{"id":873,"date":"2012-02-28T21:00:59","date_gmt":"2012-02-29T05:00:59","guid":{"rendered":"http:\/\/spclarke.com\/?page_id=873"},"modified":"2012-08-11T13:41:12","modified_gmt":"2012-08-11T20:41:12","slug":"gbu-2004-05","status":"publish","type":"page","link":"http:\/\/spclarke.com\/?page_id=873","title":{"rendered":"GBU – 2004 – 05"},"content":{"rendered":"

Dead Moon<\/a><\/strong><\/h2>\n

\"\"Dead Ahead
\n<\/em><\/strong>Tombstone Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

The last line in \u201cIn The Waiting,\u201d the last song of this eleven-track opus, says it all- \u201cWe\u2019re never too old to learn.\u201d If \u201cMusic too tough to die\u201d were not already their motto, that last line would serve Dead Moon quite well. Fred and Toody Cole (along with drummer Andrew Loomis) prove that they learn something new and valuable each and every day. Every one of these eleven songs drips with the emotion and intensity of living each day in this whacked out world- hanging on to life and love by just a tenuous thread.<\/p>\n

Fred Cole has been a rocker since he was thirteen: and that was over 40 years ago, and he was Fred \u201cDeep Soul\u201c Cole, the \u201cwhite Stevie Wonder.\u201d If anyone knows about the highs and lows of the \u201cmusic business,\u201d it\u2019s Fred Cole. When, in 1967, he met his eventual wife Toody at the Folksinger coffeehouse in Portland, while trying to find a gig for his stranded and destitute, draft-evading band, the Weeds- he did not know how completely the course of his life had been altered. Toody\u2019s been playing bass in his bands since the late \u201870s. For his thirty-ninth birthday, she gave him the very mono disc-cutting lathe (now fifty years old) upon which was cut the Kingsmen\u2019s \u201cLouie Louie.\u201d Fred and Toody are a team.<\/p>\n

Or, as Fred so aptly puts it in the song of the same name, \u201cI find myself in an occupation with you.\u201d And\u00a0 a pre-occupation as well, one might add. And it\u2019s Toody who really shows a lot of improvement on bass for this go around. After twenty-five years on her instrument, she proves that \u201cwe\u2018re never too old to learn.\u201d\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 But, as with every other Dead Moon album in existence, the driving force is Fred and the classic songs he writes. And, in that regard, this is one of the strongest albums the band has ever put out. As always, the songs are roughly wrought, twisted and gnarled by the high-pitched whine of Fred (and occasionally Toody\u2019s) vocal deliveries. And, as is generally the case, Fred has written his fair share of apocalyptic lyrics, which he sings with appropriate dread. But here, he is far more candid (if typically elliptical) than ever before about personal emotional issues- with great results.<\/p>\n

For anyone who missed the \u201860s the first time around, Fred stylistically\u00a0 resembles no one more than Arthur Lee of the great, seminal \u201860s LA psychedelic band, Love. In fact, at this late date, Fred does a far better rendition of Arthur Lee circa the \u201866 release of Love\u2019s self-titled first album, than Arthur Lee ever did. The fact that this album, like most Dead Moon albums, actually sounds like it was recorded in 1965 only adds to the mystique. Or so it says here.\u00a0The album kicks off with the rousing \u201cSigns Of Departure.\u201d Over a sustained, militant snare roll by Loomis, straight out of \u201cWipe Out,\u201d Fred and Toody double up on an insistent E-G-D chord progression. The last verse is especially telling: \u201cYeah has-beens, could-be, might-have-beens\/Going down the drains of false pretense\/Finally got the message and it\u2019s making sense\/The grass is green on both sides of the fence.\u201d<\/p>\n

\u201cOne World\u201d is a stirring anthem, pretty much summed up in a single line of the memorable chorus.\u201d One world, one voice, one girl, one choice.\u201d Toody\u2019s fugal bass lines drive the aforementioned \u201cAn Occupation with You,\u201d which rates quite highly in the Arthur Lee index. Toody\u2019s sprinting basslines in the transitions between chorus and verse are the pinions of \u201cDawning Of The Dead.\u201d Fred\u2019s Spanish guitar-flavored solo is the highlight of \u201cAlready Gone.\u201d<\/p>\n

