Adam Steffey: Post-Alison Krauss And Kicking It

 

 

 

I heard some of this album on KSER:  "Bluegrass Express" possibly (thanks, Miss Nicolette!) or more likely, Dave Long's late, lamented "Stringband Theory". Very much enjoyed it, but Adam's name nagged at me -- how do I know that name...  Eventually the brain pan sorted it out -- Adam was in an early edition of Union Station, Alison Krauss' bluegrass band. Oh, did I mention? (Yeah, I did.) Saw Alison Krauss at the Backstage with her (mostly) original band, including Adam Steffey. Adam was, umm, built a little differently then. Our nickname for him was Mr. Big Pants.

Sorry about the 'Mr. Big Pants' handle, Adam. No, seriously -- really, really sorry (and congrats on the spiffy new look!)

So -- how's the CD? Totally fantastic, and, rare for me, a bluegrass album that gets richer each time I hear it. In my experience, bluegrass albums are pretty much 'figured out' on first or second hearings, so the re-listening experience involves enjoying the well-executed performances. Listening to "New Primitive", it seemed like Adam took a chapter from Alison (record bluegrass music with the best ambiance and studio mastery) and a tiny bit from Tony Rice (don't be afraid to expand the boundaries). Nothing too radical -- all the songs are traditional, 3 with vocals, and there's a good rotation of solos from mandolin, fiddle, banjo and guitar (with bass by then-and-current-Union Station member Barry Bales). It's  a fresh and invigorating take on a traditional style. "New Primitive" is perfectly titled and entertainingly rendered. 

Neko Case -- Better and Better

 

 

The latest Neko Case album is her best so far, sez me.  I've been a sporadic listener, loved bits of "Fox Confessor Brings the Flood" and  "Blacklist"  and "Middle Cyclone", which features the fine, fine song "This Tornado Loves You" -- but "The Worse Things Get, the Harder I Fight: The Harder I Fight, the More I Love You" is by far the best of the batch, more consistent, tighter, and the melodies don't wander, as I found was the case (no pun intended) in other albums.

I really would have liked a lyric sheet. I'm a reader, sue me. Neko's lyrics are hard for me to follow just by listening to them , they're complicated and she doesn't travel down familiar byways.

"Man" is the track that announces itself boldly (3 cuts in). It's by far the most in-your-face track (but what's with that insect-buzz guitar?)

Even though Neko's voice is nothing at all like Grace Slick, I still hear some connections -- maybe it's the laser-like intensity that both Grace and Neko share on certain words and phrasing? And on this album, Neko seems to be in total control of her voice, her songs, the whole package.  

Mississippi Along the Skagit

 

Just a shorter, post-card moment: my dear, dear wife isn't in the best of health, so many times, my day off is basically spent getting her out of the house for a drive. A week or so ago, sun unseasonably beaming (as it continues to be), we took off. On to Lake Cavanaugh, over a former logging road to Oso, then north to Darrington, desperately in need of a restroom (found a park -- whew!) Arrive in Darrington, which felt like a town hanging on for dear life before all that's left is a gas station - slash - mini-mart - slash - nail salon - slash - tattoo parlor. And yet there's a library AND a bookstore -- so maybe

there's still a chance for D-town to get through the tough times.

 

Darrington is surrounded by amazing mountains, but...well, here's the deal: Concrete and Rockport and Marblemount have built a 'American Alps' tourism campaign -- and it's working! Eagle viewing, wineries,  gluen-free bakeries and ghost tours -- Concrete is finding a way to capitalize on the gorgeous, inviting surroundings. Darrington, it seems, not so much. 

Anyway, we drove the Concrete-Sauk Valley Road, late afternoon sun illuminating the river and so many are-you-kidding-me-you're-right-on-the-banks-of-the-freakin'-river cabins. What music could we listen to that would accompany, even enhance, this journey? Turns out this album did just fine.

The songs are tradtional, but Mississippi John Hurt's singing is kindly and delicately subtle. It suggests slowing down, seeing the beauty in the common and the everyday. We drove on, past kids (babies in tow), walking dogs - or rather, accompaning dogs on their walks -- farms, ranches all lit up in a golden glow -- man, what a fine, fine, fine day. And we both agreed --- Mississippi John was the perfect soundtrack.

