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MARTI BROM #165/254 OCTOBER 2010 REVIEWS (o r not) o BENNETT BRIER o JOHN COLTRANE THE FABULOUS GINN SISTERS # ELIZABETH McQUEEN o DB RIELLY o SONNY ROLLINS JOHN THE REVEALATOR HANK WILLIAMS FREEFORM AMERICAN o ROOTS #134 ‘n o n e o f THE HITS, ROOTS BIRTHS ALL OF & DEATHS THE TIME’ “THSCUTTISQ EDGE” [Tenfion & Rom ance 3 5 0 r® Available at Amazon.com and finer record stores near you! A tribute to the musical legacy of DC I i III MNP (III p. juipuppvjiapnpvpKpfppv p. (III I iMNP III www.ripsawrecords.com FREEFORM AMERICAN ROOTS #134 T he D efinitive JOHN COLTRANE REAL MUSIC PLAYED FOR REAL PEOPLE BY REAL DJS O n P restige & R iverside d u r in g SEPTEMBER 2010 T he D efinitive SONNY ROLLINS #1 YVETTE LANDRY: S hould Have Known O n P restige. R iverside & C ontemporary (self) *BP/*BW/*CS/*DWB/*GS/*HT/*LMG/*RC/*RH/*TFF/*TG (Concord Music Group) 2 Caleb Klauder: Western Country (Quicksilver) reaking format somewhat here, but bear with me while I take a trip down Memory *BG/*HP/*KC/*LN/*RS/*RV/*TM BLane. Many (many) years ago, when I was trying to make the transition from 3 Justin Townes Earle: Harlem River Blues (Bloodshot) gawky teenager to cool young adult, which turned out to be a long term project, in *CF/*DF/*DN/* KW/* SC/* T A fact I’m still working on it, though the ‘young’ part of the equation is, of course, a 4 Eric Brace A Peter Cooper: Master Sessions (Red Beet) dead loss, I became the project of a slightly older coworker at a St Pancras branch *DS/*GM/*JW/*RJ/*TF library, who decided to further my education by introducing me to her main 5 Lucky Tomblin Band: Honky Tonk M erry Go Round interests, modern jazz, reefer and cunnilingus. You could learn a lot from Lydia. (Texas World) *GF/*SH Early on, she marched me to a Camden Town record store and picked out Giant 6 Marty Stuart Ghost Train: The Studio B Sessions Steps, Saxophone Colossus, Art Pepper Meets The Rhythm Section, Gerry (Sugar Hill) *NA Mulligan Meets Ben Webster, Soul Station, Blues & Rootsand 10 To 4 At 7 Lynne Hanson: Once the Sun Goes Down (self) *AN/*FS/*TW The Five Spot (she had a thing for saxes). I remember these well, partly because I 8 Elizabeth McQueen: The Laziest Girl in Town (Freedom) played them to death, partly because, import LPs, they pretty much ate one my first *MT/*TR paychecks, but apart from giving me the illusion, priceless at that age, of being a 9 Halden Wofford A The Hi Beams: Sinners A Saints (self) hipster, flipster and finger poppin’ daddy, those albums opened up a whole new world *DA/*JH/*R78 of intense, focussed and absolutely superlative musicianship. Don’t get me wrong, 10 Robert Plant: Band O f Joy (Decca) *KR/*WR I loved rockabilly and rock & roll, but let’s face it, there has never been a drummer, 11 Mavis Staples: You Are Not Alone (Anti-) *JP/*MDT/*TPR for instance, in the whole history of rock even remotely in the same class as Buddy 12 Eilen Jewell: Butcher Holler, A Tribute to Loretta Lynn Rich or Tony Williams (just for starters). (Signature Sounds) *DT Modern jazz was my passion for about ten years—then came fusion and I 13 Max Stalling: Home To You (Blind Nello) * 0 0 completely lost my taste for it about halfway through Bitch’s Brew,and, thanks to 14 Asleep A t The Wheel w/Leon Rausch: I t ’s a Good Day! Gram Parsons, turned my attention to an heretofore minor side interest in country (Bismeaux) *TB music, though without a personal muse to guide me, that was a journey fraught with 15= Trevor Alguire; Now Before Us (self) *HA/*RF missteps and dead ends. Apart from occasionally catching Dan Klein’s Lush Life Donna Beasley: Under The Rushes ( Bless Her Heart) *KD/*MP on KSYM, San Antonio, I’ve hardly heard any jazz since 1970, so I had no idea how 16 Los Lobos: Tin Can Trust (Proper) *XE revisiting these old ‘friends’ would go, and was rather amazed to find that tracks like 17= DB Rielly: Love Potions And Snake Oil (Shut Up A Play!) *JT ’RoundMidnight, Russian Lullaby, Moving Out and Blue 7 are apparently hardwired Paul Thorn: Pimps And Preachers (Perpetual Obscurity) *EW into my memory, like the last 40 years never happened. I doubt I’ll ever be sent any 18= Sherry Austin: Love Still Remains (Barking Topiary) *DJ/*MF more jazz albums, certainly won’t be asking for any, but if Coltrane and Rollins are John Mellencamp: No Better Than This (Rounder) *NAT no longer my drug of choice, I can still get high on them. JC 19 Steeldrivers: Reckless (Rounder) *AB 20 Shinyribs: Well A fte r Awhile (Nine Mile) *MM