kenny aaronson – skeletonpete.com

Both Dust Albums Remastered on 1 Legacy CD

Dust
Hard Attack/Dust
Legacy
Release Date: April 16, 2013

Today Legacy Records released both albums by legendary Brooklyn New York band Dust on a single CD remastered from the original analog tape masters. Dust (1971) and Hard Attack (1972.)

Brooklyn: We Go Hard…
Even in the time before Twitter, information could fly like mad bees through high school hallways and such was the case in the early 1970’s when friends started buzzing about a band called Dust. Unquestionably local heroes here in Brooklyn, everyone seemed to know a relative or close friend of one of the members, and that sixth degree of separation from a signed act was an inspiration for an upstart guitarist like myself. Seeing the skulls staring from the cover of their first, self-titled, LP on the racks at Jaime’s Record Store on Flatbush Avenue made the rumors reality. The following year Hard Attack, adorned with Frank Frazetta’s Frost Giants painting, made an even bigger impression. Was their ever an album that better represented its title?

Truth is I owned neither of these albums in their time. You didn’t need to buy them to hear them regularly. In the days of communal listening everyone had a personal stash of records they brought along when visiting friends. At gatherings I was responsible for supplying Black Sabbath’s first, the Who’s Live At Leeds and Screaming Lord Sutch and His Heavy Friends, among others. I did add both Dust albums to my collection a few years later, when they turned up in the “cut-out” bins at Titus Oaks (also on Flatbush Ave).

While most pre-press for the CD points to Dust as progenitors of American metal, (a title I’d personally ascribe to Blue Cheer) that spin actually short sheets the bands talents. They were in fact children of their times, likely listening to friends’ record collections, and being influenced by a wide variety of styles. Across the 17 song disc you’ll get flavorings of Cream, Mountain, The Who, and even Beggar’s Banquet/Let It Bleed era Rolling Stones. That said, the dirge-like “From A Dry Camel” with its extended eastern modal jamming, the instro “Ivory” and the heavy riffing and extended bass guitar solo of “Suicide”, will not disappoint fans of early Black Sabbath.

In this classic power trio line-up Kenny Aaronson’s bass playing at once approximated the styles of both John Entwistle and Jack Bruce, and like them his melodic counterpoint drives many of the tunes. He also peppered the mix with dobro slide and touches of pedal steel guitar ala Led Zeppelin 1. Like early Zep records Richie Wise’s acoustic guitars are used to add texture intermingled with the electric rhythm and lead tracks. Marc Bell’s powerhouse double bass drum tracks are an excellent primer for current 70’s centric skin bashers.

My Vintage Copy of Dust's Hard Attack. Note "Cut-Out" in Lower Right Corner. — My Vintage Copy of Dust’s Hard Attack. Note “Cut-Out” in Lower Right Corner.

Highs and Lows…
I’m extremely happy to have these recordings updated respectfully and available to new listeners, not just bin pickers. The enjoyability of these songs goes deeper than their artifact value. To their credit the band has done an exceptional remastering job. The CD compares quite favorably with the original vinyl pressings adding extra depth and detail without compressing the sonics for the sake of loudification.

Don’t expect arena rock production here. These tracks are from the days before everything became bathe in an ocean of ambiance and it’s refreshing to hear their tight, nearly dry, staging. The remaster reveals more space around the vocal reverb, crispness in the acoustic strums, grit in the electrics, and an all around enhancement of the bass sound, accentuating its gutteral low end. A vinyl version of this release will be available on April 20, 2013 – i.e. Record Store Day.

Based on the striking graphics of the original Kama Sutra LP’s, the CD cover art is a bit disappointing but the booklet is loaded with each band member and producer Kenny Kerner getting their say. The albums have been chronologically flopped for some inexplicable reason and it’s certainly a missed opportunity not to have included at least one live tune from the band’s heyday.

Though Dust dissolved in late 1972 the members did not go gentle into the good night. Marc Bell became world famous as Marky Ramone, and Richie Wise (along with Kenny Kerner) produced the first two albums for a little NY band called KISS. Kenny Aaronson continues to rock the low end and I had the pleasure of hearing him do just that at the Eagle Vision’s Rory Gallagher Tribute a while back.

OVERVIEW –

New York’s City’s famed Iridium Jazz Club was turned into a steaming juke joint on May 23, 2011. Taking a sidestep from the now traditional Monday night Les Paul Tribute the club hosted an homage to another guitar great, the late Rory Gallagher. Attention to Gallagher’s legacy is deservedly on the rise via ongoing CD and DVD releases of both remastered and previously unreleased material from Eagle Rock Entertainment. Gallagher’s brother and former manager Donal is intrinsically involved in the project and lends historical accuracy and context to projects. If you are unfamiliar with Rory’s story a great place to start is the recent biographical DVD called “Ghost Blues”, which is an awesome overview of his career and his influence over the years.

PANEL DISCUSSION –

The evening began with an informal and informative panel session. After introductions by Eagle Rock President of Operations Mike Carden, radio host “UK Bob” (WRFG, Atlanta) led the discussion. Panelists included Billboard columnist Ed Christman; Elliot Mazer, producer of Gallagher’s “lost” album; Rory’s Brother Donal; writer/editor John Swenson (Rolling Stone, Crawdaddy), Larry Yelen (Clapton Visual Anthology) and Lindsay Brown. The topics ranged from Rory’s influence on current Irish musicians during their formative years, his near induction into the Rolling Stones after Mick Taylor’s departure, Polydor’s inability to expand his career, circumstances of the aborted album recordings now released as part of the “Notes From San Francisco” CD package, and even a hint of a proposed bio-pic.

MUSICAL PERFORMANCES –

Following the panel discussion the music began with mini-sets and jam sessions featuring some the best blues and blues rock talent on the current scene. The sold out audience was treated to great renditions of just about every Gallagher classic including “Tattoed Lady”, “Calling Card”, “I Could Have Had Religion”, “I Wonder Who’s Gonna Be Your Sweet Man” and Junior Wells’ “Messin’ with the Kid”; a Gallagher signature tune. Each musician was clearly thrilled to be included in this tribute and rose to the occasion by playing with both finesse and fire worthy of the man himself. Introducing the audience to such a wide range of talented players who are keeping the traditions alive was a fitting honor to Rory’s memory.

The highlights were numerous. Each performer revealed their unique merits in the blues idiom and the audience responded with long rounds of applause and shouts of approval. It was a collective “blues rapture” that made me glad the world did not end the previous week, as predicted.

WHO PLAYED –

Kicking things off, Les Paul Trio’s Lou Pallo joined John Paris for some slide and harp driven tunes. Scott Holt displayed the fruits of his long tenure in the Buddy Guy band with stinging lead lines and forceful stage presence and Innis Sibun’s energetic set found him stalking the audience with a pink stratocaster. Paul McGilloway rendered a beautiful version of “Danny Boy” on resonator guitar. Jimmy Suhler, of George Thorogood’s Destroyers, played great takes on two of my favorite Rory tunes “Mississippi Sheiks” and “Bought and Sold”. Kerry Kearny shot out slide runs that sounded like liquid fire and guest vocalist Alan Merrill, co-author of the anthemic “I Love Rock N Roll”, took the stage for a rollicking version of “BullFrog Blues”.

Headliner Davy Knowles’ set featured the young guitarist on both acoustic slide and electric. The much loved “phenom” – appropriately clad in plaid – was perfect choice of headliner. Drawing on his Isle of Man heritage he can put a Celtic spin on Clapton-esque Brit-Blues much like Rory did. At Iridium he spoke about those connections and spun off some “She Moved Through the Fair” style arpeggios before sliding into a smoldering cover of “A Million Miles Away”.

The rhythm section changed personnel throughout the evening. Foghat’s Roger Earl and Destroyer’s Jeff Simon held down drum duties and – with the exception of Nate Peterson and Kirk Yano working with Holt and Knowles (respectively) – New York music scene stalwart Kenny Aaronson covered the bass guitar. Aaronson’s musical resume deserves an article of its own but no matter how many affiliations he piles up he will always be fondly be thought of by “Brooklynites of a certain age” (like myself) as the Bass player for seminal hard rock band Dust, along with band-mates Marc Bell and Richie Wise.

Rounding out the jams were Dave Cohon’s rocking barrelhouse style piano and Neal Evans of Soulive doling delicious doses of soulful B3 organ. Talk about a double shot of Hammond heaven; the next night I caught a killer set by Booker T. Jones at The Bell House in Brooklyn. Miraculously cleared up my nagging head cold.

More Rory

In depth reviews of Eagle Rock’s recent Rory Gallagher releases by both myself and Ken Pierce can be found here, with more to come.

Official Rory Gallagher Website