For every band that has "made it" there is a community of artists that helped that band grow. Quintron and Miss Pussycat are no exception. Except, the creator of the Drum Buddy and his puppeteering wife have difficulty tracking down their community these days. That's because it went through hell on earth - courtesy of Mother Nature, a Republican Guard negligent of its under class, a corrupt city politic, and racial tensions fueled by ignorance and poverty.
New York Night Train has done a terrific job shining a light on that music community in its third issue. I remain impressed with JT's NYNT and I think you will be too. Go check it out for an in depth look at New Orlean's Ninth Ward Underground music community - how they dealt with Hurricane Katrina and how they are dealing with the aftermath. Be sure to read the Oral History section which regretably in this issue is not download-able in mp3 format. Nevertheless Jonathan Toubin's writing skills at capturing the voice of these musicians is top notch, particularly the hilarious vernacular of MC Trachiotomy:
Just after most recently turning 80 years of age. They say the woist herracanne ever was gown hit Neworleans floods ever thang wind all‚at. Nah look here, I aint neva left fa no storm. I was trew betsy. I was trew Camille. I been trew all at. Ma dawgs was wit me anyhow. I help load up H.F.S, w/Stella & Man~Ting, mz.Fis wit her Doris, and Chris freaky fryer Hair dyer. Cause they was headed for the hills ya undastand. I was in. Where was I gwanna go anyhow?
The Oral History mp3 downloads are missed but NYNT makes available some ninth ward music. I like the lot, but the Detonation songs stand out because they rock and because the band broke up as a direct result of Katrina. Crooks and Nannies' Into the Water has acadian flavor. It sounds like something you might hear on AM radio as you drive across the Atchafalaya Swamp, maybe something eminating from Fred's in Big Mamou on a Saturday morning. EP's Parle' Gras has some Funky Meters influence, oh yeah I like it me too. Fun!
What's not entirely fun (although sometimes funny) are the horror stories these artists tell. Go, read for yourself, my friends.
Miss O: On our tour, Walt, Jay and I would sadly joke about every city we passed through, “Nope, this isn’t the city, I could never live here.” The truth is, the last remaining threads of our lives in New Orleans seem to be better than any other home we could imagine in the states. But in the near future I think we’ll think about New Orleans as a base to travel from, instead of home. And the feeling that we are homeless, in constant search of the city we adored passionately, I think will continue for years to come, if not for the rest of our lives. Despite all of this, there is a shred of hope in my heart that things won’t turn out as bad as our minds imagine... After all, the world is a crazy place.
*photo courtesy of New York Night Train - Lefty Parker Collection
What do John Nova Lomax and Michael Hagaa have in common? They're both beating a dead horse. Not the same dead horse, that would be sick. They are different beasts. John Nova Lomax is sitting on top of a horse that was a ghost before he saddled up. Michael Hagaa can't let go of a horse that, great as she was, doesn't deserve this meditation.
Hagaa's Dead Horse played heavy metal in the late 80's as the art form was taking a decidely gravitational turn. My impression at the time was that the band was fittingly named. With all due respect, it is sad to hear that Michael is spending his time "archiving dead horse recordings, articles, photos and band paperwork." Oh well musicians fade away though I don't know too many who have done so in a pile of band paperwork (I've never even heard the two words together before).
John Nova Lomax's dead horse doesn't exist. I don't know what he is getting at in his Feb 16th Houston Press Article "Band Suicide: Why so many Houston music groups self-destruct right on the brink of having it made." He somehow identifies 37 year old Hagaa's failure to get a bunch of twenty-something Conroe musicians to follow Hagaa's personal MTV glory dream with an overall failure on the part of the Houston music scene. John, there is no magic city "scene" any where. There is something going on in Houston (as there always has been) and you're missing it. And as usual, you're not writing about it.
Grabbing into thin air to come up with external factors that are "holding down the scene," Lomax neglects the one factor that he is contributing to - the perennial flogging of the dead horse that is the Houston Press writer's noble rite of passage: to lament the absence of a scene. This is a myth, not a dead horse, a ghost horse. There is something going on brother you're just too hung up on bullcrap to harness it.
The one big difference that Houston has to many great music towns big and small (and never forget that Houston is the Fourth largest city in the entire nation) is the absence of a good writing community; a good local rag; like a good radio show; that doesn't linger on foolishness such as this; an agent that assumes an audience of music appreciators and writes to that audience.
Guy Clark was born in 1941, four years before my mom but last night he looked like he could be her grandfather. He was a bit of a curmudgeon-y swellhead to boot, that fit his cowboy persona just fine. I was surprised to find out this morning that he is only 65. As a musician, I'm a tad disappointed. The older I get the more I enjoy watching older musicians perform. It gives me a sense of security about my own musical longevity. But during his set I thought well hell if this octogenarian can still pluck and holler, I got some years left with my good friend Mr. Telecaster. Not that Guy Clark fully mastered his vocal cords or guitar last night. He was rough around the edges and wouldn't perform some of his more challenging vocal stuff such as "Desperados Waiting for a Train." Like Terry Allen before him, he blamed the cold weather. He did however perform a brand new song for which, he claimed, we were the first audience. It was a story-song (Mr. Clark is a diciple of Townes Van Zandt's narrative songwriting style) about celebrating Cinco de Mayo in Memphis. I really enjoyed that. If Guy Clark hasn't aged well at least he has proven that you can still whip up a good tune while collecting Social Security.
