Acoustic Americana Music Guide, July 1 to 13 (and events way beyond)
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Acoustic Americana!
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…is where Melody’s at the wheel with Harmony beside her
and rhythm never rides alone.
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It’s blues and bluegrass and songs of the sea,
Pickin’ and grinnin’ and do-re-mi.
It’s songs of the cowboys, the mountains and plains,
Of border rancheras and the wind and the rain.
It’s Cajun and Celtic and Quebecois,
From fais-do-do to fa-so-la-ti-da.
It’s nights on the desert beneath a carpet of stars,
Step-dancing Cape Breton and whiskey from jars.
It’s a buncha damn songwriters with something to say,
In search of sweet notes to polish and play.
It’s new, old, trad – even alt-and-post- folk,
Finding your smile when you’re down, and you’re broke.
It’s Beethoven’s Ninth with its fine Ode to Joy,
Bob Wills and Gene Autry and Trigger and Roy.
It flows with the water, it’s the river at Memphis,
The music of protest and finding consensus.
It’s the Appalachian hollers, it’s washboard and spoons,
Harmony and shape note and singers who croon.
It’s good-time old-time and ragtime and horns,
And a New Orleans anthem, sweet and forlorn.
It’s Django gypsy jazz, and tunes from the prairie,
Songs from the barn dance, the farm and the dairy.
The Rockies, Adirondacks, the Sierras and Cascades,
The bayou and the flatboat and Sand County ‘fore it fades.
It’s the underground miner and the hammer of John Henry,
And disaster in the coal mine and the bosses and the gentry.
It’s echoes of Ireland and Scotland and Wales,
The plaintive steam whistle and ridin’ the rails.
It’s jigs and it’s reels with a quick pennywhistle,
A washtub bass, a dulcimer, and skiffle.
It’s walking the towpath with a mule named Sal,
Among the far-flung boatmen of the Erie Canal.
It’s Mississippi paddle wheelers’ tall fluted stacks,
And John Hartford, Steve Goodman, and ol’ Ramblin’ Jack.
Howlin’ Wolf and Robert Johnson, Big Bill Broonzy and Blind Blake,
Odetta, Muddy Waters, oh those blues that ease the ache.
Maybelle Carter and Jean Ritchie, Jimmie Rogers, Bill Monroe,
Woody Guthrie, Utah Phillips, Kate Wolf and Julie Gold,
Harry Chapin and Jim Croce and Nicolette Larson,
Dylan and John Denver, and we can’t forget Gram Parsons.
Civil Rights in Alabama, water fountains in the South,
The songs that give you courage just to open up your mouth.
It’s inspiration, lamentation, age-old dreams and wants,
And it’s the right-now relevance of the acoustic renaissance.
Sally Goodin wears a yellow ribbon playing Garry Owen,
Dan Navarro sings the songs that he wrote with Eric Lowen.
It’s an ode, it’s a ballad, it’s a tribute that exalts,
A two-step, a polka, a round dance, a waltz.
It’s accordion, melodeon, harmonica, and strings,
A French hurdy-gurdy and a wooden flute with wings.
It’s Acadian and Texican, Norwegian and Canadian,
Hawaiian and Italian, wanderin’ and American.
It’s the Maple Leaf Rag and the blooming purple sage,
The sound of labor’s struggle for a living minimum wage.
It’s a roomful of fifty for a coffeehouse evening,
A farewell at the station when a soldier’s train is leaving.
It’s banjo and fiddle, mandolin and guitar,
For a front porch jam or a dark sawdust bar.
It’s stage lights and cheering and a thousand people dancing,
Or the sound of one pure voice that doesn’t need enhancing.
It’s piano and a spotlight on a player and a song,
The rhythm of the rails when the journey’s cold and long.
It’s an anthem sung for peace and a song of awkward love,
The eagle in his majesty, the poise of the dove.
It’s irreverent, it has grace, it’s timeless, it’s disposable,
It rallies realization the intolerable is opposable.
Passionate expression, and sharable reality,
Genteel and bohemian, house concert hospitality.
