by: Casey Pukl

It’s hard to find a person who doesn’t enjoy, “Zoot Suit Riot”. Seriously. Have you ever met a person that doesn’t hear that song and either sing along, dance, or both? The Cherry Poppin’ Daddies are now in their 23rd year as a group, and frontman, Steve Perry, is still as original and innovative as ever. From his dark and stirring lyrics to his unique blend of swing, ska, and rockabilly, there’s no telling what genre he’ll be venturing into next! I had the chance to chat with Steve about his upcoming show at Anthology on Sunday, as well as what inspires him, and what’s next for the Daddies!

CP: I saw on your blog that you’re currently working on a new album! Let’s dive right into that!

SP: Yeah! We really haven’t done a swing record since “Zoot Suit Riot”, because we’re a band that’s really diverse, and we’re interested in a ton of different genres. We always include a couple songs in the swing genre on each record, but often the records still turn out as a pretty diverse mix of stuff. But this record will be focused like “Zoot Suit Riot” was, completely focused on swing. So we’re really excited to do that again. We’re also trying to make it so that every song isn’t just a jump blues or that they all sound the same. We’re still keeping it really diverse, and making sure it’s all within the genre.

CP: Sounds like it’ll be pretty different from the last release, “Skaboy JFK”, right?

SP: Yeah, that was a compilation of all of our ska songs plus a few new ones. We’re a schizophrenic kind of band. The people who had seen us touring with Reel Big Fish and the Mighty Mighty Bosstones during those years got the impression that we were a ska band. We’ve always played swing music, but we throw in a certain amount of ska tunes. Obviously when we were touring with ska bands, we played more of that material, but we’ve always been a swing band.

Over the years, people would mention that since “Zoot Suit Riot” was a compilation of our swing tunes that we should do something like that for our ska songs and put them all together on one record. So finally, we just had the time and did it. We remixed some because they were old, but we put them all together on “Skaboy”.

CP: And that record celebrated your 20^th anniversary as a band, right?

SP: That’s right. And as of now, we’re in our 23^rd year.

CP: What’s that been like? Is that a little surreal? Not many bands make it to that point. 

SP: You know, it’s been a little surreal. I guess when you get past 20 years as a band, it’s pretty amazing. That’s sort of Rolling Stones territory that you’re getting into (laughs). It’s a testament to the people in this band, and to the fact that we’re really in it for the music and have been since the beginning. In 1989, you don’t start a swing band thinking that you’re going to get anyone to care about you (laughs), you know? It just doesn’t make any sense. But the type of people who have been in the band have always been interested in the music and the different styles, and they’re eclectic people. We’ve all gotten along for the most part and been able to solve our problems and all that.

CP: Who influences you musically?

SP: I guess how I write is that I’m interested in a lot of different genres. I like to see if I add a little bit of x and a little bit of y where that will go and how it will sound. Take Quentin Tarantino for example. He’s a filmmaker who is influenced by exploitation films and action movies and Scorsese, and he rolls all of it into his type of film. That’s sort of what I do. I’ll hear about a style of music, like a few years ago electro-swing happened. It’s a combination of swing music and electronic samples, you know, like dance music. But I heard of it, and thought of a picture of what it would sound like. Then I heard the music, and I thought, ‘Wow, that wasn’t at all what I expected!’ The same thing happened when I heard acid jazz back in the day.

So I try to make what I heard in my head. When I heard about psychobilly, I thought about what it was, heard what the other bands were doing, and then thought that I could really bring my own sound and take to it. 

Often I’m influenced by genres as opposed to someone in particular. I think about mixing this and that, and then I think about whether it will work or be funny or cool. Like, what if I wrote a swing song about child abuse? What would that be like? So that’s kind of how I work. It’s more experimental with various genres.

CP: I think that really perfectly explains why your music sounds the way it does.

SP: I hope so. You know, my goal is to always have my music retain what’s cool about the genres that I like. I want it to feel good to your body, not sound like an exercise. I don’t want my music to sound like some sort of study. I want it to be something that you can just get into emotionally. The song” Drunk Daddy” on “Zoot Suit Riot” is a swing song about a domestic abuse situation. When you listen to the song, you’re drawn into the story and the music. You’re not thinking, ‘Wow, this is a cool idea,’ (laughs). You’re not thinking of the cool dichotomy that’s being set up. Then when people are done, they can go back and see what’s cool about it.

CP: Going into that a little bit more while also taking a complete left turn (laughs), you also have a degree in molecular biology, true?

SP: Yes. I studied molecular biology.

CP: It sounds like you almost take a scientific approach to your music; would you agree?

SP: I think that it depends on how you look at it. If you take science as observing and writing down what you observe, then no. But do I look at things analytically? Sure. I ask, ‘What is it about big band music that I like?’ or ‘What is it about the term acid jazz that interests me?’ Why do I like this? What is the potential? What do I mean? Let’s go deeper into what turns me on about this. What is it about David Bowie’s stuff that intrigues me?

So, in a scientific sense, I think about it, but it’s still an artistic process. I think a lot of artists write like the song is their diary all cut up with words that rhyme. They’re singing and it’s them. I don’t work like that. I write a song about a character who is not me. It’s a story. I want people to go into his or her story in the song. It’s not me.

CP: I think that really explains so much about your music. It’s really neat to hear your thought process. I’ve always wondered really where you’re coming from because your music is so diverse.

SP: I try not to repeat what I’m doing. It’s like why do that again? You constantly want to make progress and tell things a different way or from the other side. You want to criticize what you did in the beginning. “Drunk Daddy” again, I love the song, but if I could re-do it, I’d change it a little. I feel like I made the kid in the song too much of a victim, and it’s a little too black and white. I think it’s less interesting to make it seem like the kid is just the victim and that the dad is just a big bully. I think I would’ve rewritten a couple lines to make the father seem more human, and the kid a little more complicit in it. Not that he deserves to be abused, but just make it a little more real. Things that are black and white just aren’t interesting to me. I want to be able to tell the same story in a different way that makes you feel icky. It makes you feel the abuse, and uncomfortable. I like to do that.

There’s a beautiful 50’s style tenor ballad on our record, “Soul Caddy” that’s played by Dewey Redmond, who’s a very famous jazz guy who played with Ornette Coleman.

[It was at this point that the fire alarm testing kicked in, and the alarm started going off. Fortunately for us, Steve picked up right where he left off]

The song is called “Saddest Thing I Know”, and the first line is, “I hate myself, we’ll have that in common.” The first line makes you go, ‘What?’ That wasn’t what you were expecting. I like to do stuff like that to challenge the expectations.

CP: What are you looking forward to about coming out to San Diego?

SP: Well, it’s Superbowl Sunday, so that’s a good start! But we have some friends down there. Back in the day, our bass player was from San Diego. It’s a beautiful place. There was a record label there back in the day called Tang, and we used to hang out with those guys. I’m looking forward to friends and the sun (laughs).

CP: Well, you’ll see plenty of the sun, that’s for sure! Thank you so much for your time, and sorry again about the fire alarm!

SP: It’s totally fine. I’ve got a two year old. There’s always a fire alarm going off over here.

Special thanks to Steve for taking time out to chat! Be sure to come on out to their show on Sunday night to swing off all of your Superbowl snacks, since the show starts after the big game! There will be a dance floor, and good times for all!

