Lou Reed and Metallica – Lulu

Posted on November 8, 2011 by northernrockiesview

Music Reviews 2011 – Lou Reed & Metallica – Lulu

Lulu is a small town girl. She apparently caused Lou Reed enormous emotional pain. He wanted to marry her; he wanted to beat her. She cheated on him. Such is the torment that drives the new Lulu album, the product of the unlikely pairing of Lou Reed and Metallica. Lulu was released November 1st. The result of which is nothing less than an epic digital firestorm.  The conveniences of modern digital media have enabled their former fans to immediately announce their disdain.  What’s the fuss? You say.  Well, here is my attempt to sort it all out for you.

Leave it to Metallica to be right in the middle of another firestorm.  From Napster, to i-Tunes, to collaborating with Lou Reed, firestorms are their “bread and butter.”  They are known for causing controversy–or at least being at the center of it and then digging in and holding their ground against a torrent in the opposite direction.  This time, after a few days of consideration, I’d say they don’t deserve the grief.  They should dig in and hold their ground.  Given their history, I’m betting they will.

Lou Reed is forever known as the artist who brought us “Walk on the Wild Side.”  He was also the guitarist, vocalist and principal songwriter for the Velvet Underground. He is a talk-singing, narrative vocalist, and performance artist from way back.  It’s what he does.

San Francisco’s own Metallica, consisting of James Hetfield, Lars Ulrich, Kirk Hammett, and Robert Trujillo, are the Kings of the Metal world.  They are the most well-known and most successful metal band ever.  Of course, fans of Metallica wouldn’t always concede that point.  They can be a selective, critical and vocally petty bunch.  They sound off when the band takes a direction they don’t approve of.  Many of them are doing that right now.

Pairing Lou Reed and Metallica together is like pairing peanut butter and pickles.  It ought not work.  Art Rock and Heavy Metal don’t often intersect.  But, it is true that both Reed and Metallica’s subject matter over the years have consistently included “Dark” themes.   Dark personal subject matter brings out the angst, intensity and conviction necessary for them to be successfully invested in their craft.   Angst + intensity + conviction + investment = Metallica still going strong after 30 years.  And Lou Reed is brilliant for collaborating with them.  I believe history will bear this out.

Lou Reed and Metallica isn’t supposed to work.  And to much of the Metallica-loving world, it doesn’t.  These disappointed, under-consulted, raucous relics of Metallica fan-dom past are writing up a storm on i-Tunes, with 56 pages (at last look) of reviews over the few days since it’s release. That represents hundreds of people who wanted to like this album but didn’t. Almost all of the reviews are negative.  They are so passionate in their displeasure that the reviews are mostly comical.  Seriously, I haven’t laughed so hard in weeks.

Of course, many of those who have trashed the album, also confessed that the only part of it they’d heard was the 90-second i-Tunes previews.  They hated those excerpts SO MUCH that they refused to buy the album, but opted to exercise their right to “pupu” it. They even suggested that you and I do the same.  Imagine having that kind of audacity.  I don’t know this product, but I hate this product. I recommend you hate it too!  Oh, and tell your friends to hate it too.  And with modern digital conveniences, that prospect is now easier than ever.  Hey look, hating Lou Reed and Metallica is trending right now.

The more of these dead-pan reviews I read, the more I laughed.  Even some of the “most favorable” reviews were negative.  One guy gave them 5 stars as “The Comedy Album of the Year.”  Another said, “they should make another album”–as if to suggest that they throw Lulu away and start over.  Another called it “Possibly the Worst Album of All Time,” suggesting it sounded like “a drunken old man wandered into a Metallica rehearsal and started rambling incoherently into a microphone.”  Another fan said he’d “rather listen to a William Shatner album.”  I’m quite certain that, if the first three comments didn’t grab you, that this last review would put the level of fan disdain into an appropriate perspective. Nobody likes Shatner’s music.  Can you name anyone who does? He’s got Mad Cow. Right?

Most of the reviews weren’t mean-spirited.  But, collectively, they indicate a disturbing trend in our modern “give-it-to-me-now” digital society.  Text me, tweet me, like me….but don’t bother me to actually listen to an album and give it a chance before I “pupu” it.  Lets just jump straight to the “pupu’ing” part.  That is the world we now live in.

That clearly isn’t the world that Lou Reed and Metallica live in.  They live in a world where they’ve earned the right to perform how they want, when they want, with whomever they want.  Metallica has written off hard-headed, narrow-minded fans long ago.  The band does what THEY want.  They play music that they believe is true to them.  If people like it, great.  If not, so what? They are still Metallica. They’ve got everything they’ll ever need. And trust me, they will have the last laugh.

As a mainstream Metallica era fan (part of the group of fans who came to the band after the epic 1991 self-titled Metallica release), I am familiar with the disdain of the pre-mainstream era fans.  To them, I only came to the band after they’d sold out.  James Hetfield sings (more like growls) a ballad and bam, the “Kill Em All” era is over.  The mainstream world embraces Enter Sandman, The Unforgiven, and Nothing Else Matters and one era ends, while another begins.  The newer one including a much broader fan-base for Metallica, with a bunch of new fans who are beneath the original, hard-core fans.

I was one of millions who embraced the newly melodic version of the band.  To the earlier era fans, Metallica was softening up, going in the wrong direction.  For me, they were the heaviest band I listened to; they’d moved just enough in my direction for me to embrace them long-term.  To Metallica, I say, thank’s for “selling out.” To me it isn’t a sell-out, if you make music that others enjoy.  And if record sales are the key metric, 1991’s Metallica was certainly their high point–regardless of what purist, earlier-era fans thought.  That record, enabled them to do whatever they wanted for the rest of their lives.

On the success of 1991’s Metallica, I was a fan for good.  The degree to which I enjoyed that album ensured that I would buy every album hence.  They’ve all worked for me.  I liked 1996’s Load when so-called fans panned it.  I liked 1997’s Reload.  I liked 1999’s S&M, when they played with the San Francisco Orchestra–purist fans hated that.  And I probably loved 1998’s Garage Inc. more than any of them, where they covered other band’s songs. Some may remember when they did Seger, Skynyrd and Blue Oyster Cult covers.  I loved Astronomy, Breadfan and Mercyful Fate.  They interpreted and they jammed.  Metallica was growing their craft along the way.  Fans had to keep up.  Some weren’t up to the task.  They wanted the Metallica of old.

Metallica grew in directions that made sense to them.  Yet, each new record, including 2003’s St Anger and 2008’s Death Magnetic got even more visceral criticism–for ostensibly deviating from the original Metallica formula.  So-called fans criticized these records, and they were with Metallica just being themselves.  It shouldn’t be a surprise to any of us that now, as Metallica moves out in another direction, involving Lou Reed doing beat-like poetry set to their music, that these purist fans are going to be disappointed. Throw in the digital era and the fans’ rage can really take flight–in all its comedic splendor.

Metallica has endured and succeeded, despite pissing off some fans with each album.  They made records that reflected their interests, influences and experiences at that particular time.  Consequently, Metallica couldn’t make a “Kill ‘Em All” record right now if they tried. Likewise, they couldn’t have done Lulu 25 years ago either.  They had to do each record and endure each phase as it came, working through every crisis, addiction, death, and band shake-up to finally get to Lou Reed and Lulu. And they’ve earned the the right to do whatever they want, whether you or I like it or not.

Despite my record of liking each Metallica album since 1991, I didn’t buy Lulu right when it was released.  I knew it was coming out and intended to get it the day it became available. But, I too was swayed by the reviews–and the (90-second) song previews.  At first introduction, I found the Lou Reed talk-vocals slightly off-putting.  As a consequence, I held off on buying Lulu for two days.  Until I finally read a few reviews by some kindred spirit reviewers.  They hit enough of the nail’s head to focus my attention.  So, I re-listened to a few of the previews. This time I heard enough of the Metallica I knew and loved in these songs to buy the record.

And now, several listens later, I am completely sold.  Lulu works.  But you can’t apply pre-conceived notions or prejudices going in.  You have to suspend your musical expectations and just listen to the story.  It isn’t a Metallica record.  It’s a Lou Reed performance art record.  It is somewhat like going to a play or the opera—except that instead of an orchestra, you’ve got Metallica.  And Metallica still rocks~!  Even to Lou Reed’s poetry.

The songs that work best for me are: Pumping Blood, Mistress Dread, Cheat On Me, Frustration, and Junior Dad–the shortest of which comes in at just under 7 minutes long, the longest of which is over 19 minutes.  These are not pop songs.  This is Lou Reed’s modern opus–his returning moment–with a Metallica soundtrack.  It is dark.  It is heavy. It is powerful and intense—musically and emotionally.

Some folks aren’t ever going to get it.  They don’t like change.  They don’t want to go in any new direction and they are going to complain when it happens.  Of course!  These folks are now out in force.  To them, I say “get over yourselves.  Put down your smart-phone, put on some headphones and take-in the new Metallica – Lou Reed show.” It is a modern performance art show, with an inspired Metallica Soundtrack.  It is the newest, most intriguing, beat poetry/heavy metal  music available right now. And, if nothing else, it is polarizing the world.  Which side are you on?

Support the Musicians You Like.  Enjoy~! JDPF

Posted in Music Reviews | Tagged | Leave a comment

Red Hot Chili Peppers – I’m With You

Posted on November 2, 2011 by northernrockiesview

Music Reviews 2011 – Red Hot Chili Peppers – I’m With You

The Red Hot Chili Peppers are still kickin’, funky as ever, in 2011.  Despite the departure of guitarist John Frusciante, the Chili Peppers continue to throw down credible jams–filling a niche that only they occupy.  No other band sounds like the Red Hot Chili Peppers.  The band’s tenth studio album, entitled I’m With You, was released August 26th.  And while Frusciante can’t be replaced, the Red Hot Chili Peppers continue their arc of modern musical excellence, disturbing album cover notwithstanding.

The Red Hot Chili Peppers are:
Anthony Kiedis on vocals,  Flea on bass, Chad Smith (also banging for Chickenfoot in his spare time) on drums, and Josh Klinghoffer on guitar.  Fundamentally, the Chili Peppers have always seemed to be at the intersection of Kiedis and Flea–who have considered each other “brothers” since sharing time at L.A.’s Fairfax High School.  Chad Smith has also been a long-term, predictably positive force in the band’s sound too.

