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Album Review: Physical Suicide Deterrent System Project - Luddite

9/30/2020

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Co-written by Carolyn McCoy & William Wayland
The music of Physical Suicide Deterrent System Project (or PSDSP for short) is complicated. We could easily plop them into the genre of “grunge," but it’s more than that. The trio, guitarist/singer Eli Carlton-Pearson, drummer Michael Pinkham and bassist Brian Wilkerson pull from jazz and psychedelic genres while adding some hardcore ass-kicking punk for kicks. The songs the band creates often eschew the typical “verse/chorus/bridge” construction to create a river of sound that takes you on a sonic journey with intelligent and poetic lyrics that uphold deep imagery to tell a story of both darkness and hope.
 
The band’s songwriting process is definitely a collaborative effort. “I write all the songs, though several come about from jams, or at least evolved within them,” states Carlton-Pearson. “Michael and Brian contribute a lot in the way of arrangement, rhythmic conception, and what's perhaps the most significant thing, how much fire they cook up playing. That then permeates the whole ‘thing’; it changes the way I sing the lyrics I wrote; it gives the song more real-life meaning. {The song} has to be a living thing, and that happens because of the band.
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Photos: Carolyn McCoy
​PSDSP has just released their latest album, Luddite, on vinyl, an old trend that seems to be resurfacing as a common practice among musicians lately. The album culls from new and old songs that have never been recorded before. Inline with the definition of “Luddite” (one who eschews or is mistrustful of technology when creating), the band decided to record in analog, raising funds via a Kickstarter campaign so that they could make the sound they were looking for.

​The band traveled to New Paltz, NY, to work with Tom Deis at Pineapple Room Studio. “I've known Tom for 16 years now. We've been in bands together and worked together a fair bit, but moreover, we're just really good friends,” says Carlton-Pearson. “Tom worked so fucking hard on this record it's ridiculous. He signed up for one of the gnarliest hazings an engineer could go for, going into a 100% analog recording process from a largely digital workflow and buying several pieces of equipment specifically for Luddite. All the technical limitations we experienced just wound up being the magic on the tape at the end, which is why we chose to do the whole thing as we did.”
 
“I wanted to work with Tom basically because I trusted him. I trusted him musically, and I trusted him personally. He gets it. He gets that music is a spiritual entity you access through the physical world. I guess this whole recording was way more intense and vulnerable than I'd like to admit. I trusted his understanding of how to use technology to capture the spirit of things.”
 
When asked why the band decided on analog, “Because it sounds better,” replies Carlton-Pearson, “It just does.“ 

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Album Review: Jeremy D'Antonio - Spinnin' Wheels

9/23/2020

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It’s one of those warm, early autumn evenings here in Northern California; the crickets chirp away, the stars sparkle in the sky, and summer begins to drifts off into the past. In the wake of the vast West Coast fires, we now have a respite from smoke and fear, and I breathe in the fresh night air. As I sit and experience all this, Marin County singer/songwriter Jeremy D’Antonio’s new album Spinnin’ Wheels wafts softly from my room, seemingly in conjunction with the multi-faceted songs of local crickets. It’s a fitting venue, the night, to listen to this fantastic EP.

D’Antonio is most known as part of Marin County’s Americana band, San Geronimo. His first solo record is a refreshing breath of fresh air in a time of fires, lockdown, pandemic hell, economic collapse, and political upheaval, yet has nothing to do with any of that. It’s a journey unto itself that helps one forget the woes of the world for a while. For D’Antonio, Spinnin’ Wheels is a detour from San Geronimo’s sound in many ways, taking a healthy dose of Country and mixing it in with D’Antonio’s hard-hitting songwriting. 

“I never intended to write a country song or have a ‘country vibe’. I actually mostly listen to old soul music,” states D’Antonio. “Only recently have I dug into some of the ’60s and 70’s country classics, mostly because people assume I know all that music and request me to play it live. I think any music that is honest is good; you can immediately hear the difference. I grew up in New Mexico and Colorado, and I guess there is something about that landscape or the blue-collar lifestyle that comes out in what I do.”  

