Shooter Jennings And Duff McKagan In Conversation At The Grammy Museum - Tenderness

Longtime friends Shooter Jennings and Duff McKagan have teamed up on the forthcoming (May 31st!) solo album from McKagan, Tenderness, and they spoke about their collaboration last Thursday night at The Grammy Museum's Clive Davis Theater. Grammy Director, Scott Goldman, introduced Jennings by saying that he's collaborated with everyone from George Jones to Marilyn Manson (and recently won his first Grammy for producing Brandi Carlile's By The Way, I Forgive You!), and that tells you the huge range that you're dealing with, and that makes sense of how a member of Outlaw Country royalty would come together to work with McKagan, one of the founding members of the monsters of hard rock, Guns N' Roses.

Jennings and McKagan took the stage to much applause, and settled in for a chat about the new album, and their process in making it. These partners met back in 2001, when Jennings was in his band Stargunn (which is also around when I became friends with Jennings!). Jennings was much more metal back then, and said that he came to L.A. because of GNR, and the first CD's he ever bought were GNR. "That 'Welcome To The Jungle' video with Axl getting off the bus in L.A. - that was me!" It was rumored around town back then that he might even take over for Axl Rose in GNR at one point - he had the good hair AND the pants. Though that never happened, a friendship was born between Jennings and McKagan, because as McKagan put it, "I saw in his eyes that he was a truth teller."

As both musicians struck out on their own, McKagan was particularly struck by Jennings' Black Ribbons album (my favorite too - a conceptual masterpiece in my opinion), and had him in mind to work with when coming up with the songs that would become Tenderness. McKagan is also a writer, with books and columns, and refers to himself as an "Armchair Historian". He likes to visit tourist spots, like Monticello, and World War I museums, and is constantly out there meeting and talking with people, and said that when you turn off the news and really talk to people, there just isn't that divide that all of the media talks about. Like after 9/11 - everyone came together to help, it didn't matter what "side" you were on. We were in it together - as we are now and always have been. "Like, I've seen women in full head coverings rocking the fuck out!" Rad.

Inspiration for the new album came to McKagan from artists like Mark Lanegan ("The River Rise") and Greg Dulli ("Deepest Shade" - "that romances the shit out of my musical mind!" - D.M.), and Jennings understood that vibe immediately, and cited Failure's "Stuck On You" as his own touchpoint. Goldman blew smoke at Jennings by asking McKagan, "Was it intimidating to be working with such a dauntingly talented multi-instrumentalist as Shooter?" to which Jennings said, "I'm gonna leave." People talk about humble musicians, but Jennings is the REAL deal - and an awesome dude to boot (which makes sense why these two get along. McKagan seems super thoughtful and aware and kind too). To answer the question, McKagan said he addresses it in the booklet he wrote included with the album ... saying, "Shooter was a few steps ahead always, but didn't make you feel that way." He echoed Brandi Carlile's sentiment, that working with Shooter is "like being two kids in the basement making a rocketship!" After juggling touring and kid schedules, these true partners got down to it. McKagan also used Jennings' band for the project, and told about seeing them play The Troubadour last fall, and hanging over the balcony going, "That's my band!" all excited, because they're THAT good.

Several of the songs from Tenderness touch on issues we're all dealing with these days: addiction, gun control, suicide ... though McKagan is reluctant to pontificate on these things, and doesn't want to be yet another political voice, saying, "Oh, you should think this way .. Fuck me." Using the track "Parkland" as an example, he said it came to him as a B flat/D funeral dirge sound, and he name-checks sites of these mass shooting tragedies ... "And if that's political, you can fuck off." That got rousing applause - because Duh.

McKagan also addressed the issue of addiction, having lost many friends to it over the years. He credited his wife, Susan, several times with saving his own life, and it was refreshing to hear a dude gush over his longtime marriage, calling it "badass and cool". "Being strung out isn't a 'them', it's a "we", McKagan stated, and went on to talk about how losing so many inspired his song, "You're Still Here". Scott Weiland had died, whom McKagan tried to help many times. Then Prince. "My thing is Prince. 1999 saved my life, and got me out of heroin-infested Seattle to L.A." (I knew I liked him). He heard about that tragic death while on tour in Mexico City and was gutted. Then Chris Cornell (whose daughter Lily is two weeks apart from McKagan's daughter). The night Cornell died, Axl Rose had come to GNR and said, "Let's try 'Black Hole Sun' tonight" - which they had never played. McKagan got a text after the show that Cornell had died. Heavy. Then Chester Bennington. It's all so sad, but McKagan made it a little better, saying, "We're gonna remember you. You're still here." Having come out the other side himself, McKagan said, "The celebration is that I get to work with Shooter now, and do something also badass and cool."

Jennings and McKagan are readers, and talked about authors and their lyrical influence. McKagan is big on Cormac McCarthy and Hemingway, and their scarcity of words. "They can make me cry over a single sentence. I tried to write to standards of authors that I read. Like, do NOT rhyme 'fire' with 'desire'. Do not fucking do that!" Jennings added about making the album, "We were just chasing a sound. We had a center - which was us - and no boundaries." McKagan was about to add to that, then stopped himself, saying, "You realize this is the most we've ever talked about this. Now we're just making stuff up!"

Goldman publicly thanked McKagan for all of his work on behalf of MusiCares, helping other musicians because he's been there himself. "Being an alcoholic junkie is not part of the rock star dream, and now I have sobriety and a lust for life." He also talked about doing a book of "all the shit I don't remember, like interviewing friends saying, 'What did I do in Louisville?", which cracked people up. Listening to these guys talk together, you realize they're both just regular cool dudes, who also happen to be insanely talented legends that we were lucky to see in such an intimate setting ... and then it was time for them to play!

Joined by violinist, Aubrey Richmond, Jennings sat down at the piano, and McKagan strapped on a guitar. They opened with the title track "Tenderness" and its beautiful piano intro. It's really a song about empathy, and how badly needed that trait is today. Up next was "Chip Away" (which reminded me that McKagan was briefly in Jane's Addiction too!), an upbeat number that featured a fiddle solo and the notion of hanging in there until all of this mess in our country is through - or that's how I took it, anyway.

The short set ended with the one about all of the lost souls, "You're Still Here". It is slow, and there is a funeral air about it, but it's beautiful. The line, "You're still here ... when the lights go down, you are still here ... all you hold dear remains" proved that McKagan attained what he was aiming for. I cried over one sentence. The last notes rung out and McKagan shouted, "We'll see you on the road!" and they sure will. Because their show will be the one where you feel no division in this country, at least for a few hours.  Shooter and Duff ... Thank you for the Tenderness!

