Olga: Now Is The Time

Written by Fantasma el Rey

Olga’s third album Now Is The Time is the first time that I have been able to hear this amazing, sexy guitar slinger and vocalist. From just one spin of this disk, I got a sense of nearly everything this musician is about; from her voice to her backing band, which includes husband Jimbo Mathus, you can feel the love for what she is committed to doing. This love comes shinning though on this powerful country blues recording.

The disk opens with the title track and from the rumble of the first drum roll you can tell that this one is going to be good. The band, which can expand to seven instruments, comes together well here in one of its simpler forms. The bridge is a wonderful example of country blues done right, everyone complements each other well throughout the entire disk. The funky bass and guitar work set the tone for the rest of the album. Even Olga’s vocals blend perfectly with the sound of the band, as if just another instrument.

“Weary” is a jumping blues boogie, driven to madness by the backbeat of Paul Taylor and Steve Malcolm, while Jimbo again shows his mastery of the guitar. The tune is cut from the mold of blues rockers Canned Heat; “Weary” has the same vibe as their “On The Road Again”. Definitely a jam you can play over again while cruising down a long, lonely highway. While “Ain’t It A Shame” is a slower tune with a rolling sound provided by a solid drum kick and a “washtub” bass thump. Here Jimbo shows his mastery of string instruments in general, by playing the mandolin as Olga’s passionate vocals drive home lyrics such as “such a shame/ two people so deep in love/ can’t act like grown-ups”.

“What’s The Matter with The Mill” and “Stealin’” have the band playing in a 1930’s country/blues style, very similar to the same simple sound that can be found on Jimbo’s new album, old scool hot wings. Olga’s strong vocals get playful in these tracks as Jimbo and company sing alongside her.

“I Won’t Ask” is a solid rocker that has a soul/English-blues sound to it. Certainly a tune that would have found a place on the Billboard Top-Ten in the mid 1960s, with its groovy guitar and Memphis soul bass. The mixing of Olga’s vocals is perfect on this track, with just the right amount of distortion and feedback.

The country/soul of “Can You Forgive Me” make this track one of my favorites, Olga’s sweet yet strong vocals display a passion that shakes the soul and hits your heart as she repeats the title and asks for forgiveness.

On “Fool” and “Gotta Keep Moving” the band gets into some solid blues/funk with deep bass runs and a solid shuffle on the drums. Jimbo’s guitar picking is outstanding as usual and is a highlight of the CD.

The CD closes with a track that puts the spotlight on Olga’s vocals and Jimbo’s picking, “GDTRFB” (going down the road feeling bad). The song is a wonderful example of the fact that at times less can be more; a perfect blend of two guitars and two voices. At the beginning and end of this track we get a sample of Miss Olga’s very sexy speaking voice, complete with a light southern accent.

Now Is The Time is an entertaining slice of country blues, packed with style and flair, each entry has its own appeal. The band’s performance is solid throughout, tackling every style effectively and with ease, while Olga’s strong, passionate vocals weave it all together. This being her third album makes now the time for me to run out and find the fist two and hear what I’ve been missing out on. Needless to say that Olga has got a new fan in…

Monsters Are Waiting: Fascination

Written by Fantsama el Rey

Monsters Are Waiting could definitely have some monster success waiting for them if luck and promotion serve them well. The band form a strong unit, combining elements of great alternative bands from the 1980s that one can clearly hear from just one spin of their debut CD. A solid danceable beat, steady bass drive and some razor sharp guitar hooks prove that these cats have the talent, as is evident on this entertaining, well-moving forty-two minute disk

Fascination opens with “Last Goodbye” giving us our first look at lead singer Annalee Fery’s wonderful vocals and excellent delivery, which are sublime, yet filled with attitude and strength. It stands out right away for its catchy guitar and bass opening, very reminiscent of work by New Order. The lyrics to this one hit me as well, with lines such as “it’s hard to admit it/ this could be are last goodbye/hearts are breaking/ don’t ask why” and “carried away/ thoughts of you / I can’t sleep tonight” which say plenty with just a few simple words.

The title track “Fascination” starts off with that heavy drumbeat that is subdued, yet steady and sounds as if it’s bubbling under, waiting to burst; which they do in the middle of the song, coming alive and moving to the front. Following the drums are more driving bass and guitar work, add Annalee’s vocals that start slow, low and then explode with some wonderful “aahh aahh”s and the track sends you spinning.

