I am sad to hear of the passing of the legendary Les Paul, but happy to see his passing has not gone unnoticed by the world. A giant in the music industry throughout the 20th century and the first decade of this one, here is the media release from Gibson Guitar:
The World Has Lost a Remarkable Innovator and Musician: Les Paul Passes Away at 94
June 9, 1915- Aug. 13, 2009
New York, NY August 13, 2009 Les Paul, acclaimed guitar player, entertainer and inventor, passed away today from complications of severe pneumonia at White Plains Hospital in White Plain, New York, surrounded by family and loved ones.
He had been receiving the best available treatment through this final battle and in keeping with his persona, he showed incredible strength, tenacity and courage. The family would like to express their heartfelt thanks for the thoughts and prayers from his dear friends and fans. Les Paul was 94. One of the foremost influences on 20th century sound and responsible for the world’s most famous guitar, the Les Paul model, Les Paul’s prestigious career in music and invention spans from the 1930s to the present. Though he’s indisputably one of America’s most popular, influential, and accomplished electric guitarists, Les Paul is best known as an early innovator in the development of the solid body guitar. His groundbreaking design would become the template for Gibson’s best-selling electric, the Les Paul model, introduced in 1952. Today, countless musical legends still consider Paul’s iconic guitar unmatched in sound and prowess. Among Paul’s most enduring contributions are those in the technological realm, including ingenious developments in multi-track recording, guitar effects, and the mechanics of sound in general.
Born Lester William Polsfuss in Waukesha, Wisconsin on June 9, 1915, Les Paul was already performing publicly as a honky-tonk guitarist by the age of 13. So clear was his calling that Paul dropped out of high school at 17 to play in Sunny Joe Wolverton’s Radio Band in St. Louis. As Paul’s mentor, Wolverton was the one to christen him with the stage name “Rhubarb Red,” a moniker that would follow him to Chicago in 1934. There, Paul became a bonafide radio star, known as both hillbilly picker Rhubarb Red and Django Reinhardt-informed jazz guitarist Les Paul. His first recordings were done in 1936 on an acoustic—alone as Rhubarb Red, as well as backing blues singer Georgia White. The next year he formed his first trio, but by 1938 he’d moved to New York to begin his tenure on national radio with one of the more popular dance orchestras in the country, Fred Waring’s Pennsylvanians. Tinkering with electronics and guitar amplification since his youth, Les Paul began constructing his own electric guitar in the late ’30s. Unhappy with the first generation of commercially available hollowbodies because of their thin tone, lack of sustain, and feedback problems, Paul opted to build an entirely new structure.
“I was interested in proving that a vibration-free top was the way to go,” he has said. “I even built a guitar out of a railroad rail to prove it. What I wanted was to amplify pure string vibration, without the resonance of the wood getting involved in the sound.” With the good graces of Epiphone president Epi Stathopoulo, Paul used the Epiphone plant and machinery in 1941 to bring his vision to fruition. He affectionately dubbed the guitar “The Log.” Les Paul’s tireless experiments sometimes proved to be dangerous, and he nearly electrocuted himself in 1940 during a session in the cellar of his Queens apartment. During the next two years of rehabilitation, Les earned his living producing radio music. Forced to put the Pennsylvanians and the rest of his career on hold, Les Paul moved to Hollywood.
During World War II, he was drafted into the Army but permitted to stay in California, where he became a regular player for Armed Forces Radio Service. By 1943 he had assembled a trio that regularly performed live, on the radio, and on V-Discs. In 1944 he entered the jazz spotlight—thanks to his dazzling work filling in for Oscar Moore alongside Nat King Cole, Illinois Jacquet, and other superstars —at the first of the prestigious Jazz at the Philharmonic concerts. By his mid-thirties, Paul had successfully combined Reinhardt-inspired jazz playing and the western swing and twang of his Rhubarb Red persona into one distinctive, electrifying style. In the Les Paul Trio he translated the dizzying runs and unusual harmonies found on Jazz at the Philharmonic into a slower, subtler, more commercial approach. His novelty instrumentals were tighter, brasher, and punctuated with effects. Overall, the trademark Les Paul sound was razor-sharp, clean-shaven, and divinely smooth. As small combos eclipsed big bands toward the end of World War II, Les Paul Trio’s popularity grew. They cut records for Decca both alone and behind the likes of Helen Forrest, the Andrews Sisters, the Delta Rhythm Boys, Dick Hayes, and, most notably, Bing Crosby. Since 1945, when the crooner brought them into the studio to back him on a few numbers, the Trio had become regular guests on Crosby’s hit radio show.
The highlight of the session was Paul’s first No. 1 hit and million-seller, the gorgeous “It’s Been a Long, Long Time.” Meanwhile, Paul began to experiment with dubbing live tracks over recorded tracks, also altering the playback speed. This resulted in “Lover (When You’re Near Me),” his revolutionary 1947 predecessor to multi-track recording. The hit instrumental featured Les Paul on eight different electric guitar parts, all playing together. In 1948, Paul nearly lost his life to a devastating car crash that shattered his right arm and elbow. Still, he convinced doctors to set his broken arm in the guitar-picking and cradling position. Laid up but undaunted, Paul acquired a first generation Ampex tape recorder from Crosby in 1949, and began his most important multi-tracking adventure, adding a fourth head to the recorder to create sound-on-sound recordings. While tinkering with the machine and its many possibilities, he also came up with tape delay. These tricks, along with another recent Les Paul innovation—close mic-ing vocals—were integrated for the first time on a single recording: the 1950 No. 1 tour de force “How High the Moon.” This historic track was performed during a duo with future wife Mary Ford. The couple’s prolific string of hits for Capitol Records not only included some of the most popular recordings of the early 1950s, but also wrote the book on contemporary studio production. The dense but crystal clear harmonic layering of guitars and vocals, along with Ford’s close mic-ed voice and Paul’s guitar effects, produced distinctively contemporary recordings with unprecedented sonic qualities. Through hits, tours, and popular radio shows, Paul and Ford kept one foot in the technological vanguard and the other in the cultural mainstream. All the while, Les Paul continued to pine for the perfect guitar. Though The Log came close, it wasn’t quite what he was after. In the early 1950s, Gibson Guitar would cultivate a partnership with Paul that would lead to the creation of the guitar he’d seen only in his dreams.
In 1948, Gibson elected to design its first solidbody, and Paul, a self-described “dyed-in-the-wool Gibson man,” seemed the right man for the job. Gibson avidly courted the guitar legend, even driving deep into the Pennsylvania mountains to deliver the first model to newlyweds Les Paul and Mary Ford. “Les played it, and his eyes lighted up,” then-Gibson President Ted McCarty has recalled. The year was 1950, and Paul had just signed on as the namesake of Gibson’s first electric solidbody, with exclusive design privileges. Working closely with Paul, Gibson forged a relationship that would change popular culture forever. The Gibson Les Paul model—the most powerful and respected electric guitar in history—began with the 1952 release of the Les Paul Goldtop. After introducing the original Les Paul Goldtop in 1952, Gibson issued the Black Beauty, the mahogany-topped Les Paul Custom, in 1954. The Les Paul Junior (1954) and Special (1955) were also introduced before the canonical Les Paul Standard hit the market in 1958. With revolutionary humbucker pickups, this sunburst classic has remained unchanged for the half-century since it hit the market.
“The world has lost a truly innovative and exceptional human being today. I cannot imagine life without Les Paul. He would walk into a room and put a smile on anyone’s face. His musical charm was extraordinary and his techniques unmatched anywhere in the world,” said Henry Juszkiewicz, Chairman and CEO of Gibson Guitar. “We will dedicate ourselves to preserving Les’ legacy to insure that it lives on forever. He touched so many lives throughout his remarkable life and his influence extends around the globe and across every boundary. I have lost a dear, personal friend and mentor, a man who has changed so many of our lives for the better.” “I don’t think any words can describe the man we know as Les Paul adequately. The English language does not contain words that can pay enough homage to someone like Les. As the “Father of the Electric Guitar”, he was not only one of the world’s greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world,” said Dave Berryman, President of Gibson Guitar. “I have had the privilege to know and work with Les for many, many years and his passing has left a deep personal void. He was simply put – remarkable in every way. As a person, a musician, a friend, an inventor. He will be sorely missed by us all,” With the rise of the rock ’n’ roll revolution of 1955, Les Paul and Mary Ford’s popularity began to wane with younger listeners, though Paul would prove to be a massive influence on younger generation of guitarists. Still, Paul and Ford maintained their iconic presence with their wildly popular television show, which ran from 1953-1960. In 1964, the couple, parents to a son and daughter, divorced. Paul began playing in Japan, and recorded an LP for London Records before poor health forced him to take time off—as much as someone so inspired can take time off.
In the 1977, Paul resurfaced with a Grammy-winning Chet Atkins collaboration, Chester and Lester. Then the ailing guitarist, who’d already suffered arthritis and permanent hearing loss, had a heart attack, followed by bypass surgery. Ever stubborn, Les recovered, and returned to live performance in the late 1980s. Even releasing the 2005 double-Grammy winner Les Paul Friends: American Made World Played, featuring collaborations with a veritable who’s who of the electric guitar, including dozens of illustrious fans like Keith Richards, Buddy Guy, Billy Gibbons, Jeff Beck, Eric Clapton, and Joe Perry.
In 2008, The Rock and Roll Hall of Fame paid tribute to Les Paul in a week-long celebration of his life which culminated with a live performance by Les himself. Until recently Les continued to perform two weekly New York shows with the Les Paul Trio, at The Iridium Jazz Club in New York City, for over twelve years where a literal who’s who of the entertainment world has paid homage. It has been an honor to have Les Paul perform at The Iridium Jazz Club for the past twelve years hosting such luminaries as Paul McCartney, Keith Richards and others and is a tragic loss to owner Ron Sturm both personally and professionally. Iridium intends to celebrate Les Paul's music and legacy every Monday night. Les Paul has since become the only individual to share membership into the Grammy Hall of Fame, the Rock and Roll Hall of Fame, the National Inventors Hall of Fame, and the National Broadcasters Hall of Fame. Les is survived by his three sons Lester (Rus) G. Paul, Gene W. Paul and Robert (Bobby) R. Paul, his daughter Colleen Wess, son-in-law Gary Wess, long time friend Arlene Palmer, five grandchildren and five great grandchildren. A private Funeral service will be held in New York. A service in Waukesha, WI will be announced at a later date. Details will follow and will be announced for all services. Memorial tributes for the public will be announced at a future date. The family asks that in lieu of flowers, donations be made to the Les Paul Foundation, 236 West 30th Street, 7th Floor, New York, New York 10001.
Thursday, August 13, 2009
Tuesday, August 11, 2009
Neil Young to be honored as 2010 MusiCares Person of the Year
Most of my regular readers know that Neil Young is one of my favorite singer-songwriters on the planet. So hot off the electronic wire, this media release is welcome news and I wanted to share it with all of you. Have a great week and keep on rocking in the free world!
NEIL YOUNG TO BE HONORED AS 2010 MUSICARES® PERSON OF THE YEAR
Gala Benefiting the MusiCares Foundation® Celebrates Its 20th Anniversary and
Will Be Held Jan. 29, 2010, During GRAMMY® Week
SANTA MONICA, Calif. (Aug. 11, 2009) — Legendary musician Neil Young will be honored as the 2010 MusiCares® Person of the Year at its 20th anniversary gala, it was announced today by Neil Portnow, President/CEO of the MusiCares Foundation and The Recording Academy®, and Paul Caine, Chair of the MusiCares Foundation Board. Proceeds from the annual GRAMMY® Week gala dinner and concert honoring Young — to be held in Los Angeles on Friday, Jan. 29, 2010, two days prior to the 52nd Annual GRAMMY Awards — will provide essential support for MusiCares, which ensures that music people have a place to turn to in times of financial, medical and personal need.
The incomparable singer, songwriter and performer is being honored as the MusiCares Person of the Year in recognition of his exceptional and influential artistic accomplishments as well as his philanthropic work, which has included many generous charitable activities over the years.
"It is an honor to celebrate the extraordinary legacy of Neil Young at our 20th Annual MusiCares Person of the Year tribute," said Portnow. "Neil has set a standard of artistic integrity and iconoclastic creativity for more than four decades, and his achievements have been matched by his unwavering humanitarianism. He is a shining example of how music people offer their creative gifts to the world, and how they also give back through their commitments to charitable endeavors."
"Throughout his career, Neil has stood out as an exceptionally talented performer, and he has stood for causes that are both noble and close to his heart." said Caine. "We look forward to paying tribute to him at this signature GRAMMY Week gala."
The 2010 MusiCares Person of the Year gala will begin with a reception and silent auction offering an exclusive and unparalleled selection of luxury items, VIP experiences and one-of-a-kind celebrity memorabilia for bidding guests. The reception and silent auction will be followed by a dinner, the award presentation and a star-studded tribute concert. The MusiCares Person of the Year tribute ceremony, co-chaired by Warner Bros. Records Chairman Emeritus Mo Ostin, Lookout Management President and Founder Elliot Roberts and Warner Bros. Records Chairman/CEO Tom Whalley, is one of the most prestigious events held during GRAMMY Week. The celebration culminates with the 52nd Annual GRAMMY Awards on Sunday, Jan. 31, 2010, at STAPLES Center in Los Angeles . The telecast will be broadcast live on the CBS Television Network at 8 p.m. ET/PT.
Young's career began with his earliest recordings as a member of the Squires in Winnipeg , Canada , in 1963. He rose to prominence with classic albums such as 1970's After The Gold Rush and 1972's Harvest, and through work with bands such as Buffalo Springfield (Buffalo Springfield, Buffalo Springfield Again); Crosby, Stills, Nash & Young (American Dream, Déjà Vu); and Neil Young With Crazy Horse (Everybody Knows This Is Nowhere).
He has directed films and released them through his production company Shakey Pictures, including Rust Never Sleeps (1979) and the documentary CSNY/Déjà Vu (2008).
Young continues to push artistic boundaries and has recently released Neil Young Archives Vol. 1 1963–1972 in a variety of formats including Blu-ray, allowing fans to continue to receive new Neil Young archival content as it becomes available.
He has received numerous awards and accolades throughout his career including an Oscar nomination in 1993 for his song " Philadelphia " from the film Philadelphia. He was inducted into the Canadian Music Hall of Fame in 1982, and has twice been inducted into the Rock and Roll Hall of Fame — in 1995 for his solo work, and in 1997 as a member of Buffalo Springfield.
Young's philanthropic work is as renowned as his musical heritage. He was one of the original founders of Farm Aid in 1985, and continues to be an active member on the organization's board of directors. Each October, he and his wife Pegi organize and host the Bridge School Concerts, a benefit for the Bridge School that he and Pegi helped found. The school ensures that children with severe speech and physical impairments achieve full participation in their communities through the use of assistive technology and the development, implementation and dissemination of innovative educational strategies. These weekend concerts have drawn an international array of musical artists and have raised significant resources for the school.
Established in 1989 by The Recording Academy, MusiCares provides a safety net of critical assistance for music people in times of need. MusiCares' services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. MusiCares also focuses the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community. For more information, please visit www.musicares.com.
Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com. For breaking news and exclusive content, join the organization's social networks as a follower on Twitter at www.twitter.com/thegrammys and a Facebook fan at www.facebook.grammy.com, and a YouTube channel subscriber at www.youtube.com/thegrammys.