Tenderness is out May 31, 2019
Shooter Jennings & Duff McKagan play The Wiltern on June 13, 2019.
Tickets now available.

*Photos by Paul Gronner Photography

Diamond In A Rhinestone World - The Costumes Of Dolly Parton At The Grammy Museum

This country is so divided and has such a hard time agreeing on things these days, but one thing everyone can get together on is that we all love Dolly Parton. The wonderful music and acting icon is a true national treasure, and now through March 31st, her fans can see her stage and film costumes up close and personal in the excellent exhibit showing at The Grammy Museum, Diamond In A Rhinestone World - The Costumes Of Dolly Parton. 

This retrospective of Parton's greatest fashion moments is the first time these costumes have been on display outside of Dollywood, Parton's theme park in Tennessee, and seeing them so closely really shows how otherworldly Parton's physical being really is.

You can't believe how tiny Parton's waist is, especially when topped off by one of the world's most famous - and biggest - racks. Her costumes have obviously all been custom made, as no one on God's Green Earth has this holy physique. It's like ... just WOW.

The demure little yellow outfit from 9 To 5 is there, as is the bawdy Madam glitzy red get-up from The Best Little Whorehouse In Texas.

Stage costumes are displayed next to looks from Parton's films and videos, making the viewer realize just how many things Parton has been in that you forgot about. Like Rhinestone, with Sly Stallone! You see the very young Parton, all country girl purity, all the way to right now Parton with all of her shiny glamour ... and you can't help but love every single look.

We had a hard time choosing a favorite, but I loved the little, colorful suits that looked like Nudie's style ... a little bit country, a little bit rock and roll. Parton's music was playing throughout the gallery, getting you into the mood - and then sticking in your head all day. I even teared up listening to Parton sing "I Will Always Love You" live in London, and we left this show both humming and loving Parton even more.

The added bonus on this trip to the Grammy Museum is an exhibit dedicated to Johnny Cash's historical concerts at the Folsom and San Quentin prisons, where Cash played for the inmates.

Jim Marshall's classic photos make up the majority of the gallery, and they have what is probably the most famous picture of any musician, the one where Cash flips off the camera right to its face.

You've seen that shot a million times, but you probably haven't seen the "San Quentin" lyrics written in Cash's own hand.

The sign that welcomed Cash to the prison was there, underneath a screen playing the actual black and white footage taken at the event. You're very aware of the weight these special shows had, especially in the photograph of the gymnasium at Folsom where the prisoners enjoyed Cash and his music while armed guards watched from within a cage above the crowd. Heavy.

They don't make them like Parton and Cash anymore, which makes these shows all the more impressive and awesome in the true sense of the word - filled with awe. The Grammy Museum itself is a treasure, and there's always something interesting to see, or a program to honor every single genre of music. You could spend the entire day going through the Museum's archives of past shows and events, a virtual who's who of every note of music every played, basically. I urge you to go and experience it for yourself, and before March 31st if you'd like to see the Parton collection. And you do.

And Dolly ... we will ALWAYS love you! Thank you.

A Conversation With Lenny Kravitz At The Grammy Museum

I've been a fan of Lenny Kravitz since we used our fake i.d.'s to get in to see him at First Avenue in Minneapolis back in the day. It was freezing cold out, but about a zillion degrees inside that fabled club as everyone was squeezed in tight to see him play a 15 minute version of "Let Love Rule" to close out the night, making us feel like big peacenik hippies all together who could really make a difference. It was a special show, and I've never forgotten that feeling.

Last night at The Grammy Museum in Downtown L.A., I got that feeling all over again from simply listening to him speak. Kravitz is a real cool cat, and his conversation with Grammy Executive Director, Scott Goldman was intimate and inspiring, but also very touching. I got choked up more than once. Introduced by Goldman as an artist who transcends genre, style, race, and class, who has won 4 Grammys, had 11 studio albums selling in the millions, and is an actor too. Kravitz was there to discuss his most recent album, Raise Vibration - and that's exactly what he did in that room - without ever playing a note (which was kind of disappointing, if I'm honest, as usually they have a chat and then a little mini-set at the Grammy Museum, and this time only two chairs and mics were on the stage).

Kravitz, dressed in denim and shades on inside, spoke to how the recording of Raise Vibration in his home studio in the Bahamas was "an exercise in faith and patience ... I let the creative process be what it wanted to be." Three years had gone by since has last album, and there were a lot of outside opinions on what Kravitz should do next - most all of which he ignored. "I grew up West Indian and Russian Jewish ... it was all about respecting the elders. I've got people saying 'You've got to remain relevant' - what the hell does that mean? It's about respect. I produce my albums." He met with the hit songwriters of the moment, but "I didn't feel it in my gut. Authenticity is IMPORTANT to me." That much is clear. To that end, Kravitz went to the Bahamas and woke up with the dream of this record in his head ... and "The floodgates opened, and the whole album came out. I dreamed the whole record ... You just hear it, it's really hard to explain. I knew I was on MY path." The entire album was recorded, produced, and engineered by Kravitz and his dear friend and musical partner, Craig Ross ("His Mom is here so we have to talk about him!"), and they did it exactly their way.

Once living in his pea green, rented Ford Pinto and working at Leroy's Fish Market ("On Washington and Rimpau"), Kravitz said about those times, "I never said I wanted to be a Star. I said I wanted to be a Musician." That earned him both applause and respect in the room, as most people who attend things at the Clive Davis Theater care about the music, not the hype.

Often described as "Retro", Kravitz laughed at that, saying, "I like to play instruments. I like to hear the character of the players ... their hands ... it's not coming out of a box." The environment helps too, and about working in the Bahamas, Kravitz said, "That's where my roots are ... I FEEL the Bahamas. You can hear and feel yourself there." Both his first manager (Steve Smith) and the man who signed him to Virgin Records (Jeff Ayeroff) were there sitting in front of me, and once Kravitz got his first advance ("Remember when you used to get an advance?"), he bought his land in the Bahamas - and a Harley. The studio he built on that land is where Kravitz has recorded his last three albums, including Raise Vibration.

Digging into that album, Goldman asked Kravitz about some of the tracks and themes on it, starting with the song, "Johnny Cash". Kravitz said he woke up with the phrase, "Hold me like Johnny Cash" running through his head, and he couldn't shake it. He sat down to write about a breakup he'd been going through (I'm available for consoling, Lenny), and couldn't get that refrain out of his head. Then he shared the very moving story of his mother (Roxie Roker - Mrs. Willis on The Jeffersons - one half of televison's first interracial couple) dying from cancer. Kravitz had been sitting at her hospital bedside for days, and left only to go shower at producer Rick Rubin's house, where he had been staying. The mere 30 minutes that he was gone was when his mother passed away. He got the call on a house phone at Rubins' house, and as he received the terribly sad news, Johnny Cash and June Carter walked down the staircase to him. They were there to record Cash's American Recordings, and instantly saw something was wrong with Kravitz. He told them his mother had just died, and they both enveloped him on either side in a group hug of consolation and comfort and spoke to him almost in prayer, though they all barely knew each other. "God always provides what you need ... and that's where I got 'Hold me like Johnny Cash'." The hushed room broke into applause - and tears, if you're me.

"Do you consider yourself an activist?", asked Goldman, to which Kravitz simply replied,"Yeah." He elaborated, saying that 30 years later ("Good God!") in his career, he's still not even close to who he will become. "I've done nothing yet ... Activism, I know I'll be stepping deeply into." That brought up his friendship with Colin Kaepernick, who Kravitz said he admires for "Standing up - or kneeling down - for what he believes in." He talked about how if you look back at footage of Muhammad Ali, he said whatever he felt, and "That stuff was hardcore!" We all respect the flag, but "Let's focus on what's important. National Anthems are great, but it's ONE planet, and our survival depends on working together. We're ALL ONE." I was happy to see that those good old "Let Love Rule" vibes remain very much intact with this guy.

They next spoke about how there are vocals by Micheal Jackson on the new Kravitz song, "Low". Kravitz had worked on Jackson's Invincible album, for which these vocals were recorded, and they were good friends. "It's cool to have his spirit and sound on "Low" - his screams are an exclamation point on it." He said he's heard dissses like, "Lenny thinks he's slick trying to sound like Michael" and that he was biting from him, "Like it was wack" - but it's really him. The Jackson Five were the first concert Kravitz ever went to, and it made him realize, "It was everything about life that I wanted. It changed my life." When he got to record a song with Michael, and they listened to the track together, Kravitz said, "His leg went out -  WHOOPASH! - and I knew it was good." Everyone laughed at that, but Kravitz obviously revered Jackson, saying, "It's so beautiful to remain humble, hungry, to hone your craft ... He did it all, but he was still hungry. That's the way to be, Man." GROWTH.

"All I'm interested in is being myself," said the guy who realized he didn't need to be "Romeo Blue" anymore (his original stage moniker) - he was Lenny Kravitz (who he said sounded more like a lawyer or a psychologist, but this one is definitely himself - and definitely a Rock Star). "You get influenced, and then you find who you are." Race didn't matter to Kravitz until first grade when he went to school and it mattered to other people. His mother told him, "You're black and white. 50/50. Celebrate BOTH sides - but society will only see you as Black." Kravitz thought, "Well, didn't Black people invent rock and roll?" and was just fine with that.

Prince was another big influence on Kravitz, starting in high school (at Beverly Hills High, where he brought the "Culture" from Baldwin Hills. "They had Rodéo Drive - We had ROdeo.") with the Dirty Mind album. "Here was another young, biracial guy I could relate to. He didn't act like anyone else. He didn't look like anyone else. I got DEEP into it." After Let Love Rule came out, Kravitz got a call from Prince. PRINCE! They struck up a friendship, even double-dating French girls when they both were living in Paris. They would play gigs and guest on each others' stages, and Prince would give him a bag of money after. "He's the only person that ever gave me a bag of money." They were friends until he passed away, and of the new song "Gold Dust", Kravitz said he wrote it the morning that Prince died. After he was gone, Kravitz was given Prince's guitar - a main one that he used all the time on stage. "His guitar is all over this album. His energy was in the room and brought something special to this album." And it's true. You can hear and feel it.

Kravitz credited his time with his love, Lisa Bonet, as what really got him started at being a good songwriter. They had a hippie lifestyle, very much in love, and very free. "No one could figure out what box to put you in," Goldman suggested, to which Kravitz offered his advice to new artists - "Do You". They next opened up the floor to questions, which ranged from if he considers his music gospel ("Absolutely. The first track is a prayer.") to not very subtly asking if he'd work with someone in a studio that he didn't know ("You never know.") to how he likes acting compared to music ("Let's be real, I've only made four movies. I like not having all the control, and I want to do more of it.").

Going back to Craig Ross, Kravitz said their friendship is a gift. He had just made Mama Said and was playing pool at HAC (Hollywood Athletic Club for those of you who remember that), and Charlotte from The Go Go's pointed to a guy with "A big Jewfro" and said, "There's your new guitar player" - which Kravitz needed. "We're always together, he moved to the Bahamas too ... we've never had an argument ... he's never asked for something and been said 'no' to, and I've never asked him something and been said 'no' to. We're like brothers." Then Ross's mother in the audience shouted, "Thank you!", and it choked me up again. So sweet.

Reflecting on the fact that Let Love Rule is coming up on 30 years old (!), Kravitz said it was a very special record to him ... "My dream came true." "I caught the tail end of the REAL thing. Real music executives who knew what was going on. It was me, but a very different me. That album set the tone of my music and my message, and from then until now, I've never left my message." The message that we'd all be so much better off if we all agreed to let LOVE rule. Thank goodness we still have artists like Kravitz to remind us of that, have always done so, and will continue to speak their truth to power.

Let. Love. Rule.

Raise Vibration is available now everywhere.


*Photos by Paul Gronner Photography.

An Evening With Leon Bridges At The Grammy Museum

I've been a fan of Leon Bridges and his music for a while now, but hadn't seen him play live, so when given the chance to check him out at The Grammy Museum last night - off I went. I was there just last week to catch Greta Van Fleet for the first time too, so I've been learning a lot thanks to this excellent venue.

The two acts - and the vibes in the room - could not be more different, but there were a lot of similarities too. Grammy Museum Executive Director, Scott Goldman, introduced Bridges to the sold out Clive Davis Theater audience, and we settled in to get to know him better. A native of Fort Worth, Texas, Bridges was there to discuss his new album Good Thing. Decked out in a sweater with stars in rasta colors, Bridges was soft-spoken and thoughtful with his answers, and the energy from both him and the crowd was MUCH mellower than for the Greta Van Fleet guys last week ... but they're both very young, they both have influences like Sam Cooke and Otis Redding, and both acts are doing things their own way.

