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Court Jester, You, sir, are an ass.

Trombonist "J.J." (James Louis) Johnson was born in Indianapolis, Indiana in 1924. His interest in music began in his church where he eventually studied piano with the organist. In high school he started playing the only instrument then available, the baritone saxophone, and soon moved to the trombone. Johnson joined Snookum Russel's band when he was 18. He spent most of the 1940s moving through the ranks of some more notable bands led by Benny Carter, Illinois Jacquet, Count Basie, and Benny Carter. It was with Carter's band that he made his first recorded solo on "Love for Sale." Johnson gained notoriety for his inventive, rapid, and clean style beginning in 1944 with his first concert as part of Norman Granz's Jazz at the Philharmonic. In 1951, he joined Oscar Pettiford's sextet for a USO tour. Johnson left the music business in 1953 for about a year, playing only occasionally as when he recorded some titles with Miles Davis for Blue Note. He came back, however, as part of the much-acclaimed group, Jay & Kai, which included trombonist Kai Winding. The late 1950s saw Johnson at work as both a composer (Poems for Brass, a piece for brass ensemble and orchestra) and the leader of a sextet that included Cedar Walton, Albert Heath, Clifford Jordan, Freddie Hubbard, and Arthur Harper. The group disbanded in 1960, but Johnson remained active, playing with Miles Davis, Sonny Stitt, Clark Terry, and others. He also continued to compose for large, classically oriented ensembles. In 1970, J.J. Johnson moved to Los Angeles to work almost exclusively as a composer and arranger of music for TV and films. Among his TV projects were scores for "Mayberry R.F.D.," "The Danny Thomas Show," "That Girl," and "The Mod Squad." His movie credits include Cleopatra Jones and Shaft. Throughout the decade and into the 1980s, he periodically recorded as a jazz trombonist, but rarely played live. Eventually he moved back to Indianapolis. It wasn't until 1988 that he started playing and recording more frequently. J.J. Johnson retired from performing in 1997 and spent the rest of his life in Indianapolis, composing on his Macintosh computer. He died in February of 2001.

The Personal Touch Over the past 15 years, Vancouver-native Renee Rosnes has continued to develop her impressive skills as both a pianist and composer on the international stage. Having moved to New York in the mid-80s, she quickly established herself as a first-call accompanist working in the bands of Joe Henderson and J.J. Johnson while also developing her own units. Now considered one of the leading voices in the current crop of contemporary jazz musicians, Rosnes has recorded with a who's who of the jazz community including Wayne Shorter, Herbie Hancock, Branford Marsalis and Bobby Hutcherson, and has had pieces commissioned by Wynton Marsalis for Jazz At Lincoln Center. She is currently celebrating the release of her latest Blue Note recording, Art & Soul. Bill King: There are musicians whose playing is derivative and those who possess an original voice. You seem to have created a sound and dialect all your own. What flows through your mind when your hands touch the keyboard? Renee Rosnes: When I begin to play, I try to go within myself, relax and let the music come through. I think that when any musician thinks too much, it hinders the music. Whether recording or performing, the main thing for me to do is just let the music happen. B.K.: What I find intriguing about your playing is how selective you are at choosing notes. There are no repetitious scale patterns or gimmicks. Do you purposely avoid cliches? R.R.: Well, I try to, but it doesn't always work. I try to maintain a fresh approach without placing expectations on how a tune is going to go when I begin playing it. That's when I come up with the freshest performance. B.K.: I had a wonderful conversation with Don Thompson the other night about various piano players and the subject of your playing came up. He agreed with me that there is clarity and purpose in everything you play. R.R.: That's a tremendous compliment because that's my goal. To be able to sit down and sound like yourself is every jazz musician's goal. I obviously have a lot of influences and I certainly know in my own playing how they come out from night to night. Hopefully, I've reached a point where I'm not so concerned with trying to sound like anyone but myself. To hear someone say that they hear clarity and a personal touch is great. B.K.: How does one arrive at a sound after years of assimilating all that has come before? R.R.: That's a good question. It's hard to say exactly. For myself, it's been through a lot of practising, making choices of what I like in other people's playing - what I've chosen to incorporate into my own playing and what I've chosen to exclude. We all have our own experiences, musically and otherwise, and that creates the sum of who you are. I've been influenced by a lot of bandstand experience with people like Bobby Hutcherson, Joe Henderson and Wayne Shorter. It's an individual thing from musician to musician. Even when one arrives at that point, it's still an individual process.

Diana Krall's emergence as a popular jazz artist didn't occur overnight. Year's of study and terminally long engagements helped shape her sound. Recently, she collected her first Grammy award for Best Jazz Vocalist and two Jazz Report Awards; Female Vocalist of the Year and Musician of the Year. Her current recording When I Look In Your Eyes has passed double platinum sales in Canada and moving quickly towards Gold status in the United States. Bill King: Can you pinpoint the moment when everything just seemed to fall in place for you? Diana Krall: It was when I realized I had the creative freedom to be the artist I really wanted to be without worrying about compromising what I had to do. I worked really hard commuting to a gig in Boston while living in New York for about four years. Even with a recording out, I was still doing it. As a new artist, I was struggling to make a living, but it was an opportunity to keep learning and playing especially since it was a seven-hour gig per night. It was hard schlepping through the snow and the long train rides, but I wanted to stay in New York. I was talking with someone the other night who was congratulating me on my success. I told them one of the most important things about success is that it allows you to be a creative artist and to grow faster. B.K: Like so many Canadian musicians, you suffered through weekend gigs like Meyer's Deli, in Yorkville, where orders for corned beef sandwiches and Hockey night In Canada drowned out the music at the other end of the room. Soon you were able to move downtown to the Underground Railroad where you attracted a listening audience. Did these experiences help clarify the need to bypass gigs that didn't advance your career? D.K: The Underground Railroad was about two people. John Henry and his wife. They believed in what I wanted to do and gave me an opportunity. I was talking with John Clayton about this at the International Association of Jazz Educators' conference. We were discussing the importance of recognizing an individual's ability and giving them a good environment in which to grow. I look at the situation at the Underground Railroad like that. John and his wife were kind of like a mom and dad to me. I wasn't thinking about career advancement at the time. I'm never one to put down any genre of music because I listen to all kinds. I realize that many other people are just as serious about their music as I am about mine. Just because you are playing in a band in a hotel lobby doesn't mean you are not serious about your music. I also believe you should want to make people happy with what you are doing. Rather than bypass certain gigs, I created the kind of work that would help me grow as an artist even though at times I was compelled to eat in a cafeteria and not fraternize with the guests. I was directed to go downstairs and drink my cup of coffee with the hired help. That wasn't respectful to me as an artists, but I've always decided to make each place my own and hire the best musicians possible. B.K: Canadian women have had an unprecedented impact on the international music scene. There's Anne Murray, K.D. Lang, Shania Twain, Cleine Dion, Sarah McLachlin, Amanda Marshall, Jann Arden, Renee Rosnes, Jane Bunnett, Ingrid Jensen and yourself. Why do you think the masses find these artists so alluring? D.K: I don't know. I've been reading Karen Kain's autobiography, which is completely inspiring to me. I look at her as a woman who went through similar experiences to me, but in a totally different art form. I'm inspired by Joni Mitchell and many other Canadian women who I see as my mentors. Besides Karen Kain, there's Renee Rosnes. She moved to New York and was just fine. It's like the comedians. Why are there so many great Canadian comedians. I don't know the answer to that. B.K: What was your first entry point to the United States? Early on, I was able to study with Jimmy Rowles and Ray Brown for three years in Los Angeles. That was a goal I had to apply for. I had to plan out my project and submit to Canada Council. In the end they came through. It would have been very difficult with a Canada Council grant.