“Lyrics stem from feelings more than physical experiences. A feeling can make you experience a thousand different emotions without ever physically doing anything. I think this allows me to write about scenarios that have happened in my head but not in the physical realm,” D’Antonio states on his songwriting. “I know a lot of people write a story and put down the words first, but I usually start with a feeling. I get so deep that it is hard to be around others, and I am able to dive down pretty far and extract what is most honest about whatever “funk” I am in. From this usually comes a melody and the words follow.”​

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Album Review: Zephaniah OHora - Listening To The Music

9/9/2020

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Cover photo: Jammi York
When a musician channels music and brings it into the corporeal world, sometimes there is no rhyme or reason for what kind of music they create. When Brooklyn-based singer-songwriter Zephaniah OHora
started his musical career, it was Country music that somehow manifested itself through his being. I am sure Zephaniah will credit his spiritual upbringing as well as the circuitous circumstance and available opportunities to play music in NYC for maneuvering his career towards traditional Country. But whatever fates drove his train, he is now on the fast track towards becoming a star in the Country world. 

 
“I’ve been influenced by so much music because I listen to quite a variety,” states OHora. “But as far as Country music artists, I’ve spent many hours studying Jimmie Rodgers, Ernest Tubb, Lefty Frizzell, Marty Robbins, and more recently Bobby Bare, Don Williams, and Merle Haggard.”
 
OHora has just released his second album, “Listening To The Music”. It upholds classic, old-school Country in the true tradition, but with the flavors of modern New York tossed in for kicks. “Listening To The Music” is a great album not only because of OHora’s songwriting skills, but the album hosts such big-time players as harmonica player Mickey Raphael (Willie Nelson) and guitarist Norm Hamlet (Merle Haggard). 

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Album Review: Kenny Roby - The Reservoir

8/7/2020

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Album cover photo: Gary Waldman
What do you do when your life falls apart, loved ones die, and you find yourself in a place of loss? Do you succumb to the demons at hand; let them pull your sanity apart? No, you don’t. You use that energy to create. You put forth all that you feel into your art, making something immensely positive when all else is going to shit. Within that, you’ll not only survive, but you’ll come out with something incredible, most likely.
 
North Carolina-based songwriter Kenny Roby has had a crazy couple of years similar to the scenarios described above. He lost his longtime friend and fellow collaborator Neal Casal (Chris Robinson Brotherhood, Circles Around The Sun), dealt with the demise of his relationship, and realized his life was changing in ways that were difficult beyond measure. Yet he didn’t let all this craziness get the better of him. He channeled that loss and made a record; a really incredible and beautiful record, no less, in the form of The Reservoir, his first solo release (outside of albums with his main band 6 String Drag) since 2013.  The songs on this album reflect his recent experiences, drawing the listener into the story in profound ways.
 
“I think it’s less difficult to put (challenging experiences) into words than it is to get out of the way and not censor yourself too much,” Roby states. “To be as honest as you can about what you are experiencing. It’s also riding that fine line of sharing the human experience but not getting bogged down too much in the details. This record is more a sharing of what my experience was of being ‘one of us humans’ than it was a memoir, as far as I can tell.”
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photo: Gary Waldman
The Reservoir brought together major players in Roby’s world. The album was set to be produced by Casal before his untimely and tragic death. Still, Casal was instrumental in helping Roby create a Dream Team for the album, connecting Roby to CRB drummer Tony Leone, guitarist/multi-instrumentalist Jesse Aycock (Hard Working Americans), bassist Jeff Hill (CRB), and guitarist John Lee Shannon. To top off the epicness, Widespread Panic bassist Dave Schools jumped aboard as successor to produce the album. Roby’s super-group was complete.
 
“It was very easy playing with those guys,” states Roby. “They make it easy to let go and do my thing. That also might have a little to do with me letting go and letting them do their thing, too. There have been times in my artistic career, and in my personal life, I might have held onto things too tightly. I’ve been pretty fortunate to have played with some incredible musicians in my life.”
 
