SEARCH the Guide, by date, band, artist, event, festival, etc. (in addition to the sidebar)

Saturday, March 12, 2011

Acoustic Americana Music Guide, NEWS FEATURES, March 11 edition


COMING SOON: Photographs to accompany News Features, Spotlight Events, and MORE!


. Welcome to the
Reinvented (and still under re-construction)

Tied to the Tracks



March 11 edition


Herein is the News. Other Sections of the Guide are available at separate addresses.

“SPOTLIGHT EVENTS” – the newest edition – is available at

“THE SCENE” in individual editions covering each of the next few days, is not yet available. You’ll have to wait for its extensive new features, including “the odds” of finding a show at any of the venues in your neighborhood.
But you CAN check our “Recurring Events” sections!

Friday, March 11

Saturday, March 12

Sunday, March 13

Monday, March 14

Tuesday, March 15

Wednesday, March 16

Thursday, March 17

Friday, March 18

(Editions of the Guide’s NEW Section, “THE SCENE,” will include “Recurring Events” and MUCH more – coming soon...)




Here are these feature stories…

Our # 1 Story:

In two parts, BEFORE St Patrick’s Day, and ON St. Patrick’s Day… Erin Go Braugh!


The annual “LOS ANGELES IRISH FAIR” and plenty more are this weekend – then there’s a very cool “ST. PATRICK'S EVE PARTY” in Redlands on Wednesday, and finally, on St. Paddy’s Day (Thursday), THE YOUNG DUBLINERS play a free lunchtime concert in downtown L.A., then a bagpiper leads everyone over to “CASEY’S IRISH STREET FAIR” a 1 pm-to-late street festival with lots of live music, revelry and libations, AND there’s the official “L.A. ST. PATRICK’S CELEBRATION” with a free concert at the Staples Center, 4-8 pm!


Irish Music Events this Saturday & Sunday, March 12 & 13:


Sat & Sun, Mar 12 & 13; FESTIVAL; a “SHOW-OF-THE-WEEK” pick ♣♣♣♣:
10 am-8 pm Annual “LOS ANGELES IRISH FAIR” at the Los Angeles County Fairgrounds – Fairplex – in Pomona. (Full info, Many bands on multiple stages; headliners are
at Fairplex / L.A. County Fairgrounds, 1101 West McKinley Av, Pomona 91766; Be careful that you park in the correct lot for this event, as several unrelated things may be happening, and parking lots / entrance gates do not connect for different areas. Look for the signs along the Fairplex roadways. (Note that the event is a different weekend this year.)

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Sat, Mar 12 ♣♣♣♣:
“IRISH CENTER’S ANNUAL ST PATRICK'S CELEBRATION” at the Hilton Hotel in Glendale. More info to come, or check

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Sat, Mar 12 ♣♣♣♣:
2:30 pm “SHAMROCK TALES” celebrates St. Patrick’s Day with stories and crafts of the Emerald Isle, in the Cay Mortenson Auditorium at Arcadia Public Library, 20 W Duarte Rd, Arcadia 91006;; 626-821-5567. Info on this program, 626-821-5566. All ages, free.

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Sat, Mar 12, in OC ♣♣♣♣:
6 pm Annual “ROSE OF TRALEE GRAND BALL” with KEN O'MALLEY & THE TWILIGHT LORDS providing the musical entertainment for this special "black tie" evening, when Southern California's “Rose of Tralee” will be crowned, and on her way to Ireland for the official “Irish Rose of Tralee” pageant. Info and tix, It’s at the Atrium Hotel in Irvine.

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Sat, Mar 12 ♣♣♣♣:
7:30 pm PEAT-FIRE FLAME with COLYN FISCHER on fiddle & violin & SHAUNA PICKETT-GORDON on piano, bring their classical / Celtic music to a house concert in Northridge. Reservations get directions at or 818-368-1957.

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Sat, Mar 12 ♣♣♣♣:
8 pm CLADDAGH plays the Noble House Concert series in Van Nuys. Reservations get directions at 818-780-5979. Irish / Scottish / Celtic music…

...more shamrocks, Monday through Wednesday…

Mon, Mar. 14 ♣♣♣♣:
10 pm KEN O'MALLEY brings his classic Irish traditional and original songs for a solo show at The Auld Dubliner, 71 Pine Av, Long Beach; 562-437-8300; More at

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Tue, Mar 15, in Riverside ♣♣♣♣:
4 pm KEN O'MALLEY brings his classic Irish traditional and original songs for a duo show at Killarneys in Riverside. Info,

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Wed, Mar 16 in Redlands; a “SHOW-OF-THE-WEEK” pick ♣♣♣♣:
6:30 pm “ST. PATRICK'S EVE PARTY” with KEN O'MALLEY & THE TWILIGHT LORDS and Irish cuisine and libations, at the historic old Fox Theatre, 123 Cajon St, Redlands;
Doors at 6:30 pm for Irish food and drink (including Guinness and Harp). Showtime 7:30 pm.
Venue is the beautifully restored 1927 theatre and local treasure. More info, including a flyer by e-mail, from Stay in the area at the San Bernardino Hilton, Event tix available the preceding weekend at the L.A. IRISH FAIR, or at the Fox, or at Advance tix, $20 ($25 at the door).

...more shamrocks…


Thu, Mar 17; a “SHOW-OF-THE-WEEK” pick for ST. PATRICK’S DAY ♣♣♣♣:
11:30 am-1:30 pm THE YOUNG DUBLINERS, plus the EMERALD SOCIETY PIPES & DRUM BAND, play a FREE concert on the Pershing Square stage, followed by the annual ST. PATRICK’S DAY STREET FAIR at Casey’s Irish Pub, all in downtown L.A.
You can catch the concert in the park, then a bagpiper will lead the procession over to Casey’s Street Fair for lots more. It starts at Pershing Square, 532 S Olive St, / or, W 5th St between S Olive St & S Hill St, downtown L.A. 90013;; 213-847-4970.
You surely know about the bands, so let’s focus on the venue. Avoid expensive (and today, probably scarce) parking, by riding the Red Line subway from free parking in the big lots at the North Hollywood or Universal City Stations. ($1.50 each way on the subway.) Bring your lunch or buy it locally – the tasty and fresh offerings of L.A.’s landmark Grand Central Market (since 1917) are three blocks away, or there are local take-out shops with pizza, sandwiches, etc. across the street from the Square. Enjoy limited table seating beneath shade umbrellas, or bring a lawn chair or blanket. Or wait and eat at Casey’s Street Fair.
The city JUST restored all the park’s grass in Pershing Square, and it’s appropriately and brilliantly green. Remember to wear YOUR green. Erin Go Braugh! It’s FREE.

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Thu, Mar 17; a “SHOW-OF-THE-WEEK” pick for ST. PATRICK’S DAY ♣♣♣♣:
1 pm-late “CASEY’S IRISH STREET FAIR” in and around Casey's Irish Pub, 613 S Grand Av, downtown L.A., 90017; 213-629-2353; Multiple stages, appropriately Irish-themed food, Guinness and Harp, and a big party for the wearin’ o’ the green. Go to the free concert at Pershing Square at 11:30 am, and join the happy procession led by a bagpiper after the concert (about 1:30 pm) over to the street fair. Or, if you get to Pershing Square for lunchtime and you go back to work, come to Casey’s and the Street Fair after you get off work. Remember to wear your green. Erin Go Braugh!

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Thu, Mar 17; a “SHOW-OF-THE-WEEK” pick for ST. PATRICK’S DAY ♣♣♣♣:
4-8 pm “CITY OF L.A. ST. PATRICK'S DAY” FESTIVITIES L.A. Live / outside Staples Center. With KEN O'MALLEY & THE TWILIGHT LORDS – selected again this year as the official band to headline the event. For a flyer by e-mail, with directions, contact

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Thu, Mar 17, in OC ♣♣♣♣:
7:30 pm “PLAID IRISH DANCE” with WHEN PIGS FLY at Muckenthaler Cultural Center, 1201 W Malven Av, Fullerton 92833; 714-738-6706.

