REVIEW: These United States - March 29th - The Hi-Dive, Denver, CO

The Scene: It was much more of a scene at The Hi-Dive on Saturday night than I thought it would be. There were lots of local industry people there from W.A.R., their sister company United Interests, Madison House and of course The Marquee. There was also a diverse mix of regular folks out to see good music on a Saturday night. The closing band of the evening, Girl Named Kyle, drew in a healthy number of younger kids due largely to their own youth but there were also several grey hairs in attendance and even a couple of bikerish looking fellas.

It was great to see such a good crowd (around 250 strong) for a show by a relatively unknown band. These United States debut album was released about a month ago and clearly word is spreading fast. My hats off to the Hi-Dive for doing so much to help the music scene in Denver over the past couple of years.

These United States: First off, I've got to be upfront about something, These United States live show differs substantially from their debut album in that in a live setting the band has a decidedly Americana influence. That might put some people off, but I think it is a great thing. I love the album (Picture of the Three of Us At The Gate to the Garden of Eden) with it's electronic elements and extremely tight production, but it is nice to see that the band can take the same songs and reinvent them so effectively.

The show started off with Jesse Elliot singing "Preface," the lead track from the album. A brief tune, it served to let the crowd finish their drinks and conversations and drift into the stage side of the room where alcohol was not allowed.

For the first part of the evening Elliot was backed by Tom Hnatow on guitar, bass and pedal steel and Robbie Catholic on drums and vocals. As a trio, the band ran through several songs including a few that are not available on their debut record. (One of these, and a personal favorite of mine, "Already Got a Girl Who Calls Me That" is available as a free download from Daytrotter.com)

As the set moved on it was clear that this is a band with a deep respect for Americana and roots music and owes a significant debt to The Band and others who came before them. The ring of Hnatow's pedal steel coupled with Elliot's warm, heartfelt vocals and Catholic's rollicking backbeat could transport your mind back to the 70's while Elliot's sharp, intelligent lyrics incorporate a fresh and interesting perspective on religion, the corporate rat race and, of course, love.

For the second half of the show Elliot invited local talent, and the night's closing band, Girl Named Kyle out to join them on the stage. With the small stage now cramped with 8 bodies and many more instruments, Girl Named These United States proceed to crank up the energy on stage and in the crowd.

At one point Elliot missed his cue to come in on a song because he was so thrilled by the music the band was making. He laughed it off saying "I've never heard it sound like this before." It was a great moment for all those who love spontaneity in music and in their lives. Throughout the collaboration the looks on the faces of everyone on stage couldn't hide the obscene amount of fun they were having.

The show closer, "Burn This Bridge," featured Elliot leading the entire crowd in a sing-a-long of the chorus "We'll burn this bridge when we're over it." Between the raw rootsy folk feel of the music and the chorus of slightly off-key voices filling the small room it was a great communal feeling to end the evening on.

Rumor has it These United States will be in town before too long. Do yourself a favor and don't miss it. I know I won't.

Energy: A-
Sound: B+
Musicianship: B+
Stage Presence: A-
Set/Light Show: N/A

Overall: A-

REVIEW: Ra Ra Riot - March 28th - The Larimer Lounge, Denver, CO

The Scene: There was a good crowd at The Larimer on Friday night. It was by no means sold out but probably about 1/2 to 2/3rds of the way there. The slightly Euro-looking crowd was slightly older than I had been expecting, but then again, I guess it is usually the older, industry linked, folks who get amped up for bands the kids haven't even heard of yet.

There seemed to a good split between people who came to hear Ra Ra Riot vs people who were clearly there to see the headliner, The Cribs. As I was there for Ra Ra Riot and didn't really care for The Cribs this review is going to focus on Ra Ra Riot.

Ra Ra Riot: I had been excited for this show since this band left the stage at Monolith way back in September and it was good to see that they got a slot at the Monolith pre-party at The Larimer this past Friday. However, I have to say that the show was slightly disappointing. I don't know if they were not quite as "on" as they were at Monolith, or if the muddy sound was the problem, but something was missing.

