I've always been on the fence about 311. They're definitely good musicians and proficient technically on their respective instruments. Their music always felt pretty good as background music at parties, but on closer listen the one word that comes to mind is "Lite." Metal lite. Rap lite. Rock lite. Dub lite.
But I went into last Saturday's show with an open mind, ready to give these Omaha transplants a chance. Plus they had English Beat and Matisyahu to bolster the lineup.
First, a few words about Coors. I know there's a back way to get to this venue, but I have yet to find it (if anyone has a tip to get there faster when there's a big crowd, give me a holler via a comment). Essentially, there's one way in, one way out. So it's always a headache to drive to this venue. After creeping along for a half a hour from the 805 to the parking lot, my wife Lisa and I sauntered up to the ticket window to grab our guest passes. A huge line awaited us, stretching about a football field long. I wanted to see English Beat (even though I know it's not '80 and it's not the original lineup), but instead spent 50 minutes in line with the sounds of Dave Wakeling's voice off in the distance. He plays locally pretty often (I believe Mr. Wakeling lives in North County), so I'll get another chance to see this band soon.
After fighting traffic and lines, Lis and I finally made our way into Coors. To their credit, they do carry a local microbrew now (Coronado), but it will cost you $13 for 22 ounces. I grabbed a beer scuttled to a spot in the general admission pit area just in time for Matisyahu. This is a solid reggae band, but lead singer Matisyahu is a bit preachy for my tastes. I get the whole link between traditional Hasidic Jewish beliefs and reggae (Zion and such), but I'd be better pleased if these guys let the music bring me to a spiritual place instead of long-winded diatribes and endless banter between songs. That said, Matisyahu is obviously a gifted MC and vocalist. Music with a message is fine (emphasis on music), but dub/reggae is the band's strength.
Now back to the headliners 311. I wanted them to be good. I really did. I admire their daring attempts at mixing rock, dub, funk, rap and reggae. I also admire their willingness to politicize lyrics and their non-ego-driven world view. I also enjoyed talking with Tim Mahoney to preview the show. He was a down-to-earth, easy-going person and is a talented guitarist.
As soon as lead singer Nick Hexum emerged donning a sleeveless muscle shirt emblazoned with "The Clash" (somewhere Joe Strummer is rolling in his grave), I knew we were in trouble. The crowd was really into it, and they should've been. 311 plays SoCal music.
But my biggest fears about 311 were confirmed. Not hard enough to be good metal. Not stoney enough to be good reggae. Not soulful enough to be good hip-hop. When I say "soulful," I'm referring to music born from strife and overcoming obstacles. While I'm sure 311 has hopped hurdles in its career, this is middle-class music made by the children of middle-class America.
RECAP
Venue: Lousy traffic control and ticket pick-up along with high beer prices, but I've come to expect that from Coors.
Sound: Actually quite good for a large venue. Coors usually gets bounce back from the brick wall at the back of the amphitheater, but I didn't experience any echo.
Crowd: Overly enthusiastic, but you can't ever fault the normally stoic San Diego crowd for getting into live music.
Performance: Disappointing. Simply, 311 are a bunch of well-meaning cheeseballs. Matisyahu was solid, but preachy. And English Beat gets a pass.
To quote Fishbone: Give a monkey a brain and he'll swear he's the center of the universe. Just one monkey's opinion.
Friday, August 24, 2007
311: 'Anything goes'
So I'm a bit behind in posting, but I have show reviews of 311 and the Warped Tour along with photos on the way. Here's the story on 311 which ran in U-T:
The members of 311 found success playing 'all the types of music we like'
By Chris Nixon
Union-Tribune
Aug, 16, 2007
Reggae, rock, rap and funk: 311 boldly goes where a lot of other bands have gone before. They just do it all in one song.
Since joining forces 17 years ago in Omaha, Neb., Nick Hexum (vocals, guitar), S.A. Martinez (vocals, turntable), P-Nut (bass), Tim Mahoney (guitar) and Chad Sexton (drums) have unabashedly melded diverse genres in their music.
“Our sound stems from all the types of music we like,” guitarist Mahoney said recently after the sound check at a festival in Saratoga Springs, N.Y. “Everybody (in the band) loves reggae music. Everybody loves Led Zeppelin. Everybody loves Bob Marley. And everybody loves funk and all types of good music. It basically stems from everybody in the band wanting to play the music that they love.
“It's like chocolate and peanut butter: two great tastes that taste great together. Reggae and rock. We're big fans of Bad Brains. Bad Brains was originally who turned me on to reggae. Everyone's been into these hybrid type of bands. Why couldn't we have rap over rock? It totally made sense to us to put a hard rock guitar riff over a dancehall groove. It's just an attitude of anything goes.”
After testing their hybrid formulas on fans in their hometown of Omaha, the quintet moved to Los Angeles. With the band's sunny harmonies between vocalists Martinez and Hexum and their hard-rocking reggae tunes, 311 always sounded like a Southern California band. So Los Angeles was a good fit.
“It was a good time to leave Omaha,” Mahoney said. “I was 20, and there comes a time when you need to leave your hometown. I love Omaha. I'll always have a place there. But it was good for us to get out of there as a group and as a band. We struggled when we got to L.A., eating ramen every day. But it was great.”
And that's when their career started to take off. Nashville-based Capricorn Records signed 311 to a record contract (with major label distribution), releasing the band's 1993 debut, “Music.” The album established 311's basic blueprint for writing songs and combing genres: Add hip-hop rhyme schemes to Mahoney's edgy rock riffs, include a bit of reggae soul and James Brown funk, and encapsulate it all with positive lyrics. Like the music itself, 311 crossed boundaries, drawing fans from the jam band scene and the burgeoning rap rock movement of the mid 1990s.
Ultimately, rap rock or nu-metal gave 311 its biggest boost into the mainstream market. Giving people a softer alternative to Rage Against the Machine and Korn, 311 found a home on alternative radio with 1995's self-tited disc (with hits like “Don't Stay Home” and “All Mixed Up”) and 1997's “Transistor.”
“We always want to improve and grow, as individuals and as a band,” Mahoney said. “I think we're fortunate enough to have fans that have stuck around and stuck by us. And we're really fortunate to have people who will follow us through wherever we end up meandering with the music.”
Although sales have dropped since the band's 1990s heyday, 311 continues to develop its songwriting with more intricate song structures and a more devout fan base through constant touring. Since 2000, the band has held annual concerts on 311 Day (March 11 or 3/11) in New Orleans (except 2006 after Katrina, in which the show migrated to Memphis). The 311 Day events are epic, stretching five hours and encompassing 60-plus songs.
“It's almost exponential after you've been playing with the same guys for a while,” said Mahoney, who plays as part of the Summer Unity Tour Saturday at Coors Amphitheatre with Matisyahu and English Beat. “It's pretty rare to find a group of people you can work with like that. It's been so long, it's really all we know. Everyone has their personal lives, but we've had this bond for 17 years.
“Each record, we continue to be inspired. As long as we continue to be inspired to play music, play music together and write music that we're honest about and that we love, we'll be all right.”
Chris Nixon is a San Diego music writer.
The members of 311 found success playing 'all the types of music we like'
By Chris Nixon
Union-Tribune
Aug, 16, 2007
Reggae, rock, rap and funk: 311 boldly goes where a lot of other bands have gone before. They just do it all in one song.
Since joining forces 17 years ago in Omaha, Neb., Nick Hexum (vocals, guitar), S.A. Martinez (vocals, turntable), P-Nut (bass), Tim Mahoney (guitar) and Chad Sexton (drums) have unabashedly melded diverse genres in their music.
“Our sound stems from all the types of music we like,” guitarist Mahoney said recently after the sound check at a festival in Saratoga Springs, N.Y. “Everybody (in the band) loves reggae music. Everybody loves Led Zeppelin. Everybody loves Bob Marley. And everybody loves funk and all types of good music. It basically stems from everybody in the band wanting to play the music that they love.
“It's like chocolate and peanut butter: two great tastes that taste great together. Reggae and rock. We're big fans of Bad Brains. Bad Brains was originally who turned me on to reggae. Everyone's been into these hybrid type of bands. Why couldn't we have rap over rock? It totally made sense to us to put a hard rock guitar riff over a dancehall groove. It's just an attitude of anything goes.”
DETAILS
Summer Unity Tour: 311 with Matisyahu and English Beat
When: Saturday, 7:30 p.m.
Where: Coors Amphitheatre, 2050 Entertainment Circle, Chula Vista
Tickets: $16-$37
Phone: (619) 671-3600
Online: www.tickemaster.com
After testing their hybrid formulas on fans in their hometown of Omaha, the quintet moved to Los Angeles. With the band's sunny harmonies between vocalists Martinez and Hexum and their hard-rocking reggae tunes, 311 always sounded like a Southern California band. So Los Angeles was a good fit.
“It was a good time to leave Omaha,” Mahoney said. “I was 20, and there comes a time when you need to leave your hometown. I love Omaha. I'll always have a place there. But it was good for us to get out of there as a group and as a band. We struggled when we got to L.A., eating ramen every day. But it was great.”
And that's when their career started to take off. Nashville-based Capricorn Records signed 311 to a record contract (with major label distribution), releasing the band's 1993 debut, “Music.” The album established 311's basic blueprint for writing songs and combing genres: Add hip-hop rhyme schemes to Mahoney's edgy rock riffs, include a bit of reggae soul and James Brown funk, and encapsulate it all with positive lyrics. Like the music itself, 311 crossed boundaries, drawing fans from the jam band scene and the burgeoning rap rock movement of the mid 1990s.
Ultimately, rap rock or nu-metal gave 311 its biggest boost into the mainstream market. Giving people a softer alternative to Rage Against the Machine and Korn, 311 found a home on alternative radio with 1995's self-tited disc (with hits like “Don't Stay Home” and “All Mixed Up”) and 1997's “Transistor.”
“We always want to improve and grow, as individuals and as a band,” Mahoney said. “I think we're fortunate enough to have fans that have stuck around and stuck by us. And we're really fortunate to have people who will follow us through wherever we end up meandering with the music.”
