Rock Guitar Daily with Tony Conley

Al Di Meola World Sinfonia - Morocco Fantasia DVD - Sublime Beauty

2011-12-29T16:06:00.000-08:00

I couldn't ask for a better way to ring in 2012 than with a brilliant live performance DVD, beautifully shot in an exotic location, with two hours of brilliant guitar playing and musicianship. Al Di Meola's World Sinfonia Morocco Fantasia is stunning from beginning to end. Filmed by Italian filmmakers Francesco Cabras and Alberto Molinari (www.gangafilm.com) under the supervision of Claus Altvater, the film is as dazzling to watch as it is to hear, interspersing some incredible scenery in various settings throughout Rabat, Morocco. Still, the star of the show is Di Meola and his transcendent skills as a musician, band leader, and composer.

Altvater, president of the Songsurfer Corporation, emphasizes the importance of Al Di Meola as a composer of the highest order. "Most guitar and jazz enthusiasts recognize Al as one of the most influential guitarists this planet has ever produced, but his mastery of songwriting has often been overlooked."

This exceptional DVD should go a long way towards remedying this.

Al Di Meola took the world by surprise back in 1974 as a member of the jazz fusion supergroup Return To Forever. Armed with a Black Beauty Gibson Les Paul Custom, and a cranked Marshall amp, the 19 year old Berklee College of Music student set straight out of school and into perhaps the most powerful jazz rock band that ever graced a stage. Chick Corea's band had become louder, and more rock oriented as the keyboardist began incorporating synthesizers into his bold compositions, and bassist Stanley Clarke began to incorporate fuzz tones, flangers, and other effects to form a voice that made him a star in his own right. Di Meola brought his dizzyingly fast and stunningly syncopated chops to the fore, and the band became a very rare beast - a jazz band that collected gold records and sold out theaters.

Eventually, having three composers in the same band created a dearth of opportunity for the trio, and Corea chose to change the lineup after their successful Romantic Warrior album. Nothing like going out on top, I suppose. The age of fusion gold came to an end.

Di Meola has certainly never chose to rest on his laurels, or even slow down. His first solo release, Land of the Midnight Sun, was a huge success, and was soon followed by Elegant Gypsy, the album that has perhaps best presented the skills of the young Di Meola, including such classics as the acoustic masterpiece Mediterranean Sundance, and Race with Devil on Spanish Highway. This album won Guitar Player Magazine's Guitar Album of the Year for 1977. This is the jazz guitar album most often found in the collection of serious rock guitarists.

Then in 1980, Di Meola teamed with flamenco legend Paco De Lucia, and jazz master John McLaughlin to tour and record together, culminating in the classic Friday Night in San Francisco, the platinum album that is still the gold standard for live acoustic guitar performances.

Years of high intensity, high volume stage work had damaged Di Meola's hearing, and in lieu of further damage, and with perhaps a view towards the long term goal of developing as a composer, the guitarist turned to the acoustic guitar as his main instrument of choice, and set off to conquer the world music scene.

Here we are in 2012, and indeed, Al Di Meola has succeeded beyond any reasonable measure. Morocco Fantasia is perhaps his finest documented performance. All the hallmarks of his legendary style remain intact, and incendiary as ever. More impressive though, may be his superior skills as a composer and band leader.

World Sinfonia is a project that the guitarist first unveiled to the world in 1990, and has continued until today. If you have missed out on this fantastic trip, it is time to rectify that.

Morocco Fantasia begins with some nice shots of Di Meola and band making their way through the Bazarr in Rabat, Morocco, beautifully shot throughout the week leading up to the band's performance at the Mawazine Musique Festival.

Misterio, the DVD's opening track, is from the 2000 release, World Sinfonia III - The Grand Passion. Immediately apparent are the musician's intense levels of concentration as they listen and respond to the conversation between Di Meola's tango dance-step syncopation and accordionist Fausto Beccalorri's romantic narration. They are joined by some sensuously arrpegiated chords by second guitarist Peo Alfonsi that allows Di Meola to take a stunning flight of notes up the neck, and you experience the perfect marriage of gorgeous melodic fluidity and sheer shred. If you ever wondered why the guitarist avoided the world of hard rock, this may be a telling answer. He simply has more to say. Compositionally, every passage opens another avenue as the song opens up and the story unfolds. After the initial mystery has given way to mastery, and by the time Beccalorri starts singing, one gets the impression that this mission of mystique has turned into a joining; an understanding between lovers.

As the filmmakers take a scenic tour of the streets of Morocco that seems to fixate on closed doors and mystery, Di Meola kicks in the distortion that blends so beautifully the sound of his Conde Hermanos nylon string guitar and his Roland VG88's models of his classic fire breathing Les Paul/Marshall tones. It is apparent that Al suffers none for having the best of all possible worlds.

Poly-rhythmic masterpieces are the stock in trade of World Sinfonia, and Siberiana is a thrilling trip that began on a tour of Siberia, and ended on the streets of New York. Drummer Peter Kaszas leads the band using his drum sticks, his hands, cymbals, shakers, and an amazing sense of time. After Di Meola unleashes a fast and furious flurry of nylon notes, he turns and smiles broadly at the drummer. He is clearly enjoying this as much as anyone, and it shows. This number pushes and pulls in every conceivable direction, but in a manner that reveals that the guitarist has achieved great mastery as a composer - it segues effortlessly and glides smoothly through every increasingly intense section. Over the length of the guitarist's career, so much attention has been paid to the mind boggling chops and technical skills that many have missed his escalation to the pinnacle of musical composition. Mind you, his technical skills show no loss of fire, and display the best sense of time to every make its way onto a guitar.

Di Meola's admiration of Argentine tango master Astor Piazzolla is well known, and he tips his hat with one of Piazzolla's finest pieces, Double Concerto. Armed with his secret weapon - his rhythmically perfect foot tapping, Di Meola plays unaccompanied for several minutes. The guitarist is an uncompromising proponent of a constantly tapping foot, saying that without it, a guitarist's time will certainly falter, and if Al's efforts are any indication, look no further for proof.

This song is a beautiful journey, featuring incredibly emotional vocals courtesy of Beccalossi, and some of Di Meola's most lyrical playing. His lines always express an emotion and never sink to rote pattern play. The pair collaborate fabulously throughout the tune, with several improvised sections that show the two staring and listening intensely to one another. This will have you considering packing your bags, moving to Brazil, and taking up a life of dancing on the beach.

Written for his father, one child in a family of seventeen, Michaelangelo's 7th Son shows just how far Di Meola's compositional skills have come since I first saw him with Return To Forever on PBS's Sound Stage series almost 40 years ago.

This number sounds incredibly cinematic, a soundtrack looking for a film - if one can find a film as beautiful, or as romantic as we would like, or could imagine. The DVD's filmmakers, Francesco Cabras, and Alberto Molinari do a magnificent job of capturing the band, and also displaying a fine eye for the beauty and mystery of Rabat. This both sounds wonderful, and is a feast for the eyes - exotic and filled with gorgeous mystique. If this doesn't bring out the romantic in you, check your pulse.

Gumbi Ortiz has been a Di Meola band mate for twenty two years, and percussionist leads the way, and picks up the pace on the next number, Gumbiero. The interplay between band members is especially amazing on this piece. It lives, it breathes, it leaps, and it dances. Granted, this band plays incredibly well on every cut, but this stands out - and when Di Meola and Ortiz duet on the solo section, it becomes impossible for me to write, I must stop and dance. Bassist Victor Miranda moves things along with strength and subtly, providing a bottom end that provides the perfect blend of notes and rhythm. Sublimely beautiful.

Turqouise brings us back from the Mediterranean to a New York City vibe, a vibe that is reminiscent of perhaps a more sophisticated take on the lyrical loveliness that was Simon and Garfunkel back in the days of Scarborough Fare. The intro segues into an upbeat jaunt that sees Di Meola firing off salvos of notes that mix sheer fireworks with melodic passages that make you stop and listen again. The piece breaks down in the middle, and once again, it is fascinating to watch the band listen and look towards every note, every beat, and every slight change of tempo and rhythm. World Sinfonia, indeed.

Joined by a band of local Moroccan musicians, the untitled encore is hugely thrilling. Di Meola, Beccalossi, Ortiz, and Alfonsi are joined my oud master Said Chraibi, violinist extraordinaire Abdellah Meri, and the percolating percussion of Tarik Ben Ali. The improvisational abilities are unbelievable as the musicians weave a tapestry that draws you in, again and again. This is world music at its very best. It is as memorable as a pop single, as technically challenging as one could imagine, and adventurous as the terrain outside the theater. This selection alone is well worth the price of the DVD.

Finally, Di Meola cracks out his signature multi-colored flame top Paul Reed Smith, plugs it into his Mesa Boogie amplifier, and the band rips through an instant education in heavy metal fusion, the classic Egyptian Danza. A minute and a half in, bassist Miranda takes over, and slows things down, as Di Meola plays some sitar-ish lines that get your hips swaying, before upping the ante and unleashing a wonderful cacophany of rhythm and chops. What is amazing throughout the entirety of this disc is that it never gets boring, repetitive, and disinterest never surfaces. It is a tremendous testament to Di Meola's skill as a writer, his prodigious musical abilities, and his incredible band.

Morocco Fantasia shows Al Di Meola to be at the height of his skills as a composer, guitarist, and band leader. He has also never appeared to be happier onstage. He smiles throughout the performance and is obviously having the time of his life. This is a brilliant way to start off the new year, with a DVD that both highlights a tremendous career, and inspires new directions and possibilities.

This is one you will definitely want to own. It may be the guitarist's finest work since 1980's Friday Night In San Francisco. If this was the finest guitar recording of the year, I would not be disappointed, but it is only January 2nd. I think 2012 is going to be unbelievable.

Please don't skip the bonus features included on the DVD - they include band rehearsals, a romantic Di Meola roof solo, shots of the band at Bazarr, and other cool extras. They are all fantastic, a relative rarity - Di Meola and the film's makers obviously went the extra miles to make this memorable, and they succeeded in a grand manner.

Thanks to Al Di Meola, Clint Walker at MVD, and Inakustik Music.

Morocco Fantasia is available via pre-order now on Amazon and will be released on January 24, 2012 on Inakustik Music and Video.

The Ballad of Mott The Hoople - A Brilliant Documentary

2011-12-24T13:35:00.000-08:00

"Savage history always passes judgment in due course, and here we are in 2011, still studying Mott The Hoople."
Morrissey, from the liner notes of the new documentary, The Ballad of Mott The Hoople.

I tend to go into any rock documentary with hesitation, trepidation and suspicion. This would be because most generally, they tend to be shameful rip-offs perpetrated by hacks who could not give two shits about their subjects. This lack of desire was doubly strong as I unpackaged this new doc on Mott, created by two lads barely in their thirties, Chris Hall and Mike Kerry. The last thing I expected was to see the band I had perhaps revered more than any other for the last 35 years be treated with the proper respect, love and admiration, but this film does just that.

For a great many years, the legend of Mott has been handled somewhat roughly by the press, or by scurrilous profiteers willing to commit any piece of tape containing a Hoople or two to a full release claiming the Mott name. There are more shitty live Mott albums, and more hackneyed, near Mott releases than I care to name, or remember.

I will cheerfully admit to looking at Mott The Hoople as family, as something I owned a part of as a youth, given my unwavering love and devotion. The band exemplified the notion of a band as a gang perhaps better than any other in the pantheon of rock. There were nasty fights, and serious disagreements among the band, but that was amongst themselves - when attacked outwardly, they quickly closed ranks and became an impenetrable shield of loyalty and togetherness. Of course, eventually they became victims of a fame they valiantly struggled for, and were torn apart by being overworked, under appreciated, and used up by their handlers. But in between the beginning and the end, they came to personify for the band's legion of fans something bigger than just another group. They were an approachable version of rock's elite - they were superstars without the trappings, a bunch of loveable average Joe's from Hereford. Much like their fans, they came with born to lose tattoos, and two strikes against them.

They were claimed by the craziest AR man/producer to ever rise out of Great Britain, the inimitable Guy Stevens, who became the band's Svengali, and made Ian Hunter wake up and realize he had something to say.

"There are only two Phil Spectors, and I am one of them." Guy Stevens

The producer had as big a view of himself as he had of the bands he helped create while working for Island records. His skills were completely non-musical, his ability was in creating a sense of event, of getting into the artists brain and compelling them to deliver a performance the artist had inside of himself, but may not have known it - most often in ways that included violence, drinking, drugs, and outlandish behavior in the extreme.

The film captures this magnificently, and from interviews with his widow, the members of Mott, and other witnesses, you are never sure if they were in awe of his talents, or completely in fear of his lunacy. Some may be nonplussed by the amount of time and gravitas the film's makers give to Stevens, but according to every source (including the band), you would never of had Mott The Hoople without Mr. Stevens, he even gave the band their name:

"Mott The Hoople started in Wormwood Scrubs (a London prison). I was doing eight months for possession of drugs, and I read this book, Mott The Hoople, by Willard Manus. I wrote to my wife and said, "Keep the title secret," and she wrote back, "Are you joking? Mott The Hoople? That's ridiculous!" Guy Stevens' recollection of the discovery of a name for a band he would soon create.

Interviews are liberally sprinkled throughout the film and include such luminaries as Queen's Roger Taylor, Mick Jones of The Clash, and every member of Mott, save for the late Mick Ronson, and the reclusive Peter Overend Watts, who sadly chose to remain silent - a shame, especially given his spectacular performance at the band's2009 reunion shows, and that all the other members of the band give him much credit for being the band's backbone for many years. Watts always expressed tremendous bitterness over Mott's lack of financial success (not undeservedly so), and has stayed off the rock and roll playing field since the early '80s, so I imagine he has earned the right to remain silent.

Ariel Bender played lead guitar for Mott for only a year, but what a year it was, as the guitarist whose talents have been labelled, 'unhinged genius,' breathed life back into Mott at a time in which it was desperately needed, and without his wild stage performances, and even wilder guitar histrionics, there would simply be no reason for a Mott documentary. Leaving behind his given name (Luther Grosvenor), a name that saw him rise to fame and acclaim with Island recording artists Spooky Tooth, Bender at least partially commandeered the ship from Ian Hunter's more than capable hands, and proceeded to make Mott The Hoople the most amazing live rock band on the planet for an all too brief year.

Bender does the same for this film, as he brings great humor and energy to his reminiscences of his time in the band.

In fact, the entire band, Hunter included, seem on their best behavior here, content to let the thousand bygones to be found in Campbell Devine's biography, All The Young Dudes: Mott The Hoople and Ian Hunter, remain bygones. Hunter is on several occasions at odds with what the others say, but this is perhaps as much just his seeing something from a different angle than any factual disagreement - especially on the topic of Hunter's taking over the band as its creative center, a move that led Mick Ralphs out of The Hoople, and into Bad Company. Just a few years later, let's not forget that this role of creative helmsman also led to the dissolution of the partnership of Ralphs, and Bad Company vocalist Paul Rodgers. Someone has to be in charge, and in Mott it was Ian Hunter, who states in the film his opinion, that the fact that the band was a democracy is exactly what destroyed it in the end.

Organist Verden Allen was responsible for putting together the Mott reunion a few years ago, and his sense of regret at ever leaving the band (at the height of their success, with All The Young Dudes in the top twenty), is still palpable. His replacements, Morgan Fisher and Blue Weaver are also excellent in their respective segments.

Filmmakers Hall and Kerry have done an amazing job of presenting the story of Mott The Hoople in an extremely fair balance, and with great respect to the legend. They pace the film in a way which feels like the very rise and fall of a band that may never have seen huge success, but has remained on their fan's minds, and turntables for all these years.

For me, the best part of the film is the band's drummer, Buffin, born one Dale Griffin. His demeanor and words express perfectly what the fans have always known. He never wanted to be in any band except Mott The Hoople. For Buffin, the world of rock and roll began and ended with this bunch of ruffians from Hereford, who crossed the Atlantic and saw a few divides, but never quit being the band with maybe the most heart that ever sailed the world's seas. If you can watch Buffin's performance here without getting caught up in his emotions, you're a pretty cold son of a bitch.

The Ballad of Mott The Hoople is a tremendous film for any viewer, but if you're a fan, this is essential viewing that will bear repeated viewings. As a fan, I am thrilled that this documentary got made, and am even more thrilled that it is amongst the better rock docs I have ever viewed.

Joe Bonamassa - Musician of the Year 2011

2011-12-19T16:07:00.000-08:00

He stands before a sold out crowd, covered in perspiration and a big smile. He beams at the audience as they scream for another few moments. Finally, he raises his hand, and the clamor settles. He steps forward towards the microphone, and says, "As I stand here before you, one word comes to mind. That word is gratitude."

Joe Bonamassa takes another minute out of an already incredibly long day, and thanks the audience in an obviously sincere, and emotional way. He then lines up with his band, and they proceed to take another night's bows. Once again, Bonamassa has managed to please his fans, his band, and himself - no mean feat for an artist in this day, in this economy, and in this world. He's managed to do this more days than not this year, and his incredible talent, integrity, stamina, and love of what he does has made him my artist of the year for 2011.

It would be very easy to simply make a list of albums, bands, shows, and moments to explain my thoughts, but I would prefer to take a bigger picture view of why, in a year of some incredible performances and stories, Joe has ended up at the top.

I stopped by Joe's dressing room after the show to say hello, and thank him for another incredible performance. I walked into the room and was greeted by keyboardist, Rick Melick, and we briefly spoke and caught up a bit. Carmine Rojas walked across the room, and gave me his usual gregarious handshake, hug, and good vibes. Next, drummer Tal Bergman joined us, and Tal is as animated in person as he is behind his kit. The veteran stickman is a consummate showman who has absolutely raised the entire production a few notches with his talents and presence. I have said it before, but I don't know that I have ever seen a single change of personnel impact a band in such a positive manner, as has Bergman's joining the Bonamassa entourage. He is a joyful being, and his enthusiasm and excitement hit you like a wave. Everyone is still very up after another two hour plus show, and you can see, you can actually feel the love for what they do, and who they are as individuals. I am not sure if they are luckier to have Joe, or Joe is luckier to have them, but I've a feeling that both are getting a hell of a good deal.

Bonamassa is sitting on a couch, looking like he's lost another ten pounds since I had last seen him power rocking his way through Indianapolis back in June with his arena rock monster, Black Country Communion. He looks up and smiles, and manages to lift himself from his comfortable seat.

"Hey Tony, how are you doing?" He asks and warmly shakes my hand. As he pulls his hand back, he takes his right hand and tenderly rubs it across the fingers of his left hand.

"Man, I'm losing my third set of callouses of the year, and I've got another month of shows to go!" He says this with a smile that indicates that while he is genuinely excited about the shows, he is also feeling the strain of a year that has seen him tour three continents with two bands, and release three full albums - one solo record, Dust Bowl, the smash second album by Black Country Communion, and his amazing collaboration with Beth Hart, Don't Explain.

For all this activity, the guy looks fantastic. That's three full length records, several tours of Europe, and several tours of the states.

He explains the fatigue as he relaxes back onto the couch, "You have to understand, I do three shows a day, at least. I have the meet and greet with the fans, the show, and then another hour after the show with more fans (I immediately thought of sound check and ratcheted the tally up to four, but kept that to myself). This has been the most fantastic year yet."

I told him that this show (November 15 in Louisville, Kentucky) was the best performance I had witnessed this year, after seeing several solo shows, and a BCC concert. His playing was phenomenal, the band played better than ever, and incredibly his singing continues to grow in leaps and bounds every time I see the guy. Honestly, I have never seen an artist grow so much over the relatively short span of a year. Every time I saw him, he had upped the ante once again.

Joe just smiled. "Wow. Thank you. Thank you very much; it's energizing to hear that when I am obviously feeling a little wiped out. We're having a great time, and I think that comes across."

If you spend much time around this young guitarist, you get used to hearing thank yous, and other words of graciousness, and thoughtfulness. For a guy who has been on top of the world for a couple of years, the strain, stress, and acclaim have not managed to wear down the man's basic decency, and dignity. He is accommodating beyond belief. He shakes hands, he takes pictures, signs guitars, gives autographs and answers questions - often risking his health and well being in terrible weather to show his appreciation to his fans.

In a time that sees crowds shrinking, record sales plummeting and entourages shrinking, Joe Bonamassa, along with his partner and longtime manager Roy Weisman have continually bucked the trends, selling out bigger shows on every tour, selling records and merchandise in a sensible fashion, and growing the Bonamassa brand year after year, in a completely DIY fashion. The Harvard School of Business need look no further for the new model of success in the music biz.

Musically, the year seemed barely be able to fit Bonamassa's prodigious output, starting with his latest solo release, Dust Bowl. His eleventh full length CD, it rocks furiously, and features guest shots by John Hiatt, Vince Gill, and BCC mate Glenn Hughes, but cameos aside it is the quality of songwriting and singing that blew me away. Produced by Kevin Shirley, it sailed up the Amazon.com charts, and once again had the teaming throngs of Bonamassites screaming, "Best yet!"

June saw the release of Black Country Communion 2, the sophomore effort from the supergroup that was born in Hollywood, the brainchild of producer Shirley after seeing Joe and bassist/vocalist Glenn Hughes jam at The House of Blues in 2009. Joined by drummer Jason Bonham, and keyboardist Derek Sherinian, BCC has become perhaps the top classic rock band on the planet, with two superb albums and a live DVD in less than two years. The band played to sold out houses here in the States and in Europe, but left both continents drooling for more. How far this band can go is limited only by the time that Bonamassa and Hughes can dedicate to it. They amazed critics who thought the first record would be tough to beat, by absolutely topping it. This album may be the best album of either of the principle's careers. Certainly, Glenn Hughes (who wrote the lion's share of the record) has never made a more complete record, and speaking for myself, I actually prefer Bonamassa as a full on rocker, but I put that more on my tastes than any sort of empirical judgement.

On the heels of the record's release, the band hit the road for a brief warm up tour of America, here's what I said then:

"This was one of the best hard rock shows I have ever seen, and judging from the enthusiastic response from the packed house, I'm not alone in that opinion. The band still has three shows in the Eastern US before heading off to 25 shows in Europe, including that prestigious High Voltage Festival in London, England on July 24th. God bless Black Country Communion.

Live at last. I first wrote about Black Country Communion before a note had been recorded. I spoke with Glenn Hughes before a single note had been sung. I reviewed the first record first, and am now more convinced than ever that indeed BCC may well be the most exciting and important thing to happen to real rock music in the last twenty years."

Next up on the recording docket came, Don't Explain, a collaboration between the guitarist and Beth Hart. Recorded in just four days, it may well be the best soul/R&B record of the last few decades. It suffers none of the traditional two hits and a bunch of filler that always haunted albums by most soul acts, and sounds incredible from start to finish. It came from humble beginnings. In early 2010, the guitarist caught a Beth Hart show in London. "It was killer," says Bonamassa - and suggested they do a project together.

Joe continues, "I was up late one night, I couldn't sleep. I was playing songs on my iPod from the reissue of The Rolling Stones' Get Yer Ya-Ya's Out, which included all the opening acts from that Stones show," he recalls. "As soon as the Ike & Tina Turner tracks came on, I just said out loud, 'Beth Hart.' I emailed Kevin, saying, 'Let's do a soul covers record with Beth,' and he replied back, 'Actually, that's a great idea.'"

Thankfully the creative team of producer Shirley, Hart, and Bonamassa selected a set of standards, but avoided the obvious maneuver of choosing lowest common denominator super hits, and went with mostly deep catalog classics by stalwarts such as Etta James, Aretha Franklin, Tom Waits, Billie Holiday, Bill Withers, and Melody Gardot. The record speaks for itself, and there is a follow up coming next year, yet another tightly scheduled season.

Countless solo shows, several tours with his supergroup friends, three albums that are as good, or better than anything released this year in their respective genres, and there you have it. To my way of thinking, any one of the three Joe Bonamassas we have on exhibit here could have contended for musician of the year, but this cat knocks off a hat trick, all the while being one of the nicest, classiest, and regular guys on the planet.

2011 has been a great year for music. Great artists like Leslie West, Glenn Hughes, Nils Lofgren, Jeff Beck - they have all done work that may be the apex of their grand careers, but Joe Bonamassa may have trumped the deck this time.

Much thanks to Joe Bonamassa, Roy Weisman, Warren Cracknell, Colin Moody, Rachel Iverson, Brett Diaz, Glenn Hughes, Carmine Rojas, Tal Bergman, Rick Melick, Jason Bonham, Derek Sherinian, Peter Noble, and, of course, Libby Sokolowski, who brought me into the Bonamassa realm!

Very special thanks to Warren Cracknell, Joe's tour manager and sound engineer - pictured here with Libby Sokolowski!

Nils Lofgren - In Conversation

2011-11-21T07:31:00.001-08:00

Nils Lofgrens' latest solo record, Old School came out in November, and I called it maybe the best album I had heard in a year of great releases. In a year that has seen classic rock artists such as Leslie West, Glenn Hughes, and many others put out work that matched or even eclipsed their past glories, this is no faint praise. Old School is imbued with great songwriting, singing, and of course, heaps of tasty, brilliant guitar playing.

When the opportunity to speak with Lofgren came up, I was excited to hear his thoughts on the record - what I wasn't prepared for was being so impressed with the artist as a person. Not that I really should have been shocked - you don't get to work beside the best writers, and musicians of your day without having not only great musical skills, but also exceptional social skills. This interview turned out a bit different for me. Instead of being my usual semi-over chatty self, I was more than happy to allow Lofgren to speak with free reign, and I attempted to let his comments lead me to my subsequent questions. It was only when I listened back over our chat that it became apparent that I had followed the correct path. Nils Lofgren is a huge talent, but he has managed to remain humble. His 43 years on the road with the biggest names in rock, and as a leader of his many solo endeavors has made him a truly wise sage. He wouldn't use those words, but I feel perfectly free to do so. As I listened back to my recording of the interview, I realized that as I listened, I had learned, and for the I am always grateful.

I'll keep my editorial comments to a relative minimum, and let Lofgren's words elegantly speak for themselves.

RGD: Nils, congratulations on the new record. I've spent a lot of time with it, and it is one of my favorite releases of 2011.

Lofgren: Oh, thanks so much, Tony. I really worked very hard on it. I took my time, and felt like I really did something I could feel good about!

RGD: I had read some reviews before I heard the record, and it seemed that many were focusing on your angst, anger, and concerns over the state of the world, and your personal issues (Nils had both hips replaced several years ago, and had suffered through the deaths of close friends and bandmates Danny Federici and Clarence Clemons). However when I heard the record, I was most taken, not so much by any sense of vitriol, but rather a lot of resilience and hope, both in the writing and your voice. Was this your intention?

Lofgren: Yeah, I think that's very accurate. I just wanted it to be a very emotional journey through all the things that I was feeling at 60 years old. So I've got a little wisdom, a surprising amount of fear, anger, and concern about my planet and what's around me, but a lot of hope about the human spirit. I just wanted to write honestly about all of it. I'm very grateful to be in good shape - after two great tours with E-Street to come home, and I was excited to jump into my next batch of songs. I really feel good about how it came out.

RGD: The record has a great sound, very sonically satisfying and cohesive. How long did you spend writing, recording and mixing it?

Lofgren: Man, I chipped away at it for over a year, but it wasn't until the last four months that I really started getting into the twelve hour days - the focused tunnel vision, to get it done. Part of the record, the theme of it, is that I've been on the road for 43 years, and I do leave home too much. My family understands, but it does get harder as you get older, so I'm finding a balance between touring, keeping sharp musically, and just working - staying at home, and helping my wife, Amy, with our six dogs, and being in the studio, but with the doors open. I always told her, like, 'Look, it's not like don't bother me, I'm busy being creative.' It's like, 'Bother me! I'm home, I'm here to help. If a dog needs to go to the vet, interrupt me - I can turn the machines off, it's not a public studio, it's my own homegrown room.' So, I could just do whatever needed to be done, I can run errands, I can go out with my wife. If I felt like turning the machines back on and working a couple of hours, I could just pick up where I had left off.

It was a very balanced purity making this record. I wanted to keep it emotional, so I set out to not even try recording anything until I could sing and play every song as a performance piece, not a work in progress to be crafted later. As a result, I got a lot of live vocals - 10 of the 12 vocals are live in the studio with the main guitar. It was a lot more fun to fill in the blanks and produce around it when I felt like I had a really good performance as the core.

RGD: Historically, your reputation has been as a tremendous live performer, and as a remarkable guitarist, yet it is a subtle album in terms of guitar histrionics - there are lots of amazing and tasty licks, but they never intrude on the songs, or your vocal performances. Is this a result of having worked with so many great artists and songs?

Lofgren: Well, thank you. As grateful as I am for my reputation as a guitarist and instrumentalist, I feel like I originally fell in love with music through The Beatles, The Stones, and songs. I still feel that I am a song player first, rather than a lick player. When I play music, I listen to the song and it kind of helps me to stay out of the way of the singer, and what's being said. There's always plenty of room to get to get licks in, but I think that is my main attribute, as opposed to being an instrumentalist looking to embellish the singer/songwriter - I'm a singer/songwriter playing an instrument.

RGD: You've said that Dylan, Neil Young, and Bruce Springsteen are your favorite songwriters. What have you been able to take from each of them?

Lofgren: Well, it began back in the '60s, really before I had heard those guys. I was listening to the whole explosion of the sixties - The Beatles, Stones, Hendrix, the British Invasion, Motown, Stax/Volt, Holland, Dozier, and Holland, going back even to Burt Bacharach, all those great songs and songwriters, show songs even. My mom and dad danced and played big band show music as I was growing up. I studied and played classical accordion for ten years, and entered contests and competitions. I studied accordionists, and the best instrumental and classical pieces ever written - I got really inside of them as a musician, so I had a great background.

At this point, you want to do something that is authentic for yourself, but just the act of listening to the great songwriters in history, and certainly working in bands with Neil Young - doing records, crafting shows, and then performing them in front of people. Just by osmosis you get a very inside look at how a great writer presents his song. A lot of times, along the way, dealing with Bruce - he might have a song in progress, and you get to watch that from an inside track. But, it's no longer a thing of emulating or imitating. That's all gotten to be a part of my experience and inspiration, and just as a natural thing you look for stuff you like to go by, and you grab on to something you can be proud of.

RGD: Let's talk about a song on Old School, that you must be proud of, Dream Big. How did this one develop? The arrangement is brilliant, utilizing electronic sounding beats, a harp, strings that bring to mind Philadelphia soul via Gamble and Huff, and the mantra, "dream big, work hard, stay humble."

Lofgren: Yeah, thanks. That's an unusual piece! It all started when my wife, Amy, got me a harp - a lever harp, for Christmas two years ago. I was just picking out some early stuff on it, trying to find my way around a few simple licks, and you lean it against your shoulder and you play the harp with two hands. I was standing in our guest room, watching NFL football, and it just stands there, so I started picking it backwards - just plucking out notes, and I came up with that little riff. It's a very dark and haunting riff, and I just noodled in my brain, 'you gotta dance a lot....sing a lot,' you know, work hard, be humble. It developed into a song, and then it got a bit more ominous in the sense that, from my perspective it's not extracurricular anymore - I need to keep dreaming big, and try to find a way to stay humble and work hard. Even if you're crippled, dance in your head, dance in your heart, find a way to feel like you are still growing and learning. Otherwise, at 60, I'd be screwed. This was just a somewhat ominous presentation of these themes.

When you get older and you're an adult, you keep looking at the childish things, and they can really hurt or kill you - but child-like things, things that are joyous, that don't hurt anybody, and on the contrary engage people of any age are beautiful. To keep your head and heart open for experiences - especially as you get older.

RGD: Let's stay with the theme of aging. Since your hip replacements, are you able to still enjoy a little basketball?

Lofgren: I can go out and shoot around, and play horse, I just have to accept that I can't play the violent three on three games that I used to play. My new hips just can't handle that. I mistakenly thought that when I got my new hips that I had ordered the ones with Flubber, and that I'd be able to leap and fly, and dunk, and be good to go, but the doctor told me that the trampoline has to stay in the closet - no more flips off of drum risers, and I can't play basketball like I used to, unless I wanted to be a cripple. I was hobbling around for years with the pain, so I'm going to take good care of them. I'm jumping around and dancing onstage, I just can't do the violent impacts that I used to do - but, yeah, I can shoot around and re-live the glory days as I look for new and less harmful ways to use my new hips.

