Bootlegs Reviewed

Black Country Communion: Keeping Rock n’ Roll Alive in the 21st Century

After an unplanned hiatus, Bootlegs Reviewed is back!  This week we’ll be taking a look at the new live album from one Guitar World’s 20 Greatest Super Groups, Black Country Communion: Live Over Europe.  The tandem to their recently released DVD, Live Over Europe sounds as if it was done with a message in mind: “Rock & Roll will never die; not while we’re here!”

With the pedigree of the group alone, with the likes of Joe Bonamassa, Jason Bonham, Glenn Hughes, certainly could have gone off the rails fast; ‘Super Group’ almost always implies a flash in the pan, ego-driven, one-and-done (sometimes two) project that dissolves either because of an implosion, or boredom.  It’s safe to say that Black Country Communion possesses none of that, but having delivered two stunning studio albums, with a third reportedly on the way, a live DVD, and now it’s accompanying soundtrack, it’s equally surprising how this foursome has managed to fly just under the radar of even classic rock radio stations.  But for whatever reason that’s happened, it shouldn’t be that way for much longer, just throw in Live Over Europe, and you’ll have all the reason you need to see this group in concert.

This two-disc set, culled from several concerts from across Europein 2011 gives a crystal clear picture of what Black Country Communion is all about.  While it’s laced with teases and undertones of their classic rock forefathers, there isn’t a cover tune in the house, each just as powerful and edgy as the last.  The set opens with a short intro that calls to mind something out of the Pink Floyd playbook, machine parts rumbling and clanking, coupled with ominous horns and strings, as if a mechanical monster were about to descend on the stage and blow your ears off.

To be honest, if that was your first impression, you’d be exactly right.  The band lights it up, to the clear delight of the cheering crowd, with a trio of hard driving, no-nonsense tunes, starting with the rumbling, nearly speed metal bass/guitar intro to Black Country, with Bonamassa and Hughes in perfect sync, over the thunderous pounding of Bonham on drums, proving that this leading trio lives up to every ounce of its hall of fame pedigree.  Heavy remains the name of the game through One Lost Soul; with a pounding guitar riff, soaring, crisp vocals from Glenn Hughes, matched only by a Eric Johnson-esque soloing from Bonamassa, it’s clear from the get go that this train ain’t stopping any time soon, so you better buckle in, hang on tight and enjoy the ride. 

There are too many highlights in this set to give it a detailed blow by blow, that would just get repetitive.  After barreling through two more bonafide rockers, Crossfire and Save Me, the boys unfurl another ripple in their outstanding repertoire, an acoustic rocker.  The Battle for Hadrian’s Wall is proof that it’s possible to be as powerful with acoustic guitars as with their amplified counterparts.  Bonamassa grabs the reins, belting out brilliant vocals, with an edge that only he can do, complimented by a chugging, but well crafted guitar part.

Joe Bonamassa channels his inner Eric Johnson again on Song of Yesterday, with a brilliantly crafted descending intro solo, before teaming up with Sherinian’s synthetic strings for an equally outstanding melodic finger-picked melody, alternating with a heavy, power-chorded chorus.  Not to be left out, Hughes and Bonamassa lay down and excellent one-two vocal punch here that adds an excellent compliment to the instrumentals.  The rock and roll groove makes a no-nonsense comeback with I Can See Your Spirit leading the charge down the home stretch, with a catchy, driving groove that’s guaranteed to get your blood pumping.  Here is where the whole band begins channeling yet another group of rock and roll legends, with a hint of Zeppelin peaking its way through before the final verse, and with Jason Bonham capping the song off as only a Bonham can with a flurry of drum fills worthy of his legendary father.

Bonham channels his late father again later on, leading the band into a song bearing his name, The Ballad of John Henry, with Bonzo’s signature drum beat from the Zeppelin classic When the Levee Breaks.  Bonamassa, Hughes and Sherinian are up to the task, delivering a nearly 11-minute rocker, complete with a riff that may be worthy of the great Zeppelin themselves.  The Zeppelin tribute continues as Bonamassa (clad in a pair of bad-ass sunglasses, check out the Youtube clip) channels his inner guitar god, and does his best Jimmy Page impression by breaking out a screaming theremin solo worthy of the master himself.  The guitar master class continues with a brilliant slide guitar solo interlude before the whole crew locks back into the main groove to bring this rockin’ ‘Ballad’ home.

While this entire two disc set is full of great rock and roll, the last of the Bootleggers highlights is Sista Jane, begins the last trio of songs with an infectious and catch combination of riff, and perfectly complimenting vocals that would restore hope in even the most devout believer that rock and roll is dead.

Bootleggers Bottom Line: 

It is an absolute travesty that the Black Country Communion seems to sneak under the radar of rock fans everywhere.  Along with much of the great music I’ve had the pleasure of exploring in recent months, I have the folks of Bootleggers Beware on Facebook to thank for sharing this 21^st Century super group with me.  Among the additions to the Bootleggers Beware archive I’ve made in the last few months, Black Country Communion’s Live Over Europe is quite possibly the best of the bunch, and is well worth the investment. 

Black Country Communion has undoubtedly found a home on Bootleggers Beware.  If you’re looking for a preview of the album check out this past weekend’s edition of Bootleggers Beware here.  And if you enjoyed that, make sure to check out this coming week’s edition, Saturday morning at 10 AM EST.  Don’t forget to join the Bootleggers Beware family on Facebook to send requests, talk music and rock out!

Until then, rock on!

The Allmans Take Atlanta: Atlanta International Pop Festival - Part 1

Welcome back Bootleggers!  After another unexpected hiatus, this week’s Bootlegs Reviewed is back and raring to go.  This week, in honor of the 41^st anniversary of the Allman Brothers concerts that led to the legendary At the Filmore East album, we’ll be taking a look at another outstanding live set from the Brothers, their double disc, two concert archive release from the Atlanta International Pop Festival, recorded over 4^th of July weekend in 1970.  This week will be the first two-part review, with this one focusing on the Brothers first performance of the weekend, with a look at the second one to follow later in the week.

