truth be told

NPR voting on 10 Best of 2010

2010-12-01T10:03:00.000-07:00

NPR Music: What Are Your Top 10 Favorite Albums of 2010.

a Wilderness of Mirrors - The Host Organism .mov

2010-07-28T23:05:00.001-06:00

"Sun and Moon" Wentworth Kersey

2010-03-23T08:24:00.003-06:00

It's been a while since the last Wentworth Kersey listening opportunity. If you haven't heard them before, today is a good day to start.

As the sun turns to snow today, I'll be taking some time to listen to the beautiful and comforting combination of Joe Sampson's unmistakable song-writing and song-singing and Jeffrey Stevens signature ambient styling. Treat yourself to a listen.

The thoughtful gentleman have today released "Sun and Moon" for your listening enjoyment. It is the first song released from their third of three EPs, forthcoming this summer.

It's a sad day. R.I.P. Alex Chilton

2010-03-18T18:16:00.005-06:00

Alex Chilton (1950-2010).

The sky is a little dimmer tonight.

I really wish I had a clearer memory of the time I saw Alex Chilton perform. I can't find a reference to it anywhere and hope it really happened. If you remember it, please speak up and let me know. The show, it was in Lexington, Kentucky I am sure. I think it was at a club on Limestone called Babylon Babylon. It must've been around 1987 or 1988. I think.

The things that stick in memory seem a little disjointed, but here goes. I remember the guy as seeming kinda moody. It was a small venue. I was stunned when he played "The Letter" and perhaps didn't even know at the time that it was his song. I certainly didn't know he was a teenager when it hit number one. The overall feeling that really left an impression is that, in spite (or maybe because of) my ignorance of the influence of the man's songs, the evening felt momentous. I mean, sometimes you are in the presence of a great talent...the real deal...and you don't need to be told. You just know it, it's so obvious that you are witnessing something special. Even if you are a silly teenager without a clue. Alex Chilton was a real star. Seeing him play was enough to know it. You didn't need an internet full of it to tell you so.

That's all I remember.

I did come across this today at work and it almost brought me to tears. At work.

Over the years I got more familiar with Big Star and both #1 Record and Radio City grow on me a little more with each listen.

I dunno. Maybe the stars are actually a little brighter tonight.

high school students at the book store

2009-12-16T21:46:00.004-07:00

I'm not naming names on this one.

So. I volunteer to help at the high school fund raiser at a local bookstore. The kids perform music by the coffee shop while we parents of young musicians stand several feet from the front door with plates of cookies and a carafe of coffee hoping to lure shoppers close enough to tell them to please mention the school at the counter when they check out so the high school music program can grab a cut of the purchase they were gonna make anyways. It's a pretty ok fund raiser, as far as those things go. It beats bingo and chocolate bars anyday. Nonetheless, with my rapidly growing anxiety condition, I am really dreading the whole thing.

Past a couple saxophone players outside the door, belting out some jazzy holiday tunes, I walk into the book store and stop in my tracks as I catch an unexpectedly familiar tune. So unexpected, it takes me a minute to place what I am hearing. Some kid is strumming away on the guitar belting out a respectable rendition of Neutral Milk Hotel's "In the Aeroplane Over the Sea" and segues right into an Elliott Smith cover. I'm stunned. What sort of 2009 teenager is into such stuff? I walk over and take a look at some boy in a hoodie and jeans playing away. I am heartened and hopeful. I pass out little flyers to potential book buyers with an all right feeling. Even the other mothers talking about ski vacations can't bring me down.

There's always more of "us" out there. Young and aging outsiders like me. And you.

Record Store Performances for Local Shakedown Vol. 3

2009-10-17T07:38:00.005-06:00

Despite the fact that a record store is not typically designed to comfortably handle a live performance and the crowd that comes along with such an event, I love a record store performances. Recorded music and live music are different worlds, in a common universe of course, but I dig it.

Yesterday, today and tomorrow three great local record stores host performances from some great local bands to celebrate the release of Radio 1190's Local Shakedown Compilation Volume 3 out yesterday on Smooch Records. My review of the cd can be found on The Donnybrook Writing Academy.

Details of the record and its release can be found at the Radio 1190 website.

RELEASE PARTIES! WITH LIVE MUSIC!

The Local Shakedown Vol. 3 CD was kindly co-released by your favorite local record stores: Twist and Shout, Wax Trax and Bart's CD Cellar. To celebrate its release there will be live music at each store the weekend of October 16th. The double CD will be for sale at each location for $11.90.

Friday, Oct. 16th
Twist and Shout
2508 E. Colfax Ave., Denver
6:00 PM - The Kissing Party

Saturday, Oct. 17th
Bart's CD Cellar
1015 Pearl St., Boulder
2:00 PM - Thee Goochi Boiz, otem rellik, Aënka

Sunday, Oct. 18th
Wax Trax
638 E. 13th Ave., Denver
2:00 PM - Bad Weather California, Magic Cyclops, The Fire Drills, The GetDown!

The 2009 Denver UMS!

2009-09-06T21:51:00.005-06:00

The UMS, I think, is the indie music fans version of the county fair to farming folk: it's a chance to say hey to a number of friends you haven't seen since last year, maybe see a new thing or two and best of all, catch a few well-loved familiars.

I should've written this in a more timely manner, a month ago or so. But I didn't feel like writing about it until right now. It's not that I didn't enjoy the UMS this year. I did. And it's not that it was too exhausting (though four days were truly too much for me--I took Friday off.)

I will probably never get used to that sampling buffet-style mode of music listening of a festival. There were, as usual, too many bands to even catch a sample of properly. And predictably, I missed a good share of those I would've liked to have seen. The four days were more than I could set aside the time and energy for, so I deliberately skipped Friday and having the underage entourage in tow, I skipped the evening hours of Saturday and Sunday as well. The kids were bummed that they had no all ages opportunity to see the #1 voted band of Ian Cooke. He's pretty all-ages friendly too. Alas, there was still much to see and hear that made it well worth the price of a wristband.

And the UMS does seem to be growing, not shrinking. I heard tell that there were folks who made the trip from outside the rectangle of Colorado to play for the South Broadway crowd. I'm not sure if I caught any of their acts, but I think I must have seen at least one of them on the outdoor stage, which turned out to be a good place to hang out with my all-ages entourage. The skate shop also had a nice little setup with the little bouncy outdoor stage. Fancy Tiger and Rock the Cradle were good places to stop in and catch some acoustic singer-songwriter fare. The church on Lincoln also was a beautiful and unique place to catch some exceptional sounds.

For me, the highlights were: Thursday night at the 3 Kings Tavern with Snake Rattle Rattle Snake and Bad Luck City; Saturday afternoon at Fancy Tiger with Joe Sampson and the church on Lincoln with Kal Cahoone. For my teen-age son, Everything Absent or Distorted on the main stage on Sunday seemed to be the highlight. Chalk drawing on the parking lot also seemed to amuse the very youngest of rockers. I was glad that I bought Walgreens out of the last of their summer sidewalk chalk, because not a speck was wasted. Next year I'm bringing a bucket of chalk.

The Pretenders and Cat Power at the Botanic Gardens at Chatfield

2009-09-01T22:13:00.002-06:00

Thanks to the friendly folks at Gigbot, I had a couple tickets to take my 12 year old daughter to go see The Pretenders and Cat Power. Juliette Lewis, I must add, was also on the ticket, but we didn't make it there in time to see what her performance was about. Mapquest sent us on a scenic route south of Tiny Town to a road of the same name, but not the right one. It took us a bit of time to figure out what had happened, turn around, call civilization for proper directions and get to the Kipling and C-470 location. We weren't the only ones with crossed signals. Apparently a lot of people's tickets said "gates at 4, show at 5" when it was actually an hour earlier on both counts. Oops.

Well, with the heat of the day, I truly wasn't heart-broken for not having another hour under the sun. Nope.

I hadn't seen the Pretenders since 1986. They were playing with Iggy Pop in Memorial Coliseum in Lexington, Kentucky. It was a good show, from what I recall. But I was pretty stoked to see the Pretenders again. I expected there'd likely be a bunch of aging rockers I'd feel fairly at home with. My daughter was especially looking forward to Cat Power.

Chan Marshall did indeed look to be suffering a bit from the bright Colorado sun. I had heard stories of stage drama from Cat Power, but no such nonsense went on at this show. She sang a lot of low-key newer stuff with a solid backing band keeping it all together behind her. My daughter and I only have the first two Cat Power records, so the newer stuff was mostly unfamiliar. She does have a distinct voice and it delivers just as pretty live as recorded.

The Pretenders didn't let the heat bring them down. Well, the sun was set a little lower by the time they took the stage, but it was still plenty warm and sunny. Chrissy Hynde is an all around solid performer. Her voice and musicianship are as fabulous as always. But not only did the band deliver song after song of crowd pleasing favorite Pretender tunes, Hynde was really funny and engaging, commenting on a little guy's rocking out dance in the crowd and thanking the venue for not having to play with the wafting smell of barbeque in her face. Clearly a passionate vegetarian.
Pretenders played with their original drummer and rolled heavily with songs from Pretenders I and II mixing in newer songs here and there which held their own against the old familiars.

Though outdoor blanket-on-the-grass venues are not my favorite choice, it was a good place to take a kid to a show. Though, honestly, without the comps, it would've been out of my price range for a family outing. But my daughter was happy and thought it was really cool that she can now for always claim as her first national act concert two bands she likes: Cat Power and the Pretenders.

And I had fun too. But next time I'm bringing more water.

Shakedown on a Saturday Night

2009-05-14T21:13:00.003-06:00

I love Radio 1190. Even the times I don't care for what they are playing at the minute, I appreciate their eclectic, subjective, and what I reckon to be, truly honest selections. I dig that they play what they dig, not only what might sell some ads. However, as you know, listener supported radio still has to pay the bills.

So be a good listener and get to the Hi-Dive on Saturday night for Radio 1190's Local Shakedown Volume 3 compilation Benefit Show and you can shake your own self down to some of Denver's most fabulous talents. I can't wait to hear the haunting and adrenaline-inducing new songs Bad Luck City has been recording performed live on stage. The much talked of Overcasters will be there to dazzle with sounds and projections. And for goodness sake don't get there late or you'll miss the long-awaited return of live music from Cowboy Curse.

Only $6! And kids, you can come too. It's a 16+ show.

You may not go to church, but you can still see the Reverend

2009-04-09T09:13:00.003-06:00

This Saturday at One Eyed Jacks, (formerly The Continental Club) what Westword's Best of 2009 called the best club revival, you can join in the Reverend Deadeye's own rock 'n' roll revival. I'm reminding you right now to bring your bibles, because as many times as the Reverend asks for them, y'all forget them every single time. For shame.

It is the Reverend's last show in Denver before his second European tour. So head down, check out the new club and send one of Denver's fine musical ambassador's on his way with a little more change in his pocket. I am sure he'll appreciate it.

I got to see the Reverend with American Relay at 3 Kings Tavern last week. I always am glad to see both these bands perform and last Thursday was no exception. It was a treat that Reverend Deadeye's brother was in town and performing with him. I hadn't seen them play together before and it was quite fine. American Relay has yet to disappoint me and the duo delivered their songs with no lack of energy and fervor. They shared some new songs still in progress too, which I love to catch. One of the irreplacable experiences of following a band and making the effort to get out to see them live is hearing new songs develop, following the song until it is recorded and immortalized as "the" version. I like to follow the possibilities of where a song might go. Even though I am only a listener in the process, it feels inclusive. And since, like so many others, I've got the job-searching depression going on, it was a little comforting to listen. When you're on the outs, those blues songs remind you that you're still on the inside somewhere.

Okay, that's enough of my rambling musical philosophizing. Go out and listen for yourself!

YouTube Art --ThruYOU

2009-03-12T10:07:00.004-06:00

Many pieces of art come from taking stuff that's plentiful and available, taking that and then doing something new and interesting with it.

What could be more plentiful and available in our time than YouTube videos?

I learn about many cool projects from my Daily Dose subscription, but the ThruYOU project made by an Israeli musician and producer named Kutiman, is the coolest to date.

Music is a universal form. If you ever doubted it you won't after watching this. I am not a YouTube superfan (like some people I know) but mostly because all that material totally overwhelms me. Then there's all that time that disappears jumping from a Cincinnati rapper to a school orchestra quartet to some dude teaching funk chords to a theremin player to a mom singing with a baby in her lap to etc. etc. etc.

To me, the time spent feels mostly wasted free time, but the time Kutiman spent surfing around YouTube was put to beautiful creative use. It's astounding to me. He taps into some genius perception and memory by splicing together music and images that would never be in the same place but for his mixing them. I don't see how he kept it all straight enough in his head to piece it together.

But it's cool he did.

Check it out.

Teenage Rocking

2009-02-18T12:05:00.005-07:00

I wasn't going to post this as it seems too much vicarious parental pride to do so. But I just can't resist. Teenage rocking is fun.

this is not a show review

2009-01-11T22:07:00.004-07:00

I had the best of intentions to go listen to Ross Etherton sing his songs at the Meadowlark last Thursday, but I just couldn't make it. Well, I made it to the show, just not to hear Ross, which is pretty lame as he was billed to go on second, but I couldn't make it a minute more. I hope it works out better next time.

There were four or five acts on the line up and none of them had started yet. Okay. I had been working two shifts at the book store, filling in for two different people. First shift in the basement in the children's section, then second shift closing the coffee shop. I was achy and tired. I thought perhaps I should probably skip it and just go home, but I telephoned JZ, who was already at the place and he told me that the show hadn't started yet. I went.

I arrived at the Meadowlark a little after 9:30. Nobody had begun to play. I contemplated whether or not I wanted to get a drink with the following internal conversation: I'm really tired and drinking alcohol will only make me sleepier but then I am feeling thirsty and, well, a little edgy. Edgy? Yes, rather edgy in fact. Come to think of it, I thought to myself, I always get kind of uncomfortable at the Meadowlark. I've noted this before and chalked it up to other things, but this time I decided to try to analyze it. I looked around at the stone walls and remembered when this bar first opened. It was a quiet unfinished basement bar that was useful for escaping the Larimer Lounge. It was good for wanting to have a conversation with a friend or just use a clean bathroom. This was before the LL remodel. I would sometimes get a drink there when I arrived a little too early for a show. But that was a couple years ago. Since then, little by little, it started getting fixed up. Heavy wooden furnishings, mood lighting, animal heads, ultra-bright metallic bathrooms. It became less of a get away from the Larimer kind of bar and one of its own identity. But what is this identity? The best way I think I can describe it is "new yuppie artsy bachelor pad" or at least how I imagine one might be. It has the appearance of comfort, but way too self-consciously to actually be comfortable. At least it's that way for me.

Okay, now I've sorted out that question in my mind and got it off my chest. I can get on to the action of the evening and why I didn't make it to the second act. The first act, called, I think, The Radical Knitting Society, took the stage armed with an upright bass, a rather pretty semi-acoustic electric guitar, keyboards and drums. It looked like a potentially intriguing line up of instruments to me. I listened to several songs start out nice and quiet and a little interesting and then build into something more strident and somehow twist toward grating. I wondered if it was the music or the environment getting to me. I again thought about getting a drink. But decided that wouldn't be enough to calm my agitation. I needed to get outside. Fresh air. JZ agreed he could use a smoke, so we trudged up the stone staircase and stepped out into the brisk night air.

It was barely a few moments before the real entertainment of the evening came ambling, nay, weaving down Larimer Street. A tall black man named Ronnie with a 40 in his left pocket, and a forty in his right fist, arrived at the corner and introduced himself. He rapped some dope rhymes. But I forgot them. He told animated nonsensical tales of adventures in hotels and their pools, women and security officers. His eyes were red and watering. He related comedic family stories about his sister and brother and uncle and nephews and nieces and aunt. He was courteous and pretty well behaved for someone as clearly mashed as he was. I didn't have any change for his bus fare, but he left us with the encouraging words that it ain't over 'til Jesus comes down from the sky and tells us it is. All right? Okay.

I didn't feel all agitated anymore though, unfortunately by this time I was so tired I was about to fall over and really really needed to get home, so we went back inside to offer apologies to Ross. There was also a new songwriter in town, hailing from Illinois I think, going by the name of The Dowry, who introduced himself earlier. I'll keep an eye peeled for another chance. But that was all I could take.

I told you this wasn't a show review. It is a failed-attempt-at-making-a-show review. But kids, that's just how it turns out some nights. Lame, but true.

