Audio Flosstag:www.thesunblog.com,2008:/audiofloss/172008-07-27T21:50:21ZYour source for local and regional music news, reviews and interviewsMovable Type 3.32Rain, rain go awaytag:www.thesunblog.com,2008:/audiofloss//17.31382008-07-27T21:28:34Z2008-07-27T21:50:21ZJust got back from the Market St. stage and not a moment too soon. Looks like the second half of...Mill City Madmanhttp://www.thesunblog.com/audiofloss
Just got back from the Market St. stage and not a moment too soon. Looks like the second half of Day 3 could be a wash out. Fest Website says it goes on rain or shine, so take out your sow' wester. At least Dutton Street and Boarding House are a def. go. Around 3 p today at the Dance Pav. Mighty Sam McClain was channeling from a higher place. Vamping w/ the blues he brought a higher love to us all. He beams a lot of this emotion and it's not an act. If you haven't caught the blues great (via Nashua NH) you still have time. McClain closes the night at JFk at 515 (that is if the gully washer doesn't stop this show). Bring umbrellas folks, it's gonna be a wet one!
Folk Fest after hourstag:www.thesunblog.com,2008:/audiofloss//17.31362008-07-27T17:12:54Z2008-07-27T17:19:05ZWhen the crowds go home the music doesn't stop. Over at the DoubleTree last night the merrymaking went into the...Mill City Madmanhttp://www.thesunblog.com/audiofloss
When the crowds go home the music doesn't stop. Over at the DoubleTree last night the merrymaking went into the wee small hours. Musicians were in good spirits and immediately gelled in jigs and reels. Fiddle players from the Canadian, Quebecois, bluegrass and Mountain bands were backed by bassists, banjos, guitars, mandolins and a drum from their respective bands. They quickly settled into jigs and reels, seemingly stuck in the loop for at least two hours. Instead of dueling banjos, there were dueling Canadian dancers as their foot work drove the rhythm late into the night. (dancing on what seemed to be an abandoned legless tabletop). After midnight the Creole cowboys wailed on the accordion with sound that seemed to flow seamlessly into the river from the delta. Oh what a night!
Gospel, ska, bluestag:www.thesunblog.com,2008:/audiofloss//17.31332008-07-26T19:49:45Z2008-07-26T20:05:33ZNeed we say more? You must catch Skatalites before LFF 08 is through. I saw their early show at Dutton...Mill City Madmanhttp://www.thesunblog.com/audiofloss
Need we say more? You must catch Skatalites before LFF 08 is through. I saw their early show at Dutton St. 12 noon and feel I witnessed ska royalty. They play JFK at 515p and close the night back at the dance pav. at 845 p. Really, it's like seeing the stones or beatles, these guys invented a genre and play so seamlessly — mixing War w/ "Pop Goes the Weasle" — is simply artful. I almost passed out at JFK Plaza to Sister Marie Knight. The gospel pioneer might have thought I was enraptured, sorry sister it was too damn hot. The best place for shade is St. Anne's Church yard. Caught some of the world string discussion, but it was hard to focus w/ all the street noise. I think these workshops would be better inside. What do you think?
Fest heats uptag:www.thesunblog.com,2008:/audiofloss//17.31312008-07-26T17:12:31Z2008-07-26T18:25:26ZIt's 87 degrees on Market Street and the Folk Fest faithfull are arriving. There's no stopping this crowd. If you're...Mill City Madmanhttp://www.thesunblog.com/audiofloss
It's 87 degrees on Market Street and the Folk Fest faithfull are arriving. There's no stopping this crowd. If you're coming out today bring hats, water and peace of mind. Last night's kick-off was picture perfect and Day 2 is about to start. Im headed to Balla Kouyte and the Skatalites, will blog back in a few. What's your plan of attack today?
Fun Festtag:www.thesunblog.com,2008:/audiofloss//17.31302008-07-26T03:47:13Z2008-07-26T18:22:17ZDTL turns into party central this weekend as Folk Fest 22 takes over our old mill town. But nothing seemed...Mill City Madmanhttp://www.thesunblog.com/audiofloss
DTL turns into party central this weekend as Folk Fest 22 takes over our old mill town. But nothing seemed old about the lively opening scenes last night, from rain-weary throngs packing BHP to long lines at the ever-popular Filipino food booth to to crowded beer tents to a pack of youngsters trying their hand in the Wii tent set up by Nintendo at the Dutton Street dance stage. Music rocked from the bluesy sounds of piano master Henry Gray to the two-stepping dance tunes of the the Creole cowboys. Loved the free Nestea and Moxie samples. Chowed on chicken on a stick and other Thai delights from Buddachak at Dutton and sampled some yummy grape leaves walking by the Athenian. Feel like volunteering? Mike Wurm of the National Park could use more on Sunday. Just stop in at the Visitors Center on Market St., and they'll give you a job. What turned you on tonight at the Fest? What do you look forward to tomorrow?
Lowell Auditorium - Bringin' It!tag:www.thesunblog.com,2008:/audiofloss//17.31142008-07-17T17:32:55Z2008-07-17T18:11:53ZThere's a lot of music on tap at the Lowell Auditorium this summer and fall, thanks to a few new shows announced over the past week or so. Check out what's coming.Mill City Madmanhttp://www.thesunblog.com/audiofloss
There's been a flurry of activity recently at the Lowell Memorial Auditorium, and a few new music shows have been booked for later this year. This weekend is a two-night helping of girl-power rock with Melissa Etheridge, Friday and Saturday night, beginning at 8 p.m. Tickets are $57-$102.
On Tuesday, August 12, a trio of 1990s bands will be in town to take thirtysomethings back to their beer-soaked college days (which almost makes me obligated to go). Live, Blues Traveler, and Collective Soul bring the rock beginning at 7:30 p.m., and tickets are $49.75. Hey, that's only $16 a band - I paid more than that in a night of binge drinking back in these bands' heydaze.
