Guitars Not Guns charitable eBay Auctions of signed music memorabilia and vintage guitars ends early Saturday evening December 8, 2012. Items up for bid include an Ibanez guitar signed by Steve Vai, acoustic guitars signed by Sammy Hagar, Ed Roland and Kevin Griffin, acoustic Stratocaster guitar pickguards signed by Kenny Wayne Shepherd, Joe Bonamassa, Neil Schon, Orianthi, Michael Anthony and many other greats, as well as vintage Made In USA Fender, Guild and Hamer guitars and more. This is a rare chance to pick up an incredible holiday present for that special fan or guitarist and help a great charity keep kids off the streets and away from violence and drugs, through learning to play guitar. Be A Santa Baby to that certain rocker and a Guitar Hero to Guitars Not Guns’ kids! See all the items up for auction here - http://www.ebay.com/sch/guitarsnotguns_501c3_4kids/m.html?_nkw=&_armrs=1&_from=&_ipg=&_trksid=p3686 Guitars Not Guns is an all volunteer organization that provides guitars and guitar lessons free of charge to foster children and at risk youth. No one is paid to work for Guitars Not Guns. Their students, ages 8 to 18 years old, in eight one-hour classes over eight weeks learn beginning guitar and innumerable life lessons, such as perseverance, respect for property and respect for themselves and others .
Don't wait! These auctions end soon! - http://www.ebay.com/sch/guitarsnotguns_501c3_4kids/m.html?_nkw=&_armrs=1&_from=&_ipg=&_trksid=p3686 Guitars Not Guns, Inc. is a non-profit, 501(c)(3) tax-exempt California corporation. Most gifts are 100 percent deductible as a charitable contribution under Federal and State income tax laws. Please consult your tax advisor to determine how much of your contribution is deductible.
Wave riders, you rock blues aficionados may know The Ben Rice Band if only for their bridesmaid finishes in music competitions and blues awards. However, there is no question about the Band’s twelve track release, Pour Me Some Whiskey. It is an absolute winner.
I was introduced to Ben Rice and The Ben Rice Band by a Duck. The CD was sent to me by my daughter who attends the University of Oregon. Ben Rice hails from Newberg, Oregon and she saw the band perform in or about Eugene. She was sufficiently moved to send me the CD. Once I heard it and checked out video of the band’s performances, I understand why she was so moved to actually send the album to me.
Imagine Robert Randolph and Joe Bonamassa merged into one person playing with Lee Rocker and Slim Jim Phantom and you get an idea of the style of The Ben Rice Band. It is hard rocking blues driven music. Some critics have called it “Rockabilly, Swamp Rock, and Soul infused Country” although the Band’s publicity says, for Ben, it “is the kitchen sink of Blues mixed with his band mate’s influences of Punk, Hip-Hop, and Classic Rock.” All of those descriptions are apt summations of what you hear on Pour Me Some Whiskey. Ben Rice sings and plays dobro, lap steel and a cigar box guitar. He also occasionally plays bass. Tommy Rice plays a stand-up bass and Ryan Rustrum plays`drums. On the CD Paul Biondi is also given credit for providing horn tracks.
Ben is the songwriter and he writes a mean song The album has everything from a self-described “Johnny Cash meets Motörhead” hard rock - Wreck On You; a Stax/Volt Memphis soul - I Know You Love Me;. a fast swing jump blues - Chop You Up; a delta bluesman-inspired Mississippi Bayou music - Don’t Worry Mama; and every a rockin’ blues sound you will likely not find anywhere else.
As much as the Band’s music stands up by itself, I am told, and their video confirms, their live shows are a blast. Ben Rice’s slide and fret work is superb. Tommy Rice is a madman on stage, twirling, spinning, standing on, and occasionally setting fire to his bass. Ryan Rustrum sometimes comes out from behind the kit and drums on the strings of the bass while Tommy frets the notes.
