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The Schoolkids' Catalogue 1991-1993

The Schoolkids' Catalogue 1991-1993 image The Schoolkids' Catalogue 1991-1993 image The Schoolkids' Catalogue 1991-1993 image
Parent Issue
Month
December
Year
1993
Copyright
Creative Commons (Attribution, Non-Commercial, Share-alike)
Rights Held By
Agenda Publications
OCR Text

Mr. B: "My Sunday Best"

Pianist Mark Braun (Mr. B)- with Kurt Krahnke on bass, Andrew Conlin on drums and guest drummer Roy Brooks - has fashioned a recording that sets the perfect pace for the new Schoolkids' Record Label. Mr. B's work, in a word, is simply extraordinary. Although he's been in the Ann Arbor area for decades and has become famous around the country for his boogie-woogie piano style, this work shows his growth as a stylist and a musician.

Digitally recorded live at the intimate Kerrytown Concert House, there's not a weak cut on this recording. Highlights include the gospel-fired solo "My Sunday Best," the Latin-tinged "La Pirague," the rolling "New 44 Blues," and the powerful Thunder & Lightning Boogie." From his dominating left hand to his deft mastery of piano dynamics, this entire work clearly demonstrates Mr. B's brilliance and versatility as a contemporary pianist. Pass this one around to all your friends for the holidays.

Dick Siegel: "Snap!"

Dick Siegel is probably the best songwriter in town and "Snap" clearly shows why one can make such a brazen statement. His songs combine humor and irony with a jazzy sensibility that deliver accessible and sophisticated tunes. The vocal gymnastics on "Downsize Blues," the lyrical word play on "Razzle-Dazzle," and the haunting feel on "When the Sumac is on Fire," all show Siegel's mastery at the art of popular songwriting. Each one combines a level of insight and musicianship to which all songwriters should aspire.

Although all the material here is strong, the legendary "Angelo's," about Ann Arbor's famous breakfast diner, and "What Would Brando Do?" with George Bedard and Mr. B, are standouts. They demonstate Siegel's strength: excellent musicianship coupled with a witty and meaningful phrase. This recording, which is a reissue of work from the late '70s, cleariy shows that great works stand the test of time.

George Bedard & The Kingpins: "Upside!"

Although one might quibble with the claim by the magazine CD Review that this recording is a blues recording, one thing is for sure: It is a first-rate recording and a great introduction to George Bedard & The Kingpins.

As good a roots guitarist as Bedard is, and as strong as the material on the recording is, part of the overall appeal of this recording is the ensemble work. Randy Tessier's bass is fundamental to the sound of the Kingpins and drummer whiz Rick Dishman is precise and strong, giving Bedard the impetus to do some of his very best work.

Four cuts are hallmarks: the rockabilly "Tennessee Rock 'n' Roll (with pedal guitar master Mark O'Boyle); the Bedard original "Walkin' And Talkin'" (aided by Mr. B on piano); the bashing, blistering, thumping '60s surfin' classic "Pipeline"; and the exquisite and beautiful "Cold Cold Feeling." This is one tight group who know each other, and their sound, well. Although Bedard may get the credit for this recording, and as co-producer with Dishman and Torn Bray he rightfully deserves much of it, it is truly the way these artists work together that make this an outstanding CD.

Steve Ferguson & The Midwest Creole Ensemble: "Jack Salmon & Derby Sauce"

Steve Ferguson is from Louisville, where he surely picked up the varied musical influences also found in river cities like New Orleans, Memphis, and Cincinnati. Using easy slow tempos, blues-blasting horn sections, shuffle rhythms, and an occasional Celtic flute, Ferguson delivers a sound so unique it defies easy definition.

Backed by Pat Lentz on guitar, Rob Wurtele on keyboards, and Reid Yahn on saxophone, flute, chimes & violin, this ensemble seem to instinctively have the know-how to keep up with Ferguson's vision of this good-time yet timeless music. From the gospel-inspired "Soul Waltz" to the definitively southern-sounding rhythm and blues "Hot Walker Blues"; from the strong "Hi Di Ho" to the slow, infectious "I Stand Accused," this recording demonstrates two points: That great music often exists hidden in smaller markets around the country, performed by artists who deserve greater exposure, and that we in Ann Arbor have the great fortune of having a local recording label that knows about this music and is willing to share it with us.

