Alternative country, Americana, roots,folk, gospel, and bluegrass music news

ROUBADOURSAN DIEGO

August 2003 Vol. 2, No. 11

TFREE

Welcome Mat………3Mail BoxMission StatementContributors

Full Circle.. …………4Pete Best & Tony SheridanLou Curtiss

Front Porch…………6Bluegrass BrethrenSong Remembers WhenHouse Concert VenueDan ConnorLos Californios

Parlor Showcase...…8The Gospel Truth: ACelebration of GospelMusic

Ramblin’ …………10Bluegrass CornerRadio DazeJosé SinatraPaul Abbott

Of Note.……………12Tim McFarlandScott WilliamsKelly Bowlin BandPeter SpragueKentucky Gospel

‘Round About .......…13RantHouseAugust Music Calendar

The Local Seen……15Photo Page

what’sinside

A master guitarist and

talented singer-songwriter, Pat

Donohue's style blends blues

and folk in a critically

acclaimed display of guitar

artistry. He appears weekly on

public radio's "A Prairie Home

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playing, writing, and singing are

featured regularly.

October 19 • 7:30pm • $15

Named Male

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by the Western Music

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EElliizzaa GGiillkkyyssoonnEliza Gilkyson is a third-generation

poet/musician whose uniquely

intimate style has been shaped

by her personal experiences and

the need to stay true to her

muse. Although she avoids

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storyteller with blood ties to folk

music blended with a passion for a

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November 9 • 7:30pm • $15

NOVEMBER 9

San Diego Troubadour • August 2003

welcome matwelcome mat

3

PUBLISHERLyle Duplessie

EDITOREllen Duplessie

GRAPHIC DESIGNLiz Abbott

PHOTOGRAPHYEllen DuplessiePaul GruppMildred Moreno

DISTRIBUTIONKent Johnson

ADVERTISINGKent Johnson

WRITERSPaul AbbottLou CurtissEmily DavidsonEllen DuplessieLyle DuplessiePaul HormickFrederick LeonardJim McInnesBart MendozaJosé SinatraRock SolidadJeniffer ThompsonGus WillikerD. Dwight WordenJohn Philip Wyllie

SAN DIEGO TROUBADOUR, thelocal source for alternative coun-try, Americana, roots, folk, gospel,and bluegrass music news, is pub-lished monthly and is free ofcharge. Letters to the editor mustbe signed and may be edited forcontent. It is not, however, guaran-teed that they will appear.

All opinions expressed in SANDIEGO TROUBADOUR, unless otherwise stated, are solely the opin-ion of the writer and do not represent the opinions of the staff ormanagement. All rights reserved.

©2003 San Diego Troubadour.

CONTRIBUTORSMISSIONTo promote, encourage, and provide an alternative voice for thegreat local music that is generallyoverlooked by the mass media;namely the genres of folk, country,roots, Americana, gospel, andbluegrass. To entertain, educate,and bring together players, writers,and lovers of these forms; toexplore their foundations; and toexpand the audience for thesetypes of music.

To receive advertising rates andinformation, call 619/298-8488 or e-mail lizabbott@cox.net.

San Diego TroubadourP.O. Box 164La Jolla, CA 92038E-mail: sdtroubadour@yahoo.com.

Alternative country, Americana, roots,folk, gospel, and bluegrass music newsTROUBADOURSAN DIEGO

Dear Troubadour,Thank you, thank you, thank

you for actually covering the localmusic of note. DAMN, you guyshave your fingers FIRMLY plantedon the pulse of San Diego originaltalent’s goings-on. I commendyou.

Yours Very Truly,Jessica TreatVelveteen Rabbit ANDSpecial Events CoordinatorMusic Mart

Dear San Diego Troubadour,Greetings! I picked up a copy of

your wonderful publication thispast week and thought I shouldget in contact with you. My nameis Scott Williams and I performregularly on the hammered dul-cimer in the San Diego metropoli-tan area. I also accompany myselfwith my own recordings of man-dolins, guitars, mountain dulcimer,bass, ethnic drums, and otherinstruments.

I have recently left my corporateday job to fully pursue my homebusiness, which is recording, play-ing, teaching, and promoting thehammered dulcimer. I will be writ-ing a mission statement soon formy business, and it will most likelybe very parallel to yours. Thankyou for publishing such a greatnewspaper and for promoting thiskind of music. I discovered your

paper while enjoying the PacificBeach Block Party where I saw aneed for the “Instrumentalists”stage. I think it is a genre that isoverlooked in San Diego. I’mgoing to be contacting the BlockParty about this for next year . . .perhaps there will be a TroubadourStage.

Thanks again for doing whatyou’re doing.

Sincerely,Scott Williams

Ed. note: Scott Williams’ CD isreviewed in this issue. See page 12.

Dear Troubadour,I pick up each of your issues at

Guitar Center or Moze Guitars andkeep up with your latest musicpublishing every month, as youare the gap between the street-level working musicians and thebig hype you see in all the othermusic publishing offerings in SanDiego.

As a graybeard, silverback bluesguitar player in San Diego, I’ve gota lot of highway on my tires andI’ve seen it all come and go in SanDiego. You have been the firstspark of music realism since theReader came on the scene in the‘70s. They lost their way whenthey went from newsprint toslicked-up Rolling Stone mag lookalike and now are struggling foridentity. You hang in there. As a

former music publisher/writermyslef, I know your pain, agony,and labor of love. You are greatlyappreciated, and I notice yourpublication goes fast and theReaders are stacked up, unused.Tells you what the pickers think.

Sincerely yours,Mike Dollins

MAILBOX

WRITE TO US!We want to hear from you! Send your comments, feedback, and suggestions to: sdtroubadour@yahoo.com or to San Diego Troubadour, P.O. Box 164, La Jolla, CA92038-0164.

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August 2003 • San Diego Troubadour

full circlefull circle

4

by Bart Mendoza

I t’s a credit to the Beatles’ popular-ity that not only do most peopleknow a bit about the Fab Four,

but they also know something of thegroup’s peripheral players. That said,of all the supposed “fifth Beatles,” onlya very few can claim to have taken thestage as part of the band. Sadly, origi-nal bassist Stu Sutcliffe passed away in1962, from a suspected brainaneurysm, as detailed in the 1994 filmBackbeat. However drummer Pete Bestand singer/guitarist Tony Sheridan,both mainstays of the band’s black-leather Hamburg era, are still wowingcrowds around the globe.

Recently, both Best and Sheridanwere in town to perform at Beatlefair,a fan convention put together by thethe local Beatles Fan Club, ComeTogether. While they were only sched-uled to play sets with their own bands,the pair did indeed get together onstage for a spirited version of “JohnnyB. Goode,” which brought the housedown. It’s not every day one gets theopportunity to see a historic momentsuch as this go down. Although thetwo remain firm friends and see eachother from time to time while on theirrespective tours, this was the first timesince 1962 that the two shared a stage.

Sitting in the backstage loungewith Best and Sheridan together withtheir respective bands, it’s interestingto note their differences. What theyhave in common, besides the obvious,and what is clearly evident backstage,is a great sense of humor, with quipsflying left and right. Best is a basicallya shy, quiet man, clearly exhausted byhis current month-long tour.Surrounded by a rambunctiousyounger bunch of musicians, includ-ing his brother Roag, the guitaristsbreak into a spot-on version of theDoobie Brothers’ “Long TrainRunning” to the amusement of thosepresent. Sheridan, by contrast, is ani-mated and seems to be a bundle ofenergy as he prepares to take thestage. When asked for an interviewjust before he goes on stage, he seemsjust a little disappointed. He’d love tochat with the fans, but he’s mostly justanxious to perform.

A cursory introduction to Bestand Sheridan will show us that Best’sstory is pretty well known — to apoint. In 1962, having taken part inthe band’s adventures in Germany,audition sessions at EMI and Decca,BBC appearances, numerous concerts,and their first released recordings onPolydor, he was asked to leave theband. Ringo was brought in to replacehim and the Fab Four as we knowthem, were born and contact betweenBest and the rest of the band was bro-ken. He subsequently embarked on asolo career, releasing many greatgarage-rock singles, but to littleacclaim. At the height of his secondcareer during the mid-’60s, heappeared on the game show What’s MyLine? to give you an idea howunknown he was. To be fair, however,getting kicked out of a band is stillreferred to as a “Pete Best” to this day.He gave it all up soon afterward for ajob in the civil service and didn’treturn to the stage until appearing at a1988 Beatles’ convention in Liverpool,which met with greater approval thanhe thought possible. Following thesuccess of the Beatles Anthology

Collection, which features Best on tentracks, he had at last become a starattraction, with royalties to match.

Sheridan on the other hand, wasalready a star in England, having beena part of the legendary rock and rollTV show Oh Boy!, and was signed toPolydor Records. He was really just aclose friend of the band who oftenshared the stage with them inHamburg, but crucially, in 1961 hechose the band to back him on whatwould be their first big-time record-ings. We all know the classic renditionof “My Bonnie” — that’s Tony onvocals — but it’s also important tonote that the great early version of theBeatles singing “Ain’t She Sweet” orthe instrumental gem “Cry for aShadow” were both recorded onSheridan’s dime.

Those earlyrecordings havebeen re-released adnauseum, but theyrepresent just the tipof the iceberg whenit comes toSheridan’s work. In1966 he co-wrotethe still unreleased“Tell Me If You Can”with Paul McCartneyand not long after-ward took his musicto the troops inVietnam. Since thenhe has released sev-eral boxed setsworth of material,and he remains apopular concertdraw, with a meanblues guitar as wellas the plaintive wayhe sings a ballad.

Like manyartists, Best andSheridan certainly enjoy the attentiongiven to their past, but it’s talk of theircurrent projects, albeit sometimesBeatles-related, that truly gets the pairanimated. Best, along with his brotherRoag, have reopened the famedCasbah, where the group first played.They recently published the first ofthree books, True Beginnings, whichcovers the Beatles earlyiestdays. “Thebook that’s out at the present momentis the middle segment,” says Best ofthe tome, which includes memorabiliaand vintage photos. “Hopefully whatwe’re going to do next is the prequel ,and then the third one will be a con-clusion to our story,” adding with alaugh, “if ever there is one.”

Of his ’90’s name recognition risevia the Anthology project, Best states, “Isuppose financially it was very nice.You can’t take that away. But the factthat there were ten tracks on theAnthology was very heart warming tome, because I felt like ‘there is a placethere for you, we do realize the impor-tance of your input in the early days ofthe Beatles’ and all the hard work thatwent in there.” Tellingly, Best is stillvery much interested in breaking awayfrom the Fab’s shadow, if only momen-tarily. “Band wise, [Anthology] hasn’t

really affected us. I mean people knowabout me and know about the bandmore than ever because of it, but Ithink the beauty of it is the more weplay around the world, we get recog-nized in our own right as opposed tojust our affiliation to the Beatles.” We can also expect a new album fromhim soon. “There is one that we’reworking on at the present momentwhich, if it keeps to schedule, will beout in the early part of next year.”When I asked Best if he’ll be concen-trating on the rock and roll standardshis band is known for, he explainsproudly, “We’re moving into the origi-nals field. There will be a couple ofstandards as well, but we’ve got somereally good material that will impress.”

