“Fennario — Songs by Jerry Garcia and Robert Hunter”
Emery Joseph
Iris Records
There aren’t many records that sound more unappealing to me than someone “putting their spin” on Grateful Dead songs. But I have to say, NYC singer/songwriter Emory Joseph has indeed managed to make the seemingly unlistenable even more than listenable.
Joseph is joined by a top-shelf band that includes incredible guitarists Duke Levine and Larry Campbell (Campbell is currently playing with Phil Lesh & Friends) and keyboardist Jon Carroll.
The disc begins with a breezy, beachy, soul version of “Sugaree.” From there, Joseph gives “Ramble on Rose” a ragtime-Leroy Brown feel and a Little Feat feel (courtesy of Carroll) to “Tennessee Jed.” “Black Peter” has a lazy, laid-back feel and “Loose Lucy” a swampy groove. “New Speedway Boogie” gets a funky, herky-jerky — and momentarily psychedelic — treatment. I also particularly liked “Brown-Eyed Woman” and “To Lay Me Down.”
There’s nothing new here but good songs, good spirit and great playing. Best of all, there’s no grandstanding, and it really feels like a band. Also, depending on your degree of “Dead”-ication, you might even find Joseph’s vocals a pleasant departure from the originals.
The CD title refers to a word used in early 20th-century songs that meant “fictitious locale” and was in the song “Peggy-O,” a staple in the Dead’s set list.“Gulf Coast Blue”
Denice Franke
Certain Records
Switching gears from her singer/songwriter days (her first two releases were produced by Texas singer/songwriter Eric Taylor), Texan Denice Franke — who toured and recorded with Taylor and his ex-wife Nanci Griffith — has come up with a rich collection of songs that are brought to life by a band that’s so in sync they sound like they’ve been on the road for years.
“Gibraltar” has a solid, easy rock groove, and Franke’s voice is wonderfully comfortable and confident. Andre Moron’s Knopfler-esque guitar fills complement her vocals perfectly. Together with the grand chord changes, it makes for something of a kinder, gentler Patti Smith.
“Weather is Fine” returns Franke to her roots with just vocals, acoustic guitar, piano and djembe while “Elegance,” with just voice and two acoustics, serves as a reminder that Franke fares just fine on her own.
The chorus of “Sergio’s Watching” is set off with trumpets that take Franke even deeper into her new, intriguing persona. Elsewhere, Franke explores a number of styles — the percussive acoustic of “Seminole Girl,” the driving, modal drone of “Cool Water” and the swampy, slide-guitar textured “Hounds.”
Don’t let bad artwork and a misleading title (it ain’t blues) scare you off; this is great stuff.
— Michael Lipton