Apr 242014
 

The Kroger Fest-A-Ville event on Sunday, April 27 at the Waterfront will be a big Christian music show, courtesy of 88.5 WJIE. Scheduled to play are Audio Adrenaline, Finding Favor, Shine Bright Baby, Carrollton and Kutless. Audio Adrenaline, which began at Kentucky Christian University in Grayson, Kentucky in the mid-Eighties and went on two win two Grammy Awards and numerous Dove Awards. The band broke up 2006, due to lead singer Mark Stuart’s voice problems, then reformed in 2012 with Kevin Max of DC Talk as lead singer. The subsequently released Kings & Queens in 2013. Kutless has also been in the game since 1989, with seven albums to their credit.

Here’s Audio Adrenaline’s “Kings And Queens”:


Kutless performs “What Faith Can Do”:


Finding Favor – “Say Amen”:


Shine Bright Baby – “Beautiful Love”:


Carrollton – “Need To Breathe”:


Apr 242014
 

Rolling Stone Magazine has included the Forecastle Fest in it’s ” title=”Rolling Stone – 40 Must-See Festivals” target=”_blank”>40 Must-See Festival List. The Pitchfork Festival in Chicago is the nearest competition, so there should be a good crowd.


Apr 242014
 

Let no one say that the music in Louisville during Derby is only dull, boring old people music – case in point, the Michigan metalcore band We Came As Romans, which will play the Vernon Club on April 28, along with A Feast For Kings, Ari and Sounds Like A Lawsuit. WCAR has been through Louisville a number of times before, beginning with a 2008 stop at the long-defunct Bulldog Cafe and lastly in 2012 with the Scream It Like You Mean It Tour at Expo 5. (The trip to the Vernon Club will help them reach some fans who won’t make the trip to Seventh Street Road.) They are in the middle of a series of shows in support of their latest, Tracing Back Roots, which peaked at #1 on the US Indie album chart. Tickets to the show are $15.

Watch the official video for “Hope” from Tracing Back Roots:


MORE ARTIST INFORMATION

Website: www.wecameasromans.com/?
Facebook: https://www.facebook.com/wecameasromans?
Twitter: https://twitter.com/wecameasromans?

A Feats For Kings – “React/Regret”:


Apr 232014
 

Jagjaguwar artist and former backup singer for Bonnie “Prince” Billy Angel Olsen joins the stampede of artists coming through town during Derby Week when she stops in at Zanzabar on April 26 for a show with The Promised Land Sound. She’s touring in support of her first full-band release, Burn Your Fire For No Witness, which was released in February. Hey, maybe Will Oldham will show up, too. Tickets are $10 adv/ $12 DoS.

Watch the official video for “Forgive/Forgotten”:


MORE ARTIST INFORMATION

Website: angelolsen.com/?
Facebook: https://www.facebook.com/angelolsenmusic
MySpace: https://myspace.com/ghostgrocersings?


Apr 232014
 

For people of a certain age, hearing the name The Buzzard Rock String Band evokes memories of nights along Bardstown Road, Washington Street and – for some – The Bluegrass Hotel. Harry Bickel Jr., owner of the “Hotel” and member of the Buzzards, has been motivated to regroup as much of the original band as possible, specifically, himself, Doc Hamilton and Harry Sparks, with help from Charlie Cushman and Vince Gill, a former resident of the Hotel now living in Nashville, for the purpose of recording an album, entitled Nobody Special. The tale of how that came about is the subject of some pretty lengthy liner notes accompanying the record. (You’ll have to buy the record or hope the band puts up a web site with the story to read it.) It was recorded at Vince Gill’s home studio in Nashville, with help from Charlie Cushman. Harry agreed to answer a few questions about the record and related matters.
The Record Release party is scheduled for 5 p.m., April 27 at the Red Barn on the U of L campus. It’s also available at http://www.cdbaby.com/cd/buzzardrockstringband

>1. What prompted you to get the band back together and make a record and how did you get Vince to come along?

