- Final Countdown Europe Solo Lesson with Tab
parte principale e armonizzazione.
- LEON RUSSELL
Event on 2016-01-24 19:30:00
Leon Russell is a music legend and perhaps the most accomplished and versatile musician in the history of rock 'n roll. In his distinguished and unique 50 year career, he has played on, arranged, written and/or produced some of the best records in popular music. Leon has played on pop, rock, blues, country, bluegrass, standards, gospel, and surf records. As a session musician, arranger, producer, singer, songwriter, pianist, guitarist, record company owner, bandleader, and touring musician, he has collaborated with hundreds of artists, including Glen Campbell, Joe Cocker, Willie Nelson, Edgar Winter, George Harrison, Eric Clapton, Bob Dylan, Ringo Starr, John Lennon, J.J. Cale, David Gates, Bruce Hornsby, Hal Blaine, Tommy Tedesco, Bobby "Boris" Pickett, B.B. King, Freddie King, Bill Wyman, Steve Cropper, Carl Radle, Chuck Blackwell, Don Preston, Jesse Ed Davis, Rita Coolidge, Gram Parsons, Barbra Streisand, Ike & Tina Turner, Ricky Nelson, Herb Alpert, Frank Sinatra, Aretha Franklin, Ann-Margret, Dean Martin, Marvin Gaye, Dave Mason, Steve Winwood, and groups such as Delaney & Bonnie and Friends, The Monkees, The Astronauts, The Accents, The Fencemen, The Ventures, The Beach Boys, The Byrds, Jan & Dean, Gary Lewis & The Playboys, Paul Revere & The Raiders, The Rolling Stones, The Ronettes, The Crystals, The Nitty Gritty Dirt Band, The Everly Brothers, The Righteous Brothers, The Flying Burrito Brothers, The Tractors and on and on and on Born in southwest Oklahoma in 1942, Leon began piano lessons at age 4. He was playing in Tulsa nightclubs at the age of 14. After graduating from high school, Leon's band, The Starlighters, went on the road with Jerry Lee Lewis. Leon left Tulsa at the age of 17 for Los Angeles where he began playing in the L.A. clubs and eventually became one of the best session musicians in Hollywood. He worked with the best Hollywood producers and top musicians in the business. Leon became part of an elite group of studio musicians called the Wrecking Crew and played on hundreds of hit records in the 1960's. He was part of studio groups such as The Routers and The Super Stocks. The Routers recorded the huge hit "Let's Go" and The Super Stocks recorded surf and hot rod tunes. In 1964, Leon was a member of the the house band on the Shindig! show on ABC television which showcased the top pop acts. Leon built a recording studio in his home in 1967 where he and Marc Benno recorded songs which were released on two critically acclaimed records as the 'Asylum Choir'. Leon co-produced, arranged, and played piano, organ, and guitar on Joe Cocker's second album, 'Joe Cocker!' in 1969. He also recorded and toured with 'Delaney & Bonnie & Friends'.Leon founded Shelter Records with partner Denny Cordell and released Leon's first solo album, "Leon Russell" in May, 1970. It included Beatles George Harrison and Ringo Starr, Rolling Stones Bill Wyman and Charlie Watts, Steve Winwood, Eric Clapton, and Klaus Voorman. The album contained classic Leon songs, 'A Song For You', along with 'Hummingbird', and 'Delta Lady'. Shelter Records was home for not only Leon but many other artists such as Freddie King, Don Nix, J.J. Cale, Tom Petty & The Heartbreakers, The Gap Band, Dwight Twilley and Phoebe Snow. Leon played on and produced three Shelter albums for blues guitarist Freddie King.As a songwriter, Leon's songs have hit the charts across all genres and have been covered by a diverse range of artists. Ray Charles recorded 'A Song For You', B.B. King had a hit with 'Hummingbird', The Carpenters with 'Superstar' and Joe Cocker with 'Delta Lady'. The Carpenter's cover of "Superstar", written by Leon and Bonnie Bramlett, went to #2 on the pop music charts. George Benson won the "Record of the Year" Grammy in 1976 for his cover of Leon's song, "This Masquerade", and it became the first song in music history to hit #1 on the jazz, pop and R&B charts. Leon organized