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Thu, Mar 17, in OC ♣♣♣♣:
8 pm “AN IRISH HOOLEY” at the Barclay Theatre, 4242 Campus Dr, Irvine 92697; 949-854-4646.

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Thu, Mar 17 ♣♣♣♣:
9 pm WARREN CASEY (WICKED TINKERS) and AARON SHAW play Barney’s Ltd, 93 W Colorado Bl, Pasadena 91105; 626- 577-2739.

...more shamrocks… ~`~`~`~`~`~`~`~`~`~`~`~`~`~>

Thu, Mar 17 ♣♣♣♣:
9:30 pm KEN O'MALLEY & THE TWILIGHT LORDS finish-off St. Patrick's Day at Ireland's 32, 13721 Burbank Bl, Van Nuys; 818-785-4031;


Our # 2 Story:


With everyone’s dreaded date with the tax man just one month away, this news can, in the words of the song by FUR DIXON & STEVE WERNER, “Pick you right on time, buddy.”

The folks at “MUSIC CONNECTION” magazine have arranged to offer FREE tax help for musicians. Their current issue, on page 46, has “some exclusive ‘Tax Tips for Musicians’," and the article is available online at


Our # 3 Story:


The Texas-based band LOS LONELY BOYS have become THE hottest Texican music trio, melding blues, classic and modern rock, soul, border influences, a bit o’ espanol, and beyond.

The GRAMMY Museum is, for many of us, the most interesting part of the multibillion-dollar redevelopment in L.A. that includes the Staples Center, Nokia Theatre / L.A. Live, and two brand-new skyscraper hotels. Last week, they hosted their eighty-fifth event on their 200-seat “Clive Davis Sound Stage,” an intimate theatre that’s usually packed, as events there have grown in L.A. music scene prominence since they first opened two-and-a-half years ago.

The museum series is most often a performance-interview format – something we are most partial to, since that’s the format of radio’s “Tied to the Tracks.” The museum often focuses that emphasis on the release of a new CD, and they call that series, “The Drop,” using industry parlance.

On March 25, “The Drop” welcomes LOS LONELY BOYS for a “performance and discussion” of their new CD’s tracks. A few tix are still available, if you hop on it. The event begins at 8 pm, presented by American Express and sponsored by Amoeba Music. Location and contact info: Grammy Museum’s Clive Davis Sound Stage, 800 W Olympic Bl, L.A. 90015; 213-765-6803;


Our # 4 Story:


A stellar lineup of panelists has been announced for this annual three-day fete. Led by legendary songwriter, producer and artist LINDSEY BUCKINGHAM, the list of nearly 100 panelists for the ASCAP EXPO includes some prominent folk-Americana artists, including RODNEY CROWELL, RUFUS WAINWRIGHT, & VAN DYKE PARKS. Other music stars include DESMOND CHILD, JERMAINE DUPRI, MELANIE FIONA, LUKASZ "DR. LUKE" GOTTWALD, JOSH KEAR, MARCUS MILLER, NO I.D., RYAN TEDDER, JOHN RZEZNIK, BERNIE WORRELL & VERNON REID, MARCO BELTRAMI & WES CRAVEN, and more.

Discount registration for the event is still available, but only until March 31st. And it's not too late to submit your music for the ASCAP EXPO’s “Feedback Panels” – deadline is March 28 – and some showcases may still be open.

Enough prominent artists and peeps in the music biz attend that they even feature an “Attendee Showcase.” Of course, ASCAP bills this as “the biggest three days on the music creator's calendar, face-to-face with the biggest names in music.”

All the details are at The event will be held at the Renaissance Hollywood Hotel, 1755 N Highland (Hollywood & Highland Complex), Hollywood 90028; 323-856-1200.


Our # 5 Story:


Ego. Ambition. The creative drive. One and the same? No, and what lies therein is revealing.

Ego. It’s a drive that’s much maligned, best friend and saboteur. When it operates unchecked, society gets the curious modern phenomenon of insufferably pathetic non-artist celebrities who are famous for being famous. You know them: essentially unaccomplished at any worthwhile pursuit, they contribute nothing to the betterment of humanity, produce no body of work, leave no reason to expect their names will be remembered. The Paris Kardassians who make illusory glamour its own end.

Is ego at the root of these people’s presence in cultureless pop culture? That, plus exploitation of others who can make money by keeping those morons and their antics in the media.

Does that make all ego-driven pursuits bad?

That’s a question with contradictory answers. Without a well-developed ego, would the artist be able to support him-or-herself by pursuing the creative drive? Could we meet own basic needs well enough to continue to share our creative output?

Indeed, without some need to fulfill the ego, would a songwriter or composer even care if anyone else heard their work? Or would an artist even regard what they do as work? Let’s face it, it requires a bit of ego for us to regard what we do – something as ethereal as arrangements and performances and recordings of notes and chords and lyrics – as “work.”

Does that mean that ego is the key to supporting ourselves as artists? It surely seems to be an ingredient in the stewpot. But it’s not simple. Whether the stew is edible is a matter of the total mix, everything that goes in it, and the proportions of things. Too salty: it’s inedible. Too much cream sauce: it’s too rich. Too much of any number of ingredients and it’s unpalatable. (And avoid the fake elements that cause heartburn, whether MSG or soulless drum machines.)

Back to the role of ego in supporting ourselves as artists. Or, more accurately, presenting ourselves and our art to get other people to pay us for it.

Does ego make you greedy? There can be a connection, but it ain’t necessarily so. Greed really comes from a desire to feel superior – or an attempt to fill a void, to overcome feelings of inadequacy, just like hoarding. At its essence, greed is about gaining control of other people. Gordon Gecko is still wrong. Greed is not good, and it’s a corrupting influence for the artist.

Is poverty the opposite of greed? No, and it’s easy to see why. You can find people who are impoverished because of some previous act of greed. The prisons are filled with people whose greed drove their behavior – they simply tried to take whatever they wanted. Greed is about wanting to take and keep power. For the artist, ambition is a devotion to pursue your own reach, even when it exceeds your grasp, and to attain when that is achieved.

So, what of greed and ambition and poverty?

Clearly, they aren’t the same, in any combination. You can find plenty of people who are impoverished because they have been generously charitable. Some traditional religious vocations still require it (televangelists aside). And the age-old phrase “starving artist” exists for a reason. Beyond playing benefit shows, many of us feel a certain nobility in suffering for our art or craft. Our lack of financial success is emblematic of devotion to our vision of our art. “Sell out?” Not us. (At least until we’re offered a record deal – but that isn’t always so, either.) Still, we must reject the idea that we must starve to be true artists. Not from ego, but for survival.

What was once called the “Horatio Alger Ethic” – “work hard and get ahead” – is hard to apply to anyone who sweats blood for their art. We do what we do because we must, whether we get ahead or not (though we can learn, practice, become more proficient, and get better at it).

Ambition is not enough to bring financial success, and even if it did, ambition and greed – for the artist – should be wholly disconnected because it’s a corrosive and corrupting motivation.

But what of society’s oft-made judgment that anyone who is poor must be lazy?

That should seem absurd in a time of record home foreclosures – and no jobs to be found, since they were shipped overseas by the hundreds of thousands in the double-0s. Though it cuts both ways, with record credit card debt and a too-common underlying desire by too many Americans to fulfill “wanting it all right now,” a lingering holdover of greed dating from the ’80s.

Still, there are those who believe they should pay no income taxes because they make their money by using money to do it, rather than contributing their own labor or creative output to society. That’s the mantra of the rich crowd who want to pay no “capital gains” taxes. It is an argument where greed and laziness are clearly one and the same, and not opposites at all.

