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.
Thursday, August 16, 2007
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?
Thursday, June 28, 2007
Arrested in L.A.: The Police at Dodger Stadium
When the Police took the stage at Dodger Stadium on Saturday night (June 23, 2007), it admittedly took me a bit to realize it really was Sting, Stewart Copeland and Andy Summers playing.
It has been so long since I had seen the band (I caught them at Hollywood Park in the early 1980s during the trio's "Synchronicity" tour), it kind of floored me for a minute. Then I decided to squash the rock critic inside me and just enjoy the two-hour ride.
Indeed, I had read reviews online over the past month or so noting how many of the band's great songs had been revamped and boasted new arrangements now. That was definitely true, with songs such as "Don't Stand So Close to Me" and an especially beautiful version of "Wrapped Around Your Finger" boasting different tempos and the hit "Roxanne" getting extended. But the power of the songs, and the unique sound and chemistry of the band was quickly apparent.
Highlights included the aforementioned "Wrapped Around Your Finger" and "Roxanne," as well as a stunning "King of Pain," rocking "Synchronicity II" and straight-forward "Message in a Bottle." All three musicians played with confidence and precision throughout the night, and the set list featured the majority of the Police's best-known songs ("So Lonely," "Every Breath You Take," the night-ending "Next to You"). It really was an amazing night and my hope is the performance makes it to DVD. And soon.
I have such great memories of the Police set, but I admit to being very disappointed at the Foo Fighters. Although Dave Grohl & company have released a number of strong singles, in concert Grohl ruined just about every song with needless screaming. He is a fine singer, but for whatever reason (maybe to compete with the '00s metalcore bands) he would yell over and over. Even "Learn to Fly" and "Everlong" were bludgeoned to death. Ouch!
It has been so long since I had seen the band (I caught them at Hollywood Park in the early 1980s during the trio's "Synchronicity" tour), it kind of floored me for a minute. Then I decided to squash the rock critic inside me and just enjoy the two-hour ride.
Indeed, I had read reviews online over the past month or so noting how many of the band's great songs had been revamped and boasted new arrangements now. That was definitely true, with songs such as "Don't Stand So Close to Me" and an especially beautiful version of "Wrapped Around Your Finger" boasting different tempos and the hit "Roxanne" getting extended. But the power of the songs, and the unique sound and chemistry of the band was quickly apparent.
Highlights included the aforementioned "Wrapped Around Your Finger" and "Roxanne," as well as a stunning "King of Pain," rocking "Synchronicity II" and straight-forward "Message in a Bottle." All three musicians played with confidence and precision throughout the night, and the set list featured the majority of the Police's best-known songs ("So Lonely," "Every Breath You Take," the night-ending "Next to You"). It really was an amazing night and my hope is the performance makes it to DVD. And soon.
I have such great memories of the Police set, but I admit to being very disappointed at the Foo Fighters. Although Dave Grohl & company have released a number of strong singles, in concert Grohl ruined just about every song with needless screaming. He is a fine singer, but for whatever reason (maybe to compete with the '00s metalcore bands) he would yell over and over. Even "Learn to Fly" and "Everlong" were bludgeoned to death. Ouch!
Friday, June 22, 2007
Tyrone Wells coming to Mouse House on Saturday
Orange County’s far-flung music scene has launched the successful careers of punk, pop, ska, blues and even country artists, but the burgeoning success of singer-songwriter Tyrone Wells draws few obvious ties with those movements.
The long-time Fullerton resident (who recently moved to Chino Hills) impeccably blends pop, rock, soul and blues with R&B across his latest album. Songs such as the folk rocker "Need," gospel-tinged rocker “What Are We Fighting For?” and melodic ballad “Sea Breeze” are among the many highlights on “Hold On,” his first-ever album released by a major label (Universal Republic).
Wells has seemingly been on a non-stop tour since the release of the 12-song set on Feb. 6, but he was in town earlier this month to perform two special benefit acoustic shows at the Plush Café for six-year-old CHOC patient Bailey Spoonhower. Wells returns home this weekend to perform a proper homecoming show with his full band at the House of Blues in Anaheim on June 23.
“I came here and went to Hope International University; it’s a little private school right across the street from Cal State Fullerton,” Wells said of the move from his native Spokane, Washington to Fullerton.
“I think when I left Spokane I thought that I was leaving music behind me and I was going to enter the professional world or something. But then I met some guys right away at the college that were great musicians so we formed a band at that point and basically there has been no looking back. It’s like I can’t imagine doing anything else.”
Wells is armed with a powerful voice, and uses that in the service of songs that mingle the singer-songwriter instincts of James Taylor with the soulful approach of Stevie Wonder. His distinctive and affecting voice is capable of tackling a variety of styles, and he is as comfortable playing alone with his acoustic guitar as he is backed by a full band. And that gift of writing, performing and entertaining came despite an admittedly conservative upbringing where the young son of a preacher was only exposed to gospel music.
“As I grew up and got into high school and stuff, my parents were a little bit lenient and I was able to listen to all kinds of stuff, but I think once I got into college I did a lot of research – listening research – behind the stuff that I had missed that was so great. You know great classic stuff like James Taylor, Simon & Garfunkel; I was really a huge fan of Stevie Wonder and still am, especially his earlier work.”
Wells established a strong following in Orange County before being signed, performing frequently at coffeehouses such as Fullerton’s McClain’s and the Plush Café. He also released several independent CDs, including “Snapshot” (2003) and “Live at McClain’s” (2005) before going into the studio with producer Chris Karn to work on “Hold On” in late 2005.
“I was basically just doing my own thing for about five or six years and had never talked to a major label,” Wells admitted.
“But then I released my last record, which is called ‘Hold On’ and within a month I had talked to almost every major label there was. It was really surreal for me because I had just been plugging along forever, and just thought maybe I’m not major label material, maybe I’m going to be an independent artist the rest of my life – which is not bad because I was doing fine.”
Wells, Kalai and Ernie Halter perform at House of Blues, 1530 S. Disneyland Dr., Anaheim, at 8 p.m. on June 23. For more information on that show, visit www.tyronewells.com.
To hear several full-length songs from Wells’ latest album “Hold On,” visit www.myspace.com/tyronewells.
The long-time Fullerton resident (who recently moved to Chino Hills) impeccably blends pop, rock, soul and blues with R&B across his latest album. Songs such as the folk rocker "Need," gospel-tinged rocker “What Are We Fighting For?” and melodic ballad “Sea Breeze” are among the many highlights on “Hold On,” his first-ever album released by a major label (Universal Republic).
Wells has seemingly been on a non-stop tour since the release of the 12-song set on Feb. 6, but he was in town earlier this month to perform two special benefit acoustic shows at the Plush Café for six-year-old CHOC patient Bailey Spoonhower. Wells returns home this weekend to perform a proper homecoming show with his full band at the House of Blues in Anaheim on June 23.
“I came here and went to Hope International University; it’s a little private school right across the street from Cal State Fullerton,” Wells said of the move from his native Spokane, Washington to Fullerton.
“I think when I left Spokane I thought that I was leaving music behind me and I was going to enter the professional world or something. But then I met some guys right away at the college that were great musicians so we formed a band at that point and basically there has been no looking back. It’s like I can’t imagine doing anything else.”
Wells is armed with a powerful voice, and uses that in the service of songs that mingle the singer-songwriter instincts of James Taylor with the soulful approach of Stevie Wonder. His distinctive and affecting voice is capable of tackling a variety of styles, and he is as comfortable playing alone with his acoustic guitar as he is backed by a full band. And that gift of writing, performing and entertaining came despite an admittedly conservative upbringing where the young son of a preacher was only exposed to gospel music.
“As I grew up and got into high school and stuff, my parents were a little bit lenient and I was able to listen to all kinds of stuff, but I think once I got into college I did a lot of research – listening research – behind the stuff that I had missed that was so great. You know great classic stuff like James Taylor, Simon & Garfunkel; I was really a huge fan of Stevie Wonder and still am, especially his earlier work.”
Wells established a strong following in Orange County before being signed, performing frequently at coffeehouses such as Fullerton’s McClain’s and the Plush Café. He also released several independent CDs, including “Snapshot” (2003) and “Live at McClain’s” (2005) before going into the studio with producer Chris Karn to work on “Hold On” in late 2005.
“I was basically just doing my own thing for about five or six years and had never talked to a major label,” Wells admitted.
“But then I released my last record, which is called ‘Hold On’ and within a month I had talked to almost every major label there was. It was really surreal for me because I had just been plugging along forever, and just thought maybe I’m not major label material, maybe I’m going to be an independent artist the rest of my life – which is not bad because I was doing fine.”
Wells, Kalai and Ernie Halter perform at House of Blues, 1530 S. Disneyland Dr., Anaheim, at 8 p.m. on June 23. For more information on that show, visit www.tyronewells.com.
To hear several full-length songs from Wells’ latest album “Hold On,” visit www.myspace.com/tyronewells.
Friday, June 15, 2007
Since I've Been Gone: Doheny, other strong shows
Since I last checked in here, I've been anything but idle. Just a couple of weeks after spending three days in Indio at Coachella, I got to cover the 2-day Doheny Blues Festival in Dana Point.
Day one (May 19, 2007) was capped off by an amazing set from Al Green (seen here in one of my favorite pics I shot that night). I had never seen the legendary singer before and it was a joy. Armed with a voice and engaging stage presence that thrill, the singer effortlessly sang many of his biggest hits with a warmth and enthusiasm that played out like he was the new kid on the block. In addition, the artists that performed in the hours leading up to Al Green also turned in fine sets, including a rejuvenated Fabulous Thunderbirds and an act that blew me away, Rhythm Council. Pianist-vocalist Henry Butler, guitarist-vocalist Papa Mali, sousaphone player Kirk Joseph and drummer Robb Kidd somehow fused New Orleans jazz, funk, Delta blues and Southern rock together across Rhythm Council's memorable 38-minute, 3-song set.
