Ultraviolence. Lana del Rey

In 2012 I wrote that I was surprised by the quality of Lana del Rey's second album. It was very different from what I expected. They hype, the raving and the inevitable fall when the album finally was released. "Never follow leaders and watch for parkingmeters". Bob Dylan was right again. Although I fairly liked 'Born to die', say about 50% and was surprised again by single 'Ride' that was released with the 'Paradise edition' of 'Born to die'. Nothing prepared me for Ultraviolence though. Lana del Rey not only released a new album, she released an album full of gothic darkness, nothing one associates with the pretty countenance she is. Look and looks do not match on the cover of Ultraviolence.

One master stroke Lana del Rey played is hiring The Black Keys' front man Dan Auerbach as producer. Together they made an album of infinite beauty and darkness. If someone has proven that there can be beauty in the darkest corners it is this duo in association with the musicians they hired to execute their vision. The sound of Lana del Rey's greatest hit 'Video games' is never far away. Most songs on Ultraviolence add a level of musicality that 'Born to die' mostly lacked. The mystery of Lana del Rey drove that album. On Ultraviolence it is the mix of Lana and the music that mesmerised and totally captured me. Ultraviolence is totally addictive.

The darkness in Lana del Rey's music stems in the first place from the texture of her voice. Dark, with this rasp on it as if she's a fading femme fatale in a 1940s movie like Sunset Boulevard. A woman, who smoked too much, drank too much and led a lewd life in general and, in her middle age, is now punished for her past misdeeds, when everyone adored her. That is how the female singer sounds. Old beyond her late twenties age. "When we were young and pretty" like she ends 'Old money' with.

The 1940s comparison is not so strange. Ultraviolence also has an atmosphere that predates rock and roll. A song like 'The other woman' could have been sung by the likes of Debbie Reynolds. Even Frank Sinatra comes to mind. Not all Lana del Rey's vocal escapades work in this song, but it does show that her musical tastes span many years. Like 'Shades of cool' can apply for the soundtrack of the 'You only live twice' soundtrack of the James Band movie. It all adds to the mystery that unfolds on Ultraviolence. The guitar contributions of Auerbach and the firm drums keep the album soundly in the 10s. 'Shades of cool' is one of the songs he really lets it rip.

'Cruel world' kicks off Ultraviolence with tremendous confidence. A very thin guitar and Lana singing is all that is needed to show that this album, the album following the hype is going to be all the world expects and much more as far as I'm concerned. No pleasing here: "You're fucking crazy" it seems. On second thoughts: "You're crazy for me". Something diabolic comes through as she sings: "I'm so happy that your gone". Her voice seductive and at times childlike, as one of the many girl singers of the past. Before this sneer comes into her voice again. What a song 'Cruel world' is. Lana del Rey takes no half measures in the first song of her new album.

Not all is this dark. At best there's this melancholy for something else, something seemingly beyond reach. "Something reminding me of when we were kids". Whether that is pleasing or threatening remains to be seen, as the title of the song is 'Ultraviolence'. 'Pretty when you cry' is another song that has this ambivalence in mood and title. If forced to choose, this may be my favorite of Ultraviolence. The quality of 'Brooklyn baby', the pop feel of 'West coast', including a Latin 'radio mix' among the extras, give this album a fine boost.

Lana del Rey shows that she's here to stay. Ultraviolence is an album that competes with Kate Bush's albums, with the Nancy Sinatra of Lee Hazlewood. She has entered her own universe, the place only the greatest artists reach. In my opinion she has reached that destination. Ultraviolence is an outstanding album that just begs listening to.

Wo.

You can listen to 'Ultraviolence' here:

https://www.youtube.com/watch?v=hMq2KnudicQ

You were right. Brendan Benson

This is not the first time Brendan Benson features on this blog. His previous album What kind of world received a positive review in 2012. Now that his latest effort You were right is released, it is time to pay some close attention to the album. Benson, also known through his work with Jack White in The Raconteurs, is a song smith, who always looks for the elements that make a song sound super smooth. That perfect pitch in a harmony vocal, an extra chord in the changes, a melody that catches my ear immediately. In short, someone who searches and finds the perfect pop song to sing. How does Brendan Benson fare on You were right?