Interview with Dave Brubeck Pianist-composer Dave Brubeck is one of a very few jazz musicians to be recognized more for his compositional skill than his playing ability. A product of the '50s when the lightning fast fingers of Art Tatum, Oscar Peterson and Bud Powell ruled the keyboard, Brubeck followed a different path. Instead of playing long linear melodic lines, he used rhythmic interplay and polytonality as his tools. Brubeck studied modern compositional harmony and explored the music of various world regions. Incorporating these influences, his career blossomed throughout the '50s and '60s with huge hits including Take Five and In Your Own Sweet Way. Over the years, he has led numerous influential units including those featuring his sons. They join him again on his latest Telarc recording, In Their On Sweet Way. Bill King: In Their Own Sweet Way must have been one of the greatest Christmas gifts a father could hope for. Dave Brubeck: It sure was. All of the kids were home for the holidays when a snowstorm warning was issued. Telarc was planning to record a piano concerto with a symphony at a college in Westchester, but the bad weather forced the event to be canceled. With all of their gear intact, Telarc called and asked if I wanted to record something because I live in nearby Connecticut. As I mentioned it just so happened that the entire Brubeck clan was home for Christmas at the time, so the rest of it just fell into place. B.K.: Was it a communal decision with record to selecting the material? D.B.: Everybody contributed their own ideas. By the end of that process, we had more than enough material. The CD ended up being 70 minutes long, but we had enough for two complete recordings. B.K.: You have managed to develop a great relationship with Telarc after so many fruitful years with Columbia. D.B.: Yes, that's true. I'm still one of Columbia's top-selling artist, especially in Europe. I sell more there than any other Columbia artist. Miles still outsells me in the U.S., but not by much. B.K.: On In Their Own Sweet Way, you appear in a duo piano setting with your son Darius. Two pianists can pose both musical and technical problems. Were you able to address potential conflicts before the sessions? D.B.: No, we just played. There was no rehearsal. We just sat down and let things happen. B.K.: What do you think of the evolution of your four sons playing? D.B.: I think each in their own way are saying and doing so much. Over the years, I've had the greatest drummers in the world in my bands. Danny learned from all of them when he was a kid. By the time he was eight or nine years old, he was listening to Joe Morello. Then he studied with Alan Dawson. Those influences come through in his playing. Now, I truly think he is one of the most exciting drummers I have ever worked with. by Bill King

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Jazz is America's classical music. In a four part ARTSEDGE lecture series, recorded live at the John F. Kennedy Center for the Performing Arts in Washington, D.C., Dr. Billy Taylor, noted jazz pianist, historian, and educator, shares glimpses of his extensive knowledge of jazz music from its roots in the African-American slavery experience, through the early days of ragtime, and onward through swing, bop, and progressive jazz. Dr. Taylor combines academic research with a wealth of personal knowledge of the music and shares many fascinating anecdotes about the great artists of jazz. He cautions, however, that four hours is only long enough to scratch the surface. For an in depth look at jazz history, get a copy of "Jazz Piano, A Jazz History." To hear Dr. Taylor's presentations in their original order, attend a lecture. Or, if you're interested in a particular artist, genre or other aspect of the history of jazz, follow up a topic thread. You'll find out what Billy Taylor said about that subject, and you'll also find links to photos, discographies, articles and audio files at IMS and at many other sites across the web.

T.S. Monk returns with the release of his first new album in four years entitled Higher Ground. While it might seem as if the venerable drummer has been missing from the jazz scene for far too long, he's actually been hard at work on a variety of projects that includes developing and launching his own record company, Thelonious Records. The release of Higher Ground will mark the label's national debut. ""It's not often that one gets the opportunity to fulfill a dream for both yourself and that of your father. Thelonious Records is that opportunity for me. My dad dreamed of one day owning his records, and that is what Thelonious Records is all about-family. It begins with Monk and Monk, and one day it will be, Monk and Monk and friends," states T.S. If the title Higher Ground evokes a sense of confidence and self-fulfillment, it's not without good reason. With his new record, T.S. Monk has settled into his sound, and is finally making the type of records that reflect his own sensibilities as an artist who's spanned a wide spectrum of styles over his career-from R&B to funk to traditional jazz. "On 'Higher Ground' is where I want to be-where the free thinkers of jazz reside close to the people," declares Monk. "For me that place is somewhere between Art Blakey's Jazz Messengers, and tomorrow's sound. It's really smooth, and it's really jazz." T.S. Monk will hit the road in support of Higher Ground with dates planned across the country for the remainder of summer and fall. With a new album, his own record label, a national tour and his ongoing work as Chairman of the Board for The Thelonious Monk Institute of Jazz, T.S. Monk is back in full swing, and indeed, hitting Higher Ground.

Do not attempt to adjust your sound system. Nicholas Payton and his freshly reconfigured band have fattened the bass, tweaked the treble and phase-shifted the balance for an unforgettable aural experience... one that goes beyond the realm of jazz as this world class trumpeter/composer has presented it in the past. Utilizing groove and hip-hop, electric keyboards, upright bass, drums, percussion and a mystical bag of special effects for trumpet, Payton & Co. plunge listeners into an underworld of intoxicating self-discovery and hedonism. This pulsing new soundscape was designed to send imaginations on a liberating journey. Think of it as 68 minutes of a sublimely musical mind-altering substance which Payton has dubbed...Sonic Trance. Sonic Trance is Nicholas Payton's seventh album and first for Warner Bros. Records. It features Payton along with two members from his previous quintet: Tim Warfield on tenor and soprano saxophones, and Adonis Rose on drums. Payton then recruited Kevin Hays on electric keyboards and piano, Vicente Archer on upright bass, Daniel Sadownick on percussion and Karriem Riggins on sampler and synthesizer. They played live between September and December of 2002, then recorded over five heady days in January. Some may see it as a bold and bracing departure, but for the nearly 30 year-old artist who has risen to the top ranks of jazz trumpet, the project is a natural progression and a timely reflection on life in the modern world. In a sense, Sonic Trance is like a trippy art house film, only played in 18 musical variations that usher the listener from the Harpo Marxian sunshine to the Akira Kurosawan shadows of our existence. "I approached this album like cinema," Payton states. "Certain recurring melodies are like characters that appear and reappear in different incarnations...one minute wholesome, the next evil. Some things just appear out of the blue like the Jamaican rap ("Shabba Unranked"), then phase into something subtle ["Seance (Romantic Reprise)"]. We go from rap to a tone poem on this album because that's how life can be. One minute we're involved in the most buffoonish of escapades and the next, something beautiful." The philosophical concept lurking within the psychedelic strains of Sonic Trance hinges on self realization, which can theoretically lead to a universal order. "Everyone has a voice," Payton states. "I believe there is a way we can all co-exist--truly be who we are--without stepping on each other, though with the current state of affairs, it plays better in theory than in execution. In that way, I feel this record is very timely. All of the musicians come from different racial, cultural and spiritual backgrounds, yet we were able to create a unified body of work. We need more of that in the world right now."

