Underground (the) - Psychedelic Visions

Name: The Underground
Album: Psychedelic Visions
Year: 1967
Style: Psych, Garage Rock, Surf
Similar Bands: Led Zeppelin, Rolling Stones, Blue Cheer, Zappa, Blue Magoos, Count Five
"One-Word" Review: Anonymous SurfPsychGarageBlues freakouts
Based Out Of: a recording studio in the US
Label: Berkshire, Stereo Tape Corp

Cover, Cassette

Cassette

Psychedelic Visions (1967)

1. Turn On Your Love Light 2:31 (Bobby Bland cover)
   
2. (We Ain't Got) Nothin' Yet 2:20 (Blue Magoos cover)
3. Psychedelic Visions 2:15 (surf version of Greensleeves)
4. Mind Jammer 3:00
5. The Warper 2:44 (St. James Infirmary instrumental) /
6. Psychotic Reaction 2:54 (Count Five cover)
7. Shout 2:55 (Isley Brothers cover)
8. Psychedelic Dream 2:13
9. Psychotic Vibrations 2:15
10. Tobacco Road 2:05 (John D Loudermilk cover)

Album Rating (1-10): 8.0

Members & Other Bands:

• Merk Currie - Writer, Arranger
• Jerry Kennedy - Producer
• Roy Dea - Producer

Unknown-ness: Never heard of this band, but it has all the right words & imagery to be a hippy psych band from the 60's. Usually these sorts of bands that went under the radar, never getting main stream attention came off lighter and not at all like what their packaging was trying to sell. This may or may not be the case. 

Album Review: The album is a great blend of echoey psych garage rock with some surf elements and heavy reliance on the Hammond organ. Five original instrumentals and five covers make up the record. The vocals could be compared to James Brown or a gospel preacher at times. The info of the actual band is hazy and nearly impossible to pin down, and minimal internet help with the bulk being reseller websites. The writer & arranger name Merk Currie is possibly fabricated to avoid listing any real credits (thus royalties), which classifies this as an exploitation album: exploiting the session players as well as the genre. From everything I've seen, this cassette has the track listing backwards...side 1 is side B on the record, and vice versa.

Stand Out Track: We Ain't Got Nothing Yet

Links:

Youtube Full Album

Discogs

Surfadelic

Soundohm

rate your music
deejay

Steve Hoffman Forum

Second Hand Songs

Seatrain - s/t

Name: Seatrain
Album: s/t
Year: 1970
Style: Bluesy, Roots Rock, Bluegrass
Similar Bands: Credence Clearwater, Grateful Dead, Kavaret, The Band, Fairpoint Convention
"One-Word" Review: Smokey Mountain Blues Barn Jigs
Based Out Of: Marin County, CA
Label: Capitol, EMI

Cover, Back. Record

Lyrics, Credits, Record

Seatrain (1970)

1. I'm Willin' 3:32 (Lowell George/Little Feat cover)
2. Song of Job 6:04
3. Broken Morning 3:04
4. Home to You 3:22 (Earth Opera cover)
5. Out Where the Hills 5:48 /
6. Waiting For Elijah 3:35
7. 13 Questions 2:58 (single)
8. Oh My Love 2:50
9. Sally Goodin' 2:09
10. Creepin' Midnight 5:20 (Carol King cover)
11. Orange Blossom Special 5:07

Album Rating (1-10): 6.5

Members & Other Bands:

• George Martin - Producer (Beatles)
• Larry Atamanuik - Drums, Percussion (Emmylou Harris, Hawks, Nash Ramblers, King Biscuit Boy, Paul Winter, Marksmen, Tony Rice, Peter Rowan, Mike Cross, Jon Randall, Alison Krauss, Linda Ronstadt, Dave Mallett, Continental Divide, Tim O'Brien, Jim Lauderdale, Blue Highway, Sam Bush, Johnny Saculla, Tom Dundee, Rob Ickes, Barry & Holly Tashian, Paul Craft, Bap Kennedy, John Prine, Ron Block, Trout Fishing in America, Shawn Camp, Rowan Bros, Stevens Sisters, Natalie MacMaster, Anne Feeney, Pine Mtn Railroad, Claire Lynch, Alison Brown, Bearfoot, Dierks Bentley, V-Roys, Nashville Cast, Chas Williams, Todd Burge)
• Peter Rowan - Lead Vox, Guitar (Earth Opera, Blue Grass Boy, Muleskinner, Bill Monroe, Old & In The Gray/Way, Panama Red Riders, The Train Band, Rowans, Richard Greene, Usual Suspects, Ricky Skaggs, Art of Noise, Bela Fleck, Northern Lights,   more)
• Lloyd Baskin - Lead Vox, Keys (Orphan)
• Jim Roberts - Lyricist (Emmylou Harris)
• Richard Greene - Violin, Viola, Keys. Vox (Jim Kweskin Jug Band, Muleskinner, Bill Monroe, Blue Grass Boys, Blue velvet Band, Dry City Scat Band, Grass is Greener, Great American String Band, Greene String Quartet, Blues Project more)
• Andy Kulberg Bass, Vox, Flute (Blues Project, Sensational Guitars of Dan & Dale, Blue Velvet Band, David Soul, Daniel Kobialka, Parallax, Al Kooper, Chris Michie)
• Bill Price - Engineer
• Bob Cato & Friends - Photography & Design
• Ira Friedlander - Design
• Al Vanderberg - Photos

Unknown-ness: Never heard of this band, but it looks like a knock-off version of the Grateful Dead, down to their logo with a boat that looks like a train in the gatefold. They look like nice enough mountaineering hippies, and i bet they did a lot of drugs. So I have a feeling this may be a proggy jam band, so focused on the music loops that it goes on forever.

Album Review: This is the immediately following, and due to contractual obligations; overlapping, band of The Blues Project. In fact, the first Sea Train album had to be released as The Blues Projects for those exact reasons. This and their first album are both named Seatrain, with the only difference is a space in the name between Sea & Train on the first record. This and their follow-up record were both produced by Beatles main man, George Martin, and this is the first post-Beatles project that he produced. They blend various genres of the time, going back to bluesy rock with Blues Project, adding in country bluegrass, fiddle band barn dance, roots rock, and some prog elements. It has a very renaissance mountain jug and string band folksy feel, but produced very well with talented musicians. Single "13 Questions," an alien abduction song from the alien's POV, broke top 50 on the charts, and has a little funk / pre-disco element to it, that reminds me a little of The Go! team.

