I'd Love to Turn You On #86 - Hot Tuna - Burgers

The Jefferson Airplane had one of the most unique musical equations in the history of rock; with Paul Kantner and Grace Slick’s strident messages of political and social change, Marty Balin’s elevated love songs and the vocal cat and mouse game that the three engaged in, there was nothing quite like it. Underpinning all of it though was a muscular and intelligent instrumental machine powered by bassist Jack Casady and guitarist, vocalist Jorma Kaukonen. When those two started exploring their own musical identities with side group Hot Tuna their first two albums were (Hot Tuna and First Up Then Pull Down) – acoustic then electric live albums respectively – that showcased both musicians’ expertise at synthesizing traditional blues into a very respectful yet exhilarating form of high-energy rock (pretty much as Zeppelin, The Stones, The Yardbirds et al did - except Tuna played it a little closer to the blues vest). With their third album and first studio album, 1972’s Burgers, the duo melded their blues authenticity to the psychedelic craftsmanship they learned in the Airplane with stunning results.

Burgers combines both the acoustic blues finger-picking that Kaukonen perfected as a young folk disciple of the genre (I drove him from Denver to Boulder once after an autograph signing and he told me as a young man (pre-Airplane) he moved to Europe in order to follow blues piano great Champion Jack Dupree on tour and sit at the feet of his idol), with the acid drenched electric soloing of the Airplane’s Haight-Ashbury heyday to create a thrilling new type of music that predicted the folk-rock movement which would dominate popular music for the next decade. Every song on Burgers jumps with the excitement of great songs (six Kaukonen originals and three blues covers) and even better arranging and playing. Opening with Kaukonen’s “True Religion” we get the template for the album going forward. Kaukonen begins with a classic blues finger-picking exercise before the band crashes in with Casady’s crushing bass line and jazz violinist Papa John Creach wailing over the proceedings like a fire and brimstone preacher above a crowd of heathens. Then Kaukonen steps up with the ballsiest of electric solos and we get the idea; this isn’t a blues band or a psychedelic rock band, this is some new thing altogether. “Highway Song” follows with a cosmic, hippie road song that makes one yearn for those days. Again, with great, sympathetic production by the band itself and a cast of Airplane production alumni the music finds a new path, unheard and beautiful. Side one rounds out with a 1920’s blues “99 Year Blues” which is again dominated by Creach’s soaring fiddle work and counter-culture friendly lyrics, then the beautiful “Sea Child” which combines one of Kaukonen’s best lyrics with a blitzkrieg of electric guitar and pounding bass. Kaukonen and Cassidy really do define a certain type of musical excellence and dedication to craft that has all but disappeared from the modern rock landscape.

Side two opens with the FM radio favorite “Keep on Truckin’” which never fails to liven up a party. Kaukonen’s subtle, sardonic vocal suits this tale of bad women gone worse to a tee and Creach’s mercury-like soloing makes this song come loose from the moorings of history and feel like a 1920’s juke joint - that is until Kaukonen comes in with one of his most delicious talking guitar solos - wah soaked and nasty. What follows is an example of why Jorma Kaukonen is considered one of the great guitarists of rock. “Water Song” is a breathtaking acoustic instrumental, in the style of his Airplane classic “Embryonic Journey,” except fully realized with a gorgeous cascade of guitar notes flowing over Casady’s fluid, melodic bass line - it is nirvana! “Ode For Billie Dean” gives Kaukonen and Creach a chance to really wail on the album’s hardest song and one that hints at the proto-metal direction that Hot Tuna would take in the later 70’s. Rounding out the album is a song by one of Jorma’s heroes and another of his best original instrumental pieces. Reverend Gary Davis’ “Let Us Get Together Right Down Here” proves once and for all Kaukonen’s sympathy for the blues as his vocal and guitar performance are exemplary and he still makes room for signature Papa John fiddle work. “Sunny Day Strut” closes the album beautifully with acoustic and electric guitars in perfect harmony with Cassidy’s powerful bass work. It is ominous and uplifting at the same time.

Hot Tuna has continued to tour and record until the present day, and remain a vital musical experience. They have explored many styles from punk to bluegrass, but no single Tuna album strikes as many perfect notes as Burgers. When life is looking grim and it seems like no silver linings will appear, this is one album I can always count on to lift my spirits.

