Brittany Howard and Ruby Amanfu's Contrasting Vocals Highlight Third Man Blue Series 7-Inch

This recent Blue Series 7-inch 45 rpm single from Jack White's Third Man Records features two up-and-coming vocalists. Brittany Howard is the lead singer and one of the guitar players in Alabama Shakes, one of the hottest bands on the indie scene at the moment. They mix good Deep South blues boogie with thick slabs of buzzsaw rock. Southern rock for the new millennium. Ghana-born Ruby Amanfu has been heard most recently on many collaborations, including Jack White's debut solo album, but has many songwriting credits for tracks by other artists and a few full-length albums and EPs under her belt.

Side A is a cover of cult '70s folk-rock musician Rodriguez' "I Wonder." This version keeps the original's upbeat, snaking rhythm but fleshes it out a bit more. Bass, played by Jack White sideman Dominic Davis,  is featured prominently and plays one of the main riffs while the guitar is mostly crunchy rhythm with some slide/steel thrown in. Bluesy piano and electric organ is provided by former Mars Volta keyboardist Ikey Owens. There's even a reggae-like instrumental break in the middle of the song. Howard and Amanfu trade off verse lines while singing the chorus together. The contrast between the two works very well. Howard, usually a belter, tones it down a bit but still provides a slightly raspy, bluesy swagger. Amanfu's is more in line with soul music with a multi-tonal thing going on. Howard's voice supplies the ground floor for Amanfu's to spring off from.

Side B is a cover of blues legend Memphis Minnie's "When My Man Comes Home." This one is a bit more of a slow burn and keeps in line with old school acoustic blues. Howard plays acoustic guitar on this song as well as sings though the lazy horse clippity-clop blues rhythm is mostly driven by plaintive drums, waves of organ and tinkling piano (played by Cory Younts of Old Crow Medicine Show). Howard's vocals sound just as earthy as Memphis Minnie's herself and Amanfu's take on a warbling 1920s quality. The two meet in a breathy chorus that fits the song well. The only problem with "When My Man Comes Home" is that its too short. Just when its getting good it ends.

Something about this particular collaboration between Brittany Howard and Ruby Amanfu seems natural and special, possibly because, if both play their cards right, their careers could take off explosively. This also shows that a full-length album by these two could easily happen and would probably be great.

Gibby Haynes and Jack White Expertly Marry Punk and Blues on Third Man Blue Series 7-Inch

Jack White's Nashville-based record label Third Man has a series of 7-inch 45 rpm vinyl singles called The Blue Series that brings in varied musicians to the Third Man recording studios to cut two tracks, usually all covers. Each Blue Series release puts a unique spin on familiar and not so familiar songs and really showcases the uniqueness and innate talent of both the featured artist and White's production ability and musical taste. The Blue Series entry from Butthole Surfers frontman Gibby Haynes is no different, though it features original songs written by Haynes.

Side A of the 45 starts off with the wonderfully demented punk ditty "Paul's Not Home," originally by hardcore band Adrenalin O.D. The song is structured around a person ringing the doorbell and asking questions like "Is Paul in rehab?" followed by one line repeated over and over again, like "Paul's on dope!," very fast with a jackhammer downstroke-heavy repetitive punk riff led by Jack White on guitar. The song ends in a typically punk sputter of disjointed notes and random vocalizations. Also in typical punk fashion it's very short, clocking in well under two minutes.

The second track on Side A is a Gibby Haynes original, "You Don't Have To Be Smart." Naturally, it sounds a bit like Butthole Surfers but with a bit more of a blues thing going on. The song also has some Stooges vibes in the tones and a blistering, frenetic James Williams-like guitar solo from Jack White in the middle that actually takes up most of the short song.

Side B is another Haynes original, "Horse Named George," which is an overt Chicago blues boogie, presumably about a guy's adventures with his horse, that nearly verges on parody simply because Gibby exudes tongue-in-cheek. However, it's still a rocking song with the classic Muddy Waters-like call-and-response structure but explosive guitar and drums that recall Jack White's many bands as well as Led Zeppelin.

