Following are additional albums released during May 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Inside Out
Artist: Bernard Fowler
Label: Rhyme and Reason
Formats: CD, LP, Digital
Release date: April 19, 2019
Bernard Fowler has had an impressive career for being someone whose name flies under the radar of the average mainstream listener. He has recorded with composers such as Philip Glass, jazz legend Herbie Hancock, and rock icon Alice Cooper. Inside Out, Fowler’s newest release, presents a unique interpretation of the music of the Rolling Stones that will sound fresh and new to even the most seasoned Rolling Stones fan. As a performer, Fowler has worked as a backup singer and percussionist for the Rolling Stones both live and in the studio since 1988, so he is very familiar with the band’s style. Yet these tracks are more than just arrangements of Rolling Stones songs that he has performed—they are new musical compositions on top of which Fowler interprets the lyrics in a spoken-word format in the style of Last Poets and Gil Scot-Heron. Continue reading
Title: Don’t Tread On We
Artist: The 1865
Label: Mass Appeal
Formats: Vinyl, Digital
Release Date: January 25, 2019
On April 9th, 1865 the United States Civil War came to an end. Now, over 150 years later, these events have inspired an all-black punk rock band known as The 1865. Describing themselves as “Bad Brains meets Foo Fighters in a black woman’s hair salon for a cup of tea,” the Brooklyn-based band is in a class all their own. With the release of their debut album, Don’t Tread on We, The 1865 explore life in America following the Civil War—a land living in the shadows of the fallen Confederacy. Continue reading
Artist: Moonlight Benjamin
Label: Ma Case
Formats: CD, Digital
Release date: November 30, 2018
For the past twelve years, Moonlight Benjamin has been successfully carving out a space for herself within the music world as the priestess of voodoo blues rock and roll. Her fourth album, Siltane, has only secured her claim to this title. The latest project features Benjamin on lead vocals, Matthis Pascaud on bass and guitar, Marck-Richard Mirand on bass, Clude Saturne on percussion, and Bertrand Noël on drums. Together, they create a soundscape that is suggestive of “an Afro-energized Black Keys meets Dr. John.” Continue reading
Title: The Bookends
Artist: Eric Gales
Formats: CD, LP, Digital
Release date: February 8, 2019
Virtuoso blues-rock guitarist Eric Gales may not be a household name, but he’s been described by his peers as one of the best guitar players in the world. A former child prodigy, Gales was signed to a record label at the age of 16 and has since recorded 15 solo albums. Along the way he’s recorded with many other artists, and also performs alongside bassist Dug Pinnick (King’s X) and drummer Thomas Pridgen (Mars Volta) in the formidable black rock power trio Pinnick Gales Pridgen. Gales’ new release, The Bookends, may be his greatest accomplishment to date. While blues and rock may represent the bookends, the project also embodies “everything in between” from pop, jazz, and funk to gospel. Continue reading
Perhaps demonstrating, emphatically, that rock music is long in the teeth, 2018 marks the 50th anniversary of several historic albums. At the top of the list is Jimi Hendrix’s Electric Ladyland, a muddy, blues-infused psychedelic mashup originally released on 2 vinyl platters. Sony’s Legacy label celebrates the half-century with a deluxe 3-CD/1-BluRay set also released in a 6-LP/1-BluRay edition. Continue reading
Title: Original Human Music
Formats: CD, LP, Digital
Release date: August 3, 2018
Original Human Music is the full-length debut album by Ultraphonix, a supergroup consisting of vocalist Corey Glover (Living Colour), guitarist George Lynch (Dokken), bassist Pancho Tomaselli (War), and drummer Chris Moore (Endangered Species). While its members all come from different bands, nothing about this album points to a group that was arbitrarily assembled. Having worked for years with guitar virtuoso Vernon Reid, Corey Glover seems at home working with guitar legend George Lynch. Continue reading
Title: Rock Masterpieces Vol. 1
Artist: Jean Beauvoir
Label: AOR Heaven
Formats: CD, Digital
Release date: June 29, 2018
Jean Beauvoir is a legend in the world of black rock and Afro-punk artists. Born in Chicago to Haitian-American parents, he started his musical career in a fairly typical manner, learning drums and bass as a kid, and honing his vocals singing doo-wop. But his career took a dramatic left turn when he moved to New York during the punk rock explosion and crossed paths with Rod Swenson and Wendy O. Williams. Continue reading