Bridges' debut album, Coming Home, blew him up right out of the gate, with it landing at #6 on the Billboard Top 200. That retro-soul sound placed him on all the tastemaker's lists, but Good Thing is the album he always wanted to make. He said the theme during the recording of this sophomore effort was "Blood on the mics", meaning he was all in, and not at all settling for what was comfortable. He considers himself a crooner, but heard comments like, "Oh, that's for white people," admitting that black audiences were more of a challenge. For this record, Bridges teamed with producer, Ricky Reed, which was a big switch, coming from doing nearly everything himself his first time out. Arthur Alexander had a singing style that Bridges connected to, so Reed encouraged him to go for it with his falsetto, but his lead track on the new album, "Ain't Worth The Hand" has a more Curtis Mayfield "The Makings Of You" feel.  As Bridges said, "I've matured ... it's sexier." That got a laugh, and Goldman had to say, "I'd say there's a little more swagger, are you feeling yourself more?" Bridges answered, "Totally." (He said that a lot, actually).

Regarding the "sexier" part, Bridges' mom said, "I don't know about that 'Mrs.'", (a racier track) but now she's cool with it. Goldman mentioned that "Lions" was his favorite track, a spare, raw one that features Bridges alone with just a beat and claps. "Yeah, I wanted to get weird with the flow on that track." I respect an artist the most when they do exactly what THEY want to do musically, and Bridges seems to do just that. "Honesty and truth are very important, and what I want to chase as a songwriter."

Goldman said that "Georgia To Texas" was like his life story in 3 1/2 minutes, and Bridges agreed, saying that he'd started singing at 12 years old after his Mom brought him to Texas from Georgia. He cracked everyone up when he admitted that he had been obsessed with Sisqó at that age, singing all of that dude's songs, and then really started going for it at around 20. He went to church every Sunday, but never sang in the church, interestingly. Bridges went to school to pursue dance (also interesting), but picked up a friend's guitar, and "now I know three chords." That led to open mics around Fort Worth, where it was heavily country music oriented, and he'd be this "black kid with a guitar."  He was inspired by a band called the Texas Gentlemen and soon met co-writers Austin Jenkins and Josh Block at a bar, through a common love for Wrangler denim. Jenkins said, "I'd love to record your music in all analog." Bridges was like, "Great! But I didn't know what analog meant."

Bridges did a lot of Sam Cooke covers ("Because they were easy chords"), and found his own sound along the way. Before he knew it, he was opening for Harry Stiles in arenas, which was crazy, as he said, "His fans have a lot of energy." His understatement got a knowing laugh. Likewise, when Bridges said his hotel room info in Argentina got hacked and posted on Instagram ... "That was a great tour." I bet.

You'll find Bridges these days listening to Young Thug, Kendrick Lamar, and Chance The Rapper, and he's also made his first foray into acting, with the tall order of portraying Gil Scott-Heron reciting his "Whitey On The Moon" in the upcoming Neil Armstrong movie, First Man. Wow. After that revelation, Goldman opened up the floor for a Q and A from the audience. The first guy asked if Bridges' faith had been affected by fame. "I still hold to spiritual values. It's shifted, but I stand firm in my beliefs. Someone asked about dancing, and Bridges responded that he emulates Michael Jackson, Gene Kelly, and Fred Astaire - the high bars. Asked about past and future collaborations, Bridges said, without hesitation, "Past - Bobby Womack. Present - Drake." I bet we'll see that happen. Some wise guy asked what was his favorite Sisqó song. "'Thong Song', man, c'mon!" Awesome.

Someone asked Bridges to recite "Whitey On The Moon", and he did it perfectly - as much as he could remember on the spot like that.  Asked what else Bridges would like to achieve, "I'd like to win a Grammy" - I see that happening too, and it couldn't hurt that he was in the Grammy's house.  More impressively, he concluded, "I'd like to use what I've been blessed with to help other people." Again, kind of like Greta Van Fleet! The musical future is bright, everyone!

Goldman wrapped up the conversation part of the evening by asking about Bridges' collaboration with the eyeglass company, Ahlem. I was delighted to find out that the proceeds from the sales of these glasses go to our very own Westminster Elementary in Venice! How wonderful! I also learned that Goldman lives in Venice too - Huh. Bridges himself bought a house in Fort Worth - "Being with family and friends is a nice way to stay grounded." With that, it was time for the much anticipated performance part of the night, and a full band (sans drummer) and backup singers joined Bridges on the stage. "Here we go!"

"If It Feels Good (Then It Must Be)" was up first, and as funky as the bass was, it felt a bit low energy (especially when the latest show I saw in this room was the all-out rock explosion from Greta Van Fleet). When they finished, Bridges said, "Our drummer just quit on us today, sorry about that," explaining what I had been wondering. Whoa ... I wonder what they're gonna do for their show at The Greek Theater tonight? "Bad Bad News" was next - and also real funky, finger snaps and all. The room was very quiet, which I read as respectful, but it was also a little awkward. It felt more like we were listening in on a rehearsal ... really good, just a little low-key.

The groovy "Shy" was next, and had all that good old R & B soul that makes a record timeless. That also goes for "Coming Home", that featured both crooning and smooth moves. I can see Prince getting behind "Mrs." with its kind of horny licks, that afterwards had us all answering "Great!" to the "How you feeling?" question posed. Excellent, really. "Beyond" was really pretty, showing both shades of Bridges country-adjacent past, and his super romantic side. It's the one currently getting a lot of play on KCRW, for good reason. It's great.

Bridges strapped on a guitar and stood alone save for a female backup singer to deliver my favorite number of the night, "River". I choked up, in fact, it was so gorgeous. I hadn't been feeling very well, just off and strange, and I swear, after this song I felt a little better. The power of  music to heal! I believe! That earned Bridges a standing ovation ... and earned us another song! This was the longest set I've seen at the Grammy Museum, and the room was more than grateful. "Thank y'all! We're gonna do a rock and roll one." That meant "Flowers" and its chorus, "I wanna tell you about the good news (good news)!" At a time when we all need good news perhaps more than ever, this night of music and learning together was just what was needed. There was another standing ovation, and then Bridges was off ... probably to go find a drummer for tonight's show at The Greek.

