Last night was the album release party for Bobtown's A History of Ghosts.
It was a favorable crowd. I was standing -- I wasn't planning on buying food, so it didn't make sense to reserve a table. Unfortunately I was a bit too exhausted to fully enjoy the show. And my friend, Meep, who was planning to join, begged off pleading exhaustion.
Good show, albeit a bit short and rushed. They ran through all eleven songs from the new album, plus a one-song encore of a song from their first album. I wish I could remember which song it was, but alas I can't. Charlie Shaw joined them onstage as a guest drummer on a couple tracks. And Efrat Shapira joined them on violin.
Showing posts with label Bobtown. Show all posts
Showing posts with label Bobtown. Show all posts
Thursday, January 15, 2015
Wednesday, January 14, 2015
bobtown tonight
Tonight I'm going to the album release party for Bobtown's A History of Ghosts. It's at Hill Country in Midtown Manhattan. I can't wait.
This, their third album, is their best yet. Of course, ince it includes "Kentucky Graveyard," which is my favorite song from their live show, I can hardly think otherwise. But, seriously, the harmonies are smoother, and the album has a fuller sound.
Saturday, July 26, 2014
and there was much rejoicing in bobtown
I'll admit I was kind of nervous. As time went by Bobtown's Kickstarter campaign was sputtering, and it looked like they wouldn't make their goal.
Somehow, though, in the last few days, they got a bunch of large pledges -- one for $1000, a couple for $501, and one for $500. I don't know all the others. But that put them over the top. So they'll record their new album, supported in part by 126 supporters on Kickstarter. And I will get:
Somehow, though, in the last few days, they got a bunch of large pledges -- one for $1000, a couple for $501, and one for $500. I don't know all the others. But that put them over the top. So they'll record their new album, supported in part by 126 supporters on Kickstarter. And I will get:
- A recording of them doing one of my songs (I'll probably go with "Five Missing One," but that's subject to change.
- My name in the liner notes
- An autographed copy of the album
- Two spots on the guestlist for the album's release show
- A limited digital album of all the song demos from the album
- A separate unreleased bonus track
- The entire Bobtown discography
- A Bobtown T-shirt and button
Monday, July 7, 2014
i reiterate: please support bobtown's new album
I don't know how to stress this enough. Please go to Kickstarter and pledge your support for Bobtown's new album. I did. And I want the album to come out.
Full disclosure: Part of the reason I want this Kickstarter to succeed is, of course, the fact that I want this album to see the light of day. There's also the fact that I pledged at the level that will have them recording a cover version of a song of my choice. They agreed to do a demo of one of my songs. I'll be asking them to record "Five Missing One." I want this to happen. So please, please, please. Pledge, pledge pledge.
Sunday, June 29, 2014
please support bobtown's new kiockstarter project
I've written about Bobtown before. It's hard to describe them, so I'll just quote their website:
I have both of their existing albums, and I've seen them in concert a few times -- I would love to see them more often, but job and family keep interfering. They're clever and innovative, and fun to listen to. But that describes a lot of bands. Bobtown is also interesting. The influence of the field hollers makes them unique among New York-area bands.
The reason for this post is to plead with anyone reading this to support their new Kickstarter project. Bobtown has gathered the necessary material for their third album (A History of Ghosts), and I want it to see the light of day. I've gone to their Kickstarter project and pledged. Won't you?
To read more about Bobtown, check out their website.
Drawing on field hollers, gospel music, folk songs, pop melodies and bluegrass harmonies, Bobtown reinvents American choral music for the 21st century to create a unique and compelling blend of voices and instruments that move gracefully between elegy and celebration.
I have both of their existing albums, and I've seen them in concert a few times -- I would love to see them more often, but job and family keep interfering. They're clever and innovative, and fun to listen to. But that describes a lot of bands. Bobtown is also interesting. The influence of the field hollers makes them unique among New York-area bands.
The reason for this post is to plead with anyone reading this to support their new Kickstarter project. Bobtown has gathered the necessary material for their third album (A History of Ghosts), and I want it to see the light of day. I've gone to their Kickstarter project and pledged. Won't you?
To read more about Bobtown, check out their website.
