Listen Up Denver!

We're Back!

2008-06-05T10:17:00.002-06:00

After a 4 week hiatus due to the realities of life and having to pay the bills, I am back. It's been a couple of weeks without live music for me but that's all fixin' to change now. I'll get a pick of the week up today and then we'll be back with live reviews and the rest of the regular content.

Thanks for sticking around!

Listen Up Denver!

PICK OF THE WEEK: American Music Club - Friday, May 9th - The Larimer Lounge, Denver, CO

2008-05-07T09:12:00.003-06:00

Why You Should Go: Formed in 1982 by the brilliant songwriter Mark Eitzel American Music Club went on to record seven albums before a self imposed ten year hiatus that began in 1994. When they returned four years ago with the critically acclaimed Love Songs For Patriots they were received by fans new and old alike with open arms and their new record The Golden Age is every bit as good if not better. While their music is often slow, mellow and slightly sad, the passion that Eitzel throws into his performances is amazing and something not to be missed.

With Denver standouts Hello Kavita & Bela Karoli also on the bill it promises to be yet another great night of music at The Larimer.

American Music Club

Venue: Larimer Lounge, 2721 Larimer Street, Denver, CO - 303.291.1007

Doors:
7:00 PM

*Approximate Set Times:
Hello Kavita - 9:00 PM
Bela Karoli - 10:00 PM
Amreican Music Club - 11:00 PM

*Price:
$11.00 (ADV)
$13.00 (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.

ALBUM REVIEW: Jamie Lidell - Jim

2008-05-01T11:54:00.002-06:00

With hints of Smokey Robinson and other classic soul artists of the '60s and '70s, Jamie Lidell's new album, Jim, transports the listener back to those simpler days while at the same time keeping things fresh.

Those familiar with Lidell's previous solo work and his work with Super Collider may be surprised at how polished and accessible this record is. However, it's clear this is the next step in the evolution Lidell's sound has been undergoing throughout his career. From the sampling and electronic meanderings of 2000's Muddlin Gear to the edgy electronic soul of Multiply, it seems that Lidell has been plotting this course to refined soul music for the 21st Century for last eight or more years. While this album is highlighted by more actual instruments than anything he's released in the past, Jim does use electronic manipulation and the other studio wizardry to enhance the vintage feel of the tracks.

While songs like "Wait for Me," and the album's first single, "Little Bit of Feelgood," are poised to be breakout summertime smashes on the scale of the 2006 Gnarls Barkley megahit "Crazy," a cut like "Figured Me Out" seems to pull from the playbook of Jamiroquai and the smooth, jazzy feel of "Green Light" could land Lidell on tour with Steely Dan.

Overall, a very solid and durable album from the king of the next generation of Blue-Eyed Soul singers, Jim is an album sure to appeal to many walks of life and get all generations out on the floor and dancing.

PICK OF THE WEEK: The Swell Season - Saturday, May 3rd - The Ellie Caulkins Opera House, Denver, CO

2008-05-01T11:00:00.003-06:00

Why You Should Go: Unless you've been living in a box for the last year and half, you have at least heard of the movie Once. It is the enchanting and touching story of one man, his music, and the woman who helped him to get it out to the world. The man, Glen Hansard of The Frames, and the woman, Czech singer and pianist Marketa Irglova, are now touring together as The Swell Season. Unless you plan on heading out to Telluride for the Bluegrass Festival this is your only chance to catch these two performing songs from Once live, right in Denver, in the beautiful Ellie Caulkins Opera House.

Though Once received an enormous amount of attention in the months following it's release it remained a largely "indie" movie until the Academy of Motion Pictures nominated the song "Falling Slowly" for the Oscar for Best Original Song. Hansard and Irglova won the Oscar and their popularity has since soared.

Craigslist may be your best bet for tickets to this one, but it never hurts to check ticketmaster as they frequently release tickets as the event approaches.

