Larkin Poe "Bloom" 2025***

Only a week ago I wrote I only had one album off the best-of-year lists I published; yet within a couple of days I had gotten myself a second one, Classic Rock's #18, Bloom. I became aware of Larkin Poe a few years ago when I heard the Lovell sisters (Megan & Rebecca) sing backing vocals on an album by ZZ Top's Billy Gibbons. I liked their singing and made a mental note to check out their own work. The two young ladies (still in their early 30's despite being around for 15 years) are Larkin Poe, although there are obviously more musicians involved in recording and touring. They apparently named the band after their great-great-great-great-grandfather, a cousin of Edgar Allan Poe. Music-wise, at least on this album, they don't sound as country as I was expecting; if I was looking for just one word to describe the band's sound, "rootsy" would do much better. It's mostly Southern rock full of soulful vocals, hard rock riffs and bluesy slide guitar while the country element mostly comes out in the ballads, especially when the girls harmonize as in the closing "Bloom Again". Other country-ish ballads include "Little Bit", "Easy Love Pt. 2", and "You Are The River". Then there are some upbeat numbers halfway between gritty blues and commercial country pop: "Mockingbird", "Easy Love Pt. 1", "Fool Outta Me" - the instrumental part rocks, but Rebecca's vocals kind of remind me of Shania Twain - not a bad thing if you're chasing success, but I like her singing best in the grittier, bluesy hard rock, numbers ("Bluephoria", "Nowhere Fast", "If God Is A Woman", "Pearls") with their Beth Hart-meets-the-White Stripes vibe. Had it stayed on this course, this album would have gotten an extra star from me, but as it is there's a wider appeal to it. The production is a bit too polished for my taste, presumeably making it more appealing to commercial country radio, but I can't fault the passionate playing - I especially like the alternating loud sound of the electric guitar and more expressive and soulful slide and pedal steel. In the end, this record ticks a lot of boxes: the lyrics reflect on matters of love and life in general with maturity and insight, and the music will appeal equally to fans of rock, country, and blues. It’s hard to imagine any listener who enjoys those genres feeling let down.

**** for Easy Love Pt. 1, Bluephoria, Easy Love Pt. 2, Nowhere Fast, If God Is A Woman, Pearls, You Are The River

*** for Mockingbird, Little Bit, Fool Outta Me, Bloom Again

The Alpha Band ''Interviews" 1976-78(rec)1988(comp)***

When I saw this LP at the bargain bin in my neighborhood record shop, I initially thought it was an album of actual interviews. There are LPs out there only containing spoken word interviews, but these usually concern more popular artists, people like The Beatles, Doors, Nirvana etc. The Alpha Band aren't really in the same league, which made me curious enough to give it another look - and sure enough, it wasn't a spoken word album at all, but a best-of compilation. Now, all I knew about The Alpha Band was that T Bone Burnett was a member, but that was enough. I mean, he's involved in so many great albums in my collection, either as a musician or -more often- as producer. Surely his own records should also be worth listening? Not that The Alpha Band was a personal vehicle for Burnett - Steven Soles has an equal share in vocals, guitar, and songwriting, while David Mansfield's playing on violin, mandolin, and other instruments is integral to the group's sound. All three of them were members of Bob Dylan's legendary Rollin' Thunder Revue. Apparently, their chemistry was so strong that they elected to keep playing together even after the tour was over. Their eponymous debut The Alpha Band (1976) was recorded and released immediately after the tour ended, and was extremely well-received - by critics and music biz insiders, at least. To my ears, it sounds like an updated take on The Band's folk rock, incorporating power pop and new wave influences - I hear similarities to Elvis Costello and Tom Petty, especially in the first tracks ("Interviews", "Cheap Perfume", "Ten Figures"). "The Dogs" and "Last Chance To Dance" are more country-oriented - the latter features some inspired violin playing, too. From the second album Spark In The Dark (1977) we get "East Of East" (co-written, same as many other Alpha Band songs, by Bobby Neuwirth), electric blues "Spark In The Dark" and Dylan cover "You Angel You". The latter is performed in a Buddy Holly-like rockabilly style, and features one Ringo Starr on drums. Adopting a more commercial sound didn't improve sales, and neither did the famous guests - which may be the reason that their next album, The Statue Makers of Hollywood (1978) was to be their last. There's a strong religious theme to this one; actually, the only song that hits the mark for me is "Mighty Man", which sports a big, Cinematic, sound, and reminds me of the better tracks on Dylan's "Christian" albums from the same period. "Back In My Baby's Arms Again" is a repentant/moralistic country ballad, and "Rich Man" an overlong piece whose only saving grace is Mansfield's mandolin playing. In general, The Alpha Band display great craft in their compositions, playing, and orchestrations. For some reason, they were never as successful as other bands with a similar sound (Doobie Brothers, America, Bread etc.) but they certainly were their equals. Burnett, Soles, and David Mansfield went out of the limelight, producing and playing on other people's records, working on soundtracks, and releasing the odd, low-key, solo album. Their legacy as The Alpha Band is well worth discovering, and this compilation is a good place to start.