For all Chili Peppers fans, I’m With You seems to be a big litmus test record.  The question coming into this album was, would it all work without Frusciante? John Frusciante was the band’s second lead guitarist, first joining the band after original guitarist Hillel Slovak died of an overdose in 1988.  Despite the circumstances of his opportunity, Frusciante himself walked straightforward into his own opiate addiction.  He left the band in 1992, replaced for one album (One Hot Minute) by Dave Navarro (of Jane’s Addiction and Rock Star INXS – Supernova fame).

After getting clean, Frusciante rejoined the band in 1998, at Flea’s request.  Frusciante’s sobriety enabled him to contribute enormously to the band’s most successful albums ever. From 1999’s Californication (which sold 15 million copies), through 2006’s Stadium Arcadium (the Band’s first #1 album), Frusciante’s guitar and backup vocal flourishes would help the band rise to these new heights.  The band’s most iconic jams (e.g. Californication, Dani California, Charlie, Wet Sand, Tell Me Baby, etc) all carried signature Frusciante solos and layered backup vocals (of his making) that took them rightfully into the modern rock stratosphere.  These were the songs that set the hook in me for good.

There was a collective sense among Chili Pepper Nation that you just can’t replace that level of creative input.  And it is true.  You can’t.  Frusciante’s input is missed.  But, surprise, surprise, the Chili Peppers still have that signature, unique sound.  Funky, groovy, intense and endlessly energetic, they still know what it is that they do….and do it with unparalleled zeal.  Even without Frusciante, the Red Hot Chili Peppers still deliver that sunny California disposition in musical form.

For all of my respect for Frusciante’s creative inputs and guitar skills, he wasn’t the best musician in the band.  That perch goes unquestionably to Flea.  Born Michael Balzary, the man who became Flea is simply, the most distinct and powerful bass player in music today. He is arguably in the discussion with Chris Squire (of Yes), for the best (electric) bass player ever.   I’m open for other inputs on this discussion point…but the fact remains, no one right now, plays as distinctive and powerful a bass line as Flea.

For every memorable, signature Red Hot Chili Peppers song built around a Frusciante guitar solo, there are two more built around an unforgettable Flea bass-line. The last minute of Charlie, the third song on disc 1 of 2006’s Stadium Arcadium, has one of my favorite bass-lines ever recorded, with Flea’s frantic bass-line competing note for note with Frusciante’s wailing lead guitar, with both underscoring and complimenting Kiedis’ climactic vocal ending.  Lead bass isn’t something band’s do–unless your bass player is Chris Squire or Flea. But, when he’s your guy, the policy should always be, unleash him and watch the fireworks ensue!  He is a fireball of seemingly boundless energy.

On I’m With You, Flea hits another home run, or series of them.  He and Chad Smith compliment each other like biscuits and gravy.  Their rhythm line’s are consistently that tasty.  Throw on some Kiedis vocals and you have a musical California breakfast bar–sunny, warm, a little nutty, but full of everything you might want to start a bright day.

I’m With You is full of rhythm section (Flea-Smith) highlights.  Monarchy of Roses, Look Around, The Adventures of Rain Dance Maggie, all deliver the signature Chili Peppers sound. The album’s first single, The Adventures of Rain Dance Maggie, features (on top of a deliciously hypnotic Flea bass-line) Chad Smith delivering the best cowbell in a song since Blue Oyster Cult’s Don’t Fear the Reaper–which became even more memorable after Will Ferrell’s unforgettable rendition on SNL with Christopher Walken.

Within weeks of the album’s release, Look Around was being used as an intro/outro during the Major League Baseball Playoffs–once again, making me think I could be a Producer for ESPN sports, picking jammin’ songs that players and audiences alike will enjoy hearing while they watch web-gem replays.  Good, brand-new music is money in that role.  Look Around was a great choice, while not necessarily being my favorite.

My favorite song on the album demonstrates new guitarist Josh Klinghoffer at his best. Goodbye Hooray is a frenetic, pogo-fest, another song driven by Flea and Smith’s pounding rhythm line. But, taking it to the next level, is Klinghoffer’s most incendiary, front and center guitar solo on the album.   It feels almost as if the intensity of Flea’s bass-line demanded the utmost from Klinghoffer–and he responded accordingly.

It has been said, while Klinghoffer played in support of Frusciante, with the touring Chili Peppers, that Klinghoffer never really went straight at his solos like Frusciante did. Klinghoffer purportedly plays a more understated, more circuitously approached version of lead guitar.   Whether intended or not, it’s almost as if he’s approaching his role with appropriate respect–possibly leaving a door open for Frusciante’s return.  Whatever the case, Klinghoffer fits the band nicely and he does justice to this record, no question.

Left out of the discussion thus far is Anthony Kiedis’ vocals.  Some have argued that this is his best, most melodic work yet.  And those making such an argument discussed an improvement arc in his vocals over the years and records.  For me, I haven’t heard any of that kind of distinction.  Kiedis’ vocals, for me, remain rock solid.  He was good in 1991 on Under the Bridge (from Blood Sugar Sex Magik), and he remains good now.  His distinctive voice, as much as any of the instrumentation, carries that funky, bubbly, California feel. Kiedis is certainly comfortable in his role.  He delivers a swagger commensurate to fronting a band with the vast technical skills of his band-mates.

Kiedis, a native Michigander before moving to L.A., also delivers geographic references in his lyrics/vocals (e.g. Especially in Michigan, Dani California, etc) with a frequency like few others. On this record, on Look Around, Kiedis gives a shout out to Fayetteville, singing “this one goes out to Fayetteville” rhyming it, in his own inimitable style with “it’ll come true if you say it will.”  That’s almost as cool for Fayetteville natives, as hearing We’re an American Band’s “all the Chiquitas in Omaha” changed to “all the Chiquitas in Tahlequah” was to us college punks in Tahlequah back in 1985.  “Woohoo, he’s singing about us” is the only logical conclusion.  Crowds dig it.  Kiedis knows this and delivers, time and time again.

I love a lot of bands for a lot of reasons, but the Red Hot Chili Peppers have their own unique place on that list.  Listening to the Chili Peppers always takes me to a happy place. I’m always upbeat while hearing them play. Flea is an amazing talent.  And Smith plays cowbell better than anybody since Will Ferrell, on top of being a top-notch all-around drummer.  It does my heart good hearing a band throw themselves into their craft.  And with the Red Hot Chili Peppers, commitment is never a question.  They are “all in, all the time.”  I suspect that that is the secret to their success.  When they stop doing that, it will be time to hang it up and walk away.  Until then, I’m with them.  What about you?

If you’ve liked any of the Chili Peppers previous works, then I’m With You is a record you might also like.  But, you’ll just have to see for yourself.  Or not.

Support the Musicians You Like~!  Enjoy JDPF

Posted in Music Reviews | Tagged | Leave a comment

Evanescence – Nope, Quite the Opposite~!

Posted on October 27, 2011 by northernrockiesview

Music Reviews 2011 – Evanescence

In case you’ve been in a hole (or on BlackBerry’s network), and your i-Tunes access has been interrupted, I’m announcing specifically for you that Evanescence has just released their third studio album.  This self-titled release delivers the same epic grandeur, the same heavy guitars, orchestral layering, and brilliant, emotive vocals that we’ve come to expect from Rock Goddess Amy Lee.   But like some other high-quality gear, from ski boots to running shoes, it just takes a little “wearing in” to find that familiar, magic fit and feel.

Amy Lee has come a long way since the mid-90s launch of Evanescence back in Little Rock.  She and Ben Moody were destined to set the world on fire, first working under the Christian label Wind-Up Records.  The songs they worked on for years, ultimately crossed into the mainstream with the release of 2003’s Fallen.

I bought Fallen during my third Korea tour because it had occupied the number 1 position on the Post Exchange (PX)’s music charts for literally months.   Having bought and loved Linkin Park’s Hybrid Theory, a few years prior, for exactly the same reason, I thought “what’s the worst that could happen?”  Worst-case, I wasted $12. It was worth that much just to see what everybody else was drawn to–whether I personally liked it or not.

Of course, I was smitten with Fallen from the first note of Going Under.  Fallen was truly a “start to finish” jam.  It was the perfect accompaniment for a Camp Walker garrison perimeter walk.  With Fallen, Amy and Ben had entered the “big time.”   Their songs carried some Christian overtones—but from a dark and uncertain place. Amy’s belting of “My God, My Tourniquet, Return to me Salvation” seems to get at the heart of the issue in 10 words or less.  “Save me from myself” was a central theme that would recur on each of the subsequent records.

Amy Lee is an artist after my own heart.  She mixes the big riffs with the big voice, under a dark but picturesque, layered sky. Grand, eloquent, powerful, haunting, relentless, hers is a world where big is everywhere. And yet, she seems at her best in the quietest, tender moments–during the calm that precedes and juxtaposes the fury that always comes.

Amy Lee does music like it deserves to be done.  Music powerful enough to serve as a backdrop, as the soundtrack for the most important, heaviest events in our lives.  She just captures and channels that visceral earnest with guitars, piano, gowns and orchestra.  She’s the God-fearing Goth girl blessed with the voice to match the grandest of guitar and piano based rock.   And she REMAINS up to her task.

My first familiarity with Amy Lee came from hearing her accompanying Shaun Morgan and Seether on Broken–the theme-song from the movie The Punisher.  On it, she delivered, quite simply, a stunningly powerful vocal.  I’d bet you’ve heard it.

The stunningly powerful vocal is Amy’s signature.   The new Evanescence continues to showcase her power.  It works on a number of levels.   But, it has drawn some mild criticism.  Some fans of yesteryear complain that it doesn’t deliver the radio-friendly ear-candy of Fallen.  I would submit that the only difference between this record and the earlier works—is that there are less vulnerable moments here.  She doesn’t go piano-only, soft and tender, like she used to.  I can’t explain why….but it strikes me as a by-product of her being run through the celebrity spin-cycle a few more times than perhaps she was comfortable doing.

