#americana rhythms and blues tour

[billydavis4567]

Exploring Emporia's Vibrant Music Scene: Venues and Local Talent.

Nestled in the heart of Kansas lies Emporia, a city brimming with a rich cultural tapestry and a burgeoning music scene that often flies under the radar. Despite its modest size, Emporia boasts an eclectic array of venues and a pool of local talent that collectively contribute to its dynamic musical landscape.Read More

Venues:

Granada Theatre: At the heart of Emporia's music scene stands the historic Granada Theatre. Originally opened in 1929, this iconic venue has undergone several transformations, evolving from a movie palace to a premier destination for live entertainment. With its elegant Art Deco architecture and state-of-the-art sound system, the Granada Theatre hosts a diverse range of musical acts, from indie bands to jazz ensembles. Its intimate atmosphere and superior acoustics make it a favorite among both performers and patrons alike.

Radius Brewing Company: For those seeking a more laid-back setting to enjoy live music, Radius Brewing Company offers the perfect blend of craft beer and local talent. This microbrewery not only serves up delicious brews but also provides a stage for emerging artists to showcase their skills. Whether it's acoustic sets, open mic nights, or full-band performances, Radius Brewing Company offers a cozy ambiance where patrons can unwind and immerse themselves in the sounds of Emporia's music scene.

White Auditorium: As the largest venue in Emporia, White Auditorium plays a pivotal role in shaping the city's cultural landscape. Primarily known for hosting theatrical productions and community events, this multipurpose facility occasionally welcomes touring musicians and bands, providing a platform for larger-scale concerts and performances. With its spacious seating and professional amenities, White Auditorium offers a memorable experience for both performers and audiences alike.

Local Talent:

The Wildflowers: One of Emporia's most beloved bands, The Wildflowers, captivates audiences with their soulful blend of folk and Americana. Led by singer-songwriter Emma Parker, this talented ensemble delivers heartfelt performances that resonate with listeners of all ages. With their melodic harmonies and introspective lyrics, The Wildflowers have carved out a niche in Emporia's music scene and continue to garner acclaim both locally and beyond.

The Electric Monks: On the opposite end of the musical spectrum lies The Electric Monks, a high-energy rock band that electrifies stages with their infectious grooves and raucous antics. Comprised of seasoned musicians hailing from Emporia and its surrounding areas, The Electric Monks inject a dose of adrenaline into the local music scene with their blistering guitar solos and powerhouse vocals. From dive bars to outdoor festivals, this dynamic group knows how to command an audience and leave them begging for more.

Sarah & the Sycamores: Combining elements of blues, soul, and R&B, Sarah & the Sycamores exude a timeless elegance that sets them apart in Emporia's music scene. Fronted by the charismatic Sarah Johnson, this soulful ensemble delivers sultry performances that transport listeners to smoky jazz clubs of yesteryear. With their smooth rhythms and impassioned delivery, Sarah & the Sycamores evoke a sense of nostalgia while simultaneously pushing the boundaries of contemporary music in Emporia.

Conclusion:

In conclusion, Emporia's music scene is a vibrant tapestry woven from the threads of diverse venues and local talent. From the historic halls of the Granada Theatre to the cozy confines of Radius Brewing Company, there's no shortage of places to catch live music in this charming Kansas city. And with acts like The Wildflowers, The Electric Monks, and Sarah & the Sycamores leading the charge, the future looks bright for Emporia's music scene as it continues to grow and evolve. So whether you're a lifelong resident or just passing through, be sure to tune in and experience the magic of Emporia's musical heritage firsthand.

[rockzone]

Big Wolf Band - Rebel's Journey

Release Date: 19 Apr 2024

Hailed by music pundits as most highly anticipated album collection of songs of their career, "Rebel’s Journey" is Big Wolf Band’s second instalment of the Rebel’s trilogy of albums. The new album is about the growth of the band and frontman’s Jonathan Earp’s personal journey.

Big Wolf Band have built a reputation as being one of the best live bands on the circuit, delivering dynamic shows with an expansive range of self-penned songs that cover all flavours of blues rock that truly makes them unique. Rebel’s Journey reinforces this bands creativity, musicianship, and delivery. Each song having its own identity but still that unmistakable Big Wolf sound. The band’s ability to drift between genres while keeping their own sound is a big selling point amongst followers of the band.

Vocalist and guitarist Jonathan Earp says, “Rebel’s Journey highlights my own personal battle with my mental and physical health. I have a connective tissue disorder called Ehlers-Danlos Syndrome (HEDS) which affects everything. I had surgery in mid-2019 during our 'Be Free' tour to repair damage to my right shoulder, dislocations, and nerve pain. Unfortunately, the operation caused more pain and numbness and for nearly 2 years I struggled to play, some days to even hold a plectrum."

"Songs like 'Standing in the Rain', 'Black Dog Blues', and 'Living on Borrowed Time' are about the battles I had during those dark days. My condition will always be a challenge but one I live with and continue to prove doubters wrong.

"The album isn’t all doom and gloom, despite being in the blues genre. 'Empire and a Prayer', my first co-written song with Justin Johnson, as well as 'Got Me Reeling' and 'Living on Borrowed Time'. We have had many a joke with my dark writing style, Justin brings the light and love. 'Rise Together' is one of the songs on the album I am proud of and is all about the power of love, rising together and that anything is possible.”

Big Wolf Band were recently nominated for “UK Blues Band of the Year” at the 2024 UK Blues Awards.

2024 Tour Dates 29 Mar - The Bear, Luton 31 Mar - Nantwich Jazz and Blues 5 Apr – Temperance Leamington Spa. 12 Apr - Arlington Arts Centre, Newbury 14 Apr - Bromley Blues Club 20 Apr - Blues at the Barleylands, Billericay 21 Apr - Hope Tavern, Market Rasen 26 Apr - Bosworth Blues Festival 11 May - Macclesfield Beer Festival 24 May - Saltburn Blues Club, Redcar 25 May - Booze and Blues Leicester. 7 Jun - Lamp Tavern, Dudley 13 Jun - Red Arrow Music Club, Ramsgate 16 Jun - Blues Weekend at the Toorak Hotel 23 Jun - Bluefunk Rhythm and Blues Club, Poynton (double Header with CBO) 5 Jul – Alfold Rock and Blues Festival, Alfold 9 Aug – Darlington R&B Club 16 Aug Warrington Blues Club 17 Aug - Old Bush Blues Festival 23 Aug Colne R&B Festival 24 Aug – Rory Gallagher Festival, Nantwich 25 Aug - Congleton Jazz and Blues 6 Sep - Nene Valley Festival 15 Sep - Red Lion, Stevenage 20 Sep - Joe Joe Jim’s Birmingham 4 Oct - Backstage at the Green – Kinross 5 Oct - Calendar Jazz & Blues 12 Oct – Boat shack, Upton Warren 1 Nov - Colne Delta Blues and Americana Club 23 Nov - Giffard Arms, Wolverhampton 13 Dec - Emsworth Music Club

[newmusicradionetwork]

Alt-Country Renegade Dale Watson’s New Album STARVATION BOX Is Available Now!

Dale Watson is known for his authentic approach to country music and his unapologetic dedication to preserving traditional sounds. Paying tribute to his hero, Lead Belly, a highly influential folk and blues musician, Dale Watson is excited to release his latest album Starvation Box today on Cleopatra Records! During the late 19th century, an aspiring musician named Huddie William Ledbetter (aka Lead Belly) departed from his hometown in Harrison County, Texas. This decision was prompted by his father’s attempt to dissuade him from pursuing music. His father disparagingly referred to Huddie’s guitar as a “starvation box,” believing it would only bring poverty and hardship. However, this young man’s impact on the world of music would far exceed anyone’s imagination. Lead Belly’s journey from Texas to becoming a legendary figure in folk blues is truly remarkable, especially considering the challenges and obstacles he faced. His perseverance and talent allowed him to leave a lasting impact on the music world. Even after a century has passed, Lead Belly’s musical legacy lives on, continuing to inspire artists to this day. One such artist is Dale Watson, an opinionated, rebellious, tattooed country crooner, also from Texas. Dale Watson’s decision to title his album Starvation Box and draw inspiration from Lead Belly’s story is a powerful tribute to both Lead Belly’s legacy and Watson’s own artistic journey. By putting his own “starvation box” (his guitar) at the forefront, Watson pays homage to Lead Belly’s determination and musical prowess. This approach highlights the significance of the instrument in the context of both artists’ careers and showcases Watson’s own skills as a troubadour and storyteller. Fans of both Lead Belly and Dale Watson can look forward to experiencing the depth and artistry of Starvation Box. The title track itself marks the commencement of an enthralling musical journey. This track is a collaborative effort between Watson and Mike Henderson, a distinguished songwriter who has received a CMA award for his work on Chris Stapleton’s renowned “Broken Halos.” With a bluesy 12-string guitar riff taking the lead, accompanied by a minimalistic rhythm track, the composition provides ample space for Watson’s weathered baritone voice to shine. As Watson explains, “Living in Marshall, TX, the area so influential to Lead Belly, I went down the Lead Belly rabbit hole. It led me to a 1957 Stella 12-string guitar just like the one Lead Belly had, which his father called a ‘starvation box.’ I knew I had to write that song as an ode to Lead Belly. What I wrote was ok but with Mike Henderson’s additions and of course, his slide guitar and harmonica, I think we came up with a fitting tribute that I hope people like.” There’s plenty more bluesy, folk and roots rock in store on Starvation Box, the album, including an ode to Elvis Presley’s mechanic, “Billy Strawn,” a fantastic cover of Percy Mayfield’s “Like A Stranger In My Own Hometown,” and the superb closer, a gospel rave-up called “Ain’t Nobody Everybody Loved.” To order Dale Watson’s Starvation Box, visit HERE. STARVATION BOX TRACK LISTING: 01. Starvation Box 02. Whatever Happened To The Cadillac – M Music & Musicians Magazine 03. That’s Where The Money Goes – SiriusXM’s Outlaw Country 04. Nothingville 05. Billy Strawn – Cowboys & Indians 06. I Ain’t Been Livin’ Right – Center Stage Magazine 07. Adios 08. Streets Of Gold – Analog Planet 09. Down Down Down Down – Center Stage Magazine 10. Two Peas In A Pod 11. Like A Stranger In My Hometown 12. Ain’t Nobody Everybody Loved – Americana Highways Dale Watson On Tour: AUG 18 – Oriental Theater / Denver Denver, CO AUG 20 – The State Room / Salt Lake City, UT AUG 21 – Neurolux Lounge / Boise, ID AUG 22 – Brewminatti / Prosser, WA AUG 23 – Polaris Hall / Portland, OR AUG 24 – Tractor Tavern / Seattle, WA AUG 26 – The Spa at Blue Lake Casino & Hotel / Blue Lake, CA AUG 27 – Hopmonk Tavern / Novato, CA AUG 28 – Zebulon / Los Angeles, CA AUG 29 – The Cordova Bar / San Diego, CA AUG 30 – Club Congress / Tucson, AZ AUG 31 – Rhythm Room / Phoenix, AZ SEP 02 – Broken Spoke / Austin, TX SEP 24 – Eddie’s Attic / Decatur, GA OCT 19 – The Southgate House Revival / Newport, KY NOV 22 – Luckenbach Texas / Fredericksburg, TX For more information, visit dalewatson.com and cleopatrarecords.com. About Dale Watson: A staunch adherent of old-style honky tonk and Bakersfield country, Dale Watson has positioned himself as a tattooed, stubbornly independent outsider only interested in recording authentic country music. As a result, he hasn’t become a major star, but his music has been championed by numerous critics and has earned him a fervently loyal fan base. His 1995 debut, Cheatin’ Heart Attack, wowed writers and fans with its potent songwriting and authentic honky tonk vibe, 1998’s The Truckin’ Sessions was the first of a series of LPs devoted to his love of big rigs, 2007’s The Little Darlin’ Sessions saw Watson recording alongside some of the legendary session musicians who inspired him, and 2019’s Call Me Lucky found him creatively revitalized after relocating to Memphis, Tennessee. Watson continued to thrive in Memphis, delivering the instrumental record Dale Watson Presents: The Memphians in 2021 and the covers album Jukebox Fury in 2022. Read the full article

[singeratlarge]

MONKEY HOUSE CELEBRATES A TRIO OF SINGER-SONGWRITERS

On Saturday April 22nd,, a trio of recording artists and songcrafters will take the stage at The Monkey House, a longtime listening room at 1638 University Avenue in Berkeley. Music begins at 7PM. 

Entertainer and “Singer at Large” Johnny J. Blair will present his brand of “pop music with a twist,” influenced by Americana, psychedelia, New Wave, and gospel. Brian Wilson called Johnny “a virtuoso.” His current itinerary includes performing in assisted living homes for people with disabilities and dementia: “Music goes through the brain into places where math and language don’t go. Music heals and makes a difference.” Johnny has worked with a range of artists—most prominently with Davy Jones and The Monkees. Johnny will do songs from his recordings and tell stories “about Monkees, working with people in care homes, and life in the music industry.”

Seán Lightholder tells stories through his music, working in the genres of folk, rock, blues, and traditional Irish music. He is a fifth-generation San Franciscan who soaked up the city’s eclectic sounds and cultures. He lived in Ireland for a time—the country his father grew up in—and there became deeply influenced by its music and rhythms. Seán has bounced back and forth between the continents, building community around music: through writing and creating community websites, hosting "socially distant" jams during the COVID-19 pandemic, and playing with other bands—notably the popular Irish rock group CaliCeltic.

Americana artist Will Solomon is originally from Kentucky and currently resides in Seattle. Nashville Scene called him “versatile and confident.” He’s touring with his trio to promote his album “Misspelled Words.” Musically he draws comparisons to James Taylor, Ray Lamontange, and Bruce Hornsby.

Their music can be sampled at https://johnnyjblairsingeratlarge.bandcamp.com and https://lightholder.com and https://soundcloud.com/willsolomonmusic For more information go to (510) 898-1979 or  https://www.themonkeyhouse.org $20 donation suggested for the artists; reservations recommended.

#johnnyjblair #singersongwriter #monkees #davyjones #monkeyhouse #seanlightholder #willsolomon #singeratlarge #entertainment #music #concert

[coloradomusicfestival2023]

Americana Music Festival in Colorado

It's been a long, hot summer. You've worked hard and you deserve a little break. But before you pack your bags for a well-earned vacation, there's one last thing you need to do: finish your summer off with a bang!And we know just the place to do it. Caveman Music Festival at Monument Lake Resort in Colorado is the perfect place to grasp the last sun-soaked days of summer. 

The Festival debuted in 2022, and nearly 5,000 fans were expected to attend the three-day Colorado Music festivals. Last year did not disappoint! Americana Music is an amalgam of American music formed by the confluence of the shared and varied traditions that make up the musical ethos of the United States, specifically those sounds that emerged from the Southern United States, such as folk, gospel, western, jazz, rhythm and blues, rock and roll, bluegrass, and other external influences. So if you're looking for a little bit of everything, this is the place for you. But Caveman Music Festival is more than just music. 

It's a chance to disconnect from the daily grind and reconnect with nature. That's because the Festival takes place in one of the most beautiful places in the country: Monument Lake Resort. Nestled in the foothills of the Rocky Mountains, the Resort is the perfect place to relax and unwind. And with activities like hiking, fishing, and kayaking, you can make the most of the great outdoors. So what are you waiting for? Grab your tickets today and join us for a weekend of fun in the sun!

Caveman Music Festival: The ultimate Americana music event for all levels of interest!

Caveman Music Festival is the ultimate music event for all levels of interest! Whether you’re a fan of classic country, bluegrass, or rock and roll, Caveman has something for you! Our annual festival features some of the biggest names in Americana music and we can’t wait to see you there!

How Caveman Music Festival is Different from Other Music Festivals.

The Caveman Music Festival is a unique music festival that offers a variety of music from all over the United States. The festival features unsigned and unsigned bands, as well as national and international touring artists. The event takes place in beautiful Weston, Colorado, and tickets are usually available online or through live performance sales.

What are the Different Types of Music at the Caveman Music Festival?

There are many different types of music at the Caveman Music Festival, including acoustic and electric concerts. Acoustic concerts offer an intimate experience while electric concerts can be more show crowded. Some of the different genres that may be played at the Caveman Music Festival include bluegrass, country, rockabilly, gospel, funk, and soul.

What are the Different Levels of Interest at the Caveman Music Festival?

Many people attend Caveman Music Festival for different reasons. Some people attend to listen to local bands or to see national and international touring artists. others attend for simply enjoys good acoustic music without having to worry about financial implications. There is no one-size-fits-all answer when it comes to how much money someone will spend at a music festival, but it is always important to do your research before heading out to partake in one!

How to Attend Caveman Music Festival.

Caveman Music Festival is a three-day event taking place in the beautiful city of Weston, Colorado. Tickets can be bought online or at the door, and there are various discounts and deals available for those who purchase early. The festival features a wide variety of music from Americana to bluegrass to rock, and there will be classics and new releases on hand for all levels of interest.

To attend Caveman Music Festival, buy your tickets now!

How to Enjoy the Caveman Music Festival.

If you’re looking for a unique and fun music experience, the Caveman Music Festival is the perfect place to be. The festival features a wide variety of music from Americana to the country to rock and roll. There are plenty of opportunities to make friends at the event, and it’s always a blast to see who shows up and how they react when they finally get a chance to hear some of the great music at the festival.

Eat Deliciously at the Festival.

At Caveman Music Festival, there’s no shortage of delicious food options. From mouth-watering ribs and chicken dishes to delectable salads and sandwiches, there’s something for everyone on site. Plus, with all of the amazing food options available right at your fingertips, it won’t be hard to find something you love while in town. And if that doesn’t do it for you, there are also plenty of sweet treats and drinks available for purchase throughout the event.

Dance the night away at Caveman Music Festival.

The Caveman Music Festival is one big concert – so dancing all night long isn’t an option! But don’t worry – there are plenty of other activities happening during this fantastic event too! From listening to live music during dinner breaks to watching performances by world-renowned artists, there are tons of things to keep you entertained throughout your stay at the festival. So come down into town on Saturday night and enjoy some excellent Americana music!

Conclusion

Whether you're a music lover or just looking for some good music to listen to, Caveman Music Festival is the perfect festival for you! With world-renowned artists performing at various levels of difficulty, there's something for everyone at this year's event. Whether you're a first-time attendee or an experienced concertgoer, be sure to make the most of your time at Caveman Music Festival!

[fatliberation]

Top ten fat celebs?

Oh gosh, I couldn’t pick just ten!! We can do more of these if you guys like!

I’m gonna narrow it down here and first acknowledge lesser known fat musicians. This past weekend I just watched Ma Rainey’s Black Bottom and it’s a shame that I had never heard her story until now! I’m glad she’s finally getting the recognition she deserves as the Mother of the Blues, so if I may, I want to take this opportunity to celebrate ten fat musicians of color!

Ma Rainey

A queer, Black, influential female singer and songwriter of the 1920s. She was the first popular stage entertainer to incorporate authentic blues into her song repertoire and became known as the "Mother of the Blues!” With her unapologetic lyrics, Rainey proudly proclaimed her bisexuality and helped to mainstream Black female narratives in a musical style that later became a nationwide craze.

Bessie Smith

The Black, queer, “Empress of the Blues” who began as Ma Rainey’s protegé, later became the most popular female blues singer of the 1920s and 1930s! She wrote songs about liberated women, and had a plainspoken style that foreshadowed rap, and was a major influence on fellow blues singers and jazz vocalists.

Sister Rosetta Tharpe

The “Godmother of Rock and Roll!” A Black, queer, guitar-playing gospel singer, who paved the way for Elvis, Chuck Berry, and influenced everyone from Miranda Lambert to Bob Dylan! She crafted the sound in the 30s and 40s, her gospel recordings were characterized by a unique mixture of spiritual lyrics and rhythmic accompaniment that was a precursor of rock and roll. F*ck the Beatles, Sister Rosetta is the original rocker!

Willie Mae “Big Mama” Thornton

A Black female (and gender non-conforming) drummer, harmonicist, singer and songwriter of the 1950s! She was a formative figure in the rhythm and blues genre. The songs “Hound Dog” and “Ball and Chain” became huge hits for Elvis Presley and Janis Joplin in later years, but Big Mama Thornton sang them first!

Israel Kamakawiwo'ole, or “Bruddah Iz”

A Native Hawaiian `ukulele player, singer-songwriter, and activist, who is best known for his beloved rendition of “Over the Rainbow” in 1988 and forever changing the face of Hawaiian music. Through his joyful songs and lifelong advocacy for the islands’ values and culture, Kamakawiwo`ole has been widely referred to as the “Voice of Hawai`i!”

And now for some up and coming musicians!

Tedy

Tedy is a Haitian immigrant, who has moved around from various cities in both America and Canada. Originally a Youtuber, Tedy is a budding musician with little background in songwriting, but you’d never know it. He cultivated his distinct, soulful and explosive musical style by drawing on melodies and sounds he picked up throughout his life and his exposure to different cultures. Tedy released the singles “Can I” in 2016, and “Hold on Tighter” in 2018. Now signed to Sony Music, Tedy is back with the new EP Boys Don’t Cry. The emotionally charged track rides an expressive journey through feelings of fear, sadness, acceptance, and finally empowerment. Be sure to give it a listen!

Spotify | IG | Twitter | Soundcloud

G.R. Gritt

G.R. Gritt is a Juno Award winning, Two-Spirit, Transgender, Anishinaabe/Metis artist. They reclaim space through songs that show that intersectional identity is expansive and not to be divided into parts. By exploring the emotional and cultural core of their heritage as a non-binary, queer, Indigenous artist, they create new space and encourage others to do the same. Gritt is currently preparing for the release of a new full-length album titled, Ancestors, on Coax Records. Their first single, “Quiet Years” is out now! Check it out!

Website | Spotify | IG | Twitter

Brittany Howard

Brittany Howard is known for being the lead vocalist, guitarist, and main songwriter of rock bands Alabama Shakes and Thunderbitch. In 2019, she struck out on her own to write and produce a record that comes from the perspective of a queer, mixed-race woman, born to a Black father and white mother in the same city as the founder of neo-Nazi message board Stormfront and a former Grand Wizard in the Klan. Jaime, named in memoriam after Howard’s late sister, is a soul record built for and by our turbulent times, seeking humanity. Listen to it now!