To be honest, at first listen I was a bit disappointed. I missed the spark that was so clearly present on 'What kind of world'. By now I can say that I mustn't have been paying attention. You were right is not far from running on the heels of its predecessor. Let's listen to opening song 'It's your choice'. It starts of modest with a few note bagpipe simulation riff over two simple chords on which more and more perfect chord changes, instruments and harmonies are dropped. Sounding almost normal, the ease with which 'It's your choice' flows. At the same time the song has a Lou Reed/The Velvet Underground rhythm guitar, that halts, accentuates and propels at the same time. A little organ sound is added to give some 60s flavour to the bridge. The sliding guitar adds some extra as does the 'Baba O'Riley' keyboard sound. And this is just one song!

Rumour has it that The Raconteurs are working on a new album. It seems that Benson is in shape to participate. You were right reminds me more of his hobby band musically more than ever before. 'Rejevenate me' could be on The Raconteurs setlist anytime. A major influence on Brendan Benson obviously is The Beatles. Whether it's the harmonies or the way some chord progressions in his songs evolve, the influence shines through. In 'As of tonight' the references are very obvious, but what makes the song stand out a little more, is that Benson injects it with a little powerpop from the U.S. of A. circa 1979. 'My Sharona' or 'What I like about you' rockpop elements are added into the mix giving 'As of tonight' the proverbial piece of pepper up the you know where.

Another element is a hint of country rock. 'Diamond' has a The Eagles element in there. In the way of singing and the guitar solo. The acoustic guitar underscores this element with subtle, but driving playing. There are also some splatterings of psychedelia in there, but only to accentuate a greater pop feel, not outer brain estrangement experiences like the look-at-me-doing-something-very-weird statements some artists indulged in in the second half of 1967. You will even find a song based on soul. 'I don't wanna see you anymore' has Otis and Wilson horns, but could have been sung by someone like Leo Sayer as well. 'I don't wanna see you anymore' definitely has an 'Orchard road' sort of quality. I like it more because of the way the song is dressed up, more exiting, less drama.

This is not the last musical form. There is a reggae rhythm in 'I'll never tell', before the rhythm explodes into to powerpop. A very unexpected change and one that works rather well. In other words there is a lot to discover on You were right, not unlike on great The Beatles albums. And coming close in quality.

Not that all is well. 'She's trying to poison me' is a bit bland, where 'Purely automatic' may have a driving rhythm, but misses that spark that makes most songs on You were right shine. They are exceptions on a further near excellent album. To get to the bottom of You were right, Brendan Benson is exploring many different musical genres here and clearly gets away with all. His craft to come up with some pop elements in each shines through, making You were right a very special album, with many songs that shine, well like diamonds.

Wo.

You can listen to 'Diamond' here.

The Pretzel logic concert. Steely Dan

This week I laid my hands on a dvd that I wasn't aware that existed: Steely Dan in concert it says on the sleeve. The pretzel logic concert on the content itself. Whichever it is, we hear and see a band in top form. A band that plays so good, that I asked myself regularly is it worthwhile to go to a show? Shouldn't someone just sit in his chair at home with the best possible audio, close his or her eyes and just enjoy? Nothing happens on stage that warrants looking, just uncanny good and skilful playing of instruments. Just like on record the notes blend so well, the songs are so enormously rich in arrangement, the way the notes and instruments blend and gel. At the same time the songs mostly swing. The rhythm section, of which specifically the drums are very prominent in the mix, always makes a body move. The bass plays these spare, well-placed notes. I just love to follow the lines played. Together with the rhythm guitar, which is extremely funky at times, the accents on the Fender Rhodes, this allows all else in the band to take off when allowed. Whether voices, i.e. three backing vocalists and Donald Fagen, horns or lead guitar, they are always intricately supported by rhythm. This is a main secret behind Steely Dan's success.

Donald Fagen and Walter Brecker are a duo for over 40 years in 2013. With a giant production, for such complex music, in the 1970s, and large hiatuses after. I was lucky to see them play live somewhere in the first half of the 00s. The music is hard to describe. It has the complexity of jazz, the free flowing melody, at times, of a great pop song, the soul of rhythm and blues and at times the fierceness of rock. The combination of all these elements make Steely Dan a unique band. Also a wonder to see this performed live. Flawless, perhaps except for the most human element in the mix: the singing of Donald Fagen. He seems out of wind at times and just a little bit too hoarse. Without it doing any damage to the performance in any way. His timing is fantastic and the interplay with the background singers just delicious. Still, Fagen seems the one mostly less at home on stage from the 13 people on stage.

