This show has been postponed to March 22, 2021 - all tickets honored
This show has been postponed to March 22, 2021 - all tickets honored
Since his neo-psychedelic Green On Red days, Chuck Prophet has been turning out country, folk, blues, and Brill Building classicism. THE LAND THAT TIME FORGET is something different, a weather vane picking up signals from outer space or maybe it's the Heartland.
Priced out of his beloved hometown, San Francisco, Prophet found himself re-energized in Upstate NY just a few miles from the Vermont border and made a record that is much a 21st century exorcism as it is America.
The songs inhabit a world where a Fast Kid might be on the run from the truant officer or a handsy boss...or the Immigration Service. These are love songs that turn political on a dime (Love Doesn't Come from the Barrel of a Gun), and melodic hallucinations about kicking back in the Oval Office after hours "talking to my baby, saying baby, let's not fight."
Where else besides a Chuck Prophet LP are songs going to come at you from both the Tenderloin and an English roundabout, with stopovers in Nixonland and a love-struck mirror on a Saturday night while a workingman tries his Best Shirt On? With special appearances by the ghost of Johnny Thunders and Willie Wonka and John the Baptist and the train that brought Abraham Lincoln home one last time.
In Waving Goodbye, a young girl leaves small town attitudes behind to conquer the world one gig at a time. Then there's a dance Marathon, lost in time and reborn as a reality show. According to Womankind, men had their run, but it's over. (The good news is he can still try to sing his way into her heart.)
And it all leads up to 1600 Pennsylvania Avenue where a singer has his say, in two and a half loping verses and a middle eight.
"Have any of you been to a 24-hour Walmart on the outskirts of Pittsburgh after midnight lately? It was just me and a couple tweakers roaming the auto parts aisles. We got along just fine. Long story short, I fixed that guitar by my lonesome and am playing it right now. I'm kind of proud of that."
"I will say this, though, about Ohio. Some of my truest hard earned fans are in Ohio. Go on and call it a fly-over-state, but not while Chrissie Hynde is in earshot, unless you want a vegan boot up your ass. All I'm saying is that a state is a lot more than which candidate won by how many votes. I mean you gotta feel sorry for the conservatives. The only songs they can play at their rallies without getting hit with a cease and desist order are by Ted Nugent and Charlie Daniels. And those two sure aren't shy about expressing their opinions."
THE LAND THAT TIME FORGOT got off the ground in the Money Belt, only to find its legs in the Borscht Belt. Musically it has deep roots, from the Southern Delta to the discos of Munich. There's a kind of folkish inevitability to it, lots of acoustic instruments, on top of each other and side by side. But as much as folk music is the soil all music grows from, it never hurts to have a boiler room. So, there's always a rhythm section shuffling under your feet here.
Written mostly with longtime co-conspirator klipschutz, this LP steps out of Chuck Prophet's comfort zone ("two guitars, bass, and drums"). After nailing three tracks in S.F. with Grammy-winning alchemist Matt Winegar, Prophet confesses, "We hit a wall. Schedules. Money. Towed vehicles: a thousand large to get one van out of lockup."
So he went out on tour, a solo tour. Driving through the Catskills he dropped into Kenny Siegal's Old Soul Studios, in a "5-bedroom Greek Revival listed on the National Registry," Chuck and Kenny immediately began to argue. Over anything. Whether it was too hot or too cold (according to WHOM?). At the end of the day "a very long day, three weeks of them let's just say Kenny's the man. At Old Soul, musicians drop in, sometimes complete blind dates. We did everything live. The drummer gigs with Kevin Morby. The bass player, out of some jazz scene. Piano player, an honorary Bad Seed. A mish mash of personalities and styles. Turns out you can make a lot of noise with acoustic instruments, if there are enough of them."
When asked about his life, Prophet is candid and evasive all at once: "What do you want to know. Death, health issues, financial hijinks, I've had them all the past few years. We lost my dad and we lost Stephie's dad too. The basement flooded. My shoulder went out. I got hives over 80% of my body; was quarantined. The only break I caught was when the ear, eye, nose, and throat doctors were all in the same building. Oh, and I almost got killed about seven times in rented cars in snowstorms, lost on the way to gigs. Hey, maybe we should talk about songs instead."