Gala Benefiting the MusiCares Foundation® Celebrates Its 20th Anniversary and
Will Be Held Jan. 29, 2010, During GRAMMY® Week
SANTA MONICA, Calif. (Aug. 11, 2009) — Legendary musician Neil Young will be honored as the 2010 MusiCares® Person of the Year at its 20th anniversary gala, it was announced today by Neil Portnow, President/CEO of the MusiCares Foundation and The Recording Academy®, and Paul Caine, Chair of the MusiCares Foundation Board. Proceeds from the annual GRAMMY® Week gala dinner and concert honoring Young — to be held in Los Angeles on Friday, Jan. 29, 2010, two days prior to the 52nd Annual GRAMMY Awards — will provide essential support for MusiCares, which ensures that music people have a place to turn to in times of financial, medical and personal need.
The incomparable singer, songwriter and performer is being honored as the MusiCares Person of the Year in recognition of his exceptional and influential artistic accomplishments as well as his philanthropic work, which has included many generous charitable activities over the years.
"It is an honor to celebrate the extraordinary legacy of Neil Young at our 20th Annual MusiCares Person of the Year tribute," said Portnow. "Neil has set a standard of artistic integrity and iconoclastic creativity for more than four decades, and his achievements have been matched by his unwavering humanitarianism. He is a shining example of how music people offer their creative gifts to the world, and how they also give back through their commitments to charitable endeavors."
"Throughout his career, Neil has stood out as an exceptionally talented performer, and he has stood for causes that are both noble and close to his heart." said Caine. "We look forward to paying tribute to him at this signature GRAMMY Week gala."
The 2010 MusiCares Person of the Year gala will begin with a reception and silent auction offering an exclusive and unparalleled selection of luxury items, VIP experiences and one-of-a-kind celebrity memorabilia for bidding guests. The reception and silent auction will be followed by a dinner, the award presentation and a star-studded tribute concert. The MusiCares Person of the Year tribute ceremony, co-chaired by Warner Bros. Records Chairman Emeritus Mo Ostin, Lookout Management President and Founder Elliot Roberts and Warner Bros. Records Chairman/CEO Tom Whalley, is one of the most prestigious events held during GRAMMY Week. The celebration culminates with the 52nd Annual GRAMMY Awards on Sunday, Jan. 31, 2010, at STAPLES Center in Los Angeles . The telecast will be broadcast live on the CBS Television Network at 8 p.m. ET/PT.
Young's career began with his earliest recordings as a member of the Squires in Winnipeg , Canada , in 1963. He rose to prominence with classic albums such as 1970's After The Gold Rush and 1972's Harvest, and through work with bands such as Buffalo Springfield (Buffalo Springfield, Buffalo Springfield Again); Crosby, Stills, Nash & Young (American Dream, Déjà Vu); and Neil Young With Crazy Horse (Everybody Knows This Is Nowhere).
He has directed films and released them through his production company Shakey Pictures, including Rust Never Sleeps (1979) and the documentary CSNY/Déjà Vu (2008).
Young continues to push artistic boundaries and has recently released Neil Young Archives Vol. 1 1963–1972 in a variety of formats including Blu-ray, allowing fans to continue to receive new Neil Young archival content as it becomes available.
He has received numerous awards and accolades throughout his career including an Oscar nomination in 1993 for his song " Philadelphia " from the film Philadelphia. He was inducted into the Canadian Music Hall of Fame in 1982, and has twice been inducted into the Rock and Roll Hall of Fame — in 1995 for his solo work, and in 1997 as a member of Buffalo Springfield.
Young's philanthropic work is as renowned as his musical heritage. He was one of the original founders of Farm Aid in 1985, and continues to be an active member on the organization's board of directors. Each October, he and his wife Pegi organize and host the Bridge School Concerts, a benefit for the Bridge School that he and Pegi helped found. The school ensures that children with severe speech and physical impairments achieve full participation in their communities through the use of assistive technology and the development, implementation and dissemination of innovative educational strategies. These weekend concerts have drawn an international array of musical artists and have raised significant resources for the school.
Established in 1989 by The Recording Academy, MusiCares provides a safety net of critical assistance for music people in times of need. MusiCares' services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. MusiCares also focuses the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community. For more information, please visit www.musicares.com.
Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com. For breaking news and exclusive content, join the organization's social networks as a follower on Twitter at www.twitter.com/thegrammys and a Facebook fan at www.facebook.grammy.com, and a YouTube channel subscriber at www.youtube.com/thegrammys.
Great White coming to The Coach House
Great White will play at the Coach House on Thursday night, Aug. 13.
This story was originally posted on the Orange County Register Web site on Monday, Aug. 10, 2009.
Southern California-based Great White will celebrate the release of the band's latest album, "Rising," with a headlining show Thursday, Aug. 13, 2009 at The Coach House in San Juan Capistrano.
The hard-edged blues rockers' 2009 commercial release is a follow-up to 2006's "Back to the Rhythm." Across the group's new 11-song album, singer Jack Russell, guitarist Mark Kendall, drummer Audie Desbrow, guitarist-keyboardist Michael Lardie and bassist Scott Snyder show that Great White is one of the most overlooked rockers to emerge in the 1980s.
Sadly, a fire that killed 100 people in a Rhode Island nightclub in 2003 during one of Great White's concerts thrust the band into the spotlight more than its music this decade. But the group's subsequent albums have built an increasingly strong case that what ultimately defines the band is rock 'n' roll played with an edge.
From the funk-tinged "I Don't Mind" and hard-rocking "Situation" to the confessional blues of "All Or Nothing" (in which Russell sings "I'm dyin' to live, yeah, livin' to die/Honey, listen to me sing the blues/No, no you can't judge me until you've lived my life/Till you're walkin' in my shoes"), the band continues to mine a wealth of classic rock and blues influences.
At the upcoming Coach House show, Great White will likely feature new material off "Rising," as well as favorites such as "Face the Day," "Save Your Love," "Rock Me" and the Grammy-nominated remake of Ian Hunter's "Once Bitten, Twice Shy."
For more information, call the Coach House at 949-496-8930.
Friday, August 07, 2009
Philip Vandermost completes 'The Long Path'
This story was first published on Tuesday, Aug. 4 when it appeared on the Orange County Register Web site.
When it comes to crafting rock music for the ages, singer-songwriter Philip Vandermost is already a master.
The Laguna Niguel resident celebrated the release of his sophomore album "The Long Path" with an appearance as part of the acclaimed International Pop Overthrow (better known as IPO) festival in Huntington Beach on July 25, and also performed a full-length encore via an afternoon set at the OC Fair in Costa Mesa the following day.
The Laguna Niguel resident celebrated the release of his sophomore album "The Long Path" with an appearance as part of the acclaimed International Pop Overthrow (better known as IPO) festival in Huntington Beach on July 25, and also performed a full-length encore via an afternoon set at the OC Fair in Costa Mesa the following day.
"The Long Path" is a triumph, filled with propulsive power-pop ("New Way," "Trying Again"), articulate guitar rock ("Barefoot," "Miles to Go") and classic rock-styled songcraft ("Turn Me Around," "Alone"). Across the 11-song disc, Vandermost's skills as singer and guitar virtuoso shine, building on the promise he displayed on his 2008 debut, "Automatic August."
Vandermost and his band will perform a free full-length show at Mahé in Dana Point at 7 p.m. on Saturday night, Aug. 8, while he will perform a solo acoustic show at the same venue on Thursday, Aug. 20.
"The Long Path" was produced by Andrew Alekel, who is credited with engineering and producing albums for Foo Fighters, No Doubt, Queens of the Stone Age, Matt Costa and others.
"The Long Path" was produced by Andrew Alekel, who is credited with engineering and producing albums for Foo Fighters, No Doubt, Queens of the Stone Age, Matt Costa and others.
"Andrew sent me an e-mail and asked if I was interested in doing a CD," recalled Vandermost in a recent interview.
"I had just finished home demos for the next CD so the timing was perfect."
Vandermost, bassist Scott Vonkaenel and drummer Nick Hoffman spent 11 days recording and mixing tracks at Grandmaster Recorders in Hollywood.
"I knew I would have to have the arrangements down," explained Vandermost, noting Alekel's studio expertise helped every step in the recording process.
"To me, this (album) is light years beyond what I did last time," Vandermost said.
His favorite track is the title track, which boasts an immediately-luring vocal melody wrapped around a lush rock soundscape.
"I had just finished home demos for the next CD so the timing was perfect."
Vandermost, bassist Scott Vonkaenel and drummer Nick Hoffman spent 11 days recording and mixing tracks at Grandmaster Recorders in Hollywood.
"I knew I would have to have the arrangements down," explained Vandermost, noting Alekel's studio expertise helped every step in the recording process.
"To me, this (album) is light years beyond what I did last time," Vandermost said.
His favorite track is the title track, which boasts an immediately-luring vocal melody wrapped around a lush rock soundscape.
"'The Long Path' is especially significant; musically, it's inspired by classic rock I listen to and new rock too – it brings old and new together. (Lyrically) It's about my journey (through life) – it looks at appreciating each other and not to lose hope," Vandermost said.
The song also features plenty of Vandermost's virtuoso guitar work, which is always unleashed in the service of the songs.
"I love performing too. It has been a wonderful development in the way that I express myself," said Vandermost, a celebrated lead guitar player who was a member of Greenwich Meantime, the Kelly Bowlin Band and the George Fryer Combo before embarking on a solo career in 2008.
The song also features plenty of Vandermost's virtuoso guitar work, which is always unleashed in the service of the songs.
"I love performing too. It has been a wonderful development in the way that I express myself," said Vandermost, a celebrated lead guitar player who was a member of Greenwich Meantime, the Kelly Bowlin Band and the George Fryer Combo before embarking on a solo career in 2008.
Vandermost has been embraced by leaders of the regional music scene, with IPO founder David Bash among his growing number of supporters. In addition to picking up both his albums at his live performances, listeners can purchase his album via iTunes, Amazon.com and other well-known online music distributors. He also wrote a melodic pop-rock gem, "Again and Again," that is included on the newly-released "International Pop Overthrow: Volume 12" collection available via Not Lame Recording Company.
"IPO is a great community, and a great umbrella for promoting independent music," Vandermost said.
"IPO is a great community, and a great umbrella for promoting independent music," Vandermost said.
Wednesday, August 05, 2009
Pet Shop Boys Break Billboard Record
I thought this media release was worth noting, especially since the Pet Shop Boys' latest album titled Yes is one of my favorites releases of 2009. The group will perform in Los Angeles on Sept. 24. Here is the media release from EMI:
Over 25 years after the release of their worldwide hit 'West End Girls', Pet Shop Boys return in grand style, setting the record for the most number 1’s on Billboard Magazine’s Dance/Club chart among groups with 'Love Etc.' the first single off their acclaimed album Yes. It's the ninth time the band has hit the top spot, vaunting over fellow electro-pop veterans Depeche Mode. Yes, the band's first album on Astralwerks and tenth album overall, debuted at an impressive No. 32 on the Billboard 200, achieving the act's highest position on that chart since 1993's Very debuted at No. 20.
Earlier this year the duo performed at the Brit Awards, sharing the stage with admirers Lady Gaga and Brandon Flowers (The Killers), and receiving an outstanding contribution to music award. The band will be bringing their celebrated stage show to the states this September. Dubbed the 'Pandemonium' tour, the dates will be filled with wild surprises and extravagant fun, in which 'every night is Friday night' according to Pet Shop Boys keyboardist Chris Lowe. A recent poster contest for the tour garnered nearly 700 entries.
The London Financial Times have noted that Pet Shop Boys 'pride themselves on mounting artful visual spectaculars: previous tours were co-designed with the likes of Derek Jarman, Zaha Hadid and Sam Taylor-Wood.' And in the words of the Guardian UK, 'this extraordinary show both consolidates and extends the Pet Shop Boys' multifaceted appeal...It's an art gallery, musical, gay disco and pop concert in one...This show is a triumph of staging and pop's ability to entertain, move and subvert.'
8/29 Montreal , Metropolis
8/30 Toronto , V Fest
9/1-2 New York NY , Hammerstein
9/3 Washington DC , Constitution Hall
9/5 Boston MA , HOB
9/6 Atlantic City NJ , House of Blues
9/9 Miami FL , Fillmore
9/10 Tampa FL , Tampa Bay PAC
9/11 Orlando FL , HOB
9/12 Atlanta GA , Chastain
9/14 Chicago IL , Chicago Theater
9/15 Milwaukee WI , Pabst Ballroom
9/16 Minneapolis MN , State Theater
9/19 Vancouver, Vancouver Centre of the Perf Arts
9/20 Seattle WA , Moore
9/22-23 San Francisco CA , Warfield
9/24 Los Angeles CA , Greek
9/26 Las Vegas NV , Joint
Over 25 years after the release of their worldwide hit 'West End Girls', Pet Shop Boys return in grand style, setting the record for the most number 1’s on Billboard Magazine’s Dance/Club chart among groups with 'Love Etc.' the first single off their acclaimed album Yes. It's the ninth time the band has hit the top spot, vaunting over fellow electro-pop veterans Depeche Mode. Yes, the band's first album on Astralwerks and tenth album overall, debuted at an impressive No. 32 on the Billboard 200, achieving the act's highest position on that chart since 1993's Very debuted at No. 20.
Earlier this year the duo performed at the Brit Awards, sharing the stage with admirers Lady Gaga and Brandon Flowers (The Killers), and receiving an outstanding contribution to music award. The band will be bringing their celebrated stage show to the states this September. Dubbed the 'Pandemonium' tour, the dates will be filled with wild surprises and extravagant fun, in which 'every night is Friday night' according to Pet Shop Boys keyboardist Chris Lowe. A recent poster contest for the tour garnered nearly 700 entries.
The London Financial Times have noted that Pet Shop Boys 'pride themselves on mounting artful visual spectaculars: previous tours were co-designed with the likes of Derek Jarman, Zaha Hadid and Sam Taylor-Wood.' And in the words of the Guardian UK, 'this extraordinary show both consolidates and extends the Pet Shop Boys' multifaceted appeal...It's an art gallery, musical, gay disco and pop concert in one...This show is a triumph of staging and pop's ability to entertain, move and subvert.'
8/29 Montreal , Metropolis
8/30 Toronto , V Fest
9/1-2 New York NY , Hammerstein
9/3 Washington DC , Constitution Hall
9/5 Boston MA , HOB
9/6 Atlantic City NJ , House of Blues
9/9 Miami FL , Fillmore
9/10 Tampa FL , Tampa Bay PAC
9/11 Orlando FL , HOB
9/12 Atlanta GA , Chastain
9/14 Chicago IL , Chicago Theater
9/15 Milwaukee WI , Pabst Ballroom
9/16 Minneapolis MN , State Theater
9/19 Vancouver, Vancouver Centre of the Perf Arts
9/20 Seattle WA , Moore
9/22-23 San Francisco CA , Warfield
9/24 Los Angeles CA , Greek
9/26 Las Vegas NV , Joint
Monday, August 03, 2009
KC and the Sunshine Band bring boogie fever back to Pacific Amphitheatre
This story was posted on the Orange County Register Web site on Saturday, Aug. 1, 2009.
Some artists continue to challenge themselves long into their careers, writing and recording new music, often selecting young producers to help bring their sound into the modern era.
Then there’s KC & the Sunshine Band.
The group was more than happy to simply celebrate all things ‘70s at Pacific Amphitheatre in Costa Mesa on Friday night, July 31, 2009. With the large video screens showing a gigantic mirror ball before KC and company even hit the stage, the disco heroes gave the nostalgic crowd exactly what they wanted. For the mostly middle-age audience (with more than a few perplexed kids in tow), this was a time-traveling experience, during which a few beers and dance hits brought plenty of smiles and memories back for 90 minutes of good times.
