Concert #639 - JD McPherson at McCabe's Guitar Shop (June 9, 2012)

I'm afraid I'll run out of superlatives before I finish this short write-up. Last night at McCabe's, JD McPherson came out of nowhere to deliver one of the best concerts I've ever seen there. I said "came out of nowhere" simply because JD is a late-bloomer with a strikingly short resume - although he's in his mid-thirties, he has only one album under his belt. But what an album it is!

Sometime in April, I bought my concert ticket on the strength of JD's "North Side Gal" video, which was an instant knock-out with me. I showed up at McCabe's with a heightened sense of curiosity and excitement, wondering whether JD's excellent debut album and catchy video could possibly be matched by his live show. And it wasn't only me - there was a buzz in the air last night at McCabe's, some sort of a tension one could almost touch.

About JD. He's exceptionally likeable. Great personality, without a trace of an attitude, and up there on the stage he was just "one of the guys". Plays with a lot of intensity and abandonment. Has a sense of humor. Great guitar player. An outstanding songwriter as well. Has a voice that's seemingly made for the kind of music he does, namely old-school rockabilly, country-flavored rock & roll, with a touch of ska and blues thrown in just for fun. A tireless performer. Gave the crowd a generous four-song encore.  Classy enough to acknowledge the Americans, the evening's opening act.

In certain ways, JD reminded me of Willie Nile, with whom he has a couple of things in common: a huge heart and boundless energy, all housed in a small body.

JD McPherson (left), drummer Jason Smay and bassist Jimmy Sutton

The music was loud and I would not have wanted it any other way - that's how rock & roll is supposed to sound. I liked the way JD mixed his own songs with a few old classic numbers, such as "Farmer John" and Chuck Berry's "Oh Carol". Exceptionally good was "Oil In My Lamp", an old religious tune recorded by the Ska Kings, among others.

We got to hear most of the songs from his debut album and they all sounded great. The uptempo "Fire Bug" and "Wolf Teeth" were particularly effective, but then so were the slower "A Gentle Awakening" and "Signs And Signifiers". "North Side Gal" was fabulous, even though there were a few slight deviations from the recorded version.

JD's set list

A great musician deserves a great band, and that's what JD had - a great band. Jimmy Sutton is possibly the best upright-bass player I have ever seen. Hearing him play was a joy and it'll be hard to forget his intense facial expressions and body language. Moreover, as a special bonus for me, he was wearing the same "Bethlehem Steel" T-shirt I noticed and liked in the "North Side Gal" video. And he can sing, too. Bo Didley's "You Don't Love Me, You Don't Care", featuring Jimmy on vocals, was one of the best moments of the evening. By the way, Jimmy Sutton is the producer of JD's only album.

Jimmy Sutton during the soundcheck

Everyone else in the band was great - drummer Jason Smay, keyboardist Ray (last name?) and a saxophonist whose name I did not catch. The latter's contribution deserves a special mention, as it helped preserve the overall sound of the album.

JD McPherson thanking the crowd

The stage

Producer and bassist-extraordinaire Jimmy Sutton, after the show

The McPherson Express, parked in front of the venue

Concert poster

The show was opened by the Americans, a local band that seems to get better and better every time I see them. Their power-rockabilly style was a perfect match for JD's music.

Concert #638 - The Holmes Brothers at McCabe's Guitar Shop (May 20, 2012)

I was raised on classic soul and rhythm & blues, among other genres, and that is why my DNA contains substantial doses of Otis Redding, Booker T. Jones, Joe Tex, the Staple Singers, Solomon Burke and many others. In today's day and age, though, you'd be hard pressed to find a live concert featuring the old-school black music that's so dear to me. The Holmes Brothers may not have the name recognition of Aretha Franklin or Wilson Pickett, but in terms of giving me the thrill of the good old days, they certainly fit the bill.

