An Interview with Angela Moyra

'Sometimes I’m more open with my music than I am in my personal life,' says the singer/songwriter, underscoring the candor that informs her debut LP, 'Fickle Island.'

Interview: Meiko Experiments, Gets Personal on New LP, 'Dear You'

Meiko discusses her new album, its minimalist, mood-driven electronica and the most personal lyrics of her career to date.

Review: Justin Hayward - 'Spirits...Live'

The Moody Blues legend scales it down for a rare solo tour, mixing burgeoning inspirations with old magic.

DVD Review: Queen - Live at the Rainbow '74

This performance captures Queen’s emergence into immortality as a band with muscle and snarl to spare.

An Interview with Randy Owen of Alabama

The band's lead vocalist and songwriter of some of its greatest hits discusses the music that has made Alabama legends.

June 21, 2011

Everything That Happens on New David Byrne DVD is Fascinating

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David Byrne’s critically acclaimed 2008/2009 concert tour in support of his collaborative album with fellow iconoclast Brian Eno, Everything That Happens Will Happen Today, is the subject of a fascinating new documentary, Ride, Rise, Roar: A Live Concert Film.

One of popular music’s most progressive artists—beginning with his groundbreaking tenure in Talking Heads and continued through with an uncompromising, if less popular, solo career—Byrne has long explored the synergistic possibilities in mixing aural and visual mediums. As the near-90-minute feature details, for this project he incorporated elements of modern dance into the context of a rock concert.

Byrne's alliance with Eno dates back decades, and the songs played on this tour concentrated on their unique chemistry. And so it's of no surprise that Talking Heads albums Fear of Music and Remain in Light, in particular, yield some of the most exciting live moments here—"The Great Curve," "Heaven," and the primal rhythms of "I Zimbra," to cite but a few—while new cuts like the reflective "My Big Nurse" and the show-stopping "I Feel My Stuff" bring their bond full circle with equal conviction.

Overall, the film functions more as an exposition of Byrne's creative process than as a straightforward chronicle of this particular tour, thus steering clear of the carbon-copy format of most concert films. Instead it transitions between divergent scenes—rehearsal footage of the band and dancers, commentary by those most pertinent to the stage production, and select live performances—that altogether make for a striking and, in a cumulative sense, representative impression of what was an exhilarating concert experience.

June 14, 2011

Pat Metheny Scales it Down On Acoustic LP

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If all you knew about Pat Metheny’s music hinged on the perfunctory details of its genre (jazz, for the most part) and the artist’s instrument of choice (guitar, for the most part), listening to his latest offering, What’s It All About (Nonesuch Records), provides fundamental context to his craftsmanship if not a sweeping representation of his craft.

Known primarily for his proficiency and experiments on the electric guitar, Metheny scales down to an acoustic, solo setting on this album, its title coming from the Burt Bacharach/Hal David classic, “Alfie,” just one of ten pop standards he interprets on this all-covers project.

The music in general assumes a rather somber, evocative dimension, which Metheny complements with intricate, often Flamenco-styled picking. Such subtlety allows him to take generous liberties along the way, magnifying familiar moments of songs (the opening notes of The Stylistics’ “Betcha by Golly, Wow,” the vocal progression in Carly Simon’s “That’s The Way I’ve Always Heard It Should Be”) rather than indulging more-literal translations.

Other standouts include a lovely rendering of The Beatles’ “And I Love Her” and The Carpenters’ “Rainy Days and Mondays,” which Metheny draws out into a melancholy, near-desolate meditation.

And so if all you knew about Pat Metheny was just the basics, listening to him play on What’s It All About affords more than enough incentive to explore his catalog further. For those already familiar with his work, though, this should come as no surprise.


First published as Music Review: Pat Metheny - What's It All About on Blogcritics.

June 9, 2011

The Cars Shake It Up Once Again

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The road back was never going to be a smooth one. Nearly a quarter of a century had elapsed between the recent reunion of The Cars and the band’s last studio album. Benjamin Orr, its bassist and the voice behind its biggest hit, “Drive," succumbed to cancer in 2000. Then there was the ill-fated New Cars debacle, featuring Todd Rundgren in place of singer/rhythm guitarist Ric Ocasek, which met with dismal album sales and critical indifference.