This show has been postponed to May 25, 2021 - all tickets honored.
This show has been cancelled - refunds avail at point of purchase. All tickets purchased through Ticketweb will be automatically refunded.
This show has been rescheduled from April 18 - all tickets honored
A Long Way Back: The Songs of Glimmer
"I started off that record scared to death," Kim Richey recalls of making Glimmer with producer Hugh Padgham back in 1999 in New York and London. A disastrous haircut, unfamiliar musicians, and oversized budgets didn't help matters. It wasnt the way I was used to making records.
The way Richey was used to making records was with friends in a vibed-out, low-key setting. That's how she made her debut album with Richard Bennett, and it's how she made her new album, A Long Way Back... The Songs of Glimmer, with Doug Lancio. So Glimmer was different, and not just on the production side.
Then, as now, the compositions that comprise Glimmer, which was named one of the best records of the year by TIME magazine, were the Grammy-nominated singer/songwriter's first collection of true confessionals. Prior to that she'd been a staff writer at Blue Water Music writing from a more arm's-length vantage point for her first two releases, 1995's Kim Richey and 1997's Bitter Sweet. But Glimmer was all her.
Revisiting that history for A Long Way Back was both emotional and edifying for her. I was pretty broken-hearted when I wrote and recorded most of those songs and I remembered feeling that way, she says. At the time, I needed to really get out of my head and out of Nashville. I think that was what appealed to me so much about making a record somewhere that wasnt home and with new people. Recording these songs again was a good way to look back and remember I made it through those times.
The 20 years of distance between then and now provided another benefit, as well: Richey is more comfortable with her voice, both literally and metaphorically. As a result, A Long Way Back sounds like it has nothing to prove and nothing to hide. It's more spacious, but not less spirited, with Richey's voice, in particular, feeling more relaxed and rounded than on the original. Starting with Come Around, the 14 new renderings take their time to make their points, meandering casually around, much like their maker.
An Ohio native, Richey's passion for music was sparked early on in her great aunt's record shop where shed scour the bins and soak it all in. She took up the guitar in high school and, while studying environmental education and sociology at Western Kentucky University in Bowling Green, she played in a band with Bill Lloyd. But it didn't stick... not right away.
After Kentucky, Richey worked in nature centers in Colorado and Ohio and traveled to Sweden and South America. She eventually landed in Bellingham, Washington, where she worked as a cook while her boyfriend went to grad school. Their deal was, she got to decide where they went after he graduated. One night in 1988, some old friends Bill Lloyd and Radney Foster rolled through town. She sold T-shirts at their gig, and they talked up Nashville. To drive the point home, Lloyd sent her a tape with Steve Earle and others on it. So taken by the songwriting, Richey and her partner loaded up their Ford F150 and headed to Music City.
In Nashville, Richey cooked at the famed Bluebird Café and gigged around town at writers nights. At a show one night at 12th & Porter, Mercury Records' Luke Lewis approached her. In classic Richey fashion, she didn't know who he was. Still, she went to a meeting with him and Keith Stegall, played one song, talked a lot, and got a record deal at the musical home of Billy Ray Cyrus and Shania Twain. Remembering the glory days of major labels in the '90s, Richey says, They gave me way more than enough rope to hang myself with. I could do whatever I wanted.
What she wanted was to work with her friend, producer Richard Bennett. So she did. For Bitter Sweet, she put Angelo Petraglia at the helm, before turning to Padgham for Glimmer. Bitter Sweet was recorded in Nashville with my road band and friends, Richey says. That record was as if the kids had taken over the recording studio while the adults were away. Glimmer was more pro and less messing around having fun. The musicians were all super-talented and gave the songs a voice I never would have thought to give them. Hugh was up for trying anything and really encouraged me to add all those vocal arrangements that ended up on the record.
For 2002's Rise, Richey took another left turn, signed to Lost Highway Records, and hired Bill Bottrell as producer. Though it was her first time writing in a studio with a band, the players' talent and Bottrell's whimsy proved to be great complements to Richey's own rule-breaking style. The resulting record was quirky, confessional, mesmerizing, and masterful. And it officially set her outside contemporary country's bounds, which was fine by Richey, whose music had always broken barriers.
