Blues

I am the product of abundant consummation of cheestrings and Barqs Root Beer, having read far too many Archie comics for my own good, and raised in middle class suburbia. I am not a grizzled, slightly above middle age, southern black man with a glaring story to tell. What constitutes my incessant worshiping of the blues? I could not tell you. If you happen to be of the few who not only know about this blog, but for some reason follow it as well (thank you), you may have come to realize that I feel a certain kinship to the blues. The raunchier, the dirtier, the rawer the better. I have a problem with calling just about everything the blues. "Oh, damn, that is a mean guitar riff... that's the blues", "Listen to the drawl in his voice, the longing and wantonness... so bluesy", or the worst "I love this song. It's so good.... I can't quite classify what it sounds like, but it sounds like the blues." I have a problem, I know this. Despite what it may seem like at times, I do know that not everysingle type of music is a certain form of the blues. I just love it, OK?

I've read many music analysis papers, and commentary and the overwhelming sense I get is that blues is dying.  Really, that is an absurd statement. I recently read that "[...] it is unfortunate that new blues cannot be created". I'm not entirely sure what that particular writer meant by that statement. While I am endowed with adoration for the classic blues, works of: Clapton, Howlin' Wolf, John Lee Hooker, The Jeff Beck Group, Muddy Waters, Buddy Guy, B.B King, I find that "new blues" are most prominent now than they have been in the past 10-15 years. Blues supergods will continue to create masterful pieces of work. But when I think "new blues", I think of artists who possibly weren't in their twenties in the 60's or 70's.

In response to the ignorance of non "new blues" believers, I wanted to share with you my three most recent favorite "new blues" albums:

Keep It Hid, Dan Auerbach

I will not, I refuse to go too much into my ramped love for the Black Keys, it is unfair to Dan Auerbach's solo endeavor. I will say though, that I am convinced that the Black Keys, are perfection, together and apart. Keep It Hid is fantastic. The first time I listened to this album was while riding the bus after work. The first song I listened to was Goin' Home. I remember feeling like I was on the verge of bawling my eyes dry. It wasn't necessarily the lyrics, it was because what I was listening to right then, amidst a crowd of smelly strangers was wholly beautiful and real. For a moment I developed a faith I never had before. I had found refuge in this song, in this album. Dan Auerbach is incredible- this album is incredible.

Gary Clark Jr., Gary Clark Jr.

In the latest issue of Rolling Stone a man named Gary Clark Jr. earned himself the title 'Best Young Gun'. Beneath the inscription read the words "This Texas hip-hop-head could be the future of the blues". I read the short blurb about Clark, and found out that Eric Clapton discovered this guy on youtube. Talk about credibility. Gary Clark Jr. has a very appealing voice, and the music he creates is smooth. This self-titled album has an added soulful feel to it. It is an outstanding venture into bluesdom.

Mission Bell, Amos Lee

The latest album from Amos Lee is honest. The authenticity of Mission Bell is undisputed. With the risk of sounding quite country at times, I am under the conviction that this is a blues album. It does not remind me of classic blues, but that isn't what we're talking about, we're talking about "new blues" and this is faultless, sensational new blues. {Amos Lee will also be playing at Bonnaroo!}

Hugh Laurie (Let Them Talk)

What do I know about Hugh Laurie? Not a whole lot. I know that he, plays the zany Doctor House on the hit TV show, House and I know that he has one of the best Englishmen-going American accents I've ever heard (seriously, the man is British). Beyond that, I really do not know much about the guy. When I first heard that Hugh Laurie had released an album, I am fairly certain my mental reaction was as follows "great another Hollywood star who thinks that just because you can act, constitutes your ability to become a musician...". I'm pretty sure there was a severe eye roll, and head shake to accompany the thought. However, due to my innate curiosity and willingness to try anything once, I gave this funny guy a shot. He had played instruments on House before, so, I mean he couldn't be that bad, right?

