Category Archives: Music

The Del-Lords rock in return to St. Louis

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The Del-Lords are (from left) Steve Almaas, Scott Kempner, Eric Ambel and Frank Funaro.

By Barry Gilbert

The Del-Lords brought their A game to St. Louis on Oct. 18. But they ended up playing before a too-small crowd, an unfortunate consequence of the Cardinals finishing off the Dodgers to win the National League pennant just three miles down Broadway at Busch Stadium.

No matter. The lucky three-dozen or so at the Off Broadway music venue who kept their ears focused on the music (and one eye on their cell phones for the score) were amply rewarded. The reunited Del-Lords performed as if the room was full, swaggering through a 14-song set that included a healthy selection from their initial run in the ’80s, a few from this year’s “Elvis Club” CD and a couple of killer covers.

It was the kind of show that reinforced why I love rock ‘n’ roll. As Del-Lords guitarist Scott Kempner says, quoting his friend, the music legend Dion DiMucci: Two guitars, bass and drums; it worked then, it works now.

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Mandolinist Jeff Austin is honest with himself

 

Jeff Austin

By Barry Gilbert

Jeff Austin’s career path was set. He was going to a college conservatory of music, taking acting and dance, and auditioning for shows. Next stop: Broadway. Then, after 100 or so Grateful Dead shows, he decided he’d rather play in a band. Trouble was, he barely played guitar.

That was 21 years ago. Now 39, Austin is an accomplished mandolin player and a founding member of the Yonder Mountain String Band. He is branching out with an upcoming solo project, and he’s bringing a side band, the Here and Now, to the Old Rock House in St. Louis on Sept. 4.

The Here and Now, Austin says, is and will be what its name implies: Jeff Austin and whoever is available and willing to play with him at any particular time. For this tour, his bandmates include banjo magician Danny Barnes, guitarist Larry Keel and bassist Jenny Keel.

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Billy Gibbons Q&A: ZZ Top is still bad and nationwide

ZZ Top (from left): Frank Beard, Billy Gibbons and Dusty Hill
ZZ Top (from left): Frank Beard, Billy Gibbons and Dusty Hill

By Barry Gilbert

A chance to interview Billy Gibbons of ZZ Top? Hell, yeah.

Unfortunately, Gibbons is not crazy about doing phone interviews, so we had to settle for an email exchange. That’s good, because it sure is easier. But that’s bad, because there’s no give and take, followup questions or a chance to salvage unresponsive answers. (Not that Billy really did that.)

That little ol’ band from Texas has been on the road for 43 years, and that road was taking it to St. Louis on Aug. 24. A concert advance based on this interview for the St. Louis Post-Dispatch can be found here.

Following is our email exchange, with editing only for punctuation and clarity.

BG: I’m sure you get asked this every day, but here it is again: How is it possible for a band to be together for so long with no personnel changes, no breakups and reunions, no tabloid dirt dishing? How do you all handle conflict?

Gibbons: First, and foremost, we embrace the continual good time doing the ‘whatever’…! We like to keep on keepin’ on with, as we like to say, ‘the same three guys and the same three chords.’ Maybe it’s that we’re a trio as it’s an odd number (very odd in our case) so no ties in the case of a vote. We like playing and recording, so no reason to stop. OK, most bands break up and, inevitably, get back together, so if you’d like to think of the past 10, 20 or 30 years as a ‘reunion tour,’ feel free to do so.

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Dwight Yoakam’s generous Pageant show spans genres

Dwight Yoakam performs at the 42nd Annual Songwriters Hall of Fame Awards in New York on June 16, 2011. Associated Press file
Dwight Yoakam performs at the 42nd Annual Songwriters Hall of Fame Awards in New York on June 16, 2011. Associated Press file

August 19, 2013 12:53 pm

By Barry Gilbert
Special to Go! Magazine

To call Dwight Yoakam a country singer really doesn’t do him justice. If that were strictly true, Johnny Cash’s classic “Ring of Fire” wouldn’t have the sound and rhythms of T Rex’s classic “Bang a Gong” when played by Yoakam and his hard-rocking band.