“Nobody” has the band mellowing out a bit, while losing none of their strength. On “Ha Ha” and “Don’t Go” the drums kick into overdrive and again have me foot-stomping and head-nodding. “Don’t Go” finds our heroine singing the title line with feeling and more hardcore attitude, giving us a sense that even though she’s asking someone not to go, she is still very strong and almost sarcastic.

“Christine” popped out at me because the bass and drum remind me of Pere Ubu’s “Life Stinks”, which is a punk rock classic. Again, Annalee’s vocal wanderings are very well placed at times through out this track. “Monsters” finds the band in a somewhat more playful vibe, beginning with a peppy guitar and more happy-sounding bass runs, complete with a marching drum kick; the vocals here are in high spirits as well. The tune gives off an almost sixties pop sound.

Overall, Fascination is a strong album that I haven’t found a weak point in yet. The length of the album and songs make it very enjoyable to spin over and over again, which any ghoulie that follows my ramblings will know as my mark of an exceptionally excellent recording, so I’m sure that says something in itself.

I have also had the opportunity to see Monsters Are Waiting live and had a blast. Interesting to note of the band in concert, is that halfway through their set the guitar and bass players will change instruments and still perform flawlessly. These cats are truly professional with the sound and style that they have chosen to play, drawing from past masters such as New Order, Stone Roses and the Pixies; when I saw them live, they even closed with a Stone Roses tune, “I Wanna Be Adored”. With luck, Monsters Are Waiting will find success in the modern rock field alongside other bands such as the Bravery and the Dead 60s with a similar “turn back the clock” sound.

Freddie McGregor: Bobby Bobylon

Written by Fumo Verde

Studio One does it again with some great old school Reggae. Freddie McGregor, the internationally acclaimed, Grammy-nominated singer/songwriter is presented here with some of his earliest tracks. Bobby Bobylon brings Freddie back to his beginnings with Clement "Coxsone" Dodd, this being the time when many Jamaicans were embracing Rasta and when Reggae was starting to explode. Here, McGregor shows how he kept in touch with the Jamaican public by writing great love songs and true-to-life cultural material. This new release has not only the ten original tracks but also eight additional singles.

Okay, you katz and kittenz, I'm gonna cut right into the meat of this awesome disc. "Bobby Bobylon" is the title track (#6) and it is my favorite right off the bat. The rhythm comes from the Jackie Mittoo's "One Step Beyond" instrumental, and lyrics like "...you brought us here in captivity and feed us with your brutality, turn your back on humanity..." reflect the roots of Rasta music and allow you to feel what Rasta and Reggae is all about. The liner notes stated that this version is previously unreleased. I dig when the liner notes give you a little history of where or how the song came about, and Studio One has done that plenty with this disc, which is a plus in Fumo's book. My other favorite song is "I'm a Revolutionist" and as you can tell by the title why, once again Rasta Roots is presented in all its glory. This track was first released as "I’m a Rasta" on the original 1976 release of the Bobby Bobylon LP.

This CD is a mix of strong, rebellious Reggae blast, groovin' Rocksteady beats and warm Caribbean love songs that are as soothing as the soft island breezes that blow through the night. The words of "Tomorrow is Today" strike a chord with those who have ever been in love. Other songs such as "We Need More Love" and "Wine of Violence" stress the points of love, kindness and social justice. "We Need More Love (in the Ghetto) " brings a melodic Rocksteady beat with a chorus of brass leading to the bridge. "Wine of Violence" was sung over Ernest Wilson's "Undying Love" rhythm and was covered by Freddie in 1987. The title is a biblical reference from Proverbs 4:17, For they eat the bread of wickedness, and drink the wine of violence. This song sounds like it was to remind Rastas to stay pure to their faith. "Rasta Man Camp" is another Rasta rally song with deep root drumbeats.

Now that I have learned of this great artist, I will definitely be picking up some more of his work. Bobby Bobylon is a must have for any Reggae collection and Freddie McGregor is up there with Bob Marley, Peter Tosh and Burning Spear. His soulful voice flows along with rhythms as his lyrics give way to scenes and stories of what life looks like from the Jamaican point of view. This CD has just made its way into the rotation of my "usual suspects" that I seem to constantly bombard my neighbors with-- always play it loud-- and from now on, I will be picking up more from Mr. McGregor.

This is Fumo saying... Ire I and a rub-a-dub-dub.

NACHO LIBRE

Written by Hombre Divertido

No No Nacho!

