http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Mon, 3 Jul 2006 23:27:41 EDT http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. Two other factors are involved: full-content feeds have resulted in an unprecedented level of content theft, with BC content appearing on many websites, usually spam sites, without attribution or permission. This duplicate content causes a cascading set of problems, not the least of which is that search engines generally aren't favorable to duplicate content, and don't always guess correctly. Finally, our RSS advertising partner is strongly in favor of short-content feeds. We hope that you'll continue to subscribe to BC via RSS, and when an article grabs your eye, it's only a click away, still free on the BC website. Thank you for your understanding. Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2006/07/03/232741.php Tara ClarkHere's a peek at blues drummer Bogie Bowles, currently on tour with the Joe Bonamassa Band. Wanting to play the drums since he was eleven, Bogie finally got his chance a few years later. At thirteen, and after wearing his father down, Bogie got his first set of drums.TLC: What started you drumming?BB: MTV. I saw Rick Allen from Def Leppard and Jeff Porcaro from Toto and they looked like they were having a blast. It made me want to do it.TLC: Who was/is your influence? BB: John Bonham, Jeff Porcaro, Nicko McBrain, Harvey Mason, Steve Gadd, Bill Ward, Mitch Mitchell and The Nature Boy Ric Flair.TLC: First band you were in?BB: Enforcer, a metal cover band put together by myself, two other 8th graders, and a 7th grader. Two of the three of us are still very close, that's going on 20 years ago, pretty cool huh?While in high school, Bogie discovered Led Zeppelin and was inspired by John Bonham’s style, and stated that this was a turning point for him. Rock and metal drumming was his preference until one summer he attended Berklee college of Music and began experimenting with the R&B and pop genres.TLC: First touring band you were in?BB: Knocked Down Smilin' from Chapel Hill, North Carolina, Home of the Tarheels.After six years with his college band, Bogie decided he needed a change and in his spare time, studied Jazz with Frank Worrell over the next year and a half. After seven years with Knocked Down Smilin', they went their separate ways and Bogie moved to LA, where he currently resides. TLC: How would you describe the "soup to nuts" variety that you have in your iPod?BB: I like good songs, no matter what genre or band; therefore I have a really wide variety. I call it Hall and Oates to Judas Priest.TLC: What artist would be the shocker (in your iPod)?BB: Any bad '80s pop that I grew up on, insert your worst nightmare here.TLC: Could you list some of your discography?BB: I did two independent records with Knocked Down Smilin. Natural Was the Static and a self-titled one in the early to mid-'90s. I did a great record with Jeff Witzeman and the Jealous Housewives in 2000, called In The Middle of the Riddle; it's one of my favorite records that I'm on. I also did an independent record with my old band My Precious Days. That was great! It was also self-titled. I played percussion on Ozzy Osbourne's Box Set, the Prince of Darkness and subsequent Undercovers CD. I've also recorded with Shannon Curfman, Sarah Hudson, and Keith Anderson.In the fall of 2004, Bogie started touring with Kenny Wayne Shepherd. Toward the end of this tour, Kenny’s band, along with Joe Bonamassa, was invited to tour with BB King, to celebrate his 80th birthday. This was how Joe and Bogie met. In November 2005, Joe invited Bogie to join his band on tour. TLC: What has been your favorite venue to perform at?BB: The Paradiso in Amsterdam was awesome. Carnegie Hall was special because of all the history. Those two come to mind first.Bogie has endorsements with all the gear that he performs with. BB: As far as drums go, it's Yamaha all the way. An Absolute Maple Nouveau kit with 24x18 bass drum, 12x9, 14x12, and 16x14 toms, 14x6 1/2 Mike Bordin Signature model(Bell Copper) snare drum and my newest addition the 14x6 1/2 Manu Katche Signature model (Nickel over Brass) snare drum. I also use the Subkick; I get a lot of questions about that thing. It's the little drum looking thing in front of my bass drum. It's actually a microphone that picks up low end frequencies and sends that to the sound board out front. That, combined with a Shure SM91 mic mounted inside the drum, gives me the sound I've always wanted.I use Remo heads, coated ambassadors on the snare, and clear emperors on the toms and the Powerstroke 3 on the Bass Drum. I also do NOT have a hole in the front bass drum head. My Cymbals are, 14" Signature heavy Hi Hats, then my crashes and ride are 2002's 20" medium, 19" Rock Crash, and 18" medium. My ride is a 22" Power Ride. All these are Paiste Cymbals. Bogie also uses Vic Firth sticks.Special thanks and photo credits to Pierre Catellier and Joan Hunt at Laughing Rhino Photos. Music49948@blogcritics.org Mon, 3 Jul 2006 23:27:41 EDT http://blogcritics.org/archives/2006/06/18/031155.php Tara Clark“…Well here it is the late 70s, going on 1985. You know, so much of the music we hear today is pre-programmed electronic disco; we never get a chance to hear master bluesmen practicing their craft anymore. By the year 2006, the music known today as the blues will exist only in the classical records department of your local public library. So, tonight, ladies and gentlemen, while we still can, let us welcome…”I figured that I would start off with a quote from a song, from the first album I'd ever purchased. I was twelve. I just heard again recently. I was trying to think of a way to start off this article and this song said it all. However, Dan Aykroyd probably was not expecting disco to drop off as fast as it did. But, he does not seem too far off the mark in regard to blues music.So, what will happen to the blues genre when the heavy hitter B.B. King retires? Or will he? Although there are other blues legends currently touring, Buddy Guy, Pinetop Perkins, Etta James, Honeyboy Edwards, Bo Diddley, and many more: can these