Crib Notes

The final Isle of Wight festival produced some of rock’s greatest moments, but exposed the dark side of the peace and love generation. At 2 a.m., folk singer Leonard Cohen walked on stage and faced a riot, as the beleaguered audience ripped and roared following one of Jimi Hendrix’s last, incendiary performances of his career. Somehow, Cohen’s monotone storytelling brought a vast chunk of the raging 600,000 back to earth, and he proceeded to deliver one of the most mesmerizing concerts of the decade. Backed by what was basically a country western band including banjo player Elkin Fowler and fiddler Charlie Daniels (yes, that Charlie Daniels), Cohen’s dark poetry intertwined with the vastness of the night and hypnotized the masses. The event, filmed by Murray Lerner, is almost 40 years old. In a stark visual comparison to the recently released Live in London 2008 DVD, 1970’s Cohen is scraggly, unkempt, but just as enigmatic and committed to his words. Ageless, indeed. (Sony Legacy) 4 stars out of 5

(Photo Courtesy Sony Legacy)

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Some of the gifts we receive from our parents are intangible, and when Johnny Cash gave his daughter Rosanne the list in 1973, he gave her much more than just the names of 100 country songs he felt she needed to know. In essence, Johnny was shaping his daughter’s musical vision and creating a strong foundation for what became a highly successful and acclaimed career. Thirty-eight years later, she finally acknowledges his gift. On The List, Cash and her husband, John Leventhal, deliver a dozen of these songs — a broad but representative sample of the finest in country music. Her voice has never sounded better, while Leventhal’s amazing guitar work and production give each song a golden polish. And with guests such as Bruce Springsteen (”Sea of Heartbreak”) and Elvis Costello (”Heartaches by the Number”), each song stands as a classic. Some gifts truly last forever. (Manhattan Records) 5 stars out of 5

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Returning once again to the rootsy country music that defined her early career, Patty Loveless proves that she has a voice for the ages. Mountain Soul II does not wander far from the tracks laid down on the first edition, choosing instead to widen the road a bit with a flourish of perfect gospel harmonies on “(We All Are) Children of Abraham,” and by kicking up dirt on a stunning version of the late Harlan Howard’s “Busted.” Joined by some of the finest pickers in the world — including Del & Ronnie McCoury and dobro player Rob Ickes — in addition to backup vocals from old friends Vince Gill, Emmylou Harris and Jon Randall, Loveless does what she does best: sing pure hillbilly music. Masterfully produced by her husband, Emory Gordy Jr., there is not a note or a moment out of place on this jewel. As Nashville’s industry moves further away from its core and into pop pabulum, artists such as Loveless keep the real thing alive and well. (Saguaro Road Records) 5 stars out of 5

Patty Loveless $9. 2 and 7 p.m. Wed., Oct. 14. Georgia Mountain Fall Festival, Hiawassee. www.georgiamountainfairgrounds.com.

(Photo courtesy Saguaro Road Records)

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Ever since Bill Kirchen’s early days as lead guitarist and one of the vocalists in Commander Cody & His Lost Planet Airmen, his trademark has been trucking songs. Long a staple of late night country radio stations, trucking tunes tell the tales of America’s last cowboys and pioneers, the men and women who deliver the goods over the superslabs, navigating rough roads all day and night and protecting the lives of careless drivers.

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$20. 3 p.m. – 8 p.m. Sunday, Sept. 20. Serve-Right Warehouse, 236 Marray Drive Atlanta, GA 30341. 404-983-8281. Call for reservations.

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Bluegrass and acoustic music are experiencing intriguing paradigm shifts as old-guard traditionalists like Bill Monroe and Jimmy Martin pass on, and crews of youthful, energetic musicians bring their contemporary ideas into the mix. Somewhere near the top of the mountain stands Calhoun, Ga., trio the Lovell Sisters, who’ve made a significant mark on the scenes over the past few years. With Time to Grow, the Lovells solidify an already potent body of work. Individually, Jessica’s pure-toned fiddle, Megan’s twangy dobro, and Rebecca’s nimble mandolin demonstrate musical mastery. Collectively, they create an original sound that blends traditional bluegrass sensibilities with risky modern jazz-like variations. Whether it’s one of Rebecca’s award-winning tunes such as the moody yet uplifting “Distance,” or a traditional gospel number like “In My Time of Dyin’,” the Lovell Sisters’ innovative country stylings have earned them their rightful place as the genre’s new standard-bearers. (2DefPigs Records) 5 out of 5 stars

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LIGHTEN UP: Darryl Rhoades is seriously funny.

