Posts Tagged ‘music’

The Trespassers

The Trespassers
Sarah Cupery Ottley (violin/fiddle, vocals), Benny Lee Friedrich (upright bass, vocals), Andy “Tarantula” Roberts (banjo, guitar, vocals), and “Bronco” Ben Goger (guitar, mandolin, vocals)

So, what are you up to this coming Cinco de Mayo? Well, if you are in San Francisco and want to have some fun I highly recommend going and seeing The Trespassers at the Great American Music Hall in support of their CD release party for Road Time: Live In California! The Trespassers have been described in the following ways:

“Homesteaders, activists, educators, workers, philosophers, travelers; The Trespassers strive to live in harmony with this world. Their songs often times include critiques and solutions pertinent to life in the twenty-first century.”

“The Trespassers sing stories that make you feel at peace but also dare to remind you that we are not always alright in this complex, modern world. Strength, protest, anger, hope and, above all, love are the emotions that resound off canyon and concrete walls as this band drifts across the west.”

“This young band is coming into their prime, after eight years of playing in the underground. Honing their skills in taverns, barns, campfires, at grassroots music festivals and environmental rallies. They are ready to bring their music and message to a wider audience.”

I have been lucky enough to work with The Trespassers a few times in the past and I can easily say that they are a group of the nicest people you could ever meet. They are truely just down to Earth, good people trying to make it by in this world. They are always looking to have a good time and it comes across in their music. They always get the crowd moving with their infectious energy.

The Trespassers have been touring around the West for quite a while now, so you may have already caught their Sierra Foothill Folk music at places like the Strawberry Music Festival, Joshua Tree Music Festival, Fillmore Poster Room, Carter Ranch Music Festival, Café Du Nord, and the San Francisco Bluegrass and Old-Time Music Festival.

To put together Road Time: Live In California, The Trespassers recorded all their live shows from their 2011 Summer and Fall tours. They then had the recordings mixed at Jerseydale – Ain’t No Studios by Peter Bogle. The album features 19 songs recorded live at 6 venues in 2011 and can be purchased now at CD Baby.

Tickets are now available for The Trespassers’ official CD release in San Francisco at The Great American Music Hall. Go to http://tickets.gamh.com/events/196440 to buy tickets. Opening for them will be Windy Hill, Faux Renwah, and Melody Walker. If you know you’re going to the show, or you think you’re going to the show, please buy your tickets in advance! It’ll also be an awesome opportunity to get a great discount on their new album. I have heard from the band, and they are very excited about this show and hope to share the evening with you! Hope to see you there!!

In the meantime, here are some videos of The Trespassers performing at a gig I got them in the KPIG studios years ago:

 

 

 

 

Lagwagon playing “Coffee & Cigarettes” at the Fillmore in San Francisco on Saturday January 21, 2012.
This is probably one of my favorite Lagwagon songs. I’ve always loved playing this tune on the guitar.

As most of you may have already seen on the Music Sumo Facebook Page, Tom Petty and the Heartbreakers’ guitars were reported stolen from Culver Studios in Southern California on Thursday April 12th while at rehearsals for their up coming tour. The guitars were Petty’s blond 1967 maple 12-string Rickenbacker and his Gibson SGTVJunior, Mike Campbell‘s blue Dusenberg, Ron Blair‘s Fender Broadcaster, and Scott Thurston‘s 1967 Epiphone Sheridan. Collectively, the guitars were said to be worth around $100,000. On their website, the band offered a “no questions asked” $7,500 reward for information leading to the return of the instruments.

Police Chief Don Pedersen said a break in the case came when a 51 year old security guard from the Culver Studios named, Daryl Emmette Washington, pawned one of the guitars at a Hollywood pawn shop for only $250. While I am sure that Tom Petty and the boys are glad to get their instruments back, a message seeking comment from the band’s publicist, Jim Merlis, was not immediately returned.

Have a good tour, guys!

bryan Titus - anymore

Today I was fortunate enough to steal some time to sit down and listen to an album by bryan Titus titled, …anymore. bryan Titus was kind enough to send me a copy of his album to check out and I am glad that he did. Initially, it ended up taking me a few days to get to listen to the album since my roommate got hooked on it and it disappeared into his room for a bit. When I got the album back I was then a little apprehensive to listen to it since it was described to me as “really Country.” I was really shocked, and pleasantly surprised, that it was not so much Country but more of a mixture of genres.

