You are here: Home Music Beat
  • Increase font size
  • Default font size
  • Decrease font size

L.A. Beat

The News

Sam Weber band lays down a groove

E-mail Print PDF

 Sam Weber (not the same Sam Weber from the Weber Brothers Band) and his band returned to The Owl Acoustic lounge, Saturday, March 30 for an upbeat set of groovy folk rock.

Evan Uscenko sits in with Sam Weber]s band at the Owl, March 30. Photo by Richard Amery
The North Saanich, B.C. based Weber brought his hot trio, bassist Tyler Chester and drummer Don Heffington to rock the place while seated and while singing superb vocal harmonies.
 He played a bit a of country

music and added some subtle slide guitar throughout. He switched to acoustic  guitar then invited Evan Uschenko to add some extra electric guitar soloing and ambient sounds.

 Those songs reminded me of Danny Michel with the more exotic feel of Tri Continental.

 Weber noted he was excited to get warmed up for a big 20 date tour including a couple of American stops in Montana with the Lethbridge show.

“ I Know” was a highlight.Unfortunately I missed most of Danny Vacon’s opening set, but he was winding up with a big, soulful number before turning the stage over to Weber.

— By Richard Amery, L.a. Beat Editor
Last Updated ( Wednesday, 10 April 2019 09:59 )

Keith Woodrow plays the blues under the weather

E-mail Print PDF

I only caught the end of an ailing Keith Woodrow’s show at the Slice, Saturday, March 30.

About 15 people were left by the time I arrived.
 Leith Woodrow playing the blues at the Slice, March 30. photo by Richard Amery

He played a special mini set as an encore including some high energy blues rock music including  “Going up To the Country” and “I Feel So Good” and “Crossroads.”

 TJ Waltho’s keyboard complemented Woodrow‘s tasteful guitar solos.

— By Richard Amery,L.A. Beat Editor
Last Updated ( Wednesday, 10 April 2019 09:50 )

Mandible Klaw tears it up at the old firehall

E-mail Print PDF

The punks were out in force in the basement of the Old Firehall, Friday, March 29 for a hot sweaty, exuberant set of punk and metal.

 I misMandible Klaw at the old Firehall, March 29. Photo by Richard Amerysed Medicine Hat’s Western Death, Total Wolf and FaceCut, but caught an intense set from Calgary’s Mandible Klaw.

They played a ferocious, energetic set of metal tinged punk with a whole lot of energy.

  There was  a wall of guitar and bass as their frontman leaped into the audience and off  them and back on stage.

 They had a massive attack, lots of volume and even added a solid cover of the Angry Samoans “Inside My Brain,” for emphasis and instant punk credibility.

Calgary’s Motherfuckers were next, but as Mandible Klaw, took out my leg during one of his leaps and bounds off the audience, had to give them a miss.

— By Richard Amery, L.A. Beat Editor
Last Updated ( Wednesday, 10 April 2019 09:23 )

Major Love bring the love and new music to the Owl

E-mail Print PDF

 The always captivating Colleen Brown and her band Major Love, featuring several members of Scenic Route To Alaska, returned to the Owl Acoustic Lounge in front of a good sized crowd, March 29.

Colleen Brown of Major Love playing the Owl Acoustic Lounge, March 29. photo by Richard Amery
They played a beautiful set of alternative rock, a touch of indie rock and all powered by the stunning semi-operatic voice of Colleen Brown. Brown beamed  throughout her set of appealing indie rock.

 She played  most of their new self titled CD and added a few brand new, more political numbers.

Brown played electric guitar and also added extra keyboards, sometimes simultaneously.
“ I’m Going to Fly,” was a major Major Love highlight as was a new song “ Living the Dream” which had more a of a rougher garage rock feel and featured gang vocals from the band.

— by Richard Amery, L.A. Beat Editor

Last Updated ( Wednesday, 10 April 2019 09:11 )

Local songwriter Allan Roy Wilson recruits Lethbridge musicians for solo project

E-mail Print PDF

Local songwriter Allan Roy Wilson has his eyes set on the silver screen.
 Since departing from local band Dory and the Weatherman, he has been focusing on writing original material.Allan Roy has released five new songs online. Photo by Richard Amery
Wilson, who is going by Allan Roy for this project,  has since released five songs on a variety of  platforms and streaming services including cdBaby, iTunes, Spotify and Facebook. But has registered with TAXI, an organization which helps songwriters get their music to record labels, music  supervisors and music library plus placement in song and television.

“You pay your $150 fee per year and they tell you exactly what kind of songs people are looking for and how to contact them,” he said.
 Nothing has come of that yet, but he is getting response from all over the world, especially on “I Just Want You to Come Home,” a moving folkish number he wrote about grief and loss, which has resonated with a lot of people.

“I was playing in cover bands for a lot of years. It’s becoming harder to get gigs, though there are a lot of places you can play for free. But more people are hiring DJs now. And I started asking myself what I really want to do,” Wilson said.
“ And I decided I want to have music in television and films,” he said, adding each song is  different, though they are have folk origins.

 So he wrote some songs and hired a lot of local talent to flesh out the songs including James Oldenburg, who recorded the songs and who also plays on several of the tracks. He also got Gerald Rogers from Hippodrome to add trombone, Gerry Clewes to add bass and Jill McNally adds piano on “What Are you Doing Now (America, America).” Lethbridge Symphony Orchestra cellist Mark Rodgers plays on “I Just Want to You To Come Home.” Jason Gibson plays drums on  “What Are You Doing now,” “Always at Night,” “ Music Makes Me Fly” and “the Roadhouse.”

 Local opera singer Megan Wittig adds extra vocals and piano to  on “The Roadhouse”  and “Music Makes Me Fly.” Steve Keenan adds a guitar solo to “Music Makes Me Fly.” Hippodrome saxophonist and Raymond music teacher Ryan Heseltine also plays sax on The Roadhouse.”

“He sounds just like Eric Clapton on it. And he recorded his solo in two takes.” Wilson enthused.
“I recorded the core of the songs and hired specialists to come in and add what they thought the songs needed. I just let them do it. The Beatles used to record like that after they broke. Songwriting is like painting that way. With digital recording, you can just erase a track and do it again. I decided that was the best possible thing for the songs,” said Wilson, a retired teacher and painter, who also painted the artwork featured on a couple of the videos for a couple of the songs. His paintings date back to the early 1990s when he took painting classes from Herb Hicks.

He noted some of the songs like “Always At Night,” go back a few years.
“A broken heart in 1971 turned into a song in 1976 which I didn’t record until 2018. I started out playing folk music, but in the ’70s there wasn’t much interest in that,” he said.

Last Updated ( Thursday, 11 April 2019 12:18 ) Read more...
Page 9 of 922
The ONLY Gig Guide that matters


Music Beat

Lights. Camera. Action.
Inside L.A. Inside

CD Reviews


Music Beat News

Art Beat News

Drama Beat News

Museum Beat News