**** for The Dogs, Last Chance To Dance, You Angel You, Mighty Man

*** for Interviews, Cheap Perfume, Ten Figures, East Of East, Spark In The Dark, Rich Man, Back In My Baby's Arms Again

Dustbowl "Goin' Down" 2009***

I thought I'd continue with country-oriented bands from unlikely places, so after Germany and The Bosshoss I'll present a band from my hometown, Athens. I believe I first saw them live some time in 2008 at my favorite neighborhood bar, Closer. Unlike Bosshoss whose approach to country music borders on parody, Dustbowl are seriously immersed in the mythology of the West, without trying to emulate it faithfully. You won't find any fake Texas accents or "yee-haw" yelps here. Instead there's a combination of tasty pedal steel and twangy surf guitars, swampy desert blues and upbeat garage/rockabilly, with lyrics inspired by Southern Gothic literature. When I saw them live, their set was mostly an upbeat mix of rockabilly and Johnny Cash covers, but about half of the tracks here are dark Gothic Americana. Many of these tracks wouldn't sound out of place on True Detective - I'm mentioning this because I just (belatedly) finished watching this series, and absolutely loved the producers' choice of music. Dustbowl often remind me of Mark Lanegan, The Walkabouts, Beasts of Bourbon and -above all- of Jeffrey Lee Pierce (Gun Club). Some of the more garage/rockabilly style numbers include "Lil' Mefisto", "Junkyard Blues", "Lean On Me", and "Marigold Walls". For more traditional country try "Just A Love Song" and "Goin' Down (In A Whiskey Haze)" with its impressive (at least for Greek standards) pedal steel guitar. "Cherry Wine (Lullaby For The Wicked)" is a classic country duet between DD and Lydia, and "Voodoo (That Burns)" a swampy blues tune. The music is really a mix of different elements; in their own words, it's "...mother earth rock. You will find some Americana, alt. country and psychedelic rock influences there". For this particular album, the core band (Nik Fysakis guitar, Dimitris "DD Dynamite" Douranos vocals, Giotis “The Shoeshine Boy” Petrelis Drums, Lydia Grammatikou bass & vocals, and John "Hardy" Houstoulakis pedal steel guitar) are augmented by Phil Shoenfelt on atmospheric ballad "Morning Blue" and by former Barraccuda Jeremy Gluck on garage folk "Mourner". A closer collaborator, Alex K. from Greek garage legends Last Drive, adds vocals and harp on the gospel "Chain Gang Partners", melodic garage "Junkyard Blues", surf/spaghetti western instrumental "Land's End", and the album's sole cover "Death Don’t Have No Mercy" by bluesman Reverend Gary Davis. At the time, Alex K. led a similar desert rock band called Earthbound, and would later join -among others- Dustbowl's Nikos Fysakis and John Hardy in an Athenian supergroup called Thee Holy Strangers. Both of these bands will be presented in this blog on another occasion. To sum up, this album is a great mix of Americana, garage rock, and Gothic country. If that sounds right up your alley, you should definitely check this band out! 

**** for Goin' Down (In A Whiskey Haze), Lean On Me, Mourner, Cherry Wine (Lullaby For The Wicked)

*** for Burden (A-You Can't Bear), Chain Gang Partners, Lil' Mefisto, Morning Blue, Junkyard Blues, Voodoo (That Burns), Marigold Walls, Just A Love Song, Land Ends, Death Don't Have No Mercy (In This Land)

Green On Red "Green On Red" 1982****

I discovered Green On Red (GoR) around '85-'86 by chance. At the time I was into taping music from radio, especially Giannis Petridis' radio show "from 4 till 5". Petridis was a legendary radio figure - I think that for influence, raio show longevity, and popularity only John Peel can compare with him. At a time when radiowaves were strictly monopolized by the state, his show was our only regular source of information on "foreign" rock and pop, since state radio usually only promoted Greek and classical music. There were also pirate stations, of course, but these had weak signals and would appear and disappear without warning since the police were very much active in persecuting them. So I would sit next to the radio with my hand on the Rec button and wait for a song to start to press it. If, after a few seconds, I decided the song wasn't a keeper, I'd quickly rewind and wait for the next one. One of my favorite songs on these cassettes was Green On Red's "Sixteen Ways". The lyrics were dark and cryptic, and the music reminded me of my favorite classic rock bands but also sounded contemporary. I got their Gas Food Lodging LP soon afterwards, and played it a lot. I started going to concerts when I got into college in '88, which means I narrowly missed GoR's Athens concert in 1987. It was quite an eventful one, too: singer Dan Stuart apparently had a nervous breakdown onstage and left, marking the end of the band's classic line-up. I was sad I didn't get to see them, but all (well, some anyway) good things come to those who wait, so when the band reunited in 2006 they played Athens' Rockwave Festival, and I was there. I had a good time at their concert but, to be honest, the moment had passed. Sometimes timing is everything.

This EP found its way into my collection later still, but it's where the GoR story really begins - well, almost: there's a self-released EP called Two Bibles that predates this one, but very few heard it at the time (or even afterwards). This, eponymous, EP was recorded with the help of Dream Syndicate guitarist Paul Cutler and released by the same band's singer Steve Wynn on his indie label Down There. It catches GoR at the point after leaving their native Arizona behind and settling in California among like-minded artists to form a scene which the music press dubbed the paisley underground. These included, among others, The Dream Syndicate, Rain Parade, Three O' Clock, Opal (later Mazzy Star) and The Bangles before the latter went pop. All these bands exhibited a strong 60's influence, merging classic rock, folk and psychedelia but they did so with with the spontaneinity and energy of punk. GoR would come to be identified as the most country-oriented of the bunch, alongside The Long Ryders. At this stage of their evolution though, they were more psychedelic, often compared to The Doors because of the prevalence of Chris Cacavas' keyboards. There are also similarities in terms of the dark songwriting and passionate vocal delivery, although GoR's singer Dan Stuart conveys a sense of menace and desperation but none of Jim Morrison's seductiveness. The first notes of "Death and Angels" immediately take you back to the 60's, they could belong to any of those Nuggets compilations. The organ and backing vocals present a melodic contrast to Stuart's more aggressive lead singing. Fantastic opener, but at only 2:14 it's over way too soon. "Hair and Skin" is more psychedelic, slower and longer. Sort of a precursor to "Sixteen Ways", the song that introduced me to the band. "Black Night" is more Gothic/New Wavey, it has that cheap organ sound that I somehow associate more with 80's synth bands than psychedelia. "Illustrated Crawling" is another post-punk piece with lead vocals reminiscent of Gun Club's, while the organ has more of a Tex-Mex feel (i.e. sounds like Sir Douglas Quintet). That's all for the short but sweet Side A. Side B opens with another garage rocker called "Aspirin". The remaining two "Lost World" and "Apartment 6" are dark mid-tempo psychedelia, still good but missing the energy and immediacy of side A. Most critics say that Green On Red (a.k.a. the down there EP) is a "very promising" debut. I'd go so far as to say that it's the equal of the more celebrated, Americana-inspired, LP's that followed. Maybe the songwriting is less developed and the playing is more enthusiastic than it is precise, but I love the raw energy of this garage/neo-psychedelic direction, and how Cacavas' keyboards are more to the fore. You know how 80's music is sometime maligned for its clean but sterile sound that sucked the soul out of the music? Well, that may be true for some mainstream bands, but that's not the 80's I know and grew up with. Bands like Green On Red, Dream Syndicate, Gun Club etc...man, they were great! Consider this EP as Exhibit A.