As Kurt Elling knows, being a jazz singer in the truest sense requires skill at any number of interrelated roles. Not only does it take vocal mastery in musically swinging terms, but stretching beyond into the realms of bandleading, composing, arranging, and writing poetry. To this list, he has also added the role of musical matchmaker. For Man in the Air, Elling’s sixth release for Blue Note Records, the 35-year-old Chicagoan has created original lyrics for compositions by such giants as saxophonist John Coltrane, pianist Herbie Hancock, guitarist Pat Metheny and others close to his heart. By putting pen to paper, taking to the studio, and incorporating these works in his riveting live performances, Elling hopes that audiences will fall in love with music that he himself adores, or will rediscover some compositions they have loved and overlooked for a time. The album provides a rare showcase for his lyric writing, featured on ten of the album’s twelve tracks. A six-time Grammy nominee, Elling has already earned a reputation as the contemporary writer of vocalese, the art of setting words to instrumental solos. As early as his debut recording Close Your Eyes (1995), these texts had assumed epic proportions. It was unavoidable: Elling ambitiously applied his literary talents to the music of hard-hitting, monster improvisers like saxophonists Wayne Shorter and Dexter Gordon, and trumpeter Freddie Hubbard. By comparison, the challenges of the repertory on Man in the Air are subtler. Rather than pyrotechnics, the success of these pieces tends to hinge on vocal control, sonic atmosphere, and use of space. Their lyrics follow suit. Elling wrestles with themes of love, life, loss, and the indefatigable human spirit in all of their

Following her Grammy-winning orchestral album "The Calling: Celebrating Sarah Vaughan," jazz vocalist Dianne Reeves wished to return to a simpler, all-acoustic setting. So in December 2002, Reeves entered Right Track studios in New York City with legendary producer Arif Mardin (Aretha Franklin, Norah Jones) to record A Little Moonlight, an intimate collection of ten tunes featuring her touring trio: pianist Peter Martin , bassist Reuben Rogers and drummer Greg Hutchinson . “Most of the songs are about the moment you’re ready to fall in love, and the record features one of my loves, my trio—up-close and personal,” says Reeves. “I’ve had great groups over the years, but there is really something special playing with Peter, Reuben and Greg. We’ve worked together for so long that sometimes all it takes is a look to make the music come alive—and this record captures the magic between us.” Besides the inspired trio, the album also features appearances by trumpeter Nicholas Payton and guitarist Romero Lubambo .

Michael Brecker is the most celebrated tenor saxophonist of his generation. His astonishing technical prowess and imaginative command of his instrument, and chameleon-like facility in any musical setting have given him uncommon scope. For the past 30 years a sought-after session player who has appeared on over 800 jazz, pop, and rock albums, he has also, simultaneously, become one of the most daring, impassioned solo artists in jazz, a peerless improviser and restlessly inventive composer. A nine-time Grammy award winner, Brecker’s previous recordings have all been muscular, highly-praised small-group outings dominated by his own compositions. Wide Angles is a suite of compositions arranged for an ensemble of 15 players (a quindectet) that proves Brecker to be one of the foremost composers in jazz as well as a genius of his instrument. In these performances Brecker achieves an inspired fusion of virtuosity and lyricism, power blowing and evocative story-telling, edgy explorations and grooving earthiness, make Wide Angles Michael Brecker’s most ambitious and personal work to date.

If there's one key lesson that Rick Braun has learned from all his travels as both a sideman extraordinaire and one of contemporary jazz's most acclaimed and innovative artists, it's that music is truly the transcendent universal language. The title of Esperanto , the trumpeter, composer and producer's long-anticipated follow-up to his wildly popular 2001 Warner Bros. Records debut "Kisses In The Rain," is a wistful reference to a language created in the late 19th century (by Dr. L.L. Zamenhof, who used the pseudonym "Dr. Esperanto") to facilitate communication between people of different lands and cultures. In his colorful liner notes, Braun conveys the album's distinctive Euro-vibe influences (drawn from the realms of trance, electronica and acid jazz, including dramatic orchestral touches as well) with images of folks from various European countries sitting on an Italian portico, speaking different languages amongst themselves. Wafting over the conversations from inside the house is the music of Miles Davis, one of Braun's idols. "The idea is that music is a link between these people of varied backgrounds, a healing force that brings them together," he says. "It creates an atmosphere of mutual understanding."

