at www.RARWRITER.com      

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Volume 1-2016






Use this link to add your email address to the RARWRITER Publishing Group mailing list for updates on activities associated with the Creative Culture and Revolution Culture journals, and other RARWRITER Publishing Group interests.


ABOUT RAR: For those of you new to this site, "RAR" is Rick Alan Rice, the publisher of the RARWRITER Publishing Group websites. Use this link to visit the RAR music page, which features original music compositions and other.

Use this link to visit Rick Alan Rice's publications page, which features excerpts from novels and other.


(Click here)

Currently on RARadio:

"On to the Next One" by Jacqueline Van Bierk

"I See You Tiger" by Via Tania

"Lost the Plot" by Amoureux"

Bright Eyes, Black Soul" by The Lovers Key

"Cool Thing" by Sassparilla

"These Halls I Dwell" by Michael Butler

"St. Francis"by Tom Russell & Gretchen Peters, performance by Gretchen Peters and Barry Walsh; 

"Who Do You Love?"by Elizabeth Kay; 

"Rebirth"by Caterpillars; 

"Monica's Frock" by Signel-Z; 

"Natural Disasters" by Corey Landis; 

"1,000 Leather Tassels" by The Blank Tapes; 

"We Are All Stone" and "Those Machines" by Outer Minds; 

"Another Dream" by MMOSS; "Susannah" by Woolen Kits; 

Jim Morrison, Elvis Presley, Michael Jackson and other dead celebrities / news by A SECRET PARTY;

"I Miss the Day" by My Secret Island,  

"Carriers of Light" by Brendan James;

"The Last Time" by Model Stranger;

"Last Call" by Jay;

"Darkness" by Leonard Cohen; 

"Sweetbread" by Simian Mobile Disco and "Keep You" fromActress off the Chronicle movie soundtrack; 

"Goodbye to Love" from October Dawn; 

Trouble in Mind 2011 label sampler; 

Black Box Revelation Live on Minnesota Public Radio;

Apteka "Striking Violet"; 

Mikal Cronin's "Apathy" and "Get Along";

Dana deChaby's progressive rock




"Music Hot Spots"




























Rick Alan Rice (RAR) Literature Page


CCJ Publisher Rick Alan Rice dissects the building of America in a trilogy of novels collectively calledATWOOD. Book One explores the development of the American West through the lens of public policy, land planning, municipal development, and governance as it played out in one of the new counties of Kansas in the latter half of the 19th Century. The novel focuses on the religious and cultural traditions that imbued the American Midwest with a special character that continues to have a profound effect on American politics to this day. Book One creates an understanding about America's cultural foundations that is further explored in books two and three that further trace the historical-cultural-spiritual development of one isolated county on the Great Plains that stands as an icon in the development of a certain brand of American character. That's the serious stuff viewed from high altitude. The story itself gets down and dirty with the supernatural, which in ATWOOD - A Toiler's Weird Odyssey of Deliveranceis the outfall of misfires in human interactions, from the monumental to the sublime. The book features the epic poem "The Toiler" as well as artwork by New Mexico artist Richard Padilla.

Elmore Leonard Meets Larry McMurtry

Western Crime Novel











I am offering another novel through Amazon's Kindle Direct Publishing service. Cooksin is the story of a criminal syndicate that sets its sights on a ranching/farming community in Weld County, Colorado, 1950. The perpetrators of the criminal enterprise steal farm equipment, slaughter cattle, and rob the personal property of individuals whose assets have been inventoried in advance and distributed through a vast system of illegal commerce.

It is a ripping good yarn, filled with suspense and intrigue. This was designed intentionally to pay homage to the type of creative works being produced in 1950, when the story is set. Richard Padilla has done his usually brilliant work in capturing the look and feel of a certain type of crime fiction being produced in that era. The whole thing has the feel of those black & white films you see on Turner Movie Classics, and the writing will remind you a little of Elmore Leonard, whose earliest works were westerns. Use this link.



