 |
  |
 |
||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
||||||||||
Eugene
Debut From 1994 to 1999, Howard Liebes managed The Cherry Poppin' Daddies, ran their record label Space Age Bachelor Pad and witnessed the local band's meteoric rise to stardom as the country snapped up copies of Zoot Suit Riot faster than frogs eat flies.
But it was too much. "I launched myself out of the business after the Daddies and I swore I'd never come back to it," says Liebes. "The whole corporate thing, getting signed by a major, [that] should have been the best time of our lives. But it ended up being this bizarre experience that left me really jaded." As time passed, his feelings changed. "I always said to myself, if I saw a band that really inspired me, that had something in them, that I would get back into it," Liebes says. That band was Deke Falcon, a trio featuring guitarist/vocalist Patrick Hayden, drummer Jordan Glenn and bassist Dave Clark. So Liebes formed Happy Mistake Records. Clark is well known locally, a Northwest native and preacher's son who's played blues (Bourbon Renewal), punk (The Danged), rockabilly (Joshua James) and toured the U.S. and Asia with nuevo-mariachi band Los Mex Pistoles del Norte. Glenn's résumé boasts stints with lounge rockers Visible Men and jazz outfit Scrambled Ape. A New Jersey native, Hayden's fever flames for literature, and his lyrics are well-grounded in the prose of life on the road. The band's debut CD, Sand in the Shower, Rust on the Road, is also Happy Mistake's first release. "Squadron" kicks off the CD with the energy of a roadtrip just underway, and Hayden's deep voice simmers when he sings, "There's a few gas stations and a red Camino ahead of me. The CD hits musical milestones like Gram Parsons and Wilco, yet bristles with an underlying punk energy and Sonic Youth-inspired rock deconstructionist attitude. The Fast Computers, also promoting their first release, are playing with Deke Falcon. Influenced by early jazz's multiple melodies and harmonies and bands such as Pulp, Badly Drawn Boy, Belle and Sebastian, and Super Furry Animals, band founder Peter Dean has a lot to say about the complexity and rhythmic texture, songwriting and singing styles. Can one band encompass so much? He laughed and said, "It's a tall order but I certainly try to!" Dean met vocalist and percussionist Jennifer Fox in New Orleans, gestated the band in Chicago in 2003, then the two moved west to Oregon. They enlisted friends on bass, synthesizers, samples, guitar and flugelhorn to create something Dean describes as "distinctly modern and complexly reminiscent." The Fast Computers' first recording, SP, will be released on locally-owned Sleepsound Records on Feb. 25. Grab it, along with Deke Falcon's debut, at Luckey's on Saturday.
Eugene
International This is world music weekend at the UO. On Friday, Feb. 25 the musician generally regarded as the star pupil of Ravi Shankar, sitar master Kartik Seshadri, performs in a World Music Series concert of North Indian classical music. He'll be accompanied by another of India's most acclaimed musicians, tabla master Arup Chattopadhyay, in what is sure to be one of the most intense and inspiring concerts of the season. World music fans, as well as anyone entranced by Ben
Bagby's Beowulf this week, might want to try another Contemporary music lovers who didn't get enough of Pauline Oliveros' music at last week's Music Today Festival have one more chance on Monday, Feb. 28, when the always-exciting Oregon Percussion Ensemble plays her original sound collage for 20 drummers, "The Single Stroke Roll Meditation," along with out-there works by one of the 20th century's most innovative composers, Iannis Xenakis (a piece for "earth percussion" made of stones, woods, skins, and metals, performed in a kind of live Sensurround, with musicians distributed around the hall), and percussion legend Meyer Kupferman, whose "Sound Phantoms No. 9" features guest musicians from the Eugene Symphony on flute, horn and bass. A couple of other fine shows top off what's been the most exciting month of Eugene music in memory. On Feb. 26, Luna hosts Western Rebellion, an ensemble of Northwest jazz all stars led by the great Mel Brown. And on Feb. 27, the Shedd hosts Cajun legends BeauSoleil, with their savory gumbo of traditional fiddle tunes, waltzes, zydeco, pop, even Gypsy Cajun music drawn from America's richest musical melting pot. Wisely, the Shedd is clearing space for dancers, because their groove is impossible for feet to resist.