The Atlanta music scene of the 1970s was a rich, fertile ground open to just about anything. Musicians were experimenting with various creative outlets, especially Darryl Rhoades and the Hahavishnu Orchestra. Mixing music, theater, and social commentary, the Orchestra drew comparisons to esoteric acts such as the Mothers of Invention and the Fugs. The 12-member ensemble toured the U.S. over three years, and even performed a James Brown parody called “Suicide” on Brown’s own “Future Shock” TV show.

Rhoades still works as an entertainer, and he sees his job in much the same light now as he did then. “Since the Hahavishnu’s last date in 1978, I had another band, released 10 CDs, did movies, and played drums while maintaining a 45- to 50-week schedule in comedy clubs … and I don’t see how entertaining is much different. The market is tighter and the Internet has certainly influenced how we promote ourselves. It still comes down to competing for attention, money, luck, and marketing potential. And there are less places to perform, a lot less diversity in sound … but the money is the same.”

Continue reading “Hahavishnu has the last laugh”

(Photo courtesy Darryl Rhoades)

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Talk about filling some shoes. Mercury Nashville recording artist Holly Williams has to stand along with not one, not two, but three pairs of big ol’ cowboy boots in her family. Her grandfather was Hank Williams, considered one of the greatest country songwriters and singers of all time. Her Daddy, Hank Williams, Jr., (AKA Bocephus), is a legend in his own right, having escaped his father’s shadow and forging a successful but controversial career of his own. Then there is her brother (Shelton) Hank Williams III, who has made a name for himself with both his primitive country style, and his punk band, Assjack.

So what can Holly Williams do to make her own niche? After listening to her new CD, Here With Me, it sounds like she does what the Williams clan does best: write great country songs and perform them with a depth and emotion that underscores her heritage. At a time when the Nashville machine is cranking out pretty little pop stars and calling them country, Holly Williams is a tall, attractive blond with charisma and natural talent that doesn’t need charm school, choreographers, or a committee of songcrafters to find the “perfect radio tune” to make her a star. I would bet that Williams wants people to listen to her songs and give her a fair chance, mot because of the family name, and not because of her good looks. But because she plays real country music.

(Photo by Autumn de Wilde)

Holly Williams, James David Carter. $12 advance, 9 p.m. Smith’s Olde Bar. 404-875-1522.

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Sometimes things happen that just seem right, such as the decision to bring Rockabilly legend Wanda Jackson to Drive Invasion 2009. What better way to celebrate the Sunday before Labor Day than in a hot parking lot with over 3000 of your closest friends, a slew of fancy hot rod cars, AND the “Female Elvis”?  In a recent phone interview, Jackson says, “I think I played a drive in theater a few times in the 50s, and the stage was on the roof of the concession stand.”

Jackson is always a big hit at the many rockabilly revivals she participates in around the world. She sees the continued popularity of rockabilly as a unique phenomenon. “Rockabilly takes in a whole lifestyle,” she says. “It seems to take people back to a time when the music was fresh and simple, and for some reason they desire that simpler, slow paced lifestyle.” After many years as a Gospel singer, Jackson found an audience in Europe over 20 years ago that wanted her to revive her rockabilly songs. She noticed a big difference between European audiences and American audiences back then, but the gap has since closed. “I started playing rockabilly revival events in Scandinavia in 1985, and it seemed like it never died out over there like it did in the states. The Europeans were more appreciative and loyal to the music, and would ask me very detailed questions like ‘Who played lead guitar on that track?’… things I didn’t remember!” she laughs. “Now the young Americans are catching up, and paying attention to the details.”