Cherry Poppin’ Daddies on Spotify

WHAT: The Cherry Poppin’ Daddies
WHEN: Sunday, February 5, 2012, 8:00pm (After the Superbowl!)
TICKETS: $10-$39 Buy Tickets
MORE INFO: Artist Profile

A Three Course Menu & Cocktail Selections

by: Casey Pukl

Lemons are one of the most versatile ingredients you can have in the kitchen. These little sour fruits can be used in savory and sweet dishes, and has also historically been used for medicinal purposes as well. In 1747, James Lind used lemons to add vitamin C to sailors’ diets to try and ward off scurvy. Lemon leaves have also historically been used in teas.

Chef Todd Allison says, “I use lemon juice to finish a lot of sauces and soups. The acid helps to intensify the flavors of the dish.” When juicing fresh lemons, Chef Allison recommends letting the lemons come down to room temperature if you’ve kept them refrigerated. This allows the juice to be extracted more easily.

First Course: Olives with Lemon, Fennel, and Black Pepper

These little salty bites are sure to kick off any meal with a bang. Toss olives with a little bit of extra virgin olive oil, shaved fennel, a little bit of fresh squeezed lemon juice, a pinch of salt, and some fresh ground black pepper. Roast them in the oven or heat them on your stove over low to medium heat until they are warmed. Serve them warmed, and watch your guests gobble them up!

Second Course: Short Ribs with Chimi Churri Sauce

One of Chef Allison’s favorite signature dishes on our menu are his short rib sliders with chimi churri sauce. To turn this delicious appetizer into an entree, skip the slider-style prep, and just do short ribs with chimi churri sauce, and serve with a side of green beans with toasted almonds and a little lemon juice on top. To make the chimi churri sauce, Chef Allison recommends using chopped parsley, garlic, Anaheim chilies, lemon segments, lemon zest, and lemon juice. Top your short ribs with this delicious combo, and enjoy the bold flavors that follow!

Third Course: Lemon Basil Crème Brulee

Another one of Chef Allison’s favorite dishes on our menu is the lemon basil creme brulee. This twist on the traditional dessert gives it a freshness that is perfect for those warmer days. To create this dish, simply use a traditional creme brulee recipe, and add lemon zest and basil leaves to the cream while scalding.

On the cocktail side of the street, beverage manager Marc Canzoneri and bartender Claude Grove have a few great options for using fresh lemon juice. From classic cocktails to new inventions, these drinks are sure to please!

French 75
Classic Cocktail

Ingredients:
Gin
Champagne
St. Germain (Elderflower liqueur)
Lemon Juice

Instructions: Combine all ingredients except for champagne, shake, strain, and top with champagne. Garnish with a lemon peel.

There seems to be a good bit of debate about whether or not this cocktail was traditionally made with Cognac or gin. The French 75 first appeared in The Savoy Cocktail Book in 1930, and the recipe used gin. However, The Fine Art of Mixing Drinks by David Embury claims that it was originally a Cognac-based drink. Some might argue that without Cognac, the drink is no longer “French”, however, let’s not forget where champagne comes from. Here at Anthology, we make this classic with gin and a little bit of St. Germain in place of the simple syrup. This gives the cocktail a hint of sweetness as well as a slightly sweet floral flavor. You can’t go wrong with one of these.

Not a “Claude” in the Sky
Creator: Claude Grove

Ingredients:
Vodka
Tuaca (Vanilla/Citrus Liqueur)
Domaine De Canton (Ginger Liqueur)
Lemon Juice
Simple Syrup

Instructions: Build in the glass, shake, serve over ice. Garnish with a lemon wedge.

In all fairness, the name of this drink is a little bit of a house joke. One of our favorite bartenders here, Claude Grove, came up with this one. To pronounce it properly, and get our play on words, you have to know that Claude pronounces his name like the big fluffy giants in the sky—cloud.

Fortunately you don’t need any background to understand why this drink tastes so darn delicious. The combination of Tuaca and Domaine De Canton creates a sweet, velvety flavor that I can only equate to some sort of baked pastry. While this drink is on the sweeter side, it’s still refreshing, thanks to the fresh squeezed lemon juice. It’s perfect for those days where there’s… well… you know… not a cloud in the sky.

by: Casey Pukl

You know you’re in for a good day when Warren announces that there are new wines that absolutely have to be featured on the blog. It’s a good day to be blogging for Anthology!

As I mentioned in last week’s post, we were expecting a few additions to our wine list. They’re finally here, and there’s something for everyone. From deep, rich, ruby reds to crisp, light, and refreshing whites, there’s no shortage of options.

On the red side, we have two fantastic additions:

 Pinot Noir, Samsara, Santa Rita Hills, 2010

The first thing you’ll notice about this one is its exquisite ruby red color. I’m tempted to take a glass straight to Benjamin Moore and turn it into the perfect color for my bedroom walls. But unfortunately, paint doesn’t have the subtle nose of jasmine and and stone fruit. This wine has a very velvety and soft texture, with notes of raspberry, black tea, orange zest, and cardamom.

Bordeaux Style Blend, Conn Creek, “Anthology”, Napa Valley, 2006

Though I wish this wine was specially made for us, unfortunately the name is just a coincidence. This red blend is a combination of Cabernet Sauvignon, Merlot, Cabernet Franc, Malbec, and Petit Verdot. There are notes of cherry and cassis fruit flavors with accents of cedar and vanilla spice. The finish on this one is endless, and it’s one your sure to wish would never end.

On the white side, here are two more great additions:

Chardonnay, Lioco, Sonoma County, 2010

This Chardonnay has a little bit of a snap to it. Lioco ages their wines in steel barrels instead of oak casks, so the flavor profile is a little different than your typical Chardonnay, but it’s still delicious. The nose is rich in vanilla, caramel, and light pepper. The texture of this wine is silky and supple. There are notes of apple and caramel, but there’s also a bit of tartness that keeps it balanced.

Sauvignon Blanc, Ferrari-Carano, Fumé Blanc, Sonoma County, 2010

What’s interesting about this Sauvignon Blanc is that is utilizes both stainless steel and oak barrels. When the grapes are harvested, they all spend 48 hours inside of the stainless steel tanks, and then half of the batch is aged in oak barrels for one month. Following that, the two batches are blended to create this signature bottle. The floral bouquet is supported with hints of fresh grass and light spice. On the palate, notes of grapefruit, lychee, and melon are all detected. There is also a great acidity to this wine. The finish is crisp, light, yet lingering.

Be sure to check out our upcoming calendar to see when you’d like to come in and enjoy our fine wines, and always lovely and incredibly talented acts!

Calendar

by: Casey Pukl

50  years is one heck of a long time to imagine anyone doing any one thing. But legendary a cappella group, The Persuasions, is still at it! The group is currently celebrating their 50th Anniversary, and they’re bringing their signature soul-baring show to Anthology next week. Find out what they’ve been up to, what iconic artist’s material is next on their list, and how they choose their material in my candid chat with the groups producer/arranger, Dave Revels.

CP: When did you officially join the group?

DR: I officially joined the group in either 2008 or 2009, but I’ve actually been a part of it since 2002. In 2003, I produced and arranged the U2 album, “The Persuasions Sing U2”. And then I arranged and produced the latest album, “Knockin’ On Bob’s Door”. But I’ve also done some additional projects along the way. We’ve been working with J J Cale, and we did a few more Grateful Dead tracks. We released a couple of songs that didn’t make it onto the first album on the new release, “Might As Well.” But I guess full-time, I started performing with the group in 2008.

CP: You’re now the main arranger and producer for the group, correct?

DR: Yes, that’s right.

CP: How did you come into that role?

