Paul Thorn: What the Hell is Goin On?
Balancing the Sacred, Sinful and Soulful With Skill & Passion
By Terry Paul Roland, Staff Writer

On What the Hell is Goin’ On,’ blue-eyed Soul singer, Paul Thorn, pretty much knows what’s going on with this latest outing. It is a warm-embrace for some of  best and often most overlooked songwriters of the last four decades including Jackie DeShannon, Donnie Fritts, Ray Wylie Hubbard and even the mostly forgotten pre-Fleetwood Mac duo, 1973’s Buckingham Nicks(“Don’t Let Me Down Again”).

The highest praise for this new album is the consistency of style with which Thorn executes each song. If we didn’t know better, for those familiar with Thorns work over the last 15 years, we’d swear these were original songs. Rather, he has dug deep into the American canon of songs tucked away for decades to bring fresh and soulful interpretations of songs like “Walk in My Shadow,” by the 60’s blues-rock band, Free and “Jukin’ by Al Anderson, Shawn Camp and Pat McLaughlin. He’s even brought us Wylie Lama’s now classic “Snake Farm,” like a little added chocolate.

The title track perfectly puts Thorn in the role of prophet, preacher and rock and roll hound on this fine new Elvin Bishop song which benefits from lead guitar work from Bishop himself. The sweet soul punch of the Rick Danko, Bobby Charles tune, “Small Town Talk,” and Jackie Deshanon’s “Your Baby is a Lady,” feels like a bit of relief amidst the blister and blues of much of the record.

But Thorn doesn’t stray from his main theme of the tension between the secular and the sacred underscored especially well his last album, Pimps and Preachers. Buddy Miller’s “Shelter Me,” brings us back to church front and center with its southern-gospel-blues edge perfectly suited for Thorns vocal attack.

One thing becomes clear, there is not a wasted note on What the Hell is Going On.  Donnie Fritts, who’s been contributing songs to legendary songwriters since Thorn was knee-high to a grasshopper in Billy Joe Shaver’s backyard, is covered with southern wit and grace on the song, “She’s Got a Crush on Me.”  Wild Bill Emerson’s “Bull Mountain Bridge” brings this collection to a funky peak a delta gospel feel worthy of Tony Joe White at his dirtiest delta best.

Produced by collaborator, Billy Madox, the album retains the funky bluesy driver throughout with a feel that’s as loose as it needs to be to give the songs and Thorn’s voice room to breathe. The instrumentation provided by his tour band including guitarist Bill Hinds, keyboard player Michael Graham, bassist Ralph Friedrichsen and drummer Jeffrey Perkins, bring their considerable roadhouse feel to the nuance and the nastiness in each song. Just in case the proceedings become too nasty, the sweet soul of the McCrary Sisters brings in the feel of gospel angels when needed. Their work here is especially transcendent considering the intentional hard-edge of the production.

As this album climbs up the Americana charts, Paul Thorn continues to bring the funk and soul with a revivalist preacher’s passion while paying tribute to the songwriters who influenced him and deserve the embrace of his voice.

Paul Thorn “What the Hell is Going On?” (Official Music Video)

For more information on Paul Thorn, visit: http://www.paulthorn.com

“Up On The Mountain” by The Waco Brothers & Paul Burch

Low-Down & Dirty w/ Paul Burch & The Waco Brothers
By Gerry Gomez, Staff Writer

Great Chicago Fire is the new release by the high-octane Waco Brothers and Nashville Honky-Tonker, Paul Burch. The Bloodshot Records release continues the rollicking brawn of the Waco Brothers partying Alt-Country with lyrical contributions from Burch. Deano, guitarist of The Wacos, and Burch, recently answered some Low-Down & Dirty Q & A for Turnstlyed Junkpiled.

The Waco Brothers play over 200 shows a year and seemingly would play at a laundromat. Are they the hardest working band in show business?
The Waco Brothers actually started out playing laundromats in exchange for free use of the machines. While we’re possibly the laziest band in show business, for a time at least, we were the cleanest.

Where was the craziest place WB ever played at? And did they start any fires?
Once, we were booked to play a guitar factory. We were required to use their amplifiers which were literally in flames by about halfway through our set. On the bright side, this voided our contact with the devil and we reclaimed all rights to our souls.

Paul Burch

If The Waco Brothers were in Tombstone during the famous shootout, would they be on the cowboys side or on the side of the law?
The band doesn’t take sides.

Is Paul Burch more Doc Holiday? Or Wyatt Earp? Or Ringo?
Paul Burch is more handsome than Doc Holiday, faster than the Sundance Kid and keeps time as good as Ringo.