One of the best moments of the set comes with the incendiary \u201c War Is Blind.\u201d Over Toody\u2019s explosive bass and Loomis\u2019 hard hitting kit, Fred shreds with his guitar artillery; while howling about the end of the world. \u201cThreatened by the firestorm\/Lying on the edge of war\/If we don\u2019t heed the warning sounds\/The black rain is coming down.\u201d<\/p>\n

Conversely, \u201cGo My Way\u201d is an up tempo love song, distantly related to songs such as the Beatles\u2019 \u201cAll My Loving.\u201d Meanwhile, \u201cOn And On\u201d sounds like a cross between Love\u2019s \u201cMessage To Pretty\u201d and the Byrd\u2019s \u201cMy Back Pages;\u201c with Toody\u2019s lurching bassline providing drama, as well as momentum. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It\u2018s not entirely certain who is taking the lead vocal role on \u201cThe 99\u2019s,\u201d but it doesn\u2019t sound like Toody or Fred. It\u2019s a song about rebellion, maybe about a gang of street kids or something like that: \u201cWe are your social imperfections\/Accept us for what we are\/We are the dark side in mourning\/We\u2019re never gonna show our scars\/We\u2019ve been pierced by your arrows\/We\u2019ve been pierced in steel\/You\u2019ve tried to break our spirit\/But you never will.\u201d<\/p>\n

Toody\u2019s Bach-like contrapuntal bassline, is the perfect platform for Fred\u2019s summation of the world as it is: \u201cSooner or later, everyone knows\/Our darkest secrets are being exposed\/We\u2019re on trial for the execution\/Broken homes and broken dreams\/Living a life way above our means\/We\u2019re the problem, not the solution.\u201d That is as profound an assessment of our world, as any proffered by the likes of journalists such as Thomas Friedman of the New York Times. Fred Cole walks the walk and talks the talk and he lives up top his ideals. And Toody and Andrew are standing right behind him. Toody handles the vocal duties on \u201cIn The Waiting,\u201d a song in which faint echoes of Buffalo Springfield and Patti Smith filter in weird tandem through the arrangement.<\/p>\n

It is perhaps fitting that, at long last, Dead Moon seem to be receiving their just due. Earlier this year an independent film about Fred and Toody,\u00a0Unknown Passage,\u00a0<\/em>was released to favorable critical response. And anticipation for this new release seems to be high as well.<\/p>\n

In a lot of ways Fred and Toody have a lot in common with Portland\u2019s other long-time couple of local rock- Marv and Rindy Ross. But where Marv and Rindy may have compromised their lives somewhat to succeed on the gold record level with Quarterflash, Fred and Toody made a conscious decision to go another way. They have built their lives and their careers from the bottom up: to the point that now they are real, documented authentic folk heroes, despite the fact that they are staying only \u201cone step ahead of a day job.\u201d<\/p>\n

Still, after putting out countless albums which live up (or down) to the lo-fi, DIY ethic, the band has reached a point of competency where these aspects no longer serve to mask their deficiencies- but to obscure their abilities. Poorly engineered recordings, un-mastered, with muddy vocals and roughly mixed instrumentation cannot diminish the strength of their material or the rawness of its presentational appeal. But, if only just once, one would hope to hear the true power which Dead Moon convey on the live stage, competently captured in the studio (perhaps the Dead Moon equivalent of Love\u2019s classic album\u00a0Forever Changes<\/em>? Well then, at least the majesty of that first, eponymous album).<\/p>\n

Dead Moon, by design perhaps, have not gotten rich in the business of music; nor have they sold their souls (deep Cole souls) to become something they are not. They are a band buoyed by its strengths, rather than hindered by its shortcomings; and that may well be the best measure of any artistic endeavor, but certainly theirs. And, after all, they truly are never too old to learn.<\/p>\n