A greatest hits collection dropped in 2004, buying her some time to tour, write, and make 2007's Chinese Boxes with Giles Martin in the UK, followed by 2010's Wreck Your Wheels and 2013's Thorn in My Heart, both produced by Neilson Hubbard in Nashville. The latter landed her at Yep Roc Records, where she also released 2018's Edgeland, made with producer Brad Jones in what she has described as the easiest recording process she's ever had, despite working with three different tracking bands in the studio.
Through it all, Richey has worn her heart on her lyrical sleeve, revealing herself time and again. I started writing songs because of Joni Mitchell, probably like most women songwriters of a certain age, Richey confesses. I loved being able to write songs because I was really super-shy. I couldn't say things to people that I wanted to say. If I put it in a song, there was the deniability. If I ever got called on it, I could say, 'Oh, heavens no, that's just a song! I made that up.'
Though she could fall back on plausible deniability, with Richey, what you hear is actually what you get. I don't have a lot of character songs because I'm not that good at making things up out of thin air. Even when it comes to the main narrator of a song like Edgeland's Your Dear John, Richey demurs with a laugh, I do think that song is probably just another song about me and I'm pretending to be a barge worker.
On A Long Way Back... The Songs of Glimmer, though, she's not pretending to be anything or anyone she's not, and neither are the songs. Richey and Lancio set out to make a guitar/vocal record, but the songs had something else in mind, and that something included drums by Lancio's legendary neighbor, Aaron the A-Train Smith, among other things. Once we stopped making rules about what could and could not be on the record, the songs spoke for themselves, Richey says. I knew all along I wanted Dan Mitchell to play flugelhorn, and the two tracks he played on are two of my favorites. In the end, the songs decided.
From her move to Nashville to her making this record, for Kim Richey, the songs have always decided.
A new date for 2021 will be announced asap
For 10 years there had been rumors of BRAND X reuniting, then in late 2016 it happened. Founding members Percy Jones (Bass), John Goodsall (Guitar) and former-Drummer Kenwood Dennard pulled it off and there was much rejoicing. Completing the band were Keyboard Whiz Chris Clark and Percussionist Scott Weinberger. Fast Forward to end of 2019: With jaw-dropping festival performances at Ros-Fest, ProgtoberFest, ProgStock and three amazing Cruise To The Edge shows, coupled with bubbling accolades from The Huffington Post, Progression Mag, New York Times, Innerviews, have led many to claim this: Best live Brand X of all time.
Thats high praise for a band that once sported a young Phil Collins as their original Drummer. Nowadays a Whos-Who of Rock have come out to catch BRAND X live, including members of KING CRIMSON, YES, DREAM THEATER, STEVE HACKETT, ADRIAN BELEW, METALLICA, FOCUS, DIXIE DREGS, ROBIN TROWER, CRIMSON PROJECT, LIFESIGNS, RENASISANCE, and others.
The Live Show: Includes a wide variety of iconic pieces from some of the best known BRAND X albums, including: Unorthodox Behaviour, Moroccan Roll, Livestock, Masques, Product, Do They Hurt?, Is There Anything About?, and even a bit from Percy Jones solo career.
Frontman John Goodsall frequently hurls twisted English humor from the stage. Fans have learned to expect the unexpected. Sometimes influenced by our pals of Monty Python, and sometimes off the top of his head. Pythons Michael Palin wrote sleeve notes for Do They Hurt?. He charged us 25 pence -- about 32 Cents -- Hes still trying to collect it
This show has been postponed to March 31, 2021 - all tickets honored.
Wishbone Ash celebrates a half-century of live twin-lead guitar power in 2020. Fans can look forward to enjoying repertoire from the band's vast catalog of exactly 101 unique releases with their new (28th) studio album "Coat of Arms" 24 live albums, 43 compilations and box sets and five live DVDs, along with a DVD rockumentary (This is Wishbone Ash). Continually pushing their creative process, the band is taking this COVID-19 time of isolation to write their next release! "Music is the great healer and balm for us all," says Andy Powell. "It seems only appropriate, with immediate touring being postponed, for us to join together to reach for what may come in this incredible time."
The first single, We Stand As One, was officially released on Jan. 10. See the video at: https://youtu.be/87_t4ElxEfY.
