Grading New Releases

Peter Green, “The Robert Johnson Songbook” (Artisan Recordings)

Once upon a time in those silly ‘60s, Fleetwood Mac was one of a zillion British blues bands. What made it different was that it had three great guitar players--Jeremy Spencer, Danny Kirwan and Peter Green. Always a blues guy, Green originally replaced Eric Clapton in John Mayall & the Blues Breakers before becoming a Mac man. Green is also to blame for “Black Magic Woman,” one of the more irritating, overplayed songs of all time. However, the big Mac’s “Then Play On” from 1970 was one of the great rock albums of all time, and Green wrote most of the good songs on it such as “Oh Well,” “Show-Biz Blues” and “Rattlesnake Shake.” But while on tour in SoCal in 1970, Green got sick and basically dropped out of sight. Now, he’s back with a new album and is launching his first U.S. tour in 28 years. This one is pretty safe, as Green covers a bunch of classic blues tunes by the legendary Robert Johnson.

GRADE: B

Next gig: Sept. 5 at the Ventura Theatre.

*

The Negro Problem, “Post Minstrel Syndrome” (Aerial Flipout Records)

This is a slick, sophisticated pop-rock primer featuring the songs and vocals of the one and only Stew, ably assisted by a crack backup band. This band is not unlike Love in its prime or Big Head Todd & the Monsters or Hootie & the Blowfish. “Submarine Down” is a song XTC would be proud of, and also “Buzzing” and “Doubting Uncle Tom” will live long and prosper in that CD player. The cover of “MacArthur Park” has improved to nearly tolerable. Definitely worth a listen if you’re in the mood for some expertly crafted pop.

GRADE: A-

Next gig: Saturday at NYM in Santa Barbara.

*

W.C. Clark, “Lover’s Plea” (Black Top)

Super smooth vocals to Bobby “Blue” Bland intensity along with a hot band make Clark one of the best touring blues men. Clark is a Texan born in Austin in 1939 into a musical family. By his early 20s, he was playing with all the hot locals, including Joe Tex, who took the young guitarist on tour. Later, Clark befriended and played with a young Stevie Ray Vaughan. On this one, “The Godfather of Texas Blues,” with guitarist Derek O’Brien, he offers plenty of economical solos. Clark’s voice mesmerizes on songs about girls that made him happy and those that did not--the blues in a nutshell.

GRADE: A

Next gig: Thursday at Matty’s Lounge in S.B.

*

Girl Next Door, “Remembering Analogue” (Ripley Recordings)

The bouncers can cruise because this band is probably in no danger of creating a mosh pit. The Girl in question is one Kat Green, who uses her powerhouse voice on troubled relationship songs in sort of a jazzy and bluesy thing not unlike Kate Bush, Tori Amos and our local equivalent, Jennifer Terran. Girl Next Door is definitely different--way different from Raging Arb & the Redheads, for whom the band will open soon.

GRADE: B

Next gig: Friday at Nicholby’s in Ventura.

*

Eleni Kelakos, “I Will Fly” (EEK! records)

Kelakos is a big (6-foot) folkie-type singer who writes a lot of dumb & dumber relationship songs. Dumb women marry dumber guys and wonder what happened. From “Nickels and Dimes,” a sample line: “The kitchen clock is ticking, and her husband still ain’t home, and she prays he hasn’t left her, ‘cause she’s scared to be alone. And she’d rather take his drinking, his beatings and his lies, than take on all the emptiness that’s left behind her eyes.” Kelakos goes for the social commentary and lots of That Serious Girl Stuff.

GRADE: B

Next gig: Sept. 6 at Borders in Santa Barbara.

*

Cool Water Canyon, “Cool Water Canyon”

Colorfully dressed spin dancers could achieve orbital nirvana while gyrating to these groove-friendly guys. Imagine the Grateful Dead still alive and playing, except from Santa Barbara. Cool Water Canyon definitely has that slow, nodding groove thing figured out.

GRADE: B+

Next gig: Sept. 3 at Nicholby’s in Ventura.

*

Bizarre Gardening Accident, “Bizarre Gardening Accident”

Recorded in Ojai and Fillmore, this is no accident but a series of serious songs by Alissa Allred, who pontificates about the finer points of desperation in mellifluous, ethereal tones. The production values are high and it sounds as if they spent more money than the special effects budget of the original Star Trek series. No barrel of laughs, this is music that will appeal to youthful angst-laden weirdos dressed in black and hanging out at the coffeehouse dreaming of a cinnamon bagel or a good death.

GRADE: B