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At dusk on Saturday July 25, Opal Gallery in Little Five Points will present an outdoor screening of The Passion of Joan of Arc by Carl Theodor Dreyer. The 1928 silent film, which portrays the tragic final days of the life of Joan of Arc, is considered a cinematic masterpiece for its provocative theme and the groundbreaking use of the actor’s facial expressions as a communicative medium.

Lost for many years, the film has often been screened with accompanying live music since its rediscovery. At this rare Atlanta showing, the music will be provided by Hubcap City (from Belgium), who will be joined for the event by former Smoke cellist Brian Halloran, who has rarely played since they disbanded.

Hubcap City (fB) members Bill Taft and Will Fratesi were both part of Smoke, the highly respected avant-garde musical group fronted by the late singer and Atlanta legend Benjamin. Smoke ended following Benjamin’s death from AIDS-related complications in 1999, and Taft and Fratesi eventually formed Hubcap City (fB).

According to Taft, “Hubcap City’s music is actually based a lot on chord progressions I learned from [Smoke member] Todd Butler. He was able to combine Waylon Jennings and Burt Bacharach, and come up with great sounds.” Any hopes of a more comprehensive Smoke reunion were further diminished by the untimely passing of guitarist Butler in 2004. “This is the first time I have ever tried to play music by Smoke since it ended,” says Taft. “I guess I always tried to run away from tragedy in my past.”

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In the 15 years since the late Jeff Buckley first released his amazing Grace album to massive critical acclaim, his reputation has soared to heights he never achieved while alive. The son of legendary folk singer Tim Buckley, who also met with a premature death, Jeff was an archetype for the introspective yet edgy rocker, whose songs were a blend of multiple influences including punk, world, and even folk music. In both remembrance and celebration of the anniversary, Sony Legacy has released a heavily loaded CD/DVD package of previously unavailable videos and tracks from Buckley’s numerous American and European live performances. Each track encapsulates Buckley’s intense artistry and captivating charisma, which departed too soon in a 1997 accidental drowning. A deluxe package also includes a rarely seen hour-long documentary about the enigmatic artist. Buckley may have died young, but in the digital age, he lives forever. (Sony Legacy) 5 stars out of 5

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At some point, even when artistic freedom becomes less a luxury than a right, a musician must face his muse and choose to accept or rebel against destiny. Todd Snider has never pulled any punches, and on The Excitement Plan he takes another giant step in accepting and celebrating the music of his mind and soul. As one of the most respected contemporary singer/songwriters around today, Snider combines wit, humor and bare-bones honesty in a manner few dare. Whether glorifying the LSD-drenched no-hitter pitched by the late Dock Ellis or closing up a honky-tonk with duet partner Loretta Lynn, Snider gets it right every time. In the hands of producer Don Was, some fine steel guitar playing by journeyman Greg Leisz, and drummer extraordinaire Jim Keltner, The Excitement Plan is something to get excited about. (Yep Roc) 4 stars out of 5

Todd Snider plays a free in-store performance. 7 p.m. Wed., July 15. TIME CHANGE: 12 noon. Thurs., July 16 Criminal Records IN-STORE CANCELED. Plays Eddie’s Attic. $22. 8 p.m. Thurs. and Fri., July 16-17.

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It is a long standing tradition in the Atlanta music scene that when one of our own is in need, we rise up and do something. How many benefits have you heard about or attended for a local musician who either doesn’t have health insurance or is simply overwhelmed with the cost of necessary medical care? The point is, people do care, and they are willing and able to give when they can.

Sadly, another such opportunity has risen, as Carlos Capote of local blues band the Breeze Kings is in dire need of a kidney transplant. Originally diagnosed with a genetic condition marked by excessive protein levels in his urine as a child, the progressive disease has now reached the point where Capote needs frequent dialysis, and ultimately a transplant. In order to get on the statewide transplant list he must first raise at least $10,000 by Oct. 1, 2009 in order to receive matching funds for post-transplant meds and care.

On Sun., June 28, a benefit will be held at Blind Willie’s in order to raise money for the Capote Kidney Transplant Fund. Starting at 2 p.m., performers include the Shadows, the Breeze Kings, Francine Reed, Luther Johnson, Sweet Betty, Tommy Brown and more. The cover is $10 and donations for the cause are being graciously accepted. Click below for info on how to make a donation.