Oxford American's 10th Southern Music Issue

2008-12-09T10:06:00.007-07:00

Yesterday I opened the mail and found this image of a grinning Jerry Lee Lewis standing there, donning a baby blue plaid suit, spectacularly white shoes against vivid red shag carpet and drapes. I grinned back. I was holding my copy of the new Oxford American magazine. I generally don't get too excited these days, much less over a magazine. But as I pulled the new OA out of its plastic wrapper I felt like a kid opening a pogo stick shaped birthday present. (I always wanted a pogo stick but never got one.) At that moment, I truly felt truth in the hackneyed saying: "it's the little things that matter."

Now, any issue of the Oxford American magazine is a treat for me, but this one particular issue each year is my very favourite. It is the MUSIC ISSUE. If you are already familiar with the past OA sampler discs, you know what I'm talking about. If not, lemme let you in on a treat.

The annual OA music issue is the best mix-tape you'll get all year. Especially if you have more than a passing interest in Southern and Southern-inspired music. Even in these internet days of it being easy to find just about anything you can name, when you don't have to dig through dusty record bins and endure cooler-than-you store clerks, you'd likely still not come up with this comprehensive a collection of tunes. Many of the tunes are cooler than one might expect at first glance. Some of them might not even like at first, but many of them grow on you and get down in the recesses of your brain, maybe evoking something you might've heard, or maybe just dreamed. The songs span from 1928 to 2008. From Blind Willie McTell to Richard Hell, The Residents and the Hampton Grease Band, Alabama Sacred Harp Singers, Big Star and Jerry Lee Lewis. And, as they say, so much more.

This issue, being their 10th anniversary, the folks at Oxford American have treated us to a double CD with 28 songs on each, and there's not a dud among them. I'm sure of this because I've just listened through it twice even though it's been less than a day since I peeled the cellophane off. Some of the songs, naturally, you'll like more than others, but all are worth a listen. Some of the stuff I can near to guarantee that you've not heard before. Not even on the coolest Radio 1190 show or whatever nifty little indie radio station you happen to have within your airwaves. Then, mixed in with the obscure is the relief of some familiar favourites like Lucinda Williams, Neko Case and R.E.M.

And, as if the discs weren't enough, there's the magazine! Some of the best music writers around (and I say that in true sincerity as I really don't like much music writing anymore) treat us to some genuine, smart and funny writing on the artists. I forget it's music writing. I've just started Jack Pendarvis' article on Neko Case and maybe it's not that funny, but I've already laughed my stomach muscles sore.

Just when I was falling into a numb, music-saturated, oh so sick of all the peripheral static of keeping up with a music scene and all its neurotic stuff phase, just when all I craved was silence, the Oxford American leaned over the muddy waters with a steady hand to pull me out.

Resurrection of the Elvis Tent Revival

2008-11-17T11:58:00.004-07:00

Or, this is how we do things in Kentucky.

I am so happy to see my all-time favorite public access offering back up for public viewing (albeit now in ten parts.) These folks here are some old friends of mine from back in the day in Lexington. It's from them and some others that I learned all about punk rock shows at the VFW and the community center, skating, 'zines, and making your own damn fun. It's pure fun for me to watch this stuff again.

Thanks to 64mm Chris for resurrecting this video and stuff.

This ain't no Little Miss Sunshine

2008-11-13T22:05:00.005-07:00

But it is a Denver band doing the film scoring thing.

I am really looking forward to hearing what Bad Luck City came up with for the what has to be some of the most elaborate and terrifying clay animation films I've ever seen.

Saturday 15 November 2008, 2:45 pm, I will be at the STARZ Film Center to see An Evening with Bruce Bickford. One of the films, CAS'L', runs as a silent film and will feature live musical scoring from Bad Luck City. Dark music--played in the dark.

If 2:45 pm is too early in the day for you, they'll do it all again on Sunday at 9:45 pm.

I may just go to both.

show review: Nick Cave and the Bad Seeds

2008-09-27T16:53:00.005-06:00

Disclaimer: It's nearly false notice to title this post as a show review, because I don't feel like this is going to turn out like one. But here goes.

Nick Cave and the Bad Seeds
Bambi Lee Savage
Ogden Theatre
Denver, Colorado
26 September 2008

I like Nick Cave's music. Quite a lot. But still, I wouldn't call myself a super-fan. I can't recite his catalogue like I can my honest faves. But in spite of my Nick Cave ignorance, I appreciated that I was in for a treat on this September evening. Though I don't know the names of but a few of the songs, I definitely recognize that voice when I hear it. And I dig those songs. But my copy of Best of Nick Cave and the Bad Seeds has sufficed as almost enough Nick Cave for me. That's just how it is. So super Nick Cave fans, judging from my little contact with y'all last night, unless you are a friend of mine curious what I thought of the show, you're probably just going to get annoyed at my ignorance. You are warned.

The Ogden was packed to capacity. And where I was standing, actually over capacity. It was a sweaty energetic crowd who knew these songs by heart. It was overwhelming, both from the emotion of the crowd and the heat. I thought I might faint.

Not having heard but one song off the newest release, Dig Lazarus Dig, I reckoned I wouldn't recognize many songs, but it seemed like about half to more of them are on my best-of disc.

I had heard that there was a problem with their gear making it from Seattle to Denver and that the band had to rent near to all their gear for the show. That seems like it'd have to rattle anybody, but the Bad Seeds are truly professionals. I wouldn't have known there was a problem. Except for Nick Cave's temper tantrum over some monitor problem where he apparently couldn't hear the keyboard he was playing. So he kicked it over. Tech guys scrambled and ducked glares and what not from Mr. Cave. One might surmise it was simply rock n roll dramatics, but even if this was the case, it was a fine performance. From inviting a call-and-response session of singing with the crowd to the artful arrangement of the set list, Nick Cave knows what his crowd will appreciate. And I always appreciate a good performance.

Bambi Lee Savage and her backing band for the evening, Denver's own o.g. line-up of Red Cloud West, gave an enjoyable and solid performance. You might know that I am more than a bit biased here, but I'll try to keep it objective. There were some vocal Bambi Lee and Red Cloud fans giving a few shout outs, many recognizing the Bambi Lee Savage song from the Slingblade soundtrack, and others recognizing a Red Cloud song (sung as a pretty duet between Ross Etherton and BLS,) but truth is, much of the crowd was antsy to see Nick Cave, and no opening band could really make those folks happy.

By the end of the evening, I'd decided a couple things. I was really glad to have been at the show. All the way through. It had that feeling of one that I'd be sorry I had missed if I hadn't gone (like PJ Harvey, or John Cale, or Daniel Johnston, or... well you know the type of show I mean.) And two, the energy of these die-hard Nick Cave fans, paired with the energy of the performance has spurred me to give more of the Nick Cave catalogue a closer listen. And that's a longer list of stuff to look forward to. Which is why I keep listening.

The Future is Unwritten

2008-09-06T15:49:00.006-06:00

I heard a little snippet of the new Joe Strummer documentary on Radio 1190 a couple weeks ago and upon hearing the sound of Joe Strummer’s confident and sharply honest voice I set the movie near the top of my Netflix queue. To tell the truth, lately I haven't wanted to listen to anything. The deadening of music has been creeping up on me little by little for months and it is a truly terrible loss. Always, at my lowest times, I’ve been able to turn my ear to music and feel alive again. Not so lately. I haven’t felt alive at all. And music has been no help. Even music I love and have turned to before sounds drowned by the imitations that followed them. When I listen, it sounds wrung out and tired and I have to turn it off. Nothing new fires up my senses either. It’s all deadening. With no input that can make me feel confident I am really alive, I've had no fuel for output. Writing has been out of the question.

So, last night, with only half the heart I would’ve had in the past, I sat down to watch The Future is Unwritten. And I almost remembered how it felt when I first discovered the Clash. For me it’s a very fuzzy deal pulling memory from over twenty years ago. I forget things. But I should remember this. The Clash, and especially Joe Strummer made my life feel livable at a time when I didn’t think that could ever happen. Better than that, listening to The Clash, following along lyrics written on album sleeves, I felt that some things mattered, and mattered a whole lot. I knew I existed because I could feel it and was unshakably confident in that. It’s one of the few times I’ve ever held that sort of confidence. That confidence may have been a bit borrowed from how I perceived Joe Strummer, and how I tried to imitate him at that time, (wish I still had a picture from those days) but somehow it felt more real than mere copying. It felt like recognition of something I knew was true, and how I wanted to be. I wasn’t looking up to Strummer because he was cool (he was but that was not the common sentiment at Christ the King or Tates Creek, places where I went to school at that time—I assure you quite the contrary.) Joe Strummer was cool to me because he was the real deal. Things he said resonated with a vital-ness and truthfulness that registered in every sense I had.

Now I know, obviously, I was hardly the only kid being inspired by the Clash. Books and reissued discs with copious essays in the liner notes abound. The people they've inspired could populate a large metropolis. Even people who don't care too much one way or the other about the Clash recognize "the only band that matters." But back when London Calling came out and I was playing it over and over, I was unaware of so many other listeners and was astounded when I met someone who had even heard of the Clash (this is what it was like growing up in Kentucky.) The few times I did meet a fellow Clash fan it was an instant recognition of a like-minded friend. I guess Combat Rock changed that. Not that it was the band's fault but after that record The Clash, the band began to be lost to The Clash, the product. I guess both exist, but the documentary I can't help but at least partially see as just another way to profit off a bit of history that's bound to sell. Watching it didn’t change and recharge my life, but it did stir a memory and remind me that, yes, those things can happen. Life can be shaken and you can really feel alive. Especially if you weather the downs and keep listening, and reading, and paying attention. Don’t shut off the input, and eventually something will fire.

Fate and Favourites

2008-08-15T12:13:00.008-06:00

As some of you may have noticed, I am continually suggesting shows I reckon to be worth the while to attend over at The Donnybrook Writing Academy's regular Friday feature The Problem of Leisure. My favourites tend to appear a lot, but since the folks running things over there haven't complained about my continual recommendations of Bad Luck City, Bad Weather California, Bela Karoli, Overcasters, and Porlolo, I will keep recommending them, as I deem apt.

This week was no exception:

The Truth: The Mercury Cafe.
Porlolo, Joseph Pope III and Ian Cooke. 9 PM

I’ve never been to the Mercury Cafe. I realize that might be hard to believe. This place has been around longer than many interesting Denver places and it’s often talked about by an eclectic and large set of people. One look at it’s calendar will evidence that this is an involved and community-minded place. And you can eat very healthy sounding food there too. So, why wouldn’t I have been there at least once? I can’t explain.

The eternally hip Radio 1190 presents an all-ages show at the Merc this Saturday. That means youngsters can come. The always lovely Porlolo, the ever charming Ian Cooke and the equally endearing Joseph Pope III will all perform. And it is only $7. I am tempted to ferry myself and my little entourage over there for a listen. According to the calendar, if you get there too early you’ll run into a Green Party benefit…is Ralph Nader really still running for president?

I thought this would be a good show to take the kids to, they love Porlolo and Ian Cooke and I think they'd like Joe Pope's music too. But then I remembered that $7 means per person. With my little entourage, that gets outta my current budget for an evening. So I decided, well, I guess not. But then, fatefully, my rental car wouldn't start. Why fatefully? And what does that have to do with the show? I'll tell you.

This is the story of how I got stuck in a Chevy Cobalt listening to Radio 1190 late Thursday morning and ended up with a plus one to the show.

Wednesday I took my none-so-gold-as-mine minivan for a major tune up. I was overdue. Oh, I mentioned, could you check the brakes? They seem a little off. I guess that happens when all the brake fluid has drained out of the rear drums. They weren't working at all the auto repair place told me. Oh and the transmission solenoid is leaking. And the front axle something. And something, something. I couldn't take listening anymore than to find out I could get it all fixed for a little under 2K. But, they would put me in a rental car for the next day no charge. Okay. That's how I got the Chevy Cobalt. It was the only car they had.

Besides feeling a little like the Yugo I learned to drive manual in, it was okay. At least it was getting me around to places I needed to go. Until I was in the parking lot of that assisted living center, needing to get to a lunch appointment. The key wouldn't turn. I called the rental place and they said, um, yeah that's happened before. Try jiggling the steering wheel. Do you have your foot on the brake? Take the key out and put it back in. No? Jiggle the wheel again. Near to ten minutes of this in the sun, and finally it starts. And at that very moment the dj was giving away tickets to the show. Third caller. I called. You are the second caller. Oh no I said. But you can call back he said. So I did. And I won. Now I only have two tickets to pay for and that is much better.

As for that Cobalt...when I got home, the key wouldn't turn again and all the jiggling and finessing of the key was for naught. I had to call the rental car travel club rescue service. The tow truck driver tries the same to the same effect and says, Oh, I know how to fix this. He jogs back to his truck and comes back with a hammer, smiling, It just needs a little TLC. My eyes bugged out as he starts hammering on the key in the ignition. And you know what? Yeah, it fixed it.

cd release: Blue Million Miles

2008-08-06T21:36:00.002-06:00

Blue Million Miles cd release this Saturday 9 August 2008 at the Hi-Dive in Denver.

Each time I listen to Blue Million Miles, I appreciate them even more. One part dream-like, one part driving, they kind of creep into your memory and stick. And you're not sorry for the invasion. There are a few Denver bands I've actually felt relieved to find out they were definitely recording their songs, so no matter what happens, they'll always be there for another listen. Friday, I'll be in line to get my own copy of Blue Million Miles newest release, Of Building Walls. And as if that weren't enough reason to get to the show, the fabulously amazing Bad Luck City and consistently spectacular, The Overcasters, will both be playing too. I'd not miss it.

dpums 2008: a couple lists

2008-08-03T19:27:00.007-06:00

Too tired to write in sentences. Mostly. So, lists:

Who I managed to see at least some, and in some cases, all of:

American Relay. Reverend Deadeye. Bad Weather California. Overcasters. Bad Luck City. Orangu-tones. Rachel Pollard. Jason Cain. Aaron Collins. Ellison Park, George Inai, Blue Light. Joseph Pope III. Andy Tanner. Married in Berdichev. Andrea Ball, Jen Korte, Jack Redell. Cowboy Curse. Hearts of Palm. Bela Karoli. Hot IQs. Porlolo. And a few others bits here and there walking up and down Broadway. I didn't get to listen to everything I wanted to hear, but I listened to all I was able.

Some of the worst parts:

People talking louder than Porlolo’s set in the Skylark,
then the jukebox starting up.
Sketchy sound systems.
House music playing at Blue Ice during Cowboy Curse,
and American idol on a wide screen TV.
Trying to see two bands at once.
Not trying to see two bands at once.
Leaving in the middle of a set.
Just missing someone you really wanted to see.
Griping about this stuff.
Blisters on feet.
Being hungry and thirsty.
The hot hot sun.
Sitting on the itchy grass.
Forgetting to bring earplugs for the kids.
Being overwhelmed and overtired.
Sweaty and over-packed Hi-Dive.

Some of the best parts:

I hate being packed in, but it didn’t stop me from enjoying the show.
Friday night, appreciating what a great club the 3 Kings Tavern is.
The Overcasters and Bad Luck City back to back.
Not being able to stop smiling.
All those fabulous all-ages venues.
Being able to bring my kids Saturday.
My kids thanking me (so much) for taking them.
The people who stopped chatting and started listening to Porlolo.
Roger Green learning a Porlolo song on the stage,
and it still sounding amazing.
Cowboy Curse playing a great set in spite of the club.
Listening.
My daughter napping on a stack of carpets
Mellow singer/songwriter round sets.
Volunteering. Really.
Just the right-sized outdoor stage.
Nathaniel Rateliff pushing his gear around in a K-mart shopping cart.
Cold drinks.
Aaron Collins child-like-playful solo performance in Rock the Cradle.
Marching my children into the Skylark to hear Porlolo
and nobody stopping us.
Inviting people who don’t usually come out to the shows
and seeing them there.
So many creative and diversely talented folks doing their stuff.
Feeding my kids those yummy Sputnik french fries
one order sweet, one order white.)
Feeling the genuine and impossible-to-fabricate good-will vibe.
All the cool stuff I actually caught.
Realizing some festivals are not so bad.
And all this in Denver.

show review: Porlolo cd Release!