Although sales have dropped since the band's 1990s heyday, 311 continues to develop its songwriting with more intricate song structures and a more devout fan base through constant touring. Since 2000, the band has held annual concerts on 311 Day (March 11 or 3/11) in New Orleans (except 2006 after Katrina, in which the show migrated to Memphis). The 311 Day events are epic, stretching five hours and encompassing 60-plus songs.
“It's almost exponential after you've been playing with the same guys for a while,” said Mahoney, who plays as part of the Summer Unity Tour Saturday at Coors Amphitheatre with Matisyahu and English Beat. “It's pretty rare to find a group of people you can work with like that. It's been so long, it's really all we know. Everyone has their personal lives, but we've had this bond for 17 years.
“Each record, we continue to be inspired. As long as we continue to be inspired to play music, play music together and write music that we're honest about and that we love, we'll be all right.”
Chris Nixon is a San Diego music writer.
Tuesday, August 14, 2007
Putting the Squeeze back on
After trying the solo route, reunited band is back together, and back in the spotlight
By Chris Nixon
San Diego Union-Tribune
August 9, 2007
After performing to arena-sized audiences and selling millions of records in the 1980s and 1990s, the British pop band Squeeze returned this year to huge crowds and a growing legacy in popular music.
But it hasn't been all flowers and champagne since the band's breakup eight years ago.
Glenn Tilbrook and Chris Difford – the two creative forces behind the group – have fostered solo careers since the band's split in 1999. The two musicians have released largely unrecognized albums while playing small gigs in front of modest crowds.
During the transition from solo artists back into a band, the recent string of Squeeze shows has induced a bit of culture shock from both lead singer Tilbrook and guitarist Difford.
“I've been playing small shows mostly for the last eight or 10 years,” said Tilbrook, speaking a few days after a big reunion show at the Guilfest music festival in England. “Indeed, even before Squeeze split up, we were playing relatively small shows. But it was nice to play a show again like that. I'm in the fortunate position to enjoy all gigs, but I haven't had one of those sorts of gigs for a while.”
“It's very peculiar,” admitted Difford from his home in England. “This weekend, I've got three solo shows, and I've just come off this massive stage playing an electric guitar in front of 22,000 people. I'm just about to go back to playing an acoustic guitar in front of 22 people. It's going to be very different.
“I'm not sure what these shows are going to teach me, but hopefully they'll teach me that there is balance.”
The main aspect separating this reunion from Difford-Tilbrook collaborations in the past is balance.
Traditionally, the division of labor in Squeeze broke down like this: Tilbrook wrote the music and Difford wrote the lyrics. Tilbrook has recorded two solo studio albums (2001's “The Incomplete Glenn Tilbrook” and 2007's “Transatlantic Ping Pong”), while Difford has recorded one (2004's “I Didn't Get Where I Am”) with another due for release next year.
With Tilbrook exploring his talents in his solo career and Difford releasing albums under his own name, both musicians have broadened their skill sets.
“I really love my solo career because it taught me a lot of things,” said the 49-year-old Tilbrook. “I realized I could do things I never thought I could do before, including writing lyrics. I never want to lose sight of that again.
“I never wrote lyrics when I was with Squeeze. And I've enjoyed writing with other people. I wrote with Steve Poltz (along with Ron Sexsmith, Chris Braide and Aimee Mann). Writing with other people has been fantastic. I never want to stop that. So, I want to maintain my solo career. I'm happy with it.”
Difford, 53, and Tilbrook met in London and formed Squeeze in 1974, gigging around Deptford (in southeast London) along with bands like Dire Straits while developing their trademark pop sound.
Pulling influences from the Mersey beat early Beatles sound, Motown 1960s soul and early 1980s nu-wave, Tilbrook and Difford penned commercially successful songs like “Up the Junction,” “Pulling Muscles (From the Shell),” “Black Coffee in Bed” and the Stateside smash “Tempted” (which featured the vocals of keyboardist Paul Carrack).
Although many of Squeeze's songs contain the pop appeal and musical sophistication of Beatles tunes, critics unfairly dubbed the songwriting partnership “the next Lennon and McCartney.”
As the hits subsided and Squeeze faded from the spotlight, the collaboration between Tilbrook and Difford became strained in the 1990s. The group went its separate ways in 1999.
Beginning a few years ago, a younger audience rediscovered Squeeze and rekindled interest in their music. An excellent book, “Squeeze: Song By Song” (released in 2004), documented the group's career. Universal (which now owns Squeeze's A&M catalog) decided to re-release all of Squeeze's albums in the U.K., complete with remastering and extra tracks.
To celebrate, Squeeze reformed with bassist John Bentley (the original bassist on “Argybargy,” “East Side Story” and “Sweets From a Stranger”) along with keyboardist Stephen Large and drummer Simon Hanson from Tilbrook's band to play a series of dates this summer.
This new string of shows might yield more than just a sold-out concert series.
“To be honest, we deliberately planned not to (write new material),” said Tilbrook. “Although subsequently in the past few weeks Chris and I have written another song together. And he's given me another bunch of lyrics, all of which I have to say are exceptionally good. I'm at a point where, why create barriers for yourself?”
Whether Squeeze ever records another album or not, Difford and Tilbrook have repaired their friendship and probably will continue to work with each other down the road.
“I don't think we quite know why we've come together on Earth to write such an amount of songs and to have a band called Squeeze,” admitted Difford. “I don't think we've ever had the opportunity to be as close as we are now, which is quite an achievement really.
“I think our younger years – speaking for myself – we spent touring but not communicating. And times have changed. We've grown up. We've both got children and we've been through different twists and turns in our lives. We've got our solo careers and we've both got Squeeze. It's something that we both love and respect.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
San Diego Union-Tribune
August 9, 2007
After performing to arena-sized audiences and selling millions of records in the 1980s and 1990s, the British pop band Squeeze returned this year to huge crowds and a growing legacy in popular music.
But it hasn't been all flowers and champagne since the band's breakup eight years ago.
Glenn Tilbrook and Chris Difford – the two creative forces behind the group – have fostered solo careers since the band's split in 1999. The two musicians have released largely unrecognized albums while playing small gigs in front of modest crowds.
During the transition from solo artists back into a band, the recent string of Squeeze shows has induced a bit of culture shock from both lead singer Tilbrook and guitarist Difford.
“I've been playing small shows mostly for the last eight or 10 years,” said Tilbrook, speaking a few days after a big reunion show at the Guilfest music festival in England. “Indeed, even before Squeeze split up, we were playing relatively small shows. But it was nice to play a show again like that. I'm in the fortunate position to enjoy all gigs, but I haven't had one of those sorts of gigs for a while.”
DETAILS
Squeeze, with Fountains of Wayne
When: Saturday, 7:30 p.m.
Where: The Park at Viejas Outlet Center, 5000 Willows Road, Alpine
Tickets: $65
Phone: (619) 445-5400
Online: www.viejas.com
“It's very peculiar,” admitted Difford from his home in England. “This weekend, I've got three solo shows, and I've just come off this massive stage playing an electric guitar in front of 22,000 people. I'm just about to go back to playing an acoustic guitar in front of 22 people. It's going to be very different.
“I'm not sure what these shows are going to teach me, but hopefully they'll teach me that there is balance.”
The main aspect separating this reunion from Difford-Tilbrook collaborations in the past is balance.
Traditionally, the division of labor in Squeeze broke down like this: Tilbrook wrote the music and Difford wrote the lyrics. Tilbrook has recorded two solo studio albums (2001's “The Incomplete Glenn Tilbrook” and 2007's “Transatlantic Ping Pong”), while Difford has recorded one (2004's “I Didn't Get Where I Am”) with another due for release next year.
With Tilbrook exploring his talents in his solo career and Difford releasing albums under his own name, both musicians have broadened their skill sets.
“I really love my solo career because it taught me a lot of things,” said the 49-year-old Tilbrook. “I realized I could do things I never thought I could do before, including writing lyrics. I never want to lose sight of that again.
'Tempted': A listener's guide to Squeeze
During their career spanning the past three decades, Chris Difford and Glenn Tilbrook have written a handful of classic pop songs: “Tempted,” “Take Me I'm Yours,” “Pulling Mussels (From the Shell).”
With their comeback in the works, it's time to take a look back at the albums that made these guys great. Despite yielding worthy pop songs like “Hits of the Year” (from 1985's “Cosi Fan Tutti Frutti”) and “Hourglass”/“Footprints” (from 1987's “Babylon and On”), the bulk of Squeeze's commercial and critical success originated in the British band's first five albums.
Let's take a look back:
“U.K. Squeeze” (1978, A&M Records)
Producer: John Cale/Squeeze
Lineup: Difford (guitar, vocals); Jools Holland (keyboards); Harry Kakoulli (bass); Gilson Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Take Me I'm Yours,” “Bang Bang”
The gist: The first shot off the bow from Difford and Tilbrook, including the keyboard stomp of the classic “Take Me I'm Yours.”
“Cool for Cats” (1979, A&M Records)
Producer: John Wood/Squeeze
Lineup: Difford (guitar, vocals); Holland (keyboards); Kakoulli (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Goodbye Girl,” “Cool for Cats,” “Up the Junction,” “Slap and Tickle”
The gist: The songwriting duo hones the art of the pop song, adding more guitars to the mix.
“Argybargy” (1980, A&M Records)
Producer: John Wood/Squeeze
Lineup: Difford (guitar, vocals); Holland (keyboards); John Bentley (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Pulling Mussels (From the Shell),” “Another Nail in My Heart,” “If I Didn't Love You”
The gist: Equal parts nu-wave keyboard sheen and guitar-driven radio-friendly rock, “Argybargy” helped define infectious pop in the early 1980s.
“East Side Story” (1981, A&M Records)
Producers: Roger Bechirian/Elvis Costello
Lineup: Difford (guitar, vocals); Paul Carrack (keyboards); Bentley (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Is That Love,” “Tempted,” “Labelled With Love,” “Messed Around”
The gist: With the addition of vocalist-keyboardist Paul Carrack, Squeeze scored the biggest hit of its career, the classic soul sound of “Tempted.”
“Sweets From a Stranger” (1982, A&M Records)
Producers: Squeeze/Phil McDonald
Lineup: Difford (guitar, vocals); Don Snow (keyboards); Bentley (bass); Lavis (drums); Tilbrook (guitar, vocals)
Singles: “Black Coffee in Bed,” “When the Hangover Strikes,” “I've Returned”
The gist: Tilbrook and Difford continue to explore accessible soul music with “Black Coffee in Bed.”
