On a Spin: Local Musicians Debut New CDs

April 9, 2003

Music in Northern Michigan has grown more aggressive than ever -- not in the headbanging sense, but in regard to the number of area musicians pumping out their own CDs recorded at local studios. It‘s a cottage industry that‘s exploding just at a time when the galaxy of the mainstream music business seems to be imploding under the stress of low CD sales and pop dreck.
Does anyone buy locally-made CDs? Apparently so, because area veterans keep stepping back up to the plate for another pitch. The Bihlman Brothers, for instance, report sales of 30,000 CDs over the past few years. But the point of sale is usually at the bandstand, which adds the crucial need to perform live shows to keep that CD cash flowing.
Following are reviews of new CDs by several local musicians, ranging from folk to blues, rock and metal. Of note, Northern Express only reviews local CDs which are available in music or book stores across the region.
-- Robert Downes

American Son -- The Bihlman Brothers
This is the most ambitious, complex and musically-intriguing CD yet from the Bihlmans, who divide their time between Benzie County, Chicago, and tours of major blues clubs across the country, including Buddy Guy‘s in the Windy City and B.B. Kings in Memphis.
Constrained by the low ceiling of sales on blues CDs over the past few years, the Bihlman Brothers have amped-up their act with a number of hard-rocking numbers, ala ZZ Top, the Allman Brothers or Stevie Ray. The blues makes a guest appearance, but the extra crunch on Jabo Bihlman‘s guitar serves notice that this is rock‘s time in the sun, and with good results too. The title son, “American Son,“ for instance, starts with a teasing slide guitar and some deft, bluesy fingerwork and then hammers hard with a howitzer attack of power chords. This is followed by “You Got Me,“ a power ballad that would do the Rolling Stones proud. “Rusty Chain“ is a straight-ahead rocker in the ‘70s tradition of Tom Petty. One of the most evocative songs on the album is “Hold Out Your Hand,“ a taste of bluesy soul reminiscent of Al Kooper from his Blood, Sweat & Tears days sitting in with the Allman Brothers. It‘s evident that the considerable songwriting talents of drummer Scot Bihlman have been tapped for this CD, and the band of brothers is all the better for it.
If this review strays too far in comparing the Bihlman‘s with some of the giants of the musical past, it‘s because so much of the blues and blues rock has been built on the shoulders of giants -- Muddy Waters, Willie Dixon, Howlin‘ Wolf -- and you can trace that sonic lineage down through the years to bands such as Led Zeppelin, the Allman‘s and Eric Clapton. Make no mistake, however; this album has the pure stamp of the Bihlman‘s creativity -- the comparisons here underline the fact that the band has reached a level of maturity and excellence to rank this CD with the “big boys.“
Less successful is the funky take on Johnny Cash‘s “Folsom Prison Blues,“ which serves to point out that some things are already too perfect to be improved upon; at best, this cover is an experiment or an acquired taste.
On their originals, however, the Bihlman‘s “American Son“ is top drawer, packed with surprises and catchy melodies. Jabo‘s work on guitar has never been better: check out “The Cowboy Song,“ for instance, with its shimmering, ‘verb-laden acoustic and slide sounds. And Scot‘s gift as a writer is his ability to conjure images, both epic and wistful, in the listener‘s mind. In sum, two talents at the peak of their musical maturity.

Conspiracy -- Conspiracy
This self-titled EP of four songs offers a taste of the renaissance of heavy metal in Northern Michigan, with former SteelThorn members Jim Steele on vocals and bassist Pete Henry joined by guitarist Michael Dargis and drummer Matt Richmond.
Heavy metal has evolved its own delta of genres through the years, the rivulets including rap metal, thrash, speed metal, death metal and the like. It‘s beyond the ability of this reviewer to give a discerning opinion on the subtleties of where “Conspiracy“ ranks in that milieu, but a best guess would be in the straight-ahead metal mainstream of blockbuster drums and a smart-bomb barrage of power chords, stitched for action with a driving bass line. In short, it‘s metal‘s take on “Shock & Awe“ with Steele‘s vocals driving the show to an urgent destination.
A personal favorite is “Shine,“ a power ballad with an beautiful acoustic intro, reminiscent of the best of the big hair bands from the ‘80s. The song begs the question, whatever happened to the power ballad trend, such as “November Rain“ by G&R or “Dead or Alive“ by Bon Jovi?
One of the best things about “Conspiracy“ is that it leaves the listener with a desire to experience the band live. It‘s obvious from the energy compressed here that the band puts its heart into the music and its show. What‘s the sensation of Richmond‘s double-bass drum attack live? How is Steele as a showman? What surprises do Dargis and Henry spring with their instruments on stage? Even if metal isn‘t your bag, the sounds captured here provoke a sense of curiosity.