Harry Wayne Casey (his surname became “KC,” while “Sunshine Band” is a nod to his home state of Florida) has gained a few pounds since he rose to fame in the mid-’70s, and his thin voice was often obscured Friday by the ensemble of players around him. Yet their parade of hits kept the party going from start to finish.
From the first strains of “(Shake, Shake, Shake) Shake Your Booty” to the evening-ending medley that fused “Get Down Tonight” and “The Star-Spangled Banner” together with all the bombast of a Las Vegas revue, KC proved to be a gracious and personable host with a single aim: to please.
KC blended a mix of his hits with winning humor, often introducing songs with lines such as “this is 1976, isn’t it?” or self-effacing humor: “I’m 58 years old. Get a good look at me: this is what Justin Timberlake is going to look like in 30 years.”
In the music-making department, it was best when the band, featuring backing vocalists and dancers as well as horns and a top-notch rhythm section, stuck to upbeat disco smashes. When KC sat down to deliver a tender R&B version of “Please Don’t Go,” the chatting crowd stripped any emotion out of the ballad.
But when the group stuck to funk- and disco-fueled material like “I’m Your Boogie Man,” “That’s the Way (I Like It)” and “Give It Up,” well, everyone hit the dance floor like it really was ’76.
Although Evelyn “Champagne” King didn’t have as many hits as the Sunshine Band, she made every minute of her half-hour opening set count. A strong singer best known for “Shame,” her Top 10 single from 1978, King showcased a fine blend of R&B, disco and funk courtesy of extended takes on “Love Come Down” and her signature tune. Backed by a strong band, including husband-guitarist Freddie Fox, her set got the party started early.
Some artists continue to challenge themselves long into their careers, writing and recording new music, often selecting young producers to help bring their sound into the modern era.
Then there’s KC & the Sunshine Band.
The group was more than happy to simply celebrate all things ‘70s at Pacific Amphitheatre in Costa Mesa on Friday night, July 31, 2009. With the large video screens showing a gigantic mirror ball before KC and company even hit the stage, the disco heroes gave the nostalgic crowd exactly what they wanted. For the mostly middle-age audience (with more than a few perplexed kids in tow), this was a time-traveling experience, during which a few beers and dance hits brought plenty of smiles and memories back for 90 minutes of good times.
Harry Wayne Casey (his surname became “KC,” while “Sunshine Band” is a nod to his home state of Florida) has gained a few pounds since he rose to fame in the mid-’70s, and his thin voice was often obscured Friday by the ensemble of players around him. Yet their parade of hits kept the party going from start to finish.
From the first strains of “(Shake, Shake, Shake) Shake Your Booty” to the evening-ending medley that fused “Get Down Tonight” and “The Star-Spangled Banner” together with all the bombast of a Las Vegas revue, KC proved to be a gracious and personable host with a single aim: to please.
KC blended a mix of his hits with winning humor, often introducing songs with lines such as “this is 1976, isn’t it?” or self-effacing humor: “I’m 58 years old. Get a good look at me: this is what Justin Timberlake is going to look like in 30 years.”
In the music-making department, it was best when the band, featuring backing vocalists and dancers as well as horns and a top-notch rhythm section, stuck to upbeat disco smashes. When KC sat down to deliver a tender R&B version of “Please Don’t Go,” the chatting crowd stripped any emotion out of the ballad.
But when the group stuck to funk- and disco-fueled material like “I’m Your Boogie Man,” “That’s the Way (I Like It)” and “Give It Up,” well, everyone hit the dance floor like it really was ’76.
Although Evelyn “Champagne” King didn’t have as many hits as the Sunshine Band, she made every minute of her half-hour opening set count. A strong singer best known for “Shame,” her Top 10 single from 1978, King showcased a fine blend of R&B, disco and funk courtesy of extended takes on “Love Come Down” and her signature tune. Backed by a strong band, including husband-guitarist Freddie Fox, her set got the party started early.
A chat with Susanna Hoffs
Susanna Hoffs, left, with Matthew Sweet.
I've seen The Bangles a number of times since the early 1980s, and even met Susanna Hoffs at NAMM in January of this year. However, I never had the chance to interview her until last month, in connection with her latest collection with Matthew Sweet.
This story was originally posted on the Orange County Register Web site on Thursday, July 30, 2009.
Susanna Hoffs, Matthew Sweet go 'Under the Covers' again
The duo revive their side project, this time focusing on songs of the '70s.
The duo revive their side project, this time focusing on songs of the '70s.
When power-pop heroes Matthew Sweet and Susanna Hoffs released "Under the Covers Vol. 1" in 2006, the collection of more than a dozen classics from the 1960s proved to be one of the best albums of the year.
When I interviewed Sweet in early 2008, in connection with the release of his 10th studio album "Sunshine Lies," the Los Angeles-based singer-songwriter-guitarist revealed that work was well underway on an equally-ambitious sequel to "Under the Covers Vol. 1" that would feature the duo playing a collection of reworked '70s songs.
When I interviewed Sweet in early 2008, in connection with the release of his 10th studio album "Sunshine Lies," the Los Angeles-based singer-songwriter-guitarist revealed that work was well underway on an equally-ambitious sequel to "Under the Covers Vol. 1" that would feature the duo playing a collection of reworked '70s songs.
Released by Shout! Factory on July 21, "Under the Covers Vol. 2" finds Hoffs (still active as a member of the Bangles) and Sweet (best known for his classic 1991 album "Girlfriend") revisiting more than a dozen gems from the 1970s, including material penned by the Grateful Dead, Derek & the Dominoes, Todd Rundgren, Big Star and the Raspberries.
In a recent interview, Hoffs was enthusiastic and eager to discuss this celebrated side project that has renewed interest in both her and Sweet, as well as some of the more unlikely artists covered on "Under the Covers Vol. 2."
So, while it may come as little surprise to hear Sid & Susie shine on the Raspberries' pop-rock classic "Go All the Way," notable remakes of songs from Yes, Rod Stewart and Bread are unlikely home runs on the 16-song set.
"I was very excited to take on these songs," Hoffs said in a phone interview.
"The truth is with 'Bell Bottom Blues' and 'Maggie May,' I assumed Matthew would sing those. He said, 'No Susie, you're gonna' sing them.' "
In a recent interview, Hoffs was enthusiastic and eager to discuss this celebrated side project that has renewed interest in both her and Sweet, as well as some of the more unlikely artists covered on "Under the Covers Vol. 2."
So, while it may come as little surprise to hear Sid & Susie shine on the Raspberries' pop-rock classic "Go All the Way," notable remakes of songs from Yes, Rod Stewart and Bread are unlikely home runs on the 16-song set.
"I was very excited to take on these songs," Hoffs said in a phone interview.
"The truth is with 'Bell Bottom Blues' and 'Maggie May,' I assumed Matthew would sing those. He said, 'No Susie, you're gonna' sing them.' "
Hoffs' lead vocals on those songs work, in no small part, to how the sweet-voiced singer prepared for specific sessions at Sweet's Lolina Green Studios in Los Angeles. Her appropriately-ragged vocals on "Maggie May" may shock listeners familiar with her angelic vocals on Bangles classics.
"Finally the day comes (to record her vocals on 'Maggie May'); normally, I'm hoping for the clean sound so I can hit the high notes you know on the songs that require high notes. So he's like 'We have to do it today, so go in the other room and scream for 10 minutes.' I went in the other room and started singing really loud and warming my voice up and sure enough, the rasp came back."
Equally affecting is Hoffs' vocal triumph on Bread's "Everything I Own."
"Some people loved that stuff and other people thought it wasn't as cool as edgier stuff," recalled Hoffs of Bread's soft rock when it was on the charts in the '70s.
"Interestingly enough, it was Rick Menck – the drummer who plays on the record and who has been Matthew's long-time drummer – who said 'Well, you guys have to do a Bread song.' Wow, it struck me as so interesting that Matthew and Rick were the ones who (wanted to do that)…but it's such a gorgeous song. Just from the perspective of singing it, it's such a heartfelt, beautiful melody, so I got past that thing of wondering how it would fit in because it was more of a top 40 type of thing at the time…I remember in the '70s, loving Bread was sort of a guilty pleasure."
"Finally the day comes (to record her vocals on 'Maggie May'); normally, I'm hoping for the clean sound so I can hit the high notes you know on the songs that require high notes. So he's like 'We have to do it today, so go in the other room and scream for 10 minutes.' I went in the other room and started singing really loud and warming my voice up and sure enough, the rasp came back."
Equally affecting is Hoffs' vocal triumph on Bread's "Everything I Own."
"Some people loved that stuff and other people thought it wasn't as cool as edgier stuff," recalled Hoffs of Bread's soft rock when it was on the charts in the '70s.
"Interestingly enough, it was Rick Menck – the drummer who plays on the record and who has been Matthew's long-time drummer – who said 'Well, you guys have to do a Bread song.' Wow, it struck me as so interesting that Matthew and Rick were the ones who (wanted to do that)…but it's such a gorgeous song. Just from the perspective of singing it, it's such a heartfelt, beautiful melody, so I got past that thing of wondering how it would fit in because it was more of a top 40 type of thing at the time…I remember in the '70s, loving Bread was sort of a guilty pleasure."
Surprises abound across "Under the Covers Vol. 2," including Dhani Harrison joining the duo on his father George Harrison's "Beware of Darkness," and guitarist Steve Howe performing on Yes' "I've Seen All Good People: Your Move/All Good People" and Lindsey Buckingham playing on Fleetwood Mac's "Second Hand News." The shimmering vocal harmonies that Sweet and Hoffs display across the disc provide the perfect element to link the collection's wide-ranging styles together.
Sweet and Hoffs recorded a total of about 40 songs, so a bonus collection of material will likely be released soon.
"We're such good friends," said Hoffs of Sweet.
"We share a love of the same kind of music; it has kind of bonded us."
Sweet and Hoffs recorded a total of about 40 songs, so a bonus collection of material will likely be released soon.
"We're such good friends," said Hoffs of Sweet.
"We share a love of the same kind of music; it has kind of bonded us."
Bangles fans need not fear that her work with Sweet will pull Hoffs away from appearances with Debbi Peterson (vocals, drums) and Vicki Peterson (vocals, lead guitar). Indeed, the Bangles will headline at the Cerritos Center for the Performing Arts on Oct. 16, 2009. For information on that show, visit www.cerritoscenter.com.
"I'm very actively working with the Bangles all the time," Hoffs said.
"I'm very actively working with the Bangles all the time," Hoffs said.
Friday, July 31, 2009
Power-pop dream release: 'Sgt. Pepper' live courtesy of Cheap Trick & friends
Wow, it must be Friday - wait it is Friday!
This came to my inbox today and I've been hoping for this announcement since I got the opportunity of a lifetime to see Cheap Trick, Aimee Mann, Ian Ball and others on Aug. 10, 2007 when they performed The Beatles' full-length "Sgt. Pepper's Lonely Hearts Club Band" and other Fab Four classics with an orchestra at the Hollywood Bowl.
Here is the media release I received earlier today.
Cheap Trick’s new self-released album- "The Latest" - continues to impress listeners as it takes the honor of the #1 selling 8-track in the world. The limited edition format is available exclusively through the band’s website. “In the format, it makes sense,” proclaims Idolator. “The riffs crackle, Robin Zander’s voice sounds nearly curdled, and the whole enterprise brings the words ‘kick ass’ to mind over and over again. (I know, I know, not the most erudite assessment, but when one gets bludgeoned, it’s often hard to sound smart in the immediate aftermath.)”On September 1st, Cheap Trick heads to LA to perform the new single “Sick Man of Europe” on The Tonight Show with Conan O’Brien. A big fan of the band, you may remember Conan sprinting across the United States during his premiere episode opening while the Cheap Trick classic “Surrender” played (watch here: www.tonightshowwithconanobrien.com/video/clips/cold-open-of-the-first-show/1116061/).
On December 12th, 2007, Cheap Trick performed Sgt. Pepper Live at the The Waldorf Astoria in New York City for the Prostate Cancer Foundation Charity Concert & Auction. A live DVD and CD of this performance are scheduled for release on August 25th with all artist proceeds from sales to benefit the Prostate Cancer Foundation. The New York Philharmonic and special guests Joan Osborne, Ian Bell of Gomez, singer-songwriter Rob Laufer and an Indian instrumental ensemble, lend their talents to the cause. Geoff Emerick, who engineered the original album in 1967 and engineered Cheap Trick's All Shook Up with George Martin for Epic in 1980, oversaw all elements of the recording and mixing.Sgt. Pepper Live featuring Cheap Trick originated in 2007 when the band was invited to be special guests of the Los Angeles Philharmonic Orchestra’s performance of the 40th Anniversary of Sgt. Pepper’s Lonely Hearts Club Band record release.
The concert was reprised the following year and the shows sold over 50,000 tickets combined. At these shows, as at The Waldorf, the band performed a track-by-track rendition with the orchestra, an Indian ensemble and an array of very special guests. Michael Milken, founder and chairman of the Prostate Cancer Foundation, was at one of the Los Angeles shows and invited the band to re-create the event for his legendary holiday fundraiser in New York City.For more information on the foundation, please visit www.prostatecancerfoundation.org.
For more information on Cheap Trick, visit www.CheapTrick.com.
This came to my inbox today and I've been hoping for this announcement since I got the opportunity of a lifetime to see Cheap Trick, Aimee Mann, Ian Ball and others on Aug. 10, 2007 when they performed The Beatles' full-length "Sgt. Pepper's Lonely Hearts Club Band" and other Fab Four classics with an orchestra at the Hollywood Bowl.
Here is the media release I received earlier today.
Cheap Trick’s new self-released album- "The Latest" - continues to impress listeners as it takes the honor of the #1 selling 8-track in the world. The limited edition format is available exclusively through the band’s website. “In the format, it makes sense,” proclaims Idolator. “The riffs crackle, Robin Zander’s voice sounds nearly curdled, and the whole enterprise brings the words ‘kick ass’ to mind over and over again. (I know, I know, not the most erudite assessment, but when one gets bludgeoned, it’s often hard to sound smart in the immediate aftermath.)”On September 1st, Cheap Trick heads to LA to perform the new single “Sick Man of Europe” on The Tonight Show with Conan O’Brien. A big fan of the band, you may remember Conan sprinting across the United States during his premiere episode opening while the Cheap Trick classic “Surrender” played (watch here: www.tonightshowwithconanobrien.com/video/clips/cold-open-of-the-first-show/1116061/).
On December 12th, 2007, Cheap Trick performed Sgt. Pepper Live at the The Waldorf Astoria in New York City for the Prostate Cancer Foundation Charity Concert & Auction. A live DVD and CD of this performance are scheduled for release on August 25th with all artist proceeds from sales to benefit the Prostate Cancer Foundation. The New York Philharmonic and special guests Joan Osborne, Ian Bell of Gomez, singer-songwriter Rob Laufer and an Indian instrumental ensemble, lend their talents to the cause. Geoff Emerick, who engineered the original album in 1967 and engineered Cheap Trick's All Shook Up with George Martin for Epic in 1980, oversaw all elements of the recording and mixing.Sgt. Pepper Live featuring Cheap Trick originated in 2007 when the band was invited to be special guests of the Los Angeles Philharmonic Orchestra’s performance of the 40th Anniversary of Sgt. Pepper’s Lonely Hearts Club Band record release.
The concert was reprised the following year and the shows sold over 50,000 tickets combined. At these shows, as at The Waldorf, the band performed a track-by-track rendition with the orchestra, an Indian ensemble and an array of very special guests. Michael Milken, founder and chairman of the Prostate Cancer Foundation, was at one of the Los Angeles shows and invited the band to re-create the event for his legendary holiday fundraiser in New York City.For more information on the foundation, please visit www.prostatecancerfoundation.org.