Soundcloud | Spotify | IG | Twitter | Website

Tunde Olaniran

Tunde Olaniran is a Nigerian-American, gender non-comforming artist from Flint, Michigan. They have quickly embedded themself into the Detroit music scene; a singer, rapper, dancer, choreographer, producer and activist. Their music abandons all preconceptions of what pop can be. Their thematically-rich 2018 record Stranger supplied plenty of rhythms to exercise Olaniran’s voice, as they waxed poetic about what it means to be known. Their lyrics contain multitudes; they can speak on the Black experience, Celine Dion, and science fiction, and float seamlessly between subjects with grace. Their new single, “WDIWHI,” just came out in November! Give it a play!

Spotify | Soundcloud | IG | Twitter | Website

Crys Matthews

Crys Matthews is a queer, Black singer and songwriter who blends Americana, folk, jazz, blues, bluegrass and funk into a bold, complex performance steeped in traditional melodies. Her two 2017 releases, a full-length album called The Imagineers, about love and life, and an EP called Battle Hymn for an Army of Lovers, which tackles social justice themes. Over the summer, she released a single titled “Six Feet Apart” with Heather Mae (another amazing fat musician!!) as well as their virtual Pride tour ‘The Singing OUT Tour’, which allowed others to continue to celebrate the LGBTQ+ community from the safety and comfort of their own homes. “Six Feet Apart” is a stunning concoction of Mae’s soulful vocals and Matthews’ organic tones, fused to form a beautiful release with a relatable narrative. Be sure to listen and give Crys some support!

Spotify | IG | Twitter | Website | GigglesForGeorgia

Also, check out this great article by Sydneysky G (@blackfatqueer on twitter) to read about more fat, Black, female pioneers of music!

[diceriadelluntore]

Storia Di Musica #196 - Lynyrd Skynyrd, (Pronounced 'Lĕh-'nérd 'Skin-'nérd), 1973

Per contrastare l’aria novembrina dei primi freddi, della pioggia, delle giornate corte, il viaggio musicale per quattro domenica si trasferisce nel Sud degli Stati Uniti d’America: per raccontare di una musica calda, potente, verace, che dalle paludi remote della Florida, della Carolina del Sud o della Georgia ha finito per ammaliare una intera generazione. Southern Rock definisce il mix selvaggio e riuscito di blues, rhythm and blues, country, gospel in parziale risposta ma anche in parziale continuamento del power blues che arrivava dall’Europa nei tardi anni sessanta, a cui a volte si aggiungevano stili prettamente di quelle zone, come l'honky tonk o il bluegrass e spesso anche improvvisazioni tipiche del jazz, creando di fatto una musica profondamente americana ma innovativa nelle strutture musicali, dal sapore concreto, potente e dalle tematiche distintive che si contrapponeva alle forme free del rock della costa occidentale, molto più cerebrale e mistico. A ciò si aggiungeva l'orgoglio delle radici, soprattutto dell’essere del Sud e l'armonia razziale. La storia di oggi ci porta alla Robert E. Lee High School di Jacksonville, in Florida, dove insegnava un professore di educazione fisica, Leonard Skinner, famoso per le campagne contro i capelli lunghi dei ragazzi maschi. Un gruppo di ragazzi capelloni, Ronnie Van Zant, Allen Collins, Bob Burns e Gary Rossington fondò un gruppo, che nel 1969, chiamato prima Leonard Skinnerd, si trasformò agli inizi del 1970 in Lynyrd Skynyrd. Nasce in quella scuola della Florida uno dei più incredibili gruppi rock americani, lo scrivo senza paura di alcuna smentita, paladino del southern rock, famoso per i tour infiniti, per la potenza della musica, le bevute colossali, le scazzottate sul palco e una tragica sorte per molti membri della band (incidenti aerei compresi). Nel 1973 debuttano con questo album, uno dei più grandi dischi di debutto di ogni tempo, (Pronounced 'Lĕh-'nérd 'Skin-'nérd), in una formazione che è già diversa da quella sulla copertina del disco, scattata a Jonesboro in Georgia (nella stessa strada di una delle scene clou del film Smokey And The Bandit, di qualche anno più tardi) dato che Leon Wilkenson, bassista, uscì dalla band durante le registrazioni, e fu sostituito da Ed King: ma King era un bassista così modesto che poi fu passato a terza chitarra per un muro del suono leggendario, il three guitars army, che farà scuola nel cuore di ogni appassionato dello strumento. La band era così composta: Van Zant voce, Rossington chitarra solista, Allen Collins seconda chitarra, Ed King basso e chitarra, Billy Powers, che in realtà era stato ingaggiato come tecnico del suono, alle tastiere, Bob Burns alla batteria. Produce e aiuta la band di scalmanati l’onnipresente Al Kooper, che li aveva sentiti suonare in un locale con il nome di Funocchio’s e si innamora della loro musica. Infatti i ragazzi provavano per ore i loro brani in una specie di magazzino nelle campagne di Jacksonville, chiamato Hell House per il caldo infernale nelle giornate estive, e quando si presentarono in studio i brani erano perfettamente memorizzati ed eseguiti, senza sbavature né improvvisazioni. Il disco è semplicemente sensazionale: la sincopata I Ain’t No One apre la scaletta, seguita dalla stupenda Tuesday’s Gone, la prima di una serie di canzoni-mito che li faranno passare alla storia, questa in particolare riflette sul successo che la band sta vivendo in quelle settimane. Gimme Three Steps si riferisce all’avventura che Van Zant ebbe in un biker bar, quando mentre ballava con una donna si presenta armato di pistola il marito (da cui il famoso ritornello “..won't you\Gimme three steps, gimme three steps, mister\Gimme three steps toward the door?\Gimme three steps, gimme three steps, mister\And you'll never see me no more"), brano che diviene uno dei loro cavalli di battaglia dei live. Simple Man, magica, dalla chitarra infinita, è un altro dei pilastri della loro mitologia. Things Goin’ On è quasi una canzone politica tutta dominata dall’intro pianistico di Powell. Mississippi Kid è la più blues ed è l’unica acustica, Poision Whiskey è puro rock “sudista”. Ma c’è un’ultima, leggendaria canzone: un giorno la ragazza di Collins, poi futura moglie, gli chiese “If I leave here tomorrow, would you still remember me?”: quella domanda diventerà il primo verso di una delle più grandiose, adrenaliniche e selvagge cavalcate rock, Free Bird: spesso dal vivo nei loro pirotecnici concerti navigherà oltre i 15 minuti, e verrà dedicata al grande Duane Allman, che morì in un incidente motociclistico qualche mese prima dell’uscita del disco. Free Bird è una delle più grandi canzoni del rock, e di solito chiudeva i loro show: con il tempo divenne così popolare che ai concerti di altre band o artisti veniva chiesta come bis finale, richiesta tragicamente aumentata dopo l’incidente aereo del 1977 che decimò la band, al massimo della popolarità: moriranno Ronnie Van Zant, Steve Gaines che nel 1975 aveva preso il posto di Ed King, sua sorella che faceva la corista, tutto l’equipaggio dell’aereo dove volavano, manager e altre persone; Allen Collins subì la rottura di una vertebra cervicale, sia Collins che Leon Wilkeson (rientrato dopo l’uscita del primo disco) rischiarono l'amputazione di un arto, Leon ebbe numerose lesioni interne e un polmone perforato. Gary Rossington si ruppe un piede ed un braccio, e rischiò di vedersi amputato quest'ultimo a causa di una paralisi, poi fortunatamente recuperata del tutto. Leslie Hawkins, che prese il posto di Burns alla batteria qualche mese prima, si ruppe il collo in tre punti ed ebbe il viso sfigurato da gravi lacerazioni. La tragedia li allontanerà dalle scene per dieci anni, quando nel 1987 Rossington, Powell, King e Wilkeson con il fratello minore di Van Zant, Johnny, rimettono in pista la band, con Collins impossibilitato a suonare relegato come direttore artistico. E una sera in un concerto della nativa Jacksonville, ad annunciarli sul palco ci fu una grande sorpresa: fu proprio il loro Professore Leonard Skinner a chiamarli all’ovazione del pubblico.

[1962dude420-blog]

Today we remember the passing of Gram Parsons who Died: September 19, 1973 in Joshua Tree, California

Ingram Cecil Connor III, known professionally as Gram Parsons, was an American singer, songwriter, guitarist and pianist. Parsons recorded as a solo artist and with the International Submarine Band, the Byrds and the Flying Burrito Brothers. He popularized what he called "Cosmic American Music", a hybrid of country, rhythm and blues, soul, folk, and rock.

Parsons was born in Winter Haven, Florida and developed an interest in country music while attending Harvard University. He founded the International Submarine Band in 1966, but the group disbanded prior to the 1968 release of its debut album, Safe at Home. Parsons joined The Byrds in early 1968 and played a pivotal role in the making of the seminal Sweetheart of the Rodeo album. After leaving the group in late 1968, Parsons and fellow Byrd Chris Hillman formed The Flying Burrito Brothers in 1969; the band released its debut, The Gilded Palace of Sin, the same year. The album was well received but failed commercially. After a sloppy cross-country tour, the band hastily recorded Burrito Deluxe. Parsons was fired from the band before the album's release in early 1970. Emmylou Harris assisted him on vocals for his first solo record, GP, released in 1973. Although it received enthusiastic reviews, the release failed to chart. His next album, Grievous Angel, peaked at number 195 on the Billboard chart. His health deteriorated due to several years of drug abuse and he died in 1973 at the age of 26.

Parsons's relatively short career was described by AllMusic as "enormously influential" for country and rock, "blending the two genres to the point that they became indistinguishable from each other." He has been credited with helping to found the country rock and alt-country genres. His posthumous honors include the Americana Music Association "President's Award" for 2003 and a ranking at No. 87 on Rolling Stone's list of the "100 Greatest Artists of All Time."

Before his death, Parsons stated that he wanted his body cremated at Joshua Tree and his ashes spread over Cap Rock, a prominent natural feature there; however, Parsons' stepfather Bob organized a private ceremony back in New Orleans and neglected to invite any of his friends from the music industry. Two accounts state that Bob Parsons stood to inherit Gram's share of his grandfather's estate if he could prove that Gram was a resident of Louisiana, explaining his eagerness to have him buried there.

Parsons' makeshift memorial in Joshua Tree, California To fulfill Parsons' funeral wishes, Kaufman and a friend stole his body from Los Angeles International Airport and in a borrowed hearse, they drove it to Joshua Tree. Upon reaching the Cap Rock section of the park, they attempted to cremate Parsons' body by pouring five gallons of gasoline into the open coffin and throwing a lit match inside. What resulted was an enormous fireball. The police gave chase but, as one account puts it, the men "were unencumbered by sobriety," and they escaped. Another telling indicates that the police did not "give chase", but that Kaufman and friend were arrested for (presumably?) an "open-container/motor-vehicle" violation and/or suspected DUI, and somehow escaped that arrest.