About four years ago, Harry Sparks was about to turn 70 and was having a big birthday party. I talked to him several weeks before the party and told him I thought he and I should go in a studio and put down some of the stuff we did together back in the 1970’s. He loved the idea and suggested we get on it after the birthday party was over. During the birthday party, I was calling some of our old friends like J.D. Crowe and Sam Bush so they could wish Sparky a Happy Birthday. I would run up to Sparky with my phone in hand saying “Birthday call for Harry Sparks, birthday call for Harry Sparks”. It was actually pretty funny because he never knew who he was about to talk to. When I called Vince, however, his phone just kept going to voicemail, so I finally gave up. The next day, Vince called me back to apologize for not answering. He had just gotten back from Italy and had crashed. I told him why I called and that Sparky and I had decided to record some of our old stuff. To that he replied “that’s great, I’ve got the perfect place for you to do it.” I said “where?” and he replied, “my house, I’ve just finished building my own studio and you guys are welcome to come down.” Later that day I called Sparky and he was very excited. We decided that we couldn’t do it without Doc, so I called him in Texas and he said he was in. So that’s how the whole thing started.

> 2. When was the last time the band had been together before this project began and what caused you to stop performing?
Sparky, Doc and I performed together as the Buzzard Rock String Band for several years beginning about 1976. Vince was living at the house (the Bluegrass Hotel) at the time and would play with us when his band (the Bluegrass Alliance) wasn’t working. Vince moved away first, sometime in 1976. Doc moved back out West a few years that so Sparky and I added other musicians. FInally, Sparky moved away around 1980. I kept the band together, with different people, until the early ‘90, at which time we started drifting apart. In 1988, the final version of the band recorded an album for June Appal Records called “I’ve Got the Blues for My Kentucky Home.” So, in answer to your question, the three original members had not played together since the late ‘70s. We had not played together with Vince since the mid ‘70s.

> 3. What are you going to do with this project to promote it?

We’re not going to do a whole lot to promote it. Doc lives in Texas, Sparky in Northern Kentucky and I live in Louisville. We just did it to have fun and to leave some of our music behind. It’s available from CD Baby and for download from Amazon and several other places. We’ve also sent it to several magazines for review. I don’t, however, envision any grand tour.

> 4. How do you think the bluegrass scene has changed since you last performed professionally? (Your yearly parties don’t count but what you heard there does.)

This CD is actually Old Time Music, not Bluegrass, but we’ve all continued to be involved in Bluegrass over the years. When we got started back in the 1960s, the traditional bands like Monroe, Flatt & Scruggs, the Stanleys, etc. were the mainstays. Of course, J.D. Crowe was the top gun in Kentucky. The first Bluegrass festival was in 1965 in Roanoke, Virginia and things really started to take off after that. In the late ‘60s and early ‘70s, Louisville was probably the top city in the country for Bluegrass. The list of musicians who passed through here is amazing. Sometime in the 1980s, things started to die out around here, but a core group of musicians remains, a lot of them centered around Bluegrass Anonymous.

I think Bluegrass Music, itself, has changed a lot over the years. Unfortunately, all of the changes have not been good. Many bands started speeding things up to the point that all of the subtle aspects of the music are lost. Art Stamper, who was one of my closest friends for 40 years, was very disillusioned with the music in his later years. He used to say “they’ve ruined it!” The technical level of the players has increased greatly but the tendency has been to add too many notes to the solos. To that, Art used to say “don’t play everything you know on the first break.” Some bands also try to overpower the audience by playing very loud and all at the same time. Doc calls it a “wall of sound!” Don’t get me wrong, I still love Bluegrass. I just prefer the older, more traditional sounds.

> 5. The technical aspects of recording business have changed since you last recorded – how did everybody adapt to those changes? Did you just record live instead?

The first time I recorded, studios were still using two inch tape and the final products were LPs and Cassette Tapes. Now we’ve gone to all digital and CDs. From the standpoint of the musician, things aren’t all that different. You still sit there and play your music. Making changes or correcting mistakes is a little easier. Mixing on this album was much easier. In the past, I’ve always sat with the engineer and gone through every cut, over and over. This time, since Vince’s engineer is in Nashville, we did it over the Internet, so to speak. Vince brought us CDs of the rough mix. We all listened to them and made some suggestions. I then worked with his engineer, Matt Rausch, via email and Drop Box, a program that allows you to exchange files with others. As far as sound quality, Matt did an incredible job the first time through. I went through each song and told him exactly where to raise or lower instruments or voices and also where we needed Vince to add a break, and in one instance, a harmony vocal. He would send me the new file and I would review it again to make sure it was the way I wanted it. From a technical standpoint, the end result was fantastic. Because there was no time crunch, I was able to listen to each cut, over and over, and with several types of speakers and various types of headphones and ear buds.

