Posts Tagged ‘Rock

10
Sep
10

What’s Become of the Bus

After Jerry Garcia died in 1995, the remaining members of the Grateful Dead officially decided to break up. Over the years, there have been a few reunions of the surviving members involving a variety of additional musicians. In 1998, former Grateful Dead band mates Bob Weir, Phil Lesh and Mickey Hart formed a band called The Other Ones, which later became The Dead; they went on hiatus in 2004.

Ken Kesey with the original "Furthur" bus in July 2001. Photo: Brian Davies

The latest Weir and Lesh collection of musicians, Furthur, formed in 2009. The band’s name comes from Ken Kesey’s prankster-filled bus of the ’60s. The bus’ name placard, designed by artist Roy Sebern, gave inspiration to carry on whenever the bus broke down. The bus died shortly after a trip to Woodstock in 1969. It currently rests on the late Ken Kesey’s farm in Pleasant Hill.

Acid Test Poster 1965

The ties between Kesey and the Grateful Dead go back beyond the beginning — before Jerry Garcia picked up that old dictionary in search of a new name for their band, turned to Phil Lesh and said, “Hey man, how about The Grateful Dead?” Before they were The Grateful Dead, they were The Warlocks, and they played at many of Kesey’s parties during the mid-’60s. Their first performance as The Grateful Dead was on December 4, 1965, at one of Kesey’s Acid Tests. From there, The Grateful Dead — with an eclectic style that fused elements of rock, folk, bluegrass, reggae, country, jazz, psychedelic and space rock — took that long, strange trip into rock and roll history.

Phil Lesh, Bob Weir and Furthur

In addition to Weir and Lesh, Furthur has a strong lineup: keyboardist Jeff Chimenti of Weir’s band RatDog; guitarist/vocalist John Kadlecik of the Grateful Dead tribute band Dark Star Orchestra; drummer Joe Russo, who first played with Lesh in 2006; and backing vocalists Sunshine Becker and Jeff Pehrson. The Grateful Dead’s music remains the same, but the Deadhead has changed quite a bit over the years.

"Old Joe" O'Hara

"Old Joe" O'Hara - Click picture to watch video of Widespread Panic performing "Old Joe" at the Riverside Theater in Milwaukee, WI.

I spoke with a longtime Deadhead, Joe O’Hara, also known as Old Joe. For you Widespread Panic fans, yes, he’s that “Old Joe.” O’Hara has been going to concerts since the mid-’60s when he was about 6 years old (thanks to his older cousins), and he’s seen the Grateful Dead countless times since the early ’70s. Regarding the Deadhead scene, he told me, “Before ‘Touch of Grey’ came out [in 1987], it was a very kind, peaceful scene. We were family; we helped each other out. I would make big pots of stew or chili and feed others and sell some of it. I’d sell beer and tie-dye too.”

O’Hara continued, “After ‘Touch of Grey,’ — which, believe it or not, was their biggest hit with that MTV video — all of a sudden, the scene filled with a bunch of wanna-bes. We, as a family, would try to help those that looked like they needed help. Did they appreciate it? No, it would be, ‘Thanks, what’s next?’ They didn’t get it. It lost a lot of its appeal. It was that way until Jerry died.”

O’Hara assured me, “Now it’s come back to calmer people at the shows just enjoying the music.”

This article was originally published in Eugene Weekly, September 9, 2010

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25
Aug
10

Tyler Fortier – The Next Big Thing?

The Next Big ThingI became aware of Tyler Fortier a few months ago while doing an article on an act for which he opened. Honestly, after going to the show, I liked Tyler’s music much more than the headliner. That’s just me.
I interviewed him and I’ve been enjoying his music. I’ve had an in depth article about him on the back burner for a couple of months now (that I promise will be my next entry).

In the meantime, Tyler is in the running for the “Next Big Thing” that is sponsored by Eugene Weekly. His entry is the very timely and driving  “Fear of the Unknown”. “Fear Of The Unknown” is a not-quite, almost finished version of a song that will be found on one of Tyler’s future releases. For a not-quite, almost finished version it sounds damn good. Go listen to it (you can click on the song name or on Tyler’s picture to go listen to it and vote). If you like it even half as much as I did, vote for it!