“The older I get, the faster I make records. I’d rather document the vibe and feel than sweat too many details, to squeeze the life out of the experience. This record was recorded pretty quickly. 16 completed songs in 7-8 days, basically. With a few songs that we scrapped.”
 
All the songs on The Reservoir flow beautifully throughout the album. “Don’t Ya Know What’s On My Mind” opens the album with a soft, cushion of sound, just Roby's soulful voice, his acoustic guitar and stream-of-conscious river of ideas passing through our ears. We jump into an old-timey vibe with “Vampire Song”, a upbeat ditty that speaks of facing fear, “Watcha gonna do when a man’s got nothin’ to lose?”. “All Trains Lead To Cocaine” touts the wickedness of addiction with a country-gospel sound. “History Lessons” brings the energy up a notch as a bouncy, whistle-along tune that adds lightness to the album. “Watchin’ Over Me” is a beauty of a song that speaks to me of the redemption of past discretions.
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Photo: Gary Waldman
“Room 125” was one of the first songs Roby wrote for this album. It’s the song that caught Casal’s attention and brought him on board to help with production, as during that time both Casal and Roby were fighting their own personal demons. The song nails the feelings of darkness well, stating,  “What do you do when loneliness surrounds you and holds you in its grip…And no one’s there to listen to you hold your tongue, when somethin’ don’t seem right.” “Silver Moon” is dedicated to Casal, with a country feel showcased by stellar slide-guitar, “The silver moon is fading in the darkness on the night we chose to say goodbye”.
 
The final track on the album, “I’m Gonna Love Again”, leaves us with a bit of hope. Maybe, just maybe, out of the darkness, we can find joy. “I send my paper heart into the wind, I’m gonna love again.”
 
In many ways, The Reservoir plays out like a therapy session, or a series of diary entries. We get a deep sense of Roby’s depth as a songwriter, as his wordplay is intelligent, poetic, and hits the heart in a profound and emotional way.
 
“I hope people give it a good listening to,” states Roby of The Reservoir. “At the very least, to be entertained for a moment in these crazy times. And maybe on another level, some folks might identify with it, and maybe it’ll help them feel a little less isolated and alone.“
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Photo: Gary Waldman
Check out more on Kenny Roby:
http://kennyroby.net/
His single "Old Love" is gorgeous: Check it out!
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Album Review: Colin Schlitt's Peppermint Moon - A Million Suns

7/19/2020

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I think it’s genuinely brilliant that one may go into their bedroom, turn on their computer and record an album. I think it’s incredible that with the technology we have at our fingertips in this day and age, musicians can be in complete control of what they produce with a flick of a mouse, some good lyrics, and melodies inside their heads. BAM! Magic happens, and songs are made and digitalized for all to hear.
 
Bay Area musician and songwriter Colin Schlitt has done just that. Schlitt’s side project, Peppermint Moon, is a complete DIY one-man-band that has produced an airy and grungy album, A Million Suns. Schlitt is best known as the bassist for the Marin County band El Radio Fantastique, but his talents range far and wide when it comes to music. Schlitt is an accomplished musician on not only bass but also piano and guitar starting at a young age.
 
“I started writing songs in my early 20’s. That’s also when I started playing bass in bands where a lot of the songwriting was collaborative. I focused mainly on the bands I was in, but my own songs were more of a hobby at that point”, states Schlitt. 

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After joining El Radio Fantastique, bandleader Giovanni Di Morente asked if he had any songs that might fit in with the band’s sonic madness. “I played some for him, and he loved them. After that, I started singing some of my songs in the band. With Giovanni’s encouragement, I really started to get the songwriting bug. I use a method that he taught me where I start by focusing just on melody ideas. I then sing the melody with lots of oohs, ahs, and other vowel sounds. After doing that for a while, I subconsciously start filling in words here and there that fit the phrasing of the melody. As these subconscious words start getting filled in, I then start thinking about what potential meanings are developing and fill in the blanks.”