Do the Waco Brothers play both kinds of music? Country AND Western?
We view ourselves as more in the free jazz realm. Especially after a few drinks.

Sell us your new record, “Great Chicago Fire” in an elevator pitch?
The Great Chicago Fire is the 17th best rock album ever made and Emmylou Harris does not sing background vocals and is not allowed to come within 100 feet of PB & Waco Brothers.

What’s it like having Rob Halford in your band?
Rob Halford doesn’t have the balls to be in The Waco Bros.  Actually, The Waco Brothers keep Halford’s balls in a jar by the door.

Have you got a message for the West Coast?
If Steve Jobs was so smart, then why didn’t he pursue ownership of Rob Halford’s balls?

____________________________________________________________________________________________________

To  hear more tracks from Great Chicago Fire or to purchase the album, visit: http://www.bloodshotrecords.com/album/great-chicago-fire

The White Buffalo Roams Home
Concert Review: The White Buffalo at the Troubadour
By Gerry Gomez, Staff Writer
Photography By Nelson Blanton

When Jake Smith took the stage with his band The White Buffalo on Thursday evening at the Troubadour in West Hollywood, he did so like a man stepping into his destiny as a generational spokesperson to a full house of fervent followers. Standing proudly, confidently with a hint of vulnerability, Smith is the physical embodiment of the moniker, “The White Buffalo”. It fits him, the band and the songs.

The show was one of those special moments for a band when you sense they’ve arrived. Especially arrived in their home town (technically Smith grew up partly in the coastal town of Newport, but the buffalo roams the Southland), as members of the sold out crowd included fans from Ventura to Oceanside out to Norco. One fan named Joe and his girlfriend made the long trek from the Inland Empire anxiously looking to hawk tickets for the special night and sold out show – excited to land a pair from a gracious concert goer.

The White Buffalo is on the rise. With two albums, three EPs and dues paid on the local and outlining circuit, the band romped and swayed their way through stomping anthems like “BB Guns and Dirtbikes,” “How The West Was Won,” to the swampy “cross between a love song and murder song” as Smith called it, “Oh Darlin’ What Have I Done,” round through to tender moments like “I Am the Light.” All-the-while many in the late 20s, early 30s crowd did their part, singing along with every word.

Smith sings with a husky howl and wears a five-inch beard with long hair. He’s an imposing figure on stage, standing over six feet tall. But he is a welcoming figure. Kinda like a big bear or, well, buffalo. Tender but boarding on rage if need be. His lyrics are similarly wide ranging, emotional, telling and empathetic if not anthemic to his generation. He’s been compared to many great songwriters and he has the knack of saying things differently with a fresh take.

If you’re part of the clan of boys growing up and approaching adulthood today in the suburban outskirts of towns like Norco or Ventura, the White Buffalo is telling your story through his own. “BB Guns and Dirt-bikes” is a great song for that ilk and it was embraced by those cramped into the Troubadour on Thursday night. It’s a genuine fable of how life is lived today and of the moments that struggling kids of the White Buffalo’s audience can relate to. Somehow, in the magical tale of feuding with rival boys from across town, he penned one of the most cinematic, contemporary classic songs of youth one can imagine:

“With quivering eyes and our fears and disguise
We called all that would burn in the breeze
We hit the assault howlin’ like hell fire
Ain’t no time to get weak in the knees
Under the cover of night when the timing was right
Like a furious army of three
We light up the sky like a 4th of July
And raced home like it was it was a dream
And mama yells where have you been and where are you comin’ from?
With my brother and my memory, I bring my history home.”

The White Buffalo’s songs fed the faithful with energy given to them by Smith and his crack band including one of the harder hitting drummers seen in a local roots band in years, bass player Tommy “Chardonnay” Anders, and first-time White Buffalo gigger – English pedal steel and electric guitar player Tim Armstrong. That energy was repaid all through the night with dance alongs and sing alongs. The band even performed “Folsom Prison Blues” as an encore to everyone’s delight.

Saying that the name comes from a “big, powerful kind of American symbol,” the White Buffalo performed as such: big and powerful. The night was intended to showcase much of their new album, Once Upon A Time In The West, having come out on February 28 this year. It ended up showcasing a voice on the rise and a house full of worshipers.

For more information on The White Buffalo, visit: http://www.thewhitebuffalo.com

Statement From Turnstyled Junkpiled:
When we first found out that Levon Helm was in his final days, it came as a shock.  We wanted to do something. We had to. Thanks to the Los Angeles roots community, it wasn’t difficult to come up with a way to pay tribute. We all banded together at the last minute, to show our love and support, each in our own unique way.

