James Blood Ulmer


JAMES BLOOD ULMER
Birthright

Produced by Vernon Reid

Including the Tracks: Take My Music Back To
The Church, I Ainít Superstitious, Geechee
Joe, I††† Canít Take It Any More & Sittiní On
Top Of The World

†ìBirthright, indeed. Here, it’s clear that Ulmer was born to play with fire.î
ñ Steve Dollar, Time Out Chicago

ìThe number of bonafide original contributions to the musical language of the blues in the last 30 years are as scarce as hair on a Mississippi bullfrog. Junior Kimbroughís All Night Long and Otis Taylorís Respect the Dead come immediately to mind. One must now add James Blood Ulmerís Birthright to this short list and it may be the most groundbreaking of all.î
ñ Dave Rubin, Play Blues Guitar & Guitar Player Magazine

ìÖthese dozen tracks sound like they were played by the holy offspring of Chuck Berry and Robert Johnson… by far the most personal blues album the guitarist has ever recorded.î
ñ Robert Fontenot, OffBeat Magazine

James Blood Ulmer is in the midst of a career revivalóan artistic renaissance if you will. A new generation of music fans have discovered his music, while simultaneously longtime fans from throughout his 40-year career have shown a renewed fascination with the iconoclastic genius.† His previous two recordings, Memphis Blood: The Sun Sessions and No Escape From The Blues: The Electric Lady Sessions led to much recognition, including a Grammy Award nomination, Rolling Stone Magazine ìBest Albumî honors, a performance at Martin Scorsese blues celebration concert at Radio City Music Hall and high profile appearances with the likes of Government Mule, Susan Tedeschi and Derek Trucks.† On Birthright, his latest studio album, Ulmer goes it alone. Itís just he and his guitar singing and playing 12 of the most stark, personal and spellbinding songs heís ever recorded. The blues hasnít sounded this fresh in a long, long time.† Itís clearly the work of an American music legend continuing to reinvent himself, while remaining as relevant today as at any point in his long and distinguished career.

In a review of Robert Johnson: King of The Delta Blues Singers for Downbeat Magazine in 1962, music critic Martin Williams wrote: ìThe best blues deal in their own way with basic human experience, with things that all men in all times and conditions try to come to terms with.î And here, nearly 70 years after Robert Johnsonís mythical recording sessions that bared those infamous sides, James Blood Ulmer continues down the path that Williams quite eloquently described.† Birthright is James Blood Ulmerís first ever solo album. Just James Blood, alone, singing and playing his blues with his fears, demons, prayers and history all laid out before him.† Once revered as a free jazz, black rock guitar master, Ulmer has come full circle, acknowledging the boy he once was who grew up playing guitar on his fatherís knee in the segregated South, singing gospel in the Baptist church and struggling to find the balance between the Lordís word and more earthly matters of the flesh. The 12 songs featured here, in each and every instance, are indeed James Blood Ulmerís Birthright.

ìIím gonna take my music back to the church where the blues was misunderstood, some people think that itís the song of the devil, but itís the soul of the man for sure,î moans Ulmer on the albumís opener ìTake My Music Back To The Church.î A precedent is immediately set.† Ulmer is not about to take a lighthearted romp through tired blues clichÈs, but is instead committed to a soul-bearing transformation.† If Ulmerís two previous records, Memphis Blood: The Sun Sessions, and No Escape From the Blues: The Electric Lady Sessions, found him finally confronting history and exploring the songs of the great American blues forefathers, then on Birthright, Ulmer is submerging himself in a lifeís worth of living the very experience, exploring its depths, searching for resolve and often reclaiming the music as his own.†

The taleís been told time and again of Ulmerís ongoing conflict between his love for the raw, primal release offered by the blues and the deep-rooted guilt instilled by his mother who made clear to him while growing up that the blues was the devilís music.† This is a subject thatís referenced throughout Birthright. Ulmer is continually searching for a way to impart the blues with the notion of sanctity and redemption.† On the snarling, slashing and guttural stomp of ìThe Evil One,î he declares ìGod called all of the Angels to show him what he had done, and they all bowed down to man except the devil, the jealous one.î† Itís a story of Adam & Eve, God and the Devil, but where most post modern blues of the present day cites the devil because itís a mainstay of the vernacular, Ulmer addresses it with no pretense.† He means every word he sings.

James Blood Ulmer does not suffer fools gladly who spend countless hours in the studio trying to procure the perfect recording. Every track on Birthright was recorded in one and two takes. Fortunately, producer Vernon Reid (back to produce his third album for Ulmer) was a proponent of this approach.† Ulmer would run the tune down once before letting the control room know he was ready to record. From that point on heíd seemingly transport himself to a different existential plane, rocking back and forth, audibly groaning, while excavating magical shards of tangled guitar notes from his black Gibson Birdland.† The pairing of Ulmerís voice and guitar, with all other instruments stripped away, is revealing in itself. His vocal phrasing, often behind the measure of his own rhythms, creates a counterpoint as distinct as any in the history of the bluesóas timeless as Son House, Leadbelly and Lightniní Hopkins, yet informed by the past half century of jazz theory and set within his own inimitable guitar tuning.

