A Tribute to John Lennon feat. Jonathan Flaugher / Chris Stills / Trevor Menear / Heather Porcaro / Anna Nalick / Brett Farkas, King Washington, Brian Whelan, Liam Gowing, Brandy Loves Alexander, Black Hi-Lighter, Scrote & more special guests TBA

King Washington

It would be easy to slip into editorial clichés about "bringing back" a certain sound and making it "all their own," but the connection an audience can tie between what they will hear and what they can feel deserves better than that. It was a matter of seconds into my first time experiencing King Washington's music before I knew I had found something I hadn't been exposed to ever before, and I still remember that moment. Clearly. You get the feeling that there isn't a note, lyric or change that isn't in it's perfect place. It's just familiar enough to where you will feel comfortable that you're not being left behind while the song tells secrets, but always unexpected enough to where you won't see it coming. That, my friend, is a delicate balance. And KW stands tall along the precipice. -Lucas Salazar

Brian Whelan

To me, Brian Whelan will always be the Kid. When he first materialized several years ago at the Cinema Bar, that charmingly crowded, noisy little room in Culver City known as “The World’s Smallest Honky Tonk,” he was an alarmingly boyish presence. At first he stood out because he didn’t look old enough to legally consume the beer he was holding. But he soon distinguished himself as a young lion behind the roots-rock sages – Randy Weeks, Mike Stinson, Tony Gilkyson – whose shows packed out the tiny joint. It became quickly apparent that Brian could play just about anything, and brilliantly; his formidable chops later found him a primo spot in Dwight Yoakam’s band. But he displayed other musical dimensions: He also played in a tough little pop-rock band, known variously as the Brokedown and the Broken West, which recorded a couple of fine records before lamentably breaking up too soon. He fronted another rockin’ unit, Wheelhouse, as a prelude for the album you’re listening to now. It shows off splendidly the many things – singing, playing, writing -- that Brian does so exquisitely well. And it cuts across the broad swatch of stylistic turf that he occupies effortlessly, from the rootsy inventions of Gilkyson’s “Mojave High” and Stinson’s “Brand New Love Song” to a group of originals (two of them co-authored by Broken West cohort Ross Flournoy) that to my ears bear favorable comparison to the best of Nick Lowe or the Plimsouls.
Yeah, he’s still the Kid to me. But Brian Whelan’s work is thoroughly mature and emotionally wise, and many another grown-up musician will envy its excellence.
Chris Morris
Host, “Watusi Rodeo”/Scion Radio 17
Los Angeles, June 2012


Liam Gowing & The Family Jewels

A lifelong multi-instrumentalist musician and occasional session player, Dallas-born LA resident Liam Gowing put his first love—writing and recording music—on the backburner for most of the last decade as he concentrated on a career in journalism, working variously for the LA Times, LA Weekly, the Onion's A.V. Club, SPIN, Filter, Paste, Flavorpill and the NME. But after the death of his father in late 2009, he returned to it with a black-humored vengeance. The resulting album "Drunk Sluts Forever"–a mostly DIY project recorded largely in a six-month span between 2011 and 2012 (then delayed by a serious bout of tinnitus)–collects 10 of his recent compositions.
Due out in late summer/early fall on the homemade imprint MojoSon Music, the record features Gowing solo on multiple layers of vocals and an extensive array of instruments—guitar, bass, piano, drums, harmonica, recorder, tambourine, castanets and shakers as well as (through the magic of a MIDI keyboard) organ, synth, electric piano, vibraphone, steelpan, strings, horns and woodwinds—along with a smattering of public domain sound effects and percussion loops. The result is an eclectic assemblage of maximalist power pop encrusted with chunks of stoner rock, psychedelic funk, surrealist disco and electronica plus a Gothic-cum-sci-fi Western instrumental, two or three classical interludes, a hip-hop influenced funeral march and even a quasi-country tune complete with a Bluegrass guitar solo.
After completing his mixes for Drunk Sluts Forever, Gowing's friend and chosen interlocutor Bill O'Neil was so stoked on the record that he demanded they put a band together to play it out, then helped assemble a core group of longtime musical collaborators to do so, including himself on guitar, Ali Sagheb on bass and Eric Allgood—best known for his mid-aughts work with soul-infused garage rockers the BellRays—on drums. The resulting band, the Family Jewels, wouldn't be complete without "the Lady Larynxes"—Audrey Tess Casey and Michelle Anne Johnson—on harmonies (there are a LOT) and backing vocals.


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A Tribute to John Lennon feat. Jonathan Flaugher / Chris Stills / Trevor Menear / Heather Porcaro / Anna Nalick / Brett Farkas, King Washington, Brian Whelan, Liam Gowing, Brandy Loves Alexander, Black Hi-Lighter, Scrote & more special guests TBA

Tuesday, December 17 · Doors 8:30 PM / Show 9:00 PM at The Satellite