Archive Review: Dave Specter’s Live In Chicago (2008)

Guitarist Dave Specter came up through the ranks differently than your typical blues artist. Specter didn’t pick up the guitar until the relatively old age of eighteen, but quickly immersed himself in the instrument. While working at the city’s famed Jazz Record Mart, the Chicago native took lessons from Steve Freund, Sunnyland Slim’s former guitarist. Freund subsequently hooked him up as a touring musician with Hubert Sumlin, Howlin’ Wolf’s guitarist, and Chicago blues legend, drummer Sam Lay.

Before putting his own band together in 1989, Specter made his bones as a guitar-for-hire, touring with such major league talents as Son Seals and the Legendary Blues Band and recording with artists like Buddy Guy, Otis Rush, and Jimmy Rogers, among many others. When it came time, Specter signed with Delmark, and released his debut album, Bluebird Blues, in 1991. In the decade-and-a-half since, Specter has recorded six highly-regarded studio albums and a live album.

Dave Specter’s Live In Chicago

Specter’s Live In Chicago, released on both CD and DVD, documents two August 2007 performances – one at Buddy Guy’s Legends club, and the other at the legendary Rosa’s Blues Lounge. The talented guitarist doesn’t sing, so he enlisted the help of several friends to handle the microphone while Specter did what he does best…play. Tad Robinson, Jimmy Johnson, and Sharon Lewis lend their voices to the event. To back him up, Specter put together an incredible collection of Chicago blues talent, including keyboardist Brother John Kattke (formerly of Buddy Guy’s band), bassist Harlan Terson  (Otis Rush’s band), and drummer Marty Binder (a veteran of Albert Collins’ band).

Live In Chicago opens with the lively instrumental duo “Boss Funk/Riverside Ride.” Specter brings a jazzy tone to his playing, a fluid ease similar to B.B. King. Whereas King often imbues his songs with a darker hue, Specter’s fretwork is bright and playful. The opening song includes some tasty Southern-fried keyboard courtesy of Brother John. As Kattke double-taps the keys with a funky flair, Dave and the boys strut through the song with a smooth groove. 

Vocalist and harmonica player Tad Robinson joins Specter onstage for “What Love Did To Me, blowing the harp with a soulful self-assuredness. Robinson’s vocals are where his strongest talents lie, however…sweet, bluesy, gruff, and welded to the energetic harp passages. The song shuffles along to a fast-walking beat, Specter adding guitar flourishes throughout that add to the emotion that Robinson is pouring into the performance. 

How I Got To Memphis

A cover of Tom T. Hall’s urban country classic “How I Got To Memphis” is a fine example of Dixie soul that mixes a slight country twang with rough-hewn vocals and a deep rhythmic groove. Specter’s playing here is transcendent, displaying a tougher edge, trembling tone, and plenty of heart. Robinson’s potent vocals convey the song’s heartbreak and anguish. The instrumental “Texas Top” showcases the fine talents of the band that Specter assembled for the recording. Drummer Marty Binder keeps a steady, if subdued beat alongside Terson’s muted bass lines. Specter picks out a nasty sort of Lone Star state funk, channeling both Stevie Ray and T-Bone Walker on a red-hot six-string workout. Brother John Kattke’s fingers fly across the keys, lending a honky-tonk feel to the song.    

Guitarist Jimmy Johnson joins the band for the old-school Jimmy Rogers’ tune “Out On The Road.” Johnson’s style compliments Specter’s, the guitarist achieving a blunt, rich tone shorn of its edge, but stinging nonetheless. Johnson’s higher-pitched vocals, although not as strong as, say, Robinson’s, are just as expressive. The rocking standard 12-bar blues structure of the Chick Willis classic “Feel So Bad” benefits from Johnson’s opening six-string salvo, the bluesman playing off Terson’s bass groove before launching into a sorrowful tale of love gone wrong. It’s a classic blues tune, full of energy yet always just bubbling under the boiling point.

