Even if I ever get to Cleveland, I can't think of many reasons to go to the Rock and Roll Hame of Fame. That rings true after the Associated Press announced today that Madonna is among this year's nominees. I'm sick.
While eligible and deserving artists such as Hall & Oates, Ringo Starr, Bruce Cockburn and the Cure have long been ignored, there is every liklihood that the class of 2008 ("the leading vote-getters will be inducted in the annual ceremony March 10, 2008, at New York's Waldorf Astoria Hotel" according to AP) will feature non-rockers like Madonna, Donna Summer and the Beastie Boys. Indeed, I wouldn't be surprised if in a crowded field of potential inductees that includes the likes of John Mellencamp, Leonard Cohen and surf rock pioneers The Ventures, only one actual rock-styled artist gets inducted into the Hall of Fame. Ain't that a shame...
Friday, September 28, 2007
Thursday, September 27, 2007
Ubaldini flying into Swallows Inn for 2-nite stint
Like Neil Young, Michael Ubaldini is that rare singer-songwriter willing to explore a range of acoustic and electric styles at a prolific pace that defies the modern tactic of waiting years between new studio releases.
Since 1999, the Fountain Valley resident has released four full-length albums of new material. In addition, there was an outstanding 2006 collection (“Empty Bottles & Broken Guitar Strings”) that includes remastered early material, unreleased tracks and three new songs recorded at the legendary Sun Studio in Memphis. And earlier this year England-based Raucous Records released an expanded version of “The Mystery Train Sessions,” the essential Lee Rocker-produced 1994 debut that featured Ubaldini joined by guest artists such as guitarist Brian Setzer.
Now the Fountain Valley singer-songwriter is back with “Storybook,” a 12-song collection that bridges the gap between his acoustic-styled works (“Acoustic Rumble,” “American Blood”) and full band outings (“Avenue of 10 Cent Hearts”).
“I have in my head, to do albums like they used to do it – like the Stones and Creedence Clearwater Revival. CCR put out two albums a year and put out a single in-between,” Ubaldini said.
“Now, they milk everything and it kills the music.”
Ubaldini’s “Storybook” is not necessarily crafted for the iTUNES generation or for those who want to download the flavor-of-the-month artist.
“The weird thing is the record is something you have to listen to start to finish; it’s kind of like the human condition of life. There is a lot of (imagery about) graveyards, tombstones, riverboats; ‘Apricot Wind’ is a story of the Civil War.”
“Storybook” explores themes such as life, death and war set against a backdrop of timeless American landscapes, with the songs presented courtesy of sparse arrangements featuring Ubaldini’s voice, acoustic guitar and harmonica, as well as Kirk Brown on pedal steel and fiddle and Jerry Adamos on piano and organ.
Ubaldini’s seemingly-endless travels provide him with an inexhaustible resource of experiences to put into songs.
“I like the way they (the songs) all flow together,” said Ubaldini. “There has always been a tradition in American music, a mystery to it all. The mystery coming out of the soil. I feel like I’m getting these songs; whatever I’m tapped into, it’s that American soil.”
The disc’s gentle landscape is positioned somewhere between the beauty of Neil Young’s “Prairie Wind” and John Mellencamp’s solemn “Human Wheels.”
Songs such as the alt country-styled “Side By Side,” blues-tinged “Honeysuckle Dew” and folk ballad “Sweet Autumn Rain” are among the many highlights on “Storybook.”
“I sang the songs live along with my acoustic guitar,” Ubaldini said of the “Storybook” sessions completed at Adamos Recording in January 2007. “There is not an effect on the vocals, everything is natural. I wanted it to be a real sound. Everything is so sterile these days. I think the public wants good honest records.
“It’s a quiet record, but there is still an edge to it.”
Michael Ubaldini will perform at Swallows Inn, 31786 Camino Capistrano, San Juan Capistrano, at 7:30 p.m. Sept. 27 and at 8:30 p.m. on Sept. 28.
Admission is free.
Information: 949-493-3188.
Since 1999, the Fountain Valley resident has released four full-length albums of new material. In addition, there was an outstanding 2006 collection (“Empty Bottles & Broken Guitar Strings”) that includes remastered early material, unreleased tracks and three new songs recorded at the legendary Sun Studio in Memphis. And earlier this year England-based Raucous Records released an expanded version of “The Mystery Train Sessions,” the essential Lee Rocker-produced 1994 debut that featured Ubaldini joined by guest artists such as guitarist Brian Setzer.
Now the Fountain Valley singer-songwriter is back with “Storybook,” a 12-song collection that bridges the gap between his acoustic-styled works (“Acoustic Rumble,” “American Blood”) and full band outings (“Avenue of 10 Cent Hearts”).
“I have in my head, to do albums like they used to do it – like the Stones and Creedence Clearwater Revival. CCR put out two albums a year and put out a single in-between,” Ubaldini said.
“Now, they milk everything and it kills the music.”
Ubaldini’s “Storybook” is not necessarily crafted for the iTUNES generation or for those who want to download the flavor-of-the-month artist.
“The weird thing is the record is something you have to listen to start to finish; it’s kind of like the human condition of life. There is a lot of (imagery about) graveyards, tombstones, riverboats; ‘Apricot Wind’ is a story of the Civil War.”
“Storybook” explores themes such as life, death and war set against a backdrop of timeless American landscapes, with the songs presented courtesy of sparse arrangements featuring Ubaldini’s voice, acoustic guitar and harmonica, as well as Kirk Brown on pedal steel and fiddle and Jerry Adamos on piano and organ.
Ubaldini’s seemingly-endless travels provide him with an inexhaustible resource of experiences to put into songs.
“I like the way they (the songs) all flow together,” said Ubaldini. “There has always been a tradition in American music, a mystery to it all. The mystery coming out of the soil. I feel like I’m getting these songs; whatever I’m tapped into, it’s that American soil.”
The disc’s gentle landscape is positioned somewhere between the beauty of Neil Young’s “Prairie Wind” and John Mellencamp’s solemn “Human Wheels.”
Songs such as the alt country-styled “Side By Side,” blues-tinged “Honeysuckle Dew” and folk ballad “Sweet Autumn Rain” are among the many highlights on “Storybook.”
“I sang the songs live along with my acoustic guitar,” Ubaldini said of the “Storybook” sessions completed at Adamos Recording in January 2007. “There is not an effect on the vocals, everything is natural. I wanted it to be a real sound. Everything is so sterile these days. I think the public wants good honest records.
“It’s a quiet record, but there is still an edge to it.”
Michael Ubaldini will perform at Swallows Inn, 31786 Camino Capistrano, San Juan Capistrano, at 7:30 p.m. Sept. 27 and at 8:30 p.m. on Sept. 28.
Admission is free.
Information: 949-493-3188.
Monday, September 17, 2007
K-Earth concert in Irvine showcases 'Golden Oldies'
PHOTO: Patrick Simmons of the Doobie Brothers performed at the Verizon Wireless Amphitheater in Irvine on Saturday, Sept. 15, 2007. Photo credit: Christina House(Review and photo originally published in the Orange County Register on Sunday, Sept. 16, 2007)
Review: A wide-ranging mix of feel good-styled hits is delivered courtesy of a strong mix of classic artists.
By ROBERT KINSLER
Special to the Register
Based on the festive atmosphere at Verizon Wireless Amphitheater on Saturday night (Sept. 15, 2007), it seems like a good bet that many of the fans who attended the K-Earth 101 35th Anniversary Concert were in a mood to party.
I don't recall any other event in recent memory where the radio station deejays received the rousing welcome that the near-capacity crowd gave the K-Earth hosts early in the evening.
The event began in the late afternoon when it was still hot, but temperatures dropped precipitously as the night went on likely leading to many fans' decision to leave before Chicago finished the event just before 11:30 p.m.
However, that alone couldn't mar a line-up that worked despite the seemingly contradictory styles on the bill.
I've seen headliner Chicago a number of times over the past decade and the eight-member troupe can be uneven depending on the day. During its 90-minute headlining set here, the group was clearly up to the challenge in playing before a large crowd on a bill with other established artists.
Singer-keyboardist Robert Lamm sounded better than anytime in memory, delivering strong versions of signature hits such as the poignant "Colour My World" and "Does Anybody Really Know What Time It Is?" During one of the band's best-known songs, "Saturday in the Park," Lamm came out front with a small, portable keyboard and fronted the band to good effect.
The group also closed with a strong seven-minute version of the classic rocker "25 or 6 to 4," allowing lead guitarist Keith Howland and the strong three-man horn section to display plenty of firepower to close out a strong set.
However, it was the Doobie Brothers that performed the most pleasing and compelling set of the night. Playing a dozen songs over the course of an hour, the group played hits while also offering up lesser-known material that showcased the varied influences of the seven-member outfit.
From the gospel-styled "Jesus Is Just Alright" (complete with the group's full harmonies delivered in tandem with frontman Patrick Simmons' blazing guitar licks), swamp rock of "Black Water" and the two-guitar instrumental gem "Five Corners," the Doobies' set never faltered. Other highlights included straightforward versions of "China Grove" and "Listen to the Music" that got many in the audience to their feet.
War played only 30 minutes, but that was enough time for lead singer Lonnie Jordan (the only remaining original member of the group) and company to play singalong hits such as "The Cisco Kid," "Why Can't We Be Friends" and "Low Rider."
With the Stylistics' sound built around ballads delivered courtesy of singer Eban Brown's falsetto, the group's Philly blend of vocal soul might seem a better fit with Hall & Oates then on this bill. But songs such as the contagious "You Are Everything" and sweet love song "You Make Me Feel Brand New" worked remarkably well.
Opening the show were the Four Tops, one of the best purveyors of the classic Motown sound. The four-man vocal group and a strong backing 12-member band blasted through hits such as "I Can't Help Myself (Sugar Pie, Honey Bunch)," "It's the Same Old Song," "Bernadette" and "Baby I Need Your Loving." It was one of the fastest 30-minute spans I can remember.