Best of the rest: “Cosi Fan Tutti Frutti” (1985, A&M Records); “Babylon and On” (1987, A&M Records); “Frank” (1989, A&M Records); “Play” (1991, Reprise Records); “Some Fantastic Place” (1993, A&M Records); “Ridiculous” (1995, Ark 21 Records); “Domino” (1998, Quixotic Records)
– CHRIS NIXON
“I never wrote lyrics when I was with Squeeze. And I've enjoyed writing with other people. I wrote with Steve Poltz (along with Ron Sexsmith, Chris Braide and Aimee Mann). Writing with other people has been fantastic. I never want to stop that. So, I want to maintain my solo career. I'm happy with it.”
Difford, 53, and Tilbrook met in London and formed Squeeze in 1974, gigging around Deptford (in southeast London) along with bands like Dire Straits while developing their trademark pop sound.
Pulling influences from the Mersey beat early Beatles sound, Motown 1960s soul and early 1980s nu-wave, Tilbrook and Difford penned commercially successful songs like “Up the Junction,” “Pulling Muscles (From the Shell),” “Black Coffee in Bed” and the Stateside smash “Tempted” (which featured the vocals of keyboardist Paul Carrack).
Although many of Squeeze's songs contain the pop appeal and musical sophistication of Beatles tunes, critics unfairly dubbed the songwriting partnership “the next Lennon and McCartney.”
As the hits subsided and Squeeze faded from the spotlight, the collaboration between Tilbrook and Difford became strained in the 1990s. The group went its separate ways in 1999.
Beginning a few years ago, a younger audience rediscovered Squeeze and rekindled interest in their music. An excellent book, “Squeeze: Song By Song” (released in 2004), documented the group's career. Universal (which now owns Squeeze's A&M catalog) decided to re-release all of Squeeze's albums in the U.K., complete with remastering and extra tracks.
To celebrate, Squeeze reformed with bassist John Bentley (the original bassist on “Argybargy,” “East Side Story” and “Sweets From a Stranger”) along with keyboardist Stephen Large and drummer Simon Hanson from Tilbrook's band to play a series of dates this summer.
This new string of shows might yield more than just a sold-out concert series.
“To be honest, we deliberately planned not to (write new material),” said Tilbrook. “Although subsequently in the past few weeks Chris and I have written another song together. And he's given me another bunch of lyrics, all of which I have to say are exceptionally good. I'm at a point where, why create barriers for yourself?”
Whether Squeeze ever records another album or not, Difford and Tilbrook have repaired their friendship and probably will continue to work with each other down the road.
“I don't think we quite know why we've come together on Earth to write such an amount of songs and to have a band called Squeeze,” admitted Difford. “I don't think we've ever had the opportunity to be as close as we are now, which is quite an achievement really.
“I think our younger years – speaking for myself – we spent touring but not communicating. And times have changed. We've grown up. We've both got children and we've been through different twists and turns in our lives. We've got our solo careers and we've both got Squeeze. It's something that we both love and respect.”
Chris Nixon is a San Diego music writer.
Friday, August 03, 2007
Ricardo Lemvo: Straight outta the Congo
Lemvo, following pioneers' footsteps
By Chris Nixon
Union-Tribune
August 2, 2007
Open Ricardo Lemvo's latest CD, “Isabela.” Just inside the front cover, you'll find an old photo of a dapper-looking man with the inscription: “1900 photo of grandfather Dom Joao N'lemvo, 1867-1938.” This image gives Lemvo's listeners insight into his 2007 release, along with his musical direction for the past two decades.
Born in the Central African city of Kinshasa (in the Democratic Republic of the Congo), Lemvo's grandfather, Dom Joao N'lemvo, hailed from the former Portuguese colony of Angola. The young Ricardo grew up speaking many languages, including Portuguese and Lingala (the language of the Congo). He also was enraptured by the music of the Congo, a blending of Cuban melodic sensibilities and African percussion.
“Cuban music has been popular throughout the continent of Africa since the late '30s and '40s,” said Lemvo during a recent interview from his current home in Los Angeles. “As a matter of fact, African musicians back in the '40s and '50s – in particular Congolese musicians – were already incorporating Cuban elements in the Congolese music. For example, they would take the piano line in Cuban music and then transpose it to the guitar. It yielded a sound or a style that is known to this day as the Congo rumba.”
From that springboard, Lemvo came to the United States and launched his career in music, bringing the Congolese rumba to America. Lemvo burst onto the world music scene with his 1996 debut “Tata Masamba,” combining the big brassy melodies of Cuban son music with salsa's swing and Congolese percussive rhythms.
Along with his band, Makina Loca, Lemvo followed with two excellent releases on the popular Putumayo label: 1998's “Mambo Yo Yo” and 2000's “Sao Salvador.” The humble Lemvo gives proper respect to Franco & OK Jazz, Dr. Nico (Kasanda), Kalle and African Jazz, the musicians who created Congolese rumba: “I do not feel like I've created anything new. I'm just following in the footsteps of the pioneers of Congolese music.”
On “Isabela,” Lemvo sings in Spanish, Lingala, Kikongo, Swahili and the language of his grandfather, Portuguese.
“On my last album, I wrote a song called 'Serenata Angolana,' 'Angolan Serenade,' ” explained Lemvo. “Naturally, that song had to be in Portuguese because I am paying tribute to my beloved Angola, the land of my grandfather. I wrote that song the very first time I went to Angola in 2005.
“The journey for me was a spiritual one, on a personal level. Going there, I felt like I was going back home. And also, it was the very first time I had performed in Africa. So, it was fitting that I performed in the land of my grandfather.”
Ricardo Lemvo and Makina Loca will perform in a free concert tomorrow as part of Carlsbad's 2007 TGIF Jazz in the Parks schedule. Now in its 22nd year, the series – which features artists like Sue Palmer and Big Time Operator every Friday at 6 p.m. – is presented by the Carlsbad Cultural Arts Office and Rob Hagey Productions (the people behind Street Scene).
Chris Nixon is a San Diego music writer.
By Chris Nixon
Union-Tribune
August 2, 2007
Open Ricardo Lemvo's latest CD, “Isabela.” Just inside the front cover, you'll find an old photo of a dapper-looking man with the inscription: “1900 photo of grandfather Dom Joao N'lemvo, 1867-1938.” This image gives Lemvo's listeners insight into his 2007 release, along with his musical direction for the past two decades.
Born in the Central African city of Kinshasa (in the Democratic Republic of the Congo), Lemvo's grandfather, Dom Joao N'lemvo, hailed from the former Portuguese colony of Angola. The young Ricardo grew up speaking many languages, including Portuguese and Lingala (the language of the Congo). He also was enraptured by the music of the Congo, a blending of Cuban melodic sensibilities and African percussion.
“Cuban music has been popular throughout the continent of Africa since the late '30s and '40s,” said Lemvo during a recent interview from his current home in Los Angeles. “As a matter of fact, African musicians back in the '40s and '50s – in particular Congolese musicians – were already incorporating Cuban elements in the Congolese music. For example, they would take the piano line in Cuban music and then transpose it to the guitar. It yielded a sound or a style that is known to this day as the Congo rumba.”
DETAILS
RICARDO LEMVO & MAKINA LOCA
When: Tomorrow, 6 p.m.
Where: Pine Avenue Park, 3205 Harding St., Carlsbad
Tickets: Free
Phone: (760) 434-2904
Online: www.carlsbadca.gov
From that springboard, Lemvo came to the United States and launched his career in music, bringing the Congolese rumba to America. Lemvo burst onto the world music scene with his 1996 debut “Tata Masamba,” combining the big brassy melodies of Cuban son music with salsa's swing and Congolese percussive rhythms.
Along with his band, Makina Loca, Lemvo followed with two excellent releases on the popular Putumayo label: 1998's “Mambo Yo Yo” and 2000's “Sao Salvador.” The humble Lemvo gives proper respect to Franco & OK Jazz, Dr. Nico (Kasanda), Kalle and African Jazz, the musicians who created Congolese rumba: “I do not feel like I've created anything new. I'm just following in the footsteps of the pioneers of Congolese music.”
On “Isabela,” Lemvo sings in Spanish, Lingala, Kikongo, Swahili and the language of his grandfather, Portuguese.
“On my last album, I wrote a song called 'Serenata Angolana,' 'Angolan Serenade,' ” explained Lemvo. “Naturally, that song had to be in Portuguese because I am paying tribute to my beloved Angola, the land of my grandfather. I wrote that song the very first time I went to Angola in 2005.
“The journey for me was a spiritual one, on a personal level. Going there, I felt like I was going back home. And also, it was the very first time I had performed in Africa. So, it was fitting that I performed in the land of my grandfather.”
Ricardo Lemvo and Makina Loca will perform in a free concert tomorrow as part of Carlsbad's 2007 TGIF Jazz in the Parks schedule. Now in its 22nd year, the series – which features artists like Sue Palmer and Big Time Operator every Friday at 6 p.m. – is presented by the Carlsbad Cultural Arts Office and Rob Hagey Productions (the people behind Street Scene).
Chris Nixon is a San Diego music writer.
Chris Cornell: Smells like a euphoric morning
After dipping his toes into the water eight years ago, Chris Cornell returned to soloing
By Chris Nixon
Union-Tribune
August 2, 2007
After 13 years in the seminal Seattle band Soundgarden and six more in the band of refugees called Audioslave, singer Chris Cornell finally has time to focus on the one aspect of his musical path he's yet to fully explore: a solo career.
With its bombastic Black Sabbath inspired riffs and Cornell's signature pipes, Soundgarden helped launch the grunge revolution of the early 1990s. The group scored huge critical and commercial victories with 1991's “Badmotorfinger” and 1994's “Superunknown,” both albums rife with odd-time signatures and alternative guitar tunings.
In the midst of Soundgarden's success, Cornell collaborat ed with members of Pearl Jam in the Temple of the Dog project, which featured the duet with Eddie Vedder titled “Hunger Strike.”
Due to the band's hard-edged sound, record labels and music critics tried to pigeonhole Soundgarden into the metal scene. Through its six studio albums the band proved it had more artistic acumen and punk attitude than the run-of-the-mill hair-metal band, thus leading to a new genre labeled “grunge.”
