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Your Country’s Right Here: Sara Watkins Soars Beyond Nickel Creek

Sara Watkins may be best known for her brilliant fiddle work with Nickel Creek, but expect that to change as more critics and fans hear her extraordinary solo release Sun Midnight Sun. Clearly, the fiddle virtuoso is a solo artist with whom to be reckoned.

Watkins credits her time touring with The Decemberists for revving up her creative juices, resulting in the lush 10-track Americana album. Guests include Jackson Brown and Fiona Apple, and songs range from the Everly Brothers‘ “You’re the One I Love,” and Willie Nelson‘s “I’m a Memory,” to iconic songwriter Dan Wilson‘s “If It Pleases You.” But make no mistake, Sun Midnight Sun is all Watkins. Not only did she write or co-write the other songs on the album, but the guests and even the cover songs emerge simply as accents to her own unique songwriting.

“I really couldn’t point to my finger at any one thing,” said Watkins when asked how she honed her songwriting skills, which she’s criticized in the past. “Everyone hopes to get better at their craft and the way to do it is to write, and a lot has to do with listening to other people’s music and admiring their work and trying to get that to rub off on you in some way.”

Watkins credits co-producer and songwriting partner Blake Mills, formerly of Dawes, with providing support as she balanced her music between Nickel Creek’s bluegrass roots and a bit more rock sensibility.

Continue reading ‘Your Country’s Right Here: Sara Watkins Soars Beyond Nickel Creek’

The Biggest Clashes Between The Old School And The New School In Hip-Hop

Most readers probably weren’t familiar with the name Lord Finesse until recently. Finesse, an emcee and a producer in his own right, is probably best known as a beat maker, having contributed to albums by the likes of Big L, Capone-n-Noreaga, and Notorious B.I.G., among others. So it’s not hard to imagine many a young spitta wanting to use his tracks as a foundation for their rhymes. Enter Mac Miller. Miller, young upstart with a good ear for beats that he is, came across Lord Finesse’s instrumental for his 1995 track “Hip 2 Da Game.” And like many other rappers, Miller went in over the beat and liked the results so much that he initially included the result, “Kool Aid & Frozen Pizza,” in his free 2010 mixtape Kickin’ Incredibly Dope Shit.

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Riffs, Rants and Rumors: Searching For Sugar Man With Rodriguez Documentary Director

In the late ‘60s and early ‘70s, you could scarcely swing a Gibson acoustic without hitting a great singer/songwriter whose work went unappreciated by all but a tiny cult following. Some of them got a second shot at fame in the ‘90s and ‘00s through reissues and revivals of interest—Terry Callier, Vashti Bunyan, and Gary Higgins are among those that come to mind—but no underground balladeer has been aided in their comeback by a high-profile documentary film. Until now, that is.

In 1970 and ’71, the Detroit-based songwriter who went only by his surname, Rodriguez, released the albums Cold Fact and Coming From Reality, respectively, on the Sussex label, which was probably most famous for the classic catalog of another streetwise ‘70s troubadour, Bill Withers. Like Withers, Rodriguez served up a sonic cocktail of folk and soul, but with a pinch of post-psychedelic rock flavoring. Rodriguez’s songs also mirrored Withers’ early work in their mixture of sociopolitical and personal themes. But the Mexican-American artist born Sixto Diaz Rodriguez didn’t achieve the renown of his labelmate, or any renown at all, at least not as far as he knew at the time. Like so many talented contemporaries, Rodriguez wasn’t able to work the game in his favor despite being a gifted artist, and his records basically gathered dust. 1971’s Coming From Reality would be his last recording.

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Lita Ford Cuts the Crap

OurStage, Guitar Player magazine, and Ernie Ball are teaming up this summer to offer aspiring guitarists a chance to win the ultimate Grand Prize. Enter the Guitar Player “Take The Lead” Competition by August 17 for your shot to win your very own feature in Guitar Player magazine, a year’s supply of strings and accessories from Ernie Ball, and more! Throughout the competition, we’ll be bringing you exclusive editorial content fresh from guitarplayer.com — enjoy!