Curtis Salgado<\/a><\/strong><\/h2>\n

\"\"Strong Suspicion<\/em><\/strong>
\n<\/strong>Shanachie Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Talk about local legends! There\u2019s none greater than Curtis Salgado. From his long time stint with Robert Cray in the \u201870s; to his inspiration for John Belushi (who was filming\u00a0Animal House\u00a0<\/em>in Eugene, in 1978 when he first saw Curtis, performing with Cray) in forming the Blues Brothers with Dan Akroyd; to his years with the noted Boston-bases R&B outfit, Roomful Of Blues; to the respect he is finally receiving after thirty-five years in the business- Curtis Salgado has absorbed every nuance of his craft.<\/p>\n

After all this time, it might be hard to conceive that the old dog Curtis has any new tricks up his sleeve (as it were). But there it is! And here it is. For this album, these twelve songs (nine of which are penned by Salgado or members of the retinue) comprise the best recorded performance in Salgado\u2019s long and illustrious career.<\/p>\n

A lot of the credit for the sonic cohesion found throughout this project goes to producer Marlon McLain, whose own link to the local funk scene goes back at least as far as Curtis\u2019 does with r&b. But Curtis, too, seems to have put it all together with this album. His choice of cover songs is superb- and his renditions of those songs add new dimensions rather than traverse well-trodden ground. This is most spectacularly demonstrated in his stirring version of the Beatles\u2019 \u201cNo Reply.\u201d<\/p>\n

Think of Al Green in his prime, with a full-on Hi Records Memphis sound behind him, doing a spine tingling interpretation of a classic Beatles nugget; so turned around and upside down that only a true Beatles fan would even recognize the song. Outta sight! And Curtis\u2019 take on O.V. Wright\u2019s gospel-tinged \u201cBorn All Over\u201d is faithful, yet expansive. While his adaptation of Bill Withers\u2019 \u201cWho Is He And What Is He To You\u201d goes to places of which its composer could only dream.. His tender reading of Leon Russell\u2019s \u201cHelp Me Through The Day\u201d gives new life to a lovely ballad, with the help of Jacob Wolf\u2019s guitar work, reminiscent of Stevie Ray Vaughn. And speaking of Leon Russell, \u201cLove Her Just Because\u201d calls to mind Russell\u2019s loopy rubbernecked Delta style, interjecting a double-reeded harmonica solo in the middle.<\/p>\n

But, the level of the original material found here is of a far higher caliber than in previous incarnations. Bassist Willy Barber\u2019s \u201cGive Me Patience\u201d is a hard hitting number with tight, rock-inflected ensemble work, bolstered by guest Sonny Landreth\u2019s smoldering slide guitar work and some fiery female backup vocals. Landreth adds a delta flavor to the romping. Little Feat-ish title track, with slick fills\u00a0 supported by Rusty Hall\u2019s keyboard pads and DK Stewart\u2019s open ended piano interjections. Lloyd Jones\u2019 \u201cCan\u2019t Stop Lovin\u2019\u201d benefits immeasurably from Bekka Bramlett\u2019s big-voiced participation in a vocal duet with Curtis.<\/p>\n

Bekka Bramlett could fill a page or two with her own bio. Daughter of famed duo Delaney and Bonnie Bramlett, Bekka has been singing since age four when she first appeared on one of her dad\u2019s recordings. She was a member of Fleetwood Mac in the early \u201890s, temporarily replacing Stevie Nicks. There she met Billy Burnette (who had replaced Lindsey Buckingham). She later performed in a duo with Burnette. Along the way, she has sung backup for the likes of Belinda Carlisle, the Moody Blues, Rod Stewart, Joe Cocker, Billy Joel and\u00a0 Vince Gill, as well as a host of other country artists- to name just a few. That she is appearing on a Curtis Salgado album is a real feather in Curtis\u2019 hat. And she sounds great in tandem with him, her gritty Memphis drawl all over his soulful lead vocals like ice cream on hot apple pie. Yum yum!<\/p>\n

