Rubber City Review

About a year ago – in one of my feeble attempts to prove I listen to living, breathing musicians – I waxed poetic about The Wood Brothers. Since then, they’ve gone from being great to scary great. Slap your mammy great. The kind of great that makes you forget all about good.

What do I base this on, you might ask? Well, there’s that unerring factor known as the “chicken skin” test, as Ry Cooder would call it. When I caught them live last week in nearby Kent, Ohio – and was treated to a first listen of their soon-to-be-released album “Smoke Ring Halo” – I had those tell-tale bumps on my arms that told me I was on to something rare in this world of reality-show divas and painfully hip dilettantes. The title song itself is almost a perfect distillation of what this band does best – rootsy, but not reverent… deeply soulful, but all about left-field hooks (like the phrase Smoke Ring Halo, for example) that suck you in right away… and far more musically accomplished than just about any other band playing in that unfortunately named “Americana” sandbox (think Avett Brothers and Mumford & Sons – good bands, but in my mind, just not on the same level as the Woods).

I think of The Wood Brothers as part of that grand American tradition of brother acts, mainly because these guys have come up with some funky harmonies that sound like back-alley tributes to the Louvins, the Everlys, the Delmores… that perfect blend of voices that seems to come naturally to blood relatives. But once again, the Woods aren’t the least bit slavish about this tradition. And again, I’ll go back to the new album’s title song, which marries an insistent groove and a churning organ (courtesy of John Medeski) with almost Beatle-esque harmonies in the chorus: Smoke Ring Halo

That was the song they opened with at the Kent show. So about five minutes into the night, I’d already experienced one of the best live performances I’ve seen in a few years. I felt like speed-dialing my 2-3 friends and family members and begging them to join us so we could start to fill up some of the theater’s empty seats, which seemed like cruel reminders that American Idol was on TV that night.

A little background… The Wood Brothers started out as a duo in 2005, with Oliver on guitar and lead vocals and Chris on bass, harmonies and the occasional harmonica. Although raised in Boulder, Colorado, the brothers eventually set off on very different musical paths, with the elder Oliver kicking around various blues bands in the Atlanta area, and Chris making a name for himself in NYC as half of the dynamic rhythm section for progressive jazz band Medeski, Martin and Wood. So although I knew nothing about Oliver before ’05, I’d been a fan of MMW’s heady jazz-funk brew for about 10 years. Here’s the song that got me hooked, from their ’95 release “Friday Afternoon in the Universe”: The Lover

During this same time, Oliver had gone from playing second guitar for Georgia stringbender Tinsley Ellis to forming sort of a blues-based equivalent of MMW with a band called King Johnson, combining two popular blues surnames and possibly a nod to someone’s, er… junk. I recently checked out some of their stuff on iTunes – sounds like they did a fine job of combining southern blues with the second-line rhythms of New Orleans. Damn good horn section, too. But their secret weapon may have been Wood, whose casually proficient blues guitar seemed perfectly suited to the slightly warped songs he was writing for the band.

It’s interesting to hear King Johnson’s take on one of these songs, Spirit, and compare it to the later version by The Wood Brothers. The former has a lot going for it – sassy horns and whorehouse drums – but the latter seems more vital without the busy arrangement. Certainly more menacing and true to the spirit (sorry) of Oliver’s lyrics. I spliced the two together on this sample… you be the judge: Spirit (King Johnson/Wood Brothers)

So on the one hand, you’ve got a first-rate songwriter and blues guitarist – not to mention a singer who can deliver this material with a healthy dose of soul. On the other, you’ve got a bona-fide jazzbo – a guy who graduated from the Boulder High jazz band and later took lessons from Miles Davis alum Dave Holland. Two guys with serious chops and that common bloodline that can make for heavenly harmonies.