The Swell Season

Venue: The Ellie Caulkins Opera House 950 13th St, Denver, CO 80204 - (720) 865-4220

Doors: 7:00 PM

*Approximate Set Times:
Joshua James: 8:00 PM
The Swell Season: 9:00 PM

*Price:
$35.00 - $37.50
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.

PHOTOS: Kraftwerk - April 23rd, 2008 - The Fillmore Auditorium, Denver, CO

2008-04-24T20:27:00.003-06:00

Below is a link to the pictures I took at the Kraftwerk show on Wednesday night at The Fillmore.

CLICK HERE FOR PICTURES

PICK OF THE WEEK: Colin Meloy - Saturday, April 26th - The Fox Theatre, Boulder, CO

2008-04-24T09:49:00.003-06:00

Why You Should Go: As lead singer and songwriter for The Decemberists Colin Meloy has, for the last 6 years, been creating some of the most beautiful indie rock there is. Though known as a pirate shanty kind of songwriter, Meloy is much more. His lyrics and melodies are intricate and thought provoking while being amazingly pleasing to the ear.

As he does from time to time, Meloy has chosen to leave his bretheren in the Decemberists behind for this outing and is taking the stage solo to support his recent release Colin Meloy Sings Live which features performances from his 2006 solo tour. The tracks on the record are primarily familiar to Decemberists fans though some newly penned songs that have yet to be featured on a Decemberists record rear their head here as well.

Recently Rolling Stone said Meloy is "a master of improbable juxtaposition: arcane, detailed fictions of star-crossed passion and avenging bloodshed dressed up in indie-rock jangle, la-de-da choruses and vintage prog-rock bombast." Though much of the prog-rock will be stripped out on this tour, it promises to be entertaining as Meloy seldom lets his fans down.

When you head out to the show be sure to pull some extra change from those couch cushions to pick up a copy of Meloy's latest in his series of tour only EPs Colin Meloy Sings Sam Cooke. As the name would suggest the EP is a collection of five Sam Cooke songs, intimately arranged and performed by Meloy, with opener Laura Gibson singing harmonies throughout.

Colin Meloy

Venue: The Fox Theatre 1135 13th Street, Boulder, CO - 303.443.3399

Doors:
8:30 PM

*Approximate Set Times:
Laura Gibson: 9:15 PM
Colin Meloy: 10:30 PM

*Price:
$20
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.

REVIEW: Copper Sunsation Festival - April 12 & 13, 2008 - Copper Mountain, CO

2008-04-22T07:55:00.002-06:00

Saturday: Let’s make one thing perfectly clear. There ain’t no party like a P-Funk party. Like it or not, it’s true. George Clinton and his band of misfits have been dishing out the Cosmic Slop for nearly 40 years and if their performance at Copper Mountain was any indication, they are still going strong. Sure, the cast of characters has changed a bit, Bootsy Collins and Bernie Worrell came and went along with many others, but Clinton still surrounds himself with very able musicians and several of the old timers are still funkin’ it up with him.

A small portion of the band took the stage at about 2 pm just as the snowflakes were beginning to fall and noodled their way through a couple of warm up jams to melt the frost from their fingers before the full force of the P-Funk storm hit us about 40 minutes later and the group blossomed to about 12 members. Leading the charge for the first 30 minutes or so was long time funkateer Garry “Starchild” Shider. Though Shider has been with P-Funk since the 70’s and is known for his penchant for emerging on stage clad in only a diaper the snow and freezing temperatures kept the diaper at bay to the dismay of many in the crowd. “You may know me better in a diaper,” he said at one point, “but it’s just too cold out here for that today.”

As the snow increased in intensity and the crowd managed to get their groove on despite the thick layer of late season snow and ice under foot, P-Funk turned up the heat and Clinton himself finally emerged suitably attired in a ski coat that was covered with golden imprints of cash. He remained on stage for much of the rest of the 2 and half hour performance trading vocals with Shider and others as the band funked up a classic set-list that included “Up For the Down Stroke,” “Flashlight,” “Atomic Dog,” and of course the classic “Give Up The Funk.”

