Upcoming & new releases: Marc Cohn, Scissor Sisters, Tommy Keene

Photo: Tommy Keene You Hear Me: Retrospective 1983-2009 is coming in July

I am still in the midst of listening to the many great releases I've received over the last couple of months, but I wanted to share some of the highlights of my inbox regarding upcoming releases. Also check out the Music Worth Buying site to read my review of the "Stones in Exile" DVD released by Eagle Vision Entertainment on June 22. If you are a fan of The Rolling Stones, grab this DVD asap.

Marc Cohn launches Listening Booth: 1970 with appearances on 'Good Morning America,' 'Nightline,' 'Mountain Stage' and more

Fairfax, VA (June 28, 2010) --- Grammy winner Marc Cohn releases his newest album, Listening Booth: 1970, on July 20, 2010 amidst a series of performances on television and national radio shows with additional support from Starbucks, which is stocking the CD in its stores across the country. Starting with an appearance on Good Morning America on July 22, Marc will perform on syndicated radio shows "Mountain Stage" and "Acoustic Café," as well as the nationally syndicated television shows "Daytime," "Better TV" and the WGN MidDay News through August. Marc will also be profiled during Nightline’s Playlist segment next month. In addition to Starbucks, Listening Booth: 1970 will be available at all major retail outlets, iTunes and Amazon.com via Saguaro Road Records.



“I couldn’t imagine how Marc and John Leventhal were going to tie the songs together given the wide variety of artists”, commented Mike Jason, Saguaro Road Senior Vice President, Retail. “Thankfully they did—warm, intimate, and drenched in laid back soul.”



Listening Booth: 1970 was recorded in the spirit of Bonnie Raitt's Nick of Time and Alison Krauss/Robert Plant's Raising Sand, where brilliant songwriters took on songs created by others and meticulously deconstructed them until they re-emerged as if they always belonged to them. The result is warmly familiar yet entirely fresh, with Marc’s vocals strikingly bare and placed thoughtfully into austere arrangements. “I’m singing in a different place in my voice on this record” explains Cohn. “It was ultimately extremely liberating to just be the singer, not the songwriter, and to try to find the most interesting, unforced way to approach what we already knew were such beautifully written songs.” Marc collaborated with producer John Leventhal (Roseanne Cash, Shawn Colvin) throughout the recording process and invited in India.Irie, Aimee Mann, Jim Lauderdale and Kristina Train for additional vocals.


Listening Booth: 1970 also stands as a remarkable testament to the groundbreaking songwriting and vastly different musical styles that emerged that year. From Smokey Robinson's "Tears of a Clown" to Simon and Garfunkel's "Only Living Boy in New York," "The Letter" (made popular by Joe Cocker), Bread’s “Make It With You,” John Lennon’s “Look At Me,” Paul McCartney’s “Maybe I’m Amazed” and Cat Stevens’ “Wild World,” 1970 remains one of the most influential in music even 40 years later, a rare moment in time when a single was as powerful as an LP. “Looking back, it was a pivotal year in music,” says Cohn. “It was not only the golden age of the single, but it was a window into the beginning of the golden age of the album, especially when it came to singer-songwriters. Even while all these deeply personal and poetic records were being released, there was this eclectic mix of pop music on the radio; it was great to be able to explore that range on this record.”

Although Cohn's tour will visit many parts of North America July through October, no Southern California dates were indicated on the press release. I'll let you know in a future post if any local dates are scheduled.

Night Work, Scissor Sisters' first album in nearly four years, is out today

Night Work, the third studio album from Scissor Sisters, was released today (Tuesday, June 29, 2010) by Downtown Records - as accesshollywood.com observed, "just in time for its playful summer sound to inspire romance and fabulousness throughout the nation."



"Three albums in, the Sisters are as gleefully hedonistic as ever," said Rolling Stone while The New York Times hailed the album as "dirty fun." Entertainment Weekly gave it an A-, observing: "New York's disco-new wave party people are in freak mode on their third disc Night Work, dropping crass come-ons and slutty entendres like parade confetti (gay, straight, you name it). The songs are pretty spicy too, mixing Elton John, the Bee Gees, and Depeche Mode in strobe-light heaven." "Scissor Sisters are back with a naughty new album that's a tour de force," said London's Sunday Times while Filter praised it as "a dance album filled to the brim that could make even a corpse twitch."



Spin.com named Night Work one of the "25 Summer Albums That Matter Most" and praised the "deliriously giddy mimics" in an album review. Q awarded the album four stars in a two-page lead review, remarking: "There is nothing cosy or vapid about the Scissor Sisters' good times: their pleasure is a serious business...they translate anxiety into dancefloor electricity." "'Night Work' makes no apologies...this here is the year's most striking reinvention," said NME.



"'Fire With Fire,' channels the band's inner disco ball with amped-up bass lines and a hedonistic spirit," said the New York Post of the album's lead singlewhile Filter called it"a propulsive theatrical ballad." The accompanying video, directed by Philip Andelman (Lenny Kravitz, Beyoncé, John Mayer), premiered onwww.perezhilton.com in the States, The Sun's website in the U.K. and a slew of websites around the world. You can check out the "Fire With Fire" video and the first episode of "sstv," which launches with a tongue-in-cheek television news broadcast, at:



www.scissorsisters.com



Album closer "Invisible Light," which features a spoken-word interlude bySir Ian McKellen,was awarded three-and-a-half stars by Rolling Stone and NPR's "All Things Considered" recently premiered the album's title track.



Scissor Sisters embarked on an extensive worldwide tour earlier this month. The band played the Glastonbury Festival last weekend, where they were joined by special guest Kylie Minogue on "Any Which Way," a track from the new album. They'll headline the iTunes Festival at The Roundhouse in London on July 1st and play festivals in Europe, Australia and Japan thereafter. U.S. tour dates will be announced shortly.



With over seven million albums sold worldwide, Scissor Sisters are, in the words of Rolling Stone "one of the most improbable and endearing success stories of recent years." The band - comprising Jake Shears, Ana Matronic (vocals), Babydaddy (guitar/bass/keyboards) and Del Marquis (guitar) - released its self-titled debut album in 2004. It became the best-selling album in the UK that year and earned the band three BRIT awards in 2005. Stateside, Scissor Sisters performed on "Saturday Night Live" and enjoyed success at pop radio with "Take Your Mama," which was licensed by numerous TV shows. Ta-Dah, released in 2006, debuted at No. 1 on the UK album chart while lead track "I Don't Feel Like Dancin'" simultaneously topped the UK singles chart.


Tommy Keene to release career retrospective on July 13

In 1984, the pop-rock world changed forever, as a six-song platter of pop perfection titled Places That Are Gone (Dolphin) put Tommy Keene onto the CMJ charts and atop the Village Voice EP of the Year poll. Blatantly romantic, unapologetically melodic, bittersweet but absolutely invigorating, it was the sort of record that you could put on before you went out on a Saturday night, or sit around and mope to if you didn’t feel like facing the world. It still stands as a powerful statement, not only establishing Tommy as a unique singer-songwriter, but also as a guitarist with a sound as distinctive as Pete Townshend or Johnny Marr.

From 1983-2009 Keene has released nine albums, four EPs and three Compilations/Live releases including 2009’s critically acclaimed In The Late Bright (Second Motion) which continued to establish Keene as one of the critically acclaimed (and commercially ignored) power-pop singer-songwriters of our time.
For the very first time in his amazing 27 year career, a retrospective of Keene’s finest work can be found in one place. Tommy Keene You Hear Me is a stunning and near perfect collection of tracks that is a must-have for the hard-core fans as well as first-time buyers to introduce them to Keene’s craft.
This 41-song collection of perfectly crafted tunes contains the classics: “Places That Are Gone,” “My Mother Looked Like Marilyn Monroe,” “Love Is A Dangerous Thing,” “Compromise,” “Warren In The ‘60s”, all with glorious melodies, indelible hooks and note-perfect guitar solos ideal for radio. The collection also includes some rare or unreleased tracks such as a T-Bone Burnett/Don Dixon produced “Gold Town”, the unreleased “Don’t Sleep In The Daytime”, a guest appearance co-written by Jules Shear on “When Our Vows Break”, a live version of “Long Time Missing”, acoustic version of “Black & White New York” and cover versions of Lou Reed’s “Kill Your Songs” and the 20/20 cover of “Leaving Your World Behind.”

Tommy himself admits his stuff isn’t groundbreaking. “It’s just fun,” he once said. “It’s good music and good songs.” Uh, yeah.. that’s an understatement
AND Tommy will be touring in September with a full band playing shows that will feature for the very first time the album Songs From The Film preformed in it's entirety along with other selections from the new retrospective!