Artist: Sean Ardoin
Label: Louisiana Red Hot
Formats: CD, Digital
Release Date: September 14, 2018
Sean Ardoin may come from a long line of accordion-playing Creole musicians (including Amédé Ardoin and Alphonse “Bois Sec” Ardoin), but he certainly isn’t one to be put in a box when it comes to his music. Ardoin’s newest album, Kreole Rock and Soul, is named after the genre that he created in an attempt to revamp the music of his ancestors. While the album pays tribute to Ardoin’s Creole roots, it also incorporates the styles of contemporary pop and classic rock. Continue reading
Artist: Dug Pinnick
Label: Rat Pak
Formats: CD, LP, Cassette, Digital
Release date: May 18, 2018
Dug Pinnick’s Tribute to Jimi: Often Imitated but Never Duplicated is a fitting homage to the guitar great, in part because Pinnick is an ideal musician for pulling off a project such as this. Having spent decades as the bassist and singer for King’s X, which just might be the most underrated power trio in rock and roll history, he is the perfect candidate to record tunes by the Jimi Hendrix Experience, which is arguably rock and roll’s preeminent trio. Also, upon hearing Pinnick’s vocals on these tracks, the listener is hard-pressed to think of a more fitting vocalist to sing these songs. The bulk of the guitar duties are handled by Tracey “Spacey T” Singleton from the groundbreaking metal group Sound Barrier, one of the first African American heavy metal bands. While this tribute to Jimi is not a note-for-note replication of Hendrix material, it is also not a reinvention. The eight tracks bear tremendous amounts of similarity to the originals. However, there is a general freshness to this recording that results from the presence of stylistically indoctrinated musicians who are willing to occasionally color just outside the lines.
The sonic similarity to the originals is not surprising since this recording was made with that intention. Pinnick stated that they had wanted “to recreate the analog recording process as closely to the original recordings as possible.” With this in mind, they used as many of the same types of equipment used by Hendrix and company as was feasible. The result is a modern recording that maintains a vintage feel. While the playing on the album has had the influence of fifty more years of musical evolution, the actual guitar tones maintain the characteristics of the late ‘60s. “If 6 Was 9” serves as a perfect example of this. Although there are variations in note choice from the original, the guitar sounds as if it was recorded using the exact same rig that Hendrix used back in 1967.
Song selection for a tribute album can always be tricky. When dealing with the catalog of an artist such as Jimi Hendrix, who had so many great songs, the difficulty in selecting eight tracks is compounded. Nevertheless, Pinnick did a great job in narrowing down the scope of the project by sticking with songs from the three studio albums released during Hendrix’s lifetime—Are You Experienced (1967), Axis: Bold as Love (1967), and Electric Ladyland (1968). Tracks include psychedelic standards such as “Are You Experienced” and “Purple Haze,” songs in the pop vein such as “Fire” and “Crosstown Traffic,” and iconic Hendrix tracks such as “Voodoo Child (Slight Return).” Of course, “All Along the Watchtower” is also present. It is perhaps ironic—or even fitting—that a cover of a cover would be present on this album. Nevertheless, any Hendrix project would be incomplete without “All Along the Watchtower,” which along with Aretha Franklin’s version of Otis Redding’s “Respect,” stands out as one of the greatest cover songs of all time.
“Are You Experienced” is the first track, and the impeccable backwards guitar sets the bar high for the remainder of the album regarding attention to detail in capturing the spirit of the originals. This attention to detail is evident throughout the album, and “Crosstown Traffic” continues this sentiment by including the kazoo part from the original. Other standout tracks include “Purple Haze,” driven by Pinnick’s signature 12-string bass sound. Also, though covered many times, Pinnick’s version of “All Along the Watchtower” serves as one of the more authentic covers of the Hendrix classic. Worth mentioning too is “Voodoo Child (Slight Return),” which closes the album in a blistering fashion.