2008-07-25T10:01:00.002-06:00

Porlolo CD release party with: Bad Weather California, Wentworth Kersey, Sorellina and the dancing Team Firefox.
Friday 18 July 2008, Hi-Dive, Denver

by Linda Ruth Carter

Cd release shows are always hold a little more excitement than any other. It’s kind of like a birthday celebration. (New songs are born and here’s this shiny document to prove it.) Friday at the Hi-Dive was definitely a celebration of Porlolo’s second full length release, Meadows.

This show was fun. If you read no further, just know that much is true. I’ve not kept it a secret that Porlolo is one of my all-time favorites, inside or outside of Denver, and I’ve been looking forward to the release of this cd for the past year or so, ever since I started hearing the first versions of the songs on it being performed. And Friday I got to be there.

As the rainbow unicorn cake on the merchandise table read: Porlolo believes in you. And from the people spilling in the door of the Hi-Dive, lots of people believe in Porlolo too. Present were not only the usual crowd of Hi-Dive regulars, but people who’d made a four hour drive from Gunnison just to be there.

Opening the evening was Sorellina, who is the Anna half of the duo cellists of Matson Jones. Though I couldn’t make out a great deal of the lyrics, I’d characterize Sorellina’s songs as being of the feminine singer-songwriter sort. Even the buzzy and a little too bright sound of a cello turned up loud at the Hi-Dive couldn’t hide that this girl has a lovely voice, and can play that cello to pieces. I’d like to hear her in a place where the sound is more conducive to what she is doing, but I was glad for the introduction.

Next up was the eight member dance troupe known as Team Firefox. Donning spandex, leg warmers, and glow sticks as necklaces, bracelets and anklets, Team Firefox danced a coordinated choreographed number to “Never Let Me Down” by Depeche Mode. The stage was too small for this performance so they used the whole floor from the half-wall back to the wall and from the stage almost back to the little stage in the rear. It was fun to watch, though I had to stand on a chair to see. I don’t think I’ve ever seen anything like it in the Hi-Dive. I mean, they were really dancing. But they had the crowd watching, smiling, clapping, and perhaps trying to remember some of those dance moves too.

With smiles on faces from the cheerful dancing, next came the debut of Wentworth Kersey. I was one of the fortunate early kids to get a copy of their disc along with my new Porlolo (and a copy of Roger Green’s newest too.) Pretty awesome.

If Wentworth Kersey sounds oddly familiar for a debut band, it should. This is the musical project of Joe Kersey Sampson (A Dog Paloma) and Jeffrey Wentworth Stevens (George and Caplin) and if you like either or both of these people’s prior musical releases, you will likely dig this new collaborative set of songs. I did. After a couple songs Wentworth Kersey retired from the stage and joined the crowd to listen to featured band of the evening.

Porlolo said they chose to go on before Bad Weather California so they could sit back afterwards and enjoy hearing their friends play. Having heard a few of the pre-released songs off Meadows already, people were already calling out requests, many of them for “Animals” an extraordinarily catchy poppy sounding song sung with the saddest most tear-jerking lyrics, simultaneously hitting your emotions in two places at once. It’s fabulous.

No two times I can recall have I seen the exact same set of musicians accompanying Erin Roberts, though I believe I’ve seen her solo more than once. The cast of supporting players have many amazing repeat performers and whomever of her friends that accompany, I’ve always heard an enjoyable set. Whatever the line-up, the songs always seem to sound just right. On this night, accompanying Erin were: the overall-wearing guitar-sorcerer Roger Green; the ever consistent and copacetic drummer, Xandy Whitesel; the lovely and heart-stirring stringed sounds of Bela Karoli: Julie Davis on upright bass and Carrie Beeder on violin; and the talented songstress Kate Magnus (Placerville) on guitar, electric bass, and a hand-held keyboard. They played a few songs from Storm and Season, but mostly performed a nice long set of songs from Meadows. Song after song, the listeners smiled and cheered. Did I already say it was fun? I’m writing these words two days later and I’m still smiling thinking about it all.

Bad Weather California took the stage to send off the night. Chris Adolf is another Denver songwriter that has been known to take the stage either solo or with a different arrangement of musicians from show to show, but for some time now he’s had the stable line-up of Xandy Whitesel, Joe Sampson and Adam Baumeister making Bad Weather California an identifiable group. But things haven’t gotten stuck in any rut. Indeed there is always a vibe of unpredictability with a Bad Weather California performance. Lyrics are elastic and verses change from show to show, like the songs have a life of their own and have to be wrangled somehow to get them out in the air. But the chorus is familiar enough that the crowd is often chanting along in communal song. That might sound corny if you haven’t been there, but it is pure fun. Believe it.

Top Twenty?

2008-07-13T22:38:00.006-06:00

In spite of my skepticism about the relevance of polls, I recognize they've got their place. They tell a little bit of the story, though nowhere near the whole thing, and if we keep that perspective, it can be some fun. One good thing the DPUMS (and other best-of events like the Westword showcase) does is give a concrete occasion to mark and celebrate a portion of the great sounds around town. I really love some of the music being made in this town, and I try to listen to as much of it as I can make time to hear. Being asked to play a little part in this celebration makes me glad.

So, I got my ballot yesterday, and with only three days before it was due, I looked at the alphabetical list of local bands, then set about the work of making my own top twenty. I scanned the list, subtracting bands I knew to be broken up, noting my inability to make judgment on bands that I had yet to hear from and adding a couple for consideration that weren't on the list. Coming up with a ranked list of twenty local bands is a challenge. And truthfully, the unavoidable arbitrariness involved in deciding who is at number six versus seven or even seventeen, makes it less than satisfying work. I needed some guidelines. And since none were explicitly given, I made up my own. This turned out to be the best part of putting together the list.

My guiding factors in voting on my choices for the DPUMS:

1. I have heard them play. Should be obvious, but can't say how many times I've heard someone give an "opinion" about stuff they clearly haven't really listened to but are mimicking what's been said by others. In most cases I've seen each of these bands/artists at least once live and in all cases I've listened even more times to stuff they've recorded.

2. Pleasure. Simply, I enjoy listening to the band. Subjective? Yes. But that's what a personal opinion is: confidence without proof. And it's a place to start.

3. Talent. This really is another obvious one, but still an important factor. They've got to know how to play their instruments.

4. Genuineness. Sincerity is tough to judge and near impossible to prove, but when I recognize it, I'm confident in my judgment. Soul-less sounds soon wear thin. But when the band really means it--you can feel it is substantial. The real thing, as they say.

5. Distinctiveness. Originality is where judgment gets less subjective although is limited by what I'm familiar with. I haven't heard everything out there, and I never will, but I believe I've listened to enough to have an inkling. Many songs sound the same and many bands wear their influences on their sleeve. This isn't bad. It's a place to start. But it's magical when artists take their influences, integrate it into their own work and truly make it a new work. It becomes theirs, not a knock-off or imitation. Listeners can tell.

6. Hard-working. If the task is to rank the best of the past year, in my opinion, the band has to have played out a bit: either locally or even toured outside Denver, or perhaps they've spent time recording and releasing their music. Even if I liked what they did two years ago, if they haven't played out or released anything recently, and especially if I know they are already disbanded I decided I shouldn't be able to vote them at the top of a 2008 poll. Ditto for promising new bands that haven't played enough for me to form a substantial opinion on yet.

7. My boyfriend is not in the band. To avoid the presumption of a conflict of interest, I am not voting for Bad Luck City or Overcasters. Even though they are two of my favorites, for the reasons listed above, not just because of my affection for someone in them.

The showcase has been a fun time the past two years I've attended.
I expect this year will be too.

show review: Moonspeed, The Wheel, Ross Etherton

2008-07-04T10:42:00.006-06:00

reposted from the notorious Donnybrook Writing Academy:

Show Reviews | Moonspeed
By The Truth • Jun 30th, 2008 • Category: Headlines from the Manor, Show Reviews

Show Review: Moonspeed, The Wheel, Ross Etherton
Saturday 28 June 2008 at the Hi-Dive, Denver
by Linda Ruth Carter
Photos by Laurie Scavo

The up-side of having established a musical reputation in town is that you can fill the place up with your new band’s public debut. The down-side, well, hang with me and we’ll get to that.

I was pretty excited about Saturday’s show for a number of reasons. One, there was no shortage of talented people scheduled to take the stage. Two, Denver being the relatively small musical scene that it is, I’ve become friends with many of these people and it’s always nice to see them. Three, two out of the three acts scheduled to perform would mostly be playing stuff I’d not heard before. And four, the thematically unified line-up (in that all three acts have a considerable reputation with their other bands preceding them,) promised to provide an interesting dynamic to the evening.

Walking around outside before the show we caught Ross Etherton in the parking lot behind the Hi-Dive, on the porch of the Theater on Broadway, rehearsing, writing down some last minute lyrics and figuring out his set list. It felt a privilege, getting that exclusive and personal preview, seeing him fuss over what songs he should play. And later, inside, Etherton brought that same inclusiveness and friendliness onto the stage, sharing stories about the songs with all who were listening. Then I felt twice-privileged. Some songs were familiar old favorites to Red Cloud West fans. Other songs, like the endearing lullaby for his new baby girl, are gems that surely will shine all the more with time and the polish of more performances. I’m looking forward to listening.

The Wheel, I’ve probably seen at least half a dozen times by now, either by himself, or with the accompaniment of violin and keyboard. The songs are beautiful in either incarnation and although by now I know to expect it, the first couple songs I’m still blown away by what a great voice and sense of delivery Rateliff brings. The songs feel like they have a strong sense of central character and I find myself listening carefully for the story. Perhaps I should listen more lightly next time though because after about four songs, I’m tired. Like when I pile my plate high with good food, eat too much and feel overstuffed and sleepy.

Moonspeed got all eleven members settled on stage, seated in a kind of orchestral manner. I’m sorry I don’t have everyone’s last names but here’s how it looked: The two drummers, James and Kit were mirrored in the back and flanked on either side by the synthesizers: Darren to the left, Shannon Stein to the right. Stage left featured the three guitarists, I believe it was Ryan, Jim and Matthew on two acoustic and one electric. Stage right sat Adam on bass, and in front of Shannon, Hayley Helmerick on melodica and Doug Spencer on various percussive elements: tambourine, triangles and wind chimes. Center of it all sat Jeff Suthers on vocals and guitar with his signature sounding trade secret pedals. But what did Moonspeed sound like? Not surprisingly, big. And the sound man (I think it might’ve been Xandy) deserves a medal for making everyone clear and audible.

Definitely, Moonspeed wears the influences of bands cited on their Myspace like My Bloody Valentine and Angels of Light. And while Moonspeed is not exactly blazing any new musical trails, they do seem to be having a good time making their own trip down the road, and gauging from the crowd of listeners I witnessed, it would seem they’ve got a good number of fans happy to follow them.

And now we get around to the down-side of the debut: it’s difficult to not bring Bright Channel performance expectations to the show. I tried to keep in mind that this was Moonspeed’s public debut, and though they didn’t quite have the tightly crafted delivery of oft-rehearsed songs, everybody onstage did remarkably very well listening to each other and keeping things woven together pretty well, if a little loosely. Should be a good time keeping up with where it all goes.

Tagged as: , Angels of Light, Bright Channel, Hi-Dive, Monofog, Moonspeed, My Bloody Valentine, Nathaniel Rateliff, Red Cloud West, Ross Etherton, The Wheel

I'd love to see The Breeders...again

2008-05-27T21:31:00.007-06:00

I would. I loved that band.

But I probably won't make it. I don't have a ticket, my bank account is negative until Thursday, I found out today that the IRS is after me so I must find an accountant to help me respond, and my parenting obligations for tomorrow include watching the youngest perform "Hot Cross Buns" on the accordion at school (very cute), taking the middle child to violin lessons (highlight of her week) and then attending an academic awards ceremony where my eldest child be lauded for his, well, academic skills and stuff. It doesn't take a fortune teller to predict, come evening time, I will be very tired.

Even so, maybe I will still find a way. I've got reasons.

I always liked the Breeders back in the day, in all their various line ups. When Pod came out I remember it striking me as really cool to have both Kim Deal and Tanya Donnelly in a band together because I really liked both the Pixies and Throwing Muses. It's harder to imagine now, but there still weren't all that many girls in popular bands at that time, even "alternative" bands. And hardly any good bands were all girls. I noted Albini producing and still crack up at hearing him in the background asking "Josephine [Wiggs] do you think you are going bald?" and talking about the weather or some nonsense. But mostly, I stuck with The Breeders as a fan because their songs were catchy, fun and good. I still play those records sometimes. I sing along with them when nobody is listening. They have me wishing I had the aptitude to write songs, discontent to just write about songs.

And I actually did see The Breeders live once before. It was probably one of the most surreal shows I attended and still can recall. They were opening up for Nirvana at the Lakeland Civic Center in Lakeland, Florida. I believe it was 1993. I went to the show with my niece Kelley and two guys. I generally detest shows of arena size, but this seemed like one not to miss, even at the time. When The Breeders hit the stage, Kim Deal was clearly pissed off. They started sans Kelley Deal. Kim explained to the audience that they had "lost" her in Miami and left without her. Well, they started off and before a couple songs had passed Kelley comes wobbling on stage in a bright red skirt-suit and heels and plugs in and starts playing. From across the arena you could clearly see that Kim looked disgusted. My niece and I couldn't figure out if this was staged shenanigans or some genuine rock-n-roll moment. It was...odd. Anyway, one of the best rock-show moments I've witnessed was later when Pat Smear (who was touring with Nirvana) comes out wearing Kelley's red suit, and heels, and proceeds to rock out and save the show from being a total curmudgeon contest between Cobain and Deal. It's still kinda hard for me to recall how obviously miserable the guy was, and how oblivious so many people around me were to that.

So. Even not having had a chance yet to hear the newest effort under The Breeders moniker, not having heard whether there are better motivations and substance behind with reunion tour compared to some other reunion tour I've seen some people on...I still want to go.

show review: Hearts of Palm, Velella Velella and Bad Weather California

2008-05-03T11:08:00.007-06:00

I really wanted to make it to this show, but I was tired. Inertia and anxiety pulled and threatened to keep me home and put me to an early bed as they have many times before. But I fought it. I have more "favourite" bands than I can count on my fingers but two who have never failed to affirm my faith in the magic of music were playing together yesterday, Friday the 2nd of May 2008.

I was tired as everybody else these days, but I am glad I made it to this show.

Never knowing when a show is actually going to start at the hi-dive, and knowing Bad Weather California was coming on first, I aimed for a conservative 9:00 arrival and relieved to find I hadn't missed a note. I had time to chat with some friends I hadn't seen in a while, and then awkwardly stand around waiting for the music to begin. When Chris, Joe, Adam and Xandy took the stage, I was ready to listen, and anxious to hear how they'd play the songs this time. Every time I've heard "My Brave Friend" or "I'm Not the Poet" or any of them songs that don't have a set name, they reach my ears sounding somewhere between a little and a lot different. It makes me think of those great chefs who don't follow a recipe but make what is structurally the same dish using what's in season, never failing to come up with a slightly different but consistently spectacular dish just right for that moment. And it always is good. You always leave the table grateful for such fine sustenance. These are some of my consistently favourite sustaining things about a Bad Weather California show: songs that you never know the name of, but still always know how to sing along with; genuine playfulness; instruments I never see other people use but still sound like the song was meant for it; fierce sincerity; adding and changing lyrics on the fly; optimism in the face of it all. But mostly I love those smiles they deliver that are surely leaving cracks on our faces.

I had never heard Velella Velella before, who I learned are currently on tour from Seattle, but since they were playing in between Bad Weather California and Hearts of Palm I would soon find out what they sound like. I had a little clue from watching them unpack the full-size xylophone, vintage organs, and electronic things. I suspect someone who's more knowledgeable about such gear that I can at best ignorantly refer to as "electronic things" would be more excited than I was, but it looked interesting. With these previously mentioned things, some hand held percussion, a flute and a Rickenbacker bass, (no guitar) they turned out some danceable sounds. They are an energetic foursome, sometimes reminding me of catchy Michael Jackson riffs and other times kinda falling out of time in a discordant muddle. If you are in a dance club mood and want the feeling of a live performance this band might be just the thing for you to check out.

It was getting late, I was sleepy and wanted to go home, but was determined to hang in there for Hearts of Palm. I wish it was easier than it is to switch to calling them Hearts of Palm instead of Nathan & Stephen, because I respect the inclusion the name change reflects, but I know I still slip up. It was announced that last night was to be Jonathan's last night playing as a regular member of the band. Matthew is reportedly going leave Stephen and Dan to carry all the guitar duties and take up his brother's bass duties for the group. I wouldn't be surprised to see Jonathan sharing the stage with them again, but seems to be a case of only having so much time in the day, and a lot of other good things going on. So the stage will have one less person on it but that still leaves eight people up there, who play remarkably nicely together. In Hearts of Palm, there's a sense of celebration of many people and things, threaded through with strands of sorrowful realisations. Overwhelmed with joy, so much that you have to watch out for elbows of exuberance up near the front of the stage. But I don't mind. I made it to the show! And I left happy that I did.