The magic of a festival, stretched-out on cool, green lawn,
Adjourning to a campfire, making music until dawn.
It’s hillside bowls and gardens, parks and concert halls,
Band shells and gazebos, late spring to early fall.
It’s summer ’neath the soaring pines, a six-string at the beach,
Pure exhilaration with the highest note you reach.
It’s composers and arrangements, it’s homegrown words that rhyme,
Classical that’s accessible from anywhere in time.
It’s friends who inspire our songs, since nothing is autonomous,
And gratitude for muse’s gifts, and that writer named Anonymous.
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– Larry Wines, (c) © 2010
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And here in the Guide, it’s all that, and it’s clubs, coffeehouses, concert halls, showcases and jams, music in venues large and small, indoors and out, song circles, open mics, contests and camps, conferences and workshops and artist confabs, acoustic music played live on radio & TV, and it’s right here, in the most complete acoustic music preview and venue directory anywhere, and it’s all yours and it’s all ours and it’s all everybody’s, and it all awaits you, right now in the Guide!
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Let’s start, as always, with this week’s News Features
(then, all the events are in the complete edition).
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Tied to the Tracks
ACOUSTIC AMERICANA
MUSIC GUIDE
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July 1 through 13 edition (+ events ALL SUMMER & beyond)
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NEWS FEATURES
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1) “HOW TO WORK THE MEDIA: A WORKSHOP FOR ARTISTS” ON JULY 10
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This workshop is a Guide “Event-Of-The-Week For Artists.” It’s presented by the Western Music Association at the Autry National Center / Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park, L.A. 90027; 323-667-2000; www.museumoftheamericanwest.org.
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Larry Wines, who happens to be the Guide’s editor, is, says the WMA profile, “a master of creating effective press/media materials for artists, including one-sheets, bios, and tools that work. He serves on panels at music conferences, providing knowledge and skills artists can use. Larry teaches ‘how to work the media’ to get radio airplay, paid bookings, coverage (print and electronic), television guest spots, and getting signed to a label.”
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Larry says, “It simply astounds me that an artist will spend money they don’t have, recruiting the best side players and the best sound engineer and hiring the best studio, so they can arrange, record, produce, master, duplicate and sweat blood over their CD – and then they expect that the world will somehow discover it and beat a path to their doorstep. It’s crazy. Yet that’s exactly what most musicians do when they make a new album. Sure, the product must be good, but without knowing how to promote and pitch it effectively, who’s going to hear it that can do something meaningful with it?”
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A consultant to musicians, songwriters, festivals, venues, and the industry, Larry has produced and booked music festivals and benefits for charity. A longtime journalist, he’s written features, investigative pieces, interviews, reviews, and weekly columns for newspapers. Producer and host of the multiple award-winning “Tied to the Tracks” Acoustic-Americana radio program (included among “The Best of L.A. 2006” by Los Angeles Magazine), he’s interviewed and coaxed memorable live performances from hundreds of guests for broadcast and print. They range from established icons with Grammy, Juno, Emmy, Oscar and Peabody Awards and nominations to talented up-and-comers. Longtime editor of the Acoustic Americana Music Guide, he writes a column and the annual “Best of / Top Ten” for FolkWorks magazine. Before that, as a proposal manager, editor and writer, he helped clients win major contracts. These days, his focus is talented musicians in folk-Americana, cowboy, Cajun, Celtic, bluegrass, blues and related traditions, and today’s innovative indie “acoustic renaissance.” Larry emcees the Autry’s annual Christmas show, and at the Topanga Banjo-Fiddle Contest and more.
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The workshop is Saturday, July 10, at 1 pm. Proceeds go to the WMA California Chapter. Tix $20 gen’l; $15 WMA or Autry members; $10 kids age 12 & under.
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2) JULY 4th, THE HORSE, AND A LITTLE OBSCURE HISTORY…
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No, we won’t attempt to re-tell the reason why July 4th became Independence Day, instead of July 2nd, when the Declaration of Independence was adopted by the Continental Congress.
