Interview with Oliver Wood: The Wood Brothers at the Intersection 5/30

Heartfelt is just one characteristic of traditional American roots songs. Songs written by Oliver Wood display this and other essential lyrical traits. From fertile blues roots territory Wood is able to incorporate his own contemporary touch with folk and jazz nuances just as he did  when writing songs for blues singer Shemekia Copeland. In producing Copeland's latest CD Never Going Back, Wood says he believes Copeland and her camp were looking for the Wood Brothers distinct songwriting vibe and perhaps a brief departure from her rocking blues background. "I think they hired me to have her sing some pretty stuff, some spooky songs, and atmospheric things. I guess you could say they're contemporary but more than that the songs are just different enough than your standard blues." Oliver is convinced of one thing: most audiences secretly long to see the human side of those in the spotlight. “A lot of music can be great where its appeal is that it’s real aggressive or rocking; or its real forward or great for a party,” Wood said from his home in Atlanta. “There are so many good things about those types of music. My thought is what people like, and what often as artists we forget, is that people want to hear you be vulnerable sometimes. I think people want you to expose yourself somewhat. That comes from how you perform, if you sing softly for instance, but it also has to do with subject matter--what are you singing about. There’s a lot more to sing about than relationships. But often times you can still be personal about a song and it doesn’t have to be about a relationship. It can be just about anything: politics, addiction, kids, and parents. And it takes guts to do that. People like to see you be vulnerable about in the same way that--though they don’t always realize it—they like it when you screw up. It’s the same reason people watch NASCAR to see a crash or watch a hockey game to see a fight. They're there to see people’s pain and what’s real about them. As performers a lot of time, when you’re up there performing putting on a show you’re not doing that necessarily.” Even though he got his start as a touring musician with electric blues guitar great Tinsley Ellis, Wood says the roots influences he learned first-hand from that experience serve him today. “What’s similar musically is that we’re all influenced by the same roots,” says Wood. "From Chicago blues to acoustic blues, to gospel and R & B, there are so many ways you can express those influences and everybody does it a little differently. Even now with when I’m doing my original music thing with my brother this is how we express those influences. It is quite different from the Tinsley days but not a stretch.” Root vegetables are the best thing for the body. Similarly quality roots music done the right way is nourishment for your soul. Oliver Wood, along with his brother Chris, seem to feel this more than most. Although billed as a two piece act, the Memorial Day 2011 tour by the Wood Brothers will feature an extra musical hand in drummer/vocalist Jano Rix. Rix was asked by Paul McCartney to play piano on McCartney's Driving Rain release and world tour. He has recorded with Marc Broussard, Liz Wright, Damian & Stephen Marley. The Wood Brothers come to Grand Rapids in support of their most recent collection of songs called Smoke Ring Halo. Wood is proud to announce they’ve recently signed with a fresh imprint out of the Atlanta area called Southern Ground Artists, a new start up by Zac Brown of the Zac Brown Band. “Brown is doing really well now in the country market. He loves all kinds of music and wanted to start a label so he could get some music that he likes out in front of people. We’re already touring with the new record that comes out on August 2. We’re lucky to have been picked up by him.”

The Wood Brothers featuring bassist Chris Wood (below left) of Medeski Martin & Wood tonight at the Intersection, doors at 6:30 pm.

Coming Soon: Interview with Oliver Wood of the Wood Brothers

The Wood Brothers perform at the Intersection in Grand Rapids on Monday May 30.

Sharrie Williams at Billy's Lounge Jan 22: “I’m going to get right into your spirit.”

