Brian Setzer's Don't Mess With A Big Band, CD Review - by J. Blake

(New York, NY)

Brian Setzer has never been considered a “blues guitarist”, but as one of the most respected and revered players to ever pickup the instrument, he has always attacked the guitar with the passion and intensity of a bluesman and the virtuosity of a jazz player. His skill is arguably unparalleled in the world of “rock music” and he has done for both rockabilly and big band jazz, what the British players did for the blues in the 1960s.

His latest live release, The Brian Setzer Orchestra’s, aptly titled, DON’T MESS WITH A BIG BAND (2CD set) highlights many of the guitar-slinger’s biggest career hits and, as usual, some astounding musicianship. Disc 1 pulls almost entirely from his big band catalogue; with the exception of fun versions of the “Batman Theme” (for the 1960s ABC television series) and Eddie Cochran’s “Summertime Blues”. Definite highlights here include the always breathtaking “Sleepwalk” (from 1998’s THE DIRTY BOOGIE) and Setzer’s unconventional take on Nikolai Rimsky-Korsakov’s “Flight of the Bumblebee”; a guitar tour de force titled “Honey Man” from 2007’s WOLFGANG’S BIG NIGHT OUT.

Disc 2 finds Setzer looking back to his days with The Stray Cats, as he tackles the bulk of their biggest hits with more recent big band swing arrangements. Crowd pleasers like “Stray Cat Strut”, “Rumble in Brighton” and “Rock This Town” sound huge here, recorded live with the 18-piece orchestra. The disc closes with Setzer and company blowing the roof off of the joint with a booming big band encore of Stevie Ray Vaughan’s “The House Is Rockin’”.

DON’T MESS WITH A BIG BAND is a sizzling live of album from one of America’s greatest guitar heroes. Its only real noticeable flaw is that it doesn’t quite live up to the precedent set by The Brian Setzer Orchestra’s 2004 live effort, THE ULTIMATE COLLECTION.

It may not be “blues”, but with 19 tracks of pedal to the metal, “no-holds-barred” rockabilly/swing…is it really that far off?


If you enjoyed this article, you may also enjoy: Jimmy Vaughan Live in NYC

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Al Green live at B.B. King's Blues Club and Grill on September 2nd and Jerry Lee Lewis on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Derek Truck's Roadsongs, CD Review - by J. Blake

(New York, NY)

I recently observed an interesting thing while attending Fathom Event’s “one-night-only” screening of Eric Clapton’s 2010 Crossroads Guitar Festival. Of all the magnificent talented featured in the “film”, the only one to elicit applause was Derek Trucks (and his band). Watching a concert in a movie theater is an odd experience. It is like being there, but at the same time it is far from it. On July 27th, 2010 an NYC audience sat quietly, watching a 2hour+ HD presentation that included a whole lot of blues and even more guitar. Proper movie theater etiquette was being observed until the Derek Trucks-Susan Tedeschi Band took the stage (with guests that included Warren Haynes). It was only then that the audience, collectively, forgot where they were and lost themselves in the music. It was actually an amazing thing to witness and I’m pleased to say that The Derek Trucks Band’s latest CD captures at least some of that magic and energy.

ROADSONGS marks The Derek Trucks Band’s first live album since 2004’s LIVE AT GEORGIE THEATRE and is by far, Trucks’ most sonically satisfying live recording to date. The slide-guitar virtuoso and his group of talented collaborators are in fine form here, delivering 14 tracks (on 2 discs) that span the entirety of his career; with a definite bias toward 2009’s Grammy-winning ALREADY FREE.

Recorded over two nights at Chicago’s Park West, ROADSONGS exhibits the band’s proclivity for brilliant dynamics and their amazing ability to straddle the line between complete control and raw, spontaneous live energy; things that are never more present than on the album’s 14 and a half minute version of "Afro Blue" and its 13 minute (blues turned funk) medley of "Get Out My Life Woman/Who Knows”. Other highlights include the blues standard “Key to the Highway”, covers of Bob Dylan’s "Down in the Flood", Bob Marley’s "Rastaman Chant" and Eric Clapton’s "Anyday" as well bluesy DTB originals "Get What You Deserve" and "Don’t Miss Me".

Derek Trucks continues to shine as a compelling live performer and as a (somewhat) recently crowned “Guitar God”. His specific way of melding blues, jazz, rock and soul creates a sound that is uniquely his and ROADSONGS captures it and his (and his band’s) talent beautifully. This particular lineup of the band may be currently on hiatus as Trucks tours North America with his wife Susan Tedeschi, but this latest live release gives us something exciting to cherish until the DTB is touring again.

If you enjoyed this article, you may also enjoy: ALREADY FREE CD Review

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer’s thoughts and opinions about Movies, Music, TV & More.

NYC blues fans, make sure you check out Al Green live at B.B. King's Blues Club and Grill on September 2nd!!!

Copyright © 2010 - J. Blake. All Rights Reserved

A Blues Salute To Black Sabbath - by J. Blake

(New York, NY)

“Black Sabbath’s major contribution has been to successfully capture the gist of specifically seventies culture through their music. They relate to this impersonal, mechanical decade much as Delta bluesman and their Chicago spin-offs related to their eras; by synthesizing collective feelings and giving their contemporaries hope by revealing the disaffection that unites all of them. In that remote but real sense, Black Sabbath might well be considered true seventies bluesmen.” –Gordon Fletcher, “The Sabbath Search For Peace,” Rolling Stone Magazine, 14 February 1974, p55.

The above quote is something that I read a long time ago and it has always stuck with me. It expresses a notion that ultimately questions the definition of blues; something I’ve been thinking a lot about lately. Obviously very few, if any, would accept the idea that Black Sabbath was a blues band for their time, but let’s, just for moment, think outside the box and consider the notion.