The two were arrested several days later. Since there was no law against stealing a dead body, they were only fined $750 for stealing the coffin and were not prosecuted for leaving 35 pounds (16 kg) of his charred remains in the desert. What remained of Parson's body was eventually buried in Garden of Memories Cemetery in Metairie, Louisiana.

[music]

Music Spotlight: Lillie Mae

In our latest Music Spotlight, we’re highlighting writer, singer and fiddler, Lillie Mae. She’s been on the road since childhood, singing and playing the fiddle in her family band, the Forrest Carter Family Band. She has since toured with Jack White and is fast becoming more and more recognized for her blend of pop-infused Americana, though you’ll learn below that she doesn’t like to categorize herself into one specific genre. Check it out:

For someone who’s never listened to your music before, how would you describe your music/sound to them?

Honestly, it's always been a struggle. My whole life, either in my family band or the music that I make now, I think we've been starting new genres. I think people all over the place are. There's so much music out there that people haven't named yet. Mine is pulled from influences everywhere. I have a bluegrass background, a country background, but I'm a huge jazz fan and a huge classical fan, and a big rhythm and blues fan. I might play a fiddle, but I'm super driven by the groove and the beat of this other music. I think it's hard to put a name on it - unfortunately that can box you in and people don't know what to do with that. 

What’s the message you hope people take away from Other Girls? 

I don't aim to force messages down people's throats or anything, I personally write honestly and what's true to me. If you pull something from it, that's incredible. If you get something out of my music, that's incredible. If someone feels inspired or it makes someone feel a certain way that's as much as I could ever ask for. 

Dream collaboration(s) and why? 

I mean, dream collaborations - dare I ever suggest myself good enough to collaborate with these people - Ray Charles, Billie Holiday, Waylon Jennings...but currently, Rihanna - that would be amazing. I think she's a badass. 

If you were to star in a TV show, what would it be about and what kind of character would you play?

I would be a great mascot. I could goof off and do funny shit, but no one would know who I am. I get super shy in front of the camera, but I can be very animated in costume. 

Who and/or what influences your overall aesthetic - from your music to your style to your fashion sense?

Probably my sister Scarlett! But I've always loved fashion, and have been influenced by the classics, like Audrey Hepburn, Edie Sedgwick. I really dig eclectic shit, and other cultures that aren't afraid of color. 

Want to hear more from Lillie Mae? Yeah, we know you do. Swing on over here to listen to her new music.

[kingofthewilderwest]

"#just because you have a bias about certain socioeconomic groups which tend to listen to country doesn't mean" // Yup. I tend to side-eye folks who are like "I like all kinds of music except country and [Insert a genre of music usually associated with Black creators like rap and hip hop]" You're not slick, ppl. I know what you're saying.

^^^^^^^^^ You hit the nail on the head.

It’s racial bias. It’s socioeconomic bias. It’s bias against people groups who have less respect and say in society.

From my tags on this post:

#don’t get me started on a long rant of the progressive side of country music and what’s been progressive FOR DECADES#from times near its BEGINNInGS#through the modern age#just because you have a bias about certain socioeconomic groups which tend to listen to country doesn’t mean#that that’s actually what the genre is or who the artists are#I could go for a LONNNNG time about this#a LONG time#some of the best protest songs I know of today’s current political situation#are country#or have like ya’ll forgotten about the folk revival#of the 1960s#or…#gahghfnfddhgnghfngh#I AM GAY AND I LISTEN TO COUNTRY#NYEH!!!!

Now. I understand disinterest in a genre because it’s not your aesthetic, but when people express their feelings for country, R&B, hip-hop, etc. …the dialogue isn’t casual “It’s not my thing.” The dialogue is a hateful, passionate retaliation.

Other genres aren’t treated like this. It’s normalized and encouraged to hate on country and rap. These genres are systematically treated with less respect and that disrespect culturally arose because these genres are associated with less-respected demographics. 

(Country music is associated with people of low socioeconomic status, for people who aren’t explicitly aware.)

Anecdotally: I’ve caught something interesting about anti-country music sentiment. Many people tell me they can’t stand the “twang.” Half the time, I’ve noticed that their internalized definition of “twang” isn’t the vocal technique; it’s that they can’t stand the presence of a Southern accent. And hooboy does that have TONS of sociocultural bias issues. As a linguist, I’ve read endless sociolinguistic studies about how Southern dialects are treated as “lesser,” and how speakers of the dialect are automatically judged to be less intelligent, etc. It’s not good, folks.

Sometimes, to help friends get out of their anti-country mindset, I’ve “tricked” them into liking country. See, genres like bluegrass grew closely out of Scots-Irish folk music. Often, we’re playing the same tunes on both sides of the Atlantic. So I play a few instrumentals, my friend goes, “Oh! I love Celtic music

The biases against those demographics color how people view the music. There’s endless things that can be said about hip-hop bias, holy shit. I won’t focus on that today because I don’t believe I am qualified to be a spokesman. Someone who understands that genre better, and other genres associated with the African-American community, and is African-American, would be a better human to listen to than me. I defer to their knowledge and experience. It’s hella important to understand what bias has been reflected against those genres.

But there’s just as much bias against country music, against another demographic. And I’ve found it wild how it gets treated on places like tumblr, which wants to stand up for underprivileged groups, but somewhat inaccurately associates country music as “anti-gay conservative evil white person music” rather than music of people historically of lower socioeconomic status.

Yes, some of the demographic that listens to country music or plays country music are bad apples. But like… thinking the music is JUST THAT is a huge disservice to what country actually is and who the music artists actually are.

The history of country music is one giant collaborative melting pot of people from many different cultural backgrounds. Broad West African influence. Mexican influence. Italian influence. German influence. Scots-Irish influence. Cherokee influence. More. Early record labels like OKEH foolishly separated “hillbilly music” (presumably white folk music) from “rhythm and blues” (presumably Black folk music) without understanding the constant racial, demographic, regional, and cultural cross-pollination that occurred between the musicians from country music’s origins. And while there ARE certain issues in country music’s past and present, and we can’t let those issues go forgotten, that’s far from the whole story. We shouldn’t romanticize issues, but we should acknowledge that this music genre has given us major strides too.

Country music is the banjo, brought from Africa, combined with the mandolin, brought from Italy, combined with the fiddle, brought from Ireland, combined with the guitar and the dobro and the accordion and the upright bass and the electric guitar and the electric bass and whatever instruments you want to put in there.

Country music is African-American musicians like DeFord Bailey, the first radio star ever introduced on the Grand Ole Opry (THE most revered country music hub out there), blues harmonica performer, playing to crowds decades before segregation was de-legalized. He toured with white Opry musicians who treated him as one of their own. It’s soul music genre pioneer Ray Charles producing a studio album entirely dedicated to country music hits like “Hey Good Lookin’” from Hank Williams. It’s country star Charley Pride, who despite the racism against him in the 1960s rose to fame and made audiences fall in love with his beautiful voice. It’s the African-American musicians who inspired many commercial country stars, like Arnold Shultz influencing Bill Monroe and the railroad workers inspiring Jimmie Rodgers.

Country music is stars like Johnny Rodriguez and Rick Treviño, singing country music in Spanish, and using obvious Latin flavors in the genre.

Country music is filled with badass women like the ladies who STARTED THE GENRE ROLLING IN THE FIRST PLACE, Sara Carter and Mother Maybelle Carter (whose guitar style is hugely influential to this day) and Maybelle’s daughters Helen, June, and Anita; the first female music manager in the music industry, Louise Scruggs; songwriters like Felice Bryant and Loretta Lynn; the most awarded female artist in Grammy history Alison Krauss; and powerhouses like Dolly Parton who stepped out of an over-controlling entertainer’s shadow to become a badass in all things like supporting the LGBTQ community, contributing to pro-transgender films ahead of their time, and starring in sex worker positive productions like “The Best Little Whorehouse in Texas.”

Country music is filled with activism. Johnny Cash showed a heart for those forgotten by society. He toured many times in prisons. Cash especially was an activist for Native American rights. He toured with Native American songwriters so audiences could hear their own words (I’ve been trying to find names but I’m having difficulties re-finding that information, so my apologies for not giving names of those who deserve to be mentioned). Cash released albums dedicated to exposing past and present injustices against the Native American people. He went on tours specifically to Native American reservations. 

And it’s not just Johnny Cash!

Country music is many stars from the Grand Ole Opry banding together to release AIDS benefit albums - big names like Alison Krauss, Willie Nelson, Marty Stuart, aurgh I’m too lazy to write them all, PEOPLE.

Country music is Earl Scruggs and his sons playing at the Vietnam War Protests.

Country music is tied in with the fucking folk revival of the 1960s, which was deep in left-wing activism and the Civil Rights Movement. Folk singers sang traditional Appalachian and English ballads alongside their own compositions, topical pieces protesting the current political situation. You can call one artist “folk” or “Americana” and another one “country,” but the influences were intermingling, and it’s why we have Bob Dylan and Woody Guthrie and Joan Baez and John Denver and Pete Seeger owning a banjo that says, “This machine surrounds hate and forces it to surrender.”

Dammit, I have a full BOOK that discusses country music and political ties. 

There’s another book out there, which I haven’t read, that discusses the relationship between country music and the queer community, and how bias against country music is NOT as reflective of the listening demographic as we stereotype. I’ll take the word of one reviewer who said:

[Nadine Hubbs] explores country music lyrics, presenting a great deal of evidence suggesting that working class America is not inherently homophobic, but that as middle class cultural taste has changed to include formal acceptance of homosexuality, this process has included pinning homophobic ideas on the working class.

Country music is lyrics like this 1975 controversial song “The Pill”:

You wined me and dined meWhen I was your girlPromised if I’d be your wifeYou’d show me the worldBut all I’ve seen of this old worldIs a bed and a doctor billI’m tearing down your brooder house‘Cause now I’ve got the pillAll these years I’ve stayed at homeWhile you had all your funAnd every year that’s gone byAnother baby’s comeThere’s a-gonna be some changes madeRight here on nursery hillYou’ve set this chicken your last time‘Cause now I’ve got the pill

Country music is lyrics like this 2013 song that feels as relevant than ever:

If crooks are in charge, should we let them pick our pockets?If we don’t want trouble, should we not try to stop it?We could just sink into the quicksand slavery we’re born inBut fighting endless wars for greedy liars is getting pretty boringThey think they got us trained, so we’ll think we’re living freeIf we got time and money for junk food and TVBut it’s plain honest people never stand a chance of winning electionsThey just let us pick which liars take our rights away for our own protectionThe corporate propaganda paralyzes us with fearDestroying our ability to trustFear keeps us fighting with each other over scrapsStarving to death in the dustOrganized religion really helps you submitBut the meek are inheriting the short end of the stickFear surrounds compassion like a layer of moldAnd weakens our defenses so we’re too weak to be boldLife could be heaven, but this corrupted systemTakes away our rights, expects us not to miss themThe middle class is shrinking while the lower class growsIf we don’t wake up soon, we’ll have no class left to lose

Country music is Christians themselves criticizing the hypocritical Evangelical culture in the USA for the bullshit hatefulness stewing inside it:

Every house has got a Bible and a loaded gunWe got preachers and politicians‘Round here it’s kinda hard to tell which oneIs gonna do more talkin’ with a crooked tongue

And as that one post I just reblogged shows, there’s MANY queer country musicians out there producing explicitly pro-LGBTQ+ music.

