 |
  |
 |
||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
||||||||||
|
Poet's
Sense Eugene's tireless promoter of folk music, Mike Meyer, is leaving us to further his education in Portland. But before he goes, we're one more folk show richer, as he brings Peter Mulvey to Cafe Paradiso's stage on Thursday, June 17. Mulvey is touring to support his new CD, Kitchen Radio, his first new material since 2002's Ten Thousand Mornings, a cover disc of songs by Randy Newman, Elvis Costello, Gillian Welch and others.
2003 saw the release of Redbird, an album featuring Mulvey along with Kris Delmhorst and Jeffrey Foucault as a trio. Between albums Mulvey has kept busy writing music for dance and theater performances, including Sam Shepard's A Lie of the Mind and Amiri Baraka's Primitive World. On Kitchen Radio, Mulvey proves why he's such a celebrated songwriter. His dusky voice lends an animate warmth to his already intimate songs, which are full of a poet's sense of image. Lines like, "Your footsteps are a stranger's but the night knows where you've been and the leaves are telling secrets to the wind," from "Falling" make this CD sparkle. Mulvey can write about personal observations such as animals seen on a road at 2 am under a shining moon as he does on "Road to Mallow" as easily as he can write about the state of world economics. The track "29¢ Head" puts it bluntly: "Them shapes in bed are the senator and the C.E.O Which one is on top? Wouldn't we like to know ..." Kitchen Radio is Mulvey's eighth release, and though he makes his home once again in Milwaukee, he spends most months on the road. He has just wrapped up production on a full-length DVD of his own interview and concert footage set to be released later this year. A Portland threesome with the playful name Canoofle have the motto, "We make it up as we go!" Canoofle is the true spirit of improv, as I recently found out when I spoke with founder Curtis Settino. After playing music since his early adolescence and having been in bands with lyrics and conventional song structure, Settino became very interested in what he termed "spontaneous composition." "About 12 years ago I started making experimental musical gatherings to see what was possible," revealed Settino. Over time that approach became Canoofle, which flourished when a steady lineup was found after years of effort. David Gilde, Abigail Grush, Jamie Walsh and Liam McNamara, multi-instrumentalists all who share duties on drums, bass, organ, clarinet, accordion and various percussive instruments, join Settino. Canoofle sets out cards on the tables at their venues, and asks the audience to write down ideas for what they want to hear. Then the band gives form to that suggestion through improvisational music and lyrics. It's a risky move that pays off. "We write that song on the spot. Sometimes we powwow a little bit and sometimes we just start right into something and hope it works out," says Settino. Most often, the audience provides simply a song title, and it's up to the band to interpret it. If it's too vague, the band will ask for more information like what kind of musical mood is envisioned. Of course, all band members are well versed in groove, punk, pop, jazz, avant-garde and many traditional music forms. While being asked to supply the theme might seem initially off-putting to an audience, they start to dig it after a while. After all, how often do you get to have a band play just what you want to hear? Settino admits that spontaneously composing lyrics is the hardest part, "because there's a lot more ways to fail, but there's tricks and you can learn how to think ahead, and it can be done." Canoofle have recorded every single practice and performance and have preserved five or six. Settino listens to all the tapes and formulates feedback for the band to make them better next time they perform. They've compiled three collections of their best improvised material and will be selling one on their upcoming tour, which will take them through Northern California over the next couple of weeks. Canoofle will perform Friday at Sam Bond's. A show I want to give you heads up for is planned for next Thursday, June 24. Califone will be appearing at Sam Bond's Garage in Eugene, touring in support of their brand new CD King Heron Blues. This is the CD that will push them into the public eye, as so far they have flown slightly under the radar of most current music fans. Califone's Tim Rutili has said that for his entire life he had a recurring dream of a giant half-man, half-bird character. He stumbled across a historical note about the very same figure he had imagined: Upon Rome's siege of England, soldiers learned of a Druid god who struck fear into the hearts of the British, a heron king. The Romans, facing defeat, turned a soldier outfitted with stilts and a heron mask into the British camps. The British soldiers fled. This vision of a hitherto unknown historical reality strongly influenced Califone's latest release. From fleeting images of wingbones to the bitter taste of deceit, King Heron Blues has a woozy, dreamlike feel throughout. The lyrics read like the fever dream of a man facing his last moments ("red foot cold floor you're the root you're the hanging tree you're Easter in the Philippines" from "Sisters Drunk on Each Other") and the music is rife with haunting slide guitar and piano. The band's studio approach on this was unique, most of the songs having been improvised or written immediately before recording. After a quick bout of recording, the raw tracks were "chopped up, mixed around and reassembled" into the complete CD. Despite the historical reference to Rome and Britain, the music feels swampy. It's deep, muddied and unhurried. Dark secrets lurk beneath the cryptic lyrics and unexpected sounds percolate up from the depths, leading to surprising toe-tapping, head-bobbing episodes. A highly recommended show.
