'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.

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.

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.”

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.

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.

True Colors Tour has good intentions, mixed results

Review: Cyndi Lauper's True Colors Tour, wrapping up Saturday at the Greek Theatre, features some standout artists.

By CHRIS NIXON
Special to the Register
Saturday, June 30, 2007

Gone are the shocks of red and blue hair. Gone are the goofy videos with Captain Lou Albano. Gone are the squeaky voice and quirky persona. Who knew 20 years ago when Cyndi Lauper was a marginal and slightly annoying pop star that she'd grow into an activist in her middle age?

Since its release in 1986, Lauper's ballad "True Colors" has been embraced as an anthem by the gay community and she's become a bit of an icon in the process. Now the 54-year-old mom from Queens, New York is working to raise public awareness about the issues facing gay, lesbian, bisexual and transgender community. She's even built a 15-city tour around it. It's called the True Colors Tour 2007. One dollar of every ticket sold will benefit the work of the Human Rights Campaign, the nation's largest organization working for GLBT equality.

"I'm not a politician, I'm a working mom," said the emotional Lauper Wednesday at San Diego State University's Open Air Theatre during a stop on the tour, which concludes Saturday at the Greek Theatre in Los Angeles. "I wanted to empower everyone and bring everyone together."

An ensemble cast of musicians gathered for the True Colors Tour, spanning a wide range of styles and age groups. From Deborah Harry to the Dresden Dolls, from The Cliks to Lauper, the show felt uneven and slapdash despite great performances by host Margaret Cho, the Dresden Dolls and the much-beloved Erasure. Neither Harry nor Lauper have scored hit songs in over a decade. And their presence in the lineup next to ultra-hip artists at the top their game like the Dresden Dolls and Cho underscored the outdated sound of the elder ladies' sets.

The evening in San Diego began with the master of ceremonies Cho berating celebrities in hilarious fashion (Paris Hilton took a beating), before The Cliks took the stage. The Canadian quartet ripped through a five-song set of guitar rock tunes from their 2007 major-label debut "Snakehouse," giving the night an auspicious beginning.

Adorned in a flowery dress and stripped leg stockings, Cho entertained again between sets (as she did all night). The comedian kept the show moving with her raunchy take on the pope, politics, "the gayest summer ever" and her own bisexuality. She's quick and bright and funny, and she helped save the show by providing continuity in an uneven lineup.

In their too brief 30-minute set, the Dresden Dolls were a revelation. The Boston-based duo (Amanda Palmer on vocals and piano, Brian Viglione on drums and guitar) skipped onto the stage hand-in-hand before launching into a five-song set including the single "Coin Operated Boy" and a cover of Black Sabbath's "War Pigs." The duo's self-described as "Brechtian punk cabaret" with Palmer's throaty vocals and Viglione's animated drumming, made for great theater.

Deborah Harry – former lead singer of Blondie – looked a bit awkward onstage, using her 11-song, 45-minute set to showcase songs from her new album "Necessary Evil," due out in August. The Dresden Dolls were a tough act to follow, and her pop-rock tunes sounded dated in contrast.

After a 20-minute intermission, the show restarted with a bang as Erasure took the stage. The diverse crowd of a few thousand immediately erupted, standing and dancing for the entire 45-minute set. During her introduction of keyboardist Vince Clarke and singer Andy Bell, Cho dubbed Erasure's music as "the soundtrack of our lives." The audience concurred, singing along with hits like "Sometimes" and "Chains of Love." Erasure was the true headliner to the True Colors stop in San Diego.

Lauper's hour-long set was a bit anti-climatic after the rapture of Erasure. Glitches marred the 14-song set: the singer complained of sound problems, she bumped into her guitarist, hitting her head and nearly knocking him over, cues for beginnings and endings of songs were missed. Lauper also over sang at times, instead of trusting her very good (but dusty) songs. The highlights included Lauper playing "Time After Time" on the dulcimer and a rousing encore of "True Colors" with the entire cast of characters from the evening.