 The Allman Brothers headlined the 1970 Atlanta International Pop Festival, performing two relatively short, energetic and blues packed sets that bookended the packed festival, each with a healthy mix of classic blues covers and their own soon-to-be-classics, Memory of Elizabeth Reed, Dreams and Whipping Post.  Recorded eight months prior to the legendary Filmore East concerts, the Atlanta Pop Festival performances may not be as polished as their Filmore counterparts, but one thing is clear, these boys are clearly on the rise

The first disc, recorded July 3, kicks off with a blistering trio of old school blues, (and Bootleggers favorites) beginning with Willie McTell’s classic, Statesboro Blues, a song that’s universally associated with the Brothers, and Duane Allman’s bright, clear and soaring slide guitar lead lines.  This version is no different, except that it runs nearly two minutes longer than the better known Filmore version, with a brief pause about the 3-minute mark, before kicking back in again, as if the whole crew just can’t get enough of the song’s infectious groove.

A quick thank you from Gregg is the only break before the Brothers launch into another driving blues shuffle, anchored by the driving drum combo of Butch Trucks and Jaimoe, laying a rock solid foundation for the dueling guitars of Duane Allman and Dickie Betts.  The blues shuffle extravaganza charges onward with Don’t Keep Me Wonderin’, with the brothers Allman leading the way, energy dripping from each vocal and slide lick.

With their blues demons officially exorcised (for now) the first of the original songs performed in these sets settles in.  The Brothers weave their way through a tasteful nearly 10-minute rendition of the classic Dreams, with the Duane and Gregg taking center stage, delivering soulful vocals and the song’s signature slide licks.  It is then that Dickie Betts joins in the festivities, spurring an instrumental masterpiece, with the drumming duo laying down yet another tight but loose foundation for another dueling guitar showcase from Duane and Dickie, only brought to an end when brother Gregg chimes in for the next verse nearly two minutes later.

As Dreams winds down, the blues return to the menu, with an energetic, romping original, Every Hungry Woman.  This is one of those times where the title perfectly matches the music.  The band is clearly settling into a groove, firing on all cylinders, Gregg delivering vocals that can only be described as hungry, complimented by the combination of Duane and Dickie powering through both the song’s riffs and solos in perfect unison, coming to a close to rousing applause by the sold out (and growing) crowd.  The driving blues classic Hoochie Coochie Man is next, packed full of the signature Allmans driving but laid back energy that surely made Willie Dixon proud.

Even at the band’s outset, it was clear that their abilities as instrumentalists were among the best in the business, and if there was any doubt in your mind, the next song settles it, hands down.  This 11-minute version of In Memory of Elizabeth Reed is a purposeful, rock-solid, jam-filled showcase for each of the band’s members to take the spotlight and show off their abilities.  First to step out from the crowd is Dickie Betts, delivering a soaring, tone-drenched 3-minute solo, before turning the keys over to Gregg, who takes the baton and raises the bar, with a short but expert organ solo, before passing the spotlight back to Betts for another brilliant guitar showcase. 

The jamming is far from done, with Berry Oakley leading the band into the classic Whipping Post.  With the whole crew in lock-step, they embark on what would become a brilliant 14-minute journey through one of the all-time great jam songs.  If Elizabeth Reed weren’t enough of a guitar showcase, the solo-trading escapade that ensues proves that even in their infancy as a combo, Duane Allman and Dickie Betts are a match made in blues heaven, firmly holding the keys to the proverbial Ferrari and helping stake the Allman Brothers claim to the throne of what today we call southern rock.

The first set of the weekend closes with another jam-classic, Mountain Jam.  The highlight of this 17-minute instrumental escapade is undoubtedly the Allman-Betts duo, who once again grab the song by the reins and with their signature dual guitar style, and purposeful, soulful solo create sheer sonic brilliance that only the newest incarnation of the Allman Brothers, with Warren Haynes and Derek Trucks on guitars, can match.  The action is briefly stopped for a rain delay, and the announcement that the festival would from then on be free (imagine that!).  It takes only a few seconds for the Brothers to regain momentum, and polish off a brilliant set, punctuated by an outstanding dual drum solo from Butch Trucks and Jaimoe, leaving no wonder to any listener why the band was chosen to headline the festival.

Check back later in the week for a look at the Allman’s second set of the weekend.  And for you Allman die-hards out there, don’t forget to check out next week’s edition of Bootleggers Beware, where we’ll be paying tribute to Duane, Gregg and Co. with a complete run-through of the Live at the Fillmore East Deluxe Edition.  And in the mean time, we’ll be taking Allmans all week long over on the Bootleggers Beware Facebook page, so don’t forget to stop in, check out the day’s video, and share your Allmans thoughts and stories!

Made in Stoke: ‘Rock and F’n Roll’ at it’s best!

Welcome back, Bootleggers!  In this week’s Bootlegs Reviewed we’ll take a good hard look at the newest live album from Guns n’ Roses guitarist, Slash: Made in Stoke 24/7/11.  

Made in Stoke is one of those CD’s that just about any rock and roll fan can find something to like about; it’s full of hard-rockin’ tunes from just about every era of Slash’s career: a stack of Guns n’ Roses classics, mixed in with no nonsense rockers from Slash’s Snakepit and Velvet Revolver.  

There isn’t a single weakness or let up in Made in Stoke, from the opening riffs of Been There Lately, to the closing solo of the Guns n’ Roses classic Paradise City. For his most recent solo project, Slash has surrounded himself with a crew of hard rockin’ dudes; Myles Kennedy on vocals, bassist Todd Kearns, drummer Brent Fitz and co-guitarist Bobby Schneck are up to the task of delivering a show that is worthy of bearing the soon-to-be Rock and Roll Hall of Famer’s name.