DR: Actually, my history with the group goes back close to 40 years ago when I met one of the original members of the group when I had my own group. I was a teenager at the time. I took my group up to him, you know, I thought we were so incredible and all, and he said, ‘Gee, that sounds nice, guys, but where’s the harmony?’

And we looked at each other and said, ‘Harmony? What’s that?’ And he sat down with us and we got to go through his classic albums, and that’s how I learned about harmony from an original member of the group, Jayotis Washington, back in that early period of my life.

I went on to sing a cappella with my group for about 5 years before I used any bands, and then I went on to be a member of The Drifters, the original group that was inducted into the Hall of Fame. So I’ve been producing and writing stuff ever since.

One day I went to see The Persuasions in 2001 or 2002, at BB Kings in New York, and they asked me to come up on stage and sing. And then about a week later, I got a call from their business manager saying that The Persuasions wanted me to record with them on The Beatles (The Persuasions Sing The Beatles) album. At the time, Jerry Lawson was their lead singer. So that’s where my real full indoctrination into the group started. I learned a lot from Jerry Lawson, who was an incredible producer and arranger, as we all know. So I learned quite a lot of a cappella technique in that time. I also really embraced the way he worked with Jimmy Hayes, the bass singer. They’d get the heart and soul of the song together first and then bring it to the rest of the group to fill in the rest of the harmony. That foundation between the lead singer and the bass though, I got that. 

After that experience, when I was called in to arrange the U2 album, I worked with Jimmy Hayes in the same way. I filled that void, and Jimmy and I continued to work with that same kind of chemistry and he and Jerry Lawson had. The chemistry is solid. I love Jimmy; he’s an incredible singer. The rest is history! 

The newest CD, “Knockin’ on Bob’s Door,” has gotten some incredible reviews so far, and it’s quite an enjoyable experience for us to watch people embrace that album. We loved doing it, and we loved the music. Bob Dylan is such an iconic character, writer, poet, singer, and musician. Just to embrace his music was an incredible experience. We really got heavily involved with it.

CP: You guys have such a fabulous way of choosing some seriously iconic music from the Grateful Dead to the Beatles, Jerry Butler, Bob Dylan. How do you choose?

DR: Most of the time, it comes from the fans suggesting things. A lot of them came through fans coming up to the group and suggesting it. With the Bob Dylan record, that’s what happened. We were out on the East Coast, and someone mentioned it to us, and then the next night on the West Coast, someone else mentioned the same thing. So we gave it a shot. If someone suggests something to us, we’ll listen to it and see how we feel, and if we like the lyrics, we’ll embrace the song.

There’s a young lady from Canada named Elena Yeung. She flew out from Canada to New York to record one of her songs with us. It was a cool experience. She’s a young artist, she wanted The Persuasions on her song, we liked it, so she came out and we did it.

CP: So you guys take requests?

DR: Yeah! Of course! The next one we’re actually thinking about doing is Bob Marley. A lot of people have been asking us, so we’re looking. We’re not jumping totally into it yet, but we’re going to start fooling around with redemption song first and see how we do with it. We’ll see if it’s a marriage for us, and if we can add something to it. If that works, then we’ll take another one and develop it.

CP: This is the group’s 50^th Anniversary tour now, right? 

DR: Yes. 2012 marks 50 years. The group began in 1962. So this is quite an experience. On a lot of our stops last year, people came out and told us stories about how the group has been a part of their life for so long and what it means to them. It’s been like homecoming for a lot of fans.

CP: What’s that been like for you, stepping in to be a part of this experience?

DR: It’s like coming home for me too. I believe in circles, and everything comes to a close. This is quite a closure. Coming back to where I began, having been taught by the original group, and now I’m in their shoes, it’s an honor to continue the tradition of The Persuasions. It’s an honor that I take quite seriously. I devote myself to the group. I love singing, and I love the purity of a cappella. In a cappella, you’re naked! There’s nowhere to hide. That’s the essence of what it is, so you’re truly baring your soul every time you sing. You’re exposing yourself, so you have to come from a spiritual point of view in a cappella.

CP: What’s on deck for this year?

DR: We’re touring the Bob Dylan record as well as the Grateful Dead record since it has been re-released. It’s sort of going through the history of the catalogue of the group. We’re selecting different songs from different points in the group’s history. The concerts now are like a journey through the group’s history and albums and artists. That’s what this year is about; reminiscing.

CP: Anything in particular you guys are looking forward to about coming out to San Diego?

DR: Any opportunity to get away from the cold, although I guess I can’t really say that since I went out in New York in a t-shirt yesterday. They talk about 2012 being the end of the world, but I think I’ll be enjoying every last minute of it if it’s like this (laughs).

CP: (Laughs) Very good point!

DR: It’s a very interesting year to say the least, but we’ll enjoy heading out to the West Coast. It’s always great to reconnect with old fans and connect with new ones. We get a lot of emails from people on the West Coast wondering when we’re coming out there. There are a lot of people out there with love for the group, so we’re looking forward to give them a chance to see us.

Special thanks to Dave Revels for his time! This is a show that you absolutely won’t want to miss. Come out and hear the a cappella versions of some of your favorite classics! Be sure to preview their Bob Dylan record on Spotify at the link below!

The Persuasions on Spotify

WHAT: The Persuasions
WHEN: Thursday, February 9, 2012, 7:30pm
TICKETS: $10-$44 Buy Tickets
MORE INFO: Artist Profile

by: Casey Pukl

Is there anything Lisa Loeb can’t do? I think you’d be hard pressed to find something. Not only is this queen of the 1990′s pop charts working on a new album, but she’s also writing children’s books, recording children’s songs, designing eyewear, acting, and to top it all off, she’s pregnant again!

Prior to Lisa’s show here this week with Jill Sobule, I had the chance to catch up with her and find out what she’s been up to, and some great information about her show here on Friday!

CP: Before we get started, I just want to say congratulations! I heard that you’re pregnant again!

LL: I am! Thank you! It’s really exciting and interesting and wonderful being a mother of a two year old, so it’ll be an even more different and interesting experience having two kids!

CP: I know you’ve been doing a lot of children’s music and books recently, so do you think that this will take you even further down that road?

LL: Probably. It’s funny; it was really more by coincidence than by plan that I started doing kid’s music before I had kids. But I’m learning more about what I think kids might want now after having a daughter. But I was doing kid’s music just because I like good kid’s music, and I wanted to try and make some.

CP: Parent-friendly kid’s music is always appreciated!

LL: Exactly.

CP: I’d love to get into what you’ve been up to lately. 

LL: I’ve been playing concerts here and there, a little less touring than normal just because I’m working on a new album. Also, with a two-year-old daughter, it’s a little harder to get out on the road, but I’ve been working on a new album that should be out later this year with Chad Gilbert from New Found Glory. It’s a punchy poppy/rock record. And I’ll be playing some songs from that at the shows in San Diego for sure— the acoustic versions, not the ones with the full band obviously. So I’ve been working on that record; we just finished mixing it, so I’m very excited about that.

Then I put a kid’s book out in October with a record called “Lisa Loeb’s Silly Sing-along: The Disappointing Pancake and Other Zany Songs”, so I’ve been promoting that a little bit and playing some concerts for that. And then I also have an additional kid’s book coming out this next October, which is kind of a follow up to the one that is already out, along with a collection of movement songs.

I’ve also been doing a lot of voice-overs for TV commercials and some for animated TV shows. I’ve also been doing a tiny bit of acting. I was in the movie “Fright Night” that came out last year, and some other projects. And then there’s my eyewear line! I’ve been designing some new eyewear with a company that’s actually based down in San Diego.

