Dave Alvin and Jimmie Dale Gilmore w/ The Guilty Ones

Pappy + Harriet's Presents

Dave Alvin and Jimmie Dale Gilmore w/ The Guilty Ones

Jon Langford

Fri, December 7, 2018

Doors: 7:00 pm / Show: 8:30 pm

$25.00

Sold Out

This event is all ages

SOLD OUT. Thank you!

Pappy + Harriet's Presents

Dave Alvin and Jimmie Dale Gilmore

Backed by THE GUILTY ONES

***Please note: THIS IS A NON SEATED SHOW

Tickets are GENERAL ADMISSION and NON REFUNDABLE

STANDING ROOM ONLY - INSIDE SHOW***

Dave Alvin and Jimmie Dale Gilmore w/ The Guilty Ones - (Set time: 9:30 PM)
Dave Alvin and Jimmie Dale Gilmore w/ The Guilty Ones
Dave Alvin & Jimmie Dale Gilmore
On Stage Together! Backed By THE GUILTY ONES!

“There’s a mutual respect and genuine love…freewheeling and joyous.” —Rolling Stone
“An alternatively sweet, touching, rousing and undeniably heartfelt set that plays to both artist’s strengths.” —American Songwriter ****

Downey, California to Lubbock, Texas is a thousand-mile straight shot across the heart of the American West, with not much in between. The cities at each end of the line are one-time cowtowns that grew into symmetrically-platted working-class communities with very little to interrupt the horizon plane, making for big empty canvasses that require a vivid imagination to fill in all that blank space.

Dave Alvin from Downey and Jimmie Dale Gilmore from Lubbock have been filling canvasses with music of the American West for decades, coming from two very different directions.

The title track explains Alvin is a Strat-packing, wild blues Blaster, a nod to the roots rock band he formed with his brother Phil in 1978 before Dave peeled off to go his own way in 1986. He’s been part of the bands X, the Knitters, and the Flesh Eaters, tours relentlessly with his own band, the Guilty Ones, and continues apace on musical quests informed by his love of California and its history, and by Texas and the South, where most of the great music that was made in Los Angeles before and after the Second World War came from.
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Gilmore is the old Flatlander from the Great High Plains, acknowledging his first group, the folk-country trio formed in Lubbock 1972 with Joe Ely and Butch Hancock who continue performing and recording today. In addition to the Flatlanders and an extended solo career, he has been part of several ensembles including the Hub City Movers and The Wronglers with Warren Hellman, who started the Hardly, Strictly Bluegrass Festival in San Francisco.

Alvin is a rowdy baritone. Gilmore, the timekeeper of the high lonesome, warbles. Each is an avatar, an authentic, original creator with a strong sense of place and music.

That combination might seem like oil and water. But mixed together in the forms of these ten cover songs and two originals, including the autobiographical title track, this is powerful stuff.

The seed for the album was planted a little more than a year ago while the two did a duet tour. They’d known each other as friends for more than thirty years, but had never collaborated musically. Playing live together triggered a whole new dynamic. “Everything on that tour worked out so well,” Gilmore said. “The music was fun. During sound check, Dave said, ‘You know, we need to record some of this stuff.’”

And so they have.

The recording is a mutual admiration society. “Dave’s got a soulfulness and intelligence in his presentation along with something I really relate to, an anarchic streak that’s anything goes,” Gilmore said. “That’s what it is that’s so kindred about us. In every other way, our music is different from each other. We seem to have a common attitude. We like everything, from sweet ballads to raging blues and country stuff.”

“It’s like we’ve been playing together since we were kids,” Dave Alvin said. “He’s got a lot of soul. Where sometimes I can be over the top, he brings a calmness, an ‘everything’s going to be all right’ effect, whether it will be or not. “

Gilmore’s voice captivated Alvin. “It kept blowing my mind what an evocative singer he is. He’s a great blues singer. When Jimmie sings the blues, the thing that kept coming into my mind was, ‘This guy sounds like a coyote singing the blues.’”

An unspoken symbiosis was in play. “If I started playing one of those old things I used to do, even before the Flatlanders, Dave would know the song,” Gilmore said. “Our styles were different but we knew the songs together. It was kind of a fluke. It was as if the repertoire was built-in without us knowing it.”

