http://www.americanaroots.com/reviews/detail/ Each week our contributing writers from AmericanaRoots.com publish album reviews. en jk@wanada.org Copyright 2008 2008-06-25T12:39:00-06:00 http://www.americanaroots.com/reviews/detail/amos_lee_last_days_at_the_lodge/ http://www.americanaroots.com/reviews/detail/amos_lee_last_days_at_the_lodge/#When:12:39:00Z It’s hard to argue with the success of a young artist like Amos Lee. His first two albums have sold nearly half a million copies and he has opened entire tours for such legends as Bob Dylan and Van Morrison. Upon the release of the his self-titled debut, which featured piano and vocal support from Norah Jones, Lee was hailed by everyone from People to Paste as a true purveyor of neo-soul who expertly treads the fine line between sentimentality and artistry. So, even though all that is hard to argue with, I’m going to try…well, sort of. Personally, I like Amos Lee. He’s a proficient musician and phenomenal vocalist whose somewhat moody kitsch has managed to avoid the throngs of wailing fourteen-year-olds that tend to attach themselves to sensitive talent like his. In addition, although Supply and Demand was an artistic slide in the wrong direction, I very much enjoy listening to his debut, as songs like “Seen It All Before” and “Arms of a Woman” have the heart and delivery of great soul classics. So, to pinpoint exactly what turns me off about Last Days at the Lodge is a tricky proposition, particularly since I think he’s getting back to what he does best. Last Days at the Lodge begins with one of the strongest tracks Lee has produced in recent memory, “Listen.” His session band, which features members who have played with everyone from Clapton to Aretha, shines in the tasteful arrangements, and Lee’s songwriting and vocal performance are top class. Unfortunately, writing is not Lee’s strong suit, and the next few tracks begin losing steam. “Won’t Let Me Go” and “Baby I Want You” are by no means masterpieces, but are undeniably good songs, particularly to suit a wine and candlelight type mood, but “Truth” is the first pothole track of glib preachiness that prevents the album from gaining any positive momentum. It’s bluesy, but stiltedly so; it’s idealistic, but not without being sophomoric and capricious. Although it may not be fair to measure one song’s quality against a mediocre track on the same album, there is a sense in which the support of a full record lends either credence or disrepute to tracks that initially appear to stand out. Which is the main problem with Last Days at the Lodge.  Lee is at his best on cerebral soul tracks like “Listen,” “What’s Been Goin’ On” and “Ease Back,” but his venturesome attitude misses the mark when he steps away from those bounds. All artists should try to extend themselves from their bread and butter, but Lee’s exploration here leaves something to be desired. Overall: B- Why a B-?  After three albums, Amos Lee still finds himself walking the line between art and sentiment, and, although Last Days at the Lodge leaves me with a few complaints, it has more good material than bad. Clearly Lee is trying to leave the familiar territory that came so natural on his debut smash, so one can only hope that he will find surer footing on his next effort. Until then, a few of these tracks will probably show up on some good playlists, while the rest will remain thankfully dormant. 2008-06-25T12:39:00-06:00 http://www.americanaroots.com/reviews/detail/nick_moss_the_flip_tops_play_it_til_tomorrow/ http://www.americanaroots.com/reviews/detail/nick_moss_the_flip_tops_play_it_til_tomorrow/#When:15:54:00Z I had a feeling I was going to like this CD.  Nick Moss dedicated his new CD to Muddy Doggers, “the coolest road dog and best friend a guy could ever have” who he lost last year. If you’re looking for one high-energy electric blues CD to get this year, this is the one.  If you’re looking for a slower acoustic blues CD, this one is also for you.  Play It Til Tomorrow, the latest CD by Chicago’s Nick Moss and the Flip Tops is a blues stuffed two-CD offering. CD#1 is plugged in Chicago Blues at it’s finest, while the band unplugs for CD#2.  After honing his skills in the ‘90s, Nick started fronting his band around 2000.  The current album is Nick’s sixth release, and he is joined by his stellar band consisting of Willie Oshawny- keyboards, bass and some guitar; Gerry Hundt- harp and vocals, as well as bass, guitar and mandolin on several cuts; and Bob Carter on drums.  He is also joined on the project by special guests Eddie Taylor Jr. on guitar and Barrelhouse Chuck on piano. We know by the CD dedication that Nick is a family guy and his wife, Kate, plays guitar and bass on a number of the cuts.  She also handled design and photography duties for the packaging. Choosing cuts to discuss is difficult when you are offered 28 to choose from!  