As a testament to his phenomenal output with King’s X, Pinnick will always attract that band’s loyal fans. Ideally, others will also find this recording and discover what diehard King’s X fans have known for years—that Dug Pinnick is one of the great rock and roll talents. Tribute to Jimi is one of the best tributes to Hendrix ever released, and it is obvious that the musicians had fun making this album. The final product is a recording that builds upon the experimental spirit of Hendrix while still maintaining a stylistic affinity to the original recordings. As should generally be the case with performances of Hendrix songs, the guitar playing on this album is scorching, and Pinnick’s powerful voice adds a new dimension to these classics. It is truly hard to envision this album disappointing any rock and roll fan.
Reviewed by Joel Roberts
Title: Please Don’t Be Dead
Artist: Fantastic Negrito
Label: Cooking Vinyl
Format: Digital, LP, CD
Release Date: June 15, 2018
Oakland native Xavier Dphrepaulezz, professionally known as Fantastic Negrito, is an award winning musical artist and story teller. Coming back from a decade long hiatus, Negrito returned to the music industry in 2016 with more fire and flare then before, releasing The Last Days of Oakland which won him his first Grammy Award. More recently, Negrito was featured on an episode of the popular Fox television series, Empire.
Negrito’s latest release, Please Don’t Be Dead, is a rock-soul album that presents issues, warnings and solutions that have everything to do with American society and the people that live within it. Negrito wants people to “stay woke” by being aware that what is happening currently in our nation is not a normal occurrence. The album cover art, a real-life photo of Negrito coming out of a three week coma caused by a previous car accident, represents his efforts to leave dark times in the past. By choosing to move forward and leaving behind hatred, blame, disrespect and hopelessness, Negrito stands with his community to embrace love, unity, empathy and compassion.
Regarding the title track, Negrito said “Please Don’t Be Dead” tells the story of a man standing over something he cares about that is wounded. He’s looking around, and he’s saying: “Do Something.”
“Plastic Hamburgers” is a call to the listener to break down the walls that keep people separated from one another in American society, harkening to issues of racism, classism, sexism, poor government policy and regulation. The chorus, “Let’s break out these chains, let’s burn it down,” suggests that we are slaves to the American hegemonic machine, referred to as a “bomb with a winning hand.” Negrito suggests we can overcome this domination if we stop buying into the idealistic pressures of American society.
“Bad Guys” continues with this narrative, suggesting that dominions create the evil, charging us to fear it while swearing to protect us from it. According to Negrito, a “bad guy” is a figure, thing or idea that we can point to as the blame for all the problems we create. He goes on to suggest we should look in the mirror before we start blaming others for the issues we create due to the consequences of our choices.
“A Letter to Fear and Transgender Biscuits” is the silver lining of the album. Despite the horrible things happening in America, Negrito claims, “We can carry on.” In doing so, however, we don’t have to accept the current issues as the norm. Negrito offers his solution to the problem by standing with his friends and his community who have agreed that, “Hope will never die!” The song encourages everyone to keep fighting against the present violent norms by pressing back against it with love as a community: “All the people with love in your heart, get unified, get organized….. Unity.” By unifying and organizing, standing against the issues that are being pressed upon us to be accepted as the norm, we can elicit change. That is the history of the positive paradigm shifts in our nation’s past.
“The Suits That Won’t Come Off” is a song that encourages perspective empathy. As Negrito sings, “How do you sleep at night when you have stolen from me,” he is asking his audience to stand in the shoes of those in other circumstances in order to gain compassion. How different could this world be if people respected those who are unlike them? Negrito ends his album with the funk and gospel influenced, “Bull Shit Anthem.” The chorus of the song sums up what Negrito wants us to do with all the issues presented on the album. Along with love, standing with the community, showing empathy and having compassion, we need to “Take that bullshit, turn it into good shit!”
Please Don’t Be Dead is a fitting wake-up call from an artist who reclaimed his consciousness both physically and artistically, and is now striving for others to follow his example. It’s a request we all should heed, as Negrito instructs, before it’s too late.
Reviewed by Bobby Davis
Title: Things Have Changed
Artist: Bettye Lavette
Formats: CD, Digital, Vinyl
Release date: March 30, 2018
The Times, They are a ’Changin’. This phrase, with all its historic relevancy, has once again become the most accurate description of contemporary times all over the globe. Therefore, it stands as no surprise a 60’s soul legend such as Bette Lavette would release a cover album focusing on ironic political artist Bob Dylan. Things Have Changed is a fitting tribute to some of Dylan’s most prolific movement songs in addition to showcasing other soul rock classics, with Lavette weaving in her own gritty stylings and adding a contemporary layer to the timeless classics.