One of the musical highlights of the set was the epic psychedelic guitar solo during the legendary “Maggot Brain.” Featuring long time P-Funk guitar hero, Michael “Kidd Funkadelic” Hampton this song stretched well past the 10 minute mark and marked one of the longest single songs of the set. As he wailed and conjured up images of Pink Floyd’s David Gilmore much of the rest of the band took a break to warm up backstage before diving headlong back into the set and going strong until the stroke of five O’Clock.

During the second half of the set, Clinton and company featured a few tracks from their most recent release How Late Do You Have To Be Before You’re Absent, including the highly danceable “Bounce to This” and the rap “Somethin’ Stank,” which regrettably didn’t feature Sativa as it does on the album. None the less, the mountain crowd loved the message of the song and obliged by sending up plumes of the sweet smelling smoke that has fueled so many of these parties.

In addition to the obligatory drug references, the performance was full of sexual innuendo largely fueled by Carlos “Sir Nose” McMurray, who emerged several times throughout the afternoon and seemed to take delight in flipping off the crowd and grabbing at his crotch as he undulated to the music in a shaggy white fur suit and wide brimmed hat. As the party raged on, the band seemed to have some kind of cosmic control over the snow fall as it seemed to come down harder and faster when the funk was raining down hard and let up as the band slowed the pace. It was a unique experience to party with P-Funk in the snow and one that many in the crowd will not soon forget I am sure.

Sunday: Sunday morning dawned a completely different day as so often happens in the Colorado springtime. By mid-morning the temperature was in the fifties and there wasn’t cloud in the sky. As a result the scene at the base of the mountain was totally different than Saturday. When the techno fueled Lotus took the stage the dance floor was noticeably sloppy as the ice and snow were beginning to melt in the hot mid-day sun and there were shirtless guys and girls in tube and tank tops brushing shoulders with the hardcore skiers in their North Face and Mountain Hardware jackets.

Though there was a noticeable contingent of Lotus fans with their hands in the air there is no doubt that the band won over some new fans as their energetic sound permeated the decks, patios and bars that surrounded the stage area. From the opener “Suitcases,” through the final note of “Sunrain,” the band was firing on all cylinders. The rock solid rhythm section of Steve Clemens, Chuck Morris and Jess Miller provided the foundation for Luke Miller and Mike Rempel to stretch out and take the trancelike melodies to the next level. There were moments when they seemed to have it turned up to 10 and then they pushed it a little bit further. This has always been a hallmark of a great jamband and Lotus is well on their way. They harnessed the energy of the crowd and fed off of it for the duration of the 90 minute set and didn’t let up for a minute.

After Lotus wrapped up their set, the weekend, and the ski season, was drawing to a close. But not before the Hassidic Reggae of Matisyahu rocked the sun-soaked music fans who had crammed the base area to hear him perform. Despite his set being absolutely plagued by sound problems that sent shrill feedback echoing off the walls of nearby mountains, Matisyahu delivered an upbeat set that was a perfect compliment to the weather. The hope and good vibes that are radiated out by this man as he moves around the stage like an MC spreading his music to the world can’t be denied.

The set featured many of Matisyahu’s crowd pleasers, but also featured guest musican Trevor Hall who emerged midway through the set with his guitar in tow. The pair played a song they had co-written called “I Will Be Light,” that will likely be featured on Matisyahu’s next album.

As his set drew to close, and with it the 2007-2008 ski season at Copper, I was struck by how perfectly this weekend had ushered in the summer festival season. With the snow and cold weather that we endured for P-Funk to the bright, warm sun that brought with it the trance-jam of Lotus and the Reggae of Matisyahu, this festival perfectly represented the unpredictable weather of the mountains and Colorado’s insatiable appetite for good music.