Singer Sharon Lewis hits the stage for the raucous, up-tempo “In Too Deep.” Lewis is an entertaining vocalist, capable of really belting out a song with heart and soul. Specter adds his tasteful fretwork astride a slip-sliding rhythm while Lewis delivers a crowd-pleasing performance. An original Lewis song, the soul ballad “Angel,” closes out the too-brief Rosa’s set. Specter’s delicate guitar intro reminds of the Jimi Hendrix’s classic “Little Wing” with beautiful tone and enchanting space between the notes. Lewis displays the other end of her great vocal range, delivering an emotional reading of the song in a Gospel vein. 

The Reverend’s Bottom Line

A gifted instrumentalist with a variety of styles at his disposal, Dave Specter is an unsung talent on the Chicago blues scene. Specter is no blues purist, but rather an enthusiast who incorporates elements of bluesmen like T-Bone Walker, Magic Sam, and Otis Rush in his work, along with jazzier influences like Kenny Burrell and, although it’s understated, B.B. King. Live In Chicago is an incredible display of Specter’s talents as a guitarist, as a stylist, and as a bandleader. This is a good show, and well worth hearing for any dedicated blues fan. (Delmark Records, released 2008)

Archive Review: True Believers’ True Believers (1986)

Austin, Texas has been the breeding ground of instrumental outlaws and various cosmic cowboys for nigh onto a decade now, ever since the city’s identification as a musical mecca in the early ‘70s. The current class of artists reaching for that ever-elusive brass ring includes such talents as Zeitgeist and True Believers, a band whose self-titled vinyl bow is sure to create unparalleled aural excitement in the uninitiated.

True Believers offers up an energetic blend of roadhouse blues, country-honk, and guitar band histrionics (the Believers featuring not one, not two, but THREE competent axemen!). There’s not a dull moment to be found within these grooves, with this writer’s personal faves, the melodic cover of “Rebel Kind” and the lyrically-haunting original “The Rain Won’t Help You When It’s Over” representative of the depth of talent to be found in True Believers. The band’s sincerity, the intensity of their music, and their sense of roots proves that rock ‘n’ roll lives outside of London or Los Angeles. (EMI America, released 1986)

Review originally published by Nashville’s The Metro magazine...

Archive Review: Eugene Chadbourne’s The President, He Is Insane (1984)

The founder and guitarist of Shockabilly, a demented C&W influenced outfit that had several albums released by England’s Rough Trade label, Eugene Chadbourne is one of America’s greatest natural resources, a one-eyed man among a nation of the blind. Eugene is a social and political satirist with the tact of a sledgehammer, his original songs showing reverence for no holy cows, calling a spade a spade, and hurling pointed barbs at targets as diverse as North Carolina Senator Jesse Helms (a politician once described as standing so far to the right that he makes Reagan look like a communist), President Reagan, Jerry Falwell, ‘Women Against Pornography’ and the Ku Klux Klan.

It's all done with a sense of absurdity in a musical style that can only be described as cacophonic and unpredictable, a strange blend of rock ‘n’ roll, county, and folk influences with a dose of metal-edged guitar and sheer noisy industrial instrumentation. Chadbourne’s The President, He Is Insane is a studio-quality presentation of some of Eugene’s best material. Side one features several of his…ah, shall we say…somewhat “structured” songs, including such fan favorites as “America Stands Tall,” “10 Most Wanted List,” and “Women Against Pornography.”

Eugene Chadbourne

Side two is strictly improvisational, mixing Eugene’s guitarwork with scrap vocals from late-night movies and early morning cartoons along with background instrumentation provided by Chadbourne’s infamous electric rake and, apparently, whatever noise he can drum up with various kitchen utensils and appliances. Not for everyone, to be sure, but nevertheless interesting and unique.

Eugene is, in the American tradition, somewhat of a capitalist, offering both his solo albums and older Shockabilly material for sale from his home. He also has a catalog of some 30+ original tapes, recorded at live shows and in his home, spotlighting and documenting a truly deranged genius, raw and totally uncommercial. (Iridescence Records, released 1984)

Review originally published by Nashville’s The Metro magazine...

