Do you own all three seasons of Deadwood on DVD? Have you ever reenacted scenes from The Good, The Bad, and the Ugly? Can you sing the theme to Bonanza? Hell, do you even know what Bonanza is? If you answered yes to any of the above questions, then The Sadies are the band for you. This boot-stomping, knee-slapping Western band seriously rocked the Echo last night.
As soon as they came on stage, they started full force with the epic track, “Lay Down Your Arms.” This isn’t commercial wife-beaters and pickup-trucks country rock. Oh no. This is the stuff saloon brawls were made for. It’s kind of weird that four guys from Canada brought the Wild West to Los Angeles. Sean Dean worked his upright bass into a stupor while Mike Belitsky thumped his drums like there was no tomorrow. But the real show comes from the Brother’s Good (dueling vocalist/guitarists Travis and Dallas Good, in matching suit and ties no less). On “Northumberland West” the two proved they could shred their guitars and harmonize at the same time. And if you see as many concerts as I do, you’d know this is a skill that many bands do not have.
Their energy and their skill is what make The Sadies stand out. Dallas Good provided a sweet tenor-croon while Travis Good brought a scowling, mad dog growl to their songs. Stylistically, they make me want to jump on a horse and carry a six-shooter. In fact, I swear I heard someone in the crowd yell “Yee Haw!!!!!” during the set. But when it comes to their music playing, sometimes I had to just stand and watch, mesmerized by the Good Brother’s intricate string plucking.
Highlights included the sweet and somber “A Good Flying Day”, a song you’d slow dance to if people still slow danced. For one number, Travis Good even whipped out a fiddle for a badass rock-out, hoedown style. But the hands down, jaw-dropping moment of the night was their final song. The Good Brother’s stood next to each other, crisscrossed arms, and simultaneously played each other’s guitars. It. Was. Fantastic.
I’ll sum up The Sadies with on phrase: Yippie-Kay-Yay-Motherfucker!
Its ok to want the best. And to aim high is necessary. Whether it be women and love, career and lifestyle, friends and family or even the music we chase…aim high. Leave the bullshit behind. Let the haters, the bullshitters do what they do, hate and bullshit.
You have a choice in this world to create, be original and be your absolute imperfect self. Rejoice, leave the energy sappers and ego whores behind on your quest and ride the path of simplicity which excels you to be the best person you can be. And of course, fuel it with impeccable, soul-searching live music.
Monday night’s journey was brought to us courtesy of Lemon Sun at the Silverlake Lounge. There is something so personal, so incredible, when you know you are experiencing something, that may not happen again. Lemon Sun, will never be as perfect as this brief moment that night, and that is ok. Accompanied by drummer, sister vocalist, and a tap dancer, Lemon Sun, went on to deliver a performance capable of putting everything into perspective for me that night.
Let the silly disappointments of the day leave you, your daily bs and just listen to Rob sing. Surrender to it and you’ll know what I am talking about. Within thirty seconds of their set, Lemon Sun, was gifting those of us there with a magical night of touching music. Lemon Sun simply blew me away that night.
This stripped down, rare performance Lemon Sun did was a shame it was not experienced by more people. Lemon Sun helped me live by my mantra of aiming high because that night’s music left me on a buzz and with a smile that made another lonely night just fade away into oblivion. Who really cares, when love is around, it can manifest itself so personally to you in so many different ways, you forget what you longed for and know you just got so much more then you could have imagined, and listening to Lemon Sun was exactly like that. It can be a feeling that you hold dearly unto. It is just for you. And it does not even have to be possessive, yet I will hold unto to that night’s Lemon Sun performance for a long, long time.
Lemon Sun has an upcoming show @ The Troubadour on February 12th along with Rumspringa, Restaurant, and The Growlers. While I cannot guarantee a repeat of that night’s, acoustic-rock infused tap dancing-rag time vocal inspired rhythm, I can tell you that you should not miss another opportunity to listen to Lemon Sun blow you away.
Stories. People. Make Music. You spend a few minutes with John, Rob, Pete and Nick, aka Death to Anders and you really do get opened up to a different vibe. Friends, bandmates, believers, they were cool enough to sit down with Loudvine.com before a recent show.
