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SAN DIEGO ROUBADOUR Alternative country, Americana, roots, Tfolk, gospel, and bluegrass music news
November 2003 Vol. 3, No. 2
what’s inside
Welcome Mat………3 Mail Box Mission Statement Contributors MUSEUM OF MAKING MUSIC
Full Circle..…………4 Sam Phillips Lou Curtiss
Front Porch…………6 Andrew Beacock Sheb Wooley Peggy Watson Baja Bugs
Parlor Showcase...…8 The Museum of Making Music
Ramblin’ …………10 Bluegrass Corner Radio Daze José Sinatra RantHouse
Of Note.……………12 Steve White Bender The North Star Session Meghan LaRoque The Cables
‘Round About ...... …13 November Music Calendar
The Local Seen……14 Photo Pages Johnny Cash 1932-2003 San Diego Troubadour • November 2003 welcomewelcome matmat
SAN DIEGO ROUBADOUR Alternative country, Americana, roots, MAILBOX Tfolk, gospel, and bluegrass music news Dear Troubadour, Dear Troubadour, I just moved here from Austin, I want to say thanks for printing MISSION CONTRIBUTORS Texas. I really love your paper and such a wonderful article on Bart To promote, encourage, and PUBLISHER appreciate you helping out Mendoza in your June issue of the provide an alternative voice for the Lyle Duplessie Americana musicians. I have many Troubadour! I really dug deep into great local music that is generally friends in Austin that I will pass the the roots, the nuance of a very tal- overlooked by the mass media; EDITOR word to about it. Thanks for all ented man . . . namely the genres of folk, country, Ellen Duplessie you’re doing for the music and keep Sincerely, roots, Americana, gospel, and up the good work. Sandra Castillo bluegrass. To entertain, educate, GRAPHIC DESIGN Peace, Dear Troubadour, Dear Troubadour, and bring together players, writers, Liz Abbott Aliah Selah I will soon be moving to the San Your paper is magnificent and and lovers of these forms; to Diego area and am completely out loaded with information for perform- PHOTOGRAPHY of touch with the San Diego music explore their foundations; and to ers. I read it from cover to cover. Ellen Duplessie scene. I’m from Champaign, Illinois, expand the audience for these Thanks, once home to Jay Bennet, Allison types of music. Paul Grupp BJ Camp Kraus, Jeff Austin, and Dave Johnson. Mildred Moreno $ To receive advertising rates and I did a search for San Diego information, call 619/298-8488 or DISTRIBUTION Americana, came up with your publi- e-mail [email protected]. cation, and was thrilled! I have been Kent Johnson to Belly Up for Mother Hips and San Diego Troubadour heard of a few other clubs, but was P.O. Box 164 ADVERTISING unable to get a good handle on the La Jolla, CA 92038 Kent Johnson music scene. Considering good E-mail: [email protected]. music is what keeps the blood run- WRITERS ning through my veins, it’s a very SAN DIEGO TROUBADOUR, the Sandra Castillo important element of my happiness local source for alternative coun- Lou Curtiss and well-being. try, Americana, roots, folk, gospel, Lyle Duplessie I’m relieved to see that Americana and bluegrass music news, is pub- Phil Harmonic music has a presence in San Diego. lished monthly and is free of If you can point me in the direction Paul Hormick charge. Letters to the editor must of some good local acts and venues Morris Jones be signed and may be edited for to check out, I would definitely Jim McInnes appreciate it! content. It is not, however, guaran- teed that they will appear. José Sinatra Thank you! Paul Williams Meg Wolf All opinions expressed in SAN Gus Williker DIEGO TROUBADOUR, unless Ed. note: The S.D. Troubadour is not D. Dwight Worden otherwise stated, are solely the opin- on line yet, but information about us is John Philip Wyllie linked to the Adams Avenue Business ion of the writer and do not Association at GoThere.com. represent the opinions of the staff or management. All rights reserved. ©2003 San Diego Troubadour. Z
WRITE TO US! We want to hear from you! Send your comments, feedback, and suggestions to: [email protected] or to San Diego Troubadour, P.O. Box 164, La Jolla, CA 92038-0164.
3 November 2003 • San Diego Troubadour fullfull circlecircle
by Lyle Duplessie
THE WORLD MOURNS A Sam Phillips MUSIC PIONEER
f rock ‘n’ roll’s paternal radio job to In 1986 father is Elvis Presley, then fund the proj- Phillips, along I its obstetrician had to be ect. With a with Presley and Sam Phillips. Phillips, age 80, young family Jerry Lee Lewis, passed away on July 31 of res- to support, it were the first piratory failure at Saint Francis was a tough inductees into Hospital in Memphis, time for him, the Rock and Roll Tennessee. With his death, but that did- Hall of Fame. He America lost both a musical n’t stop his was likewise visionary and an unwitting cul- drive to inducted into the tural revolutionary. record the Blues and Phillips was proprietor of hillbilly Country Music the tiny, but legendary, Sun music, blues, Halls of Fame, Records studio in Memphis or and both making him the The legendary Sun Studio building in rock ‘n’ roll’s “maternity ward,” black and first person ever Memphis if you will. Though Elvis was white gospel so honored by all arguably the biggest name to to music rife in three American arguably helped undermine be birthed at Sun Records, by the city. music genres. segregation and serendipitously no means was he the only one. With Though he never dovetailed with the birth of the It was Phillips who introduced each new invented any- civil rights movement. white hillbilly music to black record thing new, he was Moreover, he understood the blues and brought forth rock Phillips lis- instrumental in music would have a natural ‘n’ roll. During the ’50s Phillips tened for reformatting the appeal to a restless youth, but delivered to the world a stun- something great American how could he have anticipated ning array of stars, both black that, music that was its use both for peaceful, radi- and white, that included Elvis, “...might already there and cal, and even destructive politi- Ike Turner, Johnny Cash, break the introducing it to cal and social change over the Howlin’ Wolf, Roy Orbison, mold a little new segments of next 50 years? Rufus Thomas, Jerry Lee Lewis, bit.” He soon the population. During its half century of Little Milton, Carl Perkins, and heard the 1923-2003 Phillips’ life, Phillips saw rock ‘n’ roll even Charlie Rich. sound he had genius was in his go through a myriad develop- Born January 5, 1923 in hoped for in released five Presley singles. ability to analyze mental changes, and undoubt- Florence, Alabama, to impover- his very early pre-Sun record- But that’s all it took to launch and understand the culture and edly there are more in store. As ished tenant farmers, he ings of B.B. King and Howlin’ a musical and cultural revolu- society of the time. Although he stood back and witnessed recalled how, as a boy, he first Wolf. This led to his recording tion whose tremors were felt he recognized and recorded the effects of the music he heard the music of the south- of “Rocket 88” with singer and still are today. Unprepared music that to him had “feel- brought into this world, his ern working class. Though Jackie Brenston backed by Ike to handle Presley’s meteoric ing” and realized that there was emotions probably ranged from blacks sang the blues and Turner’s band. Some music his- and unprecedented rise to a market for that music, he joy to regret. But one thing is whites sang “hillbilly music,” torians hold this as the first fame, and needing the cash to nevertheless underestimated certain: he intended his music both styles struck a common ever rock ‘n’ roll record. The develop and promote a stable the power and influence that to stir up and release human chord as they chronicled the sound that Phillips heard was of future stars and legends, he rock ‘n’ roll would have on feeling. And that it did. abject poverty and hopes of the the sound of hot-rodded sold the singer’s contract to country as a whole. He had tar- rural poor. Even as a youth he African-American blues and RCA for $35,000. In time, his geted a young white southern grew up with the sense that the R&B. In the context of the other finds — Perkins, Lewis, audience, but the music quickly South’s greatest resource was early ’50s, this kind of music Cash, Orbison, Rich — would spilled over regional boarders the music of its poor, both was called “race music.” There also outgrow Sun Records and and became national in its black and white. was a small but enthusiastic move on. Unable to compete impact, cutting across racial, Phillips had early dreams audience for race music in with the big record labels, and social, and economic classes. of becoming a criminal defense Memphis, but in the segregated fiercely independent and Because the new music was lawyer, but fate had other plans South of the day it was nigh to unwilling to align or answer to conceived in rural black and in store. By 1945 he took a job impossible to get white youth a major label, Phillips sold Sun white poverty, it was racially at WREC in the musically preg- in large numbers to openly sup- Records in 1969 and got out of mixed. It was an integrated Left to right: Elvis, Bill Black, Scotty nant city of Memphis. In a port black music as either radio the record-making business. music with mass appeal that Moore, and Phillips in the studio. 1996 documentary for Arts & listeners or record buyers. In Entertainment television, short, this kind of music was Phillips recounted, “I had this culturally taboo for the vast feeling on Beale Street, this majority of young white south- sounds like [to] me that this is erners. To bridge the gap something that the nation and Phillips knew what he had to the world possibly should do. In a 1997 interview with hear.” He discerned a market National Public Radio, Phillips for the raw music that swirled stated, “If we got a white per- around him. Soon he had built son, and people knew that he his own recording studio using was a white person, then there the money from his daytime was a good possibility we could broaden the base for both black and white people that had tal- ent.” That “white person” came in the form of Elvis Presley, who arrived at Sun Records in July 1953 to record a song for his mother’s birthday. Phillips immediately knew Presley had the voice and raw talent, but it wasn’t until a year later, when he teamed him with guitarist Scotty Moore and bassist Bill Black, that he heard what he wanted in Presley’s rendition of “That’s All Right.” Between July Phillips in the studio with Elvis 1954 and July 1955 Sun only
4 San Diego Troubadour • November 2003 fullfull circlecircle
Square, Mission Beach Ballroom, Crystal n o s Pier, and many area hotels. d r a
h We’re starting to put together the c i R
Recordially, Lou Curtiss 31st annual Adams Avenue Roots Festival, l l i B
which is scheduled for May 1-2, 2004, as : o t shows. If so, they should make them of a memorial CD. I’d be more than taped, they would be bootleg, and peo- o I write this. There’s a lot of good old-time h P available sooner rather than later while happy to contribute what I have as well ple might get angry. Now it’s a matter of music to contemplate in San Diego, past, good musical memories still linger. as some time and effort to make it hap- keeping memories alive and showing present, and future, and we all have a Another showcase still standing is the pen. Anyone interested in doing some people (like those folks who run the San chance and an obligation to give it as old Pacific Ballroom at 12th St. and research and helping to compile some of Diego Music Awards) that there has been much attention as we can. Broadway, good music in Recordially, downtown. It the area a lot y
t Lou Curtiss
too started as a e longer than the i c o
showcase for S late ‘60s. Hell,
l a
big bands some- c Jelly Roll Morton i r o t
time in the ‘20s s and Kid Ory i H I’m told. The were playing in
San Diego Gems that n o j
original name of a San Diego
Are Past and Gone C
l
the second floor E dance halls as
: o dance hall was t early as 1917. This city and its environs have a bad o h habit of ignoring our Roots — particular- the Palladium P Blind Lemon ly our musical roots and places where and I remember Jefferson played music has been heard. I could name the Palladium in the streets of many venues — dance halls, clubs, the- Record City San Diego dur- aters, coffeehouses — that have con- record shop, ing the early Spade Cooley’s band tributed in a large part to our musical where you could ‘20s. Tex Ivy y
see a radio dee- and the Texas t
history, but few of them stand out, e i c
jay doing a live Ranch Boys o
notably because the buildings still stand. S
l
broadcast in the were on the a c
Something should have been done to i r o
window (Was radio here dur- t
restore their musical importance a long s i H
that KCBQ? I ing the ‘30s.
