Music Reviews: Two From Poland, One From Brazil

By Ernest Barteldes

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As I have written here before, Warsaw-based Monika Brodka has had an interesting trajectory over her career.  A winner of Poland’s version of Idol back in 2004, she started out her recording career with two very mainstream albums early on that got her a lot of radio play (the songs from those releases are still featured on pop radio to this day), but then she took a whole different direction: she went through a four-year hiatus and reemerged with Granda (2010, Sony Music), which took her music to a more alternative direction, and followed that up with the English-language EP Lax (Kayax,  2012) and more recently Clashes (Kayax, 2016), which took her music to even more experimental territory.

The last three releases are the focus of MTV Unplugged (Kayax, 2019), her first release captured live in the southeastern city of Lublin in 2018 in reimagined versions that depart dramatically from the studio versions of the same tunes, starting with “Can’t Wait for War,” which features what at first I thought was a Theremin but turned out to be a saw played with a bow – something that I have only heard before on the New York City subway. Her take on “Varsovie,” an ode to her adopted city is also surprising, with mostly acoustic elements replacing the mostly electronic feel of the studio recording.

Although it’s an “unplugged” album, there are several non-acoustic instruments on the record – Brodka plays a semi-acoustic guitar, and so does her lead guitarist. While her bass player performs with a ukulele bass for most of the set, an electric bass (probably a Fender P-bass) can be heard on some tracks.

Notable tracks include “Syberia,”which brings l guest Krszystof Zalewski on guitar and vocals – it’s quite an intimate setting, with Brodka playing a six-string banjo (tuned as a guitar).  The tune is not that different from the studio recording, which was also played on acoustic guitar, but the two-part harmonies and the banjo bring an extra texture to the song, which is mostly a filler on Granda, and also “Santa Muerte,” an English-language tune from Clashes that features fellow Idol alum Dawid Podsiało. The arrangement that is incredibly close to American bluegrass thanks to Brodka’s banjo, the strings and the wandering saw, which adds an eerie feel to the tune.

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Anna Maria Jopek has a history of collaborating with many respected musicians including Brazil’s Ivan Lins, France’s Mino Cinelu and others, but Ulotne (“Elusive,” Universal Music Polska, 2018) is only her third album done as a full collaboration with another artist (the others being Upojenie, her 2002 collaboration with Pat Metheny and Minione, her 2017 album with Gonzalo Rubalcaba), in this case being legendary saxophonist Branford Marsalis, with whom she recorded a couple of tracks with on 2008’s live Jo & Co (Universal Music Polska).

Featuring mostly original material penned by Jopek and her husband and main collaborator Marcin Kidryński, the album flows beautifully track by track – the musicians (rounded out by Cinelu, Maria Pomianowska, Robert Kubiszyn, Pedro Nazaruk, Marcin Wasilewski, and Atom String Quartet) have all worked together before either on a live format or in the studio, and the chemistry can immediately be felt throughout. Marsalis is featured on every track, while the supporting band gives a solid backup without getting in the way. As in most Jopek album, there are a plenty of multi-tracked vocals, but they are subtler than in earlier releases – the direction here seems to be make everything as organic as possible.

The deluxe version of the album features four extra tracks, one being Pożegnanie z Marią, a song beautifully recorded as a tribute to recently deceased trumpeter Tomaz Stanko, who wrote the tune.

 

Carnaval in Brazil is fast approaching, and given the election of extreme right-wing president Jair Bolsonaro, who was voted in with promises of restoring “traditional values” to the country, it is expected that some will not be too happy about it. One of the first songs to reflect this is “Proibido o Carnaval,” a single by openly gay singer Daniela Mercury and legendary singer-songwriter Caetano Veloso.

The song, which translates as “Forbidden Carnaval” wax against censorship and the anti-LGBT attitude of Bolsonaro and his cabinet, turning his own words against him and vowing not to allow the right spoil the party for those who don’t want to become stereotypes.

I am not sure how the tune has been received in Brazil, but after several plays on my phone I can say that some will frown upon the words – but it’s not like anyone who agrees with Veloso and Mercury will care.

