These Are All My Fingerprints On This Glass

Confessions Of A Broken Man- Porter Wagoner MP3


beeradvocate.com- A-

Stone Arrogant Bastard Ale- Key Food, Forest Hills Queens-Bomber into Belgian Beer Glass- 7.2% ABV- Poured a dark ruby color bordering on brown. Two finger tan head which hung around quite a bit. Some globby spots of lacing on the glass. Aroma is fruity with hops and malts in the background. More grapefruit or citrus fruits than the dark fruits present in some of the beers I have had lately. Medium to light body with modest carbonation. I actually bought this beer last minute at the local supermarket which has an above average beer selection for a supermarket. I was planning on drinking a bourbon barrel aged "winter warmer" but it is unseasonably warm today here in NYC, 60 degrees, so I wanted to save that for next week when hopefully it will be a bit colder so I can truly enjoy a true "winter warmer". This is a pretty bitter beer, very hoppy and not quite what I expected. I was expecting something a bit maltier. There are malts present but this is very hoppy, probably the hoppiest ale I've had not including IPA's. This is a good beer but not sure if I would seek it out regularly but I would like to try it off the tap.

On the turntable is Confessions Of A Broken Man- Porter Wagoner- Recorded for RCA in 1964, no other info available. I am a big Porter Wagoner fan. Alot of his LP's have not been reissued on CD but I have two excellent CD compilations issued by Omni Recordings. I also have a few of his LP's. A legend in country music but sad to say a man of another era and one not mentioned often these days. Mr. Wagoner, in addition to a successful music career, had a very popular music television show broadcast in the 60's and 70's and was also known for discovering Dolly Parton. In the mid to late sixties on top of all of his other obligations Mr. Wagoner managed to release a string of LP's based loosely on his alter ego "Skid Row Joe" and this is one of those albums. This alter ego allowed Mr. Wagoner to explore the seamier side of life filled with down on their luck characters. With haunting spoken word sections and wonderful instrumental accompaniment Mr. Wagoner sets the stage for a man wrestling with his demons, trying to make his way through a world which neglects him. This reflective song cycle can really make you think earnestly about the decisions people make and their consequences. Mr. Wagoner was extremely insightful and it begs the question, how did he come up with such compassionate songs about men far less successful than him? In any event we will probably never know the answer to that question. I have included an MP3 of the title track "Confessions Of A Broken Man". Note the steel guitar, mournful organ and the emotionally charged speak-sing style Mr. Wagoner implements.

Make A Believer Out Of Me

Out Of The Depths- Mahalia Jackson MP3

2/12/11

beeradvocate.com rating- B

Smuttynose Winter Lager- Brouweji Lane- Greenpoint, Brklyn- 32 oz.. Growler into 12oz Brandy Snifter- Poured a dark brown with some hints of red around the edges. About one fingers worth of tan head which receded rapidly. Little to no lacing on the glass. The aroma has a lot of raisins and dark fruit qualities mixed in with malty characteristics. A medium bodied mouthfeel with a silky texture. Carbonation is high compared to the other winter lagers I have had. I was looking for a "winter warmer" when I bought this and it doesn't exactly hit the mark in that respect. That said it didn't advertise itself as a winter warmer. This is a good beer but not particularly distinguishable from other winter lagers I have had except for the carbonation. It's a good beer but not something I would seek out again.

On the turntable is The Worlds Greatest Gospel Singer- Mahalia Jackson- American music popular music has deep, deep roots in gospel music. If you traced the most influential artists of the 20th century backwards through their musical lineage you would eventually reach some type of gospel influence, directly or indirectly. In some ways the two are inseparable. From Ray Charles to Hank Williams and Sam Cooke to Johnny Cash most of the great artists of the 20th Century (and most of my favorites) had some connection to gospel music and as a result the people who were inspired by them did to. In today's music world the connection is harder to identify and pales in comparison to the influence that "church" music had on pop music in the 20th Century. My personal vinyl collection is about 98% secular music but there are a few gospel records in there and this is one of the better ones. Mahalia Jackson is backed by a jazzy, r&b flavored combo identified as the Fall-Jones Ensemble.

I was raised in a Catholic family but at this point in my life I am a bit of a lapsed Catholic. Unfortunately the music I heard in church growing up was nothing like the music contained in this LP. If it had been I may have paid more attention. The religious themes and references to Jesus don't bother me as it might some other people. I can appreciate this music as it is even if I don't subscribe to the message wholeheartedly. The band that backs Ms. Jackson is a swinging one and really adds to Ms. Jackson's performances. She has a wonderful voice, a voice that can make you a believer if you already aren't one.