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Black Joe Lewis plays Center Stage with New York Dolls. $21 advance. $24 door. 9 p.m. Fri., June 12. 404-875-9364. www.centerstage-atlanta.com.

The current wave of old-school Southern R&B just peaked with the energetic new release by Austin-Texan Black Joe Lewis. The passing of great shouters like James Brown and Screamin’ Jay Hawkins left a void, but the powerful voice of Lewis provides a more than adequate replacement. While steeped in the Muscle Shoals vocal tradition defined by Otis Redding and Wilson Picket, Lewis contemporizes his work by adding a colorful and modern vernacular to his delivery, and taking a much more direct perspective on social issues than one would have gotten away with in the ’60s. The Honeybears septet sharpens things a bit by bringing a harder-rocking groove to the musical mix, but retains the hot Memphis style of old funk. With such titles as “Gunpowder,” “Big Booty Woman,” and “Please Pt. Two,” you know what’s up. Deep soul in the heart of Texas. 4 out of 5 stars

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On Friday April 10, Atlanta musician/poet Kodac Harrison celebrates his 60th birthday and the release of his new live CD Reach For the Moon at Eddie’s Attic, 515 N. McDonough St. $10 (advance). $13 (door). 9 p.m.

Here, in his own words, is his story.

I grew up in Jackson, Ga., and my first influences came from Macon — Otis Redding and the Allman Brothers. I was a first lieutenant in the Army right after Vietnam, and training was cut back so I had plenty of time to play guitar and to read. I discovered John Steinbeck, who became my favorite author. My first professional gig was at a place called East of Eden in Salinas, California, about two months after I got out of the Army.

I moved up to a communal community in West Virginia and continued to play guitar. For several years I went back and forth between Georgia and West Virginia, but often felt isolated and longed for the excitement of the city. I moved up to New York City for awhile, and down in the Village a club owner told me I should put together a band and record an album. I knew I would have an easier time doing that in Atlanta, so I moved back and recorded my first album in 1984.

I wanted to be a rock star, and pursued that until twenty years ago this past March. I got involved in a recording project … and discovered that the deal was not what I had understood it to be. I hadn’t signed anything, but this recording was good and finished. I agonized over this. I could not stand the thought of compromising my principles. I hated myself for getting into this situation; I was torn.

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At the ripe age of 81, you would think pianist Mose Allison would be content to simply take it easy and enjoy life. Well, he does, but his enjoyment is playing live music on the road — over 100 shows a year. It’s a lifestyle he’s maintained since the 1950s, and even in his ninth decade he shows few signs of slowing down.

A self-taught player, Allison was raised listening to and learning from the deep delta blues, New Orleans jazz and classic boogie woogie of the era. With few constraints to shape his playing style, he absorbed what he heard, and put it all together to create his own unique sound.

Allison had little luck finding his true defining niche, but that may have worked in his favor. Defying categorization, he has been marketed as a pop singer, a jazz artist, a blues guy and who knows what else throughout his illustrious career. The labels don’t really matter, its all about the music.
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Creative Loafing’s freelance music writer Hal Horowitz was honored today (Sat., Feb. 7th) in Memphis, TN at the 25th annual International Blues Challenge sponsored by the Blues Foundation, receiving the prestigious “Keeping The Blues Alive” award for Journalism. Horowitz has been writing for various Georgia-based publications since 1994, and is also a contributing editor to Blues Revue. Horowitz is especially proud of the award, offering, “when I see who has won in the past. But mostly I’m humbled that what I do strictly for the love of it has touched others enough to take notice. That’s just a bonus.”

Horowitz sees the blues as a reflection of everyday life, and is not surprised at the genre’s continuing popularity. “It speaks universal truths that are, like all the best roots music of any genre, timeless. When has there ever been a time when people didn’t get the blues? Like most music, it adapts to changes but at its heart is a truth that can’t be found in most pop. People often respond to that.”