Slash and Co. blast out a blistering set, clocking in at just over two hours, opening with a bang on an old Snakepit song, Been There Lately. Without wasting a second of time they barrell right into a GNR classic, Night Train.  I expected great thiSngs from Slash, but vocalist Myles Kennedy was an unknown to me before listening to this set while preparing to write this review, and I can honestly say I am impressed.  His vocals on Night Train told me everything I needed to know about how the rest of this set was going to stack up: he fits in perfectly on the Guns n’ Roses classic, delivering an almost Axl Rose-like performance that’s so good, if you closed your eyes, you might mistake this new Slash-led lineup for an edgier GNR.

It’s clear, as the crew blasts into a Slash solo tune, Ghost, that they’re on a mission to deliver a great show, with the fact that cameras were capturing their every lick bringing out the best in each of them.  Without hesitation, the ‘rock and f’n roll’ continues with another Snakepit track, Mean Bone.  By now, if you’re not at least bobbing your head to the riffs, you might want to check your pulse, because you might be dead.  Next the band shows off the Slash/Kennedy song writing combo, with Back from Cali, featuring a funky little intro riff that translates quite nicely into a laid back, rockin’ groove that drives Kennedy’s trademark vocals.  A pair of GNR tunes come next, starting off with a Bootleggers Favorite, an epic 9-minute long Rocket Queen, another hard rockin’ tune that’s gauranteed to find its way into future Bootleggers Beware playlists. Following an extended (and well-crafted) solo from Slash, the band locks back into the groove, giving Slash and Kennedy the perfect backing track to bring the song to an end, with soaring vocals and another trademark Slash solo, met with screams and cheers from the crowd. 

Before leading his crew into Civil War, Slash steps up to the mic to address the audience, expressing a quiet enthusiasm and pride in being able to record his first solo DVD in Stoke.  With that, Slash and co-guitarist Bobby Schneck lay down an intricate web of guitar over which Kennedy delivers the songs first poignant verse about the unfortunate side effects of war.  The song then kicks into full-on rock and roll mode, a sort of heavy metal war protest song.  If you took a break from your head bobbing (I recommend it) to take Kennedy’s vocals to heart, Civil War is an exceptionally thoughtful and well written song, with a message worth listening to.

The band turns from classic to current on a dime, cranking out a handful of tunes from Slash’s most recent and self-titled solo album, kicking off with the hard-rocking, Nothing to Say, with a riff so heavy it would would grab even the most ardent metal fan by the throat and take them for a ride, punctuated by a pair of blistering, equally metal-worthy guitar solos.

Starlight follows, taking the volume and energy to an almost startlingly low level for the opening verse, before kicking into gear.  This laid back rocker gives the whole band the opportunity to show their true range, from Kennedy’s soaring vocals, to the expertly crafted and lock tight instrumental groove of the co-guitarists, the rhythm section of Kearns and Fitz, punctuated by yet another trademark Slash solo, and brought to a tasteful end, before ripping into Promise, a straightforward, all-business rocker.

Doctor Alibi, a song co-written by Slash and Motorhead’s Lemmy Kilmister kicks off disc two, with bassist Todd Kearns taking the spotlight on lead vocals.  Right away, it’s no shock that Motorhead’s leader had a hand in writing this one.  Kearns does a commendable job delivering some growling, energetic vocals worthy of Motorhead themselves, of course it would be hard not to be energetic with hundreds of screaming fans urging the whole band into a fever pitch that carries directly into the next Slash solo track, Speed Parade.  Kennedy comes back with a vengance, delivering biting vocals, as the freight train groove of Slash and Co. locks in, flipping the speed metal switch about halfway through, and really cranking up the intensity, leaving little wonder how this song got its name.  

Lucky for Myles, he gets to take a short break as the band locks in for an instrumental rocker from Slash’s solo album, Watch This.  The backing crew locks in for this 3-minute, solo laden track.  Beggars and Hangers On, another Snakepit song, follows, delivering another Bootleggers Favorite.  Switching gears from a nearly ballad-like verse to straight up rock and roll chorus, Beggars reminds us that this group has tremendous range and ability, and serving as the perfect transition into the GNR acoustic classic Patience.  

Here the dual guitarists take on the trademark introduction, complete with a bit from Axl’s whistled part.  The group expertly weaves through the Guns n’ Roses ballad, proving that every rocker has a soft side,  Here, even the sold out audience gets in on the game, delivering the bridge as Kennedy belts out the songs final verses.

As the final chords of Patience fade into the distance, Slash and co-guitarist Bobby Schneck take center stage for an outstanding 10-minute solo piece that calls to mind the early days of Led Zeppelin, where the band would leave Jimmy Page on stage to wax poetic on the instrumental classic White SUmmer - except with a LOT more volume.  A few minutes in, Slash grabs on to the lead lines from the theme to the Godfather.  Joined a few moments later by drummer Brent Fitz, the band gives us an idea of what the Godfather may have sounded like were it written in 2012.  The answer: it would ROCK!  Nearly six and a half minutes in, Slash takes center stage, busting out a lightning fast, two-hand tapped solo worthy of the Godfather of tapping, Eddie Van Halen. 

Now, clearly there’s only one way to come out of such an epic show of guitar work, and that’s to carry it right into one of rock and roll’s most well-known guitar lines, the Guns n’ Roses classic Sweet Child of Mine.  As if straight out of the 80’s, Slash delivers the song’s patented opening lead lines with brilliant precision, while Kennedy matches him step for step with flawless vocals, ‘helped’ along by the enthusiastic crowd, a noticeable number of them even mimicking the first parts of Slash’s guitar solo.  It is clear that Slash hasn’t lost a single step since 1987, ripping through the song’s signature solo with ease, a performance worthy of the thundering applause it receives.