Actually, this new song, Dream Big, that we were just talking about, I'm playing harp with my right hand, I'm tap dancing - the percussion you hear is me tap dancing through a gated reverb and an octave divider. It's a very unusual piece that I do live - then I pick up the guitar, play a solo, and then I go back to the harp. There's a lot of stuff going on there - it's all along the lines of dreaming big, Tony.

(In an unintentional demonstration of his abilities as a multi-tasker, Nils sent me a link to the excellent Youtube video of the song, shot by Rose A. Montana at a Lofgren solo show in New Jersey back in October, as he gave his commentary on the song. I was not surprised, but I was impressed. He's one graceful cat.)

RGD: Speaking of plucking out notes, Nils, could you tell me how you developed your unique right hand technique of playing guitar, in which you utilize a thumb pick, fingerpicking, and touch/tap harmonics?

Lofgren: Sure. When I picked up the guitar as a hobby, my brother started showing me chords, and then I took a few lessons from some great local musicians. One in particular, Bill Singer, had me learn a piece by Chet Atkins, doing The Beatles song, Can't Buy Me Love. It was months of hard work, learning to play a bassline that was static and never changing ( he hums the part to demonstrate), and while that doesn't alter rhythmically - it just moved through the chords, the different bass notes, and to pick the melody up on the higher strings, it was very difficult. One of the hardest things I ever did, and once I got to the end of the piece, I had a whole new key to the kingdom of fingerpicking that I still use to this day! To kind of keep some low grooves going while I do different rhythms with the higher notes - and to this day it is a huge part of my technique. I picked up a thumb pick one day out of a guitar case, and I didn't know any better, so I got the hang of the thumbpick down. My local players said I had to play rock and roll with a flat pick - I said, 'Look, I can't stand stinking up the joint for ten more months with a new pick, I'm gonna stay with the thumbpick. It's really more of a country thing, but I've applied it to rock and roll and harmonics, and just found a style that worked for me.

RGD: Last night, as I was doing some prep for this interview, I stumbled upon an old video clip of you jamming with Roy Buchanan, and as I watched, I noticed Roy was watching you play, and he was just smiling away. He seemed fascinated by your technique.

Lofgren: Well, I have a different perspective on that from some people, Tony. I think Roy, knowing he was my hero, realized that he had invited a 19 year old guitar player on to the stage who was so excited and over-amped that he couldn't shut up. All I did was to play hard and fast, and I was just too immature to even think, and too nervous to think, 'Oh, why don't you shut up, and let Roy play something.' Finally, near the end, I think you can see Roy just smiling at me, realizing that I don't have any maturity, and he just starts de-tuning his guitar like a sound effect - 'Well, there's no room for my licks, so let me just make some noise to accompany him, since I've only been playing rhythm.' That was a great honor, but when I watch that I just cringe, because I was just like, 'Man, you're just too young and stupid to shut up and to trade licks with Roy,' and I have to accept that. Yeah, that's right. I still do stupid things, hopefully less than I did back then, but it was still a great honor to be asked to participate with one of my heroes.

RGD: Going back to the new record, let's continue on the theme of maturity. 60 Is The New 18 is one of my favorite tunes on the record, but it sounds to me as if you're playing the role of commentator more than as the subject of the song, who seems to be having a rough go of things, am I correct?

Lofgren: I'm surprised at 60, how much hope and naivete I've still retained to survive, and that's mixed with some angst, fear, and anxiety about my planet. There's this vision when you're a child that when somebody makes it to 60, they're in a recliner watching TV, the kids are bringing the soup and drinks, and you are this revered character, when in fact, you're like a Rodney Dangerfield, and nobody gives a shit! You have to have a sense of humor about it, but the character in the song is, of course, having a much rougher time with it than I am. I took the liberty of expressing this for people that are struggling with an older age. The thing is, there's a lot of wisdom, but there's also a lot of fear and anxiety that comes with it, and you have to work really hard to temper it all - the guy in the song is not doing such a good job of it at the moment.

RGD: Another poignant moment on the record is the song, I Miss You Ray - dedicated to Ray Charles, but it also has become a tribute to your friend and bandmate Clarence Clemons. You've been including mention of the big man in the lyrics at your recent solo shows. Had you written this tune before, or after the death of Mr. Clemons?

Lofgren: That was written months before Clarence passed, and again, in keeping with some passionate topics. Ray Charles was one of my heroes, and it was a rough loss a couple of years back, so I used it as a metaphor for that. If you stick around long enough, you start having to say goodbye to family and friends, and it's really tough. You have to realize, and I hope that some of us have family and friends left, that life can be grand, but you really have to once again temper the two. I used the loss of Ray as a metaphor for that, and certainly the great loss of losing my friend Clarence - I've been singing, 'I miss you, C,' in my live shows and unfortunately it's a very appropriate song in which to tailor the lyrics that way.

RGD: Old School features performances by three of the greatest vocalists in history, Sam Moore of Sam and Dave, Lou Gramm (ex-Foreigner), and Paul Rodgers. You still sing the lead on the songs, but they contribute tremendously. How did you go about arranging their parts, and putting the songs on which they sang together?

Lofgren: Sam Moore and I, we sang together here in the studio in Arizona, which was one of the highlights of my performing career as a singer. Paul and Lou did their own tracks, and I was so honored that they were game to do it. What I did was just send them the music - I sent them some ideas and encouraged them to come up with anything they would hear that would be different than my ideas. I can't sing like either one of them, so fortunately, they did just that. They took some of the groundwork of what I may have initially heard - coming and going, they came up with their own ideas in addition to mine, they crafted parts they were comfortable with, and the end result, to me, was just beautiful. I was thrilled and honored to have the help of three great singers like that, and they are good friends - they were very open to helping me, and I could call them up directly and ask for their help with my project. It really speaks volumes about the classy people they are, and they are three of the greatest singers of all time. It even surprised me when I got the tracks back, but that's what you want, isn't it?

RGD: That is so cool. So, with the record now out, what does 2012 hold in store for you, Nils? More shows to promote the album? (This interview was conducted before today's announcement of shows this summer by Bruce Springsteen & The E Street Band)

Lofgren: Greg Varlotta and I have two dates booked in February, on the 18th and 19th at The Birchmere Theater in Alexandria, Virginia. In the next few weeks I'll see about booking some more work - we'll get out next year and do our own shows wherever we can, and try to spread the word about my new record and keep playing.

RGD: Nils, it's a great record, and I'll do what I can to help you spread the word - thanks for making such a wonderful album.

Lofgren: Hey, thank you so much, man. I'm really very thrilled that you feel that way - I'm proud of the record, so it's heartening to hear that. It's great when what you're trying to do gets through. I appreciate your letting people know about it, because that's what I'll be doing for the next year!

RGD: Hey Nils, just one more thing before I let you go. What with you being right there in Scottsdale, why on Earth has Fender not yet done a Nils Lofgren signature Stratocaster?

Lofgren: You know what? They are always so very helpful. The Fender plant is just up the road from me, and they are all really, really nice guys, but that's a lot of bureaucracy and politics, and I'm not here to twist anyone's arm! If they want me to do it, I'd be happy to, but I'm not into....I'm into writing the next song and figuring out my next gig, but I would do that when they felt it was appropriate. All right, man, thanks a lot, and take care, Tony.

Nils Lofgren - dreaming big, working hard, and staying humble....

Much thanks to Nils and Jeff Allbright at The Allbright Entertainment Group.

Layla Zoe - Sleep Little Girl - Five Big Stars

2011-11-08T18:03:00.000-08:00

I spent a few minutes trying to give this piece a clever title. I kicked around Whole Lotta Layla, then I considered The Autobiography of a Blues Singer, but then I decided to get the hell out of the way, and let the record speak for itself.

Sleep Little Girl is a firestorm of a record - the sixth solo release by the self-titled firegirl, and one that will greatly increase the Canadian singer's already international fanbase. Zoe is joined by German blues guitarist Henrik Freischlader, who not only composed all the music, but also played almost all of the instruments, save for the song Let's Get Crazy, which has bass and organ supplied by Moritz Fuhrhop.

I'd been listening to this record almost constantly for two days, and being very impressed by the cohesion of the band, the first question I asked Layla was who was in the band. I about fell out of my seat when she told me that Freischlader has played them all himself. The man is amazing - from the slinky groove of Give It To Me, to the high octane Zep-a-like stomper Rock and Roll Guitar Man, Henrik is world class on every instrument, and you would never know it was a one man show were you not told.

It is to Layla Zoe's everlasting credit that Henrik's performance is not the album's strongest point, for as brilliant as the one man band may be, it's clearly the sultry songstress's album. Everything I've ever read about her included the inevitable comparisons to Janis Joplin, and while that's rather obvious, she is a serious student of music of all types, and her stylings far surpass any sense of mere imitation. I asked about influences, and as I had imagined, she gave me a very impressive list.

"I'm really a guitar girl!" she laughed, "I listen mostly to artists like Roy Buchanan, Frank Zappa, and Peter Green, but I'm quite sure that Billie Holiday, Tom Waits, Van Morrison, Susan Tedeschi, Etta James, Muddy Waters, Eva Cassidy, and Joni Mitchell all had an influence on my vocal stylings."

Sleep Little Girl is full of autobiographical musings. Zoe wears her heart firmly on her sleeve, and you can tell by listening that she doesn't have to look far for inspiration. She reaches deep, and tells deep truths. She doesn't spare herself, or her audience - this is the blues, and this is how they were meant to be sung.

Layla said, "Pretty much all of this album comes from personal experiences - my observations on current and past experiences. Sleep Little Girl is a lullaby to myself, as I suffer from mild to extreme insomnia on the road sometimes. Singing My Blues - a true belief that I will be sing the blues until the day i die. Black Oil is about my true belief that the world was coming to an end during the news coverage of the BP oil spill in the Gulf Coast. Rock and Roll Guitar Man, well, that's about a guitar player I fell in love with, and so on and so forth..."

Zoe may be the consummate blues singer, but there's a huge dose of rock and roll strewn across this platter, and her melodic abilities and expressive phrasing imply that there was a healthy dose of Robert Plant next to her turntable somewhere down the road. Freischlader's tunes are seldom twelve bar basics - he's a sophisticated composer who covers an amazing amount of stylistic territory, yet manages to keep it between the ditches, and the album never sounds anything but cohesive.

Zoe described the process of their collaboration as such: "I had written many lyrics and poems, as I write often. Henrik gave me demos of a bunch of music he had written. I took the songs I liked from the demos, added melodies with my voice, and out of my words to the songs I thought best suited the lyrics. It was a very organic thing - it was not thought out. It just happened that these were my favorite pieces of music he had written, and my words seemed to fit perfectly! We both had a part in the sound and the feel of the record. Working with him was so natural, it really felt as if it were meant to be."

That it does, indeed. In fact, so much so that her saying that this collaboration was meant to be almost seems an understatement. The music is married to the words in a way you seldom see, as if the moods of the melodies somehow existed only to serve these songs. It sounds like a band that has been working together for years, not like a paste up Pro Tools job. Made with love by a couple of pros at the tops of their games.

I've Been Down is a thick slice of proto-metallic/blues the likes of which Beck and Page were producing in the late 60s. As muscular as Freischlader's backing track is, it's Zoe who nails you up against the wall with a wail that harkens the very gods of blues rock. An auspicious beginning, which primes the pump and revs up the record. For a fellow known primarily as a lava hot guitarist, Henrik Freischlader's bass playing is as good as anyone you'd care to hear.

Straight away from the heavy rock onslaught of the opener, Give It To Me brings a fancy, funky strut that features fatback drums, skronky wah'd guitars, and a rubber band bass line that makes dancing an impossibility. This is as sexy as a song can get - Layla Zoe makes no bones about the mission she's on - she's not begging for it, she's demanding it. And most likely getting it. Her vocal power will knock you out of your seat.

Shimmering tremolo guitars against a very loose, open rhythm track makes Singing My Blues sound like it was constructed for a David Lynch soundtrack - very atmospheric and heady. Zoe's phrasing is sophisticated as the track, and when she goes for the low notes, you will swoon right along with her. Freischlader's guitar solo is a textural playground that suggests there's little in the lexicon that he's not absorbed. A primer for any want to be soul singing sister, this is a proud proclamation of Layla Zoe's mission statement.

Let's Get Crazy is the closest the record comes to the heart of the blues, as Henrik is joined by Moritz Fuhrhop, who plays some soulful Hammond organ and some nice walking bass. Zoe's vocal acrobatics save this one from being a bit predictable, and she delivers a sizzling performance.

I'm guessing that if you stripped Layla Zoe's incredible vocals off of these tunes, you'd still have a helluva record, and you may even get the gist of the titles without the words. Black Oil is another cinematic trip down soundtrack lane, as the chanteuse solemnly sings her hymn of pain, and black rain that is sure to follow the tragedy of the BP oil spill. This song speaks to one specific situation, but also covers the ground of a multitude of sins perpetrated against Mother Earth by ruthless profiteers. Henrik Freischlader milks this tune for every drop of emotion he can muster - it lasts over nine minutes, and you're still sorry to hear it end. If this song had come out in 1971 instead of 2011, the Layla Zoe would be the name of a jet airliner.

Another Bonham-esque piece of drumming rings in Pull Yourself Together, and yet as big and blustery as the arrangement is, it's still Zoe who commands the ship from the bridge. As a guitarist, the German six stringer is incendiary - pulling every bend, slur, and run he has in his vocabulary out on this one. His solo is a blinder, and it's very clear that Layla gave him full reign to ride - I hear a lot of blues band leaders keeping their sidemen on leashes, and it's a thrill to hear when someone is given license to strut his stuff.

I Hope She Loves You Like I Do would have been a huge soul single in the late 60s, and while it offers no surprises, it does exactly what it is supposed to do, and the performances keep it from bogging down in familiarity. My least favorite song on the album, but it's still damned good.

A modulating bass line and some shimmering, chorused guitars gently introduce Hippy Chick, and Zoe is at her autobiographical best as she lays out her mantras of freedom. The blues always wears a little psychedelia well, and this waves its freak flag high, and proud. This makes me miss Free, back when Paul Rodgers and Andy Fraser were still seeing eye to eye, and Rodgers was not yet seeking bad company. Feisty redhead? Yeah, Zoe describes herself better than we ever could - she knows herself and has no shyness, hesitation, or compunction about spelling it out.

Rock and Roll Guitar Man delivers the big rock in spades, as super saturated pentatonic guitar licks, a loping bass line, laid back beat, and a singer barely tethered to this planet take this one to the time of Led Zeppelin's first tours of America. Zoe and Freischlader joust from beginning to end, as each seems able to take it as high as it needs to go. This one will have audiences going wild this month as the pair cross Germany on their Fall tour. This is great rock and roll, and boy do we need it.

After the extreme onslaught of Rock and Roll Guitar Man, it's time to relax and ride this record off to the stables, and Zoe does it with a proper lullaby. The album's title song is a gentle good night - Layla can purr as well as she can roar, and accompanied by only an Appalachian acoustic guitar track, she brings us down gently, and bids us good night.

Sleep Little Girl is one of the finest rock and roll records I've heard all year - it's also one of the finest blues records I've heard this year. No matter how you slice it, it is the best record Layla Zoe has yet delivered, and if it doesn't make her a big star, well then, there's little right in the world. I asked her how she felt about the record, and her plans for 2012.

She said, "I plan to keep gigging, and promoting the heck out of Sleep Little Girl, as I personally feel it is the best thing I've ever done. I'm very excited to share it with as many music lovers as possible. I hope to get over to America at some point, and I believe I will. The US is hard to cross into for musicians, with the border and the small money to be made in clubs if you're name is unknown. I'm just waiting for the right time and opportunity. Until then, I'm mostly focused on Canada, and parts of Europe. Someone contacted me online for a German gig in 2009. I have been there ever since - they have a great blues scene, and they really appreciate what I am doing. I met Henrik at that first gig in 2009, he was hired to be my back up band. The rest is history.

"I was struggling so much to survive when I was sixteen years old. I don't think I would have believed then that I would be here now. I would not have believed it"

I'd like to thank Layla for answering my questions before heading out for a month long tour of Germany - she is a trooper.

Nils Lofgren - Old School

2011-11-01T09:28:00.000-07:00

"Dream big, work hard, stay humble." Nils Lofgren.

As I peruse the public relations blurbs, and early reviews, I'm reading a lot about Nils Lofgren's new release, Old School, and while everyone is talking edgy anger, and vitriol, I don't see it. What I do see is a consummate song stylist who is looking at a couple of rough years and singing some world weary tunes in a very hopeful voice. Lofgren is in great voice, his guitar playing is as jaw droppingly brilliant as ever, but it's his songwriting that has drawn me deeply into this record. This is a great record that will stay in your head through many listenings. It hasn't been off my screen for a week, and it's still growing on me.

Lofgren is coming through a difficult double hip replacement just three years ago, and the deaths of longtime E Street Band members, Clarence Clemons, and Danny Federici. He's also had enough time off of the road to take a long look at the tough shape our country is in. He may be reflective, and at times edgy, but as I listen to this disc, I hear tremendous resilience and hope in his voice and in his melodies.

Conceived and recorded in his home studio, this record sounds great and I was surprised to hear that Lofgren recorded it mostly live, without a lot of overdubs or layering. Years of live performance have honed the singer/guitarist's skills. The guitar work on Old School is nothing short of brilliant - he somehow manages to fill every nook and cranny with lyrical, and tasty forays that never sound forced, or self indulgent. It's no small wonder that Neil Young and Bruce Springsteen have kept Lofgren employed for over forty years.

Lofgren kicks it off with the title tune, and Old School is a great way to start - Lofgren's state of the union message. Greasy, slip sliding guitars strut from front to back, and some killer horns keep things moving as Lofgren is joined by ex-Foreigner frontman Lou Gramm on the first chorus and the remainder of the song. Lofgren proclaims, "Oh no, ain't no old school anymore," but I beg to differ. This is very old school, and it flat out rocks - it reminds me of the days when Aerosmith still had their groove.

60 Is The New 18 sees Lofgren waxing on the inelegance of growing old without grace. I suspect that Nils is telling this tale as a wry observer more than anything autobiographical here. Sonically, this sounds like a lo-fi dub take on the 80s school of intelligent and melodic guitar pop as practiced by The Police, or The Fixx. This should have a whole generation of indie rockers realizing that homegrown, handmade records needn't sound that way. Lofgren and his band sound like they spent ages working up these arrangements, but they are mostly live basic tracks, some guitar overdubs, and a few vocal fixes. The instrumental breakdown sounds like the love child of Andy Summers, and Billy Gibbons - it will have you scratching your head, and wondering where such brilliance can be bought.

Paying tribute to the voice of Ray Charles, I Miss You, Ray is a song that you know is a classic the minute you hear the first notes (think James Taylor's Fire and Rain). Nils Lofgren's guitar playing is as tremendously identifiable as ever - his touch and tone are sublime, whether he is playing electric, or as on this tune, acoustic. The rolling, laconic notes remind me of many Paul McCartney classics, as the moment you hear them, their intent and meaning are abundantly clear. As a vocalist, Lofgren is in fantastic form - his smoky resonance is endearing, as if a friend was singing to you in your living room.

It turns out that during all those years of incendiary guitar solos, and trampoline flips, Lofgren was listening very closely to the wordplay of his notably poetic ex-employers. Throughout this entire record, Lofgren assumes the position of wise bard, writing lyrics that are heart felt and compelling. Love Stumbles On is a look back over a life of broken dreams and hearts, yet love soldiers on bravely, and one never gets the notion that Lofgren is anything but hopeful.

Amy Joan Blues kicks the energy up a notch - it's a cajun-esque romp that features one of the greatest voices to ever grace rock and roll, Paul Rodgers. Throwing lines casually back and forth, Lofgren and Rodgers sound like they've been singing together all their lives - a couple of old pros just doing what they do. Lofgren plays some amazing slide guitar from beginning to end and never seems to repeat the same lick twice.This is a somewhat standard piece of roots rock that is tremendously elevated by some superb performances.

Nils has been featuring Irish Angel in his solo shows for years, and has now recorded what will be the definitive version of the Bruce McCabe written ballad. Maybe one of the best ballads you've never heard, it's a tearjerker that has Lofgren lamenting that he'll have two drinks, one to forget, and one to remember his Irish angel. Beautifully played and sang, this one will stay on your mind long after listening.

Rock and roll Hall of Fame inductee Sam Moore (Sam and Dave) joins Lofgren on the autobiographical Ain't Too Many of Us Left. This makes me wish that somewhere along the line the six stringer had served as musical director for Bob Dylan. A very deceptive, and Stonesy rhythm sounds simple until you listen close and hear the interplay going on between the band on this cut. Yeah, they're old school as hell, and razor sharp, as Lofgren bemoans too much B-ball, too many flips, and artificial hips, all the while noting along with Moore that there ain't too many of us left.

If I had to pick one word to describe this album, I'd say that that word would have to be soulful. When Lofgren sings, "you were mine, when you were mine," it evokes memories of country ballads, haunting loss, and graceful resignation. Words sung by a less skilled vocalist could sound trite, but when Nils sings them you don't doubt that they are straight from the heart. This is another song that has a subtly beautiful arrangement with some nice synth pads, and Lofgren's beautiful acoustic guitar fills.

It takes Lofgren nine songs to finally uncork one that will have you saying, oh yeah, he has played with Springsteen for a quarter of a century. Straight Jersey shore rock with an upfront organ and a loping guitar line, Just Because You Love Me is a heartfelt paean from a man to his wife. This is a cut that lets you far enough into the artist's world to know that the hope he conveys in his voice is well placed.

Dream Big unfolds against sample laden electronic rhythms, and some sweet Philadelphia soul strings that keep getting cooler, and cooler as Lofgren lays down an impassioned rap that contains the most important message I've heard in a song for a very long time. This is street music circa 2011. With lines like, "love like a work of art," this song is an instruction manual on how one must live in perilous times. The angst comes flying out when Nils straps on his '61 Strat and knocks down walls with a stunning solo that is half emotional outburst and half technical wizardry - Lofgren's style is completely unique. His sound is tailor made and handcrafted.

Another heart on his sleeve ballad follows, with Let Her Get Away. It tells the tale of a man who just can't find the way to let go of a lost love. Lofgren's gentle, wispy acoustic guitar is the perfect accompaniment for the song, as Nils describes what dooms him to lose all love subsequent to losing the one he let get away. A beautiful prayer of contemplative resignation.

After evoking the spirit of Neil Young with a tasty bit of guitar squawk in the intro of Why Me, Lofgren is again examining his psyche as he wonders if there is "any hope in my catastrophe." I'm guessing that anyone who gives this a listen will be able to relate to this on many levels. Incredibly personal, but also universal, Nils's lyrics sing to and for every man.

Nils Lofgren's legend is based on guitar histrionics, vaulting into somersaults off of drum risers, being a dependable sideman, and occasional solo artist. Old School may be his most well realized solo foray, and is a marvelous album for our times, as well as his - the pains and woes he sings of are those of all of us in these turbulent times, but it is his sense of hope and perseverance that has kept me listening to this record repeatedly, and digging it more with each subsequent listening.

Old School is one of the finest records I have heard this year, and it's been a pretty good year. A great album for our times - it is a bit sad and reflective, but willing to do the work to make things right.

You should buy this record today.

Joe Walsh - Long May He Run

2011-10-29T20:13:00.000-07:00

My buddy Joe Kroger calls me about a week ago. Asks me what I'm up to next Thursday evening. I tell him I have no plans - and he tells me not to make any, he has something lined up and I'll like it. I have this thing about first names. I always trust guys named Joe. Kind of like the way guys named Charlie are generally good eggs. So, when I get the word from Joe, I know I'm good.

Turns out he had grabbed a couple of tickets to see the sold out Joe Walsh concert at the Taft Theater in Cincinnati. Like I said, You can trust a cat named Joe.

The first time I had seen Joe Walsh in concert, he hadn't even yet joined the Eagles. He was still blowing folks away with his cadre of Colorado killers, Barnstorm. That was probably around 1975.

The years were good to Joe, often times better than Joe was to himself.

The next time I saw Joe, well, it was kind of funny. I worked as guitar salesman at the Guitar Center store on Sunset Boulevard in Hollywood. A glamorous gig, indeed, but not without its tribulations. At least a couple of times a day, some poor unfortunate derelict would find his way into the store and become a nuisance. Working on the guitar floor, we were the sentries, assigned to remove these vagrants, and to keep the scene safe and secure for our shoppers.

I'm working the floor one day, and my boss comes up and nudges my shoulder - "Hey Tony, you've got a cleanup by the vintage wall." We called them cleanups, short for supermarket talk, as in, you've got a cleanup on aisle four.

It was one of those days when I wasn't in the best of moods, and probably hadn't made a sale that day, so I may have been a bit surly.

This guy was reeling - wobbling from side to side, doing the back and forth shuffle at two in the afternoon, and smelling like a distillery. I strolled up, grabbed him by the shoulder and spun him around, preparing to say, "Hey man, you can't be in here."

I spin the greasy haired blond guy around, and sure as shit - it's Joe Walsh.

Joe says (slurs), "Hey man, how you doin'?"

Well, I'm just a bit shocked, and just a bit starstruck. We dealt with pros every day at GC, but this was a rare sighting. Walsh was a connoisseur's connoisseur when it came to vintage guitars. He had given Jimmy Page a '59 Gibson Les Paul Standard, and gifted Pete Townshend with the Gretsch Pete played on Who's Next. Joe himself was rarely seen playing anything except very nice old Strats and Les Pauls.

He looked up at the guitar wall and pointed to our current centerpiece, a 1959 Gibson Les Paul Standard - this is back in the days when you could buy one for what we thought was an astronomical price, but seems like spare change in retrospect.

I grabbed a ladder and fetched the prized relic. It wasn't the greatest example you'd ever see - it wasn't highly flamed and it had been well played over the years, but it weighed next to nothing, and the PAFs were as sweet as could be.

Joe said, "I'll take it!" Mind you, he hadn't even played it, he had simply held it, and smiled widely.

I told him that with tax, it would be just under $14,000. Walsh said, "That's cool. Somebody from the office will call you later, OK?"

I said that would be fine, and wondered if I'd hear back from anyone at all, as Joe was well into the wind at that point - about three sheets, as they say. But, sure enough, a little later that afternoon, I get a call and was given directions for payment and shipping.

I learned something that day about judging books from covers, or some such....

The next time I saw Joe Walsh, he was even more intoxicated than he had been that day at the shop. This was perhaps 1990, and Walsh and The Who's John Entwistle were literally laying on the floor at the Yamaha Guitars booth at the NAMM show in Anaheim. They were drunkenly jamming in their nearly supine positions, and in no condition to speak, but they were still playing quite well. It was great for a giggle, but also a trifle sad to see them legless at eleven in the morning.

I saw the guitarist once more, this time in 1998 at Konocti Harbor Resort in Clear Lake, California. Talk about big changes, Walsh was now a practicing Buddhist, and completely sober. He played a blinder of a set, as always.

Fast forward to 2011 - Walsh is on his first solo tour in some time, and playing with a new set of musicians for the first time in many years.

Fast forward to 2011, and a night out with a couple of Joes in Cincinnati, Ohio.

The cheers went up with the dimming of the lights, Welcome To The Club started the set, and that is exactly how it felt. The club was open, and the audience was dialed up and tuned in for the Joe Walsh experience - blazing guitars, catchy classic tunes, the customary dose of humor, and if you noticed some good production values.

Walsh's band was tight, and each member shined when they had their moments in the spotlight. The lineup featured two drummers, and their interlocking rhythms sounded fantastic. Joe even gave his co-guitarist several solos, and they were elegant and tasty. Three backups singers supported Walsh's vocals beautifully, and they received a huge ovation for carrying a splendid cover of Dylan's, I Shall Be Released.

The hits were flowing like a river as Walsh stepped through his career with tunes from The James Gang, to his long solo career, and straight on through to his Eagles days. He even played a new song, Wrecking Ball, off of his soon to be released album Analog Man. The record was produced by Jeff Lynne, and this song sounds like another Walsh classic, and it bodes well for the new record. You can hear the Lynne influence in the thick rhythms and lush backing vocals, but the tune itself is right from the canon of Joe.

Nobody goes to see Joe Walsh without expecting some great guitar playing, and the six stringer gave the crowd exactly what they came for. He's playing as well, if not better than ever. Once again he has rearranged the intro to Turn To Stone, but the audience was keyed in from the first chord as Walsh strummed some lovely passing chords, along with a select few incredibly melodic single note lines before squaring off with his duo of drummers to bring on the classic chords that signal the song's body - throughout the entire tune Walsh's frequent solo forays kept raising the bar higher and higher as he showed once again that he had digested completely the English lexicon of rock and roll guitar as prescribed by Drs. Page, Beck, and Clapton before he ever left Kent to ride with The James Gang. His stock as a guitarist has suffered over the years due to his job with the Eagles, and his comedic bent, but make no mistake, Joe Walsh is, was, and shall always be a guitar hero, first and foremost.

The crowd went completely bonkers when Walsh's tech made his way to the mic to attach the famed Talk Box, and we were treated to a lovely and lengthy rendition of Rocky Mountain Way. He revisited James Gang hits Funk #49, and Walk Away, and his voice and guitar sounded as vital as they had all those years ago. Several Eagle's smashes showed up in the set, with the classic guitar riffage of Life In The Fast Lane being exceptionally incendiary. Walsh then gave another nod to his Northern Ohio roots with a pretty rendition of the Michael Stanley penned, Rosewood Bitters. A few nuggets, a whole slew of huge hits, and an always ample dose of great Walsh guitar work left the sold out audience ecstatic.

Like I said, you can always count on a guy named Joe, and my friend Kroger, and Mr. Walsh proved the point splendidly.

Is it too early to nominate Walsh for another run at the Presidency? I mentioned production values earlier - all through the night, Walsh played before some extremely cool films being played on huge backdrops above and behind the stage. From huge processions of Buddhist monks, to many scenes depicting in stark reality what is happening in this country, Walsh made some great points without ever saying a word. He creates jobs, he pleases his constituency, he does what he promises to do, and he doesn't overstay his welcome. Yeah, both Joes have my vote for 2012, they'd make for a hell of a ticket.

Joe Walsh's new album, Analog Man, will be out in February, 2012.

On Meeting Michael Schenker and The Temple of Rock

2011-10-29T07:44:00.000-07:00

"With Temple of Rock, I am entering a new stage of my life, a new level of existence - enjoying life more than ever, reaping the joy of all sorts of developments from the past." Michael Schenker.

"Just remember to be in Heaven before the Devil knows you're dead. Let's face it - we all sold our souls for rock and roll at some point." Doogie White.

I remember the first time I met Michael Schenker. Strolling down Lankershim Boulevard in North Hollywood one evening, I look up and saw a very familiar face coming towards me. I had heard that the McAuley/Schenker Group were recording in Los Angeles, but I hadn't expected to see the legendary German guitarist walking down my street after midnight. Realizing who it was, I stretched out my hand and told him that he had long been one of my favorite players, and thanked him for all his great work. He smiled politely, said thank you, and headed back into the night.

A month or so later, and as I was walking through the music store I'm managing in Sherman Oaks, and I notice one of my salesmen was having a rather animated discussion with a dapper Englishman. I sidled up, poked my nose in, and asked what was up. It seems the Englishman was wanting to rent a four track recorder - something we didn't do. The salesman was very courteously explaining this when I decided to ask the rather well-to-do looking chap why he didn't just buy one. He claimed to only need it for a night or two, and it wasn't even for him, but rather his employer. That piqued my curiosity, so I asked, "who is your employer?" I'll never forget how he said it, "A certain Michael Schenker."

I arranged for the store to memo loan him the recorder, and told a certain Mr. Treadwell that if there was anything at all we could do for him, or his employer, to not hesitate to ask.

