Sausage Grinder: Los Angeles’ all-natural hillbilly and country blues band, combines the traditional sounds of fiddle and banjo breakdowns with the low-down sound of country blues, topped off with a touch of ragtime and hillbilly jazz. The versatile acoustic ensemble features fiddle, banjo, guitar, mandolin, washboard, and a few odds and ends.
Saturday, March 22nd at 8pm
doors open at 7:30pm
Talking Stick Cafe
1411 Lincoln Blvd., Venice, CA 90291
General Admission: $18
FolkWorks members (Friend and above): $16
Online: Click here
FolkWorks PO Box 55051
Sherman Oaks, CA 91413
Information 818-785-3839 concerts@FolkWorks.org
(Click on hyperlink for tickets)
Series at the Talking Stick Café
FolkWorks Benefit Concert April 26th
Swing Riots Quirktette, Sausage Grinder, Nevenka, Tunacious
emcee: Tracy Newman
Rose Garden of Peace Concert May 31st
With Yuval Ron Ensemble
MORE PETE APPRECIATIONS
Waist Deep In the Big Muddy:
How One Song Broke the Blacklist,
Ended the War and Changed America
Waist Deep In the Big Muddy is the Mona Lisa of protest songs, not because it is the greatest antiwar song ever written—though it surely is that—but because it occupies a historical place that will never be duplicated. It is the song Pete Seeger wrote and sang that fully restored his place in the American pantheon and public media after 17 years of being blacklisted from network television. In 1950 The Weavers—the folk quartet he, with Lee Hays, Fred Hellerman and Ronnie Gilbert, founded in 1949 and shot to the top of the Hit Parade with Leadbelly’s theme song Goodnight Irene—were cited by the entertainment industry’s blacklist Red Channels—which in turn gave rise to a book that specifically targeted folk singers called Marxist Minstrels. The Weavers were effectively destroyed just as they were really getting started and saw two years of nightclub and concert bookings cancelled overnight.
Pete Seeger, the only one of them capable of pursuing a solo performing career, never appeared on a network television show until 1967 despite hit songs like Turn, Turn, Turn (the Byrds), If I Had a Hammer (Peter, Paul & Mary), Where Have All the Flowers Gone (The Kingston Trio), Kisses Sweeter Than Wine (Jimmie Rodgers), Guantanamera (The Sandpipers), Wimoweh (recorded under the title The Lion Sleeps Tonight by the Tokens), Tzena, Tzena, Tzena (the Weavers), Woody Guthrie’s This Land Is Your Land and So Long, It’s Been Good to Know You (the Weavers), Leadbelly’s Goodnight Irene (the Weavers) and his own hit recording of Malvina Reynolds song Little Boxes. That’s a dozen hit songs—enough for a Greatest Hits album, which Pete eventually had on Columbia Records—the same label that recorded Billie Holiday, Bob Dylan and Bruce Springsteen.
The Book of Altman: A Review of The Book of Mormon
At the Pantages Theatre in Hollywood
February 5, 2104
An account written by the hand of Altman upon plates taken from the plates of Nephi;
Transcribed by RA in the annum MMXIV.
What can a folk singer say about a Tony Award-winning Broadway musical that is still playing on the Great White Way and also in various touring productions around the country, one of which thankfully landed at the Pantages Theatre in Hollywood, where Jill and I and Paula saw it last night, thanks to my cultured friends Jan and Jerry, who gave us 3 tickets they didn’t need. I’ll tell you what I was expecting to see, based on its creators Trey Parker and Matt Stone’s smash hit TV series South Park, with music and lyrics by Robert Lopez. A foul-mouthed satire of organized religion, belittling the faith of ordinary mortals and bringing to the fore the alternative views of such famous atheists as scientist Richard Dawkins, comedian Bill Maher and the late great critic Christopher Hitchens.
Bob Dylan’s Goal-line Stand for Detroit
Once again my purist friends are out there screaming that the definitive protest singer from the sixties has sold out by doing not one but two Super Bowl commercials—one for Chobani Yogurt by licensing his original recording of I Want You to rev up your taste buds for their tangy, creamy product, and two by appearing in person on behalf of Fiat’s newly purchased car company from Detroit—the one that Dylan’s old confrere Tom Paxton brilliantly satirized back in 1980 with I’m Changing My Name to Chrysler.
As the soundtrack to Dylan’s voice over narration indicates (with his Oscar-winning song from 2000 film, The Wonder Boys) Things Have Changed.
The Music We Danced To, Part 2
It turned out I picked a good time for an unemployed artist to look for work—Democrat Jimmy Carter had instituted a modern version of the WPA—the Works Progress Administration—which during the Great Depression put artists to work across this great land, writers, photographers, painters and musicians being called into service by FDR to use their art in service to their country. It was this program that employed photographer Dorothea Lange to take pictures of migrant workers in migrant camps in California—the place where she took her most famous photograph—Migrant Mother—which became one of the symbols of the Great Depression. Novelist John Dos Passos was hired to write travel guides for different regions of America—and they became indelible portraits of a nation caught—as the late Irish poet Seamus Heaney so eloquently put it—between hope and history. And eventually Woody Guthrie was hired for 28 days by the Department of the Interior to go up to Washington State and write songs for the Bonneville Power Dam Administration—which became his classic Columbia River songs and were finally rediscovered twenty-five years later and released on Rounder Records.