As Peppermint Moon, Schlitt had the opportunity to create music that was wholly his. “My favorite music has always been psychedelic pop,” states Schlitt, “I always try to find that sweet spot of sounding weird but also not so weird that it’s hard to listen to. That balance is what really gets my juices flowing.” On his own albums, both A Million Suns and his 2019 debut release Symphony Of Sympathy he does all the instrumentation, the vocals, the recording and the mixing for his albums. “My production style is much more punk rock – not so much in the sound, but in the attitude. I have no real production or engineering training and have learned as I go. I basically just say ‘screw it’ and try not to let my lack of technical knowledge get in the way.“

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His choice to not use his own name for this project is a bit unusual. He explains, “I like the idea of a set of music having a poetic name as opposed to just being the name of a person. I am also pretty shy and introverted most of the time and felt more comfortable giving this project a name that wouldn’t draw as much attention to me personally and would focus more on the songs. I thought it would be cool if people were fooled and thought it was an actual band.”
 
“Doing everything by myself is a very different experience and offers a different type of satisfaction. All the choices I make are solely for what’s best to convey a song.”
 
“I have synesthesia where I visualize music when I hear it," he states of his musical visions. "I remember describing these colorful, rhythmic cartoons I was seeing while listening to music when I was really young and no one knowing what the hell I was talking about. The best representation I’ve seen of this is in the movie Ratatouille, where they visually animate some of the flavors Ratatoulle tastes. It is very similar to what I see when I listen to music.”
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A Million Suns was originally going to be a three-song EP. With lockdown orders in place, Schlitt had time to write more music, so the album grew to 5 songs total. The album is filled with ethereal moods and layered vocals wrapped up in a grungy, psychedelic vibe. “Venus Flytrap”, the opening track for the album, is all crunchy feedback with a psychedelic surf-vibe and sets the tone for the sonic roller coaster the listener will experience. “Like You Used To Feel” has a killer groove and a vortex of soundscapes. “What You Wanted” and “On A Dare” takes the listener to deep places inside their heads and ”This Way Monsters Be” ends the album with wispy visions. 
 
Schlitt provides dreamy music with a kick. There is a buoyancy to the songs that are sidelined by an underlying edginess; it’s an interesting mix that creates wordless emotions and feelings. Schlitt will continue to keep himself busy with El Radio as well as Peppermint Moon, “I do love collaborating with other musicians,” he states, “and I would never want to exclusively make music by myself.” When one has music pulsing through their veins, it’s almost impossible to stop creating. With Schlitt’s talented repertoire of sonic tricks, it will always be fun to see what he comes up with next.
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Check out the music and more info on Peppermint Moon
Bandcamp:
http://peppermintmoon.bandcamp.com/

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Spotify:
​http://open.spotify.com/album/2vV0M13iYva7vJkKJB1htA?si=pSQ8CAGaQGWC8-n5KdwK4A
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Darren Nelson & The 421's - The Backyard Sessions - 6.20.20

