Sometimes You Just Need ...

The New Old Paradise

Blitzen Trapper’s 11/4/10 performance was the first show I’ve seen at the recently renovated Paradise Rock Club. As the perennial best mid-size (800 capacity) club in Boston, The Paradise has, at one time or another, hosted most of the major rock acts of the last three decades on their journey up the stairway to stardom, not to mention most of the best local artists, too. The transformation of the club that took place late this summer is interesting in that it left significant parts of the venue untouched, while radically transforming others.

The entryway and hallway to the performance area are more open and inviting, with the adjacent front Lounge area gussied up, more accessible to the main venue and looking less like an afterthought (apparently, they’re promoting it as a pre-show dining option). Most notable is the gutting of the first floor area underneath the small balcony that wraps around 3/4 of the club. This creates much easier access and maneuverability on the first floor, as well as a somewhat claustrophobic effect if you find yourself camped out for long under the now very low-ceilinged sections beneath the balcony.

Once out from under the balcony, things remain pretty much the same. One of the back bars has been enlarged and moved to the left side of the club, under the deepest part of the balcony. The stage has been moved 10 feet or so to the left, so that the infamous big round central pillar is no longer staring lead singers right in the face from a few feet away, or creating a visual and physical obstacle for the crowd right in front. You’d think that would be a major improvement and, for a small portion of the crowd and the musicians at centerstage, it is. However, it creates a situation where two pillars, located a few feet from each corner of the stage, are now more of an obstruction. So while the obstruction is no longer right in front of the center of the stage, now 2/3 of the audience’s view is somewhat blocked, as opposed to only about 1/3 in the former set up (albeit the all-important center).

But it is what it is, and the new configuration probably just takes some getting used to. Having seen in the neighborhood of 100 shows there over the last 25 years, it might take me a little while. However, it remains my favorite place to see national-level acts in Boston.

A view I’ve approached countless times

over the past 25 years: One of the few

near-constants in my adult life!

Unbelievable

As a long-time editor and media professional, I find the recent copyright infringement incident involving Cooks Source magazine stunning not only in its flagrancy, but in the brazen stance taken by the editor, which is utterly beyond belief. (Get the backstory here, courtesy of The Guardian.)

The editor’s comment that the writer should be appreciative of all the work they did fixing up her poor copy after they STOLE and republished her article really takes the cake. Incredible! Then again, what can you expect from a publication that doesn’t even punctuate its own name correctly?

They deserve to be sued. But perhaps they’re getting a bigger punishment meted out in the court of public opinion. There has been much ado about the matter on various blogs and in social media circles in the last few days. Commenters have been sticking it to the magazine on Twitter and on its Facebook wall: “Hey, I was told I could find Crooks Source here …” and, my favorite, “Does anyone have a link to Cooks Source’s recipe for Copy Pasta?”

They’ve got some serious damage control ahead of them. I’ll be surprised if one particular self-proclaimed veteran editor, badly in need of a reality check and some professional ethics, retains her job.

Blitzen ... Free and Easy

I just saw Blitzen Trapper at the recently refurbished Paradise Rock Club in Boston (see The New Old Paradise). It was a good show; not quite stunningly great, but very entertaining. The crowd was enthusiastic, but low-key, while the band delivered a well-paced performance interspersed with some truly inspired moments.

Despite having heard a couple of live recordings of the band, I didn’t know quite what to expect performance wise. I've enjoyed Blitzen Trapper’s few records, and heard from reliable sources that they were good live. But I also couldn’t help but wonder if they would fall into the seemingly growing category of bands that I really like on record but which prove to be a snore in concert (e.g., The Brian Jonestown Massacre, proven; Built to Spill, suspected and confirmed by others; and Black Mountain, marginally proven, but I’m willing to give them another chance). Any fears I had with regard to Blitzen Trapper were quickly alleviated.

BT @ The Paradise, Boston 11/4/10 (a Sick Frank Photo)

The Portland, Ore.-based sextet put on a varied and engaging show that while short on visuals and theatrics was long on sincerity and well-developed songwriting. Their total lack of pretentiousness – though headliners, the band members were actively involved in setting up their own equipment after the opening act’s set (not something I’ve seen too often at The Paradise) – infused their performance and was almost as remarkable as the instrumental interplay and the absolutely killer harmony vocals. No one player really dominated, though lead singer and main songwriter Eric Earley is clearly the frontman.

