In the world of bluegrass music, tradition is king. This makes Grammy-winning mandolin player John Reischman’s 2013 release Walk Along John something unique: an album of twelve Reischman originals, two covers and a collection of neo-traditional tunes.
What better way to celebrate the passing of Measure 91 than warmly welcoming the chart-topping roots-reggae band Fortunate Youth, whose sponsors include RAW Rolling Papers and Cannabliss Clothing and whose merch includes T-shirts emblazoned with “Love is the Most High.”
The music oozed by Radiation City is so warm and romantic that it’s a bit tedious to see the Portland band categorized time and again as indie rock, a genre that at times feels like it’s been hijacked by aloof, sullen drones.
“Everyone loved The Milkmen in the early ’80s — the blues-ers, the punkers” says Dan Schmid, bass player for legendary Eugene band the Cherry Poppin’ Daddies. On Nov. 15, The Milkmen are reuniting for a one-night-only performance at Mac’s Restaurant at the Vet’s Club in Eugene. “It’d be nostalgic for sure,” Schmid continues. “[The Milkmen] were great. They rocked!”
Jake Smith, the singer-songwriter and mastermind behind L.A.-based trio The White Buffalo, sings in a rich, oatmeal baritone. And White Buffalo’s 2014 release, Shadows, Greys & Evil Ways — a loose concept record based around the characters Joe and Jolene — is a fitting backdrop for Smith, who looks like a Viking from Texas.
Before discussing indie-rock siren Frankie Rose, one must ask: Which Frankie Rose are we talking about? The founding member of garage-rock acts Crystal Stilts, Dum Dum Girls or Vivian Girls? Or the Brooklyn-based songwriter rumored to be related to legendary hard rocker and mouthpiece for Guns ‘n’ Roses, Axl Rose?
People who worry about classical music’s future point to its aging, dwindling audiences; stale, predictable repertoire (the same old pieces by the same old long-dead European composers); stuffy atmosphere (tuxedos! No unauthorized clapping!); dull, rote performances. Then come glimmers of hope like PROJECT Trio.
Sample “Till It’s Gone” from Southern rapper Yelawolf’s yet-to-be-released Love Story, and you might be surprised — first by the rich, oaky acoustic guitar line that kicks the track off and next by what the bluesy, looping arpeggios recall: the piano figure introducing Nina Simone’s classic “Sinnerman.”
From Ella Fitzgerald to Sleater-Kinney to Beyonce, women have been rocking the music world for as long as their XY counterparts. Too often the accomplishments of female musicians are overlooked, but in November, they take over Eugene once again for the Grrrlz Rock festival — a month-long concert series celebrating and showcasing Eugene’s rising female artists. For the full lineup visit wkly.ws/1u2, but be sure to check out these five kickass acts:
At this point it’s a local tradition: “We play a costume party in Eugene every year,” says Miss Alex White of the Chicago-based rock ‘n’ roll brother-sister duo White Mystery.“White Mystery loves the people of Eugene, its punk-rock spirit and great food.” White Mystery also loves Halloween: “Halloween,” White jokes, “means White Mystery Airheads, group costumes and my half birthday.”
If you like artists whose genre is tough to peg, then Caravan of Thieves should be right up your alley. Not only does the band combine elements of gypsy jazz, swing and folk music, but they also add a bit of Vaudevillian theatricality to their live shows. A Caravan of Thieves concert is sure to be something you have never seen before — even if you have seen them before.
I’ve never been to Austin, Texas, or Athens, Georgia. But one day I hope to, and when I do I think the music of Alejandro Escovedo and Peter Buck — two musicians closely associated with these cities — will soundtrack my trip.
Katie Goodman looks the part of the cool kid next door, but she’s a bona fide nerd. Her song “Storm’s End” is a Game of Thrones reference, as revealed in a recent “Ask Me Anything” Q&A on Reddit. “When we made that song, I thought it sounded like an evil surf song, which would be perfect for the Ironborn,” Goodman writes.
What’s all that orange and black we’re seeing everywhere these days? Could it be … Beavers? No, it signals something even scarier: tubas! The brass wind instruments and other annual Halloween happenings are now invading Eugene music stages.
Google the name “Russian Red” and you’ll come up with numerous links directing you to cosmetic shops. That’s because Russian Red is the stage handle of Lourdes Hernández, a Spanish woman who took the name from her preferred lipstick color.
Phish hasn’t played Eugene since 1994. Hard to believe, but look it up: It’s true. One might think inheritors of the Grateful Dead’s status of jam-band Grand Poobah would go along with Eugene like Tevas and Odwalla. But alas, nary a tour stop here for 20 years.
The cliché says musicians blaze bright and burn out fast. But some musicians, like Loudon Wainwright III, simply persevere. In the business since 1970 but not exactly a household name, Wainwright is a storytelling lyricist not constrained by the folk idiom (or any idiom, really). He’s a pop songwriter with a quirky personality and a dark sense of humor, and a musician deeply schooled in American music history but without reverence for any of it.
Oregon’s greatest composer, the late Lou Harrison, often explained the difference between the music written on the American East and West coasts. “Out there” — meaning the East Coast — “you think of Paris and Berlin as cultural centers. Here we think of Tokyo and Djakarta,” he said. “We have a very strong connection with Asia. This is Pacifica, that’s Atlantica. They’re different orientations. I don’t think that there is a composer in the West who is not aware of that.”
After bursting onto the music scene in 2013 with a stellar self-titled debut, New York-based The Lone Bellow are now preparing for the follow-up. And while the dreaded “sophomore slump” torpedoes the careers of many bands, guitarist and lead vocalist Zach Williams isn’t worried about the new album.
When it comes to indie rap, few MCs boast the candid storytelling of Brother Ali. The rapper sees himself as a messenger of hope, faith and belief. Some of his songs are about the art of rapping. Others are autobiographical; some are pure poetry.