and led the band behind Joe Cocker for the famous "Mad Dogs & Englishmen" tour of the U.S. in March-May, 1970. The huge 11 member band included 3 drummers and a 10 member choir which played 65 shows in 48 cities. The tour was filmed for the movie "Mad Dogs & Englishmen". The live double-LP album on A&M Records reached #2 on the U.S. album charts and sold over a million copies. Leon was part of Delaney & Bonnie and Friends. On August 1st, 1971, Leon joined George Harrison and friends for two performances of the Concert For Bangladesh at Madison Square Garden in New York to raise money for refugees. His "Jumpin' Jack Flash/Youngblood" medley was considered the highlight of the show by some. The album won a Grammy Award for Album of the Year. Leon's first solo album to earn a Gold record was "Leon Russell and The Shelter People" (1971). The "Carney" album, released in 1972, would be his best seller and included the single, "Tight Rope" which reached #11 on the pop music charts. By 1972, Leon was a major concert attraction. Billboard Magazine named Leon the top concert attraction for 1973. His concert at Long Beach, CA on August 28, 1972 was recorded and released on the triple-LP album 'Leon Live' which rose to #9 on the pop charts.Leon released the second Asylum Choir album, 'Asylum Choir II", in 1972 from songs recorded years earlier.At the height of his popularity as a rock star, Leon released a country music album, "Hank Wilson's Back" under the name Hank Wilson on August 31st,1973.His last Shelter Records studio album, "Will O' The Wisp" (1975), included the hit single "Lady Blue" (#14 on the charts) and went Gold. "The Best Of Leon" was released in 1976 and earned a 6th Gold Record.Leon founded Paradise Records a Warner Bros. label and released albums from 1976-84 such as "The Wedding Album", "Make Love To The Music", "Americana", "Life And Love", "Solid State" and "Hank Wilson Vol. II".Leon co-hosted with Willie Nelson, the first of Willie's 4th of July picnics. Leon has continued to be a regular performer at Willie's picnics through the years. Leon joined Willie on tour and they teamed in 1979 for the country album, "One For The Road", which earned a Gold record and was honored by the Country Music Association with a nomination for "Album Of The Year". The album included the song "Heartbreak Hotel" that won the Grammy Award in 1980 for Best Country Vocal Performance by a Duo or Group. In 1980-81, Leon toured with the New Grass Revival and released the 'Live Album' from their performances. In 1984 Leon released his second country album under the Hank Wilson name, "Hank Wilson Vol. II". Leon and Edgar Winter toured together in the late 1980's. In 1992, he teamed up with Bruce Hornsby (producer) for the album "Anything Can Happen" released on Virgin Records. Edgar Winter also played on the album. In 1998 "Hank Wilson Vol. 3: Legend In My Time" and 1999's "Face In The Crowd". In 2001, Russell played with Earl Scruggs and Friends on "Foggy Mountain Breakdown" which earned a Grammy for Best Country Instrumental Performance.Leon joined a number of artists in honoring Willie Nelson on his 70th birthday celebration at the Beacon Theatre in New York city in April, 2003. Leon performed his classic 'A Song For You' with Willie and Ray Charles and also sang "Jumpin' Jack Flash". The show was filmed for the special "Willie Nelson: Live and Kickin'".In April 2006, Leon was awarded a lifetime achievement award by the Bare Bones International Film Festival. In October 2006, he was inducted into the Oklahoma Music Hall of Fame.Leon performed at the 2010 Grammys with the Zac Brown Band. He performed with Elton John at Music Cares honoring Neil Young in January 2010.Leon and Sir Elton John released, The Union, a duet album produced by TBone Burnett on October 19, 2010. The single "If It Wasn't For Bad" was nominated for a Grammy Award for Best Pop Collaboration with Vocals.Capitol/EMI released a 16-track compilation CD, The Best Of Leon Russell, on April 5, 2011.Leon was inducted into the