836 N. Russell St. / Portland, OR, 97227
Sunday, February 11, 2018
White Eagle Saloon & Hotel - White Eagle Saloon
$35 in advance, $30 day of show
21 and over
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7 p.m.$35 in advance, $30 day of show21 and over
Multi-instrumentalist-singer-songwriter Larry Campbell and singer-guitarist Teresa Williams' acclaimed eponymous 2015 debut, released after seven years of playing in Levon Helm's band - and frequent guesting with Phil Lesh, Little Feat, Jorma Kaukonen and Jack Casady, brought to the stage the crackling creative energy of a decades-long offstage union. A whirlwind of touring and promo followed, and when the dust cleared, the duo was ready to do it all again. Which brings us to Contraband Love, a riskier slice of Americana.
Larry, who produced Contraband Love, says, "I wanted this record to be a progression, bigger than the first one. That's all I knew. I wanted the songwriting to be deeper, the arrangements more interesting, the performances more dynamic. Specifically how to get there, I didn't know. I did know the songs were different. The subject matter was darker than anything else I've written."
"More painful!" Teresa says, and laughs.
"Yeah," Larry says with a smile. "I'm proud of our debut, but I felt like the songs were lighter than what I'm capable of doing. As a songwriter, I aspire to a sense of uniqueness: this is a great song and it could only have been written by me. I want to get there. It's a journey, a goal, a pursuit. The mechanics of that pursuit are figuring out what you need to do to surpass your last body of work."
Although it was not his conscious intent, three of the eight tunes Campbell penned for Contraband Love deal either obliquely or directly with various emotions surrounding addiction. For the blues rocking "Three Days in A Row," he authoritatively delves into the crucial first seventy-two hours directly following an addict going cold turkey in an effort to get clean. "I was thinking about the things I've quit in my life," he says. "The last time was cigarettes. I remembered the dreams I had in withdrawal." Vintage-sounding country nugget "Save Me from Myself" (featuring Little Feat's Bill Payne on piano) explores a troubled soul's heartrending knowledge that they are hard to love. "I've certainly felt both sides of that situation," Larry says, "and observed it many times." Delicate waltz "Contraband Love," a captivating vocal showcase for Teresa, takes on the other side of the story, when a parent (or spouse, or friend, etc.) realizes their only recourse for dealing with an addict is merely to stand "with arms wide open." Of this remarkable piece, Larry says, "That melody would not leave me alone. It's one of the more unique songs I've ever written."
"Larry's writing this stuff," Teresa says, "and we're naming off all the people in our lives who are currently going through this (addiction and loss) with a loved one, not to mention the family members and friends we've lost in the past from this affliction. That may have driven him. One of my oldest, most intimate friends - a functioning substance abuser since he was a teenager - died on the street in New York while we were in the studio. We dedicated the album to him."
"The stuff of loss resonates," Larry says.
Musically, Contraband Love revisits the Americana textures of the duo's debut, deftly channeling Memphis, Chicago, the Delta, and Appalachia with equal assurance. Larry's world-famous guitar work - scorching here, funky there, stellar always - punctuates the proceedings with riveting emotion, often like a third voice weighing in on a myriad of emotional states.
The barnburner leadoff single, "Hit and Run Driver," is a harrowing-but-rocking survivor's tale, showcasing longtime drummer and engineer/mixer Justin Guip.
To leaven out the darker tunes, Larry and Teresa added a recording of the reassuring Carl Perkins country classic "Turn Around," with old friend and mentor Levon Helm, captured on drums shortly before his passing. Jaunty folk blues "My Sweetie Went Away," features new bass player Jesse Murphy doubling on tuba for a distinctly New Orleans feel; traditional gutbucket country blues "Delta Slide," is spiced with irresistible, harmonized yodeling.
"Stylistically, there's a lot of different things going on," Larry says. "So the sequencing was difficult. But I think I got it right."
Indeed. Contraband Love stands as a new, bolder chapter in a story that arose triumphantly joyous from loss. "When Levon died," Teresa says, "that put Larry into high gear. He'd already had his head set about making a record, but then it felt like a train took off! We just said, ‘life is short.'"