…anymore. seemed more Rock oriented to me than anything, but it certainly had some other genres mixed into the pot. There was some added dashes of Country, Gospel, Blues, and more. The album is a wonderfully blended eclectic mix that seems to be likable across many demographics. In fact, one person who heard the album with me said that it would probably sell well in a Starbucks. I was able to play the album for several different people throughout the day and they all loved different aspects of it. Right away, the listener is greeted with sound from a band that seems like they are having a good time, and this feeling transfers onto the listener. Multiple people who heard the music moved their bodies and tried to sing along without knowing the lyrics or the actual melody first. The music seemed somewhat infectious. With emphatic vocals, bryan Titus certainly does not hide on the album. He is right out in front, commanding his band through a concerto of musical good times. Backed up by a dynamic band built up of Jonathan Weed (Acoustic, Electric & 12-String Guitars, Mandolin, Backing Vocals), Will Weissman (Bass) , and Jeremy Miller (Drums & Percussion); …anymore. at times seemed reminicent of some Dave Matthews or the Counting Crows. All of the guys with bryan Titus are professionals, they have been playing together for some time, and it shows. …anymore. is a tight album with a nice mix that could be liked by many. It’s good any time music.

bryan Titus is out playing live quite a bit and I encourage you to check him out if you can. He has been taking over the Los Angeles area for the past few years, but he does manage to get around. To find out what he is up to, check out his Facebook Page. His next show is at the Genghis Cohen on Friday April 13th at 8pm. Go check him out!

…anymore. can also be purchased online in a few places including the following:

Bandcamp

iTunes

Amazon

If you would like to check out a preview of his album beforehand, you can do that, here:

CREDITS:

Bryan Titus – Lead Vocals, Backing Vocals, Acoustic & Electric Guitars, Violin & Viola

Jonathan Weed – Acoustic, Electric & 12-String Guitars, Mandolin, Backing Vocals

Will Weissman – Bass

Jeremy Miller – Drums & Percussion

Additional Musicians:
Gerry Mattei – Keyboards & Piano
Skip Edwards – Pedal Steel (tracks 3, 7 & 11)
Charlie Superfly – Guest Vocal (track 1)
Tracy Nicole Chapman & Debbie Kee – Add. Vocals (tracks 2, 3 & 8)
Hanna Kondo Weed – Backing Vocals (track 7)
Ryan “Frogs” McCormack – Add. Percussion (track 9)

Recorded at Sonic Environments by Jeffery Weed. Vocals recorded at Eargasm Studios by Chris Wonzer and additional recording at Radar! Studios by Jonathan Weed.

© 2010 by Bryan Titus/Jonathan Weed
All rights reserved. Neon Zion/BMI Gasius Clay/ASCAP

Winding down the night of their CD release party at Slim’s in SF, Lagwagon play their title track, “Lagwagon.”

It’s probably no secret that one of my favorite bands is NOFX. I try to get to their shows whenever they are playing in the San Francisco Bay Area. Back in January, I got to go see them for their two night run at the Fillmore with Old Man Markley, No Use For A Name, and Lagwagon. It was a great two nights, but the second night was probably the crazier of the two. On the second night, there was an incident now known as “Melvingate.”

Halfway thorough “I’m Telling TimEric Melvin was tackled by a drunk fan who made a very quick retreat into the crowd. Melvin soon followed with a jump after the guy. The greatest thing was that I just happened to catch it all on video. In fact, I caught the whole show on video. Instead of telling you all about it, why don’t you just come with me in my time machine back to the show!

You can check out the whole show at the following link:
http://www.youtube.com/watch?v=hsg5oMlpk_c&list=PLF6A473207F2BCFC8&feature=plpp_play_all
or you can check out any of the individual videos from the show below.

Now, let’s go to Punk Rock show, kids!!

Of course, the show starts off with regular banter, but Hefe also gets a demo CD from a guy in the crowd who was there both nights. A guy they named, Gallagher, because he looked similar to the comedian.
Right into “60%,” Fat Mike is hit directly in the fact with a drink. Not cool, and the band asks for the crowd to turn in the culprit for $100. The show had a lot of energy and it was hard to stand still so the shot is pretty shaky.

Running through their set with “Murder The Government,” “I’m Telling Tim,” and “It’s My Job To Keep Punk Rock Elite.” Everything seemed to be going well until Eric Melvin gets tackled on stage at the beginning of “I’m Telling Tim.” He gets up and stage dives after the guy into the crowd where he is joined by Fat Mike and some of the Fat crew.