On Wednesday, August 20, the young 'uns will be invading Lowell when 2007 American Idol winner Jordin Sparks headlines a show that includes an opening set by Jesse McCartney (formerly of the boy band Dream Street). Show is at 7:30 p.m. Tix are $39.50 and $49.50, and they go on sale tomorrow morning at 10 a.m.
On Saturday, September 13, veteran folkie John Prine will bring his memorable tales to town in what is sure to be an oustanding show. That show starts at 8 p.m., and tix are $41.50 - $56.50.
Finally, on Friday, November 21, the Dark Star Orchestra will recreate the Grateful Dead experience once again, and with Bob Weir's closest stop being in Mansfield next month, this might be your best local Dead fix for a while. Tickets are $30.50 - $35.50, and they go on sale next Monday, July 21, at 10 a.m.
Someone's trying to give the Lowell Summer Music Series a run for their money, so take advantage of the friendly competition!]]>
An Interview with Jerry Douglastag:www.thesunblog.com,2008:/audiofloss//17.31112008-07-17T12:29:52Z2008-07-17T20:49:32ZJerry Douglas finishes off four nights of music at Boarding House Park in downtown Lowell this weekend, beginning tonight with Abigail Washburn and the Sparrow Quartet, then continuing tomorrow with the Wailers and Saturday night with Jimmie Vaughan and Lou Ann Barton. Douglas's show is on Sunday night, July 20. I had the pleasure of interviewing Douglas for this week's Lowell Sun Nightlife article.Mill City Madmanhttp://www.thesunblog.com/audiofloss
Holy crap! Has it been a week since my last post? Sorry 'bout that - got food poisoning after being out of town for a week. What a whirlwind. Good thing I'm back to my old self again, just in time for a kickass weekend of music in beautiful downtown Lowell!
It's week four of the Lowell Summer Music Series, and there are four straight nights of music under the stars planned for those of us willing to take it all in. Call it a little something to whet our music appetites for next weekend's Folk Festival. Whatever the case, there's everything from bluegrass to reggae to blues on tap this weekend, starting tonight with a set by Abigail Washburn and the Sparrow Quartet, featuring everyone's favorite banjo player, Bela Fleck. But it's a lot more than a banjo affair (although there are two of them in the band). Filling out the band are cellist Ben Sollee and fiddler Casey Driessen. Together, these guys play something akin to chamber music for high-brow bluegrass fans. That's the best I can figure, at least. Show starts at 7:30. Tix are $21 in advance and $25 at the gate.
Tomorrow night (July 18), Bob Marley's former backup band The Wailers will be in town, bringing the reggae sounds that they helped make famous. From their beginnings in Jamaica back in the late 1960s to their more recent collaborations with artists like Sting and Carlos Santana, these guys have sold over 250 million records. I guess you could say they're kind of a big deal. Show starts at 7:30. Tix are $21 in advance and $25 at the gate.
On Saturday night, July 19, R&B legend Jimmie Vaughan will bring his retro blues to Lowell, and who could forget the hits from Vaughan's heyday with the Fabulous Thunderbirds? Admit it - you wanted to be as cool as that lead singer in the beret on the "Wrap It Up" video...with or without the 'stache. Vaughan will be with blues singer Lou Ann Barton, and opening the night will be a set by gospel/bluegrass/country up-and-comers Ollabelle. Show starts at 7:30. Tix are $21 in advance and $25 at the gate.
Finally, on Sunday night, July 20, bluegrass Dobro legend Jerry Douglas will be ripping sounds from his steel-stringed beast at Boarding House Park along with his backup band from Nashville. His show starts at 7:30. Tix are $16 in advance and $20 at the gate. Douglas has lent his trademark slide sound to more than 1,500 albums, and he's also a key player in Union Station, the backup band for Alison Krauss. In true Southern fashion, Douglas is a likable, down-to-earth guy, as I discovered in my interview with him for this week's Lowell Sun Nightlife article. ]]>
It isn’t very often that a musician needs a searchable database to find albums they’ve played on.
It’s a little crazy, isn’t it?
How far in advance do people have to contact you if they want you to record with them? Are you booked up for months?
Most of that work was done on a recording schedule. Here we do sessions as early as 10 o’clock. There’s a session that goes 10-1, then 2-5 and 6-9. I stopped doing the six o’clock sessions first, then I pretty much quit doing all of them. I still do some sessions, but there aren’t as many as there were at one time, just because if I did sessions and traveled, I wouldn’t see anyone ever.
So you don’t do much session work, but are you still appearing on albums?
Oh yeah. I’m still doing records. I’m just picky.
I guess you have the chance to be, which is good.
I did it for a long time. The whole session scene here in Nashville isn’t what it was five or six years ago anyway. There are fewer labels, there are fewer deals, and fewer artists, really. Mostly it comes down to those deals that were development deals for a lot of people, which ended up being masters and becoming records. Those just don’t happen as much anymore.
Isn’t it amazing what’s happened in Nashville? I can’t believe how much it has grown, especially the music community there.
It’s very political, too. It’s completely different than it was 20 years ago, when it was just going day and night. There were people that would go in and play all night long. It was like a big factory, much like Lowell [laughs].
Do you ever have to turn people away? Just, “sorry – can’t do it?”
Yes. All the time. Mostly “no’s” from me. Even friends, and people I used to record with all the time. They just think I’ll come right on over, but I just can’t do it anymore. I’m not trying to keep it all to myself or anything like that, I just have to draw a line somewhere and set a precedent, and back it up. But if something really peaks my interest, I’ll go and do it. Or if it’s my record, or Alison. There are three or four producers in town that I used to work with all the time who, if they call, I’ll check into it and may go do it.
Are there any young up-and-coming artists that you’ve worked with who’ve kept your interest?
