Archive for misc.

An ’80s Oktoberfest


The Smithereens: Jim Babjak, Severo “The Thrilla” Jornacion, Dennis Diken and Pat DiNizio.

The ’80s will live again in September. The free headliners for this year’s Christ the King Oktoberfest were announced this morning and both harken back to an era when MTV was pop’s top policymaker.

Sept. 19 brings The Smithereens, the no-frills New Jersey rock troupe responsible for the late ‘80s radio hits Behind the Wall of Sleep, Only a Memory and A Girl Like You. The band still tours with three of its four original members – guitarist/vocalist Pat DiNizio, guitarist Jim Babjak and drummer Dennis Diken.

The Sept. 20 lineup will feature The Fixx, the post New Wave British band defined by a string of early ‘80s singles that included Saved By Zero, One Thing Leads to Another and Secret Separation. Amazingly, the quintet’s mainstay lineup – vocalist Cy Curnin, guitarist Jamie West-Oram, keyboardist Rupert Greenall, bassist Dan K. Brown and drummer Adam Woods is still intact.

The event will be held outdoors at the Cathedral of Christ the King, 299 Colony Blvd. Showtimes and a full Oktoberfest schedule are forthcoming. For more info, go to

drummer, doctor and trucker

drive-by truckers 2

drive-bytruckers: brad morgan, patterson hood, jay gonzalez, matt patton and mike cooley

If you think drums are integral to the deeply literate, pile-driving rock ‘n’ roll of Drive-By Truckers, then spend some time with the band’s new English Oceans album.

The clap of sticks from Brad Morgan, who has manned the drum chair in the Athens, Ga. band for the past 17 years, is the first sound you hear before the Truckers erupt into a Mike Cooley narrative about life in wartorn suburbia. Morgan is also the last musician standing as the album fades with the beat of Patterson Hood’s eulogy for a longtime Truckers pal.

To bookend an album so powerful, a sound so huge and a band so continually vital speaks well to the kind of musical gusto Morgan can summon. But there is another, less visible role Morgan has played behind the scenes. Given the personalities at work in and around the band, the kind of relentless touring regimen they often fall into and the potentially devastating aftermath both can unleash, Morgan’s other duties have probably played into the Truckers longevity as deeply as his groove.

“I always saw myself as the psychiatrist of the band who was making sure everybody is happy and making sure everything is rolling the way it should be.

“It’s all about personalities living in very close quarters. I mean, we see the crew as band members. We’re all living together. We’re around each other all the time. It feels like there are 10 people in the band. All those relationships have to work. Everybody has to get along. If people have problems with somebody, I’m like, ‘Let’s figure this out or something else is going to happen.’ I’m kind of sensitive to that type of thing.”

His efforts seem to be working. Morgan said the current band spirit is high, thanks largely to its newest lineup, dubbed DBT 12 in the liner notes to English Oceans. The album marks the recording debut of the band’s latest recruit, bassist Matt Patton.

“As a drummer, a good bass player for the rhythm section is really important,” Morgan said. “Just having somebody there who is just nailing it every time really takes a load off me. Plus, it’s nice being on the road with a bunch of old friends and having everybody get along.”

But personalities have also been at the heart of the Truckers’ longevity. On English Oceans, Cooley and Hood take full and equal ownership of the band’s songwriting duties for the first time. The distinction between their narrative styles of songwriting (Hood’s songs read like dark, rural novels while Cooley possesses a more informal yet bluntly conversational tone) have fascinated Morgan even before he joined the band.

“I was like the No. 1 fan,” he said. “I would be at every show. One of my best friends was playing drums for them at the time. When I was able to start subbing in the band, it was great because every night I would get to hear those songs from the back of the stage. Even today, that puts me back in that state of just how much I love the band and the songs. People at the shows get that, too. I can see it in people’s faces.”

Perhaps the most the heartfelt personality surrounding the Truckers these days belongs to a friend who is no longer with them. On the Hood-penned Grand Canyon, the closing song on English Oceans, the Truckers honor Craig Lieske, a late touring companion who sold merchandise at concerts and was a beloved member of the Athens music community.

“It sucks to have that happen,” Morgan said. “We were on the road with Craig for, like, seven years. Before that, I had been friends with him for another 10. I mean, everybody loved him. It was a connection you kind of took for granted until he was gone.”

Drive-By Truckers perform at 9 tonight at Buster’s Billiards and Backroom.899 Manchester St. Tickets are $28. Call (859) 368-8871 or go to

a tucker, not a trucker

shonna tucker

shonna tucker.