Sharrie Williams gonna tell you one thing; it’s about to get all spiritual up in here. Dig: her live shows dare conjure up such power side music that it just about threatens the known senses; this, friends, is when her inner side arises. "I'm just grateful when I'm able to use the lyrics of my songs to bring forth that power,” Williams said of her mostly original compositions described as “rockin" gospel blues.” The Saginaw-native Williams says she was raised in the gospel and still, as expected, infuses that flavor in her music. But her sound represents all the various shades of blues, she says. So while not a traditional blues band per-Se, she somehow incorporates into her show the hard-driving Tina Turner; the powerhouse blues of Etta James and Koko Taylor. “I do know some shuffles. I want to touch everybody in the audience and not just one sect of people,” Williams said. “I think that’s what's made me a ‘keeper’ in this business. People call me back because I love to entertain and I bring the audience into the experience.” Williams brings her 5-piece Wiseguys band back to Billy’s Lounge on Jan 22 on the eve of a week-long tour of Dubai. According to Williams there is more to helping people forget their problems for a of couple hours on a Saturday night. “I say forget about your problems and then get over them if possible,” she said. But that thought can be a tall order for just about anyone, Williams admits. “Nowadays with the killings in Arizona and the foreclosures and such, we live in a very blue moment.” But Williams proves again the importance of real belief. “We have to be strong enough to overcome all of that," she explains. "A lot of times people go into deep depression and they don’t come out. I want to be the blues buster and bust you out of that depression.” In substance abuse recovery for fourteen years Williams proves the Creator can see anyone through. “We all have the power to make it,” she said. “There’s a song on my latest album (I’m Here to Stay) called 'Power'. It's about the power we have within ourselves,” said Williams. “A lot of it is laying there dormant and we don’t know how to tap into it. That’s why I call it a musical movement. It’s there--we just have to find it. And we are going to find every bit of that power on the 22nd of January," Williams said with a hearty laugh.

Click here to listen to Sharrie's MySpace Page.

Tad Robinson wsg Greg Nagy Band at Billy's 1/8

Guitarist/singer Greg Nagy

Try as he might, Greg Nagy could hardly conceal his excitement. Nagy was getting worked up about his gig at Billy’s Lounge this weekend when a new development unfolded. No wonder. It seems Nagy had just secured Hammond B-3 player Jim Alfredson as a special guest to join Nagy’s band when they open up for vibrant vocalist Tad Robinson on Saturday night. Even though Nagy and Alfredson have an affiliation that goes back to their time with the Root Doctor, Nagy knows opportunities like this don’t always come together so easily. “Jim is helping me produce my new record as we speak,” Nagy said.”We’re in the studio now. Even so there are a few tunes that Jim knows that we haven’t done out live yet. I don’t worry because Alfredson is really good about thinking on his feet as far as just following along,” Nagy said of performing newer songs that might not be complete as they’d like. If that doesn’t work, there’s this. “Jim will pull stuff out of the hat which is kind of exciting. And when in doubt he can just lay out (improvise musically) and it’s not the end of the world,” Nagy said. Having a player as accomplished as Alfredson coming off the bench before half-time, so to speak, affords Nagy a coveted chance “to build a (better) show.” According to Nagy this sort of show-building worked out well when Alfredson joined the Nagy trio of Jim Shaneberger (bass) and kazoo playing drummer Kevin DePree at the Old Town Blues Festival in Lansing last September. “I think we’ll do half of the show as a three piece,” said Nagy. “Then I might have them sit down and I’ll do a solo number, a finger style thing. Then call the trio back up and get Jimmy up there as a special guest. When we call up Jim it clearly changes the sound and the choice of material you can do. The whole pacing of the set is more dynamic when you have a special guest.” Nagy sounded equally wound up about the chance to sit and watch Tad Robinson and not just play in his accompanying band on Jan 8. With good reason: Robinson brings to town a piece of blues history in the fabled Delmark records rhythm section of Harlan Terson and Marty Binder. Between them, these two Chicagoans have experience with just about every important blues artist of the last 35 years. For bassist Terson it came from recording with Lonnie Brooks and Otis Rush among others. For drummer Binder it was playing the kit behind Albert Collins & the Icebreakers and fellow Delmark label-mate Ken Saydak. “They’ve got that Chicago thing going on because they’ve been a part of that scene for so many years now,” Nagy boasts. “Marty has that ultimate “fat-back” beat which you don’t find too often.” Longtime Grand Rapids music lovers may remember seeing Binder with Saydak at the former Rhythm Kitchen Cafe. Rounding out Robinson’s side of the band is the Indianapolis connection of Kevin Anker (Delbert McClinton, Darrell Nulisch) on keyboards and Paul Holdman on guitar. And what more could Nagy say about Tad? “He’s a singer’s singer and an excellent harmonica player," Nagy explains. "In my opinion Tad doesn’t get nearly the credit he deserves for the way he plays the harp.”


Tad Robinson wsg the Greg Nagy Band, Jan 8 at Billy’s Lounge.