Curtis moves to his upper register, sounding like a gospel blues Prince along the way, with \u201cInside My Heart.\u201d He finally wheels out his harp again (that was how he first came to fame after all)\u00a0 on \u201cMoney Must Think I\u2019m Dead.\u201d A nice shift of gears, \u201cAt Least I Didn\u2019t Do That\u201d has the sort of vocal phasing in the verses that Donald Fagen made popular with Steely Dan, circa\u00a0Pretzel Logic<\/em>. However, Donald Fagen is many things, but he is no Curtis Salgado, when it comes to vocalization. Bill Withers is\u00a0 circulating through there too. But, when Curtis cuts loose, it\u2019s all Salgado baby.<\/p>\n

\u201cDon\u2019t Wait Until Tomorrow\u201d is a molten piece of swamp sludge, a mush-mouthed Curtis sliding cool over drummer Don Worth\u2019s smart beat, while a funky cool jerk\/Hendrix riff rocks just beneath the surface. Curtis\u00a0 lays in a taste of smoky harp in the middle and end solos, adding more harp in the \u201csecret track\u201d wherein he duets with a Pavarotti like howling dog.<\/p>\n

Curtis Salgado puts it all together with this album. All the years of struggle and setbacks have led to this solid piece of work- certainly a fitting culmination of an illustrious career. Salgado covers a wide range of stylistic ground from blues to r&b and soul- with nary a misstep. His robust supporting cast adds a glistening sheen to the production, as well as sinuous muscularity. If this album doesn\u2019t grab recognition for Salgado on a national level, then there is not a lot of hope for the business\u00a0 of music.<\/p>\n

Shanghai Woolies<\/a><\/strong><\/h2>\n

\"\"Jungle Nights
\n<\/em><\/strong>American Gavabun Records<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Another album released by a pack of local veterans is this oddly zesty, slightly off-kilter effort from the Shanghai Woolies. The band is the brainchild of Pink Martini trumpeter, Gavin Bondy, who has decided to personally revive the \u201chot jazz\u201d movement- a form of music popular throughout the 1920s, which was a combination of ragtime jazz, Negro spirituals, blues, and European music. Louis Armstrong, Duke Ellington, Don Redman, and Fletcher Henderson led some of the more popular early big bands playing \u201chot jazz.\u201d These groups featured jazz stars of the day as well as future big band-leaders such as Coleman Hawkins, Benny Goodman, Glenn Miller, Roy Eldridge and Benny Carter.<\/p>\n

But, what truly inspired Bondy was the concept of fusing rock elements with\u00a0 hot jazz – as bands such as the Cherry Poppin\u2019 Daddies and Big Bad Voodoo Daddy had done with the swing music revival of the 1990s. After a couple of attempts at perfecting his cast of characters (and band name) he has arrived at this Shanghai version of the Woolies. Along with his reed playing brother, Clark Bondy, Gavin has brought in his wife, Mel Kubik (who played keyboards and sang with local bands such as\u00a0 Dub Squad, Quarterflash, to name but\u00a0 a few). Here, she is on board as the vocalist, calling to mind a New Age Ella Fitzgerald in her way with a cooing phrase.<\/p>\n

Of course, what band would be complete without the input of ace guitarslinger Tim Ellis? Here he adds everything from Hendrixian sputter to his solo on the first track, Ellington\u2019s \u201cEast St. Louis Toodle-oo,\u201d to steadfast banjo on the standard \u201cI\u2019m Confessin\u2019.\u201d Speaking of Steely Dan\u2019s\u00a0Pretzel Logic<\/em>, they did a version of\u00a0 this number too, with the illustrious Jeff \u201cSkunk Baxter lending pedal steel guitar solos to that mix. Here, Ellis brings the song into the 21st<\/sup>\u00a0century, with a mind-blowing, wired in solo.<\/p>\n