time ago. n o don’t remem- Jimmy Durante j Let’s begin with the Bostonia a C
ber.) at street Bostonia Ballroom interior, 1932. told me once l Ballroom, which is located in the city of E
: o
level. There was that he per- t
El Cajon, although when it opened in the o h early ‘30s, it was out in the country a big, wide staircase from the street in this stuff should call me at Folk Arts Rare formed on a local vaudeville stage during P between El Cajon and Lakeside. I mostly the middle of the block on Broadway Records, 619/282-7833 between 10 a.m. the late ‘20s. The Maddox Brothers and Bostonia Ballroom exterior, 1932. remember the ballroom as a showcase between 11th and 12th. Sometime in the and 6 p.m. daily. You’ll be doing your Rose owned a couple of country night t mid-’50s it became the Pacific Ballroom. city and area a musical favor. spots here in the area during the ‘40s. t for the best in country music, both local o b Many different kinds of acts played there, Now, understand that these are just Woody Guthrie and Lefty Lou played on b A
and national. Acts ranging from Bob Wills z including jazz, rock ‘n’ roll, and rockabil- two of San Diego’s landmarks of music the radio and made personal appear- i L
and his Texas Playboys, Roy Acuff, Ernest : o
ly, but mostly rhythm & blues. I remem- history. Recordings might exist from ances here in the ‘30s (with Woody’s t Tubb, Lefty Frizzell, Johnny Cash, Hank o h Thompson, the Maddox Brothers and ber Bobby Blue Bland, B.B. King, Jimmie places like the old Sportsman Club (at cousin Jack). During the Swing Era, P Rose, Merle Travis, Spade Cooley, and Reed, the Dominoes, the Five Keys, Big 30th and Imperial), the Crossroads (at bands led by locals (Jack McLean, Russ Hank Williams as well as our own Smokey Joe Turner, Ruth Brown, Bo Diddley, Little 5th and Market), the Westerner (in Plummer, and others) in addition to all Rogers (who was owner of the Bostonia Richard, Johnny Otis, LaVerne Baker, and National City), the Clock (in Imperial the nationally known bands played at Ballroom for a while), Roy Hogsed, and so many others. Carl Perkins headlined a Beach), the 21 Club (in National City), both the Bostonia Ballroom and at the The old Bostonia Ballroom today. Buck Wayne. During the early 1930s rockabilly show, and jazz artists like the Buckaroo Club, the College Inn or Pacific Ballroom as well as at Pacific Bostonia was a showcase for big bands Jimmie Smith and Sonny Stitt and Cal one of the 11 other clubs that Jimmy like Tommy Dorsey and Glen Gray. Today Tjader played there. Sometimes the show Kennedy owned, which were mostly in the building houses a restaurant and would be a mixed bag, with R&B and the downtown area. There are also the most of the people who eat there don’t jazz on the same bill. Later on, the build- area’s early coffeehouses, such as Circe’s even know what a great place it once ing was turned over to Ward’s Jazzville, Cup near SDSU, the Upper Cellar out on was. Occasionally someone asks about its who tried to move from a smaller club- El Cajon Blvd. east of College Avenue, history and the waiters show them the type situation into a larger showcase the Ballad Man in La Jolla, the Heritage in old dance hall in the back, which they venue. They were only open a short Mission Beach, and many other places rent out for business meetings. I have a time. By the early to mid-’60s, the place I’m leaving out. Tapes were even made tape of Bob Wills and Spade Cooley play- was closed up. I understand that the old at shows that took place at the old San ing together on stage there and I’ve ballroom is still there and used as a ware- Diego Arena or Swiss Park in Chula Vista. always thought someone should put house. Again, I wonder whether tapes of If these kind of recordings were together a CD of live material from some live shows exist and about the possibility made available at the time they were of the old Bostonia shows. I wonder if anyone out there has any tapes of those
5 November 2003 • San Diego Troubadour frontfront porchporch
What Becomes of a Troubadour? Songs in the Key of Andrew by Sandra Castillo small village in Lincolnshire, England. It Convention, and Donovan. He began to was there that storytelling in the cele- attend and play festivals throughout ne would be hard pressed not brated tradition of time-honored English- England. As fortune would have it, to find an escape, mainly in Irish-Scottish folk music influenced the Andrew and company were able to have Othe retreat of an inviting cof- young one. As an adolescent, Andrew a go at prominence and, eventually, the feehouse, from the rigors of life in down- would frequent the local record shops to band opened for the Jeff Beck Group town San Diego. Within the city’s bustling buy 45s and 78s; playing these discov- (Rod Stewart, Mick Waller, Ron Wood, Gaslamp district convenes a coterie of ered treasures at friends’ homes helped and Jeff Beck) in 1968. those kinds of businesses catering to the cultivate his appreciation for music. Early America soon reached for Andrew’s masses that engage in the fine art of Elvis, Buddy Holly, and Jerry Lee Lewis attention. With the coming-of-age move- latte, espresso fetishes, and cordial con- piqued his curiosity and assembled the ment galvanizing the poignancy and truth versation. foundation for what was to become the of some of this country’s finest musical And so it was in the summer of 2003 cornerstone of his musical career. When pioneers —the Byrds, Buffalo I found that sublime combination of per- his middle brother went away to school, Springfield, Jefferson Airplane — it was fect Southern California weather, brew, he later returned with the very first Bob just a matter of time before Andrew and interview to catch up with Andrew Dylan album in tow. Listening to this mas- would call this country his home. In 1974, Beacock, San Diego musician-trouba- terpiece proceeded to shift the dynamics he came to the United States and stayed. dour-artist and frequent visitor to vintage of Andrew’s imagination and, ultimately, These days, Andrew Beacock’s clothing shops. My first question for him ambitions. music is best described as traditional was contemplative. “It became the next big change in and left open to individual interpretation. “What is life?” (inquiry and immedi- what I was listening to,” he mused. Soon It hails from the 17th and 18th centuries ate reference to George Harrison’s 1970 afterward, he procured a six string and and is captivating, profound in its gist. mainstay of the same title). devoted his energies to this newfound His eclectic style, along with his groovy “Aah, it takes me back to…well, inamorata. penchant for sixties culture, is striking what year was that out? In 1970, I think. Andrew’s talent and determination, with individuality and personalized flair. It’s exciting now. Whatever it is, it’s excit- without being presumptuous, took him on He often performs acoustic sets at local ing! I’ve always got things I’m working a dulcet journey, which found him San Diego coffeehouses, including toward. Life is what happens when sojourns in several rock bands. His musi- Lestat’s (Normal Heights), Gelato Vero you’re busy making other plans, as John cal heroes, including the likes of John Caffe (Mission Hills), and Javanican in [Lennon] would always say,” he chimed. Martyn and Bert Jansch, were viable Pacific Beach. Andrew’s original compo- Andrew Beacock began making requisites to the rising folk-rock scene. In sitions, “That’s What John Said,” “Old plans, musical ones, many years ago. His the mid-to-late sixties, the decade saw Holland Blues,” and “Ivich,” a most love- Andrew Beacock humble beginnings can be traced to a promise with Jimi Hendrix, Fairport ly instrumental, amassed sufficient acclaim to land him a guest spot on “San on the Shambles’ Chelsea Smiles album, Diego Live” and 2002’s Gramfest, the in which he shares vocal duties along- annual two-day concert event in Joshua side fellow rocker Bart Mendoza on the Tree, California, commemorating the standout track, “Hide and Seek.” untimely death of the late, great Gram Andrew’s musical odyssey has Sheb Wooley Rides into the Sunset Parsons. been and continues to be the one others This talent in motion has also enter- will sing about centuries from now. That tained vast audiences, hungry for folk- is what becomes of a troubadour. by Lyle Duplessie the most famous of which was lore, at the Adams Avenue Roots Festival “Purple People Eater.” This multi- and most recently at Huell Howser’s day- million selling pop and country hit long gala in Twentynine Palms. Most will n the same week that saw recognize Howser from the KPBS series was written and released hot on the death of Johnny California’s Gold, which follows the the heels of the Soviet Union’s suc- Cash, Shelby F. Wooley, perennial host on his quest to bring the betterO known as Sheb Wooley, also cessful probe into outer space with best of the Golden State to television Sputnik. Like a folksy version of died. He was 82. Whereas Cash viewers. Along with performing, Andrew Weird Al, Wooley also wrote paro- had long been an American icon, has also bestowed harmonies and sage the much lesser known Wooley dy versions of well known songs of also contributed substantially to the day. When Rex Allen scored a the American cultural fabric. You major hit with “Don’t Go Near the might just say that he was too Indians,” Wooley answered back busy to become a super star. with his Ben Colder alter ego ver- If you are a senior or a baby sion, “Don’t Go Near the boomer, you probably have experi- Eskimos.” Political correctness be Wooley in his later years enced him as a singer, songwriter, damned. Wooly/Ben Colder went actor, and comedian, even on to write a