artists draw a crowd? Can these artists still keep up with the rigors of life on the road? What about the younger generation of blues? Did God play a cruel joke on the music industry by taking Stevie Ray Vaughan (May he Rest in Peace) at such an early age? Or did this tragic accident occur to allow the younger, up and coming blues legends-in-the-making recognition? Who knows? Where would SRV be now if there was no accident? Would he still be playing in small clubs or headlining arenas? I don’t think there is a day that goes by that I have not heard one of his tunes played on the air. Did I hear his music daily before? No, I didn’t. But, then again that was years ago. Everything happens for a reason. I guess we tend to over analyze the hows and the whys of events. God has a plan for everyone, and I have recently been subjected to his sense of humor, too. Like he has a big magnifying glass and I am a wee little ant.Jimi, Jimi, Jimi. Where would music, the universal language, be today if it weren’t for Hendrix? Just like SRV, where would music be now, if there were no tragedy? Being so ahead of his time, especially in that era. I recall being told that Jimi’s music was ‘Acid Rock’, and a no-no for me to listen to. That was, perhaps, thirty years ago. Today, it is a daily staple that just happens to fall into blues genre on more occasions than not. Was it Jimi’s unorthodox style that got other (potentially) great axe-men to think outside the box? How did he get that tone? After Woodstock (I was only a few months old at the time), did you notice how much music as a whole changed? More and more serious guitar riffs were being performed live, making live shows the “thing to do.”The up and coming blues greats pay awesome tribute to Jimi by playing a cover or two. Joe Bonamassa has covered a rockin’ medley of “If 6 Were 9/Spanish Castle Magic” and a JB style “Are you Experienced?”. Anthony Gomes usually does not perform covers, but I very recently saw him perform trippy versions of both “Hey Joe” and “Wind Cries Mary” that left me with goose bumps. Albert Cummings usually performs a 20-minute cover of “Voodoo Chile” that will have you running for the lighter fluid! May the sacrifice of your Fender commence!It appears the younger generation blues artists need to perform what is now called blues-rock to capture the rock/metal audience, wowing the fans with their techniques. Then, they will slip in a song or two that is more of a Delta style blues to grasp the attention of the true blues fan, perhaps even adding a bit of harp. I would gather that this would be a different form of “crossover artist”. As we all know, the term is usually reserved for the pop genre. Then we have a few artists that did cross over. John Mayer and Kenny Wayne Shepherd come to mind. However, did they both take that path or did they happen to be blessed with a bit of good timing? What really got these artists known? Was it crossing over or was it a late night talk show appearance? Well, it is obvious to me that the performers will not inspire the youths of this nation anytime soon, other than a handful of artists that are determined to draw in the youngsters in this country via their BITS (Blues in the Schools) clinics. My 16-year old gets regular exposure to my music library, mainly because I want her to. She will know that there is more to music than Eminem and 50 Cent, or whatever their names happen to be today. I am also well aware that I have not written about so many talented artists that perform the blues. Tab Benoit, Shemekia Copeland, or even Jeff Healey, who happened to give blues a bit of a jolt when he was spotlighted in the movie Road House. Nor have I brought up artists from yesteryear, those who paved the way for many who have followed in their footsteps. Artists like John Lee Hooker, Wilson Pickett, Junior Wells, or Howlin’ Wolf gave us plenty of music to inspire the masses. I am aware that I am only skimming the surface and that there is much more to this topic. But there are more questions than answers and I think it's time to hear what other blues fans have to say.Being the root of the music vine, you know where it started, but the bigger question is: where is the blues headed? Music49370@blogcritics.org Sun, 18 Jun 2006 03:11:55 EDT http://blogcritics.org/archives/2006/06/18/025241.php Tara ClarkThe first time I saw Slick perform was at the Simply the Blues Festival 2005. What came to mind when I approached the stage was, "who is this young fella, in his pajamas, toting a Gibson as big as himself?" Then he proceeded to jump off the stage, making his way through the crowd with moves The King would be envious of. After the festival, back at the host hotel, I attended the after-jam. Slick and John Richardson (Blue Mercy) had some serious axe grinding to do.A few months later, I had a chance to see Slick headlining at Theodore’s Blues and BBQ in Springfield, MA. I was not sure what type of blues he performed. Meaning, it didn’t seem to be Delta or Chicago style. As if he read my mind, he announced that it was called Junkhouse blues. During the break at Theodore’s, I purchased his CD, Mississippi Soul, and got him to sign a few pictures I took at the festival earlier in the year. He seemed blown away when I produced the photos for autographs. “Ma’am, I would sure like me to have a few of these pictures,” he said to me. I asked him for his email and he said that he didn’t have a “puter”. So, he gave me his mailing address and I sent him some nice 8x10’s and a disc of all the shots that I have taken. When I saw him on the Legendary Rhythm and Blues Cruise this past January, I asked him if he got the photos and the disc that I sent. He was playing an acoustic number down in the merchandise room; he stopped playing, and gave a brilliant smile. He thanked me about ten times. This youngster, now 22, is a native in North Carolina but now makes his home in Mississippi. Fife legend, Othar Turner took him under his wing to teach him the meaning of blues. He was soon performing nightly in the local juke joints and liquor houses, where he learned traditional Mississippi blues. At the