This week makes an unusually strong week of singer-songwriters in L.A. Starting this week off is the inimitable Loudon Wainwright, who has a show at one of his favorite L.A. spots, the Largo at the Coronet on Tuesday the 9th. He got a Grammy win this year for his Charlie Poole tribute.
Findlay Brown might not qualify in the singer-songwriter category but I have been enamored with his new album Love Will Find You, on which the young crooner makes a cross between Chris Isaak and Roy Orbison on suave set of retro sounding romantic songs. He is opening for Nouvelle Vague at the Henry Fonda Theater and also has a show at the Echo on 2/10/
On the 10th, the legendary Sixties folkie and political activist Buffy Sainte Marie has a rare show at the Bootleg Theatre.
Thursday the 11th offer a high number of recommendable shows. Justin Townes Earle and Joe Pug – two talented Nashville-based singer-songwriters have a show at the Echo. Yes, Earle is the son of Steve but he has really staked out his own turf with his two albums on Bloodshot Records.
Richard Thompson, who not that long ago shared a bill at UCLA with Loudon Wainwright has his own show at Largo on the 11th (will his pal Loudon hang around for this gig?). While Thompson’s guitar playing and songwriting skills are well known, it’s a treat to see him in a small, casual venue where he has chance to air out his British sense of humor.
Over at the Mint, James McMurtry will be performing his fiery tunes. Another son of a famous father (his dad’s is the author Larry McMurtry), James has garnered a lot of attention in recent years with his politically charged songs. He also has a show at McCabe’s on Friday.
Meanwhile, the Hotel Café hosts the Guggenheim Grotto on Thursday night; this Irish folky-poppy outfit has been a KCRW fave and their tune “Her Beautiful Ideas” is just a beautiful pop tune.
Valentine’s Day Sunday holds an interesting show at McCabe’s. Clare and the Reason come to town and share a show with Van Dyke Parks. This twosome should make for a night of artful pop. Clare and the Reason’s last offering is stocked with Euro-flavored sounds while Parks has long been known for his sophisticated pop music.
The 14th also signals the first of several local shows for the Acoustic Brotherhood Tour, which features Los Lonely Boys, Alejandro Escovedo and Carrie Rodriguez. More than just a showcase of Latino musicians, this tour boasts three acts who can play an impressive range of music, acoustic or otherwise. On the 14th, they have a show at the Grove of Anaheim, followed by the Wiltern on the 16th and Agoura Hills’ Canyon Club on the 18th.
Tuesday, February 9, 2010
Monday, February 8, 2010
Both Sides Then - Mitchell, Taylor and Ochs at the 1970 Amchitka Benefit Concert
I have been listening recently to the Amchitka concert CD (www.amchitka-concert.com) that got its long overdue release late last year. This live double disc documents the historic October 16 1970 show that launched Greenpeace. Money raised from this Vancouver, British Columbia benefit concert was used to buy a boat (later named the Greenpeace) that served to successfully protest U.S. nuclear bomb tests by the Amchitka Islands off the coast of Alaska.
The concert, consequently, has obvious importance on the historical and political fronts, but it is also quite fascinating for its musical content. The three performers featured on these 2 discs are all significant singer-songwriters: Joni Mitchell, James Taylor and Phil Ochs. This late 1970 show captures the threesome at a critical crossroads in each of their respective careers.
Mitchell (who has a disc devoted to herself) and Taylor were both artists on the rise. Mitchell had won a Grammy in March of ‘70 for Clouds and released her classic Ladies of the Canyon later that Spring. 1970 was a big year too for Taylor, who put out his breakout album, Sweet Baby James in February although he not yet graced the cover of Time Magazine.
Ochs, on the other hand, was entering the twilight of his career. Around the same time as Taylor released Sweet Baby James, Ochs offered up the (perhaps) ironically entitled Greatest Hits, his last studio album, and within 6 years of this concert appearance he had killed himself by suicide.
This CD release can be seen as representing the change from ‘60s folkies to ‘70s singer-songwriters, with the politically charged Ochs giving way – on several levels – to the more introspective lyricists of Taylor, Mitchell and the “Seventies sensitive singer-songwriters” – the shift from the Civil Right Generation to the Me Generation.