Arguably, the second record, 2006’s The Open Door, delivered less radio friendly music than Fallen too.  I remember being initially disappointed at its first listen, only to fall in love with those songs as they became familiar.  Having experienced that in 2006, I wasn’t dissuaded at first listen this time. After a half dozen spins, the new songs are wearing in and it feels like Amy is hitting on all cylinders again.  She still delivers the earnest, hypnotic piano, while the guitars are ever thunderous, the strings sublime, all with vocals that exceed the thunderous sum of all parts.  She remains simply magnificent!

It is true, there are less radio-friendly hooks here.  It is hard to write radio friendly music….that is also true to roots and self-imposed standards.  Amy purportedly has more than her share of the latter.  Allegedly, at the root of her and Ben’s break-up, was his desire to work toward the radio-friendly hook, whilst she wanted to remain true to their grand, epic and darkly symbolic story-telling, radio be damned.

Amy and Ben were a volatile couple.  They made magic, they burned bright, and they were destined to go their separate ways.  Their failed relationship giving fodder to songs on The Open Door–most memorably, Call Me When You’re Sober comes to mind.  Amy writes what she feels. And when she feels pain,  the hurt seems to make for better music.  Bad relationships seemingly translate to good songs.  Cha-ching, cha-ching.  Keep ’em coming.

And as the release of this record indicates, Amy and the band just can’t live up to the definition of their band-name. Evanescence, for the uninformed, is:  the event of fading and gradually vanishing from sight (according to the Princeton online dictionary).  Amy and the band seem here to stay.  Evanescence may not sell as many records as the earlier albums, but it will get skied to this season–God willing.  Evanescence is the perfect backdrop for the grandeur of the Big Mountain steeps.

Perhaps this season I’ll marry up some epic HD ski video with an Evanescence sound-track.  I can’t wait to give that a shot.  Stay tuned.

Support the Musicians you like!  Enjoy JDPF

And because I like bonuses–below is my “Best of Evanescence” playlist.

  1. Going Under – from 2003’s Fallen
  2. Bring Me to Life – from Fallen
  3. Everybody’s Fool – from Fallen
  4. My Immortal – from Fallen
  5. Tourniquet – from Fallen
  6. Imaginary – from Fallen
  7. Sweet Sacrifice – from 2006’s The Open Door
  8. Lithium – from The Open Door
  9. Snow White Queen – from The Open Door
  10. The Only One – from The Open Door
  11. The Change – from 2011’s Evanescence
  12. My Heart is Broken – from Evanescence
  13. Erase This – from Evanescence
  14. Lost in Paradise – from Evanescence
  15. Never Go Back – from Evanescence
Posted in Music Reviews | Tagged | 1 Comment

Home Improvement – Murph-Style

Posted on October 24, 2011 by northernrockiesview

We’ve all heard it said, some people “have more money than sense.”  And while most folks I know have nowhere near the kind of money that this adage conjures, many of us also lack the basic common sense to compete with even modest money.  Count us among both groups–those with more money than sense, and those where that’s not really saying much–since we don’t have much money either.  But we do have good taste nonetheless.

If you need a new window–a big one–and have little money to work with, what do you do? You ask a relative.  Right?  You offer them the beverage of their choice and go for it.

That’s it.  And it’s especially so if you are a Murphy. No self-respecting Murphy would pay someone else to tear-down and rebuild something when a family member would actually “enjoy” doing it for you.  Or enjoy leading a motley group effort.

Our living room’s west wall had included an 8-foot wide sliding glass door.  The base of which had gotten snowpack condensation-related rot for years.  Our vaulted living room ceiling is nice…but the roof right above it is steep.  Two inches of snow sloughs off into foot-deep piles on the deck just west of that wall/slider.  A couple of days of snow in a row, followed by a slight warm-up, then overnight freeze…and voila, it’s officially a mini-glacier and impossible to shovel.  We soon abandon the effort.  The result looks like this:

After a couple of seasons of deep, deep snow…and the recent announcement of another upcoming La Nina year (which usually portends deep-snow), we knew we must replace the old, rotted framed slider.   So, in comes Kevin Murphy–proud new owner of 21 magnificent acres of Flathead Valley foothill land west of Whitefish.  

He was going to be here anyway and he was up to the task of window replacement. If you owned this view (above), you’d happily spend time here too. Is that spectacular or what?

Before we began, I had to capture the “before” photos.

The project began with official “before” photos inside and out.   Inside above.  Outside below.

The first step was to move the hot tub wiring out of the way and then remove the siding.

It is both a testament to how quickly Kevin works…and to how lame your official photographer was…that I have no pics of the slider coming out.

In short order, the door was gone and the framing already underway.

The project was a total “team” effort.  In the same sense that the Indianapolis Colts are a team (both with and without Peyton Manning–but they are 0-7 right now).  In our case, Kevin played the healthy Peyton Manning role.   It couldn’t have been done without him, while the rest of us worked within our abilities.   Below, Lynette was staining the alder wood–to be used on the inside trim in a few days.

Kevin continued the framework.  “Measure twice, cut once” was the mantra.

Once the framework was done, there was nothing else to do but lift in the window.  So the elder Murph, with his soon to be repaired back, jumped into the fray–or the photo, I’m not sure which.

And since I couldn’t lift and take pics at the same time, there is no photo record of the lift. Maybe I should’ve outsourced the photography gig.

All of the sudden, the window was in.  It’s all downhill from there. Right? Or is it?

Well, first you’ve got to add the foam-board insulation layer.

The insulation helps keep the hot hot and the cold cold. Duh.  Yeah, go ahead and add another one to the “sense” (vs money) column.

Then you add the Hardie-Board Siding.  This guy Hardie was smart enough to know that concrete based siding was both “hearty” and fire-resistant.  It was fortuitous for him that his name was synonymous with strong.  Hardie Board is strong….but not as strong as Kevin’s work ethic.

And it looks good too–especially once the vertical trim pieces were added on top.

All it needed here was the paint.  Outside at least.  Still had to do the inside work–drywall, paint, alder-wood trim, etc.

Of course, the Peyton Manning effect notwithstanding, the Elder Murph continued to direct the action.   He was to have his back surgery the next day.

Kevin did the drywall.  A few days later, while Mike was convalescing, I did the painting.

Then Kevin did the trim…and voila.  Mission Complete!

Victory!  It’s all over…..except for the painting outside….which I would do later.

Above–the paint job underway.

And once the painting was done, it was time for the “After” photos.

Above–the inside view with room put back together.

The outside view–all it needs now is the light fixtures.  But that’s another project.

And finally, the overview from the balcony shows you the eagle’s nest perspective.  Makes you want to drop in and visit, doesn’t it?  Ski season is just around the corner, time to start the planning and coordination–or at least the discussion.

We think the new window looks great!  Our enduring thanks to Kevin and Lynette Murphy for volunteering their time and talents to our “low budget” home improvement project. We definitely owe you one! Or several!  And we look forward to spending more time with you over here in Montana! JDPF

Posted in Home-based Miscellany | 2 Comments

Linda Jo Bates – Tribute

Posted on October 13, 2011 by northernrockiesview

Linda Jo Barnett was born in Lepanto, Arkansas on Christmas Eve, 1944.  The fourth daughter of Bruce and Laura Ruth Barnett, she had three older sisters–Betty Jean, Peggy Jane, and Brenda Joan, the latter of which was born two years to the day earlier.  They were born into a strong matriarchal construct of a family.  Their mother Laura Ruth would have it no other way.

I knew Linda Jo, as Aunt Jo.  She was my mom’s baby sister.   The fact that her oldest daughter Joni was closest to my age of any of my cousins–combined with the fact that we lived in the same town, meant that we got plenty of time together.  I think we were all enriched by it.

Linda Jo Barnett, became Linda Jo Bates, on April 3rd, 1963, marrying John Bates, in Dallas, Texas.  They would spend nearly 40 years together, in good times and bad, in sickness and in health.  The best of what they created together, ended up being named Joni and Judi, their two daughters, my cousins.

Aunt Jo died nearly ten years ago.  She succumbed to breast cancer after a rudely abrupt six month journey.  From the first diagnosis, to her death surrounded by those who loved her most, she never gave up her fight.   It was a sad tragedy.  She had so much life and wisdom in her.  We all drew strength from her presence.  We feel cheated that we didn’t get to share any more time with her.  And we feel blessed for the time we did share.

For me, Aunt Jo was the source of many profound life lessons.  Some of the beliefs and traditions I hold most dear, I remember first having conscious awareness of them, while being around her.  From embracing family with joy and gusto, to being responsible and accountable for your own behavior, she set an example that few can match.  She truly navigated life with a sense of purpose and self-assuredness that have proven, over nearly half a century of dealing with people, to be truly extraordinary.

At the top of the list of extraordinary attributes, Aunt Jo was the first “superstar” I ever knew.  For me, she was the first person I saw who always seemed to know the right answer, always seemed to get the important things right.  And she was the first person who clearly demonstrated that you didn’t need fame or societal recognition to be a “star.” It was liberating and life altering, knowing that you could be enormously important, without any need for fame or fortune.  It was true during her lifetime, and arguably even more so now, that fame and widespread public recognition are no indicator of one’s character or worth.

In these days of mindless “tweets” and social network followership, I wonder how Aunt Jo might feel about these conventions.  I suspect that she would see them for what they are—as tools.  Tools are supposed to be used, for our convenience, to enable our own individual “pursuits of happiness.”  They aren’t worthy of dominating our time and attention mindlessly, and especially if they do so at the expense of things that matter.

When we were kids, Aunt Jo was known to us nieces/nephews as a “no-nonsense” authoritarian.  She was loving and she was fair, to be certain, but when she said no, we knew better than to quibble or question.  As I grew older, I learned to appreciate her consistency and the rationale behind the boundaries that she set.  She was principled.  She wanted us to have fun and be happy, but not at the expense of our own safety and well-being.  Fun matters and is worthwhile, but some things are more important–and self-preservation is chief among them.

