In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Maria Muldaurplaying "Golden Loom"
This month we highlight Heart of Mine: Maria Muldaur Sings Love Songs Of Bob Dylanfor a full month of Dylan Covers.
Thoughts On Original: Recorded during the Desire sessions "Golden Loom" is a definite outlier from the songs that made that record. Officially released on the Bootleg Series 1-3, this song is a easy, bouncy number that finds Dylan singing strongly, but keeping his midnight dalliance just out of frame, remaining mysterious. Floating water imagery works well with the tune as does wafting perfume and blooming flowers as the sensuality and easy passage of time fills the ears. A lesser known offering, but a damn good one with Scarlet Rivera's violin being the main musical focus.
Cover:
Thoughts On Cover Artist: Maria Muldaur is a folk singer who came to prominence in the 60's with Dylan as part of the folk music revival in America. She had her biggest hit with "Midnight at the Oasis" in 1973 and then opened for The Grateful Dead in 1974. She also became a part of the Jerry Garcia Band and sang backup on a lot of their records before becoming a born again Christian and moving to more religious music in the 80's. Her later career saw her return to her folk and blues roots.
Thoughts On Cover: We end this monthly focus on a high note as the blues seep out expertly with Muldaur singing in sultry fashion on this Dylan deep cut. The expert barroom piano, electric guitar, easy rolling bass and drums, easily jamming out over five minutes and it feels like the players can roll on forever. Great work on this one and all the songs from Muldaur this month. Thanks for reading.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...The Claypool Lennon Delirium!
RtBE have reviewed this outfit before, but have never featured them on Full Show Friday, so here they are, The Claypool Lennon Delirium from House of Blues Boston back in 2016.
Pro Shot, Pro Sound, Full Set List Below. Enjoy!
Setlist: 01:08 Cricket and the Genie (Movement I, The Delirium) 06:03 Cricket and the Genie (Movement II, Oratorio Di Cricket) 09:36 Breath of a Salesman 18:00 The Monolith of Phobos Thela Hun GinJeet (King Crimson cover) - http://bit.ly/2fvqc3623:24 Boomerang Baby 31:49 Mr. Wright In the Court of the Crimson King (King Crimson) http://bit.ly/2gErkR238:46 Bubbles Burst 45:27 Ohmerica Astronomy Domine (Pink Floyd cover) - http://bit.ly/2kOePb752:40 Captain Lariat Tomorrow Never Knows (The Beatles cover) http://bit.ly/2dOpOyV (encore) 1:01:32 Too Many Puppies (Primus cover) 1:05:33 Southbound Pachyderm (Primus cover)
Two doom metal outfits (REZN from Chicago and Vinnum Sabbathifrom Mexico) have teamed up for a collaborative album, Silent Future on Blues Funeral Recordings. "Morphing" is the newest single from the tag team link up.
The track is full of pulsing, droning, heavy psych rock which shifts into bombastic overdrive to close.
Check out the new single from US atmospheric doom revelation REZN and Mexican sci-fi doom goldsmiths Vinnum Sabbathi below:
We are now heading into the new normal with live music during the Covid-19 era. Live shows will need to be flexible and live streaming is a great way to keep music going. Streams have become essential for live music junkies like RtBE. Things are (hopefully) improving on the pandemic front but live streams will be an option for artists during the foreseeable future. We will highlight various shows/streams/virtual events for your viewing and listening pleasure and as a way to help out the artists. You can check out our weekly Full Show Friday series for concerts from the past and as always, please support the artists any which way you can.
The Beachwood, NJ based punk rock outfit OC Rippers second album Happy Hours Air Travel Club is a revved up blast of old school punk & rock and roll.
The sixteen tracks contained here have influences that range from Black Flag, to Motorhead, to Murphy's Law as the group swirls between heavy rock and speedy punk with abandon. The guitars, drums, and bass all bang ahead with furry, demonstrated from the jump by the slashing fast opener "Mean Streets" setting a fantastic tone to the record.
"Downtown" is an album highlight with a 1-2-3-4 count off before the clanging, rampaging tune leads to a killer guitar solo, one of many. The band downshifts to a more mainstream, slower rock sound (with another great solo) on "Touch" while "Fictional Problems" uses dynamic drumming and quick tempo changes. The album is winningly produced, however, vocals like most punk/hardcore efforts are buried and mixed down, possibly intentionally.
