blues

REVIEW: Electric Joy by Richie Kotzen (1991)

Classic Kotzen! For a look at the new album by his new supergroup The Winery Dogs, check out Jon Wilmenius’ excellent review.

RICHIE KOTZEN – Electric Joy by Richie Kotzen (1991 Shrapnel)

Albums by Richie Kotzen were impossible to find in Canada.  My only exposure to his music was “Dream of a New Day”, from his second album Fever Dream.  Fever Dream was his first vocal album, but Kotzen returned to instrumentals on his third, Electric Joy.  I’d seen his picture in dozens of guitar magazines, but hadn’t heard his tunes until “Dream of a New Day” was included on the Bill & Ted’s Bogus Journey soundtrack.

His debut album was a hit with the shredders, but three albums in, Kotzen had already delivered three completely different pieces of work.  Electric Joy has some of the playfulness of the debut, but is mostly a jaw-dropping collection of intricately composed pieces that skirt multiple genres including funk, country, bluegrass, jazz, fusion, and blues.  If I had to pick out an influence, I would say that Electric Joy sounds like Richie had been listening to a lot of the “two Steves”:  Vai and Morse.  His technique is top-notch.

I first got this on a trip to Frankenmuth, Michigan.  My parents made a point of going there every spring and I started tagging along, and then later on my friend Peter joined us as well.  We’d stay at the Bavarian Inn and on the way back to Ontario, we’d stop at the stores in Port Huron, where I found this as well as old rare Savatage cassettes.

“B Funk” opens the album with some light-speed bluegrass-y licks, but it keeps changing, from a funked up rocker with shredding, to a melodic “chorus” section.  Then it’s back to the bluegrass from space.

At this point I’ll point out that Kotzen plays all the instruments except drums, himself.  That’s Richie’s standby Atma Anur on drums.  What this means is, that incredibly dexterous bassline you’re hearing on “B Funk” is also performed by Kotzen!  And it’s almost every bit as stunning as the guitar!

“Electric Toy” begins ballady, with some lyrical Vai-like moments.  Of course, Kotzen can’t help but do what he does, so there are different sections, some at lickity-split tempos.  This is followed by “Shufina”, which is essentially a blues jam.  Kotzen’s deep bends are appropriate, but before too long he’s harmonizing with himself on some unconventional melodies.

A smoking hot riff ignites “Acid Lips”, little lightning licks flicker in and out, but this one has a solid groove.  (It can’t be easy grooving with yourself on bass.)  “Slow Blues” contains some of Richie’s most lyrical lead work.  If you can imagine the lead guitar taking on the role of a singer, then “Slow Blues” is probably the most accessible song on the album.

The next song “High Wire” is uncatagorizable, suffice to say that like all of Electric Joy it combines quirky notes with shreddery, funk and groove.  My favourite song is “Dr. Glee”.  It sounds like it seems it should – gleeful.  I find this pleasant melody to be very summery.  Kotzen guitar has so many different sounds and shades, even just within this one song.

“Hot Rails” is another one that sounds like advertized…a train racing down the track.  Kotzen’s slide work is anything but simple.  This one’s so fast it’s hard to keep track of all the cool different guitar parts.  It almost sounds like Kotzen wrote a blues shuffle, and then decided to hit fast forward on his tape deck and learn it at that speed!

Electric Joy closes with “The Deece Song”, which thankfully is mid-tempo allowing us to catch our collective breath.  It’s another great performance, similar in style to “Dr. Glee”.  It has its sweeping Satriani moments as well.

The production on the album is very dry, which is different from what a lot of the other instrumentalists were doing at the time.  While this means it might take some more time to penetrate an album that is loaded to the brim with dense ideas already, it is a worthwhile endevour.

In a bizarre turn of events, Kotzen briefly put his solo career on hold.  He received a phone call from Bret Michaels.  The Poison frontman was looking for a replacement for the departed CC Deville.  The fact that Kotzen was from Pennsylvania, not already in a band, and wrote and sang original material caught Michaels’ eye in a magazine article.  Having a shredder, but one with some feel too, might garner Poison some respect in the tough 1990’s.

Kotzen did succeed in co-writing (and in some cases, writing entire songs himself) their most accomplished album, Native Tongue.  Of course, it did not sell.  The Poison relationship imploded because of another relationship: the one that Kotzen was secretly having with drummer Rikki Rockett’s fiance!  Kotzen eventually married her, and he was replaced in Poison by another shredder, Blues Saraceno (who was in the running with Kotzen in the first place).