Yeah, a few. There’s a guy named Kyle Lenning – he was the producer for Randy Travis – and he and I are producing a guy named James Dupre right now. We’re just sort of developing him, because he’s new to all this, but he’s got a huge following on YouTube. You know, people are getting their music out there in completely different ways now. Record companies aren’t as important as they used to be. If you need a record company, you’re usually an artist that’s already known and just wants to use their facilities, more or less. You don’t want to do all that work yourself. The labels are right there waiting to help you out and take a big cut of your royalties. But if you want, you can do it yourself, and a lot of people are doing it over the Internet, like Radiohead. There are all kinds of avenues to get music out there now that didn’t exist 10 or 15 years ago. That’s what’s really changed the industry. Downloads are where it’s headed. There will always be some sort of merchandise – a CD, or an LP. There will always be some hardware out there, but it’s not going to be as dominant.
What artists that you’ve worked with have had a profound effect on your own music?
A lot of them are good friends of mine who’ve been in touch all along. Guys like James Taylor had a profound effect on everyone, but really had a big effect on me. We’re friends, and when you meet someone like that through the years, where everything you thought about them stands up and holds true, then that just reinforces all of that stuff. He and Paul Simon, and Vince Gill’s a good friend of mine. All these people, all these things you do with them, they all get in there and creep out again somewhere along the line. I’d say James Taylor has probably had the most profound effect on me of anyone I’ve worked with like that. Hopefully something that I did stuck with him, too. That’s what you hope for.
What about when you were growing up? What artists were you really influenced by as you were learning how to play music, and the Dobro in particular?
Because the Dobro was really only involved in country music, and especially bluegrass music, [Lester] Flatt and [Earl] Scruggs was my biggest influence, because they had the best Dobro player of all, Josh Graves, with them. He was the only guy I really had to listen to. Then after him was Mike Auldridge with the Seldom Scene in D.C. Soon after that, I started playing professionally with the Country Gentlemen, and moved to D.C., so I saw Mike Auldridge all the time. We became friends, and I became friends with Josh Graves and Earl Scruggs, which was lucky for me. I just happened to be in this generation of players that got to meet the pioneers, and the people that set the molds. I was really lucky in that regard, but that’s what I was listening to growing up. It was predominantly bluegrass music, and Flatt and Scruggs in particular.
What was it about the Dobro that appealed to you, at least initially?
I guess it’s the possibility of all these notes in sequence, because it’s so vocal. You play with a slide, so you can change notes without stopping a note. There are all these things you can do. It’s like a violin. It’s not a staccato instrument, like a guitar has to be, because you can move the note, and it’s such a vocal, cool-sounding, soulful-sounding instrument. That’s what grabbed my ear.
How did you hook up with Alison [Krauss] initially?
I met Alison when she was 14. Ken Irwin from Rounder Records had signed her. He’d heard her at fiddle contests, and ran into her, and saw a lot of potential there, so he signed her up to his record label and brought her down to Nashville, and was looking for someone to produce her records. He brought her to Bela Fleck’s house, and I was actually moving into the neighborhood that day, and between loads, I stopped at Bela’s house, and Sam Bush and Bela were there. She sang for us, and played for us, and sort of auditioned for us. It was kind of crazy. We saw at that point that she was really talented and was going to go somewhere. So I played on the sessions for the first record, and was pretty much the floor director. Ken ended up producing the record, and he would tell me things and I would tell the musicians what he had in mind, and what Alison had in mind. I was sort of the interpreter of ideas, and I ended up producing a couple of records for her after that. So we’ve been friends since she was 14 years old, and I’ve played on every record she’s made except one. We’ve known each other for more than 20 years at this point – and that dates us both. I started playing with the band ten years ago.
She’s doing great things these days. She and Robert Plant were here in Boston not long ago.
Yeah, I’m glad to see her stretching a little bit. She could have stayed right in one place, but I’ve always pushed her to get out of her comfort zone. I’m proud of her for doing that.
Has playing in Union Station and watching Alison grow and become a better performer had an effect on you as an artist?
Well, in a way, I guess, yeah. When I came into the band, she wanted me to be the emcee of the band, because the guy who had left – Adam Steffy – had done that. Alison really just kind of sang and played the fiddle, but didn’t really speak that much. But I said, “I think they want to hear what you have to say. I think your stature demands that you speak out a little bit more.” So I kind of forced her hand there a little bit, and she started talking, and she was interesting, and funny, and goofy, and just developed this stage patter that she’s got, and it works for her. It lets the people know a little bit more about her, and feel like they get to know her a little bit better before they leave there, and that’s all any of us try to do.
It’s a lot easier to just stand in the background and not say anything, or pretend that you’re funny and feed lines to the person up front. You may be really witty, but if it’s not your voice, no one’s going to really know how you feel. When I’m fronting my own band, I’m the guy up there talking. It really puts another weight on your shoulders, and pulls something more out of you. It’s a little harder than just standing around playing. It develops your personality a little bit more. I think we all do that. It gives you a chance to show people that there’s a little more to you – that you’re not quite so shallow.
What’s it like being a producer on a recording versus being a musician? How do the two overlap?
One of the jobs of the producer is to find songs. The major issue there is finding songs for the artist, if it’s not yourself, or writing, or getting with the artist and writing. Usually it’s finding songs from other places and bringing them in – songs that you think will fit the artist, and that the artist likes. You set up the recording sessions, you hire the musicians, and you make sure the bills are being paid. But it’s more like being the director of a movie. Producer is sort of a misleading term. I don’t know how that got started, but I guess it just sounded better than a “record director.” You’re sort of molding and manipulating the picture. That’s what you’re doing.
You’re doing some festival dates this summer. What kind of backup band will you have for these dates?
I’ve had the same band for two or three years now. I just switched drummers. I have drums, bass, guitar and fiddle, and that all changes depending on the song. It may be electric, and it may be acoustic. So these guys can cover all those things, and Luke Bulla who plays the fiddle is a wonderful singer, so we’ve got a lot of songs in the set, too. They’re not all instrumental. I sing some with him. It’s fun. It’s good, and these guys can really play. They’re wonderful players. They push me, and that’s why they’re here.
I read that you’ll be the Country Hall of Fame artist in residence this year.
That’s happening in August and September. The dates are August 19, August 27, September 16, and September 30. The first date is a record release – I have a new record called Glide that will be out on August 19. That’ll be the record release show – Travis Tritt will be there with me, and Earl Scruggs, and Rodney Crowell. Travis and Rodney both sang songs on the album, and Earl played on the record a little bit. My band will be there. We’ll do the record, and throw in some extra stuff, too. That’s the first of the shows.
Who else has been picked in the past?
I’m the sixth person they’ve picked – Earl Scruggs, Tom T. Hall, Kris Kristofferson was last year. It’s pretty heady company. There have been six people who have been Artists in Residence. They really started this program after they opened the new permanent Country Music Hall of Fame and Museum in downtown Nashville. It’s a beautiful building, and a really nice hall. The Ford Theater is where we do the concerts. There are not a lot of seats, but I want these shows to be special, so I’m calling in a lot of people. The second one will be with Bela, and Sam, and Edgar Meyer, and Bryan Sutton, and we’ll do that crazy stuff that we play, and have fun. The third and fourth shows will be with a big wish list of guests that I’ve sent out feelers for. Alison’s going to do it, and maybe James Taylor, and Paul Simon. I’m gonna’ ask. I just want it to be something that follows my career, and people who’ve had something to do with my career. Just music that I can bring that maybe no one else can bring. That’s the idea.
Any other big projects in the works?
The record coming out is a big deal, and that’s taking a lot of my time right now. The summer touring goes without saying. We’re going to Vancouver next week, doing festivals in Canada – a big folk festival in Edmonton, a blues festival in Ottawa, I’m playing at Rocky Grass out in Colorado with Edgar and Sam, and the big Aspen Folk Festival with Widespread Panic, and John Fogerty, and a whole lot of people like that. It’s a crazy year, but not extremely hardcore, every night playing, which I’ll get to again next year, probably. This year is sort of like the scenic tour, which will be nice. I’m looking forward to the summer – nice and cool.]]>
An Interview with Emily Saliers from Indigo Girlstag:www.thesunblog.com,2008:/audiofloss//17.31002008-07-10T23:40:04Z2008-07-11T00:49:41ZAmy Ray and Emily Saliers have been making beautiful music together as the Indigo Girls for 20 years or so, and thanks to their contributions to the female folk movement of the late 80s and early 90s, female artists are much more prevalent and respected in the industry these days. The duo will be performing this Friday, July 11, at Boarding House Park as part of the Lowell Summer Music Series. I got to interview Emily Saliers recently about all things Indigo.Mill City Madmanhttp://www.thesunblog.com/audiofloss
Well, it's week 3 of the Lowell Summer Music Series, and the ladies are taking over. On Saturday night, July 12, three-time Grammy winner Lucinda Williams brings her country-tinged R&B sound to Boarding House Park. Although she's been around for almost 30 years, Williams has a less-than-prolific track record, releasing only 8 albums in that span. It was her 1998 album Car Wheels on a Gravel Road that put her on the map, and her three albums since have all been well-received critically. She'll most likely premiere some new songs this weekend from her next album, due later this year. I saw her 7 or 8 years ago in Memphis (the Essence tour) at an outdoor festival, and the music was perfect for the setting. No doubt that will be the case on Saturday as well. The show starts at 7:30 p.m., and tickets are $30 in advance, $35 at the gate.
First up, though, is an evening with Emily Saliers and Amy Ray, also known as the folk-rock duo Indigo Girls, on Friday night, July 11. After taking things in a new direction on their last album, Despite Our Differences, courtesy of production maestro Mitchell Froom, Ray and Saliers inexplicably found themselves dumped by their brand new label Hollywood Records, even though it was only the first album in their five-album contract (gotta' love those major labels!). It doesn't sound like it phased our fearless heroines too badly, though, as they funded their new album, due in early 2009, themselves. For this week's Lowell Sun Nightlife article, I had the pleasure of interviewing Saliers about what's going on in the Indigo world.
]]>
You and Amy have played in Lowell a few times. What do you remember most about your past shows here?
I just like the venue there, because it’s this little square where people can sit. Obviously it’s outside, and it’s really laid back. There’s this nice room adjacent to the stage – this is behind the scenes, obviously. We always have friends there with us, and the catering is always amazing there, and we always have a nice friendly time, and we go out and play, and it’s just a nice, cool vibe.
You guys obviously play a lot of outdoor venues. How does Boarding House Park compare with those?
It’s smaller, which is intimate, and that’s really cool. It’s a good summer feeling. I love touring in the summer, because everyone’s in a good mood and sort of takes the weather with a grain of salt.
Especially in New England. Everyone loves the summers, because they’re too short.
I know. You can feel that when you’re there. We’re from the South, so we get a long summer, but you can really feel that, especially up in New England.
You and Amy have quite a music history together. What do you think drives the longevity in your careers and your music?
I think there are lots of reasons. Starting at the beginning, we’ve known each other since elementary school. We grew up together. We literally went to school together, we ended up graduating from the same college, so the proximity of our lives has always been close. Our families know each other. We’ve been through each other’s life’s milestones. So there’s that, but also creatively speaking, Amy brings her own thing to the group, and I bring mine. From the very beginning, we just had different places that fit together. She had a lower voice, and she was more of a rocker, a strummer. I had a higher voice and was more of a picker. Just the differences – we’re a yin-yang band. We work really well together, we have respect for each other, and we’re like sisters. Beyond that, we have very strong individual lives that have nothing to do with Indigo Girls. She’s getting ready to release her third solo record, and I’m in the food business. I own a restaurant. So not all our eggs are in the Indigo Girls basket, so when we come back together, it’s really exciting and fresh. Plus we have the greatest fans in the world. They’re just amazing. We don’t have to count on radio play or lots of record sales. We can just keep going out and touring. We get their support, and we don’t take it for granted.
Unlike a lot of your contemporaries, you guys really seem to be interested in trying a lot of new things with your music. I’m such a big fan of [producer] Mitchell Froom and his work. What was it like working with him, and what effect do you think he had on your latest album?