age of 16, a year after he first picked up a guitar, Slick became a contender in the 2000 Triangle and the Charlotte Blues Society talent competitions, placing first runner up in both. In 2004, “Reverend Slick and the Soul Blues Boyz” took the second place trophy at the International Blues Challenge in Memphis. That same year, Slick won the Albert King award for the most promising guitarist. The Soul Blues Boyz consists of harp player, Blind Mississippi Morris, and Kinney Kimbrough (Junior Kimbrough’s son) on drums.In a recent turn of events, it appears that he has decided to give up his blues career for gospel. In his spare time, Slick has been performing gospel in his church. So, this is not something entirely new to him. In the few times I have seen Slick perform, he seemed to have the blues; in the traditional sense of the word. Perhaps in a few years, Slick will decide to continue where he left off, making his own style and sound in the blues community. Music49371@blogcritics.org Sun, 18 Jun 2006 02:52:41 EDT http://blogcritics.org/archives/2006/06/08/082744.php Tara ClarkGrowing up in suburbs of Minneapolis, Barry used to watch his dad perform as the church drummer. However, like his father, Barry was not inspired to play drums until late in his high school days. After school, most of his time was spent at the North Minneapolis Boys and Girls Club.One day, Barry found himself reading a sign that stated, “Drum try-outs for the Minnesota Vikings at 4:40." With a blend of anxiety and excitement, Barry was greeted at the door of the try-outs by the drum leader, being asked if he could play. Not really being sure if he could play, the group of them ran the routines and BA hit every one. He played lead snare with the Dennis Green Music Team Drum Corps for the next 13 months, in turn, performing the NFL home opener and every half-time show for the Vikings.After his stint with the drum corps, his dad decided it was time that he learned how to ply his trade with a full drum kit. After about a month on a full set, BA filled his dad’s shoes, playing drums for the Zion Baptist Church. From there, he had performed with other local acts, such as: Talib Kweli, Wayo Dayo, Krush, R-factor, and a few others. Barry recorded with Alicia Wiley on her CD Alicia. BA is also in the process of recording a DVD on musicality, grooves, and timing.It has been about five years since BA left the drum corps, and he has since performed with his first National/International touring band -- blues funkster Anthony Gomes. After his gig with Anthony, Barry (Bam-Bam) Alexander followed up by signing on with blues rocker, Jonny Lang.Barry’s drumming influences have included father, Barry Sr., Tynise Moore, Erick Ballard, and Brandon Commadore. BA has endorsements with Taye Drums and Vater Sweetride Sticks. So, for all the gearheads reading this, here goes.7x13 Yamaha Musashi snare in piano black. For skins, Barry prefers Evans G2 coated drum heads and an EQ4 on the kick. Cymbals side, Zildjian 20” Crash of Doom, 20” K Custom Ride, 18” K Fast Crash Custom Crash, 17” K Medium Thin Dark Crash, 16” K Medium Thin Dark Crash, 14” Oriental China Crash, 13”Dyno Beats Hats, and a 8” A Custom Splash. Vater Sweetride sticks serve as Barry's signature sticks. All hardware is DW 9000, including a double pedal. Ironically, Joanie and I were at the Boulder Station Casino, which is the first show that Barry played on his Taye Drums. To credit ourselves, our pictures are on Taye’s website. Music48942@blogcritics.org Thu, 8 Jun 2006 08:27:44 EDT http://blogcritics.org/archives/2006/06/07/021739.php Tara ClarkCan someone overdose on too much live music? Too much of a good thing? Perhaps not, but they can go into withdrawal symptoms. In seven days, I attended eight live performances by none other than our COO, Joe Bonamassa.The first performance was slated at a venue called Toad's Place in New Haven, CT. I have never been there, but was told that this was to be the 'replacement' venue for Webster Theater. A few weeks prior to the show, the street team coordinators got a message from the team Captain stating how important the Toad's Place show was. That this very show could catapult Joe into a bigger, better venue the next time he's in Connecticut. But, he had to have a really good turnout at this venue. Then Captain Stu quickly put together a newsletter for the fans asking for their assistance, too. I can say that there were a lot of folks pounding the pavement to get the word out. And special kudos go out to Beef Stew and his staff at WCCC in Hartford for plugging the upcoming show weekly, and having a live interview with Joe the Sunday before the scheduled performance. According to Joe, the turnout was 250. Not too shabby, considering it was a Thursday night.Let's see, Toad's Place. Why I had the preconceived notion that this venue seated 750, stadium style? I have no idea. It is more like 350-400 standing. There was seating for maybe 50 off to my right of the stage. Between the stage and the seated area, you can take a walk through the jungle to the game room. Yes, jungle; the walkway is lined on both sides with huge plants, leading toward pool tables. Also, one third of the club is sectioned off for the under 21 age group. Toad's Place is notorious for having major touring acts grace their stage. In 1989, the Rolling Stones chose this very club to kick off their "Steel Wheels" tour. They are also known for any type of genre on any given night.Since I brought it up, I will give you some info. I have been to Webster Theater, located in Hartford, CT., twice now. It is an old movie theater that has been converted. Joe really does not care for this venue. It does have the capacity to hold 500+, but it is pretty rank and needs more than just a Stickup to cover the odor. My initial impression the first time I walked in was mosh pit! Nor was I very impressed with the bar area, not that you need a wristband to get into it, more because my boots stuck to the carpet and I had to make a concerted effort to take a step. That is just disgusting! Did I forget to mention that the first JB show I went to there, someone