My Amazon Reviews: Cliff Eberhardt "500 Miles: The Blue Rock Sessions"

Every Journey Starts...
4 Out Of 5 Stars

Blessed with a voice as roughly hewn as crushed walnut, Cliff Eberhardt took a journey to Texas to record "500 Miles: The Blue Rock Sessions." He's a singer songwriter in the classic mold, delving into songs of introspection and the trials of live. Whether it's with his definitive originals or covering a chestnut like "500 Miles" (probably most likely remembered as done by Peter, Paul and Mary), he also takes a minimalist's approach to the recording process. In at least one instance, just Cliff and a guitar, in another, Cliff's guitar accompanied by bass, percussion and accordion. It's amazing just how much resonance he can get with just a few slight touches. Although he often appears with a full combo, best heard on "When The Leaves Begin to Fall."

There's also a great cover of John Hiatt's "Back of My Mind," transformed here into a waltz. But the best is saved for last, as Cliff revisits one of his earlier songs, "The Long Road." I have to admit that I am unfamiliar with the original, but this is a wonderful version. As Cliff states in his liner notes after "20 years, it has changed as I have...I decided to take a new look at an old friend." With its questioning look at the people and places that surround your life, it turns from a song about a young man's look at the future to a rumination of how you've lived your life. It's a great song and alone, is worthy of your listening to "500 Miles."

     

My Amazon Reviews: James Lee Stanley and John Batdorf "All Wood and Stones II"

There's More Than One Way to Roll a Stone
5 Out Of 5 Stars

For the third CD in their "All Wood And..." series, singer songwriter James Lee Stanley teams up with past collaborator John Batdorf and takes another dip in the deep well of Mick Jagger/Keith Richards compositions. The previous effort, "All Wood and Doors" (James with Cliff Eberhardt) was so well conceived that Doors members John Densmore and Robby Krieger pitched in on the effort, and while Keith and Mick didn't join in the proceedings, "All Wood and Stones II" is done with the same amount of respect as James and John did on the previous effort.

What happens here is that James and John take songs you've heard a million times over and turn them inside out, folk-wise. That's not to say that you'll never recognize what songs are here, but you will notice some angles that you may not have before. "Get Off Of My Cloud" still has the playful call and response Hey! You! hook, but it still sports a neatly strummed arrangement. "Honky Tonk Woman" sounds more like an actual honky-tonk song. These are sung primarily by John, whose rough hewn voice nicely compliments James' clearer sound. It makes for some terrific harmonizing ("Time is On My Side").

My favorite is when they do a total reconstruction on the 1978 disco thumper, "Miss You." Slowed down and minus the dance beat, "Miss You" becomes a bluesier lament for an absent lover. Interestingly enough, the other song arrangement that I enjoy also comes from "Some Girls," Richards' personal recounting of his drug misadventures with the law, "Before They Make Me Run." In my opinion, it's the biggest surprise on "All Wood and Stones II." It's worth making it a two-pack with 2005's "All Wood and Stones."

     

My Amazon Reviews: James Lee Stanley "Midnight Radio"

In the glow of the radio dashboard
4 Out Of 5 Stars

James Lee Stanley is a fine and prolific singer-songwriter whose career has something of a cult success among some very rabid fans. "Midnight Radio" was released in 1980 and leans to the kind of smooth adult contemporary sound of the day. You'll pick up the vibe from guests like Bonnie Raitt (guitar on "Born To Love You") and Stephen Bishop, who co-wrote a pair of songs with James for the album.

To also get a hint of how his talent reaches out to others, noted author Tom Robbins co-wrote "Even Cowgirls Get The Blues," after his book (and this was before k.d. lang some years later). The song may be the best one on "Midnight Radio," enough so that when the album got lost in record company politics, James resurrected it for a later album. James has a smooth vocal delivery that can go for the jugular when he wants to get personal, like the forceful "In Your Pocket." For the most part though, James goes easy on the ears. "Midnight Radio," after being out of print for several years, makes a welcome return. Fans of mellow James Taylor or Gordon Lightfoot will enjoy this.

     

My Amazon Reviews: Cliff Eberhardt "Borders"

It's a Fine Line
4 Out Of 5 Stars

Cliff Eberhardt revisited his past and laid the present bare on his 1999 CD, "Borders." Bending the notes on Dobro and harmonizing with Liz Queler and Seth Farber, Cliff crosses his first border by musing on "Why is The Road So Long?" The trio, along with notable assists from the likes of Lucy Kaplansky and drummer Doug Plavin, anchor "Borders" through it's twisting and turning views on love, loss and life in the hands of fate. Cliff's rich, raspy voice authenticates the emotions as each song travels its route.

What is also striking is how Cliff revisits a song from his 1984 debut. "Your Face" gains a pleading sadness after near 15 years of weathering, and gains from the experience. While it's a new song, the wear of "Wrong Side of The Line," about a Civil War family torn between the land they live on and the country they love, will take a hold of your heart. Given the sparseness of the arrangements, "Borders" has a resonance that stays with you.

Also recommended, his more recent 500 Miles: Blue Rock Sessions and his Doors tribute with James Lee Stanley, All Wood and Doors.

   

January Sucked. Back to Zero, Again.