If laziness and greed are not opposites, is laziness simply the opposite of ambition? Might seem so, but it isn’t. Plenty of people are dependable, reliably showing-up on time for work every day. They’ll do that ’til they die (they can’t afford to retire, since pensions went away when unions were killed). These folks certainly are not lazy. What they are is complacent. Whatever ambition they have is ultimately trumped by complacency (need for security, etc), but they certainly are not lazy. Complacency, not laziness, is the opposite of ambition.

That makes a broader statement: to function and maintain the status quo, society requires a large number of hard-working complacent people (who are neither creative nor ambitious). Plato wrote of that in “The Republic” nearly 3,000 years ago. He saw a large part of society as the essential working class who will do what “we” need as long as they have a warm house, enough food, enough sex, and they can appear as heroes to their kids. Rich industrialists and anti-union forces still believe it today. So do the people who seek to manipulate the Tea Party.

Artists are not complacent. That is the key place where we are different. It’s the essence of the creative drive. An artist’s creative odyssey may not begin with a driving ego or even a need to present our work to others. But the artist’s own inner rejection of complacency brings ambition and ego to prominence. It’s true whether you write protest songs or songs celebrating a longed-for return to a lost, romanticized and “better” past time. It’s true if you do a cover song because it reaches you and you know it can still speak to others through your performance. It’s true for the classical cellist who won’t accept a mediocre interpretation of Schubert or Liszt. It’s true for every musician who reaches someplace beyond soundalike sh-thump disposable pop.

It’s the epiphany expressed in “The King’s Speech,” when the stuttering, stammering king finally resorts to winning an argument by saying, “Because I have a voice!” and his teacher’s quiet reply, “Yes, you do.”


Our # 6 Story:


His debut solo CD, “TOWN LINE,” debuted at #1 on the Billboard Country Albums Chart, and it’s #7 on the Top 200 Albums Chart. AARON LEWIS has been resoundingly welcomed into the Nashville music community. The STAIND frontman’s critically acclaimed EP, produced by Grammy winner JAMES STROUD, brought first-week sales exceeding 37,000 copies.

The album’s success is being fueled by the lead single and video “Country Boy,” currently a fixture on CMT’s “Top 20 Countdown” show. The singer, songwriter and musician performed the song March 1 on ABC-TV’s “JIMMY KIMMEL LIVE” in Los Angeles, before quickly flying to Nashville to perform at the annual “Country Radio Seminar” (CRS).

“Town Line” has drawn critical praise from a wide variety of writers, including “Country Weekly” magazine’s JESSICA PHILLIPS who said in the May 7 issue, "The songs here are rich with imagery, coupled with soulful arrangements, and should appeal to fans of Darius Rucker and Lady Antebellum."

“People” magazine’s CHUCK ARNOLD notes in the current March 14 issue that Lewis "proves to be a natural on nostalgic ballads like 'The Story Never Ends’." Associated Press music critic MICHAEL McCALL wrote on February 28 that Lewis, “injects a flavor of his own into a polished, commercial country sound in a way that could win over country fans who've never heard of STAIND.”

As for Lewis’ warm welcome from the Nashville pop-country world, JAMES STROUD says, “This town appreciates great songs and great talent and Aaron certainly brings both of those to the table, but a #1 record is more than we let ourselves dream about when we were making the record. We just couldn't be more thrilled."

On the “Country Boy” track – both audio and video – Lewis gets a little help from legends GEORGE JONES and CHARLIE DANIELS, striking a balance between classic and modern country, as Lewis tells the story – and tells his own story through the song. It received widespread airplay ahead of the official single release, with various rock and country stations adding it to their playlists, something that his publicist assures us they did “on their own.”

The music video has received over 900,000 views to date on Moreover, it’s had 2.7 million views to date on YouTube (it runs 4:52 at

Of course, working with stars gets you noticed. MARIO TARRADELL, wrote in the “Dallas Morning News” March 1 edition, “Lewis turns in convincing performances and holds steadfast next to legends George Jones and Charlie Daniels on ‘Country Boy.’ ‘Vicious Circles’ is a moody ballad with plenty of steel guitar sting.”

And a paper that’s as Eastern establishment as you get, the Springfield (Massachusetts) Republican, carried a February 27piece by KEVIN O’HARE that proclaimed, “…Town Line is as country as country gets…Poignant and affecting, yet also unflinching in its portrayals, Town Line is an impassioned solo debut with the kind of authenticity with which Lewis has always been associated. A country boy indeed.”

We’ll let you know when AARON LEWIS books a show ion L.A. Meantime, have a look at the video, and let us know what you think.


Our # 7 Story:


Robert Morgan Fisher’s twice-a-year multi-artist extravaganza returned to Bergamont Station in Santa Monica in February.

[This feature ran last week, but the Guide’s NEWS FEATURES were not distributed through the usual 15 websites / web groups, and we don’t want you to miss it. So we’re running it again. - editor]

By Geo. McCalip, Guide correspondent

Presidents’ Day weekend always falls close to ROBERT MORGAN FISHER’s birthday. Once again, he chose to celebrate by hosting his twice-annual Folktacular at the Writers’ Bootcamp Auditorium in Santa Monica’s Bergamont Station Arts Complex. In addition to the traditional Tito’s tacos (or bean and cheese burritos for vegetarians), wine, beer and potluck food, and plenty of all of it, there was, of course, music. Over nine hours of music.

Robert kicked off the event with a half-hour set starting just after 3 pm, featuring songs from the CD he is now recording. The basic concept of the CD is to juxtapose two songs into a single piece. Examples performed by Robert include “Don’t It Make You Wanna Go Home” with Dave Carter’s “Gentle Arms of Eden,” “Gentle on my Mind” with “Butterfly of Love,” and “Brother Can You Spare a Dime?” with “Nature Boy.” All of the songs are covers, and we look forward to the CD because having Robert cover your song is not unlike having Ansel Adams develop your film and print your photos.

Next up were San Gabriel Valley folk stalwarts TIM TEDROW & TERRY VREELAND with REV. MARK on bass and Terry’s daughter JOEY VREELAND on vocals. Joey first performed in public with her dad and Tim at a past Folktacular, and we are happy to report that her voice has finally achieved parity with theirs. Given the quality of Tim and Terry’s harmonies, this was no mean feat, and the results were well worth the effort on her part and the wait on ours.

Four pm brought DALE LaDUKE on guitar backed by FRANK SPANO on his guitar, MARK BREITENBACH on bass and GREG KRUEGER on mandolin. Dale’s songs reflected his background as a “30 and out” auto worker and his love of life in California.

Next the audience was treated to a performance by LORIN HART, longtime member of the L.A. folk scene. She was backed by DAN PAIK on bass and CHAD WATSON on guitar. LISA TURNER joined in vocals on two songs, “Lover Come Back” and “Evil.”

At 5 pm, JEFF GOLD from West Valley Music took the stage with his guitar and was joined by EARL GREY on guitar and vocals, LISA JOHNSON on vocals and GREG KRUEGER on mandolin and guitar. After a set featuring virtuoso guitar playing by Greg, Fisher, in his role as performing emcee, commented “Not too shabby!”

Following Jeff, Robert introduced one of his heroes, BAYARD JOHNSON. Not only has Bayard dedicated a large part of his life to environmental causes, he has also written epic ballads that, Robert informed the audience, are largely autobiographical.

By 6 pm, the audience was ready for something upbeat and Robert came through, introducing singer-songwriter and keyboard player ALFRED JOHNSON. He brought LAURI REIMER on vocals and percussion, and LEON RUBENHOLD on vocals and guitar joined Alfred on stage. Together they rocked the audience with Alfred’s songs, which showed a strong New Orleans jazz influence.