Stand Out Track: 13 Questions

Links:

Full Album Youtube
Wiki

Discogs

Allmusic

derek's music blog

Blues Project & Seatrain

Rate Your Music

grateful Dead Disc

George Starostin Reviews

Duke & the Drivers - Rollin' On

Name: Duke & the Drivers
Album: Rollin' On
Year:1976
Style: Southern Blues Rock, Blue-Eyed Soul
Similar Bands: Lynyrd Skynyrd, Allman Brothers, Brownsville Station, Foghat, J. Geils Band
"One-Word" Review: Soulful Party in a Bar Band.
Based Out Of: Boston Mass
Label: ABC Records

 Cover & Record

Record & Back

Rollin' On (1976)

1. I Need Your Love 3:45
2. I Ain't Particular 3:18
3. Love on My Hands 3:25
4. Check Yourself 2:52
5. That Kind of Love 2:33
6. Let Me Be your Handyman 4:08 /
7. I'll Take Care of You 3:58
8. People Sure Act Funny 2:41
9. Check Your Bucket 3:40
10. Rollin' On 8:45

Album Rating (1-10): 8.0

Members & Other Bands:

• Cadillac Jack (Henry Eaton) - Guitar, Vox (Thunderhand Joe & the Medicine Show)
• Rhinestone Mudflaps III (Ando Hixon) - Tenor Sax, Harp, Percussion, Vox
• Mad Mississippi Buffalo (Tom Swift) - Keys, Vox
• Bobby Blue Sky (Bobby Chouinard) - Drums, Vox (Orphan, Billy Squier, Alice Cooper)
• Koko Dee (John Smith) - Bass, Vox
• Sam Deluxe (Joe Lilly) - Guitar, Vox
• George Lilly - Engineer
• Steve Maslow - Engineer
• Earthquake (Greg) Morton - Engineer
• Butch Lynch - Engineer
• Deke Richards - Producer
• Peter Casperson - Personal Manager
• Mark Schremmer - Road Manager
• Dick Douglas - Road Crew
• Brad Berger - Road Crew
• Larry Weinles - Road Crew
• Tom Wilkes - Art Direction & Photography
• Joe Garnett - Illustrations
• Fred Valentine - Liner Portraits

Unknown-ness: Never heard of this band, but it looks like it will be a straight up country album. I like the jokey nature of the album title and the cover photo, where the band is really Rollin' On some poor dude under the truck.

Album Review: They have been around the Boston area since 73 or so, playing to huge supportive followers in the local bar scene. That turned to bigger shows and record deals, and they still play once in a while to this day (2020). They mix honky tonk with soulful blues in a fun, upbeat dancey way. All of their songs are full of a jovial energy that promises to be a great time live. Motown and J Geils band collide well on many of these tracks, and they have a sense of humor about themselves, with their gag stage names and word play of their cover art.

Stand Out Track: Check Yourself

Links:
Allmusic
Music Museum of NE
Facebook
Discogs
Website
Rate Your Music

Charlie Ainley - s/t

Name: Charlie Ainley
Album: Bang Your Door
Year: 1978
Style: Pub Rock, Disco, Country, Rockabilly, Blues
Similar Bands: Steve Forbet, Lou Reed, Marshall Crenshaw
"One-Word" Review: Randomized Bar Jukebox Singer
Based Out Of: Cornwall, UK
Label: Nemperor Records, CBS Records

 Cover, Sleeve, Record

Back, Lyrics, Record

Bang Your Door (1978)

1. Bang Your Door 3:05
2. Angry 3:28
3. Try to Be a Good One 4:15
4. Pig Farm Blues 2:50
5. I Don't Need No Doctor 4:00 / (Ashford & Simpson cover)
6. Deed I Do 3:15
7. New York, New York 3:41
8. Heat of the Night 3:18
9. The Whistler 3:55
10. R.U. 1 3:05

Album Rating (1-10): 6.5

Members & Other Bands:

• Charlie Ainley - Writer, Vox (Charlie & the Wide Boys, Shakin' Stevens)
• Tony Ashton - Producer, Organ, Tubular Bells (Ashton & Lord, Gardner & Dyke, Broken Glass, Chicken Shack, Family, Green Bullfrog, Roger Glover & Guests,  Remo Four, Wizard's Convention)
• Stuart Elliot - Drums, Percussion (Cockney Rebel, Keats, Steve Harley, Al Stewart, Alan Parsons)
• Chas Hodges - Bass, Backing Vox (Chas & Dave, Black Claw, Cliff Bennett & Rebel Rousers, Green Bullfrog, Heads Hands & Feet, Heinz & the Wild Boys, House Band, Oily Rags, Ritchie Blackmore Orchaestra, Rockers, Soul Survival, Outlaws, Sessions and more)
• Richard Worthy - Guitar (Charlie & the Wide Boys)
• Pete Wingfield - Bosendorfer, Keys (Band of Gold, Jellybread, Olympic Runners, Hollies, Keef Hartley Band, Dexys Midnight Runners, Olivia Newton-John)
• The Misdemeanors - Backing Vox
• Howie Casey - Brass (Howie Casey & the Seniors, Rockestra, Tony Sheridan & the Beat Brothers)
• Martin Frith - Brass (National yo9uth Jazz Orch. Ian Gillian Band, Herb Miller Orch.)

Unknown-ness: Never heard of this singer/songwriter, but I expect a general slacker meets hipster songsmith.

Album Review: This record jumps all around the styles from pub rock to disco to country. The vocals don't sound like they're the same person on any one track, which might have been a goal, but this feels like a genre compilation more than a solidified album. He sounds like Zappa, Lou Reed, generic honky-tonk, or Robert Plant at any one time. Not positive, but I suspect the album title and first track is a veiled references to asking for anal sex.

Stand Out Track: Bang Your Door

Links:
Discogs
Robert Christgau
Punk Music Catalogue
facebook
allmusic
rate your music
website

New Adventures - S/T

Name: New Adventures
Album: s/t
Year: 1980
Style: Pub Rock & Blues
Similar Bands: J. Geils Band, Foriegner
One-Word Review: heavy-greasy-back-alley-pub-rock
Based Out Of: Winschoten, Groningen, Netherlands
Label: Polydor

 Cover & Record

Back & Record

New Adventures

1. Come On 3:00
2. Drive Me Wild 2:52
3. Spacelab Cowboy 2:49
4. You Can't Do That 2:45
5. Right to Cry 2:57
6. Bachus Beckett 3:18
7. Money 2:10 /
8. Backdoor Lovers 3:26
9. Late Late Show 3:15
10. If Your Mamma Don't Like It 3:43
11. Rock & Roll Woman 2:40
12. Genie Dance 3:13
13. Back to the Pit 2:30

Album Rating (1-10): 7.0

Members & Other Bands:

• Peter Bootsman - Guitar Vox (New Legend, AA & The Doctors, Home Flight Selection, Doggersbank, Harley Jay, Wild Romance )
• Harry de Winter - Bass, Keys, Vox (New Legend, Roxette, Purcus Education)
• Henk Torpedo - Drums, Percussion (New Legend, Upsidedown)
• George Kooymans - Producer (Golden Earring)
• John Kreik - Engineered
• George Cramer - Art Direction
• Fernando van Teylingen - Photography

Unknown-ness: Never heard of this band. From the album cover, it looks like an edgy new wave band, promising to be neurotic, jittery keyboard heavy pop. Year checks out, 1979-1980.