Aunt Jo worked hard in her life.  She was successful in everything she applied herself toward, by every measurable standard.  She also ensured that those around her had abundant opportunity.  She worked at nurturing and keeping a strong family. When her own mother Ruth, died in 1986, Jo was the one who would fill the vacuum.  Despite being the youngest of four daughters/sisters, she was the one who had the ‘gravitas’ to take on the Matriarch role.  She would host the Christmas and Thanksgiving gatherings with all the zeal we’d grown up enjoying. All of us would continue to gather like we always had.  It was a constant…and it was a source of strength for most of us.

Upon Aunt Jo’s passing, the matriarch role hasn’t completely been filled yet.  We all appreciate our family still, but we aren’t as unified as we once were about gatherings and our role therein.  The family has grown in many directions since then.  Us kids and cousins have all grown up.  Most have families and kids of their own.   Most of those kids are quickly becoming adults.   We are all busy….and we are all “doing our own thing.”

As I moved from installation to installation across my Army career, I saw Aunt Jo fairly infrequently–maybe a couple of times a year, in a good year.  During this period of my life, Aunt Jo became less ambiguous and more direct in our interactions.   At some point during our day or two together, she would invariably make it a point of telling me, “we love you” and “we are very proud of you.”

Looking back on the time-period she was telling me these things, while I was in my 20s and 30s, I have subsequently realized that I didn’t have “the ears to hear” her message then.   As I have grown older, and as my own nieces and nephews are reaching their 30s themselves, I remember Aunt Jo’s example.  I get where she was coming from.  I see the wisdom and maturity of her message.  It still isn’t easy for me to be overtly direct and loving to those I care most about, but I understand the need nevertheless.

Life is unpredictable, time is often shorter than we’d like.  And you never know what may come, what tragedy or crippling disease tomorrow might bring.  Aunt Jo knew a fair amount about those things, since before her inflammatory breast cancer diagnosis, she had already endured a few years with multiple types of lupus, an autoimmune disorder.  I think this ongoing adversity may have given her a greater sense for that which mattered most.

She knew that, despite its difficulties, life is good.  And life in a strong, loving family is better.  And doing your best to care and nurture those things, is the best thing we can do to make life good for those around us.  So, go for it, without hesitation.  For the handful of folks in this world who are comfortable with and actually WANT to be in your presence, embrace them, treasure them, and enjoy the time you have together, while you can.   And if you are a leader, a person of responsibility in the group, embrace it and fulfill your role. Look folks in the eye, tell them you care, and expect the best of them too.  The whole clan needs everybody’s best effort, so do your part.  Aunt Jo lived these tenets better than the rest of us.  She set the standard that the rest of us still try to attain.

To Aunt Jo I would say,  we are who we are because of you.  You were a magnificent role model.  I believe you would be enormously proud of the mothers that your daughters have become.  Joni and Judi have both inherited your strength and determination. They clearly have invested themselves in their children like you did.  I would submit that they are still working on the effortless part that you seemed to exude though.  And I know you would be even more proud of the people your grandkids are becoming.   Liz, Colton and Emily are becoming all that they are supposed to be–because they are loved, nurtured and provided for, just like you wanted for them to be.  We all miss you for certain but these kids are the ones who missed you the most.  I hate it for them.

Your life was cut short, in fairly short order.  Your passing was abrupt and difficult.  And yet, I know I still draw strength from how you dealt with the adversity you faced.  You lived your life with clear purpose and you invested in the people and things that mattered. Because I saw how you lived, I feel better equipped for whatever adversity I may face down the road.   I know I don’t take growing old as a given. Better folks than me have gone before me, showing me how tough and short life can be.  You did so with effortless grace and beauty.

With you, we always knew where you stood.  You were exactly as you appeared–forthright, direct, and clear-minded.  To my dying day, I can only hope to be just like that. Thank you for your good example.   I look forward to seeing you on the other side.   I loved you too….and was proud to be in your clan…even when I was too busy taking things for granted.  May you rest in peace saving a big, comfortable place for the rest of us.  JDPF

Posted in Tributes | Tagged | 1 Comment

Chickenfoot III – Rocks Hard~!

Posted on October 8, 2011 by northernrockiesview

Music Reviews 2011 – Chickenfoot III

SuperGroup Chickenfoot has just delivered its SECOND studio album, released September 27th, 2011. Casting aside numerical convention, it is inaptly titled III, which is half again more than it needed to be. While they were ironically irreverent and unconventional with their titling, they were predictably straightforward with the music. Chickenfoot III rocks hard, picking up right where Chickenfoot I left off.  And yeah, I know.  Like Napolean’s Corporal, you were told there would be no math. I promise there won’t be any more.

Chickenfoot is Sammy Hagar, Joe Satriani, Michael Anthony, and Chad Smith.  They occupy an increasingly desolate niche in today’s music–your basic, 80’s style, straightforward brand of rock n’ roll.  You hear some of the same Van Halen-esque pomp and thump that Sammy Hagar and Michael Anthony rocked in their Van Halen years.   You also get numerous Joe Satriani shred-breaks, and you get the funk-infused drumming from Chad Smith (of Red Hot Chili Peppers fame).   It all works for me–better even than the Sammy Hagar era Van Halen did.   Maybe it’s because they are so alone doing this genre right now.  I’m starved for heavy, propulsive, gimmick-free rock n’ roll.

Chuck Eddy reviewed this album in Rolling Stone’s October 13th Issue–describing the music as “big-boned butt rock.”  I don’t have any idea what that means, but I do know that it works on a lot of levels.  Eddy went on to say that “It’s hard to hate big-boned butt rock from guys clearly making it because they still love the form.” I couldn’t agree more, while still not knowing what he’s talking about.  It must be a California thing–that need and expectation to “hate” it before you hear it–and to still diss it, even when you don’t hate it.

What I do know is that the Chickenfoot’s song formula works consistently on multiple levels. Anthony and Smith lay down heavy, funky grooves.  Hagar offers timely, relevant vocals singing about current issues (just like he always has–from “I Can’t Drive 55” to “Right Now” to “Avenida Revolucion”).   And Satriani shreds like a madman–only tastefully constrained to fit the model/song structure.  What’s not to like about that?

Chickenfoot, quite simply, are mature rock masters delivering graduate-level, hand-crafted rock n’ roll music.  If Chuck Eddy sees something different–requiring body parts to form his description–well, to him I’d say, knock yourself out.  Seriously.  Ok, I’m just joking….but maybe you could use some time off. Maybe a trip to Cabo would clear your head and give you some fresh ideas for writing reviews?  They’re only 100-word reviews.

Maybe Chickenfoot left Eddy off the VIP backstage list.  Maybe he got no free shots at Cabo Wabo (Hagar’s famous club in Cabo San Lucas, Mexico–where the band got their start, playing for fun).  Who knows why Rolling Stone critics are so consistently at cross-purposes with my own gut reactions?  Perhaps it’s as simple as critics must be critical.   And I’m not a critic.  I’m a music fan–looking for music that strikes the inner chords. I don’t write if I don’t “feel it” on some gut level.  For me, Chickenfoot just works.  They get me moving every time.

And I don’t think I’m the only one.  My instant, first favorite song, Up Next, was used during the Major League Baseball playoffs during intros.  This album came out last week. Clearly, I wasn’t the only one anxiously awaiting its release.  Some production staffer from TBS/ESPN was doing it too–and went straight for the same song I’d have chosen for an “amping up the crowd”-style intro.

Up Next takes you for a ride-along–on the blistering gallop of Satriani’s lead guitar layered over the heavy rhythm line layed down by Smith and Anthony, while Hagar sings of showing up to the Pearly Gates with his swimsuit and flip-flops on.   Irreverence meets irrepressible exuberance, expectation, and entitlement.  It is classic 80s excess, tastefully refined to a modern sheen.

Big Foot delivers a similar ride-along vibe, only with a slightly slower, funkier but still very heavy groove.  This propensity for heavy, funky rhythm grooves has to be at the heart of Eddy’s “big boned butt” reference.  Anthony and Smith definitely deliver a meaty rhythm framework for Hagar and Satriani to scream, wail,  jam and riff upon.

Chickenfoot also delivers the gold-standard, offering not one, but two quality sing-along ballads–Come Closer and Something Gone Wrong.  Of course, these songs, like the 80s power ballads they are reminiscent of, also rock hard too.   Satriani jams in every context, on each song of the album.  As it should be!

Chickenfoot III is a worthy spin.  If you listen and it doesn’t make you move, I’d say, in the unforgettable words of Texas Governor Rick Perry, “I don’t think you have a heart.”  Or maybe you have a job at Rolling Stone.

You’ll just have to listen and decide for yourself.  Or not. Suit yourself.

Support the Musicians you like.  Enjoy~! JDPF

PS: Thanks again to Scott Morris for bringing these guys to my attention a few years ago.

Posted in Music Reviews | Leave a comment

Joe Bonamassa – The Rest of the Story

Posted on September 29, 2011 by northernrockiesview

Music Reviews 2011 – Joe Bonamassa Complete Solo Discography +

You knew I wouldn’t rest until I got to the bottom of the rabbit-hole.  That is, if you actually know me.  I’m almost there–I can see it from here and yet, the Joe Bonamassa story remains an abiding passion.  I’m still getting to know his catalogue.  Proverbially, I’m wearing it lately like “comfortable shoes.” Napoleon’s corporal (my blog-food taster and foremost critic) isn’t yet as enamored as I am.  No sweat, we must all be true to thine selves, and be honest about it.  Fair enough.

I’ve listened, I’ve read, I’ve watched concerts on TV, and I’m starting to get a feel for Joe Bonamassa as an artist.   He is an amazing guitarist.  His skills are world-class; his work-ethic unequaled.   His fan-base is enthusiastic and growing….but nowhere near what he deserves.  I can only chalk the disconnect up to “complexity theory” (but that’s another article).  But disconnect or not, Joe Bonamassa is the real deal, a modern master–the best and most prolific guitarist of his generation.

Joe Bonamassa is a blues-rock guitarist.  He has 12 solo records.  I now own each of them on CD.  And I own both of his Black Country Communion (SuperGroup) CDs too.  I have my eyes on a Beth Hart – Joe Bonamassa CD, the last thing I know that he’s worked on that I don’t already have.  I’ve done a two-month Bonamassa-fest and have formed some opinions about his music.  Here’s the rest of the story that I began last month.  This is my thoughtfully considered, “worn-in” review of the man, his works and his fanbase.   I’ll review his entire solo discography and Black Country Communion work.  But, I’ll start with the fans.