CP: I have to admit, I’ve been eyeing a set of frames in your collection for a few weeks now. 

LL: That’s awesome! We have some new styles coming out in the spring, which will be really cool. We’re actually doing a photo shoot with the new ones that I’m really excited about. I’ve been doing a lot of different projects.

CP: How did you find yourself getting into so many different avenues? Was it something that just came really naturally to you?

LL: Yeah. I just do what I like to do. It’s a combination of things that I create and come up with, and things that people ask me if I’m interested in doing, and they bring things to me. Luckily we’re in a time and age where a musician can do more and be more than just a musician without it saying anything bad about the music. I remember back in the 90’s when being a musician, if you mentioned wanting to do other things beyond being a musician, people were a little bit doubtful about that. I don’t think people understood that musicians might do other things besides play music.

But nowadays I think it’s almost expected, and now it’s normal. It’s nice that the general public opinion lines up with what I love to do. Along the way I had a cooking show, and I still love cooking; I’m working on a project that has to do with cooking. I love making music, but I also love collaborating with different people on different types of projects. 

CP: I think it’s really cool that you’ve embraced this whole shift to really branding yourself more so than just yourself as a musician. The whole business has really shifted toward that angle of really branding yourself and all of the things that you love to do.

LL: Yeah, more and more. It really spans the range. I was at the NAMM trade show hanging out with a lot of rock and roll guitar players, and then the next day, I was at a librarian conference promoting my kids book and hanging out with librarians (laughs). But that’s all very normal. On the surface it looks like two groups that are very different, but there’s a cross section where you realize it’s similar.  There are so many people with different interests, and I think it’s fun to be able to go in and tell my story and hear other people’s stories. I like working with different types of people.

CP: Going back a bit, if I read this correctly, you are still the only artist to ever have a number one Billboard single without being signed to a record label, correct?

LL: That’s what I understand. It’s been wonderful to have such an independent start. It’s always given me the confidence to do things the way I feel like they need to be done. I think it’s important to take advantage of the music business and how things work. I always try to keep on top of the best way to put records out and promote them, but I think just having that independent spirit helps. I come from a place, I think a lot of musicians do, wanting to make music in a certain way, and then they figure out how to sell it.

CP: Can you tell me a little bit about your writing process?

LL: I’ve written music ever since I was six years old, and part of it is sitting down with the guitar, or when I was younger the piano, but sitting down, messing around, coming up with things that sound cool, and putting words to them. Other times words come to me, and I want to put music to it. But different elements of a song come to me at different times, either because I’m sitting down looking for it on purpose, or just because I’m walking around and something pops into my head.

There’s a process that I call, “doing your homework,” which just involves sitting down, figuring out what you’re actually writing about, and finishing the song. Sometimes that process is faster when I collaborate with other people, sometimes it’s a little bit less painful, so I’ve been collaborating more and more over the last ten years. On my kid’s music, I’ve been collaborating with Michelle Lewis and Dan Petty, and I’ve collaborated with a lot of other songwriters, but I still write by myself. Like I said, recently I collaborated with Chad Gilbert of New Found Glory; we wrote some songs together. But it’s just a process. It’s not an easy process for me. It usually takes some time and some patience and focus. I wish I could figure out exactly how it works.

CP: I think we all wish we could boil it down to a science.

LL: Yeah, but unfortunately it’s not science. It’s an art, and then there’s an element to finishing a song that makes it a craft. You have to be able to edit things. I don’t usually just sit and write a bunch of lyrics. It’s a process.

CP: Sure. I’d love to go back into the new record you’ve been working on with Chad Gilbert of New Found Glory. Do you think this is a big departure from some of the records you’ve done before?

LL: I think for people who know my music really well, they’re not going to think it’s a drastic departure, but for people who know my music more from my handful of songs that have been on the radio, they’ll think it’s a poppy/punky/rock record than what they’ve heard. I’ll talk about it more when the album is actually out.

CP: What are you most looking forward to about coming to Anthology?

LL: I’ve heard that the club is a great place for songwriters to perform. I also love Jill Sobule. She’s one of my favorite people, and I’m really excited to be sharing the bill with her. So I’m looking forward to that, and sharing new songs, older songs, and everything else in an intimate setting. I’m actually taking requests for the show, so if people want to request something, they can tweet me @LisaLoeb!

Special thanks to Lisa for her time! Be sure to tweet your requests to her before the show!

Lisa Loeb on Spotify

WHAT: Lisa Loeb w. Jill Sobule
WHEN: Friday, February 3, 2012, 7:30 & 9:30pm
TICKETS: $10-$49 Buy Tickets
MORE INFO: Artist Profile

by: Casey Pukl

Modern day troubadour Eric Bibb has certainly had a great 2011. His last release, a live album titled Troubadour, brought him significant exposure in the US, and also earned him a nomination from the Blues Foundation. But never one to stay still, Bibb is hard at work on his upcoming release, and fortunately he gave me the scoop, as well as a preview of one of the tracks! Take a read to see what’s next for one of blues’ finest singer/songwriters and guitarists.

CP: What have you been up to this year?

EB: I’m actually release a new CD in March that was recorded in Louisiana with some wonderful musicians. It’s called “Deeper in the Well”, and I’m really looking forward to sharing that for sure. I had a chance to work with some wonderful musicians some from Louisiana, and a few from other parts. Information about it that will be posted to my website soon, but it will be released in North America on Stony Plain Records.

Other than that, I’ve actually just returned from a trip to Bali in Bamako, where I had the chance to record some music with a lovely musician from there named Habib Koite, who is very well known in world music circles.

CP: That sounds like a very exciting time.

EB: Yes, it was eight days of an amazing experience. I’ve never been to [inaudible] before, so I felt at home in some ways.

CP: I know you tour all over the world. Do you have any particular favorite place to play?

EB: That’s a question that I get quite a lot, and it’s funny. I find that I’m meeting similar music lovers that seem to belong to a world tribe, and I’m meeting them wherever I go. Doesn’t matter if it’s Scandinavia or Australia or Canada; there are similar people in some way everywhere. It’s hard to pick a favorite place because I meet my kind of folks basically everywhere I go, and I think it’s the music that glues people together that are of a certain mindset or heart-set. It’s nice. Traveling so much can be a little disorienting, but meeting so many friendly people makes the whole thing easier.

I really enjoy Australia. I’m getting ready to go back there next month. That’s one of my favorite places to play.

I actually also particularly like the Southwest of the United States. My mother is from Albuquerque, and I know the area. It’s a place that I really enjoy as well as the Pacific Northwest. Those are two of my favorite zones in the United States. 

CP: I can’t disagree. Albuquerque is an absolutely incredible place. I’ll never forget driving through it on my way out to California.

EB: Yeah. If you could just fluctuate between Albuquerque and Santa Fe, you’d be alright (laughs). 

CP: (Laughs) Absolutely. There’s nothing quite like it.

EB: Very true.

CP: I’m curious about your writing process. How do you usually start?

EB: It’s very difficult to really analyze it because I don’t have a set way of writing songs. Very often, just sitting around with the guitar will spark an idea. A phrase on the guitar or a chord progression will lead to a lyric idea, and then the melody will follow. It’s very difficult to say what comes first, but I’m certainly not one of those writers who can come up with a finished set of lyrics and then set it to music. That happens very rarely. Usually there’s some kind of simultaneous arrival of words and music. I really can’t decipher the mysterious process that it still is, but I do know that a lyrical idea can be sparked by something I’ve read in a book. And if it’s a rich idea, it’ll spurn a whole song— just one sentence. Coming across that one sentence or having that sentence pop up in your head, that’s what I wait for. It’s hard to say why they arrive and why they don’t arrive.