Despite the patchy night of music and the hefty price tag (tickets ranged from $40-$125), the crowd left happy and united. And more importantly, a worthy issue earned recognition and donations. While she may not be as musically relevant as she was during the '80s, Lauper proved she can still make a difference in people's lives.

Contact the writer: Chris Nixon is a San Diego-based music writer.

Save the day: Anti-Monday League

Casbah's Anti-Monday League brings good music to our least-favorite slice of the week

By Chris Nixon
For the Union-Tribune
June 21, 2007

It's a Wednesday afternoon at the Casbah in Middletown. Sunlight spills through a propped open door, illuminating the usually dark interior of the legendary San Diego club as owner Tim Mays and DJ/talent booker Talkin' trash with The National's Bryce Dessner sit and discuss the club's upcoming schedule.

Since January of this year, Mays and Pyles – a DJ with local radio station KBZT/94.9 FM – have been collaborating on a new series of shows combining local talent booked by Pyles and the diverse national bands booked by Mays. They call it the Anti-Monday League.

“The basic idea is this: You can go out on a Monday night and see a decent show,” explains Mays, who has been booking concerts in San Diego since the early 1980s. “There is no genre that we're aiming for, no group of people we're aiming for. Most of the time, especially for the local shows, it's five bucks.”

DATEBOOK
Anti-Monday League, with The National and The Broken West
8:30 p.m. Monday; The Casbah, 2501 Kettner Blvd., Middletown; $12; (619) 299-BLUE

Monday night events are traditionally a tough sell in the San Diego market, as people rest up after any given weekend's festivities. The Anti-Monday League hopes to create an event people will attend even if they don't know the bands filling the bill: “It's something people can look forward to. They may not know who's going to be playing, but they know it's going to be good.”

Chances are Mays and Pyles will not steer you wrong.

Past Anti-Monday Leaguers include national bands like Stellastarr, Meat Puppets and Sebadoh along with local bands like Fifty on Their Heels, Kite Flying Society and a.m. vibe. Pyles plays host, DJing between sets and generally meeting and greeting the crowd.

After booking shows at the Whistle Stop and The Beauty Bar, Pyles feels right at home at the small club on Kettner with the big reputation: “This is the best rock 'n' roll club in San Diego. I grew up here, so I've been a kid who supported Tim when he used to do shows at Carpenter's Hall or Wabash Hall. I was a kid who went to the Pink Panther when I got of age, and then the old Casbah down the street before he moved here.”

Adds Pyles on the Anti-Monday League: “You're going to hear everything from punk rock to dance music on any given night.”

Flash-forward five days to Monday night.

Tampa hip-hop crew Yo Majesty has just exited the stage, leaving the crowd amped and ready to dance. The Casbah dance floor is packed with music fans of all shapes, sizes and styles as DJ Diplo starts his set of mash-ups of old favorites by Paul Simon, The Beatles and Technotronic. The floor vibrates with thumping dance music and frenetic revelers spill out onto the outdoor patio.

It's hard to believe this is a Monday night.

The scene couldn't be any more different from the indie rock of The National (this coming Monday) and the dark drone metal of Sunn 0))), with Earth, Weedeater and Wolves in the Throne Room (July 2), proving Mays and Pyles aren't shy about mixing genres in the series.

“To me, the Casbah is the epitome of what makes San Diego great,” says Pyles (you can check out his DJ gigs and shows at the localpyle.com). “It's our CBGB's. It should be considered more iconic around the world, kind of like CBGB's. A lot of people love and respect this place.”

Chris Nixon is a San Diego music writer.

Talkin' trash with The National's Bryce Dessner
June 21, 2007

On the heels of the critically acclaimed album “The Alligator,” this Brooklyn-based quintet recently released the follow-up “Boxer,” a disc brimming with the crisp rock production (a la Spoon), angelic string and horn arrangements and the atmospheric brooding of Matt Berninger's deep baritone croon.

