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T-Model Ford
You Better Keep Still
(Fat Possum/Epitaph)
OPENING WITH THE skeletal arrangement of the haunting "If
I Had Wings (Part 1)," 77-year-old country blues terror T-Model
Ford croaks cryptic devil-be-damned words that convulse directly
into the demented guitar throttling of "To The Left To The
Right." Solidified by the rock hard, rudimentary skin slapping
of drummer Spam (at times banging out a repetitive beat on simple
wood box percussion), the militaristic cadence and marching band
minimalism accents Ford's droning guitar/vocal interplay. It's
a rigid promenade that would make octogenarian fife player Othar
Turner join the ranks and shake his tired ass.
Ford's northern Mississippi blues are distorted, messy and bubbling
forth with as much jubilation and anger as a gin-soaked Junior
Kimbrough playing live. "These Eyes" recoils in a muddy
Delta-guitar exorcism with hilarious female vocal impersonation,
a twisted six-string groove, sparse drumming and a heap of nonsensical
banter between Ford and the squealing, fictional hussy. Ford's
tortured songs are as raw and ugly as expired butcher-shop liver--old,
bloody and nasty--definitely an acquired taste if you can stomach
it at all. Tucson's own über-producer/mixing genius Jim
Waters re-mixed "Pop Pop Pop" into a wicked hip-hop
declamatory. A dizzying array of spacey tape loops, bombastic
Bootsy-derived funk riffs and heavy drumbeats culminate in a
kind of Saturday night juke-joint celebration between homeboys
and blues purists, one that would fit nicely on the latest Jon
Spencer Blues Explosion record.
--Ron Bally
BRUCE SPRINGSTEEN
Deep Down In The Vaults
(E St. Records)
THE EASY CRITICISM of Springsteen's Tracks boxed set was,
"Gee, but he left off (insert song title here)." But
such complaints often come at the expense of really assessing
what the four discs' hand-picked set list represented to the artist
himself.
So okay, fanboys, it's your turn. This unauthorized, collectors'
market 3-CD collection operates on two levels: to address what
the compilers thought Springsteen should have included, and to
serve as a companion piece to Tracks. It generally succeeds
on both counts, sporting terrific sound and charting a chronological
path. It begins with a '66 studio acetate of the Boss' garage
band The Castiles (significantly, the melody from "That's
What You Get" would resurface many years later in "Better
Days"), and an 18-minute 1970 hard-rock jam, "The Wind
and the Rain," by Steel Mill. From there it winds its way
to '96 with a pair of acoustic numbers, "The Ghost Of Tom
Joad" and "Adam Raised A Cain," from Springsteen's
European solo tour. Along the way you're treated to assorted lost
classics, like the much-requested "The Fever" from '73,
which Bruce now claims to dislike; a transcendent live '78 version
of "Prove It All Night," originally slated for a promo
single but withdrawn; and an alternate mix of the haunting gem
"Missing" that was used in the film The Crossing
Guard but only turned up on a '96 European single. One legitimate
complaint should be noted: the '82-'91 period is completely overlooked,
suggesting that perhaps this was originally intended to be a 4-CD
anthology like Tracks.
At any rate, on presentation terms alone, Vaults pulls
all stops, offering a professional 12-page booklet that's crammed
with photos of Bruce and assorted memorabilia (such as a Castiles
business card) plus track notes that detail each song's recording
origins and contextual/historical anecdotes. For the die-hard
Springsteen fan, this 39-song collection is guaranteed to give
you "the fever" all over again.
--Fred Mills
Devil in a Woodpile
Self-titled
(Bloodshot)
DEVIL IN A Woodpile is an old-timey, swinging country-blues band
that echoes a younger Leon Redbone had he just discovered Sonny
Boy Williamson, Ray Charles, Big Bill Broonzy and Spade Cooley,
then listened for hours to cartoonist Robert Crumb's collection
of 78-rpm blues acetates, assembled a bunch of crackerjack musicians
and decided to recreate the birth of American roots music.
What makes the young folks of Devil in a Woodpile so fresh and
adventurous-sounding is their peerless acoustic blending of blues,
country, ragtime and hillbilly idioms. The result transcends time
and musical pigeonholing. Imagine this band recording a soundtrack
to an Al Jolson movie set in a Roaring '20s speakeasy (check out
the Dixieland-style cover of Sleepy John Estes' "Some Day
Baby"). It's a unique amalgamation of rural string-band instrumentation,
brisk dance club melodies and tuba-anchored song structure.
Devil in a Woodpile is the brainchild of Redbone stand-in Rick
"Cookin" Sherry (vocals, harmonica, washboard, jug,
kick drum), Paul K. (National steel and arch top guitars), Tom
V. Ray (stand-up bass, ukulele) and Gary Scheper (tuba). The cover
of Charles' toe-tappin' "I Got A Woman" chugs along
with Sherry's smooth-as-Kentucky-bourbon vocal phrasing, and intoxicating
juke-joint rhythms reminiscent of Delta bluesman Robert Johnson
jamming with Cab Calloway. The Leon McAuliffe-penned "Steel
Guitar Rag" swings with a swift and furious instrumental
flurry that resurrects the ghost of his noted '50s hillbilly pedal
steel guitar.
--Ron Bally
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