Dan Auerbach Live For KCRW Apogee Sessions - Waiting On A Song

KCRW's Jason Bentley introduced Dan Auerbach for last night's Apogee Sessions (at Bob Clearmountain's Apogee Studios) by saying, "Please welcome one of the most important musician/ songwriter/producers of our time," and it was no hyperbole. Auerbach and his friend, Pat McLaughlin, came on to the tiny little stage at Apogee and showed us just why he garners such high praise.

It had been a perfectly gorgeous day in Southern California, and when Auerbach and McLaughlin sat down - and got down - with their first song, "Waiting On A Song" (from Auerbach's new album of the same title), it was so lilting and lovely, it immediately recalled a summer day sitting on a riverbank watching the clouds drift by. For me, anyway. I dug it right away, as did everyone packed in there so tight you truly couldn't move.

By way of introducing "King Of A One Horse Town", Auerbach said that he and McLaughlin had written it together when "We had a fling last summer ... it was hot." He and McLaughlin exchanged looks, and he added, "Nah, not that hot." They sang of how they "could barely pull my weight around", and I got it. Some days even that feels like too much. But we persevere ... often thanks to music. 

"Never In My Wildest Dreams" promises to be this year's big wedding first dance song, trust me. It's so beautiful, and absolutely dreamy, I couldn't help but get choked up. If someone sang you that song - never mind wrote it for you - it would be so on. I instantly got crushes on both of these dudes, as their harmonies wove together a deeply touching love song where the honest lyrics of "Never in my wildest dreams would I be loving you ... dreams come true." The whole joint was in a full on swoon after that one, and hopefully it gave the guys present a mental note to step up their own game. Phew.

"Livin' In Sin" featured some serious riffage from both, and McLaughlin's mandolin really shone. I also like how Auerbach puts his whole body into his playing, really crouching into his guitar and becoming a part of it. These cats are really, truly players' players ... all of which was further illuminated in the interview portion of the evening that came next.  Bentley came back and McLaughlin split to give his chair up for the Q and A.

Bentley shared that Auerbach had just written a song in the green room, and had to immediately record it, which is why the whole shebang started a little late. Auerbach cracked that it would be available for sale at the door on the way out ... and I wouldn't be surprised, with how prolific this guy is. Auerbach, though from Akron, Ohio, has made his home in Nashville for the last eight years, and it's very clear how much he has embraced the legendary music town.  After constant touring for years with The Black Keys, The Arcs, and solo, producing albums for a ton of people (Dr. John, Lana Del Rey, Ray LaMontagne, etc, etc...), he decided to stick around Nashville last summer and just work on writing music. His friend, "Ferg" (David Ferguson) made introductions to all the players and writers around town for him, and before you knew it, he was so inspired he bought a building - a former call center - and turned it into his own studio, Easy Eye Sound.

Easy Eye Sound is now also the name of Auerbach's own label, to help bring music to the world from people that live in Nashville, and have spent their entire lives being creative. "I feel a connection to music that draws from everything, but isn't one thing in particular ... and that is the Easy Eye Sound." I love it.  Auerbach told about how when he was recording his new "Shine On Me", he kept hearing Mark Knopfler's (Dire Straits) guitar in his head, so got his email and sent him the song. Two days later he sent it back with his guitar part  ... "And I've still never met him." That anecdote speaks to how highly Auerbach is respected among his musical peers, and the feeling is mutual. "You pray a song comes along ... that's a bit dramatic, but you want to work with somebody that helps ignite that creative spark." It seems as though there's a whole lot of that going on over at Easy Eye Sound these days, and it feels exciting. "I hoped it would happen, and it's happening. It's very special," he said, confirming that. He said he records so much, and employs so many musicians in Nashville that the President of the Musician's Union pats him on the back when he sees him, saying, "Anything you need." He ribbed Bentley a bit, saying that they have a recording of Bentley saying, "I can feel the reverberation of your rocking through the walls" from a past KCRW performance that they play on a loop to entertain themselves. In those days, all the players wore big beards and intimidated Bentley, he said. Auerbach laughed, and said, "I've never intimidated anyone, it's empowering."

That wrapped up the interview, and McLaughlin returned to help Auerbach further intimidate us all. They kicked off the second set with "Trouble Waits For You", a jangly, strolling along kind of a song. Again, these players were all the way into it, yet kind enough to take us along with them on this jaunt. "Stand By My Girl" (also off the new Waiting On A Song album), which cracked everyone up when they got to the lyric, "I'm gonna stand by my girl ... she'll kill me if I don't." At song's end, Auerbach joked that "That's a true story. Sad, but true." It was again awesome, as was "Trouble Weighs A Ton" from Auerbach's first solo album, Keep It Hid. It was gorgeous, even though Auerbach had promised "not to be too intimidating" - they still were. "You've got a couple miles to go to drive me crazy ..." - Auerbach writes great lyrics, man.

