Join us for one of our most popular workshops of the year, the live wreath workshop taught by garden guru and style-maker, Molly Wood. You have two chances to sign up on Thursday, December 8 at 11:00 am and 1:00 pm at Molly Wood Garden Design’s Costa Mesa location. You’ll learn how to create a beautiful living wreath that will bring holiday cheer to your home, as well as provide a gorgeous decoration for many months to come. Please visit http://mollywoodgardendesign.com/events/ for more information and call 949-548-1611 to reserve your spot in class!
There is a $60.00 fee for materials. Molly Wood Garden Design is located at 1661 Orange Avenue, Costa Mesa, CA 92627
Join us for one of our most popular workshops of the year, the live wreath workshop taught by garden guru and style-maker, Molly Wood. You have two chances to sign up on Thursday, December 8 at 11:00 am and 1:00 pm at Molly Wood Garden Design’s Costa Mesa location. You’ll learn how to create a beautiful living wreath that will bring holiday cheer to your home, as well as provide a gorgeous decoration for many months to come. Please visit http://mollywoodgardendesign.com/events/ for more information and call 949-548-1611 to reserve your spot in class!
There is a $60.00 fee for materials. Molly Wood Garden Design is located at 1661 Orange Avenue, Costa Mesa, CA 92627
with Air Credits Life and loss and dance parties. Sex and love and fractal math. Sims wrote More Than Ever last winter in the wake of some personally trying times: death and sickness in his immediate circle of friends and family. And he decided that the only acceptable answer to big loss is big joyurgent, defiant, unapologetic joy. The thirteen tracks on More Than Ever capture Sims coming to, and living out, that conclusion.Sims grew up in Minnesota, an active part of the busy and fiercely independent Minneapolis hip-hop scene. In high school, he made friends with the classmates that would eventually become his cohorts in Doomtreethe seven-member rap collective now responsible for some of this eras most interesting, genre-defying releases. Over the past decade Sims has released a host of projects, both as a solo artist (Lights Out Paris, Bad Time Zoo, Wild Life EP, Field Notes) and as a member of Doomtree (No Kings, All Hands, and many others.) Hes toured the world from Pittsburgh to Prague, playing festivals like Glastonbury, Riot Fest, and SXSW. Hes earned and re-earned his reputation as a thoughtful artist with an unstoppable live show. (When he calls “both hands up–now both feet up rooms around the world have felt their floorboards flex as the entire crowd goes airborne.)To create More Than Ever, Sims enlisted the unrelenting and adventurous production of Lazerbeak, Paper Tiger, and ICETEP. Sometimes take-no-prisoners, sometimes take-the-slow-road, the drums are crushing and the soundscapes are expansive. After many long days and nights sequestered in his South Minneapolis basement, Sims emerged with the most honest first-person account he’s ever recorded–he wrestles with some demons, faces down his doubts, and allows us in on the dirty work of change and growth and revelation. But, true to form, he does it with swagger, wit, and bar-crushing style. Huge ideas, concisely delivered over epic bangers without ever feeling overwrought. On songs like Brutal Dance and OneHundred Sims crafts an earnest mission statement while the razor sharp wordplay, insight, and quick quips prevent him from ever taking himself too seriously. The result is a 45-minute rollercoaster through the highest highs, the lowest lows, and all of the love and hope between them.