If you have not explored the books available from Amazon.com's Kindle Publishing division you would do yourself a favor to do so. You will find classic literature there, as well as tons of privately published books of every kind. A lot of it is awful, like a lot of traditionally published books are awful, but some are truly classics. You can get the entire collection of Shakespeare's works for two bucks.

You do not need to buy a Kindle to take advantage of this low-cost library. Use this link to go to an Amazon.com page from which you can download for free a Kindle App for your computer, tablet, or phone.

Amazon is the largest, but far from the only digital publisher. You can find similar treasure troves atNOOK Press (the Barnes & Noble site), Lulu, and others.






Los Angeles Music

L.A. Music 1966-75

This BBC documentary on the singer-songwriter era, as it existed in Los Angeles from the mid-60s through the mid-70s, isn't really very good, but it does get one thing right: it all culminated in the Eagles, who represented the nadir of a brief, moderately golden age in American music. They gave the world the "platinum" album, marking 2 million-plus in sales, and turned bland pandering to non-discriminating consumer tastes into the music industry as it exists today.

Summer Twins

Summer Twins are sisters Chelsea and Justine Brown. They write dreampop and rock ‘n roll songs with a touch of California sun.

Born and raised in Riverside, Ca, the two decided they wanted to start a band from a young age. Inspired by their dad's old rock 'n roll records, Chelsea picked up the guitar, Justine taught herself to play drums, and they played in an all-girl band throughout their teens.

They formed Summer Twins in 2008, with a focus on singing pop harmonies atop garage rock inspired by the '50s and '60s. Now in their early twenties, Summer Twins play live with an additional guitarist and bassist. Their debut self-titled album was released on Burger Records in January (2012).

RARadio is streaming the Summer Twins' first release ("I Don't Care") from their debut effort. Learn more at Summer Twins Website.



The Civil Wars

There is a big dollop of aggression and menace in the minimalist sound the Civil Wars, the L.A./Nashville duo featured in the video below, "Barton Hollow". Joy Williams and John Paul White garnered big-time attention with their tune "Poison & Wine", now considered their signature, after the recording was used on the popular television show "Gray's Anatomy". It serves as a template for the type of  songs that song peddlers are selling these days in the fertile Film & TV market. Williams and White were showcased at SXSW in 2011.



L.A. Folkies The Driftwood Singers

Hear this audio preview of the Folky future: 


The Driftwood Singers unassumingly take the stage and sing songs that could have been written ages ago but were more likely written in the last few weeks. Just barely in their 20s The Driftwood Singers are prolific writers immersed in the folk tradition building on songs and stories that at their heart are observations of the human condition in all it’s gruesome variations and beautiful splendor.

Constantly on the road since beginning the band nearly two years ago at the age of 19, playing all over the country and Canada, The Driftwood Singers are quite a surprising contrast to what one might expect from two kids born and raised in the heart of Los Angeles. They prove that one can love the Carter Family and traditional music and still be firmly in the present with songs as vibrant and alive as any we’ve heard and an attitude that embraces the anti-elitist and DIY ethos of the punks we love.

Their debut, 5-song EP, Look! beautifully exemplifies their determination. After experimenting with some big studios and becoming frustrated with the intervals of multi-tracking and the stale output of Protools, they decided one night to pare everything down to its stark essence and begin recording it on a Sony Walkman which they did by laying it on their living room table and pressing record. What’s captured is the immediacy of their performances and what they call “the transparency of sound.”

How can you go wrong with songs of death and hope, murder and love, lechery and splendor, transcendence and cruelty and all points in between? We’re looking forward to being a part The Driftwood Singers story as it winds it’s way through the hills, hollers, canyons and caves out of the shadows of the blue ridge mountains of Pocahontas, West Virginia to wide open starlit skies of Joshua Tree, California.