**** for Death and Angels, Hair and Skin, Black Night, Illustrated Crawling, Aspirin

*** for Lost World, Apartment 6

Isobel Campbell and Mark Lanegan "Sunday at Devil Dirt" 2008****

My random selection method came out with this CD exactly 5 years ago, but I left the review unfinished until now. The shocking news of Lanegan's death at 57 had me listening to his records a lot lately, and thinking about presenting one for this blog. Normally my first choice would be one of his solo albums, which represent him better, or something by the Screaming Trees, who used to be one of my favorite (neo-psychedelic? proto-grunge?) bands of the late 80's/early 90's. But this is just as good a choice as any, because it brings back good memories: seeing Mark and Isobel at the Take Roots festival, in Groningen 2010. What a couple... some called them "the beauty and the beast", which seemed obvious given the contrasts: Isobel's a fresh-faced frail-looking blonde with a sweet and innocent voice, Mark's got a heavier physique, with a gruff and tortured exterior and a deep smoky baritone voice to match. But that totally belies the couple's creative relationship: in a reversal of the stereotype, the lady is the behind-the-scenes genius, while the "brute" is the muse and protagonist of the show.

As a member of Scottish indie heroes Belle and Sebastian, Isobel Campbell was identified with a certain kind of smart but twee chamber pop. But this time she went for something completely different, delving deep into Americana tradition, and especially the great country duets by Johnny and June Carter Cash or Lee Hazlewood & Nancy Sinatra. She is the principal songwriter, arranger, co-vocalist, and multi-instrumentalist here, yet none of it would have worked without Lanegan: his whiskey-and-smoke-stained voice lends the songs earthy warmth and gravitas. Vocally, Campbell is a supporting character, the sultry ingénue to Lanegan's tortured hero. When she takes the lead on "Shotgun Blues", the result's rather strange, like listening to Marilyn Monroe fronting The Cowboy Junkies. The album opens with "Seafaring Song", a naked ballad with acoustic guitar and, from the middle on, some low-key strings. That's followed by "The Raven", a dark piece with a raspy ML solo vocal and an orchestral backing reminiscent of spaghetti western. The juxtaposition of the two diametrically opposed voices is used to great effect on the two orchestral pop duets "Who Built the Road" and "Come on Over (Turn Me On)", and the jazzy "The Flame That Burns". With the exception of swampy voodoo blues "Back Burner", the rest of the album is simple acoustic balladry. "Keep Me in Mind, Sweetheart" has some old-fashioned country charm, and so does "Something to Believe" with its whistling solo, but on the whole the remaining material is agreeable but unspectacular. Maybe Campbell sensed that, and that's why she deliberately restricted herself to backing vocals and instrumental accompaniment for most of the album: it takes a special kind of voice to elevate these songs above mediocrity; someone like Lanegan, or Johnny Cash. These were men that could sing the phonebook and make it sound heart-wrenching and full of meaning. I fear we will never see the likes of them again.

**** The Raven, Salvation, Who Built the Road, Come on Over (Turn Me On), The Flame That Burns

*** for Seafaring Song, Back Burner, Shotgun Blues, Keep Me in Mind, Sweetheart, Something to Believe, Trouble

** for Sally Don't You Cry

David Bromberg Band "Bandit In A Bathing Suit" 1978***

I was only vaguely familiar with the name of David Bromberg when I saw this album in a 2nd hand record stall, but the price was right and the funny title and album cover caught my eye. So I listened to a sample on my mobile and decided to add it to my collection. I often look for albums of this period, especially if they have never been re-released: ignored as irrelevant during the onslaught of punk and new wave, they ended up in cutout bins and the like, but they sometimes yield rare and unexpected pleasures. This one actually did briefly become available in CD form: back in '98, it was part of a compilation that also included previous year's Reckless Abandon. From what I gather, Bandit is the less beloved of the two, probably because it is less typical of the artist. Not having any expectations, I enjoyed listening to it but was surprised by the stylistic changes in every turn. Side One (labeled: Mostly Electric) opens with the eponymous rocker. At first, the singer reminded me of Lou Reed in "Rock And Roll" - but then the jovial horns kicked in, and all similarities were gone. This was followed by "If You Don't Want Me Baby", a swampy funk number sung in the style of Dr. John, and then two old-fashioned folk ballads "Queen Ellen" and "Sweet Sweet Sadness". Side 1 closes with a funk blues instrumental called "Peanut Man", sporting great sax and electric guitar. Then Side 2 (a.k.a: Mostly Acoustic) opens with something completely different: a bluegrass medley ("Love Please Come Home / Blackberry Blossom / Dixie Hoedown / June Apple"). I'm not a big fan of that style, but I quite enjoyed the spirited playing, especially the nimble banjo and fiddle solos. "Ugly Hour" is another understated ballad, followed by two live recordings: the upbeat "Travelling Man" in which Bromberg recounts a humorous story with country/cajun backing, and a Dr. John-meets-The Band country funk tune called "Northeast Texas Woman". To be honest, the two sides are not too dissimilar: one has a bit more electric guitar, while the other is a bit more country influenced. In the end, mixing acoustic and electric instruments, studio and live recordings, jazz, country, rock and blues, doesn't work in favor of the album: the sum turns out to be less than its parts. Each track is enjoyable, and the musicians' playing is first class, but unfortunately all the elements don't gel together into something coherent. A worthy purchase, nevertheless.

