Go See Hear In L.A.: Feb. 7-13

This first full week of February holds the launch of several recommendable residencies.

On Mondays this month, you can find Jenny O at the Bootleg. This buzz-worthy singer-songwriter released a strong EP Home and she will also be welcoming some talented acts to these Monday shows including Everest and The Belle Brigade Feb. 7, Henry Wolfe Feb. 14, Harper Simon Feb. 21 and J. Tillman Feb. 28.

Joseph Arthur has his own Bootleg residency on Tuesdays (2/8, 2/15, 2/22 and 3/1). He’ll undoubtedly have an intriguing collection of sets and guests; his last disc Fistful of Mercy was a collaboration with Ben Harper and Dhani Harrison. This Tuesday, the talented Tom Freund shared the bill.

Leila Broussard will have shows at the Hotel Café on Thursdays Feb. 10. 17 and 24. Her tune “Satellite” is one of my favorite tunes now (I plan to have more to say on the song in a subsequent blog) and she has a winningly quirky singer-songwriter style.

Lovers of singer-songwriters might also want to seek out David Gergen on Tuesday the 8th at the Viper Acoustic Lounge, Grant Langston (who is working on a new album) is at the Cinema Bar on the 11th, Jackie Greene at the El Rey on the 12th and Chris Velan at Room 5 also on the 12th.

If you are going to see ALO at the Troubadour on the 11th, makes sure you arrive early enough to see Nathan Moore. The East Coast troubadour has an impressive new disc Dear Puppeteer out that is worthy a long listen.

Any conversation on singer-songwriter shows this week must include Kim Richey’s appearance at the Hotel Café on Feb. 10. She is one of the top songwriter in Nashville today and makes her own fine music, which smoothly blends country and pop elements.

The eclectic Mia Doi Todd will be playing at Footsie’s on Feb. 9 and Martha Wainwright has a pair of shows at Largo on Friday and Saturday (11th and 12th) in which she will be singing the songs of Edith Piaf.

The 12th offers more recommendable selections. The Decemberists at the Wiltern on the 12th. The King Is Dead is an early favorite for album of the year. Go early to check out the all-female outfit Mountain Man.

Another terrific album that has come out this year so far has been the debut from Apex Manor, the new band from the Broken West’s Ross Flournoy. The band will be playing tunes from The Year of Magical Drinking at the Satellite on the 12th.

Other Grammy eve show include Trombone Shorty and Los Amigos Invisibles at the Congo Room, Stan Ridgway at the McCabe’s and Leslie and the Badgers at the Hotel Café. The Smith Westerns will be at Costa Mesa’s Detroit Bar after a show on the 11th at the Echo.

Music fans might want to check out a rare screening of the Beatles’ Complete First American Concert (filmed at their Feb. 11, 1964 show in Washington DC) at the American Cinematheque’s Egyptian Theater.

"Spare Us The Cutter" - Echo And The Bunnymen Return To Tour The U.S.

Just got a press release today that Echo and the Bunnymen will be touring North American on their "Crocodiles & Heaven Up Here" tour. If you know their work, then you know that these are their first two albums. They will be playing them in their entirety. Personally, I think their third and fourth albums, Porcupine and Ocean Rain, better. Maybe they will return to do those. Still, they were one of the cooler UK bands from the '80s and definitely underrated. Ian McCullough is a charismatic singer and Will Sargent a powerful guitarist. You can find out more at www.bunnymen.com
here is the press release

Echo & The Bunnymen Announce North American

Dates for Crocodiles & Heaven Up Here Tour


British post-punk legends Echo & The Bunnymen have announced the North American leg of their acclaimed Crocodiles & Heaven Up Here tour. The band will be playing those two legendary albums in their entirety. The UK leg of the tour saw the band play to rapturous sold out audiences. See a clip of them playing the Crocodiles track “Stars and Stars” at Liverpool’s Olympia here , please repost.