Walter Brecker does duties and rhythm and lead guitarist and does both without being disturbed. Concentrated to the max, doing his thing. Most on stage get their solo moment, just like a real jazz band, but per song not within the song. Solos remain functional to the song, not improvisation. This show is 100% prepared and nothing left to surprise, nor to desire. This is Steely Dan all the way. Perhaps better than ever before, although I can't compare not having been around in round one in the 70s. The songs on offer are a selection of everything from 'Can't buy a thrill' (1972) to 'Two against nature (2000), the comeback cd.

The music on offer on this dvd is in a league of its own. Perhaps too good to be true. Just sit back, watch, listen and enjoy. It doesn't come much better in this niche of pop.

Wo.

Pokey. Pokey LaFarge

Pokey is an anachronism. The music on this album is inspired by music of so long ago, that my dad must still have been a kid. It has nothing whatever to do with 2013, but then who cares when the music on Pokey is as much fun as it is? Pokey is also the first I’m hearing after discovering Pokey LaFarge and the South City Three live in Q-Bus in Leiden. After his show last spring we did an interview you can read here if you like. Although I had heard his previous album, 'Riverboat soul', it just didn’t make an impression. Not my kind of music. After seeing Pokey live, I have changed my mind and Pokey just proved myself wrong even more.

He musical styles range from, well I don’t know really what I’m supposed to call it. There’s some jazz in there, some swing and old Americana musical styles I do not hear too often, old rocker that I am. The singing sounds just like records from before my time, on 78 RPM, bar the scratches that come with records like that, I remember vaguely. Pokey has exact the right voice for it to. Somewhat nasal, but surely pleasant. Taking it all in, it is only a little more traditional than what Bob Dylan is doing on ‘Tempest’, but coming from the same well. The instrumentation is almost fully acoustic. Guitars, washboard, bass, harmonica are the dominant instruments. Some songs get something extra, a little drums, a violin or some brass, but mostly modest, adding to the atmosphere. ‘Kentucky Mae’ is a beautiful ballad to a Kentucky girl, that is enlivened by brass, played with the brakes on, lending ‘Kentucky Mae’ a sound that is straight out of the 30s.

In the more up tempo songs it is an harmonica that spikes a song. ‘Bowlegged woman’ is a fine example of this. The band answers in response to Pokey’s lyrics. The overall sound is tighter, more rhythmic too. It is moments like this that Pokey Lafarge comes closest to a band like The Hackensaw Boys, a band he played in for a short period. More in the melody than in execution of the song. Another similarity is the way that everyone takes solos in turn, which comes with the jazz and blue grass influence also of course. The guitar solos and guest musicians are all great additions to a song. Functional and fluent.

There’s nothing more much I can compare Pokey to, as I just don’t have this sort of music. Always having to mention ‘Neh-nah-nah’, Vaya Con Dios’ hit is all I can do, just doesn't compare. Pokey is an album that I can recommend anyone to discover. The album is something completely different from anything that is usually heard in 2013. A concert from Pokey LaFarge and the South City Three is near a sensation, so well the music is played by four guys with a love for old music and dress the part. They have captured the mood of a live show pretty well and deserve to be heard. Yes, Pokey is an anachronism, but one that is great fun and brought with the love for this music, as is required. Anything else would turn Pokey into a joke and quite frankly by not listening to Pokey the joke may just be on you.

Wo.

You can listen to 'Central time' here.

Recto verso (2). Zaz

I'm going off the deep end here. Writing on an album of which I do not understand more than loose words here and there, never having managed to really grasp French, beyond ordering an egg or something. Still, with thanks to Erwin Zijleman's excellent blog 'De krenten uit de pop' (click here), I'm going to describe why you should not hesitate for one second to listen to Recto verso.

Recto verso is one of the most playful records I've heard in 2013. An album that I suggest to compare it to is 'A night at the opera', Queen's 1975 masterpiece. Also an album in which all barriers between pop, hardrock, jazz, vaudeville and what not were let down, leading to an unique blend of music that took nothing away from the strength of what was on offer. It is a comparable feat that Zaz pulls off on her second album. I missed out on her first one, 'Zaz', something I will make up on very soon. The comparison to 'A night at the opera' is not so much in musical styles, but in the blend that Zaz offers us. Jazzy like Vaya Con Dios in 'Comme ci, comme ça', driving on relentlessly in first single 'On ira' and beautifully poppy in 'Gamine' and these are just the first three songs, while at the same time touching on different moods in a very convincing way. The resigned desperation of 'Si je perds' or 'Si' is so beautiful in its impact and execution. By pointing out the utterly clear production of Recto verso on top of this all, it is clear that I'm writing on something close to a masterpiece here.