CP: It sure is. Working on this latest record, “Deeper In the Well”, what sparked that for you?

EB: It actually started with a desire to make a certain kind of music in a certain kind of environment. I was looking for an acoustic ensemble of players who were familiar with various strands of the American roots tapestry. I was pointed in the direction of a wonderful musician, Dirk Powell, a multi-instrumentalist who lives in Louisiana and plays any number of instruments very well as well as sings. That worked out. I met him first in Scotland at a BBC sponsored project called “Celtic Connection,” and I discovered a musician who I was very compatible with right off the bat. I brought along a harmonica player who I’ve been working with for some time, Grant Dermody, from Seattle, Washington. Other people who joined the project were Michael Jerome Brown from Montreal, Canada, and a Creole fiddler from Louisiana named Cedric Watson, who’s also a wonderful singer as well.

The songs that ended up fitting that ensemble’s playing came to me, and they’re mixed with traditional songs, a Bob Dylan cover, and they all kind of speak to deeper issues, social issues. They speak to things that are challenging a lot of people right now— topics like homelessness and other serious world issues. I wanted to do it without beating it over the head. I wanted to do a little bit more than entertain, and that became this latest collection.

CP: Sounds really fantastic.

EB: Thank you. Definitely keep an eye out on the website; we’ll be shouting pretty loudly about it. Already, I believe on Youtube, a video from one of the songs called “Bayou Belle” is on there.

CP: I’d also love to take a second and go back to your last live album, Troubadour. I heard you were nominated for a Blues Foundation Award for Best Acoustic Album! Congratulations!

EB: Yes, thank you! That has been very exciting. The awards are in May, and I think I’ll get to Memphis for the awards ceremony, and we’ll see what happens!

CP: Well, best of luck! I loved listening to that record, but there was one thing I wanted to ask you about. There is a moment on there where you chose to leave on a little false start where you started and stopped a song to restart it. Personally, I really enjoyed that little moment on the album. What made you choose to leave that on there?

EB: Thank you for addressing that. That caused a bit of controversy. A lot of people at the label weren’t sure that I should leave that on there. You know, I could delete it and let everyone think that every time I start a song, I’m perfectly centered and it’s perfect, but the reality is that most of the time, yes, I’m ready, but not every single time. But I wanted to show people what really happens on stage. It’s not always perfect.  I was very comfortable with that audience, and I really wanted to let people know that I felt very at home there. I’m very glad that you commented on that.

I’d been living in Sweden for many years prior to that recording. I don’t live there anymore, but at the time, I was very at home. I felt very at home in that venue with the audience. We had a very good night, and I wanted people to feel like this was sort of a snapshot of my life on the road being a troubadour. 

Special thanks to Mr. Bibb for fitting in this quick interview on some seriously crummy cell phone reception! It was such a pleasure learning about his latest record, and I hope that you’ll all come out and join him at Anthology on February 1.

Eric Bibb on Spotify

WHAT: Eric Bibb
WHEN: Wednesday, February 1, 2012, 7:30pm
TICKETS: $10-$39 Buy Tickets
MORE INFO: Artist Profile

by: Casey Pukl

I’ll be the first to admit that I was more than a little nervous when I realized I was 15 minutes late for my call-in time with Storm Large. I stumbled into the conference room, set up my recorder, and as her phone was ringing, I rehearsed my apology. She answered, and I immediately began apologizing for my tardiness. Storm’s response?

“Well, you ruined my life, and when I see you, I’m going to headbutt you straight in the bridge of your nose. But other than that, I think you sound like a really nice person.”

And with that sentence, I was instantly comfortable, and Storm and I were off and running.

Storm Large is one of the most genuinely unapologetic and candid artists I’ve ever had the pleasure of interviewing. I won’t spoil it for you below, but by the time you’re done reading, I’m pretty sure you’ll too feel like she’s your newest best friend. Upon hanging up the phone, I immediately turned on my Kindle and purchased the full copy of her memoir, “Crazy Enough”. In the last two days, I’ve read the entire thing, and can only hope that there’s more coming from her in the near future. Read on to learn more about Storm’s entrance to the music world, who inspires her most, and what you can look forward to at her upcoming show!

CP: I have to say, I’m super excited for your show. I remember watching you on Rock Star Supernova, and I’ve been really stoked to find out what you’ve been up to!

SL: Yeah, that was a fun show.

CP: It certainly seemed like a good time, and I mean come on, Dave Navarro. You can’t beat that.

SL: I know. He is very very pretty— like, professionally pretty.

CP: Yes. I’d have to agree with that. I’d love to get into how you started out and got into music.

SL: Well, I always could sing. I loved music, and I always loved to sing. I was always shushed and told to be quiet. You know, girls aren’t supposed to attract attention to themselves; only bad girls do that. Good girls are quiet, and they wait until they’re asked a question, that kind of thing. So singing and performing was kind of a negative trait. But I was compelled to do it all through my childhood anyways. But later on, I didn’t really get back into it until I was in my twenties when I got back on stage. I had sung a couple of times on stage, and it felt really good, but I still just had this kind of negative association with it. And then something clicked when I was on stage in San Francisco, and I sang “Heartbreaker” by Pat Benatar. The room went crazy, and people were grabbing me and asking me to front their band. Then it just kind of dawned on me that I could do this. I could actually do this, and I want to do this. I just made all of these people really happy. So, this is a positive thing. I had terrible self-esteem, and I viewed myself really negatively. I had a really bad go-around with drugs and people, and I was just a mess at this point in my life. Looking around the room, it was packed and people were screaming and cheering, and I realized that I had just made these people happy with my voice. This is something I want to do until I can’t anymore, and that’s how it started.

CP: I’m sure that was such an incredible experience to look up and see the reaction.

SL: Yeah, it’s addictive. That’s why us performers are just these sloppy broken hearts that are just looking for people to pay attention to us and love us (laughs). The pay off is great. When you see a good performance and you’re just so moved and inspired by a guitar player or a drummer or an actor in a film, you’re moved, and it answers these little questions in your heart. That’s kind of the beauty of art and creativity. It’s expressing the inarticulate feelings and yearnings and dreams. It’s all that magic that exists in the human life, heart, and psyche. Artists tend to run along this flawed, rocky road (laughs), but thank God we do. I hope I can always manage to do it.

CP: It certainly gives you something to write about (laughs).

SL: (Laughs) Yeah, or somebody else can write about it!

CP: (Laughs) So true. So now, you’ve had a pretty eventful year this past year between the book and touring with Pink Martini and your own band. Tell me a little bit about this past year.

SL: Well, I had to finish the book first and foremost. That was a priority. But it was really hard! I was literally writing while I was touring. I’ve been touring non-stop for the last couple of years. I’ve been writing the book all over the country, as well as throughout Scotland and Australia, and then mostly in New York and LA where I was stationed doing a lot of work. But it was hard. And then China got sick, so they asked me to step in, and I was still not done with the book yet. So on top of writing the book, I was learning all of these languages and all of these songs. But they say that to keep people from getting Alzheimer’s or Dementia as they get older, you should consistently keep them learning things. Even learning a new game like a board game, or piano, or a dance step helps. So I think I just bought myself another five years of brainpower with all of the education I got with Pink Martini (laughs)!

