Don’t let this show sneak by you. One of legends of American music, Emmylou Harris arrives with the equally-remarkably talented Buddy Miller this Wednesday night at Clark Center of Arroyo Grande. Break the glass on a reserve sick day, because this is a clear reason to stay up late on a Wednesday evening. Plus, we’re giving one lucky winner a pair of tickets, but act quickly, because we’ll be drawing a name tomorrow morning.
With Special Guest Buddy Miller
Wednesday, October 7 at 8pm – Doors at 7:30pm
Though other performers sold more records and earned greater fame, few left as profound an impact on contemporary music as Emmylou Harris. Blessed with a crystalline voice, a remarkable gift for phrasing, and a restless creative spirit, she traveled a singular artistic path, proudly carrying the torch of “cosmic American music” passed down by her mentor, Gram Parsons. With the exception of only Neil Young — not surprisingly an occasional collaborator — no other mainstream star established a similarly large body of work as consistently iconoclastic, eclectic, or daring; even more than three decades into her career, Harris’ latter-day music remained as heartfelt, visionary, and vital as her earliest recordings.
Soulful Americana songwriter, singer, and producer Buddy Miller began his career in the early ’60s as an upright bassist is high-school bluegrass combos. Later, he traveled the back roads of America as an acoustic guitarist, eventually landing in New York City, where his Buddy Miller Band included a young Shawn Colvin on vocals and guitar. He also forged an enduring relationship with country-rock iconoclast Jim Lauderdale. Miller eventually landed in Nashville, where he did session guitar and vocal work on albums by Lauderdale, Victoria Williams, and Heather Myles, among others. He self-produced his criminally overlooked solo debut, Your Love and Other Lies (Hightone, 1995), and followed it with 1997’s equally superb Poison Love. By this point Miller was the lead guitarist in Emmylou Harris’ band, and Harris returned the favor with backing vocals throughout Poison Love. Released in 1999, Cruel Moon continued Miller’s string of home-recorded masterpieces; this time around, Steve Earle dropped by for the sessions. A big part of all Miller’s recordings was the songwriting and harmonies of his wife, Julie Miller. The 2001 duet album Buddy & Julie Miller brought her contributions to the front of the mix and delivered them with gritty, soulful country arrangements enhanced by the interplay of his scowl and her lilt. Their 2009 recording, Written in Chalk, is steeped in American music tradition. Whether it’s country, blues, boozy swing, or rock, this husband-and-wife duo lays it all down with authenticity, great humor, and honest emotion.
Steve Earle & Emmylou Harris – Goodbye
Karen O And The Kids – Where The Wild Things Are OST
Creating the soundtrack to the widely anticipated movie, the Yeah Yeah Yeahs’ Karen O gathers up the key instruments that are universal amongst children playtime — handclaps, shouting, percussive shakers and sugar-spiked exuberance. With the help of a kids’ choir and a few fellow indie rockers (Deerhunter’s Bradford Cox, Greg Kurstin of the Bird And The Bee, her fellow bandmates), Karen O And The Kids assemble ramshackled, punky-folk anthems that can inflate to cinematic, screen-filling proportions (“All Is Love”) or collapse to dispirited, heartfelt ballads (“Worried Shoes”). Being a construct for a soundtrack, instrumental scores exist next to full-fledged songs, thus every track won’t have the Karen O’s gleeful, crackling vocals floating through it. But tracks like the hyperactive “Capsize” with its screeching guitar and its woozy center, or the downcast ache of “Hidaway” feel like excerpts from a Yeah Yeah Yeahs album, and make this soundtrack a “worth-wild” ride.
Listen To: Capsize
1. Duchess and the Duke (Hardly Art)
2. No Age (Sub Pop)
3. The Big Pink (4AD)
4. Karl Blau (K)
5. The xx (XL)
6. Electric Tickle Machine (S/R)
7. Why? (Anticon)
8. The Shaky Hands (Kill Rock Stars)
9. Grand Lake (S/R)
10. Port O’Brien (TBD)
11. Times New Viking (Matador)
12. Total Babe (So TM)
13. Music Go Music (Secretly Canadian)
14. Six Organs of Admittance (Drag City)
15. World’s Greatest Ghosts (Lucky Madison)
16. Yacht (DFA)
17. Wye Oak (Merge)
18. Jay Reatard (Matador)
19. Yo La Tengo (Matador)
20. Drakkar Sauna (Marriage)
21. Fruit Bats (Sub Pop)
22. Mayer Hawthorne (Stones Throw)
23. Girls (True Panther Sounds)
24. The Nextdoor Neighbors (Bicycle)
25. Lou Barlow (Merge)
26. The Hidden Cameras (Arts and Crafts)
27. Vampires of Dartmoor (B Music)
28. Skygreen Leopards (Jagjaguwar)
29. Capybara (S/R)
30. The Drums (Moshi Moshi)
INSTORE: (10/3) Kora player Ablaye Cissoko and trumpeter Volker Goetze. We’re happy to provide the space for a last second gig, especially with the note of international elegance that this one carries.
Welcome back to “the mystery.” You know what that is. It’s the amazing and oftentimes unexplainable phenomenon of musical resonance. You hear a piece of music and the attraction is instant. The music of Ablaye Cissoko and Volker Goetze is at the far, far end of the mystery spectrum. Sure, the quiet is nice, and so is the space between the notes. But there is a story being told here, musical and otherwise.
A story? Well, Cissoko is a griot singer from Senegal. What continues to amaze me is that I know not a single syllable of Cissoko’s language, and yet I feel like I’m getting something out of his delivery. Part of it is definitely his reedy and beautiful voice. The rest? I still don’t know. It reminds me of this Jimmie Dale Gilmore quote: “Part of the magic of music for me is that it can evoke emotions that you can’t even have otherwise, emotion there isn’t even a word for.”
The music on the album Sira is delivered with the sparse instrumentation of the 21-stringed West African kora (played by Cissoko) and the trumpet of Volker Goetze. The kora is quite versatile, allowing bass lines to be played with melody added on top. Sonically, it’s also a fine compliment to the muted and round tone of Goetze’s horn. “Haunting” might be a clichéd description here, but it really does fit. The two musicians take turns with the melodic lead role — doing so in such a subtle and natural manner that sometimes you miss the transitions. They conjure up a very warm and intimate musical relationship.
We’re happy to provide the space for a last second gig, especially with the note of international elegance that this one carries. All ages welcomed, and free to the public.