Susan Tedeschi is one of the formidable young talents hoping to continue to champion blues in the 21st century. Her powerful soprano and strong rhythm and lead guitar work were used throughout her solid full-length Main Stage set.
I can't say enough good things about the second day of the festival, which was staged on Sunday, May 20. Anyone who thought John Fogerty (pictured playing guitar) was going to close out the 2007 fest with a quick greatest hits set was thankfully mistaken. While many headliners who run the last lap in Dana Point simply plan an hour or so because the natives are restless and want to go home after enduring two full-length days in the outdoors, Fogerty and his five-man band blew the roof off the seaside, ceiling-less Main Stage on Sunday night. It was a thrill to be pressed up against the stage, watching this legend deliver an impressive set of great songs.
Over the course of a 23-song concert that stretched for 97 magical minutes, Fogerty injected the kind of power and memorable music making that will undoubtedly set the bar for future performers at the Doheny Blues Fest. He expertly played rockers (the show opening "Travelin' Band," blistering "Fortunate Son"), country-tinged classics ("Bad Moon Rising," "Down on the Corner") and stirring folk rock (Who'll Stop the Rain," "Deja vu (All Over Again)," "Have You Ever Seen the Rain?), moving around the stage with the enthusiasm to match.
The first wonderful performance to hit fans on Sunday came almost eight hours before Fogerty even took the stage, thanks to a delightful pairing of Kim Wilson (lead singer and harmonica player for the Fabulous Thunderbirds) and his band (including guitar wiz Kirk Eli Fletcher) with legendary harmonica player James Cotton. The audience at the usually intimate Backpoch Stage erupted in applause and a standing ovation when Cotton joined Wilson on stage. Cotton didn't disappoint, playing his instrument with fiery skill and later trading rapid-fire harp licks with Wilson.
Other highlights on Sunday included a great performance from the Blind Boys of Alabama and Steve Copeland & Raging Sun.
More recently, I got the chance to catch Tyrone Wells, James Grey, Micah Dahlberg and several other acoustic performances at a benefit for Bailey Spoonhower, 6, a cancer patient at Children's Hospital of Orange County. The show was held at the Plush Cafe in Fullerton on June 3. You can read more about the performers in my Orange Pop feature column that ran in the Orange County Register today profiling Tyrone Wells.
On June 9, I saw singer-songwriter Michael Ubaldini play a very good acoustic set at Alta Coffee in Newport Beach that included strong originals and a few well-worked covers. His wonderful originals included "Side By Side," "Honeysuckle Dew" and "The Unfaithful Wife."
Friday, May 04, 2007
Coachella 2007: a sizzling 3-day affair
Andrew McMahon (pictured at his piano) led his band Jack's Mannequin through a blistering set of original rock at the Coachella Valley Music and Arts Festival last weekend.When concertgoers talk about how "cool" it is in Coachella, they are seldom talking about the weather.
Indeed, the 2007 arrival of the Coachella Valley Music and Arts Festival (held April 27-29, 2007) came in customarily summer-too-soon fashion, with temperatures reaching particulary suffocating heights of 103 degrees in Indio on Saturday. However, on this - the first-ever three-day staging of America's most celebrated modern music festival - the music itself was generally strong enough to assist 60,000 or so daily attendees endure Mother Nature's fiery fury.
Friday saw several memorable artists, notably a welcome reunion by the Jesus and Mary Chain, with the band playing their heavy, layered 80s' alt rock in hypnotic fasion. The group played their best-loved songs, including "Happy When it Rains" and "Just Like Honey," the latter featuring actress Scarlett Johansson on backup vocals.
There has been a good deal of hype surrounding England's Arctic Monkeys since last year, so it was great to be able to see the band. While the group's songs didn't necessarily blow me away at first listen, there was no denying the power of the outfit as they charged through blistering tracks such as "I Bet You Look Good on the Dance Floor" and "Fake Tales of San Francisco," as well as the emotive "When the Sun Goes Down."
Despite some technical problems that led to a late start, ex-Pulp frontman Jarvis Cocker delivered a wonderful set on Friday night. Opening with the articulate gems "Fat Children" and "Don't Let Him Waste Your Time," other highlights included "Heavy Weather" and "I Will Kill Again."
The night ended (for me, anyway) with a dazzling performance by Icelandic singer Bjork. A mix of theater and music, and backed by a small female orchestra, she played songs from her forthcoming "Volta" CD, as well as older material.
Other acts I caught part of on day one and enjoyed included Satellite Party (featuring lead singer Perry Farrell), introspective singer Rufus Wainwright, bluegrass troupe Nickel Creek and retro-styled soul singer Amy Winehouse.
That brings me to Saturday, the second day of the fest. Like my first trip to Coachella (April 2005), I just about loved everything I took in on Saturday, April 28. With the possible exception of Pop Levi (the day's opening act, who I caught around 12:30 p.m.) and the Red Hot Chili Peppers (who I caught much later that day after the sun set), I saw one great performance after another.
The highlights were clearly blazing sets from Fountains of Wayne, Jack's Mannequin, Travis and Arcade Fire.
Fountains of Wayne took the stage at 2:40 p.m. and it was hot hot hot. Performing on the main stage, the band performed 13 power-pop rockers that helped beat the heat. Favorites? "Strapped for Cash" and the Beatles-flavored "Yolanda Hayes" (both off the band's new CD "Traffic and Weather").
It was seemingly still well over 100 degrees when I left the Coachella stage around 3:30 p.m. to go check out Jack's Mannequin on the Outdoor Theatre. When singer-songwriter-keyboardist Andrew McMahon took the stage, it was clear the one-time Dana Point resident/Something Corporate frontman knew he was in sonic heaven. As animated and on-fire as I've ever seen, McMahon led the band through a set heavy on all the best songs from 2005's "Everything in Transit," including "The Mixed Tape," "Kill the Messenger," "Dark Blue" and "La la Lie." The band also offered up a powerful cover of Tom Petty's "An American Girl."
Listening to Travis perform is an experience best heard. There is something about the group's Brit pop style that is warm, inviting and oh so melodic. On Saturday, lead singer-guitarist Fran Healy led the band through an essential list of winning old and new material. From new tracks such as "Selfish Jean" and the great single "Closer" to old faves like "Writing to Reach You," "Side" and set-ending "Why Does It Always Rain on Me," the dozen songs raced by like the screening of a classic movie. I wish I could play it again.
The Arcade Fire lived up to the continuing hype throughout an hour-long set later that night. Despite the fact that the sun had sunk below the mountains by the time the Montreal outfit took the stage, things would not cool down yet. From the performance of "Keep the Car Running" to the finale (an epic performance of "No Cars Go"), there is something arresting and intoxicating about the band that lives up to the acclaim that leads to a sort of love em/hate em mentality. After seeing the band for myself (despite soaring heat and crowds that slammed around me during the set), I couldn't have been more thrilled with the set.
I wasn't particularly impressed by headliners, the Red Hot Chili Peppers. Was it a case of burn out? I think it was simply the fact that the band seemed to be going through the motions, delivering endless unfocused jams and occasionally offering up a hit or two. No magic there.
Day Three came. Thankfully, the weather cooled a few degrees and my feet somehow agreed to make it through one more marathon-length day in Indio.
First came Mika, a Euro-dance styled singer-keyboardist who delivered a fun set of strong and sunny pop. The highlight wasn't the well-known single "Grace Kelly," but rather the more upbeat "Relax (Take It Easy)" and R&B-styled "Love Today."
Plenty of music was ahead. Highlight for me came in performances from the ELO meets Raspberries recalling the Feeling ("Sewn" was heavenly), post-punk garage rock playing Kaiser Chiefs, country legend Willie Nelson and New Zealand's masterful Crowded House. Mando Daio was an interesting rock quartet that I would see again, while a set from the hyped Kooks didn't impress me on this day.
Much has been written about the headlining set from Rage Against the Machine. There is no doubt the quartet played with a power, fury and anger that shook the Empire Polo Field to its knees on Sunday night at this much-anticipated reunion. But I was so angry at the way the band's large fanbase seemingly could care less about the cool spirit that is truly so much a part of past Coachella shows, especially when a Rage fan threw something at the face of Crowded House frontman Neil Finn, it's best not to get me started. Fans of Rage loved the show; the rest of us discerning listeners likely could understand the band's powerful approach, even while wishing their fans could appreciate the vast reaches of the Coachella universe.
See you next year!
Tuesday, April 24, 2007
No rain this weekend
So I haven't been posting. I have a good excuse. I have been slammed with preparing for Coachella. Sure, listening to music from many of the countless artists is one way to get ready. But the other is figuring out how to survive the near-100 temps!
On Earth Day, (this past Sunday, April 22nd), I went with two friends on a challenging 7-mile hike up in the San Gabriels. We made it up to the top of Strawberry Peak, about 6,100 feet above sea level. The last mile going up was very difficult; likely the most challenging climb I've done except Rattlesnake Canyon in Joshua Tree and Mt. Ontario back in 2000 (a 13-mile hike that left my feet, toes and knees black & blue for weeks).
The quiet, the cold, the beauty prepared me (in part) for the monster that will be a three-day Coachella Music Fest in Indio, April 27-29. The hike this past weekend was about pain and lasted a mere four hours or so. Coachella will be 12 hours a day, for three days. Am I ready?
Ask me in a week!
On Earth Day, (this past Sunday, April 22nd), I went with two friends on a challenging 7-mile hike up in the San Gabriels. We made it up to the top of Strawberry Peak, about 6,100 feet above sea level. The last mile going up was very difficult; likely the most challenging climb I've done except Rattlesnake Canyon in Joshua Tree and Mt. Ontario back in 2000 (a 13-mile hike that left my feet, toes and knees black & blue for weeks).