career's worth of par- Eastwood’s The Outlaw Josey Wales unknowingly. In the world of ody songs, most of which were in and with John Wayne and Kirk entertainment he was universal. the country vein. In 1968 the Douglas in The War Wagon. Under different circumstances, Country Music Association gave Wooley appeared in television who knows, perhaps he had what Wooley its Comedian of the Year as well, ranging from episodes of it took to be another Will Rogers. Award. A year later he became an The Lone Ranger to roles in Murder As a singer, Wooley is probably original cast member of Hee Haw She Wrote. Many may remember best known for his comedy songs, and even wrote the show’s theme him as cattle drive trail scout, Pete song. Nolan, in the long-running West- When not in Nashville, Wooley ern series, Rawhide, which also could usually be found in starred a young Clint Eastwood. Hollywood. He arrived there from Wooley wrote several episodes for his native Oklahoma to try his the show. hand as a singing cowboy. He Wooley’s seven-decade career soon learned that this movie genre in entertainment was comprehen- was out. His acting talent did not sive. Whether he basked in the go unnoticed, however, and he spotlight or played second fiddle would work in more than 60 to bigger names, it didn’t seem to movies. He played a villain/outlaw matter. He was an extremely tal- to Gary Cooper’s hero/marshall ented man who could fill a niche, character in the Western classic whenever and wherever needed in High Noon. He also played in Clint true troubadour fashion. One of Wooley’s many albums
6 San Diego Troubadour • November 2003 frontfront porchporch
Peggy Watson: Are Better than Ever o n e r
A Great Talent Stays o M
e i l l i M
: o t
Close to Home o h P
by John Philip Wyllie by Paul Hormick
he Beatles were without a ven in the big city of San doubt the most influential Diego the term “local talent” T rock band of the 1960s. can carry the connotation of E Beginning in the mid-sixties and second best. We’ll spend the big throughout the seventies, eighties, and bucks and stand in long lines for nineties, they have remained incredibly Jewel now that the rest of the taking a “slash and burn” approach popular. Bands continue to copy their world knows her name but won’t to her own songwriting. If she feels feel like making that much of an a line or verse is redundant or style and credit their musicianship as a effort for the musicians who are doesn’t help the song along, she major source of inspiration. With their Baja Bugs at this year’s Adams Avenue Street Fair, left to right: Hector singing and strumming on the takes it out. “I’ve learned that I enormous impact still being felt nearly Penalosa, Xavier Araya, Ricky Serrano, and Fernando Alarcon.. stages where Jewel used to perform don’t need every detail. I don’t 40 years after they first burst upon the when she lived here. need to explain everything,” she American music scene, a market has songs from the Beatles’ Cavern Club cessfully capture the raw sound and It is not always talent that sepa- says. “I’ll write ten verses and pick developed for bands that can faithfully period, the Bugs have found their essence of the early Beatles. The Bugs, rates the local from the national three that I like.” At first she was reproduce their music. Tribute bands niche. Their repertoire consists largely in one form or another, have been acts. Luck, ambition, and personal reluctant to trim a line or verse, have sprung up just about everywhere, of songs that were unknown to most entertaining audiences since 1998. choices also make the difference but as she has worked in critiquing including several in San Diego. Among Beatles fans prior to the 1994 release “We used to go to [Beatles] con- between the big record deal and sessions with other singer song- the most unique is a quartet of South of the Beatles Live at the BBC along ventions as spectators, but being musi- playing for tips at the local coffee writers, particularly Dave Beldock Bay musicians known collectively as with some better known tunes from cians ourselves, we always tended to shop. “Local” does not mean sec- and Joy Eden Harrison, she found the Baja Bugs, who focus on the their first few albums. criticize the other musicians,” Penalosa ond best, as proven by singer song- that paring her songs down band’s early sound and on the music “When I started playing at the age explained. “We started to realize that writer Peggy Watson. improved them. that inspired the Beatles. of 10, the Beatles were the band that I there are some good bands playing The students in her classroom, With a beautiful soprano voice, The latest incarnation of the Bugs listened to,” explained drummer Ricky there, but also some really bad ones. the life of a prostitute, or a comparable to the young Joan features founding members Hector Serrano. “I also listened to a lot of R&B We thought to ourselves that we could romance in a shipyard — all these Baez, there is no doubt that the Penalosa (lead vocals and bass) and and the Motown stuff too, but I lis- do better and as a challenge, we strength of her talents could have are subjects for Watson’s songs. Xavier Anaya (lead guitar, backing tened to the Beatles a lot. They were decided to get something going and given her the life of a full-time “Nothing is off limits for me,” she vocals), along with Fernando Alarcon it. Their music gave me a good start.” get involved. Having performed at San singer-songwriter, with recording says. “My focus is to write whatev- (lead and backing vocals, rhythm gui- “What people forget about the Diego’s annual July Beatlefair on sever- contracts and a calendar filled with er feels right to me.” It is impor- tar) and Ricky Serrano (drums). Beatles, is that they were originally just al occasions and at Beatlefests in Los tour dates. Watson chose not to tant to her that her songs are While most Beatles tribute bands a rock ‘n’ roll band,” said Alarcon, the Angeles and Pasadena, the Baja Bugs pursue that career path. She has melodic, so she listens to a wide Bugs’ newest member. “We try to fol- are looking to build on their success as worked as a full-time middle variety of music, from experimen- focus on the Beatles’ best-known low those same pure rock ‘n’ roll they continue to grow as a band. school teacher and as a mother to tal to Latin. She believes that her material, the Baja Bugs almost ignore roots.” “A few years ago, a friend of mine her now full-grown daughters. And wide-ranging tastes help inspire it. Instead, they play their much more as of this writing, she has just com- her compositions. obscure pre-1964 music. Performing “Their songs are very well crafted, was getting married and like me, he pleted her master’s degree in coun- Besides performing, teaching, have a lot of energy and have a posi- was a huge Beatles fan,” Penalosa seling. raising a family, and completing a tive message,” Penalosa said. “They explained. “He really wanted a Beatles She does not regret the choice master’s degree, she has recorded are fun to listen to and fun to play.” tribute band to play at his wedding, so she has made. Watson was never five CDs. “I have a high level of The Baja Bugs often perform Friday he called around.” Penalosa’s friend interested in the touring and other energy,” she says as she explains nights at the Hot Monkey Love Café found out that the going rate for such obligations required of a profes- her accomplishments. She adds near SDSU. Most Saturday nights will a band was way out of his price range. sional musician because she want- that her family has been support- find them at Tivoli’s, located at Sixth Learning about his dilemma, a light ed to be near her two daughters as ive of her as she has worked to and Island Avenues in downtown San went on in Penalosa’s head. “We told they grew up. And she likes her achieve her goals. Diego. him we would do it for whatever he independence from the big music Committed to social causes, Despite the fact that the current could afford.” And thus, the Baja Bugs industry. “Even if I were offered a Watson performs often for the Baja Bugs at Beatle Fair’s “Liverpool lineup has worked together for only a were formed. Several years and more deal, I don’t think I could handle Peace Resource Center and other Days” last December in Pasadena. short time, they have managed to suc- than a few lineup changes later, the being under the thumb of a record organizations that promote peace, Baja Bugs are sounding better than education, and environmental con- company,” she says. ever. cerns. She donates a percentage of Two singer-songwriters that “It’s been an evolutionary the profits from her CD sales to come up when Watson talks about process,” said Penalosa. “With her influences are John Prine and organizations with these goals. Fernando, we now have two [primary] Joni Mitchell. She admires them Watson will be joined by singer vocalists and on some of the songs for their ability to create stunning Robin Adler and bassist Dave you really need two. He can also play images in only a few words. She Curits on November 8 for a per- the harmonica, which comes in handy says of Prine in particular, “He can formance at the United Methodist on songs like “Little Child.” I think it take a topic so personal, and the Church in Encinitas. Call the S.D. way he writes allows the listener to Folk Heritage (858/566-4040) or sounds much better now [with the two own the song.” visit peggywatsonsongs.com for primary vocalists]. Singing the lead in She emulates that sparse style by more information. every song can put a strain on your voice. Now I can take a break and when we sing together, it gives us more punch.” For additional information, contact Penalosa at: (619) 206-9058.