Disc #1 starts off with two of my favorites, “Late Night Saint” and “You Make Me So Angry.” The lengthy “Bad Avenue” also features some energetic guitar. My favorite on disc #2 is “You’ve Got the Devil Inside.” Nick even offers several electrifying instrumentals.  I happen to love blues instrumentals.  They give you a chance to catch a breath between bouts “losin my baby” and “my baby does me wrong...”.  The band brings their energy to the stage hundreds of time per year.  Of Nick, fellow Chicagoan Buddy Guy says, “Nick Moss is one of the local favorites at my club, Legends.  I always enjoy the way he plays and works hard to please our audience.” For those of us in the Detroit area, we have a chance to see Nick live at Callahan’s in Auburn Hills on June 19th. I can’t wait to see all of this blues energy live! 2008-06-16T15:54:00-06:00 http://www.americanaroots.com/reviews/detail/my_morning_jacket_evil_urges/ http://www.americanaroots.com/reviews/detail/my_morning_jacket_evil_urges/#When:13:54:00Z One common theme that arises again and again in the life of a critic is the knowledge that expectation is the seed of disappointment. The recent Radiohead concert I attended is a prime example: although the band themselves were incredible and certainly could not be faulted, the weather and terrible venue amounted to a less than thrilling experience (read all about it here). So, like most of the online music media, word of a new My Morning Jacket album to be released this year was rendered with excitement and, er, high suspicion. The critical achievement that was Z in 2005 has been viewed by many as the artistic watermark of a somewhat static alt-country band characterized by hair and reverb, and, honestly…what could they have been possibly working on for three years anyway? In spite of the doubts, however, the anticipation was piping as my “advance copy” was downloading, and rising still as the first strains of title track opener came belting through my stereo. No disappointment here. The whole album, top to bottom, is phenomenal. The layout of the album is really not terribly complicated: the first three tracks blaze a different path than the band has ever embarked upon, only to be followed by nine tracks of MMJ doing what they do best (though, arguably, in slightly different ways), all capped off by an experimental yet conclusive closer. So it’s not the structure of the album that’s so tenably remarkable as how Jim James and Co. pull it off. As I mentioned, “Evil Urges,” “Touch Me I’m Going to Scream Pt. 1” and “Highly Suspicious” are hands-down the most ambitiously inventive tracks that My Morning Jacket has yet produced. Although a few tracks like “Anytime” or “It Beats For You” can be compared to “Evil Urges” and “Touch Me I’m Going to Scream Pt. 1” because of a few similar stylistic elements, the analogues fall short in light of the unconventional vocalizations that James adopts and the roaring synth lines that crash together over bass driven backbeats. This new collation is then effectively stripped down to bare components in “Highly Suspicious,” as James wails his Prince-like falsetto over an unadorned beat that gets joined by a few rough power lines and some intimidating British bobbies for the chorus, accomplishing the most bizarre and polarizing track on the album: either you love it, hate it or can’t take it seriously enough to care. Just as it becomes apparent that MMJ have taken a permanent turn to the weird, the anthemic “I’m Amazed” surges forth with the Southern glory the band is reputed for in their live performances, setting up a new phase that encompasses a more traditional My Morning Jacket sound.  There are still evidences of the band’s artistic progression, though. A couple of the tracks, “Sec Walkin’,” “Librarian” and, especially, “Thank You Too!” harness lush string arrangements, although the tracks themselves are quite different in terms of chorus composition; the broodingly lusty “Librarian” doesn’t have one, while the effervescent “Thank You Too!” swells into a bravado of orchestration. Of the remaining tracks, the most notable are “Two Halves” and “Aluminum Park,” the former being a catchy bubble pop number that recalls Roy Orbison, the latter finding MMJ pulling out the stops for a riff heavy rocker. The ride is consummated with the eight minute “Touch Me I’m Going to Scream Pt. 2,” which sounds nothing like its predecessor (or anything else on the album for that matter…perhaps a peek inside their future direction?), ending the experience in a spacey flurry of excitement and intrigue. Overall: A+ Why an A+? To answer that question, you have to ask what makes an album or a band great. My Morning Jacket is a great band because of their stellar musicianship, clarity of vision, unique style of songwriting and craftsmanship, superb stage presence and a host of other reasons that I won’t bother to go into here. Evil Urges is a great album because the band has taken a risk at alienating their fanbase by changing their stylistic convention in the opening tracks, then, by settling back into a familiar yet now somehow alien landscape, they have redefined the context of their artistic goals and assimilated their entire catalog into a larger framework. Before Evil Urges, My Morning Jacket was a good Southern rock band who made a successful “experimental” album a few years back. Now they are one of the premier groups in the country, poised to be named among the great trailblazers in early 21st century music. 