So, on Saturday I went to London's Kentish Town Forum to see English blues rock guitarist Wilko Johnson. This has been a name that ive heard time and time again when discussions of great, or influential, guitarists has cropped up over the years but I hate to admit that ive never really taken the time to get to know his music.
When the chance to see him perform live cropped up, especially after what was thought to be a terminal battle with cancer a few years back, I jumped at the opportunity to see a man who is a part of English rock history. The few (mainly Dr Feelgood) tracks that I did know did turn up in the set, and I got to see Wilko's interesting playing style of the choppy machine gunning of his guitar first hand, and the strange walking across stage almost as if on roller skates. The whole show was pretty to the point with minimal interaction with the crowd from Wilko, but this seemed almost part of the raw dirty style of the music played by the band. Even so, the whole band seemed happy to be on stage throughout the entire set, which bought a great atmosphere to Bye Bye Johnny playing out the show with the whole crowd singing along.
An unexpected pleasure for me, was also the choice of support. I initially went to see a band I knew little about but they came with a well respected heritage, which is what I went to see. The support came in the form of Joanne Shaw Taylor, who I knew nothing about. Joanne is an English blues guitarist and singer, apparently she's been around for a number of years with a few albums to her name and found at a young age as an aspiring blues player. Well, her performance was nothing short of fantastic. Joanne's set was complete with traditional deep soulful blues, all the way to the hard blues rock, familiar territory with the likes of SRV, full with ripping blues solos which kept both her and the crowd smiling throughout. Not that I want to compare, but Joanne's set was probably the highlight of the night for me.
Go to www.joanneshawtaylor.com for more info and check out her great live performance of Watch Em' Burn
It's always a bit baffling as well as saddening when a legendary name in music falls on tough times and needs to go to the public to ask for some help. Such was the way for Harvey Mandel this time last year when he needed to appeal for funds to pay for his medical bills following a cancer diagnosis.
It sure illustrates, apart from how unfair the US medical system seems to us in the UK, but also how doubly unjust it is this pioneer of the guitar hasn't been rewarded sufficiently in his career to be able to deal with an unexpected health issue.
As it says on his website "A professional at twenty, he played with Charlie Musselwhite, Canned Heat, The Rolling Stones, and John Mayall before starting a solo career. Mandel is one of the first rock guitarists to use two-handed fretboard tapping.."
Maybe this latest box set of his first 5 albums will go some way to recovering the bank balance along with the well deserved retrospective on his work. His guitar playing certainly set new standards in an era when blues was being rewritten by many new musicians in the mid 60's with Mandel's style pioneering sustained notes and controlled feedback to the form.
As these early solo albums prove Mandel wasn't just content with repeating blues riffs but exploring his ideas beyond the guitar and into orchestration which is perfectly illustrated by the track "Cristo Redentor" from his first album of the same name in 1968.
It was a daring and for some controversial exploration for a blues man to take as the sublime string arrangement and vocal choir took the sound into completely different expression with the haunting and beguiling theme having far more in common with an Ennio Morricone film soundtrack than any axe wielding psychedelic blues. If you wanted that then you could turn to his work with Canned Heat which he was doing in the same late 60's period.
The follow up solo albums in the 'Snake Box' to 'Cristo Redentor' are 'Righteous', 'Games Guitars Play', 'Baby Batter' and 'The Snake' and what's more his YouTube Channel is good enought to provide lots of tracks from the boxset. Go and have a root around the selection and order from Amazon.co.uk and Amazon.com
The 'Snake Box' is a fitting tribute to the man which will no doubt be fully recognised when he tours Europe in March having successfully recovered from last years diagnosis. See HarvelMandel.com for further details.
Here's two releases that we need on this page for not only just the music but the outstanding packaging that wraps it.
First is the November release of David Bowie's 'Sue (Or In A Season Of Crime)'. It's no surprise Bowie takes great care to get his presentation in top order whether it's past albums or videos but this special edition vinyl 10inch released for Record Store Day is way up there with his best. A replica of one of Columbia's earliest sleeves which would have originally held a 78rpm record.
The sounds therein go as much to defy the antiquity as could be imagined. Side 1. "Sue (Or In A Season Of Crime)" is Bowie in an outrageous jazz setting of what sounds like one of Carla Bley's avant garde 'Foyer' bands of the early 1970's only now with Bowie placed in the middle of an imminent storm of simmering brass. The B side 'Tis A Pity She Was A Whore' (which is the clip below) he adopts a frail vocal delivery (notice how he does that these days) set against a grimey band of really nasty intent set to a 'Station to Station' like beat.
