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I S S U E # 1 8 : N O V E M B E R 1 9 9 6
=============================================================================
- The Specialists -
DJ Johnson.................Editor
Jim Andrews................HTML
coLeSLaw...................Graphic Artist
Lauren Marshall............Administrative Assistant
Louise Johnson.............Administrative Assistant and
Keeper Of The Debris
- The Cosmik Writers -
Jim Andrews, Cai Campbell, coLeSLAw, Robert Cummings, Shaun Dale,
Phil Dirt, David Fenigsohn, Alex Gedeon, Keith Gillard, DJ Johnson,
Steven Leith, Steve Marshall, The Platterpuss, Paul Remington, and
John Sekerka
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T A B L E O F C O N T E N T S
EDITOR'S NOTES: Announcing the winners of last month's contest, and a
bunch of other stuff.
A MODERN COLLABORATION - VAI meets THOME: All-world guitar god Steve Vai
and ultra-hip conductor Joel Thome talked to Paul Remington on the eve
of their performance at Eastman Theater in Rochester, New York. The
first of two parts, to be continued in the December issue.
MUSIC IS AN AGELESS THING - A Conversation With Malford Milligan of Storyville:
The singer talks to Shaun Dale about Texas blues, his interesting
apprenticeship, and what it's like to play in a band full of seasoned
pros.
THE BLACKEYED SUSANS - The Great Laundromat Interview: The guys from down
under come to town to play some rock and roll and do some laundry.
Interview by John Sekerka.
TAPE HISS (John Sekerka): Another pair of interviews from John Sekerka's
Tape Hiss radio show. This month, the surf is definitely up, as John
talks to Laika and the Cosmonauts and The Bomboras.
POLITICAL PLAYBOOK: And That's The Way It Was - Campaign '96: The conclusion
of Shaun Dale's series on the 1996 election and the stories that
surrounded it.
RECORD REVIEWS: Another huge batch of musical stew, floating chunks from
more genres than you can shake a wooden spoon at.
BETWEEN ZERO & ONE (Steven Leith): What have YOU produced today? Was it
enough? What are you worth? Steven Leith has some concerns about that.
PHIL'S GARAGE (Phil Dirt): Who are Rake and the Surftones, and why are
they only doing one show? Phil Dirt was one of the lucky attendees.
STUFF I NOTICED (DJ Johnson): By the time you read this, the elections
will be over. At the time DJ Johnson wrote this, it seemed like it would
NEVER be over!
THE DEBRIS FIELD (Louise Johnson): Poems, weird recipes, general debris,
AND the Cosmik debut of Daryl Cagle's TRUE Cartoons! That means we now
have TWO cartoonists' work every month. Check it out.
WHERE THEY KEEP US WHEN WE'RE NOT WRITING: A list of e-mail addresses and
website links that will hook you up with the Cosmik Debris writer of
your choice.
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EDITOR'S NOTES
By DJ Johnson
What a freakin' relief! By the time you read this, the elections will be
over, a few zillion political analysts will be releases from their positions
with CNN (which means a glut on the McDonalds job market), and life can
return to normal. And so, we at Cosmik take a collective deep breath and
prepare to put it all behind us. That means this will be the last entry in
Shaun Dale's Political Playbook series, freeing Shaun to write about a wide
variety of other topics for Cosmik. This month, Shaun got an early start
by interviewing Malford Milligan of the outstanding Texas blues band,
Storyville. Be sure to check that out. They are most certainly rising
stars.
Paul Remington's interview of Steve Vai and Joel Thome is fascinating for all
the obvious reasons, but there's an added little surprise in there that we're
all rather jazzed about. Zappa fans will find something to fuel hours and
hours of speculation and conversation. Go look. You'll see. You will also
find John Sekerka's interview with The Blackeyed Susans, from Australia.
This is John's first feature interview for Cosmik, and we really welcome his
easy going approach. As in our review section, we love having several styles
and approaches to the interview process.
And still there are more interviews! (We really really love interviews.
Can you tell?) John Sekerka's Tape Hiss Interviews should make our surf
fans happy. Two great bands: Laika and the Cosmonauts, and The Bomboras.
The Cosmonauts are from Finland, by the way. With The Blackeyed Susans,
who are from Australia, they give us a nice international balance for this
issue, and since our readers are spread all over the globe from Iceland to
Katmandu, this is a good thing.
It's time to announce the winners of the Karla Pundit/Harmless CD giveaways.
Congratulations to Brooks Williams (Elsah, Illinois), Tom Shannon (Wilmington,
California) and Jeff Kersting (Affton, Missouri). They will each receive
two very cool CDs. In THIS issue, we're having TWO giveaway drawings, one for
Storyville CDs and one for Steve Vai CDs. Be sure to look for the entry form,
which we have made extremely easy to find. It's in the menu, in each
interview, and on the main homepage. Can't miss 'em! As usual, if you're
reading our ascii version, just send e-mail to moonbaby@serv.net, and make
sure you include your name, address, phone number, e-mail address, and which
drawing you're entering. If you want to enter both, say so. You only have
to send the one entry to enter both drawings.
This month marks the Cosmik Debris debut of Daryl Cagle's hilarious cartoon
work. Daryl has done the artwork for several magazine covers over the years,
and his website has several of those covers available for your perusal. Be
sure to check that out. His True Cartoons are a scream, and you can see them
at http://www.cagle.com/art. There's a new 'toon every day on his site.
We thank Daryl for letting us publish his work.
That's it! Enjoy the issue.
DJ Johnson
Editor
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A Modern Collaboration: Vai Meets Thome
Interview By Paul Remington
Steve Vai approaches the mike as an audience of 3,000 at Rochester's Eastman
Theater cheer for an encore amidst the standing ovation. "I'd like to thank
one of the 20th Century's greatest composer's, Frank Zappa, for his
never-ending inspiration. This is Sofa." As the sculpted bust of Bach and
Beethoven watch from either side of the stage, Vai takes his position with
Ibanez in hand, and Joel Thome raises his hands, ready to queue the Kilbourn
Orchestra and rock ensemble into motion. Out of the silence, one lone voice
yells a statement that echoes throughout the hall - "Zappa lives!"
Never before has a composer/conductor from the classical world collaborated
with a composer/performer from the rock world to perform original works for
classical orchestra and rock ensemble. As historic as it may be, there's no
doubt this event will be overshadowed by the current G3 tour featuring Steve
Vai, Joe Satriani, and Eric Johnson. If Vai's quiet collaboration with Thome
sounds interesting to you, you will be pleased to read both Vai and Thome
intend to continue their collaboration in the form of future concerts and
recorded material. This is characteristic of Vai, who frequently juggles
many projects at once.
Vai and Thome's collaboration occurred as a result of the four day music
symposium, "Popular Music and the Canon: Old Boundaries Reconsidered," hosted
by the Eastman School of Music in Rochester, NY. The purpose of the symposium
was to analyze the crossover of popular and classical music in education and
real world settings. Vai and Thome's collaboration was an appropriate booking
for the finale of the symposium, and establishes Eastman as a liberal-thinking
institution on the cusp of modern music education.
This is not the first time Vai and Thome have worked together. Both were
friends of Frank Zappa, and worked with him until his death from prostate
cancer in December of 1993. They collaborated on the 1990 Zappa tribute
concert, Zappa's Universe. Vai's performance of Sofa on Zappa's Universe
won him a Grammy for Best Rock Instrumental in 1994. Thome conducted the
orchestra on Zappa's Universe, and arranged the Grammy winning score. They
have also performed Zappa's music with the Seattle Symphony.
The continued success of this collaboration hinges on their combined talent
and experience. Most Vai fans are unaware that their hero is not just a
virtuoso guitarist, he's also a composer of orchestral music. His
understanding of an orchestra is the foundation for the bridge to Joel
Thome. Thome is no newcomer to the classical world either. A graduate of the
Eastman School of Music, his past credits include percussionist for both the
Rochester Philharmonic and Israel Philharmonic, and principal with the
Eastman Symphonic Wind Ensemble. His ensemble, Orchestra of Our Time, has
performed and recorded many important avant-garde 20th Century works. Thome
is credited with being the first composer to incorporate taped elements from
the solar spectrum into his compositions. His experience with electronic
composition completes the bridge between himself and Vai, making their
collaboration the most effective to date.
With the interest in Zappa's orchestral music increasing, a handful of
classical ensembles have performed his music since his death. Some
performances feature custom arrangements based on compositions Zappa
previously recorded, others feature authentic scores, composed and
orchestrated by Zappa. As a result of this interview, one orchestral score
is currently in the works - Greggery Peccary - a twenty minute compositional
free-for-all about a little pig who discovers himself through the development
of colorful, time-wasting social trends. In typical Zappa styling, the
composition flows through a variety of musical styles humorously communicated
in a way only Zappa could achieve.
Prior to Zappa's death, he expressed to both Vai and Thome how he wanted to
create an orchestral score of Greggery Peccary. Zappa offered Vai the
opportunity to peruse through reams of scored material he had previously
written for Greggery Peccary. Vai accepted the task, and began the immense
process of completing a final orchestral score, and transcribing sections
of the composition Zappa had never scored. Unfortunately, this project was
never completed or discussed openly, until now. With Thome present, the
question of what happened to these transcriptions was posed to Vai. His
response interested Thome greatly, who never knew Vai was who Zappa had in
mind to complete the score.
Who better to complete a final score of Greggery Peccary than two former
associates who originally conversed with him about its completion? Following
this interview, Vai and Thome discussed daily the completion of the score,
and currently are coordinating not only the score's completion, but also its
performance, and possibly even recorded release.
Zappa is no different than any other composer who dies, leaving behind
unfinished projects and nuggets of unresolved works. Vai and Thome's actions
are a tribute to the memory of Frank Zappa, and preserve another orchestral
work for the enjoyment of music enthusiasts and performers alike - now, and
in the future.
The following two-part interview was held the evening before their concert,
in a recording studio below the House of Guitars, a massive music store in
Rochester.
The lighting is soft, the chairs are plush, and the environment is calm and
quiet. Vai is seated across from me on a plush, black leather sofa, adjacent
to the soundboard. Thome sits in a chair to the left of Vai. Also in
attendance are a handful of observers, including Vai's management. Both Vai
and Thome appear relaxed and confident, excited about their collaboration.
With Vai's G3 tour only a few weeks away, his mind remains surprisingly
focused on the collaboration at hand.
* * *
Cosmik: The Rochester Democrat & Chronicle's Sunday edition reported you
were a former Rochestarian. Is that true?
Vai: I'm afraid to disagree.
Cosmik: That's not true?
Vai: No.
Cosmik: I read that in the Sunday write-up.
Vai: Really?!
Cosmik: I thought, if you were a former Rochestarian, I would have known
about it!
Vai: No, I'm a Long Islander. I was born and raised in Long Island.
Cosmik: You grew up with Joe Satriani.
Vai: Yup. Same town, same school.
Cosmik: Do you find it a bit unusual that both you and Joe grew up together,
were such close friends, and both harbored such a large quantity of
natural talent? It's kind of ironic that all those elements came together
the way they did.
Vai: I find it really unusual, don't you?
Cosmik: Absolutely.
Vai: We would be from the same town and the same school. We've got a very
interlocked Karma together, Joe and I.
Cosmik: You gigged together all through high school.
Vai: Yeah.
Cosmik: But, after that, did you go your separate ways to pursue your own
careers, then come full circle with the G3 tour?
Vai: No, I've been in touch with Joe all through the years. We've always
talked and been friends, and we'd send tapes back and forth to each
other, and critique for each other.
Cosmik: That's beautiful.
Vai: Yeah, it was great.
Cosmik: You can hear the natural progression of how you develop over the
years.
Vai: Yeah, well . . . he was always just great, though. I could hear myself
developing, but he was just always great.
Cosmik: How did Joe see you during this period? Did he see you as great,
while he may have just seen himself as developing?
Vai: I think he sees elements of what I do pretty good.
Cosmik: So, there's a mutual respect.
Vai: Yeah.
Cosmik: What influenced your decision to work with Eric Johnson?
Vai: Well, Eric's a natural candidate. You know Eric, he's just fabulous.
The three of us contribute a certain amount of integrity to the guitar
community. I say that humbly, but it's true. You know, guitarists respect
the three of us and our contribution to the guitar. So, it's a real likely
trio. It's like the Three Musketeers, or something. We've all got the
same hats. [Laughs]
Cosmik: This is trivial, but is it "G3" or "3G"?
Vai: It's "G3", that was a misprint. [Referring to Guitar magazine, October
1996]
Cosmik: It was a misprint - on a big huge poster it's a misprint!
