Local guitar hero Warren Haynes (vocals and guitar) doesn’t know how to sit still. He’s seemingly always performing, recording, touring or sitting in with someone else. And with a new Gov’t Mule album, the politically charged Revolution Come … Revolution Go, recorded last year on Election Day, due to arrive in just a few weeks, one of the hardest working men in show business is back out on the road with comrades in bluesy Southern-rock jam-band arms Matt Abts (drums and vocals), Danny Louis (keys and vocals) and Jorgen Carlsson (bass). Tomorrow night at SummerStage in Central Park, Gov’t Mule (above, performing “Blind Man in the Dark” at Lockn’) arrive with the like-minded Chris Robinson Brotherhood—the former Black Crowes frontman (vocals and guitar) alongside Neal Casal (guitar and vocals), Adam MacDougall (keys and vocals), Tony Leone (drums) and Jeff Hill (bass). The CRB’s most recent release, Betty’s Self-Rising Southern Blends, Vol. 3 (stream it below), out in March, is filled with live soundboard mixes by famed Grateful Dead audio engineer Betty Cantor-Jackson, terrifically capturing the band live, which just so happens to be the best way to experience Gov’t Mule and the Chris Robinson Brotherhood. So don’t miss them live tomorrow night at SummerStage.
Tag Archives: Neal Casal
Chris Robinson Brotherhood – the Space at Westbury – November 18, 2016
I’ve seen the Chris Robinson Brotherhood do their pie-eyed, soulful thing plenty now, and the word I keep going back to is unhurried, which doesn’t mean slow, for this band can cook up a good old rock and roll, blues or country racket when called for. But that does mean you go at their pace: a deliberate, expansive set or two of deeply fleshed out and not-a-little-cosmic Americana that insists you groove in its orbit or that you politely leave the rocket ship. It may not be for everybody, but in every year since the band’s 2011 inception, yielding to what the CRB does has been rewarding for the willing listener.
Robinson and his band of aces—guitarist Neal Casal, keyboardist Adam MacDougall, bassist Jeff Hill and drummer Tony Leone—throw back to a time when rock, blues, country and folk were painted with Day-Glo and didn’t mind a layer of stardust. Their music feels nostalgic but embraceable and honest. Those wistful moments that might sound sad or might sound accepting depend on how a guitar string is plucked, meshed with those more celebratory, up-tempo, let’s-kick-it type of songs. They can be short statements or long statements or really long statements, protracted with jam segments that can veer toward an ambient soundscape or burn with the gnarly guitars of a Tuesday night at the roadhouse.
They’re encyclopedic too, and that reach goes wide and deep. This two-setter at the Space at Westbury on Friday featured songs by Hoyt Axton (“Never Been to Spain”), Jackie Moore (“Precious Precious”), Bob Dylan (“It’s All Over Now Baby Blue”) and New Riders of the Purple Sage (“Last Lonely Eagle”) tucked between CRB originals and songs from Robinson’s previous associations given new life by this band (“I Ain’t Hiding,” came from the Black Crowes while “Tumbleweed in Eden” and “Train Robbers” drew from the brief, turbulent life of Robinson’s 2002-2004 era band, New Earth Mud). None of those felt out of place, but rather they were bent to the groovy CRB m.o. such that a well-trodden tune like “Baby Blue” had a livelier, hootenanny feel than the regretful folk sound it’s most often associated with. Robinson was as ever the band’s centerpiece. He’s still the charismatic hippie-with-an-edge howler he always was leading the Crowes, and with Leone and Hill keeping things humming—and from veering off course—Casal and MacDougall become its painters, working with a significant range of tones and colors both earthy (Casal’s paint-peeler slide guitar) and spacey (MacDougall’s spattering psych-out effects).
Together, the fivesome offered a few hours of vignettes: the mournful then defiant narrator of “Train Robbers,” which began as spooky country before erupting into vocal howls and volcanic guitar, the vicious rock and roll of “I Ain’t Hiding” (“Ain’t your saint, ain’t your enemy/ I’m a long shadow on the highway”), the big dreams and tortured realities of “Forever as the Moon” and “Star or Stone,” plus the drunk-on-life rambling in “Rosalee,” which began and ended the second set as effectively one long sandwich. And if there’s a newer song from the band’s rapidly growing catalog that takes its place among its best and most complete statements, it’s “Narcissus Soaking Wet,” which on this tour has been a second-set showpiece, getting really cosmic and Dead-y, a lengthy tale of myth. It’s a song to get lost in from a band really good at making them. —Chad Berndtson | @Cberndtson
Tags: Adam MacDougall, Black Crowes, Bob Dylan, Chad Berndtson, Chris Robinson, Chris Robinson Brotherhood, Grateful Dead, Hoyt Axton, Jackie Moore, Jeff Hill, Live Music, Music, Neal Casal, New Earth Mud, New Riders of the Purple Sage, Review, Space at Westbury, Tony Leone
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Hard Working Americans – The Bowery Ballroom – January23, 2014
Last night at The Bowery Ballroom was, as frontman Todd Snide mentioned several times, only the second gig the Hard Working Americans had ever played. Second gig together, that is: As individuals, the members—Snider, Dave Schools (Widespread Panic) on bass, Neal Casal (the Cardinals, Chris Robinson Brotherhood) on guitar, Chad Staehly (Great American Taxi’) on keyboards and Duane Trucks on drums—have logged probably closer to a zillion shows, and this kind of pedigree and professionalism made all the difference during show No. 2.
The supergroup primarily played songs off their self-titled debut, released earlier this week, comprised mostly of well-curated covers of the bluesy rock and roll variety. They opened, as the album does, with “Blackland Farmer,” a slow-build take that featured the thick-paste bottom layer of Schools, playing a four-string Fender, and the tasteful electric guitar chops of Casal. With Snider holding court up front, the music felt like what it was: old vets playing dress-up as up-and-comer kids. Each song seemed to unfold into multiple sections, like a sandwich cookie with a tasty substantial cover hiding a creamy, change-of-direction center. “Run a Mile” had the band clicking against a heavy duty bass beat with some counterpoint slide guitar, the whole band building into a slamming coda, each musician comfortably in his element.
Hard Working Americans had a lot of emotions in their arsenal, but they excelled with the dark and moody—as in the highlight, “I Don’t Have a Gun,” with low and slow smoking rock—and the high-energy ecstatic, as in “The Mountain Song” with its gliding cheerful Casal guitar solo and one to match from Staehly on organ, leading into a jam reminiscent of the Grateful Dead’s “I Know You Rider.” Snider was on point all night, seemingly happy to shed his singer-songwriter cloak and just “watch people dance.” Still, the encore brought out the best in him as he sang a great heartfelt version of Drivin’ N Cryin’s “Going Straight to Hell” and matched that with a terrific take on the Bottle Rockets’ “Welfare Music.” As the crowd thinned out, the band returned for a surprising second encore, Snider owning a take on Gillian Welch and David Rawlings’ “Wrecking Ball,” which also closes the album, the remaining audience swaying and singing along. It was pretty clear that the Hard Working Americans wasn’t just a clever name. —A. Stein
Tags: Bottle Rockets, Chad Staehly, Chris Robinson’s Brotherhood, Dave Schools, David Rawlings, Drivin’ N Cryin’, Duane Trucks, Gillian Welch, Grateful Dead, Great American Taxi, Hard Workign Americans, Neal Casal, the Cardinals, Todd Snider, Widespread Panic
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