**** for Bandit In A Bathing Suit, If You Don't Want Me Baby, Love Please Come Home medley

*** for Queen Ellen, Sweet Sweet Sadness, Peanut Man, Ugly Hour, Travelling Man, Northeast Texas Woman

Lambchop "Nixon" 2000****

Each time I see an album given glowing reviews by the press, I can't help but wonder whether it will prove to be a future classic or get forgotten after a decade or two. Lambchop's Nixon got great reviews when it was released, and was even awarded the Album Of The Year 2000 title by Uncut Magazine, prompting me to buy it at the time. I've since sometimes used it as background music, but given it little attention otherwise. So when my random album selection method picked it for review in this blog, I was curious to see whether, 20 years after its release, I'd recognize it as a classic album. Seeing that Lambchop come from Nashville Tennessee, one expects to hear some country influences in their music. It's in there somewhere, but don't expect the familiar country twang: the band's sound initially was understated indie folk, augmented with judicious string and brass arrangements that made them sound like a cross between The Cowboy Junkies and Tindersticks. Singer/songwriter Kurt Wagner remains the focal point for Lambchop, which by this time had grown into a 13-member band, not counting session musicians. Despite that fact, the music is always breezy, never busy. Wagner himself employs two different singing styles: One is a sing-talking voice that reminds me of Leonard Cohen, packing similar warmth but without Cohen's gravitas. The other is a surprising falsetto that he seems to have copied from Prince, and probably uses here a bit too liberally - most notably in tracks "You Masculine You" and "What Else Could It Be?" - both fine songs, despite the unconvincing, pseudo-black, falsetto. "Grumpus" is another mid-tempo funky piece. The arrangements here are reminiscent of the smooth soul of Barry White and Isaac Hayes (I'm talking Hayes, as in his version of "Walk On By", not "Shaft"), but apparently since he can't emulate their rich baritone, he tries for Prince's high register. The result isn't sensual as in the case of the aforementioned black artists, but it is quite warm and pleasant, at least to my ears. The tempo is generally pretty slow, with two exceptions: lead single "Up with People" is rather upbeat, with the handclaps and choir giving it a gospel colour. Closer "The Butcher Boy" is also fast, with relatively louder drums and a more abrasive, experimental guitar sound. Penultimate track "The Petrified Florist" may differ in its lethargic pace and sparse arrangements, but also makes for a relatively "difficult" listening. Their placement at the end of the disc is probably meant to undermine the comfortable feeling created by the previous smooth easy listening sounds, and to remind you you're still listening to an "underground" artist - in case you weren't listening to the lyrics, which is a twisted, David Lynch-like, take on American suburban life. In interviews, Wagner trolled reporters about Nixon being a concept album about the same-named former U.S. president, but apparently the title was inspired by the album cover, not the other way round. So, is Nixon a classic album after all? I'd say yes - not just because of its quality, but also of the sense that something new is happeing here, that this mix of country, chamber pop, alt-rock, and soul is a bold and successful experiment. Its follow-up Is A Woman is another great step in the same direction - with the funk overtones slightly turned down. Only downside: the lack of any great standalone songs, with the exception of "Up With People". But as a whole... the atmosphere, the arrangements, the musicians' playing, everything about it is top notch!

***** for Grumpus, Up with People

**** for The Old Gold Shoe, Nashville Parent, What Else Could It Be?, The Book I Haven't Read, 

*** for You Masculine You, The Distance from Her to There, The Petrified Florist, The Butcher Boy

Daniel Lanois "Acadie" 1989****

No-one expected an album by Daniel Lanois in 1989. Artists often graduate from performing to producing, but it very rarely happens the other way round. And Lanois' career as producer had really taken off for good - he produced 6 albums in 1989 alone, including late-career highs for veterans like The Neville Brothers (Yellow Moon) and Bob Dylan (Oh Mercy). Nevertheless, in the midst of all that, he found time to record his own debut. That the production is superb should come as no surprise, but the quality of the original compositions and musicianship is also beyond reproach. It helps, of course, to be able to count on friends like U2 (Lanois had co-produced their iconic Joshua Tree album), Brian Eno (another of Lanois' clients) and The Neville Brothers (ditto), all of whom play here. Lanois' singing is quite good, warm and expressive even though he lacks an especially powerful voice or range. As reviewers invariably comment, the album is a mix of New Age atmospherics and traditional Americana - the music is rooted in the New Orleans tradition, enough for me to mistake Lanois for a Louisiana cajun rather than the French Canadian he is. The first two tracks ("Still Water", "The Maker") are atmospheric ballads highly reminiscent of U2's Joshua Tree (not surprisingly, as they feature the same producer and rhythm section). The slow "O Marie" and mid-paced "Jolie Louise" are folkier Cajun material with French and English lyrics, and "Fisherman's Daughter" is a part-spoken word track with moody musical accompaniment segueing to the jazzy sax instrumental "White Mustang II", co-written with Brian Eno. "Under A Stormy Sky" is the most upbeat here, a bilingual zydeco-style tune that's sure to make you smile. "Where The Hawkwind Kills" is another atmospheric song, this time featuring slow, quasi-military, drumming and an Oriental melody. "Silium's Hill" is a melancholic acoustic piece, followed by the ambient synth sounds of "Ice" and another smooth laid-back song, "St. Ann's Gold". The album closes with a cover of traditional hymn "Amazing Grace", combining Art Neville's gospel singing with a prog-electronic, Mike Oldfield-like, backing. It makes for a relatively novel approach to an over-familiar song everybody must by now be tired of. All in all, this is an excellent atmospheric album with beautiful melodies and masterful -not too busy, not too sparse- arrangements. The only objection one may rise is the too-clean production, where -the folkier material at least- would benefit from a more earthly approach. On the other hand, this was the 80's and clean was the golden standard of the period. It makes in any case for smooth and relaxed listening - an (unsurprisingly) accomplished debut, for sure.

