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Nashville
Skyline Amelia White's cover photo for her 2004 EP Candy Heart shows her leaning against a beat-up old Buick, her cherry red top zipped down low and legs stretched out in front of her. I wanted to tell you that it's not the kind of pose and pretense befitting a mature woman.
But Amelia White won't say how old she is, so that's shot. And with her spiky red and orange hair, horn-rimmed glasses and girlish-yet-muscular voice, I came to accept the photo as fitting the country songstress, propriety be damned. "I don't think [my age] bears too much upon my music," she said. Does playing music keep her young? "Oh, yeah!" she said, and added, "I'm definitely old enough to know better, but young enough to do it anyway!" Virginia-born White spent 12 years as a Boston-based singer, then relocated to Seattle, where Tucker Martine produced her 1999 debut Comes and Goes. Seattle re-inspired her but also left her feeling isolated. It's harder to find pickup musicians there, and with more miles between major cities, touring is harder. "I started to feel that Seattle wasn't the best place for me," she said. After relocating to Nashville, she followed up with 2002's Blue Souvenirs. Next came Candy Heart, a CD refreshingly lacking in the "Nashville polish." It's not spit-shined like Shania, nor dolled-up and feminine like Faith Hill. It lets White's scruffy, street-smart attitude come through over tunes that flow like Lucinda Williams' best. White said Candy Heart is an expression of the primal sides of life. "The theme of Candy Heart is a lot about sex and sexuality, the shadows of love and a little bit about worship," White said. The tune "Candy Heart" has her crooning, "I like variety" and "smoke my candy heart" with a chorus of "la la la's" and little yelps of pleasure. It's enough rock to keep your attention, enough twang to be country and enough sexy groove to keep your hips shaking. The beautiful "River" makes you want to gaze into your lover's eyes and slow dance. She sings, "Ride on down the river with me. I'm not sure where we're going, but I know we will go." The CD's opener, "Windowpane," sounds like an upbeat Car Wheels on a Gravel Road (Lucinda Williams) outtake, with White singing about hoping her love returns to her, but knowing she'll be OK if he doesn't.
Keller
Comes to Town Using unique tape loops and electronic effects in his live sets, Keller Williams creates a multi-dimensional sound that masks the complexity behind this whimsical soloist.
It started out of necessity. "I couldn't afford other players," Williams explained over the phone from his home in Fredericksburg, Va. So he learned to create the full sound of a band. By himself. No splitting the pay at the end of the night. No group dynamics. Just Keller and his amazing show. He makes it sound easy. Despite the horrible array of things that could go wrong while performing live (push the wrong button or kick a power cord and the audience gets treated to a verse of silence), Williams executes the process seamlessly. To explain Williams' audio illusions, you have to start with his variety of instruments, both digital and acoustic. He performs with a massive arsenal of guitars including a specially designed eight string guitar, which provides the normal sound of an acoustic with the added range of several bass strings. He also plays bass and slide guitar. Apart from that, Williams utilizes a range of MIDI electronics to create the sounds of a variety of rhythm instruments. And throughout the show, he runs his own sound board. "I keep myself entertained," he said. "The more experimental I get the more interesting it is to me." Williams' lyrics along with his range of whistles, beat boxing, and strange duck call noises complete the full band sound. Once a beat is established through several hisses, "whoop" and "bump" sounds, the rhythm is looped and Williams can do what he does best: say funny things. His new album, a live two-disc set titled Stage, captures Williams' genius and personality in his natural habitat, in front of an audience. He does several tongue-in-cheek covers including "Rapper's Delight," "Under Pressure" and "Don't Stop 'til You Get Enough." But on Williams' original "Gate Crashers Suck," his wit shines through. He tells of how one year while following the Dead, his vacation was cut short by a bunch of "gate crashin' stinky bastards." His loyal following, earned through long tours with groups such as the String Cheese Incident, will relish in another chance to catch Williams' unique live performance. And if you're standing outside the McDonald Theatre on the day of the show after tickets sell out, remember, there was a time when Williams played to a disinterested crowd at Sam Bond's.
Binge
On Folk Music The term "binge" is usually used in connection with unhealthy eating, drug use or drinking. But in epicurean terms, music can also be pursued with such fervor. With that said, music lovers, get ready for a healthy three-day folk binge.