Album Review: This Dutch band was an award winning band back from 1978 - present day, as they will still get together to perform on occasion. With 5 albums between 1980 - 1985, they played straight forward blues inspired pub rock, with a heavy edge. Covers of Beatles and Chuck Berry are on the album, and their Berry cover, "Come On" was their biggest single.

Stand Out Track: Come On [*]

Links
New Adventures Bootsman's site (in Dutch)
Facebook
Wikipedia
Discogs
Soundcloud
Interview- Blues Mag

CAB 20 - Dirty Smiles

Artist: Cab 20

Album: Dirty Smiles

Year: 2010

Style: Bluesy Rock, Garage, Classic Rock

Similar Bands: Queens of the Stone Age, Black Keys, Soul Asylum, MC5, Black Crows, Lenny Kravitz

One Word Review: Sweaty-Shouty-Guitar Jams.

Based Out Of: El Segundo, CA

Label: Slaughtered Lamb Productions

Dirty Smiles Cover & Record

Dirty Smiles - Back, Record

Dirty Smiles (2010)

1. Don't Leave Your Love 2:17
2. Infection 2:56
3. Stones & Bones  4:47
4. Aquavit 3:19
5. Oh Darling 4:00
6. Slow Song 3:07 /
7. Keep on Talking 3:50
8. Substance Abuse 4:20
9. Living Things 3:46
10. Gravedigger 3:59
11. Boots 3:28
12. Blood on my Hands 2:37

Album Rating (1-10): 7.0

Members & Other Bands:

Eric Conteras - Drums
Bert Hoover - Guitar, Vox, Album Artwork

Chris Khalife - Bass, Keys Vox

Ivan Konstantinovic - Additional Vox

Gil Serrano - Banjo, Additional Vox

Jonny Lai - Electric Guitar, Additional Vox

Noah Yoseloff - Additional Vocals

Robert Hoover - Co-Produced, Engineered, Mastering
Joo-Joo Ashworth - Photography

Unknown-ness: Never heard of this band. But from the color scheme from the grey and brown trains, it feels like it will be a slice of Americana rock. I imagine meandering, and tedious at times, perhaps some grungy guitar solos. 

Album Review:

So this is the very first band to ever appear on Shark Tanl (2012) in order to gain investor backing as a band. They didn't agree to a deal, and were not funded. Popularity from the show neve helped them out, as they are not really together making new music today.

“Don't Leave Your Love” starts with a drum beat, and an urgent, rattling guitar playing MC5 style garage rock. The vocals are also urgent, and emotional, verging on shouting. Very fast, and classic rock in style.
“Infection” has a bit more country twang in the guitar, but it is still rushed and anxiously played…the bouncing keys buried in the background also emphasize the pace. The appeal for alcohol fueled, bluesy guitar solos is apparent for the song is jumpstarted by the guitar.
“Stones & Bones” has a slower jazzy drum beat to begin. It is well accompanied by a funky bass line, and thick steamrolling guitars. The passionate vocals sound as if they are standing far away from the mic, in order to capture the natural vocals which don’t care how naturally loud they are. The song slows down in the minimal instrumental section, only to pick up for one last emotional verse.
“Aquavit” combined punk chords and the bluesy, slightly free-form shouty vocals well. The chord progression sounds very familiar. There are a couple distinct driving sections, which give a platform for the shouting vocals.
“Oh Darling” Starts with some space-guitar twittlings, and then proceeds as a minimal open room drum and bass section. The vocals are growly-shouting against a juxtaposing backdrop of slower music. The guitars kick in and with some feed back and other classic rock elements, push the song along faster. The song slows down to a crawling tambourine rest, then quietly surges with chugging guitars back to the full volume and driving force of the initial verse.
“Slow Song” is true to its name, and an acoustic guitar plays a balladeering bar stool jam. It is a little stumbly, but kicks in with a drum beat only to make the slow jam louder. The volume and intensity rises and falls, but it keeps a moderate tempo the whole time.

“Keep on Talking” begins with a small bass hook and cowbell. Then Cake-like guitar is added, and the song gets going with a sweaty guitar atmosphere. There are group shouting vocals over key lyrical phrases, but the funky bass line keeps the song in order. The song builds and gets a little progressive, with looping guitar licks, which cycle back to the initial set up.
“Substance Abuse” chugs along with grimey, sludgy guitar, and a spattering of drums below. The guitar leads the kick in, and shouting vocals pull the singer away from the mic to not overpower or distort things more than desired. The instrumental takes a while to grow back into the musical verse for one last run through before the song ends.
“Living Things” Starts with Pounding guitar and cowbell, with a flat sounding drum. The vocals are a little more controlled and coherent at first. It’s like a faster Kick Out the Jams. The song takes a bit of a break to focus on the vocals and simple rhythm chords. But it does manage to kick back in, and oscillate between sections balancing the slow & quiet with the fast paced urgency
“Gravedigger” is a swampy stomp jam with catchy group choruses and shouty sections mixed with stoner classic rock lines.
“Boots” is a bit slinkier, but is at heart a pub rocking band full of feedback and swagger. It plays out like a Lenny Kravitz instrumental jam
“Blood on My Hands” is a swampy porch, banjo picking, jug band southern sing along. The whole band sings in echoing natural harmony for the chorus. It feels more of a demo. At 1:50, the tambourine kicks the song into a quickened pace for a short bit before the song winds down, runs out of alcohol. 

