A TRIBUTE TO THE REPLACEMENTS: Celebrating 25th Anniversary of Tim
89.3 The Current and City Pages present
A TRIBUTE TO THE REPLACEMENTS:
Celebrating the 25th Anniversary of Tim
A PERFORMANCE OF TIM FROM FRONT TO BACK WITH SPECIAL GUEST VOCALISTS
Performing in the Mainroom: THE HONEYDOGS, PINK MINK, THE WHITE AND LAZY ALL-STARS featuring members of Chooglin, STORY OF THE SEA featuring David Campbell and Jim McGuinn, COMMUNIST DAUGHTER, THE GOONDAS, SEX RAYS, SONS OF GLORIA and more
Performing in the 7th St. Entry: STOOK! AND THE JUKES, ADAM LEVY, BETHANY LARSON AND THE BEE’S KNEES, ELIZA BLUE, GINI DODDS, JOHN SWARDSON, ASHLEIGH STILL, DAN ISRAEL, RYAN PAUL, MAYDA, BRIANNA LANE, MARTIN DEVANEY and more
Guest Vocalists: Arzu Gokcen (Pink Mink), Ben Kyle (Romantica), Brian Vanderwerf (Chooglin), Dale T. Nelson (Otto’s Chemical Lounge), Dude Weather (Jimmy Gaines), Janey Winterbauer (Astronaut Wife), Jim Walsh, John Solomon (Communist Daughter), Josh Grier (Tapes ‘N Tapes), Justin Pierre (Motion City Soundtrack) and more
A benefit for the Twin Cities Music Community Trust
What Comes After. It’s not clear if Adam Levy, frontman and creative force behind The Honeydogs, meant the title of their 10th studio release (and first full-length effort since 2006) as a statement or a question. The album’s songs merge simpler lyrical content of early works with the deceptively sophisticated music making of The Honeydogs more recent offerings. Written in a short spell and recorded in just 5 ½ days, these lilting, memorable tunes lent themselves to a bare-bones recording approach. With shades of Leonard Cohen, Nilsson, Nick Drake, and Tony Joe White the band has created a soul folk and country record tracked as an ensemble with minimal overdubs.
Despite it’s sense of ease, the album still brings moments of unabashed rock, including the impassioned title track and the psychadelic prog number “The Devil You Do”. On What Comes After, the band truly marries it’s original roots sensibility with complex orchestral pop and soul arrangements. After 16 years together, the band has weathered successes and missteps, raised children, seen loves come and go, and throughout, thrived as an ensemble even when it seemed that no one was noticing. Yet with their maturity and experience, Levy never lets the band assert conceit – instead of answers, What Comes After asks questions, ponders the little things, and carries the listener along with gently lingering melodies and poetics. Sometimes it is the simplest of things that stay with you– and this collection of songs will surely cling to your heart.
Pink Mink was what happened when everyone was making other plans. Christy Hunt had returned from 2 years of touring as the guitarist for the Von Bondies and posted a defeatist post about quitting music and going back to school. Longtime friend Arzu Gokcen saw this post and threatened to lock her in a closet with her guitar until she changed her mind. The two, at similar crossroads in their musical paths, decided to give playing together a shot. And it worked beautifully. While jamming in Christy’s basement, they added seasoned engineer and producer Jacques Wait along with drumming ace Charles Gehr and soon the foursome found themselves forming a band – and February 2010, Pink Mink was born.
Having the history of all taking part in previously successful outfits (Von Bondies, Selby Tigers, Ouija Radio, etc.) it took no time at all for word to spread about this new formation, and Pink Mink found themselves playing festivals and big shows after barely writing songs for six months. Even with all the attention, they were humbled and surprised to have landed the coveted “Picked To Click” honor in City Pages magazine just a short 8 months after playing their first chords together. All this, and their debut album was nowhere near being finished yet. Finally, after a little over a year of being together, Pink Mink regionally-released their self-titled debut in July 2011. The celebration culminated as the band held their release party on a riverboat on the rivers of the great Mississippi. Being known for throwing a grand party, the “cocktail cruise” did not disappoint. Beyond the party reviews, the critics and fans had much praise for the debut album. A trip to SXSW and several Midwest shows and festivals later, Pink Mink is now taking the album out nationally and will hit radio in February 2012. Quickly thereafter a 7″ vinyl will be coming out on Kiss Of Death Records and the band will hit the road in support of both releases.