Happy New Year! Hello friends in the blues. I apologize for my recent hiatus and want to thank all of you for your communiqués and kind words. May 1999 be a Fantastic Year for blues lovers and players everywhere! This installment is dedicated to the Blues Giants of Houston, Texas who welcomed me into their musical circle. When My wife and I relocated there from Austin in the late 80’s, we did not expect to find such a rich and vibrant blues culture. Hidden in the wards that surround downtown is a vast wealth of largely unrecognized talent. In addition to the great guitarists covered below, I’d like to mention several performers with whom it was a pleasure to have shared the stage - vocalists Trudy Lynn and Lady D. (Donna McIntyre), the great Sax man, Grady Gaines who toured for years with Little Richard, the wonderful trumpeter, bandleader and vocalist Paul David (Texas Horns), the up-and-coming tenor sax man/vocalist Aubry Dunham, a the good folks of the Houston Blues Society. I would also like to thank promoter Sirron Kyles for believing in me and helping me along that lonesome Gulfcoast blues highway. - Lightning Red Joe “Guitar” Hughes When you pick up the July/August 1998 issue of Living Blues magazine, the warm, friendly eyes of one of today’s most talented and fluid blues guitarists welcome the reader into a world of smooth ######s and hot tricks. Clutching the Japanese Telecaster copy that he’s mastered, my all-time favorite Houston bluesman seems to bare his very soul. Although it had the standard chrome-covered neck position single coil pickup intact when I first played this axe (and which I prefer to the present setup), Joe decided to replace it with a dual coil humbucker. I believe his reason for this to be as follows: when Joe first mesmerized me, he was coaxing ever-so- sweet tones out of a bright red (B.B.King-style) Gibson ES-345 from high atop the stage of the Doris Miller Outdoor Theater in South-central Houston. The next time I saw him in a small, restaurant-style place in the Montrose area, he was struggling with his newly acquired, cream colored Tele copy. And he was singing a slow blues about having his 345 stolen (every player’s nightmare - when mine disappeared from our south Austin residence I had reward flyers plastered all over town, and Ray Hennig took pity on me and nearly gave me a 1970’s 335 - could never replace the ‘59 gold plated 345 that ‘walked’). This drove me into orbit. I missed the sound of that 345 in Joe’s able hands so much that I pleaded with the club owner (who was a blues fan, and who I assumed to be wealthy) to buy Mr. Hughes a replacement Gibson. My efforts failed but after struggling for many months on that Fender, Joe eventually mastered the ‘foreign’ instrument and proceeded to pump out his signature flowing blues cascades in small clubs all over the city. After Joe Hughes saw me play at a Blues Society benefit (man, was I nervous to be performing face to face with Joe, “Texas” Johnny Brown, Pete Mayes, Trudy Lynn and TNT Briggs - a legendary piano player) he would always shove that Tele copy into my hands when I’d greet him at his Tuesday night blues jam in the 3rd Ward. “Go to it Red” he’s say and then sit back and smile. The action was set way too low, and the strings were too light (with a 9 or 10 thousandth of an inch diameter - the top E position) for my big hands, but I did the best I could. I felt like royalty playing that beat-up old axe which was said to have been presented to Joe Hughes by the legendary Lightning Hopkins. Eventually I learned how to get his Peavey amplifier with two 12 inch speakers to sing, but watching this great bluesman master his recently acquired solid body guitar was my greatest treat. The master of “passing chords” (chords that ‘lead’ the listener to the dominant 1, 4, 5 progression chords), Joe knows how to interject just the right amount of ‘jazzy’ quality into a ballad or slow blues to please the most jaded taste, much as the legendary T-Bone Walker did. And when I saw Joe “Guitar” Hughes play a throbbing boogie [my all-time fave groove] with a five piece horn section punching out the lines behind him at a Houston Blues Society event, I nearly flipped. And if I may digress for a moment: It is unfortunate that the vast majority of Houstonites do not support the blues, and night after night we’d see the great bluesmen featured in this installment (with the exception being Johnny Copeland, who was a touring act) playing to an empty house. Very sad indeed. Someday I hope to get back to Houston and play his ‘Tele’, or to be on stage while HE plays it. So, I strongly suggest the intermediate guitarist play along with Joe on: Down & Depressed: Dangerous / Munich Records Texas Guitar Slinger / Bullseye Blues (BB 9568) Texas Guitar Masters / Double Trouble Records (TX 3012) If You Want To See The Blues / Black Top Records (BT 1050) Texas Johnny Brown I’m not certain if the guitar I saw Texas Johnny Brown play in the small clubs was a Hagstrum [German Guitar] or a really unusual Epiphone [formerly Gibson-Epiphone]. It looked like a ‘confusion machine’ to me, with a slew of toggle buttons and knobs that could have been borrowed from the space shuttle. But when cranked through his Fender Twin Reverb, it produced the sweet sound of a bluesman who knows his stuff. After nearly twenty years on the Chitlin’ Circuit, which provided black players with regular tours of the Southern US, playing behind everyone from Bobby “Blue” Bland to Joe Tex , Johnny Brown decided that Sunday mornings were much too lonely and he settled down in Houston to raise a family. This wonderful guitar “slinger” is now making regular trips to Europe and hopes to have an album out before too long. I feel honored to have seen Texas Johnny Brown perform countless times in [mostly empty] Houston clubs throughout the west and near east sides of town. Unlike the fluid lead style of Joe Hughes, Johnny’s experience was mostly as a rhythm player [playing chords to support the melody] doing very little lead work.. With a four-piece band that included keyboards, I experienced no shortage of exciting music and solid blues guitar emanating from the experienced fingers of this yet-to-be recognized Gulf Coast guitarist. Although he was inexperienced as a vocalist when first coming out of retirement, Johnny’s voice developed quickly, and I assume his ‘pipes’ have sufficiently matured enough to allow him to “front” his band as the featured vocalist. Good luck to you “Texas” Johnny Brown. Pete Mayes The last time I talked to Pete Mayes was after he performed at a concert in San Jose, California with the Antone’s house band featuring Derrick Obrien. [in a future installment I’ll talk more about all the great guitarists and my experience coming of age in the fertile Austin, Texas music scene of the 70’s.] Hey, Red! Pete said, surprised to see me so far from Texas. We then reminisced about the scene in Houston and he filled me in on recent events and gave me his new home phone number. After his leg was amputated below the knee as a result of severe diabetes, Mr. Mayes was forced to sit in a chair when performing. Something he has mastered quite well. Pete has played his cream colored mid-seventies Fender Stratocaster ever since I’ve known him. Usually he is seen pumping it through a late model, compact style Fender Twin Reverb amplifier - the one with the red knobs. This has become a favorite of many blues guitarists because of its size and portability. This was also the amp that Johnny Copeland and his sideman guitarist both used. To hear this lesser known bluesmaster, check out his latest release on Antone’s Records. Milton Hopkins The most important thing to know about Milton Hopkins is that he is Lightnin’ Hopkin’s nephew, and was B.B.King’s bandleader off and on for nearly seventeen years. The next vital piece of information consists of the fact that his favorite guitarist is Tal Farlow. During the four months spent subbing (temporarily replacing) for his regular bass player, I studied Mr. Hopkin’s amazingly full orchestral-like chording and sparse, soulful leadwork as best I could while facing the back of his guitar neck. It was only later, when I became part of the audience that I could fully appreciate the T-Bone Walker influenced runs (melodies, ######s) that punctuate his six-string wide chords. To this day I am unsure how to form many of the jazz-like fingerings and chords that seemed to catapult off his fingerboard. The fullness of his sound is amazing. The strings on every one of Milton’s wide bodied Gibson jazz-style guitars are totally unbendable [each consists of a very heavy gauge metal], and this was reflected in his playing style. While most blues guitarists utilize a variety of string bending techniques to make the guitar “sing”, this yet to be discovered bluesmaster prefers to use a flurry of notes to express himself. Just as Wes Montgomery or Kenny Burrell chose wide arpeggios (a fast flurry of notes) that move cleverly up and down the scale, Milton Hopkins would let loose a lightning fast torrent of notes moving in a jazz/blues jump around the tonic (the note that determines the key of the song). This guitarist, unlike most blues players, was schooled in music and it was his reading ability and sharp ear that landed him the number one spot in B.B.King’s show. But these days it’s the vitality of his performance and the warm smile that brings in the crowd. One night, while I stared in disbelief from the back of the bandstand in this old style lounge, a group of Frenchmen began freaking to the music. Flashbulbs began bursting and poor Milton was almost blinded. Later that night I learned that this group of Europeans had been following Mr. Hopkin’s career and were begging him to go to Paris and record in their studio. I’m sorry to say that he declined. As far as I know, his music remains undocumented. Like many of our best loved blues heroes, Mr. Hopkins found that a constant touring schedule wears thin and decided to settle down in Houston to be with his lovely wife and family. And, as is the case for the vast majority of entertainers who remain within the confines of the “Big H”, fame has eluded him. If you’re ever in this city on a weekend night, be sure to stop by the Reddy Room where Milton Hopkins holds ‘blues court’ on a continual basis. You won’t be sorry you did. Johnny Clyde Copeland !997 Handy Awards Photo by: Chuck Winans© Johnny Copeland learned to play guitar from Joe Guitar Hughes and they performed together while still teenagers. Unlike Joe, Johnny was determined to leave Houston at the first opportunity. When he was offered help to relocate to New York, Mr. Copeland jumped on it. He followed a long line of Gulf Coast performers who left to find fame. And of course, it was always a special occasion when he returned home to perform during the early 90’s. I was very fortunate to be at Miller Outdoor Theater when he was given the key to the city by Mayor Kathy Whitmire. You’ve never seen a happier man. Johnny Clyde made his black Gibson Les Paul solid body guitar scream as he bounced back and forth across the huge stage like the ex-boxer that he was. But it was when he and his super tight band with Randy Lippincott on bass [also bandleader] played at Billy Blues club that I got a good look at his solid-state [using printed circuits instead of vacuum tubes], early 90’s compact model Fender Twin Reverb amp with the red knobs. Judging by the scarcity of his string bending, and the pained expression that crossed his brow when he did pull up on the string a bit, I’d say that he preferred a stout [thick gauge] set of strings under his meaty fingers. While not considered one of my favorite lead guitarists, Johnny more than made up for this feature with the strength of his singing voice and the power of his songs. He will be missed by blues fans everywhere and the beginning guitar student would be wise to study his sparse but soulful ######s on:

Lightning Red and his series on the origins of the modern electric blues, and the techniques and hardware used by the legends to get their unique sounds. In this installment I would like to feature the great guitarists who invented and who build upon that elusive musical genre we call Boogie. Rather than attempt to trace the origins of this hypnotic sound, we will look at those artists responsible for popularizing the "modern" or "urban," electric form of the Boogie. I hope you enjoy it and please return next time to read about the great, modern Slide players, their guitars and techniques. John Lee Hooker John Lee Hooker nearly single-handedly invented the style of blues guitar that we call "The Boogie." I sincerely wish that this style of music were as easy for me to describe as it is for me to play. I'll take a stab at it: an easy- rolling repetitive rhythmic phrase that puts the listener into a slight hypnotic state -- a fat, chugging ###### that charges on nearly endlessly. A continual pulsation, the soul's heartbeat. Well, that's the best I could do. However, I know that once you've experienced the Boogie it will never be erased from your consciousness. It has a way of becoming firmly attached, as it did when helping a young John Lee through long hours of pushing a broom at a General Motors plant near Detroit in the mid 1940's. But if you're still not sure what I'm talking about, let me provide another, more technical explanation: You are in the Key of A, in an endlessly repeating series of two measure phrases you'd play six beats on the dominant (or root) chord which in this case is A. On the seventh beat you'd hit the minor third chord which is C, and you'd hit the fourth interval chord, D, on the eighth beat. Simple? You'd think so. But it takes a special skill and numerous hours of intense concentration and practice to master this art form. The roots of boogie can be heard just below the surface in the songs of a number of early, acoustic blues guitar players Mississippi Fred McDowell and Bukka White, to name but a few, but it was the young Michigander from Clarksdale, Mississippi who laid the foundation for this modern, electrified musical genre. Usually tuning to an open G chord (low D, G, D, G, B, high D), John Lee began pumping his way toward stardom and recorded "Boogie Chillin" in 1948 for Modern Records. His guitar of preference has always been a thin-line Gibson hollow bodied model, usually his favorite ES-335, a 345 or a similarly designed Kay model. A little history ala his booking agency, The Rosebud Agency: "Born near Clarksdale, Mississippi on August 22, 1917 to a sharecropper family, Hooker's earliest musical influence came from his stepfather, Will Moore. By the early 1940s, Hooker had moved to Detroit. Among his first recordings 1948, "Boogie Chillen" became a number-one jukebox hit and his first million-seller. This was soon followed by an even bigger hit with "I'm In The Mood" and other classic recordings including "Crawling Kingsnake" and "Hobo Blues." Another surge in his career took place with the release of more than 100 songs on Vee Jay Records during the 1950s and 1960s. When the young bohemian audiences of the 1960s "discovered" Hooker along with other blues originators, he and various others made a brief return to folk blues. Young British artists such as the Animals, John Mayall, and the Yardbirds introduced Hooker's sound to a new and eager audience whose admiration and influence helped build Hooker to superstar status in mid '60s England. By 1970, he had moved to California and began working with rock musicians, notably Van Morrison and Canned Heat. Canned Heat modeled their sound after Hooker's boogie and collaborated on several albums and tours. During the 1970s and much of the 1980s, Hooker toured the U. S. and Europe steadily but grew disenchanted with recording, though his appearance in The Blues Brothers movie resulted in a heightened profile. Then, in 1989, The Healer was released to critical acclaim and sales in excess of a million copies. Today, the "King Of The Boogie" is enjoying the most successful period of his extensive career. In the past seven years, Hooker's influence has contributed to a booming interest in the blues and, notably, its acceptance by the music industry as a commercially viable entity. Hooker's career has been a series of highlights and special events since the release of The Healer. In addition to recording his own albums Mr. Lucky, Boom Boom, Chill Out, and now Don't Look Back for Pointblank, he contributed to recordings by B. B. King, Branford Marsalis and Van Morrison and portrayed the title role in Pete Townshend's epic, The Iron Man... John Lee was invited to perform with The Rolling Stones and guest Eric Clapton for their national television broadcast during The Stones' 1989 Steel Wheels tour. In 1990, many musical guests paid tribute to John Lee Hooker with a performance at Madison Square garden. Joining him on some or all of these occasions were artists such as Bonnie Raitt, Ry Cooder, Joe Cocker, Huey Lewis, Carlos Santana, Robert Cray, Mick Fleetwood, Al Kooper, Johnny Winter, John Hammond, Johnnie Johnson, and the late Albert Collins. Hooker's 1991 induction into the Rock n' Roll Hall Of Fame was fitting for the man who has influenced countless fans and musicians who have in turn influenced many more. The 'South Bank Show' documentary on John Lee continues to air in the U. S. and offers an overview of his amazing life from runaway sharecropper's son to a world-famous legend whose music has been a major influence on modern rock n' roll." John Lee's style has always been unique, even among other performers of the real deep blues, few of whom remain with us today. While retaining that foundation, he has simultaneously broken new ground musically and commercially... When I reflect on the long, illustrious career of Mr. John Lee Hooker, one memory always appears before my mind's eye. At Clifford Antone's Club on Guadalupe Street in Austin Texas, a solitary bluesman sits above us on the stage while the usually chaotic, boisterous dance floor is now occupied by mesmerized, polite, quiet music lovers who remain seated like numerous Buddhas. And as he begins performing, sitting with an ES-335 thin-bodied Gibson in his lap, that hunting, signature voice floats above the silent crowd. Every word, every breath, every subtle guitar ###### dominates the room. Never have I ever seen this club transformed into such an intense listening experience. Song after song flows through the evening, and with each note the audience is drawn more tightly into the web spun by this giant of the blues - the main BOOGIEMAN. The God of boogie guitar. Never have I been touched so deeply by a performance. The band struggles to follow his chord changes, hangs on his every syllable. He is the MAN. Spending quality rehearsal time with this deceptively simple style of blues is essential for the beginning or intermediate guitarist. Although John Lee never bends a string (something I will cover in depth in a subsequent installment) or uses intricate phrasings, it has always been my experience that those ######s or musical stylings that sound so "easy" to play can prove to be the most difficult. I've often been told that I'm the master of writing things that flow smoothly right by the listener, but are actually a nightmare for most musicians to grab onto. Maybe those countless hours perfecting this "simple" musical form is the culprit. I must say I've heard a number of respected heavy metal or hard rock artists mangle this magical musical form pretty severely. Perhaps its because