Skillet Licker MP3- Willis Jackson

2/3/11

beeradvocate.com- A-

Samuel Smiths Oatmeal Stout- Euro Market, 31 St. Astoria, NY- Bomber into Belgium Beer Glass- 5.% ABV- Poured with a creamy, butterscotch 2 finger head. Receded at a medium pace, not a whole lot of lacing left on the class. Dark black with hints of red around the edges with no real light coming through the glass. Rich, roasted malts, though I don't really detect any "oatmeal". Nice medium body with a silky finish. Light to medium amount of carbonation. Very smooth, very drinkable. I have actually seen this beer many times. Its often in delis and supermarkets and I remember seeing it around way before craft beers started showing up on shelves in bodegas and supermarkets. The whole idea of an oatmeal stout kind of freaked me out but this is a quality beer. I have never seen it in a bar but would think that it would be a nice stout to try from a tap. I would definitely consider getting this again if I was in the mood for a stout.




On the turntable is Gator Tails- Willis Jackson- Recorded in NYC for Verve Records in 1964. I believe this is the first Verve Records post I have done but there will definitely be more! I chose this record because I recently read an interesting article about an arranger named Claus Ogerman in Wax Poetics magazine. It was a really good article and brought to my attention one of the key jazz arrangers of the 1960's and 1970's. I have had a soft spot for jazz arrangers and I find their role as composer in the world of music which is essentially based on improvisation a compelling one. A balanced musical framework is important to a composition and is an aid to the improvisatory elements of jazz. In the article they mentioned a number of artists Ogerman worked with (Jimmy, Smith, Antonio Carlos Jobim, Cal Tjader, etc.) and I have a couple of the albums mentioned but I could access this one easily at the moment. Willis Jackson made a name for himself as a session, r&b and jazz musician in the 50's through the 70's. His playing has an edge and economy which makes him at home in both ballads and gritty soul numbers. There are number of fine songs on this album. The classic public domain song Frankie and Johnny, the smokey drift of Early One Morning and a funky version of the classic pop tune On Broadway. I included the MP3 version of Skillet Licker a groovy little Latin influenced gem, alluded to in the liner notes as, specifically arranged by Mr. Ogerman. My one regret about this LP is that Verve failed to include the names of the other musicians playing on this LP in the liner notes.

A Toast To Charlie Louvin

"Cash On The Barrel Head" MP3

1/27/11

beeradvocate.com- A-

Ithaca Flower Power IPA- Bierkraft Park Slope, Brooklyn- 12oz. bottle into Belgian Tulip Glass- 7.5% ABV- Ithaca, NY has a place in my heart. We used to go to a music festival up that way called Grassroots. Saw alot of good bands: Del McCoury Band, The Campbell Brothers, Old Crow Medicine Show, The Mighty Clouds Gospel Group and the list goes on. Also we drank alot of beer, alot of beer. Not quality beer but alot of beer nonetheless. Haven't been up there in 4 or 5 years but hope to go back someday. This poured a golden, hazy almost orange with a nice two finger head. The aroma is heavy on citrus particularly grapefruit. Silky medium to light body, with a slick finish. This taste is very grassy mixed with citrus. I am really liking this beer. Probably more appropriate for spring or summer but a good IPA. This reminds me a bit of the Hop Wallop I tried a few months back but with a much "grassier" quality. I will definitely drink this again.

On the turntable is I'll Always Remember- Charlie Louvin- Recorded for Capitol Records in 1967- RIP July 7, 1927 – January 26, 2011- Mr. Louvin passed away the other day and I bought this LP last summer and had just broken it out to digitize the other day so it seemed like a fitting tribute to include this LP on tonight's blog.. Charlie Louvin was part of the bluegrass/country duo The Louvin Brothers with his brother Ira. Renowned for their vocal harmonies, they inspired many of the artists who came to prominence in the rock n' roll era. Gaining popularity in the 1950's the brother's eventually broke up in the early 60's. They also gained some amount of notoriety among vinyl enthusiasts for their strange LP cover for the album "Satan Is Real".

Ira Louvin died in a car accident in 1965. This LP is from 1967 and by the looks of the cover and the songs included this album was an inspired tribute from Charlie to his recently deceased brother. This is a good record with a nice mix of bluegrass and country songs with some arrangements that include some nice steel guitar. I have started posting songs to go along with the blogs when applicable and when the LP's are no longer in print. Today I have included the song "Cash On The Barrel Head". This song is a bit of an oddity on the album with its late 60's fuzzed out guitar and possibly an organ in the background. I nice little ode to old time justice.

Movin' On A Milk Stout

"I'm Movin' On" MP3

“What Kind of Fool Am I?” MP3

beeradvocate.com- B+

Keegan Ales Milk Stout- Bierkraft Park Slope, Brooklyn12oz. bottle into Belgian Tulip Glass- ABV NA- Black with some hints of brown around the edges. A little over a fingers worth of head. Caramel colored head. Little to no lacing on the glass. Smoky roasted, malts coffee aroma. A bit thin bodied for a stout maybe but has a nice silky quality and a fair amount of carbonation. Again the smokey, roasted malts come throughout in the taste of this beer which is only matched by its coffee like character. I like this beer and it goes down pretty smooth. I would love to try this on tap somewhere. A good stout.

