Book: Strange Brew: Eric Clapton & The British Blues Boom 1965-1970 (Jawbone Books, March 2007)

Author: Christopher Hjort

Strange Brew has to be one of the most extensive chronologies (of a very specific group of musicians) of all time. Author and rock historian Christopher Hjort has taken the old addage: ‘write what you know’ to the extreme with this 352 page account of the musical lives of guitarists Eric Clapton, Peter Green, Mick Taylor and John Mayall. Strange Brew is literally a day-to-day diary of what each musician did, what band they were in from month to month over a span of five years. (more…)

Book: The Wall of Fame: New York City’s Legendary Manny’s Music(Hal Leonard Books, March 31, 2007)

Authors: Henry Goldrich and Holly Goldrich Schoenfeld

Manny Goldrich opened Manny’s Music in 1935 at 120 West 48th Street. The store was small and so was the amount of inventory, which in the beginning included nothing but a few trumpets and other horns, Gretsch drums and instrument accessories. Slowly but surely Manny made friends in the music business–especially with his “…pay me when you get a chance. Don’t worry about it, I trust you,” sales philosophy. Before he knew it, stars such as Ella Fitzgerald, Frank Sinatra, Buddy Rich and other huge names were flocking to his shop. The store outgrew itself and in 1969 moved to the location it still resides today, 156 West 48th Street. (more…)

SHORT SCALE: CD reviews in 200 words or less

CD: Dave Koz, At The Movies (Capitol Records, January 30, 2007)

Rating: 4.5 out of 5 geetars

Saxophonist Dave Koz hits the nail on the head when he says, “If you think about the most memorable moments from your favorite film … the moment is made better because of the music. The songs actually become characters in these films.” He has run with this idea and recorded 12 songs from some of the most beloved movies of all time (while honoring the composer’s original contribution).

And Koz, who plays tenor, alto and soprano sax throughout At The Movies, is joined by music legends who add their own flair to the standards. Henry Mancini’s “Moon River” (Breakfast at Tiffany’s) is boosted by Barry Manilow’s smoooooth vocals; Anita Baker brings a seductive R&B flavor to “Somewhere” (West Side Story), and India.Arie’s spot-on vocal runs and trills add another, deeper level of emotion to “It Might Be You” (Tootsie). Others to appear on At the Movies include Donna Summer, Vanessa Williams, Johnny Mathis, Peter White, Norman Brown and Chris Botti.

But it’s Koz’s sophisticated saxophone that breathes life into these new renditions. He has taken the time to get to know each song on an individual basis, and therefore understands what each needs and never treads upon any song’s spirit.

For more information, visit http://www.davekoz.com/

[NOTE: Eleven of the 12 songs were Oscar winners or nominees and four of them appear in the Top 10 of the American Film Institute's list of 100 Top Movie Songs.]

CD: Emilie Simon, The Flower Book (Milan Records, November 14, 2006)

Rating: 4.5 out of 5 geetars

Emilie Simon is the queen bee of the French electronic music scene. But it’s her recent goal of conquering the American scene that has been attracting the most attention lately. Simon’s “sonic dreamscapes” can be taken on face value and classified as run-of-the-mill dance music, or, if dissected, can be seen for what they truly are: short stories that are layered with fascinating seductiveness and provocative darkness.

Her seductive side blossoms on her cover of The Stooges “I Wanna Be Your Dog,” with vocals that sound shy and unsure but to some extent perverse. For the Stupid American, “Dame de Lotus,” “Fleur de saison,” “Le vieil amant” and others are sexy just because they’re sung in French.

But even more compelling is that the music is at times guarded, reserved and pocketed with ennui. The cagey tunes are partnered with tentative lyrics, and the combination only adds to the unexpectedly timid vibe (though timid is the last word to be used when describing the vivacious musician, who also takes on the roles of composer, arranger, producer, guitarist, bassist and keyboardist on the album). The contrast between light and dark that comes across is The Flower Book’s most captivating characteristic.