Let me tell you fellow music lovers, this album is absolutely amazing! I mean it. Hugh Laurie who I have recently learned is a trained musician, is one talented cat. The hearing of this album for the first time was of the same reaction to having your first beer, it's new and you think you like it and you just want more. The first 20 seconds of Laurie's After You've Gone was all I needed to know that his album, Let Them Talk is superb. Within that first 20 seconds, yes a mere 20 seconds, I had already received the palatable taste of Hugh Laurie's jazzy, New Orleans, blues style. I must admit, before the singing commenced I was convinced I had just turned on a Harry Connick Jr. track by accident-who funnily enough is also a Hollywood actor/singer combo, but whom I show great musical appreciation for- due to the smooth, effortless quintessential jazz sounds.

Let Them Talk is absolutely perfect for what it is. Its New Orleans feel is just so intoxicating. While I get the sense that Dr. John is the Yoda to Hugh Laurie's, Anakin, this young padwan learner really impressed the shit out of me. Laurie is not out to play a role and pretend he is anything that he is not. He is merely expressing who he is through the styling of good ol' American blues. From what I understand this album bleeds Laurie's blood. Of course, with most capable pieces of work, the collaborating with others is welcome which Hugh Laurie did, yes. But, Laurie played the piano and sang on every track, giving this album his seemingly best effort leaving his guts baring and all. If you actually listen to the lyrics -which is difficult to do because just the sound of his voice and the music playing is so homegrown and warm feeling- you will truly gain insight into Hugh Laurie's past, present and overall acclaim. It is completely appreciated and wonderful.

I would be lying to you if I said that I know for a fact you will absolutely love this album, unless of course I am talking to another version of myself. However I don't know you, reader, and while this style of music is so very pleasing and earnest and good, it may not be for you. You owe it to yourself to give Let Them Talk a bona fide listen.

A Peek into 'Roo '11: Black Joe Lewis & the Honeybears

FUNK! Growing up with a dad like mine, it is no wonder that I have such a love for funk music. Black Joe Lewis & the Honeybears is my generations James Brown meets Wilson Pickett meets Muddy Waters meets Howlin' Wolf. The grit and the raw funkability resembles that of 1960's/ 1970's musician. Black Joe Lewis' recent album Scandalous is down right dirty. It is raw using exquisite melding of instruments. This album is so much fun! That stinkin' sweet bass line alone is enough to have you hooked. Lewis truly delivers along with all the musicians, in fact. Every song is played as though it is the last song anyone will ever hear. There is a rock element in a good majority of the tunes that works as a tremendous balance. Though it may be rock n' roll, there is still a righteous amount of funk. It is so, so funkin' sweet to know that funk will live on through artists like Black Joe Lewis & the Honeybears. Can't wait to get my mash potato on at Bonnaroo.

Sex, Drugs and Cocoa Puffs

Have you read the book Sex, Drugs and Cocoa Puffs by the hilarious and stunningly witty Chuck Klosterman? Well... you should. I've recently moved homes and in the process of unpacking I find myself getting caught up reading [long] passages from some of my favorite books. It makes for an entirely too long unpacking process. I first read Sex, Drugs and Cocoa Puffs the summer before starting a Media and Communication program. Suffice to say, I started the program with inquisitive, critical eyes. It is an astounding analysis of media and pop culture. In a round about sort of way, what I am saying is, it is a great book.

But, why would I decide to share this tidbit with you, reader, on a music blog? While flipping through Sex, Drugs and Cocoa Puffs I came across something that I thought was not only funny, but completely fantastic. I find hilarity in the following Klosterman passage for a few reasons; 1. parts of what Klosterman is saying surfaced in a conversation between Greg and myself yesterday- in reference to conversation with people who know nothing about anything, 2. I feel slightly akin to the mentioned music geeks, 3. given the case that I had an IQ north of 140, the mentioned conclave would describe my zion. Enjoy this small excerpt.