The super crashing "Damaged One" displays strong bass work while "I'm Still Drunk" starts grooving before slamming straight ahead in punk fashion. "Money Bands" is chugging, while "Public Scene" amps the thrash metal. "Murder" is a more complete effort with a heavy rock riff to start, a grooving tempo and a screeching solo.
Both the Buzzcock's influenced "LUVV Muscle" and the Black Flag sounding "Late Nite TV Lover" (complete with fresh bass runs) are dynamite, as is the galloping closer "Nuclear Attack" as the band takes from their heroes and develops the sounds into their style. Mixing 80's influenced West and East coast punk vibes, OC Rippers come into their own on the successful Happy Hours Air Travel Club.
We are now heading into the new normal with live music during the Covid-19 era. Live shows will need to be flexible and live streaming is a great way to keep music going. Streams have become essential for live music junkies like RtBE. Things are (hopefully) improving on the pandemic front but live streams will be an option for artists during the foreseeable future. We will highlight various shows/streams/virtual events for your viewing and listening pleasure and as a way to help out the artists. You can check out our weekly Full Show Friday series for concerts from the past and as always, please support the artists any which way you can.
As RtBE has mentioned in past reviews of recent Grateful Dead releases, there aren't that many major Grateful Dead shows to still officially release. The band and their archivists have done an amazing job of getting their best music out through Dick's Picks, Dave's Picks, Box Sets, Road Trips, Download Series and the list goes on.
This well loved and well documented show now gets an official release as Wet Willie and the Allman Brothers Band opened things before the Dead put on a three set show which saw the band welcome Dickey Betts and Butch Trucks for the final set. The group (Jerry Garcia – guitar, vocals Bob Weir – guitar, vocals Phil Lesh – bass guitar, vocals Bill Kreutzmann – drums Keith Godchaux – keyboards Donna Jean Godchaux – vocals)was in their prime and cooking during the spring of '73 and this show is a fine example of their talents.
This is clearly evident from the first notes, a unexpected "Morning Dew" bombastically opens the show with dynamite playing as the band sounds in mid-set from the beginning, and like all archival releases lately from the band, the audio dynamics are pristine yet again. The Dead come down a bit after the ecstatic opener with a disjointed "Ramble on Roses" and "Wave That Flag" which feels new and fresh but not yet synched up.
The best songs in the first set are the introspective ones. "Looks Like Rain" has gorgeous weeping lines from Garcia with great fills from Keith, an excellent "Bird Song", a sweet "Row Jimmy" and a mellow, tasteful "Box of Rain". The key to all of these are Garcia's textured guitar runs that are restrained and gorgeous.
Set two begins with a lazy and flowing "Eyes of the World" which is good, not great, yet excitingly ends with a very interesting, slow, bluesy jam, which flows into a passionate "Stella Blue". The box set that this show is a part of is titled Here Comes Sunshine and that song in particular was a highlight throughout 1973. The version played here is fantastic with warbling wah-wah, a killer all around version led by Jerry Garcia that should be sort out.
The end of the second set revolves around a monstrous "Dark Star" that is incredibly melodic. This is a cool wandering version of the freeform beast, anchored by Lesh's bass which is going wild throughout the very musical version. There are lots of mini jams before the first words are even sung, then the song gets freaky with pulsing low end frequencies as the twenty seven minutes of adventurous music flows out. Things then drop into "He's Gone" as Garcia's slow weepy guitar solos return as the band eases into a laid back outro jam that is well played in every direction and elevates this to an all-time rendition.
The band knew the vibe was right as they delivered back-to-back ballads as "Wharf Rat" follows with an excellent version that keeps the spirit mellow and vibrating before shifting gears into a lively "Truckin'". The group seems to wrap up the show with a fun rendition of "Sugar Magnolia" and if they had ended it here, no one could have complained.
They certainly didn't end it there though, in fact, even after all of this excellent playing the band was saving the best for last. Welcoming Dickie Betts on guitar and Butch Trucks on drums the group let the jams flow. A languid cover of Bob Dylan's "It Takes a Lot to Laugh, It Takes a Train to Cry" eases the third set open, but things pick up for the blues standard "That's All Right". Here the group comes alive as the groove is explored while Betts and Garcia take turns following and topping each other with ripping solos.
