Victor Wainwright and the WildRoots - Boom Town

2015 –Blind Pig Records

By Phillip Smith; July 4, 2015

Boom Town, the latest release from Victor Wainwright and the Wildroots, is chockfull of boogie-laced blues and tasty jams.  Wainwright, who rightfully claimed the Pinetop Perkins Piano Player of the Year for 2013 and 2014, leads this fantastic eight person band called, the Wildroots through thirteen spirited New Orleans flavored selections. Hearing him rip into the piano while laying down a truck load of boogie woogie on “Two Lane Blacktop Revisited” will leave no doubt why he pulled down that award twice already.  

It’s amazing to hear the different directions to which Wainwright can take his voice.  From a comforting tone, in the spiritually moving “When the Day is Done”, to being bad-ass and sinister, in “Reapers on the Prowl”, where he goes all “Wolfman Jack” in his conversation with the Grim Reaper.  Guitarist JP Soars, fellow Southern Hospitality collaborator with Wainwright is a guest performer on “The Devils Bite”, a Cab Calloway influenced tune.  This dark and rootsy track brings to mind Nick Cave’s Murder Ballads album.

The slow and easy “WildRoot Farm” makes for a cool little duet featuring Patricia Ann Dees.  This one will have you on the front porch sipping iced tea on a hot summer day, taking in the aromas of a freshly prepared southern style dinner. Stephen Kampa rolls out a sweet harmonica accompaniment which totally sets that laid-back mood.     

BoomTown culminates into an amazing instrumental jam at the end with “WildRoot Rumble”.  This is my favorite track on the album, and I play it loud.  Stephen Dees and Nick Black bring it on with rambling guitars, Kampa kills it on harmonica, Billy Dean keeps the furious beat going on drums, and Wainwright pounds the hell out of the piano. This is what it’s all about!     

For more information about Victor Wainwright visit his website at http://victorwainwright.com/

http://phillycheezeblues.blogspot.com/

John Lee Hooker Jr. “ Live in Istanbul Turkey” -- From the Archives #3

2010 - Cc Ent / Copycats
By Phillip Smith ; Oct. 30, 2010

Many times live CDs take the low road as studio recordings take the high road, in regards to quality and sound.  Recorded live at the Efes Pilsen Blues Festival, in Istanbul, Live in Istanbul Turkey, by John Lee Hooker Jr. definitely takes the high road and  proves a live CD can be as much rewarding, if not more, than its studio recorded counterpart.

Backed by a large entourage of musicians, which include a fantastic horn section, John Lee Hooker, Jr. offers up eleven original songs, and a couple of covers.  Those being, “Boom Boom“ and “Maudie”,  originally recorded by his father, the late John Lee Hooker.  Along side Hooker, on guitar, is Jeff Horan.  He plays with a certain precision sure to make Hooker Sr. proud. 

“Suspicious”, references mobile phones, McDonalds, and smoking crack as it deals with the paranoia associated with a cheating significant other.  It is cleverly written and a pleasure to listen to.   It’s hard to be paranoid without being easily irritated as well.  Hooker seems to be eaten up with bitterness, as he denounces the economy, bank foreclosures, and false friends, in another favorite original, “Fed Up”.

Hooker turns his frown upside down next, as he breaks out the funk on “Funky Funk”.  If this one sounds a bit familiar, it’s because he incorporates the chorus and other pieces from Rufus Thomas’s “Walking The Dog”.  It’s a fun song.  Paying homage to his father‘s classic, “Boogie Chillen”, Hooker Jr. serves up a tasty dish with  “Doin’ The Boogie”.  It lasts almost eleven minutes in length, and  showcases a solo performance by each musician on stage before turning into a tremendous jam session. 

It’s easy to mentally place oneself  on location, in Istanbul, at this concert, while listening to this disc.  The music is so enjoyable one could not help but want to have been there.  The enthusiasm on stage is electrical.  This is the magic that gives Live in Istanbul Turkey its appeal.

The Bastard Fairies “Memento Mori” -- From the Archives #2

By Phillip Smith

Memento Mori is a Latin phrase which translates as ‘Remember you are mortal’.  This CD by the Bastard Fairies helps us do just that.   Lead singer Yellow Thunder Woman, with her  lovely and delicate voice begins the first track, “The Greatest Love Song“ with these words:  ‘All I need is a catheter and lobotomy..’.  Beautiful, yet disturbing, this is not the usual opening of love songs, and I have to give kudos to anyone who can work that line into one.

Guitarist Robin Davey has managed to create a variety of musical backgrounds for Memento Mori.  “A Venomous Tale” has hints of a reggae beat, while “Whatever” sounds like an old western cantina song, with it’s instrumentation of piano, and banjo.        

The second track, a very clever and sweet song, “Apple Pie“, just asks us all to get along.  An almost perfect segue takes us to another melancholy song, “Habitual Inmate“. 

Memento Mori reinforces its namesake with,  “We’re all going to Hell”.  If you’ve ever done anything that would send your soul to hell, it’s probably listed in this song.  I am well aware of a beer frame in bowling, but never have I ever heard of a beer break in the middle of a song as this song has.

A couple of the weaker selections include “Moribund”  and “Everyone has a Secret”.  .  One of the most annoying things about Memento Mori was the overuse of the ‘I’m singing from the bottom of a well, and using a megaphone’ effect.  On some tracks that might work well, but it is really overkill when done on every song. 

The title track, “Memento Mori”, reminding us to eat drink and be merry, for tomorrow we may be dead, is my second favorite song of this collection.  It’s very melodic, and Yellow Thunder Woman lets us hear her voice the way it should be, unfiltered.  

All in all, The Bastard Fairies have produced a nice collection of songs, well written, yet still a little rough around the edges. 

* originally published for Foundrymusic.com in 2007

Goon Moon “Licker’s Last Leg” -- From the Archives #1

By Phillip Smith

Jeordi White (aka Twiggy Ramirez of Marilyn Manson)  and Chris Goss (Masters of Reality) have collaborated once again to produce their first full length CD together as Goon Moon.  Licker’s Last Leg uses a variety of musical styles to walk the listener through the album.  Apple Pie, the first cut, almost scared me away from the CD with what I can only equate as the musical equivalence of running fingernails down a chalk board.  Eventually the annoyance stopped and the song unfolded, nicely I might add.  Although there is a lot of Goth rock influences in Apple Pie,  the rest of the CD seems to be a mix of classic rock peppered with a dab of industrial.   Tip Toe could easily have been mistaken for a Devo song, with its mechanical beat and quirky lyrics.    My Machine is another nice track,  it‘s a little faster than some of the other songs, and uses several tempos and synthesized vocals at times,  emitting an Eighties Techno/Metal flavor.  My favorite track though is An Autumn That Came Too Soon.  It has a simple beat but it is very hypnotizing, with its tranquil repetitiveness and smooth-as-silk vocals.  Individually these are all nice songs, but they don’t all necessarily all gel together as well as I would have expected.  What I considered the strangest and most experimental track, The Golden Ball, stretches to almost 10 minutes in length, and is composed of eight mini songs.  The last and least track, Built in a Bottle, could have been left off entirely and I would not have minded.  It was too slow and whispery to follow the eleven songs it followed.