TITLE: EVIE LADIN BAND
ARTIST: EVIE LADIN BAND
LABEL: EVIL DIANE RECORDS
RELEASE DATE: 2012
You don’t often hear words like “traditional,” and “authentic” paired with “innovative” and “unique,” but Evie Ladin has brought them together brilliantly in the self-titled, debut album of the Evie Ladin Band, and the result is truly a high point in new old-time music.
If you are not already familiar with Evie Ladin’s music, don’t let the term “debut” fool you. While the four multi-instrumental band members – Ladin, Keith Terry, Dina Maccabee, and Erik Pearson – have been playing together for three years, they are all seasoned professionals. And the polyrhythmic sound of Ladin’s clawhammer banjo, her clogging, and her beautifully modulated voice, have infused five previous albums with The Stairwell Sisters, as well as the 2010 release of her highly acclaimed solo album, Float Downstream. But in the 13 new old-timey, Appalachian-flavored tracks of Evie Ladin Band, Ladin surpasses herself.
What makes this album SO good? First there are the songs themselves: eight delicious, rootsy and rhythmic originals – six by Ladin, one by Maccabee, and an instrumental by Pearson; and 5 inspired covers (including songs from Lotus Dickey, Walter McNew, Carter Family, Ewan McColl, Dock Boggs, and John Ashby).
Then there is Ladin’s voice, more fluid and versatile than ever, sailing effortlessly on and around beautiful melodies with a seemingly effortless combination of strength and sensitivity. When joined in harmony by the silvery vocals of Dina Maccabee, the result is pure honey.
And then, there is the band itself, each member adding a wealth of talent to the mix: Dina Maccabee on violin and harmony vocals; Erik Pearson on guitar, banjo and harmony vocals; and last but far from least, Keith Terry on bass, cajon, pizza pan, metal toys, Engelhart Gankogui (a type of African bell), bass harmonica, body music (aka, body drumming) and harmony vocals.
A renowned percussionist and rhythm dancer, Terry, in fact, provides one of the most defining elements of this album: an incredibly compelling and often complex rhythm. And for Ladin as well, who started her career as a percussive dancer and choreographer, the rhythm is intrinsic to the sound of Evie Ladin Band (which Ladin produced, and Terry co-produced with Ivan Rosenberg).
The importance of this unique and varied percussion is evident from the very first track, Got You On My Mind (by Lotus Dickey). This catchy tune opens with just Ladin’s voice, which within five words is joined by Terry’s rhythm on metal toys. Only after the first verse of just vocals and percussion does Ladin’s clawhammer banjo join in and augment the rhythm; it is followed, in turn, by harmony vocals, violin and guitar. Like an underground river that surfaces, vanishes, and then resurfaces again, the intricate metallic rhythm appears and disappears, reappearing to play behind the instrumental solos. The result is a simple, lovely melody that builds into something very diverse and exciting.
This skillful building, layering, and counterpoint of voices and instruments is evident throughout the arrangements on this album. For example, in the second track, Come Down To The Door Of My Home, Ladin’s original composition achieves a richly textured sound, with her rhythmic, funky banjo beat answered by the fiddle, and her vocals swelling to 3-part harmony as the song progresses.
At this point, I should probably point out that every song on this CD is a winner. But I do have my favorites, of course, and they are all originals by Ladin. She is, among her many talents, an excellent songwriter, and Track 3 makes that very clear. He’s Not Alone sounds like a classic to me. Sung and played like an old-fashioned country song, with a drag and a catch in the voice, a great slide guitar, and harmony in all the right places, it packs an old-fashioned, true-to-life, emotional punch. Dime Store Glasses is another “classic-in-the-making.” In the country tradition of writing upbeat songs about heartbreak, this song is energized by a wonderful, prominent bass and body music. And for something “entirely different,” there’s Ladin’s quirky novelty song, Coffeeshop, with its interesting rhythms, fun lyrics and contemporary theme.
Finally, I would be remiss if I did not call out one more song on this album. It is the song made famous by Roberta Flack – The First Time, by Ewan McColl – now reborn and transformed by the Evie Ladin Band. Whether you have never heard the song, or you have it stored away among your long-time favorites, it will, pardon the pun, be like hearing it for the first time. Roberta Flack’s version was slow and sensual, tinged with melancholy. But not anymore! In Ladin’s wonderful rendition, you will hear – for the first time – the pure joy in this song. It is a celebration of love, a quickening of the senses, that is simply uplifting.
I could go on and on about this gem of an album, but in the last analysis, you must hear Evie Ladin Band for yourself. It’s just that special.
A New York transplant to the tiny town of Carpinteria, CA, Jackie is a freelance writer by profession and a singer-songwriter by passion. Her newly-released third album of original Folk/Americana songs was among Top Folk Albums of 2011 on the Folk Music Radio Airplay Charts. Jackie is also an active member in such acoustic music communities as SummerSongs, SongMakers, and FARWest Folk Alliance.