Putting aside the fact that Black Sabbath started their careers as a pretty straight forward British blues band, their greatest accomplishment was that they became the first true heavy metal band and in actuality heavy metal (in general) and the blues are very similar. They may not be working entirely off of the same musical conventions, but thematically they share much more than most people realize.

An excerpt from Robert Johnson’s Me and the Devil Blues:

Early this morning, you knocked upon my door.
Early this morning, ooh you knocked upon my door.
And I said, “Hello, Satan, I believe it’s time to go.”
Me and the Devil, were walkin’ side by side.
Me and the Devil, were walkin’ side by side.

An excerpt from Black Sabbath’s title track:

What is this that stands before me?
Figure in black which points at me.
Turn around quick and start to run,
Find out I’m the chosen one.
Oh No!
Big Black shape with eyes of fire,
Telling people their desire.
Satan’s sitting there, he’s smiling.
Watches those flames get higher and higher.

Though Satan and the occult are usually considered to be things strictly associated with heavy metal, the Devil has actually played a character in recorded music since the blues began making its way on to acetate. Throughout the 1920s and 30s, Sam Collins, Charlie Patton, Robert Johnson, Skip James, Lonnie Johnson and many others, all recorded songs that involved Satan. Some scholars even believe the name “blues” is actually derived from term “blue devils”, meaning melancholy and sadness (Wiki).

The Devil as a character, or used as imagery, is an element of blues music that seemed to die out after World War II, as the genre became electrified and made its way to more metropolitan areas. Though the Devil would rear his head sporadically throughout subsequent decades, in songs like The Rolling Stones’ Sympathy for the Devil; it wasn’t until Black Sabbath and the creation of heavy metal that the character would be given the full spotlight once again.

To explore the relationship between heavy metal and the blues further, let’s ask ourselves “what exactly is blues music?” It is/was music created by the lower-class in an effort to express their plight. They took a look around them and wrote about what they saw. They wrote about their lifestyles, about their relationships and about their fears. Yes the blues can sometimes be fun, upbeat and even comical, but it is normally characterized as being brooding and sad. In essence, blues artists have always written about what they know; they have always written from the heart and most importantly, they have always attempted to express the “not-so-pretty” truth that many artists seem to be avoiding.

Heavy metal (and specifically Black Sabbath) has always shared these same ideals and has always set out to accomplish the same goals. The members of Black Sabbath were working-class kids from a steel town in England. Their guitarist Tony Iommi lost the tips of two of his fingers (on his fret hand) in a factory machine accident and even after the band began to gain popularity on the club circuit, their front-man Ozzy Osbourne couldn’t afford to own a pair of shoes. These were guys that had ‘the blues’!

It was 1969/70 and as many music artists were experiencing the summer of love in America and bands like The Beatles were preaching love and peace, the members of Black Sabbath looked around at their poor dreary surroundings; they read about the horrors of the Vietnam War and said “why isn’t anybody writing about this?” So they set out to write about the darker side of life. As some artists wrote about God and the euphoria of mind-altering drugs, Sabbath wrote morality tales about the Devil and the dangers of losing yourself to ‘the needle’. They wrote about the horrors of war and the fear of atomic destruction. Like the bluesman that came before them, Black Sabbath wrote about what they knew and expressed the (just plain) ugly truth that surrounded them. They observed a menacing and harsh reality and they needed a sound that would do it justice; and unfortunately a 12-bar shuffle wasn’t going to cut it…and thus, heavy metal was born.

Whether it is the fact that (like blues) Black Sabbath’s music stereotypically doesn’t contain traditional chorus/bridge song structures, or that guitarist Tony Iommi’s lead-work is all derived from pretty standard blues and jazz scales, or that rhythmically songs like Wicked World and Fairies Wear Boots are actually utilizing elements of swing, or even that the lyrics of N.I.B. weave a very blues-like tale about unrequited love (albeit from the Devil’s perspective), the similarities between the music of Black Sabbath and the blues are almost endless. We could certainly go through each album/song and continue to make the case that Black Sabbath is a blues band, but really what would be the point?

At the end of the day, like beauty, the blues is in the eye of the beholder. What I do ask is, with Black Sabbath’s first two albums (BLACK SABBATH and PARANOID) celebrating their 40th anniversaries this year, let’s put aside our music prejudices and give a big blues salute to four guys from Birmingham England, that not only invented a (still thriving) style of music and helped shape guitar-driven rock forever, but most importantly told the truth as they saw it…no matter how ugly it may have seemed.

If you enjoyed this article, you may also enjoy: Meantooth Grin

Thanks and keep reading American Blues News and also check out Media Wah Wah for more of this writer's opinions about Movie, Music and TV.

NYC blues fans, make sure you check out Jack Bruce & Joey Molland live at B.B. King's Blues Club and Grill on August 10th and John Mayall on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Leslie West And Corky Laing In NYC - by J. Blake

(New York, NY)

Whether it is his personality, his legacy as a pioneer of early heavy-metal, his guitar playing, the blues-inspired rock riffs he has written, his singing voice, his appearances as a semi-regular guest on the Howard Stern Show, his wedding on the stage of Woodstock’s 40th anniversary concert or even his physical stature, there are few things about Leslie West that are not larger than life. Even the name of his band, Mountain, implies enormity.