Sept 8-Milwaukee WI-Shank Hal
Sept 9- Chicago IL-Schuba's
Sept 16-Pittsburgh-Club Cafe
Sept 17-Washington DC-930 Club
Sept 18. Bordentown NJ-The Record Collector
Sept 22-Los Angeles CA-Spaceland
Sept 24- San Francisco CA-The Hemlock Tavern

TRACKLISTING:

CD1
Back To Zero Now
Mr. Roland
Baby Face
Back Again
Safe In The Light
Gold Town
Places That Are Gone
Paper Words and Lies
Kill Your Sons
Call On Me
My Mother Looked Like Marllyn Monroe
Underworld
Astronomy
Run Now
Nothing Can Change You
This Could Be Fiction
Based on Happy Times
When Our Vows Break
Highwire Days
Don’t Sleep In The Daytime
A Way Out

CD2:
Love Is a Dangerous Thing
Driving Into The Sun
Down, Down, Down
No One In This City
Turning On Blue
Your Heart Beats Alone
SIlent Town
Good Thing Going
Compromise
Long Time Missing (Live)
The World Outside
Never Really Been Gone
Big Blue Sky
Black & White New York (Acoustic)
Warren In The 60's
Lives Become Lies
A Secret Life of Stories
Save This Harmony
Tomorrow’s Gone Tonight
Leaving Your World Behind

(go to main Artist page and click on second album image to sample all 2xCD album tracks)

Bonus 10-Track Digital Only Album (exclusive to pre-orders ONLY)

Places That Are Gone (alt mix by Bill Wittman from Songs From The Film
Nothing Is Grey (demo 1982)
Stuck On A Ship (Demo 1983 from Dolphin Places That Are Gone EP)
Fall Down Too (Unreleased track from T-Bone/Don Dixon album recorded July 1984
All Your Love Will Stay (Home Demo 1999)
Eyes of Youth (Home Demo 1999)
Never Really Been Gone (Live in Chicago 1998)
Call One Me (Live at Campbell University NC - 1996)
Compromise (Live at Campbell University NC - 1996)
Love Is A Dangerous Thing / Brad's Boogie (Live at Campbell University NC - 1996)

Gloom resisted; great music in June

I can remember few periods where such a seemingly-endless parade of new original releases, exciting reissues and creative retrospectives have been issued over such a brief span. In fact, I have not been able to keep up with the tons of tune-age being issued by artists deserving of ear time.
So rather than try to write full-length reviews of the great music I’ve been listening to over the past few weeks, I thought I would offer up some brief thoughts and encourage listeners to explore some of these discs (or downloads) on their own.

The month kicked off, conveniently enough, with the June 1 release of Wintersleep’s New Inheritors. Although I didn’t get the album until a few days ago, count me as among those impressed with the Halifax, Canada-based rock troupe. To my ears – and remember I’ve only been living with the dozen-track disc since Monday – the sound of the album recalls recent extraordinary work from Band of Horses, Arcade Fire and Dusty Rhodes & the River Band. There is a blend of celebrative rock and Americana-tinged orchestration that really is intoxicating across the album’s length. I know this is last-minute, but Wintersleep will perform at the Detroit Bar in Costa Mesa at 10 p.m. tonight, Wednesday, June 16.

June 8 marked the commercial release of three fantastic collections: the epic 3-disc Disintegration deluxe edition of The Cure’s 1989 masterpiece, the excellent self-titled release from Grace Potter & the Nocturnals, and shimmering power-pop release from Rooney titled Eureka. All three sets are already among my favorite commercial collections of 2010. And while I have already featured the Grace Potter disc on an episode of “Music Worth Buying,” I plan to showcase the other two sets in future episodes. And of further interest to Orange County-area readers of my blog, Rooney will headline at House of Blues Anaheim on Thursday, June 17.

Mid-way through June, the list of great releases continues to grow. June 15 saw the release of John Mellencamp’s On the Rural Route 7609. No simple retrospective, On the Rural Route 7609 includes four CDs, but comes packaged in an incredible coffee table book that is annotated by music journalist-historian Anthony DeCurtis, and includes countless photos and details about each of the 54 songs (many previously unheard) and lyrics. This is not a simple best-of collection, but rather a unique collectible that sheds a greater glimpse into one of America’s best-known singer-songwriters.

Finally, I want to quickly rewind to an album that came out in May, but I started listening to around the beginning of June. ASIA’s Omega is the creative equal of the legendary group’s excellent 2008 comeback effort “Phoenix.” The supergroup’s chops and accessible songcraft continue to impress me. And when I tell friends to seek out ASIA’s latest two albums, they inevitably ask ‘Who’s in the band?’ It is the original group: singer-bassist John Wetton, guitarist Steve Howe, drummer Carl Palmer and keyboardist Geoffrey Downes. And they still rock.

June gloom? Forget about it.

Jonny Lang rocks the House of Blues in Anaheim

This story was originally posted on the Orange County Register Web site's Soundcheck Blog on Sunday, June 6, 2010.

I’ve seen Jonny Lang a number of times since the mid-’90s, but it didn’t occur to me until he took the stage Saturday night (June 5, 2010) in front of a capacity crowd at House of Blues Anaheim that I had always caught him outdoors at blues festivals. Those appearances were certainly memorable, but having now had this experience, there’s little doubt in my mind that Lang is an artist best seen in an intimate club.

When he performs, whether singing or blazing away on lead guitar, he typically closes his eyes and uses the sound of the music and his own arsenal of talents to galvanize audiences. And at the Mouse House, Lang re-created much of the power featured on his latest Concord Records release (Live at the Ryman, from April), a concert recording boasting potent renditions of his best-known hits and his ever-burgeoning infusion of gospel, soul, R&B, even George Benson-styled jazz touches into his sound.

In “A Quitter Never Wins,” he used the song’s slow blues groove to sing some of his most expressive vocals of the night, trading high-reaching falsetto notes at the far end of his range with extensive lead guitar all in the service of a song focused on the reality of heartbreak.

Another highlight early on Saturday also came from that new live disc: “Bump in the Road” somehow blended Chicago blues with a bit of funk and soul, plus Lang’s rich vocals recalling Michael McDonald. A crowd-pleasing reworking of Stevie Wonder’s “Living for the City” was another welcome addition to the set, allowing several members of his long-time band to stretch out musically as well.

Lang ended his main set with a reworked version of “Lie to Me,” with the 29-year-old Fargo native playing flamenco style for several minutes before his band returned to the stage to segue into the big-rocking version, enhanced by the star’s Joe Cocker-esque vocals and speedy guitar playing.

Opening for Lang was Wichita-based Moreland & Arbuckle, an Americana team mining a mix of Southern rock, Chicago and Delta blues, traditional country and related styles. Guitarist Aaron Moreland and harpist/vocalist Dustin Arbuckle, assisted by fantastic touring drummer Brad Horner, delivered an energetic 45-minute set of mostly original material from their current album Flood. The excellent “Hate to See You Go” was presented as a pedal-to-the-metal Chicago blues with Arbuckle blazing away on his mouth harp, while “Don’t Wake Me” showcased the outfit’s ability to bring fiery Austin-style Texas blues-rock into the fold.

Quick tip for the folks at Omega Events: Moreland & Arbuckle would tear it up on the Backporch Stage at next year’s Doheny Blues Festival.

Photo also by Robert Kinsler, for The Orange County Register.

Jimmy Wayne helping Nashville flood victims

Jimmy Wayne Partners With Bryan Foods To Help Nashville’s Flood Victims

2500 Plus Pounds of Food Donated To Second Harvest

Nashville, TN June 2, 2010 -- Jimmy Wayne and Bryan Foods have partnered to bring more than 2500 pounds of food to Nashville’s hungry, particularly those hard hit by the devastating floods May 1 and 2. While so many remain homeless and without the means to provide food for their families, the donation was a welcome sight to Second Harvest, the organization selected to receive the food, and distribute it to people in need.

“Second Harvest Food Bank of Middle Tennessee is extremely grateful for this wonderful donation from Jimmy Wayne and Bryan Foods,” said Jaynee K. Day, President and CEO of the organization. “Many people in Middle Tennessee have been affected by the recent flooding disaster - the Food Bank has already seen a drastic increase in requests for assistance. This timely donation will provide hope while they rebuild their lives.”

Wayne, who has logged more than 1200 miles on his Meet Me Halfway walk halfway across America, was not in Nashville when the floodwaters hit his city. But his concern for those affected by the flood is great.

“It’s been really hard for me to be away from Nashville during this time,” Wayne said. “Hearing from friends who have suffered immeasurable loss is so difficult. And seeing people who are now homeless just breaks my heart. It’s so weird—I’m on this walk to raise awareness of homeless teens, and right there in my own town, so many people have just lost everything.

“I was thrilled when I found out that Bryan Foods was ready to help out, and so grateful to them that they are working with me to bring some relief to my town.”

Wayne and Bryan Foods recently partnered for another event: the Ultimate Bryan Neighborhood Grill-Out contest. Wayne will perform at an upcoming backyard barbeque for the contest winner, their family and friends.

For more information on Wayne and his Meet Me Halfway initiative, visit jimmywayne.com.

Jack Tempchin coming to Dana Point on June 5

Jack Tempchin is one of the most successful songwriters of the last 30 years. His songwriting credits include Johnny Rivers' “Slow Dancin' (Swayin' to the Music)” and The Eagles' “Already Gone” and “Peaceful Easy Feeling.” Together with Glenn Frey, whom he met in San Diego in the late 1960s before Frey joined The Eagles, Tempchin co-wrote “Smuggler's Blues” and “You Belong to the City” (which later were sampled on records by hip-hop stars Coolio and Jay-Z, respectively).

Tempchin is coming to Dana Point on Saturday, June 5, as part of the Lord of the Strings concert series. He will perform at the Dana Point Community House at 7:30 p.m. Tickets are $20.