Rip Cat Lands The Blasters, K.K. Martin


Rip Cat Records announces the signing of two iconic Southern California-based music artists, The Blasters and K.K. Martin.

The Blasters formed in Downey, California back in 1979 and, along with X, Black Flag, Red Hot Chili Peppers and others, have been an integral part of the SoCal underground/indie-rock scene since their formation. Led by brothers Phil and Dave Alvin, the group originally signed to much-loved indie label Slash Records in 1981 and were known as much for their grueling touring schedule as their unique country-punk sound. Among the noted musicians that have performed as members of the Blasters through the years: the dynamic saxophone duo of Steve Berlin and Lee Allen; bassist John Bazz; the late Hollywood Fats (a/k/a Michael Mann) and X's Billy Zoom, Greg "Smoky" Hormel, James Intveld, and current guitarist, Keith Wyatt; and drummers Billy Bateman, David Carrol and current member, Jerry Angel. The Blasters were featured in the popular 1984 film Streets Of Fire and placed two songs in the sound track, "One Bad Stud" and "Blue Shadows." The Blasters are currently in the studio recording a new album for Rip Cat.

K.K. Martin was a founding member, lead guitarist, singer and songwriter for 80's-era band A La Carte. The group gained considerable renown as one of the most in-demand groups on the then-vibrant Sunset Strip music scene. Exposed in the womb to the music of Jimmie Rodgers. Robert Johnson and Hank Williams, he began touring with his parents at age 10. K.K. was transplanted to California in 1969 and cut his teeth on the local L.A. rock scene at age 16, landing a brief stint with the Albert Collins backup band. Martin has performed with a Who's-Who in the music business including Eric Burdon, Booker T, Rick Derringer, Johnny Winters, Blondie, and currently, Lester Chambers of famed R&B/Soul group The Chambers Brothers. K.K. was a recipient of "Outstanding Blues Artist" at the 9th Annual Los Angeles Music Awards in 1999. In the last decade, Louisiana native Martin has reconnected with his Blues roots. He toured with Lester Chambers of the 60's Chambers Brothers fame, recording a project with Lester called "Blues for Sale." Martin has continued to play extensively throughout L.A. and Orange County as a solo act as well as with the band Roadside Revelers. His latest CD is "Naked Blues Vol. II," which will be re-released by Rip Cat.

Orange County-based Rip Cat Records is one of the quickest-growing independent labels in Southern California, with a solid artist roster that includes guitarist Barry Levenson; The 44's, vocalist Lisa Cee; Johnny Mastro and Mamma's Boys; Whiteboy James & The Blues Express; John Marx; Little Barry G; The Mighty Mojo Prophets; and Gino Mateo.






Los Angeles music veterans Jack Irons (Red Hot Chili Peppers, Eleven, Pearl Jam), Greg Richling (The Wallflowers) and Alain Johannes (Eleven, Queens Of The Stone Age, Them Crooked Vultures) have combined forces with vocalist Jonathan Greene to create a new project called Arthur Channel. The first single “Vapor”  is available at iTunes and can be streamed from the band's Website. A full length release will follow in the first quarter of 2012 with tour dates to follow. The band made its debut performance last week at The Viper Room in L.A.




Oh Amanda Jo!

Gypsy Eccentric Serves Up a Dose of Different



Mary's Big Feet is a collection of solo home recordings by Amanda Jo Williams captured over the last few years. Some recorded in a Topanga Canyon shack, and on a couch in Echo Park, Los Angeles, some in Woodstock, NY, and a few in a snowed-in Pennsylvania country house—whenever she was alone. She does weird voices and squeals like a bunny in heat. Here is the first iteration of concert favorite "The Bear Eats Me," experienced in a wholly different way on the album than it is live with her ever expanding band. Mary's Big Feet is a minimalist experiment in folk rock with a country accent. It's just Amanda and her imagination.


by RAR

I was reading where Amanda Jo Williams was saying she suspects that she will die poor. This would be a bleating shame, one supposes in the long run, but if poverty is what drives her weird take on music one may be forgiven for hoping things continue on the cheap.