Vai: Yes. [Laughs]
Cosmik: How has it been working with the Kilbourn Orchestra?
Vai: Well, it's really thrilling for someone like myself because I've written
orchestra music my whole life. But, it's very hard when you're a struggling
composer, or quasi-composer - whatever - to hear your music. And if Joel
didn't take me under his wing, so to speak, and have the idea to do this
and make it a reality . . . I mean, he fought pretty hard to make this a
reality. If it wasn't for Joel, I would never hear it. There's so much
involved with getting your stuff together and getting a concert like this
together. First you have to find an orchestra that's willing to do this
kind of fusion. Oh . . . and here he is.
[Joel Thome enters the studio]
Vai: And over here at Eastman they're very liberal that way. They're very
interested to do different things and experiment with this collaboration.
So, you go through all the pain of getting the parts done, and getting
them copied, and correcting them, and rehearsing them and all. But, when
you actually hear your ideas going into the molecules in the air from
these beautiful instruments . . . I mean, when you're standing in front
of an orchestra, there's an atmosphere there that you can't get any other
way. You just can't get it - the organic quality of those instruments
filling the air. When they're tuning up I get shivers.
Thome: Yeah.
Vai: Honest to God. I mean, I hear it and I'm just, like - Oh my God, it's
real!
Cosmik: But, it really has to be something when you hear your own music.
Vai: I feel like I don't deserve it! I mean, it's amazing! It's such an
honor.
Cosmik: When you actually compose, obviously you have these sounds and ideas
rolling through your head, how do you approach the orchestration? The
ideas are there, but you have to know what notes to assign to what
instruments.
Vai: Well, there's certain academic rules about the orchestra. You have to
know the range of the instrument, and there's a certain language that they
read. You know, the traditional articulations and what not, that tell an
instrument what to do, and ways to hit the instrument with the bow, or
different things that instruments are capable of doing. And, you've got
to know your harp pedalings, and what a harpist is capable of doing, and
percussion - it's like a little art project. I was always interested in
it. I was always fascinated with it. It's like a puzzle? Like a big
jigsaw puzzle. But, once you learn the language, there's a real endless
source of liberation musically and creatively to just sit there and
compose. Orchestration-wise, you have to know what instruments sound like
when they're playing together. You don't want to give a tuba a line that
goes [sings a very quick melody line], like a clarinet, a flute, or a
violin could do, unless you have a really, really, really good tuba player.
Cosmik: Do you have an affinity for any orchestral sounds? For instance,
Richard Strauss loved to compose for the soprano voice, Gerald Finzi
loved the strings, and loved to use them to get that English sound. Do
you have any ways you prefer to use an orchestra?
Vai: My favorite moment is when the conductor goes, <tap> <tap> <tap>.
[Imitates tapping a baton on a podium - laughs.]
Thome: [Laughing] And everyone raises their bows. Of course, that's if the
conductor has a baton. I broke three fingers the other night from doing
that.
[General laughter through the room]
Vai: My favorite sound is the cello. I like the cello and the harp.
Cosmik: Yeah! That's funny you should say that, that's the same with me. To
me, a cello emulates a human voice. It's almost like a male's voice.
Vai: Oh . . . there's something so warm about it. You know, violins are
beautiful in their own right, but there's a little body there that's not
quite, you know . . . you get that in the cello, you know.
Cosmik: Have you heard Bach's Cello Suites?
Vai: Yeah.
Cosmik: They're such beautiful works.
Thome: I have a piece called "Timespans." "Timespans" is the first piece to
use radio signals from space as the sound material for the electronic
tape - it's performed with tape. I was in residence at the time with
George Crumb in Dartmouth. We were there for a summer. We were composers
in residence, and also had a performing group in residence. I was working
on "Timespans," which uses James Joyce's "Finnegan's Wake", and "Ulysses",
and a bunch of other stuff. And I was using Morse code to set the text in
Morse code. It uses signals from ships at sea. Then, I had a friend who
was a particle physicist and he was working with NASA, and he was able to
get me access to the astrophysics lab at Dartmouth. The astrophysics lab
had become a little bit tired of the early synthesizers because every time
I heard a piece, I could say "Well, that's a sine wave, that's a particular
kind of modification, that's amplitude modulation, and that's a ring
modulation, etc." I could even tell the make of the ring modulation that
was going on. I thought it would be incredible to take sounds from space
and use those as the material for the electronic aspect of the piece.
Cosmik: You know what that brings to mind? Are you familiar with Arthur
Barrow's `6.7'?
Vai: Oh yeah . . . sure.
Cosmik: He took seismology tapes and added them to his composition.
Vai: Have you ever heard of Dr. Fiorella Terenzi?
Thome: Oh wow! Yeah . . .
Cosmik: No, I haven't.
Vai: She's a physicist, and she has a record out. She's taken the vibrations
of the planets in the solar spectrum and put them to music.
Thome: Beautiful . . .
Vai: It's absolutely stunning. Really interesting.
Cosmik: Mind boggling.
Vai: Yeah.
Thome: Oh, that reminds me about something Steve was saying, about the . . .
Vai: About the cello.
Thome: Yeah, right . . . about you liking the cello. "Timespans" was written
for piano trio. The cellist plays the Bach unaccompanied cello suites,
and I think it was the first suite, the Sarabande, I used the Bach, but
I superimposed the tweaks and whistlers that hit the earth at a half a
second. They travel from about 50,000 miles radii out in space. I also
used bypasses of Saturn, and satellite transmissions. As the Bach Suite
is going on, played by the cellist, the tweaks and whistlers are happening,
and the astronauts are speaking the text from their first moon landing.
Cosmik: And you meshed it all together.
Thome: Yeah . . .
Cosmik: Brilliant - that's fantastic!
Vai: That is deep!
Cosmik: That is deep, very deep.
Thome: Part of it is a Vietnam protest, because it ends with "One small step
for man, one giant leap for mankind," and immediately segues to [sings
Hail to the Chief]. You have the Boccherini going on with the Boccherini
trios and part of a Richard Nixon speech.
Cosmik: That's one of the things I love so much - the liberal use of
composition.
Vai: It's great!
Cosmik: The ideas you use to come out and compose something like that. I
mean, some composers are so strict to a certain form that they wouldn't
even think of doing anything like that.
Thome: Yeah, right.
Cosmik: That gets into something I wanted to ask you that I asked Joel prior
to the interview, and that's the meshing of classical and popular music,
especially the way it's being done now. It seems it's been within the
last 20 years that idea has been used, but what the two of you are doing
is really so much on the forefront of that whole thing. Where do you see
the future of that going? Obviously, the two of you will continue
collaborating. Do you think it's something that will continue into the
21st Century, and other people besides the two of you will collaborate
and pursue similar directions? Do you think there's a future in it?
Vai: Well, there is for those ambitious hearts. I think that this will open
some doors for people who've always had the desire to do something like
this. In the back of the mind of most guitar players, it's a real fantasy
to play with an orchestra.
Cosmik: Do you think the non-commercial aspect of it may be detrimental to
its future?
Vai: It's according to what you do, you know what I mean? As far as
commercial, I could write a song that we performed with an orchestra that
could be a very commercial song, you know? It's just getting it out on
the airwaves.
Thome: Right.
Vai: I mean, there are billions of commercial songs that just don't make it,
you know. Yeah, whenever you deal with an orchestra, unless you're making
a movie and you have a big budget, prepare to take a big financial hit.
Even if you are successful, it's financially draining. But, when you're a
slave to the whole art of it, like people like Joel, you have no choice.
That's what a true artist is. Those things are not players, you'd get the
money somehow, or you work with people that have the same passion and
drive to make the fantasy an audible reality. Thank God for people like
that.
Thome: And for Steve.
Cosmik: Oh, sure. The two of you are integral elements towards the succession
of this whole concept.
Thome: That's right.
Cosmik: And it's people like the two of you that do projects like this that
open peoples' eyes to realize really what can be done, and I think that
helps motivate others to explore new musical ground.
Vai: Yeah, we're very lucky and very fortunate that we have an audience for
it. There's a built in audience.
Cosmik: How did you zero-in on Eastman. Why Eastman?
Thome: They called us. [General laughter throughout room] Steve and I had
been talking about this for a couple of years, working towards it, and
saying we really want to do this. We were absolutely committed to doing
it, and the schedules had to work out. And then one day we got a call
from Eastman, from David Headlam. He was putting together a wonderful
conference about the crossover. I saw Bob Freeman in New York a couple
of months before that, and he said this was happening at Eastman, and
be prepared for a call. Then the call came from David saying he was
doing this and would Steve and I consider doing our collaboration at
Eastman. So, I called Steve . . .
Cosmik: David had both you and Steve in mind?
Thome: Actually what happened was . . . I'm sorry . . . what happened was,
he called me and asked whether something could be done, and I said,
"Well, this is perfect, because Steve and I had been talking about this,
and looking for the right place, and I'll call Steve and see whether he
might like to launch our collaboration at Eastman." Steve agreed
immediately, and that was it. We have a lot of ideas about taking this
internationally, and playing with many orchestras.
Cosmik: That's great. Being able to see this is phenomenal to me. I have a
lot of friends that are classical nuts that are bigots, and they look at
a collaboration like this and think it's a joke.
Thome: You know, the other thing is that the rock audiences are coming up to
us and saying, "Wow, we can't wait to hear this . . .
Cosmik: Of course!
Thome: . . . and experience this."
Cosmik: Yeah, if you have any ears.
Thome: Yeah . . .
Cosmik: All it takes is two ears, as far as I'm concerned. You've got to
drop the bigotry.
Thome: Exactly!
Cosmik: At least that's been my experience. There seems to be a blank in
some peoples' minds when they hear the title, "Rock and Roll."
Vai: Pretentiousness?
Cosmik: Yes, exactly! Now, Frank Zappa was the earliest innovator I can
think of who used classical composition with his own rock ideas, and
that was accepted by a large fan base.
Thome: Well, sure, Frank was doing things with orchestra, that's right, and
very important things. He really did break a lot of barriers down. In
terms of guitarist/composer, conductor/composer coming together, that's
never happened.
Vai: Yeah, the closest thing I can think of is when John McLaughlin played
with the orchestra. But, he played with an acoustic guitar and he didn't
have a rock band with him.
[Murmurs from others in the room: "Pete Townshend" "Moody Blues"]
Vai: Did Pete Townshend do it? Oh yeah, he did it, but what we're presenting
here is a virtuoso musician performing with an orchestra. I try to, you
know . . . I say that humbly.
Thome: You see, Steve is the one guitarist/composer today that can make that
bridge happen in the most contemporary way. Other people have done it in
a "pop" way, and made it a "pop" concert - this is not a "pop" concert.
That's not what it's about. And, I'm the only conductor/composer - and I
want to be honest about that - who can do it from my end so that we can
build a bridge that we do together. This is our collaboration. This is
not Steve coming into an orchestra, going to this conductor, going to
that conductor. And this is not my going to this guitarist, or that
guitarist, or this rock group, or that rock group. That's not what it's
about. It's a real collaboration between two creative souls.
Vai: I believe there are people out there, you know, in the music community,
a handful - whatever - who are capable of doing this, of course. But,
it's actually having the drive to do it, and to get it off the ground
and focus on it. There's a lot involved and it's a frightening workload.
But, we thrive on that.
Cosmik: Don't you also think it has something to do with the intellectual
prowess of the individual? The knowledge and the education behind them to
be able to put dots on paper and create a workable composition?
Vai: Well, yes and no. Because . . . yes in the sense that that's the way I
like to do it. See, I like to do the orchestration myself. I didn't have
time to do some of them, and I got some fabulous orchestrators to do some
things. But, I'd like to sit and write scores, you know. You can take
another modern guitar player - let's say Eric Johnson, for instance - he
doesn't write scores, but he can say, "I have a melody." He'll give that
melody to an orchestrator, and he'll orchestrate it as if Eric was there
doing it. But, what we're doing here is different in the sense that we're
hands-on. I mean, we're really right on this thing.
Thome: Yeah.
Vai: It's been a fantasy of mine for years - actually, my whole life - to
have an orchestra backing me. One of my first musical stimulations was
from an orchestra.
Cosmik: Really? Is that right?
Vai: Yeah, West Side Story.
Cosmik: Oh, beautiful . . . Bernstein.
Vai: It had attitude, it was hip, it was cool, it had tri-tones, you know?
Before that it was the Partridge Family and Yogi Bear Goes to the Woods,
you know? [General laughter throughout the room] It's a good record, you
ever hear it?
Cosmik: I think I may have that one, would you autograph it? [Laughter]
Vai: [Laughs - imitates Yogi] Hey Boo-boo!