Stand Out Track: Don't Leave Your Love

Links:
Discogs
allmusic
amazon
Gazette Review - Shark Tank
Sonic bids
website

Albert King - I Wanna Get Funky

Name: Albert King
Album: I Wanna Get Funky
Year: 1974
Style: Funky Blues
Similar Artists: B.B. King, Jimi Hendrix,
"One Word" Review: Sexy-Smokey-Smooth
Based Out Of: Forrest City, AR
Label: Stax

I Wanna Get Funky - Cover & Record

I Wanna Get Funky - Back & Record

I Wanna Get Funky (1974)

1. I Wanna Get Funky 4:08
2. Playing On Me 3:25
3. Walk the Back Streets and Crying 6:28
4. 'Til My Back Ain't got No Bone 7:32 /
5. Flat Tire 4:43
6. I Can't Hear Nothing but The Blues 4:16
7. Travelin' Man 2:52
8. Crosscut Saw 7:45
9. That's What the Blues Is All About 3:56

Album Rating (1-10): 6.0

Members & Other Bands:
Albert King- Vox, Guitar

The Bar-Kays - Rhythm

The Movement - Rhythm

Amy Donald Kenzie - Rhythm, Guitar

Memphis Horns - Horns

Memphis Symphony Orchestra - Strings

Hot Buttered Soul - Backing Vox

Henry Bush - Backing Vox, Producer, Arranger, Engineer

Allen Jones - Producer, Arranger, Engineer

Lester Snell - Arranger

Dale Warren - Arranger

William Brown - Engineer

Robert Jackson - Engineer

Daryl Williams - Engineer

Davis Fried Krieger, INC - Art Direction

Larry Shaw - Creative Direction

Ron Gordon - Creative Direction

Maldwin Hamlin - Photography

Unknown-ness: I had never heard of him before. from the cover and obvious assumtion thanks to the title, I'm assuming this is gonna be something funky, akin to Isaac Hays. The smokey photo also give me the impression of something authentic, something that is relaxed and professional. Even if the back looks like a Barry White cover, I imagine it to be a little more complex.

Album Review: “I Wanna Get Funky” begins with an organ I associate with Tom Waits. And a sad electric guitar and a horn section are added to the front & background. Vocals begin that sound a bit like Hendrix, smooth, melodic and they carry a heavy burden of blues. Even as the song proclaims the desire to be funky, the style and sentiment in the song is a struggle that the singer is comfortable with. This is a nice, dark alley song to start off a blues-funk record.
“Playing on Me” is a bit more upbeat, with the same electric guitar that sings with distinct notes rather than playing a melody. The jazzy horns and funky bass bring a pleasant danceable groove.
“Walk the Back Streets and Crying” is another sorrowful head down, slack arms dragging, sad blues story-number. It is slow and calculated.
“Til My Back Ain't got No Bone” has a slow and quiet start, the only really audible thing is the steady 3rd count kick drum. Everything else: the vocals, bass and guitar, are hushed. The vocals are spoken when audible, and they sound to be one side of a phone conversation. Then about 3:45 singing commences, and the funky bass is paired up with a piano, and the pub style song really begins. The horns push along the melody, and become the main driving force along side the electric guitar.

“Flat Tire” features vocals that are somewhere between Barry White and Isaac Hayes. The song features wakka-wakka guitars, and a chorus of female vocals in the background. This is more soulful funky than anything else on the album, and the horns are treated like a disco hook. Again, half of the lyrics are spoken over the song rather than sung.
“I Can't Hear Nothing but The Blues” is really a positive outlook on misery. Where you’d think a title like this one’s would demand a sad, sorrowful song, this is brightly proud and bold. Its not fast or over enthusiastic, but it has a confidence, like in “I Wanna Get Funky” where the singer is content with his situation.
“Travelin' Man” has a fast flourish in the beginning before settling into a slinky groove full of upbeat horns and yes, funky bass and organ. This short number is a great dictionary definition of a bar room blues number.
“Crosscut Saw” is fun and upbeat. It takes time out from the blues verse to suspend vocals to let the guitar sing out the chorus. The bass groove is a continuous hook that could repeat forever. There is a break in the song to allow the singer to break verse and speak to the “audience” before transitioning back into the guitar and song, as if it were a live experience. The jamming continues on, bass never faltering, electric guitar never stopping, and the marching drum beat pounds on until fade out.
“That's What the Blues Is All About” starts with the horns, making the song feel like it will be a Motown classic. And this too is a very un-blues-like blues song with very funky and upbeat (but I guess that should be expected, via to the title). At the songs middle, the short instrumental section is highlighted with the electric guitar pumped up to a piercing volume in comparison to the rest of the instruments.

Stand Out Track: Playing on Me

Links:
Allmusic
Wiki
Cascade Blues Assoc.
Stax
Last FM
Rolling Stone Bio
Delta Boogie
About.com

(the) Holy Goats - s/t

Name: The Holy Goats
Album: s/t
Year: 2002
Style: Jam Blues Rock
Similar Bands: Black Crows, Rolling Stones, Paul Butterfield Blues Band, Led Zeppelin
"One-Word" Review: Americana-hippie-drug-jam
Based Out Of: Somerset, NJ
Label: Frontal Groovity Recordings

Holy Goats - Cover, inside, back

Holy Goats - Liner Notes, CD

Holy Goats (2002)

1. On Your Knees 3:04
2. Presence of Mind 5:12
3. Keep It Rollin 4:19
4. If I Could Speak My Mind 5:27
5. Nothing To Lose 3:29
6. I'm Still Missing You 6:43
7. Satisfied 4:11
8. Stray Cat Blues 5:23
9. Clear 4:02
10. Rock N' Roll Thru My Head 5:08
11. Same Old Line 4:59
12. See The Light 3:33

Album Rating (1-10): 5.0

Members & Other Bands:

Todd McCullough - Producer, Lead Vox, Guitar, Harp

Kurt Reil - Producer, Recorded, Engineered, Layout

Rick Reil - Producer, Recorded, Engineered

Deek Mason - Lead Guitar, Vox

Michelle Eckert - Bass, Vox (Angelica, Nektar)

Steve Crawley - Drums

Kristin Pinell - Recorded & Engineered

Chris Fuckin' Athens - Mastering

Andy Burton - Piano

Kelli Pachuta - Logo Artowrk

Janet Mason - Color Photos

Kimberlee Thompson - Live Photos

Unknown-ness: I’ve never heard of these guys. I got the CD from the friend with the extra CD’s he did not want anymore, and thought I’d like them. As for this one, it looks shoddy. The cover logo is ok, but it looks like the packaging was put together on a word document. The textured background under the font looks amateurish to say the least. The inner liner notes look like they are from the early 90’s when indie bands could barely put together a few bucks to design a CD, and nothing was known about how to do it. The band itself looks like a mix of hippie and country, which I must add is probably the worst possible mixing of genres I can imagine: extra long jamming country songs. I hope this does not waste another hour of my life too badly.

