Eric Lindell - Low on Cash, Rich in Love CD Review

In a world where money dominates nearly every facet of our lives, Eric Lindell's latest release Low on Cash, Rich In Love provides a refreshing return to the basics. Declaring in the title track that he’s “low on cash, low on change, rich in love and other things,” Eric reveals the straightforward and sincere attitude that is the hallmark of the album.

With a dynamite cast of supporting musicians, Lindell easily dabbles in the blues, funk, and creole-flavored soul. His New Orleans heritage is unmistakable, especially in “It’s A Pity,” clearly a reflection on the aftermath of Hurricane Katrina. Ripe with thick basslines and electrifying organ runs, this track quickly stands out as one of the highlights.

Eric’s talents as a songwriter and musician are many, but perhaps the most alluring is the sultry and seemingly effortless vocal delivery that seasons every song. The way he sings “baby” certainly had this reviewer spellbound. Mix in his impressive chops on the guitar and harmonica, and you certainly have the fixings for music's next rising star.

While the lyrical content of the album is by no means complex, the themes of romance, relationships, and devotion are instantly accessible and down-to-earth. Lindell exposes himself as a lady’s man in the first minutes of the lilting and sweet opening number, crooning “girl I’ll be doggone if I’ll let you slip away, so lay back, lay back down.”

He continues to pour on the charm in the gritty “It’s My Pleasure,” accented by simmering slide guitar and Delta-inspired riffs. The song slowly builds to a wicked jam, another of the finest moments on the album.

Low on Cash, Rich in Love surely doesn’t break the mold, but it fits into it exquisitely. Lindell has crafted a collection of sing-along worthy songs with rhythms that will definitely get bodies moving on a dance floor. It’s the type of music that just screams to be performed in front of an audience; and as luck would have it, Lindell is no stranger to the stage. If this album is any indicator, his upcoming concerts should not be missed.

Listen:

Keller Williams & The WMD's - Live 11.4.07 - Washington, D.C.

For nearly two decades Keller Williams has been fascinating audiences with his lively and imaginative performances. Manipulating sounds with an extensive array of delay systems, looping devices, and custom-made instruments, Keller has rightfully earned the title of “guitar’s mad-scientist.” He builds his songs in phases, recording each layer individually using a series of gadgets and gizmos.

Despite the improvisational nature of his stage act, even the most loyal Keller fans have expressed fear that his one-man show may be growing stale and repetitive. While the validity of that argument is clearly subjective, it appears to some extent that Keller has taken those criticisms to heart.

This past summer, Keller announced that he would be hitting the road with three brilliant colleagues from the jam band scene - bassist Keith Moseley, guitarist Gibb Droll, and legendary percussionist Jeff Sipe. What was originally thought to be a few select festival performances was expanded to include a short tour of the Southeastern U.S. this November.

The group, going by the name Keller Williams & The WMDs, made their third stop of the Fall tour at Washington D.C’.s 9:30 Club on Sunday. Soon after 8:30, Keller and his all-star entourage emerged, confirming reports that there was no supporting act. There was an arsenal of axes lined up on the stage and a slightly atypical layout; instead of being centrally positioned, the drum kit was to the far right facing the band as opposed to the crowd.

The show started with some beat box from Keller, with the others joining in one by one. There were a few minutes of warm-up jams and noodling around before the opening chords of “Best Feeling” hit with a bam. Keller sang out “for one second I felt like a kid,” and the trippy projected visuals switched to a recording of his toddler-aged daughter dancing around. As if it was the crowd’s cue, skirts began twirling, arms raised in the air, and the floor in front of the stage became a wave of motion.

The intensity built as Gibb and Keller played the call-and-answer game, finally culminating in a soaring solo from Gibb. A pained expression spread across his face and his eyes shut as he shredded his guitar with feverish energy, unleashing greatness that most performers reserve until the end of the night.

With a zip-a-dee-dip bee-bop, Keller launched into an off the cuff “Sunday Night” freestyle. Declaring it time for a “big-ass party” with a “laid-back chill groovy vibe,” he certainly set the tone for a spectacularly fun evening.

Whenever Keller (and his sense of humor) is at the helm of the ship, funny moments are to be expected. During the second set, a piece of clothing was thrown at his feet to which he commented, “I’ve never received boxer shorts on stage.” The crowd roared with laughter as he leaned forward to inspect them saying, “No I’m not going to touch them! They will be tweezered off.”

The set list was mostly material from Keller’s catalog, peppered with a few cover songs and some Gibb Droll originals. While many different genres were dabbled in throughout the night, the overall feeling was straight up funk. Keith Moseley’s intense bass grooves were at the root of that, reminiscent of funky forefathers Bootsy Collins and George Porter, Jr.

Having Jeff Sipe on sticks elevated this ensemble to the ranks of excellence. His effortless style makes drumming seem simple, and his sense of dynamic balance makes it almost possible to forget he’s there. As the show progressed, it was evident that there was a reason for the kit’s unexpected position on stage. Sipe was constantly watching his three band mates, sensing when to lay low and also when to let loose.

The mind-blowing power of Gibb Droll was perhaps the most startling surprise. There were moments when his guitar seemed liable to burst into flames from the sheer fervor of his playing, and it remains a mystery as to why this man is relatively unknown. His skills frequently inspired incredulous looks throughout the audience and on the faces of his fellow band members.

With the WMD’s, Keller has found a way to reinvent his songs and breathe new life into his act. Their cohesiveness as a group is remarkable considering they’ve only played together in this configuration since June, truly a testament to the tremendous improvisational talents of these four individuals. A night with this live music dream team promises not to disappoint.