6/24/2020

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Marin singer/songwriter Darren Nelson is a striking presence. He is plastered with tattoos, has a long and wild mane of hair, sports a scruffy, mountain man-style beard, and a heart-melting grin. In any given song, his expressive face may go from a wide-mouthed scream to a peaceful Buddha. His songs are lyrical stories telling of runaway convicts, drinking, love & heartbreak, and how a hard life can turn out to be a fun adventure. His onstage presence is both dynamic and genuine as he sets his focus on making epically awesome rock and roll with any one of his numerous bands that include Honeydust, San Geronimo, and now, the 421’s.
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The musicians in the 421’s are massively talented and seasoned players, and all of them have gigged around with Nelson for ages. Along for the musical ride is the epic guitarist Danny Uzilevsky (Honeydust, Koolerator), bassist Mike Anderson (San Geronimo, Maurice Tani), guitarist Tom Finch (Big Brother, Tom Finch Trio), and the smiley-est drummer of all, Rob Hooper (Koolerator/Carolyn Wonderland). It’s been about 5 months since Nelson got together with his mates in the 421’s due to Covid distancing. It was a joy for everyone to be together for the first time again during a live stream performance for The Backyard Sessions. “I missed them all so much, but when we finally got to The Backyard, it was such a reunion!” states Nelson. “We had to resist our hugs, but the smiles were uncontainable!”
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The Backyard Sessions is a new backyard live stream venue in Marin County that aims to host many local bands while providing high-quality video, sound, and production elements for live stream shows. In these strange times we live in, it’s the next best thing for musicians and bands to try to squeeze out a living on music-making, but it’s not the same as a live performance. “The live stream leaves a lot to be desired in terms of audience participation,” states Nelson. “I very rarely
write a setlist for a show because the songs I play depends on the interaction of show-goers. Now, I can’t see the reaction of those watching, so I make my setlists entirely by the way I feel. The closest thing I get to audience participation is a scrolling line of comments. While I’m playing, I can’t really look at them because I’m focused on the songs, but in between tunes, I can get a quick sense of who’s there who might want what song.”

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Soul Ska Live Stream - The Backyard Sessions - 6.10.20

6/13/2020

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At this point in time, most of us are experiencing a bit of the Lockdown Blues, and even though it seems as if we are coming out of it, we are entering back into a world that has changed drastically. It is sad to say that the music scene in the Bay Area may be in a state of a significant overhaul with massive shutdowns and closures of all music venues, bars, and clubs. Most of us have not gone to a live show since mid-March, and bands and musicians are struggling to find a place (and an income) in the new paradigm.
 
The future of our local music scenes is uncertain. Will we ever be able to gather in large groups again? Are small clubs and bars a thing of the past? Who knows? But the truth is, we still need live music in our brains, and we still need to rock and roll, so how do we do that when we can’t gather? Well, kids, welcome to the New Age of the music industry, Live Stream shows via the Internet.
 
I like to say, “When the going gets wacky, the wacky people get creative and innovative.” It seems that the new version of a “live music venue” is in our own backyards, literally. Backyard (or garage, front porch or front yard) live streams are the new clubs, the lawn or patio is the latest idea of a stage and countless viewers sitting at home with their computers are the modern audiences. The simplicity of cell phone technology has made it massively easy to bring people together to experience music, now that’s what I call making the best of a bad situation.

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Album Review: Frankie Bourne - Wildcards

5/26/2020

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Album cover artwork; Frankie Bourne. Photo: Carolyn McCoy
Here we are, Lockdown day number “whatever”, and by this point, most of us are cranky, broke, scared, and frustrated. Every one of us has seemingly let go of “the old normal” and we are fast embracing “the new normal”. Sadly that means that we are no longer going out to experience live music in our local clubs and bars. But, alas, there is still music being made and released, probably even more so now than before. And so with that segue, I will tell you a story about this exact subject of making music.
 
Many moons ago, deep in the heart of West Marin, California, a young man named Frankie Bourne discovered his calling; music. It was in the small town of Nicasio that this man first heard music coming out of the local roadhouse that would greatly influence his life. “I grew up regularly exposed to rootsy, blues-rock bar bands playing at Rancho Nicasio. I loved the sass of blues music, the soul in the stories, the crunchy telecaster guitars, and the attitude-driven grooves,” states Bourne. “A turning point for me was when I was 15. I saw Jackie Greene play a dinner show at Rancho. It was a trio, just Jackie and a cocktail kit rhythm section. I remember having a moment of reverence that night. I was so inspired. This light turned on. It was a moment of monumental clarity. I said to myself: “that is what I want to do”.
 
