel.
Some of the songs like Tonight ring out with drive and connection. Vocally Marble reminds me of another vocalist who I can’t quite pin down but could be Bob Woodruff - who had a major label deal in the 90s. That could just be me though but, from memory, the outlook was similar. There is some harshness in these songs, exemplified by Undefeated wherein Marble looks at some darkness in the life story of the song. “I lost a friend of mine last week, he was a brother to me / now my dad’s got cancer - what the hell does that mean?” There are strands of that bitterness in other songs such as One Line At A Time's slow death path of “killing myself, one line at a time.”
Break Even has a more hopeful outlook to a relationship and is played at a more considered pace, with some steel guitar added to that overall feel. California Memory is similarly taken, with a thoughtfulness which contrasts with the hell-for-leather nature of the harder songs. It offers a nice break from the otherwise uptempo nature and energy of the songs that, even when they deal in the hardships displayed, do so in a way that has a spirit of looking for the light. Bombay has nice twang to the guitar riff as Marble sings about playing for saints and sinners and singing for drinks in the Club Bombay. The final of the ten songs (Chasing You) is a breakup/leaving song but which is again imbued with a strong melody and chorus and is a fine way to finish the album.
This is Marble’s second album, his previous release Hard To Quit came out five years ago. He was, prior to the pandemic, a road warrior taking his band to whatever gigs paid their way. This is an album that will have its strongest appeal to those who are acquainted with Marble in a live venue or through his previous recorded work. Yet anyone who encounters this album and listens and likes the attitude the music encapsulates will no doubt be pleased to add a new name to their roster of similarly engaging artists.
Review by Stephen Rapid
Tom Mason Under A Mistletoe Sky Gas Station
Christmas albums can cause a love/hate reaction for some listeners or a combination of both. Personally, there are only a few that I really like and they tend to be the less sentimental ones. In that category is Tom Mason, whose latest release is his third chapter of original Christmas tunes. Tom is a multi-instrumentalist who has a team of talented players with him including keyboard player Michael Webb, who is also the album’s producer. They are joined by bassist and drummer Jeff Thorneycroft, Pete Pulkrabek, and backing vocalist Fawn Larson amongst others.
I don’t think that Tom Mason thinks this is high art, rather it is a work that they had some fun recording. The songs have a certain ambience that is definable from the titles - Crazy For Christmas, Christmas Boogaloo, Santa’s Little Helper, Gift Wrapped Girl and Come On Mr. Claus. So the subject matter is obvious, but what is not so until listening is the professionalism and enthusiasm they have brought to laying these song down.
But even with the nature of the seasonal themes, some songs stand-out as having the potential to have a life beyond this CD. Songs like All Covered In Snow and Christmas Boogaloo, alongside others, have the feel of songs that would be right for covering by a wide range of artists in the search for new seasonal standards. An immediate stand-out too is the spot on feel of Little Elvis King Of Elves, which gets that vintage feel right in what is a very enjoyable romp.
Mason’s voice is one that is well up to scratch with his accomplished vocal. His playing on a half-dozen different instruments is also a big part of the results. When you're seeking out something a little different to play over the festive (or indeed not so festive in 2020) season, this still has the potential to cheer one and all up. Kudos to Mason for writing or co-writing a solid selection of new songs rather than heading for the often over-recorded standard selection.
Review by Stephen Rapid
Jerry Joseph The Beautiful Madness Decor
Having Patterson Hood and Jason Isbell describe you as one of the best songwriters and performers ever is high praise indeed. Being invited to tour with Drive By Truckers and Richmond Fontaine also reinforces the regard that Jerry Joseph is held in by his peers.
His backstory itself is extraordinary and one that has fuelled his insatiable desire for travel and adventure. His escapades kicked off at an early age. Born in Los Angeles, Joseph ended up in all sorts of bother at school as a teenager, resulting in his parents sending him to boarding school in New Zealand. The relocation proved little more than passing the parcel and Joseph, following further behavioural issues, was deported back to California after a short spell in New Zealand.
He formed his first band Little Women in 1981 while still in his teens, before the launch of his solo career in 1993 and he has recorded over twenty albums since then.