Bluegrass fanatics cometh as Sam Bond's Garage welcomes the raw, backwoods sounds of the Shiftless Rounders on Thursday, Feb. 10. The Vermont duo Phill Saylor Wisor (banjo) and Ben Sidelinger (dobro) layer twangy vocal harmonies with masterful banjo and dobro plucking. Their most recent release, the aptly titled Ghost in the Radio, is like listening to old Folkways records through an ancient Victrola. Featuring their producer, Jim Armenti, on clarinet, "Big Round Moon" evokes images of Benny Goodman and Townes Van Zandt sipping mint juleps at twilight. Armenti adds an almost time-in-a-bottle quality to the Rounders' brand of rootsy folk music. Their picking work is next to virtuoso. And even if you're not into the twang, there's that historical dimension, that old Americana flavor in this music. Lyrically, the duo embodies a listless, introspective darkness, offering honest and vivid stories you just don't get in music these days. Fans of Palace Music, Smog or even Eugene's own Mikah Sykes will enjoy the Shiftless Rounders. Next stop on our folk music jaunt is Café Paradiso, Friday, Feb. 11 for the Irish music duo Matt and Shannon Heaton, a mix of traditional Irish and American styles. Shannon's timber flute melodies are sharp and extremely dynamic, as she showcases the instrument's diverse range. On the song "F Stop," from the Heaton's latest CD Dearga, Shannon zips through dozens of notes in a matter of seconds. Even at a heightened pace in songs such as "Three Days to Go," her sound remains gentle and serene. Matt Heaton, a classically trained guitarist, builds an important backbone with his sturdy guitar and dobro strumming. Together the two create music with a spiritual synergy that shines through. Winding things down on Saturday night, Café Paradiso is again the place to be as acoustic warrior Keith Greeninger and special guest Nini Camps offer one final dose of folk. Somewhere between Kenny Loggins and Michael Bolton, Keith Greeninger's music has an epic, dramatic quality to it. His powerful, robust voice showcases a kind of drawl and vibrato you hear a lot in modern adult-contemporary country music and makes you feel as if something immensely important is about to happen. His second CD, Back to You, features songs that everyone can relate to, tackling issues of social injustice, hard times and love. A storyteller in song, Greeninger paints masterful portraits of humanity in both its splendor and strife. The incessantly touring Nini Camps is a self-proclaimed road warrior. Her fierce live performances showcase her diverse ability behind the guitar, utilizing slides and effects pedals against a variety of hard-hitting rhythms. Her debut CD, Lovepie, rages with a folk-rock sound comparable to the likes of Ani DiFranco. Her vocal depth and range is the highlight of tracks such as "I Thought You Knew." She is touring in support of her new EP Drivin You Out.
Roots,
Rock, Reggae On Saturday, Feb. 12, John Henry's and Oregon Hillel welcome the hottest Jewish reggae singer around: Matisyahu. 'Scuse me? Yes, Matisyahu Miller is a Hasidic Jew from Brooklyn, with the curls, black hat and beard, and he sings reggae in perfect Jamaican patois. In fact, he also does an exceptional beat box! This modest, 24-year-old former hippie, who actually lived in Bend for a few years, has performed on the Steve Harvey Show, Jimmy Kimmel live and Last Call with Carson Daly. If you need more testament to his talent as a reggae vocalist, he recently sold out the Knitting Factory in NYC. Much more than a novelty, Matisyahu successfully integrates his knowledge and love of reggae music with his love for Judaism. It's not much of a surprise that this devout Jew would seek out reggae as his vehicle for relating his faith. After all, because of its roots in the Rastafarian religion, reggae often revolves around subjects of spirituality. Regardless, anyone can appreciate his talent and passion. He will perform with a three-piece band and DJ Kal El from John Henry's. Reggae vs. Hip Hop night will open the show. – Steven Sawada
AX BILLY GRILL & SPORTS BAR BLACK FOREST CAFE PARADISO CLUB TSUNAMI COFFEE GROVE COOPERATIVE COUNTRY SIDE RESTAURANT COZMIC PIZZA@THE STRAND All Ages DA HOUZE DOWNTOWN LOUNGE DUCK INN EMBERS SUPPER CLUB EUGENE WINE CELLARS GOOD TIMES HIDEAWAY LOUNGE JAKE'S PLACE JO FEDERIGO'S JOE'S BAR & GRILLE JOGGER'S BAR & GRILL
JOHN HENRY'S LATITUDE 10 CAFE 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 SHER'S TAVERN STACY'S COVERED BRIDGE SWEETWATER'S TAYLOR'S BAR AND GRILL TINY TAVERN VET'S CLUB BALLROOM WETLANDS
WOW HALL All Ages YUKON JACK'S CORVALLIS AJ'S BOMBS AWAY CAFE FOX AND FIRKIN MURPHY'S PLATINUM NIGHT CLUB TOM'S PEACOCK
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