Sat, December 1, 2012 8:00 pm
"Blame Sally is a little bit of country, a little bit of rock, a little bit of folk, and a whole lot of heart. They have been compared to the Indigo Girls, Dixie Chicks, and even Radiohead, but forget about all that, because one day some all-female band is going to come along and they will be compared to Blame Sally."
Sacandbeyond.com, November 2011, by Randy Miramontez
"Back and forth motion of the head. Continuous tapping of the feet. Eyes half closed in a near euphoric state. There is only one group you can blame this on: You got it!!"
-Gene Shay/WXPN Philadelphia
"The band’s four-part harmonies should not be missed. Don’t blame us if you’re the last on your block to check out Blame Sally."
"Collectively they create multihued sonic and emotional tapestries, recalling the artful romanticism of Jane Siberry, the rich folk harmonies of the Indigo Girls and the percolating soulfulness of Joy of Cooking."
-San Francisco Chronicle
"Blame Sally has one of the most powerful word-of-mouth success stories I’ve heard in recent years. It’s like they came out of nowhere and suddenly, everybody wanted to tell you about them."
-Rock critic Joel Selvin
"One of the finest bands in America right now, like a folk-based U2."
-San Diego Troubadour
Music Critic Rob O'Connor Highlightes Blame Sally in Yahoo Music's "Women to Watch in 2011"
Blame Sally creates an eclectic and undeniably original brand of folk pop that plays on the "indie edges of Americana." Bringing together four unique voices and musical backgrounds, Blame Sally has forged a cohesive sound that is instantly recognizable and compelling.
With their decade plus of live performances and recordings, Blame Sally has established a legacy of song combining country, folk, rock, Celtic and strains of classical music, which has brought originality together with a roots sensibility and pop accessibility.
This local folk-rock quartet with an attitude, combines acoustic textures with Americana harmonies and an independent spirit. They've shared stages with like-minded artists like Los Lobos, Ani DiFranco, Richard Thompson, Roseanne Cash, Joan Beaz and Greg Brown. In 2007, Severland, the Sally's third album charted number one on XM Satellite Radio’s Starbuck's XM Café, and Neil Young featured their protest song "If You Tell a Lie" on his Living with War site. The band released their fourth studio album, Speeding Ticket and a Valentine in 2011.
WHAT TO EXPECT
Amazing live acoustic folk rock harmonies
Some table seating available
General Admission- First come first served
Concessions include beer/wine/signature cocktail/snacks
Purchase Tickets in advance/at the Center for best pricing
Typically plenty of space, but give yourself time for parking
Blame Sally has always been impossible to pin down with clichés and conventional wisdom. Each of the four women put her individual career aside to start Blame Sally when they were in their late thirties and forties – the age at which bands are traditionally supposed to break up and begin solo careers. And, obviously, this is an all-female band, albeit not a "girl group" in the traditional sense, those usually being the novel province of youthful upstarts, not mature singer/songwriters.
Formed in 2000, Blame Sally – Pam Delgado (percussion and vocals), Renee Harcourt (guitar, bass and vocals), Jeri Jones (guitar, bass and vocals} and Monica Pasqual (piano, accordion and vocals) – realized early on "that some of the things that might have been considered liabilities were actually assets," says Pasqual, "and that in truth, the very thing you might be thinking you should hide or isn't going to help you is something that people are excited about."
Severland followed a period during which the band underwent some serious reflection – in 2006 Harcourt was diagnosed with and successfully fought breast cancer – and was itself followed by Night of 1000 Stars (2009, Ninth Street Opus) – commemorated by a sold-out performance at San Francisco's Palace of Fine Arts – and Live at Stern Grove (2010 Ninth Street Opus). After a successful collaboration with Grammy Award-nominated producer Lee Townsend on Night of 1000 Stars, Blame Sally opted to self-produce Speeding Ticket and a Valentine, in hopes of more faithfully capturing the edginess of their live dynamic.
That new enthusiasm is palpable from the start of the opening track, "Bird In Hand," and in "Living Without You," a hard-rocking song about a woman uncertain whether to be devastated or exhilarated by a relationship’s demise. Their restless band attitude also compels the driving rock and roll of Pasqual’s "Countdown," a cry for love amid a thorough cataloguing of modern societal narcotics, both literal and figurative. Other highlights of Speeding Ticket And a Valentine include Pasqual’s raw, honest "Take Me There," "Pajaro Sin Alas," partially sung in Spanish, and "Mona Lisa Smile," a composition of Pasqual's that deals in the most intimate terms with the hard knocks she's experienced in her relationship with her longtime significant other who was diagnosed with MS. Another standout track, "Back in the Saddle," is a true group collaboration, with Renee's teenaged daughter credited as an additional writer.
As has often been noted about Blame Sally, this is an outfit that boasts not only strong compositional and vocal skills, but serious instrumental chops as well. "I don't think there are that many well-known women singer-songwriters who are that good on their instruments," says Pasqual. "Ani DiFranco, Bonnie Raitt or Tori Amos, yeah, but they're often backed up by men. So people do get surprised when they see four women playing really well. It crosses a lot of gender and age stereotypes, too; people who are just into music all really relate to that."