Rock and Roll Hall of Fame class of 2011 and given the Award For Recording Excellence.Leon was selected for the Songwriters Hall of Fame class of 2011.Leon's records from his own record label, Leon Russell Records, include "Signature Songs", a collection of acoustic piano/vocal recordings of Leon Russell classics "Guitar Blues" "Moonlight & Love Songs", a collection of standards "Face In The Crowd" "Crazy Love" "Hymns Of Christmas" (instrumental) "Rhythm & Bluegrass: Hank Wilson vol. 4", a collection of songs recorded in the 1980's with the New Grass Revival "A Mighty Flood", an album of inspirational songs "Angel In Disguise" In Your Dreams Bad Country Almost Piano (instrumental) Best Of Hank WilsonLeon continues to write songs, record, and thrill audiences on his non-stop tour across the U.S. Leon's son Teddy Jack, and daughters Sugaree and Tina Rose have previously been in his band and toured with him. His bass player, Jack Wessel, has been in his band for 29 years.Leon's musical style is still resonating with his lifelong fans and is inspiring younger listeners who are discovering his music from either the 'Mad Dogs & Englishmen' or 'Concert For Bangladesh' DVDs..
at The Cedar Cultural Center
416 Cedar Ave S
Minneapolis, United States
- Tracy Lawrence
Event on 2016-01-29 19:00:00
About Tracy Lawrence
Tracy Lawrence is one of the premier voices of his generation, a sensitive and intelligent singer who continues to stretch both as an artist and as a person. Lawrence's dedication to honesty and respect for tradition have enabled him to build one of the most respected careers in recent country history.
Along the way, Tracy has posted more No. 1 Billboard country singles than greats like Glen Campbell, Keith Whitley, Ernest Tubb, Wynonna or Barbara Mandrell, to name just a few; more Top 5's than Shania Twain, Faith Hill or The Judds; and more Top 10's than Ricky Skaggs, Charlie Rich, John Michael Montgomery or Dwight Yoakam.
Tracy hit the national spotlight in 1991. He was just 23, the product of a rough-and-tumble childhood in Foreman, Arkansas. A self-described "hellion" as a youngster, Lawrence found release in performing. He was playing at music jamborees at 15 and in honky-tonks at 17, learning, he says, "what it takes to keep them on the dance floor through four or five sets."
He moved to Nashville in 1990 in a 10-year-old Toyota Corolla that had, he says, "about 250,000 miles on it, expired tags, no insurance, only three cylinders and a fan with a piece of wire around it to cool the car." He was a huge fan of Keith Whitley, Waylon Jennings and Merle Haggard, and he idolized George Strait, complementing those influences with an appreciation for Southern rock, which he knew held a special place in the hearts of his honky-tonk audiences. He was also taken by a country tradition that was then finding its chief manifestation in Randy Travis.
Lawrence adopted elements from all of these sources, and his striking vocal instrument – distinctively country with a cutting edge – earned him attention from the beginning. While working a series of side jobs, he entered singing contests around town, regularly winning first prize. A live appearance on a Kentucky radio station and a showcase at Nashville's famed Bluebird Café led to his 1991 signing to Atlantic Records.
Lawrence's debut album, Sticks And Stones (1991) boasted four Top 10 country hits and launched him into the forefront of the decade's young talent. Journalists praised his style and fans pushed sales of the album to platinum certification. He proved he had the goods on the road as well, being named SRO's Best New Touring Artist in 1993.
As if that weren't enough, his second album, the double-platinum Alibis (1993), spawned four straight #1 smashes – the title cut, "Can't Break It To My Heart," "My Second Home" and "If The Good Die Young" – and earned raves everywhere from GQ to Newsweek. "That got us past the sophomore jinx," Lawrence says with a grin. During the mid-'90s, he was among the most-played artists in all genres.