Wednesday, July 24, 2013
the violent femmes owe bobtown for this one
A few postys ago, I talked about a Bobtown concert in Southold (which is a town about 140 bajillion miles East of me on Long Island. One of the things I mentioned was their performance of the Violent Femmes' song, "Jesus Walking on the Water," and how I am likely to buy the VF's CD with the song.
That's the background to mentioning that I bouight Hallowed Ground, the Violent Femmes' CD with the song. I just finished my first listen, and it'sw an enthusiastic thumbs up. The album is kind of an alt-country effort -- though it dates back to 1984, before the term "alt-country" had been coined. At the time it probably would have been described as cowpunk -- though it's slower than most of what I think of as cowpunk (bands like The Beat Farmers, Rank & File and E*I*E*I*O). It has a kind of haunting sound that I probably wouldn't have liked when it came out, but which I really appreciate now. But "Jesus..." is by far the best track on thealbum -- It would have easily been at home on a Beat Farmers album (especially one of their later ones where they were venturing more into sacrilege (remember "Are You Drinking with Me, Jesus?"?) or one by Mojo Nixon (though it's not up to his raunchiest efforts like "Tie My Pecker to My Leg").
What's funny about all this is that, in the last few months I've had a kind of awakening regarding the Violent Femmes. Their existence has been one of these things that I've known of for years, but I have been completely unaware of -- perhaps "mistaken about" is a better phrase -- their style. I kind of assumed that they were something like, Everything But the Girl or 'Til Tuesday. Post-New Wave bands that don't interest me. But I've had to rethink this. One of the big Freecycle hauls I got last year included Viva Wisconsin, a live album of theirs. I particularly liked "Blister in the Sun." There were opther tracks I liked, but "Blister..." was the standout. Now there's this. My conceptions have been blown.
That said, I still like Bobtown's live version better.
That's the background to mentioning that I bouight Hallowed Ground, the Violent Femmes' CD with the song. I just finished my first listen, and it'sw an enthusiastic thumbs up. The album is kind of an alt-country effort -- though it dates back to 1984, before the term "alt-country" had been coined. At the time it probably would have been described as cowpunk -- though it's slower than most of what I think of as cowpunk (bands like The Beat Farmers, Rank & File and E*I*E*I*O). It has a kind of haunting sound that I probably wouldn't have liked when it came out, but which I really appreciate now. But "Jesus..." is by far the best track on thealbum -- It would have easily been at home on a Beat Farmers album (especially one of their later ones where they were venturing more into sacrilege (remember "Are You Drinking with Me, Jesus?"?) or one by Mojo Nixon (though it's not up to his raunchiest efforts like "Tie My Pecker to My Leg").
What's funny about all this is that, in the last few months I've had a kind of awakening regarding the Violent Femmes. Their existence has been one of these things that I've known of for years, but I have been completely unaware of -- perhaps "mistaken about" is a better phrase -- their style. I kind of assumed that they were something like, Everything But the Girl or 'Til Tuesday. Post-New Wave bands that don't interest me. But I've had to rethink this. One of the big Freecycle hauls I got last year included Viva Wisconsin, a live album of theirs. I particularly liked "Blister in the Sun." There were opther tracks I liked, but "Blister..." was the standout. Now there's this. My conceptions have been blown.
That said, I still like Bobtown's live version better.
Thursday, July 11, 2013
in the church of bobtown
Another Bobtown concert, though this one was on the east end of Long Island -- about 85 miles away in Southold.
It was supposed to be one of those free outdoor concerts -- part of the town's summer series of shows, so it seemed like good venue for the whole family. The kids could wabnder around and alleviate their boredom in a way that wouldn't be possible at a conventional indoor venue. And I was looking forward to enjoying the music with my wife. After the last show, when I eagerly played the Bobtown CDs I had just purchased, she was impressed by the quality and originality of the music.
But we got a late start -- the HelpXer staying with us wanted to come, but we had to meet him at the subway. His train was delayed, so he didn't get in the car until almost 6:00. So we set off, hoping to get to a concert set to start at 7:00 while the GPS estimated a trip of over an hour and a half, and we knew we'd run into heavy rush hour traffic.
