Louisville Reviews - Shows & Recordings

Profile: Island Earth Music

May 082012

By Benjamin Garnett

When driving through Crescent Hill, the Highlands, or down Bardstown Road, you can’t help but drive past all of the shops and local businesses that Louisville proudly boasts in those areas. However, you usually don’t pay much attention to what’s on the second and third floors of those buildings, and why should you? They’re not shops, people usually live there, there’s nothing of interest to the average person anywhere up there. It’s in one of these often-passed-over locations in Saint Matthews where you could find the studio and offices for the record label Island Earth Music.

If you haven’t heard of Island Earth, don’t feel bad; the label came into existence only a year ago. On the other hand, if you have heard of them, you’re still not part of an elite group, since they’ve spent the last twelve months taking the Louisville area (and the rest of Kentucky) completely by storm. Two of the label’s four owners are members of well-known Louisville musical powerhouse The Villebillies (one of Island Earth’s several signed bands), and the label itself is a culmination of everything that the owners have wanted to do with music management for the last decade.

“This label has been ten years in the making, and it’s a hotbed of talent,” says co-owner Will Walk. “The bands that we’ve signed are all talented, they love to do what they do, and it’s been amazing from the start.”
Other signed acts include the Bass Drum Aliens, Elephant Room, the Gentlemen Hounds, Manfred, J Monkey, and Bush League. All of the bands perform often around Louisville and central Kentucky, their videos and songs can be found online, and nearly all of them are releasing albums in 2012.

“With Island Earth, we’ve been able to get our band back to how we were around 2004, and it’s been great,” says Villebillies front-man Derek “Child” Moynahan. “We’ve gone through two labels before this, and signed with a national label on top of that. None of it worked out, and with this we’ve finally been able to get back to our philosophy of having fun with our music and letting it take us where it will.”
Island Earth isn’t hard to find on the webwaves; their homepage is IslandEarthMusic.com, and the label and its bands all have pages on Facebook, Twitter and Youtube. The most recent big event for this label was the Villebillies’ CD release concert for their fourth album, “Appetite for Dysfunction.” With the talent that Island Earth has signed, the energy the owners and bands possess, and the great strides that they’ve made in the Kentucky music scene in only a year, there’s no telling where this label and its bands will be a year from now.

Devil Makes Three Makes A New Oldtime Racket At Uncle Slaytons

Americana, Show Reviews, Uncategorized No Responses »

Mar 152012

Santa Cruz, California’s The Devil Makes Three finally made an excursion to Derby City in support of their new CD, Stomp And Smash, and delivered a romping, stomping set to a very enthusiastic crowd at sold-out Uncle Slayton’s on March 13. Whooping and cheering at the start of nearly every tune, the audience, which included a number of travelers from Bloomington and Fort Wayne, must have been anticipating the appearance by listening to all of DMT’s four albums. There was also an unusual mix of folks, including at least a pair of skinheads plainly itching to mosh, which they (thankfully) didn’t do. Generally, everybody was moving in some kind of fashion likely to be called dancing, for lack of a better term.

DMT’s music is described as a mix of bluegrass, old time music, country, folk, blues, ragtime and rockabilly, if you leave out the bluegrass; in other words, “folk” influences from most of the first half of the twentieth century. No jazz or pop to speak of, though, but there was a definite hint of klezmer – a clarinet would have fit right in. The instrumentation was akin to bluegrass, featuring Pete Bernhard on guitar, Cooper McBean on banjo and guitar and Lucia Turino on double bass, but the playing style would have never passed muster with Mr. Bill. With a lyric content that owed quite a bit to both Woody Guthrie and Ramblin’ Jack Elliott (perhaps by way of B. Dylan), DMT’s songs are intense, singable and memorable, though lacking the slap-you-in-the-face hooks of modern rock and pop. The word most used in reviews, appropriately, is furious, as in fast and.

Devil Makes Three

Photos by Luis De Leon.

The opener, Virginia’s Phillip Roebuck was even more plucked out of the early 20th Century. Toting a home-build drum kit of sorts on his back, Roebuck played fast, aggressive songs on a banjo with a pickup, using a steel slide. His was a performance to be amazed at, even if the material might be an acquired taste and not obviously suited for recording. All he lacked was his fiddle, which, he said, a suffered a broken neck early in the tour. He played one of his fast fiddle songs on the banjo; it sounded like a fiddle tune.