Echo & The Bunnymen toured North America last year in support of their acclaimed album The Fountain. They kicked off the run of dates with a thunderous performance at Coachella and stormed their way from coast to coast. Don’t miss the chance to see this legendary band perform two of their classic albums live!

www.bunnymen.com
www.facebook.com/thebunnymen
www.myspace.com/thebunnymen
www.twitter.com/officialeatb

Echo & The Bunnymen 2011 North American Tour

5/9 Boston, MA @ Paradise Club
5/11 Washington DC @ 9.30 Club

5/12 Philadelphia ,PA@ Trocadero
5/13 New York,NY @Irving Plaza
5/16 Toronto,Canada @Phoenix Theatre
5/17 Chicago,IL @ Vic Theatre
5/19 San Francisco ,CA @ Warfield Theatre
5/20 Las Vegas,NV @ Red Rock Casino
5/21 Los Angeles, CA @Club Nokia Theatre
5/22 Anaheim, CA @ House Of Blues

Discovering: Gods And Monsters

The names Ernie Brooks and Billy Ficca probably don’t mean a lot to the average rock fan. But to fans of cult bands of the ‘70s/’80s punk and new wave era, those names are associated with some beloved bands: Brooks was the bassist in the Modern Lovers while Ficca drummed for Television and later the Waitresses. Their names surfaced again yesterday in a press release for the group Gods And Monsters. G & M is basically an on-and-off project for guitarist Gary Lucas, who first made his name playing with the late Captain Beefheart - although I admit that I haven't really been familiar with his work.
This new album The Ordeal of Civility (due in May on Knitting Factory Records), was produced by Jerry Harrison, who also was in the Modern Lovers before being in the much more popular group, the Talking Heads. Only heard one tune on myspace, but it is sort of a prog/new wave melding.

Here is the official press release

A thoroughly modern odd-rock ensemble, Gods and Monsters have existed in
one incarnation or another since 1989. Driven by the vision and relentless
spirit of guitar champion Gary Lucas, these defiant avant-punk architects
have always been united in their uncommon mission. As a matter of course
they are artists first and foremost, intrinsically opposed to the path of
least resistance that invariably leads to knee-jerk cultural assimilation
and soul-killing aesthetic conformity.

All of which brings us to "The Ordeal of Civility," [their latest album,
due out this May on Knitting Factory Records] the title of this collection
and a reference to John Murray Cuddihy's book of the same name. Published
in 1974, Cuddihy's arcane meditation on Jewish identity in an anti-Semitic
20th Century focuses on the unlikely Jewish triumvirate of Sigmund Freud,
Karl Marx and Claude Levi-Strauss, how their revolutionary theories,
philosophies and strategies defied the established order accepted and
promulgated by Gentiles and further describes the Jewish population's
knotty integration into mainstream/European/Christian/Western Society.

[the band is comprised of Gary Lucas - guitars & vocals, Ernie Brooks
(Modern Lovers, Flying Hearts) - bass , Billy Ficca (Television) - drums,
Jerry Harrison (Modern Lovers, Talking Heads) - production, Jason Candler
and Joe Hendel - keyboards] Sift through your mind's archive and surnames
snap into focus: Lucas, along with Brooks, Ficca and Harrison' as well as
Messrs Candler and Hendel' are all clearly compelled towards personal
independence and artistic insurgence. Together, they came to inhabit and
exhibit the ultimate living protest, that is, thinking freely and playing
creatively' onstage and in the studio' generally unfettered by vain
commercial anxieties, lemming trends or other cookie-cutter solutions.

So, what exactly is Lucas trying to say here?

Just that, like his rebellious brethren of yore, he has been out there
musically innovating for many a year (and over 20 critically acclaimed
albums in a variety of genres), in spite of and in opposition to the
pressure to conform to accepted norms and market forces, creating
revolutionary sounds both as a guitar slinger without parallel and
Grammy-nominated songwriter-- kicking against the pricks in what is
genteelly referred to in the standard industry text book as 'this
business of music.' Creating music his own way, music of the highest
quality fitting no known category other than Other, touring relentlessly
and patiently gathering a worldwide fan-base of like-minded folks tired
of the same old same old, be it Mainstream or what is quaintly referred
to as Alternative.