I'm so glad I got to chance to see this super talented artist in such an intimate venue for the first time. What a privilege ... and a healing! Thank you to the Grammy Museum, and to Leon Bridges and his band, for a night that truly moved the soul - with soul.

*Photos courtesy of The Recording Academy/Rebecca Sapp for WireImage.

Greta Van Fleet Blows Minds At The Grammy Museum!

I'd heard Greta Van Fleet on the radio, and their strong resemblance to Led Zeppelin is unmistakeable. To the point where some dudes I know diss them for it, but I think sounding just like Led Zeppelin could hardly be a bad thing. Especially when the oldest of these guys is 22! I was invited to check them out in an evening of conversation at The Grammy Museum, so I went to get to the bottom of this band taking the world by storm.

There was a BTS (who?) concert going on at the Staples Center last night, and there were so many people camped out in tents on the sidewalks around the venue that I thought Skid Row had grown even bigger. It turned out that this Korean pop band has a four night sold out stand at Staples - what?! The more you know ... ! Anyway, downtown was packed because of this phenomenon I knew nothing about, and I mention this only because I don't think it will be too long before it's Greta Van Fleet having their own multi-night stand at Staples ... because they are AWESOME.

I'm getting ahead of myself. The Grammy Museum was also sold out, and the Clive Davis Theater was also packed, with rowdy rock fans ready to hear this super-young quartet talk and play. Grammy Museum dude Scott Goldman welcomed everyone, mentioned upcoming events at the Museum (everyone got applause but Shawn Mendes - silence - interesting), and then introduced the three siblings and their childhood friend from Frankenmuth, Michigan that make up Greta Van Fleet (who got their name from an 87 year old woman who lives in their town). Goldman said, "Bob Seeger said 'Give me that old time rock and roll', and that is Greta Van Fleet" ... right on.

Jake (lead guitar) and Sam Kiszka (bass and keys) and Daniel Wagner (drums) took the stage in flashy duds, but could otherwise be extras in Dazed And Confused. Fresh faced and voices still cracking at times, the friends explained that lead singer Josh Kiszka was upstairs resting his voice for the performance part of the night. That seemed a bit diva-like to me, considering he could just sit there with his band and let them do most of the talking, but whatever. The three guys more than impressed without him, speaking eloquently and intelligently to every question posed to them.

The very young men got signed in high school and their Black Smoke Rising EP blew up, with their single "Highway Song" soaring all the way to #2, leading to gigs opening for cats like the Foo Fighters. A dream come true for four kids from Michigan, who never thought this would be their lives. They even met Bob Seeger himself ("It was so surreal, it might not have really happened"), who voiced his approval. Wagner said, "It proves music is a superpower. He's 73 and rocking ... my Grandfather would not be the same." They all grew up in a "vinyl playground", honing their musical tastes on such disparate sounds as Elmore James, Sam & Dave ... and John Denver. "John Denver is actually really important in our upbringing. It was sung around the campfire. It's freedom. It's nature. It's love - which by definition IS very rock and roll.", said the very well spoken Sam (my favorite. Girls always have a favorite member of the band. Only this one I could be his Mom. Weird.). This depth was met by "WOOOOO!" from the crowd - as most everything said and played was.

The guys aren't as impressed with contemporary artists, aside from Lewis Del Mar (who I now have to go look up) and Fleet Foxes and The Black Keys. "Music from the past is so good because it stood the test of time," said Sam in maybe the best defense of their sound ... not that any is needed. They played a lot of bars and a lot of covers as young kids (highly illegally), and would go into bathrooms saying "Please don't be a drug deal, Please don't be a drug deal. I just want to sit and read Tolkien." (Haaa. These guys are also crackups. We loved them all.) They began writing their own material "so our self-identity comes into play", and their first original song was "Highway Song". Wow.

Their writing process "happens organically" with each member bringing in ideas that are pretty close to formed, "and then Josh goes into a closet and writes lyrics in ten minutes." There isn't much sibling rivalry, aside from the usual trying to one up each other that goes down within families - although there have been several broken windows and doors in their home between Josh and Jake (the twins). "Josh is the velvet glove to my iron fist," cracked Jake. They all still seem incredulous that this is all happening ... "We had no idea we'd be professional, we just love it. Not one sliver of thinking this, it's one in a million - and it just happened! I can't imagine a better job for myself - or anyone," said Sam as a matter of fact.

Goldman asked about the "800 pound gorilla in the room", the inevitable comparisons to Led Zeppelin. Wagner answered that they all learned their instruments individually, and we come at each other until it sounds like us." Zeppelin was an inspiration, of course, but it's really because they grew up listening to the same American blues and R & B that Zeppelin did.  Greta Van Fleet's debut full-length album is coming out soon (which they revealed to be titled Anthem Of A Peaceful Army - rad), and "It will be new ideas when the album comes out," explained Sam. Can't wait. Of Josh's unreal ROCK voice, Goldman asked, "Did you know he could sing like that?" "No." "He told me in private one day," cracked Jake. Sam added, "We had no idea what he sounded like until we scrounged up enough money to get a P.A." Well, he sounds like a hybrid of Robert Plant and Geddy Lee - who probably wish they sounded like HIM. For real.

The boys in the band are extra mature for their years, saying, "Knowledge and practice breeds evolution. We've had time to mature." Which is kind of funny because the twins are still just 22 - but their manager, Al Sutton, has finely tuned these guys to the point where they can kind of shrug at opening for the Foo Fighters in front of 150,000 people. "He's a genius", said Sam, to which Daniel said, "Whoa, whoa, whoa ... TOLKIEN is a genius!" (They're big fans of the Lord Of The Rings trilogy). Sam went on to say, "We went from 15 year old kids who didn't know how to record an album to 17 year old kids that do." "He reels us back in when we say 'What if we have 100 oracles chanting in the background?" You just want to hang out with these dudes. You'd be highly entertained the whole time - and wouldn't even have to play a note.

They spoke about covers they do, like "A Change Is Gonna Come" (Sam Cooke), "Meet On The Ledge" (Fairport Convention - "That was Dad"), and "Rolling In The Deep" (Adele) - showing the depth and breadth of their musical backgrounds, and willingness to try anything -and it works great. They speak a lot about unity and love, being kind and treating each other better. "Treating each other right is unity. Music is about seeing old guys in the back, young guys in the front at the same show, and it wouldn't happen otherwise - unless it was a family reunion or something." Wise beyond their years, I told you.