Bandmates since childhood, Singer/Guitarist/Frontman Adam Prince and kid brother/drummer Ian Prince grew up in a musical family in Michigan’s Upper Peninsula. A grown-up move to the Twin Cities and various stints in well-known local bands (Manplanet and Houston) eventually led them back to what they know best: each other. They began Story of the Sea as a guitar and drums two-piece, initially noted for Ian’s famous airtight skills on the kit. The brothers then added stand-out bass talent John McEwen from Align to record their first LP.
They’ve been referred to as “genre-hopping” which is true enough, I suppose. There are shades of Jawbox’s trademark onslaught and the similar stage power of frequent bill mates The Life and Times. But there’s also The National’s remote, murky lyrics, and Nada Surf’s soft shimmer, even a Strokes-esque bounce here and there. Their sound is more an amalgamation of their vast personal influences than a pinpointed preexisting one. At times propulsive and anthemic, perfecting the tension and release of great 90’s rock. Other times studded with bouncy Curelike keyboards or a winning Squeeze cover. Chewy pop nuggets to soothe even the most jaded indie critic. At heart they’re a capital-R rock band; further blessed with shiny pop refinement, subtle soul roots and grooves, and geeky music-store talent. And at their best, they’re a capital-L live band. Ian’s knack for crafting perfect setlists makes for a brawny rumble of a show: each one different from the next, crowdwinning all.
David Campbell is host of "Radio Free Current," Saturdays 7-11 p.m. and "The Local Show," Sundays 6-8 p.m. Campbell is a long-time veteran of the Twin Cities scene. A fan, musician, record store clerk, record label staffer, and a 10-year staffer of KQRS and Drive 105's "Homegrown," Campbell's love for Minnesota music makes him a perfect fit for The Current.
Program Director, The Current, Minnesota Public Radio
Jim McGuinn joined the Current in January 2009 as Program Director and on-air host, moving to the Twin Cities from Philadelphia, and WXPN. From seeing the Clash for his first concert, Jim has been hooked on rock and roll-- and whether it was radio programming, playing bass, or even teaching university level courses like Rock and Roll Cinema and Radio History. Jim has received numerous accolades for his innovative programming, and was even named Best AAA Air Personality in 2008 by Radio and Records. He lives in Saint Paul with his wife Christine, son Jameson, and cat Sylvia.
In the mid 2000’s a young Johnny Solomon was a fixture in the tight knit Twin Cities music scene, forming the angular indie pop band Friends Like These and touring extensively, he received critical praise from far flung sources such as Time Out New York, the College Music Journal and numerous local articles and accolades, including a City Pages cover story that looked like the beginning of a promising career. The rising success of his band masked his rising struggle with addiction and mental health problems, and quickly eclipsed his career, landing him in jail. By the end of 2007 he had retreated to a small town across the border in Wisconsin where he assumed his music days were mostly over.
But when he moved out of the city his demons followed him. Plagued by his continuing troubles, he spent his nights writing and recording what he thought would be his own eulogy, songs about lost love and lost chances. It wasn't until he met a young singer named Molly that his collection of songs became the beginning of something new. Promising to sing with him if he got clean Johnny began the long road back to music and recovery.
Calling their new band Communist Daughter, they released their debut album Soundtrack to the End in 2010 making a splash in the Twin Cities and nationally, premiering on Fader, with two #1 singles on Minneapolis’ national taste-making station the 89.3 The Current, two songs featured on ABC’s Grey’s Anatomy, and being named one of Pro Tool’s top 5 emerging artists, and NPR’s favorite in-studio sessions of 2010 it was a promising start. Johnny then put all of it aside and checked himself in to rehab. Now clean and sober, engaged to that young singer Molly Moore, and supported by a group of musicians who struggled right alongside him, Adam Switlick, Al Weiers, Jonathan Blaseg, and Dan Demuth & Dillon Marchus; Communist Daughter is set to release a new EP and bring their heart-on-their-sleeve sound to a national stage.