With two sets of brothers in the band, The National is definitely a family affair. Guitarist Bryce Dessner took time recently to talk about “Boxer” and brotherly co-existence during a recent tour stop in Louisville, Ky.

Question: Given that you're playing as part of the Anti-Monday League at the Casbah, are Mondays any different for being a professional musician or do the days run together for you?

Dessner: Honestly, when you're a musician you kind of forget when the weekend is. We played in St. Louis (on a Monday recently) and it felt like a Saturday night. The people were really rowdy and fun. So, we'll be there on Monday ready to have a good time.

Q: I wanted to find out a bit more about the new album, “Boxer.” Can you tell me about the timeline of the recording, how the album came together and if the process differed from previous albums?

Dessner: We started recording in June of last year. For us, touring after “Alligator” was a big step up in terms of the crowds we were playing to and the amount of touring we did. It was almost a year and a half of touring behind “Alligator” so we took our time actually writing the songs and recording for this new record. We took about three months to record the album, both at home and in the studio. So “Boxer” is really a patchwork of home recordings and studio time.

Q: The horns and string arrangements on “Boxer” give the album a lot of depth. How did the compositions develop on the albums?

Dessner: His name is Padma Newsome. He's a touring member of the band. He's a longtime collaborator. He's done arrangements and strings on our last three records. Padma and I have another band together called Clogs, which is an instrumental band. He and I are more classically trained, so we do more concert hall shows (in Clogs). So Padma is an integral part of what we do.

Q: I have to ask you about having two sets of brothers in the same band. Does it help or hurt that you have bandmates that you know so well and that you've grown up with?

Dessner: I think it's a really healthy situation. We have a lot of history with each other. My brother (Aaron Dessner, bass and guitar) and I have been playing with the drummer (Bryan Devendorf) since we were 14. So it's not difficult to communicate with each other musically, which makes writing easier and makes performing a better experience for us and the audience.

The thing about brothers: There is probably more fighting in this band. But we don't fight in the intense way bands do, when bands break up over money or weird business stuff. We're family, so you have bonds with other people in the band. You have a stronger friendship there.

– CHRIS NIXON

DOWN THE ROAD FOR THE ANTI-MONDAY LEAGUE
DJs and punks, Goths and mods. Almost everyone can find music they dig on the Anti-Monday League schedule. Here's a quick look ahead:

July 2: Southern Lord 777 Tour, with Sunn O))), Earth, Weedeater, Wolves in the Throne Room

Dust off your hooded cloaks. Stephen O'Malley and Greg Anderson – aka Sunn O))) (pronounced “sun”) – returns to the Casbah to practice dark ambient music. Think Black Sabbath in reverse without drums.

July 9: Dr. Dog, Delta Spirit, The Teeth

Retro pop from Philadelphia keeping the spirit of The Beatles alive. Each band member carries a nickname: Scott McMicken (Taxi), Toby Leaman (Tables), Zach Miller (Text), Juston Stens (Trouble), and Frank McElroy (Thanks).

July 16: Manganista, Mighty Six-Ninety and The Hi-Lites

Local show booked by Pyles featuring ska band The Hi-Lites, nu-wave group Six-Ninety and locals Manganista. Pyles on Manganista: “Almost like a localized version of Oingo Boingo. There were all band kids in high school. They're kind of like a cross between Talking Heads and Oingo Boingo.”

July 23: The Cribs, Sean Na Na

British power pop trio of brothers (Gary, Ryan, and Ross Jarman) joins clever wordsmith Sean Na Na (also known as Har Mar Superstar and his real name, Sean Tillman).

– CHRIS NIXON

UM in the U-T

Umphrey's McGee, a new breed of jam band

By Chris Nixon
For the Union-Tribune
June 14, 2007

For those living outside the communal world of improvisational bands, earning the label of “jam band” isn't always a good thing. The bands, it goes, are drug addicts and rebels. The songs, lengthy and meandering. The fans, unwashed and scruffy.