So we're driving there, and I'm going nutsoid with frustration -- after I missed their last performance in the area (due to my own brainfart), I was annoyed at the prospect of missing this. Especially knowing that it would be months before my next chance to see them. Ihen we're getting closer. It looks like we'll get there at around 7:30. So I'm thinking maybe if they started late I'll get to see the end of the show. And damn. The road is closed. Detour. Fuck! This is going to add another ten minutes to the trip.
We get to the park, and it's deserted. Empty. But there's a small sign. Due to the potential for rain, they've moved the concert to the First Presbyterian Church of Southold (a few blocks away), and it's at 7:30. Whew! The long drive has not been in vain. We get to the church, and decide that the kids at this venue would likely be disastrous. So I go in alone. My wife and kids (and the HelpXer) go the beach. The show's already underway, but it doesn't look like it's winding down. Maybe I missed a few songs, but there's still more show to see.
First (or is it too late for "first" given that this is like the sixth paragraph?) a word about the venue and the audience. Bobtown were clearly not doing a hometown show. I wasn't the only one there familiar with them, but it appeared that most of the people hadn't heard of them. As I was going into the church, a family walking up asked if this was where the concert was. I said "I hope so. It's Bobtown, right?" They seemed puzzled, and said that it's Southold, and that they didn't know where Bobtown is. I shrugged and went in.
Between songs I heard lots of comments along the lines of "how interesting" and "they have such great harmonies." It was an older crowd, and I gathered that it was mostly locals who worked the weekly concert series into their schedule, without knowing who was performing.But they went over very well. People were into it -- including the old guy in the row behind me who was keeping the beat on the back of my seat. Not that I'm complaining about that -- I had too good a time for something small like that to bother me.
The venue, an old church (it was established in like 1640), actually seemed somewhat appropriate for the band (notwithstanding the few songs that have a sacrilegious tone). Gospel is a strong influence on the Bobtown sound, so the music didn't seem out of place. And the stagey area (I don't know what you call it) served to frame them very nicely.
Of course, the music was very similar to what I saw the first time I saw them play (back in April), but this time I had heard the songs before, so I could follow along (even if I couldn't sing along). There were too many highlights to list them all, but a few follow:
Mama's Got the Backbeat: Jen McDearman has an incredible set of pipes. This is one song I didn't really like when I first heard it -- after learning that Alan Lee Backer was in this band, I found them on the web to give a listen and this was the first song I tried out. It has grown on me since then, though I will say it's better in concert than on CD.
Magilla Lee: This is my favorite from their two albums. It's just such a catchy melody. For some reason I think of Carlene Carter when I hear it. Not sure why.
Jesus Walking on the Water: This is a fun little number that sounds like something Mojo Nixon would have recorded. After running through this, they offered a free CD to whoever could identify the band that did that originally. Without thinking I called out "The Violent Femmes" in what was sort of a cross between puzzlement and triumph. It seemed like they kind of heard me say something, but didn't know what I said. I then realized that the reason I knew it was a Violent Femmes song was that they did the same thing back in April. Since it doesn't seem cricket to get a free album that way (using the knowledge of the answer that I gained by hearing the same question last time), I clammed up. They announced that it was the Violent Femmes and moved on. I'll note that the Violent Femmes will get one extra sale on Amazon because I heard Bobtown's version of their song.
Rattle Them Bones: Or some similar title. This is sort of a playful variant of Jim Carroll's "People Who Died." Fred Stesney's Fred Schneider-like vocals are perfect for this. It's too fast for me to pick up on all the lyrics. I was happy to hear that this is likely to be on their next album.
And that is one difference between this show and the one back in April. They specifically talked about working on songs for the next album. I asked Katherine Etzel afterwards if they are looking for material. Sadly, they're not. I understand even if I'm disappointed. It wasn't really professional of me to ask her that, but, well, nothing ventured nothing gained. I did suggest that "Poor Ellen Smith" would be a good song for them to cover. But looking on Youtube, I can't find any renditions as good as the Milner Brothers' on their album Haven't Lost a Thing (which, coincidentally, has my composition, "Music No One Else Can Hear." And now we have come full circle. Katherine confirmed that they'll be back on Kickstarter, so I'll be able to pledge and get them to record one of my songs. Presumably I can then use that recording as a demo to shop the song around.
