Bootleg Theater Presents
The Bones of J.R. Jones (West Coast Record Release Show)
Prism Tats, Melaena Cadiz
2220 Beverly Blvd
Los Angeles, CA, 90057
This event is 21 and over
The Bones of J.R. Jones
When Jonathon Robert Linaberry needs a break from city life, he goes Upstate, near the Catskills, to renovate a little farmhouse he purchased a couple of years back. As he pours himself into his work, J.R. doesn’t think about texts, email, or even his music, which he performs solo under the moniker The Bones Of J.R. Jones. His only focus is the house.
“That’s been an amazing emotional outlet for me,” he says of his periodic retreats. “To kind of sustain myself after coming from the road and getting back into the grind of the city, to have this, for lack of a better term, Shangri-La.”
In a sense, recording and touring as The Bones Of J.R. Jones is its own form of isolation. But you wouldn’t immediately think so: As a one-man band, J.R.’s project, which fuses a moody blend of soul, blues, roots, and Americana, sounds enormous both on record and live in concert. That’s because J.R. plays—and has grown accustomed to playing—every instrument by himself.
He’s happy to report, though, that he’s a lot less solitary on his forthcoming third full-length album, Ones To Keep Close, which is due to arrive on May 11. In addition to workshopping the 11-track album with producer and good friend Rob Niederpruem at Hyperballad Music in Brooklyn, J.R. also called on soul-psych luminary Nicole Atkins, who guests on the album’s jangly lead single, “Burden.”
“I played a show with [Nicole] in Philadelphia a few months back, and we totally hit it off,” says J.R. of how they met. “It was the first time I ever got to see her live. She’s amazing live, and I guess she liked what I was doing, so we kept in touch. I approached her with this idea of doing a duet, and she agreed!”
It’s fitting then, that “Burden,” a quick-footed tune about the emotional isolation that comes with touring as a one-man band, would be performed by two people.
“‘Burden’ comes from a spot of catharsis,” says J.R. “I tour a lot by myself, and it’s tough doing it by yourself, being alone all of the time. The whole idea of ‘Burden’ was having that person to share that with. Kind of like misery loves company. Having someone be there. To be your rock. No judgement, just I’m here for you.”
J.R. even gathered more bodies in the studio itself, hiring musicians with whom to record and bounce ideas off of. On the gritty “I See You,” J.R. worked with his session percussionist to pick up the pace from a slower, “swampier” drawl to an 180 BPM “swagger.”
“It was one of those moments where someone gives you a fresh perspective on something,” recalls J.R. “I was working with a drummer named Ian Chang, and he and Rob had this moment where they were like, what can we do with this? How can we make this as meaty and rocky as possible? And ‘I See You’ was birthed out of that. I love the song. It’s one of my favorite tracks on the record. It’s so in your face, compared to some of the other stuff I do.”
Another favorite of J.R.’s is the minor-key garage-blues romp “Know My Name,” which the singer points to as harkening back to his personal tastes the most. “I listen to a lot of soul, a lot of old blues,” he explains. “Obviously there’s a lot of garage-rock influence. The old soul, like, Sam Cooke and Bill Withers. Lee Fields. Even Charles Bradley. There’s still for me, the roots, which is, R.L. Burnside. I try to incorporate all of that.”
Finally, Ones To Keep Close wouldn’t feel complete without the redemption-themed “Sinner Song,” a softly strummed, slow burn that eventually reaches a quiet crescendo with scratchy strings and J.R.’s murmuring hum. “I somehow feel like the softer, more low-key songs on the record always end up being my personal favorites,” he says. Maybe because it’s a track that I’m the most intimately or personally invested in.”
Even as insulating as solo musicianship can be, J.R. finds comfort in reflecting on how much The Bones Of J.R. Jones has grown in the last year. The project is like that house in the Catskills—constantly evolving. In addition to recording with Niederpruem and a backing band, this album marked the first time J.R. felt able to adequately flesh out his ideas in the studio without feeling rushed.
“Every time I’d gone into the studio prior to [this record], it’d be like, ‘Okay, we have five days… this is what it’s costing for five days… let’s just bang out whatever nuggets of ideas we had, and that’s the album—good or bad, no cohesiveness, no common thread,” J.R. says. “This was the first time I was able to be a little more thoughtful and slow it down a touch, and write songs for that moment and bring them into the studio and develop them.”
The result is a crisp, expertly produced collection of stomp-along songs that evoke a vivid spectrum of feeling: pain, fear, excitement, joy, longing, regret.
“I had this perspective of what I wanted this album to be, which is a studio moment,” he continues. “Knowing myself well enough, I had the perspective of the prior two albums, and how they felt a little mish-mashed. And so having the studio as a goal to work these songs toward was the main impetus... I’m totally proud of the album and what we produced.”
Prism Tats is a Los Angeles-based rock 'n roll band that is the creation of the deceptively sophisticated South African musician, Garett van der Spek. Although it began as a one-man band with a drum machine keeping the beat for van der Spek's quite modestly self-described "yelping and noodling", it is quickly gaining momentum: after enlisting a live drummer & bass player, the band has begun to turn Angelenos' heads & will be touring nationally throughout 2016.
Following the self-release of a home-recorded EP titled Excess, van der Spek finished a full-length album, which was recently mixed by Chris Woodhouse (Thee Oh Sees, Ty Segall, Wild Flag, !!!). The self-titled debut album is out now on Anti- Records.
“A voice that grabs you within seconds." - NPR
“Her Karen Dalton-meets-Joanna Newsom voice has an enchanted echo you wish would never end." - The FADER
For more than a few years now, singer-songwriter Melaena Cadiz has been making a beautiful, dreamy brand of down-home folk. Her last two albums leaned bluegrass with twangy guitars and banjo, intricate, organic percussion, and soothing strings while her voice exquisitely cleared a path through the enveloping sounds.
Her new album, Sunfair, is a departure, with Cadiz trying to anchor newfound stability amid many moving parts. She made an escape from NYC to California, specifically the vast, arid desert terrain of Joshua Tree. The soundscape of Sunfair mirrors that landscape. The sound is stripped, raw, sparse, and beautifully barren, hearkening to a newly unearthed inward solace.
Cadiz’s newfound comfort and ease did not come easy, though, and though her lyrics float with the delicacy of a feather over her guitar they are vivid, candid, and unapologetic. She reveals her ambivalence early: “It’s hard to make a clean escape/ It’s hard enough to play it safe.” The peace so eloquently expressed through sound is balanced with the intrepidity it took to find it laced in the lyrics. Cadiz’s vivacious storytelling, introspection, and candor intertwine in evocative revelations, molding her vulnerability into strength and resolve. Exposing lines like “The pixelation of the human heart/ It stops and starts/ A strange array of moving parts” dissolve into the boldness and determination of others like “And the TV was warning about storms in the east / Said I feel kind of bad I don’t care in least / I don’t want to go home, I don’t want to go, not if you paid me.” She manages to encompass all of the messiness of being human without it coming off depressing or overwhelming — largely due to the purity and clarity of her guitar — but also due to sprinkled scenes of humor and joy. Her expression of her distaste in NYC urbanity in particular is a paragon of the command she has of her array of emotions: “Smoked a joint, fell asleep/ In my chair at the symphony.”
$10.00 - $13.00