“Soundgarden struggled in the early '90s with the major labels not knowing necessarily who we were or what to do with us, at a time when there was a huge commercially successful metal scene,” said Cornell during a recent interview from his home in Los Angeles. “They started to try and run us down that pipe. And that didn't really work. We were in crisis, trying to stay away from it and carve out our own niche. Which we did, but it was difficult.
“Nowadays, it's easier for me. It's kind of like: Take the record or leave it.”
After the band's success petered out and the artistic focus of the band dwindled, Cornell launched his first crack at a solo career in the form of 1999's “Euphoria Morning” (though 1992's “Singles” soundtrack featured his acoustic song “Seasons”). Surrounded by bittersweet harmonies and acoustic instrumentation, “Euphoria Morning” exposes the quieter side of Cornell songwriter abilities.
“With 'Euphoria Morning,' it came after the end of my band, which was extremely important to me,” recalled Cornell. “I decided to start a solo career and that's that: done deal.
“But I always felt like since Temple of the Dog, I'm not ever going to be completely against the idea of collaborating with somebody else 'cause that was such a great experience. So, when the opportunity came up to do Audioslave, I was open-minded.”
Meanwhile, Rage Against the Machine vocalist Zach de la Rocha left his band in favor of a solo career in 2000, leaving guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk searching for a singer. Cypress Hill's B.Real and Tool's Maynard James Keenan jammed with the ex-Machines, until producer Rick Rubin suggested Cornell.
Post-“Euphoria Morning,” three former members of Rage Against the Machine approached Cornell about collaborating on a new band called Audioslave.
“To a degree, I think people were surprised by the first record,” said Cornell, who just celebrated his 43rd birthday. “When we put out 'Like a Stone,' that wasn't new territory for me. I'd done things with Soundgarden and Temple of the Dog and the solo record that were melodic and mellow and psychedelic and trippy.
“For me, it was no big deal. For them, they were Rage, which was known for pretty much one thing. They were taking big risks.”
The big risks paid off.
Six years, three albums and millions of record sales later, internal interest in Audioslave faded. Morello focused on his solo project, “The Nightwatchman.” Rage Against the Machine actually reunited for a series of shows this summer, including a date at this year's Coachella Festival. And Cornell turned to recording his second solo disc, eight years after the release of “Euphoria Morning.”
“It ended up being a good thing and yielding some great music and some great tours, but it also put me back to square one with the solo career,” admitted Cornell. “It was a lot of time between solo records. There was a little bit of the perception: Oh, he's going solo after splitting up with a band – again.”
On the heels of Audioslave, Cornell has crafted an album of overt pop music on his long-awaited sophomore solo disc “Carry On,” released in June of this year. The album features an acoustic cover of Michael Jackson's “Billy Jean” and “You Know My Name” from the 2006 James Bond remake “Casino Royale.” Despite the radio-friendly soft rock that dominates “Carry On,” Cornell's voice remains one of rock's best.
“It's a little bit like starting over on a solo career,” said Cornell, who plays Viejas Concerts in the Park Saturday in support of “Carry On.” “That's sort of the give-and-take of (Audioslave): I got three great records out of it and the great experience of making records with these other three guys. “Where it hurt me is I had just started to develop a solo career and abandoned it. Now, I have to come back and start it over again.”
Chris Nixon is a San Diego music writer.
An artist ready to embrace change
Chris Cornell has paid his dues: navigating the underground music scene and signing with big labels in Soundgarden, exploring the world of arena rock with Audioslave and fostering his own solo career.
And each step has given him insight in the music business.
“Fortunately for me, I started making records in a time when there was a great U.S. indie scene,” said Cornell. “We came into it when it was really healthy. We were an indie band, so we made our own records. We drew up our own contracts with SST and SubPop. We sold our own T-shirts. We drove our own van that we owned. Then, we signed to a major label with the prior knowledge of how it's done. Then, we just started doing the same thing on a bigger scale.”
But as his popularity has grown and he's become a household name among the music-savvy, the industry has become focused on the bottom line more than developing artists.
“The music industry is not healthy,” said Cornell. “It's changing, and to a large degree it's dying. Ultimately, that's not necessarily a bad thing. It's transforming into something very different, but it can benefit the fans. And it can definitely benefit the artists, if the artists are willing or able to embrace the change. I think there will be an organic flow in the way people end up buying and supporting music.”
No matter the changes in the music industry down the road, Cornell will continue to be himself: a talented songwriter with a great voice.
“I'm not someone who's struggling to be known in the world of popular music: I am known,” said Cornell. “So, I'm just making records and writing songs. I'm not really worrying about how anyone might place it or how it's perceived. It doesn't really matter to me. – I'm just going to write songs, make records, tour and do what I do.”
– CHRIS NIXON
By Chris Nixon
Union-Tribune
August 2, 2007
After 13 years in the seminal Seattle band Soundgarden and six more in the band of refugees called Audioslave, singer Chris Cornell finally has time to focus on the one aspect of his musical path he's yet to fully explore: a solo career.
With its bombastic Black Sabbath inspired riffs and Cornell's signature pipes, Soundgarden helped launch the grunge revolution of the early 1990s. The group scored huge critical and commercial victories with 1991's “Badmotorfinger” and 1994's “Superunknown,” both albums rife with odd-time signatures and alternative guitar tunings.
In the midst of Soundgarden's success, Cornell collaborat ed with members of Pearl Jam in the Temple of the Dog project, which featured the duet with Eddie Vedder titled “Hunger Strike.”
Due to the band's hard-edged sound, record labels and music critics tried to pigeonhole Soundgarden into the metal scene. Through its six studio albums the band proved it had more artistic acumen and punk attitude than the run-of-the-mill hair-metal band, thus leading to a new genre labeled “grunge.”
DETAILS
CHRIS CORNELL
When: Saturday, 7:30 p.m.
Where: Viejas Concerts in the Park, 5000 Willows Road, Alpine
Tickets: $40
Phone: (619) 445-5400
Online: www.viejas.com
“Soundgarden struggled in the early '90s with the major labels not knowing necessarily who we were or what to do with us, at a time when there was a huge commercially successful metal scene,” said Cornell during a recent interview from his home in Los Angeles. “They started to try and run us down that pipe. And that didn't really work. We were in crisis, trying to stay away from it and carve out our own niche. Which we did, but it was difficult.
“Nowadays, it's easier for me. It's kind of like: Take the record or leave it.”
After the band's success petered out and the artistic focus of the band dwindled, Cornell launched his first crack at a solo career in the form of 1999's “Euphoria Morning” (though 1992's “Singles” soundtrack featured his acoustic song “Seasons”). Surrounded by bittersweet harmonies and acoustic instrumentation, “Euphoria Morning” exposes the quieter side of Cornell songwriter abilities.
“With 'Euphoria Morning,' it came after the end of my band, which was extremely important to me,” recalled Cornell. “I decided to start a solo career and that's that: done deal.
“But I always felt like since Temple of the Dog, I'm not ever going to be completely against the idea of collaborating with somebody else 'cause that was such a great experience. So, when the opportunity came up to do Audioslave, I was open-minded.”
Meanwhile, Rage Against the Machine vocalist Zach de la Rocha left his band in favor of a solo career in 2000, leaving guitarist Tom Morello, bassist Tim Commerford and drummer Brad Wilk searching for a singer. Cypress Hill's B.Real and Tool's Maynard James Keenan jammed with the ex-Machines, until producer Rick Rubin suggested Cornell.
Post-“Euphoria Morning,” three former members of Rage Against the Machine approached Cornell about collaborating on a new band called Audioslave.
“To a degree, I think people were surprised by the first record,” said Cornell, who just celebrated his 43rd birthday. “When we put out 'Like a Stone,' that wasn't new territory for me. I'd done things with Soundgarden and Temple of the Dog and the solo record that were melodic and mellow and psychedelic and trippy.
“For me, it was no big deal. For them, they were Rage, which was known for pretty much one thing. They were taking big risks.”
The big risks paid off.
Six years, three albums and millions of record sales later, internal interest in Audioslave faded. Morello focused on his solo project, “The Nightwatchman.” Rage Against the Machine actually reunited for a series of shows this summer, including a date at this year's Coachella Festival. And Cornell turned to recording his second solo disc, eight years after the release of “Euphoria Morning.”
“It ended up being a good thing and yielding some great music and some great tours, but it also put me back to square one with the solo career,” admitted Cornell. “It was a lot of time between solo records. There was a little bit of the perception: Oh, he's going solo after splitting up with a band – again.”
On the heels of Audioslave, Cornell has crafted an album of overt pop music on his long-awaited sophomore solo disc “Carry On,” released in June of this year. The album features an acoustic cover of Michael Jackson's “Billy Jean” and “You Know My Name” from the 2006 James Bond remake “Casino Royale.” Despite the radio-friendly soft rock that dominates “Carry On,” Cornell's voice remains one of rock's best.
“It's a little bit like starting over on a solo career,” said Cornell, who plays Viejas Concerts in the Park Saturday in support of “Carry On.” “That's sort of the give-and-take of (Audioslave): I got three great records out of it and the great experience of making records with these other three guys. “Where it hurt me is I had just started to develop a solo career and abandoned it. Now, I have to come back and start it over again.”
Chris Nixon is a San Diego music writer.
An artist ready to embrace change
Chris Cornell has paid his dues: navigating the underground music scene and signing with big labels in Soundgarden, exploring the world of arena rock with Audioslave and fostering his own solo career.
And each step has given him insight in the music business.
“Fortunately for me, I started making records in a time when there was a great U.S. indie scene,” said Cornell. “We came into it when it was really healthy. We were an indie band, so we made our own records. We drew up our own contracts with SST and SubPop. We sold our own T-shirts. We drove our own van that we owned. Then, we signed to a major label with the prior knowledge of how it's done. Then, we just started doing the same thing on a bigger scale.”
But as his popularity has grown and he's become a household name among the music-savvy, the industry has become focused on the bottom line more than developing artists.
“The music industry is not healthy,” said Cornell. “It's changing, and to a large degree it's dying. Ultimately, that's not necessarily a bad thing. It's transforming into something very different, but it can benefit the fans. And it can definitely benefit the artists, if the artists are willing or able to embrace the change. I think there will be an organic flow in the way people end up buying and supporting music.”
