Tag Archives: Steve Earle

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The Legendary Steve Earle Never Disappoints

May 9th, 2013

Steve Earle and the Dukes – Music Hall of Williamsburg – May 8, 2013


Steve Earle is a lot of different things to a lot of different people. He was first introduced to me as the character Walon on The Wire, the kind-hearted sponsor seeing Bubbles through rehab. More recently he was the street performer Harley on the New Orleans–based, post-Katrina Treme. In the mid to late ’80s, he was a country rocker getting a taste of mainstream success. In the ’90s, he battled his way through drug addiction, becoming stronger in the process, and put out some of the best music of his life—moving much closer to the folk-rock singer-songwriter realm, penning songs designed to comfort the afflicted and afflict the comfortable. Earle’s never shied away from politics, taking on all kinds of activist roles. With his heart on his sleeve, Earle’s an easy guy to like, and through all these chapters of his life, he’s built an interesting persona.

The Steve Earle of today is one happy fellow. It shows onstage, and he’ll be the first to admit it. “This is the best band I have ever had,” Earle told the Music Hall of Williamsburg crowd last night as he introduced the four backing members of his band, the Dukes. He repeated this claim when discussing his inspiration for his latest album, The Low Highway, telling the audience, “I wanted to record an album with the best band I’ve ever had.” This doesn’t feel like hyperbole: The band is perfect for Earle, and it’s a demanding role considering his music hits on just about every genre, seems to involve every instrument imaginable and is as powerful as it is in hard-rocking loud moments as it is in hushed and fragile ones. The back of the stage was filled with an impressive lineup of guitars, mandolins, banjos and just about every other stringed instrument you could imagine.

Earle’s set included favorites for every fan imaginable, classics like “Copperhead Road,” “Guitar Town” and “Hard-Core Troubadour,” plus newer tunes like “The Galway Girl” and “You’re Still Standing There.” Earle introduced his heartfelt tribute to New Orleans, “This City,” as a song that now also speaks just as well to the hurricane-ravaged neighborhoods of our own New York City. For “I Thought You Should Know,” he blew through a gnarled harmonica solo, playing the instrument so close to the microphone that it simultaneously sounded familiar and rough around the edges, with the wailing harmonica sounds barely escaping through layers of distortion and grit. If there ever were a moment to perfectly capture what Earle’s music and life are all about, it was this one. —Dan Rickershauser

Photos courtesy of Mike Benigno | mikebenigno.wordpress.com

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Catch Some Great String Music Tomorrow in Williamsburg

April 17th, 2013

The Devil Makes Three are an enigmatic band. First of all, they have no drummer. And despite the group’s three members—Peter Bernhard (vocals and guitar), Cooper McBean (banjo and vocals) and Lucia Turino (upright bass and vocals)—making their home in Santa Cruz, Calif., they each originally hail from New England. Plus, let’s face it, for a band based in California, they have an undoubtedly nuanced Southern sound, layering rhythm and harmonies over blues, bluegrass, country, ragtime and rockabilly to make their own unique folk-punk blend, garnering comparisons to Steve Earle, the Violent Femmes and the White Stripes in the process. The Devil Makes Three (above, performing “Do Wrong Right” for WNYC FM’s Live on Soundcheck) have put out four studio LPs, plus a live album, Stomp and Smash (stream it below), in 2011. NPR Music called it: “unplugged, yet intense, whiskey-drenched, ramshackle fury.” So it should come as no surprise that the trio has earned a reputation on the festival circuit as a band not to miss. So don’t: Join in on the sing-along fun tomorrow night at Music Hall of Williamsburg.

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Two Americana Legends, One Night

February 22nd, 2013

Buddy Miller and Jim Lauderdale – The Bowery Ballroom – February 21, 2013


The Bowery Ballroom had a couple of seasoned veterans on hand last night: Buddy Miller and Jim Lauderdale. These guys aren’t just pros, but pro’s pros whose résumés include collaborations and projects with a who’s who of Americana giants. With the pedal steel and fiddle from band member Fats Kaplin permeating the set, “Buddy and Jim” mixed up a Cobb salad of Americana, from straight country tunes, like the opener, “I Lost My Job of Loving You,” to a zydeco take on the Johnnie and Jack standard “Down South in New Orleans.” Miller and Lauderdale complemented each other perfectly, like cousins whose reunions are filled with old stories, bad jokes and plenty of name-dropping.