Bourne started his musical life on drums and taught himself guitar. As a teen, he began writing songs and has since become an amazing and prolific songwriter. “Lyrics have fortunately always flowed very naturally for me,” states Bourne. “I guess you could say I cull from personal experiences about the basic human condition, about personal experiences that we all share. It's about the shit that makes us human, and characteristically imperfect; relationships, friendships, family, loss, anger, love, curiosity, confusion, envy, jealousy, identity.”
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With three self-produced albums under his guitar strap (Lincoln Heights - 2019, Valley Of Vindication EP - 2017 and Californicana – 2014), Bourne gave birth to his 4th album earlier this year. Wildcards is an Americana-based pile of songs that bridge blues, rock, and country. Recorded at Cotati’s Prairie Sun Studios with Matt Wright, Bourne had much control over the album by producing it himself. “I wrote and arranged all the hooks and melodies for the instrumentation layers,” states Bourne. “I was then able to try to create the sounds I had in my head for each song. I wanted to make another album with proper production value, that was honest but professional, and where I had complete creative control. But every player definitely brought their own sauce to their performance. The highlight for the new album Wildcards was about showcasing the sound and energy of this band that I had come to build in Sonoma County since 2016. The core band of Frankie Bourne & The Wildcards is me, Matt Pasquale (bass, backing vox), Sunil Sharma (lead guitar) and Jeff Nassi (drums)”

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The Wood Brothers - Fox Theater, Oakland - 3/7/20

4/6/2020

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I have heard much hubbub over the last year over the Americana folk-rock band The Wood Brothers. Friends and colleagues have expounded on their playing and their performances, telling me over and over, “You really gotta check these guys out, they are something else!” Ok, fine, twist my arm. When the three men who make up The Wood Brothers walked onto the stage of Oakland’s Fox Theater recently, I did not know what to expect as I wasn’t familiar with much of their music. It was kind of like a blind date in the sense that even though I was told I would like them, I didn’t know if it would be a love connection. But I was ready to experience what they had to offer. Most of the time, I trust the suggestions of music lovers like myself to point me in the right direction of bands I need to hear, and I am happy to report I was not misled.
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From the first song to the last, I could tell they were my kind of band; rootsy, rocking, dynamic, and intelligent. The Wood Brothers are solid players, and I did my best to understand what was going on before my eyes and ears. At first, I couldn’t quite tell why I liked them right away, but then it began to hit me. It was as if they were all playing separately to what their spirits told them to play, but they are also able to meld that separateness into this tightly wound package of cohesion with each man’s playing style coming into sync with the others. I was aware of all three playing individually while hearing what they did together. That, to me, is brilliant, like three colorful fireworks going off in the sky simultaneously while creating this majestic display of BOOM!​
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The band is pure talent. Oliver Wood is the eldest, a guitarist, and a songwriter by nature and birth. His stories come across beautifully when translated into song. Younger brother Chris Wood is a musical genius with his focus on bass, either with is his standup, electric and vintage instruments, as well as harmonica. His time with Medeski, Martin Wood solidified his technical prowess and his jazz influences. Multi-instrumentalist and percussionist Jano Rix is not a brother in the familial sense, but definitely one in the spiritual sense. His expertise at playing drums while laying down funky keyboard licks AND singing all at the same time was wicked to witness, and I began to think he had extra arms.
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Opening the night, the band laid hard into songs from their newest release Kingdom Of My Mind, showing that they have not lost their touch lyrically or musically. “Alabaster” has crunchy feedback, and a bluesy vibe and “Glad” brings a funky groove with a killer baseline. Oliver’s voice has a hint of twang when he sings, and in conjunction with his brother Chris’s higher voice, the harmonies rip on songs like “When I Was Young” and “Little Bit Broken”. “Snake Eyes” totally rocked with a freight-train force. Mid-point of the show, opening act Birds Of Chicago gathered around the mic with the band on “Sing All About It” and sang their hearts out. With the end of the evening, The Wood Brothers busted out the gorgeously sung “Luckiest Man”, “Lil Blue” and an excellent cover of The Band’s “Ophelia” before their encore of “Happiness Jones/Express Yourself”.​
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An interesting thing happened during the show, one that I wish would happen more often. As the band was set to play a quiet song, Oliver Wood kindly shushed the very chatty audience, stating that now was the time to hush up your neighbors and listen. I almost cheered but felt that would not help the moment. So the audience stopped talking, and when it was quiet, the three men sang in harmony, all acoustic and lovely, encouraging the fans to not only listen but to sing.