***** for The Maker

**** for Still Water, O Marie, Jolie Louise, Under A Stormy Sky, Where The Hawkwind Kills, St. Ann's Gold

*** for Fisherman's Daughter, White Mustang II, Silium's Hill, Ice, Amazing Grace

Gutterball "Gutterball" 1993****

It's been 30 years since I first saw Steve Wynn play live. I had heard people praising Dream Syndicate's appearance in one of the first Greek rock festivals (at Veakeio theater in Piraeus 1987, months before I started going to gigs) and was disappointed that the band didn't exist anymore. Which I needn't have done because Wynn played a lot of DS songs, and they sounded great. I've lost count of the times I saw him with his various bands (certainly more than 5), all I can tell you is he's never disappointed me. I never saw him with Gutterball though, which is a pity, as they were a great band and not likely to reform any more - unlike Dream Syndicate.

Gutterball were a strange sort of supergroup: none of the players was really famous, but they all served in highly-rated indie/neo-psychedelic bands: Dream Syndicate (Wynn), The Long Ryders (Stephen McCarthy, guitar/vocals), Silos (Bob Rupe, bass) and House Of Freaks (Bryan Harvey on vocals and guitar and Johnny Hott on drums). Wynn and Harvey wrote and sang most of the songs. Unsurprisingly, the dominant sound here is indie guitar rock with a touch of Americana. Velvet Underground and Neil Young with Crazy Horse seem to provide the main inspiration, just like with Dream Syndicate. There's a bit more diversity here, but that's not to say that this is a hodge-podge album with each member contributing something in their own style. No, Gutterball are a real band with a distinct character, even if that's a blend of the individual artists' styles. So we get a terrific opener in electric Dylan-circa-Highway 61 pastiche "Trial Separation Blues", followed by the repetitive blues motif of "Top Of The Bill", then DS-like garage rocker "Lester Young" and Neil Young-circa-On The Beach ballad "Motorcycle Boy". "One By One" is probably my favorite, even though uncharacteristic of the band: a sea shanty recounting a day in the life of a gambler. "When You Make Up Your Mind" shows a similar flare for storytelling but with a VU-like musical backing. "Think It Over" and "Patent Leather Shoes" display Gutterball's fun R&B side (albeit a very white-sounding R&B), while "Falling From The Sky" is a fiery garage rocker. Ballad "Please Don't Hold Back" reminds me in retrospective of (then not-yet-existent) Calexico, and "The Preacher And The Prostitute" of Neil Young with Crazy Horse. The CD closes with bittersweet ballad "Blessing In Disguise" in slow quasi-Latin tempo. Hearing the whole album from start to finish, I can't find a bad or indifferent track. The lyrics are interesting, and the music, ranging from tender ballads to loud and distorted guitars, should satisfy both classic rock and alternative scene fans. This should have been a contender for the best album of 1993 title, but it slipped through the cracks. This what you get for being consistently good Steve Wynn! People just stop noticing you! Tragically, the band's co-leader Bryan Harvey and his family were the victims of a horrible and senseless crime, which means that the Gutterball story will probably not be revived again. Nevertheless, we have the two albums they recorded back in the 90's, as well as a compilation of demos. All are worth hearing, but this one especially counts as the proverbial "buried treasure" CD.

**** for Trial Separation Blues, Lester Young, Motorcycle Boy, One By One, When You Make Up Your Mind, Think It Over, Falling From The Sky, Blessing In Disguise

*** for Top Of The Bill, Please Don't Hold Back, The Preacher And The Prostitute, Patent Leather Shoes

Violent Femmes "We Can Do Anything" 2016***

Just like the previous couple years, September finds me at my favourite vacation spot, Antiparos island. I've written about it before, and even included some tips for visitors. There is a multitude of islands in Greece, all of them interesting and each with its own distinct character. I'm always trying to visit a new one every summer but there's also something soothing about visiting a beloved old haunt. I was disappointed to find that the open air cinema hasn't opened this year, but other than that everything was as I left it. I know by now in which beach to swim in the morning, in the afternoon or on a windy day, and which dish is the best in each tavern. I'm told it was extremely crowded during July and early August, even now at the end of the touristic season it's far busier than it was a few years ago - what was once a quiet fishing village is now a popular tourist destination, an international jet-set attraction even. Someone like Tom Hanks or Mick Jagger will cause a few heads to turn but that's about it, the locals have gotten used to celebrities. Yesterday there was an open invitation to join a big party/film shooting at a beach bar. Of course we went along, and it was fun to dance and drink while acting as an (unpaid) film extra. I'm really looking forward to the release of the movie - a romantic feelgood flick, judging by what I witnessed. I searched my rapidly dwindling drafts folder for a suitably party-like record to present in the aftermath, and came up with the latest Violent Femmes  - a bit more "alternative" than yesterday's music, but good fun nevertheless.
I own a dozen of V.F. albums, almost their complete output. Not because they're consistently great, but because since I was a teenager I've always had fun dancing to their early records at parties, clubs or in my room. Most of all for their concerts, never short of energy of good vibes. I saw them a few times in Athens during the 90's and 00's but the one I remember most vividly was in Lycabettus ('94 I think) with singer Gordon Gano speaking Greek (apparently he had recently spent some time vacationing and picked up enough to make conversation) and getting a great response from the crowd. At some point he said "Oh, vrehi (Oh no it's raining)" and then corrected himself "Ohi, psihalizei (no, it's drizzling)" at which point the theater shook with laughter and applause. I also remember the bassist (Brian Ritchie) playing rather good Greek bouzouki on a couple of songs, and the drummer (Victor De Lorenzo) always playing standing up. I went to one of their concerts with a metalhead friend of mine who liked the band's energy and he couldn't believe that all this ruckus was just acoustic guitar, bass and a tiny drum set hit by an upright drummer. De Lorenzo is regretfully absent in this, their latest and first post-reunion LP, but that doesn't seem to influence their sound much. If anything, it is the closest they've sounded to their historic debut for some time: basic rock'n'roll with folk/country overtones, earnest wide-eyed singing and kooky lyrics. Opener "Memory" is as typical Femmes as it gets, with its loud acoustic bass, simple upbeat melody, and funny, deceptively silly, text. It's followed by probably their most idiosyncratic song here "I Could Be Anything", a polka/country story right out of the Shrek universe, about an underdog turned dragon-slaying hero. "Holy Ghost" is a glam folk/gospel hybrid, "What You Really Mean" a heartfelt ballad, and "Issues" a hilarious take on an all-too-common relationship problem: the guy loves his girlfriend but can't stand her constant ranting. From the doo-wop-ish "Untrue Love" to country-ish "I'm Not Done", 60's teenage pop with a dark lyrical twist of "Big Car" and beyond, everything is true-to-form Violent Femmes, so if you're a fan you won't be disappointed. If, however, you're not already a fan this isn't the place to start: anything up to (and including) 1991's American Music is prime Femmes, everything else has its moments but is ultimately inessential. P.S. the cover features a drawing of the band by fellow musician Kevin Hearn. Everybody else is recognisable but he drew Gano a bit yellower than he is... with longer neck and spots on his back... not a good likeness, really, he looks more like a spotty humpless camel. 