Frontman Wes Miles danced and jerked all over the stage as his untrained tenor voice carried the poppy songs that saturate the bands debut EP. At moments it looked like the guitarist and bassist might render each other unconscious with the headstocks of their instruments as they swung them about the crowded stage. The band broke out fan favorite, "Each Year," early on and ran through much of the EP during their brief 40 minute set. I believe Miles introduced a couple of new songs but as the mix seemed a bit off, it was difficult to get a feel for them Friday night.

Ra Ra Riot closed their set with "Dying Is Fine," a radio friendly track that is a standout on the EP. It seemed that maybe the sound man had finally worked out the kinks as the sound was the best for this final song of set. People in the crowd were singing along and it was good to see the band go out on a high note before yeilding the stage to the UK band The Cribs.

A young band, who are out on one of their first national tours, this band still has some kinks to work out, but they certainly have the energy and the sound to pick up on some of the fan base that hung on every note as The Arcade Fire rose from their days of playing The Larimer Lounge to headlining Red Rocks.

They mentioned that they would be back in town on June 14th (Venue TBA) and also that they were playing the Black Sheep in The Springs on May 9th. I will definitely give these guys another chance as they were one of my favorite bands from Monolith and everyone has an off night.

Energy: A
Sound: C-
Musicianship: B
Stage Presence: B
Set/Light Show: N/A

Overall: B-

ALBUM REVIEW: Jason Miles - Soul Summit

New York City Grammy winning jazz musician and producer Jason Miles has orchestrated and produced a recording that has restored my faith in live concert recordings. The subtle off-mic chuckles between songs, the slight missteps, everything that makes live music the ferocious and compelling beast that it is has been captured on this recording. With the production value of a great studio album and just the right amount of audience noise to accentuate the moments when you are jumping off your couch at home, this record brings late 60’s and 70’s soul to life.

The album jumps right into the heat of the battle with Richard Elliot, of Tower of Power fame, taking the reigns on a blazing rendition of Junior Walker’s “Shotgun” that immediately sucks you in and proves from the get go that this band is chock full of some of the most serious and soulful musicians on the scene today. The group, assembled by Miles for one show only at the Berks Jazz Fest in 2007, is comprised of powerhouse vocalists, Susan Tedeschi, Maysa Leak, and Mike Mattison (Derek Trucks Band) saxophonists Karl Denson, Elliot, Dave Mann and Barry Danielian, bassist Bob Babbitt (Marvin Gaye), guitarists Reggie Young (Elvis Presley and Ray Charles) and Sherrod Barnes, and trumpeter Tony Kadlek.

A take on Laura Lee’s “What a Man” follows the up-tempo sax laced opener and Maysa Leak’s soulful rendition pushes the song to the limits of what it was on its original 1969 release. The song features a blistering solo from Karl Denson and goes a long way to show that this album is much more than a trip down a musical memory lane. It is, in Miles trademark style, a reinvention of the classic sounds that defined the Funk, Soul and R&B genres.

As the record moves on Mike Mattison slows the pace and conjures up images of Percy Sledge as he takes over on lead vocals on “It Tears Me Up” before yielding to Mrs. Trucks, (aka Susan Tedeschi) who is out front for one of the flatter songs on the album, a take on Irma Thomas’s “It’s Raining.” However, she redeems herself when she steps up to the Dusty Springfield classic “Son of a Preacherman” and gives it a heartfelt and bluesy treatment that Dusty would have approved of.

The album rounds out in the only way that is truly fitting with a 12 minute tribute to the Godfather of Soul himself, Mr. James Brown. With the three main vocalist trading stanzas on “I Feel Good,” and even Karl Denson slink stepping down from his riser to take the helm on “Sex Machine,” it is clear that this group of musicians had a great time under the direction of the legendary Jason Miles and so will you.