Philosophizing aside, this CD, happily, also holds a trio of notable performances. Ochs had been playing more electric set around this time (his infamous electric Carnegie Hall shows from March of 1970 were later released as the live album, Gunfight At Carnegie Hall) but here he is in classic guitar-strumming troubadour mode. His set favors political tunes (“Joe Hill,” “I Ain’t Marching Anymore,” “Rhythms of Revolutions” and “I’m Going To Say It Now”) but also contains several dark, autobiographically-based tunes (“Chords of Fame” and “No More Songs”). It’s interesting to contrast the “Chord of Fame” with Mitchell’s “For Free.” Both songs are about the trappings of being a successful singer although Och’s tone is much more sour than Mitchell’s.
While Ochs’ performance is quite strong, he also seems, in contrast to Mitchell and Taylor, a bit stiffer on stage despite his years of experience. His banter is mostly half-swallowed asides and even when he announces that “it’s not every day you get to play in a police state” it is not said in a galvanizing way but more of a tossed off remark. Perhaps it is just the perspective of hindsight, but there seems to be a bittersweet quality to his performance.
James Taylor also comes off rather shy and nervous, but this is more understandable considering he was still at the beginning of his now-lengthy career. Just accompanying himself on the guitar, he performs several memorable songs - like “Fire And Rain” “Carolina On My Mind” and “You Can Close Your Eyes” - from his Warner Brothers’ debut and his earlier Apple album. In introducing “Sweet Baby James,” he explains that the song is really about his young nephew James. It’s a real joy to listen to play here as he’s on the cusp of stardom; you can hear easy warmth that has been a hallmark of his laidback, folksy musical style.
The same type of joy can heard in Mitchell’s set. Even though she was a rather established artist by the time of this show – she was the benefit’s headliner – she reveals a relaxed, unguarded quality in her performance as if she was still singing in coffeehouses. Playing solo on a guitar, dulcimer or piano, she does several of her well-known tunes – such as “Woodstock,” “A Case Of You” and “Big Yellow Taxi” - in a simple, stripped down way that is always enchanting. Her voice is at her classic best - all lilting, gossamer glory.
It’s a treat to hear Mitchell display her sense of humor throughout this less-than-perfect set. She asks her the audience’s indulgence while she “putters around” trying to find her way back into “For Free” (the disc contains the occasional, yet charming flub and overall less than pristine sound, with the too-early-fade out on Mitchell and Taylor doing “Circle Game” to close out the disc). She apologizes too for a press quote about her calling Vancouver a hick town. It’s also fun to hear her weave in an old schoolgirl favorite “Bony Maronie” into “Big Yellow Taxi” or when she pulls Taylor out to join her in a seemingly unrehearsed rendition of “Mr. Tambourine Man” that she slides into the end of “Carey.”
It’s a lightheartedness that you don’t always associate with Mitchell, which helps to make this recording something special. More than just an exercise in nostalgia or an archival curio, Amchitka stands as a marvelous snapshot of three talented singer-songwriters performing strong sets at a significant (for varying reasons) moment in their careers.
The concert, consequently, has obvious importance on the historical and political fronts, but it is also quite fascinating for its musical content. The three performers featured on these 2 discs are all significant singer-songwriters: Joni Mitchell, James Taylor and Phil Ochs. This late 1970 show captures the threesome at a critical crossroads in each of their respective careers.
Mitchell (who has a disc devoted to herself) and Taylor were both artists on the rise. Mitchell had won a Grammy in March of ‘70 for Clouds and released her classic Ladies of the Canyon later that Spring. 1970 was a big year too for Taylor, who put out his breakout album, Sweet Baby James in February although he not yet graced the cover of Time Magazine.
Ochs, on the other hand, was entering the twilight of his career. Around the same time as Taylor released Sweet Baby James, Ochs offered up the (perhaps) ironically entitled Greatest Hits, his last studio album, and within 6 years of this concert appearance he had killed himself by suicide.