When I comment on how muchhe must love music, considering boththe grueling nature of his continualtouring and the fact that this is histhird, though arguably most success-ful, attempt at career revitalization, hereplies happily if a bit wearily, “Workkeeps piling up for us. As long we’reworking and we’re earning — andwe’re happy doing it — then I thinkwe’re doing okay. We haven’t got anyultimate pipe dreams, but we’re veryambitious and we’re determined tomake sure the band gets the acclaim

that it should.” He’s also a realist aboutrecording. “I don’t think any of thelads are too bothered about making itinto the charts or anything like thatsimply because of the fact that we’regetting a little bit older now and we’renot starry-eyed youngsters. We knowwhat the business is about, but thenwho knows? In this business, I couldbe sitting here and tomorrow I’ll be inthe charts. It’s just one of thosethings.”

Sheridan is also working on arecording project with producer ChrisHouston, a member of the early ’60’sLiverpool group the Undertakers, andlater known for his work with War,Led Zeppelin, the Who, and manyothers. “We’re trying to fix up a thingin Nashville,” he says. “We both hadthe feeling that we should get as many

people together fromthe old days, likeAlbert Lee and Godknows who else,together to do a dou-ble CD or somethinglike the TravelingWilburys. We’re try-ing to get some back-ing at the moment,but it’s somethingthat I’ve alwayswanted to do.”

He laments sadlyon the passing of somany music legendsover the past fewyears, includingmany close associ-ates. “Except for BobDylan and a few oth-ers, there aren’t toomany of us left whoare authentic people,who still have some-thing left to say, whogo back a long way,”

he says, adding with a laugh, “…andwho have a lot of friends who wouldjoin in.” In the meantime, Sheridancontinues to record on his own, withhis most recent disc, Vagabond,released last year to great acclaim inEurope, a wonderful mix of charmingself-penned ballads and rockers.

Both Best and Sheridan arehappy to play the occasional Beatlesfan gathering but incorporate theminto their busy touring schedulesrather than make them the focus.“Playing for Beatles fans all over theplace? Sure, anytime,” Sheridanreplies, noting that conventions or not,he can still pack them in. “It’s goingvery, very successfully at the moment.Just before I came to San Diego, I dida gig, where they expected 300-400people outdoors in an old medievalcastle. Over 600 people turned up!”he says, rightly proud. “It rained, butthey wouldn’t let me off the stage! Ifinished up doing maybe three hoursinstead of a one set thing.” As for Best,he notes, “We do conventions but a lotof the time it can’t be worked into theschedule, so sometimes I do them bymyself and just meet the fans. But Iprefer this. There’s nothing like performing.”

I ask Best whether he is happywith his place in rock history. “Oh Iam, I am,” he responds. “I wouldn’t bedoing it otherwise. I’ve got a greatband, and I’m seeing the world doingwhat I love. You can’t beat it.”Sheridan for his part shares the senti-ment, “Life has dealt me a good hand,”he says with a smile.

That day, both Sheridan and Bestturned in sets that were revelatory andheld the large audience of more than1,000 in the palm of their hands, cli-maxing with their onstage reunion. Itwas clear that the fans in attendance,about a quarter of whom were under18 years of age, were well aware theywere witnessing musical history. It wasalso clear from my conversations withBest and Sheridan, that while they arevery proud of their early days in rockand roll, they both see themselves asvital, current artists who, even at thislate stage in the game, still have some-thing to say. Anyone who saw theirsweat-drenched performances this pastweekend left absolutely convinced ofthat.

Pete Best, then and now Tony Sheridan, then and now

the other

2

Phil Harmonic Sez:“Prohibition goes beyond the

bounds of reason in that it

attempts to control a man’s

appetite by legislation, and makes

a crime out of things that are not

crimes. It strikes a blow at the

very principles upon which our

government was founded.”

—Abraham Lincoln

(Beatles)

San Diego Troubadour • August 2003

full circlefull circle

5

Town Hall on AnySaturday Night

It was an old converted movie the-ater in the LA. suburb of Compton, builtover in the front to look like an old barn.I never knew if they used it much duringthe week, but during my teenage years itwas the Town Hall Party on Saturdaynights. The band on stage was led by asix-foot plus man with a double neckedMosrite guitar named Joe Maphis andwith him on stage were Marion Ross onpedal steel, Fiddlin’ Kate Warren and BillHill on fiddles, Jimmy Pruitt on piano,Quincy Snodgrass on string bass, andPee Wee Adams on drums. This bandbacked up most anyone who came onthe show, including regulars JohnnyBond, Tex Ritter, Merle Travis, Wesley and

Marilyn Tuttle, Freddie Hart, Lefty Frizzell,Larry and Lorrie Collins, the Sons of thePioneers, Gordon Terry, SkeetsMcDonald, Tex Carmen, Cousin Emmy,the White Brothers (Clarence andRoland), Les “Carrot Top” Anderson,Tommy Duncan, Bob Luman, and somany more. On any given Saturday nightyou might see guests from the Grand OleOpry like Ray Price, Stonewall Jackson,Marty Robbins, or Faron Young. Youmight also see rockabilly artists like CarlPerkins, Wanda Jackson, Gene Vincent, orEddie Cochran and the Burnett Brothers.You might see western movie old timerslike Eddie Dean, Ray Whitley, JimmyWalkely, or even Gene Autry.

It was billed as Western Music’s Hallof Fame and from 1953 to 1961, theWest Coast country music scene personi-fied in the Town Hall Party gave

Nashville’s Grand Ole Opry a good runfor their money. When Joe Maphis wouldlead Town Hall package tours out on theroad, regulars Johnny Bond, Merle Travis,or Wesley Tuttle would either bring in aband or sometimes bring in a guest bandlike Ole Rassumussen, Leon McAuliffe’sCimarron Boys, or Hank Penny’s group. Iseem to recall that Bob Wills and hisTexas Playboys even filled in one time.Three hours of the Town Hall show weretelecast all over Southern California everySaturday, first by KTLA and then byKCOP. We drove up to Compton to bethere in person as often as we could butif we couldn’t make it, my family downin Imperial Beach were usually parked infront of the television trying to clear upthe snowy reception.

It was amazingly informal. Pick ses-sions would be going on back stage, usu-ally led by Skeets McDonald or MerleTravis, and you’d often find members ofthe audience circling around, checkingout a lick or two. Performers would alsomingle with the audience as wouldcomedians Texas Tiny and QuincySnodgrass. I remember going up to

Wesley Tuttle and asking him to sing “IDream that My Daddy Come Home”(one of his old Capitol records fromabout 10 years prior) for my sister Leonaright as he was going on stage. He said,“Well, I was going to do something elsebut I’ll do ‘er,” and he did, dedicating itto my sister. If you wanted to hear some-body sing a song and you couldn’t get tothem, you could always ask Town Hallemcee Jay Stewart and he’d pass it along.

Along about 1961 or so, Town Hallshut down and country music on theWest Coast started to fade with it. TheBakersfield Bounce of the mid-’60s gaveit a little jump, but by 1970 it was all theNashville Sound. Most Town Hall artistslike Tex Ritter and Joe and Rose LeeMaphis, Lefty Frizzell, and so many morehad moved back to Nashville, and coun-try music on the West Coast was nonex-istent except for a few revival bands. Theidea of a country barn dance show inCalifornia is probably dead forever exceptin the memories of those who were for-tunate enough to visit Western Music’sHall of Fame at the Town Hall Party.

If you’re interested in hearing whatthe Town Hall Party sounded like, checkout the following two CDs on theCountry Routes label.

RFD CD 06: Rockin’ at Town Hall:Unissued broadcasts from 1959-1961 onthe rockabilly side of Town Hall, featuringCarl Perkins, the Collins Kids, WarrenSmith, Wanda Jackson, and Bob Luman

RFD CD 15: Town Hall Party: 1958-1961: The country side of Town Hall,with Johnny Bond, Faron Young, HankThompson, Marty Robbins, Joe Maphis,

Skeets McDonald, and Merle Travis.

There are also solo CDs on CountryRoutes by Jose and Rose Lee Maphis,Merle Travis, and the Collins Kids, featur-ing material from Town Hall Party shows.Bear Family has issued a series of DVDsthat feature artists like Gene Vincent,Johnny Cash, and Eddie Cochran (withmore to come) live on the Town HallParty shows. It isn’t exactly like beingthere, but it’s the closest thing we have.It hails back to a time when West Coastcountry music was just as big as anythingNashville had to offer and a hell of a lotmore countrified.

Recordially,

Lou Curtiss

Lou Curtiss

Town Hall Party Regulars — Seated, Front: “Tiny” Guy Cherry, Quincy Snodgrass, Skeets McDonald Back

Row: Larry Collins, Merle Travis, Lori Collins, “Buddy” Dooley, Pee Wee Adams, Marilyn and Wesley Tuttle,

Tex Ritter, Johnny Bonds, Rose Lee Maphis, Joe Maphis, Marian Hall, Betsey Gay, Tex Carmen

Recordially, Lou Curtiss

by Gay Lynn and George Elliott Noble Jr

Last year I wanted a bluegrassgroup to play at First SouthernBaptist Church, where I attend. I

convinced the church music director, setthe date, booked a group, and thought allwas set. Unfortunately, the band I hadbooked had to cancel a week before thedate. Through the grace of God and witha little help from the Internet, I found theBluegrass Brethren. The BluegrassBrethren hail from Long Beach and havebeen together, in various configurations,for 25 years. The current members of theband include Tim Bryant on guitar andvocals; Les Beckwith on banjo, guitar,mandolin, and vocals; Lori Beckwith onfiddle and vocals; Kevin Schell on man-dolin and vocals; and Brian Beckwith onbass and vocals. Tim, the only original

member of the band, is also the mainsongwriter. Over their 25 years, they haverecorded seven CDs, which are availablethrough their website www.bluegrass-brethren.com. Following a wonderful per-formance at our church on June 28th, Isat down with Tim and learned moreabout what the Bluegrass Brethrenmeant to him.

GEORGE: How long have you been play-ing music?

TIM: Actually, I started playing musicway back in the late ‘60s. Before I playedgospel, I played in dance bands inHermosa Beach and Redondo Beach. Iwas a bass player, playing top 40 poptunes at all the local high schools, when Iwas first learning to play. The BluegrassBrethren was formed in 1977.

GEORGE: Who, such as family membersand recording artists, has been an influ-ence on your music?

TIM: Of course my favorite in gospel isDoyle Lawson, who’s considered the kingof bluegrass gospel these days. But I lis-ten to all different styles of music, so Ican saturate my writing with that styleand get creative ideas for writing music.

GEORGE: Did you have a moment whenyou decided that you’d be a musician?

TIM: Well, for me, I grew up aroundmusic. My dad played guitar a little bit. Inthe early days he’d take me to heargroups like the Dillards and Buck Owens.And then somehow that style, eventhough I played rock and all those things,came back to grab me. My dad alwayshad a guitar around and pretty soon . . .you know how it goes. There’s a guitar,you pick it up, play around with it, learn achord, then pretty soon my brothers and Istarted a band. I was the bass player inthat band.

GEORGE: How do you go about arranginga song? Do you work as a group or doyou have the song already mapped outbefore you bring it to the group?

TIM: It’s funny — with songwriters ithappens different ways. Sometimes, Ican envision the whole band and how it’s

going to sound ahead of time. But a lot oftimes, at least with the current members,I’ll present a song that they may or maynot like, which we’ll put together as agroup as far as the band sound part of it.They’re good at telling me which areasthe song needs work on. I’m an overviewtype of person, who sees the big pictureof how a song is supposed to sound. Allfour band members are excellent withdetail, so they hear all the fine points,which I let them do, because they’re sogood at it.