The U.S. leg of the 50th anniversary tour completed on 13 March in Seattle, a center of the outbreak. The band felt it was important to play on, with all precautions of safety. Now their 2nd Leg of the U.S. Tour in September/October may be their next live concerts. "There will be an important time to come together in body," Powell says. "NOW is the time for us all to come together in Spirit."
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From left to right: Bob Skeat, Andy Powell, Joe Crabtree, Mark Abrahams.
Formed in October 1969 in London, England, Wishbone Ash is one of the most influential guitar bands in the history of rock. Inspired equally by British folk traditions, American jazz and R&B, the group vaulted to public and critical acclaim, touring arenas, stadiums and theaters throughout Europe and the United States. Power and melody have made the Ash a hard act to follow, while they are currently being discovered by new generations of loyal rock fans.
Through the years the band has delved into various musical genres, from folk, blues and jazz to pedal-to-the-metal rock and electronica. Whatever the style, Wishbone Ashs signature is the distinctive twin-melodic lead guitar interplay that has influenced such bands as Thin Lizzy, Lynyrd Skynyrd, Iron Maiden and, more recently, Opeth.
The blueprint and musical roots that we laid down in the early 1970s must have been really strong to have lasted this long, says founding member Andy Powell (guitar, vocals). Every band needs a plan and most importantly, to find THEIR own sound.
The 50th-anniversary tour officially kicked off in October 2019 with 31 shows in the UK, followed by January and early-February dates in Europe that included a package tour with Nazareth and Uriah Heep.
True road warriors, each year Wishbone Ash logs around 30,000 road miles, roughly equivalent to circumnavigating the earth.
The band basically lives together year-round on the road, so we have a very strong level of communication that translates in our performances and recordings, says Powell. A key ingredient in the band's recipe for success is a devoted fan base, many who have followed Wishbone Ash from the beginning, and which often includes their children and even grandchildren. We value our fan community above all else, Powell says.
In 2015, Powell released his musical memoir, Eyes Wide Open: True Tales of a Wishbone Ash Warrior, co-written with renowned Irish music journalist Colin Harper and available in Kindle and Apple iBook formats.
Ive seen a lot of changes in the music business and the world in general, as you can imagine, Powell says. On looking back over the 50 years of the band, he muses, Like all success stories, a career like this has its downs as well as its ups, and and the true ups can only be measured in this way.
Steve Forbert's folk-rock career has spanned four decades and counting. In June 1976, the twenty-one year old boarded a train in Meridian, Mississippi bound for New York City, then the epicenter of folk music. His combination of musicianship and authenticity demanded notice. In less than two years, he went from being a street performer and living at the YMCA to filling historic Greenwich Village clubs and signing a major label record contract with Nemperor Records.
From 1978 to 1982, Forbert released four acclaimed albums. Rolling Stone contributing editor David Wild wrote that "now or then, you would be hard-pressed to find a debut effort that was simultaneously as fresh and accomplished as Alive on Arrival . . . it was like a great first novel by a young author who somehow managed to split the difference between Mark Twain and J.D. Salinger.'
Forbert's second studio release, Jackrabbit Slim went RIAA Gold Certified with its Billboard #11 hit "Romeo's Tune". Recording success vaulted Steve onto a broader musical stage, touring the U.S. and Europe many times over. Forbert even appeared opposite Cyndi Lauper in her music video for "Girls Just Wanna Have Fun.' His early accomplishments would be a career for most artists, but he continues to write, record, and perform to this day. His artistic pursuit has resulted in twenty studio albums and numerous live releases, compilations, and accolades. His songs have been recorded by Keith Urban, Rosanne Cash and Marty Stuart.
Any Old Time, a retrospective of the music of Meridian's Jimmie Rodgers, received a 2003 Grammy nomination for Best Traditional Folk Album. As Rodgers' music has inspired Forbert, so has Forbert's music influenced a new generation of artists.
In 2017, twenty-one artists paid tribute to Steve by recording a compilation titled: An American Troubadour: The Songs of Steve Forbert, further validating his artistic legacy. Forbert's 2018 memoir Big City Cat: My Life in Folk-Rock serves as a primer for young musicians setting out on their own journeys.