“THAT HAD NOTHING TO DO WITH ME,” exclaims Lita Ford when I mention her previous album, 2009’s Wicked Wonderland. “It was out of my control. There are so many devices and plug-ins and all kinds of crap on everything. That’s not who I am. When I first started playing, I figured if I couldn’t cut it as a guitar player just plugging straight into an amplifier, then I should stop playing guitar. Effects, layering, stacking—f**k that! Just plug in the damn guitar and play it.”

And that’s just what Ford and producer Gary Hoey did on her new release, Living Like a Runaway [SPV/Steamhammer].

“Gary got me immediately,” says Ford. “So this album was all about what I love about pure and basic rock music. We did vocals and guitars first, to ensure we captured the bare emotion of the songs, and then we cut bass and drums. If playing to a click track took away from the feel I wanted, then we didn’t use one. The other musicians had to play to my time.

“I’m a real feel person, and it was so great to get back to that. In fact, seeing a Pink Floyd documentary on VH1 Classics really inspired me while we were recording. Their stuff was so real—they just went with what was in their hearts and laid it down. That was it. And they’d come up with this beautiful journey of music. After watching that show, I was even more determined that nothing fake or calculated get on this album.”

Ford used mostly comfy “old friends” while tracking Living Like a Runaway.

“My BC Rich ‘Black Widow’ Warlocks are so damn powerful,” she says. “Nothing beats those. They’ve got the beef for big crunch power chords and long, sustaining solos. I’ve got preamp switches built into some of them, and when you click on the preamp, it will blow your ass through the freaking wall. I also used my BC Rich Stoli vodkabottle guitar—which sounds like death—a new DBZ Bolero, and a Taylor Grand Symphony acoustic. My favorite strings are GHS Boomers, gauged .009-.042, and I use this bizarre-looking pick that Ritchie Blackmore once gave me. I loved that pick so much I used it exclusively for three months during a Runaways tour with the Ramones. Happily, Pickboy makes them now—they used to be so hard to come by. For amps, we used Marshall JCM 800s, Peavey 5150s, and old Soldanos. My cables are Monster Cable and custom models from guitarcables.com with kill switches on the jacks.”

After a recent and ugly divorce (“I left with the shirt on my back”) — as well as suffering through career decisions made mostly by her former husband — Ford views Living Like a Runaway as a heartfelt manifesto of freedom and empowerment.

“I’m free to pursue my dreams now, and answer to no one,” she says. “What’s so great about rock music is that there are no rules. You can do whatever you want. So, right now, I’m just being Lita.”

Published by Michael Molenda, Guitar Player Magazine

 

Sound and Vision: An ‘American Idol’ Wish List– Who Should Replace Jennifer Lopez and Steven Tyler?

You couldn’t pay me to be an American Idol bigwig right now. The show is about to face its greatest challenge since the 2008 battle of the Davids (Cook and Archuleta).

The producers and the Fox network already have to worry about sagging ratings (the average viewership in season 11 dropped 23 percent to below 20 million for the first time in nine years, and the show fell from No. 1 for the season—to No. 2—for the first time since 2005), not to mention less commercially viable Idols and external competition from The Voice, The X Factor, and pretty much any reality show that promises to make a nobody a star.

Now, the producers have to deal with pleasing Mariah Carey, who has signed on as a judge next season, replacing either Jennifer Lopez or Steven Tyler, both of whom left after two years in order to focus full-time on their music careers (and in the case of Lopez, her “acting” career, too).

I once interviewed Carey for an Us Weekly cover story, and I found her to be warm, intelligent and surprisingly funny, but she’s a diva through and through. (She actually walked into the living room of her New York City hotel suite cradling her miniature dog!) Idol will reportedly pay her a very diva-like sum of between $12 and $17 million a season (a hefty and not altogether worthwhile expense, considering that Carey is well past her pop heyday), and I don’t even want to think about her list of perks and demands.