Yet another quartet of major hits rose from the platinum I See It Now (1994), including "If The World Had A Front Porch" and "Texas Tornado." Then, Lawrence hit a creative and sales peak with "Time Marches On," a Bobby Braddock-penned blockbuster that led the 1996 album of the same name to double-platinum status and earned Lawrence nominations at all the major awards ceremonies.
Lawrence's next album, 1997's The Coast Is Clear, produced the trademark hit "Better Man, Better Off." It preceded Lessons Learned (2000), which found the singer re-energized by his country roots. Both discs earned critical praise and kept Lawrence's radio presence and catalog sales chugging along.
It's no surprise that over the years Lawrence has received widespread recognition: He was named Billboard's Top New Male Vocalist in 1992, garnering the Academy Of Country Music's Top New Male Vocalist trophy a year later; he earned the Country Weekly Golden Pick Awards' Video Artist Of The Year prize in 1995 and its Editor's Choice Platinum Pick crown in 1996, among other honors.
Lawrence has produced his own and others' work and co-wrote a number of the songs he's recorded, including "If The World Had A Front Porch" and "Can't Break It To My Heart." Moreover, he has had considerable impact beyond the record industry. Lawrence contributed the song "Renegades, Rebels And Rogues" to the Maverick soundtrack and has starred in two CMT specials, one of which included footage from a USO tour that saw him entertain troops in Kosovo. He also co-produced nine of the 13 songs on The Civil War: The Nashville Sessions, a collection of songs written for the Broadway theater production "The Civil War: An American Musical Event." It features Travis Tritt, Deana Carter, Trace Adkins, Kevin Sharp, Michael English, Trisha Yearwood and John Berry.
Lawrence has always been active in charitable causes, and he is annually at the helm of two events that are especially meaningful to him: a homecoming concert in his hometown that funds the Tracy Lawrence Foundation and a golf tournament in Texarkana, Texas, benefiting both the Tracy Lawrence Foundation and the local chapter of the Alzheimer's Assn. Lawrence's foundation has endowed scholarships and, most recently, provided funds to equip a high school computer science lab, a room that has been named after him. Lawrence helped raise more than a million dollars for the fight against Cystic Fibrosis; he's participated in numerous fundraisers for St. Jude Children's Research Hospital; generated awareness and funds for CASA, a non-profit organization providing trained volunteer advocates to abused and neglected children caught up in the legal systems; and supported a lengthy list of the charitable causes of fellow celebrities and media outlets through live concert appearances, autograph signings, auction item donations, and interviews. "People have a duty to help each other out," he says. "I'm happy I can give something back to society through my efforts to raise funds and awareness for these important causes."
at Cowboys Far West
3030 NorthEast Loop 410
San Antonio, United States
- The Temperance Movement
Event on 2016-01-24 19:00:00
YOU KNOW ALL those times when a friend, magazine or so-called-expert has implored you to buy a new band's CD because it’s ‘Free-meets-the-Black Crowes-meets-the-Stones' and you think, quite rightly, “That sounds splendid! What could possibly go wrong?” So, you buy it, take it home, play it and it sounds like tosh?
Yeah, well this is not one of those times. This is the story of The Temperance Movement: five guys, four of them in London, one in Scotland. In short, they rock. Big, sweaty, old-school, sincere rock. But, like all the best rock bands, they roll too. They have a swagger, a bravado. Soul.
This is a band that merges two highly valuable commodities: riff driven blues based rock and seriously impressive – nay, spellbinding – musicality. Sure, it’s been a long time coming but, thank god, they’ve finally arrived.