The title track, Things Have Changed, serves as a warning for those who feel overwhelmed and anxious about their world: “Any minute now I’m expecting all hell to break loose/People are crazy and times are strange/I’m locked in tight/I’m out of range/I used to care, but things have changed. “Political World”, with its echoing of past conflicts and shouts of current trajectories, features Keith Richards, who layers his talents behind Lavette.
Additional tracks pay homage to some of Dylan’s more introspective musings, with selections such as “It Ain’t Me Babe” and “Mama, You’ve been on My Mind.” But it’s on “Emotionally Yours” that Lavette’s ability to tug at the heartstrings becomes most evident. Through a combination of Dylan’s lyrics and her own amazingly soulful abilities, Lavette gives her listeners a thought-provoking look into the mind of a tortured soul yearning for that one last chance: “Come baby, find me, come baby, remind me of where I once begun/Come baby, show me, show me you know me, tell me you’re the one/I could be learning, you could be yearning to see behind closed door/But I will always be emotionally yours.”
Things Have Changed offers us the best of both worlds—Bob Dylan’s ageless classics and Bettye Lavette’s endless soul stylings—proving to us that even though time marches on, some things remain eternal and relevant, no matter what.
Reviewed by Amy Aiyegbusi
Artist: Shuggie Otis
Formats: CD, LP, Digital
Release Date: April 20, 2018
Known best for his soulful songwriting and tender serenades as heard on hits such as “Strawberry Letter 23” and “Inspiration Information,” Shuggie Otis, “heir to Hendrix,” has long been held as one of the most innovative guitarists to ever pick up the 6-strings. A prodigy from early age, Otis regularly performed on stage and in the studio alongside his legendary father, bluesman Johnny Otis. Shuggie’s latest project, an adventurous new fusion rock project called Inter-fusion, showcases just how mind-blowing he is on the pearly frets of his gorgeous maroon Gibson SG.
The album consists of mostly instrumental tracks that groove and weave, taking unexpected turns in surprising directions, but all anchored by one of the finest rhythm sections imaginable. Drummer Carmine Appice (of Vanilla Fudge/Beck, Bogert & Appice) and bass player Tony Franklin (of The Firm/Roy Harper) both layer their expertise beyond Otis. In addition, keyboardist Kyle Hamood (of L.A. rockers Them Guns) steps in as both a musician and producer, delivering outright superlative performances from each artist involved.
The opening track, “Aphelion,” is a sweetly smooth shot of melancholy that goes down without a hitch. “Woman,” an uptempo beat complete with intricate melodies and layered percussion, begs to be played over and again, and “Clear Power” is a clean, crisp polyrhythmic groove that satisfies the aural need for virtuosity.
Uniting some of the best rock fusion artists on one recording, Inter-fusion reminds us that when it comes to Shuggie Otis, some of the most eclectic, quality art and artists have been right beside us all along.
Reviewed by Amy Aiyegbusi
Title: In Our Time
Label: Thirty Tigers
Formats: CD, LP, Digital
Release Date: July 13, 2018
Canadian singer-songwriter AHI (pronounced “eye”) offers a refreshingly earnest commentary on life, love, and the concept of home on his sophomore album, In Our Time. His first album, We Made It Through The Wreckage, was independently released in 2017, and despite a lack of promotion, the album resonated with listeners and began receiving recognition across Canada due to AHI’s gritty, soulful vocals and commitment to honest, simplistic music.
The opening track on his newest album, “Breakin’ Ground,” is an uplifting introduction, telling of AHI’s journey to becoming an artist and musician. Lyrics like “I’ve been told I’m worthless so much that it gave me purpose” are honest and real, and are complemented by AHI’s raspy and raw-sounding vocals over an upbeat melody. “Made It Home,” the following track, presents the second chapter of AHI’s personal story. In the song, the father of three explores the concepts of family and home in a way that simultaneously expresses vulnerability and strength.
The other songs on the album, from the energetic “Five Butterflies” to the more emotional and softer “Just Pray,” highlight AHI’s ability to blend folk, soul, rock influences with his personal experiences and feelings in a way that makes his music poignant and engaging for anyone and everyone.
