Duo tries hand at a new version of the remix
By Chris Nixon
For the San Diego Union-Tribune
July 20, 2006
'The ultimate collection of remixes features 18 dubbed-out versions of songs from The Doors, Sarah McLachlan, Astrud Gilberto, Nouvelle Vague, Wax Poetic featuring Norah Jones, Anoushka Shankar, Transglobal Underground and many more. Includes a new original Thievery Corporation track featuring Sister Nancy,” reads the cover of Thievery Corporation's new album “Versions.”
Rob Garza and Eric Hilton – the two producer-musicians who comprise Thievery Corporation – have gained a worldwide audience as purveyors of tranquil downtempo music, seamlessly fusing styles from around the world. With “Versions,” the Washington, D.C.-based duo turns its attention to the art of the remix.
Normally, producers will take the tracks from a single and slightly tweak the sounds to emphasize aspects within the song. Thievery Corporation chose to completely deconstruct their remixed songs, just keeping the original vocals and building a new song around the main vocal tracks.
“The remix album is different because it's not technically our music, although a lot of those remixes are 100 percent our music and just using the vocal of the original,” said Hilton recently via phone from his hometown of Washington, D.C. “It's an extreme version of a remix.”
“It's kind of like making a Thievery record with a bunch of guest artists on it,” continued Hilton. “We're contracted to do remixes for various artists. We just pick our favorites after a while and try to present them as a collection. Remixing is a big part of what we do. In the end, we're producers and artists, and remixing is on the production side. But it works very well as an album also.”
“Versions” sounds like a Thievery record, filled with dreamy dub reggae and spacey pop. But instead of Perry Ferrell or The Flaming Lips adding guest vocals (as both did on TC's 2005 release “The Cosmic Game”), you have Jim Morrison (on The Doors' “Strange Days”) and Astrud Gilberto (“Who Needs Forever”).
So how did Hilton and Garza choose the tracks to remix? “We chose the tracks one by one,” said Hilton. “In doing so, it makes the album a little heavy on the downtempo groove with female vocals. Nouvelle Vague, Astrud Gilberto, Bebel Gilberto, Norah Jones. There are so many great female vocalists that we've worked with.”
Thievery Corporation will be playing a two-night stand at 4th & B in downtown San Diego tomorrow and Saturday. The two dates are part of a mini West Coast tour, centered around a show at the Hollywood Bowl on Sunday sponsored by Santa Monica radio station KCRW.
“It's a huge show: We're playing with The Flaming Lips and Os Mutantes,” said Hilton. “It's almost sold out. That's 17,000 tickets. That'll be the biggest show we've ever played and something we couldn't turn down, even though we had no real desire to do touring this year. If we're going to be out there, we might as well play our best cities on the West Coast.”
Chris Nixon is a San Diego music writer.
Thursday, August 10, 2006
Night&Day: Camera Obscura
Scotland's Camera Obscura returns with its infectious pop for a second U.S. tour
By Chris Nixon
For the San Diego Union-Tribune
July 13, 2006
Glasgow, Scotland, lies 5,000 miles across the Atlantic Ocean from sunny San Diego. But both cities sprouted bands at approximately the same time with the same name.
Glasgow's Camera Obscura plays shiny Brit pop with sweet female vocals by Tracyanne Campbell and textured, well-crafted songs. San Diego's Camera Obscura – now defunct – sported Duane Pitre (ex-Ilya, Pilotram) on guitar and cut one album (2000's “To Change the Shape of an Envelope”) of angular post-hardcore rock complete with boy-girl vocals.
Back in the late '90s, when San Diego's version of Camera Obscura still survived, the battle for band names got a bit personal.
“They threatened to kill us once; they sent us an e-mail,” admits Carey Lander, keyboard player and vocalist for the Scottish band. “But we played in San Diego before and they never showed up and killed us, so I guess hopefully the worst is over.”
Lander – along with vocalist Campbell, guitarist Kenny McKeeve, bassist Gavin Dunbar, drummer Lee Thomson and trumpet player Nigel Baillie – probably have little to fear from the San Diego musicians, since the group disbanded in 2000.
Lander added: “The people in San Diego were wonderful when we played there before at The Casbah. That was the first date of our tour the last time, so we were slightly jet-lagged.”
Camera Obscura gained notice in the United Kingdom with 2001's “Biggest Bluest Hi-Fi,” winning European fans over with its brand of sweet simple pop. “Underachievers Please Try Harder,” the band's first release in North America, set the stage for a round of touring that led to a show in 2004 at The Casbah.
From the romantic opening notes from Lander's organ on the opening song, “Lloyd, I'm Ready to Be Heartbroken,” 2006's “Let's Get Out of This Country” provides a pleasant journey through 10 tracks of infectious pop hooks. A fascination with retro songwriting craftsmanship runs through the entire album, evoking a nostalgic, wistful yearning for a return to strummy '60s American music.
Lander explains the album's title: “The name comes from the title track. And I guess it sums up the idea behind all of the songs: being tired of where you are and your situation. It's not really about being in a specific place. It's more about a feeling of frustration and boredom that you can have anywhere.”
After touring the U.S. for the first time in support of “Underachievers,” Landers and Camera Obscura found more love than death threats from the American audience.
“We were lucky enough that our first tour of the U.S. was a headlining tour and it went really well, so we're hoping this time will be even better,” said Landers, who will again take the stage at The Casbah on Tuesday. “America is definitely one of our favorite places to play.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For the San Diego Union-Tribune
July 13, 2006
Glasgow, Scotland, lies 5,000 miles across the Atlantic Ocean from sunny San Diego. But both cities sprouted bands at approximately the same time with the same name.
Glasgow's Camera Obscura plays shiny Brit pop with sweet female vocals by Tracyanne Campbell and textured, well-crafted songs. San Diego's Camera Obscura – now defunct – sported Duane Pitre (ex-Ilya, Pilotram) on guitar and cut one album (2000's “To Change the Shape of an Envelope”) of angular post-hardcore rock complete with boy-girl vocals.
Back in the late '90s, when San Diego's version of Camera Obscura still survived, the battle for band names got a bit personal.
“They threatened to kill us once; they sent us an e-mail,” admits Carey Lander, keyboard player and vocalist for the Scottish band. “But we played in San Diego before and they never showed up and killed us, so I guess hopefully the worst is over.”
Lander – along with vocalist Campbell, guitarist Kenny McKeeve, bassist Gavin Dunbar, drummer Lee Thomson and trumpet player Nigel Baillie – probably have little to fear from the San Diego musicians, since the group disbanded in 2000.
Lander added: “The people in San Diego were wonderful when we played there before at The Casbah. That was the first date of our tour the last time, so we were slightly jet-lagged.”
Camera Obscura gained notice in the United Kingdom with 2001's “Biggest Bluest Hi-Fi,” winning European fans over with its brand of sweet simple pop. “Underachievers Please Try Harder,” the band's first release in North America, set the stage for a round of touring that led to a show in 2004 at The Casbah.
From the romantic opening notes from Lander's organ on the opening song, “Lloyd, I'm Ready to Be Heartbroken,” 2006's “Let's Get Out of This Country” provides a pleasant journey through 10 tracks of infectious pop hooks. A fascination with retro songwriting craftsmanship runs through the entire album, evoking a nostalgic, wistful yearning for a return to strummy '60s American music.
Lander explains the album's title: “The name comes from the title track. And I guess it sums up the idea behind all of the songs: being tired of where you are and your situation. It's not really about being in a specific place. It's more about a feeling of frustration and boredom that you can have anywhere.”