Those stereotypes worked in the 1960s and 1970s when the Grateful Dead pioneered improv rock music highlighted by an open taping policy and devout fans that followed the band's annual tours in VW buses.

The caricatures might even have applied in the 1990s when the term “jam band” was first coined. Bands like Phish, Widespread Panic and Blues Traveler dominated the summer tour schedule, representing the second wave of jam bands while keeping alive the improv spirit of the Dead.

It's a new millennium now, and jam bands like the Disco Biscuits, moe. and Umphrey's McGee have inherited the underground network of fans and venues from Phish and the like.

DATEBOOK
Umphrey's McGee, with Alfred Howard & the K23 Orchestra
8 tonight; House of Blues, 1055 Fifth Ave., downtown; $22; (619) 299-BLUE

But gone are the stereotypes. Jam bands are more diversified than ever, drawing on electronica, punk, metal, jazz and prog rock. Umphrey's McGee drummer Kris Myers broke down the term “jam band” recently.

“There are a variety of pros and cons to being labeled a jam band,” said Myers, deconstructing the mystique of one of the most misrepresented genres in modern music. “One of the pros is we're dealing with one of the most loyal and best live fan bases in the world, without a doubt. The collaborations with the other artists and bands, that's another great thing about the scene. Also the festivals, the networking, the publicity, the booking agents and the people you work with, you know them. It's a family vibe.”

And the negatives?

“The cons I guess are just being labeled as a jam band and the perception that goes along with it in the music critic's world or outside this cool world we're in.

“People don't tend to know what's really going on. Most critics will try to pigeonhole you and throw you into a classification or a style or a genre. Of course, as artists, we'd prefer to be known as just playing music.”

The music of Umphrey's McGee – with its tendency toward both tight songwriting on studio albums and long jams during live shows – places the sextet at the forefront of the next generation of jam bands (see also Particle and Disco Biscuits). After its humble roots in 1997 in the Midwestern town of South Bend, Ind., the group grew an audience through constant touring.

Learning the music business through touring can leave bands scratching their heads, especially jam bands. Even the most ardent of Grateful Dead fans (affectionately dubbed Deadheads) will admit the legendary group's studio output was uneven and mediocre at best compared with its live shows. Instead of creating material on the spot, Umphrey's McGee was forced to learn the art of studio songwriting.

Umphrey's McGee – Jake Cinninger (guitar), Joel Cummins (keyboards, vocals), Brendan Bayliss (guitar, vocals), Ryan Stasik (bass), Myers (drums, vocals) and Andy Farag (percussion) – released its third studio album in 2006, titled “Safety in Numbers.” The disc features 11 tracks of prog rock and tight songwriting, with guest appearances by veteran rocker Huey Lewis and touted jazz sax player Joshua Redman.

UM originally planned to release a double album but chose to boil down the extended sessions into “Safety in Numbers.” With a ton of unreleased material sitting in the coffers, and an expectant fan base hanging on every note, the band decided to combine 26 outtakes and 11 new songs and alternate versions into the 2007 double album “The Bottom Half.”

“We were going to release something called 'The B Sides' but we ended up just calling it 'The Bottom Half,' which is a little more tongue-in-cheek,” said Myers.

Chris Nixon is a San Diego music writer.

'I wanted to change the marathon experience'

Elite Racing's Tim Murphy decided entertainment was the way to go, and a rockin' race was born

By Chris Nixon
Union-Tribune
May 31, 2007

With more than 20,000 runners, rollers and walkers converging on San Diego this weekend, the 10th annual Rock 'n' Roll Marathon continues to draw the conspicuously fit to America's Finest City in droves.

But for local musicians serving as the cheer squad along the 26.2 mile course, the race also serves as a showcase for 44 local bands and artists on 29 stages situated at every mile.

Ten years marks a milestone for the annual San Diego event, which has brought an economic impact of an estimated $400 million to the area over the past decade, according to race promoters.