The pounding bass introduction of Velvet Revolver’s signature rocker, Slither, accompanies Myles Kennedy as he introduces the band, before launching into another Bootleggers Favorite, which unfortunately, on account of one of George Carlin’s 7 Words You Can’t Say on Radio, will not make its way into rotation on the show.  It is clearly a favorite of the crowd, who join Kennedy for the chorus with surprising enthusiasm, given how little energy they must have by this time.  

Just when you think things are winding down, on comes By the Sword, featuring yet another powerful and catchy riff, leading the way into a pair of Guns n’ Roses classics to bring the British audience to its knees (and to its feet at the same time), beginning with the hard rock touring anthem Mr. Brownstone, and bringing this incredible evening of music to an end with a 9-plus minute version of Paradise City, draining the last bits of energy out of the room, with the crowd joining in with Myles Kennedy for the chorus, signaling what has been abundantly clear through the entire set, everyone in the room, band and audience alike have thoroughly enjoyed the making of this CD/DVD combo.

Bootleggers Bottom Line:

I added this set to my collection based purely on a hunch that it would be great, and I was anything but disappointed.  In all my time listening to live music, there are only a few that pack the beginning-to-end energy of Made in Stoke.  If you’re a Guns n’ Roses fan, a Slash fan, or just a fan of great rock and roll, Made in Stoke is for you.  The only downside of this set is purely from a radio perspective, in that there are a handful of cuts where the occasional F-bomb sneaks in.  While this adds an air of authenticity to the spontaneity of the performance, it also slightly limits the tracks able to be used on Bootleggers Beware.

Need convincing?  Check out Bootleggers Beware, Saturday mornings 10AM to noon EST, to hear the many, outstanding radio-friendly tracks from this set.  One listen is all you’ll need.  Check back next week as we take a look at another yet-to-be-determined live album. 

In the mean time, in the words of Slash: Rock and F’n Roll!

Bonepony: A Real Country Rock Party

Welcome back Bootleggers!  After a week’s hiatus on account of the Super Bowl last Sunday, Bootlegs Reviewed is back.  This week we’ll be taking a look at Nashville country-rockers Bonepony, and their live album Celebration Highway.

Bootleggers Beware was introduced to the guys from Bonepony over the summer of 2011 by one of the show’s long-time listeners, and boy was I impressed.  Bonepony has the right combination of country and rock to reel in a wide range of listeners, and it’s obvious right from the opening chords of Cowboy Song that these guys know how to put on a rockin’ show. 

Built as a three piece, with singer Scott Johnson, and a pair of multi-instrumentalists, Nick Nguyen and Kenny Wright, Bonepony spins a unique sound, thriving even with the backbone of a drummer inconspicuously absent for the first few songs. After firing up the crowd with Cowboy Song, the trio charge into a heavily country infused tune weighing the pros and cons of the single life, led by the expert banjo picking of Nguyen and the mandolin mastery of guitarist Kenny Wright.

Enthusiastic applause urges the band forward, and obviously feeding off the energy, the boys roll into Voodoo Banjo, which unwraps another wrinkle in the band’s repetoire: Johnson is more than just your average singer, he also knows his way around the harmonica.  The multi-dimensional talents of this group continues to unfurl as they charge into She’s My Religion, with the drums making their first official appearance and special guest Chris Carmichael grabbing a violin and leading the charge through Bayou Sky, a sun-soaked tune that’ll leave you thirsty for a tall glass of sweet tea on the back porch at sunset.

With barely a breath, the party forges on, with more upbeat, violin infused country rock, with the aptly named Something Good, that clearly lives up to the name, delivering a tune good enough to get up and dance to, closing to an enthusiastic applause from a clearly dedicated audience.  Determined to get the most out of their time on stage, the boys deliver a high energy country rocker, Love Ain’t Predictable, seguing, amidst more raucous applause into the electrically charged Half As Much Love, which matches the energy of the audience with suddenly amplified guitar fills from Kenny Wright, and highlighted by an expertly crafted and energetic guitar solo to punctuate the tune and help bring things home in style to yet more hootin’ and hollerin’ from the crowd.

Where before, the enthusiasm of the crowd seems to dissipate, the cheers of the crowd peek through the mix as the band rolls into Home, and Scott Johnson reflects on how good it is to be home from the road, relaxing on the back porch with family. And really, how can you argue that?  Clearly the audience poses no arguments, escorting this rocker out with endless enthusiasm.  

Just when you thought you had guitarist Kenny Wright figured out, he unveils another new side of his 6-string mastery, busting out a glass slide, and weaving brilliantly crafted complimentary slide lines, before singlehandedly kicking the song into overdrive, bringing it home to yet more enthusiastic response from the Bonepony diehards.

After barreling through another trio of tunes dripping with Bonepony attitude, Poor Boy Blues, Particular Shade of Blue and Soap, Celebration Highway comes to a fitting party-worthy conclusion with two Bootleggers highlights: the first two songs from the set to be featured on the show last summer, Free and Jubilee.  If you need a hook to catch the Bonepony bug, fast forward right to these last two tracks, and you’ll instantly join the ranks of the Bonepony addicted.

Bootleggers Bottom Line:

Bonepony is for real.  They are without a doubt a talented cast of musicians with a dedicated following, and it shows through all 75 minutes of Celebration Highway. There’s always a reason why a band like this catches on and begins to carve its place in the country landscape, and that’s one word: Talent.  Bonepony’s foot-stomping grooves will continue to connect to listeners and will always have a place in rotation on Bootleggers Beware because of undeniable passion, joy and talent.  Give Celebration Highway a listen, and you’ll see exactly what I mean.

