Posts Tagged ‘Pinche Blues Band’


Willie Edwards, "Everlastin' Tears"

Police state on the rise

By the same old guys

With the same old lies

Comes as no surprise

Well it’s very plain to see

They want your liberty

Police state

Police state

Police state

Police state . . . . .

We’re trying to get Willie down here (from Vermont)  to do some live performing and to record a new album later this winter.

We’ll keep you posted about the new label.

The band is back up, and we’re doing a bunch of mostly (so far) unrecorded blistering political blues, most prominently “Private Prison Blues,” and will record two new full CDs of original material — some political, some just funny and self-mocking — over the next few months. It’ll mostly be blues, but also blues-rock, latin rock, blues-jazz, straight jazz,  New Orleans funk-blues, country rock, funk rock, straight country, and western swing. In other words, it’ll be what Gatemouth Brown, refusing to be pigeonholed, called “American Music.”

We hope to get Willie Edwards down here to record at least one new CD, and maybe two, as a way to launch the new label, along with new CDs by the Pinche Blues Band, Al Perry, Brian Hullfish, and one or two other local bands.

 

For now, check out the Pinche Blues Band site where we have all of the songs from the first two EPs up as free mp3s.

Enjoy. And stay tuned.

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cover of "Postal," by the Pinche Blues Band

Having succeeded in the task set for us by the almighty — reuniting the band (hey! if he/she/it cares about who wins football games and curing the heartbreak of psoriasis, why not?) — we’ll be back in our natural habitat, dive bars, playing the blues in Tucson early next month.

In the meantime, here are links to mp3s of a few of the originals from our two EPs:

We’ll post a schedule of upcoming appearances on the band’s site: www.pinchebluesband.com. We’ll also be issuing a full CD of new originals next spring. Stay tuned.


Within the last two or three months, after decades of playing guitar, I’ve begun playing bass in one of my musical projects (Borrowed Time).

Until then, my attitude toward bassists was, “fine, play the damn root on the one, after that, whatever.”

I had no idea.

The Bassist's Bible by Tim Boomer front coverI thought it absolutely pathetic that the most popular part of The Bassist’s Bible was the appendix in the back listing the bassists in various bands over the last few decades.

Who could give a shit?

Bassists. That’s who.

Everyone else should, too.

As I’ve discovered recently, while learning to play bass, there’s a reason for that: bassists usually get no credit  at all, and they can be incredibly creative and vital to the success of a band.

How many bassists can you name right now? I’ll bet you can count them on the fingers of one hand. The really good ones you’ll probably name are Paul McCartney, John Entwistle and, if you’re a jazz freak, Ron Carter, Charlie Mingus, and Jaco Pastorious . . . and beyond that? Probably few if any.

Why are they so important? They anchor a song and more importantly drive it and can provide counterpoint to the lines above.

Check this tune out from the last Pinche Blues Band CD: Life Is Good. My pal Michael Zubay drives the hell out of it. It would be nowhere near as compelling without his driving bass line.

On this song, people tend to just listen to the vocals (Abe), my (guitar) solo, and Fred’s (organ) solo. NOT the bass line which drives the whole thing.

How does he do it? Rhythm. It’s one . . . AND (of 2nd beat — hammering it) . . . and four and one . . . AND . . . etc.

It’s only since I began playing bass myself, after decades of playing only guitar, that I really began to appreciate bass players.

Thanks guys. Over the decades, I’ve never properly appreciated you. I’m proud to join your ranks. It’s the most musical fun I’ve had in a long time.


Back in the ’60s, I grew up listening to white musicians covering black music: Stones, Beatles, Animals, etc., etc.

Late in the decade, I started listening to the original black artists. The first thing I ever heard in the genre was Muddy Waters’ “Electric Mud.”  It was a revelation at the time, though in retrospect it was a lousy album — designed to sell to clueless white kids, such as yours truly.

Since then, I’ve been a blues fan, and have been writing and playing the blues (guitar) for decades.  Beyond the standard canon, here are a few obscurities I love from the various decades:

(’70s) Son Seals, “Midnight Son” — a great album; his others are terrible. This one features great song writing, guitar work, and vocals.

(’80s) Treat Her Right, “Tied to the Tracks” — more blues rock than blues, but a great album with wonderful song writing and intelligent lyrics from the (better) forerunner to Morphine

(’90s)  Doug Sahm, “The Last Real Texas Blues Band” — all covers, but absolutely wonderful — this album is a veritable definition of “swing”

(’90s) Willie Edwards, “Everlasting Tears” — wonderful song writing, wonderful guitar playing, wonderful, intelligent vocals.. Willie signed perhaps the worst recording contract in the history of music, and doesn’t even have the copyright to the songs on this CD. I want to cover a couple of them on our next CD, but can’t; I’ll probably end up covering one or two of his more recent songs, very likely the very apropos “Police State on the Rise.”

(’00s) Sugar Thieves, “Live” — an incredibly good CD from the best band from the hellhole 190 km northwest of here. Great dueling male and female vocals

Finally, since you asked (or didn’t) here are a few cuts I wrote or co-wrote and recorded with The Pinche Blues Band:

Cheers.