Two weeks later, being a man of his word, he promptly returned the recorder, and asked to speak to me personally. I ventured down to the front counter to see what he wanted. He asked me if perhaps I might know someone who would be interested in joining the band's entourage as a guitar technician. I asked him what the job would entail, and what I could tell someone it paid. After he revealed the details, I responded that, in fact, I knew just the man for the job. Treadwell asked if a meeting could be arranged - I told him it already had, and that I was his man. We talked a bit further, and I accepted the job. I arranged for a leave of absence the next day.

My first day on the job, I was instructed to meet the band at the Santa Monica Civic - they were performing a brief set at a benefit show, but I was to speak with no one except the band, and I was instructed to simply meet all the fellows, and to not talk about exactly why I was there.

When I arrived I parked my car and started looking around for a familiar face. Sure enough, Michael himself pulled up and parked right beside me. I briefly introduced myself, and told him that Mick Treadwell had told me to come meet the band. I asked him if he would like me to carry some of his gear, and he looked at me very suspiciously, when suddenly someone spun me around, picked me up, and gave me a huge bear hug.

"Motherfucker, how the Hell are you doin'?" Ted Nugent was never a subtle man, but he is always extremely friendly, and not a shy person. "Michael," he said, "You know this motherfucker? He's a good man!"

Honestly, I had only met Nugent several times - he was formerly the employer of a guitar tech named Bobby Oberdorsten, and through Bobby, I had done the Nuge a minor favor, or two. Still, he never forgot a face, or a good deed done, and he was always graciously appreciative.

However, this was enough to relieve Mr. Schenker of any apprehensions about the stranger who had just barged into his space. We made our way into the arena, and we both got past the guard who took Ted's word when he said, "They're with me!" Ted's band, Damn Yankees, were the evening's headliner.

Once inside, I met the band, and rather uncomfortably avoided the topic of just who the hell I was, and what I was doing there. There are two funny details I remember, however, about the end of the night when the band had left the stage. When the band came off, they were pretty ecstatic - they had played a killer set, and left to a huge roar from the crowd. Schenker, however, seemed a bit miffed. First, he somewhat disgustedly said that he had missed four notes. Mind you, he had hit another several thousand dead on, but he wasn't happy about the four he had noticed missing. The other thing was that he looked at his guitar tech and growled that he had told him not to change the brand of batteries in his Cry Baby wah pedal. The tech demurred, but Michael insisted that a change had indeed been made, he could clearly hear the difference.

The next day, I appeared at the band's Burbank rehearsal studio only to be told to wait in a broom closet while the battery changing guitar tech was discharged of his duties. Several days later, I was relegated to looking after everyone onstage except Michael - his management had decided that the guitarist's stature was such that they hired Zeke Clark to look after Michael. Zeke Clark, of course, was Eddie Van Halen's tech for many years, and also worked for Prince during the Purple Rain years. A guitar tech superstar - my feelings were not damaged, as the fact still remained that no one touched Michael's Flying V besides Michael, he even changed his own strings. Actually, he didn't even have a back up guitar - he only had his long time black and white companion, until Clark arranged the loan of a back up Flying V from Quiet Riot guitarist Carlos Cavazo.

So you may be wondering why a suit and tie music store manager would up and leave a job that paid scandalously well to basically join the circus?

Because I was a fan. Michael Schenker's amazing musicianship had captured me at the age of 16, back in 1975, when I discovered an album called Force It, by a group named UFO. His melodic, incendiary way of playing lead guitar was something I had never experienced, and I was instantly enthralled. By the time I was 18, I could play the entire UFO catalog, and played in a cover band that featured a good handful of nuggets from the band that later went on to become poor via making Columbia rich.

The opportunity of having the pleasure of hearing my guitar hero play every night was too much to resist. There would always be music stores to manage, but this was a once in a lifetime offer. My favorite part of every day on that tour would undoubtedly be sitting on the tour bus, and listening to Michael play for a few hours each morning.

It is my opinion that Schenker is the finest hard rock guitar soloist to ever walk the planet. I also know that this is very subjective, and simply a matter of taste and one's own views.

Michael has dedicated his life to the art of the solo - the lead guitar breaks in many Schenker songs are generally very strong compositions of their own, and quite often uniquely different from the body of the tune. His solos are incredibly melodic, and filled with musical passion, prodigious technique, and fiery chops. He has been revered by a huge variety of rock guitarists over the last 30 years, many who claim him as a major influence. One of his signature guitar fueled anthems is a classic UFO cut off of their Phenomenon album, entitled Rock Bottom. Rock Bottom is a one of a kind treasure, much like Schenker himself. The wicked ricochet of a riff that services the intro and the verses is unlike any in the pantheon of heavy rock. When it's time to solo, the German whiz unleashes a thrilling roller coaster ride that remains a sonic signature to this day. Throughout his years with UFO, Schenker and the band's live shows became legendary, and eventually resulted in the recording of their seminal live album, Strangers In The Night. After leaving UFO, the guitarist became a high charting, festival favorite around the world with his own band, the Michael Schenker Group.

There is, of course, another side to the legend of Michael Schenker - it reads like a supermarket tabloid, filled with debauchery, drunkenness, unreliability, and train wrecks. Unfortunately, to varying degrees they are all true. I don't feel a need to re-hash or revisit this, as it is well known and it remains part of the story, but not so much the story I'm writing. We're here to talk about music, and music making.

Michael is a very fascinating character. He is easily misunderstood, simply because he is much less complicated than you'd gather from the stories. He is above anything else, a guitar player - he has little, if any interest in discussing the past, or even the future for that matter. Schenker is an artist, he is given to his art and lives very much in the moment.

I recently caught up with Michael, and I can't much argue with the claim made by a friend, who happens to be one of the country's best known guitar journalists, that Schenker is the worst interview in rock. What may be more important, however, is to realize why this may well be true. The interview is a part of show business - not a part of creating, not a part of being an artist. It is a sales tool used for purposes of business. This process is of little to no interest to the guitarist. Think of it like this - Rembrandt would have been a lousy interview - the man was an artist, not a public relations person.

Unfortunately, Michael Schenker's handlers have often been much more aligned to what Michael could do for them as opposed to what they could do for his career. I vividly remember hearing the tale of UFO returning home after a typically long drawn out tour of the United States, only to find that when they were dropped off at their homes by the limos that their houses had been sold, and there were new families having dinner at tables once belonging to the band members. Same thing with their all of their cars, vehicles, and possessions. Or the tour of America set up for MSG that had to be canceled when it turned out that their manager had failed to obtain the proper work documents for the band to enter America.

I asked Michael about the trials, tribulations, the missteps, and the consequences.

"I think that happens to all of us. We need hurdles in life, for exercise and development. I think it is easier when you believe, and realize this. Recently, out of the blue, I suddenly started to enjoy playing live shows. I have no idea why, after all these years. I guess it is my development! I also started to understand that metabolism slows down as you get older, so I eat what I need to keep me in good shape."

Keyboardist and guitar player Wayne Findlay has been working with Michael Schenker for over 13 years - I asked Wayne to comment on the ups and downs over the years:

Wayne Findlay, "Yeah, there have been some ups and downs over the years. I always try to stay calm and to defuse any situations, as they occur. I'm pretty laid back, so that really helps. Michael is a perfectionist, and so am I, so I can absolutely relate to him. It has given me great inspiration, both as a musician and as a person. It has enabled me to make many of my dreams come true - such as traveling the world, and playing in front of huge audiences. There is so much that Michael has given me on deeper levels, it is really hard to express in words. We have the same birthday, so we are similar in some respects. He is a great person, and is sometimes misunderstood. He also has a great sense of humor!

"Plus, I don't try to out step my boundaries. I never forget who's the boss. Which is really easy not to do - I'm playing on stage with Michael Schenker! A true legend, and my biggest mentor!"

Michael Schenker now appears to be in the best shape of his life. He is thin, clear eyed, and is actually smiling on stage, something that rarely happened in the past. For many years he dealt with a combination of stage fright, career pressures, chemical dependency and the frustrations of reproducing an accurate depiction of the sounds he hears in his head within the constraints of arenas and clubs. I can remember overhearing many discussions between Michael, and sound engineer Davey Kirkwood, regarding Michael's desire to hear the sound he captured on record, and the very different sound he was hearing on stage in large theaters. His sole concern was being able to play what he felt without being disturbed by added ambience, anomolies, and noise.

Temple of Rock is Michael's first album of new material since 2008. He is joined on the record by an all star cast that includes his brother Rudolf, Leslie West, Doogie White, Robin McAuley, Herman Rarebell, Carmine Appice, Elliott Rubinson, and singer/producer Michael Voss. The record contains some of the sharpest riffing, heaviest guitars, and sizzling solos to grace a Schenker album in many years. Once again, Michael has refused to rely on old formulas and is pushing himself into new territory as a player.

For the recording of the album, Schenker was also reunited with one of rock and roll's truest stars, bassist Pete Way. Way also joined Schenker's band on stages across Europe this past summer, sharing the bass playing duties with Elliott Rubinson. Years of overindulgence in the rock and roll lifestyle of drink and drugs have wreaked havoc on the man many consider to be one of the best bassists and songwriters in the history of hard rock. I asked both Michael and producer/singer Michael Voss about Pete, and how he is doing these days:

Michael Schenker, "Pete is an amazing spirit, with a very pure expression. It shows in his playing and performing when he is clear. I very much hope that someday he will be able to find enough peace in his life to shine once again. He has been taken advantage of a lot, due to his generous personality, but I think he is getting better step by step."

Michael Voss had this to add about Way, "Yeah, when Pete hits it, he hits it! He is a wonderful person, and he has loads of ideas and great hook lines - it is nearly like he is singing with his bass. It was amazing to have him join us on the album. What a sweetheart."

Voss has joined the Schenker entourage in a big way, by producing Temple of Rock alongside the guitarist, writing most of the album's lyrics, and singing the lion's share of the vocals on the record.

"Well, I've known Michael for a few years now." Voss stated, "It all started with the acoustic album, Gipsy Lady (a Schenker/Barden Acoustic Project record from 2009). We stayed in touch, then he asked me to book some time in my studio for recording new demos for a project with Herman Rarebell, and Pete Way. We started recording, and I offered to sing Michael's vocal ideas. He liked it, so we kept the ball rolling!"

I asked Voss how it was to wear hats as both the producer, and vocalist.

Voss said,"Mikey produced me and my vocals, and I took care of his performances. After that, we concentrated on the mixing and mastering. Recording Michael's guitars was a great pleasure! We searched a long time to find a good guitar sound that suited Michael, and then we collected and recorded guitar solos - some of the ideas were improvised, and others were worked out and composed by the master himself. It all went pretty easy!"

Temple of Rock is an interesting album. It may be the heaviest and most complex album that Schenker has ever recorded. Every tune is filled with interesting twists and turns, and the maestro is simply on fire. That being said, it is not that immediate - it took me several listening sessions to acclimate myself to some new territory and surroundings. Voss's production is excellent, and captures a vast amount of players, singers, and sounds in a very coherent fashion - something occasionally missing on projects with multiple cameos, and rhythm sections.

The record also has the guitarist joining forces with several vocalists, including long time band-mate and business partner Robin McAuley, on the track, Lover's Sinfony, and ex-Rainbow belter Doogie White, on what may be the album's standout cut, Before the Devil Knows You're Dead.

Doogie White is one of the best and busiest hard rock singers in Europe, and graciously took my call to answer some very last minute questions, which goes to show you why he gets the calls to work with so many acts - he is a pro's pro, and a classic voice:

"Chris Glenn (Ex-MSG bassist) is a mate of mine, so he and Micheal asked if I would sing with MSG in London. I did Doctor Doctor, and that was that. Then Michael's management asked if I would be interested in writing and singing a song on the new album.

White said, "Michael Schenker, on a train ride, wrote the music for Before The Devil Knows You're Dead," as he wanted me to be on the album. I just really felt the music and wrote the song in 25 minutes. Both Schenker and Voss thought that it worked very well, and that is the tale of the song!

"Michael Voss sent me the backing, and I added my vocals and harmonies, working them into the tracks. He is a splendid producer with very cool ideas, and he gets great sounds! The song itself just came out. Sometimes it just happens like that. The vocals on the song were done with a Shure SM58 hand held microphone, with me dancing around my vocal studio in London. I later re-did them on an over-priced mic, but they went with my original take, and I sang my backgrounds around that one. Michael has pulled amazing performances from everyone on the record, and put it all together - plus, he sings very well!"

I asked the veteran about the interesting lyrics to the song:

"Well, I never believe in giving an explanation of lyrics. Different day, different meaning. Take what one will from them. Just remember to be in Heaven before the Devil knows you're dead. Let's face it - we all sold our souls at some point for rock and roll."

Before the Devil Knows You're Dead is one of the album's best cuts, featuring some epic keyboard work by Wayne Findlay, and a brutally good rhythm track provided by bassist Elliott Rubinson and Whitesnake drummer Brian Tichy, but it's White's vocals and Schenker's careening guitars that sell the track so effectively.

Herman Rarebell plays a very key role throughout the record - the ex-Scorpions timekeeper is featured on half of the tracks, and his instantly recognizable style gels wonderfully with Schenker's lockstep rhythms. Maybe it's all those years of working with the Schenker bloodline, but these guys sound very good together. I asked Herman about the record, and I'll simply print exactly what he said:

"We met in Brighton, and decided to do a band with Pete Way, and Michael Voss - out of this came one song, called Saturday Night, and we were going to call the band Strangers In The Night."

I asked the drummer about playing with Pete Way.

Raraebell said, "It was great fun with Pete. We are old friends, and that's how it felt, like two friends getting together once again."

I asked the drummer several other questions, and here is how Herman summed it up:

"In regards to playing with Uli, Matthias, Rudolf, or Michael? It depends on what I get offered on a song, and I play to that. Really, I just had fun playing - I think they are all great songs."

I asked how working with Michael was different than it may have been twenty years ago:

Herman, "Well, right now he is completely straight, and that is the first time I have seen him like that, and he is playing better than ever!"

Producer Voss did an excellent job fitting some excellent keyboard tracks into the songs, and it's great to hear Schenker reunited with such great players as Don Airey, and UFO/MSG band-mate Paul Raymond. Wayne Findlay does his usual great job on the four tracks that feature his ivory touch.

So....what can I tell you?

For close to 40 years, I have been a huge fan of Michael Schenker. So much so that I once left an amazing job, just to have the opportunity to listen to him play every day and night. I have taken the whole ride, as all of Michael Schenker's fans have done.

Temple of Rock is a very good record that may require a few listens to completely sink in. But I have found the investment very worthwhile. Schenker is playing extremely well, and continues to expand his considerable horizons. After 40 years of recording, he is still developing as a player and a writer.

Everyone who worked on this record is very anxious to talk about it. Why? Because they feel that they have done good work (and they have!), and they want to support this musical genius who has given us all so much pleasure. So should you.

Michael himself sums it up very well:

"The Temple of Rock is within me where I create since I was introduced to the amazing invention of the distorted Guitar which is for me the most enjoyable and the best possible way to express myself. The Rock Guitar Sound that I fell in love with, mostly expressed as Lead break, is what I have nurtured and treasured all of my life. Combined with the infinite spring from within and the amazing musicians around me I keep expressing an ongoing development of my Art(Being). With Temple of Rock I am entering a new stage of my life, a new level of existence enjoying life more than ever, reaping the joy of all sorts of developments from the past.

Also, it seems to me that collectively, with true expressive makers of Rock Music, we have been building the external Temple Of Rock for many years and have now come to the point of putting on the roofing and celebrating the almost completion of the Temple. All generations of this period are meeting all over the world on one stage it seems celebrating an Era of 'Hand Made Rock' which will never be the same again due to invention of new technology but of course New Temples and New Wonders will arise to enjoy expressions in new ways."

I would like to thank Michael Schenker, Herman Rarebell, Michael Voss, Doogie White, Wayne Findlay, everyone at Inakustik records, and Clint Weiler at MVD Entertainment Group for all their kind and generous help. I would especially like to thank Libby Sokolowski for her expert editing, as always. Nobody does it better - she makes me readable. What a love.

Thin Lizzy - In Defense of Mssrs. Gorham and Downey

2011-10-26T11:58:00.000-07:00

The last few years have been very good to fans of Thin Lizzy. We've seen the re-remix re-releases of classic albums Jailbreak, Johnny The Fox, and Live and Dangerous. The digitalization of almost every piece of recorded history has blessed us with innumerable Lizzy nuggets in the way of live clips, demos, and interviews. Maybe the coolest thing is that Lizzy stalwarts Scott Gorham and Brian Downey have managed to keep a very vital, and viable version of the band's greatest hits on the road.

About once a month I read a remark on the Web that states - without Lynott there is no Thin Lizzy, and that's that. Well, it's just not that simple. Granted - Phillip Lynott was one of life's true geniuses. Blessed with rock star cool so cool it killed him, a voice that oozed soul as thick as brown ale, and a pen that was perhaps sharper than Van Morrison's, but just short of Bobby D's. I would be the first to say that no being, living or dead, could replace Phil. However, I would also be the last to say that Gorham and Downey have no right to play the material they originally played, or no right to call it Thin Lizzy.

Here's how I see it.

This is about rock and roll ethics - pay attention. Let's look first at the contribution of the aforementioned Gorham and Downey.

Drummer Brian Downey's case is crazy easy to make. He played every snare crack that ever appeared on a Thin Lizzy record, and in a spectacular fashion that has me listing him alongside Bonham, Moon, Starr, Watts, and Ian Paice as stickmen whose bands would not have been the same without their brilliance. The man is one of the most musical drummers ever to grace rock and roll. He's still performing brilliantly and dependably in Thin Lizzy 2011. For my money, Brian Downey could take a kazoo band out and call it Thin Lizzy. Worry not, the man has always made sure that anything he participates in is top notch.

Scott Gorham is one of the co-creators of arguably the most recognizable twin lead guitar sound that any band ever developed. This much loved style of lead guitar harmonization and lead/solo trade offs came after the band heard a single track guitar solo being repeated in harmony via a tape delay, created by an engineer in the studio. The timing of the echo created by the tape delay resulted in the repeated notes being in harmony with the original line. Many bands have followed in Lizzy's footsteps with dual lead players, and harmony parts, but none has shown as brightly as the teams that were always one half Scott Gorham. Scott has been in Thin Lizzy since 1974 - he has flown the flag proudly - never short selling the band's legacy, or scrimping on the cost or quality of players hired to fill the roles left open by no choice of his own. Every version of Thin Lizzy that ever played a show played it with the best people available for the jobs.

For someone to say that Gorham has no right to the name Thin Lizzy would be on the same level with making a happily married widow surrender her dead husband's name. The widow earned the right, and so has Scott Gorham. He has always performed with excellence, and honor. I cannot see how anyone can fault the man in any way. You can bet that he has spent more than a few nights knowing well that Phil's fate could easily have been his as well. They both played hard, and paid dearly. Currently, he's playing brilliantly, and being generous with sharing the guitar star opportunities with whichever excellent player is in the historically rotating second chair. He's been a damned good steward.

In June of 2009, John Sykes decided to depart Thin Lizzy for the final time. One thing that the Internet has done for classic rock bands has been to not just keep, but to even greatly escalate their legends. Demand for viable versions of classic bands has seldom been greater on the concert circuit. When Sykes decided he's had enough, Scott Gorham decided to keep the ship afloat, and discovered that it was easier to hire both a singer and another guitar player than try to find one person who could adequately replace the blonde wunderkind.

He chose Ricky Warwick, best known previously as the frontman for Scottish rockers, The Almighty. The singer is a close friend of Def Leppard's Joe Elliott, who recommended the vocalist for the band while he and Gorham were handling the re-mixes and packaging for the re-release of the classic Lizzy records mentioned earlier. If you have not heard, or purchased any of the re-packagings, you should. These classic albums were remixed, remastered - each contains a remastered version of the original disc and a second disc of rare bonus tracks. "Live and Dangerous" is a two disc set and a third disc DVD. They all sound fantastic, and are worth a new consideration.

Warwick has grown well into his position as the onstage spokesman of one of rock's greatest franchises. Granted, he's not Phil, but then nobody else is, either. What he is, though, is a bona fide Scottish hard rock story teller - and there is much to be said for that if a guy is going to sing Emerald, or Whiskey In The Jar. He's got a great edgy rock and roll voice, and he has gotten much better with the slow stuff. He's doing an honorable Still In Love With You, and a killer version of Don't Believe A Word. This can't be the easiest job in the world, in fact, I give the guy loads of credit for even trying. He's done very, very well, and continues to get better with every tour.

Replacing the second guitar slot has certainly proven to be tougher. This has to be a stressful part of Gorham's job, to replace someone he must work with very closely three times in a couple of years.

First up was Vivian Campbell, on hiatus from his day job with Def Leppard. Campbell was a great choice, as he's wanted to be in the band ever since he was in the running for the job when Sykes joined the band way back in 1982. His playing mixed very well with Gorham's, and his love of cracking open the old wah pedal fit like glove, allowing him to inject some of his own style into his solo moments. However, all too soon it was suddenly Def Leppard's big touring season, and he had to report back to his regular job, one that he has held now for almost twenty years. Captured on the band's home brewed live release, Live In London 2011, Campbell acquits himself very well, especially on the epic Black Rose.

Campbell's departure led to the arrival of Richard Fortus, another hired gun, whose day gig is with Guns & Roses. I didn't know all that much about the guitarist when I heard he had been chosen for the Lizzy gig. He had been listed as rhythm guitarist on Chinese Democracy, and had a great reputation as a New York Sessioneer. I was completely unprepared and shocked when I heard him with the band at this summer's Hellfest in France. Actually that performance may have ruined me for any version of the band in which Fortus does not play. His is simply the most recognizable guitar voice to hit the band since Gary Moore. This isn't a knock on Sykes, either - John is a magnificent player, but I always felt him a bit too metal for Thin Lizzy, and better utilized in Whitesnake, Blue Murder, and his solo career. However, Richard Fortus sounded incredible and very in-context with the Lizzies. His playing was exuberant, filled with passion and mad chops, and his tone....well, his tone may actually as good as any hard rock tone I've ever heard. The entire set from Hellfest blew my mind. It just kept getting better, and better. This is the guitarist I would love to see recording new music with the band, should that at some point occur (I wish it would).

Alas, once again the primary employer returned to production, and Fortus left the fold all too soon.

Joining Thin Lizzy for their 2011 Fall Tour of America as opening act for Judas Priest (and doing select headlining dates) is Damon Johnson, straight off a long stint with Alice Cooper. I have only seen a few clips of this latest version of the band, but Johnson seems to be doing a great job, which again points out that Gorham is doing the best he can to keep top shelf players in his band. I'll know more when I see the band next month in Cincinnati - I'm really looking forward to seeing it go down in person.

What about a new Thin Lizzy record?

Now this is a whole other can of worms, and it's where I have some serious concerns. This is a tough call. I do believe that the band has every right to record new music, and to release it under the Thin Lizzy name. However, to release new music under that name is a huge responsibility, and has not been done since Phil died. That being said, it would be very ballsy, as no one currently in the band has released any original music that is even close to the standard set by Lynott. It would come with a tremendous amount of pressure, and a dim view from a great many music fans. Personally, I would love to see them try it. Get Fortus in as both a guitarist and a writer - I get the impression that he is ready for that heady of an assignment. Send Warwick back to Scotland for a couple of months, with nothing but pen, paper, and a busman's wages. Take some of the dough that's been made on these recent tours, and hire a ball busting producer who loves the legacy. Then make the best Thin Lizzy album that can be made. If at the end, it isn't up to snuff? Bury it. Deep.

I would like to think there's some more great Thin Lizzy music to be made, but it can't be less than what came before. Let's face it, not every Thin Lizzy album was a classic, there were many ups and downs with the band at even the best of times. They were a great band - they were a gang, they were rock and roll. No reason they can't be, once again. They've earned the right after producing consistently great shows, and keeping the quality high in hard times. Whatever the future brings, I congratulate Gorham, and Downey on what they have accomplished - they have done their duty with grace, and great honor. Don't dislike these guys for doing what they do - they didn't kill Phil, but they have managed to help keep his memory alive.

In the meantime, get out and see the band if you have the chance - it's a bunch of great musicians playing a bunch of the best rock and roll ever written.

Voodoo Highway - Broken Uncle's Inn - A Fabulous First Album

2011-10-16T19:45:00.000-07:00

I don't exactly remember how Voodoo Highway entered my consciousness, but I do remember that they hit it like a ton of bricks and wearing a big grin. It was some sort of social media meeting, and I immediately decided that these upstarts were the best all new hard rock band to hit the world scene in several seasons. Busting out out of Italy (Italy?) this band wears its influences like a badge, but they do it damned honorably, and with some balls.

Here is a bit of what the world is saying:

"The new movement of heavy metal has arrived! This band is the next Deep Purple!" (Craig Gruber, former bassist from Rainbow, and Gary Moore)

"Just one word for this band: "Brilliant"!" (VH1 Channel)

"Best thing to come out of Italy since Super Mario!" (Classic Rock Channel)

Personally, I call them the best thing to come out of Italy since Gina Lollabrigida, but I get it. I agree with all of the above, and actually think that these guys are just getting started. They are a young band, and I expect that their next long player will blow this one away, but let's not get ahead of ourselves, let's talk about Broken Uncle's Inn, which is one hell of a good hard rock record.

Much has been said about the obvious Deep Purple connection as the band's key influence, and that is certainly no mistake. This album would have fitted rather nicely in between Blackmore's exit, and the entry of Tommy Bolin. Had these guys have hit the states in 1975 they would now be legends. They would have had their own Starship, and a trail of groupies from here to there, and back again. They exhibit none of the whiny shit I hear from today's radio rock, and all of the chest beating beauty of the classic English hard rockers. However, I must say that while they use the Purple template, it never comes across as plagiarism, but rather like genuine love and respect.

Opener Til It Bleeds is a great example. The band pulls every shade of Purple out of their playbook, and you've never been happier to hear the return of a familiar sound in a new wrapper. From a beautifully wailing Hammond organ to the staccato Strat/Marshall intro of the guitar solo, they certainly show that they learned their lessons well. Everyone in the band pulls their weight brilliantly, especially lead vocalist Federico De Marco, who keeps things from getting too influenced by the past - he has plenty of power and a great range.

Anthemic power rock is on tap with The Fire Will Burn Away, and I can see arenas full of pumping fists along with a huge sing-a-long chorus. This is much less Purple and more 80s riff rock. Yeah, these fellows would have been high up on past bills at Reading and Donington, and I hope they hit the European festival scene hard next summer. This music will blow away fans of classic rock and metal. Guitarist Matteo Bizzarri tears this one up with scorching hot riffs and a lovely wah fueled solo.

If there was ever a song that kept an album out of Walmart, it would have to be J.C. Superfuck! While incredibly politically incorrect, the rock on display here is amazingly correct. This tune sounds like a slightly pornographic, and hugely blasphemous version of Chinn/Chap bands such as, The Sweet, who owned the British charts for much of the early 70s. The tones and dynamic interplay at work here is right on the mark - Voodoo Highway is always on the mark with what they deliver.

The band never sounds like upstarts - they consistently display great taste in what they play, and how they interact. The keyboards are always driving things, along with a splendid performance by now departed drummer Lorenzo Gollini. This is more rock solid riffing than virtuosity, and they wisely kept things focused on the songs and arrangements for their debut. I'm guessing in the future we'll see more histrionics, but believe me, their is plenty of great playing going on in every cut. Bassist Filippo Cavallini supplies great playing on every track, and also provides fantastic vocals throughout.

Window kicks off with some nice keyboard wizardry from Allesandro Duo', whose playing across the whole of the album is nothing less than superb - the best straight up rock and roll organist since Jon Lord. This one almost encroaches upon prog rock, but with a thunderous drum track that keeps it in the realm of harder rock. A great fucking tune. Di Marco's vocals are acrobatic and always very melodic. This might show the band off better than any track here, and I'd guess this is where the band's true strengths may lie.

YouTube is the new rock hit radio, and Running Around is the band's 'hit' at this point, and it's immediately apparent why. This is just cool, cool rock and roll. It's a fast paced rocker that will have you singing along on the first go 'round.

If Steve Harris had hired an organ player instead of a second guitarist, the album's title track, Broken Uncle's Inn would have been perfect for Iron Maiden's first album. Sophisticated changes and another strong melody - these guys do some great vocal work, and they make it sound easy and natural every time. A young band with great songwriting chops, what's not to like?

Heaven With No Stars is another fabulous showcase for keyboardist Alssandro Duo', as well as a masterful vocal performance by Di Marco, who shows on this piano based ballad that he has skills that extend beyond big rock vocalizing - much of this tune is reminiscent of early David Bowie, no small compliment. The arrangement is sensational in it's scope and it also features a lovely acoustic guitar solo by Bizzarri. Voodoo Highway is much more than just an exceptional crotch rock ensemble, they have a great many tricks up their sleeves, and this bodes very well for their future.

A seriously slamming swing between the bass and drums opens up Gasoline Woman, and it's back to the rock - and yet another new flavor. This is big and expansive riffing, with Di Marco wailing in the upper register of his range. Slick production lifts this up, and the band keeps the groove rolling and the melodies flowing. They have a certain style, yet they never get mired in it, and there is much to differentiate the tunes. Here we see Duo' throwing down an beautiful solo that establishes his place amongst the Aireys, and the Lords of the world. Great work by the whole band - another mind blower which will be something to see on stage in a live setting.

In Fact It's The Worst brings the album full circle, and they're back in Blackmore territory, be it DP or Rainbow. A very strong Strat/Marshall riff carries this, and the entire band is in full, open throttle mode as they ride out one of the finest debut long players that it has been my pleasure to hear for some time.

While not as virtuosic as their predecessors perhaps, these guy can play and sing their collective asses off. This record is all keeper, and no filler - I couldn't be more thrilled by Italy's latest export - a brilliant first showing.

Hey America - buy this record, so we can get this bunch over here for some shows this year. We need all the great hard rock we can get!

My thanks to Axel Wiesenauer - Rock n' Growl Management and Promotion, all of the members Voodoo Highway.

Beth Hart & Joe Bonamassa - Don't Explain - Instant Classic

2011-10-01T05:10:00.000-07:00

Kevin Shirley has become the Alchemist of Rock and Roll. His not so secret ingredient is super-guitarist Joe Bonamassa, and Shirley has once again created magic by combining the talents of his ace in the hole, blues rock superstar with chanteuse Beth Hart to make Don't Explain, the best old school rhythm & blues record to see the light of day in decades.

The death of the record business has created one thing that is wonderful, and that is the possibility of established acts combining to make great music without the encumbrances that kept artists from working together at will for so many years. This has availed Joe Bonamassa, a solo superstar in his own right, to partner up first with the legendary Voice of Rock, Glenn Hughes to form Black Country Communion in 2010, and now to join forces with Beth Hart to record Don't Explain, an outstanding set of re-worked R&B classics. These synergistic combinations are a tremendous boon to artists and audiences alike.

In early 2010, the guitarist caught a Beth Hart show in London. "It was killer," says Bonamassa - and suggested they do a project together.

Joe continues, "I was up late one night, I couldn't sleep. I was playing songs on my iPod from the reissue of The Rolling Stones' Get Yer Ya-Ya's Out, which included all the opening acts from that Stones show," he recalls. "As soon as the Ike & Tina Turner tracks came on, I just said out loud, 'Beth Hart.' I emailed Kevin, saying, 'Let's do a soul covers record with Beth,' and he replied back, 'Actually, that's a great idea.'"

Thankfully the creative team of producer Shirley, Hart, and Bonamassa selected a set of standards, but avoided the obvious maneuver of choosing lowest common denominator super hits, and went with mostly deep catalog classics by stalwarts such as Etta James, Aretha Franklin, Tom Waits, Billie Holiday, Bill Withers, and Melody Gardot.

Beth Hart is no shrinking violet - she manages to own these tunes with a sultry style that harkens to a great many soul divas, but her stamp is indelible. One problem I always had with most soul records was the fact that once you got past the hits, there often was little left to excite the listener. This bunch has avoided that brilliantly, and the album has no filler, it's all prime cuts, and Hart turns in incredible performances from beginning to end.