Guy Clark brought along his long time writing/playing partner, Verlon Thompson. Verlon was the surprise hit of the show. He accompanied Guy Clark competently, playing the part of the good sidekick as well as Cervantes could have written it. Towards the end of the set Guy Clark sat down looking tired, giving up the spotlight to Mr. Thompson. Verlon Thompson ripped into a fast picking tune of his own which brought the loudest applause of the night. After that he did an a capella song that fit very well after the blue grass-ey piece. It was a beautiful song about couples that wasn't too sappy you'd want to vomit. He did one more number called "Lucky Dog" which he claimed was recorded by Johnny Cash but never released. I couldn't tell if that was true or just a set up to an excellent Johnny Cash impersonation but either way it stole the show. Guy Clark was noble to bring this guy along. Verlon Thompson added some needed pizazz. Their Quixotic companionship was enjoyable to watch as well.
Guy Clark's set started with Terry Allen accompanying on piano for a song they wrote together about Terry Allen's dog getting shot and killed on New Year's Day 1999. It was a good segue between the sets. For his performance, Terry Allen stuck to the piano which was unfortunate for me because I ended up with a nice view of Mr. Allen's backside. Terry Allen also complained about the cold. He started songs over more than once. He didn't do much to endear himself to the audience (calling them idiots for living with cold weather). Somehow he managed to get a good set out of it. Perhaps the audience was a bit more scrutinizing then they would have been if he wasn't complainin'. He didn't receive a strong applause except for a couple of comical numbers, "Peggy Leg" and "Crisis Site 13." He only did one song off of "Lubbock (on everything)" which is the album I'm most familiar with. But that's okay I'll take it. Terry was asked to perform an encore as was Guy Clark but neither artist did. Grumpy old men don't need adoration.
The cold might make the old appear older but they're still kicking and I'm glad for that. Thank you Robbie Fulks once again for this great series, Secret Country, which by the way is recorded and hosted on XM Radio, check it out.
Tonight: Devin Davis plays the Hideout. Check out the Chicago Reader article linked to his name. Interesting fellow who I checked out on emusic over a year ago and I didn't realize that he's here in Chicago. He's done some engineering work around town including work with Kyle Bruckman's Wrack. Now he's an indie star on his own. Mr. Davis playing every Wednesday in February. Tonight he has a full band.
Friday Night: I'll be recording the 14TH ANNUAL PERFORMANCE ART CELEBRATION. According to one of the founders, Jeff Harms - the name is somewhat arbitrary, but there will be performance art and Music. It will be at 8pm on Feb 17th. At the South Union Arts Building 1352 S. Union Ave. One small block east of Halsted and 14th. It is an old church built in 1860 and is complete with a neon crucifix and a baptismal font. Its an amazing space. (Hotel Brotherhood, who are mixing at the disclexington sunken monastery studio tonight, will be playing probably around 9:30)
Sunday Night: Robbie Fulks hosts another performance in his terrific Secret Country Series at the Old Town School of Folk Music Lincoln Avenue Concert Hall. This week its Guy Clark and Terry Allen. I'm not much of a Guy Clark fan but that might just be ignorance. We'll see. I do love Terry Allen thanks to my old buddy Andy Walker. I first heard about Mr. Allen when I was living in Houston. I was complaining to Andy about how much you hear the word "Texas" in songs on the local public radio station, like it's some kind of magic word that will get you on the radio. The word lost all power. Andy agreed and mentioned some lyrics by Terry Allen that were funny yet poignant so I checked out more of his stuff and fell in love.
It took a while for the song to "process" on MySpace but it's finally up. If you're not a MySpace-er (and who could blame you for avoiding Murdochiness) the song is also up on the main site.
I've been battling a Winter funk since churchbus' triumphant return from Texas. My life seems a still backwater in contrast to the fast current of that art-filled road trip. Back in Chicago since the 3rd of January, I still haven't unpacked my bags. They lie on the dining room floor half gutted for clean underwear.
Sounds pathetic, but the artist in me knew that this sinking into self-pitying depression can be creatively snagged if patient like a good fisherman. The bait was taken Friday night at Hotti Biscotti. Sullen already, I let things get to me. As fortune would have it lots of little things went wrong (bad tempered musician buzzing my ear, the club's neglected PA system breaking down, false theft accusations from the bartender). Fortunately this didn't affect many people and the show went pretty good. I was the lone sufferer (well me and maybe that bad tempered musician). The next morning I reeled in the fish, recording the vocals to a bitter drone churchbus had long been working on. The song needed vocals and for many weeks I couldn't get into the right mood to do it. Saturday morning, mopey and self-loathing, I needed a creative outlet. It was in the basement on a half-inch reel of tape.
The Hotti Biscotti events took me to the place but the gears were already in motion. In my wallow I read a Robert Pinksy poem that truly sang to me, I'd like to pass that on.
Oh and the song should be up on the churchbus MySpace page soon. It's called "Three Short Years."
de Schmog bassist, Johnathan Sage, still thumps the low strings down in H-Town with Bright Men of Learning, a confessedly guitar-solo-happy rock group. They just put up a few songs from a live show at Rudz. The tunes have Lou Reed undertones if you ask me. Check it out and if you Houstonians need a flower arrangement and you need it done good be sure to give the JMan a ring-a-ding-ding.
Come out this Friday night to a place you've never been in beautiful Logan Square. churchbus plays with Bob Taylor (an acoustic performance) and uraniam jam. I promise you. It fhalleth be good.
Don't forget Headache City is tonight at the Bottle. The opener has been changed to Submarine Races a new endeavor of Ian Adams formerly of the Ponys. The potential for rock is high. Since the Hoyle Brothers will be playing their usual Friday evening gig also at the Bottle, the potential for alcohol poisoning is also high, watch out!
Artist: Texas Guinness Lovers Track: Not Far Enuff Location: Rudyard's (Houston, TX) Date: 12-31-2005 Comment: This is a companion song to last week's tdj. Texas Guinness Lovers performing a Roberto Cofresi song "almost" simultaneously with his band, New Town Drunks. NTD on the East Coast and TGL on the Gulf, New Year's Eve 05/06.