Goldman opened the floor to questions, and the first one was what is their opinion of artists who use programming on stage in live shows and don't really play. Sam replied, "I won't be violent to them, but I don't believe in it." Word. Another audience member asked what albums they're enjoying now. That would be Paul Simon Debut and Elton John's Elton John. "Do you have other favorite films besides Apocalypse Now? "No." Haaa. Though they do also enjoy the Coen Brothers. Right on. Asked about advice for up and comers (funny, because they are), Sam the good public speaker said, "Stay in school, don't do drugs ... but really, Parents - encourage your children, because we wouldn't be here without their encouragement." Their parents must be SUPER proud, not only for the rock star stuff, but for what good and kind people their kids seem to be. Asked what else they'd be doing, Jake answered, "Probably this." He knows they're meant to be doing exactly THIS.

"They say you're the future of rock and roll," said Goldman, to which Sam said, "One person cannot wear that crown ... It takes an army." He went on to say, "I didn't know rock and roll was dead, but if you're giving us the responsibility of bringing it back, we'll gladly take it." That was met with cheers, and we broke for a moment for them to set up to PLAY.

OHHHHH, MAN! This band took the stage, and I don't think the Clive Davis Theater has ever been so loud. It was arena rock in your living room, and it was incredible. Josh Kiszka joined his bandmates now (and he is a perfect blend of a young Bob Dylan and Little Steven Van Zandt, for real), in long feather earrings and a headband, and the moment he opened his mouth, it was just HOLY SHIT from thereon out. This kid was born to be a lead singer in a rock and roll band. Period. He has a gift on a Chris Cornell level, and that's me really saying something big. He might even surpass him ... what?! He has a gift that is truly jaw-dropping, and ours were hanging wide open from his opening scream on "Highway Tune". They tore the place up, with still kind of gawky kid movements while playing, while sounding like MEN. We kind of laughed looking at Josh's ink-free, not that buff arms - so far - and wondered how long until he gets a slew of tattoos. It will be interesting to watch the ink progress ... ! Hobgood said, "I can see his cock." ... so he's already clearly very comfortable in the rock star role. Good for him.

The second song was "When The Curtain Falls" and was more grooving and bluesy, and you could see that the guys were having a blast playing it. Jake's guitar playing was super animated, going all out - but then, they all were. Sam began the next one with a nice Zeppy organ intro, and his brother Josh said, "It's called 'Flower Power'", so you know this one was all the way up my alley. Now Hobgood said, "He can fucking SING!" and she was not wrong. My notes are all just "WOW." "Let it WAIL!" and "CHILLS." They built it all the way up until the arms raised crescendo, and then the organ outro. They're already such pros, it's ridiculous. "RIPPING, DUDE!" After that one, Josh said," Is it loud enough?" with tongue in cheek, but some guy in the crowd was like, "LOUDER!" Of course.

They didn't even need to play another one after that, but then they let rip with "Black Smoke Rising", and Josh again just BELTED it. This one sounds very Geddy Lee, and just held those high notes until the room erupted into whistles and shouts of HELL YES! They closed with the big hit "Safari Song" that was what first made people go "Zeppelin" - for good reason. But dare I say, BETTER Zeppelin? Like Zeppelin for NOW. People were standing up and dancing in their seats with arms raised, punching the air, and I have NEVER seen that at the Grammy Museum - and I've been there a lot. And these boys deserved it.

They milked the last chords and drum bangs to put an exclamation point on the greatness of the performance, and the resulting standing ovation (though everyone was already standing) was deafening. Greta Van Fleet took their bows, all smiles, and left us all in a sort of shell-shocked state of having our faces just rocked off. We just all kept saying "Holy SHIT!" and are still humming that "Safari Song" right now. Believe the hype. We felt lucky to see them in such a small venue, because they're right on those BTS heels (again, WHO?), arena ready. It's sure gonna be fun to watch the long road in front of these ultra-talented, peace and love loving guys, doing their best to unite this crazy world through music.

LONG LIVE ROCK AND ROLL! And Thanks to Greta Van Fleet for giving it mouth to mouth. WOW.

*Photos courtesy of Rebecca Sapp for Wireimage.com

Iggy Pop And Josh Homme - In Conversation At The Grammy Museum

It's been sad times lately, so I jumped at the chance to go listen to something positive, especially when it was one of our favorites, Josh Homme, talking about his new record with Iggy Pop - the wonderful Post Pop Depression - in the intimate Clive Davis Theater at The Grammy Museum. We trekked downtown (and had a great talk about Prince on the train with a stranger), and settled in to hear from two of rock's most interesting characters for the next couple of hours.

The event opened with an introduction from Grammy Foundation VP, Scott Goldman, who asked everyone to please silence their favorite Stooges ringtone, and then described Pop as first generation punk rock, a member of The Rock and Roll Hall Of Fame, the bloody, bruised lead of The Stooges, and Homme as the leader of Queens Of The Stone Age (etc, etc, etc), and massively inspired by Pop. As the Davis Theater is pretty small, they weren't going to be putting on a full stage show, so they screened as yet unseen footage recently shot for Austin City Limits. The double whammy of Pop's classic calling card,  "Lust For Life" and "Break Into Your Heart" off of the new album. The footage showed how great they already are together - and it was only their second show ever. It also showed how funny and entertaining Pop is ... which would be proven again throughout the evening.

With that, Pop and Homme took the stage to a standing ovation, in matching black leather jackets, both about as cool as you can get. Pop immediately exclaimed, "That was only our second gig! We're so much better now! We're cool." He didn't have to tell us.

They got right into it, with Homme explaining that he first got turned on to Pop's music  as an 11 year old in San Diego. The album was Raw Power, and he bought it directly because of the cover. He said he played the album until it didn't play anymore, and still didn't really understand it, to which Pop replied, "That's too much record for you, Boy." Homme agreed that it had been ... that he was afraid of it, but also drawn to it, "like a moth to a big old fire" (Homme is not at all afraid of analogies - and they're pretty good ones). That album had been made in 1972, and Pop said, "I thought kids would like it (to laughter, but Homme did!). It had spunk." Homme said he thought it was the most successful marriage of an album title and a sound - Raw Power. "Well, it's my noisiest record," said Pop. "On most of the cuts it's like is it a song or a problem?" That cracked everyone up.

