Review: Danny & The Darleans - "Bug Out"

Published in the Detroit Metro Times on December 7, 2016

Detroit's Danny and the Darleans are certainly on a roll. Their self-titled debut album (Nero's Neptune, 2013) was the stuff of legends, admittedly something only Danny Kroha could pull off. Kroha, who of course shared dual frontman duty with Mick Collins in the highly influential Gories, has that certain kind of enviable charm, and it shines more than ever on these recordings.

Kroha released his debut full-length folk-blues solo record last year to widespread acclaim. The album shows his most comfortable place is with an electric guitar. Richie Wohlfeil, proprietor of Lo & Behold Records and Books in Hamtramck, sits behind the group's kit, and whether you've heard of him, he's one of — if not the — most solid drummers in Detroit. Wohlfeil's fills shine through on tunes like the opening track stomper "Bug Out Bag," and "I'm Right Here," produced with some mighty fine bombastic rhythm. His fills are nothing to gawk at, and he makes this band what it is.

Kroha's raunchy guitar solos are more refined than his original stint in the Gories, and the solidity of his vocals stand strong. Bassist Colleen Burke and Wohlfeil work together on the bluesy "Let's Stomp," a highlight of the album, which also highlights Kroha's wide and unique vocal range. Kroha gives some nod to his Gories days by covering Eddie Holland's Motown classic "Leaving Here," a tune the Gories often played live but never recorded in the studio (for reference, seek the Gories 1988 live album The Shaw Tapes, finally released in 2015). Longtime live staples from the Darleans are also present in "Who Dat?" and "Dr. Finger," songs that go back to the release of their previous album in 2014.

Kroha angrily laments love on songs like "Soul on Ice" by screaming "You put me in a cage/ that only fueled my rage/ I realize what I did was wrong/ you can't hold me here too long." Lyrics like these would be deemed too simplistic in any other case, but here they shine. By not overplaying and keeping the recordings simple, the band makes clear their stylistic reign. ''Dr. Finger" is another highlight, starting out with Burke's tonal bass lines and slowly gliding into ghostly, Shirelles-like backing vocals. Kroha's overlaid howling at the dangers of addiction showcase a shivery kind of lamentation, and it's difficult not to replay this jam. The album closes fittingly with a traditional take on the Nightcrawlers' "Little Black Egg," and, in all honestly, it's surprising this is the first time Kroha has laid this tune to tape.

This is one of the last albums Jim Diamond recorded at Ghetto Recorders before his trek overseas, and it's fitting that the closure of Ghetto coincides with the recording of an album that authentically screams about the fact it was made in Detroit. In the Red Records seems a fitting place for the band, resting on the same roster alongside scene contemporaries like Tyvek and the Dirtbombs.

This unique placement shows label owner Larry Hardy knows more about Detroit music than most people who live here. Coming from a label in Los Angeles, we see that the modern Detroit musical renaissance doesn't only have to be confined to our city itself. Bug Out is a fantastic record if only for the fact it highlights Kroha's importance in the ever-growing Detroit music scene, which is steadily growing, but also looking to Kroha's work in bands like Rocket 455 and the Demolition Doll Rods for inspiration.

Review - Kanye West's TFLOP (aka The Life of Pablo)

Tonight, I sat down to write my first music review in over two years. I always thought that I never needed to be forced to write. I didn’t need any constraints or deadlines; when I wanted to write, I wrote. Simple as that. This week, I felt something entirely different, something that I believe borders dually on social commentary and music review.

It’s the new Kanye West album.

And while some of you may snicker, I hope that you’ll take what I’m saying with the knowledge that whatever this man says/does impacts America in some way, whether in the tabloids, politically, or pertaining to rights (remember Taylor Swift during the Grammy’s, slamming back at West after his back-handed jab at her in his track “Famous” from this record).