We just finished a new record with him. He produced our latest record, which doesn’t come out until next February. Mitchell is a consummate musician. He’s got perfect pitch. He’s really a throwback to the old days, where record companies would hire an arranger. You’d have your A&R person, and then you’d have an arranger who would work with the songs, and that’s what Mitchell does. Early on in the process, when Amy and I are practicing and arranging, we actually send MP3s to him, and he adds his input. That’s the first time we’ve ever done that with a producer. He’s just really good at bringing out the essence of a song. He doesn’t like to muck things up. He doesn’t like to add things just to add them. He likes to capture a moment. He doesn’t like to belabor things. He’s that kind of producer, and for us, it’s perfect.
With that album due next February, did you take a similar approach in recording it, or is there anything new that you tried with it?
The new record was done really quickly. We recorded it all in three weeks. We did ten tracks with bass and drums in four days, because Matt Chamberlain was playing drums, and he only had four days. So it was really, really fast, and we made decisions as we went along, rather than saying, “Well, we’ll decide on this later,” or “we’ll come back to it.” This kept it really fresh and exciting for us, and at the end of three weeks, we hadn’t even listened to the songs that we’d done two weeks before. So we were just like, “Wow, we just made a record. How did we do that?” sort of thing.
Is that the first time you’ve done that?
Yeah – first time.
So what effect do you think it had on the music?
I think there’s an immediacy about it. I think we did this with the last record. We did it more quickly than we’d done any record previously, but even with that, we took more time than with this one. It’s hard to articulate, but there’s just something exciting about when you make a decision creatively as you go along. You’re capturing that moment – the inspiration, and performance – and you’re sticking with it. And I think there’s something to be said for that. Mitchell played keyboards on most of the songs, if not all of them. So he was part of the band, and that was something new for us. And fans who know our music will definitely hear his input, and appreciate it, because he’s such a really good keyboard player, with cool sounds and gear.
Exactly. That’s what I love about his music. He’s got that certain touch – there’s certain little added things in there.
Yeah, totally. He’s got the ear for it. He doesn’t just dump things on a track. David Boucher, the engineer who did our last record as well, is just great at getting songs. He’s very in your face. And also for this record, we did the band versions of the songs, but also Amy and I recorded them all acoustically just sitting around mic’s with acoustic guitars, or mandolins, or whatever. So we’re going to release a double experience for the fans – one will be the band, and one will be just me and Amy.
Was it recorded at Mitchell’s house again?
No. We wanted to work in Atlanta, and he was very gracious, because he doesn’t really like to work in other places. But he came to Atlanta – they both did – and that was another reason why we wanted to get it done fast. Now they’re back in Santa Monica mixing it.
That’s great news. Changing gears a little bit - with your history of political activism, and this being a critical election year, I assume you guys are doing some sort of promotion of the election, voting, etc. on this tour?
We’re working with different groups like the League of Women Voters, or other groups that are registering people to vote and educating them about how to get other people to vote. It’s just sort of a grassroots campaign to register and spread the importance of taking part in this political process. So at the shows, we have tables set up with those groups represented. If fans have not registered, then they can register, or if they want to get involved in canvassing, or making phone calls, or just getting other people out there to vote, they can also do that. At some shows, there have been as many as 50 people registering. For us, in a small venue, that’s a really cool thing, and that’s what we’re really focusing on this summer.
So that’s your main cause this summer?
It is. There are always other groups that are present for us, like Amnesty International is out a lot with us. It’s important to have those groups present. Also the group that we helped start called Honor the Earth, that works with indigenous issues, particularly environmental issues. Those groups are always present with us.
Thankfully, you both have a passion for a variety of political causes. Is this something that you think all popular artists should be doing?
I think it’s up to the person or the group. I don’t think there’s a judgment involved with it. I believe that everybody should want to be involved, just because we’re all parts of various communities, and ultimately one community, and we all have to work it out together, so if nothing else, dialogue is important. Amy and I just discovered early on how really easy it was to network, and set up benefits, and there’s something about marrying music and activism that really deepens the whole music experience. People love getting involved together, and helping to make change. It’s just a positive thing. Artists, fortunately or unfortunately, have a lot of influence, so I’d like to see many people become involved, but you have to be involved from a place of motivation. Your heart has to be committed to it.
You and Amy have worked with a lot of younger female artists, like Brandi Carlisle and Pink. What sort of difference do you see in today’s young artists versus back in the 80s when the two of you were starting out?
I think with Pink and Brandi, they’re exercising their autonomy in a way that particularly women couldn’t early on. I still think it’s a male-dominated business, and particularly so historically. There were only certain roles that women could fit into until the riot grrrl movement came along, for example. Brandi and Pink both signed to a major label, but they call their own shots. Pink’s latest record is different from her record two or three albums ago. We know Brandi – we’re friends with her – so we know that she does what she wants to do creatively. These are very strong, very creatively-involved-in-their-own-music women with a vision. It’s inspiring. Amy and I have been around so long that eventually you start hanging out with younger artists. You get on up there in years, and you get inspired by younger artists.
Have you two made any changes in your own tactics in this new Web 2.0 age?
We’re independent now. We’re no longer signed to a label. So we try as hard as possible to keep the web site updated, to make as much use of the technology as possible. We did low budget videos that were broadcast on YouTube rather than spending tons of money for something that will never get played…just a waste of money. We’re just out there brainstorming, and trying to be in touch with people who are on the sharper edge of that curve to help educate us on how we can best make use of technology, to not only be creative but to remind people that the music’s out there and available. It’s exciting.
You mentioned you’re no longer on a label. What kind of changes have you had to make as a result of that?
The first change was making the record quickly, expediently. Budget comes to mind. Fortunately, we have great people like Mitchell who are willing to work with us. After that, everything is in house. We’ll hire an independent publicist, and we’ll hire a radio promotion person, and we’ll hire people to help us with marketing – just tactical decisions. We have to sign a deal with a distributor to make sure a record gets out there. So the onus is on you, but in a way it’s liberating, because you’re not counting on a middle man or woman to help you try to get things going. If they’re not motivated, or they’re caught in a different machine, and they get in the way of you getting your stuff out there, that’s really frustrating. So now it’s just all on us. It’s very exciting.