...His perspective on what life was like for a 20-something recently arrived in NYC is sharp. Forbert offers a sparkling observation about the pull of music as excellent as any I have seen,' said Entertainment Today.
Forbert's latest studio album release The Magic Tree serves as sound track to his memoir. The album rings with the verve and vitality that Forbert's fans have always come to expect. The Magic Tree underscores what revered critic the late Paul Nelson wrote about Forbert in Rolling Stone almost 40 years ago 'Nothing, nothing in this world, is going to stop Steve Forbert, and on that I'll bet anything you'd care to wager.'
Anyone who reviews Steve's catalogue of music can see the writer in the musician. His songs are as literary as they are musically vibrant. Brutally honest lyrics delivered with sensitivity create an uncommon trust with his listeners. Excelling in every decade of his career, Forbert exemplifies the best of the troubadour tradition.
Rescheduled from March 12 - all tickets honored
Superstar is an underdog story, and one not far off from Caroline Roses real life. After a years-long struggle to release what would ultimately become 2018s LONER, deemed a singular artistic statement from its unforgettable album art all the way down (Pitchfork), Rose found herself in the midst of a new widespread audience, one both delightfully intrigued and perplexed about how and where to place her. That, combined with a developed set of studio skills and a challenge to make something from nothing, marked the beginning of Superstar. Gone are the polished Hollywood hunks and starlets of olde. Here is a shamelessly odd hero, or rather anti-hero, on a quest to become a someone.
Inspired by cult classics such as The Bitter Tears of Petra Von Kant, Mulholland Drive and the mockumentary Drop Dead Gorgeous, Superstar plays out like a film with a beginning, middle, and an open ending. In album opener Nothings Impossible, the protagonist receives a mistaken phone call from the glamorous Chateau Marmont hotel. Taking the call as a sign toward a star-studded future, they (gender neutral pronoun) leave behind everything in pursuit of a newly established destiny.
What ensues is a cinematic paradox that in one moment finds them strutting down a neon strip in full Saturday Night Fever hip-swing donned in their finest threads, and the next sipping a dirty martini at the rundown apartment complex pool, dwelling on lifes unfortunate turns. Its a narrative Rose pulled directly from the somewhat shameless desires of her own growing ambition, as well as the public breakdowns of several notable celebrities. To me, the satire is in what well do and put up with in order to be successful. I wanted to make a story out of those parts of myself that are for the most part undesirable, then inject them with steroids.
Rose worked on the album in order of the storys timeline, ensuring each track represented a chapter of the narrative in her head. Songs bursting with self-aggrandizement often reveal moments of vulnerability. Feel The Way I Want leads us with boisterous confidence through heartache by refusing to let pain get the best of us. Disguised as a Prince-infused bop, Do You Think Well Last Forever? expresses the uncertainty and anxiety that come with seeing a new partner, ending in a full blown freakout of bottled up nervous energy. The S&M-fueled love song Freak Like Me and the darkly comedic Command Z ultimately expose a fragile person coming to terms with their own humanity. Rose sings, I looked around at all the people there / as I thought everyone we know will know will someday be dead / God, I just dont want it to end / Undo, Im gonna do it again.
Rose began formulating the songs and ideas for a sequel-esque follow-up to LONER in between the bands near-incessant touring schedule, from playing sold out headline shows across the country and beyond, to becoming fan favorites at some of the worlds biggest festivals. Two years ago I started touring with nothing, not knowing if Id even have a career. Then all of a sudden we were playing to hundreds of people in a town Id never heard of. The whole thing was fascinating. It got me thinking, just how much can you build from nothing? As a result, Superstar was written, recorded and produced by Rose in her 10x12 home studio, as well as on a portable rig shed set up in green rooms while on tour.
Superstar is a bigger, badder, glitter-filled cinematic pop record for weirdos. I realized at some point that Im not going to fit into any one box, and maybe thats a good thing. This new record is me embracing feeling like an outsider making my own path, Rose says. One part satire, one part self-reflection, Roses anti-hero personifies much of what we as casual on-lookers are wont to poke fun at, dismiss or denigrate, yet deep down likely aspire to be. Someone who, whether warranted or not, refuses to let anyone dictate their own lifes narrative.
56-58 South 12th Street, Pittsburgh PA 15203 (In Pittsburgh’s Historic South Side)