Anoushka Shankar + My Brightest Diamond at BRIC Celebrate Brooklyn

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Anoushka Shankar

Anoushka Shankar + 

My Brightest Diamond 

BRIC Celebrate Brooklyn 

July 20, 2018 

By Ernest Barteldes 

 

On what turned out to be a seasonably mild night in Brooklyn, musical experimentalist Shara Nova, who goes by the “band” name of My Brightest Diamond came on backed by her own programmed keyboard and a drummer showed exactly what is wrong with the whole DYI movement: artists get zero feedback from other people and the room and become far too self-indulgent.  

Nova opened her set with the participation of the Brooklyn Youth Choir, doing two numbers that sounded brilliant and hopeful, but soon after that it was a collection of tunes with strong influence from 70s music, especially the B-52s, David Bowie and Yoko Ono (if that makes any sense). She did go into a quieter mode when she played – on guitar – a lullaby about her young son, but it was mostly electronic music with shrieked vocals and little else.  

After a brief break, sitarist Anoushka Shankar came on backed by bass, percussion and hand pans. The music, as she stated, was inspired by the refugee situation in Europe and also the political situation Stateside – she didn’t dwell on it as she described it, but one could feel the feeling in the melodies.  The jazz influences were tangible, but there was something intensely personal with the music.  

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My Brightest Diamond

LAMC Showcase at BRIC Celebrate Brooklyn

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Girl Ultra

LAMC Showcase at BRIC

Celebrate Brooklyn

Mala Rodriguez, Ana Tijoux & Girl Ultra

July 13, 2018

by Ernest Barteldes

On the Celebrate Brooklyn night of the 2018 edition of the Latin Alternative Music Conference, the audience was presented with three very different female voices with very distinctive styles that gave us a glimpse of what is going on in the Latin music scene.

Mexican R&B singer Girl Ultra (Mariana de Miguel) opened the proceedings backed by a simple band that featured keyboards, bass and drums, and she sang mostly original material. Early on the set, there were some technical problems with the keyboards, and instead of interrupting the set, she just began to improvise with the bassist and the drummer for about five minutes, creating music on the spot to the delight of the crowd, who got the chance to see the artist in an unfiltered format, just being creative with whatever she had in her mind at the moment.

Girl Ultra’s music is clearly inspired by contemporary R&B with a retro feel – she clearly draws from the likes of Mariah Carey and Whitney Houston but does not have their vocal power. She does, however, have tons of creativity with her vocals, and uses her limitations to her advantage. I believe what we heard was a diamond in the rough – she has great potential as an R&B singer, and I’m hoping to hear her more down the road.

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Ana Tijoux

She was followed by Chile’s Ana Tijoux, who has evolved incredibly from the first time I saw her at an earlier showcase at Central Park Summerstage. She started out with a Spanish-language song written in the 1970s that she said was “relevant to our times,” and was very vocal against the current U.S. administration. During the set she alternated between her earlier rap hits (which included her signature hit “1977”) and more melodic material. At one point, she brought in a violin trio for a tango-inflected tune called “Asaltemos a Un Banco” (“Let’s Rob a Bank”) which was followed by a “Somos Sur,” socially conscious number which she described (in Spanish) that “is about what Latin America is – it’s not a postcard, it’s about where we live. Our culture comes from the streets – to be Latin is all about the places.” Another tune talked about how the rich put the poor down by denying them access to education and dignity, inviting the listener to “join the fight” against racism and blind capitalism.

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Mala Rodriguez

Closing the evening was Spain’s Mala Rodriguez, who came accompanied by a DJ and two female dancers in very skimpy white outfits, delivering a set of dance-inspired music that seemed a bit out of step with the more acoustic nature of the previous sets, but audiences seemed to dig it – like in every LAMC night, it was an opportunity to hear diverse voices and get a feel for the direction of pop, rock and other genres within the umbrella of Latin Music.

Les Ballets Jazz de Montreal at BRIC Celebrate Brooklyn

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Les Ballets Jazz de Montreal 

Leonard Cohen’s “Dance Me” 

Celebrate Brooklyn 

July 7, 2018 

 by Ernest Barteldes

On the American Debut of this modern dance piece  made in tribute to the work of the late Leonard Cohen, the his words were interpreted though the company’s gracious moves. The dancers walked on stage wearing black hats similar to the signature model Cohen used on stage, and it was beautiful to see the songs come to life through dance.  