7 November 2003 • San Diego Troubadour parlorparlor showcaseshowcase
by Lyle Duplessie
Gallery 2 Gallery 3
Gallery 1
ot much, if anything, gets past Phil Gallery three is named, interestingly, We’ll digital technological revolution. If you’re interest- Harmonic, the Troubadour’s own man- Try Anything Years: 1930-1949. Exhibits in ed in the development of Moog synthesizers and N about-town. Recently he steered me to this gallery cover the cultural, political, econom- MIDI software, this is your spot. On display and the “must see” Museum of Making Music in ic, and social upheavals fostered by the Great of particular interest is LEO, short for Live Carlsbad, heretofore unbeknownst to me. In a Depression, World War II, and the war’s immedi- Electronic Orchestra. This one-of-a-kind mother nutshell, this museum displays the sights and ate aftermath. With the depression came an end of all keyboards was built in 1974 and is credit- sounds of 100 years plus of music in America. to the American piano industry and home-made ed with inspiring today’s MIDI technology. Hey, we’re talking about the mother lode of musical entertainment. Parlor pianos would soon Museums are meant to be experienced and Americana music history, and it’s just a stone’s be replaced with parlor radios. The radio, talk- this is particularly true of the Museum of Making throw away from any point in the county! ing motion pictures, air travel, and other new- Music. With its vast array of musical instruments The museum is divided into five galleries, fangled contrivances, saw the country’s musical and audio and video clips, it’s the next best thing each representing a specific era in American tastes transition from home-spun folksiness and to actually reliving the times it chronicles. It music making. Each gallery pays homage to the regional trends to the birth of a national pop often features temporary displays of significant music, innovations, as well as the manufacturing culture. interest as well. Last summer there was an and business end of its particular era. Gallery four, The Baby Boom Sparks exhaustive display of Martin guitars. Since The first gallery is titled America’s Music Dynamic Growth: 1950-1969, further traces September and through the month of November Industry Comes of Age: 1890-1909. It pro- the cultural revolutions of the ’50s and ’60s. the museum’s exhibit, appropriately named vides a sight and sound sampling of a period Though radio remained important for a nation “Eclectic Electric” has scores of historic electric when America began establishing its own unique on the move, the preferred mode of entertain- guitars on view. This display includes the price- musical identity. This was a time when much of ment now came by way of television. less Rickenbacher “Frying Pan,” the first ever the music in this country was being played on It was one thing to hear Elvis, but it was electric guitar. There is also an interactive stage instruments purchased from a Sears/Roebuck altogether different both hearing him and seeing where visitors are allowed to get their hands on catalogue. It was homemade and regional music him. Parlor pianos were long gone, but home some of the instruments to play. Guest speakers in its purest form. made music was back again. This time, however, and performers have been scheduled throughout The second gallery, A Long Boom Before the source of the sound was the garage. Guitars, the exhibit. the Bust: 1910-1929, highlights the huge drum kits, amps, and everything else an aspiring The Museum of Making Music is located at strides made in American music, which coincid- rock band needed were in high demand. Civil 5790 Armada Drive in Carlsbad. Days and ed with an ever-growing population and a robust rights, JFK’s assassination, the Beatles, the hours are Tuesday through Sunday from 10 economy. This era may have started out with the Vietnam War, the space race — the best of a.m.--5 p.m.. General admission is $5, seniors quaint sounds of the parlor piano, but those America’s music echoed both the triumphs and and students are $3, and children under 3 are sounds evolved into ragtime and matured into tragedies of this era. admitted free. For additional information call decadent jazz by the time of the October 29th Gallery five, The World Turned Upside 760/438-5997. stock market crash. Down: 1970-1989, emphasizes the electronic-
Taylor Guitars and the Museum of Making Music Celebrate 30 Years of Guitar-Building Innovation
Bob Taylor built his first guitar in his 11th grade wood TAYLOR GUITARS ON DISPLAY Cujo Guitar (1983) shop class. An impressive effort, it features a back Built from the wood of a giant black walnut tree, which was Taylor Dreadnought (ca. 1974-75) featured in the film, Cujo, the namesake of a rabid Saint and sides of Indian rosewood, a Sitka spruce top, and One of the earliest guitars to come out of the original Bernard in a novel by Steven King. Lemon Grove shop. maple neck. For the inlays on the fingerboard and Baby Taylor soundhole rosette, Taylor hand-cut the mother-of- Bob Taylor’s 810 (ca. 1975) A three-quarter size “travel” guitar, used by many. First official Taylor model built after much design pearl from abolone shells he harvested while diving experimentation. Liberty Tree Guitar (1999) off the coast of La Jolla. That was in 1972. Since then, Named after the designated tree in each of the 13 Colonies Pallet Guitar (1995) hundreds of models have come out of Bob Taylor’s where Americans could conspire to gain independence. This Built from a rain-soaked, oak shopping pallet to model was made from the wood of the last remaining shop, many of which are on display now at the demonstrate that good sound comes from design. Liberty Tree, located in Annapolis, and decorated with inlaid Museum of Making Music. LKSM (ca. 1988) patriotic designs. The Leo Kottke Signature Model
8 San Diego Troubadour • November 2003 parlorparlor showcaseshowcase
This month, the Museum of Making Music wraps up the series String Fever: A Century of Guitar Fascination, a hundred year retrospective on hollow-body, acoustic, and electric guitars. Eclectic Electric focuses on the prototype of the world’s first commercially successful electric guitar, dubbed the Rickenbacker “Frying Pan.”On loan from the Smithsonian Institute, it is only the second time that this unusual guitar has been on public display.The following was excerpted from an essay written by Paul Williams for the Museum of Making Music.
