Like every family as they grow, we ran out of room for music. The Record Rack section was meant to take care of the incoming music. Diversity is great, and we love hosting a format that represents Americana, Folk, Blues, Bluegrass, Classic Country, Soul, and other forms of American Roots music. It does, however, create a bit of a music jam. Five Flying Under the Radar continues both the Record Rack and the Under the Radar section to bring more independent artists to your eyes and ears; words above and music below.
Ian McLagan (from the album United States) - It wasn’t when Small Faces released their first single, “Watcha’ Gonna Do About It”, that Ian McLagan heard the call. His call came in through the tiny radio speakers of the 1964 factory car radios. When Ian heard the song on the radio he heard the future. In addition to being an original member of Small Faces with Steve Mariott on vocals, then with Rod Stewart behind the mic for Faces, Ian has recorded with Bob Dylan, The Rolling Stones, Lucinda Williams, Bruce Springsteen, Taj Mahal, Bonnie Raitt and Paul Westerberg among many other artists.
His recent album United States proves that Ian has stayed loyal to boogie blues as a main ingredient in in his rock’n’roll. In 1964 Britain, bands such as Small Faces considered themselves R&B acts. Ian McLagan no longer needs to consider which direction his music takes; he has the power of rock and soul literally at his fingertips. “All I Wanna Do” rides a funky riff as Ian laundry lists his inner thoughts before breaking out the Hammond B3. A slow delta blues wind drifts in with “I'm Your Baby Now” caught in its stream, a sideshow soul organ percolates as the lady in the long dress walks into Ian’s loneliness on “Who Says It Ain't Love” and “Love Letters” sit by the birthday cake on the table waiting for an address to hit send. Ian McLagan keeps the rules light for the songs that take up territory in United States. Iam McLagan officiates the ceremony that marries the simplicity of rock’n’roll to the deep musical thoughts of soul as they lightly glide along on dappled piano notes (“Mean Old World”), sink deep into a groove to find “Pure Gold” and strut a honky tonk rock’n’roll rhythm as he asks “How Blue”.
Katie Garibaldi (from the album Follow Your Heart) - Katie Garibaldi comes at you from two separate directions on her most recent album, Follow Your Heart. On one side, her vocals are delivered with an innocence born of experience with bright, confident highs that never feel the need to be perky. And in this corner, Katie Garibaldi presents characters that wear multiple skins. The awkward confessions that decorate her hall of dreams in “Wedding Day Song” leave a creepy sense of uncomfortable. The hum of instruments shakes the foundations of love as two hearts keep “Holding On” and the girl next door shyly invites in a neighbor before turning on the tiger and suggesting that her pal “Lock the Door, Lose the Key”. Follow Your Heart inspires in the title track album opener and “Always Kiss Me Goodnight” proves that simple rules make for longer relationships. The sister songs offered on the album are delivered with a voice that makes you feel she is a part of every song and chameleon characters that shape according to moods and desires.
Murali Coryell (from the album Restless Mind) - Murali Coryell is a chameleon guitar player and on his recent release, Restless Mind, his color is blue. Early influences were not his big brother and sister’s record collection but live gigs with his dad, Larry Coryell, and dad’s buddies and contemporaries such as Jimi Hendrix, Miles Davis and Carlos Santana. The mood and music bounce as they “Tag Along”), stretch out on the title track, chop up some funky guitar chords asking “Kiss Me First” and gaze into “Lonely Eyes” looking over Latin grooves. Murali Coryell plays guitar like is a natural addition of his persona, screaming as one for “Watching and Waiting” and confessing together at the altar of love on “I Can't Give You Up”.
Redleg Husky (from the album Carolina) - Lots of notes and a common love of a particular musical style formed Redleg Husky. Luckily for the trio, there is a secret weapon in the songwriting of the three members. Misa Giroux had the songs of Gilliam Welch and Mary Chapin Carpenter in her head as influence and structure when she met Tim McWilliams in Boone, Carolina circa 2012. Tim’s ears would perk up when he heard the blues of Muddy Waters and Stevie Ray Vaughan and the bluegrass of Doc Watson. The pair created a musical flame that drew in David Funderburk, who in turn added the use of unconventional instrumentation to the music of Redleg Husky, and to their recent release, Carolina. Gentle rhythms allow the saw that haunts “Wishing Well’ to drift through the song like a siren call, a dose of heat and heart lets “Your Medicine” go down easy and “Too Much of Me” hurries to drag its dreams into the light only to discover that there is ‘too much of me and not enough of you’.
Brad Heller and the Fustics (from the album American Burden) - Long hauls on the road offer lots of time for the mind to have fun with words. Brad Heller saw a term manifest out his ramblings, calling the music he creates Fustics. The word acts as description for The Fustics concept of ‘fusing acoustic music’. American Burden, the recent release from Brad Heller and the Fustics, blends sound to create a hearty folk rock and Americana that show love for blue collar rock and roll. The freedoms promised on the album are geared for the same community with words and music giving support and sharing the weight of the state of the world. As Brad Heller lays claims to ‘voice of the people’ on “Out of Work (Blues)”, he cites and takes aim at the economy and the obvious lack of ways to survive. A lonely horn trips on an easy groove in “Sordid Life” using its hints of jazz to cushion the blows from a tightening mortgage and lack of funds, light notes freckle the air surrounding the goodbyes in “Leather Chair” and staccato musical punches sharpen the edges of “My Only Days”.
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