As for Electric Joy?

4/5 stars

ELECTRIC JOY

REVIEW: Steve Morse Band – StressFest (1996)

STEVE MORSE BAND – StressFest (1996 BMG)

Steve Morse certainly needs no introduction here.  What’s incredible is that the dude joined Deep Purple in 1994, released a Steve Morse Band album in ’95 (Structural Damage), and then both Deep Purple and SMB albums in 1996.  Even more incredible when you consider that Morse wrote all the material for the SMB albums himself, and co-wrote every track on Purple’s Purpendicular.  The man seems to have no shortage of ideas.

StressFest is another reliable Steve Morse Band album.  Joined by Dave LaRue and Van Romaine once more, the band  created another textured, varied album that skirts multiple genres with jaw-dropping chops.  There are traditional sounding electric blues jams like “Live to Ride”, more delicate moments, blazing guitars, funk, jazz, bluegrass, rock…a little bit of everything.

One cool tune is “4 Minutes To Live”, a soft composition with a “piano part” that is actually Steve playing through a guitar synthesizer.  But don’t let that scare you.  There are plenty of 64th-note thrills and chills, fast picking and deep bends.  Backed with the inventive drums of Romaine and the bouncy bass of LaRue, Morse’s songs are a challenging but rewarding listen.

STRESSFEST_0003What’s especially cool (and reason enough to check out an album like this) is, even though both Deep Purple and the Steve Morse Band are loosely classified as having some sort of relationship with progressive rock and serious musicianship, the music they create is nothing alike.  Morse’s guitar is the foundation of both, but there’s little overlap.  StressFest‘s songs wouldn’t work as a Deep Purple album, even though there are elements of them that could.  Likewise, Deep Purple’s material in general is quite different from the Steve Morse Band.

I remember my parents brought this CD back home to me from Michigan, because you couldn’t get it in Canada, even though it was distributed by a major label.  Sadly, it is still only available on import in Canada.  Bad, Canada!  Bad, bad Canada.

4/5 stars

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I love the cover art; that does look like a stressful day indeed!

REVIEW: Crazy Heart (Original Motion Picture Soundtrack)

CRAZY HEART  Original Motion Picture Soundtrack (2010 NewWest)

Produced by T Bone Burnett and Stephen Bruton

I grew up on this kind of music. I remember long drives to the cottage, singing away to the hits by Hank Jr., Hank Sr., Johnny, Willie, and Waylon…all those great artists. So to hear Jeff Bridges perform his character Bad Blake’s songs on this soundtrack is already in the ballpark of music I love. The great thing about this soundtrack is that it’s loaded with awesome original tunage such as “Fallin’ & Flying'” and “The Weary Kind”, but it also has great oldies by Townes, Buck and Waylon. There’s even a classic Lightnin’ Hopkins blues.

CRAZY HEART_0004Buck Owens’ “Hello Trouble” (1964) is lyrically as apt as ever.  Townes Van Zandt’s “If I Needed You” (1972) is laden with emotion within an inventive dual-track lead vocal.  But it’s “Once A Gambler” by Hopkins that I am spellbound by.  It’s shocking how vibrant this old recording is, and it’s gotta be 50 years old.  Much like the singer’s name, the playing, singing and song itself are electrifying.  You couldn’t record this better today with all the computers in the world.

Meanwhile, Jeff’s performance on “Somebody Else” is more rock n’ roll; this is an original tune by T Bone Burnett and Stephen Bruton. It has a live sound to it.   Bridges’ lead vocal edges into nasal territory, but the dude was 61 years old at the time.  Another new tune, “I Don’t Know” by Ryan Bingham is firmly in 80’s Steve Earle territory, and that’s fine by me.

The main song from the soundtrack is “Fallin’ & Flying”, which appears twice:  Once sung by Jeff, and once as a duet with his co-star Colin Ferrell.  A couple years back, I sent Aaron a CD with the Jeff/Colin version of “Fallin’ & Flyin'” on it.  His comment:

I saw Crazy Heart and I thought they did a fairly credible job, but I very rarely like it when Hollywood types do these types of films. Leave the singing to the singers (I’m looking at you, Gwenyth Paltrow!). Still, this Bridges/Ferrell track is roadhouse-worthy.