This CD release can be seen as representing the change from ‘60s folkies to ‘70s singer-songwriters, with the politically charged Ochs giving way – on several levels – to the more introspective lyricists of Taylor, Mitchell and the “Seventies sensitive singer-songwriters” – the shift from the Civil Right Generation to the Me Generation.
Philosophizing aside, this CD, happily, also holds a trio of notable performances. Ochs had been playing more electric set around this time (his infamous electric Carnegie Hall shows from March of 1970 were later released as the live album, Gunfight At Carnegie Hall) but here he is in classic guitar-strumming troubadour mode. His set favors political tunes (“Joe Hill,” “I Ain’t Marching Anymore,” “Rhythms of Revolutions” and “I’m Going To Say It Now”) but also contains several dark, autobiographically-based tunes (“Chords of Fame” and “No More Songs”). It’s interesting to contrast the “Chord of Fame” with Mitchell’s “For Free.” Both songs are about the trappings of being a successful singer although Och’s tone is much more sour than Mitchell’s.
While Ochs’ performance is quite strong, he also seems, in contrast to Mitchell and Taylor, a bit stiffer on stage despite his years of experience. His banter is mostly half-swallowed asides and even when he announces that “it’s not every day you get to play in a police state” it is not said in a galvanizing way but more of a tossed off remark. Perhaps it is just the perspective of hindsight, but there seems to be a bittersweet quality to his performance.
James Taylor also comes off rather shy and nervous, but this is more understandable considering he was still at the beginning of his now-lengthy career. Just accompanying himself on the guitar, he performs several memorable songs - like “Fire And Rain” “Carolina On My Mind” and “You Can Close Your Eyes” - from his Warner Brothers’ debut and his earlier Apple album. In introducing “Sweet Baby James,” he explains that the song is really about his young nephew James. It’s a real joy to listen to play here as he’s on the cusp of stardom; you can hear easy warmth that has been a hallmark of his laidback, folksy musical style.
The same type of joy can heard in Mitchell’s set. Even though she was a rather established artist by the time of this show – she was the benefit’s headliner – she reveals a relaxed, unguarded quality in her performance as if she was still singing in coffeehouses. Playing solo on a guitar, dulcimer or piano, she does several of her well-known tunes – such as “Woodstock,” “A Case Of You” and “Big Yellow Taxi” - in a simple, stripped down way that is always enchanting. Her voice is at her classic best - all lilting, gossamer glory.
It’s a treat to hear Mitchell display her sense of humor throughout this less-than-perfect set. She asks her the audience’s indulgence while she “putters around” trying to find her way back into “For Free” (the disc contains the occasional, yet charming flub and overall less than pristine sound, with the too-early-fade out on Mitchell and Taylor doing “Circle Game” to close out the disc). She apologizes too for a press quote about her calling Vancouver a hick town. It’s also fun to hear her weave in an old schoolgirl favorite “Bony Maronie” into “Big Yellow Taxi” or when she pulls Taylor out to join her in a seemingly unrehearsed rendition of “Mr. Tambourine Man” that she slides into the end of “Carey.”
It’s a lightheartedness that you don’t always associate with Mitchell, which helps to make this recording something special. More than just an exercise in nostalgia or an archival curio, Amchitka stands as a marvelous snapshot of three talented singer-songwriters performing strong sets at a significant (for varying reasons) moment in their careers.
Friday, January 15, 2010
Review: Sammy Sadler - Heart Shaped Like Texas
Sammy Sadler - Heart Shaped Like Texas
(E1 Records)
There’s no good reason really why Sammy Sadler shouldn’t make it big in Nashville. His latest disc, Heart Shaped Like Texas, provides a fine showcase for his warm country tenor and his nice way with melodies. This disc also moves along smoothly through a strong mix of hooky country rockers and quieter ballads.
However, it doesn’t all add up to a memorable album. While solidly done, the disc lacks the distinctive execution or material to make it rise above being more than agreeable but average country music – a nice listen but nothing truly exciting.