Jack Black is like a caged animal in his new film Nacho Libre. Not because he takes on the role of a wannabe professional wrestler with great intensity and ferociousness, but because he is restrained by a weak script and plodding direction. Both of which can be blamed on Co-writer and Director Jared Hess (Napoleon Dynamite).

Anyone who saw Orange County knows that Jack Black is quite capable of playing an outrageous character, and we get brief glimpses of his skill in this film; unfortunately far too brief.

It is as if he is breaking free of the cage near the end of the film as he begins singing in the locker room. Then, he has to go wrestle. Actually they both do. Nacho with the villain in the film, and Jack with the script and direction.

It is obvious that Jared Hess is going for the same type of subdued story and characterizations that he delivered so beautifully in Napoleon Dynamite, but he is missing so much, as are we the audience.

Hess does not have the supporting cast that he had in ND. He does not have the wonderfully woven storylines, or the interesting characters surrounding his lead. What he does have is unexplored supporting characters, and a one-dimensional story that never goes anywhere. The music is as complementing to the film as it was in ND, so if you like a film with an interesting sound track, well…no, just say no.

Recommendation: For a more enjoyable experience with Jack Black, rent the 2002 film Orange County. For a more enjoyable film about wrestling, rent the 2000 film Ready to Rumble. For a more enjoyable Jared Hess film, rent Napoleon Dynamite. Enjoy the triple feature with some Nachos rather than seeing Nacho Libre.

John Fogarty: The Long Road Home In Concert

Written by Fumo Verde

While I have already given The Long Road Home CD an A+, John Fogerty in concert is a sight to see, and this DVD footage sure lets you do that. On September 15, 2005, John and his band (Not CCR) stepped out on stage to play an old fashioned rock concert, and in doing so, he brought back the enlightened soul of what rock 'n roll used to be in its heyday of the late 60's/early 70's -- with out all the hallucinogens. Fogerty has been and will always be someone who speaks his mind and speaks out about the wrongs and injustices that he encounters through his travels. He also knows how to write and play a good rock song. On this DVD you get a lot of both.

All the songs that are on the CD are on the DVD, so nothing gets left out. Most of Fogerty's music is pretty politically charged, since most of it was written during the Vietnam era, but a lot of what he said back then resonates true today. Just before he plays "Deja Vu" Fogerty says, "Most of you are much to young to remember a time in America culture called 'Vietnam.' I was in the army at that time...Sorry to say that we're doing the same damn thing all over again. This song is called 'Deja Vu' and I sing for families." But this isn't some political rally; it a good old rock concert, and there is plenty of rock to go around.

As for visuals, the camera work is great. It focuses not only on John, but the band and the audience as well. Nothing fancy. Nothing you couldn't do on your PC or Mac with some good software. If I want to see weird shit happen on the screen while I'm watching a concert, I'll eat some ‘shrooms. On this DVD, the camera guys were all over the place filming the show and the crowd’s reaction, which is what you want to see when watching Fogerty. Like his songs, there's no shenanigans, no bullshit, its right there in front of you, plain as can be. They kept it simple, and why not, it’s what works.

The crowd, as you will see, vary in generations, from old hippies to young punks--if that's what they are still called-- but all have one thing in common, the songs that the man on the stage is belting out. It can be hard sometimes, sitting in your "entertainment room" trying to make it feel like you are really at the show, but this DVD does a pretty good job in getting you in the mood. Once again, I found myself bouncing out of my chair here and there, and when "Fortunate Son" came on, like the crowd, my energy level jumped and I grabbed my air-guitar and rocked myself into frenzy. Fogerty's music has that way about it.

This DVD brings John into your home and if you are a Fogerty/CCR fan, you will dig this concert. For years, John had to put up with all that legal crap, but now he's back out on the scene, and this tour started it off. For him, it has been "a long road home" to get back to where he loves to be, on stage, performing in front of his fans. If you are one and you haven't seen him live, or even if you have, this DVD is worth the price of admission.

This is Fumo...I must go "Run Through the Jungle".

CARS

Written by Hombre Divertido

These Cars Drag.

In the new Pixar/Disney Film Cars, we are introduced to Lightning McQueen, the hotshot rookie on the tour. Lightning is on his way to a big race in California, when an unusual turn of events lands him in the small town of Radiator Springs. There he learns some important lessons. We the audience learn the important lesson that Radiator Springs is where movies go to die.