After touring the U.S. for the first time in support of “Underachievers,” Landers and Camera Obscura found more love than death threats from the American audience.
“We were lucky enough that our first tour of the U.S. was a headlining tour and it went really well, so we're hoping this time will be even better,” said Landers, who will again take the stage at The Casbah on Tuesday. “America is definitely one of our favorite places to play.”
Chris Nixon is a San Diego music writer.
Tuesday, July 11, 2006
Warped Tour '06: Helmet heir
Hamilton's reconstituted band still shaping heavy metal
By Chris Nixon
For the San Diego Union-Tribune
July 6, 2006
'Da-da-da-daaa,” sings Helmet leader Page Hamilton, humming the opening notes from Beethoven's Fifth with a little distortion for effect. “I always use the example that Beethoven's Fifth Symphony is the best heavy-metal riff ever. I sort of utilize the same approach: Less is more.”
With a background in both classical and jazz guitar (earning his master's in jazz guitar from Manhattan School of Music), Hamilton reshaped metal music in the early '90s with his quartet Helmet. Emerging during the formative years of the grunge movement (just a year after Nirvana's “Nevermind”), 1992's “Meantime” shot the band into the mainstream, sporting the gritty single “Unsung.”
Hamilton utilized a “drop D” tuning on his guitar, a setup mostly used by finger-picking blues players. The tuning gives Helmet its trademark low, guttural guitar riffs, and has influenced bands like Tool to use the same tuning. Both odd tunings and Hamilton's jazz background gave Helmet a unique sound in heavy-rock music.
“Helmet chords are not standard rock chords,” said Hamilton, speaking from Los Angeles. “People have used dropped tuning before I have, but I sort of took it to a new place, I guess. Helmet certainly doesn't sound like any other heavy band. My feel is definitely influenced by playing jazz or classical music. The band swings. It always has.”
After touring in support of 1997's “Aftertaste,” the band dissolved.
“I think it was a lot of exhaustion,” said Hamilton. “I didn't fire anybody in the band. Those guys left. For me, it was a little disheartening, because I put a lot into it, and they did as well. I never stopped loving doing it. I thought we'd maybe take a break for a year, but it just wasn't in the cards.”
Hamilton went on to work with David Bowie (replacing guitarist Reeves Gabrels), Bono and trumpeter Ben Neill during the hiatus, but re-formed Helmet in 2004 and released “Size Matters” the same year.
Helmet emerges in 2006 with a new disc, “Monochrome,” and a headlining spot on the Vans Warped Tour, which stops at Coors Amphitheatre in Chula Vista today. With Chris Traynor on guitar, drummer Mike Jost and bassist Jeremy Chatelain, the album recaptures Helmet's classic metal sound.
“We recorded, mixed and mastered ('Monochrome') in three weeks,” said the 46-year-old guitarist and vocalist. “I think it benefits from it: There's an explosiveness to this album. When you have a little too much time, you can redo things and get them to where you think they're going to be perfect. But there's a certain sound you get from recording quickly and recording to tape as opposed to digitally.”
The Warped Tour – with young demographic and all-ages mentality – is sure to showcase Helmet's hard-core sound to new audiences. Described as “punk summer camp” by many of the regular bands that hit the road with the tour every year, Hamilton's looking forward to the Warped experience.
“Everybody's describing it to me as fairly grueling and hot,” said Hamilton, who joined the festival for the first time this summer. “I guess it's kind of one-for-all and all-for-one vibe a little bit. It's run the way a festival should be. A lot of bands I know do it every year, so there's kind of a Warped Tour family.”
Chris Nixon is a San Diego music writer.
Hear sound clips from Helmet's “Monochrome” by logging on to http://entertainment.signonsandiego.com/profile/274399
Four to watch at today's Warped Tour
July 6, 2006
The Academy Is: Fueled by singalong choruses and revved-up pop tunes, Chicago's The Academy Is remains one of the more mainstream bands in the Warped Tour's wide spectrum of styles and bands. With 2005's “Almost Here,” the band formerly known as The Academy churns out pleasing emo-pop taylor-made for radio play.
My American Heart: According to the band's Web site (myamericanheartrock.com), this San Diego five-piece has “no band member over the age of 18.” Since the group's inception in 2004, My American Heart has come a long way: 2005's debut album, “The Meaning in Makeup,” touring with Gatsby's American Dream, and, now, the band's second Warped Tour in two years. In a few years, they'll be able to celebrate with an adult beverage.
Joan Jett and the Blackhearts: At first, Joan Jett's inclusion in this year's Warped lineup caused a double take. “I Love Rock 'n' Roll” Joan Jett? “Crimson and Clover” Joan Jett? Despite her sudden and brief mainstream popularity in the early '80s, Jett maintained her punk cred first earned as one of the proto-hard-core ladies in The Runaways. Now she's making a big-time renaissance. In keeping with tradition, Warped organizer Kevin Lyman uses his festival to school young punks about the music's storied past.
NOFX: “War on Errorism.” “Heavy Petting Zoo.” “Punk in Drublic.” “Never Trust a Hippy.” “Wolves in Wolves' Clothing.” Sure their album titles are funny, but NOFX is far from a joke. With sly political lyrics and anthemic skate rock tunes, drummer Erik Sandin, guitarist Eric Melvin, bassist Fat Mike and guitarist El Hefe are punk rock camp veterans. You could say they've been Warped for life.
– CHRIS NIXON
By Chris Nixon
For the San Diego Union-Tribune
July 6, 2006
'Da-da-da-daaa,” sings Helmet leader Page Hamilton, humming the opening notes from Beethoven's Fifth with a little distortion for effect. “I always use the example that Beethoven's Fifth Symphony is the best heavy-metal riff ever. I sort of utilize the same approach: Less is more.”
With a background in both classical and jazz guitar (earning his master's in jazz guitar from Manhattan School of Music), Hamilton reshaped metal music in the early '90s with his quartet Helmet. Emerging during the formative years of the grunge movement (just a year after Nirvana's “Nevermind”), 1992's “Meantime” shot the band into the mainstream, sporting the gritty single “Unsung.”
Hamilton utilized a “drop D” tuning on his guitar, a setup mostly used by finger-picking blues players. The tuning gives Helmet its trademark low, guttural guitar riffs, and has influenced bands like Tool to use the same tuning. Both odd tunings and Hamilton's jazz background gave Helmet a unique sound in heavy-rock music.
“Helmet chords are not standard rock chords,” said Hamilton, speaking from Los Angeles. “People have used dropped tuning before I have, but I sort of took it to a new place, I guess. Helmet certainly doesn't sound like any other heavy band. My feel is definitely influenced by playing jazz or classical music. The band swings. It always has.”
After touring in support of 1997's “Aftertaste,” the band dissolved.
“I think it was a lot of exhaustion,” said Hamilton. “I didn't fire anybody in the band. Those guys left. For me, it was a little disheartening, because I put a lot into it, and they did as well. I never stopped loving doing it. I thought we'd maybe take a break for a year, but it just wasn't in the cards.”
Hamilton went on to work with David Bowie (replacing guitarist Reeves Gabrels), Bono and trumpeter Ben Neill during the hiatus, but re-formed Helmet in 2004 and released “Size Matters” the same year.
Helmet emerges in 2006 with a new disc, “Monochrome,” and a headlining spot on the Vans Warped Tour, which stops at Coors Amphitheatre in Chula Vista today. With Chris Traynor on guitar, drummer Mike Jost and bassist Jeremy Chatelain, the album recaptures Helmet's classic metal sound.