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Instead, we’ll tell you about July 4th and the All-American horse.
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The horse, of course, originated in North America, as did the camel, but both species left over the connection of land masses that existed at various times connecting present-day Alaska to Asia. (Long before Sarah Palin could see Russia from her house.) The horse had sought greener pastures elsewhere, and had to be reintroduced by the Spanish during their conquests of Central and South America. The Plains Indians – who gave us the most iconic images of Native Americans on horseback – didn’t acquire horses until they acquired the descendants of those Spanish horses, through trade and raiding the tribes in surrounding areas until, tribe-by-tribe, they went from nomadic walking hunters to horse culture, from 1740 to the 1790s. Indeed, while Paul Revere was making his Midnight Ride, some bands of Plains Indians were just developing efficient new techniques for hunting buffalo, using their newly acquired horses.
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What’s that got to do with the Fourth of July? Well, the first organized American rodeo was held on July 4th, 1869, in Deer Trail, Colorado. Sure, the Californio vaqueros – under the flags of both Spain and Mexico – had developed the cowboy art and all the equipment we know as “western cowboy.” And the vaqueros had often, and for many preceding decades, held events we would recognize as rodeo-like – and those we wouldn’t, like the infamous bull-and-bear fights. But the roots of the modern rodeo are not credited to the Californio vaqueros, and do not belong to Texas, whose cowboys came much later, which must irk Texans.
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The modern rodeo dates to that July 4th celebration in Colorado. There, the first title of “Bronc Busting Champion of the Plains” was won by a cowboy who successfully “stuck” in a saddle atop a wild equine mass of mane and tail and legs named Montana Blizzard. That cowboy was Emil Gardenshare – an Englishman. On the day America celebrates its separation from England, Emil, and only Emil, didn’t separate from that horse.
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3) “BYRD FROM WEST VIRGINIA” REMEMBERED IN SONG
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When we heard last week of the death of U.S. Senator ROBERT C. BYRD of West Virginia, the man who served in Congress and in the Senate longer than anyone in history, we went immediately to the CD library to listen once again to a song about him.
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That song, “Byrd from West Virginia,” is one of the best of a fine catalogue of originals performed by a band of stellar musicians, I SEE HAWKS IN L.A., (“Hawks” for short, to their legion of fans). It was written by band members ROB WALLER and PAUL LACQUES.
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When the band performed live on radio’s “Tied to the Tracks” a few years ago, host Larry Wines had given them only one “must-do” request, and it was that song, which they included during their performance-interview.
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Musically solid, the song is an honest portrayal of a man with (quoting lyrics) “a stubborn old heart” who was “challenge[d] to see a better way,” and did. It includes Byrd’s origin, “Born in Carolina to a family of miners,” his struggle to get an education during the “Depths of the Depression,” when, unable to attend college, “The valedictorian pumped gas instead.” And it covers his time beneath the sheet of the Ku Klux Klan, when “He burned the cross of Jesus in the West Virginia night,” because “The darkness of America blinded his sight.“ And it reveals the time when “As a young man in congress” he “burned a different light,” earning his law degree with late-night studying, and working with President Kennedy “Before the young president was escorted into history.”
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The song characterizes Byrd’s “fifty years in Washington just passed before his eyes,” and as Californians, were largely unknown here – even as he became an advocate for all the people. That is, until 9/11, “When a reckless new president came calling out for war, old Byrd from West Virginia sang out the score,” and the song’s lyrics then use Byrd’s own words, “The Doctrine of preemption is radical and deadly.”
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Only Senator Byrd from West Virginia and Senator Kennedy of Massachusetts voted against the Bush-Cheney-Rumsfeld / Neo-Con backed invasion of Iraq.
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Thus, the song’s chorus, “A lone voice a-cryin’, a lone voice a cryin’, Senator Byrd.”
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The song, after being performed live for a few years locally and on tour by the band (including in West Virginia), was finally recorded in 2006, and placed on their “California Country” CD. More recently, it’s included in “Shoulda Been Gold 2001-2009.” Buy that album. Both are wonderful, but buy the one that collects songs from all three of their previous CDs, the songs that, indeed, shoulda been gold.