There are certainly aspects of this film you can’t ignore:

Visually it is fantastic. Pixar outdid themselves here.

The attention to detail is amazing. The subtle automobile references throughout the film are incredible fun.

The similarities in the story to the 1991 Michael J. Fox vehicle Doc Hollywood are unavoidable.

The vocal casting was wonderful with few exceptions.

The major exception to the wonderful casting is Owen Wilson as Lightning, who played the role with far too little energy.

The most critical aspect that you cannot ignore is that somewhere along the line, Pixar forgot how to make movies funny. Toy Story 2 was brilliant. Finding Nemo and Monsters Inc. had their humorous moments. The Incredibles continued the no-laughs slide, and Cars, though it starts with promise, just bogs itself down, as Lightning gets bogged down in Radiator Springs. Larry the Cable Guy as the voice of the local tow truck Mater (Tow Mater), and the always-brilliant Tony Shalhoub as Luigi the tire salesman manage a few chuckles, but not enough to save the majority of this film.

Interestingly, once our hero gets out of Radiator Springs, and back on the track, so does the film. Unfortunately, the film is virtually over at this point.

The target audience is unclear here. I attended the movie with three women (I try to keep it under five during the week). The 10-year-old said it was not funny. The 17-year-old said it was too long. Their mom (Whose age I am smart enough not to mention) said it was too slow. It is obvious that very young children will enjoy this, but Pixar used to make movies that would make both adults and children laugh. They obviously still can, because the Pixar short film “One Man Band” preceded Cars, and it met all the previously mentioned requirements, as did the credits of Cars. So we know they can still do it, but for whatever reason, they don’t.

Recommendation: So we know you can go see Cars, but for the many reasons mentioned above, you shouldn’t. Unless you’re taking your children, in which case, get there in time for the short film, and make sure you stay for the credits. I recommend you bring a portable DVD player, and when Lightning gets to Radiator Springs, pop in Toy Story or it’s superior sequel, and enjoy the films.

THE OMEN (2006)

Written by Hombre Divertido

It is usually enjoyable to sit with a friend and reminisce. Though it is fun to recall pleasant memories, remembering them is never as fun as when you were living them. The same can be said for watching The Omen (2006). Though it is fun to watch, it is not as pleasant as when we first experienced it.

Remakes are always a gamble, and after the disaster that is Poseidon, the outlook was not positive, but launching a film about the Antichrist on June 6th, 2006 was a marketing opportunity too good to pass up.

Though it fails in comparison to the original1976 hit, which had a sneak preview on June 6th 1976, this remake, which stars Liev Schreiber, Julia Stiles, Mia Farrow, David Thewlis, and is directed by John Moore, is worth your movie-going dollar and 110 minutes of your life. Especially if you like those jarring “Boo” moments in scary movies. For it is several of these moments that have been added to the story, and have the audience hanging from the ceiling far more than the original, that allow this film to succeed.

Other than those new shocking moments, and some inconsistent setup points at the start of the film that are more likely to get the audience talking to each other than watching the film, the remake generally stays true to the original story.

Where it is lacking is in the performances and sheer continuity. Unfortunately, you will find yourself recalling the original and it’s superiority when you should be watching the current version. You will also find yourself looking for what is missing which in this case is the depth: depth of story and the depth of the performances so crucial to the original.

Though Liv Schrieber and Julia Stiles are adequate, they are one dimensional as the new parents of Damien (Seamus Davey-Fitzpatrick). No one deserves to be compared to Gregory Peck and Lee Remick, but you cannot escape the fact that their performances drew the audience in far more than the current cast. A more unfavorable comparison is that of David Warner, playing a tabloid photographer in the original, and David Thewlis in the same role in the new film. Warner's characterization in the original captured the intense motivation that drew our attention far superiorly when compared to that of Thewlis. In defense of Mr. Thewlis, the script did not help his cause, as the relationship between our intrepid photographer, and the worried father was not established nearly as well this time out.

Though the portrayal of the antichrist Damien by Seamus Davey-Patrick worked well, which I’m sure made his parents quite proud, due to the script and the fact that the role is based primarily on the young actors ability to look evil, he was not able to capture the mood generated by Harvey Stephens 30 years ago.

One performance that is fun to watch is that of Mia Farrow once again dealing with a demonic child. This time as Damian’s nanny Mrs. Blaylock, she is over-the-top creepy. Though a different interpretation than that of Billie Whitelaw in the original, the slant Farrow takes is an enjoyable aspect of this new production. There are other enjoyable aspects as well. The music is certainly as haunting and as intense as the original, as is the over all look of the film.