Their songs seem to occupy wildly opposite extremes; wide angle panoramic vignettes or short, sharp shocks to the system. They all, however, have one common denominator – a stunning ability to deliver a message. The emphasis, lyrically, is always on aching, some might say painful, life issues – everything from heart-on-sleeve confessionals to a defiant, let's-get-back-into-the-ring-and-take-on-all-comers boldness. Out of it all though, there is a sense of revelation, a feeling that these guys are actually writing about real life lessons learnt on the road to redemption.
It started, as these things so often do, by chance. Singer-songwriter Phil Campbell's impressive solo career should be well known to you. A Scottish Ryan Adams but with better songs, his flight to fame was interrupted by the sort of obstacles only the music business can throw in your path. He was saved by an unexpected call from guitarist Luke Potashnick. “We're starting a band,” said Luke. “A proper band. Bluesy. Rocky. A bit Black-Crowes-ish. Do you fancy it?” His head said, “I'm not sure,” but his gut said, “Yes.”
The we turned out to be Luke and Paul Sayer, two friends who’d known each other for some time. Both were seasoned songwriters and musicians but wanted to step into something more permanent. With Phil on board, they knew they had the foundations of something very special indeed.
Recruiting the perfect rhythm section took a little while longer than expected with the trio working their way through a few combinations until jamming with bassist Nick Fyffe and Australian-born drummer Damon Wilson. The Temperance Movement was born.
at Manchester Academy
Manchester, United Kingdom
Event on 2016-01-18 19:00:00
with special guests FAKE LIMBS
[Please direct all questions regarding ticketing and table reservations to First Avenue’s Box Office (Mon-Fri 10am-6pm) at 612-338-8388.]
The word “bully” has a negative connotation in 2015, one heavy with menace and violence. A bully is an instigator, an aggressor someone who can spot your weaknesses and exploit them mercilessly. It’s a curious name for a Nashville quartet that is transforming familiar ’90s alt-rock (Dinosaur Jr, Pavement, Weezer) into smart, sharp-edged millennial indie rock, but “bully” is certainly an apt description for the band’s churning guitars, rambunctious rhythms, and tightly coiled intensity. Their debut Feels Like sounds alternately like a balled fist and a fresh bruise.
More crucially, the word “bully” is a perfect distillation of frontwoman Alicia Bognanno’s visceral approach to songwriting. She trades in steely observations, raw-nerve confessions, and intense anger directed almost exclusively at herself although a few bystanders and bad exes might get caught in the crossfire. Her voice rises from sugar-sweet to scratchy howl as she bares her most harrowing fears to the world. In other words, Bognanno is her own bully.
Not merely the band’s vocalist, songwriter, guitarist, and all-around visionary, she is also Bully’s producer and engineer. Her musical life in music is inseparable from her experiences studying audio techniques and technology. Growing up in Minnesota, Bognanno often made up her own lyrics and melodies nothing so complete as a song but it wasn’t until her senior year of high school that she found an outlet for those creative urges. “I took an audio engineering class at this alternative school,” she recalls, adding that sessions were held at the local zoo. “Suddenly, it was like, Wow! I have a way to record stuff. Now I need to figure out how to play an instrument.” She learned piano quickly, but guitar was more difficult; she had more fun using Logic Pro X to loop beats for some of her friends who were aspiring rappers.
Audio engineering engaged her in ways that other subjects had not, and Bognanno credits her teacher with recommending an inexpensive four-year Bachelor of Science program at Middle Tennessee State University, about thirty miles south of Nashville. There she immersed herself in courses in recording techniques, music theory and history, even copyright law. She even took another stab at guitar, this time with better results. “I think learning just some basic theory helped a lot, but I think it was because I picked up an electric guitar instead of an acoustic,” she explains. “It was a lot more fun.”
While the school emphasized digital recording, Boganno became obsessed with analog equipment. Part of the attraction was the richer and roomier sound, which opens up new and livelier textures in the instruments. “It’s hard to bust out of what your instructors are showing you and what all your classmates are doing,” she says, “but there were two teachers who maintained the tape machines, and they gave me lessons on the mechanics and techniques.”