Most of his most famous songs were used on the almost two-hour performance, mostly using late-career live recordings when his voice had changed into a low monotone that he masterfully used to his advantage. Some earlier recordings were also used, but the music was mostly the later stuff, mostly recorded live.  

One of the greatest moments came with “Dance Me to The End of Love,” in which the dancers almost had an erotic element to the moves, “Boogie Street” featured three male and one female dancers, who exchanged partners throughout the number in a very sensual manner, while “On That Day” had more of a tango-inspired feel.    

The show came to a climax right at the end, when an early version of “Hallelujah” played as the dancers came and saluted the songwriter, who appeared in shadow form on the wall.  Cohen’s fans were certainly satisfied with the performance, and everyone present gave it a standing ovation – a memorable evening in Brooklyn indeed, and a fitting tribute to the legend that he was.  IMG_5824

Mariza at Summerstage/Central Park

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The Stage at Central Park

Summerstage at Central Park

June 23, 2018

New York, NY

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Mariza

On her debut Summerstage appearance,  Angolan-born and Portugal-based Mariza took to the stage backed by a five-piece band (accordion, percussion, Portuguese guitar, acoustic guitar and bass) to promote mostly material from her self-titled album (Warner Portugal, 2018), which of this writing was not yet available in the US market even though she mentioned it several times during the show.

The set opened with “Sou do Fado,” a traditional tune that has become a staple on her performances – it is a longing number in which she stretches her vocals, utilizing the melisma that are so common to the genre.  She then followed by a ballad  with few fado characteristics – something that has become more and more common on her records starting from 2008’s Terra, which included tunes by  Brazil’s Ivan Lins and also a cover of Charlie Chaplin’s “Smile,” which she performed during the tour in support of that album that year.

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Mariza

Among the highlights was an original tune named “Ja Passou,” a ballad dedicated to her young son. The expression is common in Portugal, and it means that the “pain is over” (the term was actually used on the Luso-Portuguese version of “Let It Go” from the soundtrack of the movie “Frozen”), and it is usually told to young children when they get hurt in some way.

Hearing Mariza in an outdoor setting was quite refreshing, because in previous U.S. stops she mostly performed in theaters, and was interesting to hear her outdoors, and wondered how the outside temperature would affect her singing.  The truth is, it didn’t, and she sang with the same potency and passion that she has delivered in previous shows.

 

Live Review: Los Lobos at BRIC Celebrate Brooklyn, June 10, 2018

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Los Lobos at The Prospect Park Bandshell

Los Lobos 

BRIC Celebrate Brooklyn 

Brooklyn, NY 

June 10, 2018 

By Ernest Barteldes 

Rain seems to follow legendary Los Angeles band Los Lobos whenever they play an outdoor venue in New York – at least that seems to be true every time I happen to hear them. That was true when I first reported on their appearance at Summerstage a decade ago, and the tradition seemed to repeat itself as they appeared at The Prospect Park Bandshell.  

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The sextet came on with their usual energy playing a set that included a selection of hits and covers – one classic that was dedicated to the “youngsters” in the audience was “Come On Let’s Go,” their 1987 cover of the Richie Valens tune featured on the movie “La Bamba” with an extended guitar solo and many tunes they seemed to pick out of a personal list. “We are still figuring out the show,” said co-lead singer David Hidalgo halfway through the set during a pause in which the group seemed to disagree on what to play next.  

The band continued with a medley that included the Temptations’ “Papa Was a Rollin’ Stone” that merged into an up-tempo take on “Crossroad Blues” played close to the classic 1966 arrangement popularized by Cream with extended guitar solos showcasing the dexterity of Hidalgo and co-lead guitarist Cesar Rojas.  

Halfway through the set the ensemble switched to the Mexican rancheras that popularized the band in their early years, including a cover of Vicente Fernandez’s “Volver,” with Hidalgo on accordion. They then went back to more electric blues-based material, including a fast-paced number that featured drummer Enrique Gonzales. 

The band left the stage and returned after a few minutes with a punk-rock inspired number “because we are in New York” and ended the set with “La Bamba,” the traditional Mexican song adapted by Ritchie Valens in 1959 and later made a global hit by Los Lobos two decades later – it has become a mandatory tune during their sets since then. 

The only sour note I could say about their set it the omission of “Beautiful Maria of My Soul,” their Oscar-nominated tune from the soundtrack from 1992’s Mambo Kings – it is a beautiful tune that has pretty much been ignored since its release and deserves to be revisited in a live format.  

