"We All Join Hands" A benefit for Richard Gowen

The Echo Presents

"We All Join Hands" A benefit for Richard Gowen

Dawes, Nick Waterhouse, Allah-Las, Pink Mountaintops, Neal Casal, The Tyde, Robert Francis, Pearl Charles & The Pipes Canyon Band

Sat, January 11, 2014

Doors: 5:00 pm / Show: 6:00 pm

Echoplex

Los Angeles, CA

$16.00 - $20.00

This event is 18 and over

"We All Join Hands" A benefit for Richard Gowen Featuring: Dawes, Nick Waterhouse, Allah Las, Pink Mountaintops, Neal Casal, The Tyde, Robert Francis, Pearl Charles & The Pipes Canyon Band ...Plus "VERY" Special Guests. **Tickets purchased at the door on day of show will have $2 facility fee applied ($1.00 goes to benefit) **

Dawes
Dawes
While the city of Los Angeles has been both an inspiration and a home to the four members of Dawes, they found themselves traveling East last fall to record their third album in the Blue Ridge Mountains of North Carolina with newly enlisted producer Jacquire King. It was a chance to hunker down and work each day for a month away from familiar landmarks and routines. The tracks they laid down at Asheville's Echo Mountain Studio have yielded a 12-song disc of tremendous sonic and narrative clarity, book-ended in classic album fashion by two very different versions of the wistful "Just Beneath The Surface" – a misleading title, really, since the songs stacked in between dig so deep. Stories Don't End is not so much a departure from the quartet's previous efforts as a distillation of them. It spotlights the group's maturing skills as arrangers, performers and interpreters who shape the raw material supplied by chief songwriter and lead vocalist Taylor Goldsmith into an artfully concise and increasingly soulful sound.

Once again, Goldsmith displays a particular gift for tunes that balance tough and tender, hardboiled and heartbroken. As a writer, he prowls his psyche like a forties detective, looking for clues to the mysteries of life and love. "Just My Luck" has the irresistible pull of a vintage country tune, though the arrangement is understated and contemporary. If Goldsmith's vocal delivery weren't plaintive enough, the band ups the emotional ante with a beautiful wordless coda that intertwines Tay Strathairn's piano and Goldsmith's lead guitar. Similarly "Something In Common" is a morning-after shuffle that builds into a bigger and more dramatic track before dropping back to a quiet melancholic finish. Goldsmith takes a few simple words, like "something in common," and uses them like chapter headings to develop a compelling story, full of unexpected twists, from verse to verse. "Someone Will" includes the same kind of word play while boasting a little more swagger. "Hey Lover," a cover of a tongue-in-cheek tune by Dawes' good buddy Blake Mills, is a playful mid-album break with Taylor Goldsmith and his young brother, drummer Griffin Goldsmith, trading off lead vocals.

Before he started composing for the album, says Taylor, "I went through a Joan Didion tear." It was right after he read the legendary author's Democracy that he found the title, Stories Don't End, in her work. Though Didion is currently a New Yorker, she is most associated with Southern California, its culture of the sixties and seventies, a subject she examined in gimlet-eyed prose. When Goldsmith started penning new songs after several months on the road in support of Dawes' 2011 disc, Nothing Is Wrong, his writing was even more keenly observant. "From a Window Seat" was the first he completed and, he admits, "It's a very singular song. A lot of the songs on the record can be a little more broad, about a period in someone's life or trying to explore a certain feeling. This song is about a specific experience of being on an airplane and that's not a very poetic or lyrical idea." Yet Goldsmith, employing an accumulation of small details, once again finds the bigger picture, about the narrator's past and his (and our) uncertain future, about the history lurking beneath the swimming pool-dotted landscape below him. Just as important is the track itself—lean, propulsive and guitar-driven – lending urgency to Goldsmith's in-flight musings. Similarly, "Bear Witness," a last-minute addition to the lineup that the band arranged during the Asheville sessions, is an almost cinematically vivid rendering of a man having a conversation with his child from his hospital bed.

