Centerfield Review

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Centerfield Review"Centerfield" was a long-needed breath of fresh air for the music scene in 1985. At the height of synthesizers, hair metal, and glam-pop, John Fogerty's first original album in nearly a decade was a down-home piece of work, as rustic as a Top Ten record could get in 1985. Sure there are little dashes of 80s technology here and there as needed (bits of keyboards and some clinical drum work show up on some songs), but for the Decade of Decadence, "Centerfield" was a rescue. The most relief was probably for Fogerty himself; after the disheartening breakup of Creedence Clearwater Revival in 1972, he recorded some now-obscured albums but his musical career was put to silence by overwhelming business disputes with CCR's old label, which would hault Fogerty for nine years until 'The Old Man Down the Road' appeared at the end of 1984 and became a smash hit. The album "Centerfield" followed and hit Number 1, much to the disdain of the hot shot executives with whom Fogerty had been battling.
Even though there were even some legal turmoils surrounding this album, it was John Fogerty who had the personal satisfaction (for both he and his fans) that the years of legal and contractual turmoil had not wrinkled his musical talent. The opening hit single is worthy of the "repeat" button on the stereo, and Fogerty follows suit with a string of memorable, down-home, personal, and celebratory songs. There's the carefree joy of 'Rock and Roll Girls,' 'I Can't Help Myself,' and the title track (which in some corners was ruined by those who constantly used it for a novelty baseball anthem). There's also the reflective sadness of 'I Saw It On T.V.,' and even personal demons and a desire for redemption in 'Searchlight.' 'Big Train From Memphis' is seemingly autobiographical, reflecting upon Fogerty's youth in which he was bored with his California surroundings and rather took an interest in a mythical bayou world and southern creoles (which was the source of CCR's legendary sound). And of course Fogerty doesn't forget to burn those who kept him down with the legal disputes as he lashes out in slick style with 'Mr. Greed' and the notorious 'Vanz Kant Danz.'
Though its follow-up, "Eye of the Zombie" didn't catch on as well with music fans, Fogerty had already claimed his victory, and the quality of "Centerfield" (and the overlooked "Zombie") was enough to hold him for another long decade, after which he would re-emerge yet again with another triumph, the Grammy-winning 'Blue Moon Swamp' and the successful 'Premonition.'Centerfield Overview

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Neil Young - Heart of Gold (2006) Review

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Neil Young - Heart of Gold (2006) ReviewIn the summer of '05, Neil Young, having just survived a close call with a brain aneurysm, performed two concerts at Nashville's famed Ryman Auditorium. Documented here, the concerts premiered Young's most recent, and critically acclaimed release, Prairie Wind, followed by many classics from the gentler compartment of his massive, magnificent catalog. From the opening interview snippets to the final scene of Neil Young alone on stage, Jonathan Demme, as one would expect, has created a masterpiece, a film suitable to its subject. No two-second ADD camera work here, this wonderful film was shot with the same grace, intelligence and intimacy as the music Young and his friends--including Emmylou Harris!--perform. I saw this film four times while it was in town, and now I can't wait for the DVD release. Don't miss this (literally) glowing tribute to one of rock/blues/folk/country's genuine icons.Neil Young - Heart of Gold (2006) OverviewAcademy-award winning director Jonathan Demme beautifully captures Rock & Roll Hall of Fame legend, Neil Young as he prepares and presents the performance of a lifetime with the help of his wife Peggi and friends country star Emmylou Harris, steel guitarist Ben Keith and more at Nashville's Grand Ole Opry.

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Early Southern Guitar Sounds Review

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Early Southern Guitar Sounds ReviewAt 75 years old, Mike is still alive and kicking very hard as the most outstanding player, historian, and analyst of Southeastern traditional music Black and white in America. He's unique in that as he likes to say, he was never very good at "book learning" and with the exception of a few out of print music instruction books and his brilliant "Talking Feet" book and film which should be in every home, most of his writing has come in liner notes, or talks at performances or where old time music savants gather. However, he has created a body of work in his 60 years of performances and in the many living traditional singers and musicians he has recorded and promoted, and in the recordings he has done with the New Lost City Ramblers, the Strange Creek Singers, and with other old time musicians like Alice Foster (now Gerard) and Paul Brown.
This album is apparently a successor to his magnificent Southern Banjo record that catalog traditional Black and white Southern banjo playing magnificently coming like this set does with an instructional DVD.
Even more than on the Banjo Sounds set, Mike covers a broad selection of different old time guitar sounds, both African American and European American and much mixed. Old time guitar comes from many places. Some of it comes from the polite usually sentimental parlor guitar styles that were a big part of 19th Century genteel life and the chief center of guitar playing until the early 20th Century when inexpensive factory made guitars with steel strings first became available by mail order throughout the rural South.
The emergence of the steel guitars came at a time that a revolution in music was going on, Ragtime and the Blues and the beginnings of Jazz were stirring. The old fiddle repertoire was being changed by the addition of banjos to what had often been solo fiddles. People were trying to make music that combined the old traditions with the new sounds and people moving to the guitar were using techniques that they had used on the banjo as well as making new music no banjo had ever played.
Spanish Fandango on this CD was one of the signature pieces of the standard parlor and performance guitar styles of the 19th and early 20th Century. If you bought a book on how to play guitar in 1890, it might have had the Spanish Fandango as the last piece showign you really could play. It was so popular with Southern white and Black guitarists, that the open G tuning which it is done in is still known by many as the "Spanish Tuning."
On the other hand, the John Henry on this album is exactly the kind of slide D Sebastopol Tuning (named for the "Seige of Sebastopol" written by the same author as the Spanish Fandango and also a parlor guitar specialty) that Black guitarists especially in Virginia and North Carolina aspired to play when the guitar and the blues swept in in the 1910s and 1920s.
One of my favorites here is the reproduction of Frank Hutcheson's magnificent "Worried Blues," a slide guitar. There is much else here.
Now, I first met Mike at the Banjo collectors gathering where he would frequently bring a rare old banjo played by an historic banjoist like Dock Boggs or Josh Thomas. On this CD he delves into his own collection and those of friends and collaborators to present an array of historic guitars whose description in the well written notes open the door to the history of guitars in the US.
This recording belongs in every homeEarly Southern Guitar Sounds Overview

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