Joe Bonamassa continues an impressive winning streak - he has recorded and toured relentlessly over the last few years, and has not made a single misstep. In fact, he keeps getting better. His playing keeps improving with every project, every road trip. This is fairly uncommon - historically, most guitar slingers have seen decreased creativity with an increased workload. This may be due to the fact that Bonamassa plays a pretty clean game, with none of the typical excesses that have traditionally been stumbling blocks for so many great players. Joe seems to be oblivious to any pressures (another benefit of largely running his own show?), and just keeps delivering the goods. His phrasing, tone, and note choices are sublime across the whole of this record, from wobbly and dark tremolo'd arpeggios to passionate single string solos - he is on it.

As a guitar enthusiast, I was always a bit disappointed by the lack of six string excitement in the rhythm & blues field (especially on records by female singers) - rest assured that this is the record we always wanted to hear coming out of the American South, one filled to the brim with the influence of Gibson and Fender. One listen to Bill Wither's For My Friends and you'll be convinced. Bonamassa infuses the tune with a thick, clavinet tinged bit of riffery that lands the smooth California soul somewhere in the realm of Kossoff, Rodgers, and Free. Hart throws in loads of non-lyrical bits and pieces throughout the tune that will have fans of great singer/shouters smiling from ear to ear.

Sinners Prayer gets quite an update - the original take, by Ray Charles and BB King, is driven by Charles' piano, with King supplying largely stock licks. Bonamassa wisely chose a different route by introducing a slide guitar signature lick that wraps the listener engagingly around Hart's plea for compassion and forgiveness. As always, Bonamassa's long standing studio band of bassist Carmine Rojas, drummer Anton Fig, keyboardist Arlan Scheirbaum, and multi-instrumentalist Blondie Chaplin is rock solid, supplying a perfect platform from which to launch the incendiary performances of the two main attractions.

Tom Waits has a long history of supplying amazing songs for singers brave enough to tackle his challenging prose and idiosyncratic melodies, and Chocolate Jesus gets the full treatment as Hart and Bonamassa take it down to bourbon town with a jazzy beat and some cinematic underpinnings from the band. Bonamassa's tone is drenched in a damp bit of pitch shifted reverberation - just right for the strangeness required from Mr. Waits tune. Hart reaches deep here and pushes her vocals with a sophisticated, thick vibrato and some very earthy belting. Great phrasing from the singer on this one.

Covering Melody Gardot is a pretty ballsy act for a female singer, and Beth Hart knocks Your Heart Is As Black As Night out of the park by taking it down a path that suggests she's spent some time with a Nina Simone record, or two. Producer Shirley does a great job on this with some great subtle strings that peak around corners and wrap themselves around the arrangement. Bonamassa solos with tone, taste and sweet, sweet melody. It gets not much tastier than this, really.

Don't Explain is a Billie Holiday classic that has Hart respectfully matching the tone of the Queen of the Blues, but with a warmer, slightly less reedy tone. The arrangement is not quite as complex as on the original, but you get the bonus of Bonamassa sounding a bit like Jeff Beck blowing a sax. The six stringer evokes just the right tone on everything here, never being obtrusive, but filling his slots with sublime playing, and consistently keeping things interesting with his choices of axes, and effects.

I thought I'd rather go deaf than hear yet another version of Etta James' I'd Rather Go Blind, but again I'm pleasantly surprised to find that Shirley's inspired pairing comes through with a tasteful reading that reminds exactly why we have always loved this number. Bassist Carmine Rojas shines on this number, reminding me of the legendary Jerry Jemmott - if you're unaware, look him up. Jemmott played with most of the artists being covered here, and Rojas's tasty playing tips the hat to the fellow known as 'The Groovemaster.'

Something's Got A Hold On Me covers the rougher side of Etta James, and this one jumps and swings. A very different groove - this is has a bounce that suggest Otis Redding and Wilson Pickett. This one will get you moving and breaking out your old Stax box sets for sure.

Prepare to lose your heart to Beth Hart when you hear her treatment of I'll Take Care Of You, a song the singer says originally had her scrambling to find the pocket:

“At first, I couldn’t find the pocket, anyplace to rest my voice. The more I listened, though, I really liked how the song’s got a dual personality, a blend of confidence and broken spirit,” she says. “I loved the humanness of it, how you can experience opposite feelings at the same time. And the melody is gorgeous.”

Indeed it is, and when Hart finally found her groove, she managed to transcend any previously recorded version of this spiritual tale of promise and pain. Her melodic healing will have you feeling better in no time, and you'll be glad she found the heart of this great song. Her vocal chops are astounding, but her delivery is so natural and unforced that only occasionally will you realize the depth of her incredible skills. Just when you think it's over, Anton Fig unleashes a tremendous bit of stick work that rings in Bonamassa's best solo on the record, one that sees the ghost of Gary Moore smiling with love in the shadows.

Someone finally had the good sense to throw a microphone in front of Joe Bonamassa for a treatment of Delaney & Bonnie's Well, Well. The last few seasons has seen Bonamassa go from being a passable blues belter to being a world class singer. I can't give the guy too much credit here. How often does anyone become a great vocalist? It's a rarity, I can tell you that much, and Bonamassa has put in the work and developed his voice to become as impressive as his massive guitar skills.

The pair end the album with a soulful take on Aretha Franklin's Ain't No Way, and it is a lovely way to ring out a wonderful record. A sensitive rendering that has Joe B supplying some very tasteful swells, and bends that harken back to Santos & Johnny's Sleep Walk via Jeff Beck. He plays some astoundingly cool and subtle licks under, over, and around Hart's beautiful vocal. A truly inspired finish.

Soul records for me always suffered from a certain few things, as I stated earlier - generally not enough guitar fire power, and an absence of depth of material. Beth Hart and Joe Bonamassa, along with Kevin Shirley and their powerful backing band have done an amazing job of delivering a truly stunning set of soul classics with all the emotion, passion, and fiery performances anyone could ask for. Did I mention that they recorded this in four days? Amazing.

Tracer - Spaces In Between

2011-09-23T11:21:00.000-07:00

Homegrown rock out of the land down under, Spaces In Between, the new album by Tracer promises to become the biggest Aussie rock export since the Young brothers paraded AC/DC out for the world to see. Not too surprisingly, Tracer is fronted by the two brothers Brown, Leigh and Michael, who have been knocking out the rock together since early in this century. These fellows certainly do sound as thick as thieves - as if they've carved out a chunk of granite and made it home.

Everything I've heard concerning the band seems slightly off the mark - many comparisons to the desert fueled fires of Kyuss, Queens of the Stone Age, and then jumping to nineties grunge - I hear much more primal metal, a slight nod to Budgie styled boogie, and classic 80s crotch rock. They exhibit none of the tentative sloppiness that hounded every band that emerged from America's Northwest in the 90s, and damned little of the ADD inspired structure changes and forced complexity that has left me scratching my head at many of the Stoner ilk. Tracer are as tight as tight can be - an even cursory listen will have you humming, nodding, and seeing quite clearly where these guys are coming from, and where they're going. They're going on tour, they're going to rock the world, and they are going to get laid. Let's just hope that along the way, they sell some records, sell out some shows, and get paid.

Too Much is a great lead track, firing off with an insistent riff, and a vocal that is mixed perfectly to punch through the dense drums, and the Brown brothers' riffery. Reminds me a bit of the effect Def Leppard's first album on me, many years ago - it's instantly obvious that these guys came to play. The track jumps out of the speakers, and takes you exactly where the band wants you to go. Michael Brown's wah soaked solo will have the guitar fans' attention - these guys can play. No, this isn't the depressed, pissed off nineties, nor the vagueness of most stoner rock - Tracer goes directly and effectively for the target.

Smart boogie? You bet. It happens every so often that a band will inject a dose of danceable boogie onto a track, and not come off sounding hokey, or unintelligent. Foghat did it in the seventies by whipping out dual slide guitars that proved slides were not the sole property of the American South, and throughout the nineties, Raging Slab did it with ferociously cool guitars, and some seriously good songwriting. Tracer bring some serious swing to the album's second cut, Push, but they transcend the pitfalls of the genre, and move it on from the southern funk to some silky metal moves in time for the chorus, which features a killer riff that moves under the vocals fantastically. I'm guessing the Brown's are big fans of the King of The Riff, Black Sabbath's Tony Iommi. They've learned their lessons well.

Walk Alone is a huge riffer that will have audiences loving these guys live. It tromps along quite nicely before it slows down into a thoughtful psychedelic break that is filled with great tones, notes and fills from both of the Browns. Michael's guitar drives the band through most of the turns, but his brother Leah's bass is never far away, adding interest and a ton of muscular support. Andre Wise provides a rock solid foundation on the drums - he's flashy and hard hitting, but always right for the song.

The vocal on Louder Than This will have you thinking Ian Gillan, but the Browns avoid further comparisons as the tune itself is just more inventive rock writing - the art of writing a riff is one of rock's toughest tasks, make no mistake about it, and these fellows write great riffs. The changes here aren't jarring or a surprise, instead they are subtle and at times almost subliminal in their transparency. They just sneak up on you, and you smile. There are myriad examples of the bands' creativity on every track - they never play it dumb, and they keep it interesting and stimulating all the way through.

Devil's Ride is a fairly standard sounding chunk of hard rock, made more interesting by some clever background vocals.

Powerful, straight ahead rock continues with The Bitch. They have the decency to never say "the bitch" anywhere on the tune, which redeems the weak title. The song is the one place on the record in which I'm reminded of the Seattle sound, as the vocal has a definite Chris Cornell vibe, but the Northwest kids were never this succinct, or as competent with their instruments. Leigh Brown's background vocals on this tune are awesome - he sings very well, and maybe even more importantly, he's very creative with the parts he chooses to add. I would have turned him up a bit in the mix, in fact. He always brings something interesting to the party, and it should be heard!

Voices In The Rain sees Tracer slowing things down, and again the band's chops and arranging skills do much to prop up what is a rather straight ahead rock radio sort of song. The rhythm section move things around nicely, and the refrain from The Rolling Stones Gimme Shelter keeps easing into my brain, though they suggest it more than they parrot it.

The album's title track gets things back on track, beginning with a whip-snap riff that is razor sharp, which then is replaced by a wonderfully fuzzed out bassline that drives the verses. Michael Brown's strong vocal moves things along briskly as the band adds horsepower at every turn. There's more instrumental discourse on this than any track yet, and here the band shines as the tune breaks into a Mid-Easterm motif before returning with a brutal dose of noise rock. The Spaces In Between is exactly where this band shines. Their excellent use of background vocals, great guitar layering, and inspired ensemble playing keeps them a head above the herd.

Leigh Brown's bass line rings in Dead Inside, as brother Michael weaves a tale of deception with no redemption in sight. The band builds loudly alongside the singer's anger until he brings it back down with a more pensive guitar solo, then returns with a final anthemic verse and chorus to wrap things up.

Tracer makes a lot of noise for a three piece, that is for sure. They clearly have put their all into writing a record that avoids the traps that haunt three piece rock bands - boredom and repetition. Never more so than on Save My Breath, which sees the band doing what they do best, taking basic riff rock and making it both interesting and compelling.

All In My Head is a great track - kind of a rock bolero thing, with a slinky, sophisticated guitar melody that underpins the verses nicely before the big chords come back in for the chorus. Michael Brown's guitar playing on this one is exceptional, as he changes tones, styles, and tempos without ever sounding forced. This is Tracer at their most melodic, and their most creative - greatness lives on this track.

The album wraps up with a strong rocker, Won't Let It Die (Run Mary). The band pulls out every trick they've turned, and after a slight dip through the mid-section, they're solidly back on track, and you're again thinking that this is a damned fine band which just could become a great one.

Spaces In Between is a winner, of that there is no doubt. These guys are doing it right, and I'm guessing they're about another year of touring and writing to land themselves in the bigs. In the meantime, if you like you're rock on the classic heavy side, you can't go wrong here.

Thanks to Peter Noble and Tracer.

Spaces In Between - Out October 3rd on Cool Green Recordings/Mascot Group
To Pre-Order - http://mascotlabelgroup.com/mlg/releases/spaces-in-between/?reload

The London Souls - Sensational Synergy

2011-09-12T20:05:00.000-07:00

The London Souls are a much needed breath of fresh air. For much of the last few years, most everything I've been writing has been in regards to bands and artists that have been around for nearly as long as I have. This New York City three piece writes cool songs, sing well, play the hell out of their instruments, and sound as if they spent a great deal of time diligently working out arrangements for their excellent debut release.

Led by guitarist/vocalist Tash Neal, the band plays like they've not left the rehearsal studio since they met. Joined by the incredible Christ Saint on drums, and bassist/vocalist Kiyoshi Matsuyama, The Souls are a tight, and exceptionally dynamic aggregation. They spent three years gigging before they laid down their first long player, and it shows. Recorded at Abbey Road Studios by Ethan Johns (yes, that would be Glyn Johns' son - yes, Glyn Johns, who recorded and engineered The Who's Who's Next), the record is a wonderful reminder of the studio's grand history, yet is completely contemporary in tone and mood.

The London Souls - what an appropriate moniker for a bunch of upstarts that sound as if they were nourished and nurtured by the voice of Stevies Marriott and Winwood, the guitars of the James - Hendrix and Page, and the rhythm section of the aforementioned Who.These boys destroy the faux posturing of so much fake reverence for vintage rock that appears these days, and show how to properly pay homage, without being some mass marketer's transparent puppet. This is no phony fantasy, this is real rock.

She's So Mad opens the record with a holy communion of Zep-like riffery married to little Stevie Winwood's childhood glory, I'm A Man. They push and pull the beat around as if they defy it to get out of control, with bassist Kiyoshi, and drummer Saint jousting to see who can do a better job of keeping Tash on his game. It's a glorious mash of classic rock that suggests what The Yardbirds may have accomplished with decent sonic capabilities. Tash Neal doesn't have amazing chops, but what he brings to the table as a guitarist is an incredible knowledge of rock history, and taste. You'll find yourself smiling and happily agreeing with the choices he makes throughout the record.

A swaggering rock intro rings is Someday, before Christ Saint arrests the beat and slides into a ska-scape that has Neal loping through the first verse, only to return smartly to straight swagger for the pre-chorus and refrain - these guys play it as smart as a Brooks Brothers suit on Wall Street. These arrangements are so good they piss me off. So young, so good. I bow in gracious appreciation.

If Curtis Mayfield had ever written a song with Sir Paul, the result surely would not have been far from She's In Control. The walls of Abbey Road surely shuddered with a nod to the past when this bassline was laid down. Did the studio bring on this Taxman re-write, or did these guys bring it with them? Either way, it sounds great, as they obviously borrow, but without being crass - they do it right, and add lots of their own artistry - Christ Saint is the best new drummer I've heard in ages, and he excites me tremendously. He is a fabulous dervish of energy and creativity.

This bunch clearly have worked their collective asses off to keep things interesting, and moving. Parts and song sections combine elegantly and sympathetically - Future Life winds through change after change without ever tripping, or sounding stilted - it breathes as it strolls by, including some wonderfully complex vocal sections and harmonies.

Old Country Road comes out choogling, with a loving nod to Fogerty's CCR, but they only suggest the past, never quoting, only paraphrasing. This song swings and struts like crazy as again the rhythm section is once more magical - these guys play with time like they own it. They manage to sound casual as they display musicality far beyond the reach of normal mortals.

The ghost of McCartney past again raises its head on the wistful acoustic number, Six Feet. From the fingerpicked underpinning to the loping bass line, this wouldn't sound at all out of place on an early solo Paul outing, with a happy dose of Ronnie Lane's days in The Faces thrown in. Even here, Saint and Kiyoshi never let down their guard for even a single verse. You won't find a single tune on this disc with a static, staid rhythm.

A great mixture of Southern soul and 70s stadium rock is up next. Stand Up shows signs of the righteous soul poetry of James Brown and the grandstand antics of Grand Funk Railroad. Cool twists and turns have this one whipping around like an amusement park ride. Tash Neal rips off some really greasy leads and fills as he keeps abreast of Saint's stop and go drum display - this sounds like a lot of fun was had in the recording of this romp. Nothing tentative to be found here, The London Souls strut.

Sequencing an album is hard work. When to speed up, when to slow down, when to not break a mood, when to break up a mood. Between producer Johns and the band, they pretty much nailed it. This record flows so easily that if you told me that this was a band that had been making records for twenty years, I would not doubt it for a second, or bat an eye. I truly love being this jazzed by a new band - great stuff.

Tash Neal is an incredibly musical individual. As a guitarist he relies on smart changes, slick double stop fills, and an admirably encyclopedic knowledge of rock guitar history. He's learned all the lessons and assimilated them into a unique style which never sees him succumb to overindulgence. His vocal prowess is equally skilled - he is melodic and clever with his phrasing - he's no belter, never gonna be a Plant, or a Daltrey, but he's a great songwriter who delivers his message with creativity and confidence.

His playing and singing on Easier Said Than Done is a grand example, as he plays killer rhythm and sings a melody that is both catchy, and intelligent. When he gets to the bridge, he introduces an change in tempo and interesting melodic chord changes that suggest he's listened to his share of XTC and Cheap Trick - this is good, good songwriting. He breaks it all down with a reprise of the chorus that becomes pianistic and choral before he whips the tune back into his rhythmic intro and a stutter stop ending.

I Think I Like It brings the band back to bombastic rock before slowing down for an impassioned verse with call and response vocals that are instantly endearing and will have you singing along whether you intend to or not. Nash tears it up with a brief, slashing solo, then the band rejoins with a refrain that rides out the tune. This is certainly to be sang by audiences for a long time to come.

Abbey Roads raises its history again as some Sgt. Peppery keyboard flourishes appear on Dizzy, another slice of pop/rock that sees Christ Saint worship at the alter of Keith Moon - this guy is the coolest rock drummer to come down the pike in a while, and is alone worth the price of admission.

The album wraps up with a couple of arena rockers, Under Control, and The Sound. The latter may just be the coolest track on the record, with more call and response vocals from Tash, and Matsuyama, and some stunningly sweet and clever harmonies. I can't say enough about how impressed I am with the time they have taken to put together an album that could have easily ridden on the strength of the songs alone - but this crew went way above and beyond what has become acceptable, and have delivered an album worthy of the grand room in which it was recorded.

A stunningly good debut, and a band that is going to be one to watch. Buy this today!

Chickenfoot III - Keeping Carter Happy

2011-09-05T17:24:00.000-07:00

When I first heard that Sammy Hagar and Joe Satriani had formed a band, I had this notion of what I hoped it would sound like. Quite selfishly, I had Hagar singing in a lower, more resonant register, and Satch boogieing in a less technical, more song oriented style. What I wasn't prepared for was a second studio outing (Chickenfoot III being released September 27 in the US) that delivered my dream in spades and far transcended my hopes for this group.

Chickenfoot III is a great band album - filled with satisfying songs that speak directly to our times, and ensemble playing that finds everyone in the band contributing not just equally, but sympathetically. Maturity is a beautiful thing, especially when applied to virtuosos who have been historically very heavy on the gas. Hagar has transformed his persona into that of a gracefully aging superstar who has turned his attention from the high life to the realities of 21st century America. I never thought that I would hear myself say that Sammy has written a lyrically important record, but he's done just that.

If the idea of Sammy Hagar singing vitally crucial and world weary rock in a soulful, smoky voice is a surprise, wait until you hear perhaps the most sophisticated guitarist in rock ease off the accelerator and deliver spare, muscular riffs, and melodic and often brief (but wonderfully exciting and melodic) solos. Without question, Satriani is a remarkable musician - he's been consistently pumping out incredibly complex, and original instrumental rock since arriving on the scene with Not of This Earth in 1986. His playing on III is still filled with surprising turns, and stunning solos, but for all his amazing technical prowess, here he sounds like simply a great guitarist, playing great songs on a great record.

Before I get into the songs, I have to speak about the rhythm section of Chili Pepper Chad Smith, and the soul of Van Halen, bassist/vocalist Michael Anthony. Michael Anthony sings with the voice of an angel, and his high pitched background vocals are as distinctive a sonic signature as exists in all of rock history. They are completely unique and he's a master of placement and style - he somehow manages to never wear out his welcome, nor appear cliched. His partner in the pit, Chad Smith supplies a powerful engine that keeps things roped in and rock steady. He's super solid, plays what is needed with great energy and enthusiasm, yet none of the over playing that too often has become a fixture in heavy rock drumming. Their performance throughout the disc is superlative - perfect for the task.

The hard charging Last Temptation jumpstarts the album, as Satriani manages to channel everything that was cool about guitar playing in the early 80s - this isn't Free-styled simplicity, and it steers away from any sense of overindulgence.This mid tempo stomper will immediately have you hooked. Hagar could easily have over-sang this. He could easily have turned to his trademark over the top wailing, but his strong tenor sounds superb - no shortage of lung power or range, and a more controlled, both feet on the ground, kind of performance. Producer Mike Fraser's mix is a thing of beauty - great presence, separation, and superb tones. He got the absolute best out of the band on this record.

Alright sees Satch channeling himself from 1988, when he toured with Stone alone Mick Jagger. Smith counts it off, and who would have ever thought there would be a brilliantly Stonesy Chickenfoot number? Hagar and Anthony nail the chorus with vocals that remind me of Mick and Keith doing Motown. Come solo time, Satriani sounds like he spent some serious time wood-shedding the Band of Gypsies catalog, and he abuses his wah pedal superbly before he cuts loose with some melodic sizzling that leads beautifully into an elegant and majestic bridge that sees Sammy rapping out a little Jagger-esque commentary to his resisting lover. The writing far transcends the first Chickenfoot album, and sounds like these guys are now living in the same neighborhood in terms of marrying lyrics to riffs and melodies.

Chickenfoot music emerges. Different Devil sounds like Chickenfoot, and nothing else. It's a lovely, commercial piece of rock that has Hagar and Satriani sounding completely in sync, and then Sammy and Michael Anthony deliver a chorus that sounds both new and familiar - you know the sounds, but the melody is new - sincere, and synergistic. Satriani turns the composition around with a new set of sweet chord changes for his fuzz drenched solo, which actually leaves you wanting more. Different Devil is unapologetic commercial pop, but it is well written, well played, sung beautifully, and produced perfectly.

This is Chickenfoot as I had envisioned, and hoped for when I heard they were throwing in their collective lots. They have combined all of their obvious benefits, tempered their histrionic tendencies, and surrendered none of the fire that gave their past's such passion and acclaim.

I'm calling this review, Keeping Carter Happy. John Carter was Chickenfoots' founding manager, and he passed away in May of this year at 65. He assisted Hagar in originally putting this band together, but before that he had been an industry legend for over forty years. Carter’s career began in 1967, when he wrote the lyrics to Incense and Peppermints by the Strawberry Alarm Clock – a group he renamed by picking words from song titles on the week’s Hot 100 chart. He later went on to be integrally involved in the careers of Bob Seger and Steve Miller when they were at their biggest. He produced much of Tina Turner's huge comeback, including the mega-hit Private Dancer.

Up Next is Hagar's tribute to Carter, and it marks a return to big rock. Featuring a great purplish, hazy, modulating riff by Satriani, the rhythm section stomps hard on this one, as Sammy proselytizes on marching to the beat of your own drummer, and being your own man. Hagar is convinced that he is taking his act right on up to heaven, and checking in. True to the intent of Hagar's lyrics, Joe Satch tears off a solo that reminds you that he is Joe Satch - whammy bar wizardry and heavily effected hammering, combined with some fantastically imaginative mixing that will have you grabbing your headphones and listening to this repeatedly, wondering how he does it. Carter is smiling....

For all their firepower, you wouldn't expect Chickenfoot to do a number that would not sound a bit out of place on a mid 70s UFO album, and yet Lighten Up would indeed not be out of place as a long lost Schenker/Mogg track. I've a huge love for the creative team that made UFO one of the greatly undervalued hard rock bands of all time, so to say this is not to damn with faint praise, but rather to sing some glories. Satriani sounds like a combination guitarist/organist throughout, and Sammy is singing in a strong, confident tenor that makes it sound much more impressive when he does choose to go to a higher register. Satriani riffs like a classic Brit-rocker, and Smith and Anthony make like a Panzer tearing through the desert. Just goddamned good rock.

A troubled love song for our times is next on the queue, and while walking a difficult path in difficult times is not what we have come to expect as Hagar's forte, Sammy has stepped squarely on the American Zeitgeist with Come Closer. Singing in a smoky, soulful baritone, the red rocker turns troubadour, and he wears it like a crown. A poignant bridge again has Anthony singing amazing harmonies, and it all leads to a Satriani solo that has the six stringer beautifully arpeggiating synth-like lines. Michael Anthony's bass work is languid and loping, a magnificently sizzling and sexy underpinning.

Sammy Hagar constructed the verses of Three and a Half Letters from actual correspondences he has received from downtrodden and suffering fans, who did their part for a country that chose not to return the favor. If this doesn't move you, you are one cold mother. I have not been able to hear it without choking up as of yet. The song ends with Hagar singing, "The last letter said, 'I'm nine years old and I'm homeless.' Fuck!" Satriani's solo is perfectly angst ridden and angry, and again the band nails the vibe beautifully. This should become an anthem of our times.

Sammy Hagar has never sounded better, or written with anywhere near the emotion and empathy that he delivers throughout this record. In an interview with Music Radar (http://www.musicradar.com/news/guitars/joe-satriani-on-chickenfoot-iii-new-album-preview-493500), the issue of both Hagar's vocals and Stariani's guitar playing were discussed:

"During the initial stages of writing, Satriani issued a directive to Hagar - sing differently: 'I had my reasons,' the guitarist says. 'It struck me that, whenever we would work together on songs, just the two of us, Sam would sing in a lower register. It was intimate, so full of soul. I thought, Wow, nobody has ever heard this quality in his voice before. He and I agreed that the new material would allow him to explore those other sides to his range.'"

At the same time, Hagar turned things around to Satch and told him that he wanted the guitar virtuoso to play his instrument in a new way. 'He wasn't as specific as I was,' says Satriani. 'But we did agree to take our creativity somewhere else. For me, it was something of an open canvas. It was hard at times, but ultimately it was very rewarding.'"

Big Foot began as a working title of one of Joe Satriani's demos for the record, but Hagar kept it, and built his lyrics to fit the concept. For me, this is the track that borrows the most from the band's past glories, and will keep longstanding fans in line for tickets. It's the one song on the record in which the singer can still not drive 55, and he's in fine classic red rocker form here.

Sophisticated, simmering blues is on tap with Dubai Blues. Driven by Chad Smith's super solid back beat, and Anthony's pumping bassline, the tune features Hagar singing a classic tale of the blues, that has the protagonist singing that he has everything in the world that he could want, but not the love that he needs. I absolutely love to hear this band groove with such muscle, and skill. Mike Fraser is a master in the realms of record production, and he makes this sound like an instant blues rock classic. A fabulous display of the incredible skills at play on this one.

Acoustic guitars, banjos....what do these have to do with Chickenfoot? I'll tell you. They wrap up an album that solidifies the fact that Chickenfoot is a band, not just a super-group project. The title is Somethings Gone Wrong, but the song is all right. If harkens back to the days when Paul Rodgers would own a room with his soulful pipes, and here the band have embraced that tradition, and added a few tricks of their own. Satriani plays against character here, but I believe that it may be just another facet of the same rock, one that has taken some time to ripen.

To say this album shocked me is an understatement. I read the interview on Music Radar, and Satch made it sound so interesting and good that I had to give it a whirl. These guys have made a great record, and have become a great band. They are now all they hoped to become when they joined forces. Indeed, Carter would be pleased....

You can pre-order Chickenfoot III at iTunes now.

Leslie West – Unusual Suspects – West’s Best?

2011-08-08T16:08:00.000-07:00

The fact that Slash, Billy Gibbons, Joe Bonamassa, Zakk Wylde, and Steve Lukather all showed up and turned in outstanding performances says a lot about this record, but it is not what the hoopla is all about. It’s not even the fact that shortly after the completion of the album, Leslie West suffered a tremendous, life changing tragedy of having his right leg amputated just above the knee, and is staging a brave comeback. The hoopla is that at 65 years of age, Leslie West has made what may be the best record of a career that has spanned 45 years.

West doesn’t want to be called a legend, but that’s exactly what he has spent these many decades becoming. The good part is that he’s not nearly finished.

Unusual Suspects is the guitarist’s first long player since Masters of War, his excellent collection of Bob Dylan covers from 2007. At the time, I called the album one of the best rock records I had heard in a long time, West had retorted, “Man, Tony, that blows my mind. You just made my day. I’m really so happy to hear you say that. I worked my ass off for two years on that record.” I can only imagine that West also worked his ass off on this one as well.

Many guitar heroes these days are relying on past glories to keep the fans coming out to shows. Too many albums are pasted together Pro Tools productions that often mean that the players aren’t even on the same continent, let alone standing toe to toe, as West is here with the fellows I mentioned previously. The production and bass playing of Fabrizio Grossi is perfect. He and drummer Kenny Aronoff and provide a stellar frame for the Mountain man’s performance.

Leslie West is most famous for being an incredibly soulful, and strong guitarist – he’s been named as a major influence by some of rock’s greatest players (Eddie Van Halen, Slash, and Michael Schenker, to name a few). He has never sounded better than he does on Unusual Suspects. His tone is more massive than it has ever been, as notes jump out of his signature Dean Guitar and scream through his Budda Amps. If anyone needs an electric guitar tone 101 class, start here. Thick chords slam about, and single notes ring for days with rich tube saturation, but the fact is that West would sound pretty much the same playing through any rig. The man is his tone, and it is bigger than life, as Leslie has always been.

One More Drink For The Road kicks off the record, and it’s a piano driven tune that has West slinging single note guitar lines that rip through the mix with fiery emotion, cascading around and between a great set of lyrics that tell a tale of woes on the road. When West, Grossi, and Aronoff slide into the song’s solos, the sound is rock and roll bliss as the rhythm section drives the guitarist into gritty overdrive. The use of the piano as the main accompaniment is a brilliant strategy for showcasing the snarling beauty of West’s stock in trade lead playing.

I find it amazing that I dig the vocals on this album as much as I do the guitar work, and the fantastic rhythm section. West sounded great on his 2007 release with Mountain, Masters of War, and, if anything, his vocalizing is even stronger and more passionate now. Soulful, gritty, and powerful, the axe slinger’s voice is now as strong and poignant as his guitar playing. Much of this is down to his choice to lead a sober life, and a work ethic that has him striving to be seen as relevant and not just legendary. He succeeds boldly.

Slash shows up on the powerhouse rocker, Mudflap Mama, a tale that expands on the tune that brought Mountain to every radio in the country in 1970, Mississippi Queen. West updates the tale, and the two guitarists go at it like they’re jousting for the queen’s favors. West says that Slash didn’t think he was necessary on this track, but Mr. Hudson’s licks mesh perfectly with Leslie’s. Was Slash necessary? Probably not. Does he make a great track even greater? Most definitely. In any case, I’m hoping that the biggest guitar hero of the last couple of decades shows up for a cameo somewhere on West’s fall tour, The 3 Guitar Heroes Tour, featuring West, Michael Schenker, and Uli Jon Roth, which may be the year’s most highly anticipated road show for fans of rock guitar playing.

Going toe to toe and guitar to guitar with Billy Gibbons is a tall order. The ZZ Top kingpin brought a song of his own to the studio, Standing On A Higher Ground, and it had some finishing touches applied by West and producer Grossi. The result is a Texas sized slice of straight up rock that features an intro, of which West says, “Only Billy Gibbons can come up with an intro that sounds like Hendrix and ZZ Top joined at the hip.”

West makes you wish that there were two guitarists in ZZ Top – the pair take this tune, which is classic Gibbons-esque rock, and drive it ever higher. There is nothing about this that doesn’t just smoke. This is Billy Gibbon’s greatest moment outside of his home base. I thought I had perhaps never heard two guitarists sounding better together, until I heard the next track.