An average version of "Promised Land" rings out before the players once again lock in for "Not Fade Away". The group gets their feet under them and allows the rhythm section to push it along as cascading notes flow out; this is a perfect synergy of the Allman Brothers and Grateful Dead style combined. After "Drums" allows Trucks and Kreutzmann to do their thing, Phil then straps on his bass and brings everyone back to close the impressive "Not Fade Away". The players speed through a super fast version of "Johnny B. Goode" and one of the best Grateful Dead shows wraps up on an exciting note.
A monster of a night of music and a must have for fans, RFK Stadium, Washington, D.C. 6/10/73 finds the Dead and guests clicking on all cylinders as this archival release does the night justice.
The Malmö, Sweden based psychedelic doom outfit Moon Coven have released a new single "Behold The Serpent". The track is from their upcoming studio album Sun King which will be released on August 25th.
What the band says about the new tune:
"Convinced he is protected from darkness, a holy man ventures deep into unexplored lands in search of wealth and prosperity. But in his arrogance he soon finds himself face to face with evil itself. Behold the Serpent is a pure doom song that stands out from the rest of the songs on the album. It's the heaviest song on the album and might even be the heaviest song we've written so far."
The tune has heavy splashes of Black Sabbath and Sleep as the metal lumbers forward with labored pounding, before a mid song break finds a light, warbling guitar floating above the rumbling drums. The crushing conclusion gets heads banging to close.
Tim Armstrong gruffly sings on the prophetic "Live Forever" the phrases "Get to the show/Do what we know/Get yourself ready" and that can easily apply to Rancid's recording career as well.
On their tenth studio album the Bay Area based punks deliver yet another stout full length, at this point it is hard to argue against Rancid as one of the most consistently great punk outfits of all-time. Perhaps it is because they truly never veered from their early style, but the group has yet to release a clunker and that successful run continues with Tomorrow Never Comes.
Another key to their sustained success is their partnership with Brett Gurewitz (Bad Religion) who has been working with the band for decades and the sound on this album is magnanimous. Vibrating from the opening notes of the title track, Rancid picks up where right they left off, or really have never left.
All of these songs seem to flow out naturally for the band. Frantic efforts like "Magnificent Rogue" give guitarist/vocalist Lars Fredrickson room to shine while Matt Freeman's bad ass bass rumbles throughout "One Way Ticket" and Branden Steinekert's drums pummel and pull "Hellbound Train" along.
The most interesting development is a mini suite of songs loosely tied together by themes of storms, water, America, murder, pirating and an overall sea shanty influence as each of "Mud, Blood, & Gold", "Devil In Disguise", "New American", and "The Bloody & Violent History" are next to each other early on the album, playing as a connected vibe. The thematic linking is a nice touch as the band flashes The Who and Dropkick Murphy's (perhaps from their multiple "From Boston to Berkeley" tours) like influences throughout this short run of songs that could be developed into other mediums.
The group never gets too artsy though as the hardcore punk of the brief bashing "Don't Make Me Do It" slams home and the galloping guitars and bass on "It's a Road To Righteousness" are classic Rancid. Gang vocals shout out for the fierce "Drop Dead Inn" while siren like guitars color "Prisoners Song" as Freeman's bass insanity and feedback destroy "Eddie The Butcher" in a good way. The album wraps with the heavy metal slamming intro that devolves into sweet sounding verses about unity on "Hear Us Out" and another festival ready, gang chorus banger "When The Smoke Clears" wrapping up the short but blistering record.
The fact that band keeps delivering top notch punk rock allows new generations to discover the genre and dive even deeper into Rancid's influences and the bands increasingly own impressive back catalog. Tomorrow Never Comes might not be the best Rancid album, but it also isn't their worst, as Rancid don't have a bad album.
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It really hit me when I covered the band's underrated 8th album...Honor Is All We Know back in 2014 that this group is shockingly consistent and while everyone may have their personal favorite (tough to top ....And Out Come The Wolves in our book) it is hard to hate on any of their strong releases.