As Yoakam told the Post-Dispatch in the days leading up to Sunday night’s concert at the Pageant, genre is something music marketers worry about, “but it’s not a boundary for musicians.”

And that was true throughout the generous 32-song, two-hour-plus show. “Trying” from last year’s “3 Pears” CD, rode on Jonathan Clark’s bass line and rhythm, which would be at home on many a Memphis soul record. Other songs took on a similar vibe with washes of organ by multi-instrumentalist Brian Whelan.

Another new song, “Rock It All Away,” was built on power chords any rock fan would love, and early Elvis Presley hovered over the stage during a cover of “Little Sister” and in the Jordanaires-like background vocals of “Always Late With Your Kisses.” (Missing was his rave-up cover of Elvis’ “Suspicious Minds.”)

Continue reading at stltoday.com

Dwight Yoakam Q&A: Guitars, Nudie Suits Etc. Etc.

Photo by Emily Joyce
Photo by Emily Joyce

By Barry Gilbert

Country music star Dwight Yoakam is spending the summer reconnecting with fans on a tour that takes him to a mix of venues, from theaters and festivals to state fairs and casinos. It’s a variety he appreciates, but he’s especially partial to festivals, having played Cheyenne (Wyo.) Frontier Days, Bonnaroo in Tennessee and Stagecoach in California, among others, already this year.

I caught up with him late last month while he was home in Los Angeles for one day, running errands and doing interviews before heading out on the road again. (I wrote an advance for his concert in St. Louis on Aug. 18 based on this conversation for the St. Louis Post-Dispatch.)

We talked about a variety of subjects, from geeky guitar stuff to Western music fashion to the future of music distribution. But we started off with “3 Pears,” his latest album that came out last fall and landed him atop the Americana chart for eight straight weeks, a big change from his days as a hitmaker on mainstream Country radio.

Here is a transcript of that 44-minute interview, edited for length and clarity:

BG: Let’s start off with “3 Pears.” It’s been nine months, I guess? It was a smash on Americana …

DY: Yeah, it was an honor to have that kind of response to it, held the No. 1 spot for eight weeks on Americana radio. I was just elated. In some ways it felt like it was a full circle journey to have this album come out and be received on an alternative format, sort of like the first EP was when I began with “Guitars Cadillacs.”

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Yoakam gives a nod to the Beatles on new album ‘3 Pears’

Dwight Yoakam performs at the 42nd Annual Songwriters Hall of Fame Awards in 2011 in New York. Associated Press file
Dwight Yoakam performs at the 42nd Annual Songwriters Hall of Fame Awards in 2011 in New York. Associated Press file

August 15, 2013 1:45 pm •

By Barry Gilbert
Special to Go! Magazine

Dwight Yoakam was part of what Steve Earle has called the Great Credibility Scare of the late ’80s, when so-called New Traditionalists filled the country radio charts post-“Urban Cowboy” and pre-Garth Brooks. But Yoakam’s career has been anything but traditional.
A Kentucky native reared in Ohio, Yoakam was embraced by Los Angeles roots rockers and punk rockers despite channeling the Bakersfield vibe of country icons Buck Owens and Merle Haggard. Even while racking up hits on mainstream country radio, his music drew from other genres and was unlike most of what was being played.

Most recently, after spending some time on independent labels, he returned to his original home at Warner Reprise — but to the label’s Nashville office, where expectations turned upside down again and he became a hit on the Americana radio chart.

Continue reading at stltoday.com

The Band Perry makes songwriting a group effort

(From left) Neil, Kimberly and Reid Perry, perform at the Boots and Hearts Canadian Country Music Festival, Saturday, August 3, 2013, at Canadian Tire Motorsport Park in Bowmanville, Ontario.  The Canadian Press Images PHOTO/Boots and Hearts Music Festival
(From left) Neil, Kimberly and Reid Perry, perform at the Boots and Hearts Canadian Country Music Festival, Saturday, August 3, 2013, at Canadian Tire Motorsport Park in Bowmanville, Ontario. The Canadian Press Images PHOTO/Boots and Hearts Music Festival

AUGUST 15, 2013 9:00 AM

BY BARRY GILBERT
SPECIAL TO GO! MAGAZINE

The sibling country group the Band Perry has had some dramatic successes, with five hit singles from its first two albums. Yet the song that has taken on a life of its own — “Pioneer,” the title track from the group’s sophomore release — is not one of the singles.