DMT was pleased by the response of the crowd; vocalist and guitarist Pete Bernhard scored local points by noting the bassist Lucia Turino’s grandmother had come to the sound check and vowed to return, although probably to a bigger room next time.

Photos: MERF’s Viva La Diva III

Americana, Blues, Country, Event Photos, Pop, Rock N Roll 1 Response »

Nov 072011

MERF”s Viva La Diva III show happened at Jim Porter’s last night. Here are some photos of the show.

Yours Truly @ MERF`s Viva La Diva III Benefit

Kelly Richey - MERF`s Viva La Diva III Benefit

Troubadours of Divine Bliss - MERF`s Viva La Diva III Benefit

Uncle Clyde`s Hi-Fi - MERF`s Viva La Diva III Benefit

Tristen Roberts - MERF`s Viva La Diva III Benefit

Leigh Ann Yost Band - MERF`s Viva La Diva III Benefit

MommaKitty Southwood - MERF`s Viva La Diva III Benefit

Twisted Sisters - MERF`s Viva La Diva III Benefit

Alabama Brown Band - MERF`s Viva La Diva III Benefit

Kelly Richey - MERF`s Viva La Diva III Benefit

Alabama Brown Band - MERF`s Viva La Diva III Benefit

Kelly Richey - MERF`s Viva La Diva III Benefit

Alabama Brown Band - MERF`s Viva La Diva III Benefit

Dane Waters - MERF`s Viva La Diva III Benefit

Taylor Swift at the Yum! Center

Country, Event Photos, Show Reviews 1 Response »

Oct 252011

Taylor Swift Dominates KFC Yum! Center

By Michael W. Stout

Taylor Swift At Yum! Center

Taylor Swift may be a mere 21years old, but during her rescheduled “Speak Now World Tour” stop at the KFC Yum! Center on October 11, she proved that she is well beyond her years when it comes to talent. Unfortunately her live singing voice is not the best in the business, but when it comes to entertainment value within a major stage production, she definitely brings her “A” game, rivaling the theatrics and originality of Lady Gaga packaged into a family-friendly show. The “Princess of Country” was reminiscent of one of the “Queens of Country,” Reba McEntire, during her heyday in the 1980’s and 1990’s when both her hair and her tour production were huge, and she may have even outdone country’s redheaded legend.
Throughout Swift’s two-hour plus show, the excitement level rose for each adoring pre-teen fan in the sold-out audience with each costume change, set change, theme change, and delivery of yet another Swift-penned number. Country’s sweetheart kicked the night off in a shimmering gold fringed dress singing “Sparks Fly” and “Mine” before donning her down-home, washerwoman white cotton dress and picking her banjo for crowd-favorite “Mean.” Next Swift emerged from under the stage sitting at a white piano, wearing a floor-length ball gown to perform a moving medley of “Back to December” and a cover of “Apologize,” backed by a parade of violinists spanning a suspended bridge, then quickly ripping the gown off to reveal a red sparkling mini-dress for a feisty performance of “You Belong with Me.” For “Speak Now,” Swift, her band, back-up singers, and dancers transformed the arena into a wedding chapel, leading to Swift emerging into the crowd to stroll to a revolving stage at the rear of the arena to perform acoustic versions of “Fearless” and “Last Kiss.” She had every little girl dreaming of her Prince Charming when she donned a gold floor-length gown for “Enchanted,” followed by a tattered red dress for a macabre Gaga-esque performance of “Haunted,” complete with aerialists performing in the background as she commanded center stage.
Quickly changing into a black and silver sequined dress, Swift played a silver glitter guitar for “Long Live.” For an encore, Swift appeared on a couch wearing a flesh-colored fairy tale gown, performing a solo acoustic performance of “Ours,” followed by “Fifteen,” as photos of each band member at the age of 15, as well as current-day photos, appeared on the jumbo background screen as if Swift was flipping through her high school yearbook. And the pièce de résistance came as Swift stepped onto a small Romeo and Juliet balcony which allowed her to fly to the arena’s rafters to thank her adoring fans and bid them adieu as she closed the show with “Love Story.”
If you or a Taylor Swift fan on your Christmas shopping list were not fortunate enough to attend this unforgettable show, or if you’d like to relive the magic, never fear as Speak Now World Tour—Live will be released as CD/DVD and CD/Blu-ray combos on November 21. The DVD and Blu-ray will include performances of all 17 songs from Swift’s “Speak Now” tour, along with bonus behind-the-scenes content. The CD will feature more than 75 minutes of live Taylor Swift music.
After witnessing Swift’s live performance last month, there’s no question why Billboard magazine recently named her Woman of the Year. She will receive the prestigious award during the 2011 Billboard Women in Music event in New York City on December 2, being the youngest recipient to date. The magazine’s editorial director recently stated, “Taylor has shown the power of good songwriting with music that has transcended genres, and we’re thrilled to recognize all of her successes over the past year by honoring her with the Billboard Woman of the Year Award.”