And yet however much skepticism such factors may give to those prior to listening to Move Like This (Concord Music) is all but forgotten once its opening track, “Blue Tip,” kicks in with a sound that is at once familiar yet futuristic, boasting the sort of quirky vibe and irresistible hooks that are quintessential to the music of The Cars. With Ocasek having returned to the fold — the line-up is rounded out by all-original members Elliot Easton (lead guitar), David Robinson (drums), and Greg Hawkes (keyboards), who also handled the bass parts in deference to Orr — the band has not only recaptured the spirit they brandished on such albums as Candy-O and Heartbeat City, but has also cooked up one heck of a snap-crackle-and-popping good time. Thick, grunge-spiked riffs in cuts like "Drag On Forever" and "Keep On Knocking" scruff up the predominant slickness with a bit of dissonance in just the right spots. While the shadowy ballad, "Soon," delivers the most stirring, poignant moment on what is an all-around outstanding album and a most-welcome return of old friends. Let the good times roll, indeed.

 
First published as Music Review: The Cars - Move Like This on Blogcritics.

June 7, 2011

An Interview with Susan Tedeschi & Derek Trucks

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It was after a concert this past New Year's Eve, remembers guitarist Derek Trucks, when he and his wife, singer/guitarist Susan Tedeschi, both recognized that after several experiments with different configurations of musicians they'd finally assembled the best-possible band with which to pursue their shared musical vision. "When we got off stage, me and Susan both knew," he says. "We were like, 'This is it. This is what we’ve been trying to get to.'”

The result is Revelator, released this week by the newly formed Tedeschi Trucks Band. Recorded at the couple's home studio in Jacksonville, Florida, the album brims with the soulful spirit and grit of classic rhythm and blues, gospel and rock 'n' roll.

It also brims with musicians, nearly a dozen in all. "There’s a little bit of, 'Oh, shit, what have we created—this 11-piece monstrosity?'" Trucks says, laughing, "but it’s hard to go back once you hear that and feel that."

What expectations did you have going into it as far as what you wanted the album to sound like?

Trucks : It was just continually writing until we found songs that worked. They were songs that we both felt really great about, and they were really comfortable. Working with the different songwriters was amazing. The whole process was really natural and fun. And I felt like we were always moving forward and working toward something. Probably six months into putting this idea and concept in motion we had 15 tunes that we felt really good about. Any other time in our careers I think we would’ve just recorded them and that would’ve been the record. With this, we kept pushing until we got to maybe 35, 40 tunes and then from that original 15—that A list—we probably ended up using two, maybe three songs on the final record. We kept knocking songs that we really liked off the list with songs we liked more, which was for me a unique situation to be in. I’ve always been on the road 300 days a year and when you get 12 songs you record them, and there’s your record. This was a totally different thing.

Did each of you have to sacrifice any aspect of your respective styles in making this album together?

Tedeschi: Honestly I don’t think I had to sacrifice anything. We wrote the whole record together and it’s all stuff that I would do on any of my projects. I don’t really feel like I did anything different. It’s interesting a lot of people think that. But at the end of the day, yes, Derek improvises longer solos than I would, but I love to improvise too. And I love all the aspects of all the different styles of music on the record. A lot of the songs on the record are stuff I would’ve naturally done anyway, if the songs were there. So I don’t feel like it was that different. For me it was just more fun because I got to hang out with my husband more.

Trucks: We really wanted to spend as much time as it took to naturally get there instead of having ideas and trimming them to fit this mold. We just kept writing. We knew what we wanted to do, but whenever you have a concept [and] putting it into motion it changes a thousand times before you get to where you end up. We wanted to be really open with that and just kind of let it happen. The upside was we had this great studio behind our house, and we know a lot of musicians that are basically family that are world-class musicians that we could keep writing and recording with. We didn’t want to rush it.

How long was it from when you two had the original spark of an idea to having the album written and recorded?

Trucks: It was a solid year-and-a-half. Knowing what we wanted to do and the level that we wanted it to be [at], at least musically, we went into it just not wanting to rush it. I think we felt like, definitely for the first time, but it might be the only window we have from here on out to actually take our time and really do something. We felt like it’s kind of now or never. Our kids are a little bit older where we can just jump in. We can be home for six months and write and write and record and write. Every step of the process we were recording, and luckily Bobby Tis—him and his father helped me and my brother build the studio—he moved down here and he also engineered the record. So 20 doors down from our house, Bobby was there if there was an idea or anything we wanted to record or tweak. At any hour we could go out into the studio and work. We dove into that and really enjoyed the process and wanted to make sure the band chemistry was right. You can think on paper what’s gonna work and throw it out there. You just don’t know until you gig it. We spent the better part of last year trying different things and seeing what worked, and not really boxing ourselves in until we felt a hundred percent confident with what we were doing. The risk of that is some people see an early incarnation of the band and think that’s what it is. So you’re running against perception. That’s just the nature of the beast. It’s a much longer arc that we’re looking at.