Here’s a bit of rock ‘n’ roll coincidence for you. On the night before Drive-By Truckers return to Buster’s on Friday with tales of rural unrest, two of the band’s former members will play at Willie’s Locally Known, 805 North Broadway.

Tonight, Shonna Tucker, the band’s bassist for eight years will showcase her debut solo album, A Tell All, with her country-soul informed band Eye Candy. The group includes another Trucker alum, John Neff on guitar and pedal steel guitar.

During Tucker’s stay with the Truckers, she contributed one-to-two songs alongside the tunes pf Patterson Hood and Mike Cooley to their albums. The 2011 split with the band apparently wasn’t on the best of terms. When asked prior to a 2012 Truckers show at Buster’s if her parting was amicable, Cooley said politely but succinctly, “Not really.”

Tucker’s Eye Candy Band include several vets of a long-fertile Athens, Ga. music scene. Along with Neff, the lineup includes guitarist Bo Bedingfield, keyboardist Neil Golden and drummer Clay Leverett.

Bio material for A Tell All describes he album as “ten songs about love and jealousy, nights spent on the road and nights spent in the kitchen, the things men do to women and women do for men.”

Opening tonight will be The Campbell Family Band and The Kentucky Hoss Cats (7 p.m., $10). Call (859) 281-1116 or go to

Tomorrow, we will hear from longtime Trucker drummer Brad Morgan ahead of the band’s Buster’s return.

Shining Brightly

kelly pratt

Kelly Pratt

Just a brief note about some swell sounds occurring Wednesday night that have nothing to do with bluegrass.

Over at Cosmic Charlie’s, 388 Woodland Ave., we have a homecoming of sorts. Lexington native Kelly Pratt, performing under his non de plume as Bright Moments, lets us in on some of the sounds he has been creating when not on the road with the likes of Arcade Fire, David Byrne/St. Vincent and Beirut or recording with Coldplay and LCD Soundsystem.

On Tourists, the Bright Moments debut on Byrne’s Luaka Bop label, Pratt fashions pop pieces both progressive and accessible with accents of trumpet, synths and, as described in one bit of bio material, the “occasional huffing accordion.”

Pratt’s Bright Moments project will open tonight for Mother Falcon, the 17 member, Austin, Texas-based troupe that creates soundscapes utilizing cello, violin, banjo, trumpet, accordion, guitar, piano, bassoon and more.

Last year alone, Mother Falcon collaborated with Alejandro Escovedo, Amanda Palmer, Tony Trischka, Lexington’s own Ben Sollee and more. (10 p.m., $10).

For more info, call (859) 309-9499 or go to

paul mccartney postpones louisville show

Paul McCartney

paul mccartney.

Looks like you will have to wait until fall to experience the first Kentucky concert by Paul McCartney in 24 years. Sir Paul has postponed all of his June concerts to fully recover from a virus that hospitalized him earlier this spring in Japan causing the postponement of several performances there and in Korea.

The ex-Beatle’s June 26 concert in Louisville at the KFC Yum! Center has been rescheduled for Oct. 28.

“I’m sorry but it’s going to be a few more weeks before we get rocking in America again,” McCartney said in a press release issued this afternoon. “I’m feeling great but taking my docs’ advice to take it easy for just a few more days.  Look forward to seeing you all soon.”

McCartney is slated to return to his Out There Tour on July 5 in Albany, NY.

book of ely

joe ely

joe ely.

In the spring of 1978, much of contemporary music favored one of three stylistically disparate routes. At one extreme was commercial pop, which was still in the grips of the disco fallout triggered six months earlier by Saturday Night Fever. At the other was the gradual mainstream acceptance of still-emerging punk and post punk acts like The Ramones, Devo, Talking Heads and Elvis Costello. In between all of that was the then-current state of country music, which was in the waning stages of an outlaw movement that had provided Willie Nelson with seemingly permanent residency at the top of the Billboard charts.

Somewhere in the midst of all this was the release of a record titled Honky Tonk Masquerade. Such was my introduction to Joe Ely.

Seemingly marketed as a country record, Honky Tonk Masquerade was as stylistically removed from Nashville as Ely was geographically. A native of Amarillo, Tx. who grew up in Lubbock among truckloads of Mexican migrant workers and the native music they brought with them, Ely weaved nearly every roots music resource at his disposal into the record.

