Stateside Presents




Tue, March 19, 2013

Doors: 7:00 pm / Show: 8:00 pm

Crescent Ballroom

Phoenix, AZ

$19.00 - $21.00

Off Sale

This event is 21 and over

Bob Schneider is not new to this game. He has built his career as a working class musician and as a result has an institution of faithful followers all across the country with a mega-fan-base epicenter in Austin. There have been highs - the near-breakthrough success of 'Lonelyland,' and the next-big-thing hype that surrounded it. And lows - he was subsequently dropped by two labels. Through it all he sustained and even flourished as an independent artist releasing five albums, hundreds of digital singles, and fronting three bands simultaneously. Yet, Schneider still continues to push himself in a multitude of creative directions now with the beguiling melodies of 'Lovely Creatures'

Undoubtedly, with 'Lovely Creatures,' Bob Schneider delivers the album that his fans have long wanted. Yearning choruses, sharp lyrics that are at times funny and alternately tragic, memorable melodies, and clever surprises all converge on 'Lovely Creatures' in an ear-friendly fashion that promises heavy rotation for devout fans and newly converted Schneider-philes.

"I ended up going into the studio with Dwight Baker, the producer," says Bob, "with the idea that we wanted to make a polished and beautiful sounding record, which I believe is what we ended up with. Because the songs are all love songs, for the most part, I ended up calling the record 'Lovely Creatures,' referring both to the collection of songs and to people in general."

On 'Lovely Creatures,' Bob focuses (at least thematically) on songs about love (both found and lost) while keeping the musical styles quintessentially diverse. The first single, "40 Dogs (Like Romeo and Juliet)," is Americana-pop at its finest, with lyrics that exude cleverness ("you're the color of the colored part of 'The Wizard of Oz' movie"). Patty Griffin makes a guest appearance on the aching "Changing Your Mind," making the heartache even more desolate. Mambo-flared and dance-ready "Tarantula" and "Bombonanza" have been favorites at Bob's shows for years, finally making their studio-recording debut on 'Creatures.'

Austin is a renowned music town and the list of successful artists that call it home is as long as it is eclectic and numerous, but Bob has set himself apart in more ways than one: 'Lonelyland,' for instance, is the 1 bestselling album ever at Waterloo Records, the city's legendary indie music store, having sold 25,000 copies at that location alone. Bob also performs every Monday night at the tiny local favorite Saxon Pub, playing both old and new material for a SRO crowd. And when he isn't on the road, Bob plays as many as four more times per week at larger venues all over Austin.

Now, at the core of Bob Schneider's talent lies a versatile singer/songwriter. But Bob has too much to say and too much to play to be tied to the limits of that model. All of his many faces are revealed through his solo work and the bands that he fronts – The Scabs (performing this year at the Austin City Limits Music Festival), Texas Bluegrass Massacre, and Lonelyland. His fans have come to expect the unexpected from Bob Schneider but all of these bands give him free rein to explore the music that he loves – funk, pop, bluegrass, jazz, soul, blues, hip-hop and good old-fashioned bar rock raunchy enough to make you flush, and emotional enough to choke you up...
"It was a beautiful day, really lovely on the lake," Schneider recalls. "He had his iPod plugged into the speakers on the boat and was playing some songs, and I was like, 'Oh, I'd love to have a CD that I could put in right now that would fit this mood.' That's where I got the idea to do this album. I wanted to make a CD where you could be hanging out on the lake on a beautiful day and put it in and you're never going to press skip. It's just the right music to play while you're hanging out and enjoying the day with your friends."

And A Perfect Day is just that - 12 tracks of easy grooving, soulful melodies that sound like sunshine and slip into the ear as smooth as a chilled daiquiri. But, as is typical of Schneider, they're hardly pro-forma, follow-the-dots boat songs; rather, he cuts a wide swatch of music to chill by, from the light, summer groove of the opening track and first single "Let The Light In" to the soulful earthiness of "Honeypot," the ringing ambience of "Everything You Love," the bouncy pop of "Funcake," the relentless, brassy funk of "Am I Missing Something," the insistent wiggle of "Hand Me Back My Life" and the loose-lipped-and-limbed, good humor of "Peaches" and "Yeah, I'll Do That Shit."