Joe Bonamassa is roughly half Leslie West’s age, but when these two stand face to face and sing the blues, they are truly brothers. The tune is the Willie Dixon classic, Third Degree, and once again a pairing of musical giants creates something greater than the sum of their individual efforts. There’s a definite Zeppelin flavor going on here, as drummer Aronoff, and bassist Grossi tromp out a slab of rhythm that creates a superhighway of sound for West and Bonamassa to shine like hard rock diamonds. Their guitar dual is an incendiary exhibition of blues rock chops galore, as each eight bars seem to drive the next to a higher plain at every turn. This transcends the usual cameo type appearance by miles, as these two giants sound like they are in this together to the very end. There is nothing that sounds even remotely mailed in, rather it sounds like these two are loving every second that they are sharing, as I am sure they did.- as I am sure you will.

Legend is another piano based track with Phil Parlapiano on the keys, this time a ballad that has Leslie West proclaiming, “Don’t call me Legend, I came here to play….” This may be true, and West has definitely come to play, but the fact is that the man is a legend. This is another track that features the singer as an awesome vocalist. He sounds like he’s spent the last decade devouring every soul record that ever mattered, and learned every nuance and every twist.

The next star turn is provided by West’s erstwhile son, Zakk Wylde, who turns in a predictable amount of sizzling shred licks that post up well next to West’s more tempered slabs of classic rock lead guitar. Nothing Changes is the title, and true enough, nothing does. Out of the gate the duo complement one another as they deliver the kind of lockstep rocking rhythms that have been a West hallmark since the days of Mountain’s Never In My Life. The senior partner takes the first solo, then Wylde steps in with a harmonic popping tirade of molten rock, the like have which has served him so well for so long. The minute he starts, there is no question as to who is playing, and it suits the song magnificently.

With all these amazing guitars and all this amazing singing, with all the great ensemble playing and the fine production, you could almost be excused for not noticing the quality of song-craft and lyricism at work here. West tells a lot of stories alongside his musical muscle flexing, and if you listen closely, you may well learn a bit about love, life, redemption, and regrets. He is a man who turned his life around a great many years ago, and still works at being a better man, a better lover, and friend. His tales are based on human relationships, and he’s done his time on the subject and seen his way through to the other side.

There’s a lot of great material on this album that features West, Grossi, and Aronoff without the aid of star cameos – and they are a more than sufficient rock and roll machine. From beginning to end they consistently deliver the goods - as I said earlier, the rhythm section is not pedestrian, these guys didn’t just show up and lay it down, they create excellent arrangements and there are a great many moments to treasure, in terms of ensemble playing, on every song. West and producer Fabrizio Grossi made sure that the record sounds like a full-on band that means every note and every beat.

“As far as my voice goes,” West says, “when I open my mouth, that’s what comes out. I’ve always loved the great soul and blues singers, so that is how I instinctively got my phrasing. When it comes to the guitar, I could never play fast, so I learned how to make every note count – to be sure that every lick has something to say. I believe in having a big sound and leaving space between the notes, and that space is like the point where the music stops in an Alfred Hitchcock movie. It builds tension and raises the question, ‘What’s gonna happen now?’ Plus, I love to feel the speakers move the air. The heavy sound it takes to make that happen really does it for me.”

Unusual Suspects may be Leslie West’s best work yet. It compares favorably with any album from the early days of Mountain, and to his later solo work. It achieves all it set out to do, and covers a tremendous amount of territory. It easily moves from ballads to blues, from metal to the Willie Nelson cover, Turn Out The Lights, that closes out the album and sees Slash and Zakk Wylde returning for one more go around with the master, the legend (yeah, I said it), Leslie West.

Unusual Suspects is out September 19^th on Provogue/Mascot Records.

Thanks to Peter Noble, Noble PR Consultancy

My Dream Guitars (15 Favorites)

2011-07-13T12:53:00.000-07:00

A few nights ago I had the pleasure of meeting, and spending a few hours with Gary Dick, founder and owner of Gary's Classic Guitars. For those not familiar with Gary's legendary two page ads in Vintage Guitar Magazine, I would direct you there, and then straight to his website (www.garysguitars.com) to see maybe the most amazing collection of top shelf vintage guitars in the world. Regardless of the aged wonder you seek, Gary most likely has one, and in the best condition available. When Tom Petty pulls his tour bus up to your door, you know you are doing something right.

After spending a couple of hours comparing notes, sharing stories and telling tales of six string worship and fervor, Gary asked me to name my five favorite guitars. I whipped out a short list in pretty fast fashion, but quickly realized that for quite some time I had had a list of dream instruments that would make up my desert isle collection. The guitars I considered personally essential for me is a list that probably would be duplicated by no one. That is part of the beauty of the world of the guitar - everyone has a different outlook, and would choose a different list for themselves, based on myriad factors.

My list is dictated by a wide assortment of factors, such as - favorite players, classic tones, sheer aesthetics, and nostalgia for instruments strummed, picked or played in my personal past. Some would have longer lists, some would land on perhaps one guitar. I am fairly certain though, that no two would be identical.

I somewhat surprised myself with a list that included just one guitar from the last 25 years. I do not consider myself a Luddite, but sure enough, my tastes were for the most part as old as I am. I don't consider this a negative statement about the new, just an appreciation of the classic.

I did not seek a precise order, this is simply the order in which they left my pen - I do, however, think that it may speak to preference to a great degree.

1) 1959 Gibson Les Paul Standard - I have never owned a '59. I have played perhaps ten, sold two while in retail, and once owned a fabulous replica that was built for me by a well known luthier. The last 'Burst I held was that belonging to blues rocker Joe Bonamassa. Joe's 'burst is a relative plain-top that is very light, incredibly resonant, and in great condition. The neck is thick - I believe that is one of the biggest reasons for the guitar's amazing tone. A good Les Paul is a very clean sounding instrument. From Page's to The Reverend Billy Gibbons', the classic Les Paul will clean up as nicely as a Telecaster. On a great Les Paul, it is the clean tones, and the amazing separation and clarity that impresses me most of all. There is a world full of great Les Pauls, but once you have felt the resonance of the strings through the back of that fat neck, you will realize why this is perhaps the holy grail of electric guitars.

2) 1968 Gibson Les Paul Standard Gold Top – This model was the first great Les Paul I ever played, and while I had no idea why I liked it so much at the time, I have long since figured out a few things that had me so enamored. The first thing was the guitar’s sheer beauty - the gold top had already by 1979, had begun to turn a cool tint of green on the upper bout where the owner's arm had perspired and worn through the finish. To my eyes this was very cool as it looked so well played. The guitar's P-90 pickups were another alluring feature, though I can't say that I knew exactly what they were at that point in my development. I did notice that that sounded both a little dirtier when played clean, and a little cleaner when played dirty! The fat neck profile also felt better to my hand than did the thin profiles of newer Gibson guitars I had previously played. This guitar had a wonderful chunkiness and grit when playing chords with a bit of overdrive, and a thick, corpulent tone not dissimilar to those I had heard from great guitarists such as Joe Walsh and Leslie West. I may not have exactly known why I dug it, but I sure knew that I dug it. And I still do.

3) 1954 Fender Stratocaster Sunburst - For almost 60 years Fender has been reconfiguring the Stratocaster in a thousand different ways, and they have yet to find a significant improvement in Leo Fender's original design. Leo Fender, George Fullerton, and Freddie Tavares truly got it right the first time, back in 1954. I've played several '54s and each had the magical mojo that comes built into a great Stratocaster. The sexy contours of the body are instantly apparent the minute you first hold a Strat, and that is a feeling that has never changed. To this moment I do not know of a more comfortable guitar. The tones the guitar produces are incredibly varied, and sound like they were made to be molded by whatever sound tools the guitarist chooses to place between the guitar and the speaker it finally sings through. Whether it is the classic clean tones of Mark Knopfler plucking his way through the Dire Straits classic, Sultans of Swing, or David Gilmour's multi-effect approach to Pink Floyd's catalog, there are a million ways to make the Stratocaster work for you, and many more still to be discovered.

4) 1959 Gibson Les Paul Junior Tobacco Sunburst - My first real guitar teacher played a Les Paul Junior. He could play anything, in any style, and make it sound right. From bop, country, blues, to blazing rock - he nailed the tones and instilled in me the basic truism that it is the player, not the guitar. The guitar's 24.75 inch scale length made it a beauty to play, and once again, my hand was totally comfortable with its baseball bat neck. I have always preferred tone to technique, so the thickness of the necks were never a negative, but a blissfully toneful positive.

5) 1964 Gibson Firebird VII Sunburst - This one is all about the look. Never a comfortable guitar to play, whether you are sitting or standing, the Firebird is, however, a grand looker. Not exactly sexy in the female form of the Les Paul or Strat, the Firebird is handsome - having an almost militaristic elegance and bearing. I first fell in love with Johnny Winter's white Firebird V that he played so brilliantly on his great live record, Johnny Winter And, which saw Winter dueling with a Les Paul toting Rick Derringer. The albino guitarist blazed through the set with an incendiary tone that cut through the mix, and truly made me understand why they called them axes. The Firebird VII has the gold hardware, three mini-humbucking pickups, and the frustrating banjo tuners, but it is a beauty of a beast that is worth the taming.

6) 1964 Rickenbacker 360/12 Fireglo - There are a few 1963 models of this classic, but they are prototypes and promo guitars that went to an elite few, most notably, of course, The Beatles' George Harrison. George's deft use of the electric twelve string got noticed by Byrds founder Roger McGuinn (who favored a 370/12), and McGuinn's use led logically to the new wave chime of Tom Petty, and REM's Peter Buck. It says an awful lot that no other guitar manufacturer has ever come close to the popularity of the Rickenbacker twelve string electric. This another guitar that is notoriously unwieldy (mostly due to a thin neck, and very narrow string spacing), yet nothing approaches its unique jangle. This guitar will have you writing songs immediately, and they will be unlike any you have written before.

7) 1957 Gibson ES-295 Gold - The Scotty Moore model is how this glorious piece of rock-a-billy music magic maker is most commonly referred, and it is as stunningly beautiful as any instrument on the planet. Not satisfied with a gold top, the 295 is gold all over, with a Florentine cutaway, and two sizzling P-90 pickups. No less an expert than that Stray Cat Brian Setzer calls it, "The ultimate rock-a-billy guitar." I think I prefer it for prog-rock, but rockers such as Ted Nugent, Andy Summers, and Yes man Steve Howe have long since proven that the wide body ES series can certainly rock.

8) 1958 Gibson Flying V Korina - I have long been a big fan of the German rockers Rudolf and Michael Schenker, and, as a result, have had a long and lusty affair with the Gibson Flying V. While both of the brothers prefer later models, I am a friend of the korina. I have always found that the Flying V sounds distinctively different than other Gibson solid-body guitars - a brighter and punchier midrange that cuts through dense and distorted mixes better than the girthy tones of a distorted Les Paul. They also have a nice clean tone that I attribute to the thin body. '58 Vs are in very short supply (only 81 were produced), and tend to cost several hundred thousand dollars, but for the average player, Gibson reintroduced korina models in the early 80s that are a bit less pricey, and retain the same tone and vibe.

9) 1959 Fender Esquire Custom Sunburst - This is the one that got away. Early in my guitar playing days, I happened upon this rare version of the Telecaster at a local music store. I believe that I paid the fellow $350 and another $30 for some fresh strings, and a set-up. The same guitar is now valued at just a pinch under $20,000 - but what makes me sad is missing the way the Esquire Custom felt, played, and sounded. It felt like melted butter, as soft and supple as any action I have ever felt, and it sounded absolutely divine. It had a warm, round low end, a distinctive midrange honk, and a bright top end that contained no detectible harshness. I learned more about good tone from that guitar than any other instrument. I could not make it sound bad. But...like many youthful players, I could not afford to own more than one guitar at a time, and the band I was playing with required a tone that necessitated a couple of powerful humbuckers, so back I went to that local music store, and traded that beauty in on another.

10) 1977 Ibanez Artist Sunburst - Not being able to quite afford a new Gibson Les Paul, the cool fellow at the local music store directed me straight to this Japanese guitar. It was beautiful, it sounded good, and it had great action, so I proceeded to hand him back his Fender Esquire Custom (which, to his decency, he took back with some reluctance, asking me if I was sure I wanted to do this trade), and then instructed him to add what was to become the first of probably a thousand guitar modifications. I had them install two DiMarzio Super Distortion humbucking pickups, and I was up and rocking. The Artist, while not the best long range choice I could have made, was a great guitar. I have just remembered that I also had Larry install a phase switch that gave me the option of having the humbuckers out of phase when used together in the middle position - this was my first experience with this hallowed tone (think Gary Moore/Peter Green clean tones), and it is one I have utilized ever since. The Ibanez Artist is still an exceptional value, when one can be found - a great tone machine.

11) 2007 Campbell Nelsonic Transitone - The only relatively new guitar on my list is the result of a collaboration between guitar builder Dean Campbell, and legendary guitarist Bill Nelson (Be Bop Deluxe). The Transitone is a model that Campbell designed that combines a Jetson's like futurism with smart lines that recall some classic guitar designs. The first time I played a Nelsonic Transitone, I thought I had died and gone to guitar heaven. The smooth neck felt amazing - the fret work was perfect, and the action comfortably low. Tonally, I could coax almost any sound I could think of, from jazzy silkiness, to country rock chime, and it rocked fabulously. It somehow managed to satisfy my vintage beginnings, and still feel and sound completely new. A marvelous instrument from a great builder.

12) 1964 Gibson Thunderbird Bass Sunburst - This one is all Pete Way's fault. Pete, of course, played bass and wrote some of legendary British rock band UFO's greatest songs. Way was all fashion and fun, with his bass slung low, down near his knees, and busting out solid and melodic bassline for German guitar whiz Michael Schenker to play over and around. John Entwhistle also played a Thunderbird for many years, most notably perhaps on the band's second rock opera, Quadrophenia. With its long scale neck and two powerful Gibson humbuckers, the Thunderbird is absolutely thunderous. This is a rocker, pure and easy, there will be no jazz, no country played upon this low end weapon. It is, however, a handsome devil.

13) Rickenbacker 4001S Mapleglo - The Rickenbacker 4001S bass is the tone of some of my favorite bassists. Paul McCartney revolutionized rock bass playing when he switched to a Rick from his famous Hofner back in 1965, when The Beatles recorded Rubber Soul. The first tune McCartney recorded with the 4001S was the Motown influenced Drive My Car, and the change in tone is immediate. All of a sudden Paul could utilize the full neck, as opposed to the first few positions that were possible with the shaky intonation of the Hofner. Beyond The Beatles, Rickenbacker basses found their way into the hands of Yes's Chris Squire, Deep Purple's Roger Glover, Geddy Lee of Rush, and the famous chainsaw buzz tone of Motorhead's Lemmy Kilmister. When combined with an Ampeg SVT, the 4001S is one of the most recognizable bass tones to be found.

14) 1939 Martin D-45 Natural - A pre-war Martin D-45 is the king of kings in the world of acoustic guitars. It has no true competitors when it comes right down to it. It looks right (Martin's most decorative dreadnaught), it sounds perfect, and it is the most sought after acoustic guitar on the planet. Martin made only 91, so they are extremely rare. I would gladly have a newer edition D-45, but since we're talking absolute favorites here, why not shoot high? If I come across one soon, I'll let you know.

15) Guild F512 Natural - I call this one the Pete Townshend Guild. Pete has been playing his since 1971's Who's Next. Its jumbo body is double bound, and the guitar is as handsome as it is toneful - it is exceptionally clear voiced for an acoustic twelve string (many are a bit muddy in the mids), and they play like a dream.

So, there you have it, a list of guitars that I would consider sufficient were I to be exiled to a desert island. As I said, it's my list, and I'm quite sure that no one else's would be the same. They all are great tone machines, and they are all attractive, but most importantly, they all occupy a place in my heart for all the right reasons.

John Wetton On Being Raised In Captivity

2011-07-09T12:29:00.000-07:00

"Raised In Captivity is really about me growing up, and being born into the post-war England. We still had rationing, and we still had the Victorian morality hanging over us, hung over from the previous century. So everything was...you weren't allowed to do this, you can't do that, and if you did anything wrong, you were beaten - everybody's running scared, I mean, what chance did they have? That is the general theme of Raised In Captivity, except that, the flip side is the joy of freedom for me now. It's just unbelievable to actually come full circle. I went through two life threatening illnesses in the last ten years, so I really do feel blessed, and every day is to be lived to the fullest. I've got no idea where I'll be tomorrow, and no power over yesterday, so now is all I've got - this moment. All I'm able to do is make the most of what I've got. That's the flip side of being Raised In Captivity." John Wetton

John Wetton is making the most of the moment, of that there can be no question, of that, there can be no doubt. Raised In Captivity is Wetton's sixth solo album, and one of nearly sixty albums that he has sung and played upon, including his multi-platinum super-group Asia, prog legends King Crimson, UK, Uriah Heep, Roxy Music, and his recent three album collaboration with Asia/Yes-man Geoff Downes, under the moniker Icon. It's been a storied, and incredibly varied career, and now Wetton has made perhaps his finest record - a recording that seamlessly combines many aspects of his great career.

Raised In Captivity was recorded over a three and a half week period in Los Angeles, with Wetton collaborating with Billy Sherwood, who produced the album, and played the lion's share of the instruments. Sherwood also co-wrote many of the arrangements, and is, in Wetton's estimation, the reason the record sounds so much like a functioning band as opposed to two fellows. The album also features great cameos from some notable luminaries from Wetton's past. King Crimson founder Robert Fripp contributes some heady atmospherics, and his usual intensity to the album's title track, Steve Hackett lays down a melodic solo on Goodbye Elsinore, Uriah Heepster Mick Box brings the rock to New Star Rising, Tony Kaye tickles the ivories on Don't Misunderstand Me, and Eddie Jobson appears as the violin wielding Devil on The Devil and The Opera House.

John had this to say when I asked about their sterling contributions: "The people that played their solos - I had decided all that before I left England. I knew I wanted Steve Hackett to play a melodic solo on Goodbye Elsinore, and there's a song called The Devil and The Opera House, which has Eddie Jobson on it. The instrument I automatically associate with the Devil is the violin, and Eddie said to me, 'Do you want ME to be the Devil?,' and I said, yeah, be my guest - it makes me smile.

"All the people who play on the record sound like they were born to it. I wanted Allan Holdsworth for the solo on The Last Night Of My Life, and Allan said, 'Yeah, I'll do it, but I've a solo album to work out, my first in 11 years, so it won't be my priority.' I said, fine, if you've the time to do it. Two days before the end of recording I called and asked if he had done it, and he said he hadn't. I thought, I'll call Alex Machacek - he'd fit the bill as he's going to be playing in the UK band with me, and he played a great solo. I didn't say anything about Allan Holdsworth, I just said, please play a noble solo."

Steve Morse (Deep Purple, Dixie Dregs, Kansas) is featured on the album's opener, Lost For Words, and he brings to the table his usual collection of speed, melody, and jagged unpredictability that has been his signature for many decades. This solo would be at home anywhere in his discography, and the song is better for his six string musings. The song itself is as close as Wetton comes to his platinum hit making days of the 80s with Asia. The song aches for the era of melodic rock radio, and will more than satisfy any fan seeking a bit of the command the singer/bassist brings to this genre. Billy Sherwood brought this tune to the table, and you can hear the multi-instrumentalist at his best. This record never succumbs to Pro Tools proclivity for sterility.

John had this to say on the album's production, and the record's rockier side:

"It's all very edgy and it's great! I come to California, and it's all helicopters, police sirens, and I'm working with a guy who drinks too much coffee....it's a bit more rock and roll. Billy Sherwood is a good man. I had a creeping suspicion that he was the guy to do the job. He's very musical, we both work very quickly, and the main thing is that he's a very nice guy - we share a similar sense of humor.

"It does sound live, and I give Billy credit for that. He said on our first meeting that we need to make this sound like a real band, not just the two of us. We didn't analyze every kick drum beat - there have been certain records I've made where we did analyze every detail, every sound, and it sounds like it! It sounds a bit anal, and so kind of clean that it loses some of its core personality.

"If I'd been left to my own devices, I'd be sitting at home with my acoustic guitar and my piano, writing dreary folk songs - if I had given that to my record company, they would have said, 'Very nice, but where's the rock?'"

Rock the record does, especially out of the gate with Lost For Words (a bit of a misnomer, as Wetton is surely not in any way lost for words) and the album's title track, which finds Wetton in top form. His voice sounds fantastic, and his bass playing is aggressive and melodic as ever. He has called the album, "an Anglo-American music document, a true autobiographical journey," which indeed it is. Lyrically the album sees the singer with his heart upon his sleeve and well ready to expose a darker side than one may be used to finding on his albums with Asia:

"It's very much a statement of how I am today. It's a lot more personal than I would get with Asia - the reason being that I can get kind of personal with an Asia record, but I can't drag the guys into the corner that I go to sometimes. Where, with my more personal stuff, you know they don't deserve it, they don't need to go there.

"If I'm acting as a spokesman for the group, I don't believe it should be just my stuff - on a solo album I can do whatever the hell I like, and it is a great barometer of where I am, right now. It's often moody, and it's very honest."

Alongside the broadside rockers sit some of Wetton's most melodic moments, and his most poignant poetry. As I sat and chatted with John, I realized that I saw the man as being quite professorial - he's equal parts bard, troubadour, and rock star. While he is obviously best known for his tremendous ability to craft a three minute piece of pop melody, he cannot avoid his sense of equally impressive harmonic sophistry. His lyrical prowess has also never been in short supply, and he reckons it certainly is on display throughout Raised In Captivity:

"It's verbal dysentery, is what it is," he laughs. "Lyrics to me, are just as important as the music - it is, after all, what I'm saying!"

Amongst the more melodic and poetic to be found is the folkish ballad, Steffi's Ring, a tune that largely features Wetton's voice, acoustic guitar, and the keyboard embellishments of fellow Asia member Geoff Downes. This sounds like Twenty First Century Shakespeare Man. A beautiful, and too brief ( a mere 2:35 - I could have stood at least twice that) ballad that is sure to be a fan favorite.

Goodbye Elsinore is another lovely ballad that starts with just Wetton, and an acoustic guitar. The song then builds from verse to verse, leading to a soaring chorus of harmony expounding the song's title, only to be lifted even further by a perfect solo from ex-Genesis guitarist Steve Hackett.

Throughout the entire recording, Wetton successfully straddles the genres he has embraced over his career and he has succeeded tremendously in giving nod to all, but being a slave to none. Mighty Rivers, which closes the album, is sure to become a modern prog-rock classic - a duet with Anneke Van Giersbergen, formerly of Dutch proggers The Gathering - the song is a bit over five minutes of brutal beauty. Wetton is doing some of the best singing of his career on this cut, and when he and Anneke join together, the result is gorgeous. This cut alone is worth the price of the album. It is truly breathtaking in its majesty. Wetton hits astounding notes for a gentleman of 62 years, in both pitch and duration. If you've ever enjoyed a note of his singing, you need to hear this.

"I'm glad that my voice is still intact! If it goes, I am absolutely screwed," Wetton grins, "I figure that's God's way of telling me that this is what I should be concentrating on.

"I can't see myself ever, you know, Tony, playing golf or anything like that, so I can never see an end to that, in terms of music. There will not be a day when I would say, right - I'm not gonna do that anymore, I can't see that."

Wetton has truly escaped being raised in captivity, having withstood the tortures of an empire, alcoholism, open heart surgery, and carpal tunnel syndrome. He has not merely escaped, but has risen above all this, and made an album as good as any of his career. And while he claims to not be excited by the thought of jumping right out on the road after a busy year of touring with both Asia and UK, I would not be shocked to see him take this one to the stage. As he said, it would be nothing to throw together a band and take it to some select cities to play this record live. The man is a worker, not one to rest on his laurels, perhaps not to rest, period:

"Well, I am still of the opinion that if I am not working on a Saturday night, something is terribly wrong. If I'm not playing on Saturday night, I'm not doing my job. That's the work ethic I've had since I was 16 - I suppose that's why I have always stayed so busy."

That is what being Raised In Captivity will do for you. We're very lucky that that is what it has done for John Wetton. He has not rested, and he has made one of the best records of a career filled with great music.

There are some cuts and cameos I didn't cover here, that I will leave it to you, the reader, to discover.

Raised In Captivity is being released July 1st in Europe, and July 12th in North America, by Frontiers Records.

Thanks to John Wetton, Dustin Hardman of Frontiers Records, and Libby Sokolowski.

Uriah Heep - Still 'eavy, Still 'umble - Concert Review

2011-06-18T11:24:00.000-07:00

Uriah Heep sounds better today than ever before. Last night in Dayton, Ohio, they had a crowd of almost 4,000 on their feet - singing, shouting, and raising their fists for two hours of incredibly inspiring rock and roll. The band smiled as much as the audience, and it could best be described as a love-fest. This is not a band that rests on its longstanding laurels - their new album is remarkably fresh, and they played with more excitement and energy than bands a third of their age.

Mick Box still leads the band, and is as animated and exciting a guitarist as he was the first time Uriah Heep played in Dayton, back on April 1, 1976. By then, the Heep had been gigging for six years, longer than the lifespan of most rock bands. If you have ever wondered where the name Uriah Heep came from, he is a famous character from Charles Dickens novel David Copperfield, whose signature phrase, "very 'umble," led to the title of the band's first album, Very 'eavy, Very 'umble, back in 1970. Box has been on board since the beginning, and shows no sign whatsoever of slowing down.

The band boldly started the show with I'm Ready, a hard charging rocker off their new Frontiers Records release Into The Wild. From then on, longtime vocalist (25 years) Bernie Shaw put it like this:

"We're gonna spend the next few hours playing some of our new album, and some of our classics, some new, some old, some new, some old...."

Shaw is still seen by many as the new guy in the band, but make no mistake - Bernie is a pro's pro - a great voice, a confident front-man, and a great entertainer. His voice is powerful and crystal clear, not missing a note all evening, nor shying away from even the highest peaks in the band's catalog. The passion that Shaw brings to the table is palpable, as he utilizes every skill he has learned over a long career, including a tremendous amount of sheer horsepower, and a soulful vibrato that rivals the best of the classic British hard rock royalty.

I am amazed to report that the audience seemed not to be able to delineate the old from the new, as they cheered on tunes from the new record with as much enthusiasm as they did on classics such as Rainbow Demon, The Wizard, July Morning, Stealin', Look At Yourself, Lady In Black, and their highest charting single, Easy Livin'. Quite often, a crowd will merely tolerate a seasoned band's new stuff to get to the old - but when the Heep played Kiss Of Freedom, a song off of Into The Wild, the fifty something rocker next to me asked, "Is that old or new?"

The sound of Uriah Heep has remained pretty consistent over the years. Couched upon the thick and sophisticated mix of Box's trademark guitar tone, tasty keyboards, and thundering drums are the band's great harmony vocals, which so wonderfully support the ever melodic efforts of their lead singer. This band is as tight as it gets, an amazingly well oiled machine. This show was the third concert of a tour that will see Box and company play across America for most of the summer.

Bassist Trevor Bolder is still as captivating a performer as he was when he tread the boards with David Bowie as part of Bowie's best band, The Spiders From Mars. His bass playing is the pinnacle of the art. He maintains a very steady bottom end, and his phrasing is fabulous, as he makes great note choices, adds many cool fills, and frequently flies up the fretboard with great daring and dexterity. His performance on the classic July Morning is nothing short of sheer brilliance. My editor and videographer, Libby Sokolowski, filmed this performance, and said that she eventually had to take the camera off Bolder to catch Mick Box's solo, but then she was literally forced back to Bolder by his amazing playing and singing, like a magnet to the steel. Watching Trevor pluck the strings of his well worn P-Bass was a sight to see - his right hand attack making the bass's large strings look like rubber bands. His Ampeg SVT amps must be some of the happiest in the business, as he puts them through the paces.

Bolder also supplies a good deal of the classic Heep harmonies, and he hits every note, every time. My only regret was that the bassist did not sing his song from the new album, Trail Of Diamonds. This song makes me ache for a Bolder solo record. It is a great tune in the UH mold, with the veteran singing as well as any lead vocalist out there, and is reason enough for you to buy Into The Wild, which is as good an album as any in the band's catalog.

One of the recurring high points of the evening was when Bernie Shaw would sidle over to Bolder's microphone. This created a very cool scenario, in which Shaw and Bolder were harmonizing, and just above and behind them stood keyboardist Phil Lanzon (another 25 year veteran), adding a third, or sometimes fourth harmony. These guys sing like birds, and they do it while they are playing their instruments and entertaining 4,000 adoring fans. This is one of the hallmarks of the Uriah Heep sound for these last 40 years, and makes you wonder what rock critics sometimes think, and say. A Rolling Stone reviewer once infamously promised to commit suicide if the band made it big. How opposed to that is this comment from Def Leppard vocalist, Joe Elliott:

"Uriah Heep were the best band that we've ever toured with, either as a headline or support, because there was no ego, no pretentious kind of stuff. They were great, and we learned a lot from them”

While they were never the critic's darlings, the band have remained fan favorites, and I can't tell you how many people I heard, as I passed through the crowd, reminiscing about seeing the band over the last four decades. Stealin', the band's hit single follow up to Easy Livin', had the crowd on their feet and singing, early in the set. It was apparent from the huge smile on Bernie Shaw's face that while the band didn't know what to expect out of a Midwest audience on a sizzling June evening, they were tremendously pleased and gratified. Ever 'umble, Uriah Heep looked like they had just won the lottery. Again, and again Mick Box wore the grin of a school-boy, and he had this to say:

"After tonight, we've a thousand miles to drive for the next show, but the sound of this crowd will ring in our ears the whole way."

The adoration was being passed around like a bottle of Ripple at a hobo's ball - it gets passed, but each party partakes sweetly. I'm not sure who got the better deal, but everybody came away a winner.

Uriah Heep has always been a synergistic entity, with each component serving the greater whole. Drummer Russell Gilbrook is the kid of the band at just 47 years of age. While not quite as seasoned as the rest, he is a tremendously deft drummer, supplying equal parts of power and finesse. A favorite of the European drum clinic crowd, he has also worked with Tony Iommi, Van Morrison, and skiffle legend Lonnie Donnegan, as well as replacing Cozy Powell in the band Bedlam before being chosen to succeed a nearly irreplaceable Lee Kerslake as Heep's kit sitter. He takes a solo early in the set, and had the crowd contributing instantly. This band's love of their audience is always apparent, and they thank their fans repeatedly, and with huge smiles.

Phil Lanzon fills out the roster, and his expertise on the Hammond organ, various synths, and background vocals is astounding. As he whips his hands feverishly across the keyboards, he supplies great harmonies, then slings the microphone away to go back to the ivories. Lanzon is a masterful musician, and his sound is huge - his organ work ranks with the best. He also serves as a great cheerleader from his riser that sits above and behind Shaw and Bolder for most of the show.

After going off to thunderous applause, the band returns for their encores, which include 1977's Free 'n' Easy, a song which sees the band invite some 20 people on to the stage for some old school headbanging. 'Til the very end Heep delivers the goods, giving their fans what they want - a great night of rock and roll by any measure.

And so it was, on this balmy Friday evening in Ohio - a crowd of 4,000 well wishers, a band nowhere near past its prime - all uplifted by the spirit of rock and roll, Uriah Heep style - none more so than myself.

Live At Last - Black Country Communion in Indy

2011-06-17T05:33:00.000-07:00

Black Country Communion took Indianapolis by storm last night, delivering a fantastic live offering of a host of tunes from the band's two albums, and a couple of classic nuggets. They sound like a mature band that has been gigging for years, not just a few shows. Glenn Hughes and Joe Bonamassa may be leading the charge from out front, but drummer Jason Bonham, and keyboardist Derek Sherinian are clearly two facets of this hard rock diamond.

The Voice of Rock, Glenn Hughes sings the lion's share of the material, while Bonamassa sings a few tunes and supplies an endless barrage of cutting edge rock guitar work. This is a super-group full of love and respect - there are no apparent issues of ego, or one-upmanship. When Bonamassa performs his solo classic, The Ballad of John Henry, Hughes works the audience magnificently, and sings every word of the song as he roams, smiling beatifically at the young guitar star. The entire band looks as if they are having a blast, and having collectively played with an amazing array of rock and roll royalty, they know they are a very powerful machine at work.