Saturday -- A Wild Slew Indeed

2008-04-28T07:45:00.005-06:00

I've been meaning to get out to one of these Anarchist Variety shows, otherwise known as Louis Vuitton Night at the Mercury Cafe, but something always gets in the way. Last time I tried to go I got lost in Commerce City after dark (trying to avoid that giant sinkhole on I-25) and once I finally found my bearings I was too rattled. Kids, Commerce City is no place for me to be lost after dark. But this Saturday, barring mishaps, I will be here:

Saturday May 03, 2008 at 9:30 PM

Mercury Cafe at 2199 California Street

$3 optional donation for the Denver Zine Library

Fashion Theme: JURASSIC PARK (enough said)

As usual, we have a wild slew of amazing bands and stunning acts but to lubricate your whistle here's a few of the highlights: Tom Murphy presents the Surprise Headlining Band, Royal Rush Dance Troupe performing Janet Jackson, Susan Susan, Israel-San's DIY Shibari, Sparrow of Cirkus Dorkus, Bellydancing by Khalijah, Frieda's Violin Modern, Dr. Meg presents cutting edge research on the Chaos Theory, Druglas' Fast and Fucking Furious Performance Art, Denver Community Group Ditties and much much more!

Girls Rock!

2008-04-18T11:26:00.002-06:00

Yes they do.

And this weekend you can hear all about it.

More information here.

Monday, Pretty Songs, Some About Animals

2008-04-10T15:36:00.008-06:00

The best part about local artists opening for bands touring from places yonder is that, when paired with knowledge and thoughtfulness, it can turn you on to one or the other that you might not have otherwise given a listen.

It's no secret that I love Porlolo, so when they open for another band, I'll make time to give them a listen. With the convenience of MySpace, it's hardly a time commitment, but as it is, I gave a click and a listen and decided I do indeed like Blitzen Trapper. I thought they sounded a lot like they'd been listening to a lot of Big Star, but since I've loved Alex Chilton's band ever since I heard Paul Westerberg croon the name, this is all good with me.

I recommend:

At the hi-dive
Monday 14 April 2008
Radio 1190 presents

Blitzen Trapper

Fleet Foxes

AND

Porloloville
(Porlolo and Placerville)

Wish I could be there, but Mondays are a no show night out for me. Maybe you can go and tell me all about it?

Good Listening for Friday

2008-04-10T15:33:00.007-06:00

I've heard a rumour that the Overcasters may be laying low from the live performances while they hole up in some place called the Starburst Factory, taking great care in recording the songs they love.

If you haven't caught them yet, indeed if you have, you won't want to miss:

Dig it.

Overcasters
Widowers
Light Travels Faster

at
The Falcon

on
Friday 11 April 2008

Doing It For Themselves--Hipster Style

2008-04-04T09:54:00.006-06:00

Since you will surely be broke after attending that Daniel Johnston show on Saturday night, you might appreciate a nice, nearly free event on Sunday.

From those who bring you Denver's Most Elegant Anarchist Variety Show, this Sunday, the Free Boutique is kick-starting with a Spring Donation Extravaganza!

You probably have some cool clothes taking up space in your closet, so bring three or more of them down to the Brooks Art Center and leave them, swap them, alter them... Get the idea?

Also take in some live music by State Bird (NYC), Mad Happy (Miami), BDRMPPL, Laura Goldhammer and Tanukis with photography by Hanna Quevado.

Where: Brooks Arts Center (14th and Williams)
How Much: Please bring 3 or more items or $5 suggested donation for the Brooks Art Center
When: April 6th, 3:00pm Donation Tea Party, 6:00pm Show and Potluck
What to bring: All day long: Clothing, Clothing, Clothing! Jewelry, Bags, Accessories, Shoes, Children's Books. Other Books (to benefit Ironfeather Bookstore) Plants and Plant Supplies, Kitchen/Housewares, Bicycles, Tools, Gear, etc. (to benefit Bizarre Denver Bazaar).

Jonathan Richman! At the Lion's Lair?!

2008-03-17T21:50:00.007-06:00

When I saw that Jonathan Richman was touring again it struck me with the same giddy surprise that happens every time his music shows up in my life. My spastic reaction upon hearing "I'm a Little Airplane" on Sesame Street was one of the first times my son looked at me with the sober judgment that I was totally nuts.

I wish that I could go see Jonathan Richman this Tuesday at the Lion's Lair. It is surely one of those missed shows that'll stick in my memory with super glue regret. I've heard his live shows are amazing and put real meaning into the word "live." I bet he makes you smile. I can't say first hand though, having only heard recorded stuff. I know he pulls off stuff that would, sung out of other mouths, make me cringe at the sappiness, but with Richman, I somehow believe it's all right.

It all comes back to this: Sincerity is a hard thing to judge. I've written that before and I expect I will again, but Jonathan Richman just radiates sincerity as brilliantly as the real star he is. It feels rare to run into any artist, hell, anybody is truly sincere anymore. Sincerity is boring, irony is fun. But not too fun. Not like Jonathan Richman.

And seeing him at Denver's little ol' Lion's Lair. Incredible.

CD review: Bad Luck City - Adelaide (2008)

2008-02-28T14:19:00.014-07:00

"I am stealth, I am secret, I've got a cover and I'm going to keep it."

So goes the line in Bad Luck City's song "Stealth." But it's hard to imagine this band's music really staying secret any more than one could imagine anybody staying seriously undercover "hunting ETs and chupacabras...by moonlight and candelabra."

Like many of the songs on the album, "Stealth" is serious and spooky, but balanced with a smart sense of humour, albeit something of a tragic sort of giggles. Light and dark take turns so deftly they almost seem the same thing. "Stealth" is about a self-proclaimed demon hunter, drink by drink and verse by verse, becoming more blurred as the story moves along until the demon and hunter blur into union. The layering of Hayley Helmerick's (Monofog) and Dameon Merkl's vocals brings a captivating and insidious execution to this song. But with no less than ten guaranteed FCC censor's heart attacks, this song won't be sailing the public airwaves.

From the slow and haunting melodies to the heart pumping, crescendo rising ones, every song on Adelaide is threaded with a delightful sort of creepiness. Weaving the line between recitative and ballad, the lyrics deliver stories of a longing stalker in "Suffer the Day," the forlorn "Widow Frances Colver," a regretful morning after "The Night Before" (a great cover of the Lee Hazlewood song) and the tragic tear-jerker end of a race horse "Distaff." All these, vignettes and snapshots of dark but lightly familiar characters and scenes. The music likewise, inseparably surrounds and carries the words. Even the artwork on the cover reflects Adelaide's setting of mysterious and dramatic places captured in a manner of playful yet elegant pencil-line accuracy.

With six people in the band not counting the additional vocalists and players of piano, trumpet and such on the recordings, you might think there'd be some unruly scrapping for attention and center spotlight. But no. Musical deference prevails. Pair that musical courtesy and talent with the remarkably clean mixing of sound and everything comes out sounding great.

Photo courtesy of Bad Luck City.
Album cover artwork designed by Jonathan Till.

Bad Luck City CD Release Show! This Friday!

2008-02-28T00:02:00.000-07:00

Bad Luck City is rad
man, that sextet is cool
Radio 1190 loves Adelaide
and the Truth does too

Friday 29 February 2008
at the fabulous 3 Kings Tavern
with Monofog and Oblio Duo

Preservation Dolls?

2008-02-27T11:34:00.004-07:00

Actually, this is not a review of Tuesday night's New York Dolls show at the Gothic Theatre.

I was thinking about it though. I mean, New York Dolls! I love that band. A great band in their day, and those recordings still hold up as great today. Even if you take issue with that opinion, you can't deny them their status as a Highly Influential Punk Band. The glam and the hair, yes, the attitude and the music... all the genuine article.

I love so many bands from that era. Even though I wasn't of that era. Well, I was around but when these bands were writing their songs, I was just a baby learning to read. Still, when I got wind of this punk rock thing in the early 80s...it was life changing stuff. When I saw Iggy Pop and the Pretenders, it was great, but still the experience felt diminished by virtue of the fact that I was only seeing them in 1987. Again with the Ramones and Blondie and Tom Tom Club on their "Escape from New York" tour in 1990. One of the best line ups I've ever witnessed, great shows, great bands, but still steeped in slightly bitter "after the fact." I looking over my shoulder watching out for that creepy feeling of "nostalgia."

'Round about 1990 I took a trip to New Orleans and went to the Preservation Hall. I didn't know too much about it except that it was some old jazz dive where the serious old jazz bands used to play. Cool. Except that I was surrounded by a bunch of sandaled midwesterners in hawaiian shirts weilding flashing Minoltas. The musicians performing were old black jazz musicians and I felt bad for them making their living in this surreal way. The music was good, but in that context, it felt all wrong.

Nowadays I get to feeling uneasy when some of my favorite old bands start the tour bus up and well, I'd like to see them perform, but then I wonder if I really want to see them right now. It's tricky. Although twenty years ago was closer to the fact than now, I got into some of the the early punk rock bands because it was somewhat preserved, in audio recordings and such, so why do I feel so uneasy about these cats coming back around again for more kids to get into?

I don't have a definite answer. I have been and expect I will be struggling with this troublesome aging rocker issue for a while. I've no doubts I've got company too.

Round 'em up for the Cowboy Curse show

2008-02-22T14:24:00.004-07:00

I’ve heard from reliable sources that this’ll be Cowboy Curse's last show for many a month as they take time to tend to other creative endeavors… so you might should get up and go. I’ll be there.

That's at Bender's this very Friday evening.

It's all about me, really.

2008-02-22T14:21:00.004-07:00

I admit being partial.

This is one of my privileges of remaining at an unpaid fanzine level of writing. I can exclusively write about only the stuff I like, or feel like writing about. Even if it seems I only write about my friends’ bands, (which incidentally isn’t completely accurate,) I think it’s an honest way to write. I don’t write about a band simply because I read about them in some music magazine from somewhere, saw on a list, or that someone else already told me was pretty good. Don’t get me wrong, this is how I find out about a lot of good stuff out there too. But if I’ve heard about it this way, unless it’s made some unique impact on me, I probably don’t have a lot to add to the conversation. I feel I’d just be tatting off a rewording of what I already heard. There are places for that, spreading the word and all, but I rarely do it.

Go to the source.

I far prefer to write about things where I have first-hand knowledge. It's my opinion that if you’ve seen something first hand, and on more than one occasion, you’ve got more depth of perception and more likely that you’ve got something of substance to say. If I know the environment and the other people in that scene, I’m going to have a greater perspective than some performer or band I’ve only seen once. And if some of the musicians I write about are my friends too, well it isn’t odd to become friends with people whose work you admire. Is it?

It is impossible.

“The heart of a melody can never be put down on paper.” I read this quote somewhere and I don’t know who to credit, but it sounds right to me. One can never get in words to the places where music can easily reach. Some people can write technically about music, and that can be useful, but it comes about as close to the heart of a melody as a list of ingredients describes what it’s like to eat your favorite meal. Though you might try to be objective, bringing music that matters to you in a review to other people really is never objective, but always personal.

It is love.

I think many times the better review turns out to be slightly more about the receiver of the music than the giver or the music itself. Even so, the attempt and the struggle to describe the heart of a melody in words, with some luck, compels fellow music lovers to find that melody and give it a listen for themselves. I’m grateful when I read something that makes me want to listen. And that is why I keep trying to describe the music I love.

Planes Mistaken For Stars Final Show

2008-02-15T13:52:00.009-07:00

Yet another chunk of marble is being carved

For the illustrious Denver Music Scene Graveyard.

What could be the epitaph for Planes Mistaken for Stars?

Perhaps, "We're glad for all that time spent in bars."

If they've been a part of your personal music history too

Stop by and tell the boys, "Hey" and "Thank you"

looking forward to this

2008-02-04T22:22:00.001-07:00

I'm admittedly a little partial, but this should be a very good show. I am totally looking forward to it. Also, I've seen the new Overcasters t-shirts and stickers and they are awesome. As of this writing there is no other way to hear this band than to get yourself out to the show and hear them. I know it's cold outside but if you love it when the music is so huge you forget everything else, you should get out for this one. And as you see, the vast and enchanting sounds of Blue Million Miles and Sonnenblume will also be there for your musical pleasure. Click on the links for a listen. Friends, I hope to see you there. Rock!

CD review: Bela Karoli, Furnished Rooms

2008-01-09T15:28:00.003-07:00

Double-posted at The Donnybrook Writing Academy

Bela Karoli is complicated simplicity, a paradox. But this is a band that makes songs out of Emily Dickinson and T.S. Eliot poems for goodness sake. So complicated simplicity makes a kind of perfect sense.

Furnished Rooms, Bela Karoli’s debut release, will make you pay attention and listen to familiar sounds like they were new.

In the first track, “Snow,” the rich and warm signature upright bass sound of Julie Davis is followed by the artful bow strokes of Carrie Beeder’s violin and then by the recognizable airy tones of Brigid McAuliffe’s accordion. The music is as inventive and playful as you might suspect with that admittedly unusual orchestration.

The sense of warmth and palpable life that reside in these twelve songs will make you feel the air passing through vocal cords, in and out of accordion bellows, bringing oxygen to blood pumping through arms that move bows, fingers that pluck strings. I could wax on in this vein but then paradox arises again. There in the background is a machined rhythm of programmed drum tracks. Like in the song “Invertebrate” where the lyrics, “we are soft cells; we have metal shells” suggest a duality, the songs themselves also feel as if existing as a cellular life of their own though encased in that hard and cold shell. It’s a compelling contrast, though I have to admit I miss the presence of a human drummer.

Bela Karoli is like nothing you’ve heard before. Not exactly. Like their version of “Summertime” you’ll recognize it as familiar, sort of, but it’s not an instantaneous recognition. Like no other, this is a furnished room you’ll find yourself glad to be sitting in.

Oh! It's like that Falcon

2007-12-02T11:04:00.000-07:00

All of a sudden the spaceship styled bar stools and the moonscape murals made sense. The Falcon is not just yet another Denver music venue named after a bird. (Bluebird, Meadowlark, et al.)

Somebody told me that they heard owner talking about wanting to have a model of Han Solo's famed spacecraft crashing through the front of the building. That would be cool. But, alas, to run a business, priorities must be made, and undoubtedly to use anything Star Wars, royalties would have to be paid. Fortunately The Falcon made good choices in its priorities for opening night. Bowling was not operating, but the brand spankin' new sound system was set up so musicians on stage could hear each other and the audience got a refreshingly clean clear sound as well. Cowboy Curse broke in the new stage with an energetic and tight performance, a pleasure, as usual.

There didn't appear to be food yet, but the bar was stocked and the tenders of it were nice. My main complaints? Way too much light at the bar, it's like Denver Diner bright, and that's just very unsettling. The stage area was acceptably dim, but it's got the Larimer Lounge set up of being way at the back and I've noticed that setup seems to keep the timid away from the music. Though by the time the second band, Dirty Sweet, hit the stage a number of people who'd spent a bit of time at the bar were lured to the back with some familiar-ish 70s rock sounds.

It'll be interesting to see how this venue develops and what sort of niche it carves out for itself. One thing I'm sure of, if they keep good music on the stage they won't go too far wrong.

Hooray for new venues!

2007-11-30T13:26:00.000-07:00

There really are never enough all ages shows or even 16+ shows around. It has always been the case as far as I can recollect from all those shows I snuck into when I was underage. But I sure hope this new venue is a good one for music and sticks around. Music, bowling, food...sounds promising for fun times. I'm interested to see what it's like and mean to check out their debut show tonight. One thing I'm certain of, I do love hearing them Cowboy Curse songs.

The Falcon is just a few doors down from the Gothic on S. Broadway.

Denver Music Matters

2007-11-21T00:59:00.001-07:00

No, Denver is not the next Seattle, because no place is, but damn, saying it gets people talking. Really, it's an impossible task to analyze a scene and call it about to become national. But people sure get excited thinking about the possibility.

