OK, check this out. Mr. Joel has e-mailed me that he is internet hosting a Karl Straub bio. If you need to hear some Karl fast you can always go to Sam's Records.
Now only if some nice fan could do the same for the elusive Lee Wilhoit.
Friday, February 28, 2003
Sunday, February 23, 2003
Well, I pride myself on observation, and what I observed at IOTA Friday night at Last Train Home's new CD release was that when your front man/band leader does not work a full-time job, the audience gets a much better show for it. Or maybe it was just all the pomp and circumstance of it being a CD release that kept them on the straight and narrow. Or maybe that the Maker's rounds were held to only 2 on Friday (Soooo, not the case on Saturday.) Kudos to all band members for for making it there through the traffic snarls. Funny thing, if traffic (therefore Metrobus) had not been snarled I probably would have been in G-town at Lady Brain Space Mind Meld, and not at the Friday show. You should go see "Mind Meld" anyway, FYI there's lots of Rockin' DC Lady in it that hold there own in the music scene so go support their work!
On Friday, after a few warm up songs LTH went and played the new CD straight through. In talking to a regular LTH junkie on Saturday he was amazed and thought it was a ballsy thing to do. "Like super confident" were his exact words. Hmmm, I'm not sure what I think about that statement. For a band that doesn't religiously play to a fixed set list, playing this "CD set" didn't bother me. We all know the material. And ever the gents, they mixed it up on Saturday as there were so many repeater audience members.
Beyond that neither show was so structured that on both nites, Chris Watling's accordion couldn't all of a sudden appear, for the first time ever (to my knowledge) on the LTH stage. F-I-N-A-L-L-Y! Man, I have been waiting for a loooooooong time for the accordion to get on the LTH stage. I hope it keeps up.
There's all kind of accordion potential for Eric's songs and arranging. So often in the arranging you've got a sad depressing melodramatic lyric paired with a driving rock & roll rhythm (List of Sorrows, Walls of Time, It Doesn't Matter) or a song you thought was happy go lucky lovey dovey (Angelina or So Long Baby Goodbye), played to pensive, haunting, dirge melody. Perhaps, it's the penchant for this emotional flip-flop that makes me think accordion. You people may disagree, but I think it's a very emotional instrument. It breathes and it's breathy sound can be excited, steamy, exasperated or lonely sounding like no other. This was really one of the super musical highlights for me at both shows. It's a like a scientific theorem, accordion inertia.
On Saturday, though the Makers flowed and there was some flailing, there were two major mentionable moments. One when Alan Brace sang Bob Dylan's "Song for Woody" and really nailed it vocally. Clear, clear, crystal clear. I could hear every syllable of every word (and every word spoken was felt, might I add). Second, three words: "Walls of Time". I love this song and I have for a long time. I love Last Train Home's arrangement, I recognized it the first second I heard it, though the band says Mr. Monroe may be spinning in his grave and the press has agreed it's rockin makes it unrecognizable from the original, I say "pshaw." Well there's always a little sax and trumpet repartee goin' on in the horn section between Chris and Kevin on this song. Well, towards the end of the song on Saturday, holly schmolly, I do not know what got into the two of them, but mother mary it sounded good. I wish I knew more about both their influences right now. They both know soooooooo much music and they rip from everyone in sooooo many genres. The best I can do for you at the moment is describe it in non-music terms. It was as if I was transported to a strange time and place where beatnik horn players duel. The horns played over and through the din of guitars, those string things were demoted to wallflowers and after two plus hours of standing in a crush of like 100 people, I felt like I was living in a Thomas Pynchon novel all of a sudden. Everything else would seem anti-climactic from then on.
And naturally, the most appropriate of anti-climax would occur. The fan known as TEX would redeemed himself in my eyes, with a crazy freestyle lyric to the tune of 'Take This Job & Shove It' during the encore which ended up being a little trib to Johnny Paycheck. It would seem the LTH 'guitar platoon' can unendingly fudge any music written in the past twenty years for their fans if they ask loud enough. Then in a category all it's own, a 'Big Fish' o-gram closed the night. If only you could buy a bottle a Maker's anywhere by whipping out this cheery ditty, the world would be a better place.
