A review written for Real Blues Magazine
By Bruce Miller
March 28, 2006
BAD OUT THERE
Frank Carillo and the Bandoleros
Jezebel Records
When this disc arrived at my door, along with a dozen or so others for
me to review, I wasn't suprised that I'd never heard of this guy. Many of
the discs I see are by new artists.  The first thing which stood out, made it
different from all the rest, was the incredibly tasteful design of the cd
package. I immediately assumed that this might be the work of some prodigy
who was being financed to the hilt by some wealthy record company. I forgot
rule # one for reviewing recordings, no expectations!! First, I must credit
the Art Director, George Bixby lll. Next, I must say, I couldn't have been
farther off the mark if I'd tried! Frank Carillo has been recording, writing
and performing for several decades, but, from my point of view, has remained
under the radar. My curiosity was piqued in what was to become a
serendipitous moment.
Naturally I threw the cd on right then and there, and thus began an
inspirational experience the likes of which I haven't encountered for some
time. But first allow me to discuss the career of Frank Carillo up to now,
for those of you readers who may be, like me, unfamiliar with his work.
In 1972, Frank's unique, distinctive guitar playing was requested by
Peter Frampton, who was recording his first solo album, "Wind of Change",
following the breakup of "Humble Pie". Carillo also contributed to
Frampton's second album, "Frampton's Camel", in 1973, after which he formed
a band called "Doc Holiday". Their first album was produced by Chris Kimsey.
Kimsey had just finished producing the Rolling Stones' "Sticky Fingers" at
Olympic Studios and was able to obtain permission for "Doc Holiday" to use
the Stones' equipment to record their album. Not only that, but in the
adjoining studio, Led Zeppelin was mixing "House of the Holy". The bands
quickly became good friends and were soon jamming with each other. Serendipity strikes again!
In late '73, Frank was recording the French superstar, Johnny
Hallyday's, album, "Insolitudes", contributing his sought after guitar
playing with the likes of bass player Klaus Voorman, guitarists Bob Mayo and
Peter Frampton and the unrivalled (at the time) horn section consisting of
Bobby Keys, Jim Horn and Jim Price. Carillo wrote the title track, La
Solitude, which became an enormous hit in Europe. Eventually, in 1978, after
returning from a Canadian tour opening for the Bee Gee's, Frank signed an
exclusive recording agreement with Atlantic Records. Led Zeppelin's Swan Song Records also wanted to sign him, and he signed a co-publishing contract with Led
Zeppelin's publishing arm, Kyknos Cantos Music, (which is Greek for Swan
Song). Carillo's first album for Atlantic, entitled "Rings Around the Moon",
was recorded in the summer of '78. He was asked to open for Led Zeppelin on
their forthcoming North American tour, which would have been the first time
Zeppelin had used an opening act. However, it was not to be, as the tour was
cancelled due to Robert Plant's son tragically dying.
Carillo toured extensively throughout the remainder of '78 and '79 with
acts such as The J. Giles Band, Cheap Trick, Tom Petty and the
Heartbreakers, Van Halen. During a break in '78, he was fortunate to
collaborate with Carly Simon on writing a song called "Pure Sin" for her
"Spy" album. He played guitar on the cut, as well, which was produced by
world renowned producer Arif Mardin. In 1979, Carillo recorded his second
album, called "Street of Dreams", following the release of which he joined
Bad Company, opening for them on their 64 date U.S.A. tour, playing to
soldout audiences and stunning both critics and audiences.
The next we hear of Frank Carillo is in 1986 when he began writing and
producing sessions for, of all people, Twiggy, while she was doing a
Broadway play. These sessions brought Carly Simon and Frank together once
again, singing backup on the Twiggy recordings. In '88, Ricky Byrd,
guitarist and songwriter for Joan Jett & the Blackhearts, approached Frank
which resulted in Carillo's song "Play That Song Again" which ended up on
her album. Ricky Byrd co-wrote the last song on Carillo's new cd, the one I
am reviewing. Anyway, Frank joined forces with Annie Golden and recorded two
albums with great European success. He also worked with guitarist George
Kooymans of Golden Earring who introduced him to Dutch vocalist, Anouk.
Frank wrote two songs which appeared on her platinum debut album. He also
wrote a song (with Golden) for the film "Prelude to a Kiss" in which he also
appears, playing, what else, a musician!
Over the last several years, Frank has been touring America and Europe
as a member of John Hammond, Jr.'s band. He appears on guitar on one of
Hammond's recent cd's, "Slick Crown Vic". Most recently, he has put together
his new band, Frank Carillo and the Bandoleros. They have released this cd,
an indie which must have been a tremendous relief for a guy who has
previously recorded with a big record company breathing down his neck. The
resulting work is, simply put, one of the best recordings I've ever heard,
anywhere, ever.
Now, the tendency when reviewing the work of an artist who people might
not be familiar with is to compare his or her style with better known folks.