This is really daring stuff. As Spencer Grady in Record Collector said "when you hear what passes for rock by most established artists it's just a joke compared to this".
Pity this video doesn't reflect the artwork.
The second of the presentations is not so much a facsimile of something from the past but the past accelerated from the early 20th century into the 21st.
It is the mammoth release of 'The Rise And Fall Of Paramount Records Volume Two; 1928-1932" which is as described by Third Man records as "A stunning omnibus of words, music, art and design". This is not just hype from the record company
You want deluxe packaging then try "Six LPs, 800 digital tracks, two definitive large-format books. All housed in a polished aluminium case evoking the era's high art deco styling's and America's own Machine Age take on modernist design."
An unbelievable piece of music history and it will also set you back a cool $400 from Thirdman Records.
Here's a short video of the unboxing. Breathtaking in it's attention to detail it will probably take a lifetime to absorb.
Thanks to Dereks Daily 45 for digging this one out, here's a classic piece of blues archive. Magic Sam filmed on a European tour possibly in the mid 1960's. There's short and priceless clip of him talking on the tour bus about how he began his music "when I was a kid a lot of kids around there played guitar and I loved it.. that old rap, rap stuff" , for those that thought "rap" was a relatively modern expression and then 2 clips of him and the band live. "All Your Love" which was his first record in 1957 and by the sounds of this song was vocally no small influence on John Mayall and particularly in his 1967 'Crusade' album. And then at 3.57 an absolute eye watering guitar work out on 'Lookin' Good'.
"Magic Sam had a different guitar sound," said his record producer, Willie Dixon. "Most of the guys were playing the straight 12-bar blues thing, but the harmonies that he carried with the chords was a different thing altogether. This tune "All Your Love", he expressed with such an inspirational feeling with his high voice. You could always tell him, even from his introduction to the music."
WIKI ARTICLE
Samuel "Magic Sam" Gene Maghett, one of the finest Chicago bluesmen died of a heart attack just 32 years old in 1969.
Robert Randolph & The Family Band aced last nights performance on BBC2's Later, not only for the energy and funk the Family Band put out live but the starring role of Randolph's redefining Jackson Steel playing, an instrument long associated with country music.
Performing the track "Amped Up" from their latest Blue Note album 'Lickety Split' it was a rare chance to see a band actually having a lot of fun performing. On all accounts a mere taster of the energy they put into a live show.
Until someone posts the actual Later performance this film of them recording the track in the Blue Note studio comes a pretty close second.
"Fans can watch an exclusive 29 minute behind-the-scenes jamming session filmed at the 'Early Days' video shoot. The official video was launched earlier this summer and the end of it sees Paul McCartney playing with a group of blues guitarists, including Johnny Depp. This exclusive footage captures an impromptu jamming session that broke out between Paul and the musicians on the day of the shoot."
An official 'Making of Early Days' film will be made available later this year.
Frankly it's a wonder that this stuff is actually going on at all. And how the fret did Johnny Depp get in on this.
Well here's a rarity.. a new blues band coming from the UK in 2014. This most unlikely of occurrence's comes at a time when the land is still completely obsessed with vaccuous voter pop, and little else making an appearance on national screens, a short clip appeared on a London new's channel of a little heard band called Kat&Co. Closer inspection of these kat's reveal that the lead singer is Kathleen Pearson an American blues singer with some background in some club tracks but now fronting her new found partners in blues from the UK, and likely a little further afield judging by the names - guitarist Francesco Accurso, pianist Federico Parodi, bassist Vincenzo Ettore Virgillito and Nicholas Owsianka on drums.
Earlier this summer these four produced a socking good single and video called "New Spleen Blues".
The video animation made by the pianist Parodi is a bit good too. Visually along the lines of Damon Albarn's virtual band 'Gorillaz', more club influences you might think, is cut with studio takes of the band recording and generally hanging loose in the studio. But that's where the "club" influence ends because they make a very tight and sleek approach to the very old 12 bar format.
