Grooves & Cuts June 2023 – By John Apice
Trivia & Nonsense:
The Monkees jammed with Jimi Hendrix. The Beach Boys played with The Grateful Dead.
Perry Como had a hit with Don McLean’s “And I Love You So,” before Don did. Drummer Buddy Miles played on the original “Sally Go ‘Round the Roses” by the Jaynettes.
Seals & Crofts each played with Glen Campbell in 1958 when they were The Champs & had a hit with “Tequila.” Singer-songwriter Chip Taylor who wrote the hit “Wild Thing,” (The Troggs) & “Angel of the Morning” (Merilee Rush & Juice Newton) is the brother of actor Jon Voight.
Peter Lewis, singer-songwriter with the band Moby Grape is actually actress Loretta Young’s son. Elton John auditioned to be the lead singer for the progressive rock band King Crimson when Greg Lake left.
The late Tuli Kupferberg (86) of The Fugs was actually too old to be a hippie since he was born in 1923. That’s my mother’s age. The same can be said for the band Spirit’s late drummer Ed Cassidy (89) — he was born in 1923 also.
Producer/Songwriter Kim Fowley issued many rock acts (The Runaways, Joan Jett) & tons of novelty songs (“Cherry Pie,” by Skip & Flip, “Papa Oom Mow Mow,” for the Rivingtons) for decades (1959-2014) was the grandson of the veteran actor Douglas Fowley (who played Doc in the old TV series Wyatt Earp with Hugh O’Brien).
The late Crosby, Stills, Nash & Young member David Crosby’s father Floyd Crosby was an Academy Award & Golden Globe-winning cinematographer in Hollywood (“High Noon,” “Attack of the Crab Monsters,” “The Old Man & the Sea,” & several Roger Corman films). Singer Andrew Gold’s father was Ernest Gold an Oscar-winning composer who wrote scores for several films like “Exodus,” “It’s a Mad, Mad, Mad, Mad World,” & his mother was Marni Nixon a soprano & ghost singer — who duped vocals for actresses who couldn’t sing, like Natalie Wood in “West Side Story” & Audrey Hepburn, Deborah Kerr & Marilyn Monroe. Ms. Nixon appeared as a nun in “The Sound of Music.”
It’s The Lovin’ Spoonful’s John Sebastian who takes the fiery harmonica solo on “Roadhouse Blues,” by The Doors. Soft Machine (the body’s skin) & Steely Dan (a dildo in “Naked Lunch”) are references made originally in novels by William Burroughs & became rock band names. Hermann Hesse’s “Steppenwolf,” is also another. The Doors from Aldous Huxley’s “Doors of Perception,” The Velvet Underground from a novel by Michael Leigh. Modest Mouse from a line in a Virginia Woolf story. The Boo Radleys – a character in “To Kill a Mockingbird,” by Harper Lee. There are others.
60’s singer Engelbert Humperdinck “borrowed” the name from a German composer. His real name was Arnold George Dorsey. Another 60s singer Tom Jones whose real name is Thomas John Woodward also “borrowed” his name from the Academy Award-winning 1963 film “Tom Jones,” with Albert Finney. David Bowie became Bowie because his real name was David Jones & The Monkees singer Davy Jones had that name registered already.
The Byrds’ Jim McGuinn (later Roger) was a backup musician for Bobby Darin & later Judy Collins. It’s possible that either Bobby Darin or Joan Baez were actually the first rap artists. Darin had a song on his 1969 LP “Songs From Big Sur” called “Me & Mrs Hohner.” In 1977 Joan Baez issued a tune called “Time Rag.” If these don’t sound like rap I don’t know what does. Of course, in the late 50s Lord Buckley was rapping all over the place. His 1959 jive-talking classic “The Nazz” (probably Jesus) would be an example.
Skip of Skip & Flip is really the late Skip Battin who went on to join The Byrds, New Riders of the Purple Sage & Flying Burrito Brothers. Flip is the late Grammy Award-winning songwriter Gary Paxton who formed the record label Gar-Pax where he recorded Bobby Boris Pickett’s hit “Monster Mash.” Gary was also a Hollywood Argyle who had the West Coast hit of “Alley Oop,” while Dante & the Evergreens had the East Coast hit. Paxton produced countless hits through the decades for many artists. The Beach Boys’ Brian Wilson admired him & Phil Spector feared him. Kim Fowley (see above) was his roommate in the early days.