The quiet, the cold, the beauty prepared me (in part) for the monster that will be a three-day Coachella Music Fest in Indio, April 27-29. The hike this past weekend was about pain and lasted a mere four hours or so. Coachella will be 12 hours a day, for three days. Am I ready?
Ask me in a week!
Monday, March 12, 2007
Brad Delp: A well-deserved look back
I was shocked and very sorry to hear about the death of Boston lead singer Brad Delp; the 55-year-old musician was found dead in his New Hampshire home on Friday, March 9. I was fortunate to get to review Boston when they performed at Pacific Amphitheatre in front of a capacity crowd on August 7, 2004. As a tribute to this great singer, here is the text of my review that ran in the Orange County Register on Monday, Aug. 9, 2004. The photo was taken by Kelly A. Swift at the show in Costa Mesa. Robert Kinsler
More than an old feeling
Arena rock is celebrated by Boston in impressive outing before sold-out crowd.
Review by ROBERT KINSLER
Special to the Orange County Register
Is time travel possible?
It was on Saturday night, when a capacity crowd journeyed back to the late 1970s with Boston during a satisfying stop at Pacific Amphitheatre in Costa Mesa.
To hear a band that scored its biggest hits almost 30 years ago sound as good as Boston did over the course of 2 1/2 hours was impressive. Classic arena rock nuggets such as "More Than a Feeling," "Peace of Mind," "Smokin'" and "Something About You" equaled their magic on the band's legendary 1976 debut album, but the bigger surprise was that tunes from Boston's second and even third album sounded just as Herculean.
Even power ballads such as the admittedly overwrought "Amanda" and "Hollyann" worked in a concert setting because of the emotive vocals of Brad Delp and powerful contributions from the players.
The songs alone might have pleased the majority of the sold-out crowd, composed mostly of 40-something fans who were in junior high or high school when "Boston" (which has sold more than 17 million copies) was released on Aug. 8, 1976. But Boston's lineup of talented players was thankfully not content to simply play an hour or so of hits featured on the group's greatest hits collection and say goodnight.
As innovative as any arena rock guitarist of his generation (with the notable exception of Queen's Brian May), Boston mastermind Tom Scholz gave sonic fuel to many in the seats playing air guitar during the more famous solos. Although only Scholz and Delp remain from Boston's original lineup, the other five musicians that comprised the touring outfit were able to complete the songs fully with a mix of layered guitars, keyboards and vocal choruses.
Singer-guitarist Fran Cosmo would often help reach the highest of notes when Delp couldn't, while guitarists Anthony Cosmo (Fran's son) and Gary Pihl enhanced a sound atop the rhythm section provided courtesy of singer-bassist Kim Dahme and drummer Jeff Neal.
Opening with an aptly placed "Rock and Roll Band," Boston went on to perform more than two dozen other original songs. Highlights came often and kept fans on their feet for much of the night. During "More Than a Feeling," the crowd needed no prompting to sing along, while forceful performances of "Don't Look Back," "Cool the Engines" and "Foreplay/Long Time" easily outdistanced the original studio versions.
By the time Boston closed with "Smokin'," there were plenty of reasons to believe this was a concert experience that made arena rock worth celebrating again.
First Police, now R.E.M. (sort of...)
First the great news about the Police officially reforming to play the Grammys and tour this spring and summer (can't wait! I'll see many of you at Dodger Stadium in June).
Now, the original four members of R.E.M. (singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and ex-drummer Bill Berry) got together in the studio last year to record a cover of John Lennon's masterwork "#9 Dream" as part of a charity collection titled "Instant Karma: the Campaign to Save Darfur." I'm sure the band's recording (which goes out to radio this week, with the album itself set for release on June 12) is great and I can't wait to hear it.
As most of you know, I rarely talk about politics in this column. In fact, I am happy that R.E.M. and a number of other bands are (finally) working with Amnesty International to try to bring some attention to the terrible genocide going on in the Darfur region of western Sudan. I recall doing a story several years ago (2003, as I recall) about Costa Mesa-based singer-songwriter-composer Ken Tamplin, producer of the Sudan relief CD "Make Me Your Voice," an effort that got very little attention in the mainstream media. In fact, Tamplin was honored by President Bush for his efforts and I suspect because so many of the victims have been black Africans and/or Sudanese Christians and those doing the killing are mostly Muslim that the world has been afraid to speak out.
I think it would have been good for the U2s and R.E.M.s to focus on Sudan five or six years ago, and now I fear by the time something is done it will be too late. And I fear the world has lost its resolve to use force to stop the terrible murders and rapes going on in Sudan so it will be the killers who ultimately determine when the crimes stop. And that it a timeline that means innocent men, women and children will continue to die for far too long.
Now, the original four members of R.E.M. (singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills and ex-drummer Bill Berry) got together in the studio last year to record a cover of John Lennon's masterwork "#9 Dream" as part of a charity collection titled "Instant Karma: the Campaign to Save Darfur." I'm sure the band's recording (which goes out to radio this week, with the album itself set for release on June 12) is great and I can't wait to hear it.
As most of you know, I rarely talk about politics in this column. In fact, I am happy that R.E.M. and a number of other bands are (finally) working with Amnesty International to try to bring some attention to the terrible genocide going on in the Darfur region of western Sudan. I recall doing a story several years ago (2003, as I recall) about Costa Mesa-based singer-songwriter-composer Ken Tamplin, producer of the Sudan relief CD "Make Me Your Voice," an effort that got very little attention in the mainstream media. In fact, Tamplin was honored by President Bush for his efforts and I suspect because so many of the victims have been black Africans and/or Sudanese Christians and those doing the killing are mostly Muslim that the world has been afraid to speak out.
I think it would have been good for the U2s and R.E.M.s to focus on Sudan five or six years ago, and now I fear by the time something is done it will be too late. And I fear the world has lost its resolve to use force to stop the terrible murders and rapes going on in Sudan so it will be the killers who ultimately determine when the crimes stop. And that it a timeline that means innocent men, women and children will continue to die for far too long.
Thursday, February 22, 2007
The Smithereens continue to rock. A great thing
I had hoped to post much earlier in the week than today, but have been sick since Feb. 14th. I got a sore throat that didn't go away, and the nasty little bug moved into my lungs and I'm on anitbiotics now. I am still winded when I tackle a single flight of stairs, so the energy just has been down.
Anyway, even when I was sick, I couldn't miss a chance to catch the Smithereens at the Coach House on Friday, Feb. 16th. I could have lived forever without seeing the opening band Boxcar. I think I caught them last year (I think they opened for dada at the same venue) and they were not any better this time around - 40 minutes of sonic pain. Enuff said.
Next came the Next. I had never caught the band before and didn't know their songs, but I was impressed by the lead singer's voice and the original rock material. The band fits comfortably alongside Big City Rock, a band that recalls the 1980s with a fresh spin.
Finally (and when you're ill, time crawls by), the Smithereens took the stage before a capacity crowd at 10:09 p.m. There is something about the quartet's unlikely mix of wonderful melodies and cruncy guitars, memorable harmonies and singer Pat DiNizio's dark lyrics that has a sound like no other artist. The band long-ago described it as AC/DC meets the Beatles and I think that description still fits. This was a good night for the band, with the New Jersey outfit featuring four songs off the newly-released Beatles tribute "Meet the Smithereens!" across the 125-minute set.
The Smithereens continue to be my favorite-ever bar band, playing a loose and energetic style that is timeless. Highlights included the kick-off number "Behind the Wall of Sleep," "Only a Memory" featuring lead guitarist Jim Babjak tearing it up and "Room Without a View" featuring drummer Dennis Diken on fire.
Here was the set list:
Behind the Wall of Sleep
House We Used to Live In
Only a Memory
Top of the Pops
Yesterday Girl
Cut Flowers
Don't Bother Me (George Harrison tune sung by Jim Babjak)
Deep Black
Under the Boardwalk (cover - impromptu)
Up on the Roof (another impromptu sung by Dennis)
I Wanna Be Your Man (the old Beatles Ringo classic sung by Dennis)
Miles From Nowhere
Cigarette (Pat DiNizio held a burning cig while delivering a knockout version)
In a Lonely Place
Especially for You
Spellbound
Blue Period
Drown in My Own Tears
She's Got a Way (great harmonies on this should-have-been a hit)
Room Without a View
Time and Time Again
Blood and Roses
(Encore starts)
I Want to Hold Your Hand (the Beatles classic delivered with power & style)
Hold Me Tight (another cut off "Meet the Beatles!"/"Meet the Smithereens!")
(impromptu jam of several oldies like "That's Life" and "Broadway")
A Girl Like You (seven minutes of firepower after midnight)
I'm a Fool in Love Wity You" (this was the last song the band played and Pat noted it is a new song. A great song that hooked me in from the beginning and I hope it is included on another Smithereens album soon!)
Anyway, even when I was sick, I couldn't miss a chance to catch the Smithereens at the Coach House on Friday, Feb. 16th. I could have lived forever without seeing the opening band Boxcar. I think I caught them last year (I think they opened for dada at the same venue) and they were not any better this time around - 40 minutes of sonic pain. Enuff said.
Next came the Next. I had never caught the band before and didn't know their songs, but I was impressed by the lead singer's voice and the original rock material. The band fits comfortably alongside Big City Rock, a band that recalls the 1980s with a fresh spin.
Finally (and when you're ill, time crawls by), the Smithereens took the stage before a capacity crowd at 10:09 p.m. There is something about the quartet's unlikely mix of wonderful melodies and cruncy guitars, memorable harmonies and singer Pat DiNizio's dark lyrics that has a sound like no other artist. The band long-ago described it as AC/DC meets the Beatles and I think that description still fits. This was a good night for the band, with the New Jersey outfit featuring four songs off the newly-released Beatles tribute "Meet the Smithereens!" across the 125-minute set.