Bognanno used that experience to pursue an internship at Electrical Audio, the Chicago studio complex owned by Steve Albini and host to legendary sessions by some of Bully’s heroes and biggest influences: the Breeders, Liz Phair, Superchunk, even the Stooges. When she returned to Tennessee, she started working at a local studio (Battle Tapes), ran sound at one of the best venues in town (the Stone Fox), and formed Bully as essentially a solo project backed by a trio of friends: Stewart Copeland on drums, Clayton Parker on guitar, and Reece Lazarus on bass.
Despite Bognanno’s expertise as an audio engineer, the band is less a studio entity than a stage act, one that has quickly developed a reputation for its ferocious live shows (the Nashville Scene named Bully the top local band in its 2014 Best of Nashville issue.) On record, Bognanno strives to retain the band’s formidable guitar attack while highlighting her boldly candid lyrics. “At this point in my life I always want everything I make to sound like we’re playing live,” she explains. “That’s why I didn’t put any keyboards or any extra stuff on there. Some people don’t like that, but I had to go with my gut.”
A deeply personal album by an artist bravely mining her own life, Feels Like is all about trying to figure yourself out about holding yourself accountable and acting like an adult in a society that doesn’t offer very many good examples. It’s a coming-of-age album, which only makes Bognanno more relatable. “Sometimes I wonder if people think I’m a complete mess,” she says. “It’s not easy to put yourself out there like, but it’s true. Everyone goes through shit like that.”
at Fine Line Music Cafe
318 First Avenue North
Minneapolis, United States
- Cas Haley
Event on 2016-01-19 21:00:00
with Ethan Tucker, Brightside
Occasionally, blessings come disguised as roadblocks. Sometimes its hard to see the lesson in the suffering. I pray for grace to guide me, Cas Haley sings on Hold Up My Heart, a track from his new album, More Music, More Family. From the outside, the soulful musician looks like he has it all: A loving young family, a wonder-ful home near Paris, Texas, where he grew up, and a career on the rise. Hes shared stages with UB40, Allen Stone, G. Love, Ziggy Marley, and Easy Star All-Stars, among others, and has per-formed at events such as Hangout Music Festival, California Roots Music and Arts Festival, Reggae on the River, and Mighty Sounds in the Czech Republic. But a freak accident a fall while skiing at a festival in the Midwest left Haley unable to sing. During eight months of treatment, he had plenty of time to think about what the injury meant to his future. The idea for More Music, More Family came from reflecting on how to pursue his career more holistically. To be alone is an unnatural thing / even when youre spreading good vibes with the songs you love to sing, the musician reveals on the title track of his album. Spending months at a time on the road, he was missing his children as they grew up: In pursuit of this dream, I was creating tension, he says. Haley channeled that turmoil into an albums worth of material. More Music, More Family, which will be released through Jimmy Buffets label, Mailboat Records, deals with realizing purpose, strength and values. Crowdfunded through a Pledge Music campaign and recorded over a month at Steelgrass Farm in Kauai, Hawaii, the making of the record was as much about the healing process as the creative process. For starters, Haley points out, Hawaii is paradise. If youre having issues in paradise, they suddenly become very clear. Those challenges and the overcoming of them are felt on More Music, More Family, but songs like the blues-tinged and funky I Got You and the danceable, kinetic Spirit Being ad-dress the universality of life lessons with positivity, uplifting melodies and Haleys heartfelt vo-cal style. Big Hope, a track whose reggae-flavored intro gives way to energetic hip-hop beats, features Freewill (Luminaries) and Drew Misik (New Reb). Singer/songwriter Trevor Hall guests on Hold Up My Heart, up-and-coming Hawaiian artist Mike Love lends an Aloha spirit to the second verse of the title track, and Andrew Terrett, aka Tubby Love, is featured on Whole.Tubby Love co-produced More Music, More Family, co-writing about 90 percent of the songs with Haley. Their different writing styles Haley uses a lot of artistic license and relies on emotion and delivery to tell the story; Tubby Love aims for clarity of message