On In Our Time, AHI manages to use his mesmerizing vocals and catchy melodies to create a personalized yet relatable collection of folk rock tracks based on his own experiences of life, love, and family.
Reviewed by Chloe McCormick
Title: Stranger Fruit
Artist: Zeal & Ardor
Formats: CD, LP, Cassette, Digital
Release date: June 8, 2018
Swiss-American provacateur Manuel Gagneux, the artist behind the avant garde rock group Zeal & Ardor, unleashed his debut album Devil Is Fine to much acclaim in 2017. Grounded in Norwegian black metal and its inherent paganism, the album imagined an antebellum South where slaves “had chosen defiance and rebellion and the power of Satan” instead of Christianity. With his new album, Stranger Fruit, Gagneux not only hints at Billie Holliday’s haunting classic, but implies he might take us one step beyond the already grotesque imagery of “Black bodies swinging in the southern breeze.” The answer comes sooner rather than later.
After a brief intro sets the stage with the sound of a pickaxe striking the ground, the opening song “Gravedigger’s Chant” seems to pick up where “Strange Fruit” left off, as Gagneux sings “bring the dead body down to the graveyard…Lord have mercy.” In a press release, Gagneux describes the official video as subverting roles: “People find themselves in situations untypical for their ilk, tools become weapons, weapons turn into tools, and fingers meant for sensing make themselves felt.”
Unlike the previous Zeal & Ardor album—an interwoven fabric of metal tempered with elements of blues, spirituals, Lomax-esque work-song melodies, soul and gospel—Stranger Fruit hews more closely to black metal roots. “Servants” promotes an uprising of the oppressed, while “Don’t’ You Dare” takes things one step further, hinting at human sacrifices with the chorus, “never come ‘round these parts…don’t you dare look away, boy.” The brief “Fire of Motion” features a wall of thrashing guitars, then segues into the gorgeous vocal harmonies of “The Hermit” with a nod to Gregorian chant.
If you were a fan of Devil Is Fine, then you will appreciate the hand-clapping rhythms behind “Row Row,” the soulful elements of “You Ain’t Coming Back,” and the bluesy “We Can’t Be Found.” The title track, “Stranger Fruit,” is built over an ominous piano ostinato that gradually builds to the timely finale, “there’s a storm out there / there’s no shelter for us.” The album closes with “Built on Ashes,” another track interjecting soulful vocals that makes for a satisfying finish, despite the gloomy chorus, “”Like a strange fruit out of season / You are bound to die alone.”
Though a couple of electronic tracks seem somewhat out of kilter, Zeal & Ardor’s Stranger Fruit is a solid sophomore effort. The album was produced by Gagneux alongside Austrian producer Zebo Adam and mixed by Converge guitarist Kurt Ballou. Gagneux has assembled a band for live shows and will be touring the U.S. later this year.
Reviewed by Brenda Nelson-Strauss
Title: Woodstock Sessions Volume 9
Artist: Zig Zag Power Trio (Vernon Reid, Will Calhoun, Melvin Gibbs)
Label: Woodstock Sessions
Formats: CD, Vinyl, Digital
Release date: March 16, 2018
Zig Zag Power Trio’s Woodstock Sessions Volume 9 is a difficult album to classify stylistically. It is also rather startling if the personnel are merely taken at face value. Vernon Reid and Will Calhoun from Living Colour join bassist Melvin Gibbs, who might be most frequently associated with the Rollins Band. Thus, a listener who is only casually familiar with these musicians might expect the trio to be a hard rock band, if not a metal band. Granted, there is evidence of these stylistic expressions, and there are power trio rock influences from artists such as Jimi Hendrix. However, Zig Zag Power Trio also possess more eclectic influences. This is a jazz fusion record as much as it is anything else, a fact that is not surprising given that Gibbs and Reid played together in free-jazz drummer Ronald Shannon Jackson’s Decoding Society decades ago.
There will be guitarists who discover this recording due to Reid’s presence, and they will hear references to many of his influences—Jimi Hendrix; Bill Frisell, who collaborated with Reid on Smash & Scatteration in 1984; and David Torn, just to name a few. More than on any other recording, Reid’s ability to draw from a palette of influence consisting of hints of many players is supremely evident. Frankly, there are stellar individual performances by all three band members, but much of the virtuosity on this album lies in how the members interact with one another. Interaction is, of course, one of the attractive qualities in listening to any group of excellent musicians, but this recording serves as an impeccable example of interplay.