I have friends who moved their band to Seattle in 1986 and everybody was like, Seattle? Why Seattle? When one of my friends moved back to Kentucky a couple years later he said it was a surprise to see people wearing t-shirts of one of his favorite old "local bands" in Seattle, Mudhoney. (Fun little article here about an earlier sparsely attended Lexington Mudhoney show at Babylon Babylon.) I gather it really wasn't obvious then that Seattle was about to become what it did.

I've heard a number of different people who listen to Denver's local music and have been listening here for a while say that it feels like something special is going on here right now. And that's very cool. The Denver artists I consistently make the effort to see perform, I really truly love. What gets me out there is that when I listen, I feel like it matters. It sounds sophomoric opining to say it, but when you first hear music that matters, the world is irretrievably changed. It feels extraordinary. It feels great. And you never want it to end.

So when all these people living in Denver who listen to the music talk and write about it, word travels. Denver gets some looks and listens from people who don't live here, people looking for good music. They listen and hear excellent music being crafted here and they also get excited. There are always discerning music listeners who will search the best stuff out, and then there are those who are always looking for stuff they can package and sell. Some people do happen to be both. We could make a Venn diagram showing the little intersection of quality music and marketable music. There's overlap, definitely, but don't forget the two attributes are not correlative.

The only other thing that gets people as agitated as bandying about "the next Seattle" is saying there is such a thing as "the Denver Sound." I think even people who say it know better. There are so many people creating so many different sounds in Denver that one person couldn't keep up with it all (though I know a couple who make a good effort at it) much less have it contained in one descriptor. For instance, some of the many Denver bands I love to see like Porlolo, Cowboy Curse, Bright Channel, Tarmints, Nathan & Stephen, Overcasters, Bela Karoli, Munly & the Lee Lewis Harlots, George & Caplin, Bad Weather California, just to name a very few, don't sound anything like the others. There are circles that cooperate and collaborate with each other, but they can not honestly be grouped into one.

I understand the marketing value of being reductive, but when it comes to a music scene, it positively makes me cringe to hear about a place having one sound. What happens is that it starves everything and everyone that doesn't fit in the "sound" by feeding that and those which does. When the grunge wave got to tidal proportions there were many other talented Seattle artists who didn't sound like the others who were left cold in its shadow. Not to mention some who gained the most distance from the wave only ended up drowning in it.

Even so, no place can be the next Seattle for a number of reasons. One, it was unique, but also things are not like they were in the 80s. The music industry is just not like it was 20 years ago. I can't imagine major labels have many bulging suitcases of money to hand out for the "next big thing" because, I think, there really isn't going to be a "next big thing" more than there are going to be more a number of " next pretty big things to this group or that group sort of things."

My unsolicited advice: If you are in a position to be wringing your hands over whether you want major label attention or not, keep sight on what you are making your music for in the first place. If you want to make money running a music-making business, think about bringing someone in who knows how to run music-making businesses to help you. If you want to make music and definitely don't want to make a business out if it, don't. But either way you must pay attention to the music first, the incidentals last. That's the only way any of it will continue to matter.

Nathan & Stephen, Dan Craig Band at the Lion's Lair

2007-11-16T09:17:00.000-07:00

Before last night I didn't realize Dan Craig is a very funny guy. Yes, he does smile a lot when he's strumming for Nathan & Stephen, thus exhibiting a good humour, but after thanking fellow N&S band mate Phil for playing trumpet on his opening song by announcing "Phil's in another great Denver band" and pausing to let those at the bar chuckle and smile at the rest of Nathan & Stephen in the audience, Dan continues, "...Born in the Flood." And then after delivering an especially folksy rendition of "Happier" he credits the cover by encouraging the crowd, "You all should really get out to see that Photo Atlas..."

Funnies aside, I am glad I made it out to this show. Lately I've been reluctant to get out much, cold weather, being tired and well, as much as live music elates, sometimes being at a show is too overwhelming for me. So, I almost didn't go, but the Thursday show at the Lion's Lair was more than just a show, it was a benefit for Prax(us), an organization that works on fighting human trafficking in Colorado. I'm all for any effort against exploiting people as commodities. The added social pressure got me to head to Colfax instead of going home and crawling in bed for more sleep than I actually need. I got a music fix and got to feel all warm and fuzzy that my $8 cover was going to a good cause.

My anti-social tendencies have had me feeling like I'm a little out of the loop lately, and last night I received affirmation that, yes I am. The spoken word and slam poets were just finishing up their part of the evening when I was looking at the flier for that evening's event. I asked Stephen Till if he knew the Dan Craig band. He looked at me a moment, maybe trying to figure out if I was kidding or really that dense, before kindly replying that, um, Dan Craig is in Nathan & Stephen. Oh. Yeah. Of course. That's why that name looked familiar.

The Dan Craig Band is more on the folksy, singer-songwriterly side of things than the indie-pop fare of Nathan & Stephen. I'm not one who can decipher lyrics very easily in a live setting but the gist of the songs feel like they dwell in the sphere of those angst-y human emotions. Though that ground is well worn and all too often comes out as annoying and self-indulgent, Dan Craig isn't. I held my breath when they started in on Neutral Milk Hotel's "In the Aeroplane Over the Sea" because I'm tetchy about covers of songs I love already. But even without saws, they pulled out a fairly true to original and very pretty version that I could enjoy. Excellent mandolin, cello, accompanying vocals, drums, five string bass, and trumpet made a really beautiful surrounding for Dan's songs. I think they are playing at the Meadowlark next Friday night. If any of this description sounds the least bit interesting you'd be happy to give a listen.

Nathan & Stephen always make me smile. They radiate good will. It is really astounding to me. When a band can harness positive energy and make it into catchy songs, it generates a force of its own. A good one. Even recovering from a lost voice, Nathan McGarvey sang with no less than he ever does. Sincerity goes a long way with me and Nathan & Stephen are chock full of it. I haven't heard them play in a while and I noticed that the songs on the EP are all played spot on professional, though even without looking I could tell that Stephen Brooks wasn't on the skins. And even the newer songs are clearly gems that with a little more polishing will be as glowing as the rest. Denver, even if Nathan & Stephen isn't your thing, we are lucky to have these kids around.

if i felt better, i'd be there

2007-10-12T14:44:00.001-06:00

lifted from The Donnybrook Writing Academy 12 October "Problem of Leisure" post:

Anton O Masia says (in poetry, as usual):

Not because it’s in an out of the way warehouse. So exclusive.

Not because you heard these are exceptionally cool bands. Tho it’s true.

But because you tire of the drone, the void of the dive scene. So sedative.

Because being really excited about live music is too long overdue.

Go ahead. Wear your heart on your sleeve and give a real listen.

Or do whatever else, and never know what you’re missing.

Tarmints
Undersea Explosion
American Relay
Cowboy Curse
Primasonic

1401 Zuni, Unit C
Saturday 13 October 2007

I would not want to miss this

2007-10-04T12:23:00.001-06:00

Saturday
6 October
Hi-Dive
Denver

Bad Weather California, Ike Reilly at the Larimer Lounge

2007-09-28T15:03:00.000-06:00

I didn't really know so much about Ike Reilly Assassination before last Thursday, vague memory of a few reviews over the years, and a little listen on the myspace. He had one of his bigger fans playing with him on this night too: Johnny Hickman, who you might recognize as the guy who's been playing with David Lowery over the past number of years in Cracker. Ike Reilly brought in a fair sized crowd for the Larimer Lounge, not too crowded but filled up and enthusiastic. Hickman described Reilly as the "one of the greatest songwriters around these days," but I think I'd concur more with Joe Sampson and describe what I heard as more of "a really good rock n roll band." Definitely good, but not as cutting edge or original as that songwriter claim had me set up for. No undiscovered paths to cut through, but a nice ride down a smooth and familiar highway. But then the Ike Reilly Assassination was following a performance of what I consider to be a singular talent: Bad Weather California.

I can count on one hand the number of bands that I start to miss if I haven't seen them in a while. And I like hearing live music. When it's good, it makes me feel alive. When it's mediocre, it's still better than television most nights. But the bands I itch to see are the few that go above giving a good performance, they affirm that Music Matters. Not that I need convincing, it's just like the faithful going to church, but it feels good.

Bad Weather California is one of those Denver bands that I keep an eye out for when they are playing. They have always made me feel it...that music matters. To hear Chris Adolf sing his songs is to know that this songwriter is for real. This is subjective judgment, yes, but it's one of those things that you know when you see it.

Though Chris has been making music for years, I first heard him only about a year ago. It was at the 2006 Post UMS. He was playing an afternoon solo set at Mutiny Now. The sun was bright shining in the window, it was hot outside and I think Nathaniel Rateliff and Joe Sampson had just finished playing some songs. Chris sat down with a guitar and a handful of papers with lyrics which ended up falling off his lap in the excitement of delivering his songs. It took near to the end of the first song to realize I had been holding my breath. I was so astonished I forgot to breathe. It wasn't long before I got my hands on The Love Letter Band cd. And it's one of my favorites.

Since then I've seen Chris perform with a variety of arrangements, from solo to full bands with a rotating cast of talented friends. You never knew what to expect, except that it has always been good. But lately Bad Weather California looks like it has settled into a regular lineup of Joe Sampson on bass, Adam Baumeister on pedal steel and on drums, agh, I keep forgetting his name [just checked, yes his name is Xandy Whitesel, (sorry Xandy)] and sometimes Nathaniel on guitar too. It sounds very good. Still a textured variety of sounds, xylophones, recorders, rhythms on a loop pedal but with a consistent structure of players to build up from. I, for one, can't hardly wait for the next show.

countdown over

2007-09-02T10:38:00.000-06:00

expectations uncountable. zero disappointments. I wrote that on the Overcasters Myspace page early this morning within hours after their first public show.

The September 1 show at the Tarshack promised to be a memorable event. There was: artwork (equal parts beautiful and eerie layered glass paintings by Monofog's Doug Spencer); the world famous DJ, Tyler Jacobson (who didn't like my musical requests but played them anyway); knife throwing demonstrations (yes, really, knife throwing, and no, no injuries); the always interesting and and ever eclectic sounds of Pee Pee; and the formidable and impressive sounds of the hard working Mothership. All this would make for one good night if it ended right there, but at the top of the night was what I was most anxious to witness: the debut of the Overcasters.

I've been waiting patiently for a good many months to hear this band. Well, actually I've not been entirely so patient. Hearing about these songs for weeks (and weeks) but never having the opportunity to hear an actual note of any one of them...I began to get a little tetchy. I teasingly dubbed them "the Overpracticers."

But it was worth the wait. Over-rehearsed they are not. Talented and together is what they are...the result of time and effort well spent. Erin and Jeremy construct a rhythm section so tight you couldn't slide a piece of onionskin paper between the sounds then John and Kurt's guitars make a palpably dynamic layer floating just above that. You find yourself moving without thinking about it. And the vocals--lemme just say to those who've only heard Kurt sing a Tarmints song, you might be astounded at the downright pretty treatment he can give a song.

As happy as I was to finally hear them for the first time, it feels like I'll find more to love with multiple listens. And I hope that number will be beyond count.

i'm not missing this one

2007-08-30T13:00:00.000-06:00

Denver Bands Never Die,

2007-08-30T12:56:00.001-06:00

they just go on "indefinite hiatus"

i am really sad to add bright channel to my list of bands i love to see that i probably won't get the chance to see anymore. (though i look forward to hearing what those kids'll come up with next.)

NO UPCOMING SHOWS ------------------------------------------------------------------- 8-26-07: We are sorry to announce that Bright Channel will be going on indefinite hiatus. Thanks to everybody who has helped make this such a great ride. Flight Approved Records will be bringing you more music in the very near future - stay tuned for Jeff's new Moonspeed lineup, a third Pteranodon record and more! We'll be posting updates and new music samples over the next few months on flightapproved.com, and on our myspace sites (myspace.com/moonspeeder +++ myspace.com/flightapproved +++ myspace.com/pteranodon). See you in the future ...

it's a reminder: if you like what someone is doing, if their music moves you, don't shrug off the chance to see them perform reckoning, "aw, i'm tired, i'll catch them next time" and definitely if they make the effort to record their music--buy it.

I went to the Denver Post Underground Music Showcase

2007-08-21T08:20:00.000-06:00

Days later and I am still smiling thinking about some of the truly fabulous performances at the 7^th UMS. It was only my second Post showcase, and as much as I loved last year's, I think this one was better. There were more bands and venues and all, but I the reason I think it was better for me is that the little more I know about the local music scene made it all the more amazing to see many diverse bands in one place at one time.

Nobody got to see all 80 bands and performers. If they came close they missed out on another experience…spending some quality time and attention to music you love. I had a little itinerary marked out on my line-up sheet, and came close to following it, but it didn't quite work out to schedule. I meant to listen to more stuff in the category "heard good things about them but haven't seen them myself" but ended up being drawn to more familiar favorites. There're reasons why I love what these folks are doing and I just didn't want to miss seeing them.

Here's what I did. Monique and I arrived around 2:00 I think. We wandered around and there wasn't much going on yet and we were hungry so we went up to Senor Burrito for, well, burritos. When we headed back down Broadway there were some sounds of Jack Redell coming out of Fancy Tiger and it sounded pretty good but I wanted to head across the street to Kozo Fine Art Materials store to catch Ben Bergstrand do his solo stuff. I love Cowboy Curse and hearing some of their songs in a quieter presentation was interesting. I imagined kind of a reverse look into the forming of a song.

Next I went down to Indy Ink for the full band version of Porlolo. I think this is the point of the day when I really started smiling. Even the pre-school set was dancing while clutching their sippy cups. I was sad that my kids' vacation at their grandparents had to overlap with this weekend because there were a lot of great all ages shows going on that I think they would've really liked to see. Anyways, I was there and glad to see one of my most favorite bands play songs I still love as much as when I first heard them.

One band I hadn't seen before but got to catch a few songs of were the Frontside Five. It was hard to miss them as they were the only band actually playing in the street. Yeah, like ON Broadway in front of Thrifty Stick, which was hilarious and fun to see.

Then I went up to Fancy Tiger to catch some Joe Sampson and Nathaniel Rateliff singing. It was nice and warm inside the store with all the people, but nobody seemed to mind much. Joe looked pretty cool in those ray-bans he found on the bus. And I love hearing those songs.

I skipped back over to Kozo to listen to a little bit of Monofog's Hayley and Doug. I wished I could see and hear through the glass windows better, but what I could hear sounded cool. Kozo looks to be a nice little quality art store, but unless you made it inside the ten square feet of space between the counter and the band you had to stand on the sidewalk and lament that the big pane glass windows opened. I couldn't hear to well and didn't want to push past people to squeeze inside the store.

But by then it was 5:00 and the 21+ shows were starting up. I crossed the street again to get to the Hi-Dive for another one of my favorites: Cowboy Curse. They sounded good and it was good to get another chance to hear some of those newly written songs. The CC is a dynamic band that knows how to put together a set list properly so you have a nice ride up and down through fast and slow songs and end strong. And boy, they know how to play 'em.

Went down to the 3 Kings to see when Bad Luck City was going to play and heard a little bit of the Widowers, talked to friends and then tried to make it back up to Kozo in time to hear Nathan & Stephen (just Nathan McGarvey and Stephen Till, not the full nine member band of Nathan & Stephen) but ran into John Moore who informed me that they were all done. Might've been my most disappointed moment of the day.

Bad Luck City. I have to admit to a personal partiality to this set. Yes, my boyfriend is in this band, but even if Jeremy weren't playing with BLC, I'd still go out of my way to see them. A great range of captivating sounds in songs that very cleverly draw you in to paying attention and listening a little more than closely than you might've thought you were going to listen. And a very cool moment when Hayley (Monofog) joined Damian in that demon hunting song.

Whew. I was tired after that. Dinner at Swift's. So happy to stop and have a little bit of quiet time (and a cheeseburger.) I was much revived and although it'd already been a full day of music, there was stuff ahead I didn't want to miss.

Tried to get into Kozo's again to hear Jeff Suthers but it was too crowded and I couldn't even hear through the glass, like earlier in the day owing to somebody cranking up the stereo in the apartment building across Ellsworth. Lame. But then I remembered that Bela Karoli was across Broadway again and squeezed in the very very warm Fancy Tiger to listen to one of the most stunning new bands I've heard in recent memory. Double bass, violin, accordion and drums sound amazing together and put that together with Julie Davis's beautiful voice and well, to describe it would sound like I'm gushing. Because I would be.

