8 April 2013 (Day 98) – Cleveland Rocks

Back to work after the weekend and another day of intensive work and some meetings.  I decide that a need something cerebral whilst preparing a PowerPoint presentation for public seminar I’m    delivering later in the weekend so plump for;

(266) The Beta Band – Heroes To Zeroes (2004)

This Scottish band was noted for its unique approach to music encompassing intriguing instrumentation, harmonies, sampling and songwriting.  Rock connoisseurs (OK, make that rock snobs) everywhere adored them, including Americans. They were the act John Cusack’s character in the movie adaption of High Fidelity bet could sell a few copies with just a single play of an album in his shop.  The song he played was Dry The Rain from their debut album The 3 E.Ps.  Heroes To Zeroes was their fourth and final album and whilst not as good as its predecessors (I suspect this was the band’s attempt to produce something along more conventional lines) has much to recommend it. 

After that and still wanting more of the same I went for an album by The Electric Eels.  I don’t know whether I was unconsciously influenced by my Spinal Tap wanderings backstage yesterday at Rod Laver Arena, but The Electric Eels were one of the acts at the epicentre of a punk movement that centred on Cleveland at the same time other well known American acts were forming in New York City.  The music created by these acts was more obtuse than that produced elsewhere which probably accounts for its relative obscurity today.

Although these acts produced music that represented a challenge to the then musical order, they unwittingly kept Cleveland’s reputation as one of the cities central to the development of rock alive.  It was in Cleveland that a record shop owner named Leo Mintz reputedly invented the term “rock ‘n roll” to replace the term “rhythm and blues” in an attempt to make such records appealing to white audiences.  He also worked closely with local DJ Alan Freed (later to be caught up in and disgraced by radio payola claims) to popularise the term through putting on special dances and shows.  A range of disparate acts have also emanated from Cleveland or its surrounds on a regular basis including Devo, Chrissie Hynde, Screaming Jay Hawkins, The Black Keys, Marlyn Manson, Trent Reznor/Nine Inch Nails, Tracey Chapman and The O’Jays.  The city was also immortalised by Ian Hunter in his song Cleveland Rocks (aka the theme song for The Drew Carey Show) but more  importantly, is now the home to the Rock And Roll Hall Of Fame.  Ironically, in view of its past induction history, it will probably never admit any of the acts I’m about to celebrate.

(267) The Electric Eels – Their Organic Majesty’s Request (recorded 1975/released 1998)

This is a rough sounding release, effectively a compilation of all of the tracks that had been released on two previous albums.  Some of the tracks, notably Agitated, Anxiety, Jaguar Ride and the Stooges sounding Cold Meat are more likely to appeal to fans of the NYC scene.  The final two, and much slower tracks, As If I Cared and Almost Beautiful You reward repeated listening, each containing stabs of menacing guitar chords that would surface in future albums by the likes of The Residents and their ilk.  The remainder of the album is an acquired taste.

(268) Rocket From The Tombs – The Day The Earth Met …… (recorded c. 1975/released 2002)

This is a much more conventional sounding punk album from a legendary band that would give birth to both of the relatively better known Pere Ubu and Dead Boys.  I’m reasonably sure the band never got into a recording studio and these live recordings is practically all that exists.  Despite that, this is a thrilling listen, including embryonic versions of tracks that would be recorded by each of the subsequent acts.  (Sonic Reducer and Ain’t It Fun would be recorded by The Dead Boys and Final Solution and 30 Seconds Over Tokyo by Pere Ubu.)  A bunch of covers reveals their influences, including The Stooges’ Raw Power and Search And Destroy, The Velvet Underground’s Foggy Notion and an abortive attempt at The Stones Satisfaction.  

(269) Pere Ubu – The Modern Dance (1978)

A piercing line of white noise and minimalist bass heralds the start of Non Alignment Pact, one of my all time favourite tracks.  Based on The Stooges I Wanna Be Your Dog it careens down the road ridden by the unmistakably gruff vocals of Dave Thomas.  The title track, Life Stinks, Chinese Radiation and Real World all follow in the same vein.  It is as mysterious and intriguing today as when it was originally released.