"Shine On Me" is the obvious hit, and was again extra- evocative of summertime. I mean, it shouts out to Raybans. I was feeling a bit of a burn on my arms from a day trip along the PCH, so summertime was on my mind, but if it hadn't been, this song would have done the trick for sure. Blast it, roll down your windows, and enjoy yourselves this summer, friends! With jams like this, you really can't help it.

We all clapped wildly, enough to get the guys to jam one more song, which was "Goin' Home". The beautiful strumming took me back to the river's edge, on a lazy day where maybe getting some Countrytime Lemonade would be the tallest order of the day. Wholesome goodness that instantly made you homesick, even if you were home. I almost hitchhiked from this studio to Minnesota when  Auerbach sang, "I spent too long away from home ...", and it hasn't even been that long. The prominent line from the tune goes, "Be thankful for all you got", and was so just LOVELY that I again choked up - of course. What a wonderful reminder through song - to indeed be SO, SO thankful for what you got, because if you were here, in this moment, hearing tunes like these, you truly had an awful lot to be grateful for.

With that, it was "So long, hope to see you again soon in some form!" and Auerbach and McLaughlin were off - probably to record another excellent tune backstage. And I was off - to go get Waiting On A Song to help me have an even more beautiful summer. I hope you'll have the same! Thanks so much to KCRW for putting on yet another fantastic evening of live music. Love you.

Waiting On A Song is available now - everywhere.

*Photos courtesy of KCRW/Brian Lowe

The Preservation Hall Jazz Band Live In L.A.!

I've been to Preservation Hall in New Orleans, but not when their legendary namesake band was playing. That's been an empty spot in my soul ever since, so when I received the kind invitation from KCRW to attend their private live session with the Preservation Hall Jazz Band at Apogee Studios, I leapt at the chance.

We were greeted upon arrival at the door to Apogee with Mardi Gras beads, and directed to the bar where authentic Hurricanes were being served up to set the tone. It felt festive before the band even took the stage, and only went up from there. The listening room at Apogee Studios is tiny, so we revelers were packed in hip to hip, heel to toe, ready to be dazzled. KCRW DJ Garth Trinidad was our radio host for the evening, and Bob Clearmountain was the host of the event, as Apogee is his excellent, state of the art, perfect sound studio.

Trinidad introduced KCRW jazz aficionado, Bo Leibowitz, to tell the tale of how Preservation Hall came to be. Leibowitz took it all the way back to the 1800's with his encyclopedic knowledge of this "Cultural mélange" of a musical genre. It went a bit long for a SRO audience who were antsy (and drinking Hurricanes), but I'd be into circling back to hear more about it some day ... because Trinidad finally had to cut him off and introduce the band people were fiending to see.

The PHJB took the stage, led by Ben Jaffe, whose parents founded the Preservation Hall, and who serves as bandleader and its upright bass player. Their brand new album - of original songs! - comes out the 21st of April, and we got to hear So It Is front to back, live (and so will you when it airs soon on Morning Becomes Eclectic!). The album was produced by Dave Sitek from TV On The Radio, so you know it's gonna be good. They kicked it off with the title track "So It Is", and the party was officially started then, but really lit up when they launched into the second number, "Santiago". It was pure energy, and featured blistering solos from every player, heavily influenced by their time recently spent in Cuba. These are virtuoso musicians we're talking about, and it was all basically a master class on what you can sound like if you practice your instrument every day of your life like you were taught. WOW.

The whole proceeding was held down by the excellent drumming from Walter Harris, who Jaffe called "the gas in their engine". Indeed. "Innocence" and "Malaga" were both outstanding, and really showed off what a hambone their trombone player, Ronell Johnson, is. His use of his mute and fully infectious enthusiasm was not only super impressive, but impossible not to smile at. This cat is INTO it, every note.

It was cool to see the conversation between the two saxophonists, Charlie Gabriel and Clint Maedgen. Gabriel is the elder, and you could see him flexing his experience to the younger whippersnapper Maedgen, who more than ably kept up, he answered with his own flair. Both of them made my brother wish he had kept up with his own sax lessons. Yep.

"One Hundred Fires" WAS that hot, and pianist Kyle Roussel made sure of that. I was watching the blur of his fingers and thinking simply "How?" - while wishing I'd kept up with my own piano lessons. Yep.