Check back next week as we’ll be cranking the volume up to 11 and taking a good hard look at the new official live release from former Guns n’ Roses guitarist Slash: Made in Stoke.  If you haven’t heard it yet, make sure to check out Bootleggers Beware next week as we continue to dig into this rock and roll masterpiece on the show, and don’t forget to stop by the Bootleggers Beware Facebook Page and join Bootleggers Nation in the mean time.  Until then - Happy listening! 

The Pushers: Proof that Rock and Roll is Still Being Done Right

In this week’s Bootlegs Reviewed, we’ll be taking a look at another off-the-beaten-track band, Wisconsin’s The Pushers.  The Pushers, like the Melted Horses from last weeks review, were one of the first bands to have found The Bootlegger on Twitter last summer, and were quick to become involved in the show, passing along their entire new live album, Live on the Lakefront, which has since made several appearances on the show.

The Pushers, much like the Melted Horses have clearly worked hard to create a sound that is truly theirs, successfully fusing classic rock riffery and blues with a hint of punk rock with Will Cooper leading the way with no nonsense vocals, backed by the distinct guitar tones of Nathan Rogers, and the top-notch rhythm section of drummer Heath Cejka and John Blackburn on bass.

Live on the Lakefront begins with a catchy, blues inspired riff from Rogers on a song that has made multiple appearances on Bootleggers Beware, Found My Way. Cooper’s vocals are equally blues inspired, with a no holds barred take on seeing an ex with someone else.  But Cooper is more than just a vocalist, trading licks on harmonica with Rogers as the band a few moments to jam, before joining up behind the song’s signature riff and steamrolling to the finish line.

A short break and band introductions ring in a more punk rock inspired track from the band entitled Let it Go.  A hard driving tune, the crew puts it all out there, churning through it with purpose and enthusiasm, with a driving, guitar line and rock solid backing from Cejka and Blackburn.  A little breather is all it takes to head right back into the no-nonsense rock and roll, blasting into another song that has made a few appearances on the show since last summer, Pass Me By.  It’s hard driving intro are complimented with a more laid back and bluesy riff behind the verses, before kicking it back into overdrive for the choruses.

Concrete Shoes brings bassist John Blackburn to the forefront, taking the lead as Cejka, Cooper and Rogers take their turns joining in and kicking another blues rocker into gear. Rather light on vocals, Concrete shoes showcases the bands ability to explore their music, spending a fair amount of the four and a half minute song jamming, before launching into another hard rocker, Her Song. A trademark Pushers song, it features a hard driving guitar part leading the way along with a signature Will Cooper Vocal performance.

Without skipping a beat or changing what is clearly working for them, The Pushers keep the audio assault coming with another no frills rock tune, Gimme Some Time. Punctuated by another appearance of vocalist Nathan Rogers on harmonica, the band settles in in a familiar gear, rolling yet another rocker to completion.

A quick break for a beer, and the band launches into another turn-it-to-eleven hard rocker, Getaway.  Clearly not ones to mess around, this white-knuckled bank ronbbing narrative fits its title perfectly, with the urgency of an actual getaway, leaving this listener with an image of a pair of (amateur) bank robbers punching the gas and making a run for it.

Showing another dimension to the band, Swing features a simple but catchy instrumental combination - a louder version of a 50’s swing band tune, meant to inspire the spirit of dance, which based on the crowd’s reaction as the song comes to a close, was successful.  After the obligatory shout out to the family and friends in attendance, Rogers grabs the reigns with a slightly messy but effective slide riff, as the band barrels its way through the first song they recorded together, Heartbreaker.  A song clocking in at over 8 minutes is either expertly crafted, or a boilerplate for a jam, and that’s what Heartbreaker serves as for The Pushers, with Cooper taking center stage with a bluesy harmonica solo, before the band falls back into line over the main riff, giving Nathan Rogers a few moments to cut loose on his own wah way infused solo, before bringing Heartbreaker to a close.

As a rule, you can tell a lot about a band by whose music they cover during the course of a set.  And by tackling the Allman Brothers Midnight Rider, The Pushers give us a glimpse into their influences, while putting their own distinctive, high energy spin on the southern rock classic punctuated by a pair of solos by Rogers and Cooper bringing it to a frenzied close.  The Pushers bring the show to a close the same way they opened it, with a straight forward rock tune, Goodbye, with Cooper sending a clear and concise break up message to an ex, punctuated again by another rock solid, wah-drenched solo from Nathan Rogers before bringing the  album to a close with the promise of one more that doesn’t come (as a result of a recording mishap).

Bootleggers Bottom Line:

The Pushers are a Bootleggers favorite for a reason: They rock!  Along with last week’s band The Melted Horses, they give an old school rock guy like me a little hope that American Idol won’t always hold the final say on what is and isn’t good when it comes to music.  The Pushers have done it the right way, opening for bigger acts, like Buckcherry on this night, getting their name out there by any means necessary, sticking to their guns, rocking out, and connectiing with their audience.  To check out The Pushers tunes, check out their Reverbnation page, or stop in on the Bootleggers Beware Facebook page, and keep a lookout for their reappearance on the show in future shows.

Make sure to stop back next week, as we’ll take a look at yet another album from a friend of The Bootlegger, the Nashville country rockers, Bonepony, and their live album Celebration Highway.  In the mean time, don’t forget to check out the Bootleggers Beware Facebook page, and check out the show on Saturday mornings, 10AM-noon EST.  

Keep on rockin’!

The Melted Horses: Classic Rock for the 21st Century

Welcome back music lovers!  For this week’s edition of Bootlegs Reviewed, we’ll be taking a bit of a right turn from the last few weeks, and go a little bit underground.  This week, we’ll be taking a look at an album by a band who has become a great friend of Bootleggers Beware, San Francisco’s own Melted Horses, and their live release, Live Burnin’ which they unleashed on the world last spring.  