Meanwhile, there are murmurings that Randy Jackson, the last remaining original judge, currently in contract negotiations, might be moving from the judge’s table into more of a mentoring role, in an attempt to revamp the show for season 12, launching in January of 2013. Sadly, that restructuring doesn’t extend to Ryan Seacrest, the inexplicably still-highly employable host, who has signed up for another two years at a pay rate of $15 million per season. Is it too late to invite ex-judge Ellen DeGeneres back for the job they should have offered her in the first place?

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What’s In A “.music” Domain?

Every denizen of the Internet is well aware of ubiquitous domains like .com, .org, and .net. These are unrestricted generic top-level domains, or gTLDs, acting as a general organization system, by content, for every site on the Internet. Outside of these domains there are also a number of more specialized set of domains. These sponsored top level domains, or sTLDs—with extensions like .travel, .asia, .cat (not about pictures of cats), and yes, .xxx—are assigned by Internet Corporation for Assigned Names and Numbers (ICANN) through their subsidiary, the Internet Assigned Numbers Authority (IANA). Only certain cites can apply for and receive these requested domains. For example, you can’t have a social network with the .asia domain unless the website is catering directly to an Asian audience. The question is why should this matter to you?

Occasionally, there will be calls to develop and provide new domains. Arguments can be made that the lack of usable domains across the net can stifle web creation. More domains should, conceivably, be a boon to websites looking to capitalize and appeal to a specific, niche audience.

Recently, the IANA has been mulling over the idea of releasing a new set of domains. During a four month period, various organizations could apply for a TLD at the low, low price of $185,000 per domain application. In late June, the IANA released a complete list of the proposed domain names along with the associated companies that are trying to get a hold of them. The list revealed, more than anything else, the companies that are trying to plant a digital flag in uncharted Internet territory.

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Your Country’s Right Here: Lucero Showcases ‘Women & Work’

Ben Nichols, frontman of the punk alt-country band Lucero, talks like a man who has been musically reborn.

Or maybe it’s more apt to liken his attitude to that of someone who worked and worked and then finally solved the New York Times‘ Saturday crossword puzzle — in ink, first time through. Sure Lucero has always had a cool punk, alt-country sound that won them fans well beyond the band’s Memphis, Tenn., home base. But now think of Lucero’s punk, alt-country sound as super charged, thanks to the addition of new players and instrumentation. You can hear it all on the band’s new release Women & Work, on ATO records, home of the Drive-By Truckers, My Morning Jacket, and other like-minded musicians.

“When we [recorded] Women & Work all eight pieces had been on the road for a couple years,” said Nichols of the group’s cohesive musical direction. “We had time to gel, as a complete unit and it was the first time everyone had been involved [in recording a Lucero record] since day one. We had discovered what was possible and went into this record knowing exactly where we stood and exactly what sound we were going for.”

Not that Nichols and the other original members of the 14-year-old band didn’t have the determination or talent or enthusiasm to find that musical sweet spot before. It’s just that, like solving a puzzle, they needed to find the key to the tricky questions. In this band’s case, it was how to whip Otis Redding soul into Lucero’s punk country sound and have a pleasing result.

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Riffs, Rants and Rumors: The Zombies and The Left Banke, Live in Baroque Pop Heaven

Like so many other things, it all began with The Beatles. The style that came to be known variously as baroque pop, orchestral pop, chamber pop, etc. can basically be traced back to 1966, when The Beatles started crafting their own brand of art songs with classically styled string arrangements, like “Eleanor Rigby,” right around the same time their American rivals The Beach Boys were getting orchestral themselves on Pet Sounds. Soon the world was awash in pop/rock combos with big ideas—  tinkling harpsichords, tugging cello lines, and tart violin phrases were placed atop ‘60s pop songs like frosted flowers adorning a wedding cake. While the style would forever after be associated with the ‘60s, baroque pop never really stopped influencing subsequent generations of bands, from ‘80s acts like The Three O’Clock and XTC alter ego The Dukes of Stratosphear to the Elephant 6 collective of the ‘90s (Olivia Tremor Control, Of Montreal, et al), and beyond.