Los Lobos keep the energy high, and their fans are die-hards: the rain kept falling but no one was interested in leaving until the last chord of “La Bamba” was played, and the ensemble seemed to feed from that, extending tunes and improvising a lot throughout the set.  

Free Concerts: What to Hear in June

by Ernest Barteldes 

 

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Gregory Porter

As I have written before, the summer months are my favorite time of year – not only because we have the nice weather and the opportunity to grill or go to beach trips and also get to wear flip-flops to the supermarket (at least I do), it is also the time for the countless outdoor concerts that take place all over town that are for every taste. 

Ever since I moved to New York – eighteen years ago this year – I have been attending these shows and have lost count of how many I have seen. The other day Renata and I were going through old photos that I covered at Summerstage in those early years and I was shocked at how many prints I had (those were the days before going digital) and how many shows I’d pretty much forgotten about – something that happens when you attend more than 50 concerts a year – most during the summer season.  

This year’s season at Celebrate Brooklyn, Summerstage and other venues across New York City have incredible lineups, which I will write about over the next few posts, either previewing or reviewing for this blog or other pages.  

On this post I will highlight some of our picks for the month of June – but bear in mind I will only highlight the shows that are free of charge, so if you don’t see say, The Decemberists (June 13, Celebrate Brooklyn) on this list it’s because it’s a benefit event and you have to pay more than the suggested donation asked for at the door.  

If you want more information, check out the hyperlinks, which direct to the actual events’ pages.  

The month begins with jazz vocalist Gregory Porter (June 2nd, Central Park), who makes his second appearance at the event (he also made an appearance at Celebrate Brooklyn in during the 2016 season). his deep baritone gets your attention at once, as I discovered when I first heard of him back in the day when Starbucks gave tunes out for free every week. I heard him at Summerstage in 2015 and was fascinated at his command of the stage and am eager to hear his music again in a live format. 

 

We then head to Prospect Park Bandshell for their opening night on June 6th, when rapper, actor, activist and Oscar Winner Common gets the party started for Celebrate Brooklyn. Little needs to be said about him – he has been a mainstay in the hip-hop scene since the 90s, but more recently he has reached mainstream audiences – never mind the song “Glory,” which earned him an Oscar AND a Golden Globe alongside John Legend.  

 

David Bowie left us too soon back in 2016 (what a shitty year that was for music, by the way) but left us one last gift: his much appreciated album Blackstar, released a few days after his passing. In tribute to the great musician and actor, an orchestra led by Evan Zyporin featuring cellist Maya Beyser will play the album in its entirety (June 9th, Central Park) in a show entitled Bowie Symphonic – the evening will also feature The Donny McCaslin group, who played with Bowie on that final album.  

 

One of the most memorable shows I attended at Summerstage was back in 2008 (has it been that long?) when Los Lobos played alongside Los Lonely Boys. It was a soggy night in which the rain did not relent – everyone got absolutely soaked but no one left until the last song was played. They have a high-energy set that include their most danceable hits that had everyone engaged to the very end – and yes, they included their 80s cover of La Bamba, from the movie of the same name. They return to New York for what promises to be a lovely afternoon in Brooklyn (Celebrate Brooklyn, June 10). 

I first saw Rhiannon Giddens solo work at Celebrate Brooklyn in 2015 – before that, I had seen her with her band, the Carolina Chocolate Drops, at a showcase at GlobalFest (don’t ask when, I can’t remember). It was a lovely show that featured roots Americana and folk music coupled with some historical themes. It should be another interesting evening for sure (Central Park, June 16)   

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Mariza

I can’t tell you how many times I’ve written about Mozambique-born fado singer Mariza over the years – one of the few artists I wrote about for a European magazine. But to call her simply a fadista is unfair – on her latest works, she has incorporated elements of jazz, pop and other rhythms but without losing touch with her roots. And her chosen genre is best heard in an outdoor format (just check out her Concerto Em Lisboa DVD) instead in theaters. She is a sensational, emotional performer and this is one performance you should not miss. (Central Park, June 23) 

 

<p><a href=”https://vimeo.com/201866719″>Mariza – Concerto em Lisboa</a> from <a href=”https://vimeo.com/user62259790″>eduardo carrasco pontes</a&gt; on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p> 