Last week, Leslie West brought his ‘larger than life’ musical presence to New York City as he took the stage on two consecutive nights at B.B. King’s Blues Club & Grill in Time Square. Both West and drummer Corky Laing took a stroll down memory lane as they revisited two different incarnations of their past musical careers. On Wednesday June 30th, 2010, the festivities began with the current line-up of Mountain blowing the doors off of the venue with their signature brand of heavy blues-rock. From the very first notes played, the audience was sonically assaulted with (possibly) the most ‘badass’ blues-guitar riffs ever written, as the band launched into the now classic “Never In My Life”.

The set continued with other Mountain hits that included “Nantucket Sleigh Ride”, “Blood Of The Sun” and solo acoustic versions of “For Yasgur’s Farm” and “Long Red”. Aside from the typical Mountain-fare, one of the evening’s definite highlights came in the form of a touching solo acoustic performance of a song called “The Cell”; from West’s 2005 album (unfortunately) titled GUITARDED. According to West, the lyrics were sent to him in the form of a poem from a prison inmate who accidentally committed murder during a robbery. The poem was written as an apology addressed to the inmate’s mother, for committing the crimes. At the inmate’s request, West put the words to music and that night, his delivery of the song was both passionate and moving.

The set closed with Corky Laing and Mountain’s current bassist, the energetic Rev Jones (whose main piece of stage performance shtick consists of him swinging his head in a circular motion, causing long braids on the top of his head to twirl around like propellers on a helicopter) once again taking the stage with West and hammering out thunderous electrified rock and roll.

After a brief intermission, West and Laing returned to the stage with Jack Bruce’s son Malcolm on bass. With Malcolm filling in for his father, the trio ran through the bulk (if not all) of (the 70s super-group) West, Bruce and Laing’s most notable material; including “Why Dontcha”, “The Doctor”, “Love Is Worth The Blues” and “Play With Fire” as well as recognizable hits like Cream’s “Politician” and “Crossroads” and Mountain’s (Jack Bruce-penned) “Theme From An Imaginary Western”. Despite the fact that Malcolm Bruce seemed slightly out of his element, the trio delivered a set a music that was certainly on par with, if not better than the one that preceded it.

The evening came to a close with both Rev Jones and Malcolm Bruce playing bass on a hard-rocking (and crowd pleasing) encore of Leslie West’s most famous composition, “Mississippi Queen”.

Despite West’s frequent need to rest on a stool while playing, he continues to prove why he is considered by many to be one of rock’s most underrated guitarists. His tone is ferocious and his voice is arguably better now than it was 20 years ago. Corky Laing is also still in fine form and remains one of rock’s most entertaining drummers to watch. Both Rev Jones and Malcolm Bruce bring an element of contemporary youthfulness to material originally recorded 35-40 years ago and each, in their own way, displays a unique virtuosity on their instrument; making for an interesting juxtaposition when seen and heard side by side, like it was last week.

All in all, it was a fantastic night of music and performances by either line-up are recommended to guitar-junkies, early-metal heads, late-60s rock lovers and fans of the ‘power trio’ sound.

If you enjoyed this article, you may also enjoy: Electric Chubbyland Concert Review

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Jack Bruce & Joey Molland live at B.B. King's Blues Club and Grill on August 10th and John Mayall on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved
*Photos: Copyright © 2010 - Nelson G. Onofre. All Rights Reserved.

Delaney & Bonnie's On Tour With Eric Clapton Reissue!!! - by J. Blake

(New York, NY)

The year was 1969. Blind Faith, rock’s first ‘official’ super-group had formed and was reluctantly touring to promote their first (and only album). Disillusioned by the stardom that Cream and Blind Faith had bestowed upon him, guitarist Eric Clapton found exactly what he longed for in Blind Faith’s opening act; a rootsy rock ‘n’ soul group from America called Delaney & Bonnie & Friends. The enjoyment the band appeared to be having together, along with their energetic stage-presence and their ‘down home’ sound, shed light on the musical path that the British guitar-God had been searching for since Cream’s end.

Against the rest of Blind Faith’s wishes, Clapton began taking the stage nightly, with the dynamic opening act and when his ‘super-group’ met their inevitable demise in October of 1969, the guitar-slinger decided to take to the road as a sideman in Delaney and Bonnie Bramlett’s traveling musical family.

It was under the Bramletts’ tutelage that Clapton found his voice as a front-man and singer. It was his relationship with Delaney and Bonnie (and their band) that led to one of his most artistically fruitful periods; most notably his first solo album and the eventual formation of Derek and The Dominos.

Released in June of 1970, Delaney & Bonnie & Friends’ ON TOUR WITH ERIC CLAPTON was recorded live on December 7th, 1969 at Fairfield Halls in the U.K. and featured Clapton and future Dominos Bobbie Whitlock, Carl Radle and Jim Gordon as well as Leon Russell, Dave Mason and George Harrison. The album reached #29 on the Billboard album charts and has proven to be the Bramlett’s most successful recording.

Now, 40 years later, the good people at Rhino Handmade are giving ON TOUR WITH ERIC CLAPTON more than just the standard ‘deluxe’ treatment. Due out this July, the reissue will contain four discs featuring four complete concerts from December of 1969 and over three hours of unreleased performances…including Clapton singing a rare gem from his first solo album, “I Don’t Know Why”!!!

The following passage has been taken from www.rhino.com:

The set, which comes packaged in a mock road case, contains Delaney & Bonnie & Friends’ complete performance at London’s Royal Albert Hall, plus a composite of the next night’s performances at Colston Hall in Bristol, and both the early and late shows from the tour’s final stop at Fairfield Halls in Croydon. Along with the Bramletts, the touring band showcased on these discs includes guitarists Eric Clapton and Dave Mason, bassist Carl Radle, drummer Jim Gordon, organist Bobby Whitlock, Jim Price and Bobby Keys on horns, percussionist Tex Johnson, and singer Rita Coolidge. The Croydon shows also features Mysterioso (aka George Harrison), who can be heard playing bottleneck slide, a technique Harrison reportedly learned from Delaney during this tour.