Halfway Down the Road -- Paul Koss
This CD is the culmination of 25 years of playing the coffeehouse and open mike folk circuit for Lake Ann‘s Paul Koss, 47, manager of the cardiac cath lab at Munson Medical Center.
Koss displays impeccable musicianship on his acoustic guitar and vocals throughout the disc, and is a self-assured performer in his live appearances.
Originally from the Detroit area, he honed his musical ambitions while living in Wyoming, Montana and Colorado. He moved to Northern Michigan 13 years ago and hooked up with the Cedar Tavern open mike scene, becoming friends and jamming partners with members of the Third Coast band, including Patrick Niemisto, who recorded and mixed the CD at his Holy Wah! Studios in Maple City.
The album includes a who‘s-who of the Leelanau-Grand Traverse folk scene as guest artists, including Niemisto, Chris Skellenger and John Kumjian of the New Third Coast; Claudia Schmidt; Paul Kirchner and Tom Fordyce of Cabin Fever; flutist Sarah Wigton; cellist Crispin Campbell; Norm Wheeler on flugelhorn; Dick Anthony on banjo; and Sean, Maura and Rowan Niemisto on harmony vocals.
There‘s a nice regional feel to the album, with thoughts on urban sprawl‘s impact on farmlands and orchards in “Blossoms in the Springtime,“ and a sweetwater seafaring song “Last of the Leelanau Schooners.“ The CD is in the modern mainstream folk tradition of the past 20 years, with wistful, lyrical songs filled with a sense of yearning.
The downside of that trend, however, is that modern folk has grown so sweet in its sentiments and anxious to not offend that it has lost all sense of threatening the status quo in the bygone spirit of Dylan‘s “Masters of War“ or “John Brown.“ Koss‘s songs are topical at times, including a song on the fate of veterans, but mostly in a nostalgic sense of looking back on the past.
That spirit serves him well on “She Never Let It Show,“ a poignant ballad about two lovers who break up and meet again years later. A bonus for listeners is the inclusion of Koss‘s lyrics in the liner notes, which are extensive. It‘s a nice touch, because local musicians often try to save money on their discs by skipping the libretto, a trend that disappoints the purchaser.
Overall, “Halfway Down the Road“ is square on the level as John Prine might say, and a snapshot of the state of the art of folk in Northern Michigan as we head into the summer music season.

Favorite Recipes -- Duck Soup
Cadillac‘s Duck Soup exhibit plenty of high-steppin‘, string-powered verve on this CD of 13 favorite cover tunes. “Our sound is bluegrass, influenced by folk, old time country and Irish music,“ they note in their liner notes.
Jack Boyd on bass/vocals, Barry Lempe on guitar/bodhran/vocals, Steve Loring on autoharp/mandolin/fiddle/harmonica/banjo and Tom Schwarz on banjo/guitar/vocals have all the musical bases covered with the help of Wayne Hammond on dobro, Kama Sterrett on pennywhistle and Jane Sawin on violin. The band has been together since August, 2000, performing at festivals and bluegrass venues throughout the state. Theirs is an energetic performance with a nice sense of attack -- it‘s bluegrass on espresso rather than herbal tea.
One satisfying aspect of “Favorite Recipes“ is that the band hasn‘t tried to make the album too pretty and polished -- the squirming death of many a locally-produced CD. “Night Rider‘s Lament,“ for instance, has a rough-sawn edge to Barry Lempe‘s vocals that adds a pleasant sense of grit. Keep it up Barry -- good stuff. Tom Schwarz also stands out as a vocalist on his rendition of “The Logging Song.“
One might wonder why a band as talented as Duck Soup is recording all covers instead of their own original music? Good question. Fortunately, the tunes they‘ve selected by the likes of Steve Earle, Townes Van Zandt, Bill Stains, John Hurt and other great songwriters are (mostly) obscure enough to sound fresh to those who haven‘t heard the real McCoys. And here‘s a plus: how often do you get a chance to hear Jimmy Driftwood‘s “Battle of New Orleans“? Duck Soup‘s version is an improvement on the original.