But while the sound may have started in the busy brains of Brian Wilson and Paul McCartney, baroque pop’s standard-bearers, the artists who truly came to epitomize the style, were The Zombies and The Left Banke. For British Invasion heroes The Zombies, their 1968 swan song, Odessey and Oracle [sic]—recorded in ’67—was a high-water mark both in the advancement of orchestral pop and the oeuvre of the group itself. On the other side of the Atlantic, young New York band The Left Banke was already at work on its second album of baroque-pop gems by the time Odessey was released. Their ’67 debut had included such heart-stoppingly gorgeous hits as “Walk Away Renee” and “Pretty Ballerina,” and even after boy-genius keyboardist Mike Brown departed, they soldiered on with 1968’s outstanding The Left Banke Too. But by the time 1969 rolled around, both bands were basically done, and only the aforementioned masterpieces were left to influence budding chamber-pop disciples.

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Soundcheck: Return Of The Female Emcee?

Last week, the music industry lost a female veteran when Ms. Melodie of Boogie Down Productions died on Wednesday. Her 1989 release Diva made her one of the first emcees to spit alongside the heavy-hitting male rappers of the day, like ex-husband KRS-One.

The loss made me reflect on today’s female rappers, and the position they hold in the hip-hop world. Aside from Nicki Minaj, it seems that female rappers have all but disappeared from the mainstream landscape over the past few years.

But times may be changing. The days of Lil’ Kim and Foxy Brown may be over, but a slew of new spitters have been staging some serious attacks, and a few familiar faces are poised to return, ready to make a big impact on the rap game.

Eve recently announced plans to release her oft-delayed project Lip Lock this fall. It will be her first album since Eve-Olution hit the streets 10 years ago. If things go her way, the former Ruff Ryder will be rocking radio waves again, showcasing her sick rhyming skills and ever-present ability to get a party started with her sexy but scathing style. She recently made her first-ever appearance at the Essence Music Festival in New Orleans and received a warm welcome from legions of loyal fans who can’t wait for her return to the mic.  Continue reading ‘Soundcheck: Return Of The Female Emcee?’

Your Country’s Right Here: The David Mayfield Parade Poised for the Big Time

David Mayfield needs to come with a warning label.

Anyone who has attended one of this season’s music festivals and been lulled into the mind-numbing sameness of some performers will want to buckle up before Mayfield blasts onto the stage. Not only is his music a high-powered, joyous Americana with a dollop of rock, but Mayfield’s bouncing enthusiasm—jumping into the crowd, prodding them to join him in song—is beyond infectious. Think a Jack Black persona with first-rate Americana folk rock and you’re on the right track. Perhaps that’s why Mayfield is about the only person who may be surprised at his success, which includes recently raising double the cash he sought to fund his next album.

“I had no idea the first one would be so well received,” said Mayfield of his first album. “I’ve had lots of fans tell me that they proposed while listening to “Breathe of Love” or walked down the aisle while it was playing. I feel like it’s almost out of my hands now. I talked to [the Avett Brothers'] Seth Avett and he told me at some point, you will write something from a personal place and people will relate to it and it will become theirs, too.”

In a way, Mayfield has become part of the Avett success story, as well. It was the Avett Brothers—Scott and Seth—who “discovered” him when he was touring as the bassist for his sister Jessica Lea Mayfield. Soon Mayfield, who also wrote songs for Cadillac Sky, was sitting in with the Avetts at Bonnaroo and Merlefest. Not that the musical path has been completely smooth even for Mayfield, who was born into such a musical family and has found support among A-list musicians.

One reason Mayfield calls his group a “Parade” is that players tend to come and go. Sure everyone wants to play at such high-profile gigs as DelFest, which Mayfield and his players did after accepting a personal invitation from bluegrass great Del McCoury, but when the bar gigs roll around some players tend to drop out. But that doesn’t stem Mayfield’s enthusiasm in writing and performing his original songs not to mention an occasional cover or sitting in with Luther Dickinson or other A-list performers.

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