Organization: A-

Crowds: B

Sound: B-

Prices: A

Line-Up: B+

Venue: B+

Overall: B+

PICK OF THE WEEK: Jackie Greene & Tim Bluhm - Saturday, April 19th - The Bluebird Theater, Denver, CO

2008-04-16T10:55:00.003-06:00

Why You Should Go: Jackie Greene has been heralded as a rising star in the Americana Rock scene for a couple of years now, but when Grateful Dead Bassist, Phil Lesh, invited him to join his Phil & Friends band last year more than a few heads turned. Despite the usual skepticism from the scene, Greene has quickly won over deadheads with his strong soulful voice and nimble guitar playing. Though he has quickly mastered much of the Grateful Dead catalog, Greene truly shines in his own songwriting and Lesh has given him the opportunity to showcase several of his tunes on tour for the benefit of a the large audiences. This has helped Greene to quickly and deservedly broaden his passionate fan base.

Opening for Greene is his longtime friend and the frontman of California Soul band The Mother Hips, Tim Bluhm. Bluhm has recently released a solo record, House Of Bluhm, which melds singer songwriter tendencies with rock-n-roll. Though Bluhm will be performing solo to open this show, there is always the possibility that Greene will join his friend for an impromptu Skinny Singers session.

Greene and Bluhm founded The Skinny Singers as an outlet for acoustic songs they had written together and the project soon blossomed out of the acoustic realm is taking on a life of it's own. The Skinny Singers haven't toured much outside of the west coast but they recently released an album called The Skinny Singers Strike Again.

It promises to be a great night of Americana tinged Rock-N-Roll for fans of Greene, Bluhm, The Mother Hips, The Skinny Singers and good music in general.

Jackie Greene

Tim Bluhm

Skinny Singers

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

Doors:
7:00 PM

*Approximate Set Times:
George Inai: 8:00 PM
Tim Bluhm: 9:00 PM
Jackie Greene: 10:00 PM

*Price:
$16.50 (ADV) - General Admission
$18 (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.

PHOTOS: Copper Sunsation Festival (George Clinton, Lotus & Matisyahu) - April 12 & 13, 2008 - Copper Mountain, CO

2008-04-15T15:37:00.003-06:00

Below is a link to the pictures I took at the Copper Sunsation Festival this past weekend. My review of the event should be posted shortly.

CLICK HERE FOR PICTURES OF SATURDAY'S SNOWY EVENT

CLICK HERE FOR PICTURES OF SUNDAY'S SUNNY EVENT

REVIEW: The Black Keys - April 9th - The Ogden Theater, Denver, CO

2008-04-11T16:53:00.005-06:00

Note: I got to cover this show for Spin.com . . . yeah Spin! Hopefully my first of many gigs for them.

Photo: Eric Gruneisen

The Scene: Even before the opener, Jay Reatard, came on the Ogden was pretty full. Evidence to the mass appeal of this band, tickets were going for $70 and there were under 21s mingling with grey hairs all the way up the rail. By the time the brief opening set was over people were jockeying for position and holding their ground as the temperature began to rise and it really began to get packed.

Opener: "The Chubby Ramones" was what the guy next to me called Jay Reatard, and he was pretty much right on. They are significantly younger than the Ramones but their sound owed an enormous debt to band like the Ramones and others of that era. Rarely acknowledging the crowd, except for flipping the bird to us all as they walked off stage they ran through about 12 songs in less than 25 minutes. Short and sweet . . . and loud.

The Black Keys: This show was raw. I don't mean delicate and tasty "sushi raw," I mean "day old hamburger that's been sitting by the grill all night," raw. The kind of raw your momma didn't want you going anywhere near. It's mean, retching from the gut rock'n'roll, and it's delivered with passion. After the brief, spitfire set of vintage punk rock that opened the show, the duo of Dan Auerbach on guitar and vocals and Patrick Carney on drums emerged and showed their Denver faithful that they know just how to shove music down your throat . . . and make you like it.