Musician and bestselling author PAUL ZOLLO ably assisted by CHAD WATSON on mandolin, EARL GREY on guitar, JOHN O’KENNEDY on guitar, and REBECCA TROON on vocals and percussion, followed Johnson. One of the highlights of the early evening was the last song of Zollo’s set when JEFF GOLD, with his clarinet, joined the group and the multi-talented CHAD WATSON traded his mandolin for a trombone for a Klezmer-style tune.

LISA TURNER, up next, did part of her set before bringing up other members of the locally celebrated ensemble, “THE LISAS,” filled with talented and celebrated performing songwriters who just happen to share the first name, Lisa. (When they all join together there are SEVEN “LISAS.”) Here, LISA JOHNSON contributed vocals with LISA NEMZO on guitar and percussion. Backed by CHAD WATSON on mandolin, the three members of the seven-member group, “THE LISAS,” entertained the crowd that was unfortunately somewhat distracted by the arrival of the truckload of Tito’s tacos. Robert Morgan Fisher brought them a bit of extra attention when he back-announced the group with, “Ladies and gentlemen, the Estrogens.”

Although Robert had not initially included SEVERIN BROWNE in the schedule, he managed to get him in for an evening set and to popular acclaim. After performing with JAYNEE THORNE on backing vocals and DALE LaDUKE on accordion, Severin returned to solo mode for two very soulful numbers.

That brought us to the late evening headliners, when JOYCE WOODSON took the stage at 8:15 pm. The multiple top-award winning western singer-songwriter used her short set not only to demonstrate her talent as a songwriter, but her lovely voice and charming personality.

Moving from western to country, PAM LOE & CHAD WATSON went up next. Pam, on guitar and vocals, and the multi-talented Chad, on bass and vocals, were accompanied by DEAN PARKS on pedal steel and VERN MONNETT on guitar. As they entertained the audience, the four each amply demonstrated why they have earned reputations as top professional musicians.

For PAM LOE, the stage time was a fun break from her outstanding job running the sound system for the entire event.

Following Pam and Chad, performing host ROBERT MORGAN FISHER returned to the stage to perform some of his original compositions. For accompaniment, he had an all-star lineup, with CHAD WATSON on bass and vocals, VERN MONNETT on guitar, DEAN PARKS on pedal steel, JOHN O’KENNEDY on guitar and mandolin and DALE LaDUKE on accordion. Though he had done an excellent job earlier on the mashup of covers, he sang his own compositions with even more feeling and presence. His selections included “A Life in Music,” his award-winner that placed second in VH1’s folk contest.

The event’s headliner was JOHN YORK of the legendary group, THE BYRDS. Backed by JOHN O’KENNEDY on guitar – and a major note on that is coming – and CHAD WATSON on bass, John did a masterful job of entertaining the audience with many of The Byrds’ classics, including his opener, “Turn, Turn, Turn” (written by Pete Seeger) and “Mr. Tambourine Man” (written by Bob Dylan), plus Byrds originals, well-delivered tales and reminiscences, and a few of his own newer songs. Part way through the set I told an obviously delighted Robert Morgan Fisher, “You’ve got a heck of a problem. How can you ever top this as a birthday party?”

After JOHN YORK finished his rousing set Robert explained that, while John York and Chad had performed together on numerous occasions, JOHN O’KENNEDY had never been on stage with John York before – not ever – nor had they ever practiced together. Indeed, they had agreed to play together only five minutes before they went on stage. The audience was amazed to learn this, as the set had been flawless, and the considerable respect already established for JOHN O’KENNEDY immediately grew to astonished admiration.

As part of the Folktacular tradition, a few additional acts appear after the headliner, along with some who have already performed, during the late night “encore sets.” The first of these featured JOHN ZIPPERER on vocals and guitar, backed by JAYNEE THORNE on guitar and TARA SITSER on keyboard. Next was JOHN M on vocals and guitar with JOHN ZIPPERER on guitar, Jaynee on guitar and Tara on keyboard. The last act was a two-song set by JOE HAMILTON, solo on guitar. Although many people had, understandably left after John York, those who stayed agreed that any of the three encore acts could have easily opened for any other act on the show.

The level of talent and camaraderie was obvious throughout the day. That speaks volumes, not simply about the host of the event, but for and about the acoustic-folk community in Southern California. Folktacular is a concert and a party, and at $20 presale or even $25 at the door, including food and drinks, it was (and again will be) a bargain not to be missed.

The Guide will bring you advance notice of the next Folktacular, which will happen sometime in the late summer or fall.

[Editor’s note: thanks to George McCalip for asking, then providing this thorough coverage of a festival-in-Reader’s-Digest form that is the nine-hour Folktacular. It’s not an easy assignment.]


Our # 8 Story:


An earlier version of this feature ran last week, but the Guide’s NEWS FEATURES were not distributed through the usual 15 websites / web groups, and we don’t want you to miss it. So we’re running it again. - editor]

They’re at it again. Politicians are voting to eliminate ALL funding for things artists and arts activists always support, and essentially need.

…TOPIC ONE, of two:

PBS and NPR may actually be killed this time.

Early in the week, the US House of Representatives voted to eliminate ALL federal funding for both PBS (public TV) and NPR (public radio). While the Senate is expected to reject those provisions in their version of the bill, that does not end of the story. Funding must be PASSED, specifically included in bills passed into law, or there is no money.

House Speaker JOHN BOEHNER (R, Ohio) is on record that he will refuse to accept additional Senate provisions in bills coming to Conference Committee. That’s where the “reconciliation process” occurs, to make different House and Senate versions of a bill into one bill that reads the same, for usually quick final passage and delivery to the president for signing into law.

Keep in mind, the US Constitution requires that spending measures originate in the House, not the Senate.

So, if you believe that PBS, where reeeallly good music performance specials proliferate (even if you only get to watch them as pledge drive cash cows) and NPR, where more indie and acoustic and folk and Americana music gets exposure to a national audience than anywhere else, then it’s time to contact your member of Congress and your state’s two US Senators. (Contact info at bottom.)

…TOPIC TWO, of two:

Public transit is endangered, in many places, even as gas prices go crazy.

With the unbridled greed of Big Oil cashing-in (as always), this time by citing instability in Libya and Egypt (it wouldn’t matter to them if they could cite Botswana or Smurfville and get away with it), prices at the pump are going crazy, and will get much worse. Five-dollar-a-gallon gas is likely by the beginning of summer – even though Saudi Arabia has already assured the world it is already increasing its production, AND holding it at the same market price, to absorb any temporary losses caused by interrupted supplies from places experiencing instability. Just as the US economy is showing some signs of improvement, albeit in a “jobless recovery,” it is the greed of Big Oil that will cause the ship of state to take on more water than the bilge pumps can handle.

All of us know that there really isn’t a damn thing we can do to make Big Oil behave as a responsible citizen. Take record numbers of dead baby dolphins washing ashore in the Gulf, after unknown massive amounts of chemically-unknown oil dispersants were unleashed there by Big Oil. And that’s only the most recent example of their public-be-damned, profits-are-all-that-matter paradigm. Until we can all afford electric or biodiesel vehicles, we’re screwed.

That makes PUBLIC TRANSPORTATION crucial to getting people to gigs. And the economy has crippled the funding of the agencies that provide it. In Los Angeles, MTA has once again announced service cutbacks.

Like most people who advocate – and who try to ride – MTA (aka Metro) whenever possible, we are usually frustrated, often stymied, and always left wondering what idiot is making the decisions.

Most often, you find you can GET to a venue or event without too much trouble – other than an inordinate amount of time for the usual experience of around-Robin-Hood’s-Barn routings. Getting HOME from the gig may not be possible before, literally, a 4:30-to-5 am system restart the next morning. Of course, the “Trip Planner” software on the MTA website is woefully inadequate, and wants you to accept that you-can’t-get-there-from-here at all, or that there is no way to use a faster rail line when there often is (it defaults to the buses). And the people at the “511” trip assistance phone number are inexcusably ignorant – or more correctly, they are given a workplace with a profound lack of meaningful resources they can access. Either way, MTA does not provide information when you go to their site – and it’s far worse if you call them – and actually expect to learn how to get somewhere (as in, anywhere).