Album Review: So these guys are an Allentown/NJ area favorite, at least they were earlier this decade. Now the band still tours, but only the singer remains. The record starts with a jamming guitar and a rolling bass in “On Your Knees.” The vocals hearken back to 70’s drug rock. I read a comparison to Black Crows, and I can hear that in the music and vocal style. It fully rocks out with lead guitar solos and never rests. “Presence of Mind” takes an acoustic break. The vocals soar and fall, showing his range and the back up vocals bring a country edge to the music too. This style of music, even though it is done well, with slide guitar and steady, drudging pace, bores the hell out of me. There is no real hook; it feels like it is all verse and instrumental bridge after bridge. “Keep It Rollin” is a bluesy pub band song that kinda feels like a cargo train traveling across country. The pace picks up a bit as the vocals are introduced, and it shifts into second gear. I’m not a fan of the verse vocals that don’t really fit in with the music, they just roll along at their own pace, not guided by the music, and the tone shifts do not always make sense. The chorus is repetitive and flows with the momentum. A lot of the lead guitar makes it feel like a train as well. “If I Could Speak My Mind” is another country bluesy stomp, slower this time, but just as meandering. The guitar parallels and compliments the vocals after they sing the title verse as the chorus like it is a call and response with a guitar. “Nothing To Lose” is a higher emotional shrieking song that is upbeat, as opposed to “Speak My Mind.” It is full of the bluesy guitar work that is consistent with the rest of the album. It is repetitive and relies on the musical aspect rather than the vocals. “I'm Still Missing You” is an acoustic ballad with bongo percussion. It jams along with some wah-wah guitar work and just keeps going with section after section of musical wanderings.

“Satisfied” starts with a Monkee’s “Clarksville” like guitar, and is followed with Led Zeppelin like vocals. The backing harmonies are better and more interesting than the lead vocals, though. It is a bluesy and anthemic song. Like the title suggests, “Stray Cat Blues” evokes that exact kind of strutting image, but it is less on the blues side than the other tracks. At times it reminds me of “Sweet Home Alabama.” The song uses the stray cat as a metaphor for whomever he is talking about. But the metaphor feels generally lame. And like most of the rest of the album I’ve tired of it quickly. “Clear” begins with an eight note hook, and it evolves into something darker, with the guitar basically sounding like the Beatles’ “I Want You.” The lead guitar takes away from the song’s melody, with its distracting wail. The song is good, until it reaches the chorus, and it feels unplanned and rushed, basically out of character from the rest of the song. The song ends with dual guitars playing through the original 8 note hook. “Rock N' Roll Thru My Head” starts out with generic but good rock guitar work and supportive drums and bass. This is a very Black Crows song musically and vocally. “Same Old Line” presents nothing new. It is a staggering rhythm and bluesy 70’s care-free rock song. It is a little more disjointed than most. It limps along at an off-setting pace. It evens out with the pointless, seemingly never to end guitar solo. But it finally does finish, and a quick paced “See The Light” finishes the album with a cringe worthy harmony of vocals, which sound slightly off to my novice ear. But it could just be that it sounds too country for me to enjoy. The song does chug along at a steady fast pace, and his Chris Robinson vocals don’t let down. If you like that sort of style. Which I don’t.

Stand Out Track: Clear

Links:

Allmusic

Myspace

CD Baby

Z Bands

Grip Weeds

Vermont Rally

Sonic Bids

Band Mix

J. Geils Band - s/t

Name: J. Geils Band
Album: S/T
Year: 1970
Style: Bluesy Pub Rock
Similar Bands: Blasters, Del Fuegos, Ace, Paul Butterfield Blues Band, Rolling Stones
"One-Word" Review: Bluesy Dance Rock
Based Out Of: Boston, Mass
Label: Atlantic

J. Geils Band - Cover & Record

J. Geils Band - Back & Record

J. Geils Band (1970 )

1. Wait 3.25
2. Icebreaker (For the Big "M") 2.15
3. Crusin For A Love 3:22
4. Hard Driving Man 2:18
5. Serves You Right To Suffer 5:01/
6. Homework 2.45
7. First I Look At The Purse 3.54
8. What's your Hurry 2.44
9. On Borrowed Time 3.03
10. Pack Fair & Square 2.01
11. Sno-Cone 3.24

Album Rating (1-10): 10

Members & Othe Bands:

Peter Wolf - Vox

Seth Justmam - Piano, Organ, Vox, Producer

Magic Dick - Harp, Harmonica, Trumpet (Bluestime)

J. Geils - Guitar (Bluestime)

Danny Klein - Bass

Stephen Bladd - Drums, Vox

Jay Messinam - Recording Engineer

Geoffrey Haslam - Remix Engineer

Stephan Paley - Photo

Lloyd Ziff - Album Design

Fred Lewis - Special Assistance

Dave Crawford - Producer

Brad Sharpiro - Producer

Unknown-ness: Now, this is one of those curious bands that I have definitely heard of, but never really heard them. I was familiar with their 80’s hits, however was never fully aware of their back catalogue and the completely different style. I’ve grown to love this debut album, and retrospectively, like I did with Thomas Dolby, I will review this album knowing I like it already. But when I got it, I had no idea it was good or bad, so it qualifies in that way. When I first saw it at the thrift store, I had a small inkling that they were more than “Centerfold” and “Love Stinks.” But I did not know how different it would be from what I knew or how good they used to be. So I bought the beat up, written on, once loved copy and took it home to check out. I was surly impressed and raved about them to my housemate who claimed that his parents liked them.

Album Review: “Wait” starts their debut record, with a barroom piano, bass and drumbeat and harmonica. The gritty vocals begin the bluesy tune. The call back response in the chorus hooks the song into your memory, as does its start and stop musical play. This is blues mixed with rock and roll oldies, and illustrates that sometimes, there ain’t much difference. This is one of those catchy songs that could potentially go on forever. But after a flurry of the harmonica over top of the vocals, the song fades. “Icebreaker (For the Big "M")” begins with a repetitively strummed single guitar note and the harmonica and guitar parallel each other musically. The harmonica and guitar separate and take turns in the spot light for this instrumental. The organ gets a chance to shine too, adding to the upbeat danceable bar bluse sound. The song winds down before it has a chance to get going, but the harmonica makes up for it in the next song “Crusin For A Love.” It is a basic storytelling blues number. The gruff, gravelly vocals drop off syllables when it seems appropriate and the instruments are given ample time to represent the melody. “Hard Driving Man” is a faster train engine like driving song. The chorus is repetitive and melodically breaks form from the steady chuggin’ verse rhythm. “Serves you Right to Suffer” gets down to the true blues; with its slow sulking bass and guitar accompaniment. The vocals are struck down, sullen and sadly deep and quiet. It slowly slinks along, and the harmonica is played representing the strain and inner emotional strife. The piano is repetitively beaten, and picks up the emotional mood, followed by guitar. The instrumental section takes up a good portion of the song, leaving the vocals to sound like sporadic fill-ins.