GEORGE: Are there any words of advicethat you’d give someone who might beconsidering picking up an instrument orbecoming a performer?

TIM: Well, I think you just do it with theright attitude. I didn’t do it to be a per-former. When you play an instrument, youwant to get to the point where you canstand yourself, whether you actually likewhat you’re doing. Maybe it’s very sim-ple, but at least you can enjoy it for yourown self, without being egotistical. Yeah,I can play these chords. Yeah, I canchange on time. I can pick a little bit.Then you can think about stretchingyourself, being in front of people. I knowfor me, I’m an introvert and actually a shyperson. I remember the very first time(after the rock band days) when I playedin the dark all the time — you under-stand, I had to play in the daylight atSunday school. I wasn’t even leading themusic, I was just playing guitar behindthe leader. I remember being scared todeath doing that. It’s a stretching exer-cise. Start where you can play an instru-ment by yourself and enjoy it, then playwith others, and then, maybe somethingwill happen that’s bigger than that.

GEORGE: This band has been around for25 years, is that right?

TIM: That’s right!

GEORGE: I suppose you’ve seen manychanges within the bluegrass community.What do you think is the biggest change?Has interest in bluegrass grown over theyears, do you think?

TIM: I thinks it’s grown. Some recent

movies, for instance, have made blue-grass music more popular, but I think it’salso a little too commercial, which mightbe stifling its growth a little. More peoplewho didn’t think they would like it untilthey heard it on a soundtrack or some-thing like that, have found that they like itand have sought out bluegrass.

GEORGE: Have you passed your love ofbluegrass and music in general down toyour children?

TIM: Yes, we’ve always played all typesof music in our family. We started withbullfrogs and butterflies, kids music,when they were little. It’s graduated toother forms they like. My son really likes,in the bluegrass vein, Nickel Creek, buthe finds as he gets a little older, he’s 20now, he’s finding that he likes bluegrassitself more and more than he everthought he would. He’s been going tobluegrass festivals since he was about11 years old. We go yearly on Father’sDay weekend, that’s our deal. My otherkids are singers, not players, but they alllike music, different styles as well.

GEORGE: Do you think they’ll follow inyour footsteps?

TIM: I don’t know, I think it depends ontheir personalities and their commitmentand what they want to do with their lives.

GEORGE: What’s the funniest thing thatever happened to you on the road?

TIM: I remember two instances: One timewe went to the Grass Valley area andplayed at a Sizzlers restaurant. We havea bass we call Thelma, and after we hadplayed and packed everything up, wedrove down the road and said, “Where’sThelma?” We realized we had left herback where we had played, so we wentback to the restaurant and found her still

in the parking lot, waiting for us to comeback. Another embarrassing momentwas at a festival in Julian, and you knowhow we kid around on the stage. We hada little kid in the group for awhile, and wewere kidding around about whether to lether sing or not. Of course we were gonnalet her sing but were kidding with theaudience a little bit, and guy out in theaudience says “Let the little girl sing!” I usually say “Ahh, it’s okay!” But due toa slip of the tongue I said, “Ahh, shutup!” So we went ahead and did the song.A month later we show up at this churchto do a concert down in San Diego. Wewere sitting there, eating at a potluckbefore the concert started when one ofthe guys in the band says, “Hey, see thatguy over there sitting at the table? That’sthe guy you told to shut up over inJulian.” I just laughed and said, “Ohyeah, I remember him.” It turned out thatthe guy was the pastor of this church!”So, consequently, we got up to do theconcert, and the rest of the band had cutout a paper bag, to put over my head(with eye holes), because I was sup-posed to be so embarrassed. I didn’tknow he was a pastor when I told him toshut up! Then he came up and he said,“Well, we decided to have BluegrassBrethren here.” He said, “Despite thethings Tim has said about me, everybodyelse in the band seems so nice.” Sothat’s one of my more embarrassingmoments, having to look a pastor in theeye that I told to shut up.

The Bluegrass Brethren will be playingon the following dates in August:

August 10, Community Grace Brethren,5879 Downey Ave, Long Beach, 6pm

August 23, Mountain Valley Community,Squaw Valley, 5pm

August 24, Bethel Southern Baptist, 15821D St., Madera, 10:45 am

August 2003 • San Diego Troubadour

front porchfront porch

6

O Brethren, Where Art Thou?

T he SongRemembers When

Bluegrass Brethren: Lori Beckwith, Tim Bryant, Brian Beckwith, Les Beckwith,Kevin Schell

by Jeniffer Thompson

San Diego is home to many great folkartists, but few venues. Recently anew venue has popped up in

Coronado, of all places. It is a quaint andintimate little joint for 50 people to gather;the acoustics are phenomenal — it’s, and Ikid you not, a yoga studio.

Bamboo Yoga Studio & BodyworkCenter, located at 1127 Loma Avenueacross from Chez Loma, kicked off theirfolk concert series with a summer solsticeshow featuring Berkley Hart.

A door of deep pomegranate redbeckons guests up three winding flights ofcandle-lit stairs; bamboo lines the wallsand it smells of lavender and tangerines.Awaiting guests on the second floor arecomplimentary Ballast Point beer and two-buck Chuck wine from Trader Joe’s.

The lights are dim — candles cast anamber glow onto the faces of 40 fans

awaiting Berkley Hart. They chat in a lowaudible whisper that is warm and welcom-ing. The crowd faces a mirrored wall wherethe band is set to play. Oddly enough, themirrors add warmth to the golden room.These folks are enjoying the setting, thetranquility, the company.

Intermission at Bamboo includes alovely reception area just outside the stu-dio’s red door. Garden benches, bambooplants, and candle light set the stage whereguests enjoy homemade pies, two differentkinds of hummus, and a variety of snackitems, not to mention coffee-mochas withwhipped cream.

With shows scheduled the firstSaturday of every month, Bamboo’supcoming calendar over the next fewmonths features such talents as Steve Poltz,Atom Orr, and Marie Haddad, just to namea few.

The venue is sure to be a sleeper, alittle getaway across the bridge. With fresh

new talent like Marie Haddad on the bill,the setting offers something a little differentand new. Marie plays piano and sings witha low sultry voice reminiscent of Tori Amosand Joy Eden Harrison. She’s new on thescene, like the venue. They are a goodmatch, quietly creeping into the scene likea cool breeze — refreshing.

For more information about upcom-ing events, check out their web site atwww.bambooyoga.com or call 619-435-9119.

San Diego’s New House Concert Venue

by Emily Davidson

T wo days after moving into mythird apartment in 12 months, I waslaid off from my job. After the initialconfrontation in the conference roomand obtaining my severance check, Igathered my things and drove away.“Tangled Up in Blue” was playing onthe radio. As with every key momentof my life, this memory would foreverbe linked to a song.

In November, on a trip to Atlanta,the feeling of cold weather created amusical connection for me. As I steppedout of the cab and onto the flurriedstreets of Georgia, I was reminded of mylast winter in Nashville when the heaterstopped working and it was 13 degreesoutside. My neighbors (three bluegrassmusicians, including Chris Sharp of theJohn Hartford band and O Brother, WhereArt Thou? fame) always tried helping mein times like these but this time it would-n’t work. I was stuck waiting for therepair man. Iced in and swaddled in blan-kets, I spent much of the next three daysin the kitchen with the oven temperaturecranked up and its door open, resting mycheek on a cold, plastic radio tuned in toshows like Woodsongs Old-Time RadioHour.

Outside of helping us rememberwhen, music teaches us many othervaluable lessons. It gives only what wetake away from it. The Page family’smusical performance at this year’sAdams Avenue Roots Festival is anexample of what local music has givento me. A powerful testament to family,its tenderness left me with tears in myeyes. As for the job, it wasn’t workingout anyway. I once had to explain tomy now ex-boss who Roy Orbison is, asure sign that I was in the wrong place.

San Diego Troubadour • August 2003

front porchfront porch

by Paul Hormick

“This chronicles the last tenyears of my life. It represents majoremotional points for me in thoseyears,” says singer-songwriter DanConnor of his latest CD, Writes ofPassage. Ten years time has givenConnor a lot to consider, from thedisappointment, yearning, andtenderness that imbue his song“Family Reunion,” to his love forthe desert, which he sings of in“Goodbye to the Moon.”

Although he has his own studio,Connor chose to record Writes ofPassage at Peter Sprague’sSpragueland Studio. He took theadvice of Jeff Berkley, who playsdjembe on the disk, and had therecording mastered by GavinLurssen, who mastered the soundtrack to O Brother, Where Art Thou?.Writes of Passage has a similardirect clear sound; the timbres ofall the instruments are full andretain their natural lushness.

As a child Connor took pianolessons in his hometown ofBelding, Michigan. When he was13 or 14 he played the song “TheAll American Boy” at a party. Thereaction was overwhelming. “I gotso much juice from playing thatsong that my mind was made upright there to be a musician,” hesays. Soon afterward he formed aband called the Keyhoppers,named to describe his rocking JerryLee Lewis-style of piano playing.

He thinks of himself as a song-writer first but has worked onother aspects of his performance aswell. He has taken voice lessonssince the ‘80s. “I have a certainamount of natural ability, but I’mnot like Elvis. I don’t have a cast-iron voice,” he says. He is mindfulof maintaining good posture whenhe performs to enhance the sup-port of his diaphragm.

His main instrument is guitarnow. He plays more than thethree-chord folk progression, withhis left hand traveling the lengthof the fretboard for different chordconfigurations as he sings. Hepicked up much of his knowledgeof the instrument from 20 years of

playing with Dave Beldock, a grad-uate of the Berklee College ofMusic, in their band Bordertown.The award-winning band, whichConnor founded in 1982, per-formed in some form or another,such as the SOBs (Sons ofBordertown), until 2001.

Ten years ago, Connor becameinvolved in elementary schoolmusic education when he andBeldock started performing atschool assemblies. “We playedevery school in San Diego,” hesays. They also wrote songs withthe students. And for the last fiveyears Connor has been teachingmusic full time at Twin OaksElementary School in San Marcos.He says that the reactions to musicvary widely with the ages of thechildren, and he tailors his pro-gram accordingly.

Besides teaching and perform-ing, Connor runs his recording stu-dio, Windy Hill Studio, and mansthe soundboard for Dark ThirtyProductions in Lakeside.Explaining his multiple activitieshe simply says, “All musicians wearmany hats.”

His current band, Little Big Men,is a trio that includes harmonicamaster Dan Byrnes and “Bongo”Bob Goldsand. He met Byrnesabout three years ago; soon there-after, Byrnes started showing up atConnor’s gigs to sit in. They solidi-fied the union and began perform-ing as the duo Two Dan Bad.Percussionist Goldsand had beensitting in on Bordertown perform-ances, until he became one third ofthe Little Big Men trio about a yearand a half ago. Their repertoireincludes a variety of Connor’ssongs, Hank Williams ballads,blues, and 17th- century Irish hits.

You can catch Little Big Men atthe Coyote Bar and Grille onSunday, August 10, 2:30-4:30 p.m.For schedules and other informa-tion about Little Big Men andConnor, visit www.danconnormusic.com.

by John Philip Wylie

A mong the more than 50bands and individual per-formers that participated in

the Adam’s Avenue Roots Festivallast April, Los Californios mighthave claimed the award as themost unique, had one been given.Performing in period costume from1830s California, Los Californiosfaithfully recreated the music thatlocal inhabitants once danced toduring the period when Californiawas still part of Mexico.