Cosmik: Now, your collaboration with Frank - that must have been a big thing
for you. To be able to watch this man, as a composer, doing the things
that you would really love to do. That must have been a big, big learning
experience.
Vai: It was, most definitely. I mean, when I heard Frank, tears of joy filled
my eyes.
Cosmik: Was this prior to working with him?
Vai: Oh yeah! Sure, when I was a kid. My friend said, "Hey, I'm gonna play
you something," and he played me Electric Aunt Jemima. I died! And,
Muffin Man. [Laughter]
Cosmik: Oh, that's great.
Vai: I died, I tell you! It had everything. I was like, who is this? What's
going on here? It had great, cool guitar playing, great production, catchy
songs, harsh dissonance that I wanted to hear. I don't know why, you know?
And, it had a sense of humor. And it just crossed every barrier. Here was
a guy that said to hell with everything, this is really what I do. I was
stunned! It changed my life. I still listen to Led Zeppelin, and Deep
Purple, and Emerson Lake and Palmer, and all that stuff, and they had
wonderful elements that I needed as a teenager too. But, with Frank it
was . . . I was just, like . . . [stunned expression].
Cosmik: It was all-encompassing.
Vai: Yeah - HE was all-encompassing - his whole aura, his whole persona,
everything he did.
Cosmik: That's the thing I really like about Frank, is that he did so much
with so many things. I mean, you can't really say that Frank was this or
that - Zappa was everything.
Vai: People don't know. People do not know Zappa's contribution. I mean, no
composer ever before, now, or in the future, I think, could possibly
compare.
Cosmik: Absolutely! Do you ever see yourself, in the future, taking on some
of the same approach as Frank took with orchestras? I mean, obviously you
are right now, but composing exclusively for an orchestra?
Vai: Well, any resemblance between Frank's prolific genius and me is purely
coincidental, trust me. Frank was an icon. I'm a nanu-icon [sic], or
something . . . I don't know. [Laughs] I wouldn't even say that. I would
just say that Frank has inspired me and many others to take that route.
And I just loved the way he fused all that stuff together. First of all,
I don't have the desire to work the way he did. Everything he did was
work, and I don't have the mental capacity to focus like he does.
Cosmik: Really? How did he focus? Can you describe it as best you can?
Vai: Well, I would just say that in my, maybe, uneducated opinion, the
definition of a genius is someone who can take their intuition and make
it a reality at the drop of a hat, and make it look simple. And that's
exactly what Frank did from moment to moment.
Cosmik: And you were able to witness it in action.
Vai: Witness it, but that's it. You know, you can witness that stuff and
then think that you're capable of doing it. But, you know, inspiration
is fleeting for people like me. And when I grab that thread of it, it's
wonderful, you know what I mean? And I can pull it, and pull it, and
pull it, but, you know, a true genius like Frank, everything was right
there. And the things he said, in one word in a conversation - he was
able to focus on a situation, examine it, put it through his mind, and
spit out two words that had the exact balance of political satire,
reality of the situation in depths that we can't even conceive, and
humor . . . like that! [Snaps fingers] Uncanny!
Cosmik: Yeah, it's just the way his mind worked. It was all-encompassing in
itself.
Vai: It was working on different planes.
Cosmik: What do you see you took away from your experiences with Frank the
entire time you worked with him and performed with him?
Vai: At the time I was with Frank, you've got to realize, I was 18 when I
started working for him, and I was just feverishly trying to keep up
with, like, being on tour. I had no idea how to handle myself on tour
and just getting the notes under my fingers. I mean, Frank would say,
"Play this. Okay, now play this. Now do it reggae. Now play it in seven."
And I would just be, "Okay . . . Okay . . . Okay . . . Okay . . ." I
remember one time, he did that to me, and he goes, "Okay, now add this
note." And, it was IMPOSSIBLE! Nobody could do it! And I said, "Uh, I
can't do that." And he goes, "Well, I hear Linda Ronstadt's looking for
a guitarist. [Laughter] But, uh . . . he was hilarious that way. But, it
wasn't until afterwards, when I realized . . . when I started looking
back and doing my own music, and dealing with musicians, and dealing with
the business, and dealing with trying to make my music a reality in the
face of opposition, most people just give up. Most people conform. Zappa
is a tribute.
Cosmik: He was a non-conformist.
Vai: A non-conformist to the Nth-degree. And, uh . . . yeah . . . that was
one thing that I got from Frank, too. But he had a very large fan base
that was brutally loyal. When I speak about Frank, I'm not just talking
from me, I'm talking from people like Joel, and all of his fans. You love
Frank when you know his music. He reaches out, you know? There's treasures
beyond measures in his music.
Cosmik: That's absolutely correct. I have everything, and I can't get enough.
There's one thing I have to ask: David Ocker has said that he remembers
Frank asking you to do transcriptions of Greggery Peccary he had never
written down. He remembers seeing the transcriptions, and he has no idea
what happened to them. Do you know?
Vai: [Looking surprised] I have them in my vault.
Cosmik: You have them in your vault.
Vai: In a big box that says "Project Peccary."
Cosmik: Will it ever see the light of day?
Vai: Well, Frank saw it.
Cosmik: Was he pleased with it?
Vai: Well, he wanted a complete score of Greggery Peccary.
Cosmik: Which there never was a complete score.
Vai: Well, there were bits and pieces here and there that he had, and I
rummaged through all of his stuff and got everything I could scavenge,
you know? And then I just sat and went crazy trying to make a score.
And, uh . . .
Cosmik: It sounds like trying to take Mahler's Tenth and finish it.
Thome: Uh huh! [Laughs]
Vai: I've got Frank's handwritten manuscripts for that.
Cosmik: Oh my God.
Vai: Don't tell his wife.
Thome: This is the first time that this riddle has been solved for me. When
we were doing Zappa's Universe Frank called and said, "I'd really like
to hear Greggery Peccary with orchestra."
Vai: Oh yeah!
Cosmik: Oh yeah, absolutely!
Thome: I know who he was thinking about now. He must have been thinking
about Steve.
Cosmik: Why don't you do it? Why don't you pull it out and see if you can
piece it together? You know how many people have tried to complete
Mahler's Tenth, and they've done it successfully.
Thome: Yeah, they did. They did.
Vai: They have a score for it?
Cosmik: Sure, yeah. [Looks to Thome] How many people did it, three or four?
Thome: Yeah, yeah.
Cosmik: Kenny Wheeler did one, Clinton Carpenter did one, Remo Mazzetti did
one.
Thome: Who did the first one, was it Carpenter?
Cosmik: I think Carpenter was one of the first to complete a score, although
his version wasn't recorded until many years later. But . . .
Vai: You know, that would certainly . . . you know, Greggery Peccary, I
remember when . . . Oh, I'm sorry, I didn't mean to interrupt.
Cosmik: No, go ahead.
Vai: When I first heard Greggery Peccary I was in college and I had to stop
the tape and go lay down because I couldn't believe one person had
composed this. Amazing. I had never heard anything like it.
Cosmik: You have the perfect person by your side to help you complete such
a project. I'm sure you'd love to see it completed. [Looks to Thome]
Thome: Oh yeah.
Cosmik: I could just see Steve working on it, his shiny hoofs up against the
desk as he draws dots and lines on staff paper.
Vai: [Laughs]
Thome: Frank would love that!
Vai: Yeah, he really would.
Cosmik: Yeah, that would be quite a tribute. Your Ibanez guitar line - what
are your plans for future models?
Vai: We just came out with a brand new Tenth Anniversary. It's a stunning
guitar, it's really beautiful. And another one that's a more grungy
style. What we did was, I had this idea to get a blowtorch and burn the
guitar and then stain it blue, and put screws for the fret markers. It's
real cool! Now I've gotta learn how to play Greggery Peccary on it.
[Laughter]
Cosmik: You should think of completing that, seriously. Keep it in mind.
Vai: I think about it all the time.
Cosmik: I mean, for posterity, over the years you want that to last. That
is a brilliant piece of work.
Vai: It is, but it's there, it's on tape, and Frank did it better than most
people can, probably anybody can. But, I'd love to do something like that.
It's been a dream to do something like that. I'd like to do the whole
third side of the Roxy & Elsewhere record.
Cosmik: Good. You should do his entire catalog. [Laughter]
Vai: One of these days, we will. [Laughs]
* * *
This concludes part one of Cosmik Debris' interview with Steve Vai and Joel
Thome. Part two will appear in the December issue. REMEMBER: We are giving
away five copies of Steve's new CD, "Fire Garden." To enter, send e-mail
to moonbaby@serv.net. Remember to include your name, address, and phone
number. And be sure to indicate which drawing you are entering. We have
two this month: Steve Vai and Storyville. You MAY indicate that you wish
to enter both contests with the same entry. Only one entry per person, please.
Good luck!
----------------------------------------------------------------------------
"Music is an ageless thing..."
A CONVERSATION WITH MALFORD MILLIGAN OF STORYVILLE
Interview By Shaun Dale
After several weeks of phone calls and leg work by the inimitable D.J.
Johnson, I was finally mounting the stairs of that music industry
landmark, the Cosmik Debris Building, to interview Malford Milligan of
Storyville.
Clutching a sheaf of questions that were carefully constructed to
reflect the finest in journalistic inquiry and to keep me from sounding
like a pandering fan boy, I was almost undone when the conversation
started. Talking to Malford was simply a joy. One of the strongest
cuts on the new Storyville disc, A Piece of Your Soul, is a number
called "Share That Smile," and Milligan shares a smile with his voice in
a way that must be heard to be believed.
The Storyville story started in 1994 when drummer Chris Layton and
bassist Tommy Shannon, the rhythm section for Stevie Ray Vaughn's
legendary Double Trouble, played the sessions for Milligan's "The Bluest
Eyes" album. They joined the permanent lineup, soon to be followed by
two guitarists with impeccable credentials - David Grissom, a veteran of
Joe Ely and John Mellencamp's bands and David Holt, who had worked with
Ely, Carlene Carter and the Mavericks.
The band first worked together at Antone's, a club which looms large in
the well deserved high reputation of the Austin, Texas music scene.
This year saw their first release on a major label (Code Blue/Atlantic),
produced by David Z. (whose credits include Kenny Wayne Shepherd, Fine
Young Cannibals, Albert King and the artist formerly known as the artist
formerly known as Prince) and an aggressive national touring schedule to
support the disc.
We caught up to Malford Milligan by phone as the band was moving through
the northeast in the middle of the hurricane driven storms of mid October.
Luckily the phone lines stayed up (thought the connection definitely wasn't
"just like next door") long enough for this brief conversation to ensue:
* * * *
Cosmik: Malford!
Malford Milligan: What's happening, man?
Cosmik: It's gotta be you - great to talk to you. Where are you at right
now?
Malford: We're in Connecticut. Danbury.
Cosmik: Well, I know you're busy, so let's get to it. This all started with
your album "The Bluest Eyes," right?
Malford: Right.
Cosmik: So how long has the current lineup been together?
Malford: Two and a half years...
Cosmik: Two and a half? It sounds like ten. One of the things that
impressed my with "A Piece of Your Soul" is that it's a real band
sound. Everybody's a standout, but nobody steals the show - it's a
very cohesive sound.
Malford: Right. Thanks.
Cosmik: So why Storyville? When I first saw the disc I thought New Orleans,
maybe some kind of Neville Brothers thing...
Malford: Both of those reasons. I was in a band that got a chance to open
for the Meters, and that was really the turning point for me musically
and vocally. It's guided my style to the stuff I'm doing right now.
Cosmik: The band is full of players with incredible resumes, but you're a
relative newcomer. You started singing, what, nine years ago?
Malford: Yeah.
Cosmik: And you're 37 now, so you got kind of a late start in the business.
Malford: (Laughs) Yeah, I'm a late bloomer.
Cosmik: So many stories are about the guy who grows up singing in church and
dreaming of the big time all his life. What were you doing all those
years?
Malford: I was going to school at UT, I was stocking groceries, I was
chopping cotton...depends on the year you caught me.
Cosmik: So what were you going to be before you became a singer?
Malford: I was a sociology major. I was probably going to end up teaching
sociology somewhere, if I was lucky...
Cosmik: Well, we're the lucky ones!
Malford: You think so? Thanks.
Cosmik: Yeah, I think so. Anyway, these guys in the band have been
everywhere with everyone. Does that put any special pressure on you?
Do you feel that?
Malford: You know, when I first started I really felt it - I definitely felt
it when I was on stage - but the deal was more and more we became
closer by writing together, by trying to get this band off the ground
and the whole bit and it's not a pressure that I even think about now.
It's more or less what the song demands, you know...
Cosmik: I know you place an emphasis on songwriting as a team effort...