Williams has been playing clubs the last couple years on the east and west coasts, engaging audiences with her parlor guitar and an ever-growing army of supporting musicians, all of which bring to mind some countrified rock version of "the Diggers", accept these hippies are merely feeding musical souls.

For four years, Williams allowed herself and her family - she is a mother a few times over - to be photographed documentary style by London-based artist Muzi Quawson. Georgia-native Williams has a complicated life story, which led her from a surly home environment to try her luck, at 19, as a model in New York City. That did not work out particularly well - "I couldn’t loosen up my face, I couldn’t come out of myself” - but it created a dynamic where she was meeting interesting personalities and bouncing back and forth between Woodstock, New York and her Georgia home, eventually with children in tow.

The "Pull Back the Shade" Quawson documentary project - Amanda Jo Williams is quoted as saying "I'd get a little uncomfortable when we would be in public places and she was snapping away..." - premiered at London's Tate Gallery. In that way, birth was given to a certain entity: an Appalachian-inspired backwoods girl steeped in all of the sophistication one could absorb in a decade-long dive into the world's deepest and most sophisticated cultural waters.

Williams went through a phase when she was writing Bob Dylan-inspired songs, and she put out an album's worth of that material, but she hadn't found her voice yet. Now 30, she has a new collection of recordings that clearly reveal a voice and an approach so unique that there is no doubt that it is Amanda Jo Williams to whom it belongs. Watch the live performance video below to get a feel for who she is.

Williams, her husband and their 3-year old live in a commune in Topanga. She told L.A. Times reporter Margaret Wappler - "I was biased going in there – I thought everyone was going to be lazy and passive-aggressive, and I was kind of right, but there are some nice people.” Williams went to nursing school for a time, but dropped out to pursue music and now works as a front-desk receptionist at the Malibu Motel.

You can learn more about her at www.heydaymediagroup.com/pages/AmandaJoWilliams.html.






Sky Ferreira

Hide your eyes kids, it's the evil "It Girl" of the Mark Jacobs 2011 pack






































I See Hawks in L.A.

In a world that seems bursting with Americana talent, I See Hawks in L.A. soars like a Peregrine Falcon over the angel's folk-rock skyline


LOS ANGELES, Calif. — I See Hawks in L.A. have released five critically acclaimed albums since they began writing songs in their Echo Park living rooms 11 years ago. The band’s sound layers electricity and Southern California psychedelia over acoustic guitars and rich vocal harmonies.

Meanwhile, fans have always treasured the Hawks’ acoustic shows, where Rob Waller’s rich voice, the band’s subtle guitar arrangements, and the dark, literate lyrics take the spotlight. A three-year one-mic acoustic series hosted by the band at Cole’s bar in downtown L.A., and memorable acoustic shows all over the U.S. with Ray Wylie Hubbard, Chris Hillman, and Dave Alvin, have honed the Hawks’ sound.

So in 2012, the End of the World according to the Mayan calendar, I See Hawks In L.A. will finally release that acoustic album, New Kind of Lonely, recorded live in a circle at Marc Doten’s Echo Park studio with lovely German microphones. Street date is set for February 21 on Western Seeds Records.

It’s been a long and colorful journey for L.A.’s best-known alt-country band. Countless whiskey-fueled shows from Santa Monica to downtown to the high desert with Mike Stinson, Randy Weeks, Tony Gilkyson and dozens of other artists spawned a now-thriving roots country scene amidst the palm trees and yuccas. Four I See Hawks In L.A. releases notched #1 on the Freeform American Roots (FAR) Chart, and several have hit the Euro Americana Top 10. Dave Alvin has cited the Hawks as “one of California’s unique treasures.”

Treks to Europe and U.K. and repeated tours through most of the 50 states have created a solid following scattered across the globe. “We thrive in the margins,” the Hawks always say. New Kind of Lonely could be the recording to push them into prominence.