Another motivator for creating Contraband Love was the experience of taking the Larry Campbell and Teresa Williams show out on the road, as a duo, with a band, and opening for Jackson Browne (who loaned them his band). "It felt fabulous and fantastic," Larry says. "After I met Teresa (in the mid 80s), I'd be out with Bob Dylan [Larry toured with the Nobel laureate for eight years] and something was missing. I gotta gig, and it's what I always wanted, but it's not my stuff, and it's not with the person I want to be with. And then, when we got a taste of being a performing duo at the Rambles with Levon, the idea that we could expand on that was completely alluring.
"So virtually everything we've done musically since I left Dylan's band, we've been asked to do together: Levon, Phil and Friends, Jorma and Jack, Little Feat; we've done it all as a unit, a duo, and it's great. It's rewarding on a lot of levels. The way I see it, when Teresa and I are together, doing our material for people who come to see us, then everything I ever wanted out of life is pretty well complete."
Fernando Viciconte, the Portland, Oregon troubadour with twenty years of local and national acclaim under his belt including being a 2016 Oregon Music Hall of Fame inductee, crawls from the wreckage of the recent past unbowed. Bruised, but unbroken. The good news is that he has survived major surgery for a throat condition and what could have been existential silence for ‘that voice'. It's a voice that caused countless zines (Billboard, Magnet, Paste, The Oregonian, No Depression, etc) and fellow musicians (Peter Buck, Don Dixon, Steve Wynn) to rave about the feeling it evokes when Fernando sings his songs of dark despair and faint hope. These rock and roll laments, in both Spanish and English, have captivated an international audience for seven records, countless compilations, and memorable live sets. Fernando has emerged stronger than ever with a full-length LP entitled Leave the Radio On (August 2015, Fluff and Gravy Records), produced by Fernando with Luther Russell (Fever the Ghost, Richmond Fontaine) and Mike Coykendall (M.Ward, She and Him). Last fall, Fernando dropped an early 7" single as a preview of what is to come. The a-side ("The Dogs") is the second track on the record, and was featured by KEXP as their song of the day.
3 years in the making, due to the afore-mentioned health issues, the album itself features a virtual who's who of Portland's finest musicians, including Peter Buck and Scott McCaughey as well as members of M.Ward, Elliott Smith, Richmond Fontaine and The Delines. This is a new chapter in Viciconte's ever-evolving musical trajectory, a career marked by creative integrity and an almost painful honesty which attracts fans from high and low that still believe in the redemptive power of rock and roll. And ‘that voice'.
Argentina-born, Fernando came of age musically in L.A. fronting the popular hard rock band Monkey Paw. He moved to Portland, OR, in 1994 and released Season in Hell, a downbeat collection of country rock, in 1996. His sophomore effort, Widows, saw a harder-edged approach that at times recalled his Southern California days. The Spanish language album Pacoima (1998) represented an abrupt shift as Fernando explored his So Cal barrio roots, swinging from border rock to Tex-Mex to Mexican R&B. Sure enough, he changed gears yet again for Old Man Motel (1999), indulging in a powerful collection of relatively straight-ahead rock. 2001 found Fernando leaving Cravedog Records for his own label Domingo Records which released Dreams of the Sun and Sky, a startlingly gorgeous collection of gauzy, narcotic tracks with Latin and country-folk accents. The Oregonian named this album a top ten release of 2001. In 2006, Fernando returned from a hiatus from music and he delivered his most critically received record to date Enter to Exit. For this project, Fernando teamed up with long time friends from the Eels, Jeff "Chet" Lyster (Eels, Lucinda Williams, Love Gigantic) and Derek Brown with Paul Brainard from Richmond Fontaine, Lewi Longmire and John Amadon to make what many critics called one of the best pop rock records of 2006. Magnet Magazine went as far as naming Fernando one of the best new artists of 2006 in their year-end issue. The album also garnered glowing reviews from Billboard, Paste, Amplifier, No Depression, and MSNBC.com. Fast forward to 2010 and the release of True Instigator. This album sees Fernando exploring his Americana, Spanish and classic country roots to make what is soon to be a classic Northwest release. The album was recorded with famed producer Adam Selzer (Norfolk and Western, M. Ward) at Type Foundry Studio in Portland, Oregon. Fernando is now ready to dive in to the next phase of his career, with Leave The Radio On. He is healthy, re-energized, and touring internationally, virtually non-stop, in preparation for the record's September 2015 release. All signs, it seems, suggest that Fernando's best days are ahead of him.
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