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Kelly Joe Phelps
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Kelly Joe Phelps with opening guest... Steve Dawson (Zubot & Dawson)
Friday, February 20th
Central Bar and Grill, 708 view st.
Doors 8:30pm, Showtime 9pm
Tickets: $20 Advance / $22 Door
Available at: Central Bar and Grill (708 View St. 361-1700), Lyle's Place (770 Yates St. 383-8422) or the McPherson Box Office (#3 Centennial Square / 600-block Pandora Ave. 250-386-6121, Toll-free line 1-888-717-6121)
Take a listen of Kelly Joe Phelp's music visit: www.kellyjoephelps.com
 
Scroll down to the end of the page to see upcoming concerts!!
 
Kelly Joe Phelps

Press release/bio for Slingshot Professionals  

More than just an awesomely talented musician, Kelly Joe Phelps speaks to the soul of each and every listener." - Cameron Crowe

"Phelps' songwriting mirrors the subtlety that distinguishes his guitar work. His songs are alsoinfused with poignancy, passion and spirtiuality." - The Washington Post

"His cadence is so hypnotizing, his rough voice so evocative, his guitar work so deeply entwined with hissinging." - Boston Phoenix

".textured, pure, noble and moving. Call it art." -Pulse!

Singer, songwriter and guitarist Kelly Joe Phelps raises the musical bar with a compelling new collection of songs on his latest and fourth full-length Rykodisc release, Slingshot Professionals. Replete with Kelly Joe's singular guitar sound, soulful vocals and lyrics won through experience, Slingshot Professionals delivers music, at once both fresh and aged ensuring Phelps a place among our most accomplished performing songwriters.

Produced by Lee Townsend (Bill Frisell, John Scofield), Slingshot Professionals follows

2001's critically acclaimed Sky Like A Broken Clock and the Beggar's Oil EP, a companion piece released in 2002. Slingshot Professionals finds Phelps making his way in a new role, that of bandleader. For most of his career, Phelps has gone it alone on record and on tour. That changed with the recording of Sky., when he paired with bassist Larry Taylor (Tom Waits) and drummer Billy Conway (Morphine).

For Slingshot Professionals, Phelps recorded with two distinct groups of musicians, one in Seattle and the other in Toronto , creating a sound that is his most fully orchestrated to date. Celebrated guitarist Bill Frisell and Keith Lowe (bassist with David Sylvian, Wayne Horvitz and Fiona Apple) joined Phelps to record "Not So Far To Go" and "Cardboard Box of Batteries", while three members of Zubot and Dawson - Steve Dawson (slide guitars), Jesse Zubot (fiddle, mandolin), and Andrew Downing (bass) play on Slingshot's remaining eight songs. Drummer and percussionist Scott Amendola,(known for his work with Charlie Hunter, among others) joined Phelps on all songs except one. The contributions of Chris Gestrin (organ, piano and accordion) and Petra Haden (backing vocals) were subsequently added in Vancouver , B.C. Of his work with Zubot and Dawson, Phelps laughs as he says, "it sounds like a bluegrass band that went to the wrong school."
 
The basic tracks on Slingshot Professionals were recorded live, in Phelps' favorite manner. "My penchant for live recording has to do with wanting the musicians to interact with one another, to provide the opportunity of responding in the moment to a lyric or a phrase someone might play. A 'call and response' situation is created, all ears are open, and the focus of all individual minds becomes the focus of one mind. In this way the song starts to breathe and take on a life beyond the players themselves, each part
becoming a critical and important link in one chain. This, to me, is when music comes alive."
 
Slingshot Professionals marks another move forward in Phelps' career. A brilliant improviser, Phelps is known for his ability to put a new spin on a song every time he plays. "For me, the direction is always forward. I learn, experiment, experience, apply. Everything I'm doing now is deeply rooted in what I've done before, coupled with whatever sense of vision I've been fortunate enough to receive. I no more want to play, sing or write the way I did five years ago than want to live the life I had then. I change, the music changes, but it's a very straight line. It may appear to be a circle, but each individual recording exemplifies my current musical passions and explorations added to past influences and experience. As life moves constantly forward, so should music, if it's to contain vitality and genuine emotion respectfully relayed in an honest fashion. Earlier on, I found myself absorbed by the sound of the guitar, by it's inherent possibilities and myriad variations of approach. These days my curiosity and passion are piqued by words - the music they themselves make - how best to portray an image musically, and song construction...how to build a song like a painters' picture, with all its shadow and mystery and light. Instruments added to the guitar become like different colors on the pallet, or different accents on the words, or foreign languages that sound so beautiful in and of themselves they communicate purely through sound. In this way I am able to find a spot to set the guitar into, a place the voice can rise into, and the other instruments fill out the canvas, thereby setting up the foundation for the story to exist upon. If we all play only what is needed, and no more than that...there is the ultimate goal and challenge. 