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On the record, lead vocalist and guitarist Waller and multi-instrumentalist Lacques are joined by their band mates PAUL MARSHALL, one of L.A.’s best-known bass players, pedal steel wizard JOHN McDUFFIE, and drummer SHAWN NOURSE.
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RICK SHEA with his in-demand mandolin, and BRANTLEY KEARNS, fiddler extraordinaire and part-time Hawk, both contribute to “Byrd from West Virginia” and other tracks. There are guest appearances elsewhere on the CD, by Grammy nominee LISA HALEY and her blue fiddle, CODY BRYANT and his banjo, standup bass players DAVID JACKSON and VIC KOLER, with DAVE ZIRBEL on pedal steel, plus others.
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We don’t know if Senator Byrd ever heard the song written about him. Larry Wines encouraged the band, when they were on the radio with him, to get a copy of it to Byrd’s office. Fortunately, the rest of us can hear it whenever we want, together with the Hawks other recordings. There’s more, and how to get “Shoulda Been Gold” and their other CDs, at www.iseehawks.com.
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4) PETE SEEGER, AT AGE 91, CONTINUES TO INSPIRE AND CONTRIBUTE
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PETE SEEGER‘s new studio album, “Tomorrow’s Children” (on Appleseed Recordings) is due for release July 27. It brings the first new studio recordings by the iconic folksinger and political activist since his 2008 Grammy-winning album “At 89.” We’re already being told, “It’s like a joyful town picnic.”
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The new CD features 91-year-old Pete as a (global) village elder, assembling his neighbors to appreciate their past and present, to celebrate their triumphs against environmental threats, to swap old and new stories, to appreciate the natural glories surrounding them and to make sure that generations who follow “carry it on.”
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Thus, the indomitable Pete Seeger continues his life’s work of communication and inspiration to action. Wait’ll you see how it manifests.
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When Beacon, NY, fourth-grade teacher Tery Udell began teaching her students about the Hudson River, class sessions became songfests, and where there are songs, there’s Pete Seeger. He became a regular visitor to the kids’ classroom in 2007. The classroom gatherings and performances inevitably led to a series of recordings. These feature Pete, with singer DAN EINBENDER (an on-board educator from the sailing ship “Clearwater”) and musician and CD co-producer (with Dan) DAVID BERNZ, plus the children – known as “The Rivertown Kids” – and adult musicians, high school students, and even 14 grammar school percussion students. The 19 newly recorded songs on “Tomorrow’s Children” testify to Seeger’s long-held credo, “Think globally, act locally.”
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Pete is on every track of the new CD, singing, storytelling, playing banjo and 12-string guitar. But he shares the studio spotlight with all of his guests. Their voices, instruments and the songs they have adopted or adapted are woven into a colorful quilt depicting our nation’s history, as in “Take It from Dr. King,” the tribute to Pete’s fellow civil rights warrior performed on the “Late Night with David Letterman” show, and “I See Freedom,” the true story of a runaway slave who settled in Beacon, NY, near Pete’s Hudson River Valley home.
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The possibilities of an ecologically clean world are envisioned in the newly co-written Seeger song “Solartopia” featuring guest vocalist DAR WILLIAMS, and the natural beauty worth preserving is celebrated in “Down by the River,” “The River that Flows Both Ways,” and other songs.
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You can see PETE SEEGER, DAR WILLIAMS, DAVID BERNZ, & “THE RIVERTOWN KIDS” perform “Solartopia” at www.youtube.com/watch?v=yFbv9V94meg.
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“Tomorrow’s Children” contains songs of empowerment and cooperation adapted or written by the kids themselves such as “We Sing Out,” whose lyrics proclaim, “…so our voices can be heard,” over a melody borrowed from Tom Paxton. And the kids’ take the lead in an updated version of the old gospel and union song, “We Shall Not Be Moved.” Plus, there’s a set of new verses to Seeger’s Biblically-inspired standard, “Turn, Turn, Turn,” (Made famous by THE BYRDS) with the additions added for the children by Toshi, Pete’s wife of more than 60 years.