Sure, in some cases I would agree with that. Nobody needed Eddie Murphy to make an album for example.  In the case of “Fallin’ & Flyin'”, I really like this track.  It was written to suit Jeff’s leathery but expressive singing voice.  Jeff Bridges is no slouch; I’m sure Kris Kristofferson taught him a few tricks when they jammed behind the scenes during Heaven’s Gate.   Jeff’s slant on “I Don’t Know” is more country than Bingham’s and features piano and squeezebox.  I believe I am well on record for being a fan of the Dude in the first place.

There’s only one tune I didn’t like, which is “Reflecting Light” by Sam Phillips (2004).  Sorry Sam.  It’s not you; it’s me.

My only regret is picking up the single disc version before I knew there was a double disc with even more tunes. At some point in the future I’ll trade up. I got this used, at Encore Records, so not a huge expense (I paid $10) and I can always trade up.

4/5 stars

MOVIE REVIEW: Black Dynamite (2010)

 

BLACK FRONT

BLACK DYNAMITE (Sony Pictures, 2010)

Directed by Scott Sanders, 84 minutes

Michael Jai White is…Black Dynamite!

Shot on 70’s film stock to give it that saturated vintage look, and loaded with great original music, Black Dynamite is a treat. It looks authentically 70’s, but it’s not for everybody. Some will look at the poorly focused camera work, the shoddy stunts, the bad dialogue, and the rubber baseball bats and turn it off immediately. Others will “get it” and appreciate this for what it is: A skillfully directed spoof movie that actually works!

Plus, the music is pure funky goodness and nothing but.  You’d think it was entirely vintage, from the 1970’s.  Nuh-uh, brother.  This funky masterwork is all new, dig?  Composer Adrian Younge wrote and played nearly every instrument on this soundtrack.

Michael Jai White came up with the look and concept of the title character, Black Dynamite.  It cleverly spoofs 70’s blaxploitation and kung-fu films, with built-in defects such as visible boom mikes and actors that are clearly reading their lines off cue cards (including the character names). You’ll see the same car blow up more than once.  There’s one character that speaks only in rhymes.  This movie comes off so authentic that some people actually think it’s a low budget 70’s film.

Black Dynamite, a former CIA agent who’s seen action in ‘Nam, hits the streets to find out who killed his brother. This takes him face to face with a drug dealing gang lead by Rafelli (Mike Starr), and some kung-fu treachery that goes all the way to the top. Black Dynamite is the toughest cat in town, a kung fu expert and smooth with the ladies. Yet he’s not all bad — he’s got a soft spot for orphans, and a vendetta against drug dealers.

As the movie progresses, it gets more and more absurd. Starting off as a street vigilante story, it eventually escalates to conspiracy and a deadly encounter on Kung Fu Island. By the time it gets to the climax, we are at a level of absurdity unrivaled by the worst action films, except it’s all intentional. Tie this in with some pretty awesome fighting moves by White, and some infinitely quotable dialogue, and you have a movie that you will watch over and over again.

Black Dynamite, as a movie, just works. It is an homage more than a spoof, and obvious love for the genre was poured into the film. At various times it feels like a legitimate 70’s blaxploitation film, at others you’re laughing your face off. As mentioned, it gets more and more bizarre as it goes along, so hang on tight.

Blu-ray extras are sparse, but valuable if you don’t know a lot about this genre. It will give you some insight if you’re unfamiliar with those 70’s classic B-movies. Clearly, Michael Jai White and co. did this lovingly.  One of my favourite features is the hilarious trailer featuring fake names for all the actors.  “Starring all-star running-back Ferrante Jones.”  Love it.

Sound like something you’d be into? Dynamite!

5/5 stars

In Cinemaphonic Quadrovision!

Soundtrack:

1. Black Dynamite Theme
2. Cleaning Up the Streets
3. Man with the Heat (Superbad)
4. Shine
5. Jimmy’s Dead
6. Shot Me in the Heart
7. Black They Back
8. Gloria (Zodiac Lovers)
9. Anaconda Malt Liquor
10. Jimmy’s Apartment
11. Jimmy’s Dead (Interlude)
12. Chicago Wind
13. Rafelli Chase
14. Jimmy’s Dead (Instrumental)
15. Dynomite (Suckapunch Re-edit)

MOVIE REVIEW: The Big Lebowski (1998)

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THE BIG LEBOWSKI (1998, directed by Joel & Ethan Coen)

10th Anniversary Limited “Bowling Ball” Edition

Way out west there was this fella… fella I wanna tell ya about. Fella by the name of Jeff Lebowski.