Derek Sherinian may be the least well known member of BCC to the casual listener or fan. The keyboardist has 10 albums of his own under his belt, and a resume that includes Dream Theater, Billy Idol, Alice Cooper, KISS, Al DiMeola, and practically every major rock guitarist of the last 20 years. On BCC's first record, many fans complained that the keyboards were under-utilized, and under mixed. This has been more than rectified on the band's new album, which is out this week and garnering near unanimous rave reviews. The record heavily features Sherinian's awesome skills at both playing and arranging. On stage, Sherinian is as loud as Joe and Glenn, and actually has the only unaccompanied solo of the show, which was loud, dynamic, and allowed Sherinian to flex his musical muscle.

The show kicked off with the band's self titled opener, Black Country. Glenn Hughes's performance gave great credence to my habit of late, that of describing him as "the last rock star." I'm hard pressed to name another 70s rocker who is still in as fine a voice, or as energetic on stage. In an age where many have lost some high range, and a step or two on the boards, Hughes is still hitting every note of the 1973 Deep Purple classic track, Burn. Watching him run the stage is like viewing someone ice skating on a cliff. Before the show, Hughes had this to say:

"On the stage, I am fearless. This isn't arrogance, or ego, I'm like anyone else - I have fears all day long. But they disappear the moment I walk on stage."

Fearless indeed! The man never once retreats from a high note, or a low growl - the dynamics of his vocals go in an instant from a tender whisper to an impassioned wail. In this band, Hughes has chosen to keep the focal point on the songs, and the band. His incredible histrionics are kept to a minimum, and his melodicism is maximized. Even the hardest rockers in the set have their fair share of melodic beauty.

Guitarist Joe Bonamassa continues to evolve before the public eye. In his role here as axe star and occasional vocalist, the six stringer seems to relish the role of full time rock guitar hero. His solos are incendiary and masterful in their technical wizardry, but for me, where he is shining the most is in his sophisticated rhythm work, his single string song signatures, and his writing. His composition, The Battle For Hadrian's Wall, off the band's new album is a great example, as Joe switches seamlessly between the necks of his custom Music Man Doubleneck 6/12. This song has it all, and a great vocal from Joe as well.

On The Ballad of John Henry, the tune Total Guitar Magazine named as one of the ten best riffs of the last decade, Bonamassa takes a solo that is completely unhinged, as he effortlessly spits out volleys of rapid fire modal forays that end with howling bends of the lower strings, before he takes on his theramin with what I can only describe as heavy metal bliss. His aggression and verve even made the guitarist himself smile, as his wizardry is thrown around the room in stereo by long time tour manager, and extraordinary live sound-man, Warren Cracknell. Cracknell has been expertly mixing Bonamassa shows for years, but now he's dealing with the sophisticated effects required by the new band's records, and the added burden of starting fresh each night on a new P.A. - far from the luxury of having his custom designed solo Bonamassa rig. The mix was great - vocals were crystal clear, the keyboards were prominent in the mix, and of course, the guitars sounded like a aural text-book of classic tube amp tones.

Before the show, Bonamassa kindly took the time to carefully walk me through his self designed rig (completely re-tooled for BCC). Then, after a tour of his guitar selection, he took apart his newly acquired 1959 Gibson Les Paul Junior double cut to remedy a noisy potentiometer. Joe knows his rig inside out, and spends endless hours making his magic seem effortless. He's joined in his mission for tone by long-time stage crew member Colin Moody, who has now assumed the role of guitar tech to the chief. You can see the confidence Bonamassa has in Moody, and they even agree to work together the next day installing a Hip Shot Bass Xtender machine head on Hughes's new acquired Rickenbacker 4001 bass (in a stunning azureglo blue finish). Bonamassa also talks Glenn into trying a Way Huge overdrive pedal with his bass rig - this guy is all about the never ending search for killer tones.

Some of the shows best moments are when the seasoned bassist jousts with the blues rock icon (that's Brick to the band). Hughes prods the guitarist to ever dizzying heights of daring do, and Bonamassa rises to the occasion - and on several of these occasions Hughes looks both pleased and amused by his cohort. The magic between these two is as palpable as the respect that they both confide when the other is not around. These guys fairly gush about the pleasure they are deriving from this partnership, hardly the hallmark of super-groups past.

Jason Bonham does not dodge Bonamassa and Hughes's effusive praise, either. The axeman reckons that the drum gods are smiling down upon him - he has the thunderous Tal Bergman in his solo band, and now has Bonham playing the best drums of his career in BCC. He drives the band mightily from behind his see-through yellow DW drum kit, and acts as a constant cheerleader for the band. Smiles are not off the faces of this bunch for long - they know what they are, and how good they sound. All ready, arrangements are stretching out as the band begins to gel.

The evening ended with a two song encore. The Man In The Middle is the band's lead video/single, and you couldn't ask for a funkier driving rocker. This is a staccato rhythm machine, and again you get a big sweet, melodic hook of the sort that Hughes writes so effortlessly. Once more, the enthusiastic crowd goes wild. The night then comes full circle as Bonamassa rips through the intro of the aforementioned Deep Purple classic, Burn, and the audience is again off their feet, singing, screaming, and thrusting fists. Bonamassa improvises a hot solo, and then proceeds to feed the adoring crowd Blackmore's famed arpeggios,as Sherinian contributes a huge slice of Hammond B3, also nailing the tone and feel of the Cal Jam classic. Hughes is brilliant right to the very end. I can't imagine a better ending to a fantastic show. It is scary to think what these guys will sound like in a month at High Voltage - England, prepare to be invaded.

There are other highlights throughout the show, with tunes such as Cold, or One Last Soul that are sure to become BCC classics, but I'll let you discover them for yourself. A wealth of quality clips have shown up on Youtube this week, and should sufficiently wet your whistles.

Everyone in Black Country Communion is at the top of their game, and with two excellent albums under their belt they are primed to make the world of hard rock their own. Producer Kevin Shirley was right, "This band is viral."

This was one of the best hard rock shows I have ever seen, and judging from the enthusiastic response from the packed house, I'm not alone in that opinion. The band still has three shows in the Eastern US before heading off to 25 shows in Europe, including that prestigious High Voltage Festival in London, England on July 24th. God bless Black Country Communion.

Live at last. I first wrote about Black Country Communion before a note had been recorded. I spoke with Glenn Hughes before a single note had been sung. I reviewed the first record first, and am now more convinced than ever that indeed BCC may well be the most exciting and important thing to happen to real rock music in the last twenty years.

All photos provided by Libby Sokolowski.

Black Country Communion 2 - The Confirmation

2011-06-07T10:10:00.000-07:00

Black Country Communion is currently the best classic hard rock band on the planet. The band's second album, simply titled 2, is significantly better than their eponymous debut, and I believe I called that disc, "the best debut record by a hard rock band in the last 20 years." The nice thing is that I am right.

Glenn Hughes has risen from the ashes, and in the process built an amazing band which now possesses enough new material to headline their first tour, which begins next week. BCC is a band comprised of four of the best players in the world, but make no mistake, Field Commander Hughes is leading the charge on this one. He wrote most of this record, sings the lion's share of the tunes, and has made the record of the year.

I really hope this does not greatly aggrieve the fans of Joe Bonamassa. Joe has just finished a solo tour promoting the best record of his career, and his playing on this LP, as it is on Dust Bowl, truly amazing. He is becoming more of his own man with each release, and thus continues his ascent. Joe's fans are rather rabid in their defense of all things Bonamassa, to the point that I feel this paragraph necessary. He's growing, and I really hope his fans see not just his love of the hard rock genre, but also the emergence of a unique voice that is straddling the lines between blues, rock, and what I am guessing is a new outlook at life itself from our young guitar hero. This trip is bigger than Glenn Hughes or Joe Bonamassa, though.

Jason Bonham, I have never envied the path you walk. You follow in the footsteps of the greatest hard rock drummer in history, and whose imprint on rock is almost immeasurable. Kevin Shirley recorded the drums on this record as nakedly as possible from a modern production standpoint. No gates, no samples, just live drums. You far exceed my expectations, which were not small. Your playing on the first album was tremendous, but nothing quite like your performance here. Where the first record was technically incredible, this time out you are more subtle, more musical, and it is obvious that you brought much more influence, and many more ideas to the table this time out.

Keyboardist Derek Sherinian is all over this record, much more to the forefront, and fans will now understand what all the hub-bub is about. Black Country Communion's debut showed little of Sherinian's brilliant playing and arranging skills, but you must understand that that record was recorded in a matter of days, and by a band which hadn't worked together previously - hence the lack of more integrated or complex keyboard arrangements. Not so on 2. Sherinian is heavily featured on every cut and solos mightily on several tracks which I will discuss in greater detail shortly.

Black Country Communion is a four piece band with a fifth member. Producer Kevin Shirley literally started the band, and has been an integral part of every move the band has thus far made. Shirley shares eight co-writing credits on this album, close to what George Martin should have received from The Beatles. Every interview I have read by the group, or the producer talks of blood being spilled, and the murder of many of every member's creative darlings. These are not small egos we are dealing with here, these are four of the most recorded musicians in their field, and a producer who has mixed, mastered, and engineered Led Zeppelin, Aerosmith, The Black Crowes, Iron Maiden, and Journey. Opinions are bound to be strong when espoused by such pros, and Shirley has succeeded in making this sound like a pure act of synergy. He is unquestionably the best hard rock producer working.

As I waited patiently for the delivery of the record to my doorstep, I wondered what my reaction would be upon the first listen. Glenn Hughes has repeatedly stated that this was the one. He is tremendously proud, enthusiastic, and vocal about the amount of time, energy, love, and passion he put into its writing. Still, I wondered how it would compare to the first - would it rise to that very high standard, and match the magic the band created on their first sojourn?

I'm a little embarrassed to have doubted the irrepressible Mr. Hughes. He is a man who is truly walking the walk. No matter how much he pontificates, his performances are still leaving his words in the dust. He is in tremendous voice, his bass playing is spectacular throughout, and his writing keeps getting better and better.

The Outsider kicks it off, and once again a hard charging riff rifles in another great record. Hughes is indeed The Messenger, maybe the last real rock star, or maybe even the first new rock star of the second chapter. He's taken to fully assuming responsibility for his words - he's singing purely in the first person, and it shows in a new born sense that he is telling his story, singing his song. Joe Bonamassa has brought a new voice to the realm of rock riffery. His playing throughout is perfect. Busy, but not obtrusive - he and Hughes are flying down the highway with an amazing drum escort. What I wasn't expecting was the hellacious guitar/keyboard dual in the song's solo section. The pair trade eights, and each pass gets hotter and hotter, when they finally meet in the middle for some unison dueling. It's playing that is reminiscent of the days when Gary Moore faced off with Don Airey. Hughes then takes charge with a throbbing bass line, and Bonham joins in to bring in the final chorus. Wow, what a beginning.

Next up is a sound the likes of which I have not heard since the days when the name Aerosmith still meant something. The Man In The Middle is wonderful. Hughes is singing about a topic which he may know better than anyone, the dangerous path of rock fame, and the peril it holds. Hughes' lyrics have never been this concise, or this close to home, and it makes a huge difference. The passion he brings to the lovely b-section is awe inspiring and ultra melodic - rock ear Nirvana.

Joe Bonamassa brings one to the table next, The Fight For Hadrian's Wall, and it is a further progression of the songwriting skills he has worked so hard to develop. From a Zeppelin-esque intro, the six stringer shows his ever growing vocal talents, and his cohorts provide him with a backing track that is sublime - especially Bonham's extremely creative, and inspired kit work. The drummer is subtle and supportive throughout, bouncing between rhythmic fills and powerful drive. Bonamassa is in great voice, and I can hear the Paul Rodgers comparisons already.

Hughes then takes back the wheel, and Save Me sounds like it came from a Led Zeppelin rehearsal, which is actually where the original idea was birthed. The riff is supplied by Jason Bonham, salvaged from the aborted attempt at a Zep reunion. For those who will charge the band with coming too close to the spirit and sounds of Zeppelin and Deep Purple, I can only remind them that this is natural - Bonham is Bonham, Hughes was a huge part of Purple, and Shirley certainly spent a lot of time and energy working with Jimmy Page. I see this more as a logical progression.

Bonamassa's guitar playing is continuing to improve - hard for some to swallow, but Joe is ever growing, and evolving into a more distinctive, and recognizable stylist. I am hearing Joe, and less of his influences with every record he makes. He sounds more like the guitarist in a great band than the hot hired hand that he sounds like on the band's debut - as if he's less concerned with rock histrionics and more concerned with the compositions and his place within them. His playing has never been short of technical wizardry, but now he sounds more like he belongs to the music, and the music belongs to him.

Glenn Hughes wrote Smokestack Woman for Bonamassa to sing, but the guitarist kicked it back to Hughes, who again is startling with his passion, and honesty, as he sings, "it serves me right to suffer, I live in sin." This album may be Hughes's grand confession, prayer, and message of redemption. He's just released his autobiography, and now he seems to be singing it. We've spoken a good deal about his legendary addiction and recovery, and I know of no one who has more completely recovered, and been more totally reborn. At nearly 60, Hughes is in full possession of his tremendous talent and gifts, and is perhaps more driven than any musician I can name.

Faithless is perhaps the most unique tune on the record. This song crosses many roads, and truly sounds like nothing but Black Country Communion. The interplay between the four is inspired, as each member shines gloriously, and in synch. Bonham's drumming has me smiling a huge smile as he explodes in fury, then backs off the accelerator as Bonamassa uncorks the solo of a lifetime - this is knocking at the door of true greatness. He runs the gamut of his vocabulary, and does it in a way that never appears to serve anything but the song. Sherinian is also wonderfully cinematic here, taking this to epic territory.

"I'll cut to the chase. And I've told Joe how I feel about this song. It brings me to tears." That's what Glenn Hughes says about An Ordinary Son, Bonamassa's next turn at singing, and fronting this mighty machine. Once again, we see a writer writing about his inner being, and again we are better for getting to experience this offering. It's not just growth as a singer, writer, and guitarist we are hearing, but perhaps a spiritual awakening dawning upon our young guitar hero. This is very close to Bonamassa's solo song style, but the band is more explosive than on Joe's solo records. Joe's solo band is a great band, but I am not certain they have ever been unleashed like this bunch.

I Can See Your Spirit returns the band to full throttle riff machine, and this is gonna explode when they play it live. The sound of Hughes and Bonamassa playing in unison is a glorious sound, and when Bonamassa goes into Guitar God mode, Hughes plays some acrobatic bass to support his young charge. Next, we have Sherinian attacking his Hammond B3 with dexterity and daring. Yeah, this is gonna flat out rock some theaters.

An ultra-melodic blues tune follows, and one wonders how big the smile is on Gary Moore's face up there in heaven. While this swims in the same sea as Gary's blues, it brings the Hughes stamp of sophistication to the awesome chord changes (maybe a bit Beatle-ish even?), and Bonamassa owns it on this one. He plays from his heart in a way I have not previously detected. Little Secret is indeed, "a storm on the rise."

Hughes revisits his funky past with Crossfire, a sophisticated mid-tempo rocker that features silky smooth vocals, and some more great, and unexpected changes. I'm amazed at how much these guys listen - what I mean is that you have four virtuosos who never step on one another, instead, they often play their coolest licks under another person's solo. Hughes is an astoundingly solid and inventive bassist, a fact sometimes overshadowed by his amazing vocal talents. He's all over this record with a huge tone, and great chops.

Cold brings the record to its conclusion, and it does so in a most sensational form. This takes me straight back to the great Deep Purple album, Stormbringer, a record that may not have pleased one Ritchie Blackmore, but I found to be an incredible display of instrumental chops and emotion. In the face of Glenn Hughes's tremendous success and activity, it is easy to forget the loss of friends he has suffered, and the price he has paid for his excesses in his past. He has completed this section of the circle - claiming his right to his talent and drive, without the misery of addiction, and plague. He has written, played, and led an incredible band to its next level.

Had this record been recorded and released just after the breakup of Deep Purple, it would have made Black Country Communion one of the world's biggest bands. I see no reason why that result should not occur today.

Black Country Communion 2 is a great record by any score-sheet. This band and their producer have done what I wasn't sure they would, or could - they have literally blown away the record I wrote of so glowingly a year ago. The band starts its first US tour in just days - they are in rehearsal as I type. I will be seeing them in Indianapolis in eight days. I am expecting to be amazed. I roundly, and soundly congratulate Joe Bonamassa, Kevin Shirley, Jason Bonham, Derek Sherinian, and especially Glenn Hughes on the creation of a great band, and another great record.

Uriah Heep - Into The Wild - Album Review

2011-06-02T14:02:00.000-07:00

Uriah Heep's 23rd studio album is the best record the band has released since the days of David Byron and Ken Hensley. Maybe it's even the best record in the band's 41 year history. I can state without hesitation that if this album had seen its release soon after Byron was fired in 1976, the story of the Heep would have been one closer to the legacy of AC/DC. To replace a singer as identifiable as Byron is a tough task, and only AC/DC comes to mind as an example of a band that ever successfully pulled it off.

Into The Wild is a very, very good album. It stands on its own without condition, regardless of when it saw its release. The title tune begins with the Hammond organ tone you always want to hear from a classic British rock band, and the heavily overdriven intro is kicked into gear in fine fashion by stalwart guitarist Mick Box, drummer Russell Gilbrook, and bassist extraordinaire Trevor Bolder. Cool harmonies, a singable chorus, and lead vocalist Bernie Shaw make this a memorable song, not just something attached to a great riff. This is too energetic, too melodic, and too exciting to be coming from a band that's been on the boards for 40 years, but fact is, it is all of this.

Mick Box has been the driving force of Uriah Heep since every guitar player in America went out and bought a Foxx Fuzz/Wah to emulate his tones on such hits as Easy Living, and Stealer. All credit to Box that he never falls back on the easy money and tries to replicate these past glories. Instead, he focuses on crafting well played rock and roll riffs, choosing to explore newer ground, as opposed to plodding through familiar paths. His aggression, fiery attack, and sharp edged tones belie the years, and almost make one blush in their sheer audacity and passion.

I'm Ready is a great example of Box's take on Uriah Heep, 2011. His tone is familiar, yet it's a new tune, and his soloing sounds like the guy who played those old hits, then spent the next 30 years working on his craft, and is continuing to grow. Surrounded by the massive tones provided by keyboardist Phil Lanzon, and the explosive drumming of Gilbrook, Box comes through shining. The tune sounds warmly familiar to any longtime Heep fan, but only in style and tone.

Bernie Shaw has now been fronting Uriah Heep for 25 years. However, he's still seen in the Americas as the new kid. He's kept the band moving forward for decades, and he's made the band his own. His singing has gotten better over the years, a relative rarity amongst aging hard rockers, and even more of a rarity is the fact that his writing has continued to improve - to the point at which every song on this album is a proud addition to the legacy of this long underrated group.

Uriah Heep's stock in trade has always been the keyboard and vocal driven madrigal. Here, Trail of Diamonds takes its place alongside such heralded songs as Sunrise, and July Morning, when suddenly Mick Box tears off a volley of notes that are as Ozzy as anything, before taking the tune down a rockier trail that guarantees a smile from any fan of David Byron. Byron's work was often great, and the band does his memory justice in a manner that surely has David smiling down upon them. This tune is a Heep classic, and maybe even better than its predecessors. The vocals, and melody are truly astounding, and I smile to think of the joy this must bring to the entire band.

Trevor Bolder is best known as the mutton-chopped bassist from David Bowie's Spiders From Mars. He should be better known, as he is amongst a handful of rock bassists that I consider to be the best in the world. His playing is never less than stellar - his choices are always wonderful, his tone perfect, and he is constantly pushing the envelope with great notes, runs, and fills. After 40 years of stellar service, Bolder is still pushing, never resting on his laurels, or mailing it in. He also contributes a great lead vocal on his tune, Trail of Diamonds. On every cut, his playing is a jewel. If this was the only place you had to study, you could walk away being a fine bassist.

Nail On The Head starts the album, and if there were still such things, this would be the single. It's very immediate, a straight ahead rocker that if I had to qualify, I'd say it sounds like Billy Squier writing for Deep Purple circa Perfect Strangers, a very cool swagger going on. Again, Mick Box is soloing like man half his age, and shaming most of the fodder that makes up modern rock radio along the way.

Strong choruses are in abundance, and nothing here is more appealing than the unexpected twist of the tale that takes I Can See You, into the land of milk and honey - as gorgeous a refrain as I've heard in too many years. Excellent writing that is once again familiar, but new.

Keyboardist Phil Lanzon signed up in 1986, and has since been a huge component of the Heep sound. His organ playing is never buried, it's always thrusting aggressively into every mix on the album. He sounds like he's ingested every riff Jon Lord ever laid down, and put his own spin on them along the way. Uriah Heep always featured the Hammond pretty prominently, but Lanzon ratchets it up a good deal, and it is often the main rhythm instrument, allowing Mick Box to play more colorfully. This results in some very exciting verses and fills throughout. Lanzon, like Bolder is a player who is right at the top of his field, yet gets not nearly the attention he deserves.

Ensemble vocals have always been a large factor in the Heep DNA, and they've certainly taken their time here to create a consistently interesting and compelling blend on most every song on Into The Wild. Southern Star is a great sample of the boys doing what great British rock bands have done better than anyone else since the mid '60s.

Fans of melodic AOR will love Believe - I hope the new Journey record can keep up with this platter. If so, 2011 will be the most exciting year for new material in some time. Stylistically every song sounds like it comes from the Heep factory - forged of solid steel, with a large dose of rock and roll heart. The tune is another grand sample of the finest this genre has to offer. It features a huge dollop of wah encrusted licks from the guitar of Mr. Box.

Fear not, Mrs. Gilbrook, I've not forgotten your son. There is no greater angel in the world of rock and roll than a mother whose love allows her son the time and tribulations it takes to become a great drummer. Russell Gilbrook fills huge shoes when he steps into the seat formerly occupied by Lee Kerslake. Lee Kerslake was not just a drummer's drummer, he also contributed to the mighty chorale that made Uriah Heep so unique amongst early metal bands. Gilbrook's work on this disc is simply fantastic. He's busy, his fills are extremely musical, and he drives the band in a most compelling fashion.

Kiss of Freedom closes out the album, and it may be the finest piece on a record full of fine pieces. It has hit single sensibilities, amply demonstrates the superb technical skills of all involved, and fits the definition of epic. Christ, it even modulates, and not in a hokey way, but in a manner most majestic - maybe the hardest trick in the whole rock and roll playbook. If you're not a Bernie Shaw fan by now, my heart breaks for ya. The guy just sang the album of a lifetime.

This may be the finest Uriah Heep record. I know that to state that may be blasphemy to some Heepsters, but I'm pretty sure I'm right on this one.

Regardless of where you wish to place it in the pantheon of Uriah Heep, a listen to Into The Wild will reveal that this is a longstanding band continuing to make great music long after most of their contemporaries have lost their creative way.

Whitesnake Live At Donington 1990 - Album Review - They Got Too Good

2011-06-01T20:54:00.000-07:00

It was the only time I ever saw David Coverdale take pause during a show. He literally froze in his tracks, and stared at the man beside me in the front row. He looked, smiled, and slyly asked, "what the f**k are you doing here?"

The man beside me was my boss at the time, guitar legend Michael Schenker, someone Coverdale obviously hadn't planned on seeing in New Orleans in March of 1990. They exchanged smiles, and David returned to the business of being the best frontman in hard rock, leading a band equipped with terrifying horsepower. Neither Coverdale, nor Schenker realized that their time was about up - they both had records high on the charts, but were about to be put to pasture by an out of tune, bitter band from the Northwest - Nirvana. They had made the fatal mistake, the mistake that put hard rock and metal on the shelf for the next decade - They got too good.

Whitesnake 1990. After four years of being at the top of the heap of the hard rock world, Coverdale put together his most talented touring outfit, featuring guitarists Steve Vai and Adrian Vanderberg, bassist Rudy Sarzo, and legendary drummer Tommy Aldridge. They packed out arenas across America, and Europe to great notices, and co-headlined for the second time, The Monsters of Rock at Castle Donington, perhaps the highest profile festival of its day.

Live At Donington 1990 is finally being released on CD, and DVD (Frontiers Records), and it is as good an example of just how good hard rock got. Coverdale is in amazing voice, the guitarists are afire, and the brutal rhythm section lets no one rest. Coming at the end of a decade that saw skills and adventurism ever escalate, this is indeed as good as it got. This is a great live record, by a great live band.

There are those who will say that the best Whitesnake featured John Sykes and Cozy Powell, others will say no, Moody and Marsden, but while all these lineups were worthy of the Whitesnake moniker, this set reveals an amazingly powerful band. This may have truly been the culmination of 14 years of band-building for the British vocalist, who is surely at the top of his game on this fantastic document.

Going back to that night in New Orleans, Steve Vai proved to me that he was perhaps the best pinch hitter of any guitarist in rock history. First, he took the reins of Yngwie Malmsteen in Alcatrazz, then he had the cajones to follow Eddie Van Halen as David Lee Roth's six stringer, and now was replacing a coterie of great axemen who had preceded him in Whitesnake. Slip of the Tongue, the record this tour was promoting, was not the best way to experience Vai. He had been called in as a last minute replacement for the injured Dutchman Adrian Vandenberg, and the result, while it made the top ten in both the UK, and America, was not the band's best. The songs had been written and arranged by Vandenberg, and it was left to Vai to do his best to fit in.

That night in New Orleans, I spent most of the evening at the side of the stage, sitting on Vai's dummy cabinet, which provided me with a rare glimpse of the naked Vai, with no effects added. I cannot remember ever being more impressed with a guitarist's performance, and mind you, this was at a time in which I heard Michael Schenker at the height of his abilities every night. He was that good.

Vai is not just a superbly original soloist, he is a stunningly good visual performer, and surprisingly a great rhythm player who leaves ample room for his co-pilot Adrian Vandenberg. Hearing this show some 22 years later, it is clear that musically, this was in many ways Vai's band onstage, and he drove it like a Maserati.

Adrian Vandenberg, mind you, is no slouch. While he is not as unique a voice as the wizard Vai, The Flying Dutchman is an astounding guitarist, and combines his melodic, and emotional soloing to create a two guitar team that provides thrill after thrill throughout this record. His solo showcase, Adagio for Strato, is a wonderfully soulful exhibition of bends, and melodious statements, which he immediately follows with the ricochet rock of The Flying Dutchman Boogie, aided by the always excellent Tommy Aldridge, whose pounding, and propulsive drumming keep Vandenberg on course. Then Adrian proceeds to wrap it up with a bit of neo-classical picking which shows he is second to no one. Bloody brilliant.

A few classic Whitesnke tunes later, and it's another solo slot, and Vai shows why he has had such a long, and successful career as the shredder's shredder. For The Love of God, Vai's first solo selection is taken off of Vai's top 20 album, Passion and Warfare, a record nearly as successful as Slip of the Tongue. A beautiful composition that is as beautiful as it is technically proficient. It's immediately followed by The Audience Is Listening, a chops fest that leaves one a bit worn, but appreciative.

Rudy Sarzo, and Tommy Aldridge provide the perfect launch pad for the guitarists histrionics, and Coverdale's incredible vocal performance. You can hear the experience they developed while working in Ozzy Osbourne's band with guitar prodigy Randy Rhoads, and together they create a constantly interesting and exciting rhythm section. Aldridge is one of the great performers behind the kit, sitting right between the quasi-jazz of Ginger Baker, and Mitch Mitchell, while embracing the showmanship and skills of Carmine Appice. Sarzo is the consummate pro, always being right in the pocket, but also playing some tremendous fills, and finding spots to shine in between the dazzling display of artistry from Vai, and Vandenberg.

Coverdale always takes the reins right back, and he delivers the goods with Here I Go Again, one of the best pop/rock songs of the decade. No matter how much the guitarists try, they never wrest the show from the man who fronted Deep Purple at California Jam. Coverdale is a man who, by virtue of his phenomenal abilities and success, was held to blame (quite unfairly) for all the excesses of the MTV '80s. All he ever did was to take the art to its apex. He rocks as hard as Ozzy, or Halford, but also has a soulful side that delivers ballads as well as rockers, and that is shown here magnificently. I quite imagine whoever sequenced this set knew both sides very well - there is never a moment in which it lags, and yet it never wears you out, either. It's more like a good lover - ever building, raising and releasing.

The hits, well they are all here. Going back to 1979's Fool For Your Loving, through the classic Slide It In, and Whitesnake (the band's self titled album from 1987 that sold 8,000,000 copies). They are played with a sense of daring, and adventure by a band that made these songs their own, while maintaining the frameworks, and essence that every fan wishes to experience.

This set will place Whitesnake where they belong historically, beside the absolute finest bands of the '80s. It will also stand beside live records by Ozzy Osbourne, Dio, Judas Priest, Deep Purple, and Led Zeppelin as documents of just how good hard rock could get.

They got too good - so good that the genre itself had to be taken down for a generation unwilling to work as hard as those who came before. Rock and roll may never again see a time in which skills, and mastery of the art form were so essential.

If you even think you like hard rock, this is a must have record. A fabulous achievement by a tremendously talented and exciting band, and as good a singer/frontman who has walked the walk, David Coverdale.

Release Dates: June 3, 2011 - Europe
June 7, 2011 - North America

Tracklisting

CD1 : Slip Of The Tongue; Slide It In; Judgement Day; Slow An Easy; Kitten’s Got Claws; Adagio For Strato; Flying Dutchman Boogie; Is This Love; Cheap An’ Nasty; Crying In The Rain (featuring Tommy Aldridge Drum Solo).

CD2: Fool For Your Loving; For The Love Of God; The Audience Is Listening; Here I Go Again
Bad Boys; Ain’t No Love In The Heart Of The City; Still Of The Night.

DVD: Slip Of The Tongue; Slide It In; Judgement Day; Slow An Easy; Kitten’s Got Claws; Adagio For Strato; Flying Dutchman Boogie; Is This Love; Cheap An’ Nasty; Crying In The Rain (Featuring Tommy Aldridge Drum Solo); Fool For Your Loving; For The Love Of God; The Audience Is Listening; Here I Go Again; Bad Boys; Ain’t No Love In The Heart Of The City; Still Of The Night.

Bonus Features: The Making of Slip of the Tongue; Slide Show.

The Legend of Uli Jon Roth and The Scorpions

2011-05-26T22:59:00.000-07:00

"Just before he left the band, Michael Schenker asked me, in fact, to join The Scorpions. He told me what was going on with the UFO thing, which was supposed to be a secret. Then Rudolf Schenker rang me a couple weeks later, and said 'Did you know Michael has left the band,' and 'We've got this gig lined up, would you like to fill in?'"

And so it was that Uli Jon (Ulrich) Roth joined The Scorpions, and in four short years the guitarist created a legacy that still dominates any discussion of what has been an incredibly varied, and productive career. In those years (1974-1978), Roth recorded five albums with The Scorpions, and arguably created a genre of rock guitar known as shred. This last comment may raise the hackles of fans of Blackmore, Page, Schenker, Beck, and Iommi, but Roth brought to the table some skills that none of these greats could quite claim.

Uli Roth took the Stratocaster and Marshall sound of Jimi Hendrix and injected it with a sense of precision, daring, and technique that had not previously been demonstrated. His speed was unparalleled, his knowledge and use of theory unique to the world of hard rock, and his whammy bar histrionics set the stage for Edward Van Halen.

Speedy's Coming was the first song on Fly To The Rainbow, Roth's first album with the German rockers in 1974, and never had any guitarist introduced himself in such an auspicious manner. He begins every solo and fill with almost unbelievable violent tremolo bar work, performing huge dives, and shrieks only to follow them with fiery licks - all while keeping the guitar in tune, a trick unheard of in those pre-Floyd Rose days. Even Ritchie Blackmore rarely played with this amount of fury, and passion.