“We recorded, mixed and mastered ('Monochrome') in three weeks,” said the 46-year-old guitarist and vocalist. “I think it benefits from it: There's an explosiveness to this album. When you have a little too much time, you can redo things and get them to where you think they're going to be perfect. But there's a certain sound you get from recording quickly and recording to tape as opposed to digitally.”
The Warped Tour – with young demographic and all-ages mentality – is sure to showcase Helmet's hard-core sound to new audiences. Described as “punk summer camp” by many of the regular bands that hit the road with the tour every year, Hamilton's looking forward to the Warped experience.
“Everybody's describing it to me as fairly grueling and hot,” said Hamilton, who joined the festival for the first time this summer. “I guess it's kind of one-for-all and all-for-one vibe a little bit. It's run the way a festival should be. A lot of bands I know do it every year, so there's kind of a Warped Tour family.”
Chris Nixon is a San Diego music writer.
Hear sound clips from Helmet's “Monochrome” by logging on to http://entertainment.signonsandiego.com/profile/274399
Four to watch at today's Warped Tour
July 6, 2006
The Academy Is: Fueled by singalong choruses and revved-up pop tunes, Chicago's The Academy Is remains one of the more mainstream bands in the Warped Tour's wide spectrum of styles and bands. With 2005's “Almost Here,” the band formerly known as The Academy churns out pleasing emo-pop taylor-made for radio play.
My American Heart: According to the band's Web site (myamericanheartrock.com), this San Diego five-piece has “no band member over the age of 18.” Since the group's inception in 2004, My American Heart has come a long way: 2005's debut album, “The Meaning in Makeup,” touring with Gatsby's American Dream, and, now, the band's second Warped Tour in two years. In a few years, they'll be able to celebrate with an adult beverage.
Joan Jett and the Blackhearts: At first, Joan Jett's inclusion in this year's Warped lineup caused a double take. “I Love Rock 'n' Roll” Joan Jett? “Crimson and Clover” Joan Jett? Despite her sudden and brief mainstream popularity in the early '80s, Jett maintained her punk cred first earned as one of the proto-hard-core ladies in The Runaways. Now she's making a big-time renaissance. In keeping with tradition, Warped organizer Kevin Lyman uses his festival to school young punks about the music's storied past.
NOFX: “War on Errorism.” “Heavy Petting Zoo.” “Punk in Drublic.” “Never Trust a Hippy.” “Wolves in Wolves' Clothing.” Sure their album titles are funny, but NOFX is far from a joke. With sly political lyrics and anthemic skate rock tunes, drummer Erik Sandin, guitarist Eric Melvin, bassist Fat Mike and guitarist El Hefe are punk rock camp veterans. You could say they've been Warped for life.
– CHRIS NIXON
Thursday, June 22, 2006
Col. Claypool learns the three R's: recording, rockumentary and (w)riting
Les Claypool, a triple-threat player
By Chris Nixon
Foir The San Diego Union-Tribune
June 22, 2006
'I am the foreign body in the host,” says the fast-talking bass maestro Les Claypool, describing (in his own oddball way) the recent blur of activity in the mediums of music, film and long-form fiction. With his triple crown of art projects, Claypool and his outsider mentality are showing up at every turn.
Project No. 1: film.
Claypool is making the festival rounds as a first-time filmmaker with his mockumentary about the nouveau hippie band Electric Apricot. Featuring cameos by Mike Gordon (Phish) and Bob Weir (Grateful Dead/Ratdog), “Electric Apricot: The Quest for Festeroo” takes a hilarious look at the holier-than-thou nature of the jam band scene. Songs like “Burning Man” (Hey are you going to Burning Man? / I've got a recipe for cosmic flan) accent the overblown self-righteousness of jam bands much like Rob Reiner's “This Is Spinal Tap” lampooned heavy metal.
Project No. 2: book.
Meanwhile, he's also releasing his first novel, “South of the Pumphouse,” 180 pages of Claypool's classic unconventional musings. His publisher, Akashic Books, describes the book like this: “a dark, clever tale of two brothers, a fishing trip, misconceptions, drugs and murder, 'South of the Pumphouse' skillfully combines classic motifs of epic struggle and intelligent layers of imagery, reminiscent of 'The Old Man and the Sea,' and the raw, tweaked perspective and hallucinogenic tutorial of a Hunter S. Thompson novel.”
Project No. 3: solo album.
The former Primus bassist is currently touring in support of his first official solo disc, “Of Whales and Woe.” Claypool explains: “It's my first real official solo record. I've had solo records in the past, but it's always been with Holy Mackerel or Frog Brigade or Sausage. This is the Les Claypool record.”
The 42-year-old musician first gained attention with Primus in the late 1980s. His percussive style on the bass completely redefined the instrument, and shot Primus into the limelight. The trio headlined Lollapalooza in 1993 and played the Woodstock 1994 festival.
Claypool meandered through a bunch of side project groups like the aforementioned Sausage and Frog Brigade along with the powerhouse trio of Stewart Copeland (Police) and Trey Anastasio (Phish) in Oysterhead. He also penned the title song for the animated series “South Park.” Despite tons of albums and music projects, Claypool has been content to stay a bit more underground than his Primus years.
“Of Whales and Woe” features Claypool on almost all of the instruments, except for a little help from sax player Skerik, Mike Dillon and sitar player Gabby La La.
“I think it's much more in your face than anything I've done in a long time,” says Claypool from his home in Northern California, which he calls “Rancho Relaxo.” “I'm playing my four string and I'm smacking the hell out of it. It's right up there in the mix. I've found that the response has been: 'This is a little more aggressive than we've heard you in a while, Claypool.' ”
So Claypool is firing on all cylinders, seemingly mastering three mediums in one shot. Not so, says he: “Right now it appears that I'm this gushing source of creativity because all these things are coming out at once. The book started out as a screenplay 10 years ago and it just happens to be coming out now. The film we worked on last year. And the record I picked away at and finished it up end of last year. So, to me it doesn't seem out of the ordinary, but to most people it must seem like I'm vomiting my notions on the world.”
By Chris Nixon
Foir The San Diego Union-Tribune
June 22, 2006
'I am the foreign body in the host,” says the fast-talking bass maestro Les Claypool, describing (in his own oddball way) the recent blur of activity in the mediums of music, film and long-form fiction. With his triple crown of art projects, Claypool and his outsider mentality are showing up at every turn.
Project No. 1: film.
Claypool is making the festival rounds as a first-time filmmaker with his mockumentary about the nouveau hippie band Electric Apricot. Featuring cameos by Mike Gordon (Phish) and Bob Weir (Grateful Dead/Ratdog), “Electric Apricot: The Quest for Festeroo” takes a hilarious look at the holier-than-thou nature of the jam band scene. Songs like “Burning Man” (Hey are you going to Burning Man? / I've got a recipe for cosmic flan) accent the overblown self-righteousness of jam bands much like Rob Reiner's “This Is Spinal Tap” lampooned heavy metal.
Project No. 2: book.
Meanwhile, he's also releasing his first novel, “South of the Pumphouse,” 180 pages of Claypool's classic unconventional musings. His publisher, Akashic Books, describes the book like this: “a dark, clever tale of two brothers, a fishing trip, misconceptions, drugs and murder, 'South of the Pumphouse' skillfully combines classic motifs of epic struggle and intelligent layers of imagery, reminiscent of 'The Old Man and the Sea,' and the raw, tweaked perspective and hallucinogenic tutorial of a Hunter S. Thompson novel.”
Project No. 3: solo album.