(270) Peter Laughner – Take The Guitar Player For A Ride (1994)

A member of Rocket From The Tombs and a founding member of Pere Ubu, Laugner’s premature death at the age of 24 in 1977 robbed the world of a singular talent.  This album, which was compiled from a variety of sources including demos, home and live recordings explains why. It is also an extremely rare CD; I fluked mine for a couple of dollars from a second hand store clearly unfamiliar with the contents including Slyvia Plath, a solo version of Neil Young’s Only Love Can Break Your Heart, a live version of Richard Thompson’s Calvary Cross which at least matches the original and ferocious solo recordings of Rocket tracks Amphetamine, Life Stinks and Ain’t It Fun.  A poignant solo version of Me And The Devil Blues, reputedly recorded only a few hours before his death, ends this album on a sombre note.

6 & 7 April 2013 (Days 96 & 97) – Mental Notes

It was one of those leisurely let’s just take things as they come weekends without much in the way of firm commitments. Whilst music was never in the forefront of any of the activities we undertook, it was always bubbling away somewhere deep in my consciousness.

I’m up reasonably early on Saturday for a quick trip down to a nearby Bunnings to get some duct tape. One of my nephews is doing me a favour and is squeezing his much smaller frame into my oddly shaped ceiling to fix up a collapsed central heating duct.  At the Bunnings I’m grateful they don’t pipe muzak and briefly mull over what would constitute appropriate music for a hardware warehouse.  Before I come to any conclusions I find my tape and, in “M” absence, automatically wander over to the storage solutions area.  I look over the products available curious to see whether anything new has been developed that will assist me in storing my collection.  I find nothing new and make a mental note to visit IKEA in the future.

Back home, I find “M” has the stereo on.  Why, oh why did I not insist she come with me?  She has got the washing under way and is attacking other tasks in tune to her favourite music.  Now “M” and I differ greatly about what consititutes favourite music.  I could take forever, attempting to decide between literally hundreds of albums.  “M” chooses from approximately 12 tracks each played any number of times on end.  Saturday’s selections were Stevie Wonder’s For Once In My Life, The Pretenders Don’t Get Me Wrong and John Lennon’s version of Stand By Me.  Mercifully, my nephew arrives after a short while ending her DJ session and leaving the other 9 tracks unplayed. I make a mental note to draft a psychological analysis of her 12 tracks for a future post.

After lunch I head off to the footy full of optimism.  Unfortunately, Freemantle jump the Doggies in the first quarter and build a reasonable lead.  We fight on well afterwards and are within striking distance at half time ultimately failing by a respectable 28 points.  Just before the end of the half time break, Mickey remarks on the improved quality of music played over the Etihad Stadium’s PA.  Only then that it dawns on me that I’m listening to XTC’s wonderful Generals & Majors.  Now that’s a first.  Mickey suggests this could be the subject of a future post.  I agree and make a mental note to jot down the tracks I hear next week.

On Sunday "M" and I head out to town for lunch. We then walk alongside the Yarra River past Southgate, Hamer Hall, Federation Square, the Alexandra Gardens where I saw many free 3XY gigs in my youth and onto the National Tennis Centre.  We’re there to seek out an outside court where “M”s nephew is having a hit up.  I amuse myself attempting to mimic crowd noises during Australian Open matches as we chat with his parents. After the hit up we all walk deep into the bowels of the Centre.  We find ourselves going through a rabbit warren of tunnels and passageways and realise we’re found the players Australian Open facilities and, more importantly, the route to Rod Laver Arena.  A security door stops us going further but not before I replay the “Hello Cleveland” bits from This Is Spinal Tap.  I start to hum their immortal Tonight I’m Going To Rock You Tonight and realise it’s been a while since I’ve seen the film and its rap counterpart Fear Of A Black Hat.  I make a mental note to watch both.   

We walk back towards our car and decide to cut through the casino complex.  The foyer is full of security staff and onlookers getting ready for the night’s Logie Awards ceremony, the Australian version of the Emmys and People Choice awards combined.  Overseas musical guests have been imported over the last few years to perform – Micahel Buble, Bruno Mars and Birdy this year – but it’s not enough to make us gawk for long.  At least not compared to last year when, as a laugh, we went over to watch One Direction, or rather their fans.  I remember seeing teenage girls everywhere, screaming at the slightest provocation or singing their idols hits (there really wasn’t much of a difference), many of whom accompanied by parents who wished they were elsewhere.  All this serves to remind me that the show leading in to the telecast tonight is the first episode of this year’s season of The Voice.  I make a mental note to write about these music shows in a future post.