We actually did record live as opposed to the way most recordings are made today. We sat around and played and sang and added a few bits and pieces after the fact. Vince prefers to do harmony parts later so he can listen to the way you sing and match it as closely as possible. That’s why everyone in Nashville has wanted him to sing harmony on their records for the past 30 years. I prefer to do our kind of music that way because I think it gives it more of a live feel. With so many recordings today, the musicians never see one another. They come in, record their bit, and that’s it Technically, the recording is perfect but I think a lot of spirit and emotion is lost in the process.

> 6. Since you were there for the beginning of the newgrass/Newgrass subgenre in bluegrass, what’s your opinion about how the many variations on that theme now, particularly the jamgrass kind, have changed the style?

I think I alluded to a lot of this in the question about the Bluegrass scene. I was there for the very first Newgrass Revival gig and followed them closely until their demise. Actually, we literally did follow them once at Winfield. The Buzzard Rock String Band went on stage right after Newgrass finished their set. It was kind of like showing up at a gunfight with a pea shooter. I loved the Newgrass Revival and all of the guys in it. I thought they did a great deal to bring Bluegrass to a wider audience. Of course, they were the offshoot of the Bluegrass Alliance and I think both bands were responsible for catapulting Bluegrass into the modern age. I guess I must be getting old, however, because I don’t even know what “jamgrass” is.

> 7. Dude, aren’t you kind of old for to be gigging and promoting a new record? (Stock audience question)
Of course I’m not too old. I can still feed and dress myself. I don’t think there is any reason to ever stop playing as long as you are able. At some point, you’re not going to play as well as you used to, but that’s no reason for quitting. I sat many times and listened to people like Tommy Jarrell, Virgil Anderson, Mississippi John Hurt, Eck Robertson, Cousin Emmy when they all were at an advanced age, and still came away with something. It’s how you connect with the past. If you don’t know where your music came from, it’s hard to decide where you want it to go.

The show is at the Red Barn on UL’s campus on Sunday, April 27th, beginning at 5pm. I have actually reinvented the Buzzard Rock String Band with two old members and two new members. We will start playing out in the near future. They will all be there on Sunday plus some faces from the past, including Harry Sparks. Doc Hamilton couldn’t come for this gig. It should be a real good time and a chance to show off some of the songs from the album. Excuse me, that’s CD to you young folks.

Thanks, Harry, and for all the music that came out of the Hotel.


Apr 222014
 

In case you haven’t been paying attention and/or staying away from downtown, the Kentucky Derby Two-Week Festival is well underway, with various events happening in Waterfront Park, under the title of Kroger Fest-A-Ville, which some of us would call the Chow Wagon. On Saturday, April 26, the Portland alt rock band Everclear , which has been on the scene since 1993’s World Of Noise, will be the headliner for a Pegasus Pin-entry show. They’re pretty well into the Nostalgia tour phase of their career these days, with only one original member, lead singer Art Alexakis, left. Remember when?

Here’s “Wonderful”:

MORE ARTIST INFORMATION

Website: http://www.everclearonline.com/
Facebook: https://www.facebook.com/everclear?
LastFM: www.last.fm/music/Everclear?


Apr 222014
 

The new battle in Louisville between Headliners and The Mercury Ballroom has only just begun; at the moment, the interesting score to keep is which performers who have played Headliners will now play The Mercury. The Devil Makes Three will be the latest when they bring their mix of bluegrass, old-time and acoustic rock and romp into the Mercury on April 26. While they made their first score with “Old Number 7,” they’ve released seven albums, including the latest, I’m A Stranger Here on New West Records. Joe Fletcher and The Wrong Reasons will open the show. The lack of seating won’t matter that much, given that DM3 will get dancing. Tickets are $17.50 plus a $5 fee.

Check out the video to their newest, “Stranger”:


MORE ARTIST INFORMATION

Website: www.thedevilmakesthree.com/?
Facebook: https://www.facebook.com/thedevilmakesthreemusic
LastFM: www.last.fm/music/The+Devil+Makes+Three