THE FRYING PAN AND THE ELECTRIC GUITAR In 1930, Beauchamp, working with a collaborator, Paul Barth, developed a working pickup out of two horsheshoe- The history of the electric guitar starts, as any kid shaped magnets. Guitar strings passed through pole pieces Gallery 4 could understand, from the desire of guitar players to located so as to concentrate an independent make the instrument louder. This was attempted by magnetic field over each string. The real triumph increasing the size of the guitars’ soundboxes, and of Beauchamp and Barth’s invention, Museum by adding megaphone-like amplifying horns to gui- of Making Music curator Dan Del Fiorentino tars. If you played guitar, you just knew it would feel points out, was their decision to enclose the better if the sound could be louder (and you wanted pickup within the coil, so that the magneto-elec- to be heard more clearly in ensemble situations, tric field over each string was isolated, making wanted to have more power to move dancers and lis- the amplification of that string’s sound very direct- teners when playing to crowds). ed, making possible a volume and power far George Beauchamp (pronounced Beech-um) was beyond anything available at the time. The music of a guitar player himself, and a man on a quest. In the Jimi Hendrix and Howlin’ Wolf and Pete Townshend mid-1920s he saw a guitar with an amplifying horn and Kurt Cobain and a hundred million other benefi- added to it and went looking for someone to build one ciaries of Beauchamp’s determined quest for a loud- for him. He found John Dopyera, a violin repairman Gallery 5 er guitar originated at the moment in Beauchamp’s whose shop was close to Beauchamp’s Los Angeles south Los Angeles home when he and Barth found a home. Dopyera and his brother Rudy reluctantly built way to construct such well-barricaded independent him a guitar with a Victrola phonograph horn attached fields over each string in their new instrument. to the bottom. Beauchamp played the thing on the When Beauchamp felt satisfied with the pickup vaudeville circuit; he got a good response to the weird- design, he asked Harry Watson, plant superintend- ness of the instrument’s appearance . . . but it sounded ent at National, to make a guitar to mount the pick- terrible. Phonographs at that time were non-electric up on. Watson carved the Frying Pan out of a single and worked thanks to a pickup head that transmitted piece of maple in a few hours, working with hand sound from the stylus to a small mica disc, which tools at Beauchamp’s kitchen table. amplified the sound like a banjo skin or the paper in a What gives the Frying Pan its distinction as the kazoo. The sound was then transmitted to the listener first true or modern electric guitar, are these factors: via the horn. Beauchamp asked John Dopyera to make that “its electromagnetic pickup is essentially the another guitar, this time using the mica disc principle. technology used on all electric guitars today” Dopyera tried various materials and ended up with a (quote from the 1996 Smithsonian electric guitar guitar using three conical-shaped aluminum res- show), whereas the electrified-by-amplifier- onators inside an all-metal body. Beauchamp was attached-to-the-soundboard acoustic guitars such pleased, found an investor, and the result was the as the one offered by Stromberg-Voisinet failed to founding in 1927 of the National String Instrument gain acceptance largely because of feedback noise Company, which started out making the tricone gui- produced by the guitars’ f-holes.. A related factor is tars for Hawaiian guitar and jazz players, but the that the cast-aluminum Frying Pan the Electro pleasingly loud and resonant National guitar was String Corp made based on Watson’s wooden proto- soon discovered by and became a favorite of blues type was, certainly, the first solid body electric gui- players. In 1928 Tampa Red was the first country tar, although Les Paul’s 1941 “log” was the break- blues artist to record with a National steel resonator- through, partly because of its looks (once Paul cut type guitar, followed soon by the likes of Son House, the body off a Spanish-style guitar and glued it to Bukka White and Bumble Bee Slim. the original four-by-four), in getting guitar players National Resophonic Guitars, Inc. still exists and makers to accept the “solid body” concept. today, now based in San Luis Obispo and still Another factor in the Frying Pan’s claim turning out great-sounding metal guitars, but to a place in history is its commercial suc- American entrepreneurship being what it cess in 1932 and 1933 (giving the electric is, by 1930 John Dopyera had quit (he guitar some then formed the Dobro Corporation and credibility with went on making fine resonator guitars) the music and new man- industry and agement at with musicians National had and the public). fired founder and Beauchamp’s former general entrepreneurial manager George instincts were not dis- Beauchamp. couraged by his experi- Beauchamp was still looking ence at National. Eager to manu- for ways to increase the volume of facture the new guitar, the guitar. He’d been experiment- Beauchamp convinced his friend Adolph Rickenbacker ing with a single-string electric Adolph Rickenbacker, owner and George Beauchamp guitar as early as 1925, believing a operator of a tool and die plant that made metal bodies for device could be developed that the National guitars, to join him in starting a new business would pick up the vibrations of a guitar string and convert to make and sell the Frying Pan. The business was first them into proportional variation in electrical current which called Ro-Pat-In, then Electro String, but the guitars them- in turn could be amplified by the sort of tube amplifier then selves were called used in radios. continued on page 11
9 November 2003 • San Diego Troubadour ramblin’ramblin’
Bluegrass Corner Radio Daze STORIES CULLED FROM THIS by Dwight Worden Bryan Sutton was honored as Guitar DEEJAY’S 35+ YEARS IN THE BIZ. Player of the Year, Jason Carter took The International Bluegrass Music Fiddle Player of the Year, Adam Steffey Awards (IBMA) took place in October in walked off with the mandolin award, Rob by Jim McInnes Bluegrass Cardinals, one of the great Louisville, Kentucky. This is the bluegrass Ickes won Dobro Player of the Year, Jim bluegrass bands of all time, which put equivalent of the Oscar or Grammy Mills claimed the banjo player award, out 15 successful CDs, did many Grand awards, complete with a five-day trade and Mike Bub snagged the bass player Mixed Media Ole Opry and Ralph Emry shows, played show, seminars, an awards banquet, and award. for the president on the White House a three-day festival called Fan Fest. This The IBMA week included a literal lawn, and won the IBMA Recorded Event y wife works in the televi- year may have been the best ever. The Who’s Who of bluegrass performers: IIIrd of the Year together with the McCoury awards show was hosted by Alison Tyme Out, Ricky Skaggs, Del McCoury, sion business, while I work family. Krauss and Dan Tyminski of Alison Alison Krauss, Blue Highway, Lonesome in radio (although I’ve Want to know where you can see, M Krauss and Union Station and produced River Band, Doyle Lawson, J.D. Crowe, hear, and play bluegrass music locally on worked in television and my wife spent by San Diego’s own Wayne Rice of KSON Mountain Heart, and on and on, including a regular basis? Join us for one of the 14 years in radio … our daughter radio’s “Bluegrass Show” together with San Diego’s own Chris Stuart who per- following regular events: spent six years in the radio biz before the able assistance of local talent Tom formed with Janet Beezley at the song- Cunningham. Highlights of the event writers showcase. Performing artists First Tuesday of the month: moving to television two months ago, included the induction of J.D. Crowe into donate their services for these concerts North County Bluegrass/Folk Club and our son has been on the tube the Bluegrass Hall of Honor, emceed by and all the proceeds go to the IBMA Round Table Pizza quite a lot, mostly overseas, but he’s Emergency fund, which helps artists with Ash and Washington Streets Escondido, Jim McInnes his long time pal Sonny Osborn, with an not in either racket!). on-stage announcement by Sonny and health crises or other emergencies, so 7-10pm. Huh? It was Sandi! “Now's my chance to Ricky Skaggs that J.D. will be joining the ticket purchasers’ dollars go to a great Second Tuesday of the month: San Diego We’re a “mixed media” family. Grand Ole Opry as a member. cause. A highlight of the week for me Bluegrass Society Fuddruckers charm her,” I thought. As we shuffled There were many awards given; was seeing our own Gary Kennedy (who Grossmont Shopping Ctr., La Mesa, 7- My wife is the beautiful and talent- through a pile of LPs, I cleverly com- Rhonda Vincent took home top honors emcees SDBS events) get the first hug 10pm. ed Sandi Banister, who, since the last mented to her, “I suppose you only for Female Vocalist of the year, Dan from Rhonda Vincent when she won Third Tuesday of the month: century, has been Promotions like that Barbra Streisand kinda shit, Tyminksi won as Top Male Vocalist, the female vocalist of the year–she darn San Diego Bluegrass Society (features Manager/Media Buyer for KSWB-TV Del McCoury Band was named near drug him up on stage with her! huh?” (What a charming thing to say open mike and jam) Fuddruckers Entertainer of the Year, Ricky Skaggs and The IBMA awards week will be held 5/69, San Diego’s WB station. back in to the second-in-command at the rock 340 Third Ave., Chula Vista 7-10pm. Kentucky Thunder claimed Instrumental in Louisville again next year, but will 1978 she and I locked eyes across a radio competition. ...you'll get some Group of the Year, Doyle Lawson and move to Nashville in 2005. If you’ve ever Fourth Tuesday of the month: San Diego crowded room at a Sea World media action tonight, Jimbo!) She replied, Quicksilver bagged Vocal Group of the considered attending this event, why not Bluegrass Society (bluegrass jam) party (Yes…it was just like “Some “Actually, I'm a big fan of Led Year, “Blue Train” by Doyle Lawson won go next year to feel, hear, smell, and Shirley's Kitchen Enchanted Evening”!) I thought, as Song of the Year, Alison Krauss and enjoy the special ambience of this El Cajon Blvd. at Baltimore Dr., La Mesa, Zeppelin. I also love The Police and a Union Station Live was awarded Album Louisville event, set in the heartland of 6-9pm. “Rrrrrrrddddddddddd (the sound of a bunch of other stuff YOU'VE probably of the Year, Kenny and Amanda Smith bluegrass and coal country. Third Wednesday of the month: lion in heat), what a dish!” (1940’s never heard of [jerk]!” Thus began a took the award for Emerging Artist of the On the local scene, the San Diego Lighthouse performs at the Golden slang is timeless.) Someone told me long discussion about music and the Year, Doyle Lawson won Gospel Bluegrass Society hosted a great con- Goose Coffee House, 10001 Maine St., that she was not only the assistant pro- radio business. Performance of the Year for “The Hand cert in October by David Parmley and Lakeside, 7-9pm. Continental Divide at the First Baptist gram director and music director for It was the beginning of what was Made Cross,” Aubrey Haynie’s The Visit www.waynerice.com/lighthse.htm for more Church of Pacific Beach. The crowd also my radio competition, (the original) Bluegrass Fiddle Album took information. to become a minor scandal. enjoyed an opening set by hot new local Instrumental Album of the Year, and Will See you soon! KPRI-FM 106.5, but also that she was the Circle Be Unbroken, Vol. III was group Gone Tomorrow. Continental married to one of their deejays! Continued in the December issue of the Divide boasts two members from the awarded Recorded Event of the Year. “What a lucky guy he is,” I San Diego Troubadour. thought. One evening in early 1979 I stopped at an associate's house to pur- chase some, er, ”party favors.” Out of the corner of my eye I noticed a blonde woman in an adjacent room. When she joined my friend and me, a jolt of electricity shot down my spine!
