No matter how hard we might try, family gatherings and holiday season don’t always add up to joyous — or even peaceful — experiences. But when the Trucks clan joined forces for their Soul Stew Revival bash at Tampa Theatre on Monday, a near capacity crowd of around 1,400 witnessed domestic bliss at its finest. The jubilant vibe, marked by expert musicianship, permeated the ancient venue. If the rumors are true about the historic movie house being haunted, even the ghosts must have been grinning.

The gnat’s-ass-tight gang of musicians mesmerized with gorgeous executions of the timeworn tension-and-release dynamic. It’s a God-send rooted in the churches of the Deep South, one that was sold with aplomb to the secular world by the likes of Ray Charles, James Brown and Aretha Franklin. The Allman Brothers Band, Derek Trucks’ chief employer, then expanded the sonic presentation with Kind of Blue-indebted jazz elements in the late 1960s. Decades later, the holy tradition thrives, coming together wonderfully Monday night at Tampa Theatre.

Trucks, a 29-year-old slide guitar master, and his band, were joined by his soul singing (and pretty damn good ax player herself) wife Susan Tedeschi for an awesomely old-school R&B revue goosed with jam band touches. A three-man horn section, two drummers (one being Derek’s younger bro Duane), a percussionist, bassist and keyboardist who doubled as a flautist for one number (think Astral Weeks and save the Jethro Tull jokes) filled the stage. The formidable ensemble, which featured members of Tedeschi’s and Trucks’ individual bands, melded terrifically. 

Photo of Tedeschi and Trucks, from a previous performance, courtesy of Flickr. 

Nuanced blues belter Tedeschi traded vocals with Derek Trucks Band singer Mike Mattison and his delightfully deep growl while Trucks eased in and out with delicious guitar fills before unleashing spellbinding solos. A lengthy rendition of Aaron Neville’s soul stirrer “Hercules” featured the mixed gender, multi-racial group at its fiercest, with every single person on stage nailing a solo. Tedeschi’s vocals were fiery and her hubby’s extended, experimental solo was slack-jaw inducing.

The Lee Boys’ Roosevelt Collier, a Floridian who ranks as the best pedal steel guitarist this side of Robert Randolph, sat in for a couple number including a killer cover of The Band’s “The Weight.” It’s the same song that gave me chills when Trucks brought his wife on stage to sing it at New Orleans Jazz Fest last year. With Collier adding extra sweetness, the encore capped an excellent evening of gimmick-free music staked in emotive, masterful musicianship — an increasingly rare commodity these days. More importantly, Trucks and Tedeschi put across a completely contagious sense of, well, happiness. And that’s something we could all use this season. Especially this season.

OK, here’s my list. Stay tuned for Top 10s by Snider and Leilani.

1. Lucinda Williams: Little Honey (Lost Highway)
On Little Honey, alt-country queen Lucinda Williams returns to the more focused, rock-oriented sonics of her breakthrough 1998 album Car Wheels on a Gravel Road. In doing so, she reveals a newfound sexual confidence (”Honey Bee”) and celebrates domestic bliss (”Tears of Joy”). The singer/songwriter also manages to mine pathos for humor on the superb Elvis Costello duet “Jailhouse Tears.” Williams can still break your heart, though. “Little Rock Star” plays like a much-needed note to Amy Winehouse, penned by a sympathetic female singer who has already survived the perilous, do “whatever it’ll take to get them to listen” phase. Williams closes Little Honey with a fun treat: A surprisingly awesome swamp-rock cover of the AC/DC road warrior anthem “It’s a Long Way to the Top (If You Wanna to Rock ‘n Roll).”

2. Lil Wayne: Tha Carter III (Cash Money)
Lil Wayne’s stoned, whisper-y flow and high-drama delivery is spellbinding. The dude opens his mouth, and you listen, hanging on each dazzlingly whack rhyme. On Tha Carter III, Weezy’s scattered-brain brilliance is in top form – as is the big budget production that dutifully follows Weezy’s serpentine flow like a hypnotized lover. The New Orleans native’s boasts, observations and musings are weirdly striking at nearly every turn (”I’m a young millionaire, tougher than Nigerian hair.”) Wayne still bulks at straight story telling, but to fault him for this would be like dissing Dali or Picasso for rebuking realism.

