On Stage (Extra): The Legendary Pink Dots return

By Denny Dyroff, Staff Writer, The Times

The Legendary Pink Dots – an Anglo-Dutch experimental rock band formed in London in 1980 – has found a genre all its own. Although far outside the mainstream, LPD have released more than 40 albums, have a devoted worldwide following, and tour frequently. Distinctive vocals and lyrical imagery are a big part of the band’s universal appeal.

On October 2, The Legendary Pink Dots will return to the area for a show at Boot and Saddle (1131 South Broad Street, Philadelphia, 215-639-4528, www.bootandsaddlephilly.com).

The Legendary Pink Dots have certainly earned their “legendary” status by now. The band, which is based in the Netherlands and has always featured a lineup with English and Dutch musicians, is celebrating its 36th anniversary this year.

The LPD have always had two core members – singer/songwriter/keyboardist Edward Ka-Spel and keyboardist Phil Knight – along with a variety of rotating musicians and instrumental lineups.

Better known throughout Europe than in the states, the Dots’ music has elements of rock, jazz, psychedelia, industrial, synth-pop and avant-garde. They have released close to 50 studio albums and have reached double figures with their live album total. They also have over 30 compilation albums to their credit along with a handful of DVDs.

The Legendary Pink Dots, who released their new album “Pages of Aquarius” recently on Metropolis Records, are in the beginning of a stateside tour supporting the new disc.The The current LPD lineup includes Edward Ka-Spel (voice, keyboards, devices, gadgets, keyboards, interference, premonitions) and Phil Knight/The Silverman (keyboards, soundscapes, electronics devices, gadgets, technology, korgs, radios, cables). Joining them are Erik Drost (acoustic, electric, bass and Hawaiian guitars) and Joep Hendrikx (electronics, effects).

“Thids is a pretty big tour – 26 shows,” said Ka-Spel, during a phone interview Thursday as the band headed from Toronto to Montreal “It’s a long haul. Basically, we’re making a full circle of North America.

“We released our latest album ‘Pages of Aquarius’ a few months ago – on a Philadelphia labe, Metropolis Records. They also released our last studio album – ‘The Gethsemane Option.’”

The Dots also release a lot of music on their own. In between “The Gethsemane Option” in 2013 and “Pages of Aquarius” in 2016, they have released “Code Noir” (2013), “The Curse of Marie Antoinette” (2013), “10⁹” (2014), “The Seismic Bleats of Quantum Sheep” (2015), “Five Days” (2015), and “Five Days Instrumentals” (2015).

They have also released seven other albums as digital-only downloads in that time period. One of LPD’s projects is its “Chemical Playschool” series of albums which is well into the teens.

“If I tried to remember all our albums and talk a little about each, it might carry into my next lifetime,” said Ka-Spell. “We also have a special release for this tour – a new ‘Chemical Playschool’ issue. It’s a four-CD box with two older and two new ‘Chemical Playschool’ albums. And, we have ‘Pages of Aquarius’ on pink vinyl.

“When we were recording ‘Pages of Aquarius,’ we touched on an extremely diverse range of subjects. There was a long search for a title and it came when I was going on a plane with my wife and she mentioned Age of Aquarius. A lot of people believe that we’re entering the Age of Aquarius. It’s like pages of Aquarius. Being an Aquarius myself, it really resonates with me.

“The album was recorded mostly in my house in London and at a studio in Nijmegen in the Netherlands. We started working on it a couple years ago. We put the finishing touches on in April and Metropolis released it in May. We then did a European tour and that paved the way for this tour.”

Even with the lineup changes, the 2016 edition of the band is still able to play a lot of older songs from the Legendary Pink Dots catalog.

“We’ve reworked a lot of songs,” said Ka-Spel, a former Londoner who still is a die-hard fan of the Queens Park Rangers soccer team. “There were songs we wanted to preserve so we’re still developing them. We’ve extended our repertoire a lot now. We’re playing pretty long sets – up to two hours.

“With the long set, we really do cover a lot of years. It’s a mix of history — yet sounding very contemporary. In the live show, a few of the songs have extended to 12 minutes. We’ve completely revamped the set from previous years. It’s a challenge. We like to push ourselves hard.”

But, just because the Legendary Pink Dots play two-hour sets with songs that last longer than 10 minutes, don’t be misled into thinking that the Dots are just another jam band.

“We never get carried away,” said Ka-Spel, the creator of the band’s thought-provoking and often bizarre lyrics. “We don’t want to turn it to noodling. Noodles are for eating.”

Video link for The Legendary Pink Dots – https://youtu.be/Bx-GxhNCQNE?t=2.