Thursday, September 13, 2007
Geno Delafose: Everybody's gonna be dancin'
Whether performing at a dancehall in their native Louisiana or at a 4th of July festival on the beach in Southern California, Geno Delafose & French Rockin’ Boogie has been championing authentic zydeco music since the early 1990s. The talented troupe will perform two special shows in San Juan Capistrano on Saturday, Sept. 15, 2007.
A native of Eunice, a small town located in the heart of Southwest Louisiana’s bayou country, Delafose has been performing for most of his life. He got his start at the age of seven, playing the rubboard with his father’s ensemble (John Delafose & the Eunice Playboys), later learning how to play drums and then accordion.
So when the then-22-year-old Geno Delafose released his debut solo disc “French Rockin’ Boogie” on Rounder Records in January 1994, he already had 15 years of playing and touring experience. The accordion-playing Creole musician has since cemented his legacy with countless concert appearances and the release of celebrated albums such as 1998’s “La Chanson Perdue” and 2003’s “Everybody’s Dancin’.” His most recent album, “Le Cowboy Creole,” was released Aug. 14 and features 15 wonderful tracks, including a fiery cover of Van Morrison’s “Domino.”
Armed with his strong singing skills (using both Creole French and English) and virtuoso talents playing the accordion, Delafose was awarded Best Zydeco Artist at the 2003 Big Easy Awards in New Orleans. Delafose & French Rockin’ Boogie play Creole standards, two-step dance numbers, blues, soul and traditional waltzes with equal authenticity.
Delafose continues to divide his time between touring and operating his Double D Ranch outside of Eunice; there he breeds cattle and raises quarter horses.
Delafose & French Rockin’ Boogie will perform at the San Juan Capistrano Regional Library, 31495 El Camino Real, San Juan Capistrano, at 6:30 and 8:30 p.m. on Sept. 15.
Tickets are $10 ($5 for children under 12).
Information: 949-248-7469.
Thursday, September 06, 2007
Old Blind Dogs bring Scotland sounds to O.C.
There are few folk troupes as bold as Scotland’s Old Blind Dogs. Indeed, the celebrated ensemble was named “Folk Band of the Year” at the prestigious Scots Trad Music Awards in 2004.
Old Blind Dogs will perform at the San Juan Capistrano Regional Library on Saturday, celebrating the release of the group’s tenth full-length CD, “Four on the Floor” (released by Compass Records on July 17).
Old Blind Dogs will perform at the San Juan Capistrano Regional Library on Saturday, celebrating the release of the group’s tenth full-length CD, “Four on the Floor” (released by Compass Records on July 17).
“Four on the Floor” is a 12-track collection that finds the Scottish quartet deftly expanding the reaches of its sonic universe. Tracks range from the rhythm-defying “Harris Dance” and beautiful, fiddle-anchored cover of Davie Robertson’s “Star O’ the Bar” to the aptly titled “Jigs” and haunting “Gaelic Song.”
Old Blind Dogs boasts plenty of musical firepower thanks to the talents of Jonny Hardie (fiddle, mandolin, guitar and vocals), Aaron Jones (bass, Bouzouki, guitar and vocals), Rory Campbell (pipes, whistles and vocals) and Fraser Stone (drums, percussion). And while many folk groups are reluctant to explore new ground 15 years into their careers, the members of Old Blind Dogs challenge themselves with each new recording and at every performance. In April 2007, Old Blind Dogs performed two special shows in the group’s hometown of Aberdeen marking the 15th anniversary of the band that were filmed for a special DVD release that should be available later this year.
In addition to the excellent “Four on the Floor,” recommended recordings from Old Blind Dogs include “Play Live” (recorded during the group’s 2004 tour in the U.S.), “The Gab o Mey” (2003), “The World’s Room” (1999) and “Five” (1997).
Old Blind Dogs will perform at the San Juan Capistrano Regional Library, 31495 El Camino Real, San Juan Capistrano, at 6:30 and 8:30 p.m. on Saturday evening, Sept. 8.
Tickets are $10 ($5 for children under 12).
Information: 949-493-3984.
Friday, August 31, 2007
Gráda to play in San Juan Capistrano on Sept. 1
Acclaimed Celtic music group Gráda will perform two shows as part of the San Juan Capistrano Multicultural Arts Series on Saturday evening, Sept. 1, 2007.
The talented quintet is performing at San Juan Capistrano Regional Library on the heels of the release of "Cloudy Day Navigation," an impressive two-disc collection featuring a 12-song CD and a bonus six-song DVD featuring a wonderful live performance by the group filmed at the Temple Bar Music Centre in Dublin on Aug. 10, 2006.
The CD features outstanding songs ("Red Civic," "Cooler at the Edge," "River"), as well as breathtaking instrumental selections ("Carousel of Life," "Fifty-ninth Street," "Maria Letizia's").
Gráda includes Alan Doherty (flutes, whistles, vocals, percussion), Andrew Laking (double bass, vocals, guitar), Colin Farrell (fiddle, whistle), Gerry Paul (guitars, vocals) and Nicola Joyce (vocals, bodhran).
The group's wide-ranging talent displayed across "Cloudy Day Navigation" should come as no surprise considering the strong skills of the individual members who make up the troupe. New Zealand native Laking has a wide-ranging background playing Irish and jazz music, while flautist Doherty first gained worldwide fame as a lead soloist on Howard Shore's "Lord of the Rings" soundtrack. Ireland natives Joyce and Paul and Manchester, England's Farrell all participated in thriving regional Irish music scenes before forming Gráda six years ago.
An eclectic mix of performers including Coldplay lead singer Chris Martin, Damien Dempsey, Damien Rice and Bill Whelan have all utilized members from Gráda's ranks. The group's discography includes 2007's "Cloudy Day Navigation," as well as the group's 2004 debut "The Landing Step" and 2005's "Endeavour."
Fans of seminal Irish music artists such as Solas will be thrilled by Gráda's musicianship and performance skills in concert.
Gráda will perform at the San Juan Capistrano Regional Library, 31495 El Camino Real, San Juan Capistrano, at 6:30 and 8:30 p.m. Saturday, Sept. 1, 2007.
Tickets are $10 ($5 for children under 12).
Information: 949-248-7469
Thursday, August 23, 2007
‘Ally McBeal’ songstress Vonda Shepard
Vonda Shepard is back.
After taking more than a year off to have a baby, the acclaimed singer-songwriter is completing work on a new album and will kick off a handful of intimate shows this summer when she plays at the Coach House in San Juan Capistrano Saturday.
“I started playing (Los Angeles area) clubs, playing original music when I was 14,” Shepard said in a recent phone interview. “I played for 10 years before I got signed.”
By the time Shepard was signed to her first major label contract with Reprise Records in 1987, she had already paid her dues as a backup singer and keyboardist for both Rickie Lee Jones and Al Jarreau.
Shepard released a self-titled debut in 1989, as well a 1992 follow-up, “The Radical Light,” before being dropped from the label. But her story clearly didn’t end there.
She continued to perform in the Los Angeles area and in 1996 released an independent album “It’s Good, Eve” that also helped connect her with an ever-growing fan base, including famed TV producer David E. Kelley. Shepard’s music was introduced to a global audience once she became a fixture on Kelley’s “Ally McBeal” series (which ran 1997-2002).
“It gave me a career all over the world,” said Shepard, noting she has been able to perform across the U.S. and overseas while selling more than 12 million records worldwide.
“The other side is a lot of people want to hear ‘Tell Him’ (Shepard’s version of the Exciters’ 1960s hit was featured on 1998’s “Songs from Ally McBeal” album).” There are songs from early in Shepard’s career, including material she sang on the show, that still find a regular place on her set list. Her remakes of “You Belong to Me” and “Walk Away Renee” are selections she still enjoys performing, but it is her own “Maryland” that remains a personal favorite.
“I feel that song every time I play it,” Shepard admitted. Her most recent albums include 1999’s “By 7:30,” 2002’s “Chinatown,” as well as the aptly-titled “Live – A Retrospective” released in 2005.
“I only have three songs left to go,” said Shepard, adding she hopes her forthcoming album is available by Christmas. “I do really look forward to the new album being finished.”
Those attending her show in San Juan Capistrano will get to hear at least three new songs that have been recorded and are set be included on her forthcoming project.
“I have to play them,” she said.
Shepard and Brooke Ramel will perform at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, at 8 p.m. Saturday, August 25. (For those who can’t make that show, she is also scheduled to finish her five-date tour at the Cerritos Center for the Performing Arts on Sept. 29).
Tickets, available at the Coach House box office, are $25.
Information: 949-496-8930.
Tuesday, August 21, 2007
Rusty Anderson to perform at O.C. Pavilion on Aug. 24
Originally printed Aug. 17, 2007 in the Orange County Register
By ROBERT KINSLER
Special to the Register
Rusty Anderson is coming home.
Although the celebrated singer-guitarist has performed at a handful of intimate shows in Orange County since his acclaimed debut "Undressing Underwater" was released by Surfdog Records in 2005, his performance at OC Pavilion on Aug. 24 marks his first time headlining a major venue in Orange County as a solo artist.
The La Habra High School graduate admitted there is still a special feeling whenever he performs in Orange County.
"First of all, it's a beautiful theater and it has great lighting and sound," said Anderson, who has played in Paul McCartney's band since 2001. "It's going to be a longer show and there will be special guests. I'm looking forward to taking advantage of that (theater-styled) setup. And because I grew up in Orange County, it's going to be extra exciting to play this one."
Anderson explained how much McCartney enjoyed playing the cozy confines of New York's Highline Ballroom and Amoeba Records in Hollywood earlier this summer compared to the arenas and stadiums they usually play together. And while Anderson has enjoyed performing at clubs such as the legendary Viper Room in Hollywood and a record release party at Pepperland Music in Orange with his band, he is thrilled to perform in a larger setting where he can deliver a bigger show for his area fans.