October 5, 2011 – Wednesday Night Bar Crawl

Americana, Bluegrass, Event Photos 1 Response »

Oct 062011

Dorney Thompson & Friends

Relic @ Monkey Wrench

Bluegrass Jam @ BBC

Here are some photos of players around the city on a Wednesday night in October, taking while on a bar crawl of sorts. The bluegrass band Relic was playing at the Monkey Wrench, having added a drummer(!). Dorney Thompson and friends were playing at Saints, a relatively new gig for them. The Bluegrass Anonymous jam session at the Bluegrass Brewing Company in St. Matthews was going along well around eleven, when the rather dark photos of the group that included IBMA Fiddler Of The Year Michael Cleveland, plus Murrell Thixton, banjo and Nathan Livers, mandolin, both members of Storefront Congregation. Dr. Nan Henderson was holding down the bass. Hard to walk away from a bluegrass jam like that.
I also ran into Tom Browning and some of the Pranksters, hanging out smoking in front of the Hideaway Saloon, They weren’t going to play before after eleven, so no photos. Nothing musical was happening at the Dark Star, nor at the new bar, the Recovery Room, in the building at Pope and Frankfort. Larry Doyle was managing a Scary Karaoke session at Bearno’s Highlands. The swing band at the Corner Door was packing up by the time I got there.

Review: Grateful Dead – Road Trips No. 4 and Europe 72 Vol. 2

CD Reviews, Rock N Roll No Responses »

Oct 032011

Grateful Dead - Road Trips No. 4

Grateful Dead Europe 72

Grateful Dead

Road Trips Vol. 4 No. 4 and Europe ’72, Vol. 2 (www.dead.net)

Martin Z. Kasdan, Jr.

The Dead have released decade-apart concert recordings from 1972 and 1982, which demonstrate the change in their sound and approach. The original Europe ’72 was a 3-LP set, reissued later on 2 CDS. The new 2-CD set is drawn from a massive 73-disc set including all the recordings from the tour. Volume 2 wisely presents an entirely different set of songs than those on the original album. The Dead, touring at a relatively relaxed pace to new audiences, sparkle and shine through shorter pieces such as the then-new pieces “Bertha” and Pigpen’s “Chinatown Shuffle.” Although he was in seriously declining health, Pigpen could still rouse an audience with his patented workouts on “Good Lovin’” and others. The deeply exploratory side of the Dead is represented by the legendary, almost hour-long “Dark Star>Drums>The Other One” from the Bickershaw Festival. As of this writing, complete individual shows from this tour will be available separately. The original deluxe box sold out its 7200 edition within days, and a bare-bones pack was then made available.

A decade later, the Dead had returned to its two-drummer lineup, with Brent Mydland on keyboards and vocals. Road Trips Vol. 4 No. 4 is a 3-CD set of the complete April 6, 1982 Philadelphia concert, with excerpts from the prior night there. During this era, the band’s sound was a bit more polished, yet more predictable. The first disc comprises a typical first set for the era. The second set allows more room for jamming, with the funk of “Shakedown Street” leading into “Lost Sailor/Saint of Circumstance,” which in turn rolls into the mythic lyricism of “Terrapin Station.” The drummers take over with exotic percussion, devolving into the Garcia/Weir/Lesh “Space” noodling. The editing is odd, as the opening strains of “Truckin’” fade, followed by some songs from the prior night, before “Truckin’” resumes on disc 3. In any event, this release is enjoyable, but perhaps essential only for those who were there or whose early shows were in this ’80′s.

