The Mars Volta – End of an Era (2001 – 2013)

25 Jan

All the great things of the world must come to a close. It is difficult to watch a band you love move on to other things, but you must let them go, like when you let your children go off to school for the first time. Their music will always be there to listen to and surely there will be new music for them to create in the future, after all, they built themselves out of the ashes of At The Drive-In. No one ever imagined this group would do anything in the first place; I remember having tickets to go see them when they first came on the scene and Flea was filling in on bass for their early shows. I let the $10 tickets burn a hole in my pocket because the weather was crummy that night and I couldn’t imagine I was missing much  I was wrong.

The Mars Volta is such a unique blend of genres, and they had such a vibrantly aggressive yet very organic sound. Every album they released was such a different experience and you never knew what you were going to get. Even when they changed drummers, guitarists, or other members, the results were always excellent. They have been musical innovators during the past decade and while their commercial success (strong for their arena) was nothing sublime, they are one of the most daring and creative acts of the 2000’s and will be missed in the rock scene. RIP.

Born Under a Bad Sign – Albert King

23 Jan
Albert King

Albert King

When the Rock n’ Roll Hall of Fame announced 2013’s inductees, one name stuck out to me as well deserving of the honor. That’s not to say that I am not happy for Rush, Heart, and the other bands and artists who are being inducted, but The Velvet Bulldozer stands out. Albert King (one of the 4 kings of blues guitar) will be posthumously inducted into the Hall, and, if he was still alive today, I’m sure he would accept it with amicable poise.

Before we talk a little bit about Albert King’s impact on music, it is important to know that King was a true musician. He was a wonderfully kind individual and when he hit the stage he put all things aside and just played music. He loved music. He loved the guitar. His passion for melody and harmony was apparent in his playing, and his infectious, friendly personality made him beloved on and off the stage.

King’s career traversed the 1960s. He first played professionally with The Groove Boys from Arkansas and then moved around the midwest during the 1950s hooking up with various musicians and labels. What remained consistent was his Flying V guitar (as you see above) which, like George Harrison, he named Lucy.

In 1961, King landed his first major hit, “Don’t Throw Your Love on Me So Strong,” which reached number 14 on the Billboard R&B chart. He released his first album The Big Blues in 1962. Ike Turner played piano on the studio version of “Don’t Throw Your Love on Me So Strong,” which is track seven on the album. Listen to it below:

Classic electric blues. King’s voice is velvety with excellent vibrato. His guitar skill is evident. The man knew how to get feeling out of his Lucy, and his clean, bright and whiny playing style has been imitated by those he has inspired (Derek Trucks, Joe Walsh, etc.).

After the release of The Big Blues, King’s popularity continued rising in the Midwest and, in 1966, he rode that popularity to Stax records where he signed in 1966. There, with the widely influential Booker T & the MGs, he recorded premier blues tracks, including his most famous track, “Born Under a Bad Sign.” The track, also the name of his first album with Stax, helped propel him to all of America and other countries.

“Born Under a Band Sign” is a unique song because of King’s unique guitar, which bathes ears with an authentic twang. The looping bass line carries the song, and the horns further accentuate the song’s comfortable bluesy power.

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Rollin’ With Skinny Lister

21 Jan

Skinny Lister

It may have taken until this month for Skinny Lister’s debut LP Forge and Flagon to be released in the United States, but this patriotic British Indie/Folk quintet has gone from an authentic pub band to the ‘hardest working band in the UK. And staying true to their debut album’s name, the band just continues to blow away crowds with their punky, effervescent folk hits that flow just like the everlasting quantity of wine from a metal flagon. In 2011, Skinny Lister played more festivals than ANY band in the UK, and don’t expect them to be slowed down by languor or travel hangovers. No, Skinny Lister will forge ahead with a vivaciousness unique to only the best of those perpetually touring acts. Why? Because they love it!

In 2012, Skinny Lister went from performing at SXSW to earning a spot on the Vans Warped Tour, where they played three times a day. To support their new release, the band is opening for California-spawned Celtic Punk band Flogging Molly during a 19-date tour that will traverse the States. I have the privilege to attend the NYC show, which I will do with much delight, and then with fervid enjoyment (like Skinny Lister’s musical attitude) write a review for you all. Check out the concert schedule.