It's gonna be garage a rockin' at the Bottle Friday night. Headache City celebrates the release of their first full length record on SSR. Fellow garage rockers Dutchmasters (Memphis, Goner-Records) and Turpentine Brothers (Boston, Alive Records) open. We (THE LATEST) opened for Turpentine Brothers in NYC back in November. That was a great show, don't miss them!
Headache City got a few songs on their MySpace page so you can sample the goods. Be warned, these are catchy tunes and they might be stuck in your head for a while (currently stuck on "Knee Jerk Reaction").
After this HC hits the road for a series of shows throughout the Midwest and then on to Texas and the West Coast. That actually gives you three reasons to come out. First to celebrate the record release of course. Second to give 'em a big send off. And third to congratulate Mikey (guitar, vox) who just returned from his honeymoon.
I recorded Headache City's very first show over two years ago. They rocked straight out of the gate. Unfortunately I don't have the proof. The CD disappeared that very night; either taken by some unscrupulous fan or it may have slid deep into the belly of the CD Recorder. I haven't taken the darn thing apart to find out (and put some closure on this terrible tragedy). HOWEVER, Headache City came down to the Sunken Monastery Studio to record their first demo. That was back in the day when Darcy Dark was drumming and occasionally singing for them. I put one of those songs up as a track du jour. You won't hear it at the show since it's a DD tune so check it out here.
Gary Schepers, local sound man and tuba player, is hospitalized; almost lost his leg; may lose some toes; hosts a flesh eating bacteria;has no medical insurance; and watches his bills rise as steady as lower ninth flood waters. Where's the good in all that?
Well, Gary didn't lose his leg and thanks to his nasty foot infection found out that he is diabetic so he can take the regimental precautions to keep himself healthy. Thanks to lots of press coverage many folks in similar positions may have learned a valuable lesson re: health, infections and precaution. I know you're thinking I'm really stretching for that silver lining.
But there's more good in all that because Gary is loved by a powerful musical community that has rallied to create a series of shows around town that, charity aside, is astounding. So what's good for Gary is good for the rest of us. We get to see a bunch of great acts, reflect on the amazing amount of local talent and help a guy out to boot.
Gary is like the Forrest Gump of Alt Country. He went on the road with Uncle Tupelo and he did sound for the first Bloodshot shows. He plays frequently at the Hideout with Devil in a Woodpile. So it's no surprise that the series reads like a who's who of Chicago Alt Country. Jay Farrar (Uncle Tupelo, Sun Volt) played last Friday at Fitzgerald's with the ubiquitous Robbie Fulks. Robbie is one of my heroes. He keeps himself amazingly busy with his own music and also hosts a showcase at the Old Town School of Folk called Secret Country that has brought many hidden "living" treasures to Chicago from around the country. Anyway I digress. There were other good acts on this bill and a whole other gig across town featuring the New Duncan Imperials. Sunday there was a family friendly noon show at the Hideout with Wee Hairy Beasties. WHB features my favorite local alt-celebs Jon Langford and Sally Timms who both played in the Mekons, probably the best band out of Wales ever and one of my all time favorite bands. They've both released some fine solo stuff and play with multiple other outfits including the Waco Brothers and Three Johns. Jon and Sally are true local treasures. It's always worth catching their performances. WHB also features the local country legend/singer/bartender Kelly Hogan. Also on the sold-out Sunday Family Bill, the Blisters which features Spencer and Sam Tweedy, spawn of Jeff (Uncle Tupelo, Wilco). The Blisters' set left my friend and bassist, Jacob Smith (who brought his daughter out for her first concert), musically crushed because they were good and sullen like jaded rock stars...and they're like nine years old. I'm glad I skipped it. Last night, Poppa Tweedy played a sold-out show at the Abbey as his contribution to "Sound Check."
Which brings us to tonight... Kelly Hogan headlines up at Martyr's. Then tomorrow catch Bottle Rockets and Tijuana Hercules at Schuba's. And the final "Sound Check" performance will be next Saturday at the Hideout with the very classy North Carolina act Freakwater (afternoon show). Oh and I don't know the details but there's gonna be some kind of auction too. Local Sound Legend Steve Albini is contributing to the auction. Check the Reader for info.
That's a pretty darn fine turn out for ol' Mister Schepers and I'm sure if he weren't tied up at the hospital and concerned about keeping his toes attached to his feet and his money in his wallet, he'd be pretty darn happy about all this.
Now, imagine if this group could be persuaded to do another series to get some insurance for the Schepers of the world (and where would the music community be without dedicated freelancing souls running the boards and what not???) ? The money is better spent proactively than reactively but then there's nothing about this alt country music that sells insurance, it's all bleeding hearts and tragedy so what are you gonna do?
Sorry I've been out of the loop of late - as you will see, I haven't been sleeping much:
After way too many set-backs, Issue II of New York Night Train is finally online in fairly complete form tonight! The primary feature is the second half of the oral history that I did with Kid Congo Powers dealing with all of his music from Nick Cave and the Bad Seeds to the present. Inside you will find Kid's oral histories in text and mp3 form, a comprehensive look at the second part of Kid's discography, mp3s of rare, live, and unreleased tracks, a historical tour of Kid's guitar equipment, lyrics to Kid Congo and the Pink Monkey Birds songs, a profile on Kid's right-hand man, Jack Martin (currently also of Cause for Applause and Dimestore Dance Ensemble), and, the first installment of the Underground Rock Cookbook, Kid's family enchilada recipe. I also left Part I up if you want to read about The Cramps, the early Gun Club, etc.
Additionally, I added the Rock Star Reviews section in which Bill Whitten from Grand Mal looks at Richard Hell's "Spurts" and Vietnam's Ivan Sunshine reviews Gris Girs' "For the Season." There are more reviews of up of Black Lips, Black Time, Mike Ladd, and re-issues by Art Ensemble of Chicago and "No New York". I added a news section that will be updated on a daily basis. Plus a live section which will include NYC show listings and recommendations. The Show of the Week is Gang Gang Dance, Black Dice, and Bill Cosby and His White Pudding Pops at Syrup Room on Saturday.