MTA needs to cut expenses? Here is our prescription:

a) GET RID OF THE 511 PHONE “SERVICE,” since it’s no service at all, and creates the illusion there is help there when in fact, there isn’t. It never works. (Okay, we’ve found it has “sort of” worked with anything remotely useful only twice in over 20 times we’ve attempted to use it. Sort of worked. Not really worked at all, ever.) The people there can’t even use Metro’s “Trip Planner” that’s available to the public, on the web. They don’t even have a map to tell you what other routes are a block away from where you’re standing – even when the service where you are has stopped running, and you could catch a bus a block away. They can’t tell you that, because they don’t know it. The system is useless, maddeningly frustrating, and an expense that can and should be eliminated.

b) GET RID OF THE TV SETS ON THE BUS because they (two per bus) are an expensive play toy that has no function. The drivers all keep the sound off, or too low to hear, because it would drown-out the on-board automated voice that announces cross-streets and bus stops. Whatever the TV talking heads are saying is anybody’s guess, though it’s a certainty Metro is paying a LOT for them, for the benefit of the lip-readers. To justify keeping bus TVs, they would need to be changed to provide ONLY useful information, like a continuous route map – big enough for everyone to see – that displayed ALL nearby bus and rail options, where they were going, any service delays, and the times they would reach the points designated on the displayed map.

c) REDUCE MID-DAY FREQUENCY between rush hours – every-15-minute midday service on many lines can run every 20 minutes, especially now that Metro has a fleet of articulated buses with twice the capacity. Make 4-trip-per-hour lines into three-trips-per-hour. Similarly, convert midday lines that now run every 20 minutes to every half-hour. Use the savings to EXTEND THE OPERATING HOURS of lines that currently die when the sun sets, and you’ll bring-in MORE REVENUE. (See next point.)

d) EXPAND SERVICE HOURS to attract riders – specifically, people who WOULD ride, but currently can’t, because there’s no service when they need it. Right now, people who work second shifts (like 4 pm-midnight) can’t even consider using Metro. For artists and music fans, MTA is simply not “night-life” friendly. See point “c,” above.

e) CHANGE THE RULES so that “Out-of-Service” buses can pick-up people waiting at bus stops when scheduled buses are ridiculously late, or after scheduled service there has already stopped running. Metro needs to allow empty buses to be “lifeboats” for would-be riders who are otherwise stranded by schedules that truncate some lines after certain times, shut down others, and allow empty buses to cruise-by along those routes. There are some major thoroughfares where many – sometimes dozens – of buses run with no one aboard, because they are “out-of-service” and can’t pick up people who would happily pay a fare just to get to any intersecting line where a bus is still running. (Hence, the “lifeboats” would collect fares, and wouldn’t need to make many stops to discharge the passengers they rescue.)


Some examples are in order to show the validity of the key points above.

Catching a show at McCABE’S IN SANTA MONICA (where parking is tough) you must be a clock-watcher to leave in time for the last nearby bus. Or you’ll walk a long way to access Metro’s “Owl Service” on one of the very few lines that does run all night (its daytime connections don’t run at night though, so you probably still can’t get home before the bus schedules re-start at 4:30 am, anyway – at least that’s what the “511” system tells you).

Similarly, you’ve got to leave promptly from a show at the FRET HOUSE IN COVINA – and miss any encores – and it’s even more critical there, since NO connections run very late.

Getting TO SAN PEDRO’S WARNER GRAND AND GRAND ANNEX venues is easy now, but it’s quite challenging to get home after a show. That’ll soon get far worse, when Metro kills the 445 line, in June. Don’t worry about getting home – you’ll no longer be able to get there or back, in the evening, conveniently on transit from anywhere else, anyway.

The COFFEE GALLERY BACKSTAGE IN ALTADENA was a happier story. It was. It HAS BEEN far more accessible, with either of two bus routes connecting down Lake Avenue to the Gold Line light rail in Pasadena. Of equal importance, one of those buses continues south to numerous connections (often missing them because of dumb scheduling, causing you to wait an hour, outdoors in the dark, for the next one) – but there has been SOME way to do it.

This one is our most egregious example. Metro’s service, poor connections and all, is about to become no service at all. Now, this one is the ONLY line that goes north-south for a long distance and crosses ALL the east-west lines, so it should be seen as an indispensible link. If ridership isn’t what it should be on a rote that’s the only line intersecting all the connecting routes, why not CHANGE THE SCHEDULE so it meshes with the connections, rather than kill the line, which is what Metro plans to do? Yes, after early June, they intend to kill it.

You’ll likely need to ride the Gold Line all the way southwest to Union Station in downtown L.A. for a connection to go anywhere else – including back in the general direction from which you came. You’ll literally need to go many miles, and spend a couple hours doing it, going exactly the wrong way before you can catch a diverging route headed back in the general direction from which you just came. That’ll be the only way you can go a short few miles south of where you started, or to the other side of where you started. That may be a specific example, but it’s representative of things that are far too typical with MTA in Los Angeles.

We’ve focused on the situation you’ll encounter trying to use public transit to reach just a few of the most popular music venues. What about going out more everyday evening activities, engaged in by the masses, like trying to go see a movie in the evening, anywhere?

Meanwhile, there’s the ever-present “back story,” looming like a 500-pound gorilla that’s kept behind the curtain. MTA stupidly continues its refusal to develop light rail service on miles of old Pacific Electric “Red Car” rail routes that are still there, on the surface. They BOUGHT those rail routes years ago, from the Southern Pacific, before it vanished into the Union Pacific. Whiule rails rust on the landscape, the west side, in particular, is hostage to MTA’s singular fixation with dreams of a subway that’s too expensive to dig.

The Gold Line light rail IS finally being extended on the old Santa Fe mainline that went to Chicago – MTA won’t go any farther than Azusa, though it owns the tracks all the way to San Bernardino. Even that has proven to be a glacially slow “expansion project” just to reach Azusa from the current end-of-service in Pasadena. (An artificial “end-of-track” caused by MTA’s removal of Santa Fe’s 1973-built heavy bridge over the 210 freeway, with the lie that a modern bridge built for heavy freight trains was “inadequate” to handle light rail.)

It’s been nearly two decades since MTA bought the whole existing rail line from Santa Fe, with tracks in place and heavy, high-speed freight trains then running on it. Yet right now, you still cannot ride to the contrived east end of the line in Pasadena and then CONTINUE east by rail OR by bus, if you want go anytime past very early evening. Rather than using its buses to establish the new patterns of flow and accessibility that the Gold Line extension will bring when it finally reopens, MTA is eliminating the ONLY bus route that runs south from Altadena and Pasadena to any EASTBOUND connections. That’s their soon-to-be-killed #485 line, and it, alone, connects with just about everything going east from L.A.

With a single bullet, MTA is killing the one and only thing that makes all the connections. From the current east END of the line in Pasadena, the only bus that makes all the connections stops running too early to be of any use getting anywhere – or back – after mid-evening.

Okay, the death of one specific key line, the only one that connects everything, either affects you or it doesn’t. But it is representative.

And if gas hits FIVE BUCKS A GALLON, many more of us must turn to public transit, or simply find ourselves necessarily saving all our gas money just to get to work and not going anyplace else – like live music venues.

As performers, all this transcends the parts that are “only about us,” like how the hell we can afford to tour with outrageous gas prices.

Ultimately, all gigs attract a local audience. So, it’s not simply about us and whether we can afford to tour our new CD, whether asking higher ticket prices to cover our higher costs will translate into too few people coming to our gigs. It’s really about whether MOST PEOPLE can afford to drive to ANY gig and pay the ticket price or cover charge, or whether they can get there – and back – on affordable and reasonably convenient public transit.