Archive Review: Mojo Nixon & Skid Roper’s Frenzy (1986)

With the release of Frenzy, Mojo Nixon insures his place among the pantheon of great rock eccentrics, among such strange stalwarts as Frank Zapa, Lord Buckley, and Captain Beefheart. Mojo and his sideman Skid Roper can best be described as musical minimalists, mutant madmen who swap washboard licks with demented guitar riffs and a little wild mouth harp now and then as Mojo runs amok through a musical menu that includes inspired covers of Alice Cooper’s “Be My Lover” and an amazing one-and-a-half-minute version of Iron Butterfly’s psychedelic classic, “In-A-Gadda-Da-Vida.”

Mojo’s original material is not for the weak of heart, showcasing his fervor and passion on such songs as “The Amazing Bigfoot Diet,” a good-natured swipe at those tabloids found in supermarket check-out lines; “Stuffin’ Martha’s Muffin,” a scatological anti-MTV protest song which reveals Mojo’s hidden lust for veejay Martha Quinn; and the hero worship of “The Ballad of Wendell Scott.” All totaled, Frenzy delivers over a dozen of Mojo’s finest creations, a musical blend of talking blues, roots-rock, and incredible insanity, counting among his influences artists as diverse as Howlin’ Wolf, John Lee Hooker, Lou Reed, and Iggy Pop. Mojo Nixon is a true social iconoclast.

For those of you who can’t get enough of the right Reverend Mojo Nixon and his ‘Screamin’ Church of the Epileptic Jesus, his first LP – Free, Drunk & Horny – features such classic tunes as “Jesus At McDonald’s,” “Moanin’ With Yer Mama,” and “I’m In Love With Your Girlfriend” and is also available from Enigma Records. (Enigma Records, released 1986)  

Review originally published by Nashville’s The Metro magazine...

CD Review: Pink Floyd’s Pink Floyd at Pompeii MCMLXXII (2025)

An often-bootlegged, fan-favorite performance(s) by classic rock legends Pink Floyd, the band’s four nights at the Roman Amphitheatre in Pompeii, Italy in October 1971 was filmed by director Adrian Maben and released as a concert movie in 1972. It was expanded from 60 to 80 minutes for re-release in ’73, and finally made its way stateside the following year, grossing roughly $2 million at the U.S. movie box office (pretty good for those days).

The performance has released on home video formats several times over the years, and was restored to 4k resolution for an April 2025 theatrical release. For whatever reasons, however, the performance has never received proper CD release, appearing in truncated form on the 2016 Obfusc/ation box set, leaving it up to bootleggers like The Swingin’ Pig and Black Cat Records to satisfy fan demand in the Floyd marketplace with dodgy, illicit (albeit entertaining) CD releases.

Pink Floyd’s Pink Floyd at Pompeii MCMLXXII

At long last, Pink Floyd at Pompeii MCMLXXII restores the concert to its full-length across two CDs and long-suffering Floyd fans should be overjoyed. The sound quality is excellent, beating the pants off previous bootleg versions, and although the tracks could have been split more evenly between the two discs (CD2 is a spry 18 minutes), that’s a minor cavil at best. The performance is awe-inspiring, the material falling into the band’s proggy, space-rock period around Atom Heart Mother and Meddle, with trippy performances of the latter album’s “Echoes” and “One of These Days” that presage then-on-the-horizon Dark Side of the Moon.

