Back Door Slam, Gotta Leave

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I finally, finally, finally got to hear Back Door Slam live this week in Denver. Since catching them by chance on the radio last April, I’ve been listening to their debut (and only) album in steady rotation, blogging about them here, grabbing new videos whenever possible, dropping CDs on unsuspecting friends, and generally telling everyone I could about this band. They were supposed to play here 6 weeks ago, but a surprise chance to open for Kid Rock knocked that gig off the map. Bummed about that, but so glad they made up the gig at a later date. Don’t know if that’s a typical thing to do, but I and the rest of the crowd for this sold-out show certainly appreciated it.

Some audio after the jump:

First of all, they are as good live as I thought they’d be. Show was mostly a mix of songs from their album, and covers of blues tunes, all changed up and extended as you’d expect with a living, breathing band. But the real treat was three new songs that they’re developing for their next album. I’ve always thought that was the sensible way to develop an album - write the music, play it, change it, let it grow, somewhere along the way record it, and of course, let it keep growing on the road.

The venue was a cool little modern nightclub setting, with table service and no seat more than about 40 feet from the stage. We were way off to the side, which didn’t actually effect sight lines much, but I’m wondering if it effected sound. There was a lot of distortion that I don’t think was all intentional, and this venue is plugged for having good sound. I’ll have to follow up there with another show to test that.

The show itself: Davy Knowles was just terrific on guitar. It’s clearly a second language for him, improvising, stretching out, going for broke. Comparisons are cheap and easy to overdo, but I can say I haven’t enjoyed a guitarist this much since SRV. He doesn’t have the same sound, but he has the same way of speaking through his instrument. That’s the highlight, but he’s also a singer that needs no apology - passionate, expressive, musical. Ross Doyle and Adam Jones, on drums and bass, are rock solid and more. As usual, I feel incompetent to say much about drums, but I know enough to say that Doyle gets the job done and makes each song it’s own self. That should be the obvious thing, but lots of blues drumming all sounds alike. I was hoping that in the live show Jones would take a solo, because I think he’s got it in him. It didn’t happen, but there were enough interesting fills to keep my bass needs satisfied.

I’ve posted samples from their album and some regular covers in earlier posts (more than once), so here I’ll just give you a look at the new material. I look at this like new wine: Try it while it’s new, spend the winter speculating how it will mature and evolve, then enjoy it again when it’s fully ripened. A little musical Neuwein, so to speak.

The first, “Country Girl”, is inspired by Knowles’ sister’s move from the Isle of Man to London, and “Won’t Let it Happen”, which leads this post. At least, I think that’s what he said he called it.

Country Girl

Won’t Let it Happen

Tear Down the Walls
(my recording is marred with apologetic waitress chatter, so I’ll post a video)

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Of their originals, the highlight was an extended version of “Gotta Leave”, my favorite in any case. Of the covers, it was fun to hear “Riding with the King”, not just because I heard John Hiatt do it live a few weeks ago, but because the Slam guys also heard him when they were at Telluride last month. Made it seem like a continuing musical conversation. But the highlight of the covers was, for me, the thirteen minute “What in the World” that closed the show:


From my perch as a fan and music lover, I’m amazed that they have time to be developing new material. I can only think that the constant collaboration must be feeding them. When I last checked in on their website, back in June, they’d recently played Bonnaroo and a Chicago festival, and had opened for Buddy Guy in NOLA. Since then, they’ve continued to tour their own gigs, opened for Kid Rock for a string of shows, for Joe Bonamassa in Dallas, for Jakob Dylan at Antone’s in Austin, and played both the Telluride Blues Festival and the Austin City Limits Festival, and who knows what else. Somewhere in there they shared a stage with Keb’ Mo’ who, according to their tour diary, helped Knowles work out some song. In a week or so, they head out to open for Gov’t Mule on their fall Kinder Tour. And they somehow grabbed a few days in LA to hole up and write. All this while touring in a van.

Their website shows a photo of a sign at Telluride that reads “Everyone deserves music.” It’s not their sign, but the fact that they took the photo and reprinted it with the caption “Ain’t THAT the trooth?!!”, makes me think it’s a big part of why they’re out their busting it. Making live music is hard work, but, man, I’m grateful for the people doing it.

Here’s the show in FLAC files, but buy the album, “Roll Away” and get to a show. You won’t regret it.

(download audio and notes)

Outside Woman Blues
Heavy on My Mind
Riding with the King
Gotta Leave
Hoochie Coochie Man
Come Home
Tear Down the Walls #
Back Door Slam
Country Girl#
Won’t Let it Happen#
Almost Cut my Hair
It’ll All Come Around
What in the World

Encores:
I’ve Been Down so Very Long
Red House

# unrecorded originals

categories: downloads, live, music