Because so much of what you both do is on the concert stage, was there any consideration during the songwriting and recording phases of how well these songs would translate live?


Trucks : One of the reasons I feel great about this project is that there was this kind of maturity/confidence [among the musicians] that we know that that’s going to be okay. We know that there’s enough talent and firepower that we can take any song and make it fly live. So there really wasn’t that concern. I think for the very first time I wasn’t worried about any of that. Even if it had to be drastically different live, it was gonna be great. One of the reasons we did a lot of the writing with just me and Susan and another writer with acoustic guitars was [that] with a band that plays this well together, you kind of run the risk [that] you could have a mediocre song and think it’s great because the band makes it sound great. So I wanted to make sure the songs themselves were great, would hold water. Because I knew once we put the band on it, it was gonna make us think it was really good. [Laughs] I felt the proof was in the demos. The songs were put down in the barest state. And we chose songs that way, like, “This song holds up with an acoustic guitar and a vocal.”

It has integrity.

Trucks: Yeah. So we went into the recording process feeling really good about the material, knowing that we had a really good list of tunes to choose from. And we had a group of tunes that we knew worked well together, just listening to the demos. Then when you get the band to sink their teeth into it, the layers are there. It’s three-, four-, five-dimensional.

There’s a kind of selflessness to the way you play guitar, Derek. It seems more for the greater good of the song or performance than it is to be a superstar soloist — even though you have the chops to do that. Do you have any particular philosophy as far as how you approach playing the guitar?

Trucks: I think that’s the overarching view of it for me, especially with a band like this where there’s so much firepower between Susan and Oteil [Burbridge, bassist] and the rhythm section. I just feel like whatever it takes to make that fly, whatever it takes to make that shine… I’m always of the mindset that a guitar solo—whatever solo it is—needs to be in the spirit of the tune or in the music, and it’s not supposed to completely distract from it. I think maybe from growing up in blues bars and seeing a thousand Stevie Ray Vaughan rip-offs and guitar wankery, I’m scared to ever be that. [Laughs] I try to go out of the way to not do that. Any time you’re soloing and improvising, especially on the electric guitar, you run the risk of going down that road. I try to be really conscious of that. Playing with Eric [Clapton], seeing B.B. [King], some of these guys who give you exactly what you need, a lot of times they leave you wanting more. That’s been a big lesson. I haven’t quite gotten there yet, but I love the fact that when B.B. solos—especially in his prime—when he finishes you’re like, “You’re not done. Keep going.” He kind of withholds it from you; he knows it’s there. So that’s always an inspiration.

Susan, what inspires you to sing the blues, in particular?

Tedeschi: I enjoy anything that tells a story, anything that has meaning or soul. I think a lot of people are misled that I’m just a blues singer or a blues guitarist. Actually, I grew up singing country and rock and pop and R&B and everything. When I went to college I didn’t even know about blues other than country-blues that my dad had turned me on to. I mean, I’ve been a singer my whole life. And I feel as a singer, other than opera, I don’t have too many styles that I don’t really do. I think they come off maybe a little bit more bluesy, a little bit more gospel, just because that’s my interpretation of the music. At the end of the day, I love singing anything from Hank Williams, Sr. to John Prine and Bob Dylan. Most of those artists you wouldn’t necessarily think of as blues artists. The sky’s the limit when it comes to styles of music with the two of us. I think Derek has a little more of an outreach into world music and Indian, classical, styles like that, but I’ve never been afraid to jump in. I think they’re all amazing. As long as it’s good music I don’t have any problems with it. Definitely he’s a little more exploratory when it comes to jazz and things like that, but I went to a jazz college, so I’m used to being around it. It’s not like it’s so new and out there for me. I definitely enjoy emoting more in blues styles, things like that.

You’re used to having versatility.

Tedeschi: Yeah, definitely. I think in the last 10 years I’ve gone more blues because I found a nook with it. I found a comfort zone there. There was more of a market for it, a more realistic market for me at the time when I was first getting into it. But I love singing everything. If it’s a good song I’ll sing it. Really there’s not any blues on this record, if you think about it.

But your voice does have an R&B/blues/gospel resonance that lends not necessarily to the blues form but to its attitude.

Tedeschi: Right. I just think that’s because I’m more of a fan of people like Ray Charles, people who are also versatile with styles of music but have a more soulful voice. I definitely think that could be why that’s interpreted that way. A lot of my favorite singers are soul singers: Ray Charles and Aretha and Donny Hathaway and Otis Redding.