There are nods to Floyd’s formidable Syd-embroidered psychedelic past with “A Saucerful of Secrets” and “Set the Controls For the Heart of the Sun” as well as Ummagumma’s celestial classic “Careful With That Axe Eugene” and the oddball obscurity “Mademoiselle Nobs,” a curious country blues vamp. This is primo grade Pink Floyd at its experimental and innovative best, and a long overdue release from one of classic rock’s signature outfits. (Columbia Records, released April 25th, 2025) Grade: A+
   
Buy the CD from Amazon: Pink Floyd’s Pink Floyd at Pompeii MCMLXXII

CD Review: Willie Nile’s The Great Yellow Light (2025)

It’s been 45 years since the release of singer/songwriter Willie Nile’s self-titled debut album by Arista Records, and the mere fact that the artist isn’t a household name on par with, say, his buddy Bruce – with whom he is often compared – is a national disgrace. As high-energy, intelligent, and rocking a debut LP as you’d find in the 1980s, Nile followed it up with the equally spirited 1981 album, Golden Dawn. From this point, though, he followed Springsteen’s path with label disputes, lawsuits, and years spent in the wilderness before signing with Columbia Records for 1991’s Places I Have Never Been, another fine album, and one with which Nile arguably found his creative voice and sound.

Places I Have Never Been received little label support and went nowhere, and Nile lapsed into obscurity. Not that he wasn’t performing, writing songs, and such – Nile recorded and performed during the ‘90s with legends like Ringo Starr, Elvis Costello, Lucinda Williams, and Ian Hunter, among others. No big-league label would touch him, though, and Nile followed his contemporary Joe Grushecky down the rabbit hole and went ‘indie,’ releasing the critically-acclaimed Beautiful Wreck of the World in 1999. Freed from the chains of major label restrictions, Nile went on a musical bender, resulting in a string of incredible albums, starting with 2006’s Streets of New York and extending through House of A Thousand Guitars (2008), American Ride (2013), and Children of Paradise (2018).

Willie Nile’s The Great Yellow Light

The Great Yellow Light is Nile’s 12th studio album since the turn of the century, and his 21st recording overall, and it’s obvious that the artist has yet to run out of fresh and exciting song ideas but, also, at 76 years old, he still has the energy and ambition of his debut album. Witness album-opener “Wild Wild World,” a bristling rocker with florid lyrics delivered with a fervor artists half Nile’s age can’t muster. The song’s gonzo storytelling is all over the map, but it boils down to the now-quaint (but never outdated) message that the Beatles gave us so many years ago, “all you need is love.” The twangy throwback guitar on the performance reminds of James Burton and really tickles the eardrums. Opening with a livewire guitar lick, “Electrify Me” kicks off with Nile’s earnest plea, rolling into a crackling new perspective on romance that is punkish in its intensity but Dylanesque in its joyous wordplay.

Willie Nile photo courtesy Willie Nile

 

“An Irish Goodbye” is a duet with underrated Irish singer/songwriter Paul Brady, a magnificently epic performance with crackerjack lyrics (“here’s fire in your whiskey, here’s mud in your eye”) and brilliant storytelling delivered with soulful nuance. Brady’s gruffer, accented vocals play off Nile’s wiry tenor quite nicely, and the musical addition of tin whistle and uillean pipes (courtesy of Black 47’s Fred Parcels and Chris Byrne, respectively…) reflect elements of the beloved Pogues. As Lou Reed once told Elliott Murphy, “if you want to hide poetry, put it in a rock ‘n’ roll song because no one will ever look there*,” and the album’s title track – the title a reference to Vincent Van Gogh – offers up brilliant poetic imagery in the service to a gorgeous romantic fantasy with crescendos of instrumentation and breathless vocals.

The self-referential “Tryin’ To Make A Livin’ In the U.S.A.” welds a familiar Nile melody to a hillbilly rocker that re-imagines Nile’s career with tongue-in-cheek lyrics (“there’s nothing wrong with me a hit record wouldn’t cure”) and the undeniable spirit of a man who has forged his own path through the barbed wire-clad minefield of the music business. Nile’s not afraid to offer a bit of trenchant social commentary with his songs, typically delivered with insight, and The Great Yellow Light includes two such “call to arms” in “Wake Up America” and “Washington’s Day.” The former, a duet with Nile’s country equivalent Steve Earle, is a wonderfully wry look at the state of the nation that points out the hypocrisy of hate and bigotry while the latter is a mid-tempo rocker which evokes the founding fathers in a brilliant essay on brotherhood and sacrifice.   