Los Straitjackets wsg The Concussions at Billy's Lounge Jan 1

Photo courtesy of the Sears Portrait Center

Good bands don’t have to come across as meaningful to have meaning. You can be meaningful if your sole purpose is to entertain. This is one thing Eddie Angel of the instrumental guitar quartet Los Straitjackets is willing to reveal to your un-masked face. According to guitarist Angel, rock ‘n’roll lost the way of fun around 1965. “There’s a good term for what we do--it’s called vintage entertainment,” Angel said from his home in Nashville. “We’re fans of the way entertainment was until the mid-1960s. Then it changed from entertainment to everybody getting on stage and singing about themselves. It’s a real simple idea that’s been lost.” In pursuit of this seemingly lost basic mission since 1995, Los Straitjackets have recorded 16 albums (including a Christmas collection) of instrumental surfs-up sounds pummeled with root equivalent rockabilly and garage rock. Their vibrato-rich chewy twang was featured on an entire blues album by Eddy “The Chief” Clearwater called Rock ‘n’ Roll City. One of their non-instrumental albums is called Sing Along With…and features guest vocals from Big Sandy, Raul Malo, Nick Lowe, and Dave Alvin. But according to Angel not every singer who agreed to be on the recording could make it in. “We had Joey Ramone lined up but then he got sick,” Angel said. “Brian Wilson (Beach Boys) was going to do it but then he got wishy-washy; he’d go back and forth. Brian’s a funny guy.” “But we’re big Beach Boys fans, “Angel continued. “Brian writes great songs. Their harmonies are amazing. It’s like ear candy.” In their Mexican wrestling masks Los Straitjackets might look like the space invaders from the crop circle movie Signs but they’re much less scary to listen to. “There’s a certain sensibility that says rock-n-roll should be fun—mainly,” Angel said, noting there is one Grand Rapids band who shares this entertainment-first thought. “They’re really good musicians,” Angel said of The Concussions, whose members play alongside Angel in a garage band called the Neanderthals. “It’s not that common (anymore) but they want it to be fun for everybody. And Tommy Schichtel is a good bass player,” Angel said of the Closed-Head Injury Crew guitarist. Link Wray and The Ventures are the biggest influence on Los Straitjackets, Angel admits. Angel was even tapped to provide the Wray-like vibe on a recording by pre-Stray Cats rockabilly revivalist Robert Gordon. Angel and company look forward to a return visit to West Michigan. “I really like Grand Rapids,” Angel said. “I think it’s a pretty cool rock ‘n’ roll scene.”

Los Straitjackets wsg The Concussions at Billy's Lounge on Sat Jan 1. Doors 8:30, show 9:30.

Visit Los Straitjackets MySpace page

New Riders of the Purple Sage at the Livery Friday 12/17

There is a quote that reads “life is a journey not a destination.” The culmination of experiences along the way is what matters most. It’s unclear whether this famous line by Ralph Waldo Emerson applies to a life that actually begins with a journey. But that’s how it happened for renowned pedal steel guitarist Buddy Cage of the New Riders of the Purple Sage. His musical trip began with a journey and an infamous one at that. By 1970 Cage had hooked up with Canadian duo Ian & Sylvia just as their influential country-rock group Great Speckled Bird was taking off. Before he knew it Cage and Great Speckled Bird were immortalized in the film Festival Express, a documentary about a traveling music festival of the same name by train across Canada. Also on the train were the Grateful Dead, Janis Joplin, Buddy Guy, and Delaney & Bonnie. During the shooting of the movie Jerry Garcia took a keen interest in the pedal steel guitar playing of Cage. Unbeknownst to Cage at the time Garcia was eyeballing him as a substitute for a new band Garcia was in called the New Riders of the Purple Sage. According to Cage, Garcia was becoming so busy that a sub made sense. “Garcia really tore into steel playing around 1969 and just went nuts with it,” Cage said. “He kept it up until NRPS put out a recording which is what they did in the day. Prior to that Jerry was just plunk-plunking around on the steel; he wasn’t that good at it. But during this time he was doing unbelievable shows playing acoustic guitar with (David) Nelson and a couple of the Riders but it was mostly Grateful Dead guys that formed an ad-hoc beginning set. Then they would switch to an electric New Riders country set and then they would switch over to the standard Grateful Dead two-sets which kept Jerry onstage for up to four and-a-half hours. Then that became too much even for Garcia. In the end NRPS were really getting good but Garcia wasn’t getting any better (on pedal steel). He was ready for someone to take the gig and I was the guy. Plus it was time for Garcia to go do serious work on Working Man’s Dead and American Beauty.”

