Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Minerva Lions Put a Unique Spin on Classic Americana Rock Styles

With laid-back vocals and smartly catchy tunes, Minerva Lions’  new album puts a uniquely psychedelic spin on Mumford & Sons-style Americana as well as other retro styles. They’ve got a new ep out that many fans of folk-rock and the mellower side of psychedelia will enjoy. As much as this music looks back, it’s full of surprises and originality. The opening track, For R. A. is a very smart arrangement of a lazy, hypnotic 70s-style British psych-folk tune, with all kinds of neat flourishes from the organ, tersely soaring steel guitar, baritone guitar and a cool solo where the organ and the acoustic guitar join forces as one. The second cut, Megrims, works a lushly apprehensive acoustic guitar hook into a casual, backbeat sway, steel guitar sailing warily, all the guitars kicking in with a vengeance as it winds out.

Protection Ave reminds of mid-period Wilco, with a sweet, oldschool Nashville pedal steel intro and some of the swirliness that Jeff Tweedy likes so much. Black Mind Decides is a catchy, slightly less glam-oriented Oasis-style electric piano-and-guitar ballad, its unexpectely noisy, practically satirical off-kilter guitars leading to a neat trick ending. Ascension Day offers a more bouncy take on a bluesy 1970 style minor-key soul vamp with organ and smoldering layers of guitars. The album ends with a pointless trip-hop remix of the opening track that strips it of most of its originality and replaces those ideas with cliches: that’s what happens when you take a good song and give it to a nonmusician who’s all about doing what he thinks will please a crowd rather than creating something interesting and original. Lyrically, this stuff is neither here nor there: rather than making any kind of statement, it’s all about hooks and melody. Much of the album is streaming at the band’s site; they’re at Rock Shop in Gowanus tonight (July 22) at 9.

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July 22, 2011 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , | Leave a comment

A Surprising Jerry Garcia Tribute from One of His Heroes

In 1964, Jerry Garcia and some friends took a road trip east to hear bluegrass music. Among those bands was the legendary Jim & Jesse & the Virginia Boys, whom they got to see more than once on that trip. Almost fifty years later, that band’s mandolinist Jesse McReynolds has recorded an album of Grateful Dead songs – some circles just won’t be broken. Still vital at 81, McReynolds doesn’t sound anywhere near his age, vocally or picking-wise, alternating between long, soulfully expansive solos and the incisive, edgy playing that’s influenced literally generations of musicians. Here he’s joined by a crew including the New Riders of the Purple Sage’s David Nelson on guitar, Randy Brown on bass, Stu Allen on acoustic guitar, Shawn Apple on drums and assorted other players. For those who find the concept of this album absolutely mystifying, the real shocker is that it actually works. Which it should. McReynolds got into the Country Music Hall of Fame on the first ballot: his presence here brings out the best in the supporting cast, who don’t waste any notes throughout a surprisingly varied mix of bluegrass, oldtimey Appalachian folk and straight-up, mellow Americana rock. On his solos, Nelson does an impressive job evoking Jerry’s signature, meandering, scale-based style without going completely over the top.

McReynolds characteristically nails the emotion of every vocal here: the plaintive lament vibe of Black Muddy River – which perfectly captures the folk song feel that Jerry was going for – along with the lonesomeness of Bird Song – an eight-minute version with terse interplay between mandolin and acoustic guitar – and especially the bitter cynicism of Loser, done here far more tensely and faster than the original. Likewise, The Wheel gets a counterintuitively vigorous treatment, layers of hypnotic electric guitar against McReynolds’ long, spiky, gently wintry staccato solo. Some of these songs evoke the Dead on the Reckoning album, especially a swinging version of Ripple. Others rock out a lot more than you’d expect from this crew, notably a darkly pedal steel-tinged Stella Blue and a violin-fueled Fire on the Mountain with yet another devastating vocal from McReynolds – he really gets these songs. By the time they get to Deep Elem Blues, they’re completely in their element: McReynolds makes it clear that it’s a cautionary tale!

Not everything here works: a brand-new co-write between McReynolds and Robert Hunter sounds like a mid-70s outtake, and the big anthemic concert singalongs Franklin’s Tower and Deal swing and miss when they try to the energy up a notch. But their version of Alabama Getaway is a knockout, done as a straight-ahead country shuffle rather than trying to imitate the second-generation Chuck Berryisms of the original. Who is the audience for this? Deadheads, obviously, as many as are left after all these years. And for that matter any fan of the new crop of Americana bands, from Mumford & Sons to Deer Tick. The Dead may be history now, but the music never stopped. This one’s out on the independent Woodstock Records label.

November 10, 2010 Posted by | country music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment