Saturday, July 31, 2010

The Elms epic final show at Radio Radio

Posted by Rob Nichols on Sat, Jul 31, 2010 at 3:06 AM

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For more than four hours Friday night at Radio Radio, The Elms said goodbye the best way they knew how - they played heartland rock and roll.

Billed as a final performance as the Seymour-based group disbands, singer Owen Thomas and the rest of the gang went out on their terms. The show was Springsteenian in length, and showcased what they were ultimately best at: crafting memorable - and many times anthemic - pop/rock songs, showing roots of artists like Mellencamp and Petty.

The crowd (the show sold out well ahead of Friday) hung in there all night, through a 40-song set, rewarded with a sprint to the end that rocked heartily. They came to bid goodbye and fed energy back to the band, who was near the top of their game all night.

Thomas struggled to maintain his cool (though never lost his composure) early on, fighting back some tears as he talked to the crowd. As he told the audience before introducing the band, "You have two options: you can either be 'profesh' (as in professional) or you can let it all in."

An early highlight was "Strut", as guitarist Thom Daugherty showed why he may be one of the best rock and roll guitarists around, mixing sweetly nasty chords and powerfully elegant leads all night long. "Thunderhead" included great harmonies and the familiar "we can make it if you trust me" theme that permeates much of their best work.

Thomas told a story about a $150 jean jacket, with a flower sewn on it, that he bought in LA at a vintage clothing story, and that he had never worn it because the sleeves were too stiff. He said he washed it 40 times, and nothing worked to soften it. So he off cut the sleeves, and pulled it out of his closet and wore it for the last show.

Such was the tone of the night, with many songs, and lots of talking between them. Sometimes Thomas recounted a story about a bandmember, and other times said "I love you, I love you" to the crowd.

The others, including Owen's brother Chris on drums and Nathan Bennett on bass, were more stoic, though Daugherty, who has been a friends with the singer since fourth grade, sweetly laid his head on Thomas' shoulder at the end of the duo playing "Smile at Life Again".

"You Got No Room to Talk!" from 2002's Truth, Soul and Rock and Roll album mined the Bryan Adams territory they visit so well; Sugary-yet-powerful chord changes, drums that pushed the song and lyrics specific enough to mean something, and universal enough that you can make it your own story.

Hitting their stride with "The Workingman", dedicated to their dads, and "Unless God Appears First" (possibly the best performance of the night), "The Tower and the Trains", from 2006's The Chess Hotel was introduced as an ode to their hometown, and Daugherty tore it up on guitar, while the rest of band broke out of the three-chord rock and roll songbook to get a little Zep-like.

A sprint to the end included "This is How the World Will End", from The Great American Midrange album, and another example of why it is their best record. Gospel mixed with rock mixed with Elms. The same can be said for "The Way I Will", one of the Chess Hotel's pieces of power pop brilliance, and the energy of the night made the live version memorable.

Rockers "Back to Indiana", "The Shake" and "Nothin' to Do with Love" set the stage for "A Place in the Sun", the final song off their final album. In the days leading up to the final show, Thomas has posted on his blog how the song had become his favorite. It's message of finding one's place in the world no doubt resonated deeply as the band prepared to quit.

There's two questions to be asked: Was it a great show, and what made it worthy of a final performance?

The band answered with a show epic in length and heartfelt in delivery. The Elms were tight and aggressive when they played, and there was certainly no mistaking the love of the crowd for the four guys who grew from kids into adults in ten years, four albums, and hundreds of shows (and van rides) together.

For one last night, the bandmembers wore their hearts out in the open, and made some loud - and hopeful - noise, much like they have been doing in their decade together.

If you are going to say a rock and roll goodbye, have a final blowout. And that's what they did.



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Friday, July 30, 2010

A lesson on Democracy...

Posted by Nick Selm on Fri, Jul 30, 2010 at 9:18 PM

Democracy is pretty cool. It’s a system that values the collective opinion of the people. Be it a presidential election or a reader’s poll for an independent arts newspaper, the results of democratic elections can reveal a lot. Sometimes, these results can expose huge problems with the voting process. Remember the 2000 presidential elections which brought up so many concerns about the voting machines and the counting process? The 2000 elections also revealed a lot about the voters themselves, many of whom clearly did not have all the facts about their candidate of choice.

Some of the winners on this year’s NUVO’s Best of Indy reader’s poll revealed a lot about the voters and the candidates: Either the readers are very confused, or the voting system was hacked. The Mouse Trap won for best hipster bar, but that must be because the voters confused “hippies” with “hipsters”. There were a few more dubious winners on the list (don’t get me wrong, I’m a big fan of Yats, but they only have three vegetarian dishes, only one of which is vegan, which is surprising considering that they won for Best Vegan/Vegetarian Restaurant), but no result was more confusing than Zero Boys winning the coveted “Best Punk/Hardcore Group/Artist” award.

Sure, Zero Boys were an extremely important band in the history of Indianapolis. They were our city's link to the early punk movement but there is no reason for them to be winning any awards for anything in the year 2010. They haven’t even played a show yet this year, let alone released any new material.

Full Rainbow: They werent even alive in 82, but theyre kicking and screaming in 10
  • Full Rainbow: They weren't even alive in '82, but they're kicking and screaming in '10

Why Zero Boys? There are some really good Punk/Hardcore groups in this town that play dozens of shows a year at bars, in basements and even in clubs and theaters. Full Rainbow (formerly Sorely Trying Days), Sex Before Marriage, Vital Error, What Lurks and Stand and Deliver (who actually made the list at #3) are all living, breathing, sweating punk bands that keep the local scene alive in this town. They aren’t resting on laurels. They don’t have $3,000 dollar guarantees. They just want to play punk rock in Indianapolis and have a good time. They all sound like perfect candidates for

Perhaps the average NUVO reader doesn’t give a rat’s ass about punk (let alone local punk) but that is no reason to vote a band as inactive as Zero Boys to the top of the local punk ladder. Maybe Indianapolis needs to make more of an effort to get to know its local punk scene. Maybe the punk scene needs to reach out more to the city and break out of the punk ghetto. But one thing's for sure: if you're going to vote for anything, please get your facts straight before you cast your ballot.

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Weekend live comedy preview

Posted by Andrew Roberts on Fri, Jul 30, 2010 at 8:47 AM

Chad Daniels is this weeks top pick, performing at Crackers Downtown.
  • Chad Daniels is this week's top pick, performing at Crackers Downtown.


Weekend Lineup:


Price listed is the lowest available, and all shows are Friday and Saturday, unless otherwise noted. Most also have Weds, Thurs., and Sunday shows; check their website for more info.

Crackers Downtown- Chad Daniels, 8 and 10:30 pm, $15. www.crackerscomedy.com

Crackers Broadripple- Kristin Key, 8 and 10:30 pm, $15. www.crackerscomedy.com

Morty’s Comedy Joint- Todd Yohn, 8 and 10:30pm, $15. www.mortyscomedy.com

ComedySportz- Improv, 7:30 pm, (and 10:00 on Sat.), $15, www.indycomedysportz.com

Comedysportz- Cinderella: Unscripted, 10:00 pm. Friday only. www.indycomedysportz.com

The Comedy Attic (Bloomington) — Mike MacRae, 7 and 9:30 pm, $10. www.funnybonebtown.com


Coming Soon

Cedric the Entertainer- Aug. 7, $47.50, at the Murat

Tim Cavanagh- Aug. 11 - 14, $15, at Crackers Downtown

Louis C.K.- Oct. 7, $32.50, at the Murat


More than most forms of entertainment, stand-up comedy lineups are subject to last-minute changes, as well as unexpected sell-outs. Please be sure to check the website of the venue (or call and reserve tickets) before heading out, and make sure to be aware of any updated times, prices, availability or performers.

If you are aware of any upcoming events or venues that are not included here, please feel free to comment them below or email aroberts@nuvo.net!

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Thursday, July 29, 2010

Local label news: Andy D, cassette box

Posted by Scott Shoger on Thu, Jul 29, 2010 at 3:50 PM

We got a brief email the other day from Dodge of My Old Kentucky Blog and Roaring Colonel Records with news of a couple signings. Expect a seven-inch by upstarts Vacation Club, who sound a little like Galaxie 500 fronted by Jad Fair, later this summer. And look for a full-length from sexually-liberated, liberally-paunched, day-glo'ed emcee Andy D this fall.

jnr50.jpg
Joyful Noise Recording's 10-cassette Joan of Arc retrospective went like gangbusters — the limited-edition (a hand-numbered batch of 100) sold out out two days after pre-order began, leaving 5 copies each for release shows in Indianapolis (Melody Inn, Aug. 20, with Abner Trio, Marmoset and Jookabox) and Chicago (Ronny's, Aug. 22), and another 10 floating about unspecified indie record stores. Ah but, you can still get all of the individual cassettes, just without the handsome screen-printed wooden box. Also, a new Abner Trio album, The Giant Crushes You, is now available for vinyl pre-order; cassette and digital-only versions will also be available, but the label isn't printing any CDs for this release.

"You're Gorgeous, Believe It!" from Abner Trio's The Giant Crushes You:

And Owl Studios keeps on keeping on with a new one, Mezzanine, by the Buselli-Wallarab Jazz Orchestra. The album is comprised of work by trombonist Brent Wallarab, following on last year's An Old Soul, which exclusively featured Mark Buselli's work. Now if only we could get an Indy Jazz Fest lineup out the folks at Owl and The Jazz Kitchen...

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Wednesday, July 28, 2010

BoDeans still on road to Indy

Posted by Rob Nichols on Wed, Jul 28, 2010 at 11:54 PM

BoDeans2010.jpg
The BoDeans' Friday's show at the Vogue will be their one-millionth appearance in Indianapolis, in town to play tunes from their ninth studio album, Mr. Sad Clown, released back in April.

OK. Not really. Yes, they are at the Vogue Friday, but have only played in our city 905,383 times since 1987. Every damn one of them a good show. Really. I've seen them so many times in the past 20 years - at the Vogue, or in Cincy at the Blue Note, or on a cold Monument Circle during Final Four weekend - and can't remember walking away thinking that the band hadn't worked hard at making a connection. The sound they make is unique. The new album is thoroughly BoDeans, and that's why they survive.

We should be thankful there is a BoDeans; a band that rolls on despite just one ("Closer to Free") song that could be considered a real hit. They have stayed true to their roots-rock and roll soul. Every show rocks, the audience sings, and guitars and drums are played loudly. Tell me what's wrong with any of that?

watch a recent full show video: Bodeans live at KGSR - Austin, TX (outdoor concert)

Review:
"Mr. Sad Clown finds the duo of Sam Llanas and Kurt Neumann working on their own — Neumann produced and recorded the sessions at his studio in Texas, and he and Llanas handled all the instrumental chores themselves except for horns and some keyboards. And while Still often sounded like an (only intermittently successful) attempt to reconnect with the fire of the BoDeans' best work, Mr. Sad Clown feels fresher and freer, with the duo taking more chances and mixing up their formula a bit while maintaining a firm grip on their essential strengths." - Allmusic.com

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Day Two at All Good Music Festival

Posted by Danielle Look on Wed, Jul 28, 2010 at 8:34 AM

As darkness fell upon Marvin’s Mountain on Thursday night, a thick, dense fog descended. The nighttime effects were similar to the dust bowl we steered through Thursday afternoon; visibility at camp had reduced to near-zero, this time due to mist. Friday morning I rose from inside my tent to a completely saturated camp. Lawn chairs, folding table, paper lanterns, cooler-insulating sleeping bag… all were soaked in condensation- an effect of camping in the clouds that I had not yet considered.

A typical morning at All Good
  • Stephen Milton
  • A typical morning at All Good

My home overlooked the bustling back half of the campgrounds. Port-a-potties and a main road ensured constant activity at the bottom of the hill. “Where’s Green Man?!” somebody shouted at the completely-enclosing orange jumpsuit that climbed the path parallel to our outpost. Across the valley that camp sat atop of, a small series of hills garnished the mountain; one time I caught a lone deer prance across them and away into hiding. All Good’s scenery simply can’t be beat.


GREENSKY BLUEGRASS
Greensky Bluegrass commenced Friday activities at All Good in the campgrounds with a 10:15 a.m set on the Grass Roots Stage. Read the full review, as well as an interview with their mandolin and guitar players, here.


TEA LEAF GREEN
Introduced as “The best-dressed band in the jam band scene”, Tea Leaf Green kicked off their set with a harp intro that led into “Incandescent Devil” and set the crowd in motion. Band members wore a variety of outfits: guitarist Josh Clark fronted the band in a fake tuxedo t-shirt and a rainbow colored propeller beanie that let curly tufts of hair poke out the bottom; bassist Reed Mathis advertised Las Vegas radio station KUNV 91.5 “The Lyons Den” with his apparel; keyboard and vocalist Trevor Garrod wore a plain black top, auburn aviators, ankle-length khakis, and unlaced sneakers. Drummer Scott Rager’s getup, however, remained a mystery hidden behind the drum set.

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  • Rob Staub Photography

TLG2_-_All_Good.jpg
  • Rob Staub Photography

TLG3_-_All_Good.jpg
  • Rob Staub Photography

Even though the band is currently touring on a new album, the set was full of classic Tea Leaf Green favorites, making for an exceptionally fun time. Midway through the set during “Georgie P”, the audience was struck with amazement and awe when Chicago-based jazz trumpeter Jennifer Hartswick joined the band on stage. Hartswick’s trumpet entered into a musical conversation with Clark’s guitar for an extended interlude that melted faces to the ground.

Tea Leaf Green closed with The Garden (Part III) just as rain began to fall on the patrons of All Good, first as a mist and later much heavier for a brief period. The precipitation continued sporadically, but persistently, over the next couple of hours.


THE REST OF FRIDAY
During an afternoon return trip to the campgrounds for lunch, I made a pit-stop at the Grassroots Stage to hear a song from the Cornmeal all-request set. Arriving at just the right time, I caught a unique bluegrass cover of “Turn the Page” by Bob Seger.


The band is out of focus and the camera operator keeps telling her friend to move his head, but the audio is fun and the rain is observable here.

Later, back at the main venue, all six members of Old Crow Medicine Show stood in a line across the front of the stage lost in a whirlwind of lightning-fast picking. In between songs, we overheard countrified banter and true, twangy Tennessee accents. Multiple strings from the bow of fiddle player Ketch Secor had broken in the fury of his performance; they dangled loosely like a wilted flower as he persevered until the end.

Before an explosive set with Umphreys McGee, mayor of Masontown Lydia Main was brought on stage to deliver a personal message. She crept to the microphone and mistakenly greeted us to the 8th annual All Good. She then continued, “I’m sorry. I can do a lot of things in my town, but I can’t stop the rain.” Ironically enough, the intermittent drizzles practically ceased from that point forward. She continued to tell us how happy she was to host the festival in her town and told the entire audience to call her directly if they found trouble with the law. “Just not all at once,” she added.

Umphreys McGee
  • Rob Staub Photography
  • Umphreys McGee

Umphreys McGee and Cornmeal played consecutive sets, both of which I watched with a satisfying closeness to the stage. With the exception of a few headlining acts (namely Further, Widespread Panic, and Bassnectar) I was repeatedly able to penetrate the crowd and find a viewing spot near the stage- a feat not easily possible at most music festivals. Furthermore, the advertised claim of “no overlapping sets” is completely legit. Two stages sat side by side. When one band concluded, the next began literally seconds later. The physical impact on the audience was a mere 45 degree shift of the body. Again, an awesomely exclusive attribute that gives All Good bragging rights over all other festivals.


LATE NIGHT
Again distancing myself from The Grateful Dead, I stayed only for the beginning of the two hour Further set (featuring The Dead’s own Phil Lesh and Bob Weir). I used said block of time to return to camp and begin preparations for Bassnectar: drop off poncho, change into dry clothes, wash face, and dress body in glow sticks.

Bassnectar’s show was scheduled for a 1:45 a.m. start but, while rushing through the security check point, I observed white flashing lights synchronized with flying glow sticks and screaming fans; the show had gotten underway much earlier than anticipated. When I finally reached the concert field, the thick mass of people was barely navigable. The natural slope of the hill seemed much steeper in the dark and worked against me as I followed my group to an acceptable vantage point.


Lotus took the late-late-night timeslot after Bassnectar, playing from 2:45-4:15 in the morning. As expected, the band brought intense, club-inspired beats and a visually splintering light show. Lotus effectively acts as a bridge between electronic dance music and jam rock. My inner rager craved- no, required- the former in order to keep going but, alas, spacey soundscapes held more weight in their set composition. Midway through, it was time to call it a day. Almost.

En route to camp, my festival partner spied members of Greensky Bluegrass huddled in a circle on the main path. We stopped briefly to observe the portable, impromptu jam session. As promised during the close of their set earlier that day, the band was hanging at All Good for the weekend and could be found playing in the campgrounds almost any given time of the day.

For more images of this and other events, please visit RobStaubPhoto.com.
Photos Copyright Rob Staub.

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Tuesday, July 27, 2010

Review: Pirad Fest

Posted by Nick Selm on Tue, Jul 27, 2010 at 11:22 AM

Day One
Since there were many out there whose feelings were hurt by my suggestion to skip The Last Domino's set on the first day of this year's installment of Pirad Fest, I decided to ignore my own advice and watched their set at the E.S. jungle... or at least as much of it as I could stand.

Showing up right after It's All Happening (which I'm bummed I missed), I watched The Last Domino professionally glide through their generic pop-rock ditties. The Pirad kids seemed to like it well enough, but the non-Pirads in attendance were left scratching their heads and plugging their ears. Luckily, the next act up was the much buzzed-about Jookabox. Jookabox sounds good on record, but they sound AWESOME live. Classic songs, like "Girl Ain't Preggers" (from the Grampall Jookabox days) received impressive full-band face-lifts. Frontman "Moose" delivered every line with an almost insane intensity, while bassist "Benny" provided the theatrics and on-stage banter.

Jookabox rocked hard, but it was Totally Michael that truly stole the show. The Bloomington/Chicago two-piece could be brushed aside as a novelty act if they weren't so undeniably good. Their silly songs recall the light-hearted pop of Matt & Kim and the electro-punk of Atom And His Package. Most of the songs are nonsensical (subjects include cheerleaders, Winona Ryder and erections), but the melodies and choruses are so infectious that they're impossible to ignore. It also didn't hurt that frontman (Totally) Michael acted as a charismatic Pied Piper, leading his sea of dancing children to a hilarious sing along of "Damn girl!/ you make my dick erect/ Oh boy!/ you make my pussy wet." Everyone left day one sweaty and smiling.

In The Face of War: In YOUR face.
  • In The Face of War: In YOUR face.

Day Two
The second day of the fest was a long, hot, sticky one. It started at one in the afternoon and went til about midnight. The first two-thirds of the day were dominated by high school punk bands who were still hung-up on the thrashy street-punk of The Casualties, GBH and The Unseen. It'll be a few years until the tykes of The Frontline finally buy a Fugazi or Dinosaur Jr. record and and find out that mohawks and studs aren't the end-all-be-all of punk rock.

Day two of the fest took off when veteran hardcore act In The Face of War played. Their set was brutal and it got the crowd moving, which set the stage for the rest of the evening. Full Rainbow (formerly The Sorely Trying Days) stormed the stage next. What compelled these goons to change their name, we may never know, but their set was phenomenal. Their classic songs, like "Failing Engine", sounded great, but it was their new material that sounded the best. I have always predicted big things for these little dudes, but after hearing their new material, it would be a real shame if they didn't blow up outside of the local scene.

Harley Poe played a strong set of creepy folk-pop songs. It was especially cool to see them considering that they rarely play anymore. Prizzy Prizzy Please closed the night with a wild set of R'n'B-infused pop-punk. Their sound, which has drifted away from the party punk of their past records, still elicited a rowdy mosh pit which was punctuated with plenty of sweaty stage-dives and pile-ons. After a sweltering encore, which included the rousing "Too Many T-Shirts," the drenched crowd dispersed into the balmy night. Despite all my criticisms of the Piradical scene, I must say that this year's Pirad Fest was the most fun that I have had all summer. Great job!

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Greensky Bluegrass at All Good Fest

Posted by Danielle Look on Tue, Jul 27, 2010 at 8:29 AM

Greensky Bluegrass commenced Friday activities at All Good in the campgrounds with a 10:15 a.m set on the Grass Roots Stage. As at nearly other stage in the campgrounds, a sloping knoll provided a natural amphitheater for observing the performance. It was mostly filled with seated spectators in the beginning, but dancers crowded in from the sides as the show progressed. “I think I’m finally awake now,” guitarist and vocalist Dave Bruzza eventually told the crowd. “I couldn’t think of a better way to spend a Friday morning than right here with all these good people.”

Greensky's cover of “We’re an American Band” by Grand Funk Railroad ended with a slight change to the lyrics:

As I discovered when Greensky visited Indianapolis last month, the band prides on being rooted in traditional bluegrass. But they're no strangers to improvisational rock that ventures into psychedelic territory. At 10 in the morning, the perfectly balanced set was quite possibly the best way to officially kick off the day.

An awesome rendition of “Stop That Train” steered far from traditional bluegrass when each member took their turn with an extended instrumental solo. Listeners got lost in the music as the band collectively guided them through the jam. The tempo increased and increased until the band unexpectedly jumped back into the song's structure: Stop that train; I’m leavin’! Before its conclusion, Bruzza switched gears to something slightly bluesy and nearly scatted out line after line repeatedly: Sendin’ a message of love to my people back home and I’m missin’ you more! Missin’ you more!

For more images of this and other events, please visit www.robstaubphoto.com/liveperformance. Photos Copyright Rob Staub.
  • Rob Staub Photography

Nearing the end of their set, Greensky Bluegrass invited fans to meet up with them after the show. They announced that they would be around for the whole weekend and requested maps to campsites so they could find new friends later. They closed with a fun cover of the Talking Heads classic “We’re on the Road to Nowhere” and then the band realized they had ten extra minutes, to which they all randomly interjected their excitement:

“Oh shit! That clock is fast! [to the audience] You guys hangin?”
“Well, that makes things real interesting.”
“That’s All Good, right there people. That shit never happens.”
“That’s good news. Alright!”
“I was already missing you more.”

During tuning for the final song, Greensky thanked the audience for coming out so early in the morning to see them. “Or so late at night, whichever way you want to look at it.” They used the entire 10 minutes to play just one song, complete and satisfying with heaps of improvisational picking.

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Later that day, I met up with Paul Hoffman (mandolin) and Dave Bruzza (guitar).

NUVO: So, how’s it going so far at All Good? You guys are staying and camping out for the rest of the festival?
Paul: We usually don’t camp, because it’s kind of complicated with our gear. But since we had the weekend off, we wanted to enjoy the music. *assumes country accent* It’s a big drive to get off this countrysiiide and get to a ho-tel.
NUVO: I hear that. It took us almost 4 hours to get in yesterday. When did you guys get here?
Paul: We came in Thursday night. Definitely had the “secret way”. We drove through the magic mirror. It’s about 20 miles away; you drive through it and then it just teleports you to the front gate.
Dave: Like Star Trek.
Paul: Or like Quantum Leap.

NUVO: So did you get any maps to peoples’ campsites after the show this morning like you asked for?
Paul: I did get a few maps. I’ve been walking back and forth, running into people and they’re like “I don’t have a map, but I can tell you where it is.” Pointing like, “see that flag, turn left there.”
Dave: Maps are required. The best map I got is REAL far away from our site, though. I feel bad for [Paul] Devol, our bass player. It’s gonna be a pretty big hike for him.

For more images of this and other events, please visit www.robstaubphoto.com/liveperformance. Photos Copyright Rob Staub.
  • Rob Staub Photography

NUVO: Now… your banjo player. Is he going to be doing any of his special late night dance moves?
Dave: Wow. You are privy to some info.*laughs*
NUVO: I wanted to ask for a little preview at Birdy’s, but I didn’t get the opportunity to talk to you guys that night. Captain Adventure, they call him?
Paul: Captain Fun.
Dave: Yea, there’s a video of that somewhere.
Paul: It’s been like, 4 years since that happened.
Dave: We were at The Hoxeyville Festival up in Michigan. BoomBox was playing.
NUVO: Yea, I talked with them at Summer Camp.
Dave: Oh, cool. Yea, he got on stage with them and totally did the whole dance move thing. Everyone was dancing on stage. It was really cool. It was like a solo dance with BoomBox.

NUVO: What is there to talk about in the way of Greensky news?
Dave: We just released a double-disc live CD called “All Access”, the first of many volumes. It’s the whole show, it’s a great thing. It’s not like making a regular record. And it’s high quality so it sounds great. You can put in in your CD player and hear the whole thing from start to finish.
NUVO: Is it just one show?
Dave: Yea, the one we have out right now is a show that we did in November in Three Rivers, Michigan at The Rivera Theater.

NUVO: I noticed that all members of the band are currently playing instruments other than their “native” instrument they began with. Do you switch back often?
Paul: I still play guitar alot. Not in the band at all, but I do a lot of writing on the guitar and occasionally mess around with other musicians. Dave plays drums with another band at home sometimes when we’re not living in our van.
NUVO: How does a side project like that fit into your schedule with Greensky, being on the road all the time? Does it pose any challenges?
Paul: Well Hoxeyville (that we just mentioned) is promoted by one of the guys that’s actually in the other group with Dave so that’s one of the few times where he gets to play drums with Airborne Aquatic. Occasionally we have time off around the holidays and I’ll do something with guitar at a little bar or whatever. It’s rare but, we do it occasionally.
Dave: Paul and I have been known to do our own country band called The One Night Stand Band where we have a drummer, a bass player, and a pedal steel player. I’ll play electric guitar and Paul will play acoustic guitar. That’s another side project. It’s fun.
NUVO: Where does that go down?
Dave: Ah… pretty much just around home. *laughs* Bells Brewery.
NUVO: I’ve heard a lot about that place.
Dave: It’s awesome. You should come check it out.
NUVO: I think Midwest Hype plays up there a lot.
Paul: Yep. They do.

NUVO: So with your recently announced fall touring schedule, what’s got you most excited?
Dave: I was excited for last weekend. The Nateva Festival up in Maine. Next weekend will be the Grey Fox Bluegrass Festival in upstate New York. All the festivals we’re doing this month are festivals that we’ve never done before. It’s really cool, especially because being from Michigan, we don’t play in the east very often. But the chance to explore this part of the country and play all these really cool festivals is pretty exciting.

NUVO: Well, thanks for you time, guys. I hope you enjoy the rest of your weekend at All Good. I just want to make sure I find Captain Fun later tonight.
Dave: He’s in RV Camping right now. I’ll let him know.

For more images of this and other events, please visit www.robstaubphoto.com/liveperformance. Photos Copyright Rob Staub.
  • Rob Staub Photography


For more images of this and other events, please visit RobStaubPhoto.com
All photos Copyright Rob Staub.

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Family of uke

Posted by Miss Joni on Tue, Jul 27, 2010 at 8:00 AM

Sisterhood of Uke

Music is a way of life for many families. In my family, it wasn’t unusual for my dad to spend the better part of a Sunday afternoon picking tunes on his guitar, strumming hymns and teasing us with a little Johnny Cash. If more friends and family stopped in for a visit, it wasn’t unusual to find ourselves in the midst of an impromptu “singing”. In my dad’s family, every male played banjo, guitar, mandolin or all three. It was always the men I recall seeing unpacking their instruments at family reunions.