The country songs sported the pedal steel colors of Lloyd Maines, which howled like the dusty West Texas wind. The Tex Mex music asserted the accordion work of Ponty Bone, who channeled the festive sounds Ely heard emanating from the cantina situated across the road from the clothing store his father ran in Lubbock. The rockers reflected all of the music’s forefathers, from fellow Lubbock expatriate Buddy Holly to Jerry Lee Lewis.

The compositions were similarly far reaching. There were entries by Jimmie Dale Gilmore and Butch Hancock, the two expert Texan songsmiths Ely teamed with during the early ‘70s as The Flatlanders – a group that would quickly disband and remain dormant until 2002. There was also one of Ely’s great roadhouse rock originals, the wry Lewis-flavored Fingernails (“I keep my fingernails long so they click when I play the piano”). Wrapping the whole party up was a hearty Lone Star makeover of the Hank Williams staple Honky Tonkin’.

As an unsuspecting teen turned on to the record at a college party, I was stunned. Honky Tonk Masquerade sounded deliciously foreign in its assembly of Texas inspirations but also curiously in line with the favored roots-country acts of the day – John Prine, Little Feat, early Bonnie Raitt and Ry Cooder. It also made Texas seem like another cultural universe.

I wouldn’t get to see Ely in performance for another six years. By that time, he had toured with The Clash, recorded two seminal roots rock albums – 1980’s Live Shots and 1981’s Musta Notta Gotta Lotta – and had become something of an international ambassador for Texas music. But at a 1984 festival performance in Austin, Ely turned songs like Dallas, Cool Rockin’ Loretta and Boxcars into jovial yet vital anthems that asserted his strengths as a live performer.

During the ‘80s and’90s, Ely made his way to Louisville and Cincinnati with some regularity. But he didn’t play Lexington until a 1998 performance at the long defunct Lynagh’s Music Club. That show was distinguished by an extraordinary band (it included the Dutch flamenco guitarist Teye and longtime electric guitar pal Jesse Taylor) and the fact that a stage amplifier briefly caught fire.

Subsequent local outings included a 2000 opening set for Dixie Chicks at Rupp Arena (a family affair of sorts as Chicks singer Natalie Maines is the daughter of Lloyd Maines) and a 2009 WoodSongs date with the reunited Flatlanders.

Today, Ely, 67, still embraces rock and roots music while on Texas turf. He joined Bruce Springsteen onstage in Houston as recently as last month. But he chooses unplugged settings for out-of-state touring. Ely’s regional return on Saturday will be an acoustic duo performance with guitarist Jeff Plankenhorn.

It may not be a rock show, but having one of the truly great Texas song stylists of our day back in Kentucky – on a Saturday night, no less – will surely set off some Lone Star sparks.

Joe Ely performs at 8 p.m. June 7 at the Southgate House Revival, 111 E. Sixth St. in Newport. Tickets are $20 advance, $25 day of show.Call  (859) 431-2201 or go to

BoB brings the bluegrass


dale ann bradley’s thursday night live performance on june 12 is also part of BoB: best of bluegrass.

BoB is back. Yep, the second annual Best of Bluegrass has confirmed its full lineup of concerts for the week of June 9.

As was the case with its inaugural year, BoB encompasses a week’s worth of performances at a variety of venues throughout Lexington – the majority of them located downtown. Best of all, most of the shows are free and serve as an extended prelude of sorts for the full Festival of the Bluegrass, which opens June 12 at the Kentucky Horse Park.

Here’s the full BoB lineup:

June 9: Special Consensus at the Lyric Theatre for the WoodSongs Old-Time Radio Hour (7 pm; $10). Lonesome River Band and Town Mountain at Natasha’s Bistro (8 p.m.; Free).

June 10: Newtown at Southland Jamboree (7 p.m.; Free). The Roys at Willie’s Locally Known (8 p.m.; Free). Blind Corn Liquor Pickers/Blind Ricky at Al’s Bar (8 p.m.; Free). June 11: The Misty Mountain String Band at ArtsPlace for Red Barn Radio (8 p.m; $8). Larry Cordle at Parlay Social (8 p.m.; Free). Steep Canyon Rangers/Local Honeys (9 p.m.; Free).

June 12: Dale Ann Bradley at Cheapside Park for Thursday Night Live (5:30 p.m.; Free). Stone Cold Grass at Parlay Social (8 p.m.; Free). The Bartley Brothers at Redmon’s (8 p.m.; Free).

Many of these performances will be streamed live online and/or recorded for broadcast on KET-TV, WEKU-FM and WUKY-FM.

For more Bob info, go to

case breaker


peter case. photo by ann summa.