3. My Morning Jacket: Evil Urges (ATO)
Genre-hopping indeed rock outfit My Morning Jacket’s juiciest disc to date features a smattering of styles, all of which are rendered outstandingly natural by the Louisville band. There are moments of extreme sadness (”Librarian”) and utmost silliness (”Highly Suspicious.”) Leader Jim James’ versatile voice convincingly sells everything from guitar-blazing, kick drum-intensive arena rock (”Aluminum Park”) to somber country-pop (”Sec Walkin.) Unlike other ultra eclectic offerings, Evil Urges never comes across as show-y. You just get the sense that My Morning Jacket is doing what they love. And doing it damn well.

4. Robyn: Robyn (Konichiwa/Cherry Tree/Interscope)
This year former Swedish pop tart Robyn finally witnessed the U.S. release of her 2005 self-titled disc. Britney and the rest of our countrys’ brain-dead blowup dolls blew Robyn away in terms of sales, but the woman born Robin Miriam Carlsson in 1979 proved the most compelling of the bunch. By far. Over thick disco beats, jittery high hat, deep space bleeps and icy strings, Robyn subverts pop platitudes. She exudes sexiness, smarts, poise and vulnerability in a way rarely seen in a world where hottnes is defined by Paris Hilton.

5. Bob Dylan: Tell Tale Signs: The Bootleg Series Vol. 8 (Columbia)
The magnitude of Dylan’s late-career resurgence is brought into sharp focus here with a collection of “rare and unreleased” tracks recorded between 1989 and 2006. The two-disc set is a dud-free treasure chest featuring previously unreleased gems like the Time Out of My Mind outtake “Red River Shore” (an epic folk tale with spiritual overtones), the unreleased 2005 lament “Can’t Escape From You” and the superior Oh Mercy session version of “God Knows.” Another testament to Dylan’s genius is hearing drastically different “alternate takes” that are every bit as fascinating as the ones that made the final cut. Sequenced judicially, Tell Tale Signs plays like a stellar double-album by popular music’s most vital elder statesman.

6. Gnarls Barkley: The Odd Couple (Downtown/Atlantic)
Gnarls Barkley blew people’s minds with their 2006 debut St. Elsewhere. Its synthesis of producer Danger Mouse’s R&B-rap-future funk-fusion and Cee-Lo’s confessional vocals were unlike anything on the market. The duo’s follow-up, The Odd Couple, lacks a chart-shattering single like “Crazy.” But on balance, the new album is every bit as absorbing as its predecessor. With Danger Mouse’s spooky production egging him on, Cee-Lo continues to explore his fragile psyche and emotional well being, making for a mesmerizing foray into what we’ll call nocturnal soul.

7. The Hold Steady: Stay Positive (Vagrant)
The Hold Steady’s booze-y brand of classic rock for the indie set gets expanded, and frontman Craig Finn’s mouthful vocals become clearer, on Stay Positive, the Brooklyn band’s latest collection of gutter reports and tales of sing along song redemption. It’s a more polished Hold Steady. But a band this splendidly raw benefits from professional touches like pushing the vocals and occasional guitar solo up in the mix. And on “Joke About Jamaica,” we’re treated to the revival of the talk box. Ironic bullshit? Not to my ears.

8. Sonny Landreth: From the Reach (Landfall Records)
For nearly two decades, Sonny Landreth has been one of the most respected guitarists on the planet. But the Louisiana-based artist is also a capable singer/songwriter, and on From the Reach the slide guitar virtuoso shows he’s capable of a studio album that does more than frame his axe achievements. A cohesive blend of bayou rock, blues, jazz and touches of prog (”The Milky way Home’), the disc is a gripping showcase of excellent musicianship and emotive songs. Famous friends Jimmy Buffett, Eric Clapton, Robben Ford, Dr. John, Eric Johnson, and Mark Knopfler all make guest appearances – but no one outshines Landreth, who is at the top of his game here as a triple threat entertainer.

9. Metallica: Death Magnetic (Warner Bros.)
Rick Rubin miraculously returned Metallica to its thrash glory this year, which means the best metal act of the 1980s again reigns supreme. Metallica’s trademark recipe of whiplash-inducing riffs, slippery machine gun rhythms, and burly vocals about the innate horrors of the human existence results in a timeless mode of escapism. Especially for the male species. Glad to have ya back, fellas.