No matter the changes in the music industry down the road, Cornell will continue to be himself: a talented songwriter with a great voice.
“I'm not someone who's struggling to be known in the world of popular music: I am known,” said Cornell. “So, I'm just making records and writing songs. I'm not really worrying about how anyone might place it or how it's perceived. It doesn't really matter to me. – I'm just going to write songs, make records, tour and do what I do.”
– CHRIS NIXON
Projekt Revolution: Breaking out of the Box
When Linkin Park decided to 'write music that we feel like writing,' a new sound was born – and Projekt Revolution took a detour
By Chris Nixon
Union-Tribune
July 26, 2007
After surviving the trials and tribulations of a decade in the music business, Linkin Park is edging away from hip-hop in favor of radio-friendly emo pop. So is the festival they created.
Along with bands like Korn, Limp Bizkit and the Deftones, the six-piece rock outfit emerged from the Los Angeles suburb of Agoura Hills amid the nu-metal movement of the late 1990s, melding rhythms and rhymes of rap with the fierce guitar riffage of metal.
Led by Chester Bennington's charismatic vocals and the rhymes of Mike Shinoda, Linkin Park unleashed its debut disc, “Hybrid Theory,” in 2000. That catapulted the band into the spotlight, selling 4.8 million records in 2001 and earning Bennington and crew three Grammys along the way.
After releasing three more studio albums from 2001-2004 (including “Collision Course,” the interesting collaboration with Jay-Z), Linkin Park enlisted producer Rick Rubin in 2006 and headed into uncharted territory.
“On this record we went back to ground zero and really just decided that we're not going to write music that we think people want to hear from us,” said Bennington during a recent phone interview. “We're just going to write music that we feel like writing.
“I think that once we got out of that box we put ourselves into, it was very easy for us to just start writing music. We discovered that no matter what kind of song we wrote, if we all loved it, then it became a Linkin Park song.”
The result is “Minutes to Midnight,” 12-tracks released this year shifting from hard-edged rap rock to a radio-friendly, pop-oriented sound. Shinoda provides rhymes on only two tracks (“Bleed It Out” and “Hands Held High”), and the single “What I've Done” features Bennington on vocals surrounded by a softer overall sound.
While hip-hop still plays a small role in Linkin Park' sound, the shift away from rap is palpable in the latest album and the band's summer touring festival Projekt Revolution.
In past incarnations, rap artists like Snoop Dogg, Cypress Hill and Xzibit have shared the stage with Korn, Adema and The Used. In Projekt Revolution version 2007, the rock quotient has grown (My Chemical Romance, Taking Back Sunday and Placebo) while the hip-hop contingent has shrunk to one: Styles of Beyond.
Bennington explains the change: “I personally noticed in the past – with the exception of maybe Cypress Hill and Snoop Dogg – there was enthusiasm of the hip-hop artists, but there really wasn't a lot of overall excitement. I personally felt like the show kind of went into a lull in some cases. I want the band to be able to feed off of the crowd. I don't want to have to warm them back up after a show.”
So this year's 28-date tour, which lands at Coors Amphitheatre in Chula Vista Tuesday, comes loaded with emo-rock (My Chemical Romance), light Goth rock (H.I.M.) aggressive nu-wave (Mindless Self Indulgence) and accessible industrial (Julien-K).
Chris Nixon is a San Diego music writer.
FIVE STALWARTS OF THE REVOLUTION
When Projekt Revolution rolls into Coors Amphitheatre Tuesday, most kids will plunk down $14 for lawn seats to see tour organizers Linkin Park. But come early and get your money's worth. Spanning two stages, a total of 11 bands will play.
Here's a rundown of five Projekt bands worthy of your time:
MY CHEMICAL ROMANCE
Formed: 2001 in Jersey City, N.J.
Latest album: “The Black Parade” (2006, Reprise)
Why bother? Complete with lush strings, full horn sections and rocking songs, “The Black Parade” is one of the best concept albums created in the past decade.
TAKING BACK SUNDAY
Formed: 1999 in Amityville, N.Y.
Latest album: “Louder Now” (2006, Warner Bros.)
Why bother? With fierce guitars and Lazzara's emo-croon, these Long Islanders sit on the verge of mainstream stardom.
JULIEN-K
Formed: 2004 in Los Angeles
Latest album: “Death to Analog” (due in 2007)
Why bother? This electronic side project of Orgy creates slick infectious industrial music. Chester Bennington has collaborated with these guys, so look for a cameo.
MINDLESS SELF INDULGENCE
Formed: 1995 in New York City, N.Y.
Latest album: “Another Mindless Rip Off” (2006, Metropolis/Uppity Cracker)
Why bother? Devo on steroids. Need I say more?
STYLES OF BEYOND
Formed: 1994 in Los Angeles
Latest album: “Megadef” (2003, SpyTech Records)
Why bother? Keeping hip-hop alive at Projekt Revolution – Mike Shinoda will probably step onstage to share the mic on “Second to None” (“Transformers” soundtrack).
– CHRIS NIXON
TREE-HUGGERS SPREADING THE WORD – AND THE WEALTH
Linkin Park has made millions since the day its members first picked up their instruments in 1996, but Chester Bennington and his bandmates haven't been hoarding their earnings.
They've managed to spread the wealth to worthy causes. Along with helping people struggling in the aftermath of Hurricane Charley and Hurricane Katrina, the band started an organization called Music for Relief to help victims of the 2004 tsunami.
Recognizing the possible link between environmental causes, global warming and the recent crop of violent storms, Bennington and company have turned to helping raise awareness about global warming.
Through this year's Projekt Revolution and Music for Relief, Linkin Park has been working hard at making this event an environmentally conscious effort. Besides making the tour a “green” tour, Projekt Revolution and Music for Relief will be donating $1 from each ticket to give to American Forests for their Global ReLeaf program to plant trees to help reduce global temperatures.
“By raising awareness as much as possible, encouraging people to make simple changes in their life and showing them how by offering information at the tour, I think we can make a difference,” said Bennington. “If, at the end of the day, all we did was plant a bunch of trees, that's cool with me.”
– CHRIS NIXON
By Chris Nixon
Union-Tribune
July 26, 2007
After surviving the trials and tribulations of a decade in the music business, Linkin Park is edging away from hip-hop in favor of radio-friendly emo pop. So is the festival they created.
Along with bands like Korn, Limp Bizkit and the Deftones, the six-piece rock outfit emerged from the Los Angeles suburb of Agoura Hills amid the nu-metal movement of the late 1990s, melding rhythms and rhymes of rap with the fierce guitar riffage of metal.
Led by Chester Bennington's charismatic vocals and the rhymes of Mike Shinoda, Linkin Park unleashed its debut disc, “Hybrid Theory,” in 2000. That catapulted the band into the spotlight, selling 4.8 million records in 2001 and earning Bennington and crew three Grammys along the way.
After releasing three more studio albums from 2001-2004 (including “Collision Course,” the interesting collaboration with Jay-Z), Linkin Park enlisted producer Rick Rubin in 2006 and headed into uncharted territory.
“On this record we went back to ground zero and really just decided that we're not going to write music that we think people want to hear from us,” said Bennington during a recent phone interview. “We're just going to write music that we feel like writing.
“I think that once we got out of that box we put ourselves into, it was very easy for us to just start writing music. We discovered that no matter what kind of song we wrote, if we all loved it, then it became a Linkin Park song.”
The result is “Minutes to Midnight,” 12-tracks released this year shifting from hard-edged rap rock to a radio-friendly, pop-oriented sound. Shinoda provides rhymes on only two tracks (“Bleed It Out” and “Hands Held High”), and the single “What I've Done” features Bennington on vocals surrounded by a softer overall sound.
While hip-hop still plays a small role in Linkin Park' sound, the shift away from rap is palpable in the latest album and the band's summer touring festival Projekt Revolution.
In past incarnations, rap artists like Snoop Dogg, Cypress Hill and Xzibit have shared the stage with Korn, Adema and The Used. In Projekt Revolution version 2007, the rock quotient has grown (My Chemical Romance, Taking Back Sunday and Placebo) while the hip-hop contingent has shrunk to one: Styles of Beyond.
Bennington explains the change: “I personally noticed in the past – with the exception of maybe Cypress Hill and Snoop Dogg – there was enthusiasm of the hip-hop artists, but there really wasn't a lot of overall excitement. I personally felt like the show kind of went into a lull in some cases. I want the band to be able to feed off of the crowd. I don't want to have to warm them back up after a show.”
So this year's 28-date tour, which lands at Coors Amphitheatre in Chula Vista Tuesday, comes loaded with emo-rock (My Chemical Romance), light Goth rock (H.I.M.) aggressive nu-wave (Mindless Self Indulgence) and accessible industrial (Julien-K).
Chris Nixon is a San Diego music writer.
FIVE STALWARTS OF THE REVOLUTION
When Projekt Revolution rolls into Coors Amphitheatre Tuesday, most kids will plunk down $14 for lawn seats to see tour organizers Linkin Park. But come early and get your money's worth. Spanning two stages, a total of 11 bands will play.
Here's a rundown of five Projekt bands worthy of your time:
MY CHEMICAL ROMANCE
Formed: 2001 in Jersey City, N.J.
Latest album: “The Black Parade” (2006, Reprise)
Why bother? Complete with lush strings, full horn sections and rocking songs, “The Black Parade” is one of the best concept albums created in the past decade.
TAKING BACK SUNDAY
Formed: 1999 in Amityville, N.Y.
Latest album: “Louder Now” (2006, Warner Bros.)
Why bother? With fierce guitars and Lazzara's emo-croon, these Long Islanders sit on the verge of mainstream stardom.
JULIEN-K
Formed: 2004 in Los Angeles
Latest album: “Death to Analog” (due in 2007)
Why bother? This electronic side project of Orgy creates slick infectious industrial music. Chester Bennington has collaborated with these guys, so look for a cameo.
MINDLESS SELF INDULGENCE
Formed: 1995 in New York City, N.Y.
Latest album: “Another Mindless Rip Off” (2006, Metropolis/Uppity Cracker)
Why bother? Devo on steroids. Need I say more?