Nothing Is Wrong had garnered considerable acclaim, with London's Independent declaring, "It's as close to a perfect Americana album as there's been this year." Up to then, the band had relied on good friend Jonathan Wilson as producer, cutting its 2009 debut disc, North Hills, at Wilson's Laurel Canyon studio and its follow-up with Wilson at a larger room in Echo Park. But Wilson's own career as a solo artist was taking off following the release of his Gentle Spirit disc, and the band began a search for a new collaborator. King boasted an impressive and unusual resume, having produced an eclectic range of artists, including Kings of Leon, Modest Mouse, Norah Jones and the Punch Brothers. Says keyboardist Strathairn, "He's really easy to work with. As a producer he doesn't want to be the artist, he simply tries to make the band sound the best that the band can be. And the work speaks for itself."

Recording with King and foregoing the quickly cut, straight-to-analog tape approach of its first two recordings was a way, says Taylor, for Dawes "to push the boundaries of what might be expected of us, or feel like a comfort zone for us, while trying to be the same band we always are. That was important to us. We didn't want to abandon anybody's sense of who we were and, more importantly, our sense of ourselves. We wanted to stay true to this thing that we had while starting to widen the spectrum a little bit."

The reprise of "Just Beneath the Surface" at the end of the disc, however, is a first-take document of the band figuring out the tune together, and it was too good not to keep. As bassist Wylie Gelber recalls, "We knew the vibe we were going for and we were running through it while Jacquire was setting up. But we were completely unaware that he was recording us. We were fooling around and towards the end of it, we stopped for a minute and Jacquire said, Hey man, I think we've got it. We tried to beat that take but we couldn't. You can hear it there, you can feel that it's the first time it's being played, it's a simple song and there's a subtle art to doing it. It ebbs and flows."

"With Jacquire," explains Taylor, "we were able to hold on to an essence of what we had been, but I feel now, more than with our first two records, that this makes a case that we're a band from 2013. There a lot of bands that harken back to a period or style of a different time and that can be really limiting. That was never our intention."

"The album is very honest," concludes Strathairn. "It's us."

- - Michael Hill
Nick Waterhouse
Nick Waterhouse
Nick Waterhouse is the New Breed – An R&B fanatic who combines an uncanny old-school sensibility with a charged, contemporary style. At just 25, He joins the ranks of a growing cabale of similar acts and producers of recent times – Mark Ronson, Mayer Hawthorne, the Daptone Crew et al – that are all moving forward into the past, yet all quite different. For Waterhouse, his muse is the over-modulated sound of vintage R&B, and his take on such a time-honored tradition evokes the back-alley thrill of New Orleans, Detroit and Memphis in their heyday. He combines an astute attention to detail with an honest desire to match the emotional impact of the music that inspires him.

When asked to pinpoint the sound or style he strives for, Nick Waterhouse simply shrugs and responds, "American music. And I know that's pretty general, but it is what it is. I have spent so much of my life immersed in this stuff, because I wanted to figure it out, [yet] all I figured out was that there was no plan." In other words, whatever musical style Nick may choose to espouse, it's not done because someone else did it, but done for the same reason someone else did it. "To me, [the music I play] is not a 'type' of music," he emphasizes; "it IS music. The records I listen to ARE music. A record is a moment in time, and something recorded in 1955 is the same as something recorded in 2010." Growing up in the Southern California, Waterhouse eschewed his surroundings and found emotional authenticity in the vintage wax of Ray Charles, Roy Head, Little Willie John and the whole panoply of American music, where feel so often trumps technique. After the sold out release of his own self-produced 45, the raunchy 'Some Place', and a string of exciting shows with his live group The Tarots, Nick went to work on his forthcoming full-length for Innovative Leisure – continuing an undeniably raw and rhythmic take on American music.