The Smithereens continue to be my favorite-ever bar band, playing a loose and energetic style that is timeless. Highlights included the kick-off number "Behind the Wall of Sleep," "Only a Memory" featuring lead guitarist Jim Babjak tearing it up and "Room Without a View" featuring drummer Dennis Diken on fire.
Here was the set list:
Behind the Wall of Sleep
House We Used to Live In
Only a Memory
Top of the Pops
Yesterday Girl
Cut Flowers
Don't Bother Me (George Harrison tune sung by Jim Babjak)
Deep Black
Under the Boardwalk (cover - impromptu)
Up on the Roof (another impromptu sung by Dennis)
I Wanna Be Your Man (the old Beatles Ringo classic sung by Dennis)
Miles From Nowhere
Cigarette (Pat DiNizio held a burning cig while delivering a knockout version)
In a Lonely Place
Especially for You
Spellbound
Blue Period
Drown in My Own Tears
She's Got a Way (great harmonies on this should-have-been a hit)
Room Without a View
Time and Time Again
Blood and Roses
(Encore starts)
I Want to Hold Your Hand (the Beatles classic delivered with power & style)
Hold Me Tight (another cut off "Meet the Beatles!"/"Meet the Smithereens!")
(impromptu jam of several oldies like "That's Life" and "Broadway")
A Girl Like You (seven minutes of firepower after midnight)
I'm a Fool in Love Wity You" (this was the last song the band played and Pat noted it is a new song. A great song that hooked me in from the beginning and I hope it is included on another Smithereens album soon!)
Thursday, January 25, 2007
Where has the time gone? NAMM update & more
There has been plenty of big news since I posted at the beginning of the month. Grammy and Oscar nomination announcements, lineup announcements for the forthcoming Stagecoach and Coachella fests in Indio, and of course my trip to the NAMM show in Anaheim last weekend.
I was only able to make it to make two days, for half a day on opening day, Thursday, Jan. 18, and then back for most of Saturday, Jan. 20. In addition to getting to see and check out some exciting new musical gear, I also got to meet a few musical legends including Brian Wilson (see lower photo). It was definitely surreal meeting the architect of so many amazing Beach Boys classics. But the well-chronicled story of Brian's struggles played out before my eyes on Saturday afternoon where I waited in line at the Gibson booth to get an autograph and photo with the singer-songwriter. I said "Hello" and he kind of blankly responded. There were a number of photographers and autograph seekers circling like sharks, even cutting in front of those who had patiently waited for an hour or so in line. I will both fortunate and sad to have had this up-close encounter with an icon who seems to be spending part of his life in this world, and the other part in some far-off distant place. It was sad when some kind of handler/music rep thrust a guitar in front of him and asked him to sign it, treating him like a little boy and instructing him to "sign it clearly" that I found very offensive.
After meeting Brian Wilson, I was off to catch the press conference where Duran Duran bassist John Taylor unveiled a new Peavey Liberator Series of instruments, including a bass guitar. Then he signed autographs and chatted with fans. I am a big fan of the band's most recent album, the wonderful "Astronaut," and had John sign a copy of that release (see top photo). The line to meet John Taylor was even longer than the line to meet Brian Wilson. But that might have something to do with the John Taylor event being more heavily promoted and it being held in the main hall (whereas the Gibson booth was located upstairs and away from some of the main action).
Other highlights of my trek to NAMM were getting to see fingerstyle guitarist Laurence Juber perform an acoustic set at Martin Guitar Booth on Thursday, and meeting guitar virtuoso Gary Hoey for the first time on Saturday afternoon. I will have a complete technical-styled look at NAMM published in the Orange County Register on Friday, January 26 and you might want to check that out. I had a blast checking out the new gear at Roland and saw some pretty amazing stuff at Yamaha Corp. of America too, including an 8-pad digital drum set that will be released in summer 2007.
I'll report back tomorrow with thoughts on Coachella and other musical things.
Tuesday, January 02, 2007
OCNYE: A music lover's festival
Orange County really knows how to party.
Indeed, the return of Orange County New Year’s Eve – better known as OCNYE – provided area partygoers with plenty of options on Sunday (Dec. 31, 2006) night. They could spend their night in a VIP tent, watching the bright Orange Drop and fireworks at midnight, and celebrate while merely catching the evening’s headliners on the Main stage.
Or they could go on a mission to catch full or partial sets from the 24 or so artists playing across six stages positioned throughout the Orange County Fairgrounds in Costa Mesa. For the bold music lover, the second annual OCNYE provided its share of thrills and disappointments. But, then, isn’t that the joy of attending a music festival?
Indeed, those only catching the action on the main stage missed the best performances of the seven-hour event. Although Tommy Tutone (in a mostly acoustic showcase, with the “867-5309/Jenny” singer-guitarist accompanied only by a drummer) disappointed in the first 10 minutes of his set, a short walk to a nearby stage rewarded with an amazing full-blown performance by the Knack. Yes, the Knack.
Despite the death of the band’s original drummer, Bruce Gary, earlier in 2006, the Knack soared across the last 35 minutes of its set. Singer-guitarist Doug Fieger, who underwent surgery for the removal of two brain tumors only five months ago, led the group in a set that worked the audience near the stage into a festive frenzy.
Performances of their best-known songs (“Good Girls Don’t” and “My Sharona”) were not the only tunes that got the crowd moving. A medley that began with a cover of the Champs’ “Tequila” morphed into a strong mostly-faithful take on the Doors’ “Break on Through (To the Other Side)” that may well have been the single-strongest performance of the night.
Ultimately, the next five hours played out with a mix of memorable and forgettable moments. The Knack may have been the most surprising, but wasn’t the only surprise of the night. Another musical voice from the past also amazed; Thomas Dolby attracts a loyal and discerning audience to his shows nowadays and even in the less-than-sober vibe at OCNYE his opening with “One of Our Submarines” brought a decidedly Coachella-like aesthetic element to the night. That performance was no fluke, when the solo performer – immersed with high tech instruments and programming keyboards – performed winning versions of his “Europa and the Pirate Twins” and “Windpower” before bringing out a horn section to join him on gems such as “Hyperactive.”
The other standout appearance of the night went to Soul Asylum, whose versions of hits such as “Black Gold” and “Without a Trace,” as well as strong new material like “Crazy Mixed Up World” cast frontman Dave Pirner and his Midwestern band mates in an especially good light this night.
Other performances, including from headliners Blondie and Violent Femmes, were of a decidedly by-the-numbers variety. Blondie delivered a wide-ranging set featuring its genre-defying material including reggae (“The Tide Is High”), punk-tinged new wave (“One Way or Another”) and early rap (“Rapture”). Violent Femmes scored best with the one-two punch of “Blister in the Sun” and “Kiss Off” early in their set. I enjoyed the Romantics while they were performing, although I sadly had to run before they undoubtedly got to their biggest hits, notably "What I Like About You."
The Orange County music scene was also well-represented by bands playing on the Orange County Music Awards and outdoor stages, with Scarlet Crush striking hard with the title song off its forthcoming disc, “Sinners and Saints.”
Uneven performances from the Tubes (“She’s a Beauty” didn’t fly), Buckcherry (even hard rockers should listen to each other when they are on stage together) and Everclear (singer Art Alexakis’ voice was hoarse and painful to listen to) didn’t mar the night. After all, with six stages to choose from and an endless number of watering holes positioned around OCNYE, there were plenty of reasons to celebrate.
Indeed, the return of Orange County New Year’s Eve – better known as OCNYE – provided area partygoers with plenty of options on Sunday (Dec. 31, 2006) night. They could spend their night in a VIP tent, watching the bright Orange Drop and fireworks at midnight, and celebrate while merely catching the evening’s headliners on the Main stage.
Or they could go on a mission to catch full or partial sets from the 24 or so artists playing across six stages positioned throughout the Orange County Fairgrounds in Costa Mesa. For the bold music lover, the second annual OCNYE provided its share of thrills and disappointments. But, then, isn’t that the joy of attending a music festival?
Indeed, those only catching the action on the main stage missed the best performances of the seven-hour event. Although Tommy Tutone (in a mostly acoustic showcase, with the “867-5309/Jenny” singer-guitarist accompanied only by a drummer) disappointed in the first 10 minutes of his set, a short walk to a nearby stage rewarded with an amazing full-blown performance by the Knack. Yes, the Knack.
Despite the death of the band’s original drummer, Bruce Gary, earlier in 2006, the Knack soared across the last 35 minutes of its set. Singer-guitarist Doug Fieger, who underwent surgery for the removal of two brain tumors only five months ago, led the group in a set that worked the audience near the stage into a festive frenzy.
Performances of their best-known songs (“Good Girls Don’t” and “My Sharona”) were not the only tunes that got the crowd moving. A medley that began with a cover of the Champs’ “Tequila” morphed into a strong mostly-faithful take on the Doors’ “Break on Through (To the Other Side)” that may well have been the single-strongest performance of the night.
Ultimately, the next five hours played out with a mix of memorable and forgettable moments. The Knack may have been the most surprising, but wasn’t the only surprise of the night. Another musical voice from the past also amazed; Thomas Dolby attracts a loyal and discerning audience to his shows nowadays and even in the less-than-sober vibe at OCNYE his opening with “One of Our Submarines” brought a decidedly Coachella-like aesthetic element to the night. That performance was no fluke, when the solo performer – immersed with high tech instruments and programming keyboards – performed winning versions of his “Europa and the Pirate Twins” and “Windpower” before bringing out a horn section to join him on gems such as “Hyperactive.”
The other standout appearance of the night went to Soul Asylum, whose versions of hits such as “Black Gold” and “Without a Trace,” as well as strong new material like “Crazy Mixed Up World” cast frontman Dave Pirner and his Midwestern band mates in an especially good light this night.