I had a wonderful year. I’m still really tired and beat up, and I’ll finally be going on vacation at the end of this month, but I am so grateful for the year I had. It was fantastic.

CP: I’m so happy to hear that. What’s on deck for 2012 now?

SL: I’m working on my one-woman show that’s also called, “Crazy Enough”. I’m going to start performing again with Pink Martini in Europe. China is better, but she has a little boy that she wants to spend more time with. She wants to spend more time being a mom, and she’s very happy with me taking the mic and giving her a break every once in a while. I’ll be in New York quite a bit working on my show, and it’ll hopefully be running off Broadway in the fall or winter of 2012.

CP: So that will be based on the book?

SL: Yeah, it’s a handful of stories from the book, but it’s a musical. It’s a musical memoir; it’s kind of like a rock and roll memoir. It’s weird. We’ve been trying to find things to compare it to to tell people about it. It’s like “Hedwig,” but it’s a true story. It’s like “The Vagina Monologues”, but with rock and roll music. It’s fun, but it’s hard. You have to do things that scare you. You might suck at it, and you might fail, but it’s important to do those things regardless of the outcome. It makes you a better person.

CP: Who are your main inspirations I guess now both musically and as an author?

SL: I’m kind of an inspiration slut. I’ll read a blog or an article or a book and I will be so inspired by something. During the Occupy Wall Street movement, I was so inspired by Matt Taibbi from Rolling Stone. I just loved his voice; I loved his deduction and reduction of all of the bullshit into straight facts and his dissertation on what was happening and the ripple effect of this movement.  I just really liked him. I’m really inspired by Stephen Colbert and his brilliant sense of humor. Recently, I read a little bit of Annie Leibovitz, who is absolutely hilarious.

Musically, everything. There is so much that inspires me. What recently have I heard that just rocks my butt? I have to remind myself who. I’m so often learning new stuff that I forget to really listen to a lot. Well, I revisit a lot of old friends, like Nick Cave, I listen to him a lot when I’m cooking. Tom Waits is another one.

CP: Tom Waits is always a solid choice.

SL: Yes. I also loved Mike Patton from Faith No More, “Peeping Tom”. I rock that a lot. I love that record. I always wanted to be the female Mike Patton who could just do anything with his voice. And he just does everything so seemingly tirelessly. I find that to be very admirable. I love people who are just constantly working and doing things even if it’s not successful, even if it’s super underground and weird, as long as they’re into it, and you can tell that they’re super into it, I love that. Randy Newman is another one. He does crazy cool super huge Oscar winning film scores, but then he writes these broken-hearted tunes of loss and loneliness and hope among the ruins. I love that. I love schizophrenic artists like that.

CP: Awesome. Now going into the show you’ll be doing down here, what can our readers and listeners look forward to?

SL: We’re going to do a trio, like an unplugged lounge type of show. I know the venue is a restaurant too, right?

CP: Yeah, it’s a Chicago style supper club.

SL: Bitchin’! That’s awesome! I’m going to wear a nice dress and do that kind of thing!

CP: Yeah, it’s rad. It’s a really intimate venue— very cool and unique.

SL: Awesome! The show will be sort of a rock and roll cabaret type of show where I sing and tell stories and drink wine and engage the audience! It’s going to be a really great night!

Storm’s memoir, “Crazy Enough,” is currently featured on Oprah’s blog as the “Book of the Week”. Do yourself a favor and get a copy, then come out to see Storm live on Thursday night! If you don’t, rest assured that she’ll come and headbutt you too.

Preview Storm’s Book

WHAT: Storm Large Band
WHEN: Thursday, February 2, 2012, 7:30pm
TICKETS: $10-$23 Buy Tickets
MORE INFO: Artist Profile

by: Casey Pukl

It was all hands on deck here when I issued a farm fresh pick of the week challenge: rhubarb. There was only one rule— no pies. Everything else was fair game. I’m so excited to share the amazingly tasty dishes and cocktails that our staff has come up with! Hopefully this will inspire you to do some experimenting with this tart and versatile root.

Chef Todd Allison had delicious ideas for a three-course meal using rhubarb from beginning to end. Not only is this meal refreshing, but it also highlights all of the different flavors of rhubarb. But before we get into the recipes, there’s one major note when using rhubarb: do NOT use the leaves. Only work with the stems, as the leaves are not meant to be consumed!

Starter: Rhubarb Gelee with Crab & Cucumber

This dish is simple, refreshing, and works as a great introduction to the meal. Gelee is also pretty simple to make, Chef Allison pointed out. He recommends making the gelee with Rhubarb juice, water, sugar, and pre-packaged gelatin. This dish is best served cold as a sort of crab salad. You can serve them in small cones with the gelee on top.

Second Course: Pickled Rhubarb & Local Halibut Ceviche

Ceviche is one of those dishes that only sounds complicated. There’s no cooking involved! To start this dish, you’ll need to pickle your rhubarb. This process can last anywhere from 5 days to one month depending on your preference. Typical pickling recipes for rhubarb include apple cider vinegar, sugar, salt, and any additional spices that you choose. For this dish, Chef Allison, recommends keeping it simple. To make this dish, trim your fish into bite size pieces. Season with salt and pepper, and add some red onion slices. Marinate the fish and onion in citrus (Chef Allison recommends lime juice, for this recipe) for about one hour. The citrus actually cooks the fish without having to use heat. Then add a little freshly chopped mint on top, and serve with Taro root chips.

Third Course: Candied Rhubarb & Orange Scone with Basil Rhubarb Syrup

If you’re looking for a unique dessert, this one is sure to fit the bill. You can start with a simple orange scone recipe. Candied rhubarb is very easy to make, and is one of the best tart/sour candies you can find! To start the process, slice the rhubarb into matchsticks. Next, you’ll dissolve sugar in water, dip the rhubarb sticks, remove, and bake at 200 degrees for about one hour. You’ll use these on top of your scones. For an extra burst of flavor, top the scones and candied rhubarb with a basil and rhubarb infused syrup. This is very similar to the candy mixture. You’ll need rhubarb slices, sugar, water, and basil. Simmer the mixture for about 20-30 minutes, and strain.

First up: The Rhubarb Manhattan
Creator: Christine Thayer

Ingredients:
Rhubarb Vermouth
Buffalo Trace Bourbon
Fee Brothers’ Rhubarb Bitters

Instructions: Stir over ice, strain, serve up, garnish with a lemon pigtail.

This take on the traditional Manhattan has just a little tartness to it that really makes it shine. Christine also recommends taking this drink one step further for those who enjoy something with a little more sweetness. “Muddle 1/8 of an apple, and one or two sections of orange before mixing,” she says. This start gives the drink a bit more of a sweetness and texture.

To make the rhubarb vermouth: Christine started off by poaching chopped rhubarb stalks in 1 ½ cups of Carpano Antica sweet vermouth. Allow the mixture to simmer for up to 30 minutes, then strain. Allow the mixture to cool before using.

Next up: The Rhubarb Margarita
Creator: Marc Canzoneri

Ingredients:
Rhubarb Puree
Tequila
Orange Liqueur
Fresh Squeezed Sour Mix (Lemon & Lime)

Instructions: Build in the glass with ice, pour into tin, pour back into glass, and garnish with lime.

This fresh take on the classic Margarita recipe is bold. This is the perfect recipe to welcome the spring months. It’s not too sweet, and the rhubarb surprisingly complements the tequila quite well.