The former Primus bassist is currently touring in support of his first official solo disc, “Of Whales and Woe.” Claypool explains: “It's my first real official solo record. I've had solo records in the past, but it's always been with Holy Mackerel or Frog Brigade or Sausage. This is the Les Claypool record.”
The 42-year-old musician first gained attention with Primus in the late 1980s. His percussive style on the bass completely redefined the instrument, and shot Primus into the limelight. The trio headlined Lollapalooza in 1993 and played the Woodstock 1994 festival.
Claypool meandered through a bunch of side project groups like the aforementioned Sausage and Frog Brigade along with the powerhouse trio of Stewart Copeland (Police) and Trey Anastasio (Phish) in Oysterhead. He also penned the title song for the animated series “South Park.” Despite tons of albums and music projects, Claypool has been content to stay a bit more underground than his Primus years.
“Of Whales and Woe” features Claypool on almost all of the instruments, except for a little help from sax player Skerik, Mike Dillon and sitar player Gabby La La.
“I think it's much more in your face than anything I've done in a long time,” says Claypool from his home in Northern California, which he calls “Rancho Relaxo.” “I'm playing my four string and I'm smacking the hell out of it. It's right up there in the mix. I've found that the response has been: 'This is a little more aggressive than we've heard you in a while, Claypool.' ”
So Claypool is firing on all cylinders, seemingly mastering three mediums in one shot. Not so, says he: “Right now it appears that I'm this gushing source of creativity because all these things are coming out at once. The book started out as a screenplay 10 years ago and it just happens to be coming out now. The film we worked on last year. And the record I picked away at and finished it up end of last year. So, to me it doesn't seem out of the ordinary, but to most people it must seem like I'm vomiting my notions on the world.”
Doug Martsch does the dishes for you
Solid Built to Spill is 'almost like a new band'
By Chris Nixon
For The San Diego Union-Tribune
June 22, 2006
As guitar heroes go, Doug Martsch doesn't fit the bill. Between tours and albums with his band Built to Spill, the 36-year-old singer and guitarist leads an unassuming life in his hometown of Boise, Idaho.
He raises his kids and does normal household chores. During our recent phone conversation, Martsch is participating in a most un-rock 'n' roll activity: He's doing the dishes.
Soon, the bearded Martsch will be on the road supporting BTS' latest barrage of layered guitars and alt-rock anthems, this year's “You in Reverse.” With his Neil Young falsetto and the J Mascis-inspired fuzzy solos, the guitarist earned an indie, rock-underground rep through constant touring and the band's six studio albums.
“We just sort of do what we do, what comes naturally to us,” says Martsch, who signed a major-label deal with Warner Brothers in 1995. “We never tried to get on a major label, never really pursued this. We never had a manager or sent our records in to people or anything like that. So, we never felt like we needed to do this. It's great, and we're glad it's worked out. But it's not like we were desperate to be on a major label.”
From its inception in 1992, Martsch remained the primary songwriter and main inspiration for Built to Spill's guitar-saturated tunes. Drummer Scott Plouf and bassist Brett Nelson have been core members since the band's early incarnations, along with a loose association of guitarists and keyboardists that have drifted in and out of BTS' lineup.
After 14 years of touring and recording, the dust has settled on Martsch and his band. Along with Plouf and Nelson, Built to Spill added longtime collaborators Jim Roth and Brett Netson.
“In my mind, it's more a band than ever before,” says Martsch, putting away the last of the dishes before settling down to talk about the new album. “It's almost like a new band in a way to me. I'm looking forward the kind of stuff we'll be able to come up with and what our band will be like.”
A solid lineup allowed Martsch to lean more heavily on his bandmates for the recording process of “You in Reverse.” The album evolved out of a year of jamming by the band. Martsch would literally pick riffs or phrasings out of extended jam sessions and mold them into songs.
“A lot of times people will come up with things that I would never dream of coming up with,” says Martsch. “It's more interesting to hear what other people come up with, as opposed to slaving over it myself.”
Beyond “You in Reverse,” Built to Spill plans to tour and record a new studio album in the near future: “We produced enough stuff for another record during that year of jamming. There are a couple of songs that we're either going to finish up or redo for our next record.”
After a span of five years between 2001's “Ancient Melodies of the Future” and “You in Reverse,” BTS' fans can expect a shorter wait for new material from Martsch and company.
“So, it's not going to be a lengthy time between albums this time around,” says Martsch. “In fact, we're going to be recording on this trip. When we're in L.A. playing a few shows, we also have time booked in a studio there. We have six new songs to start recording.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For The San Diego Union-Tribune
June 22, 2006
As guitar heroes go, Doug Martsch doesn't fit the bill. Between tours and albums with his band Built to Spill, the 36-year-old singer and guitarist leads an unassuming life in his hometown of Boise, Idaho.
He raises his kids and does normal household chores. During our recent phone conversation, Martsch is participating in a most un-rock 'n' roll activity: He's doing the dishes.
Soon, the bearded Martsch will be on the road supporting BTS' latest barrage of layered guitars and alt-rock anthems, this year's “You in Reverse.” With his Neil Young falsetto and the J Mascis-inspired fuzzy solos, the guitarist earned an indie, rock-underground rep through constant touring and the band's six studio albums.
“We just sort of do what we do, what comes naturally to us,” says Martsch, who signed a major-label deal with Warner Brothers in 1995. “We never tried to get on a major label, never really pursued this. We never had a manager or sent our records in to people or anything like that. So, we never felt like we needed to do this. It's great, and we're glad it's worked out. But it's not like we were desperate to be on a major label.”
From its inception in 1992, Martsch remained the primary songwriter and main inspiration for Built to Spill's guitar-saturated tunes. Drummer Scott Plouf and bassist Brett Nelson have been core members since the band's early incarnations, along with a loose association of guitarists and keyboardists that have drifted in and out of BTS' lineup.
After 14 years of touring and recording, the dust has settled on Martsch and his band. Along with Plouf and Nelson, Built to Spill added longtime collaborators Jim Roth and Brett Netson.
“In my mind, it's more a band than ever before,” says Martsch, putting away the last of the dishes before settling down to talk about the new album. “It's almost like a new band in a way to me. I'm looking forward the kind of stuff we'll be able to come up with and what our band will be like.”
A solid lineup allowed Martsch to lean more heavily on his bandmates for the recording process of “You in Reverse.” The album evolved out of a year of jamming by the band. Martsch would literally pick riffs or phrasings out of extended jam sessions and mold them into songs.
“A lot of times people will come up with things that I would never dream of coming up with,” says Martsch. “It's more interesting to hear what other people come up with, as opposed to slaving over it myself.”
Beyond “You in Reverse,” Built to Spill plans to tour and record a new studio album in the near future: “We produced enough stuff for another record during that year of jamming. There are a couple of songs that we're either going to finish up or redo for our next record.”
After a span of five years between 2001's “Ancient Melodies of the Future” and “You in Reverse,” BTS' fans can expect a shorter wait for new material from Martsch and company.
“So, it's not going to be a lengthy time between albums this time around,” says Martsch. “In fact, we're going to be recording on this trip. When we're in L.A. playing a few shows, we also have time booked in a studio there. We have six new songs to start recording.”
Chris Nixon is a San Diego music writer.
Calexico in N&D
Calexico: A departure from routine
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
With its dual mariachi trumpets, atmospheric vibraphones and strumming nylon-stringed guitar, Tucson-based sextet Calexico captured the clash of cultures along the border with its Southwestern-styled indie rock. Over its first six albums, the band perfected the art of depicting the border's beauty and sadness.