My daughter is right. You should take a gander at The Ben Rice Band and Pour Me Some Whiskey.
I had absolutely no intention of ever trying to hear this album let alone review it, but for some reason Glenn Hughes is playing a recurring role in my life these days. A few weeks ago I picked up the Deep Purple Mk.IV documentary Phoenix Rising. The day after watching it I stumbled upon a used LP copy of Come Taste The Band and I knew it was destiny compelling me to buy it yet again. Then the new issue of Classic Rock arrives the day after that with a big article on Glenn’s band Black Country Communion and their new second album. I read it with mild interest but had no real plans of hearing it. Well, I didn’t have to since someone just handed me a promo copy and I must admit it’s pretty good so here I am writing about it.
Black Country Communion is sort of a supergroup that was put together by producer Kevin Shirley to combine the forces of Glenn Hughes with blues guitarist Joe Bonamossa, drummer Jason Bonham (no introduction necessary) and keyboard player Derek Sherinian. The players are all top notch pros but they rock together really well. Led Zeppelin is the main influence and they do it better than anyone I can think of. The guitar riffs are very Zeppy and the keyboards (mainly organ) add an obvious Deep Purple tone but there are some “Kashmir” style synth effects occasionally, too.
The band rocks hard right out of the gate on “The Outsider” with an “Evil” speedy jam that’s totally Cactus worthy. Glenn Hughes turns 60 on August 21 this year but can still sing with more gusto than dudes one third his age. He really has no right to be able to sing this well after all the hard living he’s done. Someone upstairs likes him. Glenn’s bass playing sometimes gets overlooked because of his powerful voice but he can really groove. He’s always been a heavily R&B influenced player and his role in BCC is no different. He never gets carried away and blends well with the powerhouse drumming of Jason Bonham. I’ve heard very little of Joe Bonamossa’s music prior to this but he really gets the Led out on his riffing and solos and Derek Sherinian’s keys fit the songs very well.
Although it’s their second album, Zep III is more the template here with the Presence turned up to 11. “The Battle For Hadrian's Wall” will have you swinging from the gallows pole while “Little Secret” will have you ordering “Tea For One.” By far my favorite song is “Smokestack Woman” because it sounds like Krokus (One Vice At A Time-era) covering “Custard Pie.” How can you not love Glenn bellowing “Smokestack woman gonna steal my soul” like Marc Storace on a crystal meth powertrip? You can’t!
The eleven songs clock in at about an hour with a few of the songs going on for a minute or two too long. The production is great, the band sounds like they’re all playing in a room together and having a blast so I’ll chalk it up to the spirit of the boogie that prevented them from doing too much editing. All the members have pretty busy solo careers but hopefully they’ll continue to make time for this band.
After just writing about Derin Dow’s guitar histrionics, I turned around and plopped this spicy dish of hot blues into the player and suddenly my world was swirling in another alternate universe of guitar wizardry. When I say that Rob Blaine is a Guitar God, I mean that with two capital “G’s.” Not only is this a fantastic blues album, it’s just one of the best damn guitar albums I’ve heard all year. Period.
Rob Blaine is one of those precocious youths that I’d love to hate if they weren’t so damn lovable. I mean come on, the guy didn’t even get his first guitar until age 15 and by 17 he was already gigging regularly around Michigan and sitting in at Chicago’s famed Rosa’s Lounge. There, he immersed himself in the heart of the blues, working as a doorman, sound tech, and house musician. If this was an apprenticeship, it paid off in dividends, because on Big Otis Blues Blaine emerges as a full-on, hurricane force blues guitar hero, a true wresting wind to be reckoned with.
Signed to the dynamite new Blues Label, Swississippi Records, this is an album no fan of the blues should miss. You love Joe Bonamassa? Dig on Kenny Wayne Sheppard? Got a thing for Jonny Lang, Corey Stevens, or Chris Duarte? I got a new name for you. One that’s gonna brand itself indelibly in your inner ear, your heart, and your blues-lovin’ soul. Rob Blaine.