For more information on Cheap Trick, visit www.CheapTrick.com.
The Fray, Jack's Mannequin and Vedera: solid show in Irvine
The Fray’s biggest hits have proved to be an accessible blend of piano-driven ballads and mid-tempo rock, with “Over My Head (Cable Car)” and the title track from 2005’s How to Save a Life enjoying tremendous airplay via radio and television over the past four years.
The Denver band’s headlining show on Wednesday night, July 29, 2009 at Verizon Wireless Amphitheater in Irvine, however, saw it aiming for the kind of wide-ranging territory identified with the likes of Coldplay. An ambitious set list found those Gavin DeGraw-ish hits, anchored by vocalist and piano man Isaac Slade, injected with just the right amount of sonic firepower to fit comfortably alongside more muscular material from the group’s self-titled sophomore album from earlier this year.
After opening with an infectious take on its aforementioned smash –- a crowd favorite that got everyone to their feet and singing along –- Slade along with guitarist-vocalist Joe King, drummer Ben Wysocki, guitarist Dave Welsh and two supporting musicians proceeded to deliver a largely effective mix of songs from both of the group’s albums.
Yet, though the crowd screamed and cheered loudest when a grand piano was wheeled out to the center of the stage for the Fray to play “How to Save a Life” a mere five songs into its 90-minute set, it was the performance of several new songs that reached higher artistic heights this night.
“Say When,” with its lush textures wrapped around Slade’s confessional lyrics, fit the Fray’s burgeoning aims, artful red lights enveloping the stage adding power to its delivery. Sparse arrangements of ballads didn’t necessarily detract from the Fray’s approach either; the beautiful “Never Say Never” led seamlessly into “You Found Me,” a song that began with Slade alone at the piano and singing in a lower register. The rest of the band then came in, and by the time the first chorus hit Slade was singing in a higher range with explosiveness to fit the song’s thematic tug-of-war between religious faith and doubt.
The Fray’s encore featured a mini-tribute to Michael Jackson via a version of “Man in the Mirror” (both Coldplay and Tears for Fears infused recent sets with similar tributes, albeit by covering “Billie Jean”) as well as a night-ending, emotive take on the band’s own “Happiness.”
Opener Andrew McMahon led his band Jack’s Mannequin through a remarkably energetic and consistent 55-minute showcase that rivaled the strength of a sold-out show at House of Blues Anaheim in November 2008. Obviously thrilled at performing on the large stage, McMahon recalled that he had lived in Dana Point for about 10 years, and that it was a teen dream of his to someday perform on this stage.
McMahon didn’t let that now-realized dream go to waste. After opening with a rousing version of “Dark Blue,” he proceeded to play another 12 up-tempo tracks, memorable highlights of which included “Spinning” and “Swim” off his second Jack’s album The Glass Passenger, as well as the alt-rock favorite “Bruised” and the singalong “La La Lie” from the group’s debut. Closing out the set was a rocking take on Tom Petty’s “American Girl,” with McMahon so fired up that he went into the crowd and then climbed atop his grand piano.
Opening the bill was Vedera, a Kansas City band that offered a pleasing set highlighted by singer-guitarist Kristen May’s soaring vocals, reminiscent of Cranberries lead singer Dolores O’Riordan and Sixpence None the Richer’s Leigh Nash. Her soprano infused “Satisfy” and “A World Apart” with a winning kind of urgency that outdistanced the straightforward song arrangements.
The Denver band’s headlining show on Wednesday night, July 29, 2009 at Verizon Wireless Amphitheater in Irvine, however, saw it aiming for the kind of wide-ranging territory identified with the likes of Coldplay. An ambitious set list found those Gavin DeGraw-ish hits, anchored by vocalist and piano man Isaac Slade, injected with just the right amount of sonic firepower to fit comfortably alongside more muscular material from the group’s self-titled sophomore album from earlier this year.
After opening with an infectious take on its aforementioned smash –- a crowd favorite that got everyone to their feet and singing along –- Slade along with guitarist-vocalist Joe King, drummer Ben Wysocki, guitarist Dave Welsh and two supporting musicians proceeded to deliver a largely effective mix of songs from both of the group’s albums.
Yet, though the crowd screamed and cheered loudest when a grand piano was wheeled out to the center of the stage for the Fray to play “How to Save a Life” a mere five songs into its 90-minute set, it was the performance of several new songs that reached higher artistic heights this night.
“Say When,” with its lush textures wrapped around Slade’s confessional lyrics, fit the Fray’s burgeoning aims, artful red lights enveloping the stage adding power to its delivery. Sparse arrangements of ballads didn’t necessarily detract from the Fray’s approach either; the beautiful “Never Say Never” led seamlessly into “You Found Me,” a song that began with Slade alone at the piano and singing in a lower register. The rest of the band then came in, and by the time the first chorus hit Slade was singing in a higher range with explosiveness to fit the song’s thematic tug-of-war between religious faith and doubt.
The Fray’s encore featured a mini-tribute to Michael Jackson via a version of “Man in the Mirror” (both Coldplay and Tears for Fears infused recent sets with similar tributes, albeit by covering “Billie Jean”) as well as a night-ending, emotive take on the band’s own “Happiness.”
Opener Andrew McMahon led his band Jack’s Mannequin through a remarkably energetic and consistent 55-minute showcase that rivaled the strength of a sold-out show at House of Blues Anaheim in November 2008. Obviously thrilled at performing on the large stage, McMahon recalled that he had lived in Dana Point for about 10 years, and that it was a teen dream of his to someday perform on this stage.
McMahon didn’t let that now-realized dream go to waste. After opening with a rousing version of “Dark Blue,” he proceeded to play another 12 up-tempo tracks, memorable highlights of which included “Spinning” and “Swim” off his second Jack’s album The Glass Passenger, as well as the alt-rock favorite “Bruised” and the singalong “La La Lie” from the group’s debut. Closing out the set was a rocking take on Tom Petty’s “American Girl,” with McMahon so fired up that he went into the crowd and then climbed atop his grand piano.
Opening the bill was Vedera, a Kansas City band that offered a pleasing set highlighted by singer-guitarist Kristen May’s soaring vocals, reminiscent of Cranberries lead singer Dolores O’Riordan and Sixpence None the Richer’s Leigh Nash. Her soprano infused “Satisfy” and “A World Apart” with a winning kind of urgency that outdistanced the straightforward song arrangements.
Monday, July 20, 2009
Coldplay shines at Home Depot Center show
This review was originally posted on the Orange County Register's Soundcheck blog on Sunday, July 19, 2009.
There were few disappointments for the sold-out crowd that caught Coldplay’s impressive 1 hour, 45 minute show at Home Depot Center Saturday night, July 18, 2009.
Sure, the quartet ignored some of its best-known songs (“Speed of Sound” and “Square One” immediately come to mind), but with a set list featuring two dozen gems, it’s clear to this reviewer that Coldplay’s dazzling decade-long discography can no longer be revisited in a single concert.
From the group’s uplifting opener “Life in Technicolor” to the night-ending “Life In Technicolor ii,” the thing that struck me most is how singer-keyboardist Chris Martin, guitarist Jon Buckland, bassist Guy Berryman and drummer Will Champion used a combination of technology, songs, physical presence and sheer determination to bring the audience deeper into the show.
(The Associated Press photo, by the way, is from the Roskilde Music Festival in Denmark earlier this month.)
As at other gigs earlier on this tour, there were dual ramps that stretched out onto the floor of the outdoor stadium, allowing the band to run out closer to the crowd from time to time. And, as before, all four of them set up shop at the end of one ramp for a short semi-acoustic set highlights by reworked versions of “God Put a Smile Upon Your Face” and “Talk.”
Later, to the cheers of everyone I saw, Coldplay walked from the front of the venue to the back for several more strong acoustic numbers. After Champion sweetly sang his signature tune for this tour (the Irish-flavored “Death Will Never Conquer”), Martin got the audience to use their cell-phone lights to create an illuminated wave that rolled around the venue before launching into a stirring version of Michael Jackson’s “Billie Jean.” He used his falsetto to winning effect for that tribute, while many in the crowd added well-known vocal parts from Jackson’s original recording into the mix.
Yet the most powerful moments, in terms of synergy between band and audience, were performances of Coldplay’s big hits. For as much as wow factor as there is in the sonic magic of lesser-known tracks like “Strawberry Swing,” “Cemeteries of London” and “Lost,” superstar acts like Coldplay unavoidably attracts plenty of casual fans who only know radio favorites — especially at one of the largest tour stops the British group has ever played.
So when they launch into staples like “Clocks” and “Yellow,” the crowd’s surging energy brings added vigor to the show. “Viva la Vida” in particular, with the band roaring at full force amidst white beams of light shining on them, was simply incredible.
And throughout the set all manner of props — large yellow balloons dropped on the crowd during “Yellow,” confetti shot out of cannons later in the night — were used in the service of songs, never with the concern of sacrificing the power of the music itself. All told, this mega-set reaffirmed that Coldplay -– along with U2 and Radiohead –- can lay claim to being among rock’s greatest live bands right now.
Although both of the evening’s opening acts were strong and added world-music flavor to the proceedings, the blind Malian duo Amadou & Mariam sounded better during their 45 minutes simply because their mix of musicians and dynamics were so good. By comparison, Kitty Daisy & Lewis are merely a young buzz band out of L.A. that used its set to showcase a Hootenanny-esque approach fusing rockabilly, blues, jazz and swing. But the trio closed its brief set with a fiery number, “Say You’ll Be Mine,” that featured impressive harmonies and top-notch Americana musicianship
There were few disappointments for the sold-out crowd that caught Coldplay’s impressive 1 hour, 45 minute show at Home Depot Center Saturday night, July 18, 2009.
Sure, the quartet ignored some of its best-known songs (“Speed of Sound” and “Square One” immediately come to mind), but with a set list featuring two dozen gems, it’s clear to this reviewer that Coldplay’s dazzling decade-long discography can no longer be revisited in a single concert.
From the group’s uplifting opener “Life in Technicolor” to the night-ending “Life In Technicolor ii,” the thing that struck me most is how singer-keyboardist Chris Martin, guitarist Jon Buckland, bassist Guy Berryman and drummer Will Champion used a combination of technology, songs, physical presence and sheer determination to bring the audience deeper into the show.
(The Associated Press photo, by the way, is from the Roskilde Music Festival in Denmark earlier this month.)
As at other gigs earlier on this tour, there were dual ramps that stretched out onto the floor of the outdoor stadium, allowing the band to run out closer to the crowd from time to time. And, as before, all four of them set up shop at the end of one ramp for a short semi-acoustic set highlights by reworked versions of “God Put a Smile Upon Your Face” and “Talk.”
Later, to the cheers of everyone I saw, Coldplay walked from the front of the venue to the back for several more strong acoustic numbers. After Champion sweetly sang his signature tune for this tour (the Irish-flavored “Death Will Never Conquer”), Martin got the audience to use their cell-phone lights to create an illuminated wave that rolled around the venue before launching into a stirring version of Michael Jackson’s “Billie Jean.” He used his falsetto to winning effect for that tribute, while many in the crowd added well-known vocal parts from Jackson’s original recording into the mix.
Yet the most powerful moments, in terms of synergy between band and audience, were performances of Coldplay’s big hits. For as much as wow factor as there is in the sonic magic of lesser-known tracks like “Strawberry Swing,” “Cemeteries of London” and “Lost,” superstar acts like Coldplay unavoidably attracts plenty of casual fans who only know radio favorites — especially at one of the largest tour stops the British group has ever played.
So when they launch into staples like “Clocks” and “Yellow,” the crowd’s surging energy brings added vigor to the show. “Viva la Vida” in particular, with the band roaring at full force amidst white beams of light shining on them, was simply incredible.
And throughout the set all manner of props — large yellow balloons dropped on the crowd during “Yellow,” confetti shot out of cannons later in the night — were used in the service of songs, never with the concern of sacrificing the power of the music itself. All told, this mega-set reaffirmed that Coldplay -– along with U2 and Radiohead –- can lay claim to being among rock’s greatest live bands right now.
Although both of the evening’s opening acts were strong and added world-music flavor to the proceedings, the blind Malian duo Amadou & Mariam sounded better during their 45 minutes simply because their mix of musicians and dynamics were so good. By comparison, Kitty Daisy & Lewis are merely a young buzz band out of L.A. that used its set to showcase a Hootenanny-esque approach fusing rockabilly, blues, jazz and swing. But the trio closed its brief set with a fiery number, “Say You’ll Be Mine,” that featured impressive harmonies and top-notch Americana musicianship
Friday, July 17, 2009
British folk veteran Al Stewart comes to Coach House
Al Stewart photo courtesy of the artistAl Stewart returns to The Coach House with a headlining set tonight, July 17, 2009. The singer-songwriter is on tour in support of his latest CD, "Sparks of Ancient Light," a collection of 12 songs showcasing his distinct style of songcraft blending intelligent lyrics with accessible British folk music.
While best known for his 1976 hit, "Year of the Cat," many of the Glasgow, Scotland, native's songs are equally affecting. A key member of the British folk scene of the 1960s, Stewart played the first Glastonbury Festival in 1970 and has released almost 20 full-length albums since his 1967 debut, "Bedsitter Images".
On 2008's "Sparks of Ancient Light," Stewart tackles many subjects, including a British prime minister via the baroque-flavored "Lord Salisbury," an American president ("Like William McKinley"), the King of Rock 'n' Roll (the country-tinged "Elvis at the Wheel") and others.
In addition to songs from his most recent album and 2005's "A Beach Full of Shells," Stewart's Coach House show is likely to include hits such as "Year of the Cat," "On the Border," "Nostradamus" and "Time Passages."
In addition to songs from his most recent album and 2005's "A Beach Full of Shells," Stewart's Coach House show is likely to include hits such as "Year of the Cat," "On the Border," "Nostradamus" and "Time Passages."
Trivia buffs might note that Stewart's 1966 single "The Elf" is generally credited as the first pop song inspired by J.R.R. Tolkien's The Lord of the Rings.
Monday, July 13, 2009
Rick Springfield's power-pop as strong as ever in Costa Mesa
Photo credit: Robert Kinsler
Coming on the heels of performances by Duran Duran a night earlier at the same venue and a Friday night show by New Kids on the Block at Verizon Wireless Amphitheater in Irvine, Rick Springfield’s Sunday night, July 12, 2009 set at Pacific Amphitheatre might have seemed like part of a conspiracy to reawaken the dreams of thousands of nostalgic women.
But Springfield, who turns 60 next month, continues to defy his would-be role as a Tiger Beat heritage act. His 90-minute concert at Pacific effortlessly blended his role as an entertainer who solicits screams from female fans with that of pleasing everyone with infectious power-pop that boasts undeniable singalong choruses.
Although mainstream listeners may have missed it, 2008 marked the release of one of Springfield’s best-ever albums, "Venus in Overdrive," a collection whose songs helped elevate Sunday’s set list beyond the previous two appearances I’ve seen from him in recent years. Opening with the hard-edged “Mr. PC” and immediately launching into “What’s Victoria’s Secret,” Springfield had the audience on their feet and made sure to keep them there for his full 18-song set.
While there are fans who likely thought they were in heaven when a shirtless Springfield came out into the audience and was embraced by countless women during “Human Touch” or pointed to them as he sang “Jessie’s Girl” at the finale of his main act, what set this night apart were actually the musical proceedings.
