CAMP STREET CAFÉ
New reservation policy at Camp Street Cafe.
Friday, June 3
Friday, August 12
|The David Crockett Old Time Music Society
Open Mic / Jam
Saturday, September 3
Saturday, December 3
Saturday, December 31
Saturday, July 2
Saturday, September 3
Saturday, December 3
Saturday, December 31
7:00pm - $2.00
Cowboys and Indians Magazine has called him “the Charley Russell of Western Music.
” Western Horseman Magazine has declared his “Vaquero Song” to be one of the greatest Western songs of all time.
In 2010 , 2011 and 2013 True West Magazine named him Best Living Western Solo Musician.
Dave Stamey has been a cowboy, a mule packer, a dude wrangler, and is now one of the most popular Western entertainers working today.
He has been voted Six times Entertainer of the Year, Six times Male Performer of the Year and Five times Songwriter of the Year
by the Western Music Association, and received the Will Rogers Award from the Academy of Western Artists.
He’s delighted audiences in twenty three states, and finds that he prefers this to being stomped by angry horses.
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From George Jones and Tammy Wynette to Richard and Linda Thompson, male-female duets are one of popular music's most delightful permutations. And the Austin-based duo of Christine Albert & Chris Gage easily slot right in with the best. Their vocals intertwine like two passionate lovers - the two are a couple offstage as well - and their performances are an upbeat celebration of songs and the art of singing them. Albert's honey-drenched voice is one of the best in Austin, gracing everything from a CD-length salute to her Swiss-French roots to Bluebell Ice Cream ads. The South Dakota-bred Gage is a multi-instrumental wizard who has played with Roy Clark and Jimmie Dale Gilmore, and his rich tenor complements Albert's voice like a graceful bow. Their two CDs and stage shows include everything from memorable originals to choice cover material. An evening with the two is a fun and heartwarming experience in which music truly is the food of love. Rob Patterson / Houston Press by (October, 2001)
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Spencer & Rains play old time music.
Tricia Spencer is a Kansas fiddler who grew up learning the tradition of old time music from her Grandparents. At an early age, she was perched up on some stage tapping her foot to the beat of fiddles, banjos, mandolins and guitars. While growing up, her free time was spent traveling to festivals and fiddling contest throughout the Midwest where she learned from the likes of Pete McMahan, Cyril Stinnet, Lymon Enloe, Dwight Lamb, Amos Chase, and Lucy Pierce. Tricia is multi-instrumentalist who has studied with some of the great masters in old time and is highly sought after as a performer, dance fiddler, and instructor.
Howard Rains is a native Texas artist and fiddler from a musical and artistic family whose two obsessions are painting and playing traditional American fiddle music. Howard plays rare, old tunes learned from friends, family, mentors, and old recordings. As much known for his painting as his fiddling, Howard has painted many of great old time musicians, both living and gone.
Together, Spencer & Rains have performed and taught nationally and internationally, playing old time fiddle tunes and singing old songs in the style of their home states while also exploring other American regional styles. Both multi-instrumentalists and known for their twin fiddling, they are steeped in traditional music. Their releases “The Old Texas Fiddle Vols. I & II” reintroduce listeners to the pre-contest styles of Texas fiddling while “The Old Man and the Old Woman” shows off their vocal chops. In their unique and powerful style, Howard and Tricia are dedicated to the preservation, performance, and teaching of old time music.
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It’s not surprising to learn that artists from Steve Earle to Billy Bragg are Greg Trooper fans. Trooper, A New Jersey native now based in Brooklyn, excels at character studies, painting wonderful portraits of people living through good times and bad times. His matter-of-fact delivery – as both a singer and a songwriter – bring a sense of realism to the tales that he tells. His music lives at the intersection of Memphis soul, Greenwich Village folk and Texas troubadour. As a live performer he’s been described as articulate, quick-witted, extremely musical, outrageous, compassionate and kind.