So what’s in store for your fans over the next six months?
We’ll tour through the third week of July, then we’re going to tour in September and October. Amy’s solo record comes out August 5. She’s going to be touring in October and November. We’ll probably be pre-releasing things from the new record. We just have to decide on that – stuff that will be available on the web site. We’re just going to get ready to release and start the cycle again. But we’re really committed to keeping fans up to date on the web site with what’s going on with the tour. Amy’s been shooting a lot of footage. She’s going to edit that together. We’ll have that available for people to check out on the web site. That’s the portal into the Indigo World.
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Martha Wainwright at the Firehousetag:www.thesunblog.com,2008:/audiofloss//17.30992008-07-10T02:15:27Z2008-07-10T02:35:43ZMartha Wainwright is going to be famous. She's already got a cult following, but if you're one of the 125 or so people who get to see her at the Firehouse Center for the Arts in Newburyport on Friday night, July 11, you'll have something to brag about one of these days.Mill City Madmanhttp://www.thesunblog.com/audiofloss
Wow - I'm actually glad that I'm down in Florida this week, so I don't have to decide which shows I'm going to see in town. As if there isn't enough going on already this weekend, Martha Wainwright is going to be at the Firehouse Center for the Arts in Newburyport on Friday night, July 11. To those not hip to this future starlet, she is the sister of Rufus Wainwright (one of my favorite performers), which means she's the daughter of Loudon Wainwright III and Kate McGarrigle, both amazing performers in their own right.
Martha is a singer/songwriter, more known for her live performances than her recordings, and with a voice that elicits chills. Her new album, I Know You're Married But I've Got Feelings Too, is getting great reviews, and the Firehouse's intimate setting is the perfect venue for her show. I've never seen her solo, but I've had the chance to see her with bro Rufus, and their live version of his beautiful song "One Man Guy" was breathtaking.
If you're within 20 miles of Newburyport on Friday night, drop in and see Martha Wainwright live. It'll be a beautiful thing. The show starts at 8 p.m., and tickets are $25.
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Legendary music weekend at Hampton Beachtag:www.thesunblog.com,2008:/audiofloss//17.30982008-07-10T01:41:14Z2008-07-10T02:08:53ZGeorge Clinton and Brian Wilson will be at the Hampton Beach Casino Ballroom this weekend, so don't miss out on the action. Unfortunately, they aren't performing together, or even on the same night, but never rule out a possible collaboration. "Surf's Up for the Downstroke," anyone?Mill City Madmanhttp://www.thesunblog.com/audiofloss
Well, the ladies may be owning the stage at Boarding House Park this weekend, but bookending the Lowell Summer Music Series will be performances from two music legends up at Hampton Beach Casino. On Thursday, July 10, the Godfather of Funk himself, George Clinton, will be tearing it up with Parliament Funkadelic in the Casino Ballroom. The two times I've seen this outfit were non-stop parties, with one ten-minute funk epic following another and barely a second to breathe in between. The show starts at 8 p.m. and tickets are $27.
On Sunday, July 13, legendary Beach Boy Brian Wilson will be back in town, hopefully bringing some of his infamous summer sounds with him. This show is being billed as "an intimate evening with," which, given Wilson's personal history, sounds a little threatening, but let's just hope it means a night of warm, smile-inducing tuneage. That show starts at 8 p.m. Tickets are $80 (Gold), $50 (Reserved), and $35 (General Admission).]]>
Jammin' in Manch Vegastag:www.thesunblog.com,2008:/audiofloss//17.30902008-07-08T04:03:00Z2008-07-08T04:38:56ZIn the mood for some great music to go with your Thursday night sunset? Then head up to Manchester, N.H., any Thursday in July for their "Thursday Night Live" summer concert series. It's a nice change of pace from the Lowell Summer Music (more importantly, it's on Thursdays, which means it likely won't interfere with your weekend night marathon dance sessions on the Boarding House Park grass). Oh, and Rush is in town this Friday night, July 11.Mill City Madmanhttp://www.thesunblog.com/audiofloss
Summer music is in full swing, as evidenced by the slew of concert series that have been popping up lately. One of the latest is Manchester, New Hampshire's "Thursday Night Live" Summer Concert Series, which will be held every Thursday night (duh!) in July at 7 p.m. at Veterans Park downtown. Even better, these shows are all FREE!
The Palace Festival Orchestra, led by conductor Robert C. Babb, kick things off this Thursday, July 10, while bluegrass/blues/country quartet Ollabelle bring their unique combination of traditional sounds to the stage on July 17. I saw these guys at the Newport Folk Festival several years back, and I was thoroughly impressed, mainly with their haunting harmonies.
The fun continues on July 24 with Martha’s Vineyard jam band Entrain, and rounding things out will be Latin rock renegades deSol. I’ve seen these guys several times, and they always bring a rump-shaking party.
If the Lowell Summer Music Series just isn’t giving you enough, then hit Manchester on Thursday nights this month to fill in the gaps. Any of these bands are worth the trip up.
Speaking of Manch Vegas, the Great White North's original prog rock power trio, Rush, will be at the Verizon Wireless Arena this Friday night, July 11, bringing a slew of classic rock hits to a venue sure to be packed with pony-tailed dudes and their music-nerd friends (or reluctant significant others). I saw Geddy and co. - for the first time, I'm ashamed to say - at the Garden in Boston five years ago, and all I can say is I would probably be up in Manchester this weekend if I wasn't out of town for business.
So if the Indigo Girls in Lowell ain't your cup of tea (and if you're interested in Rush, they most certainly aren't), then head up to Manchester and relive the days of your youth, when you had more than enough time to study every awe-inspiring lyric and sci-fi themed album cover you could get your hands on.