Along with unreleased versions of all the songs from the original, this reissue also contains several songs not featured on the 1970 album, including “I Don’t Know Why” a track the Bramletts penned with Clapton; “My Baby Specializes” and “Everybody Loves A Winner” from the Bramlett’s debut HOME; “Get Ourselves Together” from the couple’s 1969 follow-up ACCEPT NO SUBSTITUTE; the traditional “Will The Circle Be Unbroken”; a cover of Spencer Davis Group’s “Gimme Some Lovin’”; and the instrumental “Pigmy.”

For more information and to preview tracks, visit Rhino’s site by clicking HERE.

*Note, the following videos are not featured in this epic reissue, but were filmed during the same period. Enjoy!!!







If you enjoyed this article, you may also enjoy: Derek & The Dominos Live In Philly

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Johnny Winter live at B.B. King's Blues Club and Grill on June 23rd and Chuck Berry on June 25th !!!

Copyright © 2010 - J. Blake. All Rights Reserved

Johnny Winter: Live at The Fillmore 10/3/70, CD Review - by J. Blake

(New York, NY)

Until recently 1971’s LIVE JOHNNY WINTER AND has been considered the definitive officially released live document of the albino blues-rocker in his prime. With material taken from two 1970 performances (Fillmore East, NY & Pirate’s World, FL), LIVE JOHNNY WINTER AND unfortunately clocks in at a mere forty minutes and focuses heavily on the rock side of Winter’s 1970 repertoire. Luckily over the past decade, fans have been sporadically treated to previously-unreleased live recordings featuring Winter during the early stages of his now 40+ year career. Al Kooper and Mike Bloomfield’s FILLMORE EAST: THE LOST CONCERT TAPES 12/13/68, The Allman Brothers’ LIVE AT THE ATLANTA INTERNATIONAL POP FESTIVAL: JULY 3 & 5, 1970, JOHNNY WINTER: THE WOODSTOCK EXPERIENCE and Winter’s LIVE BOOTLEG SERIES, VOL. 1 all help paint a much more detailed picture of the guitar-slinger as an artist and collaborator during the late-60s and early-70s.

Now, thanks to Sony and Collectors’ Choice Music, fans can revel in a Johnny Winter live experience that arguably surpasses all of his other previously released early live recordings. Released in May of 2010, LIVE AT THE FILLMORE EAST 10/3/1970 captures the “Johnny Winter And” group (featuring Rick Derringer) live, just weeks before the performances that would eventually make up LIVE JOHNNY WINTER AND. Though the two live collections highlight different performances of some of the same material, as a whole, the October 3rd Fillmore East recording focuses slightly more on the blues than its predecessor and miraculously runs a whopping twenty-seven minutes longer; while only upping the track count from six to seven. With LIVE AT THE FILLMORE EAST 10/3/1970, Winter classics like “It’s My Own Fault” (22:25) and “Mean Town Blues” (18:08) run significantly longer than the versions featured on LIVE JOHNNY WINTER AND and surpass those previous versions with not only length, but energy and musicianship.

That is not to say that the 1971 live album is flawed. On the contrary, LIVE JOHNNY WINTER AND is a wonderful collection of performances, but with this newly released Fillmore show, the bar for live Winter recordings has been set higher than ever before. The interplay between Winter and Derringer is what really sets this recording apart. The two guitar-titans push each other to a new standard of six-string blues excellence and in the process, drag the rhythm section along with them; making for an incredibly energetic blues-fueled performance.

In addition to “It’s My Own Fault” and “Mean Town Blues”, “Good Morning Little School Girl” pulses with the “head cutting” energy of Winter and Derringer’s dueling guitars, while renditions of Bob Dylan’s “Highway 61 Revisited” and Muddy Waters’ “Rollin’ and Tumblin’” showcase Winter’s classic “throw caution to the wind” slide playing-style. Blistering versions of Winter’s original blues-rock composition “Guess I’ll Go Away” and the Derringer penned “Rock and Roll Hoochie Koo” round out the performance’s set list; making for a thoroughly satisfying blues-rock listening experience.

LIVE AT THE FILLMORE EAST 10/3/1970, is easily one of the best blues oriented releases of 2010 so far. 1970 was an exciting time for rock and blues music and that excitement is captured in spades on this recording. LIVE AT THE FILLMORE EAST 10/3/1970 is a treasure from the annals of blues-rock history. Like all live recordings, it captures a specific moment in time and luckily for us, that moment was captured beautifully. This live album is an absolute “must have” for all Johnny Winter fans and any fan of blues guitar…or guitar in general.

If you enjoyed this article, you may also enjoy: Johnny Winter-A Bluer Shade of Pale
You may also like to read American Blues News' interview with Johnny.

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Albert Lee live at B.B. King's Blues Club and Grill on June 19th and Johnny Winter on June 23rd!!!

Copyright © 2010 - J. Blake. All Rights Reserved

I'm In Love With My Guitar - by J. Blake

(New York, NY)

I own several different models of guitars, but until recently I have almost exclusively played my Stratocaster when gigging; a dark grey, white and black mid-80s Japanese ‘phat’ Strat. Years ago I replaced the pickups with 2 Lace Holy Grails in the neck and mid positions and a Rio Grande Barbeque Bucker in the bridge; with an active onboard overdrive circuit replacing one of the tone pots. This guitar was my main ‘axe’ for years and it treated me well on stage, but times change and so do music styles.

