GRAVELBONE

Thunder Gospel

(The Family/21st Century)

      I remember several years ago reviewing a hard-core metal outfit called Gravelbone. Tight-ass metal that knocked ya down. 

    Though that may still be the case, Thunder Gospel makes one thing damn certain –– “This ain’t your father’s Gravel Bone!” 

     With a change of sorts to a hard-core, hip-hop metal sound; these guys make  Korn, Rage,  and the like sound like so much low-fi hip-hop-rock rehash. This is by far the tightest, truest band of the genre these ears have heard, and I live in Cali where a lot of rap-rock bands reside and record.

      The monster guitars of Kenny Gannon and Mike Sheffield border on violent assault. Raping your ears repeatedly with their powerful and crunchy chords. Simply incredible.

     Darrell Damrow (ex-Dead Fly Boy...another Midwest rock band that slammed hard) tears up the drums like a seasoned pro and is the perfect rhythmic match for Rob Sepulveda on his thunderous bass.  Together they put the thunder into the gospel that is screamed, shrieked, rapped and shouted by lead vocalists Solitaire and Dave Greider. 

     As for the twin vocals of Solitaire and Greider...well about all I can say is... friggin’ awesome!    Greiders’ growls and white boy raps are perfect for the hip-hop metal sound, and the hard core street rap style of Solitaire is nothing short of incredible. This man knows his shit and is the real deal from the mean streets of G.I. (Gary, IN).  Together these two unique voices give the power and the glory to the gospel. 

     Each of the seven songs included on Thunder Gospel are 100% knock your block off, Kick Ass! No filler here at all, but my personal stand out cuts are – “Haters” and “Don't Make Me (F*ck You Up).” 

      I know fans of their first album (Slowmotion Jack Hammer) may miss the old Gravelbone sound, but I for one applaud the band’s balls in moving on and creating an all new sound with this sophomore release.   

     Great CD guys!  I want MORE and I want it NOW!   The other bands listed above (and bands like them) better take note...Gravelbone is in the house!

 –        David Alan Buco

KEVIN LEE

Loaded

(Big Blast Records)

      Loaded, the latest release from Chicago’s Kevin Lee is filled with a variety of melodic pop/rock ‘n’ roll songs that are a mix of old school musical chops, and a present day guitar edge. 

       Lee's music has often been compared to the likes of Cheap Trick, Gin Blossoms, and Matchbox Twenty and once you’ve had a chance to listen to his work you might just agree.  He certainly can rock with the best of them, but the importance of a strong melody is never lost on Lee as he writes his material.  

     Former MCA recording artist (Kevin Lee and the Lonesome City Kings), Lee isn’t the type of person who rests on his past achievements.  He came out in 1997 with his first solo release Walk A Mile in My Shoes, which while good, was merely a warm up to what he’s delivered this time around.  

     This second solo release is perhaps the best set of music yet to spring from the creative pen of this talented Midwest artist.  His vibrancy and his hook-heavy riffs make most of the selections here instantly memorable. 

     There is a comforting sort of familiarity to this record.  The first track “Where Do We Go From Here” sets the tone for the CD which is filled with what I would consider highly radio ready tunes.  

    “Right Here With Me” is a romantic ballad with Lee sounding rather soulful vocally.  “Down” is a perfect showcase for Lee’s poppier vocal style and readily displays his musical capabilities as a writer and player.  “Shameless” is a bit of a heavier pop tune with more biting and prominent guitars than some of the other cuts.  This tracks has a really nice “kick” that rocks well.

      All in all, Loaded is a good effort from Kevin Lee.  I have to agree with the folks at his label, Big Blast Records, when they proclaim in his promo materials that – “Kevin Lee and his band have created a guitar/pop rock melody fest that should please the most discriminating power pop fans.”  For once the artist lives up the hype. 

     Loaded is worth a listen.  If you can’t find the CD in your local stores, it is available via mail order for $12.00 (check or money order) from: Big Blast P.O. Box 577143, Chicago, IL  60657.

 –        Michelle M. Biggs

JOHNNY CASH

The Essential Johnny Cash

(Columbia/Legacy)

     You never forget your first love ... even musically speaking – especially when he goes on to become an American institution as The Man in Black, the Working Class Hero, and the father of what is now termed “Americana” music. 