they've only captured a vague notion of what the boogie is all about. Or, maybe its because they don't really respect the blues and haven't put in the time to actually "feel" the music. I don't know, but I do know that if you want to be a serious blues guitarist, you will study the boogie until your fingers bleed and your brain convulses to the beat long after the recording has ended. To my mind the boogie is not just a form of the blues. It is Detroit, Chicago and Cincinnati all rolled into one; the eternal pulsations of the rust-belt foundries and factories that echoes from the past and propels every bluesman's heart toward an unforeseen future. Be sure to check out: The Ultimate Collection: 1948-1990/Rhino (R2-70572) The Hook/Chameleon (D2-74794) John Lee Hooker Plays & Sings The Blues/Chess (MCA) (HD 9199) The Healer/Chameleon (74808-2) The Real Folk Blues/MA-Chess (CHD 9271) That's My Story/Riverside (OBCD 538-2) Hooker 'N Heat/EMI (Liberty) (CDP 7-97896-2) More Real Folk Blues and The Missing Album/MCA-Chess (CHD 9329) Mr. Lucky/Point Blank-Charisma (91724-2) The Best of John Lee Hooker/MCA-Chess (MCAD 10539) Boom Boom/Point Blank-Charisma (86553) CANNED HEAT Canned Heat, named after an old Tommy Johnson song., was formed in 1966 by Bob Hite and Alan "Blind Owl" Wilson (The Blind Owl). The group had two Top 20 hits in 1968, and was one of the very few blues or boogie bands to enjoy such a high level of fame. Bob Hite was the main vocalist and harp player, and Alan Wilson, from Boston, played lead and slide guitar. Alan also sang lead on one of their hits, "Going Up The Country" while Bob handled the vocal chores on the other, "On The Road Again." Rather than attempting to describe their unique sound, I'll let Austin native Ed Ward speak: "Wilson's high voice, eerie harmonica and fluid rhythm guitar floated above a grunting rhythm section..." - THE BLUES REVIVAL by Ed Ward (The Rolling Stone Illustrated History of Rock & Roll) Alan was a serious student of the blues, and it is said he "re-taught" Delta Blues legend Son House how to play and sing some of the old recordings that Son had made, and had forgotten about. It is obvious when listening to tunes by Canned Heat, that Wilson had a special mastery of blues and boogie guitar techniques. I strongly urge the intermediate blues guitar students out there to play along with the group's many recordings. You will be getting a quality introduction to a variety of techniques used by one of the finest, second-generation guitarists in the blues and boogie world. Second only to John Lee Hooker, Alan Wilson demonstrated a thorough knowledge of chugging, but fluid, boogie guitar playing. Unfortunately, the "Blind Owl" had some severe emotional problems, and his short-term solution to them should be a red flag to every struggling blues guitarist. Once again we turn to the words of Ed Ward in THE BLUES REVIVAL, "Wilson, nearly blind and subject to intense depression, died from a drug overdose in 1970, the band survived him in name only." Although the main guitar duties in the group were taken over by Harvey Mandel before their appearance at Woodstock, the original second guitarist in Canned Heat was Henry Vestine who recently had a successful release in France produced in Austin by my friend Jim Yanaway. Mr. Mandel is a fine guitarist who seldom adheres to the rudiments of the blues, and prefers to wander into "psychedelic" and previously uncharted musical territory - not someone I'd consider a bluesman. I first saw Henry in a tiny club on the near North side of Chicago and was very impressed with his guitar abilities. He played around with a few blues numbers, but quickly strayed off into his special brand of "space rock." For a little peek into his guitar and amplification techniques: In his own words: "I wanted to be able to express it [the guitar] more like a violin or a harmonica; for some reason I always went for that sustain, long before I even knew what it was. Then feedback came as a result of that. [Marshall amps had not yet made their appearance]." "No, it was mostly on little Fender amps at first, using different tricks, and I eventually used an all-tube, low quality Bogan pa amplifier. Had the greatest natural sustain." Today Harvey uses Parker Guitars, Crate Amps, Dean Markley Strings and Di Marzio Pick-Ups. Harvey Mandel's Discography includes: Cristo Redentor/Phillips Records (distributed by Mercury), PHS 600-281/ 1968 Righteous/ Phillips Records, PHS 600-306/ 1969 Games Guitars Play/ Phillips Records, PHS 600-325/ 1970 Baby Batter/ Janus Records (distributed by GRT), JLS-3017/ 1971 The Snake (with Sugarcane Harris), Janus Records, JLS-3037/ 1972 Shangrenade (with Harris) / Janus Records, JLS-3047/ 1973 Feel the Sound of Harvey Mandel/ Janus Records, JLS-3067/ 1974 The Best of Harvey Mandel/ Janus Records, 7014/ 1975 On October 24, 1995, PolyGram Records released "Harvey Mandel: The Mercury Years," an anthology featuring Harvey's first three Phillips/Mercury solo albums in a special two-CD mini-box set in their entirety; the classics Cristo Redentor (1968), Righteous (1969), and Games Guitars Play (1970). The original members of Canned Heat were also responsible for resurrecting the faltering career of John Lee Hooker in the early seventies. They idolized their main hero and would record him for hours on end, thereby creating the wonderful "Hooker 'n Heat" albums that demonstrate both Hooker's genius and the group's ability to wrap a nearly invisible musical envelope around the elder Boogieman. Breathing new life into his subtle, galloping songs, the members of Canned Heat laid down a solid, yet unobtrusive, foundation to the forward-looking lyrics and endlessly chugging guitar virtuosity of "The Master." Bob Hite and Alan Wilson are also responsible for "discovering" Albert Collins in a bar in Houston. They convinced him to come to California, helped him along, and assured him a page in blues History. I feel very fortunate to have seen the original group in Chicago's Aragon Ballroom in 1968. They were at the peak of their career and helped instill the boogie bug into my guitar-bending fingers. Be sure to add these Kings of the Boogie to your collection. I believe your career will thank you. The CANNED HEAT Discography includes: Canned Heat (Liberty 7526 - 76, 1967), Boogie with Canned Heat (Liberty 7542 - 37, 1969), Best Of Canned Heat (Ua) / Capitol Records, Ties That Bind/Archive Records, On The Road Again/AIM Records, Best Of- Uncanned!/Capitol Records, 1967 Monterey International Pop Festival (4 CD / 4 Cass Box Set Includes 96 Page Book) (Monterey International Pop/ Rhino Records), Best Of Canned Heat (Remastered) (Hooker / Canned Heat) Capitol Records, Hooker 'n Heat (2 CD Set 24k Gold Disc) (Hooker / Canned Heat) Ultradisc Records, Never Get Out Of These Blues (John Lee Hooker) MCA Records ZZ TOP - Billy Gibbons I now strongly urge all intermediate blues guitarists out there to give listen to ZZ Top's "LaGrange." This is as close as one can get to emulating the sound of John Lee Hooker when powered by strong rock-tinged trio. Even down to the famous "How, how..." of the master, Billy Gibbons shows from whence his personal brand of Boogie originates. And throughout their illustrious career, the boys from Texas delve into Boogieland to give their fans a taste of the "real thang." Let me conclude this installment by thanking Mr. John Lee Hooker and his loyal student of the Boogie for their contributions to this great American art form. For a complete list of the recording of Billy Gibbons and ZZ TOP see Part Four: Modern Electric Blues Guitarists in this series.

