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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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Photo Essay: Places I've Made Out With Boys

4/10/2020

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"If you want to know if he loves you so, it's in his kiss"...or so the song goes. But the reality is, that's a lie. We all know kissing, especially a really good kiss, is all about a chemical connection via hormones found in spit.

​The mouth is a sensual place if you ask me. Warm, inviting and chock filled with chemicals in the saliva that will set the heart pattering during a kiss. The mouth and lips contain over 40% of the nerves connected to our face, so the lips respond intensely to every kind of stimuli, which, in turn, triggers a massive response in the brain. During a passionate kiss, our blood vessels dilate; more oxygen is routed to the brain; our breathing quickens and becomes erratic; our cheeks flush; our pulse quickens; our pupils dilate. We are inundated with dopamine, serotonin, norepinephrine, oxytocin, and our adrenaline levels spike, leaving our bodies awash in a chemical bath that is equivalent to an amazing drug high that often leaves us addicted and wanting more.

So, a good kiss really means nothing in the grand scheme of commitment. It doesn't mean he loves you, it doesn't mean he'll stick around, but it does mean there is some seriously good sexual juju that may or may not lead to love. 

​#1: It was just a mild flirtation and I never expected anything to happen. But for only one night it did. I remember the sound of the creek below as my hands wove through his hair. So soft, both the sound of the water and the feel of his hair. He sat on the guardrail before me and we were then face to face. The trees shook in the wind, the night blended the darkness into various shades of light and for a few moments I was oblivious to it all...
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​#2: The footbridge was dark, empty and probably not more than 50 feet long. But when one is distracted by a curly-haired boy with a dark soul and a fiery passion, a bridge can take hours to cross...

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​#3:  As we sat on the bench in the dark, he told me he was emotionally bankrupt and couldn't give me anything, I said that was OK. But when my lips touched the warm, salty skin on his neck I was hit with a desire I hadn't felt in awhile. I knew at that moment that I was lying to him and that eventually I'd want more....

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​#4: The intimacy of my bedroom is rarely shared with men. The honor of being in my sacred space is something that is earned, not freely given. But when a man finds himself standing next to me near my bed, he can expect that I want more than a kiss. But he also must know that his eye is on the prize and the prize is me....

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​#5: It had been weeks since I saw him last, as his other girlfriends and a hefty drug addiction kept him busy. We drove together to the coast to talk about his desire to finally try to be with me; maybe, just maybe, he was ready to commit.  But as we sat in the car staring at the sea, I realized that I didn't want to be with him, I wasn't in love with him anymore, and I knew I could never truly trust him. So I kissed him instead. I knew then that I only wanted his body because that was the only thing he could give me that wasn't a lie...


#6: Oh, if this bar could talk! If these beer stained walls and this dance floor could tell the stories of my many romantic adventures, what would they tell? Would they discuss the drunk boy on NYE years ago who became aggressive and insinuated his desire to rape me after I kissed him? Would they whisper about the lean, tall architect from Idaho whom I loved long-distance for a year? Would they gossip about the heartbroken man who licked my arm seductively or talk in hushed tones about the drug addict or the artist I met while dancing? Would they "tsk-tsk" me about the cheating fiddle player, the one-nighter with the 23-year-old man/boy or any of the many other boys who struck my fancy over the years? Probably.
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#7: He was only offering me a shoulder to cry on, as two days earlier another man broke my heart. He was kind and sweet and listened to me as I emptied my heart. I felt such comfort in his attentions. So when I found myself with him on a dark basketball court feeling my heart beat fast as my tummy did flip flops, I knew it was ok to forget the heartbreaking bastard who hurt me...

​#8: As I stood on my steps and kissed him goodbye, I knew in my gut he was about to disappear again, even though he said he'd see me in a few days. This wasn't ever a surprise to me, as disappearing was his way. Maybe it would only be for a few days, maybe for weeks or months, I never knew. But he'd be back; he always came back. I was one of his many addictions, and my kisses led him to a place of ecstasy.
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#9: I don't do public make outs on public sidewalks, that is not my style. Though when he asked if he could kiss me goodnight as I unlocked my bike I was hesitant for only a moment. I really wanted his kiss and I wanted him, so I wrapped my arms around his neck and decided not to care for once what other people might see or think about my actions in this small town of mine.
 