2008-06-11T13:54:00-06:00 http://www.americanaroots.com/reviews/detail/the_mother_truckers_lets_all_go_to_bed/ http://www.americanaroots.com/reviews/detail/the_mother_truckers_lets_all_go_to_bed/#When:19:53:00Z With a solid mix of rock and country, The Mother Truckers Let’s All Go To Bed attempts to capture the raw energy of their acclaimed live shows. Lead singers Josh Zee, along with wife and vocalist Teal Collins, deliver a raucous and entertaining CD. Former band mate with the Protein’s Dan Thompson on drums, and Danny G. on bass, provide a driving rhythm with each song that is sure to get you up and moving. On the heels of their 2006 release Broke, Not Broken, the band decided to pick up the tempo a bit in hopes of catching their live energy. They certainly did so quite well with the opener “Dynamite.” This phenomenal rocker virtually explodes from the speakers, making a strong immediate statement of their talented intentions. Zee and Collins exchange leads seamlessly, with each doing a great job. Unfortunately, they take a huge step back with the next song “Streets of Atlanta.” This song is so much like Rolling Stones’ “Honky Tonk Women” it is scary. It matches almost beat for beat, which is very distracting and discouraging. For a band attempting to make a name for themselves, to do this makes no sense at all. Fortunately, “I’m Comin’ Over” picks up the pieces with its stunning boisterous opening chords. The energy level is fully on high with this one. Zee provides yet another great job with the clever “I Give You My Word.” This song would fit well in any Bob Dylan catalog. One of the highlights of this CD is the only cover song. Of course, being a Texas band they could not have picked a better artist to cover than Billy Joe Shaver. Collins does a great job with Billy Joe’s “When I Get My Wings.” Her strong vocals climb high, allowing the uplifting sentiment of the song to flow. The amped up energy of this band, with a strong driving delivery, makes this CD enjoyable. While the songs are not groundbreaking lyrically, their musical talents are quite evident and captivating. 2008-06-06T19:53:00-06:00 http://www.americanaroots.com/reviews/detail/angel_band_with_roots_and_wings/ http://www.americanaroots.com/reviews/detail/angel_band_with_roots_and_wings/#When:12:29:00Z The Angel Band consists of three fine singers, Nancy Josephson, Jen Schonwald and Kathleen Weber as well as Chum, what they call their “adorable backup band.” Their new CD, With Roots and Wings is the band’s second and was produced by Lloyd Maines, who also plays a variety of instruments on the disc. The origin of the Angel Band was a weekly jam session hosted by Josephson’s husband David Bromberg. They often backed up Bromberg as he returned to touring. Bromberg (guitars and dobro) is now the “Head Chum,” and is joined by Bobby Tangrea - mandolin, guitar and fiddle; Jeff Wisor - fiddle; Nate Grower - fiddle; and Bob Taylor - bass. A number of other musicians play on the CD as well. The cornerstone of the music is definitely the harmony vocals of the three ladies, and the musicians instrument credits and Bromberg’s involvement foretell the kind of musical accompaniment you’re generally going to hear. While many of the tunes are rich with the sounds of mandolin and fiddle(s) and could be described as country/bluegrass gospel tunes there are a few surprises. The band certainly doesn’t operate within any rigid boundaries.  The discs opener is an afro-beat a cappella tune “Hey Papa Legba.” This is followed by an energetic “Zydeco-gospel” tune “I’ll Sing This Song For You,” which has a bit of modern day twist to the spirituals of old. While the singer vows “I’ll go through the fires of hell for you, I’ll swim to the bottom of the well for you” (that old line), she adds a more modern twist; “I will wait backstage for you. I’ll stay off the front page for you.” Among other highlights are “Place of Grace” and the great, high energy “I’m Coming Home to You.” They also deliver a nice cover of “Angel of the Morning” by Chip Taylor (Angelina Jolie’s uncle and esteemed writer of “Wild Thing").  If you are a fan of female harmony vocals and any of the other musical styles mentioned you will likely find a lot to love on With Roots and Wings. 