"I think it has rubbed off in some ways, hopefully," said Anderson, when asked about the experience of playing with McCartney for more than six years.
"Being in so many situations – from recording at Abbey Road Studios to playing in Red Square - and just getting out and seeing the world a bit, I have learned a lot of things that I'm probably not even aware of," he admitted. "But, yeah, I think it has certainly made me feel comfortable on stage if nothing else."
In addition to his continuing role as a member of McCartney's band, Anderson's guitar playing is featured across a wide range of recent releases including on Elton John's "Songs From The West Coast", Regina Spektor's "Begin to Hope," Joe Cocker's "Respect Yourself," Dido's "Life for Rent," Carole King's "Love Makes the World" and Gwen Stefani's "Love. Angel. Music. Baby", Cat Stevens' "An Other Cup" and Jewel's "0304."
When it comes to his solo career, Anderson is a talented guitar virtuoso and could easily chart a course in the sonic footsteps of Gary Hoey, Steve Vai and Joe Satriani. On "Undressing Underwater," Anderson's dazzling fretwork is almost-always used in the service of songs such as the tuneful "Hurt Myself" (McCartney plays bass and sings backup vocals on that track) psychedelia-tinged "Devil's Spaceship" and driving surf rocker "Catbox Beach" (featuring Police drummer Stewart Copeland and Ednaswap bassist Paul Bushnell).
In addition to singing lead vocals and playing guitar, "Undressing Underwater" found Anderson playing keyboards, pedal steel guitar, tambourine and even hammered dulcimer across the disc.
"Well, I'm always exploring; all I do is explore," Anderson said when asked about material he is writing and recording for his next project.
"I'm always sort of torn between trying to make things different because if something is unique you can't compare it to anything else. And then I think, 'Well all that matters is that it's good.' So I kind of vacillate back and forth between those two things."
Rusty Anderson and Fountain Valley-based singer-songwriter Michael Ubaldini will perform at the OC Pavilion, 801 N. Main St., Santa Ana, at 8 p.m. on Aug. 24.
Information: www.ocpavilion.com.
By ROBERT KINSLER
Special to the Register
Rusty Anderson is coming home.
Although the celebrated singer-guitarist has performed at a handful of intimate shows in Orange County since his acclaimed debut "Undressing Underwater" was released by Surfdog Records in 2005, his performance at OC Pavilion on Aug. 24 marks his first time headlining a major venue in Orange County as a solo artist.
The La Habra High School graduate admitted there is still a special feeling whenever he performs in Orange County.
"First of all, it's a beautiful theater and it has great lighting and sound," said Anderson, who has played in Paul McCartney's band since 2001. "It's going to be a longer show and there will be special guests. I'm looking forward to taking advantage of that (theater-styled) setup. And because I grew up in Orange County, it's going to be extra exciting to play this one."
Anderson explained how much McCartney enjoyed playing the cozy confines of New York's Highline Ballroom and Amoeba Records in Hollywood earlier this summer compared to the arenas and stadiums they usually play together. And while Anderson has enjoyed performing at clubs such as the legendary Viper Room in Hollywood and a record release party at Pepperland Music in Orange with his band, he is thrilled to perform in a larger setting where he can deliver a bigger show for his area fans.
"I think it has rubbed off in some ways, hopefully," said Anderson, when asked about the experience of playing with McCartney for more than six years.
"Being in so many situations – from recording at Abbey Road Studios to playing in Red Square - and just getting out and seeing the world a bit, I have learned a lot of things that I'm probably not even aware of," he admitted. "But, yeah, I think it has certainly made me feel comfortable on stage if nothing else."
In addition to his continuing role as a member of McCartney's band, Anderson's guitar playing is featured across a wide range of recent releases including on Elton John's "Songs From The West Coast", Regina Spektor's "Begin to Hope," Joe Cocker's "Respect Yourself," Dido's "Life for Rent," Carole King's "Love Makes the World" and Gwen Stefani's "Love. Angel. Music. Baby", Cat Stevens' "An Other Cup" and Jewel's "0304."
When it comes to his solo career, Anderson is a talented guitar virtuoso and could easily chart a course in the sonic footsteps of Gary Hoey, Steve Vai and Joe Satriani. On "Undressing Underwater," Anderson's dazzling fretwork is almost-always used in the service of songs such as the tuneful "Hurt Myself" (McCartney plays bass and sings backup vocals on that track) psychedelia-tinged "Devil's Spaceship" and driving surf rocker "Catbox Beach" (featuring Police drummer Stewart Copeland and Ednaswap bassist Paul Bushnell).
In addition to singing lead vocals and playing guitar, "Undressing Underwater" found Anderson playing keyboards, pedal steel guitar, tambourine and even hammered dulcimer across the disc.
"Well, I'm always exploring; all I do is explore," Anderson said when asked about material he is writing and recording for his next project.
"I'm always sort of torn between trying to make things different because if something is unique you can't compare it to anything else. And then I think, 'Well all that matters is that it's good.' So I kind of vacillate back and forth between those two things."
Rusty Anderson and Fountain Valley-based singer-songwriter Michael Ubaldini will perform at the OC Pavilion, 801 N. Main St., Santa Ana, at 8 p.m. on Aug. 24.
Information: www.ocpavilion.com.
Thursday, August 16, 2007
Richie Furay, Chris Hillman & Herb Pedersen coming to Coach House
There is sure to be plenty of sonic magic when three legendary talents linked with the birth of country rock perform at the Coach House in San Juan Capistrano on Friday night, August 17.
Richie Furay (a founding member of both Buffalo Springfield and Poco), Chris Hillman (an original member of the Byrds, the Flying Burrito Brothers and the Desert Rose Band) and Herb Pedersen (the Desert Rose Band) are set to play on the same bill, bringing together their collective skills as songwriters, singers and musicians for a celebration of a style of music that paved the way for the Eagles, as well as modern day champions such as Carbon Leaf.
Hillman undertook his own musical trek in 1963 as a young mandolin player in the bluegrass band, the Scottsville Squirrel Barkers, but he was to find even greater fame as an original member of the Byrds and with his contributions on classics such as “Turn, Turn, Turn,” “Mr. Tambourine Man” and “Eight Miles High.” After the release of the seminal album “Sweetheart of the Rodeo” in 1968, Hillman and fellow Byrds member Gram Parsons left to form the Flying Burrito Brothers (speaking of the Flying Burritos Brothers, Amoeba Records is releasing a 2-CD set titled "Gram Parsons Archive Vol 1: The Fying Burrito Brothers LIVE at the Avalon Ballroom 1969" in October 2007).
Hillman found further success with the Desert Rose Band in the 1980s. His contributions to the Byrds will be among the many highlights of a forthcoming 2-disc DVD titled “The Byrds Under Review” set for release next month.
Furay’s career is also one who emerged during the Southern California rock explosion of the 1960s, when he formed Buffalo Springfield with Stephen Stills and Neil Young in 1967. After that group disbanded, Furay and Jim Messina formed the countryrock group Poco. Furay and Hillman began working together when they teamed with J.D. Souther in the Souther Hillman Furay Band. That 1970s trio released several wonderful albums, including 1976’s “Slippin’ Away” and 1977’s “Clear Sailin’.” Furay returned to the spotlight earlier this year with the release of a new solo album, “The Heartbeat of Love.” Notable guests appearing on Furay’s latest disc include Timothy B. Schmit (Poco, the Eagles), Kenny Loggins and aforementioned Young and Stills.
Pedersen has been an active part of the Los Angeles and Nashville area recording scenes for 35 years, having utilized his tenor voice, as well as his equally-strong 5-string banjo and guitar playing talents on recordings for Emmylou Harris, Gordon Lightfoot, the late John Denver, Linda Ronstadt and Martina McBride. And as a member of the successful Desert Rose Band, he saw songs such as “Love Reunited,” “One Step Forward” and “Start All Over Again” score high on the country music charts.
Richie Furay, Chris Hillman and Herb Pedersen will perform at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, at 8 p.m. on Friday, Aug. 17. Tickets are $30.
Information: 949-496-8930.
Richie Furay (a founding member of both Buffalo Springfield and Poco), Chris Hillman (an original member of the Byrds, the Flying Burrito Brothers and the Desert Rose Band) and Herb Pedersen (the Desert Rose Band) are set to play on the same bill, bringing together their collective skills as songwriters, singers and musicians for a celebration of a style of music that paved the way for the Eagles, as well as modern day champions such as Carbon Leaf.
Hillman undertook his own musical trek in 1963 as a young mandolin player in the bluegrass band, the Scottsville Squirrel Barkers, but he was to find even greater fame as an original member of the Byrds and with his contributions on classics such as “Turn, Turn, Turn,” “Mr. Tambourine Man” and “Eight Miles High.” After the release of the seminal album “Sweetheart of the Rodeo” in 1968, Hillman and fellow Byrds member Gram Parsons left to form the Flying Burrito Brothers (speaking of the Flying Burritos Brothers, Amoeba Records is releasing a 2-CD set titled "Gram Parsons Archive Vol 1: The Fying Burrito Brothers LIVE at the Avalon Ballroom 1969" in October 2007).
Hillman found further success with the Desert Rose Band in the 1980s. His contributions to the Byrds will be among the many highlights of a forthcoming 2-disc DVD titled “The Byrds Under Review” set for release next month.
Furay’s career is also one who emerged during the Southern California rock explosion of the 1960s, when he formed Buffalo Springfield with Stephen Stills and Neil Young in 1967. After that group disbanded, Furay and Jim Messina formed the countryrock group Poco. Furay and Hillman began working together when they teamed with J.D. Souther in the Souther Hillman Furay Band. That 1970s trio released several wonderful albums, including 1976’s “Slippin’ Away” and 1977’s “Clear Sailin’.” Furay returned to the spotlight earlier this year with the release of a new solo album, “The Heartbeat of Love.” Notable guests appearing on Furay’s latest disc include Timothy B. Schmit (Poco, the Eagles), Kenny Loggins and aforementioned Young and Stills.