A Clip of The Group Performing "What A Man"

PICK OF THE WEEK: These United States - Saturday, March 29th - The Hi-Dive, Denver, CO

Why You Should Go: With over 300 performances on two continents under his belt in the last two years, Jesse Elliot and his band, These United States, have had plenty of time to work out the kinks that come with performing their eclectic blend of psyche folk and alt country in a live setting. On this tour they have decided to complicate issues by adding the element of having a different local band join them on stage every night. In Denver, the members of A Girl Named Kyle will add a dynamic to the performance that is sure to keep songs alive and evolving as they put their distinctive touch on each of Elliot's songs.

Despite being active for several years already These United States released their debut album, A Picture of The Three of Us At The Gate To The Garden of Eden, earlier this month. The record is a layered affair that has just the right amount of pop hook to sell the listener immediately on songs like “First Sight,” “Kings and Aces,” and “Business.” After several listens it becomes clear that there are also several songs that slowly creep their way into your consciousness. Simply put, it’s a wonderful ride and the excellent production value only enhances the most subtle elements of the songs’ structures.

These United States


Venue: The Hi-Dive, 7 South Broadway, Denver, CO 80209 - (720) 570-4500

Doors:
7:00 PM

*Approximate Set Times:
Locks: 8:15 PM
These United States: 9:15 PM
Girl Named Kyle: 10:15 PM

*Price:
$6 (ADV)
$8 (DOS)
PURCHASE

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

FEATURE: These United States to Employ Local Bands Each Night As They Tour These United States

“These United States” are three words that are full of pomp and circumstance. Three words that, linked together, conjure up feelings of patriotism and visions of red, white and blue no matter what your political leaning may be. Soon, these three words will also conjure up feelings of longing and of passion, not for a particular cause or candidate but for an unmistakable and unique brand of music; the music of D.C.-based band, These United States.

Jesse Elliot, the mastermind behind the elegant and eclectic blend of psyche folk and alt country that is These United States, dabbled in several non-musical arenas before settling on music as a viable option. “About two years ago I kinda ran out of other options,” Elliot told Listen Up Denver! in a recent interview from his home in our nation’s capitol. “I got disenchanted with politics, journalism and international law and this other stuff that I had been thinking about doing with my life and I was like, ‘I guess there’s always music, I could try that.’ Writing songs at the end of the day had always been some kind of solace for me, but it was kinda my last resort.”

All of that end-of-day writing had produced a big collection of songs in various states of completion. “I was like, ‘Maybe I should do something with these.’ However, I didn’t actually really know anything about the music business and my performing experience had been limited to performing for my dog and cat on my nylon string guitar when I was younger and then, like everyone, I had a bad high school band with a really bad name. It was called Dr. Niceguy,” Elliot said.

Since the days of Dr. Niceguy, Elliot has gotten serious about music, learned as much he could, and toured “all over God’s green earth.” In a culmination of sorts to all of this effort, early this month, about the time that his debut album is released, Elliot will embark on a tour that fits the grandeur of his band’s name. He is scheduled to play 40 shows in 42 days in markets across the country, including several he has never visited before.

To complicate matters, he is planning on having a different local band join him on stage at each of the shows. “We are actually going to play with a different band and as a different band in every city after just an afternoon of practice,” revealed Elliot. He then went on to state that “for the benefit of the audience if for no one else, my drummer Robby and multi-instrumentalist Tom will be joining me for the tour to keep the wheels on. That way, the members of the other band can focus on adding to the music rather than holding the song together.”

In an effort to chronicle the improbable events that are sure to take place over the course of this momentous tour, Elliot has invited a documentary film team along for the ride. “We are going to have our buddy who is a filmmaker along to capture all of those moments and everything in between. He’s shot some live stuff for us before and has an amazing eye. I’d been talking with him a while ago and said, ‘You should really come out with us on tour one of these times.’ I guess we figured that if there’s gonna be a fun tour to document it’s probably going to be this one,” laughed Elliot. “We’ll see where it goes; some story always intervenes that is more interesting that any story you could plan in advance. We are going to let him wander where he wants to and it will be a little slice of life out there on the long and winding road.”

Though there are no definite plans for a release of the film, Elliot’s dreams of releasing an album have finally come to fruition. Clocking in at just over 35 minutes, A Picture of the Three of Us at the Gate to the Garden of Eden, may have a long and wordy title but the directness and simple beauty of the music more than makes up for it.