Okay sir, you’re a Lebowski, I’m a Lebowski, that’s terrific, I’m very busy so what can I do for you?  Well, I’m gonna tell you about this movie.  First of all, for the rockers who read LeBrain’s blog, rest assured, there is a music connection.  And that’s the killer soundtrack.  From Captain Beefheart, to Bob Dylan (the incredible “The Man In Me”), Elvis Costello, CCR, the Gipsy Kings (“Hotel California”), Kenny Rogers & The First Edition, and even the fuckin’ Eagles, this movie is loaded with solid tunes.  There are even appearances by Jimmie Dale Gilmore, Aimee Mann, and Flea!  (Yes, that Flea.)

Ahh, who am I kidding? If you’re a fan, you don’t need me to sell you on this movie. Hence, I shall review this movie in two parts: For fans, and for non-fans. Dudes and Un-dudes.

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FOR DUDES:

The new “bowling ball” edition of Lebowski is awesome. Finally we’re given the special features that we’ve been asking for, for years! No audio commentary track, but the Coens and the Dude himself will give you some insight to the film and its characters. After two disappointing editions, this is so overdue. Two discs, featurettes, that weird intro, Lebowskifest, an interactive map of Los Angeles, it’s all here. Most of your questions will be answered, but of course not all…some mystery must always remain. Plus the bowling ball just looks cool. I have mine on my entertainment centre, and it’s a conversation starter. “What is that bowling ball doing there?” It’s sturdy and it houses the DVDs in two slip cases. Life does not stop and start at your convenience, so be sure to pick this up and enjoy while you can, it’s limited edition.

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FOR UN-DUDES:

One important thing about this film that I must stress is, don’t try to understand the plot on first viewing. It’s every bit as stupifying to the first time viewer as it is to Jeffrey Lebowski. Just enjoy. My feeling (and this is just my feeling) is that The Dude himself (Jeff Bridges) doesn’t know what the heck is going on, so neither should you. The plot is not complicated, but your thinking about it might be very uptight. I don’t necessarily recommend that you stick to a strict drug regimen to keep you mind limber, but having a few white Russians might help.

The Dude (the laziest man in Los Angeles) is unemployed (or “a bum” to some) and spends most of his time having acid flashbacks and bowling with Walter (John Goodman) and Donny (Steve Buscemi). One day his home is broken into by two thugs looking for money. They have mistaken The Dude for a millionaire with the same given name: Jeff Lebowski. During this break-in, Wu micturates on The Dude’s rug. That rug really tied the room together. Walter tells The Dude to try to take up the rug issue with the other Jeff Lebowski, the millionaire (David Huddleston). And this is where our adventure begins.

An amazing soundtrack backs a hilariously confusing movie about a guy in way over his head. There are a lot of facets, a lot of ins and outs, a lot of interested parties and strands to keep in Duder’s head. Along the way you will meet The Stranger (Sam Elliot), Brant (Philip Seymore Hoffman), Bunny Lebowski (Tara Reid) and a group of nihilists lead by Peter Stormare. Things are complicated by the appearance of Maude Lebowski (Julianne Moore), a kidnapping, and a ransom note. Can The Dude recover the million dollars? All he wants is a finder’s fee. Perferably in cash. He has to check with his accountant on this, but he’s worried about being put in a higher tax, uhh, you know. All this with next round-robin of the bowling tournament starting. And The Jesus (John Turturro) is ready to take them down next Wednesday, baby.

Brilliantly written, brilliantly directed, brilliantly performed. Yes, you should be confused the first time you view it. By second, third, and fourth watch, those stands in Duder’s head come together, supported by musical cues (listen for CCR), odd bits of dialogue (“Johnson”) and other clues.

I can’t recommend this movie enough. You too will become a Little Lebowski Urban Achiever, and perhaps even an obsessive fan, dressing up and going to Lebowskifests. You never know. At the very least you might just find a new enjoyment of white Russians. Just don’t run out of non-dairy creamer. Is there a Ralph’s around?

5/5 stars