STYLES OF BEYOND
Formed: 1994 in Los Angeles
Latest album: “Megadef” (2003, SpyTech Records)
Why bother? Keeping hip-hop alive at Projekt Revolution – Mike Shinoda will probably step onstage to share the mic on “Second to None” (“Transformers” soundtrack).
– CHRIS NIXON
TREE-HUGGERS SPREADING THE WORD – AND THE WEALTH
Linkin Park has made millions since the day its members first picked up their instruments in 1996, but Chester Bennington and his bandmates haven't been hoarding their earnings.
They've managed to spread the wealth to worthy causes. Along with helping people struggling in the aftermath of Hurricane Charley and Hurricane Katrina, the band started an organization called Music for Relief to help victims of the 2004 tsunami.
Recognizing the possible link between environmental causes, global warming and the recent crop of violent storms, Bennington and company have turned to helping raise awareness about global warming.
Through this year's Projekt Revolution and Music for Relief, Linkin Park has been working hard at making this event an environmentally conscious effort. Besides making the tour a “green” tour, Projekt Revolution and Music for Relief will be donating $1 from each ticket to give to American Forests for their Global ReLeaf program to plant trees to help reduce global temperatures.
“By raising awareness as much as possible, encouraging people to make simple changes in their life and showing them how by offering information at the tour, I think we can make a difference,” said Bennington. “If, at the end of the day, all we did was plant a bunch of trees, that's cool with me.”
– CHRIS NIXON
Thursday, July 26, 2007
'United' they stand
This year's san diego lgbt pride celebration reaches out to 'our brothers and sisters' worldwide
By Chris Nixon
Union-Tribune
July 19, 2007
After 33 years of celebrating diversity and rights for the LGBT (lesbian, gay, bisexual, transgender) community in San Diego, the local Pride festival is adopting a new attitude: think globally, act locally.
By embracing this year's theme of “United for Equality,” the 33rd annual San Diego LGBT Pride Celebration hopes to lend support to LGBT communities locally and half a world away.
“Here, we can have the largest civic event in San Diego,” said Ron deHarte, executive director of San Diego Pride. “And our brothers and sisters in Eastern Bloc countries can't even go out in a group of 10 or 20 without being stoned and beaten up. So, there's a huge struggle in many places in the world still. So 'United for Equality' is a worldwide Pride theme this year.”
The celebration revolves around two popular events: a free mile-long parade along Sixth Avenue and a two-day music festival at Marston Point in Balboa Park.
The festival features headliners Erasure along with nearly 100 live performances, expanded beverage gardens, a food court and many informative booths to help people get involved with LGBT rights. According to deHarte, San Diego Pride made an effort this year to include more local bands. And the lineup reflects the effort: Cover Me Badd's Blasphemous Guitars, The Shambles, Manganista, Buckfast Superbee and Spell Toronto all will perform at the fest Saturday and Sunday.
“We're really trying to create a platform for independent artists here in town,” said deHarte. “We haven't really provided that in the past. For some people there's been this image that they couldn't play Pride because they weren't gay. So, we've really started to get the word out there and break down some of those barriers. We want to give the independent bands an opportunity to have a great audience like the Pride festival.”
DeHarte wants attendees to have a good time, but also walk away with a greater understanding of others in the bigger San Diego community: “It's more than just going to a festival and enjoying different music and food. It's sending a message of visibility. It's putting a face on a community that a lot of people may not be able to identify with. That's where some of the stereotypes start breaking down.”
Chris Nixon is a San Diego music writer.
STRUT IT ON SATURDAY
From drag queens to muscle-bound shirtless men, the Pride Parade allows the LGBT community a chance to strut its stuff. With more than 200 floats and organizations marching, the parade is a fun-loving spectacle to behold.
The parade draws 150,000 people each year to the streets between Bankers Hill and Hillcrest near Balboa Park, making it the largest annual civic celebration in San Diego. It gets packed along the route, so come early and wear comfy shoes.
This year's Grand Marshal is Bruce Michael Abrams, a well-known San Diego attorney and a commissioner of the mayor's San Diego Human Relations Commission.
“Bruce has a tremendous history of giving back to the community,” said San Diego Pride executive director Ron deHarte. “Whether it's with legal help or fundraising in his home, he's helped dozens and dozens of organizations, literally.”
Starting at 11 a.m. Saturday, the Pride Parade is free. With a course starting at University Avenue and Normal Street, the parade travels west to Sixth Avenue, then south to Balboa Drive.
– CHRIS NIXON
A 'positive message' and some good music
July 19, 2007
A few weeks ago, the True Colors show – a tour organized by Cyndi Lauper to benefit LGBT rights – swung through town at SDSU's Open Air Theatre. In introducing the synth-pop duo Erasure, show host Margaret Cho simply said: “Erasure has provided the soundtrack to our lives.” And the crowd was ecstatic.
Since 1985, vocalist Andy Bell and musician Vince Clarke have provided the soundtrack to the gay community with their dance-floor friendly pop. Clarke – also involved in the early incarnations of Depeche Mode and the British duo Yaz – brings his style of synth composition, while Bell served as a role model to many people by simply being himself.
Singles like “Ship of Fools,” “Chains of Love” and “A Little Respect” propelled Erasure into the spotlight in 1987. This year found the duo releasing a studio recording titled “Light at the End of the World,” with the singles “I Could Fall in Love with You” and “Sunday Girl.”
This year's Pride festival expects to draw 40,000 people over two days in Balboa Park. On Sunday, many festival-goers will be in Balboa Park to check out Erasure.
“From an entertainment standpoint, they're a fun band,” said Pride executive director Ron deHarte. “But also when you look at the members in the band and the place they've held in the LGBT community and in this civil rights movement over the past 20-plus years, they really have been a part of the growing movement of bringing about equality, justice, tolerance and diversity, not just in London, but worldwide. They're carrying a positive message.”
Erasure will perform at the San Diego Pride Festival at Marston Point in Balboa Park from 6:10 p.m. to 7:30 p.m. on Sunday. One-day tickets to the festival are $15, a two-day pass is $21.
– CHRIS NIXON
By Chris Nixon
Union-Tribune
July 19, 2007
After 33 years of celebrating diversity and rights for the LGBT (lesbian, gay, bisexual, transgender) community in San Diego, the local Pride festival is adopting a new attitude: think globally, act locally.
By embracing this year's theme of “United for Equality,” the 33rd annual San Diego LGBT Pride Celebration hopes to lend support to LGBT communities locally and half a world away.
“Here, we can have the largest civic event in San Diego,” said Ron deHarte, executive director of San Diego Pride. “And our brothers and sisters in Eastern Bloc countries can't even go out in a group of 10 or 20 without being stoned and beaten up. So, there's a huge struggle in many places in the world still. So 'United for Equality' is a worldwide Pride theme this year.”
The celebration revolves around two popular events: a free mile-long parade along Sixth Avenue and a two-day music festival at Marston Point in Balboa Park.
Details
The 33rd San Diego LGBT Pride Celebration
When: Parade, 11 a.m. Saturday; festival, noon Saturday and 11 a.m. Sunday
Where: Parade in Hillcrest along University and down Sixth Avenue; festival in Balboa Park at Sixth Avenue and Laurel Street
Tickets: Parade, free; festival, $15
Phone: (619) 239-0512
Online: www.sandiegopride.com
The festival features headliners Erasure along with nearly 100 live performances, expanded beverage gardens, a food court and many informative booths to help people get involved with LGBT rights. According to deHarte, San Diego Pride made an effort this year to include more local bands. And the lineup reflects the effort: Cover Me Badd's Blasphemous Guitars, The Shambles, Manganista, Buckfast Superbee and Spell Toronto all will perform at the fest Saturday and Sunday.
“We're really trying to create a platform for independent artists here in town,” said deHarte. “We haven't really provided that in the past. For some people there's been this image that they couldn't play Pride because they weren't gay. So, we've really started to get the word out there and break down some of those barriers. We want to give the independent bands an opportunity to have a great audience like the Pride festival.”
DeHarte wants attendees to have a good time, but also walk away with a greater understanding of others in the bigger San Diego community: “It's more than just going to a festival and enjoying different music and food. It's sending a message of visibility. It's putting a face on a community that a lot of people may not be able to identify with. That's where some of the stereotypes start breaking down.”
Chris Nixon is a San Diego music writer.
STRUT IT ON SATURDAY
From drag queens to muscle-bound shirtless men, the Pride Parade allows the LGBT community a chance to strut its stuff. With more than 200 floats and organizations marching, the parade is a fun-loving spectacle to behold.
The parade draws 150,000 people each year to the streets between Bankers Hill and Hillcrest near Balboa Park, making it the largest annual civic celebration in San Diego. It gets packed along the route, so come early and wear comfy shoes.
This year's Grand Marshal is Bruce Michael Abrams, a well-known San Diego attorney and a commissioner of the mayor's San Diego Human Relations Commission.
“Bruce has a tremendous history of giving back to the community,” said San Diego Pride executive director Ron deHarte. “Whether it's with legal help or fundraising in his home, he's helped dozens and dozens of organizations, literally.”
Starting at 11 a.m. Saturday, the Pride Parade is free. With a course starting at University Avenue and Normal Street, the parade travels west to Sixth Avenue, then south to Balboa Drive.
– CHRIS NIXON
A 'positive message' and some good music
July 19, 2007
A few weeks ago, the True Colors show – a tour organized by Cyndi Lauper to benefit LGBT rights – swung through town at SDSU's Open Air Theatre. In introducing the synth-pop duo Erasure, show host Margaret Cho simply said: “Erasure has provided the soundtrack to our lives.” And the crowd was ecstatic.
Since 1985, vocalist Andy Bell and musician Vince Clarke have provided the soundtrack to the gay community with their dance-floor friendly pop. Clarke – also involved in the early incarnations of Depeche Mode and the British duo Yaz – brings his style of synth composition, while Bell served as a role model to many people by simply being himself.
Singles like “Ship of Fools,” “Chains of Love” and “A Little Respect” propelled Erasure into the spotlight in 1987. This year found the duo releasing a studio recording titled “Light at the End of the World,” with the singles “I Could Fall in Love with You” and “Sunday Girl.”
This year's Pride festival expects to draw 40,000 people over two days in Balboa Park. On Sunday, many festival-goers will be in Balboa Park to check out Erasure.
