ABC Pick

Phosphorescent, Tara Jane O’Neil, Theo Angell, Stereo Campbell

Friday, October 13, Caledonia Lounge

originally published October 11, 2006

You might not have heard one of Tara Jane O’Neil’s solo albums before, but if you’ve listened to any indie-rock record from the last 15 years, you’ve probably heard her playing anything from drums to banjo. O’Neil cut her teeth as a bassist in Rodan, a short-lived Louisville, KY, math-rock trio whose 1994 LP Rusty helped shape the identities of both the genre and her hometown. Since then, she’s spent as much time in the studio as a college freshman spends on Facebook. O’Neil formed two wonderfully dense and dour bands in Rodan’s wake: Retsin, a minor-key, mildly twangy rock duo, and Sonora Pines, a forward-thinking folksy group that also featured Sean Meadows (Lungfish, June of 44) and Samara Lubelski (Tower Recordings, Hall of Fame). In her downtime, she moonlighted as a studio musician, lending her talents to albums by Come, Sebadoh, Papa M and others. At the dawn of the 21st century, O’Neil shelved her group projects and began recording under her own name. Since then, she’s released six full-lengths and a slew of EPs and singles, enlisting members of Ida and Jackie-O Motherfucker to accompany her along the way.

Now based in Portland, OR, O’Neil has just released what is perhaps her finest song cycle to date, In Circles. The album marries O’Neil’s menacing avant-rock roots to the pastoral pop she’s recently favored, and teems with sonic possibilities. Ominous, psychedelic drone creeps into instrumental opener “Primer,” while an articulate, Byrds-ian guitar chime dominates “A Room for These.” She leaves us pining for Hope Sandoval’s Mazzy Star days with slow-burner “Blue Light Room.” O'Neil's tunes always prove more rewarding each time around, and they stand to resonate more strongly when she plays them by her lonesome in the Caledonia. Merch-hounds take note: O'Neil's coming into town with drawings (she’s also a prolific visual artist) and limited-edition CD-Rs in tow.

Phillip Buchan

ABC Pick

Tift Merritt, Kimberly Morgan

Sunday, October 15, Melting Point

originally published October 11, 2006

You could slap the dull Americana label on the talented Tift Merritt, but that would be far too limiting. In fact, last year, the clueless Grammy folks nominated her 2004 album Tambourine as Country Album of the Year. But she’s not a simple country act. Actually the singer-songwriter is a little bit of everything: rock, pop, even Memphis soul.

As a member of the Carbines, she toured extensively, yet her recorded output is modest. Bramble Rose, her 2002 solo debut, along with Tambourine and last year’s limited-release live disc Home Is Loud, comprise the bulk of the North Carolina-based artist’s catalog. The deceptively small body of work is a collection of lively story-songs, often presented with near-cinematic detail and incessant lyrical and musical hooks.

On Tambourine, producer George Drakoulias (Tom Petty, Lone Justice) wrangled up an impressive posse of guests to supplement Merritt’s tunes. Not that they were really needed, but Mike Campbell and Benmont Tench from Petty's Heartbreakers, Robert Randolph and Merritt’s hero Maria McKee all joined in the fun. Don’t expect them to be in town for this show, because the charismatic, often-radiant performer packs her own star-power.

Also a talented short-story author, the multi-talented Merritt recently returned from an overseas tour with fellow iconoclast Dwight Yoakam and the genre-blurring Nickel Creek. She doesn’t have a new album to push on her current tour, but she’s probably readying material for the next one; she may try out some new stuff here in Athens. After her Classic City show, she’ll head on back to North Carolina for a few more shows and some well-deserved time off for the holidays. Like Merritt, Athens' own opener Kimberly Morgan blends the best of country and pop into a strummy stew. It all gets going at 8 p.m. sharp.

Lee Valentine Smith

ABC Pick

Charlie Musselwhite, Michelle Malone

Tuesday, October 17, Melting Point

originally published October 11, 2006

Though he’s best known for backing up some of the most revered names in blues and rock, harmonica player Charlie Musselwhite is in a league all his own. Since the mid-'60s, Musselwhite’s aggressive harp style has graced albums by artists from Tracy Nelson to Tom Waits, as well as a varied stable of releases to his own credit.

Though he had already appeared on others’ recordings by the time of its formation, Charlie Musselwhite’s Southside Band was the most-referenced vehicle for Musselwhite’s talents for many years. Spiritually akin to such mid-'60s blues-revival acts as the Paul Butterfield Blues Band, John Mayall’s Bluesbreakers and Canned Heat, the Southside Band saw Musselwhite and his revolving rhythm section throw equal amounts of down-home and uptown blues into the lively mix.

For much of his career, Musselwhite didn’t do a lot of national touring outside of the San Francisco area, which he’s called home since the release of the Southside Band’s highly regarded 1967 LP Stand Back!. Since successfully kicking the bottle during the late '80s, Musselwhite has made up for lost time by appearing on such albums as Waits’ Mule Variations and the Blind Boys of Alabama’s Spirit of the Century, as well as exploring Cuban, country and various blues styles on his own releases.

Today, Musselwhite is recognized as one of the top team players in not only blues but almost any variation of American music. Like Ry Cooder or David Lindley, his own recordings don’t always receive as much fanfare as his collaborations, but his energetic live appearances do much to back up the legend. His latest is called Delta Hardware, and it taps directly into Musselwhite’s craving for sultry rhythms and juiced-up Mississippi flavor. Those also tuned into the sweaty, unpolished spirit of the blues are advised to shine up their best pair of walkin’ shoes for Musselwhite’s Athens appearance.

Michael Andrews