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Music

Muddy Waters changed Pokey LaFarge’s life. “I was, like, 13,” LaFarge tells EW, recalling the time some “older cats” played him Waters’ classic 1963 album Folk Singer at a pizza joint. “I thought, ‘Wow, the blues are acoustic?’” LaFarge recalls. “It changed my life.” 

“Keep the Earth clean. It isn’t Uranus. (No offense to Uranus.)” That’s one of our favorite Earth Day slogans reminding us to tread lightly and kindly on this (thus far) singular planet we call home. 

Locally, Sol Seed, Whole Earth Nature School and Pedal Power Music are reminding you to do the same with their Earth Day Celebration, a fundraiser for the school, 7 pm Friday, April 22, at Hi-Fi Music Hall; $12 adv., $15 door. 

Something interesting happens at the end of Flatbush Zombies’ latest release, 3001: A Laced Odyssey. Halfway through the album’s closing track “Your Favorite Rap Song,” the music drifts away and in comes an extended series of voicemail-like recordings. Most are stoned treatises to the greatness of the Brooklyn hip-hop trio. “If this is the Flatbush Zombies, I just wanna say ya’ll fucking rock,” one voice says, holding in a bong rip. 

Multi-culti is all the rage in music, food and the rest of today’s global culture. But mixing Latin American and European ingredients still felt pretty novel back in 1954, when Venezuelan composer Antonio Estévez wrote his colorful Cantata Criolla, which Eugene Concert Choir and Eugene Symphony will perform April 30 at the Hult Center’s Silva Hall.

Eugene old-timey country-blues act Breakers Yard releases its new album Tried & Untrue April 28 at Sam Bond’s. The self-produced record draws from traditions of pre-WWII jazz, country and blues. 

Music News & notes from down in the Willamette valley.

He descended on the Carter era of gas lines and bloody carpets and post-love funk like some infernal geek bastard child of Buddy Holly and Johnny Lydon, spitting out lyrical venom over gorgeous hooks and bellicose riffs that plumbed the deepest, darkest wells of pop music — billboard fuzz attacking itself with newborn impunity — all of it churned out with a churlish amphetamine sneer that belied his antediluvian genius for melodic universalism within the three-minute cliché of radio-radio rock.

Eugene has long been one of the beacons of so-called early music, which includes basically anything composed (in Europe) before J.S. Bach died and Mozart was born in the mid-18th century. The Oregon Bach Festival has been the big kahuna, but the city boasts an indie early music scene consisting of historically informed performance practice musicians in outfits like the Oregon Bach Collegium, Vox Resonat and the University of Oregon’s splendid early music program.

Get ready to feel some serious butterflies from the sensual rock tunes of Cape Cod’s Highly Suspect and Luz Elena Mendoza (of Y La Bamba) coming to WOW Hall April 9.

Music news & notes from down in the Willamette valley

G-Eazy is such a big deal that iconic rapper Lil Wayne remixed a song from his new album last week and NBA superstar Kobe Bryant greeted him at a recent Lakers game.

On Billboard’s website, Nielsen Music charts hip-hop and R&B songs using a metric that calculates radio airplay, streaming and music sales. Each week since Feb. 20, G-Eazy’s “Me, Myself & I” ranked higher than any other rap song save Drake’s “Summer 16” and Rihanna’s “Work” (which also features Drake).

From April 12-16, the UO is hosting its first free and open to the public early music conference, Musicking, which includes lecture series, master classes and other coaching opportunities, along with stars from the admittedly geeky early music world, scholarly sessions and, of course, concerts, not to mention a “period-instrument petting zoo.”

Music News & notes from down in the Willamette valley.

"Bang," "quack" and "sizzle" are onomatopoeias. If a band name were ever onomatopoeic, it would be Mexico-via-L.A.’s Metalachi — the self-proclaimed first and only heavy metal mariachi band in the world. 

The Minneapolis-based Davina and the Vagabonds have swagger — circa 1920s swagger, the kind found in the midst of big-band jazz and the blues.

When the Eugene Symphony chose a young, little-known conductor named Marin Alsop as its music director in 1989, both she and the orchestra were at best marginal micro-planets orbiting the farthest reaches of the American classical music solar system.

Music News & notes from down in the Willamette valley.

On the night of March 30, Sam Bond’s Garage is going to be painted with some funkadelic jams, man. Lucy Arnell and Holly Bowling are bringing tunes laced with Phish-y influences and classic experimental sounds.

Young Florida rapper Denzel Curry — he turned 21 in February — is returning to WOW Hall as a headliner after his last stop in 2015 opening for Joey Bada$$ and Mick Jenkins.

Music news & notes from down in the Willamette valley.

In 2009, at the tender ages of 9 and 14, best friends Kelli Mayo and Peyton Bighorse formed the band Skating Polly. Bighorse says the pair bonded over a shared love of music and movies. 

“We were pretty fast friends,” she recalls. “We’ve always been surrounded by music and instruments, so it came very naturally for us and since we were so close before, it felt easy to be creative with each other.” 

Music news & notes from down in the Willamette valley.

Musical traditions, like cuisine, say a lot about a culture. Pay attention and learn of pinnacles, invasions, conquests and declines. The recipe for great music and food is often the contradiction of outsiders celebrating their own lousy situation, mixing in ingredients that in different contexts might not make sense. New York’s Gogol Bordello has long been one of rock’s tastiest stews — a culture unto themselves. 

We usually hear one dimension of Peter Tchaikovsky: his melody-drenched ballet scores, especially that one that cracks up every Christmas.

But along with famous concertos and symphonies, the great Russian Romantic composer also wrote operas, and this Friday and Saturday, March 11-12, Eugene Opera presents one of the most popular, Eugene Onegin, at the Hult Center. Based on Pushkin’s novel of romantic reversals — girl wants boy, boy rejects girl, then changes his mind, with tragic consequences — Tchaikovsky’s 1888 lyric opera has everything fans cherish in his music: sumptuous melodies, emotional drama, even dance in all three acts, choreographed here by Antonio Anacan and performed by a half-dozen Eugene Ballet dancers.