Other performances, including from headliners Blondie and Violent Femmes, were of a decidedly by-the-numbers variety. Blondie delivered a wide-ranging set featuring its genre-defying material including reggae (“The Tide Is High”), punk-tinged new wave (“One Way or Another”) and early rap (“Rapture”). Violent Femmes scored best with the one-two punch of “Blister in the Sun” and “Kiss Off” early in their set. I enjoyed the Romantics while they were performing, although I sadly had to run before they undoubtedly got to their biggest hits, notably "What I Like About You."
The Orange County music scene was also well-represented by bands playing on the Orange County Music Awards and outdoor stages, with Scarlet Crush striking hard with the title song off its forthcoming disc, “Sinners and Saints.”
Uneven performances from the Tubes (“She’s a Beauty” didn’t fly), Buckcherry (even hard rockers should listen to each other when they are on stage together) and Everclear (singer Art Alexakis’ voice was hoarse and painful to listen to) didn’t mar the night. After all, with six stages to choose from and an endless number of watering holes positioned around OCNYE, there were plenty of reasons to celebrate.
Thursday, December 28, 2006
My top 10 CDs of 2006: the List had to come...
Top 10 albums of 2006 (With first album - Carbon Leaf - being best album of 2006)
Carbon Leaf “Love, Loss, Hope, Repeat” (Vanguard) – The potency of “Learn to Fly,” “Under the Wire” and “A Girl and Her Horse” alone might have landed this album in my top 10 for the year, but it is the strength and timeless territory of all the songs on “Love, Loss, Hope, Repeat” that make this a modern-day classic. Anyone wondering whatever happened to the supernatural quality of 1980s-era R.E.M. will find that rekindled with a listen to the latest disc from Richmond, Virginia-based Carbon Leaf.
L.E.O. “Alpacas Orgling” (Cheap Lullaby) – If you haven’t heard this album, make sure you do. There are echoes of Electric Light Orchestra, Cheap Trick and Traveling Wilburys all over the place. But with the kind of unrestrained elation exhibited across this 10-song effort, I’ll be playing these songs years from now. L.E.O. is a modern day version of the Traveling Wilburys, conceived by Bleu and also featuring notables like Mike Viola (The Candy Butchers), Steve Gorman (The Black Crowes) and Andy Sturmer (Jellyfish).
Rosanne Cash “Black Cadillac” (Capitol) – Written in the wake of the death of her mother (Vivian Liberto Cash Distin), father (Johnny Cash) and stepmother (June Carter Cash), Rosanne Cash’s “Black Cadillac” is a layered and emotional tribute that is a musical memoir to her loved ones and served to remind the rest of us that she is one of modern music’s most overlooked voices.
The Decemberists “The Crane Wife” (Capitol) – A beautiful and literate album that showcases this Portland, Oregon outfit’s unique and wide-ranging sound. From the instantly-memorable “O Valencia!” and folk rock-styled title track to the 70s-minded prog rock of the 12-1/2 minute “The Island,” Colin Meloy and company delivered a masterwork on “The Crane Wife.”
Keane “Under the Iron Sea” (Island Records) – Only time will likely tell if Keane’s broader brush strokes employed on the sophomore effort “Under the Iron Sea” will equal the accessible hits such as “Somewhere Only We Know” and “Everything’s Changing” on the trio’s “Hopes and Fears” debut. However, the darker shades that provide a strong undercurrent on “Crystal Ball,” “Try Again” and “Atlantic” made “Under the Iron Sea” one of the best rock albums of 2006.
Bruce Springsteen “We Shall Overcome: The Seeger Sessions” (Columbia) – This collection may boost material taken mostly from singer-songwriter-musicologist Pete Seeger’s songbook, but there is no denying that the sound and hootenanny- fashioned performances here capture the innumberable gifts that Bruce Springsteen brings to the musical table. Get the “American Land Edition” released in October 2006. It features an expanded 40-minute documentary and an 18-song CD that features some of the most compelling recordings released in 2006. “O Mary Don’t You Weep,” “Erie Canal,” “Pay Me My Money Down” and “Mrs. McGrath” are standouts.
The Gin Blossoms “Major Lodge Victory” (Hybrid/Red) – Every rock fan has a guilty pleasure that will bring them scorn – even from friends. I’ll admit it; I am a long-time fan of the Gin Blossoms. “Major Lodge Victory” marked a welcome return by the Tempe, Arizona rockers. And loaded with infectious rockers (“Long Time Gone,” “Learning the Hard Way”) and melodic ballads (“Heart Shaped Locket,” “The End of the World”), what’s not to love here?
The Distants “Broken Gold” (Blue Cave Records) – If members of the Cocteau Twins, Sonic Youth and Jane’s Addiction teamed to record an album in 2006, it might well sound like the Distants’ “Broken Gold.” The Los Angeles quartet is able to mix up ethereal moodiness with driving modern rock across the 10-song disc, which also includes a winning cover of the Cult’s “She Sells Sanctuary.”
Neil Young “Living with War” (Reprise) – Leave it to one of rock’s most prolific and unpredictable champions to release another classic. Written and recorded in under a month and featuring a 100-voice choir hastily recruited in Los Angeles, Neil Young’s “Living With War” rocks in a way that even the loudest contemporary metal and punk bands can’t. And more amazing, “Living with War” came a mere eight months after the release of Young’s beautiful acoustic gem “Prairie Wind.”
Los Lobos “The Town and the City” (Hollywood Records) – Is it my imagination, or does Los Lobos just keep getting better? Thirty or so years after the East L.A. outfit embarked on its musical journey, “The Town and the City” supplies a warm and wonderful overview of the quintet’s blend of rock ‘n’ roll, country, blues, country and Tex-Mex styles that make them one of rock’s most original music making groups.
Honorable Mentions, or the infamous 11-20 ranking:
Aimee Mann "One More Drifter in the Snow" (SuperEgo)
Tom Petty "Highway Companion" (Warner Bros.)
Garrison Starr “The Sound of You & Me” (Vanguard Records)
Nils Lofgren "Sacred Weapon" (Hilmer Music Publishing Co.)
Morrissey “Ringleader of the Tormentors” (Sanctuary Records Group)
Trespassers William “having” (Nettwerk)
Rock Kills Kid “Are You Nervous?” (Reprise/Warner Bros.)
Snow Patrol “Eyes Open” (A&M)
Glen Phillips “Mr. Lemons”
Delerium “Nuages Du Monde” (Nettwerk)
Carbon Leaf “Love, Loss, Hope, Repeat” (Vanguard) – The potency of “Learn to Fly,” “Under the Wire” and “A Girl and Her Horse” alone might have landed this album in my top 10 for the year, but it is the strength and timeless territory of all the songs on “Love, Loss, Hope, Repeat” that make this a modern-day classic. Anyone wondering whatever happened to the supernatural quality of 1980s-era R.E.M. will find that rekindled with a listen to the latest disc from Richmond, Virginia-based Carbon Leaf.
L.E.O. “Alpacas Orgling” (Cheap Lullaby) – If you haven’t heard this album, make sure you do. There are echoes of Electric Light Orchestra, Cheap Trick and Traveling Wilburys all over the place. But with the kind of unrestrained elation exhibited across this 10-song effort, I’ll be playing these songs years from now. L.E.O. is a modern day version of the Traveling Wilburys, conceived by Bleu and also featuring notables like Mike Viola (The Candy Butchers), Steve Gorman (The Black Crowes) and Andy Sturmer (Jellyfish).
Rosanne Cash “Black Cadillac” (Capitol) – Written in the wake of the death of her mother (Vivian Liberto Cash Distin), father (Johnny Cash) and stepmother (June Carter Cash), Rosanne Cash’s “Black Cadillac” is a layered and emotional tribute that is a musical memoir to her loved ones and served to remind the rest of us that she is one of modern music’s most overlooked voices.
The Decemberists “The Crane Wife” (Capitol) – A beautiful and literate album that showcases this Portland, Oregon outfit’s unique and wide-ranging sound. From the instantly-memorable “O Valencia!” and folk rock-styled title track to the 70s-minded prog rock of the 12-1/2 minute “The Island,” Colin Meloy and company delivered a masterwork on “The Crane Wife.”
Keane “Under the Iron Sea” (Island Records) – Only time will likely tell if Keane’s broader brush strokes employed on the sophomore effort “Under the Iron Sea” will equal the accessible hits such as “Somewhere Only We Know” and “Everything’s Changing” on the trio’s “Hopes and Fears” debut. However, the darker shades that provide a strong undercurrent on “Crystal Ball,” “Try Again” and “Atlantic” made “Under the Iron Sea” one of the best rock albums of 2006.
Bruce Springsteen “We Shall Overcome: The Seeger Sessions” (Columbia) – This collection may boost material taken mostly from singer-songwriter-musicologist Pete Seeger’s songbook, but there is no denying that the sound and hootenanny- fashioned performances here capture the innumberable gifts that Bruce Springsteen brings to the musical table. Get the “American Land Edition” released in October 2006. It features an expanded 40-minute documentary and an 18-song CD that features some of the most compelling recordings released in 2006. “O Mary Don’t You Weep,” “Erie Canal,” “Pay Me My Money Down” and “Mrs. McGrath” are standouts.
The Gin Blossoms “Major Lodge Victory” (Hybrid/Red) – Every rock fan has a guilty pleasure that will bring them scorn – even from friends. I’ll admit it; I am a long-time fan of the Gin Blossoms. “Major Lodge Victory” marked a welcome return by the Tempe, Arizona rockers. And loaded with infectious rockers (“Long Time Gone,” “Learning the Hard Way”) and melodic ballads (“Heart Shaped Locket,” “The End of the World”), what’s not to love here?