As far as the quality of musicianship goes here: this stuff is easily up to the high standards of\u00a0 Pink Martini or 3 Leg Torso or any other upper echelon troupe- played with authority and true understanding of the genre. These are not rookies merely reading well-written charts. The program is mostly period-music, with only a single original number, Kubik\u2018s \u201cTill My Baby Comes Back Home,\u201d which fits right in with the rest of the material.<\/p>\n

Gavin\u2019s take on Harry James\u2019 \u201cConcerto For Trumpet\u201d lacks perhaps the master\u2019s fluid flow, but is certainly a skillful performance, beefed up significantly by Ellis\u2019 ripped up solos,\u00a0 as well as a nice interplay between Clark Bondy and trombonist Tom Hill. Their take on \u201cBessie Smith\u2019s \u201cI\u2019ve Got What It Takes,\u201d is cheeky, though maybe a little tame by Bessie\u2019s standards. Kubik\u2019s intonation here is more reminiscent of Billie Holliday. Drummer Dan Steuber\u2019s dexterous washboard work harkens back to the earliest, pre-\u201820s jazz recordings.<\/p>\n

Ellis provides dive-bomber guitar riffage to the arrangement of Ellington\u2019s \u201cJungle Nights In Harlem,\u201d supplanting the necessity for a big horn section in this little big band. The band interpret the piece in a slightly arcane, cartoon-like setting, reminiscent of the work of Raymond Scott in the late \u201840s; especially Gavin\u2019s spectacular whacked out wah-wah muted trumpet solo. Ella\u2019s version of the chestnut \u201cI\u2019m Confessin\u2019\u201d serves as the template for Kubik\u2019s rendition, while Clark Bondy leads the team through a series of deftly executed solos.<\/p>\n

Kubik stands out on Lil Green\u2019s \u201cGive Your Mama One Smile,\u201d a song more demure than some of the others she sings here- and better suited to her girlish voice. A fairly straight reading of the tune by the ensemble, gives it an authentic feel. Steuber lends a Gene Krupa like tom-tom fury to Artie Shaw\u2019s \u201cSerenade To A Savage\u201d while the band moves through intricate changes with savvy aplomb. Kubik takes Peggy Lee\u2019s recitation of \u201cWhy Don\u2019t You Do Right\u201d (originally performed with the Benny Goodman Orchestra) and streamlines it while the band smokes the bejesus out of it, with Ellis\u2019 blustery guitar weeding out changes Charlie Christian could only dream about. Mel\u2019s take on Ethel Waters\u2019 1938 nugget \u201cYou\u2019re Mine,\u201d sounds more like Bernadette Peters than Ethel, which isn\u2019t necessarily such a bad thing.<\/p>\n

To say the Shanghai Woolies are throwbacks is to shortchange them of the hard work they put into sounding good enough to be considered throwbacks. Gavin Bondy\u2019s precise arrangements capture the essence of the hot jazz era, while doing more than merely imitating the sound of the day. Instead, they have given the music renewed vigor, utilizing every trick at their disposal, while playing the hell out of some pretty complicated music (complicated by rock standards, anyway).<\/p>\n

Anyone who pines to hear jazz the way it once was played in the early years: hard and hot, will love what the Shanghai Woolies are doing. They evoke an era gone by in such a way as to make the music current and credible by today\u2019s samples and drum machine standards. They play with skill and panache and are sure to make tons of money playing the same party circuit Pink Martini once mined. They deserve the money.<\/p>\n

Jessie Rae<\/a><\/strong><\/h2>\n

\"\"Out Of The Blue
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

It\u2019s been over three years since we last heard from Jessie Rae. The band, primarily comprised of singer\/songwriter Joan Meyer and her partner, guitarist Lauren Semler,\u00a0 also features drummer Kipp Crawford, percussionist Wendy Owens and keyboardist Matt Burnett, as well as a host of guest performers. The music remains much the same- thoughtful lyrics, sung by Meyer; with faithful, if somewhat bland, ensemble accompaniment.<\/p>\n