The Reverend’s Bottom Line

There’s not a dud among the ten songs on The Great Yellow Light, which is more than I can say about even the most erstwhile talents on the charts. Nile brings a fervor and heartfelt energy to every song as if his life depended on it. Much like his spiritual brethren – artists like Joe Grushecky, Elliott Murphy, Steve Wynn, and a few others – Nile is a poet in rock ‘n’ roll garb, a guise, a ruse, and a commercial burden that he’s carried across five decades but which has never kept him from shooting for the brass ring while staying true to his muse. I can honestly say that I’ve never heard a bad Willie Nile album, and that the man continues to deliver music as vital and intelligent as that on The Great Yellow Light is a testament to his talent, vision, and artistic ambitions. Grade: A+ (River House Records, released June 20th, 2025)

* Lou Reed quote from Fred De Vries’ wonderful Elliott Murphy interview in Record Time zine issue #3

Buy the album from Amazon: Willie Nile’s The Great Yellow Light

Also on That Devil Music:
Willie Nile - Positively Bob: Willie Nile Sings Bob Dylan review
Willie Nile - Children of Paradise review
Willie Nile - Beautiful Wreck of the World review

CD Review: Old Town Crier's Peterson Motel (2025)

Jim Lough a/k/a Old Town Crier got in touch to let me know that he has a brand spankin’ new album up on Bandcamp that I needed to check out. Curious, and always psyched to hear from Jim – I’ve reviewed previous Old Town Crier recordings like the four-song EP Motion Blur earlier this year, and the full-length A Night with Old Town Crier back in 2023 – I hustled over to Bandcamp and downloaded his latest five-song EP, Peterson Motel. Like its predecessors, half the proceeds from the EP’s sales will go to charity, in this case the ACLU, which can use the cash to, you know…fund its fight to keep democracy from dying in the good ol’ U.S. of A…

Old Town Crier’s Peterson Motel

Also like its predecessors, Peterson Motel rocks with the joyous abandon of the last day of school before summer vacation. The cover art – an antiquated photo of the sort of motor lodge that used to dot the highways of America in the 1950s and ‘60s – is a hint of the familiar sounds you’ll catch from the songs. The EP’s opening track, “Goodbye Jimmy D,” is an ode to the first Hollywood rock star, delivered with an echoey throwback vibe that mixes old-school rockabilly with a cool doo-wop vocal spirit. The breathless “Janeice” is equally engaging, an up-tempo slice of sly power-pop with a big heart and a bigger sound, with enough jangle to the guitarplay to satisfy even the most diehard rocker.

“Room 615” is a mid-tempo twang-banger with an explosive chorus and effective vocals while “Tell Me That You Love Me” is a romantic, ‘60s-styled garage-rock romp with clamorous instrumentation, a busy arrangement, and vocals that vary from a whisper to a shout, with Lough pulling it all together into a single magical performance. EP closer “Truck Drivin’ Man” is, in this scribe’s humble opinion, the finest country song you’ll hear this year…some Nashville type with a big hat and small ambitions could throw some pedal steel on this tune and take it to the top. Lough imbues the song with lovely fretwork and yearning lyrics, providing the performance with reckless country soul.