Produced with Jerry Harrison at the controls (savvy hands and expert
ears), The Ordeal of Civility is a razor-sharp effort reflecting Lucas and
co.'s sensibilities without sacrifice or concession. The opening
'LuvzOldSweetSong' is a softer exhibition, nimbly driven by the
Ficca/Brooks rhythm team and Hendel's resonant keyboards burbling low in
support of Gary's understated vocal and hypnotic guitar motif. The sage
advice found within 'Chime On' enjoys the classic twang of a
country-blues, incorporating snatches of forgotten Americana along the
way. 'Swamp T'ing' is a slashing blast of Blank Generation rawk straight
outta NYC' and that's the way, the way that it is.

Throughout this disc the earnest wordplay of Gary Lucas is served up with
great feeling' and consistently illuminated by his unique fretwork. The
folk-ballade "Lady Of Shallott' boasts a medieval feel that should have ye
olde fans of acoustic Thompson and Jansch weeping with joy, while the
screaming slide on 'Peep Show Bible' reminds us why the late great Captain
Beefheart chose Gary to occupy a guitar chair in his last and final Magic
Band.

And for the technique freaks, there are three instrumental tracks 'the
steady-rolling 'Whirlygig' showcases Gary's trademark guitar flourishes,
'Hot & Cold Everything' features G&M's kicking horn section with some
gnarly, high-decibel fingerbusting from Señor Lucas, and the kinder,
gentler solo guitar of 'Lazy Flowers' provides an introspective pause
before the ominous closing opus,
Jedwabne.

Jedwabne is Gary's outraged commentary on the Jedwabne pogrom that
occurred in July 1941, where the horribly organized killing of
approximately three hundred Jews exposed Poland's (long-denied) complicity
with Nazi Germany at that time. Some of Gary's relatives were among the
three hundred burned to death in the barn that day in Jedwabne. The grave
tone of this account j'accuse is unavoidable, but the message is, as
always, never forget. And for those who still try to deny or doubt or
excuse, well - real monsters walk among us whether you believe it or not.

Anyway, this is Gary Lucas, Ernie Brooks, Billy Ficca, Jerry Harrison,
Jason Candler and Joe Hendel 'Gods and Monsters, first, last, and always.

Mitch Myers New
Years Day, 2011
----------
for more information and materials contact:

Howard Wuelfing
Howlin' Wuelf Media
215-428-9119
http://howlinwuelf.com/
http://www.youtube.com/user/howlinwuelf
http://howlinwuelf.blogspot.com/

Go See Hear In L.A.: Feb. 1-6

It’s hard to believe that the first month of 2011 has come and gone. February is starting off on an eclectic note.
There are hip young acts like Baths (Amoeba in-store Feb. 1), School of Seven Bells (Conga Room, Feb. 1) and Tennis (the Echo, 2/4) arriving in town as well as reunited hipsters (of the cocktail nation variety) Love Jones (Largo, Feb. 2). The 2nd also is the night when Amoeba hosts JD Samson’s new project Men.
The terrific, somewhat underappreciated Australian rock band, the Church puts on a mega-show at the El Rey on 2/2 in which they plan to play a trifecta of albums (Untitled #23, Priest=Aura and Starfish).
Thursday the 3rd offers an opportunity to see Bobby Long, whose impressive ATO debut, A Winter’s Tale, comes out on the 1st. On this disc, Long shows that he is long on talent, with his literate tunes and his rich voice.
Thursday also is the night that Shadow Shadow Shade start its month-long residency at the Satellite. Their always inventive debut disc was one of my favorite rock albums of 2010.
Friday holds a handful of good concert-going choices. Popular local singer-songwriter Tom Freund checks into the Hotel Café. Another local favorite Kristian Hoffman has a big, guest-studded show at the Steve Allen Theater.
Grace Potter and the Nocturnals bring their rootsy tunes to the El Rey and cool Icelandic chamber popster Ólafur Arnalds will be playing the Echoplex.
Ryan Bingham and the Dead Horses show at the El Rey tops Saturday night’s shows. Bingham, who grabbed last year’s Oscar for Song of the Year, is one of the best young Americana songwriters. Another good young singer/songwriter Tony Lucca will be playing the Hotel Café.
Shawn Colvin and Loudon Wainwright III bring their impressive catalog on songs to the newly opened Valley Performing Arts Center. Over at Harvelle’s, blues master Guitar Shorty will be showing why he’s been such influential guitarist.
Another notable show on the 5th is the Autumn Defense’s appearance at the Troubadour. The Autumn Defense is the side project for Wilco mates John Stirratt and Patrick Sansone. Their recently released Yep Roc disc Once Around comes stocked with low-key but sophisticated music.
Last but not least, the intriguing, unpredictable Cat Power closes out the first week of February with a show at the Music Box.