It was really a pleasure sitting down with Death to Anders, talking about music, the bands direction, how they are playing SXSW and a few other things. Death to Anders, really just a cool bunch of guys who make tremendous music. I could have talked to these guys all night, but they did have a show to do! When we have an opportunity like this, and when see the quality in people and bands we meet, it really makes us fired up with what we are trying to do at Loudvine.com. Watch the interview here.
They kept telling me to stay. Stay. You’ll really like this band. But I have to admit after being traumatized by my dental appointment of earlier that day, my mouth in total pain, and totally satisfied having just watched Death to Anders do their set, I felt like I should go home and just shut it down. But I was told to stay, and I did.
Dam am I glad I did, so I could see this Long Beach Trio, The Soft Hands leave me speechless. I had to stop taking notes, turned my brain off from what I wanted to write, and just wanted to be. I was totally consumed by this band. Unto the stage, after fixing their amp problem, and into a set that had me thinking, why the hell was I even considering leaving? Rapid fire vocals led by Matt and met with Elizabeth behind him with a thumping bass line every single step of the way, the band moved well on stage as Casey on drums just set the mood for the entire set by beating the crap out of his drums. They might have soft hands, by Casey plays with the power of Andre the Giant as he towers over his drum set setting up his band mates.
It was obvious to me at least, The Soft Hands meant business last night at the 3 Clubs. I am telling you this band needs to be seen live. And I feel bad that there was only a small audience to watch them as they utterly annihilated their set last night. Then again I do not feel that bad, at least I got to hear them. Guitar, Bass, Drums, in such synch, that my own jimmy leg could not stop moving as I heard Matt sing. The Soft Hands, came to LA, owned it and won over new fans last night. We definitely need these guys back for more shows. Then again, they are so solid live, we would actually go to Long Beach to see them again. And Again.
Been underground for the last week…in a deep contemplation about the new year and its challenges. Music, live music, oddly enough has not been a priority for a few days. So with that backdrop, a friend is in town for a few days, and we decided to randomly roll into the Hotel Cafe last night.
Eight dollars later, and straight to the back room, we were both met with with a personal serenade by Justin Hopkins. Singing to an attentive, yet small crowd, Justin Hopkins did his thing, and did it well.
Equally gifted on acoustic guitar and piano, the guy is fun and engages with his audience, almost like a comedian would between songs, telling small snipets of stories, which always are about the way the song was written. Justin Hopkins is lyrical and makes wonderful and soothing music, the kind that soothes one after a long day.
Unfortunately only playing to a small crowd but who was there, the people listening to Justin Hopkins, loved every dam minute of his performance. Part comedian, part story teller, Justin owns the stage when he sings to you. I was glad last night live music was again a priority. Another simply pleasurable set at the Hotel Cafe, this time courtesy of Justin Hopkins.
I was in a pretty bad mood last night. My lame friends had flaked on me and I was awkward and alone outside of the Silent Movie Theatre. And it was cold too. Despite this, the excitement of the other waiting concertgoers was infectious. Jimmy Rip and Tom Verlaine were going to be playing live with experimental silent films. Neat right? But wait, music at a movie theater? Wha?
The Silent Movie Theatre on Fairfax arranged this badass evening. Despite their name, they play a lot of artsy and cult movies. Everything from anime to exploitation flicks. Inside, the walls are covered with old school silver screen stars. The main theatre is cozy and comfortable, they even have pillows and couches in the front. It was a weird setting for a music concert, but a really cool setup. Basically, the theatre plays a collection of rare experimental silent films while Verlaine andRipperformed along with their own original scores.
Verlaine and Rip are not only amazingly talented musicians, they’ve been around for quite sometime. Rip is a producer/guitarist who’s worked with everyone from Debbie Harry to Mick Jagger. Verlaine, of course, also has a very impressive history, first starting as the front man for the legendary punk band Television, he’s been performing solo for almost thirty years. Young and old, he’s got a strong following. The Silent Movie Theatre was very, very sold out.
With just a few casual waves to the audience, Verlaine put the punk showmanship on the back burner. Instead, he and Rip put all energy into their music and the images on screen. The duo have been performing to these films about a dozen times in the last 10 years and you can tell that they are masters of their craft. Not just mere instrumental work, these guys made their axes sound like a seagulls caw or a motorcycle engine depending on the image.