10. Jamey Johnson: That Lonesome Song (Mercury)
With a mighty pen and a gruff, expressive voice that straddles the line between George Jones and Waylon Jennings, singer/songwriter Jamey Johnson has become a key player in the latest movement to return Music City from Rascal Flatts fluff to the mature, sad country songs popularized by the so-called Nashville “outlaws” of the 1970s – most famously, Willie & Waylon. Johnson isn’t afraid to show his manly emotions on songs like the poignant, cocaine cautionary tale “High Cost of Low Living” or while singing about his WWII vet granddaddy (without getting sappy) on “In Color.” And on “Women,” Johnson has a hoot poking a little fun at the fairer sex. It’s country. The way it should be. Johnson performs tonight at Dallas Bull in Tampa.

• Top 20 songs of 2008.

• Honorable mentions: more best songs of 2008.

What will acoustic funk favorite Christie Lenee perform from '68?

WMNF’s Flee is straying from his typical tribute show tradition. Instead of having a diverse lineup of local acts honor a single artist he has asked all the bands listed below to cover a tune from 1968 for the community radio station’s upcoming New Year’s Eve bash.

Songs I would like to hear from that year? How about killer renditions of The Rolling Stones’ “Factory Girl,” The Beatles’ “Happiness Is a Warm Gun,” Otis Redding’s “Hard to Handle,” Loretta Lynn’s “Fist City” and The Velvet Underground’s “White Light/White Heat.” Seriously, that would be a rad setlist!

Rewind: The WMNF Tribute to the Music and Songs of 1968 w/ Boon/Christie Lenee (pictured)/Crabgrass Cowboys/Ted Lukas/Johnny Zoom/Lush Progress/Midnight Bowler’s League/Rancid Polecats/Roppongi’s Ace/Talk to Mark, Wed., Dec. 31, Skipper’s Smokehouse, Tampa.

AC/DC, which plays the St. Pete Times Forum on Sun. Dec. 21, is one of the few classic rock acts that steadfastly refuses to peddle the obligatory “greatest hits” CD  — or offer their music as digital downloads, for that matter. And I’m proud of my hard rock heroes for not selling out … Well, for not selling out to anybody except Walmart, with which the band did do a most dirty deed.

Anyway, if AC/DC ever OKs a best-of CD, I want to produce the compilation. Here’s how it would go: 18 tracks in chronological order spanning the years 1976 to 2008, with nine songs each for singers Bon Scott and Brian Johnson. The disc has been quite popular with my friends and coworkers — yes, I’ve made several. The Johnson tracks and greatest 1970s promo music video ever(!) after the jump.

AC/DC: Greatest Hits

1. “It’s a Long Way to the Top (If You Wanna Rock ‘N Roll)”
2. “T.N.T.”
3. “Dirty Deeds Done Dirt Cheap”
4. “Big Balls”
5. “Let There Be Rock”
6. “Whole Lotta Rosie”
7. “Rock ‘N Roll Damnation”
8. “Highway to Hell”
9. “Girls Got Rhythm”

10. “Hells Bells”
11. “Shoot To Thrill”
12. “You Shook Me All Night Long”
13. “Back in Black”
14. “For Those About to Rock (We Salute You)”
15. “Who Made Who”
16. “Thunderstruck”
17. “Money Talks”
18. “Rock ‘N Roll Train”

“It’s a Long Way to the Top (If You Wanna Rock ‘N Roll)”

Jacksonville’s Derek Trucks, 29, has established himself as the greatest guitarist of his generation: He’s a genre-hopping band leader/solo artist, key Allman Brother and while on tour with Eric Clapton a couple years back the kid named after Derek and the Dominos helped Slow Hand wonderfully recreate classics from Layla and Other Assorted Love Songs. Yeah, Trucks is the shit.

And so is his wife, Susan Tedeschi. She’s a feisty blues guitarist, an accomplished songwriter and excellent soul singer. Her new album, Back to the River, features her crushing on emotive originals – several cowritten with Trucks, who also lends his slide guitar fineness to the disc – steeped in the sounds of the Deep South. Tedeschi’s also a master interpreter of classic rock gems. One of the many highlights of the New Orleans Jazz & Heritage Festival 2008 was during the final moments when Tedeschi joined Derek Truck’s group for a tent-raising rendition of The Band’s “The Weight.” I get chills and a smile comes to my face just thinking about that very special performance.