On every track, shimmering textures of Martins and Gibsons and upright bass, with touches of dobro and some beautiful fiddle from Gabe Witcher, embellish haunted themes. Death and loss, in very personal terms, weave into almost every song. L.A. Americana’s favorite sister, fiddler/songwriter Amy Farris, is mourned lyrically; the sorrow waiting at the end of every long and joyous marriage is explored in the bittersweet “Your Love Is Going To Kill Me (Someday).”

In reaching back to pre-electric traditions, the Hawks seem to have tapped into the mortality that looms in the work of Hank Williams, The Stanley Brothers, and the Carter Family, far from the feel-good suburbiana of today’s Nashville songwriting. Dark times do need some kind of acknowledgement. I See Hawks In L.A. have taken this on.

But much of the music is rocking and uplifting. “Big Old Hypodermic Needle,” a black humored two beat about two best friends overdosing, is perfect for a barn dance. “Hunger Mountain Breakdown,” in which the singer plans a dramatic ridgetop suicide, is driven by Cliff Wagner’s kickass bluegrass banjo and Gabe Witcher’s virtuoso fiddling. “The Spirit of Death” is hard charging Cajun rock. “I Fell In Love With the Grateful Dead,” a compendium of the three bandmates’ Dead show experiences over four decades, ventures into jam band territory, with lots of notes expended on guitar and bass.

I See Hawks In L.A. will launch New Kind of Lonely with, appropriately enough, an acoustic show at McCabe’s (February 24), followed by an electric version of the new tunes at Pappy & Harriet’s (March 10) in the high desert. The band will tour North Carolina in May and will also perform at the Strawberry Festival in California's Sierras. Over the summer they will hit the road to places new and familiar. - Cary Baker




Baby and Album

Hilary Duff is Back

Timing a rebirth of one's career with giving actual birth to a child does not at first seem like a realistic plan...thinking more about it, it doesn't even seem like a realistic second, third or fourth alternative plan, but that is what former Disney tweener-starlett-turned-pop-idol Hilary Duff has planned for the next couple months. She has been in the studio, and you can use this link to  watch promotional videos, should you be inclined.

I suggest that cautiously, understanding that most readers of this site are not big Hilary Duff supporters, with reasons ranging from demographics to musical tastes. Yours truly is a big Hilary Duff fan, based on the age of my teenaged daughter and our shared experience of Hilary Duff live, which turned out to be one of the nicest concert surprises of my entire concert-going life. Full Disclosure: I attend concerts at a frequency only slightly greater than that of my encounters with Bigfoot, which doesn't really qualify me as an expert on either phenomena. That said, the Hilary Duff performance I saw in an outdoor setting was fueled by a top-flight band, featuring powerhouse drummer Shawnee-Baby and metal-guitarist Jason Hook, and an utterly charming high energy rock performance by the high-gleen princess of pop, who at the time had the top-selling album in the U.S..

Hilary Duff was golden in that period, bringing the full wattage of her natural charisma to a collection of really strong material featuring really fine production. I once read an interview with the guitarist Hook, who seemed a bit thrown by the Duff organization's commitment to first-class accommodation on all levels. He was marveling at hotel suites with heated marble floors. (It is interesting that Hook's Wikipedia article makes no mention of Hilary Duff, outside of the list of acts he has worked with, though it has clearly been his largest exposure - he toured with her internationally. Maybe the high-end digs didn't set well?)

That Hilary Duff is a Republican - one doesn't sense she has a strong political bent, just a natural inclination to blend seamlessly into the upper "one percent" - is off-putting to someone like myself, as perhaps is her marriage to a pro hockey player, but then she is still very young (24) and developing in her adult vision. (Yeah, right, the nobles obliged do that, one might rightly say.)