“From an entertainment standpoint, they're a fun band,” said Pride executive director Ron deHarte. “But also when you look at the members in the band and the place they've held in the LGBT community and in this civil rights movement over the past 20-plus years, they really have been a part of the growing movement of bringing about equality, justice, tolerance and diversity, not just in London, but worldwide. They're carrying a positive message.”
Erasure will perform at the San Diego Pride Festival at Marston Point in Balboa Park from 6:10 p.m. to 7:30 p.m. on Sunday. One-day tickets to the festival are $15, a two-day pass is $21.
– CHRIS NIXON
Getting Polyphonic
Soul aim: Spree shares a joyous energy
By Chris Nixon
Union-Tribune
July 19, 2007
Joyous, rapturous, loud, boisterous. Add an indie rock mentality (sans snobbishness) to the zeal of a gospel choir and the musicality of a symphony orchestra, and you might come close to the experience of seeing the traveling caravan called The Polyphonic Spree live.
Julie Doyle, a vocalist in the band's 10-piece choir and wife of Spree founder Tim DeLaughter, explained a Polyphonic concert: “A Polyphonic Spree show is full of surprise. It's visually stimulating. Sonically, it's a huge power surge. For people who stay for the whole show, you'll see a whole theatrical experience and an entire story play itself out. It's cool, because by the end it's very interactive and the crowd is a big part of the show.”
As many stories do, the tale of The Polyphonic Spree began as another story ended. Back in the 1990s, DeLaughter – along with fellow Sprees bassist Mark Pirro and drummer Bryan Wakeland – performed in the Dallas-based neo-psychedelic band Tripping Daisy. The quintet ended it's eight-year career after guitarist Wes Berggren was found dead from a heart attack in 1999.
The death of his bandmate shook DeLaughter, who took time away from the music industry to quietly run a record store and label (both called Good Records). Instead of finding religion (like many who go through a traumatic experience), the 41-year-old singer-songwriter founded The Polyphonic Spree. With a lineup numbering in the 20s (usually 24 members), the Spree dons robes and brings the brimstone and fire in a nondenominational, unchurchy kind of way.
“It's not about gospel or any particular religion, but it is soulful,” said Doyle during a concert stop in Detroit. “And the energy creates a feeling like (gospel music). But the robes had nothing to do with being a gospel choir or anything to do with a specific religion. The robes originally were there to distract from 20-something people standing on stage in street clothing and to also unify the group. We thought it was a beautiful image.”
Imagine a 10-person choir, a pair of keyboardists, a percussionist, drummer, bassist, guitarist, flutist, trumpeter, trombonist, violinist-violist, harpist and French horn player, a pedal steel player, a Theremin player and an electronic effects person jumping around a stage while playing blissed-out indie pop. This is a Polyphonic Spree show.
While the group works hard to deliver a transcendent show every night, touring with 24 people can be a grind involving a dizzying array of logistics.
“You know how it is. You're a human being. It's wear and tear. At the same time, I think it brings more energy to the actual performance because it's a minor victory to get to perform every night. It takes a lot to move the group from A to B. So even though there's this exhaustion, for those couple of hours each night you get this weird second wind and you pull it together.”
The dynamic live show first drew attention to The Polyphonic Spree, but three studio recordings expose a different side to the collective. While the majority of 2002's “The Beginning Stages of ... ,” 2004's “Together We're Heavy” and “The Fragile Army” (released last month) convey the blissful nature of the live shows, there also are moments of subtlety and quiet introspection. But don't expect those moments to dominate the show at 'Canes in Mission Beach.
Chris Nixon is a San Diego music writer.
By Chris Nixon
Union-Tribune
July 19, 2007
Joyous, rapturous, loud, boisterous. Add an indie rock mentality (sans snobbishness) to the zeal of a gospel choir and the musicality of a symphony orchestra, and you might come close to the experience of seeing the traveling caravan called The Polyphonic Spree live.
Julie Doyle, a vocalist in the band's 10-piece choir and wife of Spree founder Tim DeLaughter, explained a Polyphonic concert: “A Polyphonic Spree show is full of surprise. It's visually stimulating. Sonically, it's a huge power surge. For people who stay for the whole show, you'll see a whole theatrical experience and an entire story play itself out. It's cool, because by the end it's very interactive and the crowd is a big part of the show.”
As many stories do, the tale of The Polyphonic Spree began as another story ended. Back in the 1990s, DeLaughter – along with fellow Sprees bassist Mark Pirro and drummer Bryan Wakeland – performed in the Dallas-based neo-psychedelic band Tripping Daisy. The quintet ended it's eight-year career after guitarist Wes Berggren was found dead from a heart attack in 1999.
The death of his bandmate shook DeLaughter, who took time away from the music industry to quietly run a record store and label (both called Good Records). Instead of finding religion (like many who go through a traumatic experience), the 41-year-old singer-songwriter founded The Polyphonic Spree. With a lineup numbering in the 20s (usually 24 members), the Spree dons robes and brings the brimstone and fire in a nondenominational, unchurchy kind of way.
Details
The Polyphonic Spree
When: Tomorrow, 8 p.m.
Where: 'Canes, 3105 Ocean Front Walk, Mission Beach
Tickets: $18-$20
Phone: (858) 488-1780
Online: www.canesbarandgrill.com
“It's not about gospel or any particular religion, but it is soulful,” said Doyle during a concert stop in Detroit. “And the energy creates a feeling like (gospel music). But the robes had nothing to do with being a gospel choir or anything to do with a specific religion. The robes originally were there to distract from 20-something people standing on stage in street clothing and to also unify the group. We thought it was a beautiful image.”
Imagine a 10-person choir, a pair of keyboardists, a percussionist, drummer, bassist, guitarist, flutist, trumpeter, trombonist, violinist-violist, harpist and French horn player, a pedal steel player, a Theremin player and an electronic effects person jumping around a stage while playing blissed-out indie pop. This is a Polyphonic Spree show.
While the group works hard to deliver a transcendent show every night, touring with 24 people can be a grind involving a dizzying array of logistics.
“You know how it is. You're a human being. It's wear and tear. At the same time, I think it brings more energy to the actual performance because it's a minor victory to get to perform every night. It takes a lot to move the group from A to B. So even though there's this exhaustion, for those couple of hours each night you get this weird second wind and you pull it together.”
The dynamic live show first drew attention to The Polyphonic Spree, but three studio recordings expose a different side to the collective. While the majority of 2002's “The Beginning Stages of ... ,” 2004's “Together We're Heavy” and “The Fragile Army” (released last month) convey the blissful nature of the live shows, there also are moments of subtlety and quiet introspection. But don't expect those moments to dominate the show at 'Canes in Mission Beach.
Chris Nixon is a San Diego music writer.
Fight the power!
Femi Kuti picked up where his father left off – musically and politically
By Chris Nixon
Union-Tribune
July 19, 2007
From father to son, the legacy of Afrobeat music continues to inspire a new generation of Africans fighting for their rights. Like the meaning of his middle name, Anikulapo – “the one who holds death in his pouch” – Fela Kuti's musical and political vision lives beyond his time on Earth.
Fela's son walks in his father's footsteps. Like his dad, who died in 1997, Femi Kuti rails against oppressive and corrupt governments. He blows his sax sweet and hard, like an African Maceo Parker playing a form of music created by his father: Afrobeat.
Melding the joyous prolonged sounds of African high-life music with the down-dirty grit of James Brown and the Horny Horns, Fela Kuti created conscious, politically charged music. He ran for the Nigerian presidency. He seceded from Nigeria, designating his home “The Kalakuta Republic.” He married 28 women at once. He spent most days dressed in nothing but Speedos. Most importantly, he believed in music's power to change individuals and societies, boldly stating “Music is the weapon of the future.”
Femi Kuti has taken the mantle laid down by his father when he passed away from complications due to AIDS and moved Afrobeat into the modern era.
Ten years have passed since Fela's death. But according to Femi, life hasn't improved for the Nigerian people since Fela's time: “It's very difficult right now for the people (in Nigeria). The price of oil has been increased again, so it's very very difficult. We have to completely eradicate corruption in our society first of all. Since we have mineral resources, we should be providing free education and free health care for the people. The resources should go back to the people.
“Africa is supplying the world with the gold, diamonds, the oil, the cocoa, the palm oil, so many resources. Why can't we use our resources to provide for our people?”
Back in his day, Fela built a nightclub and compound called the Afrika Shrine, but the Kuti family lived in an uneasy and sometimes violent coexistence with the government. The police often raided the club and Fela was beaten severely on a number of occasions for his outspoken views against the government.
His wives were also beaten and sexually abused. His mother died from injuries sustained after authorities threw her from a window. Life was not easy for Fela and his family, but he continued to condemn corruption and poverty.
Since his father's death, Femi has rebuilt Fela's Afrika Shrine in the Nigerian capital of Lagos. Part music venue and part community center, the Shrine also serves as Femi's home when he's not on tour. He holds weekly jam sessions every Sunday called “Jumps,” where Nigerians gather and dance away their daily strife.
“The old Shrine was taken from us,” said the soft-spoken Femi, currently on tour in the U.S. “When we licensed my father's back catalog, my sister and I decided to buy land and build another in his honor. We thought it was the best thing to do with the money, instead of buying cars or using it for private use. He always wanted his own place, so we though it was the best thing to do. It was good for my band as well, to have a place of our own.”
Emerging from his father's shadow, Femi's music and message deserve to stand on their own. His two studio releases – “Shoki Shoki” in 1999 and 2001's “Fight to Win” – paint a picture of a man struggling with abject poverty and a corrupt government. In a combo titled “Live at the Shrine” released in 2005, Femi allowed cameras into his life, giving a tour of the Shrine along with combined footage from a series of electric live shows at the venue.
This year, Femi issued an excellent two-disc greatest hits compilation titled “Femi Kuti: The Definitive Collection,” which features guest spots by Mos Def, Common, D'Angelo and Macy Gray. Mixing traditional Afrobeat funk with electronic beats and a touch of hip-hop style, Femi's catalog represents the modern extension of his father's music.
Despite continued pressure from authorities to remain quiet, Femi's music uses his songs as a podium to raise consciousness of the struggle of everyday life in Africa.
