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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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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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