His songs have been recorded by numerous artists including: Vince Gill, Steve Earle, Billy Bragg, Robert Earl Keen, Maura O’Connell, Lucy Kaplansky, Tom Russell and Walt and Tina Wilkins. On previous albums he’s had help with harmony vocals by the likes of Emmylou Harris and Rosanne Cash.
Trooper spends more than half the year on the road playing festivals, theaters, listening rooms and house concerts.
Greg Trooper’s thirteenth album, Live At The Rock Room, is a recording of a single performance in January 2015 in Austin, TX. It features standout Texas musicians Jack Saunders on upright bass and Chip Dolan on keyboards and accordion. This collection of 14 songs delivers a cross section of Trooper’s work over the years as well as the brand new heartbreaker “Broken Man”.
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The blues is life itself to L.A. born guitarist Bernie Pearl. A musician who has developed an unique upbeat, finger-poppin’ picking style, he studied at the elbows of blues masters such as Sam ‘Lightnin’ Hopkins, Mance Lipscomb, Mississippi Fred MacDowell, and many more. Yet, Bernie Pearl is no hidebound traditionalist.
As music critics and aficionados have said for years, he is a craftsman who packs his songs with melodic interpretations that are new and personal each time he picks up his vintage Martin or National.
To hear him tell it, “I’m not a retro player. I’m playing real blues for right now.”
Bernie, who grew up in the Los Angeles community of Boyle Heights, took up the guitar in the 1950’s. Later, at his brother’s legendary blues showcase, the Ash Grove, he met, studied with, and often performed with greats like Hopkins, Lipscomb, and MacDowell as well as with Freddie King, Albert Collins, and Big Mama Thornton. Bernie played duets with John Lee Hooker at Gerde’s Folk City in Greenwich Village. (See a more complete list below).
“They were my teachers,” he says, “and it wasn’t just music they were teaching. If you spent time with Mance or Lightnin’
you got philosophy, history, and lessons in living”.
Armed with the teachings of those and other blues icons, Bernie raises the roof with dazzling guitar solos - acoustic and electric - and with his own Bernie Pearl Blues Band, which has backed the likes of B.B. King, Stevie Ray Vaughan, Willie Dixon, and Big Joe Turner.
A life-long blues evangelist, Bernie began broadcasting “Nothin’ But the Blues” on KPPC FM in 1968, making him L.A.’s first all-blues FM disc jockey. He went on to host the blues on KLON and KCRW from 1980-92, helping found and book the Long Beach Blues Festival along the way.
He started and ran the Big Time Blues Festival, 1993-2001.
His 15-year relationship with Louisiana blues man Harmonica Fats produced three outstanding CDs in the 1990’s, with the unplugged “Two Heads Are Better”, and “Blow, Fat Daddy, Blow”, garnering W.C. Handy (Blues Foundation) nominations.
Bernie applied his studio skills as a producer and songwriter-arranger of jazz-rocking violin pioneer
Papa John Creach’s critically-acclaimed 1992 “Papa Blues” CD (Bee Bump BBCD 03).
2007 saw Bernie as the musician/composer in a Native Voices at the Autry production of Drew Hayden Taylor’s “The Berlin Blues”. The play ran at the Wells Fargo Theater in Los Angeles, and toured the East Coast under the auspices of the Smithsonian Institute.
Bernie continues to perform solo and with his band at a variety of venues around Southern California and beyond.
The guitarist has been featured on four CDs in the past decade: “Live at Boulevard Music” (Major Label, 2002), “Somebody Got To Do It” (Major Label, 2006), the double disc release, “Old School Blues, Acoustic/Electric” (Bee Bump Music, 2008), and the latest, critically-acclaimed“Sittin’ On the Right Side of the Blues” (Major Label, 2011). This CD was honored by the 2012 Blues Blast Music Awards with a “Best Traditional Recording” nomination. A live in-concert recording which included several newly penned Bernie Pearl originals, including the title cut.