Zaz is Isabelle Geffroy, born in Tours in 1980. Busy with music from very early on in life she is active professionally for over ten years now. It is only in the last three that Geffroy is active under her own name and with a lot of success too I noticed reading up on her. Her background is mostly in jazz music it seems, but this is not what sticks out on Recto verso. There are jazzy elements on recto verso. The most playful contribution 'Oublie Loulou' is without doubt jazz. Zaz has listened to French chansons (and has the raspy voice for that kind of music too) and pop just as much. And is able to put down a very convincing ballad. It is this mix that makes Recto verso so interesting and diverse. 'Déterre' is such a great song that starts small and goes towards a climax driven forward by piano, organ and electric guitar next to Zaz's voice. 'Déterre' is followed just as easily by the jazzy 'Toujours'.

Recto verso takes the listener on a musical trip as well as on a mood trip. The album is bold as well as shy, self-assured and bashful, full of swagger and utterly vulnerable. Zaz gets away with it all, presenting herself on this broad range full of confidence. This album is something special, deserving to be heard. So, what are you waiting for?

Wo.

You can listen to 'Cette journée' here.

The Wood Brothers live in QBus Leiden

You can listen to 'Mary Anna' here.

The Wood Brothers are singer/guitarist Oliver and bass/harmonica/background vocalist Chris with drummer/melodica/chitar/backing vocalist Jano Rix. The trio plays everything on the verge of rhythm and blues, soul, gospel, folk, jazz and blues. All in this pleasant way. Every song has this melody that is explored in depth and the most is gotten out of one harmony wise. Musically there is never a dull moment, as this trio is good. Songs are flowing freely, organically and musically. Not only listening is advised when attending the Wood Brothers, watching how they play is also. All three are extremely proficient on their instruments.

It is safe to say that The Wood Brothers are descendants from The Band. The melodica is the poor man's replica of Garth Hudson's accordion. I just could not help picturing Hudson on stage at those moments. The rough voice of Levon Helm is missing in the Wood Brothers, but the rest is there, including an encore of 'Ain't no more cane'. (Not the first time that I heard that song in the Q Bus!) Thus all directions of Americana, old and new, were explored by the trio. It made for a very diversified evening, 'Across the great divide' and back..

There are some things that stand out. The drummer picks up a, cheap looking, guitar before the first song and this melodica. The guitar however is his version of a charismo. Miked-up, all sorts of percussive sounds come from the instrument, more a bongo with all sorts of embellishments. In between he plays keyboard parts. Chris Wood plays a stand up bass so old that it looks like it traversed the Wild West and everything since. Still all these beautiful, smooth sounds come out of it, belying its looks. A little harmonica is played as well. Oliver sings with a bit nasal sound, close to a Southern drawl we know from the movies, but has a fine, clear voice. As soon as Chris and Jano weave themselves around Oliver's voice, magic is in the air. Jano displays all these tricks with drumming, incorporating percussive instruments into the drumming and adds major to the sounds of the two brothers and sings great in his own right as well.

A major highlight was Chris Wood doing a Ry Cooder, 'Paris, Texas' trick on his bass. Bowing the instrument he played this desolate blues with all the wines and stops like Cooder does on the soundtrack of Wim Wenders' famous desert movie. This was pretty amazing. With naming Ry Cooder here's another big name the Wood Brothers compare to and favorably. Both explore American music of the past and bring it to the here and now.

To conclude. This was a fun evening with great musicians. They plan to be around again next year, I would not miss them if I were you.

Wo.

You an order 'Loaded' here


or 'Smoke ring halo' here

Born to sing: no plan B. Van Morrison

You can listen to 'Born to sing' here.

It can be argued that Van Morrison is making the same album for over 40 years. Some are a little more jazzy, others a little more Celtic and others more bluesy. In the end there are circa 12 songs that meander and drift calmly to the end of the album. The difference is basically that I like some better than others. Several albums are brilliant, others so-so and some assist perfectly putting me to sleep, should I need that that is, so I just switch them off. The title of his latest album just about sums it up, I guess. Van the Man was born to sing, compose and record records. Next to performing his music on stage. Born to sing again.