S ongs B y BENNNET BRIER 21 The Molenes: Good Times Cornin' (self) *BB/*DG/*GG 22= Rachel Harrington:¡nato Celilo Falls (SKD) *JB r-MO U W 1 ¿1X1 u James Hyland A The Joint“ Chiefs:i * Celestial............... Navigation ig< (self & & & .5) (Ananaki) *EE eason for the somewhat unusual titling is that while Brier wrote the songs, he 23 = Amber Digby A Justin Trevino: Keeping UjJp Appearances Rdoesn’t actually sing them, instead handing off lead vocal duties to Jay Sims, (H(Heart Of------ Texas) *TS who also produced the album, and is assisted by Stephen Doster, lead guitar/backup Leyla Fences: Liars, Cheats A Fools (self) *RMT vocals and James Stevens, backup vocals. This is, of course, a very rare arrangement, Red Meat: Live At The World's Smallest Honky Tonk offhand I can only think of one other similar case, Lady Liberty (2000), on which (Ranchero) *CP Leeann Atherton sang Mike Stevenson’s songs—songwriters, post-Dylan, generally Yarn: Come On In (Yarn Music) *MW being unfazed by the fact that they can’t sing worth a damn. Bennett, originally from 24= Ryan Bingham A The Dead Horses: Junky Star (Lost Highway) Beaumont, goes quite a way back, drawing his inspiration from artists he saw at the The Cedar Squeezers: El Chupacabra (self) legendary emmajoe’s, and he does himself no harm with me by citing Butch Hancock Runaway Express: Howlin’ A t The Moon (Raven) *RG as an influence, even if he is #4 in an otherwise rather banal list (Dylan? Really?), and 25 Chatham County Line: Wildwood (Yep Roc) *EB while it’s hard to see much Hancock in his writing, except the length, one song runs 26 Tom Jones: Praise A Blame (Lost Highway) *CR to almost eight minutes, he’s obviously very clear on one Butchian priority—putting 27= Deke Dickerson A The Modern Sounds: Live At Duff's the words across. This may explain why the initial positive response to his second (Ventrella/Major Label) album comes from Europe, where they do like to be able to understand the songs, Doctor G A The Mudcats: My Daddy’s Blues especially when they’re pretty good songs. If he’s not as edgy as I generally prefer, (Cheatham Street) *DB Brier is a skilled craftsman, and Sims does him proud. JC Leroy Stagger: Little Victories (Rebeltone) *SR Dale Watson; Carryin’ On (El) *LB HANK WILLIAMS T he C omplete M other’s B est R ecordings ... Com pact Dises P lus! Records * Video (Time Life, 16 CDs limited edition box set) uurá%mi“e i n ár%g*% aybe some reviewers got the whole package, 16 CDs plus 100 page book by I n f wm m Z r Wife Him# Colin Escott encased in a reproduction antique radio, but on the whole getting WMH Mww» 9mt i 1 Mkun M •WKk-A Hwth Um «t Auatta, UK 7* 70« a sampler was enough for me. It’s not that I mind the cheesy hype for Mother’s Best, w w w .w jlw lflOT c orAa.cMfm in fact, for a while it’s rather endearing, but there’s so much of it, and, let’s face it, there’s only so many ways you can talk up self-raising flour, even if it is enriched with WHERE MVS-fC STÍLL MATTERS vitamins and iron. On top of that, a look at the listings for the 72 fifteen minute shows, recorded on WSM in 1951, reveals that there’s an awful lot of Audrey, when just about any Audrey is too much. One must applaud Time Life for this monumental archive, A lbum of the Month *XX = DJ’s and Williams and his guys sound pretty chipper for 7am, but between Mercury’s Freeform American Roots is compiled from reports provided by 140 freeform DJs. ill-named Complete and Time Life’s own 2009 The Unreleased Recordings,I More information can be found at http://tcmnradio.com/far/ think most people would be pretty much set for Hank. JC MÊBÊ[ÊIÊÊIIIIiÊÊiÊBÊÊÊÊÊÊÊÊËÊÊÊÊÊÊÊÊÊÊlÊÊIÊÊÊÊÊÊÊItÊÊÊÊÊÊÊIÊÊÊÊÊÊÊÊK. COW INLAND AUJIC c o u n tr y ,sdowaatv, h g n r v t c m ;w e $rem, s w in g a n d a u ..stc^ s a io n c tht w a y NOW AVAILABLE ON COW »U N O MUSIC; Kikherr Rod*o, the debyf release horn Austin v singer/songwriter TERI JOYCE VOTED 2009 Of BUT ALBUM OF THE YEAR BY FAR DJS FROM AROUND THE WORLD! “f'ra waited a long time (or thin record, and my onceaiiiticolly high expectations hare acteoify been exceeded," -Omcon Warwick, Editor, Live Music In Country Music People 'Terr Joyce is iimpfy on extraordinary songstress, Texas style,“ »Rosie Fiores Deep South Austin Every Monday: Mad Monday Song Swap P.O.BOX I | NORTHAMPTON, MASS 01061 I www.cowislandmusic.com with Glen Collins, 6pm Every Wednesday: Open Mic Night Buy-Sell-Trade with Joe Gee & Greg Duffy 8.30 1st Bob Appel 5pm, Arty Hill, 8pm 2928 Guadalupe 2nd, Glen Collins, 8pm ¿Austin, Tx.