I’m brushing over so much. I’m sorry for the simplification that goes with me doing such a pass-by overview. I’m sorry I’m focusing more on history than the present (I know more about the 1920s-1960s eras, so I’m talking from my strong suit). I hope the information is at least strong enough to get my point across.

There are definitely listeners and artists in country music who are uber-conservative white hateful Christians. Yes. I know why country music gets associated with that. But.

Country music is not ABOUT this uber-conservative white hateful Christian side. The genre is not “polluted”. It is a thousand voices from a thousand perspectives of people from many backgrounds and beliefs. And many of those thousand voices are old traditional songs that came from Black communities, or were composed by Mexican-Americans, or were performed by folk artists as part of a protest for equal rights. 

(Note: I’m *NOT* saying all Christians are bad or that different political angles don’t have merits. I’m Christian myself! And you don’t know my political party. I’m just trying to get the point across that country music isn’t ENTRENCHED in one questionable demographic.)

You don’t have to like country music. It doesn’t have to be your aesthetic. But if you find it fun to get in on society’s popular country hate roasting… please rethink this. The reason country music has been hated from its roots is because it’s associated with the socioeconomically disadvantaged.

I’m with you 100%, Ashley. When someone says they like all genres “except country music and rap,” I get a little leery. I used to be one of those people when I was younger. I had to learn to grow past those biases. But once I did, I realized there was so much I was hating on that I didn’t understand. Now, I hope I can help people overcome their own biases, such as ones they don’t realize they’ve had - for things like music.

Hi ya’lls. I’m queer and I love country.

P.S. If anyone has anything to add or correct, please feel free to add on! I’m doing my best but I do not know everything and would be happy to learn more, too!

[blackkudos]

Taj Mahal

Henry Saint Clair Fredericks (born May 17, 1942), who uses the stage name Taj Mahal, is an American blues musician, a singer-songwriter and film composer who plays the guitar, piano, banjo, harmonica, and many other instruments. He often incorporates elements of world music into his works and has done much to reshape the definition and scope of blues music over the course of his more than 50-year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa, and the South Pacific.

Early life

Born Henry Saint Clair Fredericks, Jr. on May 17, 1942, in Harlem, New York, Mahal grew up in Springfield, Massachusetts. He was raised in a musical environment; his mother was a member of a local gospel choir and his father was an Afro-Caribbean jazz arranger and piano player. His family owned a shortwave radio which received music broadcasts from around the world, exposing him at an early age to world music. Early in childhood he recognized the stark differences between the popular music of his day and the music that was played in his home. He also became interested in jazz, enjoying the works of musicians such as Charles Mingus, Thelonious Monk and Milt Jackson. His parents came of age during the Harlem Renaissance, instilling in their son a sense of pride in his Caribbean and African ancestry through their stories.

Because his father was a musician, his house was frequently the host of other musicians from the Caribbean, Africa, and the U.S. His father, Henry Saint Clair Fredericks Sr., was called "The Genius" by Ella Fitzgerald before starting his family. Early on, Henry Jr. developed an interest in African music, which he studied assiduously as a young man. His parents also encouraged him to pursue music, starting him out with classical piano lessons. He also studied the clarinet, trombone and harmonica. When Mahal was eleven his father was killed in an accident at his own construction company, crushed by a tractor when it flipped over. This was an extremely traumatic experience for the boy.

Mahal's mother later remarried. His stepfather owned a guitar which Taj began using at age 13 or 14, receiving his first lessons from a new neighbor from North Carolina of his own age who played acoustic blues guitar. His name was Lynwood Perry, the nephew of the famous bluesman Arthur "Big Boy" Crudup. In high school Mahal sang in a doo-wop group.

For some time Mahal thought of pursuing farming over music. He had developed a passion for farming that nearly rivaled his love of music—coming to work on a farm first at age 16. It was a dairy farm in Palmer, Massachusetts, not far from Springfield. By age nineteen he had become farm foreman, getting up a bit after 4:00 a.m. and running the place. "I milked anywhere between thirty-five and seventy cows a day. I clipped udders. I grew corn. I grew Tennessee redtop clover. Alfalfa." Mahal believes in growing one's own food, saying, "You have a whole generation of kids who think everything comes out of a box and a can, and they don't know you can grow most of your food." Because of his personal support of the family farm, Mahal regularly performs at Farm Aid concerts.

Taj Mahal, his stage name, came to him in dreams about Gandhi, India, and social tolerance. He started using it in 1959 or 1961—around the same time he began attending the University of Massachusetts. Despite having attended a vocational agriculture school, becoming a member of the National FFA Organization, and majoring in animal husbandry and minoring in veterinary science and agronomy, Mahal decided to take the route of music instead of farming. In college he led a rhythm and blues band called Taj Mahal & The Elektras and, before heading for the U.S. West Coast, he was also part of a duo with Jessie Lee Kincaid.

Career

In 1964 he moved to Santa Monica, California, and formed Rising Sons with fellow blues rock musician Ry Cooder and Jessie Lee Kincaid, landing a record deal with Columbia Records soon after. The group was one of the first interracial bands of the period, which likely made them commercially unviable. An album was never released (though a single was) and the band soon broke up, though Legacy Records did release The Rising Sons Featuring Taj Mahal and Ry Cooder in 1992 with material from that period. During this time Mahal was working with others, musicians like Howlin' Wolf, Buddy Guy, Lightnin' Hopkins, and Muddy Waters. Mahal stayed with Columbia after the Rising Sons to begin his solo career, releasing the self-titled Taj Mahal and The Natch'l Blues in 1968, and Giant Step/De Old Folks at Home with Kiowa session musician Jesse Ed Davis from Oklahoma, who played guitar and piano in 1969. During this time he and Cooder worked with the Rolling Stones, with whom he has performed at various times throughout his career. In 1968, he performed in the film The Rolling Stones Rock and Roll Circus. He recorded a total of twelve albums for Columbia from the late 1960s into the 1970s. His work of the 1970s was especially important, in that his releases began incorporating West Indian and Caribbean music, jazz and reggae into the mix. In 1972, he acted in and wrote the film score for the movie Sounder, which starred Cicely Tyson. He reprised his role and returned as composer in the sequel, Part 2, Sounder.

In 1976 Mahal left Columbia and signed with Warner Bros. Records, recording three albums for them. One of these was another film score for 1977's Brothers; the album shares the same name. After his time with Warner Bros., he struggled to find another record contract, this being the era of heavy metal and disco music.

Stalled in his career, he decided to move to Kauai, Hawaii in 1981 and soon formed the Hula Blues Band. Originally just a group of guys getting together for fishing and a good time, the band soon began performing regularly and touring. He remained somewhat concealed from most eyes while working out of Hawaii throughout most of the 1980s before recording Taj in 1988 for Gramavision. This started a comeback of sorts for him, recording both for Gramavision and Hannibal Records during this time.

In the 1990s Mahal became deeply involved in supporting the nonprofit Music Maker Relief Foundation. As of 2019, he was still on the Foundation's advisory board.

In the 1990s he was on the Private Music label, releasing albums full of blues, pop, R&B and rock. He did collaborative works both with Eric Clapton and Etta James.

In 1998, in collaboration with renowned songwriter David Forman, producer Rick Chertoff and musicians Cyndi Lauper, Willie Nile, Joan Osborne, Rob Hyman, Garth Hudson and Levon Helm of the Band, and the Chieftains, he performed on the Americana album Largo based on the music of Antonín Dvořák.

In 1997 he won Best Contemporary Blues Album for Señor Blues at the Grammy Awards, followed by another Grammy for Shoutin' in Key in 2000. He performed the theme song to the children's television show Peep and the Big Wide World, which began broadcast in 2004.

In 2002, Mahal appeared on the Red Hot Organization's compilation album Red Hot and Riot in tribute to Nigerian afrobeat musician Fela Kuti. The Paul Heck produced album was widely acclaimed, and all proceeds from the record were donated to AIDS charities.

Taj Mahal contributed to Olmecha Supreme's 2006 album 'hedfoneresonance'. The Wellington-based group led by Mahal's son Imon Starr (Ahmen Mahal) also featured Deva Mahal on vocals.

Mahal partnered up with Keb' Mo' to release a joint album TajMo on May 5, 2017. The album has some guest appearances by Bonnie Raitt, Joe Walsh, Sheila E., and Lizz Wright, and has six original compositions and five covers, from artists and bands like John Mayer and The Who.

In 2013, Mahal appeared in the documentary film 'The Byrd Who Flew Alone', produced by Four Suns Productions. The film was about Gene Clark, one of the original Byrds, who was a friend of Mahal for many years.

In June 2017, Mahal appeared in the award-winning documentary film The American Epic Sessions, directed by Bernard MacMahon, recording Charley Patton's "High Water Everywhere" on the first electrical sound recording system from the 1920s. Mahal appeared throughout the accompanying documentary series American Epic, commenting on the 1920s rural recording artists who had a profound influence on American music and on him personally.

Musical style

Mahal leads with his thumb and middle finger when fingerpicking, rather than with his index finger as the majority of guitar players do. "I play with a flatpick," he says, "when I do a lot of blues leads." Early in his musical career Mahal studied the various styles of his favorite blues singers, including musicians like Jimmy Reed, Son House, Sleepy John Estes, Big Mama Thornton, Howlin' Wolf, Mississippi John Hurt, and Sonny Terry. He describes his hanging out at clubs like Club 47 in Massachusetts and Ash Grove in Los Angeles as "basic building blocks in the development of his music." Considered to be a scholar of blues music, his studies of ethnomusicology at the University of Massachusetts Amherst would come to introduce him further to the folk music of the Caribbean and West Africa. Over time he incorporated more and more African roots music into his musical palette, embracing elements of reggae, calypso, jazz, zydeco, R&B, gospel music, and the country blues—each of which having "served as the foundation of his unique sound." According to The Rough Guide to Rock, "It has been said that Taj Mahal was one of the first major artists, if not the very first one, to pursue the possibilities of world music. Even the blues he was playing in the early 70s – Recycling The Blues & Other Related Stuff (1972), Mo' Roots (1974) – showed an aptitude for spicing the mix with flavours that always kept him a yard or so distant from being an out-and-out blues performer." Concerning his voice, author David Evans writes that Mahal has "an extraordinary voice that ranges from gruff and gritty to smooth and sultry."

Taj Mahal believes that his 1999 album Kulanjan, which features him playing with the kora master of Mali's Griot tradition Toumani Diabate, "embodies his musical and cultural spirit arriving full circle." To him it was an experience that allowed him to reconnect with his African heritage, striking him with a sense of coming home. He even changed his name to Dadi Kouyate, the first jali name, to drive this point home. Speaking of the experience and demonstrating the breadth of his eclecticism, he has said:

The microphones are listening in on a conversation between a 350-year-old orphan and its long-lost birth parents. I've got so much other music to play. But the point is that after recording with these Africans, basically if I don't play guitar for the rest of my life, that's fine with me....With Kulanjan, I think that Afro-Americans have the opportunity to not only see the instruments and the musicians, but they also see more about their culture and recognize the faces, the walks, the hands, the voices, and the sounds that are not the blues. Afro-American audiences had their eyes really opened for the first time. This was exciting for them to make this connection and pay a little more attention to this music than before.