Over the last three albums, Ulmerís voice has come to the forefront. Heís begun to garner equal recognition as a singer as he had in the past for his guitar prowess.† His deep, husky vocals shimmer with a natural vibrato and resonate with emotion. On the Willie Dixon classic ìI Ain’t Superstitious,î one of two cover songs on the record, Ulmer injects his own character and life into the lyrics, while on the slow, haunting blues of ìWhite Manís Jail,î he conveys through pain, hurt and muted pride: ìI ainít never been in no white manís jail, my mama didnít send me to their school and I ainít never, never, never learned the white manís rule.î†

In the midst of Birthright are two beautifully wistful songs, exposing yet another side to Ulmerís complex personality. They each suggest wisdom gained from lifeís proverbial struggle.† The first is a reworking of a classic Ulmer number from his 1981 album, Free Lancing, entitled ìWhere Did All The Girls Come From?î† A funky, up-tempo, party jaunt in its original form, these many years later the song feels remorseful, like a lament for personal truths only now understood. The second is Ulmerís tribute to his grandfather, ìGeechee Joe.î† A folk song at its core, it tells of Geechee Joeís influence on Ulmerís life; an inspiration that resounds to this day.† The lyrics are simple on paper, but beautiful, strong and moving when Ulmer sings them.† This kind of pure emotional honesty takes courage. A notoriously elusive character, Ulmer was particularly proud of this song during the sessions.

ìThe Devilís Got To Burnî brings James Blood Ulmerís first ever solo date to a close by re-addressing the ongoing theme of the devilís lure, and within the context of the blues, finding a way for the divine to prevail.† Ulmerís ominous howl and cackle fade to silence, leaving weird abstractions hanging in the air.

Birthright gets closer to the root of James Blood Ulmerís genius than any album in his long and distinguished discography.† Itís a brave record for an artist to make this far into his career.† To strip the music bare and leave nowhere to hide, thus presenting the songs in an utterly transparent form is always a risky move.† Itís even more so when one considers that Ulmer is coming off two commercially successful records that would have him nominated for a Grammy Award (Memphis Blood) and selected as one of Rolling Stone Magazineís top 50 albums of 2003 (No Escape From the Blues).† But then James Blood Ulmer has never played by the rules or aspired to convention.† If a renascence is in the cards, itís going to be on his terms. He is an artist completely driven by the muse and will chase it to the furthest corners of his soul to manifest its cry.† On Birthright, James Blood Ulmer looks deep within to come to terms with lifeís experiences through the blues. These songs are his right, possession and privilege. This is pure James Blood Ulmer.

Super Furry Animals plan sensational replacement for yetis – NME.COM

NME.COM
SUPER FURRY ANIMALS have revealed that their infamous onstage yetis will be replaced this year by something ‘so new it doesn’t even have a name’.

The band are currently on a stripped-down tour of small towns in advance of their new album ‘Love Kraft’, due in August.

On shows for their ‘Phantom Power’ tours, the band — who once drove an armoured tank through a Reading crowd — would come onstage at the end dressed as yetis, before those super furry animals were massacred onstage at London Hammersmith Apollo in April last year. They were “resurrected” later that year for festivals.

But on tour in Wrexham this week, singer Gruff Rhys told NME.COM that by the end of the year, their show would be back to full extravagance: “We’re building up; it’s gonna get mental in the next few months. We’re gonna be adding elements to the show. We have people behind the scenes working on new technology.”

Rumours have been circulating that the band’s new costumes will be robots, which Gruff admitted was close to the mark: “There is gonna be something but it’s gonna be post-robots. It’s very futuristic, whereas the robot is history. The thing is, this thing is so new it doesn’t even have a name.”

The band have been playing new songs from ‘Love Kraft’ on their tour, including the first single ‘Laser Beam’, out August 1, alongside ‘Atomik Lust’, ‚ÄôZoom!‚Äô, ‚ÄôOhio Heat‚Äô, ‚ÄôFrequency‚Äô, ‘The Horn’ and ‘Cloudberries’.

Of the album, Gruff said: “What I’m hoping is there’s talk of a heatwave hitting on August 12, and the album’s coming out on the 15th. We recorded it in intense heat, and mixed it, in Catalonia and Brazil. So because we’re not used to the heat, we ended up making a really slow album that’s really dense, really hazy. Not that you should make your record weather-dependent, but we think August is the month to release it.”