The Reverend’s Bottom Line

Peterson Motel offers a lo-fi production aesthetic but high-energy delivery, each and every song a real charmer with smart lyrics and carefully-crafted instrumentation. Lough did it all himself this time around, without a band and with only ‘Riley Coyote’ providing backing lyrics. The results speak for themselves – Lough, as ‘Old Town Crier’ – is a fine songwriter and an intuitive musician that brings fresh energy to old sounds on Peterson Motel. (Stinkbug Records, released May 21st, 2025)

Buy the CD or download from Bandcamp: Old Town Crier’s Peterson Motel

CD Review: Rich Pagano + the Sugarcane Cups’ Hold Still Light Escapes (2025)

It’s been a while since we’ve heard from Rich Pagano & the Sugarcane Cups, which is our loss ‘cause Rich is a helluva singer, songwriter, and musician, as evidenced by Hold Still Light Escapes, his sophomore effort. An impressive and altogether amazing collection of lovingly-crafted songs, Hold Still Light Escapes documents Pagano’s late son Nic’s five-year substance abuse disorder, with the songs inspired by their texts, journals, and personal experiences. Heady stuff, to be sure, and such closely-held, obvious ‘labors of love’ sometimes fall flat – not this one! Pagano’s skills as a wordsmith and musician propel these ten songs firmly into classic rock territory, i.e. lots of infectious melodies, chiming guitars, and smart lyrics.

Rich Pagano + the Sugarcane Cups’ Hold Still Light Escapes

Hold Still Light Escapes opens with the title track, a rootsy rocker with cautiously optimistic, hopeful lyrics with Pagano’s vox nearly hidden in the mix, and some great guitarplay from former Jason & the Scorchers/John Mellencamp/Hearts & Minds guitar-wrangler Andy York. The more up-tempo “Slowly” evinces a garage-rock vibe, mostly due to Kevin Bents’ tasty keyboards work, while the lyrics showcase the positivity of putting the past behind us and moving forward with life.

The somber semi-balled “4th of July” offers insight and support of the lost and lonely with a gorgeous soundtrack reminiscent of Dave Alvin while “True Love” is an enchanting story-song about emergence and perseverance that sports nuanced vocals and instrumentation that creates a gossamer, hypnotic listening experience. The wry “Mother Teresa” is deceptively brilliant – a cautionary tale, perhaps, of the allure and struggles of addiction – the mid-tempo song diving into R&B territory with a blast of Craig Dreyer’s sax solo and subtle guitar from Jack Petruzzelli.

“Huntington Beach” may be my favorite song on Hold Still Light Escapes, a brilliant, cinematic portrait of addiction with poetic lyrics worthy of Bukowski and a sparse instrumental backdrop that swells in grandeur with Pagano’s crescendo of drumbeats. The confessional “Useless” veers directly into Pete Townshend and the Who with great vocals, whipsmart lyrics, and a 1970s-styled, radio-friendly arrangement. The last of the CD’s main tracks, “At the End of the Day” is a Gospel-tinged tale of survival and forgiveness provided gravitas by Pagano’s earnest vocals combined with Brian Mitchell’s reverent keyboards, with guitarist Ann Klein laying low in the groove.   

The Reverend’s Bottom Line

Giving his fans more bang for their bucks, Pagano has fleshed out Hold Still Light Escapes with a half-dozen cool “bonus” tracks, including a powerful live acoustic version of “Useless” and solid, rocking, non-LP live performances of “Ariel’s Return” and “Rearview St. June,” from the self-titled 2009 Rich Pagano + the Sugarcane Cups album. The CD closes with the raw, immediate, and heartfelt “Something To Live For,” providing a poignant end to Hold Still Light Escapes. Net proceeds from the CD benefit The Nic Pagano LGBTQIA+ Scholarship for Recovery (www.releaserecoveryfoundation.org/lgbtqia), so what are you waiting for? Grade: A (self-produced, released 2024)

Buy the CD direct: Rich Pagano + the Sugarcane Cups’ Hold Still Light Escapes

Archive Review: Rich Pagano + the sugarCane cups (2009)

A general rule of thumb in rock ‘n’ roll is that auxiliary band members (i.e. drummers, bassists) and sidemen (ditto) shouldn’t even attempt to record solo albums. The cut-out bins and used record stores of yore had shelves littered with examples of poor major label decisions (Bloody Egg Yolk are a BIG band, so it follows that the bassist’s solo album, recorded in his basement with his wife and next-door neighbor, should be HUGE!). Sure, there are exceptions to every rule, no matter how many lamebrained rockcrits say it’s so, but for every stellar effort from a Ringo Starr or John Entwistle, there are a hundred crappers rotting on the store shelves from Keith Moon, Tommy Lee, and (too many) others. Really, can you imagine a Lars Ulrich solo album, even in your worst nightmares? Eewww, wot a stinker that one would be!