“With the (1849) CaliforniaGold Rush and the arrival of somany people so quickly, the cul-ture that was here before [thattime] was completely over-whelmed,” explained groupfounder, violinist and vocalist VykkiMende Gray. “These songs existthrough the efforts of one man,Charles Fletcher Lummis.”

The colorful and multi-talent-ed Lummis led a fascinating andhighly accomplished life.Captivated by the AmericanSouthwest, Lummis once walkedfrom his home in Ohio all the wayto Los Angeles and then publishedan account of the four-monthadventure. He was a prolific writerand focused much of his attentionon the region. He is perhaps bestknown for his efforts to preserve

the various cultures of theAmerican Southwest and forfounding the Southwest Museum,a legacy that remains today anddisplays many of the artifacts hecollected during his travels.

In 1903, Lummis sat downwith the descendants of theearly Californios and set aboutthe task of preserv-ing their music.Using an Edisonwax-cylinderrecordingmachine, cutting-edge technologyat the turn of the20th century,Lummis made 12hours of recordings.

“He was goingto transcribe all thesongs and publish them withsingable English lyrics,” Gray said.Unfortunately, Lummis only gotaround to publishing 14 songsduring his lifetime, but his early,primitive recordings have beenpreserved.

“In 1989, through a grantwith the California Parks Service,we had the original recordingsplayed back and recorded on to acassette tape,” Gray explained.“So, now I have 12 hours worth ofmusic that I am slowly, but surelyworking my way through. At thispoint, very few people know aboutthis music and we are the onlyband [in San Diego] that special-izes in it.” By performing live atfestivals, historical sites, andschools, Gray and her bandmates,Janet Martini, Peter Dubois, DavidSwarens, and Janet Ashford hopeto keep this musical tradition alive.

“One of our projects is an educational one in which we hopeto place the music back outthere,” Gray said. “During thesummer, we teach this music attwo different music camps.”

The quartet has also recordedits first CD of early Californiamusic. One hour in length, Flowersof Our Lost Romance is a collectionof early 19th-century Californiadances and songs recorded as theywere originally written, in Spanish.

The Spanish and Mexican set-tlers who lived in the area at thattime faced something that those ofus living in the overcrowdedSouthern California of the presentrarely worry about: loneliness. The

existing cattle ranches or ranchosof the 1830s and ‘40s were spreadsparsely over miles and miles ofopen terrain. Prior to the discovery

of gold in 1849, California awas lonely,remote, andinaccessibleplace. Musicand dancinghelped to passthe time andbrighten thespirits of thoseliving on the farend of the continent.

While the majority of theearly settlers were Hispanic,the music was derived from

a number of sources — not justSpanish and Mexican folksongs.There is a definite European influ-ence heard in the waltzes andpolkas that were played. With shipsvisiting from far and wide, themusic became more varied.

While none of Los Californiosis Hispanic or descendants of the

original Californios, they share acommon love for historic preserva-tion and for pre-Gold RushCalifornia as well as this music inparticular.

“We have received a very positive reaction from the Mexicancommunity,” said Gray. Often theolder members of their audienceswill tell them that the musicsounds like the music they heard intheir youth.

For further informationregarding the many organizationsworking to preserve earlyCalifornia music and history and acurrent schedule of Los Californios’upcoming performances, accesstheir website at: www.loscalifornios.com

Dan Connor’sRights of Passage

LOSCALIFORNIOSREVIVE ANEARLY LOSTMUSICALTRADITION

Janet Martini, Peter Dubois, David Swarens, Vykki Mende Gray, Janet Ashford

Charles Lummis recording on an earlywax-cylinder recording machine

7

Little Big Men, left to right: Dan Byrnes,Bob Goldsand, and Dan Connor

August 2003 • San Diego Troubadour

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by Lyle Duplessie

“Praise the Lord with melodies onthe lyre, make music for Him on stringed instruments. Sing to Him a new song.Play skillfully with a shout of joy ! “

—Psalm 33: 2-3

R egardless of religious conviction,

anyone who loves American music

can’t disavow the importance of its

gospel music roots. Countless R&B, coun-

try, jazz, and rock artists, both past and

present, got their first exposure and train-

ing as singers, stylists, and musicians in

gospel music. Hopefully, future generations

of American musicians and performers will

continue to be reared according to the tra-

ditions of this American musical art form.

Liberally imbued with European and

African influences, My Funk and Wagnalls

Encyclopedia further describes gospel

music as “...(a) genre of popular American

hymnody that emerged about 1870.”

Though this form of music was given a title

around the 1870s, its foundation was laid

long before that in the culture and experi-

ence of both black and white immigrants to

America. These people brought their musi-

cal forms and styles with them across the

Atlantic. Spiritual songs and hymns were a

continual source of encouragement to early

and frontier Americans and, of course, to

African-American slaves. In time Sunday

school hymns, camp meeting spirituals,

work songs and field hollers, and popular

music all became uniquely

American. Combined with

European melodies and

African rhythms, these

aforementioned styles

were borrowed from,

adapted, and modernized

by the standards of the

day and incorporated in

classic gospel music. By

the turn of the 19th centu-

ry this music was further

spread and popularized

as a result of the

Christian revivals that

swept across America.

The messages in

gospel music can cut

across cultural, racial, and

socioeconomic lines. They are anchored in

the simplicity and beauty of a childlike faith,

void of any lofty theological pretense.

Moreover, the themes and promises

expressed in these songs are universal to

all persons and not exclusive to any one

group. Rather than communicating a fearful

warning of crime and punishment/sin and

judgment, gospel music proclaims a loving,

forgiving, and accepting God. The music

expresses a joyful, uplifting, liberating, and

optimistic message, promising both hope

for the present and future. Gospel music in

its most powerful state remains an uninhib-

ited expression of thanksgiving and cele-

bration of the believer as a child of God.

Gospel music, like all other vibrant

forms of art and expression, has changed

over time. Its themes have remained con-

stant, however, thus retaining its beauty

and relevance. From simple European

hymns and African-American spirituals to

the more easily identifiable turn of the cen-

tury classics of Ira Sankey and Fanny

Crosby, to the vast body of work and inno-

vations made during the 20th century by

African-American Thomas A. Dorsey,

gospel music has continued to develop.

Over the centuries both white and black

gospel forms have remained distinct.

Nevertheless, much of the same body of

work has been shared while both have

freely influenced each other stylistically.

hip-hop renditions.

Unfortunately these mod-

ern efforts only reflect the

music available in today’s

secular market. Now con-

trast this to its earlier

forms where roots gospel

and classic black and

white gospel served as

the spiritual parent to so

many uniquely American

forms.

On August 17th the San

Diego Troubadour in con-

junction with Mount

Soledad Presbyterian

Church will present a

Gospel Music Fest, honor-

ing gospel music in all its

timelessness. Celtic, bluegrass, choral, folk,

and country gospel will all be represented.

So come on out and join the celebration

and a Sunday afternoon of musical fun.

In 1871, the Fisk Jubilee Singers became the first to introduce American andEuropean audiences to the music of Negro Spirituals.

A Celebration ofGospel Music

Roots of Contemporary American Music

That in itself is a powerful testimony of the

ability of gospel music to unite people!

Today slick and glossy gospel exists

side-by-side with rough, urban rap, and

Considered by many to be the Father ofContemporaryGospel Music,Thomas Dorseywas the son of aBaptist preacherwho, during hisearly years, won aname for himselfas a blues and jazzcomposer as well

as accompanist for Bessie Smith. It was afterhe lost all the royalties from his music in thecrash of 1929 and suffered a nervous break-down that he turned his considerable talents towriting religious music. Dorsey developed adistinctive style, which he called gospel, thatcombined traditional spirituals with blues andpop influences. However, instead of themes ofsadness and despair, his songs told stories ofhope and affirmation. Dorsey went on to writehundreds of gospelsongs, started his ownpublishing company,and was instrumentalin bringing gospelmusic more into themainstream by pro-moting gospel choirsand solo artists out-side the church.

The

San Diego Troubadour • August 2003

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HHiigghh oonn aa MMoouunnttaaiinnttoopp

The Les and Lou AnnPreston Band is a blue-grass band that picksand sings some of theold-time gospelfavorites. The husbandand wife team of Lesand Lou Ann both play

guitar and sing together. They sound great as a duo but arequite versatile in their band formations as well. Band membersvary and can range anywhere from between two and five play-ers or more, depending on who’s available to join in. The manytalented local bluegrass musicians provides this duo with alarge pool to choose from for each gig. For this show, they willbe joined by Phil Levy on banjo, Beth Mosko on fiddle, JimMurphy on mandolin, and Bob Pearson on stand-up bass. Theyplay a wide variety of bluegrass songs, gospel being only one ofthem. 12-12:45pm.

The Celtic Praise Band is led byTim Foley, an Irish lad who plays avariety of celtic instruments, includ-ing the beautiful-sounding uilleannpipes, the bodhran (drum), and avariety of whistles including thebetter-known penny whistle. Foley’s

friends join together with him to give us the sounds of theEmerald Isles. Those sounds include guitar, fiddle, possibly themandocello, and maybe even a harp, the instrument of theangels, played by a lass from northern Ireland. Foley keepsbusy with his music, with shows ranging from gigs at down-town Irish pubs and music with the worship team at the MaryStar of the Sea Catholic Church in La Jolla to music festivalsaround the country. 1-1:30pm.

The AppointedSingers, fromHighland ParkChristian Church, is agospel choir led bySister Mary Fisher, anddo they ever knowhow to praise the

Lord! Joy and energy exude from these 15 to 20 brothers andsisters as they sing. Although the choir has only been togetherfor about three years, they sound like they’ve been singing

together forever. Their great lead vocals and beautiful har-monies are matched only by the soulful rhythm and exuberanceof this group. This church does have a more contemporarypraise group, but choir director Sister Mary Fisher declares that,“There’s nothing like those old gospel songs!” 1:40-2:10pm.

Blue Root is one of the newyoung bluegrass groupsturned on to the older classicsounds, which are given afresh new sound by RosyDawn and the boys. RosyDawn Selwitz brings herbeautiful vocals into the mixwith this five-piece band. The

other four members are Josh Dake on guitar and lead vocals,Mike Richardson on mandolin, Gary Peek on stand-up bass, andJohnny Sexton on banjo and backing vocals. Formerly withMadcap Otis, a San Diego Music Award nominee, Rosy Dawnhas a wide variety of musical experience, ranging from folk toopera to voice teacher. Sexton is a former member of JackassNebraska; Richardson and Peek also play in the band, theWoodrows. You can see Blue Root the evening of August 8 atCafe Elysa. 2:25-3pm.

Crossroads is a country bandthat plays traditional gospelsongs ranging from those ofHank Williams and the LouvinBrothers to songs so old, theauthor is unknown. JimmyDiesel White’s vocals andtelecaster lead guitar are

reminiscent of Buck Owens, with a country twang that blendswell with the vocal of Rock Solidad, who plays bass. MarkSlomka, pastor of Mt. Soledad Presbyterian Church, solidifiesthe band with rhythm guitar and vocals. Evan Lauer, the pastorof Coastlands Church in Pacific Beach, keeps the beat ondrums. Jenna Duplessie embellishes the sound with her man-dolin. Derek Duplessie rounds out the group with his pedal steelguitar. All of these musicians have been involved with variousother bands in the local music scene. 3:15-3:45pm.