I know 'Gloria' for about as long as I can remember. "G L O R I A", I can't even remember hearing it for the first time. Sometime on the radio as golden oldie (then only a few years old and perhaps not even that), at a friend's house? Who knows. Van Morrison as a solo artist I discovered with the album 'Beautiful vision', which set my standard for his albums. As his albums started to look too much of the same I stopped buying them from 'Avalon sunset' in 1989 onwards, with a few exceptions since. And then someone wrote that Born to sing ... was certainly worthwhile listening to and he was correct. Not that there is so much happening on the album that is overly exiting, no. Morrison is doing his thing from a bluesy vantage point and a pleasant swing.

From a players point of view the album is jazz. Everyone gets his solo at turns, resulting in relaxing sax, trombone, muted trumpet and clarinet solos. There's even a bass solo on the record! Not your every day run of the mill any more. It gives the album its pace and mood swings. The tempo over all is the slow mid-tempo in which the songs find their way to my ear. At times so quiet that if I don't pay attention it's like a song is finished.

Most songs sound inspired to me. Perhaps that is the way that I recognise a good Van Morrison album from a lesser one. At this moment I put up Born to sing ... up with 'Beautiful vision', 'Inarticulate speech of the heart' and 'No method, no guru, no teacher'. Yes, reader, all 80s albums. I'm not into his 70s period so much. Too jazzy or something.

His voice is as good as ever. There always seems to be a sneer in there aimed at someone, us all, the world in general? It's distinct and immediately recognisable. Something like an old man, with just enough breath to stay alive, let alone song and still sound powerful. An odd combination for a voice. Still it belongs to one of the most distinguished singers who started his career in the first half of the 60s and is still going strong. It may only be one and a half year and Van Morrison is celebrating his 50 year recording career. He started of the celebration with a very nice and sweet album. Perhaps not the moniker that Van Morrison'd actually like to hear, grumpy as he's reputed to be, but that is just what Born to sing .. is, nice and sweet, with soft spots in all the right places.

Wo.

You can order Born to sing: No plan B here


or here

Tempest. Bob Dylan

Je kunt hier luisteren naar 'Duquesne whistle'.

2012 is tot dusver een muziekjaar waarin de jonge honden het wat laten afweten en de oudere garde floreert. Bob Dylan werd eerder dit jaar 71, maar steekt de afgelopen 15 jaar in een uitstekende vorm. Heel productief is Dylan al lang niet meer, maar de vier studioplaten die de Amerikaan de afgelopen 15 jaar uitbracht, waren stuk voor stuk van een zeer hoog niveau. Ook, het voor mij bijna uit het niets verschenen, Tempest is een geïnspireerd klinkende plaat, waar heel wat jonge muzikanten een puntje aan kunnen zuigen. Ik vind het zo langzamerhand lastig om een plaat van Bob Dylan te beoordelen. Bij de beluistering van een nieuwe Dylan plaat ontkom je immers bijna niet aan de vergelijking met de andere platen uit zijn inmiddels omvangrijke en imponerende oeuvre en dat is een vergelijking die niet altijd zinvol of rechtvaardig is. Ik ga Tempest dan ook niet vergelijken met de inmiddels tot klassiekers uitgegroeide platen die Dylan 40 tot 50 jaar geleden maakte, maar beoordeel de plaat op zijn eigen kwaliteiten. Bij beluistering van Tempest vallen een aantal dingen op. Allereerst is de plaat, die werd opgenomen met de vaste live-band van Dylan aangevuld met Los Lobos voorman David Hidalgo, in muzikaal opzicht verrassend homogeen. Op Tempest domineren invloeden uit de folk, country en vooral blues en is er weinig ruimte voor uitstapjes buiten de gebaande paden. Het tempo ligt over het algemeen laag en de sfeer varieert van duister tot stemmig. Verder valt op dat de stem van Dylan er de afgelopen jaren niet op vooruit is gegaan. Mede door het jarenlange touren en wat lichamelijke ongemakken klinkt Dylan krakeriger en rasperiger dan ooit tevoren, wat niet door iedere muziekliefhebber gewaardeerd zal worden. Persoonlijk heb ik niet zoveel moeite met de wat aangetaste stembanden. Dylan moest het nooit hebben van mooizingerij en de grote mate van doorleving voegt zeker wat toe aan zijn muziek. Het laatste dat opvalt aan Tempest is het bijzonder hoge niveau van de teksten. Dylan heeft een naam hoog te houden als tekstschrijver, maar op Tempest overtreft hij zichzelf. Tempest staat vol met prachtige donkere verhalen die de muzikale en vocale inkleuring krijgen die ze verdienen. Alles bij elkaar genomen is Tempest een interessante plaat van hoog niveau. Bob Dylan is misschien niet meer de Bob Dylan van 45 jaar geleden, maar hij slaagt er nog altijd in om muziek te maken die maar moeilijk los te laten is. Bij eerste beluistering van Tempest moest ik nog flink wennen aan van alles en nog wat, maar inmiddels koester ik de plaat als een bescheiden meesterwerk. Bob Dylan is inmiddels 71, maar behoort nog altijd tot het beste dat het singer-songwriter genre te bieden heeft. Dat onderstreepte hij de afgelopen 15 jaar met een viertal bijzonder enthousiast ontvangen platen en dat onderstreept hij nu nogmaals met het waarschijnlijk meer omstreden, maar echt niet minder goede Tempest. Petje af.