The Downey-Lubbock connection extended to Mexican border radio stations, whose powerful signals reached both places, delivering exotic sounds including doo-wop, wild rock and roll, and dirty blues, courtesy of Wolfman Jack. “We found out on these gigs we both loved New Orleans Rhythm ‘n’ Blues,” Alvin said. “We share all these influences.”

Somewhere along the way, they recognized another shared experience dating back to the nineteen sixties. The Ash Grove was the storied folk music club of Los Angeles where two music-hungry teenage brothers from Downey and a young drifter from Lubbock both experienced live performances by folks like Texas bluesman Lightnin’ Hopkins, Son House and Brownie McGhee that they’d only heard on records before.

“Jimmie never saw Lightnin’ Hopkins in Texas,” Alvin pointed out. He knew his music through records. He had to go to LA to actually bear witness.

Alvin had to go to Texas to see where all the music he’d grown up on had come from. “T-Bone and Texas Music to me is West Coast Blues,” Alvin said, citing how the diaspora from Texas and Louisiana filled California with musical heavies from Walker, Eddie Cleanhead Vinson, and Johnny Guitar Watson to Buck Owens and Merle Haggard.

The Ash Grove inspired two tracks on From Downey To Lubbock, Brownie and Ruth McGhee’s sanctified gospel number “Walk On,” and the extremely rocked up Lightnin’ Hopkins tune, “Buddy Brown’s Blues.”

Some songs were naturals, such as Woody Guthrie’s timelier-than-ever “Deportee – Plane Wreck at Los Gatos,” which presented a challenge for these Sons of Woody mainly because hundreds of versions already existed. (They pulled it off; their version sounds like none other.)

They pay respects to three contemporary songwriters and friends who have passed on: Steve Young, John Stewart and Chris Gaffney, with their covers of “Silverlake,” “July, You’re a Woman,” and “The Gardens.”

“We were playing a show and Jimmie introduced the song ‘Silverlake’ by telling this story about Steve Young calling him up and saying, ‘I want you to sing this song that I wrote,’” Alvin recalled. “My mouth dropped. I said, ‘Wait a minute. Steve Young came to my house in 1990 and he told me he wrote this song for me – same song. “

“Yeah, but Steve said he wanted me to sing it,” Gilmore parried back. “He just wrote it for you.”

“Some of the songs we worked up on gigs,” Dave Alvin said. “It was just the two of us sitting together. It wasn’t exactly stump the band, but more like ‘Do you know this one?’ ‘This Sam Cooke song?’ ‘This Merle Haggard song?’ A good chunk of the album was what we did at these shows. We did the Youngbloods’ song (“Get Together”) every night.

There is jug band music (“Stealin’ Stealin’” and “K.C. Moan”), New Orleans R&B (Lloyd Price’s “Lawdy Miss Clawdy”), and a second original, Alvin’s mythical encounter “Billy the Kid and Geronimo.”

“Jimmie said my favorite thing I’ve ever heard in a recording studio,” Dave Alvin said. “There’s a guitar solo on ‘K.C. Moans’ that I thought might be too over the top and Jimmie said, ‘There’s a time when more Blue Cheer is better than less Blue Cheer. And this is a more Blue Cheer time.’”

“Dave brings an intensive shot of energy,” acknowledged Gilmore. “Both of us are intellectuals. But we also have that crazy streak. Musically, we like being not intellectual. It’s been an inspiration playing with Dave. We both have a passion about the music. It may not be similar in form, but it’s similar in the underlying drive, and I think we both recognized that from early on.” “You go in with, ‘Let’s see what happens: These are great musicians, let’s see what happens.’ Playing music is an educational process. I’m still figuring stuff out,” said Alvin.”Downey and Lubbock. There’s a metaphor for life’s long journey in there.”