Come the end of the weekend I’ve realised that one album monopolised my listening for the entire period.  It is:

(# 265) The Hitmen – Tora Tora D.T.K (expanded version disc 1) (2009 reissue of 1984 album)

The Hitmen were a Australian rock band of the late 1970s and 1980s who worshipped at the altar of the high energy Detroit bands of the late 1960s and 1970s.  Founded in Sydney by Johnny Kannis, they are also noted for the number of musicians who passed through their ranks from or onto relatively greater things including Ivor Hay of The Saints, Warwick Gilbert of Radio Birdman and Brad Shepherd of The Hoodoo Gurus.  Whilst they never attracted mass popularity, they were responsible for a handful or memorable songs and developed a cult following for their high energy live act.  This is a live album recorded near the end of their initial career (they’ve since reformed and perform spasmodically) before a suitably hyper audience which has been expanded to a double CD with the addition of outtakes and a range of other related releases.  This version of the band, which also included long time guitarist and future Secret Tribesman Chris “Klondike” Masuak and future Hoodoo Gurus drummer Mark Kingsmill, was arguably its best and the performances are top notch.  Most of their best tracks are grouped at the start of the album including Rock ‘n’ Roll Soldiers, Didn’t Tell The Man and It’s So Hard.  But they were the masters of cover version including inspired renditions of The Flamin’ Groovies classic Shake Some Action and the Ramones’ California Sun.  Bonus tracks also include their take on Elvis’ Suspicious Minds, The Stooges’ Search And Destroy and Louie Louie.   

A live version of one of their earliest tracks, Dancing Time is also included which reminds me that I have a 2CD disc of their earliest recordings by the same name that I’ve still to play.  I make a mental note to play it but then my brain starts to hurt…...

5 April 2013 (Day 95) – Completing The Atlantic Soul Legends Box

Another day behind my computer loomed at work and so I thought it would be a great opportunity to go through the remaining items in the Atlantic label Soul Legends box set of 20 original albums, starting with:

(# 260) William Bell – The Sound Of A Bell (1967)

Considering that he’d scored very few major charting records, it’s amazing how often Bell appears in soul compilations that I have from the classic 1960s – early 1970s period.  On this debut album, he utilises his very smooth voice on a nice range of material including his very own You Don’t Miss Your Water and classy covers such as Do Right Woman – Do Right Man and I’ve Been Loving You Too Long (To Stop Now).  Other gems on this album include Everybody Loves A Winner, Eloise (Hang On In There), Never Like This Before and You’re Such A Sweet Thang.

(# 261) Howard Tate – Self Titled (1972)

I don’t think I’d heard of Tate before I got the box set but I’m rapt this was included.  This is a great album of mainly urban sounding soul with funky horns on many tracks.  There’s some magnificent material on this album such as She’s A Burglar, Where Did My Baby Go, Jemina Surrender and It’s Your Move.  But the highlight is his absolutely inspired cover of Dylan’s Girl Of The North Country in which he almost convinces you that Mr Zimmerman is really a soul man.

(# 262) Clarence Wheeler & The Enforcers – Doin’ What We Wanna (1970)

Wheeler and the Enforcers stare at you from cover in a wonderful photograph that is deliberately confrontational.  I have no idea why this was needed because this is an absolutely sensational jazz/soul/rock hybrid of mostly instrumental material that is essential listening for anyone’s musical education.  Side 1 of the original vinyl album appears to consist of covers or tunes written by others, commencing with a magnificent 8 minute arrangement of The Beatles’ Hey Jude with the horns replacing the Na-Na-Na’s of the original.   Theme From Electric Surfboard emphasises the organ in a manner reminiscent of its author "Brother" Jack McDuff, for whom Wheeler had previously played.  Side 2 consists of tracks written by Wheeler and the band.  It starts off with Right On, a clear declaration of black power which utilises a chorus of voices singing phrases (such as Right On) at various points throughout.  Dream Bossa Nova which follows is exactly as the title implies whilst and the title track is inspired.  I think I’ll need to hunt down more of their albums.

(# 263) Sam Dees – The Show Must Go On (1975)

Now I know I hadn’t heard of Dees before I got this box set.  This album appears to be split between two types of material, socially aware and standard soul. Employing a lush sound and vocals to boot, the wonderful socially aware tracks – Child On The Streets, Troubled Child and What’s It Gonna Be in particular – are very much in the Curtis Mayfield Superfly tradition.  Much of the remaining material is very slick and possibly even too slick for my tastes.