Not every Blue Series release is a winner but this one from Gibby Haynes is. It manages to capture the unhinged weirdness he has but also showcases it in a way that's enjoyably different than what we've heard from him before.

Jack White Stands On His Own

As great as the band was, Jack White proves on Blunderbuss that he doesn't need The White Stripes. While he also has The Dead Weather and The Raconteurs, being free from a band setting comprised of supposedly equal parts and a set sound style has freed White up for other types of songwriting, while still keeping the garage rock/blues vibe he's become famous for.

This album has an interesting background. RZA of The Wu-Tang Clan was going to record with Jack White but he never showed up so Jack used that time to begin his first solo album instead. He also alternates between two completely different backing bands, one all female (besides himself of course) and one all male. There's also a lot more piano and organ and less guitar compared to most of his other music.

The first single, "Love Interruption" is best described as acoustic soul but, though it has some great vocal harmony, is a slow burner that never really reaches a satisfying crescendo. "Missing Pieces" has a similar problem and has staircase-patterned organ lines doubled by reverb-tweaked guitar.

"Sixteen Saltines" is one of  only a few out and out rockers on the album. It's reminiscent of The White Stripes' "The Hardest Button To Button" it it's treble-heavy buzzsaw guitar riffage. But unlike the aforementioned Stripes song, a distorted electric organ mirrors the guitar.

Oddly but interestingly electronica-tinged "Freedom at 21" has some frenetic drumming that's really the most distinctive part of the song. Most of the guitar playing has a '90s grunge feel though the massive outro solo takes a page from the herky jerky Whammy pedal style of Rage Against The Machine's Tom Morello.

"Blunderbuss" and "On and On and On" have country flavors, especially the former. It features prominent acoustic guitar and pedal steel. Plaintive piano fleshes out this ballad. The later song also has pedal steel but this has a mournful sound akin to the Chinese erhu. The warbling organ, thanks to a Leslie rotating speaker, and the reverb-soaked other instrumentation, brings to mind images of a meandering river.

The guitar and piano compliment each other well on "Weep Themselves To Sleep." The intro is a bit like The White Stripes' "Doorbell." But the more intricate piano playing throughout most of this song has a bit of tango feel.

"I'm Shakin" is straight up rockabilly/call and response blues. The song's written by Rudy Toombs, the doo wop and R&B songwriter most known for "One Mint Julep." Reverb is king here as is the playfully jagged guitar riff.

"Take Me With You When You Go" flies into the stratosphere. It has an expansive, '60s Woodstock kind of vibe to it. Violin flourishes and quick beats Mitch Mitchell (of Jimi Hendrix's band) style drumming help this along. The piano provides the main riff with the guitar used  mostly for a solo in the middle of the song.

If The Raconteurs is analogous to Led Zeppelin, than Blunderbuss is analogous to Robert Plant's solo work of the past decade. Jack White takes bits and pieces of various genres and glues them together in his own unique way to create some great, fresh sounding music that is in turn deeply respectful of the triumphs of the classics in blues, rock, folk and country. Jack's other bands have, for better and for worse, more rigidity in sound and style. The newness and lack of rules of a solo musical persona helped him create a great album that doesn't simply coast on the past.

White Ghost Shivers Share The Love With Studio Album Reminiscent Of Their Live Show

The White Ghost Shivers return in fine form for their sophomore release Nobody Love You Like We Do. The tightly intertwined yet playful nature of the band's live show really comes through in the songs. The seven musicians in this bawdy band have some serious chops. No cheap novelty act here.

"White Trash Fast Food" begins with minor key tenor banjo strumming and that great style of upright bass playing that sounds like the strings are being hit with drum sticks. This song has an overall gypsy jazz feel and has guitar, clarinet and violin solos. The warbled vocals are harmonized well between Cella Blue and Hot Thomas. "Short Haired Girl" has a similar formula but with a frenetic speed.

Conjuring up the vibe of a 1920s dance hall or a sleepy riverboat cruise, "Nobody Loves You" tells the familiar story of someone who's been done wrong by their lover. The newest Shiver, piano player Babyface Gray really shines here with some great ragtime-like playing.