Jimmy Smith- I’m Movin’ On- Recorded for Blue Note Records in 1963-Beyond resolving to make it through a year of beer reviews I am eager to incorporate some jazz records into the blog. Jazz records were what kind of drew me to records in the first place. In the past 3 or 4 years I haven't bought much jazz because I kind of burned out on it a bit. Lately I have found myself creeping back into the genre in my daily listening. The record I am listening to today I dug out as one of the first records I ripped from vinyl to MP3 format on my USB turntable. When people ask me about getting into jazz music, which is not very often, I suggest either Jimmy Smith or Grant Green to start with. Both were pivotal players in what has become commonly known as the soul-jazz style. Following the hard-bop jazz of the late fifties and early sixties soul-jazz came to prominence among the juke box crowds hungry for a less complex gritty fusion of soul, funk and briefer instrumental passages than traditional jazz. These passages now relied on electric guitar and organ as lead instruments. The music is more accessible, I believe, to a casual listener. Their music has the improvisatory elements of jazz with a more down home feel than their be-bop predecessors. Over playing and/or complicated arrangements often confuse the average listener and can turn them away from jazz or off altogether.

This record is the only record that Jimmy Smith recorded with Grant Green. Smith and Green were two of the first Jazz musicians I was really into. I have quite a few Smith and Green records but this is the only album where they played together. The first jazz cd I bought was Jimmy Smith’s Home Cookin’ which introduced me to one of my other favorite guitarists Kenny Burrell. I’m Movin’ On is neither my favorite J. Smith record or favorite Grant Green record but it is an above average organ trio record, with Don Bailey on Drums, and was a welcome addition to my collection. Despite the presence of both Green and Smith on this album one of my favorite tracks is a solo version of “What Kind of Fool Am I?” performed by Jimmy Smith alone at the organ.

I learned of this record after reading Grant Green's Biography which included a pretty detailed discography. I looked for this record for a long time and found it in Brooklyn one Saturday afternoon. I was on my way out of the store when I realized I hadn’t checked the J. Smith section, which at the time was a must. I went to the back of the store and started flipping through the Smith section, which was only a handful of records to begin with, and there it was! I was shocked I spent the better part of about 4 years looking for this record. Not just in shops but also at record fairs without success. I saw it on EBAY a few times but resisted the urge to bid on it. It has turned out to be one of my only original pressing Blue Note records and one of the records I appreciate most in my collection for the chase.

First Post of the New Year: An English Style Barley Wine From Brooklyn with Bert Jansch

January 13, 2010

beeradvocate.com rating- B+

Brooklyn Monster Ale 2010- 12oz. bottle into Belgian Tulip glass- Bierkraft- Brooklyn, NY- 10.8% ABV. My first post for the new year and I hope to make it through a complete year this time. I went to Bierkraft in Park Slope, Brooklyn last week with a friend who wanted to check it out as well. They had a good selection of growlers and bottles but for me it’s a bit far from home so I don’t expect to go back often but it was a cool place to check out. This Barleywine poured a deep ruby color, bordering on brown. About a fingers worth of head which receded rapidly. I have read this maybe due to the high alcohol content. Raisins, dates and alcohol in the aroma. Little to no lacing. Medium to light carbonation and a medium to light mouthfeel. This maybe the booziest tasting beer I have ever had. Wow, there is definitely some heat here, bordering on heartburn. Not that it is a bad thing just unexpected. I kind of like the heat considering its pretty cold outside but I sure wouldn’t want to have this at anytime other than in the late fall or winter.

For Christmas my wife got me a USB Drive Turntable. It’s pretty exciting so after the initial set-up and subsequent engineering of my storage capabilities I started ripping some of my old vinyl. I am not planning on ripping all my vinyl to mp3’s but definitely a bunch of stuff which is not available in CD format. I hope to post a few tracks here and there on the blog but that’s still a bit down the road.