2008-06-04T12:29:00-06:00 http://www.americanaroots.com/reviews/detail/the_black_angels_directions_to_see_a_ghost/ http://www.americanaroots.com/reviews/detail/the_black_angels_directions_to_see_a_ghost/#When:14:06:00Z They synthesized their name from the title of a Velvet Underground song and a quote from Edvard Munch. Their iconography centers around a stylized image of Nico. Their live shows feature a projection artist dripping paint on strange combinations of random film clips. Do you see where this is headed? Maybe to the Bay area circa 1965 or perhaps Warhol’s basement? It may be a good idea to go ahead and pass the Kool-Aid around whenever you decide to take the journey inside The Black Angel’s latest project, Directions to See a Ghost. Replete with eye-confusing orange and chartreuse cover art, the Austin sextet seem intent on fulfilling the mission started by their predecessors The 13th Floor Elevators over 40 years ago: creating sonically rich, beat and drone propelled psychedelic rock with dissonant muscle, drug-hazy attitude and enigmatic lyricism. The critical reception for Directions to See a Ghost has been varied but generally on the positive end. Though William Rauscher and Mike Walker, writing for Prefix and Twisted Ear, respectively, both give the album a 9/10 rating, the former prematurely and overbearingly calls it “an early candidate for album of the year,” and the latter should brush up on his grammar, two errs that significantly undermine their analysis. A more accurate though appreciably less positive appraisal comes from Rob Webb at Drowned in Sound, who cites the impressive potential inherent in The Black Angels’ writing and musicianship, but derides their lack of consistent delivery and their apparent contentment in being a “one trick pony.” Though shimmering praise is not in order for Directions to See a Ghost, it is an album that merits attention. “You on the Run,” the album’s opener, sets the tone for all of the subsequent tracks, creating a dense atmosphere of modified drones, fuzzy guitar and reverb heavy vocals. It’s a powerful album opener, and “Doves,” the follow-up, does well to enhance the mood “You on the Run” creates, in addition to perfectly setting up the shift to the sultry, beat driven “Science Killer,” the best track on the first half of the album. It’s on the next two tracks, “Mission District” and “18Years,” that the group starts to stumble. Neither song accomplishes much other than to slow down the pace while adding nothing new to the mix, leading to a miry, washed out feel. And it doesn’t help that the first easily discernible lyrics, found on “Mission District,” are also the album’s least interesting. Up next, though, is “Deer-Ree-Shee,” arguably the strongest single on Directions to See a Ghost; not only does it serve to complement dense psychedelia with a measured, down tempo beat, the addition of some impressive sitar handiwork completes the sixties’ feel with a quintessential maharishi underbelly. The latter half of the album, unfortunately, collapses under the weight of its own bravado. “Never/Ever” and “Snake in the Grass,” in particular, find the band members aimlessly lost in their own addled reverie. Standing in excess of eight and sixteen minutes respectively, these two songs must be specifically designed for the dropper in all of us…and nothing else. Not that I disdain lengthy songs: I proudly proclaim the Grateful Dead as my favorite band of all time to anyone with the patience to listen to me rattle off obscure Garcia trivia for hours on end, but the Dead embodied a depth of knowledge and instrumental mastery to support their musical exploration. Additionally, the Dead generally saved their delving for the live format, as most of the studio work is more concisely composed, a trick that The Black Angels should consider adopting. Overall: B- Why a B-?  I try to focus on the positives. Though The Black Angels lack the visionary punch of an Anton Newcombe or a Lou Reed, they seem to have consummate ideas about what they want their music to sound like and they aren’t afraid to go for it. At best they produce stunning tracks like “Science Killer” and “Deer-Ree-Shee;” at worst they are still listenable, even when conveying a lethargic malaise through inconsequential repetition. 