“I wanted to change the marathon experience,” said Tim Murphy, founder and CEO of the sports marketing and management company that puts on the race, Elite Racing Inc. “The marathons I ran in the past lacked support and spectator participation, but with the addition of live music and entertainment, the experience is positive, inspirational and interactive.

DATEBOOK
2007 Rock 'N' Roll Marathon
Sunday, 6:30 a.m.; 26.2 miles through San Diego from Balboa Park to Marine Corps Recruit Depot; Free to watch; post-race show with Seal at SDSU's Cox Arena free to runners, all others $25; www.rnrmarathon.com or www.eliteracing.com

“Today, most running events have a budget for on-course entertainment. Ten years ago, that did not exist.”

This year's Rock 'n' Roll Marathon kicks off at 6:30 a.m. Sunday. The race follows a course beginning at Sixth Avenue and Robinson Street in Balboa Park, including a stretch on Highway 163 before winding around the edges of San Diego Bay and through beach communities.

The finish line sits at the Marine Corps Recruit Depot. If traveling in the area, be aware that many of the streets are closed along the course.

Chris Nixon is a San Diego music writer.

SEAL'S POP APPEAL
Through the ups and downs of the music business and high-profile marriages in the glare of the media, Seal Henry Olusegun Olumide Adeola Samuel has come a long way since first bursting on the scene with the 1991 Trevor Horn-produced single “Crazy.”

Charting both in the United Kingdom and the States, the song exposed the British singer's brand of pop and soul to the world. He followed with the string-soaked Baroque pop song “Kiss From a Rose,” featured on the “Batman Forever” soundtrack.

More than a decade and a half later, the 44-year-old may be known more for his marriage to German supermodel Heidi Klum than his soulful mix of electronica and pop. But with his set of pipes and popular appeal, Seal might still have another pop gem or two left in him.

THE SHOW
Post-race schedule at SDSU's COX Arena
Gates open at 6 p.m.
Shane Alexander plays at 6:30 p.m.
Awards ceremony at 7:20 p.m.
Seal performs at 8 p.m.

Previous headliners: Ozomatli, Pinback, LIVE, Chris Isaak, Sugar Ray, SmashMouth, Chicago, Hootie & The Blowfish, Huey Lewis & The News and Pat Benatar.

– CHRIS NIXON

Four on the road

With 44 bands covering the 26.2 mile marathon route (including two artists at Cox Arena after the race), this year's race offers many hours of live music to navigate. Here are a few favorites from this year's lineup:

The KneeHighs (6:45 a.m., Park Boulevard and Presidents Way): With San Diego-centric lyrics by Talls, Dalton and DaDa and funky beats laid down by DJ GarGar, this crew's 2005 release “Global Warming” sports homages to our city like “America's Finest.” With a new album, “Rise and Shine,” on the way, the KneeHighs (myspace.com/kneehighs) continues to make a name for itself in the hip-hop starved local music scene.

Mighty Mo Rodgers (7:40 a.m., Mission Bay Park Visitors Center): This Culver City-based soulful singer has earned his right to sing the blues, which he's been doing since the 1960s with the likes of T-Bone Walker, Albert Collins, Bobby “Blue” Bland and Jimmy Reed. Working with Sonny Terry and Brownie McGhee (along with John Mayall, Arlo Guthrie, John Hammond, Michael Franks), Rodgers produced the 1973 release “Sonny and Terry” on A&M Records. The Mighty Mo Rodgers (mightymorodgers.com) is set to release a new set of tunes titled “Blues Is My Wailing Wall.”

Stone Senses (8 a.m. Perry's Cafe on Pacific Highway): Hailing from the sunny shores of Carlsbad, Stones Senses worships at the altar of reggae and ska with a Southern California jam band mentality. Eric Castaneda (vocals), Mike O'Gara (guitar-vocals), Funkdoobius (bass), Dirty Dan (drums), Garrett Grabowsky (guitar), Carl Mannino (percussion) and Mike Flanagan (alto sax-melodica) released “Harder Than the Rest” April 20, 2006.