“Not the Forgiving Kind,” launches us onto that path of blues nirvana in it’s very first second. After a staccato burst of snare, Rob Blaine erupts in flaming guitar glory. Talk about making a strong first impression! Dig that tone. I mean really dig that tone. Rob’s notes are so meticulously chosen, his playing so intuitive and heart-felt, it’s a blessing to behold. He tears up and down those frets like a man possessed, never over-playing, dropping in some reverb and nuance, holding notes, sustaining them, bending them . . .heck, he could probably make them do backflips if he wanted. He can funk it up, he can rock it out, and he can blues it down. And he can do it all seamlessly. Yes, he’s that good.
While it’s so easy to lose yourself in Rob’s playing, let’s not forget that voice. That oh-so-rough-and-weary voice that bellows out aged way beyond it’s years. I don’t really know how old this cat is. From his picture he looks early twenties, but that voice, that beautifully deep, whiskey-weathered baritone is ageless.
Big Otis Blues alternates between fierce rockers like “Not the Forgiving Kind,” and slower, moodier, no-less-stunning blues ballads, like the next cut, “Only Mine.” Rob shines on both. On “Only Mine,” his guitar literally cries. It moans. It whispers in notes of pain and love.
“Affection and Pain,” picks the rock back up and, my God, does it rock. Thick and heavy, searing and sparkling with electricity, this song’s a terror. Rob’s band locks right in with him, Joewaun “Man” Scott blowing the doors off the bottom end, James Knowles raising the ceiling with his snare and highhat. This is the way I like my blues, gritty and dirty and hitched onto the back of a roaring Harley. This song really puts the rock back into the term blues rock. From there every song is just one killer cut after another, but a special nod has to go out to “Must be Nice,” which makes an appearance in both full-on electric and acoustic versions. It’s a testament to Rob’s talent that he can play that song both ways, such different versions, and each one hits me just as captivating. Whether sweaty and full of muscle on electric or nuanced and dramatic on acoustic. I’m there. Take me where you want to Rob, I’m there.
Blues lovers, it’s time to sit up and take notice. Rock lovers, you too. I don’t care if this is a blues album or not. The guitar work is so intense, the overall feeling so damn heavy, Big Otis Blues is gonna make it’s appearance on my year end “Best of” list. Yes, it really is that good.
"We’re not worthy! We’re not worthy!" Garth Algar: "We’re scum!" Wayne Campbell: "We suck!" - Wayne’s World (1992)
That is exactly how I feel after listening to Lee Ritenour’s6 String Theory. I have played guitar for thirty-nine years and I am in awe of the music and talent that Lee Ritenour has assembled on this album. I can only dream about playing any the pieces on the album and, even if I learned the music, I can only dream of being able to perform them with such talent and precision.
Right off the bat Ritenour teams with progressive jazz guitar master John Scofield on Ritenour’s Lay It Down. As if trading guitar licks with John Scofield is not enough, Harvey Mason is on the drums, Melvin Lee Davis plays the bass and Larry Goldings mans the organ. My fingers could never keep up. Then, the album gets better.
Ritenour accompanies Keb’ Mo’ and Taj Mahal as they perform “Am I Wrong,” a hot delta blues song which features an amazing swamp guitar tone topped off by Taj Mahal’s tasty harmonica and Keb Mo’s and Taj Mahal’s raw vocal power. I attempt to recreate this guitar blues tone and fail.
Les Paul “L.P. (For Les Paul)” is an up-tempo tribute to Les Paul written by Ritenour. A guitar duet between Ritenour and guitarist Pat Martino (Joey DeFrancesca on organ and Will Kennedy on drums) has dual leads so precise that I would need ice for my fingers before I could complete the first stanza.
