“Don’t Throw (my love away” with its quick lines of mandolin, banjo (and just as quick vocal) bass and backing harmonica opens Wicklow Atwater’s new album, The Fallen Flame String Band LP.
Articles By: Ralph Greco
Back in 2014, writer Sabrina Rubin Erdely published her “A Rape On Campus” article. In that article, a University of Virginia woman, named “Jackie” to protect her privacy, claimed she was raped by multiple members of the on-campus frat Phi Kappa Psi. Rapes on college campuses, the UVA among them, have been reported and proven to have happened for years, a sad state of student life no one is disputing the validity of. But soon it came clear that Jackie’s claims were suspect; Rolling Stone was investigated by other journals questioning the facts of Erdely’s reporting and local police found many inconsistencies in Jackie’s account.
You want some good blues variety? Pick up Phil Gammage’s Used Man For Sale.
There is no escaping the over-the-top 11th studio album, The Heavy Entertainment Show, by Robbie Williams. You maybe have heard about the controversy Williams is engendering over the lyrics over the album’s first single “Party Like A Russian” and how kinky the video is (at least the shoes are kinky that models/ballerinas wear in the video). But there is lots to like about Heavy Entertainment Show. From the interplay between the simple piano and Williams’ barker opening vocal contrasting with the welcoming big horn roiling choruses of the title track opener, to the dance tune over Prokofiev spikes of “Party Like a Russian.”
Let’s face it, what we mainly have here is Brad Atefi exercising all his sonic interests, but this sampler is good, semi-varied stuff overall.
Augmented by bassist Lee Pomeroy and force-of-rumbling-nature drummer Lou Molino III, the boys from old Yes and newer Yes meshed well, even despite the low “wah” sound that always, unfortunately emanates through the rafters of The Wellmont. Rabin, a great guitarist, and composer, never will mine the nuances of Steve Howe’s playing, this particularly showed on “And You And I” and “Roundabout,” where Rabin’s heavier touch kept things down a bit, but from the press I have read about the joining of this trio (and creating an album soon-to-be-released) Wakeman has wanted to play with Rabin since the long ago massive ego Yes “Union” tour and Jon Anderson, the only original member of Yes still alive, seems to be pleased as punch to be fronting a band again, making this music, and sounding so great.
Sometimes this ride I am on for S&S is just too cool for words. Yes, I get to meet porn stars, see movies well before any of you and listen to some great music. I recently had occasion to meet Kevin Jardine and Jason Rockman of the band Slaves on Dope (check out my review of their new CD here, it’s killer) and a legend who happened to collaborate on one of the songs on their new release, none other than Daryl McDaniels, ex of Run DMC. A nicer, more informed and informative trio you’re never going to meet
The shunky beat of “Do a Little Dancin” opens Justin Ryan’s 12-song Warm Whiskey Nights. It’s an early introduction to the man’s solid songwriting, slight nasal twang and the sing-able choruses he will reveal along the way here; there is a lead electric piano here I really like.
This is music mining the infamous Dart music begun back in the 70’s, a poppy Devo-like, surfer guitar blend of fun. In the late 70’s a record was released by a band called the Human Darts…but there wasn’t a band at all. Three friends released the record and went about their own musical careers while the single turned into a punk underground collector’s release. What followed was the start of bands from across the country with different members with sometimes different names pounding out the simple sonic signature of the Darts. One of the original producers/writers, “Mr. Zelk” tracked down the son of an original Dart member Shane Close and original guitarist John Arduser and here again comes Dart music…or so the legend goes.
A roiling organ flows under Midnight’s high warble on “Cigarette Smoke,” again he employs perfect harmonies, while “Exist, Connect” closes the door on this particular residence, sounds-more-then-song again, ala Daniel Lanois or Angelo Badalamenti. Overall we have a good thick concept album here from a sold composer, maybe a little long in the soundscapes, but certainly Midnight can write, sing and play and has something to say.