- Paul Epstein

Several Species Of Small Furry Thoughts - New Releases

It occurred to me I haven’t reviewed any recent releases for awhile, so here are a bunch of things that have come out in the last few weeks.

Grateful Dead – Road Trips Vol.4 No.3 - Denver ’73

Finally, a Colorado show! In all the many CDs they have produced, there has never been the release of a full Colorado show. Why does this matter? Obviously, we live here so it would be nice to have a souvenir, but there is the larger point that the Dead had a long and wonderful history in Colorado. They started playing here in the very beginning of their career and continued playing landmark shows until the year before Jerry’s death. 20 shows at Red Rocks, The 15^th anniversary shows at Folsom Field, Telluride, McNichols Arena in 1990 (the last great Dead shows many of us saw), and of course these two amazing shows from 1973. 1973 was marked by marathon shows with tons of new songs, and tight, spacey jamming, and these shows from the shitty old Coliseum (when was the last time you saw a show there?) are prime examples of this era of Dead. The release is made up of all of the November 21^st show and the tastiest jam from the heart of the November 20^th show. There are no highlights, because it is all great! Really, the band is just on fire from the opening “Me and My Uncle” to the final sweet notes of “Uncle John’s Band.” The second set is made up of two gargantuan jams which include three separate visitations to “Playin’ In The Band,” an extremely memorable “Wharf Rat,” “Morning Dew,” and the rarely played “Nobody’s Fault But Mine.” These are concerts that make you understand why The Grateful Dead had such a fanatical following in this state. These epic shows were life-changing for a lot of local fans. If you were there and grasped what you were seeing, it was a glimpse at the golden age of one of the great American rock bands. If you act quickly you can get this release with a very limited bonus disc which includes most of the second set from a very hard to find show; Cleveland, December 6, 1973. This gem includes great versions of “China Cat Sunflower/I Know You Rider,” a 44-minute version of  “Dark Star” that goes to many dark places and “Eyes Of The World.”

Hot Tuna - Steady As She Goes

I didn’t really expect a new Hot Tuna album, and I certainly didn’t expect it to be this enjoyable. Sounding much like they did in the early 80’s they are playing the warm, acoustic style of Tuna music that attracted the large audience they enjoyed in the decades following the Jefferson Airplane. True, they had the reputation for incredibly loud, long, electric concerts, but their albums showed Jorma Kaukonen to be an intelligent, thoughtful songwriter and a fantastic singer. His voice is remarkably unchanged, and the album is filled with the kind of blues/folk material that Jorma started with and still suits his talents better than anything else. Highlights for me are Jorma’s emotional remembrance of his childhood and family relationships called “Things That Might Have Been,” another emotional reflection called “Second Chances,” the funny, rocking “Mourning Interrupted,” a nice remake of the Tuna classic “Easy Now,” and a pair of songs by Jorma’s inspiration The Rev. Gary Davis. While this isn’t the guitar-driven, fire-breathing dragon of those early-70’s live Tuna shows, this is a dignified and well-played set of roots music.

The Feelies - Here Before

From the first note, you have slipped on your favorite t-shirt, licked an ice-cream cone on a summer day, watched a glorious sun set over the Rockies. Really?! Well, I was pretty happy. It’s The Feelies, and they sound just like they always did. With the classic line-up from their second album The Good Earth (1986) intact and playing with the same comforting precision it is really great to have this fantastic band back. It is the same basic formula; two drummers and every other member of the band adding percussion make each track a wonder of rhythmic intensity. Then Glen Mercer and Bill Million start the hypnotic drone of VU-style guitars that can march across the staffs like a military band or erupt into electronic squeals (as on “When You Know”) or roll over you with clouds of stacked up acoustic guitars like on the title track, while never leaving the strict tempo set up by Stanley Demeski and Dave Weckerman. Glen Mercer’s laconic, hipster vocals are as coolly reserved as always and his lyrics still can waver from desperate to joyous with just the slightest inflection. Impossibly, The Feelies still sound completely modern while being true to the psych/folk/drone ethos that originally drove them. There were times in the 80’s when I thought there would never be any more great bands and The Feelies were one of the real high spots of those years. When I listen to a track like “On and On” that drives crazily through a rainstorm of percussion and electric guitar, controlled yet on the verge of chaos, it is a distinctly comforting feeling to know this band is back and doing what it does best.