For their seventh album, “Garden Ruin,” singer-guitarist Joey Burns and drummer John Convertino – the duo at the center of Calexico's creative output – decided to evolve the group's sound. Instead of picking up a nylon string guitar to write “Garden Ruin,” Burns chose a more rock-oriented steel string setup. Instead of Convertino's trademark brushes, the percussionist started drumming with traditional wood sticks.
As a result, “Garden Ruin” is Calexico's most song-oriented disc to date, drawing on the pair's indie rock background more than the sound of strolling mariachis. The bones of the band's music remain: Burns' contemplative lyrics and Calexico's talented cast of musicians.
“After years of touring and heading in a natural progression musically, we wanted to challenge ourselves: in the studio, in regards to writing and trying to involve the band members – the touring party – more,” said Burns in a recent interview from his home in Tucson.
“This band has had a natural growth as far as the albums, the instrumentals and the songs with a lot of the Southwestern influence. So this record is quite a departure for us; it's a vehicle for experimentation for us. But instead of it being an experiment in noise and the element of chaos, it's more an experiment in pulling back and being more refined in structure, text and production.”
Ranging from intimate acoustic tunes (“Yours and Mine”) to seething, swirling rockers (“All Systems Red”), Calexico tackles new sonic territory without forgetting the Southwestern aspects driving the band in the past. Burns looks at the band's development as an experiment, something that Calexico has never been afraid to do.
“I think all of us are more experimental than the music at times sounds on our records,” said Burns, who performs Monday at the Belly Up Tavern, the band's first stop at the Solana Beach club. “Our live shows, especially in San Diego, seem to have this spark. Maybe it's because we start our tours in San Diego, and then we head up the West Coast.”
Calexico – guitarist-trumpeter Martin Wenk, stand-up bassist Volker Zander, trumpeter Jacob Valenzuela and pedal steel player Paul Niehaus along with Burns and Convertino – took a leap of faith with “Garden Ruin.” By stepping away from their bread and butter, the band has created its most cohesive album to date.
“I think it's really important to pull back every once in a while,” said Burns. “I think if we had continued on and released another 'Black Light' or 'Hot Rail' record, it would feel unnatural. It's so important to challenge yourself. It's not about how many records you sell or if your songs get on the radio, it's about challenging yourself.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
With its dual mariachi trumpets, atmospheric vibraphones and strumming nylon-stringed guitar, Tucson-based sextet Calexico captured the clash of cultures along the border with its Southwestern-styled indie rock. Over its first six albums, the band perfected the art of depicting the border's beauty and sadness.
For their seventh album, “Garden Ruin,” singer-guitarist Joey Burns and drummer John Convertino – the duo at the center of Calexico's creative output – decided to evolve the group's sound. Instead of picking up a nylon string guitar to write “Garden Ruin,” Burns chose a more rock-oriented steel string setup. Instead of Convertino's trademark brushes, the percussionist started drumming with traditional wood sticks.
As a result, “Garden Ruin” is Calexico's most song-oriented disc to date, drawing on the pair's indie rock background more than the sound of strolling mariachis. The bones of the band's music remain: Burns' contemplative lyrics and Calexico's talented cast of musicians.
“After years of touring and heading in a natural progression musically, we wanted to challenge ourselves: in the studio, in regards to writing and trying to involve the band members – the touring party – more,” said Burns in a recent interview from his home in Tucson.
“This band has had a natural growth as far as the albums, the instrumentals and the songs with a lot of the Southwestern influence. So this record is quite a departure for us; it's a vehicle for experimentation for us. But instead of it being an experiment in noise and the element of chaos, it's more an experiment in pulling back and being more refined in structure, text and production.”
Ranging from intimate acoustic tunes (“Yours and Mine”) to seething, swirling rockers (“All Systems Red”), Calexico tackles new sonic territory without forgetting the Southwestern aspects driving the band in the past. Burns looks at the band's development as an experiment, something that Calexico has never been afraid to do.
“I think all of us are more experimental than the music at times sounds on our records,” said Burns, who performs Monday at the Belly Up Tavern, the band's first stop at the Solana Beach club. “Our live shows, especially in San Diego, seem to have this spark. Maybe it's because we start our tours in San Diego, and then we head up the West Coast.”
Calexico – guitarist-trumpeter Martin Wenk, stand-up bassist Volker Zander, trumpeter Jacob Valenzuela and pedal steel player Paul Niehaus along with Burns and Convertino – took a leap of faith with “Garden Ruin.” By stepping away from their bread and butter, the band has created its most cohesive album to date.
“I think it's really important to pull back every once in a while,” said Burns. “I think if we had continued on and released another 'Black Light' or 'Hot Rail' record, it would feel unnatural. It's so important to challenge yourself. It's not about how many records you sell or if your songs get on the radio, it's about challenging yourself.”
Chris Nixon is a San Diego music writer.
Hard-Fi: 'We sing about what we know'
Hard-Fi's humble roots provide fodder for a career; catch them at X-Fest and see what the buzz is about
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
Consider this: Right now, at this very moment, scruffy, skinny kids are creating the next new sound in pop music in their own space and on their own recording equipment.
For the British quartet Hard-Fi, the place was an abandoned taxicab office in their hometown of Staines, a sleepy London suburb near Heathrow airport.
“It's a lot like every other satellite town in the UK,” said Hard-Fi guitarist Ross Phillips about Staines. “There's just nothing there. There are no decent bars. There's no culture. There are no music venues. There are no rehearsal rooms. Until recently, there wasn't even a bookshop there. It's just kind of mundane.”
Hard-Fi rented an old cab shop and recorded the demos that would become the 2005 release “Stars of CCTV.” Brimming with splashes of punk, ska and indie rock, the band's debut immediately captured the attention of British radio and press. Phillips, vocalist Richard Archer, bassist Kai Stephens and drummer Steve Kemp were propelled into the spotlight, though the band's roots remained the wellspring of inspiration.
“We sing about what we know and what we see in our lives and our friend's lives,” said Phillips, taking a break from a European tour stop in Naples, Italy. “ 'Living for the Weekend' is about everyone working all week, getting paid on Friday, going out to the pub and getting drunk. That's what goes on in towns like ours. 'Tied Up Too Tight' is about getting away from that kind of boredom and frustration.”
Despite a 2005 Mercury Prize (the British Grammy Award) nomination and critical acclaim, the title “Stars of CCTV” would be a bit of a mystery to listeners on this side of the pond.
“It stands for 'close circuit television,' ” explained Phillips. “It's these security cameras. In the UK, they are absolutely everywhere. Whatever you're doing, you're being watched. You're having a drink at the pub, there's a camera looking at you. If you walk through London, you get caught on an average of 800 cameras a day. So we're asking the question 'Why are you watching us?' ”
A lot more people are watching Hard-Fi's every move these days. With the band's raw DIY style and willingness to combine punk and ska, many critics liken the group's sound to another classic English band.
“The Clash. We love the Clash,” said Phillips, who will take the stage at tomrrow's 91X-Fest at Corrs Amphitheatre. “They're a great band and we love them to bits. But there is much more stuff in our music. We listen to everything: hip-hop, dance and early house music, Rolling Stones, a lot of reggae, Lee Scratch Perry, dub music, ska music, anything really. As long as it's good, we listen to it and we draw influence from it.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For The San Diego Union-Tribune
June 8, 2006
Consider this: Right now, at this very moment, scruffy, skinny kids are creating the next new sound in pop music in their own space and on their own recording equipment.
For the British quartet Hard-Fi, the place was an abandoned taxicab office in their hometown of Staines, a sleepy London suburb near Heathrow airport.