Taj Mahal has said he prefers to do outdoor performances, saying: "The music was designed for people to move, and it's a bit difficult after a while to have people sitting like they're watching television. That's why I like to play outdoor festivals-because people will just dance. Theatre audiences need to ask themselves: 'What the hell is going on? We're asking these musicians to come and perform and then we sit there and draw all the energy out of the air.' That's why after a while I need a rest. It's too much of a drain. Often I don't allow that. I just play to the goddess of music-and I know she's dancing."

Mahal has been quoted as saying, "Eighty-one percent of the kids listening to rap were not black kids. Once there was a tremendous amount of money involved in it ... they totally moved it over to a material side. It just went off to a terrible direction. ...You can listen to my music from front to back, and you don't ever hear me moaning and crying about how bad you done treated me. I think that style of blues and that type of tone was something that happened as a result of many white people feeling very, very guilty about what went down."

Awards

Taj Mahal has received three Grammy Awards (ten nominations) over his career.

1997 (Grammy Award) Best Contemporary Blues Album for Señor Blues

2000 (Grammy Award) Best Contemporary Blues Album for Shoutin' in Key

2006 (Blues Music Awards) Historical Album of the Year for The Essential Taj Mahal

2008 (Grammy Nomination) Best Contemporary Blues Album for Maestro

2018 (Grammy Award) Best Contemporary Blues Album for TajMo

On February 8, 2006 Taj Mahal was designated the official Blues Artist of the Commonwealth of Massachusetts.

In March 2006, Taj Mahal, along with his sister, the late Carole Fredericks, received the Foreign Language Advocacy Award from the Northeast Conference on the Teaching of Foreign Languages in recognition of their commitment to shine a spotlight on the vast potential of music to foster genuine intercultural communication.

On May 22, 2011, Taj Mahal received an honorary Doctor of Humanities degree from Wofford College in Spartanburg, South Carolina. He also made brief remarks and performed three songs. A video of the performance can be found online.

In 2014, Taj Mahal received the Americana Music Association's Lifetime Achievement award.

Discography

Albums

1968 – Taj Mahal

1968 – The Natch'l Blues

1969 – Giant Step/De Ole Folks at Home

1971 – Happy Just to Be Like I Am

1972 – Recycling The Blues & Other Related Stuff

1972 – Sounder (original soundtrack)

1973 – Oooh So Good 'n Blues

1974 – Mo' Roots

1975 – Music Keeps Me Together

1976 – Satisfied 'n Tickled Too

1976 – Music Fuh Ya'

1977 – Brothers

1977 – Evolution

1987 – Taj

1988 – Shake Sugaree

1991 – Mule Bone

1991 – Like Never Before

1993 – Dancing the Blues

1995 – Mumtaz Mahal (with V.M. Bhatt and N. Ravikiran)

1996 – Phantom Blues

1997 – Señor Blues

1998 – Sacred Island AKA Hula Blues (with The Hula Blues Band)

1999 – Blue Light Boogie

1999 – Kulanjan (with Toumani Diabaté)

2001 – Hanapepe Dream (with The Hula Blues Band)

2005 – Mkutano Meets the Culture Musical Club of Zanzibar

2008 – Maestro

2014 – Talkin' Christmas (with Blind Boys of Alabama)

2016 – Labor of Love

2017 – TajMo (with Keb' Mo')

Live albums

1971 – The Real Thing

1972 – Recycling The Blues & Other Related Stuff

1972 – Big Sur Festival - One Hand Clapping

1979 – Live & Direct

1990 – Live at Ronnie Scott's

1996 – An Evening of Acoustic Music

2000 – Shoutin' in Key

2004 – Live Catch

2015 – Taj Mahal & The Hula Blues Band: Live From Kauai

Compilation albums

1980 – Going Home

1981 – The Best of Taj Mahal, Volume 1 (Columbia)

1992 – Taj's Blues

1993 – World Music

1998 – In Progress & In Motion: 1965-1998

1999 – Blue Light Boogie

2000 – The Best of Taj Mahal

2000 – The Best of the Private Years

2001 – Sing a Happy Song: The Warner Bros. Recordings

2003 – Martin Scorsese Presents the Blues – Taj Mahal

2003 – Blues with a Feeling: The Very Best of Taj Mahal

2005 – The Essential Taj Mahal

2012 – Hidden Treasures of Taj Mahal

Various artists featuring Taj Mahal

1968 – The Rolling Stones Rock and Roll Circus

1968 – The Rock Machine Turns You On

1970 – Fill Your Head With Rock

1985 – Conjure: Music for the Texts of Ishmael Reed

1990 – The Hot Spot – original soundtrack

1991 – Vol Pour Sidney – one title only, other tracks by Charlie Watts, Elvin Jones, Pepsi, The Lonely Bears, Lee Konitz and others.

1992 – Rising Sons Featuring Taj Mahal and Ry Cooder

1992 – Smilin' Island of Song by Cedella Marley Booker and Taj Mahal.

1993 – The Source by Ali Farka Touré (World Circuit WCD030; Hannibal 1375)

1993 – Peace Is the World Smiling

1997 – Follow the Drinking Gourd

1997 – Shakin' a Tailfeather

1998 – Scrapple – original soundtrack

1998 – Largo

1999 – Hippity Hop

2001 – "Strut" – with Jimmy Smith on his album Dot Com Blues

2002 – Jools Holland's Big Band Rhythm & Blues (Rhino) – contributing his version of "Outskirts of Town"

2002 – Will The Circle Be Unbroken, Volume III – Lead vocals on Fishin' Blues, and lead in and first verse of the title track, with Nitty Gritty Dirt Band, Alison Krauss, Doc Watson

2004 – Musicmakers with Taj Mahal (Music Maker 49)

2004 – Etta Baker with Taj Mahal (Music Maker 50)

2007 – Goin' Home: A Tribute to Fats Domino (Vanguard) – contributing his version of "My Girl Josephine"

2007 – Le Cœur d'un homme by Johnny Hallyday – duet on "T'Aimer si mal", written by French best-selling novelist Marc Levy

2009 – American Horizon – with Los Cenzontles, David Hidalgo

2011 – Play The Blues Live From Lincoln Jazz Center – with Wynton Marsalis and Eric Clapton, playing on "Just a Closer Walk With Thee" and "Corrine, Corrina"

2013 – "Poye 2" – with Bassekou Kouyate and Ngoni Ba on their album Jama Ko

2013 – "Winding Down" – with Sammy Hagar, Dave Zirbel, John Cuniberti, Mona Gnader, Vic Johnson on the album Sammy Hagar & Friends

2013 – Divided & United: The Songs of the Civil War – with a version of "Down by the Riverside"

2015 – "How Can a Poor Boy?" – with Van Morrison on his album Re-working the Catalogue

2017 – Music from The American Epic Sessions: Original Motion Picture Soundtrack – contributing his version of "High Water Everywhere"

Filmography

Live DVDs

2002 – Live at Ronnie Scott's 1988

2006 – Taj Mahal/Phantom Blues Band Live at St. Lucia

2011 – Play The Blues Live From Lincoln Jazz Center – with Wynton Marsalis and Eric Clapton, playing on "Just a Closer Walk With Thee" and "Corrine, Corrina"

Movies

1972 – Sounder – as Ike

1977 – Brothers

1991 – Bill & Ted's Bogus Journey

1996 – The Rolling Stones Rock and Roll Circus

1998 – Outside Ozona

1998 – Six Days, Seven Nights

1998 – Blues Brothers 2000

1998 – Scrapple

2000 – Songcatcher

2002 – Divine Secrets of the Ya-Ya Sisterhood

2017 – American Epic

2017 – The American Epic Sessions

TV Shows

1977 - Saturday Night Live: Episode 048 Performer: Musical Guest

1985 - Theme song from Star Wars: Ewoks

1992 – New WKRP in Cincinnati – Moss Dies as himself

1999 – Party of Five – Fillmore Street as himself

2003 – Arthur – Big Horns George as himself

2004 – Theme song from Peep and the Big Wide World

[hlupdate]

From the dawn of his post-One Direction career, Harry Styles has exhibited quality taste in opening acts: His 2017 Live on Tour shows brought along Kacey Musgraves, Leon Bridges and Warpaint in various parts of the world.

That tradition extended to the recent announcement of his Love on Tour shows: Opening on all of Styles’ American tour dates next year will be Jenny Lewis, fresh off of the acclaim for this year’s On the Line.

“I’m so excited about it,” Lewis says from her current home base in Nashville. “I feel there’s so much wonderful good will toward Harry, and I’m super thrilled he asked me to join him. 2020, man.”

One would assume the two had spoken about it or were friends, but exactly how Lewis came to land this prime gig remains something of a mystery — even to Lewis herself. “We don’t know each other — I’ve never met him,” Lewis says. “I think he really likes On the Line.”

Does she know for a fact that he’s heard her album? “No, but I guess I’ll find out,” she says. “I have no idea!” (Styles was not available for comment at press time.)

Starting with her days in Rilo Kiley, Lewis has long been a compelling presence in the world of alternative Americana. It’s easy to imagine why Styles, who has one foot in modern times and another in roughly 1975, would take to On the Line. Lewis’ first album in five years was a bracing reminder of her skills: songs about romantic turmoil, sung in a voice that can sound both teary and determined, all set to tracks that recall pre-dance pop yet never sound retro.

Then again, maybe it has something to do with their similar album titles — his Fine Line and her On the Line. “Or similar color palettes,” Lewis says. “I think we’re both leaning into blue and pink.”

For someone who’s been relatively quiet the last few years (she briefly fronted a New York-based band, Nice as Fuck), Lewis will be having a high-profile 2020. In January, she’ll be heard on Let the Rhythm Lead: Haitian Song Summit Vol. 1, a collaborative album recorded in that country in 2016 and featuring contributions from Lewis, Jackson Browne, and the Head and the Heart’s Jonathan Russell along with local and international musicians. Lewis sings lead on one track, “Under the Supermoon,” about her trip to the often troubled Haiti, and contributed backing vocals and keyboards to other tracks.

But clearly Lewis’ stint with Styles — starting in June and wrapping up in September — will be taking precedence. “It’s an amazing opportunity,” she says. “I keep thinking of the thousands of little girls and young men and parents of those kids, and just being in a room with people hearing my songs I’ve been writing for so long. What an incredible opportunity. It’s cool opening for Pavement, which I’ve done, but that’s a whole other scene.”

Lewis says she hasn’t yet started prepping for it. “Oh, is it in six months?” she says. “I only work one or two days in advance.”

[heilewelt]

2020 started. Here are a few things I look forward to

Let’s focus on the positive. Nathaniel Rateliff has released a new song today! The title track to his upcoming album “And It’s Still Alright” which will be released on the 14th of February. I can’t wait. It sound more like the “old” Nathaniel, less funk, more Americana and Folk which leaves more room for the gloomy emotions.  In this song Nathaniel is dealing with the loss of his best friend and producers Richard Swift without being utterly sad. There is hope left.