Picking a song that best reflects the emotive and narrative detail of Peter Case would be as frustrating as singling out a single champion work from the catalogs of Paul Simon, Bob Dylan, Richard Thompson or any other world class songsmith.

But after sifting through two decades worth of extraordinary Case recordings last weekend, a selection surfaced that at least serves as a sublime primer for anyone not familiar with his music. It’s a bittersweet tune called On the Way Downtown that was first issued on Case’s 1998 album Full Service No Waiting and again on the fine 2004 compilation Who’s Gonna Go Your Crooked Mile?

The song is, in essence, a ghost story although its light folk-blues melody and Case’s cordial singing initially suggest otherwise. Poetically distraught with the present, the song’s protagonist returns to the scene of younger joys and glories (“where my friends who died still hang around”). An out-of-place intruder to the newer, younger inhabitants of his former haunts, Case still sings hopefully about a full circle sense of change (“the season’s been and gone, another one’s comin’ on”).

It’s a masterful bit of storytelling, one that provides at least one reason for taking in Case’s return performance tonight at Natasha’s. But On the Way Downtown is a snapshot in a career full of extraordinary solo recordings that emerged in the wake of tenures in two West Coast post-punk bands – The Nerves from San Francisco and The Plimsouls from Los Angeles.

Case’s own critical hit parade began in 1986 with a self-titled solo album that sported help by a pair of studio hands that would become two of the most heralded record producers of the ensuing decades: T Bone Burnett and Mitchell Froom. The tone, texture and temperament of Case’s following records shifted considerably from the rockish drive of 1992’s Six Pack of Love to the sketch pad folk immediacy of 1993’s Peter Case Sings Like Hell.

The stylistic changes were more subtle when Case signed to the longstanding folk label Vanguard in the mid ‘90s. Recordings from the period – which included two of his best, the aforementioned Full Service No Waiting and 2000’s Flying Saucer Blues – coincided with Case’s first Lexington performances at the long defunct Lynagh’s Music Club.

While little by way of commercial popularity has come his way through any of this, Case’s critical reputation has remained at a peak. A 2001 tribute album to the music of bluesman Mississippi John Hurt that Case curated (Avalon Blues) along with a 2007 record of folk-blues themed originals (Let Us Now Praise Sleepy John) both earned Grammy nominations. Still, Case’s commercial visibility remains sadly out of sync with his artistic reputation. His last album of original material was the 2010 roots savvy trio set Wig!

If his initial Natasha’s shows stand as an indication, Wednesday’s return performance should be a retrospective of sorts. His June 2010 show at the venue included Two Angels (a Case gem from the 1986 album), the sublime On the Way Downtown, several Wig! highlights including The Words in Red and a selection of covers that ranged from Bob Dylan’s Pledging My Time to Bukka White’s Fixin’ to Die Blues. A reading from 2006’s As Far As You Can Get Without a Passport – a whimsical memoir that treated Case’s initial move from his upstate New York roots to his ‘70s digs in San Francisco like a spiritual pilgrimage – rounded out the performances.

Peter Case performs at 8 p.m. May 6 at Natasha’s Bistro. 112 Esplanade. $15. Call (859) 259-2754.

bob’s back

sammy shelor

sammy shelor will perform a BOB concert with the lonesome river band at natasha’s on june 9.

Your best local concert festival buddy is returning for a second year. Yes indeed, BOB is back.

Short for Best of Bluegrass, the weeklong series of predominantly free concerts debuted in 2013 as a celebratory prelude to the 40th annual Festival of the Bluegrass. BOB proved an immediate hit in bringing patrons downtown to a variety of venues before passing the ball to the Festival of the Bluegrass over the weekend.

This year, BOB is bigger in scope with a broader performance schedule that will include free shows by such established national bluegrass acts as Steep Canyon Rangers, Town Mountain and the Lonesome River Band.

At a press conference yesterday at Natasha’s that announced in the initial BOB lineup, Mayor Jim Gray said the event helps preserve and fortify one of Lexington’s most enduring cultural traditions.

“We use the words potential and possibility when we think about our rich legacy and history,” Gray said. “We’re one year short of 240 years of being a city and this music is so much a part of it. Continuing and embracing that legacy and strengthening that fabric is a very good deal.”

While several of the performers at BOB are still to be announced, one the biggest confirmed concerts will kick off the festival on June 9 – a double-bill featuring the traditionally inclined North Carolina troupe Town Mountain and the veteran Lonesome River Band, still with multi-award winning banjoist Sammy Shelor, at Natasha’s. A bluegrass themed program for the WoodSongs Old-Time Radio Hour will precede the show at the Lyric Theatre.