The futures bright for the young Angeleno And an old song plays in his headFar as he knows. . .These lines from the title track of Sam Outlaw’s debut album Angeleno could almost serve as a haiku- like artist bio. Outlaw is a southern Californian singer-songwriter steeped in the music and mythos of west coast country, absorbing the classic vibes of everything from ’60s Bakersfield honky-tonk to ’70s Laurel Canyon troubadour pop and refashioning them into a sound that’s pleasurably past, present and future tense.The music I play, I call ‘SoCal country,’ says Outlaw. It’s country music but with a Southern California spirit to it. What is it about Southern California that gives it that spirit, I don’t exactly know. But there’s an idea that I like that says – every song, even happy songs, are written from a place of sadness. If there’s a special sadness to Southern California it’s that there’s an abiding shadow of loss of what used to be. But then, like with any place, you have a resilient optimism as well.While he explores those shadows on the title track and the elegiac Ghost Town, Outlaw mostly comes down on the side of the optimists through Angeleno’s dozen tracks. Opener Who Do You Think You Are? breezes in with south of the border charm, all sunny melody wrapped in mariachi horns, while I’m Not Jealous is a honky-tonker with a smart twist on the you-done-me-wrong plot. Love Her For A While has the amiable lope of early ’70s Poco, Old Fashioned the immediacy of a touch on the cheek, and the future Saturday night anthem Jesus Take The Wheel (And Drive Me To A Bar) shows Outlaw has a sense of humor to match his cowboy poet nature. Throughout, producers Ry and Joachim Cooder frame the material with spare, tasteful arrangements, keeping the focus on Outlaw’s voice. And it’s a voice that indeed seems to conjure up California in the same way as Jackson Browne’s or Glenn Frey’s. Easy on the ears, open-hearted, always with an undertow of melancholy.Outlaw’s journey west began in South Dakota – he was born Sam Morgan -with stops in the midwest before his family finally settled in San Diego. Like many artists, he got the music bug early. But he had serious restrictions on what he could listen to. I grew up in a conservative Christian home, he explains. My first real communal experience with music was in church. I always loved harmonizing with other people. And even though I was technically not allowed to listen to the radio, my dad loved the Beatles. My mom loved the Beach Boys and the Everly Brothers. So we listened to oldies radio, and I think got my first sense of melody and harmony from that.After what he calls an unfortunate high school cover band (We did almost all Oasis, he laughs) and some early stabs at songwriting in college, Outlaw’s moment of revelation arrived via the classic country voices of Emmylou Harris and George Jones. When I first heard them, it totally blew my mind, he says. I went out the next day and bought Pieces of The Sky and a George Jones compilation. It was the first time I felt like I had a real special connection with music. That’s when I started to get more serious about playing the guitar and writing.After switching gears from a day job in Ad sales to pursue his passion, Outlaw marked the change by borrowing his mother’s maiden name for a stage moniker. The initial impetus for using Outlaw was no more than, ‘Hey, this is a name that sounds country and it’s a family name, so why not?’ he says. Now, with my mom having passed away and her being a really strong encouragement in my life towards music, I like using the name as a way of honoring her.He wasted no time doing his mom proud. A self-released EP in 2014, buzz about his live shows, slots at Stage Coach and AmericanaFest, a video on CMT. Meanwhile, as he prepared to self-produce his first-full length album, his drummer Joachim Cooder played some rough demos for his father, legendary guitarist Ry Cooder.When Ry expressed interest in working with me, it was just, ‘Holy shit, I can’t believe it!’ says Outlaw. I mean, there’s no sweeter person to make a ‘country music in Southern California record about Southern California.’ He’s a master of so many genres.To get familiar with the material, Cooder sat in with Outlaw’s band. Before we got in the studio, Ry had already played four shows with us. It helped him curate which members of my band would work best for the live tracking. I was thinking that we’d have five rehearsals before the studio, get everything super tight, then go in and knock it out of the park. But Ry said, ‘The band knows the songs. Let’s leave some room for life to happen when we get in there.’ I liked that he had faith in the players and the songs that we didn’t need to over-rehearse. And throughout the sessions, he was on top of every nook and cranny of the arrangements. Recording in Megawatt Studios in Los Angeles, with a band that included Bo Koster (My Morning Jacket), Taylor Goldsmith (Dawes), Gabe Witcher (Punch Brothers) and Chuy Guzmn (Linda Ronstadt), Outlaw heard the album he always dreamed of coming to life. Ninety percent of what you’re hearing is still the five of us in a room performing a song, he says. Ry plays on every song, electric and acoustic on the basics. And then all the overdubs he did were just insanely beautiful. He was able to make magic happen on every track.The resulting record has the timeless feel of those that inspired Outlaw. It is also almost defiantly non- trendy. Does he worry about fitting in with a country scene teeming with bros and Bon Jovi wannabes? This whole debate about what country music is or isn’t, bro country versus traditional, americana versus ameripolitan, it’s all pretty boring to me, he says. I think I made the distinction of SoCal country because I know that people crave classification. Ultimately I think that the music will speak for itself.As Outlaw gears up to support Angeleno with tour dates opening for Dwight Yoakam and Clint Black (Two of my heroes, he says), he’s hopeful not only for his own record but a comeback of the music he loves. I’ve made it a personal mission to remind people how great country music is, he says. And specifically, I want to remind them that Southern California has a really rich history with country music. Even though there hasn’t been a scene here for a long time, there has been a noticeable resurgence. If I can be involved in some kind of revival in the spirit of this music, that would make me very proud.