One doesn't ofter hear gospel, R&B and electric blues at McCabe's Guitar Shop, but that's what the Holmes Brothers played there two weeks ago in front of a near-sell-out crowd. Well, whoever elected to stay home missed out on an evening of "the real thing", delivered with joy and intensity by brothers Wen­dell and Sher­man Holmes and brother-in-spirit Popsy Dixon, collectively known as the Holmes Brothers:

• Wendell Holmes - Vocals, Guitar, Piano
• Sherman Holmes - Vocals, Bass
• Popsy Dixon - Vocals, Drums

The proceedings kicked off with "Amazing Grace"and "Will The Circle Be Unbroken", played by the Holmes Brothers without the slightest attempt to imitate anyone. What followed was a dynamic mix of original songs interspersed with an intriguing choice of covers, some of which did not sound great to these ears, as they departed much too far from the "original intent". Two cases in point: "I'll Be Back", the Lennon-McCartney tune, and Jim Reeves' "He'll Have To Go".

But there were plenty of other songs that sounded absolutely great to my ears, particularly the classic blues numbers featuring Wendell on vocals and electric guitar. The two songs that worked the best for me were Jimmy Reed's "Big Boss Man" and Elmore James' "It Hurts Me Too". Other notable highlights were "You're The Kind Of Trouble", Ray Charles' "Come Back Baby" and "Close The Door", an original written by Sherman Holmes.

The Holmes Brothers at McCabe's

Vocal duties were shared by the three musicians, with Wendell and Popsy carrying most of the load. At times, Popsy's falsettos reminded me of the late Eddie Kendricks of the Temptations. I would have liked to hear more of the baritone voice of bassist Sherman Holmes, I really liked his singing.

The set ended with a rousing rendition of their "Had A Good Time Tonight", complete with plugs to purchase their latest album for "twenty Yankee dollars", as they humorously put it. In response to the crowd's standing ovation, the Holmes Brothers came back for a one-song encore, "Precious Lord", delivered by Popsy Dixon from the edge of the stage, away from his drum set.

The smile of cancer survivor Wendell Holmes

Sherman Holmes on stage at McCabe's

Selling and autographing merchandise after the show

The Holmes Brothers must be in their seventies, yet they are still capable of putting on entertaining shows filled with raw energy and lots of good music. If they ever come back to McCabe's, I'll be there.

Concert #637 - Julie Christensen at McCabe's Guitar Shop (May 13, 2012)

This was my fourth encounter with Julie Christensen, yet only the first time to see her in a headlining role. I first heard of Julie in 1992, when she opened for Luka Bloom at the Variety Theater in Downtown Los Angeles. Twenty years later, I have no recollection at all about her set, nor do I remember what her contribution was to the otherwise unforgettable "Shock and Awe" mega-concert dedicated to Randy Newman's music that took place in 2004 at UCLA's Royce Hall. In sharp contrast with these memory slip-ups, I will never ever forget her monumental rendition of Leonard Cohen's "Anthem", which she sang with Perla Batalla in 2007, also at UCLA. That night I made a huge mental note to catch Julie again sometime in the future and last Sunday at McCabe's I finally had my chance. Sitting in the front row, I was wondering whether she would impact me once again as forcefully as she did in 2007.

Julie did not disappoint. She was in excellent vocal form and the songs were great, too, so I enjoyed her show from start to finish. The set list was based primarily on her newly-released album titled "Weeds Like Us", which I promptly bought after the show.

One of the two set lists placed on the stage floor

Another set list (note the slightly different song sequence)

The crowd was definitely thin, but that was to be expected on a Mother's Day Sunday night. Well, whoever wasn't there missed a great show that featured not only a classy vocalist, but also a top-notch band. Multi-multi-multi-instrumentalist Jeff Turmes played four different stringed instruments (banjo, electric bass, acoustic and electric guitars) and I had a lot of fun following his intricate bass lines. Rick Shea's electric guitar accompaniment was exceptionally good and so was Steve Mugalian's gentle drumming. There were no flashy solos, as Jeff, Rick and Steve played together like a true band whose sole mission was to support Julie's songs and voice.

The only song I knew the whole night also happened to be one of the finest songs of the entire concert. I'm talking about "Weeds Like Us", a number written by Jeff Turmes and previously recorded by Janiva Magness, Jeff's ex-wife. Attending a concert with mostly new songs could be a drag, but that wasn't the case at all last Sunday. The songs I liked the most were "Restless", "Slot Machine"and "Slow Motion Trouble".

The album I bought after the show

Throughout the show, Julie appeared to be happy to be performing for us. Her stage banter was not excessive and her warm and friendly demeanor gave the whole show a very intimate feel. And the sound was stellar, as usual.