As far has recording in your home studio—obviously it allowed you both to be with your family more—but it seems to have creatively worked to your benefit. There are countless, notorious stories of artists over-laboring in situations like that, though, just obsessing over little things that in the end don't matter.

Trucks: I think when you mix unlimited budgets with the wrong drug, you run into that. [Laughs] We don’t have that problem. We’re used to banging it out and hitting the road. Even though me and Susan are home, we realize that if the other band members are down here they have families and they’re not home. So we make sure that when we’re here, we’re working. No, we didn’t run into that. If anything, it allowed us to treat this record like a major record. I don’t think the budgets, [with] the way they are these days, we’d have been able to spend a tenth of the time on the record if we had to go to a major recording studio and knock it out in six or eight days. It let us pretend that we were a major, major act. [Laughs] We got to take our time and do it right. And that was only because we had the studio and, really, the musicians that were a part of it being willing to come down. But, yeah, I always keep that in the back of my mind, those exact stories you’re talking about. Luckily, or maybe by design, everybody in this group—even Jim Scott, who co-produced the record—we’re all from the school of “if it feels good, it’s good.” Most of the time, that’s gonna be first, second, third take. And if you don’t get it in the first, second or third take, you move on to something else and you come back to it. Or maybe that song’s not supposed to be on the record.

Susan, can you perceive any arc over the course of your career of how you’ve progressed or improved as a musician? Is that something you take stock of?

Tedeschi: Yeah, in the last 15 years I’ve come a long way as a musician just because I’ve been able to play an instrument along with the band. I’ve been singing on stage since I was six, and I didn’t really start playing guitar on stage—especially electric guitar and really learning the guitar—until I was in my twenties. So it was in the last 20 years that I’ve just grown a ton, and I keep growing. Especially playing with Derek and Oteil now, I’m growing more all the time as a musician. I think as a singer I’m always growing too. The one thing about being a musician is that you never know everything. There’s always tons to learn and there’s always so many ways you can improve and things you can do to be a better listener and a better team player, as they say.

Knowing that you have more to learn and more to gain is an attribute in itself.

Tedeschi: I think so too. Every day I keep figuring out new stuff and new ways to be an accompanist and back Derek up while he’s soloing, to make his solos more epic. [Laughs] Because I think he’s so great at what he does that it’s nice to have some people behind him that can support him. He doesn’t always get that. He doesn’t always have a guitar player playing rhythm parts behind him that necessarily help with what he’s doing. I think Oteil is very good at it because he’s been playing with him in the Allman Brothers for a long time. Oteil is also a phenomenal musician, where he has amazing ears; and his brother, Kofi [Burbridge, keyboardist and flautist], as well. And so I feel very blessed that I get to be in a band with the three of them, because now I can learn how to do some of those tricks with them; like how to be more discreet at the beginning of a solo and then build it from behind, things like that. Whereas in the past I’ve only really used it as a tool to back up myself while I’m singing, and then play a solo. And I haven’t always had guitar players there to back up what I do either. I’ve always had to do it on my own.

I definitely think I’ll be learning more and I’ll be experimenting more. It’s just going to get to the point, though, where I feel like I’m going to want to be a little bit more included, like when it comes to Derek and improvising and playing solos, because I really love doing that too. I don’t think I really get a chance to do it too much just because there’s so many people in the band and there’s only so much time. And I feel like I’m already occupying a lot of the space, singing. When you have one of the best guitar players in the world in the band it’s hard to… That’s the one thing I think I really give up is playing guitar as much, like soloing and being able to improvise and break out.

That comes with confidence, though. You’ll learn to assert yourself more as time goes on.


Tedeschi: Honestly I have the confidence. It’s just hard because I’m married to the guy that I have to have the confidence with. It’s different. If it’s anybody other than Derek, I’m fine. I have all the confidence in the world. I mean, I’ve played with B.B. King and George Benson and Buddy Guy. I play with people all the time, but with Derek it’s different because he’s thinking on a different level. He doesn’t think the same as someone like B.B. King or George Benson even.

On the flip side, though, Derek would be the most empathetic to your ambition.

Tedeschi: I don’t know, though. I think he’s in the mindset, like, “Hey, lay out here,” sometimes, which is great for the music, but sometimes I just want to be included more. I think that’s because I had older brothers, growing up. I’m one of those people, I just want to be included. [Laughs] I just want to play.


Derek Trucks/Susan Tedeschi photo courtesy of James Minchin

(First published as An Interview with Susan Tedeschi and Derek Trucks on Blogcritics.)