Not that there aren’t some strong moments. “Heart Like Texas” is a color Lone Star state love ode about a cowgirl whose favorite song is “Amarillo By Morning.” Love songs like “Trying To Get The Girl” and “I Wanna Be Loved By You” are hooky country rock numbers that please the ear. “Thinking About Mexico” has a pleasant South-of-the-Border flavor while “That Ole Gravel Road” is a lively small town tale. Sometimes Sadler gets too heavy-handed, either with this sentimentality (“No Place To Land”) and spirituality (“John 3:16”).
This tendency also surfaces in the closing number “Thank God,” which pulls at the heartstrings a bit too hard. This is somewhat unfortunate because this tune draws on a tragic episode in Sadler’s life when he was shot (and his friend was killed) on Nashville’s Music Row. While it’s a poignant, often powerful song, the melodramatic use of background singers tends to underline the emotions a bit too much. This song also is the only one that Sadler had a hand in writing, which might add to the album’s rather generic feel.
So while Sadler the singer demonstrates that he has the talent to perform with the big boys, this disc suffers from a lack of big league material. As a result, Sadler remains a promising, talented performer who knows how to deliver a song but hasn’t yet delivered a thoroughly compelling album.
(E1 Records)
There’s no good reason really why Sammy Sadler shouldn’t make it big in Nashville. His latest disc, Heart Shaped Like Texas, provides a fine showcase for his warm country tenor and his nice way with melodies. This disc also moves along smoothly through a strong mix of hooky country rockers and quieter ballads.
However, it doesn’t all add up to a memorable album. While solidly done, the disc lacks the distinctive execution or material to make it rise above being more than agreeable but average country music – a nice listen but nothing truly exciting.
Not that there aren’t some strong moments. “Heart Like Texas” is a color Lone Star state love ode about a cowgirl whose favorite song is “Amarillo By Morning.” Love songs like “Trying To Get The Girl” and “I Wanna Be Loved By You” are hooky country rock numbers that please the ear. “Thinking About Mexico” has a pleasant South-of-the-Border flavor while “That Ole Gravel Road” is a lively small town tale. Sometimes Sadler gets too heavy-handed, either with this sentimentality (“No Place To Land”) and spirituality (“John 3:16”).
This tendency also surfaces in the closing number “Thank God,” which pulls at the heartstrings a bit too hard. This is somewhat unfortunate because this tune draws on a tragic episode in Sadler’s life when he was shot (and his friend was killed) on Nashville’s Music Row. While it’s a poignant, often powerful song, the melodramatic use of background singers tends to underline the emotions a bit too much. This song also is the only one that Sadler had a hand in writing, which might add to the album’s rather generic feel.
So while Sadler the singer demonstrates that he has the talent to perform with the big boys, this disc suffers from a lack of big league material. As a result, Sadler remains a promising, talented performer who knows how to deliver a song but hasn’t yet delivered a thoroughly compelling album.
Monday, November 30, 2009
This Week’s “Shows To See” Nov. 30-Dec. 6
Just a quick one this week. I actually have two show previews in the LA Weekly this week: the Ten Out Of Tenn show on Dec. 1 and the J. Tillman
Dec. 2 gig – both at the Troubadour. So those are both shows worth checking out. You can read more starting here:
http://www.laweekly.com/2009-11-26/music/rock-picks-j-tillman-peaches-japandroid/2
I also wanted to mention the Vic Chesnutt’s Dec. 1 show at the Echoplex. The eclectic Georgia-based performer has been having a particularly productive time period of late and his newest offering At The Cut is an especially strong disc. The track, “Band Camp,” is simply put - one fantastic song, recounting a long, twisted acquaintance with a girl. Find some way to hear it.
Notable too is Peter Case’s show at McCabe’s on Friday night, although I think it’s sold out. McCabe’s a great place to this Grammy-nominated roots rock troubadour and it’s great that Case is playing again after having heart surgery earlier this year.
Dec. 2 gig – both at the Troubadour. So those are both shows worth checking out. You can read more starting here:
http://www.laweekly.com/2009-11-26/music/rock-picks-j-tillman-peaches-japandroid/2
I also wanted to mention the Vic Chesnutt’s Dec. 1 show at the Echoplex. The eclectic Georgia-based performer has been having a particularly productive time period of late and his newest offering At The Cut is an especially strong disc. The track, “Band Camp,” is simply put - one fantastic song, recounting a long, twisted acquaintance with a girl. Find some way to hear it.