First, let’s talk about what drove me to listen to this in the first place. By no means am I a hardcore rap/hip-hop fan. In fact, I’m quite the opposite, but I certainly appreciate the art form. I heard and enjoyed Kendrick’s new album, and I love Dilla’s Donuts and jam it in the car often. This new album by West is something different; however, and it’s been hyped over the past few months on an immense scale. From cryptic Tweets to press releases, it seemed like this album was truly going to be something special. It changed titles from So Help Me God to SWISH to Waves to, finally, The Life of Pablo, arguably the worst and most embarrassing title of the bunch. A month or so back, West released the track ‘No More Parties In LA’ on his Soundcloud, and it was fairly great, most likely due to Kendrick Lamar’s appearance on it. Aside from that one track, I hadn’t heard anything else from this album prior to listening to the full thing on TiDAL a few days ago.

It started off great. The track ‘Ultralight Beam’ is fantastic. The beats are solid, and West has a minimal appearance on the track. Maybe that’s why I liked it, but still, it had something. Almost angelic, it had a message. ‘This is a god dream.’ Could this be West going against the odds to create something completely new in the genre? Was he attempting to reinvent it once again like he did with My Beautiful Twisted Fantasy or Yeezus? Nope. Definitely not, and it’s sad. West goes wayward a few tracks later, and the few shining moments on the album don’t let the great tracks truly shine. On “Famous,” West raps ‘I feel like me and Taylor might still have sex, why, I made that b***h famous.’ I understand that this has gone around in the media in the past few days, and it only highlights the misogynistic tones that West highlights on this album. Over the next few tracks, West raps about being famous, being rich (even though he tweeted recently that he is over fifty million dollars in debt and begging Facebook founder Mark Zuckerberg for a million dollars), others being jealous because he’s famous, comparing himself to Steve Jobs, bragging about his wife Kim Kardashian, saying he can still be friends with Ray J even though they ‘loved the same b***h’, and so on.

West is certainly a narcissist, but that doesn’t mean that every track needs to be about his narcissism. In the beginning, hip-hop was about social issues. Expressing oneself because there was no other way to get people to listen. Bragging about oneself seems to be the opposite of what this form was meant for, and West only highlights this in his new album. There’s no real cohesion between the tracks other than West proclaiming his fame and wealth. Other than Kendrick Lamar’s new album, West’s new album doesn’t discuss any class issues. He’s so far removed from where he was in the beginning of his career that he’s lost touch with reality, much less what the people want to listen to, and much-much less what the people can identify with. Out of the few shining moments on the album, “Real Friends” is a highlight. Here, West talks about the value of having people behind him, trust issues, and letting people trust in him. This track is one of the only points on the album where West is honest. ‘When was the last time I remembered a birthday?’ Because of his fame, West left his ‘real friends’ behind, and he’s ashamed of it. This is also one of the only times on the album that he discusses the negative aspects of fame, and it’s searing. The only other track that fully grabbed my attention was “Fade,” purely because of its Dilla like beats and loops. Talking with a friend recently, we discussed the idea that Kanye’s persona is overshadowing every ounce of actual talent that he actually has. Much like the reality show that his Kardashian wife is a part of, West’s life is now a reality show. He’s in the newsweeklies sitting on the rack at CVS now, and that’s not a great thing. It only feeds his persona more, something that simply doesn’t need any more of an egotistical boost. It’s time for West to go back to his roots and get down to the social issues that are plaguing modern-day America (Black Lives Matter? Anyone? Anything?) instead of focusing on the fact that people will follow him everywhere he goes, and will buy everything he does. As far as I can tell, Kendrick Lamar is the future of hip-hop, and after that, I don’t know where it’s going. Where’s the next cultural shift? When you find out, let me know.

