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Blues Underground Network |
Les Copeland "Don't Let The Devil In"
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My first thought after listening to Les Copeland's extraordinary Debut Release, "Don't Let The Devil In", was that I really wished I had more knowledge about the Blues Artists and Styles for which he drew his inspiration for this Album. Like a fine tea, Les Copeland has steeped himself in the Blues for many years, walking often in the footsteps of legendary giants that have preceded him and that are still with us. His ability to interpret the Blues, especially the good old Blues of the past, is a gift, that he has learned to give back to his audience and his fans via his masterful Guitar picking and his genuine and unique vocal delivery. You Can Tell Me When That Needing Time Sets In.... When it comes to Les Copeland, one must not make the mistake of thinking that just because he did not put out this Debut Album until he was 43, that he is just a new kid on the block, far from it. Les Copeland is an extremely well known and well respected artist, especially throughout Canada. He has promoted and toured with many of the greats, including the Legendary Honeyboy Edwards, for which he has toured with for 14 years, and whom is also featured as a guest performer on 2 of the Tracks on this release. Les Copeland is also very well rehearsed in not only the Blues, but in a wide variety of musical styles such as, jazz, Spanish flamenco, pop, and classical music. These are styles that you will find either a little or a lot of on "Don't Let The Devil In". Got $100 Dollar Hair Sitting On A Nickel Head... From the opening notes of "Don't Let The Devil In", you will be drawn in, and although you could leave at anytime, you will choose not to. "Don't Let The Devil In" consists of 15 Tracks and clocks in at just over 55 minutes. Of the 15 Tracks 14 are originals with 1 Cover, "Anna Lee" (Robert Lee McCullum). "Don't Let The Devil In" also has a very healthy dose of instrumentals, 4 in total, that showcase Copeland's simply amazing Guitar skills. From the Slide Driven "Ry Cooder", to the Jazz Infused "Ginseng Girl", Copeland leaves you with no doubt as to his command of whatever type of guitar and style he chooses to play. Beyond Copeland's musical prowess, you will also be drawn in by not only his strong and unique vocals, but by his lyrics. His writing is such that you are quickly aware of the message he is trying to get across, because they are based on themes that are very familiar to all of us. One which really caught my attention was "Everyday People", a whimsical piece, that leaves you chuckling to yourself, "Ain't That The Truth". The above line about the $100 Hair is from that song. Another attention getter was the opening track, "That Needing Time" which can be interpreted a number of ways, I happen to interpret it in a Spiritual way. And lets not forget the incredible song, "I’m the Little One", done in the style of a children s ballad. Fabulous not only for how it is performed, but the fact he would include it on this Album. I Will Feel The Wind And I Will See The Sun... If there ever was an Album that was able to call out to you and draw you into it's magical world, Les Copeland's "Don't Let The Devil In" is that Album. It will certainly place him in the company of many of the heavyweights in the Canadian as well as International Music Scene and is more than deserving of all the accolades I am sure it will receive. A finer Album for a Debut Release, you will not find. Finding a finer Album... Period, good luck... Listening to "Don't Let The Devil In" will leave you with a sense of satisfaction that is very rare in todays humdrum offerings. It will not only rejuvenate your spirit, but it will also renew your belief that their are those that walk amongst us that have our love of good music at heart. This is a 5***** Album, bar none... Very Highly Recommended... Review By John Vermilyea (Blues Underground Network) Tracklist
1.That Needing Time 3:31 Other Info And Reviews Listen To Samples Here... ...They say musicians have their whole lives to prepare for their first album. When you wait until you're 43 to record that debut, you've probably got one heck of a lot to say. Les Copeland is a virtuoso guitar player from British Columbia who has assimilated just about every acoustic and slide guitar style ever conceived. From Mississippi Delta stylings to jazz, from Celtic folk to the Piedmont finger-picking approach, Copeland knows it all. For the most part, he plays solo acoustic or electric guitar, with occasional overdubs and two guest players on a couple cuts. While he's undoubtedly performed material from all the masters he's admired, his album contains 14 originals, with only one cover to round it out. Don't Let the Devil In is an entirely admirable and thoroughly enjoyable recording showcasing Copeland's impeccable chops and his comfortable vocals. Les Copeland's Don't Let The Devil In The album grabs attention from the first notes, as Copeland's finger-picking acoustic guitar recalls both John Fahey's delicious takes on Anglican hymns and English folkie Bert Jansch's approach to American blues. Copeland sings of his intention to be available for his friend/lover as necessary, but by referring to his availability when "that needing time sets in," he takes himself way outside the contemporary realm, and makes his role almost that of a sacred helpmate. Presumably, the occasional slide interpolations are overdubbed, but it's Copeland's dynamic vocal and aggressive finger-picking that carries the song. "Ry Cooder" is a tribute to the style which made its namesake famous back in the 1970s. A lush solo electric guitar piece, with invigorating slide