And these guys can really play, and Kathleen has one great delivery. If they don't disappear in the mass swamp of ignorance in todays music, or get shunted off into a world of small gigs, they ought to really produce some good sound in the future. For gawds sake will someone put them on BBC2's Later with Jools Holland and give them some coverage to a rock audience.
Here, Kathleen (Kat) spits out her grievance about living in the modern world "I don't matter to you.. and the blues is dead" "with your fix and feeds and daily blogs and tweets".
Wow.. and a blues song about what's relevant today? That was how it all first started wasn't it..
Sing it Kat.
Only the other week we ran a post on the trials of reaching 70 years old in rock and roll and still touring. (post : a dangerous age for rock and roll) . Then if it wasn't sad enough to be given the news the Tommy Ramone had passed away last weekend, be it at the slightly earlier age of 66, we now have this mornings statement from Kid Logic Media that the legendary blues man Johnny Winter passed away last night in his hotel room in Zurich, Switzerland, age 70.
The Texas 'White Lightnin' as he was nicknamed, Johnny Winter was one of the most enigmatic and exciting live performers that blues and rock music has ever seen. Despite the many years of hard times in his life with him being stuck at the pointed end of serious drug addiction, mainly encouraged by his filth of a long time and exploitative manager, in the later years Johnny was rescued from an even earlier demise by his new found manager and guitarist, Paul Nelson who got him back to a drug free life and helping him relaunch his career. Maybe it was this second life with his music that Johnny found he could never abandon again as he toured consistently there after and for the last decade.
His early years in Mississippi Delta following in the footsteps of his blues heroes were spent dueling it out in the Southern blues clubs or what was then clumsily called 'the Chitlin' Circuit' and as equally daunting being the only white blues player. He sat in with legendary names Muddy Waters and BB King in sessions and held his own. BB King tells a story of him being brought on to play, (paraphrased) "some white kid?" "within minutes you knew he knew some stuff".
By the time Winter sprang his band on the 1969 Woodstock audience his performance was electrifying. This was a truly sensational guitarist and only equaled by Hendrix in the mastery of redefining what the blues was to a new generation already absorbing Clapton, Page, Beck etc.
His classic second LP release and double album 'Second Winter' was as much progressive blues as it was powerful rock, although he always saw himself as a blues man only, the sound of Winter's electric slide guitar and Texas drawl was as familer a sound as Hendrix's wah pedal by 1970.
There were performances that went down in rock history, The Fillmore East, The Albert Hall, even on television in early 70's 'The Old Grey Whistle Test' with the band playing "Jumping Jack Flash" live. From his early days to his last Johnny Winter has inspired generations of young guitarists to listen and explore blues playing for themselves.
Want to play some Johnny Winter blues on your guitar?
Here's some fine examples of his tunings in action - "Dallas" (open G), "Mean Town Blues" (open A), "Highway 61" from "Second Winter, "Mojo Boogie", "Stranger Blues" (open D), or the red hot version of "Highway 61" from "Captured Live", or "Let It Bleed" (open E).
And that is the greatest gift Johnny Winter leaves us.
So long Johnny.
Here's Dylan's masterpiece 'Highway 61 Revisited' in the hands of a master.
Somethings seem to never change.. and thank the lord of blues it's the sound of John Mayall's voice. The man has recently turned 80 years old and few artists will ever come close to maintaining the strength of their voice as Mayall's instantly recognisable vocals have done. Never mind the shear body of work Mayall has produced since the early 60's days of gigging around the UK in a van, listening to his new album 'A Special Life' dissolves those decades as if they never existed.
Ever since his early albums, Mayall has never shied away from writing lyrics that not only reflect his life experiences but also making a personal comment on the times he lives in. Not for him does he churn out a history of blues cliches, his mission has always been blues as truth and his latest outpouring is right on the money. Just hear how simply he sums up the whole stupid mess of a world today in "World Gone Crazy". Then in "Just A Memory" how wonderfully and sensitively he sings a lament to a love lost in times long gone. It's achingly tender delivery reaches some breathtaking notes.
The band is as rock solid and expressive as ever he's had. But then Mayall's always searched out the best players and drilled them with precision without losing any of the feel of the blues. His harmonica playing is as ever from the top draw of harp playing and there's a fantastic example again in "World Gone Crazy".
