Annie Girl & The Flight

Minora Majora Showcase

Annie Girl & The Flight

Cave Clove, Eight Belles

Sun, December 16, 2012

Doors: 8:00 pm / Show: 9:00 pm

Brick & Mortar Music Hall

San Francisco, CA

$5.00 - $8.00

This event is 18 and over

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Annie Girl & The Flight
Annie Girl & The Flight
Reared on punk rock in Denver's gritty underground, Annie Girl split for the streets of San Francisco with just her acoustic guitar, a few black shirts, and some big ideas. She soon found lodging at The Ark, an art collective/crash pad located in the City's SoMa District, where she would spend her evenings singing her songs to an audience of local poets, filmmakers, rock 'n' rollers, misfits and action junkies. Joining forces with Mark Matos and his weird west collective Family Folk Explosion a talented and cross pollinated "anti-band" that features members of the Bay Area's Rock 'n' Roll, Avant-Garde, Classical, and Experimental music communities. Annie Girl's output increased to a lightning pace. She entered Hyde Street Studios and left with an album & a band.
Sylvie Simmons, MOJO magazine's contributing editor, and writer of the new Leonard Cohen biography, has the highest praise for the singer-writer whom Matos describes as "A discovery, an island you never could have imagined existed... songs to dig into, images to sift through. There's gold again in California."
Cave Clove
Cave Clove
Cave Clove is songwriter and multi-instrumentalist Katie Clover and her band. Inspired by American roots music, Cave Clove's newest release, Bases of Pyramids is an Alt-Americana album. The banjo, guitar, lap steel, drums and bass evoke sounds of bluegrass, country, folk and rock & roll. Harmonies and groovin' beats hark of doo-wop and R&B, while the ukulele adds island soul. Harmonium, an instrument of the East weaves a steady pulse and is a unique addition to the evolving genre of Americana. Cave Clove is a contemporary review of our rich musical history, a band that'll make you tap your feet and sing a bit louder!
Eight Belles
Eight Belles
It’s been said of Eight Belles, the fallen filly whose name and legacy Jessi Phillips and her band have wrapped themselves in, that “she ran with the heart of a locomotive on champagne glass ankles.” That dichotomy applies to the music on Girls Underground,too, in particular to Phillips’ voice, a force of nature that bowls you over from the first time she opens her mouth on the stunning, delicately strummed intro to “Buried Child,” an impressionist collage of images played out over a guitar figure that owes as much to Nick Drake as Loretta Lynn, and doesn’t let you up again until the mournful kiss off of “Most of the Time” has plead its case. “They don’t care if you live or die,” the chorus goes, “and neither do I, most of the time.”

Hailing from Oakland, California, the voice of Eight Belles is a former Michigan farm girl who grew up under the feet of a father who made his living as a professional country and bluegrass singer, guitarist, and fiddle player. She began writing her own pop and country tunes in her early twenties, lending her voice and lyrics to Brooklyn bands such as Bowling Green and The Millers. Apart from a lovely, elegiac take on British crooner Richard Hawley’s “Tonight The Streets Are Ours,” and the stripped-down alt-country confessional “Simple Man’s Wife” by Aaron Young, this set of hard scrabble narratives was written entirely by Phillips, who also holds an MFA in Creative Writing from Western Michigan University, and they reflect her rural upbringing and musical heritage in equal measure.

A rotating cast of sympathetic players add a warm wash of organs, cellos, and heart-string strangling pedal steel, while guitarist Henry Nagle overlays the whole thing with perfectly pitched leads. Nagle is restrained and tasteful when he needs to be, as when he plays Luther Perkins to Phillips’ Johnny Cash on the on the steamrolling hayride pop of “Nolchi”, but Eight Belles is no one-trick pony, and he can be an electrifying lead guitarist when the spirit calls. Witness the honky-tonk swing of “Not Gonna Leave,” the swirling cosmic Americana of the title track and “Someday Baby,” and the stomping barn burner that is “Great White Sea.” That voice is front and center though, right where it needs to be, by turns huge and delicate, overwhelming and precise. Even if the lyrics Phillips’ wrapped it around weren’t so evocative, if the phrasing weren’t so seductive, even if the music around it weren’t so consistently thrilling, this would still be a lovely, timeless sounding record. As it stands, it’s a stone cold classic.
Venue Information:
Brick & Mortar Music Hall
1710 Mission Street
San Francisco, CA, 94103
http://www.brickandmortarmusic.com/