Smoke Blues Band makes the bald eagle moan...
author: Red Magazine
The first three tracks of the album start slow, warming the listener up to the music. But track four, "Mystery Train," roars by with a lung-exhausting blues harp (harmonica) intro and outro-the stuff in the middle sounds great too.
According to those liner notes, tracks one through 15 come from sessions recorded at the University of Utah's ITV studio in the summer of '69. What you will hear is material from two-track reel-to-reel studio tapes preserved by Richmond for the past 30 years. Regardless, the sound on the album comes across pretty crisp.
One blues tradition allows musicians to borrow songs, cover them or put their own unique sound onto another blues,musician's music. The last example of tradition embodies Bald,Eagle Moan. The band puts a beautiful spin on classics by blues greats like Robert Johnson, Willie Dixon, Elmore James and more.
I couldn't help but laugh at the end of track 18, "Help Me," when someone says, "the next song will be 'I got drunk last night,' night take 2,472. Hit it boys." I'm sure that's funnier to those of you who have done session recording before.
Two originals, "Pickle Jam" and "Miller Jam," appear on the disc.
Here's some more historical trivia for you: Val Ness recorded "Miller Jam" live at the West Ballroom of the U's Union Building. It stands alone as the only live recording of the band and, interestingly enough, it's a blues-based psychedelic jam heavy on the bass. And it spans a little under 18 minutes.
Music and history, all from Salt Lake City, what more could you ask for?
by Luciano Marzulli Vargas
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Blues music devotees everywhere will love Bald Eagle Moan.
author: Slug Magazine
Perhaps it is fitting to chronicle the music of the Smoke
Blues Band at this time in American history. Good American
citizens now shout the familiar slogan, “love it or
leave it,” at other good American citizens.
I’m familiar with the slogan from the Vietnam War years;
the Smoke Blues Band years. Bald Eagle Moan is the title
of the recently released Smoke Blues Band compact disc.
The disc is a perfect Christmas gift for fathers, mothers,
grandfathers, grandmothers, that old fart at work who never
stops talking about the 1960s, and that other guy at work
who wears tie-dye everyday and who keeps playing Grateful
Dead bootlegs. Neo-hippies, original hippies, jam band
hordes, black bloc anarchists in town for the Olympics
and blues music devotees everywhere will love
Bald Eagle Moan.
Bald Eagle Moan music is taken from a professional demo
recording done in the summer of 1969 at the ITV studio on
the University of Utah campus, a cassette copy of a
reel-to-reel do-it-yourself demo attempt and a live 4-track
reel-to-reel recording of a Union Ballroom concert.
The Rev. Willis is somewhat disparaging of the last “jam,”
entitled “Miller Jam,” but it’s better than what some modern
jam bands produce with much better technology and so called
“stoner” rock bands can only dream of capturing such fuzz.
The band covers big blues names — Hooker, Crudup, Dixon,
McDowell, James, Johnson and Williamson — and they toss in
a couple of originals. As mentioned previously the harmonic
a, played by Peter Brandt, is especially noteworthy as are
the accents provided by Jack Brady’s saxophone and Jerome
Mische’s piano. Tunes to note are “Fever,” highlighted by
the sax and “To Much Alcohol,” perhaps the best track of
the disc as the entire band gets wooly and Brandt gives up
his only vocal of the set. That said, the version of Bob
Dylan’s “Pledging My Time,” complete with hazy organ, and
the traditional “Motherless Children” aren’t too bad. John
Miller (Bass) and Steve Harris (Drums) keep the bottom
throbbing throughout.
Obviously individuals interested in the history of Salt Lake
City music will snatch up copies of Bald Eagle Moan. From
a purely historic perspective the disc is amazing, but every
one involved put a lot of love and work into the project.
Herc Ottenheimer’s engineering skills, Kurt Schulder’s
graphic design, the research done by Smokey, the Rev. Willis
and Steve Jones.
By William Athey
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great guys, great times and the music was pretty good
author: Hal Noakes
It was intense to hear again the music which I had
presumed was lost to us and still traveling out through the
galaxy. It was also good to see the pics in the notes and
remember my friends when they were all alive and were young.
If I could still drink, I would lift a glass to them all...
so, in spirit, cheers guys and thanks.
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Local band releases blues CD after 30 years.
author: Salt Lake City Weekly
SALT LAKE CITY WEEKLY Nov. 22, 2001
SMOKE BLUES BAND Bald Eagle Moan (Bastille Family Records) Local artists tend to take a long time to release albums, but 30 years? The Smoke Blues Band, a seven-piece blues-rock outfit formed in a seedy rental unit near the University of Utah, came together in 1967 in reaction to the psychedelic hippie bands that had bastardized the blues—they were into Junior Wells and Buddy Guy, not the Grateful Dead and Jefferson Airplane.
The band’s run was only ’67-’70, but they managed to tour briefly and record 15 tracks at the U of U’s ITV studios in their final year together. Along with four raw unearthed live cuts, former Smokey’s Records proprietor Smokey Koelsch has compiled the legacy of the Smoke Blues Band in vivid detail, with an extensive 20-page booklet history, photos and concert posters. Remember The Abyssie? Cosmic Aeroplane? The Old Mill? They were the crux of SLC’s underground in the late ’60s, and Smoke Blues cut their teeth those grimy stages.
After it was determined that the name Neon Erection wouldn’t fly locally (it was 1967, after all), the collection of musicians settled on Smoke Blues Band while warming up for a VFW hall gig. The original line-up consisted of singer Richard Corday, guitarists James Warburton and Mark Richmond, keyboardist Jerome Mische, harmonica player Pete Brandt, bassist John Miller and drummer Brian "Rotis" Allred, but Warburton and Allred were out by the time of this recording. Warburton’s "acid-rock" guitar style didn’t fit with the band but, ironically, he’s been touring as a blues player (under the names "Jessie" and "Brother Music") from the ’70s till today.
Bald Eagle Moan’s studio tracks are solid blues stuff, though mostly covers of Willie Dixon, John Lee Hooker, Robert Johnson and even Bob Dylan standards. The lone original song, the lively jump-blues instrumental "Pickle Jam," is barely a minute long. In stark contrast, the closing rave-up epic "Miller Jam," recorded live at the U of U’s West Ballroom to four-track reel-to-reel tape, clocks in at a staggering 18:44 in full ’60s fuzz-jam glory. Batten down the woofers before playing, it’s a monster.
This loving slice of Utah music history is available at Salt City CDs, Ken Saunders Rare Books and through the Internet at www.BasFam.com and www.CDBaby.com. For anyone who considers themselves fans of local music, Bald Eagle Moan is a must.
—Bill Frost
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