The Pitch Michael Band (7:55 a.m. along Friars Road): Rising from the ashes of PitchLaRooche, this Escondido-based trio revolves around the talents of brothers Jonathan (vocals, guitar) and Levi (bass, vocals) Pitcher with help from Mike Lynch (percussion, guitar and vocals). Mixing ambient electronic and guitar rock, these kids from North County have chops.

– CHRIS NIXON

Morrissey: Ringleader of the Tormented

Morrissey's career has been an emotional ride – what did you expect from Mr. Emo?

By Chris Nixon
Union-Tribune
May 31, 2007

In the hierarchy of British musical royalty, Morrissey has earned the titles of the first prince of emo darkness and the original king of pain. Long before Bright Eyes' Conor Oberst delved into his dark side or Dashboard Confessional's Chris Carrabba wore his heart on his sleeve, Morrissey took music fans on a lyrical tour of his anxieties and emotional dysfunction through the colorful characters he painted in his songs.

As a member of the seminal Brit-rock band The Smiths, Morrissey took the UK by storm while gaining a foothold on college radio in the United States. Backed by Johnny Marr (key in shaping the 1990s alternative guitar riffs), Morrissey unleashed a potent mix: literate poetic lyrics delivered with the heart of an Irish balladeer and an emotional crooning vocal style. Marr balanced Morrissey's emotional delivery with crisp, clean guitar lines. Along with bassist Andy Rourke and drummer Mike Joyce, the quartet provided a template for alternative and indie rock.

During a short career of only five years, The Smiths released four studio albums (1984's “The Smiths,” 1985's “Meat Is Murder,” 1986's “The Queen Is Dead” and “Strangeways, Here We Come” in 1987) before calling it quits in 1987. Marr and Morrissey cited the overused “musical differences.” On the subject of The Smiths' breakup, Morrissey told CNN: “It was a fantastic journey. And then it ended. I didn't feel we should have ended. I wanted to continue. (Marr) wanted to end it. And that was that.”

DATEBOOK
Morrissey, with Kristeen Young
7 p.m. Sunday;
Embarcadero Marina Park South, Marina Park Way, downtown;
$45; (619) 220-TIXS

When the Pixies broke up, some folks were surprised by the critical and popular success of Kim Deal (in The Breeders) while Frank Black's solo career seemed to tread water in semi-obscurity. Like The Pixies, many pundits weren't certain of Morrissey's ability to write catchy tunes without the guitar lines of Marr after The Smiths split ways. But Morrissey's best songs as a solo artist rival The Smiths' finest work.

“I now feel more inclined to stand up and look the world in the face (since The Smiths' split),” Morrissey said during a Q&A on the fanzine truetoyou.net. “I find it shocking to look back at the period of The Smiths and to reflect upon the magnitude of doom that surrounded me every single day. When Johnny ended The Smiths, I was forced to go solo, and I found myself going further with all my experiences of life, and, although Johnny didn't intend it to, it helped me.”

Since 1987, Morrissey has released eight solo studio discs, including the solid 2006 release “Ringleader of the Tormentors.” Each album holds a few gems. But aside from 1994's “Vauxhall and I,” the artist has had trouble creating consistently great albums from front to back. The vocalist has never really solved America from a radio or pop chart perspective in his solo career. But his fans are truly fanatical, and his records continue to be well-received by critics.

The legend of The Smiths only grows with the passing of time. According to Morrissey, The Smiths were offered $5 million to reunite for the Coachella Valley Music and Arts Festival. With Marr backing Isaac Brock on the new high-profile Modest Mouse album and Morrissey selling out venues on his tour in support of “Tormentors,” the former Smiths frontman is forced to quash reunion rumors on a regular basis.

Morrissey told gigwise.com in 2006: “I feel as if I've worked very hard since the demise of The Smiths and the others haven't, so why hand them attention that they haven't earned? We are not friends, we don't see each other. Why on Earth would we be on a stage together?”