“Homework” is a blues cover done right by converting it through a classic rock filter. It possesses a slightly evil beat, and deep dirty vocals. This is going to be hard picking out a stand out track. This song is just a great, solid song. The sections are short and compact; there is no excess or indulgement. It is all tied up in a nice neat package. Next comes the oldie Motown cover “First I Look At The Purse.” They make it sound like they can covert any song into a great bar room rock song. The quick Motown ending sounds great as a rushed guitar and drums bring it to the fade out in the end. “What's your Hurry” sounds like another oldie, but is an original. It combined Motown and 50’s Rock N Roll, which makes it seeming to be able to fit in the movie “Stand By Me.” Such a solid song, again, this whole album is fantastic. The bluesy and gospel “On Borrowed Time” follows as the next original song. It is repetitive and drives home the theme of a blues crooner accepting his own end. It reminds me of the Stone’s “Time is on My Side.” “Pack Fair & Square” plays with its rockabilly beat, and feels like the song “Shake, Rattle and Roll.” A bongo-drum sound begins “Sno-Cone,” followed by the harmonica and guitar. Quickly the organ chimes in, making the danceable blues song fully fleshed out. A drum solo is planted near the end, just in time for all the instruments to come back and finish off the song, and subsequent album.

Stand-Out Track: Wait 

Links:

Wikipedia

Allmusic

Website

Funky Judge Fan Site

Geils Files

Artist Facts

(the) Paul Butterfield Blues Band - s/t

Name: The Paul Butterfield Blues Band
Album: s/t
Year: 1965
Style: Bar Blues (Chicago)
Similar Bands: J Geiles Band, Blues Project, Blasters
"One-Word" Review: Harmonicazzy-Bar-Blues
Based Out Of: Chicago
Label: Elektra

The Paul Butterfield Blues Band - Front & Record
The Paul Butterfield Blues Band - Back & Record

The Paul Butterfield Blues Band (1965)

1. Born In Chicago 2:55
2. Shake Your Money-Maker 2:27
3. Blues With A Feeling 4:20
4. Thank You Mr. Poobah 4:05
5. I Got My Mojo Working 3:30
6. Mellow Down Easy 3:40/
7. Screamin' 4:30
8. Our Love Is Drifting 3:25
9. Mystery Train 2:45
10. Last Night 4:15
11. Look Over Yonders Wall 2:23

Album Rating (1-10): 7.5

Members & Other Bands:

Paul Butterfield - Vox, Harmonica (Better Days, Muddy Waters)

Mike Bloomfield - Slide Guitar (The Electric Flag)

Elvin Bishop - Rhythm Guitar (The Elvin Bishop Group)

Jerome Arnold - Bass (Howlin' Wolf)

Sam lay - Drums (Howlin' Wolf)

Mark Naftalin - Organ

Paul Rothchild - Producer & Recording Director

Mark Abramson - Asst Producer & Recording

Jac Holzman - Production Supervisor

Leonard Heicklen - Cover Photo

William S Harvey - Cover Photo & Design

Unknown-ness: I’ve never heard of these guys. Of course the Blues band (like the Blues Project) automatically brings to mind a blues album. But the imagery on the cover and the picture on the back make it seem like it is going to be more electric and rocking. Kinda like what I wrote for the Blues Proj….i think these were both dropped off at the thrift store by the same person, they seem to fit in as part of the same collection. The song lengths are more rock oriented than long blues, so that is something to look forward to. And I’ve heard of and seen Elvin Bishop records before.

Album Review: “Born In Chicago” begins the record with groovy guitar rhythm & harmonica. This is upbeat blues, and as I’ve read/heard, Chicago blues. The lyrics have lots of repetition, but are sung differently, and it is like hearing the lyrics given different meaning each time they are sung. “Shake Your Moneymaker” is a start stop rocking tune, this is a very happy song, not too much blues here, with the slight exception of the slide guitar…but even that is having a good time. The song actually swings. The energy in the bass, guitars and vocals could make the dullest, dingiest bar jump. “Blues with a Feeling” is, as the title suggests, a deep dive into blues. The harmonica played prominently, and is echoed by the guitar and bass. The dynamic is only saved for the beginning, as the verse poses the music as support and a guide to the emotional vocals. “Thank You Mr. Poobah” is a more bouncy, jazzy, jump-jiving aspect of instrumental blues. The harmonica is still featured prominently, but the jazz rhythm section picks up the blues and turns them into happy. The instruments take turns talking to each other, and intermixing very well. “I Got My Mojo Working” also falls into the big band camp of swing, thanks to the guitar and teeters on the edge of blues, thanks to the train harmonica. There are back ground response vocals to support the call out I Got My Mojo Workin’. “Mellow Down Easy” features a fantastic harmonica in the beginning and just takes off from there. The song is vaguely psychedelic with calm smooth vocals, and the rhythm guitar in the background.

“Screamin’” is a 60’s groovy rock song featuring heavy on the harmonica. It is mainly a instrumental, with the vocals making their only appearance in the beginning of the song. There are some famous/familiar musical riffs used in the song’s long instrumental ending. “Our Love is Drifting” slows things down and returns to meandering blues, featuring heavy on the lead guitar. It spills blues sentiments out in electric notes, rather than lyrics. “Mystery Train” captures the pace of a cross country train, and the typical sound it makes as it chugs along via harmonica and guitar interplay, the bass, and clicky hi-hat cymbals. “Last Night” parallels “Our Love is Drifting,” with its drunken side to side sweeping feeling of lonely blues. “Look Over Yonder Wall” has a great rolling bass beat and combined with the lead slide guitar, I’m reminded of Chuck Berry, but only for little sections in this song. It ends the record with a nice energy, quick pace and a rockin’ memory.

Stand Out Track: Mellow Down Easy

Links:

Allmusic

Wikipedia

Elvin Bishop Website

Mike Bloomfield Site

Bloomfield Chronology

Blues Access

Blues Harp

1966 Fillmore Live Show recording

Chrome Oxide

The Blues Project - Projections

Name: The Blues Project
Album: Projections
Year: 1966
Style: Psychedelic Rock & Blues
Similar Bands: ? & the Mysterians, Box Tops, Doors, Rolling Stones
"One Word" Review: psycolk rock
Based Out Of: New York City
Label: Verve Folkways, MGM

Projections - Cover & Record

Projections - Back & Record

Projections (1966)

1. I Can't Keep From Crying 4:25
2. Steve's Song 4:55
3. You Can't Catch Me 4:14
4. Two Trains Running 11:20/
5. Wake Me, Shake Me 5:15
6. Cheryl's Going Home 2:35
7. Flute Thing 5:58
8. Caress Me Baby 7:12
9. Fly Away 3:30
   

Album Rating (1-10): 7.5

Members & Other Bands:
Roy Blumenfeld - Drums (Seatrain)
Danny Kalb - Guitar, Vox
Steve Katz - Guitar, Vox (Even Dozen Jug Band, Blood Sweat & Tears)
Al Kooper - Keyboards, Vox (Bob Dylan, Blood Sweat & Tears)
Andy Kulberg Bass, Flute (Seatrain)
Marcus James - Producer
Tom Wilson - Producer
Jerry Schoenbaum - Production Supervisor
Val Valntine - Director of Engineering
Ken Kendall - Cover Design
Jim Marshall - Cover Photo

Unknown-ness: I never heard of these guys. But from the album design, liner notes and attire, I thought this might be a great bluesy (obviously) rock band from the late 60’s. I bought it under the idea that they’d be a garage band, with similar style to the Stones or Animals. From their clothing on the front alone, I figured this would be a great album. Also, the candid pictures on the back personalize the band, as was the “thing to do” to put a band in touch with the public back in the late 60’s. Some of the long song lengths made it a bit daunting, but I was prepared to buy this record anyway. This record and time period are a bit outside my area of musical prowess.