Though well known in America his profile has remained under the radar in Europe and THE BEAUTIFUL MADNESS is his first European release. The album was recorded at Black Dial Sound Studios in Water Valley, Mississippi and was produced by Patterson Hood. The backing musicians consisted of Hood’s colleagues in Drive By Truckers. Jason Isbell contributes guitar on Dead Confederate, his first recording with The Truckers since he left the band in 2007.
Joseph has a lot to say on the album and he’s in no hurry to say it. Nine of the ten tracks run over the five-minute mark and the album’s powerful standout track Sugar Smacks weighs in at a hefty seven minutes. His piano led David Bowie tribute Black Star Line also runs north of the seven-minute mark.
The opener Days of Heaven recalls The Waterboys at their rockiest. It’s named after the film of the same name directed by Terrence Malick. In keeping with the movie, Joseph’s lyrics recreate vivid landscapes. He wrote the song on his brothers’ front porch in Mexico, with a gun on his waist to ward off any drug pushers who might get nasty. Equally expressive is the sweeping San Acacia, held together by a punchy bass line, tingling piano, thumping drums and Joseph’s raw vocals.
The aforementioned Dead Confederates is a power ballad that was written four years ago. The song is composed from the perspective of a Confederate statue and is all the more pertinent given the issues with such monuments this summer, both in the U.K. and America. Sugar Smacks finds Joseph spitting fire as he recounts the horrors and inhumanities he’s witnessed in his endless travels over the years.
Those travels included time spent in war zones such as Kurdistan and Afghanistan where he experienced first-hand the atrocities of wars and their aftermaths. Joseph founded NOMAD Music Foundation which is a not for profit project to provide music and instruments in refugee camps.
THE BEAUTIFUL MADNESS is Joseph’s reflections on a world in disarray and on the verge of self-destruction. It’s a powerful presentation and commentary by an artist with the ability to absorb the darker side of his environment and channel it into music. It’s an album that is highly recommended and guaranteed to be playing in your subconscious long after you’ve listened to the final track.
Review by Declan Culliton
Jack Henderson Where’s The Revolution Fretstone
Over a career that spans two decades, Glasgow born singer songwriter Jack Henderson has toured with The Cowboy Junkies and Over The Rhine, supported numerous luminaries including Buddy Miller, Ron Sexsmith and Sarah McLachlan and performed on stage with Patti Smith.
His recorded his debut album CHEAP TATTOO in 2001 and his most recent release, prior to this album, was an EP titled Sharkey’s Parade from 2019. Henderson challenged himself to record and produce his latest offering WHERE’S THE REVOLUTION, as well as the song writing duties, vocals and all instrumentation. He is quoted with the caveat ‘I wanted to let the songs dictate their own course and allow the imposed imperfections to constitute the very soul of the record.’
To his credit, it’s difficult to discover any imperfections on the ten songs here. The writing is strong, the song constructions are thoughtful and packed with melody. The first single taken from the album is the impressive Don’t Drink The Water, which is built around bluesman Robert Johnson’s alleged proverbial pact with the devil. Henderson considers fake news on the equally notable Jesus & Jezebel and the ageing process and passage of time raises its head on Hey Batman. The smouldering political unrest and its driving factors come to light on the title track. These tracks are all pitched at just the right tempo and sit comfortably beside the more hushed tones of Stars, Next Time I Meet You and Nobody Gets Hurt.
WHERE’S THE REVOLUTION is an album that works remarkably well as a whole with songs that flow from one to another. It’s also an album very much in the present messed up world. The lyrics question the increasing lack of empathy and social ethics in times when strong moral leadership is all too often lacking.
The constraints that faced Henderson when producing the album may be a blessing in disguise, as the arrangements are clutter free and fitting. As previously noted, Henderson has opened for Ron Sexsmith in the past, and fans of that notable Canadian songwriter and indeed of Elvis Costello at his most mellow, will love this album. Let’s hope it gets the exposure it richly deserves.
Review by Declan Culliton
Becky Warren The Sick Season Self Release
Lockdown and quarantine have become the norm over the past six months. Not so in 2018 when the very thought of such constraints featured only in novels and farfetched movies. Having released her second solo album Undesirable that year to consistently positive reviews, Nashville based Becky Warren found herself struck down by a debilitating depression that remained with her for sixteen months. Having previously dealt successfully with the illness, this particular dark period did not respond to medication.
