After a glorious weekend that had temperatures pushing 80 degrees, the forecast for Fat Tuesday was grim. Wet, cold, and rainy were the adjectives of the day. But this being New Orleans, and Carnival coming but once a year, local revelers rallied while thousands of tourists opted for the warmth of their hotel rooms and bars.
At 7 AM on Mardi Gras, the rain had not yet begun. But the sky to the west was as dark as dusk. The temperature was 36 degrees. It would not break 40 degrees all day, and the rain began to come intermittently and then steadily around 9 AM.
The Society of St. Anne pushed on through the Faubourg Marigny with many revelers trimming feathers and other easily sodden accouterments from their costumes. Others improvised with raincoats, ponchos, and the ubiquitous umbrellas.
Music legends Rod Stewart and Carlos Santana are teaming up for a summer tour that is sure to rock your socks off.
Well, it may be too hot to wear socks in the summer, but this is a tour that any rock fan wouldn’t want to miss. Rod Stewart, a man who began his career nearly five decades ago and still has it going on, as evidenced by his 2013 release, Time, and multi-Grammy winner, legendary guitarist Carlos Santana, are sharing the stage for a tour titled “The Voice. The Guitar. The Songs.”
Two of music’s greatest icons. One stage. Eighteen cities. It will definitely be a night to remember. Though tickets don’t go on sale until this Friday, March 7, we have your hook-up to scoring tickets to a show in the city and venue of your choice.
The Gothic Americana band will celebrate the release of Blame It on the Weather at Le Bon Temp Roule. The six-song EP was recorded at famed Piety Street recording studios. It was engineered and mastered by colleagues of Piety Street producer Mark Bingham—Wesley Fontenot and Paul Marinara respectively.
The band was recently awarded a Threadhead Cultural Foundation grant. Michael Cain, the songwriter of the Parishioners, has a large extended family in New England, but in a strange quirk of fate he recently discovered that his maternal lineage is Acadian. He has distant cousins that live in the Cajun parishes.
Cain will use part of the grant funds to explore this part of his family history and to investigate his familial ties through several generations. New songs inspired by this quest will complete the full album release.
A night of rhythmic genius, lyrical poetry, and harmonic singing will take place this Saturday at The Dunes.
Headlining the talented group of musicians is Cuddle Magic. Cuddle Magic is composed of six multi-instrumentalist singer-songwriters known for their close-knit antics and their unique genre of baroque dance music.
From Brooklyn, they bring with them the lovely Rachel Ries, whose sound resembles a cross between Regina Spektor and Maria Muldar. Ries will be promoting her release Ghost of a Gardner, which exudes delightful melodies mixed with a spice of city grit.
Twenty long years ago, when humans still walked on all fours and Screamin’ Jay Hawkins was President, Pavement’s Stephen Malkmus was the undisputed Grand Poobah of Indie Rock. Pavement had just released its slacker masterpiece, Crooked Rain, Crooked Rain, with its great anthems “Gold Soundz,” “Range Life,” and “Cut Your Hair,” all of which demonstrated Malkmus’ uncanny ability to write bewitching songs complete with sly word play that sounded, well, tossed off. Like in a half hour, tops. While stoned. And riding his skateboard.
But two decades is a long time, and Pavement long ago sulked its acrimonious way out of existence, with Malkmus in the tour bus with a coat over his head, refusing to speak to his band mates while calling himself “the little bitch.” This would have been when—1999? By which time Pavement had been together 10 years. According to the calculations of some creationists, this made them even older than Earth. Me, I believe Malkmus was just burned out. He needed a new start, a shift in musical direction, and some fresh faces around the 4-foot tour bus bong. Like the song goes, flux = rad.
For a so-called slacker, Malkmus sure didn’t waste any time, putting together The Jicks by 2000. Since then the Jicks—they’re Malkmus on guitar and vocals, Mike Clark on keyboards and guitar, Joanna Bolme on bass, and Jake Morris on the skins—have released six very fine LPs, although I don’t think I’m in the minority when I say their recorded work hasn’t quite measured up to Pavement at its finest. What once sounded effortless now sounds labored, although to Malkmus’ credit the labor seems like one of love.
Fade in: Interior, Doctor’s office, Me with Doctor
Me: There’s something terribly wrong with me. I’m greenish. My eyes look funny. And I feel like… someone else. And I’ve been (I vomit in doctor’s face.) Excuse me. Vomiting in people’s faces. It started last Tuesday, March 4, when I saw Public System Broadcasting at the Black Cat…
It has always been my desire to review an electronica duo whose members included one J. Willgoose, Esq. and his faithful companion, Wrigglesworth. I never thought in a million years I’d get the opportunity, mind you, but fate plays strange tricks. I never thought I’d wind up married to porn star Tawny Buttocks, either. I don’t mean to brag, but some of her bedroom maneuvers, like the Reverse Half Cuban Eight, have only ever been performed at world-class aerobatics competitions. I could describe the Reverse Half Cuban Eight to you, but you would croak on the spot from sheer jealousy.
J. Willgoose, Esq. and Wrigglesworth make up the London-based duo Public Service Broadcasting, an uncommon adventure in music making. Willgoose plays stringed instruments, including the guitar and banjo, and is also responsible for sampling and electronic instruments. The trusty Wrigglesworth plays drums, piano, and electronic instruments.
Ronnie Hudson might not necessarily be a household name, but you certainly know his work. Post-Motown boomers and golden-age hip-hop enthusiasts alike remember the hook “California knows know to party” from the electric bass-rich funk classic “West Coast Poplock.” And most folks who know what N.W.A. stands for might know an interpolation of the famous verse in the Dr. Dre and Tupac hit, “California Love.”
Originally from DC, Hudson is a contemporary of the late Troutman brothers (of Zapp) and mid-Atlantic legend Chuck Brown. He once worked for Isaac Hayes at Stax Records in Memphis as an in-studio player (notably on the Shaft theme.)
The bassist and singer-songwriter recently remastered the 1982 West Coast anthem and released Westcoastin’, an extended remix of the funk hit, with the help of DJ Flash. The mix features talent from the L.B.C. (Snoop Dogg) to Oak Town (Too Short). Hudson took a moment out to talk about his career and latest projects.
Tell me about your musical roots?
Actually, I was born and raised in Anacostia. At the age of 13, I took an interest in music and used to bang around on the guitar some. Later on, I became a bass player by way of a friend named Charles Harrington. From that point on, I became a pretty popular musician around the DC area.
You worked with Chuck Brown while in DC, yes?
When I started working with Chuck, he was coming up with the song “Bustin’ Loose.” I did part of the recording, but I never completed it.
“I turn 29 in a week, I’m five years older than the rest of the guys in the band and I’m guessing that I’m the only one who still remembers vinyl as a main musical format before CDs were introduced… only just, mind you.”
“Having said that, I don’t exactly have the those warm fuzzy memories that people talk about (usually in the lead up to Record Store Day) of being a young kid digging through their parents’ record collection and the excitement of hearing the crackle when the needle hits the vinyl. If I’m being honest, my first experience with vinyl was a yellow 7″ of ‘The March of the Bunnykins’ by the Royal Doulton band and the Thunderbirds theme tune on flexi-disc cut off the back of a Frosties cereal box.
Music wasn’t such a big deal in my house when I was younger—my old man definitely got me into Pink Floyd, but that wasn’t until he bought his first CD player and his first order was Dark Side of the Moon and Wish You Were Here—2 records that definitely drove me to pick up a guitar in the first place. The only vinyl record I remember playing a lot of was Michael Jackson’s Thriller, which would have been played so often that I probably wore the grooves out.