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Issue
#157
Mar. '12
There are few
artists who can credit their longevity to
their creative output, or their ability to refocus and reinvent
themselves– yet
stay true to their heart. Rock-n-Roll music, and all it has become in
its 50+
years of existence, is one of the most fickle of all the arts
– and yes, Rock-n-Roll
music as an art form is too broad a stroke to paint. There are career
artists
that still command certain aspects of the art form they nurtured
throughout its
ever-shifting, flavor-of-the-moment racked history, but their creative
output
has either stalled or pigeon-holed them in time. Then there are those
whose
muse has allowed them a career that, when viewed in perspective, paints
a big
stroke under the entire Rock-n-Roll banner, if not for where they have
gone
musically and lyrically at times, but for the way they have explored
and
presented their entire body of work over time.
Two examples of this are Bob
Dylan and Elvis
Costello. They
each threw themselves against different walls at different times to see
what
stuck – elements of their careers reside on what
“stage” or “phase” of their
career you’re talking about; quite an achievement to
acknowledge.
The Ivory Bills
heart lies parallel with those of Dylan & Costello. James Velvet (bass, vocals) is deep into
the power trio stage of
his long productive career, delivering not only restructured gems from
his
past, but also producing new classics. He has teamed with his ever
present musical
partner, Johnny Java (drums), and
long time friend John L. (guitar)
to
develop The Ivory Bills into a
powerful statement. They are three masterful musicians schooled in the
art of
the hook. Their 3rd release (in 3 years), Boom Boom Room was recorded live in an
enormous, vacant warehouse
in downtown New Haven,
with the
amps cranked to 11. It puts us front stage center and delivers a career
of
excellence.
The power trio format works to perfection with these guys.
It highlights New Haven,
CT’s
own Godfather of Rock, James Velvet, as a local independent artist
equivalent
to Bob Dylan. He is an activist who voices opinions as varied as
embracing
political awareness to shimmy-ing down with his “crazy kuka-munga” wife. His
tales of peace, love and justice for
all are told with a slight comedic twist using double entendre filled
lyrics/poetry
which gets people to not only understand its poignant complexity, but
also the
ease in which it fits in with whatever particular arrangement suits the
subject/moment.
The Ivory Bills hook-celebrating
arrangements are anchored by the crunchy bass of Velvet and the
thunderous
drum’s of Java – a tight rhythm, that sparks with
Costello’s Attractions like
influence – allowing John L. to play hot, burning, wailing,
classic, grinding,
guitar rock (dare I say Cock-Rock?) leads a la` Mick Ronson
(Bowie/Mott/Hunter), Bill Nelson (Be Bop Delux), Billy Corgan (Smashing
Pumpkins), Jimi Hendrix, Brian May (Queen), Steve Earle and even David
Gilmour
(Pink Floyd) – Wow.
Since their 1st release, 2010’s Rythmic Jet Ear Games, and including
last year’s In Color
(’11), The
Ivory Bills element/stage/phase of James Velvet career has allowed him
to once again
throw himself against a different wall, as he has been doing his whole
life,
making various socially-conscious, hip-shaking, relationship-enjoying,
party-fun, Rock-n-Roll music in New Haven, CT since the late
‘60s/early 70s
with a shifting array of bands and solo efforts. His muse has allowed
him a
career that, when viewed in perspective, paints a big stroke under the
entire
Rock-n-Roll banner. His longevity can be credited to his entire body of
work
over time, his creative output, the ways he has explored and presented
it, and his
ability to refocus and reinvent himself – yet stay true to
his heart.
Boom Boom Room by
The Ivory Bills
is the stage, the phase, the element that we’re talking
about -
It’s quite an achievement to acknowledge.
Boom Boom Room by The Ivory Bills
available now for $9.98 + s/h*
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