2008-05-28T14:06:00-06:00 http://www.americanaroots.com/reviews/detail/doop_and_the_inside_outlaws_blood_river/ http://www.americanaroots.com/reviews/detail/doop_and_the_inside_outlaws_blood_river/#When:12:55:00Z I’m not sure if Don “Doop” Duprie is married or has a girlfriend. If not and he tries to win a heart with songs from his new CD with The Inside Outlaws, Blood River, he better be careful which ones he chooses. I’d avoid “If I Were You I’d Probably Hate Me Too:” “When we first met I used to treat you like a queen Nowadays it don’t seem like I’m anything but mean And I don’t blame you for feelin the way you do If I were you I’d probably hate me too” Probably should avoid “Tougher On You” as well: “It’s been tough on me, I hope I find a way to get through It’s been tough on me, and baby I’m sorry ‘Cause it’s been tougher on you” “Again” probably wouldn’t be the best choice either: …I know I ain’t been perfect, and prob’ly deserve most of this Between the drinkin’ and the fightin’, you have a right to be pissed.” Fortunately, these aren’t the only songs on the Detroiter’s new CD! Don “Doop” Duprie is one of the main singer-songwriters of the Inside Outlaws collective that includes Ty Stone, Matt Dmits, Scott Kinson and others in Detroit and Nashville. Previously a firefighter, Doop is now smoking as a full-time Detroit and Nashville singer/songwriter. Seeking an outlet for his lifelong passion for music and songwriting, Doop founded the first edition of the Inside Outlaws in 2005 with longtime friend and co-writer Ty Stone and manager Sam Wood. The Inside Outlaws are a group of singer-songwriters dedicated to developing new talent through education and networking which found tremendous success in 2006 by establishing a relationship between Kid Rock and Ty Stone which eventually led to Stone being signed to Top Dog/Atlantic Records. Blood River is full of great tunes and energy, brutal honesty and good storytelling. Doop is joined on the disc by too many people to list. Highlights include “Without You,” an organ laced tune that follows the unfortunate course of events in one family and the eventual realization of the youngest that he can’t make it without help from ‘above’. My favorite tune on the disc is the “on the run from the law” rocker “Done ‘Em Right.” He sings: “So I picked up a waitress out near Kalamazoo; she said dinners on me boy but I’m comin with you Now I can’t tell ya what happened through the course of the night, But I’ll tell that girl done a lot of things wrong, but she sure done ‘em right!” This is a fine CD by a guy who is obviously a talented songwriter.  It also sounds like the Inside Outlaws collective is working to insure that we have fine music and good songwriters to listen to for a long time! 2008-05-27T12:55:00-06:00 http://www.americanaroots.com/reviews/detail/band_of_heathens_the_band_of_heathens/ http://www.americanaroots.com/reviews/detail/band_of_heathens_the_band_of_heathens/#When:12:52:00Z “Let’s see.  We’re a 2 year old band and we want to record or debut studio CD.  Let’s get Ray Wylie Hubbard to produce it and play on the CD.  Let’s get a few other guests to play as well. How about Patty Griffin and Gurf Morlix?” Sound a bit unrealistic?  Well, with the Band of Heathens from Austin, this is what happened and has resulted in a stellar studio debut release for a band whose first two releases were live recordings. The band’s origin dates to spring 2006 when the three principle songwriters, Colin Brooks, Ed Jurdi and Gordy Quist, were sharing the bill every Wednesday night at the Austin club Momo’s. They started sharing the stage equally and collaborating on each other’s songs during the gigs billed as “The Good Time Supper Club.” Momo’s became the hot spot for live music on Wednesdays. A local paper mistakenly called the act “The Heathens”, but the name stuck. Drummer John Chipman and bassist Seth Whitney round out the band. This is yet another fine band that built its reputation and fan base first on its live performances. “Live at Momo’s” was released in October 2006. The “Best New Band” award, among other awards, soon followed at the Austin Music Awards. Soon after, the Austin Music Television channel M.E. TV suggested another live recording, this one to be released on CD and DVD. On June 1, 2007 the band’s live show at legendary Austin club Antone’s was recorded and recently released on CD and DVD. Evidence of the bands talent is the fact that they skillfully use three main frontmen/songwriters. I wouldn’t normally spout on about a bands history as much, but I imagine this band will be on top of the Americana world for some time, so you might as well know the history! May 20th saw the release of their debut studio CD, and it is an Americana gem that you really must have in your collection. There are fast tunes ("Don’t Call on Me"), slower tunes ("Maple Tears"- highlighted by Patty Griffin on harmony vocal), rockin’ tunes ("Heart on My Sleeve") and southern country/spiritual type tunes ("Jackson Station"). The CD features loads of guitar, mandolin, organ, dobro, piano, harmonica and even Gurf Morlix on pump organ on the tune “Second Line.” Whatever the instrument is that you like most, it is likely here. The band delivers some clever vocals as well, such as on “Maple Tears,” which starts: “I met a girl, from Manitoba; where the wind is wild, on the Hudson Bay She could have been from Oklahoma, if she didn’t live so far away!” “Unsleeping Eye,” loaded with Hammond B3, sounds like it could have been plucked right off of an old Little Feat CD. (It even features the line “unsleeping eye, don’t fail me now"). Lowell George must be smiling somewhere.  