 

Thrift Store Gambling: And Sometimes You Don't Lose As Much!

Here's my problem with the thrift store thing: it always boils down to "Well, I wouldn't pay full price for this, but at two bucks, what a bargain!" Sorry, but crap is still crap, no matter how little you paid for it. And then you're saddled with more stuff that you can't quite bring yourself to get rid of...
I think of the line in a recent article in "The New Yorker" about the still-touring remnants of  the TV cable show "Mystery Science Theatre 3000". One of the participants said ruefully "I realized I'd seen 'Santa Claus Conquers the Martians' more times than 'Citizen Kane'." (They broke up soon after.) Time spent listening to stuff that's 'not so bad' equals time NOT listening to stuff that's really, really good.

So, Sopwith Camel -- worth the $1.99 ?  I figure 7 of the 10 tracks are pretty good, tho the last is only a minute or so long. Brief history: Sopwith Camel was one of the very first San Francisco hippie bands to release a single ("Hello Hello") that charted, they released an album, they broke up. 4 or 5 years later, they reform (mostly), record and release "The Miraculous Hump Returns From the Moon". Reviews are harsh.

 

So here's the deal: I have this weird idea that there's some song or album I heard as a developing teen that I've forgotten.  That, when rediscovered, will open, Alladin-like,  portals of memory that will allow me to tap into my teen brain. What were you thinking, Teen David? I wrote notes, kept lists -- what I wouldn't give for my list of the bands I saw in concert -- but boxes disappear when you move a lot. Had lunch with a high school bud a few days ago -- most of our stories didn't match at all. Is memory real, or just a story we tell ourselves?

 

I remember hearing "Coke, Suede and Waterbeds", the single from the album, on FM radio, and thinking "Wonder what that album sounds like?" And yes, when I saw it at Value Village, I thought "Ah, the portal.."

(Jeez, bud, this can't be the portal -- were you even paying attention? If you haven't even heard it before, IT CAN'T BE THE PORTAL!) 

 

Guess what? It's not bad. 'Side One' (guessing) is pretty good, and 'Side Two' has one good song (and a cool outro). I did enjoy the good stuff, though . It's no portal, but, well your portal is up to you. I'll bet this review doesn't have you smoking the online used CD sites, desperate to find  a copy, but maybe you'll hear a song sometime soon and wonder, where could this lead?

 

Thrift Store Gambling (Macklemore Free) -- Sometimes You Lose...

   

Thrift shop purchases aren't always bargains, but that's the gamble and the fun, I guess. I sometimes wonder how many Goodwill/Value Village employees just put up with the job to get first crack at skimming the collectible stuff, making their real money on eBay, etc. So when I see a CD by Captain Beyond in the rack, I'm thinking "How did this get past the stockers-- don't they realize what this is??"  Err, maybe they did...

Captain Beyond (if you believe the online comments) was a super-group that stretched the boundaries of hard rock by mixing in acoustic CSN&Y bits with Santana-esque percussion. Oh, and space-cosmic song titles and graphics.  (Can it really be a "super-group" if it involves Deep Purple's early vocalist and someone who played in a later version of Iron Butterfly ?) Listening now, maybe not so effective with the first-time listener, but apparently if this 'blew your mind' when you were a teenager, it still works its magic.

I first heard a CB track on a Warner Brothers sampler (remember, dear reader?) and was well yes, blown away by "Thousand Days of Yesterday" from the first album -- furious acoustic strumming, rapid time-signature changes -- it was as if Deep Purple stole a time machine to borrow the sound of "Songs from the Wood"-era Jethro Tull, amped it up a bit, and added some Space Oddity-cosmic lyrics. Turns out that track was totally different from the rest of the frenetic heavy-osity on the album.

By album 2, they've cut back on the bellowing "I Used To Be In Deep Purple" vocals, added the congas ala Santana, and unfortunately lost the superior drumming of Bobby Caldwell (definitely not the "What You Won't Do For Love" guy.) The opening title track plays the same game that "Thousand Days of Yesterday" did -- radio-friendly, more of an early "Toulouse Street" acoustic Doobie Brothers sound, sitting on the stoop watching the freaky world go by and not indicative of the rest of the album at all. Bummer. Songs include "Starglow Energy", "Evil Men" and "Everything's a Circle". Sigh. $1.99 for 5:15 decent minutes, but still, a pretty good 5+ minutes!