Legendary Poster Artist Gary Grimshaw Honored at The Scarab Club

Legendary Psychedelic poster artist Gary Grimshaw is being honored Thursday night at a reception and exhibit showcasing his work, concluding in the ceremonial Scarab Club beam signing. You may not be thinking that signing a beam at some artists’ workshop is no big deal; however, you would be completely wrong. The ceremonial beam signing at the Scarab Club in Detroit is a distinguished honor. Much like a star on the Hollywood Walk of Fame, one has to be chosen to receive this honor. A load of well known Detroit-native artists and poets have been able to sign the beam at the Scarab Club, with Diego Rivera, Tyree Guyton, Norman Rockwell and Elmore Leonard among them. Normally, this is the cause for celebration, but Grimshaw is celebrating for another reason, also.

Throughout his journey as an artist, Grimshaw has become an icon of rock and psychedelic art through the legendary posters and handbills he created for Detroit’s Grande Ballroom. Of course the Grande closed down in the early 70’s, but its memory remains, shown throughout Grimshaw’s now iconic work. Original Grimshaw posters are now worth thousands, but prints of them have been made for sale (www.garygrimshaw.com), with one of them having an appearance in Tim Burton’s 2012 Dark Shadows reboot film.  Due to a recent illness that Grimshaw has been battling, he is ready to turn the page onto his final journey as an artist. Grimshaw has always been known as soft spoken (yet revolutionary in his ideas), so this honor means even more to his family, his friends and himself.

The ‘Gary Grimshaw: Solo’ exhibition is showcased at The Scarab Club from January 2nd through February 15th. The reception takes place tomorrow, Friday, January 10th from 6-9pm with the ceremonial beam signing at 7:30.









EDIT- We lost our friend Gary Grimshaw at 11:05 today, January 13th 2014. His memory will live on with his work and through the inspiration he has given to new generations of artists. R.I.P. Peace And Power. 

Reviews: Gap Dream - 'Shine Your Light'

Gap Dream is back (this time with the assistance of Co-Producer Bobby Harlow), this time to spread his electro-synth fantasies into your dream realm. Gap Dream (Gabe Fulvimar, who used to be the bassist in the Black Keys) released one of the most pronounced debut albums in the independent scene last year via. Burger, and it isn't hard to see why it sold out so quickly. Fulvimar's unlikely blend of dream-pop and 80's synth stylings work together perfectly, and along with his misty vocals, create a unique product worthy of examining with an open mind. Not only does Fulvimar write spectacular songs, but he had the good sense to send samples in to the good people at Burger Records, who loved it, and it's easy to find out why. Standout tracks "Chill Spot" (released as a vinyl single), "Shine Your Light", "Fantastic Sam" and "Love Is Not Allowed" use both Harlow and Fulvimar's musical talents to an advantage even though they come from completely different musical backgrounds (Harlow from Detroit rock outfit The GO! and Fulvimar from the previously mentioned electronica).

Rating- 5/5 Stars

Your Weekly Burger: Natural Child, Segall, and more!

Natural Child- Hard In Heaven

Less than a year after their previous long-playing album For The Love of The Game, Natural Child come back with its continuation, Hard In Heaven. If ‘For The Love’ were a double album, I can imagine this as the second LP. Fast rocker ”Laid, Paid and Strange” recalls back to their earlier work on the esteemed Infinity Cat label, while blues-stomper “Rock Bottom” brings back the sound of “8AM Blues”, the opener on their previous record. While it sounds great, it lacks the ferocity of their previous effort. 4/5

What’s Next For Natural Child? – Two new albums are in the works, one more studio album on Burger, along with a live 12”/7” vinyl combo on Shed House Records.

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Ty Segall and Mikal Cronin – Reverse Shark Attack

Knowing that Segall has just released a new LP ( Sleeper, Drag City Records), his 2009 album featuring Mikal Cronin has just been reissued on cassette by Burger. The album definitely recalls Ty’s garage days, and is drastically different from last year’s Twins album. Jams like “I Wear Black” and the title track “Reverse Shark Attack’” give the album an unparalleled edge. 4.5/5

What’s Next For Segall?- After his ‘Sleeper’ album was released last month, Segall is gearing up for a world tour with his new outlet Fuzz, celebrating their self-titled album out in October on In The Red Recordings.