Gruff also admitted that the album title was partially inspired by the early science-fiction writer HP Lovecraft, whose work has also been a major influence on The Coral: “It could be about that, but there’s many aspects to the title,” he said. “It could be like Kraftwerk. Or the love of our craft. Or a vehicle like a hovercraft. It was almost ‘Kraft Love’, but it ended up being ‘Love Kraft’.”

People make their stands where they can.

Nine Inch Nails leaves†MTV†show over Bush image – May 30, 2005

LOS ANGELES, California (AP) — Nine Inch Nails dropped out of the MTV Movie Awards after clashing with the network over an image of President Bush the band planned as a performance backdrop.

The Bush image was to accompany the song “The Hand That Feeds,” which obliquely criticizes the Iraq war. It includes the lyrics: “What if this whole crusade’s a charade / And behind it all there’s a price to be paid / For the blood on which we dine / Justified in the name of the holy and the divine.”

MTV said in a statement to its news division that the network was disappointed the industrial rock band would not perform but had been “uncomfortable with their performance being built around a partisan political statement.”

The Foo Fighters will perform in place of the Trent Reznor-led band at the awards being taped June 4 in Los Angeles.

Reznor said in a statement posted on the band’s Web site Thursday that the image of the president would have been unaltered and “straightforward.”

“Apparently, the image of our president is as offensive to MTV as it is to me,” he said.

Nine Inch Nails’ fourth studio album and first in six years, “With Teeth,” debuted this month at No. 1.

Amazon loggers clash with lost tribe – genocide threatened

CNN.com – May 26, 2005
Thursday, May 26, 2005 Posted: 9:42 AM EDT (1342 GMT)

PORTO VELHO, Brazil (Reuters) — A Brazilian Indian tribe armed with bows and arrows and unseen for years has been spotted in a remote Amazon region where clashes with illegal loggers are threatening its existence.

The tiny Jururei tribe numbers only eight to 10 members, and is the second “uncontacted” group to be threatened by loggers this month, after a judge approved cutting in an area of the jungle called Rio Pardo.

Accelerating rainforest destruction threatens the tribes. Deforestation in 2003-04 totaled 10,088 square miles (26,130 sq km), the most in nearly a decade, official figures show.

“The Indians have had conflict with loggers, who are cutting toward them from two different directions,” Rogerio Vargas Motta, director of the Pacaas Novos national park, told Reuters.

He photographed Jururei huts on a recent helicopter flyover of the remote park to catch land grabbers.

One Jururei shot three arrows at the helicopter as it flew overhead, Vargas Motta said.

The tribe’s wood huts have roofs of black plastic tarps found in abandoned logging camps.

Indian rights activists are alarmed.

“Unless Brazil acts now to protect uncontacted tribes, they will disappear off the face of the earth forever. The annihilation of a tribe, however small, is genocide,” said Fiona Watson, Campaigns Coordinator of Survival International in London.

They blame a lack of political will and a powerful lobby of cattle ranchers and soybean farmers for fueling deforestation and threatening Brazil’s 700,000 Indians.

“There’s been a grave lack of funding for conservation on the part of the government,” said Samuel Vieira Cruz, director of Kaninde, a nonprofit group that works to protect two Indian tribes in the area.

Booby traps discovered

In the most recent scuffles, Jururei Indians set booby traps with spikes, piercing the foot of one logger. Loggers are within three miles (5 km) of Indian camps.

Despite the conflicts with outsiders, Indian experts consider the Jururei “uncontacted” because anthropologists have yet to reach and study the tribe and the government has yet to establish ongoing peaceful communication with it.

Sydney Possuelo, director of the uncontacted tribes department at the government’s Indian agency Funai, said it has been years, probably at least a decade, since officials have seen the Jururei.

He said the government’s environmental protection agency, Ibama, has yet to formally inform him of the latest sighting, though neighboring tribes routinely mention signs of their existence. In general, Funai avoids making contact with unknown tribes that are ostensibly protected on reservations, so as to avoid altering their lives or passing diseases.

In other cases, the government tries to make contact when Indians are threatened on unprotected lands or when tribes are tiny and isolated, he said.

Possuelo has teams roaming the Amazon trying to make contact with isolated tribes in need of protection, but he is understaffed and many tribes, like the Jururei, are nomadic or move periodically.

“We have great difficulty because the government does not see our needs for human resources and money,” he said.

That also makes policing park borders difficult and he said “Indian lands are full of invaders.”

Though in 1994 the government mapped land based on evidence of the tribe’s presence, the Jururei have run away from government officials during attempts to contact them.

A translator spoke for several minutes with some Jururei in 1986 before they disappeared into the jungle.

Vieira Cruz said there are as many as eight uncontacted tribes in Rondonia state. Vargas Motta thinks there are three other tribes in and around his park.

Vargas Motta’s 1.89 million acre (764,000 hectare) park sits inside the 4.61 million acre (1.87 million hectare) Uru-eu-au-au Indian reserve, an area the size of a small European country, with hard-to-police boundaries.