Last year, when I heard  Levon’s contribution to The Lost Notebooks of Hank Williams, “You’ll Never Again Be Mine,” it stood out as something truly special.  I wrote:

Bob Dylan, like Hank Williams, is that kind of songwriter. One who can evoke deep imagery and mood with little more than simple chord progression. Vocally, Levon Helm is a master of just that.  “You’ll Never Again Be Mine,” sounds like Helm is about to roll up to his barn on a tractor, pull up a bale of hay, drink a sweet tea and jam with some hillbillies. There’s something about the former (The) Band drummer’s tone that just sounds like the South and with this cool breeze of a tune, he’s managed to nicely marry his signature style with that of his Alabama born predecessor.

Levon had a gift for turning even a song about heartache into what sounded like a sunny day in the South.  And he had a tremendous respect for the words of others.  Though he made the song his own, he made sure that Hank’s spirit was there with him. He paid tribute in a way  that showed understanding, kinship and passion.  We recognized “You’ll Never Again Be Mine” with our award for “Song of the Year.”

Like Hank Williams, Levon may be gone, but he is and will remain a driving force in music and an inspiration to all. Thank you to the following artists who helped us celebrate Levon’s life and music through words and song. A special thanks to Kim Grant, for her help and recommendations.    – Courtney Sudbrink, Editor

Set List: 1. The Whispering Pines “Ain’t No More Cane” / 2. The Coals “When I Paint My Masterpiece” / 3. Ted Russell Kamp feat. Mark W. Lennon “Long Black Veil” / 4. Mark W. Lennon feat. Ted Russell Kamp “Ophelia” / 5. Funky Jenn and The Bad Intentions feat. Ted Russell Kamp “I Shall Be Released” / 6. Rod Melancon “The Night They Drove Old Dixie Down” / 7. Brian Spence & The Transcendent Hula Hoop “Evangeline” / 8. Jason Heath & The Greedy Souls “This Wheel’s On Fire” / 9. Billy Eli “Up On Cripple Creek”* / 10. Damngivers “It Makes No Difference” / 11. The Far West feat. Jennifer Gibbons and Ben Redell “The Weight”
*All artists from Los Angeles unless otherwise noted. All videos recorded for Turnstyled Junkpiled.

Levon, as Mike Malone reminded me, was an author, actor, multi-instrumentalist and bon vivant savoring life and his personal relationships every day. He lived a life well worth living and he serves as one of the few “heroes” I have who transcend music and morality. The first compliment I got as a singer with the Damngivers was that I had a “Levon Helm kinda vibe.” True or not, I take the compliment as one of the highest ever given me.
- Gerry Gomez (Damngivers)

The Far West feat. Jenn Gibbons & Ben Reddell “The Weight”:
Live at The Grand Ole Echo, LA, CA 4/22/12 (Shot by Steve Holmes)
Levon had one of the most unique, soulful and amazing voices in the history of recorded music. Levon and The Band were and will continue to be an immeasurable influence on The Far West and one of THE reasons any of us strive to make music at all today. It is safe to say; without Levon Helm’s influence, there would be no The Far West. We miss him already. – Lee Briante (The Far West)

John McEuen

Remembering Levon Helm
By John McEuen, Nitty Gritty Dirt Band

Our friend Levon has left an indelible mark on the world. Even more relevant about the man as to ‘who he was,’ is ‘how’ he was. If you were fortunate to meet him, you knew. For others who did not, he was everybody’s friend, always a smile, no matter what he faced in life. What all saw was that he loved life so much, he made you like yours more. His joy, music, that contagious beat, his humility and willingness to share is something hoped for with someone of his cultural stature, but often not found.

Levon was one of those rare few whose first name represented a world of good things; you knew he’d deliver something you wanted.

I first saw him from afar, The Band concert at Pasadena’s Civic in the late ’60′s. The just released Music from Big Pink, was the rage, giving direction and inspiration to many, showing us all how acoustic instruments, drums, and his magic gentle vocals could blend in a new way. Our “Mr. Bojangles” record was a direct descendent of that influence.

It was 20 years later that I met him. It seemed we’d known each other forever. I did the music score of The Man Outside, an independent feature in which he was one of the principle stars. Levon liked the music I had put in the film – lots of banjo, mandolin, fiddle along with drums; that made my day for that whole year.

Levon Helm

A few path crossings later led to seeing him on the road with his blues band, not able to sing, but anxious to play. Levon had to play. That was him.

Once in the 90′s, at a horrible club in Salt Lake City, I had to go see him. It seemed a lull in his career, one I thought he might be down about: a tiny, dark, bad sounding room, the ‘crowd’ about 90 people. All smiles but speaking softly, we chatted and waited for his stage-time. You would have thought he was going on at Carnegie Hall. They loved him, and they knew he loved them for being there.