The show at Boot and Saddle, which has Orbit Service as the opener, will start at 8:30 p.m. Tickets are $25 in advance and $27 at the door.

Grammy® Award-winning vocalist Catherine Russell doesn’t really tour much. Instead, she presents a limited number of shows each year at selected venues.

One of those venues for 2016 is the Annenberg Center (3680 Walnut Street, Philadelphia, 215-898-3900, www.annenbergcenter.org).

On October 1, Russell – along with Brianna Thomas and Charanee Wade – will visit the billed as “Jazz at Lincoln Center Presents Ladies Sing the Blues.” The trio will channel the liberated spirits and pioneering vocalizations of four 1920s blues divas – Bessie Smith (the “Empress of the Blues”); Mamie Smith (the “Queen of the Blues”); Ma Rainey (the “Mother of the Blues”); and legendary stage and screen icon, Ethel Waters.

Backed by a seven-piece band, the ladies demonstrate the ageless relevance of this important genre in American music — tackling love’s follies and stompin’ the blues away. The music on stage this weekend is just Part of Russell’s huger repertoire, which includes songs from her sixth and most recent album “Harlem On My Mind.”

“I gather tunes all the time,” said Russell, during a phone interview Wednesday afternoon from her home in New York City. “Then, I look at what I’ve gathered and see what I’ve got.”

With her sixth album, “Harlem On My Mind,” Catherine Russell journeyed to the blue heart of the great African American songbook. Vocalists Ethel Waters, Billie Holiday, Etta James, and Dinah Washington provided inspiration.

“The title of the album came form the song of the same name by Irving Berlin,” said Russell. “I’m continually gathering material. I look at what is going to thread well together in a body of work. All the songs we had gathered – many of the artists had done shows in Harlem…especially the Apollo.”

Russell is a native New Yorker, born into musical royalty. Her father, the late Luis Russell, was a legendary pianist/composer/bandleader and Louis Armstrong’s long-time musical director. Her mother, Carline Ray, was a pioneering vocalist/guitarist/bassist who performed with International Sweethearts of Rhythm, Mary Lou Williams, and Sy Oliver. “My mother was a singer and who was born and raised in Harlem,” said Russel. “My dad lived in a few places in Harlem when he had his band and when he was working with Louis Armstrong. He played the Savoy Club. He led one of the leading orchestras in Harlem, which was part of the inspiration for this album.

“I grew up in New York and my mother took me to many different shows – classical concerts as well as jazz. I was a dancer for six years with Catherine Dunham’s company and danced in ‘Aida’ at the Metropolitan Opera House.

“When I was a dancer, I was totally immersed in dancing. I was in the chorus at school and then went to acting school in college. Music developed out of doing a lot of different things – performing with different bands and touring. It was all a process.”

Russell was a vocalist for David Bowie on several of his tours.

“At the end of 2005, I had come home form one of David’s tours and people were asking me why I never made my own album. So, I put together some tunes, went to Chicago and made an album. Then, I did my first album release.”

Russell’s professional life began early. After graduating with honors from the American Academy of Dramatic Arts, she embarked upon musical adventures with Carrie Smith, Steely Dan, David Bowie, Cyndi Lauper, Paul Simon, Jackson Browne, Michael Feinstein, Levon Helm, and Rosanne Cash, among others, appearing on over 200 albums.

Her 2006 debut album “Cat” (World Village/Harmonia Mundi), garnered rave reviews and paved the way for her 2008 sophomore release, “Sentimental Streak.” Russell’s third album, “Inside This Heart of Mine” reached #1 on JazzWeek and Roots Music Reports radio charts.

Her fourth album, “Strictly Romancin’,” was awarded Prix du Jazz Vocal (Vocal Album of The Year) by the French Jazz Academy, Grand Prix du Hot Club de France, and a Bistro Award for Outstanding Recording. That same year Russell won a Grammy® Award as a featured artist on the soundtrack album for the HBO-TV series, “Boardwalk Empire.” Her fifth solo album, “Bring It Back” (Jazz Village) received a five-star review in DownBeat.

“I’m very involved in all facets of making each album – not just the singing,” said Russell. “I’m very involved with the arrangements – but I will get a horn arranger to help me.”

Video link for Catherine Russell – https://youtu.be/bjD77uizNFc?t=3.

The show at Annenberg Center’s Zellerbach Theater will start at 8 p.m. Tickets are $25, $40 and $55.

Another show in Philly on October 1 will feature Michael McDermott performing a pair of shows at the Tin Angel (20 South Second Street, Philadelphia, 215-928-0770, http://www.tinangel.com).