Lions & Lambs hit stores on July 10, 2012. A collection of deeply personal songs about addiction, regret and redemption, this release hopes to introduce the world to a clear eyed Johnny Solomon. Layers of instruments swirl around layers of lyrics that go deeply personal pulling listeners to their own memories of heart ache and heart break. Reminiscent of The Shins and Wilco or the Beach Boys and Blitzen Trapper, Communist Daughter and the Lions & Lambs EP will put Johnny Solomon’s hard charging band on the forefront of critics 2012 lists.
A glazed roll of the eyes, a hiccup, and a slight stagger. Brenden Green spins his head, then collapses to the ground and writhes on the stage, his clothes ripped and tattered, his feet bare, as he wraps himself up in his mic cord and nearly strangles himself with it. All around is ear-splitting noise, an unholy, raucous mixture of whiskey-soaked blues and rock 'n' roll from a guitar turned up to 11 and a drummer wearing only his underwear (plus a flurry of leg kicks thrown in by the bassist, just for good measure). Each performance by the Goondas is a shit show and a work of art rolled into one, fascinating in much the same way as a car crash, fueled by chaos and the sort of careless self-endangerment that has always made rock music so thrilling—and which leads, invariably, to Green scaling the wall and teetering unsteadily by the ceiling. His bone-jarring crash back down to the stage is unavoidable, and so too is the realization that few bands could pull off such stunts. Fewer still could make such an entertaining habit of it. [Best Live Band 2011, City Pages]
Sun Ray a.k.a. "Joe Hastings" stepped out of the C.C. Club in Minneapolis (mid morning before their first rehearsal) with Joe Holland and said, "THE SEX RAYS!". That was it! The beginning of a cool band with an agenda, to play original retro-vibe music with an intensity that is unbridled, and pushes rock and roll as deep as it can reach. With the first incarnations of the band being a legendary "Link Wray Tribute Show" in early summer 2010 with drummer Ben Crunk adding in his superb style behind Sun Ray's (Joe Hastings) sneering guitars and Joe Holland's throbbing mass bass tones. The band is now a full fledge show of true intensity and fun conjuring psychotic beach dance party to raucous rock-a-billy stylings. A band that's not to be missed if you can get a chance to see them...
"The Sex Rays are cool, in a '60s/'70s way. Best described as Sex Pistols meets Link Wray, they play rock 'n' roll party music." - Cyn Collins, KFAI DJ [City Pages]
Songstress Bethany Larson reaches to new lengths with the first full length release, When We Reach the City. This follow up album to Bethany Larson’s first EP release Sticks & Stones includes a brand new backing band, The Bee’s Knees. Bethany Larson & The Bee’s Knees bring us through the tides of a relationship, heartbreak then up to selffulfillment. “Don’t You Want to Know?” grooves with a great rhythm section featuring Brennan Goetzman on Bass and Sara Horishnyk on Drums. Brother Chris Larson backs up Bethany’s vocals with boldness and assurance. Throughout the album Bethany exudes confidence, poise and commitment to her songwriting.
Raised in Austin Minnesota, Bethany grew up a preacher’s daughter with three older brothers. She began singing with the church choir at the age of five and picked up guitar at fifteen. Moving on to college, Bethany maintained a love for music while studying classical voice. She began performing at more traditional venues in 2006 such as The Acadia Café. Since then she has moved up the scale, most notably performing for the debut of The Southern Songbook “Lush Life” with local band Heiruspecs, backing her on the jazz standards “My Funny Valentine” and “Someone to Watch over Me.” When We Reach The City might be a sophomore album for Bethany, but it shouldn’t be overlooked. It retains all the trademarks of a sophisticated musician. Recorded at Humans Win! studios, this album brings Bethany Larson & The Bee’s Knees to the forefront of the Twin Cities music scene.