Don’t let Lowell smile alone.  Pick up this fine disc (and their live recordings) and you’ll be smiling too! 2008-05-27T12:52:00-06:00 http://www.americanaroots.com/reviews/detail/james_king_gardens_in_the_sky/ http://www.americanaroots.com/reviews/detail/james_king_gardens_in_the_sky/#When:19:57:00Z James King is one of the leading voices in traditional bluegrass. His distinctively powerful voice conveys the purity of Appalachian music, emitting many emotions with his lonesome hearted sound. King has recorded several gospel songs in the past, but this is the first CD devoted entirely to that material. Producer Ken Irwin from Rounder has worked with King to add new material to supplement the eighteen total songs on Gardens in the Sky. Among the six previously unreleased songs on the CD is the touching “Daddy Doesn’t Pray Anymore” written by Chris Stapleton of The SteelDrivers. This poignant song about the loss of a loved one is very well done. “Don’t Worry Mama,” written by King, includes the talented vocal harmonies of Rhonda Vincent. Albert Brumley’s classic “The Prettiest Flowers Will Be Blooming” is highlighted by amazing harmonies that paint a beautiful picture. King is well known for his adoration of the Stanley Brothers. He tackles three of their best gospel songs here, capturing the originality and adding his own touch to each very well. “Will He Wait A Little Longer” along with “The Darkest Hour Is Just Before Dawn” open the CD, showcasing the harmony talents of fellow Longview band member Don Rigsby and the renowned Dan Tyminski. King invigorates the classic “Sweeter Than The Flowers,” accompanied by Kevin Prater on mandolin and harmony. Perhaps one of the best gems on the CD is a David Olney song titled “Jerusalem Tomorrow.” Adam Haynes adds a hauntingly lonesome fiddle to this song which cuts straight to the bone. King’s vocals here, accentuated by Haynes, are very compelling. This CD is an overwhelming collection of great gospel songs of the past and present. King, along with many talented musicians, is able to pull this wide array of songs into something very special. There is virtually something here that will touch everyone in varying ways. 2008-05-20T19:57:00-06:00 http://www.americanaroots.com/reviews/detail/frank_carillo_the_bandoleros_someday/ http://www.americanaroots.com/reviews/detail/frank_carillo_the_bandoleros_someday/#When:17:22:00Z My son and I love to watch the show Mythbusters. Now I’m conducting my own myth-busting experiment. I’m testing the myth that you can’t wear out a CD with continuous listening. I’ve had Frank Carillo’s new CD Someday playing almost constantly since receiving it a couple of weeks ago. So far, the disc shows no sign of wearing out. I’ll keep you posted! Frank Carillo has been at this game for a long time. He played guitar on two of Peter Frampton’s pre-Comes Alive CDs in the early ‘70s. He released his first album Rings Around the Moon in 1978 and was scheduled to be the opening act of a huge Led Zeppelin tour that was unfortunately canceled because of the death of Robert Plant’s son. He has been constantly busy since, including multiple tours of North America Europe, including one as a member of bluesman John Hammond’s band. He appeared as a musician in the film Prelude to a Kiss, starring Meg Ryan and Alec Baldwin in 1992. In 2004 Frank formed The Bandoleros and has been busy with this project since then. Someday is truly an awesome album, stuffed full of great songwriting and playing all highlighted by Frank’s gravely voice which has the rough edged honesty of Springsteen or even Joe Cocker. He delivers the tunes passionately, sounding just like he’s spent as many nights singing on stage, as he has! Most of the tunes are faster paced bluesy tunes, such as the stellar opener “Roll the Bones,” which Frank says was inspired by listening to old British folk/rock, especially of Fairport Convention, saying he was amazed with the content, including lust, murder, war, betrayal and sheep shearing! He wanted a tune spiced with all of this and more. Frank’s guitar is backed on a number of the tunes by Hammond B3, played by Augie Meyers (Bob Dylan, Sir Douglas Quintet, Texas Tornados). With all his travels he has developed a love of new and different instruments. One of these is a laud, a Spanish instrument he picked up in Barcelona which is somewhat like a mandolin, only larger and with 12 strings. He effectively blends this instrument into the tunes “Everything Changes” and “Eastern Time.” Frank can go bare bones as well. He strips things down to acoustic guitar and vocals on “Glass Heroes,” one of the more beautiful songs you are likely to hear. I have a strong suspicion this disc will end up on my Best of 2008 list, if it isn’t worn out by then! 2008-05-20T17:22:00-06:00