The record is a layered affair that has just the right amount of pop hook to sell the listener immediately on songs like “First Sight,” “Kings and Aces,” and “Business.” After several listens it becomes clear that there are also several songs that slowly creep their way into your consciousness. Simply put, it’s a wonderful ride and the excellent production value only enhances the most subtle elements of the songs’ structures.

With over 300 performances on two continents under his belt in the last two years, Elliot and his band have had plenty of time to effectively translate the beauty of the album to the stage. The added element of having new personnel on stage with them every night will add a dynamic to the performance that is sure to keep songs alive and evolving. Given this format, These United States will not be able to fall into the trap of just going through the motions on stage and the challenge will enhance each and every performance.

Check Out These United States if You Like:

• John Vanderslice
• Wilco
• Bright Eyes

ALBUM REVIEW: Tedd Browne - Musical Portrait of Lake George

In 1968, a young black folksinger named Tedd Browne became a casualty of our nation’s long battle with racism when Richard Robbins, a veteran of the war in Vietnam, shot him dead in a random act of racially motivated violence. Browne was just 39 years old.

Though this tragic event silenced a creative mind and his musical legacy has never received the attention it deserves, one man is trying to change that. More than 30 years since Browne's albums went out of print, Schenectady New York musician, and long time Tedd Browne fan, Mark Mason has decided to make it his project to revive Browne’s work and make it available to a whole new generation.

Mason sought out, and teamed with, Larry DeVivo of Silvertone Mastering to tackle the project beginning with Browne’s Musical Portrait of Lake George. The pair tracked down several copies of the original vinyl release and DeVivo was able to re-master the album from those sources. The resulting CD sounds exceptional and retains the classically warm sound of the vinyl it was originally released on back in 1964.

Browne was largely known as a historical singer songwriter and this album paints a vivid and historically accurate picture of the upstate New York vacation paradise, Lake George. Browne captured the lakes rich history as a pivotal battleground in the French and Indian War and the American Revolution with songs like “Fort William Henry,” “Ethan Allen,” and “Fort Ticonderoga,” while also looking at tourist industry that the lake is known for today with “Lake George Steamboats” and the lighthearted “Holiday,” that closes the album.

Throughout the record, fans of 60’s folk music will catch themselves wondering why Browne never got more attention. His resonate baritone voice carries with it a weight that is both soul stirring and instantly recognizable. The haunting first lines of “The Lumberjack” are reminiscent of Folk and Calypso legend Harry Bellefonte, while on “Father Jogues” Browne tells the story of the discovery of the lake and his voice takes on a transcendently spiritual tone.

Browne’s vocals and guitar are joined on the album by Arlo Guthrie collaborator Tom McGoodwin on banjo and Spike Lee’s father, Bill Lee, on the bass. Together the three men deftly stretch the limits of folk, bluegrass and blues as they share simple story songs that ring with truth that flowed freely from the pen of one of America’s great forgotten folk singers.

Available Here: iTunes for Digital and Here for CD

PICK OF THE WEEK: Black Moth Super Rainbow - Tuesday, March 25th - The Oriental Theatre, Denver, CO

Why You Should Go: Where else are you going to get your fix of spacey analog psychedelic jams on a Tuesday night. These 5 guys have been blowing audiences minds for 5 years and with their recent stint on the road with The Flaming Lips they are catching on with a wider audience. Their performance combines audio and visual elements to create a full spectrum sensory experience that is not to be missed.

Little is known about the band themselves but their Dandelion Gum album says this about the band: "Deep in the woods of western Pennsylvania vocoders hum amongst the flowers and synths bubble under the leaf-strewn ground while flutes whistle in the wind and beats bounce to the soft drizzle of a warm acid rain. As the sun peeks out from between the clouds, the organic aural concoction of Black Moth Super Rainbow starts to glisten above the trees."

Take that for what it's worth and go make up your own mind.