As one might expect to have happened, Duff seemed to lose her way about the time she started exploiting her young-adult feminine charms, with videos from her Dignity album (which had the irredeemable qualities of co-writer/co-producer Kara DioGuardi all over it) featuring lush production values and top-end sound that came across as utterly phony. The LP didn't do particularly well, though the videos have racked up as many as 34 million views on YouTube!

Certainly a big part of the attraction is that the face of young-adult Hilary Duff is a pleasure to behold, explosive with the expressiveness that made her such a charmingly unaffected teen actress, but now supported by a physiognomy rather like that of the young Faye Dunaway. This led her to be cast in a remake of the Dunaway-Warren Beatty classic Bonnie & Clyde, from which she was paid $100K to walk away from. There was a dispute over production schedules and Duff's pregnancy, but there were also reports that the film's producer Tonya S. Holly wanted to dump her because she just didn't have the acting chops. Duff landed her Disney gig with virtually no acting experience and has been developing the craft while developing her career, which is bound to present pitfalls, and the Bonnie & Clyde thing, which even featured a public spat with Faye Dunaway herself, probably left scars. Now Hilary Duff is getting her voice back into shape and concentrating on an upcoming album.

Her challenge will be to find that voice that captures her innate charm, while avoiding the clichés that dogged her last LP. At her best, young Hilary Duff was a mainline high of blue skies and optimism. It isn't that easy to be that person after life has dealt a few blows and a few wrong choices have been made. I am not even sure it is possible to be 24 years old and not apparently jaded, given where young Duff has been. The video below is what it looked like with Hilary Duff when last she seemed in the wonder of it all - life and early success. - RAR







Winning first battle over cancer, Kane celebrates 11th long-player, a set co-produced by guitarist Laura Chavez. Its predecessor, Superhero, was nominated for Blues Music Award.

LOS ANGELES, California Candye Kane has been called a survivor, a superhero and the toughest girl alive. (All are also titles of her self-penned songs.) Her eleventh CD release, Sister Vagabond, will hit the streets on August 16, 2011 on Delta Groove Records. Produced by Kane and her noted guitarist Laura Chavez, Sister Vagabond is a worthy successor to their 2010 collaboration, Superhero, which was nominated for Best Contemporary Blues CD in the Blues Foundation’s Blues Music Awards.

The jump-blues singer, songwriter and mother of two from East Los Angeles is a five-time nominee for Blues Music Awards, has nabbed ten San Diego Music Awards and starred in a sold-out stage play about her life. She’s beat pancreatic cancer in the last two years. She has performed worldwide for presidents and movie stars.

But her path to success was not always glamorous or easy. Raised in what she calls a dysfunctional blue-collar family, Candye became a mother, a pinup cover girl and a punk-rock, hillbilly blues-belter by the time she was just 21 years old. Ten CDs, six record labels, millions of international road miles and countless awards later, Miss Kane has proven to be a true survivor as she scrambled her way to the top of the roots-music heap, creating a world renowned reputation that has spanned two decades.

A colorful mixture of the traditional and the eclectic, Kane cut her musical teeth in the early ’80s onstage with Hollywood musicians and friends Social Distortion, Dwight Yoakam, Dave Alvin, Los Lobos, The Blasters, X, Fear and the Circle Jerks, to name just a few. While raising two sons, this role model for the disenfranchised championed large-sized women, fought for the equal rights of sex workers and the GLBT community and inspired music lovers everywhere. Her fans are a mixture of true outsiders: bikers, blues fans, punk rockers, drag queens, fat girls, queers, burlesque dancers, porn fans, sex workers, rockabilly and swing dancers, gray-haired hippies, sex-positive feminists and everyday folk of all ages.