If you want to know what an awesome trumpeter sounds like, pay attention when Branden Lewis plays - though his playing demands it, so you won't be able to help it. Geez Louise! He's so good. All the guys not seated lined up at mics for their song "Mad" and sang "I ain't mad at you, no matter what you do" while we answered with the "Lalalala" chorus. This was the only song with vocals, and everyone was feeling it, and belting it out. It whipped up everyone into a frenzy, so much so that then when the guys left the stage, we could not accept that it was over.

Trinidad brought them out for an encore after all the screaming and whistling demanded it (you'll probably hear me whistle on the broadcast. Sorry.), and Jaffe thanked KCRW, saying they have a cool radio station that they also adore in NOLA as well (WWOZ) so they know what it means. Seriously, thank GOODNESS for KCRW these days! As Jaffe was saying his words of thanks, I was thinking how even as messed up as the world is right now, I hadn't thought about any of it while I was in that room listening to this remarkable band. I was purely in the moment, loving it, and so was everyone else, it appeared. Just as I was thinking this, Jaffe said, "When the world's got you down, think of the Preservation Hall Jazz Band. We love you all." And we love them.

They blazed through an encore of songs from their Jim James produced album, That's It! and we all danced like there was no tomorrow. Because you never know ... and we want to go out dancing.

Thank you to the wonderful Preservation Hall Jazz Band and KCRW for a night of musical escape that no one in there will soon - or ever - forget. Laissez les bon temps rouler - all the way to L.A.!

*Photos courtesy of KCRW and Brian Feinzimer.

KCRW's Best Of 2016!

KCRW held a little soiree last night to celebrate its Top 10 list for 2016. The Los Angeles music tastemakers (and almost everyone I know's favorite radio station and all day companion) got a jump on the end of the year list making, unveiling their top picks before we're even to December ... and I bet most others will follow their choices pretty closely, as all are excellent.

The party was held at legendary producer Bob Clearmountain's Apogee Studios in Santa Monica, where KCRW often holds intimate live music showcases as well. The place is fairly small, so the place was packed with loyal listeners wanting to compare our lists. Whiskey drinks were served, and KCRW logo cookies were also on offer. As it was basically standing room only, things got under way quickly and moved along at a good pace. Morning Becomes Eclectic DJ, Jason Bentley, got the proceedings underway (in some very stylish pants), welcoming everyone and explaining the process. Each station DJ comes up with their own TOP 10 list, then the results are complied into the master list. With so many losses in the music world this year, the evening felt especially poignant. I choked up more than once.

A rep allegedly from the accounting firm of Deloitte comically brought up the sealed and numbered envelopes, and then Bentley brought up DJ Marion Hodges to unveil the number ten spot. #10 was A Seat At The Table from Solange. Hodges cracked everyone up saying, "Solange has her hands in a lot of fires ... wait, that's not a saying." but her point was made. Solange had a lot going on this year, music supervising shows like HBO's Insecure as well as releasing this really great piece of work. Hodges chose the track "Don't Touch My Hair" to play for us, and it was immediately clear both how good the album is and how incredible the sound system at Apogee Studios is. Wow.

DJ Dan Wilcox came up next (with his beer) to reveal #9 - Autolux's PUSSY'S DEAD. Wilcox said that it might be #9, but it was #1 as far as most awkward title to say on the radio - but that it's gotten easier since the election - sigh. This one is a ROCK album, that Wilcox said is the first one to really live up to the live show put on by Autolux. He chose the track, "Hamster Suite" to play, which really showcased the work of who Wilcox says is the best drummer in rock today, Carla Azar. I immediately added it to my list of year end must haves. Rock.

#8 was introduced by DJ Liza Richardson, and it was Bon Iver's 22, A Million. Richardson joked that this envelope should really have been opened by Wilcox, as he's obsessed AND hails from the same town as Bon Iver, Eau Claire, Wisconsin. "It's so different from everything else right now. It's hip hop meets folk, with really interesting samples, like Paulo Nutini," explained Richardson. She chose "33 God" to play, and it was deep, starting out with a beautiful treated piano that took you right into that Bon Iver world ... and made you want to go stay at the Ace Hotel.

DJ Eric J. Lawrence took the stage in a bright red holiday shirt to let us in on what was in the #7 spot ... but as he is the "Alternative to the Alternative" former music librarian for the station, he had his own choice first, and it was Future Of The Left's The Peace And Truth Of Future Of The Left. He did not have a track to play of that one, so we'll have to research that, but the real spot here went to Radiohead's A Moon Shaped Pool. This one was, of course, on my list as well, and had to agree with Lawrence when he said that they are the "Pink Floyd of our time." He played the opening track, "Burn The Witch". "It's a bit of a downer, Folks," said Lawrence by way of introduction ... but a pretty awesome downer, for sure.