guitar and gentle finger-picked counterpoint, this instrumental has a generously evocative melody which lives up to its inspiration. "What’s Your Name" sounds like one of those Southern folk songs that would have fit nicely in Oh Brother, Where Art Thou, with its vigorously strummed acoustic chords, and nice bluesy wailing from Earwig Records president and terrific harmonica player Michael Frank. But the lyric, sung with passion and obvious self-reflection by Copeland, is much more modern, a clear attempt at examining one man's understanding of his many roles. (It also contains references to Copeland's first daughter, who passed away a few days after being born, and whose memory fuels some of his songs.) Down The Delta With "Honeyboy" Edwards "Distant Train" is probably the 10,000th song written which conflates a train going away with the loss of a lover, but who cares? Copeland's jazzy, syncopated and fabulously inventive electric guitar picking and slide on this one makes it a winner. It's basically a blues song, but Copeland takes the harmonies into surprising territory, especially on the two terrific instrumental choruses in the middle. "Riding the Sky Train" is a brief but delightful instrumental which returns to the Ry Cooder tone on electric guitar as he finds surprising takes on chord changes reminiscent of the traditional spiritual "I’ll Fly Away." Then comes "Silently," another strummed acoustic number with extremely expressive harp from Frank. Copeland is mining the folk tradition here, using simple yet evocative images of approaching winter to reflect the loss of yet another relationship. (For an album this pleasurable, there sure are a lot of losses in Copeland’s songs). David "Honeyboy" Edwards makes the first of two appearances on a stately Delta-inspired take on Robert Nighthawk’s "Anna Lee." The two electric guitarists sound like they're having a great time conversing with each other, commenting on each other's solos and injecting ideas for the other to take flight. "Long Lost Love" draws influences from a few hundred miles to the east, sounding like a cross between Mississippi John Hurt and the Carter Family. Copeland's lyric is wicked, twisting the expectation of sorrow inspired by the title into a realization of freedom; his Piedmont-derived picking is delicious here, and his vocal recalls Chris Smither in his prime, though that could be a matter of shared influences on songs like this one. Crying For An Angel "Ginseng Girl" brings us back to jazz territory, with a spritely Charlie Christian influence on a boppish tune. At this point in the album, Copeland's dexterity in so many styles is becoming overwhelmingly impressive. He brings back "Honeyboy" Edwards for another duet on "How's That Drummer," which concerns the drummer who once ran off with Copeland's wife. Never mind the lyrics, which are charming and silly, but feast on the sheer delight and joy of these two electric guitars playing together. It's easy to imagine they can do this for hours at a time without running out of inspiration. Unfortunately, "I’m the Little One" follows, the only misstep on the record. Perhaps it would have fit on a children's record for kids expecting a new little brother or sister, but in this context, it just sounds cloying, no matter how much love Copeland injects into the folkish tune. Heading into the home stretch, we come to "Everyday People." It’s an 8-bar blues with an inventive tune and some hilarious observations about the people around us – "Sometimes they've got hundred dollar hair on a five cent head" is particularly great. Copeland's singing has been great throughout the record, but he displays a dry wit here perfectly appropriate to the lyrics; it's not easy to tell punch lines in song without telegraphing them, but he pulls it off. He sticks with this approach on "Wet Paper Bag," which sounds like a Hoagy Carmichael song with lyrics inspired by Frank Zappa. It features a terrific little jazzy solo on acoustic guitar, too. With its invigorating strumming and complex chord structure, "Don’t Let the Devil In" almost sounds like an acoustic guitar take on some lost Radiohead song, though Frank's bluesy harp and Copeland's scat singing keep it firmly in his own world. Not to mention the fact there's no sympathy for this devil, who leads to no good outcomes in the words Copeland cries here. Copeland ends with a gorgeously lyrical elegy for his departed daughter, "Crying For an Angel." The overdubbed rhythm and lead electric guitars here intertwine beautifully; there is sadness mingled with joy at the miracle of existence in this piece. Steve's Bottom Line Les Copeland has started his recording career with a bang. Don’t Let the Devil In is a virtually perfect record, emotionally resonant at almost every turn, and impeccably performed. Les Copeland has had 43 years to achieve this masterpiece, but one suspects he's only just begun. This is an artist to watch. (Earwig Records, released May 18, 2010) Above Review By Steve Pick About.com:Blues ...Les Copeland is a fine guitarist and an underrated vocalist. He hails from Canada, but the blues he bring to life on this disc really are universal. This album is Copeland's first release on Earwig. According to the label, it "showcases Les’ fine finger picking, melodic sensibility and chordal finesse, and his wry and ironic lyrical observations about everyday people." Copeland shows a talent for all kinds of songs here--sometimes he's doing Chicago blues, sometimes jazz, sometimes old-style country, and sometimes folk music, but always the music and vocals are clear and strong and honest. All the songs but one are Copeland originals. On several songs Copeland's slide guitar playing reminds me of Ry Cooder--especially on "Ry Cooder" and "Riding The Sky Train." And on "Ginseng Girl" and "Wet Paper Bag" Copeland shows that he has listened to Barney Kessel, spinning out gorgeous jazz melodies. On "I'm The Little One" he even sings a children's song, and on the next song "Everyday People" Copeland takes a very nice folkish turn. His singing voice reminds me of Jimmie Rodgers, especially on "What's Your Name," "Long Lost Love," and "Distant Train." All these comparisons are high praise. Helping Copeland here are guest Hall of Fame bluesman David 'Honeyboy' Edwards on second guitar on two songs, "Anna Lee" and "How's That Drummer." And Honeyboy's manager, Michael Frank, contributes harmonica on three songs, "What's Your Name," "Silently," and the title track. Les Copeland has made an interesting and quite good disc. You can buy it at Earwig Music. Http://www.earwigmusic.com