As soon as they took the stage to thunderous cheers from the sweaty and packed house, it was clear that these boys meant business. Under strobes, swirling lights and the shadow of a giant inflatable tire representing their roots in Akron, OH reading "Heavy Sole," these two proceeded to wail through 75 minutes of blues soaked rock that rarely let up.

Auerbach and Carney pulled out all the stops and flung sweat from their hair as they raged through crowd pleasers "Set You Free," "Strange Times," and "Stack Shot Billy." After ironically notifying the crowd that they had been "training at high altitude" for the gig, they slowed things up for the balladry of "You're The One" and caught their breath enough to dive headlong into the rest of the show.

After Attack & Release gem "I Got Mine," the duo took a brief break as nearly every member of the audience pumped their fist and begged for more. When they returned, Auerbach took a seat at the organ that he had neglected all night and quickly proved it deserved its place on the stage as he alternately conjured what seemed to be guitar riffs from the keys and stood with his head back and eyes closed, coaxing from the instrument the deepest tones it would allow. It seemed a fitting closure to a raucous show until the guitar slinger strapped on the six-string again and the pair blew through "Till I Get My Way," to send the crowd off into the uncharacteristically wet and rainy Denver night.

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

Overall: A-

PHOTOS: Daniel Johston - April 5th, 2008 - The Ogden Theater, Denver, CO

2008-04-08T18:18:00.003-06:00

Below is a link to the pictures I took at the Daniel Johnston show on Saturday night at The Ogden. My review of the show should be posted shortly.

CLICK HERE FOR PICTURES

REVIEW: Back Door Slam - April 3rd - The Soiled Dove Underground, Denver, CO

2008-04-08T11:00:00.002-06:00

The Scene: The Soiled Dove Underground is a like walking into an upscale New York City jazz club in the heart of Lowry here in Denver. That's right . . . in Lowry. The tiered seating, waitress notification lights and illuminated table numbers are a nice touch but make a slightly sterile room to hear gut wrenching blues in.

The crowd was a varied group of blues fans, from the tied-dyed and dredded hippies, to the button down office dads, every walk of life was represented in the intimate space. The space is layed out in such a way that those who want to sit in their assigned seats can do so with a clear and unobstructed view of the stage, while those who want to move up front and dance their asses off can do that too.

Overall the venue is perfect for the neighborhood, a kid friendly bedroom community of largely 30 and 40 somethings.

Back Door Slam: Wow. That's basically all I can say. This was one impressive young band. They hail from the Isle of Man in the UK and their music is right up there with the best of the 60's and 70's blues bands like John Mayall's Bluebreakers or even Cream. Maybe these boys were born in the wrong decade.

Only in his early 20's, frontman Davey Knowles absolutely rips on his electric guitar and conjuers up images of Clapton and Hendrix as the blues course through his body and into his able fingers. Throughout the set the band played numerous originals culled from their recent release Roll Away and highlighted the set with just the right number of covers including John Hiatt's "Riding with the King," David Crosby's "Almost Cut My Hair," and Robert Cray's "Back Door Slam" from which the band took their name. I each case these youngsters stayed true to the original but seemed to push the intensity up a level.

While Knowles is undeniablely an unbelieveable guitarist and one of the best I have ever seen in person, his strong heartfelt vocals cannot be overlooked. This kid is capable of reaching deep into his soul and summoning the voice of a middle aged black man from the deep south. It is a stirring sight to watch. That, coupled with his viruosic ability on the guitar and his comfortable stage banter, makes him a force to be reckoned with that we will be hearing from for year.

The only shortcoming of the this band is the complete lack of stage presence and interest exhibited by the Drummer (Ross Doyle) and Bassist (Adam Jones). While very able musicians, both seem to be totally bored with what they are doing and it that brings the intensity of the show down a little bit. It would have been a much stronger show if the rhythm section made any kind of effort at all to engage the crowd thought eye contact, body language or both. I think Knowles will need to give his bandmates a lesson in charisma or move on. He has too much talent to be brought down by the rest of the band.