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The CD is available at www.appleseedmusic.com..
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5) KINKY FRIEDMAN TO PLAY L.A., END OF THE MONTH
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On Saturday, July 31, in a Guide “Show-of-the-Week” pick, KINKY FRIEDMAN will play two shows, 8 & 10 pm, at McCabe’s, 3101 Pico Bl (Pico at 31st), Santa Monica 90405; www.mccabes.com; tix, 310-828-4497.
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Joining Kinky for the 10 pm show only is MICHAEL SIMMONS.
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The Kinkster is pundit, novelist, singer-songwriter, and columnist for the Texas Observer, where he shared ink with the late Molly Ivins. Beyond that, he’s hilarious, a pontificating cigar-chomping reprobate who scared the hell out of the Texas political establishment when he ran for governor with the slogan, “Why the hell not?” One of his novels, “The Mile High Club,” published pre-9/11, predicted that terrorists would hijack an airliner and fly it into the World Trade Center. His songs were covered by a who’s-who of the music world in a tribute album that won a Grammy. His hour-long performance-interview on radio’s “Tied to the Tracks” was a huge favorite with the show’s listeners, though we missed his longtime sideman, LITTLE JEWFORD. That artist’s name, if you’re wondering, derives from the name of the whole band, KINKY FRIEDMAN & THE TEXAS JEW BOYS. Yep, he’s eccentric, and a whole lot of thought-provoking fun. Tix are sure to sell-out early. Either show is $30.
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6) THE GUIDE’S NEW FASTER FORMAT, STATUS, & FUTURE
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We’ve determined that we must seek commercial sponsors to keep doing this. There’s no guarantee it will work, but we’ll give it a good go. Even with that, we expect our situation will be just like your favorite NPR station: they depend, for most of their needs, on listener-supporters. We must depend on you, our readers, and the musicians whose gigs are listed in our pages.
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OUR NEW FORMAT provides a url in each day’s listings for the recurring events that happen THAT DAY. Included in that linked page are that day’s weekly and monthly residencies, recurring series and showcases and workshops and open mics and other acoustic music events that repeat and scheduled to happen that day and evening. It covers recurring events from northern Santa Barbara County to south Orange County, from downtown L.A. to the valleys to the Inland Empire, from the desert to the sea.
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So, we’ve separated the events that are unique to a given day, and they’re now on a different page from the recurring events – which are now available on their own dedicated page for each day. Is it a compromise? Yes. A necessary one. (It’s NOT intended to make recurring shows, residencies, and other things “less visible,” and we hope you will routinely look at those AND the “today / tonight-only” events listed each day in the main section of the Guide.) We have been forced to simplify things, as it saves time for everyone – for us to prepare each edition, and for you, our readers, to quickly find-out what’s happening (and still be able to explore all that’s happening) on any date when you are considering catching live music, or dinner-and-a-show, or playing an open mic. We hope that works for you.
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So, all that is a way of telling you we plan to be around a while longer. We plan to be.
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We’ve been letting you know that The Guide needs your support to continue to bring you NEWS, and CONCERT & EVENT LISTINGS, and to offer you FREE TICKETS through the coming summer, and that we can only do that if we are still here. Some of you have responded with a check for $25, in return for THREE CDs of your choice, or for our professionally-produced live concert DVD + one CD of your choice. We are grateful to those readers and artists. (If you haven’t yet received your CDs or DVD/CD in the mail, please be patient, they’re coming.)
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The Guide still needs everyone’s support. Really and truly. Many people read it regularly, and have never helped to sustain it. If that’s you, we need your support, especially. Doing this requires a TON of time. We’ve made our case to you. Our mailing address is below. We need a flood of support from our readers and the musicians whose gigs appear in the Guide.
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Send us a check for $25, in return for THREE CDs of your choice, or for our professionally-produced live concert DVD and one CD of your choice.