Freaky
Rabbit It's President's Day and Jessica von Rabbit is really hoping Fed X delivers because she's waiting for an outfit. A slinky outfit. A sassy outfit. An outfit that screams, "I'm a rock star and I love to dress up in really cool clothes for my shows just because it's fun." She's waiting for leopard-print, hip-hugger bell bottoms and a matching top her mom made for her tour. Which starts tomorrow.
Von Rabbit is the sultry, velvet voice behind the band Gram Rabbit, a name you'll be hearing a lot more of. Actually, she's right out front, right up there with Todd Rutherford (vocals, bass & guitar), Eric Jonasson (lead guitar) and Travis Cline (sampler guy). You've never heard anything quite like their surreal, disturbing lyrics combined with spooky, out-there layers of harmony that leave you feeling a little unsettled, a little freaked out. Take "Dirty Horse" for example, with its creepy verses. "But Jesus is mad and he's blaming it all on me/ When the problem is you, it's very plain to see/ Now the horse out back has got a dirty mind/ And the man on the moon is drinking a bottle of shine/ And the witch on the broom is fixing soon to crash/ But I'll be around to pick up all the trash." Based in Joshua Tree, Calif., they spend a lot of time out in the vastness of the desert. "It's a crazy, weird, magical and mystical place, and it's our biggest influence," von Rabbit says. Those words could just as easily describe their music. As we discuss the various reactions people have to their shows, Rutherford gleefully tells how a friend picked up a hitchhiker and when "Dirty Horse" came on the stereo, the guy freaked out and asked their friend to pull over and let him out. Each song on their first release, Music To Start A Cult To, is unique. Each song has a sense of balance, a sense of completeness. Each song is a little weird, in a good way. It's easy to get so caught up in the samples, the rich, deep layers and varied styles you miss the lyrics. They seep in once you're addicted to the moody melodies, electronic cowboy grooves and Jessica's powerful voice. That's when you start listening closely. "I think a lot of our songs are about the black and white in life, the extremes people have to deal with," von Rabbit says. "The battle between good and bad, Jesus and the Devil and how we all fit in there, somewhere in the middle. That it's so hard living in the world today and doing the right thing. What decisions are we going to make that bring us to our fate?"
Fresh Folk Kathryn Claire isn't breaking any new ground with her sweet, soulful folk songs. But she calls on ghosts of singer/songwriters past and infuses those sounds with a 21st century edge. The final product has the freshness of music made by someone who's always changing, always weaving in new ideas and influences. As she croons and caresses the lyrics, her versatility as a songstress shines. She belts out throaty, emotion-rich lines then soars effortlessly into bell-like harmonies. Some songs leave you with goose bumps; some grab your attention like streams of sunlight breaking through clouds; others caress and push you the way wind bends branches. You'll hear echoes of Joni Mitchell, Joan Baez, the Indigo Girls in the dip and flow of the melodies, and the poetry of master wordsmiths in her lyrics. She's in town for the official release of her new CD, Wanderer, produced by Eugenean Thaddeus Moore of Sprout City Records. Catch her solo at an all ages show (kids are encouraged to attend) at 7:30 pm, Friday, Feb. 25 at Tsunami Books or 9:30 pm, Saturday, Feb. 26 at Sam Bond's with The Chairs. — Melissa Bearns
DSO - Almost the real thing We've all heard them: really, really bad Dead cover bands. But the Dark Star Orchestra is different. They don't just cover The Grateful Dead — they recreate entire dead shows, set for set, song for song, instrument for instrument. Officially founded in November 1997, DSO recently played their 1,000th show and released their first recording. The current line-up includes Scott Larned (keyboards), Lisa Mackey (vocals for gigs from the '70s when Donna Godchaux toured with the Dead), Rob Eaton (rhythm guitar), Dino English (drums) and Rob Koritz (drums). "This is a really different approach to what other bands do," English said. "Your average band plays the same 20 songs night after night; it doesn't sound very fresh to me." For years, the members of DSO prided themselves on never repeating a show or set. But they've tapped out all the Dead's gigs from the late '70s, one of the band members' favorite eras, so now they're repeating a few shows. But you won't know what show you're hearing until the very end when they poll the audience to see if anyone gets it right. DSO performs at the McDonald Theatre on Feb. 26. — Sara Brickner