“Leaving Jesusland.”

“Totally Fucked.”

Playing “black music played by whites and Mexicans,” or “Eat The Meek.”

“Seeing Double At The Triple Rock.”

About 1/3 done with their set. Although they state that this show is definitely in their top 800 played, they do screw up the start to “Mattersville.”

“Fuck The Kids Revisited” and “Linoleum,” and you get to find out what snowballing is if you did not already know!

A guy gets up on stage and tries to take pictures, but is very quickly rushed off during “Wore Out The Soles Of My Party Boots.”

“The Moron Brothers.” Appropriately enough, the guy in front decides to be an ass and give people the bird.

Here, they change the name of the song a little from “Arming The Proletariat With Potato Guns” to “Arming Puerto Ricans With Potato Guns.”

“Reeko.”

“Blasphemy (The Victimless Crime).” They also call out a guy in the crowd, calling him Dave Mustaine.

Here, they screw up the start of “The Malachi Crunch,” but then they nail it in true NOFX style.

Finishing up their set with “The Separation Of Church And Skate.”

Starting their encore with “Doornails.” They also unveil their second night banner!

“Stickin’ In My Eye.”

“Don’t Call Me White.”

Continuing through their encore with “I Wanna Be An Alcoholic” and “Fuck The Kids.”

And, finishing up with show with “Kill All The White Man.”

Hope you enjoyed the show!!

A few nights ago The Muppets’ funk band, Dr. Teeth and The Electric Mayhem, stopped by Jimmy Kimmel Live! to promote their new DVD. They were not alone though. Along with them was drummer, Travis Barker from Blink-182 and the Transplants. Together they performed “Can You Picture That?” and in the middle of it, Barker and Animal had a drum-off. Pretty awesome stuff.

I kept seeing this video posted around Facebook and finally got curious enough to click on it. Glad I did! Nicki Bluhm & The Gramblers are on tour right now and it seems they have come up with a pretty simple, but innovative idea to promote themselves while on the road. They have periodically been recording covers of tunes from other artists while they are driving in their van and they have been posting them around the internet as their “Van Sessions.” Check out this video of them covering Hall & Oates‘, “I Can’t Go For That.” For this and other videos by Nicki Bluhm & The Gramblers check out their YouTube channel, here. Good stuff!

On Saturday, March 24th, The National will join Bob Weir in a free webcast from Weir’s TRI Studios. Dubbed “The Bridge Session,” the event will be an evening of mixed musical genres, political discussion, and a showcase of modern technology. For the show, Scott and Bryan Devendorf of The National assembled a band from within Brooklyn’s independent music scene including Josh Kaufman, Thomas Bartlett, Kyle Resnick, Walt Martin, Conrad Doucette and Samuel Cohen. Their setlist with Bob Weir will include original songs by the Grateful Dead and The National, as well as cover songs with subtle, and not-so-subtle, political messages. Also in attendence will be Grateful Dead lyricist and activist, John Perry Barlow, who will be a panelist in a roundtable discussion that will take place between music sets.

The roundtable between sets will focus on issues that potentially unify people of divergent ideological perspectives – specifically, getting money out of politics and protecting the First Amendment. This roundtable will not be a closed discussion. Fans watching The Bridge Session at home will be able to ask questions to Weir, Barlow and other special guests via Twitter. It is being said that this event aims to “bridge the gaps” between people of various tastes and viewpoints. The name of the event also references TRI Studios’ location just North of the Golden Gate Bridge, and The National’s home base of Brooklyn and its equally famous bridge.

The Bridge Session will be produced by HeadCount, a non-profit organization that promotes voter registration and democratic participation. HeadCount founder Marc Brownstein, a member of the electronic rock band the Disco Biscuits and a Brooklyn native, will serve as emcee. Weir also happens to be on the organization’s Board of Directors.

Along with the world watching online, there will also be an intimate studio audience of benefactors and select media. If you would like to be in attendance as a benefector, you may acquire a ticket, here.

Have fun, and enjoy the show!

Originally written by Trent Reznor and performed by Nine Inch Nails (see their live version, here), Hurt turned into such an iconic video for Johnny Cash in 2002. This was probably partially due to the fact that this was one of the last videos that Johnny Cash did before his death and it featured images of his life. Directed by Mark Romanek, the video for Hurt went on to earn best video of the year by the Grammy Awards and CMA Awards, and the best video of all time by NME in July 2011.