was shot outside? My second trip there, Mr. Bonamassa (Joe's dad) took me outside and was pointing out the bullet holes in the marquee. It really is not a place for Joe or the blues. Personally, I turn blue, actually more like a gaunt green when I find out that Joe is scheduled there. Webster does tend to cater more to the grunge/underground genre. Anyway, on to the show. It was my first show since the Legendary Rhythm and Blues Cruise, back in January. The way the show was being hyped up, I thought this club was to be something spectacular. (I guess the notoriety of the club is what makes it so special). I was not expecting to be standing for the night, on rustic looking, hardwood floors. I could have been seated, but I made the sacrifice for a better place near the stage. The supporting act was very good, considering his age. I would gather that he is around the 17-20-years old.This was my first time seeing Bogie Bowles on drums; Randy Cooke was Joe's drummer on the cruise. In the meantime, I had gotten my hands on a few live shows from the UK tour in February. It really has not seemed that this band line up has only been touring together since the end of November last year, with a better portion of December and January off. I am starting to wonder if Joe even qualifies for the blues genre, anymore. 'Cause this show was rockin', to say the least. Bogie has put his own style on the beginning of "Takin' the Hit". "Walk in my Shadow" used to be a bit faster and more towards rock. Joe and the guys have slowed it down and slathered it in some serious blues. When they perform "Blues Deluxe" now, you never know where they will inject the 'viola' guitar solo. It used to start the tune off, but Joe has been surprising some of us old timers by performing it towards the middle. Then there's "Mountain Time. To me "Mountain Time" is a love story wrapped in nature.Spotlight is on the rhythm section on "Bridge to Better Days". This is a new tune on Joe's latest album, You & Me, and it has a basic blues/rock beat. In my opinion, it is more rock than blues with some seriously heavy bass. Although, it has the same basic chord, it has a driving beat that requires you to hit repeat. "A New Day Yesterday" is the title track from Joe's first solo release. ANDY is my favorite album thus far, probably due to it being more rock than blues. Recently, with the new band, Joe has been making various changes to his live performances. One of the changes they have incorporated a tease of "Spoonful" to the instrumental part of this song. I think it is very well placed and very tastefully done. Speaking of taste, thanks for the spoonful.An acoustic trip down memory lane with "Miss You, Hate you" leads right into a shredded up version of "Woke up Dreaming". Is there such a thing as shredding on an acoustic guitar? Joe has really expanded the instrumental of this song, and tends to state, "It's a lot harder than it looks". Joe starts off "The River" with the usual slide solo. Just another talent that he makes appear so easy.Many of us have heard or read that Joe has decided that he wants to loosen up and have a bit of fun. Well, he has turned the tune "Burning Hell" into a crowd sing-along. Ah, now it is time for the encore. "Asking Around for You" is a new song from You & Me. The lyrics are about getting to Heaven, tapping an angel on the shoulder and asking around for an old friend. It is a blues influenced song, enhanced, and being performed on a Gibson. The lighting in this venue was really good compared to others I have attended, so I got some really sweet photos.Post show, since Joe had not seen Chan's before, I figured I would let him know that he needed to bring his sense of humor with him. Meaning, it is a medium sized club, but it would be the first time that I had heard of it being sold out; it would be interesting to say the least. Joe proceeded to tell the small group of us that he had rented a PA system for the venue and that he was there to "fry the rice".All in all, Toad's Place was easy find, with lodging a five-minute walk away. Not to be redundant, okay, I will be; like I stated above, Toad's place is known for its booking really big acts in a tiny little club. I was not impressed with the overall internal guise of this venue, but looks are not everything, are they? Let's take a hop, skip and a small jump over to Woonsocket, RI. This is where you will find Chan's Chinese restaurant. Actually, if you are not looking, you will drive right by it. I certainly did the first time I was to attend a show there. Joe was scheduled for two shows, one at eight pm and one at ten pm. Well, since I procured a ticket for each time frame, I count that as two shows. Am I wrong? I have two tickets for that night. Arriving early enough to have dinner, because I don't have a tolerance for dining while the headline performer is on stage, there were about fifty of us waiting to be seated. Besides, we wanted to sample the rice that Joe fried up from sound check!The week prior, I managed to group a few reservations together of Bonamassa regulars, so we would have prime seating. I guess it was prime; the young fella at our table was almost in Mark's spot on stage. And I almost got a monitor on my foot, one I really was not expecting. Joe had kicked over the monitor located near Mark, once during each show, and stood on the base of it (I don't think it was a speaker, perhaps another monitor). I asked a few days later about the launching of the monitor; Joe chuckled, and said, "I needed a place to stand."Johnny Chan got on stage to welcome us and introduce the band. Since it was St. Patrick's Day, he renamed the venue O'Chan's and performing is the Joe Bonamasso Band. Many folks have noticed that Joe has not been performing with his Joe Bonamassa custom gold Fender. Lately, he has been sporting a Gibson in its place. Well, Dennis dug it out for him to perform the first two songs of the late show. Custom you ask? According to Joe (from a February 2004 Tonequest report): "The gold sparkle strat is a Custom Shop body with a '65 neck and wiring harness and pickups. It's something that I put together."