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An Interview with Daryl Halltag:www.thesunblog.com,2008:/audiofloss//17.30792008-07-03T13:58:00Z2008-07-03T14:19:51ZDaryl Hall is playing at Boarding House Park tonight, July 3, and I had the chance to interview him for this week's Lowell Sun. Thanks to a new monthly webcast, Hall is staying in touch with his longtime fans and even reaching some younger ones. Gone are the days of the well-groomed coif and the new wave synth's. Tonight's show is going to be good. Mill City Madmanhttp://www.thesunblog.com/audiofloss
Daryl Hall plays Boarding House Park tonight, July 3, and to all you music snobs out there - before you start snickering about Hall & Oates and they're quintessential 80s sound, I'd like to give you a little background. The duo were together for years exploring things like Simon & Garfunkel singer/songwriter fare, organic soul, and even some light funk before finding that magical Top 40 sound that made them the most famous duo in music history (look it up), and now the butt of countless jokes the world over.
Researching their history to prepare for my interview with Hall, I not only discovered some hidden gems in the Hall & Oates library, but I also re-discovered some of their hits that I'd hastily tossed aside over the years simply because I thought I was above them (and because of Oates's 'stache). The truth is, there's some great songwriting underneath that electronic 80s sheen.
And Mr. Hall has brought things full circle with a new monthly live webcast called Live from Daryl's House, which strips down those hits and lesser known gems from the 70s and 80s and presents them in an acoustic fashion, recorded live in any one of Hall's houses, which he buys and restores himself (I think he owns like the oldest house in Maine or something). The guy also calls some of his old music pals, like Nick Lowe, and even some up-and-comers, to join him, which has yielded some pretty impressive results.
All this and more is in the article I wrote for this week's Lowell Sun, and included here is my full interview with Hall. I'm actually excited about seeing the guy tonight, not to mention an opening set by local soul queen Jen Kearney and her Lost Onion. Join me if you like to think you have an open mind for music.
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So, what’s it like to be one-half of the most successful duo in music history? Did you and John set a goal to steal the title from Simon & Garfunkel, or did that just kind of happen?
No, I never set any goals. In the artistic world, goals are sort of meaningless. This is just something that has happened in my career. I’m really happy to have had that kind of an impact on people.
If you had to pinpoint a reason why you think the two of you have been so successful, what do you think it would be?
Well, I think the subjects that we write about are really things that people obviously relate to. We’re Philadelphia-based in our sound because we grew up there. We’re very regional musicians in that respect, and I think people respond to that kind of melodic soulful thing, along with the kind of lyrics we write. That’s the best I can say. It’s something that touches the heart of people all over the world.
You’re touring on your own this summer, and it looks like Lowell will be your first gig in a few months. Will you have a backup band?
I have a band. A lot of these guys also played with Hall & Oates, and it’s basically my Live from Darryl’s House band.
What’s it like performing solo vs. with John. Does it feel like something’s missing there?
No, not at all. It’s just a different thing. I work in a lot of different contexts, and one thing about my relationship with John is that we’ve always been very separate people as well as together. We don’t depend on each other. We’re thrown together because of our history and because we’re friends, but we work very effectively separately as well as together.
You’re playing a lot of outdoor venues this summer. Does that require a little bit different preparation?
No, not really. What I’m doing is taking Live from Daryl’s House onto the stage. To me, the stage is my house, too, so that’s perfectly natural for me. It’s that kind of thing. Whatever you’re seeing on my internet show is what you’re going to see on stage. That’s the kind of thing you can do literally in my living room or do in front of any number of people. It doesn’t make any difference.
Tell me a little about the origins of Live from Daryl’s House.
It’s just an idea that I had brewing in my head over a few years. I was trying to think of a new way to reach people – something that went beyond just playing live in front of people and having the traditional audience thing going on. It was something that was very much of the Internet, that had the freedom the old ways didn’t allow – the fact that you had to go on radio and do all these different things. It breaks all that away, and I wanted it to deconstruct the whole idea of a live performance, and make the audience literally in the room, and be part of the process. So that was the thought that I had, and it just sort of fell together that way. I have the ability to call any number of people and ask them to be guests on my show. That’s something that I think adds a really interesting element to the whole thing.
Once you had the idea fleshed out, how difficult was it to make it?
It’s not that hard to pull off. I got very lucky in that I found a really good director/editor. Editing is a really important part of this, because we don’t do it in real time, and we edit all these things together so that it really gives you this feeling. It’s something beyond performance, and it requires a very fixed vision. I’m very strong about what I want to do, and I have a director that I don’t have to argue with. He does what I want him to do, and that’s unusual with directors, I promise you.
Outside of being able to work with a lot of great artists, what other rewards have you been given courtesy of Live from Daryl’s House.
When you’re interacting with other people, there are all these happy accidents that happen. I play my songs differently all the time – they evolve. But when you put it in another situation, with one or two guests, suddenly the song takes a completely different turn. This happens over and over with us, and we really enjoy it as musicians. It’s something we can take away from Daryl’s House and use in our live performances, both in what I do and with Hall & Oates. It helps the songs to evolve even more, and makes them more interesting.
How do you decide who you’d like to perform on the show with? Do you just keep your ears open for people that appeal to you?
That’s exactly it. I just keep my ears open. I have a unique, in some respects, ability to go in two different directions. I can call people who are veterans in the business – people who’ve been around longer than me. I could call Bob Dylan if I wanted to. But at the same time, I could call a guy that’s an unsigned, brand new artist that I happened to see on YouTube and decided that he’s great. I can go either way, and the scope of it is really unlimited.
How difficult is it to put together a performance with someone who’s expressed interest?
The hardest thing is getting scheduling together. Any successful artist is working all the time, and so am I. So you have to coordinate. But other than that, it’s really very spontaneous. We are at the point now where we rehearse the song, and we play the song. It all happens at once. So you’re getting the initial energy of the performance right on camera.
Any future artists that you’d like to share?
I don’t like to talk about the future ones, but I just did one with Chromeo that’s really interesting. That was a lot of fun – just did it yesterday. And I also did one with a guy who – and this is an example of what I was talking about – a guy named Monte Montgomery, who’s an unknown person, but is an unbelievable singer and guitar player. I saw him on YouTube, and I brought him on the show, and it was one of the best shows, if not the best show, I’ve ever done.