The cover of Junior Kimbrough’s “I Love Ya Baby” is the sole straight-ahead rock song on the album, and it is reminiscent of blues-rock jams à la Johnny Winter or Jimi Hendrix. However, Zig Zag Power Trio definitely puts their own stamp on the genre. “Professor Bebey,” which was previously released by Reid on his 2006 recording, Other True Self, is a departure from every other tune on the album with its African highlife feel. These two tracks are two of the most fun songs on the album. The remainder of the tunes are largely avant-garde in nature, so these two tracks are also the most accessible. However, this should not be interpreted as a negative review of the rest of the recording.
The cover of Ornette Coleman’s “Lonely Woman” is amazing. Not only is it a testament to the haunting quality of the original, but Reid and company put on a clinic in how to communicate musically with other band members. At times, Calhoun’s drumming is reminiscent of legend Billy Cobham, and Melvin Gibbs manages to tear the bass apart subtly, if not sneakily. “Lonely Woman” is an almost nine-and-a-half minute masterclass for any musician, and something new will be heard with each listen. ZZPT’s interpretation of Ronald Shannon Jackson’s “Eastern Voices Western Dreams” is another standout. The ambience is simply beautiful, and Reid and Gibbs play extremely well together—evidence of the fact that they were both playing this tune in Jackson’s band circa 1980. “Woodstock” and “David Bowie” are also songs of interest due to the atmospheric textures produced by heavily processed guitar sounds.
Woodstock Sessions Volume 9 is full of abundant surprises, with each of the members turning in career performances throughout. Combined with excellent musicianship, the sheer number of stylistic influences offers a little something for everyone. Having said that, fans of music that lies somewhere between progressive rock and jazz fusion (e.g. David Torn or Robert Fripp) will be very pleased. Considering the presence of tunes by Ornette Coleman, Pharoah Sanders, and Ronald Shannon Jackson, it is also fair to say that fans of avant-garde jazz in general should consider giving this group a thorough listen. So far, the Zig Zag Power Trio and their debut album are flying under the radar, but that should soon change. Let’s hope there’s another project in the works.
Reviewed by Joel Roberts
Title: The City of Bootmakers
Artist: L.A. Salami
Label: Sunday Best
Formats: CD, Vinyl (limited ed.), Digital
Release date: April 13, 2018
London musician L.A. Salami created a buzz through a string of EPs leading up to his acclaimed 2016 debut album Dancing with Bad Grammar. Now he returns with his second full-length project, The City of Bootmakers, which continues his folksy style of social commentary.
Born Lookman Adekunle Salami (yes, L.A. Salami is his real name), the singer-songwriter grew up in a household that never paid any particular attention to music, and he didn’t learn to play guitar until receiving one for his 21st birthday. But he was always attracted to literature and seems to have a special affinity for Welsh poet Dylan Thomas and icons of the ‘50s and ‘60s, including Beat Generation authors Allen Ginsberg and Jack Kerouac, and folk musicians Woody Guthrie and Bob Dylan. A dapper nonconformist, Salami has been likened to a modern day troubadour, channeling his experiences into sharply honed lyrics, sung over lush acoustic-oriented alt-rock. All of these characteristics come to the fore in his most recent video single, “Jean Is Gone,” included on the album as a bonus track:
Though Salami is primarily a vocalist and guitarist, he occasionally switches over to harmonica, Rhodes and, according to the album credits, “ambulance.” His backing band, the Bootmakers, includes Simon Nilsson (guitar, bass, piano, organ), Petter Grevelius (guitar, bass, organ, vibes), and Sean Beam (drums, organ), otherwise known as Francobollo, a UK-based Swedish rock band. The project was recorded in Berlin with Robbie Moore (The Mores), known for his retro sound styled after ’60s- and ’70s guitar pop with rich vocal harmonies—the sound permeating The City of Bootmakers.