Even the cover of the new album has a picture of one of his hand decorated guitars he's always been famous for, and who can forget that one on the front of Diary Of A Band (above)
Today, blues is not trendy or even popular with a UK audience, save for perhaps Seasick Steve turning out at festivals, but if it hadn't been for John Mayall and his blues mission some 5 decades ago and how it shaped the way rock music was going to be heard there would have been countless bands lost to exploring what?.. Pop?
John Mayall's 'Special Life' life does indeed need celebrating.
Here's a playlist of 4 tracks from the album. They'll play consecutively. Press 'Play It All'
World Gone Crazy
Just A Memory (A Special Life)
Like A Fool
Speak Of The Devil
This is music of the griots and of the highest quality. Tinariwen's new album 'Emmaar' is released on February 11th.
While the Tinariwen style is possibly a distant relative of blues music, via West African music, members of Tinariwen claim to have never heard actual American blues music until they began to travel internationally in 2001. (WIKI)
It seems since their travels in 2001 they have absorbed some Western influence, namely how to record this wonderful stuff and it's moved World Music into a new psyche blues trip entirely.
Their homeland of Northern Mali is now under militant rule where they have in their infinite wisdom banned music completely so this nomadic collective of Tuareg singers, songwriters, and musicians are, like their last 10 years, seeing a lot more of the rest of the world and probably will do for some for some time to come. The rest of the world is undoubtedly welcoming their hypnotic and compelling sounds.
So good is this here's two superb videos of tracks from 'Emmaar'.
Pre-order on iTunes: here -
or at the Anti Store: here
If there's one thing the internet is really good at it's archiving. And here is one massive archive of Alan Lomax's field recordings of folk music traditions from around the world.
Lomax worked from the 1930s to the ‘90s, and travelled from the Deep South to the mountains of West Virginia, all the way to Europe, the Caribbean and Asia. The Association for Cultural Equity, the nonprofit organization he founded in New York in the ‘80s have digitised 17,000 sound recordings taken throughout his career.
For anyone interested in the origins of music it's a goldmine, eg. here's the extensive blues archive. Just click the arrow by the name and you'll here voices from America's blues history come alive once more.
There are also video recordings, radio programs, photographs, discussions and interviews. This amazing resource of lost treasures waiting to be found is all free to access. Here's the main site : culturalequity.org
In the 1970's Alan Lomax also added video recordings to his collection.
Here's Belton Sutherland (vocal and guitar) performing an improvised blues on Clyde Maxwell's porch. Shot by Alan Lomax, John Bishop, and Worth Long at Maxwell's farm near Canton, Mississippi, September 3, 1978.
If you liked Seasick Steve's hubcap guitar (see post) you're going to dig this too. Isaac Frankle aka 'Shovelman' has a slide which is, as you would hope... a shovel.
"Shovelman is a junkyard beatnik, a shovel guitar wielding surrealist folk superhero. Armed with a collection of pawnshop effects pedals and an old barn-shovel turned slide-guitar, Shovelman plays ol' fashioned folktronica-grooves looped straight out of the ground. The sounds of Mississippi delta blues from the electro-psychedelic future, collide with the antiquated rubble of lyrical one-man-band hoboetry. Shovelman has become infamous on the west coast festival circuit (Lightning in a Bottle, Health and Harmony, Earthdance and The Oregon Country Fair) opening for bands that include Primus, Beats Antique and the Yard Dogs Road Show".
"Shovelman has forged a perfect merger of the past and the present with his bluesy 'folktronic' sound." - LA Weekly
You've just got to love that shovel. There's a touch of Tom Waits about this guy.
52 years ago today in a Gerde's Folk Club, New York City, John Lee Hooker headlined a night which also included a young musician playing his first live gig.
There are no recordings of Bob Dylan's live performance, but here is the set list -
Honey, Just Allow Me One More Chance
Talkin' New York
Corrina Corrina
Deep Ellem Blues
Blowin' in the Wind
And here is John Lee playing Tupelo from around the same time.
Happy birthday Tony Mcphee. One of the finest blues guitarists the UK has produced.
Here in the 1970's having just released 'The Two Sides Of Tony (TS) Mcphee playing solo acoustic guitar on the Old Grey Whistle Test, the albums side two featured acoustic blues.
'TS' pays tribute to Mississippi Fred McDowell who died in 1972 and 1 year before the release of the album.
Still underrated but undeterred Mcphee plays on. If you find him in some corner of a blues club or festival in the UK or Germany you will be seeing a genuine blues-man.