... "Eventually, all three of the pickups had to be rewound, and I had Lindy Fralin rewind them."Chan's was, in my opinion, more than sold out. Joe expressed the ticket count was at 160 for the early set and 140 for the late set. Even though I voiced my impression of the sold out show to Joe, I will let you in on the conversation. I am not sure what the head count is according to the fire code, but for the early show, with staff, there were probably 180-190 in the room. The outer perimeter of the room was completely lined, about thirty folks were standing, and the 160-ticket count does not include the guest list or complimentary tickets. This room should probably only hold 140, with staff. Why do I bring this up? Chan's can be found 25 miles north of the Station Nightclub in West Warwick, RI. Why does this name sound familiar? Just ask Great White. Yes, I was thinking of going to this tragic show that was performed on 20-Feb-03. Most folks know the "hows" and the "whys", so I will refrain from going into detail. Still, 100 dead and 200 injured from indoor pyrotechnics? So, we all know that Joe does not need the flash of pyro or fog on a timer, but HELLO, we are in a Chinese restaurant with almost every table having one of those really cool dishes that has fire. It's called Sterno, or Canned Heat. Yes, I do know. I used to be the food and beverage purchasing agent for a Vermont ski resort. And of course I had the updated MSDS posted on my wall where I stored it. And yes, I have seen several "minor" accidents involving this chemical. If someone flipped one of those dishes, or unintentionally tripped the waitress carrying one, in their excitement of seeing "Smokin' Joe" performing some serious axe burning of his own, the whole place would be up in a matter of minutes. And where the stage is located, the band would probably be the last ones out. Reminder: Check for exits as soon as you go in a club! Perhaps this subject needs to continue in a different column at another time. I was just a bit concerned about the overcrowding issue and said as much to Joe.Monday morning, I had taken the day off from work to attend the Blues in the Schools performance at the Lebanon Valley Opera House in Lebanon, New Hampshire. I will be composing a separate write up for this Joe appearance.Both, Tuesday and Wednesday nights were scheduled for two shows each, 8pm and 10pm, at Sculler's Jazz Club in Boston, MA. I won't get into any detail about this venue, considering how many fans protest this location for a show. Just go back in the archives of Joe's official forum, you'll find more than your share of reading material. For Tuesday's early show, I brought three chefs I used to work with. It was about a year ago that I introduced them to Joe's music. I like the look of awe when someone sees a Joe performance for the first time. During the 'viola' beginning of "Blues Deluxe", Scott was making a stir next to me. I looked over at him and he is doing this craning of the neck to look at the pedals and gear. I asked him what he was looking for. He said that he was looking for the feed-in for the synth sound. I told him to look at how Joe has his pinky finger wrapped around the volume knob. About a week later, I brought him a copy of the Sonora, CA, guitar clinic that explains the technique. The three of them are looking forward to their next Joe experience.I want to take a moment here to thank Joe for chatting with me after the show, and enlightening me on his future vision of Boston. What venues he wants to headline, and which ones he does not.So, surviving through work on minimal sleep, I ventured into Bean Town for the second night of shows. Here is the Sculler's set list for Wednesday night: EARLY SHOW • Takin the Hit • Walk in my Shadow • Blues Deluxe • Mountain Time • Bridge to Better Days • A New Day Yesterday/Spoonful Tease/Bass solo/Drum solo • Miss You, Hate You-Acoustic • Woke up Dreaming • Bass solo/Had to Cry Today/Drum solo/Heart of the Sunrise/Starship Trooper Encore • Asking Around for You/Bass solo LATE SHOW • You Upset Me Baby • Blues Deluxe • Mountain Time • Bridge to Better Days • A New Day Yesterday/Spoonful Tease/Bass solo • Woke up Dreaming • The River • Burning Hell w/sing-a-long Encore • Asking Around for You/Bass soloSo, here is the skinny about what Joe and I chatted about. He wants his audience seated. Most of his ticket holders are 45 or older. He would also like his shows to be for all ages. Yes, there were minors at all seven club events that I went to. We talked about venues that I have been pursuing, and the ones that he wants to headline in the future, sooner rather than later. For the Boston region fans, in reference to Sculler's, they did do much better on the seating this time around. They refrained from seating a lot of people behind the beam. Now, let's look at it from the artist's point of view. Sculler's is paying what Joe and the band what they ask for. They each get their own room and all meals (this club is located in a hotel) are included. However, they did not get much rest this time around; the roof was in the process of being repaired. Anyway, the perks listed above are why Joe is happy at this venue and probably will not go to another Boston venue anytime soon. So, do I really have to elaborate on how awesome and spectacular these eight performances are? Overdose of live Bonamassa? It's more like withdrawals until the next two shows in Las Vegas. Music48892@blogcritics.org Wed, 7 Jun 2006 02:17:39 EDT http://blogcritics.org/archives/2006/03/28/022721.php Tara ClarkSince I am a product of the '80s and Def Leppard is on the top of my list of favorites, when I read that Vivian Campbell released a blues album, I knew that it would be a nice addition to my blues collection. Well, I had a spontaneous moment and decided to buy Two Sides of If.Usually, Vivian is seen as a rock sideman, as the rhythm guitarist for Def Leppard. Vivian joined the band after the tragic death of guitarist, Steve Clark; his first appearance was at the Freddy Mercury AIDS-awareness benefit. Vivian has also worked with Ronnie James Dio, Whitesnake, The