"When I'm on the road, I can't write. However, I'm constantly soaking up experiences, sights, collecting memories that come out when I get back home and can sit still long enough to bring them forward in a particular shape. Some of them come out in story form, others in the form of poetry or loose prose. Then they are filed away; not as songs but as written word only. I enjoy this part of the writing process so much that I'll typically fill 40 or 50 pages before even one of them starts to transform into song lyric. When I catch a glimpse of a character or a story that appears wants to be sung about I will start editing, start honing in on the most important aspects. I start to recognize the extraneous parts tapped out during the original sketch, begin to see a face...and if I'm lucky these characters start to dictate their own motion and turn themselves from a loosely constructed bit of prose into a nearly carved lyric. An internal word rhythm or phrase rhythm will usually stand out, leading me further along the editing path, the rewriting path.  Somewhere along here is where the guitar comes in. I try letting the word rhythm determine the musical direction, rather than the other way around, so that the story or the scene remains the point of the pyramid and all else remains in support of that. The primary point is this: much of the music will always remain improvised - this is where the outside emotion will be heard. The music can and most likely will change with every performance - that's the breath and the life and the vitality, the soul. The lyric will always remain solidly built, this is where the inner emotion will be felt. The fact that the lyric, once it's finished, is not going to change highlights the importance of its role."

Buy the Music Now

Kamikaze Syllables Since 1994, when he made his debut with Lead Me On, Kelly Joe Phelps has reinvented the slide guitar to his own specifications. This isn't to shortchange his superb, smoky voice or distinctive tunecraft. Still, it was his way with a steel bar and an open-D tuning that made his listeners sit up and take notice, along with his tendency to function as a one-man band. Sky Like a Broken Clock
If anything, Roll Away the Stone is an even better record than Kelly Joe Phelps' debut, Lead Me On. Phelps continues to grow as both a musician and songwriter, and his interpretations of classic blues songs show increased imagination. Although it's based in classic blues, this music doesn't sound ancient -- it sounds vital and alive, like any great music should. ~ Thom Owens, All Music Guide
   
 
 
Click on the images to go to Amazon.ca and purchase Albums

Beginning in February, Phelps will be on the road in support of Slingshot Professionals. On selected dates, he will be joined by Jesse Zubot and Steve Dawson; on others, by Keith Lowe and Scott Amendola.

 
Tickets for these concerts now on sale: Kinnie Starr, D.O.A., Harry Manx & the Urban Turban,
Martyn Joseph, Kelly Joe Phelps, Roy Forbes, Ennis Sisters, Lennie Gallant, James Keelaghan,
Ray Bonneville, Jimmy Rankin
 
Tickets for all other concerts will be on sale on March 1st, 2004!
 
Tickets available at: Lyle's Place or the McPherson Box Office (250-386-6121)
For more info, contact High Tide Entertainment 478-1888 or hightide@telus.net
 
Kinnie Starr, Friday January 23rd
The Upstairs Cabaret, #15 Bastion Sq., 250-385-5483
Doors 9pm, Showtime 10pm
All Tickets: $15
 
Kinnie Starr, Saturday January 24th
The Waverly Hotel, Cumberland/Courtenay, 2629 Dunsmuir Ave.
Tickets: $10 Available at: Dodge City Cycles, Lucid & The Waverly Hotel
 
Martyn Joseph, Monday January 26th
Gibson Auditorium - Camosun College (Young Building) - Landsdowne, 1300 Foul Bay Rd.
Doors 6:30pm, Showtime 7:00pm
Tickets: $22 Advance, $24 Door
 