Derek And The Dominos - Layla and Other Assorted Love Songs - Super Deluxe Version

This highly limited (already deleted) box set contains everything you need to scratch the Layla itch once and for all. One of the most fetish-worthy albums of the “classic-rock” era, I thought I had heard it all with this album. Wrong! This box set truly defines the fan experience. It comes with 4 CDs, 1 DVD, 2 LPs, 1 hardbound book, 2 unused tickets, 1 art print of the cover, 1 guitar face cling with the album artwork and a “Derek Is Eric” button. In addition the box it all comes in is itself a work of art, with the inside of the box top being a three-dimensional die–cut version of the album cover. The really important stuff however is the musical content, and it is awe-inspiring. In addition to a beautifully remastered version of the original album with one bonus track, there is an entire disc of extras; outtakes, early versions, the live TV session with Johnny Cash and Carl Perkins - lots of great stuff that adds context to the time surrounding the album. There is also an expanded version of the Derek and The Dominos Live At The Fillmore album. For some reason I always turned my nose up at this album - thinking the versions weren’t as good as the perfected album takes. I don’t know what I was thinking, because when I listen to it now, it seems to crackle with energy. Clapton’s soloing is funky and energetic and the Dominos prove they weren’t just a backup group for Clapton but actually a real, tight-knit band. Clapton was trying to get the feel of Southern American roots music as filtered through the hippie experience. He was enamored of The Band, Delaney and Bonnie, and The Allman Brothers, and in the Dominos he found a soulful unit that he could join rather than lead. Listening to this live album shows how close he actually came to hitting that elusive note.

For me, the real revelation of the set comes on the DVD-which is a 5.1 version of the original album. Played at full volume, it is incredible to walk around the room and really experience the beautiful mix that the band and legendary Atlantic Records engineer Tom Dowd created. As I said, I thought I knew all there was to know about this album. Not so. The clarity and separation of this surround mix brings out new details I had never heard. Clapton’s exquisite acoustic guitar strumming throughout the album is a huge element to the overall sound. The vocal mix between Clapton and organ player and co-writer of many of the songs Bobby Whitlock is breathtaking. These two guys were meant to sing together. Speaking of meant to be together: there is also Duane Allman. Going from speaker to speaker on the songs they duet on is a near orgasmic experience. It is so easy to give Eric short shrift these days, but this album is a guitar player’s dream. Clapton’s controlled bursts of note clusters and chunky riffing up against Duane’s out-of-control liquid mercury wailing. It’s hard to imagine a more potent combination. From the delicate balladry of “I am Yours” and “Thorn Tree In The Garden” to the raucous blues of  “Key To The Highway” and “Have You Ever Loved A Woman,” from the spectacular rock workouts on Hendrix’s “Little Wing” and “Anyday” to the anthemic performances on “Why Does Love Got To Be So Sad” and of course “Layla” Eric and Duane are a match made in heaven. It is possible to physically move around the mix and hear more Eric or more Duane to fully appreciate how unique each one was, but how smoothly they locked in to each other’s style. There are so many other details to appreciate as well. For instance, the first three songs on the album were recorded before Duane Allman joined the proceedings and they showcase what a powerhouse the Dominoes were even without Allman’s crucial contributions. One of Clapton’s best-ever songs, “Bell Bottom Blues” is a marvelous recording with subtle uses of percussion that add to the exotic feel of this track. “Keep on Growing” is another barn-burner of a track that grew out of a jam and includes an amazing Clapton vocal and a groove that will not leave your head. Throughout the entire album the contributions of Whitlock, drummer Jim Gordon and bassist Carl Radle show a muscular confidence that often borders on brilliance. They were a confident, powerful band able to bring Clapton’s musical desires to life.

I have listened to this surround disc three times already and each time I’ve heard something completely new. It is a statement about not only what an exciting mix this is, but it is a reflection of what an important and lasting statement Layla and Other Assorted Love Songs is in the career of Eric Clapton. It is his most enduring work.