Porlolo/Joe Sampson/Little Paia/Bad Weather California/Roger Green were at the Irish Rover. Sometimes it's hard to tell where one set ends and another begins because of all the intermingling with these folks. But that's a good thing. They all know each other's songs and clearly appreciate what each other is doing. They slipped out the back door and came in through the front door with tambourines and the like in a truly festive and celebratory style. It felt super special to be in that place at that moment. It did because it was.

When Chris said "this is our last song" I looked at the time: a quarter past ten. Oh no, I was missing the Tarmints. But I wasn't. I was just in time. Lucky for me they are sticklers for getting their sound right before they play. When you work as hard as they do on their tone you can't blame them for taking the time make sure it sounds how they want it to. And lucky for all their listeners too. I see people come out to Tarmints shows that I don't usually see at the usual scene places and shows. Ten years of playing together and people still look forward to their shows. If you've seen them, you know, if you haven't you should.

Having seen them both before, I was pretty sure the Hot IQs and Born in the Flood were about to put on some great sets, but I knew the Hi-Dive would be packed if not at capacity and figured I'd let the rest of Denver see them that night. Although perhaps there was more I might've liked (Pee Pee is always interesting) I was dizzy tired and called it a night.

So good to hear so much good music.

So good to see so many people I love.

Why I am not a Music Writer

2007-05-15T00:00:00.000-06:00

First thing: this is not a coy denial to encourage the "oh, of course you are" response. I am venting and do not wish to be comforted or coddled. Sure, I am writing this right now and therefore could be called a writer. But we live in a predominantly literate society where really everybody knows how to read and write. By that fact, pretty much everybody is a writer. But did not say I am not a writer, I said I am not a Writer.

Norman Mailer once said something about the difference between a professional [W]riter and an amatuer writer is the ability to work on a bad day. That makes a lot of sense to me. Anything someone has a thought on can be written up nicely given the time and space to do it. But to come up with thoughts everyday and articulate them as fast and naturally as the rain falls down...I can't do that. I can't really write on rainy days, so to speak.

But I also said I am not a music Writer. I put that adjective in there because this is the type of writing I most often decide to make public, in a zine or a blog, and music Writer is what I am sometimes called (not by me.) But I am not a music Writer because I don't always have something to say. Sometimes I don't even really have much of an opinion about something I hear. But then nobody is expecting me to have one. Nobody is counting on me. If I don't have something I think is relevant, new or interesting to add to the conversation, I just don't write about it.

Why do I write about music when I do write? Because like every other music writer (and music Writer) I can make the corny but true statement: music has saved my life. Music saves my life. Repeatedly. I could not live without it and probably neither could you or you wouldn't be reading some music fan's blog.

Why do I have these blogs going? Because every once in a while I have a thought I do want to share. And I presume if you don't want to read it, you won't. You don't have to. It's a great thing about blogs.

And why do I write for zines? I wrote for zines in Kentucky that covered the local music scene there when I lived in Kentucky because I loved it. I now write for zines in Colorado because that's where I live now. And I love much of what is going on right here. Recordings are great and essential and good music comes from everywhere, yes, but you live where you live and the music that is made there could only come from there, at least exactly as it exists. It would be different if it came from somewhere else. Maybe just as good, but it would be different.

I write for zines because they support and exist in the local music scene, whatever state that scene is in, and local music scenes are the only sort of place that's ever felt like home to me. I don't make music, but I do possess the common skill of writing sentences. Occasionally a good one. So I keep writing and try to do my little tiny part for whatever it's worth. Times are that I think maybe it's not worth too much and I maybe I won't write anymore. But then I do it again.

But still, I am not a Writer.

elvis costello & the imposters

2007-05-10T13:14:00.000-06:00

Elvis Costello is important. Everybody knows it. It's true. Just last year I was standing around waiting for my kid at the house of one of his friends when I saw, on top of a stack of stuff to be returned to the library, a copy of This Year's Model, the Rhino re-release. I was looking at it when the mom walked up. I asked who was checking out EC. She said that she had picked it out for her daughter to listen to because "you know, Elvis Costello is so important she should know who he is." I nodded and thought, yeah he is, but although I couldn't put my finger on exactly why...it felt more than a little weird. I recalled that weirdness and felt it amplified at the Elvis Costello show at the Fillmore Auditorium in Denver last Sunday. The tee-shirts hanging in the merch booth said "30:10" and next to it was a little sign explaining the meaning of this: thirty years, re-releasing the first ten. And indeed it was the theme of the night. Drums, keys, guitar and an almost audible bass dialed it back to 1977 starting out the show with "Welcome to the Working Week" the first song on the great My Aim is True. The cover of that album, with the checkerboard pattern spelling out a repeating message of "ELVIS IS KING" and the indelible image of EC in that knock-kneed pose, signature chunky black glasses and cradling his Fender, was retro-50s in the 70s and now thirty years later, I wonder what it is now...retro retro? Because here we were in 2007 hearing the old songs rolling: "Less than Zero" "Watching the Detectives" "Alison" off My Aim is True; "Lipstick Vogue" "The Beat" "(I Don't Want to Go to) Chelsea" off This Year's Model. Looking around it was clear that all the songs are very familiar both with the portion of the crowd who looked like they might've caught the songs the first time around and the younger set who's just getting to them. They are great songs and the talent on the stage wasn't lacking in delivering them. But just as much as they are great songs, and ones I have listened to in recent years, there was a weirdness in hearing them delivered live, as the focus of the show. The Imposters are not out to promote Elvis's new stuff, they are out on the road to play the old stuff. And that feels a little like trying to re-kindle a love affair with your sixteen-year old crush. I know there's no shortage of artists touring on their old great stuff and they have every reason and right to do so. If there's re-hashing going on the original artists should be the first in line to cash in on the interest. Especially artists who were underappreciated in their time but became "musician's musicians" and got fabulously popular after their time. It's not new either. Seen it before and sometimes actually had fun with it. But though I was glad to see him again, I for one couldn't enjoy the nostalgia on this particular night in spite of my love of old Elvis songs.

head like a kite - larimer lounge

2007-05-04T13:11:00.000-06:00

One of the amazing things about computers and music is the astonishingly vast realm of sound one person can pull together on their own. But sometimes what makes for a great recording just doesn't translate to the live performance realm. Knowing this, I was a little bit nervous about seeing Head Like a Kite live. I really like Random Portraits of the Home Movie, a lot, and didn't want anything to spoil it. Head Like a Kite is basically a one man creation, (albeit with a stellar contributing guest list) and although I knew that Dave Einmo tours with the talented and likeable Trent Moorman, I wasn't sure how a live performance would actually look and sound. I headed to the Larimer curious and with my fingers crossed. A sigh of relief. Obviously Einmo and Moorman have put a lot of thought into it because in spite of the invisible musician aspect of a laptop and such other devices, which in other situations have left me a little cold and uncomfortable, HLAK put on a warm and dynamic performance that had me appreciating the songs even more, kinda almost dancing. I got a serving of fine musical victuals, just the kind of sustenance that has kept me getting out to shows for decades. Not surprisingly, seeing the performance of songs from Random Portraits with the super 8 footage the songs were inspired from running in the background made a cohesive and more complete impression of the work as a whole. I've seen film running behind the band at a live show before and when thoughtfully done, it can really work out for a spectacular embodiment of the music. HLAK definitely fits that categorization. The few who made it out to the show experienced a treat. Sorry if you missed it, I'll try to spread the word better next time.

cranky cracker

2007-04-01T13:08:00.000-06:00

Delivering barely a goldfish sized performance at the Twist & Shout in-store David Lowery solidified my previous impression that he is now officially a cranky old man. Nevermind that he's not all that much older than me, his attitude seals it. First let me say that I really really love the Twist & Shout in store performances. The Silversun Pickups delivered a high energy and sweetly personal performance a few weeks prior. It was packed with enthusiastic fans that had seen them the night before as well as those who didn't get to the show and were grateful for the extra chance to hear a few songs performed live. I took my kids down to the grand opening in store when DeVotchKa played a great little set that made a big impression on my son Colin and his friend Ian (who have since started their own band.) The in-stores, although not a replacement for a whole show, are a fabulous addition to the scene. They are low key, personal and special. I am super glad that the Twist & Shout folks put forth the effort to make them happen. All the more reason why I was disappointed in Cracker's appearance. Lowery still has that endearing twangy whine of a voice that I am actually fond of from back in the Camper Van Beethoven, Vampire Can Mating Oven days. (Though I think he lost a sense of humor that had back then.) Even so, Lowery kept the rhythm together while Johnny Hickman executed a fine showmanship of guitary skills. Although the lyrics were a bit too far on the bitter side of disappointed love and loneliness for my taste, this is not a bad band. But bloody hell, twenty minutes of fussing with the microphone stand (I'm surprised Adam was able to exercise enough restraint to not hit David upside the head with it) and two songs in less than ten minutes before a "sorry folks, but we've got a show to get to" left a medium sized crowd a little puzzled and disappointed.

Beck? You're asking me?

2007-02-26T01:00:00.000-07:00

A few weeks ago I was working in the coffee shop when my one of favorite music conversationalists on the bookselling side of the store comes up and asks me "So, Linda Ruth, what's the deal with Beck?"

"Beck?" I laughed. "I think I'm probably one of the least useful people to ask about the dude, because 'though we're the same age, I've been ignoring Beck since I first heard him." But then I thought this might be an interesting thought to explore. "Tell you what Jim, it'll be the subject of my next blog."

So that was well over a month ago. But to my defense, I've been thinking.

Many months ago, weeks before The Information came out, I was given an advance review copy. I did intend to write a review of it, but every time I picked it up to unpeel the shrink wrap I suddenly thought of something else to do.

Since back when "Loser" was as ubiquitous and unavoidable as parks and churches in the suburbs, I've held a grudge against Beck's music. 'Twas catchy but not cool to my way of hearing. I reckoned he'd be gone and forgotten before too long. But while other musicians were dropping out of the scene or checking out of the world altogether Beck remained. Dammit.

I thought he was too easy to listen to. Lame and uninventive. But I'm willing to reconsider things I first blew off. Maybe the problem was mine, at least partly. The experience of music is reception as much as transmission after all.

I went home and saw as a sign of fate the November 2006 issue of Paste Magazine with you-know-who on the cover. British writer Steve Turner was taking it on. So I read it.

Turner starts out the article describing Beck's London performance…with puppets. Groan. The gist: Is he putting us on, or is he serious about this shit? Hm. On to a short bio of Beck's poor immigrant upbringing, his dislike of interviews (which he claims to not read) and charmingly quirky family members. Okay, this is all pretty likeable stuff. But there are a number of people who I like personally but don't necessarily respect.

I'm not going to recount the whole article 'cos it's out there if you're interested. But the thing that stuck with me (since I was searching for why I don't like Beck more than wishing to be convinced that I should like him) the observation that got to me the most was that among all the loads of bands influenced by the Velvet Underground and Joy Division sound (yeah, that's all up my alley btw) that Beck dared to be influenced by other stuff like funk and Mexican bands. Music ignored and discarded and made into something new and delightful. Like the middle class kids scooped up the good stuff and the poor kid sifted through the trash and made something nobody else thought was worth it. But it was.

Maybe. It's a nice story, but I'm still not convinced. I am a little stubborn in my grudges. But damn, that interpretation hit me in a weak spot. All that's totally punk attitude, which I thought Beck totally lacked. I looked again at the cd cover, blue graph paper, and opened up the sheet of stickers. DIY album art. Definitely a cool idea, but riding the line of cool to the point of contrived. But maybe that's the point. I still don't know, but my research brought me to this point—I still don't like Beck's music, but I respect him better. I guess the deal with Beck is that it appears he's probably doing about exactly what he wants to do and succeeding at it to boot. Dregs to diamonds and all that. And well, creating what you intend is better than many striving artists can say.

Hope that helps answer your question Jim. Thanks for asking.

my top music releases of 2006

2006-12-31T01:00:00.000-07:00

My top eight 2006 releases, or in other words, the eight cds i've played over and over and....well, you get the idea. Plus, if you don't like my 8 darlings there are 80 more from 10 other writers in the article!

Here you may find the nicely edited version: www.superstarcastic.com

Here is my longer, unedited version:

Some 2006 releases that changed my life, at least a little bit.

It's a lot of work to get out of town, especially when the town you live in is Denver. I got out of here two times this year. In March I drove almost sixteen hours straight to get to Austin for SXSW. It took six cans of Red Bull, (shudders) and only a few stops for fuel and food. The music made it worth all the effort, but it takes a long, long time after you leave Denver before you get to anyplace else that doesn't look like a likely spot for aliens to visit. It made me drive as fast as I could (hence the only sixteen hours of driving). Thanksgiving I decided to not risk the speeding tickets and took the train back home to Kentucky. Again, hours and hours of vast nothingness before signs of life appeared. Point being, living in Denver can feel as isolated as living on an island.

Okay, I was trying to get somewhere clever with that intro but lost it. Probably because trying to get somewhere clever takes you off the path of where you really need to go. So, lemme start this over with as basic and honest a start as I can. Any music I've deliberately chosen to listen to countless times qualifies as life impacting, at least for a time.

These are the 2006 releases I've employed the repeat button on, repeatedly, this past year:

Porlolo – Storm and Season. I have certainty that I will never ever tire of hearing this album. Certainty isn't a regular visitor to my life. This is a beautiful collection of songs. Beautiful.
Neko Case – Fox Confessor Brings the Flood. I love Neko Case and bought this the day it came out. On first listen I liked it, but disappointingly only kinda liked it. The songs didn't immediately take to my ear. But I've loved so much other Neko I kept listening. It has grown on me. Like bindweed choking out mainstream radio crabgrass. Very pretty.
Paul K and the Weathermen – Panopticon. This guy had Will Oldham listening at his feet back in the day. Me too, but that's a less interesting comment. This is an ambitious three disc project, all hand made covers. Love it.
Twilight Singers – Powder Burns. I could do more back in the day references what with Dulli/Whigs and Lanegan/Trees citations. But I don't need to. This record's pretty good without reminiscing.
Bright Channel – Self Propelled. The lady at the old hotel up in Fairplay said Jeff Suthers looked like a young Donald Sutherland, but that's only because she's never seen Thurston Moore. Bright Channel proves they don't need an Albini after all. Might be my favorite Denver band to hear…and that's saying a lot.
Head Like A Kite – Random Portraits of the Home Movie. I arrived late and totally missed this Seattle band's show at the Larimer. I had gone to see them solely on a friend's rec and had only a myspace idea of what they sounded like. So I bought their disc. I put it on and about immediately started dancing even though I was stone cold sober when I pressed play. Whoa.
Cowboy Curse – Nod Up and Down (To the Simulcast Singing). Best Denver pop band? Might be. Nod Up and Down is addition to the proof that pop songs can be much more elaborately crafted than their easy to listen to exterior first lets on.
Tarmints – Toil Like Devils. Yes, these sounds are definitely coming from inside Denver, but they can travel anywhere. There's a fierce rhythm not to be fooled with, guitars to match and as if that weren't enough, there's the unflinching eye of a poet in there too.

So, I fell asleep at the keyboard at this point last night and had a nightmare. It was cold and dark. I appeared to be in a cave. There were dim lights in the background. I stepped outside and it was even colder and smoky so I stepped back inside and it smelled bad and…wait, this sounds a lot like hanging out in the Larimer Lounge. Aha, this dream I could analyze. And it ties back into my clever introduction. No, I didn't get out of town much. Not in a physical sense and admittedly not so much in a musical sense either. But I did see 2/3 of the bands that made the releases I listened to the most this past year actually perform some of the songs on them. And that made all the difference to me.

I am the DJ

2006-12-13T01:00:00.000-07:00

DJ night

Boyfriend/Girlfriend at the 3 Kings Tavern

11 December 2006

Everybody said, ah, you'll be fine. And I believed them, but still I was getting really nervous about my guest dj gig at boyfriend/girlfriend as Ricardo was explaining to me and Tom how to operate the equipment. It seemed a little complicated. I had never done this before and in the days leading up to Monday night I had developed a little bit of a recurring panic-thought about standing up in the dj booth and causing disjointed and abrupt transitions or worse, causing silence. As it turns out I was fine, only living my little nightmare once and only for no more than a second before I adjusted and got the music back in order. I kept it as simple as possible and just as I was assured, things went fine. Mostly I had a complete blast playing songs I had picked out for so many friends at once. And then getting to spin with three friends who have about the most exceptionally awesome taste in music…well, it's an understatement to say it was way cool.