On Friday, after a few warm up songs LTH went and played the new CD straight through. In talking to a regular LTH junkie on Saturday he was amazed and thought it was a ballsy thing to do. "Like super confident" were his exact words. Hmmm, I'm not sure what I think about that statement. For a band that doesn't religiously play to a fixed set list, playing this "CD set" didn't bother me. We all know the material. And ever the gents, they mixed it up on Saturday as there were so many repeater audience members.
Beyond that neither show was so structured that on both nites, Chris Watling's accordion couldn't all of a sudden appear, for the first time ever (to my knowledge) on the LTH stage. F-I-N-A-L-L-Y! Man, I have been waiting for a loooooooong time for the accordion to get on the LTH stage. I hope it keeps up.
There's all kind of accordion potential for Eric's songs and arranging. So often in the arranging you've got a sad depressing melodramatic lyric paired with a driving rock & roll rhythm (List of Sorrows, Walls of Time, It Doesn't Matter) or a song you thought was happy go lucky lovey dovey (Angelina or So Long Baby Goodbye), played to pensive, haunting, dirge melody. Perhaps, it's the penchant for this emotional flip-flop that makes me think accordion. You people may disagree, but I think it's a very emotional instrument. It breathes and it's breathy sound can be excited, steamy, exasperated or lonely sounding like no other. This was really one of the super musical highlights for me at both shows. It's a like a scientific theorem, accordion inertia.
On Saturday, though the Makers flowed and there was some flailing, there were two major mentionable moments. One when Alan Brace sang Bob Dylan's "Song for Woody" and really nailed it vocally. Clear, clear, crystal clear. I could hear every syllable of every word (and every word spoken was felt, might I add). Second, three words: "Walls of Time". I love this song and I have for a long time. I love Last Train Home's arrangement, I recognized it the first second I heard it, though the band says Mr. Monroe may be spinning in his grave and the press has agreed it's rockin makes it unrecognizable from the original, I say "pshaw." Well there's always a little sax and trumpet repartee goin' on in the horn section between Chris and Kevin on this song. Well, towards the end of the song on Saturday, holly schmolly, I do not know what got into the two of them, but mother mary it sounded good. I wish I knew more about both their influences right now. They both know soooooooo much music and they rip from everyone in sooooo many genres. The best I can do for you at the moment is describe it in non-music terms. It was as if I was transported to a strange time and place where beatnik horn players duel. The horns played over and through the din of guitars, those string things were demoted to wallflowers and after two plus hours of standing in a crush of like 100 people, I felt like I was living in a Thomas Pynchon novel all of a sudden. Everything else would seem anti-climactic from then on.
And naturally, the most appropriate of anti-climax would occur. The fan known as TEX would redeemed himself in my eyes, with a crazy freestyle lyric to the tune of 'Take This Job & Shove It' during the encore which ended up being a little trib to Johnny Paycheck. It would seem the LTH 'guitar platoon' can unendingly fudge any music written in the past twenty years for their fans if they ask loud enough. Then in a category all it's own, a 'Big Fish' o-gram closed the night. If only you could buy a bottle a Maker's anywhere by whipping out this cheery ditty, the world would be a better place.
Hey there, before I drop words on the "Time and Water" CD release show, I admit, I really did enjoy the opener, Kathleen Edwards, even after all the hype. This is a BIG admission because she's not from here, she's Canadian and that usually keeps you off groupiegirldc. Now understand, I listen to tons of music from everywhere and I go to live shows for major and minor players from all over. However, I don't think the world needs another person on the internet talking about Wilco, Radio Head or Dave Matthews. I'm interested in what people are doing around me and I am recording ideas and impressions about a small slice of it, the part that I revisit over and over and over.
Back to business, I mention Ms. Edwards, because, after talking with Jenn, we're in agreement that there is an unmistakable Straub-ness in many of her lyrics: pain portrayed in pictorial poetry, like One More Song the Radio Won't Like. Beyond that, even the rhythm and melody in some songs smacked of Karl, so there is a local bone in it for me. I'm not saying there's any influence, because I do not know, but there is a confluence. You know, I am also struck by how much Edwards looks like Danielle Howle and even acts/sounds like her a bit, in a general way. Truthfully, in the long run I will probably prefer Ms. Howle. I should listen to my own advise and get out and see her shows.