A real treasure trove of live music

The Collector’s Choice label has long been up there with Rhino and Shout Factory as one of the premier venues for well-made reissues of classic albums. They have tackled the catalogs of many bands as important as The Everly Brothers, the Association and the Kingston Trio, and as obscure as The Electric Prunes, The Beau Brummels and Fred Neil. They do an equally fantastic job with both and have quietly built up a huge catalog of desirable music. With their new series called “Collector’s Choice Music Live" they are moving into new and exciting territory. Their first four releases are all taken from deep within the Sony vaults and are each amazing in their own right. These are not radio broadcasts or spurious live recordings that are being dredged up to cash in, no these are beautifully recorded sets in front of small audiences that were often slated for release then somehow lost to time. Here is the breakdown of the first four:

Poco - Live At Columbia Studios 9-30-71 (available Tuesday, May 11th!)
Sounding almost like a studio recording, this stunning concert captures Richie Furay, Timothy B. Schmidt and company at their very best - sounding like a cross between Buffalo Springfield and The Eagles. Tthe performance has the energy and perfection of their great live album Deliverin’ but offers up a different setlist and some even tastier playing. Poco has never been given their due as an important link between country and rock, or for being one of the bands that defined the early 70’s FM sound. Highlighted by a medley of “Hard Luck,” Springfield’s “Child’s Claim To Fame” and “Pickin’ Up The Pieces” this is high energy country rock at it’s best.

Johnny Winter - Live At The Fillmore East 10-3-70 (available Tuesday, May 11th!)
This is the legendary and short-lived Johnny Winter Group that featured second guitarist Rick Derringer and which blew the mind of every guitar obsessed kid in the late 60’s. Winter’s M.O. is loud fast and over the top! It will be obvious to any listener why Winter is considered such a “heavy” guitarist after listening to the 22 minute version of “It’s My Own Fault” or an 18 minute “Mean Town Blues” whereby Winter and Derringer wring every possible note out of their axes to the point of it almost being unbelievable. It is very different from what guitarists do today, there is no restraint whatsoever as they just wail away on the blues for seemingly impossible lengths. As we played it in the store I overheard some employees remarking on the “old school” delivery and I was thinking “damn right!”

John Denver - Live At Cedar Rapids 12-10-87
Honestly, I have very little experience with John Denver. I know him, as everyone does, as the writer of huge hits, the family-oriented actor and the all-around wholesome nice folk singer from the 70s. As I listened to this double CD I was struck by the sincerity and warmth of his songs and delivery, and by the excellence of his songwriting. It is really easy to look down your nose and take for granted a song like “Grandma’s Feather Bed,” “Fly Away” or even “Rocky Mountain High” however I would caution anyone who scoffs to try and write a song like that. As someone who has tried his hand at writing songs I can say that often the simplest of emotions are the hardest to convey, and to convey them with the heartfelt clarity of “Take Me Home Country Roads” or the lovely “Annie’s Song” is a rare talent indeed. I enjoyed all four of these releases, but this one was the biggest surprise.

Hot Tuna - Live At New Orleans House Berkely, Ca. 09/69 (available Tuesday, May 11th!)
Taken from the series of shows that comprised their first, self-titled album, this release was my favorite of the four, and it provides the biggest thrill for established fans of this Jefferson Airplane offshoot. Guitarist/Vocalist Jorma Kaukonen and Bassist Jack Cassady are joined by Harmonica ace Will Scarlett as they tear though an exquisite set of acoustic blues and folk that clearly illustrates what masters these guys are. Whether it is Jorma’s intricate fingerpicked versions of Lightning Hopkins, Blind Blake or Rev. Gary Davis, or his swaggering take on folk numbers like “Keep On Truckin’ or Jellyroll Morton’s “Don’t You Leave Me here” the Tuna boys are dead-on in their capturing the spirit of early 20th century idiomatic song. There are also a handful of Jorma’s originals included that adds another dimension to this complex and talented musician. The highlight is the rarely heard “Sea Child” stretched to 10 hypnotic minutes, it showcases both Jorma’s original playing and his image-rich lyrical abilities. This release has all the magic of that first Tuna record, but it is filled with unheard songs that only expand on it’s greatness. Long time Tuna fiends are going to flip over this.

--Paul Epstein