Album Review: From the first notes, “I Can't Keep From Crying” has the garage rock band sound I’d associate with ? & the Mysterians, a heavier sounding Beatles, or the Box Tops. The organ, groovy bass and electric guitar lay down a catchy rhythm that has long since been lost and over produced. The vocals are reserved and seem to be struggling for air. There is an amazing electrical effect breakdown about 2:30 into it unlike anything I’d ever expect to hear from the mid-late 60’s. Track 2 “Steve's Song,” starts with light guitar picking and a flute. It begins as a renaissance love ballad. The music comes together and picks up the energy a bit with the second run through, and it retains the very folksy quality. Jim Morrison-style psychedelic vocals begin about 2 minutes into the song. They are deep, carrying with them a confidence of a matador-poet. “You Can't Catch Me” comes next with a guitar and bass intro which delves into a honky-tonk, comic bar brawl romp. “Two Trains Running” is an eleven and a half minute slow bluesy craw. Emotionally fragile vocals roll along the stumbling sounds from the organ, bass and guitars. This is the sort of song one would expect from their band name. And to complete the stereotypical blues song, a sad harmonica is added around five minutes in. it is quite mesmerizing ad the song repetitively moves along, and the organ whizzes up a storm, but this is still not my favorite style of music.

“Wake Me, Shake Me” starts with a distinctly Motown bass beat and the style does not let down with maraca shakers and upbeat guitars. It has great call and response vocals in the chorus. The organ picks up and displays the basic melody very well, and the tambourine is a classic exciting effect. It builds greatly around 3:30 with “I gotta say yeah” and it explodes for a flurry before returning to the same basic style. “Cheryl's Going Home” is a short pop single, with a fun and bouncy melody, and it is strangely psychedelic without losing the deepness in vocals or musical depth. “Flute Thing” is very jazzy & bluesy instrumental. Many of the instruments we’ve heard take terns in center stage to display their jazz abilities. And the bouncy organ keeps everything going and in line. “Caress Me Baby” is the follow up to “Two Trains Running” with slow bluesy Hendrix style vocals, a tinkling piano, and a slow drum/bass meandering groove. The harmonica takes over at the end of the song, pouring energy into the slow backing groove balancing the energy taken and given ratio. Finally, “Fly Away” brings the folkier side of harmonica playing to the table introducing the song with a Monkees “Pleasant Valley Monday” type groove and melody. Not to mention the Tom Jones / lounge singer bass line & hi-hat.

The genres on his album are quite different, yet they all carry behind it some level of psychedelic organ. From slow blues to intense blues to poppy garage rock to medieval folk, it is all here, and done very well. It is too vast for one intake for me, and the eleven + min song is just too long for my taste. But when they hit their stride, they surely excel.

Stand Out Track: Wake Me, Shake Me

Links:Allmusic
Wikipedia
Danny Kalb Discography
Rate Your Music
Chrome Oxide Blues Project Page
Blues Project Personnel List
Albums Reviewed

(the) Fabulous Thunderbirds - What's The Word

Name: The Fabulous Thunderbirds
Album: What's The Word
Year: 1980
Style: Country, Blues, Rock
Similar Bands: Blasters
"One-Word" Review: Countrified rock-blues
Based Out Of: Austin, Texas
Label: Takoma Records, Chrysalis,

What's The Word - Cover & Record
What's The Word - Back & Record

What's The Word (1980)

1. Running Shoes 3:39
2. You Ain't Nothin' But Fine 1:48
3. Low-Down Woman 3:17
4. Extra Jimmies 2:38
5. Sugar Coated Love 3:01
6. Last Call for Alcohol 2:55
7. The Crawl 2:13
8. Jumpin Bad 2:27
9. Learn To Treat Me Right 3:08
10. I'm A Good Man (If You Take A Chance) 2:48
11. Dirty Work 3:04
12. That's Enough of That Stuff 2:08
13. Los Fabulous Thunderbirds 1:10

Album Rating (1-10): 5.5

Members & Other Bands:
Kim Wilson: Vocals, Harmonica, Drums, Harp
Jimmie Vaughan: Guitar (Vaughan Brothers)
Keith Ferguson: Bass (The Leroi Brothers)
Mike Buck: Drums (The Leroi Brothers, The Exiles)
Fran Christina: Drums
Denny Bruce: Producer, Management
Bob Sullivan: Engineer
Frank DeLuna: Mastered
El Mero Guero - Vocals

Unknown-ness: I have definitly heard of the Fabulous Thunderbirds, but I've never heard them. So I picked up the album thanks to its high-energy artwork, new wave look, and date of 1980.

Album Review: Track 1: “Running Shoes.” Right off the bat, the bouncy southern country guitar twang greasily oozes from the speakers. It completely reminds me of the Blasters, with a more enjoyable voice. The guitar & bass plays in a continuous loop, with countrified blues vocals cried over top. The harmonica adds the last bit of necessary country feel. “You Ain’t Nothing But Fine” feels like a country version of any Buddy Holly song. It possesses simple pop song structure, with a country bass and harmonica to push it over the edge. While the vocals are sung, the music is turned down a notch, and they come back to the forefront during the musical jamming interludes. It is just too short, but that makes it even more like a 50’s rock n roll song. Low-Down Woman is a blues number, sped up a just a little. The bouncy bass & drums set the pace, with the harmonica taking the musical lead. Extra Jimmies is an instrumental with a swing guitar, rockabilly guitar and jazzy bass & drumming. “Sugar Coated Love” has the bass line similar to Depeche Mode’s Personal Jesus. And let me just tell you, that that band and that song in particular is my most hated song of all time and across all genres. And I hate it mostly for the bass beat too. So I don’t particularly like the bass in this song. But the song’s structure in its sections and vocal style is much more pop than Depeche Mode could ever try to do. “Last Call for Alcohol” is a staggeringly paced start/stop instrumental. The harmonica and guitars team up in this song that feels like the Enchantment Under the Sea Dance from Back to the Future. “The Crawl” is introduced like the dance “The Roach” from Hairspray. The lyrics explain how the dance is done, but the music is just like any oldies rock number, with a little rockabilly mixed in. ”Jumpin Bad” is an instrumental song, and it sounds like a rockabilly version of both “Shake, Rattle, and Roll” and “One For The Money.” “Learn to Treat Me Right” is a jaunty bluesy country rock song. It comes complete with all the elements already exposed on the album. And the bass line is similar to the theme of Sesame Street. “I’m A Good Man” has a bluesy guitar and vocals, over a quicky bouncy bass & drum combo. After a short false-quick start, “Dirty Work” slinks into a swaggering, smokey southern blues tempo. “That’s Enough Stuff” is more of the same. Without sounding repetitive, is slightly more fun and upbeat blues interpretation of rock. It features more oldies style bass and drum work, and is heavy on the harmonica. “Los Fabulosos Thunderbirds” is “sung” in Spanish. I believe it is an add to see the Thunderbirds spoken in Spanish over typical thunderbirds style instrumental, as various Texas cities are mentioned. An interesting way to end the album.