Other artists who have recorded songs by Tempchin over the years range from George Jones and Emmylou Harris to Richie Havens and such San Diego-bred artists as The Paladins and former Byrds member Chris Hillman. Songs written or co-written by Tempchin have been featured on the soundtracks of such films as “The Big Lebowski” and “Thelma and Louise.” He also co-wrote the “Seventh Heaven” TV series theme song.

A San Diego native who now splits his time between Encinitas and Los Angeles, Tempchin celebrated his 36th wedding anniversary on Aug. 5 “I always thought of myself as a performer,” Tempchin said. “I didn't think of being a writer until I wrote a bunch of songs and people said: ‘Hey, I'd like to sing that.’ After a while, I thought, ‘Maybe I can be a songwriter.’ ”

In 1967, Tempchin befriended Frey after the future Eagle began playing gigs in Southern California with J.D. Souther. Tempchin invited the duo to crash at his combination “hippie pad and candle factory” in North Park, and he and Frey became fast friends.

Tempchin co-wrote two songs on 2007's “Long Road Out of Eden,” The Eagles' first new studio album since 1979. With two of his earlier songs featured on “Eagles Greatest Hits 1971-1975,” which has sold nearly 30 million copies in the U.S. alone, he could have retired long ago. But his passion for making music continues unabated.

More on Jack Tempchin and his music got to: www.PeacefulEasyFeeling.com.

For reservations and ticket information, call 949-842-2227 or visit www.LordOfTheStringsConcerts.com.

ASIA's 'An Extraordinary Life' to be heard again

ASIA's critically acclaimed single "An Extraordinary Life” chosen to promote hit NBC show 'America's Got Talent'


“OMEGA” OUT NOW ON FRONTIERS

HOLLYWOOD, CA (May 27, 2010) - ASIA's critically acclaimed rock track "An Extraordinary Life," was chosen as the soundtrack for promotional spots announcing the 2010 season of AMERICA'S GOT TALENT. This show is among the most popular entertainment reality shows of all time. Last season the show peaked at the #1 position in overall viewership.



AMERICA’S GOT TALENT producers specifically sought out the rights to use the famed ASIA song, which was written by members John Wetton and Geoff Downes. The track was recorded shortly after Wetton survived open heart surgery, in 2007. The song celebrates "carpe diem": each person's ability to seize each day, living life to the fullest. The promotional spots for America ’s Got Talent featuring “An Extraordinary Life,” begin airing on NBC in prime time, Wednesday, May 26th.



English band ASIA recently released OMEGA, their fifth album since 1982's multi-platinum world best-selling debut, and the third release since reuniting in 2006. The band will launch a new North American tour in August, 2010. The already well-received album OMEGA is distributed by Frontiers Records (www.frontiers.it). EMI released ASIA’s best-selling album Phoenix [under license from Frontiers Record], containing the hit “An Extraordinary Life”. Both albums are available at www.amazon.com and other fine retailers.

(On a related note, ASIA is scheduled to perform at The Grove of Anaheim here in Orange County on Saturday night, Aug. 28, 2010. I definitely plan to attend this show!)

The original members of ASIA are rock n’ roll superstars Geoff Downes (keyboards), Steve Howe (guitars), Carl Palmer (drums) and John Wetton (lead vocals and bass). More about the band can be found at www.originalasia.com .

More standout sets at Doheny Blues Fest

Here is my review of day 2 of the 13th annual Doheny Blues Festival. My review was originally published on the O.C. Register Web site (Soundcheck Blog) on Monday, May 24, 2010.

After catching the majority of the dozen-plus artists who performed Saturday at the first half of the 13th annual Doheny Blues Festival, I returned to Dana Point on Sunday ready for more.

Day 2 delivered a mostly different lineup, though several standouts from Day 1 returned, albeit in changed roles and settings.

Taj Mahal, who turned in a fantastic set Saturday with his Phantom Blues Band on the main stage, kicked things off Sunday morning by fronting his self-named trio on the more intimate Backporch Stage.

The 68-year-old singer-songwriter is a true pioneer, widely recognized as one of the first blues musicians to fuse those roots with sounds from Africa, Hawaii and the Caribbean. While he demonstrated that range of influences with his Saturday set, Mahal’s stripped-down approach on Sunday was focused squarely on the blues, his mighty voice and strong personality making this second performance a winner whether he played guitar, keyboards or banjo. Among the highlights were “TV Mama,” his fretwork sterling throughout the tune, and the playful “Fishin’ Blues.”

Jackie Greene, who had the finest set on Saturday, also performed scaled-back as part of a trio on Sunday. Word must have got out quickly about the power of Greene, because there was the same excitement and capacity-crowd dynamics in the area around the Backporch that greeted Taj Mahal earlier that morning.
Indeed, though Greene performed several songs he had spotlighted the day before, this time the vibe was entirely different. Acoustic renditions of “Gone Wanderin’” and “Uphill Mountain” allowed his voice to shine, while songs such as “Don’t Let the Devil Take Your Mind” in this up-close setting showcased his impressive skills as a songwriter in the tradition of Dylan, Springsteen and Mellencamp.

Kim Wilson was one of the busiest musicians of the weekend, as the harmonica virtuoso led the Fabulous Thunderbirds through a full-length set on Saturday before returning Sunday morning for an hour-long set with Nathan James, as well as a guest appearance with the Otis Taylor Band.

Just as Greene’s Saturday set was one of those captivating appearances fans will remember for years to come, so was Taylor’s performance Sunday afternoon. There was such power to the way he connected with the audience, heightening the encounter with cameos (including Eric Lindell at one point). Taylor is a gifted guitarist, his chops and arrangements enhanced here by the teamwork of fiddler Anne Harris, lead guitarist J.P. Johnson, drummer Larry Thompson, bassist/mandolin player Nick Amodeo and pedal steel whiz Chuck Campbell.

My other favorite performance from Day 2 came from John Németh — backed by his seven-man revue, fully capable of bringing the singer-songwriter-harmonica player’s fusion of soul and traditional R&B to life, he could seemingly do no wrong. Young performers are often afraid to slow things down too much at a fest, lest audiences wander off. Not Németh (pictured above). The audience that crowded around the Renaissance Stage seemed to love soulful ballads like “Why Not Me” as much as more powerful stuff, like the self-explanatory “Funky Feelin’.”

Coming in near the top of the pack was a wonderful appearance from veteran singer Bettye LaVette, featuring some of the sharp covers featured on her new album Interpretations: The British Rock Songbook, due Tuesday. It was refreshing to see the talented singer sit down on stage (not on a chair, but on the stage) to sing a fully reworked blues version of Elton John’s “Don’t Let the Sun Go Down on Me,” then follow that up later in the set with a jaw-dropping version of the Who classic “Love Reign O’er Me,” with LaVette’s incredible voice more than capable of the heavy lifting that song requires.

Surprisingly, the day’s final three performers didn’t impress as much as they should. After watching excellent guitarist and vocalist Duke Robillard jam through a few songs, I wanted to make sure I caught the Robert Cray Band. Yet, perhaps because I have seen Cray & Co. so many times over the years, I found myself not particularly interested in his set — even during his signature hit “Smoking Gun.”

Meanwhile, Booker T. performed a pleasing set of classic R&B and instrumental material, naturally featuring his 1962 staple “Green Onions” — but the ensemble had the misfortune of following Taylor’s mind-blowing set, and suffered by comparison.

Finally, as much as I remain a fan of classic material from Crosby, Stills & Nash, including many of the titles they performed in their 90-minute headlining appearance on Sunday, watching the trio struggle to hit many of the notes that bind together those famous harmonies … well, maybe it was better that they were sometimes drowned out by the party people around me.

There were moments of magic in the set, particularly during the nine-minute rendition of “Wooden Ships.” But “Southern Cross” and “Our House,” for instance, lacked the precision and beauty that should now be routine for these Hall of Famers.

Stretching the limits at the Doheny Blues Festival

The following review was originally posted on the Orange County Register/Soundcheck blog on Sunday, May 23, 2010. I took the photo of Jackie Greene on May 22 at the 13th annual Doheny Blues Festival.

Maybe “13″ is lucky after all — seeing as the first half of the 13th annual Doheny Blues Festival played out superbly on a beautiful Saturday (May 22, 2010) in Dana Point filled with sunshine and cool breezes, while a parade of classic acts and rising stars heated things up across the event’s three stages.

Blues may have been the sonic glue holding together this far-flung lineup, but the truth is that many of the artists featured during Day 1 use traditional blues as only one small ingredient in their respective stews. Indeed, the day’s five best sets came from acts not normally associated with the blues.

The Black Crowes have always blended the loose, rootsy rock of Exile on Main St.-era Rolling Stones with Southern rock heroes like the Allman Brothers, and there were plenty of blues-influenced licks in the guitar solos that enhanced their jams. Yet few fans of the band think of it as primarily a blues band. Nevertheless, brothers Chris and Rich Robinson led their troupe, due to go on indefinite hiatus at the end of the year, through an energetic and wide-ranging 90-minute set of old and new stuff.

While the bulk of the crowd went crazy for the group’s hits (“Jealous Again,” “She Talks to Angels”), it was also invigorating to hear the band tear through fare like “Been a Long Time (Waiting on Love),” a nuanced blues-rocker off its terrific double-album from last year, Before the Frost … Until the Freeze.

But as strong as the Crowes were in their full-length performance, I thought several newcomers were equally stirring earlier in the afternoon.