Trained as a classical violinist, Eliza grew up listening to folk and blues on her Fisher-Price record player, but had little vocal instruction. She took up the fiddle after falling in love with old timey music and soon began writing songs of her own. Guitar came next, and then mandolin and banjo. Her music regularly draws comparisons to Gillian Welch, for it’s homage to Appalachian roots, but the quality and timbre of her voice call to mind some of the great jazz vocalists.
“I’m in love with that banjo-fiddle girl,” said veteran Chicago rocker Ike Reilly, upon hearing Eliza Blue play for the first time at the Parkway Theater in Minneapolis in September, 2008. That Reilly singled out Eliza for his smart-ass praise was noteworthy, as the stage was crowded with world-class talent, including Reilly, Billy Bragg, the Roots’ Boots Riley, Rage Against The Machine’s Tom Morello, and Minneapolis songwriters Jennifer Markey and myself.
Reilly isn’t alone. “I’m in love with Eliza Blue,” or something close to that, has been a typical response to the haunting, timeless music Ms. Blue has been casting out in Twin Cities clubs, pubs, and theaters over the last few years. Now the rest of the world will discover her organic magic, as Eliza releases her most full-bodied work to date, The Road Home.
“I recorded almost all the album in the attic of my apartment with one mic and a Mbox mini plugged into a laptop,” said Ms. Blue. “When I first began playing my music in public I was plagued by intense stage fright. This carried over into the studio. I decided to buy some basic recording equipment because I wanted to hear what I would sound like if no one was listening. The Road Home is the result.”
Somehow, that setting translates to the sound of The Road Home, which kicks off with the plaintive “Ask Me Dance” and concludes with a reprise of the same song, this time with a ‘choir’ of songwriter friends. The journey – from solo voice to concluding chorus – is an apt one for Eliza, whose singular artistry coupled with communal warmth echoes around the Twin Cities music scene.
“There were no expectations with this album when I started, so, in a way, it’s the truest thing I could say, or play, or sing. The opening lines from the record are ‘What is a body, a house for a soul. What is a road but a way to get home.’ Finding peace inside your own skin, finding your own truth - for me, that’s the journey.”
So what happens when the British invasion meets alternative twang? Fox-hunting jackets and cowboy hats? No, that was The Village People. An eclectic style with the potential for wide appeal? Right-o, partner.
Gini Dodds, chief songwriter for The Dahlias, has been inspired by The Who, Neil Young, The Kinks, The Band, Elvis Costello, Tom Petty, The Pretenders, Lucinda Williams, The Hollies, The Byrds, Warren Zevon and The Raspberries to name a few. But it's what she's done with those influences that tells the real story. After taking a songwriting course taught by Ray Davies, Gini began putting her nose to the grindstone and found her own voice.
Although Gini's songs are as diverse as the genres she pulls from, her use of sophisticated melodies and arrangements is a unifying theme. Her lyrics are intelligent and soulful; a rare case when an artist was actually ready to record a first album that was bursting at the seams with great songs. Sweet Christine, a song off her first CD, Mellowdrama, was a winner in the 2001 Nashville Songwriters Assocation songwriting contest. She has also been a finalist in the International Songwriting Competition on more than one occasion.
Gini Dodds sings from a woman's point of view, but her stories have such a timeless and universal quality that anyone who listens gets pulled in. The melodies alone, along with the sound of her distinctive voice, are enough to make you listen to what she has to say. Stylistically and vocally, she has been described as a cross between Chrissie Hynde and Lucinda Williams. The Dahlias perform around the Twin Cities and are just finishing their third album, Jangle Twangle. Gini also does solo acoustic shows featuring both her Brit pop and alternative country material.
The Dahlias are Gini Dodds (lead vocals, rhythm guitar), Jeffrey Willkomm (bass), Jon Larson (keys), Terry Isachsen(lead guitar), and John "Bongo" Haga (drums).