Erwin Zijleman


Je kunt Tempest hier bestellen


en hier

A wasteland companion. M. Ward

You can listen to 'Clean slate' here.

M. Ward, Matthew Steven, is not a name which is known to the bigger part of music lovers. In the mean time Ward has released eight albums since 1999, released records with actress Zooey Deschanel under the moniker She & Him, collaborated in Monsters of Folk and Tired Pony. Among others. In other words M. Ward is a very busy musician. With his eight solo album, he finally caught my attention full force. This, perhaps belated, attraction started with a small, very nice song called 'Clean slate', which opens A wasteland companion. A song in a very singer/songwriter vein, but not necessarily representative for the album.

The album is eclectic, as it goes off in all sorts of directions and music. At 38 Ward has found the freedom to release what he wants and record what he likes. With the help of many friends and colleagues. The tamer form of rock and roll (going country, Ricky Nelson like) of 'Sweetheart' and 'I get ideas' are great fun songs, with vocal duetting by Deschanel respectively Rachel Cox. In these songs there's a very good balance in lyrics and music. The sexually tensed 'I get ideas' because of "dancing dangerously close", is a fast-paced song driving the imaginary dancers onwards.

The country blues influenced title song is stopped in its tracks it seems and is taken in another direction. A soundscape with classical guitar playing, a muffled audience, hopefully pre-show) in the background. Like we will never know how the song ends. Surprise is allowed for on this record several times. Like in 'Me and my shadow'. It starts after the twist at the end of 'Primitive girl' as a song that could be on a The Hackensaw Boys' record, with a violin and banjo added that is, but then takes of in a rock direction with a fuzzed -up guitar and loud drums. 'Watch the show' has a harsh guitar kicking in, as if The Cure does a cameo.

On A wasteland companion M. Ward sails his album between singer-songerwriter in a Bright Eyes fashion ('There's a key' and 'Primitive girl') to more lightly fashioned pop songs, songs that go in a rock direction, but a song like 'Crawl after you' could have been sang by the the likes of Frank or Dino. Still the album is able to come over as a whole, but barely so. The voice is the common denominator that keeps all styles together. So for less broad minded listeners, it may be hard to take a shine to A wasteland companion. As I was caught by opener 'Clean slate', M. Ward had my attention, where he previously, for whatever reasons, did not manage to do so. Did you notice that I'm offering you that same chance? Take it and you won't be disappointed.

Wo.


You can order A wasteland companion here


or here

Marbles. Kris Berry

Listen while reading to 'Flower empty tree' here

At one day in time we had Chuck, we had Richard, Jan, Dave and now Kris. There was a lot to do about this singer in the Dutch press some weeks ago. The popular as well as the "serious" press. So, I thought, WoNoBloG may just need to form an opinion on Marbles. I prepared myself for basically anything. Two years back I listened to Caro Emerald's first album and wasn't overly thrilled. Her hit singles were unavoidable for over one year on radio and tv. Kris Berry is compared to Emerald a lot, so let's go and have a listen.