The tandem of Earley and Marty Marquis (both of whom play formidable guitar along with Erik Menteer’s Mick Taylor-esque Les Paul licks and synthesizer dabbling) were really remarkable. In fact, beyond the array of catchy tunes, the most remarkable thing about the performance was the tandem of lead and harmony vocals (mostly provided by various configurations of Earley, Marquis and drummer Brian Koch). Truly powerful and impressive stuff.

But what did it sound like? A little rawer than the band’s records and, surprisingly, casual given the sophisticated, layered arrangements and production of their CDs. There’s no doubt Blitzen Trapper fits into the “Americana” genre, and live they come across as one part Bob Dylan, one part Simon and Garfunkle, one part Exile-era Rolling Stones, one part Drive By Truckers, one part Neil Young (electric), and half-parts Black Crowes, Big Star, The Faces, C.S.N. and The Band. Nevertheless, their music is sufficiently original, and despite the touches of southern gothic (hence the DBT, Crowes, Big Star and Band refs.), they are also characteristically “Northwestern” sounding. Overall, they wear their influences well.

Their set was well-sequenced, flowing from three-guitar rockers to mellower keyboard-driven songs and even solo acoustic guitar and vocal duets featuring Earley and Marquis. Their hits were strategically sprinkled throughout the course of the set. “Furr” was the highlight, followed by “Jericho,” “Wild Mountain Nation,” “Fire & Fast Bullets,” “Silver Moon” and the melodica-powered “Lady on the Water.” Only the mid-set rendition of their biggest hit, “Black River Killer,” didn’t quite live up to expectations, seeming a bit rushed and cursory. Nevertheless, it was a very entertaining 90-minute show. I’ll definitely see them again and I’d recommend checking them out if you get a chance.

Click to see an interesting streaming video of a more hirsute version of the band than I saw tonight. It’s a concert recorded a year ago in Sydney, Australia. Also, check out YouTube, where you can find some good official (but non-embeddable) Blitzen Trapper music videos.

Mavis Hits Lofty Heights

A few weeks ago I picked up a new CD that, somewhat to my surprise, will likely end up being one of my favorite albums of 2010. It’s Mavis Staples’ You Are Not Alone.

I’ve long been familiar with Staples’ status as a major part of the legendary Staple Singers family ensemble that brought the spirit of southern gospel to the Civil Rights Movement, and with it her soulful vocal prowess. But I can’t claim to know anything about her career since those halcyon days. And, while I’ve always appreciated good gospel music, I’m not a dedicated or knowledgeable fan of the genre.

I do relish the soulfulness, rich choral funkiness and bluesy tinge of the best gospel – and, to a degree, even some of the righteous devotion and, conversely, unintentional humor. The deep rhythm and ecstatically powerful vocal expulsions of artists like Aretha Franklin and a few others is, undeniably, music to be reckoned with. Yet, too much of the genre – that is, mediocre gospel – leaves me unimpressed musically and put off by the heavy-handed, overly-pious sanctimoniousness of the subject matter.

That said, this new Mavis Staples album is pure gospel soul; highly listenable and, often, truly inspirational. In short, it’s brilliant.

I admit I was motivated to buy this CD, not because of a compelling interest in Staples, but rather because of Jeff Tweedy’s involvement as producer, composer, arranger and musical accompanist (I’m a long-time Wilco fan). While Tweedy’s fingerprints are evident on You Are Not Alone, this is no au courant star-turn charity gig for a past-prime legend. Far from it. For the most part, Tweedy lays back and lets Mavis’ soulful sensibilities light the way.

Besides an obvious respect for the artist’s skill and an appreciation of the power of gospel at its best, what Tweedy brings to the affair is an astute sense of song-craft and a hint of Americana. The result is a distinctive suggestion of some of The Band’s best recordings – overtly on a few tracks and subtly on the album as a whole. It’s deep gospel, but with a pronounced dash of blues, soulful R & B and alt-country twang. So, regardless of how you feel about the pronounced Christian gospel vibe, the grooves, hooks and vocals are irresistible on this simple, yet richly nuanced CD.