Review: Jimi Hendrix – Hendrix In The West and Winterland

CD Reviews, Rock N Roll No Responses »

Oct 032011

Jimi Hendrix - West

Jimi Hendrix - Winterland

Jimi Hendrix

Hendrix in the West and Winterland (Sony Legacy, www.legacyrecordings.com)

By Martin Z. Kasdan, Jr.

These two releases expand on the prior versions, a boon to fans. In the West has been out of print, and as newly issued substitutes some takes of songs from the LP with other versions, while adding newly released material. “Voodoo Child” is a standout here. This includes the Jimi Hendrix Experience as well as other groups led by the guitarist who, in many ways, revolutionized guitar playing. Winterland , originally a single CD in 1987, is now a 4-CD set, with lots of photos and an essay by respected Rolling Stone writer David Fricke. A caveat: one apparently knowledgeable reviewer on Amazon points out that some songs as presented here have been edited oddly, with solos missing from some pieces. Even if this is true, the set still is worth having for a look at how, like a jazz musician, Hendrix could do the same song two or three nights in a row, but with fresh improvisation and musical nuances. Some of my favorite material comes on Disc Two, from October 11, 1968, where Buddy Miles’ flutist Virgil Gonsalves adds a different flavor to “Are You Experienced” and more. Drummer Mitch Mitchell’s jazz background comes through clearly, as on most songs he does not merely keep time but solos as one-third of a band, prodding Hendrix and bassist Noel Redding. While expected tunes such as “Foxey Lady” are here, so too are such relative rarities as “Spanish Castle Magic” and Cream’s “Sunshine of Your Love.” There is also a 19-minute interview, displaying Hendrix’s wise beyond his years appreciation for his influences and his focus on creating something unique. A single-disc “Best of Winterland” compilation is available, but Hendrix fans will probably want all the live material they can get.

Review: Charles Lloyd Quartet – Athens Concert

CD Reviews, Jazz No Responses »

Oct 032011

Charles Lloyd - Athens Concert

Charles Lloyd Quartet

Athens Concert (ECM 2205, www.ecmrecords.com)

Martin Z. Kasdan, Jr.

Saxophonist Charles Lloyd continues to push boundaries and play inspirational music. Back in the 1960s, he shared the stage at the Fillmore in San Francisco with artists such as Jimi Hendrix, Cream, Love and the Grateful Dead, while maintaining an acoustic lineup featuring then-youngbloods Keith Jarrett and Jack DeJohnette. Almost a half century later, Lloyd continues to challenge himself, his band, and his audience. After exploring a blend of Indian music and jazz on the 2006 release Sangam , Master Lloyd has now turned his attention to the music of Greece. One word review: exquisite.

Athens Concert was recorded last June (2010) and features Lloyd’s current, all-star quartet: Jason Moran on piano, Reuben Rogers on bass, and Eric Harland on drums. They are augmented here by Takis Farazis on additional piano and arrangements, Socratis Sinopoulos on lyra (a bowed instrument), and the remarkable vocalist Maria Farantouri. Over the course of the two discs here, Lloyd revisits his early classic “Dream Weaver” and his more recent composition, “Prayer,” written for his late friend drummer Billy Higgins. Two other Lloyd compositions are “Blow Wind,” with evocative lyrics, and “Requiem,” with lyrics by Agathi Dimitrouka. All lyrics, whether originally English or translated from Greek, are included in the booklet. The concert opens with the ethereal “Kratissa Ti Zoi Mou [I Kept Hold of My Life],” one of two compositions by Mikis Theodorakis. Lloyd’s saxophone playing is like a warm ray of sun, with subtle accompaniment by his quartet and heavenly singing. Much of the concert is given over to the three-part “Greek Suite,” incorporating traditional (even ancient) Greek music with modern Greek compositions and Lloyd’s synthesis of styles. While songs such as “Dream Weaver” may clearly be jazz, this is not a “jazz album” in any standard sense of the word. Rather, it is a voyage through time and space. Followers of Charles Lloyd will appreciate this, as will lovers of world music and exploratory jazz.