The guy and his guitar (and sometimes his backing band) has been done to death, but every so often something new comes along and demands that people take notice. John Swardson and Get Gone are the latest band in this vein to rear their bearded, denim-jacketed selves, and have quietly started garnering accolades. Swardson and company have played only a handful of live shows in the past couple of years due to multiple lineup changes, but this stellar dream of a triple bill should finally start the ball rolling the right direction. The sharp lyrics and occasionally quirky arrangements should quickly lay to rest any "Oh, it's just another guy strumming his guitar and wailing about life"-type reservations you may have, and by the end of the set you'll find yourself wanting more. It's easily accessible while not having been constructed out of easily identifiable, recycled material. Sure, the usual influences are there, but they're referred to on the sly, instead of being used as a shopping excursion. [Pat O'Brien, City Pages, March 2009]
I’ve taken to introducing Ashleigh Still as “the Eva Cassidy of Woodbury,” because her soul – even more so than her stunning voice – recalls the late great D.C.-area thrush’s depth of feeling. Which is to say that Ashleigh sings from a deep place informed by her hardscrabble experience as a gospel-trained, church-raised single mother of two whose fashion photos could grace the cover of either “Bust” or “Glamour.” (When asked how she knows so much about men, she recently said, “I don’t! It’s all imagination…”)
But beyond her outer beauty and the wisdom that comes from the day-to-day struggle of making a living for her and her kids, there is an inner flame that burns brightly and has something to say; something about what it’s like to be a woman trying to dig out from the conformity of society, religion, and family. In that sense, Ashleigh also reminds me of Anne Sexton and Billie Holiday. Like those two express-myself-or-die classic talents, she manages to stop time when she opens her mouth/heart, and we’re all the richer for it. [Jim Walsh, Summer 2009]
Dan Israel’s not your average rock star. Or maybe he’s a little too average. Or maybe he’s not really a rock star at all. A lot of people just know him as that kid from St. Louis Park, Minnesota, who grew up to be a husband, parent of two, and state worker. He rarely goes out, doesn’t keep up on the latest trends, barely knows how to burn a CD on a computer, and is hardly on the cutting edge of anything. And yet, the dude can flat-out write a song. They certainly thought so in Austin, Texas, where he was named one of that music mecca’s Top 15 songwriters (along with heavyweights like Alejandro Escovedo) in 1995 during Israel’s brief tenure there. They certainly think so in his home state of Minnesota, where he was named Songwriter of the Year in the 2006 Minnesota Music Awards.
Backed by his new band the Cultivators, Israel released a string of critically-acclaimed albums in the late ‘90s and ‘00’s, with 2000’s painfully-honest solo acoustic outing Dan Who? stirring up serious buzz after St. Paul Pioneer Press music critic Jim Walsh raved “Somebody buy a billboard, hire a blimp and give this guy his due already. His name is Dan Israel, one of the mad ones, one of the strugglers, and he just made the record of his life.”Drawing comparisons to Freedy Johnston, Tom Petty, Randy Newman, Elvis Costello, and Wilco, the songs and discs kept coming, and so did the praise, if not the sales. Lauded by national publications like No Depression, Paste, and Performing Songwriter, and even receiving a 4-star review in the UK’s Uncut, Israel continued to cement his reputation, as he garnered opening spots for the likes of Morrissey, the Tragically Hip, Loudon Wainwright III, Iris Dement, Todd Snider, Marshall Crenshaw, Ramblin’ Jack Elliott, and yes, Foghat, Rick Springfield, and Blue Oyster Cult (true!).
He has fans all over the world, gets airplay in 32 sovereign countries recognized by the United Nations, has toured the UK and all over the U.S. of A., has showcased numerous times at SXSW and other industry conferences, has members of the Jayhawks, Son Volt, the Honeydogs, and many other notable bands play on his albums, and yet Dan Israel is just, well, an ordinary guy. Sort of. But now this “ordinary guy” returns with his 11th album, Crosstown Traveler, which demonstrates once again why Dan Israel is anything but ordinary. The songs virtually bleed over with pain, joy, frustration, wonder, and heartache, all backed by shimmering roots-pop production and set to indelible melodies that set up shop in your subconscious and resist attempts at eviction. Featuring ten songs that range from joyous odes to his young daughter (“I’d Never Make it Through” and “Second to None”) to staring-through-the-looking-glass takes on depression and mortality (“Up to You” and “No Closer to Home”), “Crosstown Traveler” is alternately downbeat and uplifting, soaring and crashing, and finding Dan Israel to be, at the ripe old age of 40, just now finding his stride.