In 1986, then married to Thomas Yearsley of the Paladins, she was touched by the music of Big Maybelle, Big Mama Thornton, Ruth Brown and more. Her self-released 1991 Burlesque Swing caught the ear of Texas impresario Clifford Antone, who signed her to a deal with Antone’s Records. Los Lobos’ Cesar Rosas and Paladin/Hacienda Brother/Stone River Boy Dave Gonzalez co-produced the first album of the deal, Home Cookin’. Picked up by Discovery (later Sire) Records, the Dave Alvin/Derek O’Brien-produced Diva La Grande was followed by Swango in the height of the swing craze.

Rounder/Bullseye Records signed her in 1995, releasing The Toughest Girl Alive, produced by Scott Billington. Four albums followed on the German RUF label, including the Bob Margolin-produced Guitar’d and Feathered. She then pacted with her current label, Delta Groove, releasing Superhero in 2010 and now Sister Vagabond in 2011.

Her full-time, 250-days-a-year touring schedule started in 1992. And today, Kane’s live shows are the stuff of legend. She honors the bold blues women of the past with both feet firmly planted in the present. She belts, growls, shouts, croons and moans from a lifetime of suffering and overcoming obstacles. She uses music as therapy and often writes and chooses material with positive affirmations that leave the audience feeling healed and exhilarated. In a show that is part humor, part revival meeting and party sexuality celebration, she'll deliver a barrelhouse-tongue-in-cheek blues tune or a gospel ballad, encouraging audiences to leave behind religious intolerance. She’ll slay the crowd with her balls out rendition of “Whole Lotta Love” or glorify the virtues of zaftig women with “200 Pounds of Fun.” She often says she is a ”fat black drag queen trapped in a white woman's body” and she dresses the part.

Kane has been included in countless blues and jazz CD anthologies including Rolling Stone Jazz and Blues Album Guide and Musichound: Blues, The Essential Album Guide and Dan Aykroyd’s 30 Essential Women of the Blues. She appeared on the influential call-to-arms of Southern California roots music, A Town South of Bakersfield on Enigma Records, alongside Lucinda Williams and Dwight Yoakam.

In addition to her musical achievements, Kane has become an activist and philanthropist in recent years. In August 2009, she appeared in Dublin, Ireland for the World Congress for Downs Syndrome with her United by Music charity http://www.unitedbymusic.eu The project provides performance opportunities, blues history lessons and songwriting instruction to young people with disabilities, encouraging them to write their own blues songs to help them overcome their daily challenges.

A fighter par excellence, Candye has an authenticity, determination and optimism that keep her shows passionate, honest and irresistible.

“I take things one day at a time and today I am feeling great and very optimistic about my new CD,” Kane says. It’s been awesome to write and co-produce again with my guitarist Laura Chavez. I am grateful for every chance I get to make music live, or in the studio. Most people are given only three months to live after a pancreatic cancer diagnosis and three years later, I am still here. So any opportunity I have to create music makes me humbled and grateful.

“People ask me why I want to work so hard and so much, since I tour 250 days a year. Everyone says I should stay home and relax after my health struggle. But music is my life and neuroendocrine cancer is a mostly manageable disease. I will continue to work as much as I can because I know life is fragile anyway. I would be fine if I died onstage doing what I love like Country Dick Montana or Johnny Guitar Watson. I’m not planning on going anytime soon, but when I do exit this plane, I hope it’s making someone else feel inspired by the powerful words in my songs.”



L.A. Weekly


The Los Angeles Links from 2006-2009 are archived, so if you are not finding the profiles you have seen on this page previously, you might either explore the following links or, probably better, use this link to go to the Links at RARWRITER Artist Index.

2006-2009 Los Angeles Links:

Los Angeles Links #1 Archive

Los Angeles Links #2 Archive

Los Angeles Links #3 Archive

Los Angeles Acoustic Links Archive

Hollywood Weird Archives

                                                                                                                                                                                                                   Photo: Gursky's "Los Angeles"

from Tate Online at http://www.tate.org.uk/modern/exhibitions/globalcities

Los Angeles Times News





©Rick Alan Rice (RAR), November, 2018






Copyright © November, 2018 Rick Alan Rice (RARWRITER)