With the box set completed, I decided on a change of pace and went for, you guessed it ….:

(# 264) Mogwai – Hardcore Will Never Die, But You Will (2011)

I’m not sure what’s happening in my head, but the early tracks on this album, now with keyboards playing a dominant role remind me of the futuristic sounds of the Tortoise album (Beacons Of Ancestorship) I played on Tuesday.  After 3-4 tracks, the guitars start to assume their rightful position on tracks like San Pedro and George Square Thatcher Death Party with other instrumentation thrown into the extremely clear mix.  The album ends with a track called You’re Lionel Richie which I’ve only noted, so in the interests of all-inclusiveness, I can say I’ve referred to him in my posts.

4 April 2013 (Day 94) – Planty, Townes & Colin

It was a day of many commitments which significantly reduced the time available for playing much. 

During the day, yet another colleague at work gave me a briefing of the last of the major Bluesfest acts to have made their way through town.  This time it was Robert Plant who played at Rod Laver Arena last night.  My colleague thought the show was a bit on the short side and he played too many reworkings of Led Zeppelin tunes in preference to his last couple of solo albums Band Of Joy and Mighty ReArranger.  (At best, he estimated, only 1 or 2 tracks were played from each album.) The entire upper seating level of the venue was curtained off which indicated the show hadn’t sold as well as intended.  Despite this, he saw nothing wrong with either Plant’s performance or what he described as his “crack” backing band the Sensational Shape Shifters.  Both I could sense disappointment even if he wouldn’t acknowledge it.

Intrigued by these comments I looked up online reviews before I wrote this post and found that Plant might have fallen victim to the infamous Melbourne audience.  One of the things I’ve noticed, especially in comparison to gigs I’ve attended overseas or interstate, is the Melbourne audience can, on occasion, be quite a difficult one to please.  It is an audience that even established acts on their upteenth visit here should never take for granted.  On many occasions I’ve seen audiences which did not get excited until provoked by the act or in response to something thrilling on stage.  Very few acts handle this type of audience well and of all the acts I’ve seen confronted by this, only Bryan Adams has managed to effectively turn it around.  Adams is not an act I would choose to see but he was on the bill of the final date of The Police’s Synchronicity World Tour at the Showgrounds.  Known at the time for only one hit, Cuts Like A Knife,  which he played early on in his set, the audience soon lost interest.  Then during a long number, he tried to rouse the audience and failed.  He then let out a burst of anger, shouted the immortal lines, “Come on Melbourne, even Sydney was better than this!” and slammed his microphone into the stage.  Unbelievably, this was sufficient for the crowd to responds positively for the rest of the set.  At least he seemed prepared for this type of scenario unlike some other acts who I've seen roll onto a stage expecting adoration without playing a note. 

Sometimes the Melbourne audience’s attitude can get to an act who, unlike Adams daring the audience to support him, responds by criticising it or cutting the show short.  As I wasn’t there, I cannot say that this happened but apparently Plant made some comments about the crowd indicating a bit of real frustration.  

But back to today’s playlist.  I did keep true to my promise to play something less abrasive and went for the first live album from an act that could very well have posed a challenge to the Melbourne audience had he ever played in front of an audience of any size here;

(# 258) Townes Van Zandt – Live At The Old Quarter, Houston Texas (1977 release of a 1973 concert performance)

From what I could work out Van Zandt played only two shows here in September 1990 at what appears to have been a very small venue.  (I’d missed it as I was backpacking around Europe at the time.)  I suspect that the performance might not have been all that different to this except for a deteriorating voice; solo with only a guitar for company.  But from what I’ve heard of his music this is all he really needed to make his memorable country or folk based songs come alive.   Championed by many singer songwriters, notably Steve Earle who has cut an album of his tunes, this album can also be heard as an overview of his earliest and best work.  Pancho & Lefty, If I Needed You, For The Sake Of the Song, Cocaine Blues and Tecumseh Valley are all present and accounted for as well as some well chosen covers (especially Who Do You Love) and his between song repartee.

(# 259) Mull Historical Society – Us (2003)

Mull Historical Society is basically a performing name for Scottish singer/songwriter Colin MacIntyre.  It is full of beautifully constructed and polished indie/pop tunes on which MacIntytre has played almost all the instruments.  Some writers have suggested he is a Scottish version of The Eels but I don’t think he shares either the caustic wit or bleak world view of E.  On this album, his second and most successful, I think the closest comparison, especially on the latter tracks would be with the pre Girlfriend output of Matthew Sweet. 

3 April 2013 (Day 93) – A Couple Of Staples And A Lack Of Logic

Sometimes I do things that defy any rational thought.  Take today for instance.  I knew that an in house seminar was going to account for half of my day at work so I thought taking three CDs and the iPod should do.  After attending the seminar, I sat down at my desk and played a most wonderful album;

(# 255) Pops Staples – Peace To The Neighborhood (released 1992)

This was one of a very few albums released under Pops’ name during his lifetime.  Working with a number of producers including Al Green’s long time producer Willie Mitchell and Ry Cooder, it is a clever mixture of Pop’s originals, traditional gospel/soul numbers and more contemporary covers. In the latter category are wonderful versions of Jackson Browne’s World in Motion (including vocals from the songwriter and typical guitar work from track co-producer Bonnie Riatt) and Los Lobos’ (Peace To) The Neighborhood. Mitchell produced most of the Pops’ numbers which are all of a high standard including the wonderful Pray On My Mind with his daughter Mavis on lead vocals.  But the highlights are undoubtedly the two Cooder produced tracks, Down In Mississippi and I Shall Not Be Moved.  Cooder contributes guitar to both and his unmistakable vocals to the latter.  None of these collaborators though deflect the attention away from Pop’s vocals and understated guitar work.

The next album was a logical choice:

(# 256) Mavis Staples – Have A Little Faith (2004)

This is a rousing gospel influenced album that shows off Mavis’ incredible voice to best effect.  Events that occurred in the considerable period from its predecessor provided her with appropriately powerful material including the death of Pops (Pop’s Recipe) and the events of 9/11 (In Times Like These and the title track which is not the John Hiatt tune). Wisely, most of the musical backing is not allowed to overwhelm Mavis’ voice without detriment to the songs.  A beautiful version of the standard Will the Circle Be Unbroken? rounds things up nicely.

Having played this, you would have thought the next task would have been to play something by The Staple Singers.   The Freedom Highway compilation is on my iPod and it doesn’t even occur to me to play it until I sit down to write this post.  Instead my mind casts about for something different and I achieve that with:

(# 257) Mogwai – The Hawk Is Howling (2008)

Scotland’s most accomplished sculptors of mostly instrumental, melodic noise continued the process of developing a more accessible sound that was initiated on Mr. Beast with this release.  It starts off with the superbly titled and sounding I’m Jim Morrison I’m Dead which maintains a coiled tension for its duration.  Batcat increases the intensity which is maintained over the next couple of numbers.  An extremely quiet Kings Meadow leaks into the epic I Love You I’m Going To Blow Up Your School which eventually explodes into a glorious sustained blast of sound.  Closing track The Precipice is aptly named.

After this I think I’ll need something quieter tomorrow.

2 April 2013 (Day 92) – Work After Easter And Bruce

The first work day after the Easter break is one of the quietest days of the year as many people take an additional day off.  As the school holidays have kicked in, other stake leave for the entire week in order to spend quality time with the kids.  This year seems to be no different. 

I speak to a colleague of mine who went to Springsteen’s final Hanging Rock gig.  Sadly (for me), that show turns out to the night to go, a massive 29 song marathon which is essentially an expanded version of my night (sans Red Headed Woman), plus Incident On 57^th Street, Jackson Cage, The Rising, Lonesome Day, Candy’s Room and Prove It All Night.  Despite this, my colleague is still disappointed that, despite going to two shows on the tour, she did not get to hear Thunder Road.  I point out that it is practically the only track that’s been played at every one of the five I’ve seen in my life.  I don’t think this dented her positive feelings but I know it picked up mine. 

My colleague also repeated Bruce’s promise from the stage that he will return to Australia within a much shorter time frame than in the past.  Most acts say this and very few deliver on the promise.  In any case, I figure I’m in a win/loss situation.  If Bruce returns soon, say within 2-4 years, it will be a win.  The overwhelmingly positive reviews of the shows and full houses will almost certainly ensure that the next Melbourne gig will probably involve Etihad Stadium.  This will probably be a loss as the relative intimate nature of Rod Laver Arena will be lost.  Having said that, I’ve seen gigs there from both AC/DC and U2 who both were able to create an amazing atmosphere there with their fan base so there’s still hope.

After that, it was to my desk for some serious catch up work.  This can be seen in that most of my sections for the day were dominated by instrumentals:

(252) Bela Fleck & Flecktones – Greatest Hits Of The 20^th Century

I think I’d be right in guessing that Bela Fleck would be the only artist with albums in my Collection whose primary instrument is the banjo. As the title of this album infers, this is a compilation of tracks from his career to the end of 1999.  The Sinister Minister kicks things off in fine fashion, a track that sounds appropriately titled.   A live Stomping Grounds continues the good times but many of the remaining tracks are played a little too safe for my liking, a situation not helped by Communication with vocals from Dave Matthews. 

