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.
Just as the arrival of shorter, cooler days signal autumn, the arrival of some big names, at least in the little world of classical music, tells us that the 2014-15 classical music season is underway. The Sept. 28 Eugene Symphony concert featuring the legendary violinist Itzhak Perlman playing Beethoven’s majestic Violin Concerto offers a chance to see one of the last of the really big-name classical soloists (there’s Yo Yo Ma and not many others left) who can fill up a venue as cavernous as the Hult Center on reputation alone.
Among guitarists, if not across the wide world, Dave Rawlings is recognized as a stylist of the highest order, a folk traditionalist who is also a supreme innovator. For evidence of what this man can do with his 1935 arch-top Epiphone, witness “Revelator,” the first track on 2001’s Time (The Revelator) by singer and songwriter Gillian Welch, with whom Rawlings frequently collaborates.
Bay-Area singer-songwriter Sean Hayes released his last album, Before We Turned to Dust, in 2012. Dust is an engaging collection of indie folk and soul — cooler than skinny-dipping off the Northern California coast. Since then, Hayes tells EW via email, he’s left San Francisco, had another baby and began work on Dust’s follow-up.
Many are saying that Mad Decent Block Party is going to be the biggest, bestest music event of the (end of) summer. Tickets have been sold out for some time for this all-star, all-boy “block party” boasting some of the leading names in a scene all the cool kids are talking about: EDM.
For sisters Leah and Chloe Smith of Rising Appalachia, there was no “aha” moment when they realized they could sing. They simply grew up doing it. “Our family was very musical and our mother used to sing harmony notes into our ears so we would begin hearing the many layers of sound organically,” Chloe Smith says. “She also had a fantastic women’s singing group meet at the house once a week for years for simply the joy of singing in harmony, and Leah and I sat in with them as late teenagers to try out our own voices.”
Whatever you might think Fly Moon Royalty sounds like because of their odd-couple image, ignore it. This duo surprises with frenetic soulful performances; they get down like it’s 1953 — before TV was in most American living rooms. “Back in the day you could have an ugly motherfucker singing like an angel on the radio, not needing to look like a movie star,” says Mike Sylvester, producer and MC for the Seattle duo. Adra Boo fills out the act with upbeat vocals.
It’s hard to believe that the band that helped to give voice to the fertile musical ground of Laurel Canyon, California, in the late ’60s is still going strong. There must have been something in the water back then.