Tyler Fortier, at the age of 25, has released 4 CD’s and proves to be a consistent presence in the NW as a prolific singer/songwriter. With the release of his new record, This Love Is Fleeting on April 15th of this year, Fortier embarked on a 2 month long/40 city tour throughout the NW (OR, WA, ID) and has been playing shows and festivals in the Eugene area throughout the summer before he heads back out on the road in September. Since Fortier’s return home, he’s recorded 15 new songs and declares, “ he has many more to go,” already planning the releases of his 5th and 6th records.

Much more on Tyler Fortier coming to OKOM very soon!

20
Aug
10

Robert Earl Keen Interview – Part 3 of 3

On August 18, 2010 I was given the opportunity to interview the legendary singer/songwriter Robert Earl Keen. In Part One of this three part interview we talked about a variety of subjects – a burning car, Todd Snider, and Robert’s not-so-traditional love songs. In Part Two of the interview we explored some of his more bizarre recordings and one of his somewhat unorthodox songwriting methods. In this final installment, Robert tells us some more about his songwriting methods, some of his thoughts on mainstream country music, and an interesting side-story about a song that is probably his most popular – “The Road Goes On Forever.” Enjoy!

Robert Earl KeenOKOM: Okay, you’ve already mentioned one of your methods of songwriting – lying naked on the floor with your guitar –

REK: [Laughs]

OKOM: [Laughs] So, I don’t even know how to ask this next one. When it comes to songwriting, when compared to mainstream – oh hell, I can’t compare you to mainstream, I can’t even listen to that shit – anyway, you seem to get it so right when others seem to be getting it so wrong. I guess the question is – how do you approach a song? Is it story first, lyrics first, melody first, or does it vary?

REK: Because I’m not a genius musically, I really like to latch on to some kind of music that stirs me or something that piques my interest. So, I do kind of just strum guitars. My God, when I really get set up to writing, I set about five, six, or seven guitars around me. I’ll strum on one for a while, and maybe I’ll feel like it’s kind of dead. So, I’ll pick up another one until I sort of get a vibe. What happens with me is that the music will bring out some sort of image. Then I’ll take that image and try to describe it. Maybe it’s a car in a parking lot under a street lamp, or maybe it’s a girl in a doorway – any kind of an image. That’s where the beginning starts to blossom a little bit. Then once I describe it to my satisfaction, then I’ll try to create a puzzle. And then I’ll try to solve the puzzle.

OKOM: That’s really interesting. That’s a cool approach, I mean, starting without knowing the ending.

REK: Yeah, I know. I like to read. One time I went on this Leon Uris jag where I read all his books. Then I read some of his biography stuff, and when I read that he’d started with the ending, I went, “Well shit, that’s cheating!”

OKOM: [Laughs]

REK: You know? [Laughs] Anybody can work backwards. Let’s work forwards and find the mystery, you know? Where’s the mystery? So, I’ve never been much on starting with the ending. I don’t know why. It’s just one of those things. I like to stumble onto the ending, you know?

OKOM: Yeah.

REK: It’s more why I don’t write from titles much. I’ve written a few songs from titles and they’re never as good as a song that I write from an image. So people will give you those – “Hey, here’s a good title for you!” – shit, I don’t know, man, I can’t write from a title. It’s a tried-and-true method; it’s just not my tried-and-true method.

OKOM: So, where do you do most of your writing? Do you do it on the road?

REK: No, no. I have this place; it’s a little shack on a side of a hill that I’ve owned for about twelve years. I do most of my writing there. I used to say that I didn’t write on the road. But, I’ve got where I’m on the road so much that I’m working on that. I’m working on getting over that whole fear. I’m not saying that it works all the time. It seems to be harder to really kind of mine some serious lyrical pay dirt on the road. However, I do try a lot more than I used to. I’m on the road all the time, so I got to write something.

The Rose HotelOKOM: Hey, one of the songs from Rose Hotel – “Village Inn” – Have they ever called you and thanked you for their increase in business since that song came out?

REK: [Laughs] No, they never did. But I haven’t been back. So, if I go back, I’m definitely going to hit them up for it!

OKOM: Yeah, they should at least put you up for free, right?

REK: Yeah, yeah.

OKOM: So you actually did write it there?