MTA does have a “customer comment period” on its proposed service eliminations and reductions. Even if you do it as a pre-emptive strike to protect access you soon may need to lines they propose to cut, now is the time to let them hear from you at

So it’s your move.

YOU can make it harder for Washington politicians to kill PBS and NPR.

YOU can make it harder for local transit officials to restrict or eliminate the alternatives to the automobile.

We could fund MASSIVE transit expansion AND fully fund and expand PBS and NPR simply by eliminating the federal government’s $45 BILLION annual subsidy that gives our tax money to Big Oil. Instead, our shared enslavement to Big Oil’s ever-expanding greed allows them to live in our pockets and raid the money we pay into our federal tax coffers.

You can write just three emails – one to your member of Congress (, one to both of your US Senators (, and one to MTA ( or to YOUR local transit agency, since the basic needs are the same, everywhere. You can make a difference.


Our # 9 Story:


Weekend, through the coming week…
This omits IRISH MUSIC and ST. PATRICK’S DAY EVENTS, covered in a separate feature.

As always, there is just soooo much to see and hear and some tough choices for your music dollar. Here are just a few, culled from the Guide’s “Spotlight Events.”

See the Guide’s “SPOTLIGHT EVENTS” Section for venue addresses and contact info, where needed.



SATURDAY & SUNDAY, March 12 & 13:

Sat, Mar 12, in Sebastopol, Northern Cal:
1-8 pm Annual “SONOMA COUNTY BLUEGRASS & FOLK FESTIVAL” with JIM HURST, THE STAIRWELL SISTERS, SARAH CAMPBELL & NINA GERBER, SUSIE GLAZE & THE HILONESOME BAND, EUPHONIA, and THE BLACK CROWN STRING BAND, sponsored by the Sonoma County Folk Society, at Sebastopol Community Center, 390 Morris St, Sebastopol 95472; info & tix, 707-823-1511 or 707-829-8012 or 707-542-3798.


4 pm “PARTIAL CAPO WORKSHOP” presented by HARVEY REID at Boulevard Music, Culver City;; 310-398-2583. Venue’s web site has a helpful local dining guide.
He’s a coast-to-coast folk / new folk festival favorite, including numerous non-bluegrass performances at the “TELLURIDE BLUEGRASS FESTIVAL,” and this is his 21st West Coast Winter tour (and his first in two years). Harvey is touring solo this year with his six-string & slide guitars and autoharp. He’ll bring “the usual mix of original and traditional songs and instrumental wizardry,” including material from his two brand-new guitar books and three new guitar CDs. His only L.A. show.
Harvey does a concert here tonight at 8 pm; see listing.


Sat, Mar 12; a “SHOW-OF-THE-WEEK” pick:
7 pm SALTY SUITES, the band of SCOTT GATES, CHUCK HAILES, & CHELSEA WILLIAMS, plus THE WIMBERLEY BLUEGRASS BAND, at the Coffee Gallery Backstage, Altadena. Specific and detailed info on this show at


Sat, Mar 12; a “SHOW-OF-THE-WEEK” pick:
7 pm HARVEY REID plays his only L.A. show of this tour at Boulevard Music, Culver City;; 310-398-2583. Venue’s web site has a helpful local dining guide.
Harvey Reid is a coast-to-coast folk/new folk festival favorite, including numerous performances at the Telluride Bluegrass Festival, and this is his 21st West Coast Winter tour (and his first in two years). Harvey is touring solo this year with his six-string & slide guitars and autoharp. He’ll bring “the usual mix of original and traditional songs and instrumental wizardry,” including material from his two brand-new guitar books and three new guitar CDs.
Harvey does a “Partial Capo Workshop” here at 4 pm; contact venue for info.


Sat, Mar 12; a “SHOW-OF-THE-WEEK” pick:
7 pm WOMEN ON THE MOVE TRIO plus ROBERT MORGAN FISHER and TIM TEDROW & TERRY VREELAND play the “ACOUSTIC CONCERT SERIES” West Valley Music Center, 22428 Vanowen St, West Hills 91307; 818-992-4142. Musician and series producer JEFF GOLD’s series is a much-needed acoustic concert presence in the West Valley, and this edition rates a “Pick” because it brings a fine lineup of people whose music you should know, if you don’t already. Women on the Move, in their guise as a larger ensemble, had the #1 editors’ pick at CD Baby longer than any other CD there, ever. Robert Morgan Fisher has won several awards, had the runner-up song in VH1’s Folk contest, and had two songs make the Hall of Fame on Neil Young’s “Living with War” website. Tedrow & Vreeland have lately been performing in a larger form, as a quartet, and have received two recent live performance reviews in the Guide.


Sat, Mar 12; a “SHOW-OF-THE-WEEK” pick:
7-10 pm monthly “GRASSROOTS ACOUSTICA” brings “THE RECORD RELEASE EDITION,” featuring a fine lineup with HARRIET SCHOCK & BAND, MARK “POCKET” GOLDBERG, SHAUN CROMWELL, JEFF KOSSACK, JIMMY YESSIAN, JUDE JOHNSTONE, & RIQUE, at The Talking Stick, 1411 C Lincoln Bl, Venice 90291; 310-450-6052.
What an exceptionally fine evening, and for charity. All the acts have new CDs.
MARK “POCKET” GOLDBERG is the bass player to the stars, and a wonderful performing songwriter, delivering original blues with his raspy melodic voice while playing upright bass with backing from of L.A.’s best session players.
SHAUN CROMWELL is always dependable, with his fine original blues and more.
HARRIET SCHOCK’s band includes flute, and her new cello player JENNIFER RICHARDSON; there’s platinum-selling artist Harriet on keyboard and vocals, ANDREA ROSS-GREENE on vocals, JOE LAMANNO on bass, KELLY DeSARLA on flute, and Richardson on cello.
JUDE JOHNSTONE is an artist who’s been there, done that, with success in the folk world and in Nashville.
Each month’s show benefits a different charity. This time, it’s the “MS Walk 2011.” No cover charge, all-donation / pledge show. Producer / host MARK ISLAM has info available at Donations go to MS Walk “Team JiggyWiggits.” Since 2007, Team JiggyWiggits has raised $130,000 team-wide. This year, they've set a $20,000 fundraising goal. Funds collected from the MS Walk support research for a cure tomorrow as well as programs which address the needs of people living with MS today.


Sat, Mar 12, in Santa Barbara County:
7 pm CLAUDIA RUSSELL & THE FOLK UNLIMITED ORCHESTRA play the “Song Tree Concert Series” at Live Oak Unitarian Universalist Congregation, 820 N Fairview Av, Goleta; ; 805-403-2639.


Sat, Mar 12, in OC; a “SHOW-OF-THE-WEEK” pick:
7:30 pm LAURENCE JUBER. Grammy winning guitarist from Paul McCartney’s WINGS, plays the “Lord Of The Strings” Concert Series at Mission Viejo Civic Center, 100 Civic Center Dr, Mission Viejo; 949-842-2227 or 949-244-6656. (Second of two shows in the series; he played Dana Point last night.)


Sat, Mar 12; a “SHOW-OF-THE-WEEK” pick:
7:30 pm FISHTANK ENSEMBLE plus JESSICA FICHOT play the Broad Stage at Santa Monica College Performing Arts Center, Santa Monica. FISHTANK ENSEMBLE brings their brilliant and invigorating worldish music / acoustic eclectic performance on a boatload of instruments, and JESSICA FICHOT is the charming accordion-based singer-songwriter who performs in English and French. This’ll be fun.


Sat, Mar 12, in San Diego; a “SHOW-OF-THE-WEEK” pick:
7:30 pm MICHELLE SHOCKED plays the AMSD Concert Series in San Diego; 619-303-8176. One package here includes dinner, the other, the show only. She’s got many more stories than she can share in one evening, she’s written so many wonderful songs that the contrast between each is assured, and she recently experienced a big health scare that’s left her more inspired than ever. Michelle is one of the greats of our time.
She plays McCabe’s in Santa Monica tomorrow night.