Pedersen has been an active part of the Los Angeles and Nashville area recording scenes for 35 years, having utilized his tenor voice, as well as his equally-strong 5-string banjo and guitar playing talents on recordings for Emmylou Harris, Gordon Lightfoot, the late John Denver, Linda Ronstadt and Martina McBride. And as a member of the successful Desert Rose Band, he saw songs such as “Love Reunited,” “One Step Forward” and “Start All Over Again” score high on the country music charts.
Richie Furay, Chris Hillman and Herb Pedersen will perform at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, at 8 p.m. on Friday, Aug. 17. Tickets are $30.
Information: 949-496-8930.
Monday, August 13, 2007
Deep Pruple, Blue Öyster Cult deliver taste of nostalgia
Photo taken by Kelly A. Swift
Photo information: Bassist Roger Glover and singer Ian Gillan of the classic rock band Deep Purple performed at the Pacific Amphitheatre on Sunday, Aug. 12, 2007.
(Story below originally published on www.ocregister.com on Monday, Aug. 13, 2007)
Review: The final installment of Pacific Amphitheatre's summer concert series a heavy metal fan's dream.
By ROBERT KINSLER
Special to the Register
The first time I caught Deep Purple in the early 1980s, the British hard rockers definitely lived up to their ear-bleeding reputation (the outfit was once credited in the Guinness Book of World Records as the world's loudest band).
On Sunday night, it was a decidedly more mature quintet that headlined at the final concert of the Pacific Amphitheatre's 2007 summer concert series.
Although the lineup of Deep Purple no longer features guitarist Ritchie Blackmore or keyboardist Jon Lord, the band gave the animated crowd a solid and strong performance that was a credit to the influential troupe's legacy.
Ian Gillan can't hit as many high notes as he did in the 1970s and early '80s, but his voice remains a melodic instrument up to the challenge and he has never looked happier on stage. The barefoot Gillan danced and moved with the music throughout the band's 90-minute set, and proved himself to be a personable frontman, able to keep things together on stage while involving the audience in sing-alongs and cheering on his band mates.
The set list was a heavy metal fan's dream, with the band playing well-known hits ("Space Truckin,' " "Smoke on the Water" and night-ending "Hush") and newer material such as "Rapture of the Deep." Longtime guitarist Steve Morse (who replaced Joe Satriani in 1994) is one of the world's best electric guitarists and his playing was exhilarating throughout the set, notably during an instrumental solo leading into "Knocking at Your Back Door." Both Morse and keyboardist Don Airey shined during the bluesy "Lazy," where they displayed their skills around Gillan's blues harmonica playing.
Bassist Roger Glover and drummer Ian Paige continue to bring fire to Deep Purple's sound, as evidenced by the heavy hypnotic power of "Perfect Strangers" and racing "Highway Star."
By ROBERT KINSLER
Special to the Register
The first time I caught Deep Purple in the early 1980s, the British hard rockers definitely lived up to their ear-bleeding reputation (the outfit was once credited in the Guinness Book of World Records as the world's loudest band).
On Sunday night, it was a decidedly more mature quintet that headlined at the final concert of the Pacific Amphitheatre's 2007 summer concert series.
Although the lineup of Deep Purple no longer features guitarist Ritchie Blackmore or keyboardist Jon Lord, the band gave the animated crowd a solid and strong performance that was a credit to the influential troupe's legacy.
Ian Gillan can't hit as many high notes as he did in the 1970s and early '80s, but his voice remains a melodic instrument up to the challenge and he has never looked happier on stage. The barefoot Gillan danced and moved with the music throughout the band's 90-minute set, and proved himself to be a personable frontman, able to keep things together on stage while involving the audience in sing-alongs and cheering on his band mates.
The set list was a heavy metal fan's dream, with the band playing well-known hits ("Space Truckin,' " "Smoke on the Water" and night-ending "Hush") and newer material such as "Rapture of the Deep." Longtime guitarist Steve Morse (who replaced Joe Satriani in 1994) is one of the world's best electric guitarists and his playing was exhilarating throughout the set, notably during an instrumental solo leading into "Knocking at Your Back Door." Both Morse and keyboardist Don Airey shined during the bluesy "Lazy," where they displayed their skills around Gillan's blues harmonica playing.
Bassist Roger Glover and drummer Ian Paige continue to bring fire to Deep Purple's sound, as evidenced by the heavy hypnotic power of "Perfect Strangers" and racing "Highway Star."
Blue Öyster Cult may not have Deep Purple's deep catalog of hits, but what the band does have is guitar virtuoso Buck Dharma. His playing was so inventive that it brought life to many of the lesser-known selections featured in the group's 45-minute set.
Highlights of the five-member band's stint were a driving "Burnin' for You" with both Dharma and Eric Bloom singing the song together to give it a layered sound, and a dynamic "(Don't Fear) The Reaper."
Although the kind of skillful guitar playing displayed by Dharma has fallen out of favor in modern rock circles, he truly delivered a clinic how to push the electric guitar to its limits that seemed to please not only longtime fans of the band, but a number of teens and twentysomethings sitting at the show.
While Edgar Winter's appearance at the end of the night (he played saxophone with Deep Purple during "Smoke on the Water") was welcome, his 30-minute opening set was a strictly by-the-numbers affair except during a funky and energetic "Free Ride."
Paul Rodgers, the Doors do justice to their pasts
Originally published on www.ocregister.com on Sunday, August 12, 2007
Review: Ray Manzarek and Robby Krieger delivered moments of magic, but the Bad Company/Free vocalist lived up to top billing with a crowd-pleaser.
By ROBERT KINSLER
Special to the Register
One of the greatest bands of all time, the Doors left behind recordings that are a collective part of rock 'n' roll consciousness. Fans are not only deeply familiar with the melodies sung by the late Jim Morrison, they even know the extended keyboard solos crafted by Ray Manzarek and the flamenco-tinged fretwork immortalized by Robby Krieger.
Since Morrison's death in 1971, the Doors' music has had a lasting impact with audiences, rare and previously unavailable recordings still seeping into the marketplace (the latest from the band is Rhino Records' impressive two-disc "Live in Boston 1970," released just last month).
Further keeping the flame alive is Riders on the Storm, a tribute of sorts featuring Manzarek, Krieger and one-time Fuel singer Brett Scallions. (The Cult's frontman Ian Astbury was on board when this revivalist concept emerged as the Doors of the 21st Century earlier this decade.)
How carefully these Riders recreate the Doors experience in the '00s – as it attempted to do for nearly an hour Saturday night (Aug. 11, 2007) at Pacific Amphitheatre – likely may be a matter of debate, but Scallions is clearly a kindred spirit of the late Morrison. His thin frame, black attire and fluid stage movements helped bring plenty of energy to this performance.
His routine eventually faltered because his own voice failed as a substitute for Morrison's deep and resonant baritone. But the good news for Doors fans was that both Manzarek and Krieger were in excellent form, replicating and improvising around timeless riffs and melodies from "Break on Through," "Light My Fire" and "L.A. Woman" (the latter two both clocked in at around 10 minutes apiece).
But headliner Paul Rodgers was clearly the winner this night. Back to his solo ways after a well-received tour fronting Queen – and backed by a strong four-man band, with kudos to the dual guitar attack of Howard Leese and Kurtis Dengler – Rodgers performed his best-known hits from both Bad Company and Free during an 80-minute performance.
Long recognized as one of rock's greatest vocalists, Rodgers proved it again and again here with pitch-perfect renditions of "Rock and Roll Fantasy" and even more challenging fare, such as "Can't Get Enough," "Feel Like Makin' Love" and "Saving Grace." His set only gained momentum as the night wore on, and his vocal firepower was up to the challenge, leading the crowd through sing-alongs during "Shooting Star," "All Right Now" and "Bad Company."
But Rodgers really sealed the deal with an amazing vocal display during a cover of the Jimi Hendrix classic "Little Wing," bringing both heartfelt emotion and dynamics to the piece.
Canadian singer-guitarist Pat Travers opened the night with a pleasing set of hard-rocking blues. Though most known for his cover of Stan Lewis' "Boom Boom (Out Go the Lights)," that audience favorite was outdistanced by newer material such as "Crash and Burn" and "I Don't Care."
Review: Ray Manzarek and Robby Krieger delivered moments of magic, but the Bad Company/Free vocalist lived up to top billing with a crowd-pleaser.
By ROBERT KINSLER
Special to the Register
One of the greatest bands of all time, the Doors left behind recordings that are a collective part of rock 'n' roll consciousness. Fans are not only deeply familiar with the melodies sung by the late Jim Morrison, they even know the extended keyboard solos crafted by Ray Manzarek and the flamenco-tinged fretwork immortalized by Robby Krieger.
Since Morrison's death in 1971, the Doors' music has had a lasting impact with audiences, rare and previously unavailable recordings still seeping into the marketplace (the latest from the band is Rhino Records' impressive two-disc "Live in Boston 1970," released just last month).
Further keeping the flame alive is Riders on the Storm, a tribute of sorts featuring Manzarek, Krieger and one-time Fuel singer Brett Scallions. (The Cult's frontman Ian Astbury was on board when this revivalist concept emerged as the Doors of the 21st Century earlier this decade.)
How carefully these Riders recreate the Doors experience in the '00s – as it attempted to do for nearly an hour Saturday night (Aug. 11, 2007) at Pacific Amphitheatre – likely may be a matter of debate, but Scallions is clearly a kindred spirit of the late Morrison. His thin frame, black attire and fluid stage movements helped bring plenty of energy to this performance.
His routine eventually faltered because his own voice failed as a substitute for Morrison's deep and resonant baritone. But the good news for Doors fans was that both Manzarek and Krieger were in excellent form, replicating and improvising around timeless riffs and melodies from "Break on Through," "Light My Fire" and "L.A. Woman" (the latter two both clocked in at around 10 minutes apiece).
