Two years ago, Levon Helm, legendary singer and drummer for The Band, released his first solo album in 25 years, Dirt Farmer. A bluegrass leaning record with elements of country, blues and R&B, it brought Helm back in a big way after his bout with cancer of the vocal cords in the early 2000s.
His voice had changed somewhat but the trademark quality that graced so many of The Band’s signature tunes was intact with a slightly raspier flavor.
Now Helm has followed up the Grammy winner with Electric Dirt, on which he comes a little closer to the style of The Band while retaining his own musical identity. With the help of extraordinary guitarist/producer Larry Campbell, who among many other projects has played with Bob Dylan’s Never Ending Tour band, Helm’s daughter Amy of Olabelle and a host of other distinguished musicians, Helm has shaped a rocking, bluesy, down home sounding record that is about as earthy as it gets when it comes to roots music.
There are tracks as good but none better than the opener Tennessee Jed, a Jerry Garcia/Robert Hunter tune, on which Campbell plays an infectious slide riff in answer to Helm’s vocal. It’s augmented by a full horn section that includes Howard Johnson on tuba. An easy rocking groove makes this a song you can’t sit still to. Continue reading Electrified Levon→
I’ve always been a big fan of Bob Dylan, but not a fanatic. His work and the changes he went through during the 1960s and most of the ’70s were extraordinary. But since, some projects have left me cold.
His latest, the strong-selling Together Through Life, a further exploration of roots-rock calling on all his musical influences while in collaboration with Grateful Dead lyricist Robert Hunter, succeeds in most aspects despite a few tracks that fall short of the high level of most of this album.
Almost simultaneously and much more quietly, a remarkable Dylan work with The Band, The Basement Tapes, has been remastered and re-issued on CD for the first time in many years. The attraction of these tapes is inescapable and perhaps more compelling today than on their initial release in 1975. But first Together Through Life.
Dylan has assembled a fine group of musicians for this outing with Mike Campbell of the Heartbreakers and David Hidalgo of Los Lobos on guitars, added to members of his touring band, Donny Herron, steel guitar, mandolin, banjo and trumpet, drummer George Recile and bassist Tony Garnier. Continue reading Something new and something old→
The Felice Brothers have to rank right up there with all-time camera-shy bands. On their second Team Love release, Yonder Is The Clock, there are no photos and scant information about the band, similar to their eponymous first record for the label.
There is no lack of creative, roots-imbued songs with thought-provoking lyrics though. Channeling Americana as direct descendants of The Band, at its most sparse, and vocally reminiscent of Bob Dylan, the group from the Catskills of three brothers and two friends runs through 13 songs that at times hearken back to what sounds like music that may have been around during the time of the Civil War.
With a core of guitar, accordion, fiddle, piano, drums and bass, augmented on occasion with several horns, they give their music and influences a fresh take, putting a personal stamp of a country-based style. And much like The Band the songs come first in all of the Felice Brothers arrangements.
Lyrically this album is obsessed with death. Perhaps that’s a bit too strong. But all the songs are about death, albeit some with an unnerving sense of humor. If you read the lyrics out loud it’s hard not to start laughing.
From the opener The Big Surprise: Grab your shovel, let’s get to it
There’s no one way how to do it
And there will be no woes or sad goodbyes
On the day of the big surpriseContinue reading The clock is ticking→
When I think of 1969, I think the end of the hippie dream, the fading of peace and love. After the violence of the Democratic convention in ’68, it appeared the Yippies were taking precedence over the original anti-war movement that so many of us bought into when we were at college.
Despite the triumph of Woodstock, the year ended on the foreboding trajedy of Altamont. It was the year the Beatles said farewell, another dream that was ending. So when I think about 1969, I don’t necessarily think of great albums first. But as Mojo Magazine points out in a recent special edition with a piece aptly titled 69 from 1969, which we acknowledge with the headline above, there was a motherlode of great music released in 1969. The music was changing and the early ’70s gave us another wave of great music as well with the dawn of the singer-songwriter era. But the decade’s last year included an impressive list of offerings.
You can find music just as good or better from any year in the ’60s. But since it’s 40 years on for this watershed year, we have a poll below in which you can vote. To refresh your memory, here are some of the highlights in no particular order:
The Band, The Band: Their second release and perhaps my favorite, along with Stage Fright, filled with songs that make up one of the foundations of today’s Americana movement.
Everybody Knows This Is Nowhere, Neil Young: His second, and although I for one liked the weak-selling debut, this unquestionably has several of his standards. Led Zeppelin I, Led Zeppelin: Some prefer the second, released in late 1969, but this really had the bigger impact as far as influencing the music scene. It was hard rock, but quite different in some ways than anything before. Stand Up, Jethro Tull: Arguably their best, predating the more progressive leanings of the band.
A Salty Dog, Procol Harum: Speaking of prog, but really is it? Using classical ideas and instrumentation in a tasteful combination is more like it. The Gilded Palace Of Sin, The Flying Burrito Brothers: Gene Clark, the Byrds and others had recorded tracks and some nearly full albums of what was to be called country rock, but Gram Parsons’ first project as a leader really set the stage for the Eagles and those who followed. Tommy, the Who: Many cite other Who albums as superior to this and that’s probably true, but none had a bigger influence in the grand scheme of things.
Stand, Sly & the Family Stone: This is loaded with classic Sly songs, Everyday People, I Want To Take You Higher, Sing A Simple Song, You Can Make It If You Try. Crosby, Stills & Nash, Crosby, Stills & Nash: Deja Vu had some better songs on it, but as a trio this was their highlight. Dusty In Memphis, Dusty Springfield: A peak from a remarkably consistent vocalist, career defining. Blind Faith, Blind Faith: The one-off, with about 15 minutes of filler, still holds up as a solid outing with at least a couple of rock ‘n roll classics. Abbey Road, the Beatles: A fitting sendoff, which was recorded after but released before their official swan song, Let It Be. In A Silent Way, Miles Davis: I preferred the first real experiment into fusion, Miles In The Sky (1967), but there is no doubting the impact of this outing. Clouds, Joni Mitchell: I always think of this as coming out earlier than 1969, but her career didn’t take off in earnest as a solo performer until the ’70s with Blue and For The Roses. Then Play On, Fleetwood Mac: The last gasp of the original Mac with Peter Green. It may have been the last but it has some wonderful blues romps, including Oh Well. Let It Bleed, the Rolling Stones: Their decided shift back to blues-influenced rock on Beggar’s Banquet is followed by incorporating country blues into the mix. One of their last great ones.
There are many others, the Allman Brothers’ debut; Fairport Convention’s Liege & Lief, not as well known in the States as the U.K., where it is a folk-rock staple; Santana’s and Chicago’s first. The list goes on.
What do you think? Vote for the best album of 1969.