CD: Sunshine Anderson, Sunshine at Midnight (Music World Music, January 23, 2007)

Rating: 3 out of 5 geetars

Sunshine at Midnight is R&B sensation Sunshine Anderson’s first release since Your Woman, her 2001 debut album on Soul Life/Atlantic Records. The CD spawned the #1 hit “Heard It All Before,” garnered a Grammy nomination and sold more than 750,000 copies. The large feat, which was followed by years of downtime, has resulted in a CD that is a spirited and well-executed comeback attempt.

Sunshine’s mature viewpoint is dotted with playfulness; her attitude punctuated with sensitivity. She dishes on the webs weaved in real life, and isn’t afraid to let the pain of reality seep into her music, i.e., “Problems.” She lets her hair down on “Force of Nature,” and tells the tale of a love that is more physical than emotional, but either way unescapable.

With friends like Macy Gray (who has been quoted as saying Anderson is “a star through and through,” and that she “has a fabulous way of being every girl and completely unique at the same time.”), Anderson has a built in support system that others can only dream of. Sunshine at Midnight is not overwhelmingly original-it’s straightforward, mainstream R&B-but nevertheless deserves kudos for its tenacity for realism.

By Rachel Heisler

Concert: RatDog, House of Blues, Las Vegas, Feburary 11

Bob Weir … Bobby … and RatDog put on an exceptional show Sunday, February 11 at House of Blues in Las Vegas.

The performance was rewarding on many levels-the first being the great music, songs that we all know and love being played by a man who is now in his 60s, but who was only in his teens when he joined what would become one of the most influential bands in music history, The Grateful Dead. Second, it was nice to see that Dead Heads are still doing their best to keep the hippie spirit alive. Tie dyes, dred locks, hand-roled cigarettes–it was all there–even the wild, fish-out-of-water hippie dance and that unmistakable hippie smell. (more…)

Concert: RatDog with Bob Weir

Bob Weir, guitarist/singer of a little band known as The Grateful Dead, is making his way to Vegas with his band, RatDog. Joined by musicians Jay Lane, Jeff Chimenti, Mark Karen, Kenny Brooks and Robin Sylvester, this show is gonna be a long one–two hours of music, an intermission, followed by another two hours of music. Make sure to wear comfy shoes. And a vintage Dead tee.

As for the music, expect to hear a little of everything: blues like “Good Morning Little Schoolgirl” and “Little Red Rooster,” psychedelic stylings of Grateful Dead classics like “Playing in the Band,” “The Other One” and “Throwing Stones,” Weir’s Dead rockers like “Cassidy,” “One More Saturday Night” and “Sugar Magnolia,” and some solo material, like “Josephine” and “Bombs Away.”

Where: House of Blues, 3950 Las Vegas Blvd., inside Mandalay Bay Hotel & Casino, 632-7600

When: Sunday, February 11, doors 7 pm

Cost: $25-$40 (plus charges)

21+ with ID

Tickets: at the box office or through Ticketmaster at www.ticketmaster.com

SHORT SCALE: CD reviews in 200 words or less

CD: James Yorkston, The Year Of The Leopard (Domino Records, January 23, 2007)

Rating: 4 out of 5 guitars

He doesn’t look like a rocker. He looks like a religion professor. But it all makes sense: The Year Of The Leopard is a thinking man’s CD. James Yorkston is an intellect, a dreamer, a man who paints pictures through song. Each track drifts lazily along like a raft on a calm ocean.

There are chapters of unexpected artistry, as in “The Brussels Rambler,” with its lazy clarinet, and the spoken word of “Woozy With Cider.” “Don’t Let Me Down” can help you drift off to sleep, whether that sleep will be restful or not is up in the air, as the uneasy words “I’ve seen it all, I’ve heard it all, I am at odds with this world” reek havoc on the subconscious.

As a transplant to Edinburgh from the small town of Fife, Scotland, Yorkston is a long-term participant of the Fence Collective, a group that helped teach him about the diversity and cross-fertilization of music. It’s this versatile, eclectic and wide scope that helps take The Year Of The Leopard to wonderful heights. Soft and strange have never sounded so sweet, and Yorkston is the perfect person to wade through the old to reach the new.