On one hand it was a throwback to older times, on the other it was pretty badass. There was something engaging about their live, moody scores. The films themselves ranged from stereotypically artsy (French phrases saying, “You do not dream. It is a flower made of fire.”) to slapstick. The opening to “The Fall of the House of Usher” caused a collective “Ooooh” out of the audience followed by string sliding and creepy plucking. “The Life and Death of 9413, a Hollywood Extra” could go from ridiculous to tragic at the whim of a note. And the hands down best was “Ballet Mecanique.” It was a rock-out grand finale of shapes, trains, and dueling guitars.
Despite me being all by lonesome, it was a worthy experience. Punk legends making live music to artsy silent films. I was especially excited to hear that this evening was part of a month-long series. Every Wednesday night in January the Silent Movie Theatre is having live musicians perform with experimental movies. My flakey friends missed out on Tom Verlaine, but I didnt!
Drove all over town on Monday. Lost stuff all over town on Monday. Wondered if this was the type of day I could expect in 2009. After all, the new year is about clear beginnings. Yet I was, in shall we say, a daze for the better part of the day. I remember getting things done, but not sure how I got them done. The most important thing, what I had thought about all day, was to just go to The Echo for the opening night of the Robert Francis residency. And then it happens, as so often it will. Anticipation is met with deliverance, where you get just want you need, sometimes even more. And I needed live music to take me away from it all. Unto the stage, Robert Francis and mates to play for a packed crowd at The Echo.
Just the notion, of being in that audience, as a fan of music, good music, was enough to relax me and take my mind off the day I had just had. And within a few notes of a band that was eager to perform, and with the smiles to match all across the stage, Robert Francis did his thing. The sound of Robert Francis carries you away, to a little musical cloud, where your day is washed away and you can just be. In total synch with your mind and body relaxing, almost dumb to the world where its just about the music. The way it should be. Robert Francis deliveres on stage, where his music is so vast and tickles you to those micro-spiritual tingling spots of your entire being, that is, you know that spot, that feeling that just cannot be contained by the very walls that try to keep it inside. Robert Francis on stage is for all to share, his sound now belongs to us, as we sit and wait on every note, as his dialed band matches a dude on a mission to make music, the old fashioned way, keeping it true and just good.
Brothers on stage, on a mission, to play to a full crowd at The Echo for the opening night of their January residency. And to take us to yet another level, the one and only Pete Yorn was brought on stage to jam with the band. C’mon, seriously, could we have asked for anything else? When you think about it, life is about those moments where you can just slow it down, be, and be consumed by it, the very moment that has just rescued you from whatever you were feeling.
The sounds of Robert Francis did that for me. For the crowd at The Echo, from the looks on faces of everyone looking on, I was reminded of the special gift amazing nights of music like this can provide.Enjoy these small, intimate nights at The Echo withRobert Francis while they last. Robert Francis, while true to his roots, his sound will carry him to larger venues around the country. So to hear Robert Francis just a few feet away from you, is special, so special you feel it all over your being. Be sure to come out every Monday in January at The Echo to see Robert Francis.
If David Lynch ever decides to make a vampire movie, he should call Eleni Mandell to do the soundtrack. She’s sultry, she’s sexy, and she really knows how to croon. The Hotel Café was definitely giving off a seductive vibe last night. The lights were down low and the curtains on stage looked like red wine. Opening with the song “My Twin”, Mandell immediately hypnotized everyone with her rich vocals and dark content. “Was my twin among the dead?” she asks, “I know he’s out there and he’s looking for me.” While the crowd was an even mix of young and old, I wouldn’t have been surprised if there were a few creatures of the night lurking in the shadows.
But don’t get me wrong, Mandell is no vampire princess. Her most recognizable songs are “Girls” (a touching tribute to high school nostalgia) and the carefree “Let’s Drive Away” (featured on the soundtrack to Weeds). She tends to sing about “sounds, colors, and boys,” telling the audience about her love of dark chocolate and being warm in the summer sun. Definite non-vampire. In fact, the most impressive thing about Mandell is her wide musical range; she runs the gamut from gothic sway to rockin’ alt-country. Last night, she ran it with ease.