Then, in 1994, I was opening for The Band at Wisconsin’s Mole Lake Bluegrass festival. My young sons were worried that we shouldn’t be in the only dressing room when The Band showed up. When ‘everybody’s friend’ and his band came in, Levon’s face lit up the instant he saw me:  “Hey, John! You going to sit in with us on something? Can I borrow your mandolin? How you doing?” The moment I introduced my sons to him their fears melted.

My wife Marilyn grew up to different drums, not aware of Levon’s deep impact. He invited me to play The Midnight Ramble for his ’70th birthday show, and she came along. After my set, we stood about three feet from Levon as he laid down the beat for the dozen other players, me thinking “she’ll want to move away soon” .. I could not get her to move a foot. Virgil Caine took her away until three hours later. We all clapped a long time for our dear friend, who has now left the stage for the last time.

“The Night They Drove Old Dixie Down” from The Last Waltz
____________________________________________________________________________________________________

About the Author:  John McEuen is a founding member of the Nitty Gritty Dirt Band, which formed in 1966. John is the only Californian musician to perform solo on the Grand Ole Opry, then play it several times with his band.  John’s own XM Satellite radio show, Acoustic Traveller on Channel 15, runs twice a month and is in its 6th year. He will be performing in Los Angeles at Largo Wednesday 04/25 (8:00 PM). Click here for tickets. For more information on John McEuen, visit: http://www.johnmceuen.com/

“South of the River” by Ray Wylie Hubbard

The Resurrection of Ray Wylie Hubbard:
The Turnstyled Junkpiled Interview
By Terry Paul Roland, Staff Writer

Ray Wylie Hubbard’s  new album, The Grifter’s Hymnal, is like a church service held at the funkiest roadhouse bar this side of the Mississippi. He is at once, a ragged prophet, a profane poet and a lusty preacher. But these days, life for Hubbard is about spiritual awakening, not bible thumping. Unless, that is, the good book can be used purely for his rhythm section.

On songs like the talking blues, “New Year’s Eve at the Gates of Hell,” all boundaries between the sacred and the secular are stomped down by the drive of his resonator and the imagination of his lyrics. The cold iron chains that too often bind poetry to the printed page are loosed under the influence of the Texas journeyman’s plain old hard-ass dirty blues. And as he proclaims on “Down Home Country Blues” from last year’s A: Enlightenment, B: Endarkenment,(Hint there is no C),  “Muddy Waters is as deep as William Blake.”

It’s been four decades since Hubbard made his bones as a Texas Cosmic Cowboy, doing his Country-Rock Boogie in redneck bars and hippie communes around Austin.  But today, he looks more like a desert father, drunk on visions conjured up by his slide guitar, than a country music outlaw. He rides in on his signature style Country-Blues, echoing everyone from John Lee Hooker and Howlin’ Wolf to Bo Diddley and Chuck Berry. But, it is his own musical vision that seduces with percussive acoustic and howling electric guitars.

Hubbard’s sound calls listeners into his circle of fire and keeps them there, ready to dance.  His voice extends from a persona who sometimes seems lost in his own wilderness. A kaleidoscope of hot-blooded Country-Blues, bathed in mysticism, incantations and a deep faith from his 23-year road of sobriety. It has served to allow his musical wakefulness, as well as his eccentricities to roam free on record and live performances.

Ray Wylie Hubbard is a blood brother to Townes Van Zandt, but alive and sober.  His lyrics share the same crazy darkness, but they don’t stop there. He knows suffering and describes it in as much detail as Townes once did. Then, some poetic light comes flooding in from a simple epiphany that could only be born from the clear mind of a sober soul.

On the song “Lazurus,” he sings, “We’re in the mud and scum of things, moaning, crying and lying/at least we ain’t Lazurus and had to think twice about dying.” It is an observation that blows apart the assumptions of the sacred gospel story and brings it into the inevitable common mortality. This plays well alongside the next track, “New Years Eve at the Gates of Hell,” where Hubbard dreams he stands at the entry to the lake of fire. Somehow in the midst of the story, he concludes that Satan is working for God. Then he shouts, “I can’t believe I said that!”

So, how did Ray Wylie Hubbard arrive at this lofty place of esteemed Prophet Bluesman, sometimes referred to as the ‘Wylie Lama?’ The story goes way back.  After graduating as an English major in 1965, he immersed himself in what he refers to as the ‘Cambridge folk singers,” who include Tom Paxton, Dave Van Ronk and Eric Andersen. Although he didn’t come up with a record contract until the early 70’s, he was in Austin before Waylon and Willie were known as Outlaws. Along with high school mates, Michael Martin Murphy and B.W. Stevenson, he helped define the term.