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Write your check for $25, made-out to “Tied to the Tracks,” and mail it TODAY to:
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Tied to the Tracks
2424 Greenfield Av
Arcadia CA 91006
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Then email us with a subject of “Guide thank you” and tell us whether you want 3 CDs of your choice, or the live concert DVD plus 1 CD of your choice (the catalogue of our extensive offerings is at http://acousticamericana.blogspot.com/2010/03/support-guide-and-get-some-great-dvds.html).
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Please sustain our ability to get free tickets and goodies for you, and for the Guide to be able to continue bringing you all the news and events. And thanks again to those who have contributed to keep the Guide in moccasins!
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6) INTERNATIONAL ACOUSTIC MUSIC AWARDS PROFILES WINNERS
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The 6th Annual IAMA checked-in to let us know that this year’s winners and runners-up are profiled on the awards website at www.inacoustic.com/winners.html. The site rotates “Featured Artists Of the Month” through its “Spotlight” page. Currently up are JENN GRANT, and TILLER’S FOLLY, both from Canada, and BRYAN RAGSDALE from the US. Details of these featured artists appear at www.inacoustic.com/artists2.html.
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And, since it’s all about the music, you can hear IAMA winners in action at www.myspace.com/inAcoustic.com.
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7) THE GUIDE PREVIEWS (GASP!) A ROCK SHOW
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The sky hasn’t fallen, and the glaciers are not expanding. Once in awhile, we go off the reservation, like now.
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On Saturday, July 17, in OC (call venue for time) WE ARE THE FALLEN with SAVING ABEL and TADDY PORTER performs at the House of Blues, 1530 S Disneyland Dr, Anaheim; 714-778-2583; www.hob.com.
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Okay, so we need a really compelling reason for the Acoustic Americana Music Guide to profile a rock show. When an ensemble is a re-integration of a band that spent 43 weeks on the Billboard Top Ten Albums Chart and sold 15 million CDs worldwide and 7 million+ CDs in the US, we think you should know about them. (If nothing else, it gives you a perspective on what’s popular beyond the acoustic world.)
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WE ARE THE FALLEN is the quintet of former members of multi-platinum band EVANESCENCE. It’s guitarists BEN MOODY & JOHN LeCOMPT and drummer ROCKY GRAY, joined by a performer who some found to be the breakout American Idol finalist, CARLY SMITHSON, on vocals, and acclaimed bassist MARTY O’BRIEN (Disturbed and Static-X, among other band memberships). Together, they bring a lot as a combo.
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Their debut album, “Tear The World Down,” was released May 11, on Universal Republic Records and debuted at #33 on the Billboard Album Chart. The CDs first single, “Bury Me Alive,” continues to climb the active rock charts.
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Following a short European festival run in early June that includes performances at the “Download Festival” in the UK, “Rock am Ring” and “Rock im Park” in Germany, the band returns to North America for a summer-long tour with SAVING ABEL. Rising alt rock stars TADDY PORTER & AMERICAN BANG open these shows.
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Moody left EVANESCENCE in 2003, and has since co-written hits for DAUGHTRY and the made-famous-by-American-Idol’s KELLY CLARKSON, among others. It was Evanescence’s groundbreaking 2003 album, “Fallen,” that spent 43 weeks on the Billboard Top Ten Albums Chart, selling 15 million copies worldwide and 7 million+ albums in the US, alone.
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For American Idol finalist CARLY SMITHSON, membership in WE ARE THE FALLEN fulfills her dream to challenge as one of rock’s most potent new female voices. She first turned heads as one of American Idol’s more engaging rock candidates, landing a controversial sixth place slot during Season 7 of the generally insufferable television series, but not before gaining traction as one of the show’s few real talents. When Carly was “eliminated,” shockwaves went through the ‘Idol’ devotee blogs. Her acclaimed performances on the 2008 “American Idol Tour” gratified her TV fans and expanded her base. More on the band at www.wearethefallen.com.