Let’s get to Skinny Lister’s debut. Often bands who are constantly touring fall into the trap of ‘studio lassitude.’ It’s almost a natural katzenjammer when one considers a restive tour schedule. This is NOT the case for Skinny Lister. The music is catchy, crisp, edgy, and excellent. The music is fresh. It is bubbly and brainy, smart and sassy, powerful and…well…powerful! The music is also ubiquitous. It can be enjoyed by those that like to dance, rock out, or just sit with a cup of joe and nod at good folk music.

“Rollin’ Over” is an energetic piece fused with speedy percussion, spirited instrumentation, and fastidious harmony. From a musical standpoint it is tightly spun, a perfect example of punk-infused folk-pop, but from a pure enjoyment standpoint the music is playful and sprightly. It is almost a guarantee that large groups of audiences will repeat “roll back to your side” ad nauseam. The additional vocal harmony at the end is much appreciated. Great track.

“If the Gaff Don’t Let us Down” moves in a similar manner, but it plays more like a tame Flogging Molly or Great Big Sea track. It is an ode to England, and the lyric attests to that fact. This should be added to the British tourism board. It is a sea jig with the best of them, and it makes me want a London Pride in a pub overlooking the river Mersey.

I can’t stress this enough, drink in Skinny Lister. You will be hearing a lot more about them in the upcoming weeks and months.

Check out Skinny Lister’s website, Facebook and Twitter

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The Bright Light Social Hour

18 Jan

Austin Texas is the (self-proclaimed) “Live Music Capital of the World.” Debatable or not, it is a city that is bursting at the seams with music every night of the week. No matter what part of town you’re wandering through, you’re destined to find a great band you’re never heard of playing for free and bringing 100%. It gets overwhelming at times because you don’t know where to start and you never want to stop adventuring because the night is always young and the party is never on hold. I’m going to help you cut to the chase.

If you’re lucky enough, you can catch the Bright Light Social Hour when they’re resting in their hometown here in Austin. Their music features a fresh, danceable rock sound with catchy lyrics and a helluva attitude. Their entire debut release (Bright Light Social Hour) is a party in a CD. Not one song slows down or lets you escape the ride. The best part is that they’re even better when you see them live. The first time I got to go to one of their concerts I hadn’t even heard most of their songs yet and I was singing along and jumping around the entire time. If you’re brave enough to give their sound a chance you’ll wind up with the same addiction I have. Best of Luck.

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The First of the Rock Hop Era – Augustus Caesar

17 Jan

caesar

Augustus Caesar’s name suits him well. As the progenitor Augustus was the first Roman Emperor, today’s version of Augustus Caesar uses an electric guitar to reshape collaborative sound. Caesar has molded a modern form of metal and hip/hop that is a refreshing reboot of rap/rock, which hit it mainstream in the 90s.

One of the main triggers for this eclectic combination was Run D.M.C.’s collaboration with Aerosmith. The two groups reworked Aerosmith’s “Walk This Way” into a rock/rap hit. That was in 1986. This genre splice expanded to bands like the Beastie Boys (a hardcore punk band turned hip/hop experimental act) and Rage Against the Machine. As popular as the genre became in the mid-to-late 90s, when it hit the corruptible grasp of the mainstream it was compacted and commercialized and it quickly fizzled out (there are still Alt/Metal and NuMetal bands, it’s just not nearly as popular).

Now, more than a decade after the rap/rock bubble burst, Augustus Caesar has restored the collaboration into a more modern hip/hop version of rap/rock. Let’s take a listen to how it sounds.

The more modern elements are immediately heard with the effects. The song itself is drenched in heavy sound. It’s like a rainstorm of percussion-driven production where the thunder is a sick guitar riff. Yes, sick. The riff is an ode to tap-guitarists like Eddie Van Halen, and it’s sick. Augustus’ rap is also refreshing. I find that many rappers are vocally confusing, but Augustus enunciates well.

“Hope” is ostensibly lighter, but in some ways this piece hits harder. The hip/hop beat is set over a whining guitar riff that cries elegantly. The chorus follows the riff, an audible echo over the riff that is directed by the lyric. The piano riff calls out Brit/Pop, which makes the song more multi-layered. It is fun to peel back this onion and experience the song’s intricacies.

Learn more about Augustus Caesar! Visit his website, Facebook, and Twitter.

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