The Best of Bert Jansch- Bert Jansch- Shanachie Records. So I was inspired to pull this LP out because I have been casually reading Whole Lotta Love- The Illustrated History of the Heaviest Band of All Time which I got from the library. It’s similar in format to the Neil Young book I described in an earlier post and it inspired me to dig out this record. A small mention of Bert Jansch reminded me of my neglected Best of LP. All you Jimmy Page fans may or may not already know but he didn’t just cop his licks from old black bluesmen, he also cribbed a few riffs from young white folkies i.e. Bert Jansch. Bert Jansch’s arrangement of the traditional song“Black Water Side” was famously recreated by Jimmy Page as “Black Mountain Side” for Led Zeppelin without crediting the original source. It was not until years later that Mr. Page acknowledged Mr. Jansch’s influence on the song. It has been speculated that Pablo Picasso said the best artist's don't borrow, they steal. An interesting website which goes further into the subject of Jimmy Page’s “influences” can be found at www.turnmeondeadman.net. This post is not a knock on Jimmy Page, in fact I am a huge fan of him and have been since I first heard 'Black Dog" ringing from my friends bedroom window while we played basketball, but just an interesting intro to today’s post.

I bought this at a record store in Brooklyn, which is no longer there, a few years ago. I had wanted some Bert Jansch for awhile and when I found this LP I actually shelved it for awhile and listened to it later on. Not as commercial or successful as some of his contemporaries he has been rewarded and recognized in recent years by both new artists and old. I am not sure how I learned about him but I am think he may have been referred to in a magazine article by one of these new “freak-folk” artists from a few years ago. This LP is a good intro to his work and highlights both his instrumental work and creaky vocal abilities. Angie, The First Time I Ever Saw Her Face, Box of Love and It Don’t Bother Me are some of the selections represented here which resonate with me and represent Jansch’s solo career from 1965-71. My favorite Bert Jansch album is probably LA Turnaround mentioned in an earlier post where he plays with the steel guitar legend Red Rhodes and was produced by none other than ex-Monkee Michael Nesmith. I have been enjoying the Best of LP all week actually on the train since digitizing it. His guitar playing is hypnotic and at times haunting but enjoyable and wonderfully fluid. Not a record you would reach out for if you were hoping to hear shredding, lead guitar work but if you want some meditative, brooding musicianship I would recommend seeking out some Bert Jansch.

The Dark Prince inspires a very dark Bitches Brew

12/30/10

beeradvocate.com rating- A-

Dogfish Ale Bitches Brew Russian Imperial Stout- Community Beverage, Queens, NY- 25.6 oz. bomber into Pub Glass- 9.0% ABV- First batch of Dogfish Ale Bitches Brew Russian Imperial Stout brewed in conjunction with the 40th Anniversary of Mile Davis' Bitches Brew album. Bought approximately 3 months ago. My first Imperial Stout so I have no reference other than a regular stout for taste comparison. Poured super black, like motor oil or Coca Cola with no light penetrating the brew. About a fingers worth of head which receded pretty rapidly. Head was a dark, burn butterscotch color. Not much lacing. Medium bodied mouth feel, which is less than I expected with modest carbonation. Smells like dark chocolate and possibly even black licorice. After the brew warmed up a bit it smelled kind of boozy. Taste is like a rich complex stout with a definite fruity characteristic which I have never tasted in a stout before. Honey and Gesho as the bottle advertises? Definitely a possibility, especially the honey. Its a pleasant surprise. A bit of alcohol detected at the end. Not a beer I would drink regularly but certainly a well crafted "off-center" beer in tribute to an off beat , classic album. I have to say, well done.

On the turntable is Miles Davis- Bitches Brew- Recorded in 1969 for Columbia Records. I am listening to this as a counterpart/tribute to this brew. I am a fan of the album but this album needs no further discussion from me and its not exactly what I would choose to listen to on an average Thursday night. I actually spent quite a bit of time listening to both Miles Davis' acoustic and electric albums and have a majority of them on CD but my cousin lent me this LP because I didn't have it on vinyl myself. My favorite electric album is probably Dark Magus: Live At Carnegie Hall with the guitar stylings of Peter Cosey with his extremely funky, evil wah-wah guitar providing searing rhythms. Compared with alot of "hard rock" or "heavy metal" albums I have listened to this actually has a way more evil quality to it which can be unnerving. I wonder what I would have thought of this album if I first heard it as a teenager or in my early twenties as opposed to hearing it for the first time when I was about 30 yrs old. I am certain I would have liked it even more than I did at 30. Davis was searching in a way that many of his contemporaries chose not to do and it left him open to criticism. Davis had the last laugh because his electric albums have proven to be very influential for a wide variety of artists and continue to inspire to this day.


Bob Dylan and Davis were label mates on Columbia when they both managed to enrage and ostracize the more conservative elements in their audience by going "electric" in the mid to late 1960's. Especially Davis, whose career was much longer than Dylan's at this point, who was universally revered by the critics for the majority of his career and saw little if any criticism towards his various incarnations until his electric period. Where Dylan was merely taking what were essentially his songs, at the time, to a new level by adding an electric backing band Miles Davis music became fundamentally unrecognizable in comparison to his prior albums. The shift from his "cool" period and his early to mid 1960's albums, largely conceived and orchestrated with the arranging skills of Gil Evans, left most of his fans and critics unhappy.