Riverdogs, Trinity, and Shadow King.English blues is heavily influenced throughout the CD, with covers of music by Rory Gallagher, Jeff Beck, and Eric Clapton. It is interesting that this was Vivian's first release with his vocals -- mildly throaty with a touch of grit. I have always found it interesting how another artist will interpret an original, then put their own brand on it. Being a faithful Joe Bonamassa fan, it was cool to also hear Vivian's version of Lowell Fulson's "Reconsider Baby". The most commonly known cover was done by Eric Clapton. Special guests include, guitarist Billy Gibbons (ZZ Top) and Joan Osborne, vocalist on "Spoonful". Overall, this CD has a lot of traditional blues guitar riffs, with a definite heavier blues/rock feel injected in "Messin' With The Kid". I have to admire an artist that can step out of their respective genre and pull off an appealing album on a different end of the music spectrum.A tidbit from Vivian's site. "Why blues standards? Well, I believe in the reverence of the blues, and I don't subscribe to the misconception that just because you can play guitar you can play the blues. It can be especially woeful to hear rock guitar players play blues with bags full of technique but hearts devoid of soul. I also believe that as simple as the blues can seem, there's a certain intangible that can't simply be written into the 3 chord formula, and as such I wish to bide my time and take the path to learning more about that intangible and hopefully, in due course, I'll write within the genre myself. Still, there's always been plenty of room for interpretation of roots music, and that is all I attempted to offer with this record." Would I recommend this album to the ever-faithful blues fan? Probably not, however, I do suggest it for the long time fans of Def Leppard. Music45592@blogcritics.org Tue, 28 Mar 2006 02:27:21 EST http://blogcritics.org/archives/2006/02/08/223735.php Tara ClarkWhere: Holland America Westerdam Cruise Ship When: 8-Jan-06 thru 15-Jan-06It was my first time on the Legendary Rhythm and Blues Cruise, so I had earned the title of "virgin". What could be more ideal than taking a cruise for a vacation, nineteen of the top blues performers on the very same ship, ten special guest performers, live blues shows just about 24 and almost 7? Oh yeah, free food. PRICELESS! So, the weather was not as ideal; downpour in Jamaica, choppy seas, overcast, and sprinkles in (and departing) Grand Cayman. Costa Maya and Belize were picture perfect, gorgeous and sunny, smooth sailing, so to speak. It was still better than the snow and bitter temperatures that I left at home.On the first night, as we were departing Ft Lauderdale on January 8, Joe's first show was outside, there were high winds, and it was on the cooler side. When you see my pictures, you will see the guys in jackets. We weren't quite around the tip of Cuba, so it was a bit chilly. The band line up for the cruise was, of course, Joe , Mark Epstein (bass), and Randy Cooke (drums). Here is the first night's set list:Walk in My Shadow Blues Deluxe Takin' The Hit Mountain Time The River Burnin' Hell A New Day YesterdayEncore: You Upset Me Baby I Don't Live AnywhereJoe, Mark, and Randy were having a blast. I have not seen Joe smile as much as he did as when he played with Mark. I noticed a change. It was awesome to enjoy the show with great people. The next day, as I was strollin' around the ship, it was so cool overhearing folks talk about Joe Bonamassa! As we were departing Montego Bay, on January 10, JB performed in the Vista Lounge (the pictures can be found on Flickr).Set List: Faux Mantini - acoustic version Miss You, Hate You - acoustic Woke Up Dreaming - acoustic (slide solo) The River Burnin' Hell Walk in My Shadow Blues Deluxe Vous et Moi - (new tune on next album - instrumental, just Joe) Had to Cry Today (drum solo) Heart of the Sunrise/Starship Trooper Encore: You Upset Me BabyThe new song is rockin' and I was given some inside info that it was only a sample of it. I think it was a cross between Had To Cry Today and A New Day Yesterday. I have to give Mark credit for a bass solo, however, I don't recall when. In the past, Joe had performed a viola solo at the beginning of "Blues Deluxe", instead, Joe performed it in the middle of the song. There were 35-100 people on the open dance floor taking pictures, and it was like that most of the show. Many others commented that it was overwhelming, even if they were just passing by. The next show for Joe was held on the aft pool deck, on January 12. It was really nice, about 80 with a nice breeze, but overcast. I did not notice any stagehands during this show, except for one guy on the mixer board near the stage. At first it sprinkled a bit, but a while later it started to downpour during the viola solo to "Blues Deluxe". Joe finished the solo, but decided to pack up. They were soaked. All the guitars were soaked. There were no stagehands near to cover anything up.Set list of what was performed, before it began pouring.Woke Up Dreaming A New Day Yesterday Takin' the Hit (rain started to really come down, followed by strong winds) Mountain Time Walk in My Shadow Blues Deluxe - viola part only1:00 am Pro jam with Jimmy Thackery...started off with just Jimmy and his band. Tommy Castro sat in for a few tunes. Then Joe joined in the fun. Along with Joe, Jimmy, and Tommy, Mitch Woods was added on keys, Vinnie Campbell and Deanna Bogart on Sax, Carl Dufrene on bass. They also swapped out his drummer and added a trumpet. Tommy Castro stepped out when Deborah Coleman came to the stage. To see Jimmy, Joe, and Deborah jammin' - wow! After a few tunes, they swapped Joe for Tab Benoit. I left around 4 a.m., but I heard it went to almost six! (Photos of the jam session.) As we were departing Belize, it was time for Joe's last scheduled show. The band was due to perform in the Crow's Nest, January 13. Joe decided that since Randy had only been playing with the group for four days prior to the cruise, they had run out of tunes to play. So, Joe held an impromptu guitar clinic. He included selections from "The River", "Walk in