Joe Bonamassa has multiple demographics among his fans–but they can generally be broken into two camps.  Camp one consists of his “blues” fans, who are partial to his earlier works and especially partial to his 2003 “Blues Deluxe” release.

Camp two of the Bonamassa fans are those who prefer Joe’s versatility and rock edge.  I find myself mostly in this camp.  Not that I dislike his blues, far from it, but I just prefer his heavy rock style.

Bonamassa’s records have demonstrated an evolving growth and maturity as an artist over the years, but all of his success has been made possible by his deep and abiding talent and guitar-skills–which were clearly manifest from the very beginning of his solo career.

Bonamassa’s professional career has been said to have basically two parts. The first began in 2000, with his “A New Day Yesterday” release, and went up through his 2004 release, “Had to Cry Today.”  This period of his career was generally characterized by him showcasing his skill-set.  His guitar mastery was perpetually on display and the emphasis was on making sure you got it, that he was a technical master.  Mission accomplished.

The second phase of his career, began with the introduction of Bonamassa to his current producer, the South African-born, Kevin Shirley.   This phase of his career includes all releases from 2006’s “You and Me” to present. From then until now, greater effort was applied toward the “whole package”–with slower songs, more overall instrumentation and texture, and improving, soulful vocals, adding to the given of Joe’s superior guitar skill-set.

Since “You and Me,” Bonamassa has perpetually exuded a comfort and ease in his place. His skills are still manifest, in virtually every song, but his songwriting, his vocals, and his packaging are clearly more mature.  No matter who he plays with, he fits magnificently. He is truly a pro–a virtuouso, but full of humility and generally without pretense.  How refreshing is that notion?

All that said, I love each of his records in some unique way–for the influences I hear, for the stunning, “jaw-dropping” covers, and for the guitar wizardry.  Some artists start strong and eventually fade away.  Others start slow and grow into greatness.  Few start strong and stay strong, through all evolutions in their craft.  In this Bonamassa is truly worthy.

The anatomy of a Joe Bonamassa record is basically, 6-8 cover songs, usually blues-based, but not always, with the other 4-6 songs being Bonamassa originals.   It is a testament to him, that it varies from record to record, whether the best, most memorable songs are covers or originals.  In each case, where I knew the song he was covering before-hand, he did them better than the original.  I haven’t heard a song yet that he didn’t cover magnificently.

So, without further delay, the NorthernRockiesView of the complete Joe Bonamassa discography follows:

Year 2000 – A New Day Yesterday – A Shred-elicious Debut.  Bonamassa delivers the chops.  Songs of import include the first great Bonamassa original Colour and Shape, the Jethro-Tull covering title-track, the Rory Gallagher cover Cradle Rock, and Nuthin’ I Wouldn’t Do.  Despite naming a few favorites up front, this, like a number of other Bonamassa albums, is a start to finish listen.   With a number of upbeat, rapid-fire tempo songs here, it makes for a terrific work-out accompaniment album.  I only wish I had discovered it new back in 2000.

2000 – A New Day Yesterday Live – The last of 60 shows supporting his debut album was recorded for posterity. Dismissed as unnecessary by i-Tunes’ official reviewer, this gem was, ostensibly, released to highlight the incendiary nature of Joe live.  It was, if nothing else, early recognition of the longstanding adage–Bonamassa is best beheld live.  That alone sets him upon some very elite company (as Rush fans will attest). This record’s official i-Tunes review highlights why I do my own reviews.  That i-Tunes reviewer is full of sh*t…but I digress.

2002’s So It’s like That – Excellent follow-up, Sophomore studio effort.  This is the first record where I think I hear Stevie Ray Vaughan being channeled, especially on the title track and Takin’ the Hit.  Other important tracks include the original Bonamassa epic, Pain and Sorrow.  In the same spirit as the Ted Nugent classic Stranglehold, Bonamassa leads you through ten minutes of layered, multi-textured guitar gymnastics—all underscoring the fact that real-world pain and sorrow can be deep, complex, thorough and utterly relentless.

2003’s Blues Deluxe – Bonamassa’s tribute to the Blues Masters – he not only covers B.B. King, John Lee Hooker, and Buddy Guy, etc.–but he also does it imitating their unique styles.  Again, he appears to be emphasizing his skills.  Notable tracks include:  John Lee Hooker’s Burnin’ Hell–a George Thorogood sounding stomp; the Rod Stewart/Jeff Beck penned title track, Blues Deluxe, originally on Jeff Beck’s Truth, B.B. King’s You Upset Me Baby, and the Bonamassa original Woke Up Dreaming.

2004’s Had to Cry Today – Some have called this a country-influenced Bonamassa. Others have called this a second chapter of Blues Deluxe.  It is certainly a blues-forward, rock secondary record, more like Blues Deluxe than his first two records. This is probably his least appreciated effort but not for any good reason.  Notable tracks include the B.B. King cover of Never Make Your Move Too Soon, the Blind Faith (Eric Clapton, Ginger Baker, Steve Winwood, etc) covering title track, and the Bonamassa original Around the Bend.

2006 You and Me – The first of my Bonamassa favorites.  Delivering no less than six songs that are staples of Bonamassa’s live shows, this the first Kevin Shirley produced album. Of these songs, my favorite remains the Led Zeppelin cover Tea For One.  But, favorites aside, this is another start to finish listen.  Just press play.  Joe’s songwriting skills are again manifest on Bridge to Better Days and Asking Around For You.  Other notable, attention-grabbing highlights include the classic So Many Roads, and the blues-harp infused Your Funeral My Trial.

2007 Sloe Gin – Another start to finish masterpiece, cementing the value of Kevin Shirley’s influence.  It starts with a pounding Ball Peen Hammer and drives through One of These Days, and then offers an interesting and familiar cover of Seagull (the theme song from Jonathan Livingston Seagull).  The title track is a Bob Ezrin and Michael Kamen penned song.  He also offers a more polished reprise of Around the Bend (previously released on Had to Cry Today).  That track alone shows the emerging maturity and growing soulfulness.

2009 Live From Nowhere in Particular – Released just months before his Royal Albert Hall performance, some redundance in song choice exists.  But, as all of his live show recordings indicate, it isn’t superfluous. This record clearly demonstrates Bonamassa’s remarkable live-show consistency.  You can listen start to finish and not hear a single mistake.  It also demonstrates another Bonamassa live signature-the classic-rock/ prog-rock mash-up  A New Day Yesterday/ Starship Trooper/Wurm.  Who among rock classicists doesn’t love the idea of a sensibly crafted Jethro Tull-Yes mash-up?

2009 The Ballad of John Henry – My favorite Bonamassa solo record – heavy, bluesy, funky, emotional,  and exhilarating. It is another start to finish jam. The title track leads off, delivering the message that Bonamassa has his “A-Game.” Emerging from this great song list is another Bonamassa penned classic – Happier Times. Written from the lowest emotional place he’d ever been, it clearly shows the Bonamassa tether to the truth.  The more he hurt, the more emotive he wrote and played–a special quality indeed–a true chills inducer.

2009 Live from the Royal Albert Hall – Bonamassa’s “I have arrived” moment. Playing in front of thousands, sharing the stage with Clapton, he delivered on the biggest stage.  Among many favorites, but rising above, is the show closer–Asking Around For You.  This song is from You and Me…but the live version grabbed me more. What a wonderful sentiment is embodied in the lyrics–“if I get to heaven, and I hope I do, before I meet my maker, I’ll tap an angel on the shoulder, and I’ll be asking around for you.”

2010 Black Rock – Recorded in Greece, this record breaks slightly from the previous mold, building on the big band accompaniment sound that he enjoyed at the Royal Albert Hall. Taking advantage of local musical flavors, Bonamassa covers Jeff Beck’s Spanish Boots to Leonard Bernstein’s Bird on a Wire, adding unique layers (from flute to sax to bouzouki) not heard on any other Bonamassa record.  The record includes a B.B. King collaboration on Night Wire.  My favorite track, it would figure, is the heavier, straightforward, blues-rock track, Blue and Evil.

2011 Dust Bowl – The newest Bonamassa solo record–the one that got me scratchin’ my head.  Who plays a song about a slow train, that starts off like a slow train starting up? That’s original, that’s epic, that’s new….and prompted my first question–“who is this guy?”  I certainly had no idea how profoundly he would ultimately hook me.  He’s dragged me to the bottom of his solo rabbit-hole, and I’m looking now for his collaborations.  Dust Bowl is as individually worthy as any of his other records. Bonamassa is a master who delivers every time.

2010 Black Country Communion – Bonamassa’s “Supergroup” with Glenn Hughes of Deep Purple, Jason Bonham, and Derek Sherinian (Dream Theater).  These guys rock.  Hearing them play hearkens Zeppelin, Deep Purple, and Dio-era Black Sabbath, sometimes in the same song even. What a refreshing neo-classic rock sound. This record includes another Bonamassa penned classic, Song of Yesterday.  This eight minute epic includes 4-minutes of guitar-solo, except that it’s layered over Bonham and Hughes rhythm line, with accompanying strings.  This form, perhaps best exemplified by Zeppelin’s uber-classic Stairway to Heaven guitar lead, hasn’t been done this good since the 70s.  Simply stunning.

2011 Black Country Communion 2 – A worthy follow-up to their debut–except that it doesn’t include another “Song  of Yesterday”-like classic.  It does channel more Jason Bonham being his father’s son–proving the adage that the “apple doesn’t fall far from the tree.” This record also highlights Bonamassa’s songwriting prolificacy.  Given that this is his 4th record since 2010, I’d say that makes him unequaled in this day and age.  Glenn Hughes, who’s was in Deep Purple before Bonamassa was born, has pronounced Joe “The Man.”  I couldn’t agree more.

Simply put, Joe Bonamassa is the best guitarist of his generation.  The fact that many still haven’t heard of him, is nothing short of a crying shame–an unyielding source for writing, playing, and channeling some more Blues.  I suppose if he wanted to be better known, maybe he should auto-tune some vocals.  To that I say, NOT!!!!