The obvious comparisons which I have read in other reviews would be Bruce
Springsteen (I read somewhere that the explosive roots-rocker, "Red Queen",
could be a continuation of "Thunder Road" with the characters now in middle
age, or something to that effect.) This particular song with its infectious,
almost anthemic chorus is destined for plenty of radio play, although there
are several other tunes which have similar gripping qualities. The format of
the song, which begins with Carillo singing with a simple guitar
accompaniment, then the band tears up the chorus sparked with one of the
most powerful drum licks I've heard (by Eddie Seville). The aspects of this
song which make it unique are the ringing guitars and, in particular, the
lyrics. Frank's phrasing is his own, not only on this song but throughout
the cd. What makes comparisons difficult is the fact that, over the years
Carillo has developed such a distinctive style of writing, playing and
producing that, although influences may be discernable, direct comparisons
are redundant. Frank has one of those raw, "whiskey" voices, so comparisons
to Springsteen, Tom Waits, and John Hiatt are inevitable, but the reality is
not that simple. To my ear, his work evokes Warren Zevon's best, Tom Petty,
even the Archangels' first cd, but it's more the depth of the writing which
brings to mind these others. Frank Carillo is first and foremost a truly
great songwriter, an unusually talented storyteller. This recording is, it
seems, almost totally autobiographical, and it is from this well that
Carillo draws these wonderful songs.
The first song is the title tune, Bad Out There, a bluesy shuffle with a
relentless, gritty vocal about the state of the world (inner and outer),
using very personal metaphors which, thankfully, the listener can read as he
listens. This is one of those discs where the lyric booklet is a necessity.
After the second cut, Red Queen, is a medium paced tune named Chapel Street,
a meeting with an old friend (he mentions some of his really early bands in
the lyrics) is the metaphor, with lines such as, upon inviting the friend to
a place on Chapel Street, "We can talk about but not repeat, the things from
yesterday" and the refrain "When I see you all it makes me smile and heaven
was a place in time, I may change my mind a million times /But I can never
change my heart." His phrasing is ideal for the lyrics, and the slide lead
solo is a real treat. Last Plane is next, with some soft harp (by Carillo),
is an acoustic ballad style in which I believe he alludes to George Harrison
(a very close friend of Frank's...one of four friends that he dedicates this
album to) when he says "The holy friar left the park he moved to Mandalay,
He left a message on the door "All Things Must Pass Away". Frank was quoted
as saying "A lot of people in my life have been map-givers," Carillo said in
a hushed voice."George was a map-giver."
Watcha Gonna Do (When the Levee Breaks) is a fine rocker with a powerful
bridge and excellent dynamics. The band really shines on this one. Frank
plays guitars and harp, Baldwin "Fun Machine" and Tanpura, Karl Allweier on
electric (and upright) bass, Norman del Tufo handles percussion and, as I
mentioned before, Eddie Seville is on drums. Chris Cubeta, credited with
additional production and recording engineer, plays some additional guitar
on 5 tracks, piano on 3 cuts, backing vocals on 3 and bass and drums on
Blame All My Troubles On The Moon. Tony Novarro plays additional acoustic on
one cut, John O'Reilly plays drums on a little piece of magic named Wrong #,
with Paul Orofino adding banjo on the same tune, not to mention co-producing
with Frank Carillo and co-engineering plus mixing and mastering.
Another rocker, an angry one, is Tail that Wagged the Dog, a mood he
revisits in All In Chains. Frank shows a blacker side of his sense of humour
in With Her Pajamas On, a moving story about an abused lover who snaps. The
ballads are incredibly strong on this disc. The Bluebird Is Gone is written
about a friend who passed away, possibly Jimmy Dewar. I had tears in my eyes
and the hairs on my neck stood up the first time I listened to it.....and
every time since. If You Don't, co-written with Ricky Byrd, ends the record
with the lines "Who will tie up all the loose ends and tear down all the
walls I put up to keep myself from finding love at all." It's lines like
this which resonate with the listener, and this disc is sprinkled with all
sorts of classic phrases. One of my favourites is at the end of Wrong #
where Frank muses in a philosophic way "My brother Andrew says in my head
I'm always on a quest/ Well, the quest part is the best part/ So I hope I
never find the answer!"
Frank Carillo mentions that the making of this cd that "The sound just
developed. It was like falling of a mountain. It just happened." A mountain built by decades of honing his craft, of gaining wisdom, he has produced a
work which doesn't easily lend itself to labelling, but it seems to have a
little of everything ie., blues, blues-rock, roots music that is fecund,
ripe brilliance crackling with mastery, authority and sincerity. He
establishes that ineffable connection with the listener; raw, honest,
personal poetry performed by musicians of the highest calibre; this cd
exudes soul from beginning to end. I think it's your time, Frank. Bartender,
5 bottles of your very finest, por favor.
Bruce Miller
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