With an outstanding voice and gui-tar playing, David McLeod per-forms original songs inspiredstraight from heaven. As pastor of anondenominational home church inSolana Beach, McLeod has beenplaying and writing songs for many

years. All of his songs either use words straight from the Bibleor, as he says, “are inspired by the Lord.” The beautiful soundof his old Martin and his incredible tenor voice showcase hisexceptional original music. 3:55-4:15pm.

Gospel Overdrive, atraditional bluegrassband, is are dedicat-ed to playing andsinging only gospelmusic and nothingelse. The five mem-bers have been play-

ing together (more of less) since 1999. Bob Zacharias heads upthe band on guitar, banjo, and vocals. Don Smith plays harmoni-ca and also sings. With Rick Eggeling on guitar and vocals; DaleHenning on fiddle; Ernie Storm on mandolin, guitar, and vocals;and Michelle Billiard on bass, this band has just about every-thing a bluegrass band could want. You can hear them play atdifferent churches of various denominations all around town,from Baptist to Lutheran to Catholic to nondenominational. Theyalso play at bluegrass events and pretty much just about any-where the Spirit leads them. Their high-lonesome sound andgospel message make for a great traditional gospel band.4:30-5pm.

This promises to be a wonderful afternoon of roots

music, the actual heart and soul of American music: that

is, an afternoon of gospel song. From the musical her-

itage of the African slaves, to the Celtic sounds of the

Irish immigrants, to the songs from the backwoods of the

Appalachian hills, to the country music of the Bible Belt,

gospel music plays a major role in the musical history of

our country. The San Diego Troubadour honors this musical

tradition and hopes to educate and expose many who

may never have even heard this style. But even more, we

just want all to enjoy this soulful music of the gospel.

Alternative country, Americana, roots, folk, gospel, and bluegrass music news

present

Join us for an afternoon celebration of gospel music, showcasing a wide range of gospel musical styles. Bring a blanket and chairs to

set up on the grass in the park-like setting at Mount Soledad Presbyterian Church in La Jolla. Bring a picnic lunch or buy a burger

here. Enjoy the cool ocean breezes atop Mount Soledad. But most of all, come and enjoy the music!

and Mount Soledad Presbyterian Church

Sunday, August 17, noon-5pmMount Soledad Presbyterian Church, 6551 Soledad Mountain Road, La Jolla

August 2003 • San Diego Troubadour

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by Jim McInnes

Sa n Diego Musica n d the MCACu rs e (1973-86)

Icame to San Diego exactly 30 yearsago, lured by the climate and by ajob offer from the original KPRI

106.5. I came here from Madison, (the“Berkeley of the Midwest”) Wisconsin,where I was a fairly well-known deejayand guitar strangler.

Mad City (as they refer it in Wisco)had, and still has, a thriving music scene(when the winters run from late Octoberinto mid-April, you’ve gotta have some-thing to do for the sake of your sanity!). Iassumed that San Diego, a city twice asbig as Madison...and in frickin’ California,dude!...would be really rocking! It wasn’t.

When I started working at KPRI, I became friends with JoeChandler, a weekendjock who paid the billsby working at the GuildTheatre in Hillcrest. Joeused to set up after-hoursjam sessions on theGuild’s stage. I tradednoises with guitarist JimmyKrieger (later of thePuppies), the enigmatic JimCall (who became a memberof the Penetrators), and the artist cur-rently known as Z.O. Voider, whom Iknew as Peter. There were a few otherswhose names have slippedthrough the colander of myconsciousness. We were hip,we were the “under-ground”... meaning wenever played in public.

Playing in public waslimited because there sim-ply weren’t enough venues(and we were usually tooloaded to get it togetheranyway). The old NeutralGrounds had some goodbands like Glory, but it wasa notorious outlaw-bikerhangout. Jerry Herrera and Jim Pagniopened J.J.’s in 1974, but it featuredmostly nationally touring acts like ZZ Topand Steely Dan.

I’d say there was no real music scenein San Diego until 1976. The firstRamones album came out in ‘76 (a classic! every song exactlythe same, dirt-simple andirresistible), and JerryHerrera opened a newclub, the Spirit of ‘76. In1977 or 78, the d.i.y.ethic of punk wasjump-started by a now-legendary show I attended at theAdams AvenueTheatre, featuring theHitmakers, the Zeros, and the Dils.

Seemingly overnight, San Diego haddozens of bands and a few places to play — the North Park Lions Club, theSkeleton Club, and Jerry Herrera’s Spirit.By 1980, the Penetrators were top dogsin San Diego. Although the core of “thescene” numbered about 75, thePenetrators were able to pull 2,000 people for a show at Golden Hall!

For all their popularity, thePenetrators never got a big-time recording deal... and it’s probably a goodthing, because they didn’t suffer the“MCA Curse”!

Between 1981 and 1985, a fewbands/singers from San Diego’s small but

healthy music scene signedmajor label deals, mostlywith MCA Records. FutureBeat Farmer Joey Harris,with his band theSpeedsters, signed withMCA. Their eponymousalbum, which I liked andstill own, receivedabsolutely no supportfrom MCA and sank

without a trace. In 1982, Dane Conoverand Marty Eldridge, former members ofthe Puppies, recorded a superb album asTrees, titled Sleep Convention, for MCA.

Unfortunately for Trees,their record wasreleased at the sametime as Shuttered Room,the debut of the Fixx. Atleast Trees got to makea video that no one sawbefore MCA dumpedthem. In 1982, I co-pro-duced an EP, Where areThey Now, for localsDFX2. The song“Emotion” got a lot ofairplay on KROQ in L.A.A few labels came court-ing but DFX2 signed

with MCA, put out a five-song EP, got alittle airplay in the hinterlands, toured abit, got robbed blind by their managerand got dumped by MCA. The Faragetwins, David and Douglas (D.F. timestwo, get it?), were so disillusioned thatthey gave up music altogether. MarkDeCerbo’s great power-pop outfit, Four

Eyes, recorded an entirealbum for MCA and wereoff the label before therecord was even released!The Beat Farmers signedwith MCA-subsidiary Curbin 1986. Despite the recordcompany’s lack of support,the Farmers managed to geta few records out beforebeing bounced by MCA.That’s why I’ll always

remember MCA as the Music Cemeteryof America.

Jim McInnes’ radio show, “Vinyl RestingPlace,” can be heard every Sunday from 6to 8pm on 103.7 The Planet. His band,Modern Rhythm, is playing at Casa Picantein Santee on August 16 and at the AdamsAvenue Street Fair in September. E-mail himat jimmcinnes@cox.net.

Radio Daze

by Dwight Worden

GREAT BLUEGRASS IS COMING!!!

The Summergrass Pickin inParadise Festival in Vista is comingAugust 22-24, with great bands, foodvendors, and the attractions of theAntique Gas and Steam Engine Parkwhich is serving as venue. Comeand see Dan Crary, one of the topguitar pickers, do a solo set onFriday evening, catch California amulti-year award-winning bluegrassband (Byron Berline, Dan Crary,John Hickman, John Moore, andSteve Spurgeon) on Saturday andSunday, and enjoy the other greatFriday and weekend acts includingRon Spears and Within Tradition,Bluegrass Etc., Silverado, theVirtual Strangers, the BluegrassRedliners, New West, and CliffWagner and the Ole #7. And, partici-pate in the big raffle for more than ahundred prizes, including a Taylorguitar, a Deering banjo, and a Gibsonmandolin!

Tickets at the gate are only $15per day ($10 on Friday evening), withadvance purchase tickets discount-ed to $8 for Friday and $13 for theweekend days. Kids under 10 get infree. Visit www.summergrass.net formore information, including how toorder tickets or reserve camping. Orcall the info line at: (760) 295-1834, orstop by your favorite music store topick up tickets. Be sure to grab thepull out Summergrass Programincluded in this issue of the SanDiego Troubadour, which providesall the details.

Lynn Morris, Herb Pedersen,and Chris Hillman will be at the Fordtheater in Los Angeles, SundayAugust 17, 7 pm. Go to www.fordthe-atre.org for info and tickets.

Bigger Fish will be atFuddruckers in La Mesa for the reg-

ular bluegrass meeting on the sec-ond Tuesday on August 12.

Lighthouse at the Golden GooseCoffee House in Lakeside on August20, no cover charge. Call (619/390-7857 for further information.

Last month was a great blue-grass month. David Grier put on anoutstanding solo guitar concert atthe Museum of Making Music inCarlsbad to a standing-room-onlycrowd. The Huck Finn Jubilee inVictorville presented a truly greatshow with the Del McCoury Band,Blue Highway, Carl Shifflet, PattyLoveless, Rhonda Vincent and theRage and much more. Thanks toHuck Finn for a great time, greatshow and great workshops wherefans could get up close and chatwith the stars. Many also enjoyedthe Hesperia Bluegrass Festival onJuly 25 with its many great bands, aswell as Ralph Stanley’s appearanceat Humphreys.

BLUEGRASS TIP OF THEMONTH: JAMMING

Bluegrass music is great to lis-ten to, and even more fun to play. It’sdefinitely a participation sport! So,here are some tips on how to suc-cessfully join in a bluegrass jam.

First, if you see a jam inprogress and want to join in, watchit for a song or two and decidewhether you and your instrumentwill fit in. For example, if there isalready a bass, and you are a bassplayer, you won’t fit in — one bassat a time per jam; however during abreak, you can ask the bass player ifyou can take a turn later). By thesame token, you may not fit in if youare the fourth or fifth banjo. It isalways best simply to ask, “May Ijoin you?” A group that seems likeit’s jamming may actually be a bandengaged in serious practice. Otherthan this situation, I’ve never been

told no. Bluegrassers are nice folks!And, by asking, the group will “see”you and know you are there,increasing your chance for an invita-tion to play a solo!

Second, play your instrument atthe appropriate volume. If you can’thear the lead instrument or singer,you are playing too loud. Quiet downwhen the guitar or other soft-volumeinstrument takes a break. Do notplay lead lines that conflict with asinger; play gentle chords or backupto complement the singing.

Third, solos rotate around thejam circle. Pay attention and identifywhich way the rotation is going andwhom you follow. When your turncomes, give it your best. Or if youwant to “pass,” tell the next personin line that you want to pass BEFOREYOUR TURN COMES. It is annoyingand poor etiquette to pass at the lastsecond so the next person isn’t ableto start a solo at the beginning.Likewise, if the person before youlooks like he/she may not take aturn, quietly ask if they are passingbefore their turn comes so you canbe ready.

Fourth, if someone else issinging lead, you shouldn’t join inwithout asking, generally speaking.To jumping in and sing is the sameas when someone else plays leadwith you when it is your turn to solo.Often a singer will welcome help onthe chorus and sometimes even onlead, if you can sing a harmony part, but it is best to ask.