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Maria Muldaurplaying "On A Night Like This"
There are songs that put you in certain places, certain times, recall certain memories. That is what can be so enchanting about tunes, for some reason every time "On A Night Like This" kicks off the criminally underrated Planet Waves, I think of a winter time scene in Upstate New York, either outdoors or by the raging fire, whatever, this album just screams northern winters to my ears, snow filled sidewalks, crisp night air, snuggling under blankets, it's all there in listening to this track. The album was recorded in November but who knows when the songs actually come from with Dylan, all I know is that they are great, and this is one of the best on that overlooked album.
Cover:
Thoughts On Cover Artist: Maria Muldaur is a folk singer who came to prominence in the 60's with Dylan as part of the folk music revival in America. She had her biggest hit with "Midnight at the Oasis" in 1973 and then opened for The Grateful Dead in 1974. She also became a part of the Jerry Garcia Band and sang backup on a lot of their records before becoming a born again Christian and moving to more religious music in the 80's. Her later career saw her return to her folk and blues roots.
Thoughts On Cover: Instead of a snowy winter scene, this version gives a bit of Latin flair to the proceedings, using an organ solo in the middle to spruce things up. Muldaur gives it a warm, tame reading, never getting too worked up or excited, smirking a bit and enjoying herself, but never giving it away.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...DMX!
The Texas based singer/songwriter Karyn Oliver has released a new single for her folkie offering "Pelican".
Regarding the track, Oliver states:
"Some cultures believe that birds carry the souls of the departed. This song is just a tiny slice of all the things my sister was, and a celebration of her. It’s a party. She liked a good party."
The debut, self titled release from London's Island of Love is a throwback to the hazy days of alternative/grunge as the riffs and fuzztones get ramped up throughout the eleven song offering.
The quartet of Karim Newble on guitars/vocals, Linus Munch on guitars/vocals, Daniel Giraldo on bass and Jimmy Guvercin on drums reach back into the Buzz Bin and pull out tasty sonic treats in familiar veins. The most direct influence on the bands sound is clearly Dinosaur Jr. as Munch and Newble's guitar lines sound straight out of J. Mascisplaybook, pedals, and amps.
Efforts like the brief instrumental "Blues 2000", the heavy riffage of the bumping "Grow", the rising from the swamps takeoff of the building "Never Understand" and the crushing power of "Charles" all sound directly influenced by the Amherst, MA rock legends. The group even drops in a acoustic ditty to break up the roar ("Weekend At Clives") and a fuzz drenched ballad that eventually roars to life after a cough filled start ("Sweat Loaf").
The London group certainly channel Lou, Murph, and J and the familiar tones do toe the border between homage and rip-off, but when the sonics are amplified, it doesn't matter too much as all of these songs sound pretty great.
Even better is the slippery punk influenced "Fed Rock" which manages to be energetic, angry, and still loose, slipping around with shifting tempos and slithering lines that lead to revved up solos. Dino Jr. isn't the only touch point here as the album highlight "I've Got The Secret" is a great melody with fuzzy, slamming riffs, reminiscent of early Meat Puppets while "Losing Streak" keeps it closer to home for the London lads as it injects a bit of Rolling Stones like swagger.
The group are still finding their way and when they stretch things out, like on the opening "Big Whale" and the two-songs-in-one closer "It Was All OK Forever", the energy can wander and fade. However, the good outweighs the bad on Island of Love's self titled debut, a rollicking fuzz drenched offering from this new London band signed to Third Man Records.
Singer/songwriter (and former Walking Dead actor) Emily Kinney releases a single from her upcoming album Swimteam.
Regarding the song Kinney states:
“‘B or C for Effort’ kicks off Swimteam, a breakup album. It's my favorite song on the record and possibly one of my favorite songs I've ever written. And although the lyrics might seem like just a series of lyrics bitterly passing judgment on my ex (which they are), I've also always really loved the idea that earth is just a big school and we come down to earth and be human to learn lessons about love and expand our consciousness and one of the ways we do that is through relationships.
‘B or C for Effort is’ the generous grade I gave my ex-boyfriend for the amount of care, love and attention he gave me in our relationship. Overall, the relationship was an F, but like a child with very little skill who you just want to move through the system and feel a little sorry for, the B or C grade equates to me giving him a participation trophy for just kind of showing up.”
Emily will also be performing an acoustic live stream show through the VEEPS, on Friday July 21 at 3:00 PM ET. She will be performing songs from throughout her career, including songs from her new album Swimteam. Information and tickets are available here.