Goldman asked how the two guys met, and Pop said it was at the Kerrang Festival in London. "It was
Lifetime Achievement time for me," said Pop with a laugh. "And I was asked to leave," chimed in Homme, who apparently had partied a little too hard for the metal fest. They were asked to be in a photo with Marilyn Manson, and Pop was impressed with Homme, "Mainly because he was the only other guy there not in a Satanic space outfit." The next time they met, Pop was to follow QOTSA at a festival, but he didn't really want to because they were GOOD. "I was mixed between telling them how good they were and wanting to blow them away, so I went to their dressing room and stuck my head in and said, 'You guys are really good, I gotta go, Fuck off!" The respect was there from the beginning.

In speaking to how emotive Post Pop Depression is, Pop explained that in the race for the buck in the music business, "less and less feeling is allowed. There's less happy songs, there's less sad songs ... Like Clockwork (the incredible QOTSA album) really affected me emotionally ... and it was craft. Like Chopin would use in a nocturne. You don't hear that much anymore. I was looking for something I could sing with, and his music gives you that space."

Homme followed that by saying, "I think it's important to be a fan. I gave up doing things I don't like. I wanted to be a part of something that connects people." So, once they got to talking about doing a collaboration, Pop sent Homme an entire dossier of material to get to know him by. The two share a love of Germany, so there were German photos and inspiration, there were essays about Pop's sex life, there were poems by Walt Whitman and Pop himself ... all personal glimpses into what makes Pop tick.  "It was the first step in being vulnerable," said Homme, "And I started to see the wing span of a human being." "I sent it to him to hold up my end of the bargain," Pop explained. "Josh has a huge pile - he's a great guitarist, a writer, a composer, he has this whole little Motown thing happening in the desert, and I have this little pile - I sing and write - so I wanted to give him something to write about, and establish a common experience before getting into the studio. Like, Josh would already know when I write about Gardenia, because he'd already met her in my sexual essay. I wanted to give him an idea of what was on my mind." What a cool way to go about it, right?

"You move at the speed of opportunity, and in a collaboration, you move together," said Homme. "You take a real chance. I don't know what it's gonna be, but it's gonna be alright. I'm willing to do whatever is necessary ... if I have to jump off a cliff, then we'll hold hands and jump." This "we're in it all the way together" vibe permeates both the album, and the obvious love and respect these two carry for each other.

Homme sent Pop what he called "The Shitty Demos", to which Pop began writing and adding to. "He has such an economy of word choice, and so much color. He has so much color the Skittles people are jealous." Pop said after talking about how much they both love the gay Caberet scene in Berlin, Homme used a word to describe what the album would sound like, and Pop was shocked. He leaned over to whisper it to Homme, who said, "Go ahead, say it," but then they got sidetracked and we never learned what that word was. And I still want to know.

"Iggy just turned 69. There's an edge, and most people fall off, but one person doesn't fall off and they have the best view, and that's Iggy." Meaning Iggy has come from the hard living guy cutting himself on stage to be here now, still creating and loving and inspiring. Pop added, "I'm not doing some things anymore, but if I want to put the pedal to the metal for five minutes, look the fuck out!" Yes.

Once they got to work, it was on, though they decided not to tell anyone about it. Homme's Dad told him that you shouldn't tell people what you're going to do, you should tell them what you've done, so they just went for it, promising if it was no good they'd just literally bury it in the desert, and no one would ever know. "If no one knows you're making a record, then who are you making it for?", asked Homme. "That's sweet. I make something for you, and you make something for me." Pop added, "I'd be crushed if it wasn't good, but I'd be PERSONALLY crushed."

Pop explained that he did two chanson albums in French to get him to here. "I'm singing 'La Vie En Rose' in French, and Stooges people online are thinking that now I just want to go and put on my slippers." Not if Homme had anything to say about it. "Every record deserves the chance to take a chance ... but protecting himself is not in Iggy's DNA." He went on to say, "I don't work in a bank. I'm here to take a leap. I can't always figure out how to say something, but I can figure out how to play it. Look, this record might wind up being a coaster for someone, but it will be a tits coaster, I'll tell you that." Truth.

For Pop, after having 25 copies of his French albums sell on the counter in a wine shop in Lyon, "I kind of knew it was time to stick one to the motherfuckers ... that's the best way I can put it." Homme was on board for that. "There's an army of us affected and INfected by what Iggy has done, and I won't let that go unnoticed. I'll make tea for that." The reaction they've had from fans has been overwhelming, and Homme said that tonight when they play the Greek Theater here in L.A., "You'll look left, you'll look right, and you'll see this joyous thing, and we'll be up there grinning, and they'll get to show Iggy  all this respect they have for him."

They discussed how they worked together, and how Homme would agonize over a word and Pop would say, "No, just throw in something terrible and the right word will come." This was an epiphany for Homme, who said they'd been at the Magic Castle the night before, but this idea was the real "Ta Dah!" "This is the best thing I've been a part of," Homme said humbly and clearly appreciatively. When Goldman opined that "Sunday" is the "Hallelujah" moment on the album, Homme answered that  he almost kept it for himself, "but I wanted him to know that I'd give him everything. "Sunday" is like, what if at the end of American Valhalla, he makes it to Sunday?" "I've got all I need and it's killing me" went the line, but then Josh added, 'killing me and YOU' - and that changed everything," explained Pop, "and the strings at the end are TRAGIC." Give it a listen, they really are.

Goldman asked Pop if this album was a summation for him. "I"m summing up my vocation in this role. I hope to survive the experience, and quiet down a bit. You do less ... but I do a lot of other work too, like voiceover, some acting, a radio show, I like to guest on Christmas albums ..." cracked Pop. They then opened it up for some questions from the superfans (which these Grammy events always attract, so you actually learn a LOT), and one guy said that we've lost so many icons lately, and asked what their thoughts were on where we go when we pass. OK. Both Homme and Pop kind of hedged, and then Pop said, "There's a book called Sum with many possible answers to that. I'd suggest that book." - getting them both off of the hook. But then Homme wanted to add his two cents. " I know when I burn wood, it changes to ash, but it's still there. Wherever they go, I hope they're there when I'm there, or I'll be fucking pissed." Me too, Josh. Me too.

In closing out the night, Pop said, "The main responsibility is to entertain, so I just want people to enjoy it." Homme's final thought was that, "The Arts are a Swiss Army pleasure device, and every time I just hope it works."

It works, as evidenced by the thunderous applause and people back on their feet at the end of the program. What an interesting, great time it was listening to these two cats, both super individually impressive, but more impressive even together, showing what can happen when it's about love, friendship, and respect over the mighty dollar.