The skinny: Soul Stew Revival is an 11-piece ensemble led by slide guitarist Derek Trucks and vocalist/guitarist Susan Tedeschi. The ensemble also includes horn players Kevin Hyde, Paul Garrett, Mace Hibbard and Derek’s younger brother, Duane, on second drum kit in addition to current members of The Derek Trucks Band: Todd Smallie (bass), Yonrico Scott (drums), Kofi Burbridge (keys & flute) Mike Mattison (vocals), Count M’Butu (percussion).

Derek Trucks and Susan Tedeschi Soul Stew Revival, 7:30 p.m. Mon., Dec. 29, Tampa Theatre, Tampa, $57.50/$47.50/$37.50.

Read my interview with Derek Trucks that ran Jan., 2007.

Here’s my review of the Susan Tedeschi show, Saturday, April 21, at Jannus Landing, St. Petersburg, 2007.

Derek Trucks Band w/Susan Tedeschi — The Weight (NOLA Jazz Fest 2008)

My “Top 20 Songs of 2008″ feature is in the Creative Loafing that streets today. Here are my honorable mentions:

“All Nightmare Long,” Metallica
Metal masters are back – with a fierceness.

“Anyone Who had a Heart,” Shelby Lynne
Dusty would be proud.

“Be Mine!” Robyn (pictured)
Britney with brains.

“Better Get to Livin,’” Dolly Parton
Feel-good country pop from everyone’s favorite drag queen.

“Chemtrails,” Beck
Trippy dude.

“Discipline,” Nine Inch Nails
More Reznor industrial wickedness of the highest order.

“Don’t Change,” Lyrics Born
Positive alternative rap with a disco beat.

“Dust My Broom,” Cassandra Wilson
Greatest vocalist alive lends her sublimely smokey contralto to this Robert Johnson blues classic.

“Furr,” Blitzen Trapper
A splendid Dylan rip-off.

“Getting’ Up,” Q-Tip
Rap word master is back with a smooth, mellow, masterstroke.

“I Wish I Knew,” Hank Williams III
Hellbilly renegade turns in a high, lonesome, first-rate tearjerker.

“Juliet of the Spirits,” The B-52s
Original college rockers return with a clubby cool ode to Fellini – and fallen women.

“Just Us Kids,” James McMurtry
Moving tale of a couple blue-collar guys reflecting on their real-life working man blues.

“Life Has Its Little Ups and Downs,” Raul Malo
Former Maverick faithfully and wonderfully updates this countrypolitan, Charlie Rich chestnut.

“Lonely Me, Lonely You,” The Gibson Brothers
Gorgeous close-harmonies that teem with hillbilly charm – and genuine heartache.

“A Lot of Days Are Gone,” The Hacienda Brothers
A fitting farewell to underground alt-country standout Chris Gaffney.

“Outlaw Shit,” Waylon Jennings
The late, great honky tonk hero says goodbye – his way.

“Pretty Runs Out,” Amanda Shaw
Catchy Cajun pop from precocious teen fiddling sensation.

“Salute Your Solution,” The Raconteurs
Awesomely gritty garage rock with ample swagger.

“She Loves the Sunset,” Old 97’s
Steel guitar and sweet vocals celebrate the joys of romance.

“Stay with Me,” Al Green
The reverend’s best cut in years, sounds like something criminally left off that Green’s greatest hits CD we all have – or should have!

“Street of Dreams,” Guns N’ Roses
“November Rain” rewrite still ranks as best power ballad to be issued in years, by anyone.

“Supernatural Superserious,” R.E.M.
Athens allstars bring back the blazing guitars and elate fans with a song that recalls the band’s glory, I.R.S. days.

“Waitin’ For Some Girl,” Ry Cooder
Slide-guitar-ace-turned storyteller offers another amazingly literate character study.

“When I Still had You,” Sonny Landreth
Reigning king of the slide guitar Sonny Landreth displays his melody-writing chops.