Delivering the last performance of the day on the Renaissance Stage, San Francisco-based Jackie Greene blended rock, blues, alt-country, folk and more in an outstanding 75-minute set that really allowed him to introduce his wealth of talents and range as an artist.

The last time I had seen Greene was at the Doheny Heritage Music Festival in May 2004, where he performed solo and seemed destined to remain only a folkie singer-songwriter. Returning to Dana Point for two sets this weekend (he played again Sunday), Greene has proved that he hasn’t let his gifts go to waste.
Backed by a top-notch trio on Saturday, he primarily touched on material from his 2008 album Giving Up the Ghost plus new gems from the forthcoming Till the Light Comes, due June 29 from 429 Records. Opening with “I Don’t Live in a Dream,” a fantastic original song that has a dreamy, neo-psychedelic quality yet retains folk roots, Greene later performed a short medley of Beatles songs, including a reworked version of “Taxman” with an extended jam at the end.

Also standing out: Big Sam’s Funky Nation, who instantly made it clear they came to party. Booked on the Backporch Stage, which typically hosts acoustic performances, the Louisiana-based quintet launched into a high-octane blend of soul, funk and a bit of blues that soon had young and old attendees on their feet and moving to the music. The highlight of their set was a funked-out take on the Black Crowes’ “Hard to Handle” (written by Otis Redding, of course) which is also featured on the Nation’s King of the Party disc.

Earlier on the Backporch Stage, Burbank-based James Intveld mined country and rockabilly of the ’40s and ‘50s without sounding like a knock-off. Highlights included the pretty country-folk of “Cryin’ Over You” and the up-tempo “Something You Can’t Buy.”

Speaking of acts that weren’t strictly blues, Lisa Haley and the Zydekats brought a decidedly Cajun flavor to the Doheny Stage early on. An effective singer and fiddle player, Haley made her set a celebration of Louisiana roots music via material sung in both English and French.

And no assessment of Doheny Day 1 would be complete without mentioning the powerhouse appearance by Black Joe Lewis & the Honeybears. Mixing James Brown with Otis Redding and then injecting that sound with steroids, Lewis and his band roared through almost two dozen songs in about an hour. At times they seemed like a straight-up soul band, at others they evoked a more proper blues vibe — but no matter the approach, the infectious energy of the group was undeniable.

Of course, the event still featured many well-known blues heroes, too, including a frequent name at Doheny that seldom disappoints: the Fabulous Thunderbirds. As his Texas blues troupe churned up the crowd with upbeat hits (“Tuff Enuff,” “Wrap It Up”), frontman Kim Wilson reminded that he’s still one of the genre’s most skilled harp players.

Other winning and more blues-based performances came courtesy of Brazil’s Igor Prado, who has a mighty baritone voice and guitar skills to match, and Flat Top Tom, who kicked things off at the 11:15 a.m. start.

DEVO reveal results of first-ever song study focus group

For fellow fans of DEVO, I wanted to share the good news that many of the excellent new tracks the legendary band has been performing in concert are set to be included in an upcoming release. I saw the band perform "Fresh" and other new stuff at Coachella last month and I can't wait!

12 Tracks selected for band's June 15, 2010 album 'Something for Everbody,' by fans and critics

Catch DEVO performing live on the "Late Show With David Letterman," "The Colbert Report" and "Live With Regis & Kelly" the week of June 14

Burbank, CA –At last, DEVO have announced the results of their first-ever online Song Study, which has determined which 12 songs are included on their upcoming album Something For Everybody, due from Warner Bros. Records on Tuesday, June 15, 2010.

In a bold maneuver, never before attempted by any band, DEVO invited fans and members of the music media to take part in the album’s final song selections process by casting their vote for their favorite 12 of 16 recorded tracks that would ultimately comprise SOMETHING FOR EVERYBODY. The results of the Song Study, in order of votes, were announced via a May 18th online press conference with band members Mark Mothersbaugh and Gerald Casale. They are as follows: "Something For Everybody," in order of fan votes: "Watch Us Work It, " "Fresh, " "Sumthin'," "Don't Shoot, (I'm A Man)," "Step Up," "Signal Ready," "What We Do," "Please Baby Please," "Let's Get To It," "Mind Games," "Later is Now," and "Human Rocket." Watch the online press conference, announcing the results of the online Song Study here: http://www.ustream.tv/DEVO.

Though the songs recorded for Something for Everybody are built on DEVO’s signature mechanized swing, the recording and presentation of the album saw the band experimenting with an entirely new approach. Greg Scholl was brought in to serve as COO for Devo, Inc., and — working with the advertising agency Mother LA — conducted a series of studies through the band’s official site, http://www.clubdevo.com, to help the band with its creative decisions, from color selection to song mixes. To illustrate this fact, fans and music critics were invited to listen to snippets of 16 songs and vote on which 12 should make the final cut for Something for Everybody.

"We decided to actively seek comment and criticism from outside people and use that as a tool, rather than shunning or ignoring it," says Gerald Casale. "Our experiences participating in secondary creativity — things like corporate consensus building, focus groups — make you appreciate the connection that an artist has to society."

The long-rumored, wildly-anticipated album (which was launched with a pair memorable performances in Vancouver at the Winter Olympics and also at the Coachella Music & Arts Festival in Indio, CA.) features the band's classic line-up—Mark and Bob Mothersbaugh, Gerald and Bob Casale—joined by drummer Josh Freese (Nine Inch Nails, Guns n' Roses, Weezer). Produced by Greg Kurstin (The Bird & The Bee), the album also includes contributions from John Hill and Santi White (better known as hip-hop star Santigold), John King of the Dust Brothers, and the Teddybears.

DEVO will be making several high-profile television appearances the week that Something for Everybody is released. They will perform on The Late Show With David Letterman on June 15th, The Colbert Report on June 16th, and Regis & Kelly on June 18th.

DEVO will also kick off their summer tour with a performance at the 2010 KROQ Weenie Roast on Saturday, June 5, in Irvine, CA. Confirmed DEVO tour dates are as follows:

Sat June 5 Verizon Wireless Amphitheatre Irvine, CA
Sat June 19 The Crown Theatre Las Vegas Las Vegas, NV
Sat July 3 Zoo Amphitheater Minneapolis, MN
Sun July 4 Summerfest-Miller Stage Milwaukee, MI
Tues July 6 Power Center for the Performing Arts Ann Arbor, MI
Thurs July 8 The Town Ballroom Buffalo, NY
Fri July 9 Amphitheatre at Station Square Pittsburgh, PA
Sat July 10 Forecastle Festival Louisville, KY
Wed July 28 TBA
Sun Aug 1 Osheaga Festival Montreal, QC
Wed Aug 4 Ohio City Fair Columbus, OH
Fri Aug 6 Lollapalooza Chicago, IL
Sat Sept 18 Tempe Beach Park Tempe, AZ

###

13th Annual Doheny Blues Fest is coming!

Jackie Greene Photo credit: Jay Blakesburg

Here is a reposting of my full-length feature published on the Orange County Register Soundcheck blog on May 18, 2010. I hope to see many of you at the festival this weekend!

New faces, old friends slated to perform this weekend at 13th annual Doheny Blues Festival

For those who might be on the fence, still determining whether it would be better to attend the annual Doheny Blues Festival on Saturday or Sunday this weekend, there’s an easy answer:

Go both days.

With such a wide-ranging lineup of legendary veterans, blues-fest favorites and powerful, genre-defying up-and-comers scheduled to play across three stages, the fact that the O.C.-based concert promoter staging the event hasn’t raised ticket prices enables die-hards and lookie-loos alike to take in the whole relaxed shebang next weekend just off the sand at Doheny State Beach.

That said, act fast: VIP and Gold tickets for both days are already gone, “the earliest sell out in our 13-year history,” reports Rich Sherman, president of Omega Events.

This year’s star-packed lineup pretty much guarantees that both days will attract record crowds. The Black Crowes headline Saturday, topping a bill that includes Taj Mahal, the Fabulous Thunderbirds and touted newcomers Black Joe Lewis & the Honeybears, while the decidedly un-blues Hall of Fame group Crosby, Stills & Nash will close out the proceedings Sunday evening, after performances from soul legends Booker T. and Bettye LaVette as well as blues greats Robert Cray, Otis Taylor and Duke Robillard.

Neither the Crowes nor CS&N has ever appeared at Doheny Blues. “Both were on our radar for years,” Sherman explained, “but each had a significant end to 2009, which is the timeframe when we begin sending offers.”

The Crowes, riding high off last year’s critically lauded double-album Before the Frost … Under the Freeze, recorded at Levon Helm’s barn studio in upstate New York, are arguably the weekend’s chief attraction, heightened by the recent announcement that the band will go on indefinite hiatus at the end of the year, following a December show at the Hollywood Palladium.

“The Crowes released one of their finest albums in years,” Sherman believes, “and they are definitely as vital a blues-rock outfit as any in the U.S.” As for CS&N’s inclusion: “In October, at the Rock and Roll Hall of Fame’s 25th anniversary concerts, (they) stood out as a pillar of American music … a band that was as important to the growth of the California music scene as any.”


A DOUBLE SHOT OF JACKIE GREENE

Yet, beyond standard offerings that keep concert-goers coming back year after year — the laid-back atmosphere, tasty food choices and unusually scenic location — there are smaller though no less significant reasons to check out both days of Doheny Blues this year.