Playing a mix of radio-friendly rock (“I’ve Done Everything for You,” “Affair of the Heart,” “Don’t Talk to Strangers”) and harder stuff (“Living in Oz,” a cover of Paul McCartney’s “Jet”), Springfield has become a master at delivering a well-paced, rousing show that is bound together by its tunes.
Swapping solos with guitarist Greg Bernhardt, the Australian native impressed on a take of the blues classic “Crossroads.” He also allowed the show to focus on his deeper songwriting and vocal skills, with “Venus in Overdrive” and “I’ll Miss That Someday” blending in with his well-known hits from the early ’80s.
There was a time when Springfield might have been dismissed by critics as nothing but a General Hospital star who used his television fame to help score musical success. Watching Springfield tear it up on stage Sunday night, it’s clear his love of music and a sincere and lasting connection with fans have elevated him beyond the mere Working Class Dog of his youth.
While there are fans who likely thought they were in heaven when a shirtless Springfield came out into the audience and was embraced by countless women during “Human Touch” or pointed to them as he sang “Jessie’s Girl” at the finale of his main act, what set this night apart were actually the musical proceedings.
Playing a mix of radio-friendly rock (“I’ve Done Everything for You,” “Affair of the Heart,” “Don’t Talk to Strangers”) and harder stuff (“Living in Oz,” a cover of Paul McCartney’s “Jet”), Springfield has become a master at delivering a well-paced, rousing show that is bound together by its tunes.
Swapping solos with guitarist Greg Bernhardt, the Australian native impressed on a take of the blues classic “Crossroads.” He also allowed the show to focus on his deeper songwriting and vocal skills, with “Venus in Overdrive” and “I’ll Miss That Someday” blending in with his well-known hits from the early ’80s.
There was a time when Springfield might have been dismissed by critics as nothing but a General Hospital star who used his television fame to help score musical success. Watching Springfield tear it up on stage Sunday night, it’s clear his love of music and a sincere and lasting connection with fans have elevated him beyond the mere Working Class Dog of his youth.
Duran Duran thrills sold-out crowd at Pac Amp
Photo credit: Kim Kinsler
Duran Duran faced a number of challenges in its full-length performance before a sold-out crowd at Pacific Amphitheatre in Costa Mesa on Saturday night, July 11, 2009.
Lead singer Simon Le Bon was in great voice throughout the night, but was obviously ill and often had to go to the back of the stage to clear his throat.
The other, bigger challenge were inattentive people. In the section where I sat, there were several concert-goers who were more interested in making multiple beer runs and chatting than listening to the band –- even during Duran’s best-known hits.
The other, bigger challenge were inattentive people. In the section where I sat, there were several concert-goers who were more interested in making multiple beer runs and chatting than listening to the band –- even during Duran’s best-known hits.
A comment I overheard from several other attendees seated further back was that the video screens showed Le Bon 95 percent of the time; one person said she didn’t remember a single shot of keyboardist Nick Rhodes or drummer Roger Taylor projected on the big screens.
Even during impressive solos, the screens would focus mostly on closeup images of Le Bon. One suspects the director of the video presentation didn’t realize Duran Duran was a band not a solo performer with a backup group in tow.
Even during impressive solos, the screens would focus mostly on closeup images of Le Bon. One suspects the director of the video presentation didn’t realize Duran Duran was a band not a solo performer with a backup group in tow.
Despite those roadblocks, the majority of the crowd was enthusiastic and on its feet for the 1 hour, 45 minute concert that found the band playing a 20-song set of ’80s and ’90s classics, as well as worthwhile tracks from this decade and a convincing cover of “White Lines” from the outfit’s 1995 Thank You album.
As the band opened with a crowd-pleasing “Wild Boys,” the audience was clearly in the mood to sing along, and did so throughout much of the night. The concert’s best moments came when the group performed some of its most sonically rich and far-reaching material. The soaring “Hold Back the Rain,” the driving “Rio” (featuring John Taylor’s virtuoso bass playing) and an emotive “Save a Prayer” (with Le Bon on acoustic guitar as the audience sang out the chorus) were memorable.
As the band opened with a crowd-pleasing “Wild Boys,” the audience was clearly in the mood to sing along, and did so throughout much of the night. The concert’s best moments came when the group performed some of its most sonically rich and far-reaching material. The soaring “Hold Back the Rain,” the driving “Rio” (featuring John Taylor’s virtuoso bass playing) and an emotive “Save a Prayer” (with Le Bon on acoustic guitar as the audience sang out the chorus) were memorable.
I thought the band’s powerful and uplifting version of “(Reach Up for the) Sunrise” and a two-tiered approach to “A View to the Kill,” in which the song started as a ’60s Vegas-style foray before going into the original rock arrangement, were the strongest selections of the night.
For fans of the short-lived Arcadia, a one-off side project featuring Le Bon, Rhodes and Roger Taylor), Duran Duran also performed a solid version of that band’s hit “Election Day” as a real treat. But I suspect the majority of fans enjoyed the one-two punch of “Planet Earth” and “Girls on Film” even more. It would have been nice to hear "Nice" or more material from the great 2004 album "Astronaut," but I'm sure even more fans missed hearing "Hungry Like the Wolf" from "Rio."
For fans of the short-lived Arcadia, a one-off side project featuring Le Bon, Rhodes and Roger Taylor), Duran Duran also performed a solid version of that band’s hit “Election Day” as a real treat. But I suspect the majority of fans enjoyed the one-two punch of “Planet Earth” and “Girls on Film” even more. It would have been nice to hear "Nice" or more material from the great 2004 album "Astronaut," but I'm sure even more fans missed hearing "Hungry Like the Wolf" from "Rio."
Hootenanny: Los Lobos, Lee Rocker, Michael Ubaldini & more!
Photo, from left, shows me with Lee Rocker and Michael Ubaldini. I had interviewed Lee Rocker several times over the years, but never met him until Hootenanny.
Artists who have performed at the annual Hootenanny festival know what to expect: a wonderful setting where live music is offered up nonstop on the main stage, with even well-known acts usually playing only 30-minute sets until the day’s final two headliners arrive to play an hour each.
And then there’s the heat. Oak Canyon Ranch, located next to Irvine Lake in a mostly rural area of Orange County, seems to always attract desert-like temperatures on the first Saturday in July. Such was the case again on Independence Day (July 4, 2009), when the blistering sun made hanging out in front of the main stage a challenge for even the most experienced concert-goers.
But despite the challenges, a number of veteran Hootenanny performers — and a first-ever appearance here by Los Lobos — made this long day race by.
Anyone who was beat back by the heat or just wanted to check out early missed one of the biggest surprises of the day, when Los Lobos brought out Blasters lead singer Phil Alvin and Reverend Horton Heat (aka singer-guitarist Jim Heath, pictured above) to play several songs together to close out their 13-song set, including a great version of the Blasters classic “Marie Marie” with Alvin singing the lyrics in both Spanish and English.
Los Lobos’ set was strong from the start, with the venerable troupe playing a mix of straight-ahead rock ‘n’ roll (including a powerful “Don’t Worry Baby” and “Evangeline” to kick things off) and traditional Mexican folk music.
A number of the other top-tier acts have played at past Hootenannys, several delivering best-ever sets there — and they didn’t disappoint this year. Rev. Heat offered up a wealth of classics and new material during an hour-long showcase, with Heath and the rest of the Texas trio playing their winning blend of rockabilly, early punk rock and surf music on favorites such as “Galaxy 500,” “Baddest of the Bad” and “400 Bucks” — as well as a new Western swing song fitting for the fest, “Drinking & Smoking Cigarettes.”
But fans in search of strong musical performances didn’t have to wait all day to catch great acts.
Fountain Valley’s own Michael Ubaldini was the second artist of the day yet delivered an outstanding eight-song set of original roots-rock on the main stage. Backed by a strong four-man outfit, he sang several of his best-known songs, including “Ave. of 10 Cent Hearts,” “Mardi Gras” and “Scratch My Back.”
Lee Rocker also continued to prove that he’s one of the best around when it comes to interpreting rockabilly. His Hootenanny set was a home run, with the O.C. singer-bassist playing his own rip-roaring “Bulletproof,” several songs from his pioneering ’80s band Stray Cats (“Stray Cat Strut,” “Runaway Boys”) and choice cuts from Buddy Holly, Elvis Presley and Hank Williams (including an excellent version of “Lost Highway”).
The Blasters were actually much stronger than the past few times I’ve caught Phil Alvin & Co. Highlights of their set included a fiery “American Music” and a bluesy “Dark Night.” Guitarist Keith Wyatt was dynamic, unleashing a number of great solos throughout the group’s set.
Big Bad Voodoo Daddy’s energetic neo-swing was actually a welcome change from the parade of rockabilly and guitar-fueled proponents, with the group’s four-member horn section and party-up delivery typified by sing-along favorites “You & Me & the Bottle Makes 3 Tonight (Baby)” and “Go Daddy-O.” (That’s frontman Scotty Moore in the pic at left.)
I only caught part of the always-powerful Supersuckers (who played a terrific new song titled “Anything Else”) and a few minutes of Nekromantix on the main stage because I had anticipated catching the Rockers in the Round showcase on the Second Stage … but I came away disappointed.
Not because area singer-songwriters Jeremy Popoff (of Lit), Danny Walker (Handsome Devil), Brian Coakley (Wax Apples) and several other artists were not worth hearing. It was simply that the volume from the main stage overwhelmed the acoustic performances. I did enjoy Walker’s “Purple Heart,” as well as an acoustic take of “Shake” featuring Coakley and his wife Cindy Jamie on duel vocals.
Of the other performances I caught -– specifically from No Dice, singer-songwriter Roger Alan Wade and Danish psychobilly band HorrorPops –- the artists thrilled the hardcore Hootenanny fans with solid performances, but their material lacked the strength of the stronger artists on the bill.
Yet, with such a wide-ranging lineup, a large display of classic cars and motorcycles, plus clothing vendors, food booths and people-watching opportunities galore, Hootenanny continues to be among the most treasured events on the Orange County concert calendar.
Artists who have performed at the annual Hootenanny festival know what to expect: a wonderful setting where live music is offered up nonstop on the main stage, with even well-known acts usually playing only 30-minute sets until the day’s final two headliners arrive to play an hour each.
And then there’s the heat. Oak Canyon Ranch, located next to Irvine Lake in a mostly rural area of Orange County, seems to always attract desert-like temperatures on the first Saturday in July. Such was the case again on Independence Day (July 4, 2009), when the blistering sun made hanging out in front of the main stage a challenge for even the most experienced concert-goers.
But despite the challenges, a number of veteran Hootenanny performers — and a first-ever appearance here by Los Lobos — made this long day race by.
Anyone who was beat back by the heat or just wanted to check out early missed one of the biggest surprises of the day, when Los Lobos brought out Blasters lead singer Phil Alvin and Reverend Horton Heat (aka singer-guitarist Jim Heath, pictured above) to play several songs together to close out their 13-song set, including a great version of the Blasters classic “Marie Marie” with Alvin singing the lyrics in both Spanish and English.
Los Lobos’ set was strong from the start, with the venerable troupe playing a mix of straight-ahead rock ‘n’ roll (including a powerful “Don’t Worry Baby” and “Evangeline” to kick things off) and traditional Mexican folk music.
A number of the other top-tier acts have played at past Hootenannys, several delivering best-ever sets there — and they didn’t disappoint this year. Rev. Heat offered up a wealth of classics and new material during an hour-long showcase, with Heath and the rest of the Texas trio playing their winning blend of rockabilly, early punk rock and surf music on favorites such as “Galaxy 500,” “Baddest of the Bad” and “400 Bucks” — as well as a new Western swing song fitting for the fest, “Drinking & Smoking Cigarettes.”
But fans in search of strong musical performances didn’t have to wait all day to catch great acts.
Fountain Valley’s own Michael Ubaldini was the second artist of the day yet delivered an outstanding eight-song set of original roots-rock on the main stage. Backed by a strong four-man outfit, he sang several of his best-known songs, including “Ave. of 10 Cent Hearts,” “Mardi Gras” and “Scratch My Back.”
Lee Rocker also continued to prove that he’s one of the best around when it comes to interpreting rockabilly. His Hootenanny set was a home run, with the O.C. singer-bassist playing his own rip-roaring “Bulletproof,” several songs from his pioneering ’80s band Stray Cats (“Stray Cat Strut,” “Runaway Boys”) and choice cuts from Buddy Holly, Elvis Presley and Hank Williams (including an excellent version of “Lost Highway”).
The Blasters were actually much stronger than the past few times I’ve caught Phil Alvin & Co. Highlights of their set included a fiery “American Music” and a bluesy “Dark Night.” Guitarist Keith Wyatt was dynamic, unleashing a number of great solos throughout the group’s set.
Big Bad Voodoo Daddy’s energetic neo-swing was actually a welcome change from the parade of rockabilly and guitar-fueled proponents, with the group’s four-member horn section and party-up delivery typified by sing-along favorites “You & Me & the Bottle Makes 3 Tonight (Baby)” and “Go Daddy-O.” (That’s frontman Scotty Moore in the pic at left.)
I only caught part of the always-powerful Supersuckers (who played a terrific new song titled “Anything Else”) and a few minutes of Nekromantix on the main stage because I had anticipated catching the Rockers in the Round showcase on the Second Stage … but I came away disappointed.
Not because area singer-songwriters Jeremy Popoff (of Lit), Danny Walker (Handsome Devil), Brian Coakley (Wax Apples) and several other artists were not worth hearing. It was simply that the volume from the main stage overwhelmed the acoustic performances. I did enjoy Walker’s “Purple Heart,” as well as an acoustic take of “Shake” featuring Coakley and his wife Cindy Jamie on duel vocals.
Of the other performances I caught -– specifically from No Dice, singer-songwriter Roger Alan Wade and Danish psychobilly band HorrorPops –- the artists thrilled the hardcore Hootenanny fans with solid performances, but their material lacked the strength of the stronger artists on the bill.
Yet, with such a wide-ranging lineup, a large display of classic cars and motorcycles, plus clothing vendors, food booths and people-watching opportunities galore, Hootenanny continues to be among the most treasured events on the Orange County concert calendar.
Wednesday, July 01, 2009
ROCKER CHRIS ISAAK NEW DVD ANNOUNCED
Photo credit: E1 Entertainment
As many of you know, Chris Isaak is a great singer, songwriter and live entertainer. So this update I received today from E1 Entertainment will please fans of the talented artist.
MULTI-TALENTED ROCKER CHRIS ISAAK HEATS UP
SUMMER WITH A SMOKING LIVE PERFORMANCE DVD FROM E1 ENTERTAINMENT
For over two decades, rockabilly crooner Chris Isaak and his longtime band Silvertone have entertained audiences with their legendary shows. This summer, fans of the multi-talented musician will get a front row seat to a world-class performance without ever having to stand in line. CHRIS ISAAK GREATEST HITS – LIVE captures Isaak at his finest, with a hi-definition, 5.1 surround sound recording of 15 of the musician’s greatest hits.
SUMMER WITH A SMOKING LIVE PERFORMANCE DVD FROM E1 ENTERTAINMENT
For over two decades, rockabilly crooner Chris Isaak and his longtime band Silvertone have entertained audiences with their legendary shows. This summer, fans of the multi-talented musician will get a front row seat to a world-class performance without ever having to stand in line. CHRIS ISAAK GREATEST HITS – LIVE captures Isaak at his finest, with a hi-definition, 5.1 surround sound recording of 15 of the musician’s greatest hits.
Filmed for the acclaimed PBS music series Soundstage in 2005, this unforgettable live set debuts on DVD featuring three songs not included in the original broadcast. CHRIS ISAAK GREATEST HITS – LIVE arrives in stores via E1 Entertainment on August 11 for $19.99 SRP.