Malford: Exactly, I sure do.
Cosmik: How does that work? Do you guys come together with pieces of songs?
Do you all do this together in a room?
Malford: Sometimes. A little bit of anything. I know in Grissom's case, he
brought some finished songs in we used on the record. Right now I'm
working on a tune, in fact, just laying stuff down a cappella, and what
I'll do is take that to David Holt or David Grissom and to the rest of
the band and see if it's something we might want to explore doing, you
know what I'm saying, and see if they get any ideas from it, and if
they do it goes on from there. 'Cause David Holt or David Grissom can
find the key that the song is in - I never even know what key I'm
singing in. I'm musically illiterate.
Cosmik: The background of Storyville is a real musical stew - straight rock,
Texas blues, R&B, country - and I understand you started out in an
alternative band?
Malford: Yeah, I was in a band called Stick People. It allowed me to do,
like, just about anything I wanted to do. That band was a great
learning experience for me, you know, and in fact musically I feel
like I've come back full circle to where I started at. The music I
grew up with was very soul oriented, very funk oriented. It's
funny - it's really ironic in a lot of ways - it's ironic that I'm
singing and it's ironic that I've come back full circle to doing this
kind of stuff.
Cosmik: That's amazing, yeah. But with all those influences, it's really hard
for me to pin the band. When people ask I just call it "American music."
Do you have a name for it? What do you like people to think of it as?
Malford: I just call it real rock and soulful music, I don't know. There's
definitely a lot of influences there, and I like that. It's
definitely hard to pin the band. These are all things that I like.
That's what makes this band unique in its own way.
Cosmik: People I've played it for have mentioned fifteen bands they think it
could be, traces of things they hear...
Malford: Exactly.
Cosmik: Even from cut to cut the sound changes, but somehow it still sounds
like Storyville...
Malford: That's it. That's the main thing. It's just like any human being.
You have a lot of personalities and you don't see it all. You never know
exactly, even if you've been with someone for years, you never know
exactly who they are. They're still evolving and they're still changing
and that's just the way it is with this band, you know? There's a lot of
stuff that comes in. And there's a lot of stuff that when you write with
other people you have to be accepting of, and listening to, and live with.
If I was just doing something by myself, I may not have come up with that
chord change, but because Grissom played with Joe Ely, and because Holt
was in the Mavericks and they've dabbled in a lot of other stuff they
come up with some really unique stuff.
Cosmik: So between Stick People and this band, you were doing what? I mean,
what was the process that moved you from an alternative band to this
music?
Malford: You know what I was doing? I was going to Antone's School of Music.
I was hanging out at Antone's and I was singing with my friends Derek
O'Brien and Reese Wynan and just learning, like I still am. It's
funny, when I get off the road I go home and we have a regular Monday
night band, and they let me sit in with them and I just go in there and
learn...
Cosmik: They LET you sit in...
Malford: (laughs) Yeah, they let me sit in...
Cosmik: Well, if we're ever in the same town on a Monday night, I'll put
together a "regular Monday night band" and I'll LET you sit in anytime!
(Laughter)
Cosmik: I know you worked some dates with the Allman Brothers. Are you still
out with those guys?
Malford: Well, we haven't done any more dates with the Allmans. We did a date
with Kenny Wayne Shepherd, but we've mainly been doing our own shows,
headlining our own shows.
Cosmik: What kind of venues are you playing?
Malford: Small ones, nothing huge...
Cosmik: Clubs? Halls?
Malford: Mainly clubs. I think we're going to do a date in Louisiana that's
like a state fair, but nothing real large at this point.
Cosmik: I know you played the Greek Theater in L.A. with the Allmans...
Malford: Yeah! Now for me, that was like a whole new eye opening experience.
I've never done amphitheaters before, I've always done clubs, so to
have that much room to work and to walk out there with a P.A. that was
already on and I wouldn't have to worry about overdriving it or
hearing myself was like a major miracle. I had such a great time!
Cosmik: Kinda like a ballplayer playing Yankee Stadium for the first time...
Malford: Yeah, like that.
Cosmik: So you're in Connecticut now. Most of the tour list I've seen has
been in the southeast. Are you starting to branch out around the rest
of the country now?
Malford: Well, actually, we've been working this record. It's been out for
three months and we've been working it for four months. We've been in
the west, in the southeast, middle America - I've had a chance to see
the heartland. So we've been expanding and touring the record. That's
the way it's going to the end of this year and through the beginning of
next year, just going out on the road and hitting it.
Cosmik: Well, with the history of the band, I imagine a live show is
something special.
Malford: I hope so. The thing is, I really feel responsible for that
audience when they walk in there and I want to give them the best that
I am no matter what. It's really important to me that the live shows
are exciting and they're fun and they're enjoyable.
Cosmik: Where do you go musically in a live show that we might not have heard
on the disc?
Malford: Probably a lot more guitar stuff, and a lot more vocal wanking
(laughs). But definitely you get a chance to hear what David and
David can do. Sometimes you even get a chance to hear Chris Layton do
a solo. In a live show you can, you know... records are always
constraining. It's almost like one dimension, or two dimensions. You
can't really show the whole band. That's one of the cool things about
video. But in a live show you hope you really feel the energy of this
band and see the craftsmanship and see people working their butts off.
It's old fashioned, old school, but it works for me..
Cosmik: Well, I was looking forward to seeing the show in Portland, but you
ended up in, I think, Alabama that night...
Malford: Yeah, we did. I want to go - I definitely wanted to go, but we have
to go where they're letting us work at...
Cosmik: Well, we've got to get you up into this part of the country. I think
there are a lot of folks who'd love the music.
Malford: I'd love to, and in that part of the country you get that seasonal
change...
Cosmik: Yeah, to rain (laughs).
Malford: Yeah, we did a gig in New Jersey and we went through a lot - it was
pretty hard and pretty slow getting into the gig 'cause they've had
flooding up in this area.
Cosmik: So where to from Connecticut?
Malford: We go to Boston, then back to Connecticut. We're playing the Boston
House of Blues, then Toad's Place in New Haven and eventually to New
York by the end of the week and then make our way back south again.
Cosmik: Where will you be playing in New York?
Malford: The Mercury Lounge. I've never played there but I think between the
band somebody in the band has played there. Everywhere we've been
somebody's played there.
Cosmik: It seems like in that band somebody must have played everywhere...
Malford: Man, these guys have. They've got tons of experience and they've
taught me a lot in the time that we've been together. One of the
things about playing with people who are so musically capable is that
you really have to rise to the occasion. It was that way at Antone's
and it's also been that way for me in this band. I really think it's
helped me to become a better vocalist.
Cosmik: Well, coming out of that environment in Austin everyone seems to
become better. There's an awful lot of great players down there, a lot
of great chops.
Malford: Yeah, it's a great school.
Cosmik: Before we wrap up, it occurs to me that with all the experience
you've mentioned in the band, and the fact that you were a "late
bloomer," that there are no kids involved here. If you guys are going
to get rich and famous, is this it? Is Storyville the long term
commitment?
Malford: That's the commitment. The deal is that everybody in the band is
pretty experienced and is also in the band for the long haul. That's
the beauty about doing something like this, because when you build
your house you build it from the foundation up. When you finally get
that thing finished and it's the way you want it to be you can live in
it. I believe this band is going to do very well, no matter what the
age is. Music is an ageless thing.
---------------------------------------------------------------------------
ATTENTION STORYVILLE FANS: Cosmik Debris and Atlantic/Code Blue Records are
giving away five copies of Storyville's new CD, "A Piece Of Your Soul." To
enter, send e-mail to moonbaby@serv.net. Remember to include your name,
address, and phone number. And be sure to indicate which drawing you are
entering. We have two this month: Storyville and Steve Vai. You MAY
indicate that you wish to enter both contests with the same entry. Only one
entry per person, please. Good luck!
---------------------------------------------------------------------------
THE BLACKEYED SUSANS: The Great Laundromat Interview
Interviewed by John Sekerka
Melbourne Australia is home to a vibrant music scene which counts Nick Cave
& The Bad Seeds, The Cruel Sea and The Dirty Three as part of an incestuous
and thriving bunch of musical renegades. Formed from the ashes of The
Triffids, The Blackeyed Susans have boasted members from all of these bands
in a revolving whirlwind membership, the lone constants being singer Rob
Snarski and bassist/songwriter Phil Kakulas. Ten days into a North American
tour for support of the sensual Mouth To Mouth album, Phil chatted from a
laundromat across the street from the club, while taking time to do a bit
of washing.
COSMIK: There's nothing like touring is there?
PHIL: Uh-huh, I'm looking forward to some clean clothes.
COSMIK: Australia is a long way away. i hope this is not your first washing.
PHIL: Um, gee, would I disappoint you terribly if I told you that it was?
We've only been on the road for ten days.
COSMIK: So tell me Phil, where are all the Susans in the band?
PHIL: We actually took the name from a flower. A Blackeyed Susan is a small
creeper, with orange and yellow flowers and a black center. Susan is our
aunt. She looks after us.
COSMIK: On record you are only three. how do you recreate the full plush
sound live?
PHIL: The line-up has expanded to five. With five we can come close to our
sound on the record. Also, we're not particularly bothered by trying to
reproduce the album. It seems to me that playing live gives you an
opportunity to try something different with the songs - rework some of
the arrangements. In the studio, it's your responsibility to serve the
songs first. Live, that's your chance to push the songs around a little
and remind them who's boss. That's the attitude we take.
COSMIK: So you're fighting the album on stage?
PHIL: Not exactly. We just have it under the heel.
COSMIK: You've had about twenty members come and go through the ranks.
PHIL: Yeah. Rob and I are incredibly difficult to work with.
COSMIK: So who exactly is the bad boy in the band that keeps this turmoil
going?
PHIL: It's that Rob Snarski. I'm not taking responsibility for that. It's a
good cop/bad cop type of situation. More seriously, the origins of the
band were as a part time affair. We all had different bands and we'd all
get together when we were all in the same city, play a few gigs and maybe
make an EP. Then we'd get off to our other bands. We did the Susans like
that for a couple of years. About two years ago it became more of a full
time concern and we started to look for people who could devote more time
to it.
COSMIK: You have connections with a lot of Australian bands. Is there a
community aspect?
PHIL: We're friends with a lot of these bands: The Bad Seeds, The Dirty Three,
The Cruel Sea. A lot of us are based out of Melbourne, so there is a
sense of community.
COSMIK: I'm glad you mentioned The Dirty Three. I had a chance to see them
live recently, and I must ask a question about violinist Warren Ellis,
who used to be in your band. Is that guy nutty or what? He rambles on
like a madman between songs.
PHIL: Yeah (laughing), his monologues are getting longer than the songs.
That guy needs an editor. It's funny because Warren used to be so mic
shy that he would hardly say boo. Now you can't shut him up.
COSMIK: All the bands you mention seem to have a couple of common factors:
passion and a plush/rich sound. Do you feed off of each other?
PHIL: I guess we influence each other. Obviously everyone looks further
afield of what's going on in Australia, but if there is a sound coming
out of Melbourne that is identified with that city, then that's great.
COSMIK: Touring North America is a major undertaking for an Australian band.
can you afford this?
PHIL: At this stage it's a rather expensive exercise for us, but we're just
trying to build something, and we've certainly enjoyed our time here.
It's a great pleasure to be playing dingy, smelly, smoky clubs on the
other side of the world for a change.
COSMIK: After reading a lot of Aussie bios with glowing quotes from Rolling
Stone, it dawned on me that there's an Australian version of that
magazine, is there not?
PHIL: There is indeed. It takes the most relevant of the American Rolling
Stone and adds local content.
COSMIK: The American version has become quite lame. what about the Australian
version?
PHIL: I wouldn't call it cutting edge, but it's okay. it's certainly not the
Rolling Stone of ten or fifteen years ago.
COSMIK: In North America, the music press can fluctuate wildly, depending on
what level--mainstream or alternative--you choose to read. The UK press
can be quite crazy and astounding in their dedication to trends, while
cruelly slagging some bands. What is it like in Australia?
PHIL: In Britain, it's still difficult to get your stuff played on radio, so
they rely very much on the written press to publicize their bands. In
Australia, there's quite supportive public and university radio, so you
don't rely so much on the press. There's some good street rags around,
particularly out of Sydney and Melbourne, and some of the glossier
magazines like the Australian Rolling Stone and one called Juice, which
isn't too bad. And of course there's a thriving fanzine scene.
COSMIK: My fave quote from Rolling Stone is 'sensuality on a stick.'
PHIL: Yeah, I don't mind that. I'd like to think that there's something
sensuous about what we do.
COSMIK: Mouth To Mouth includes references to a lot of body parts. What were
you writing about?