For starters, San Francisco-based singer, songwriter and multi-instrumentalist Jackie Greene — one of the sharpest new figures on the Americana scene — will perform with his band on Saturday, then return to play an early-afternoon acoustic set on the Backporch stage on Sunday.

Greene is accustomed to performing for huge crowds as a sideman with the Dead and bassist Phil Lesh, yet his own work finds him filling intimate clubs. “It was my goal to present both sides of Jackie’s music,” Sherman says, “so our offer was firm — it’s two sets of music or none.”

Greene will likely spotlight material from his outstanding 2008 disc, Giving Up the Ghost, as well as his wonderful forthcoming disc, Till the Light Comes (due June 29 from 429 Records). Those who have seen the 29-year-old Salinas native as he’s come up through the ranks (notably opening for hotshot guitarist Jonny Lang throughout this past decade) may recall how much his focus had been on acoustic material, especially from his 2002 album Gone Wanderin’. Fans who haven’t seen him since then may be floored by his phenomenal growth as a songwriter and musician.

“It’s funny — if somebody had Gone Wanderin’ and then heard this (new) record, they wouldn’t even think it was the same person,” Greene explained in a recent phone interview while he was putting finishing touches on his latest album at the San Francisco studio Mission Bells.

Now, after spending much of his first decade in music playing as many live shows as possible, Greene’s undeniable talent and work ethic are paying off, leading not only to high-profile slots like his coming Doheny sets but collaborations with many of his musical heroes. Thus far, he has shared the stage with Lesh, Bob Weir’s RatDog ensemble, Warren Haynes and Gov’t Mule, as well as former Band drummer and singer Helm.

Given so much work with such jam-leaning friends, it’s not unthinkable that Greene’s Doheny performances will be somewhat stretched-out. “We definitely have more of a psychedelic element where we experiment on stage,” he admits. “We tie songs together, kind of like the Grateful Dead,” though the extent of such out-there forays “depends on our set time. If we only have one hour, we may not get too crazy. It really depends how I’m feeling … I don’t know what’s going to happen. That’s what makes it fun for me.”

As does ditching the jams and going for a mellower approach instead — for instance, last year’s acoustic tour that found Greene performing with one of his closest friends, Mother Hips frontman Tim Bluhm, under the moniker Skinny Singers. The guitarist also has a prominent role on Greene’s next disc.

“I had a whole group of songs that I needed some help with to finish,” Greene explains, “so Tim and I took a retreat up the coast and he helped me.” It’s the first time Greene has included co-written songs on one of his albums. “Sometimes you need someone else to help you step back from yourself. You need the perspective of someone you trust to step back from your own work and then give you new perspective on it and inspire you to do different things. That was definitely the case with Tim.”

A SIDEMAN GETS HIS BIG BREAK

Here’s one more Bay Area-based reason to head to Dana Point next weekend: John Németh, a rising star known for his triple-threat talents as a soul singer, harmonica virtuoso and songwriter.

Németh first appeared at Doheny Blues in 2007, performing with guitarist Junior Watson on the heels of his debut, Magic Touch. He also shared the stage with Elvin Bishop in 2009, but finally arrives this year as a featured performer, bringing his John Németh Revue to the Renaissance Stage Sunday afternoon in support of Name the Day!, due Tuesday from blues mainstay Blind Pig Records.

Admirers of the giants of traditional R&B — Sam Cooke, Jackie Wilson, Otis Redding, Solomon Burke — should definitely arrive early to catch Németh’s set, as he boasted during a recent chat from his Oakland home that he’ll be playing his latest album in its entirety.

“Fortunately, the musicians who like recording with me also tour with me, (so) I have the same most of the time.” That also enables him to cut records down and dirty and in a hurry. “I book a couple of days and knock out 12-13 cuts. Then I take a couple of days to mix it up …I like that. If you spend (too much time) to work on it, maybe you should work on it before you go in.”

But Németh realizes that if it weren’t for events like Doheny Blues, he might languish even longer in relative obscurity. At a time when it’s harder than ever for blues artists to find supportive audiences, Németh says the contributions of Sherman and other champions of the live circuit are inestimable. It’s because of such growing festivals that he’s been introduced to potential fans.

“The only reason I’m around and doing it (is) there are people who want to support the musicians and the music,” he says. “The records I make aren’t commercial tools; they are made to present cool music.” For them to ever get heard, then, “You have to have people who support cool music … like Rich Sherman.”

Walter Trout's 'Common Ground' set for release on Tuesday, July 6

Photo cutline: I caught this image of singer-songwriter-guitarist Walter Trout at the Doheny Blues Festival in Dana Point, California on May 21, 2005.

New York --- Provogue Records has announced a July 6 street date for Walter Trout’s 19th solo album COMMON GROUND. From the origins of his career as a sideman for Percy Mayfield and John Lee Hooker, through his tenure with Canned Heat and John Mayall’s Bluesbreakers, and then a successful solo career that has seen the release of 18 albums thus far, Walter Trout has emerged as one of America’s musical treasures. The Huntington Beach, California resident has enjoyed a career that spans 35 years, and has performed in front of millions. BBC Radio One placed Trout at number six on their Top 20 guitarists of all-time, offering tribute to a player whose place in history continues to become more significant as the years go on. On titling the album COMMON GROUND, Trout shares, “In this modern world which seems to be so filled with polarization, disagreements, and cruelty, I feel that it is important that we try to find SOME place where we can bond and come together in our common humanity!”

Trout’s forthcoming solo album COMMON GROUND was produced by John Porter (The Smiths, B.B. King, Buddy Guy), and straddles the worlds of Rock and Blues. His vocal intonation and affinity for timeless riffs deliver a collection of tracks that are destined to be instant classics. These songs simply are the core essence of feeling, and demonstrate Trout’s keen ability to craft moving compositions as a songwriter and lyricist. On working with Porter, the musician reflects, “John Porter has an uncanny ability to draw performances from me that I didn't know that I was capable of. I would play a solo or sing a song and think that I had done well, and John would just say to me: ‘that was good - but I know you can do better!’ And I would try it again, only to find out that he was right! He is really brilliant at what he does.” Drummer Kenny Aronoff, bassist Hutch Hutchinson and pianist John Cleary join Trout as his backing band for the sessions that delivered this special recording.

Trout just wrapped up the first-leg of his worldwide tour, and returns to the road May 19th with a string of dates overseas before returning to the U.S. in June. Visit http://www.provoguerecords.com/ or www.waltertrout.com for more details.

The complete track listing for COMMON GROUND is:

Maybe A Fool
Open Book
Her Other Man
Song For My Guitar
Excess Baggage
Hudson Had Help
Common Ground
Danger Zone
Eyes Of A Child
No Regrets
Loaded Gun
Wrapped Up In The Blues

Folk duo to play Dana Point show

Photo credit: DANIELLE SUPOLA

Please note; this is an extended version of my story published earlier today on the Orange County Register Web site.

Though Andrew "Dawson" Heringer and Marlana "Marie" Sheetz both attended UC Irvine, the musical pair known as Dawson & Marie rarely performs in Orange County.

That will change Friday night (April 30) when the eclectic folk duo performs in Dana Point as part of the Lord of the Strings concert series.

"We are based out of Sacramento at this point," said Heringer, a theater major who earned his bachelor's degree at UCI in 2007. He responded to a series of questions I posed via email earlier this month. "We both grew up in a small town in the Sierra Nevada foothills ... called Placerville (home of the 1849 Gold Rush), although Marie and I didn't meet there. We met through mutual friends at UC Irvine."

Dawson & Marie are on tour in support of their superb debut album, "Months Vol. 1," a collection of seven original songs, six of which feature months in the title.

"When we started writing together, we wanted to create something that stood out from each of our solo projects," Heringer said. "We knew we wanted a concept but couldn't decide on anything. One day I sent her a text message after playing music at a cold and windy wedding on Pismo Beach saying, 'It feels like December at the beach,' to which she responded, 'Wait, I've got it; our CD should be songs about the months of the year.'"

There is little secret, but plenty of magic about the sound that Dawson & Marie create together. They write great songs and their distinctive voices sound great when singing those songs. Their soundscape is a blend of traditional Americana and indie folk styles ideally suited to the intelligent and artful selections featured on “Months Vol. 1.”

"With some songs (on the album), we wanted to capture the mood of the month for the song. 'August' is a great example of this. I think 'May, It's Raining' also does a great job of capturing the vibe of an unusually wet late-spring day. Other songs (notably 'July') were more about a particular story that came up for us."

In addition to their original material, Dawson & Marie also play a few reworkings of material from the likes of Kings of Leon ("Use Somebody") and Iron & Wine ("Naked As We Came") popularized via YouTube.

But when the duo performs in Dana Point on Friday, it’s likely that it will be the duo’s original songs from “Months Vol. 1” that will be the most compelling songs of the night.

“Most of the time, people are very enthusiastic about the month of their birthday,” Heringer noted. “Before performing these songs live, neither of us had any idea people took so much pride in their birthday month.”




DAWSON & MARIE


Where:Dana Point Community House, 24642 San Juan Ave.

When: 7:30 p.m. Friday, April 30, 2010

How much: $15

Phone: 949-842-2227

Online: www.LordOfTheStringsConcerts.com

'Sgt. Pepper Live' Featuring Cheap Trick Rocks Paris Las Vegas

Photo credit: MICHAEL GRAHAM

This landed in my inbox earlier today. I count my experiece of seeing Cheap Trick perform "Sgt. Pepper Live" at the Hollywood Bowl as one of my top concert experiences. Ever.