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SAVING ABEL just released their new album “Miss America” on Virgin Records on June 8, and it’s gaining ground as the band’s strongest debut so far. This, their sophomore CD, entered the charts at #24. The lead single “Stupid Girl (Only In Hollywood)” is cruising up the rock charts, while the accompanying video is in rotation on MTV2.
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The Corinth, Mississippi-based act released their self-titled debut album in March, 2008, and in one year and five days it was certified gold by the RIAA. Its singles cumulatively sold millions as digital downloads.
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Earlier this year, SAVING ABEL did a weeklong USO / Armed Forces Entertainment tour of the Persian Gulf. The band visited eight military bases, performing seven concerts for the troops in Qatar, Kuwait, and Iraq.
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Catch ‘em on ABC’s “Jimmy Kimmel Live” on August 2. More at www.savingabel.com
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TADDY PORTER, a Stillwater, Oklahoma based quartet, has a debut CD set for release on June 29. In its first week on radio, the album’s single “Shake Me” debuted as the #3 Most Added at Active Rock radio (bested by Stone Temple Pilots and Deftones) and the track is now in the Top 20 on the rock charts. It’s impacted Citifield in New York where the song became an instant favorite with fans after Mets pitcher MIKE PELFREY began playing it during his warm ups and at-bats.
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Pelfry says, “I was looking for a warm-up song and I decided to go with ‘Shake Me’ by a killer new band named Taddy Porter.” On June 27, the band will get two songs featured in the “Entourage” season premiere and featured throughout the episode. Taddy Porter is Gibson Guitars “Artist of The Month” for the month for June, and Clear Channel’s “New Artist To Watch” all month, featured on Clear Channel websites across the “active rock panel.” The band got together in Stillwater in 2007, having grown-up in different towns. Pushing their boundaries beyond Oklahoma City, they built audiences in Dallas, Austin, Montgomery (AL), Wichita and other places. The quartet is ANDY BREWER (lead vocals / guitar), JOE SELBY (lead guitar / backing vocals), DOUG JONES (drums) and KEVIN JONES (bass). You can watch their video of “Shake Me” at www.vimeo.com/8764779. More at www.myspace.com/TaddyPorterMusic
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8) RECYCLING CDs & DVDs
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No, we don’t ’spect that very many of our readers actually throw-out music CDs they’ve bought. But what about all those data CDs with information that becomes obsolete, and all those old demo discs? Each year, billions of CDs and DVDs are manufactured, and millions of them end up in landfills and incinerators. Once there, they aren’t just inert junk that takes up space in the ground. They are plastic substrates that release a myriad of chemical compounds that are harmful to our environment.
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If you use, sell, promote, distribute, or manufacture compact discs, you should know how and where to recycle them.
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Compact Discs and DVDs can be recycled properly, instead of trashed where they cause unnecessary pollution. Recycling discs conserves natural resources, AND it can help slow global warming. Learn why it’s important, and what to do with ’em, at www.cdrecyclingcenter.org
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And if you really are tired of a music CD or two, you can always donate it to your local “Friends of the Library” organization, or go online and learn how to get that still-playable disc to the troops overseas.
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RECENT NEWS FEATURES:
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June 18 edition’s New Features are available at:
http://acousticamericana.blogspot.com/2010/06/weekend-festivals-acoustic-americana_23.html (or, before event updates were made, the news was first posted at http://acousticamericana.blogspot.com/2010/06/weekend-festivals-acoustic-americana.html)
The topics are:
1) FESTIVAL QUANDARY: THIS WEEKEND IS OVERFLOWING
2) SUGARBEAT IN L.A. FOR TWO SHOWS
3) JOE CRAVEN, WITH HIS “JAWBONES, CANJOES, & CAKEPANS,” HITS L.A.
[He performs Fri, Jun 25, 8 pm at the Coffee Gallery Backstage in Altadena, and Sat, Jun 26, 8 pm at “Russ & Julie’s House Concert” series in Oak Park.]