4’10 ft and fit to slap some funk and attitude in some pop face! This young Korean American pop artist hails from Minneapolis, MN. After a summer of touring the Midwest, Europe, and South Korea, MAYDA released her second full length album, Tusks in Furs, with the help of world-class drummer, Michael Bland, DJ Chris Neviator, Sonny Thompson, and Tommy Barbarella (Prince, Soul Asylum, Nick Jonas & the Administration). Teaming up once again with producer, Bland and company, the album will continue the new brand of funk pop that remains to be a mystery to name yet rightfully belongs to the self-taught songstress herself.
She has written and played with the Sugar Divas, Jellybean Johnson of THE TIME, Chance Howard of THE TIME and PRINCE, Phil Hansen, Word For Word, the Boy Sopranos (Doomtree Crew), Soul Asylum, and many more. Her music has gained local and national recognition. After touring in South Korea with the hip hop group Alliancen (Denmark), she has continued to work in and out of the studio. Featured on The Rachael Ray Show, Good Morning America (MARCH 1st, 2007), Radio K, Channel 4, KARE 11, and mentioned by writer Jim Walsh of The Mad Ripple, Mayda represents a new wave of Twin Cities music.
Brianna Lane is a gifted singer/songwriter in true Americana form. She writes and performs on an acoustic guitar as well as a banjo, crafting songs that are clear-eyed and pure—with an integrity derived from her gritty, unflinching emotional honesty. Long time music-writer/author/rock-journalist Jim Walsh recently wrote that Brianna Lane is “…a star in the making. She’s poised, ambitious, a great writer, a soul singer of the first order, and an accomplished guitarist.” (Star Tribune)
Lane grew up in Minnesota and still calls Minneapolis home. In her eight years of touring Lane has shared the stage with Billy Bragg, Gillian Welch & David Rawlings, Colin Hay, Dar Williams, Patty Larkin, The Weepies, Jennifer Nettles (of Sugarland), and numerous other well seasoned musicians. She has also shared powerhouse, leg-powered bicycle tours with Signature Sounds’ artist Peter Mulvey. Lane has released three full length solo records and one duo EP with Cahalen Morrison as “Harbor Collective”. Her latest full-length CD is entitled Let You In.
Martin Devaney has always embraced his local identity, literally dubbed the Mayor of St. Paul by friends and compatriots in the music scene. A classically trained musician with a jazz sax background, the accomplished singer-songwriter got his start playing with revered hip-hop ensemble Heiruspecs before embarking on a solo career. After self-releasing an EP in 2001, Martin followed with four full-length albums, each garnering more praise and attention from press and fans. Described as “a charming, bushy haired, sweet voiced tunesmith” by No Depression, Martin became quickly known for his poetic, yet unpretentious songs and inspired live performances.
Now, over four years after his last release, Martin Devaney unveils his best work yet. The West End, another project with Mark Stockert and Underwood Studios, features an all-star cast of musicians Dave Boquist (Son Volt), Steve Murray (Molly Maher and Her Disbelievers) and Mick Wirtz (Bellwether). It also highlights the long-time collaboration with Jake Hyer (vocals, violin, mandolins). Harmonies with Hyer provide the bread and butter to Devaney’s artful, sincere songs, and obviously guided much of The West End’s creative energy. In addition to his own band, Devaney plays sax with Twin Cities’ indie-folk darlings Roma Di Luna, recently mentioned in Rolling Stone, and heads the local rock band Crossing Guards. In the past decade, Martin Devaney has shared the state with and impressive list of national acts, including Andrew Bird, Mason Jennings, The Jayhawks, Semisonic, Soul Asylum, Billy Bragg, Evan Dando, Mary Lou Lord, Robbie Fulks, Dan Bern, Ike Reilly, Damien Jurado, Rhett Miller, Mike Doughty, Mary Lou Lord, The Roots, Southern Culture on the Skids, and Richard Buckner.