Part One: The Texas Sound Many young players have asked me how I'm able to reproduce or generally simulate the sounds of such blues guitar legends as B.B.King, Buddy Guy,Albert Collins, John Lee Hooker or Stevie Ray Vaughan. As I've learned by watching and listening to these and countless other great blues guitarists, I may be able to shed some light on a few of the mysteries surrounding the execution of this uniquely American art form. Since I am most knowledgable of modern electric guitar, this will be our primary focus. Future topics will cover modern player techniques, axes and equipment, blues tunings, string gauges, fingering techniques, string bending, new amplifier combinations, and whatever topics that may be of interest. I welcome any input, suggestions, comments, etc. If you note an inaccuracy in anything you read, please let me know. All of us are continually learning. -Lightning Red 6/20/97

The Delta Snake Presents: Talkin' Blues Guitar Series by: LIGHTNING RED Part Three: More Early Chicago and Texas Blues Guitarists In this installment of the Talkin' Blues Guitar Series I would like to mention a number of influential blues guitarists who helped lay the groundwork for the ``urban'' electrified sounds that have influenced many successive generations of players, and should be heralded for their contribution to this great American art form -- the Blues. I realize I may have skipped over one or a number of your favorite players from this era and don't wish to slight anyone or ignore a significant contribution they might have made. If so, please accept my apology, and please let me know. In subsequent installments I plan to devote one or more articles to the active, contemporary players among us who deserve serious attention; to devote an entire article to John Lee Hooker and his influence on the modern `Boogie' and its many family trees and devotees. I plan to attend to Elmore James, Duanne Allman, Earl Hooker, Bonnie Raitt, Roy Rogers among others in my article on Slide Guitar Techniques. To look back far into the past toward the very early days and Delta Blues, and to cover a number of other topics and include many more players as we go. Thanks for reading and please send along any corrections, comments and critiques that you may have. Best Blues to you all. Sincerely, Lightning Red

Part Two: The Beginnings of the Chicago Sound Lightning Red and his series on the origins of the modern electric blues, and the techniques and hardware used by the legends to get their unique sounds. Muddy Waters and the Fender Sound: I believe it's now time to introduce the Fender solid-body line of guitars. When Muddy Waters (McKinley Morganfield) began his stint as king of the Southside Chicago blues scene, he hadn't yet discovered the Fender Telecaster guitar. An early publicity shot shows a Gibson Les Paul solid-body guitar very similar to Freddie King's hanging in front of him. But it was not very long before he nearly exclusively worked his slide (something else we'll investigate at a later time) up and down the neck of his beloved Telecasters. The Telecaster was the first successful line of guitars that Leo Fender marketed (the prototype being the Broadcaster, which is usually impractical for performing because of it's tendency to excessively feedback and squeal). It is basically a slab of wood and sports two single-coil pickups, the one toward the bridge having a very high-pitched, "slicing" quality that many players have taken full advantage of, especially Albert "The Iceman" Collins and Roy Buchanan. Single coil pickups have a more biting, immediate sound than do the "fatter" mid-ranged double-coil Humbuckers. Muddy was a slide player extraodinaire. He would use a bottle-neck on his little finger and play electrifying runs and melodies sometimes on only one string. His ######s often coincided perfectly with his vocals and he liked to quickly switch from the "treble," bridge pickup to the "mellow" one located near the end of the fretboard. The Telecaster sports only one volume and one tone control which effect both pickups equally, and many players revere it for its simplicity. Muddy found out early that the hollow-bodied guitars, which have holes cut out off the front of the body, "f-holes," would feedback through the amplifier when he tried to play over the noisy crowds in the Southside blues clubs of Chicago. So he moved to solid-bodies, and experimented with Les Pauls and maybe other types before settling on the Telecaster. Now he could crank up the amp loud enough to be easily heard. And throughout his career he used that volume intensity when it was needed. I've head him play very softly in a high school gymnasium when the horrible acoustics would have been a nightmare at higher volume. Many times he would crank that Fender amplifier until his slide screamed and my hair would stand on end. And it's usually a sure bet that when the "bright," treble pickup is blasted through a Fender amplifier, the sound will slice right through you. But Muddy Waters also knew how to use the mellower "neck" pickup to its full advantage. He could get a very deep delta-like moan that was straight from Mississippi. In his early days Muddy was the "Man" on the Chicago Southside. As he matured, he took his place as the Father of modern Chicago blues and became a legend throughout the world. He also created the standard blues band ensemble, drums, bass guitar, piano, blues harp (harmonica) and guitars. His easy loping rythmn and frantic moanful slide work have inspired blues guitarists everywhere. I strongly suggest you spend some time with his early Chess recordings and his better later work. It may seem challenging at first listen, but a few attempts to reproduce his sound will quickly prove otherwise.