Two songs later, Uli sings and plays his first recorded composition, Drifting Sun. Roth sings terribly. Terribly beautiful - like some of the great singers - like Dylan, and like Hendrix. The man is a visionary poet, delivering his deeply spiritual and philosophical poems over some of the most adventurous post psychedelic rock ever laid to wax. Drifting Sun is equal parts Bob, Jimi, and King Crimson. Roth successfully marries All Along The Watchtower to 21st Century Schizoid Man, while simultaneously taking the art of rock guitar to a new and exciting level.

Uli Roth, "Thinking about the early days, it may be interesting for you to know that on a recording one gets no sense of the sheer volume at all, and it is actually and most definitely not an accurate representation of what the whole thing sounded like in real life. It may amuse you to know that during Scorpions days I always played with cotton-wool in my ears, both on stage as well as in rehearsals. I call that particular line of fire the “death ray”, because it is just that – the tone has little sideways bloom, but is thrust directly forward like a sharp laser beam."

Eddie Van Halen began playing covers of Speedy's Coming, and Catch Your Train before Van Halen the band had a set full of originals to call their own. By 1975 The Scorpions were doing big business across Europe (co-headlining with KISS), and debuting in England at the Cavern Club, most famous for being the Liverpool home of The Beatles. The band released their third album (their second with Roth), In Trance, which became RCA's best selling album in Japan that year.

In Trance was a departure from the band's psychedelia tinged prog/metal - the arrangements were simplified, and the hooks became catchier. However, that is not to say that in any way the band stopped progressing. In fact, this is the album in which Uli Jon Roth stepped up to write six of the album's ten tracks, including the LP's opener, Dark Lady. If you were to put this album on and not be impressed by the sheer force, and propulsion of this magnificent chunk of rock, your sanity may be questionable. This is about as exciting as rock gets. It screams, it howls, it shouts, and Roth is playing like he's being chased by the devil, though I suspect the opposite is true, and Ulrich has Lucifer on the run here. His playing is startlingly complex, and his audacity is stunning - he fearlessly performs stunts that still have my jaw dropping, more than 35 years later. Malmsteen never got this exciting, not even close - no question that Yngwie is a remarkable instrumentalist, but his playing exhibits none of the daring on display here.

Roth on technique versus soul, "Sometimes it is important to devote time to technical aspects - and to do this intensely - but this shouldn’t be one’s main focus for long – only for as long as necessary. To concentrate mainly on the technical aspects of one’s music making can become like a mechanical drug for some people. They become addicted to technique and in some respects hide behind it – to cover up a lack of musical depth or substance by fast, slick flurries of meaningless notes. There is a huge difference between playing fast runs that are dictated by finger reflexes and by those which have musical meaning, quality, and weight. Melody is usually the first victim of this approach – rhythmical precision and clarity of phrasing and expression are often next on the list. For a lot of players this habit can easily lure them into a trap that they may find hard to escape. The problem with this way is that there is very little connection with the deeper layers of music – with the inner content; there is a lot of musical activity, business – but very little of substance is actually being said, and achieved. Concentrating mainly on technique can lead to a musician’s alienation from the essence of music, and the player is then trapped in a perpetual scraping of music’s surface level, which means he is stuck in an immature state of musicianship and never gains any deeper insights."

Here's Uli on his equipment during this period:

1) The guitars were not modified in any way except for the heavy duty tremolo system.

2) My picks tended to vary – very early on I used Fender medium, but soon I started using stronger plectrums such as Joergensen Heavy, which I played for quite some time. The picks I use nowadays are even heavier.

3) My string gauges have always varied, but I have always favored heavier bass strings. The top-string during Scorpions was always an 008. The B probably 011. The G was 015 – the others varied a lot.

During Electric Sun I played heavier strings in general – on the ‘Earthquake’ album they were quite heavy with probably a 052 bass string and an 011 top-string. For the 'Fire Wind' album I went to slightly lighter strings with a 009 at the top – then I started favoring 014 G strings, because I preferred the sound.

4) The Roland 301 Echo only made an appearance just before Tokyo Tapes – I didn’t use echo before then during Scorpions days. (I did use it before Dawn Road, though). Whatever echo you are hearing on those albums was created in the studio.

5) I did have quite a few effects lying around and used them now and then – but not very often during ‘serious’ or melody driven leads. Here is what I can remember: I had an Electric Mistress Flanger which I used on a couple of occasions. The Univibe made its first and, I believe, only appearance on ‘I’ll Be Loving You Always’. I used a Dallas Arbiter Fuzz Face during ‘Fly To The Rainbow’ at the end of the song. This was also used at the beginning of the track ‘Earthquake’. The ‘Polar Nights’ lead sound was played through a Roland Jet Phaser, which you can also hear at the end of ‘Enola Gay – Hiroshima Today?’ The Wah-Wah pedals tended to be Vox Cry Baby. I played most of my leads through it back then in order to achieve a more singing tone, but onstage it tended to be very piercing and extremely loud, which is why I always used cotton-wool in my ears. I don’t use these piercing sounds any more, nor do I use cotton-wool, but against the drums these brutal, relatively thin sounds were cutting through better.

6) My main Marshall amp was always the same: 100 Watt Super Lead Tremolo from 1972. To this day I have not found a better one for my needs, although I have other Marshalls which sound great, but this one gives me more magic."

In Trance also signaled the beginning of a heavier straight forward hard rock attack, mostly coming from the riff rich guitar of Rudolf Schenker. Songs like In Trance, Top of the Bill, and Robot Man placed The Scorpions directly in the sights of the more commercial ears of Western Europe, and music fiends in America, who were starting to take notice of this Teutonic super-group. Unfortunately, due to a lack of faith in their commercial potential, The Scorpions with Ulrich Roth never stepped foot on American soil.

It was around this time that The Scorpions, and Uli Jon Roth came to my attention. As I recall, I was 16 years old, and had only just discovered the music of UFO, and the guitar wizardry of Michael Schenker. This discovery had truly shaken, and changed my world. Having previously delved into the typical American diet of Led Zeppelin, Black Sabbath, and Deep Purple, this new style of German hard rock guitar took me by force, challenging not just my musical skills, but my intellect, as I had to absorb not just a new style, but a new language. It took some time, and I vividly recall my first listen to the band's fourth record, Virgin Killer.

Highly controversial for its cover art (over which the band had no control, and little say), Roth had this to say about the cover, and the title track, "Looking at that picture today makes me cringe. It was done in the worst possible taste. Back then I was too immature to see that. Shame on me—I should have done everything in my power to stop it. The record company came up with the idea, I think. The lyrics incidentally were a take-off on Kiss, whom we had just supported on a tour. I was fooling around and played the riff of the song in the rehearsal room and spontaneously improvised 'cause he's a virgin killer!' trying to do a more or less way-off-the-mark Paul Stanley impersonation. Klaus immediately said 'that's great! You should do something with it.' Then I had the unenviable task of constructing a meaningful set of lyrics around the title, which I actually managed to do to some degree. But the song has a totally different meaning from what people would assume at first. Virgin Killer is none other than the demon of our time, the less compassionate side of the societies we live in today—brutally trampling upon the heart and soul of innocence."

My considerations at that point were more in trying to assimilate this new information. Guitars had never sounded like this to my ears, and the band's Germanic vocalization took some getting used to, something I am infinitely glad I was able to do. As recently as today, a friend has said that Klaus Meine's voice, "sounds like someone is sticking a broken wine glass in my ear." Well, not everyone likes Dylan, either. And Klaus Meine's wonderful voice is a walk in the park when compared to Uli's singing. Again though, you must be able to see through your conditioning to accept the voice of any true artist's soul.

Virgin Killer is Uli Jon Roth's greatest contribution to the history of rock guitar. Every song is a tour de force of incredible six string heroics, and from beginning to end, Uli is covering new territory, and expanding his virtuosic palette.

Pictured Life has Roth playing dizzying, fast cascades of notes interspersed with silky bends, and as is often the case, sees him harmonizing with himself throughout. Doubling lines, creating tension with tones, and always managing to do it within the composition - never sounding forced, or out of place, it is Uli's musicianship and taste that keeps his sheer musical muscle from being overpowering.

The next song on the album, Catch Your Train is a Roth classic. It's not hard to see why a young Van Halen set this as his six string high water mark. Throughout the entire song, from the feedback drenched intro to the horrifyingly fast fills, and solos, Uli Jon Roth again makes the case that in the year of our Lord, 1976, he is probably the finest practioner of rock and roll guitar on the planet.

Uli on Eddie, "I cannot really comment with authority on Eddie Van Halen’s playing since I have only heard brief snippets here and there, but never an album. The band actually came onto the scene at a time when I had lost all interest in listening to hard rock, which is why they passed me by. Maybe I should check them out. From what I have heard, Eddie played with emotion and conviction, I thought."

Jimi Hendrix has always loomed large in the artistry of Uli Roth. Roth obviously absorbed everything Hendrix did, and while you certainly hear the influence, it is especially apparent when you hear the guitarist slow down, and play softer, more emotional material. Yellow Raven the last song on the Virgin Killer album is perhaps the finest example of the German paying homage to his American forefather. And while it's the song's sultry rhythms that evoke the memory of Jimi, Uli's leads and fills are his unique brand of soulful bending, and masterful flights of fretboard fire that mark this as his own. The ending coda is superb in both composition, and execution, and stands as one of the finest fade outs in all of rock's recorded history.

By 1978, The Scorpions had spent many years, and traveled many thousands of miles establishing their brand in the world of rock and roll, but what had emerged was a coin with two very dissimilar sides. One side had the catchy metal riffs of Rudolf Schenker, and the other featured the more cerebral contemplations of Uli Jon Roth. It was a stew that served the hardcore fan such as myself very well, but confused the more casual listener, and left both sides somewhat dissatisfied.

Uli Jon Roth on rock, "The truth is that I have never loved rock music and it was never close to my heart, but I have always been fascinated by some of its aspects and certain possibilities or characteristics which I saw of artistic value for what I wanted to express. This is still the case. When I was in the Scorpions it was a distant dream for me to be able to do one day what I can do now. My playing in those days reflected early projections of that dream to the best of my abilities – but back then I felt extremely limited by so many things. Today I don’t feel limited anymore – I feel free and at peace with what I do – at least most of the time, but there is always room for improvement, and I do enjoy the journey.

"Back in the Scorpions days I also didn’t like the sound we created – I found it too mechanical and lacking mystery. But I felt the same with regard to many, probably even most bands – I think I also rebelled against certain formulas.

"In those days I really felt that our sound was too plain and also too brutal – lacking warmth. The recording process was too casual and we never explored anything in terms of sound. I clearly remember that I was usually highly dissatisfied with the results. I think we could have done it so much better – even at that time, but we were never in a studio I liked or had sufficient time to really get to grips with things.

"I know that there are many who don’t share these feelings of mine regarding those early days, but I think I do hear things differently from a lot of people – not necessarily better, but certainly from a very different angle."

By now, the magic had waned, and The Scorpions had become Uli Jon Roth's job. So, how do you think the maestro decided to handle matters? By recording two of what are still considered by most hard rock guitarists, and serious listeners as a couple of the genres finest records.

First came Taken By Force, this version of the band's final studio album. The disc includes just three tunes written by Roth, Your Light, a typically spiritual number in the tradition of Roth's balladry, the shred guitar classic, The Sails of Charon, and the prophetic, I've Got To Be Free, which features lyrics that state his case for leaving the band very bluntly, with lines such as: "I'm not your Bugs Bunny, and you're not my wife..." However, Roth's playing on the album is superb. He may have considered it a job now, but it was a job he performed as few could.

The album contains two of Roth's finest guitar moments, those being the whole of The Sails of Charon, and his epic soloing on the Monika Danneman penned, We'll Burn The Sky. Both are sublime examples of the finest, fastest, and flashiest rock and roll guitar playing.

Though Roth disagrees, I find his playing on this record to be as good as any he had done to date. His soundscapes on several tunes are as expansive as any, and his lead playing is fiery and inspired. Once again, album cover art became an issue (the original cover featured children playing with weapons in a graveyard). On this, Roth states their case with his usual elegance:

"I think the original idea was children playing with guns at a military cemetery in France and some people found that offensive. I don't think it's offensive because I think it was actually a quite a good image because it puts war totally into perspective, very often it is young people, eighteen, nineteen , going to war that don't fully understand life. When you're fifty you don't fully understand life, but these guys then have to shoot other people simply because someone tells them to do it for their country. Politicians are sometimes also children with guns, in all periods of time a lot of politicians are far too trigger happy and war too easily becomes an "easy solution", whereas for me it should never be a solution, there should be no war in the first place. Maybe every once in a while a country may need to defend itself, I understand that, but in general if you consider that there are over a hundred wars raging in the present day on this planet alone then it's just sheer lunacy and always the tool of the Dark Side. Usually bad things come from war, very few good things, but sometimes good things come from bad things, that's true, nothing's that black and white. It's always the wrong solution to kill people."

As you can see, Uli Jon Roth is as good with language, and with his thoughts and philosophy as he is with an electric guitar. He is an artist who lives his art as much as he has ever performed it.

Tokyo Tapes. Uli Jon Roth's final recording with The Scorpions. I could write another lengthy article just on this record, perhaps the greatest live document laid down by any rock guitarist, but I won't. I will simply tell you to listen to it. To listen to this album is to realize why the legend of Uli Jon Roth's work with The Scorpions still stands as the template for much of the heavy music that has followed.

tony conley

The quotes used in this article come from Uli Jon Roth's website - questions asked by fans, and answered by Roth. I have attempted to use them in proper context, and with original intent and meaning intact.

God Bless UFO

2011-05-18T09:01:00.000-07:00

"I've a bet with the drummer, 50 quid....he says I'm gonna fall flat on my face."

Phil Mogg is leaning heavy on the mic stand, and smiling, having just led his band of veterans through a spirited rendition of 1981's The Wild, The Willing, and The Innocent, and before counting off the classic rocker Mother Mary, he's had his first jibe at his band-mate for some 42 years, Andy Parker. It won't be near the last of the evening, and he wins the bet.

Tonight, UFO played a blinder of a set, tearing their way through a catalog that the audience knew like the backs of their hands. The band performed as if they were in front of 10,000 instead of 500, and the fans responded in kind. It was a genuine love fest, with both sides reveling in a long shared history.

Dayton is one of but 14 cities in America seeing UFO on this tour, chosen, no doubt by its longstanding love affair with one of Britain's greatest hard rock acts. There is a staunch sense of survival on both sides, with each losing as many as they've won over the years, but neither willing to say so on this cold, rainy evening. No, this is a night of victory, celebrating the fact that all are still not just standing, but rocking.

Mother Mary kicked off side two of the band's 1975 release, Force It, and for good reason it has never left the set list. Vinnie Moore has been playing this riff laden rocker for more years than any of the group's guitarists, and he delivers it perfectly, replicating some of the original's scorching leads and fills, and adding more than a few of his own. All night long Moore fuels the band's many great songs with a delightful nod to the past, and constant reminders that he is his own man, a great guitarist.

Next up is Saving Me, from the band's last studio album, 2009's The Visitor. This number exposes UFO's bluesier roots, with Moore playing some tasteful acoustic slide guitar during the intro. Vinnie saunters seamlessly several times throughout the night between electric, and acoustic, segueing between the two smoothly and to great effect. Phil Mogg sings the song with his usual deep sense of sincerity. Mogg may be the consummate member of the boys club between tunes, but when he sings, it is with a passion perhaps unrivaled since the departure of Thin Lizzy's Phil Lynott. His understated melodies, and masterful phrasing assures that these are songs straight off his sleeve by way of his heart. Mogg has long been one of rock's finest, and most underrated front-men.

Let It Roll is met with a huge acknowledgement of recognition by the fearlessly faithful, who howl when they hear Moore sound the tune with those eight bars of beautiful feedback which are followed by the tune's steamroller rhythm. Let It Roll is a song that UFO has been playing effortlessly for a great many years, and their effortlessness belies the staggering amount of skill, chops, and energy required to make it through this complicated, and unconventional composition. The song winds along, through the heaviest of metallic verses and choruses, only to be interrupted by two forays into decidedly Germanic gypsy tinged sections. the first is a staggering stream of choppy single notes, that then lead into a fiercely romantic, and melodic solo section, in which Moore is joined by one of rock music's finest keyboard players, Paul Raymond, who matches Moore note for note through a complicated scheme of harmonies. Raymond has long been the perfect fifth member of the group, exchanging his keyboards for some great rhythm guitar chugging when required. By the song's blistering riff of an ending, the band has conquered the audience completely, and it's a full minute of appreciation before the band can get on to the next.

Given the length of UFO's career, it is only fair that they should delve into newer material, though one gets the impression that the fans wouldn't mind a note by note replay of the band's 1978 classic Strangers In The Night, which still stands as one of the greatest live records. Helldriver, and Venus are next on the set list, and both grab the audience, and bring them along through an update of the band's history.

By now, Mogg has upped the ante, telling Andy Parker that now each song he gets through will cost the drummer another ten spot. The drummer replies that Mogg can subtract it from his past debts, and with that, these fellows who have aged so very gracefully (it's easy to forget the times when it looked as if the wings had fallen off the spaceship) slam head first into another rocket shot rocker from 1975's Force It - the staccato, hyperactive blues of This Kid. Again, Vinnie Moore takes the riffage of another guitarist, and captures the essence of the tune before unleashing some virtuosic torrents of his own.

Moore and Raymond then team up for the beautifully melodic intro to I Ain't No Baby, and the crowd goes nuts, as this number is a longtime favorite, but one seldom seen in the band's live sets. This tune is a Phil Mogg tour de force, and the singer milks it for everything it is worth, hitting every note with great precision, and emotion. UFO's songs have always been a nice combination of streetwise cockiness mixed with a born to lose vibe, and once again audience and actor are sharing the same space in time.

Only You Can Rock Me takes me directly back to the first time I saw the band, opening for Aerosmith in 1978 at UD Arena here in Dayton. It is as if 33 years have lapsed in an instant. From the song's instantly recognizable intro, to the melodic single note underpinnings of the verses, and onward into one of the most memorable guitar solos in rock history - once again the band tosses it off with aplomb and ease. Grace has perhaps been the true mark of this group, their ability to go from street kid toughs to sublimely sophisticated musicians in the blink of an eye, without a moment's pretension. Hard rock has perhaps not seen another band with more class.

The audience again goes completely bonkers, and the band basks in the reflected glory of shared love.

Vinnie leaves the stage for a well deserved toweling off, and guitar change, as Mogg again addresses the crowd, "This one is about a love affair that went not so well....It's called Try Me."

Paul Raymond's years of discipline, and practice at the piano were never more on display than when this truly elegant man plays the gorgeous introduction to UFO's finest moment of balladry. Mogg delivers this with a look and sound that suggests he means it now, as much as ever:

"Try Me, oh take me for a little while,
Before it's over, and you leave me with just a smile,
Try Me, oh let me be the one,
You say it's over, but for me it had just begun."

Vinnie Moore then nails one of the most distinctive of solos, a signature set of notes laid down by one of the best guitarists to ever pick up the instrument, and though he brilliantly changed a section and inserted his own take on the art of emoting perfectly through six strings, the audience was none the wiser, and wisely accepted the solo as his own.

If it had ended there and then, there would have been no complaints, but actually this seasoned band of veterans were just getting wound up, and it was time for a ferocious bolt towards the finish line as the band proceeded on to play perhaps their five best known tunes.

UFO were not always a club band, no. There was a time when the band was at the crest of super-stardom, back in 1977, coincidentally, the year I graduated from high school. The band released what heavy metal critic/talk show host Eddie Trunk has called his favorite album, the incendiary Lights Out. The album flew up the Billboard charts in a day when the charts still meant something, when we actually bought the music we chose to listen to. Lights Out knocked on the Top 20's door, arriving at 23, almost unheard of for what, at the time, was considered a heavy metal record. The band was always more melodic than metal, but rock wildly they did, and never more so than with the album's lead single, Too Hot To Handle."

I've not yet mentioned bassist Barry Sparks, but filling the shoes of the truly legendary Pete Way is as difficult a job as there is in all of classic rock. Way co-wrote a great many of the songs being played tonight, but more importantly he had what is so very rare, a tremendous stage presence. Pete Way was a direct influence on Iron Maiden, and Def Leppard, as well as indie rockers Guided By Voices. As much as an absent guitarist can create a gaping hole, so can the band's spirited cheerleader, the life of the party itself.

Sparks is a veteran with an amazing resume, including time spent with Yngwie Malmsteen, Uli Jon Roth, Ted Nugent, Dokken, The Scorpions, and of course, the Michael Schenker Group. Not just a great player (and he is a monster of a musician), Sparks is a tremendous performer, singing every word of every song, engaging the audience constantly, and conveying the sense that there is no place better in the world than onstage with a great rock and roll band. I can think of no one better to fill Pete's shoes, and as a player, no one can argue that he's a great musician.

Someone close to the band of old suggested to me before the show that I was about to see, "....a crown without the jewels." Actually, nothing could be further from the truth of the matter. Don't get me wrong, I miss seeing Michael Schenker and Pete Way playing in UFO. Anyone who ever saw them would. But, it is by their choice that they are no longer members of UFO. UFO is still a very great rock and roll band, not a tribute, not a substitute in any sense.

Doctor, Doctor is the oldest and perhaps most beloved song of the evening, dating back to May of 1974, and the Phenomena album, the first with which UFO dented the American consciousness. Another timeless classic that the audience sings as loudly as the band, and the smiles upon the faces of everyone in the room says it all.

You can tell a UFO fan by walking up to any fifty year old rocker, and simply saying, "Misty green, and blue." If they are a fan, and they inevitably are, they will respond with, "Love to love to love you," the chorus of an epic tale of rock and roll and the road, Love To Love. Yet another complex arrangement that would leave even the most competent musicians scratching their heads, the song sees Moore switching from electric to acoustic throughout, and playing some of the best guitar of the night. The entire band is highlighted on this wonderful old gem that leaves some in the audience a bit misty themselves. Maybe that is the greatest thing about this great night - the fact that everyone appreciates. The audience loves, and appreciates the band - deeply. The band loves, and appreciates another night of glory and shared feelings. This is the truth of rock and roll. This is UFO.

Mogg has been playful with the audience and the band all evening, and especially with the aforementioned Andy Parker, who incidentally is playing as well as I've ever heard him play, bringing a carpenter's slam to every snare shot, and directing the newer kids with his expert timing, and fills. Now, Phil gives the audience a hand in song selection, asking if they'd rather hear Rock Bottom, or Lights Out.

Rock Bottom is a riff like no other. It suggests nothing that came before it, and it has not been copied, or cloned. It is as unique a riff as exists. Vinnie Moore, and the band take the audience on a twelve minute journey that is amazing to watch. It contains all the elements essential to the band, and expand on what has preceded it. Paul Raymond is once again masterfully switching instruments, and his duets with Moore are as breathtaking as they were with Schenker back in 1978. Harmony and unison lines are passed back and forth with daring, and precision. If there is a better rocker with which to end a show, I've yet to hear it.

And with the completion of Rock Bottom, it is, "Thank you, and good night."

"UFO, UFO, UFO, UFO, UFO, UFO, UFO, UFO, UFO...."

That's twice tonight that I've heard this chant, and twice that its sheer energy and exuberance have blown me away.

Once again, Mogg plays the gracious host, and offers his audience a choice. "Lights Out, or Shoot, Shoot?"

Lights Out it is, and I have to believe the crowd made the right call. The blistering pace of this number makes it the perfect encore. 'Hold on tight, until the end,' indeed, and we do, as Moore and Sparks take this one beyond the limit, and into territory both new, and exciting. These two outstanding players bring to this band a combination of extraordinary musicianship, and beautiful enthusiasm. Though many years younger than the band's founding members, better band-mates could not be found. I honestly cannot remember when I've seen a band have more fun onstage than this bunch did tonight.

To those members who I first saw back in '78, I offer this:

Phil, Andy, and Paul - I thank you fellows from my heart for a great, great many years of service, and enjoyment. For everyone in the audience tonight, I think I can say that this was a great one, a show we will always remember, a night that made us recall why we love rock and roll, why we love UFO so dearly.

Joe Bonamassa: Coming Into A League of His Own?

2011-03-22T23:04:00.000-07:00

"I told Joe after the show that he was getting to the point of being in a league of his own. I told Tal Bergman the next night that I had never heard a new member change a band so much (in a wonderful way). I told Rick Melick that his Hammond cut through the way I had always wanted it to. I told Carmine Rojas that it was fantastic to hear him off his leash, and sounding like Carmine Rojas again."

These were my words, written to Joe Bonamassa super fan, Patty Patrick, after I attended two of the axe-slinger's shows over the past weekend, and I meant every word I uttered.

As individuals, the entire band took my words with humble acceptance, but all beamed at my thoughts. They know they are on fire, yet remain focused on the work, and refuse to bask in too much of their own limelight. Bassist Carmine Rojas (David Bowie, Rod Stewart, and a long list too lengthy to print) was the most animated and outspoken, saying that the addition of drummer Tal Bergman had indeed reinvigorated the band and ratcheted the sound up significantly, which incidentally, is quite an understatement.

Drummer Tal Bergman joined the Bonamassa band shortly after the departure of longtime fan favorite, Bogie Bowles late in 2010. Bergman had previously worked with Rod Stewart, as associate-producer and drummer on the platinum and Grammy nominated album (7 million world wide) It Had To Be You...The Great American Songbook. While this is certainly a wonderful accolade, it in no way prepares one for the powerhouse tub beating that Tal brings to the Bonamassa live show.

As I told Bergman, I have never seen one individual impact the sound of a band so much with their presence. His animated antics, and superb command of the drum kit takes the show up a tremendous amount in terms of energy and excitement. From his subtle underpinnings on Sloe Gin, to his astounding assault on The Who classic, Young Man Blues, the drummer prods Bonamassa and the band to heights previously only hinted at.

Going to the show, I was somewhat flummoxed by the fact that I had interviewed Carmine Rojas almost a year ago, yet had failed to produce a word publicly. However, it became apparent almost as soon as the show began why I had failed to do so. I am a huge believer in timing, and the concept that things often happen in their time, and as they should. When I saw the band later that night after I had spoken with Carmine back in May of 2010, I must admit that I was somewhat disappointed. I have been a huge Rojas fan since the Bowie days, and frankly thought he was playing beneath his capabilities. Not bad, not poorly, but also not the bass voice that had so driven Bowie's China Girl to the top of the Billboard charts (when those charts meant something). Something was amiss, but I only realized a few nights ago that the band was playing well, but not nearly up to what was possible.

Joe Bonamassa lives his life out on stages before thousands of adoring fans most evenings. Long ignored by the mainstream music press, the guitarist has slowly worked his way up to being perhaps the most powerful stage act in the world of blues and classic rock. His ascent has been both disciplined and logical. Bonamassa, and his manager/business partner, Roy Weisman, have grown their business in a very intelligent manner. Larger stages, longer shows, better bandmates. His fans have loyally followed this growth, and have also grown hugely in number along the way. As for me, I came to the Bonamassa universe late in the game, only in the last few years, so I saw things a bit differently. Certainly as a guitarist, Joe Bonamassa has long been the king of the American blues scene, but only more recently has he catapulted his way to the top of the heap in the realm of guitar greats such as Clapton, Kossoff, Page, and Moore, the demi-gods who transcended their blues roots, gained rock credibility and became icons of the music world, transcending labels. While I agreed that Bonamassa had a great set of hands, I was not so convinced until the last year that he had achieved greatness. Now I am convinced.

Bonamassa's technical prowess has never been in question, the kid always had great chops. However, I have never seen a musician grow more in a short period of time. His playing has improved tremendously. He has found his own voice, a voice that recognizes the past, but also blazes its own path. Where before I heard many echos of players such as Jeff Beck, Eric Johnson, and others, I am now hearing a voice that is more closely identifiable as that of Joe Bonamassa. Much of this seems connected to the almost amazing leap in the guitarist's singing abilities. He himself has often stated some misgivings about his vocal abilities, but I believe this will now be a thing of the past. I must think that both the experience of watching, and listening to Black Country Communion bandmate Glenn Hughes, and the pressure of having to sing alongside the force of nature that is Hughes' voice has upped the ante considerably, and that Joe has risen to the occasion. His singing is stronger, more powerful, and more adventurous than ever before. This also translates straight to his guitar playing. His style is becoming more passionate, and more exciting. His vibrato sings with a new soul that is recognizable to any astute listener. His guitar melodies, and solos now echo the voice coming out of the man, not just the instrument.

New songs such as Dust Bowl, and Slow Train display a new side of Bonamassa that he has been heading towards for several seasons - heavy, swampy rock, filled with passionate vocalizing, and some of the most distinctive guitar soloing to be heard. This is especially true on Slow Train, in which the guitar and vocal tracks sound in league with the lyrics, and the musician producing them. The guitar solos on this tune are remarkable in conveying not just a player's prowess, but the song itself. Live, these tracks are incredibly powerful, immediately grabbing an already attentive audience by the throat, and forcibly bringing them along. You can almost here the shock in the audience as it responds to the new band's sheer force. It's a joy to hear, as traditionally, Bonamassa fans have clung to the bluesier roots as the guitarist has evolved more towards a larger and more adventurous rock posture, one that suits him perfectly. It's great to hear an audience grow alongside an act.

Guitar fans should find this tour to be maybe this year's best catch, as Bonamassa brings out some of his finest pieces, including a 1959 Gibson Les Paul, the most iconic instrument in the world of the electric guitar. This particular Les Paul, one of many Les Pauls Joe plays in the show, sounds unlike any of the others, and it becomes apparent why this axe is the grail. It sings with a purity unrivaled, a bit cleaner and leaner than the higher output Les Pauls of today, evoking the memory of Peter Green, and the Eric Clapton of the Mayall days. His tones are always impeccable, and he judiciously tosses in some great wah tones, some serious Leslie cabinet emulations, and his longstanding use of the theramin to keeps things interesting, and moving along. You never get bored by the sameness of arrangements, or sounds, the curse of many a modern blues rocker.

The band is blossoming on stage, in just the short time they have been working together. It's a joy to see musicians' heads whirling as they laugh appreciatively at great riffs, or unanticipated improvisations. Joe Bonamassa is having a seriously good time with this band. Drummer Bergman has lit a fire under these fellows, and he seems to enjoy it tremendously. The interaction between Rojas, Bergman, and keyboard player Rick Melick is constant, as Bonamassa fires off volley after volley of great guitar licks, rarely repeating himself in a show that has grown by a half an hour in the last month, simply due to the band stretching out and enjoying the jams. I saw Carmine Rojas shaking his head in appreciation at certain points in which Bonamassa sang a certain line with great soul, and conviction - this from a man who shared stages with Rod Stewart, and David Bowie for over 20 years. Also a joy is watching Bonamassa and Rojas furiously trade licks, not ever wondering or worrying that Bergman would relinquish the time, or tempo. I must also give mention to the excellent tones, and notes produced by keyboardist Rick Melick. The Australian had been noticeably under mixed in tours past, and not only is he now more audible, but he has brought along a beautiful, and powerful Hammond B-3 organ this year. I must admit to missing his harmony vocals, though. He manages to hit some of the old harmonies on his synth, but I definitely prefer him singing. The volume of the keyboards, and the addition of the B-3 largely speak to the issue of tour economics, and crew size than to any other factor. Front of the House soundman/tour manager Warren Cracknell is on board again, and doing a better job than ever as the band gets considerably louder, yet more balanced and pleasing to the ear.

I may get a bit of stick from longtime Bonamassites who have been on the Joe train for a longer period, but that's okay. I am a damned hard fellow to please as a I look at everything in a very big picture. When I compare a guitarist to the likes of Page, Moore, Kossoff and others, I mean it. You can't be close, you have to be there. I don't relax standards, ever. I have waited to write about Joe Bonamassa as a solo artist for a while, sometimes to the irritation of some, but have done so for a specific reason. I was waiting for him to become someone I could compare to the few at the top of the hill. I thought that he might, but refused to speak prematurely. I stated last year when writing about Black Country Communion that he had turned a corner, and had made tremendous progress. I was right. I have never seen a musician work more diligently, and have rarely, if ever seen such startling improvement in a brief period. Joe Bonamassa has become a maestro in his own right, and I see no end in sight. If you have hesitated in the past to give the guy a shot, now it is time to pay attention. Buy the new record, see this tour, and expect to be blown away.