REK: Yeah, I wrote it right there. Even though there was some tongue-in-cheek stuff going on there, it truly was an inspiration. I was truly inspired. As a matter of fact – and I’m not a big [guitar] tuning guy but – I found a tuning on that, I swear that it was just because of where I was and what was going on. That’s how I ended up writing the song. Like I was telling you, I have to find some type of music to follow. I found this little weird small change in tuning that just made that song happen. That was what it was.

OKOM: Another song on Rose Hotel – “Wireless in Heaven” – You haven’t caught any heat from the Vatican over that one yet, have you?

REK: No, I don’t even worry about it anymore. [Laughs] Actually, I was worried more about heat from Starbucks.

OKOM: [Laughs] Yeah, they’re pretty tight with their trademark.

REK: Right, they are.

The Road Goes on ForeverOKOM: Okay Robert, this next question comes off the Todd Snider Listserv – they call it The Shithouse Wire. [Robert laughs] I put this question out there – “If you had one question to ask Robert Earl Keen, what would it be?” So, this comes from Eric Kincaid in Grand Rapids, Michigan – damn, I sound like Casey Kasem…

REK: Yeah. [Laughs]

OKOM: Anyway, he asked, “Have you ever been approached about making a movie based on the song ‘The Road Goes on Forever’?”

REK: Well, that one – I used to have a stack of screenplays that people used to send me based on that song.

OKOM: Really?

REK: Yeah, yeah, and I was always like, yeah, go ahead and write this screenplay or go ahead and make this movie. And I read some of them, and they all really just pretty much reflected the song scene for scene.

OKOM: They didn’t expand on it?

REK: No, not much, not importantly. Then, this girl from somewhere around Dallas wrote one and won some kind of little local screenplay writing contest with it. They sent it to me and it was great. It was really great! It was sort of Smokey and the Bandit meets The Road Warrior [Mad Max 2] sort of thing, and it was really interesting! It clipped along and filled in lots of stuff. It had some exposition and it had a lot of back-story for the characters. It was great! So, William Morris – I don’t know whether they’ve optioned or something – there was no money, of course, that changed hands – but it’s been sitting on somebody’s desk somewhere for the last couple of years like that. But, that was cool.

OKOM: Yeah, that is cool. I’ve got to ask you about a trilogy on Walking Distance – that pretty much makes Walking Distance one of my favorite albums of yours – and that’s the trilogy of “Road to No Return” – with “Carolina,” “New Life in Old Mexico,” and “Still Without You.” Do you do those much live?

REK: No, I did when I first [released] it. It’s not what you’d call a crowd-pleaser. I did it back then because I really loved doing it, and it was fun to do. I’d have to dust it off; we haven’t done it in a long time. It was a lot of fun but it took eighteen minutes. So, if you have a crowd full of beer-drinking screamers, it didn’t hold their attention very well.

OKOM: Do you have a preference when it comes to types of crowds? Do you like a crowd that really listens?

REK: I love a crowd that really listens but you have to be on your best behavior and you got to keep moving. You’ve got to be a little bit more on your toes with a crowd that really listens. Since I’ve been playing with this band for the last fifteen years, we’ve played so many crazy, rowdy, drunk crowds and stuff; I’d have to say that getting up for that is a little more difficult than riding the wave of a crowd of screaming, yelling, happy people.

OKOM: Do you have to sometimes adjust your set list on the fly?

REK: Yeah, I do. As a matter of fact we have – what is called in the band – The Secret Mike that’s located in front of the drums where I run over to Bill, the bass player, and tell him, “Alright, slash this bunch of stuff, and we’re going to go to these songs!” Then he’ll tell the rest of the band.

OKOM: Yeah, I can imagine that the crowds can really vary so much.

REK: Yeah, they really can.

OKOM: Robert, thank you very much for your time. I’m really looking forward to seeing you in Roseburg.

REK: Great!

OKOM: I really appreciate your time, Robert. Damn, I could go on for hours about your songs but I know you’re busy. I’ll see you in Roseburg.

REK: Well, I appreciate it, too. Be sure and say hi!

Note from author: I didn’t make it to Roseburg BUT I did go to Robert’s show the next night (8/25) in Portland, Oregon. What a great show it was, too! It’s always a treat to see him with a large group of true REK fans.
Some personal highlights – hearing “The Great Hank,” “Farm Fresh Onions,” “A Border Tragedy,” “Feelin’ Good Again,” and the tattooed girl in the baby blue dress who danced non-stop for two hours in front of my cousin Brian and me.
Thanks for an unforgettable night, Robert!