PHIL: That was a period of re-evaluation in my life, and my response when
things get a bit complicated is to simplify the whole thing and reduce
it to the physical. The lyrics are about that process: of taking pleasure
and delight in the physical realm of things.
COSMIK: The other aspect that I find with your music is a darker edge. I hate
to say it, but for the lack of a better word, is there a bit of goth
here?
PHIL: I dunno. Goth, to me, is hair-spray and eyeliner, but I know what you
mean. I really value beauty. If that's your aesthetic bent then you can't
help but be saddened and disappointed by ugly and cruel acts that everyone
experiences in their lives. That can't help but sadden and form your work.
If it's dark, it's a natural and realistic response to the world we live
in. It's dark, but you can see the light. It's a long, long, long way
away, but that's where we're heading. I'm very envious of people with
faith. I'm just waiting for a revelation; for Jesus to walk up and tap
me on the shoulder.
COSMIK: Who isn't? You know, Phil, I'm from Leonard Cohen country, and he
seems to be a big influence on the Melbourne scene. The Dirty Three, Nick
Cave and the Susans have all covered his songs.
PHIL: Leonard's been very important to me for a very long time. We regard
him as the finest lyricist in the world. Ever. Bar none. I thought his
words on his last record, The Future, were the best words on a rock
record ever. What I like about him is that he's in his sixties and still
doing some of his best work. That's an inspiration. I like guys like that.
COSMIK: And he's still a ladies man.
PHIL: The last thing I heard, he was living in a monastery just outside of
L.A.
COSMIK: Yeah, but he's done that before.
PHIL: Yeah, no need to be alarmed.
COSMIK: I'd like to talk about your band photo in which you are about to do
away with Elvis. I believe that is you with a gun under his chin.
PHIL: Yes. I have a love/hate relationship with the guy. I really adore him.
I thought he had an incredible talent, but I find it hard to respect him
for the way he wasted it. All those movies. All those lousy songs. The
story is a modern tragedy and there's a lot to be learned from it. We did
a New Year's Eve show and called it 'The Blackeyed Susans Murder Elvis.'
We took the best and worst, and put on a reverent tribute. We did stuff
from the Sun record and the '68 comeback - and then we'd do 'Smorgasbord'
and 'Spinout.'
COSMIK: Tell me about Snarski vs. Snarski.
PHIL: Rob Snarski is our lead singer and his brother Mark sings for a Sydney
band called Jackson Code. Every now and then the bands get together for
the Snarski vs. Snarski sibling rivalry shows. They're very competitive.
It generally results in good and entertaining shows with encores that
might feature 'He Ain't Heavy, He's My Brother,' or something stupid like
that. Then we argue who won. I must say that we won conclusively this
year. It was 4-5 in our favour.
--------------------------------------------------------------------------
TAPE HISS: Transcripts of John Sekerka's radio interview show, which runs
on CHUO FM in Ottawa, Ontario, Canada.
THIS MONTH: Laika and the Cosmonauts
The Bomboras
LAIKA & THE COSMONAUTS
Instrumentalists of terror, Laika and the Cosmonauts are probably Finland's
best known musical exports. Laying down some mean surf and spy tunage is quite
a feat in the land of seven month winters, hockey obsession and vodka. Their
inspired music can be found on the Upstart label, various compilations and a
hopping club near you. I managed to track down drummer whiz Janne Havisto and
organist/guitarist Matti Pitsinki for a quick interrogation. The lads responded
cordially with charming Finnish accents.
JOHN: How in the world did four Fins get together and decide to play
instrumental music?
JANNE: We have to have licence to play music in Finland. They only had a
jazz permit and a surf permit. We would have liked a polka permit, but
settled for the surf permit. So here we are - nothing we can do about it.
JOHN: Only in Finland.
JANNE: You should visit. It's pretty weird.
JOHN: Is your life like the movie Leningrad Cowboys Go America?
JANNE: No, not really. Our hairdos are pretty regular. The weirdness is in
the music.
JOHN: Why is there no singer in the band? Are you keeping someone back?
JANNE: No, definitely not. If you ever heard any one of us sing, you would
agree with us that this is the best way to go. Plus we can't write any
lyrics. Only our organ player writes great country and western tunes.
JOHN: Now really, how did the band start?
JANNE: I used to do an oldies show in Helsinki and we decided that at least
one band in Finland has to play this type of music.
JOHN: Is there anyone in the band who's actually been on a surf board?
JANNE: Yes that would be Matti, our organist. Here he is now.
MATTI: Surf's up.
JOHN: Surf's up. So you're the lone surfer. Where in Finland can you ride
the waves?
MATTI: No no no, we don't have waves that size that you can actually ride.
I surfed on the East Coast in the US, but I wasn't very successful to
tell you the truth. Nothing to brag about.
JOHN: Do you have pictures?
MATTI: Yes but not with me.
JOHN: That should be your next album cover.
MATTI: Well it's a wide-angle picture of Daytona beach with an ant-sized
figure wiping out and the surfboard way up in the air. So maybe ... I
dunno, it might work.
JOHN: Is hockey big in Finland?
MATTI: Yes it is.
JOHN: Who's more popular, Jari Kurri or Teemu Selanne?
MATTI: Well... Jari Kurri is the grand old man of the Finnish profession
I would say. And Teemu is a young, rising star.
JOHN: Very diplomatic. You know surf music is quite popular in North America,
so you'll be greeted with open arms. But what does Finland think of all
this?
MATTI: We do play more gigs in the U.S., so we can say that we are more
popular than back home. The tradition of guitar instrumental music in
Finland is a long one. It's in a more calm style of The Shadows if I
can use them as an example. It's something that people like to dance
to, in dance halls, using traditional dance steps like foxtrot. It's
pretty impossible to do that with the tempos and rhythms of Laika & the
Cosmonauts.
JOHN: Tell me about "A-Treatment", my favourite Laika song.
MATTI: The "A" stands for asparagus. That was an interrogation code name
that the CIA used in the fifties. First they pumped the person under
interrogation with some sedative and made him pass out. Then they
pumped him with speed. I guess that's what makes a person tell the
truth. It's all instrumental, but you can pretty much hear the idea
from the song.
JOHN: Wow! So tell me, who is Laika?
MATTI: Laika was the first dog that the Soviets put up in space - and never
took her down. Poor creature.
Tape hiss....
THE BOMBORAS
Presenting The Bomboras: a brash outfit who have released a number of hot
releases on the ultra fab Dionysus label, mixing surf, garage and exotica
in a wild and woolly concoction more potent than the Mai Tai in yer left
hand. Go-Go dancers, volcanoes and T-Birds; Shane and Dave let us in on their
little magic kingdom.
JOHN: Are you guys big surfers - hanging out at the beach?
DAVE: Our guitar player Greg does. I work as a Repo Man and Shane here works
as a shepherd. Von Franco is a male model and Jake is a hit man.
JOHN: Just who is this Von Franco anyway?
DAVE: He does pinstriping. He does Ed Roth style artwork. He's a good guy.
He's our rhythm guitar player and the ladies man in the band.
JOHN: How'd you decide on your instrumental mix of surf/lounge/garage?
DAVE: Jake the organ player, Greg and I used to be in The Finks, and the
Witchdoctors before that. We got into instrumental music because of Greg.
JOHN: Is it the old story of too shy to take the mic, or have you made a
concerted effort not to sing?
DAVE: We try to sing, but we do a little better keeping our mouth shut.
JOHN: I noticed that the artist who goes under the name of SHAG handles most
of your covers. I happen to know that SHAG is Josh Agle from the Swamp
Zombies. What is your connection?
DAVE: Josh is a friend of Paul Carrey, the singer for the Witchdoctors. He
lives just across the street. He's done a lot of our artwork. There is a
bit of a clique here in L.A. The bands hang out.
JOHN: Do you get tired of being pigeonholed as a retro band? I mean, you are
composing new music, not just copying a style or ripping someone off.
DAVE: Right, it all just falls under the bands you listen to, and we listen
to a lot of surf music. Most music is retro in that it's 1-4-5, which
dates back to the blues. You can call it retro because we use old amps
and we play a certain style, but we just like to play that way.
JOHN: So how far do you take that? Do you have vintage equipment?
DAVE: Yeah vintage Marshall stacks (laughing). No, I have a sixties Ludwig
kit. We use Showman amps and Fender guitars. Jake plays farfisa, vox and
Hammond organs. We don't use anything new.
JOHN: What about you personally; is there a Bomboras look?
DAVE: Cod pieces and elephant wigs. Actually we have several outfits: bowling
shirts and matching pants.
JOHN: Is there a big resurgence of surf bands in Southern California?
DAVE: Yeah, I've noticed a lot. There's some oddities - weird twists on surf
music, and pretty straight ones.
JOHN: Are you record collectors?
DAVE: Yeah, but records have gone up in price so it's much tougher to keep
up.
JOHN: You know when most kids decide to take up rock'n'roll, their parents
recoil in horror. But you guys are probably playing the kind of stuff
that your parents might dig.
SHANE: Oh yeah, my parents are really hip to it. They like it a lot.
JOHN: Do they come to the shows?
SHANE: Oh no, they don't do that.
DAVE: Jake's mom comes to a lot of our shows. She's a true blue fan.
JOHN: What other instrumental bands from L.A. are worth watching out for?
DAVE: There's just us. Actually there's a really good garage band called The
Invisible Men, and there's an Untamed Youth reunion going on. Then there's
always The Phantom Surfers.
JOHN: Is it true that you have Go-Go dancers?
DAVE: Uh-huh. We have several. We have a couple of regulars.
JOHN: Do they get all dressed up?
DAVE: Oh yeah, the whole bit.
JOHN: Can you set the stage for me?
DAVE: Sure, there's four Showman amps, a drumset in the middle, a vintage
organ, a smoking volcano, a big cutout with our logo, and one or two
Go-Go dancers.
JOHN: Wait a minute. A smoking volcano?
DAVE: Yeah, we have a volcano that erupts during the show.
SHANE: And billows smoke about the club.
JOHN: Wow! I'd pay to see that.
DAVE: It was so popular that someone stole the volcano. We had to make a
second one.
JOHN: What actually comes out of the volcano?
DAVE: Charcoal and fire - a lot of the audience get burned. That's what you
get for a $5 show. Actually the contents are a closely guarded secret. It
erupts periodically throughout the set. That's all you need to know.
JOHN: Ever had problems with the fire marshal?
DAVE: We've pissed some club owners off, but they had no choice.
JOHN: I have a mental picture of a miniature Stone Henge in Spinal Tap. How
big is your volcano?
DAVE: Listen, we can't give all our secrets away.
JOHN: I understand. Switching gears: What is your mode of transport?
DAVE: Back to autotalk with the Bomboras! I have a '55 Chevy - the shoebox
Chevy. Jake has a '65 panel truck with our logo on the side. Mr. Von
Franco has a T-Bird - a '62 I believe.
SHANE: I have a '62 Mercury Meteor. We all have bitchin' cars.
DAVE: Greg had a Subaru, but it was ripped off. Now he has to get a cool car!
...tape hiss
----------------------------------------------------------------------------
POLITICAL PLAYBOOK
By Shaun Dale
...And That's The Way It Was, Campaign '96
"I've become very good at discerning that fine line's worth of
difference between one worthless son of a bitch and another."
Molly Ivins
First the news...
Robert (Bobdole) Dole was (resigned/dismayed/elated) by the news of his
(crushing defeat/stunning upset victory). Bill Clinton, his place in
history as the first Democrat elected to a second term since Franklin
Roosevelt (shockingly denied/solidly established) proclaimed that "The
people have spoken and we must now cross the bridge to the 21st Century
as one nation."
In other election news, Rep. Richard Gephardt (D-MO) promised (a
sweeping new progressive agenda/to pull out all stops to turn back the
Republican majority) as it became clear that House Democrats would
(place him in the Speaker's chair/remain a minority in the next
Congress). Republicans retained their Senate majority as pre-election
speculation generally predicted.
*****
Sorry if that's a bit vague, but it wasn't *my* idea to have an election
on Cosmik's publication date. While DJ leaves ominous notes about
"deadlines" (somehow emphasizing the first syllable even in ASCII) in my
e-mail box and Bobdole makes his 96 hour campaign blitz (drug warriors
take note - it took bennies to get "my friends" through those mere 72 hour
cramming sessions when we,um,er... *they* were young, healthy college
students - what's propping this guy up?) I'm here recapping a campaign
that hasn't quite ended - officially.