Get your copy of Post Pop Depression to see what I mean ... available now everywhere.


*All photos by Paul Gronnner Photography.

Steve Earle - Mardi Gras At The Grammy Museum

I got a kind and last minute invitation to see Steve Earle play and speak last night at the Grammy Museum's "The Drop" series, and I jumped at the chance. I've long admired Earle's gift for storytelling and picking on that guitar, and this Americana Music Association event was on the release day of his new album, Terraplane. It was also Mardi Gras, and as Earle starred on Treme, I felt he'd be a good guy to spend the occasion with.

I was right. We sat there and listened to Earle spin yarns in that "I don't give a fuck" way of his (which he did also utter several times, and is one of the things I dig about him the most) in the silent Clive Davis theater, full of true Earle scholars, as is often the case at Grammy Museum events. It's for the hard core appreciators of the given evening's music, that is always clear. You always feel like you leave with an education, and Earle is a great professor precisely because he is also a scholar of music. Especially the blues.

The talk began with the Grammy Foundation's Scott Goldman asking Earle why a blues album now, to which Earle simply replied, "I had the blues." He's blunt like that, a plain talker. I appreciate that. He's also extra-prolific, with novels, plays, acting roles, and you name it also going on. It's evident and much written about that Townes Van Zandt and Guy Clark were Earle's mentors, and he "debriefed them fucking constantly". "Their influences were Lightning Hopkins and Robert Frost, and I don't want to hang with people who don't get that." Me neither.

In discussing the new album, Earle said, "There is only the Chicago Shuffle and the Texas Shuffle. There is no L.A. shuffle, no offense." The album, as he described it, is one part Howlin' Wolf and Chess Records, one part Canned Heat, and one part ZZ Topp (whose Billy Gibbons was repeatedly brought up by Earle as a badass blues man). If that sounds good on paper, trust that it sounds even better on the stereo, and definitely sounds great in person. He added that, even with all those icons of the genre, "All the blues goes back to one Robert Johnson song."

As it was Mardi Gras, Earle gave a little insight to the day, having learned much during his time spent in New Orleans while acting on Treme. Mardi Gras is really about the Mardi Gras Indians (who were originally street gangs protecting their turf) out to settle scores before the next day that begins Lent. He also mentioned that there will most likely be a New Orleans style album from him one day. About the release date, Earle shrugged, "Records come out on Tuesdays, but I think it's auspicious."

Earle also spoke of his upcoming memoir that will be "Less Keith, more Patti." It's about his mentors, Townes and Guy, about the street people that helped him, and about his Grandfather, who began 12 Step meetings in Texas ... "So, it's a book about recovery." I expect there will be many readers. When asked why a memoir now, Earle said, "I have a son with autism and his school is expensive. The publisher said memoirs pay more."

The Grammy nights are great because they just kind of let the performer go, and let it flow where they want the conversation to go. Earle told us he's recording an album with Shawn Colvin in November. He told us about his Camp Copperhead in the Catskills, where he holds an intensive four day songwriting (his job, after all) workshop. He told us that he's playing Letterman for the last time on Monday night. He told us that his tour starts April 15th, and he'll be playing the Stagecoach Festival out here. He told us he's a better performer now because of his acting. He told of how he saw Bruce Springsteen (who he thinks is THE best performer in rock) play an arena like it was a coffee house, and he went home and wrote Guitar Town the very next day.

Of Guitar Town, he said that a lot of songwriters (even Garth Brooks) tell him that they came to Nashville because of that record. "And I apologize." He said Nashville isn't really a town for singer/songwriters (which Earle often called his "job"), they just churn out from the machine. He came to Nashville himself in 1974, "and we all came because of Kris (Kristofferson, of course), but he was already gone being a movie star by then."

"I write chick songs so my audience doesn't get hairier and uglier, but they're not about the girl, they're still about me." That got a laugh, but I also got it. All songs are about the writer's experience and feelings. Earle explained, "I've got to keep myself interested if I'm gonna keep an audience interested. I'm not Andy Kaufman, an audience makes a difference. What I have in common with my audience matters more than how I'm different. And it keeps me in a job." Well, this audience loved that.

Speaking of Van Zandt and Clark, Earle gratefully said, "I was the beneficiary of a real life, old fashioned apprenticeship, which doesn't happen much anymore." True. "Songwriting as an art form is the job that Dylan invented ... it happened because Lennon wanted to be Dylan, and Dylan wanted to be Lennon."This is a man who knows his music history.

I've always enjoyed Earle's rebel streak, and his line of the night for me was when he said, "I loved corporate money. I love to take their money and write a song about Revolution." Yes. YES!

Then it was time for some of those songs we'd been talking about. Earle began strumming his guitar and releasing a huge sigh, almost of relief that the talking part was done and he could get down to his job now. He opened with "Ain't Nobody's Daddy Now" off the new album. And it ruled, as you knew it would.

"This is as close as there is to a chick song on the record," said Earle by way of introducing "You're The Best Lover That I Ever Had." It was great, and steamy and these chicks appreciated it. "Gamblin' Blues" was more for the dudes (and Lightning Hopkins), and they dug it too.

"King Of The Blues" had heads bobbing and toes tapping, and after hearing those stories, really having a grasp on where it came from, rounding out the song's experience beautifully. He told his oft-told tale of Van Zandt riding a horse in a snowstorm (which he fully intends to replicate) as an intro to his great ballad, "Fort Worth Blues", so visual and literary both. Earle ended with the crowd favorite and classic, "Copperhead Road." At song's end, the audience (that matters!) leapt to their collective feet and applauded until Goldman broke it up to say Earle would be signing his cd in the lobby.

As I watched the long line of people waiting to meet Earle and share their Earle stories, I remembered that Earle had said during the show that people always asked him if Van Zandt was Pancho or Lefty. Earle laughingly answers, "He was both." Observing Earle the performer and Earle the person with his fans, I suspect that like the King of The Blues Earle sings about ... Earle too is both.

What a great evening of music ... that didn't end there! We high-tailed it back to Venice to catch Lacey Kay Cowden and Matt Ellis at The Townhouse, and listening to their songs ... you might think that Earle is now a mentor himself. Beautiful, literary, cinematically visual songs that might break your heart, might teach you something about yourself, but for sure will cure any blues you thought you had.

Fait les bon temps rouler!

*Steve Earle & The Dukes great new Terraplane album is available now. Everywhere.

*Lacey Kay Cowden's Townhouse residency continues next Tuesday!