Another heavyweight act, the Grammy-winning Steep Canyon Ranges (which just released a concert recording with Steve Martin and Edie Brickell) brings BOB to Pauley’s Toasted Barrel on June 11 following a Red Barn Radio program at ArtsPlace with the Misty Mountain String Band. Three-time reigning International Bluegrass Music Association Female Vocalist of the Year, takes BOB to the heart of downtown with a Thursday Night Live performance on June 12.

All of the shows, save for the WoodSongs and Red Barn Radio tapings, will be free. Still to be announced will be BOB shows on June 10 at Southland Jamboree, Willie’s Locally Known and Al’s Bar.

This year’s roster at the ticketed Festival of the Bluegrass at the Kentucky Horse Park, which runs from June 12-15, includes The Grascals, Seldom Scene, Mountain Heart and the current IBMA Vocal Group and Entertainer of the Year Gibson Brothers.

A joint venture between the Lexington Area Music Alliance and numerous local sponsors and organizers, BOB is welcoming the involvement of LexTran this year, which will help transport patrons from the Horse Park (especially campers arriving earlier in the week) to downtown.

“What we are about to present is some of the best bluegrass music in America, if not the world, for free,” said LAMA president Tom Martin.

For more information on BOB, go to For the Festival of the Bluegrass, go to

grammy post mortem 2014

daft punk

night of the ‘bots: daft punk rules at the grammys.

The top awards went to the French born “robots” of Daft Punk who, in a refreshingly change for an awards show, didn’t utter a word of acceptance all night long. But, as has been the case in most Grammy telecasts in recent years, all points of interest went to the performances.

While ‘who won what’ was largely beside the point, The Musical Box decided to distribute 10 mock awards of our own for our annual Grammy post mortem

+ Best power couple: Beyonce and Jay-Z. Together, they could probably buy and sell the entire pop universe. Onstage, during the show-opening Drunk in Love, they were just your everyday husband and wife in heat. Jay-Z also got bonus points for the best acceptance speech later in the evening, which he directed to daughter Blue Ivy: “Look, daddy’s got a gold sippy cup for you.”

+ Best dexterity: Pink, for bends, twirls and contortions while being suspended over the Grammy audience. When the singer was earthbound again to sing Just Give Me a Reason, she looked like she could snap duet partner Nate Ruess in two like a twig.

+ Best nostalgia moment: Ringo Starr. The much ballyhooed duet with fellow Beatle Paul McCartney was good fun. But Ringo’s delivery of his 1973 hit Photograph was full of such simple, effective pageantry that one almost forgot how devastatingly sad the song was.

+ Best party moment: Daft Punk with Stevie Wonder, Pharrell Williamsand Nile Rodgers. The Daft Punk dance hit Get Lucky took Record of the Year honors, but last night’s live version threw ageless pop-soul legend Wonder into the mix. Everybody in the all-star audience seemed to get their groove on.

+ Best utility man: Lang Lang. The celebrated pianist turned rock star and cranked up the histronics to perform One with Metallica and then returned to his classical security base with a brief but solemn tribute to the late Van Cliburn.

+ Best sisterhood: Carole King and Sara Bareilles. Representatives of two pop generations, each possessed with boundless vitality, squared off with nothing but two pianos and obvious mutual admiration to back them up.

+ Best affirmation: Macklemore and Ryan Lewis with Trombone Shorty, Mary Lambert, Queen Latifah and Madonna. The occasion stole the show in a faith-driven version of One Love that served as a live backdrop for the simultaneous marriage of over 30 mixed and same sex couples.

+ Best surprise: Kasey Musgraves. Continuing a tradition of upsets in the Best Country Album category, Musgraves’ smart, open and uncompromising Same Trailer Different Park beat out cookie-cutter top sellers by Tim McGraw, Jason Aldean and Blake Shelton.

+ Best simplicity: John Legend. As with the King/Bariellies duet, pop-soul star Legend performed All of Me by accompanying himself on piano. The simple beauty was underscored when Taylor Swift followed by turning the piano-fueled All Too Well into a bombastic, self-involved mess.

+ Best parting shot: Nine Inch Nails, Queens of the Stone Age, Lindesy Buckingham and Dave Grohl. Daft Punk won top honors for Album of the Year with a surprisingly touching acceptance speech by ‘70s popster Paul Williams. But Buckingham and NIN chieftain Trent Reznor made sure everyone went home with their ears ringing.

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