The Outlaw Movement would eventually shake things up in the Country Music establishment by kicking the shit out of the safety of the conservative Nashville sound. The long hair and cannabis were only the tip of the ice-berg. The original Outlaws, including Hubbard, brought a Rock and Roll sensibility into the studio and onto the stage. He became one of the key figures moving from folk music gatherings to honky-tonks, playing anywhere that had electricity and beer. He brought the hippies and rednecks together with the anthem of the time, a throwaway song, “Up Against The Wall Redneck Mother.”

In 1973, knowing only one verse and the chorus, Jerry Jeff Walker called Hubbard from a record session asking for the rest of the words. He said, “Jerry’s version had an intro on it that said, ‘This song is by Ray Wylie Hubbard.’ Now the trouble with irony is that not everybody gets it. So, I’d go and play clubs and people would keep requesting “Redneck Mother.” I was a folk singer and I’d have these other songs I’d want to do. So I finish the song and people would shout, “Sing it again!” Hubbard groaned.

But, with a series of critically acclaimed albums of well-crafted songs over the last two or three decades, it has seemed less of a burden. He plays the song today without reluctance, but he adds a story with it that is worthy Woody Guthrie or Ramblin’ Jack.

Although Hubbard managed to pick up a record contract and recorded albums during the peak of the 70’s Outlaw Movement, his career had little impact beyond Texas. The years that followed, as he describes them, were a blur of drugs, alcohol and a career decline that left him with little hope for being known as anything more than the guy that wrote “Redneck Mother.”

However, as fate would have, whatever higher power resides in the spirit of his music, wasn’t finished with Hubbard. And now, when he talks about his musical bottom, he does so with a chuckle.

“A week before I got sober I had a gig somewhere in Dallas at Charlie’s Airport Lounge where I shared the bill with a lingerie show,” Hubbard said.

But what felt like the end of the line for an artist known for his honky-tonk outlaw edge, wasn’t. In 1989, through a network of sober musicians, Hubbard talked with legendary blues guitarist, Stevie Ray Vaughn. It was this conversation that would help him rise from the bottom and find a path toward clarity and peace.

“He had 14 months at the time he told me about being sober. I was at the point where I had all the fun I could stand. Stevie Ray was the first guy I knew who got sober and didn’t turn into a square,” Hubbard recalled.

Vaughn proved to Hubbard that being sober could go hand in hand with being a badass. In fact, it would only lead to technical aptitude, enhanced abilities and a new awareness and feeling for his music.

“Stevie told me, ‘Once I got sober, I took off the boxing gloves and I could really play.’ He was right because after a while, I could start to feel again,” he continued.

Through another musician friend in recovery, Hubbard found a renewed interest in learning to finger-pick and absorb Country-Blues guitar. He said the guy knew how to play like Doc Watson and Chet Atkins. Hubbard remembered seeing Lightnin’ Hopkins during the 60’s and wanted to play like him. He became a student of Texas blues guitar. Through his sobriety, he also became a student of life.

In 1990, Steve Ray Vaughn’s life came to a tragic end in Washington D.C. when his helicopter crashed while he was on tour with Eric Clapton. The effect this had on Hubbard as a human being and an artist has been profound. He dug deeper into his roots and became a better songwriter.

“Because of him, I started doing the deal. I still think of him every day. He took the time to tell me what happened, what it had been like before and how it was for him after. At that point I didn’t have any faith. I got a little hope though. After about a year, I wanted to be a real songwriter,” he explained.

Since Stevie Ray’s death, Hubbard’s music has become increasingly drenched in Country-Blues. His lyrical and musical abandon has been powerful enough to rank him with the best of today’s singer-songwriters. His songs are personal and universal with lyrics that spin stories and his describe his own self-styled philosophy with a sense of irony and humor all his own.

He’s also thought of as one of Americana music’s elder statesmen, which affords him the freedom to enjoy being who he is and playing the music the way he feels it. As he talks about his life over the last 23 years, he does so with a sense of pride in his voice.

”I came from that airport lounge to having a fucking Beatle on my album,” Hubbard said.

With little fanfare, Ringo Starr makes an appearance on Grifter’s Hymnal. Hubbard said he talked with Ringo recently and mentioned his love for the drummer’s song “Coochy, Coochy,” from the 1973 country album, Beaucoups of Blues. Hubbard decided to record it for his new album. Ringo liked his version so much, he added guitar, shakers and hand claps on the track. But in the spirit of who Ringo is as a person, it makes sense that there isn’t some special highlight on the album about his appearance.