A brief interview and stripped-down rehearsal duet with Mavis and Tweedy.

The opening track is an upbeat gospel take on Pops Staples’ tune “Don’t Knock.” The strong backing vocals elicit comparisons with Aretha’s 1960s’ soul hits, while also suggesting a female version of The Jordanaires.

The Band references emerge in full force on the Tweedy-penned title track, which really sounds like Levon & Co. doing gospel (they did dabble, you may recall, on songs like “I Shall Be Released,” and, lest we forget, The Staple Singers were among the legion of legends invited to celebrate The Last Waltz).

If there are any Wilco references embedded in this record, “In Christ There Is No East or West” – musically at least – is the most obvious. The pairing of the tinkling keyboards (celeste and mellotron courtesy of Wilco’s Pat Sansone) and picked acoustic guitar lines (by Tweedy) are, not surprisingly, strongly reminiscent of the Wilco sound. The lyrical message of devotion, racial-harmony and forgiveness are well-meaning, if a bit contrived sounding, though they’re delivered with catchy choruses and some of the album’s most potent melodies.

There are three tracks on You Are Not Alone on which the band ramps up the blues-rock grit. The upbeat bluesy gospel of “Creep Along Moses” is driven by some nasty electric guitar and slinky slide riffs that creep right along with old Mo’ as he’s nudged along by Mavis and some great background vocals. Then there’s Allen Toussaint’s “Last Train,” which features some deft electric guitar melodies during the verses, accompanied by some delightfully-humorous, soulful “choo-choo’s” from the female chorus. Finally, there’s “Only the Lord Knows,” with its solid, funky R & B groove and catchy vocal that is part devotional and part put-you-in-your-place kiss off. “Only the Lord knows, and he ain’t you,” indeed!

One of the few departures from the various gospel themes is the slow blues lament of “Losing You,” a sorrowful, heartfelt ode Mavis sings about the loss of a loved one: “The sun stopped shining, it rained all the time. It did set me back some; oh, but I made it through. But I'll never get over losing you.”

In contrast, the pace picks up again with an upbeat rendition of the Rev. Gary Davis’ “I Belong to the Band.” It’s a rockin’, clapping-driven, country-folk gospel of the ilk dabbled in by Bruce Springsteen with his Seeger sessions CDs, The Blasters on “Samson and Delilah” or Delaney & Bonnie on “Poor Elijah.” It’s one of this strong album’s best tunes.

The Band influence comes to the fore again on another of the album’s standout tracks: “Wrote a Song for Everyone.” Mavis shines with a vocal that recalls “The Weight” in an emotive performance supported by majestically interwoven instrumentation. Everything from the lyrics and vocal phrasing to the melodic lead guitar lines and the overall style, tone and arrangement recall the (mostly) Canadian road warriors in their prime.

Later in the CD, an added dimension emerges as male vocalist Donny Gerrard joins Mavis for a couple of duets. The first, “We’re Gonna Make It,” is an optimistic R & B tune that, to my ear at least, ever-so-subtly recalls The Temptation’s “Papa Was a Rolling Stone.” There’s some snazzy staccato rhythm guitar licks, shuffling drums and a powerfully sustained organ that propels the tune along.

Despite all the songs having a definite gospel, soul or R & B feel, the album offers many tangents within the framework, not the least of which is the perfectly executed a cappella treatment of “Wonderful Savior,” in which Mavis determinably leads the glory-inspired chorus: “I am his, and he is mine!”

The album closes with the slow blues of “Too Close / On My Way to Heaven,” the first part of which starts with a lengthy blues vocal by Gerrard leading into a chorus-backed duet with Staples and resonant blues guitar accompaniment before segueing into a reverential nod to Pops Staples’ inspirational gospel.

Aretha should make an album like this, if the “Queen of Soul” still has it in her and can find as sympathetic a collaborator. You Are Not Alone makes it obvious that Mavis still does, as well as showing what savvy, supportive and skilled helping hands (and ears) can do for an accomplished but dormant talent.

This record is not only great Sunday morning listening, as a any decent gospel recording should be, it’s great any time listening.