But headliner Paul Rodgers was clearly the winner this night. Back to his solo ways after a well-received tour fronting Queen – and backed by a strong four-man band, with kudos to the dual guitar attack of Howard Leese and Kurtis Dengler – Rodgers performed his best-known hits from both Bad Company and Free during an 80-minute performance.
Long recognized as one of rock's greatest vocalists, Rodgers proved it again and again here with pitch-perfect renditions of "Rock and Roll Fantasy" and even more challenging fare, such as "Can't Get Enough," "Feel Like Makin' Love" and "Saving Grace." His set only gained momentum as the night wore on, and his vocal firepower was up to the challenge, leading the crowd through sing-alongs during "Shooting Star," "All Right Now" and "Bad Company."
But Rodgers really sealed the deal with an amazing vocal display during a cover of the Jimi Hendrix classic "Little Wing," bringing both heartfelt emotion and dynamics to the piece.
Canadian singer-guitarist Pat Travers opened the night with a pleasing set of hard-rocking blues. Though most known for his cover of Stan Lewis' "Boom Boom (Out Go the Lights)," that audience favorite was outdistanced by newer material such as "Crash and Burn" and "I Don't Care."
Sgt. Pepper's brought to life at the Hollywood Bowl
Originally posted online at www.ocregister.com on Saturday, August 11, 2007
Cheap Trick, Joan Osborne, Aimee Mann and others perform the Beatles' masterpiece and other Fab Four favorites with a symphony orchestra.
By ROBERT KINSLER
Special to the Register
It's hard to imagine a musical landscape without the Beatles. Almost from the moment the Fab Four burst on the international scene in 1964, the group's songs, distinctive sound and style had an impact not only on modern music, but on the world.
The Beatles scored a number of triumphs across the 1960s, but the release of "Sgt. Pepper's Lonely Hearts Club Band" on June 1, 1967 changed the pop universe in ways still felt four decades later.
Most of the selections played during the concert were never actually performed in concert by the Beatles when they were together, so the opportunity to see a talented line-up of players such as Aimee Mann, Joan Osborne, Ian Ball and Rob Laufer deliver performances of the classics with the accompaniment of a full orchestra allowed most of the performers to put their own stamp on the selections while honoring the original recordings.
Since the late 1970s, Cheap Trick has been one of the hardest working bands in America, performing at clubs, arenas and festivals while recording terrific collections blending power pop, punk and modern rock. The band's performance on Friday allowed a chance to focus on its musical chops and interpretive skills.
From the opening song of the night ("Magical Mystery Tour") to a medley from "Abbey Road" that closed the first half of the show, singer Robin Zander, guitarist Rick Nielsen, drummer Bun E. Carlos and bassist Tom Petersson provided powerful renditions of the songs. And while Cheap Trick and Gomez singer Ian Ball (whose orchestra-anchored "Strawberry Fields Forever" was among the highlights of the night) were mostly faithful to the originals in terms of arrangements, performances by Osborne (R&B styled takes on "Lady Madonna" and "The Long and Winding Road") and Mann (a beautifully fragile "Blackbird") displayed that even when reworked, the Beatles' songs continue to work their magic.
The performance of "Sgt. Pepper's Lonely Hearts Club Band" remains a challenge and no doubt it took significant planning to get the classically trained orchestra in sync with a group of rock players and even a six-member group of musicians playing Indian instruments such as sitar, tabla and double violin during a memorable "Within You Without You" (ably sung by Rob Laufer).
While the performance of the 13-song "Sgt. Pepper's Lonely Hearts Club Band" was revisited with mostly strong results, there were wrinkles, such as during "Good Morning Good Morning" on which the mix of sound effects, orchestra and Cheap Trick didn't blend perfectly.
Yet, the inclusive presentation worked, with Mann, Osborne and Ball also getting to take the lead on various tracks from the album.
The tour de force of the night rightfully came during "A Day in the Life," with a marvelously chilling lead vocal from Zander delivered against a dramatic soundscape of his band and a full orchestra that left an undeniable impression and had many in the crowd immediately rise to their feet when the final chord of the work was struck.
The entire ensemble of singers and musicians were called back for an encore, performing "All You Need Is Love," the perfect song to reinforce the spirit of a special night not soon forgotten.
Thursday, August 09, 2007
Jennifer Warnes' masterpiece gets its due
Posted at www.ocregister.com on Thursday, Aug. 9, 2007A 20th anniversary reissue of 'Famous Blue Raincoat,' her album of songs by Leonard Cohen, is treasure.
By ROBERT KINSLER
Special to the Register
There was a fateful series of events that led Jennifer Warnes to record her 1987 masterwork "Famous Blue Raincoat." The collection of songs by singer-poet Leonard Cohen was rightfully included in many critics' top 10 lists at the end of that year, but had long been out of print until it was reissued in an exceptional 20th anniversary edition by Shout! Factory on Aug. 7.
Warnes, a two-time Grammy winner who grew up in Anaheim and Fullerton, recently talked by phone from her home in Los Angeles about the long-awaited re-release of the tour de force, which has been beautifully remastered from the original analog tapes and also includes four previously unreleased tracks.
"This record, on one hand it's the recording of a friendship that has lasted until now (more than 35 years)," explained Warnes, 60, who began working with Cohen as a backup singer in the early 1970s.
"On the other hand, it's an interpreter's art … what does this say about the interpretive arts that a woman can get inside a man."
When asked about the challenge of selecting which Cohen songs to tackle, Warnes explained "some of the lyrics fit a woman better," while also noting that some of the songs just proved to be a better fit with her style of singing.
In addition to completely reworking Cohen-penned songs such as "First We Take Manhattan," "Bird on a Wire" and the exquisite title track, the album features the confessional ballad "Song of Bernadette" with lyrics co-written by Cohen and Warnes. Clocking in at eight minutes, "Joan of Arc" is a wonderful and introspective work on which Cohen's emotive baritone and Warnes' soprano are featured in a pairing that is pure magic.
The critical acclaim that greeted the release of "Famous Blue Raincoat" two decades ago also paved the way for a new appreciation of Cohen, whose 1988 album "I'm Your Man" revisited several of the selections on Warnes' tribute that was released a year before.
Audiophiles will quickly note the sound of the album is luxurious without being over-produced.
"One of the mistakes of (some recordings) is they leave in a lot of stuff that the listener has to work really hard to hear. And I got tired of having to work hard to hear things," she explained.
"Maybe the horns were covering up the vocals; especially in the '70s and '80s. The recording techniques were you just threw a bunch of stuff on there and hoped people liked it. And Roscoe (Roscoe Beck and Warnes co-produced the album) and I shared the same desire that we would personally do all the work of listening so our listeners could sit down in an easy chair and luxuriate."
In addition to members of the touring band that Cohen was using during that time, "Famous Blue Raincoat" also features guest appearances by legendary guitarist Stevie Ray Vaughan, whose distinctive style of blues guitar is heard on a scorching "First We Take Manhattan."
"Stevie was a friend of Roscoe," explained Warnes, recalling that Beck befriended Vaughan when the guitarist moved to Austin.
"So Roscoe wanted Stevie on it and when Stevie was playing at the Grammys; after the Grammy Awards were over he came over to the studio and did that without ever having heard the song before. He did it live."
With the re-release of "Famous Blue Raincoat," it's clear that there may be a welcome spotlight aimed at Warnes. Despite the commercial success of her 1982 duet with Joe Cocker on "Up Where We Belong" for the film "An Officer and a Gentleman" in 1982, as well as "(I've Had) The Time of My Life" recorded with Bill Medley for "Dirty Dancing" in 1987, wonderful albums such as 1992's "The Hunter" and 2001's "The Well" have been overlooked.
She continues to be a sought-after vocalist and is featured on a number of recent releases, including on Chris Hillman's latest disc "The Other Side," a duet with Jorge Calderon of "Keep Me In Your Heart" for a Warren Zevon tribute and guest vocals on Jackson Browne's "Going Home" album. Her most recent recording is a solo performance of "Blue Mountains of Mexico," a track that will appear on "The Gift: Tribute to Ian Tyson" this year.
Of "Famous Blue Raincoat," Warnes offers up the perfect single-sentence review: "We were in one of those vortex moments where everything was falling into place."
For more information on "Famous Blue Raincoat," visit www.shoutfactory.com. For more details about all of Warnes' recordings, visit www.JenniferWarnes.com.
Newvale to play in band's own backyard this weekend
If Newvale had no other distinction than being fronted by one-time Something Corporate guitarist Reuben Hernandez, that alone might well be enough to get the San Clemente-based quartet some notice.
But the fact that Newvale has released an EP of songs that equals his old band’s best efforts makes listening to the four tracks on “Summer’s Gone” an unexpected thrill. Add to that unlikely scenario that the music sounds little like Something Corporate and many discerning listeners will be amazed.
The band was formed in December 2005 and began playing high-profile shows in 2006 at venues such as the Galaxy Concert Theatre in Santa Ana and the Coach House in San Juan Capistrano. Newvale will be performing a highly-anticipated hometown concert at the San Clemente Fiesta Street Festival on Sunday, Aug. 12.
Newvale’s debut debut CD was recorded at Lendroma Studio in September 2006 with producer Kelly Winrich (best known as the drummer of San Clemente-based rock group Bril) and it took a mere 2-1/2 days to track the memorable title track “Summer’s Gone,” as well as “Explosions in the Distance,” “Flowers and Parking Tickets” and “Our Thursday.”
Newvale clearly sounds modern, with “Summer’s Gone” recalling recent work from Snow Patrol and Coldplay, but there is a laid-back, melodic vibe that may have something to do with the beach lifestyle enjoyed by the band. Think of it as a cross between Jack’s Mannequin and Sugar Ray with a bit of Dashboard Confessional thrown into the sonic mix.