Check out "B or C for Effort", a lively break up song that academically looks at a relationship with a touch of whimsy and small sense of bewilderment/anger, below:
The NYC based outfit Noshows partner with LA rapper Aud and deliver the catchy "Slow Up"
About the song, singer/songwriter Max Satow states:
“The song encourages intentionally slowing down when life becomes too fast paced. I’ve come to realize how crucial it is to step back and evaluate my well being since it has a significant impact on my mental state. As I was writing it, I thought about my own struggles with anxiety and coping mechanisms, and rather than go dark, I wanted to shed a positive light on that."
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Maria Muldaurplaying "Lay Lady Lay"
This month we highlight Heart of Mine: Maria Muldaur Sings Love Songs Of Bob Dylanfor a full month of Dylan Covers.
Thoughts on Original: From the first time we addressed a cover of this tune: Excellent track and the first time the world heard Dylan's new singing style, which would only last forNashville Skyline. This song is the standout track from this album, it is a classic and so simple, yet sweet and timeless. One of Dylan's best tracks, this phase was the the closest to "country" he ever got and "Lay Lady Lay" is an overall fantastic piece of music.
Cover:
Thoughts on Cover Artist: Maria Muldaur is a folk singer who came to prominence in the 60's with Dylan as part of the folk music revival in America. She had her biggest hit with "Midnight at the Oasis" in 1973 and then opened for The Grateful Dead in 1974. She also became a part of the Jerry Garcia Band and sang backup on a lot of their records before becoming a born again Christian and moving to more religious music in the 80's. Her later career saw her return to her folk and blues roots.
Thoughts on Cover:
We mentioned a few weeks back that Muldaur switched genders in Bob's lyrics, which is completely great as the originals can be fluid themselves, but she takes it a step further here, changing the Lady of the title to Baby. Not a cardinal sin by any means, but it makes it a bit awkward at times when listening to this light FM cover. Otherwise, this is a fairly easy rolling, pleasant version of the tune that smoothly drifts by.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Ex Hex!
Here is Ex Hex (who we dig greatly), from Landmark Music Fest in Washington D.C. back in 2015.
The New Jersey based indie pop outfit Water Street have a new video out for their tune "Pen Pals".
In discussing the single the band states:
"In the past our music has been classified as Americana, I guess because a lot of the songs are normally built around the acoustic guitar. We really wanted ‘Pen Pals’ to be a clear line in the sand that we can make music in the pop/rock genre as well."
The newest collection of stout songs from Jason Isbell and the 400 Unit, titled Weathervanes, is yet another example of top notch song writing in a discography full of them; every release since Southeastern has been must hear and excellent.
While it is clearly a band album, Isbell has truly started coming more into his own with enhanced self confidence. He self produced the record (with some help from Matt Pence), designed the cover art (whose weathervane only points south and east) and wrote all of the songs with his unique take on small town life standing in for larger societal problems.
The album is fairly split between softer Americana/country/folk efforts and full band, southern rockers. The 400 Unit is Derry deBorja - Acoustic Piano, Electric Piano, Organ, Accordion, Synthesizers, Therevox, Tack Piano, Background Vocals Chad Gamble - Drums, Percussion, Congas Jimbo Hart - Electric Bass, Bass Ukulele Sadler Vaden - Electric Guitar, Acoustic Guitar, Electric 12 String, Acoustic 12 String, Background Vocals. His wife Amanda Shires supports as well on fiddle and backing vocals and other guests help out along the way. While the core songs remain Americana/Southern rock, there are flashes of new avenues musically that Isbell is toying with to keep things fresh.
Opener "Death Wish" goes in a slightly new musical direction, with touches of new wave and angular percussion as the track oddly gets a dance beat roiling around swelling strings (provide by by Morgan O’Shaughnessey) as Isbell sings with an extra touch of anger, amping the distressing feeling immensely. A song like "King of Oklahoma" feels as if Isbell could have written it in his sleep, as down on their luck addicts fight their demons to regain a sense of humanity through righteous memories, killer guitar solos, and ensnaring turns of phrases; whether they are walking in homemade house shoes or stealing copper pipes.