​Once again, I am blown away by a band I didn’t know much about. Once again, I leave the venue going, “Holy cow, that was FUN!” and once again, I open myself to the magic at hand when I hear live music. I would have to say that for a “blind date” with a band, this was a very successful love connection.

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Lyle Lovett - Uptown Napa - 2/21/20

3/3/2020

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Texas country crooner Lyle Lovett is a bit grayer with his famous hair than the last time I saw him. He is probably a bit wiser too, I would imagine, given the fact that he has been at the professional music game for over 30 years. At his recent Uptown Napa show, in support of his current tour, Lovett stated that when he was a kid, he realized he could make a living at songwriting because it was easier than mowing his parents' lawn, and from there, things took off on a long and winding career that has spawned so many songs.
Lovett has a dedicated fan base, and I'm part of it. His music has been part of The Soundtrack Of My Life for almost as long his career itself. His songs have carried me through love and heartbreak, too many bad decisions, and countless road trips. His music is as much a part of my DNA as any other profound force in my life. His songs are stories, poetic journeys that deliver humor, sadness, and joy.​

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In the past, Lovett has toured with His Large Band, a 20-piece group with a big sound that made his songs explosive. With this current tour, he shares the stage with His Acoustic Group, which focuses more on bluegrass and pared-down country sounds. It’s only Lovett and four other musicians, together creating a simpler and more intimate show. Lovett is riding the two-lane blacktop with fiddler Luke Bulla, stand-up bassist Viktor Krauss, Dobro master Josh Swift, and Jeff White playing both mandolin and guitar. All sing beautifully, and their harmonies rocked. The current lineup is a dream group for old-time bluegrass and country, as each member comes from their own lineage in these genres. Lovett’s introduction of the band consisted of about 10 minutes of banter, stories, quips, and intimate details about haircuts and Grammys.
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The two-and-a-half-hour set amid the gorgeous art deco interior of the Uptown was chock-filled with Lovett’s originals, songs that often utilize humor, wit, and intelligence along with the pure country sound of a man raised among the pastures and farmland of Texas. Lovett is not one of those singer-songwriters whose songs convey burden — he isn't much for confessing or wallowing; he states things as they are in a way that is both self-deprecating and true.
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His band opened the night with an instrumental bluegrass ditty, and then Lovett walked onto the stage amid huge cheers and applause and launches into the lovelorn “Once Is Enough,” his voice, an interesting mix of nasal and smooth, hits me with an intense familiarity that comforts me in this weird way. He played many of my favorite songs including the humorous “Pants Is Overrated,” “Give Back My Heart,” “Cowboy Man,” and “I’ve Been To Memphis.” Fiddler Bulla, also an accomplished songwriter, shared an intimate solo moment with “The Temperance Reel” while Lovett and the band sat quietly and watched in awe.

An audience member requested “Texas Trilogy,” so Lovett took a set list detour and played Steven Fromholz's epic song of life in rural Texas. Ending the night, Lovett busted out his most beloved song, “If I Had A Boat” then came back and encored with “She’s No Lady” and “That’s Right (You’re Not From Texas)”. The crowd had no problem giving this quirky Texan a standing ovation at the end of his set

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Lovett is affable and interactive onstage, at one point stating, “You all are so lovely, it’s almost like I am playing in your living room. But don’t invite musicians into your living room because they will never leave.” Lovett has the demeanor of a shy man who knows he’s a badass, but it seems that he is still is shocked that people love his music. It creates a feeling of authenticity within his live shows that is refreshing and real. He doesn’t need to rely on flashy gimmicks, as his music is the one and only reason we come to witness his shows.
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    Carolyn McCoy

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