The Distants “Broken Gold” (Blue Cave Records) – If members of the Cocteau Twins, Sonic Youth and Jane’s Addiction teamed to record an album in 2006, it might well sound like the Distants’ “Broken Gold.” The Los Angeles quartet is able to mix up ethereal moodiness with driving modern rock across the 10-song disc, which also includes a winning cover of the Cult’s “She Sells Sanctuary.”
Neil Young “Living with War” (Reprise) – Leave it to one of rock’s most prolific and unpredictable champions to release another classic. Written and recorded in under a month and featuring a 100-voice choir hastily recruited in Los Angeles, Neil Young’s “Living With War” rocks in a way that even the loudest contemporary metal and punk bands can’t. And more amazing, “Living with War” came a mere eight months after the release of Young’s beautiful acoustic gem “Prairie Wind.”
Los Lobos “The Town and the City” (Hollywood Records) – Is it my imagination, or does Los Lobos just keep getting better? Thirty or so years after the East L.A. outfit embarked on its musical journey, “The Town and the City” supplies a warm and wonderful overview of the quintet’s blend of rock ‘n’ roll, country, blues, country and Tex-Mex styles that make them one of rock’s most original music making groups.
Honorable Mentions, or the infamous 11-20 ranking:
Aimee Mann "One More Drifter in the Snow" (SuperEgo)
Tom Petty "Highway Companion" (Warner Bros.)
Garrison Starr “The Sound of You & Me” (Vanguard Records)
Nils Lofgren "Sacred Weapon" (Hilmer Music Publishing Co.)
Morrissey “Ringleader of the Tormentors” (Sanctuary Records Group)
Trespassers William “having” (Nettwerk)
Rock Kills Kid “Are You Nervous?” (Reprise/Warner Bros.)
Snow Patrol “Eyes Open” (A&M)
Glen Phillips “Mr. Lemons”
Delerium “Nuages Du Monde” (Nettwerk)
Wednesday, December 13, 2006
The return of No Doubt, the Grammys: who cares?
Okay, the phrase for today is "Humbug."
Billboard ran an article penned by Jonathan Cohen yesterday (Dec. 12, 2006) that focused on the release of Gwen Stefani's newly-released second solo album. Rather than giving me cause for concern (as if I really care if No Doubt ever completes another album), the story only served to remind me how little her music ever really mattered.
Gwen is really just a product, like Madonna. The airbrushed, Adobe PhotoShop-styled flawless image of her with these silly sunglasses and alien hairstyle only cements that perception that even if she rejoined No Doubt, music would be the last thing on the band's mind. I have to be honest I hardly glanced at the recent Grammy nominations announcement. Does it really matter?
At the end of the day, those of you who really love music and feel excited about specific songs or artists won't be influenced by who wins what award. I won't stop listening to Paul McCartney, Neil Young or Keane if they miss out in their respective fields. Just as I know fans of John Mayer, the Red Hot Chili Peppers and overhyped Dixie Chicks won't stop listening whether or not they have field days when the 49th Grammy Awards are broadcast on Feb. 11, 2007.
Billboard ran an article penned by Jonathan Cohen yesterday (Dec. 12, 2006) that focused on the release of Gwen Stefani's newly-released second solo album. Rather than giving me cause for concern (as if I really care if No Doubt ever completes another album), the story only served to remind me how little her music ever really mattered.
Gwen is really just a product, like Madonna. The airbrushed, Adobe PhotoShop-styled flawless image of her with these silly sunglasses and alien hairstyle only cements that perception that even if she rejoined No Doubt, music would be the last thing on the band's mind. I have to be honest I hardly glanced at the recent Grammy nominations announcement. Does it really matter?
At the end of the day, those of you who really love music and feel excited about specific songs or artists won't be influenced by who wins what award. I won't stop listening to Paul McCartney, Neil Young or Keane if they miss out in their respective fields. Just as I know fans of John Mayer, the Red Hot Chili Peppers and overhyped Dixie Chicks won't stop listening whether or not they have field days when the 49th Grammy Awards are broadcast on Feb. 11, 2007.
Friday, December 01, 2006
Robert Lockwood Jr., gone but not forgotten
I would guess that it was Chuck Berry, the Fabulous Thunderbirds and Ike Turner that were the biggest draws at the Doheny Blues Festival when it was staged in Dana Point in September 2004.
But the best performer of the day was not among the headliners, nor among the young up-and-comers on the bill that day. In fact, it was the appearance of Robert Lockwood Jr. that made the fest so memorable for me. Lockwood, then nearing age 90, sang and played his electric 12-string guitar with emotional weight and purpose that defied his age. Lockwood, who was taught guitar by Robert Johnson and was likely the last living music link with the legendary bluesman, performed a magical 45-minute set at the Backporch Stage, including great versions of "C.C. Rider" and "Ramblin on My Mind."
He will be missed...
But the best performer of the day was not among the headliners, nor among the young up-and-comers on the bill that day. In fact, it was the appearance of Robert Lockwood Jr. that made the fest so memorable for me. Lockwood, then nearing age 90, sang and played his electric 12-string guitar with emotional weight and purpose that defied his age. Lockwood, who was taught guitar by Robert Johnson and was likely the last living music link with the legendary bluesman, performed a magical 45-minute set at the Backporch Stage, including great versions of "C.C. Rider" and "Ramblin on My Mind."
He will be missed...
Wednesday, November 22, 2006
News & Notes: The Fallen Stars, Coachella
Whew! Been awhile, eh?
Last Saturday night, Nov. 18, I caught a great bill at Marlin's Bar in Huntington Beach. I caught the entire hour-long set from a band I had never seen before, the quartet The Fallen Stars. Look for my feature on the band in the Orange County Register this Friday, Nov. 24.
The band delivered a great set. Wonderful songs, a strong chemistry on stage, everything really clicked. Inspired by a range of artists from Gram Parsons and Fleetwood Mac to Wilco and the Clash, the band plays frequently and there is no excuse not to catch them if you are in So Cal. Check out the band at www.MySpace.com/TheFallenStars.
Walter Clevenger & the Dairy Kings headlined. As always the band was terrific, and singer-songwriter Kenny Howes was filling in on keys for the night. Anyone who missed Walter & company can see him play a free show at the Galaxy Theatre on a bill with Scarlet Crush on Friday night, Dec. 1. Visit http://www.myspace.com/breweryrecords for more details about that special night...
Did you hear the latest? Coachella has been announced and it's growing from two days to three days. April 27, 28 and 29. How are we all to survive? Pray for cool days and cool music. It's only five months away...
Last Saturday night, Nov. 18, I caught a great bill at Marlin's Bar in Huntington Beach. I caught the entire hour-long set from a band I had never seen before, the quartet The Fallen Stars. Look for my feature on the band in the Orange County Register this Friday, Nov. 24.
The band delivered a great set. Wonderful songs, a strong chemistry on stage, everything really clicked. Inspired by a range of artists from Gram Parsons and Fleetwood Mac to Wilco and the Clash, the band plays frequently and there is no excuse not to catch them if you are in So Cal. Check out the band at www.MySpace.com/TheFallenStars.
Walter Clevenger & the Dairy Kings headlined. As always the band was terrific, and singer-songwriter Kenny Howes was filling in on keys for the night. Anyone who missed Walter & company can see him play a free show at the Galaxy Theatre on a bill with Scarlet Crush on Friday night, Dec. 1. Visit http://www.myspace.com/breweryrecords for more details about that special night...
Did you hear the latest? Coachella has been announced and it's growing from two days to three days. April 27, 28 and 29. How are we all to survive? Pray for cool days and cool music. It's only five months away...
Monday, November 06, 2006
DADA at the Coach House (a lifetime ago)
Has it really been more than a week since I caught DADA at the Coach House? Yes, it was way back on Saturday, Oct. 28th. And it was a great show that ran well past midnight.
I could go on and on about how the trio performed its usual blend of power-pop, alt-rock and jamming to great effect. But long-time fans of the band know all about that. What's impressive is how despite a lack of commercial airplay (at least here in So Cal) and relative lack of support by the media, the fans keep filling the Coach House whenever drummer-vocalist Phil Leavitt, bassist-vocalist Joie Calio and guitarist-vocalist Michael Gurley take the stage together.
At the Oct. 28 show, the band played plenty of classics ("Dizz Knee Land," "Dim," "Dorina"), but they also played a number of great new originals off the 2007 EP "A Friend of Pat Robertson." Talk about some great new songs! Gurley sang with hushed power during ""If Tears Were Balloons." And the song "72 Hours" was wonderful too. Another magical night courtesy of dada!
I could go on and on about how the trio performed its usual blend of power-pop, alt-rock and jamming to great effect. But long-time fans of the band know all about that. What's impressive is how despite a lack of commercial airplay (at least here in So Cal) and relative lack of support by the media, the fans keep filling the Coach House whenever drummer-vocalist Phil Leavitt, bassist-vocalist Joie Calio and guitarist-vocalist Michael Gurley take the stage together.
At the Oct. 28 show, the band played plenty of classics ("Dizz Knee Land," "Dim," "Dorina"), but they also played a number of great new originals off the 2007 EP "A Friend of Pat Robertson." Talk about some great new songs! Gurley sang with hushed power during ""If Tears Were Balloons." And the song "72 Hours" was wonderful too. Another magical night courtesy of dada!
Friday, October 27, 2006
DADA is coming! DADA is coming!
Although it has been more than 2½ years since Los Angeles-based dada released a full-length album of new material, fans of the much-admired trio have been getting a well-deserved taste of dada’s latest songs online. “7.1 Stereo” is a brawny riff rocker, while “A Friend of Pat Robertson” is filled with shimmering vocal harmonies layered atop a textured sonic landscape. Both songs can be heard at www.myspace.com/dadatheband, and a new EP featuring those songs should be available commercially before the end of 2006.