Black Moth Super Rainbow


Venue: The Oriental Theater - 4335 W 44th Ave, Denver, CO 80212 - (303) 455-2124

Doors:
7:30 PM

*Approximate Set Times:
The Invisible Now: 8:30
Red Orange Yellow: 9:30
Black Moth Super Rainbow: 10:30

*Price:
$11 (ADV) - General Admission
$13 (DOS) - General Admission
PURCHASE

*All times and prices are gathered from other sources and Listen Up Denver! is not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

PICK OF THE WEEK: Jeff Austin & Friends - Friday & Saturday, March 14th & 15th - Denver & Rollinsville, CO

Why You Should Go: Jeff Austin is the mandolin player for Nederland based Bluegrass heros Yonder Mountain String Band. This year's edition of his "& Friends" shows will include fiddler extraordinare Darol Anger, Austin's neighbor and former String Cheese Incident guitarist Billy Nershi, and Nashville based bassist and cellist, Bryn Davies. Nothing short of an outstanding line-up if you are into the jam-based bluegrass that has saturated the front range for years.

The shows are bound to wild affairs with tight traditional style bluegrass tunes woven in with long improvisational jams. Austin is also known for his penchant to bring local guests up to the stage with him, including from time, one or more of his Yonder Mountain band mates or frequent collaborator Benny Galloway.

Jeff Austin


Venue:
Friday
The Bluebird Theater, 3317 E. Colfax Ave, Denver, CO 80206 (303)377-1666

Saturday
The Stage Stop, 60 Main StRollinsville, CO 80474 (303) 258-3270

*Doors:
Friday - 8:00 PM
Saturday - 8:00 PM

*Approximate Set Times:

Friday
Larry Keel and Natural Bridge - 9:00 PM
Jeff Austin & Friends - 10:15 PM

Saturday
Jeff Austin & Friends - 9:30 PM

*Price:
Friday
$15 (ADV)
$17 (DOS)
PURCHASE FRIDAY

Saturday
No pricing or ticket information could be found, arrive EARLY

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

FEATURE: Pela Reunites with Christopher Herb After Six Years

Note: Due to an injury to frontman Billy McCarthy's hand Pela's current tour was cut short after only a couple of shows. The tour will be rescheduled. Click Here for More Info

Though their first full length album was released only 10 months ago, the Brooklyn, New York-based band Pela has a history that goes back to the early ’90s when lead vocalist and guitarist Billy McCarthy met Christopher Herb. Herb, who has spent his life playing music and working with the disabled, has the unique distinction of being both the man who brought the band together and the newest member of this post-punk quintet.“Billy and I have been best friends for half our lives,” said vocalist Herb in a recent interview with Listen Up Denver! as he sat smoking a cigarette in front of his computer in his Lower East Side apartment. “We traveled around the world together playing music in countless bands up until 2002, when I left to go to Australia for five years.”

While Herb and McCarthy were playing together in Igloo, a band that rarely made public appearances, Herb had a chance meeting with a now integral part of Pela. Though Herb’s story is contrary to Wikipedia and press releases that state it was McCarthy who met Eric Sanderson on a subway platform in Park Slope, it seems only right to take the man at his word. “A lot of people don’t really know the true story. It was actually me who met Eric [Sanderson] in the subways of Brooklyn when I was busking,” said Herb. “He walked up and we started chatting and he said, ‘We should play. I play bass.’ I said, ‘Funny you should say that, we are looking for a bass player.’”

The band set up a practice session and invited Sanderson along and as it turned out, despite Herb’s departure for the Southern Hemisphere, Sanderson became fast friends with McCarthy. The two soon broke up Igloo and teamed up with guitarist Nate Martinez and drummer Tomislav Zovich to form Pela.

“They’ve been pushing this boulder uphill for about six years now while I was lost in Oceania,” Herb said. “Music was kind of dormant in my life at that point and when I did get my hands on an instrument it was an old broken pump organ that I found in a thrift store. I think it had fifty-five keys and only about twelve of them worked. I actually utilized those well and it really helped me get back into music. It was a weird symbolic thing for me because I had to take the keys that worked and make them sound good. I wrote some really beautiful material with just twelve notes.”