To make the rhubarb puree: Sous Chef Kristen Williams cooked down chopped pieces of rhubarb stalks with lime, sugar, and water. She then pureed the mixture. Your puree can stay refrigerated for 2-3 days.

Last: The Golden Rhuby
Creator: Marc Canzoneri

Ingredients:
Rhubarb Puree
Citron Vodka
Honey
Lemon

Instructions: Shake, strain, serve up. Garnish with a lemon peel.

Welcome to spring! Not only is this one gorgeous to look at, but it’s delicious. This would be a great dessert cocktail to pair with a sorbet or panna cotta. The honey gives it a different edge while the citrus really rounds out the flavor profile, and it also has a slightly creamy texture to it from the puree and honey. The puree for this recipe is the same as the above.

I hope these recipes inspire you to get out in your garden and give this root a try!

by: Casey Pukl

It’s not every day that you get to interview a super jolly classical guitarist in the middle of a soccer field, but fortunately for me, yesterday was just that day! Los Romeros, also known as The Romeros, have been dubbed the “grand masters of the guitar” for good reason. Spanning generations, this legendary family of classical guitarists is still making waves world-wide. I had the chance to catch up with Celino Romero yesterday and get the scoop on what’s on the agenda for 2012 and beyond!

CP: What have you guys all been up to lately?

CR: We just finished off 2011 with The Romeros’ first Christmas recording for Deutsche Grammophon in Germany. We had a big tour in Germany, it was a great success, and it was really great to see the family. Christmas is really big, all the kids each play a song, and it’s really big for the Romero family. Finally we have a Christmas CD out there, and it was a great success, so we’re looking forward to our first concert of the year! Since that tour, we had a little break for the holidays, and now for 2012, we’ve got a whole month in Europe planned. We’re also heading to Asia, just non-stop. It’s special because we’re kicking off 2012 with Anthology as our first concert.

CP: Excellent!

CR: We couldn’t think of a better place to be than our hometown of San Diego, well at least Lito and my hometown. My father and Pepe of course consider Spain their hometown! (Laughs)

CP: (Laughs) It’s just a little further away.

CR: Exactly, but it’s going to be a really great start. We’re really happy with what we’ve done in 2011, and we’re happy to be going into 2012. The Christmas album was so special to us, and it’s a really nice thing to have in our collection.

CP: Tell me a little bit about your show this weekend at Anthology. 

CR: This concert is going to be really neat for us. I’ve been to Anthology, and it’s very nice. I was really impressed by the acoustics, and the food was phenomenal.

CP: You know, it’s always great to hear that. But every time I ask an artist what they’re looking forward to coming in here, everyone says that they can’t wait to try the food (laughs).

CR: Yeah, the food last time was outrageous. I’m hoping to get a little plate this weekend! 

CP: We’ll feed you; don’t worry!

CR: That’s awesome! But yeah, we always love San Diego, and we’ve been trying to make this concert happen for a while. It’s going to be really exciting to have so many friends there. We have so many friends around the area who have never seen our family play. 

CP: You’re kidding!

CR: No! It’s just hard to get time to do things. A lot of times I just forget to mention it. There’s a lot going on. But it’s nice. I think I’ve got about 20-30 friends who are coming to the show. But we’ve got a great show planned. Without saying too much, I want some things to be a surprise, we’ll play a mix of really beautiful and exciting Spanish classical with a lot of flamenco influence of course, and a few romantic slower ones. You can’t always play the fast ones; you’ve got to mix it up!

CP: Absolutely. Make it interesting!

CR: For sure.

CP: You guys tour non-stop.

CR: Yes, we certainly do.

CP: Do you have any specific shows or venues that really stick out to you?

CR: Well, so far, the US is great, but I’ll go back to when I was a kid going on tour with the original Romero quartet, my grandfather and his three sons. I was always fascinated with the halls in Germany that were just amazing. We’re in Germany almost 3 months out of the year; it’s insane. But the US is really picking it up, and Anthology is a great example. This is a venue that has respect all over the world. I mentioned Anthology in Berlin, and people already knew about it!

CP: You’ve got to be kidding!

CR: No! It’s great! It’s already getting so much respect all over the world. But as far as a real standout, it’s so hard to say. There are so many concerts that were great. It’s like trying to pick a favorite restaurant. Sometimes you just can’t say. But each concert has a different feeling and mood. But I will say that all over Europe is spectacular.

Asia is really amazing as well. There will be 1,000 kids coming in for a field trip to our concert. You’re in China and Beijing, and you’ll see a train full of students, and they get off the train and walk into the Romero concert! Things like that are really nice to see. That’s the future. 

Actually, (laughs) I’ve got a standout! In Germany on this last Christmas tour, I was playing on stage and my chair shattered.

CP: Shattered?

CR: Yeah! It shattered, and I went flying onto the stage on my butt! So that was a scary moment. But I finished the concert. But when we got there, I knew that this piano bench wasn’t too sturdy, so I told the stage manager, ‘This doesn’t look so sturdy!’ And he assured me it was fine, and I commented that it must’ve been very good German quality (laughs). I think the guy was a little offended, but sure enough, the chair broke on me! He must’ve set that up.

CP: Sounds probable. So now, getting into this tradition a little bit, I mean, there are not many people who can say that they have generations of incredible musicians in their family.

CR: Definitely not.

CP: I know you have kids of your own now, correct? Are you passing along the tradition?

CR: I’ve got two sons and a daughter, and yeah, everyone plays. It’s tough though, I’ll speak for when I was a child, but when I was growing up, I would see my father, grandfather, uncles, and I never thought it was possible to ever get that good. I just thought why am I even trying? But then I decided to do it because I loved it. But no one ever said, ‘You have to play the guitar.’ I just did it because I loved it. It was part of everyday life, and with my kids and Lito’s kids, we’re taking the same approach. If you find a love for it, you’ll do it. But right now, the kids are a little more distracted these days. I wonder if I have to change things around and pressure them a little bit. If I don’t say anything, they’re going to skateboard or end up on the computer. But I think it would be great to have the Romero family continue. So, I’m trying to find the right way to not make the kids feel uncomfortable. My one son, I heard him tell his mom, ‘Don’t ever make me play in front of people.’

For me, that’s the part that I love. I love to look out and see the eyes and the individuals. I love looking out and seeing people’s reactions after— most of the time (laughs).

CP: (Laughs) Unless they’re taking the screws out of your piano bench!

CR: (Laughs) Right!

CP: Well, I think it’s really cool that your kids do play and that you’re taking such a relaxed approach with it.

CR: Yeah, it is nice. I know they do love it. I think the most important thing is to play as a youngster. If you play as a kid, then you have it under you already. Growing up here in Del Mar, all of these kids would surf when they were really young. I have all of these friends here who haven’t surfed in 10 years, and then they get back on and are great. So that’s my idea. Maybe 1 lesson a week so I don’t burn them out, but just keeps it going. Keep the touch. That’s what we call it, the touch. It’s the fingers contacting the strings.

CP: Did you ever take outside lessons when you were learning to play?

CR: Yeah. I studied with my whole family, but I also studied with my mom who was a great soprano. And then I would study with my dad’s students when he was out of town. He’d assign one of his better students to teach me. It was nice. I had a lot of good teachers.

The technique we learn is based on one technique, but everyone in the family has slightly different tweaks to it. Everyone’s hands are slightly different.  It all comes from my grandfather who was self taught. But he believed in playing guitar without your fingernails. Start playing it more like a bass guitar with just your skin on the strings. That’s the technique that we use. Rather than going nail to string, you go flesh, the tip of your finger hits, and then your nail will hit it and make that nice tone. When you see it, it looks like you’re just plucking your fingers, but there’s a lot to the technique. It’s frustrating at times, but once you get it, you don’t forget it.