Mispronouncing
Doughty.
BF: What's it like being Mike Doughty? MD: It's pronounced "Doughty," actually. BF: Sorry. MD: It's nice, I like it. (pause.) BF: Any particular memories you have of Soul Coughing being misunderstood as "Soul Coffin," or "Soul Coffee?" MD: Yep. (deadly pause) BF: Well … MD: You really want me to talk about that? How about we try the next funny question? BF: Alright. Your website says that your latest solo album, Rockity Rock, is just an appetizer. What's for dinner? MD: It's Rockity "Roll." BF: Sorry. MD: Well, I've got a record by Dan Wilson coming down the pike. It's nearing completion; I'm just looking for someone to put it out. It's got this Stonesy flavor to it, this Velvets or Stereolab flavor, but it's me. Basically sounds like me. Like Manchester Circa 1990. BF: So, you're playing the Aladdin Theatre in Portland on June 23 … MD: Home of the Suicide girls, who I enjoy. I did an interview with the Suicide Girls. I'd never seen their site, but they gave me a lifetime membership. That is why I play rock music. It doesn't get better than that. I was having a technical problem on the site, and I called them up. This woman writes me back, and I realized there were pictures of her naked on the site. It's really unique to see your technical support naked. Only in America. BF: What's your take on homosexuality in the church? MD: I think there should be more of it. I think we're all potentially gay, really. I'm really pro. More love in the world, I say. BF: When's the last time you were in a fight? MD: Um, I think it was like the 5th grade. I'm a lover, not a fighter. BF: How's your love life? MD: It's nice, lovely. Distinguished by lack of fighting. BF: The war in Iraq, what's your message regarding that? MD: I just did a song benefit for Moveon.org. I'm not a political guy, it takes so much for me to be interested. The war's just so unbelievably wrong. As if we could go into another country and change their destiny, make them into our image, as if we're the one good force in the world; it's just so crazy. BF: Well, it sounds like you're interested. MD: I grew up in West Point, near the military, where all the adult men were suffering from post-traumatic stress disorder. As an adult looking back it's really insane. Part of growing up in the military is that I want the president to be right; I want to believe, but in this case I just can't get behind my county. BF: Your line, A man flies a plane into the Chrysler building … MD: I'm going to save you the time and stop you right there. I can't answer that. BF: Really? I don't need you to answer, but regarding why you don't want to … MD: Nope. BF: What happened to you in Tucson? MD: What happened to me in Tucson? You know something I don't? Something I did when I was drunk and blacked out? I don't know. It's like crazy, fucking, insane hot in Tucson. My drummer used to live in Arizona, and he was born with no sweat-glands or tear-ducts. I'm always like, "How the fuck did you live in Arizona?" BF: Does he cry? MD: Doesn't sweat, doesn't cry. BF: Does he stink? MD: No. In fact, when we started touring he said, "You're stoked. I never get stinky, and when we've only got one shower to share, I'll never need it." BF: What's your number one motivation for leading your life as you do, being a musician? MD: I don't really know. It occurred to me when I was very young, before I could play, or even hope to be a professional singer, which is weird, considering what my voice is like. The whole idea of it is something so nebulous, at the core of who I am. It was always just a matter of discovering that. BF: Any advice you have for discovering one's core? MD: Just listen to yourself. It seems fucking crazy, but you gotta do it. People will throw odds at you, how many are successful at this thing or that thing. You can't listen to them. You have to listen to yourself, what you have to do. BF: People who know you well. When they make fun of you, what ammo do they use? MD: You really think I'm gonna whip that out for you? I'm going to decline that one. BF: On your policy regarding free recording and music swapping of your concerts … MD: I'm super pro on that, super beyond-crazy on taping. The jam band phenomenon