Any other big projects in the works?Daryl’s House is a pretty big project in itself. I have a solo album that I’m going to start working on, and the occasional dates with John. My dance card is filled.]]>
The Fifth of Julytag:www.thesunblog.com,2008:/audiofloss//17.30782008-07-02T21:29:25Z2008-07-02T21:36:11ZWho knew the day after Independence Day could possibly outshine the magnitude of celebrating our nation's heritage! This Saturday, it will come close, as tickets go on sale for Andrew Bird later this year and the Tupelo Music Hall hosts Shelby Lynne. Who needs fireworks when these people are in town?!?Mill City Madmanhttp://www.thesunblog.com/audiofloss
Ah, the wonderful Fifth of July. That day after the Fourth, when you’re all fireworked up and ready to see a great live show…or at least buy some tickets to one later in the year. It turns out those of us in the Merrimack Valley will have the chance to do both this Saturday.
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Andrew Bird at the Music Hall in Portsmouth. The show will take place on Wednesday, October 8 (autumn shows already???), and this pre-sale is for Music Hall members only. General public sales will start on Saturday, July 19.
An Andrew Bird show is difficult to describe, but it’s nothing short of mesmerizing. My wife and I caught him in a club in Providence three years ago and couldn’t stop marveling at it.
Armed with his trusty violin, a guitar, a glockenspiel, and a sampler, this former Squirrel Nut Zipper single-handedly builds layers of sounds by sampling sequences played on each instrument, then sings – and sometimes whistles(!) – over them. His unique compositional approach makes every show a different experience.
On record, his genre-hopping music style, distinct vocals (somewhere between Thom Yorke and Rufus Wainwright), and songwriting prowess put him in a category all his own – in a live setting, even more so. Any of his albums are worth owning, but my personal favorite is an older one – The Swimming Hour, by Andrew Bird’s Bowl of Fire.
Later on Saturday night, the Fifth of July heats up at the Tupelo Music Hall in Londonderry, N.H., with a live show by Shelby Lynne, an alt-country hottie who won the Grammy for Best New Artist – even though she’d been recording for more than 10 years at the time – back in 2000 on the strength of her breakthrough album, I Am Shelby Lynne (definitely worth owning).
Due to her ability to incorporate a whole lot more than country into her sound – blues, soul, and jazz come to mind immediately – Lynne has always been difficult to categorize and has never found the commercial success she deserves. Nevertheless, her releases always please the critics, and I hear her tribute to Dusty Springfield, Just a Little Lovin’, released earlier this year, has some seriously kickass re-arrangements.
No doubt Lynne will put on a great show for those lucky enough to see her in the Tupelo Hall’s intimate setting. Good stuff. ]]>
MFA Concerts in the Courtyardtag:www.thesunblog.com,2008:/audiofloss//17.30762008-07-02T12:35:03Z2008-07-02T12:46:23ZThe Concerts in the Courtyard series at the MFA in Boston is top-notch entertainment in an intimate outdoor setting and with some of the most talented up-and-comers around. This season sounds especially appealing, thanks to shows by Beth Orton (July 2), Dengue Fever (July 9), and Grizzly Bear (August 4). Mill City Madmanhttp://www.thesunblog.com/audiofloss
Okay, I know the Museum of Fine Arts in Boston isn’t exactly in the neighborhood, but based on the shows I’ve enjoyed there, the Courtyard outdoor performance space in the center of the museum is to smaller outdoor venues what Boarding House Park is to larger outdoor venues – more intimate, better organized, and an all around better time…which makes it worth detailing this season's MFA Concerts in the Courtyard.
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The Night James Brown Saved Boston, which will be showing at the museum on August 8, 9, 10, 17, and 20.
Over the last couple of years, the MFA (both the Courtyard and the Remis Auditorium) has become one of my favorite venues to see music in Boston, mainly because of the well-organized events and the true respect the audience pays to the performers, regardless of their age or the type of music they play. Or maybe it's because I'm getting to old to stand on aching legs at the Middle East until 2 in the morning. I can assure you that the MFA venues are the antithesis of this.
Concerts in the Courtyard shows usually begin at 7:30 (except for nights with dual shows), and ticket prices are normally $20 for MFA members, seniors, and students, and $25 for the general public.
www.mfa.org
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Lowell Summer Music Series - Week 2tag:www.thesunblog.com,2008:/audiofloss//17.30702008-07-01T12:40:10Z2008-07-01T12:59:57ZMore Lowell Summer Music fun this week with Daryl Hall (Thursday, July 3) and Assembly of Dust (Saturday, July 5) at Boarding House Park. Take advantage.Mill City Madmanhttp://www.thesunblog.com/audiofloss
Well, I didn't make it to Richard Thompson on Saturday night - I was out at Tanglewood watching the live broadcast of Garrison Keillor's A Prairie Home Companion (featuring great bluegrass and gospel music by the Del McCoury Band!) - but I hear the performance was one for the record books, and that Madame Nature had mercy on everyone. Unfortunately, the lawn dwellers at Tanglewood with their high-falutin' picnic spreads weren't so lucky.
So here we are at week two, and Daryl Hall is going to be bringing his blue-eyed soul to town on Thursday night, July 3, to start the holiday weekend off right. For those of you who don't know it, Hall has a new webcast called Live from Daryl's House, and it is actually a pretty cool setup. He plays acoustic arrangements of his hits (and some lesser-known gems) and also teams up with up-and-comers so's to reach out to the young 'uns. It's good stuff, and I'm pretty excited about seeing him live. I did an artist spotlight on Hall for this week's Lowell Sun, and I'll post that interview right here on Thursday. In the meantime, pick up a ticket for Thursday's show if you don't already have plans.
On Saturday night, July 5, New York jam band Assembly of Dust will be dropping their "hick funk" (their words, not mine) on unsuspecting Lowellians. AOD were formed in 2002 after Reid Genauer left Vermont-based Strangefolk and hooked up with some funk and jazz cats in upstate NY.
It's a great summer of music in Lowell thanks to the Summer Music Series. So go see some shows before the summer goes.
www.lowellsummermusic.org
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