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​#10: Rewind: I was 14, he was 13 and I have no real recollection of how we paired up, how things began or how I ended up laying under him on the damp grass of the golf course, but I was somehow making out with a boy for the first time. It was kind of cool but kind of weird as we slid our tongues around each other’s mouths. I got the hang of it quickly and decided I really liked kissing. I would like to say he influenced me profoundly, but he didn't. He was just the first boy I kissed in a long line of boys I would end up swapping spit with...

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​#11: He was a young-buck, ego-driven 27 year old, I was a 44 year old single mom. Over dinner on our first date, he stated in a matter-of-fact manner that he would become an asshole after 3 dates. So I had at least 2 more before things would end, I guess. That major Red Flag was ignored by me, so after dinner I took him to a nearby park, sat with him on the steps and kissed him under the dappled glow of a lamp post as the nighttime city shimmered beyond the trees. He did indeed become an asshole as he promised, but I was lucky to receive 5 dates total before he did so....
 

​#12: He was ruggedly handsome and really sexy in that manly-man kind of way, but he blushed red when I suggested he could be a part of this photo series if he ever made out with me. So when, a few weeks later, I found myself kissing him quite wildly in a small park in town, I finally divulged to him that I was kissing him not because of my photo series, but because I was very curious about how he kissed. I have to admit, my plan worked.
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#13: We rode our bikes through the dark streets of town like giddy teenagers until it was time for me to turn off onto my road. We parked our bikes near the chain link fence of the tiny park and I pulled him to me. We kissed for what seemed like hours. Cars drove by, crickets chirped and the warm evening breeze shook the big, majestic maple that was over us, but I only noticed that in passing, as kissing him and feeling his hands on my skin put me into another realm of reality.

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#14: His sexual bravado was easily seen in his swagger and smile as he came over to me in the crowded bar and whispered in my ear, "If I ever got you alone, I'd have to kiss you." I looked him in the eye, my whole body in a vice of desire and replied, "Well, when it's time for you to leave, I'll follow you out the door." We walked to the bleachers at the ball field where he wrapped me in his arms. I leaned in to kiss me and then BAM! He ignited a fire within me that I sorely needed to feel again.

#15: In our short but very intense Summer-into-Fall romance, we saw each other almost every day. My busy life sometimes only allowed for short moments together, so we would have 30 minute "Driveway Dates" where we hung out in his car, talked of our day, kissed and hugged like our lives depended on each other. He was someone I truly loved and wanted to go the distance with. But then it all changed so fast, he changed things without warning. And as I stood in my driveway with him for the last time, I knew he would not kiss me goodbye.
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​#16: The party was winding down and as I left he offered to walk me up the road to my car, the backstory being that there was about 10 years worth of flirtation and attraction between us. So with the late summer night spread before us, the warmth still in the air and the crickets as our music, he asked to kiss me. "Yes, I think It's about time" I state. So with that permission, we sank into a physical melding created by built up lust and curiosity that left me breathless and wanting more.

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#17: Months ago, while sharing a joint outside the bar, he started to ask me questions about my Making Out With Boys photo series, as he was curious about it: How many men was I dating? How many boyfriends did I have? And, more importantly, he asked if I had ever kissed anyone at this particular bar. "No, not yet," I stated. So when I ran into him recently at this particular bar, after our greetings and hugs near the bathroom, he leaned towards me and planted a quick kiss on my lips. I was simultaneously shocked that he made such a ballsy move but not surprised either, as I sensed he wanted to kiss me for a while now. It was a chaste kiss and as I didn't have time to respond, all I could do was laugh and say, "Now I've been kissed at this bar!" But I'll never say never to another kiss, maybe more, within the walls of this particular bar...

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#18: When we first started our short but intense love affair, we were all over each other, all the time. With our electrified physical dynamic, there wasn't any place that was off limits to the ravenous joy of turning each other on. As I loaded my laundry into the dryer, he grabbed me from behind, turned me around and kissed me hard and passionately, wet towels falling to the floor as I engaged him in kind with my desire. At that point in our romance, I was still in the mindset that we loved each other, as that is what we agreed on. If I knew that "I Love You" meant something different to him than it did to me, if I foresaw the reality that he would leave me soon, I would never have desecrated my laundry room with my lust.