On that note, here’s my official, right now, guaranteed to blow your socks off “Best of” Joe Bonamassa playlist:

  1. Song of Yesterday – from 2010’s Black Country Communion
  2. Happier Times – from 2009’s Ballad of John Henry
  3. Tea for One – from 2006’s You and Me
  4. Pain and Sorrow – from 2002’s So It’s Like That
  5. Slow Train – from 2011’s Dust Bowl
  6. Dust Bowl – from 2011′ album of the same name
  7. Ballad of John Henry – from 2009’s album of the same name
  8. Blue and Evil – from 2010’s Black Rock
  9. Burnin’ Hell – from 2003’s Blues Deluxe
  10. The River – from 2004’s Had To Cry Today
  11. Colour and Shape – from 2000’s A New Day Yesterday
  12. Last Kiss – from 2009’s Live at the Royal Albert Hall
  13. So Many Roads – Live From Nowhere in Particular
  14. Another Kind of Love Live From Nowhere In Particular
  15. One of These Days – Live From Nowhere in Particular
  16. Asking Around for You – from 2009’s Live at the Royal Albert Hall

As always, Support the Musicians that you like~! JDPF

Posted in Music Reviews | Leave a comment

Joe Bonamassa – The Best Guitarist You’ve Never Heard Of!

Posted on August 31, 2011 by northernrockiesview

~ Until Now!  Because that’s what I’m here for! ~ JDPF

Music Reviews 2011 – Joe Bonamassa

Wow! Twice in one year, I’ve been stunned by my own ignorance of music.  I now concede, in Rumsfeldian terms, that “I don’t know what I don’t know” about music, artists and their craft.  First it was the Black Keys and now its Joe Bonamassa.  Have you heard of him?

Kudos and respect to those who know his music.  Once you hear him,  you can’t take him lightly.  When you hear him, you take note.  As one reviewer has said, “Joe Bonamassa is to the guitar what Liberace was to the piano.”  I don’t much remember Liberace’s relationship with the piano….but I think I get his point. Bonamassa is beyond a virtuoso; he’s as good or better than anybody else out there–but don’t take it from me, the Rumsfeldian ignorant, listen and decide for yourself, and join the debate.

On a recent trip to Tulsa, I was given Bonamassa’s new album, Dust Bowl, by a good friend–Gaynor Morris.  We didn’t really discuss it, since it was among a few other CDs, and we were working on other projects at the time.  I’d never previously heard of Bonamassa, and without any input, I didn’t jump right to listening to it.  It was maybe a week or so later, after I got back to Montana that I gave Dust Bowl a spin.  And from the first drum beat of Slow Train (the album’s first song), until now I can’t stop uttering the word “wow.”

Slow Train begins with a brush beat on a snare drum, gradually gaining speed, alternating with a beat on the snare, quickly adding a complimentary bass line, that all serve to roughly approximate the slow start-up of a real train beginning to move.  It’s immediately evocative and mesmerizing. Once you’ve heard Joe’s guitar add to the mix, you’re ready to ride this train wherever it’s going.

It turns out that Dust Bowl is Bonamassa’s 11th solo album.  He is a blues guitarist of some major reknown.  So, why hadn’t I heard of him?  It’s got to be a conspiracy.  Must be the Man trying to keep a good guitarist down.  Or perhaps just the complex, extraordinary world that we live in.  We’ve got world-class musicians all over the place and no time or attention span to pay attention to them, what with the Kardashian wedding and Obama’s vacation happening this past few weeks.  Not enough media to cover everything, so we’ll skip the world-class musicians.

So, I listen to Dust Bowl, and I’m immediately blown away.  Totally, completely taken by the power and truth of the blues.  What an unexpected, wonderful surprise!  Thanks Gaynor! I owe you one.

Joe Bonamassa is a 30-something year-old, former child prodigy, who purportedly played with B.B. King beginning about age 12.  A child from a multi-generational family of musicians, Bonamassa was quite literally born to his craft.  He was apparently somewhat obscured by the similar, contemporary (to his own) storyline of Kenny Wayne Shepherd and Jonny Lang.   Bonamassa was marketed similarly but didn’t seem to gain the media attention of the other two.  Again, there is only so much media, and they’d already done the child-prodigy blues boy becomes man story–twice even.  So Bonamassa was old news, before he ever made the news.

So, he toils along, works his craft, embraces blues influences of many styles–from British   (Clapton, Beck, etc), to Delta blues to Chicago Blues–all the while working toward creating his own style of rock and blues.  To me, Bonamassa’s work is as much rock as it is blues, but a lot of my favorite classic rock was full of blues (e.g. Led Zeppelin’s first album is a terrific example). Bonamassa’s work is in that same vein, and I like his pure blues works better than other blues-greats like Stevie Ray Vaughan.  Just a stylistic preference, not intended to impugn Mr. Vaughan’s own powerful legacy.

Bonamassa’s guitar work is simply phenomenal.  From the first album, New Day Yesterday, to the last song on Dust Bowl.  Its consistent, soul-rendering, guitar perfection. Bonamassa’s guitar work plucks at the soul’s hard-wiring like drum-beats drive our subconscious instinct to toe-tap. We are all hard-wired to respond and Bonamassa seems to have a unique ability to access and deliver the truth.  His music is an undeniably powerful force to behold.

I’m not even close to digesting all of his works yet….but I am four discs deep into the catalogue–with excerpts from others, bought in installments.  I haven’t heard anything yet that didn’t wet my appetite for more.  Unfortunately, Bonamassa’s catalogue exceeds my disposable income for one month.  Dang~!  My patience shall eventually be rewarded.

Joe Bonamassa is beyond the top of his game.  He’s made it.  He’s way beyond the Kenny Wayne Shepherd/Jonny Lang comparisons.   His May 2009 concert at the Royal Albert Hall in London etched his name at the top, on the pinnacle of blues artist heraldry.  That concert, available on i-Tunes, featured an Eric Clapton collaboration.  The 2-hour concert cemented Joe Bonamassa’s “I have arrived” credentials forever.

And yet, he still works in relative obscurity.  So, I write, to do my small part in “educating” the masses.  I can envision a more enlightened world where we all move forward in unison as Joe Bonamassa fans.   It certainly beats waiting for a world where Obama brings us “hope” and “change”–but that’s another article altogether–ah, but I digress.

Short of being qualified to do a “Best of Joe Bonamassa” suggested playlist, gleaned from his entire catalogue, I can only offer a few examples of his mastery–and then turn you loose to decide for yourself.  As time and finances permit, I plan on acquiring the rest of his catalogue for my own opportunity to go “back to school.”

Looking at Joe Bonamassa’s album reviews on i-Tunes, the term “jaw-dropping” appears in the first sentence of his first album’s (New Day Yesterday) official review.  This term would reappear on multiple occasions reading other’s reviews.  Jaw-dropping seems to be the normal human response to obvious mastery of the guitar, when you don’t have any expectations of witnessing it.  Numerous reviewers have had the same response as me.  “Joe Bonamassa, I’d never heard of him until xxx, and now all I can say is wow.”

My own jaw-dropping, awestruck moment came when I heard Joe’s version of “Tea For One,” a remake of Led Zeppelin’s fairly obscure, 9 minute blues dirge lamenting a break-up, from 1976’s Presence LP. I know how rare it is to be “blown away” by studio recorded music…but Bonamassa’s version did just that….and continues to, every time I hear it.  His “Tea For One” so vastly exceeds Zeppelin’s that I felt an instant desire to write about it…and a healthy fear that folks will dismiss my words as more “hyperbole.”

Bonamassa’s Tea For One is on his 5th studio album, 2006’s release, You and Me. Playing drums on that record, is one each, Jason Bonham (son of the late Zeppelin drummer John Bonham).  And while Jason will never have the legacy his father did, he is the best drummer around for playing from his father and his bandmates’ library.   He brings a built-in honor and respect….and genetic predisposition for pounding it out, like his father did best.  His drumming for Bonamassa is both faithfully credible and inspiring.

On Tea For One, Bonamassa’s guest vocalist Doug Henthorn can’t and doesn’t compare to Robert Plant’s vocals–though he more than does justice to it.  But Bonamassa absolutely and completely upstages Jimmy Page’s guitar work.  I have re-listened to Zeppelin’s version more than once to see if I’m maybe mis-remembering….and each time it reaffirms Bonamassa’s chops.  And I don’t say any of this to impugn Jimmy Page.  His legacy and credentials remain safe, to be revered by rock enthusiasts forever.  The contrast just serves to highlight the inherent truth of the favorable Bonamassa comparison.

The only negatives anyone says about Joe Bonamassa–in the context of trying to understand why he isn’t better known–is that he isn’t a great vocalist, and that his studio performances don’t completely capture the “jaw-dropping” magic of his live shows.   Vocally, he is more than adequate; in fact, he is good.  It’s true, he can’t compete with Robert Plant, but he does justice and the vocals don’t ever detract from the music.  There is a collective sense among reviewers that he has continued to improve vocally over the years and records.

As far as the live versus studio comparisons, I have no personal knowledge there.  I will have to take others’ word for it.   I haven’t yet seen Joe Bonamassa live….though he did just give a guitar workshop, just down the road here in the Flathead valley, down on Flathead Lake in Bigfork.  We toyed with going, but had driven all day back in from the Seattle area…and, in the end, I didn’t want to be just a “fan” milling around with a bunch of local guitar players at a Blues Fantasy Camp-like workshop.  I want to see him play with a full band.  Maybe he’ll be back in Tulsa or OKC on an upcoming trip.  I can only hope.

For now, my essential Joe Bonamassa playlist goes like this:

  1. Tea For One – from 2006’s You and Me LP
  2. Slow Train – from 2011’s Dust Bowl LP
  3. Dust Bowl –    ”        ”            ”      ”       “
  4. Color and Shape – from 2000’s New Day Yesterday LP
  5. The Whale That Swallowed Jonah – from 2011’s Dust Bowl
  6. Bridge to Better Days – from 2006’s You and Me LP
  7. Black Lung Heartache – from 2011’s Dust Bowl LP
  8. Asking Around For You – from 2006’s You and Me LP
  9. Sloe Gin – from 2007’s Sloe Gin LP
  10. Last Matador from Bayonne – from 2011’s Dust Bowl LP
  11. Nuthin’ I Wouldn’t Do – from 2000’s New Day Yesterday LP
  12. Another Kind of Love – from 2007’s Sloe Gin LP
  13. So Many Roads – from 2006’s You and Me LP
  14. One of These Days – from 2007’s Sloe Gin LP

The above playlist doesn’t completely capture Bonamassa’s catalogue, but it does capture some major highlights and it certainly reveals his “world-class” skill-set.