#6 honors went to the newest KCRW DJ, Karene Daniel, and to Andy Shauf's The Party. This one I had never heard of, so it was good to get turned on to something new that I've clearly slept on. Shauf basically narrates a late night party throughout the album, and Daniel played the track, "To You". It's kind of a love confession that Daniel said was "Soft, tender, rare, and beautifully honest." I concur.

The resident DJ for the night was Raul Campos, and he left his post to disclose the #5 choice. He asked as he ripped open the envelope, "Is it gonna be a Latin Alternative album?" Bentley drily replied, "I doubt it", which got a laugh, though it was sadly true. Instead it was Wilco's Schmilco. Campos called it "An album from the heart", and named Jeff Tweedy as one of the best songwriters of our time. "If I Ever Was A Child" was the chosen song, and the first time I choked up. I don't know why really, it just touched me. It might have been the incredible sound in there. It felt extra intimate and sweet and simply moving. Another one that was on my own list of 2016 faves.

DJs Garth Trinidad and Jeremy Sole shared duties for #4 (and it was cool to see what they look like, though Trinidad had a Movember thing going on, so I'll need to see him again. I think Sole's abundant facial hair is an always thing), and the honors went to A Tribe Called Quest's We Got It From Here ... Thank You 4 Your Service. This was my #1. I laughed when Trinidad said it was HIS #1 before he even heard it. He called it a "Legacy record", and it truly is. Sole added, "They didn't have to think outside the box, 'cause there is no box. The best thing about their new album is that it's an old album." Exactly. I didn't realize that they went into the studio to begin recording the album on the night of the Paris shootings last year. Heavy. You feel it. They spun bits of "We The People" and "Solid Wall Of Sound" and I think everyone agreed with Trinidad when he said, "I'd gladly give up the talking to listen to the whole record" after Bentley cut it off to chat. Plus it sounded EXTRA great inside those Apogee walls. Incredible, really.

One of my favorite KCRW DJ's came on to present #3, Anne Litt. Her voice is very soothing to me, and she again nearly reduced me to tears (OK, she did) when she revealed that #3 was David Bowie's Black Star. Losing Bowie earlier this year was a big deal to everyone, but it clearly meant a lot to Litt, who had even brought along her vinyl copy of Black Star. She said that she learned of Bowie's passing when Wilcox was playing a whole bunch of Bowie songs in a row last January, making her go "WTF?!", and then learning the news. "This album is focused in a way that maybe only a dying man can be," Litt mused, adding that she thought he was back in a way that she hadn't heard before. "I Can't Give Everything Away" played, and as Bowie's voice floated over us posthumously, well, I was choking back tears again. It was the last song on a final record, and fairly obviously set up as a farewell. This album is not on the list because Bowie died. It's there because it's great. (Oh, for the record, Litt's personal #1 choice was the Hamilton soundtrack!)

#2 was given to DJ Travis Holcombe to reveal, and it went to Kaytranada for 99.9%. This was another one I've slept on, so was surprised to hear that this one was the #1 choice for Bentley. We were told it was great as an album, or as all singles. I think I've heard like one on KCRW, so this will warrant further listening from me. They played the track "Bullets" (with guest spot from Little Dragons), which Bentley commented was a really cool groove for a really heavy subject (gun violence). Holcombe admitted to that being lost on him, and Bentley asked if he'd listened to the lyrics. "I haven't. I'm more of a beats guy, lyrics are low on my list." OK. Then I imagine his own #1 choice of La Femme's Mystere must contain some pretty phat beats.

DJ Anthony Valadez got to reveal the #1 album for 2016 ... after a room full of people rolled their tongues as a drumroll ... it was Anderson.Paak's Malibu! This was appropriate as I first heard of Paak on an MBE studio session, and he's since been pretty much everywhere, on every album, of everyone. Paak could not be in attendance so Valadez and Bentley shlepped out to Highland Park to record a video of Paak's receiving the news. A happily hyped Paak shouted, "Tight! I've always wanted to do an acceptance speech via satellite! Thank you! Yes, Lord!"

And there you have it! The Top Ten Albums of 2016 according to KCRW! Campos spun on as the party continued there at Apogee Studios. 2016 has been a brutal year in so many ways, that it was actually lovely and touching to focus on the good things like music that enrich our lives every day, and realize that it hasn't been all bad. In fact, a lot of it has been absolutely wonderful. Thank you to KCRW and Apogee Studios for having us, and for exposing us all to the best music in the world every single day. We're already looking forward to next year. Really, really forward.

Cheers to all the winners, and thank you to them too! Your art matters. Really, really matters.

*Photo courtesy of Brian Feinzimer for KCRW.