Go back to Part One

Go back to Part Two

20
Aug
10

Robert Earl Keen Interview – Part 2 of 3

Robert Earl KeenOn August 18, 2010 I was given the opportunity to interview the legendary singer/songwriter Robert Earl Keen. In Part One of this three part interview we talked about a variety of subjects – a burning car, Todd Snider, and Robert’s not-so-traditional love songs. In this portion of the interview we explore some of his more bizarre recordings and one of his somewhat unorthodox songwriting methods. Enjoy!

OKOM: Now, going back to your What I Really Mean album – There are two songs on there that I love, that’s “The Great Hank” and “Mr. Wolf and Mamabear.” Both of those make me want to ask a two-part question – Where did those stories come from, what were you smoking at the time, and where can I get some?

REK: [Laughs] Well, “Mr. Wolf and Mama Bear” has to do with a personal small-town politic thing that I got involved in. Well, I didn’t get involved in it; I got sucked into it. I didn’t ever want to be a part of it.

OKOM: Wow, really?

REK: Yeah, and it [the song] was my vindication.

OKOM: [Laughs] That’s great.

REK: That’s how I vindicated the entire scenario, to be able to write something in kind of a puzzle form. What do they call it? It’s kind of an allegory without any religious overtones.

OKOM: I’m assuming that you can’t say where that took place.

What I Really MeanREK: Yeah, it was where I was living there in Bandera, Texas. It was all pretty well documented. It was in all the papers and all kinds of stuff. My thing was – because I tried to really hold the noble and gentlemanly line on the whole situation – I never felt like I got my true emotional indoctrination out there. I never really let them have it like I wanted to, so I did it in a song.

OKOM: So, that was your payback.

REK: Yeah, that was my payback. [Laughs] Oddly enough, I have a few songs like that, and every time you sing those kinds of songs, you kind of get your own inner-grin going about that kind of thing.

OKOM: Yeah, I can imagine.

REK: And “The Great Hank” was kind of a combination of some long thoughts on Hank Williams and his career, the strangeness of it, and the shortness of it. And I was in a play in Philadelphia about fifteen years ago that had some elements of Hank Williams. I was truly trying to do one those things that was really interesting and really sideways. I got naked and laid down on the floor in the shack that I write in –

OKOM: [Laughs] You’re kidding, right?

REK: No, I’d lay on the hardwood floor and I’d play the guitar until that kind of popped out. Once it popped out, it was all there in front of me like a hologram. I thought, “Wow, this is it!” So I just stayed with it. I even thought of changing the end but it came out so smooth and beautiful that I didn’t even want to mess with it. I could have tweaked the end a little bit because it does kind of fade off into the dust.

OKOM: Yeah, it does.

REK: I could have come with a little bit more of an impact or something like that, like I like to do, but it just fell out so great – I left it alone.

OKOM: The first time that I listened to it, I had to back it up and listen again where you have that line about him being in drag.

REK: Yeah.

OKOM: Plus, the visuals of him sitting there under the glow of the TV with mascara running down his cheek – it’s just priceless.

REK: Yeah [Laughs]

OKOM: [Laughs] It’s just great, man.

REK: Well, thanks. Yeah, I love that one. That’s fun, but it’s hard to do on stage though, because there’s a bunch of words, a lot of words. It’s almost a tongue twister. If I get started and I stumble – I’ll stumble big time.

OKOM: So, that’s one of your personal favorites?

REK: Yeah, I like to do it. It’s fun to do. It’s more of a performance piece than it is a song.

Gravitational ForcesOKOM: Another one of yours – that just popped into my head – that’s along those lines is “Gravitational Forces.” Were you actually in a club like that?

REK: [Laughs] Yeah, yeah. That was all, like I said, more journalistic. I was pretty much talking and telling what I thought. But what I wanted to do with that was the music gave it that spaceiness, gave it the total weird vibe that was really occurring at that place. That was a nightmare from start to finish. I could write another song about the gig itself.

OKOM: Wow, so that actually did happen.

REK: Yeah, oh yeah. It was this place called the E9 Club in El Paso, Texas – the worst place ever. I mean, I’ve played worse places, but that was one of the more bizarre bad places.