“Lyrically, I want to write songs that are honest and inspire people,” Hernandez said in an interview earlier this year.
Newvale will perform a free show at the San Clemente Fiesta Street Festival (to be held from 9 a.m. to 7 p.m. on Avenida Del Mar in downtown San Clemente) on Aug. 12. Others groups scheduled to perform at the event include Cash’d Out (a tribute to Johnny Cash), Flock of 80’s, Crush, the Matt Kenney Band, Entice, Gratitude and Carry the Zero.
For more information on Newvale, visit www.MySpace.com/Newvale.
Monday, August 06, 2007
Summer Haze: A strong mix of styles is delivered by Slightly Stoopid, G. Love and Ozomatli
Originally published online at ocregister.com on Sunday, Aug. 5, 2007
On its commercial recordings – including the band's forthcoming "Chronichitis" – San Diego's Slightly Stoopid delivers a breezy and reggae-tinged catalog in tune with sonic forebearers such as Sublime and Sugar Ray.
Performing before a capacity crowd at Pacific Amphitheatre on Saturday (Aug. 4, 2007), songs such as "Officer," "Mr. Music" and "Wicked Rebel" retained the feel-good reggae grooves heard on disc although several of the songs played by the band were rendered unrecognizable by an overpowering mix in favor of the bass guitar and so many reverb- and echo-styled effects on the vocals.
But for the party-minded crowd on their feet moving to the beat much of the night, the band's 75-minute set was the perfect backdrop to drink, chat and celebrate a Saturday night. Slightly Stoopid's loosely-delivered set did feature some serious music making, as evidenced by an artful jam ("Nobody Knows"), a punk rock exhibit ("Operation") and a night-ending "Baby I Like It" featuring G. Love joining the band to infuse the tune with some blistering blues harmonica work.
While Slightly Stoopid's sound is built mostly around reggae, ska and punk, G. Love and Special Sauce similarly have found a way to fuse blues, R&B and rap together with winning results. During an hour-long set, G. Love showcased his skills as singer, guitarist and harmonica whiz; that he has such a fine supporting cast in Special Sauce (drummer Jeffrey Clemens, bassist Jimi Jazz and keyboardist Mark Boyce) was driven home across the hip-hop meets blues of "Cold Beverages" and a reggae-tinged "Back of the Bus." The ensemble also explored classic rock with a straightforward version of the Beatles "Why Don't We Do It in the Road?" and folk territory when guest Tristan Prettyman joined G. Love on stage to deliver an acoustic version of "Beautiful" that was featured on 2006's "Lemonade."
Ozomatli opened the show with an energetic 40-minute set that clearly impressed those who arrived in time to catch the L.A. outfit's blend of Latin salsa, hip-hop, rock and jazz-funk.
The large ensemble has always been powerful in a concert setting, but this outing displayed Ozomatli's burgeoning skills as songwriters. Newer material – notably the Latin rock-styled "Can't Stop," breezy R&B gem "After Party" and rap-anchored "City of Angels" from the new CD "Don't Mess with the Dragon" – placed effective melodies and choruses alongside the plethora of percussion instruments, horns, guitars and sing-alongs that have been a key part of Ozomatli since the group was formed more than a decade ago.
On its commercial recordings – including the band's forthcoming "Chronichitis" – San Diego's Slightly Stoopid delivers a breezy and reggae-tinged catalog in tune with sonic forebearers such as Sublime and Sugar Ray.
Performing before a capacity crowd at Pacific Amphitheatre on Saturday (Aug. 4, 2007), songs such as "Officer," "Mr. Music" and "Wicked Rebel" retained the feel-good reggae grooves heard on disc although several of the songs played by the band were rendered unrecognizable by an overpowering mix in favor of the bass guitar and so many reverb- and echo-styled effects on the vocals.
But for the party-minded crowd on their feet moving to the beat much of the night, the band's 75-minute set was the perfect backdrop to drink, chat and celebrate a Saturday night. Slightly Stoopid's loosely-delivered set did feature some serious music making, as evidenced by an artful jam ("Nobody Knows"), a punk rock exhibit ("Operation") and a night-ending "Baby I Like It" featuring G. Love joining the band to infuse the tune with some blistering blues harmonica work.
While Slightly Stoopid's sound is built mostly around reggae, ska and punk, G. Love and Special Sauce similarly have found a way to fuse blues, R&B and rap together with winning results. During an hour-long set, G. Love showcased his skills as singer, guitarist and harmonica whiz; that he has such a fine supporting cast in Special Sauce (drummer Jeffrey Clemens, bassist Jimi Jazz and keyboardist Mark Boyce) was driven home across the hip-hop meets blues of "Cold Beverages" and a reggae-tinged "Back of the Bus." The ensemble also explored classic rock with a straightforward version of the Beatles "Why Don't We Do It in the Road?" and folk territory when guest Tristan Prettyman joined G. Love on stage to deliver an acoustic version of "Beautiful" that was featured on 2006's "Lemonade."
Ozomatli opened the show with an energetic 40-minute set that clearly impressed those who arrived in time to catch the L.A. outfit's blend of Latin salsa, hip-hop, rock and jazz-funk.
The large ensemble has always been powerful in a concert setting, but this outing displayed Ozomatli's burgeoning skills as songwriters. Newer material – notably the Latin rock-styled "Can't Stop," breezy R&B gem "After Party" and rap-anchored "City of Angels" from the new CD "Don't Mess with the Dragon" – placed effective melodies and choruses alongside the plethora of percussion instruments, horns, guitars and sing-alongs that have been a key part of Ozomatli since the group was formed more than a decade ago.
Thursday, August 02, 2007
Violent Femmes' rebound works for me!
The Violent Femmes are on the rebound.
Whereas the ensemble turned in a decidedly by-the-numbers set when they played on the main stage at OCNYE at the Orange County Fairgrounds on Dec. 31, 2006, it was a much stronger ensemble that performed before the faithful at the House of Blues in Anaheim on Wednesday night (Aug. 1, 2007).
This more intimate showcase found the group delivering a full-length concert clocking in at almost two hours that fully captured the simultaneously schizophrenic and cohesive approach that makes the Violent Femmes so appealing.
There has been renewed interest in the Milwaukee, Wisconsin export over the past few years. Indeed, Rhino Records has issued a wonderful retrospective of the band’s best-known hits (“Permanent Record: the Very Best of Violent Femmes”) and the first-ever official DVD release (“Live and Otherwise”) featuring both concept videos and performance footage.
For the thirty- and fortysomething fans that crowded into the venue to catch the show, they had plenty of company as they sang along to all their favorites (“American Music,” “Gone Daddy Gone” “Add It Up” and the timeless “Blister in the Sun”). And for the young fans – many of whom were toddlers when the cult band released its self-titled debut in 1983 – this was the kind of energetic and freewheeling show that likely turned many into permanent devotees.
Leading the charge on stage were singer-guitarist Gordon Gano, bassist Brian Ritchie and percussionist Victor DeLorenzo, all of whom are distinctive players skilled at playing the mix of indie rock, alt folk, country-western and post punk that makes up the group’s distinctive sound. The three original members were all positioned at the front of the stage and a rotating line-up of other players (at times there were as many as 10 musicians on the stage) would come and go depending on the arrangement of a specific song. Horns of Dilemma member Jeff Hamilton was especially impressive with his mandolin work on the bluegrass-flavored “Jesus Walking on the Water”; that selection also featured Gano playing fiddle and Ritchie performing one of many fiery bass solos that thrilled the adoring crowd throughout the night.
The recently-reunited True West opened the night with a 50-minute set of songs gleaned from the band’s 1983 album “Hollywood Holiday” and 1984’s “Drifters,” as well as a couple of new tracks (both discs were reissued in by Atavistic Records in June).
The group’s blend of early ‘80s rock of the Plimsouls meets R.E.M. variety and post-psychedelic pop was not what this crowd ordered (many in the audience rudely cheered when singer Gavin Blair introduced the quintet’s final song), but the reformation of the band was worth an early arrival. The driving “Shot You Down” and “Hold On” were both highlights.
Whereas the ensemble turned in a decidedly by-the-numbers set when they played on the main stage at OCNYE at the Orange County Fairgrounds on Dec. 31, 2006, it was a much stronger ensemble that performed before the faithful at the House of Blues in Anaheim on Wednesday night (Aug. 1, 2007).
This more intimate showcase found the group delivering a full-length concert clocking in at almost two hours that fully captured the simultaneously schizophrenic and cohesive approach that makes the Violent Femmes so appealing.
There has been renewed interest in the Milwaukee, Wisconsin export over the past few years. Indeed, Rhino Records has issued a wonderful retrospective of the band’s best-known hits (“Permanent Record: the Very Best of Violent Femmes”) and the first-ever official DVD release (“Live and Otherwise”) featuring both concept videos and performance footage.
For the thirty- and fortysomething fans that crowded into the venue to catch the show, they had plenty of company as they sang along to all their favorites (“American Music,” “Gone Daddy Gone” “Add It Up” and the timeless “Blister in the Sun”). And for the young fans – many of whom were toddlers when the cult band released its self-titled debut in 1983 – this was the kind of energetic and freewheeling show that likely turned many into permanent devotees.
Leading the charge on stage were singer-guitarist Gordon Gano, bassist Brian Ritchie and percussionist Victor DeLorenzo, all of whom are distinctive players skilled at playing the mix of indie rock, alt folk, country-western and post punk that makes up the group’s distinctive sound. The three original members were all positioned at the front of the stage and a rotating line-up of other players (at times there were as many as 10 musicians on the stage) would come and go depending on the arrangement of a specific song. Horns of Dilemma member Jeff Hamilton was especially impressive with his mandolin work on the bluegrass-flavored “Jesus Walking on the Water”; that selection also featured Gano playing fiddle and Ritchie performing one of many fiery bass solos that thrilled the adoring crowd throughout the night.