"I used to think there was nothing worse than being trapped in a conversation with someone who knows absolutely nothing about anything. However an acquaintance taught me this wasn't true. 'There's one thing worse than talking to a person who knows about nothing,' he said, 'and that's talking to someone who know about nothing except music'. You know the kind to which my friend refers. You've met him at underattended rock concerts and in empty downtown taverns, and he inevitably adores the Moody Blues. But try to imagine if one of those people was so adroit at being singularity obsessive that he actually got paid for it. Imagine if the weirdo who seems to live in your nearest locally owned record store suddenly had a 152 IQ and a degree from Tufts. And now imagine a hundred of those people coming together for four rainy days in Seattle, all of them totally fucking stoked for the opportunity to compare The Kinks Are the Village Green Preservation Society with Danish physicist Niels Bohr's field theory on radioactive decay.

I was one of those people.

Now, let me be completely clear about something: I had a wonderful time at EMP. I'm precisely the supergeek who enjoys forty-minute conversations about side three of Lou Reed's Metal Machine Music album. The pencil-necked eggheads at 'Crafting Sounds, Creating Meanings' are-sadly-my people."

- Chuck Klosterman, Sex, Drugs and Cocoa Puffs 

A Peek into 'Roo '11: Robert Plant & Band of Joy

Bowing down from the clouds, the universe greets its favorite package parading rock god, Robert Plant. Years after the majesty of Led Zeppelin, and having worked as a solo artist for some time, Plant has found a new voice to claim. Choosing to no longer divulge in the telling of mythological pros, Robert Plant has steered in another direction in his most recent musical conquest, Band of Joy. His latest attest of brilliance samples sounds inwhich are familiar to the west. In my opinion may be described as, cowboy blues. Although, Plant's newest tunes don't quite necessarily constitute as blues in the traditional sense. There are so many sounds that come from Band of Joy... rockabilly, doo wop, and some hard hitting rock tracks.Robert Plant has shown the world, yet again, just how bloody proficient he is as a musician. While I would die to be front and centre at a Zeppelin show about 35 years ago alongside Pamela Des Barres swooning and grooving to the mystical sounds- given the chance that I were alive, or time travel were an option- I will gladly settle for seeing Robert Plant the weekend of June 9th at Bonnaroo.

A Peek into 'Roo '11: Grace Potter and the Nocturnals

I hadn't heard of the wonderful Grace Potter until this spring while perusing Bonnaroo options. Grace has this tremendous energy, she really does. You can feel said energy pouring, just gushing, into every song. Grace Potter and the Nocturnals most recent album titled, Grace Potter and the Nocturnals is truly such an eclectic, soulful piece of work. The bluesy songstress that is Grace Potter shares an overwhelming vigor and liveliness through the music in which she creates. Grace and the Nocturnals embody a sometimes bluesy, slightly country, a little grungy even,  sound full of sentiment. Not to mention the hint of Joplin in Grace's vocals is to-die-for. The music is extraordinarily well put together. There is a distinct functional balance that is really working for the group. If this capacity of zest can be launched through the speakers of my MacBook, I can't even imagine the vitality of Grace Potter and the Nocturnals live on stage at Great Stage Park.

A Peek into 'Roo '11: The Head and the Heart

Sigh. The Head and the Heart, ladies and gentlemen. I fell in love upon first listen. This group of twenty-somethings sings and plays as though they are of another time, an older time. With a seemingly clear influence of Crosby, Stills, Nash, & Young as well as Leonard Cohen whilst sounding quite Dylan-esque at times, this Seattle folk based group has my heart. There is an overpowering woeful element that is oozing from this bands pours. The Head and the Heart have the added contribution of being pop writers and having a somewhat pop-ish backbone, though I maintain they are a predominantly folk... soulfully folk. These genres fusing together with six brilliant musicians has generated an unerring arrangement of music. This video of Lost in My Mind is amazing. I am constantly drawn to the creative, artistic coups of others and this to me, this whopping pit of passion can not be described in any words, other than beautiful.