Read the latest on Cheap Trick's return to the music of the Fab Four; a trip to Las Vegas in June or July could well prove to be a real-life Magical Mystery Tour...

LAS VEGAS, April 27, 2010 -- "Sgt. Pepper Live" featuring Cheap Trick, a dazzling musical experience featuring world-famous rock stars, the Sgt. Pepper Symphony Orchestra and a live interpretation of one of the most beloved rock albums in history, will take the stage for a limited engagement beginning June 11, 2010 at the Paris Las Vegas Theatre.

A Bill Edwards Presents Inc. production, tickets for "Sgt. Pepper Live" featuring Cheap Trick are now on sale. Tickets are priced at $75, $100, $125 and $250 and a VIP package priced at $275. All ticket prices are plus applicable tax and fees and may be purchased at the Paris Las Vegas box office or on-line at http://www.parislasvegas.com/ or http://www.ticketmaster.com/ or by calling 1.888.727.4758. Show dates on sale include June 11-12, June 15-16, June 18-19, June 22-23, June 25-26, June 29-30, July 20-21, July 23-24, July 27-28 and July 30-31. Showtime is 8 p.m.

A celebration of The Beatles' influential album, “Sgt. Pepper's Lonely Hearts Club Band,” the show is an energetic performance that features an orchestra and a captivating experience of light and sound as Cheap Trick perform the entire album live as well as select Cheap Trick songs that lend themselves to orchestral arrangements. Geoff Emerick, the renowned engineer of The Beatles' classic 1967 album, supervises the audio production. Never performed in its entirety by The Beatles due to the complex studio technology of the day that was employed in the making of the album, "Sgt. Pepper Live" allows Cheap Trick to incorporate their brand of power-pop into the classic songs while paying tribute to music legends in an unforgettable musical experience.

"Paris Las Vegas, at the heart of the Las Vegas Strip, is the perfect venue for this world-class musical experience," said Bill Edwards, CEO of Bill Edwards Presents Inc., and executive producer of the production. "Bringing the music of The Beatles together with the performance of Cheap Trick creates an unforgettable show that brings to life one of the most beloved albums in rock and roll history in a truly innovative way."
Cheap Trick is best known for its classic singles, "I Want You To Want Me" and "Surrender." The American power-pop progenitors recorded the album All Shook Up in 1980 with Sir George Martin and Geoff Emerick, producer and engineer of Sgt. Pepper's Lonely Hearts Club Band. Emerick will continue to oversee the audio production for "Sgt. Pepper Live." He received Grammy Awards for the engineering of Sgt. Pepper's Lonely Hearts Club Band and Abbey Road.

About Paris Las Vegas

From its dramatic 50-story replica of the Eiffel Tower to authentic architectural reproductions, Paris Las Vegas features elegant decor, European-inspired boutiques and a distinctive array of fine cuisine, including Chef Joho's acclaimed Eiffel Tower Restaurant, Les Artistes Steakhouse and French-bistro Mon Ami Gabi. The resort celebrates the romance and excitement of the European City of Light. In the heart of the famous Las Vegas Strip, the passion and sophistication of Paris Las Vegas transports guests to Europe's most romantic city. Paris Las Vegas is a Harrah's Entertainment Resort.

About Bill Edwards Presents Inc.
A premier live entertainment company, Bill Edwards Presents Inc. has been producing world-class concert attractions for more than a decade. With a mission to maximize the live concert experience, Bill Edwards Presents Inc., is committed to booking, producing and marketing live concerts for artists around the globe. Based in St. Petersburg, FL, the company has produced events in marquee venues around the United States and the world with artists such as Cheap Trick, Alicia Keys, John Mayer, Josh Groban, Kool & The Gang and countless others.

John Mellencamp's 'ON THE RURAL ROUTE 7609' coming June 15

On The Rural Route 7609 is a four CD set that chronicles, in a most unique way, the arc of John Mellencamp’s career, with a focus on his songwriting. Universal Music Enterprises has set June 15, 2010 as the release date for the collection through its Mercury imprint. The package, unlike typical box sets that tend to slavishly offer a chronological presentation of hits and near-hits, is programmed as if each of the discs were a freestanding album. The 54 tracks included in the collection are presented, in essence, as four albums with songs juxtaposed in a manner that offers the listener the experience of hearing them in a context that sheds new light on the themes and artistry that have made Mellencamp’s music so cherished by so many over the course of four decades.

While On The Rural Route 7609 offers a wealth of well-known material, a significant number of the tracks included are less familiar but equally compelling, especially in terms of providing an in-depth picture of Mellencamp's spectrum of creativity. The concept behind the four “albums” of the collection is to give long-term Mellencamp fans and newer listeners alike, a more complete and insightful view of the artist's role as a writer and artist whose catalog of songs and recordings resound with substance and nuance.

The songs selected reflect the artist’s pop idol origins through his ascent to the ranks of America’s most respected and socially active writers and performers. On The Rural Route 7609 offers 17 tracks previously unreleased on any John Mellencamp CD including guest readings of Mellencamp’s lyrics by Academy Award® winning actress Joanne Woodward and best selling author/educator Dr. Cornel West. The discs are packaged within a 72-page book that includes an exhaustive essay and comprehensive track-by-track annotation by award-winning writer Anthony DeCurtis. His marathon interviews with Mellencamp were conducted in Bloomington, IN where DeCurtis, coincidentally, earned his PhD in American literature at Indiana University. Mellencamp tells the story behind each of the songs included in the set and there's a scholarly introductory essay by DeCurtis as well. The package, a truly lavish assemblage, includes rare and evocative photos printed on heavy stock that make On The Rural Route 7609 a distinctive set of albums, in the sense that albums -- as originally conceived in earlier times -- are cohesive collections of music.

While such Mellencamp hits including “Rain On The Scarecrow,” “Jack and Diane,” “Jackie Brown,” “Pink Houses,” “Your Life Is Now,” “Our Country” are presented, less familiar songs as well as demos for “Cherry Bomb,” “Authority Song” and other recordings serve to chronicle the maturation of Mellencamp as both an artist and songwriter over the years. As quoted by DeCurtis in the 4500 word introductory essay included in the package, he explains, “We tried to make it like a process of discovery, that perhaps somebody could listen to this set and discover these songs.” Material from early works through his most recently released album, Life Death Love and Freedom which Time Magazine called his "best in a decade" and Rolling Stone ranked #5 in its listing of 50 best albums of the year, gives the listener an opportunity to consider more than 30 years of Mellencamp's output in a musically coherent manner.

The title of the package is reflective of Mellencamp’s continuing role as a troubadour who conveys the hopes, heartbreak and realities of the heartland – that part of the country that politicians are wont to call “the real America,” a divisive jab that is at odds with Mellencamp’s true themes. Per DeCurtis, “..the set takes its title from a scarifying murder ballad on Freedom’s Road, ‘Rural Route.’"
Mellencamp explained to DeCurtis “I started making records in ’76, and the most recent track on the collection was done in ‘09. So Rural Route 7609; it’s like an address. I thought it sounded cool.”
Adds DeCurtis, “It does. But, more important, for anyone interested in finding the real John Mellencamp, this is where he’s been, and where he lives.” On The Rural Route 7609 is a musical journey that sheds new light on an American musician who, as both a songwriter and social activist, has never rested on his laurels or past accomplishments.
On The Rural Route 7609 tracklisting:
* indicates track selection has never before been released on a John Mellencamp CD
More detailed information here: http://www.mellencamp.com/?module=news&news_item_id=553

Disc 1

1. Longest Days
2. Grandma’s Theme
3. Rural Route
4. Jackie Brown
5. Rain On The Scarecrow
6. * Jim Crow with Cornell West

7. Jim Crow
8. Big Daddy Of Them All
9. Deep Blue Heart

10. Forgiveness
11. Don’t Need This Body
12. * Jenny At 16

13. * Jack And Diane (writing demo)

14. Jack And Diane

Disc 2

1. * The Real Life with Joanne Woodward

2. Ghost Towns Along The Highway
3. The Full Catastrophe
4. * Authority Song (writing demo)

5. Troubled Land
6. To Washington
7. * Our Country (alternate version)

8. Country Gentlemen
9. Freedom’s Road
10. * Mr. Bellows (remix)

11. Rodeo Clown
12. Love And Happiness
13. Pink Houses

Disc 3

1. If I Die Sudden (live)

2. Someday
3. Between A Laugh And A Tear
4. * Void In My Heart (acoustic version recorded at Chess Studios)

5. Death Letter
6. * Sugar Marie (acoustic)

7. Theo And Weird Henry
8. When Jesus Left Birmingham
9. * L.U.V. (remix)

10. Thank You
11. Women Seem
12. * The World Don’t Bother Me None

13. * Cherry Bomb (writing demo)

14. * Someday The Rain Will Fall

15. A Ride Back Home
Disc 4

1. My Aeroplane

2. * Colored Lights

3. Just Like You
4. Young Without Lovers
5. * To M.G. (Wherever She May Be) (acoustic)

6. Sweet Evening Breeze
7. What If I Came Knocking
8. Country Fair
9. * Peaceful World (writing demo)

10. Your Life Is Now
11. For The Children
12. * Rural Route (acoustic)

www.mellencamp.com

A wonderful look back: Coachella 2010

Photo information: I was in the VIP area on Sunday, April 18 when I ran into singer-songwriter Jónsi.