Geoff Davis’s family was exactly the opposite. Until he came along, it was the women in his family who fueled the musical heritage. And, the instrument of choice wasn’t guitar, banjo or even piano. It was the ukulele. You can listen to folklorist John Kay talking to the Geoff Davis about the ukulele tradition in his own family here:

http://www.artisanancestors.com/

He says one of the songs his grandmother played on the ukulele was OH BY JINGO. I have my own fond memories of that song; I’m still trying to figure out how a song about a girl from San Domingo could have such Middle Eastern rhythms, but that’s how it goes. Here’s the incomparable Spike Jones orchestra showing how it’s done:

OH BY JINGO

ALL GIRL BAND

New families can be built around music. A person would be hard-pressed to find a better substitute for a family in the works than the group that is evolving around Indianapolis musician Cara Jean Wahler’s latest brainchild, Alice Chalmers and the Stick a Cork in Your Jug Band. Whenever the group gathers at Cara’s house, there are pastries served on her grandma’s china, lemonade in a punchbowl, girly aprons, and, finally: music.

When she asked me to play ukulele in the all girl band that she was putting together for the Indiana State Fair, I had no idea that I would find myself amidst so many amazingly talented female musicians. There are plenty of times when I find myself just sitting and smiling as the rest of the girls show their terrific stuff; I fear I might be slightly out of my league here, but the other women are helpful, supportive and nonjudgmental. The group includes not only the amazingly talented Ms. Wahlers on guitar, but also gifted musicians such as Stasia Demos, fiddler Holly Smith, Miss Nora Spitznogle on typewriter, Tammy Lieber and the one and only Ms. Jude O’Dell.

Jude O’Dell is a bawdy banjo player who can also squeeze the blues out of her ancient tenor guitar like no girl I’ve ever met. I am thrilled enough to just be around her, let alone have the opportunity to actually play music with a musician and performer of her caliber. She spends most of her time working as a visual artist and playing in Geoff Davis’ Third Satchel Novelty Jazz Band, and she simply bubbles over with gutsy female talent. She can slap and pluck and strum that tiny guitar while she is belting a Memphis Minnie tune, and every one of us is lost in another place for awhile. When she stops singing, we all declare that we want to be just like her. She warns us, Oh no we don’t, but the spell can’t be broken so easily.

There’s another girl who can belt the blues like Memphis Minnie. Ukulele playing Eden from Eden and John’s East River String Band shares Jude‘s affection for Minnie’s ME AND MY CHAUFFEUR BLUES.

East River String band, featuring the fabulous Eden on her resonator ukulele:

UKE IN THE FAMILY

What started as a personal passion has blossomed into a family institution. When I first picked up the ukulele two years ago, I thought I’d fiddle around with it, learn Five Foot Two, Ain’t She Sweet and a handful of Beatles songs and be done with it. But, my enthusiasm couldn’t be contained; by the following Christmas, my cousin, Laura had a uke of her own.

My cousin and I have always been close. Throughout childhood, we shared many passions, took trips with each others’ families, read the same books and enjoyed the same movies and music; as adolescents, we fell obsessively in love with the Beatles and took Nashville and Disney World by storm. Our mothers bought us matching outfits and we wore them without shame. It only made sense that as adults, we would find something new to consume us.

Now uking time is critical time for us. Whenever we get together, we find a way for our four children to entertain themselves, then, out come the ukuleles. While we sometimes find ourselves strumming our own tunes in different parts of a room, there isn’t anything better than when we decide to build on a song together. Such was the case during our most recent visit, when we decided to explore TONIGHT YOU BELONG TO ME, an old 1920s song that was made famous to a new generation when Steve Martin and Bernadette Peters sang it in THE JERK.

We tried the song in three different keys and puzzled over second position chords. In the end, we were strumming it on her screen porch, singing uninhibitedly and harmonizing, too.

Here’s the clip that made the song famous. You need to know that, although Steve Martin is a gifted musician in his own right, he is not playing the ukulele in this scene. That job was given to ukulele jazz pioneer, Mr. Lyle Ritz.

Of course, this all-in-the-family business isn’t reserved just for the girls. My cousin’s husband, inspired by her love of the uke, decided to teach himself how to play guitar. And, my own husband has taken up the ukulele, completely on his own. Armed with a few chords that he learned from our son, and a stack of chord charts, he finally found the song that made him want to give it a try: WILDWOOD FLOWER. It’s a song that is close to my heart: my Kentucky father played it Carter Family-style on his guitar when he was courting my mother.
Our version simply includes the chords (C, F, G7), but it’s the thrill of being able to play a well-loved recognizable song that finally got to my husband. Here’s the fantastic ukulele player, Ken Middleton, playing his own interpretation of the traditional song:

With that one sweet song, family things keep coming back to us.