\u201cBlue Armor\u201d is a reggae-tinged number with a nice chorus; while \u201cCan You Explain,\u201d \u201cMiracle\u201d and \u201cDon\u2019t Care\u201d exhibit a rockier edge than found on the previous album. The instrumental, \u201cAffectionate Soul,\u201d displays a funky side; while a country feel invests \u201cWalk With You.\u201d \u201cAround Here\u201d is a pleasingly low-key love song and the highlight of the set.<\/p>\n

The music of Jessie Rae is easy listening, if a tad colorless. Inoffensive. Emotionally subdued. Sincere. Pleasant. The band isn\u2019t going to bowl you over, but the suspicion is that that\u2019s not the point of their music, in the first place.<\/p>\n

Jordan Kolton<\/strong><\/h2>\n

\"\"When The Hammer Drops
\n<\/em><\/strong>Self-Produced<\/strong><\/p>\n

BUY<\/a><\/strong><\/em><\/p>\n

Jordan Kolton is a serious young\/singer songwriter, with a big, full voice; whose influences could be traced back to Paul Simon, to the early Eagles through Richard Thompson and up to Shawn Mullins. The songs share a somewhat apocalyptic vision, dealing in interpersonal relationships and their ultimate effect upon the world at large.<\/p>\n

Some of Kolton\u2019s songs fail to hold their center , with no true chorus or melodic them to serve as locus to a musical theme. But there are instances where he shows real promise. \u201cHanging By A Thread\u201d recalls the mood of the Eagles\u2019 \u201cOutlaw Man\u201d as well as the styles of the Outlaws\u2019 \u201cGreen Grass And High Tides\u201d\u00a0 and that of a little-known \u201970s folk-rocker named Michael Stanley. Over a familiar Em-D-C chord progression, Jordan sings a romantically pastoral lyric about the tenuousness of his emotions in an intense relationship. Ben Cartwright adds a vibrant Mark Knopfler-esque guitar solo in the middle.<\/p>\n

\u201cAre You Here?\u201d is a contemplative ballad with a pretty chorus and valid point of view. Jordan\u2019s vocal melody line can\u2019t quite handle the nuances of his E-Emaj7-A-Am-E chord progression on \u201cAnother Place Called Home,\u201d but he gives it a good try. Thematically, \u201cReason To My Rhyme\u201d resembles the work of Tim Buckley\u2019s later years. A gentle, rustic melody informs the lyric of the title track.<\/p>\n

Jordan Kolton\u2019s talents are clear on several songs, if not as yet come to full fruition. Given time and the desire to improve at his craft, it is reasonable to assume that better things lie ahead for him in the future.<\/p>\n","protected":false},"excerpt":{"rendered":"

Dead Moon Dead Ahead Tombstone Records BUY The last line in \u201cIn The Waiting,\u201d the last song of this eleven-track opus, says it all- \u201cWe\u2019re never too old to learn.\u201d If \u201cMusic too tough to die\u201d were not already their … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1150,"featured_media":0,"parent":46,"menu_order":6,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"yoast_head":"\nGBU - 2004 - 05 - spclarke.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/spclarke.com\/?page_id=873\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"GBU - 2004 - 05 - spclarke.com\" \/>\n<meta property=\"og:description\" content=\"Dead Moon Dead Ahead Tombstone Records BUY The last line in \u201cIn The Waiting,\u201d the last song of this eleven-track opus, says it all- \u201cWe\u2019re never too old to learn.\u201d If \u201cMusic too tough to die\u201d were not already their … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/spclarke.com\/?page_id=873\" \/>\n<meta property=\"og:site_name\" content=\"spclarke.com\" \/>\n<meta property=\"article:modified_time\" content=\"2012-08-11T20:41:12+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/www.twolouiesmagazine.com\/wp-content\/uploads\/2011\/11\/dead_moon-dead_ahead-150x150.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"18 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"http:\/\/spclarke.com\/?page_id=873\",\"url\":\"http:\/\/spclarke.com\/?page_id=873\",\"name\":\"GBU - 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