In the year of the reunion (The Police, Genesis, Rage Against the Machine, Crowded House, Jesus and Mary Chain), it's refreshing to witness a band not let bygones by bygones in favor of lucrative tours. Besides, both Marr and Morrissey are doing just fine on their own, thank you.

Chris Nixon is a San Diego music writer.

MORRISSEY BY THE NUMBERS
Born: Steven Patrick Morrissey on May 22, 1959

Hometown: Manchester, England

Parents: Peter Morrissey (hospital porter) and Elizabeth Dwyer (librarian)

Influences: Oscar Wilde, James Dean, The New York Dolls, Marianne Faithful

CAREER WITH THE SMITHS
Studio albums: “The Smiths” (1984); “Meat Is Murder” (1985); “The Queen Is Dead” (1986); “Strangeways, Here We Come” (1987)

Compilations and live albums: Hatful of Hollow (1984); The World Won't Listen (1987); “Louder Than Bombs” (1987); “Rank” (1988)


A SELECTED SOLO DISCOGRAPHY
“VIVA HATE” (1988, Sire)

On the charts: #1 UK, #48 U.S.

The gist: A not-so-subtle reference to The Smiths' breakup, Morrissey wasted no time to release his first solo disc, an epic 20-song album helped by the guitar and compositions of Vini Reilly (The Durutti Column).

The singles: “Suedehead” and “Everyday Is Like Sunday.”

Favorites: “The Ordinary Boys” is beautiful in its simplicity, and the snappy “Suedehead” asks the question: “Johnny who?”

“YOUR ARSENAL” (1992, Sire)

On the charts: #4 UK, #21 U.S.

The gist: From the opening notes of “You're Gonna Need Someone on Your Side,” thick layers of distorted slide guitar riffage declare “Your Arsenal” as Morrissey's rock album.

The singles: “We Hate It When Our Friends Become Successful,” “You're the One for Me, Fatty,” “Certain People I Know” “Glamorous Glue” and “Tomorrow.”

Favorites: “Seasick, Yet Still Docked” welcomes the listener in with its floaty atmospherics, and the down-home honky-tonk of “Certain People I Know” shows another side of Morrissey.

“VAUXHALL AND I” (1994, Sire)

On the charts: #1 UK, #18 U.S.

The gist: A return to the quieter Morrissey, the album's 11 tracks reflect the singer's mood after losing friends Mick Ronson, Tim Broad and Nigel Thomas. “Vauxhall and I” may be Morrissey's most cohesive and complete solo album.

The singles: “The More You Ignore Me, the Closer I Get,” “Now My Heart Is Full” and “Hold on to Your Friends.”

Favorites: Play the album front to back on a Sunday afternoon or save it for a rainy day.

“YOU ARE THE QUARRY” (2004, Sanctuary)

On the charts: #2 UK, #11 U.S.

The gist: After a seven-year hiatus from recording, Morrissey celebrates signing with a new label by releasing his most radio-friendly album to date.

The singles: “Irish Blood, English Heart,” “First of the Gang to Die,” “Let Me Kiss You” and “I Have Forgiven Jesus.”

Favorites: The master lyricist stretches his legs on “The World Is Full of Crashing Bores” and gets misty as only Morrissey can on “Let Me Kiss You.”

“RINGLEADER OF THE TORMENTORS” (2006, Sanctuary)

On the charts: #1 UK, #27 U.S.

The gist: Producer Tony Visconti (T. Rex and David Bowie) and new guitarist Jesse Tobias (Red Hot Chili Peppers, Alanis Morissette) surround Morrissey with lush compositions on his latest disc. Legendary composer Ennio Morricone adds strings on “Dear God Please Help Me.”

The singles: “You Have Killed Me,” “The Youngest Was the Most Loved,” “In the Future When All's Well” and “I Just Want to See the Boy Happy.”

Favorites: The lusciously orchestrated “I Will See You in Far Off Places” and the compact rocker “I Just Want to See the Boy Happy” (complete with trombone solo) highlight Morrissey's new album.