Unofficially, it's been over for some time now. Even the most stalwart
Republican office holders have abandoned their Presidential ticket, with
Congresscritters all across the land campaigning on the explicit message
"Dole's a loser - elect me to counter the Clinton agenda." The
analysis of how Bobdole's shining moment in political history became the
worst run campaign in memory began before Labor Day. Only
Bob-I'm-the-most-optimistic-man-in-America-dole seems to have faith at
this point, and it's faith misplaced.
Nope, the people are going to do it - it being re-electing a man who is
generally believed to be a draft dodging, pot smoking, wife cheating,
wheeling and dealing son of a bitch. Not because they're particularly
enthusiastic about it - predictions of the lowest turnout in history
abound - but because he's running against a dissembling, cutthroat,
seemingly disconnected from reality wheeling and dealing son of a bitch.
Like Molly Ivins, the American people have learned to distinguish
between SOBs, and Bill's *our* son of a bitch this year.
That's a prediction I'm standing by, but I'm a little shakier on my call
for the House of Representatives to turn slightly Democratic. The
"Bob's a loser, elect me for the security of a deadlocked government"
ploy seems to be working in some places, and there are actually
Republican candidates running on their record of compromise and support
for some Clinton initiatives. Newt's about the only one left who seems
to remember that there ever was a Contract On America. My best guess
today is that the D's will pick up about half the seats they need.
And I think I was on solid ground calling for a slight Republican edge
in the Senate.
But what's it all mean, anyway? Well, if things look the same in 48
hours (I'm writing on Sunday the 3rd), after the "only poll that counts"
has been taken, we can look forward to a pretty safe but dull four
years. With Clinton unleashed in his last term, we probably *will* see
the real Bill Clinton - a moderate Democrat who tilts a little right on
cultural issues and ever so slightly left on a few things - race
relations, the environment, a federal role in education. He'll finally
owe nothing at all to progressive constituencies in the Democratic Party
- notably gays and labor - who have never got much more than lip service
from the Clinton administration anyway. If you're worried about Dole's
charge that Clinton is "liberal, Liberal, LIBERAL", well, rest easy. It
was never thus, and never will be.
If you were encouraged by that charge, well, better luck next time.
Freed from the need to satisfy Democratic progressives, Clinton will
have the opportunity to work with a Congress in which the centrists in
both parties will find their hands strengthened by an electorate that is
displaying a distinct lack of support for ideological posturing from
either side. Basically, Clinton has run on a platform of "I won't do
very much" and Congressional candidates of both parties have run on one
of "We wouldn't let him do very much if he wanted to."
Needless to say, I don't expect very much will be done.
But I'll be around to talk about whatever it is - and whatever I think
is wrong with it. Who knows, they may beat the odds and make me happy
once in a while.
But I won't be doing it in the Playbook. This is the last entry in the
series and I want to take some space to thank D.J. Johnson for the
opportunity to spout off for these several months. As a political
consultant, most of the words I produce are written for the letters,
brochures and speeches of other folks. It's been grand to have my own
voice here, and it's great to know that I'm welcome back to follow up in
another format. I'm also taking on a few more non-political assignments
- more reviews, some interviews and such. Thanks, Deej.
Also, thanks to my wife, who has read and proofread these things before
I launch them on the world, offering greatly appreciated encouragement
and correction. I love ya, Sal.
And thanks to all of you who have read some or all of this stuff. It's
been a lot of fun on this end - hope you've had some fun out there as
well.
Stay tuned - I'll be back...
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THE 1-4-5'S: Rock Invasion (Estrus)
Reviewed by John Sekerka
In an effort to solicit youngsters attending rock shows to wear protective
helmets, Major Trouble offers these words of advice: "Rock'n'Roll is all fun
and good, but sometimes things can get out of hand." Major Trouble may be
the brains of The 1-4-5's, but methinks he started donning his safety helmet
a show or two too late. Y'see The 1-4-5's offer up what looks like a straight
ahead album of rock tunes. In fact all the songs have "rock" in the title.
"Wanna Rock," "I Like to Rock," "Full of Rock," "Big Rock," "Rock, Rock,
Rock" ... you get the drift. And all these songs are listed as unearthed
nuggets from the formative '57 to '68 era, done up by such obscure outfits
as Lamboba & the Lamb Chops, Anna and the Bananas and The For Goodness Sakes.
And though these garagy numbers are delivered fast, furious and with mucho
gusto (18 tunes, 26 minutes, including a four minute silence before the
obligatory secret mystery track), something just ain't right here. A big
flashing bulb appears over my noggin as track twelve filters through my
dusty speakers. That ain't no "Rock in the City," that's "Hanky Panky," I
say loudly to myself, slapping my knee for added effect. I've been duped.
There's no telling what these songs actually are, and if in fact, they even
mention "rock." Some of these could be contemporary originals for gawd's
sake! And here I was digging for info on Jim & the Jumping Rock Fireballs
in my Rock Encyclopedia. What a maroon!
DAVIE ALLAN AND THE ARROWS: Fuzz Fest (Atomic Beat)
Reviewed by DJ Johnson
...and STILL champion of fuzz! Davie Allan has been on the scene since the
age of the Greek Gods--or so it seems. With his trademark muscle-fuzz guitar
tone, Allan rocks out on 15 tracks, including a pair of fantastic Henry
Mancini covers, "The Party," and "Experiment In Terror" On the latter track,
Allan's tone is unbelievably full and fluid, and he goes nuts with a wah-wah
near the end--and don't pretend you don't love THAT!
Davie has always had a knack for the mysterious vibe, and he carries on the
tradition with "Roswell, N.M.," featuring whacked out sci-fi sound effects.
Equally spooky is "Malfunction In Sector 9," a spy track with big ol' balls.
Of course, the entire disc is ballsy, thanks to the power of each Dave. Let's
see, there's Davie Allan (guitar), Dave Provost (bass) and David Winogrond
(drums). All three get to fly on "Polycarbonate," a funkified power surge
with a killer jungle beat. Nobody else sounds like this. Looking for
something with guts to spare? Here's your next high-voltage fuzz fix.
CHET BAKER: Chet Baker In New York (DCC)
24k Gold Compact Disc
Reviewed by Shaun Dale
DCC's latest in a series of impeccably selected and produced reissues on
their 24 Karat Gold format is "Chet Baker In New York," recorded in 1958
for the Riverside label.
It's hard to remember after all these years, but in '58 the title of the
album alone was revolutionary. Baker was the paragon of the West Coast
"cool" jazz scene, as distinguished from the hard bop East Coast sound,
and New York was the ultimate in seemingly unlikely settings for Chet
Baker.
Add to the location a supporting cast of East Coast notables including
Johnny Griffin on tenor, Paul Chambers on bass, pianist Al Haig and the
seemingly omnipresent "Philly" Joe Jones--who seemed to show up on
every important release from key jazz labels like Riverside and
Prestige--on drums, and it begins to look like the marriage of a Montague
and a Capulet.
But Jones and Chambers were the rhythmic heart of the band of another
"cool" jazz giant--Miles Davis--and Baker had a level of toughness in
his playing he was anxious to get on record. If it was a mixed marriage,
the families were willing get along for the sake of the baby--in this case
a recording of exceptional merit.
Griffin appears on three cuts--including the opener, Benny Golson's
"Fair Weather." He's given plenty of room to stretch, and Baker
responds with plenty of heart and energy.
"Polka Dots and Moonbeams" is Baker and the trio showing some of the
sensitive and pensive style that had made Baker's name with, and since
his time with, Gerry Mulligan's band.
Griffin rejoins for "Hotel 49," which turns into a ten minute tour de
force in which all five musicians take impressive turns, including one
of Paul Chambers' trademark bowed solos.
Baker and the trio continue with a Miles Davis composition, "Solar,"
which Baker delivers with a confidence that makes it his very own.
The quintet reassembles for another Golson tune, "Blue Thoughts," which
opens with Griffin blowing cool behind, beside and around Baker before
Baker breaks away with a cool and blue solo. Baker gives way to Haig,
whose piano dances on top of Chambers' walking bass and Jones'
distinctive brushwork. Griffin then comes back for his own solo which
is alternatively sassy and plaintive before yielding to Chambers, who
finds Haig returning the earlier favor by providing soft spaced chording
to support the bass solo. Baker and Griffin rejoin in unison to close
what may be the most satisfying cut on a very satisfying album.
The tempo picks up with "When Lights Are Low," with Baker's trumpet
sounding downright cheerful. This is another four piece track, and the
absence of the tenor seems to embolden Baker. Haig briefly takes over at
the half way point and once again gives way to Paul Chambers. Baker
picks up the theme and closes the cut in the same sprightly tone he
opened it in.
On the original Riverside release, that was all we got, but there was
another cut recorded in the session that was set aside for a compilation
album. DCC has included it here as a bonus track and it's a welcome
addition. Benny Goodman's "Soft Winds" is performed by the quartet with
Baker leading the way, showing his facility with the blues form. The
band is shown off to good effect, with a fine piano break, bowed bass
solo and a brief but tasty drum break. This display of the group is
particularly noteworthy since the track was recorded especially for an
album featuring horn players--it's to Baker's credit that he was
willing to share that spotlight on his own talents. And credit DCC for
restoring this cut to its original context.
YAMI BOLO: Born Again (RAS)
Reviewed by DJ Johnson
Yami Bolo has been kicking around the reggae scene for half a decade now
seeking his niche. This album was produced by Tappa Zukie (who was once
under the tutelage of U. Roy). Bolo writes and sings, leaving everything
else to Zukie. Zukie surrounds Bolo with musicians like Flabba Holt, Tony
Asha and drummer nonpareil Sly Dunbar. Bolo's songs are conscious and
creative, and in some instances they are top drawer reggae--especially when
they are recorded just a bit sloppily ("Jah Is Ruff"). Where the production
is extremely slick, such as in the cover of The Jackson 5's "Happy Sings The
Blues," it is saved by some incredibly soulful vocal harmonies. Bolo's one
shortcoming--or strength, depending on who you ask--is that he's such a
polished vocalist that there isn't always an edge. Tappa Zukie, with his
own understanding of "edge," wisely arranges counterbalances, my favorite
being Rappin' Tim's streetwise cameo on "Talk About Drugs." That's an
effective duet formula--skillful smooth and street tough trading shots.
The overall result is a fine album, not too revolutionary, but very
listenable.
BRAZIL 2001: Fist Full Of Sand (Self-released)
Reviewed by DJ Johnson
This band has the distinction of being the least surfy band to be completely
embraced by the instro-surf community--and they even have vocals! There's
are reasons for this acceptance, of course. First, Bernard Yin (guitar &
vocals) is an incredible player who uses elements of surf in even his least
surfy tunes; second, Yin is a tireless worker behind the scenes in the surf
community who gives his time and efforts unselfishly. Finally, you'd have
to have no sense of humor whatsoever to dislike this band! With songs like
"Dressing Like A Girl" and "Be An Idiot," Fist Full Of Sand is one of the
most amusing and interesting releases of '96.
Any resistance in the surf-buying public will be overrun after one listen
to their take on the classic "Penetration." Yin kicks the familiar melody
along with the unbridled joy of a psychotic stunt pilot, ably assisted by
Bill Roper on bass and Larry Taube on drums. There have now been
approximately sixty-two thousand covers of "Penetration," but I'll lay odds
you've never heard it like this. I think it was Rick Johnson of The Halibuts
who first turned me on to Brazil 2001 with the words "for a post-modern thrill,
check out their version of "Penetration." How accurate that was.
All three players are upper-stratosphere talents, so you would expect them
to take solo after solo. Not so. They are totally tuned in to the needs
of each song, and for that reason, Fist Full Of Sand is a collection of very
strong songs. Yin could obviously do the Satriani thing, but he chooses to
make songs that are memorable. Admirable. So if you're not afraid of having
the line "dressing like a girl makes me feel alright" stuck in your head,
give Brazil 2001 a listen. (For information on purchasing this CD, send
e-mail to Brazil2001@aol.com, or write to Brazil 2001 c/o Bernard Yin,
1647 Ocean Front Walk #17, Santa Monica, CA 90401, USA)
THE PAUL BUTTERFIELD BLUES BAND: East-West Live (Winner)
Reviewed by DJ Johnson
Serious blues fans and scholars are going to eat this up! Last year, Winner
released Strawberry Jam, which was a collection of of live tracks recorded on
portable tape decks. Now winner has released the ultimate companion piece to
Strawberry Jam, East-West Live, featuring three recordings of the classic
"East-West," also captured on portable tape decks in various clubs over a
one year period (1966-67). "East-West" was a continuous experiment in
ensemble improvisational blues that evolved and expanded a great deal over
the 15 months the band performed it live. East-West Live allows you to turn
back the clock and trace the evolution of this amazing work.