"Too Easy" definitely has the feel of the album's cover, a wild train barreling down the rails. Poppiticus' bass playing, like in "White Trash," drives the song forward. This is augmented by some great undulating up and down clarinet.

Staring with a smoky, melancholy clarinet intro, "Some Things A Girl Can't Give Away" picks up into a bluesy number with some great nuanced, lush vocals from Ms. Blue. A great piano solo brings to mind great bluesman Roosevelt Sykes. A nearly overblown (nearly to the point of squeaking) clarinet solo adds some raucousness.

"Sweet The Monkey" is about a terrible and sneaky criminal who may or may not be an actual monkey. Deep saxophone, probably a baritone, augments the ominous feel the band is going for, as does the percussive piano. Professional beanpole Shorty Stump provides dramatic lead vocals, augmented by Cella Blue.

A staple of White Ghost Shivers, "Sweet Banana," now has a studio version. This is a calypso-inspired song with a lot of ukulele (banjo-uke and otherwise). A jagged violin solo bridges the song. For good old-fashioned double entendres and innuendos, this song is one of the best in the Shivers' bag of tricks.

"Murder In The Big Top" could be considered a Halloween song. It has a spooky tone thanks to undulating clarinet and the ghostly sounds of a musical saw. The violin solo, thin, muffled and crackly, interestingly sounds like it's being played through a transistor radio. The deep vocals that accompany the line "murder in the big top" bring to mind Lonesome Wyatt from goth-country duo Those Poor Bastards.

"Maybe Mary Might Marry Me" is a great ballad of unrequited love, somewhat in the dance style of "Nobody Loves You." Lilting clarinet and violin and a steady tenor banjo strum drive the song. There also might be a slide whistle solo here, though it's hard to distinguish from the clarinet and saxophone.

Almost a minor key sea shanty, at least for the music, "We Never Mention Aunt Clara," is about a preacher having an affair with the titular aunt. The song features one of the best double entendres on the album with "pumping her organ." Interestingly, the chorus is kind of an upbeat waltz that's almost children's song like, which doesn't fit with the theme very much. This song also has some of Cella Blue's best vocals on the album.

There are many more instrumental breaks on the album than on the band's debut Everybody's Got 'Em. A lesser band might have fallen into a repetitive trap with this but The White Ghost Shivers shine in their ability to weave everything together in a skilled and lively manner that feels spontaneous. Each member of the band is just as adept at being a rhythm player as they are a soloist. Of particular note is horn player Saturn, who really excels all over this album. The band also clearly have a unique sound but are unafraid to mingle multiple styles to create a good song. If this album doesn't make a listener want to see a White Ghost Shivers live show than said listener must just not like fun.

Blues And Ballads Flavor Tom Waits' Bad As Me

Bad As Me is the first album of all new material from Tom Waits in seven years and it is well worth the time spent. Waits tries on a myriad of hats, pulling styles from all parts of his forty year career for this music while following a path of blues and ballads.

"Chicago" has a rhythm track like a gyrating factory machine. It helps to accentuate the lyrics that appear to be about the great Southern migration from the farms to the more Northern factories. An interesting mix of banjo and saxophone achieves this. Rolling Stone Keith Richards provides those Chicago blues guitar riffs he's so good at. Waits employs one of his many voices, the one like he's guzzling gravel.

Another interesting mix of sounds, Indian tabla drums, played by Waits, and spiky electric organ, played by Augie Meyers (Sir Douglas Quintet, Texas Tornados, Bob Dylan), provides the main rhythm on "Raised Right Men." A Chicago blues shuffle played with these instruments is certainly odd but it works. The drums sound like industrial machinery or metal trashcan lids, a style that has become synonymous with Waits and, as of late, played by his son Casey. Waits is wailing and moaning urgently here. Flea of the Red Hot Chili Peppers plays bass but it is not distinguishable.