Another highly emotional thing I look forward to is listening to Caspian’s new album “On Circles” for the first time on the 24th of January. Full range of emotions. I love emotions. I love Caspian. I don’t quite know what to expect  but since the first release “Flowers of Light” has an joyous element to it, it won’t too sad.

Hellas Filmbox (15.- 19. January) is the only film festival I attend regularly. It’s the Greek film festival in Berlin. Always wild, out of the ordinary and lots of food for thought. This years motto is “Feminine, sunny & blue”. Feminine like the whole festival including movies and the team behind the scenes, blue like the Greek ocean and sunny like the Greek sun which is also represented in this years poster. The opening movie “Winona” by The Boy combines all these things, except a woman named Winona but therefore some women hanging around the beach. I don’t know more yet. I look forward to it although I still quite haven’t understood the last film I saw from The Boy. Oh, and he will also play some songs live during the opening on the 14th of January. Apart from that I always, always recommend to surprise yourself. Watch some shorts.

AmericanaFest UK is my first music festival of the year. It will take place in Hackney, London, from the 28th-29th of January and an award show on the 30th. I love this festival because it not only shows the many different sides of Americana and Folk music but it takes places in many little venues, all in walking distance. During the day you can take part in the conference or just the showcase festival. I’ll get more into detail what to see in a couple of days.

And now for some tours I look forward to:

Sunset Sons – yep, I still love this band. And they’re finally coming back to Berlin….and other European countries. It will be fun and I hope they play “Alien” live, so I can sing along at the top of my lungs.

15.01. Amsterdam 16.01. Paris 18.01. Zürich 20.01. Stuttgart 21.01. Köln 22.01. Berlin

Jo Quail is one of a kind. When you see her for the first time, I promise you won’t look at a cello in the same way after she played. I remember how fascinated I was by the soundscapes she creates with her electric cello and some loops. So much experimental joy. I’m happy to see her again after many years of waiting.

19.04. Köln, Helios 37

20.04. Hamburg, Nochtwache

21.04. Berlin, Musik & Frieden

02.05. München, Feierwerk

 Ok, the gig of The Slow Show in Berlin is sold out, like half of the dates of their stripped down tour and I just can’t wait. I still have to wait until March but it’ll be worth the wait. If you have the chance to travel to one of their gigs, do so. Trust me.

Last but not least is the Tour of Tours – a collective of musicians who bring you nothing but joy and laughter and love when they are together on stage, celebrating friendship. I still get goosebumps when I hear their “Song of Songs”. Every cell in my body is vibrating for excitement, my hands want to clap in rhythm. My grin gets bigger and bigger with every word – and that just happens when I watch the official live video on youtube! Just imagine how it’s when they playing live!

05.02. Essen, Zeche Carl

06.02. Köln, Gebäude 9

07.02. Osnabrück, Kleine Freiheit

08.02. Erfurt, FRANZ MEHLHOSE

09.02. Frankfurt, Brotfabrik

11.02. München, Muffatwerk Ampere

12.02. Hamburg, Uebel und Gefährlich

13.02. Berlin, Lido

14.02. Langenberg KGB - Kultur.Güter.Bahnhof

15.02. Hannover, Indiego Glocksee

 OK, one more. Lilabungalow are back. Never completely away but they have new songs and a new show. Sort of. It’s their music, animation and whatnot in the Theater Erfurt. It’s called “Blindland//Lichten”. I don’t quite know but I love it when bands are using a different path than usual one. Unfortunately I can’t attend despite I’d love to. It’s 17th/18th of January. However, I just hope from the deepest part of my heart that they’ll repeat this performance either in Berlin or at least later this year again. I’m willing to travel for this.

I’m glad I wrote this little outlook. It’s a good reminder, I was already going down the wrong lane. But yes, 2020 will be a good music year.

Have a good week,

Dörte

P.S. Have you checked out Reuben And The Dark x AG’s new track “Hold Your Head High”, yet? It was released just yesterday. My hymn. 

[dherzogblog]

songs/19

“I listen so you don't have to”

Hey everyone, we’re back! enjoy some music and musings from the last year

Make sure to click on there bold type for music links and extras!

Lizzo- Juice Lizzo burst into 2019 with a hit song, huge album and wildly successful tour. The “pudding in the proof “. Easily the catchiest tune of the year with an irresistible Bruno Mars 80′s funk vibe, She has the kind of star power and charisma that makes her appealing to just about everyone, including your aunt, who no doubt will be grooving to this on bar mitzvah dance floors for years to come. Blame it on her juice.

Jen Awad- Hungover

Big voiced, post Amy Winehouse soul singer blames it on the juice too. Maybe she was with Lizzo the night before?

Charley Crockett- How Low Can You Go?

Multi ethnic Americana singer/songwriter delivers one of my favorite albums of the year where he effortlessly moves from country to blues to soul. He also recorded one of my favorite country covers of the year (see bottom of this blog for more info on that). His girl is breaking his heart (blame it on the juice again?) on this R&B styled song from a non album single.

Durand Jones and The Indications-  Circles

More sweet 70′s soul, quiet storm style. The swirling strings and Delfonics harmonies would sound perfect coming out of the 8 Track player in your Pinto.

Dr.John- Such A Night (1941-2019)

A true music renaissance man. Starting as a teen in the studios of New Orleans, he learned his trade at the feet of the masters, playing R&B, jazz, and blues with equal skill and feel. The good doctor, (AKA Mac Rebbenack) went on to become an unlikely rock star in the early 70′s with his psychedelic and voodoo inspired Night Tripper alter ego. His long career found him playing several roles along the way, session man, producer, and The Big Easy’s unofficial funk ambassador. I picked this live version of the song because: A. He’s backed beautifully by The Band, B. It’s one of my favorite performances from The Last Waltz, and C. The live setting let’s you hear him stretch out a bit on the keyboards. I watched him perform many times, headlining or sitting in with others at Jazz Fest. No matter what the setting, he always fit right in and found the groove. Piano man, sideman, shaman, there was only one Dr.John.

Van Morrison - Early Days

Like Dr. John, Van’s been around long enough to recall the birth of rock and roll. Throughout his career he never stopped paying tribute to his roots and those who inspired him. You can hear it in his musical references, cover tunes and name checks. At The Hollywood Bowl in October I got to see an unusually joyous performance as he wistfully traced a lifetime of musical influences across R&B, jazz and blues. His latest release is an unabashed love letter to those good old days, three chords and the truth.

Spiral Stairs- Fingerprintz

Scott Kannberg is one of the co-founders of Indie rock legends Pavement. But truth is I never took much of an interest in them. I happened to read about his solo project where he mentioned listening to a lot of  Van Morrison and Nick Lowe while recording. That seemed like a  good enough reason for me to check it out. There are familiar ‘fingerprints” on this one, as you can definitely hear him channeling Van.

Vampire Weekend- This Life

Hardly anyone is ambivalent about Vampire Weekend. Their preppy east coast look, and sleeve wearing, dad rock influences make them polarizing at best. Doesn’t matter to me, I like their catchy hooks, bone dry lyrics, caribbean rhythms, and ringing guitars.This is easily the sunniest song about cheating I ever heard.

The English Beat- Whine and Grind/Stand Down Margaret Ranking Roger (1953-2019)

in January of 1980 England was in the grips of 2 Tone mania, the pop music movement that came dancehall crashing out of the UK Midlands, and for a brief black and white checkered moment, dominated the British charts. At the center of the scene were The Specials whose founder Jerry Dammers launched the 2 Tone label and created the blueprint for it’s sound, inspired by the Jamaican music he heard as a kid. These bands (including The Selecter and Madness), combined ska, reggae and punk that launched a brief music and fashion movement. They dressed in a mod black and white style making the look nearly as important as their sound. For most of these bi-racial bands, the goal was to make you dance AND think, with lyrics focusing on social and political issues affecting young people in Thatcher’s Britain. The track here is a good example of that.

I arrived in London on a traveling seminar ready to check it all out, as a college radio DJ I was already a fan of The Clash’s punky reggae. and I had read several dispatches from the British music tabloids like NME and Melody Maker. First chance I got, I was off to a record store where I stood at a listening station to hear The Special’s debut LP.  I was instantly transformed into a card carrying 2 Tone fan boy. As a student, without much money with a long trip ahead, I couldn't afford The Specials album, but I did buy a 45 by the label’s latest signing, The Beat.

The A side was a cover of Smokey Robinson & The Miracle’s “Tears Of A Clown”. It took a minute to get used to hearing the Motown classic played in their energetic ska sound. The tune ends with Ranking Roger “toasting” over the track reggae DJ style, not something heard much outside of Jamaica back then. Side B featured Roger taking lead and riding over a bouncy stop and start rhythm titled “Ranking Full Stop”. It was an instant 2 Tone classic, and I now had a new favorite band.

The Beat (AKA The English Beat) after just one 2 Tone single, were given their own Go-Feet label and releasing a full length album later that year. Their songs seemed to have a slightly more authentic Jamaican sound than the others, dubbier, upbeat and fun. In addition they dabbled in world music and afropop long before it became chic. I saw them perform on their first US tour in Boston later that year.

As the 2 Tone moment waned back home, the group quickly focused on the American audience, touring constantly in the process. The Beat were definitely the band most committed to breaking in the states and nearly did. By the third album, they gained some traction at US radio (particularly here in LA at KROQ) and played the US Festival, but it was too late. The band was already fracturing. Lead singer Dave Wakeling and Roger left unceremoniously in 1983 to form the short lived and mildly successful General Public, while bandmates Andy Cox and David Steele formed the much more successful Fine Young Cannibals. despite some huge hits, they too were short lived.

The original band never reunited. Roger and Wakeling performed together as The Beat for awhile, later each forming his own version. Roger in the UK and Dave in the US. Dave’s version tours constantly to this day. The 2 Tone label didn't last long and the music never truly caught on here. Ultimately suffering the same fate as other short lived UK music fads like Glam Rock or The New Romatics. Their impact was strong enough though to fuel the much maligned ska third wave of the 90′s, and bring Jamaican music a bit farther into the mainstream. All that really remains are the three great studio albums and the memory of their exciting live shows.

I booked the band on a CNN talk show in 1982. I remember they seemed frustrated and were already hinting at a challenged future for the group. Less than a year later they were done for good. I recall desperately wanting them to succeed, bringing my favorite band and the 2 Tone music to the masses. It’s hard to imagine there was a ever a time in your life when a pop group could break your heart like that. 

Foe me and other recovering rude boys/rude girls, the music endures, as does the message.  And today when I hear them streaming into my ear buds, I still want to “move my likkle feet and dance to the beat”, which for the dearly departed Roger I have to think, was always the point.  #loveandunity

The Special- Vote For Me

Politics and social issues remain front and center as the 2 Tone founders return with their first album since the 80′s. Reunited for many years now, this current version of the band boasts more original members of The Fun Boy Three than the original The Specials. That did not stop them from delivering a totally respectable and relevant effort. You can hear dark echos of their classic "Ghost Town” on this dubby tune no doubt inspired by Brexit.