10 San Diego Troubadour • November 2003 ramblin’ramblin’
continued from page 9. n o t
s Rickenbackers because Adolph’s occasional harmonica, and drum e W
n cousin Eddie Rickenbacker had been kit—became the model for the o v
Hosing Down s t a war hero and made the family Rolling Stones and thus for most o o T
name famous (also, it was easier to rock and roll bands from the mid- : o
erary sympathy for something the artist t by José Sinatra o
h pronounce than Beauchamp). 1960s to the present.
himself couldn’t fully understand, sung P through a veil of absurd self-aggran- Beauchamp left the company The Hawaiian guitar player who We continue to mourn the loss of dizement. and the music business in 1940. In in 1931 invented the Frying Pan and America’s First Prince, whose airborne Nearly 30 years later I am again at the 1960s, the public would again thus the electric guitar didn’t know throne crashed tragically into a sea of Phil Harmonic’s house, now located in darkness. Though he is gone, he left us become familiar with the name what was coming, but he knew what University Heights. I am on my knees much, and we still, on occasion, sip Rickenbacker, though World War One he had to do. The rest is history...and (for effect, of course, but with honest from the unfilled cup of his creative humility) apologizing to Phil for having was long forgotten, because several a lot of very attractive, and some- wad. The debonaire Mr. Sinatra been so wrong about an aspect of our of the Beatles played Rickenbackers times very meaningful, noise. Thank you, John Denver. Thank musical rehearsal the day before. “It buried; U.S. offers apology for deaths.” very publicly and lovingly, and you. was entirely my fault,” I offer, struggling I couldn’t believe it. I actually trem- John Denver unknowingly helped because the distinctive sound of the Excerpted from “The Frying Pan and to mask my nervousness. “I was com- bled. Our country is really apologizing educate me about the value of the Byrds’ hit records “Mr. Tambourine the Electric Guitar” by Paul Williams. pletely wrong and I apologize. I don’t for gunning down a bunch of inno- Apology nearly three decades ago. know why I was so incredibly stupid.” cents? Our arrogant, imperial nation is Man” and “Turn, Turn, Turn” was Suddenly, “love means never having to (Phil probably does.) owning up to some misdeed? Will I now known to be based around Roger say you’re sorry” became even more Phil smiles, nods, says it’s okay, be able to bond with a fellow on-the- McGuinn’s 12-string Rickenbacker fatuous than “rape means never having and immediately moves on to other record penitent, a country, no less? Are to say ‘I love you’” (a parody of mine for electric guitar. matters. My shame turns into relief and the Hose and the U.S. finally to become which I am often quite honestly sorry). George Beauchamp filed a we engage in a productive rehearsal. one? Will my celebrity seed now flow It was during the mid-’70s. Phil Never underestimate the value of into her amber waves of granola? patent application for the Frying Pan Harmonic (my elder by a few years and cleansing the soul. One may still dream. in 1932. The patent was not granted several lifetimes of experience) And never overlook the continuing No, reading further, Lt. Col. George until 1937, by which time other impressed me with his wrenching need for that cleansing, as news Krivo’s “apology” consisted of this truly hatred of a line from a John Denver inventors had developed and mar- reports reveal the blinding dirt our souls humiliating soul-cleansing: song. Phil’s voice was turned up to 11, keted electric guitars of their own. are bathing in. “We wish to express our deep his eyes shooting fire as he stood and At his sentencing for robbery, regret for this incident to the families In many ways the modern era of willed his legs not to propel him assault, and attempted murder, the 18- that have lost loved ones, and express the electric guitar seems to have through the nearest wall of his cozy year-old defendant addresses the our sincerest condolences.” begun in 1948 when Leo Fender, a Ocean Beach house. injured family: “I’m sorry for what hap- So. We’re sorry the incident “hap- “‘I’m sorry for the ways things are former radio repairman, started man- pened.” pened.” Yeah. Isn’t everybody? But, in China’?” he screamed, as if for the ufacturing (in Southern California) a And people are buying that horse hey, who was responsible? benefit of those in China who might not (feces). Why? Because we’ve been John Denver? Spanish-style solid-body electric gui- have been paying attention. “What carefully manipulated to eat Spin for Our country certainly needs a soul- tar called the Broadcaster (soon to B.S.! What the (gosh-darn-heck) does breakfast. cleansing, consoling hug now, just as be renamed the Telecaster), which he know about China? What (fornicat- He’s not sorry that he did those surely as I might need a slap upside my ing) right does he have to talk about the was an immediate success in the crimes. No, he was just there when superb face for getting all political now. situation in China?” marketplace. “The mass production they “happened.” (And he’s sorry he I trust I’ll be forgiven. At least by It took me more than a moment to was caught.) my daughter Elaina. of these and other new models of see Phil’s point; I had been naively I want to run through Phil’s wall You see, it just happened. highly desirable electrics,” as the assuming that the popular singer who myself. Smithsonian show aptly put it, had been “born in the summer of his I could have bodily drilled through 22nd year” had mysteriously done “allowed teenagers across the coun- the Great Wall of China, actually, when something to undermine the infrastruc- try to reinvent themselves in terms I opened my Union-Tribune to page A2 ture, perhaps, of China. But Phil, as on September 14. The headline was of a vision of musical rebellion and usual, saw the truth. The “I’m sorry” intriguing: “Shot security officers independence.” The electric guitar wasn’t an apology at all, just a bit of lit- was here to stay and, only a few Paul Abbott, regretfully, will not years later, so was rock and roll. In be with us any more due to the growing demands of his busi-
) 1954 Fender introduced the next m o
c ness. The San Diego Troubadour .
s step in the electric guitar’s evolution, n o
i wishes to acknowledge Paul’s t c
u the Stratocaster, which would
d contribution to this paper with o r p
l become the guitar-of-choice of r
ANT OUSE i his informative column, which
R H g e u l Buddy Holly, Carl Perkins, and, a covered a wide variety of topics b .
THE LOCAL MUSIC SCENE (WELL, MOSTLY) w w decade later, Jimi Hendrix. The relating to the technical aspects w (
t by Gus T. Williker late please?” r of recording. Good luck, Paul. e “Strat” was the first solid-body elec- v l
a We will miss you! PPP: “For here or to go?” C
i tric fitted with three pickups, which d i e
Gus: “Well, I’m going next door, so I H
Takin’ yer Lumps at Lestat’s f were wired to a three-way switch San Diego Troubadour Staff o
uh…” y s
Normally, the folks behind the count- e
t allowing the player to select one at a r u er at a cute coffeehouse are extra folky PPP: “Do yoooou want a styrofoam cup o c time. o t
or a porcelain mug?” (delivered with an o
nice. Kinda like the hippie chick that h
P Chicago bluesman and band- offers you free hummus at Henry’s — audible huffy sigh and condescension they’re sweet cuz it’s in their nature. But, galore) Our man fer all seasons, Gus Williker leader Muddy Waters was another normally don’t play in Normal Heights, Now here’s where it gets sad. A Gus Stratocaster user. Waters had begun nor Lestat’s coffeehouse on Adams Ave. with guts woulda said something ballsy NOW) playing electric guitar in 1944, Now yeah, I’ll qualify my angry rant or sarcastic, like “Ya know, I wus listen- I know, this club shoulda bin formed reportedly so he could be heard over with this: I’ve only been to Lestat’s one ing to punk rock while you were still back in 1991, when the world first heard the crowd noise in the bars where he time, but that was ‘bout enough. crappin’ mochas into yer plastic “Shiny Happy People,” but it’s not like performed. The instrumentation in My problem? The petulant poseur Pampers,” but I didn’t. I stammered and we’re Out of Time. There’s still an oppor- Waters’s blues band—lead electric punks acting like pieholes behind the blubbered ‘bout how I didn’t know if you tunity to put an end to this madness, and counter. What… is this place trying to be could take a porcelain mug over to the I Believe we can Stand up and be count- guitar, rhythm electric guitar, electric Dick’s Last Resort East? performance room or not, and so I wasn’t ed. Call yer state representative, steam- bass guitar, occasional keyboard, It went down like this. I dragged into sure if I could choose a mug, blah, blah. roll a stack of Monster CDs, but please the place on a Sunday evening, hopin’ to He was unimpressed by my excuses, and Get Up and do something. Take my Good hear plucky folk tunes and maybe some went into ignore mode. I quietly waited Advices; it’s the right thing to do. So, until bad-but-earnest poetry. I’d just finished for my drink. Stipe stops undoing eight years worth of helping a buddy paint his house, and I Now here’s where it gets sadder… I good albums, you can find me hiding was sportin’ a bespackled green t-shirt tipped that lil’ basturd a buck-fifty! He’s Underneath the Bunker with earmuffs. and a green mesh hat (that features an a [bleep], but I’M THE SCHMUCK! xoxo, American flag patch). The café has SSN Gu$ indoor seating, outdoor seating, and a Everybody Hurts when they’re performance room next door. Now I don’t Wanna e-torch Gus? exposed to R.E.M.’s music. It’s the End of know if the pissant behind the counter [email protected] the World as We Know It? No, but I am figured I was a war monger, just cuz I worried ‘bout losing my lunch, let alone dared wear an item of clothing with the my religion. So, as rapid eye movement is stars ‘n stripes, or he’s just regularly ill- to music, and acronyms are for causes, natured, but he wernt welcoming one bit. I’ve formed an important group to stem Gus: “Could I have a medium hot choco- the tide of turdy tunes: SSN (STOP STIPE