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Apple Brains – Get Fruity!

Possibly the worst thing I’ve ever heard, Apple Brains try to teach kids a lesson about fruits and vegetables in pop songs. This does not deserve a Burger catalog number. Sure, if you have some kids it may serve some purpose, but for this writer it’s pure trash. The songs are so catchy that you’ll remember them every day when you wake up- that’s not a good thing. 0.5/5 (Gave the 0.5 because I felt bad that this guy wasted time recording this…)

What’s Next For Crapple Brains? – Who cares?

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What Have We Wrought? – Compilation Tape

After my mind was mushed by Apple Brains, I decided to give this tape a play. The tape, after all, is a who’s who of hardcore punk. (Thanks for including unheard Necros, Negative Approach and The Fix tracks, Burger!) The tape has a great flow, and will obviously get many repeated listens. Weighing in at 42 tracks by 42 different bands, all procceds from the comp. go toward Mike Atta (Formerly of the band Middle Class, whom is currently battling cancer). Very good comp., I may have to order two before mine wears out… 5/5

Detroit Black Music Awards 2013

With Joe Billingslea

Ortheia Barnes with Myself

The stage at the Detroit Black Music Awards

 This past Sunday, I had the honor of being invited to the Detroit Black Music Awards, a 5 year old award show that parallels the Detroit Music Awards, but honoring the best of the Detroit African-American music scene. While at the awards, I was able to meet with Kim Weston ('It Takes Two' - Duet with Marvin Gaye on Motown Records), Ortheia Barnes (Member of Cut Glass and Detroit legend), and Joe Billingslea (One of two surviving members of The Contours). Overall, it was a very amazing experience, partly because I had the ability to meet some of the greatest Motown and local stars, but mostly because I was able to experience the great music that was offered that evening. While the DBMA's are a relatively new event, it had all the charm of an event twice it's age. The show felt right at home at Bert's Warehouse Theater, with wonderful decor and an inviting atmosphere. Among those taking home awards were Nick Speed and Brian Williams, who were well deserving, and who took home awards at the previous awards show. Everyone at the show was warm and inviting, and I look forward to attending next year's event, as I urge you to go.

Too Tuff To Live, Too Young To Die- The King Tuff Interview Part Two by Jarrett Koral

As the returning reader may have noted, last month I interviewed Kyle Thomas, aka King Tuff, about his music, record collecting, and The Beatles. I strongly advise you to read the first part of the interview to better understand what we're talking about. Please read the first installment of the two part interview here.

Jarrett Koral: Right now I’m actually looking at the King Tuff Sub Pop album. How did you get the art for this? The insert and the cover are amazing. Who did that?
Kyle Thomas: (Chuckles) My brother did all that. My Brother’s pretty much a visual artist, so every album I’ve ever made has been mostly me and him making the artwork, well, mostly him. So, that’s cool. Keeping it in the family.

JK: And it’s really cool that you weren’t under any guidelines with Sub Pop on it, and that you got to pick whatever you wanted for the art.
KT: Well, I think it’s a different world nowadays, as far as record labels. I don’t know what it’s like on super major labels.

JK: The Flaming Lips really left that behind, but the major labels worked with them. They were on little labels then they jumped over to Warner Brothers, but Warner Brothers still does crazy stuff like blood filled records.
KT: And I’m sure that since they’re already established, they kinda have the upper hand. But, it’s great that artists can be in control of their artwork and the music. I would go crazy if I couldn’t do that stuff; it’s really the whole package for me.

JK: Sub Pop does cool stuff too, they have money behind it, but they’re also established and they have a big hand in the music industry.
KT: For sure. Sub Pop’s done Fleet Foxes, The Shins, they’ve had a lot more commercial success because of that.