My Shadow", the viola solo from "Blues Deluxe", "Heart of the Sunrise" and "Starship Trooper". He also told a story of how he added a Peter Frampton riff to "Takin' the Hit". He was already performing when I walked in (and I have NEVER been late to one of his shows), so, I sat further back and I did not take any photos. Toward the end of the Q&A session, I shouted out for "Pain and Sorrow". Joe laughed and said that they only had eleven songs for the trip. Overall, Joe left a very good impression on many of the cruisers. For most of the folks I spoke with, it was their first time seeing him perform. Even though the blues covers such a wide range of styles within the genre itself, people commented that Joe's style leans heavily on the rock and roll end of the spectrum. Well, yes, blues rock, that is. Other performers on the cruise were not performing blues at all; they played more pop/dance music and many cruisers mentioned it. Either way, the Legendary Rhythm and Blues Cruise had a unique blend of blues, enough to satisfy any music lover.Other items of note: I need to give kudos to the stage crew on the cruise. Although I noticed that there were none to be found during Joe's aft deck show, most of these folks had volunteered their time. At a moment's notice, a show could be moved from the aft deck on the ninth floor to the vista lounge, found on the first floor. Most of the shows started at 3 p.m. at various locations on the ship (a few in port, too), with the pro jams starting later and continuing until 7 a.m. I had overheard a few performers and stage crew giving Joe some flack about bringing his own Marshall amps. The back line on all the stages were set up with Fender reverbs. As his most loyal fans, we all know how Joe is about his sound and tone, wanting it to be perfect, and he will not compromise, while many of the performers seemed not to care how they sounded. Music43387@blogcritics.org Wed, 8 Feb 2006 22:37:35 EST http://blogcritics.org/archives/2005/06/14/204329.php Tara ClarkArtist: Albert Cummings Venue: Midnight Blues, Auburn, Maine When: 25-Apr-05Quick! Hand me a fire extinguisher that Fender is on fire! Or at least it was smoldering after a 20-minute cover of Voodoo Chile! But, that is closer to the end of a three-hour blistering show. Albert Cummings was recommended by many other blues fans as a must see, hard rockin' blues jammer. They were not kidding! Due to scheduling conflicts (mine) I was not able to get to a show closer to home, and there were many. I had to drive to Auburn, ME to see this power trio. ACB performed a great mix from his three albums. "Where Did I Go Wrong?" and the title track from his first album, The Long Way. "Tell It Like It is", "I've Got Feelings, Too" and the encore, "Regular Man" all from his second album, From the Heart. From his third release, True To Yourself they performed "Man On Your Mind" and with audience participation, "Blues Makes Me Feel So Good." Albert's vocals are bold and throaty to at times being lightly gritty. A great addition to some serious axe grinding. Albert started his music career late, following the family trade of construction instead. I noticed that ACB tour schedule has been getting an abounding amount of dates this year.Albert Cummings swaps between two Fender Stratocasters. Albert uses a Fender Vibro King Amp. A Vox Wah-Wah, an Ibanez Tube Screamer, TS9 model. Holy Grail reverb pedal, a Boss Delay and a Klon Centaur. Dunlop signature picks. Albert currently endorses GHS Strings and Double Trouble Guitar Straps. Dan Broad uses Fender Precision Basses. Ampeg Amps, Bag End speakers: 15" and two 10". Dan also endorses GHS Strings and Double Trouble Guitar Straps.Josh Bloomfield uses PDP drums, a 22" kick, 5-1/2" x 14" snare, 12" high top and a 14" low top. Remo Ambassador coated skins. Josh uses Zildjian cymbals, an 18" Light Jazz Ride, 14" high and two 16" A Custom Crash. DW Hardware and Zildjian Vibe-less sticks.Midnight Blues is a very easy find at the corner of Court and Main Streets. Parking can be found about half a block away. If you go to the front door, Jake and Elwood Blues will greet you. Well, statue replica's of them! Very cool! Entering through the side door, the bar will be on the left side with approximately twelve stools. On the right and towards the front, tall bar tables and stools border the perimeter of the room in front of large windows, with curtains on the lower half. Blue rope lights trim the rim of the windows. The stage is in the front left, kiddy corner, dubbed the "Albert Cummings stage." (Inside carpenter joke) A small dance floor in front of the stage, with approx. ten standard sized tables between that and the bar tables. Total seating is about 80-100. Randomly placed wind instruments and autographed guitars are above the windows. One large screen TV at the end of the bar and a projection TV near the stage. Great food with great prices and all items in the menu are named after a blues legend! In the basement, there is also a club called The Cellar Door with a capacity of 100. Music31033@blogcritics.org Tue, 14 Jun 2005 20:43:29 EDT http://blogcritics.org/archives/2005/04/29/195705.php Tara ClarkArtist: Dwight Ritcher Band Venue: Johnny D's, Somerville, MA Date: 22-Apr-05DRB has a smoldering blues tone, splashed with a bit of R&B style. The music is supplemented with a full-bodied horn section that delivers a lively dose of harmony. In turn, executing an occasionally energetic rock-a-billy or a boisterous delta style blues. I always have been impartial to a blues band with a horn section.Performing a healthy array of melodies from his first album, Drive Around Town. Including the title track, along with "One Time" and "Get it Straight." Playing the title track from their second album, Radioman, along with "Out to Get Me" and "Dial me Up." A special guest appearance from Nicole Nelson, a local Boston Jazz and Blues singer, was an exceptionally nice touch. Dwight and Nicole's vocal's complemented each other in gratifying unity. An intense cover of "Lonely Nights" by this duo was a great addition to the set.Dwight Ritcher trades out between a '79 