Joe Bonamassa and Robert Cray show up on the fourth track to play a slow burn blues version of Tracy Chapman’s “Give Me One Reason.” If I have one wish it is to play as well as Joe Bonamassa or Robert Cray. Some wishes will never come true.
If these embarrassments to my guitar playing ego weren’t enough, Ritenour follows it up with with Steve Lukather, Neal Schon and Slash performing Lukather’s instrumental “68”? Okay, now I can’t find the notes, the speed or the tone. Great. Then they throw it in my face again. Lukather, Schon and Ritenour play a mellow Ritenour jazz piece called “In Your Dreams.” It seems to say to guitarists “you don’t have to play fast. It is about feeling and tone.” The question for me is how does a guitarist even attempt to measure up to this?
Ritenour provides an immediate answer with George Benson performing “My One And Only Love,” in a straight-ahead jazz style. I could never play like Joe Pass. This track makes it clear that I will also never play like George Benson. (Sigh of resignation.) As if one amazing George Benson guitar instrumental number is not enough Ritenour follows it with Benson swinging “Moon River.” I can play “Moon River” but, uh, not like that. (Deeper sigh of resignation.)
Damn, the musicianship and music gets even better. What have I done to deserve this? B.B. King, Vince Gill, Keb’ Mo’, Jonny Lang and Ritenour together play an up-beat version of B.B.’s classic “Why I Sing The Blues.” They vamp, and trade vocals and licks. Can I live with this? There’s only one King, Gill and Keb’ Mo’ got chops, and Lang and Ritenour are prodigies. I’m scum.
I look at the next track - a song by some unknown named Joe Robinson that is called “Daddy Longlicks.” I think, finally, a no-name. Maybe I can regain a bit of guitar player self-esteem. Out of the speakers comes a flurry of fingerstyle guitar picking. I check the CD liner notes and find out Ritenour discovered this 18 year old Australian fingerstyle guitar master. HE IS 18 YEARS OLD!!!! My life is over.
To further my grief Ritenour plays with Lukather and Andy McKee an instrumental version of Sting’s “Shape Of My Heart.” I faintly recall the name Andy McKee and Google it. He is the amazing guitarist with the viral YouTube video in which he plays the guitar as a percussion instrument. A second track of McKee and Ritenour follows called “Drifting” that was written by McKee. Unbelievable. I have no idea how he does it. I get more depressed. Anyone interested in buying a used guitar or two?
I so dreaded to hear what Ritenour would do next. He tortures me with the finest version of “Freeway Jam” since Jeff Beck’sBlow By Blow album. Here, Ritenour plays with jazz guitarist Mike Stern (who played with Miles Davis and the Brecker Brothers) and Tomayasu Hotei (one of the greatest Japanese rock guitarists alive, known in the US for his film score in the movie “Fear and Loathing in Las Vegas” and the theme song to the film “Kill Bill” that also can be found on Playstation 2’s version of the game “Dance, Dance, Revolution SUPERNOVA,” called “Battle Without Honor Or Humanity”). How much more of this can I take?
With great trepidation I let the next to last track spin. It is by some guitarist named Guthrie Govan who wrote and performs the song “Fives.” It is fast. exacting, progressive rock guitar - as good as Yngwie Malmsteen. I’m stiff. I can’t play that. My ears bleed. Who is this guy “Govan?” I look him up. Oh, lord, best known for his work with the band Asia and is a former winner of “Guitarist of the Year” honors. He also has his own shred band called Erotic Cakes. I am not worthy.
The final track makes me think I should adjust my attitude. It is a classical piece, “Caprices. Op. 20. No. 2 and 7,” written by Luigi Legnani and performed impeccably by Shon Boublil. I check him out. Boublil is a 16 YEAR OLD Canadian who won an international guitar talent search put on by Yamaha, Berklee College of Music, Monster Cable, D’Addario and Concord Records. He is 16 YEARS OLD! I suck.
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