Tuesday 22 Jul
 
 

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0

Kierston White - Don't Write Love Songs

The Tequila Songbirds have become just as beloved as about any group around these parts. And how could they not?

Featuring a revolving cast of the Sooner State’s most badass female performers, it’s a power hour of some of the best songwriting coming out of central Oklahoma. Sure, they might not technically be family, but they are clearly a band of sisters all the same, bonded by the same brand of whiskey running through their veins.

07/01/2014 | Comments 0

Depth & Current - Dysrhythmia

"Overproduced" is a term thrown around all too indiscreetly nowadays, usually applied when the thing that sticks out about a song or album is how it sounds rather than how it is constructed. Yet some of the most compelling albums ever crafted embodied a certain aesthetic that was just as skillfully and meticulously put together as any Bob Dylan or Miles Davis record — which is to say production is as crucial to our enjoyment of music as much as anything else; it's also the most overlooked.
06/24/2014 | Comments 0

Weak Knees - “IceBevo”

Indie rock has been in a good place as of late. Not caring about being cool is the new cool, and a couple of dudes on guitar, bass and drums can make catchy, earworm songs without being armed to the gills with computer software and vintage synthesizers.
06/17/2014 | Comments 0
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Things old, new and borrowed are all a part of Eric Sardinas' blues


Chris Parker September 9th, 2010

While he's a dedicated lover of the blue, he's not a purist, employing all the idioms to create his own, reverent pidgin blues.

EricSardinasPromoColor2008a_10-58x15-10cm
Eric Sardinas with Zen Okies, Roland Bowling Band and The Blackhawk Blues Band
7 p.m. Friday
Oklahoma City Limits
4801 S. Eastern
www.oclimits.com
619-3939
$15

Eric Sardinas loves the blues. You can hear it in his voice when he starts talking about its artists. He sounds as excited as a little kid, which is appropriate since that's when it began for the Florida-born guitar-slinger.

"Basically, I had toy guitars since I was a baby. I was always fixated on holding a Tinkertoy like a guitar or microphone, twanging away to whatever records my mom was listening to, from gospel and Motown to the R&B, Elvis and Ray Charles," he said. "Whatever was cranking in the house. It was really natural for me to hold something like that, so my folks got me a little kiddie guitar at a really young age."

By the time Sardinas was 7, his early diet of gospel and soul had been augmented by classic '70s rock artists including Blue Oyster Cult, UFO, Foghat, Triumph and, of course, Led Zeppelin.

"Each artist that I discovered, I just fell in love with it," he said. "I fell in love with the primal simplicity and the energy of somebody's emotional content with just their instrument."

While you'll definitely hear a little Jimi Hendrix and Howlin' Wolf, Sardinas retains the evocative, primordial feel of the early acoustic blues. He'll bounce between the electric and acoustic, thanks to his choice of instrument: the resonator guitar.

Using an amplified, Dobro-style instrument, he readily can switch between electric and acoustic styles. Throughout his four full-lengths, he'll play songs with a classic acoustic-blues foundation, only to explode into torrents of electric squall, connecting the blues' long history from Robert Johnson to Bo Diddley, Buddy Guy, and Stevie Ray Vaughan.

While he's a dedicated lover of the blues " in all its forms, including Texas blues, country blues, and blues-based rock " he's not a purist, employing all the idioms to create his own, reverent pidgin blues.

"No matter which side I lean on, that blues-rock rope that I've been knitting and climbing forever, I don't have a problem blurring those lines," he said, "because I can take it straight down the line and I can bend it."

While his last album, 2008's "Eric Sardinas and Big Motor," features gospel-flavored backup singers and a little bit of organ, he keeps it simple live. He likes the power-trio format, translating that studio sound into something vibrant and very much "of the moment" each night. By now, he's played thousands of shows " nearly 300 annually for more than a dozen years " and he's honed his performance to diamond sharpness.

After letting five years pass between his latest and his prior release, 2003's "Black Pearls," Sardinas is intent on releasing his next album out sooner. He's already begun work on it, for a spring release. For now, his focus is the stage, where he feels most at home, although a little something new could creep in Friday at his Oklahoma City Limits show.

"I don't really know what we're going to be pulling out. We're just going to be loosey-goosey and whatever hits us. If we pull out some new stuff, then we do," he said. "But it should be a nice, fresh show." "Chris Parker
 
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