By my ear, the Horses are a refreshing change of pace in today’s increasingly homogeneous music industry.  Their classic rock infused sound harkens back to the days of classic rock, when each band had their own unique sound, instantly recognizable, and equally enjoyable.  The Horses have crafted their sound around the southern rock inspired vocals of lead singer Angelo Lanham, the dual guitar attack of Lanham and lead guitarist Greg Knudsen, and the family built rhythm section of Derek and Jake Martinez on bass and drums. Live Burnin’ opens with a bang, behind the aptly named Rock & Roll Explosion, driven by the lock-tight guitar combination of Knudsen and Lanham weaving an infectious and catchy riff, reaching climax with a fast, blues inspired solo from Knudsen, as the Martinez connection lay down the solid backing track needed for the axe-slingers improvisation, before bringing everything back on track and taking it home with another appearance of the song’s signature riff.

No break in the action, as the whole crew rips into the album’s (unfortunately) only radio friendly track from this album, Rosie, which, if you’re a regular listener to the show, you’ll hear on a regular basis.  Another straightforward rock tune, Rosie’s driving force is Lanham’s vocals, which from the first verse take center stage, with the occasional appearance of some high energy soloing from Knudsen to give the Horses trademark pipes a short break, before launching into and tearing through another no nonsense straightforward rock tune, Masterpiece, punctuated by yet another masterful solo from Greg Knudsen, proving that the Horses are no doubt for real.  The true test of any band that draws its inspiration from the golden days of rock music is how they navigate a straight up blues song. And by slowing things down into Yer Blues, the Horses skillfully answer that question, by delivering a high energy blues tune built on trademark rhythms and two short solo pieces, allowing  both Knudsen and drummer Jake Martinez to stretch out and show what they can do, with Martinez delivering a no holds barred drum solo that features a few fills that draw from the immortal John Bonham’s showpiece, Moby Dick, before the whole band locks in to bring it to a close to a spirited applause from the crowd.

The Riffey Song follows, opening with more blues inspired licks from Knudsen, as Lanham cracks a few vocal one liners at Charlie Sheen, (the only thing missing was a “Winning” reference”) before taking a back seat, locking into rhythm mode, and allowing the instrumentals to shine through. The Horses weave another blues and rockabily inspired number with Lonesome Train, in which Lanham exclaims, rightly in the case of the Horses, ‘They don’t make ‘em like the used to’, before bringing their 40 minute set to a close with a flurry behind the powerhouse rock of Walkin’ the Dog. 

Bootleggers Bottom Line:  The Melted Horses are for real.  You can bet as soon as the gang delivers some more radio friendly cuts, they will no doubt carve an even bigger presence on Bootleggers Beware.  I for one am hopeful they will make the trek across the country so I can see what they’re all about in person.  Until then, check out the show to get a free preview of the Melted Horses, or for a few bucks stop by their Bandcamp page and pick up Live Burnin’ for yourself!

In keeping with the underground theme, check back next week as we check out another live album from a friend of The Bootlegger, The Pushers’ live album , Live on the Lakefront.  

In Session: A Blues Masterpiece

Welcome back Bootleggers!  After a couple weeks away, we’ll be buckling in to look at one of my absolute favorite blues recordings, Stevie Ray Vaughan and Albert King’s 1983 “In Session” project. Before stumbling upon an old TV dub of this live studio session, I had barely heard of Albert King, and in the time since, every time I listen to this recording, I become a bigger and bigger fan of his work.

The version of this session I’ll be reviewing this week is a mish-mash of two official recordings of the session: the original single disk CD set, and audio pulled from the officially released DVD to complete the session as close as possible.  The order of tracks we’ll look at is an approximation, but if you’re either a Stevie Ray or an Albert King fan (and you don’t have this one already) you’ll enjoy it no matter what.

The set begins with a bang with a Bootleggers’ highlight, with Stevie and Albert delivering a groovy version of Albert’s original Born Under a Bad Sign, with the studio backing crew laying down a nice simple rhythm for Albert and Stevie to trade licks over.  Right away, you can tell the two Texans are truly enjoying each others’ company in the studio.  While they have distinct tones to their playing, you’ll hear the young, up-and-coming Stevie rip through a clearly King-inspired lick, leaving little doubt why they became fast friends on the club scene in Austin.

Easily the most interesting part of this entire set is the laid back atmosphere of the session.  Time seems to be of no matter to anyone (and who could blame them), allowing the music and the two bluesmen’s kinship with one another to shine through. The blues is again the name of the game as Stevie and Albert settle in behind the groove of the studio band and reminisce about their early days in the Austin club scene, while trading licks over the blues classic Texas Flood, with Albert remembering the first times Stevie sat in with Albert and his band and giving the young Vaughan some sage advice to stay hungry and never get lazy, something that if you listen to other live and studio recordings of Double Trouble, you can tell he took it to heart.

Vocals are to be at a premium during this session, with so much incredibly guitar talent in one room.  The blues continue to flow with the T-Bone Walker classic Stormy Monday, with Albert taking the lead with tasteful lead lines and soulful vocals, leaving little wonder where many of Stevie’s signature licks were inspired. And just in case there was any doubt, Stevie takes the wheel for the last couple minutes, lending some of his trademark growl to the track, before yielding to the master to bring things to a close.  A short break ensues, with Albert and Stevie taking a short break to reminisce about the first time the two had met, and for Albert to compliment Stevie’s soul while playing.

Stevie takes the reigns of the session for an Albert-requested run through Double Trouble’s Pride and Joy, belting out the only vocals he would sing for the whole session, before breaking into a fantastic solo, with King laying down some tasteful fills before adding his own flavor to the track with a solo of his own before Stevie chimes in on the final verse to bring one of the most unique versions of the song to a close.