Easing into the album with the intro “Sunrise,” Salami evokes a Shakespearean-era street scene with a jangly tune reminiscent of an organ grinder. As the music grows louder, a group of revelers greet the dawn with Salami in the lead, inviting the audience to experience the wonders of “the troubadour”—obviously relishing the moniker he’s been assigned in the press. After the revelers fade into the distance, the band kicks into the first single from the album, “Generation (Lost),” a song about “feeling lost during the journey of finding yourself.” Addressing the anxiety of his generation, Salami croons: “I’m penniless, but I’ve sold my soul / I’m restless, but I’ve nowhere to go / Generation L, lost in lust / Generation L, laborious.”
Not shying away from political themes, on “Terrorism! (The Isis Crisis)” Salami sings, “I heard that an ancient book, inspired him to die / The Jihad source decoded wrong, enforces that old line / But when words contort in certain tones, Is it the preacher, scribe or one guy that does the crime?” Other songs, though seemingly lighthearted in character, veer into topics ranging from gentrification to immigration, deportation, and discrimination. But the cheerful pop in major keys and driving 4/4 rhythms can become a bit tiresome, making one wish Salami would break away and dive into deeper and darker territory befitting his themes. That’s why “I Need Answers” is such a welcome departure with its discordant melodies and angst-ridden lyrics as Salami struggles to navigate a path through life.
The album concludes on a similar note with “What Is This?” Existential thoughts become mired in practicalities as Salami sings, “Preachers remind you that the end is coming, but the rent dates comin’, so the end can wait – what is this? What is this?!”
L.A. Salami’s approach to songwriting reflects his artistic bent and roots performing spoken-word poetry. The City of Bootmakers is a fine showcase for this philosopher poet, with lyrics that dig deep into life’s inequalities and oppression, yet are delivered in a manner that offers hope for the future.
Reviewed by Brenda Nelson-Strauss
Title: The Neo Blues Project
Artist: AJ Ghent [J-Ent]
Formats: CD, Digital
Release date: March 16, 2018
AJ Ghent, hailing from Fort Pierce, Florida, has music literally running through his veins. His great uncle, Willie Eason, is the creator of the “sacred steel” tradition—a style of pedal-steel guitar playing that’s unique to certain African American Pentecostal churches—and his grandfather, Henry Nelson, is the founder of the “sacred steel” rhythmic guitar style. With role models like these, it’s no wonder Ghent wore out his father’s sacred steel CDs by the age of twelve. After high school, he and his wife, singer MarLa, packed up and moved to Atlanta, Georgia where soon after Ghent began a mentorship under the legendary Colonel Bruce Hampton, one of the original founders of Atlanta’s Hampton Grease Band. Gaining experience with Hampton’s band set the stage for Ghent’s subsequent career moves, including being “true to himself” as Hampton advised.
Ghent’s newest release, The Neo Blues Project, is a study in just that. The entire album is something different altogether—a musical fusion of blues, steel guitar, and rock that takes art and skill to master. But that’s something that Ghent has spent his whole life perfecting, along with his custom built 8-string lap steel hybrids. The offering weighs in at just six tracks, but don’t let its size fool you. This album packs a solid punch right where it’s necessary to keep the music in your head long after the last chord fades.
On his rock anthem “Power,” Ghent offers a track to fuel a revolution: “I’m gonna wait it out, ‘til my change comes / and I’m gonna pray, it won’t be long / ‘cause I’ve been tempted and I’ve been tried / and I’m a soldier ‘til I die / so you can bring it on, all your pain / you know why? ‘cause it’s a revolution comin’”
Combining his own style with elements of rock guitarists like Jimi Hendrix and Lenny Kravitz, Ghent part-wails and part-steels his way through each song. “Long List Friend,” co-written with his wife, is a blues ballad all of us can relate to in our search for “The One.”
But if you are celebrating the letting go of a former love, check out the final track, “Gonna Rock.” Its meaning and intent are completely celebratory, to say the least. “Wash Ya Hair” is a fun, catchy tune that really brings all of Ghent’s diverse talents of vocalization and guitar-playing to the forefront: “Shake ‘em off, wash your hair, let it shine, Everywhere.”
Ghent’s compact project completes its mission. The Neo Blues Project entertains the senses, introduces us to the full range of Ghent’s talents, and gives us a foot-tapping, air-slamming trip into the world of blues rock in legendary style. If this is Ghent being true to himself, I personally can’t wait for anything this talented artist has to offer us.
Reviewed by Amy Aiyegbusi