Well enough of my bloviating.  Go find and listen to some Joe Bonamassa.  His website (jbonamassa.com) has free downloads from Dust Bowl.  And I’ll happily gift a three song Joe Bonamassa sampler set from i-Tunes to the first person to comment substantively and thoughtfully (as determined by me, in accordance with my own unspecified analytic terms) on this article.

Enjoy~!  And Support the Musicians you like! JDPF

Posted in Music Reviews | 10 Comments

Happy Birthday Northern Rockies View! :~(?

Posted on July 27, 2011 by northernrockiesview

Your Author (JDPF-henceforth referred to as such.) – Wow! What a great year it’s been here on Northern Rockies View!

His Audience (such as there is one, subsequently referred to as H.A.) – Huh? What’ve you been smoking?

JDPF – I’m just saying that’s its been a memorable first year on NorthernRockiesView.com–lots of hard-hitting music reviews, some Casey Anthony comedy, some ski memories, the vert records, etc.  I could go on and on.

H.A. – Please don’t.

JDPF. – At the conclusion of that first year, I feel obligated to see where I’m at and assess how far I’ve come.  Basically, I can see where I started from, just right back there. 24 articles, 12 months.

H.A. – What? How much? Ah, who cares?

JDPF -On the whole, I’d say that its been nothing short of mediocre.  More like full-scale mediocre, or maybe enhanced mediocre.  Its been everything but a game-changer. But it’s been fun. And therapeutic.

H.A – Your such a narcissist.

JDPF – I invented it.  And on top of that, I’m here slugging it out–writing 1-2 articles a month, trying to please my indifferent audience.  Can I call you guys that?

H.A – Would you stop already?  Indifferent doesn’t quite cover it.  Outright disdain is a little closer to the truth.

JDPF – With the underwhelming success of year 1, I’m somewhat south of optimistic for year two’s prospects.  But, you never know.   All this lightning in a bottle–comin’ at you for nothing.  You never know when something might explode.

H.A. – We’ve asked you nicely to stop.  Don’t make us get the chloroform and duct tape. We’ve got a box full of trash bags from Costco too.

JDPF – I’d bet that you guys might be interested in reading more here, if you’d just give it a chance.  That’s all I’m saying.

H.A – Been there, done that — Now we’re blocking the memories involuntarily.

JDPF- Friends don’t ask friends to subscribe to things.  At least real friends don’t. Hence, I haven’t asked anyone to subscribe to the blog.  I figured I’d just let nature take it’s course and see what the market said about the blog.  It did.  I have three subscribers. Those are the three people who get total VIP treatment on Northern Rockies View; I won’t name them, to save them the embarrassment.  It’s bad enough that they already get emails automatically sent to them whenever I post an article.  So, they get first crack at my less than brilliant, socially indefensible, feeble attempts at humor and observation.  Or worse, my music reviews.

H.A. – If you don’t stop, I’m going to puke.

JDPF – I’ve just looked at the stats….and, while I won’t use the word viral, I will say that this blog is almost off the charts–at the bottom end.  Just look at the numbers. 1,989 total visitors, 62 visitors on the biggest single day.  And three subscribers, in 12 months, that’s one every four months.  On that pace, I’ll have 15 subscribers by 2015.  That’s got a nice ring to it…..and it’s five times closer to viral.

On the plus side–seriously even, the most viewed articles were my Memorial Tributes. By a long way. It seems clear that folks are drawn to articles about other folks—especially those whom we held most dear.  Even I can write something relevant when remembering worthy people.

If I follow conventional blog-wisdom, I probably should write some more Tribute articles. Give the audience more of what they’re drawn to.  Build some more market share–some more audience.  Maybe I can get another 3 or more subscribers.   I don’t know.  I don’t want to overstate or overestimate my potential.

H.A. – 0x0=0……You can move the numbers around all you want, but they’re still all zeros.

JDPF – I think I’d rather do more comedy and music reviews.  Keep the bar low.   So, low that even I have trouble maintaining the standard.  My own version of the American Dream. Its all skiing, baseball, video games, and mostly crappy articles.  But hey, even the worst hitting pitchers get an occasional hit once in a while though (in the National League). On rare occasions, an article of consequence might even sneak through.

H.A. – Don’t count on it.

JDPF – In any event, at least no one can say that my fantasy teams aren’t competitive.

H.A. – Oh, here we go…

JDPF – If nothing else, I can see the eventual epitaph:

Here Lies Jay Foster – His Fantasy Teams Were Bad-A$$

From the Hotness League to the High Ankle Sprain League, the Northern Rockies kicked Fantasy butt!

Your Author’s Perceived Audience – That Northern Rockies guy was on it.  From draft day to game day, to free-agent acquisitions, his teams were always competitive.  Yeah, but didn’t he have that crappy blog?

H.A. – Are you still droning about that lame blog?  Thats even worse than your fantasy delusions.

JDPF – Hey, I’m the reigning Vert Champ! I skied more than anybody last season.

H.A – We’ve already plowed enough of Narcissus’s garden. Give it a rest already. You’re like the dude from High School, “man, you remember when I had 14 tackles in the second half against Holland Hall?”

JDPF – That’s never been me.  I’m still living in the present–winning Vert Titles, writing redeeming articles (occasionally) and living the dream.

H.A. – More like nightmare.

JDPF – My record speaks for itself.  If you don’t like it, you can go back to your smart phone.

H.A – Did you say something? I’m playing scrabble on my i-Phone.

JDPF – With my credentials, I need to do my part for the future of mankind.  Sign me up for cryogenics at that place that Ted Williams is at.  When science discovers the keys to eternal life and youth, they’ll go looking for a smart (-ass), competent fantasy-manager, with video-game skills and pop-culture knowledge (specializing in the 70s-00s music and movies), to replenish the planet from.  I’m the obvious choice.  I’ll be their guy. Somebody’s got to pitch to the revived Ted Williams.  Right?  I’ll even go out on an audacious limb and say that I’ll strike him out too. Assuming the cryogenics works like it’s advertised.  I can’t be responsible, if any substandard regeneration occurs. I’m certain Ted and I will both agree on that point.

H.A. – We aren’t going to let this happen.  There will be no cryogenics–although you did use the right prefix—just add -emation to the cr-part.

JDPF – What was that? A “No Blog” clause in my regeneration contract?  I’ve done enough already?  You can’t do this to me!

I have a right to write….whether you read it or not….in this body and the next.

H.A. – You have NO right to impose this drivel on anyone–much less the friends and family who are inescapably tethered to you.

JDPF – There are people tethered to me?

H.A. – zzzzzzzzzzzzzz – crickets, crickets zzzzzzzzzzzzz

JDPF- I rest my case.

H.A. – We wish you would.  Seriously!

JDPF – Bring on Year Two at NorthernRockiesView–I’ve got tons of material at the ready. Now that you mentioned it, I do remember a game against Holland Hall—I gave up 3 HRs and a Double (off the wall) to one guy (Tim Wofford).  But that was just the set up–the next time out against them, I struck him out in his first at bat—and he squared around to bunt in his second AB.  In the intervening time, I had learned a change-up.

We live, we learn, we evolve, we improve.   No matter how small the stakes.

That’s what I’ll do with year two on NorthernRockiesView–whether anyone reads it or not. Give the masses what they’re NOT looking for–when they least expect it.  They’ll never see it coming.  Now that’s alternative entertainment.  Or is it an alternative to entertainment?

H.A. – It is definitely NOT entertainment…so you got that right.  Congratulations.

JDPF – How bout this for a Year Two Headline?  “Apathy vs Indifference–The Rematch–only at NorthernRockiesView.com” — Which side will you choose?

The Visualized Future Audience – Have you seen that sh*t coming out of Northernrockiewview.com?  That Northern Rockies guy is on it; he gives you analysis you can’t get anywhere else…..and he’s just giving it way.

His Current Audience with the last word – Well, there’s five minutes I can’t have back.

Posted in Lame Comedy | Leave a comment

David Cook – Better than Ever! -`-

Posted on July 12, 2011 by northernrockiesview

Music Reviews 2011 – David Cook – This Loud Morning

David Cook, erstwhile Tulsan and former American Idol, has just released his sophomore album entitled This Loud Morning.   Now, three years since his Idol crowning, this album showcases a more seasoned, reflective Cook. With this new release, Cook is simply better than ever!  That is, of course, on this side of his highlight filled, winning Idol run.

Top Idol alum are known for getting a royal treatment on their first, post-Idol album–often pushing the artist into genres that may not fit them.  The artists are seemingly just happy to be there at that point. The resulting albums are often less reflective of the artists themselves than they are of the 19 Entertainment (Idol’s Production Company) projection for the artist.  The albums, even the best ones, often have a “hastily assembled” feel to them.  Cook’s first post-Idol album fit that mold perfectly.

Cook’s self-titled debut, despite being completed pretty quickly, was also very good, with seven songs I truly liked.  But, like other’s first post-Idol releases, it seemingly reflected his wonder at being suddenly inside the hallowed graces (and studios) of the Music Industry—after several years of being an outsider trying to get in.  And the album did come across as slightly disjunctive.  It was a terrific album….but it wasn’t necessarily the best that Cook had in him.  He had to work through that wonderment, paying some dues, to pave the way for future successes.

This Loud Morning, released June 24th, showcases a more seasoned, but still thoughtful Cook.  The new album shows a rare maturity in the world of Rock excess. Cook is tackling his place within the music industry head-on. He knows that his long-term place is constantly being reevaluated. He feels the weight of the question, “what have you done for me lately?” And he seems to know that he alone is responsible if something doesn’t work and is diligently working at not letting that happen. And he is surrounding himself with professionals.