With his sexy good looks and his endearingly shy yet flirtatious demeanor, Chris Isaak (who is also known for his many acting roles) knows how to woo his fans. With his reverb-drenched rockabilly and country songs, Isaak’s penchant for heartbreaking lyrics and haunting melodies embrace the ‘50s and ‘60s sound while stylizing it for contemporary audiences.
Isaak graces Soundstage with a compelling set that spans his early years on through the new millennium. The performance launches with “Dancin’ ” from his debut. Other gems include the breakthrough, mesmerizing hit, “Wicked Game” and “Baby Did a Bad Bad Thing.” As a special treat, he strips down six songs, adding an acoustic element to his very memorable performance.
With state-of-the-art digital video and sound, the live music program “Soundstage” has long been the premiere television venue for the most significant musical artists. With the release of CHRIS ISAAK: GREATEST HITS - LIVE, E1 Entertainment continues to bring the magnificent music series to DVD for the first time. Previous E1 Entertainment Soundstage DVD releases include Rob Thomas: Live at Red Rocks (6/30), Foreigner: Live (4/09), America: Live in Chicago (9/08), and both Jewel: The Essential Live Songbook (10/08) and Sheryl Crow: Live (11/08) in standard and Blu-ray DVD formats.
Song List
Dancin’
Let Me Down Easy
Wicked Game
Baby Did A Bad Bad Thing
Solitary Man
Western Stars
Can’t Do A Thing (To Stop Me)
Only The Lonely
Wrong To Love You
American Boy
Notice The Ring
Diddly Daddy
Going Nowhere*
Blue Hotel*
Think Of Tomorrow*
* Not included in original PBS broadcast.
Format : DVD/Single
Run time: 68 mins. + extras
Price: $19.99
Release date: August 11
Isaak graces Soundstage with a compelling set that spans his early years on through the new millennium. The performance launches with “Dancin’ ” from his debut. Other gems include the breakthrough, mesmerizing hit, “Wicked Game” and “Baby Did a Bad Bad Thing.” As a special treat, he strips down six songs, adding an acoustic element to his very memorable performance.
With state-of-the-art digital video and sound, the live music program “Soundstage” has long been the premiere television venue for the most significant musical artists. With the release of CHRIS ISAAK: GREATEST HITS - LIVE, E1 Entertainment continues to bring the magnificent music series to DVD for the first time. Previous E1 Entertainment Soundstage DVD releases include Rob Thomas: Live at Red Rocks (6/30), Foreigner: Live (4/09), America: Live in Chicago (9/08), and both Jewel: The Essential Live Songbook (10/08) and Sheryl Crow: Live (11/08) in standard and Blu-ray DVD formats.
Song List
Dancin’
Let Me Down Easy
Wicked Game
Baby Did A Bad Bad Thing
Solitary Man
Western Stars
Can’t Do A Thing (To Stop Me)
Only The Lonely
Wrong To Love You
American Boy
Notice The Ring
Diddly Daddy
Going Nowhere*
Blue Hotel*
Think Of Tomorrow*
* Not included in original PBS broadcast.
Format : DVD/Single
Run time: 68 mins. + extras
Price: $19.99
Release date: August 11
Iron Butterfly to unleash classic rock at Coach House
This story & photo were originally posted on the Register Web site on Monday, June 29, 2009.
The legendary band Iron Butterfly will bring its brand of early heavy metal to The Coach House in San Juan Capistrano on Friday night, July 3.
Armed with classic rock tracks such as "In-A-Gadda-Da-Vida," "Most Anything You Want" and "Don't Look Down On Me," the group features Ron Bushy (drums, percussion), Lee Dorman (vocals, bass), Charlie Marinkovich (vocals, lead guitar) and Martin Gerschwitz (vocals, keyboards, violin).
Formed in San Diego in the mid-1960s, Iron Butterfly released a trio of seminal albums in the last part of that decade: "Heavy," "In-A-Gadda-Da-Vida" and "Ball."
With the commercial and artistic impact of the song "In-A-Gadda-Da-Vida" (at 17 minutes, it was the complete second side of the 1968 album of the same name), Iron Butterfly's place in rock 'n' roll history was secure.
Indeed, "In-A-Gadda-Da-Vida" is one of the best-selling albums in history, at more than 25 million copies. In fact, the album sold more than 8 million copies in the year after its release.
Iron Butterfly's history is the stuff of legend, having toured with the Doors, Jefferson Airplane, the Grateful Dead, the Who and Cream.
With the commercial and artistic impact of the song "In-A-Gadda-Da-Vida" (at 17 minutes, it was the complete second side of the 1968 album of the same name), Iron Butterfly's place in rock 'n' roll history was secure.
Indeed, "In-A-Gadda-Da-Vida" is one of the best-selling albums in history, at more than 25 million copies. In fact, the album sold more than 8 million copies in the year after its release.
Iron Butterfly's history is the stuff of legend, having toured with the Doors, Jefferson Airplane, the Grateful Dead, the Who and Cream.
The group's modern-day shows are a celebration of Iron Butterfly's singular sound, as well as the legacy of guitarist-vocalist Darryl DeLoach (who died of liver cancer in 2002) and guitarist Erik Braunn (who died of cardiac failure in 2003).
Opening for Iron Butterfly at The Coach House is Oceanside-based Inberst (a four-member outfit influenced by the Rolling Stones and Bob Dylan), as well as the Howard Johnson Experience, playing original songs that reflect the style of the 1970s.
Opening for Iron Butterfly at The Coach House is Oceanside-based Inberst (a four-member outfit influenced by the Rolling Stones and Bob Dylan), as well as the Howard Johnson Experience, playing original songs that reflect the style of the 1970s.
Tickets for the show are $15 and available at the Coach House box office.
Friday, June 26, 2009
The death of Michael Jackson
There were two sides to Michael Jackson.
One one hand, there was the singer-dancer-songwriter who recorded a score of good albums in the 1970s and 1980s; the so-called King of Pop whose heyday was, in truth, long ago.
There was also the admittedly-freakish, troubled and hard-to-look-at "Wacko Jacko" (the name given to him by the tabloids) who admitted to sharing a bed with children, wore a surgical mask, was briefly married to Lisa Marie Presley and had an odd interest in exotic animals.
For my part, I will focus only on his music since the celebrity-driven media will focus on the tragic side of his life. I might be the odd man out/music critic who lost interest in Michael Jackson's music after 1982's "Thriller." That album, as well as his previous solo album "Off The Wall" (1979), were masterworks. But in retrospect, with the benefit of 25+ years of hindsight, I think the endless comparisons of his recordings with The Beatles and other music icons is a stretch.
The Beatles wrote and recorded an amazing number of now-classic songs while having an incredible impact on society. Michael Jackson is best remembered for dangling his infant son over a hotel balcony in Berlin back in 2002, his Neverland ranch, dancing on top of a car outside a courtroom, and a handful of music videos directed by others (John Landis' "Thriller," Steve Barron's "Billie Jean" and Disney's "Captain EO" immediately come to mind).
His best-remembered musical moment is likely a 1983 appearance in connection with the 25th anniversary celebration of Motown, which featured his moonwalking and brief reunion with his brothers. His musical recordings for the most part, whether it were his poor duets with Paul McCartney or co-writing credit for "We Are the World," simply can't match the excitement and power of pop music's best records.
Until his death yesterday, I truly can't remember the last time I've heard any music he has recorded after 1982 on the radio or television. And until a brief video clip was run yesterday, I had forgotten completely about his song "Ben." Much of his music doesn't hold up when played today.
Time will likely sort all this out, but don't count me among the many who will run out and purchase/download Michael Jackson music this week.
One one hand, there was the singer-dancer-songwriter who recorded a score of good albums in the 1970s and 1980s; the so-called King of Pop whose heyday was, in truth, long ago.
There was also the admittedly-freakish, troubled and hard-to-look-at "Wacko Jacko" (the name given to him by the tabloids) who admitted to sharing a bed with children, wore a surgical mask, was briefly married to Lisa Marie Presley and had an odd interest in exotic animals.
For my part, I will focus only on his music since the celebrity-driven media will focus on the tragic side of his life. I might be the odd man out/music critic who lost interest in Michael Jackson's music after 1982's "Thriller." That album, as well as his previous solo album "Off The Wall" (1979), were masterworks. But in retrospect, with the benefit of 25+ years of hindsight, I think the endless comparisons of his recordings with The Beatles and other music icons is a stretch.
The Beatles wrote and recorded an amazing number of now-classic songs while having an incredible impact on society. Michael Jackson is best remembered for dangling his infant son over a hotel balcony in Berlin back in 2002, his Neverland ranch, dancing on top of a car outside a courtroom, and a handful of music videos directed by others (John Landis' "Thriller," Steve Barron's "Billie Jean" and Disney's "Captain EO" immediately come to mind).
His best-remembered musical moment is likely a 1983 appearance in connection with the 25th anniversary celebration of Motown, which featured his moonwalking and brief reunion with his brothers. His musical recordings for the most part, whether it were his poor duets with Paul McCartney or co-writing credit for "We Are the World," simply can't match the excitement and power of pop music's best records.
Until his death yesterday, I truly can't remember the last time I've heard any music he has recorded after 1982 on the radio or television. And until a brief video clip was run yesterday, I had forgotten completely about his song "Ben." Much of his music doesn't hold up when played today.
Time will likely sort all this out, but don't count me among the many who will run out and purchase/download Michael Jackson music this week.
Thursday, June 25, 2009
Carbon Leaf, Joie Calio, Trevor Hall - a night to remember
I snapped this photo of Carbon Leaf while the band was performing "Learn to Fly" unplugged to kick off their encore.
Carbon Leaf
With: Joie Calio, Trevor Hall
Where: The Coach House, San Juan Capistrano
When: Wednesday night, June 24
When it comes to magical performances, sometimes they happen when you least expect it.
Count the satisfying triple bill that played at the Coach House in San Juan Capistrano on Wednesday night, June 24, 2009, as one of those amazing shows that will linger in my memory years from now.
With: Joie Calio, Trevor Hall
Where: The Coach House, San Juan Capistrano
When: Wednesday night, June 24
When it comes to magical performances, sometimes they happen when you least expect it.
Count the satisfying triple bill that played at the Coach House in San Juan Capistrano on Wednesday night, June 24, 2009, as one of those amazing shows that will linger in my memory years from now.
Being a Wednesday night, the venue was sadly less than capacity despite a promising lineup that featured a rare Orange County appearance by Richmond, Virginia’s Carbon Leaf, as well as Laguna Beach singer-songwriter Trevor Hall and Seattle-based singer-songwriter Joie Calio.
The last time I caught Calio with Dada, he played several acoustic songs in the middle of the band’s set, but that didn’t prepare me for how strong he could be for a 45-minute solo set armed only with his soaring voice, an acoustic guitar and hand-written notes positioned nearby.
Playing a mix of songs from his 2003 solo debut “The Complications of Glitter,” as well as Dada, his 2008 release with X Levitation Cult and material from a forthcoming untitled effort, Calio’s nine-song set was somewhat of a revelation with dense Dada material such as “Feet to the Sun” and the X Levitation Cult rock tune “Happiness In Hell (Spaceman)” translating easily to his singer-songwriter approach.
He also recognized the significance of the setting, noting 17 years earlier Dada performed their first-ever show on the stage of the Coach House.
Playing a mix of songs from his 2003 solo debut “The Complications of Glitter,” as well as Dada, his 2008 release with X Levitation Cult and material from a forthcoming untitled effort, Calio’s nine-song set was somewhat of a revelation with dense Dada material such as “Feet to the Sun” and the X Levitation Cult rock tune “Happiness In Hell (Spaceman)” translating easily to his singer-songwriter approach.
He also recognized the significance of the setting, noting 17 years earlier Dada performed their first-ever show on the stage of the Coach House.
Hall, singing and playing guitar, mixed a Southern California folk-rock vibe with reggae rhythms to good affect, particularly on the hard-driving “Volume” and new single “Unity” (a song he co-wrote with Matisyahu).
There was likely no way that Carbon Leaf could please everyone, considering the quintet has released a number of strong full-length albums since the mid-1990s. Carbon Leaf is one of those bands where you could ask five listeners to name a favorite song and you would get five different titles.
The troupe’s set list this night was a strong one, drawing heavily from the group’s ‘00s albums. Including gems such as the folk-rock of “Life Less Ordinary,” infectious “What About Everything,” alt-countrified “One Prairie Outpost,” ”haunting“ The War Was in Color” and regular set-ending “Miss Hollywood” proved effective across the 110-minute set.
The troupe’s set list this night was a strong one, drawing heavily from the group’s ‘00s albums. Including gems such as the folk-rock of “Life Less Ordinary,” infectious “What About Everything,” alt-countrified “One Prairie Outpost,” ”haunting“ The War Was in Color” and regular set-ending “Miss Hollywood” proved effective across the 110-minute set.
Fans that have wisely picked up the Amazon.com exclusive edition of “Nothing Rhymes With Woman” were not as surprised as some concertgoers with the band’s occasional breaks from a standard full band presentation. After all, one of the highlights of that special release is an acoustic version of “Lake of Silver Bells” that captures the magic of the original rock version, while also showcasing an ensemble especially skilled at playing traditional folk minus clichés.
So when it came time for an encore, Carbon Leaf stepped away from their microphones and positioned themselves with their acoustic instruments at the utmost front of the stage. The group then performed a beautifully-rendered version of “Learn to Fly,” with Barry Privett’s emotive voice soaring over the acoustic instruments and harmony vocals.
One couldn’t help but wish that Carbon Leaf will be back around real soon.
One couldn’t help but wish that Carbon Leaf will be back around real soon.
Immediately after performing (12:10 a.m!), the band members came out into the crowd to chat with fans. My friend and I ran into Barry Privett when we were getting up and he couldn't have been nicer. And then when I was purchasing a copy of the band's "5 Alive!" CD at the merchandise booth, Terry Clark came up to us (not knowing we were both music writers) to thank us for coming to the show. Wow, the perfect way to cap a memorable night.
Guitarist Pete Huttlinger comes to Orange County
Photo credit info: Kim ShermanThere are two sides to Nashville, Tennessee-based Pete Huttlinger’s musical world.
There is his acclaimed role as a sideman, playing alongside the late John Denver, as well as recent appearances with LeAnn Rimes. In fact, Rimes selected Huttlinger to play guitar with her when she appeared on the popular BBC-TV series “Live From Abbey Road” in 2007.
There is also the talented fingerstyle guitarist’s burgeoning solo career, which has included a growing number of strong albums such as “Catch & Release” (1995), “The Santa Rita Connection” (2004) and “Things Are Looking Up” (2007). He has also released a number of instructional titles on DVD, including “The Songs of Gordon Lightfoot,” “Arrangements for Solo Acoustic Guitar” and four discs focusing on John Denver’s songbook.
There is also the talented fingerstyle guitarist’s burgeoning solo career, which has included a growing number of strong albums such as “Catch & Release” (1995), “The Santa Rita Connection” (2004) and “Things Are Looking Up” (2007). He has also released a number of instructional titles on DVD, including “The Songs of Gordon Lightfoot,” “Arrangements for Solo Acoustic Guitar” and four discs focusing on John Denver’s songbook.
In March 2009, Huttlinger released his latest full-length album, “Fingerpicking Wonder: The Music of Stevie Wonder.” Huttlinger’s instrumental versions include an up-tempo “I Wish” and “Sir Duke,” a beautiful “My Cherie Amour” and tender “You Are The Sunshine Of My Life.”