On the Seinfeld comedy show, they had a segment using the phrase “yada, yada, yada,” to avoid going into detail. That was originally a catchphrase by singer-songwriter Dory Previn who had a song called “Yada Yada Yada La Scala” — in the early 70s. She was also the writer of many hit songs from motion pictures that she wrote with her former husband Andre Previn (“Come Saturday Morning”). The same can be said for anyone who says “There’s no there, there.” That statement was first uttered by 1920s writer/salon host Gertrude Stein.
We talk about cultural appropriation & never realize many phrases we use actually come from somewhere or someone.
Spilled Mercury:
The Customers – Sweet Fatality
The opening tune “One Delight,” has a nice contrast of what sounds like a toy piano battling with a soulful heavy blare of saxes. The band has a solid foundation. The lead vocals have authority & the package is designed with cool 50s artwork.
“Collide & Cry” & “Maybe Wednesday” each rock steadily with old-fashioned gusto & with soul. They’re a little more polished than the average bar band though the songs are basic it’s the way they perform their repertoire that sparkles.
Produced by Kevin Bowe (guitars/bass guitar/mandolin) & Ryan Sexton (vocals/guitars) the set was recorded in Minneapolis, MN & Brooklyn, NY. The cuts on Sweet Fatality (Dropped June 16–Big Bliss Records) are all Sexton originals & the majority display hard edges, jangling guitars by multiple players, an abundance of melodic aggression, vocal interplay (“Chain Or Disguise”) & typically clever tuneful songs.
The final track “Everything,” is the most compelling. A slow burn, progressive in approach with lots of atmosphere.
Musicians – Terrance J. Fisher (guitars), Daniel Murphy (guitars/bgv), John Eller (guitars/piano/bgv), Terry Isachsen (guitars), Ivan Julian (guitars), Dirty Dave Randall (bass), Peter Anderson, Noah Levy & Ian Prince (drums), Patrice Lacy (bgv), Pat Frederick (violin) & Rich Manik (alto sax).
Picture courtesy of The Customers’ Facebook. There’s a stitched lyric insert & the 35-minute CD @ Apple Music. https://www.facebook.com/thecustomersareaband/
Faraways – Decades of Dormancy – EP
After an 18-year hiatus (formed in the 90s) this exceptional trio has released an EP — Decades of Dormancy (Dropped – Paraply/Hemifran Records) & returned to form. This is basically an all-out rocker with some superb sonics. “Holy Host,” & “Silvertrain Ride,” are energetic & tightly woven. The band embraces rock, fusion, jazz, folk, Goth & Americana in equal doses. Basically a trio, they have a wall of sound between them.
The most Americana high test fuel driven & fiery track is the superb “Ruby Ring of Love,” with its progressive rock base, tight drumming & folky alpha male vocalizing. Wonderfully performed. They sound like a male chorale in church without the young boy tenors. Quite different, a well-chiseled piece. Sitar steps in to really surprise a listener – nice touch. Most American rock enthusiasts, young & old, will appreciate this.
There’s a touch of 70s new wave/alt-rock vocalizing that’s impressively varied & well-arranged in a Dream Syndicate/Pere Ubu/The Jam/Yachts tradition. The Swedish band was produced by Tobias Walka (drums/percussion/keys/additional guitars/lead & bgv), with Erik Holmberg (guitars/sitar/additional keyboards/lead & backing vocals), Tomas Axelsson (bass/laud/electric lead guitar/bgv) & guest musicians – Robert Peterson (slide guitar) & Magnus Holmberg (organ).
B&W image courtesy of Faraways Facebook. The 22-minute EP is available @ iHeart & https://faraways.rocks/ & https://www.facebook.com/profile.php?id=100076590642322
Greg Sover – HIS-STORY
This young Philly blues/rocker Greg Sover (guitar) comes with the impressive endorsement of Jimi Hendrix’s former bassist Billy Cox (Band of Gypsy’s). Cox appears on 2-tracks & this is Sover’s 4th LP.