McDermott burst onto the scene in his early 20’s with his exceptional debut, “620 W. Surf” and subsequently found himself touted as rock’s ‘Next Big Thing’.  MTV, Rolling Stone, The New York Times and even author, Stephen King added their appreciative nods.

But, things did not go as planned.

The missteps and failures that followed – such as the collapse of an industry that once embraced him as its next sensation – will either ruin a person completely or they force a change of attitude. McDermott summoned staunch determination to survive and overcome.

McDermott’s story is the classic tale of survival, perseverance, love and redemption. The first half begins with youthful innocence, a dream-come-true recording contract, a classic debut album heralded by the media, and a downward spiral with seemingly no bottom.

The second half begins with love and the woman that would become his wife, Heather Horton, their baby girl, and a collection of achingly honest songs born of new inspiration that are among the very best of his 25-year career.

“It hasn’t been easy but I’m in a great place now,” said McDermott, during a phone ointerview Wednesday from his home in the country in Willow Springs, Illinois. ‘I’m two-and-a-half years clean and sober. As time goes on, the road gets easier.”

McDermott’s 10^th album “Willow Springs,” is one of the best he’s ever made. Named for the small town where he now resides with his wife and young daughter, it reflects a certain circumspect about his life, the situations he’s encountered, while realizing that ultimately, his fate resided in his own hands.

According to McDermott, “This is an album of reckoning I suppose. There was a real cacophony of change going on in my life at the time… being a new father, losing my own father, leaving the city for the country, dealing with sobriety, grief, death, mortality, shame and forgiveness.

“It was a veritable emotional tsunami and yet somehow I had to navigate through it all. That journey is reflected in these songs. Willow Springs is the name of the place where I took refuge and had to confront a lot of things”. 

Recorded at his home in the country and fan-funded, “Willow Springs” finds McDermott behind the boards as producer for the first time with longtime producer and collaborator, Lex Price doing the mix. Having enlisted a stellar support group of musicians — including multi-instrumentalist, Price; guitarist, Will Kimbrough; keyboard player, John Deaderick and McDermott’s wife, Heather Horton on backing vocals – McDermott found himself able to craft the sound he envisioned.

“I recorded the album around the end of last year,” said McDermott. “It was the first album I’ve done at home. There’s something about when the red light goes on – it’s like Cindy Brady caught looking in the camera.

“At home, it’s more relaxed – less pressure. Having my wife there was great. She’s come in and hear me after recording a vocal and say – I don’t believe what you’re singing. She was a great – and very helpful – critic. She was very honest about it.

“It was a trial by fire. I just jumped right into the deep end. In hits modern age, I’d send stuff to Will and John. They would work on it and send it back to me. It was a virtual effort. Heather is also on it. And, she’ll be coming to do the Philly shows with me.”

The album has received great response from listeners.

“It came out in June and people really liked it,” said McDermott. “The album is doing amazingly well – which I can’t believe. It reached Number One on the European Americana chart and Number One on Amazon’s Americana list. The reviews in Europe have been tremendous. I haven’t had this much momentum since my first album in 1991.”

Video link for Michael McDermott – https://youtu.be/d2IPPbpDLiM?t=10.

The shows at the Tin Angel, which have Matthew Ryan as the opening act, will start at 7:30 and 10 p.m. Tickets are $18 for either show.

Another interesting performance on October 1 will be Beaver Nelson’s show at Dad’s Hat Distillery (925 Canal Street, Building #4, Bristol, dadshatrye.com).

Nelson, a singer-songwriter-guitarist from Austin, Texas, will be kicking off his first East Coast tour in over four years and will be performing many favorites from his previous seven albums as well as new tracks from his latest release “Positive.”

As a songwriter, Nelson has long sought to locate deeper truths, to shape order from the puzzles life puts forward, both past and present.

“As I got older, I began including more pop influences chordally,” said Nelson, during a phone interview Tuesday as he drove through North Jersey on his way to a show in Connecticut. “I’m a fan of the Who and Squeeze. I tried to bring in some of that pop cadence.

“I was never the kid who played other people’s songs. I play to write. I’m a storyteller – but rarely in a linear narrative…usually in a roundabout way. I surround the subject matter. I start at the start and end at the end.”

According to Nelson, “I’m pretty obsessed with the notion of time. It’s the basic human problem. What time means and its effect on us and the fact that you can’t own it. It’s here, then it’s gone—you screw up and you don’t get it back.”

Hailed as a prodigy by Rolling Stone at the tender age of 19, Beaver has released seven albums since then, but not before getting churned through the major label blender first. By the age of 22 he had two failed record deals and had seen enough of that world to back away. He fronted a rock band for years before returning to solo performance and focusing on songwriting in the wake of the passing of his idol, Townes Van Zandt.