Stay tuned, hopefully it will not take to long to get to "Time and Water" (upon looking at my past posts, why it seems I have never posted anything about Americana Motel 2, dang, what have I been doing?)
Back to business, I mention Ms. Edwards, because, after talking with Jenn, we're in agreement that there is an unmistakable Straub-ness in many of her lyrics: pain portrayed in pictorial poetry, like One More Song the Radio Won't Like. Beyond that, even the rhythm and melody in some songs smacked of Karl, so there is a local bone in it for me. I'm not saying there's any influence, because I do not know, but there is a confluence. You know, I am also struck by how much Edwards looks like Danielle Howle and even acts/sounds like her a bit, in a general way. Truthfully, in the long run I will probably prefer Ms. Howle. I should listen to my own advise and get out and see her shows.
Stay tuned, hopefully it will not take to long to get to "Time and Water" (upon looking at my past posts, why it seems I have never posted anything about Americana Motel 2, dang, what have I been doing?)
Thursday, February 13, 2003
ewh, yay, everything I wanted, plus extra, And you can get it on Sams Record's already. Go Kevin. And check it out, a new look for LTH's website, thanks for not moving anything 'cept the tonality. woohoo.
Monday, February 10, 2003
Oh well, so the boys of The Grandsons and Bicycle Thieves didn't walk away with any WAMMIES, I don't think. Last Train Home/Eric Brace, and Bill Kirchen walked away with some. Dave Chappell walked away with rock instrumentalist. Of all things, The Rhodes Tavern Troubadours get best rock group. OK, wah-hoo. Seems that Hungry For Music was suitably honored too. Good for them, I like them.
Now unfortunately, February is half over. I'm still hurting in the financial department, and I have not really considered 'picking' a club or band for February.
Honestly, the only no-miss show I have on my roster is LTH's CD release for "Time and Water" next week. This should not be taken as a slight to anyone else, as mentioned I am pressed for time and money recently. So The State Theater is going to stay up at bat for hosting the WAMMIES and LTH is going to get it, with the caveat that Eric promised that their version of Bill Monroe's "Walls of Time" would be on it, even though that was a promise from back in the Summer. For the first time in a long time I am anxious to hear what the mix turned out like. It would be great if "Lorelei" made it on too, but somehow I think not. The CD release is supposed to be a crush; if you can believe it will be more of a mad house than usual, do. Just 10 more days...
Now unfortunately, February is half over. I'm still hurting in the financial department, and I have not really considered 'picking' a club or band for February.
Honestly, the only no-miss show I have on my roster is LTH's CD release for "Time and Water" next week. This should not be taken as a slight to anyone else, as mentioned I am pressed for time and money recently. So The State Theater is going to stay up at bat for hosting the WAMMIES and LTH is going to get it, with the caveat that Eric promised that their version of Bill Monroe's "Walls of Time" would be on it, even though that was a promise from back in the Summer. For the first time in a long time I am anxious to hear what the mix turned out like. It would be great if "Lorelei" made it on too, but somehow I think not. The CD release is supposed to be a crush; if you can believe it will be more of a mad house than usual, do. Just 10 more days...
Friday, February 07, 2003
Saturday, February 01, 2003
Wow, a band I don't talk about much, but is perfectly great, is The Bicycle Thieves. Being much more up-to-the minute than most of the heavy retro-influenced music I go see, The Thieves are hard rock without a lot psychedellia. Well, those guys have 6 Wammie noms in the rock category, yay!
Also the Washingtonian Magazine's cover story for Feb. '03 is area music. There are little pictures of area greats popping out of big alphabet letters that spell "Great Music", the likes of Duke Ellington, none other than Mr. Bill Kirchen, five other artists, but no hardcore rock or punk pics on the cover. I have not read the thing yet, I've barely even looked at the cover, but this should be interesting.
Also the Washingtonian Magazine's cover story for Feb. '03 is area music. There are little pictures of area greats popping out of big alphabet letters that spell "Great Music", the likes of Duke Ellington, none other than Mr. Bill Kirchen, five other artists, but no hardcore rock or punk pics on the cover. I have not read the thing yet, I've barely even looked at the cover, but this should be interesting.