The upbeat blues are only just beginning, with Albert asking Stevie ‘if he wants to’ fill in on a BB King number he recorded for his most recent live album, Ask Me No Questions.  And fill in he does, trading solos with Albert through the last two minutes of the track, before a much needed instrumental break, provided by the studio band with a boogie piano line worthy of Little Richard.  But as if the two bluesmen are reminding us who’s really running the show, they launch back into the groove, bringing the song to a triumphant end, punctuated by King telling Stevie that while he’s good now, he will become better, and as he gets better to continue to work hard, sage advice for both Stevie, and us as listeners - don’t be content to be as good as you are, strive to get better.

Things slow down again for a quarter-hour run-through of a track Albert says he recorded with Jimi Hendrix and Janis Joplin back in the day, Blues at Sunrise. True to its name, the track brings to mind the beginning of the day, with inspired solos leading into the opening of the vocals and an impressive set of fills from Albert, before a breakdown with Albert telling the story of how the song was first recorded at the Filmore West, punctuated by a clean, tasteful run by Stevie that clearly impresses the King, and puts to rest any doubt that Vaughan is all about volume and speed.  Not to be outdone, King seizes control with another stunning blues display, which is once again matched by Vaughan, with a healthy combination of reverence and intensity.

Witn nearly an hour left ont he clock, the two blues masters do anything but slow down, tearing through a rambunctious and solo-filled version of Overall Junction, where if there were vocals, they were clearly left at the door in favor of some good old fashioned blues jamming, followed by an inspired, and funky rip through Matchbox Blues, which Albert asks Stevie to record for his next album, which unfortunately doesn’t happen, perhaps because it wouldn’t come close to this version. After a brief break, with the two pointing out their clear enjoyment of the situation, King leads the way through another spirited and solo-filled blues number, Don’t Lie to Me, before rounding out the day with a 24 minute long jam on Outskirts of Town, punctuated by both Stevie and Albert breaking strings.

Bootleggers Bottom Line:  If you’re a blues fan, In Session is a must-have, especially if you’re not familiar with Albert King’s work; by the time you’re done, you’ll be looking for more, I guarantee it!  If you’re not sold yet, check in with Bootlegger’s Beware on Facebook for the periodic appearance of tracks from this set during the show.  

This set is unique among those you’ll find me review here, in that it features an accompanying DVD, which is well worth the price of admission, since watching the interplay between these two blues giants will undoubtedly seal the deal.  So go out and get your hands on In Session today, it is 2 hours of music you will truly enjoy.

Next week’s review will be a reader’s choice.  Stop by the Bootleggers Beware Facebook Page, find the thread for this week’s post, and let me know what live album I should take a look at next week.  In the mean time, happy listening, blues fans!

Gov’t Mule Rings in the New Millennium as Only They Can

Welcome back Bootleggers!  As this week’s edition of Bootlegs Reviewed falls on the final day of 2011, and in turn the beginning of 2012, I thought it only appropriate to take a look back at a recording from New Years Eve past: the instant classic among New Years Eve concerts, captured on Gov’t Mule’s Mulennium release.  This 3-Disc set was my first experience with the original Gov’t Mule line-up, and I highly doubt there is a better introduction to these three legends of the jam band circuit.

No one rings in a new year like a top-tier jam band, and among the heavy hitters in the jam scene, a case can be made that no one pulls off a New Years Eve concert like Gov’t Mule.  It is undeniable that the original Mule lineup of Warren Haynes, Allen Woody and Matt Abts set the bar high with their previous year’s visit to Atlanta’s Roxy Theater, recorded on Live With a Little Help from Our Friends. Fast forward 365 days, and you’ll find that the Mule was up to the task when it came to ringing in the new millennium.

In what has become a yearly tradition for the boys of Gov’t Mule, Mulennium, not unlike the previous year’s marathon performance at the Roxy, features an outstanding mix of covers and original tunes, performed both by the band themselves and with a slew of guests. Appearances by everyone from the legendary but little known Little Milton, The Black Crowes Audley Freed to Robdet Kearns, Johnny Mosier, and Make Van Allen make this undoubtedly the perfect way to ring in the new Mulennium.

The evening starts off in typical Gov’t Mule fashion, with the powerhouse riffery of the classic Bad Little Doggie, setting the tone for the evening.  Effortlessly the band weaves through a slew of their own powerhouse blues-rock tracks, from Lay Your Burden Down and Blind Man in the Dark, to the title track from their newest album, Life Before Insanity, Larger than life and Towering Fool before a brief impromptu jam in which Warren counts in the new millennium.

As with every Mule new years show before and since, the new year means one thing: it’s time to keep on rocking, and ring in the year 2000 right.  And what better way to have kicked off the new millennium than with a whole mess of classic rock covers, with Warren leading the band through King Crimson’s classic 21st Century Schizoid Man before taking on another all time classic in Led Zeppelin’s Dazed and Confused, lending his own feel and tone to one of the Rock and Roll Hall of Famer’s signature tracks.

But in true Mule fashdion, the fun is just beginning, as Warren calls one of the blues world’s all-time greats, Little Milton out to join the band for a mess of spirited blues classics, including When the Blues Come Knockin’, My Dog and Me, and Lump on Your Stump, I Can’t Quit You Baby, It Hurts Me Too and Blues is Alright.  Nearly an hour later, Mule and Co. could probably have folded up camp and called it a night with hardly a complaint from the sold out crowd at the Roxy, but there’s more.

This time, the crew calls out their old friend, collaborator and Black Crowes guitarist Audley Freed for yet another hour of classics: Alice Cooper’s Is it My Body, nearly 14 minutes of jamming on the Jimi Hendrix staple Power of Soul, trading solos that leave little question that the Mule crew and Freed are familiar with one another, before launching into the Beatles classic Helter Skelter.  But the Mule/Freed partnership goes both ways, with the whole crew rolling into the Black Crowes’ Sometimes Salvation.  More guests join the party, with Robert Kearns singing back up on 10 Years After’s classic 30 Days in the Hole, a Bootleggers favorite that has been in regular rotation on the show since day one.