Above Review Courtesy Of The Sunday
Night Blues Project ...Les Copeland is best known as a major exponent of the resonator guitar, as a bottleneck player, and as a blues writer of original materials that dance solidly within the genre while peeking over the fence…when he isn't folkifying, that is, as on I'm the Little One. Don't Let the Devil In, however, is never a firebreather but rather the kind of CD you want a cool fifth and a warm afternoon for. With elements of Kelly Joe Phelps, Hot Tuna, Joanne Kelly, Michael Hurley, base-most Grateful Dead, doses of the old Youngbloods solo LPs, and a lotta lotta lotta roots, Copeland's a relic of bygone times, the sort of player-writer one would have heard on a rickety porch while traipsing down to Sunday services at the backcountry chapel. On the disc tray photo, he's playing a Herb Ellis guitar, and that may at first sound a tad incongruous, but the guy incorporates a rich background in what he does. The solo in Wet Paper Bag perfectly demonstrates that, the sort of lead Ellis would've spun out while sitting in with Barney Kessell. And when the instrumental Ry Cooder slides out of the speakers, you'll understand perfectly why the song is titled as it is. On only a third of this release is Copeland accompanied (by the legendary Honeyboy Edwards and Earwig label prezdawg Michael Frank), otherwise working as singleton for an intimate feel that's nonetheless wide open. Then the title cut embraces a dark descending chord composition sounding like a tune that got lost on the cutting room floor during the making of Nick Drake's cloudy Pink Moon. Canada sure as hell knows its grit from its sunflowers when it comes to roots music, and Copeland, issuing from a town Natively named for the grizzly bear (Kelowna), understands when to growl and when to rumble while treading an earthy and sometimes ribald course in his lyrics. He more frequently, though, contemplates the wistful and melancholic in tunes like Distant Train, leaning back in a sigh and a memory. But, oh sweet Jesus, that playing! Without ever requiring a single pedal or blaring volume, it's riveting as hell and will send newbies and pros alike scampering to the masters once more for re-acquaintance with Jurassic elements that never grow old but are all too readily ignored. Above Review By Mark S. Tucker http://www.acousticmusic.com/fame/p06429.htm About Les Copeland One of British Columbia’s finest blues artists, Les Copeland has always played guitar. Primarily self-taught, his unique sound has developed out of a rich mixture of influences including blues, jazz, Spanish flamenco, pop and classical music. The call of the blues beckoned when Les was just eleven. Capitol Records was giving away a free copy of Delta blues great, Mississippi Fred McDowell’s latest recording, “London Calling” to anyone who sent in a coupon. The lean sound of one of the tracks, “Red Cross Store”, set destiny in motion and Les on a lifetime journey down the road to the blues - all for the price of a stamp. From down home Delta to uptown Chicago blues, Les can improvise anything. He started his career as a country blues guy with a bottleneck stuck on one finger. By adding material by jazz guitarist, Wes Montgomery and Chuck Berry to his repertoire, he developed great versatility and chops that would have sent his idol, Robert Johnson, back to the crossroads for another meeting with the devil. Disguising his age so that he could play in Vancouver Island clubs, Les was a professional by the time he was fifteen. Almost immediately, he stepped into a leadership role by fronting the Les Copeland Band, followed by Les Copeland and the Red Hot Ramblers. Both of Les’ groups rocked many a tavern in the region, and played at most of the major blues and folk festivals in the Pacific Northwest. Les has earned the respect of some of best bluesmen in North America and he is known in western Canada for performing with and promoting legendary blues artists such as Honeyboy Edwards, Jimmie D. Lane, Sonny Rhodes, Jimmie Lee Robinson and others. Subsequent generations of up-and-coming string-benders are thrilled that he has made his talents as a guitar teacher available. Currently residing in Vernon, BC, Les is kept busy touring and playing local gigs, and is sometimes joined by his son, Sonny Copeland. Les began working on a new album for
Chicago based Earwig Music Company in 2009, which was released in May of
2010. It showcases Les’ fine finger picking, melodic sensibility and
chordal finesse, and his wry and ironic lyrical observations about
everyday people. Blues legend Honeyboy Edwards, with whom Les has toured
in Canada for 14 years, guests on guitar on 2 tracks, and Honeyboy’s
manager Michael Frank plays harmonica on 3 tracks. This cd is a healthy
dose of Americana roots and blues, done Les’s inimitable way. http://www.myspace.com/copelandband http://www.reverbnation.com/lightninlescopeland
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