Cox appears on a cover of “Manic Depressive,” & “Remember,” a rare track from Jimi’s first LP. Sover excels of course as a guitarist on his latest 10-track produced by Greg with Jim Salamone. HIS-STORY (Drops July 21– Grounded Soul Records) finds Sover as an excellent soul/R&B singer/songwriter. In order to be an exceptional musician, interpreter & songwriter one must cross many boundaries & Sover’s done this. Musicians who join Greg are Kenny Aaronson (bass), David Uosikkinen (drums) & Charlene Holloway (bgv),
Tunes vary in approach with “Dark House,” featuring a lap steel groove. “Freedom Part 2,” is more wound up with a soaring lead guitar riff, “Temptation,” which delves deeper into a more Stevie Ray Vaughn-inspired blues. With “One Way Train,” & “Tonight,” Sover cruises comfortably into roots rock radiance. A resonator guitar inhabits “Living On the Edge.”
As excellent as Sover is (singing is always good & guitar tonality is exceptional). His playing is powerful with expertise. But at times — it comes off more as showboating than skill. Greg needs to find a signature sound. As Jimi did & Robin Trower, Leslie West, Jeff Beck, Eric Clapton, John Campbell, Roy Buchanan & Stevie Ray. These players all sounded like no one, in their own way.
There must be a “sound” that sets Greg apart from everyone else aside from just playing lightning-fast runs with some special effects for color. There must be a snaky feeling, a tantalizing motivation, a persistent impulse & it must be sharpened.
Why am I saying this? Because I want to listen to Greg someday without knowing it’s Greg — & say “hey, that’s Greg Sover – without a hint except for the music. He can do it.
Meanwhile, the performance on “Manic Depression,” is indeed excellent with vocals that are authoritative & gutsy. Will it sustain a career? Like Clapton, Beck & Jimi? I like Greg’s style – how he goes loud, down to subtle & manages to caress the guitar like a woman. Or is the guitar caressing him?
CD @ https://www.gregsover.com/
Katie Callahan – Extraordinary
This Baltimore-based indie-pop/Americana/folk singer is on her 3rd LP. She has a fine voice. If she’s careful a possible she could become as engaging as the early Joni Mitchell. She has that high note ability, child-like vocal detour & exquisite folky mature perfection of Judy Collins. She is a lyrical writer, with a wonderful sense of storytelling in short songs. Her music accompanies it all with fluid exhibitions.
The 7-cut Extraordinary (Dropped June 2–Independent) produced in Nashville by Matthew Odmark is well-recorded. But not all the songs have the challenging substance of Mitchell or the exploration of Collins, or her range. But Callahan has such a wonderful current that runs through her arrangements & performance.
Her voice pulses through these melodies with refined beauty. It’s as if she sings with a spray of voices — two or three different voices. It’s an impressive style (“Once At a Wedding”) & at times her music is showcased in a more progressive rock drama. A Kate Bush perception with Renaissance’s Annie Haslam’s classy tonality. But on songs like “Hungry,” her middle-of-the-road easy-listening vocals are well exhibited in a Bird York influence (“In the Deep”). But it’s when she approaches a Sarah McLachlan style that she begins to lose the creativity & focus that she started with & starts to sound like she’s imitating.
Katie needs to challenge herself. She shouldn’t rely on what came before her. She’s a good singer & an excellent musician & her showcase has sparkle. But there are many who walk this road as well. Katie’s ideas have exuberance. But by track 4 a sameness begins to settle in & the arrangement of “Love Song For a Best Friend,” is so elementary as to be filler. Now remember, I’m comparing this to the first song “The Undertaker’s Daughter.” That was distinctive, original & not business as usual. This is why that first cut is so impressive. This “love song” does have character – it’s just that the instrumentation is thin — not Katie’s vocals.
Back on track with “Extraordinary,” it’s obvious the inspired wire reconnects. It’s a wonderful song, a substantiative subject, well-conceived & the instrumentation is now firing on all cylinders. This is one of the best cuts on this CD. Deserving of replays.
I like Katie Callahan, a lot. She sounds like a promising chanteuse. “Magnificent Beast (Keep It All Together)” & “There You Are,” both are well-propelled vocally & musically. Each a delightful listen. I have heard enough to say I believe in this artist despite minor missteps. There’s an honesty in the way Katie Callahan’s voice spills from her spirit. Some songs are dark, but Katie negotiates the music well. The songs seldom lose their personality.