The running times are, in order, 12:37, 15:55, and 28:06. This review
originally contained detailed documentation of every mode of each
track...but it occurred to me that the real thrill of this CD is that YOU
get to make the discoveries and form the opinions. Being the opinionated
bastard that I am, however, I have a few observations I'm just dying to
share.
Observed: every musician in this band was a monster! The late Michael
Bloomfield's ragga-flavored guitar solos stunned everyone from Joe Pass
to James Marshall Hendrix. Elvin Bishop's stream-of-consciousness rhythm
guitar playing was flawless. Mark Naftalins' piano playing was upper
stratosphere (check out his work behind Bloomfield's soloing on version two,
for instance). Jerome Arnold (bass) and Billy Davenport (drums) held the
whole thing together and often led the way. And the late Paul Butterfield's
harp playing added a texture of pure beauty that often played counterpoint
to the intense fury at the surface.
Observed: One member of the band would get an idea, and within seconds, the
others had caught on and expanded on it. Totally amazing.
Observed: Either Mick Taylor caught the BBB in concert, or there was an
interesting coincidence...because there's a section of the first version
here that sounds and feels very much like "Can't You Hear Me Knocking,"
which the Stones did muuuuch later.
Observed: An hour of East-West isn't the least bit monotonous because every
section is so different.
Tracing the evolution of a song is extremely satisfying work. The people
who truly appreciated the Beatles Anthology CDs know this. East-West Live
is an incredible document, and an opportunity to get inside the minds of some
amazing musicians. (To purchase East-West Live OR Strawberry Jam, send a
check or money order in the amount of $15.00 plus $3.00 shipping & handling
for each CD ($4.00 in Canada and $5.00 overseas) to Winner Producing Company:
P.O. Box 151095, San Rafael, CA 94915-1095. Be sure to indicate the title
you are purchasing. Send e-mail to wpc@netcom.com, and check out the Winner
website at http://www.bluespower.com.)
BILLY CHILDS: The Child Within (Shanachie)
Reviewed by Alex Gedeon
Pianist Billy Childs' sixth release is an excellent display of his writing,
production and arrangement skills, along with his fantastic technical
prowess as a musician. "The Child Within," preceded by 1995's "I've Known
Rivers" (with the Grammy-nominated track "The Starry Night"), is quite
possibly the best straight-forward, traditional acoustic jazz album the
artist has released to date. While its predecessor was filled with slightly
less aggressive compositions and the stylings of Scott Henderson, Jimmy
Johnson, Bob Shephard and Mike Baker, among others, "The Child Within" is
vigorously energetic and shows as much raw creativity as the standard
quartet format will allow.
For this outing, Childs has replaced Bob Shephard's soprano sax with
Terence Blanchard's trumpeting as the focus, the instrument showing itself
most effectively in the jazz standard "Loverman." Steve Wilson's soprano
sax is only heard on three tracks, including the beautiful "Aaron's Song,"
dedicated to Childs's son, who is four years old and graces the cover of
the album.
"The Child Within" also sees the appearance of an upright bass, deftly
manipulated by Dave Holland, unheard on a Childs album since "Portrait of
A Player" almost four years ago. Also in the rhythm section is drummer
Jeff Watts, often times bringing unpredictable and unexpectedly funky beats
into the mix.
The influence of Thelonius Monk is great on this album, with Childs even
covering Monk's piece "Pannonica" for solo piano. The lp's second track's
title was inspired by a 1992 interview between then Governor Bill Clinton
and dangerously cunning pop journalist Tabitha Soren during the presidential
race. After questioning him on his favorite musicians, she seemed to have
heard him list a gentleman by the name of The Loneliest Monk. This became
the title of a cheerful, foot-tapping composition, having the mood and style
of the monk's classic tune "Evidence."
Perhaps Childs's most interesting traditional jazz composition ever released
is "The Hunted," an eleven-minute long tour de force, featuring brilliant
improvisation and beautiful moments of chaos. Also a nice exposition of the
pianist's writing is "Dreams," featuring trombonist Luis Bonilla and Ravi
Coltrane, whose tenor sax solo is one of the most intriguing on the entire
album.
Childs's stray from the electrical socket is surprising, but is more than
welcome at this time among many jazz audiences. He has managed to make a
giant leap to another, more popular genre for "The Child Within," all the
while maintaining his artistic integrity.
CHOPIN: Twelve Etudes, Op. 10; Twelve Etudes, Op. 25; Three New Etudes,
Op. Posth. Yukio Yokoyama, Piano. (SONY SK 62605 [DDD] 65:23)
Reviewed by Robert Cummings
Yokoyama possesses a tonal palette of immense range, an all encompassing
technique, and an innate sense to balance juxtaposing ideas within a
framework that embraces, in judicious measure, passion and logic, sensuality
and boldness. All the riches of Chopin are here, romanticized more than
classicized, in performances that bespeak talent rarely found in someone of
this pianist's youth: he was twenty-one when he made this recording in 1992,
and why Sony kept it under wraps for four years, I'll never know. Better
late than never, I guess.
Simply stated, this is phenomenal playing. Perhaps from this single recording
it would be premature to rank Yokoyama with the Chopin giants of the past
and present-Rubinstein, Cliburn, Argerich, Zimerman and Ashkenazy. But the
thought comes to mind still as one listens to him, mesmerized by pianism that
mere words can't describe. Hear the dynamic thrust and brilliance of the
opening etude of Op. 10 (in C major-track 1). You sense instantly that you're
hearing a distinctive voice, a pianist with the fingers to keep pace with his
transcendental ideas. And try No. 4 in C minor (track 4) to hear dazzling
passage work that infuses the piece with such a fleet and charming
effervescence you're apt to become breathless in your passive role as listener.
No. 5 (the famous Black Key etude) is rendered with a delicious propulsiveness,
yet balanced in the right places with a graceful delicacy. Yokoyama deftly
conveys the melancholic obsession in No. 6 (E-flat minor), and the telling
drama and agitation in the Revolutionary etude (No. 12). In the Op. 25 set
he continues with the same insight and virtuosity, but now deepens his
expressive language, cognizant Chopin had further developed his artistry in
the three or so years that separate the two sets. Listen to Yokoyama's subtle
coloration in No. 6 (in G minor-track 18) or to his tonal allure in the sweet
sadness of the following C-sharp minor etude.
The one controversial reading here is of No. 3 in F (track 15), where the
pianist adds weight to the base notes in this jaunty gallop along the keyboard,
turning the piece into a kind of epic-sounding statement of joyous music-making.
To me, this approach works; to some, however, the thicker textures may seem
too caloric, at odds with the lean renderings their ears are accustomed to.
Comparisons? If I were consigned to a desert island for life, I would be
perfectly satisfied with just this rendition of the two sets of etudes and
the Three New etudes. I might concede, however, that if someone could strip
the sonic deficiencies from Ashkenazy's first recording of the etudes (circa
1960, now available on Saga in mono sound), I might find myself yearning for
its ebullience and virtuosic flair. But even then, I believe I would favor
this splendidly recorded Sony effort by a pianist I'm sure you'll be hearing
more of. Highest recommendations.
THE NEW MILES DAVIS QUINTET: Miles (DCC)
24k Gold Compact Disc
Reviewed by DJ Johnson
This was the first album put out by The Miles Davis Quintet. Released in
early 1956, it made one hell of a splash, and it quickly came to the attention
of the good pirates at Columbia Records. Naturally, they did what any label
types worth their salt would do: they stole the band from Prestige Records.
This is what led to the infamous 4-LP contractual obligation releases on
Prestige. But this story takes place in a different time--though just barely.
Everything was calm, everything was peaceful, and nobody wanted to kill
anybody just yet.
The Quintet was surely one of the greatest units in the history of cool jazz.
How's this for a hall of fame lineup? John Coltrane on sax, Red Garland
smackin' the ivories, Paul "Yes, a human being CAN be this talented" Chambers
on bass, "Philly" Joe Jones on skins, and the inimitable Miles Davis himself
on trumpet. These cats even sounded cool warming up! At the time of the
original release, only Davis had made his bones in the jazz world. For the
other four, the bones would be made in a big hurry.
This album was originally issued as Prestige 7014, and re-released in 1962
as Prestige 7254. Thanks to DCC's perfectionism and integrity, the liner
notes from both releases are included. They even go so far as to include
photographs of the original record labels showing the track listings. Gotta
love their dedication to authenticity. The sound, of course, is nothing
short of exquisite. Warm, spacious, and clean, just the way jazz ought to
sound. Miles' trumpet tone is unbelievable; bright and biting when it should
be, fat and smooth at other times. And Trane...well, his tone in Benny
Goodman's "Stablemates" is one of the finer things in life.
It's stupefying to realize that Miles Davis' friends and associates were
highly critical of his choice in bandmates back in 1955. These four world
class talents were being referred to as amateurs. Luckily, Miles knew a good
thing when he heard it. Then again, Miles Davis was never one to bow down to
popular opinion.
THE DESCENDENTS: Everything Sucks (Epitaph)
Reviewed by DJ Johnson
Milo and the boys are back with an amazing album filled with dead-on songs
about relationships in various stages of dysfunction. Everything Sucks is a
candidate for punk album of the year. This is a band that pleases both the
lyric hounds and those who just want to tap into the power for a while. I'm
both, and a song like "Rotting Out" immediately makes my current favorites
list for it's fist-in-the-face delivery of lines like "Shove all your problems
under the rug - Then you wonder where the smell came from - Rotting out from
the inside." The sound explodes from the speakers on every track. This is
some of the most powerful melodic punk I've ever heard.
The Descendents write songs for everyman--or at least every man who struggles
to understand his life and his relationships. "She Loves Me" is a tale of
desperation after a mild fling turns serious. "And her love could never grow
sour - It grows more pure with every hour - I never wanted anything like that
from her." How many people can relate to that? Millions. Then there's the
other end of the spectrum: "I'm The One," written by bassist Karl Alvarez,
is for each and every guy who has ever been desperately in love with a woman
who was his best friend. "Nice guys finish last - No one knows as good as
me - We're just good friends - and you come to me for sympathy - You tell me
that I'm not your type - but still you call me late at night - every time he
picks a fight." Ha! Deja vu! The poor guy goes for broke, saying "I'm the
one - I've been here for you all along - I'm the one - whose shoulder you've
been crying on." There's no happy ending, no resolution--but that makes it
all the more real because it lets you imagine your own.
Everything Sucks seems like such a personal album--personal for me and, I'm
guessing, a million other guys. I wonder what women think of it, or if
women can even relate at all.
DOGON: Notdunjusta (New Dog Records)
Reviewed by coLeSLAw
I couldn't be happier to have discovered this band. Dogon are not only
remarkable electronic musicians, but they possess enough quirks to keep
things from becoming too serious. That ability is what separates the true
musical freaks from the I'm-just-gonna-put-out-albums-'cuz-I-can-afford-a-
MIDI-processor ilk which plagues the world to this day. These boys are with
the program 100%. Moods of black, blue, and swarms of pink and green polka
dots swirl through 71 minutes and 57 seconds of pure ear candy.
Miguel Noya and Paul Godwin, who are Dogon (the name comes from reversing
the first half of both last names) are an exceptional pair. They have
created a sound and space uniquely their own in a genre full of invisible
faces. (For information, send e-mail to godwin@sirius.com, or visit their
website at http://www.newdog.com.)
DOWN BY LAW: All Scratched Up (Epitaph)
Reviewed by Shaun Dale
Down By Law follows their last release, "punkrockacademyfightsong," with
a disc that tells us they completed the academy, won the fight and learned
the song. Several cuts here could be the fight song for any punker, with
an anthem around every corner. There's also a sense of humor that a lot
of bands could stand to pay attention to.
This is straight ahead, high energy music delivered with a take no
prisoners, make no compromise attitude. Listening to the disc, you can
almost hear the major label A&R guys whispering "Just slow this one down
a bit and don't say 'fuck' and I'll make you a star, kid."
And you can imagine the band playing just a little faster and saying fuck
just a little louder in response.
Which may be what I like best about Down By Law.
Nah, I like the attitude, but I love the songs. I'm a sucker for anthems,
and like I say, they're scattered liberally throughout the disc. From the
opening cut, "Independence Day," to the closer "Punks and Drunks," guitarist
Dave Smalley rallies the punk faithful. On "True Music" he admits that
"for just one day I let all the bullshit get in the way" but assures us that
"it won't happen again" because "I just want to play true music!" And he
and his bandmates Sam Williams III (lead guitar), Angry John DiMambro (bass)
and Danny Westman (drums) do just that.
If, like me, you think that the Ramones only fell about 5 degrees of
commitment short of being the best thing that happened to rock in the
last 20 years, try these guys out. They're 99 9/10 % pure.