OKOM: Man, that’s great. I thought – as bizarre as it sounded – this place can’t really exist. If it did, that’s really something.

REK: Only in El Paso, basically.

OKOM: I guess anything goes there.

REK: Yeah.

Go read Part Three…

Go back to Part One…


11
Aug
10

Take a Ride on the Wild Side

It wouldn’t be fair to attempt to categorize the Boulder Acoustic Society. Even their name doesn’t quite accurately describe their sound. It wasn’t what I expected at all — kind of like the feeling of riding in the passenger seat when a 15-year-old tries driving for the first time. You bravely hold on tight, try not to scream and hope for the best. In the end, your driver surprises the hell out of you by how well he or she pulls it off. You had more fun than you thought you would, so you say, “Let’s do it again!”

The Colorado quartet’s current release, the cleverly packaged Punchline, on Austin’s Nine Mile Records, is all musically over the place. Each track calls up a different genre tag — folk, punk, pop, gospel, blues or rock — or any combination of them. Each vocal treatment conjures a different voice from your melodic memory, be it Andy Summers howling out “Mother,” a smoke-enveloped Tom Waits hugging the keys or even the Irish whiskey-driven sharp wit of Denis Leary. In unskilled hands, this could end up as a big hot bowl of bile. The fearless boys of the Boulder Acoustic Society — equipped with violin, accordion, standup bass, percussion and the occasional ukulele — bravely deliver it all polished brilliantly. They once covered the Miley Cyrus song “Party in the U.S.A.” with Danielle Ate the Sandwich. Now that’s brave.

This article was originally published in Eugene Weekly, August 12, 2010

22
Jul
10

They Have Seen the Summit

The D.C.-based band These United States have released four albums and played more than 550 shows over the last two and a half years. That’s quite a dedicated pace. It makes you wonder if they could give others in our nation’s capital a little seminar on work ethics.

Their latest album, What Lasts (out July 20), written last summer after founding member Jesse Elliott’s near-death experience on Lake Michigan, is a horde of understandably temperamental images. Elliott — at times sounding like a gritty, weary Adam Duritz — delivers a multitude of lyrical and strident emotions. As with These United States’ previous albums, What Lasts shouldn’t be pigeonholed into one genre. In just over 30 minutes, it rumbles you through a multi-paced, psych-folk and indie-rock driven trip, never easing up.

Shortly after the band completed demos for this latest release, someone stole Elliott’s laptop while in L.A., and with it, almost 300 songs, including all of what became this album. Due to a timely email sent to a long-lost friend, one song evaded that theft and fittingly became the title track.

Their current summer tour reached a highlight when they rolled in Toronto last month — on the same day as the G20 summit. They sat in the famous Horseshoe Tavern, sipped a couple of pints and watched as rioters clashed with police in streets illuminated by burning cop cars. Even though their show was canceled, Elliott got some cool video.

This article was originally published in Eugene Weekly, July 22, 2010

23
Jun
10

Love’s Ups and Downs

The first track of Dave Barnes’ latest release and forth full-band studio album, What We Want, What We Get, – with the opening line “everything is beautiful” riding on a smooth lilting reggae groove – suggests that we’re about to embark on a ten track journey through McCartney motivated silly love songs. Not true – that opening track “Little Lies” delves deep into the realistic language of love with “words can be daffodils or a fire in an open field.” Now that is love, beautiful and frightening, “butterflies with broken wings.”

As a songwriter, Barnes was initially only interested in writing material for other performers but was later encouraged by his peers to perform his works himself. So, damn his boyish good looks and amiable stage presence, after graduating from Middle Tennessee State University, that’s what he set out to do in 2002 when he released his debut EP Three, Then Four. His songwriting skills have since been praised by Amy Grant, Vince Gill and John Mayer. Barnes even dabbled in stand-up comedy, but thankfully returned to songwriting in 2007.

Barnes’ latest messages for all lovers – with bits of Fagen and Becker influences – reach fruition in the final tracks, “My Love, My Enemy” and “Amen,” with observations such as “You’re my darkest night lost at sea, you’re the shadows, you’re my light” and “We’ll live through so much more than we could take… When everything’s wrong, and I’m the one to blame.”
This article was originally published in Eugene Weekly, June 24, 2010




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