     But of course I didn’t know anything about all that when Johnny Cash, singing the now-classic “Ring of Fire,” captured my imagination –– and irrevocably flamed my own lifelong passion for music –– when I first heard and was mesmerized by the 45rpm version of the tune on my Grandma’s big blond Hi-Fi.  Of course,  it would be very difficult to be born in Arkansas in 1955 and not be keenly aware of homeboy Johnny Cash and to closely identify with his music and themes, but, in retrospect, it was really more about an instinctual attraction to authentic music from the heart, an attraction which – not surprisingly – ultimately crossed broad generational and cultural barriers and one that has been shared by many millions across the globe throughout Cash’s 50-year career.

       Now, in 2002, which marked his 70th birthday, Cash is still breaking down cultural barriers and profoundly influencing the country, rock, and folk musical genres, as the recent TNT tribute to his career (featuring artists such as Springsteen, U2, Bob Dylan, Dave Matthews, and many more) clearly demonstrated.  

     Yet, despite the fact that many of us have grown up with his everyman music and uniquely imposing (and contradictory) maverick/patriarch image to the extent that he is an integral part of our pop-culture psyche, it might be easy to forget or overlook just how dramatically Cash (despite being the first artist ever to be inducted into both the Rock and County music Halls of Fame –– an honor now shared with Elvis), has affected the face of American music as we now know it. 

      If that is the case, this record, The Essential Johnny Cash –– a double CD anthology of Cash’s biggest hits and career milestones –– on one hand serves as a poignant wake up call and a soul food journey to the core of who we are.  On the other hand, it is also a perfect primer for a generation of under-30s who may not yet be aware of Cash’s invaluable musical legacy.

      Beginning with “Hey Porter” (the song which got him signed to Sun records in 1955 along with icons like Elvis, Jerry Lee Lewis, and Carl Perkins), “Cry, Cry, Cry” and his signature song, “I Walk The Line” –– and on through with “The Rebel:Johnny Yuma,” “Folsom Prison Blues," "Boy Named Sue,” “Man In Black,” “Ragged Old Flag,” “Ghost Riders in the Sky,” “Ring of Fire” and eight other classics, these CDs are a chronological mosaic and tribute to Cash’s life, times, and the stripped down simple eloquence of his path-making and diverse folk/gospel/rock/country stylistic leanings.  

       No, as this release clearly demonstrates, it is not for nothing that this American icon has sold over 50 million albums. Still, if you’re looking for just one record to begin –– or complete –– your Johnny Cash repertoire, this would be the one. Indeed, it gets my vote as the most comprehensive and representative recorded distillment of authentic American music during the 20th Century.

– Shelly Harris

GROOVATRON

Yes Have Some

(Indie) 

     Ya say ya want get funked up? Ya say ya wanna groove? Well, if that’s the case, N.W. Indiana’s Groovatron is your sound salvation. 

     This CD is a conglomeration of funk, blues, jazz and ska with rock ‘n’ roll overtones. Remarkable musicianship, solid vocals and clever lyrics drive this funk train. 

     This band can also “jam” with the best of them (check out “Triumphant Inferior,” “Gilara” and “Holdin’ Out”).  Though these songs are far to long and too eclectic to ever be considered “singles,” they are among my favorites here. 

     There is single material on this CD though. “Lay Me Down” is a prime example, along with “What Are You” and “Mild Cheddar,” all top tunes eagerly awaiting air play. 

      The arrangements with quirky tempos, the dicotomy of sparseness to density, and the odd time signatures is ear inspiring to old jazz/rock holdovers from the FM-dominated early ‘70s.

      And the musicianship is pretty remarkable as well; thunderous lead and funky rhythm guitars –– courtesy of Marc Quagliara, Nick Ferrer –– flow through these songs like ‘70s funk meets 21st century rock ‘n’ roll. The rhythm section of Tony Qualls on bass, Andy Dumaresq on drums and Steve Pesich on auxiliary percussion is quite the backbone of this music machine.  Dead-on tight and a pure joy. And the saxophone of Tony McCullough is the perfect finishing touch to one of the better bands I’ve heard in a while.  

     This set of songs has a wide spectrum of sounds and styles and will appeal to those who are fans of groups like the Grateful Dead, Frank Zappa, Steely Dan and Captain Beefheart.  This is music where the artist sets no parameters and bounds. 