In addition, Gurley’s side project, Mike Gurley and the Nightcaps, recently issued the full-length “Euphoria.” The superb disc features 10 of Gurley’s originals (including a revamped take on dada’s “Last Train Out of My Mind”), a John Gilmore tune and several standards reworked in a style sure to please lovers of neo-swing and lounge music. Gurley delivers a strong vocal performance on the classic “My Funny Valentine,” as well as his own “Spoken For.”
The Coach House is a legendary destination for fans of dada since it was at the San Juan Capistrano venue that singer-guitarist Michael Gurley and bassist-singer Joie Calio took the stage for the first time together to open for Mary’s Danish in 1991. Several months later, with the addition of drummer Phil Leavitt, dada set out on a course that has led to the release of some of the best original rock music of the 1990s and this decade.
Dada makes an eagerly-anticipated return to the Coach House on Saturday night.
In addition to performing songs from the band’s memorable debut (Dizz Knee Land,” “Dim,” “Dorina”), dada will likely be performing several songs from the trio’s forthcoming EP, and 2003’s “Live: Official Bootleg (Vol. 1),” released by Coach House Records.
The crowd on hand to catch dada this weekend will get to see something increasingly rare in modern rock; musicians who exhibit equal measures of skills as songwriters, virtuoso musicians and singers capable of dazzling with harmonies that recall the magic of the Byrds, Badfinger and Crowded House. Dada typically performs energetic and marathon-length shows at the Coach House stretching close to three hours.
Citizen Joe and Boxcar will also perform on the bill with dada at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, at 8 p.m. on Saturday, Oct. 28. Tickets are $20.
Information: 949-496-8930.
See you there!
In addition, Gurley’s side project, Mike Gurley and the Nightcaps, recently issued the full-length “Euphoria.” The superb disc features 10 of Gurley’s originals (including a revamped take on dada’s “Last Train Out of My Mind”), a John Gilmore tune and several standards reworked in a style sure to please lovers of neo-swing and lounge music. Gurley delivers a strong vocal performance on the classic “My Funny Valentine,” as well as his own “Spoken For.”
The Coach House is a legendary destination for fans of dada since it was at the San Juan Capistrano venue that singer-guitarist Michael Gurley and bassist-singer Joie Calio took the stage for the first time together to open for Mary’s Danish in 1991. Several months later, with the addition of drummer Phil Leavitt, dada set out on a course that has led to the release of some of the best original rock music of the 1990s and this decade.
Dada makes an eagerly-anticipated return to the Coach House on Saturday night.
In addition to performing songs from the band’s memorable debut (Dizz Knee Land,” “Dim,” “Dorina”), dada will likely be performing several songs from the trio’s forthcoming EP, and 2003’s “Live: Official Bootleg (Vol. 1),” released by Coach House Records.
The crowd on hand to catch dada this weekend will get to see something increasingly rare in modern rock; musicians who exhibit equal measures of skills as songwriters, virtuoso musicians and singers capable of dazzling with harmonies that recall the magic of the Byrds, Badfinger and Crowded House. Dada typically performs energetic and marathon-length shows at the Coach House stretching close to three hours.
Citizen Joe and Boxcar will also perform on the bill with dada at the Coach House, 33157 Camino Capistrano, San Juan Capistrano, at 8 p.m. on Saturday, Oct. 28. Tickets are $20.
Information: 949-496-8930.
See you there!
Tuesday, October 24, 2006
Tom Petty, Jackson Browne; magic in the desert
Life is hard, no doubt.
But, on occasion, it can be a blast.
Such was the case last Saturday night (Oct. 21), when I was lucky enough to catch full-length sets from Tom Petty & the Heartbreakers and Jackson Browne at Indian Wells Tennis Garden.
On a beautiful autumn night, it wasn't hard to enjoy two Rock 'n' Roll Hall of Famers in action under the stars on a comfortable night.
Of the two artists, headliner Petty & company delivered the stronger set. As part of his current 30th anniversary tour, Petty and his strong supporting cast (notably lead guitarist Mike Campbell, singer-multi-instrumentalist Scott Thurston and keyboardist Benmont Tench) played many of their best-known songs before an adoring crowd. And, at least for this listener, the finely-tuned troupe played Petty's three best rockers too: "I Need to Know" (lead vocals courtesy of Stevie Nicks), and later in the night, "Refugee" and "Runnin' Down A Dream" in a back-to-back blowout.
This was no mere bit of nostalgia. Rather, the band really rocked. Petty, smiling and greeting the audience after just about every song, really seemed to be having a great time. This was not the intense kind of experience that greets you at a Pearl Jam, Neil Young or U2 show, but rather the kind of festive celebration associated with Bruce Springsteen & the E Street Band's marathon-length encores that were so fun in the 1980s.
Honorary Heartbreaker Nicks took to the stage several times to play with Petty, including her first stint joining the group to play the classic "Stop Draggin' My Heart Around." She proved her pipes still carry that magical fire, and it was consistent magic throughout the night when she and Petty would sing together, including on the acoustic-styled "Insider."
Other highlights of the night? Although he has apparently played it live before, for me the inclusion of George Harrison's Traveling Wilburys gem "Handle With Care" was incredible. Always among my favorite songs, it was a moment where I wanted to sing, but didn't because you wanted to take in each magic note washing over you.
Opener Jackson Browne was in fine voice and came with a strong band, but his set focused a bit to heavily on recent material that was often lost on the crowd. When he did connect on all cylinders, it was with his better-known material, notably the forceful "For America" and hits such as "Running on Empty" and "Doctor My Eyes." But missing were great cuts such as "Tender is the Night" and "Boulevard." When playing 70 or so minutes, he could have offered a more balanced mix of old and new.
But, on occasion, it can be a blast.
Such was the case last Saturday night (Oct. 21), when I was lucky enough to catch full-length sets from Tom Petty & the Heartbreakers and Jackson Browne at Indian Wells Tennis Garden.
On a beautiful autumn night, it wasn't hard to enjoy two Rock 'n' Roll Hall of Famers in action under the stars on a comfortable night.
Of the two artists, headliner Petty & company delivered the stronger set. As part of his current 30th anniversary tour, Petty and his strong supporting cast (notably lead guitarist Mike Campbell, singer-multi-instrumentalist Scott Thurston and keyboardist Benmont Tench) played many of their best-known songs before an adoring crowd. And, at least for this listener, the finely-tuned troupe played Petty's three best rockers too: "I Need to Know" (lead vocals courtesy of Stevie Nicks), and later in the night, "Refugee" and "Runnin' Down A Dream" in a back-to-back blowout.
This was no mere bit of nostalgia. Rather, the band really rocked. Petty, smiling and greeting the audience after just about every song, really seemed to be having a great time. This was not the intense kind of experience that greets you at a Pearl Jam, Neil Young or U2 show, but rather the kind of festive celebration associated with Bruce Springsteen & the E Street Band's marathon-length encores that were so fun in the 1980s.
Honorary Heartbreaker Nicks took to the stage several times to play with Petty, including her first stint joining the group to play the classic "Stop Draggin' My Heart Around." She proved her pipes still carry that magical fire, and it was consistent magic throughout the night when she and Petty would sing together, including on the acoustic-styled "Insider."
Other highlights of the night? Although he has apparently played it live before, for me the inclusion of George Harrison's Traveling Wilburys gem "Handle With Care" was incredible. Always among my favorite songs, it was a moment where I wanted to sing, but didn't because you wanted to take in each magic note washing over you.
Opener Jackson Browne was in fine voice and came with a strong band, but his set focused a bit to heavily on recent material that was often lost on the crowd. When he did connect on all cylinders, it was with his better-known material, notably the forceful "For America" and hits such as "Running on Empty" and "Doctor My Eyes." But missing were great cuts such as "Tender is the Night" and "Boulevard." When playing 70 or so minutes, he could have offered a more balanced mix of old and new.
Thursday, October 19, 2006
Yoko Ono: Peace, Love and 'Show Me the Money'
There are countless Beatles fans who dislike Yoko Ono. And countless rock fans who love U2. So what do the two have in common?
Yoko Ono is a phony, a hitchhiker on the road to undeserved riches. All the way back to the 1960s, she has pretended her goal is to support and champion peace in the world, help deliver understanding for everyone else. Earth to Ono, "Start in your own Backyard."
It's not just the way she treated John Lennon's oldest son, Julian Lennon, keeping musical keepsakes from him that ultimately led to a well-publicized dispute a few years ago. Now, today comes word that Yoko has sued music company EMI Group PLC and a subsidiary for $10 million, claiming she was cheated out of royalties due from the sale of music by John Lennon.
I'm not a defender of the record industry. But the latest move from Yoko Ono, as well as recent news about Bono and the rest of U2 moving their music publishing company to the Netherlands to reduce their taxes can turn anyone into a cynic. According to a report published in Bloomberg on Oct. 16, at the same time the wealthy Bono is asking the Irish government to contribute more to Africa, he and the other members of U2 are effectively avoiding paying full taxes on the $110 million they earned in 2005. "Do as I say, not as I do" is an adage that works well here.
The Bloomberg story went on to note that guitarist David Evans (okay, okay, The Edge) has gone on the defensive, appearing on a radio station Newstalk on Oct. 2, stating "Our business is a very complex business...Of couse we're trying to be tax-efficient. Who doesn't want to be tax efficient."
I guess I wouldn't be so sarcastic if I didn't see so many people I know, specifically a number of struggling musicians, who live in small apartments or rented rooms in the decaying metropolis known as Southern California, while the members of U2 live in great big houses in wonderful neighborhoods while taking first-class vacations all around the globe. And Bono wants us to spend all of America's tax dollars too. I know a few people here at home who could use the dime.