An undulating Eastern European gypsy rhythm meets the old west meets 1920s jazz on "Talking At The Same Time." Waits uses his falsetto here but think more delta bluesman Skip James and less Robert Plant. Meyers provides some bluesy piano. The guitar playing has a lonesome surf/country echo. "Face To The Highway" is similar but slower and doesn't stand out as much. The percussion stomps but softly. Clean, jazzy little guitar fills give a slight Steely Dan meets Chris Isaak feel in parts. Bells and a somber violin break add dirge elements.

"Get Lost" has that '50s rock n' roll thing going for it. Waits yelping vocals overlay a simple but solid rhythm backbone with some sax flourishes. A great, bright energetic guitar solo with bite is played by either longtime Waits axeman Marc Ribot or David Hidalgo (Los Lobos), who plays on almost every track.

"Back In The Crowd" is a romantic ballad with a Mexican feel. The acoustic guitar riffs and the waltz-like rhythm help to achieve this. Brush drums and electric guitar fills complete the song.

Two songs have an Italian ballad feel. "Pay Me" uses accordion, vibes and violin to get this. Waits uses his "real" voice. Some piano adds to a melancholy feel. "New Year's Eve" is a fitting bookend to the album. This is a story-song in the best Tom Waits tradition, recounting the tale of imperfect family and friends on an imperfect holiday fraught with disaster.

"Back In The Crowd" is a love ballad with a Mexican feel. Acoustic guitar plucking and a waltz-like rhythm help to achieve this. Brush drumming and occasional electric guitar fills complete the song.

The title track, "Bad As Me" definitely seems like one that a record company would put out as promotion. Waits is being the quintessential howling madman that people expect him to be. His vocals invoke Screamin' Jay Hawkins' here. The instruments, jagged guitar, undulating sax and piston drumming, sort of roll off each other in waves. Chicago by way of Mississippi blues harmonica player Charlie Musselwhite gets a solo.

"Kiss Me" has an appealingly sparse arrangement. The upright bass, piano and vocals structure invokes the smoky after hours jazz club and coffee house feel of Waits' early '70s music. "Last Leaf" is similar but feels like a song friends would sing together after having had a few at a dark Irish pub. Lyrically, it has an obvious but appealing metaphor about staying true to who you are. Keith Richards provides slightly ragged but earthy background vocals.

On "Satisfied" Waits channels his inner Howlin' Wolf and once again, Richards brings the blues. Les Claypool (Primus) plays bass on this song but like with Flea on "Raised Right Men" you can't really hear it.

In the beginning it might appear as if Waits is attempting to rap on "Hell Broke Luce" but its nothing so pedestrian. This song imitates the "left, left, left, right, left" military march. Lyrically the song is about how war is hell and for many soldiers, the hell is carried with them when they come home. This song has a hammering rhythm and blues guitar fills.

Tom Waits has always made music about the seedier side of life, the ne'er-do-wells, the misfits, and the scalawags and thankfully that hasn't changed on Bad As Me. Even his love songs aren't maudlin. In the world of a Tom Waits song, you can't know happiness if you haven't first experienced sorrow first. The only downside to this album is that at times the tracks vary too wildly so a cohesion is lost.

His cigarette and alcohol flavored voice is also in fine form. Unlike some other gravely-voiced singers, Waits clearly recognizes that his is an instrument unto itself and has taken care to cultivate it as such as opposed to fighting it. He has also never been a flavor of the month type of musician. Fleeting trends do not enter his equation. He is a genre unto himself, which is why his records continue to be significant achievements amidst a cookie cutter landscape.

Long-Awaited New Primus Album Full Of Extended Jams And Social Commentary

Primus is back with their first full-length album of all new music since 1999's Anti-Pop. The band's lead singer, principal songwriter and bass wizard Les Claypool has spent much of the last decade steeped in the jam band scene and this shows itself, for better and for worse, on Green Naugahyde.

"Lee Van Cleef" has somewhat of a quick and repetitive reggae/ska beat with little cymbal fills, bouncy bass and a herky jerky extended guitar solo.

"Green Ranger" has the swirling, slightly unsettling style that is Claypool with a bow on a stand-up bass. The guitar is mostly comprised of harmonic, single-note bursts. Eerie, distorted vocals languish mid-mix. This is more of a drug trip than an actual song.