Highways and wounded cowboys arrive in "Strawberry Woman", as does Mickey Raphael's harmonica while "Middle of the Morning" has a laid back Allman's Brothers vibe coursing throughout the pandemic influenced track. The acoustic shuffling of "If You Insist" ramps up the twang to deal with isolation and loneliness while a trio of easy swaying numbers, "White Beretta", "Vestavia Hills", and "Volunteer" (with great supporting vocals from Shires) are so confident in their tales of broken dreams that contain slim slivers of hope, that it feels Isbell could literally churn these top notch efforts out forever.
Never afraid of diving into tough subjects, gun violence is addressed directly and confidently on "Save The World" which brings in an early 80's Dire Straits sound (along with digital bleeps and electro keys) to the tale of helplessness one feels when another mass shooting tops the news; a powerful song. "Cast Iron Skillet" turns a mirror onto Southern charms that aren't very charming at all while the hard stomping "When We Were Close" painfully deals with substances abuse in the arts around the best guitar solo on the record.
The album ends with two elongated tunes that really shine the spotlight on the band interplay as "This Ain't It" was recorded live and has a vibrant feeling as the 400 Unit uses a big rock sound with congas in a Rolling Stones like way winningly. Closer "Miles" feels like two songs in one and is a bit clunky, however, the opening playing/verses remind of a polished version of Neil Young and Crazy Horse before a big climax changes the tone as Isbell discusses modern issues of displaced rage and capitalisms faults. Perhaps breaking this into two songs may have been a better move, but the ambitious track certainly stands out on this record.
Overall, while other Isbell albums have had higher pinnacles and must hear songs, the solid nature of every song here speaks volumes to the groups talents as the 400 Unit deliver and Isbell continues to craft mini movies with his specifically affecting songwriting throughout Weathervanes.
The Austin, TX based pop punk outfit Semihelixhave a new video for their catchy jam "Slower Pace"
The group has flashes of Elastica, Ex Hex and more. Good stuff from the trio of Geannie Friedman (guitar and vocals), Mike Cota (bass), and Valdemar Barrera (drums).
One of the more exciting acts to recently emerge from the always vibrant New Orleansmusic scene is The Rumble Featuring Chief Joseph Boudreaux Jr. Their debut album, Live at The Maple Leaf captures the bands talents and palpable onstage energy.
The majority of the band started playing together in the group Cha Wa, before branching out on their own and this debut shows that they have the skills to pay the bills.
Opening with a revved up intro the band then drops into "Up Until The Morning" a showcase for the horns as Maize blows beautiful lines to wrap up the track. Since six of the seven core members were instrumental in the recording of Cha Wa's fantastic 2021 release My People, the majority of their live set consists of those songs, with extended jamming.
The funky "Uptown" uses rich bass from Norris along with Mardi Gras Indian chanting. "Bow Down" is filtered into a groovy party song, "Golden Crown" delivers the deep drawn out funk and "My People" is a showcase for the keys and horns. Live centerpiece "Morning Glory" expertly mixes up drum breaks, percussion, chanting and keyboard solos as the band stretch out. Less successful is the scaled down "Take It Back" as the slow rolling, jazzy, effort is at odds musically with it's lyrical call to arms.
More engaging is when the group mix in hip-hop to their style such as on the tight and excellently played "Trouble" as well as the encore of "Second Line Girl", which incorporates beats and rhymes with the New Orleans sound. The Rumble also offers up a cover of The Wild Magnolias "New Suit", the tribute to Bo Dollis Sr and crew is a delightful display of wah-wah/clean guitar work and trumpet soloing, flourishing into an album highlight, along with the banging set closing monster that is "Wildman".
Live at the Maple Leaf is a dynamite first step for The Rumble as they forge their way forward with songs that capture the spirit and energy of the band and the city of New Orleans as a whole.
Happy 91st Birthday to Charlie Gabriel of the Preservation Hall Jazz Band.
Having first heard him play with PHJB decades ago it is great to have reviewed his first solo album 89 for Glide a few years back.
Gabriel and company started the celebrations early and this weekend RtBE had the chance to catch the legendary musician himself with the Preservation Hall Jazz Band at Kermit Ruffins Mother-in-Law Lounge.
This was a special show that will live long in RtBE's memory as the tiny club hosted world class musicians in a joyous setting. Seeing Gabriel amongst close friends and family, while expertly playing and (singing "Confessin'"), was amazing.