is such an established thing right now. I'm touring with Galactic, in the world of jam bands, and while they don't want to be perceived as that, those others of us are knocking on the glass, wanting to get in. I think I'm lucky to have an audience that's in the middle of the indie rock, singer/songwriter "AAA" realm. BF: When's the last time you had a really, really big laugh that made you glad to be alive? MD: Oh, jeez. I have 'em a lot. I'm hanging out with the Galactic road crew. They're fucking hilarious. I also remember the new Chris Rock special. He had one or two jokes that blew my mind. I sampled him on a Soul Coughing record, and he approved the use of the sample. I'll thank him if I ever meet him. BF: Your best show ever? MD: It's always something recent. I played in Boston with a piano player, the Dove Man, who's now in my band. He just blew my mind. He's just this great player who always surprises me. He's immaculate. Plays a Wurlitzer. BF: If not music, if you could no longer be a musician for a living, what else would you do? MD: I really don't know, man. You know, I've written for a bunch of years, but I couldn't picture doing anything else. I've said I want to run away and join the office sometimes. I think all musicians feel that from time to time. But law school, the office, I don't think I could do it. This is my lot, what the universe wants me to do. BF: How's the Mike Doughty Band going to compare to Soul Coughing? MD: When I put Soul Coughing together, I was listening to Tribe Called Quest. That was the basis as I invented it. This is more organic in a way, more in the rock realm than in the dance music realm. It's also melodic, where Soul Coughing was very dissident. BF: What do you miss most about Soul Coughing? MD: About Soul Coughing; What do I miss? I don't really miss a lot, to be honest.
Maritime, Adios, 2003, FOREIGN LEISURE RECORDS. By Amy McCullough The Promise Ring and The Dismemberment Plan's breakups left an echoing "boo-hoo" throughout the indie community, but Maritime has come to dry our collective tears. Uniting Promise-Ring/Vermont members Davey VonBohlen and Dan Didier with the Dismemberment Plan's Eric Axelson, Maritime's five-song EP, Adios, gives listeners just enough pop-bliss to whet their palate for the full-length due out later this year. The record starts off more in-your-face than expected with a punk drumbeat that literally "pops," and bright, blasting trumpets on the title track. You'll probably listen to the super-catchy second track, "Someone Has to Die," with typical VonBohlen lyrics, ("Our love goes crazy all the time/someone hasta hasta die"), at least five times before you even get to the acoustic, very Vermont "Down to the River." The bouncing on "Birds of Ireland" and its repetitive chorus could easily fit on The Promise Ring's Nothing Feels Good, while the totally laid-back "In Your Arms" is not much more than a Lenny Kravitz rip-off (specifically, "It Ain't Over 'Till It's Over"). An outstanding debut EP, Adios is a great collection of pop songs, but it serves the double purpose of reuniting some dearly missed indie rock legends.
Playa haters, bling-blingers, and chicken-heads please exit the building. Real hip-hoppers take a deep breath of fresh air, because the People Under the Stairs have come to save the day. The PUTS' third album, O.S.T., has proven to be their most noteworthy and consistent album yet. PUTS provides us with that early '90s golden hip-hop sound portrayed by groups like A Tribe Called Quest, De La Soul and The Jungle Brothers. With rhymes about hanging out in L.A., drinking with friends or searching for records at a local shop, the PUTS are definitely the antithesis of most of today's rhymes about 24-inch chrome wheels and Gucci suits. Unlike the PUTS' past two CDs, which were heavy on the skits and only contained a few strong jams, O.S.T. is packed with over a dozen bangin' anthems on a CD with 20 tracks. Some of the highlight songs are "Acid Raindrops," "L.A. Song," and the really old school sounding "Hang Loose," which is sure to bring back memories of hip-hop's glory days. So for those of you who think hip-hop died in the mid-'90s, relax, because the PUTS are takin' us back in time!