Rather than touring and performing on the strengths of UNDESIRABLE and her debut album WAR SURPLUS, Becky was holed up in her Nashville residence, barely having the will to leave her house. Fortunately, the illness did eventually lift and became the subject matter of her powerful new album THE SICK SEASON.
The writing on her debut album sympathetically featured the true-life story of a veteran and was based somewhat loosely on her husband at the time, who had returned from service in Iraq and suffering from PTSD. She followed that with an album that was based on conversations with the homeless in Nashville and their individual stories which lead to them sleeping rough. Her motivation this time around was profoundly personal. The touching lyrics that feature here are directed towards self-examination, lifting the lid on a difficult period, thankfully now in the past.
The bluesy Appointment With The Blues opens the album and it’s a prelude for what’s to follow. Warren’s distress and the subject matter of the album is often cloaked with humour, most particularly on Me And These Jeans (‘Me and these jeans, I’ve been wearing for weeks, we’re out on the town, if the town is my mind, if it’s not we’re back on the couch’). The chunky Favourite Bad Penny, personifying the return of her dark mist, needs little explanation. The distressing lyrics of Tired Of Sick recall happy and carefree childhood times prior to her illness. It’s also a stunningly beautiful song, all the more so for its honesty and frankness, and features Emily Saliers of The Indigo Girls on backing vocals. The rocky Dickerson Pike is a plea from the heart for relief and a return to normality.
The album was recorded at MOXE, a picturesque studio located in the clearing of a woods outside Nashville. The studio was designed by owner Jordan Brooke Hamlin, who undertook the production duties on the album. Warren surrounded herself with people that had supported her through that dark period. Joining her were guitarist Avril Smith of Della Mae, bass player Jeremy Middleton and drummer Megan Jane.
THE SICK SEASON is a hugely impressive listen that covers the emotional baggage triggered by mental illness. It has the swagger of Lucinda Williams, gritty vocals, streamlined guitar riffs and brooding bass lines. A hugely enjoyable album that I’ll be returning to regularly.
Review by Declan Culliton
David Quinn Letting Go Self Release
My introduction to David Quinn came about by way of Bloodshot Records and their excellent compilation album TOO LATE TO PRAY, DEFIANT CHICAGO ROOTS, which was released last year. One of twenty-two artists featured on the album, his track Long Time Gone made an immediate impression. On checking out his back catalogue, I came across his impressive debut album WANDERIN’ FOOL, released in 2018.
This is his second full album and he certainly thought big when assembling his crew to get the album down. The production duties were carried out by Nashville based Mike Stankiewicz, who has worked in various capacities in the past with Willie Nelson, Maren Morris, Sunny Sweeney, Drive By Truckers, Chris Isaac, Margo Price and Jason Isbell. The musicians that contribute on the album are equally impressive. Members of Margo Price’s band Micah Hulscher (keyboards), Dillon Napier (drums) and Jamie Davis (guitarist) all feature. Pedal steel wizard Brett Resnick (Kacey Musgrave, J.P. Harris) and guitarist Laur Joamets (Sturgill Simpson, Drivin N Cryin) completed the line-up.
It’s one thing having a bunch of ace players and a master producer at the controls, but to Quinn’s credit, he also brought first rate material in to the studio. Quinn confesses that the bones of most of his songs come to him when he’s driving around the Midwestern countryside. Not surprisingly much of the material features travel references. With a sound that encompasses outlaw, classic country and southern rock tracks, the result is an album that flows freely from the short opening intro track to the dreamlike closer Maybe I’ll Move Out To California. In between these two tracks the album is loaded with show stoppers. Ride On leaps out of the speakers with a sound that lands somewhere between Johnny Cash and Dwight Yoakam, laced with wicked guitar breaks and weeping pedal steel. The title track Letting Go is a similarly paced toe tapper and 1000 Miles and Born To Lose are brooding Southern rockers.
Quinn doesn’t stray too far from his comfort zone with LETTING GO, taking full advantage of his rich and fluent vocal style and the bullet proof players around him. It’s a formula that works, combining uncomplicated lyrics that fit the songs like a hand in a glove. Track this album down and, like me, you’ll be left wondering where David Quinn has been hiding for the past decade!
Review by Declan Culliton