11 November 2003 • San Diego Troubadour ofof notenote
Steve White Bender The North Meghan The Cables Brand New World Two Months Star Session LaRoque by Phil Harmonic When I received the Cables by Paul Hormick by Morris Jones Music Under a by Phil Harmonic four-song CD, I was surprised to With his new disk, Brand New This 10-song CD, featuring the receive, along with it, the same Meghan LaRoque’s 15-song World, Steve White continues his vocals, guitar, and percussion of Flight Path four songs on seven-inch vinyl. I CD is basically guitar and voice. one-man maelstrom of funk and Clay Colton; and the vocals, played both simultaneously, then But what a voice. Her vocal style burn guitar, wailing harmonica, piano, guitars, and bass of Matt by Phil Harmonic switched the amp back and creates a big sound for one and polyrhythmic percussion Bongiovanni, whips up a modern forth between CD and phono- voice. “Starship 27” is intense extravaganza. Of all his record- swirl of rock-poppish tracks. The This Massachusetts transplant is graph to see which I preferred to and powerful. “Reality Hoes” is ings, Brand New World comes effort is produced, recorded, one of the many singer-songwrit- listen to. Although the CD had a topical and funny and very clev- the closest to capturing the heat mixed, and mastered by Bort ers who have come to San Diego crisper, clearer sound, I liked the erly knocks today’s television and light of White in concert. Schrader and features a small to pursue their musical careers. sound of a real record much bet- absurdity shows with lines like, Listen closely. All songs on this army of support with the help of Matt Szlachetka, who bills himself ter. I can’t really explain why. It “Where the hell is the real disk are one take, no overdub Jeff Black on drums and Matt as The North Star Session, is an just felt better. world? Ask Anna Nicole, that big live performances — with no Lloyd on bass. Bort Schrader is incredibly talented musician with The new self-titled seven-inch fat ho. Do you think she sweeteners, artificial flavors, or credited with “everything else,” a college degree in music compo- vinyl may only have four songs, knows?” Her performances are colors added. and someone characterized as sition (from a small college in but they are very good songs dramatic and passionate through This recording verite spotlights “Woodle” is credited as “Mr. Maine) and a background in a that showcase the band’s range. which she creates a presence that the lively and spontaneous inter- Ranger.” Interesting. variety of musical genres. He The Cables, who now reside in is dynamic and captivating. Even play among White’s orchestra of “All the Same” is the CD’s best developed an intense passion for the San Francisco Bay Area, were though it was recorded live, in one. Keen harmonica lines follow track. In this take they’ve man- music while growing up in a formed in 1996 in San Diego. her case I’d still rather see her in tight guitar licks, with more harp aged to capture succinctly a musical family. His driving jazzy, Band members include Mike concert over the CD any day. following; all the while White’s beautiful rock-ballad sound, with bluesy guitar work is impressive Flinn, songwriter, vocals, guitar, Her bachelor’s degree in the- feet stomp, bang, and chime out also what turns out to be among and worth the price of admission and keyboards; Eben Henner, ater arts and communications a panoply of percussion. It all the CD’s finest lyrics, arrange- alone. His vocal style and lyrics guitar, bass, and vocals; Billy give her a foundation for writing flows seamlessly, achieving ram- ments, and production. Clay complement the guitar work. The Lovci, bass, guitar, and vocals; intelligent, good original songs. bunctious grace and elegance. Colton charismatically delivers a only complaint I have about this and Trevor Wenci on drums. She reveals herself in “Nothing Transitions, particularly travel convincing urgency in this take. CD is that there are only six Flinn’s compositions go from but a Waitress,” which draws on and movement, serve as themat- (This chap, in my opinion, with songs. I want to hear more. manic, riff-heavy on “The her experience as a former wait- ic springboards for most of the right support is one con- After starting to dabble on the Wounded Man” to sparse and ress at Java Joe’s. I remember Brand New World. In “Long Way tender of a singer.) The guitar cello in elementary school, by sorrowful on “South Pity.” I hear another former Java Joe waitress Home” White’s restless refrain parts are excellent, matured, and the time he was 13 he started to tinges of Ric Ocasek of the Cars but her name escapes me. Oh, asks, “Let’s fall in love with the extremely well ochestrated. And play guitar. His songwriting skills on “Starsick” and the influence yeah, it’s Jewel. And isn’t that open road” and celebrate the while the electric guitars are are good but it’s the guitar of David Bowie on “Driftwood.” Jason Mraz sleeping in that back exhilaration of shooting across seemingly represented by proba- (acoustic, I might add) that’s the Flinn recorded most of the booth. Pretty good company, eh? the horizon with the only desti- bly the same ax, through the head-turner. tracks in the Bay Area but did LaRoque’s CD is raw and basic nation being the promise of pos- same amp, thoughout the CD, it I had a chance to see Matt live the final touches in San Diego and with a good producer, it sibilities. “Night Train” and its is most appropriately fitting here. at Lestats not too long ago and with coproducer Mike Kamoo of could be embellished into a hit. driving funk illustrate the enigma “Wasted” is also a killer little was impressed with the nuance the Stereotypes at his San Diego She is gutsy and takes risks, and and power of movement, with tune that sports a nifty little time and polish he produces with a studio. Coming back to one’s that makes people sit up and lis- the central point of clarity being change, making it the most ele- warm, comfortable style. While home town can bring out feel- ten. She is a unique songwriter movement itself. And White’s gant delivery on the CD. “The playing an acoustic bottle-neck ings that add guts and sub- with a special vocal delivery that humor takes us on the road with Bear Song,” a tongue-and-cheek slide on a tribute to Muddy stance and result in a raw, natu- should help her climb up the lad- the rocker “Chicken Bone ditty, is suited up in a production Waters, a vision of Leadbelly runs ral performance. For more info, der of success, following in the Express” and “Ladies Mud that isn’t far off from Santana’s across my mind’s built-in movie visit their their website: footsteps of peers Jason and Jewel. Wrestling Team.” Both songs “Turn Your Lights On.” screen. Many a songwriter who www.thecablesmusic.com. I highly recommend a live per- made me laugh and dance And “Thinking of You” most records with only voice and gui- File under “Indie Rawk.” formance. See (and hear) for around the room like a sailor on definitely competes for the CD’s tar will have a tendency to pro- yourself at her CD release at Seconal. finest moment in that it offers duce a style that starts to sound Twiggs on Friday, November 28, White explores a wide range the finest set of changes and a the same. Not with Szlachetka. at 9 p.m. Her CD is available at of mood in Brand New World. very radio-friendly production. Even if these songs might sound Tower Records in San Diego and The Tin Pan Alley-inspired “Uke Mr. Bongiovanni’s talent is show- the same to someone, they cer- L.A. For further information, go Le Le” indulges in sweet, almost cased exquisitely here in excel- tainly don’t feel the same. His to her website: www.meghan.tv. whimsical, nostalgia, while lent lyrics, changes, and produc- sense of nuance and detail, if I “Tears Are All You Own” is a tion. The more I listen to this likened or compared him to dark and brooding meditation song, the more I like it. someone, is more like the “mas- on life under the constant state Altogether, it’s a good CD ter of nuance,” Mr. Gregory of war needed for the military- with a lot of things going for it. Page. With songs “Come into industrial complex. Regret, long- But I deeply suspect that with a Your Own,” which he wrote for ing, excitement, and joy fill the more appropriate handling in his brother and “Last Forever,” songs on this disk. Whatever the production, the talent would you see that he can create a mood, White’s lyrical haiku-like shine much more brightly. It’s mood and take you with him. simplicity prompts the listener’s great talent. And such talent Isn’t that the reason we listen to imagination to take the song as deserves such an opportunity. music in the first place? Check his (or her) own, making each the music calendar for future per- listening a new experience. formances of the North Star Session.