Nelson began playing guitar at 14 and was introduced to Bob Dylan, the Rolling Stones, Lou Reed and Bruce Springsteen by two of his camp counselors. He began to write and record songs, assembling handmade cassettes to sell to friends. He began exploring the Austin open mic scene during high school, driving up from his home in Houston. The vibrant and ultra-supportive scene introduced him to Jimmy La Fave, Jo Carol Pierce and others as well as Troy Campbell and Scrappy Jud Newcomb, members of the great Austin rock band Loose Diamonds.

By the early 90s he was touring and beginning the frustrating major label period in his life, with deals that fell through and a shelved album that did not sound “grunge” enough for the A&R flacks.

On his new album “Positive,” Nelson continues to reflect in a collection of songs written over the span of his career, brimming with intelligence, humor and his trademark pop hooks.

“My songwriting has changed dramatically,” said Nelson. “I used to have all these files in my head. When it was ready to explode, I’d write in a flurry – 20-to-30 minutes. As I got older, I had more file filters. I had more stuff in there. I had to start writing things down. That began a middle period where I was really editing stuff. Then, there was a phase with no editing.”

All throughout his long and impressive career, Nelson has written songs that make the ears happy and make the brain work.

“I like density of thought,” said Nelson. “I don’t like pandering.”

Video link for Beaver Nelson – https://youtu.be/C20ENLfUofc?t=1.

The show at Dad’s Hat Distillery, which has Found Wandering as the opening act, will start at 8 p.m. Tickets are $20.

On September 9, Long Beach, California-based indie duo This Wild Life released its sophomore album “Low Tides.” The much-anticipated follow-up to the band’s 2014 Epitaph debut “Clouded,” “Low Tides” finds the alt-rock act exploring more inventive instrumentation while pushing further into the intensely personal nature of their lyrics.

The line-up of This Wild Life is very basic — Kevin Jordan and Anthony Del Grosso from Long Beach, California. The duo is touring in support of the album and will perform on October 2 at the World Café Live (3025 Walnut Street, Philadelphia, 215-222-1400, www.worldcafelive.com).

The two musicians met while working at a musical instrument store and quickly bonded over their love for hardcore. Their debut album “Clouded,” which was released in May 2014, was met with positive reviews.

A little while later, This Wild Life released a new version of the duo’s debut album — an upgraded edition titled “Clouded Atmosphere Edition.” It featured three new original songs — “Stay Up Late,” “It’s Alright” and “Alone With Me.” The “Atmosphere Edition” also included three live songs.

“Anthony and I met when he was my manager at a guitar center,” said Jordan, during a recent phone interview. “We found out that we had the same tastes in music. We started out as a pop-punk band and eventually de-evolved into a two-piece.

“Our first release was an EP in 2011 called ‘Pop Shove It.’ Then, we had a couple singles and an EP titled ‘Heart Flip.’ In 2012, we started working on our first full-length ‘Clouded,’ which came out May 2014.

“We recorded it in Lakeland, Florida with Aaron Marsh, who was Copeland’s producer. I was a huge fan of Copeland. We went to him because we didn’t have much experience in recording softer music.”

The updated version of the album was done with a very specific goal.

“We were offered a spot on the Warped Tour,” said Jordan. “We had some new songs written and we wanted to put something new out to sell at the merch table at Warped. So, we did this instead of doing an EP.

“We’re hard core fans — punk and hard core. We still listen to heavy music. We’re more in line with the Warped Tour than we are with coffeehouses. If we toured with acoustic bands all year, we’d be playing much smaller venues. We decided from Day One to tour with bands that make no sense.

“We like to stand out. We tour with bands that are totally different than us. Audiences at these shows are used to hardcore and metal. With us, we’re a crossover band.  Anthony grew up listening to Crosby, Stills, Nash & Young and he learned finger picking back then

“”We actually started as a four-piece. Now, it’s just the two of us on acoustic guitars — and Anthony does play some electric guitar. Going from four to two was a slow process. We had done an acoustic version of an early song that did well. So, we did a few more acoustic songs. It was growing organically. Now, we’re having more fun writing softer songs.”

This Wild Life also recorded it new album with producer/engineer Aaron Marsh of Copeland. It was mixed and mastered with additional production and engineering by Jason Suwito of Sir Sly.

“We began making it right after the New Year,” said Jordan. “We definitely did a lot of pre-production and then spent six weeks in the studio. We had already started the writing six months before we went in the studio. The foundations for all the songs were built on acoustic guitar.”

Video link for This Wild Life – https://youtu.be/8-ttV2i0Oho.

The show at the World Cafe Live, which also features Have Mercy and Movements, will start at 8 p.m. Tickets are $15.