The musicians on this 27-minute effort include Megan Coleman & Daniel Sousa (drums), Luke Sullivan & Blake Wooten (bass guitar), Lindsay Miller & Matthew Odmark (electric & acoustic guitars), Hannah Holbrook & Charlie Lowell (keyboards) & strings performed by Avery Bright.
Image courtesy of Lindsay Patkos. CD @ https://katiecallahan.bandcamp.com/album/extraordinary-2 & https://www.katiecallahanmusic.com/
Jenn Grant – Champagne Problems
Canadian artist Jenn Grant’s video “For All This Time,” is a poignant duet recorded a little “hot”, but it makes it all the more personal. The 13-track Champagne Problems (Dropped June 21–Independent) only suffers from effects, echo & studio trickery (“Nobody’s Fool”) & if it were used on a track or two I’d ignore it. But it’s used far too much for a singer who has an attractive voice & doesn’t need embellishments.
Many of Ms. Grant’s songs are well-written & performed. Her vocals are reliable, a little retro at times, but good, nonetheless. It’s the distraction of the miscellaneous sound effects & vocal additions that interrupt the flow of the groove. Even the beautiful “Easy Come, Easy Go,” has vocal manipulation. Is it a lack of confidence? Is it a belief that this way of singing is attractive, all the time?
The song is excellent & Jenn’s voice is impressive but the “hollowness” of all that extraneous stuff subtracts from an otherwise delicately performed & expressive song. I don’t think this is the artist’s misstep but whoever is producing the set. The production.
I have seldom heard a record produced with the same “sound” throughout. It’s a redundant limited appeal since careers are not built on who has the best special effects. Even Pink Floyd sang with pure voices on many of their best songs.
“How I Loved You,” is a beautiful song. However, it sounds like Jenn recorded it in her bathroom or under a stairwell in a hollow hallway. Is this what her producers think works on a lovely song? Where’s the sincerity, poignancy & warmth? This is an excellent tune – illuminating lyrics & the harmonizing is on target. But the human voice leaks out of the container. This is one of my favorite songs too.
This is Jenn’s 8th CD so someone likes this sterile sound or I’m sure she wouldn’t employ it on almost every track. This LP was self-produced but that should’ve provided a more earthy natural grouping of songs. “Lion’s Mane,” is a little closer to casual & Jenn’s voice is superb. Just as I thought it was.
Her “Catch the Wind” & “Under the Overpass” are both fluent & Jenn projects her voice well. Bristling melodies — well arranged. The Bird York style of singing is evident in the warm “Rattled By Your Love.” An entire LP of songs in this mold would be stunning.
Jenn’s voice, pure & unchallenged by the hocus pocus of studio knobs. This is achingly beautiful & she’d reach more listeners with her sincerity & emotive vocal. Jenn seems to stick to the formula for warmer tunes toward the coda of her album. The addition of sax on her “Prelude to Summer,” is mature & it’s tantalizing. “The Closing Down of the Summer,” is good throughout. The backup vocals are a nice touch even with a touch of echo. Another good song that could’ve been even greater. Maybe it just comes down to better guidance & not performance.
The portrait picture of Jenn by the window would’ve been a far better CD cover. Her expression is pristine. Color image courtesy of Jenn’s Facebook. CD @ Bandcamp & https://www.jenngrant.com/
Brian Krumm & His Barfly Friends – Just Fade Away
With the long hiatus of a great artist like Tom Waits what makes the wait bearable are artists like Brian Krumm (vocals/guitar) who don’t imitate as much as fill in the gaps admirably. This is what Tom would sound like if focused more on the melody & lyrics than being intense, overly dramatic, creatively challenged & pushing the boundaries of experimental. Now, I happen to like Tom when he does those things, but I miss the younger Tom who had more melody with some bohemian beat generation traits. Brian Krumm’s songs like “Barfly Friends,” manages this with expertise.
Brian doesn’t overreach & keeps the tunes focused. His voice possesses the grittiness of Waits & the tonality. The barfly ingredients conjure Charles Bukowski. And he does. The melodies are tight, Krumm is not a minor-league player. Not when he employs the masterful female shouting in “Just Fade Away,” which adds atmosphere & haunting inflections. Terrific stuff. It’s music that is expressive.