Recommendation: Remakes are rarely as good as the original, and though this one fails in comparison, it stands fairly well on it’s own. If you have not seen the original, you will likely enjoy this film. If you have seen the original, and like being scared by moments that make you jump, you may enjoy this film. Either way, rent the original after you see the new one, for a truly enjoyable one-two punch.

THE BREAK-UP

Written by Hombre Divertido

If you asked someone to describe a break up, you would probably hear the words awkward and uncomfortable.

If you asked me to describe The Break-Up, the new film directed by Peyton Reed (Bring it on, Down With Love) and starring Jennifer Aniston, and Vince Vaughn who also co-wrote and produced, I would also use the words awkward and uncomfortable. I would use the words contrived and unfunny as well. Not good for a film billed as a romantic comedy. Not much romance in a break-up. Not much comedy in The Break-Up.

People in the midst of a break-up would most likely say that they can’t wait for it to be over. People in the midst of The Break-Up would most likely say the same thing.

This movie is painful to watch.

Jennifer Aniston plays Brooke opposite Vaughn’s Gary. A couple living together, and not getting along. After seeing how they met, and a montage of pictures of them together, we are thrown into an evening in which our couple is preparing for a dinner party. This horribly directed sequence, which includes amateur camera operation during a scene in their kitchen, results in an end of the evening fight, and Brooke announcing that it is over. Oh, if only it had been.

Brooke proceeds to try every method ever learned in junior high school to fix things, while Gary does nothing but go out of his way to irritate Brooke, and the audience.

Hopefully, Aniston and Vaughn have more chemistry in their relationship off-screen than they were able to generate in this disaster.

A huge part of the problem is the script. It paints our two lead characters as totally inept people when it comes to a relationship. No communication, no understanding. These people are never on the same page whether they are in the relationship or out. Possibly believable if they were in high school, but not fathomable here. Based on the lead characters, the direction, and the script, a better title for the film would have been Clueless, but it was already taken.

Now maybe part of the problem is Vince Vaughn. He plays awkward very well, but he seems to play it in everything. Be it Wedding Crashers, Old School, Return to Paradise, etc. He is one-dimensional. Now, sometimes that dimension fits the movie as in the 1998 film A Cool Dry Place, but often he just seems out of place or as if he is phoning it in as in the 2004 film Dodgeball. In this outing, awkward works in certain situations, but Vaughn’s portrayal of Gary appears insensitive and unaware.

Aniston does well with what she has, and I am not referring to her attempts to show cleavage. She displays range here that we have not seen from her. Unfortunately, her character is ridiculous, and that will likely reflect on the performance with a lot of people.

As the co-writer of the story, but not the original script, I imagine Vaughn was going for a "When Harry Met Sally" type of relationship that hits the rocks. Perhaps that is what they were going for, but this film hits the rocks before it got started.

With all that said, the saddest part has yet to be mentioned. This film has an all-star supporting cast that is simply wasted. Never has a who’s who of character actors including Joey Lauren Adams, Cole Hauser, Jon Favreau, Jason Bateman, Judy Davis, Justin Long, Vincent D’Onofrio, and John Michael Higgins, ever been so underutilized. Our brief exposure to these characters is the best part of the film.

Have you ever heard someone say that being in a bad relationship is better than being alone?

Recommendation: Spend time in a bad relationship or alone instead of seeing this film.

Alison Ray: Downside Up

Written by Fumo Verde

Who is Alison Ray? I have been asking myself that same question. She’s a young woman with a pretty face and soothing voice. I think this is her debut CD, but since I couldn't find anything on her, I have to assume so. The music on Downside Up has a rustic, rock ‘n’ roll sound, which Ray's voice matches nicely. She has a mixed sound about her, kind of like a Melissa Etheridge crashes into Britney Spears, singing about heartaches and good times lost.

Eleven tracks make up this disc; some have, or try to have, a hard rock edge. The others have a "feel good pop" sound that you can hear on the mainstream radio station; you know the ones that play more commercials than music.

The first track "Does the DJ Know" sets the tone of the CD. It’s about a DJ who plays a song that gets her excited and makes her want to jump all over the guy. It has simple guitar riffs and easy drum beats. Nothing to complex or anything to make you say wow. The next track is "Wonderful Day", where she wonders if the guy who she wants to jump on wants to jump on her just as much-- and if so, then that will be the “wonderful day".

