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| I don�t think I�ve ever heard a live recording start off with an explosive nine-minute jam, a fairly angry-sounding original mix of blues-rock and funk called �Born to Play the Blues�. If you can get through the intensity of that, the rest of it is pretty easy listening. The following track, �Ten Toes Down�, is what I would refer to as �punk-funk�, due to the frenetic pace at which it�s played. It addresses the commonality of the human physique regardless of one�s colour, i.e. �It�s not a question of black, white or brown, ten toes up, ten toes down�. Although the sexual connotation is there, you could also apply it to human mortality, as well. Beard�s �It�s About Time� shows some real soul, musically-speaking, but you�ve got to be in the right frame of mind for this forceful delivery. Lucky Peterson�s �Tribute to Luther Allison� (parts 1 and 2) is what �da blues� is all about � exhaling long, stretched-out notes, interspersed with rapid-fire bursts of sonic hyperventilation on electric blues guitar, underscored by throbbing bass lines, dynamic drum action, all tempered by keyboard washes. Although the lyrics are sparse (letting the music show how much he was influenced by that late, great bluesman), Chris Beard does, in fact, have a healthy set of lungs, although much smoother than his peer. Part 2 starts out a bit more sedately but then peaks with staccato drum-rolling and a squealing, somewhat intrusive saxophone drowning out the guitar. �Caught Up [in the web of love]� is another �machine gunner�, featuring a keyboard break by Alan Murphy and saxophone by Quinn Lawrence. The three-part �It�s Over� initially pays tribute to another blues great, B.B. King, incorporating lyrics from his classic �The Thrill is Gone� and features an electric piano at times vainly competing with Beard�s prominence on guitar. Considering the lyrics that address his frustration with an unsatisfied woman who �does nothing but complain�, I suppose this comment won�t go over well either. To his credit, when he breaks a string during this performance, he very smoothly works the problem into the lyrics of the song and continues on his merry way. Bassist Marvin Parker gets a bubbling lead in the spotlight on the third movement, accompanied by subdued keys, drums and guitars (with a wah-wah effect) � nice touch. The shorter, disco-funky �Street of Broken Dreams� (written by Chris Cain) is one of the most enjoyable tracks, with a good volume mix among the various instruments and Chris�s vocals. One of the more uptempo songs I�ve heard that so eloquently describe the realities of a dreamer living in poverty. I can really appreciate his talent on guitar on this one. Dennis Walker�s �Never Felt No Blues� and �Lock My Dreams� are perfect vehicles for Chris to display his capacity (both vocally and instrumentally) to start out slowly and build to a crescendo that is not overwhelming � these two are my favourites. The aforementioned Luther Allison�s �A Change Must Come� is a beautiful, laid-back composition that most would not associate with Allison�s preference for upbeat, funk-driven songs (with the exception of his �Cherry Red Wine� meltdown). This is one CD that would sound even better played in reverse order, starting instead with Chris Cain�s mid-tempo, bass-driven funkster, �Who You Can Trust�, continuing with the mellow tracks and then ending with the hard-core jams by this �live wire� Rochester guitarist. |
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| LIVE WIRE - CHRIS BEARD |