His approach to production – entirely vintage analog equipment, open-reel tape machines, lacquer cutting machines, and even hand letter-pressed labels – has left a few fans wondering where and when he comes from; Long-lost deadstock Rhythm & Blues artifact? White or Black? New or old? It's a fitting recall to the days of early Rock & Roll, when rhythms crossed the tracks and no-one was quite sure WHAT or WHO this music was. As LA Record bears witness, "You've gotta be one kind of maniac to produce like this, and a whole other kind to shout like this, and an even more frightening kind to make the first two maniacs work together. Nick pulling this all off simultaneously means preternatural powers in play"
Allah-Las
Allah-Las
Allah-Las met while working at the biggest of all the L.A. Record stores, but they became a band in an even more rare and special space—a California basement, dug out somewhere between the mountains and the beach. They began gigging shortly after their conception in and around Los Angeles in the later part of 2008. It wasn't until three years later that they would find the proper environment to record their first single "Long Journey" which now bookends their self-titled release. These were the kind of songs that bounced between London and Los Angeles, the kind of thing that could have come from Mick Jagger or Arthur Lee or both at once, with crystalline guitar and slow-mo drums that recalled the way the waves take big bites of the beach at night. This was mystery music from the strange and ancient-modern California fringe, more Night Tide than Easy Rider. Allah-Las were a reflection of a reflection, an echo of an echo, a band that was psychedelic not because of reverb or shredding through pedals but for the simple way their songs seem to extend to infinity. (Chris Ziegler)
Pink Mountaintops
Pink Mountaintops
'Outside Love' is ten songs of love and hate that read like a Danielle Steele romance novel but that would probably make for bad television.

'Outside Love' is the third album by Pink Mountaintops, AKA Stephen McBean, who has slowly emerged as a distinctive voice and a very special contributor to the North American songbook. A veteran of the Vancouver/Victoria punk rock scene, McBean is best known for his contributions to acclaimed rock band Black Mountain, as principal songwriter, guitarist and co-vocalist.

The ten songs on 'Outside Love' are about or influenced by weddings in Montreal, winter, Pink Floyd's The Final Cut, Christmas albums, that one Exile song and that one Echo and the Bunnymen song, the Bermuda Triangle, being depressed in the sunshine, people who haven't made out yet but will in the future, The Everly Brothers, clowns in the ceilings, and bedrooms where skinheads used to live.

Friends and family who contributed to or appear on 'Outside Love', in no particular order, include Sophie Trudeau (A Silver Mt. Zion, Godspeed You! Black Emperor), Ted Bois (Destroyer), Jesse Sykes (Jesse Sykes and the Sweet Hereafter, sunn0)))), Phil Wandscher (Jesse Sykes and the Sweet Hereafter, Whiskeytown), Josh Stevenson (Jackie O Motherfucker), Ashley Webber (The Organ, Bonnie Prince Billy), Amber Webber (Black Mountain, Lightning Dust), Matthew Camirand (Black Mountain, Blood Meridian), Joshua Wells (Black Mountain, Lightning Dust), Keith Parry (Superconductor, the Gay), and Tolan McNeil (Caroline Mark).

Recorded at multiple studios, 'Outside Love' was mixed at Elmwood Studios by John Congleton (Modest Mouse, Black Mountain, Explosions In The Sky, The Mountain Goats).
Neal Casal
Neal Casal
Neal Casal's debut record, Fade Away Diamond Time, was released in 1995 to much critical acclaim. Produced by Jim Scott (Wilco, Tom Petty, Johnny Cash) in a sprawling mansion in the hills of Santa Ynez, California, the album introduced the intimate songwriting and lyrical guitar work that would become the foundation of his career. In between recording and touring with other artists such as Beachwood Sparks, Vetiver, Fruit Bats, Lucinda Williams, The Jayhawks, Gin Wigmore and Rufus Wainwright, Casal managed to record multiple solo releases, including 1996's Rain, Wind, and Speed and 1998's Basement Dreams, both of which have recently been reissued with discs of bonus material by Fargo Records. MOJO recently wrote, "What made [Basement Dreams] so compelling was the tone, the simplicity and economy with which Casal approached each song and the naturalness with which he inhabits them... pieces of singer-songwriter perfection.