The 11-track Just Fade Away (Dropped June 2-Pravda)was produced by Brian with Christian Moder (drums/percussion/keys/vocals/production). With “Back In My Old Neighborhood,” Brian injects his own spirit with a Sir Douglas Quintet-type cheesy Farfisa organ sound. It shows a sense of humor. “Steve & the Miracle 3,” seems rooted in a serious clever Spanish style. The addition of harmonica with the Les Paul-type lead guitar is nostalgic with integrity. “Never Do As I’m Told,” has a Buddy Miller & John Hiatt curve with the plucking mandolin strings – sophisticated. Excellently narrated by Brian with a steady beat that marches along with a dark rootsy feel.
Maybe since they’re Chicago based the noir seeps into the music more easily than if they were Nashville based. The music does have a B&W feel, smoky at times with a wool fiber scratch. While none of the artists mentioned in his bio suggest what I hear it’s subjective. But Tom Waits, Chuck E. Weiss, Tom Wilson, John Hiatt & Buddy Miller are far & away from the garden in which this music has a vine.
The storytelling is sharp. Krumm knows how to squeeze the best tales out of the hours we have been blessed with. Closer to Tom Waits? He would have to get a little loonier. But we already have a Tom Waits – Brian Krumm can take up the slack of the younger Tom that was a balladeer with cryptic overtones, a motivation that couldn’t be diagnosed & Krumm has the instincts. I’d be curious to see what Brian Krumm pulls from his melodic hat next time around.
Highlights – “Barfly Friends,” “Just Fade Away,” “Back In My Old Neighborhood,” “Steve & the Miracle 3,” “Never Do As I’m Told,” “Stagger Inn (Again)” & “Stuck In the Van.”
Musicians – Brian Hunt (bass/vocal), Brian Leach (keys/vocals/guitar) with Dana Anderson, Laura Coy, Hazel Krumm, Vivian Krumm & Jessie Hotaling (vocals), Tony Artimisi (drums), Erik Attkinson (bass), Jake Bookman (cello), Pete Galanis & Nelson Strange (guitars), Dirk McElravey (bouzouki/mandolin), Kristina Priceman (violin), Brian Wilkie (pedal steel/guitars) & the Montrose Horns: Jon Boley (trumpet), Rich Lapka (trombone/horn arrangements) & Justin Past (sax).
Color photo courtesy of Brian’s website. B&W image from Brian’s Facebook. CD @ https://briankrummandhisbarflyfriends.bandcamp.com/album/just-fade-away & https://briankrumm.com/home
Grace Morrison – Maybe Modern
There seem to be two Grace Morrisons gracing this effort image-wise. The goofy fun-loving anything-goes Grace & the sophisticated wine-drinking Ms. Morrison. But, regardless of the image, it’s the music that propels the Massachusetts-based Grace Morrison (vocals/acoustic guitar) to garner interest & attention.
Produced by Walt Wilkins (acoustic guitar/percussion/harmony vocals) & Ron Flynt (Wurlitzer piano/B3 organ/glockenspiel/baritone guitar) in Austin, TX. The 9-cut Maybe Modern came a little late (Dropped April 14-Independent). Morrison has a plaintive childlike voice at times, but it has the charm that artists like Dolly Parton, Reba McIntyre & most importantly, Alison Krauss often bring.
She sings with clarity; sincerity & the material (like “Broken Things”) seems to be a bit more mature than what is basic mainstream sugar-coated pop music today. The music isn’t challenging but it’s pleasant & fortunately, Grace doesn’t sing in that angst-ridden valium-induced style so popular with so many young ladies lately.
I don’t find her strictly pop but more of a country rocker with no posturing. Songs like “Wasted,” are Reba-driven & show a lot of country instincts. It’s a spirited performance without getting pompous. The lyrics are carefully constructed because the words avoid cliches.
A serious subject presented with prowess. She compensates for the typical sweetness of singers like this by understanding the song itself is what reflects her chosen image. This woman is not going to be a baby doll. She’s not raunchy like Janis Joplin, sweet & powerful like Dusty Springfield, or aggressive like Grace Slick. She has a delicate mannerism that comes with country music & folk skill. Her voice is fluid like the pop singers Merilee Rush & Juice Newton who covered the poignant & powerful (“Angel of the Morning”) & more specifically the tonality of Sue Thompson (“Paper Tiger”).