Keepin' An Eye On: Lynn Miles

Lynn Miles is a name from my listening past. I recall her early albums in the late ‘90s - Slightly Haunted and Night In A Strange Town as being really strong country-rock outings. I have lost track of her along the way but I was glad to get an email announcing a new album (Fall For Beauty) was just released on True North Records.

Here is the press release:

"Fall For Beauty" is the eighth album from songstress Lynn Miles, just
release on True North Records. There is something to be said for
experience, for taking the time to grow into your own skin. All sturdy
things need time to root firmly into the ground to find their strength.
Lynn Miles is one of Canada's most accomplished singer/songwriters,
oftened compared to the likes of Emmy Lou Harris and Lucinda Williams.
With seven albums to her credit, the winner of multiple Canadian Folk
Music Awards, and a 2003 Juno Award for Roots & Traditional Solo Album of the Year, she has certainly found her strength over time.

Through a career that has seen her move from Ottawa to Los Angeles and
back again, with stops in Nashville and Austin, she has always written
music with unbridled feeling and vulnerability. Miles has consistently
been unflinching in putting herself out there. Now with her eighth studio
offering Fall For Beauty the voice of her experience has truly elevated
her songwriting to its richest depth of emotion.

While her melodies undulate between traditional country and folk roots, on
Fall For Beauty, it's her sensitivity to the world around her that pours
itself directly into Miles' music to make it stand out. “Love Doesn't
Hurt” was written as an emotional plea for people in abusive
relationships. “I wrote this song after watching Oprah do a show about
domestic violence. She kept repeating "love doesn't hurt", and even though
I've written plenty of songs about how emotionally painful love can be, I
wanted to put this crucial idea right up there beside my other songs, for
balance, and clarity.” says Miles. “I've been playing the song live and
have been approached by several people who work at women's shelters who
tell me it's a powerful song, and that they want to play it for their
clients. There's no better compliment than that.”

Therein is the powerful secret behind Miles' music - her astute
observations of life, its trials and triumphs, are the hallmark of
sincerity in her music. The gritty honesty of her music never falters –
neither does her unshakeable ability to make even the most melancholy
lyrics sound as if they are brimming with hope and grace. “Little Bird”
infuses her lyrics with an assertive and encouraging voice. “I wrote this
song after reading "In the Realm of Hungry Ghosts" by Gabor Mate. It's the
best book on addiction and articulates the need for compassion when
dealing with addictions. The song about what I call The X Factor, the
initial source of pain that can cause a person to seek solace in alcohol
and drugs.”

Lynn Miles is a musician in the rarest sense of the word, an unmistakable
talent, an eye for both the subtle and sweet that can only be unearthed
with experience.

http://www.lynnmilesmusic.com/
http://www.myspace.com/lynnmilesmusic

For more information and materials contact:
Howard Wuelfing
Howlin' Wuelf Media 215-428-9119
http://howlinwuelf.com/
http://www.youtube.com/user/howlinwuelf
http://howlinwuelf.blogspot.com/

Go See Hear In L.A.: Jan. 18-25-31

It’s just a busy week that I am only getting to this on Tuesday (it makes sense in my mind).

Iron & Wine will be showcasing their new, full-bodied album Kiss Each Other Clean with shows at the Wiltern Jan. 25-26 (are they sold out already?). Great but different openers each night. Laura Marling on the 25th and Low Anthem on the 26th.

