An Oasis Of Music And Wine In Baja
Yall get to share the last leg of the tour with us! This stop in Eugene was in support of Radical Somethings new album Ride it Out. The album cover features the three musicians chilling by a blue backdrop wall, but their heads have been digitally removed. Josh Cocktail sees the image as a good symbol to describe the band. Let the music speak for itself, he said. We feel like we brand ourselves and show our faces with everything, but when it comes to the music its the one thing that the music should just speak for itself. The groups influences are all over the place with elements of hip-hop, reggae and rock. Each member brings his own flavor to the tightly woven mix of catchy tunes. Josh Cocktail supplies the backing vocal hooks, while Big Red keeps the vibe grooving with his slick bass line and Loggy raps it all together. But Radical Somethings performance was more than just the three dudes rallying up the crowd to dance and have fun. The two hour concert was a variety show filled with music, comedy and prizes. Kicking off the event was DJ Big Red who threw down some DJ mixing and set up a casual lounge vibe throughout the amphitheater. After his set, Radical Something took the stage, and what began as a feeble gathering transformed into a full-on party with fans singing and clapping along to every song preformed. Radical Something has crafted its shows in such a way that audience interaction is guaranteed and in constant flux.
Music Review: ‘Radical Something’ entertains at the EMU ampitheater
And yellowed photos of the rancho, which turned 100 this year, adorned the walls. Off to one side, taking in the scene, was a gray-haired man wearing the dust of a long day’s work, his cowboy hat pulled down to his brow, his long, thick mustache a natural wonder. Don Heri, still handsome in his 70s, has an alluring and mysterious glow of contentment. You want to hear the stories you know he holds, even more when you discover he’s a man of few words. “Welcome,” he said with a callused handshake, and before long, Don Heri had gone for his violin and joined Tito and other musicians for an unrehearsed jam. Twice a week they play sorrowful ballads and up-tempo songs of hope. Mexico is battered and beautiful, and Rancho El Tule is both a refuge from the enduring national tragedy of bloodshed and corruption and a prideful embrace of culture and history. The house favorite is ranchera romantica, which Tito describes as “the kind of music you take with tequila and lime, but in this case, wine.” “It feels safe here,” said Paloma Nunez, a friend for whom Don Heri hosted a wedding party and charged nothing at all. She goes to the rancho as often as she can with her young son and her husband, Jose Luis, one of the finest trumpet players in Baja and a member of Tito’s traveling orchestra, which is prone to drop in anywhere, any time and play for hours. The musicians come and go through the night, some of them pros, some of them dreamers, and Don Heri joins in when he can, sometimes with his guitar instead of the violin. He disappears now and then and always returns with another bottle that gets passed around. “This is something we do as friends,” said Tito, who admires the way Don Heri conducts himself and treats others. Tito gives him violin lessons in return. When Tito and I went back to see Don Heri a second time, he greeted us in a long dark riding coat.