Julie Christensen at McCabe's

Jeff Turmes chatting with a fan

The show was opened by Cindy Lee Berryhill. Her set consisted of nothing but her own compositions, there were a few good ones among them, but the show would have benefited from a cover song or two. Cindy Lee came out with Renata Bratt on cello and Randy Hoffman on glockenspiel and percussion - they sounded well together. The song I liked the best was "The Adventurist".

Cindy Lee Berryhill at McCabe's

Cindy Lee Berryhill's set list

Julie Christensen fan Peter Case (right)

Julie Christensen and Jeff Turmes reporting to work

 After last Sunday's concert, Julie remains solidly on my "Must See Again" list and until I see her again, I'll keep dreaming about an encore performance of "Anthem", with guest artist Perla Batalla, who else?

Concert #636 - Lambchop at McCabe's Guitar Shop (May 5, 2012)

Last night's Lambchop concert at McCabe's was one of the most polarizing musical events I have ever witnessed. I was there with a few friends. One of them left midway through the show, later telling me that he had attended livelier funerals in his life. Another friend was so mesmerized by the beauty of the music that he decided to catch the late show as well. One concert, two diametrically opposed responses. Go figure. Where do I stand on this? In the middle, that's where.

Indeed, the music was beautiful. It was also well sung and well played. But the concert lacked two important elements: variety and energy. Yes, the songs were good, but most of them were of the same style and same slow tempo, so I could understand someone losing interest after a while. The show could have benefited from a few moments of musical levity, but there weren't any. It would have probably helped if I knew the songs, but that wasn't the case - I had managed to give "Mr. M", Lambchop's latest album, only one good listen, while driving to the venue. At no time during the concert did I feel like leaving, but after a few songs I was craving for something louder and faster, that's for sure.

As far as I could tell, they played only two songs not written by Kurt Wagner, Lambchop's unmistakeable leader: a Billy Joe Shaver tune (title?) and Bob Dylan's "I Threw It All Away". The other songs came from "Mr. M" and I must say it again: most of the songs, individually taken, were good - it was the totality of them that turned some folks off.

The set list

Band line-up

Kurt Wagner: Vocals, acoustic guitar

Tony Crow: Piano

Scott Martin: Drums

Ryan Norris: Keyboards, electric guitar

Matt Swanson: Bass

I enjoyed keeping an eye on the members of the band and what struck me was the absence of any eye contact between them. None of them were in a chatty mood, they just  played and played, and what came out sounded great. I liked Scott's drumming - he certainly had the hardware to make a huge racket, but instead, played gently, in an understated way. Tony Crow's piano playing was very good, too.

Kurt wasn't in a talkative mood himself. He addressed the crowd only toward the end of the show, when he introduced the band. I'm a huge fan of McCabe's, so it felt good hearing Kurt referring to the venue as a "sweet room".

Kurt Wagner introducing the band (Tony Crow in the background)

Kurt Wagner leaving the stage

I went home not overly happy, nor unhappy. I will most likely not catch them again live, but I will continue checking them out on YouTube, in search of something more lively, something more energetic.

Lambchop's rhythm section

For sale at McCabe's: Lambchop CDs and $25 vinyl

Concert #635 - Peter Himmelman at McCabe's Guitar Shop (April 30, 2012)

This was my twenty-second encounter with Peter Himmelman, an artist who has affected me more than most anyone else. Nineteen years have passed since I first saw him at McCabe's and I still can't stay away from his appearances there. Nor can I stop "spreading the word" - turning friends on to Peter's music remains something I still love doing - this time I talked two of my McCabe's friends, Paul and Steve, into seeing Peter for the first time and, long story short, Peter has two new fans.

Peter is in his low fifties now - his live show is not very different from what I saw in the 90s, but there are a few subtle changes. The improvisations are still there, albeit in smaller amounts. The humor is as good as ever and he still sprinkles his show with various accents, whether US regional or foreign - these amuse me a lot. Overall, there is less interaction with the crowd.

Being in Peter's band is no easy thing - if you are not 100% alert, if you allow your mind to wander away for just a split second, you will be left behind by Peter's frequent and mostly sudden changes of style, pace, or both. With the greatest of ease, Peter can blend rock, western swing, reggae, R&B and who knows what else in a single song - such musical adventures have always been a fun part of Peter's live performances.