4) BLUE COLLAR COMBO WINS “ROCKABILLY SHOWDOWN” & JUNE 20 CONCERT WITH JAMES INTVELD
5) THE FAREWELL DRIFTERS HARMONIZE ON DEBUT CD
6) RED HOUSE HAS EXCELLENT NEW CDs FOR SUMMER
7) MICHELLE WRIGHT TO LAUNCH CROSS-CANADA ACOUSTIC TOUR 8) GET TIX NOW FOR JULY 31
9) THIS WEEK’S HISTORY PRESENTATION
10) “GIRLS OF THE NORTH COUNTRY” ON PBS
11) THE FINAL, LAST, END-OF-THE-ROAD APPEAL FROM THE GUIDE
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June 11 edition’s New Features are available at:
http://acousticamericana.blogspot.com/2010/06/acoustic-americana-music-guide-june-11.html
The topics are:
1) FINAL APPEAL FROM THE GUIDE
2) BELA FLECK DOCUMENTARY SCREENS FREE, SATURDAY AT SKIRBALL
3) “JEWS ON VINYL” EXHIBITION AT THE SKIRBALL, THROUGH SEPTEMBER 5
4) “SUMMER SOLSTICE FESTIVAL” IS SUNDAY – NOT THE ONE YOU EXPECT…
5) PETE SEEGER BANJO GOES TO AUCTION, FOR MUSICIANS’ UNION FUND
6) PLAYBOY JAZZ FESTIVAL REACHES CRESCENDO THIS WEEKEND
7) INDIE L.A.: ACOUSTIC IS DOMINANT, BUT THAT’S NOT THE PERCEPTION
8) PRUDES? NO. BUT YOU NEED AWARENESS OF THE WEB’S WORD POLICE
9) TIX ALERT…
10) FESTIVAL QUANDARY NEXT WEEKEND
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June 3 edition’s News Features are available at:
http://acousticamericana.blogspot.com/2010/06/acoustic-americana-music-guide-june-3.html
The topics are:
1) ARTISTS WITH GIGS IN THE GUIDE, & OUR READERS: WE NEED YOUR HELP!
2) A WEEK’S WORTH: CONCERTS, FESTIVALS, FREEBIES
3) ANOTHER L.A. OPEN MIC GOES GLOBAL WITH WEB SIMULCAST
4) WE ALL KNOW AMERICANA, BUT HOW ABOUT CANADIANA?
5) REVIEW: MEMORIAL DAY WEEKEND FESTIVALS DELIVERED FUN & MUSIC
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The latest edition of the Acoustic Americana Music Guide is always available at www.acousticmusic.net or at
www.acousticamericana.blogspot.com or by links from the News-only edition at www.nodepression.com/profile/TiedtotheTracks
or by following any of MANY links on the web to get to one of those sites.
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Entire contents copyright (c) © 2010, Larry Wines. All rights reserved.
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Updated July 1, 2010 with MORE EVENTS ADDED; all “recurring events” are included in this edition through July 13, with MANY additional listings of upcoming events through the rest of 2010 and into 2011.
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(This edition is designed to be of use to you all summer and beyond.)
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Go to the complete edition for all that’s happening. It’s available at www.acousticmusic.net or at www.acousticamericana.blogspot.com
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It’s JULY!
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Our seventh month was originally the fifth month on the Roman calendar. It was called “Quintilis” meaning “fifth,” and it had 36 days. Romulus reduced the number to 31 days, Numa Pompilius cut it to 30, and Julius Caesar restored it to 31 days. Marc Anthony paid tribute to Julius Caesar by naming the month after (hence, July) since Caesar’s birthday was the 14th. Of Quintilis. Er, July. It officially became July in 44 BC, right after Brutus and a large group of Roman Senators killed Caesar, who died of multiple stab wounds.
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Our “Poem-of-the-Month” for July is much happier…
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Here’s to July,
Here’s to July,
For the bird,
And the bee,
And the butterfly;
For the flowers
That blossom
For feasting the eye;
For skates, balls,
And jump ropes,
For swings that go high;
For rocketry
Fireworks that
Blaze in the sky,
Oh, here’s to July,
Here’s to July.
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– anonymous
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