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#19: "Look up!" he says as the convertible roars along the winding roads of West Marin. We enter into the grove of eucalyptus trees on the way to the coast and I catch myself in a moment of freedom within my heart as I lift my head and observe the dappled light. He holds my hand and looks at me with soft eyes and I fight with all my might not to fall into them, but I do anyway, regardless of the fortress of barbed wire around my heart. He's creeping into my soul, and I am simultaneously scared and elated by the possibilities...
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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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George Clinton & Parliament Funkadelic, Mystic Theater Petaluma, 2/17/20

2/24/2020

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As I walk into Petaluma’s Mystic Theater, I hear this in passing, “The Mothership has landed!” That statement is pertaining to the show at hand with the master of all things funky and freaky, George Clinton and his new generation of Parliament Funkadelic. Let’s just say that the psychedelic circus has come to town with all its wacky, high-energy glory, and I was there to witness the magic.

Sadly, this is George Clinton’s “Farewell Tour”.  At 79 years old, he thinks it’s a bit time to settle down, but not before giving his fans one last “give up the funk” party to end all parties. Clinton has been at this game of out-of-this-world performances since the ’70s, creating hybrid music that encompasses rock, funk, Motown, heavy metal, hip-hop, and soul all while exploring various electronic sound technologies and lyricisms. He relishes in blurring the lines of White & Black music, as music knows no racial division. Clinton is a songwriter, rapper, producer, and Captain of The Mothership. He has developed an influential and eclectic form of performance that incorporates the ideas of futuristic vibes, outlandish fashion, psychedelic culture, and surreal humor.

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Clinton is touring with, literally, a new generation of PFunk that includes his son and daughter, many of his grandkids and kids of PFunk alumni. Now, forgive me for being unclear on a few things here. Truth be told, I have no idea who everyone onstage was or what their names were, as it was too hard to keep track. But at any given moment, the stage was filled with up to 20 people including two guitarists, three backup singers, keys, drums, bass, sax, a ton of MC’s and rappers and Mr. Clinton himself, all giving it their all as they bounced, danced, twerked, and interacted with each other while blasting us with tightly played music.​

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It was pure chaos in the best sense of the word. There were sexy costumes, sequins, guitar-shredding-hair flips, sexual innuendo, platform shoes, the sharing of joints all amid a swirl of active antics on stage. The band continually gave high fives, fist bumps, and handshakes to the crowd throughout the night. MC’s came and went, rapping and rhyming to the PFunk beat. Mics were pointed to the audience, and copious amounts of sing-alongs were had during significant hits such as “Give Up The Funk”, “Flash Light”, and many covers of well-loved hop-hop and soul tunes. Featured also were many new songs from Clinton’s latest studio album Medicaid Fraud Dogg, which brings PFunk into the 21st century with current themes lyrically and wicked funk-rock beats. The racially mixed crowd smiled and smiled and smiled, while much hooting, hollering, and cheering ensued. There was true love from the players to the audience. ​

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Because of his ailing health, Clinton spent much of his time sitting midstage in a chair, but when he got up to sing or dance around with his band, his life force came shining through, and you could tell his spirit was right where it belonged, regardless of what his body tells him. His smiles and laughter from the stage all gave the idea of a man who has had it all, gave it his all, and is now reigning high in his Mothership. He is the rightful King of Funk, a true showman who has been WOWing crowds for decades. So I wish him well in his retirement, though I must admit, I highly doubt I am the only one who hopes that retirement does not last. 
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Katie Knipp: Super Mom Vs Rock Star Blues Babe

1/27/2020

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 Blues artist Katie Knipp knows how to multi-task, and we are talking about that in the biggest sense of the phrase, being both an active mother of two small children as well as blowing up her musical career in a major way. Knipp hails from Sacramento and is fast becoming one of the Bay Area’s darlings in blues, having her most recent album, “Take It With You” land at #9 on the Heat Seekers charts and #10 on Billboard’s Blues Album chart ( of which she shared chart space with other blues masters such as Buddy Guy and Kenny Wayne Shepard,) “I almost passed out!” Knipp states upon hearing how her album was doing, “Then I was quickly brought back to Earth by needing to clean up my 2 year old’s vomit about a minute later.”   Such is the life of a rock star mom, glory amid the day-to-day stresses of maternal duties. “It’s a daily struggle”, says Knipp, “but I am learning how to prioritize every single minute. “
 