Now throw into the mix a drummer who really knows how to do this stuff justice. I’m not sure when the Wood Brothers made the official move to a trio format. But prior to the new album, they tended to use drummers on an “as-needed” basis, and always to great effect. “Smoke Ring Halo” features drummer Tyler Greenwell (Derek Trucks Band) on every track, and the tour seems to make the three-piece official by substituting Greenwell with Nashville favorite Jano (pronounced “Johnno”) Rix… an excellent name for a porn star, as Oliver pointed out at the Kent show. Thankfully, Rix opted for a career in music. He has a wonderful touch, using a small vintage kit that serves as the perfect foil to Chris Wood’s 1920 acoustic German bass. And the two locked in tight during the show, especially in the opening of this tune off the new album: When I Was Young

Rix also threw in some tasty harmony vocals (including the third harmony on Smoke Ring Halo) and played a uniquely rigged instrument that the band referred to as the “shit-tar” – essentially, a stringless acoustic guitar that Rix turned into a makeshift drum kit with the help of a few well-placed mics. I’m predicting a run on shit-tars when they show up at the Guitar Center.

The trio format also gave The Wood Brothers an opportunity to retool some of their older songs – including Twisted from the album “Loaded,” which became a full-blown New Orleans stomper. But mainly, it seemed to energize Chris Wood (who literally danced with his standup bass at one point) and make the band’s live show a deeply satisfying experience.

Check here for tour dates. Then gas up the car, feed the pets, tether the kids to a pole in the basement and head out for a club near you.

Jessica Lea Mayfield

It’s barely April and, next to Smoke Ring Halo, I’ve already come up with my favorite song of the year. Even better, it was recorded by nephew Dan in West Akron, not far from the world headquarters of Rubber City Review (bastard left for Nashville, but we’re keeping him on the Christmas card list… for now). It’s by the artist formerly known as Chittlin’, aka Jessica Lea Mayfield. More important, it’s everything a pop song should be – an unexpected, sing-song-ey vocal that grabs you by the throat (in a gentle, folksy kind of way)… wonderfully original lyrics… a killer chord progression… great groove… surf guitar… and a slow build to a near-perfect bridge. Our Hearts are Wrong is from Jessica Lea’s strong new album, “Tell Me.” Buy it on your way to The Wood Brothers gig, then make sure you thank RCR profusely on the interwebs: Our Hearts Are Wrong

If you’re anywhere near Cleveland Wednesday night, go see Jessica Lea at the Beachland Ballroom.

The Wood Brothers on Video… Here’s a tune from the new album, with Greenwell on drums:

This next video is just, well, great (there’s that word again)… It’s filmed in an old Brooklyn elementary school by a group called Mason Jar Music Presents, and I’ll let them speak for themselves: “‘Mason Jar Music Presents’ is a video concert series inspired by the peacefulness and tranquility of the old buildings that continue to dot New York City’s 21st-century landscape. These productions provide a setting and space for fresh, unique music with compelling arrangements that breathe new life into each song. Each episode is dreamed up and brought to life wholly by the Mason Jar Music team. Songs are carefully selected from the artist’s repertoire and re-imagined with arrangements for strings, woodwinds and other assorted orchestral colors. Mason Jar Music is a collective of music makers trained in production, arranging, composition and recording. They all live and work together in a residential studio in Brooklyn, NY. In addition to producing, recording and/or mixing records for a variety of artists, Mason Jar Music specializes in film scores, original music for film and television, concert videos, and other audio/visual productions.” (MasonJarMusic.com) And you get a quick glimpse of Jano playing the shit-tar too.

And here’s a nice reworking of the Allman Brothers classic, Midnight Rider:

Time to dig through the old mail bag and respond to a few comments about previous posts… Most of these comments show up on the blog, but a few others take a more direct route – either via email or in conversations with friends and family members.  And, of course, a few are better left unsaid, either because I didn’t understand them or don’t need explicit instructions on how to pound foreign objects into a certain orifice.

If reader comments are any indication, I could have posted many more Christmas favorites on “Those Chimeless Holiday Classics.”  Here’s a couple… Mark from Owensville believes I overlooked Charles Brown’s Merry Christmas Baby with the enduring line “I’m all lit up like a Christmas tree.”  And Bill from St. Augustine is partial to the Blind Boys of Alabama’s “Go Tell It On The Mountain” – one of those projects that pulled together a small army of special guests from every conceivable genre (Bill Clinton???).  I don’t have that one, but I do have a cut from the Blind Boys’ 2001 release, “Spirit of the Century”… What’s Christmas without a song written by Tom Waits?  (The nasty slide is a little gift from David Lindley.) Jesus Gonna Be Here/The Blind Boys of Alabama