(253) Tortoise – Beacons Of Ancestorship

Dating from 2009, this is the most recently released Tortoise album I own. This album incorporates quite a futuristic sound deftly integrating electronic sounds into the mix.  Indeed, many of the early tracks remind me very much of a similarly themed album, Future World by Trans Am albeit without guitars playing so prominent a role.  Things change a little on Minors, a track that could very well be adopted as the theme for a television detective series and the few tracks after that are more in Tortoise’s time honoured tradition.

(254) Aphrodite’s Child – 666

People who own this album are loath to admit it for two reasons; first the music is generally described as that most despised of genres, Prog[ressive] Rock and second, the band included in its membership both Demis (My Friend The Wind) Roussos and Vangelis (he of Chariots Of Fire fame).  But I don’t care about either factor when the music is as exciting as this.  Released in 1971, well before either act had recorded the music which made them [in]famous, this is a concept piece subtitled The Apocalypse Of John 13/18.  I’m assuming that this and the album title are biblical references to the end of the world with tracks including the words, Babylon, Four Horsemen, Beast, Locusts, Lamb and Trumpets in the titles. (And if anyone can explain to me how a track titled Altamont fits in, please let me know.) But the lyrics are not the reason to hear this but rather the music which I’d dispute is Prog at all.  If there is a dominant musical influence on this work, it is undoubtedly that of Frank Zappa which looms largest.   The double album concept, instrumentation used and the combination of mostly shortish tracks culminating in a large epic track near the end have all the hallmarks of Zappa’s work, especially Uncle Meat.  Another reference point, musically speaking, is undoubtedly the Mothers Of Invention live album Ahead Of Their Time which, although released decades after 666, is of a 1968 performance from a tour the musicians could very well have seen. 

1 April 2013 (Day 91) – Public Holiday Blues

After a frantic weekend, it was a relief to have the public holiday Monday to recover.  As I sit at the kitchen table and write, “M” takes the opportunity to whip up her magnificent vegetarian cannelloni.  The shell filling is her combination of pumpkin, sweet potato, ricotta, cracked pepper, fresh basil and freshly chopped garlic.  It’s placed in an oven pan on a bed of passata and sprinkled with parmesan cheese and more passata.

As today is the final day of the Bluesfest at Byron Bay, a festival I’ve never attended but would like to one day, I’m playing a number of blues CDs.  “M” appears happy to listen to my selections for once and is even prepared to share her views, starting with:

(249) Joe Louis Walker – Silvertone Blues

Walker is one of the last authentic bluesmen having played with a range of the greats over the course of his career.  Knowledgeable in all forms of the blues a la Taj Mahal, he is a solid guitarist and possesses a tremendous voice that suits his selection of material.  This is a solid selection of Chicago blues which really catches fire during its second half, particularly on the title track, Crying Won’t Help You and Bad Luck Blues.

“M”s comment: “I like this type of blues.”

(250) Eric Bibb – Friends

This is one of around 30 odd albums that Bibb has released either by himself or in combination with other artists.  Using mostly acoustic instruments, Friends is as good a place as any to start given, as the title implies, this consists of a number of collaborations.  99 And A Half Won’t Do with Guy Davis is overlaid with gospel themes, Charlie Musselwhite shines on Six O’Clock Blues and Taj Mahal is his usual classy self on Goin’ Down Slow.  The highlight is Dance Me To The End Of Love (not the Leonard Cohen song) with piano from Jerry Yester, the producer of Tom Waits Closing Time which should give you an idea of the feel of the track. 

“M”’s comment: "I like how the tracks on this album change and use other instruments.”

(251) Mia Dyson – Parking Lots

Dyson is an Australian blues singer and guitarist with a strong playing style and a suitably raspy voice who’s been paid almost the ultimate compliment via a supporting slot on one of Eric Clapton’s most recent tours of Australia. This album, her second, probably was the release which got her that gig.  It consists of a nice mix of numbers that are well played and arranged culminating in Down, a fiery number and Fire Creek, an evocative instrumental.

“M”’s comment: “I don’t like this.  Her voice is too harsh.”

Our friends arrive for the afternoon.  I make a mental note to ask “M” to …………..