The Kingbees: "The Kingbees 1 & 2"

The Kingbees are Jamie James, lead vocals and guitars; Michael Rummans, vocals and bass; and Rex Roberts, vocals and drums. In 1980 they broke onto the charts with the catchy pop-rock anthem "My Mistake." Schoolkids' Records have rereleased their first two albums.

The material overall is very good, but with 22 cuts ranging from the exceptional "She Can't Make Up Her Mind" to the uninspired Buddy Holly tune "Wishing," there is an inconsistency here unlike in the other Schoolkids' recordings. For instance, "My Mistake," "Shake Bop," and Carl Perkins' "Boppin' the Blues" are first rate rock/rockabilly/power pop tunes that clearly show that the Bees understood the appeal of this roots music variation. But tunes like "Fast Girl," "Once is Not Enough," and "She Ain't My Baby" - all up-tempo rev music - come across a little too strong and become tiresome.

Madcat & Kane: "Key to the Highway"

This is not a Peter "Madcat" Ruth album; it is a Madcat and Shari Kane album. For all the notoriety that Madcat has gotten over the years as one of America's premier harmonica players, and his recent stint as a McDonald's spokes artist, this recording would be something less if Kane were substituted with any other guitarist.

It is Kane's steady musicianship that gives Madcat the room needed to blow the doors off Dave Brubeck's 'Take Five." It is her masterful slide playing on "Daddy, Where You Been So Long?" and 'Tribute to Johnny Shines" that grabs one's attention, and it is her sense of musicality on chestnuts like "Rollin' & Tumblin"' and "Sweet Home Chicago" that defines the parameters for Madcats virtuoso playing. This recording is yet another example of the diverse stylistic sound encouraged by Schoolkids' Label.

Tracy Lee & The Leonards: "Tomorrow Morning"

This is a re-issue of a mid-'80s release by the group consisting of: Tracy Lee Komarmy, vocals; George Bedard, lead guitar and vocals; Dick Siegel. guitar and vocals; Dan Bilich, bass; and Rick "Radio King" Dishman, drums.

One cannot dispute the musicianship here, especially in the blistering guitar breaks by Bedard, the fancy precise rhythms of drummer Dishman, and the well-crafted tunes of Siegel. It's just that the production and arrangements of the material does not reach the same level as the individual players.

"I Wanna Fly," "(Do the) Dick Around," and "Borrowed Time" all are fun tunes but they lack energy in these recorded versions. Even the classic "Let Me Touch Your Dress" is rendered lifeless. If these people would have recorded the live renditions that carried them to the heights of the mid-'80s pop music scene in Ann Arbor, instead of these rearranged versions, this would have been a much stronger and more representative recording.

The Deadbeat Society: "Before We Arrive"

"Bluegrass and Beyond" is the motto of The Deadbeat Society, a quartet comprised of Tim Famham (banjo and vocals), Roy Eider (bass and vocals), Colby Maddox (mandolin, fiddle and vocals), and David Mosher (guitar and vocals). They play mostly original compositions that range from outstanding to good. Although their liner notes says their music is "categorically non-compliant," anyway you cut it their music is acoustic bluegrass oriented.

They do successfully delve into styles outside of traditional bluegrass with the exceptional Mosher composition "Stone Soup" and the Bob Wills inspired "Don't Wanna Be Rich and Famous." Also notable are the "New Grass" stylings on "Swang Thang" and "Little Dawg." The quality of this release is rendered inconsistent, however, by the hackneyed "Days Passed By," the sentimental "North Country Summer," and the instrumental "Forked Road."