12 San Diego Troubadour • November 2003 ‘round about
Island, 5:30pm. wednesday • 12 Sue Palmer w/ Deejha Marie/Sharon WEEKLY NOVEMBER Shufelt, Calypso Restaurant, Hwy 101, Neil Young Birthday Fest w/ Berkley Leucadia, 7:30pm. Hart/Dave Howard/Chuck every sunday Schiele/Gregory Page/Cindy Lee Trina Hamlin/Gato Papacitos/Cary CALENDAR Berryhill/Sven-Erik Seaholm/Peter Pierce/3 Ember, Twiggs, 8:30pm. 7th Day Buskers, Hillcrest Farmer’s Bolland, Dizzy’s, 8pm. Taylor Street/The North Star Session, Market/DMV parking lot, 10am-1pm. Sue Palmer Trio, Bookwords, Flower Hill Cafe Crema, Pacific Beach, 9pm. Mall, Del Mar, 8pm. Anya Marina, Lestats, 10pm. Irish Dance, 3pm/Michael McMahon, 7pm, Dublin Square, 554 Fifth Ave. saturday • 1 Jimmy Atto/Tristan Prettyman/Jack the Avocado Moon, Metaphor Cafe, Original/Jim Bianco/Juan Acosta, thursday • 13 friday • 21 Traditional Irish Music, Tom Giblin’s Escondido, 8pm. Twiggs, 8:30pm. Pub, 640 Grand Ave., Carlsbad, 3pm. Sue Palmer w/ Deejha Marie/Sharon Big Daddy Orchestra, Tio Leos, 5302 Black Rose w/ Kris Colt, San Dieguito Lisa Sanders, Lestats, 9pm. Napa St., 8:30pm. Celtic Ensemble, Twiggs, 4pm. United Methodist Church, 170 Calle Shufelt, Calypso Restaurant, Hwy 101, Magdalena, Encinitas, 7:30pm. Call Leucadia, 7:30pm. Trina Hamlin/Autun/Jill Cohn, Twiggs, Cobblestone (Irish Music & Dance), 858/566-4040 for info. saturday • 8 Gato Papacitos/Teflon/Annie 8:30pm. The Field, 544 Fifth Ave., 5-6:30pm. Asylum Street Spankers/Aliah Selah, 101 Bethancourt/John & Jessica/Josiah, Jazz Roots w/ Lou Curtiss, 9-10:30pm, Artists Colony, Encinitas, 8pm. Peggy Watson & Friends, San Dieguito Twiggs, 8:30pm. United Methodist Church, 170 Calle saturday • 22 KSDS (88.3 FM). Marie Haddad, Bamboo Yoga, 1127 Loma Magdalena, Encinitas, 7:30pm. Call The Bluegrass Special w/ Wayne Ave., Coronado, 8pm. 858/566-4040 for info. U. Utah Phillips, San Dieguito United Rice, 10-midnight, KSON (97.3 FM). friday • 14 Methodist Church, 170 Calle Magdalena, Uncle Jesus/South Bound/Simon Flick, Peter Sprague & Pass the Drum, Dizzy’s, Encinitas, 7:30pm. Info: 858/566-4040. Tio Leos, 5302 Napa St., 8:30pm. 8pm. Indie by Design w/ Danielle LoPresti/Cat Mary/Berkley Hart/Danny Peck/Makeda, Steve Poltz, Bamboo Yoga, 1127 Loma every monday Rookie Card/Sensations/Towne Dandies, Jim Bianco/The North Star Session/Tim Dizzy’s, 7:30pm. Ave., Coronado, 8pm. Kensington Club, 9:15pm. & Dale/Jimmy Atto/Taylor Street, Twiggs, Open Mic Night, Lestats. Call 619/282- Ted Wright, Metaphor Cafe, Escondido, Trina Hamlin/Josh Hall, Twiggs, 8:30pm. 8:30pm. 8pm. 0437 for info. sunday • 2 Baja Blues Boys, Patricks Irish Pub, Open Mic Night, Rosie O’Grady’s, Poway, 8:30pm. sunday • 23 Normal Heights, 7pm. Chuck Pyle, Normal Heights Comm. Ctr. Jump Jones’ Swing Show, Tio Leos, 5302 saturday • 15 4649 Hawley Blvd., 7pm. Call 619/303-8176 Napa St., 8:30pm. Celtic Holiday Music, Holy Trinity Jenn Grinels (Irish music), Blarney Simon & Garfunkel, Cox Arena, SDSU. Stone, Clairemont. for tickets and info. Call for info. Episcopal Church, 2083 Sunset Cliffs Harmonic Concor-Dance w/ Aliah Blvd., 7:30pm. Selah/Tonehenge, House Party, 522 Comedy Night, Hot Monkey Love Cafe, The Hank Show, Pine Hills Lodge/Dinner 5960 El Cajon Blvd., 8pm. wednesday • 5 Santa Monica Blvd., 8:30pm. Info: Theater, Julian, 6:30pm. Call 760/765-1100 www.aliahselah.com. for info. tuesday • 25 Sue Palmer w/ Deejha Marie/Sharon Shemm CD Release, Flicks, 1017 Mark Erelli, Normal Heights Comm. Ctr. every tuesday Shufelt, Caffe Calabria, 3933 30th St., University Ave., 9pm. 4649 Hawley Blvd., 7pm. Call 619/303-8176 Bela Fleck & Flecktones, Spreckels Theatre, downtown San Diego, 8pm. North Park, 6pm. Young Dubliners, Belly Up Tavern, Solana for tickets and info. Open Mic Night, Casa Picante, 10757 Woodside Ave., Santee, 7:30-9:30pm. Beach, 9:15pm. D’vora Gittleson & Chicken Soup, Old thursday • 6 Poway Park, Poway, 7:30pm. Call 858/566- wednesday • 26 Traditional Irish Music, Blarney Stone, 4040 for info. Clairemont, 8:30pm. Lisa Sanders/Carlos Olmeda/Will sunday • 9 Sue Palmer w/ Deejha Marie/Sharon Diane Waters Band, Claire de Lune, 2906 Traditional Irish Music, The Ould Sod, Edwards/Sven-Erik Seaholm/Peter University Ave., 7:30pm. Shufelt, Caffe Calabria, 3933 30th St., Bolland, Music Mart, 122 S. Solana Hills Eliza Gilkyson, Dark Thirty Productions North Park, 6pm. Normal Heights, 8:30pm. Dr., Solana Beach, 8pm. House Concert, Lakeside. Call 619/443- Peter Bolland/3 Simple Words/Sara 9622 for info and reservations. Bancroft/Leigh Taylor Band/Collin Elliott, every wednesday friday • 7 Twiggs, 8:30pm. friday • 28 monday • 10 Meghan LaRoque CD Release, Twiggs, Open Mic Night, Metaphor Cafe, Shemm, Caffeinds Lounge, 634 8:30pm. Escondido, 8pm. Broadway, San Diego, 7pm. D.R. Auten/Christopher Dean, Guitar sunday • 16 The Fremonts, Tio Leos, 5302 Napa St., Open Mic Night, Twiggs, 6:30pm. Workshop & Concert, Hot Java Cafe, Aliah Selah & Friends, 101 Artists Colony, Leigh Taylor Band, Metaphor Cafe, Barnes & Noble, 11738 Carmel Mtn. Rd., 8:30pm. Escondido, 8pm. Encinitas, 7pm. Open Mic Night, Adams Ave. Studio of Ste. 182, 7:30pm. Info: 858/673-7111. Los Lobos, Belly Up Tavern, Solana the Arts, 2804 Adams Ave, 8pm. Beach, 9pm. Skelpin, Dublin Square, 554 Fifth Ave., wednesday • 19 8:30pm (also on Saturday night). Sue Palmer w/ Deejha Marie/Sharon saturday • 29 Brehon Law, Tom Giblin’s Pub, 640 Shufelt, Caffe Calabria, 3933 30th St., Grand Ave., Carlsbad, 9pm (also Wed. North Park, 6pm. John McEuen, Normal Heights Comm. Ctr. 4649 Hawley Blvd., 7pm. Call 619/303- & Sat. nights). Indian Joe Benefit Show w/ Steve 8176 for tickets and info. Hatchet Brothers, The Ould Sod, 9pm. Denyes, Eclipse, Hoo Doo Blues Band, Rich Land Blues, Mystery Train, Indian Candye Cane, Tio Leos, 5302 Napa St., Joe & the Chiefs, Tio Leos, 5302 Napa St., 8:30pm. 7:30pm. every thursday Rockabilly Thursdays w/ Hot Rod Lincoln, Tio Leos, 5302 Napa St., Call thursday • 20 for info. GoGirls Music Festival w/ 17 groups, Celticana, Dublin’s Town Square, Humphreys Backstage Lounge, Shelter Gaslamp, 9pm. Aliah Selah, Miracles Cafe, Cardiff, 8pm.
every saturday JAVA Open Mic Night, Coffee Bean & Tea JOES Leaf, 9015 Mira Mesa Blvd., 8pm. presents @ Kelly’s Pub Phil Harmonic Sez: 6344 El Cajon Blvd. • 619/286-0400 www.javajoes-sd.com
LIVE ENTERTAINMENT NIGHTLY HAPPY HOUR 4-8 P.M. $2 PINTS AND $6 PITCHERS OF PABST ALL THE TIME
MONDAY: KARAOKE NIGHT TUESDAY: BERKLEY’S OPEN MIC & FREE POOL November Highlights Friday, Nov. 7 ROCK TRIO Friday Nov. 14 TROPHY WIFE Saturday Nov. 15 TUBBY ALL musicians Saturday, Nov. 22 BERKLEY HART are winners. Check website for complete entertainment listings. CONGRATULATIONS!
13 November 2003 • San Diego Troubadour thethe locallocal seenseen P h o o n e t o San Diego Music Awards r : o
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SDMA Lifetime Achievement Award- o r winner Joe Marillo e n o Derek Duplessie at SDMA Showcase Sue Palmer & Candye Cane at SDMA
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Steve Poltz w/ Tim Flannery, Jeff Berkley at Poltz’ CD release
Geoff Muldaur at AcousticMusic.com/SanDiego
Steve Poltz at his CD release
Gary Rachek, Ed Douglas & Phil Harmonic at the Double Eagle 14 San Diego Troubadour • November 2003 thethe locallocal seenseen
San Diego Street Scene: $40 per day • San Diego Music Awards: $15 and up Adams Avenue Street Fair: PRICELESS P h o t o :
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