Having followed American Idol nearly from the beginning (I missed the whole first season with the exception of its finale), I have endured a ton of mediocre (and worse) performers, for the thrill of finding a dozen or so artists that I truly like for the long haul.  For my money, David Cook was the best of the best among Idol contestants, from all of the seasons.  He didn’t necessarily have the greatest vocal range or most impressive chops, but he was the most consistent Idol contestant.  And he did make some brilliant choices (both on which songs to sing and on when to go big or stay true to a melody) during his Idol run.

To illustrate my point, does anyone else remember his Eleanor Rigby? His Billie Jean? His Mariah Carey and Dolly Parton covers (Always Be My Baby and Little Sparrow)?  Cook was the king of the surprisingly brilliant performance. He killed it, almost every time–especially when you thought he was out of his comfort zone and might choke (remember his First Time Ever I Saw Your Face?).   And winning that season was a huge accomplishment. David Archuleta was as formidable as any 2d place finisher ever on Idol, right up there with Adam Lambert and Clay Aiken.  Archuleta nailed nearly as many performances as Cook down their stretch run.  It felt like an epic battle at the time–the best of the ten Idol seasons.

Cook, for all his top of the world accomplishments, was inevitably destined for re-entry back to the real world–the world of writing and performing your own songs for fickle fans with ever shortening attention spans.   He was bound to come back to the Midwestern earth that spawned him. Many of us loved him because he was one of us–albeit a uniquely talented one with enormous drive and ambition.  Cook’s Idol ride was meteoric and brilliant–but it was just his point of departure.  The real question was “how would he fare when The Time of his Life faded into the rest of his life-when others had taken his Idol crown for themselves?”  How would he fare doing mostly his own songs? Would the Idol masses follow him wherever he took them? Only time would tell.

Since his Idol run and career launch, Cook has been on a downward slide from the unsustainable Idol high.  His performance at the Major League Baseball All-Star game festivities in 2009 was credible but uninspiring.  It seemed to officially exemplify his drop from the pedestal.  And, it somehow seemed natural that he would come across as pedestrian while playing music for the greatest baseball players in the world.  They, of all people, know that the best of the best can’t be awesome every night.  There are occasional slumps and lulls.  Cook was still credible, he just didn’t seem to be soaring anymore.   And, like seeing an older hitter mired in a slump, you can’t help but wonder if they’ll ever come out of it.  Seeing Cook below that Idol-high pedestal made you wonder if he would ever recapture his Idol magic.

We now have that answer.  This Loud Morning delivers on a lot of levels.   It features some stirring vocal highs, some radio-friendly ear candy, and some thoughtful, evocative and intelligent lyrics.  Produced by Matt Serletic (famous for previous work with Willie Nelson, Aerosmith, and Matchbox Twenty), the album is quite well put-together.  The highs are higher, the low-points are minimized, and the whole-package works nicely.  Serletic clearly brought out the best in Cook and his bandmates, taking all the time necessary to get it done “right.”  The album feels like a unified whole.  They can all be proud of their work.

David, from the beginning, has called himself a “word nerd.”  He enjoys a well-played “turn of phrase.” His songwriting clearly reflects these characteristics.  He likes juxtaposing upbeat song textures with darker lyrics.   His case in point reference (discussed on Cook’s own Official Website) was the Police’s Every Breath You Take.  You find yourself happily singing along….and it’s only later, when you start paying more attention to the words, that you discover the darker themes and meaning.

In light of reading that discussion on his website, I realized that I hadn’t completely embraced Cook’s lyrics.  They are poetic, sometimes “word-nerdy”, and occasionally I don’t know what he is singing about.   Sure, many of his songs are lyrically very straightforward.   But, more than one have obscured meanings and obtuse word-play.   Even songs I really enjoy, have a built-in nebulous quality to them.  Goodbye to the Girl is a great example of that dynamic.  It is earnest, heartfelt and, at the same time, completely non-specific about this girl who drove him to the brink.

Vocally, This Loud Morning recaptures some of the Idol vocal magic.   Several songs highlight the top of Cook’s range.  Among those songs are:  Circadian, We Believe, Fade Into Me, Hard to Believe, Paper Heart and Goodbye to the Girl.  Cook seems to know that we love it when he goes big vocally.  So, he obliges on a pretty big scale on This Loud Morning.

But, what I like most about this album isn’t the good vocals.  It’s the total package, the start to finish quality, the details.  Serletic’s touches accentuate for the better.   His focus on details sharpened the band’s focus on details, from kick-drum patterns, to flaw-free vocals, to peddles-down piano atmospherics, to children’s choirs, etc.  Serletic led the band down every path Cook and his co-workers could imagine (and then some), working till they got them all right.  It took a year and a half, but in the end, there aren’t any half-assed songs.   They’re all solid.  I’m not kidding.  Some are stellar on first listen and others grow into your consciousness over time and I’m a big Cook believer again.  The more I listen, the more I like the choices they made.  The more I listen, the more I like, period.

Cook co-wrote every song on the album.  Working with numerous proven performers, including John Rzeznik (of Goo Goo Dolls fame), Greg Wattenberg (famously worked with Train/Daughtry), David Hodges (best known for his Evanescence gig), and Chris Destefano (famous for work with Idol alums Archuleta & DeWyze), Cook’s songwriting blends his love for anthems with his “keep it in my wheelhouse” approach.  In Cook’s own words, he wanted the record to be “more intimate, but also more grandiose, and really stretch the boundaries of those two ideals.”  These are songs that Cook will sing night after night for the next year or more.  He had to create what he can sustain and deliver.  So he did.

Cook’s band features Neil Tiemann on lead guitar, and Andy Skib on rhythm guitar/keyboards, Monty Anderson (who replaced Joey Clement) on bass, and Kyle Peek on drums.   All, minus Anderson, are listed as former members of the Tulsa-based Midwest Kings–where Cook was mostly a supporting cast member.  The band suits Cook just fine.  Cook spoke of Serletic as advocating the “right sounds at the right time for the right reasons.”   Similarly, regarding the band, Cook favored the “right” band members for the “right” songs over the best musicians or best songs, etc.   These guys are all competent, no question.  But, like other good, modern rock bands (e.g 3 Doors Down), you just don’t expect to hear any Jimmy Page or David Gilmore-like guitar solos from them.   They’re just good, blue-collar, rock musicians making their place in the modern world of music.

My favorite songs on the album are: Goodbye to the Girl, Paper Heart, We Believe, Fade Into You, Hard to Believe, Time Marches On, Rapid Eye Movement, and Circadian.  The high points on these songs hearken my favorite Coldplay and U2.  I’m a sucker for the arena-ready, sing-along chorus and the layered vocals.  Cook is clearly growing his craft….and he won’t go wrong while leading thousands in a sing-along, hand waver.  In his own words, “the growth in this record is musical, it’s lyrical, it’s emotional, and what I’ve hit on is something that a lot of people can relate to.”  After several listens, I think he’s got that just about right.  But, I will concede that you will have to decide that for yourself.

The i-Tunes Deluxe version of the album includes an informative, entertaining, 18 minute Making of This Loud Morning video and two bonus songs (This Is Not the Last Time and Let Me Fall For You).  Both songs fit thematically and could have made the album.  They would have fit better earlier in the song order though, because Circadian and Rapid Eye Movement (the first and last songs on the standard issue album) make perfect thematic bookends for the album—sharing the same “somebody save me” chorus excerpt.  In fact, Rapid Eye Movement stands to be an excellent show closer, with the aforementioned peddle-down piano atmospherics bridge, yielding to a background choir singing “somebody save me.”  Coldplay never did it better (though they did it pretty well).

And in all of this discussion of the new album, I haven’t even mentioned the first single. The Last Goodbye, released back in April, was co-written with Ryan Tedder of One Republic. Tedder is as prolific as anyone in music lately, with the exception of maybe Will.I.Am of the Black-Eyed Peas.  Collaboration with them adds instant credibility–in the conventional wisdom of mainstream radio.  The Last Goodbye is the first of many radio-friendly, potential ear-worms on the album.  I suppose I like it well enough–but I like many of the other songs more.  There are several good options here for the next single.  I can’t wait to see which one will be next.

I will admit that I am biased.  I am a fan.  David Cook has earned my respect.  I support his music.  But looking at the i-Tunes charts (This Loud Morning was 88th at last look), I can’t help but wonder where all the Idol Season 7 fans are?  Unlike his debut–which came out of the blocks strong, this record has barely made a splash yet.  I can only hope that folks will give it a chance.  It is a very good record.  But perhaps it isn’t as good as the fans are fickle.

On the strength of This Loud Morning, I began a quest to hear Cook’s pre-Idol music.  I learned that Cook had four albums as a frontman (which excludes Midwest Kings records) pre-Idol.   Three were with the band Axium.  The fourth was a 2006 solo release entitled Analog Heart.  None of these records are currently commercially available. Some songs from them are on YouTube as rudimentary “videos.”  They aren’t so much videos as they are pictorial accompaniments to recordings of Cook’s pre-Idol songs.  The sound quality varies from crappy to pretty good.  But striking among the 8-10 songs I sampled was the song quality.  They were collectively heavier than everything he’s done since and the ballads were more evocative, “haunting” even.  Cook was very definitely influenced by the Grunge era.  And these songs, more than anything since Idol, give indication to the nature and quality of his instincts.   Very quickly you hear that Cook’s musical instincts are rock-solid, and pre-date his Idol run by a long way.

This side foray into Cook’s past, as a consequence of enjoying Cook’s current release, has me amped to hear more from him.  I can’t wait until we see Cook without the constraints that come with 19 Entertainment sponsorship.  I’d love to hear the product of a royal studio treatment done to some of those Axium and Cook solo works. Give us some more edge, some heavier rock, and some unadulterated Cook—and then overproduce it to the gills, with all the bells, whistles, orchestral layering and winning kick-drum patterns.

Here’s hoping that he’s got another couple dozen good records in him.  My hats off…..and my earbuds are in.

If you haven’t checked out This Loud Morning, what are you waiting for?  And while you’re at it, check out his website–davidcookofficial.com.  And if you’re a serious fan, go for the YouTube action. JDPF

PS: “Support the musicians you like!”

Posted in Music Reviews | 21 Comments