First let me say Ricardo and Nichole rock. No, wait, they rawk. And they are generous hosts. It is definitely a treat and even more than that, an honor, to be their guests. Even though both Tom and I wanted to play more than we had time for in the evening, I think we shared the time pretty nicely. No fighting about it anyway. Tom has astoundingly excellent taste in music and even more exceptional than that, probably one of the best and most comprehensive collections of Denver music around. Listeners Monday got a little taste of some of the best of it. Check his blog for the setlist. I was super happy to get one local band in there too. Much thanks to Jonathan Till for giving me a brand new Nathan & Stephen song, In the Air, to spin. Definitely the highlight of my set.

Oh my set…I went and overthought my set to a near absurd degree. But actually I do that sort of stuff anyway and it was fun stuff to think about and I don't care if it seems ridiculous. I took to heart the Lipgloss guideline of 2/3 familiarish music and 1/3 new or pushing-the-edges stuff. I also tried, in most cases, to pick music you could dance to if you absolutely had to at that very minute, though admittedly some of it was more danceable than others. I also let each of my three kids pick out one song for me to play.

Okay, my set list is sorta out of order because for all my meticulous planning I changed things around at the last minute and now I can't remember exactly how I played it. But just in case you were interested this is what I played:

Astral Plane – I heart Jonathan Richman. So very much.

Steady as She Goes – Raconteurs. Familiar, danceable, and good. And a fave of my son's. I didn't get around to his first pick, so this one counted as "his" song.

A Dime and A Cigarette – Head Like A Kite. I love Graig Markel's voice on this and this Seattle band plays some highly danceable stuff that's very cool and I hoped people would love it as much as I do, and judging by the dancing going on, I think at least a few people did.

The Letter – PJ Harvey. whoa, oh, oh, o-oh, whoo, oo, oo, oo. This song is evidence to my argument that you can't really, totally, write about music. Not exactly. And it's, um, yeah.

Here Comes Your Man – Pixies. Ultimate comfort in familiarity that never wears out. And Pixies were my daughter Alison's pick.

Seventeen Dirty Magazines – Modern Skirts. This song always makes me smile.

In the Air – Nathan & Stephen. As my pal Bosch would say, dripping ones and zeros. That new. So happy to play this.

Trash – New York Dolls. I had already decided on this before I heard Marky Ramone spin it at Lipgloss. Honest.

Toward the Waves/I'm Ready – Twilight Singers. Great song. Difficult to queue. I will complain to Dulli about this.

Haunt – Paul K and the Weathermen. Probably one of my favorite Paul K songs.

All I Want Is You – Roxy Music.

Come On Eileen – Dexy's Midnight Runners. Yes, my daughter's pick. But I like this near perfect pop song.

Safari – Breeders. One of the best Breeders songs and not played as much.

The Tide is High (Live) – Blondie. Fun.

I wanna be your dog – Stooges. Yeah.

Okay. I think that might cover it.

Thank you Ricardo.

Thank you Nichole.

Thank you Tom.

Thank you to everyone who came and listened.

Show review: Margot & the Nuclear So and So's

2006-12-04T01:00:00.000-07:00

Margot & the Nuclear So and So's / Dirty on Purpose
Category: Music

It was good to be back in town after a Thanksgiving week long trip back to my old Kentucky home. I still had to shed the sensation that I was moving on a train. I did not quite feel like I'd arrived. Not yet. I really wanted to get out to hear a good show and set things right again, so I was super happy to hear that Margot & the Nuclear So and So's were going to be pulling into town in their big black school bus again, stopping at the Larimer Lounge for another Denver show. And although this made the fourth time I've seen them this year, (and the third time at the Larimer) it was nothing old hat. I like this band. Obviously.

On tour with Margot & the Nuclear So and So's is Dirty on Purpose…that name makes me crack up. It is kinda funny in a simple and clever way, and that's fun. But I can't say I had more fun past the name. Listening to them wasn't that bad…they are not incompetent musicians or playing terrible music. But truth is I can't remember a single song. I only remember thinking that it seemed like they had listened to Joy Division or Franz Ferdinand maybe a lot and although I like those bands, this one wasn't making songs inspired by that stuff into anything I could begin to feel good about. Dirty on Purpose, and the first band of the evening whose name I totally forgot, both made me think about how very many bands there are out there, and how many guys have a Fender guitar in their living room and how many people are trying to make songs. And that's all cool with me. Really it is. People need to make stuff and be creative in the ways that move them. I get that. But like background chatter, nothing moving is added to the conversation. And sometimes I just don't want to listen. Yeah, I was tired and waiting for the band I wanted to hear to come on. But still, these openers really didn't make my night.

As I was waiting for Margot to play I thought about how my neice Tina says Margot writes essential break-up songs, you know the stuff your best friend puts on a mix tape to help you get over it all. And she's right, you know, with lyrics like "I miss you less and less every day / it's true the whiskey's had to wash you away / and it's clear to see / you're nothing special / you're a skeleton key." But that's only part of it. Great break up lyrics are not why I like Margot. I like them because they write good songs. I listen to this stuff pretty often, and the eight member band plays them better every time I see them. This past Wednesday they were unfortunately plagued with some mysterious buzzing and crackling from the bass, which tested the limit of singer/songwriter Richard Edwards' patience. He kept his cool… kinda. But just barely. But while the sound guy was trying to fix the problem percussionist Casey (you gotta check the dance moves on this kid) and trumpeter Hubert and the violinist/lap steel player Jesse Lee filled in the down time gaps with some improvisational music and storytelling that showed big time professionalism and kept the technical difficulties from halting the show. Partly they just pushed through it and played over the trouble.

Margot has gotten a lot of good press this year. Although the Larimer Lounge was pretty full, I've seen it much fuller and I thought there'd be more people at the show. I saw them talked about in SXSW, saw them in Harp and Paste magazine (who had their video on their dvd sampler.) Locally I've seen them written up in The Denver Post and there's even more. So with all that big talk you wonder how it'll affect a band. Sometimes it makes pressure that crushes a band to the point where they seem afraid to make a mistake and they come out with some watered down version of what everybody liked in the first place and it's all disapointing. But sometimes a band's beyond that, and for whatever reasons they get better. And I was glad to see evidence of this on Wednesday.

The first time I saw them, just this past January, they only had four songs on a disc and Hubert had told me that they were about to release their full length "The dust of retreat" on Artemis Records. "They're new" he said of their label. In fact at that time J. Mascis was their only label mate. Which I thought was pretty cool. I also learned then that these people all live together in the same house in Indianapolis when they are not touring and although I am amazed that nobody has killed anybody else yet, the togetherness really shows. No, not in a cloying way but in way that they don't seem like they ever stop playing together and work together in a synchronous way. They look like they are playing for fun. The new songs were exciting in that they really seem to be getting even better. That one… I didn't catch the name but I think it is tentatively titled "Payphone" (click here for Denton TX vid by Christie) ...Richard pulled out his Gretsch for it and it blew more than just me away… I can tell you now that people will be wanting to hit the repeat button on that one. Yay. And you know the best part? I finally felt like I'd arrived home.

Currently listening :
The Dust of Retreat
By Margot & the Nuclear So and So's
Release date: 28 March, 2006

show review: Calvin Johnson / Karl Blau / A Dog Paloma

2006-10-31T01:00:00.000-07:00

One of my favorite ways to see a film is to go in knowing as little as possible about it save for the knowledge that people I trust like it. I'm totally willing to put up with the jeers from film snobs in order to gain this experience. The stigma of ignorance is a low price to pay for the treat of this sort of unexpected goodness. I don't get the same experience often with live shows. Someone is always filling me in with the dope before I get there. And that's cool too. But… unexpected goodness is what I got this past Wednesday at Chielle on Colfax Avenue. The Detroit Cobras were rockin' out in the Bluebird next door but the all the wall to wall people in the fab little store that made room for us knew we were in a great place for music that night.

I decided to go to the show in the first place because I wanted to hear A Dog Paloma. That was reason enough to go for me. Although I'd seen the lo-fi flyer on the bulletin board at the bookstore, I was too preoccupied with a week of speeding tickets, tow truck bills and other bad news and didn't pay much attention to who else was playing. Not yet anyway. I just knew that Joe Sampson and Nathaniel Rateliff could be counted on to counteract the crummy and melancholy October days that had gripped on tight. And they did make my week better. Joe and Nathaniel are great to hear on their own…but together…chalk it up to chemistry or creative competitiveness but either way they sound beautiful. I like Joe's songs and am glad to sit and listen anytime he sings them. The Wheel finished off the set solo delivering a single song with energy and intensity that probably was as loud as it got all night. And it was great.

Next up was Karl Blau. Watching Blau perform was like hanging in the kitchen while the best cook you know makes your dinner. He'd start out by making a vocal beat or backing sound and with the click of a pedal it'd be looping then he'd play over that and then add another sound or line and layer that on top and before you knew it you were surrounded with an array of sounds like a beautiful and tasty plate of food in front of you. Sometimes seeing how things are put together takes away from the magic of it, but Blau's approach was like a super cool sleight of hand…you thought you saw everything he was doing but near the end of a song, you're looking at him up there with his brilliant red guitar and you realize that there's so much more going on than the pieces you saw put together. I don't think I'm easily impressed, but this was one of the coolest performances I've ever witnessed. Low key, and it still blew you away. He makes a subscriber cd called KELP! monthly and I'll bet that stuff is like having Christmas twelve times a year.

Finally up walks Calvin Johnson, just him and his acoustic classical guitar. He stands there and looks at everyone. Patient as a mountain. I'm sorta thinking, like the forgetful dork that I can be…hmm Calvin Johnson…that name is so familiar. But it wouldn't be until the next day that it would all come back to me, and after being reminded by a friend. Um, K Records, Beat Happening, oh shit! If you don't know what I'm talking about, well, that's cool…you can just google that stuff and catch up. Or better yet ask your favorite indie rock music fanatic to fill you in. These guys live for that sort of talk. But back to the night. Calvin Johnson began to play and like a tremorous bass note filling a chapel Johnson's deep rumbling vocals filled the air and people got quiet and listened. He alternated between the mellow, sedate and the more rock n roll side of things. At times his voice reminded me of falling asleep in church, lots of hymnal tones and references, although not like things you might find in the psalm book. Songs about St. Peter and about busting holes in the wall of heaven to pull his girl on through had a dream like quality to them. And then the more up-tempo songs like Rabbit Blood would rattle me wide awake. All goodness. Love songs and all. You know the stuff. And if you weren't there, I hope this little description gets you outta the house next time a show looks interesting to you, but you are preoccupied and tired. Get out there. Your week will be better for it.

truth.

show review: Mudhoney & the Geds, 15 September 2006

2006-10-01T01:00:00.000-06:00

The Larimer has shiny new bathrooms upstairs. The infamous ones downstairs are now nothing more than empty space. Like any other girl who has had to use the LL facilities, I've dreaded the broken toilets, the door with no hinges and that damn useless curtain. Boys tell me that's nothing compared to the old men's room, um, scent. So no question that the new bathroom is a better place, but still, I kind of miss the old one now that it's gone because it took time for it to be the way it was. Gross, yes, but it also it had character with all those stickers and grit. There was history in there. And since there was no Las Vegas investor to preserve it, I suppose it's exclusive to the memory banks of those who were there.

Seeing Mudhoney felt kinda like that though. And damn if they didn't sound just like Mudhoney. They did! And they played the stuff the aging flannels and fuzzes remember from back in the day: You Got It, Touch Me I'm Sick, Mudride, Need, Chain that Door, and more, topping it all off with a raucous mosh pit pleasing encore of In 'n' Out of Grace and Hate the Police. I haven't spun Superfuzz Bigmuff lately. In fact, I lost my copy of it over a decade ago. Though I might have a tape with that EP on it somewhere. But I was amazed at how these songs have permanently imbedded themselves in my memory. At the first note of each, I realized these are songs where I can recall every word, chord change, break and thump of drum. Mudhoney's music really meant that much when Sub Pop first sent those records out into the world. And here in 2006 they filled the room with gigantic and still relevant sound.

Before the show I was trying to remember if I had seen Mudhoney perform before. I felt like I had to have, but couldn't recall when or where. After Friday's show I'm sure I never actually did see them and that it was a case of photo and and story induced fabricated memory. I would've remembered this. Yes, Mark Arm, Dan Peters, Steve Turner and Matt Lukin (or was that Guy Maddison?) played it like you, the Mudhoney fan that you are, would hope for and imagine. It's hard to think of what to say beyond that, not without getting my shoes caught deep in the swamp of overused to stale adjectives: fuzz, rock, distortion, scream, and all those others that skirt around the old G word. They were fun and loud and…wow.

But that said, here's my griping section that I usually delete before submitting a show review. Old school bands tend to bring out the I-don't-go-to-shows-anymore-but-I-used-to crowd that evidences their status by pulling their faded concert shirts from the late 1980s out of the bottom of their dresser. Which is okay. I guess. And then there's the baseball-capped Bronco-shirted frat boy type kids who are hitting their bi-annual rock show and both times they come out it seems it simply must turn it into an episode of minor alcohol poisioning or it just isn't a rawking night. Fine. Except pushing the monitor speakers into the middle of the stage with their moshing overspill sucks. Sorry, I do not enjoying your idea of a rock star persona. Besides you spilled beer on me and yes that sharp jab of my elbow to your stomach was my way of telling you to keep your damn hands off my back. Next time Scott Campbell decides to increase his bar prices for the night maybe he could give the alcohol prices even more of a jacking up (and let the regular folk drink normally at normal price.) Maybe it would slow down the rate of consumption on amatuer night. Just a suggestion.

Okay, now that the venting is outta the way I can get back to the music. I know this show review is backwards by getting to the opening band last, but that's just the way this one is. On the night I went to Mudhoney, the Geds were the opening band. I had never heard the Geds, and not having musically grown up around these parts, I actually hadn't heard of them until this show. But it didn't take more than a few songs to get an inkling that these three have been around and that they command no small amount of respect from other local talent. This I gathered from my own uninformed senses of observation. I confirmed it later by listening to what other people were saying. I probably should've researched before the show, then I'd have more substatial things to say, like what songs they played. My apologies to those who would've liked to know. But I can say what I do know; they were a great choice to open for Mudhoney, sharing sonic kinship but no mere mimeograph. Fuzz and volume and great songs and fun to see. I hear they don't play out too often, but next time you see they are playing I'd bet you might be glad to take the time to listen to them sans the historic Seattle headliner. I probably will.

show review: Porlolo / A Dog Paloma

2006-09-21T01:00:00.003-06:00

20 September 2006

Oriental Theater

Porlolo, A Dog Paloma - The super-group versions.

Porlolo is a rubber band. One person, six people, or any number in between and it sounds like an exact fit around the music. I'm always amazed at how that works out. And although hearing Erin Roberts solo with her Harmony is a pleasure, I like the bigger version of Porlolo even better. Last night's line up was about the same arrangement as appeared up at the South Park Music Festival a couple weekends ago; the only missing parts were Carrie Beeder on violin and Joe Sampson, who would follow up later in the evening with A Dog Paloma. Although I think there was only one new song performed last night, that was cool with me because I think could probably listen to Porlolo songs everyday for years and not get tired of them.

In case you haven't caught the new arrangement, I'll explain it for you here. Avoiding the argument of whether double or electric is better, Porlolo takes one of each by having both Julie Davis (Bluebook) and Jonathan Till (d. Biddle, Nathan & Stephen) brilliantly tending to the bass section. Steve Brooks (Nathan & Stephen) keeps the rhythm together while Tom Mohr and Erin Roberts (the central core of Porlolo) tend to the rest with grace and style. I recommend giving a listen soon. They've got shows coming up this month on the 26^th at the Marquis and the 30^th at the Hi-Dive. Go on, you'll be so happy you did.

Before last night I'd only heard A Dog Paloma's songs on the myspace. I love the myspace for checking out music, but you have to keep in mind that finding music this way is like looking at pictures postage-stamp size. That is, you can get an idea of what to expect, an index reference if you will, but it's only a partial representation of the whole thing. So, what I knew already was that Joe Sampson wrote pretty songs and that I wanted to listen to him sing them for real. And last night he sang them with Nathaniel Rateliff (The Wheel/Born in the Flood) to great effect. Very mellow and chill. The harmonies were on. And although Nathan McGarvey (Nathan & Stephen) and Ben DeSoto kept the rhythm together on bass and drums, poor Justin Croft had to give up on his out of tune keys. But even if all the parts didn't come together as perfectly last night as one might hope for in a performance, there was still plenty enough goodness in the songs and voices themselves to make me very glad I stayed to the end.