It’s also worth mentioning that Knipp’s album was on the ballot for a Grammy nomination, and although that fell through and she didn’t make it to a nomination, she feels like the nod from the Grammy organization was a serious gift to her career, stating, “The experience of being on the ballot for nomination consideration was extra special. The radio support for my album has also meant so much to me, especially overseas, as it has translated to more direct sales of my CDs and downloads online.”
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Knipp takes her music seriously, writing songs that span the gamut of blues-inspired subjects such as murder, abuse, war, drugs, sex, and psychotic love. She sings these songs with great exuberance, allowing her deep, powerful, rich and full voice to be the muse of the lyrics, punctuating each verse with a syrupy vibrato, juicy howls, fierce moans, or a “fuck you” attitude, all controlled with sheer brilliance. Her 4 prior albums all convey the struggle and the joy of singing the blues. “Blues has always felt best in regards to my singing style, very freeing. I remember early days of open mics as a teenager and just getting a blues song out there felt like a sigh of relief.”
 
Knipp has worked very hard to get to where she is, and she is grateful for her musical career. She has a degree in opera, of which you can tell by her full-throated singing style, and in conjunction with her love of piano and Dobro, Knipp has created the sound she has become known for. “I cherish every moment and just feel completely grateful. I definitely feel pressure to always do better than my previous albums, but it’s a good kind of pressure because all it really comes down to is the desire for constant growth. Music is so wonderful that way because you can never stop growing your craft on different instruments, styles, and writing.”
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Being a woman blues performer is a different journey than that of the male performers, it shouldn’t be that way but it is. Being a woman has its own strengths and Knipp is making it work for her, “All the nominees in my category for Grammys were men. It sure would be nice to change that the next time around,” she states of the male/female imbalance of power in the music industry.  “I want to empower girls to go for it, which is why I volunteer for Girls Rock Sacramento every summer. Being a woman onstage makes me automatically struggle a bit more with vanity than I would like. I worry a little too much about my weight along with everything else. The average human tends to look before they listen.”  
 
It’s been her strong drive and deep appreciation of her audience that makes creating music so fun for her. Performing and recording are two very different experiencing, but Knipp enjoys both. “Recording tends to be a bit more challenging because there is no audience energy/communication transfer, but it’s nice to be able to do a second take.” As far as her live performances go, even amid the stage fright, she loves the energy and vibe of being onstage, “I feel like a kid on a trampoline. It’s wonderful, and I always want to bear hug every single person afterward. That being said, I do also have more moments, especially with high-pressure solo opening act gigs for famous people like Jimmie Vaughan, Robert Cray, and Joan Osborne, where my stage fright can kick in pretty brutally. No one seems to notice, but it sometimes feels like I might pass out. I am learning to deal with it as best I can through mediation so I can HAVE FUN!”
 
Knipp is in the planning stages for her next studio album in the fall. She wants to continue to create music that resonates with her soul with lyrics that express her personal truth. She is a woman on the go, climbing the ladder of musical success on her own terms and with her own vision intact.  
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The Set List: Ruminations & Musings On  A Piece Of Paper

12/1/2019

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John Doe's set list, HopMonk Novato, 8.6.18
That piece of paper that often lays below they players on the stage may seem like nothing much, just a bunch of words and notations that is often soaked with booze by the end of any given night of music. But alas, it is so much more than that, as it is the coveted Set List, and it’s presence to both musician and fan is incredibly important.
 
To the musician, the set list for any given performance can help them remember what songs to play, in what order and in what key. Sometimes notes are added as to who sings or plays during that song. The set list can be a constant reminder of what to do so that they can focus on playing the music without thinking “Oh Shit, what’s next?” Set lists are not always followed exactly, for example troubadour folk singer Ramblin’ Jack Elliot often does set lists, but usually doesn’t follow them. He jumps around, singing songs that may or may not be on the list, often taking requests from the audience or completely ignoring a song he was set to play in lieu of another.
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Ramblin' Jack, HopMonk Novato, 11.10.19
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Johnny & June Forever, Sweetwater, 10.6.19
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Townes Van Zandt Tribute, Sweetwater, 7.10.18
PSDSP, Sweetwater, 7.20.18
To the fan, the set list is often a prize fought over at the end of a show. It’s a keepsake for the experience one has, a memory for what was played during shows, a treasure that says “I was there! I was witness to this night!” If the list was handed to the fan directly from one of the musicians, it is even more of a gift, as that brief interaction with a favorite musician is noteworthy to any fan of their music and can add to the story.