Peter Himmelman at McCabe's, with guitarist Greg Herzenach

Gone are the casual clothes and black bandanas Peter wore on stage during the 90s. For last Sunday's appearance, Peter came out wearing a suit, tie and a hat. Was he comfortable playing rock & roll dressed up like that? I know I wouldn't be.

Once again, Peter's band included drummer Andy Kamman and bassist Al Wolovitch - hard to believe, but the three of them have been playing together since their high school days. They were joined on stage by guitarist Greg Herzenach, yet another long-time collaborator of Peter's, and Israeli keyboardist Daniel K. Man. What resulted was an almost-entirely electric concert, a welcome departure from what I expected to be a mostly acoustic affair.

Peter Himmelman (left), with Al Wolovitch

There were a few songs I did not know, but I did get to hear plenty of old favorites, among them "Impermanent Things", "Mission Of My Soul", "Tremble", "Phone Call From Chicago", "Eleventh Confession", "One Shot At Love", "Seven Circles", and "Been Set Free". Most of these songs are not easy to sing - Peter's frequent strained facial expressions are much more than just a measure of his intensity and I found myself wondering whether ten years from now he would still be singing songs as difficult as "Seven Circles".

After having seen Peter so many times, I don't believe he will ever surprise me with anything new or different, yet I remain solidly under his musical spell. In other words, I'll be back for more.

Keyboardist Daniel K. Man (left) with my friend Steve

Concert poster

Concert #634 - Susanna Hoffs at McCabe's Guitar Shop (April 28, 2012)

At the grandmotherly age of fifty-three, Susanna Hoffs looked and sounded last night at McCabe's as un-grandmotherly as it gets. Wearing a short dress, lots of smiles and no extra pounds, she delivered a pleasant set that included new songs, old Bangles gems, as well as a few well-chosen covers. The whole affair was quite casual, one might say exceedingly casual, which prompted my friend Bill to describe the show as a "paid rehearsal", a statement I suspect he made half in jest, half serious. I had no problem with the loose format of the evening, something that is not at all uncommon when a larger group of musicians assemble with little notice before a one-off event.

Susanna's band included guitarist-extraordinaire Val McCallum on acoustic and electric guitars, bassist Derrick Anderson, drummer Jim Laspesa, percussionist John Calacci and guitarist Andrew Brassell, her new Nashville-based musical collaborator. Guitarist Dennis Taylor joined the band toward the end of the show, he sounded great and so did everyone else.

I liked most of Susanna's new songs, which I believe will be on her soon-to-be-released third solo album titled "Someday". Mitchell Froom, the album producer, was also present last night, but did not take the stage.

Age has done little to change Susanna's vocal abilities. Her still-Banglesque voice was the unmistakable star of the evening and so was her cheerfulness and charm. Exceptionally good was her song selection, too. Unlike other artists, Susanna did not deliver her new songs all at once. Instead, she combined them with well-known oldies and old Bangles tunes - this added color to her show and kept everyone sprinting along. Here's one of the two set lists that were left on the stage floor after the show:

Note the presence of "All I've Got To Do" and "Rain", two Lennon-McCartney songs, the former sounding the best. I also liked the Velvet Underground's "Sunday Morning", Rockpile's catchy "Teacher, Teacher" and "All I Want", the semi-hit of the Lightning Seeds.

Susanna Hoffs at McCabe's

Susanna Hoffs & Andrew Brassell at McCabe's

Susanna Hoffs, with Derrick Anderson and Jim Laspesa

Quite predictably, longtime collaborator Matthew Sweet took the stage at the end of the show to lend his voice to the singing of "Rain" and Neil Young's "Cinnamon Girl".

Matthew Sweet

 Here's the other set list I was able to photograph after the show:

An alternate set list left on stage after the show

The show was opened by Englishman John Wicks, formerly of the Records. Surprisingly, he did not sing "Starry Eyes", the song that brought the Records their only hit. John's five-song set was just right in terms of length. The song that I liked the best was the set-closing "Chasing Angels".

John Wicks at McCabe's

Autographed Susanna Hoffs posters ($25 each)

Hiroshi and Paul, frequent McCabe's concert goers

People lining up for Susanna's second show (10 PM)