Theremin-like flying saucer effects define "Moron TV." Deep but treble-heavy bass riffs anchor the song to Earth amid fast drumming. "Jilly's On Smack" is lyrically a typical Claypool-penned song where he takes a random name and attaches some kind of problem to this person. Like with "Moron TV" a musical sound effect is employed, here one like helicoptor blades turning. The instrumentation overall here is like evil jazz-fusion with ghost-like vocals. It's a little over-long.

The feel of "Eyes Of A Squirrel" expertly reflect the frenetic nature of that titular animal. The bass and drums have a start-stop-start rhythm. Short lead guitar breaks explode every now and then. The vocals are hard to understand except in the chorus. The song also features a long instrumental outro.

"Hannepin Crawler" and "The Last Salmon Man" are both more traditionally Primus than the rest. The latter has more space between each instrument, an undulating guitar riff and fuzz bass. The former has less effects on the bass and a big, loud guitar solo. Overall, it has similarities to classic Primus song "Those Damned Blue Colored Tweakers."

"Tragedy's A Comin'" is probably the funkiest, of the Bootsy Collins variety, song on the album. An Indian-like opening guitar riff gives way to slap-happy bass.

One of the weirdest songs on an already weird album, "Extinction Burst" has an over-the-top vocal intro like someone singing opera in the shower. Then the vocals turn into the phrase "hop hop hip hip" repeated over and over again. Machine-like drums and unrelenting bass and guitar add to an overdriven factory feel.

Two political-themed songs on the album are "HOINFODAMAN" and "Eternal Consumption Engine." Speak the Led Zeppelin-like first one's title out phonetically to get a sense of what its about. Hint: It has something to do with selling out. The second song also has a commercialism theme, about how everything is made in China. Music-wise, it has gypsy touches mixed with old, bouncy cartoon music.

With Green Naugahyde, lushness is the new name of the game for Primus. It's actually quite amazing how great the amount is of and the varied nature of the sounds coming from just three musicians. With this new jam-heavy nature, guitarist Larry LaLonde has more to do and this helps showcase what a great musician he really is. Drummer Jay Lane is a new/old hand, having left Primus is 1988 and returning in 2010. His work with various jazz bands and Bob Weir, of The Grateful Dead fame, in his band RatDog add to the jammy sound. Claypool's lyrics have always reflected his off-beat sense of humor and skewed worldview but this is the first time with Primus he's been bluntly political. This isn't a bad thing though for it simply reflects the tense times we live in - in a wonderfully Claypoolian way. While the new Primus status quo has created some great music, the mountains and walls of sound have somewhat buried and closed in the power trio "limitations" that made Primus so great in the first place as more emphasis was put into instrumentation over effects.

The Decemberists are an American Folk-Rock Band and Prove Just That on New Album

Portland-based The Decemberists have been experimenting with the concept album format since 2006 with The Crane Wife. Then came the epic story in The Hazards Of Love, where none save "The Rake's Song" could stand by itself unaided by the others. But now the band is back to creating songs that are musical statements by themselves. With the help of, on select tracks, Peter Buck of R.E.M. on guitar and folk musician Gillian Welch on backing vocals, The King Is Dead showcases the classically literary folk-rock The Decemberists are famous for, this time with an Americana bent.

"Don't Carry It All" has Bob Dylan-like harmonica playing with slow jackhammer drumming. The chorus is melodic and filled with fiddle. A mandolin break, probably by Buck, that has Italian and Chinese hues.

Buck appears on two other tracks as well. "Calamity Song" has an early R.E.M. feel to it, unsurprisingly. Acoustic guitar strums over Buck's chiming electric. The song is laid back i a swirling and lush way. "Down By The Water" proves that The Decemberists could be a great backing band for Neil Young. It captures the grungy folk-rock beast that early Crazy Horse was, full of aggressive harmonica and strumming, a good chorus hook and jangly guitar from Buck. Accordion adds a uniquely Decemberists touch.