The band was selling CDs, but they decided to let the customers pay what they felt was appropriate. I already have copies of both discs, but I did buy another copy of each, which I plan to give to my friend, Tall Judy. She plays in a contra-dance band, and I think she'll like these albums.
It was supposed to be one of those free outdoor concerts -- part of the town's summer series of shows, so it seemed like good venue for the whole family. The kids could wabnder around and alleviate their boredom in a way that wouldn't be possible at a conventional indoor venue. And I was looking forward to enjoying the music with my wife. After the last show, when I eagerly played the Bobtown CDs I had just purchased, she was impressed by the quality and originality of the music.
But we got a late start -- the HelpXer staying with us wanted to come, but we had to meet him at the subway. His train was delayed, so he didn't get in the car until almost 6:00. So we set off, hoping to get to a concert set to start at 7:00 while the GPS estimated a trip of over an hour and a half, and we knew we'd run into heavy rush hour traffic.
So we're driving there, and I'm going nutsoid with frustration -- after I missed their last performance in the area (due to my own brainfart), I was annoyed at the prospect of missing this. Especially knowing that it would be months before my next chance to see them. Ihen we're getting closer. It looks like we'll get there at around 7:30. So I'm thinking maybe if they started late I'll get to see the end of the show. And damn. The road is closed. Detour. Fuck! This is going to add another ten minutes to the trip.
We get to the park, and it's deserted. Empty. But there's a small sign. Due to the potential for rain, they've moved the concert to the First Presbyterian Church of Southold (a few blocks away), and it's at 7:30. Whew! The long drive has not been in vain. We get to the church, and decide that the kids at this venue would likely be disastrous. So I go in alone. My wife and kids (and the HelpXer) go the beach. The show's already underway, but it doesn't look like it's winding down. Maybe I missed a few songs, but there's still more show to see.
First (or is it too late for "first" given that this is like the sixth paragraph?) a word about the venue and the audience. Bobtown were clearly not doing a hometown show. I wasn't the only one there familiar with them, but it appeared that most of the people hadn't heard of them. As I was going into the church, a family walking up asked if this was where the concert was. I said "I hope so. It's Bobtown, right?" They seemed puzzled, and said that it's Southold, and that they didn't know where Bobtown is. I shrugged and went in.
Between songs I heard lots of comments along the lines of "how interesting" and "they have such great harmonies." It was an older crowd, and I gathered that it was mostly locals who worked the weekly concert series into their schedule, without knowing who was performing.But they went over very well. People were into it -- including the old guy in the row behind me who was keeping the beat on the back of my seat. Not that I'm complaining about that -- I had too good a time for something small like that to bother me.
The venue, an old church (it was established in like 1640), actually seemed somewhat appropriate for the band (notwithstanding the few songs that have a sacrilegious tone). Gospel is a strong influence on the Bobtown sound, so the music didn't seem out of place. And the stagey area (I don't know what you call it) served to frame them very nicely.
Of course, the music was very similar to what I saw the first time I saw them play (back in April), but this time I had heard the songs before, so I could follow along (even if I couldn't sing along). There were too many highlights to list them all, but a few follow:
Mama's Got the Backbeat: Jen McDearman has an incredible set of pipes. This is one song I didn't really like when I first heard it -- after learning that Alan Lee Backer was in this band, I found them on the web to give a listen and this was the first song I tried out. It has grown on me since then, though I will say it's better in concert than on CD.
Magilla Lee: This is my favorite from their two albums. It's just such a catchy melody. For some reason I think of Carlene Carter when I hear it. Not sure why.
Jesus Walking on the Water: This is a fun little number that sounds like something Mojo Nixon would have recorded. After running through this, they offered a free CD to whoever could identify the band that did that originally. Without thinking I called out "The Violent Femmes" in what was sort of a cross between puzzlement and triumph. It seemed like they kind of heard me say something, but didn't know what I said. I then realized that the reason I knew it was a Violent Femmes song was that they did the same thing back in April. Since it doesn't seem cricket to get a free album that way (using the knowledge of the answer that I gained by hearing the same question last time), I clammed up. They announced that it was the Violent Femmes and moved on. I'll note that the Violent Femmes will get one extra sale on Amazon because I heard Bobtown's version of their song.
