It has been a relatively rocky road for Weatherford alt-country outfit Green Corn Revival, which has seen its share of highs (acting as backing band for rockabilly icon Wanda Jackson) and lows before an (amicable) split in the road led half of the original lineup to forming Honeylark.
Oklahoma is quickly becoming the indie Christmas music capital of the world, it seems, with yearly compilation albums featuring everyone from Stardeath and White Dwarfs to Graham Colton. So it makes sense that Colourmusic — freak-poppers hailing from Stillwater — would craft a full album of original, offbeat holiday tunes themselves.
The Oklahoma City metro has a thriving garage rock scene. With seasoned acts like Broncho and Copperheads carrying the modern-day torch, the way has been paved for a flock of gritty, young, guitar-centric acts. But nascent Norman trio Poolboy has a knack for riotous hooks that few of its contemporaries can boast.
The Flaming Lips’ longevity has allowed them to cover a lot of sonic terrain over the years. Yet they’ve arguably become more adventurous with age, jeopardizing a good portion of their fan base in favor of fascinatingly bleak experiments in sound, beginning with Embryonic in 2009 and, more recently, The Terror.
Alison Krauss and Union Station 7:30 p.m. Sunday Civic Center Music Hall 201 N. Walker okcciviccenter.com $49.50-$59.50 297-2264
You’re already familiar with Dan Tyminski whether you realize it or not.
Currently Alison Krauss and Union Station’s resident guitar and mandolin picker, Tyminski lent his stark bluegrass tenor to the singing voice of George Clooney’s character in the Coen brothers’ 2000 film, O Brother, Where Art Thou?
His performance of “Man of
Constant Sorrow” as part of the Soggy Bottom Boys helped the song win a
Grammy, and generate enough sales of the soundtrack to go eight-times
string and vocal talents have supported Krauss and Union Station for 18
years now, and while they’ve played the globe, won a gamut of awards,
and even performed for three consecutive U.S. presidents, a show never
passes without taking a little bit of a toll.
matter where I play or who I play for: I have butterflies for the first
few minutes of every show I do,” he said. “It’s not crippling, but
those couple little butterflies always float around before I settle into
my comfort zone.”
confirmed that same level of nervousness when playing for Presidents
Clinton, Bush, and Obama, but for reasons one wouldn’t expect.
more difficult to play the real small audiences than the large ones,
and those East Room shows [in the White House] always had smaller ones,”
he said. “You tend not to feel the worry when you’re playing for more
Currently riding another massive wave of success from last year’s Grammy-winning Paper Airplane, little
has changed Krauss and Union Station’s approach to the recording
studio, although they’re now spanning their fourth decade of activity.
still meet to discuss which tunes to record, whether original numbers
penned for the band by industry veterans like Elvis Costello and Jackson
Browne, bright up-and-comers like Aoife O’Donovan or old-timey
folk-standard writers like Tim O’Brien.
Tyminski sings the latter’s uptempo bluegrass number “On the Outside Looking In” on Paper Airplane, and said that it was as simple a choice as any they’ve made in all their time as a group.
“That was one of those that was easy,” he said. “We all raised our hand — there was a five-way tie for ‘Yes, let’s do it.’”