Fifth, people participating in thejam take turns choosing the songs,rotating around the circle. But some-times, a group of friends may do allthe song picking. This is somewhatimpolite, but if such is the situationand you are not in the “in group,” letit go. You’ll have a chance to playand eventually get a turn. When it’syour turn to call a tune, try to selectone that you think the group knows.Let the others know what key youwill play it in, and if you are going tosing lead, invite others to sing har-mony on chorus if you want thathelp. Look around and make sureeveryone is capoed up and readybefore you start, and signal somekind of kick-off or lead-in to set therhythm and timing. At the end, liftyour foot to signal the end. Don’tpick a song with complex chord pat-terns, one that requires instruction,or one that forces the majority of thegroup to sit it out. Suggest a tune,and if you don’t get looks of recogni-tion, suggest something else. Thinkabout what you’ll play before it isyour turn and be ready with one ortwo suggestions. It is a great idea tolearn one or two standards reallywell in advance to use as ice break-ers when you join a new jam group.

Also, don’t forget the GospelFest on August 17, featuring threelocal bluegrass bands performingtheir gospel songs.Have fun!

Jim McInnes

Bluegrass Corner

San Diego Troubadour • August 2003

ramblin’ramblin’

11

by Paul Abbott

Among the most common questions Ireceive from musicians, proper preparationof audio files for mastering is always at thetop of the list. Following are my opinionsrelating to the three most common topics:volume, resolution, and editing.

VolumeMaybe the most common mistake

the well-meaning musician makes isattempting to get his/her mixes as loudas possible. As far as I can tell, this isbecause most people don’t knowwhether this issue is addressed in master-ing (FYI, it is). Many artists – believing it’sbetter to be safe than sorry – do one oftwo things: normalize their tracks or sendthem through a compressor/limiter (orsome sort of “finalizing” plug-in).Unfortunately, both degrade sonic qualityand neither delivers the proper desiredresult.

Contrary to common belief, normal-izing does not make tracks as loud aspossible. The normalization process scansa digital audio file and looks for its peakvolume, then moves that point up todigital zero. All other sounds in the fileare adjusted proportionally. So, if thefile’s loudest point is a snare hit that reg-isters one decibel below digital zero (-1 dBFS), normalizing will make thattrack one decibel louder. (As a point ofreference, a decibel is commonly consid-ered the smallest measure of change thatthe average listener can detect.) This ishardly what most users of this functionare trying to achieve. And not only doesnormalizing generally not make trackssubstantially louder, it does nothing toaddress the average volume of songs — a situation that is crucial for theproper aural perception and flow of agood CD.

The second scenario finds musiciansadding a “mastering” plug-in to the mix-down process. I receive a lot of files that

have been treated this way and it createstwo problems. For starters, it can makethe files so hot that any filter applied inmastering (equalizer, compressor, limiter,etc.) will overload and distort. Second,the effects of the process cannot beremoved, so I have to pull every trick inthe book in an attempt to counteract theplug-in’s deleterious effects. In this situa-tion, mastering is turned into an audiosalvage effort as opposed to a fine-tuningimprovement process.

ResolutionIt may be obvious, but the highest

resolution is always the best way to deliv-er digital audio files for mastering. So ifyou have a hard disk recording setupthat offers 20, 24, or 32bit – as well as48, 88.2, 96, or 192kHz – capability, it’sto your advantage to utilize it. Why?Because while it’s true that your audiofiles will eventually find their way to16bit/44.1kHz for the CD’s commercialrelease, the work that’s done on the filesbefore that point will be much moretransparent-sounding when processed ata higher density and resolution.

Sound simple? Maybe or maybe not.Here’s a scenario: Say you have a setupwith a built-in CD burner. If you recordand mix at 24bit/48kHz and then burnan audio CD for listening in your homeor car stereo, you’ve just lost all yourhigh-resolution information. This isbecause to burn a commercially compati-ble audio disc, your recording application(or stand-alone unit) must reduce the bitrate and resolution. And unless you havevery specific (and sophisticated) applica-tions – as well as a processor with lots ofCPU horsepower running them – this willcompromise the quality of your audio. Sowhile it’s okay to burn audio CDs to ref-erence your work, always make sure thatwhat you deliver for mastering is thesame resolution as what you’ve recordedand mixed to.

EditsAnother common situation comes

from musicians who say they’ve alreadydone intro edits and outgoing fades, andthe songs only need EQ and level treat-ment. Contrary to common lore, thisdoes not make the mastering engineer’sjob any easier, and in some ways it canmake specific tasks nearly impossible.Consider a song needing the removal ofelectronic hum or microphone hiss. Todo this successfully, a bit of that noisemust be taken from a part in the songwhere there is no music, so as to effec-tively isolate a digital “fingerprint” andcreate a filter. Ironically, the best place totake this fingerprint is the few secondsbefore or after a song. If that space hasbeen removed, it is much more difficultto get a good sampling of the problem.If an exact fade or edit point is desired,the best thing to do is carefully docu-ment these requirements (mm:ss) on asong-by-song basis for the masteringengineer. Accuracy can be confirmed inthe reference disc.

The next time you’re working on aproject, keep these concepts in mind.They will give your mastering engineerthe necessary flexibility to bring out thebest in your music and allow you to createa more professional-sounding product.

The Art of Delivery

Paul Abbott

Hosing Downby José Sinatra

When a three-hour TV special (a strictly commercial enterprise fromthe American Film Institute aboutmovie heroes and villains) makes thefront page of this city’s major paper onthe morning following its broadcast,San Diego again greedily intimates itsintention to become the new entertain-ment capital of the world.

It’s finally happened. New Yorkand Los Angeles are preparing to eatour dust. Next February, for the firsttime, the Academy Awards will be heldat Copley Symphony Hall, where manyof the Academy’s Board of Governorshave wanted it held for over a decade.The Emmy Awards are already sched-uled for the Coors Amphitheater, ofcourse. And negotiations are wellunderway to bring the 2004 Grammysto either the Sports Arena or to JavaJoe’s Palladium in a deal that wouldinvolve the concession of moving theSan Diego Music Awards to New Yorkfor the next three years. That’s a smallprice to pay for the infusion of culturalriches we’ll enjoy, a bounty whose ton-nage is unprecedented since my ownarrival on the Scene during SanDiego’s Renaissance.

I think we owe the morning daily a great deal of thanks for confirming,finally, the importance of artistic enter-prise, while relegating ugly stuff likepolitics and war to the less influential,interior pages. All page one needs nowis a daily update on speculations aboutJ. Lo and Ben.

There is a time for joy and a timefor no joy, and this is not one of them.Instead, it’s time to choose this month’ssubstitution for “cool” (the C-word).One reader, E.K. Sword, wrote me witha good one:

I’m sick of “cool,” too. I liked yoursuggestion of “hose,” but I think“scrote” would be just as cool.Whatever…

Hmmm. Scrote. Nice, strong con-sonants. Two vowels: one proud, one asilent wallflower. It swings. It seems tocommand respect, admiration, envy,and emulation. This morning, threeladies whom I shared it with found itexciting, even sexy. Like “hose,” we’llsee how it flows.

Today’s lesson is taken from theovercrowded mosh pit of a recent concert. Two antagonists were offering their final verbal rebukes toeach other before becoming violentlyphysical. (Both gladiators, I learnedlater, were native-born San Diegans,citizens of Entertainment’s newMecca.)

“You think you bad? You ain’tbad!” screamed one, inadvertentlyanswering his own unnecessary question.

“Ah mo kick yo ass! Come own!”

was his opponent’s reply, deliveredwith surprising certainty for what was,essentially, a mere prediction.

Fists flew as did blood andcrunchy sounds until some guardsdragged them away by their noserings. It was so not scrote.

The lead singer on stage (whohails from England), after finishing thesong that had served as the back-ground score to this gruesome diversion, took a moment to acknowl-edge its tragic consequences.

“That was heaveh! Evathangscrote? Okay, scrote. Let’s git it own!”

Maybe it’s something in our cli-mate or the unreported leaks from SanOnofre, but residents and visitors alikeundergo a transformation duringmoments of self-importance orempowerment or a need to be scrote.Some sort of fragile, emotional maidenhead is ruptured, invaded, andovercome by a mysterious force. Thevictim’s voice begins to issue forth in abizarre Dallas/Nashville accent.

It’s been invading the throats ofpopular singers for years. Consider thestrange approximations of commonwords that have become accepted andimitated. Any word ending with thesound of a long e, when spoken,sounds off with an “eh” within a musical context. Laydeh. Parteh.Honeh. How totally scrote. And allkinda other words is differnted too. “Iwant your intuition” would become“Ah won’t yo intuishawn.” Oh, yeah.Thanks, Jewel.

Then the song’s over and thedemon leaves and the singer speaksnormally again. Nowhere in the coun-try is Speaking in Scrote Tongues aspervasive as it is in San Diego. NewYork and L.A. have finally taken notice.We may be the coolest scrotes in theworld.

Lez givitup to ow baid sevs! Comeown!

The inimitable Mr. Sinatra

August 2003 • San Diego Troubadour

of noteof note

12

PeterSpraguePass the Drumby Frederick Leonard

Pass the Drum is a body ofwork gently dancing to theBrazilian breeze that inspires thislatest release from San DiegoJazz icon, Peter Sprague, and hisband by the same name, Passthe Drum. The influence of Brazilis obvious. Exploring the polari-ties of bossa nova possibilitiesmight not be as obvious, but it’sdefinitely on the agenda, as well.

Take for instance, “And I LoveHer” (Beatles), which is spuninto a sort of Methany-esquebossa nova groove, while mak-ing a shift in the expectedchanges we’ve come to know.Bob Marley’s “Is This Love?”meanwhile makes morphingitself into a modal fiesta soundeasy. The CD features arrange-ments on such favorites asJobim’s “Wave” and “Passarim,”along with Bruce Hornsby’s“Every Little Kiss.” And surpris-ingly, they go together very wellin this collection.

The band does a marvelousjob of exploring the jungles ofBrazilian solo time; however,now and then concern for thatexploration exceeds slightly, theability this kind of music has tomove a brazilian hip so sweetly .Coral MacFarland Thuet is a realtreat with her sultry and mostconvincing vocal takes.

This chiaroscuro of Sprague’smusical menu also offers twotasty compositions of his own inthe form of “Water Tai Chi” and“Six Circle.” These shine throughas not only wonderful composi-tions in their own right but alsoin that they are unfamiliar andeven more exotic in a breeze offamiliar titles.

The KellyBowlin BandWilliamsburgby Frederick Leonard

Interesting things going on inthis CD. Right off the top itopens with the heavy backwoodstomp of “Kentucky Angel,” witha majestic army of mandolins,crunchy strats. This is among thecatchier takes in this collection ofsongs, ditties, renderings. Thesecond take “Falling,” appropri-ately decorated with violin in 6/8time, and sparse raw productionmost definitely gives the impres-sion of gently falling throughspace.

The coolest thing about theCD is the juxtaposition betweenthe material and its own produc-tion value. At times, not often, itis also the distance by which itexceeds its own potential. MrBowlin and company are mostcapable of making interestingsonic scapes, convincing in itsdrama, and its rock ‘n’ roll heart.At times he sounds like a badman singing about desolationand at others he is sweet in thelullaby moment. In oneinstance... the last song is anokay song, but it’s on the wrongalbum. I find these guys most convincing when they got their“rocks” on, anyway. When theyrock, they kick serious butt. And Ialso suspect that the band is bet-ter live than they are representedhere on this recording. It’s good,but deserving of a little moretechnical attention.

Check it out. There’s even anew reading on Steve Earle’s“Copperhead Road.” By the timeyou get to this point in therecord, this selection — at thismoment is a great call. In fact, agreat way to describe the musicof the Kelly Bowlin Band is to say“think of ‘Copperhead Road,’give it a whisky growl, and injecta rock rhythm section.” And yougot it.