Sat, Mar 12; a “SHOW-OF-THE-WEEK” pick:
8 pm MARSHALL CRENSHAW plays Russ & Julie's House Concerts in Oak Park (Agoura Hills area); info, Reservations get directions at or 818-707-2179. More at All house concert “prices” are “suggested donation” amounts. $20.


Sat, Mar 12; a “SHOW-OF-THE-WEEK” pick:
8 pm JACK TEMPCHIN, songwriter for the EAGLES, plays the Fret House, Covina.


Sat, Mar 12:
8 pm “TRIBUTE TO DEXTER GORDON” performed by the LUCKMAN JAZZ ORCHESTRA at the Luckman Fine Arts Complex at Cal State Univ. L.A. The season-long tribute series to American jazz masters continues with tonight’s homage to saxophone legend Dexter Gordon.


Sat, Mar 12:
8 pm “TANGO INFERNO - THE FIRE WITHIN” at the Barclay Theatre, Irvine.


Sun, Mar 13:
11 am OZOKIDZ play a Matinee Kids' Show at McCabe’s, Santa Monica.


Sun, Mar 13; a “SHOW-OF-THE-WEEK” pick:
2-5 pm “SONGWRITER SANCTUM” this month brings SEVERIN BROWNE, DAVID STONE, KRIS GARRETT, & JOE HAMILTON at the Church in Ocean Park, 235 Hill St, Santa Monica 90405; 310-399-1631; DANA CHARNOFSKY’s series welcomes all ages, includes potluck snacks and beverages, and is free, though donations are appreciated and enable the artists to receive some compensation.


Sun, Mar 13, in San Diego; a “SHOW-OF-THE-WEEK” pick:
6 pm HARVEY REID plays Old Time Music in their brand-new location, 4434 30th St (between Adams & El Cajon), San Diego;; 619-280-9035.
He’s a coast-to-coast folk/new folk festival favorite, including numerous non-bluegrass performances at the “Telluride Bluegrass Festival,” and this is his 21st West Coast Winter tour (and first in two years). Harvey is touring solo this year with his six-string & slide guitars and autoharp. He’ll bring “the usual mix of original and traditional songs and instrumental wizardry,” including material from his two brand-new guitar books and three new guitar CDs.


Sun, Mar 13; a “SHOW-OF-THE-WEEK” pick:
7 pm MICHELLE SHOCKED at McCabe’s, Santa Monica. She’s got many more stories than she can share in one evening, she’s written so many wonderful songs that the contrast between each is assured, and she recently experienced a big health scare that’s left her more inspired than ever. Michelle is one of the greats of our time. Tix, $24.50.


Sun, Mar 13; a “SHOW-OF-THE-WEEK” pick:
7 pm FRANK FAIRFIELD plus the CAVE SINGERS in the Wells Fargo Theater at the Autry National Center (Autry Museum), Griffith Park, L.A.; 323-667-2000. Fairfield has been profiled many times in the Guide. He’s a wonderfully dexterous old-time musician and banjo guru.


Sun, Mar 13:
7 pm DOWN 4 THE COUNT at the Coffee Gallery Backstage, Altadena. Specific and detailed info on this show at


Sun, Mar 13, in San Diego:
7:30 pm LAURENCE JUBER, Grammy winning guitarist from Paul McCartney’s WINGS, plays Anthology, 1337 India St, San Diego; 619-595-0300.


FIVE WEEKDAYS, Monday-Friday, March 14-18, 2011:

MONDAY, March 14:

Mon, Mar 14:
8 pm OFF THE RECORD at the Coffee Gallery Backstage, Altadena. Specific and detailed info on this show at


Mon, Mar 14, in San Diego:
9 pm CAVE SINGERS play the Casbah, 2501 Kettner Bl, San Diego 92101; 619- 232-4355.


TUESDAY, March 15:

Tue, Mar 15; a “SHOW-OF-THE-WEEK” pick:
8 pm WILL RYAN & THE CACTUS COUNTY COWBOYS at the Coffee Gallery Backstage, Altadena. Specific and detailed info on this show at (“The venue named in FolkWorks as L.A.’s best intimate acoustic listening room venue”).
L.A.’s best unknown acoustic band of multiple-award-winning (and a few truly esteemed) acoustic musicians always delivers a fine show, with new originals that sound like 1930’s classics. You’ll be singing and humming fragments of these tunes all the way home, and for days after. Don’t worry about the “cowboy” part – those who want that will find it and everyone else who’s there will delight in this show. Their audiences always do. And the venue offers a “money-back if not delighted” guarantee whenever they book this act. Tix $18.


Tue, Mar 15; a “SHOW-OF-THE-WEEK” pick:
8 pm SUSIE GLAZE & THE HILONESOME BAND play “BLUEGRASS NIGHT” – always one or more different bands of recording artists – for this month’s BASC (BLUEGRASS ASSOCIATION OF SOUTHERN CALIFORNIA) show at Viva Cantina, aka Viva Fresh, located next to the L.A. Equestrian Center at 900 Riverside Dr, Burbank 91508; free parking across the street at Pickwick Bowl (same owners). Venue phone, 818-845-2425.
Note changes: The long-running series has MOVED here and is no longer at Braemar Country Club. There is no cover to see the show. Venue has full restaurant menu and full bar. Come earlier to order dinner and get good seats for the show. Info on who is playing the monthly series at More? Call 818-221-4680 or contact Joy Felt, (during the day), at 818-705-8870 or send questions to All other Tuesdays at the venue are “Open Mic Nights,” plus, on any given night, you might find a good Americana band here.


WEDNESDAY, March 16:

Wed, Mar 16, in San Diego; a “SHOW-OF-THE-WEEK” pick:
7:30 pm THE BYRON BERLINE BLUEGRASS BAND plays the AMSD Concert Series at 4650 Mansfield St, San Diego; 619-303-8176.


Wed, Mar 16, in San Diego:
7:30 pm THE PAUL THORN BAND plays Anthology, 1337 India St, San Diego; 619-595-0300.


Wed, Mar 16:
8 pm SIXTH WAVE at the Coffee Gallery Backstage, Altadena. Specific and detailed info on this show at


ST. PATRICK’S DAY SPECIAL EVENTS on Thursday, March 17 are in a separate NEWS FEATURE, and are not in THIS listing.


THURSDAY, March 17: Spotlight-Events, OTHER than St. Patrick’s Day events:

Thu, Mar 17, up the coast; a “SHOW-OF-THE-WEEK” pick:
7:30 pm THE BYRON BERLINE BLUEGRASS BAND plays Stacy Hall, St. Marks in the Valley, 2901 Nojoquio Av, Los Olivos 93441.


Thu, Mar 17; a “SHOW-OF-THE-WEEK” pick:
8 pm “THE BYRDS & BEYOND,” with JOHN YORK with BILLY DARNELL, now featuring CHAD WATSON on bass, at the Coffee Gallery Backstage, Altadena. Specific and detailed info on this show at


Thu, Mar 17, up the coast; a “SHOW-OF-THE-WEEK” pick:
8 pm THE PAUL THORN BAND plays The Coach House, San Juan Capistrano.


FRIDAY, March 18:

Fri, Mar 18, in Ventura County; a “SHOW-OF-THE-WEEK” pick:
7:30 pm SABRINA & CRAIG plus CINDY KALMENSON play this month’s “CAMARILLO CAFÉ” series at Camarillo Community Center. SABRINA & CRAIG won the vocal competition at the 2010 Topanga Banjo Fiddle Contest.


Fri, Mar 18; a “SHOW-OF-THE-WEEK” pick:
8 pm BYRON BERLINE BLUEGRASS BAND at McCabe’s, Santa Monica. There’s no better way to get your musical sensibilities oriented and your expectations raised high, plenty early, for the Topanga Banjo Fiddle Contest / Folk Festival than to see this bluegrass-&-beyond maestro.


