Not until very recently, only in the past couple of weeks actually, did I realize that there is an international beer community. You often feel a communal spirit in musical circles, as I’ve touched on recently. That there are dedicated beer drinkers all over the world goes without saying. But that brewers will pull together like a family in times of crisis – this is news to me.
If you’ve not stumbled across it on social media: There is a movement going on called #BrewForUkraine. It arose swiftly in the days after Russian forces invaded their neighbors to the west, spearheaded by the Pravda Brewery, an award-winning craft brewer in the Ukrainian city of Lviv. The company first made news when it converted its beer-making operations to the production of Molotov cocktails for local residents. The primitive weapons, they hoped, would help “kick the cockroaches out of our land.”
As Lviv has seen countless thousands pass through on their way out of the country, the brewery’s concern quickly turned to relief efforts. Pravda put out an open call to brewers worldwide to create special Brew For Ukraine beers and donate proceeds to appropriate aid organizations. Dozens have responded in Europe, Asia, Australia, New Zeeland and North and South America.
The small grei.beer brewery in southwestern Germany has joined those ranks and is now brewing its Try The Faith Solidarity Pale Ale for the cause. It’s a keeper.
Several weeks ago, before this whole mess started, I had planned to mark International Womens Day by spotlighting one of Austin’s finest, Carolyn Wonderland and her 2011 release Peace Meal. Better late than never.
Two weeks later, I’m still hemming and hawing about the Listening Party, i.e. wondering if there’s any point in doing this. Roughly three weeks into the Russian invasion of Ukraine (the media hasn’t come up with a name for this war yet) and with thousands dead and millions having left their homes and possessions behind, craft beer seems very much like a luxury. But you know what?
I’ve learned once again during this time how vital music is. I’ve been to three live shows! Three! Met old friends and made new ones. Most significantly, I’ve felt in a most profound way the everlasting bond between musicians, promoters, fans and other members of the music community. I think it’s a result of the deprivation of two years of living with the pandemic, the hunger for live music, brought into sharper focus by our mutual opposition to Putin’s war. (That’s my name for this ongoing atrocity.)
So why not? Let’s have a Listening Party. This has always been a celebration of music first and foremost. The beer is a pleasant accessory.
Watermelon Slim’s Golden Boy is easily one of my favorite albums of the past five years. It’s exceptional for any number of reasons, not least of which is Slim himself. We’ll get into it after the jump.
And when I went to the outdoor cupboard in which I keep my beer chilled during the colder months of the year, it was the Double Hop Monster IPA from Greene King that suggested itself. Look, it said. The word “monster” appears in my name. Doesn’t that remind you of someone? That guy with his finger on the button …
I’m finding it hard to carry on with business as usual. Life goes on, as it must. As it should. Yet when war, destruction, mass flight and the murder of innocents are happening just a single time zone away – the Ukrainian border is roughly 800 miles from where I sit – most everything else seems trivial. I didn’t post a Listening Party last week because it didn’t feel right.
This week I’ve decided to feature an album released some five years ago in response to Europe’s last great refugee crisis. Though let’s face it: The “crisis” has never actually taken a day off. Between the mass exodus of families from war-torn Syria and the ongoing evacuation of women and children from Ukraine, countless desperate thousands have risked their lives trying to cross the Mediterranean from northern Africa to southern Europe.
That is exactly the point of the 15-song Migration Blues. Eric Bibb, like me a native New Yorker who has settled on the European continent, went from thinking about the humanitarian crisis of 2015 (when some 1.3 million sought asylum in Europe) to considering the Great Migration that saw millions of African Americans flee oppressive conditions in the rural South for the promise of greater freedom in northern American cities. Ultimately, Bibb concluded that, “We all come from people who, at some time or another, had to move.”
We’ll focus on his music with little commentary from me.
Because the traditional format of this feature also includes beer, we’ll raise a glass of Polish piwo in salute to a country that has already welcomed almost half a million refugees in the past week.
I was just looking at a Forbes article outlining the development of the American craft beer movement in the ten years between 2008 and 2018. The most striking figure: Whereas in 2008, there were roughly 1,500 brewpubs, micro and regional breweries operating, by 2018 that number had ballooned to over 7000. That same year, craft beer sales accounted for roughly a quarter of the overall beer market in the US.
Contrast that to where the country was thirty years ago, when I first settled in Europe. Back home, Budweiser, Pabst, Miller and Coors ruled the day and people here – perhaps rightly so – looked down their collective noses at the mere mention of American beer. The craft beer revolution had in fact already begun, but quietly. It didn’t make sense, at least not yet, to point out that there were beers being made on American soil and with American ingredients whose quality was at least as good as the Old World classics.
Today, that’s hardly a secret. You often hear about young, upstart European brewers educating themselves in the art of craft beer by spending time in the United States. Case in point: Oliver Wesseloh, co-founder and master brewer at Hamburg’s Kehrwieder Kreativbrauerei. Before going out on his own in 2011, he spent eight years learning his craft abroad, part of that in Florida. Today he runs a thriving brewery in his hometown in northern Germany.
Prototyp – today’s Listening Party beverage of choice – was the very first beer he produced under the Kehrwieder flag.
Our featured record is Doctors, Devils & Drugs by the Floyd Lee Band, which surprised some people, including me, in 2008. We’ll dive into it after the jump.
Last time out, while revisiting 1999’s Greens From The Garden, I found myself thinking about another, similarly eclectic blues album from the same period: Alvin Youngblood Hart’s Territory. This 1998 release was the follow-up to Hart’s stunning debut Big Mama’s Door – a record that had catapulted the Oakland, California native to the forefront of an emerging wave of traditionally minded acoustic bluesmen. Just two years later, he made a clear statement informing the world he was not going to be pigeonholed.
Even today, Hart’s “music is music” philosophy is right there on his website for all to see: “I have a great disdain for genre segregation. I try to avoid that practice.”
On Territory, the big man with the powerful hands put his money where his mouth is. True, the album includes a few traditionals, performed in the spirit of Leadbelly and Bukka White, as well as an update of Skip James’s “Illinois Blues.” But on the whole, the musical ground Hart stakes with the disc’s eleven cuts goes well beyond what anyone was expecting at the time.
Across the bay from Hart’s birthplace, in the taverns of late 19th century San Francisco, steam beer emerged as a unique variation on the lager. It’s perhaps the lone beer variety indigenous to the United States. San Francisco’s Anchor Brewing Company owns the trademark and is thus the only brewer allowed to use the term for what’s otherwise referred to as “California common beer.” Not a very enticing name. Nevertheless, we’re going to give Anchor Steam Beer a try as we spend some time with Alvin.
Blues and brews by the bay today, you say? Hooray!
I’ve been doing what I do – this blues writer thing – for roughly a quarter of a century now. The striking, verdant cover of Corey Harris’s Greens From The Garden carries me back to a time when I was still a novice. The album came out in 1999, so I had a few interviews under my belt at that point, but mostly I was flying by the seat of my pants. I met with Corey and the other dreadlocked members of his so-called “5 x 5” at a now defunct blues venue in Frankfurt and recall having a generally relaxed conversation about this groundbreaking record.
He’d completed most of it in a Charlottesville, Virginia studio (Harris has academic ties to the University of Virginia) and added a few live tracks recorded at the famous Funky Butt Club in New Orleans. The singer and guitarist had resided in that city for a time, busking and soaking in its rich musical tradition.
Far from the American South, nipping at the Arctic Circle, lies Akureyri, an Icelandic fishing port that is home to the Einstök brewery and its Arctic Berry Ale. It’s brewed seasonally, for the summer months. So you could say I’m cheating – or perhaps just pining for warmer weather.
If I had to give this Listening Party a motto, it would be “north meets south.”
Last Friday marked the one-year anniversary of the Who Is Blues Listening Party. (Thanks for the reminder, Facebook.) Sitting here today on a cold, dull gray afternoon, I recognize that coming up with the idea for this regular celebration of beer-and-blues in the middle of January was no accident. I hate January.
Once the familiar warmth and boozy partying of the holidays passes, January turns dreary in a hurry. Armed with good intentions, you tell yourself the new year is a chance to reinvent yourself. To make a new start. But where I’m from, things can’t get rolling until the kids are back in school and businesses get up and running again. By then, it’s mid-January and your forward momentum has ground to a halt. Even in normal times, there is a dearth of concerts in winter. Life seems to have been put on hold. Yet the clock is ticking away the whole time, silently, unceasingly, a stealthy adversary.
Then – WHAP! – in the seeming blink of an eye, January is over and you realize one-twelfth of the year has already vanished down the drain.
As if that weren’t enough reason to get a bad case of the blues, there’s this.
Unlike the protagonist of Seasick Steve’s song, I don’t like the dark and it is not my friend. I wonder how people up around the Arctic Circle survive winter. I wouldn’t. My mood is seasonally affected even at the 51st parallel. I need and crave light.
But there’s always beer and music, right?
Man From Another Time is a 2009 masterpiece from the aforementioned Seasick Steve. I’ll be exploring it with the help of Hopfenstopfer Incredible Pale Ale from Germany’s Häffner Bräu.
Just saying “Hopfenstopfer” puts a smile on my face. Drinking it promises to be even better.
Dear reader, welcome to 2022. If you’re new to the Listening Party, this regular blog post is where I celebrate two of my biggest enthusiasms, a pair of wonderful inventions that were seemingly made for one another: beer and blues. I do that by spotlighting one standout album from my record collection while cracking open a single vessel of exceptional beer. The majority are sourced from a local craft beer retailer, my Listening Party partner Bierlager.
This dive into the big, sudsy world of barley broth is essentially a by-product of the ongoing pandemic: I’ve had a thing for beer ever since my dad let me sip from his bottle of Schmidt’s when I was a little boy (see Listening Party #11), but only recently did I begin taking the hobby a little more seriously. I now enjoy and appreciate it more than ever before – one of the millions swept up in the craft beer revolution.
A quote on the subject (it fills an entire page in Garrett & Evans’ Beer School) gives us a good jumping off point: “Some may take beer too seriously, but few who do are guilty of taking life too seriously.”
In that spirit, I’ll kick-start the new year with a 1990 album that crackles with positive vibes: Let’s Buzz! by San Diego roots stalwarts The Paladins. Liquid refreshment comes in the form of Queens Kellerbier, one Spanish brewer’s take on a traditional German recipe. We’ll indulge a bit later on.
If the pandemic has taught me anything, it’s that you gotta make your own fun. Are you with me?
Deep from within a swirling pool of childhood memories, I hear it bubbling up into consciousness: A small intermingling of children’s voices, singing Christmas time is here, happiness and cheer …
For most of us, the run-up to the holiday doesn’t feel much like A Charlie Brown Christmas. It’s a hectic dash to finish off projects and order a few more Christmas presents, fearing our loved ones may have got us more than we got them.
With that in mind, I’ll not take up much of your time with this final Listening Party of 2021. The plan’s simple: I’ll spin a few of my favorite holiday-themed blues 45s on the official Who Is Blues cheapo phonograph, which you’ll see in the clips to follow. Quick hits on some great tunes you never hear on the radio.
And I’ll crack open a cheerfully designed bottle of seasonal Festbier from the Bavarian town of Riedenburg.
We’ve all heard holiday classics by Bing Crosby, Gene Autry, Eartha Kitt and Nat King Cole a million times. Let’s give these bluesmen their due.
I must say I’m bummed about the way 2021 is shutting down. Fourth wave, fifth wave, whatever the experts want to call it – where I live in Germany, stricter social distancing measures are back in place, requiring vaccinated individuals to present a negative COVID test to do fun things like attend concerts or enter restaurants. So people are staying home, shows are being cancelled, businesses of all kinds are suffering. Necessary? Probably. But I can’t help feeling we’re all the poorer for it.
So please allow me – in this, the penultimate Listening Party post of the year – to vent a little and return to a much happier time and place. I need only think back a couple of weeks.
I flew to New York for Thanksgiving and there it felt almost like business as usual.
Travelling upstate, I met a beer called Saranac Adirondack Lager.
And I caught up with an old friend: Wizards From The Southside, a Chess Records compilation featuring mid-50s recordings by the likes of Muddy Waters, Bo Diddley and Little Walter.