Rich Pagano is a major exception to the aforementioned rule. A former member of the late ‘90s alt-pop outfit Marry Me Jane, in the ensuing years Pagano has become the skinman of choice for every pop-rock genius and street-smart rock ‘n’ roll idol to come down the pike, from Patti Smith and Willie Nile to Ray Davies and Ian Hunter, among many others. Performing and recording with a diverse range of talents has honed Pagano’s skills to a surgical precision, yet his drumming retains the unpredictability of spontaneity. It’s with this musical background that Pagano steps into a spotlight of his own with the sorta self-titled Rich Pagano + the sugarCane cups, his debut album.

Rich Pagano + the sugarCane cups

Right off the bat, let’s agree that Pagano is no poetic dilettante or wannabe wordsmith, but rather an impressive songwriter with a grasp of the language, imagination, and something to say…my guess is that Rich was paying attention when working with notable writers like Hunter and Nile. As such, Rich Pagano + the sugarCane cups provides a rich lyrical experience, Pagano venting his spleen on such heady subjects as suicide (the darkly beautiful “Rearview St. Jude”); addiction and its effects on relationships (“You Want To Stay High”); and the frustrations of the working man (“Nine Lives”).  

Musically, Rich Pagano + the sugarCane cups is a curious hybrid of classic rock and 1970s-era progressive rock, with a few folkish traits thrown in for good measure. Pagano doesn’t particularly wear his influences on his sleeve like some artists, but they’re certainly haunting these grooves, and you can pick out elements of John Lennon’s solo work, the Beatles, the Band and Levon Helm, and other sources among the blazing guitars and gospel-tinged keys. As for the aforementioned proggish tendencies, Pagano might not even realize that they’re here, but you can hear ‘em in the thick arrangements, instrumental virtuosity, and swooping musical landscapes that surround his whipsmart lyrics, scraps of Yes, the Strawbs, and Genesis ringing as clear as a bell.

Pagano’s backing musos, the “sugarCane cups,” are an all-star collection of the best and the brightest that NYC has to offer, with guitarists Andy York, Steve Conte, and Jack Petruzzelli, along with keyboardist Jeff Kazee shouldering the heavy loads, while various name-brand talents like Trey Anastasio, Ian Hunter, Willie Nile, and David Johansen drop by to lend a hand. Recorded in bits-and-pieces over the course of a year, Pagano used whatever friendly collaborators that he could rope into a session, but the results are surprisingly uniform, with the obviously inspired participants leaving behind some good work when they walked out the door.

The Reverend’s Bottom Line

Rich Pagano + the sugarCane cups is an album that looks forward towards the future while gazing longingly towards the past. Pagano’s rough-hewn vocals are a welcome throwback to the pre-Pro Tools era, glorying in their warm authenticity and sometimes ragged emotion, while his percussion work sits comfortably behind his fellow players, rising now and then in the mix to add an invigorating blast of energy.

An original and creatively exciting work, Pagano’s solo debut is a modern-sounding collection with a contemporary edge that still wouldn’t have sounded terribly out-of-place in, say, 1975. This is timeless, well-constructed rock music, and Pagano deserves every column-inch of critical accolades that he’ll receive for the album. Even if he doesn’t garner the ink spilled on undeserving, trendier artists, it won’t change the inconvenient truth that Rich Pagano + the sugarcane cups is among the best albums that you’ll hear in 2009. You can believe it ‘cause the Reverend says so! (self-produced, released 2009)

Review originally published by Blurt magazine...

Buy the CD direct: Rich Pagano + the sugarCane cups