Oh, dig my grave with a silver spade, Oh, dig my grave with a silver spade, Oh, dig my grave with a silver spade, You may place four diamonds on my grave. from "See My Grave Is Kept Clean" by Lemon Jefferson

28 Aug : 08:35 man, i hate that band. they ###### ass. im sorry sam.

by Samuel-182 Monday 18 August 2003 - 16:54:27 review by hot_cypress Last year the garage rock scene hit hard with bands like The Strokes, The White Stripes, and The Hives getting heavy rotation on many modern rock stations. However last year was also the release of The Mooney Suzuki's Electric Sweat, a blistering 10-track homage to the proto-punk bands like MC5 and The Stooges. TRACK LISTING 1. Electric Sweat 2. In a Young Man 's Mind 3. Oh Sweet Susanna 4. A Little bit of Love 5. It's not Easy 6. Natural Fact 7. It's Showtime pt.2 8. I woke up this Morning 9. The Broken Heart 10. Electrocuted Blues ELECTRIC SWEAT- The title track that kicks off the cd with the clanging of an electric guitar. Fun Lyrics, Good Solo, and overall fun. IN A YOUNG MAN'S MIND- A great song about growing and wanting to be in a band to meet chicks. Also good music video starring Tenacious D's one and only Jack Black. OH SWEET SUSANNA- A catchy tune that is very soulful and light. Not Recommended for the stone cold rocker. A LITTLE BIT OF LOVE- Yet again Catchy and good guitar parts. Song about trying to get a girl's attention and trying to do anything for it. ITS NOT EASY- Awesome Solo sneaks in and gets you jumping. Best Non-Instrumental song on the album. NATURAL FACT- Rhyming and Fun but my least favorite song on the album. ITS SHOWTIME pt 2- Swinging Instrumental featuring kick ass organ and guitar work. WOKE UP THIS MORNING- Great Song. Very go od guitar parts. Song about starting over with a determination to change yourself. THE BROKEN HEART- The only ballad on the album. Slow and Sou lful though not for your rocking punk. ELECTROCUTED BLUES- THE BE ST SONG ON THE ALBUM. Awesome solos and pedal work. Plus Great Rhythm section work. I'll leave you with this quote from them that will sum up why this is the best garage album of 2002. "People come up to us every day and ask if the Mooney Suzuki is gonna save rock 'n' roll. Well I'm gonna tell you something right now -- the Mooney Suzuki cannot save rock 'n' roll." "The Mooney Suzuki cannot save rock 'n' roll -- because the Mooney Suzuki never lost rock 'n' roll!"

by Mike Thursday 04 September 2003 - 15:22:10 Against All Authority is a great ska-core band; easily one of my favorites. In recent years theyve put out some awesome records like 24 Hour Roadside Assistance, and I've chosen to review their most recent, Nothing New for Trash Like You (released in 2001). Just An Obstruction This song seems like its about the conquest of the America's by Eurpoeans and the evil means by which this occured, and securing America's legacy. Great song with energy out the ass. That Way America turns a blind-eye to the problems of the rest of the world, and continues oppression here, or so says this song. Solid ska parts with some not-so-standard scratchy vocals. In On Your Joke Can't find any lyrics for this song, and theyre not very discernible. A good song nonetheless. Bakunin This song is about Mikhail Bakunin, one of the founders fathers of Anarchism, and a Russian revolutionary. Good ska hooks, great song. Living in Miami About a kid that finds his home in punk rock, I'm lovin this song; some good ska/punk integration. Shitloads of energy, and just great to slam or skank to. When It Comes Down To You About some girl with a shitty life, workin hard for next to nothing, this song is simply kicks ass. As always, an excellent use of their ska skills and a fast paced ass kicker. Nothing To Lose Great ska hooks, this song is about some homeless guy who does drugs to escape life. Kicks ass. Haymarket Square The Haymarket Square riot of 1886 was over workers rights and unions. Cops being cops, especially in the 1800's, took the corporations side and beat down the workers. Fast song, good stuff. Sacco and Vanzetti The infamous anarchists and anti-governmentalists Sacco and Vanzetti were executed for crimes of conspiracy against the American government during the 1950's. Great ska/punk integration, gets your ass moving. Alba I love the ska-ness in this song. I think its about an immigrant. I love this song. Threat No lyrics to this one either, but from what I can make out he says something about "This is a war" and something about "Punks Not Dead." Make of it what you will. Very fast, very awesome. Kick ass ska part in the middle-end. Hard As **thank** An anti-religious song... yep. Thats about it. Goes out on a sweet ska note. Centerfold This ones about how he finds the girl he used to oggle in middle school or something in a **homework**o mag some years later. That actually sounds kind of funny, but he was pretty pissed about it. Very catchy ska going on. Above The Law Above the Law speaks of police brutality and harassment of (of course) the local Punks, and the sweet retaliation he gets. One of my favorites, just because it kicks a cubic shitload of ass. We Wont Submit About rebellion of course. It also criticizes people stuck in cubicles and crap, especially the ones that dont do anything. Cool ska goin on. Court 22 Apparently this guys been kicked out and messed with all his life (according to this song). I like it. Under Your Authority Some guy stuck in some 9-5 actually rises to the occasion and fights the bullcrap. Right-on. My favorite song on this album. It. Just. **thank**ing. Rocks. Ska Sucks Where would any modern ska/ska-core band be without covering this Propagandhi classic. Good cover. Im a sucker for kick ass ska albums. 5/5

15 Apr : 06:44 i agree, they wern't born liking punk...

by wrongway Monday 14 April 2003 - 14:32:05 Punk purists: people who tolerate nothing than pure, anti-establishment, anarchist, **thank** the police, hardcore, unpolished punk rock. You all know who I'm talking about, they're either skins or mohawk guys. If it came out of a time later than the 80's, or it has lyrics you can understand, they claim to despise it. These are the guys who always try to seem all badass and intimidating in the pits. They're the ones who constantly diss on all pop-punk as worthless garbage. My question is, how exactly did they get tuned into the punk scene? They whine and doggess about pop-punk attracting too many outsiders, but you can't tell me you just woke up one day and started listening to Total Chaos or Minor Threat or the Circle Jerks or Black Flag... Everyone started somewhere. I can guarantee you 99.9% of 'elitists' and 'purists' found the scene by hearing a cool pop-punk tune on the radio, or by hearing punk from someone who did. People need to get it through their **thank**ing heads that exposure isn't always bad. People doggess that 'punk is dead' because of all the pop-punk and crap, but they don't realize if there are no new punks, punk WILL die. Sure, you might have outgrown pop-punk by now, but keep in mind, if it wasn't for Blink 182 or the Offspring or Green Day or whoever, you wouldn't be listening to hardcore today.