Don’t miss this rare hometown appearance by Los Romeros! Special thanks to Celino for his time! Be sure to pick up your tickets to their second show, as the first is almost entirely sold out!

WHAT: Los Romeros
WHEN: Saturday, January 28, 2012, 7:30 & 9:30pm
TICKETS: $13-$69 Buy Tickets
MORE INFO: Artist Profile

By: Casey Pukl

Albert Lee is one of the most accomplished guitarists of our time, yet also one of the least recognized. Eric Clapton called him, “The greatest guitarist in the world.” Emmylou Harris once declared Lee, “a brilliant guitar player. His sound is unmistakable—often emulated, never equalled. When Saint Peter asks me to chronicle my time down here on earth, I’ll be able to say (with pride if that’s allowed) that for a while I played rhythm guitar in a band with Albert Lee.” 

But the guitar legend remains as humble as ever. I had the chance to speak with him about his upcoming show here at Anthology tomorrow night, as well as his grueling upcoming tour schedule for 2012. This 69 year old is still hitting the road hard, and wait until you hear what’s next!

CP: What’s in store for 2012?

AL: Well, it’s more of the same, really. I work a lot in Europe with my own band, and I also work with Bill Wyman’s band in Europe. When I get back here to California, I do what I can, but this particular stint at home has been great! I’m actually home for two months this time, which is quite unusual. I’ve got a lot of gigs and sessions and all kinds of things going on, which is exactly what I wanted. I have to stay around California more. But after about a month, I’ll be going back to Europe again, and I’ll be working all over Europe with my band. I’m doing more work now than I’ve ever done.

CP: Certainly sounds like you’re keeping busy!

AL: Yeah, definitely.

CP: Are you working on any new records at the moment?

AL: I started a record with my band a few months ago, my English band, but we haven’t had a lot of time to finish it. But we will be doing that. I’m also going to start a solo record in the not too distant future with a good friend of mine. That’s part of a project that we’re working towards. December of next year will be my 70^th birthday. I’ve been on the road now for 52 years, so there’s a lot of history there. So we’re going to tie it in with a record and a documentary for BBC in England, and we’re going to just aim high. If you don’t aim high, you’ve got to aim somewhere. It’ll be a big concert, and hopefully involve people I’ve been involved with over the years like Joe Cocker, Emmylou Harris, The Everly Brothers, Clapton, so I’ll try and round up as many of those people as I can. If I can’t get some of them to England, then I’ll certainly try to do a similar concert in the US.

CP: I certainly hope you will!

AL: Yeah, there’s a lot of interest out there, which I’m really happy about! As I said, I’ve been doing this a long time. You never know. Things are cyclical in this business. One moment you’re flavor of the month, and then people kind of forget about you for a while and then they rediscover you. But this month in particular, I finally put together a small rhythm section, so this is something I’ve been meaning to do for a while— going out and doing my own show rather than being someone else’s guitar player.

CP: Sure.

AL: We did a show last week, and it went really well, so we’re hoping this week will be as successful.

CP: Well that’s awesome. I’m so happy to hear that you still have so many projects happening now that we can look forward to.

AL: Yeah, it looks like a busy busy time. And I have to deal with all of that while being on the road with my band in England and probably some gigs with Bill Wyman again too later on this year. I don’t get much time off at home, but as I said, it’s good to be busy.

CP: It certainly is. Now I have to ask though, what do you like to do when you’re not on the road?

AL: Well, you can imagine that being on the road so often, there’s always just so much to do around the house. There’s always something to catch up on. I have some old cars that need attention and the house needs attention. There’s always stuff to do. I actually enjoy doing that, you know, I like doing mechanical things that are within my scope. I’m not an expert at anything aside from guitar playing possibly, but I like to tackle things.

CP: What have you been listening to lately?

AL: You know, I actually don’t listen to a lot of new stuff. I listen to people that I’ve known for a long time. I’m a big fan of Jimmy Webb and Glenn Campbell. I particularly like Glen Campbell’s new record. I like the music of Don Henley and Bruce Hornsby. I love that style of music. There aren’t a lot of people out there doing that kind of stuff. But I guess mostly, I listen to a lot of classical music. I’ve always had a great love of classical music, and I’ve been collecting classical records for about 30 years. It’s really nice to get away from what I do and listen to things like that. I get inspiration from other music. I think it helps my approach to the music that I do.

CP: Absolutely. Sometimes you need to branch out and hear something else to jog a melody or harmony that you didn’t hear before.

AL: Yeah, I should listen to more of the newer stuff. I get turned on to it by my kids actually. They know more about what’s going on now than I ever will. They can certainly keep me informed.

CP: Are you doing a lot of composing these days?

AL: Not recently. I’ve been a bit lazy recently, I must say. But I certainly think about it a lot, and I do want to get back into it. I get inspired every now and again, mostly at sound check when I sit down at the piano and start playing. That’s always when I wish I had an hour or two so I could work on something, but there’s not enough time.

CP: Not enough hours in the day.

AL: Not for me. It’s all traveling, sound check, dinner, gig, hotel, get up and do it all over again.

CP: And it certainly doesn’t sound like you’re slowing down anytime soon!

AL: No, no, they won’t let me slow down! The phone is ringing all the time, I’m glad to say.

CP: That just means that you’re still in demand. It’s a good thing.

AL: Yeah. Playing with other people too is also good.

CP: Any highlights from 2011 you’d like to share?

AL: I did a lot with my band, and I did a 7-week tour of the UK with Bill Wyman. We had Mary Wilson as our special guest on that tour, and that was great fun. But I guess the last high profile thing that I did was Crossroads for Clapton in 2010. But I’ve certainly been doing lots of theaters and clubs all over the UK.

CP: Going back to Clapton for a moment, what are your thoughts on him reportedly calling you the greatest guitarist in the world?

AL: I wonder about that. Eric and I joke about it. I read it somewhere, and I know he likes my playing. I have a biography out, and he wrote the forward for it, and he said some really nice things about me. But I keep seeing these things on the internet about me being Clapton’s favorite guitarist, and I saw him not so long ago and I said, ‘Eric, I have to apologize. I keep seeing all of this written in interviews and so on saying that I was your favorite guitar player in the world. I know you like my playing, but I can’t imagine, I mean, I know you feel the same way I do. There are no best guitar players in the world! There are so many styles and great players, so who can say who’s the best?’

Eric is a real joker, and he said, “Well, I might’ve said it.” (Laughs). He wouldn’t commit to it, so we kind of joke about it and leave it at that.

CP: (Laughs) So he won’t confirm or deny it then.

AL: No! But things get twisted around and such. We’ve been friends since like 1965, so we’re good friends and we know each other very well. We might not see each other very often, but we’re still very good friends.

CP: What are you most looking forward to about coming back to Anthology?

AL: Oh, well, I’ve played there a couple of times, and it’s just a great audience. It’s a lovely club. The people are very nice, and they really take care of us. It’s going to be a great show.

Thanks to Albert for being so delightful to chat with. Be sure to get down here and see him tomorrow night! In the mean time, we’ve got a wicked playlist to hold you over!

Albert Lee

WHAT: Albert Lee Band w. The Farmers
WHEN: Friday, January 27, 2012, 7:30 & 9:30pm
TICKETS: $10-$39 Buy Tickets
MORE INFO: Artist Profile