The banter was either canned bits that felt ad-libbed or vice versa—one part Laurel and Hardy, two parts Doc and Merle. The relationship carried over into the music, their voices perfectly meshing whether in harmony, one backing the other, or trading verses between them. The set featured some superlative takes on standards, like George Jones’s “The Race Is On” and Jimmy McCracklin’s “The Wobble,” and material from their decades of work together and individually. The show felt like a story of the history of their ups and downs together, each song an anecdote in itself.

A third collaborator, Miller’s wife, Julie, was there in spirit, mentioned several times as a writer of, as it so happened, several of the stronger songs of the night, including a powerful “It Hurts Me.” But plenty of other friends found their way into the set, from Steve Earle, who was in the balcony as an audience member, to the departed Levon Helm, who had covered Miller’s “Wide River to Cross.” In the end, though, it was just Buddy and Jim (their names, the name of the band and the name of their new record, as they joked). Well into the set, it felt like they had enough material to go on forever, including the groovy honky-tonk of “Always on the Outside” and a bluesier “Vampire Girl,” off the new album—but eventually the fun had to end. The evening was summed up with “The Wobble,” dedicated to Earle, the audience in full-boogie mode, and Miller and Lauderdale finishing each other’s sentences like the pros they are. —A. Stein

 

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Preservation Hall Jazz Band – Carnegie Hall – January 7, 2012

January 9th, 2012


Photos courtesy of Michael Jurick | music.jurick.net

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Two Nights of the Levon Helm Band This Weekend

November 24th, 2010


Levon Helm is a member of rock royalty. He grew up in Arkansas but headed to Canada after high school to join rockabilly-star Ronnie Hawkins’ backing band, the Hawks. Eventually he played alongside Rick Danko, Garth Hudson, Richard Manuel and Robbie Robertson before those five struck out on their own. By the mid-’60s, Bob Dylan was looking to go electric and he decided the Hawks were the perfect musicians to accompany him. While Dylan’s plugged-in takes on his folk classics would eventually gain widespread acclaim, it certainly didn’t happen overnight. As the audience’s booing and catcalls intensified, Helm decided to leave the band rather than face that negativity night after night.

In the meantime, Dylan and the Hawks headed to Europe and then to Woodstock after Dylan had a disastrous motorcycle accident there. While they were in upstate New York, they recorded a slew of material—eventually released as The Basement Tapes—at Danko, Hudson and Manuel’s house, affectionately known as Big Pink, in West Saugerties, N.Y. With things going so well musically, Danko invited Helm to rejoin them and write their own music, and somewhere along the way the band became the Band. They toured and released seven studio albums—including their spectacular debut, Music from Big Pink, and their fantastic sophomore effort, The Band—and one of the greatest live albums ever, Rock of Ages.

With their supreme musicianship, vivid storytelling and three of the finest voices (Danko’s, Helm’s and Manuel’s) in the history of recorded music, the Band went on to influence countless musicians and songwriters, and their songs, including “The Weight,” “Ophelia,” “The Night They Drove Old Dixie Down” and “Up on Cripple Creek,” are an enduring part of the rock canon. But, alas, all good things must come to an end. And so the Band closed up shop at the Winterland Ballroom in San Francisco on Thanksgiving Day 1976. It was, quite literally, The Last Waltz.

Following the Band’s breakup, Helm toured and recorded music and dabbled in acting, appearing in Coal Miner’s Daughter, The Right Stuff and The Three Burials of Melquiades Estrada among others. And after a successful but costly bout with throat cancer, he began to stage monthly Midnight Rambles at his home studio in Woodstock. Helm sings, entertains and plays the drums and mandolin, accompanied by an all-world backing band of his own, led by sideman extraordinaire Larry Campbell and Helm’s daughter, Amy. And if that weren’t enough, Helm has even put out two new albums, the Grammy-winning Dirt Farmer and Electric Dirt, since 2007. But here’s the best part: Levon Helm (above, playing “Ophelia” on PBS) is bringing his Ramble to the Beacon Theatre on Friday, with Steve Earle, and Saturday, with Bettye LaVette. Do your best to make it there. But be warned that your face will hurt the next day from smiling so much the night before. —R. Zizmor