With energy renewed, the band buckles in for a Traveling Wilbury’s tune, End of the Line.  The band may be laid back and soulful, but the music continues to flow effortlessly nearly three hours into this signature Muleathon.  And just when you thought all they could was cover others, out of nowhere comes a beautiful 11 minute long Out of the Rain with Johnny Mosier and Blueground Undergrass.  The guest appearances are hardly over, with Warren calling Robert Kearns back out with Danny Richmond to take help take the whole crew through a flawless rendition of Bob Dylan’s I Shall Be Released. 

Three hours deep, you’d think everyone in the building would be exhausted within an inch of their collective lives, but Mule and Co. has one more round left in the chamber, bringing back Audley Freed for a quarter-hour jam on the Lynyrd Skynrd classic Simple Man, blending perfectly fitting slide guitar lines over the song’s signature riff, wringing every ounce of energy out of everyone on stage, and giving the year 2000 the welcome it truly deserved.

Bootleggers Bottom Line:

If you are a Gov’t Mule fan and you haven’t purchased this set yet, you are missing out on a true classic.  It is with good reason that Mulennium set will remain in constant rotation on Bootleggers Beware for a long time to come.  For a peak into this Gov’t Mule classic, check out this week’s show here.

Next week will be an off week for the blog, but make sure to stop by the Bootleggers Beware Facebook page, and keep help the gang keep the music going in my absence. 

Happy New Year music lovers!

May Santa be Good to You!

May Santa be good to all of you!  Check out this week’s Christmas Eve Blues Edition of Bootleggers Beware here.

Merry Christmas!

-The Bootlegger

Jeff Beck Puts on a Show at the BBC

Welcome back music lovers! This week’s Bootlegs Reviewed explores a recording from yet another established Rock and Roll Hall of Famer, but relative newcomer to my collection, the one and only Mr. Jeff Beck, and his post Yardbirds project, The Jeff Beck Group. This week we’ll take a look at their BBC In Concert sat, recorded live at the Paris Theater in London, in June 1972.

Now, as with last week’s entry on the Rolling Stones’ Brussels Affair set, this is not my first experience with Mr. Beck, but is my first concentrated look into his music, and one that I thoroughly enjoyed. From beginning to end, it is clear why this band is called The Jeff Beck Group - Jeff is without a doubt the leader from behind the guitar, stamping each song with his easily reconizeable, yet indescribable tone and style.

The band zips through an hour-long set, featuring tracks of their own, as well as breaking out covers including tracks from Bonnie Dobson, Bill Withers and Bob Dylan. The energy begins right off the bat with Ice Cream Cakes, ending in a laid back instrumental jam, giving Beck, drummer Cozy Powell, and bassist Clive Chaman a place to show off their talents.

After a short radio break with the slightly dopey Mike Harding, Cozy Powell rings in Bonnie Dobson’s 1962 classic Morning Dew. It’s obvious from the outset that this version is totally unlike anything Ms. Dobson ever envisioned 10 years earlier, punctuated by a fantastic sonic onslaught by Beck witin the first two minutes, that progresses to climax at a classic Beck solo not a minute later, and is punctuated by the rock solid rhythms of a rolling bass and and piano from Middleton and Chaman.

Middleton takes over leading the band, via some fantastic boogie piano right into another Jeff Beck classic, Going Down. This is one of the first highlights of the show for me, a 3-minute roaring, riff driven masterpiece, chock full of energy from the first appearance of its iconic riff right to its abrupt end, and is met with a furious response from the studio audience at the BBC.

Following a short break and band introductions, Beck cranks up and then teams up with Maxwell to lead the band through the instrumental Definitely Maybe, beginning with tasteful lead lines, and evolving into a pattented Beck sonic exploration, changing speeds and sounds over his locked in but hardly limited rhythm section.

Beck and Co. crank up the energy again on New Ways, a literal freight train of rock and roll, powered by Powell, Middleton and Chaman, and driven by yet another auditory enslaught from the unstoppable force that is Jeff Beck. Without hesitation (and right on cue), they roll right into Train Train, and finishing with another raucous applause from the audience.

Showing another wrinkle in their repetoire, the band cranks back the energy for a cover of Bill Withers’ Ain’t No Sunshine When She’s Gone, another Bootleggers Highlight for this recording. As with any time Beck and Co. take on a cover, they give it their own spin, and this Withers soul classic gets the full Beck treatment, with trademark Beck guitar player, on top of some very soulful vocals from an oft-unmentioned Bobby Tench.

Dial back up the energy for Got the Feeling, the highlight of which is a stellar bass solo from Clive Chaman, before the band joins in the blow the roof of it with another roaring riff onslaught, which upon completion gets another exciteable response from the crowd.

The last number, Let Me Love You keeps the energy, and volume bordering on 11, with another auditory assault from Mr. Beck, leaving little doubt as to why it was obvious to anyone who heard him, even at the time, that he was destined to be a Rock and Roll Hall of Famer. The usually quiet Beck even instigates a sing along with Bobby Trench and the audience during the chorus, before tearing into another instrumental break bringing the song and the show to an end.

Coming back for a short encore, yet another legend gets the Beck treatment, and this time it’s the immortal Bob Dylan, and his song Tonight Ii’ll Be Staying Here With You. Unfurling yet another wrinkle in his group’s bag of tricks, paying tribute to the original by keeping the laid back feel while adding the unmistakeable punctuation of Beck’s trademark lead lines.

Bootleggers Botom Line: This pristine BBC Radio recording is sure to be a mainstay on the show from now on, and is likely to be the first of many explorations into the music of Jeff Beck. Check in next week and hear a track or two from this show on next week’s Bootleggers Beware, and in the mean time, don’t forget to stop by the Bootleggers Beware Facebook Page and join the Bootleggers family while you’re at it.

With next week being the Christmas Holiday, I’d like to close by wishing my readers a safe and enjoyable holiday week!