March 6th. Wife and daughters posted on Lee’s website: "With great sadness we have to announce that Alvin unexpectedly passed away early this morning after unforseen complications following a routine surgical procedure. We have lost a wonderful much-loved father and companion, the world has lost a truly great and gifted musician. Jasmin, Evi and Suzanne."
This is Alvin's version of 'Spoonful' from French TV "Bouton Rouge" January 21 1968 and below that an interview with him from 1988.
Many people will miss that 60's gunslinger. He was due to be on the same bill as Johnny Winter on April 6th.
A sad loss indeed.
Shortly after completing 'Usual Suspect' in 2011, Leslie West was to undergo a major surgery operation. Those events are life changing yet at the same time they can be life confirming. When the future is uncertain the mind can be focused on something like never before.
Maybe that's how Leslie West produced one of his finest recordings in 45 years.
With guests Slash, Billy Gibbons, Joe Bonamassa, Zakk Wylde, and Steve Lukather, West's fat tone guitar never sounded better. His voice matching every bit himself as a young man.
Here's a short film of him and Joe Bonamassa working hand in glove in the studio. The tune is the Willie Dixon classic, Third Degree.
If you're only as good as your last recording then Leslie West will be standing 10 feet tall regardless of what life throws at him. Legend.
There's been many interviews with Rock musicians that have been made only months before their demise, of course their own mortality is never a question in the interview as their future at the time couldn't possibly be predicted.
But this mornings interview with Wilko Johnson on BBC Breakfast TV was possibly one of the most amazing moments in rock and roll interview history as he spoke for the first time on national television about his recent diagnosis of cancer since his managers open letter to the press at Christmas (> see post) . Wilko has declined any treatment for the disease.
A clip has since appeared on the BBC website of the interview. This transcription tries to capture the way in which Wilko talks, with sentences and thoughts running on in staccato fashion. Rather like those famous guitar riffs.
BBC interviewer : How are you right now?
Wilko : "I'm feeling fit and fine at the moment.. I received this diagnosis that I have pancreatic cancer just before Christmas and um .. the effect on me has er .. well not what I would have expected when they gave me the diagnosis.. it was a surprise to me but I remained absolutely calm, not a flutter and um.. when I walked out of the hospital into the sunshine suddenly I felt this elation.. I just felt so alive, everything was tingling.. I'm looking around and everything.. and everything.. I'm alive!
As I say I'm not feeling ill.. and er by the time I got home I was most euphoric it seems to me that...finding this out I dunno that somehow I'd completed my life and er.. I've had a good life no cause to complain really and er.. I was feeling fine. Being by nature a miserable so and so.. this is bound to come down crashing tomorrow morning or something but I'm happy to say it hasn't. I have remained feeling in very good spirits since. "
At this point a section seems to have been unnecessarily edited out of the clip is his further view on only 6 months to live.. this part is paraphrased.
"with 6 months to live I thought I don't have any more to worry about. It was like a relief to me. I can't do anything about the past and there isn't much of the future, I won't have say to worry about er.. the tax man or the rubbish man, everyday things.. I just live now in the present."
The clip continues
Wilko : "I've been told.. I was told that I've got maybe 6 months I can expect to feel healthy before the cancer starts its work.. and er so anyway the first thing I did was er I went for two weeks to Japan which is a place I love very much, I've toured there very often, I have many good friends there and er.. it was, it was the right move and er.. and so we're just thinking if we got 6 months before I get sick then.. right 2 weeks in Japan, then I did some gigs in France last week, working an album er.. cuz you know when I'm working an album er.. I just slap it down, don't fiddle about right so it won't take up too much time and .. hopefully I'll still be fit in March to complete this farewell tour"
BBC interviewer :Tell us about the tour because you've had your fans really excited about it, a sell out.
Wilko : "Er yeah as I said most of this.. er most of this interest that's been shown in this whole business happened while I was away in Japan, I came home to find myself (laughs) besieged by reporters and photographers (laughs).. I should have thought of this years ago you know.. but um.. we've chosen the venue.. I say we, they did it really my mates you know but er.. obviously I had to get venues that were available at that time you know.. got to do it as quickly as we can before I start to crumble. So we picked venues that were firstly available and secondly we have had good time at in the past."
Sadly the website clip ends here. You might think the BBC would have the decency to show the entire interview without editorial interference especially since it's now on line and would use little more of their precious 'publicly owned' web space.