and precise lyrics melded to powerful effect. The album borrows the best of Haleys previous efforts. Connec-tion, from 2010, was recorded in a controlled studio setting while 2012s La Si Dah was captured in full takes with no overdubs. On More Music, More Family, Haley and his team wanted to bridge those two worlds, capturing an organic feeling along with a high fidelity.While the album nods frequently to reggae sounds and textures, Haley who grew up with mu-sician parents and their extensive record collection doesnt consider himself a reggae artist. His omnivorous listening habits and involvement in the skateboard culture of the early 90s led him to the ska artists who influence him to this day. But More Music, More Family is eclectic: Man Inside weaves introspective and honest lyrics through shimmying rhythms and a low-key refrain. Instrumental track Ryans Prayer is a cool swirl of melody and propulsive beat, and Before Its Too Late, soul-tinged and syncopated, builds a platform from which Haleys vocal can soar. The gospel break down in that songs last minute raises the energy even higher with its celebratory stomps, claps and huge-hearted magnetism.Now recovered and back to making music, Haleys new approach incorporates his family into shorter tours. Hes also making sure the places he plays are aligned with his family-friendly ap-proach. Im trying to make everything more in line with the message so that I can be received in the way that makes the best impact, he saysThat message has everything to do with the importance of the unit, which includes blood rela-tives as well as close friends. Even as people pursue their dreams and careers, Haley hopes they wont lose sight of togetherness. Slow down and be aware of the blessing of family, he says. Thats where the light comes from.Learn more at cashaley.com
at Doug Fir Restaurant & Lounge
830 E Burnside Street
Portland, United States
- JD McPherson
Event on 2016-01-13 21:00:00
You could mistake JD McPherson for a revivalist, given how few other contemporary artists are likely to assert, as he boldly does, that Keep a Knockin by Little Richard is the best record ever made. Its so insanely visceral, you feel like its going to explode your speakers. If Im listening to that in the car, I find myself having to brake suddenly. I can listen to that and it makes me feel like Im 20 feet tall. And the feeling of joy I get from that record is always going to be the real push behind trying to make music.But in a very real sense, McPherson is much more a pioneer than roots resuscitator. Hes knocking at the door of something that arguably hasnt yet been accomplisheda spirited, almost spiritual hybrid that brings the forgotten lessons from the earliest days of rock & roll into a future that has room for the modernities of studio technique and 21st century singer/songwriter idiosyncrasies that Richard Penniman would not recognize. Let the Good Times Roll, his second album, is a stranger, and more personal affair than its Fats Domino-redolent title might at first suggest, but the name isnt exactly ironic, either. If you, too, brake for pleasure, youll screech to a halt at the enrapturing sound of these Good Times.His first album, 2012s Signs & Signifiers, was hailed as an utterly irresistible, slicked-back triumph by Mojo and a rockin', bluesy, forward-thinking gold mine that subtly breaks the conventions of most vintage rock projects by All Music Guide. The Washington Post wrote that, he and his bandmates are great musicians taking ownership of a sound, not just mimicking one. That same review remarked upon how, the album sounds as if the band is in the same room with the listener. But for the follow-up, McPherson wanted to maintain that raw power while also capturing the more mysterious side of the records he loves. To that slightly spookier end, he enlisted as a collaborator Mark Neill, known for his work as a producer and engineer with versed-in-the-past acts going back to the Paladins in the 1980s, but, most recently, for recording The Black Keys and Dan Auerbacha friend of McPhersons who co-wrote the new albums Bridge Builder.Talking up one of the freshly minted tunes, Bridge Builder, McPherson describes it as being the psychedelic Coasters. That no such thing really existed prior to this album doesnt deter him. This is something I actually talked about with Mark at the beginning of the record: I want to make a 50s psychedelic record!
at Wonder Ballroom
128 NE Russel Street
Portland, United States