And also typical of Schneider, elements of darkness seep into these sunny sojourns. "God will destroy everything you love if you live long enough," he declares at one juncture, while at another he notes that "It's too late to think that anything is going to change." And in "Penelope Cruz" he laments that "every day my dreams seem farther and farther away"--although he agrees that wanting "to make a baby with Elizabeth Taylor around 19 and 57" may be a little far-fetched.

Schneider--who recorded A Perfect Day in Austin with producer Dwight A Baker--doesn't spend a lot of time trying to analyze and understand this duality, however. "I just write songs," he explains. "I just make up songs and then usually I kind of treat them like poetry. If there's a phrase or a line it that I really like, then I'll end up liking the song.

"Like in that 'Penelope Cruz' song, there's the line 'I want to fall in love like I was falling off the face of the earth.' If I get a line like that on a song, then I'm really happy with the song. But I don't know where that line came from; it's just, like, a gift that dropped into my lap while I was writing. So that's what I'm always shooting for, to get those little sections like that that fall into the songs and make them special for me."

It's that magic that the Michigan-born, Germany-raised Schneider has pursued since the early 90s, when he dropped out of his art studies at the University of Texas at El Paso to pursue music full-time--starting, professionally, in the band Joe Rockhead and then in the Ugly Americans and the Scabs, all of which led up to his solo career in 1998. He debuted with Songs Sung and Played on Guitar at the same Time but thought about adopting another group name, Lonelyland. Instead that became the title of his second album, and Schneider has since added another 11 titles to his catalog, including a pair of live albums, and EP (2009's Love is Everywhere) and a holiday release (Christmastime, also in 2009), as well as his last studio album, Lovely Creatures, which featured the national AAA hit "40 Dogs (Like Romeo and Juliet)" as well as a collaboration with Patty Griffin on "Changing Your Mind."

Along the way Schneider also contributed songs to a variety of movies-- including Miss Congeniality, Secrets Of The Ya-Ya Sisterhood and Jay & Silent Bob Strike Back--and to the TV series "Men In Trees." His whopping 24 Austin Music Awards range from Musician, Male Vocalist and Songwriter of the Year to Best Bluegrass Band for Bob Schneider's Texas Bluegrass Massacre, a testament to his refusal to be hemmed in by genre classifications.

"I definitely don't limit myself," Schneider says. "A lot of times I'll be writing songs and pissed they're going in the direction they're going, but I just finish them and then write another one instead of trying to force it to become something else."

Thanks to that approach, Schneider figures he has a library of 600-700 unrecorded songs ready at any given time. He tapped into that, as well as writing brand new material, for A Perfect Day, grabbing about 150 that might fit the sonic concept he had for the album and subsequently narrowing it down to 30 possibilities.

"We ended up not using any songs that were too maudlin or melancholy," he says, "or any songs that would be offensive or would be inappropriate if there were kids on the boat--no songs with the words 'shit' or 'fuck' in it. There were some really slow songs; those didn't go on there, either, and some super rocked-out, thrashy songs. And I didn't want to put any rap songs on there. We just worked out way down to the best songs that fit the vibe I wanted."

"Let the Light In," as it happens, was a song Schneider says "was always going to go on the record for sure." It grew out of a weekly "songwriting game" he plays with some of his colleagues online, where someone presents a phrase that everyone has to incorporate into a tune; in this case it was "not a pretty pair," and "Let the Light In" was not only the song Schneider came up with but one that he felt was the best choice for a first single--even with seemingly random references to the Wicked Witch and the Tin Man from The Wizard Of Oz.

"I have a very active imagination and a mind that's slowly driving me crazy," he says with a laugh. "So there's a lot of stuff, a lot of stories that get created in my head, and that phrase is what brought this one out for me."