Rattle Them Bones: Or some similar title. This is sort of a playful variant of Jim Carroll's "People Who Died." Fred Stesney's Fred Schneider-like vocals are perfect for this. It's too fast for me to pick up on all the lyrics. I was happy to hear that this is likely to be on their next album.
And that is one difference between this show and the one back in April. They specifically talked about working on songs for the next album. I asked Katherine Etzel afterwards if they are looking for material. Sadly, they're not. I understand even if I'm disappointed. It wasn't really professional of me to ask her that, but, well, nothing ventured nothing gained. I did suggest that "Poor Ellen Smith" would be a good song for them to cover. But looking on Youtube, I can't find any renditions as good as the Milner Brothers' on their album Haven't Lost a Thing (which, coincidentally, has my composition, "Music No One Else Can Hear." And now we have come full circle. Katherine confirmed that they'll be back on Kickstarter, so I'll be able to pledge and get them to record one of my songs. Presumably I can then use that recording as a demo to shop the song around.
The band was selling CDs, but they decided to let the customers pay what they felt was appropriate. I already have copies of both discs, but I did buy another copy of each, which I plan to give to my friend, Tall Judy. She plays in a contra-dance band, and I think she'll like these albums.
Sunday, June 23, 2013
brainfarted out of seeing bobtown
Well, I'm bummed. After seeing Bobtown perform (a couple months back), I was looking forward to seeing them in June at the Beczak (I may be misspelling it) Center in Yonkers. I was really looking forward to it, but somehow it slipped my mind, and I didn't go.Now I'll have to wait until July 10 to see them in Southold.
Damn brainfarts.
Damn brainfarts.
Monday, April 15, 2013
on mistaking covers for the originals
After the Bobtown show last Friday night, I was chatting briefly with one of the singers (I think it was Jen McDearman) about their cover version of the Blue Oyster Cult song, "Don't Fear the Reaper." I noted that, while I had heard of the song, I wasn't really familiar with what it sounded like.
Actually, I'm kind of puzzled here. I had this whole memory of Blue Oyster Cult having gotten heavy criticism because some teenager commited suicide and it was somehow blamed on the song. I was sure I could get some details by looking up the song on Wikipedia. But there's no mention of any real controversy. The closest I can find is a quote from Buck Dharma:
Anyway, Jen commented that it was a good thing -- I will always know that song for their version and not for BOC's. And that reminded me of growing up. There were several sopngs that I knew better via their cover versions than by the better known hit versions.
Prominent example? "We Gotta Get Out of This Place." I knew it as a Partridge Family song because it was on their Notebook album, which my sister had. It was only years later, when I saw an ad in a catalogue for an Animals compilation, did I learn of the better-known rendition. While I love the Animals's hit, I also have a soft-spot for the Partridge Family's version. You can listen to it here:
Another example was "Me And You and a Dog Named Boo," which I knew by the Brady Bunch version -- my sister had their album, Meet the Brady Bunch. I only learned of my folly when I was at a friend's house.Her older sister had a friend over, and they were listening to the radio. On comes Lobo's hit version. I said something like "That's a Brady Bunch song!" What a look I got. Unlike the Partride Family cover I mentioned above, this was a horrendous cover. Judge for yourself:
The Brady bunch cover of "American Pie" (yes, it was years before I learned that it was not their song originally) was even worse:
Of course, I remember at summer camp explaining to someone that "Daydream Believer" wasn't originally an Anne Murray song. So at least then I got to feel superior
Actually, I'm kind of puzzled here. I had this whole memory of Blue Oyster Cult having gotten heavy criticism because some teenager commited suicide and it was somehow blamed on the song. I was sure I could get some details by looking up the song on Wikipedia. But there's no mention of any real controversy. The closest I can find is a quote from Buck Dharma:
I felt that I had just achieved some kind of resonance with the psychology of people when I came up with that, I was actually kind of appalled when I first realized that some people were seeing it as an advertisement for suicide or something that was not my intention at all. It is, like, not to be afraid of it (as opposed to actively bring it about). It's basically a love song where the love transcends the actual physical existence of the partners.Maybe they were criticized for supposedly encouraging suicide, but weren't blamed for any specific suicide?