In other good news, thanks to this crazy web project, I'm officially in the record business now as I'm selling Kid Congo Powers' SOLO CHOLO online. And, once I get my copies of Grand Mal's "Love is the Best Con In Town" and The Pink Monkey Birds "Philosophy and Underwear" (next month), I will start distributing all three - which is timely because, for those of you in or going to Texas, I have a South by Southwest Showcase for the label and should know the exact date, place and line-up soon.
So check out my web site and take care of yourselves.
Soon, Jonathan
PS - Oh yeah, please forward this around.
Do you Yahoo!? With a free 1 GB, there's more in store with Yahoo! Mail.
Sunday night a small group ventured to the outskirts of Chicago's Koreatown for BBQ. The meat, in our case thinly sliced boneless beef rib, was cooked on the table in built-in grills. Each table has a vent directly above the cooking area (this is the source of the swooshy hum in the audio). The Korean restaurants I'd been to previously had gas grills but Sunday at Kangnam we used coal which was delivered red hot in iron cauldrons. The meat was accompanied by many monkey dishes of condiments and sides. The majority of sides were variations of Korea's best known dish, brined cabbage (kimchee). We drank soju, an alcoholic drink distilled from rice and sweet potato. Our guide was Chicago artist, Duk J L Kim (informally Linda).
What are we having? And have you ever heard of Bento? download mp3
Artist: New Town Drunks Track: Not Far Enuff Location: Cat's Cradle (Carrboro, NC) Date: 12-29-2005 Comment: Roberto Cofresi wrote this song in the late 90's and played it with Texas Guinness Lovers for a few years. It became a TGL favorite even after Roberto and his gal Diane Koistenin left the fine State of Texas for new horizons. They eventually wound up in Chapel Hill, North Carolina where they started New Town Drunks, apparently harnessing the nickname they'd already been given at their favorite watering hole, the Cave. They may be the New Town Drunks but they're town favorites too. Hell, they even have a drink special named after them. One I have a might taste for right now. Anyway TGL and NTD played New Year's Eve gigs and both bands played "Not Far Enuff." We tried to make it a simultaneous continental feel-good experience, however playing in different time zones can make that difficult. This version may find its way to an NTD Live CD soon.
Now on MySpace for your convenience - featuring four live songs from New Year's Eve at Rudz, with Jo Bird on the viola, Tony Barilla on accordion, Bo Morris on trumpet|tuba|french horn|vox, Chris Erin on trumpet, Chris Bakos on bass, Bill Savoie on drums and Kilian Schweeney on vox|guitar.
Woo damn check it out be there friends sounds good brothers and sisters.
Artist: the Ron Titter Band Track: Daddy Can't Make it Happen Location: Room 710 (Austin, TX) Date: 12-29-2005 Comment: Recorded live to Neuro HD30 at the RTB's impressive debut performance. For this one song the RTB transformed themselves into War. Listen for David Wyatt's crisp Space Odyssey solo midway through - Space Odyssey or is it Elvis' Las Vegas intro? I can never tell.
Disclexington mp3's are now housed directly at the site server which means quicker downloads and a cleaner look.
Almost the entire de Schmog catalog is online (for free!). Check out some early violin work of Chenoa Mauthner of Two Star Symphony (tracks "This Number" and "I've Seen a Moon" on the "ed" release).
Holy Briskets that was a mighty fine trip through Texas. I'm gonna keep this short because to get all the good reminiscences in would take too long. Let it be known that churchbus' love affair with Texas has begun. The boys on the bus had never been before and I think y'all blew their minds.
To All you Huge Town Lovers, you are amazing and you know who you are. To all you Austin Freakies keep on keeping on.
I leave you now with some pics to speak more than a thousand words. Oh and Happy Birthday Brother Purdell and Brother Delgado. You guys threw the most memorable birthday bashes I've ever attended.
Back in September I promised to savor a cup of jo at Cafe du Monde this December as a form of "pffffft" to all the doomsday talk I'd heard about New Orleans. We (Tricia and I) did have that cup of jo just yesterday and it was chicory good. It was a beautiful day and the French Quarter was bustling. We wanted to give as much as we could to one of our favorite American cities for she is reciprocal. So we also had a pint of Abita, a catfish poboy and a white chocolate caramel turtle. All was good, especially that poboy. I do not know why other American cities cannot do bread the way New Orleans can. Maybe it's the same mysterious reason New York pizza is exceptional. Anyway they're still pumping out the good stuff in the Quarter, but we found that this doesn't mean the Big Easy is back.
The Quarter is missing a HUGE chunk of its labor as well as many proprietors. Most establishments had to lessen their hours of operation to stay in business. Many are still closed. All have "Help Wanted" signs. If you ever wanted to work in the Quarter now is the time to get down there, jobs a plenty though you might be doing dishes. It's the working class that's gone missing after all. This sudden vaporizing of labor has spawned some odd stories. We asked our bartender where to get a good po-boy. She hesitated. She wanted to tell us to go a couple of doors down but that was no good because the new unskilled cook they hired burned the kitchen down with his first roux. This upset our bartender greatly (apparently they made a great gumbo). She pulled out a weekly pamphlet that some enterprising local carts around Quarter. It's called "What's Open." She calls this her phone book. "What's Open" started out as a one page flyer but by the time we had one it was a four page pamphlet. It's growth is a good sign but what we saw outside the quarter was anything but.
Coming into New Orleans through the commercial suburbs along Clearview Avenue and then Airline Ave, N.O. doesn't look like a city in crisis. You see a few rooftops with blue tarping, enough so you realize they might've had a good wind storm recently. But the roads are full, just packed in fact. Then you hit Tulane Ave and there's no getting around the disaster. Every store is closed, many gutted. The sidewalks are full of junk, so are the medians. The stop lights are replaced by makeshift stop signs. Even the businesses that don't appear to have been damaged are closed, including the fast food chains. That's when you know you're in a dead city, when Burger King has shut its doors. Then you hit downtown and it's bustling and then you hit the French Quarter and on a beautiful day like Tricia and I found, it's pretty easy to forget the misery you just past.
What's not so easy to forget is an afternoon drive through the Lower Ninth Ward. I've read the papers and I thought I knew what to expect but nothing prepared me for the devastation we witnessed or the sadness I felt passing through an entire neighborhood caked in flood residue, gutted; cars left where the water dropped them maybe a little off the driveway where they were parked, maybe leaning against a parking sign, maybe on the lawn. The lawns gray with flood filth, littered with odd scraps and piled high with destroyed furniture. The houses graffiti-ed by FEMA, SPCA, former residence: "Cat rescued," "None Dead," "Moved to Tuscon (phone number included)." The saddest graffiti reads "We'll be back." After driving through the neighborhood, that sign doesn't read like a brave act of defiance but an act of helplessness. Who would want to live in one of these treeless, lifeless neighborhoods where every single house must be rebuilt from the ground up; with the levy so close almost every house has a view. Who would want that reminder, having lived through it? Not many it is obvious to see. But we did witness people cleaning up their past, living in FEMA provided trailers in their gray front lawns in front of the ugly reminder of their former lives on the smelly lifeless block that used to be their neighborhood. If it was me, I think I'd be off to Tuscon with the rest of the gang.
But it's important to remember that this imagery is of specific neighborhoods and certainly not the city as a whole. The city is bustling along. What a beautiful day we had in the Quarter, can't wait to go back.
Friends in Texas I hope to see you Dec. 29th in Austin, New Year's Eve in Houston and if you're hungry fer lunch we're taking the churchbus to Driftwood on the 30th.
Tricia and I will be stopping off for a Beignet and a ninth ward tour some time on the 23rd so if you happen to be in the Big Muddy look for us on the patio.
Friends in Chicago, you might consider the Metro for your New Year's Eve celebration. New Pornographers headline backed by SubPop's newest uberpop sensation Rogue Wave. I played in a short-lived ill-timed misunderstoodband with Gram Lebron who now plays guitar and keys for Rogue Wave. Gram shown a wickedly flickering energized lamp on Houston for a few years with his Club Safe Parking and his somber group schrasj. Now he gets to take that energy around the world. He also gets to meet and play with my friends the M's who open the show at Metro New Year's Eve. The M's themselves are on the move having just signed a contract with Polyvinyl Records (of Montreal, AM/FM). Their album comes out in February.
To all the bands on the road this winter - rock on!
To all my friends in Texas - CAN'T WAIT!
Kilian
P.S. Check out the M's and Roque Wave (and hell even the New Pornographers) on MySpace. RW's rendition of Buddy Holly's "Every Day" is particularly catchy. And while you're on MySpace, check out churchbus' bastardization of a Doug Sahm song, Sexy Ranger Man.
Artist: Bill Weita Track: Live at Moe's Bar & Grill (Cleveland, OH) Location: Moe's Bar & Grill (Cleveland, OH) Date: 11-03-2005 Comment: Bill played with THE LATEST at the first gig of their November 2005 Tour. This piece makes up the entirety of his set. It was recorded live to stereo on a handheld mp3 player (Neuro HD30).
Click here for Part I. What follows is an "email interview" and two examples of Kathleen's charcoal drawings...
When did you start doing show posters?
Since 2000. Came back from a job in NYC & ended up bartending at the lovely Hideout & started doing posters for a number of bands playing there or residency type shows (Honky Tonk Living Room, Deanna Varagona's Gospel Jubilee). I had been experimenting with using scratchboard in the mid-90's & then really fell into the medium when i started making posters. The boldness of the B&W seemed to work well with posters (& hold up well when xeroxed). Then I did some Hideout Block Party posters --following in the footsteps of the awesome Robert Valdez. Since then I just take 'em as they come. Originally I didn't silk-screen the posters. I'd do the image & the excellent Steve Walters, of Screwball Press, would print them for me (note--many of my early multi color posters Steve printed for me--I'm not so fancy when I print them myself--they tend towards 2 or 3 colors AT THE MOST). Steve ended up getting pretty busy w/ jobs so I figured I better learn how to print. So I taught myself from books (poorly, as I'm not too good at following written directions) Steve took pity on me and started letting me print out of his shop on Western Ave.(a few years back). I've enjoyed the camaraderie of a shared space. So many different artists w/ different techniques, images, ideas. Keith Herzik prints out of Screwball also Jason Fredricks and a load of other fine folk. I have recently been getting into woodcut prints (artprints not posters) & that has really captivated me.
Is there a show you are most proud of promoting?
HMMM? I'm not making loads of money making posters so I try to take jobs I'd be proud to promote, and have fun making the poster. I've worked jobs doing artwork that I hated & thought would go away, & then was haunted by it being printed up & showing up everywhere--that's a lesson and a nightmare. I try to like who I make a posters for and like the posters I make. Let's see...I'm pretty excited to make a poster for an amazing musician especially those who are still going strong in old age, for example: Ralph Stanley @ Schuba's, B.B King & Bobby Blue Bland @ The Sabre Room, Oscar Brown Jr @ the Hideout, Jimmy Martins Documentary by George Groehl. I have loved doing one of a kind tickets for shows--which thanks to the Hideout, I've had a few opportunities to make tactile tickets to shows such as Neko Case/Kelly Hogan tix (one time on sandpaper the other each ticket was a polaroid), Alejandro Escovedo(one set in wood & metal, another set of tix in leather), The Handsome Family,(that ones too hard to sum up), Oscar Brown Jr (seed packets) & Bobby Bear Jr. (fake fur) I love making tickets. As the world moves foward in technology I move two steps back. Who REALLY wants to print their tickets out on their home computer when they can have a ticket made of wood & metal (made in a HIGHLY inefficient manner)? Who?
Is there an art piece you are most proud of?
Last year I had an opportunity to do illustrations for a book of Slave Narratives. It was a great honor. I love history. These stories are really amazing (go read the book 'Growing up in Slavery'). Here I am this white woman 100-200 years later getting an opportunity to translate visually some aspects of these people's life stories. These people's stories are truly inspiring. I was overwhelmed and honored. It's funny--all my life, unconsciously, I've wanted to be able to show my parents something like this that I did art for--my Dad was deceased before I received this assignment but my Mom was still alive and she read the book & was inspired by the stories. I'm currently working on illustrating a children's book w/ Jeff Bulington --& though we've been developing it a looooong time, I'm pretty proud of it so far & hope I feel the same when it wraps up & hopefully gets published.
Boy, heroes? Other than people I know, and family, there are probably too many to type & my memory has gone scattershot on me. A few years ago I saw this puppet theater group from South africa (I believe they are called Handspring) they integrated this fantastic animation into the performance. It was drawing under a camera technique with charcoal. Found out it was animated by William Kentridge. Strange, I've had some people tell me about him before I'd ever seen his work & that I draw in a similar style. Now that I've seen his work, & become a fan, I can understand why some folks have said that--I think it's the way he draws w/ charcoal. I watched a video about how he animates & I was highly distracted that he managed to draw in nice dress slacks! In all my days of working in charcoal I can't figure out how he does that.
I know you traveled with Neko. How many tours have you been on and what is your role?
I've toured with her since 2000. My role has been taking care of merchandise. Share in the driving & whatever else may need doing--within reason. They're some of my best friends there (Neko, Jon, Tom & many others, depending on tour). The tours have ranged from a week or two to a few months. Works out well w/ my freelance lifestyle & my severe love of the road & rest-stops. A year or so ago, I went on the road w/ Neko and also researched the poster scene in various cities and how the clubs work with poster artists. I was surprised at the lack of venues seeking out silkscreened poster art for shows. In fact I spoke w/ one promoter and basically the deal he has w/ the artists is they get some booze. Made me realize how great Chicago is right now. Bands & venues are hiring artists to make posters for them. Pretty much every block in certain populated areas have layers of posters hanging. That's exciting. when I was in L.A., San Fran, Seatle and other cities, I was surprised that most the posters are xeroxes. Don't get me wrong there are plenty of artists all over making posters I just don't see their wk on their streets like I see it in Chicago. Made me feel proud of this town & the bands and artists in it. Yeah chicago!
Age (you don't have to answer, hell you don't have to answer any of these)?
Late 30's. Hope that doesn't affect my budding hollywood career.
Where are you from originally?
Detroit.
Why Chicago?
I like industrial cities. Cities with metal. I'm still surprised that I've been here this long.
Favorite food, domestic animal, car part?
I like all kinds, lately I'd say Indian. I'm also a big fan of Okra, fried or pickled. I'm a fan of dogs. ENGINE.
Anything else you'd like to say?
Not now but after I send this to you I'm sure I'll have many other things to say. Feel free to write back if you want me to give more info or answer any new questions.
Kathleen Judge is a lover of grit. She makes Chicago her home and doesn't just deal with the city's intrinsic grime; she seeks it out. Judge welds and performs other dirt-producing acts of freelance labor. She moonlights at a smokey bar tucked into an industrial neighborhood on Chicago's north side. On her own time, she has been known to paint with rust (see example below) and produce large charcoal studies of junk yards. Recently Ms. Judge held a rare solo art show at her mechanic's garage. Kathleen makes grit a part of Culture not at all something to be ashamed of or masked.
Maybe you have seen her work already. Kathleen is a Concert Poster artist with a slew of show prints including many for her musical comrades. In her poster line up are shows for Kelly Hogan, Neko Case, Oscar Brown Jr., and many others who have graced Chicago's stages. Her poster art is silk screened and based on clay etchings (note the gritty nature of this medium - okay maybe I'm reaching a bit). The originals were recently on display at 3 Bros. Auto along with the 2006 Auto Shop Calendar that she created for the proprietor (a clever way to ensure good service). Recently I caught up with Ms. Judge via email, she agreed to answer a few questions though she warned me that typing is not her forte. Stay tuned for that interview here. In the meantime enjoy some of her art work.
Greg Beets debuts his newest sensation, the Ron Titter Band, which from the sound of it takes Greg's songwriting from the adolescent venting of his past project, the Peenbeets, directly to the misguided torments of a "single for the third time" grown man. This is fitting. Señor Beets' lyrical gig bag is an excellent resource for the frustrated male, barren of romantic balladry. Although his work with Summer Breeze proves that he is fully capable in this arena (oh and once in his teens he took an early pathetic break-up song written by Yours Truly and turned it into something presentable, not quite as good as his own Big Boy's Christian Army but I handicapped him). Anyway, not one to croon a lover's tune, Greg (also of Noodle, Cheezus and formerly with the ingopods) smartly skips over the happy loving couple years (i.e. boring) right to what he does best. This time around, Greg is accompanied by Stinky Del Negro mastermind, Stinky Del Negro (aka David Wyatt, also of Solid Gold 40). I am titterlated.
I'm bussing some musicians down from Chicago for a meet and greet. Can I get an amen! The boys in the van are revved up to hang with bona fide Texans. I hope some will present themselves at the show.
For a grand finale you can't beat Attic Ted, San Marcos' only septuagenarian bohemian circus musicians. They will be fresh off tour so stinky and hot. Just how I like it.
A little early warning never hurt anyone (although it doesn't always help e.g. H-Katrina), particularly when it's regarding a great show friendship community and all that piffle. New Year's Eve at Rudz will be all about that my friends so reserve the date and come out early.
Natural disasters aside, the biggest event of 2005 for Houston and Chicago's southside was the World Series. I'm bound for H-town with a bunch of toddlin' southsiders this December to ask War's eternal question, "why can't we be friends?" I promise you we can.
Then Texas Guinness Lovers reunites and remind you it's better to be a drunk lover than a bar fighting man. We'll have some extra horns courtesy of churchbus and Infernal Bridegroom Productions. I can't wait. TGL hasn't played in five years! We'll have a couple of few practices under our belts and smell fresh as daisies, I promise you that my chums. Let's shine a little gospel light on our rendition of Rank Stranger this year with the addition of Erin Edmister on the churchbus organ.
All of this will be followed by the very best in Houston Rock: J.W. Americana. Holy Crap. I'd be at Rudyard's for JWA alone come NYE 2005.
I wouldn't blame you for thinking I'm on the Schubas payroll but sadly no. I can hardly get a gig there. Anyway another great show tonight at Schubas, Chicago's legendary Bobby Conn.
Part punk part activist all glam, Bobby Conn does something few others dare to (or could possibly have thought to). It's all good. Tonight he'll play a solo set at 8 PM then later a set with his full band. ZZZZ and Bang! Bang! open. That's a lot for a Tuesday night but it's only 8 bucks cheap so you won't be flat broke when you lose your job in the morning.
If you need to kill a few minutes at work go to the news section Bobby's site and watch the "Never Get Ahead" Video.
*Photo from Magnet Magazine - check out their Bobby Conn Interview in the archives.
The M's have gone from being the nicest guys in Chicago music to the nicest pop stars in Chicago seemingly overnight. Their success looks deceivingly easy. Anyone who has been around them for the past four years will tell you, they have worked for it; practicing and recording tirelessly for a good chunk of that time in a musty Ukranian Village basement. Hard work pays off and the M's prove it. Tomorrow, they embark on a three week Monday Night residency at Schubas Tavern.
A Monday night gig might not seem like much, but in this case it is an honor. It is one of many great residencies at this Lake View tavern in a series they call "Practice Space."The residency idea is a good one and it should be picked up in other cities. The artists get a chance to stretch their creativity as well as a chance to select their own opening acts, lending other musicians a little hand-me-down limelight. For the M's this is familiar territory since they've been practicing over at Schubas anyway.
This week the M's share the stage with Baby Teeth who really don't need any hand-me-downs but it's a rare chance to see two great acts for cheap (only 6 bucks). Next week catch the M's with Stag Party featuring THE LATEST drummer Bill "Cococoma" Roe. Bill plays bass with SP.
You don't have to be in town long to discover Chicago's rock & roll Poet Laureate. Thax Douglas makes the rounds from venue to venue on a daily basis, spontaneously writing poems and reciting them as introductory prose for local bands. The poems usually have titles like insert band name #1 (the number depending on how many introductions Thax has previously made for that band). They don't necessarily have anything to do with the respective band either...that is unless Chicago rockers are hiding their metaphysical natures from me. Ask Thax for a copy of your poem and he'll give you a hand-written facsimile. Pick up a local band's 7", particularly a live recording, and you are likely to have acquired a Thax Douglas oration free of charge. Sttep in to a local bookstore or record shop, you'll find Thax Douglas publications in text and audio formats.
If you're picturing Bob Dylan, Jim Morrison, Richard Hell or Henry Rollins you are off mark. Thax doesn't look, behave or write like a rock poet. Unless you pictured Allen Ginsberg, you probably have a mental image that is anti-Thax. That's a good thing because the world doesn't need another leather bound ryhmer.
Thax began his rock poetry career in 1997 at the very un-rocknroll age of 40 and according to his MySpace bio, he'll "probably keep doing this for some time." Recently he resurrected his showcase series at the Beatkitchen. This Sunday, November 27th, churchbus will receive their first Thax Douglas poetic blessing along with (fittingly) a Christian rock band the Skull, Genital Hercules and Swimmer Missing.
Since I will be recording the show, that will be four new Thax Douglas poems recorded for posterity and likely appearing on a 7"/website/MySpace page near you.
While he doesn't get the front page attention of his contemporary (attention he most certainly doesn't want), Thax has already left his mark in the fine lineage of Chicago poetry. Carl Sandburg and Gwendolyn Brooks look out.
Check out some Thax Douglas poems, posted on Guided By Voices website.
Having spent 14 hours in the band van last week with Bill Roe's iPod in random mode, I am something of an authority on his musical tastes. If you like American Garage Rock, early R&B with a dash of Soul, you're in for a treat. I drove through two tanks of gas; Bill's mix (plus a cup of coffee and a couple of Krispy Kremes) kept me going.
See Bill's vivacious husband/wife act, plus Mikey, this Saturday afternoon at the Bottle.
If you were a thirty-something mensch in a lengthy romance with American rock, a world-traveling musician with a talk show host's knack for conversation, the son of a Russian Studies teacher, and a pop-culture Zelig of sorts what might you find yourself doing in the early part of the Twenty-First Century?
Hosting a music webzine with in-depth features re: the Legends of American Music is one option. But then mensch that you would be, the world would be your oyster. So it is with great appreciation that I inform you that one good guy, Mr. Jonathan Toubin, has put all his coals in a single engine to brings us New York Night Train.
Toubin's articles, reviews and "oral histories" require the sort of focus you might not be used to hobo-ing about on the internets. If the first issue is any indication of what's to come (and I hope it is engine enough to haul a long and bountiful load) you won't get off this train easily. How does a six part two hour monologue by the legendary Kid Congo Powers (the Cramps, the Gun Club) grab you? Thought you knew everything about the early L.A. punk scene, Nick Cave, Reaganomics - think again.