The video of Free with a young Paul Rodgers – from “Superhits of the Seventies (and Pass the Sausage)” – seemed to resonate with those of you who grew up listening to that vitally important sub-genre of music known as “stoner rock.”  Dan didn’t (unless you count G Love and Special Sauce), but he prefers another Free/Rodgers video on youtube – Fire and Water…

Many comments about the Wood Brothers cut from “Loaded,” featured on “Tim’s Top Six.”  They truly are a great find and I have to give full credit to Brother James for turning me on to them.  As I mentioned in the post, I was familiar with Chris Woods’ funky bass on cuts by Medeski, Martin and Wood, but I had no idea he had some Stanley Brothers in him too.  The first Wood Brothers release might even be better than the second, if that’s possible… Here’s one of my favorite tunes from “Ways Not To Lose”: Glad/The Wood Brothers

Young Joscha from Germany thought the opening to Storm Warning by Dr. John had an influence on Dan’s Heartbroken, In Disrepair from his 2009 solo release, “Keep it Hid.”  I’ll let you be the judge.  Storm Warning is featured on “New Orleans Nuggets,” and here’s the video for Heartbroken – filmed near Marfa, Texas, with members of Hacienda, who hail from San Antonio… and My Morning Jacket’s Patrick Hallahan, who’s a Louisville boy.

Joscha complained about my poor treatment of his beloved Led Zeppelin in “Superhits.”  But I fully admit to being under the spell of the blimp back in my high school days (hey, I’m from Akron).  By the way, I recently saw Lucinda Williams and her hot-shit band on Austin City Limits… Right in the middle of her tune Joy (from “Car Wheels on a Gravel Road”), they launched into the signature riff from Zep’s Heartbreaker.  It was freakin’ awesome!  Here’s another riff that’s been rattling around in my head for 30-some years… The Ocean/Led Zeppelin

In his comment to ”Little Walter, By the Book,” Jose mentioned that his dad turned him on to Walter by playing him Muddy Waters’ Forty Days and Forty Nights.  Here’s Walter’s scorching harp solo from that number… Forty Days & Forty Nights/Muddy Waters with Little Walter

Finally, Danny Horn liked the cuts featured on “Superhits” but wanted to hear a little more of the late Jesse Ed Davis, the guitarist with the slippery, soulful touch on Taj Mahal’s early albums.  Here’s Jesse Ed stretching out on a cut written by Garth Hudson and Robbie Robertson from The Band and featured on Taj’s 1969 release, ”Giant Step”…  Mister Davis! Bacon Fat/Taj Mahal with Jesse Ed Davis

Dear Tim:  I can appreciate your interest in long-deceased artists, but when are you going to start writing about real living, breathing musicians – preferably those who don’t qualify for AARP?  Also, your posts are too long.  Don’t you know that young folks can only process information in small, twitter-sized bites?  You’re just like your mama Jane, trying to feed people too much in one sitting.  And another thing…

OK, I really didn’t receive this comment.  But I expect to get something like it any minute, so I decided it was time to prove that I have a few songs in my library that were recorded some time after 1972.

Contrary to what my friends think, I don’t listen to dead blues guys on a daily basis (although John Lee Hooker seems to work well on Mondays).  In fact, I practically beg family members – mostly nephew Dan and brother James – to send me recent stuff that would meet my high standards for iPod-worthiness.  Then again, I’m constantly surprised when I shuffle through the 20,000+ songs on my iPod… How the hell did Boxcar Willie get on there?

Based on these and other idle ramblings, I offer you my Top Six Picks (because 10 would be too many) of recently recorded songs that have earned a spot on my “heavy rotation” playlist – and therefore should be required listening in schools and workplaces throughout the nation.