ScottWilliamsThe Road toLisdoonvarnaby Frederick Leonard

Here’s one for ya ... somethingyou don’t hear or see everyday.Scott Williams. And every soundon this CD, The Road toLisdoonvarna, has been createdby him, right here in our veryown Pacific Beach. Now checkout what he’s playing: hammereddulcimer, mountain dulcimer,octave mandolin, mandolin, 12-string guitar, clay pot drum,shaker, zils, and synthesizer.

wut? no surf strat?This music opens up with a

sonic procession, and images ofancient kings and queens march-ing into castles come to mind.It’s the kind of music that rollsover the distant, foggy hillsidesof green Ireland as you imaginethe sight. And from there Mr.Williams takes us on a little tourof readings appropriate for suchinstrumentation. The materialspans centuries. “Ja Nu HonsPris” was penned by KingRichard the Lionhearted intwelfth-century England;“Nothing Else Matters” was written by Metallica. The inter-esting thing to note about the1991 Metallica ballad is that itwas recorded as if it were doneso in 1591.

Impressive is the path bywhich Mr. William’s leads usthrough the ancient countrysidesof ancient music. Here are medleys of jigs. Northumbrianjigs. Irish jigs. Celtic numbers.Welsh numbers. English dances.And, you know, Americandescensions from English folkstuff. And impressive it is. It’svery well executed by way ofgood chops and excellentrecording. The material selectionis interesting and Scott Williams’readings on these works are.

A magical CD.

KentuckyGospelby Lou Curtiss

This 66-minute recording of22 tracks is essential stuff, begin-ning with the first eight tracksthat feature the incredible AlfredG. Karnes, one of the best ruralreligious singers of the pre-warera. Karnes had a wonderfullyexpressive, emotion-chargedvoice and accompanied himselfon a double-necked Gibson harpguitar, which enabled him toproduce some great bass runsand slaps accompanied by aninsistent, propulsive rhythm.Most of the songs are oldfavorites like “To the Work” and“I’m Bound for the PromisedLand,” but Karnes gives a lot ofnew life to these. The highlightsof the CD are the originals“Called to the Foreign Field” and“Days of My Childhood Plays.”This disc is worth it for Karnesalone, but we also get 14 tracksby his neighbor Ernest Phipps,who is almost as good. (It isrumored that Karnes’ guitarmight be on some of the Phippstracks.) Phipps, who was a holi-ness preacher, brought membersof his congregation into the stu-dio for some spirited hand clap-ping, ragged singing, and extraguitars, pianos, fiddles, and ban-jos on such songs as “Old Shipof Zion,” “Do Lord RememberMe,” and “If the Light Has GoneOut in Your Soul.” This is greatmusic from start to finish, withgood sound and always greatnotes by Charles Wolfe. An excel-lent collection of a type of old-timey songs that are too oftenoverlooked.

TimMcFarlandEarly Worksby Rock Solidad

Every now and then I need ajolt of some tasty guitar-drivenrock ‘n’ roll. Tight rhythms,catchy melodies, interestinghooks and bridges, lusty guitarwork, and pretty harmonies canall go a long way to frame well-written lyrics.

Tim McFarland’s new CD,Early Works, fits the bill. All thepieces come together in everytune to make a very enjoyableCD. McFarland also proves to bea talented songwriter, with eachof the 11 songs penned or co-penned by the cat.

The CD starts off on a livelynote with “Around,” a catchynumber that you’ll find yourselfsinging harmony with and tap-ping your toe to. Though I’musually not wild about reggae, Ifound myself liking “CementRivers.” Maybe it had somethingto do with McFarland’s rootsy,bluesy, vocal delivery, whichaugmented a message that Icould relate to.

“Dream On” is an entertaininghybrid of a Bo Diddley-likerhythm with Duane Allman-likeguitar.

I’m really into unpredictableguitar chords and changes.“Endless Journey” suggests along-lost Willy Nelson song.Then McFarland throws in a sur-prise chord change that blowsyour original mind set, leavingyou wondering how to classifythis number. Is it Tex-Mex orpossibly light jazz? Who cares,it’s a great song. The breezychange-up in “Freedom” isanother testimony toMcFarland’s ability to catch youby surprise. “Easy Way out” isjust a pretty song that leaves youwondering what happened inthat relationship. It’s juxtaposedto the upbeat “Sun’s GonnaShine Again.” Both songsdemonstrate the yin and yangaspects of life and leave youwondering whether McFarland ismusician or philosopher.

Well-written songs with clevermature guitar work, great deliv-ery, and solid production makesthis the kind of CD that cleansesone’s musical palate and makesyou appreciate the fact thatgood rock and roll will never die.

Early Works is availablethrough cdbaby.com.

San Diego Troubadour • August 2003

‘round about‘round about

13

by Gus T. Williker

“D” is fer DorkDeejays mooch cool from musicians,but it ain’t enough to cover up thegiant dorks quiverin’ inside. Those micmanipulators are praying you don’t dis-cover how frickin’ close they are to thefat fantasy Jedis that roamed the con-vention center last month carryingflashlights and ding dongs. So…theytry to hide it with hip-sounding lingo.

I’m not talking about the obviouslydorky lines. I mean, “Hi Star. Bye Star”is so over-the-top dork, it almostcomes around full circle, like, I don’tknow, Steve Buscemi (reference film:Ghost World). The guy couldn’t do dorkmore convincely, but chicks actuallythink he is HOT… just ask my girl-friend.

No, I’m willing to base my entireargument on just one word.

One stinkin’ word.A word that deejays seem to take

special delight in using. A word thatmakes them feel important, useful andmost-of-all cool. A word that sucksdork juice through a straw and spits itup yer butt! (yes, it is that horrible).

That word is “SWAG.”Why deejays can’t use simple

phrases like “free stuff” or “free crap”is not known. What is clear, though, isthey are all infected with SWAG and Ipersonally think RAGE would be morepleasant on the poor unsuspectingradio populace (reference film: 28Days Later). You see, deejays can’t justsay swag, which is bad enough. NOPE,they have to pronounce it “schwag,”as if those crappy CD singles andIncubus posters are some kind of

pirate’s booty. I’ll shove that micro-phone in their collective booties if Ihave to hear one more deejay saysomething like: “Come down toMargarita Rocks tonight for one dollarCoronas, chicks in bikinis, and free 91XSCHWAG.”

Pure dork. Plain and simple.

xoxo,

Gu$Please visit my online hat store…http://www.clunkerstore.com

I’d come up with a rant about how Ideserve yer business, but I’m late for alocal show at the Casbah. Sin Sin 77 isplaying! Yay! See ya.

RANTHOUSETHE LOCAL MUSIC SCENE (WELL, MOSTLY)

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Our man fer all seasons, Gus Williker

August 2003 • San Diego Troubadour

‘round about‘round about

14

friday • 1Gregory Page, Kensington HouseConcert. Email chris@lanexa.net.

Mark Jackson Band, Horton Plaza, 10am.

Leigh Taylor Band, Metaphor Cafe,Escondido, 8pm.

Cameron Ash/3 Simple Words/Elijah/Zoë,Twiggs, 8:30pm.

Carlos Olmeda, Lestats, 8:30pm.

Mark Jackson Band, Hooley’s Irish Pub,Rancho San Diego, 9pm.

Sue Palmer & her Motel SwingOrchestra, Croce’s Top Hat, 9pm.

saturday • 2Gregory Page, Kensington HouseConcert. Email chris@lanexa.net.

Lighthouse, First United MethodistChurch, 8964 Magnolia, Santee, 6pm.

Sue Palmer & her Motel SwingOrchestra, Bird Park (Morley Field), 28thSt. & Upas, 6-8pm.

Sage Gentle-Wing, Jungle Java,Newport Ave., Ocean Beach, 7pm.

Wright & Hess, Metaphor Cafe,Escondido, 8pm.

Ray’s Vast Basement/Kim Fox, Twiggs,8:30pm.

Derek Duplessie & the Desert Poets, theShambles, Baja Bugs, Tio Leos, 9pm.

sunday • 3Derek Duplessie, Folk Festival atCuyamaca College, 4pm.

Smokey Robinson, Humphreys Concertsby the Bay, Shelter Island, 7:30pm.

monday • 4The Big Easy (Dixieland jazz), MetaphorCafe, Escondido, 6:30pm.

wednesday • 6Anita Baker, Humphreys Concerts by theBay, Shelter Island, 8pm.

thursday • 7Sage Gentle-Wing/The Troys, Twiggs,7pm.

2nd Ave. Dixieland Jazz Band, MetaphorCafe, Escondido, 7pm.

Herman’s Hermits, Humphreys Concertsby the Bay, Shelter Island, 7:30pm.

Acoustic Indie Night w/ Dave Howard/Gregory Page/Joe Rathburn/ChuckSchiele/The Animators, Music Mart,Solana Beach, 8pm. Call 858/354-6978.

friday • 8Center Aisle, Metaphor Cafe, Escondido,6:30pm.

The Eagles, Coors Amphitheatre, ChulaVista, 8pm.

Baja Blues Boys, Patrick’s Irish Pub,Poway, 8:30pm.

Koko Loca, Firehouse, La Jolla, 8pm.

Cameron Ash/Leigh Taylor Band/Satish,Twiggs, 8:30pm.

Streaming Audio, Lestats, 8:30pm.

saturday • 9Joe Rathburn/Roger Hunt/Linda Hill,Prayers for Peace Park, 29455 Pamoosa,Valley Center, 1-5pm.

Cactus, McCabe’s Beach Club,Oceanside, 4:30-8:30pm.

Mark Jackson Band, Red Barn, WynolaPizza, Julian, 6pm.

Randy Sterling/Raw Courage, SanDieguito United Methodist Church, 170Calle Magdalena, Encinitas, 7:30pm. Call858/566-4040 for info.

Rob Carona/Somewhere in Between/Bishop Wells Band, Twiggs, 8:30pm.

Angela Correa, Lestats, 8:30pm.

Rugburns/Rookie Card/Trophy Wife,Casbah, 9pm.

sunday • 10Hillcrest City Fest, with Sue Palmer/Ruby& the Redhots/Candye Kane/GoodChina/Michelle Lundeen/Theo & ZydecoPatrol/Bayou Brothers, also jewelry mak-ing, face painting, & a climbing wall, Fifth& University, 10am-7pm.

Dan Connor & Little Big Men, Coyote Bar& Grill, Carlsbad, 2:30-4:30pm.

Sage Gentle-Wing, Claire de Lune, 2906University Ave., 8pm.

Chris Klich Quintet, Sycuan Casino, 8pm.

tuesday • 12Boz Scaggs, Humphreys Concerts by theBay, Shelter Island, 7:30pm.

thursday • 14Deborah Liv Johnson/Gregory Page,Dizzy’s, 344 7th Ave., 7:30pm.

Randy Travis, Viejas Casino, 8pm.

Manhattan Transfer, HumphreysConcerts by the Bay, Shelter Island, 8pm.

Scott Wilson/The Troys, Twiggs, 8:30pm.

friday • 15Derek Duplessie & the Desert Poets withspecial guests, The Firehouse, 7877Herschel Ave., La Jolla, 8pm.

Mark Jackson Band, Bailey’s Barbecue,Julian, 8pm.

Will Hawkins/Cameron Ash/J. Turtle/TheTroys/Bushwalla, Twiggs, 8:30pm.