Anyway, Jen commented that it was a good thing -- I will always know that song for their version and not for BOC's. And that reminded me of growing up. There were several sopngs that I knew better via their cover versions than by the better known hit versions.
Prominent example? "We Gotta Get Out of This Place." I knew it as a Partridge Family song because it was on their Notebook album, which my sister had. It was only years later, when I saw an ad in a catalogue for an Animals compilation, did I learn of the better-known rendition. While I love the Animals's hit, I also have a soft-spot for the Partridge Family's version. You can listen to it here:
Another example was "Me And You and a Dog Named Boo," which I knew by the Brady Bunch version -- my sister had their album, Meet the Brady Bunch. I only learned of my folly when I was at a friend's house.Her older sister had a friend over, and they were listening to the radio. On comes Lobo's hit version. I said something like "That's a Brady Bunch song!" What a look I got. Unlike the Partride Family cover I mentioned above, this was a horrendous cover. Judge for yourself:
Saturday, April 13, 2013
a (probably) overlong story of how i came to hear of bobtown
"Alan Lee Backer is playing on Long island Friday night." I was trying to prepare a presentation for work. My wife was checking into activities for the kids, when the email came in on her computer. And that comment was what led to my seeing Bobtown yesterday (see yesterday's post). For I am an Alan Lee Backer fan.
Some (OK, a ton of) background: in college -- actually, I don't remember if it was college or the years shortly thereafter -- I saw the Beat Farmers play at the Lonestar Roadhouse. The Lonestar was a C&W bar /restaurant / venue on 57th Street in Manhattan. It's no longer around. Anyway, I was one of the few people who came around early enough to catch the opening act -- a local country-flavored band called Five Chinese Brothers. They gave me a copy of their single, "Baltimore," which was out on Diesel Only Records. Diesel Only specialized in New York country-flavored singles. Often it was truck driving music. They also provided me some of my earliest experiences with alt-rock. Influenced by the Five Chinese Brothers's single, I eventually bought a copy of each of the brand's singles that were still available. Actually I bought two copies of each -- my Christmas present tro Desmond that year was one copy. One of my favorites was "Two Hearts (Tender Lovin' and True)" by the Twanglers. I wish I could find a Youtube video of it, but I can't. FWIW, here's a video of the Twanglers live doing "My Babe:"
I loved "Two Hearts," but that single (and the song's appearance on Diesel Only's compilation, Rig Rock Jukebox, was all I had of the Twanglers. I bought the three Five Chinese Brother albums as they came out. Those were the days when I still bought a lot of albums. I had a job and no kids. Money flowed freer then. From the liner notes I could see the names of the brothers. One of them had even played in a band with a guy I was freinds with in college. Small world. Anyway, the Twanglers never did an album. So I loved the track, but never knew names or anything. One of the names that I didn't know was Alan Backer.
Nearly twenty years later, I was with the family at the Long Island Children's Museum. We were there for a performance by Ken Waldman, Alaska's fiddlin' poet. I should write a post about him. No promises. Anyway, he recites his freeform poetry while playing the fiddle. On this occasion, he had a drummer backing him up. I recognized the drummer. I was sure opf it. But I couldn't quite tell from where. At the end of the show, Ken thanked him by name. It was Charlie Shaw. I knew that name. From somewhere. But I couldn't place it. So I approached him and asked if he had been in any New York area bands that I might have seen him in. Among the many names he reeld off was Five Chinese Brothers. I responded by reciting lyrics from "Baltimore." So we talked music for a while. I mentioned other bands that I liked from Diesel Only. Including the Twanglers. He mentioned that he's in a new band called The Wicked Messengers with a couple of the guys from The Twanglers. Really? So I got the information.