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Danny Click covers John Cougar Mellencamp's "Scarecrow" - Terrapin Crossroads - 10/25/19

11/23/2019

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In 1985, “Unabomber” became a household name, the Regan Era was in it’s full-fascist swing, there were over 4 billion people on the planet and John Cougar Mellencamp introduced the world to his eighth studio album Scarecrow which gave a musical reflection of world events and the corporate hold we were now under. The American Dream was crumbling into dust and there was need for a voice during that time to show us the light while explaining what was going on. With the Scarecrow album, Mellencamp stayed close to his musical Americana roots while moving to a more political direction with his songwriting. In particular, he gave voice to the plight of the American farmers fighting to save their farms, expressing their burdens in songs like "Rain on the Scarecrow" and "You've Got to Stand for Somethin'
 
Marin County guitarist and songwriter Danny Click decided it was high time to create a live show around Scarecrow, as the album still holds ground in this day and age. Click grew up in Americana farmland, so he understood directly the plight of the agricultural hell many farmers were experiencing in the 80’s. “Everything on the album is true of how the farmers felt about what was going on with the farmland”, says Click. “It’s a statement to what was wrong with the world at the time. It’s sad to see that it’s all still wrong 34 years later”
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With a plethora of amazing Marin County talents, including vocalist Susan Zelinsky, percussionist Robin Goodrich, guitarist Erik Schramm, accordion player Wendy Fitz and guitarist Dave Sampson, along Click’s regular backing band The Hell Yeahs, (vocalist Lyn Carpenter-Engelkes, guitarist Jon Mitguard, violin player Adrienne Biggs, bassist Mike Anderson and drummer Rob Hooper), Click gave the album a tremendous reboot recently at San Rafael’s Terrapin Crossroads to remind us all of the preciousness of Scarecrow.
 
“When I first heard the record it was a visceral thing for me; the songs, the tones, the way the guitar playing was approached”, says Click. “The drum sounds were huge. It was a wonderful performance by a band at its height.”
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Click and company played the album in it’s entirely from first to last song with great regard to what Mellencamp was trying to get across to the listener. From the opening song “Rain On The Scarecrow”, with Goodrich hammering a beat on an actual anvil to portray the workaday-vibe of the album, the band channeled Mellencamp while staying true to their own individuality as a band. One could tell from the players onstage that they truly enjoyed the songs and music Mellencamp created, laughing, dancing around as they made the songs their own.
 
The album is not all political, and Click made sure that he made light and fun with great songs like “Small Town”, “Lonely Ol’ Night” and the epic anthem and usually misunderstood song “R.O.C.K In The USA” that tells the story of how rock and roll emerged in America, and how those now infamous musicians stated in the song were not afraid to take personal risks for the sake of their music and therefore became a strong influence on the next generation.
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Second set was pure “Danny Click”. His music in general is very much in line with what Mellencamp was doing, hard-driving Americana rock and roll. His shows are normally filled with ruckus guitars and poignant songs, including his mainstays “Wait My Turn”, “Everything’s Alright” and “When I Get Drunk”, showcasing his stellar playing as well as the solid groove he has with The Hell Yeahs.
 
Showcasing Scarecrow was a brilliant move, it’s an album that needs to be heard again and again in understanding how the world is at unease but we have a choice in how we handle that. Says Click “The album stands alone as one of the most real honest rock ‘n’ roll social political directors ever made for me. Everything Mellencamp is singing about on the record is still true, but it’s only worse now than it was then. So like the song says, we’ve got to stand for something or we’re going to fall for anything.”