Fri, Mar 18 – and now for something completely different; a “SHOW-OF-THE-WEEK” pick:
8:15 pm “BLUEGRASS JEWISH WORSHIP SERVICE” with the all-star lineup of Hazzan MIKE STEIN; PAT CLOUD (banjo); FRED SOKOLOW (dobro, mandolin); JUSTIN STEIN (bass); JARED STEIN (fiddle); and JIM SILVERS (3 Tenors of Bluegrass, CMH recording artists); at Temple Aliyah, 6025 Valley Circle Bl, Woodland Hills 91367.


Fri, Mar 18:
8 pm TAYLOR MADE, “The James Taylor Tribute Band,” at the Coffee Gallery Backstage, Altadena. Specific and detailed info on this show at


Fri, Mar 18:
8 pm THE PAUL THORN BAND plays Brixton South Bay, Redondo Beach.


There’s MUCH MORE, waaay into December, in the Guide’s SPOTLIGHT EVENTS Section.


Our # 10 Story:


Have you checked it out yet? The Guide now has four sections, each with its own address:


Okay, this is proving FAR more time-consuming than we thought. It remains an inevitable and necessary task. With the constant proliferation of acoustic renaissance and folk-Americana performances (indie and otherwise), each edition of THE ACOUSTIC AMERICANA MUSIC GUIDE was growing longer and longer, requiring more and more time each week to write and TO READ.

It finally reached the point where we had to concede that a growing number of people were telling us they could never find everything that’s in The Guide in time to make planes to go see it. AND we had to let go of the desire to include write-ups for EVERYTHING, as we confronted the fact that we were trying (and succeeding rather well) to cover far too much. That brought the realization that the way we’ve been doing things is not sustainable (unless we hit the lottery to afford a 40-hour-a-week, six-person staff).

So, we devised a reorganization plan, and that became a massive reinvention of The Guide. It’s the four sections named at the beginning of this feature story.

It includes “THE SCENE” the biggest change, – and it’s what most people want – a way of determining the odds of finding something they’ll like on any given night (or day), FOR MUSIC FANS AND ARTISTS alike. It also includes our RADIO & TV LISTINGS.

Artists seeking opportunities for places to get booked, or hang out with other artists, or test-drive a new song at an open mic, or take part in a jam, or whatever else might be happening that’s tempting to attend, have always turned to The Guide, though we were hearing how overwhelmed they were with it.

Fan or musician, whether your scene is indie singer-songwriter, or blues or bluegrass or Cajun or cowboy or Celtic, much of it comes down to what KIND of things happen WHERE, and what the chances are of finding something on any given night or weekend. That provided the centerpiece for reinvention of the Guide. Since it is SEPARATE from the “SPOTLIGHT EVENTS” the new format gives our readers something with REALLY fast access, a new approach, new content, a new format, and more.

“SPOTLIGHT EVENTS”-? Of course, you want SPECIFICS, as well as a feel for THE SCENE. So, we “Spotlight” the hottest shows in town (or, in the case of Southern California, a whooole BUNCH of towns), and that’s separately published. It’s ONLY what we’re spotlighting, it does NOT contain everything under the musical sun, so it’s a quick overview with just enough details of spotlighted shows to be a quick read.

“THE SCENE” is available for SOME days, and we add more as they are ready, so check frequently by clicking the link for the ACOUSTIC AMERICANA MUSIC GUIDE at

That’s the same place where you’ll find the Guide’s other sections – just check the contents bar on the left side of the screen.

“NEWS FEATURES” continue as the weekly place where we “connect the dots” on events, music industry news, and news about the art being created by artists. (And artists, who you’re sleeping with is your business, we don’t report on any of that here, and we find so-called “entertainment journalism” deplorable and despicable with its gossip-column crap).



“PHIL OCHS: THERE BUT FOR FORTUNE” – feature film review will appear in next week’s edition.


Our little commercial…

Sending us $25 gets you an ad in the Guide (prepared, run in the Guide, and sent to you for other uses) for your event or CD release or gig, AND you become a Guide Annual Subscriber (making you eligible for ticket giveaways and more!)

Please become an annual supporter by sending us $25. That helps sooooo very much! Bringing you all this information is a time-devouring production, on par with gathering and reporting the news for any full-size 40-page WEEKLY newspaper!

Seriously: Throughout 2010, the Guide often ran 100 pages – or more – of 8 ½ x 11 size pages, EVERY WEEK… Yes, there IS that much acoustic music happening out there! And it’s why we’re changing to the new format.

WRITE US at tied to the tracks (at) Hotmail dot com … and THANK YOU for your support!


MORE STUFF >>>>>>> Resources, etc…

Our newly updated VENUE DIRECTORY is available at


RECENT EDITIONS of The Guide’s NEWS FEATURES are still available…

March 4 edition’s NEWS FEATURES are available at

The topics are…
1) “PHIL OCHS: There but for Fortune” – Special Screening Sunday
2) Time to Speak Up to Protect Your Interests
What a Week Ahead! Eat Your Heart Out if You’re Someplace Else…
4) Review: “Folktacular,” President’s Day Weekend
5) “Quick Takes” From the Coming Week’s Spotlight Events Page…
6) Reconstruction Progresses: Reinvention of The Guide…


February 18 edition’s NEWS FEATURES are available at

The topics are…
1) “Show-of-the-Week” Picks – February 9th through 15th
2) IBMA Bluegrass Stars Play Saturday at Glendora’s Haugh Center
3) NATHAN ROGERS, Canadian Musician Son of an Icon, to Play Saturday
4) SUSAN JAMES CD Release Party to Bring Huge Lineup, February 15
5) FRANK FAIRFIELD, Old-Time String Music Maestro, Performs Tuesday
6) “New Music Seminar” Coming to L.A., Monday through Wednesday
8) The Best New Products We Found at NAMM
9) EDITED Trio Leads Full Lineup – Concert Review
10) Sending Your Music to Media - A CD or Downloads?
11) Grammy Awards Arrive Sunday – Who Will Watch?


February 4 edition’s NEWS FEATURES are available at

The topics are…
1) “Show-Of-The-Week” Picks – February 4th through 7th
2) Musician / Filmmaking Duo Debuts New Film Saturday Night in L.A.
3) Uber-Talented ANNIE MOSCOW Is Subject of Magazine Feature
4) SARAH LEE GUTHRIE & JOHNNY IRION Playing L.A. & “Last Call with Carson Daly”
5) 50th Anniversary of Arhoolie Records Brings Big Bay Area Shows
6) BRUCE SPRINGSTEEN TV Special Premieres this Weekend
7) Submission Deadline Nears: “We R Indie & Indiegrrl International Music Conference”
8) Just Give Me that Lone Star Beer, and BOB WILLS Music…
9) MARINA V to Perform in London for Sir Bob Geldof
10) Will We Hear the Top 40 – From Another Planet?
11) Local Indie Songwriter Has Original in Hallmark Channel Movie on Saturday


Questions? Comments? Contact us at

tied to the tracks (at) Hotmail dot com

(We’re trying to cut-down spam; so, please help – just remove all the spaces and type it.)


The LATEST EDITION of THE GUIDE, with the NEWS FEATURES, THE SCENE, SPOTLIGHTED EVENTS, & THE VENUE DIRECTORY – what it takes to bring you the world of current acoustic music happenings, including “heads up” notices to buy advance tickets for shows likely to sell-out…


– is available 24/7 (& frequently updated!) at ~ or at
or use links from the News-only edition at

- or follow any of the links in the fifteen web sites and web groups that carry the Guide’s weekly News Features.

Entire contents copyright © 2011, Lawrence Wines & Tied to the Tracks. All rights reserved.


No comments: