This is a past event.
When: Sat., Nov. 3, 8 p.m. 2012
Price: $18-$20
Since emerging in the early 80s as a member of punky proto-alt-country band Screamin' Sirens, Rosie Flores has remained steadfastly true to the fundamentals of American roots music, especially honky-tonk and rockabilly. She's never had the most commanding voice, and she's not an exemplary songwriter, but her enthusiasm usually makes up for both—and she's played a crucial role as an advocate for her neglected musical elders. Flores was largely responsible for relaunching the career of Wanda Jackson, who headlines the Double Door on New Year's Eve; she might have provided the same spark for rockabilly queen Janis Martin, had Martin lived long enough for her Flores-produced comeback album, The Blanco Sessions, to come out this year. (She recorded it in 2007, four months before her death, and Flores finally released it on her own Cow Island Music after nobody else would.) Now three decades into her own career, Flores has just delivered one of her best records, Working Girl's Guitar (Bloodshot), which adds a nice Merseybeat tunefulness to her tough twang—her overdubbed vocal harmonies remind me of the Bangles. She covers Elvis Presley and Texas R&B singer Lavelle White, and the album ends with an unexpected version of "While My Guitar Gently Weeps." That's not the only song showing off her more melodic side either: "Yeah Yeah," a delicate tribute to fellow roots adherent Duane Jarvis, is gilded by gorgeous pedal steel from Greg Leisz, and Flores's duet with Bobby Vee on his old hit "Love Must Have Passed Me By" has a timeless feel. —Peter Margasak Marti Brom opens.

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