Sage Francis, Godfather of Dictionary Rap, Lays It Down Lyrically, Sage Francis can be disturbingly on point. He raps with a disciplined, intellectual boldness that has virtually defined the genre of "emo-rap" — the reigning darling of underground hip hop, characterized by emotive, poetic lyrics. Sometimes, it really is difficult to pinpoint what Sage's raps are about from song to song, as he layers strange images upon metaphors, which he then infuses with political rhetoric. Somewhere beneath all this esoteric wordplay, he advocates vegetarianism, opposes the war, and disses Clear Channel. And the kids love him for it. His newest album, A Healthy Distrust, released on Epitaph records showcases Sage's trademark frenetic rapping style. Infamous for stringing together numerous four syllable words in his lyrics since his early days as an MC, Sage disassociated himself from hip hop's more familiar, simplistic-but-not-simple syntax. "Shape shifting reptilian turned body contortionist," from Distrust's "Escape Artist," is one example of why many hip hop traditionalists disdainfully refer to him as the "godfather of dictionary rap." Many hip hop traditionalists also criticize Sage's fans, indie-hip hop heads, for disregarding the contributions of older albeit high-profile rappers because they're too commercial. In defense of the traditionalists: They are right. Hip hop newbies should recognize the cornerstones of the hip hop community and their contributions, from Jay Z to Public Enemy. In defense of Sage Francis: He brings new elements and forms to hip hop, adding his own unique contribution. Plus, the collaboration with Will Oldham is genius. In defense of hip hop newbies: Solidarity, not pretentiousness, will guarantee hip hop's longevity. Sage Francis, Sol Iloquists of Sound and Jared Paul perform at 8 pm at the WOW Hall, Sunday, Feb. 27. $15 adv/door. — Steven Sawada
Surf Groove By 13, Donavon Frankenreiter had it going on. Sponsored by Billabong as a "free surfer," he was paid to ride the waves but didn't have to compete. At 14, Frankenreiter (DF) followed the surf to Hawaii, renting a room in Jack Johnson's house on the North Shore. Johnson and DF hung out, learned guitar together and wrote songs. A revered waverider, DF kept his passion for music alive, surfing out of the pipeline and onto the stage. His smooth, charismatic style kicks into a funky groove like G. Love, and flows into the room like Ben Harper at his most soothing, accentuated by an earthy harmonica. DF said, "The surfing keeps me alive, and the music keeps me grounded." You can feel that in his music, influenced by "anything that moves [me], especially surfing." Frankenreiter's self-titled CD features The Eels' Koool G. Murder on keys and cameos from both G. Love and Jack Johnson. Move over Dave Matthews, there's a new soulful and sensitive guy in town. And he's cuter, too. Donavon Frankenreiter, State Radio and White Buffalo perform at 7 pm at the Jungle, March 3. $5. — Vanessa Salvia
AX BILLY GRILL & SPORTS BAR BLACK FOREST CAFE PARADISO CLUB TSUNAMI COFFEE GROVE COOPERATIVE COUNTRY SIDE RESTAURANT COUNTRYSIDE
COZMIC PIZZA@THE STRAND All Ages DA HOUZE DOWNTOWN LOUNGE DUCK INN EMBERS SUPPER CLUB GAME DAY SPORTS BAR GOOD TIMES JO FEDERIGO'S JOE'S BAR & GRILLE JOGGER'S BAR & GRILL JOHN HENRY'S LATITUDE 10 CAFE All Ages LAVELLE'S WINE BAR & BISTRO
LUCKEY'S CLUB CIGAR LUNA MAC'S AT THE VET'S MCDONALD THEATRE MONROE STREET CAFE OREGON ELECTRIC STATION OVERTIME GRILL PEABODY'S PERUGINO QUACKER'S RAMADA INN
SAM BOND'S GARAGE SAMURAI DUCK STACY'S COVERED BRIDGE SWEETWATER'S TAYLOR'S BAR AND GRILL TINY TAVERN VET'S CLUB BALLROOM
WOW HALL All Ages YUKON JACK'S
CORVALLIS AJ'S BOMBS AWAY CAFE IOVINO'S RISTORANTE MURPHY'S NEW MORNING BAKERY All
Ages PLATINUM NIGHT CLUB TOMMY'S PEACOCK
|
||||||||||||||||
|
||||||||||||||||
|
|
||||||||||||||||
|
|
||||||||||||||||