Some time later I went to see them play at Hill Country, a Texas-style barbecue restaurant in Manhattan. I surprised Alan Backer before the show by asking him to autograph my copy of the Twanglers' single. I mentioned that it was one of my favorite songs. I later learned that he wrote it, so I must have sounded like I was just buttering him up, but I was being honest. It was great show. I saw the Messengers play a couple of other times -- they do a great show. But between work and family commitments, I don't get out to see them as much as I'd like. They do a karaoke show at Hill Country on Tuesdays, and I hear that's a great show. It's sort of like karaoke, except instead of having pre-recorded music, you have a live band behind you. Here's a video of someone doing Billy Joel's "You May Be Right:"
It's difficult for me to work that in. I should make a point of picking a Tuesday and going. Come hell or high water.
Anyway, As I posted yesterday, I almost didbn't make it to see Bobtown. But I'm glad I did. And Alan even gave me a copy of the Wicked Messengers' second album, Livin' Fast
Anyway, I leave you with Bobtown doing "Hell and Gone." I admit that I can't tell if this is the version from before Alan became a member.
Some (OK, a ton of) background: in college -- actually, I don't remember if it was college or the years shortly thereafter -- I saw the Beat Farmers play at the Lonestar Roadhouse. The Lonestar was a C&W bar /restaurant / venue on 57th Street in Manhattan. It's no longer around. Anyway, I was one of the few people who came around early enough to catch the opening act -- a local country-flavored band called Five Chinese Brothers. They gave me a copy of their single, "Baltimore," which was out on Diesel Only Records. Diesel Only specialized in New York country-flavored singles. Often it was truck driving music. They also provided me some of my earliest experiences with alt-rock. Influenced by the Five Chinese Brothers's single, I eventually bought a copy of each of the brand's singles that were still available. Actually I bought two copies of each -- my Christmas present tro Desmond that year was one copy. One of my favorites was "Two Hearts (Tender Lovin' and True)" by the Twanglers. I wish I could find a Youtube video of it, but I can't. FWIW, here's a video of the Twanglers live doing "My Babe:"
Nearly twenty years later, I was with the family at the Long Island Children's Museum. We were there for a performance by Ken Waldman, Alaska's fiddlin' poet. I should write a post about him. No promises. Anyway, he recites his freeform poetry while playing the fiddle. On this occasion, he had a drummer backing him up. I recognized the drummer. I was sure opf it. But I couldn't quite tell from where. At the end of the show, Ken thanked him by name. It was Charlie Shaw. I knew that name. From somewhere. But I couldn't place it. So I approached him and asked if he had been in any New York area bands that I might have seen him in. Among the many names he reeld off was Five Chinese Brothers. I responded by reciting lyrics from "Baltimore." So we talked music for a while. I mentioned other bands that I liked from Diesel Only. Including the Twanglers. He mentioned that he's in a new band called The Wicked Messengers with a couple of the guys from The Twanglers. Really? So I got the information.
Some time later I went to see them play at Hill Country, a Texas-style barbecue restaurant in Manhattan. I surprised Alan Backer before the show by asking him to autograph my copy of the Twanglers' single. I mentioned that it was one of my favorite songs. I later learned that he wrote it, so I must have sounded like I was just buttering him up, but I was being honest. It was great show. I saw the Messengers play a couple of other times -- they do a great show. But between work and family commitments, I don't get out to see them as much as I'd like. They do a karaoke show at Hill Country on Tuesdays, and I hear that's a great show. It's sort of like karaoke, except instead of having pre-recorded music, you have a live band behind you. Here's a video of someone doing Billy Joel's "You May Be Right:"
Anyway, As I posted yesterday, I almost didbn't make it to see Bobtown. But I'm glad I did. And Alan even gave me a copy of the Wicked Messengers' second album, Livin' Fast
Anyway, I leave you with Bobtown doing "Hell and Gone." I admit that I can't tell if this is the version from before Alan became a member.
Friday, April 12, 2013
a night in bobtown
Thank God for parkour. Earlier this week I heard of a concert that was really tempting. I wanted to go.
But it wasn't going to happen. I've been a workaholic recently -- one of the reasons I've been blogging so sparsely. I have a lot to get done for work, and this week has been particularly tough for me. Tuesday I had to make a presentation at work. I may blog about it since it was about music, but I may not since it was about music about the company and I'll have to remove so much that any interesting aspects will be lost. Anyway, I lost a full day of my "real" work to that. And a half day on Wednesday taking my youngest to the dentist. So despite wanting to go see this show, I probably would have missed it.