When asked to cite some essential blues artists, he responds, “John Lee Hooker, Howlin’ Wolf, Muddy Waters and the entire Chess stable from the 60s. Willie Dixon. Stevie Ray Vaughan. Johnny Winter and Jimi Hendrix. But you can find blues in the music of Miles Davis, Sly Stone, John Coltrane, Bob Marley, even the Velvet Underground and R.E.M. It’s a music that knows no color or age boundaries. I hear blues in U2 and Coldplay.”

In spite of all the changes in the way music is sold these days, Horowitz is sure some things will never change. “Live music, especially blues, thrives in the concert environment. There will never be a replacement for the feeling generated when a musician or band is firing on all cylinders in front of an appreciative crowd.”

(Photo courtesy Hal Horowitz)

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Tonight (Tues., Dec. 30th), Atlanta-based singer Diane Durrett performs a rare and intimate gig at Blind Willies. Durrett has been around the Atlanta Blues and singer/songwriter scene for many years, and has released four well received albums.

In 1999 Durrett took the plunge most musicians only dream of and moved to Nashville, with the big plans to make it in the music industry. Several peripheral jobs later (including a rather interesting stint as a limo driver) she has written a book called Driving Music City. Basically, Durrett has compiled a collection of vignettes describing her experiences chauffeuring some major superstars around Music City. Interspersed with anecdotes from her own music career and family history, Durrett pulls back the curtain just a bit to expose a few somewhat shallow and trivial “secrets” about the stars. Scattered and tangential, this ain’t Shakespeare, folks. Hell, it ain’t even the National Enquirer for that matter.

But Durrett is a much better singer than an author, and her show at Blind Willies will be a real treat for her local fans. Hopefully she will sing more than she talks.

Diane Durrett plays Blind Willies tonight. $Call. 9 p.m. 828 N. Highland Ave. 404-873-2583.

(Photo courtesy of Diane Durrett).

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TOUBAB KREWE

(photo courtesy www.toubabkrewe.com)

The Krewe is without a doubt the best polyrhythmic Afro-funk band in North Carolina … well, maybe the ONLY one, but it is amazing. Combining standard instruments with some of the strangest-looking music makers you have ever seen, it manages to hit the groove and keep people moving all night long. $12 advance, 8 p.m. Smith’s Olde Bar. 404-875-1522. www.smithsoldebar.com.

For more See & Do, click here.

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(photo Epic Records)

I must confess, I have been a TORI AMOS hater for years, repelled by her pretentiousness and overwrought lyricism. But her latest CD American Doll brought me around, especially the kickoff tune about “King George.” HA! But there will be plenty of cringe-worthy moments at the Wed., NOV. 14, show, although she really puts out on stage, if you get my drift. $31.50-$43.50. 8 p.m. Fox Theatre, 660 Peachtree St. 404-249-4600. www.foxtheatre.org.

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1947 Studebaker Wrecker

In a town as big as Atlanta, it is inevitable that there are going to be major events that just don’t cater to everyone in the city. But there is a strange phenomenon that occurs whenever a group of people get together and have a good time based on their shared interests — somebody feels left out and makes a fuss about it. Well, that’s just too bad, because if you couldn’t find an event in Atlanta over Labor Day weekend that fit your niche, you were not looking hard enough. Dragon*Con? Montreux Jazz Festival? Black Gay Pride? Drive-Invasion? Damn, there is something for everyone …

Since its inception, Drive-Invasion has served as a sort of “homecoming/family reunion”-type event, with many of the original supporters being the folks who were part of the Star Bar-rockabilly -Redneck Underground scene in the early ’90s. As the event expanded to include car shows, vendors, camping and bigger crowds, it has gone through a couple of different guiding hands. But for the most part, the event is a celebration of some pretty specific aspects of American culture — drive-in cult movies, country, rockabilly and rock ‘n’ roll music, flashy cars, and retro fashion. It’s a visual smorgasbord for people-watching, and the loose structure of the event allows a lot of leeway in how people play.

For some it’s an excuse to drink to oblivion and raise some hell. For others it’s a forum to show off tattoo-covered skin (and plenty of it). And for some it is a chance to relax, hear cool bands, laugh at awful movies, imbibe, eat well (or poorly), and be with friends who you haven’t seen since, well, last year. (more…)

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