“It's a lot like every other satellite town in the UK,” said Hard-Fi guitarist Ross Phillips about Staines. “There's just nothing there. There are no decent bars. There's no culture. There are no music venues. There are no rehearsal rooms. Until recently, there wasn't even a bookshop there. It's just kind of mundane.”
Hard-Fi rented an old cab shop and recorded the demos that would become the 2005 release “Stars of CCTV.” Brimming with splashes of punk, ska and indie rock, the band's debut immediately captured the attention of British radio and press. Phillips, vocalist Richard Archer, bassist Kai Stephens and drummer Steve Kemp were propelled into the spotlight, though the band's roots remained the wellspring of inspiration.
“We sing about what we know and what we see in our lives and our friend's lives,” said Phillips, taking a break from a European tour stop in Naples, Italy. “ 'Living for the Weekend' is about everyone working all week, getting paid on Friday, going out to the pub and getting drunk. That's what goes on in towns like ours. 'Tied Up Too Tight' is about getting away from that kind of boredom and frustration.”
Despite a 2005 Mercury Prize (the British Grammy Award) nomination and critical acclaim, the title “Stars of CCTV” would be a bit of a mystery to listeners on this side of the pond.
“It stands for 'close circuit television,' ” explained Phillips. “It's these security cameras. In the UK, they are absolutely everywhere. Whatever you're doing, you're being watched. You're having a drink at the pub, there's a camera looking at you. If you walk through London, you get caught on an average of 800 cameras a day. So we're asking the question 'Why are you watching us?' ”
A lot more people are watching Hard-Fi's every move these days. With the band's raw DIY style and willingness to combine punk and ska, many critics liken the group's sound to another classic English band.
“The Clash. We love the Clash,” said Phillips, who will take the stage at tomrrow's 91X-Fest at Corrs Amphitheatre. “They're a great band and we love them to bits. But there is much more stuff in our music. We listen to everything: hip-hop, dance and early house music, Rolling Stones, a lot of reggae, Lee Scratch Perry, dub music, ska music, anything really. As long as it's good, we listen to it and we draw influence from it.”
Chris Nixon is a San Diego music writer.
Thursday, June 01, 2006
Rockin' Reward: Ozomatli
Ozomatli's high-energy show at Coors is a fitting finish for a high-energy marathon
By Chris Nixon
For The San Diego Union-Tribune
June 1, 2006
'Surprisingly, we've done a lot of marathons,” says Asdru Sierra, lead singer and trumpet player for Ozomatli, from his home in Los Angeles. “We live through the runners. All of us would like to be that athletic.”
A 10-piece Latino hip-hop, rock, funk outfit based in L.A., Sierra's band plays 200-plus energetic shows a year. So burning calories isn't a problem for Ozo.
“Some of us are just born with that kind of energy; I don't think I'm one of them,” says Sierra, who expects to finish a new Ozomatli studio album later this month. “You can ask anyone in the band: After a week on the road, I start getting homesick and I want to see my kids.”
Brimming with social activism, underground hip-hop rhymes and seductive salsas, Ozomatli burst out of the City of Angels in the late 1990s. Merging turntablism, rhymes and a steamy trainload of buzzing percussion, the 10-piece collective's ive shows have been the band's centerpiece since its inception. Entering the shows with a samba percussion line, the live performances are fiery and joyful.
Ozomatli is just one of the bands playing Sunday for the Rock 'n' Roll Marathon, which covers 26.2 miles from the start line in Balboa Park to the finish line at the Marine Corps Recruit Depot.
Forty bands will perform along the route, while Ozomatli's show at Coors Amphitheatre will commemorate the participants in the race. Tickets are $25 for those choosing not to endure the long footrace and are free to those who ran. The marathon will close a bunch of roads around central San Diego, so check the race's Web site for up-to-date info (www.rnrmarathon.com).
As Sierra and his bandmates have grown in popularity, they've cashed in on lucrative sponsorships (Apple and Miller Brewing to name a few). But social awareness remains a key component to the band's core values. For Sierra, it's a question of balance.
“The hardest thing to do is to have balance for me as a family man,” says Sierra, who also will appear with Ozomatli at the San Diego County Fair (Del Mar) later this month along with two nights at 'Canes in September. “I have a wife and two kids. Kids are expensive if you love them. And I don't mean going out there and buying them toys, but you have to try to get them the best education. It's all based on love, love of life. The best way to deliver a message is through love, coming from a place that is universal and people will understand.”
FIVE THAT YOU MIGHT WANT TO CHECK OUT
With 40 bands performing at 27 locations along the marathon route, the event provides a bunch of different options to set up camp, listen to some tunes and cheer on the athletes. Here are five bands worth checking out:
THE KNEEHIGHS
Who: Talls (MC), Dalton (MC), DaDa (MC), DJ GarGar
Where: G Street and 11th Avenue, 6:45-8:30 a.m.
Why: Local hip-hop crew kicks old-school beats with the party rhymes
TUBBY
Who: Neil MacPherson (keys), Skylar Duran (sax), Bill Ray (drums), Nathan Lewis (guitar), Dane Scott (vocals, guitar), Matt Hanafin (bass)
Where: Vacation Road and Ingraham Street, 7:50 a.m.-12:30 p.m.
Why: Ska, funk and rock vibes for the O.B. crowd
34 BELOW
Who: Steve Ybarra (vocals), Chris James (guitar, vocals), Mike Trout (drums), Brian Maples (bass)
Where: Marine Corps Recruit Depot, 8:10 a.m.-2:45 p.m.
Why: Ybarra's strong vocals and the band's straight-ahead pop-rock sensibility
PITCHLaROOCHE
Who: Jonathan Pitcher (vocals, guitar), Levi Pitcher (bass), Erdis Maxhelaku (bass), Jordan Cronin (drums)
Where: YMCA on Friars Road, 7:25-11:15 a.m.
Why: North County band whose songs and Jonathan Pitcher's voice sound mature beyond the band's years
SAFETY ORANGE
Who: Sol (vocals, bass), Eric (guitar), Greg (drums)
Where: Perez Cove at Mission Bay, 7:55 a.m.-12:45 p.m.
Why: Crunchy guitars and tasty punk-tinged rock tunes
– CHRIS NIXON
By Chris Nixon
For The San Diego Union-Tribune
June 1, 2006
'Surprisingly, we've done a lot of marathons,” says Asdru Sierra, lead singer and trumpet player for Ozomatli, from his home in Los Angeles. “We live through the runners. All of us would like to be that athletic.”
A 10-piece Latino hip-hop, rock, funk outfit based in L.A., Sierra's band plays 200-plus energetic shows a year. So burning calories isn't a problem for Ozo.
“Some of us are just born with that kind of energy; I don't think I'm one of them,” says Sierra, who expects to finish a new Ozomatli studio album later this month. “You can ask anyone in the band: After a week on the road, I start getting homesick and I want to see my kids.”
Brimming with social activism, underground hip-hop rhymes and seductive salsas, Ozomatli burst out of the City of Angels in the late 1990s. Merging turntablism, rhymes and a steamy trainload of buzzing percussion, the 10-piece collective's ive shows have been the band's centerpiece since its inception. Entering the shows with a samba percussion line, the live performances are fiery and joyful.
Ozomatli is just one of the bands playing Sunday for the Rock 'n' Roll Marathon, which covers 26.2 miles from the start line in Balboa Park to the finish line at the Marine Corps Recruit Depot.