"Dirty Little Secret" (D.L.S.) is the fourth track, and this one has a little darker tone to it. As you can guess by the title Miss Alison seems to have found out that her love is cheating on her. Once again, the music is straightforward. Nothing stands out. The guitars really don't have any solos and are used strictly to bridge Ray’s singing. On "Love is the Thing" you get the feeling that no matter how much shit Alison has gone through, she still has hope in love. (That’s nice.)

The closing track is "Nothing Short of Beautiful". Ray lets you know that the world around you is beautiful, and no matter what happens, sooner or later things will turn up for you. The music sounds like it wants to blast through but is kept under control, so Alison can perform. For her first CD, Downside Up sounds like any teen pop album that is out there now, being played at junior high dances across the country.

I guess that if you are a young girl, between the ages of 13 and 17 you might want to pick this CD up, but it would behoove you to invest you cash in to something that will stay with you for a long time, such as Aretha Franklin, or Bonnie Raitt, or even Alanis Morrisette (she has toned it down over the years--I liked it when she was pissed off.) Maybe that's what Alison Ray needs to do: get pissed off and then write it out.

By the time I put this CD through the Fumo Listing Test, I had lost interest more times than a tweeker watching c-span. For a debut CD, this one falls short of really sticking around. Let me know if you ever hear of this girl on the radio, I'll make sure to block out that station.

Jas. Mathus & Knockdown South: old scool hot wings

Written by Fantasma el Rey

Creep with me, cats, as we slip back in time, to a day and place where music is simple and heartfelt. When it didn’t matter who was playing the music was what it was labeled. Black, white, country, blues or jug band; it was played on the porch, in the fields or in tumble-down distiller shacks. The words of Dave Alvin, roots-rock hero, come to mind “American Music”, plain and simply put. These are the sounds that would fire up a younger generation and launch a revolution in music, giving rise to the southern rockers of the '60s and '70s.

Jimbo Mathus, who hit commercial success with the band Squirrel Nut Zippers, along with a few friends from the Mississippi area, have perfectly captured the true sound of the early South on this new disc old scool hot wings. They cover a wide range of music that stems from Mississippi and surrounding states that grew from the sometimes hard southern life, while providing a very entertaining history of sorts.

Jimbo’s choice of musicians is excellent; he’s got everything from guitar and banjo pickers to washboard scrubbers and tuba pros. Two of his handpicked musicians, Luther and Cody Dickinson, I’ve had the pleasure to see live with their own band North Mississippi Allstars. These two young gents throw down good blues with the best of them, combining a modern sound with a very traditional one, which works well for them. Here, they are stripped down along with the rest of the musicians and still shine, the mark of a true professional.

Jimbo’s idea here is not far from the vision he shared with his pals in the Zippers, old time music kept alive by people who love to play it, the way it should be played, from the heart. Mathus and band come across as authentic and not like some revivalist or parody act, with silly songs or overproduction.

The songs are mostly traditional, genuine to the South, and sound very much that way. They are pieces of the past that come to life the more you hear them. Songs such as the Civil War classic “Dixie” and “Bullfrog Blues” rank among my all-time personal favorites. The first time I heard “Bullfrog Blues” was on a Canned Heat record and I fell in love with it then. On this recording, Mathus strips it back to its original boogie-blues sound. “Dixie”, for some reason has always haunted this “Redneck/Mexican Boy” and stood out in my mind, the song itself conjures up images of the old South and a way of life that seemed a million miles away from my suburban home. When I finally had a chance to see the South with my own eyes, the song only haunted me more, because of the strange feeling of home and comfort I felt there; it’s hard to explain and this isn’t the place to try to do so.

Having said that, it will come as no surprise that my favorite track on this disc is the Mathus-penned “Bright Sunny South”, where Jimbo’s lyrics and vocals remind me of my all-time favorite guitar slinger and songwriter Mr. Carl Perkins from Tiptonville, Tennessee. Although Perkins is known for his rocker “Blue Suede Shoes”, here I’m speaking of his slower songs of love and home, heartfelt and to the point.

And that’s what I hear on this disc, songs that bring to mind an image of the past yet of a time and place that still exist with a music that will never die as long as fine musicians such as Jimbo Mathus and the Dickinson brothers are around to play it and spread the word. Good job, gentlemen and the rest of Knockdown South. Through your vision and work it looks like the music of the South will rise again!