Neal Casal's 10th solo record, Sweeten the Distance, was recorded with noted producer Thom Monahan (Devendra Banhart, Vetiver, Pernice Brothers, Lavender Diamond). While listeners will recognize Casal's strong yet understated vocals, his acoustic-driven melodies have been amplified by complex sonic layers, resulting in a new, expansive sound that is the culmination of this prolific songwriter's multifaceted catalog.

Casal is also known as the lead guitarist of Ryan Adams and the Cardinals, with whom he recorded four albums: Easy Tiger (which reached #7 on the Billboard chart), Follow the Lights, Cardinology and III/IV. His time in the band led to working with such luminaries as Willie Nelson and Phil Lesh and allowed another talent to be revealed when he released his first photography collection, Ryan Adams and the Cardinals: A View of Other Windows. In this lavishly produced volume, Casal captured not only the exhilaration of the stage and studio but also the harsh realities of life on the road and the creative process. Internationally lauded for his thoughtful and evocative photography both of the Cardinals and of more personal subjects, Casal described the process of creating his photographs as "the songs I cannot write; the music I hear in my head, but can't yet play." His photos were the subject of a solo exhibition at the Bauhaus Gallery in Tokyo in 2008 and have appeared in many magazines, such as MOJO, Harp, Rolling Stone, and Spin.

After the Cardinals went on hiatus in 2009, Casal moved his home base from New York to Southern California, where he has worked on a variety of projects. He released the self-produced solo effort Roots & Wings, Connections–the third album by his rock-and-roll band Hazy Malaze – and played guitar on Ryan Adams' newest release, Ashes And Fire.

In early 2011, Neal joined forces with Black Crowes' frontman Chris Robinson's new band, The Chris Robinson Brotherhood, as lead guitarist. The band has been touring throughout 2011 and are now making plans to record their debut album.
The Tyde
The Tyde
"The Tyde's journey began back in the early 90s when Darren Rademarker and brother Brent fronted Further, the legendary L.A. indieoutfit in which they first began mixing twisted, Beach Boys and Jan & Dean-influenced, suburban California harmonies with Jesus and Mary Chain and Teenage Fanclub-influenced guitar pop chaos. Recent L.A. music history cannot ignore the impact of that single band's influence, which ignited a forest fire of notable bands to follow – Beachwood Sparks, All Night Radio, Frausdots, and, of course, The Tyde – connected through common membership, brotherhood, and a shared musical vision. Dare we say their combined creative output has been unmatched since the halcyon days of late 60s L.A.?" --Last.fm
Robert Francis
Robert Francis
Raised in Los Angeles as the youngest member of a music-filled household, indie rocker Robert Francis benefited from a diverse musical climate thanks to his pianist/producer father, his sister Juliette Commagere (of L.A. outfit Hello Stranger), and his Mexican mother, who sang native ranchera songs around the house. The unique education paid off, and Robert independently released his 2007 debut, the musically diverse One by One, at the young age of 19. His second release Before Nightfall spawned the hit single "Junebug" which hit #1 in France and Top 10 in Germany and Switzerland. Robert's first single "Heroin Lovers" from his new album Strangers In the First Place has been heard on KROQ's Locals Only and is gaining national attention. See for yourself the dynamic stage show Robert is renowned for at The Bootleg Bar on Sept. 13.
Pearl Charles & The Pipes Canyon Band
Pearl Charles & The Pipes Canyon Band
Pearl Charles of The Blank Tapes on lead vocals with Matt Adams on guitar and Miss Lauren Barth
Venue Information:
Echoplex
1822 W. Sunset Blvd
The Echoplex is located below The Echo, enter through the alley at 1154 Glendale Blvd
Los Angeles, CA, 90026