Grace sings with authority without flexing any muscles. She knows what she needs to do & she stands firm in songs like “Caught Up In Your Blue,” & “Ghost of It.” It’s not “my way or the highway,” it’s more “my way & just get out of the way.”
The showboating is in the songwriting which this set exhibits superbly. I only suggest more percussion & snappier drums & Grace should get down in the dirt with the instruments. Peggy Lee did this, Elvis, many times & Ella Fitzgerald was a master. It makes the performance engaging.
Country-wise Grace shines with “Get Along,” a nice Loretta Lynn-type ballad. Despite the wine picture of Grace, there are no tunes that explore the dark side of metropolitan life. The glitz & glamour of cities, the underworld dance pits, or the ritzy hotel ambiance. That’s more the domain of cabaret singers like Diana Krall, Madeliene Peyroux, or even Connie Francis.
“Puritan,” comes close & leaves behind hints of the lounge singer style Grace could spread with her vocal. That Julie London, Peggy Lee & Patti Page suave approach. Not easy, because part of the lyric is acting to get the song across. Grace is excellent with this – it’s different from the other songs on the set. There’s a luxuriance. It’s a little smokier, with dim lights & subdued friskiness.
Musicians – Lloyd Maines (steel guitar), Bettysoo (backing vocals), John Chipman (drums/percussion), Glenn Fukunaga (bass) & Rich Brotherton (electric guitars).
CD original picture by Scott Hartley & artistically embellished by Rachel Hurley. Wine glass image by Scott Harley & both portraits courtesy of Grace’s Facebook. CD @ https://www.gracemorrison.com/
Mick Fury – 1981-1996
This one’s a straight-path R&R affirmation with precision & attitude from Syracuse-born & Nashville-based Mick Fury. Fury has the Lloyd Cole rocker vocal style down tight & he has good material. He knows when to get loud, when to go seductively low, dilute the anger & inject maturity & he does it all with flourishes of melody. No ragged edges, bombastic overtures, or inconsequential attempts to be Roger Daltrey or Mick Jagger. Instead, he drains the grease from the pot & offers up the meat of the performance with vigor.
“Bright Eyed Dumb Kid,” & “Prayers,” are propulsive melodic rockers with a conventional approach. This isn’t rooted so much in the blues as just pure 60s rock with the growl, vinegar & a swipe at texture. “Prayers,” is quite lovely & maintains its rocky ancestry. Some tunes will venture into that lipid territory where some bonafide singers have stepped in – John Waite, Kenny Loggins & Rod Stewart. Great material to mediocre. But Fury is young & I like Fury’s vocal tone. The voice never loses the rock integrity – especially if he stays focused.
This CD isn’t always imaginative or expressive, but the power is in his voice, the excitement is evident & the musicianship is impressive. The problem is that rock always was a young man’s domain. Singing about young girls, cars, challenging authority, staying out late & just being cool. All subjects for young singers. After a while, an attitude adjustment has to be made. Even if your voice is still masterful of the genre. Daltrey, Jagger, Dion DiMucci – they all sound like hoodlums who are still spending time at the basketball courts wearing Keds high-tops. That’s a miracle.
Fury has the youthful curvy lipped voice going for him (“State of the Union”) & with the 10-cuts on 1981-1996 (Dropped June 23-Independent) his 90s birth date takes the baby boomer music & starts to aggressively ask pertinent questions that pertain to him, his generation & in the Boomers own rock manner. Clever. Not that anyone will listen. They didn’t listen to Steppenwolf’s “Monster.” Now that was an anthem.
Fury does get it, no denying that. The music that is. He mastered the genre. Understands it. Uses it. He just needs to understand the difference between Elvis & Jerry Lee Lewis & Survivor & George Michael. Not the same rock constitution.
But Fury oozes the R&R sweat & swagger. What becomes perilous is when it comes dangerously close to parody, cliché & novelty. He negotiates the terrain well. “What’s Up,” is a good little rock tune, it’s sticky. It stays with you after it’s played out. Hell, it’s better than Bon Jovi but not quite as nuclear-powered as Donnie Iris or Michael Stanley. Iris’s early LPs reek of unadulterated rock (“Ah Leah,” “I Can’t Hear You,” “Back On the Streets,” & “You’re Only Dreaming”) & Stanley was a craftsman (“Working Again” & “My Town”).