After my first, quick listen, my impression was: that was it. No need to delve further. However, my girlfriend is a fan of Caro, so I decided to play Marbles for her during a late Sunday breakfast. In that setting it appeared that I liked the album better than she did. There's a lot to explore on Marbles. From jazzy outings, towards bluesy songs and guitar playing or true songs like 'Always or never'. A beautifully performed song with intricate guitar playing, that would also shine on an album of much better known singer-songwriters. What we also find on the album are Caribbean influences and a ska kind of song, 'Stick to the recipe', which she probably brought along from her homeland, the Dutch Antilles.

Berry is not someone who came young and fast to this career. Born in 1982, she only released her first EP in 2011. This brought her direct attention from the radio and tv as well as support slots for a few international acts performing in The Netherlands. Together with her side kick Paul Willemsen she made Marbles that was released in 2012. Berry's native tongue is English and who listens closely will recognise this in her singing.

Berry dares to rely on her voice. Several songs are almost bare. 'Crazy days' is her voice, an acoustic guitar and a hand played, slightly muffled and distorted piece of percussion. She sings the song in a way that it stays interesting. I think this is one of the main differences with Caro Emerald. Her songs, the ones I know, are all pumped up, where Berry's are low key, softer in tone but still explore the edges of a song. Like in 'Going nowhere' in the dryly played lead guitar lines and the meandering percussion.

Marbles is not an album that I will be in the mood for any time of the day, but is an album I will come back to at the right moments. Like at this moment. Late at night, a bit tired, but not ready to go to bed. a clear guitar, a faint trumpet, soft percussion, maybe some violins. Most of all, Kris Berry's voice. It appears that this a-typical record for this old rocker turns out to be a must listen. There's always an odd one out.

Wo.

Would you like to contribute to WoNo Magazine's blog yourself? You can. Write us a (concert) review or story based on something music and your spot is ensured.

You can order Marbles hier

or here

Pokey LaFarge & the South City Three live in Q-Bus

Whoa, what an experience. A crowd-packed Q-Bus hollering and howling, imitating an American bar somewhere in the mid-west any time around 1935. If there's a band playing out-modish songs in 2012 it's Pokey and his three companions. Music like this can only be heard on old 78's with loads of scratches on it or a cd with the same scratches and on Bob Dylan's theme time radio. It's a little blues, jazz, country and I don't know what old.americana from before 1940, but what's clear is the energy and plain old fun of playing that shines through. There's only one song I can think of that scored a hit in the past 40 years based on this sort of music: Vaya Con Dios' 'Nah-neh-nah'.

Last year I had a listen to 'Riverboat soul', an award winning album by the way, for about six songs. Maybe I wasn't in the mood, because I never looked back at it and for that reason was not one of the 30 people in the Q-Bus last year. In 2012 I was one of 200 something. Basically the band packed me in in the first song, as what they were doing on stage was tight, inviting and great fun. Adam Hoskins plays virtuoso solos on his guitar, Joey Glynn stand up bass, Ryan Koenig everything else, like washboard, snare drum and mostly harmonica. Pokey sings lead, blows the kazoo, but mostly plays rhythm guitar. On the side he carries off a mean solo himself as well. All four harmonise adding extra flavour to the songs. Pokey totally makes the picture also. It proves that a haircut and a garment from another age sets someone in another age and time. It's obviously not the people who change. The two guitars on stage give a look like they were among the first electrically charged ever as well. I'll say it here to not create any misunderstanding: I was wrong not listening again to 'Riverboat soul'.

Who can I compare them to? The closest I can get is The Hackensaw Boys, but they are more in the bluegrass side of the spectrum (with some major tempo injections) and at their most bluesy Hot Tuna on their first, acoustic live album. Definitely Django Reinhardt, and other musicians that Bob Dylan listened to late at night in his bed as a teenager in Hibbing, Minnesota, in the 1950s, that set him on route to make music himself and led to his first album, 'Bob Dylan'.

So, despite all my reservations before the concert started, I had a great time with Pokey Lafarge & the South City Three. They understand that in order to turn a concert into an experience, it takes more than just playing music. They interact with the audience, make them a part of the show by inviting them to scream and holler and most of all show that they are having fun as well in playing this music. They managed to have the whole venue enjoy something that is totally anachronistic, but full of warmth and merit. By playing a variety of styles, mostly in an uptempo form my interest never wavered for a second. Plain sheer great fun! If Pokey Lafarge & the South City Three are ever near your town, I wouldn't hesitate to check them out if I were you.

Wo.

There's also an interview with Pokey on the blog. Click here.

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