“We didn’t put a sticker on the CD with his name on it because it would negate the vibe of the album. Ringo is also in recovery. He’s such a great musician and really loves other musicians. He treats everybody the same,” explained Hubbard, who met Starr at a party.

His impression of Ringo was of a musician’s musician who felt a sense of equality to his friends and peers. Even during the previously mentioned star-studded party, Starr related to Hubbard in the same way he talked with a former band mate.

“He was talking to me one minute and the next he was talking with Paul McCartney and there was no change in his attitude toward either of us. If I put his name above everybody else, it would make the other musicians less important. So, I figured rather than putting his name up there, I’d let people discover it,” Hubbard said.

There’s plenty to discover in Hubbard’s body of work. From 1992 with the rockabilly infused Lost Train of Thought and moving through the grittier series of albums up to Grifter’s Hymnal, through his sobriety and spiritual awakening, he has created a legacy that could have been lost in the fog of self-destruction. Instead, today he is considered one of the most important elder statesmen of real Country Music, that today is known as ‘Americana.’

“Now, I’m so grateful. It’s kind of weird. When I first got sober, I thought my life was over. I mean, I couldn’t even drink a beer. I had no way of knowing my life was just beginning. Once I got in there, I realized what this is about. I’ve got a good life today. I got a career, a wife and an 18 year-old son who’s also playing blues guitar,” Hubbard concluded with a sense of awe.

For Ray Wylie Hubbard, rather than losing anything sobriety gave him a new edge and feeling for his music. With one ear to Howlin’ Wolf and the other to William Blake, Hubbard’s take on country blues continues to a grizzly depth with each new album release. This Pilgrim Grifter’s progress will continue to engage his listeners and challenge new artists to re-think their assumptions about life as a sober songwriter and musician.

For more information on Ray Wylie Hubbard, visit: http://raywylie.com

Sin City Spotlight: I See Hawks in LA
A Turnstyled Junkpiled Interview
By Gerry Gomez, Staff Writer

I See Hawks in LA has blossomed over their 11-year collaboration into the best psych country outfit in LA and finally laid down their reputation as great acoustic performers on their recent release, New Kind of Lonely. In a way, Lonely marks a return to where it all began for the LA band showcasing the guys in a room playing acoustic instruments into a couple of mics. In another way, their lyrics reflect the growth of the band and exposes a more personal and emotional side of the groups songwriting.

On New Kind of Lonely, the band play their way through a bit of Bluegrass, Folk, Roots, Hippie Rock and a touching tribute to friend and fellow musician, Amy Farris. ISHILA visit their usual territory with some fare dabbling in topical and political musings but a few tracks broaden their lexicon on this, their first full-length album of new tunes since 2008.

In acknowledging their role as writers in the folk tradition, the Hawks collectively write about “stuff that matters.” This time around finding that what mattered was reflective of their personal state of mind and the world around them.

“It’s a folk tradition for sure,” said Paul Lacques, lead guitar and co-writer, “There’s only a few people who talk about stuff that matters.”

“When we got together, times became incredibly politically charged. We certainly follow current events. We read a lot. So the darkness of the times just crept into our music. You know? We have to say something about this. ‘This is crazy.’ We certainly didn’t set out to be a topical band but we can’t let this slide,” explained Lacques from the courtyard of his Highland Park home.

“We just try to write what’s on our minds. Sorta free associating,” adds Rob Waller, co-writer, rhythm guitar and lead singer, “But this is one of our least political records. This one is more personal and emotional to me.”

“Which is a departure. This one is very much about our lives,” responded Lacques, and somewhat sarcastically adding in reference to the political stuff, “We might have given up. Maybe its too late to late to save anything.”

The Hawks feed off songs that set off emotions in people. “Humbolt,” “Raised By Hippies,” “California Country,” and “Byrd From West Virginia” – sung about the West Virginia Senator and his opposing the Iraq War yet being somewhat out of touch about a national ban on marijuana are songs that set ISHILA apart from their contemporaries. Their willingness to put themselves out there is a double edged sword though, but the risk they take inspire and reap praise from many.

“I See Hawks in LA are indeed one of California’s unique treasures,” said Dave Alvin of the group.

New songs such as “I Fell In Love With the Grateful Dead,” “Your Love Is Going to Kill Me,” “The Spirit of Death,” and “New Kind of Lonely” will keep people talking about the Hawks. As will their rigorous spring and summer tour dates.