The terrific WPA (that’s some Watkins, Glen Phillips and whoever else they pull in to play) is at the Hotel Café on the 25th.

Lizz Wright plays the Roxy on the 26th. A wonderful singer and song stylist, Wright doesn’t get enough recognization. Check out her fantastic recent release Fellowship.

Social Distortion celebrates Hard Time and Nursery Rhymes with a string of shows at the Palladium Feb. 27-29. Chuck Ragan opes all the shows with the Aggrolites playing on the 27th and the awesome Lucero on the 28-29.

Ty Segall is an interesting cat, playing weird, distorted punkabilly as far as I can tell. See for yourself at the Echoplex on the 27th. Other interesting shows to catch on the 27th: Grouplove’s Amoeba instore, Amos Lee at the Music Box and Wovenhands at the Bootleg.

Daniel Lanois brings his new project Black Dub to the El Rey on the 28th.

The fun and energetic Free Energy returns to town to play the Roxy on the 28th too,

The husband and wife duo called Hymn to Her pull into Molly Malone’s on Friday while more Americana can be found that night at the Mint’s Sin City’s Cosmic American Road Show.

The Handsome Family has a pair of shows this weekend. Eastside at the Bootleg on the 28th and Westside at McCabes on the 29th. Opening for them at McCabes is Sean Rowe, who also plays the Hotel Café on the Feb. 1. His cool debut disc Magic is out on Anti.

Other options Friday are Peter Case at the McCabes, Deena Carter at the Hotel Café, Les Savy Fav at the Echoplex and Ween at the Wiltern (although that one seems to be sold out).

The legendary Ian Hunter has a “Saturday Gig” at the El Rey

On the 29th, Costa Mesa’s Segerstrom Hall hosts Blues at the Crossroads: The Robert Johnson Centennial Concert with living blues heroes Honeyboy Edwards and Hubert Sumlin along with Cedric Burnside, Lightnin’ Malcolm and Big Head Todd and the Monsters.

Also, Yann Tiersen performs at UCLA’s Luckman Auditorium, Darwin Deez is at the Satellite with (the band) Friends and Ari Shines plays Labries in Glendale.

Peaking into next week, singer/songwriter John Shipe showcases his new disc Villains with the CD release show at the Viper Room on Monday night.

CD Review: Alexa Woodward - Weary

CD Review: Alexa Woodward - Weary

Back in 2009, I was taken by Alexa Woodward’s album Speck. While she is New York City-based, Woodward’s spare, rustic sound feels drawn from her Southern roots (she grew up in Virginia and South Carolina).
Her latest offering It's a Good Life, Honey, If You Don't Grow Weary (available online in February) is a joy to listen to. She does a terrific job of gently fleshing out her sound while retaining its delicate Americana sound. Woodward plays banjo and ukulele; however, her songs make use of vibephones, cello, washboard, percussions and even some electric instruments. An electric guitar, for instance, howls in the background of “Wolves” to compliment its title and its eerie tale.
Her music nicely balances old-timey and contemporary elements. Her songs, which are frequently relationship-based, mix images of the past and the present “All That Sugar” holds the line “and I bet you don’t have good sex/when your blood’s all full of gold,“ while in “Elephant,” she tells an ex-lover that “I hope Nina treats you right/that Copenhagen’s kind /that you sleep sound every night” among fanciful imagery of traveling over mountains and water.
Throughout the disc, Woodward displays a strong lyrical command. She begins “O Tornado” with “drive across the county line/Salinger and Andrew Wyeth/betwixt, between the time/where the frozen clocks are awful quiet” and doesn’t come across as a freshman lit major. “Pillar of Salt” similarly shows a deft poetic touch as she mixes biblical references and emotional revelations.
When Woodward harmonizes with frequent collaborator Linky Dickson, they suggest a more rural version of the Roches. Abigail Washburn and Gillian Welch also serve as touch points here; however, Woodward forges her own sound – something that’s modern and timeless, lilting and melancholic - during this thoroughly delightful disc. With her exquisitely crafted third effort, Woodward seems on poised for big things.