As this is more country than anything I would like, I cannot say I like the record. I do appreciate the obvious oldies influence, and that is why I am adding “You Ain’t Nothin’ But Fine” as the stand out track, which I feel fully illustrates the oldies influence. So if you like country-rockabilly-roots rock, then you’ll like it. Me, not so much.

Stand Out Track: You Ain’t Nothing But Fine

Links:
Fab T-Birds - Allmusic
Fab T-Birds - Wikipedia
Fab T-Birds - official site
Fab T-Birds - another site
Fab T-Birds - Myspace
Fab T-Birds - Austin Music

The Blasters - s/t

Name: (the) Blasters
Album: s/t
Year: 1981
Style: Oldies Rock & Rockabilly
Sounds Like: Elvis Presley, Chuck Berry, Stray Cats, Jerry Lee Lewis
"One Word" Review: Country-Vocal-Ruined Rock-a-oldies.
Based Out Of: California
Label: Slash, Warner Bros Records, WEA International

Blasters Cover

(the) Blasters (1981)

1. Marie Marie (2:06) (Sample)
2. No Other Girl (2:32) (Sample)
3. I'm Shakin' (2.24) (Sample)
4. Border Radio (2:42) (Sample)
5. American Music (2:14) (Sample)
6. So Long Baby, Goodbye (2:22) (Sample)/
7. Hollywood Bed (3:31) (Sample)
8. Never No Mo' Blues (2:52) (Sample)
9. This Is It (2:11) (Sample)
10. Highway 61 (3:02) (Sample)
11. I Love You So (2:51) (Sample)
12. Stop the Clock (2:02) (Sample)

Album Rating (1-10):
5.0

Members and Other Bands:Phil Alvin - Vox, Guitars, Harmonica
Dave Alvin - Guitars (Dollar Store)
John Bazz - Bass
Bill Bateman - Drums
Lee Allen - Sax
Steve Berlin - Sax (Los Lobos)
Gene Taylor - Piano
Gustav Alsina – cover design
Gary Leonard - Photos
Steve Bartel - Art Design
Roger Harris - Engineer
Pat Burnette - Engineer
David Ahlert - Second Engineer
J Ruby Productions - Packaging
Shelly Heber - Manager / Agent

Unknown-ness: I thought I had heard of the is band, but I've not. The cover art looked very interesting, and a powerful name (and logo) like the Blasters, and a production date of 1981, I was expecting a high energy, new wave or punk record.

Album Review: The first time I heard this tape, I hated it. The second time I listened to it, I hated it again, but perhaps a little less. I kept listening to it and now, although there are some elements that I appreciate, I still find it somewhat unlistenable. Although the music is good, I find his high, squeaky voice very irritating most of the time. And as I've said before the voice is what makes or breaks a band for me.

"Marie Marie" is the first song, and it has a great rock n' roll beat, and classic oldies guitar solos, but his voice sounds like a whiny pubescent-breaking pathetic man. "No Other Girl" sounds like a great Elvis Presley record. The vocals begin normal enough and do not get too out of hand, but still, there are cringe-worthy moments where it seems it will break too far. The rockabilly bass and honky-tonk piano are really good, and really save the song. I cannot stand the bluesy "I'm Shaking." The cat-like-strut of the bass, drums and sax is something that makes me shiver with annoyance almost as much as I get from "Personal Jesus'" bass line. The vocal quality of his gospel chant of 'I'm Shakin' is very irritating. "Border Radio" is a slowed up version of "Brown Eyed Handsome Man." The vocals are somewhat steady in this tune, and the result is a good oldies, radio friendly song. "American Music" is a quick paced, bouncy country swing song. It borrows song construction from Chuck Berry's "Rock N' Roll Music." "So Long Baby Good Bye" is another oldies-rockabilly-country song, where the singer is crying in his annoying country crooning whine. The brass is really good though, it actually sounds like a harmonica (perhaps there is one buried under there too).

"Hollywood Bed" is a piano based country song, that is perhaps the best example of the high pitch annoying vocal styles, most prevalent in his "Hey-Hey-Hee" & "Who-Who-Who-Wee" vocal bridges. The drums are a quick march, like machine-gun fire. The bass trips up and down, and the music recreates the image of a rag time saloon. The song fades out without vocals, and the next be-boppin' rockabilly song "Never No Mo' Blues" comes on, with the most irritating feature being the vocals. But this time, they go from bad to worse, as he adds yodelling into his arsenal of grating effects. "This Is It" is a Jerry Lee Lewis rocking song. I figured out the most annoying aspect of the vocals: his little upturns in pitch at the end of every line. It is that which I detest about this and country music as well. "Highway 61" is a bluesy bounce full on with harmonica filling in the gaps behind and between the lyrics. He sounds like Mississippi Gary from "Kids In The Hall," but somehow, worse because it is not for comedy. "I Love You So" rocks out at first with guitars, then adds shaking maraca, and a bouncy bass line. I'm just gonna ignore the vocals. Or try to at least. A tick-tocking wood block starts the final song "Stop the Clock," which carries the same melody as "Whole Lotta Shaking Goin' On." Again the song blends the great qualities of oldies and rockabilly.

So without continuing to be harsh about the vocals, I will focus on the music, which upon further review, is fantastic. The authentic oldies and musical structures belong in the late 50's. I've read it in many reviews, and I can agree that they take many elements of old music, and rebirthed them as if just discovering the new time signatures to make new Rock N' Roll.

Stand Out Track:
No Other Girl

Links:
Blasters Allmusic
Blasters Wikipedia
Blasters Album Wikipedia
Blasters Webpage
Blasters testament
Phil Alvin interview 2004
Dave Alvin Page
Blasters on Trouserpress
Blasters Interview Pop Matters
Cover Art Gallery Page
shoutfactory: the blasters