Gibson, Flying V Silverburst and a '90 Gibson, Flying V re-issue. Dwight also uses a '74 Fender Super Reverb amp. No picks are needed, DR plucks/strums.Bassist, Greg Paraskos uses an Olympic white. An Ashdown 500 ABM, a Avatar 115 cabinet and a '62 Fender Re-issue Precision. Horn section consists of brother team; John Aruba on Saxophone and Scott Aruba on Trumpet.Warren Grant uses Slingerland, '40 Radio Kings. A 6-1/2" x 14" snare, 20" Bass, 13" mounted tom and a 15" floor tom. For cymbals, Warren uses Zildjian, a 22" ride and a 20" crash. DW Hardware, and Vater Sticks, LA5A.Johnny D's is an easy find in downtown Somerville. Right across the street from the Somerville Theater and the red line (subway). Free parking can be found diagonal from the venue, get there early. Walking in the bar is a long rectangle island on your right, with bar stools on three sides. There is large screen TVs at each end of the bar. Rest rooms are at the far end of the bar. On the left side there is waist height counters built into the half walls, for standing, over looking dance floor and stage area. On the upper part of the half walls, thin metal curtains can be unrolled to close off the seating area from the bar, for private functions. In the stage area, it seats about 200 with the in door to the kitchen on the right of the stage and the out door on the far left of the stage. The dance floor is right in front of the stage, with all of the tables and chairs on either side (nice set up). Johnny D's is a family run business and has received many awards including W.C. Handy "Keeping the Blues Alive" Club of the Year, awarded by the Blues Foundation in Memphis, Tennessee, as well as several Best of Boston awards. Music28834@blogcritics.org Fri, 29 Apr 2005 19:57:05 EDT http://blogcritics.org/archives/2005/04/28/190218.php Tara ClarkArtist: Chris Fitz Band Where: Dodge Street Grill, Historic Salem, MA When: 24-Mar-05I was browsing through the Juke Joint Video web site where I just linked in an Anthony Gomes video and came across some other blues links. I went into Chris's web site and noticed that they would be playing about two miles from my house in a few days. Well, I don't have to work the second job, so perhaps I will down to Dodge Street and check it out.I think I was sold on the notion of going to the show when I saw a rave review on his site from Carter Alan, music director and blues DJ for the biggest and only classic rock station in Boston, WZLX 100.7!They opened with an instrumental, rhythmic jazzy-blues jam. The second song was also an instrumental. Lively tune, a Brian Setzer, rockabilly style blues. And just to make sure they were warmed up, the third instrumental jam was "Chitlins con Carne."The fourth song was the title track from CFB's first album, Just Getting Started. Awesome tune; I have not heard the studio release, but this would sound great accompanied with some added harp. The next tune was "Hug You Squeeze You" from his second album, This is my Church. "That'll Never Do" is an upbeat delta style blues song. The last song before the break, "Custer's Last Stand" with a blues/funk sound can be found on the second album. There was no slide present, but it certainly had the sound of one being used.To start off the second set, "Jammin' for Jimi" was a CFB tribute to Jimi Hendrix. Greg got in a bit of a bass solo and Chris had some slick pedal action going on. Great jam having a 60's hypnotic feel to it. Covering a blues classic, "Commit a Crime" has a bit of bad relationship humor to its dialogue.Found on the This is My Church album, delta style blues tune, "Your Home is a Prison" had Chris wandering off from stage and playing for the patrons. Richard grabbed his snare and made his way down to jam with Chris. "Never Been to Memphis" is from CFB's third album, Journey of Hope. This was a recent feature on Boston's channel 4, Liz Walker special. Having the Fender slung over his shoulder, "Let Me Love You Baby" is a gutsy Buddy Guy cover. Swapping for the Gibson, "It's Gonna Be Alright" has a gritty blues style with a deep groove. "Fanny Brown" had an energetic beat with a rousing drum solo. To close the show, CFB covered a Bo Diddley version of "Who Do You Love." Chris finally did use a slide; there were a few other songs earlier in the night that did have the sound of slide being used. There was huge bass on this one, especially when a snippet of "Give It Away Now" from the RHCP was one of the verses.Over all The Chris Fitz Band has a bright, energetic sound, similar to a rockabilly blues. A dance floor is a must with this power trio. Chris Fitz switched between a Gibson-Les Paul Special and a Fender 40th Anniversary American, standard Stratocaster. Chris uses a '64 Deluxe Fender Reverb. For the pedal action tonight he used a Vox Wah-Wah, and a Fuzz-Face. Chris also used a Boss Distortion.Greg Silva uses a Warwick Thumb Bass, 5-string. Greg currently endorses Eden Amps. For pedals, Greg uses Boss Octave and a Digital Tek Delight. Let's not forget the DBX Compressor and he uses DR Strings.Richard Malcolm uses a '60 Ludwig Snare, a Gretsch Bass and a Yamaha floor tom. Richard uses a blend of Zildjian, Paiste and Sabian symbols. This was Richard's first gig with CFB.Dodge Street Grill is found in the downtown area of historic Salem, MA. It has a brick faηade on the outside and has a rustic tavern style look inside. I entered from a side door and on the right is the bar. To the sharp right is a petite dart room with a few bar stools. On the left far corner of this room is the stage, which Chris seemed too tall for. Between the stage and the bar is a walk way to the restrooms and an additional dining room. This additional dining seats about 18 and has a homey feel to it with a big screen TV and a sofa. The kitchen appears to be behind the bar. The capacity of this venue is about 60, give or take a few. I did not partake of the dining, yet the prices were more than reasonable with a 15th anniversary (price) menu, nor was there a cover charge. The ceiling is comparatively low which also makes for a great sound. Music28784@blogcritics.org Thu, 28 Apr 2005 19:02:18 EDT