**** for Memory, Holy Ghost

*** for I Could Be Anything, Issues, What You Really Mean, Untrue Love, Big Car

** for Foothills, Travelling Solves Everything, I'm Not Done

The Original Sinners "The Original Sinners" 2002****

If you listen to Alternative Rock but the name of the band doesn't sound familiar, chances are you've at least heard of their frontwoman Exene Cervenka, formerly of legendary L.A. punks X. After that band fizzled out in the 90's she tried to do different things (acoustic folk, spoken word etc) before forming the Original Sinners for a welcome return to the X's signature sound: aggressive punk with country and rockabilly flourishes. Her co-travelers are two former members of The Distillers on bass (Kim Chi) and drums (Matt Young), and two guitarists, Sam Soto and Jason Edge. The album begins with Wipe Out-style surf drums introducing "Birds & Bees" in speedy Ramones-like pace featuring short and sharp rockabilly solos. After just over 2 minutes, it's followed by "Who's Laughin' Now" and "River City", both similar in style and duration, and exactly what any X fans would ask for. "Bringin´ Me Down" and "Aluminum Flavored Honey" are grungier with alternating quiet and loud passages, at times reminding me of P.J. Harvey's early albums. "Alligator Teeth" and "Mourning After" are a couple of short instrumentals, while "One Too Many Lies" is your typical my-man's-done-me-wrong country song, albeit played at triple speed and given a feminist twist. "Woke Up This Mornin'" and drunken duet "Whiskey For Supper" are also cow-punk, "Suitcase" and "Pretty" are more hardcore punk rock, and closer "Tick Tock" a fine surf instrumental. Fun album, finding Exene and the band on top form. If you like X's early albums, or if you're not familiar with them but the idea of mixing roots music and punk rock sounds good to you, this is an album for you.

**** for Birds & Bees, Who's Laughin' Now, River City, One Too Many Lies, Whiskey For Supper 

*** for Bringin' Me Down, Aluminum Flavored Honey, Woke Up This Mornin', Tick Tock

** for Alligator Teeth, Suitcase, Mourning After, Pretty

Rank and File "Sundown" 1982****

 This is considered a seminal "cowpunk" album - but is that a good thing? If there was ever an unappealingly named genre, this surely must be it. The Kinman brothers were members of a politically charged California punk band (The Dils) before relocating to Texas and teaming with guitarist Alejandro Escovedo to create Rank & File. Thankfully their new band didn't sound like California punks engaging in musical tourism, but quite the opposite: like a bunch of youths with a country & western background who are nevertheless free of traditionalist restraints trying to find their place in the 80's music scene. And a place they did find, even in MTV, an unlikely medium for former socialist punks. Their political affiliations are still sometimes lyrically evident (as in the exploited workers of "Rank And File") but mostly take second place to their attempt to reclaim country music from the conservative/reactionary establishment. One can detect a slight Clash influence, but mostly it's country/roots music played with a modern (for the 80's) new wave sensibility. Bands like The Long Ryders and Uncle Tupelo picked up on what they did and took it further, which brings us to the present-day alt.country movement (much better title than cowpunk, don't you think?) 20-something years later, the label "Collectors Music" made their music available on CD which helped people rediscover them, but original vinyl LP's like this are easy to get second hand, and cheaper. The record opens with "Amanda Ruth", a Byrds-ian folk rocker showcasing the Kinman Bros' harmonies, one of their most remarkable features - one of them has a sweet high voice and the other a booming low one, quite the combination. Closer "Coyote" is similar fare, albeit with a surprising dub reggae interlude. A bit of reggae (not to mention B52's-like new wave and 50's teen pop) is also discernible in the excellent title song. "(Glad I'm) Not In Love", "I Went Walking" and "I Don't Go Out Much Anymore" are sprightly country & western with twangy guitars, while "The Conductor Wore Black" sounds like Johnny Cash fronting a ska band pulling the Good Ole' Boys routine from the Blues Brothers - if you know what I mean. In any case, it's awesome. Of the rest, "Sundown" is mid tempo straight C&W and "Lucky Day" a tender ballad. Not one weak song in the bunch! There aren't many bands making me want to go "Yeee Haw!!" - but these guys do...