These days I am playing much more rock than blues and I recently decided that maybe it was time to bring out another guitar. My backup has always been an Epiphone Les Paul that a buddy gave to me as a birthday gift. As I set out on a new musical journey, playing contemporary rock music, I decided to put my backup into the game and for the first time, bench my ‘first-stringer’. I began using the Les Paul exclusively, late last year and was enjoying its thicker/beefy tone, but as is my nature, a stock Epiphone Les Paul was not good enough for me. In my heart, I knew I could make it better, stronger, faster. So like my Strat, I gutted it and attempted to build the ultimate ‘rock-stick’. I asked myself “who are the ultimate rock guitarists of all time?”

Now I know, at this very moment, at least a few of you are saying to yourselves “Jimmy Page”!!! Some of you may even be thinking about players like Pete Townshend or Keith Richards or maybe Jeff Beck and one of you is even sitting there right now saying “Chuck Berry” quietly to yourself; feeling slightly annoyed by the fact that Berry was not mentioned first. The list could literally go on forever and I love all of these guitarists, but when I say “rock” I mean balls to the wall, rock your face in, make your ears bleed and your brains turn to mush ROCK!!! So as I embarked on this little experiment to create the ultimate rock guitar (while keeping it within a reasonable budget), I attempted something very over the top, very unpredictable and probably even dangerous…in fact it may be illegal in some states; I decided to summon the power of the two mightiest rock-guitar Gods I could think of, Tony Iommi (of Black Sabbath) and Angus Young (of AC/DC).

A Gibson Signature Iommi humbucker replaced my stock neck pickup and a Gibson Signature Angus humbucker went into the bridge. I know it sounds ridiculous and I admit it may be “overkill”, but as my brother pointed out “Rock & Roll is all about overkill” and I have to admit that on some level I agree with him. In addition to putting in the new pickups, their 4-conductor wiring has given me the ability to tap them for single-coil capability; using push/pull pots for my tone knobs. I also rewired the two volume knobs to one master volume and in place of the now unused 2nd volume knob I added an active onboard distortion circuit that takes the concept of “overkill” to a whole new level.

Now when I say that this procedure was an ‘experiment’, I mean just that. I spent a few hundred dollars and took a gamble, but that is kind of the beauty of the electric guitar. You can change it and its sound fairly easily. You can alter it to find ‘your’ own tone, a sound that is unique to you and you can keep altering if you want to. The possibilities are endless. Am I happy with the changes that I made? On the whole, I’d have to say yes, but I will warn you that the Iommi humbucker in the bridge position has a very dark, almost murky sound. It is not a sound that I would imagine too many people would be striving for. Luckily it sounds great tapped and in combination with the Angus humbucker, its tone is fierce; I find that the two pickups actually round each other out nicely.

So I now have a rock guitar that not only sounds badass, but is very versatile; providing me with humbucking ‘meat’ and single-coil ‘twang’ and everything in between. At this point you are probably assuming that the title of this article is referring to my new Frankenstein Les Paul, but unfortunately you are wrong.

A funny thing happens when you play “out” regularly, you never really see your gigging guitar. When it is not strapped to your body on stage, it pretty much stays in its case (or gig bag), sitting by the door, ready to go at a moment’s notice. Well at least that is the way it is for me, living in a cramped NYC apartment, where finding a place to put things is close to impossible. So now as my Epi Les Paul sits in its case by the door, the Stratocaster hangs proudly on a wall mount in my bedroom. Last week I walked into my bedroom, as I often do, and I saw my Strat hanging there. It was like seeing an old friend and at the same time it was almost like seeing it for the first time. I hadn’t actually looked at it in years. I have to admit, as it caught my eye, I was kind of in awe of its beauty. There is something about a Stratocaster that just looks amazing. Its shape is so unique. It looks futuristic and yet classic. Its curves are sleek and sensual; almost feminine. Sure a Les Paul has its own look and its own beauty as well, but a Les Paul looks like a guitar. A Strat looks like something from outer space. Even its name, “Stratocaster”, implies something celestial.

What is amazing about the Strat is that was designed in 1954 by Leo Fender, George Fullerton and Freddie Tavares and it really hasn’t changed in over half a century. They managed to get it right the first time. Yes the same could really be said for the Telecaster, the Les Paul, the Gibson SG and the ES-335, but the Strat is the guitar that most of the top rock and blues guitarists seem to eventually settle on and there has to be a reason for it. Clapton re-popularized the Les Paul in the 60s and played both an SG and a ES-335 with Cream, but has played a Strat almost exclusively since 1970. Even Townshend and Jeff Beck have become Strat converts in their old age and other music greats like Buddy Guy and Steve Winwood have always been Strat players; as was Buddy Holly and Stevie Ray Vaughan. Sure Gibson makes fantastic guitars and many people prefer them. Many guitar legends have stayed true to either the Les Paul or the SG throughout their careers, but really, does anything look cooler than a Stratocaster?

So now I have realized that my one true love is my beloved Stratocaster, but I will continue play the Les Paul. I spent the money and I put in the work, so I am sticking with my little Frankenstein Epiphone (for now) and in all honestly I am enjoying it, but with my recent revelation, I do see the irony in that by tapping the humbuckers and rewiring for a master volume knob, I inadvertently made my Les Paul sound and handle like a Fender Strat. What can I say? I’m in love with my guitar.



If you enjoyed this article, you may also enjoy: Renegade Creation CD Review

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Albert Lee live at B.B. King's Blues Club and Grill on June 19th and Johnny Winter on June 23rd!!!