The challenge of translating Wonder’s music – usually centered on his keyboard playing and distinctive vocals – might seem at odds with instrumental guitar. Huttlinger, a 1984 graduate of the Berklee College of Music in Boston, proves otherwise throughout his outstanding 10-song tribute to Wonder.
The challenge of translating Wonder’s music – usually centered on his keyboard playing and distinctive vocals – might seem at odds with instrumental guitar. Huttlinger, a 1984 graduate of the Berklee College of Music in Boston, proves otherwise throughout his outstanding 10-song tribute to Wonder.
“Anytime you take music which is predominately keyboard oriented and translate it to guitar or some other instrument, you are immediately faced with some interesting challenges,” Huttlinger said in a recent interview conducted via email.
“But that is part of the work and the joy of playing music – how in the world am I going to make this work? Sometimes we get lucky and everything falls into place.”
In crafting the arrangements and recording the disc, Huttlinger faced a number of choices – and challenges – that made the project every bit as demanding as completing an album of all-original material.
“With this new CD, the song ‘I Wish’ is the most difficult to play,” Huttlinger explained. “But I think that ‘My Cherie Amour’ may have been a little more difficult to record because I wanted that second guitar part to hint at the style of the 70’s but I wanted to make sure I didn’t overdo it.”
Those who catch Huttlinger when he performs in Orange County on Friday and Saturday night can count on hearing the acclaimed guitarist perform selections from his tribute to Wonder, as well as his other outstanding releases.
“But that is part of the work and the joy of playing music – how in the world am I going to make this work? Sometimes we get lucky and everything falls into place.”
In crafting the arrangements and recording the disc, Huttlinger faced a number of choices – and challenges – that made the project every bit as demanding as completing an album of all-original material.
“With this new CD, the song ‘I Wish’ is the most difficult to play,” Huttlinger explained. “But I think that ‘My Cherie Amour’ may have been a little more difficult to record because I wanted that second guitar part to hint at the style of the 70’s but I wanted to make sure I didn’t overdo it.”
Those who catch Huttlinger when he performs in Orange County on Friday and Saturday night can count on hearing the acclaimed guitarist perform selections from his tribute to Wonder, as well as his other outstanding releases.
“Yes, I will be performing some of that (Wonder) music at these concerts. It’s what we do whenever we have a new CD – we have to get out there and perform the new material,” Huttlinger said when asked about his upcoming set lists.
“I try not to repeat myself too much if I’ve been somewhere before but I also try to take into account which tunes get a great response from the audience. I also like to take requests from the audience. That way I am sure to make the most people happy that they came out.”
“I try not to repeat myself too much if I’ve been somewhere before but I also try to take into account which tunes get a great response from the audience. I also like to take requests from the audience. That way I am sure to make the most people happy that they came out.”
Here is more information about Huttlinger's performances this weekend:
Where: Dana Point Community House, 24642 San Juan Ave., Dana Point
When: 7:30 p.m. on Friday, June 26
Where: Mission Viejo Civic Center, 200 Civic Center, Mission Viejo
When: 7 p.m. on Saturday, June 27
How much: $25
Call: 949-842-2227
Online: www.LordoftheStringsConcerts.com
When: 7:30 p.m. on Friday, June 26
Where: Mission Viejo Civic Center, 200 Civic Center, Mission Viejo
When: 7 p.m. on Saturday, June 27
How much: $25
Call: 949-842-2227
Online: www.LordoftheStringsConcerts.com
Wednesday, June 24, 2009
OC Fair's Pacific Amphitheatre Concert Series Schedule Finalized
OC FAIR ANNOUNCES PACIFIC AMPHITHEATRE COMPLETE SCHEDULE
DAILY CONCERTS FEATURE DURAN DURAN, TEARS FOR FEARS,
THE MOODY BLUES & MORE
Costa Mesa, Calif. (June 24, 2009) – The OC Super Fair Summer Concert Series at Pacific Amphitheatre runs from July 10 – Aug 9 and tickets start at $12.50 (all tickets include Fair admission). Super Pass holders may purchase seats for select concerts at a 2-for-1 price – starting at $6.25. For more information, visit: ocfair.com. Schedule:
· Heart: Fri, July 10, 8 p.m.
· Duran Duran: Sat, July 11, 7:30 p.m.
· Rick Springfield: Sun, July 12, 8 p.m.
· Smokey Robinson: Wed, July 15, 8 p.m.
· An Evening with Joan Jett & The Blackhearts: Thurs, July 16, 8 p.m.
· Tears For Fears: Fri, July 17, 8 p.m.
· Anita Baker: Saturday, July 18, 8 p.m.
· The B-52's / The 88: Sun, July 19, 7:30 p.m.
· The Moody Blues: Wed, July 22, 8 p.m.
· Kelly Clarkson: Thurs, July 23, 8 p.m.
· X with special guest Maria McKee: Fri, July 24, 7:30 p.m.
· Maldita Vecindad: Sat, July 25, 8 p.m.
· Pat Benatar & Blondie / with special guest The Romantics: Sun, July 26, 7 p.m.
· Pacific Symphony performs The Magical Music of Disney: Wed, July 29, 8 p.m.
· Huey Lewis and The News: Thurs, July 30, 8 p.m.
· KC & The Sunshine Band/ Evelyn “ Champagne ” King: Fri, July 31, 7:30 p.m.
· Steve Miller Band: Sat, Aug 1, 8 p.m.
· Mariachi Sol de Mexico de Jose Hernandez / Mariachi Reyna de Los Angeles / Mariachi de Las Vegas: Sun, Aug 2, 7:15 p.m.
· Judas Priest / Whitesnake/ PopEvil: Wed, Aug 5, 6:30 p.m.
· Alan Jackson: Thurs, Aug 6, 8 p.m.
· The Black Eyed Peas: Fri, Aug 7, 7:30 p.m.
· Melissa Etheridge: Sat, Aug 8, 8 p.m.
· Three Dog Night: Sun, Aug 9, 8 p.m.
For more information, please visit www.ocfair.com or pacamp.com. Tickets can be purchased online at Ticketmaster.com or from the OC Fair Box Office at Pacific Amphitheatre, open Wednesday-Friday 10 a.m.-6 p.m.; Saturday and Sunday 10 a.m.-4 p.m.
Follow us on twitter.com/ocfair09 or be our friend on Facebook: OC Fair
DAILY CONCERTS FEATURE DURAN DURAN, TEARS FOR FEARS,
THE MOODY BLUES & MORE
Costa Mesa, Calif. (June 24, 2009) – The OC Super Fair Summer Concert Series at Pacific Amphitheatre runs from July 10 – Aug 9 and tickets start at $12.50 (all tickets include Fair admission). Super Pass holders may purchase seats for select concerts at a 2-for-1 price – starting at $6.25. For more information, visit: ocfair.com. Schedule:
· Heart: Fri, July 10, 8 p.m.
· Duran Duran: Sat, July 11, 7:30 p.m.
· Rick Springfield: Sun, July 12, 8 p.m.
· Smokey Robinson: Wed, July 15, 8 p.m.
· An Evening with Joan Jett & The Blackhearts: Thurs, July 16, 8 p.m.
· Tears For Fears: Fri, July 17, 8 p.m.
· Anita Baker: Saturday, July 18, 8 p.m.
· The B-52's / The 88: Sun, July 19, 7:30 p.m.
· The Moody Blues: Wed, July 22, 8 p.m.
· Kelly Clarkson: Thurs, July 23, 8 p.m.
· X with special guest Maria McKee: Fri, July 24, 7:30 p.m.
· Maldita Vecindad: Sat, July 25, 8 p.m.
· Pat Benatar & Blondie / with special guest The Romantics: Sun, July 26, 7 p.m.
· Pacific Symphony performs The Magical Music of Disney: Wed, July 29, 8 p.m.
· Huey Lewis and The News: Thurs, July 30, 8 p.m.
· KC & The Sunshine Band/ Evelyn “ Champagne ” King: Fri, July 31, 7:30 p.m.
· Steve Miller Band: Sat, Aug 1, 8 p.m.
· Mariachi Sol de Mexico de Jose Hernandez / Mariachi Reyna de Los Angeles / Mariachi de Las Vegas: Sun, Aug 2, 7:15 p.m.
· Judas Priest / Whitesnake/ PopEvil: Wed, Aug 5, 6:30 p.m.
· Alan Jackson: Thurs, Aug 6, 8 p.m.
· The Black Eyed Peas: Fri, Aug 7, 7:30 p.m.
· Melissa Etheridge: Sat, Aug 8, 8 p.m.
· Three Dog Night: Sun, Aug 9, 8 p.m.
For more information, please visit www.ocfair.com or pacamp.com. Tickets can be purchased online at Ticketmaster.com or from the OC Fair Box Office at Pacific Amphitheatre, open Wednesday-Friday 10 a.m.-6 p.m.; Saturday and Sunday 10 a.m.-4 p.m.
Follow us on twitter.com/ocfair09 or be our friend on Facebook: OC Fair
Tuesday, June 16, 2009
Carbon Leaf to perform in SJC on June 24
Photo credit: David Johnson
This story was originally posted on the Orange County Register Web site on Monday, June 15, 2009.
One of modern rock's best bands is coming to San Juan Capistrano later this month.
Richmond, Virginia-based Carbon Leaf – on tour in support of the quintet's excellent 2009 album "Nothing Rhymes With Woman" – will headline a strong bill that also includes singer-songwriter Trevor Hall and a rare solo appearance by Joie Calio (of Dada fame) at the Coach House on June 24.
"It's a good venue and definitely a good spot to hit," said lead singer-song lyricist Barry Privett of Carbon Leaf returning to the Coach House. The band last performed at the venue in September 2006.
"When you play along California, you make either make the decision to play in L.A. and then San Diego, or you can really dig in a little bit more and hit the great spots in between and that's what we do. We want to hit as many places as we can and the Coach House is a great room, and we've been fortunate to have people show up and listen."
"When you play along California, you make either make the decision to play in L.A. and then San Diego, or you can really dig in a little bit more and hit the great spots in between and that's what we do. We want to hit as many places as we can and the Coach House is a great room, and we've been fortunate to have people show up and listen."
In addition to Privett (who also plays penny whistle, acoustic guitar and bagpipes), the band's lineup currently includes Terry Clark (guitar, vocals), Carter Gravatt (guitar, mandolin, vocals), Jason Neal (drums) and Jon Markel (bass).
Carbon Leaf's previous full-length disc "Love, Loss, Hope, Repeat" was this writer's top album of 2006, beating out strong releases by Bruce Springsteen, Keane and Neil Young that year. "Nothing Rhymes With Woman" (released by Vanguard Records last month) reaffirms the band's greatness.
Songs such as the shimmering "Lake of Silver Bells," blues-minded "Another Man's Woman," introspective "Miss Hollywood" and Celtic rocker "Pink" showcase a band that clearly has established a unique place for itself in the musical universe.
Fans of Toad the Wet Sprocket, early R.E.M. and the Young Dubliners will all find something to admire in a troupe that blends folk-rock, Americana, power-pop and modern indie styles together effortlessly.
Carbon Leaf's previous full-length disc "Love, Loss, Hope, Repeat" was this writer's top album of 2006, beating out strong releases by Bruce Springsteen, Keane and Neil Young that year. "Nothing Rhymes With Woman" (released by Vanguard Records last month) reaffirms the band's greatness.
Songs such as the shimmering "Lake of Silver Bells," blues-minded "Another Man's Woman," introspective "Miss Hollywood" and Celtic rocker "Pink" showcase a band that clearly has established a unique place for itself in the musical universe.
Fans of Toad the Wet Sprocket, early R.E.M. and the Young Dubliners will all find something to admire in a troupe that blends folk-rock, Americana, power-pop and modern indie styles together effortlessly.
"For me, this album is about really getting back to the foundation as to why we started out as a band and really examining why we do what we do," explained Privett in a phone interview on May 28, the morning after the band performed in New York City.
"A lot of the themes on the album explore the transition as you go through life – and life is more complicated (as you get older) – and how you retain those dreams and youthful spirit you had and still be able to allow yourself to grow and mature. And although your dreams perhaps alter as you go along, you learn that's OK."
"A lot of the themes on the album explore the transition as you go through life – and life is more complicated (as you get older) – and how you retain those dreams and youthful spirit you had and still be able to allow yourself to grow and mature. And although your dreams perhaps alter as you go along, you learn that's OK."
Privett noted that although Carbon Leaf has undergone several personnel changes since the outfit was formed in the early 1990s, the artistic aim of the band has remained strong with a focus on songs that seamlessly explore a number of styles.
"The guys like to switch it off and Carter is a great multi-instrumentalist and the guys are very versed on different styles (of music)," Privett said.
"Our fan base really likes that about us that there are places for us to go and you're not watching a two-hour show where you're hearing the same thing over and over again. (And) It keeps us from getting bored. And I think the fact that the vocals kind of tie everything together gives it certain continuity within the different styles."
"The guys like to switch it off and Carter is a great multi-instrumentalist and the guys are very versed on different styles (of music)," Privett said.
"Our fan base really likes that about us that there are places for us to go and you're not watching a two-hour show where you're hearing the same thing over and over again. (And) It keeps us from getting bored. And I think the fact that the vocals kind of tie everything together gives it certain continuity within the different styles."
Privett said because of the countless number of concert choices that listeners have nowadays, Carbon Leaf is appreciative of the bond the band has with fans.
"The focus for us is creating that (musical) world and really focusing on our live show and our fan base because everything else that comes along whether it's licensing or radio – that's all great and definitely helps – but really at the end of the day it's got to be a one-on-one connection with people in the audience and that's going to be our life blood."
"The focus for us is creating that (musical) world and really focusing on our live show and our fan base because everything else that comes along whether it's licensing or radio – that's all great and definitely helps – but really at the end of the day it's got to be a one-on-one connection with people in the audience and that's going to be our life blood."
Friday, June 12, 2009
Interview with JD Souther
Photo credit: Erick Anderson
Even if you don't know JD Souther, you've heard his songs.
One of the most gifted songwriters to emerge out of the Southern California country rock movement of the early 1970s, he co-wrote many of the Eagles' best-known songs, including "Heartache Tonight," "Victim of Love," "New Kid In Town" and "Best of My Love."
And when the re-formed Eagles went into the studio to record the band's first album in 28 years, they released their version of Souther's "How Long" as the debut single in August 2007.
And when the re-formed Eagles went into the studio to record the band's first album in 28 years, they released their version of Souther's "How Long" as the debut single in August 2007.
In addition to his work with the Eagles, Souther wrote classics for Linda Ronstadt ("Faithless Love," "Simple Man, Simple Dream" and "Prisoner in Disguise") and scored hits of his own including 1979's "You're Only Lonely" and his 1981 duet with James Taylor, "Her Town Too."
However, after the release of his acclaimed 1984 album "Home By Dawn," fans of the talented singer-songwriter would have to wait a generation to hear a full-length collection of new songs from Souther.
But the long wait is over. Souther made a rare appearance in Orange County on Thursday night, June 11 in support of his latest album, 2008's "If The World Was You," an outstanding 11-track disc featuring his masterful lyrics positioned in a lush musical landscape of rock, jazz, soul and Latin styles that defies easy categorization.
However, after the release of his acclaimed 1984 album "Home By Dawn," fans of the talented singer-songwriter would have to wait a generation to hear a full-length collection of new songs from Souther.
But the long wait is over. Souther made a rare appearance in Orange County on Thursday night, June 11 in support of his latest album, 2008's "If The World Was You," an outstanding 11-track disc featuring his masterful lyrics positioned in a lush musical landscape of rock, jazz, soul and Latin styles that defies easy categorization.
