Little River Band

Wayne Nelson on bass and lead vocals

It’s a Long Way There

Hey everybody…yeah, don't you feel that there's something?
Feel it, feel it?
Hey everybody…yeah, don't you feel that there's something?

People on their own are getting nowhere,
I am on the road to see,
If anything is anywhere and waiting, just for me.

Every night I walk around the city.
Seems like I'll never know,
That feeling of being together when I go.

And it's a long way there, it's a long way to where I'm going,
And it's a long way there, it's a long way to where I'm going.


This is great songwriting, brought to you by Little River Band, one of my favorite--and somewhat unheralded--bands of the '70s.

Their show at Snoqualmie Casino near Seattle last week was testament that good songwriting doesn’t fade with time. Formed in Melbourne, Australia in 1975, Little River Band based their success on good songwriting, guitar harmonies, and powerful vocals. One of the longest running band members, and arranger of most of their material, Wayne Nelson (bass/lead vocals) also hasn’t faded—his playing was just as fresh and vibrant as ever. And he plays that big old custom bass with such authority. You could tell he still felt the words and music pour out of his soul. I have to hand it to him; he really connected with the crowd (in spite of the sing-along, which, on principle, I never participate in—hey, if they want me to sing, they gotta pay me!).

Also of note was Matt Watts; with a name like that he’d better be a good drummer! And he was stellar, although if he had sat any lower in his kit he would have been on the floor, like a catcher at home plate. Turns out he’s played with a constellation of greats including The Allman Brothers, Little Feat, Charlie Daniels, and Badfinger.

It was fun seeing the whole band dressed in their idea of what Seattle-ites wear: lumberjack flannel shirts and torn jeans. C'mon, we're cooler than that.

There were some magical moments: the stunning lead guitar work in "It's a Long Way There;" the lilting and poignant “Reminiscing” and “Lady," and the cracking “Happy Anniversary." It was interesting that over 50% of the crowds’ hands shot up when they asked, “How many are celebrating NOT being married?” A bit of Aussie humor there, or a result of being On The Road for as long as these road warriors.

Ayron Jones and the Way

Ayron Jones, with Conrad Real on drums, photo courtesy Moonlight Media

Ayron Jones, guitar and vocals
Conrad Real, drums
Deandre Enrico, bass

It’s not often you see a young band, and I mean very young, who are already so good it blows you away. Jar of Rain is one of those, and so is Ayron Jones and the Way.

Last week Ayron Jones and his band were a highlight of the Rock Show to Benefit NW Harvest. After an impressive set by Alan White, legendary drummer for Yes, these young unassuming guys jumped up on the stage. Dylan said you can tell how good a musician is by the way they carry in their guitar case. I say you can tell a lot about a musician by how they tune up. I watched and listened carefully as the bass player thoughtfully, carefully, and oh-so-efficiently tuned his active 5-string, and I knew we were in for it.

I’d just been talking with a drummer friend about dynamics, and how often musicians sacrifice modulation for LOUD. Not these guys; they showed a keen sensitivity to the feeling and tempo of each song, whether a soulful ballad from Hendrix, or a rockin’ blues song from Buddy Guy. Good musicians let the music move them, almost as if the music plays the band, not the other way around. Then POW, all three hit us with their technical chops and blew the roof off the place. It was sheer pleasure to hear their joyful playing of blues and rock classics, with a twist.

From Facebook: “Guitarist, Singer/Songwriter Ayron Jones from Seattle, Washington mixes blues, funk, hip-hop and R&B to deliver his sound. Self taught since the age of 13, Ayron continues to develop an approach to the blues by spanning the guitar styles of legends such as Buddy Guy, Stevie Ray Vaughan, Jimi Hendrix and Albert king. Constantly growing and exploring, Ayron adds his personal touch with rhythms and grooves derived from today's sounds while still paying tribute to the history of the blues. Ayron Jones is a student of the neo-blues evolution.”

Also, Kudos to Conrad Real on drums. I'd heard him play before as an occasional special guest at 88 Keys jams, but with this trio Conrad finds his signature style: superb touch and tasty licks with a smooth groove and punchy cymbal work. I believe he has what it takes to become one of the all-time greats.

It’s hard to say enough about Deandre Enrico on bass. I kept wondering how on earth he could be so good, so young. Few bass players engage the bass as a low-register guitar, with all chords and solos working together, and he’s already got it down!!

For show dates check the Ayron Jones and the Way Facebook page.

Mary McPage and the Assassins

Mary McPage and the Assassins, photo by Steven Seiller ©2011

Recently at Engel’s in Edmonds 

As a little girl, Mary McPage loved singing in church. Later she started singing in blues bands in Idaho and Florida, then Seattle. How do you go from church music to singing in blues bands? “Fear!” she says. “The Blues gets into your soul and won’t let go. It scares me, but I look it straight in the eye and do it anyway.” It’s not fearlessness; with Mary you get the sense that she is fully aware of facing down that fear, and paying her respects.

Mary’s driving low-soprano voice shows all of her influences as she relives memories of sounds from earlier experiences: the reverence of church music; then-pop favorites like Englebert Humperdink; country divas like ”sweet cotton candy soprano” Dolly Parton, Lorretta Lynn, and Tammy Wynette;  rock and roll from Stevie Nicks and Ann Wilson; and real soulful power singing from Janis Joplin and Etta James. 

Part of trying to voice her musical memories is finding the right musicians to help channel the sound. And Mary has a talent for finding and surrounding herself with some of the best musicians in town. With the fabulous Patrick McDanel on bass for the past year, Mary has been able to stretch out and do some deeper, funkier stuff. On guitar and vocals, Honolulu’s Keith Fraser brings a blend of jazz and rock influences from Mike Stern to Jeff Beck to Hendrix. Always searching for that warm sound, Keith delivers masterful chord architecture and superb melodic solos that only the best players can.

A favorite experience for Mary was at the Best of Blues awards show in 2009; her then-band had broken up when she learned they were nominated as Best Band, “which was a total shock!” she laughs. “Wanted to do something different so we did a total acoustic blues set, first acoustic band playing at their awards shows. A really cool moment.”

See Mary McPage and the Assassins. Get their full show calendar here.

Cory Wilds, Cory Wilds, Cory Wilds

I get out and see a lot of bands. It's rare that I'm literally stunned by a searing, lightning-bright talent. One that makes me stay until the last note is played. Cory Wilds, Cory Wilds, Cory Wilds...

Whether he's stroking an old Fender sunburst, or coaxing a heart-ache out of a cherry-red hollow-body, Cory plays with the expertise of a long-time road warrior and the soul of a true artist, adding a fresh twist to the music. With his long-time kimosabe Mark Fluegel driving the bassline, Cory absolutely sparkles with wit and inventiveness. The venerable Doug McGrew on drums, new to the trio, made it seem effortless, as if he'd been playing with them from the beginning twelve years ago.

Maybe it's the Jazz influence: Cory listens to everything, admitting he voraciously consumes a wide array of music. His first jazz album was Kind of Blue, and I can hear the Miles influence, call it soulfulness, a voice that grips you and takes you along. Rock/Blues influences abound, from Stevie Ray Vaughn to Freddie King to early R&B. Yet there's a certain british-invasion hard rock edge to his playing that's at once arresting and compelling.

Easily a rock star in every way, from his tall, elegant presence, to his impressive talent and repertoire, why isn't Cory famous and riding in limosines? "I prefer to play locally," he says. A Renton boy, he likes it here, and plays plenty.

Check them out at Benders (Renton) and Red Dog Saloon (Maple Valley). Get their calendar here http://www.myspace.com/corywildsband

Jam Night at Oddfellows Redmond

It could be the room: old wooden hall built with big, original timbers in the early 1900s. It could be the place is haunted: stories abound of ghostly images and strange presences, of ladies of the evening done wrong. Or it could be the coziness of a neighborhood hangout where musicians can stretch out and try new things.

Whatever that it is, je ne sais quois, it was another rocking night at Oddfellows on Wednesday. First we had Powercell, with the fantastic Laurie Miller on bass standing in for Lynn Sorensen, and Doug McGrew on drums; then Greg Riley's driving force of a band with all kinds of groove, including a new keyboard player, with Lloyd scorching the steel strings.

Beatniks Play Free in Seattle Tonight: UVillage

6:30-8:30 The Beatniks will play outside in the University Village promenade, to a crowd of happy followers. Listen for a set list with a nice mix of Beatles, rock, and danceable tunes.

I like that the lead singer plays a Hoffner bass (and very well, too). The drummer is a bit of an urban legend, and well worth watching.