eliaonline
Monday, July 13, 2015
Is the Great Gatsby the Power Pop of Modern American Literature?
Tuesday, April 16, 2013
Arcade's Collective Improvisation
After a break, the second set started with some percolating popcorn guitar sounds, then Joe scraping his strings with a raspy loop of a wire spring, and the bassist drumming his strings with the metal rod. More legacy of John Cage. Remember prepared piano? These musicians are preparing everything. There were times, after the ping pong balls, that the vibist bent down and played the vibe tubes hanging beneath the keys, hitting strumming with sticks and with a plastic credit card.
Saturday, December 11, 2010
The Spampinato Brothers 11/11/10 Cafe Nine
Now come the Stampinato Brothers plus drums and second guitar in a piano-less rock quartet. They're playing guitar pop free of having to measure up to the legend, and sounding better for it. Joey, Johnny and guitarist Aaron Spade take turns on vocals and oohing and ahhing in the background. The catchy songs have infectious hooks and driving guitars.
It wasn't an NRBQ greatest hits or oldies show, even though the 90 minute, 22 song set contained plenty of Q songs. The band mixed up new originals, covers and some of Joey's songs from his old band, all with natural rockin' rhythm sound. Great rhythms and harmonies, solid bass and tasty licks. They played I Say Good-Day Goodnight, A Bear is a Bear is a Bear and others from their new album Pie in the Sky. Through the night they mined the old NRBQ repertoire with I got a Rocket in My Pocket, Flat Footed Flewzy, A Little Bit of Bad (Sounds Good to Me), You Can't Hide, If I Don't Have You, and more, including Beatles (You're Gonna Lose That Girl) and Stones (Baby Baby You're Out of Time) covers.
An hour into their set the band hits its stride with a smoking dirty fast Route 66. Then Joey takes back the reins with Wild Weekend. Five more songs and they closed the set calling Dr. Howard: "Ain't it All Right"
The band walked off the stage through the crowd to steady applause, went back behind the kitchen and waited. One old fan next to me lamented that we couldn't chant NRBQ. The band walked back out as the crowd called out requests. They sang about getting the blues when it rains then rocked out with "Get Rhythm".
"Yes a jumpy rhythm makes you feel so fine
It'll shake all the trouble from your worried mind
Get rhythm when you get the blues"
Friday, October 22, 2010
Tony Joe White 10/22/2010 at Cafe Nine, New Haven, Connecticut
He walked through the crowd holding his old brown Fender Stratocaster, sat on a chair in a black cowboy hat and sang in a sleepy drawl with atmospheric guitar straight out of the swamp. Three songs into his set he brought out his drummer, saying "it's gonna get steamy in here now" and it did. He launched into a smoking driving "Undercover Agent for the Blues."
You can only see a bit of him from some spots in the back of the barroom but his sound fills the room. His propulsive guitar pulls the vocals along for the ride. In most songs he hits an effects pedal for a noisy electric lead, distortion fuzzed out and flanged.
"We're going to take it down to the swamp now," he says. "This song's about two boys" and starts singing "The river was dark and muddy...."
Tony Joe White is like a redneck John Lee Hooker. He played songs with Tejas/Train Kept a Rollin rhythms. Mike the sound guy has it just right, with understated power absorbed by the bodies and clarity over the chatter. Loud enough, but you can still carry on a conversation. Vocals and guitar nicely balanced. Guitar tone is both twangy and round...until he rips into a big delay-effect distorted lead.
He played his hits towards the end of the set. White grooves on Steamy Windows. Rainy Night in Georgia is quiet and soft, gentle, with an almost jazzy guitar sound. And then the moment comes. Polk Salad Annie. What can I say? He introduced it with the traditional, practiced rap and rocked it out. One more bluesy groove to close out the set and he's gone after a fat hour.
Monday, October 4, 2010
Jayke Orvis and Friends @ Cafe Nine 10/3/2010
James Hunnicutt opened. He had a bigger guitar sound--his Martin sounded fat and round, to match the sweat-stain where his strumming forearm rested. He mixed up originals and covers, including The Misfits' Halloween and an couple of Hank Williams songs. Gotta know the canon if you are going to plow this field. He did a nice job with Lefty Frizell's Long Black Veil. It's a killer song that works better with Johnny Cash's deeper gravel voice but he made it his own, segueing powerfully into his own composition.
Jayke Orvis promises to be interesting. Nominally bluegrass-sounding on myspace, his band is setting up beat-up doghouse bass [that's Johnny Lawless with his bass in the photo], banjo, and gold-tone Les Paul electric guitar, with Hunnicutt tuning the Les Paul. And a guy in hillbilly dreads. That would be Mr. Orvis.
"OK we're gonna start. Here's a song." Yes it is.
This is rotgut redeye punk bluegrass. They can play as fast as anyone. And they're loud (except that it's the first sound check I've sat through where the musicians kept asking for the monitors to be turned down. Good sign.). Tattoos, piercings, stickers on the mando and the flat-out best version of Shady Grove I've heard, fast dark and deep. As raw and non-traditional as it might be, it's also the most authentic, hitting minor key notes on the mandolin. Orvis's voice is as old as the hills and he shreds his mandolin. It's not pretty but it's real. Two songs later he sang about killing his ex-girlfriend, dragging her out the door and burying her in the backyard. Perfect.
1. Instumental
2. Shady Grove
3. Thunderbolts + Lightning
4. Gone Forever More ("Here's a song about killing you're ex-girlfriend")
5.
6. (This song has a hot-rod lincoln feel to it)
7. Dreadful Sinner ("What does it take to become a righteous man"--sounds ancient)
8. (Switches to acoustic guitar-"now I'm going away"--hunnicutt tasty flatpick lead work)
9. Empty Bottles on a Broken Shelf
10. Feelings Like This ("How do you feel when you're all alone..." Hunnicutt on electric guitar fits right in. "Little plastic baggies all over the floor...")
11. ("Song's about divorce, about the very last night beofre..." Duet w/ Rachel--closes song with pretty unison riffing on mando + acoustic guitar)
12. Hank Williams" Kaw-Liga. Jayke on guitar Rachel + James harmony.
13. Alone with You (Faron Young tune sung by James)
14. ("Oh my time has come I gotta go" -- a capella with handclaps)
15. Yankee Taste [instumental]
16. Raise the Moon (Last song. "Gonna have a party gonna raise the moon, we all know that he's coming soon")
Sunday, August 15, 2010
Summer Tomatoes
That's true love & homegrown tomatoes
Big Bad Johns 8/13/2010
The band sounded great. You never would have guessed that they hadn't played together in years. Paul was chewing gum and smiling all night. He looked a little stressed before going on--happy stressed because of the big crowd but also because his bass cabinet blew out so he had to go home to get another. He looked like his stage name Nervous Chet Purvis. After the show Paul said he was smiling because he kept making mistakes. The beautiful thing about rock 'n' roll, though, is that flubs don't get noticed.
Detroit Dick sang strong lead vocals with charismatic banter and crowd rapport between songs. The two guitars traded off rhythm and lead, the drums were snappy and Paul's bass was simply solid. He played mostly walking bass lines with a rock solid steady beat. That's what you want/need the bass to do. I love to hear guys jam out on 5 or 6 string bass but the prime function is to keep the beat and provide a big bottom, especially in a roots rock band, and Paul does that as well as anyone. Rostropovich used to say the orchestra is built from the ground up, referring to the bass section; the same is true for rock. Paul's big steady beat was the anchor, the pulse, the engine.