“We're not going to back down on what we believe just because of threats,” said a defiant Femi. “I'm not going to leave because my father is dead. We're not going to back down, that's the tradition of my family. We're not leaving because of fear, no way.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
Union-Tribune
July 19, 2007
From father to son, the legacy of Afrobeat music continues to inspire a new generation of Africans fighting for their rights. Like the meaning of his middle name, Anikulapo – “the one who holds death in his pouch” – Fela Kuti's musical and political vision lives beyond his time on Earth.
Fela's son walks in his father's footsteps. Like his dad, who died in 1997, Femi Kuti rails against oppressive and corrupt governments. He blows his sax sweet and hard, like an African Maceo Parker playing a form of music created by his father: Afrobeat.
Melding the joyous prolonged sounds of African high-life music with the down-dirty grit of James Brown and the Horny Horns, Fela Kuti created conscious, politically charged music. He ran for the Nigerian presidency. He seceded from Nigeria, designating his home “The Kalakuta Republic.” He married 28 women at once. He spent most days dressed in nothing but Speedos. Most importantly, he believed in music's power to change individuals and societies, boldly stating “Music is the weapon of the future.”
Details
Femi Kuti
When: Tonight, 8:30
Where: House of Blues, 1055 Fifth Ave., downtown
Tickets: $22-$25Phone: (619) 299-2583
Online: www.hob.com
Femi Kuti has taken the mantle laid down by his father when he passed away from complications due to AIDS and moved Afrobeat into the modern era.
Ten years have passed since Fela's death. But according to Femi, life hasn't improved for the Nigerian people since Fela's time: “It's very difficult right now for the people (in Nigeria). The price of oil has been increased again, so it's very very difficult. We have to completely eradicate corruption in our society first of all. Since we have mineral resources, we should be providing free education and free health care for the people. The resources should go back to the people.
“Africa is supplying the world with the gold, diamonds, the oil, the cocoa, the palm oil, so many resources. Why can't we use our resources to provide for our people?”
Back in his day, Fela built a nightclub and compound called the Afrika Shrine, but the Kuti family lived in an uneasy and sometimes violent coexistence with the government. The police often raided the club and Fela was beaten severely on a number of occasions for his outspoken views against the government.
His wives were also beaten and sexually abused. His mother died from injuries sustained after authorities threw her from a window. Life was not easy for Fela and his family, but he continued to condemn corruption and poverty.
Since his father's death, Femi has rebuilt Fela's Afrika Shrine in the Nigerian capital of Lagos. Part music venue and part community center, the Shrine also serves as Femi's home when he's not on tour. He holds weekly jam sessions every Sunday called “Jumps,” where Nigerians gather and dance away their daily strife.
“The old Shrine was taken from us,” said the soft-spoken Femi, currently on tour in the U.S. “When we licensed my father's back catalog, my sister and I decided to buy land and build another in his honor. We thought it was the best thing to do with the money, instead of buying cars or using it for private use. He always wanted his own place, so we though it was the best thing to do. It was good for my band as well, to have a place of our own.”
Emerging from his father's shadow, Femi's music and message deserve to stand on their own. His two studio releases – “Shoki Shoki” in 1999 and 2001's “Fight to Win” – paint a picture of a man struggling with abject poverty and a corrupt government. In a combo titled “Live at the Shrine” released in 2005, Femi allowed cameras into his life, giving a tour of the Shrine along with combined footage from a series of electric live shows at the venue.
This year, Femi issued an excellent two-disc greatest hits compilation titled “Femi Kuti: The Definitive Collection,” which features guest spots by Mos Def, Common, D'Angelo and Macy Gray. Mixing traditional Afrobeat funk with electronic beats and a touch of hip-hop style, Femi's catalog represents the modern extension of his father's music.
Despite continued pressure from authorities to remain quiet, Femi's music uses his songs as a podium to raise consciousness of the struggle of everyday life in Africa.
“We're not going to back down on what we believe just because of threats,” said a defiant Femi. “I'm not going to leave because my father is dead. We're not going to back down, that's the tradition of my family. We're not leaving because of fear, no way.”
Chris Nixon is a San Diego music writer.
Bridwell rides high on Band of Horses
Band of Horses meets challenges of creating an album
By Chris Nixon
Union-Tribune
July 5, 2007
A lot of people may not realize it, but writing and performing your own songs takes courage. It's kind of like reclining on the psychologist's couch on stage every night, exposing your emotional innards for the world to witness. Ask Ben Bridwell. He's doing well now with the whole situation, but it took him a long time to write his own songs and sing in public.
After working as a label owner and a member of Seattle indie rock band Carissa's Wierd (odd spelling), Bridwell forged out on his own with his Band of Horses. Seamlessly blending high-pitched Neil Youngesque vocals with the trademark Northwest indie rock sound (think The Shins and Death Cab for Cutie), the quartet's 2006 debut “Everything All the Time” (Sub Pop) is shockingly complete and beautiful for a first effort.
The ever self-effacing Bridwell credits producer Phil Ek (Built to Spill, The Shins) with helping provide structure and form to the recording sessions for “Everything All the Time.”
“I had never really been on a record singing or playing guitar before, so the first one was pretty tough for me,” Bridwell said. “Our drummer at that time, it was his first real record for him, as well. So we had some snags along the way trying to get it done.
“Phil was really good at not letting up on us and not letting us get discouraged. But at the same time, he didn't let us stray from the vision he had for the album and our performances for the record. He was essentially another band member on that record given the amount of work he put into it.”
“Everything All the Time” made many best-of lists for 2006, including that of Filter, The Austin Chronicle and The Onion AV Club. The album's 10 tracks represent one of the most accomplished debut albums in the past decade, complete with ethereal rock songs (“The Great Salt Lake”) and quiet ballads (“St. Augustine”).
After the success of “Everything All the Time,” Bridwell parted ways with guitarist and longtime collaborator Mat Brooke. The two had played together in Carissa's Wierd, and Bridwell had recruited Brooke to contribute to Band of Horses. But Brooke decided that he wanted to focus on his own business and his own band, Grand Archives.
“As much as it was kind of a bummer not to have him there anymore, things didn't really change much,” Bridwell said. “We had to keep going. If anything, we've grown so much as a band since that time. We've honed our craft a bit better since then.”
After a decade living in the Emerald City and making a name in the music business as a record label owner and musician, Band of Horses frontman Bridwell decided that he wanted to go home. So the native South Carolinian packed up his belongings and his band and moved back to the South.
“I lived in Seattle for about 10 years,” Bridwell says. “Last November, me and Creighton (Barrett), the drummer and who is also from South Carolina, and Rob (Hampton), our guitarist, we all moved to Mount Pleasant, South Carolina. It's kind of strip-mallish in a way. It's a two-minute drive from the beach, and there are lakes everywhere. It's really beautiful. Once you get away from the strip malls, it's country and beautiful.”
South Carolina has provided the backdrop for a new set of songs.
“For the new album, it's basically the same process except we're more able to execute now that we're a little bit more seasoned,” said Bridwell, talking between recording sessions for a new Band of Horses album due on Sub Pop in October. “We're not veterans by any means, but a little bit more seasoned.”
Chris Nixon is a San Diego music writer.
By Chris Nixon
Union-Tribune
July 5, 2007
A lot of people may not realize it, but writing and performing your own songs takes courage. It's kind of like reclining on the psychologist's couch on stage every night, exposing your emotional innards for the world to witness. Ask Ben Bridwell. He's doing well now with the whole situation, but it took him a long time to write his own songs and sing in public.
DATEBOOK
Band of Horses
8 p.m. tomorrow; 'Canes Bar & Grill, 3105 Ocean Front Walk, Mission Beach; $15; (858) 488-1780
After working as a label owner and a member of Seattle indie rock band Carissa's Wierd (odd spelling), Bridwell forged out on his own with his Band of Horses. Seamlessly blending high-pitched Neil Youngesque vocals with the trademark Northwest indie rock sound (think The Shins and Death Cab for Cutie), the quartet's 2006 debut “Everything All the Time” (Sub Pop) is shockingly complete and beautiful for a first effort.
The ever self-effacing Bridwell credits producer Phil Ek (Built to Spill, The Shins) with helping provide structure and form to the recording sessions for “Everything All the Time.”
“I had never really been on a record singing or playing guitar before, so the first one was pretty tough for me,” Bridwell said. “Our drummer at that time, it was his first real record for him, as well. So we had some snags along the way trying to get it done.
“Phil was really good at not letting up on us and not letting us get discouraged. But at the same time, he didn't let us stray from the vision he had for the album and our performances for the record. He was essentially another band member on that record given the amount of work he put into it.”
“Everything All the Time” made many best-of lists for 2006, including that of Filter, The Austin Chronicle and The Onion AV Club. The album's 10 tracks represent one of the most accomplished debut albums in the past decade, complete with ethereal rock songs (“The Great Salt Lake”) and quiet ballads (“St. Augustine”).
After the success of “Everything All the Time,” Bridwell parted ways with guitarist and longtime collaborator Mat Brooke. The two had played together in Carissa's Wierd, and Bridwell had recruited Brooke to contribute to Band of Horses. But Brooke decided that he wanted to focus on his own business and his own band, Grand Archives.
“As much as it was kind of a bummer not to have him there anymore, things didn't really change much,” Bridwell said. “We had to keep going. If anything, we've grown so much as a band since that time. We've honed our craft a bit better since then.”
After a decade living in the Emerald City and making a name in the music business as a record label owner and musician, Band of Horses frontman Bridwell decided that he wanted to go home. So the native South Carolinian packed up his belongings and his band and moved back to the South.
“I lived in Seattle for about 10 years,” Bridwell says. “Last November, me and Creighton (Barrett), the drummer and who is also from South Carolina, and Rob (Hampton), our guitarist, we all moved to Mount Pleasant, South Carolina. It's kind of strip-mallish in a way. It's a two-minute drive from the beach, and there are lakes everywhere. It's really beautiful. Once you get away from the strip malls, it's country and beautiful.”
South Carolina has provided the backdrop for a new set of songs.
“For the new album, it's basically the same process except we're more able to execute now that we're a little bit more seasoned,” said Bridwell, talking between recording sessions for a new Band of Horses album due on Sub Pop in October. “We're not veterans by any means, but a little bit more seasoned.”
Chris Nixon is a San Diego music writer.
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