On his first album since 1997's Maladjusted, Morrissey spins a tale of domestic bliss that can best be compared to John and Yoko's Double Fantasy. The Sheryl Crow backing vocals on track four are brilliant, but the real high point is "Little Liam," a six-minute lullaby to Morrissey's infant son that ends with a triumphant solo by Eric Clapton. You don't believe a word I'm saying, do you? At this point, Morrissey is like "Star Trek" or George W. Bush: You're either into him or you're not, and nothing's changing your mind. If you're a fan, you'll find plenty to enjoy: The songs are full of hooks; the production is vibrant and Morrissey's singing is the best it's ever been (Smiths included). Granted, most of the lyrics read like they were written by a 19-year-old virgin, but complaining about Morrissey's gloomy wit is like saying that Michael Franti is too political. What else is he supposed to do? Get married?
Tim Parker, aka "The Gift of Gab," is best known for his role as emcee in the explosive Bay Area hip-hop group Blackalicious, composed of Gab and deejay Chief Xcel. After more than a decade of collaborating with the Chief and several other Quantum label-mates, Gab has released 4th Dimensional Rocketships Going Up, his first solo effort. Anyone familiar with Blackalicious' music knows that Gab uses his voice as an instrument to release explosions of energy and uplift. Gab's solo project holds true to that sentiment as his melodic raps flow smoothly over rich beats provided by producers Vitamin D and Jake One. "Way of Light" platforms Gab's ability to provide soulful background vocals behind a relaxed flow full of intricate rhyme schemes and lyrical meditations. "Ride On," among several other tracks, features Vursatyl, a member of Portland's own Lifesavas. Gab and Vursatyl collaborate to form soulful harmonies without shying away from using tag-team battle rhymes in their track "Real MCs." Put The Gift of Gab over any beat and he will dominate it with his microphone presence and ability to rap. Put The Gift of Gab over consistently strong and well produced beats and you have 4th Dimensional Rocketships Going Up, an album bound to impress Gab's old fans and create new fans alike.
BEANERY BLACK FOREST CAFE PARADISO CLUB ROCK COFFEE GROVE COOPERATIVE COUNTRY SIDE RESTAURANT COZMIC PIZZA@THE STRAND All
Ages DIABLO'S
DOWNTOWN LOUNGE DUCK INN EARLY RISE CAFE EMBERS SUPPER CLUB EUGENE WINE CELLARS GOOD TIMES JOE'S BAR & GRILLE JO FEDERIGO'S MO: Funky Monday open mic--7, Skip Jones--8:30; Hammond organ TU: Barbara Dzuro Jazz Piano--8:30 WE: Jon Fiori Group--9; Jazz JOGGER'S BAR & GRILL
JOHN HENRY'S JUANITA'S HIDEAWAY THE JUNGLE
LAVELLE'S WINE BAR & BISTRO LONE STAR BAR AND GRILL LUCKEY'S CLUB CIGAR LUNA MAC'S AT THE VET'S MORNING GLORY CAFE MULLIGAN'S PUB THE O BAR OREGON ELECTRIC STATION OUR PLACE TAVERN OVERTIME TAVERN PEABODY'S PERUGINO PLANET GOLOKA QUACKER'S RAMADA INN SAM BOND'S GARAGE STACY'S COVERED BRIDGE TAP 'N' KEG TAYLOR'S BAR AND GRILL TINY TAVERN TSUNAMI THE WONDERLAND WOODSMAN GRILL
WOW HALL All Ages
CORVALLIS BEANERY FOX 'N' FIRKIN MURPHY'S PLATINUM
|
|
||||||||||||||||||||||||||||||
|
|
||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||
|
|
 |
|||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||
People
Under the Stairs, O.S.T.,
2002, OHM RECORDS. By Nick Weston
Morrissey,
You are the Quarry, 2004, ATTACK/SANCTUARY
RECORDS By Kris Bluth
The
Gift of Gab, 4th Dimensional Rocket Ships Going Up,
2004, QUANTUM PROJECTS.
By Jesse Dungan