Notable too is Peter Case’s show at McCabe’s on Friday night, although I think it’s sold out. McCabe’s a great place to this Grammy-nominated roots rock troubadour and it’s great that Case is playing again after having heart surgery earlier this year.
Monday, November 23, 2009
“Shows To See” for Nov. 23-29
It’s Thanksgiving Week which seemingly means fewer official work days but just as much work too do. It also is a rather light week for shows but still there are several shows that caught my eye.
I do want to put out the good word on Vicki Emerson, who has a show Monday night the 23rd at Room 23. The New York City-based singer has crafted an impressive disc Long Ride, on which she sounds more like a country girl than a city girl. Nicely walking the line between mainstream and alternative country, Emerson projects a strong, confident musical persona that makes me curious about what she comes up with next.
Another NYC-based act, Elizabeth and the Catapult lands at the House of Blues on Nov. 28. Elizabeth Ziman is a lively vocalist who has an engaging jazzy, poppy sound. The band’s Verve debut (produced by Omaha wunderkind Mike Mogis) boasts a number of memorable tracks including “Momma’s Boy” and the title track “Taller Children.”
In keeping with this week’s female theme, I very much wanted to spotlight the two appearances this weekend from Candye Kane, who performs Saturday night at Cozy’s and Sunday night at Redwood Bar. This is something of a homecoming for Kane, who was born in East L.A. and cut her teeth in L.A.’s roots music scene. Now living in San Diego, Kane has lived a remarkable life, which includes a recent battle with cancer. Onstage she is quite remarkable too. A fun, feisty performer, Kane also knows how to belt out the blues. Her latest disc, the super Super Hero, reveals a fighter’s sense of survival in a vibrant set of rootsy, rockin’ blues, and is just the latest laudable album from Kane.
I do want to put out the good word on Vicki Emerson, who has a show Monday night the 23rd at Room 23. The New York City-based singer has crafted an impressive disc Long Ride, on which she sounds more like a country girl than a city girl. Nicely walking the line between mainstream and alternative country, Emerson projects a strong, confident musical persona that makes me curious about what she comes up with next.
Another NYC-based act, Elizabeth and the Catapult lands at the House of Blues on Nov. 28. Elizabeth Ziman is a lively vocalist who has an engaging jazzy, poppy sound. The band’s Verve debut (produced by Omaha wunderkind Mike Mogis) boasts a number of memorable tracks including “Momma’s Boy” and the title track “Taller Children.”
In keeping with this week’s female theme, I very much wanted to spotlight the two appearances this weekend from Candye Kane, who performs Saturday night at Cozy’s and Sunday night at Redwood Bar. This is something of a homecoming for Kane, who was born in East L.A. and cut her teeth in L.A.’s roots music scene. Now living in San Diego, Kane has lived a remarkable life, which includes a recent battle with cancer. Onstage she is quite remarkable too. A fun, feisty performer, Kane also knows how to belt out the blues. Her latest disc, the super Super Hero, reveals a fighter’s sense of survival in a vibrant set of rootsy, rockin’ blues, and is just the latest laudable album from Kane.
Sunday, November 15, 2009
This Week’s “Shows To See” - Nov. 15-22 Edition
The recommended shows for this week all fall towards at the week’s end.
On Thursday, the Ruby Friedman Orchestra checks into the Hotel Café. I actually haven’t had the RFO experience yet but they have created quite the buzz in local circles with Ruby touted as quite the singer and frontperson. Come early to see Corb Lund who opens the night at 7. I saw him open a while back for Chuck Mead and the Canadian alt. country star delivered a sparkling set of modern honky tonk music. His latest, Losin’ Lately Gambler came out earlier this fall on New West Records
On Friday night, the “King of Rock & Soul, “ Solomon Burke presides at Club Nokia. Now approaching 70, Burke is not the live performer or singer that he once was, Burke is more than just a living legend – which would be reason enough to see him. During the last decade, his career has experienced an artistic renaissance as he put out a string of acclaimed albums, produced by the likes of Joe Henry and Buddy Miller, that found him putting his indelible vocal stamp on a wide range of material (from Bruce Springsteen to Dolly Parton) - and he’ll hopefully have his throne out on the Nokia stage too.