But I lucked out and was saved from myself. The kids wanted to go to a Friday parkour class. It just so happens that the class was near the venue (a library in Long Beach) and it staretd at the same time. So we all went out. My wife driopped me off at the library and went off to parkour with the kids.
I can't stress enough how glad I am that this worked out. The band was a five-piece called "Bobtown." According to the introduction, Bobtown was originally an acapella group that Katherine Etzel put together as a vehicle for her field hollers. She learned that artform working on farms in Iowa. The band is different now -- for starters, it's not acapella. But there is a heavy emphasis on vocal styling - they feature some of the most haunting vocal harmonies I can recall hearing. The style can best be described as eclectic. There are songs that sound like gospel with an appalachian flavor. At one point they sounded like Motown with banjoes. And there was one song, "Resurrection Mary," that sounded like an Andrews Sisters number. Oh, and I loved their cover of Blue Oyster Cult's "Don't Fear the Reaper." For another cover (though not one they performed at this particular show), follow the following link (which, for some reason, I can'tr seem to embed in this post):
http://www.youtube.com/watch?v=Di7zx9rHMBw
One thing that I found interesting was the visual aspect of the band. Ther's no big drum kit. There was plenty of percussion -- spoons, a triangle. And Etzel herself was playing a small drum, and had a small suitcase rigged up for use as a kick drum. Interesting.
My big regret? They were on Kickstarter about a year ago. See their plea video:
I wish I'd known. For a $500 pledge, they would record a cover version of a song of your choosing. Did the pledger have the option of choosing a song he or she wrote? That's an option I would have loved to go with -- similar to my donation to Wreckless Eric's and Amy Rigby's Kickstarter campaign. Or for $501, the pledger gets the cover version and an appearance in one of their videos. Too late. Maybe there'll be another campaign for their next album?
But it wasn't going to happen. I've been a workaholic recently -- one of the reasons I've been blogging so sparsely. I have a lot to get done for work, and this week has been particularly tough for me. Tuesday I had to make a presentation at work. I may blog about it since it was about music, but I may not since it was about music about the company and I'll have to remove so much that any interesting aspects will be lost. Anyway, I lost a full day of my "real" work to that. And a half day on Wednesday taking my youngest to the dentist. So despite wanting to go see this show, I probably would have missed it.
But I lucked out and was saved from myself. The kids wanted to go to a Friday parkour class. It just so happens that the class was near the venue (a library in Long Beach) and it staretd at the same time. So we all went out. My wife driopped me off at the library and went off to parkour with the kids.
I can't stress enough how glad I am that this worked out. The band was a five-piece called "Bobtown." According to the introduction, Bobtown was originally an acapella group that Katherine Etzel put together as a vehicle for her field hollers. She learned that artform working on farms in Iowa. The band is different now -- for starters, it's not acapella. But there is a heavy emphasis on vocal styling - they feature some of the most haunting vocal harmonies I can recall hearing. The style can best be described as eclectic. There are songs that sound like gospel with an appalachian flavor. At one point they sounded like Motown with banjoes. And there was one song, "Resurrection Mary," that sounded like an Andrews Sisters number. Oh, and I loved their cover of Blue Oyster Cult's "Don't Fear the Reaper." For another cover (though not one they performed at this particular show), follow the following link (which, for some reason, I can'tr seem to embed in this post):
http://www.youtube.com/watch?v=Di7zx9rHMBw
One thing that I found interesting was the visual aspect of the band. Ther's no big drum kit. There was plenty of percussion -- spoons, a triangle. And Etzel herself was playing a small drum, and had a small suitcase rigged up for use as a kick drum. Interesting.
My big regret? They were on Kickstarter about a year ago. See their plea video:
I wish I'd known. For a $500 pledge, they would record a cover version of a song of your choosing. Did the pledger have the option of choosing a song he or she wrote? That's an option I would have loved to go with -- similar to my donation to Wreckless Eric's and Amy Rigby's Kickstarter campaign. Or for $501, the pledger gets the cover version and an appearance in one of their videos. Too late. Maybe there'll be another campaign for their next album?
Subscribe to:
Posts (Atom)