Greatness is a term bandied about much too readily, and has over time become besmirched, and lost some gravitas. Joe Bonamassa has achieved greatness. He has a band that is equal to his talents, and that works as hard as he does to please, and thrill their audiences. The package is complete and has been delivered. As I stated, Joe is now approaching a league of his own. What I meant by that, Joe, is that you have climbed the mountain, and have planted your flag. There are very few guys left out there who can play great guitar, write songs, sing them passionately and with conviction, and can fill seats in the manner in which you are doing. Congratulations are in order. Your tremendous passion, and work ethic is paying off handsomely.

Thanks to all in the Bonamassa camp for their hospitality, and their time. I got to speak with the whole band, and manager Roy Weisman over the weekend, and was able to properly determine that what I had thought was true, was, in fact - that this band is as thrilled as their audience about this tour.

Photos courtesy of Libby Sokolowski. All rights reserved. Thanks to Libby for the connections, logistics, and so much more.

Gary Moore - Rest In Peace

2011-02-06T16:48:00.000-08:00

It's terribly difficult to put into words what I am feeling on this cold, wintery Sunday afternoon. Just this morning, I wrote a defense of Gary Moore, only to hear hours later of his death. I am, along with a great many others, shocked and saddened.

I have been a huge fan of Gary Moore's since I was about 16. I saw Moore play with Thin Lizzy, and it changed my entire musical worldview. At that age I had never witnessed anyone play with such passion, and enthusiasm. It was as if the music passed through him like electricity, as he jumped, grimaced, and writhed through the show. No mere posturing, the notes revealed a stunning amount of emotion and conviction. He never lasted long in Lizzy, as he was fueled by his desire to sing and write his own material, difficult to do in a band with Phil Lynott, but when they did unite it was always exceptional.

As a solo act, Moore rapidly became a huge star throughout most of the world. He headlined festivals throughout Europe, sold out tours of Japan, and sold millions of records. His status as one of hard rock's greatest guitarists grew, but his dissatisfaction with the music led him back to his first love, the blues. It was there that Moore finally cracked the American market, selling out arenas, and achieving platinum status.

The legend of Gary Moore is inextricably entwined with that of his much storied guitar, the Peter Green Les Paul. Moore had purchased the guitar from the Fleetwood Mac guitarist many years ago, and played it with Greeny's full blessing. Several years ago, Moore was forced to sell the Gibson to cover expenses for a tour canceled as a result of a hand injury. The sale is still a matter of considerable controversy, and the pain and frustration Moore felt about the situation was well known. He sold the guitar with the understanding (in his mind) that it would not be sold again, but the guitar is now on sale for some four times what he received. However, it was not the money that pained him, but rather what was to become of the guitar.

I had the pleasure of meeting Gary briefly at a guitar shop in Houston, Texas. I was playing a guitar, and noticed someone standing above me. I was rather shocked to realize it was Moore. He was to play a show that night, and I had tickets, but seeing him face to face with me playing guitar was not expected. He complimented my playing, saying that I had a nice touch. That comment has always meant a tremendous amount to me, and will never be forgotten. I had the pleasure of seeing Moore play on three occasions and each time came away more impressed. He gave every night all he had, and that was always more than enough. I often posed the question as to whether he was a better guitar player, or singer. He was as good a musician as I have seen. I feel honored to have been in his presence, and to have had the pleasure of seeing him work.

Several years ago I had a guitar built for me, a replica of the Peter Green Les Paul, completely due to the influence, and love of Moore's playing. It, without question, was the best guitar I ever touched, let alone owned. The guitar got stolen several years later, and I miss it to this moment. I suppose I'll not soon again see the likes of it, or Gary Moore.

The world is less one great musician today, and my thoughts and prayers go out to all who are feeling this great loss. I am not sure if it has completely sunk in, but it sure has hit me hard.

Thanks, Gary, for all that you gave us over the years. The world was made better by your presence. Rest in Peace, my friend.

David Lowery - The Palace Guards - 5 Stars

2011-02-01T17:02:00.000-08:00

David Lowery has had a long and successful career as songwriter/vocalist/visionary for two well loved bands, Cracker, and Camper Van Beethoven. He's done a hell of a job at it, without question. But let's forget that for now. Act as if it never happened. Maybe just a dream we had. Let's instead focus on his debut solo album, The Palace Guards.

The Palace Guards is the second great record I've heard in 2011, and it is the best set of songs I've heard in some time. It sounds as if Lowery has shaken off the shackles of compromise, and chosen to follow the path of his own personal muse. This record sounds like a direct line to the artist's intentions; as if his will were pipelined straight onto the disc. All the considerations of record companies, band mates, and concessions to industry have been left alone, cast aside. And perhaps it may well be that all these things that get between a songwriter and his records are precisely what must be removed for an artist to reach full maturity, his full majesty.

Lest you think that this means that this is an album stripped bare, I do not mean to imply that. It is filled with tasty backing by a bunch of obviously experienced musicians who listen intently, and add their parts with great empathy and skill. The Palace Guards is a great sounding record from beginning to end, filled with subtle twists, surprising changes, and great playing throughout. There's a wealth of strange textures, unusual instrument choices, and an overall sound that harkens back to the best records coming out of Britain in the 60s. But, for all the soundscaping that goes on, Lowery's songs and voice are always the main attraction, and he's at the top of his considerable game.

The album kicks off with the title cut, a great piece of endearing pop sophistry reminiscent of the best British psychedelic/folk music. Far be it from me to tell you exactly what Lowery is getting at lyrically on this album, but if I were guessing, I'd say that at 50 he's looking upon not just himself, but the world at large and coming away disappointed, yet hopeful. He seems to have his teeth bared, but with a healthy dose of sympathy, and understanding. The Palace Guards are revealed as somewhat malevolent, but perhaps that was not their intention - maybe the responsibility of making all the decisions for so long just slowly, and imperceptibly corrupted them. Sonically, this one is pure ear candy, driven by Lowery's always excellent acoustic guitar work. Take notice incipient band leaders: it all starts with a solid accompaniment, and Lowery has long been a master. There are a bunch of great sounds, and an abundance of great playing going on, but it all serves the song, and decorates Lowery's words and guitar with taste and distinction.

Raise 'Em Up On Honey is a rollicking, toe-tapper of a hoedown, kicked off by a nice melodic harmonica that is joined by a subtle banjo, before some gorgeous pedal steel guitar rings in the first verse. This is Lowery singing in his best everyman twang, a voice that is friendly, familiar, and trustworthy. Lyrically, this one serves as a wonderful description of the plans brought on by the disgruntlement that drives both the green lifers, and the militant militias back up into the mountains. Coming in the footsteps of the title track's beautiful pop tapestry, it is amazing that this jump to Appalachian folk should be so easy to swallow, but this bunch makes it sound completely natural.

Deep Oblivion is well worth whatever the cost of this album may be. This song reminds me of the Hindu story of the husband of Maitreyi, who at a certain age, tells his wife, "I have decided that I have had enough of this world. Everything that we have, I will give it to you and I am going into the forest to find myself." Then, Maitreyi, his wife asks, "What makes you feel that I will settle for mundane things? When you go for the real treasure, what makes you think I will go for the petty things? Will I settle for trinkets?" They then both go to the forest, and live as realized beings. If Lowery goes into the wilderness, he's not going alone. It's a family affair.

Poetically, Lowery seems again to be considering stepping away from his world while simultaneously weighing the risks. Musically, this is a great travelogue. Why do rockers make such better use of steel guitars than do their country counterpoints? This has me thinking back to George Harrison's All Things Must Pass and Lennon's Mind Games, both so filled with mental musings and beautiful sounds. The sound of this track will have you hitting repeat to absorb Lowery's lyrical travails. Gorgeous.

The next track, Ah, You Left Me, has Lowery covering a song that sounds as if it were written by a fan of Lowery's. Yet another tasty dollop of production wizardry - this one is cinematic in its tones and textures. A great stew of guitar tracks; from haunting arpeggios, lilting tremolo pads, to a deliciously double tracked guitar solo. If there were still real hit singles, this would be one.

Rock and roll rears its ugly head, loudly and proudly on the droll Baby, All Those Girls, a tongue in cheek confession that has been intoned by many a guilty road rocker. This is a, "Just a way to pass the days until I return to you, done you wrong, love song." By far the record's rockingest cut, filled with chainsaw rhythm guitars and cool synth underpinnings.

I Sold the Arabs the Moon has Lowery wondering what you do after you've sold everyone everything they desired. It is a despotic view reflecting upon what's come before, and what it may all mean. Laconic violins accompany the storyteller with great sympathy, disarming any sense that perhaps it all meant nothing at all.

David Lowery plays Houdini on the next track, Marigold. Out of whole cloth he creates a song that's not really there - a dream, or an imagining - or perhaps they are just a bunch of lines that sound good when sang, at least he'd like to have you think that. I think that once again this has Lowery singing (unconsciously?) about his journeys through his past, those that lead an artist to finally going it alone. Looking back over travels, tales, hits, and misses, maybe in a few years this one will be easier to comprehend. Or, maybe it is just that - a bunch of lines that sound good when sung....another beautiful track at any rate. If it means this, that, or nothing at all, it sounds wonderful.

This album features some of the most organic, well placed keyboards that I have heard since the days of Garth Hudson, and the track Big Life has them in spades. The introduction is a minute of sonic bliss, with a compelling melody being driven by a very Keltner-esque drum track that propels the tune perfectly. If you don't know who Jim Keltner is, then it's time you Googled him and got schooled - he may be the best session drummer ever. But, I digress. This whole record has me going back and forth, one moment focusing on the great musical arrangements, then being reeled back in by Lowery's engaging vocals and words. A fun record to listen to, and get lost in. "It worked out alright, 'cause it's a Big Life."

David Lowery doesn't want you to know just how autobiographical this record is, hell, he may not even realize it himself. He reminds me of my old friend Robert Pollard, another master of obfuscation, and melody. They are two of the best songwriters of the last half century, and it pains them both considerably, it would seem, to consider this notion. However, this fact is immutable - David Lowery has made the best record of his career, and he did it under his own power.

Submarine closes out the album beautifully. This is another tale that could be interpreted as this or that, or maybe nothing, but I'm guessing it's as straight ahead a love song as we'll get. I may well be wrong, but this whole record sounds like a very well written if somewhat disguised love letter, wrapped in some historical and political dissatisfaction. Lowery may be a little pissed, a little disgruntled, and somewhat belligerent, but he can't hide a root optimism, and love of his life and art. If nothing more, he's made an incredibly listenable disc that will spend a lot of time in your player. Like I said, it's the second great album I've heard this year, which gives me some much needed optimism as well, so thanks, Dave.

This is another record that you should buy - spend your money on - pay the artist. Most new music is free because that is what it is worth. This is a piece of cool art, created by a working artist. The world needs to support the good stuff, and here you vote with your dollars. Sorry to go on, but I feel that when someone does something that pleases you, you owe it to them to respond appropriately, and in this case it means buying the artist's art.

For some great background and good reading, check out David Lowery's excellent blog:

http://300songs.com

Lars Haavard Haugen - The Truth and Six Strings - the interview on the album

2011-01-21T03:52:00.000-08:00

"You know, Tony, that's it. We spend all those years playing, to finally be ourselves."

And so it is, was, and always shall be. The humble words of any great musician who has accomplished the ages old task of discovering, learning, and mastering their trade to becoming not what, but who they are. There are no shortcuts to musical greatness, and Lars Haavard Haugen has taken all the steps necessary, and has achieved said greatness. This is reflected in his many years, and records with Norway's Hellbillies, and never more so than on his first solo outing, Six Strings and The Truth.

You most likely do not yet know Lars, or his work if you are an American reader. If you're reading this in Norway, you've probably been enjoying Haugen's work since the early nineties. On January 31st, Six Strings and The Truth will be released by EMI Norway, and hopefully available to American listeners via iTunes. Here is the official video of Landscapes, the album's first single:

I spoke with Lars yesterday at some length about a great many topics, but we started with his new record.

Lars Haavard Haugen, "I have been thinking about this for many years, to record a solo guitar record. I worked on my writing and playing for a long time, and finally felt that it was time. I began recording this in January of 2007, and worked on it between tours, records, and my other work as a producer and session player."

It was a little surprising to hear that the record was tracked over a three year period, as it sounds so coherent, and spontaneous that it could have been tracked in a month. While the range of styles and technical skills involved are tremendous, the record is an amazingly easy and enjoyable listen. Haugen had this to say about the process:

"That is probably due to the fact that we recorded it in my studio, using basically the same equipment throughout, the same rhythm section, and mostly the great engineering of my partner at the studio, Lars ( he laughs, and doesn't give a last name, and I forget to ask). Lars handles all the technical end so as that I can focus on writing, and playing the guitar.

"We cut the record mostly live, though I did on several tracks record the guitar separately, mostly to utilize our large room, and play very loudly, utilizing various microphones and techniques. Sometimes, on tracks such as The Drone, I played in the control room, and recorded the amps in our room to capture a huge sound."

One listen to The Drone and you will instantly hear what Haugen is saying. Utilizing a Jerry Jones twin necked 6 string/baritone, the opening of this tune is as big a sound as I've ever heard captured, as if Haugen had channeled John Entwistle's huge bass tone, and combined it with his own unique guitar voice that evokes everything from Brett Mason to Jimmy Page, but always manages to sound like Lars. The man has his own unique presence, quite apart from his influences.

"Back in the seventies, my brother returned home from studying in America, and he brought with him many American albums. I was taken by the Dixie Dregs. They greatly influenced my playing (I was in my teens at the time), and the way they changed directions within tunes really stuck with me. I have tried to incorporate that into my work. I like to keep things interesting for myself, and the listeners."

Haugen also mentioned Albert Lee, Brett Mason, and some other seminal pickers as early influences. Certainly their influence made an impression on not just Haugen's playing but also on Lars' guitar choices:

"I recorded a great deal of the album with my Tom Anderson Hollow-T. I really like its big, full tone, but it still retains great Tele tones."

For those unfamiliar with the Tom Anderson Guitar Works magic, here's a few words from the maker:

"To be able to consistently deliver this mystical tone, Tom Anderson Guitarworks created the Hollow T Classic. The hollow chambered body nurtures a healthy fullness without giving up the twang factor. In their July 1993 issue, Guitar Player Magazine conducted a monumental guitar test. They called it “Tele Visions.” The banner on the cover of the magazine read “Shootout! 32 Telecasters & Tele Copies Rated.” They compared 32 “Tele”-style guitars from all different manufacturers. The winner was the Tom Anderson, Hollow T Classic. They concluded their write up of the Hollow T Classic by stating, “In our humble estimation, it just doesn't get any better than this”—very nice of them to say so," Tom Anderson Guitar Works.

Haugen adds, "I also used my PRS David Grissom model which I enjoy playing a great deal, a Collings L-35 that I used on parts of The Drone, and the Jerry Jones double neck with the baritone neck on the bottom, and six string on top."

I commented on the tremendous, dulcet tones on the re-recording of an earlier Hellbillies title track, Urban Twang, asking Lars which guitar he used for the lovely Bigsby sounding trem work. He looked at me with some surprise and laughed quite heartily. Then he spoke:

"Ha, there is no tremolo bar on the album at all! All the bends are just bends as I played them," He said with a rather large grin, "I am a big fan of Albert Lee, and especially of Jerry Donahue, do you know of him?"

Then it was my turn to laugh. Jerry Donahue pops into my life from time to time, I have worked with Jerry on several occasions, and he is a dear friend of my editor, and of course, I have enjoyed his playing since his days with Fotheringay, and Fairport Convention. If I'm not mistaken, I think I also consulted on some early beta testing of the Whirlwind JD-1 preamp pedal that Donahue designed.

Lars continues, "All of the notes are my bendings. I love pedal steel, which I play some, and have always sought to emulate, and integrate pedal steel bends into my regular guitar work. It adds to the expression."

Urban Twang (Slight Return), is destined to become this year's big guitar instrumental track. Classic in the same sense as Cliff's of Dover, Surfing With The Alien, and dare I say, the Santos and Johnny classic, Sleep Walk. Yes, it is that good. Its melody, poignant, and heartfelt will remain with you - expect to be humming its refrain for some time.

I first became familiar with Lars through his relationship with 65 Amps. He had attended an amp unveiling party just prior to NAMM ( a few months, actually), and their attention towards him garnered my interest. I asked him about how he discovered 65 Amps:

Lars, "I was introduced to 65 Amps by their Norwegian dealer, VINTAGE GITAR. I believe I bought the first of their amps in all of Europe, a Marquis model (no longer in production). It was simply the best amp I had heard. I have owned and played many amps, Dr Z, Matchless, Big Cat, and they are all great amplifiers, Tony, but the 65s, they just have something extra, that smack. It's hard to explain, but it sounds the best, just brilliant.

"Then, I came to America with this dealer, and I had the opportunity to go to the NAMM show, where I met Dan Boul, Peter Stroud, and Myles Rose, all very great guys. So, for a long time I was using the Marquis, and the Royal Albert as my main stage amps, always in tandem. They offer very different sounds that when combined make a huge tone.

"But now, I have changed my live rig over to a Monterey 22 watt model, and a Tupelo 20 watt. This is to reduce my stage volume which had become just too loud. The Monterey is very warm, and has great bottom, and the Tupelo is brighter. I have had to adjust to having less headroom due to the lower wattage, but they sound fantastic together."

I asked Lars if he used the 65 Amps Monterey on one setting, or employed its channel switching capabilities?

Haugen says, "No, I use the channel switching. Unusual, because this is difficult for many amplifiers, but with 65s it works very well. They sound great."

Actually, 65 Amps don't employ conventional channel switching, but rather they employ their unique proprietary Bump technology - from 65 Amps website:

"The Monterey is designed with the purpose of delivering classic American amp tones with a greatly enhanced vocabulary that extends across the Atlantic to Britain. The Monterey can go from classic warm and hot American tones to a wide palette of modern, rich boutique distortions at the flip of a switch.

"All of this is done without the normal sacrifices that one associates with classic American amps. The bass response stays tight and composed throughout the tonal spectrum of the amp. Distortion is robust, complex and unhampered by the normal shortcomings of traditional circuits. This means: no flabby low-end, no shrill top-end; a pleasant, detailed rendition of your favorite 6V6 vocabulary with many new voices, American and British, added.

"The Monterey employs our trademarked Bump™ control. The Bump™ control is a much more effective alternative to traditional channel switching. The Bump™ allows the user to both gain-up and re-slope the amp's tone stack allowing much more midrange to flow through the circuit; thereby gaining up the entire amp naturally and not inducing false preamp gain that creates fizz and buzz. The end result is the effect of having two amps in one."

Lars goes on to talk about his equipment, "I always use my Voodoo Labs Sparkle Drive, the green Line 6 delay pedal (DL-4), two compressors - a Keeley Classic Compressor that I use for single coil guitars, and a Diamond Compressor for humbuckers. The compression is always in line, I use it almost always. Compression for me removes the harshness, and smooths out my tone, while giving some extra push. Thank you for noticing it, it is a big part of my sound!

"I used an Empress Tremolo pedal on the track Closing Time, I like its sound, and it has a tap feature that I really like having available to me to use whenever I like!"

Haugen plans on playing some festivals, and shows around Europe throughout 2011 to promote Six Strings and The Truth before he reconvenes with his regular band of the last few decades, Hellbillies, a Grammy winning act in their home country of Norway.

Hopefully, Six Strings and The Truth will awaken American audiences to the talents of Lars Haavard Haugen. He has succeeded in recording a truly great guitar instrumental record, and that is a mighty feat. So often, guitar records are the result of a player's ego, as opposed to a result of their creative gift. Haugen has proven the exception, and produced a record for the listener, one that will stand up to repeated listening and may be destined to become a guitar instrumental classic.

Lars Haavard Haugen is a great guitarist, of this there is no question. His playing is tasteful, chops laden, and his tones are superb. He also has developed great compositional skills, and his songs are just that - not just frames on which to hang a thousand cool licks (which he does have), but memorable tunes that are full of great imagery, and emotion. As I said in my earlier review of Six Strings and The Truth, you should hear this record not for Lars' sake, or because I said so, but rather because as a listener and lover of music - You Deserve To Hear Music This Cool!

Thanks to Lars Haavard for his generosity and time, to Libby for her expert editing, and to all my friends who may happen upon this. Namaste.

Hayes Amplification - Perfecting Pure Guitar Tone, One Amp at a Time

2011-01-16T12:01:00.000-08:00

"I have seen many Fender Tolex amps over my time working with amps, and the work by David Hayes is arguably the best I have seen." - Myles Rose, from The World's Best Amps

David Hayes? Myles Rose? You may ask, just who are these fellows?

Myles Rose may well be America's guitar amplifier guru, having served many years at Groove Tubes as a designer, head tech, product development specialist, as well as being the co-author and technical editor of the Groove Tube Amp Book. After this distinguished service, Myles became a consultant to such amp builders as Dr. Z, 65 Amps, and many others. Mr. Rose is also the moderator for Guitar Player Magazine's online technical forum, Ask Myles Rose. When not running his current company, Guitar Amplifier Blueprinting, Myles can be found almost daily feeding homeless families in Los Angeles, and blogging eloquently about their plight.

David Hayes happens to be one of Myles's favorite amp builders. When asked about David's work, Myles says, "I try to avoid talking about David too much, because once the subject is on the table it is hard to stop. I could talk for 30 minutes on his construction alone."

Myles continued to say, "His work on restoration is not restoration at all, he takes things to the next level. Think of the Petersen Automotive Museum, where you see cars from decades ago in conditions exceeding that which they were in when they were originally driven out of the factory. David's Fender-style amps are always way above what was factory produced.

"I thought it was great when David started a slant on his own take on the classic amp circuits adding his own twist to things. All the magic of the past with a lot of new magic that fits into the total picture."

I take great pleasure in owning one of David Hayes's amplifiers, a creation he calls the BF-5E3. I call it, my Little Red Corvette.

David's designation perfectly describes the amp head. It is basically a cloned, updated circuit of a 50s era Fender Tweed Deluxe with the power of a newer blackface Fender Deluxe. It encapsulates all of the tones found in the amps used by such luminaries as Keith Richards, Ronnie Wood, Neil Young, and Billy Gibbons on so many great rock records, but adds the horsepower necessary to drive a band on a loud stage. David says this amp probably is pushing 30-40 watts when peaking. I will add that it is a very loud 40 watts.

I have already discovered that within this gorgeous red Tolex cabinet several brilliant single channel amps reside. I started off using the amp as shipped, with a NOS Philips 5U4 rectifier tube. This produced the tone of the gods, a corpulent and clear voice that sagged wonderfully, producing tones that, depending on which guitar I used, would range from a very Stonesy rhythm tone with a Fender guitar, to a picture perfect ZZ Top grind when I utilized my Les Paul.

This amp made me realize that I had to play up to its expectations, and not the other way around. Most generally, a player will play through an amplifier and try to coax the sound in his head to come out of the speakers. Not so much with the Hayes. It instantly made me try to play as well as the amp sounded. The tones were exactly what you visualize in your mind's eye, and it simply asked that the player play. This amp is an instrument in its own right, as much as any guitar.

Amazingly responsive, the BF-5E3 is brutally powerful, yet when the volume is backed off on the guitar, it cleans up beautifully and becomes a sophisticated blend of shimmering highs and warm lows. I found that the amp was brilliantly intuitive, almost as if it was getting to know my playing, and responding like a lover more than a machine. Then I had the misfortune that will sometimes befall everyone who seeks prime tone. The amp's 50 year old NOS rectifier tube gave up the ghost. Yes, sometimes when a New Old Stock tube is used it will simply fail. This tube died of a bit of dryness that caused a crack in the plastic housing on its underside. Simply a tragedy of time, no reflection on the tube's capabilities, just old age. I could not find a suitable replacement as quickly as I would have liked, so I opted for what was available, a very desirable high end GZ34 replacement rectifier tube. Rectifier tubes are notorious for having the ability to completely change the sound, feel, and response of an amplifier, and never more so than when the amp is top notch.

Incidentally, when I removed the rear panels to replace the tube, I was astounded by the neatness, and the beauty of the amp's interior. I have never seen more artful work, nor careful attention to detail. The beautiful point to point wiring, and the careful braids that had been tied were not only precise, they were also gorgeous.

Lo and behold, with the installation of the new tube, a new amp was born. Where previously I was engrossed by tones that harkened back to the vacuum tube glory of the halcyon days of Leo Fender, I was now thrown into the realm of the ultimate Bluesbreaker, Eric Clapton. The wonderful sag of the 5U4 had been replaced by a tone that jumped out of the amp with belligerence and a significant increase in midrange wail. Much closer to Jim Marshall's original update of an old Fender Bassman, the Little Red Corvette was now one of Big Daddy Roth's hot rod creations.

The amp still retained the ability to clean up when the guitar volume was reduced, still maintained the subtle nuances of the player's right hand, and still asked me gently and kindly to be a better musician. And, it is unquestionably loud enough to be a commanding voice on any stage short of Metallica's. While it is loud, beefy, and forceful, it probably wouldn't be fair game in the metal realm, but for any other style of rock, blues, country, or jazz - I cannot imagine a more toneful amplifier.

Myles says of Hayes's builds, "His one off pieces are works of art, and use top notch components, and an attention to detail of workmanship that is second to none."

I asked David Hayes about this amp's history, and he replied, "The BF-5E3, funny story. I had a 5e3 chassis but no tweed transformers and it was one of those days when I was in between builds and bored. Well I just happened to have a full set of Blackface Tone Clone Mercury Magnetic transformers and I said if the power tranny will fit, I can make the rest fit. It did, and so I started building to pass time and occupy myself. I figured the blackface transformers would be too powerful for the standard 5E3 circuit, so I made some upgrades right away. First I installed over-sized filter caps and upgraded the values of some of the resistors and caps. I had no idea what the amp would sound like or if it would even work, but when it was done I brought it up on the Variac and plugged it into my 1964 2X15 Fender Bandmaster cab and it blew me away. I could not believe how it sounded. I then hooked it to the 2 JBL D-120F speakers in my Fender Twin Reverb restoration and made a little video. Myles saw and heard this, e-mailed me, and said that to him this amp was the iconic example of true tube amplifier tone and that I should make a CD of this tone and sell it. That was all I needed to hear because Myles is to me the best tube amp guy on the planet."

David Hayes is a fiercely devoted man. He is relentless in his pursuit of guitar tone, and his desire is to build the best amps possible, one at a time - strictly to bring out the best in the music.

"I try to use the best quality parts that are available, such as transformers, resistors, and capacitors, and I am in this for the music and the guitar player more than I am for the money," said David Hayes.

When asked why his name was relatively unknown, and unseen on the pages of the industries many great publications, David had this to say:

"As for how I remain out of the pages of magazines, I turn down offers of free advertising and interviews, which is also why I haven't become a factory type builder, mostly because I want to stay small enough that I don't have to have anyone else building my amps like so many other amp companies. You see I care more about my amps being "My" amps so I can control fully each and every build and kinda choose who I build for and try to make the amp fit the player. I care more about music, tone and quality than I do money!"

David built two BF-5E3s. I have one, and he kept the other. I have heard a great many single channel amps over the years, and can honestly say that this amp sounds better than any other I have heard. David's words are not marketing rhetoric, they are his heartfelt mantra.

Not knowing the Hayes story, I asked David how he came to be an amp builder/restoration specialist. The tale he tells is straight Hayes - classic, rustically elegant, and to the point.

"How I became a builder? I have always been a repair guy - from a very early age I was fixing clocks, radios, TV sets and a lot of other things. In my teens it was cars, amplifiers, and most anything - then in 2004 I started buying old amps and rebuilding and restoring them to sell on eBay, and soon the word spread around middle Georgia that there was a guy that could repair tube amps, and I hooked up with a few local music stores. Well, my friends and customers said my work was second to none and I should do this full time, but I had no confidence in myself and was working in a junkyard doing mechanic work, welding and driving a big wrecker. This was a job to make up for the pitiful V.A. benefits that I was trying to live off of, as I am a disabled Veteran. One day my wife Jennifer said, "You need to quit that junkyard and stay home and do your amps." I told her I didn't think there were enough broken amps around to make ends meet that way, and she said, "Then build your own - all of your friends say that the amps you restore sound better than anything out there. I have a good job. We will be OK, and I believe in you." So, I picked the name Tube Master, dedicated my favorite amp to my wife by naming it the Hayes Tube Master "LIL JENNY," and said goodbye to the junkyard. Long answer, but this is what happened !"

Hayes Amplification is a small company, dedicated to one thing only - building great amps, one at a time. In addition to his classic remakes, and updates on legendary Fender amps, David also has built a series of Hayes Plexi's, including a recent delivery to one of rock and roll's greatest guitarists, Steve "The Deacon" Hunter. Hunter is, of course, the guitar star who played the lead licks on Aerosmith's Train Kept a Rollin', and wrote and recorded the classic intro to Lou Reed's Sweet Jane, with his cohort Dick Wagner

I asked Steve Hunter about his Hayes Amps, and he took time out of his busy schedule to tell me this, "The first thing you'll notice about Dave's amps is the workmanship, especially if you get to peek inside the chassis. It's a work of art. But, no matter how pretty things look on the inside, the amp still has to sound great. And Dave's amps do. They just plain sound great. Warm rich tone without ever being too harsh which is precisely the type of sound I always look for. Not excessively loud but they always manage to hold their own in just about any situation. Excellent with pedals. A true tube amp in every way, that will respond to your playing."

David speaks on the Plexi, and Hunter, "The Hayes Plexi came out because I had repaired a lot of Marshall amps and heard so many people say they wished they could find a Plexi like the first ones made, so I took what Jim Marshall did, and added a little more Leo Fender to it with the outside of the chassis, filter caps, and a cap pan like the Fender amps have, and added a little Hayes in the mix.

"I actually met Steve on Facebook. He liked my amps right away, we became friends and talked quite a bit about amps and music. At first I didn't make the connection that this was actually The Steve Hunter, "The Deacon of Rock & Roll," and one of my heroes on guitar that played with Alice Cooper. He had been one of the people that I considered a guitar god since I was 17 going on 18. I loved the song Eighteen, so this was like a dream come true, and such an honor to be doing anything with this man (who is one of the most humble, down to earth, nicest people I have ever met in my life). Now, Steve has two Hayes amps - the Plexi, and the first "Purple Hayes," which is an amp that was built just to please my friends, who had said that with my name I just had to build an amp and name it that. I took my Tube Master "LIL JENNY" head with a 2X12 cab that was designed for Joey Thigpen, which is called the Hayes Tube Master LIL JENNY JT212. Anyway, I took this amp and made some changes in it to give it a little more growl, a little more punch, and a quicker breakup so it would be more aggressive and fit the name Purple Hayes!"

When I said that David is devoted, that is exactly what I meant. Sadly, several years ago, the real "Lil Jenny," was felled by a massive stroke, and David has added the job of full time caretaker to his resume. In addition to his work load of amp building, repairing, and restoration, he cares for his wife in every sense, and her recovery is always his first priority. That may be why Myles Rose had this to say:

"David - you are a great "amp" guy. I don't think anybody that has seen your work or played your amps could not easily see that and hear that with their own eyes and ears. What might be missed by some by casual observation is what a great person you are as well."

Even in speaking with Patrick Selfridge at Mercury Magnetics (the makers of the best guitar amp transformers on the planet), what was said about David Hayes was half amp worship, and half praise for the man, and probably a good place to wrap this up.

Patrick Selfridge said, "David Hayes is building some amazing amps. He is not building simple vintage clones like so many builders, but instead is making amps with his signature tone. David really sweats all the details, and it shows with the end result every time. We here at Mercury Magnetics are very proud to be a part of helping David shape his tone amp by amp. Most of all, we are proud to be associated with a great person on top of it all!"

It would be unwise of me to not thank David for allowing me to write about his work, as it would be to not write about what is the best amplifier I have ever played, let alone owned, The Hayes Amplification BF-5E3, my Little Red Corvette.