D.O.A.'s 25th Anniversary Tour, Thursday, January 29th
with openers..the Sweathogs
The Queens, 34 Victoria Cresent, Nanaimo
Doors 8:30pm, Showtime 9:30pm
Tickets: $13 Advance, $15 Door
Tickets available at: The Queens, Fascinating Rhythms and Cranky Dog Music (Parksville)
 
D.O.A.'s 25th Anniversary Tour, Friday, January 30th
with openers..the Sweathogs
The Cambie, 856 Esquimalt Rd.
Doors 9pm, Showtime 10pm
Tickets: $13 Advance, $15 Door
 
Harry Manx & the Urban Turban, Saturday Jan. 31st
McPherson Playhouse, #3 Centennial Square 250-386-6121
Showtime 8pm
All Tickets: $27.50 General seating
 
Alfie Zappacosta
Thurs. Feb. 5th
Central Bar and Grill, 708 view st.
Doors 7pm, Showtime 8pm
Tickets: $15 Advance / $18 Door
 
Kelly Joe Phelps, Friday, February 20th
with special guest... Steve Dawson (Zubot & Dawson)
Central Bar & Grill, 708 View St. 250-361-1700
Doors 8:30pm Showtime 9:00pm
Tickets: $20 Advance & $22 Door
 
Roy Forbes with special guest... Allen Dobb, Saturday February 21st
Gibson Auditorium - Camosun College (Young Building) - Landsdowne, 1300 Foul Bay Rd.
Doors 7:00pm, Showtime 7:30pm
Tickets: $21 Advance & $23 Door
 
Ennis Sisters with special guests... Easily Amused, Tuesday February 24th
Gibson Auditorium - Camosun College (Young Building) - Landsdowne, 1300 Foul Bay Rd.
Doors 7:00, Showtime 7:30pm
Tickets: $20 Advance & $23 Door
 
Lennie Gallant, Friday March 5th
Central Bar & Grill, 708 View St. 250-361-1700
Doors 8:30pm, Showtime 9:00pm
Tickets: $18 Advance & $20 Door
 
James Keelaghan, Saturday March 6th
Gibson Auditorium - Camosun College (Young Building) - Landsdowne, 1300 Foul Bay Rd.
Doors 7:30, Showtime 8:00pm
Tickets: $21 Advance & $23 Door
 
Arrogant Worms, Thursday March 11th
Alix Goolden Performance Hall, Conservatory of Music 907 Pandora St. (250) 386-5311 
Doors 7:00, Showtime 7:30pm
Tickets: Tickets: $22 Advance & $24 Door
 
Lynn Miles, Sunday March 14th
Central Bar & Grill, 708 View St. 250-361-1700
Doors 8:00 Showtime 8:30pm
Tickets: $18 Advance & $20 Door
 
Jimmy Rankin with opening guest... Gordi Sampson, Friday, April 2nd
Gibson Auditorium - Camosun College, Young Building, 1300 Foul Bay Rd.
Tickets: $23 Advance / $25 Door 
Doors 7pm, Showtime 7:30pm
 
Pavlo, Wednesday April 7th
Gibson Auditorium - Camosun College (Young Building) - Landsdowne, 1300 Foul Bay Rd.
Doors 7:00, Showtime 7:30pm
Tickets: $25 Advance & $28 Door
 
Aengus Finnan, Wednesday April 14th
Central Bar & Grill, 708 View St. 250-361-1700
Doors 8:00 Showtime 8:30pm
Tickets: $15 Advance & $18 Door
 
Karen Savoca & Pete Heitzman, Saturday, April 17th
Gibson Auditorium - Camosun College (Young Building) - Landsdowne, 1300 Foul Bay Rd.
Doors 7:30pm, Showtime 8:00pm
Tickets: Tickets: $20 Advance & $22 Door
 
Heather Bishop's "Tribute to Peggy Lee", Friday, May 21st
Gibson Auditorium - Camosun College (Young Building) - Landsdowne, 1300 Foul Bay Rd.
Doors 7:30, Showtime 8:00pm
Tickets: $18 Advance & $21 Door
 
Tickets available at: Lyle's Place or the McPherson Box Office (250-386-6121)
For more info, contact High Tide Entertainment 478-1888 or hightide@telus.net

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