Mandell was also very keen on giving due credit to the other musicians on stage with her. Ryan Feves is especially suave with his bass, Jeremy Drake gives off a tragic guitar twang, and Kevin Fitzgerald’s drums provide a young lover’s pulse. Not once do they get bogged down into supporting-band-territory because they work well at highlighting Mandell’s vocals while still making great music as a team. Half way through the set she tells the audience about “my album-no wait-our album. All four of us worked on it.” She then challenges the audience to come up with a name for the rest of her talented crew. Many ideas run through my head, but the name that really makes sense to me is, “Eleni Mandell and the Red Room Lovers.” Mostly because the red curtains on stage worked so well with their music.
Originally from Los Angeles, Eleni Mandell is in her hometown to promote her latest album, “Artificial Fire.” Last night was the first night in a three-week stint at the Hotel Café followed by some major touring. I highly recommend checking her out on January 16th or January 30th, especially if you want to treat a date to a sultry evening out. Mandell sings, “I’m a killer at heart… and this is my artificial fire.” But I disagree. There is nothing artificial about this singer’s fire. By the time her set ended, I needed a glass of water.
In a musical set up that would survive any nuclear meltdown from the latest Will Smith movie, Doxcyde holes up in this west side locale with enough ammunition, toys, rugs, and mixing equipment to perfect what their working on. It is a shrine in here with an assortment of keys, old guitars and enough speakers to blow the neighbors windows out. We were excited they decided to spend some time withLoudvine.com. The entire interview and jam session is in this single video.
Chances are that if your reading this, you fall into one of three categories:
1) You’re a fan of the Crash Kings and already know how spectacular their music is.
2) You’re a family member/friend of mine whose is trying to see what Loudvine.com is and why I won’t stop talking about it.
3) You have an amazing sense of intuition when it comes to music, and some divine force lead you here.
Whichever category you fit in, I’m more than excited to share with you the greatness that is the Crash Kings. If your not hip to the Crash Kings, then let me make an introduction that will forever be sketched in your mind. Tony, Mike and Jason are three badass, blues infused, urban rocking maestros that have been shaking the local LA scene for the last year and a half. Recently inking a deal with Universal Motown, the trio has been working in between show dates and studio sessions, taking their sweet melodic time to create their freshman full length for the masses. I was able to catch up with the band at a recent show at the Brixton, the Kings opening up for the Donnas. The band recently played at Hollywood’s Vanguard for the first U.S. installment of the Red Bull Sound Clash. It was here that I was first introduced to the groups amazing versatility and musicianship, creating an on the spot fusion of soul, funk, elecro-punk, and rock hop. The Sound Clash gave a unique and special taste to what this band is all about, making really great music for people that enjoy really great music.
The other night at the Brixton was no different, either was their following night performance where the band played at 2am in a downtown loft for a private party. Everyone loves these guys and can’t get enough of them. With their myspace slogan and lyrical attribute “Give them what they least expect” in full swing, it’s love at first listen with catchy songs like “Come Away” and “You Got Me”. Tony’s lead vocals and piano skills rip through songs like “1985″ and “Arms”. Jason provides metronome precise timing and rhythm, relaxed barefoot with a James Bond swagger on the drums. Using his bass as everyth ing but the kitchen sink, Mike’s versatility on his ax along with harmonies at just the right echoes, provide a finishing touch to complete the perfect aesthetic. The bands chemistry and song writing are polished and first-rate, already captured and executed well both on stage and in the studio. I mean it when I say, that if you don’t like this band I question your entire taste in music.
It’s always difficult to gauge the mainstream success of a band ahead of time, especially one with an authentic sound as the Crash Kings. We’ve seen the radio take to the likes of Maroon 5 and Ben Harper, so I’m hopeful The Crash Kings will be well received in the same vein. However, the Crash Kings are at an interesting point in their career. Having started from nothing almost two years ago (Tony and Mike are brothers who literally came to LA from Boston with their bags and instruments), it’s inspiring to document their rapid rise in such a short amount of time. This time next year I wouldn’t be surprised to see them gearing up for Grammys, Festivals, and a-list collaborations. The crew has already sat in the historical memories of Led Zepplin and Jerry Lee Lewis, recording their debut album in the famous Sunset Studios. But no pressure, the band’s taking their musical aspirations one day at a time, and if their career timing is anything similar to their musical timing, then there’s not a damn thing to worry about.