Forty bands will perform along the route, while Ozomatli's show at Coors Amphitheatre will commemorate the participants in the race. Tickets are $25 for those choosing not to endure the long footrace and are free to those who ran. The marathon will close a bunch of roads around central San Diego, so check the race's Web site for up-to-date info (www.rnrmarathon.com).
As Sierra and his bandmates have grown in popularity, they've cashed in on lucrative sponsorships (Apple and Miller Brewing to name a few). But social awareness remains a key component to the band's core values. For Sierra, it's a question of balance.
“The hardest thing to do is to have balance for me as a family man,” says Sierra, who also will appear with Ozomatli at the San Diego County Fair (Del Mar) later this month along with two nights at 'Canes in September. “I have a wife and two kids. Kids are expensive if you love them. And I don't mean going out there and buying them toys, but you have to try to get them the best education. It's all based on love, love of life. The best way to deliver a message is through love, coming from a place that is universal and people will understand.”
FIVE THAT YOU MIGHT WANT TO CHECK OUT
With 40 bands performing at 27 locations along the marathon route, the event provides a bunch of different options to set up camp, listen to some tunes and cheer on the athletes. Here are five bands worth checking out:
THE KNEEHIGHS
Who: Talls (MC), Dalton (MC), DaDa (MC), DJ GarGar
Where: G Street and 11th Avenue, 6:45-8:30 a.m.
Why: Local hip-hop crew kicks old-school beats with the party rhymes
TUBBY
Who: Neil MacPherson (keys), Skylar Duran (sax), Bill Ray (drums), Nathan Lewis (guitar), Dane Scott (vocals, guitar), Matt Hanafin (bass)
Where: Vacation Road and Ingraham Street, 7:50 a.m.-12:30 p.m.
Why: Ska, funk and rock vibes for the O.B. crowd
34 BELOW
Who: Steve Ybarra (vocals), Chris James (guitar, vocals), Mike Trout (drums), Brian Maples (bass)
Where: Marine Corps Recruit Depot, 8:10 a.m.-2:45 p.m.
Why: Ybarra's strong vocals and the band's straight-ahead pop-rock sensibility
PITCHLaROOCHE
Who: Jonathan Pitcher (vocals, guitar), Levi Pitcher (bass), Erdis Maxhelaku (bass), Jordan Cronin (drums)
Where: YMCA on Friars Road, 7:25-11:15 a.m.
Why: North County band whose songs and Jonathan Pitcher's voice sound mature beyond the band's years
SAFETY ORANGE
Who: Sol (vocals, bass), Eric (guitar), Greg (drums)
Where: Perez Cove at Mission Bay, 7:55 a.m.-12:45 p.m.
Why: Crunchy guitars and tasty punk-tinged rock tunes
– CHRIS NIXON
Monday, May 22, 2006
New subgenres mix with tradition at Doheny
B.B. King and Etta James kept it traditional, but Los Lobos and G. Love added new flavors to this year’s Doheny Blues Festival.
By CHRIS NIXON
Special to The Orange County Register
"Just throw your hands in the air, and wave 'em like you just don't care." It's a well-worn refrain heard at rap shows from coast to coast. Standard practice, really.
Take a closer look at the events unfolding in Dana Point on Saturday. The band: G. Love & Special Sauce. The locale: The Doheny Blues Festival.
Sporting a '70s wide-lapel lemon-yellow suit, lead singer Garrett Dutton strutted across the stage with hip-hop bravado while spitting rhymes in his thick Philly accent. In contrast, he also picked crunchy blues riffs and blew a mean harp (strapped around his neck John Lee Hooker-style).
G. Love & Special Sauce's performance at the 9th annual Doheny Blues Festival implied a sea change in the seaside festival's focus and scope, drawing the youngest crowd of the weekend.
Born on back porches in rural America, the blues has never shied away from embracing trends. Electric guitars, rock, funk and soul all have extended the genre's possibilities.
Event organizer Omega Entertainment knows this and Doheny 2006 reflected it, moving from strictly traditional blues to happy co-mingling with modern influences.
Blending new subgenres with time-tested favorites, this year's festival embraced both the blues and its musical progeny. G. Love's Saturday show provided the most obvious evidence, but other bands appeared willing to bust out of the 12-bar blues formula during the two-day fest at picturesque Doheny State Beach in Dana Point.
SoCal stalwarts Los Lobos brought some East L.A. flavor to the proceedings, tipping their collective caps to Long Beach's Brad Nowell with a cover of Sublime's mellow reggae tune "Pawn Shop."
David Hidalgo and the boys kept true to their Latino roots, busting a bit of cumbia in their Saturday set on the main stage.
Meanwhile, on the tiny Backporch Stage, James Hunter and his six-piece band blended soulful ska, '50s rockabilly and old-school R&B. With shows on both Saturday and Sunday, the English crooner turned in impressive performances with his great pipes and spot-on band.
Oakland's longtime funk and soul maestros Tower of Power dragged the definition of blues back to the era of disco balls and Studio 54. Ripping, chunky guitar riffs by Trey Stone (George Clinton, Bootsy Collins), David Garibaldi's quintessential funk drum lines and the soulful vocals of Larry Braggs gave new life to the band's classic tunes, like "What Is Hip?" and "Knock Yourself Out."
As the wind kicked up and the skies darkened on Sunday, John Hiatt - with his strummy roots-rock and country twang - jammed with the North Mississippi Allstars on the Renaissance Stage.
Blues originators also graced the bill, with Etta James headlining Saturday's festivities and the Chairman of the Blues, B.B. King, holding court on Sunday evening. King is celebrating his 80th birthday this year by doing what he does best: hitting the road and spreading the gospel of the blues. King - who won his 14th Grammy this year for his album "80" - closed out the festival Sunday with his trademark style.
As is tradition at King's shows, his veteran backing band warmed up the crowd with a couple of jams. Before B.B. (for "Blues Boy," a nickname he garnered as a youth in Memphis) picked up his beloved Lucille (his patented Gibson guitar), Dana Point Mayor Lara Anderson proclaimed May 21 as "B.B. King Day."
Though seated throughout most of his set, the entertainer showed why he's called "King of the Blues." The crowd adored him as he told stories and ran through a set of his signature tunes.
James - known for her ballad "At Last" and the R&B classic "Tell Mama," among many others - looked svelte and sexy during her smoking 90-minute set.
The singer is fresh off losing 200 pounds after stomach-stapling surgery. She seemed to enjoy her new frame by literally bumping and grinding through a selection of her songs and a couple of covers (Rev. Al Green's "Love and Happiness" and Otis Redding's "Hard to Handle").
As James danced with her young grandson onstage Saturday night, the 68-year-old singer seemed to make a point: The blues must respect its past while embracing rock, soul, funk and even hip-hop to ensure its future.
Even if it involves waving your hands in the air.
Chris Nixon is a music writer based in San Diego.
By CHRIS NIXON
Special to The Orange County Register
"Just throw your hands in the air, and wave 'em like you just don't care." It's a well-worn refrain heard at rap shows from coast to coast. Standard practice, really.
Take a closer look at the events unfolding in Dana Point on Saturday. The band: G. Love & Special Sauce. The locale: The Doheny Blues Festival.
Sporting a '70s wide-lapel lemon-yellow suit, lead singer Garrett Dutton strutted across the stage with hip-hop bravado while spitting rhymes in his thick Philly accent. In contrast, he also picked crunchy blues riffs and blew a mean harp (strapped around his neck John Lee Hooker-style).
G. Love & Special Sauce's performance at the 9th annual Doheny Blues Festival implied a sea change in the seaside festival's focus and scope, drawing the youngest crowd of the weekend.