As the Hawks celebrate over 10-years together, it is fun to retell the story of how they came together. That story is one ripe for a 70s era movie of the week:  Friends go out to the desert and talk about forming a band in a style very out of vogue at the time – Country. They put together a few songs, rush over to a friends house who happens to be a guru in their field of music. He sets up some mics, records some demos and the demos end up in another friends hands who plays it for someone who decides to sign them all before even playing their first real gig!

In truth, the Hawks took flight almost before their feathers grew in as they were recorded the first time they ever played their songs for David Jackson, the aforementioned guru, on the day they came to him for advice. The Hawks have been spreading their wings ever since and with Lonely, return back to the nest to deliver an album, literally, 11 years in the making.

“We had always wanted to do an acoustic album” says jovial and thoughtful lead vocalist Waller from the groups central meeting place at Lacques’ Highland Park home, “It was kinda coming back to that original thing. We always play about half of our shows acoustic. And we did a long run at Cole’s playing acoustic.”

TJ's Gerry Gomez with I See Hawks in LA

Waller refers to the downtown pastrami joint where the Hawks cut their teeth and performed religiously for three years every Wednesday they were in town. When asked about their part in the LA roots scene, noting that they came up when the only other group on the radar was Beachwood Sparks and soon after, Mike Stinson, the guys don’t recall too many that did as they did in LA. The Hawks even add that at times they felt fraudulent as players on the fringes of the Country, Hippie Rock, and Folk scenes.

“We just kinda adapt and fit in where we can. We always kinda feel like we’re the bastard child of whatever scene we’re part of. We don’t  feel like we’re leaders of anything,”said Waller.

“I think we’re dabblers. Rob and I have some amazingly similar influences coming from different areas,” claims Lacques, “We’ll take on a straight ahead old timey tune or bluegrass tune and try to do it in that style. We’ll do psychadelic rock song or a honky-tonk song. There really are about 20 different ways to chop up country roots music.”

“A country fruit salad,” Waller added. They all laugh.

Although they downplay their true dexterity, the Hawks have honed their influences into something uniquely special and uniquely LA:  A melding of time, space, style and even language.

“The real country scene in LA was the late 40′s and 50′s and into the 60′s and 70′s and then everything kinda changed when Urban Cowboy hit,” bassist Paul Marshall adds credibly, having been a part of it for a couple iterations, “For years, it was really kinda a wasteland. And then what was cool, was this alternative country thing that developed.”

“It’s not what country was, what I think of as country, but it’s serving a really cool purpose. And the writing actually became even better and kind of expanded,” he continued.

One could say that pretty much sums up I See Hawks in LA’s existence. Born out of a time of bleakness, to rise into a new kind of country – better and expanded upon it’s predecessor. Maybe the Hawks are more appropriately named Phoenix? Or not. Whatever they are, one thing is for certain:  They are a great Los Angeles band.

For more information on I See Hawks in LA visit: http://www.iseehawks.com

Turnstyled Junkpiled’s Wild West Sessions: Gonzo Country in-house performances with some badass Q&A.

What’s your favorite Western Movie and why?
Probably, Unforgiven. The Assassination of Jesse James by the Coward Robert Ford is a close second. The character of Robert Ford reminds me of a lot of my close friends. It’s really something.

If there was a Wild West showdown, which outlaw country pimp (dead or alive) would you bet would win and why?
I think Waylon would be unstoppable. He’s got the craziest look in his eye, know what I’m saying? The lead singer of The Rascal Flatts is my second choice. He really has no respect for the feelings of others. Pretty wild.

What’s the most badass show you’ve seen in Los Angeles recently?
I saw Jonny Corndawg recently. That was badass.

Randy Newman “loved LA.” How do you feel about it?
I’ve met some great folks out here. The Hollywood clubs and their inhabitants make me a little uncomfortable though.

Have you ever written a song about Outlaws?
“Lord Knows” is about Outlaws.

Merle Haggard’s no BS. What do you think The Hag would really say if he saw TJ?
He would say “Aw now this is just too neat…I love it y’all!” Something close to that.

___________________________________________________________________________________________________

For more information on Rod Melancon, visit: http://www.rodmelanconmusic.com and be sure to check out his upcoming show on April 15 at the Coffee Gallery in Altadena.

David Olney: The Stone
By Gerry Gomez, Staff Writer

The Stone, by literary songwriter, David Olney, is his attempt to tell the story of Easter from varying points of view. It poses some  questions as his version of the story gets painted through the eyes of several characters:  a con man, a donkey, a murderer and a soldier. When presented this way, it will surly give one a new perspective of their familiarity of the life and times of Jesus Christ and should make one wonder how accurately the story has been passed over these 2000 years.