Wilko did go on to talk about his love for astronomy and the dome he has on his roof that houses his telescope and the times he spends in there even when it's raining and cloudy.. "you can still line the telescope up.. it's operated by the computer".
Also when asked how he liked seeing himself in Dr Feelgood in 1975 (several clips of which shown before the interview) he simply replied "I don't like looking at myself"
If anyone's real character can be measured by how they face their own mortality then Wilko Johnson is truly a giant of a man. His self deprecating humour and honest view of what will be his final months alive visibly left the two BBC interviewers open mouthed with wonder at the open acceptance of his own mortality as if they could have been interviewing the Dalai Lama himself.
In a time when the clamour of self inflated ego's are streaming to us by the day on all platforms of the media Wilko's selfless expression of his life and future was and will be a very rare and inspirational moment for anyone who saw it.
Make no mistake Wilko Johnson is a genuine Rock and Roll hero.
Here is the mighty Dr Feelgood back in 1975.
It's unusual that such a recognised and established American guitarist as Joe Bonamassa cites the 60's British and Irish blues players as a major influence on his blues style.
"You know, my heroes were the Columbine guys – Paul Kossoff, Peter Green, Eric Clapton. There’s so many - there’s Gary Moore, Rory Gallagher – another Irish musician who played the same things, but don’t tell him that. But those guys were my guys – Jeff Beck, Jimmy Page. There’s a certain sophistication to their approach to the blues that I really like, more so than the American blues that I was listening to. B. B. King’s a big influence – he’s probably my biggest traditional influence. I love Muddy Waters, Robert Johnson and T-Bone Walker and stuff like that, but I couldn’t sit down… I was always forcing myself to listen to whole records by them, where I’d rather listen to Humble Pie do "I'm Ready" than Muddy Waters, you know? I think, the English interpretation of the blues just hit me a lot better, you know?" wiki
It shows particularly well on this version of Gary Moore's 'Midnight Blues'.
Joe Bonamassa plays London's Royal Albert Hall on 30th March. His last performance in 2009 sold out in a week. Expect the same again.
Around 2010, Guitar World recorded an interview with blues legend Johnny Winter, and if that wasn't joy enough to have the rare chance to hear the man talking about some of his early days in music he then goes on to give a demonstration of his mastery on the slide guitar.
Guitar World obviously originally accompanied the video with actual tab illustrations of the chords and they're referred to during the 10 minute film.
Although no matter how well meaning this is you can't help but feel despite these most useful diagrams when it comes to actually seeing Winter's technique in action with his classic cover of 'Highway 61' there'll be every chance you will sound nothing at all like the Texas White Lightnin'. Don't be disheartened though.. neither does anyone else.
But it is a unique opportunity to have a close up look at one of the worlds great blues players and listen to him talk about starting out at a young age and being influenced by Clarence Garlow and B.B. King, his memories of Freddie King, and then onto the meaty matters of thumb picks, open tunings and slides, finally finishing off with a quick blistering run through of
Highway 61 and an example of Elmore James' style of slide playing.
Guitar World have high hopes for everyone viewing and called this a 'Johnny Winter Blues Lesson', but the reality is by most peoples mortal standards, it is a 'Johnny Winter Demonstration' and riveting viewing none the less.
Johnny Winter begins his 2013 European tour dates from April.
Jimmy Agren is another of theses really great Swedish guitarists. As well as multi-instrumentalist for his first album 'Get This Into Your Head' he released in 1996, a year later he led his own band and has been touring with them on and off since. Also guesting with fellow Swede's the Mats/Morgan band.
When he sold his apartment to start his own studio in 1995 it's all credit to the Swedish arts council that 5 years later they gave him a grant for improving his studio, 'Jimmy’s Garage', how could he not be denied with that name.
Seems to us Jimmy would gain a lot of new fans outside of Europe if only he could be seen and heard there, but sadly that's becoming a somewhat regular remark on these posts on bands from Germany, Russia, Sweden and no doubt there will be more artists just as good in future posts.
Here's Jimmy playing slide and boy does he get some action on that Italia Modena,
it's also pretty obvious from these riffs he's done his share of Zappa and Beefheart tributes
"She's louder than me, but I got the microphones"... good track title Jimmy, it could have been written by Don Van Vliet himself.
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