– CHRIS NIXON

Badu Badu

Erykah Badu remains one-woman soul storm

By Chris Nixon
Union-Tribune
May 24, 2007

After the heyday of Otis Redding's 1960s and James Brown's 1970s, the advent of synthesizers and the commercialization of R&B left the 1980s short of soul music with substance. Boyz II Men, Bell Biv DeVoe, Color Me Badd, Janet Jackson – even singers with real pipes like Whitney Houston were given bland, formulaic songs slathered with thin, shabby production. Salt-N-Pepa was cute and En Vogue had chops, but their songs were wrapped too tightly in pop packaging.

It was a grim time for soul. Funk and soul basically slept in a deep hibernation until the mid-1990s. That's when earnest young singers brought 1970s-centric soul back, filtered it through the beats and rhythms of rap and fed it back into the pop charts. One of those singers was a jazzy lass donning a head wrap named Erykah Badu.

From the opening, rumbling, stand-up bass notes of her 1997 debut “Baduizm,” soulstress Badu sings with the bittersweet melancholy of Billie Holiday, the sass of Ella Fitzgerald, the introspection of Nina Simone and the sexiness of Sade. Heavy company for sure, but Badu's respect for the old-school and funk and hip-hop flavor deserves heady comparisons.

DATEBOOK

Erykah Badu
8 p.m. tomorrow; Humphrey's Concerts by the Bay, 2241 Shelter Island Drive, San Diego; $75; (619) 523-1010

Dallas native Badu (born Erica Abi Wright) attended Grambling State University for a time before leaving to concentrate on her music career. “Baduizm” introduced the vocalist to the world, going triple-platinum worldwide. Badu pressed live instrumentation like piano and bass against hip-hop-inspired beats to create her signature sound: silky, serene and soulful. Lyrically, she exchanged dimestore lust (the R&B parlance of the time) for meaningful love and empty party-time slogans for spirituality. “Baduizm” remains a classic soul album, best heard front to back by candlelight.

Badu laid low for a few years before launching into the explosive “Mama's Gun.” In stark comparison to the hushed tones of her debut, her 2000 sophomore effort opened with the righteously funky “Penitentiary Philosophy.” Amid a tight funk/soul backdrop created by a crack band assembled by The Roots drummer Ahmir “?uestlove” Thompson, Badu proved to the world she could bust some seriously powerful vocals.

In 2003, Badu rediscovered her smooth side with “Worldwide Underground.” Combining the hard funk of “Mama's Gun” and the cool ambience of “Baduizm,” the disc features guest spots by Lenny Kravitz, Dead Prez, Angie Stone, Roy Hargrove, Queen Latifah, Zap Mama and Bahamadia. The album went gold and produced little in the way of pop chart success, but found Badu expanding on the jazzy nu-soul genre she help create (check out the expansive “I Want You,” clocking in at 10 minutes-plus).

The 36-year-old Badu stepped away from the spotlight the past few years, raising two children: son Seven in 1997 with ex-boyfriend André 3000 of OutKast and daughter Puma in 2004 (the father is hip-hop MC The D.O.C.). Badu's Humphrey's show tomorrow is her first appearance in San Diego since 2003.

The word on the Web says she's writing and recording material for a new studio album. On her MySpace blog back in November, Badu says: “I'm so ready to be (through) with this album, I could just scream. But I'll save it for the vocal booth.”

Badu and her flawless band have been performing the new song “Your Mind” for the past four or five months. The tune starts as a slow soul simmer before rolling into a full-on funk boil.

Despite her most recent retreat from the public eye, her importance to modern soul and R&B still rings true. Badu – and artists such as Maxwell, D'Angelo and Lauryn Hill – led the way for the soul renaissance of the late 1990s, opening the door for Angie Stone, Jill Scott, India.Arie and, more recently, Joss Stone. With a new set of tunes on the way, Badu's sphere of influence is sure to spread to the next generation of soul singers.

Chris Nixon is a San Diego music writer.