The two songs with the most country flavor are "Rise To Me" and "All Arise!" The former is driven by piano and a big vocal track. The acoustic guitar, soft horse trot drumming and pedal steel guitar add the mournful country quality. The latter starts out with a fiddle hoedown and even has a bit of honky-tonk style piano playing.

Despite the silly title, "Rox In The Box" is a great addition to the band's collection of sea shanty/Irish folk ballad/pirate songs. It undulates along with an acoustic guitar riff combined with prominent violin and accordion.

The only aspect of a concept album still around here are in the songs "January Hymn" and its counterpart "June Hymn." The song about the first month of the year is mostly just complex acoustic guitar picking and voice, with some icy glass-like pedal steel. The odd breathy background vocals and arrangement recall Simon & Garfunkel. The song about the sixth month of the year is fittingly warmer. It has an early '60s Dylan-like guitar arrangement accompanied by simple electric organ and harmonica. Both songs have slice-of-life lyrics.

"This Is Why We Fight" is the most straightforwardly rock and roll song on the album. Driving drumming anchors the rhythm for distorted harmonica and jangly guitars. A feeling of dread permeates this song. Its a little too repetitive and could use some oomph.

"Dear Avery" ends the album on a fade out of sorts, which is fine if you like that sort of thing. But there's something to be said for a grand finale. This song is sparse, slow and sleepy but mostly in a beautiful, not boring, way.

Many bands fail in their attempt to downsize effectively after ever escalating the epicness in concept albums. Often times the resulting new album will feel boring in comparison. The Decemberists have avoided this trap with The King Is Dead because they have focused on simply creating fantastic songs, musically and lyrically, that aren't necessarily trying to prove some lofty point. The band members, pretty much all multi-instrumentalists, work as parts of a whole and what they do best is taking older musical styles and transforming them into something that is truly unique but with a warming familiarity at the same time. Introspection housed in organic, woody American folk-rock is the name of the game here and it works splendidly.

Awolnation Defy Easy Labeling With Infectious Musical Stew on Debut EP

Aaron Bruno, formerly of Under The Influence Of Giants, responsible for the disco-funk flavored "Mama's Room," a sizable hit on alternative rock radio in 2006, returns to re-invent white r&b again as Awolnation with debut EP Back From Earth. However, this time Bruno steps out of the '70s and into the future with thick electronic beats.

"Burn It Down" is part Little Richard, complete with "Woooo!," part breakneck techno and maybe even a little Michael Jackson. For most of the song, animated live drums throttle underneath quickened electronic blips. This song is like a bus with cut break-lines speeding towards a brick wall.

Muted but distorted guitar, thumping bass and clean organ make "Guilty Filthy Soul" more of a traditional soul-rock song. Bruno's vocals here are mostly unadorned and his emoting would do James Brown and Freddie Mercury both proud. Bernie Worrell-style funkified synth sounds add a touch of George Clinton & Parliament Funkadelic.

"Sail" may be the most provocative on the EP, a layered minor key dirge-like song. Electronic violins provide most of the melody while heavy slabs of electronic fuzz fall between them and a mix of live drums and drum machine. The bridge of the song does feature a smattering of guitar and piano too. Bruno's vocals here are layered and given a scratchy quality that enhances the anguish in his delivery and lyrics. Overall, the song, with its fade-in and fade-out, seems like it could go forever and what is heard is just a snippet of the whole.

The final track, "MF" is where the album loses some focus. It feels less like an actual song than dance club fodder. Bruno seems to be screaming himself hoarse in a quasi-rap style that becomes grating before the song is half-way through. The music here is entirely electronic, and while full of heavy beats like the rest, it feels overly repetitive.

Awolnation, while taking some cues from classic r&b, 1970s rock and heavy electronica like The Prodigy, mixes these disparate sounds into a stew that is unique and enjoyable. Bruno's impassioned, energetic vocal style is infectious. The live instruments and studio electronic wizardry find a compatible place when most of the time they don't in other music. These days, specific genre labeling in music is meaning less and less and Awolnation is definitely a positive outcome of this trend.