Despite Toubin's expansive by-line (found only on the Mission page), NYNT is a self-effacing effort. This is very much in keeping with Jonathan's style. JT has found himself the sideman for a number of projects (Grand Mal, the Hammiks, de Schmog, and currently Cause for Applause) but he rarely makes it to the promo photos. Back in the day JT could get just about anybody to join his quirky bands (Tony Nozero/Drums and Tuba, Lymon Hardy/Pong-Ed Hall). If JT had a passion for somebody, it was relentless. When he was in a long distance relationship with Diane Koistinin (de Schmog/New Town Drunks), he had her face printed on a pillow sheet. For a guy dedicated to American Rock 'n Roll in all it's vulgar brashness, JT remains a sweet caring person.
That's why I think NYNT is going to be a smooth ride. JT is the right conductor for the job.
I first met JT when he was sixteen years old. I had just joined my first band, the ingopods, with our mutual friend Noah Sternthal, and later Greg Beets. JT had decided to be our manager. Back then JT sported oh-so-pinch-able baby cheeks, black suits and a bollo. His voice was "when it's time to change, you have to rearrange" era Peter Brady. The rest of us, being so much more mature, thought he was a riot. But we also respected him and considered him a brave soul. Hell, he got us some gigs. Like most first bands, the ingopod tunes should probably remain in somebody's school locker. What fortunately lives on is a shared passion for music and American culture and, for me, pride in seeing these folks venture from our shared Houston suburban roots, climb on those night trains, and fearlessly ride into the dawn. Long live New York Night Train.
THE LATEST is back in the Windy City safe and sound after a six day tour to the East Coast. Here are some highs and lows...
1. Just outside of NYC, we learned of the death of Mana "China" Nishiura. She was killed in a van wreck between Baltimore and Brooklyn while her band DMBQ was on tour. This affected us in many ways; primarily for the terrible loss of a creative spirit, also because we ourselves were simultaneously spinning through the area in a band van, and because her band was staying with our friends Shellshag with whom we had a gig scheduled for Sunday night and with whom we planned to visit during our stay in NYC. Needless to say the Shellshag crew were preoccupied and could not play the show on Sunday. We didn't get to see those guys but they all were in our minds the rest of the journey. China we miss you.
It's tough to write on after that awful news but we must, mustn't we?
2. Moe's Bar in beautiful downtown Cleveland, OH was a good place to be. Frankly we weren't expecting much out of Cleveland. We didn't know anybody there and we had a tough time booking a gig. It was also a Wednesday night. Yet the good folks at Moe's, the ex-Houstonian bartender (cute!) and "Moe Jr." the current proprietor (more handsome than the Moe's proprietor of TV fame), went out of their way to make us feel welcome. The crowd was a good handful more than we expected. Moe's is a very small bar, recently re-opened with a new ambition to be a hip destination for live music. It doesn't have much of a PA and even less of a stage but what it lacks in amenities it makes up for in spirit. The folks at My Minds Eye Record Shop were also very accommodating: Thanks Charles! Thanks Steve!
3. Our Boston hosts, Ross and Emir, had homemade macaroni and cheese ready for us our second night on the road. That's good stuff. If you ever have the opportunity, take it. THE LATEST gives a BIG shout out to Ross, Emir, Roy and Athena for their gracious Boston hospitality, good food and tunes. DJ Athena spun tunes between bands at the Midway Cafe. Her mixes were recorded and made for great listening for the ride home. We played with the local band Keys to the Streets of Fear who played bluesy avant garde punk rock set up in front of the stage below the lights, pretty good stuff.
4. Blackies is the place to go for dogs and burgers in the Cheshire, CT area. This is Mikey and Ross' old haunting grounds. I highly recommend a visit to Blackies. They make their own pepper relish - that and spicey mustard are the only hot dog condiments readily available and that's all you'll need at Blackies. Mike's mom and dad showed up. Momma Fitzpatrick brought her homemade pepper relish which held up very well to Blackies. I had two dogs one with Blackies relish and one with Momma Fitzpatrick's. Heaven.
5. Saturday night we were uptown at the Ding Dong Lounge. I was a little concerned that we were a bit too far uptown at 105 street but the Ding Dong is just around the corner from Columbia so the students were out. It's a cool little bar to boot. Turned out to be the best turn out of the t-t-t-tour. I was proudly surprised to see a Houston flyer in the bathroom - an old punk rock Xeroxed thing for the Butthole Surfers at Numbers. That took me back. Got to see some family and good friends. Turpentine Brothers followed with a solid garage punk set. Nice guys and a gal - I hope they make it to Chicago soon.
6. THE LATEST spent the day in New York City baby and a considerable amount of time at the Legendary WFMU Record Fair. We could have spent the entire day there and all of our money (the latter being the reason we did not do the former). This is a great event and well worth the price of admission. I picked up a Fred Frith gem, a W.C. Fields album and some Chicago blues.
7. We got a pick on Mr. J Toubin's new New York Night Train Webzine. This is gonna be a great zine and you should get in on the ground floor while you can still say you knew it when. But more on that in the next post.
8. In Boundbrook, NJ at our last show of the tour, I finally got a decent live recording of THE LATEST and that was the best thing to come out of that show. We played at a sports bar on a Sunday night to the members of the other bands. At least they didn't suck: No Pasar from Jersey City and Northern Liberties (lead singer had some DaDa moments) out of Philadelphia.
Thanks to everyone who put us up and came out to see THE LATEST. BIG BIG Thanks to L Robertson who didn't know what she was getting into but her southern graciousness shown threw nonetheless!
For every band that has "made it" there is a community of artists that helped that band grow. Quintron and Miss Pussycat are no exception. Except, the creator of the Drum Buddy and his puppeteering wife have difficulty tracking down their community these days. That's because it went through hell on earth - courtesy of Mother Nature, a Republican Guard negligent of its under class, a corrupt city politic, and racial tensions fueled by ignorance and poverty.