Closing our picks for June is Branford Marsalis, one fifth of the New Orleans’ “Royal Family of Jazz,” who will be playing two sets with his longtime quartet, bookending Roger Guenveur Smith’s one man show, Frederick Douglass Now. This is another show you shouldn’t miss (Celebrate Brooklyn, June 29) 

Music Review: Alexis Cole’s You’d Be So Nice to come Home To

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By Ernest Barteldes

 

Backed by the celebrated New York-based One For All Sextet (Eric Alexander: tenor saxophone; Jim Rotondi: trumpet; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums), vocalist Alexis Cole brings a collection of jazz standards taking full advantage of the chemistry among the musicians. The group swings hard on the opening track “Golden Earrings,” with plenty of improvisation from Rotondi, Davis and Alexander.  “Delilah” opens a bit downtempo then evolves into walking bass-dominated blues, which seems to put Cole right in her comfort zone.  The ensemble takes Mancini/Mercer’s “Moon River” to a surprising direction – instead of the slow ballad we have all gotten accustomed to hear over the decades, here it is played quite up-tempo – bringing a new meaning to the “two drifters” mentioned in the lyrics – their quest is a happy one this time around.

Maybe the best known recording of “You’ve Changed” was done by Billie Holiday on 1958’s “Lady in Satin,” which turned out to be her last album released in her lifetime. Alexis Cole does not seem to have sought inspiration on that beautifully sad track, but instead she seems to draw from Ella Fitzgerald’s 1966 version, making it her own with her honestly heartfelt rendition. “A Beautiful Friendship” seems at first to lament the end of a friendship but later it is revealed that the couple is no longer in “the friend zone” and are now lovers. Originally recorded by Ella Fitzgerald as a ballad, here it has more of a bluesy feel in which Cole stretches her vocal range, and it also features a nice call-and-response between Rotondi and Cole throughout.

The title track (by Cole Porter) closes the disc the same way it began: a high-energy, swinging number highlighting all performers.  The disc seems to look back at past eras of jazz vocalists but not as something retro – this is probably indicating where vocal-band jazz should be going into the next decades.

 

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Alexis Cole with One For All

Venus Records, Inc.

At The NYPL Exhibit “You Say You Want A Revolution”

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The “Free Love” Section

Text and photos by Ernest Barteldes (except where noted)

“You Say You Want A Revolution” 

Stephen A. Schwarzman Building through Sept. 01, 2018 

Free 

 Although I did not live through the era, the 60s have always fascinated me: it was the time of The Beatles, The Rolling Stones, The Summer of Love, Woodstock and many other transformative movements, going from the Civil Rights Movement, Women’s Liberation, the early days of the LGBTQ movement (which my late friend Jack Nichols was an integral part. 

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Patty Hearst 

The era, of course, had its dark side with the escalation of the war in Vietnam, the assassinations of Dr. Martin Luther King, Jr, President Kennedy and his brother Robert and the election of President Nixon, which would turn out to be one of the most polarizing presidential figures in recent history and of course the military coup that ousted a democratically elected president in Brazil and began a cruel military regime that would remain in power for twenty years. In music, a free concert in Altamont ended in tragedy when a man was murdered by a member of the Hell’s Angels, who were providing security at the event. 

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A Portrait of Bob Dylan, with original lyrics below it (E. Barteldes)

One of the most turbulent years of that decade was 1968, the year I came into this world. That was when student protests erupted around the globe that almost cancelled the Olympic Games in Mexico City and also, when Dr. King and Robert Kennedy, as mentioned before, met the end of their lives by an assassin’s bullet.  

To commemorate that year, the New York Public Library is holding a multimedia exhibit that highlights the many events of the decade (and also some of the consequences that spilled into the 70s) that looks into all its nuances – the music, the politics, the films and much more.  

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Walter Bredel, Woodstock Music and Arts Fair, Bethel, NY, 1969. NYPL, Music Division.

As you enter the Gottesman Exhibition Hall at the  Stephen A. Schwarzman Building on 42nd Street and 5th Avenue, a sign warns that some of the material might “not be appropriate” for viewers. They’re not kidding. One of the first exhibits deals with the Summer of Love and its many branches – the Hippies that came together at San Francisco’s Haight-Ashbury with a graphic photo of the members of the Cockettes – an underground theater group that often performed in the nude – with uncensored pictures to prove it.  