Next: Sopwith Camel -- maybe 10 good minutes??

Thrift Store Bonus!

Picked this up a week or two ago at Value Village, and it's one of the best things I've heard in a long time. Shelby Lynne's albums are kind of spotty for me. She's a wonderful talent, but the album production isn't always sympathetic. I think she sounds best with a small band and limited production glitz; her Christmas album from a few years ago is a great example. This one's her tribute to Dusty Springfield (from 2008), and it's everything truly fine about Shelby. Her voice takes center stage, and the production by Phil Ramone is subtle, simple and just what the music needs.  And I got it for just a few bucks!

Friday, I popped in again, and snagged the first Captain Beyond album, and the reunion album by Sopwith Camel! You never see those anywhere, and after a first listen, I think I know why...  Oh, well. Thrill of the hunt and all that. Maybe they'll grow on me.

Fahey Finally Finished!

 

Out of sequence here for a bit, but these next few albums are likely considered aberrations from the canon. The Christmas album is probably the one Fahey album most people have heard, and what a revelation at the time. Christmas music was usually the height of schmaltz when this LP came out, so how refreshing to hear traditional Christmas tunes and carols (nary a Frosty or a Rudolph to be heard) performed simply on guitar. Nowadays you can't shake a candy cane without smacking up against a Solo Piano Christmas, or flute or mandolin or dulcimer....you get the idea. My favorite track is "What Child Is This?", with a little reverb to get that extra-chilly moon-shining-on-freshly-fallen-snow vibe. The CD contains both the original LP plus a good chunk of the "Christmas with John Fahey II" LP, both including some of the longer pieces that bored most of my friends and family then and now.

 

 

 

 

So, then the contract with the Big Record Company. "Of Rivers and Religion" and "After the Ball" were on Warner Brothers, and as much as I like them, they're generally considered John's major flops. "Rivers" fared better -- only a few tracks featured extra musicians, and it includes the classic "Steamboat Gwine Round de Bend", which John dismissed later as a 'series of cliches' (we'll overlook the politically-incorrect title).

The Dixieland touches aren't garish, but they are more prominent in "After the Ball", whose cover I'll spare you (imagine Fonzie bringing Mrs C to the prom...it's THAT BAD.) I remember picking the LP up at the Cellophane Square store in Seattle's U District, and it was a white label promo copy (that alone should have tipped me off that maybe this wasn't primo Fahey). But it was one of the first Fahey albums I ever owned, so I wasn't aware that he didn't normally perform with members of Andy Williams' back-up band. But still, "Horses" and "Beverly" are great songs, and the "Spanish Two-Step" update "Hawaiian Two-Step" (with ukuleles!) is delightful.  They've been reissued on Collector's Choice, not my favorite label, but what are you gonna do if nobody else will put 'em back out?

 

 

 

"Fare Forward Voyagers (Soldier's Choice)" was John returning to Takoma, licking his wounds, I imagine. It consists of 3 longer pieces, and it reminds me of what John sounded like live. I don't know if he was playing a medley or what, I just remember this torrent of sound pouring from his guitar. I'm still getting used to the first 2 tracks, but the 3rd (the title track) I liked from the first. According to reviewers, John's style was beginning to adapt Indian music, and as much Indian music as I've listened to over the years, I just don't hear it in John's playing. Maybe reviewers were struggling to find comparisons, and the longer raga form seemed appropriate. It took me a while to place some of the "strangled" notes -- I hardly recognized "Amazing Grace" on "America" -- but now I hear echoes of Irish pipe music, which always sounded to me like someone choking an oboe.

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Finally, I picked up "The Best of John Fahey Vol. 2", and it's a good package, mainly because there are several rare or unreleased tracks included, and there's a good chunk from "Railroad", one of the last albums before John went headlong into noise and 'alternative' guitar. Then came the ravages of Epstein-Barr syndrome, diabetes, divorce, drink...well, I prefer to remember the earlier days. John passed away in 2001 after a sextuple-bypass operation. He always went his own way, and in that sense, I like to think of him as the Neil Young of acoustic guitar. Long may he wave.