Lead singer Kimberly, 30, bassist Reid, 24, and mandolinist Neil, 23, finished the song with their friends the Henningsens, another family band (this one a father-daughter-son combo). But the song and the album had its birth on a hilltop in Santa Fe, N.M., where the trio stopped on a Nashville-to-California road trip.

They sat down, took out their guitars and started working through “the questions that were in our head at the time,” Neil Perry says, speaking with his brother and sister from a tour stop at Frontier Days in Cheyenne, Wyo. The Perrys and Rascal Flatts play Friday night at Verizon Wireless Amphitheater.

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Curtis McMurtry, third-generation storyteller, begins his journey

By Barry Gilbert

curtis mcmurtry Jul 27, 2013 9-39 PM About six years ago, Kelly House Concerts in St. Louis presented Justin Townes Earle, a young man who was all but unknown save for his famous last name. On Saturday night, KHC presented Curtis McMurtry – son of musician James, grandson of novelist Larry – and it will be interesting to see whether this young college grad travels a career arc similar to that of the son of Steve Earle.

It shouldn’t be ruled out. As with the Earle show, a small audience of about 30 gathered in Kelly’s listening space, drawn by the enthusiasm of the hostess and curiosity about McMurtry. Would his voice hint of the droll, deadpan delivery of his dad? Would his songs convey details of time and place like the writing of both dad and granddad?

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Having a wild weekend: Dylan, Gangstagrass, Ian Anderson & more

By Barry Gilbert

We endured nine hours of traffic hell on our way to Chicago on Friday, a trip that should have taken six hours tops. Every time I was tempted to bail from the 5 mph-lanes of misery, I kept myself on track by repeating: “But we’re going to see Bob … we’re going to see Bob … we’re …”

Dylan’s unfortunately named AmericanaramA tour stopped at Toyota Park – and really, what more can be added irony-wise to a celebration of American roots music held in a suburban Chicago soccer stadium on a stage flanked by two giant pedestals topped by full-size vehicles made by a Japanese car company?

What we thought were great seats – field level, first section, stage right – weren’t so much, thanks to acres of standing room between us and the stage. That made it tough to see anything – and we were “close.” And there were no video screens.

Because we were two hours late, we missed the great Richard Thompson and My Morning Jacket, arriving during setup time for Wilco.

But Dylan was worth all the torture. Some people began to walk out after the third song, offended by the artist’s gravel-ravaged voice or not recognizing rearranged classics as well as the new songs – but, well, at this point what did they expect? The funny thing is, Dylan had more than a few moments when his voice veered toward the gentle – if not “Nashville Skyline” Dylan, then the expressive instrument displayed on “Tempest,” his newest album.

And keeping with Dylan’s penchant for expending no effort whatsoever to overtly please anybody, the majority of the songs in his 15-tune set were from the relatively recent past, leaning heavily on last year’s “Tempest” for gems such as “Duquesne Whistle” and “Early Roman Kings.” “Beyond Here Lies Nothin’,” from 2009’s “Together Through Life,” was a highlight, delivered with some edge and anger.

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Sidesaddle pianist Marcia Ball still loves those roadside attractions

Marcia Ball

(This interview was conducted in advance of a Marcia Ball show scheduled for July 7, 2013, at the Old Rock House in St. Louis. Alas, the show was cancelled by the venue.)

By Barry Gilbert

Over almost four decades, a lot of amazing, funny and just plain weird stuff has floated by the windows of Marcia Ball’s tour vehicles. And the Texas-born and Lousiana-reared roadhouse R&B singer and pianist has stopped and gawked at most of them.

Among them, as chronicled in her song “Roadside Attractions,” are a concrete dinosaur, Jesus in a screen door, a blue ox, chimney rocks, two-headed livestock, “Alligator Jumparoo,” the corn palace, the fair in Dallas, redwood trees, a giant strawberry, a 2-ton ball of string, snake farms, longhorns and rock star millionaires.

And, Ball says, a telephone booth.

A telephone booth?

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