Although it was just a week ago when I was beginning my Coachella Valley Music & Arts Festival experience for 2010, it really does seem like a lifetime ago.

Although I posted several video blogs from the Empire Polo Club and the Orange County Register published a series of four posts on my experience at the three-day event earlier this week on the Soundcheck blog, I wanted to offer up a final rundown of my trek to Coachella here.

Friday, April 16
Coachella for me got started with a roar. Indeed, New York's As Tall As Lions was the first artist I caught and ultimately proved to be the biggest surprise of day one. Performing in the Mojave tent, the Long Island quartet focused on songs from 2009’s excellent You Can’t Take It with You, including its excellent title tune and the lead-off track “Circles.” The band clearly is ready to make that leap to the Big Leagues, with singer-guitarist Dan Nigro leading his mates through an undeniably powerful 45-minute set. It can be exceedingly difficult for a young band to make an impression in the early and hottest part of the day, amid an overwhelming and conflicting schedule of Huge Names. But As Tall as Lions stood out all the same.

Hockey is an energetic quintet whose sound recalls '80s dance rock. The Portland, Oregon band's strong 40-minute set (played out in a very hot part of the day) included "Work," "Wanna Be Black" and several other standout tracks from 2009's "Mind Chaos" album.

Although I can't recall any day at Coachella in my previous years of attending the fest that I didn't catch at least one set on the main stage, this day was different. After Hockey finished up around 5:10, I headed over to the Outdoor Theatre and ended up spending the rest of Friday afternoon and night there. She & Him delivered a breezy, fun and memorable set of retro-'60s tunes from the duo's releases. As good as the two albums from singer-songwriter Zooey Deschanel and multi-instrumentalist M. Ward are, I wondered how the music would go over in a spacious outdoor setting. No worries; songs such as "Over It Over Again" (from "Volume Two") and "This Is Not a Test" (off "Volume One") sounded great. The duo's 45-minute set was among the most fun I saw all weekend.

Passion Pit also had success here. The Boston-band ensemble definitely impressed in its Coachella debut. Lead singer-songwriter Michael Angelakos noted playing at the festival was a “Dream come true” and noted the Massachusetts band had never played a show with this many people.

Passion Pit featured songs from the band’s impressive 2009 debut “Manners,” including a riveting “To Kingdom Come.” The group’s mix of ‘80s synthesizer, techno and other dance-pop styles was a great fit as the sun dropped down over the mountains and cooling temperatures were taylor made to get the huge crowd to move to the music.

After the high-powered set delivered by Passion Pit on the Outdoor Theatre stage on Friday night, it appeared that someone took a gigantic broom and swept everybody away. Indeed, at 8 p.m., it seemed that Echo and the Bunnymen might well be performing in front of a sparse crowd despite the ideal time frame.

However, Ian McCulloch (pictured above) and his band mates had no cause for concern. By the time the ‘80s hit makers took the stage just after 8:30 p.m., a large crowd was on hand to hear the outfit play many of its greatest songs in the magical setting at Coachella that seems to make even classic rockers sound like they have plenty to prove.


The biggest cheers came for Echo & the Bunnymen’s fantastic “The Killing Moon” and “The Cutter,” however the band scored early and hard with “Do It Clean” (an older song that was a hit for the band in England) and “Nothing Lasts Forever” (a medley that included bits of Lou Reed’s “Walk on the Wild Side” also came in that song). McCulloch sounded strong and his voice hit all the notes like it was 1985 again.

Although many artists come to Coachella to define and validate their status as an up-and-comer, Echo & the Bunnymen’s 50-minute set offered up a chance to see this band – as well as its songs – still matter.

Mission accomplished.

Vampire Weekend drew the lively response from the audience that Passion Pit had several hours earlier. I have to admit to having not yet fallen under the spell of the band, but there is no doubt that just about everyone else crowded in front of the Outdoor Theatre couldn't get enough of the troupe.

Day one ended with a strong set from Public Image Limited. My favorite performances proved to be of the songs I knew from radio airplay ("This is not a Love Song," "Rise"). John Lydon is an interesting and outspoken frontman and made good use of his late-night platform to rant, rave and rock.

Saturday, April 17
Although I had caught a mind-bending seven full-length sets from seven artists on day one, I was in for an even longer day of music listening on day two.

But pity those who didn’t get to Coachella early on day two.

Two of the best performances I caught on Saturday amounted to a one-two punch on the Outdoor Theatre stage, thanks to Seal Beach-based Rx Bandits’ 55-minute set and Porcupine Tree’s near hour-long foray on the same stage that was to follow.

Rx Bandits made the most of their early showtime (12:30 p.m. is early, especially with the sweltering early afternoon sun), performing in front of a relatively small but rabid fan base that was here to see “their” band.

When the band originally formed in Orange County in the late 1990s, Rx Bands (then billed as the Pharmaceutical Bandits, the group was part of the popular ska movement (think No Doubt, Jeffries Fan Club, etc.). No more.

The band now plays a masterful blend of folk, blues, jam rock and doses of just about everything else. Master chops and strong song selection were key to RX Bandits’ solid outing at Coachella, including several tracks where singer-guitarist Matt Embree and lead guitarist Steve Choi would dual on electric guitars. Bassist Joseph Troy and drummer Christopher Tsagakis were part of the well-armed outfit.

Porcupine Tree proved to best several more high-profile hard rock bands that I also saw perform on Saturday, including buzz trio Band of Skulls and main stage rockers Coheed and Cambria. Indeed, I thought the relatively-unnoticed English group performed one of the most impressive sets of day two, with several concert-goers coming up to me and asking “Who are these guys?”-styled queries.

The nuance of the British folk-meets-progressive rock of Porcupine Tree was a revelation, notably the beautiful and reflective “Lazarus” featuring lead singer Steven Wilson seated at the keyboard and singing one of the key songs from “Deadwing.” Later in the set, he set out with his bandmates on the ambitious “Time Flies.” One of the featured tracks on 2009’s “The Incident,” “Time Flies” featured him playing both acoustic and electric guitar and showcased the natural comparisons that can be drawn between this band and genre pioneers such as Pink Floyd.

Although the quartet has been around since the late 1980s, it’s nice to see Porcupine Tree getting some well-deserved accolades. Count me among the group’s newest fans.

Next, I headed over to the Gobi tent to check out Girls. The San Francisco outfit played its loose Big Star/Brian Wilson/Lou Reed mix of neo-psychedelic power-pop to an enthusiastic crowd. Although I enjoy the band's disc "Album" more than the show itself, versions of the Everly Brothers' "All I Have to Do Is Dream" and the group's own songs provided plenty of thrills to keep me parked in the hot tent for all of the band's 45-minute set.

Maybe the second biggest disappointment of the fest for me was the set from English trio Band of Skulls. I am a big fan of the outfit's 2009 disc "Baby Darling Doll Face Honey." The group struggled early to get its sound and/or equipment working well and they didn't seem to be geared toward connecting with the packed crowd in the Gobi tent. "Death By Diamonds and Pearls" definitely got the headbangers going, but the set fell flat for me. In fact, after four songs, I bolted in search of an early dinner.

Americana quintet Old Crow Medicine Show made its first-ever appearance at Coachella over the weekend, performing on the main stage on Saturday at 3 p.m. Because I was waiting to see Girls, I missed the group. Well, not entirely.

Wanting to make the most of the day, Old Crow Medicine Show decided rather than simply do interviews in the VIP area, they would actually play an unannounced acoustic performance for fans gathered to meet and greet the band. I caught the end of that short set.

After watching the fiery Nashville, Tennessee-based troupe perform “Jimmy Sutton” (a traditional square dance-minded classic), lead singer-guitarist Willie Watson talked about coming to Indio to be a part of the legendary festival.

“It went over great,” Watson told me. “It was an enthusiastic California crowd ready to dance and shake to old-time fiddle music.”

With Old Crow Medicine Show’s two performances complete, Watson said he was hoping to catch a few of the other acts performing later on Saturday.

“I am really looking forward to seeing Devo,” he said.


I grabbed something to eat (a burger I think) and then decided to watch Coheed and Cambria. The first act I was really able to see on the Coachella Stage, the band displayed good chops, but the music itself is simply not that original. I felt as if I had heard all the hard rock chops before. Sorry guys.

Although a reunited Faith No More proved to be much stronger than Coheed and Cambria, it were Saturday's headliners that delivered the goods. Muse simply rocked Coachella in the way you want it to happen. Opening with a powerful "Uprising" and "Supermassive Black Hole," the band never looked back. The group's bigger-than-big sound reminded me of the Queen shows I caught when I was a youngster, and there is a powerful blend of classical music and arena rock that really works. Count me as impressed.

Day two ended and merged into day three as I watched Devo thrill the masses not afraid to keep the party going as long and late as possible. Sure, Devo has been performing its artsy mix of new wave, punk, alternative rock and art damage since the early ’70s. But how wonderful to see the band pack the Mojave tent late Saturday night and generate the kind of excitement that usually greets newer acts playing the fest. What’s more, Devo’s new material — notably the infectious rocker “Fresh” — was just as powerful as the group’s big 1980 hit “Whip It.” The outfit still sounds timeless and modern, and the creative use of video juxtaposed with each song provided something magical that will surely (and quickly) become part of Coachella lore.