Copyright © 2010 - J. Blake. All Rights Reserved

The Yardbirds Interview & Concert Review- by J. Blake

(New York, NY)

On Wednesday May 26th, 2010, patrons of B.B. King’s Blues Club and Grill were treated to 60s-style blues and rock…of the British variety. With only two of the original members still intact (rhythm guitarist Chris Dreja and drummer Jim McCarty), on paper, The Yardbirds are one of those bands that could easily slip more into the category of glorified ‘tribute band’, than legitimate new line-up, but luckily for them and their fans, their musicianship and sheer live energy can undoubtedly quiet even their most skeptical critics.

As the band took the stage in front of a sold-out house, the term “rave-up”, which the band made famous over 40 years ago, was instantly exemplified. The energy being exchanged between the group and the capacity crowd was palpable. Grown men were clearly finding it difficult to contain their excitement, as they strapped on their air-guitars in droves and took to their imaginary drum sets. It was a spectacle that rarely rears its head to that extent in the relatively upscale Time Square venue.

The band systematically ran through their catalogue, playing most, if not all, of their familiar material, as well as some of their more recent compositions. The majority of the latest line-up of the band is fairly young and they, including lead guitar virtuoso Ben King, bring a youthful energy and modern take to material that is now over four decades old. The evening’s closing performances of “Dazed And Confused” and “I’m A Man" brought down the house.


Before the show, guitarists Chris Dreja and Ben King were kind enough to take a few minutes, to sit down with me and casually discuss everything from past achievements to future plans. One thing that I feel obligated to divulge, before I go any further, is that the following “interview” was conducted in maybe the worst conditions possible. Because of various circumstances (greenrooms being full, club staff preparing for the show and the dinner rush, etc.), we were forced to sit in a booth, within the club, and attempt to have an intimate conversion while another band ran through their sound check.

I tell you this, not as any kind of excuse, but instead to simply “set the scene”. It seemed that any time one of us tried to speak, we were interrupted by a drum roll and crash symbols. It was an experience that I think all of three of us managed to find humor in, as we all chuckled at the absurdity of it on several occasions throughout the interview. I think it is safe to say that Chris, Ben and I all felt like we were either trapped in some kind of Monty Python skit or at the very least a prank/hidden camera TV show. Luckily they were both very nice and incredibly good sports. So as you read the following interview, imagine the three of us yelling at each other at the top of our lungs, trying to be heard over a ridiculous racket of drums and PA tests.

J. Blake: So you guys are on tour. Is that going to last through the summer?

Chris Dreja: We were in American and Canada in March and then we came back here for eight shows until the end of this month. Then we’re back to Europe playing in Germany, Portugal, Finland, Germany and France; and then probably back to America next year. So it is pretty full on, but we get breaks you know.

JB: You guys recorded a live album here at B.B. King’s a couple of years ago.

CD: We did.

JB: In a weird way, is it almost like a little bit of a homecoming?

CD: I suppose what this club represents to me; it’s like The Marquee in London. It’s sort of a regular show in New York. So it is kind of a home away from home now.

JB: Ben, you’ve been with the band for a few years now.

Ben King: Yes, it’s been between four or five years…something like that now.

JB: When you take the stage, is there a sense of history looming over you? You’re filling some pretty big shoes.

BK: Sure.

JB: Or do you just need to go out there and do your thing?

BK: Pretty much. I never let the legacy or the history of the group and the guitar players really phase me. I was aware from the very beginning that I was never going to be able to copy exactly what had been done. I try not to go down that clone root if I can help it. I just try and mix it up and blend elements of all of the guitar players, to an extent, and there are certain things that you definitely have to play; certain key things and with the sound as well. We stick to a pretty authentic sound with the gear and whatnot. I just try to get a nice mix and most people have complimented, sort of, what I’ve brought to the band; a nice mixture of old and new really.

CD: It’s like with the other guitar players. Being a guitar player band, it is one of The Yardbirds’ things, but you know when Jeff (Beck) joined the band after Eric (Clapton), he knew he had to play key parts, but we just said to him “then, do your own thing”. It is the same with Ben. I mean we know that Ben is well up for it. He’s an incredible player and there are certain things you need to do. After that, bring something to the band. Which they’ve all done.

JB: Sure. Are there things that Ben brings specifically that the other guys didn’t? I know that your last few lead guitarists were a bit older than Ben is.

CD: Yeah. Ben brings a more modern style of playing to the band. He’s a great solo player and just takes off sometimes. When Jimmy (Page) was in the band, he was more of a riff and chord guy really; a great riff maker and Ben has his own touch.

JB: (To Chris) I know that photography is a passion of yours.

CD: (Laughs) Yeah.

JB: I was hoping you could talk a bit about when you decided to step away from music in the late-60s and pursue photography.

CD: Well a lot of creative people back in the 60s were in this ‘art school’ scenario in England and I always had a passion for photography and I have had two passions in my life; one in music and one in photography and I’ve been very lucky to have made a great life for myself with both and a decent living. So yeah, in that break (from music), I had a 32 year career in photography and I worked here in New York for 3 years as well. So this is sort of a city of home for me too.

JB: Did you ever regret that you stepped away from the music, when you did? It was 1968, a pretty amazing time for music.

*And for those of you that may not know, it was the role of bassist in Jimmy Pages’ new line-up of The Yardbirds that Chris Dreja left in 1968 to pursue photography. That line-up eventually became Led Zeppelin and Chris actually took several well-known photographs of the band, including the back cover of their first album.

CD: Never. I mean I’m a very independent sort of personality and it really got to the point where I wanted to wakeup in my own bed in the morning and not be dependant on people who were a bit crazy. (He laughs) My own destiny! Although it is different now. I mean in those days; the late-60s were a bit hedonistic. No I have no regrets at all.

JB: Ben, I noticed you were playing a Tele(caster) during the sound check.

BK: Yes.