Eddie And The Hot Rods- Do Anything You Wanna Do Barrie Masters (1956-2019)

in 1976/77 Eddie and the Hot Rods stood at the intersection of pub rock and punk as one scene fizzled, and the other burned down everything in its path. The Hot Rods had the classic straight ahead sound of the pub bands plus an attitude that leaned forward into the energy punk would embrace. They enjoyed a brief moment of UK chart success before literally falling into the cracks of the pop music scene. This song, one of my all time favorite singles, sum them up perfectly. Drawing a straight line from Graham Parker to The Clash with a touch of a classic Springsteen working class anthem. In other words....perfect.

Beach Slang- Tommy In The 80′s

When I first saw the title of this song immediately assumed it was a Beach Slang’s tribute to The  Replacements guitarist Tommy Stinson . And even though Tommy himself plays on the track, it is not about him! In fact, it’s actually a tribute to obscure 80′s power popper Tommy Keene. I remembered the name from my MTV days, but honestly had to wiki him for clarification. Despite all these references, the whole thing sounds more inspired by “Jessie’s Girl” than either Tommy. 

The Cars- My Best Friends Girl Ric Ocasek (1941-2019)

Truthfully. I was never a big Cars fan. But in my college days before digital music, you listened to whatever the radio played. And in Boston, they played The Cars a lot. It wasn’t long before they rose from local heroes to national charts toppers. They didn't have the bluesy street cred or swagger of hometown legends Aerosmith or The J Geils Band, but they were our very own neighborhood rock stars. Drummer David Robinson lived in the building next door to Noreen on Comm Ave, and it was always kinda cool to see them strolling around Back Bay or hanging out at a club. Their sound was little cold and metallic for me, but you couldn't deny they crafted pretty great pop and new wave singles. They were omnipresent sound of my college days. The hits literally followed me to MTV and NYC in the 80′s where I often spotted Ric and Paulina strolling hand in hand in Chelsea. This classic love triangle was always my favorite with it’s Tommy James like guitar at the top, handclaps, and unforgettable hook. The band disbanded long ago, but like the classic American automobiles, these songs were built to last.

The Neighborhoods- Don’t Look Down

The Cars were the only Boston group of the era to truly make it big, but that late 70′s scene boasted several other talented bands who scored label deals including: The Nervous Eaters, The Rings, The Paley Brothers, Robin Lane and the Chartbusters, The Fools, The Real Kids, The Stompers, and Mission Of Burma. Later on, The Lyres, The Neats The Del Fuegos, The Mighty Mighty Bosstones, and Murphy’s Law  all managed to find the big time. It was a great time for local music back then. A city filled with students, plenty of clubs to pack on weekends, and college and commercial radio stations willing to play local bands. There were many good acts around town then, and my favorite, without a doubt, were The Neighborhoods. A young, brash power trio led by charismatic lead singer David Minehan. They played a ferocious brand of power pop/punk that would leave their audience breathless. I was certain they were destined for stardom. In the spring of 1979 they released their debut single “Prettiest Girl” on a local label and massive airplay on both college and commercial radio followed. They instantly became the hottest band in town, poised to become the next band from Boston to make it big. But it never happened. Bad luck, poor management and infighting derailed all the momentum. Before you knew it, the gritty street quality that was The ‘Hoods trademark was pushed aside by the synthesized sound of MTV. Over the course of the 80′s and into the 90′s they managed to release some pretty good albums on a variety of indie labels, but it never came together for them. The band reunited and gigs occasionally but hadn’t recorded for many years until right now. Forty years later, the neighborhood may not look the same, but their sound and spirit somehow survive. I suppose there’s something tragic and romantic about a great band lost to time, remembered only by the few who saw them way back when. They really were great, but I guess you had to be there.

Jesse Mailn - Meet Me At The End Of The World Again

New York’s favorite son, soul survivor, and street poet Jesse Malin is back. He’s been around long enough to understand that “When it all blows up, when it all goes down, when it makes you sick, but you’re still around” is victory in itself.  It’s the only life he knows, so what can a poor boy do? 

Brittany Howard- Stay High

This is from Alabama Shakes lead singer's excellent solo debut, unselfconsciously celebrating private moments spent with a lover on this  rootsy and gentle ballad. Her soulful falsetto conveys the kind of lustful bliss you might expect from Al Green or Prince. 

Mississippi All Stars- Mean Old World

Bear with me. This one is tangled up in the roots of several southern rock legacies and is going to take a minute to unpack. The All Stars are led by Luther and Cody Dickinson, sons of legendary Memphis musician and wild man Jim Dickinson. They decided to cover T Bone Walker’s Mean Old World,  a blues number once recorded by Eric Clapton and Duane Allman as part of the historic Derek And The Dominos sessions. The track, featuring their dad Jim, did not make the original release but was later unearthed on an expanded reissue. Still with me?  So, as a bit of a tribute, the guys recorded their own version of the tune and invited Duane Betts, son of Allman Brothers guitarist Dickey Betts to record an Eat a Peach inspired guitar run at the end.

And oh yeah, Jason Isbell is on it as well.

Got all that? 

Samantha Fish- Kill Or Be Kind

Have seen Samantha live several times over the past few years. She’s a very good blues/rock guitarist, vocalist and an exciting live performer. On the sultry “Kill or be Kind” she gives her lover an ultimatum. Fun fact: One of my son’s best friends from high school (Kate Pearlman) wrote two tracks on the album!

Jade Jackson- Bottle It Up

Second album from this promising up and coming alt country artist. She’s on the super cool Anti label which providing immediate credibility and her albums are produced by Social D frontman Mike Ness. And when she’s not on the road she waitress’s at her parent’s restaurant in central California. I’m not sure you can get any more country than that.

The Highwomen- Redesigninig Women

Inspired by The Highwaymen of Willie, Waylon, Johnny and Kris, this all female country “supergroup” quartet is out to break the stereotypes in country music with some really fine songs. While the male Highwaymen banded together to rescue careers in decline, these women (Brandi Carlisle, Amanda Shires, Marren Morris, and Natalie Hemby), are all on the rise. This song is lot of fun.

John Prine- Unwed Fathers

John Prine is back with a remake of his heartbreaking tale of teenage pregnancy. He’s joined this time Margo Price. I got to see Prine live this fall at the beautiful Anson Ford Amphitheater here in LA. His simple, plain spoken lyrics and songs are timeless. I attended the show with my pal David Kissinger who observed that despite health issues, “Prine remains an national songwriting treasure and his performance was as life affirming as you’ll ever see.” Can’t say it any better than that.

Shovels And Rope- Mississippi “Nuthin

Ever wonder whatever happened to that perfect couple from high school? You know, the high school quarterback and the prom queen? This one ain’t “Glory Days”. Our QB peaked in high school and never makes it back to the end zone again, plus he's tortured by the success his old flame enjoys. His anguish and desperation are palpable in this barn burner of a song whose vocals draw inspiration from June & Johnny and John & Exene.

The Delines- Eddie and Polly

Eddie and Polly are young and in love, and doomed. Vocalist Amy Boone’s world weary vocals always sound like it’s 3AM. This one won’t do much for your holiday spirit, but it’s haunting melody might stay with you throughout it.

Yola - Love all Night (Work All Day)

Love the one your with is (at least after work) is the basic idea on this track from this UK performer’s debut long player. Produced by Dan Auerbach of The Black Keys, the collection is full of excellent retro soul-folk. There was a fair amount of buzz in front of the release and she more than lives up to it including a nomination for a Best New Artist Grammy. 

Mavis Staples + Norah Jones- I’ll Be Gone

First recorded effort form this duo. A bittersweet ballad that softly and soulfully looks ahead to a final salvation. But Mavis ain’t done yet. She’s still going strong, recording and touring constantly. She knows she may be running out of time, but there’s still work to do. And whenever she’s finally ready, you can be sure she’ll take us there.

Hope you and yours are well.  The Herzog’s wish you the best and look forward to seeing you in the new year.  For those of you who made it this far, thank you. I’ve got a bonus playlist for you. Artists you like playing songs you love:  covers/19 Enjoy.

peace,

Doug

Los Angeles, December 2019 

[singeratlarge]

MONKEY HOUSE CELEBRATES A TRIO OF SINGER-SONGWRITERS

On Saturday April 22nd,, a trio of recording artists and songcrafters will take the stage at The Monkey House, a longtime listening room at 1638 University Avenue in Berkeley. Music begins at 7PM. 

Entertainer and “Singer at Large” Johnny J. Blair will present his brand of “pop music with a twist,” influenced by Americana, psychedelia, New Wave, and gospel. Brian Wilson called Johnny “a virtuoso.” His current itinerary includes performing in assisted living homes for people with disabilities and dementia: “Music goes through the brain into places where math and language don’t go. Music heals and makes a difference.” Johnny has worked with a range of artists—most prominently with Davy Jones and The Monkees. Johnny will do songs from his recordings and tell stories “about Monkees, working with people in care homes, and life in the music industry.”

Seán Lightholder tells stories through his music, working in the genres of folk, rock, blues, and traditional Irish music. He is a fifth-generation San Franciscan who soaked up the city’s eclectic sounds and cultures. He lived in Ireland for a time—the country his father grew up in—and there became deeply influenced by its music and rhythms. Seán has bounced back and forth between the continents, building community around music: through writing and creating community websites, hosting "socially distant" jams during the COVID-19 pandemic, and playing with other bands—notably the popular Irish rock group CaliCeltic.

Americana artist Will Solomon is originally from Kentucky and currently resides in Seattle. Nashville Scene called him “versatile and confident.” He’s touring with his trio to promote his album “Misspelled Words.” Musically he draws comparisons to James Taylor, Ray Lamontange, and Bruce Hornsby.

Their music can be sampled at https://johnnyjblairsingeratlarge.bandcamp.com and https://lightholder.com and https://soundcloud.com/willsolomonmusic For more information go to (510) 898-1979 or  https://www.themonkeyhouse.org $20 donation suggested for the artists; reservations recommended.

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#johnnyjblair #singersongwriter #monkees #davyjones #monkeyhouse #seanlightholder #willsolomon #singeratlarge #entertainment #music #concert

[vinylfromthevault]

CATL. “This Shakin’ House” 2014. CATL. Records. We got another chance to see the most excellent Toronto-based punk-blues, southern-fried Americana rockin’ rhythm and blues duo perform this past weekend at Romanus Records Fest in Indianapolis (we saw them play at the Fest last year and again earlier this year at Boone and Crockett here in Milwaukee). Either Chris Banta or Warner Swopes from Brother O’Brother/Romanus Records snapped this photo of the crowd during catl’s set: we are in the front left hand corner, looking awfully serious LOL. 

This Shakin’ House is catl’s fourth release and I believe the first as a bonafide two-piece, with “catl” (aka Jamie Fleming) on guitar and vocals and Sarah Kirkpatrick on vocals and drums (plus some signature corny dad jokes of which she pulled out a couple in Indy). It’s a honky-tonk blues stomping album with some really excellent tracks: my favorites are the Bo-Diddley-esque “Gateway Blues,” the hypnotic Junior Kimbrough-styled “Shakin’ House Blues” that has some great blues harmonica and the floor-shaking “Save Myself.”  “Save Myself” is a great example of the comparison I’ve made between Jamie and Jon Spencer - lots of great “YEAH!” lyrical punctuations; I believe catl performed with Spencer recently while he was on tour with his HITMakers.