Rodrigo Y Gabriela - Live 10.21.07 - Washington, D.C.

Two straight-backed, black leather chairs sat empty on the stage at the 9:30 Club in Washington, D.C. The sold-out house, packed with hundreds of anxious Rodrigo Y Gabriela fans, bustled with rowdy anticipation. Shortly after 9:30, an uproar of applause and cheering welcomed the young guitar duo as they took their seats and strapped on their acoustic guitars.

Hailing from Mexico City, the pair definitely has a Spanish guitar sound, but to say that these two are flamenco artists would be a glaring understatement. In fact, describing their music using any conventional classifications seems inadequate. The Latin roots are undeniable, but Rodrigo Y Gabriela have truly created a style of their own - a form of jazzy acoustic hard rock you really have to see to believe.

The D.C. crowd was inspirited from the first note of the performance, clapping loudly and moving their bodies to the rhythms that Gabriela slapped out on her guitar. It’s unlike anything you’ve ever witnessed; hands moving so rapidly they are a blur, striking each chord and beat in perfect time.

At one point towards the end of the show Gabriela attempted to demonstrate her method, explaining that many people think she uses her knuckles but it is actually her wrist, thumb, middle, and ring finger. Despite slowing it down quite a bit, it’s doubtful that anyone will be able to replicate her technique.

The seemingly effortless ferocity on stage was complemented by live video providing close-up views of the fluttering fingers and impeccable artistry. Rodrigo’s deft maneuvers on the fret board exhibit a technical mastery surprising for such a young musician. He not only picks the strings but also occasionally scrapes them, creating a thunderous sound resembling a helicopter or jet engine. Whenever he was not playing, his arm raised and pumped in the air, inciting the crowd to clap along with Gabriela’s percussive taps.

About midway through the set, Gabriela finally spoke out, “Hello everybody! You’re f**king great clappers,” eliciting a wall-rumbling outburst of hoots and hollers. She mentioned a new album coming up next year with “new riffs and new harmonies,” and then added with a smile, “If you want to dance naked, no problemo,” before launching into the next song.

After this number, it was Rodrigo’s turn to address the fans. “It’s great to finally be here after two times we couldn’t,” referring to the Visa problems earlier this year which resulted in several postponed shows. He then welcomed former Testament guitarist Alex Skolnick (who had played as the opening act in the form of the Alex Skolnick Trio) to the stage, stating what an honor it was to have him there.

Once their guest had concluded his appearance, Rodrigo Y Gabriela resumed their head-banging thrash acoustica with more songs off their self-titled album and its forerunner Re-Foc. In addition to original material, the duo put their innovative spin on the Led Zeppelin classic “Stairway To Heaven,” as well as several Metallica tunes including “Orion” and “One”.

Perhaps the most stirring moment of the evening came during the hair-raising cover of Pink Floyd’s “Wish You Were Here,” which had nearly every audience member singing along. Just when it seemed Rodrigo couldn’t possibly be more impressive, he picked up his beer bottle and used it to play an amazingly smooth slide guitar solo which evoked looks of wonderment throughout the audience.

The show ended after roughly two hours of steady playing, although Rod Y Gab looked like they could keep going all night. The expressions of awe on the faces exiting the 9:30 Club were evidence that casual fans had become admirers. Rodrigo Y Gabriela have legitimately raised the bar, and their live show couldn’t come more highly recommended.

The Bridge - The Bridge CD Review

There is something undeniably cathartic about driving and listening to music.

Certain albums seem to be made for the open road, and The Bridge’s self-titled release is one of those offerings. With a laid back pace and narrative lyrics referring to wheels a-turning and engines spinning, it is a very befitting companion for a trip down the highway.

The young Baltimore-bred quintet delivers a melting pot of musical styles on this latest CD – from bluegrass-flavored tunes like “Flats of the Old Avenue” and “Chains,” to the incredibly funky “Bad Locomotive” and “Shake ‘em Down.” One of The Bridge’s unique selling points is the incorporation of beat box and saxophone, adding jazz and hip-hop flare into the mix as well.

From the opening song “Get Back Up,” listeners will hear the remarkably tight instrumentation between guitarist Cris Jacobs, bassist Dave Markowitz, drummer Mike Gambone, saxophonist Patrick Rainey, and mandolin/beat boxing extraordinaire Kenny Liner. Supplementing the five core members of the group are frequent guest appearances, including organist John Ginty (Citizen Cope), pianist Mookie Siegel (Phil Lesh & Friends, Dave Nelson Band), and drummer Russell Batiste Jr. (The Funky Meters).

One of the album’s most powerful displays appears in the soulful and dynamic “Angelina.” Jacobs reveals his strength on lead vocals, showcasing a broad range and pitch perfect harmonies with backing vocalists Dave Markowitz and guest Ed Hough.

“Bad Locomotive” is an instant stand-out track, filled with beefy bass lines, smoking hot guitar licks, and a blistering solo from Jacobs that is nearing Stevie Ray Vaughan status. Ominous statements like “halfway to the burying ground” and “I sold my reason for a one-way ride” conjure images of addiction and destructive behavior, which marks a brief departure from the mostly light-hearted tone found in the rest of the album.

Beyond his abilities on the guitar and vocals, Cris Jacobs is listed as the songwriter for nine of the album’s twelve tracks. He and co-founder Kenny Liner share authorship of “The Ballad of Clear Rock,” and Liner is credited with the remaining two songs.

It was an ambitious undertaking considering the band’s heavy national touring schedule, but apparently these two were up to the challenge. What has emerged is a refreshing album with broad appeal, one that literally bridges the gap between genres and generations (and it helps with road rage, too).