Birmingham Box Set
By Carla Jean Whitley
associate editor
Apr. 23
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Felice Brothers combine raucous music with thoughtful lyrics

The Felice Brothers. Photo by Mentor Noci.

I spend a lot of time seeking out new music for our monthly music recommendations in Currents. A lot of times that means requesting the upcoming album by someone I’ve already heard a lot about, or keeping an eye out for something new from my favorite bands. But there’s no rush like the excitement I feel when I pop in a CD from a band I’ve never heard of and hear something worth falling in love with.

That’s what happened in early 2008, when the self-titled album from The Felice Brothers turned up in my mail. In our March 2008 issue, I wrote: “‘Greatest Show on Earth,’ the second track on The Felice Brothers (Team Love Records), is a cinematic composition—like something you’d hear on the soundtrack of a movie set in a saloon. The stateside debut from this rural New York band is at turns raucous (cue ‘Frankie’s Gun!’) and introspective (‘Wonderful Life’).”

You’ll have to excuse the self-referential quoting, but it’s still how I feel about this band. I’ve been trying to catch them live ever since, but I have a knack for going out of town when they come to Birmingham or Tuscaloosa. That will change—finally!—on April 28, when they play Bottletree in support of Yonder is the Clock, which dropped earlier this month. James Felice offered Birmingham Box Set insight into the new album and a preview of what to expect at Bottletree.

Birmingham Box Set: So much of your music sounds like a party—“Penn Station,” for example, on the new album. Is it as much fun to play with these guys as it sounds like?

James Felice: It actually is. It’s really fun. When we play live, we try to make it like a really fun environment for everybody. We just want everybody to have fun and feel good. People that are spending—I don’t know how much people tickets are, $15—but I want people to have a good time. If I go to a show I want to get drunk and rowdy to dance around.

BBS: And yet, y’all balance a really fun time with great lyrics, whether on the rowdy bar numbers or more contemplative songs.

JF: Thank you very much. That’s really important to us, too. The songs that have to be quality or else it’s not worth it. They have to be good. We write a lot of lot of songs. Only a few make the best quality, you know. While we have a lot of fun and rocking songs, a lot of the songs are much more somber. They have to be equally as good.

BBS: How does your songwriting process work? Does everyone contribute or one person do most of the writing?

JF: My brother Ian, he writes most of the songs. We all work on them in one way or another, [but] he’s definitely the main songwriter.

BBS: What influenced the songs on this album?

JF: Everything. You know? It’s not just one thing. …

We wanted to make an actual real album. Everything else we’ve done before was kind of piece meal and thrown together, because we didn’t have enough time and space for a real album. … For this record, it was nice to be in an environment where we could record and make a real cohesive piece of music.

We had the chicken coop that we recorded a lot of the last album in, and we put a roof on it and put walls up and that’s where we recorded Yonder.

BBS: You’ve got a variety of songs in your repertoire—when it’s time to be loud, y’all are really loud, but you also have plenty quieter, thoughtful songs. How does that contrast play out in concert?

JF: I think it works really well. We try to have an equal number of both. It depends on what we’re feeling at the time, what we feel would work best, how the crowd is feeling at the time. … I think it’s important to have moments of respite between the dancing around. We’re not a punk band you know, I think we’d all wear out if we were dancing around for an hour and a half.

BBS: Who have you been listening to lately?

JF: James Booker, actually. He’s a New Orleans piano player, amazing. And Gershwin, listening to a lot of George Gershwin. I don’t listen to that many things at once, I try to stick with one or two records.

Willy Mason will open for The Felice Brothers at the Bottletree on April 28. Tickets are $12 in advance or $15 the day of the show, and are available by calling 533-6288 or online at thebottletree.com. Check them out at thefelicebrothers.com.

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Apr. 20
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Apr. 14
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There’s so much music ahead

It may sound silly to say when it’s 50 degrees outside (where did my spring go, by the way?), but I’ve mentally fast-forwarded to summer. That’s one of the dangers of the publishing industry. When I was in newspapers, I had the hardest time keeping track of the day of the week. Now, working at a magazine keeps me planning my concert calendar months in advance.

I’m working on the calendar of events for our June issue. It’s an interesting time of year. City Stages is the obvious nucleus of my personal concert calendar for that month, and there’s lots of other great stuff happening on stages across town. But by June, many groups (the Alys Stephens Center, theatre companies and the like) have ended their programs for the year and will begin new seasons in the fall.

So I find myself on the edge of my seat, anticipating each new season announcement. In the meantime, let’s take a look at some of the exciting shows that have already been revealed.

Art on the Rocks moves into its fifth year and celebrates with great music. AotR set the standard for drawing young professionals to cultural institutions, and in my mind the music has always been one of the things that make it stand out. I suspect that’ll be the case again this year, with Sarah Borges and the Broken Singles (May 29), Ben Lee (June 26), an act to be announced for July 17 and Courtney Jaye (Aug. 14).

The Alabama Symphony has also revealed some exciting things for 2009 to 2010. The schedule is too long to list here—the ASO consistently performs remarkable shows!—but I’ve already marked Oct. 29 on my calendar. In that evening’s Symphony 7 show, Chris Thile (formerly of Nickel Creek, currently with Punch Brothers and one of my favorite musicians, hands down) will perform with the symphony in Chris Thile’s Classical Jam. I can’t wait.

I’ve never been to an opera, although a college roommate who was majoring in voice often treated us to her operatic performances. (This was not nearly as welcome at 8 a.m.) Anyway, I need to change that, and Opera Birmingham offers the perfect opportunity. Their season begins with an opening recital (Sept. 25 and 27), then includes Christmas with Kallen and Friends (Dec. 18 and 19), Aida (Jan. 29 and 31) and The Marriage of Figaro (March 19 and 21).

And as much as those three groups provide, that’s only an appetizer of what’s to come! The 2008 to 2009 seasons are still wrapping up, but already I am excited about what we’ll hear in 2009 and 2010.

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