One evening, not too long ago, as we sat around, holding our treasured ukes, my cousin said: “Here we are, approaching our mid 40s, and all of us trying something new. I think we should promise ourselves that 40 years from now, we’re going to try something else that is new and different, too.” I think that’s a great idea.
In the spirit of all this ukulele playing in our 40s, and in honor of anyone who is bold enough to pick up a new instrument and give it a try, here’s a delightful original song from my Ukulele Underground pal, Mike (a.k.a “lambchop):

MIDDLE AGED GUY WITH A UKULELE:

UKULELE -RELATED HAPPENINGS AND OTHER GOOD THINGS

Indianapolis Ukulele Fans will meet next on Saturday August 7 at the Sam Ash store in Castleton, from 10 AM to 12 noon.

Tuesday, August 10 is Blue Stone Folk School Day at the Indiana State Fair. You’ll get to experience Alice Chalmers and the Stick a Cork in Your Jug Band as well as Geoff Davis’s own Third Satchel Novelty Jazz Band and possibly a performance by Pholly. It will be like old time/ukulele heaven, right in the middle of August! Best of all, it’s also Turkey Hill's get in for two bucks day, so there’s really no excuse not to get there early and stay late, just print this voucher from Turkey Hill’s website: http://www.turkeyhill.com/indianastatefair/2-Tuesday-voucher.pdf

The Blue Stone Folk School Ukulele Society meets the second and fourth Thursday of each month, from 7-9 PM. The next meeting will be Thursday, August 12, at the Judge Stone House, 107 South 8th Street, Noblesville. Bring a uke, a friend and a song.

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Remembering the Elms before their farewell show

Posted by Rob Nichols on Tue, Jul 27, 2010 at 1:30 AM

elms_finalposter.jpg
With a final show before the group disbands, The Elms have sold out Radio Radio this Friday night (July 30). The group that broke out of Seymour as a Christian band and went on to make vibrant, heartfelt and truly midwestern rock and roll is calling it quits for reasons a bit ambiguous, and finish their run with this final Indianapolis show.

According to their Facebook page, the show will be filmed in HD, using multiple cameras. Singer Owen Thomas writes on his blog that "we’re kicking around several ideas for the footage, which range from a complete concert film to a documentary about the cumulative 10-year experience of The Elms."

There is a terrific blog by Dan Ficker at inreview.net where Thomas addresses questions surrounding the group breaking up. In the interview, The Elms' lead singer said it was just a feeling that things should stop.

"Don't know ultimately why that is. It just feels like when something runs it's course, you hope you have the cognizance to understand it and know it," Thomas said. "I think that, musically and personally, we were in a very pure place for the last record, and in my mind I don't know that it can be that pure ever again...that's not because we have feelings of animosity toward each other".

He also speaks about the band moving from Christian music to the rock world, and how their The Great American Midrange - an independent release - sold better than The Chess Hotel, recorded for the Universal South label.

Thomas said doesn't really know what the next project will be.

"I've really committed myself personally to not even thinking about what the my next move in life might be until after July 30th," he told Ficker. "But, you know, I mean. It will be something musical, I'm sure."

Meanwhile, Elms guitarist Thom Daugherty jumps in and plays a showcase gig with country rocker Chris Janson Tuesday night (July 27) at 12th & Porter in Nashville.

***
"Every good spirit needs someplace to run, so I need to find me a place in the sun"
The Elms - "A Place in the Sun" (the final track from their final album)

the bands final rehearsal 7.24.10
  • Photo by Kip Ude
  • the band's final rehearsal 7.24.10
Ah, the Elms. Gut rock. Indiana rock. Petty rock. Bryan Adams rock, and that's OK. Some fuckin' catchy songs. Sounded tough and vulnerable. Harmonies. Accessible. Melodious. Dry humor and and a drop of dark attitude. The Elms seemed to care about creating good shows. Pounding, anthemic sounds. Gutty guitar. Chugging rhythms.

Why didn't they stay together? Why weren't they more well-known? More roundly appreciated? Is that the way it has to be in the music business circca 2010?

Shit, bands have been breaking up since the beginning rock and roll. Nothing new. Just move along.

Ten years will go by. Maybe they will play together again. The guys will all find success. And I will ask my music friends if they remember The Elms, and some will say yes.

from bands final rehearsal 7.24.10
  • Photo by Kip Ude
I will remember that The Elms were really good at what they did and what they seemed to stand for. They valued the live performance, made two wildly underappreciated albums, and represented Indiana pretty damn well while together. In their music, I always heard the echo of midwestern hope. They are a damn fine little piece of the lineage in that Tom Petty/Will Hoge continuum.

Maybe that sound, going four different directions after Friday, will allow them to reach out to more musicians and people than if they had stayed together. That's what I would like to think is the happy ending to this story.

And maybe it is.



"Back to Indiana" - The Elms

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