JB: Is that your ‘axe’ of choice or do you switch it up from night to night?

BK: I’ve pretty much been playing only a Tele for most of my time in the band. I went to the Strat for awhile, but you know the Tele is really the ‘Yardbirds guitar’. I mean everybody played one in the day and I kind of stick to that. The one I’m playing now; the one I managed to find is a very unique instrument and I thought, “well, not many guys really solo around on Teles.” They are usually associated with other things and they’re a lot of work. They’re not the easiest guitar to play. They’re so primitive, but when you really put some effort into them, it is amazing what you can get back.

JB: (To Ben) Do you do stuff outside of The Yardbirds? When you guys are not on tour, do you have your own solo thing going on?


BK: Yeah I do bits and pieces. I’m actually living in Vancouver now and I’ve been working with the musicians there and slowly getting some stuff together, but it seems that there is a lot of pressure on what I’m going to do. People are always asking “what’s next?” and I want it to live up to what I’ve done and go beyond…you know?

*It is at this point in the interview that the sporadic drum rolls evolve into a full on 4/4 time rock drum beat. The three of us look at each other and begin to laugh.

CD: (Referring to the drum beat) We chose our moment didn’t we?

*We sit and wait for a moment to see if it will die down and when it doesn’t, I desperately attempt to get the interview back on track.

JB: (To Chris) I have to ask this next question, because I am a bit of a ‘film guy’.

CD: Good!

JB: What was it like working Michelangelo Antonioni on BLOW UP?

CD: Well it was a great experience, because I am a film guy too. I mean in those days they must’ve had some great budgets, because in the scene with The Yardbids, he (Antonioni) recreated, actually it was the Ricky Tick club which was in Windsor and they completely recreated this club in a studio; Pinewood Studios I think. It was three days shooting for that one scene. Then of course (David) Hemmings, the actor that played the photographer in the film, he comes out on to Oxford Street. So that was a bit surreal, because that would’ve been The Marquee, but the actual set was a dead copy of the Ricky Tick. Antonioni was great. He worked with his lighting guy very methodically and calm…I thought it was a great film. A lot of people either love or hate that film, but I personally think it was one of the best films of the 60s.

JB: I agree. I love that film and I’m a big fan of Italian cinema in general.

CD: Well who isn’t? I personally am very proud to have been in that film.

JB: Are there any new albums on the horizon?

CD: More likely a DVD actually, with a couple of new tracks. The thing is, it is hard to…we have done new tracks that have sat well with The Yardbirds catalogue and audiences have grown to love them, but it is quite hard to get a song up to that standard; to meet some of those early songs’ standards.

JB: Sure, well it is a pretty specific sound.

CD: Yeah exactly.

JB: And to try and write material that fits, has to be difficult.

CD: Yes, so we’re not greatly prolific right now, but as I say, a DVD might be a nice thing to do.

JB: Well I thank you guys for your time, this has been great and I appreciate your taking a few minutes to sit down with me.

CD: Well I’m sorry we kept you waiting.

JB: Not a problem. The sound check sounded great and Ben, the Tele sounds amazing.

BK: Thank you.

JB: I’ve heard the live CD you guys recorded here.

CD: Yeah it has got energy hasn’t it?

JB: Yeah, it is great.

CD: Well that is very kind. Thank you.

BK: I think you’ll like the new line-up of the band.

JB: I’ve heard very good things about the new guys and I’m looking forward to the show tonight. Again I appreciate your time, thanks.

BK: It was a pleasure…

JB: And hopefully I’ll be able to make some sense of this when I listen back to it (I hold up my digital recorder).

*We all laugh and Chris begins to mime playing the drums and verbally mimic the beat. We shake hands and go our separate ways.

Luckily for me the recording did come out…barely.



If you enjoyed this article, you may also enjoy: John Mayall Live in NYC

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Albert Lee live at B.B. King's Blues Club and Grill on June 19th and Johnny Winter on June 23rd!!!

Copyright © 2010 - J. Blake. All Rights Reserved
*Live Photos: Copyright © 2010 - Nelson G. Onofre. All Rights Reserved.

Pat Travers by Nelson Onofre

Welcome back Blues fans! This week I am featuring photos of guitarist Pat Travers, another in a long line of rockers who have been heavily influenced by the Blues.
I first got into Pat's music back in the late 70s and saw him during the Black Pearl tour. I kind of lost track of Pat for a while but when I saw he was going to be playing BB King's on a bill with Rick Derringer I knew I had to be there. I'm a fan of what I consider to be the classic Travers lineup of Travers, Pat Thrall on guitar, Mars Cowling on bass and the amazing Tommy Aldridge on drums.

Pat's new band consists of Kirk McKim on guitar, Rodney O'Quinn on bass and Sean Shannon on drums. Pat and the band rocked BB's for almost 90 minutes, playing songs from his new CD, Fidelis, along with some of the Travers classics like Heat in The Street, Snortin' Whiskey, Crash and Burn and he had legendary drummer Carmine Appice join him on Boom Boom, Out Go The Lights.

We know Travers can rock but I suggest checking out some of his Blues releases such as Travelin' Blues, Blues Tracks, Blues Tracks, Vol. 2, Best of the Blues Plus Live, Whiskey Blues, and Blues Magnet. It took a while but I finally caught up with Pat again and as expected, he put on a great show.

Until the next go-round, keep supporting the Blues. As you can see these cats are working hard to lay it down for you.