I understand the music business is just that, a business. I just think these musicians want it both ways. They love to get up in front of a cheering crowd or at a press conference and talk about how evil big corporations and governments are. But at the end of the day, they really only care about themselves. Rock on.
Yoko Ono is a phony, a hitchhiker on the road to undeserved riches. All the way back to the 1960s, she has pretended her goal is to support and champion peace in the world, help deliver understanding for everyone else. Earth to Ono, "Start in your own Backyard."
It's not just the way she treated John Lennon's oldest son, Julian Lennon, keeping musical keepsakes from him that ultimately led to a well-publicized dispute a few years ago. Now, today comes word that Yoko has sued music company EMI Group PLC and a subsidiary for $10 million, claiming she was cheated out of royalties due from the sale of music by John Lennon.
I'm not a defender of the record industry. But the latest move from Yoko Ono, as well as recent news about Bono and the rest of U2 moving their music publishing company to the Netherlands to reduce their taxes can turn anyone into a cynic. According to a report published in Bloomberg on Oct. 16, at the same time the wealthy Bono is asking the Irish government to contribute more to Africa, he and the other members of U2 are effectively avoiding paying full taxes on the $110 million they earned in 2005. "Do as I say, not as I do" is an adage that works well here.
The Bloomberg story went on to note that guitarist David Evans (okay, okay, The Edge) has gone on the defensive, appearing on a radio station Newstalk on Oct. 2, stating "Our business is a very complex business...Of couse we're trying to be tax-efficient. Who doesn't want to be tax efficient."
I guess I wouldn't be so sarcastic if I didn't see so many people I know, specifically a number of struggling musicians, who live in small apartments or rented rooms in the decaying metropolis known as Southern California, while the members of U2 live in great big houses in wonderful neighborhoods while taking first-class vacations all around the globe. And Bono wants us to spend all of America's tax dollars too. I know a few people here at home who could use the dime.
I understand the music business is just that, a business. I just think these musicians want it both ways. They love to get up in front of a cheering crowd or at a press conference and talk about how evil big corporations and governments are. But at the end of the day, they really only care about themselves. Rock on.
Monday, October 16, 2006
Beyond 7 bringing its sound to San Clemente
With an extensive and rewarding discography that includes late 1990s efforts with Psychic Rain as well as Beyond 7’s 2004 debut “Here and Now,” the surefire duo of lead singer-guitarist Greg Stoddard and lead guitarist Brian Stewart have raised the bar again with the recently-released “Smoke.”
Armed with a dozen original songs and a strong rhythm section, Beyond 7’s “Smoke” boasts a winning combination of uptempo modern rock (“Drowning,” “Light of Day”) and strong ballads (“When You’re Gone,” “Last Man in the World”).
And, admits Stoddard, there is a kind of mathematical blueprint for the rock quartet’s winning formula.
“The songs we reject are great, but they are not quite good enough,” singer-guitarist Greg Stoddard said of the power of sonic subtraction. I interviewed him last spring in connection with the release of Beyond 7's latest studio disc. “We don’t want to cheat anybody. We want these songs to be a part of you.”
Since founding Psychic Rain a decade ago (he launched Beyond 7 with much-admired lead guitarist Brian Stewart in 2001), Stoddard has been writing and recording some of the most memorable and accessible modern rock in earshot, winning legions of fans while sharing the bill with groups such as the Gin Blossoms, Smithereens, Fixx, dada and Dramarama; in fact, Beyond 7 celebrated the release of the band’s full-length sophomore release “Smoke” when it opened for Dramarama at House of Blues in Anaheim in May.
In addition to Stoddard and Stewart, the Buena Park rock troupe features a strong one-two punch in the rhythm department courtesy of drummer Raul Hinojosa Jr. and bassist Moses Guerrero.
“We’re fortunate in all the shows we get; we couldn’t ask for anything else,” Stoddard said.
Although U2, Queen, Oasis, Cheap Trick and the Smiths might not seem to have much in common, each came to the forefront with the talents of a powerful singer and distinctive guitar player. Stoddard and Stewart bring that kind of magic chemistry to Beyond 7.
“We want to write and record great albums,” said Stoddard, noting while he continues to write many songs on his own, “Smoke” features five songs that he wrote with Stewart. “We take great pride in that.”
“Smoke” is not a concept album, yet it has that feel. Indeed, the album kicks off with the fiery “Light of Day,” which was the first song Stoddard wrote for the album.
“Since 9/11, not just myself but everybody kind of woke up; they use that as the beginning of a new era,” said Stoddard, explaining he has found many people often to refer to events having nothing to do with the War on Terror as either “pre” or “post” 9/11.
In “Light of Day,” Stoddard reflects on how he senses life has changed since the tragic events of Sept. 11, 2001, when he opens the song: “I can’t find my sunshine, rewind/I close my eyes, realize things aren’t quite right/morning’s turned to night.”
And “Smoke” ends its dozen-song run with the title cut, a poignant look at how quickly people can feel defeated by life’s relatively short run and limited chances to get it all right.
“This (the new album) is more about finding yourself and finding yourself in the world. ‘Smoke’ says everything we have is a temporary possession…our life is just like smoke,” Stoddard said. “It’s best to enjoy it while you have it and appreciate what you have.”
Beyond 7 will perform acoustic versions of the band's songs to Gordon James Grill & Bar, 110 N. El Camino Real, San Clemente, 9 p.m.-midnight on Saturdays, Oct. 21 and Oct. 28.
Information: 949- 498-9100
Armed with a dozen original songs and a strong rhythm section, Beyond 7’s “Smoke” boasts a winning combination of uptempo modern rock (“Drowning,” “Light of Day”) and strong ballads (“When You’re Gone,” “Last Man in the World”).
And, admits Stoddard, there is a kind of mathematical blueprint for the rock quartet’s winning formula.
“The songs we reject are great, but they are not quite good enough,” singer-guitarist Greg Stoddard said of the power of sonic subtraction. I interviewed him last spring in connection with the release of Beyond 7's latest studio disc. “We don’t want to cheat anybody. We want these songs to be a part of you.”
Since founding Psychic Rain a decade ago (he launched Beyond 7 with much-admired lead guitarist Brian Stewart in 2001), Stoddard has been writing and recording some of the most memorable and accessible modern rock in earshot, winning legions of fans while sharing the bill with groups such as the Gin Blossoms, Smithereens, Fixx, dada and Dramarama; in fact, Beyond 7 celebrated the release of the band’s full-length sophomore release “Smoke” when it opened for Dramarama at House of Blues in Anaheim in May.
In addition to Stoddard and Stewart, the Buena Park rock troupe features a strong one-two punch in the rhythm department courtesy of drummer Raul Hinojosa Jr. and bassist Moses Guerrero.
“We’re fortunate in all the shows we get; we couldn’t ask for anything else,” Stoddard said.
Although U2, Queen, Oasis, Cheap Trick and the Smiths might not seem to have much in common, each came to the forefront with the talents of a powerful singer and distinctive guitar player. Stoddard and Stewart bring that kind of magic chemistry to Beyond 7.
“We want to write and record great albums,” said Stoddard, noting while he continues to write many songs on his own, “Smoke” features five songs that he wrote with Stewart. “We take great pride in that.”
“Smoke” is not a concept album, yet it has that feel. Indeed, the album kicks off with the fiery “Light of Day,” which was the first song Stoddard wrote for the album.
“Since 9/11, not just myself but everybody kind of woke up; they use that as the beginning of a new era,” said Stoddard, explaining he has found many people often to refer to events having nothing to do with the War on Terror as either “pre” or “post” 9/11.
In “Light of Day,” Stoddard reflects on how he senses life has changed since the tragic events of Sept. 11, 2001, when he opens the song: “I can’t find my sunshine, rewind/I close my eyes, realize things aren’t quite right/morning’s turned to night.”
And “Smoke” ends its dozen-song run with the title cut, a poignant look at how quickly people can feel defeated by life’s relatively short run and limited chances to get it all right.
“This (the new album) is more about finding yourself and finding yourself in the world. ‘Smoke’ says everything we have is a temporary possession…our life is just like smoke,” Stoddard said. “It’s best to enjoy it while you have it and appreciate what you have.”
Beyond 7 will perform acoustic versions of the band's songs to Gordon James Grill & Bar, 110 N. El Camino Real, San Clemente, 9 p.m.-midnight on Saturdays, Oct. 21 and Oct. 28.
Information: 949- 498-9100
Thursday, October 12, 2006
I can't stop listening to Carbon Leaf
Although there are more than two months remaining in 2006, I am pretty sure my favorite album of 2006 is "Love Loss Hope Repreat," the latest release from Carbon Leaf.
I can't say enough great things about this disc, which somehow blends a bunch of legendary sounds and influences into something new. The Byrds-tinged 12-string guitar on "Learn to Fly" and the early-R.E.M. vibe on "Under the Wire" seem somewhat obvious, but there is something very refreshing and timeless about all the music here. So many of the songs explode with infectious hooks, but this is not power pop where the melodies hit you over the head. But it's hard not to hit repeat after "A Girl and Her Horse" or "Texas Stars" or even the introspective "The War Was in Color" end.
A truly great disc. Released by Vanguard Records, Carbon Leaf's "Love Loss Hope Repeat" is a great album.
I can't say enough great things about this disc, which somehow blends a bunch of legendary sounds and influences into something new. The Byrds-tinged 12-string guitar on "Learn to Fly" and the early-R.E.M. vibe on "Under the Wire" seem somewhat obvious, but there is something very refreshing and timeless about all the music here. So many of the songs explode with infectious hooks, but this is not power pop where the melodies hit you over the head. But it's hard not to hit repeat after "A Girl and Her Horse" or "Texas Stars" or even the introspective "The War Was in Color" end.
A truly great disc. Released by Vanguard Records, Carbon Leaf's "Love Loss Hope Repeat" is a great album.
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