The weekend McCabe’s hosts a doubleheader of terrific double bills. Friday night the 20th the guitar shop/club welcomes a pair of feisty female singer/songwriters, Erin McKeown. McKeown’s beguiling new album, Hundreds of Lions, finds her expanding her musical territory. While her last effort, Sing You Sinner, found her mining the 20s and 30s, this one explores various pop music style of the 50s and 60s, all conveyed through McKeown’s always expressive vocals. Jill Sobule is best known for the 1995 hit “I Kissed The Girl” – she was there first Katy Perry! However over the years, she has continued putting out sweet and bittersweet music that skirt the lines around folk and pop. She raised funds for her current disc, the Golden State-themed California Years, through appealing to her loyal fans and that earned her press too (although the album is quite worthy of attention too)
On Sunday night the 22nd, it’s a night for those who like their bluegrass with a twist as Crooked Still and King Wilkie take the stage there. Based in the Northeast, Crooked Still comes to L.A. for the first time with this gig but the band has been creating engaging acoustic music for the past several years. Their most recent studio outing, Still Crooked, mixes originals and covers to create a beautiful take on Americana music. King Wilkie started off as a mostly traditionally minded bluegrass group but they have expanded their sound to move into modern musical styles. While keeping some strains of old school bluegrass, they also weave in some laidback country-rock elements, which make them something of a front-porch Jayhawks.
On Thursday, the Ruby Friedman Orchestra checks into the Hotel Café. I actually haven’t had the RFO experience yet but they have created quite the buzz in local circles with Ruby touted as quite the singer and frontperson. Come early to see Corb Lund who opens the night at 7. I saw him open a while back for Chuck Mead and the Canadian alt. country star delivered a sparkling set of modern honky tonk music. His latest, Losin’ Lately Gambler came out earlier this fall on New West Records
On Friday night, the “King of Rock & Soul, “ Solomon Burke presides at Club Nokia. Now approaching 70, Burke is not the live performer or singer that he once was, Burke is more than just a living legend – which would be reason enough to see him. During the last decade, his career has experienced an artistic renaissance as he put out a string of acclaimed albums, produced by the likes of Joe Henry and Buddy Miller, that found him putting his indelible vocal stamp on a wide range of material (from Bruce Springsteen to Dolly Parton) - and he’ll hopefully have his throne out on the Nokia stage too.
The weekend McCabe’s hosts a doubleheader of terrific double bills. Friday night the 20th the guitar shop/club welcomes a pair of feisty female singer/songwriters, Erin McKeown. McKeown’s beguiling new album, Hundreds of Lions, finds her expanding her musical territory. While her last effort, Sing You Sinner, found her mining the 20s and 30s, this one explores various pop music style of the 50s and 60s, all conveyed through McKeown’s always expressive vocals. Jill Sobule is best known for the 1995 hit “I Kissed The Girl” – she was there first Katy Perry! However over the years, she has continued putting out sweet and bittersweet music that skirt the lines around folk and pop. She raised funds for her current disc, the Golden State-themed California Years, through appealing to her loyal fans and that earned her press too (although the album is quite worthy of attention too)
On Sunday night the 22nd, it’s a night for those who like their bluegrass with a twist as Crooked Still and King Wilkie take the stage there. Based in the Northeast, Crooked Still comes to L.A. for the first time with this gig but the band has been creating engaging acoustic music for the past several years. Their most recent studio outing, Still Crooked, mixes originals and covers to create a beautiful take on Americana music. King Wilkie started off as a mostly traditionally minded bluegrass group but they have expanded their sound to move into modern musical styles. While keeping some strains of old school bluegrass, they also weave in some laidback country-rock elements, which make them something of a front-porch Jayhawks.