While Herb was “lost in Oceania” writing twelve-note symphonies, Pela went on to release two EPs and a full length between 2005 and 2007. It was the full length, Anytown Graffiti, which garnered the band the attention they deserved and got them on the bill with bands like The National, The Flaming Lips and Sleater-Kinney.

Released by the label partnership Great Society/World’s Fair, Anytown Graffiti starts off purposeful, with a quick drum beat that, after a few measures, is joined by a reverb-laden yet twangy guitar. As the bass line fades in, and the music builds, it commands your attention and McCarthy’s powerful voice is soon yelping over the top of the music in a slightly odd, yet intriguing way and you’re sucked in. If these first 45 seconds of the band’s debut full length are any indication, and they are, then Pela has what it takes to make a run at the big time.

In an attempt to do just that last November, Pela took off to Los Angeles to go in to the studio and work on Rise Ye Sunken Ships, a follow-up album that they hope to release this summer. As fate would have it, their friend and musical foil, Christopher Herb, had recently returned from down under and was living in L.A. “When Pela came to record the new record back in November they said, ‘Come hang out with us in the studio, we’re rehearsing, see if you can throw something into the material. We have an old song of yours that we remember and we’d love to cover it on the record,’” Herb said. “I was totally flattered and I went and played and they were like, ‘Wow, this worked so well, why don’t you come tour with us?’ I was like, ‘okay!’ It wasn’t a reluctant decision at all; everything just seemed perfectly natural. It seemed like a natural progression.”

So, just like that, after six years, the man that laid the foundation for Pela was back in the mix. After briefly toying with the idea of working together via the internet, Herb packed his life up into two boxes and got on a plane to JFK, where the musical part of his soul has taken control of his life again. “We just cut our teeth on this secret Valentine’s Day show where we played for almost three hours,” he said. “It was my first performance with the band and it was a lot of fun. It had been a while since Pela had played live and the show was nearly three times longer than the normal set.”

The band will celebrate their reunion with Herb by taking their “normal set” on the road this month, where their incendiary set will rock crowds from coast to coast. They have pledged to break out several of the tunes that they laid down in the studio late last year and it is clear that their sound is catching on as they have already sold out shows far from home in Chicago and Seattle.

Check Out Pela if You Like:

• Tokyo Police Club
• Editors
• Modest Mouse

PICK OF THE WEEK: Del McCoury Band & David Grisman Quintet - Friday, March 7th - The Ogden Theater, Denver, CO

Why You Should Go: The leaders of these two bands are legends in the bluegrass world and their bands have become legendary as well. Some of the best pickers, players and singers currently active are members of these groups and in both cases their performances are nothing short of awe inspiring.

McCoury and his band worked with Phish back in the 90's when Trey and the boys decided they wanted to learn to play bluegrass and they even appeared with Phish on stage on a couple of occasions. At the other end of the spectrum the Del McCoury Band worked with Steve Earl on his 1999 release The Mountain. They have crossed genres and generations to become one today's most respected and loved Bluegrass bands.

David Grisman has a rich musical legacy that is interwoven with that of the Grateful Dead. Jerry Garcia and Grisman were good friends for much of their lives and recorded several albums of bluegrass, folk and jazz based material together. Grateful Dawg, a fascinating documentary about their friendship and musical relationship, offers an interesting look into the lives of these two legends.

Grisman's self dubbed "Dawg Music" is at times mellow and jazzy while at other times lightning quick footstomping Bluegrass. It will offer a great compliment to Del McCoury Band's more traditional high-lonesome sound. What a treat it is to have these two bands share the stage of The Ogden right here in Denver.

Del McCoury Band


David Grisman Quintet


Venue: The Ogden Theatre, 935 E Colfax Ave, Denver, CO 80218 - (303) 832-1874

Doors:
7:00 PM

*Approximate Set Times:
Del McCoury Band: 8:00
David Grisman Quintet: 9:45

*Price:
$35 (ADV) - General Admission
$37 (DOS) - General Admission
PURCHASE

*All times and prices are gathered from other sources and Listen Up Denver! is not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.