Track List:
Independence Day * Cheap Thrill * All American * Hell Song * True
Believers * Giving It All Away * Gruesome Gary * Radio Raga * Attention:
Anyone * Superman * Post Office Lament * Ivory Girl * No Has Beens *
Kevin's Song * True Music * Far and Away * Punks and Drunks
THE GAMMA MEN: 440 (NKVD)
Reviewed by The Platterpuss
Though I've said it before, it bears repeating here that GM drummer Steve
Gardner was the founder and force behind "Noise For Heroes," probably the
best fanzine of the late-80s/early 90s covering Punk Rock. He was the first
to turn me on to all the great Australian and Finnish combos, not to mention
all those incredible bands on the French Spliff label. Without NFH there's
probably no way I'd have ever heard any of that incredible music. While
Steve hasn't published in over 3 years, having a new Gamma Men CD every year
makes it (almost) an even trade. These guys are a perfect embodiment of
everything I've always loved about Punk. The music is catchy yet aggressive,
the lyrics are angry yet intelligent, and these guys can really play. Yet
that doesn't tell the whole story as, like the best Rock & Roll throughout
the ages, there's that little extra something that sets them apart from the
rest of the pack. Although I definitely have my favorites here, such as
"Johnny Can't Rock," "What You Needed," "In Love With Negativity" and the
superbly titled "Love Is Space And Time Measured By The Heart...Bullshit,"
there's not a single track here that's anything less than perfection. This
is their 3rd CD and I've yet to hear these guys play even one bad note,
much less a whole song. If you're into Punk, this is one disc you won't
want to be without. By the way, NKVD also sells a lot of cool imported discs
and vinyl that no one else carries so be sure to write and ask for a
catalogue. (PO Box 60369, San Diego CA 92166)
THE GROOVIE GHOULIES: Appetite For Adrenochrome (Lookout)
Reviewed by DJ Johnson
Originally released in 1989, this is one powerful batch of garage hootch.
And it's just in time for Halloween, with songs like "Blood Beach," "My
Computer Said 'Kill!'", "The Blob," "King Kong," and "Do The Bat." This
is one of those albums that makes you remember what you love about rock
and roll--and makes you ashamed for buying that Hootie record. And ya
gotta love a band that would power-up a cover of The Monkees' "Lookout
(Here Comes Tomorrow."
Filled with nice touches, like following "Armageddon 2000" with a cover of
The Rolling Stones' "2000 Man," and flowing from song to song with few moments
of dead air, Appetite For Adrenochrome recreates the experience of a witty
and powerful live performance. I recommend turning the heat up until you
sweat, spilling beer on your shirt and cranking the stereo beyond the point
of pain. If they went this far to recreate the experience, why shouldn't
you?
GT STRINGER: The Gasser (Tremolo 10)
Reviewed by DJ Johnson
Oooooh man, I love this band! Since the day I received their debut release,
Sandcrack: The Soundtrack, I've been singing their praises to anyone who would
listen. Their sound is an exquisite brand of instrumental surf with a wide
range of other influences brought in by each member of the band. Trevor
Ramsay (sax) is obviously well schooled in jazz structures, and he's apt
at any moment to throw a quick nod to Coltrane into an otherwise straight
forward solo. Keeps you on your toes! Jimmy Redgate's guitar playing is
definitely surfy, but there's an element of blues that keeps it nice and
sultry. His subtle slide playing on "Time Out," dubbed over his beautifully
fingerpicked electric guitar part, elevates the already-fine track to the
sublime. In fact, "sublime" is a word that one can hardly avoid when speaking
of this amazing band from Adelaide, South Australia.
The Gasser is an 8-song EP/CD that introduces Tristan Andrews on Hammond
organ, a brilliant addition that allows Redgate to stretch out more than
he was able to on Sandcrack: The Soundtrack. Andrews provides Stringer
with a brand new texture to build on. He lays back most of the way,
but in the final moments of the final track ("Out Of Gas"), he lets fly
with a great spinning-Leslie solo.
On Sandcrack, the psychedelic track was "Walk The Plank," a beautiful yet
brutally turbulent tour-de-force. On The Gasser, it's "Surf Rescue" that
swirls frantically around Dennis Kipridis' killer bass line, with occasional
sounds of a radio newscaster detailing an accident at sea. It's just one
of about ten musical styles that GT Stringer can do better than most
anyone else. Drummer Steve Hearn anchors it all with absolutely perfect
percussion from track to track and style to style.
I personally know about a dozen people who have heard GT Stringer, and
every one of them speaks with great excitement at the very mention of their
name. That says it all. Someday we're going to have to figure a way to
get them to come across the pond and play in America. Keep your fingers
crossed. (Write to GT Stringer at 10 Farncomb Rd, Fulham 5024 Adelaide S.A.
Australia, or e-mail tjr@ozemail.com.au and talk to Trevor Ramsay. He'll
help you get ahold of both albums.)
HALCYON DAYS: Halcyon Days (Fathom Records)
Reviewed by coLeSLAw
As if it weren't enough for a wizard such as Steve Roach to lay his magical
hands of gold onto this musical project, he is joined by two other wizards
with powerful voodoo of their own. Stephen Kent and Kenneth Newby fill out the
trio that is Halcyon Days. Between these three astounding musicians, there is
a musical arsenal of sounds. Didgeridoo is the biggest beast on the food chain
in this land, roaming through the sounds of synthesizers, ocarinas, bonangs,
and the distant thunder of drums, drums, drums.
Although written in reference to the days of prosperity immediately preceding
and following the longest night of the year, the feel of the album is like
being invited on a headhunt with a band of groove oriented mud-people. At
times both Native American, Australian and Middle Eastern in sound, there is
an unavoidable dry desert quality reflected in tracks ranging from the
soothing 'Rainfrog Dreaming' to the polyrhythmic free-for-all of 'Riding the
Atlas.'
Fans of Roach, Kent and Newby will be thrilled by the cohesiveness of this
threesome. Newcomers will most likely stand transfixed, eyes glowing,
drooling into space. This is what music is supposed to be. (Fathom's
website is at www.fathomusic.com.)
BERES HAMMOND: Love From A Distance (VP)
Reviewed by Shaun Dale
Pssst...hey buddy, wanna get, you know (nudge, nudge, wink, wink) lucky?
Well, if soft lights, good wine and this offering of musical support
from Beres Hammond on the speakers doesn't do the trick, it's time to
consider a major investment in personal hygiene products.
Hammond uses these 12 of these 14 tracks to maintain a hold at the top of
the lover's rock pyramid. Even one of the cuts which depart slightly from
the romantic mold, "Sing Glory," manages to combine praise for the creator
with an admonition to the sisters to "bear out with your man, it's not
everyday the seas gonna be rough..."
The most conscious cut here is "What a Life," which is reminiscent of
Marvin Gaye's ability to plant a socially aware message in the middle of
a set of love songs by singing it *like* a love song, without
diminishing the message. It takes a great songwriter and a special
performer to pull it off. Gaye was just that, and Hammond is that
today.
But Hammond's special forte' is the romantic ballad, and there are
several excellent examples on hand here. Pick a half dozen of your
favorites, program that player to repeat as needed, turn down the lights
and uncork the wine...but not, of course, alone...
Track List:
Much Have Been Said * Sweet Lies * Love From A Distance * Let It Go *
Rose Garden * Highlight Of The Day * Take Time To Love * Good Love *
What A Life * Sing Glory * Can't Stop A Man * Cold Bumps * All Is Well
BETH HART BAND: Immortal (143/Lava/Atlantic)
Reviewed by Shaun Dale
This was passed on to me as the latest installment in the eternal search
for the "new Joplin," and Beth Hart can certainly go there, but there's
a lot more here than that. Hart, who dropped out of LA's High School for
the Performing Arts to study at the academy of the open mike, is a
distinctive new voice in the recording world, capable of selling a lyric
with precision or abandon as the song might require.
The players are a far sight better than Janis' old bandmates in Big
Brother, too. Featuring Hart on piano, Jimmy Khoury on guitar, Tal
Herzberg on bass and drummer Sergio Gonzalez, they have a wealth of
experience in such diverse environments as the Israeli Air Force band, the
Disney World house band and the demanding world of the LA session scene.
The album is the product of months in the studio with producers David
Foster (with 12 Grammys to his credit), Hugh Padgham (Phil Collins,
Mellisa Ethridge, XTC) and Mike Clink (Guns N' Roses).
All that time and talent were well invested. This is one of the better
debut albums I've heard, revealing expert musicianship and emotional
commitment to the music. Hart has or shares writing credits on all but
one of the tracks here and has a touch with a creative lyric and and
innovative melody.
The Beth Hart Band may be the next big thing, or not. Get the disc now,
though, and if they are you can say you were one of the first. If they
aren't, you'll have 12 tracks of well crafted songs, excellent
musicianship and inspired vocals to show for your trouble.
Good deal either way, I figure...
Track List:
Run * Spiders In My Bed * Isolation * Hold Me Through The Night * State
Of Mind * Burn Chile * Immortal * Summer Is Gone * Ringing * God Bless
You * Am I The One * Blame The Moon
THE HUMPERS: Live Forever Or Die Trying (Epitaph)
Reviewed by The Platterpuss
The Humpers are the kind of band that basically does one thing, but they
do it better than almost anyone else around today. That one thing they do
is play loud, crude, obnoxious, in-your-face, pissed-off Punk Rock that's
perfect for letting off a little steam. Just one look at some of their song
titles like "Wake Up & Lose," "Migraine Shack," "Fast, Fucked & Furious,"
"Drunk Tank" and "Apocalypse Girl" oughta give you a pretty good idea of
what these guys are all about. This is the type of thing that you either
get or you don't and there's no in-between. As for me...it's loud, it's
fast, it's got the right 3 chords and plenty of bad attitude so what's not
to like? (2798 Sunset Blvd., L.A., CA 90026)
CHRIS ISAAK: Baja Sessions (Reprise)
Reviewed by John Sekerka
Chris Isaak takes a Mexican vacation, and alongside the requisite photos
we happen to get a musical snapshot as well. We see Chris and the boys hang
out in pool halls, drive around in a long-finned convertible, do a bit of
surfing, wear white slacks, don sun glasses and play a little music. Often
misunderstood, dismissed as a one hit wonder and Hollywood pretty boy, Isaak
continues to make startling records.
Baja Sessions captures that perfect lazy sunny afternoon siesta feeling, as
Isaak resurrects some of his neglected material ("Dancin'"), dusts off some
covers (Roy Orbison's "Only The Lonely") and pens new material on the spot
("Think of Tomorrow"), in roughly equal portions. The mood is relaxed, slow,
gentle, laconic and breezy, as the band slips effortlessly into soft guitar
and gentle percussion while the pretty boy whispers his croons. This is the
calm after the storm album, where Chris gets away from it all following the
open wound of Forever Blue. Shirking the old hat cliche of heading south of
the border for a wild weekend, Isaak winds up staying on the right side of
the tracks for a relaxing and reflective time. Always a romantic, Isaak's
just never been able to convey it so convincingly before.
JIM LAUDERDALE: Persimmons (Upstart)
Reviewed by Shaun Dale
Jim Lauderdale, in the midst of a move from Atlantic to RCA, has
assembled a collection of tunes from the past several years that have
somehow escaped the attention of the Who's Who of country artists (George
Strait, Patty Loveless, Vince Gill, etc.) that have recorded Lauderdale
tunes, as well as missing inclusion on his own recordings. It's a
collection well worth hearing.
These aren't necessarily songs for today's mainstream country audience.
In fact, it might not be considered a country album at all except for
the fact that Lauderdale seems to have recruited the pedal steel hall of
fame to join him--including Al Perkins, Bucky Baxter, Dan Dugmore,
Tommy Spurlock and Robbie Turner. Add such notable sidemen as Roy
Huskey, Jr., Larry Knectel and Pat Buchanan (among others equally
strong) and toss in some vocal support from Emmylou Harris and it's
obvious that this disc, while transitional in terms of Lauderdale's
label adjustments, was given first class treatment.
The songs themselves tend toward melancholy sentiments in mid tempo
rock settings, with more than a dash of western swing. Standout tracks
for me include "And That's A Lot," "Tears So Strong" (one of the hardest
rockers on the disc) and the plaintive ballad "Some Things Are Too Good
To Last" (with Emmylou), but there's enough variety and enough quality
here for you to find a few favorites of your own. Check it out.
Track List:
Life By Numbers * Do You Like It * And That's A Lot * Am I Only Dreaming
This * Don't Leave Your Light Low * Seems Like You're Gonna Take Me Back