Sunday, November 8, 2009
This Week’s “Shows To See” - Nov. 9-14 Edition
L.A. has seen some very impressive double bills of late. I have written about last week’s Over The Rhine/Katie Herzig pairing. Before that, there was the Blind Pilot/Low Anthem show and Hoot and Hellmouth/William Elliott Whitmore gig.
This week again offers some recommended musical pairings. On Monday night, Chuck Prophet and Jason Isbell share the bill at the Echoplex. Prophet first made a name for himself in the Paisley Underground with Green on Red. While he has become an in-demand guitar slinger/songwriter/producer, Prophet also has put out a series of captivating solo discs this past decade that offer his own unique take on soulful roots rock. Isbell, meanwhile, earned his stripes in the Drive-By Truckers before venturing off on his own a few years back. With his own band, The 400 Unit, Isbell serves up his own inspired Americana rock that is dipped in Dixie without being smothered in the South.
On Wednesday the 11th, Via Tania (Chicago-based Australian expat Tania Bowers) brings her ethereal electro-pop to the Bootleg Theater (she's also plays the Bordello on Tuesday). There’s a bewitching quality to this often spare, typically haunting tunes from her album Moon Sweet Moon, with tracks like “the Beginning,” “How Come” and “Light Years.” Also on the bill is the local alt. a cappella ensemble, Sonos. This inventive vocal outfit modernizes the old fashion a cappella style by covering songs by acts like the Fleet Foxes, Radiohead and Rufus Wainwright. They will provide a lightness to balance out Via Tania’s darker musical hues.
Rufus’ dad Loudon appears at UCLA on Friday matched up with Richard Thompson. Billed as “Loud & Rich,” these two esteemed old folkies not only boast lengthy, and impressive musical resumes, but both men share a deep interest in the history of music. A few years back, Thompson released the disc 1000 Years of Popular Music, which covered tunes spanning 1068 AD to 2000 (the latter being Britney Spears’ “Oops I Did It Again.”). Wainwright, meanwhile, has just released a tribute to country music pioneer, Charlie Poole, whose name isn’t as well known today as it should be. Whether they will be performing their own tunes or others’, it all should make for a night of expert songcraft, witty repartee and nimble guitar picking (particularly by Thompson).
This week again offers some recommended musical pairings. On Monday night, Chuck Prophet and Jason Isbell share the bill at the Echoplex. Prophet first made a name for himself in the Paisley Underground with Green on Red. While he has become an in-demand guitar slinger/songwriter/producer, Prophet also has put out a series of captivating solo discs this past decade that offer his own unique take on soulful roots rock. Isbell, meanwhile, earned his stripes in the Drive-By Truckers before venturing off on his own a few years back. With his own band, The 400 Unit, Isbell serves up his own inspired Americana rock that is dipped in Dixie without being smothered in the South.
On Wednesday the 11th, Via Tania (Chicago-based Australian expat Tania Bowers) brings her ethereal electro-pop to the Bootleg Theater (she's also plays the Bordello on Tuesday). There’s a bewitching quality to this often spare, typically haunting tunes from her album Moon Sweet Moon, with tracks like “the Beginning,” “How Come” and “Light Years.” Also on the bill is the local alt. a cappella ensemble, Sonos. This inventive vocal outfit modernizes the old fashion a cappella style by covering songs by acts like the Fleet Foxes, Radiohead and Rufus Wainwright. They will provide a lightness to balance out Via Tania’s darker musical hues.
Rufus’ dad Loudon appears at UCLA on Friday matched up with Richard Thompson. Billed as “Loud & Rich,” these two esteemed old folkies not only boast lengthy, and impressive musical resumes, but both men share a deep interest in the history of music. A few years back, Thompson released the disc 1000 Years of Popular Music, which covered tunes spanning 1068 AD to 2000 (the latter being Britney Spears’ “Oops I Did It Again.”). Wainwright, meanwhile, has just released a tribute to country music pioneer, Charlie Poole, whose name isn’t as well known today as it should be. Whether they will be performing their own tunes or others’, it all should make for a night of expert songcraft, witty repartee and nimble guitar picking (particularly by Thompson).
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