***** for The Conductor Wore Black 

**** for Amanda Ruth, (Glad I'm) Not in Love, Rank and File, Sundown, I Went Walking, Lucky Day, Coyote

*** for I Don't Go Out Much Anymore

Isobel Campbell and Mark Lanegan "Hawk" 2010****

This album takes me back to the time I saw the two artists perform these songs live, on the stage of Groningen's Oosterpoort. I spent my first couple of years in The Netherlands at the Northern provincial city of Groningen, and still remember it fondly. Hollanders often talk about is as it's a god-forsaken place inhabited by some kind of weird-talking hillbillies (if there were any hills in The Netherlands, which there aren't - sand dunes is as high as it gets). To emphasise how far it is, the Dutch say "there's nothing above Groningen" - to which Groningers have given a positive spin, as in "there's nothing better than Groningen"). Don't let the bad publicity fool you: It is a beautiful and vibrant student city with great night life and lots of culture, including the Eurosonic festival in January with bands from all over Europe, and Noorderzon in August (theatre, music, all arts really...) Then you have many live venues like the temple of the Alternative scene Vera (bands like Joy Division and Nirvana played there when they were still unknown) and bigger halls like the Oosterpoort. The latter also houses the Take Root festival, which in 2010 had a pretty strong lineup, including among others Wilco, Iron & Wine, Dave Rawlings Machine with Gillian Welch, Black Mountain, and Isobel Campbell with Mark Lanegan.
Now, how exactly does a Glasgow girl fit into an event sub-labeled "Festival For Past, Present and Upcoming American music"? She does, not only because of her choice of collaborators, but foremost because of her songs drawing from American folk tradition, and especially the great country duets: Nancy Sinatra and Lee Hazelwood, George Jones & Tammy Wynette, June Carter-Cash and Johnny Cash. Nothing about the gentle pop of her former band Belle and Sebastian could have prepared you for this dive into Americana, which is why I was surprised to learn she was the creative force behind the duo. Another reason may have been that her sweet and soft voice on the record plays second fiddle to Lanegan's strong, gravelly baritone. Music critics invariably used the same metaphor for this pairing: the beauty and the beast. As well as their voices, the two singers' exterior justifies the simile: Isobel's fragile good looks make quite a contrast with Lanegan's unkempt gloomy lumberjack appearance. On stage, though, Campbell was the one in control: If Lanegan was the leading man, she was obviously the director, stepping in at the right moment with her vocals, guitar, cello, piano and other instruments. Theirs was a very successful (artistically, at least) partnership, but "Hawk" was to be their 3rd and last album together. Probably they felt the formula was getting old, which is why they try some different approaches here: the rich strings and R&B backbeat of "Come Undone" is a definitive winner, probably the duo's best moment. "You Won't Let Me Down Again" could have been an acoustic outtake from Lanegan's collaborations with desert rockers Queens Of The Stone Age - if it wasn't for Isobel's soft and sensual backing vocals. "Snake Song" is a similarly sturdy acoustic blues, featuring great vocals from both performers. "Get Behind Me" is a rockabilly scorcher and "Hawk" a rollicking instrumental with howling sax. On the one hand I applaud their desire to shake things up a bit, but on the other I have to admit that those two kinda break the mood of the album. Despite all the efforts to mess with the formula, the pair are at their best when they stick close to it: the Nancy-and-Lee style ballads "We Die And See Beauty Reign", "Time Of The Season", "Eyes Of Green", and the fantastic closer "Lately" with Lanegan channeling Leonard Cohen and gospel-style backing vocals. Then, as if we're witnessing a real-life idyll unravelling, Campbell goes at it alone for the haunted ballad "Sunrise" and Mazzy Star-soundalike "To Hell & Back Again", and even exchanges Lanegan for a younger man (American singer-songwriter Willy Mason) for a couple of duets: "No Place to Fall" and "Cool Water". Good songs, and the addition of a Celtic violin on the former (as well as "Eyes Of Green") is another nice touch by Campbell-the-record producer. Mason sounds like a cross between Tim Hardin and Johnny Cash. Actually, he's like a younger, less gritty and world-weary, Lanegan - now doesn't that sound like rebounding from a failed romance? But, as far as I know, Mark and Isobell's coupling was never a romantic one and just naturally ended for the singers to follow their muse elsewhere. At least they left behind three albums of beautiful music, all of which are highly recommended.

***** for Come Undone

**** for We Die and See Beauty Reign, You Won't Let Me Down Again, Snake Song, No Place to Fall, Get Behind Me, Time of the Season, Eyes of Green, Lately 

*** for Sunrise, To Hell & Back Again, Cool Water

** for Hawk

Red Star Belgrade "Telescope" 2000***

Red Star Belgrade was formed on 4 March 1945 by the "United alliance of anti-fascist Youth", a satellite organisation of the Yugoslavian Communist Party which had been the backbone of Tito's partisan army and which had just emerged victorious from WWII. It was soon taken under the wing of the country's Ministry of Interior and established as one of the most successful Balkan clubs ever, even winning the European football Cup in 1991. They branched out in many different sports, but until recently I didn't know they also had a music department. What confuses me is that they chose to base their band in Chapel Hill, North Carolina. Could it be part of a communist plot to corrode the “land of the free and the home of the brave” from the inside? Are singer/songwriter Bill Curry and his wife Graham Harris a couple of sleeper agents like The Americans' Philip and Elizabeth Jennings? They could hardly have found a better cover than that of an all-American alt-country musicians couple. But let's afford them the benefit of a doubt and suppose they're legit. One might then say that by the time they released their third album "Telescope", they had reached songwriting maturity but hadn't quite settled on their sound yet. Opener "Telescope" reminds me of 80's paisley underground band Green On Red. Other rockers in the same vein (think of a hybrid between Big Sleep, Velvet Underground and Gram Parsons) include "No Pound", "Count Me Out", "Uncle Tupelo" - the latter namechecking the alt.country pioneers who seem to have influenced RSB. "Dreaming 'Bout You" and "The Bottle" are Byrds-y folk rock, and "Long Cold Day" a sad piano ballad. "Nixon Stamp" has the trademark country pedal steel sound, while "Strum 'N Rhyme" and "Highway To Hell" (yes, the AC/DC hard rock anthem, unrecognizable in this form) offer more upbeat country. Two of the best songs touch on, uncharacteristically for American bands, international politics: The disillusionment in the state of post-revolutionary Iran in the beautiful ballad "After The Revolution", and the drama of Kossovar refugees in the bluesy "The Border" - another unexpected Balkan reference, after the band name. On a whole "Telescope" is quite varied and eclectic,which is both its strength and weakness, as it can feel a bit disjointed at times. Fans of Wilco, Giant Sand and Ryan Adams should definitely check this album out...**** for After The Revolution, The Border *** for Telescope, Dreaming 'Bout You, Strum 'N Rhyme, Highway To Hell, Nixon Stamp, No Pound ** for The Bottle, Count Me Out, Long Cold Day