The off-shoot band of the Grateful Dead then went on to tour extensively and record landmark albums like Oh, What a Mighty Time. In between all the craziness Cage was asked to record with Tommy James and the Shondells, fellow Canadian Anne Murray, and Bob Dylan. Something about Cage’s style of pedal steel playing attracted Dylan’s ear. Cage then recorded on perhaps Dylan’s most personal album Blood on the Tracks. "The stuff that I do is different than other people," Cage said. "That's what it's all about anyway--as an individual playing, right? On the Bob Dylan Blood on the Tracks stuff for instance, the cut "Meet Me in the Morning" defines a whole different way of steel playing. It was just something that I knew how to do. It wouldn't have fit with the Nashville sound of the day. They used asked me 'Why don't you move down to Nashville?' I would say ‘Why don't you kiss my ass?' Just so I can fit into some kind of mold or plug-in thing? I don't think so."

Even then those developments were a long way from when Cage starting playing music. In the early 60s he had to realize the only outlet for his instrument at that time was country music. Just prior Cage had been newly influenced by pedal steel master Ralph Mooney (Merle Haggard, Buck Owens). The only problem was Cage hated country music. “I never had a desire to be a country western player, " Cage said while he waited for sound check in Chicago. "When I was kid I thought it was cornball shit and hayseed. It just didn’t work for me. I ended up with country and western music until I found really good players and good bosses who taught me what was good country, and what was not. They gave me a great education into what was good bluegrass and stuff that was hard to listen to.” One of those good bosses ended up being early rock-n-roller Ronnie Hawkins, whose claim to fame about that time was having hired the band before they became The Band. Today the New Riders still perform and record. They have a new record out called Where I Come From. I asked Cage if he ever thought what’s left of the Dead and the New Riders would hook up for shows like they famously did. “Why yes,” Cage said. “We have a New Years gig in Pennsylvania with Bill Kreutzmann (Dead drummer) and Papa Mali in a group they call 7 Walkers.” So yes, from reluctant country and western pedal steel player to jam band NRPS and beyond, Cage and company are still around and doing fine.

The New Riders of the Purple Sage at the Livery, Benton Harbor, tonight 9 pm (doors 8). More info at:
The Livery website

Carolina Chocolate Drops at Ladies Lit 12/1

(Originally published on Dec 8, 2010 in the The Collegiate student newspaper at Grand Rapids Community College)


In the musical world of the Carolina Chocolate Drops one kazoo and two curved bones are all you need to make authentic sounds. Then pass around a fiddle, jug, and banjo and you’re all set. This was the musical mission as executed by the Durham NC trio in front of a sell-out crowd at the Ladies Literary Club on Dec 1. The Carolina Chocolate Drops not only entertained and engaged but enlightened and informed on America’s lesser-known musical footnotes. With their old-timey string band presentation, complete with exchangeable instrumentation among members, the Chocolate Drops are one of very few African-American bands (along with NY’s Ebony Hillbillies) performing this time-honored historical tradition. They wasted no time getting into the gospel spirit by revving up “Starry Crown (Chase Old Satan through the Door)” as their first number. Throughout the night each member took a turn mentioning old-time fiddler Joe Thompson as vital inspiration. Fiddler Justin Robinson played the straight guy mostly during the colorful narratives of his band mates. Singer and banjo player Rhiannon Giddens laid it all out during her stunning solo vocal number, the Celtic flavored ballad “Reynadine” from their acclaimed release Genuine Negro Jig. If there was one standout among this talented group it had to be Dom Flemons. Flemons is not only fine acoustic guitar player but he is an absolute master on the bones, a basic percussion instrument that specializes in triplet rolls. In Flemon’s imaginative fingers the bones are transcended from lowly calcium and phosphorus deposits to performance hall-worthy musical devices. One gift of the group is their ability to bring a world music vision to their shows as heard in the reading of “Snowden’s Jig.” The audience response to “Cornbread and Butterbeans” was among the most rousing of the night. Their most modern sounding song, “Hit ‘Em Up Style,” with microphone beats from Robinson closed out the main portion of the show. Demonstrating this genre as an important link to all forms of contemporary music, and now with a sound young folks might relate to, the tradition of African-American string bands seems in good hands. With their enthusiasm clearly unabashed, we should all be grateful the Carolina Chocolate Drops are giving this type of music an invigorating shake of youthful musicianship.