Born on back porches in rural America, the blues has never shied away from embracing trends. Electric guitars, rock, funk and soul all have extended the genre's possibilities.
Event organizer Omega Entertainment knows this and Doheny 2006 reflected it, moving from strictly traditional blues to happy co-mingling with modern influences.
Blending new subgenres with time-tested favorites, this year's festival embraced both the blues and its musical progeny. G. Love's Saturday show provided the most obvious evidence, but other bands appeared willing to bust out of the 12-bar blues formula during the two-day fest at picturesque Doheny State Beach in Dana Point.
SoCal stalwarts Los Lobos brought some East L.A. flavor to the proceedings, tipping their collective caps to Long Beach's Brad Nowell with a cover of Sublime's mellow reggae tune "Pawn Shop."
David Hidalgo and the boys kept true to their Latino roots, busting a bit of cumbia in their Saturday set on the main stage.
Meanwhile, on the tiny Backporch Stage, James Hunter and his six-piece band blended soulful ska, '50s rockabilly and old-school R&B. With shows on both Saturday and Sunday, the English crooner turned in impressive performances with his great pipes and spot-on band.
Oakland's longtime funk and soul maestros Tower of Power dragged the definition of blues back to the era of disco balls and Studio 54. Ripping, chunky guitar riffs by Trey Stone (George Clinton, Bootsy Collins), David Garibaldi's quintessential funk drum lines and the soulful vocals of Larry Braggs gave new life to the band's classic tunes, like "What Is Hip?" and "Knock Yourself Out."
As the wind kicked up and the skies darkened on Sunday, John Hiatt - with his strummy roots-rock and country twang - jammed with the North Mississippi Allstars on the Renaissance Stage.
Blues originators also graced the bill, with Etta James headlining Saturday's festivities and the Chairman of the Blues, B.B. King, holding court on Sunday evening. King is celebrating his 80th birthday this year by doing what he does best: hitting the road and spreading the gospel of the blues. King - who won his 14th Grammy this year for his album "80" - closed out the festival Sunday with his trademark style.
As is tradition at King's shows, his veteran backing band warmed up the crowd with a couple of jams. Before B.B. (for "Blues Boy," a nickname he garnered as a youth in Memphis) picked up his beloved Lucille (his patented Gibson guitar), Dana Point Mayor Lara Anderson proclaimed May 21 as "B.B. King Day."
Though seated throughout most of his set, the entertainer showed why he's called "King of the Blues." The crowd adored him as he told stories and ran through a set of his signature tunes.
James - known for her ballad "At Last" and the R&B classic "Tell Mama," among many others - looked svelte and sexy during her smoking 90-minute set.
The singer is fresh off losing 200 pounds after stomach-stapling surgery. She seemed to enjoy her new frame by literally bumping and grinding through a selection of her songs and a couple of covers (Rev. Al Green's "Love and Happiness" and Otis Redding's "Hard to Handle").
As James danced with her young grandson onstage Saturday night, the 68-year-old singer seemed to make a point: The blues must respect its past while embracing rock, soul, funk and even hip-hop to ensure its future.
Even if it involves waving your hands in the air.
Chris Nixon is a music writer based in San Diego.
Ministry, Revco in the U-T
Ministry is still raging against the machine
By Chris Nixon
For the San Diego Union-Tribune
May 18, 2006
Pearl Jam and Neil Young may have their recently released anti-war albums, but when it comes to pure vitriolic revolution songs, Al Jourgensen and his industrial thrash band Ministry rails against George W. Bush like no one else.
Brimming with indignant rage, Ministry's new album, “Rio Grande Blood,” recaptures the revolutionary spirit of the band's heyday (see 1992's “Psalm 69”). Through 10 blistering tracks, Jourgensen and his crew rant on topics ranging from corporate corruption (“Fear (Is Big Business)”) to 9/11 (“Lies, Lies, Lies”) to U.S. military policy (“Gangreen”).
Jourgensen takes shots at Dubya at every turn, asking a question on “Lies, Lies Lies”: If the government truly has nothing to hide / Why are they afraid to answer a few questions?
Jourgensen incorporates an all-star team of musicians on the album and the subsequent tour (stopping at the House of Blues downtown Sunday night), including drummer Joey Jordison (Slipknot), guitarist Mike Scaccia (Rigor Mortis), keyboardist John Bechdel (Fear Factory, Prong) guitarist Tommy Victor (Prong) and bassist Paul Raven (Killing Joke).
“I think we represent the spirit of rebellion that has been very underground as far as music is concerned,” said bassist Raven. “I can't tell you what all these industrial bands and people like Trent Reznor are doing. I got into music in 1977 in the time of punk rock. Music and politics has been inseparable.”
“Rio Grande Blood” (a play on ZZ Top's “Rio Grande Mud”) also marks the third Ministry album since Jourgensen became clean and sober. After years of heroin use, the frontman finally confronted his addiction. Longtime friend Raven said it's good to have the old Al back.
“The post-drugs Al has come out of this with a renewed sense of vigor,” said Raven. “He's still as – if not more – creative than ever. He's got a sense of humor and all his marbles and faculties intact. A lot of people don't get to enjoy life a second time around.”
About the tour, Raven said: “We call it Ministry on steroids, because everyone says it's the best they've heard the band. We take our cues off of a lot of what the fans say. They get online after every show and dissect the show. We look at that in the morning and take it in.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
For the San Diego Union-Tribune
May 18, 2006
Pearl Jam and Neil Young may have their recently released anti-war albums, but when it comes to pure vitriolic revolution songs, Al Jourgensen and his industrial thrash band Ministry rails against George W. Bush like no one else.
Brimming with indignant rage, Ministry's new album, “Rio Grande Blood,” recaptures the revolutionary spirit of the band's heyday (see 1992's “Psalm 69”). Through 10 blistering tracks, Jourgensen and his crew rant on topics ranging from corporate corruption (“Fear (Is Big Business)”) to 9/11 (“Lies, Lies, Lies”) to U.S. military policy (“Gangreen”).
Jourgensen takes shots at Dubya at every turn, asking a question on “Lies, Lies Lies”: If the government truly has nothing to hide / Why are they afraid to answer a few questions?
Jourgensen incorporates an all-star team of musicians on the album and the subsequent tour (stopping at the House of Blues downtown Sunday night), including drummer Joey Jordison (Slipknot), guitarist Mike Scaccia (Rigor Mortis), keyboardist John Bechdel (Fear Factory, Prong) guitarist Tommy Victor (Prong) and bassist Paul Raven (Killing Joke).
“I think we represent the spirit of rebellion that has been very underground as far as music is concerned,” said bassist Raven. “I can't tell you what all these industrial bands and people like Trent Reznor are doing. I got into music in 1977 in the time of punk rock. Music and politics has been inseparable.”
“Rio Grande Blood” (a play on ZZ Top's “Rio Grande Mud”) also marks the third Ministry album since Jourgensen became clean and sober. After years of heroin use, the frontman finally confronted his addiction. Longtime friend Raven said it's good to have the old Al back.
“The post-drugs Al has come out of this with a renewed sense of vigor,” said Raven. “He's still as – if not more – creative than ever. He's got a sense of humor and all his marbles and faculties intact. A lot of people don't get to enjoy life a second time around.”
About the tour, Raven said: “We call it Ministry on steroids, because everyone says it's the best they've heard the band. We take our cues off of a lot of what the fans say. They get online after every show and dissect the show. We look at that in the morning and take it in.”
Chris Nixon is a San Diego music writer.
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