Scots Pirates: "Scots Pirates"

Former guitarist for the '60s rock 'n' roll band The Rationals, Scott Morgan, is now lead guitarist in Scots Pirates. Other band members are: Scott Asheton, drums; Gary Rasmussen, bass; Kathy Deschaine, vocals; Brian Delaney, guitar; and Billy Csernits, keyboard.

This rock recording sounds dated. Although singly, each of the instruments (and vocals) sound balanced and have good tonal quality, when mixed together they "sound" like a mid-'70s rock band. Like many groups from this period Morgan's music is consistent and powerful - yet unlike many of these mid-70s groups, Morgan's music is worth more than one listen.

Cuts like "Misery" and "Running Away" demonstrate the strengths of Scots Pirates' lyric-oriented, up-tempo rock. Songs like "First Step" and "16 With a Bullet are powerful reminders that society often defines the means of survival, be it for someone toting a gun or, like Morgan, someone trying to get a hit record.

Perhaps there is a bit of soul-searching in Morgan's lyrics. For as strong as his material is, it has not received the air play it deserves. Hopefully, this recording will still find a way to wider audience.

Jamie James: "Cruel World"

Jamie James was the lead vocalist and guitarist for the Kingbees. Now he fronts a new group featuring Mark Gougeon on bass and Detroit drummer legend Johnny B. Badanjek. Also included in this power-pop recording are Ann Arbor artists Peter "Madcat" Ruth, Mr. B, George Bedard, and the outstanding Chenille Sisters. The result is a much stronger effort than the earlier Kingbees material.

Part of the reason for the strength of this recording is Badanjek's drumming. After a long stint with the famous Detroit Wheels, Badanjek adds power and drive to many of James' tunes. Where the tunes generally stay within the power pop formula James finds so appealing, by adding such a dynamic drummer as Badanjek the material now becomes multidimensional.

Add the strengths of Ruth (who can be heard on most of the cuts), Mr. B, and the Chenilles, and the result is a quality recording worth picking up.

Steve Nardella: "Daddy Rollin' Stone"

Steve Nardella (guitar), Dave Picard (bass) and Mike Kissick (drums) are a formidable roots rock 'n' roll band. Their sound is roots. Their appearance is roots. Their attitude is roots. And this is a great recording. The strength comes from two directions: the ensemble work of this trio and Nardella's excellent sense of musicianship.

This trio has been together for years and the love they have for rockabilly comes out on tunes like "Betty Jean" and Nardella's "Lousie." The group never sounds stronger than on blues numbers like "Detroit Shuffle" and "Reap What You Sow." Nardella's musicianship & skillful guitar is particularly notable on "Mean Red Spider," and with guest pianist Bill Heid on "Selfish Ways."

But perhaps the strongest cut on the recording, the one that clearly demonstrates the talent of Nardella, is the title cut, "Daddy Rollin' Stone." His guitar playing is inspired and his singing has never sounded stronger.

Partly because blues and rockabilly rarely go out of style, and partly because of the passion Nardella has for this music, this recording is, in a sense, timeless. It is one that should be picked up immediately and played incessantly.

Big Dave & The Ultrasonics: "Love and Money"

Big Dave & The Ultrasonics are the best blues band in Ann Arbor and are destined for greater venues. Big Dave Steele's vocals are whiskey-tinged and authentic. David Farzalo's guitar work is piercing and electric. Dave Morris' harp is fast, precise, gritty and rough - a near perfect blues harpist. Todd Perkins' bass is strong, and he rates as one of the best in town. Pieter Struyk's drumming is rock solid, perfect for the blues. Ben Wilson's keyboard playing is flashy and distinctive. As a unit they are excellent.

You'll hear virtually every type of blues on this strong recording. From the low-down blues of "Just Move On," the country blues of Arthur Crudup's "Mean Old Frisco," and the electric blues of "Empty Pockets," to the raging jump blues of Morris' "12 O'Clock Jump," and the contemporary Chicago stylings of "Midnight Shift," there is not a bad cut on this album.

For years people around town have been wondering when Big Dave would release a recording that might approach the power and dynamics of their live shows. Although nothing beats them live, this is the next best thing.

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