I confess that I didn’t know a thing about Raphael Saadiq before his 2008 release, “The Way I See It.”  I’d heard of his first band, Tony! Toni! Tone!, mainly because it was fun to say.  But now he really has my attention, thanks to the neo-soul groove of 100 Yard Dash.  You could argue that most of “The Way I See It” is just a slavish reproduction of the Motown sound, and I probably wouldn’t put up much of a fight.  But I’ll challenge anyone who questions the integrity of 100 Yard Dash – a song that seems to live in some R&B utopia, far from the land of auto-tune and automated beats. 100 Yard Dash

I had the great pleasure of meeting the Heartless Bastards when they opened for The Black Keys at a couple of sold-out shows earlier this year at Terminal 5 in NYC.  Dan and Pat brought the Big Apple to its knees – but I loved watching the Bastards win over about 5,000 jaded New Yorkers with their relentless, rootsy drive and the powerful voice of little Erika Wennerstrom, the pride of Dayton, Ohio.  James and I were so impressed, we even schlepped their equipment!  Here’s one of two standout cuts on their latest release “The Mountain” (to fully appreciate what these Bastards are all about, play the opening of the title song at maximum volume… after you buy it here, of course).  And credit goes to Pat Carney for hooking up the Heartless Bastards with the Fat Possum label. Out at Sea

How does one describe the Wood Brothers?  Americana?  Too narrow.  Folk?  Nah.  Blues?  A little.  Maybe it’s just a soulful mix of everything that’s right about American roots music – from the Stanley Brothers to Mississippi John Hurt to a hundred other streams running from the same deep river.  It’s hard to believe these two guys hail from Boulder (no offense, Caroline!)… They sound like they grew up in some backwoods cabin in the deep south.  Chris is the bassist for the futuristic organ combo Medeski, Martin & Wood, and Oliver cut his teeth playing in Atlanta blues bands.  Together, they’re a brother band with a bad attitude – and dark secrets that even the Louvin Brothers wouldn’t think of sharing (and they killed the Knoxville Girl!).  “Sometimes the tip of my tongue is the barrel of a gun, and it’s loaded”… I think we’ve all been there. Loaded

You can always count on the U.K. for new rock bands with lots of swagger, like the Duke Spirit.  I just missed their steamy set at one of those mega music festivals earlier this year, but came back home with their new release, “Neptune.”  My teenage daughter quickly ran off with it… but not before I had a chance to sneak this little slice of nasty onto my own iPod, where it seems to live comfortably with Link Wray, Morphine, the Cramps and other masters of menace.  The Duke Spirit’s main attraction is their mighty frontwoman, Liela Moss.  She may owe a small debt to the Rubber City’s Chrissie Hynde, but she makes a very big statement of her own on The Step and The Walk.  The Step and The Walk

My vote for one of last year’s best albums – “With Blasphemy So Heartfelt” by Jessica Lea Mayfield – won some positive notice in the music press, but not as much as I thought it would.  I’d argue that Jessica, who started recording “Blasphemy” at Dan’s Akron Analog studio when she was only 15, is misunderstood by many of her peers.  Her voice is timeless, colored by the deep, lonesome twang of hard country (she started performing with her family’s bluegrass band at the age of 8).  And twang ain’t exactly what the indie nation wants to hear.  I think Jessica is poised for much bigger things… as soon as she finds the right audience.  In the meantime, I’ll just keep listening to this perfect opening to “Blasphemy.”  Kiss Me Again

Latin soul, done right, is a beautiful thing.  Salsa, meringue, Afro-Cuban, rumba, even that funky boogaloo that Fania Records put out in the ‘60s…  I’m no expert on the many forms of Latin music, but I know what I like – and I’m definitely sold on “San Sebastian 152” by Bronx River Parkway.  BRP’s myspace page notes that the project brought the New York-based band together with “a crew of legendary salsa musicians that make their home in San Juan.”  The album was recorded with old-school equipment in a 200-year-old former ballet school in Puerto Rico.  It’s another classic melding of soul and salsa – with the kind of propulsive rhythms that ruled the dancefloors of New York City during the reign of El Rey del Timbal, Tito Puente. Agua Con Sal

Bonus track… This one was sent in from Santa Rosa, CA, where the Aces seem to have a fresh take on the blues (one song ends with a blast of sitar!).  They do it “Hound Dog” style… no bass — just two guitars, a drummer and a pretty fine harp player blowin’ like mad on top.  I’d like to catch these guys at a roadhouse bar on a Saturday night — maybe I should book a flight!  Find out more at acesfan.com. Shed Some Light On Me