The recently-reunited True West opened the night with a 50-minute set of songs gleaned from the band’s 1983 album “Hollywood Holiday” and 1984’s “Drifters,” as well as a couple of new tracks (both discs were reissued in by Atavistic Records in June).
The group’s blend of early ‘80s rock of the Plimsouls meets R.E.M. variety and post-psychedelic pop was not what this crowd ordered (many in the audience rudely cheered when singer Gavin Blair introduced the quintet’s final song), but the reformation of the band was worth an early arrival. The driving “Shot You Down” and “Hold On” were both highlights.
Reel Big Fish, Less Than Jake, Streetlight Manifesto & Against All Authority
Reel Big Fish knows how to throw a party.
The Orange County outfit played more than two dozen upbeat ska meets post-punk tunes designed to keep young fans dancing, jumping and racing around the Grove of Anaheim on Tuesday night (July 31, 2007).
So although it has been 10 years since RBF scored its biggest hit (1997’s “Sell Out”), singer-guitarist Aaron Barrett (the only original member of the Huntington Beach-spawned outfit; co-founder bassist Matt Wong left the band earlier this year) and his group continue to mine the the ska universe with a hyper mix of vocals, keyboards, riff guitar and horn blasts.
Whether performing material off the newly-released “Monkeys for Nothin’ and the Chimps for Free” or hits such as “Beer,” “I Want Your Girlfriend To Be My Girlfriend Too,” “She Has a Girlfriend Now” and night-ending “Sell Out,” there is a calculated folly to the band’s approach that provides the perfect soundtrack for teens and young twentysomethings who want to get crazy in the pit.
That fun-minded formula of catchy phrases, infectious rhythms and self-effacing humor worked well across the 90-minute set, with the new original song “Party Down” and cover of a-ha’s “Take on Me” joining the abovementioned hits as clear favorites with fans.
Of the three opening acts, only Against All Authority was awful. The quartet’s songs were totally lacking anything that could be mistaken for melody and there was nothing that stood out in the 25-minute set. The quartet could have just played “Sweet Televised Destruction” over and over again and it would have had the same affect.
Anchored by a solid 4-man horn section, Streetlight Manifesto displayed a winning mix of punk, ska and reggae across 35 minutes.
Gainesville, Florida-based Less Than Jake displayed the like-minded approach of RBF to put on an entertaining show. While it was clear that the raucous audience participation (a “Price is Right” theme was used with audience members pulled up like contestants) and third wave ska-punk sounds of the band were a hit with the majority of fans in the sold-out crowd, the group’s songs lacked the distinctive songcraft displayed by Barrett and his band.
The Orange County outfit played more than two dozen upbeat ska meets post-punk tunes designed to keep young fans dancing, jumping and racing around the Grove of Anaheim on Tuesday night (July 31, 2007).
So although it has been 10 years since RBF scored its biggest hit (1997’s “Sell Out”), singer-guitarist Aaron Barrett (the only original member of the Huntington Beach-spawned outfit; co-founder bassist Matt Wong left the band earlier this year) and his group continue to mine the the ska universe with a hyper mix of vocals, keyboards, riff guitar and horn blasts.
Whether performing material off the newly-released “Monkeys for Nothin’ and the Chimps for Free” or hits such as “Beer,” “I Want Your Girlfriend To Be My Girlfriend Too,” “She Has a Girlfriend Now” and night-ending “Sell Out,” there is a calculated folly to the band’s approach that provides the perfect soundtrack for teens and young twentysomethings who want to get crazy in the pit.
That fun-minded formula of catchy phrases, infectious rhythms and self-effacing humor worked well across the 90-minute set, with the new original song “Party Down” and cover of a-ha’s “Take on Me” joining the abovementioned hits as clear favorites with fans.
Of the three opening acts, only Against All Authority was awful. The quartet’s songs were totally lacking anything that could be mistaken for melody and there was nothing that stood out in the 25-minute set. The quartet could have just played “Sweet Televised Destruction” over and over again and it would have had the same affect.
Anchored by a solid 4-man horn section, Streetlight Manifesto displayed a winning mix of punk, ska and reggae across 35 minutes.
Gainesville, Florida-based Less Than Jake displayed the like-minded approach of RBF to put on an entertaining show. While it was clear that the raucous audience participation (a “Price is Right” theme was used with audience members pulled up like contestants) and third wave ska-punk sounds of the band were a hit with the majority of fans in the sold-out crowd, the group’s songs lacked the distinctive songcraft displayed by Barrett and his band.
Monday, July 30, 2007
Tears for Fears blends old and new in stunning show
There were two great things that happened at the Pacific Amphitheatre in Costa Mesa on Sunday night (July 29, 2007).
First, Tears for Fears performed a dazzling mix of old and new material with a sophistication and ease fitting the band's brilliant blend of melodic pop and Beatles-tinged psychedelia. Secondly, all proceeds earned by the group were donated to tour manager Gordon "Gungi" Paterson to assist him with his battle against cancer.
The only magic ingredient missing from the night was an ill-fitting capacity crowd that at times seemed more interested in tossing around beach balls, chatting incessantly and making beer runs than listening to anything but the band's best-known hits.
When Tears for Fears performed at the Pacific Amphitheatre in July 2005, it proved to be a magical night on which Curt Smith and Roland Orzabal masterfully played 75 minutes before an enthusiastic and adoring audience glad to see the duo performing together again. But at more than 90 minutes, this week's longer showcase allowed Tears for Fears to provide a proper look at the group's most recent album "Everybody Loves a Happy Ending," truly one of the best albums of 2004.
To be certain, there were times on Sunday night when the group would break into one of the newer gems such as the joyous "Call Me Mellow" and "Quiet Ones" and a fan of the group would erupt and pound a fist into the summer sky. And when Tears for Fears noted how aptly the title track off "Everybody Loves a Happy Ending" fitted the spirit of the show, it would have been great to see everybody in the audience rise to the occasion.
But it was hits and hits alone that were able to move the masses.
An effective opening with only Smith lit on stage and singing "Mad World" before the entire group burst in with "Everybody Wants to Rule the World" worked well, as did the final five-song stretch when the group playing strong versions of hits such as "Pale Shelter," "Head over Heels" and the night-ending "Shout."
Smith and Orzabal each handled his lead vocals with confidence, but the outstanding harmonies they shared (notably during "Sowing the Seeds of Love" and "Call Me Mellow") and how their roles fit so well with an excellent ensemble around them, seemed to lift the performance to an even higher level than two years ago.
Opener Gary Jules performed a 45-minute set of literate and well-crafted folk rock highlighted by his original tune "Pills" and his best-known song, a sparse reworking of Tears for Fears' "Mad World."
First, Tears for Fears performed a dazzling mix of old and new material with a sophistication and ease fitting the band's brilliant blend of melodic pop and Beatles-tinged psychedelia. Secondly, all proceeds earned by the group were donated to tour manager Gordon "Gungi" Paterson to assist him with his battle against cancer.
The only magic ingredient missing from the night was an ill-fitting capacity crowd that at times seemed more interested in tossing around beach balls, chatting incessantly and making beer runs than listening to anything but the band's best-known hits.
When Tears for Fears performed at the Pacific Amphitheatre in July 2005, it proved to be a magical night on which Curt Smith and Roland Orzabal masterfully played 75 minutes before an enthusiastic and adoring audience glad to see the duo performing together again. But at more than 90 minutes, this week's longer showcase allowed Tears for Fears to provide a proper look at the group's most recent album "Everybody Loves a Happy Ending," truly one of the best albums of 2004.
To be certain, there were times on Sunday night when the group would break into one of the newer gems such as the joyous "Call Me Mellow" and "Quiet Ones" and a fan of the group would erupt and pound a fist into the summer sky. And when Tears for Fears noted how aptly the title track off "Everybody Loves a Happy Ending" fitted the spirit of the show, it would have been great to see everybody in the audience rise to the occasion.
But it was hits and hits alone that were able to move the masses.
An effective opening with only Smith lit on stage and singing "Mad World" before the entire group burst in with "Everybody Wants to Rule the World" worked well, as did the final five-song stretch when the group playing strong versions of hits such as "Pale Shelter," "Head over Heels" and the night-ending "Shout."
Smith and Orzabal each handled his lead vocals with confidence, but the outstanding harmonies they shared (notably during "Sowing the Seeds of Love" and "Call Me Mellow") and how their roles fit so well with an excellent ensemble around them, seemed to lift the performance to an even higher level than two years ago.
Opener Gary Jules performed a 45-minute set of literate and well-crafted folk rock highlighted by his original tune "Pills" and his best-known song, a sparse reworking of Tears for Fears' "Mad World."
Friday, July 13, 2007
Pat Benatar keeps the hits coming at Anaheim HOB
Pat Benatar knows how to please her fans.
During a fast-moving, 90-minute set at the House of Blues in Anaheim on Thursday night, the singer and her solid three-man band (featuring her talented guitar-wielding husband Neil Giraldo) drew cheers and audience sing-along choruses with hits such as “Hit Me With Your Best Shot” and a cover of John Mellencamp’s “I Need a Lover.”
The last time I caught Benatar, it was two years ago (July 14, 2005 to be exact) at the Pacific Amphitheatre in Costa Mesa and her like-minded headlining appearance easily outdistanced sets by Berlin and the Motels that night.
Here in the intimate confines of the Mouse House, the 54-year-old singer was able to intersperse her nostalgic approach with acoustic-flavored material to provide a more wide-ranging sampling of material from throughout her 28-year recording career.
So while the crowd couldn’t get enough of the hard-rocking likes of her opener “All Fired Up,” the decidedly-dated “Heartbreaker” and night-ending “Love is a Battlefield,” there were definite moments when Benatar showcased her real ability to explore the blues, folk-rock and even prog rock styles.