Back Door Slam restored my faith in a brand of music that I had largely left for dead. There simply aren't enough young bands that sound like this. With their blend of Allman Brothersesque rock and Clapton influenced old school blues, they are poised to win over a huge following of all ages.

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

Overall: A-

REVIEW: Vampire Weekend - April 1st - The Bluebird Theater, Denver, CO

2008-04-08T08:38:00.003-06:00

The Scene: I knew what I was getting myself into when I took off to head to the Vampire Weekend show at the Bluebird on April Fools Day. The show had been sold out for months and the buzz that has been surrounding this band has been practically deafening since the beginning of the year.

To my surprise the room was not wall to wall people and in fact I was able to walk down to within about 15 feet of the stage without much of a problem and without ruffling anyone's feathers. Kinda nice since I walked in right when the band was coming on stage.

The faces singing and bopping along to the music were not the usual Denver Indie-Rock crowd. It was a diverse crowd made up of curious NPR listeners, preppy transplants who wanted a dose of New England and, of course, the kids who are completely gaga for this relatively mediocre group of NYC prepsters.

Vampire Weekend: First, I've got to say that it is almost impossible to live up to the hype that has been swirling around the this band for the last 8 months or more. They had a review in the New York Times before they even had an album out for heaven's sake!!!

At first glance, the bands lead singer and guitarist Ezra Koenig fit the image I had in my head about this group of New York City kids who had all met at Columbia and sing about Cape Cod. He was wearing a navy cardigan with birds on it, jeans and a pair of topsiders . . . really . . . topsiders?

Anyway, about the music, overall it was only fine. It is catchy as hell and, yes, the african influences (see Paul Simon's Graceland) are all over the place. While the guitar lines and rhythms are interesting at first listen on the album I don't think they are going to stand the test of time. However, since they had a sold-out room dancing and singing along to every song on a Tuesday night in Denver, I don't think that Koenig and his band are too worried about standing the test of time at this point.

Including blog favorites "I Stand Corrected," "Campus," and "The Kids Don't Stand a Chance," the set was obviously littered with material from Vampire Weekend, the band's debut album. I was pleasantly suprised when they broke out a new song and, while still drawing on the same jangly influences, it seemed to be a little bit more interesting at first listen. I will be interested to see what happens when their sophomore release drops after the hectic touring winds down later this year.

Koenig's slightly nervous banter between served it's purpose in prolonging the set and it also allowed people time to run to the bar or hit the bathroom as he mused about April Fools Day and made countless innane references to a sign he saw on the way into town referring to Denver as Denco. I will give him credit however, that he thanked the crowd on numerous occasions and even made reference to The Hi-Dive by name when he mentioned the sparse attendence at their first appearance in Denver last year.

The sharp contrast in attendance at this gig allowed him to orchestrate a massive sing-along to the sharp and upbeat "One (Blake's Got a New Face)." Nearly every voice in the theater joined in to replace the backup singers that appear on the album and I've got to admit that I was impressed by the volume coming from the fans.

After a short encore break the band returned to close out their brief set to the delight of the crowd with the surpremely catchy "Walcott." Though it was an entertaining evening of borderline bublegum pop, with a set that clocked it in at merely 50 minutes it must have been a bitter pill to swallow for the folks that coughed up the $40 or $50 that these tickets were commanding on Craigslist.

Next time I am going to have to remind myself that a meteoric rise to prominence isn't necessarily a good thing when it comes to pop music . . . at least in my mind.

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

Overall: B-

FEATURE: Daniel Johnston Is Still Living Life and Making Music

2008-04-04T10:21:00.003-06:00

Daniel Johnston is a 47-year-old man who seems trapped in the mind of a boy. His simple, painfully direct songs are refreshing in the way that they cut through the self examination and other filters of maturity and nakedly reveal the most intimate thoughts and feelings. He is a remarkable example of a man who has, in many ways, capitalized on his limitations to further his chosen art form. Of all the things to be admired about this man, the first and foremost is that he has never been afraid of showing his art to the world.