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    FALL 2011 Political Science PHONE 541-346-4864 | E-MAIL [email protected] | ON THE WEB POLISCI.UOREGON.EDU WHERE ARE THEY NOW? An Update on Our Emeritus Professors Since most of the readers of this newsletter are former students in our department, we thought you might like to hear about your professors from your Prince Lucien Campbell Hall, college years. home of the political science department William Baugh retired in 2003 and continued teaching part-time for the next five years. In retirement, he entered the University of Oregon architecture program. He lives near Junction City with his wife, Cheryl. James Davies lives in Eugene, Oregon, and is a bit older than ninety. Perhaps his best known publication is “Toward a Theory of Revolution,” appearing in The American Sociological Review. The “J- Curve” suggests that revolution is more likely when people have experienced a fairly long period of satisfaction of their needs and then they are faced with a sharp downturn in satisfaction. He is also the author of When Men Revolt and Why: A Reader in Political Violence and Revolution and Violence in America (New York: Signet Books, 1969). A reflection on the work of James Davies, coauthored by John Orbell and Roshani Shay, is forthcoming in Politics and the Life Sciences. Daniel Goldrich remains active in the Community Alliance of Lane County, doing educational events promoting peace, justice, and policies to confront climate change via a revitalized locally and regionally based economy. Key question: how to break through denial to animate the effort to realize these changes? He and his wife, Hannah, consider themselves fortunate to have a decent public employee pension that allows them to spend a few winter weeks every year in Oaxaca, Mexico, swimming, reading, and visiting friends, including local artisans.
  • Sweetland Amphitheatre to Host Steve Earle & the Dukes and Los Lobos Saturday, August 28Th

    Sweetland Amphitheatre to Host Steve Earle & the Dukes and Los Lobos Saturday, August 28Th

    Media Release FOR IMMEDIATE RELEASE August 25, 2021 Sweetland Amphitheatre to Host Steve Earle & the Dukes and Los Lobos Saturday, August 28th Tickets Available at sweetlandamp.com LaGrange, Ga. August 25, 2021 – Two incredible acts are teaming up for a fantastic night of music at Sweetland Amphitheatre Saturday, August 28th - Steve Earle & the Dukes and Los Lobos. Steve Earle & the Dukes Steve Earle is one of the most acclaimed singer-songwriters of his generation. A protégé of legendary songwriters Townes Van Zandt and Guy Clark, he quickly became a master storyteller in his own right, with his songs being recorded by Johnny Cash, Waylon Jennings, Joan Baez, Emmylou Harris, The Pretenders, and countless others. 1986 saw the release of his debut record, Guitar Town, which shot to number one on the country charts and is now regarded as a classic of the Americana genre. Subsequent releases like The Revolution Starts...Now (2004), Washington Square Serenade (2007), and TOWNES (2009) received consecutive GRAMMY® Awards. Los Lobos The journey of Los Lobos began in 1973, as the band earned their stripes playing revved-up versions of Mexican folk music in restaurants and at parties. The band evolved in the 1980s as it tapped into L.A.’s burgeoning punk and college rock scenes. Early on, Los Lobos enjoyed critical success, winning the Grammy® for Best Mexican-American Performance for “Anselma” from its 1983 EP And a Time to Dance. In 1987 with the release of the Ritchie Valens biopic, La Bamba, the quintet’s cover of Valens’ signature song topped the charts in the U.S.