Sunday, April 18

By day three, I was pretty tired. The long days of standing in the blazing sun and getting up early to email posts to my editor had started to take their toll. But the good news, I saw some incredible performances on Sunday. Singer-songwriter Kevin Devine kicked things off just after noon with a politically-charged set in the Gobi tent and things only got better from there. L.A.'s Local Natives, Mutemath, Deerhunter and Sunny Day Real Estate all performed fantastic sets. But it were the trio of sets from Jónsi, Phoenix and Thom Yorke (with his outfit Atoms for Peace) that I will long remember.

Jónsi – This Icelandic singer-songwriter’s solo album go is already one of my favorites this year, and the chance to see him showcase cuts off the newly-released nine-song disc drew me to the Outdoor Theatre early on Sunday. My expectations were high, yet the Sigur Rós frontman’s potent set exceeded them handily. When Jónsi closed with an extended and emotive “Grow Till Tall,” it was as if the desert sky had been shattered by his tenor voice soaring high into falsetto amidst the layered backdrop of percussion, keyboards and other instruments.

One of the most original artists of the modern rock era, his blend of world music, rock, classical and experimentation continues to challenge, thrill and touch listeners on levels that defy most writers (this one included) to adequately convey it in words. If you haven’t seen Sigur Rós or Jónsi, please do — it’s a must.

In terms of the sets from Phoenix and Thom Yorke's supergroup Atoms for Peace, these were also fantastic. Phoenix was upbeat and fueled a dance-styled craze on the field, while Yorke's show was intense and artful.

I did check out some of Gorillaz' night ending display on the Coachella Stage, but truthfully I was so exhausted from the weekend that I headed for my car early. Coachella continues to be one of the strongest concert events on my calendar and I hope to be able to make it an annual event.

Coachella: Day 2 highlighs

Coachella Day Two: Rx Bandits, Porcupine Tree get it going

Pity those who didn’t get to Coachella early on day two.

Two of the best performances I caught on Saturday amounted to a one-two punch on the Outdoor Theatre stage, thanks to Long Beach-based Rx Bandits’ 55-minute set and Porcupine Tree’s foray on the same stage that was to follow.

Rx Bandits made the most of their early showtime (12:30 p.m. is early, especially with the sweltering early afternoon sun), performing in front of a relatively small but rabid fan base that was here to see “their” band.

When the band originally formed in Orange County in the late 1990s, Rx Bands (then billed as the Pharmaceutical Bandits, the group was part of the popular ska movement (think No Doubt, Jeffries Fan Club, etc.). No more.

The band now plays a masterful blend of folk, blues, jam rock and doses of just about everything. Master chops and strong song selection were key to RX Bandits’ solid outing at Coachella, including several tracks where singer-guitarist Matt Embree and lead guitarist Steve Choi would dual on electric guitars. Bassist Joseph Troy and drummer Christopher Tsagakis were part of the well-armed outfit.

Porcupine Tree proved to best several more high-profile hard rock bands that I also saw perform on Saturday, including buzz trio Band of Skulls and main stage rockers Coheed and Cambria. Indeed, I thought the relatively-unnoticed English group performed one of the most impressive sets of day two, with several concert-goers coming up to me and asking “Who are these guys?”-styled queries.

The nuance of the British folk-meets-progressive rock of Porcupine Tree was a revelation, notably the beautiful and reflective “Lazarus” featuring lead singer Steven Wilson seated at the keyboard and singing one of the key songs from “Deadwing.” Later in the set, he set out with his bandmates on the ambitious “Time Flies.” One of the featured tracks on 2009’s “The Incident,” “Time Flies” featured him playing both acoustic and electric guitar and showcased the natural comparisons that can be drawn between this band and genre pioneers such as Pink Floyd.

Although the quartet has been around since the late 1980s, it’s nice to see Porcupine Tree getting some well-deserved accolades. Count me among the group's newest fans.

Video post from Coachella - Day 2

Crazy Coachella: day 1

I got to bed around 3 a.m. this morning and I'm realizing I won't be able to post any in-depth accounts of my music experience at Coachella until I return to The OC next week. I just don't have the energy and I want to process what I've seen.

However, I will tell you I saw many fantastic performances and Coachella lives up to its legacy yet again.

As Tall As Lions, Passion Pit and Hockey were among the newer artists I had not seen before that delivered fine performances, and it was fantastic to finally see Echo & the Bunnymen for the first time.

I'll have more to share for sure in the days ahead, including news, reviews and photos!

I'm off to day two of the fest now...

Cramming for Coachella

What have I been listening to lately?
A bunch of new discs ranging from the latest disc from Thom Yorke ("The Eraser") to Jonsi's "Go." But the list goes on and on: As Tall As Lion's "You Can't Take It With You" and Band of Skulls' "Baby Darling Doll Face Honey." You get the idea. Lots of music from bands set to perform at Coachella this weekend.

I always look forward to heading east out past the wind farms and Palm Springs, and to Indio, where cutting-edge artists perform in the most amazing of settings amidst a sea of music fans ready to brave the scorching sun during the day and unpredictable weather at night. I hope to update this blog on a daily basis with mini-reviews of the music, artwork and overall experience that is Coachella.

My hope is the three-day concert is worth the lack of sleep, aching feet, stench of humanity and lackluster food that come with a huge music fest.

Some of the artists I plan to see (if things line up since there are five stages and many of the performances overlap) include Muse, Phoenix, Porcupine Tree, Jonsi, Girls, Band of Skulls, Grizzly Bear, Hockey (whose 2009 album "Mind Chaos" is very good), She & Him (I love the duo's latest disc), aforementioned As Tall As Lions, Thom Yorke, DEVO and many, many more!


I'll check in with you on Friday or Saturday this week. To be continued.

Eddie Money to perform at benefit concert on April 10

Friends of Arts Education at the Cerritos Center for the Performing Arts presents 17th Annual Gala Benefit Concert Two Tickets to Paradise on Saturday, April 10

CERRITOS, CA - Two Tickets to Paradise is the theme for the 17th Annual Friends of Arts Education Gala on Saturday, April 10. The event, to be held at the Cerritos Center for the Performing Arts, will benefit arts education outreach programs. Each year this event benefits arts education outreach programs and offers guests two ways to support the cause - guests can purchase a concert-only ticket for Eddie Money's performance - or enjoy the full-evening festivities which includes cabaret seating for the performance, an elegant dinner by Choura Event Catering and silent and live auctions. Full-evening Gala tickets are $185 and are available from the Friends of Arts Education at (562) 916-1272. Concert-only tickets are $52 and $37. Tickets are available at the Cerritos Center for the Performing Arts Ticket Office, by calling (562) 467-8818, or at www.cerritoscenter.com. All proceeds support Friends arts education programs.

For more information on this event and how to get tickets, please visit www.cerritoscenter.com or www.friendsofaecc.com.

The Church concert is one to remember

The Church may be celebrating its 30th anniversary in 2010, but after catching the Australian quartet deliver a dynamic and wide-ranging performance before a packed house at the Coach House on Friday night, April 2, fans can certainly be thankful this is no farewell tour.
The band kicked off its self-dubbed “The Church: An Intimate Space” 30th Anniversary American Tour” at the Coach House with a fantastic show that included a few technical glitches in the early minutes, but quickly evolved into a dramatic and wide-reaching celebration of the outfit’s distinctive sound and approach.
As promised in the promotion of the tour and the free colorful program passed out to everyone as they stepped inside the venue (what a contrast to the $30 necessary to purchase a program at the Paul McCartney concert earlier in the week), bassist-lead singer Steve Kilbey, guitarists Marty Willson-Piper and Peter Koppes and drummer Tim Powles started the show with a song (“Pangaea”) from their latest album (Untitled #23) and proceeded to offer other songs from earlier albums in reverse chronological order as the night went on.
Although the group didn’t follow that formula perfectly, it was hard to argue with a set list that allowed the band to play songs that showcased its dreamy neo-psychedelic alt-rock in all its various shades.
There was edgy rock (“Space Needle”) with Kilbey (seen above in a picture I snapped on Friday night) kicking off the song singing to the accompaniment of his bass guitar, which he strummed like a guitar before the rest of the group kicked in. And the Church offered up a reworked version of its hit “Reptile” like a jazz song – except for the classical-styled solo that Willson-Piper added with his acoustic guitar.
While many casual fans likely counted the band’s “Under the Milky Way” as a favorite performance of the night, there were other selections that easily equaled that hit thanks to the enthusiasm of the band and lush arrangements offered up by the Church. Indeed, all four members of the troupe played a variety of instruments throughout the two-hour concert.
The beautiful “Ionian Blues” and “Invisible,” the Americana-tinged “Louisiana” with Koppes adding some textured mandolin and the up-tempo rocker “Comedown” came in the first set, while the second half of the show surprised at every track thanks to the momentum of the performance.
“Metropolis” allowed Willson-Piper to display his talents playing flamenco guitar, while the use of 12-string guitars, keyboards and harmonica gave added life to the big hit “Under the Milky Way.”
During the first of the group’s several encores, Kilbey explained that because Smashing Pumpkins had once covered a Church song, now the Church was going to return the favor. The band then proceeded to offer up a powerful and haunting cover of “Disarm.”
This was truly a night to celebrate a great band whose music and songs still resonate. It’s no wonder that relatively few in the near-capacity crowd left before the concert came to a close at midnight.