James Yorkston is currently touring overseas. For more information, visit http://www.jamesyorkston.co.uk/.

CD: Night Kills the Day, The Study of Man … And The Developed Shadow (Score Records, March 27, 2007)

Rating: 2 out of 5 guitars

Another band influenced by the likes of The Cure, Joy Division … Bauhaus, Night Kills the Day does its best to emulate its predecessors with synthesizers, loose guitar riffs and lots inner turmoil and confusion. “All of the themes on this album are very of the flesh,” says vocalist Luke Brian. “Man’s instincts for power greed, survival and procreation times-10. There is sex addiction, drug addiction, money and even murder. And most importantly–weaving in an out if it all–the deep hunger for a connection to God.”

That may be true, but while worrying about connecting with the Big Guy, Night may also want to work on the inconsistencies in its songwriting: The lyrics and music never completely meld, which makes The Study of Man feel disjointed and unfinished. The songs do encapsulate an extreme passion for a search for some kind of understanding of the human condition, but in this case passion does not make up for the lack of true emotion. Night Kills the Day should keep looking for the answers to life’s important questions, ’cause it would be sad if these guys are right when they angrily belt out: “Life is just sex and death.”

For more information and upcoming performances, visit http://www.nightkillstheday.com/

CD: The Showdown, Temptation Come My Way (Mono vs. Stereo, February 20, 2007)

Rating: 1 out of 5 guitars

“We are about power, fire, pyro, oil, rocks, and heavy” says Christian band The Showdown’s bassist Eric Koruschak. “Whether that means rolling around town on our dirt bikes … or starting a barbeque in a random parking lot, we like to have fun and take it to the extreme ….” It’s unclear why having a barbeque in a parking lot is extreme, and as equally unclear is why these guys from the Tennessee backwoods think their music is so extreme. It’s hard rock, heavy metal, but it’s also cheesy ’80s rock and contemporary radio rock–the thing it is not is bad-ass, ground-breaking metal.

At times Temptation Come My Way has a retro vibe, which is all good, but it’s got lyrics that are meant to sound deep, man, but are nothing more than bad poetry. And while the boys like to compare themselves to Iron Maiden and Metallica, someone should tell them they’ve get a long road to hoe before they’ll be in the same category as the legends. Come on boys, you’ve made it this far, now go that extra mile. And keep in mind that there’s more to a kick-ass metal song than an “epic guitar solo.”

By Rachel Heisler

CD: The Rosewood Thieves, From the Decker House (V2 Records, 2006)

By Subxboy

What would happen if you were to leave the big city of New York and move into an old farmhouse Upstate? Well, if you’re Erick Jordan and The Rosewood Thieves you would become inspired, write a handful of impressive songs for your first EP and name it after the person (Bonnie Decker) who died there a month before you moved in.

From the Decker House is comprised of sex well-orchestrated melodies that admittedly sound like the album that John Lennon never wrote. Could singer/songwriter Jordan be Lennon’s long lost nephew? Probably not, but considering the similarity of his raspy and naturally confident vocal style it seems it could be possible they share some of the same genes.

All kidding aside, From the Decker House starts off with “Los Angeles,” sounding like an old classic, this track rivals that of any mid-’60s hit and sets the mood for this storybook-fashioned venture. “Back Home to Harlem” keeps the tempo moving with a traditional tale of broken love and heartache, while “Cold in the Country” ties the Thieves’ first recording attempt together, giving one the feeling of being lost in a storm-rattled forest of mental despair.

Not to worry, though, “Diamond Ring” brings the speed back up and reflects on the turmoil of hard relationships while trying to keep a positive attitude. “Doctor” and “Lonesome Road” round off this journey with an alt.country flavor that even the old-schoolers of yesteryear would be proud. It’s hard to believe that a band so young has the maturity and formula to write with such wisdom and old soul emotion.

Currently, The Rosewood Thieves are working on demos for the full-length album and are “… locked away in our lower east side rehearsal space losing our minds.”

For more news and updates, visit www.myspace.com/therosewoodthieves.