Thanks!

Sunday 3 September 2006 Bluebird Theater, Denver - Rainer Maria, Ghost Buffalo, Peña

2006-09-21T01:00:00.000-06:00

It's the last of the three nights of Denver Fest and I'm walking up to the Bluebird Theater to hear the line up of Rainer Maria, Ghost Buffalo and Peña. It's almost nine and the Dfest flyer had reported the show starting at 7:00 pm. But I didn't believe that time for a minute and good thing too, because it was still kinda dead when we arrived and there was yet a note to be heard from the stage. No worries though, because I had a friend to talk to and the music started up pretty soon after that as the three members of Peña took the stage.

If you don't know already, Peña is an instrumental band. I'm really not one of those people who immediately get uncomfortable at the lack of vocals in a rock band, but that being said, I found myself wanting to hear a voice in their songs. I love the balance in a three piece outfit and Peña's sound filled the Bluebird nicely, but still it didn't feel like the sound was yet complete. But, that criticism aside, Peña sounded great: at times hypnotic and then starting you back to paying attention. When you see that they are playing you should go see them, love them, and write them some lyrics.

More folk started trailing in and filling up the place as Ghost Buffalo began. I hadn't heard them play before but had heard they were a good alt-country band. I know, that label has become as worn-out and useless as a month old Westword, but still, it gives you an idea if you haven't ever heard them before. Songs range from soft and quieter ballad like compositions to more robust rockers that filled the air with good sounds. Singer Marie Litton has a voice well suited to the songs she's singing. It was a surprise to find out that the whole rhythm section was a mere three weeks into playing with the band, both drummer and bass player being that recently replaced. You would never have guessed from listening. Nice sounds from Ghost Buffalo, and now you have another band to add to your list. Go on, write it down.

The venue started actually looking filled up by the time Brooklyn based (via Madison, Wisconsin) headlining Rainer Maria came on. When I first saw the name I thought, day-um, it's pretty bold to set the bar that high. Oh, sure it's cool to give a nod to the great ones that we follow, but it can seem awfully pretentious, so it's a tricky thing to do. I can't say anything too bad about the band Rainer Maria, but then I can't find much earth-moving stuff to say either. They could play, no doubt about it. Their songs were nice and polished and their presentation smooth and professional, down to the rock-star banter about how they just ate at a great local restaurant (Watercourse) and how good it was. They sounded sharp and sure, but the heart behind the music just didn't make it to my ears. But that's me.

See you at the next show.

South Park Music Festival

2006-09-11T22:28:00.000-06:00

I know, I know. The late summer days of music festivals are long gone by now. The smell of winter is around the corner. And what with immediate blog postings and weekly gossip dishes, the idea of reporting on an event that happened two months ago might seem distant and irrelevant. But I don’t think so. There was some really great music at the third South Park Music Festival this September 2006 and a lot of interesting and substantial talk about music and things going on in the music scene. I say good music and talk about it doesn’t grow stale. So here we go.

Music festivals are fun, but are overwhelming. And there’s other elements of them I could live without. I was at an after-party near Fairplay, Colorado late, late…late on Friday night of the festival weekend. I had already been to two nights of rock shows and a day of panel discussions on things like “What’s Next: The Current and Future State of Independent Music” and “Podcasting: The Hottest Thing in Radio?” I had spent a few hours walking around in a drizzly cold rain, and I was nodding towards exhausted. Wondering how I was going to make it through another full day and night of music without at least a few hours sleep I went downstairs to check if ay of those party goers had gotten off the couch I had claimed. They hadn’t. I didn’t feel like kicking everyone out, but I was getting damn close. At the bottom of the stairs I saw a few members of some fine Denver bands, sipping their beers and shaking their heads. They looked almost as tired as me. They were talking about how nobody comes to these things for the music, you know, it’s more the sex and the drugs than the rock n roll. Now I was about ready to cry. I didn’t want to think that. I wanted to think that people made the trip, not only for free PBR and the like, but for the great treat of being surrounded by a lot of music and hoping to catch the best of it. Well, I know a number of people who wanted to make it to South Park for the music, but couldn’t. I also know a number of people who were disappointed to find mostly side shenanigans of the weekend reported on and not so much of the music.

It’s an impossible challenge to distill the nearly three days I was there into a coherent and relevant synopsis. First of all, there is just no covering it all. It’s impossible. But even so, much like looking at the festival schedule and knowing I wasn’t going to get to every show I had an interest in seeing, I resign to the fact that I’m not going to be able to write about everything I heard. My first explanation on omissions is that I stuck to the venues in Fairplay, so if it the band played in Alma, I just didn’t hear it. I didn’t want to drive and even though there were shuttles between the two towns, I stuck to where I could walk. Even so, a lot got passed over on my schedule.

The Fairplay Hotel was where I kept getting pulled back in...even when I wasn’t volunteering at the check-in table, I somehow kept finding myself there. The stage was set up in the old hotel dining room. It was a little surreal to see rock bands in front of the old-timey lace curtains, but I liked it. And to further the image of disconnect, I was told that earlier at the Thursday night VIP party the hotel staff was scrambling to take down antique tea pots off the shelf because they were rattling off the edge. Kind of out of place, but in a cool sort of mixed up way. The town outdoor stages made tiny Fairplay just big enough to put on the festival. I can’t imagine it being any bigger and still being manageable. But I like that it’s a smaller scale than the bigger fests. And I love the exclusive indie band set up. Major label bands are already getting attention in lots of places and even though we all are smart enough to know that numbers of records sold doesn’t have a sincere correlation with quality or importance, it sure seems like a fact that is easily forgotten. Besides, South Park is really a pretty place to be.

But, enough explaining the general atmosphere. I went to South Park to listen to music. And so, here’s my account of the best stuff I got to hear:

Born in the Flood. Possibly one of Denver’s most talked about bands right now. I got to hear them twice in Fairplay actually. Once, Thursday at the VIP kick-off party at the hotel and then again at the Bender’s Tavern outdoor stage where they took the spot of an Ohio band that I guess just didn’t make it. Thursday night, in the hotel dining room I was listening to them sing “Low Flying Clouds” and when Nate got to the part where he sings “give it to the hippest cats to spread by word of mouth” I shouted in the ear of my friend something about that line being perfect music festival words. Not missing a beat he replied “aw, that’s some myspace shit.” And it’s all true. But this is the thing, I had heard so many good things about Born in the Flood before I saw them play that it actually took a few times of listening to them before I could hear them with my own ears and begin to like them. The first time I saw them was in Denver and when someone asked me what I thought of them that night I couldn’t really answer, I could only shrug. But getting to hear them twice in three days cleared a lot of the cotton of “they will make you cry” descriptions out of my ears. I still have a slight echo of Coldplay comparisons to clear out of my head but I’ve only heard Coldplay in passing, so it’s not quite as bad. Born in the Flood can be a great band and I think their listeners will grow with them. Joseph plays bass lines that hook you in and Mike nets you in with the drums. People will get caught up in sounds like that. The guitar and noises alternate between addictive pop rhythm and an edgier sound that reminds you this is a rock band. But best of all, Nathaniel sings lyrics so pretty and strong it wouldn’t matter if the words made no sense, the sound of him singing them carries them far.

The Theives. Also saw them twice, but just a little of each set. Once at the hotel party and once at the high school. First look and listen at these guys hitting the stage with their Frampton hair and flaired jeans and I thought, okay, so nobody told these guys that rock, and especially Southern rock, is dead. But that’s cool. These guys hail from across the pond, Oxford, England no less, so I cut them some slack. But after a listen I don’t account their style to ignorance but their choice to play the stuff they like. And they do what they do rather well. If you wished the Kings of Leon were a little more wild and crazy, and British, you’ll probably want to check these guys out.

Playing at the the Denver Post “South Park High School Prom Party” I thought about how I might’ve actually gone to prom in high school if the Hot IQs had been playing instead of…well, I guess I don’t know what was played at my high school dances because I never went to any of them. But the Hot IQs on a school stage delivered enough for everybody in what might’ve been the most eclectic prom crowd ever to have a good time. The school cafeteria/gym/theatre sound had the unmistakable quality of sounding like it was in a…school cafeteria/gym/theatre. But even though the high sounds cracked off the cement walls and everything else kind of swirled around in an incredibly loud muddy middle sound they still seemed to sound good to the happy dancers. But sound quality aside, it was a fun set with another one of Denver’s funnest. Hooray for the Hot IQs!

Saturday the music started really early. I was running on fewer hours sleep than I wanted, as explained earlier, but sleep would just have to wait because Porlolo was up on the Bender’s Tavern Front Street Stage at 12:00...noon! Much to Erin Robert’s amazement too, as she couldn’t recall ever playing quite that early a show before. Thankfully the drizzly rain from Friday was gone, and the sun shone down, but it was still a rather chilly day for anyone silly enough to travel to Fairplay in September sans a jacket (yeah, like me.) But super sounds from a super-group sized Porlolo made me forget I was cold for a little while. This was the first time I saw them with their larger line up of Steven Brooks on drums, Jonathan Till on bass and Julie Bluebook on double bass, Carri on violin, in addition to Porlolo base of Tom Mohr on guitar and of course, Erin Roberts herself. All of them talented and great performers. I’ve never left a Porlolo show disapointed, and their South Park appearance didn’t break the trend. It was not surprising, but amazing nonetheless to hear how flexible Porlolo’s songs are that they work equally well with an acoustic guitar and full electric line up, evidencing solid songwriting that stands on its own without need of props and references and lame descriptives of sounds like… It doesn’t need to. Porlolo is.

If you saw Scott Biram walk with guitar in hand, all by himself, up on the stage and expected a sedate acoustic set, you didn’t get what you were expecting. I had met the Bloodshot Records artist from Austin earlier at the hotel check in. I handed him his band badge and freebie bag and asked him if he needed anything else, but all he really wanted was directions to where he was playing because right after that he was headed back down to Denver to play a show at Bender’s that same night. I thought, this is a hard working musician. But anybody within earshot of the Front Street Stage could’ve told you that if they were even half-listening. Biram plays as if there were four or five of him. All that sound and energy coming from one man. The Bloodshot Records site describes how he “lashes together blues, hillbilly and country precariously to raucous punk and godless metal.” Than don’t make no sense if you only read it, you got to hear it. And he will knock you over when you do.

Feeling bad about not taking many stretches outside of my element, I took a walk over to the Hip Hop Takeover Skate Park Stage. It was enough of a walk to feel a little dizzy from the altitude, though not so very far. When I got there it a Denver outfit called Pirate Signal was onstage. I need my friend Judy to write about this stuff because I am no hip-hop student and lack the vocabulary to begin to talk about it. Mostly I stood and watched the skaters and thought about how big a concussion I’d have if I tried to skate that stuff. But it was a really cool set up to have the hip-hop stage right next to the skate park and although the crowd was smallish, it seemed like everyone was having fun.

Heading back to the Bender’s stage made me feel a little more at home. We got back in time to listen to Munly and the Lee Lewis Harlots. Although I’ve been hearing this band play the same songs off their self titled cd for a while now, I’m not tired of the songs yet. The sound sounds like Munly and the Lee Lewis Harlots. And if you love them, you are never sorry to hear them again. I was surprised to see them performing the show sans their bass player, but was later told it was only because Paul couldn’t be there that day. Cellist Rebecca Vera worked double time filling in the string space left by the absent bass. She’s exceptional, as are Elin and Frieda. And Jeff Linsenmaier, sporting a serious mountain man beard, held the rhythm together as solid as ever. Munly sang and played like only Munly does. MLLH has a strong sense of what they want to sound like and they never shortchange you with a lackluster delivery of their sound, whatever you want to label it. That commitment has always made for a good performance, and South Park was no exception.

Back at South Park High School Lion Sized started up the evening with a sonic fight against the wide open space in the gym. It was loud, and they won. Listening to them I remembered that I don’t go see Lion Sized often enough. They’re a for-reals rock band. And I love love love that stuff. You too? Rock.

By now, the sun had just set and it was hard to believe that there was still a whole night ahead. It seemed like there couldn’t be room for more. As much fun as I already had, I didn’t know that the best was yet to come. Looking over the schedule I kept trying to make myself move from venue to venue, but on Saturday the bands I wanted most to see were conveniently located in one place. Yeah, the Fairplay Hotel. It was a serious line-up at The Onion Showcase and I was gonna stay put for this one. Things started out great with Pee Pee and this was the first time I’d heard Monofog. And I’m going to have to hear them again real soon.

But, Holy Cow…boy Curse! Giving more energy to their performance than you’d think possible in the thin mountain air Cowboy Curse played one of their best sets I think I’ve ever seen them play. Not that they don’t usually play a great set. They do. It’s just that this one was seriously memorable. Not just knit up tight and solid, but such energy and heart all put out there that I worried if they were getting enough air to breathe. This band plays it like they mean it. And I believe they do. When you weigh recorded sound and live show performance together, this trio is hands down the best indie pop band in Denver, and who knows how much farther. And like the best of them, they make the songs look easy even when you know how much they are not. Bop bop bop ba da da bop bop, ooh, ooh, ooh, ooh… Evidence that words are not, never have been and never will be enough. Thankfully.

So, for sure the night couldn’t get even better. Or could it? It could. And it did. Bright Channel was yet to play. This was the very first time I had seen Bright Channel live. I’d heard good things from the very few people whose musical opinion I trust with little questioning. So naturally I’d checked out the mp3s on their myspace player. But this was a lesson to me that really wasn’t news but nonetheless a wake up. Hearing some music on the internet is kind of like looking at a postcard of the Grand Canyon and deciding, yeah, looks pretty cool. Some things…there’s no way to capture without actually being there in front of it. And this is the way I felt listening to Bright Channel for real. I was wide awake, and after less than ten hours sleep in the past sixty. They make the cliché “wall of sound” alive and pertinent. They could’ve woken up the ghosts in the hotel. And perhaps they did. I can’t wait to see them again. Even though there was more music to get to if I wanted, I was content and super happy I’d been there and heard all I did. In spite of all their overwhelmingness, annoyances and worse, that great feeling of being there and having the chance to see so much music in one place at the same time is why music festivals, and specifically this time, the South Park Music Festival, is always worth it.

Like Bookends to the Summer

2006-08-21T01:00:00.000-06:00

originally appeared in Japan Implosion

The first review I wrote for Japan Implosion was the 24 May 2006 show at the Tar Shack. I won't re-hash the review here, but suffice to say I thought it was one of the best shows I had been to in Denver yet and it kind of marked the start of my summer. So, now that school supplies are being bought and temperatures are dropping just enough for me to wonder where I last left my jacket, I feel this summer disappearing fast. But it's cool that I can index the close of the season with a second show at the Tar Shack. Sadly I missed half the bands and cant deliver a first hand account of Absolute Zero or The Hot House. Though from reliable sources the words I heard are that it was great stuff.

I did get there in time to catch all of Cowboy Curse's set. Last time I saw them was just before they set off to the west coast to let as many people as possible know there is some great pop music coming out of Denver. I hope those people were listening well because this band has some really fantastic songs, the type of songs that make your repeat button look a little more worn than the rest. I hope they make more of them. And you'd never have guessed that drummer Erin Tidwell had just played a full set with her other band (Hot House) because there was absolutely no dragging or lagging going on. Impressive. And just to mesh the two bands together a little more, Allie added some perfectly in tune keyboard sounds to the mix. Yay.

And that left the Tarmints to top the night off with their songs. And top it off they did. Tarmints are a great band to see anywhere you can, sending raw and beautiful sounds and energy (from god only knows where they mine it) out there and having it fall on your ears like an unexpected gift. It's energetic punk rock, yes, but that falls short of describing it. And seeing them anywhere is a treat, but seeing them in the Tar Shack is something even better. It's an unspoken genuine hospitality, a feeling of you being there as a guest, whether or not you really know the people who live there. And if you ever get a chance to go to a show at the Tar Shack, you oughta behave like a guest. As they began to play Kurt made some mention of it having been kind of a grouchy day up to that point for a lot of people. I could relate. But as the Tarmints dove into their set I couldn't help but let go of all traces of crabbiness and even as I write this days later, I'm still feeling better. That's a rarity that should never be ignored. That's powerful stuff and when Kurt ran to the back and jumped up on that table and played in front of the giant spirally Tarmints banner--well I just wished someone was faster with the camera so I could show you a little better what this show was like. But if you were there, you'll remember it.