Nelson G. Onofre
e-mail: nelson@electriceyes.us
my websites: http://www.electriceyes.us/
http://electriceyesphotography.blogspot.com/

photos: All Rights Reserved
click on images for a larger view

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim and Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers and Rodney O'Quinn
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers and Rodney O'Quinn
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim and Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim and Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim and Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim and Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Kirk McKim
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Carmine Appice w/Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Pat Travers w/Carmine Appice on drums
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

Carmine Appice, Sean Shannon and Pat Travers
BB King Blues Club, NY, April 2010
http://www.pat-travers-band.com/index.html
photo: Nelson G. Onofre © 2010 Copyright

you might also like Robin Trower here
come back often and bring your fellow Blues lovers

Jimmie Vaughan Live in NYC - by J. Blake

(New York, NY)

Last week, New York City blues fans were graced with the presence of Mr. Jimmie Vaughan, as he brought down the house at B.B. King’s Blues Club & Grill in the heart of Time Square on Wednesday May 19th, 2010. Members of the sold-out crowd reveled in a buffet of tasty Texas-style guitar, as Vaughan put his personal stamp on everything from sizzling blues and jumping swing to modern classics and good ol’ fashion rock ‘n’ roll.

The guitar-slinger’s current stint on the road is in promotion of his first solo album in nine years, the aptly titled, JIMMIE VAUGHAN PLAYS BLUES, BALLADS & FAVORITES; due out on July 6th, 2010. This latest studio effort pays tribute to the artists and songs that have inspired Vaughan and his music, making even the night’s “new” material feel familiar and wonderfully weathered.

With a little help from saxophonist Greg Piccalo and longtime Vaughan Brothers collaborator/singer Lou Anne Barton, The Tilt-A-Whirl Band and their fearless leader ran through personal hits, like “Extra Jimmies” and “Boom-Bapa-Boom” as well as semi-rare gems from artists that included Lonnie Brooks, Jimmy Reed, Buddy Guy, Johnny Ace, swing-king Bill Eckstine and 'The King' himself…Elvis Presley. The evening came to a close as Vaughan paid tribute to his legendary/late brother, with a touching solo rendition of “Six Strings Down” and a fierce (full band) encore of Stevie Ray’s classic, “Texas Flood”.

All in all, it was a very entertaining night of music and blues fans should make an effort to check out Jimmie Vaughan and The Tilt-A-Whirl Band as they embark on their world tour; promoting what promises to be a fun and nostalgic new album. Also worth mentioning, is the evening’s opening act; a beautifully raucous blues-rock trio from Kansas named Moreland & Arbuckle. They’re a small band with a huge sound and they’re latest album, FLOOD, is available now. Check them out.

Check out this video of Jimmie Vaughan, Eric Clapton and Robert Randolph performing "Six Strings Down". Please excuse all the crazy video effects, it's a great performance...so stick with it.

*If you enjoyed this article, you may also enjoy: Ten Foot Polecats

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out The Yardbirds live at B.B. King's Blues Club and Grill tomorrow night May 26th and check back here next Tuesday for an exclusive interview with the band!!!

Copyright © 2010 - J. Blake. All Rights Reserved
*Photos: Copyright © 2010 - Nelson G. Onofre. All Rights Reserved.

Renegade Creation CD Review - by J. Blake

(New York, NY)

When an album is released, featuring such extraordinary talent as Robben Ford, Jimmy Haslip and Gary Novak, it is perfectly reasonable to assume that ‘jazz-rock fusion’ will be on the menu, but when the presence of guitar virtuoso Michael Landau is added to the mix, music fans are treated to a heaping helping of expertly executed guitar-driven blues-rock…with a complimentary serving of ‘fusion’ on the side.

With RENEGADE CREATION, Ford and Landau split guitar/vocal responsibilities equally, each singing four of the album’s tracks, each contributing a jazz-infused instrumental to the song list, each bringing their distinct guitar-styles and musical sensibilities to the table and each seemingly checking their egos at the door. Though there is no shortage of guitar from either of these gifted players, the album never feels like a vehicle for senseless showboating. The chemistry between Ford and Landau is impeccable and it is never more evident than when they are squaring off on tracks like “God and Rock ‘N’ Roll” and “Who Do You Think You Are”. As they gently push one another to new levels of guitar greatness, they do so with poise and grace; never getting in each other’s way and never hogging the spotlight.

Vocally the two artists’ styles differ greatly. Ford delivers his four vocal tracks with passionate clarity, as Landau does so with a gritty Knopfler-esque swagger. This contrast from track to track keeps things fresh and interesting, in a way that a sole front-man can never achieve. Because Ford and Landau also split the bulk of the writing duties, the tracks that feature them on vocals are catered to their strengths and styles, providing the album with a diverse combination of flavors that manages to highlight each of their individual sensibilities, while never seeming out of place on the album as a whole.

In the wake of blues-rock releases from promising young talent like Joe Bonamassa and Jonny Lang, RENEGADE CREATION is an album that separates the men from the boys. Ford and Landau are exceptional talents that simply operate on a different plane than most other guitarists tackling the sub-genre. They, along with Haslip and Novak, have paid their dues with decades of experience backing the likes of James Taylor, Joni Mitchell, B.B. King, Ray Charles, Miles Davis, Chick Corea, Alan Holdsworth, Anita Baker and George Benson…to name a few. With RENEGADE CREATION the members of this “super-group” have returned to their bluesy roots, while staying true to their artistry. They’re taking blues-rock to new levels of sophistication, often shying away from typical/tired conventions and in the process, hopefully, paving the way for the entire sub-genre to move forward.

*If you enjoyed this article, you may also enjoy: An Interview With Robben Ford

Thanks and keep reading American Blues News!!!

NYC blues fans, Mick Taylor's show at B.B. King's Blues Club and Grill, originally scheduled for tomorrow (Wednesday May 5th), has been postponed. New date TBA.

Copyright © 2010 - J. Blake. All Rights Reserved