Son Of Skip James Review

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Son Of Skip James ReviewFans of Dion's previous acoustic blues album Bronx In Blue will certainly want to check out his new CD: Son Of Skip James. Sticking to a similar formula as that aforementioned record, this time around we're treated to a broader palette of musical instruments to help flesh out the the sound of the tracks within. Here, harmonica, organ and piano--both electric and acoustic--spice up the guitar and percussion backing to great effect. Highlights include a fairly straight cover of Chuck Berry's "Nadine," one of the few tracks on the album that strays slightly from the traditional blues format; "My Babe"--written by Willie Dixon and made famous by Little Walter--with its infectious riff; a stripped-down take of Bob Dylan's "Baby, I'm In The Mood For You," which Dion himself first recorded for Columbia in 1965; and a searing, dueling-acoustics version of Robert Johnson's "If I Had Possession (Over Judgment Day)," probably my own personal fave on the CD!
Another surprise here is The Thunderer--a song based on a Phyllis McGinley verse that tells the story of Catholic Saint Jerome, the man who "translated the Bible." It has the same melodic feel as some of Dion's best work, primarily due to a tasteful--almost 70's style--electric piano backing. And, for those who might normally bristle somewhat at the thought of a record that contains an overt religious stamp or two (i.e. usually me!), fear not, it all works here, standing side-by-side with the broader themes of faith and redemption that permeate the framework of the blues in general. Furthermore, it's simply another side of the same artist who previously recorded a string of gospel albums during the 1980's.
Special mention needs to be made once again regarding Dion's (underrated IMO) acoustic guitar playing and timeless vocals. His finger-picking is front and center on songs such as Tommy McClennan's "I'm A Guitar King," while his overall range and effortless phrasing show him to be as vocally nimble as ever--bending, turning and soaring at every curve with the greatest of ease! At age 68, he's showing no signs of wear or tear.
Overall, an even stronger record than the Grammy® nominated Bronx In Blue, with richer colors and more variety. Highly recommended!Son Of Skip James Overview

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Threeleggeddog Review

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Threeleggeddog ReviewThis is a hidden gem. I have seen this band in San Diego and Lake Tahoe and they are amazing. I cannot believe they never got bigger than a regional cult following. They had a couple songs in movies and won a billboard award but not much more. More known for the live shows I guess. I heard they signed some crappy record deal and things with this cd fizzled out. Last I heard they were recording a follow-up and doing some shows in Europe, where they have a minor following. Band members all work in other acts so getting together is hit and miss. Who knows, maybe they'll be back with more killer tunes.
Meanwhile, this cd well worth a listen.Cheers
MargaretThreeleggeddog Overview

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13 Drinking Songs Review

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13 Drinking Songs ReviewLookout... this twisted little gem is only half the story. 13 Drinking Songs is a mostly acoustic CD, sonically quite rootsy -- mostly just guitar and vocals (with the occasional random interruption from another genre). Lyrically, however, the bent is decidedly raunchy, debaucherous, and quite funny, simultaneously pulling from obscure intellectual humor and sex/bathroom jokes. Adolescents on speed, masquerading as a "lounge/folk" act.
Compared to their live show, 13 Drinking Songs is subtle (a strange thing to be saying). Live, it's just the two guys on stage (Buck F. Naked and Dave A. Shameless), but they generate more energy than most 4 and 5 piece bands. And they are quite possible the loudest 2-man "acoustic" act ever. 13 Drinking Songs isn't their only CD, and it may not even by their best, but it's certainly an essential part of one of the most unusual and original acts out there.
What's the word??? Ask Buck, he'll tell you...13 Drinking Songs Overview13 Drinking Songs is a happy and heroic stroll through a world of sex, booze, and religion. The sound is decidedly acoustic and pleasing, but there's a viciousness and dark humor that keeps poking its fist through the guitar and harmonies. And there's certainly something to offend everyone here. James Taylor for punks? Worth the price of admission for the picture of Buck's sister on the back of the CD.

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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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Train a Comin Review

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Train a Comin ReviewSteve Earl opens the album by declaring: "This here's the 'Hometown Blues' with apologies to Thomas Wolfe and Doc Watson," and then presents the listener with the warmest and perhaps most personal album of this country renegade's career. It had been four years since his last studio album, 1991's The Hard Way, and almost a decade since his 1986 debut Guitar Town. For this comeback effort, Earle strips things down to the roots. The band consists of a Who's Who of country, folk and bluegrass musicians: Norman Blake (guitar, Dobro, fiddle, mandolin and Hawaiian guitar), Peter Rowan (mandolin, mandola, gut string guitar and vocals), Roy Husky (accoustic bass) and Emmylou Harris (vocals). The album is a mixture of originals like "Mercenary Song" and "Ben McCulloch," and covers like Townes Van Zandt's "Tecumseh Valley" and a wonderful version of the Beatles' "I'm Looking Through You." If you enjoyed Earle's 1999 collaberation with the Del McCoury Band on The Mountain, you'll love Train a Comin'. In 1986 three artists released their debuts: Dwight Yoakam, Randy Travis and Steve Earle. I thought they would save country music. If they haven't succeeded, they at least have helped preserve its integrity. HIGHLY RECOMMENDEDTrain a Comin OverviewWarner Brothers has re-released this 1995 acoustic gem by Steve Earle, originally released on the Winter Harvest label. Included are covers of "Tecumseh Valley" and the Beatles's "I'm Looking Through You" as well as such Earle classics as "Sometimes SheForgets."No Track Information AvailableMedia Type: CDArtist: EARLE,STEVETitle: TRAIN A COMIN'Street Release Date: 01/28/1997

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