You Say You Want a Revolution

Exhinit (photo by NYPL)

Further down are examples of the several underground anti-government groups that formed during the era, including a detailed record of the abduction and conversion of heiress Patty Hearst to a participant of the Symbionese Liberation Army (recently made into a documentary film on CNN). On two screens there are looping videos of the 1969 Woodstock Concert (again uncensored) and moments from the musicals Hair and Jesus Christ Superstar.  

Each section is divided by names of popular songs from the era – the name of the exhibit itself is taken from The Beatles’ Revolution (single from 1968), and other tunes include Stephen Stills’ “Love The One You’re With,” Bob Dylan’s “The Times Are A-Changing” and others. In two listening booths decorated with album covers you can listen to tunes from the era divided into the categories of love, political change and sexual liberation.  

I visited the exhibit accompanied by four students from one of my classes at the college where I teach English as a second language, and it was interesting to see the reactions on the faces of these twenty-somethings that had little or no idea about those times. One student was shocked by a random picture taken at Woodstock of a young lady dancing completely in the nude (I think the title was “Nude Girl at Concert”), while others seemed surprised at how things were different five decades ago.  

We later sat at the café inside the library and chatted about it. Many expressed surprise at what they saw and heard, and the conversation then went into a different era – the mid-80s and 90s, when AIDS brought a counter-revolution of sorts as a more conservative attitude about general behavior seemed to take hold even as many today enjoy the benefits brought on by the changes the came during the 60s.  

But that’s another story.  

Book Review: Brian May’s Red Special, The

By Ernest Barteldes

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Although not essentially a guitarist (my main instruments are the electric bass and the ukulele), for many years I have been a huge fan of Queen’s Brian May – not only his songwriting, which contrasts strongly with the style of his bandmates but also for the signature sound of his homemade Red Special guitar, which can be recognized immediately even if it is not on one of the band’s or his solo albums – for instance, its tone is distinctive on Joe Cocker’s performance of “With a Little Help From My Friends” at Queen Elizabeth II’s Jubilee Concert at Buckingham Palace in 2002 even though there were other guitarists on hand.

Other examples include Brazil’s Os Paralamas do Sucesso’s “El Vampiro Bajo El Sol, and Lady Gaga’s “You and I,” where May was prominently featured – even if some fans were not aware of it.

His guitar has always intrigued me – built with hand tools because he couldn’t afford his much-desired Gibsons or Fenders, the Red Special is an essential part of Queen’s sound so much that when it is not present (in tunes like “Crazy Little Thing Called Love,” which featured a Fender Telecaster) you can actually hear the difference in sound and texture.

Many stories have been told about how the guitar was built, but until recently it hadn’t been the whole story from the beginning – which finally happened with Brian May’s Red Special: The Story Of The Home-Made Guitar That Rocked Queen And The World (Hal Leonard, Hardcover – $ 22.40 on Amazon), which brings the whole story together with rich illustrations of every piece of the guitar, which was painstakingly taken apart and photographed for this project.

Written by Brian May with the assistance of co-writer Simon Bradley, we follow May’s initial days learning the ukulele and then transitioning to the guitar – which brought the necessity of going electric as rock music invaded the airwaves of Great Britain via Radio Luxembourg – the same station that inspired The Beatles in the days before there was any kind of young music on the BBC.

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A young Brian May with his guitar (from Brianmay.com)

The writing style is quite conversational, but this being a musician who also happens to be an astrophysicist, things get a bit puzzling for the layman when he goes into the physics of acoustic resonance or when he describes the formula of calculating the distance between the guitar’s frets, which he sorted out using a computer at EMI’s laboratories while he interned there as a teenager.

In spite of those few moments that might go over one’s head a bit, it is a highly pleasurable read, and the illustrations  – which include early pictures of a short-haired Brian May playing with some of his early bands prior to his career with Queen and his signature (now gray) mane.

There is also a section with the different copies made of the Red Special over the years, and a description of his historic performance on the rooftop at Buckingham Palace, which was clearly much harder to put together than it sounds like.

The book is recommended not only for Queen fans but also for guitar enthusiasts in general – it’s rich enough in detail that one might want to build your own Red Special someday.