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Joe Bonamassa - Paramount Oakland - 10/19/19

11/23/2019

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Ah, the guitar, such a fabulous instrument, so versatile and emotive. When placed in the right hands the guitar can sing, squeal, moan, groan and wail. It can pierce your heart, your soul and your whole being with the right combination of strings. The guitar is sexy and can make you feel things your mom told you not to feel. When one bares witness to a true master of the guitar at work, one can experience God; and so, with that preface, I introduce to you blues-rock guitarist Joe Bonamassa.
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Bonamassa is not one of those “I am gonna shred so hard and flaunt my ego through my fretboard” kind of guitarists, he’s a classy guy with decades of technical guitar and instrument experience behind him. His precise playing, his focused noodling and his passion for the guitar places him a cut above other guitarists of his stature. He is a true aficionado and self-professed gear nerd. My understanding is that his gear, vintage guitar, and amp collection needs it’s own building and has been affectionately named the “Bona-seam”. 
 
His recent 2-night stint at Oakland’s Paramount Theater Of The Arts was a classic blues-rock show and Bonamassa used the art-deco backdrop of the Paramount to showcase many guitars from his collection. When I say, “He’s a classy guy”, I mean that in many ways, from his tailored blue suit, slicked-back hair and constant use of sunglasses to his appreciation of his backing band that enfolded him with such a force of sound, and that sound cradled the listener as well as shook them to the core. 
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Bonamassa’s band is filled to the brim with incredible international talent including Nashville recording legend Michael Rhodes (bass), Rock & Roll Hall of Famer and member of Stevie Ray Vaughan and Double Trouble, Reese Wynans (piano/organ), Paulie Cerra (sax), Lee Thornburg (trumpet), and Jade MacRae and Juanita Tippins who delivered powerhouse vocals and synchronized dance moves for every number.
 
Bonamassa opened the night with a few songs from his latest release Redemption. As the first hints of the rocking “Evil Mama” started, the crowd went wild. The high energy progressed with“ King Bee Shakedown” then on to the gentle and heart-breaking beauty of “Self-inflicted Wounds” his voice full, soulful, and deep. By the time he was finished with the searing blues groove of “Sloe Gin”, only halfway through the show, Bonamassa received his first of 4 standing ovations from the audience. The 2 hours performance showcased more of his original music and lyrics including “Just ‘Cos You Can Don’t Mean You Should”, “This Train”, and “How Deep This River Runs”, with the only cover being a sexy and seductive version of “I Can’t Quit You Babe” that put the Led Zeppelin version to shame. 
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The evening’s music ended with “Woke Up Dreaming”, Bonamassa alone on stage with an acoustic guitar that his hands rode like a bucking bronco, fingers so fast and precise that it was magic to witness. The whole band then rejoined Bonamassa as they said farewell to us all with “Mountain Time” with its gorgeous lyrics that state “And she takes me somewhere, And it's good to be there, And she pulls me into her bright golden wing.” With those lyrics in mind, I sit in wonder of how similar feelings have been created inside my heart and head upon seeing Joe Bonamassa live. He took me somewhere, it was good to be there and he pulled me all into his bright golden wings, all with his wondrous guitars.
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Morcheeba - The Midway SF - 10/11/19

10/31/2019

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​Rewind: It’s 1998 and I am in Amsterdam for the second time. As I sit in one of the cities famed “coffee houses”, high on hash and space cake, music comes on over the speakers and I pause amid the smoky conversations around me and listen closely. Something about what I am hearing affects me deeply. It began with these deep beats that set a hypnotic groove then segued into mind-blowing wah-wah guitar riffs. And then this chocolate-syrup voice starts in, all silky smooth and warm, and it carries me on a river of sound. The album I was hearing for the first time in my stoned-out state of mind was Big Calm by the British trip-hop band Morcheeba, and from that moment on I was obsessed with their music.
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Morcheeba, in my mind, is Old School. Founded by guitarist Ross Godfrey, his brother producer/DJ Paul Godfrey, and singer Skye Edwards, the longevity of their sound has been blazing the pathway for mixed-genre electronic music since the mid-1990s. Over the last 25 years, the tumultuous history of Morcheeba included Edwards leaving in 2003, which led to the Godfrey brothers to utilize other singers. Eventually, everything fell apart in 2014 when Paul Godfrey left, leaving Ross Godfrey to reboot their music as Morcheeba with Edwards joining on as singer once more. With nine studio albums under their belt, including the 2018 release Blaze Away, the band continues to create incredible down-tempo grooves that ease your mind and energize your body. The current lineup of the band also includes Edwards’ husband and son, bassist Steve Gordon, and drummer Jaega Mckenna-Gordon, with Dominic Pipkin taking on keyboards and electronic gadgets.

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