Steve Wynn "What I Did After My Band Broke Up/Visitation Rights" 1990-2004(orig) 2005(comp)****

The band that "broke up" was Dream Syndicate, a fantastic neo-psychedelic guitar band, influenced by the likes of Velvet Underground and Neil Young & Crazy Horse, and which in turn influenced a lot of indie rock bands in the 80's. Their singer, Steve Wynn, has gone on to make a string of well crafted yet underrated albums running the gamut from country-ish ballads to fiery garage rock. He was a frequent visitor in Greece and I got to see him many times, always delivering a great show and displaying an agreeable, fan-friendly personality. This compilation covers the first 15 years of his solo career, starting with 1990's Kerosene Man.  Maybe as a reaction to Dream Syndicate's guitar excesses, it was  more conventional singer-songwriter stuff, with echoes of Bob Dylan and Lou Reed. That record's "Carolyn" was an especially catchy and melodic single, but neither that nor "Tears Won't Help" nor Johnette Napolitano duet "Conspiracy of the Heart" became hits. 1994's Fluorescent ("Carelessly", "Collision Course") was a mostly acoustic affair and 1996's Melting in the Dark ("Shelley's Blues, Vol. 2," "Why") a return to the raw guitar sound of Dream Syndicate, with Bostonian indie band Come backing him instead of session musicians. 1999's My Midnight ("Nothing But the Shell", "Cats and Dogs","500 Girl Mornings") contained his most mature songwriting yet,  while 2001's double CD Here Come the Miracles ("Sustain", "Death Valley Rain," "There Will Come a Day") is arguably his greatest achievement, combining the guitar fury of his Dream Syndicate days with a more varied approach that encompasses all indie Americana sounds. What I Did... works well as an introduction to the artist, but inevitably suffers from inconsistency, with different styles and backing bands form different periods mixed together. The second disc, entitled Visitation Rights, contains reworkings of older material with stark piano and/or organ backing by long-time associate (and former Green On Red keyboardist) Chris Cacavas. It provides an alternate setting for the songs and confirms that they can withstand transformation (a mark of great songwriting) but it's otherwise quite inessential listening. All in all, this makes for a nice introduction for an artist we'll be getting back to often in this blog, as I have more than 15 of his albums (solo, with Dream Syndicate, Gutterball, Danny & Dusty etc). Listening to it again brought back memories and made me realize I haven't seen him play live for 10 years, when he played on the last night of the historic Rodon Club. And now that I said Rodon Club; I really feel sad: The temple of music for my generation is gone and my mind goes to all the great artists I've seen there and are no more: The Ramones, Gun Club's Jeffrey Lee Pierce, the Cramp's Lux Interior and so many others close to my heart.  I saw bluesman John Campbell giving a smokin' hot concert there only weeks before he died, just like Les Negresses Vertes whose 30-year old singer Helno also died only weeks after performing in Rodon. Now, let's just stop here with this list and return to Steve Wynn who is alive and well and, according to wikipedia, a billionaire who owns half of Las Vegas - WTF? could that be true?

May 29, 2005: Last show at Rodon Club, the end of an era

***** for Death Valley Rain, Nothing But The Shell, Carolyn

**** for Amphetamine, Sustain, Shelley's Blues Pt 2, Black Magic, Tears Won't Help, Collision Course, Cats and Dogs, Conspiracy Of The Heart

*** for Carelessly, Drag, There Will Come a Day,  What Comes After, Why, 500 Girl Mornings.

Visitation Rights:

*** for James River Incident. Drought, Anthem, For All I Care, Mandy Breakdown, Riverside, Follow Me, The Mask Of Shame, Something To Remember Me By, What We Call Love, Epilogue

** for My Family, Gospel, Crawling Misanthropic Blues

Mekons "Heaven & Hell" 1978-2004(rec) 2004 (comp) ****

Heaven and Hell is collection of songs by the Mekons, a British punk collective started in 1977 by a bunch of Leeds University students. Over the years a lot has changed: the band has moved to the U.S. and embraced different kinds of music, to the point that they are now considered as one of the pioneers of the alternative country scene. The 1985 album "Fear and Whiskey" is a particular landmark in that direction. Importantly, whatever else changed, they have stayed true to their punk ethos and left wing politics. This 2CD compilation features tracks from about 20 albums released between 1978-2004 and is one of the more diverse collections by a single band you'll ever get to hear. Early singles "Never Been in A Riot" and "Where Were You" are pure punk, but you also get reggae-folk (Work All Week), garage-rock (Memphis Egypt), alt.country ballads ("Ghost of American Astronauts" sounds like the Cowboy Junkies),  cajun-punk (Big Zombie) etc. The "Old Trip to Jerusalem" sounds like Sandinista-era Clash trying their hand at Gospel, "The Curse" like The Pogues and "One Horse Dub" merges blues and electronica years before Moby did. When Sally Timms takes the lead vocal, she sings so sweetly you'll be fooled into thinking you're listening to a love song when she's really singing about something like the drug trade as an imperialist control method from the days of the East India company to the CIA (in "Brutal'). Anarcho-popsters Chumbawamba must have been paying attention, because they have had a lot of success with the same mix of radical politics and honey-voiced pop. This compilation acts like a sampler of different periods and styles and is therefore rather uneven. It's a good point to start but you also can't go wrong with any Mekons album from the late 80's - early 90's.

**** for Hard to Be Human, Ghosts of American Astronauts, Where Were You, Millionaire, Memphis Egypt, The Olde Trip to Jerusalem, Curse, Poxy Lips

*** for Hello Cruel World, Chivalry, Oblivion. Work All Week, (Sometimes I Feel Like) Fletcher Christian, Last Dance, Empire of the Senseless, Big Zombie, One Horse Dub, Brutal, Prince of Darkness, Dancing in the Head, Insignificance, Never Been in a Riot

** for Hate Is the New Love, Neglect, My Song at Night, He Beat Up His Boyfriend, Snow, The Building, (A Dancing Master Such As) Mr. Confess, Out in the Night, Johnny Miner, This Sporting Life