     Go to a local record shop soon and tell the clerk there – “Yes...I will have some!”  You will be glad you took the time to indulge yourself. 

–        Dave Buco

SHERYL CROW

C’mon C’mon

(A&M / Interscope)

      Summer is just around the corner, and it’s perfect timing for the release of C'mon, C'mon, the fifth disc from talented singer/songwriter Sheryl Crow.  This set is a good mix of catchy melodies and rootsy riffs, polished to perfection in signature Sheryl Crow fashion. 

     Frankly, this record will make you want to roll the top back on the convertible, cruise down to the local beach, and “Soak Up The Sun,” which appropriately enough is the title of the album’s first single.  On the opening track, “Steve McQueen,” Crow declares –– “Like Steve McQueen/All I need’s a fast machine/You'll never catch me tonight.”  These kind of fluffy lyrics seem to work perfectly here, with the song focusing more on a crank the volume, and dig the groove sort of fun rock ‘n’ roll vibe. 

     Lenny Kravitz makes a guest vocal appearance on “You’re An Original,” a throwback sort of tune with a lazy main riff a la Stones meets Zep in 2002.  Sheryl even finds a way to make it feel good to feel bad, on songs like the title track where she sings –– “Cmon, C'mon/Break my heart again/For old times sake.”   

     But the disc doesn’t end without it’s serious side.  The moody and melancholy “Weather Channel,” touches on Sheryl’s recent struggle with depression, while the county flavored ballad “It’s So Easy,” a duet with Eagles vocalist Don Henley, is destined to be yet another serious hit song for Ms. Crow.  

      Other guest appearances included on the 13 song package are made by Stevie Nicks, Emmylou Harris, and Liz Phair on vocals, Doyle Bramhall II and Craig Ross (Lenny Kravitz Band) on guitar, and the rock solid Steve Jordan (Keith Richards & The Expensive Winos) on drums. 

     Having established herself in the world of rock and pop music, Sheryl’s confidence in her songwriting is really evident here.  It seems as though she’s not over thinking anything, but rather just writing some good songs simply because that’s what she does. 

      She’s coming to the Tweeter Center on August 11th, but in the meantime, pick up a copy of C'mon, C'mon and get the summer party started.

 –        Joe Winters

BILLY KING

Life Ain’t Easy

(Indie)

     Life Ain’t Easy is the quieter side to Chicago’s Billy King, his follow-up to his harder-edged 2000 release, Mean Woman Blues.  

     That don’t mean his sophomore disc doesn’t cook, though.  This time out, he’s got help from Al Joseph on violin and Marilyn Clair on background vocals, and together, they fill out ten new original Billy King blues songs.  The rhythm section is features Pat Doody (Lonnie Brooks Band) on drums and John Fahlstom providing bass.  

     Unlike his excellent guitar-heavy first disc, Life Ain’t Easy dabbles in country blues and a lot of swing, fueled by Al’s violin.  The set’s swing-infused opener “Honey Bee” showcases Al’s violin behind Billy and Marilyn’s vocals, and special guest Don Griffin (otherwise known as the “Bad Bad Man” himself) adds some spice with his National steel guitar on the title cut.  

   “Life Ain’t Easy” really does it for me as it mixes some fine acoustic boogie from Billy, and since it’s a blues song, it’s got a great story behind it involving the ice and snow of Midwestern winters, and the music of Junior Wells and Sonny Boy Williamson.

(continued from  page 25)

      If the rocking “Knocking On My Baby’s Door” doesn’t fill the dance floor at Billy’s shows, something’s definitely wrong ‘cause this one’s a lot a fun.  I’m convinced that “Summer Leaves” will get Billy’s fine acoustic picking noticed by more fans of acoustic blues, or I will trade my computer keyboard for a plumber’s wrench and try a new trade.  As the doyenne of domesticity herself might say, that would not be a good thing. 

     So go out and buy Billy King’s new record!  I can’t give this record higher praise than that. www.billykingbluesman.com.

 – Eric Steiner

COAL CHAMBER

Dark Days

(Roadrunner) 

     “Do or Die” seems to have become a mantra for this band, especially in the last few years.  On this, their third, disc the originators of “Spooky-Core” issue enough solid rock to ensure that they will not only live but will also thrive. 