Here’s a continuation of my “Top 10: Depressing Christmas Songs.” Because, truth be told, I still ain’t feeling too damn cheery this time of year. But, y’know, happy holidays!

1. “Christmas Card From a Hooker in Minneapolis,” Tom Waits
Killer line: “I’ll be eligible for parole come Valentine’s Day.”

2. “Blue Christmas,” Elvis Presley
Killer line: “Youll be doin all right, with your Christmas of white, but I’ll have a blue, blue blue blue Christmas.”

3. “Christmas in Washington,” Steve Earle
Killer line: “If you run into Jesus, maybe he can help you out.”

4. “A Long December,” Counting Crows
Killer line: “I guess the winter makes you laugh a little slower.”

5. “Same Old Lang Syne,” Dan Fogelberg
Killer line: “She gave a kiss to me as I got out, and I watched her drive away.”

6. “Please, Daddy (Don’t Get Drunk This Christmas),” John Denver
Killer line: “Then you laughed and hollered, ‘Merry Christmas;’ I turned around and saw my Mumma’s tears.”

7. “December Baby,” Ingrid Michaelson
Killer line: “I wore the dress I thought you loved, but my boots are filling with snow you shoved.”

8. “December Skies,” Cowboy Junkies
Killer line: “Time to kill our children, and sing about it.”

9. “Santa’s Beard,” They Might Be Giants
Killer line: “I don’t like that fat guy around.”

10. “Christmas (Baby Please Come Home),” U2
Killer line: “They’re singin’ ‘Deck the Halls,’ but it’s not like Christmas at all.”

My favorite yearly music bash, the New Orleans Jazz & Heritage Fest, just announced its lineup for 2009 and I’m stoked about Aretha Franklin headlining the second weekend, April 30-May 3, which I annually attend. I’ve never seen the Queen of Soul and can’t imagine a better place than the Big Easy for it to finally happen.

Other acts on my must-see list for that weekend include Tony Bennett, The Neville Brothers, Bonnie Raitt, Common, Emmylou Harris (huge fan, never seen her before), Dr. John, Buddy Guy, Los Lobos, Toots & the Maytals, Allen Toussaint, John Mayall (he’s pretty cool live), Solomon Burke, Doc Watson, Jakob Dylan (more out of curiosity), Chuck Brown, Guy Clark, Cedric Burnside & Lightnin’ Malcolm.

Check out some of my Jazz Fest coverage from last year.

Soul Rebels, which I wrote about last year while at Jazz Fest, and other killer New Orleans acts after the jump.

The Crescent City acts I plan to squeeze into my schedule during the weekend: Soul Rebels, Radiators Aaron Neville, Tab Benoit & the Wetland Allstars, Ellis Marsalis, Kermit Ruffins & the Barbecue Swingers, Dirty Dozen Brass Band, Walter “Wolfman” Washington & the Roadmasters, the subdudes, Irvin Mayfield & the New Orleans Jazz Orchestra, Bonerama.

Former Smith and indie boy icon Morrissey will bring his melodramatic croon and hopeless romanticism to Jannus Landing on March 4. Tickets go on sale Friday, Dec. 19 at 10am through Ticketmaster, or charge by phone at 800-745-3000. Moz will begin the U.S. leg of his world tour in support of his new album, Years of Refusal, this February. Morrissey will be backed by his longtime band including Boz Boorer, Jesse Tobias, Matt Walker and Solomon Walker. Video clip after the jump.

Morrissey — “Irish Blood, English Heart”

Why do the same flannel-era rock acts play the ’Burg every six months? Because they draw. Much more than I ever expected. A few weeks ago, I dropped into the State Theatre to meet some friends who were seeing the Toadies (the band had that ’90s hit about some shit that went down “behind the boathouse”).

I anticipated a couple hundred in attendance — but the place was packed. And there were even young hipsters there. Guess they enjoy it under the cover of irony. Anyway, fellow post-grungers Seven Mary Three, of Orlando, had even more Clinton-era hits — “Cumbersome,” “Water’s Edge,” “Over Your Shoulder” — than the Toadies so expect a huge turnout at everyone’s favorite downtown courtyard on Thursday when Seven Mary Three plays Jannus Landing — just don’t expect to see me there.

Seven Mary Three — Water’s Edge