Of the big hits she played, the steely rocker “Promises in the Dark,” timeless message-driven “Hell is for Children” and reworked “Invincible” soared best. Both Benatar and Giraldo excel in playing blues-rock and “True Love” allowed them to share that passion, with the adoring audience eager to come along on the ride.
But it was the performance of several songs from her overlooked early ‘90s album “Gravity’s Rainbow” that found Benatar venturing into territory furthest outside of the Arena rock sound where she is best know. “Disconnected,” written in the wake of the Los Angeles riots, was delivered in a blistering alt rock style that defied the cliché sound of some of her late 70s-early 80s material while continuing to display Benatar’s high octave vocals.
And in a similar approach rework some of her more dated material; “We Live for Love” was reworked in an acoustic, folk-rock vein.
While Benatar will never be able to escape the polished rock sound that produced a number of mainstream hits, there is no doubt she and her band deliver the nostalgic goods with an authenticity and passion equal to the thrill her performance gives time machine-bound fans.
Opener Lennon Murphy (better known as Lennon) performed a 30-minute set of keyboard-anchored material that explores that area somehow home to Evanescence, Nine Inch Nails and Alanis Morissette. Although her piano playing was not especially impressive and her voice only had limited range, there was an effective melancholy presence to her solo set that worked over the course of six songs.
During a fast-moving, 90-minute set at the House of Blues in Anaheim on Thursday night, the singer and her solid three-man band (featuring her talented guitar-wielding husband Neil Giraldo) drew cheers and audience sing-along choruses with hits such as “Hit Me With Your Best Shot” and a cover of John Mellencamp’s “I Need a Lover.”
The last time I caught Benatar, it was two years ago (July 14, 2005 to be exact) at the Pacific Amphitheatre in Costa Mesa and her like-minded headlining appearance easily outdistanced sets by Berlin and the Motels that night.
Here in the intimate confines of the Mouse House, the 54-year-old singer was able to intersperse her nostalgic approach with acoustic-flavored material to provide a more wide-ranging sampling of material from throughout her 28-year recording career.
So while the crowd couldn’t get enough of the hard-rocking likes of her opener “All Fired Up,” the decidedly-dated “Heartbreaker” and night-ending “Love is a Battlefield,” there were definite moments when Benatar showcased her real ability to explore the blues, folk-rock and even prog rock styles.
Of the big hits she played, the steely rocker “Promises in the Dark,” timeless message-driven “Hell is for Children” and reworked “Invincible” soared best. Both Benatar and Giraldo excel in playing blues-rock and “True Love” allowed them to share that passion, with the adoring audience eager to come along on the ride.
But it was the performance of several songs from her overlooked early ‘90s album “Gravity’s Rainbow” that found Benatar venturing into territory furthest outside of the Arena rock sound where she is best know. “Disconnected,” written in the wake of the Los Angeles riots, was delivered in a blistering alt rock style that defied the cliché sound of some of her late 70s-early 80s material while continuing to display Benatar’s high octave vocals.
And in a similar approach rework some of her more dated material; “We Live for Love” was reworked in an acoustic, folk-rock vein.
While Benatar will never be able to escape the polished rock sound that produced a number of mainstream hits, there is no doubt she and her band deliver the nostalgic goods with an authenticity and passion equal to the thrill her performance gives time machine-bound fans.
Opener Lennon Murphy (better known as Lennon) performed a 30-minute set of keyboard-anchored material that explores that area somehow home to Evanescence, Nine Inch Nails and Alanis Morissette. Although her piano playing was not especially impressive and her voice only had limited range, there was an effective melancholy presence to her solo set that worked over the course of six songs.
Wednesday, July 11, 2007
Hootenanny: Lucky 13
Fans arriving a bit late at Hootenanny on Saturday, July 7, 2007 were in luck. In fact, the first several performers to play on the Main Stage provided a good excuse to get out of the daytime sun and go check out the classic cars and the glut of merchandise booths and find a place to keep cool until the big names played.
Because while the Flamethrowers kicked off the day with a set of rowdy rock highlighted by "Stay Free Forever" and "Never a Dull Moment," things quickly took a turn for the worse when Tex and the Horseheads played a losing mix of roots rock, blues and cow punk.
But from the time Throw Rag took the stage at 1 p.m., fans never had to wait long to catch one of many classic artists returning to the unique festival that has been a celebration of those seeking the trailhead where alt-country, rockabilly, blues, folk and rock 'n' roll connect.
Clearly the majority of the crowd was there to see headliners Social Distortion. Frontman Mike Ness seemed unusually reflective during the band's hour-long set, ignoring many of the band's best-known songs and offering up a rich mix of obscure originals and strong remakes including the Rolling Stones' "Under My Thumb," Chuck Berry's "Maybellene" and Hank Williams' "Six More Miles (To the Graveyard)."
While the legendary Orange County outfit didn't play set list staples such as "Story of My Life," "Ball and Chain" and "Bad Luck," the Hootenanny crowd was treated to "Far Behind" (a new song featured on the band's just-released "Greatest Hits" set) and his confessional "King of Fools." Social Distortion closed with an introspective piano-anchored "Prison Bound" and a fiery remake of Johnny Cash's "Ring of Fire."
Leading up to Social Distortion's set, there were a handful of 30-minute appearances that highlighted some of the best Americana artists from the Southland.
Those who continue to link John Doe with X and Lee Rocker with the Stray Cats are missing out on enjoying the unique talents of each of these singer-songwriters.
Rocker and his excellent three-man band busted out of the gate with several songs from the forthcoming CD "Black Cat Bone," with the high octane "Lost Highway" and the bluesy title track thrilling the crowd. Later Rocker played "Race Track Blues," a 2005 song that provided a showcase for the two excellent lead guitarists in his band.
Doe, who came to Hootenanny armed with a wealth of affecting songs from his new album "A Year in the Wilderness," didn't disappoint. He opened with the beautiful "The Golden State" and later rocked with "Lean out Your Window."
Doe and his strong band closed their set with a terrific version of the Rolling Stones' "Gimme Shelter."
With both the Phil Alvin-led Blasters and his Dave Alvin on the bill, it was a dream-come-true moment when the brothers and one-time band mates teamed up to play a great version of the Blasters' classic "Marie Marie."
Several Orange County-based artists turned in pleasing sets as well. Anaheim-based Big Sandy & his Fly-Rite Boys offered up "Power of the 45," "Chalk it Up to the Blues" and other retro-sounding gems blending traditional country, rockabilly and western swing, while Fountain Valley's Michael Ubaldini explored the vast ranges of his Americana landscape with ferocious rockabilly ("Scratch My Back"), Dixieland (""Mardi Gras") and heartland rock 'n' roll ("Tears of a Lonesome Train"). One major oversight of the concert organizer was putting Ubaldini on the Second Stage when this major talent should have been featured on the Main Stage.
Hootenanny, which was launched way back in 1995, continues to be one of Orange County's most original and wonderful live music showcases. But do they have to charge $9 for a falafel?
Because while the Flamethrowers kicked off the day with a set of rowdy rock highlighted by "Stay Free Forever" and "Never a Dull Moment," things quickly took a turn for the worse when Tex and the Horseheads played a losing mix of roots rock, blues and cow punk.
But from the time Throw Rag took the stage at 1 p.m., fans never had to wait long to catch one of many classic artists returning to the unique festival that has been a celebration of those seeking the trailhead where alt-country, rockabilly, blues, folk and rock 'n' roll connect.
Clearly the majority of the crowd was there to see headliners Social Distortion. Frontman Mike Ness seemed unusually reflective during the band's hour-long set, ignoring many of the band's best-known songs and offering up a rich mix of obscure originals and strong remakes including the Rolling Stones' "Under My Thumb," Chuck Berry's "Maybellene" and Hank Williams' "Six More Miles (To the Graveyard)."
While the legendary Orange County outfit didn't play set list staples such as "Story of My Life," "Ball and Chain" and "Bad Luck," the Hootenanny crowd was treated to "Far Behind" (a new song featured on the band's just-released "Greatest Hits" set) and his confessional "King of Fools." Social Distortion closed with an introspective piano-anchored "Prison Bound" and a fiery remake of Johnny Cash's "Ring of Fire."
Leading up to Social Distortion's set, there were a handful of 30-minute appearances that highlighted some of the best Americana artists from the Southland.
Those who continue to link John Doe with X and Lee Rocker with the Stray Cats are missing out on enjoying the unique talents of each of these singer-songwriters.
Rocker and his excellent three-man band busted out of the gate with several songs from the forthcoming CD "Black Cat Bone," with the high octane "Lost Highway" and the bluesy title track thrilling the crowd. Later Rocker played "Race Track Blues," a 2005 song that provided a showcase for the two excellent lead guitarists in his band.
Doe, who came to Hootenanny armed with a wealth of affecting songs from his new album "A Year in the Wilderness," didn't disappoint. He opened with the beautiful "The Golden State" and later rocked with "Lean out Your Window."
Doe and his strong band closed their set with a terrific version of the Rolling Stones' "Gimme Shelter."
With both the Phil Alvin-led Blasters and his Dave Alvin on the bill, it was a dream-come-true moment when the brothers and one-time band mates teamed up to play a great version of the Blasters' classic "Marie Marie."
Several Orange County-based artists turned in pleasing sets as well. Anaheim-based Big Sandy & his Fly-Rite Boys offered up "Power of the 45," "Chalk it Up to the Blues" and other retro-sounding gems blending traditional country, rockabilly and western swing, while Fountain Valley's Michael Ubaldini explored the vast ranges of his Americana landscape with ferocious rockabilly ("Scratch My Back"), Dixieland (""Mardi Gras") and heartland rock 'n' roll ("Tears of a Lonesome Train"). One major oversight of the concert organizer was putting Ubaldini on the Second Stage when this major talent should have been featured on the Main Stage.
Hootenanny, which was launched way back in 1995, continues to be one of Orange County's most original and wonderful live music showcases. But do they have to charge $9 for a falafel?
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