A SAN FRANCISCAN’S TOP PICKS
After reading the January issue, I am compelled to make mention of a show that was not reviewed, inclu ded in the “Top 10 Music Picks of 1998” or otherwise recognized.
I realize, of course, that ya’ll have plenty of options to choose from, yet I am stunned and amazed that the first Super Jam show didn’t make the cut.
I flew in for Thanksgiving weekend to see John Mooney, George Porter, Jr., Henry Butler and Stanton Moore grace the stage at Tip’s. After nearly a decade of sojourns to New Orleans (and countless musical performances), this show stands out as a highlight! Kudos to SuperJam and best regards to OffBeat. See ya at the Fest!
Ann Vetter
San Fransisco, CA
Oops. Sometimes even we can’t see the forest for the trees. Thanks for weeding out the good stuff, Ann, and keep on reading.–Ed.
NO GHOST IN THE MACHINE
Just to show the underappreciated musical possibilities in New Orleans: Even in a struggling club (25 people in Levon Helm’s) on a very bad night (Levon a no-show, Fats Domino’s $100-a-ticket sellout at the House of Blues a block away), the Cate Brothers unpacked a few battered cases and unloaded the best collection of Memphis-style soul, rock and blues that you could imagine. Ernie, with his sweet soul vocals untouched by time, and Earl, who could make a single guitar (that’s older than most of the audience) do everything but recite poetry (actually, I take that back), went through two great sets for the joy of it until they ran out the playlist.
When (and if) they come back to Levon’s in March, it’s a chance for people to see just how good it can still be done when the soul is not a ghost in a machine.
Alan Taylor
Baton Rouge, LA
After the preceding two letters, it’s easy to see why we’re always on our toes around here. True music fans keep you honest.–Ed.
THANKS FOR THE BEST OF THE BEAT
I really enjoyed the awards party at House of Blues. I got a chance to see lots of old friends and everyone I voted for seemed to win. Thanks for keeping the music going.
Kenny L.
Kenny L. Promotions
Kenner, LA
Thanks for your kind comments. We’ll see you next year, along with a thousand or so of your musically-inclined best friends.–Ed.
CRY ME A RIVER
Arsenio Orteza writes about an original song (“Bayou Beat,” OffBeat, Feb. ’99) on the Riverbabys [new CD] in which Juan sings about “women who talk back to him.” I assume that he is talking about “Me and My Guitar.” If he would’ve paid any attention to the CD, he would have learned that the song was written by the great Leon Russell. Critics are usually intellectual people who do their research before judging such material. It looks like critics can fall short and be garage people too!
Rusty Dauphin
Via e-mail
Opinions are like garages–almost everybody has one.–Ed.
KUDOS ON FESTIVAL ’98 CD
I want to tell each and every one of you what a lovely job you did on the OffBeat Festival ’98 CD. I am proud to be a part of it with the inclusion of Roy Carrier’s “Who Got Her” track. I particularly appreciate the accurate work on the text and cover art included in the booklet.
Having produced several CDs, I appreciate how much work goes into each disc. I can see the intense effort that each of you put into this disc. All the best in your future endeavors!
Sincerely,
Ray Alden
Via e-mail
Play it ’til you wear it out, and then play it some more.–Ed.
A BETTER THAN EZRA GRUDGE?
Have you developed a grudge against BTE? They are almost never mentioned in your magazine anymore, even though they’re one of the biggest nationally known groups to hail from New Orleans (yes, even bigger than Cowboy Mouth). Not to mention that they’re doing very well on the charts these days. Aside from the so-so review in your year-end album round-up, I’ve barely seen a word about them. What’s the deal?
Sydney Taylor
New Orleans
Always one of our favorite groups, Better Than Ezra graced our cover in the summer of 1997. We caught up with them in November ’98 for a quick Q&A (See “How Does Your Garden Grow,” pg. 42) regarding their current CD. And we’re always on the lookout for new stuff by them. It just goes to show how deep the talent is from New Orleans when we can only get around to a talented group like this once every two years or so.–Ed.