Schneider--who's watched Austin become a mecca for the movie industry--pretty much assigned himself the impetus for "Penelope Cruz," however. "I think she's one of the most attractive women in Hollywood," he notes, "and I read somewhere that she dated pretty much everybody she's made a movie with. So I was like, 'I wish I was an actor so I could make a movie with Penelope Cruz'-- and have sex with her, basically. And then another part of thought it would be cool if I had a song with her name in it, because then someone might go, 'Hey, there's some guy who wrote a song called 'Penelope Cruz.' We should check that out' and somehow I could go out with Penelope Cruz. But she just got married to Javier Bardem, so that fucked up my whole plan..."

A committed road dog, Schneider--who maintains a Monday night residency at the Saxon Pub back home in Austin--plans to burn some significant rubber on tour to support A Perfect Day. But there's also that large body of existing songs and that "very active imagination" that keeps new tunes coming, so even as one album comes out another is most assuredly on the way.

"It's pretty crazy," he acknowledges. "I'll think, 'Oh man, I really want to write songs like Mason Jennings or Griffin House' because I really love that kind of heartfelt, earnest, acoustic, heart on your sleeve sort of music--then I'll write electronic stuff that sounds like Kanye West. So I really don't feel like I have much choice in the matter; I just try to let it be what it's supposed to be and don't ask questions. I just do the work and then sort it out later."
New West Records is proud to introduce Max Gomez, whose label debut, Rule The World,
drops January 22, 2013.

The most northern of the New Mexico pueblos, the hamlet of Taos, sits approximately 7,000 feet above sea level. It is an hour and half drive north of Santa Fe, or rather, just remote enough to stave off the casually curious person. Fiercely independent, the town, steeped in natural beauty, has long attracted artists and freethinkers of every stripe. It is within this bouillabaisse of nature, art and spirituality that we encounter Max Gomez. A young singer-songwriter in the seasoned vein of Jackson Browne and John Prine, Gomez grew up splitting his time between the sloping mountains of Taos and, for a period, the rolling plains of Kansas. On his family's ranch in Kansas, Gomez still lends a hand with chores but relishes the time he can spend out on the lake practicing the art of fly-fishing. But it is in Taos, where he was ultimately inspired to explore his art and the ethos behind it.

The son of an artisanal furniture craftsman, Gomez grew up watching his father, learning the tools of the trade while simultaneously learning his way around the frets of his guitar. The workmanlike quality of his songwriting carries over from his days spent in the woodshed through an economy of words, phrase and narrative. A blues enthusiast from an early age, the young Gomez immersed himself in the primordial Delta and traditional folk blues of Lead Belly, Big Bill Broonzy and, of course, Robert Johnson. Though 1,200 miles and decades removed from his Mississippi heroes, Gomez had his imagination to fill in the gaps. Having honed his chops on the blues, Max turned his interest to traditional American folk music; "I'm influenced by the old stuff," Max admits. "To me, that's the best music." As the Harry Smith anthology gave way to contemporary masters Townes Van Zandt, Kris Kristofferson, Guy Clark and John Hiatt, so did Gomez's songwriting. "The songs I write are not real straightforward. You have to decode them. I like when the listener has to create their own story, rather than be told what's happening." In short, storytelling that oscillates between everyman poetics and enigma.

In the span of its ten songs, the Jeff Trott (Stevie Nicks, Sheryl Crow) produced Rule The World traverses varying themes of heartbreak, regret, young love, desperation and, ultimately redemption. "Run From You", the album's first single and co-written with Trott, reveals Max's story telling skills. Gomez explains, "Sometimes I refer to this one as an antilove song. We all come across trouble and often take the wrong road even when we know we should turn back." With his smoky voice, Gomez sings of desperation for change on "Rule The World" and on "Never Say Never", young love is likened to a "cool kiss in the August summer heat," as the protagonist laments its fleeting nature. While the LP's pop instincts are evident, Rule The World is balanced by Gomez's love of roots music; see the blues-driven "Ball And Chain."

While many young artists write songs with the mere intention of entertaining the masses, Max's songs are filled with the raw emotion and capture the spirit of those who came before him. In an age of ever increasing false fronts and posturing, it's rare to catch a glimpse of a soul bared. But that is exactly what Gomez has done.
Venue Information:
Crescent Ballroom
308 N. 2nd Ave.
Phoenix, AZ, 85003