Happy Birthday Charlie, thanks for giving us the opportunity to spend some time celebrating with you and your close friends and family.
The Asbury Park, NJ based quartet the Von Mons return their newest collection of garage rocking tunes titled Shakin' with Von Mons. The outfit mix surf rock with poppy punk, varying the dosages from song to song, staying in that narrow focus while they deliver their hip swaying retro-rock and roll.
Owing a huge debt to The Ramones the Jersey group channel the Queens legends in all ways as the singing style mimics Joey, the guitars recall Johnny and the catchiness brings in Dee Dee's songwriting style. Having grown up at the shore, the surf influence also seeps in and that combo makes for winning sounds.
Opening with "Shakin'" the group splits the difference between surf rock and pop punk while splashing in some acoustic sounds for augmentation. Each song lives up to the albums title, yet the vocals are deliberately distorted throughout making it tough to understand a chunk of the verses. When the lyrics do come through, like on the humorously twangy "Como" and the country spiced closer "Dreams" they are solid; pulling back on the vocals distortion is a must for their next go around.
As it stands though Shakin' with Von Mons scratches an itch with ominously tinged "Knockin'" the gender confused duo of "Boy" and "TV Girl" which question around ripping guitars. "She Said" recalls the 80's Malibu based Surf Punks, but the Von Mons stay closer to home throughout the record.
Efforts like the woo-ooh backing vocal accented "Again", "Snake Charmer" and "Saigon" all directly sound like Ramones outtakes, in a good way, yet they walk that fine border of homage and rip off. It matters little though as the overall aesthetic and sound is lively throughout the brief Shakin' with Von Mons: a retro looking surf-punk album with sandy grit in the guitars, beach ball bounce in the bass and blitzkrieg bop in the drums.
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Having seen the band live and enjoyed them, it was great to see them put this album out.
Support the band, buy the album and peep some video below:
In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Maria Muldaurplaying "Buckets of Rain"
This month we highlight Heart of Mine: Maria Muldaur Sings Love Songs Of Bob Dylanfor a full month of Dylan Covers.
Thoughts on Original: From our first take on a cover of this tune: Dylan's mid career masterpiece closes out with this song and to me it always seemed tacked on whimsically. After going through a ton of raw emotion with "Idiot Wind" and other tunes, Blood on the Tracks finishes with this ditty. Honestly never one of my favorites, it acted more as a palate cleanser and a sweet one at that.
Cover:
Thoughts on Cover Artist: Maria Muldaur is a folk singer who came to prominence in the 60's with Dylan as part of the folk music revival in America. She had her biggest hit with "Midnight at the Oasis" in 1973 and then opened for The Grateful Dead in 1974. She also became a part of the Jerry Garcia Band and sang backup on a lot of their records before becoming a born again Christian and moving to more secular music in the 80's. Her later career saw her return to her folk and blues roots.
Thoughts on Cover:
This is an excellent light and free cover of the light and free original. Well paced, sung and played, an excellent way to kick off this cover album.
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...NO*SO*NO!
Let's send it off into the weekend with some unique jamming from three amazing musicians, which took place exactly 5 years ago today! Happy Anniversary to NO*SO*NO, the coming together of Eric Krasno, Joe Russo and MonoNeon at Brooklyn Bowl back in 2018.
Let the good times roll...pro shot pro sound, semi set list below. Enjoy!
Funk Rock Jam (laid back)
| 3:15Psychedelic outro
| 7:50Minor Blues Jam
| 10:46Rock and Roll Jam #1
| 25:13
Band Intros | 30:40
R&B Jam | 32:03
Jam Band and Co. Jam (ft. Peter Levin) | 41:09
Delta Blues Jam | 50:16
Rock and Roll Jam #2 | 1:05:13
Band returns (Re-introduction) | 1:48:41
Jazz Jam | 1:52:15
Prince Groove->Blues Jam | 2:03:35
Gospel Jam | 2:29:08
Avant-Garde: Bass Intro | 2:38:06
Psychedelic/Grunge Jam | 2:39:57=Bass solos=
Funky | 19:21Funky | 21:48Avant Garde | 55:50Psychedelic Funk-Rock | 1:15:40Jazzy | 1:58:04Funky (Prince/Victor Wooten) | 2:24:03
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