While many artists will take three or four years to put out ten or twelve songs that are “polished enough to release,” Johnston is famous for getting his music out to the public as quick as possible, in any way possible. His first album, Songs of Pain, released in 1981, contained 20 songs recorded in his garage on an old boom box and then dubbed onto cassette. Johnston took the dubbed cassettes around to radio stations, newspapers and music clubs, saying, “I’m Daniel Johnston, here’s a tape of mine for you to listen to.”

At first listen, Johnston’s music is sure to put some people off, and others might simply hate it. However, for those who are willing to look past the sometimes shaky voice, the untrained guitar style and the often sub-par sonic quality of the recordings, the lyrics are a reward greater than most in music. They are not the complex rhyming genius of Dylan, or the hook-filled pop of Lennon and McCartney; they are simple, and in their simplicity, they are beautiful.

Between 1981 and 1985, Johnston recorded and released seven albums of his instantly recognizable material, with two more albums’ worth of songs recorded during that period released in 1987. In all, Johnston wrote and recorded more than 200 separate songs in those five years, the most prolific of his troubled life. In the intervening 20 years, Johnston has gone through periods of mania, delusions, and even forced incarceration in a state mental hospital.

Fortunately, when Listen Up Denver! caught up with Johnston at his home in Waller, Texas, he was in good spirits and was having a good day. “I’m doing a lot better today,” Johnston said, referring to the day before when several interviews had to be cancelled because he simply wouldn’t get out of bed to answer the phone.

For Johnston, public life has always been a rollercoaster ride. From the first time he was featured on the MTV show “The Cutting Edge” in 1985, right up through today, he has been unpredictable as he operates under the microscope of an ever-growing fan base. In addition to canceling interviews with no notice, he has been known to not show up on stage or to turn in an extremely brief performance before calling it a night while on tour. For those close to Johnston, it’s all par for the course.

These days, those close to Johnston have brought the Daniel Johnston brand literally “in-house.” Bill Johnston, Daniel’s 85-year-old father, took over management duties several years ago and Johnston’s brother Dick is currently running his website and handling several other facets of the business. “When my Dad took over as manager, I was instantly rich and I knew what was going on. We have releases coming out and I am happy about the way things are going right now,” Johnston said. “It’s a family thing and it’s going so well, better than ever before. All I have to do is keep on playing, writing and drawing.”

Though much of his time so far this year has been spent on the road, Johnston has been holding up his end of the bargain and has been busy writing new songs that occasionally pop up in his live shows. “I have a lot of new material, enough for maybe five albums,” Johnston revealed. “I was hoping to record some this year but it sounds like they are planning to put me on the road, so I don’t know what’s going to happen. I don’t know if I’ll have time or be able to. I keep asking them, ‘Hey can we record?’ and they keep telling me, ‘Oh, if we get a chance.’”

In fact, Johnston hasn’t been spent any significant time in the studio since 2006. Over the past couple of years he has been well enough to brave the road again and has been booked on runs of a week or two at a time in the U.S. and Europe. In many cities his shows are sellouts, as hipster youths mingle with 30- or 40-somethings that came of age when Johnston was cranking out albums hand over fist. Maybe it’s the recent covers album, The Late Great Daniel Johnston, that attracts the kids, or maybe it is the documentary The Devil and Daniel Johnston, but whatever it is that got them hooked, all these people are turning out for the same reason, to see a legend perform in the flesh.

Though life on the road is obviously exhausting for him, Johnston was quick to say that he really enjoyed the first leg of his 2008 tour. “It was a lot of fun, sell-out crowds, lots of people and it looked like everybody was having a good time,” he said. “There have been some really good looking girls out there, too, and I like it when they come backstage to talk to me.”