The dialogue tracks are a distraction. No point to them. But it does work with efficiency on one — “Burnin’ It Down.” Fury’s voice is superb. He asserts himself through these lyrics with authority. But this is the kind of song I was talking about. It comes close to a message song but dabbles with pomposity & bombastic asides. It doesn’t follow the blues route in its construction. That would’ve kept the song anchored to a groove. Instead, it’s a full-bodied sound with no facility for distinction.
By the time of “I Don’t Mind,” it starts to sound like Tony Carey’s Planet P – the ambitious LP Pink World. It’s good — but its slickness is what fights it. Stylistic straitjacket. What saves it is that the arrangement isn’t formulaic. Fury still sings with propulsion & good range. Bottom line: it’s still a good rock song. Far better than what passes for rock today on whatever device you use.
Mick Fury is no imitation – he rocks with the best of them. I look forward to more.
B&W image by Brett Berwager. CD @ http://www.mickfury.com/
CD & Digital Links can be bought at the artists’ respective websites. No photography will appear without a photographer’s credit or owning source.
Obituaries:
Cynthia Weil — passed away June 1st @ 82 was like other Brill Building songwriters such as Burt Bachrach, Neil Diamond, Ellie Greenwich & Jeff Barry, Carole King & Gerry Goffin, Cynthia Weil & Barry Mann — songwriters who charted many pop hits throughout their careers by major recording artists. The New York City-born Cynthia Weil wrote the words to the classic Righteous Brothers song “You’ve Lost That Lovin’ Feelin’,” & she & her songwriting husband were inducted into the Rock and Roll Hall of Fame (2010). As a team, they also were nominated for Academy Awards & Grammy Awards. They also wrote songs such as: “On Broadway,” (The Drifters), “We Gotta Get Out of This Place,” (The Animals), “Kicks,” & “Hungry,” (both by Paul Revere & the Raiders), “Blame It On the Bossa Nova,” (Eydie Gorme), “Here You Come Again,” (Dolly Parton), “Only In America,” (Jay & the Americans), “I Just Can’t Help Believin,’” by both BJ Thomas & Elvis Presley. They wrote dozens of hits for various artists from Andy Williams & carmen McRae to Dusty Springfield & Tony Orlando. She is survived by her husband & 2 daughters. No cause of death was listed.
Color photo of Cynthia with husband Barry Mann courtesy of Jordan Strauss/Invision/AP.
Astrud Gilberto @ 83 – “The Girl From Ipanema” singer born in 1940 in Brazil & raised in Rio de Janeiro. With her infectious low seductive whispery vocals & samba beat she helped to popularize the bossa nova dance craze in nightclubs. The song was a 1964 million seller on Verve Records & won a Grammy Award. Her career spanned 1963-2002. She collaborated with her husband Stan Getz an American sax player. She recorded songs in Portuguese, English, Spanish, Italian, French, German & Japanese. She died of undisclosed causes in her Philadelphia home on June 5th.
Color image of Astrud courtesy of Interfoto/Alamy.
Isaac “Red” Holt – died May 23 @ 91 was the drummer for The Ramsey Lewis Trio & the Young-Holt Trio. He played on Ramsey’s Top 10 instrumental hits in the 60s “The In-Crowd,” & “Soulful Strut.” The Mississippi-born Red Holt passed away from cancer.
Color image courtesy of Lcamera.
Bobby Osborne – died June 23 @ 91 – (1931-2023) – Mandolinist, guitarist, bluegrass icon & lead tenor singer of the Osborne Brothers who performed for more than 70 years. Bobby was a member of the International Bluegrass Music Hall of Fame & the Grand Ole Opry in Nashville. He was a native of Kentucky. No cause of death was released.
Color image courtesy of Presley Ann/Getty.
Jesse McReynolds – also died June 23 @ 93 – (1929-2023) – Virginia-born mandolinist, fiddle & guitarist. A part of the bluegrass duo The McReynolds Brothers. Also, a member of the International Bluegrass Music Hall of Fame & the Grand Ole Opry in Nashville. He started his career in 1945 through 2023. Issued his first recordings in 1951 & recorded for Capitol, Columbia & Epic Records. He created innovative mandolin playing styles – cross-picking & split-string. Jesse even issued a 2010 album of Grateful Dead bluegrass songs – a tribute to Jerry Garcia & Robert Hunter.
Color image courtesy of JimandJesse.com