Taking on all kinds of American music from the 1920s to the present is a very ambitious, very difficult feat to pull off. These two very particular, very peculiar, very not intellectual music makers make it a joy to behold.
Jon Langford - (Set time: 8:30 PM)
Jon Langford
Jon Langford
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Jon Langford has grit in his voice and melody in his soul. A punk-rock pioneer, a leading light of alt-country, a troubadour for our times, a musicians' mentor, a visual artist of uncommon skill, a singer-songwriter who writes with the authority of having lived a life rather just having imagined it, how do you peg Langford? Is he folk, rock, country, punk, what? Yes, he's all that. Langford is Langford, a transplanted Welshman who's been in Chicago long enough for us to claim him, and in doing so, stake a claim to a treasure.
— New City Chicago

Summarizing Jon Langford’s contributions to punk rock and all of its permutations, as well as his career-long obsession with American roots music, is liable to overwhelm anyone.
— LA Times

Jon Langford boasts a unique creative energy, unless you can name another individual who helped pioneer cowpunk (The Mekons' Fear And Whiskey) while contributing artwork to craft breweries (Dogfish Head).
— SPIN

Jon Langford has established a lofty standard of brawny melodicism and personally and politically charged songcraft, building a formidable songbook on a foundation of stubborn humanism and a finely honed sense of the absurd.
— Austin Chronicle

Americana has not lost its grip on Langford, nor vice versa.
— Pitchfork

Let’s skip the history and instead focus on the primary constant – Langford’s barkeep approachability and an affable approach to political frustration and career disillusionment.

— LA Times

The great rock and roll bridge between punk's back alleys and country music's windswept plains.
— Portland Mercury

Jon Langford has grit in his voice and melody in his soul. A punk-rock pioneer, a leading light of alt-country, a troubadour for our times, a musicians' mentor, a visual artist of uncommon skill, a singer-songwriter who writes with the authority of having lived a life rather just having imagined it, how do you peg Langford? Is he folk, rock, country, punk, what? Yes, he's all that. Langford is Langford, a transplanted Welshman who's been in Chicago long enough for us to claim him, and in doing so, stake a claim to a treasure.
— New City Chicago

Summarizing Jon Langford’s contributions to punk rock and all of its permutations, as well as his career-long obsession with American roots music, is liable to overwhelm anyone.
— LA Times

Hometown:
Newport, Wales / Chicago, IL

The L'homme de Renaissance of indie rock. The prolific Welshman-cum-Chicagoan has done it all in his time.

Founded the Ground Zero UK art/punk collective The Mekons (who, many suggest, went on to inadvertently turn a bunch of punk rock snots like Bloodshot Rob into country fans with their seminal albums Fear and Whiskey and Honky Tonkin') , noise rock progenitors The Three Johns and countless collaborations with greats, near-greats and unheard of cult figures.

For Bloodshot, he's been an indefatigueable presence in our shoddy offices since day one. In addition to all his musical contributions as a solo artist, he's created lots of cover art, produced lots of records, lent his ham-fisted guitar stylings to recordings by the Old 97's, Roger Knox, Rosie Flores, Kelly Hogan, Andre Williams, Sadies, Sally Timms, Danbert Nobacon, Alejandro Escovedo, among others, draws a comic strip, writes books, appeared as the backing band on This American Life and acts as a reeling papa bear figure to many of Chicago's musicians looking for direction and reassurance in this vicious racket we call the music industry.

Since the man creates more music than any one band could possibly hold, he's also the guiding force in the Waco Brothers, the rarely convened collective of the Pine Valley Cosmonauts, the Skull Orchard and Wee Hairy Beasties. At any given time, he might have a few other irons in the fire, or plates in the air, or pies in the oven, or cubes in the tray. It tires us just trying to keep up.

The revelatory aspect of Jon's prolific body of work is that he's always treated punk rock as folk music and folk music, when it stays true to its roots, can be awful damn punk. Woody Guthrie pissed off as many, if not more, people than Johnny Rotten. Also, country music, REAL country music tells a story and lays bare the truth as honestly and directly as anything the Clash ever did. For Jon, the line between Acuff-Rose and Strummer-Jones is a direct one. He also never lets a firm stance or a strong opinion get in the way of a hearty laugh or a ripping good yarn, preferably told in the company of friends with a frothy pint glass within reach.

We've learned a lot from him over the years. First and foremost, doing everything honestly and honorably is its own reward. Just keep moving. Keep your head down and perform your job. Don't look back. Let the rest of the world sort it out. Don't get bogged down by the misses. It's helped us survive in this racket, and it helps us in our daily lives.

As nice as he is prolific--rather unheard of in the hyper-rarified environment of notoriety.

For a gander of Jon's Art, peruse Yard Dog in Austin, TX; home of the annual Bloodshot SXSW shindig.
Venue Information:
Pappy & Harriet's
53688 Pioneertown Road
Pioneertown, CA, 92268
http://www.pappyandharriets.com