“…Pearl’s music and voice evoke the unpretentious, truth-telling qualities of the blues. The sparse arrangements that grace this 15-song set only heighten the soulful and spiritual nature of the music. Pearl’s guitar virtuosity is evident…”
Stephen A. King, Living Blues
“…crystal clear evocations of the deepest origins of the blues,
wellsprings Bernie is impeccably schooled in… his guitar work is just stunning…”
Mark C. Tucker, Folk & Acoustic Music Exchange
“He has a crisp attack, expressive vibrato, and impeccable time. He has the big three elements of blues slide playing: syncopation, melody, and vibrato. Pearl has the ability to approach an existing song from his own point of view and make the listener think about it in a different way.”
Joel Fritz, Golden Gate (Blues Society) Grooves
“Bernie Pearl, in a word, is a master. Thanks to him and his love of the music, this material will live for yet another generation.”
Bill Wilson, Billtown (Blues Society) Notes
Bernie has taken the bandstand with a veritable Blues Who’s Who:
Big Mama Thornton, Freddie King, Albert Collins, Johnny Shines and Big Walter Horton, Willie Dixon, Big Joe Turner, Lowell Fulson, Papa John Creach, Charles Brown, Koko Taylor, Harmonica Fats, John Lee Hooker, B.B. King with Stevie Ray Vaughan, to name some.
Bernie has appeared at many festivals:
King Biscuit Blues Festival, Long Beach Blues Festival, Chicago Blues Festival, Vancouver
Folk Festival, Poconos Blues Festival, Mississippi Valley Blues Festival, Bukka White/Aberdeen Blues Festival, Waterfront Blues Festival,
T-Bone Walker Festival, Mance Lipscomb/Navasota Blues Festival, Simi Valley Cajun/Blues Fest, Gator by the Bay Fest, Long Beach Creole Fest, Baton Rouge Blues Festival, Animas River Festival, Tall City Blues Festival, Snowy Range Music Festival, Piazza Blues, Blues Festival Tiel, Clarksdale Juke Joint Festival, and more.
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His best songs are slices of life that leave you wanting the rest of the pie. Sometimes laconic but never lazy, Doug MacLeod is a class act story teller. On “Serious Doin’ Woman” he hooks up with a lady in a plain cotton dress while ridin’ the dog (travelin’ on a Greyhound bus).
The ghost of Tony Joe White’s “Polk Salad Annie” infuses his guitar work as their mutual seduction moves forward at a truck stop. “Well, we got on that bus together,” he sings all slippery and whispy. “I guess you might be wonderin’ what happened on that bus. Well, that’s another song. Yeah, fellas, that’s another song.” He leaves you wanting the rest of that pie.
MacLeod recalls his lounge lizard days on “Ain’t It Rough,” where a lady with “more makeup than five drag queens in West Hollywood” rudely tells him he’s too loud, and he corrects her. “That’s Mac – Leod, acoustic bass and guitar, not loud!” She asks about his “speaker.”
"Like all great blues men, MacLeod lives his music, and the songs are not just on the tips of his fingers and tongue, they are one with his being." - Blues Music Magazine
“That’s an amplifier. We use that so we can hear ourselves while you all are enjoying your dinners, libation, conversation, and watching television.” And the way he says television captures the repugnance of the lounge lizard to the diners’ ignoring of his music.
“Ain’t It Rough” is a blues take on country artist Jerry Reed, “Vanetta” rides the strings of John Lee Hooker, and “Raylene” is Elmore James with a Robert Johnson mellow blend.
MacLeod borrows from Louis Jordan on “Rock It Till The Cows Come Home” and Duke Ellington on “You Got That Right (And That Ain’t Bad).” And his standup bass player Denny Croy’s credits include early rock and roller Freddie “Boom Boom” Cannon of “Pallisades Park” fame, while his pianist Michael Thompson has played with The Eagles.
All that said, every cut on this album is truly a MacLeod original. Like all great blues men, MacLeod lives his music, and the songs are not just on the tips of his fingers and tongue, they are one with his being.
– Don Wilcock
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