Johnston’s recent shows have featured guitarist Brett Hartenbach for a large portion of the evening. “Until we started playing together I hadn’t seen him for almost 20 years,” Johnston said. “I used to go to college with Brett. He was in a band that was great and I was their big fan. I was always trying to get them to hear my music and it really meant a lot to me when I finally got to play Brett some of my songs, because he was a heck of a musician. On tour, we are playing some of the songs that I wrote during that period. ‘Grievances,’ ‘Living Life’ and some others, I guess. It’s been a lot of fun to be on the road with him.”

It was those songs and the ones that followed that made their way into the hands and ears of many influential musicians and artists. From Kurt Cobain, who declared Johnston his favorite songwriter and famously wore Johnston’s “Hi How Are You” shirt onstage at the 1992 MTV Video Music awards, to Tom Waits, Beck and The Flaming Lips, who all paid tribute to Johnston on The Late Great Daniel Johnston: Discovered Covered, that was released in 2004.

It was, however, another kind of artist that gave Johnston’s career its biggest and most recent boost when, in 2005, Jeff Feuerzeig earned the Best Director award at the prestigious Sundance Film Festival when he debuted his documentary The Devil and Daniel Johnston. The film offers the viewer a candid and largely unbiased view into the life and career of one of the most troubled musicians of our age.

Though the process of making the movie seemed to be a little arduous for Johnston, he is largely pleased with the results. “I have seen it about ten times and I think it’s hilarious. It made all of us kinda stars,” Johnston said. “Because of the movie we are doing a lot better. We are able to play bigger places, things like that. It really made a lot of difference.”

Love him or hate him, it’s hard not to give this man some credit for standing up and believing in himself day in and day out. It seems that in his case, that’s all it took to make people realize that there can be genius in the most simple of songs banged out on a nylon string guitar or toy organ. For those who can look past the surface, the true beauty of this troubled soul will come shining through.

“Hold me like a mother would,
Like I always knew somebody should
Though tomorrow don’t look that good.”
-Daniel Johnston “Living Life”

Check Out Daniel Johnston If You Like:

Tom Waits
Eels
Harvey Pekar

PICK OF THE WEEK: Hello Kavita - Saturday, April 5th - The Larimer Lounge, Denver, CO

2008-04-02T17:48:00.003-06:00

Why You Should Go: You want to be able to say that you attended their first CD release party right here in Denver when your buddy from New York calls you up and tells you about this great new band, Hello Kavita, that he found, don't you???

Seriously, these guys hail from right here in Denver and their debut album, And Then We Turned Sideways, has all the makings of a great record. Strong songwriting, beautiful instrumentation, and solid soulful vocals. Frontman and bandleader Corey Teruya seems to have snuck a peak at Jeff Tweedy's blueprint for Wilco while also owing a healthy debt to the beautifully ragged alt-country that Neil Young was cranking out in the 70's.

From beginning to end this album is well worth the 45 minutes you will invest in it. Whether you find yourself grooving to the America-like shuffle of "Midnight Sound" or shedding a tear in your beer as Teruya touches your soul with the ballad "Disappear," you'll be happy you did.

Catch these guys in the wonderfully dingy confines of the Larimer Lounge before they get scooped up by Ryan Adams or Wilco as an opener on the shed circuit.

Click Here to Listen to Hello Kavita

Venue: Larimer Lounge, 2721 Larimer Street, Denver, CO - 303.291.1007

Doors:
7:00 PM

*Approximate Set Times:
Dan Craig Band - 8:00 PM
Joshua Novak - 9:00 PM
Paper Bird - 10:00 AM
Hello Kavita - 11:00 PM

*Price:
$8.00
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.

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

2008-03-31T16:11:00.005-06:00

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

2008-03-31T10:35:00.007-06:00

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

2008-03-28T16:53:00.003-06:00

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

2008-03-26T13:30:00.006-06:00

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

2008-03-25T12:32:00.005-06:00

“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

2008-03-19T18:17:00.004-06:00

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

2008-03-19T11:25:00.005-06:00

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

2008-03-14T09:51:00.002-06:00

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

2008-03-10T14:23:00.003-06:00

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

2008-03-05T15:24:00.003-07:00

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.