“I hit on the idea of writing about the Easter story from the points of view of some of the peripheral characters. How did they respond to these events (whatever they were)?” says Olney.

“From different points of view, a story is told. A picture struggles to emerge. Nothing is proved. Nothing is denied,” he continues.

Olney is known for being a prolific writer and rich, humorous story teller. On The Stone, storytelling and poetry is the main highlight and the album is really a studied work and example of how to tell a thematic story through song. It’s surly a long-thought out work that elevates music to a literate art form.

In “Jerusalem Tomorrow,” Olney presents the story of a “magician” who works his way across the countryside using a cast of accomplices to carry out his carny tricks, ala an early history David Blaine. The song is a sparse, simple acoustic arrangement with tasty playing by Olney, producer and multi-instrumentalist Jack Irwin, guitarist Sergio Webb and bassist David Roe. Their collective playing set an almost theatrical setting to the tale.

“I was taking everything they had to give. It wasn’t all that bad a way to live,” sings Olney as the con man who is making his way town to town promising miracles. Taking pause at the end of the day, the con man meets a villager who tells him of the person who came through the previous month.

“Instead of calling down fire from above,” explains the man, “he just gets real quite and talks about love. And I’ll tell you something funny, he doesn’t want nobody’s money.”

The con, having been shown up by his “rival” decides to hook up with the stranger and the song ends as they head for “Jerusalem Tomorrow,” unaware of what will come of the new partnership.

“Who’s the brains behind this operation?” is the line that the thief uses to interrogate one of Jesus’ followers on the bluesy third track, “Brians.” The song is a bookend to “Jerusalem Tomorrow.” Was Jesus a rabble rouser? In this song, from this characters perspective, yes.

All the songs on The Stone are equally insightful and really painstakingly laid out. In this Easter season, in the year the world is supposed to end, it’s really thought provoking to think of the Easter story from these unique perspectives.

The Stone is worth the investment if your the sort who takes to conjecture about these most significant events in western civilization. Or even a person with an open mind to hear a different side to the story.

Learn more about David Olney at davidolney.com

Kathleen Edwards: Voyageur
By Gerry Gomez
Staff Writer

The best roots songs are so good because of the great stories that drive them. Kathleen Edwards has been writing such songs for years and has been performing them in her own rootsy way. She’s rightfully earned a place on the short list of top ladies in the Alt-Country genre. Others have bestowed that Alt-Country/Country Rock banner on her because she’s released albums over the years spanning back to the hey-day of the genre and her works have been right at home associated with the genre.

“Hockey Skates,” “Back to Me,” “In State,” and “Asking for Flowers” are staples in any self respecting Alt-Country fans’ iPod.  Edwards has lived the life she sings about in her songs, and that perhaps makes her so authentically country: her lyrics sing the truth. On Voyageur, her first album in 4 years and first since leaving her ex-husband and former collaborator Colin Cripps, she bravely moves her music forward from the country musical trappings to a more modern – yet still pure – sound with the help of producer (Bon Iver leader) Justin Vernon and her band mates.

While the arrangements are new territory and not as easy to wrap into, once again, the root of the song being the lyrics, Voyageur is another shining example of Edwards as a self dissecting, soul barring artist akin to the best country artists from the songwriting regard. But beware that this is not a country sounding record.

Kicking off with an uptempo song about moving to America (Edwards is Canadian), “Empty Threat” is the first single besides “Change the Sheets,” that lyrically connects the dots to her previous best work, work that used be be derived from the tumultuous relationship she went through with Cripps. It is however treated with Vernon’s touches that place this song and subsequently the entire album in a pop-rock/modern rock category. “Sheets” swells with pulsing keyboard and a chorus that declares that she intends to start out a new life: “My love is a storm could of broken wills [...] Change this feeling under my feet. Change the sheets, then change me.” It is a song among her best work albeit very evolved from that past work.

The album is an emotional document which takes songs from the lows of her relationship breakup to new highs of her fling with now boyfriend Vernon. “Sidecars” boasts gleefully the emotions Edwards experiences with her new love. It’s a nice place to hear her at. “Wake up, wake up, wake up I wanna take you to all the places I thought we could” … “I was feeling so lost for so long, I didn’t know what to do [...] You and I will be sidecars” The song chronicles the buzz from a day with a new love and is a album standout.

Voyageur, for its part, chronicles the new path and journey that Edwards is on. It’s an apt title. It’s a new sound from a liberated soul who is allowing herself and her art to grow. In the end, you can take the girl out of the country. You can’t take the country out of the girl.

For more information on Kathleen Edwards, visit: http://www.kathleenedwards.com