Big Rig Deluxe, Lestats, 8:30pm.

saturday • 16Berkley Hart (house concert), Millie’s bythe Bay, 8pm. Email mildredmoreno@hot-mail.com for info.

Baja Blues Boys, Humphrey’s BackstageLounge, Shelter Island, 3pm.

Cactus, Cafe Elysa, Carlsbad, 7:30pm.

Mark Jackson Band, Bailey’s Barbecue,Julian, 8pm.

Arun Luthra (jazz), Metaphor Cafe,Escondido, 8pm.

Peter Bolland/Dave’s Son/Will EdwardsBand, Twiggs, 8:30pm.

Allison Lonsdale, Lestats, 8:30pm.

Buddy Blue, Tio Leos, 9pm.

sunday • 17Gospel Music Fest, Mt. SoledadPresbyterian Church, noon-5pm. Seepage 9 for details.

Carol Ames/Sue Palmer/Eve Selis/CiciPorter/Lisa Sanders/Natalie Hassey,Fundraiser for Nicole Brown CharitableFoundation, Humphreys BackstageLounge, Shelter Island, 1-5pm.

The Troys/Anya Marina/Noe Venable,Dizzy’s, 344 7th Ave., 7:30pm.

Earth, Wind & Fire, Humphreys Concertsby the Bay, Shelter Island, 8pm.

tuesday • 19Gipsy Kings, Viejas Casino, 8pm.

wednesday • 20Los Lobos/Buddy Guy, HumphreysConcerts by the Bay, Shelter Island,7:30pm.

Sage Gentle-Wing, Lestats, 9pm.

thursday • 21Big Bad Voodoo Daddy, HumphreysConcerts by the Bay, Shelter Island, 8pm.

Ryan Blue/The Troys, Twiggs, 8:30pm.

friday • 22Summergrass Festival, Antique Tractorand Steam Engine Museum, Vista,through Sunday. Call 858/566-4594 forinformation.

Sue Palmer & her Motel SwingOrchestra, Trolley Park, Adams Ave. &Florida St., 6-8pm.

Hot Club of Cowtown, Casbah, 7pm.

Will Edwards Band, 101 Artist’s Colony,Encinitas, 7:30pm.

Chris Isaak, Viejas Casino, 8pm.

Saba/Cameron Ash/Jack the Original,Twiggs, 8:30pm.

Billy Midnight/Bobby Fantasy/Sensations, Lestats, 8:30pm.

Toots & the Maytals, Belly Up Tavern,Solana Beach, 8:30pm.

saturday • 23Summergrass Festival, see Aug. 22.

Kingston Trio/Peter Feldman & VeryLonesone Boys/Kathy Moffat, Grape DayPark, Escondido, 11am-5pm.

Eve Selis, Firehouse, 7877 Herschel Ave.,La Jolla, 8pm.

Peter Sprague & Friends, Dizzy’s, 344 7thAve., 8pm.

Shelby Woods, Metaphor Cafe,Escondido, 8pm.

Border Radio/Tim Corley/NathanAaron/Jane, Twiggs, 8:30pm.

Ryan Blue, Lestats, 8:30pm.

Toots & the Maytals, Belly Up Tavern,Solana Beach, 8:30pm.

Sue Palmer Trio, Martini’s Bar, 3940Fourth Ave., Hillcrest, 9pm.

Sage Gentle-Wing, Cafe Crema, PacificBeach, 9pm.

sunday • 24Summergrass Festival, see Aug. 22.

Derek Duplessie, Folk Festival atCuyamaca College, 4pm.

Ray Charles, Humphreys Concerts by theBay, Shelter Island, 7:30pm.

monday • 2516th Annual Summer Organ Festival,Balboa Park, 7:30pm.

tuesday • 26Dave Brubeck Quartet, HumphreysConcerts by the Bay, Shelter Island,7:30pm.

wednesday • 27Joe Cocker/Yardbirds, HumphreysConcerts by the Bay, Shelter Island,7:30pm.

thursday • 28Righteous Brothers, Humphreys Concertsby the Bay, Shelter Island, 8pm.

Sage Gentle-Wing, Claire de Lune, 2906University Ave., 8pm.

The Troys/Adam Lopez/Blaine Long,Twiggs, 8:30pm.

friday • 29Chris Klich Quintet, Claire de Lune, 2906University Ave., 8pm.

Steve White/The Cat Mary, Music Mart,Solana Beach, 8pm. Call 858/354-6978.

Leigh Taylor Band, Metaphor Cafe,Escondido, 8pm.

Cameron Ash/Mermaids Journey/Holiday& Adventure Pop Collective, Twiggs,8:30pm.

saturday • 30Wigbillies/Cindy Lee Berryhill, 101Artist’s Colony, 25 E St., Encinitas, 7pm.

Trailer Park Troubadours, Firehouse,7877Herschel Ave., La Jolla, 8pm.

Matt & Jessica, Twiggs, 8:30pm.

The Enchanted, Lestats, 8:30pm.

sunday • 31Joe Jackson Band, 4th & B, 8pm.

WEEKLYevery sunday

7th Day Buskers, Hillcrest Farmer’sMarket/DMV parking lot, 10am-1pm.

Steve White, Elijah’s, La Jolla, 11:30am.

Irish Dance, 3pm/Michael McMahon,7pm, Dublin Square, 554 Fifth Ave.

Traditional Irish Music, Tom Giblin’sPub, 640 Grand Ave., Carlsbad, 3pm.

Celtic Ensemble, Twiggs, 4pm.

Cobblestone (Irish Music & Dance),The Field, 544 Fifth Ave., 5-6:30pm.

Jazz Roots w/ Lou Curtiss, 9-10:30pm,KSDS (88.3 FM).

The Bluegrass Special w/ WayneRice, 10-midnight, KSON (97.3 FM).

every mondayOpen Mic Night, Lestats. Call 619/282-0437 for info.

Open Mic Night, Rosie O’Grady’s,Normal Heights, 7pm.

every tuesdayOpen Mic Night, Casa Picante, 10757Woodside Ave., Santee, 7:30-9:30pm.

Traditional Irish Music, Blarney Stone,Clairemont, 8:30pm.

Traditional Irish Music, The Ould Sod,Normal Heights, 8:30pm.

every wednesdayOpen Mic Night, Metaphor Cafe,Escondido, 8pm.

Open Mic Night, Twiggs, 6:30pm.

Skelpin, Dublin Square, 554 Fifth Ave.,8:30pm (also on Saturday night).

Brehon Law, Tom Giblin’s Pub, 640Grand Ave., Carlsbad, 9pm (also Wed.& Sat. nights).

Hatchet Brothers, The Ould Sod, 9pm.

every thursdayWill Edwards’ Music Show, Twiggs,8:30pm.

Bitty Bums Showcase, Lestats, 9pm.

Celticana, Dublin’s Town Square,Gaslamp, 9pm.

Sue Palmer/Candye Kane, CalypsoRestaurant, Hwy 101, Leucadia, 8pm.

every fridaySage Gentle-Wing, Kensington CoffeeCompany, Adams Ave., 8pm.

every saturdayOpen Mic Night, Coffee Bean & TeaLeaf, 9015 Mira Mesa Blvd., 8pm.

AUGUST CALENDAR

NOTE: Dates and timesare subject to change.

Earl Thomas Sr.

Phot

o: M

illi

e M

oren

o

José Sinatra & Phil Harmonic at Dizzy’s

Phot

o: E

llen

Dup

less

ie

Marie Haddad

Photo: Ellen D

uplessie

Billy Midnightat San Diego Music Night, Dizzy’s

Phot

o: E

llen

Dup

less

ie

San Diego Troubadour • August 2003

the local seenthe local seen

15

The Royaltones at San Diego Music Night, Dizzy’s

Photo: Paul Grupp

The Shambles

Phot

o: P

aul

Gru

pp

Baja Bugs at Hot Monkey Love CafePhoto: M

illie Moreno

Mark DeCerbo at Dizzy’s

Phot

o: E

llen

Dup

less

ie

Earl Thomas

Photo: Millie M

oreno

Berkley Hart at Dizzy’s, tuning because they care

Photo: Ellen D

uplessie

Bill Bryson, Chris Hillman, Richie Furay, Herb Pedersen at Humphrey’s

Photo: Bill H

erzog

Phil Harmonic wih the Troubadour House Band at Dizzy’s

Phot

o: E

llen

Dup

less

ie

Rookie Card at San Diego Music Night, Dizzy’s

Phot

o: E

llen

Dup

less

ie

Troubadour friend Bill Herzog& Richie Furay of Poco

Poco at Humphreys

Photo: Bill H

erzog

Will Edwards at Twiggs

Phot

o: P

aul

Gru

pp

Southern Ca l i f o r n i a ’ s La rges t FREE Mus i c Fes t i v a l22nd Annual

pplluussAbigail’s Attic

Acteal

Baja Bugs

Berkley Hart

Annie Bethancourt

Big Rig Deluxe

Billy Midnight

Ryan Blue

Peter Bolland & Broken Hills

Curt Bouterse

Tom Brosseau

Slam Buckra

Bunky

Roy Ruiz Clayton

Dan Connor & Little Big Men

Angela Correa

Tomcat Courtney

Lou & Virginia Curtiss

Dee Ray

Delgado Brothers

Derek Duplessie &

the Desert Poets

Will Edwards

Ellie Englund

Fowl Play

The Fremonts

Sage Gentle-Wing

Fred Gerlach

Guitar Shorty

Hatfield Rain

Phil Harmonic

Robin Henkel

Mark Jackson Band

The Kernel

Johnny Love

MaizAnya Marina

Modern Rhythm

Nitro Express

Open Sure

Other Natural Flavors

Gregory Page

Sue Palmer & Her Motel

Swing Orchestra

Paradise

Powerthud

Joel Raphael Band

“Action” Andy Rasmussen

Rookie Card

SabaLisa Sanders &

the Truckee Brothers

Chuck Schiele &

Sven-Erik Seaholm

Eve Selis

Shadowdogs

The Shambles

José Sinatra & the

Troy Dante Inferno

Skelpin

Trailer Park Queen

Trophy Wife

The Truckee Brothers

West Coast Pin Ups

Z-Bonics

Alternative country, Americana, roots, folk, gospel, and bluegrass music news

8

163

80515

ADAMS AVENUE

University Avenue

El Cajon Blvd.

Adams Avenue & Adams ParkBancroft to 35 Streets

Normal Heights, San Diego

FOR INFO619/282-7329www.GoThere.com

presented by

3beer

gardens

pancake

breakfast

giantcarnival rides

7stages

september 27-28

Presented by the Adams Avenue Business Association, the Normal HeightsCommunity Association, and the City of San Diego. Music produced by Lou Curtiss

& Folk Arts Rare Records. Music info: 619/282-7833. Booth rentals: 619/282-7329.Partially funded by the city of San Diego’s Small Business Enhancement Program

and the county of San Diego Community Enhancement Fund.

ffeeaattuurriinngg

µµ Bernie Leadon & Fr

iends

µµ Jack Tempchin & Rocket Science

µµ Kenny Wertz & the Bluegra

ss Odyssey

µµ The Blazers

µµ Kinsey Report

over 400foots, arts, & crafts booths

80musical acts

ssaattuurrddaayy,, 1100aamm--99ppmm ssuunnddaayy,, 1100aamm--66ppmmand

Note: Artists

subject to ch

ange