JK: And then The GO’s Free Electricity was declined by Sub Pop, and I think that’s one of the only mistakes Sub Pop’s ever made.
KT: From what I hear from Bobby (Harlow, of The GO), it was a completely different world back then and artists weren’t really allowed to manage their own art. I think The GO were in a weird in-between stage. Maybe they didn’t know how to deal with Bobby yet, because Bobby can be a firecracker. Seems like it was just a wild time.

JK: But then The GO made a few amazing self-released albums, and then they did the Fiesta album on Burger, and they definitely marketed it well because they made a ton of different colors for it.
KT: Also, for a long time when The GO were making those albums in that period, there was the White Stripes explosion, and The Vines.

JK: It’s almost like the labels thought anything and everything from Detroit was good because of the White Stripes getting big.
KT: Yeah, and then it either started shifting toward either indie rock and the acoustic stuff, or electronic stuff. For a long time, rock wasn’t really happening. I think if The GO were to be a new band right now, it would probably be insane.

JK: But in the mid 2000’s, everybody was watching The White Stripes and they weren’t really concentrating on a ton of other bands, except for the already established ones.
KT: I think it’s all timing. People will understand The GO someday.

JK: Plus, the people who aren’t listening to King Tuff right now will understand what they’ve been missing.
KT: I mean, that’s what’s cool about music. There’s still classic bands that I’m discovering that I didn’t pay attention to before, and I’m like, how did I miss this?

JK: What are you listening to right now?
KT: Well, you know, right now I’ve been getting into the blues like Skip James and stuff like that, and I’m listening to a ton of AC/DC. I’ve always been kinda into them, but for some reason they’ve came back into my life, and I went like AC/DC insane.

JK: Lots of labels are doing stuff with blues now. There’s a label called Danger Limited Sound, and they have a series called Black Jesus, and each single has a different band covering their favorite blues songs, but nobody knows what they are. They’re just labeled Black Jesus.
KT: That’s amazing! It kind of goes back to when I was growing up and you couldn’t hear something before you bought it. You know what I mean, like, if a record just looked cool you just bought it. It wasn’t until the Internet blew up that you could actually hear something before you bought it.

JK: If I looked into your record collection right now, what would be the coolest record that I would see?
KT: Oh, let me look. I don’t even know the answer to that question. Like I said, I’ve been buying records like crazy, man, and I haven’t even had the chance to listen to them all. I have an Everly Brothers record. I love the Everly Brothers. I got Hound Dog Taylor. You like Hound Dog Taylor?

JK: Yeah!
KT: He’s one of my favorites because he’s so raw. I like the imperfections. I like when music’s imperfect. If I hit a wrong note somewhere, that wrong note’s always my favorite part.

JK: I remember when Ringo’s voice cracked on Yellow Submarine, and I thought that was the best part of the song!
KT: There’s also a voice crack in Drive My Car. Paul’s voice cracks in that song. That’s one of the greatest things about The Beatles, they’re just full of that stuff.

JK: They didn’t even care!
KT: You just listen with headphones and there’s different stuff you can hear everytime.

JK: Especially the later stuff like the White Album, there’s actually a lot of orchestration on it, and it’s really brought out on the vinyl version. Everybody agrees, obviously that their best song is Revolution #9.
KT: Obviously, that song is a masterpiece. Have you ever read the book ‘Magic Circles’?

JK: I don’t think so. What’s it about?
KT: It’s about the Beatles, it’s called ‘Magic Circles: The Beatles In Dream and History' or something like that. If you’re into the Beatles and you’re into reading about them, it’s definitely a cool take on it.

King Tuff's recent single, Screaming Skull

JK: They also came out with that Paul Is Undead movie a few years ago, and they said it’s the last testament of George Harrison, and it sounds nothing like him. You should check it out, it’s hilarious.
KT: Well, it’s just interesting. That band is so rich in every aspect. The music, their personalities, the way they looked, and the arc of the whole story about The Beatles is great.

JK: And now John and George are dead, and Paul and Ringo are just endlessly touring.
KT: I’m playing a show with Paul this Summer.