     While Dark Days is easily identifiable as a Coal Chamber product, (“Glow” and “One Step” are both so familiar that they border on self-plagiarism), there is much new and different happening here.  The lyrical tone for instance, where previous records were bloated with radiant energy from an over-abundance of anger this disc has taken a “Now I know why I was so pissed” kind of tone. 

       The instrumentation is much more processed than on the first disc but not nearly as much as on the second and the general pace has slowed enough to let each chord or drum beat sink deeper before the next one comes rolling over. Adult?  Mature? Whatever!  I call it compelling.

       The title track of a record usually sums up how the artist sees a particular collection of their works but for me it is “Friend?” that best conveys the abilities of Coal Chamber at this point in their career.  It is dark and plodding, yet so divinely infused with a frantic psychosis that only teenagers and mental patients could ever fully understand it. 

      The remainder of the record is filled with similar sentiment, which belies the strangely happy, even syrupy “thank you’s” in the liner notes.  Whatever the group’s inspiration there is just no arguing that Coal Chamber have become masters of exercising sentiments most need a pill to deal with. 

     Coal Chamber has been psychotic, creepy and occasionally, just plain cheesy but on this record they are real and that facet of the group more than any other is what makes Dark Days shine so brilliantly. 

– David Lee Wilson

 LITTLE JOHNNY & THE UNKNOWN BLUES BAND

Workingman Blues

(Fat Man Records) 

     Last month, I had the privilege to devote most of my Midwest Blues BEAT column to hardworking local bluesman Little Johnny Moore.  

    This month, I’d like to shout about his Workingman Blues record.  Little Johnny Moore calls his band the Unknown Blues Band because his live line-up depends on who’s available any given night.  He’s got his regulars, though, and they’ve helped him capture some of the best South Side blues recorded in quite a while.  

    I like this disc a lot ‘cause it’s pure, unadulterated blues, just like you’d hear live at a venue like   T’Zers in Chicago Heights.  

    No matter where you see Little Johnny, I’m sure he’ll play “Blues Is A Feeling,” fueled by Pat Doody’s drums and John Fahlstrom’s bass behind Johnny’s fine Gibson string bending.  Both Pat and John are frequent Unknown Blues Band players. 

     Rounding out the line up who recorded this disc is The Hawk on sax, guitarist Mickey Kraeger, and Larry Stoltie behind the drum kit on cuts like, “In the Morning” and “Proud American.” 

      Little Johnny’s no slouch on the harp, either. Check out how he drives the set’s opener “Blue” with some soulful harp playing.  Workingman Blues is available online through Little Johnny’s website, www.littlejohnnymoore.com and at his live shows. Either way, pick it up. This is one local recording that’s got the live blues groove down.   

–        David Lee Wilson

MOUNTAIN OF VENUS

Live ~ Volume One

(Indie) 

I took one look at the song lengths and thought, “Oh, no!  I have to sit through this?” 

 Turns out, happily, that my prejudice was unfounded, as most prejudices are.  It is very obvious that the six folks who make up Mountain of Venus have been playing and writing together for some time.  While two of the eight songs on the CD (recorded live in Boston) go over the 10-minute mark, not one of them is boring or instrumentally passe in any way.  There’s something special about this band. 

     Lead guitarist Mike Pascale is always looking for new statements to make, even when he doffs his cap to Jerry Garcia (“Higher Ground”).  All of his solos are refreshing and bright, and, when put against the clear-as-a-bell vocals of Tanya Shylock, the sound is very warm and alluring.  Vocal and guitar contrast is provided by rhythm guitarist Jody Cohen, whose harmonies with Shylock blend effortlessly.  Keyboard player C.R. Gruver gets to step out a bit as well, notably on the band's exuberant cover of Little Feat’s “Hate to Lose Your Lovin’.”  The sound quality of the CD is excellent throughout, particularly where Eric Barry’s drums and David Gesualdo’s 6-string bass are concerned.  There’s a lot of “punch” to this recording, very effectively accenting what the other instruments are playing. 

     While stylistic shades of the great “jam bands” (The Grateful Dead, The Allman Bros., Phish, etc.) permeate this recording, Mountain of Venus is by no means derivative.  They have their own unique statements to make and I hope that their music and their approach, in time, reaches a wider audience.

– Ben Likens