"Its been since then (1984) that I made a studio album of all new stuff but I've done a few of these tours," Souther explained in a June 2, 2009 interview from his rural home outside of Nashville, Tenn. This writer then asked Souther if it took 24 years to release a new album because he had "finally" penned enough new songs to fill an album.
"Well, 'finally' might be a mistake because I wasn't writing them (songs) all of the time," said Souther, 63.
"The simplest answer to 'Why now?' is yes, the material. I went to Cuba in 1998; I had a really powerful musical experience a weekend I was there and I started this batch of songs and I was itching to get out and play something but I wasn't exactly sure what but I had really been missing music I grew up with which was small group jazz. … I was just lonesome to hear this really."
"Well, 'finally' might be a mistake because I wasn't writing them (songs) all of the time," said Souther, 63.
"The simplest answer to 'Why now?' is yes, the material. I went to Cuba in 1998; I had a really powerful musical experience a weekend I was there and I started this batch of songs and I was itching to get out and play something but I wasn't exactly sure what but I had really been missing music I grew up with which was small group jazz. … I was just lonesome to hear this really."
Although John David Souther was born in Detroit, and lived briefly in Cleveland, he spent most of his childhood and early teens living in Amarillo, Texas. Although he fell in love with rock 'n' roll in his teens, his earliest musical memories include listening to everything from Puccini operas and Beethoven symphonies to jazz recordings by Nat King Cole and Miles Davis and country pioneer George Jones.
Souther headlined at the Coach House in San Juan Capistrano on June 11, and was scheduled to feature many of the songs from "If The World Was You," as well as songs he has written and recorded throughout his acclaimed career.
"The fact that I'm playing alone means I don't have a set list," Souther explained.
"I can change keys; I can wander around and play anything I want. If I'm in the mood to play 'New Kid In Town' one night, I'll do that. If I'm in the mood to play 'Faithless Love,' 'How Long' or 'Best of My Love,' I do that. It's very unrestrictive."
Souther said he was looking forward to his solo appearance at the Coach House, with some of his fondest memories including appearances from San Diego to Los Angeles as a member of the folk duo Longbranch Pennywhistle that he formed with Glenn Frey shortly after moving to Southern California in the late 1960s.
"I can change keys; I can wander around and play anything I want. If I'm in the mood to play 'New Kid In Town' one night, I'll do that. If I'm in the mood to play 'Faithless Love,' 'How Long' or 'Best of My Love,' I do that. It's very unrestrictive."
Souther said he was looking forward to his solo appearance at the Coach House, with some of his fondest memories including appearances from San Diego to Los Angeles as a member of the folk duo Longbranch Pennywhistle that he formed with Glenn Frey shortly after moving to Southern California in the late 1960s.
"Well, you know, I've been playing music since I was nine," Souther recalled.
"The Texas Panhandle in 1968 or so when I migrated west did not have what existed along the beaches of Southern California. And that was beautiful weather, the most fabulous ocean in the world and the prettiest girls in the world, and an easy place to be poor. I didn't have any money; I had a Triumph motorcycle and a guitar."
"The Texas Panhandle in 1968 or so when I migrated west did not have what existed along the beaches of Southern California. And that was beautiful weather, the most fabulous ocean in the world and the prettiest girls in the world, and an easy place to be poor. I didn't have any money; I had a Triumph motorcycle and a guitar."
Friday, June 05, 2009
Pet Shop Boys to tour Canada and U.S.
On their latest release, England’s Pet Shop Boys (singer-keyboardist Neil Tennant and keyboardist Chris Lowe) also prove they haven’t lost a sonic step.
“Yes” is a bona fide gem, with the instantly- “Beautiful People” recalling the duo’s best-known classics (“West End Girls” and “It’s a Sin”). But “Yes” is a strong album from start to finish, with “Love etc.,” “Did you see me coming?” and “The way it used to be” also delivering dance-minded songcraft.
The album’s production is excellent, with the lushly-textured “King of Rome” and “Legacy” showcasing the dreamy reaches of Pet Shop Boys’ magical blend of electronic and synthesizer pop soundscapes.
Now comes word from the duo's label EMI that a Pet Shop Boys tour in coming to Canada and the U.S. later this summer. Here is the release that arrived in my inbox this morning.
PET SHOP BOYS BRING PANDEMONIUM ON TOUR TO NORTH AMERICA, Aug. 29 - Sept. 26, 2009
Month long tour kicks off in Montreal on August 29 and ends in Vegas on September 26
"Yes," that's the name of Pet Shop Boys tenth studio album.
"Yes," it's their highest-charting record since 1993's "Very."
Yes, Neil Tennant and Chris Lowe's career as Pet Shop Boys spans over two decades and they have sold over 30 million albums.
Yes, Pet Shop Boys will bring Pandemonium on tour to North America this Fall.
Yes, The Pandemonium Tour is a multi-media show that will include Pet Shop Boys' greatest hits and celebrate the new album.
Yes, it will be directed by Es Devlin, choreographed by Lynne Page with live music produced by Stuart Price.
Yes, it's a very 'up' show, one you won't want to sit down for....
Yes, Chris Lowe says 'Every night is Friday night' on the tour.
Yes, USA Today said the new album 'affirms their greatness.'
Yes, Entertainment Weekly said that 'No one writes better dance-pop odes'.
Yes, Rolling Stone said "On their excellent 10th album, the music leans toward the ornate, with snatches of Tchaikovsky and spaghetti-Western atmospherics enveloping the synths and house beats."
Yes, People said "Here they're at their best on melancholy-streaked songs such as "Beautiful People".
Yes, their website is www.petshopboys.co.uk.
The Pet Shop Boys will be offering pre-sale tickets to their online community for the up-coming North American dates. In addition, a limited number of VIP packages (including the opportunity to meet Neil and Chris) will be made available for purchase. The pre-sale will begin Monday, June 8th, at 1:00 PM in the time zone of the performance. To purchase pre-sale tickets please click here: http://tix.concertmaps.com/petshopboys
Aug 29 Montreal Metropolis
Sept 1 New York, NY Hammerstein
Sept 2 New York, NY Hammerstein
Sept 3 Washington, DC Constitution Hall
Sept 5 Boston, MA House of Blues
Sept 6 Atlantic City, NJ House of Blues
Sept 9 Miami, FL Fillmore
Sept 10 Tampa, FL Tampa Bay PAC
Sept 11 Orlando, FL House of Blues
Sept 12 Atlanta, GA Chastain
Sept 14 Chicago, IL Chicago Theater
Sept 15 Milwaukee, WI Pabst Ballroom
Sept 19 Vancouver, BC Vancouver Centre of Performing Arts
Sept 20 Seattle, WA Moore
Sept 22 San Francisco, CA Warfield
Sept 23 San Francisco, CA Warfield
Sept 24 Los Angeles, CA Greek
Sept 26 Las Vegas, NV Joint
Thursday, June 04, 2009
(500) Days of Summer soundtrack coming in July
This press release caught my eye because the incredible Simon & Garfunkel and amazing Hall & Oates, as well as several of my favorite modern rock outfits from the 1980s and '00s are featured. Any collection that features The Smiths, Hall & Oates, Doves and She & Him on a single disc is worth a very strong recommendation.
SIRE RECORDS TO RELEASE ORIGINAL SOUNDTRACK TO FOX SEARCHLIGHT PICTURES' (500) DAYS OF SUMMER ON TUESDAY, JULY 14, 2009
Burbank, CA- Sire Records will release the original soundtrack to the Fox Searchlight Pictures' feature film "(500) Days of Summer" on July 14, 2009. The film received a standing ovation at its debut screening during the 2009 Sundance Film Festival and releases in select theaters on July 17, 2009.
"(500) Days of Summer" is not a love story. It is a story of boy meets girl, begins the wry, probing narrator, and with that the film takes off at breakneck speed into a funny, true-to-life and unique dissection of the unruly and unpredictable year-and-a-half of one young man's no-holds-barred love affair.
"(500) Days of Summer" is the feature film directorial debut from Marc Webb, a noted music video director who has lensed clips for such artists as Regina Spektor, My Chemical Romance, Weezer, and Green Day. So it's no surprise that pop music plays an important role in setting the tone in "(500) Days of Summer." In keeping with the film's playfully unorthodox nature, the soundtrack features a host of offbeat artists, including Regina Spektor, Feist, Black Lips, Doves, Carla Bruni, and The Smiths. In a key moment in the film, Tom (played by Joseph Gordon-Levitt) is listening to the latter's song "There Is A Light That Never Goes Out" on his iPod, while riding in an elevator with Summer (played by Zooey Deschanel), who overhears it and comments that she loves The Smiths.
"(500) Days of Summer is a movie about love, sure, but it's also a movie about music," says Webb. "These songs build bridges between Tom and Summer and they tear them down. They can make you dance and they can make you cry. They describe how we feel and express emotions that just couldn't get out any other way. Music is the soul of this movie."
Robert Davis, writing in Paste Magazine said of the film: "The dialogue is sharp and witty, the soundtrack is hip and indie, Gordon-Levitt is effortlessly funny, and wide-eyed Deschanel is a good foil for his quirks."
"(500) Days of Summer" had its world premiere at the 2009 Sundance Film Festival. Directed by Marc Webb and written by Scott Neustadter and Michael Weber, (500) Days of Summer stars Joseph Gordon-Levitt and Zooey Deschanel. The film was produced by Mason Novick, Jessica Tuchinsky, Mark Waters, and Steven Wolfe.
The track-listing for the Original Soundtrack to (500) Days of Summer is as follows:
1. A Story of Boy Meets Girl - Mychael Danna and Rob Simonsen
"(500) Days of Summer" is the feature film directorial debut from Marc Webb, a noted music video director who has lensed clips for such artists as Regina Spektor, My Chemical Romance, Weezer, and Green Day. So it's no surprise that pop music plays an important role in setting the tone in "(500) Days of Summer." In keeping with the film's playfully unorthodox nature, the soundtrack features a host of offbeat artists, including Regina Spektor, Feist, Black Lips, Doves, Carla Bruni, and The Smiths. In a key moment in the film, Tom (played by Joseph Gordon-Levitt) is listening to the latter's song "There Is A Light That Never Goes Out" on his iPod, while riding in an elevator with Summer (played by Zooey Deschanel), who overhears it and comments that she loves The Smiths.
"(500) Days of Summer is a movie about love, sure, but it's also a movie about music," says Webb. "These songs build bridges between Tom and Summer and they tear them down. They can make you dance and they can make you cry. They describe how we feel and express emotions that just couldn't get out any other way. Music is the soul of this movie."
Robert Davis, writing in Paste Magazine said of the film: "The dialogue is sharp and witty, the soundtrack is hip and indie, Gordon-Levitt is effortlessly funny, and wide-eyed Deschanel is a good foil for his quirks."
"(500) Days of Summer" had its world premiere at the 2009 Sundance Film Festival. Directed by Marc Webb and written by Scott Neustadter and Michael Weber, (500) Days of Summer stars Joseph Gordon-Levitt and Zooey Deschanel. The film was produced by Mason Novick, Jessica Tuchinsky, Mark Waters, and Steven Wolfe.
The track-listing for the Original Soundtrack to (500) Days of Summer is as follows:
1. A Story of Boy Meets Girl - Mychael Danna and Rob Simonsen
2. Us - Regina Spektor
3. There Is A Light That Never Goes Out - The Smiths
4. Bad Kids - Black Lips
5. Please, Please, Please Let Me Get What I Want - The Smiths
6. There Goes The Fear - Doves
7. You Make My Dreams - Hall & Oates
8. Sweet Disposition - The Temper Trap
9. Quelqu'un M'a Dit - Carla Bruni
10. Mushaboom - Feist
11. Hero - Regina Spektor
12. Bookends - Simon & Garfunkel
13. Vagabond - Wolfmother
14. She's Got You High - Mumm-Ra
15. Here Comes Your Man - Meaghan Smith
16. Please, Please, Please Let Me Get What I Want - She & Him
Monday, June 01, 2009
Cheap Trick's new album set for release this summer
I was thrilled to learn today that Cheap Trick has announced details about the band's forthcoming album, "The Latest." The CD cover is pretty cool too, huh?
Multi-platinum rock band Cheap Trick announce the pre-order of the new album "The Latest," currently available exclusively through the band’s official website- www.cheaptrick.com- and on Amazon.com. "The Latest," produced by Julian Raymond & Howard Willing, continues Cheap Trick’s reign as power-pop progenitors as they celebrate their 35th anniversary together. Julian Raymond says, “Cheap Trick are fun to record because they are each a master of their craft, and there are so many great new songs on this record. But we also included an old one called ‘When The Lights Are Out.’ I couldn’t believe it wasn’t released in ‘76 when the band did it. I insisted they put it on the record just as it was.” See the video at http://www.youtube.com/watch?v=ikLBEJtK6PM.Those who take advantage of this unique offer will receive the album on June 23rd just as the band kicks off their summer tour with Def Leppard (tour dates below).
Additional limited edition merchandise including the LP and 8-Track will also be available on www.cheaptrick.com. Amazon is the exclusive digital retailer of The Latest for one month with the album hitting national retail in mid-July. Cheap Trick formed in the city of Rockford, IL in 1974. The band has since released six platinum albums and had numerous hits including “Surrender,” “I Want You to Want Me" and “Dream Police." Cheap Trick features the original line-up of Robin Zander - vocals and guitar, Rick Nielsen - guitar and backing vocals, Bun E. Carlos - drums and backing vocals & Tom Petersson - bass and backing vocals.
"The Latest" track listing:
Sleep Forever
When The Lights Are Out
Miss Tomorrow
Sick Man of Europe
These Days
Miracle
Everyday You Make Me Crazy
California Girl
Everybody Knows
Alive
Times of Our Lives
Closer, The Ballad of Burt and Linda
Smile
Cheap Trick hits the road this summer for a 40-city tour with Def Leppard, including an
August 30, 2009 date at Verizon Wireless Amphitheatre in Irvine.
Greg Johnson to perform two shows on June 6
For young singer-songwriters based in Europe, Australia or even relatively-nearby Canada, conquering America is a challenge. So while Greg Johnson is a well-known and celebrated name in his native New Zealand, it was ultimately his decision to relocate to the U.S. that has helped better introduce his talents here.
Based in Los Angeles since 2002, Johnson is a recipient of several New Zealand music awards including Best Male Vocalist and the prestigious Silver Scroll honor for songwriting in 1997 (for his song “Liberty”). Johnson will perform two shows as part of the Music at the Library concert series in San Juan Capistrano on Saturday, June 6, 2009.
Johnson is touring in support of his latest album “Seven Day Cure,” a disc that features 12 of his original songs.
In addition to new material off “Seven Day Cure” and the hit song “Save Yourself” from his 2007 album “Trouble Shooter’s Manual,” Johnson will likely play strong material from 2004’s “Here Comes the Caviar” and 2001’s “The Best Yet.”
In addition to new material off “Seven Day Cure” and the hit song “Save Yourself” from his 2007 album “Trouble Shooter’s Manual,” Johnson will likely play strong material from 2004’s “Here Comes the Caviar” and 2001’s “The Best Yet.”
With an arsenal of great songs, the ability to use his powerful voice and top-notch piano playing abilities, Johnson is sure to attract plenty of more fans when he performs as part of the Music at the Library concert series at San Juan Capistrano Regional Library, performing shows at 6:30 and 8:30 p.m. on June 6.
Tickets are $10 for adults and $5 for children under 12.
Information: 949-493-1752.
Tickets are $10 for adults and $5 for children under 12.
Information: 949-493-1752.
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