JK: What?
KT: Well, it’s not just with him. I’m probably the first band out of 400 and he’s the last, but I’m still playing a show with him, okay?

JK: You could capitalize on that. King Tuff with special guest Paul McCartney.
KT: I think I gotta make that poster.

JK: You do get to play a show with Paul, though.
KT: I’m gonna make that poster! (laughs)

JK: I think you need to sneak back and meet Paul McCartney.
KT: Oh my god, I’d lose my mind. I went into Abbey Road once and it was amazing.

JK: Whoa. How was that?
KT: It was amazing. I almost cried.

JK: I need to make it to London sometime. That would be amazing to be around where The Beatles recorded everything.
KT: Did you know that they still have all the original equipment there, like pianos and stuff, and if you record there, you get to use them.

JK: Wow. That’s amazing.
KT: I didn’t get to go into Studio Two which was their main studio because Lady Gaga was in there.

JK: Gross. Who wants to hear a new Lady Gaga album?
KT: I think millions of people do. I know Bobby wants to hear it.

JK: I think Bobby should produce the next Lady Gaga album.
KT: The new Gap Dream album’s kinda like a new Lady Gaga album

JK: It’s that good? Can’t wait to hear it, but now that you say it’s like a Lady Gaga album, I might pass on that one.
KT: Nah, it’s like, I’m gonna call him Ga-be Gaga.

King Tuff's inaugural album, Mindblow

JK: Amazing. That needs to be used. What label did Mindblow come out on?
KT: I didn’t really even put it out when I made it. I might have given a few people a CD-R of it to a few people but it wasn’t really even released at that time. And then, I think I originally recorded it in like 2003, and my friend Ron has a label called Spirit of Orr, and sometime in 2006 he was like ‘I listened to that CD-R you gave me a few years ago, I want to put out a CD-R of it’ like a small release. But, he was the one who really brought that back.

JK: Maybe somewhere down the line Burger will reissue it.
KT: Definitely. I like the idea of that. Burger did a great job with Was Dead.

JK: The King Tuff 32 LP Retrospective boxset on Burger?
KT: We’ll get there someday. I don’t want to jump the gun.

JK: With special guest Lady Gaga. You can get her on a few tracks.
KT: Oh man, I WISH. I feel like me and Gaga would be friends. She’s a good piano player. She can do the piano part.

JK: You need to get into a festival where Lady Gaga is playing, so at least you can make a poster that says King Tuff with special guest Lady Gaga
KT: I’m playing a festival with Rihanna…

JK: Oh yeah, there you go! King Tuff, Rihanna, and Paul McCartney.
KT: Got Paul on the bass, sorry Magic Jake.

Two new members of the King Tuff band,
Lady Gaga and Paul McCartney

JK: You need a rapper on there. They did that thing with hologram Tupac so you can have hologram Biggie Smalls on drums.
KT: On drums!

JK: And Wiz Khalifa. It can be a rock/rap album.
KT: I saw him at a club one time and he was smoking a giant blunt, smiling.

JK: I wouldn’t expect less.
KT: He was great! It was at Lil’ Wayne’s VMA’s after party.

JK: Can’t say I’m a fan.
KT: If you actually listen to Lil’ Wayne’s lyrics, they’re insane. I guess its perspective, though. He gets some bad reviews, but he gets good ones too.

JK: I haven’t seen any bad reviews of the King Tuff album, so you’re already one step above him.
KT: I’m sure there’s some.

JK: I’m on iTunes right now, and there’s one that’s 4 ½ stars and it says ‘More T. Rex, Less Hipster’ What does that even mean?
KT: I don’t know man. Haha. I mean, everyone’s a critic now. I just try and love everything, or be open to love everything, but maybe I’m just a hippie from Vermont.

THANKS FOR READING! TONS OF BURGER RECORDS REVIEWS COMING SOOOONNNN!!!!