As per my post on January 9th, I was offered a job that I thought might finally turn my situation from 2011 around. Unfortunately, things have been miserable since. I'd started the new job as an administrative assistant at a 5 Doctor medical clinic. It was a hectic and fast paced, stressful environment, and I thought I was doing OK. I was supposed to be learning the tasks of a pregnant female staffer before she left for maternity leave. She promptly had her baby boy three weeks early and well before I fully had the routines down. At the end of the 13^th day, I was informed I was not picking up the procedures of the office and was asked to resign. I have to admit, the stress of the place was literally giving me panic attacks. So here we are again, The end of January and I am right back in the same place I was a year ago this time.

The computer class I'd been taking since October is over now, and I did awful in it. I just could not absorb the amount of advanced technical information that was being thrown at me, and ultimately will probably not be able to use anything the course had to offer. Had I been better informed, I would have angled for a more beginners oriented course, but this is the class the grant landed me in. I will put in more effort at picking up the specifics here at home (I have until May to use the test certification scripts to see if I pass or not), but my guess is I won’t be able to master it.

What I really must thank everyone here for, and the brightest point of an otherwise wretched month, was the wonderful outpouring of help concerning Sophie Cat, covering over a third of the bills. She will still need her weekly shots - and as you can see by the picture of her shaved tummy, a trip to the vet warrants me serious "I'm going to poop on your pillow, you know that, don't you?" looks. The vet gave me a little trick; as soon as I get her home, Sophie gets a fresh can of cat food. Works like a charm. The first time I got her home, she made a bee-line to the space behind the sofa. But as soon as she heard the can-pop, she was right by her food dish.

My book selling annual trip to MAL was profitable enough that I was able to pay off the remainder of the bill soon after. Plus an extra special howdy to Cliff Clockner - we finally met! Another good thing about MAL? My table was next to these guys.

There was also a house concert featuring my old friend James Lee Stanely, along with Cliff Eberhardt. They are out promoting their collaborative tribute to The Doors, called "All Wood and Doors." (With surviving members of The Doors contributing.) It was my first time hearing Cliff live, and he's pretty easy on the eyes. James' voice is high and smooth, Cliff's is gruff and bluesy. As a duo, they harmonize beautifully. Having known James Lee since the mid 80's, it's always a pleasure to see him live. 

My Amazon Reviews: James Lee Stanley and Cliff Eberhardt "All Wood and Doors"

Crosby, Stills, Nash and Morrison: A Fantasia
5 Out Of 5 Stars

Sometime in the mid 60's, a young James Morrison was walking along the Sunset Strip in California, frustrated that his musical aspirations were constantly hitting a brick wall. A girlfriend invited him out to the Canyon to rest and mellow out, and she mentioned that she had a few musician friends hanging out with her. Maybe Jim would like to meet them? He agreed and hitched a ride into the hills.

Once he was there, Jim's lady-friend introduced him to her friend Graham. Jim was familiar with The Hollies and told Graham that he liked his stuff. Would he liked to hear some of his own material? When Graham agreed, Jim picked up a guitar and began a frenzied version of "Break On Through." Graham smiles, he likes this young kid's assertiveness. Then he has an idea. "Jim," he says, "slow it down a bit and maybe add a shuffle to it?" Jim thinks a moment, works the chording out in his mind and plays it like Graham suggests. Both Jim and Graham light up; this arrangement sounds incredible. Telling Graham he has a ballad he really likes and thinks would be huge if people heard it, Jim strums the opening portion of "Light My Fire."

A friend of Graham's, Stephen, likes what he's been hearing from across the room. He picks up his guitar and began picking out some sliding, blues lines. Morrison follows Stephen's lead and bends the song into a slow, folky blues song. All three like what they hear. "What else have you got," asks Stephen. Jim, delighted, pulls out a notebook filled with poetry and opens it to "Riders On The Storm." As Jim begins to play, Stephen begins to improvise the vocal line. Graham is so stoked that he pulls his third friend, David, in to listen. By the end of few hours, the four of them decide to form a collaborative and call is CMNS, their initials in alphabetical order. Stephen hits the record button on his brand new home reel-to-reel and the four of them begin to capture the moment. They even work up an incredible harmony arrangement to take "The End" to a new level.

Well, OK, this never happened. But if it DID, then somehow, James Lee Stanley and Cliff Eberhardt  found the reels. Like James' collaboration with John Batdorf did to The Rolling Stones on "All Wood and Stones," James and Cliff take The Doors' classic repertory and folk it out. The duo have an all star guest list that includes Timothy B Schmit of The Eagles, Peter Tork of The Monkees, Paul Barrere of Little Feat, Laurence Juber (who has played with Paul McCartney & Wings), and Chad Watson on Bass. Even more remarkable is that Doors members John Densmore and Robby Krieger pitch in. It was even Densmore's suggestion to Stanley to take on The Doors after he'd heard "All Wood and Stones."

With the blessing of the two Door-keepers, James and Cliff deliver a diverse and delightful reading of classics like the aforementioned songs, as well as classics like "People are Strange," "Crystal Ship" and "Touch Me." I love the way that the pair interchange vocal duties. Cliff is gruff and hardy, James is clear and full. They make great harmonies and trade leads. The guitar playing is wonderful (and having seen James live, up close, I can attest to his guitar prowess), and is captured in rich tone. With both the exceptional musicianship and full endorsement of the original creators, "All Wood and Doors" is how cover albums should be done.